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Immersed in Movies: Shane Black and Kevin Feige Talk Going Over the Edge in 'Iron Man 3,' Stark's Demons, VFX

Photo of Bill Desowitz By Bill Desowitz | Thompson on Hollywood May 3, 2013 at 2:35PM

With "Iron Man 3" already smashing box-office records internationally ahead of its domestic release Friday, grabbing more than $300 million in nine days (including the highest opening ever in China), Marvel's post-"Avengers" Phase 2 plan is off to a smashing start. The trick apparently was giving Robert Downey Jr.'s Tony Stark an existential crisis, and no one was better suited to the task than director Shane Black, who, like Downey, knows a thing or two about confronting personal demons, which is what "Iron Man 3" is all about.
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Iron Man 3

With "Iron Man 3" already smashing box-office records internationally ahead of its domestic release today, grabbing more than $300 million in nine days (including the highest opening ever in China), Marvel's post-"Avengers" Phase 2 plan is off to a smashing start. The trick apparently was giving Robert Downey Jr.'s Tony Stark an existential crisis, and no one was better suited to the task than director Shane Black, who, like Downey, knows a thing or two about confronting personal demons, which is what "Iron Man 3" is all about.

In fact, after resurrecting Downey's career in his directorial debut, "Kiss Kiss Bang Bang," the actor repaid the favor by getting Black the "Iron Man 3" gig. And Black knew just how to run with it by having Stark sink "too low for zero" in figuring out who he really is. This "Iron Man" is the darkest and most personal journey yet for Stark, who kicks the protective tin can armor for most of the movie like an addict trying to go cold turkey. But then identity crises seem to be the superhero trend these days with Marvel competing with DC for cinematic supremacy. Yet while some purists might not wish to see Stark so physically and emotionally naked, forced to rely on his wits, I thought it was an inspired journey with several surprising twists.

"It's a great way to give some grounding to a hero with some self-doubts and vulnerabilities, who would otherwise be too self-assured," Black suggests."I don't think anyone just buys into Stark's Playboy image -- it's there to mask something, to shut off some noise, to put a muffler on this calculating machine that whirs in his head at 100 miles an hour all the time. So to me it's just an attempt to fill this desperate need and to shut out that chatter that demands that he go back to the blackboard and scribble one more time."

Obviously both Downey and Black see a lot of themselves in Stark, the charming, sarcastic Aspergers-esque genius, who can't help tinkering with his innovative toys. "He can't stop that mind of his and there was even a scene we considered putting in the movie to show how he must occasionally abandon whatever he's doing to immerse himself in his obsession," Black adds."That's what's interesting -- that's deep. Robert's humor about life, that gallows humor, has always masked his demons."

According to Marvel producer Kevin Feige, Downey and Black spent a lot of time discussing the fantastical worm hole experience in New York at the climax of "The Avengers," and how it would've messed with Stark's already jumbled mind."What effect would it have on a man that isn't from outer space or that doesn't have gamma powers?" Feige offers.

In other words, as the least supernatural of the Marvel superheroes, Stark faces the greatest amount of jeopardy without his suit and goes up against his most powerful, scene-stealing adversaries: The Mandarin (Ben Kingsley) and Extremis geneticist Aldrich Killian (Guy Pearce). They're the perfect alter-egos in a movie devoted to perception vs. reality. "It's a metaphor for people searching for a better version of themselves, whether it's inside or outside their physical being," Black offers.

This article is related to: Iron Man 3, Immersed In Movies, Robert Downey Jr., Interviews, Interviews


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Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.