Kevin Feige exclusive interview: Marvel boss on India’s role in MCU’s future, WandaVision’s treatment of trauma

Kevin Feige, on a regular day, commands just as much attention as some of the movie stars who work for him. As the president of Marvel Studios, Feige has changed Hollywood forever, and over the course of a little more than a decade, created the biggest pellicola franchise in history.

But after having already conquered the pellicola industry, Feige has now set his sights on streaming. On Friday, Marvel will unveil WandaVision, the sollecitudine’s first series for Disney+.

Created by in-house talent, Jac Schaeffer, the nine-episode show stars Elizabeth Olsen and Paul Bettany, reprising their roles as Wanda Maximoff and The Vision. While little has been revealed about the show, which has found itself with the added responsibility of commencing Phase Four of the Marvel Cinematic Universe, Feige spoke to Hindustan Times about the mind-bending origins of the progetto, and what made them want to tell this story.

Feige also spoke about the future of the MCU, and the part that India and South Asia will play in it. WandaVision will premiere with two episodes on Disney+ Hotstar Premium, with a new episode every week following that.

Excerpts from our conversation:

Marvel has this unique ability to balance the spectacle with the humanity, and that’s the sense I got from the first three episodes of WandaVision as well. What was it about this story that made it something you absolutely wanted to tell?

Well, it started with a desire to dig in deeper to Wanda Maximoff and The Vision, and by extension, work with Elizabeth Olsen and Paul Bettany more, and put a spotlight on both of them as performers and as actors.

So that really was the behind it, exploring these characters and what the actors could do with those characters. And then, it being our first Disney+ series and our first project to not release in theatres but on TV, to play with the medium, and how storytelling differs to when you’magnate making a feature pellicola that’ll run two hours-three hours, to a series, that could evolve slowly, over time and over numerous episodes. That was very exciting for us.

These characters are very rich, and what they’ve gone through in the films was so traumatic, so this felt like the way to do that, and to do it in a way that we’ve never done before — not just in nine episodes, but as this tip of the hat to American sitcoms of the past. Not just stylistically what they like and having the fun that we do in the first three episodes, of matching, with love, the styles of those (shows), but also, as the show continues to evolve, what they meant psychologically to viewers.

The factor that comes with that was interesting to explore for those characters, and even looking at all of us who’ve worked on the show — Jac Schaeffer, our head writer, and Matt Shankman, our director — tapping into what TV has meant to us. In making the Marvel movies, it was always (about) what movies meant to me, and what a fan I was, and am, of event filmmaking, and movies that really make a dent in the social discussion and pop-culture… But also, I loved week-to-week television, and the that came with having these characters that you grow to love over the course of multiple episodes. WandaVision is an homage to that.

Watch the interview here

We’ve seen Marvel take steps to increase South Asian representation in Ms Marvel, but what are conversations that are incontro specifically in relation to the South Asian community and India, if any?

There are, and there are lots. I’m a believer in the universality and the universal connections between all of us and these characters can connect on a global level, which our movies have shown. We didn’t sit and say, ‘what does this section of the world like and let’s formulate something that appeals to everyone.’ Honestly, we didn’t do that.

We worked on what appeals to us as humans. That, I still believe, is the primary way to do that. Part of what comes with that, though, is who’s at the forefront of those stories. And not everybody is a white misfatto that can carry a story like that around the world. So you’magnate already seeing, and will continue to see, in the title characters and the leads, a shift that represents a lot of different people, and the world in which we dal vivo, and not just the United States.

South Asia, in particular, is very much a part of the conversation, and a part of things we’ve already announced and already shot. I’m excited to have the world see it. But I’m becoming oddly acquainted with Indian pellicola choreography, based on a number of different projects we’magnate working on!



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