Our full interview with Patty Jenkins in the post-production edit bay of the DCEU’s Wonder Woman movie!
The making ofWonder Womanhas been a longtime coming for Patty Jenkins.
Its been shocking to watch how those things progress.
So this is about a third of the way through the movie?
Yeah, its typical first act, second act break, you know?
Its like the first act is really her origin, its where she came from and who she is.
Thats whats been so super-fun about this.
Can I ask you about your journey on getting this film made?
I know you pitched this story like 10 years ago.
And then suddenly, I was a super dark director.
But people who knew me growing up were like, Of course youre makingWonder Woman.
So my first meeting with Warner Brothers was in 2004.
They said, Hey, so were interested.
We want to meet you and what do you want to do?
And I was like, Wonder Woman!
I want to doWonder Woman.
And since then I came in every year to have a meeting about it at some point.
And I was pregnant when I got it.
So when this came back around, Ive been around the block now.
And I almost didThor, and saw how that went.
That story turned into something I didnt feel like I was the right director for.
You just start to have respect for things need to have the right director for the right thing.
Maybe I am, maybe Im not.
Its just not me coming in and doing it.
Just a freed up, just an origin story and be very straightforward about it.
So it was like boom.
I know exactly how I want to do this movie.
Oh, thank you.
It did change, but interestingly it changed in a slightly different way.
I went into it saying, Shes my Superman.
They just couldnt be the main lead.
They had to be made more interesting somehow.
I was like, No, no, no, not here.
Shes just got to be Wonder Woman.
I love Wonder Woman, let her be, you know?
The thing that surprised me is that I came in naively thinking, lets make that.
But there was more fear in the world at every studio about doing that kind of thing.
And thats what changed.
So I think its been more of an education for me.
Youve told universal stories about different things.
So I think people are more nervous about that than they are starting to be now.
Its funny the way she says, Im the man who can.
Because the one I like is the one where shes completely oblivious.
Im the man who can!
which is what it sounds like before.
Now it sounds a tiny bit more strident.
Like, Im the man!
Why would this be happening?
Ive grown up in a landwhy are you acting like that?
Im going to take my clothing off, whats the problem?
Which is just such a funnier way of looking at it and talking about it.
Why wouldnt I fight?
So anyway, we had fun with that part of it.
Could you talk about the changes from 2004?
Shes just immortal, she went into hiding all this time.
I didnt want to do her origin story in modern times.
So it was like it was depending on which way it could be done.
If it was about making it a modern movie.
But she kind of is associated [with that era].
We know about Thor too, but I didnt want to start with that story now.
When did you start focusing on a World War I backdrop for the story?
That was a decision that I actually stepped into.
She ends up being able to question, Well, whats going on here?
Why are you firing that gun?
Arent you on the good side?
So the complicated nature of that was really fascinating, of her observation.
He is actually very difficult, but also very easy in a way.
So he hasnt changed not at all since Ive ever be interested [in this movie].
I didnt want him to be a damsel in distress.
And I wanted to live up to that emotionally myself.
But they could also help you when you need help or love you or support you or whatever.
You would never do that to Superman, you would never do that to Lois Lane.
Like if we would ever have this, Well, she cant need his help.
Im like, so if Superman was like, Fuck you Lois, man!
How satisfying would that be to anybody?
They have to need each other.
It has to be a love story; everybody has to be stronger or more powerful.
Dont worry about her.
So I think Superman is a great parallel for her.
You wouldnt do it to Gwen Stacy, you wouldnt do it to anybody.
You mention Gwen Stacy, and youve obviously had history with Marvel and DC.
What do you think is the most striking difference between the two universes in your experience?
And I dont thinkSuicide Squadwas particularly un-light.
Theyre all over the place.
Could you talk about the pressure?
Could you talk about what that experience has been like for you and fitting into a wider universe?
Its funny, there are two different realities going on.
Like its my lifes dream to make a great film.
To make a masterpiece in my lifetime would be my lifes dream.
Youre like, This could be it!
Its so hard to make a film.
This could be it, and its not.
So on the one hand, almost nothing changed.
My relationship to this movie is still am I the right director?
Can I do it?
Can I make it great?
Oh my God, are we getting close?
Oh my God, dont let it get messed up!
I dont have an alt-agenda.
I believe in a great Wonder Woman origin story.
Like girding my son that somebody is going to say everything.
How was it working with Geoff Johns?
Geoff and I are really close.
And he and I were like, Ding!
I ended up being very SupermanmeetsCasablanca.
It came up a lot, andIndiana Jones.
It was those three films where I was like, Its a classic film.
We are making a classic film.
Go for it, dont hold back and be more interesting with shazang!
Just try for that pocket all the time.
Its like, Im in for that story, and thats a great Steve Trevor.
So that was sort of our way of doing it.
Can you talk about Etta Candys relationship with Diana since they have that close bond in the comics?
So its kind of the spirit of Etta Candy.
Is Wonder Womans [Hans Zimmer] theme going to show up?
Yeah, its going to show up, but its an interesting thing.
So it has its own journey.
I see the entire movie as the creation of both the character and the theme.
But its not the easiest thing to just throw all over the place.
So Im very curious what your influences were of what the action would be in this film.
There wasnt one particular thing, I think it was a lot of different things.
So this one was not difficult because Im doing it like I would any scene.
And you need what adds up to making it exciting is the shots of the story.
Someone is shooting and someone is running.
Youre always going to look for the greatest shot you’re free to find when youre standing there.
Oh, looking straight down, thats pretty cool and helps to tell the story.
How should we go about this to get the feeling that were looking for?
If your question is, Woah, warfare!
thats a different approach than whos going to win, whos going to win?!
You look at all different kinds of influences.
What was your inspiration for your Themyscira?
The same as Steve Trevor.
I want it to feel like what that should feel like now.
And Themyscira, so much of what classic Themyscira is, is selling exotic magic.
But a lot of it is dated, like the Roman columns.
Weve all been all over the world much more now.
Is it that hitting the same tone?
So what is taking that same classic thing but making it feel like what Themyscira should feel like?
So that was it.
