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Sony Spider-Verse discussion thread

ETA-- It reminds me of Matthew Vaughn's story about the "Hallie Bailey script" for X-Men 3 that was created just to get her to sign on to the movie.
https://www.google.com/amp/s/deadli...halle-berry-fake-storm-script-1235575096/amp/

“One of the main reasons I quit X-Men 3, and this is a true story. Hollywood is really political and odd,” Vaughn said during NYCC (via ScreenRant). “I went to an executive’s office and I saw an X3 script. It was a lot fatter. I asked, ‘What is this draft?’ They were like, ‘Don’t worry about it.'”

He continued, “So I grabbed it, and opened the first page, and it said, ‘Africa. Kids dying from no water, and Storm creates a thunderstorm to save all these children.’ I thought it was a pretty cool idea. I said, ‘What is this?’ They said, ‘This is the Halle Berry script because she hasn’t signed on yet. This is what she wants it to be. And once she signs on, we’ll throw it in the bin.’ I thought, if you’re going to do that to an Oscar-winning actress who plays Storm, I quit. I thought I’m mincemeat.”​

:eek:

That is seriously effed up... and an excellent example of why stars who have the clout might want to consider contractually locking in certain scenes/script versions, etc.
 
As for there being "no reason" to assume deliberate deception, I refer you to the Matthew Vaughn story that I linked in that post but you didn't quote.

How is it remotely logical to cite one person's misdeeds as "evidence" that an entirely different person did something wrong? There are people who drive stolen cars, but that isn't evidence that your car or mine is stolen. Different cases are different cases. And the burden of proof is on the accuser.


How often are the "rewrites" themselves deceptions?

My point is, given that rewrites are a routine, expected part of the process of making every single film ever, it makes zero sense to read anything suspicious or anomalous into the mere fact of their occurrence.
 
How is it remotely logical to cite one person's misdeeds as "evidence" that an entirely different person did something wrong? There are people who drive stolen cars, but that isn't evidence that your car or mine is stolen. Different cases are different cases. And the burden of proof is on the accuser.




My point is, given that rewrites are a routine, expected part of the process of making every single film ever, it makes zero sense to read anything suspicious or anomalous into the mere fact of their occurrence.
I briefly worked as an exterminator and a basic rule of thumb was, "if you see one cockroach, you're not seeing 50 or more".
 
If they made her believe that her character was somehow related to Tom Holland's Spider-Man, I think anyone would have said she was going to make an MCU movie, regardless of who produced it. This is why I find it even more bizarre to say that "Her agents didn't know the difference between a Sony Spider-Verse film and an MCU film" because for Tom Holland's Spider-Man films this difference does not exist. Only who signs the checks changes.
 
I briefly worked as an exterminator and a basic rule of thumb was, "if you see one cockroach, you're not seeing 50 or more".

It's a logical fallacy to equate general and specific argument. Just because something is often done, that doesn't prove it's being done in a single specific case.

And I'm deeply uneasy with any analogy between human beings and cockroaches.
 
Just to take a few steps back and regain balance, it seems clear that Johnson considers the de facto final script (as in, that which is directly reflected on-screen) markedly worse than the one she signed on for. Whether every change to that script she liked was made in good faith is an interesting question, but it's also perhaps somewhat beside the point.

As I understand it, the final script is so poor, with so much unnatural dialogue, nonsensical plot points, and so few character arcs and/or setups/payoffs that it amounts to incompetence and malpractice. Yes, filmmaking is an incredibly difficult process, requiring the cooperation of a large group of people, many who haven't ever worked with each other before, but there comes a point at which shoddy work crosses the line into injurious work, no matter the intention. Ergo, Johnson quite likely has every right to be angry about the product so visibly linked to her very appearance and identity.
 
Given the series so far, I am thinking more of the song lyric "last dance, last chance for love" and the documentary about the Chicago Bulls.
 
Given the series so far, I am thinking more of the song lyric "last dance, last chance for love" and the documentary about the Chicago Bulls.

And the 1960 song "Save the Last Dance for Me," and probably a number of other songs and references going back ages, since every ball has to have a last dance. The question is not where the title came from, but what makes the title relevant to a Venom movie. I suppose the story could be about the end of Eddie and Venom's partnership, since it's common for movies to do things in trilogies, but the form of the title also suggests a parallel with the third X-Men movie.
 
I think a lot of you all are stretching more than Reed Richards trying to make a connection.

It's a pretty common euphemism for the end of something, I'd have thought.

I was going to say I guess it means no Venom vs Spider-Man, then I remembered Spider-Man doesn't exist in Sony's Cinematic Universe of Spider-Man characters.

A fact that sums up their whole ridiculous enterprise perfectly!
 
It's a pretty common euphemism for the end of something, I'd have thought.

But not one I would've expected for a Venom movie. But then, Sony seems to have turned Venom into a more light and comical character than he's been in the comics. (I've long felt it would've made more sense to do Venom as a straight-up horror movie, like a werewolf or demonic-possession story, than to try to fit him into the standard superhero mold.)
 
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