And shooting in modern Japan with Logan as a Samurai without a cause (forced to fight Ninja and Yakuza) only enriched the story. "You have old Japan vs. new Japan and then you have both of those cultures vs. a misanthrope like Logan," Mangold explains. "So you have the wonderful disconnect of a guy who's used to venting his rage or hiding and a culture that doesn't always say what they're thinking and has a lot of traditions, even in their fighting.
"So now I have one guy who fights like he's in an alley fight, and another culture that tends to fight in a more organized and formalized way. It's a lot of wonderful contrasts. And you're also fighting against the gravitational pull of all these cliches in depicting Japan in the movies. At the same time, you're telling a fish out of water story."
Mangold is proud that there's a significant portion of the movie in Japanese with subtitles. It will make many feel adrift in a foreign culture like Logan. But he's proudest of significant character beats unique to this genre with Logan haunted by ghosts of the past while trying to rediscover a sense of love and purpose to his tortured existence.
In other words, why can't you inject a little Sidney Lumet, Sydney Pollack, or Martin Ritt, who are among the director's filmmaking idols?
"It's different but I think the fan base will be pleased," Mangold contends."It's not about destroying the world or saving the world, which goes all the way back to Noah. Superhero spectacle has gotten too big. He's isolated from the other Mutants. Hugh and I both wanted to take it to a new emotional place, to make the Wolverine story we've all been waiting for."
Find out more in Hall H of the SDCC at 7:15 pm on Saturday.