Natalie Portman fans had a lot to celebrate with the reveal of the teaser trailer for her role Thor: Love & Thunder as the god of thunder, and for the close followers of the Marvel Cinematic Universe’s Thor franchise, there was no mistaking who was behind that brilliant helm. For anyone else, it might have been harder to guess.
In addition to his “appearance” in Avengers: Endgame (a cameo that includes a brief voice work and repurposed footage), Portman hasn’t had a major role in the MCU since Thor the Dark World 2013. It is also worth mentioning that she did not participate Thor: Ragnarok 2017, the Taika Waititi film that gave the MCU’s Asgardian setting its first unabashed critical success. So why did she leave? And why come back? It could be more that Marvel has left her behind and is now trying to catch up.
Reportedly, Portman’s first attempts to get rid of the Marvel Cinematic Universe began during the early stages of production on a sequel. Thor as she was considering a multi-year break from acting to spend more time with her first child, born in 2011. to industry reports at the time, Marvel sweetened the deal by including Portman – already a director with aspirations to do more – in the film director selection process.
That year, Marvel entered into negotiations with Patty Jenkins and struck a deal that would see the director of Monster the first woman to direct a film in the Marvel Cinematic Universe. And Portman — an activist, an advocate for increasing diversity in Hollywood, and a woman who has spoken publicly and eloquently about the ways in which female characters are boxed in by male-dominated cinema — was energized to help bring this about first.
But just a few months later, Marvel and Jenkins parted ways, citing “creative differences” even though the project still didn’t have a set script. Marvel has replaced Jenkins – who would plant his flag in the realm of cinematic superheroes with the hugely successful from wonder woman – by Alan Taylor (Terminator Genisys).
It would take another six years for Anna Boden to become the first woman to co-direct an MCU film (captain marvel) and eight for Cate Shortland to become the first woman to be the only director of an MCU film with the black widow . If Jenkins had gotten the job, she would still be – and for the foreseeable future – the only woman to direct a Marvel Cinematic Universe movie about a male superhero.
In 2016, com Thor: Ragnarok few months in principal photography, Portman told Wall Street Journal that Marvel had no plans to use his character again. “As far as I know, I’m done. I mean, I don’t know if maybe one day they’ll ask for an ‘Avengers 7’, I have no idea. But as far as I know, I’m done; It was a great thing to be a part of.”
Which is exactly what made Portman’s appearance at Marvel’s Hall H presentation during San Diego Comic-Con 2019 so surprising: There was absolutely no indication that she or Marvel Studios were interested in renewing their relationship on that level.
Its return appears to be due to director Taika Waititi’s deliberate work. On the contrary Ragnarok which was scripted by a trio of stable writers at Marvel Studios before stepping into their pursuit of directing, the story of Love & Thunder comes directly from Waititi and Jennifer Kaytin Robinson (Sweet/Vicious , Hawkeye). It was that story, and her expanded role for Jane Foster, that Waititi credits with putting the actress on board. In his words:
“I just told her, ‘Are you interested in getting back into that thing, but doing something really different? Nobody wants to keep repeating themselves […] In most of these movies, if you’re not a superhero – do you really want to keep doing it? I mean, I wouldn’t. I would like to go back and change things.”
Portman seems to agree, saying that: “seeing the script and Jane’s new role: I was like ‘This is so exciting!’ And also with Taika [em anexo]and I love Tessa and Chris so much, so it’s exciting to work with them again.” With the response to the teaser of Thor: Love & Thunderit’s safe to say that many other people also find it exciting.
This article is a translation of the writing by susana polo to the website Polygon.
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