Entertainment

‘Hawkeye’ Creator Inspired by Hallmark’s Christmas Movie – The Hollywood Reporter

A decade ago, Hawk Eye lead writer Jonathan Igla spent many long days working Crazy men, where he started as a writer’s assistant. After work, you can find him alone in the writer’s room, reading writer Matt Fraction’s influential post on Hawk Eye while he waited for the car to come home.

When Igla read (and re-read) the manga, he found that Hawk Eye Running is a way to escape the stress of the day and to feel comfortable in the familiarity of the pages.

Now Igla is waiting for the November 24 premiere of Hawk Eye, a six-episode series on Disney+ starring Jeremy Renner as Clint Barton/Hawkeye and Hailee Steinfeld as aspiring superhero Kate Bishop. The series begins with Hawkeye learning how to be a family man after losing his wife and children for five years at the hands of Thanos. It also takes place in the days leading up to Christmas, giving Marvel Studios its first Christmas-themed story since Iron Man 3 (two thousand and thirteen).

While Igla draws a lot of lessons from Crazy men, the Christmas scene saw him draw inspiration from a surprising source: Hallmark’s Christmas movies.

“I can’t say they didn’t announce the show’s Christmas celebration, a little bit,” said Igla, who has watched a lot of movies, finding it enjoyable with her partner (and Hawk Eye Number 2), Elisa Climent. “The same way that those movies are comforting, I have read those comics over and over again. There’s something comforting and relaxing about it. To turn off the stress of the day and try to disconnect from work”.

After passing the above ranks crazy men, Igla has worked on half a dozen shows, including Netflix’s Bridgerton and Facebook Watch of Sorry about your loss. Hawk Eye was the first time he led a writer’s room and in a conversation with CHEAP, he spoke his philosophy about the story, wrote mock auditions and what he learned from Crazy men creator Matthew Weiner.

You started as a writer’s assistant on Crazy men, jot down all the notes in the room, as well as notes for creator Matthew Weiner. What did you take from that experience?

I did that in seasons four and five. In addition to working with a great team of writers, I have another advantage, because I can hear in my head, not only the voices of the characters played by the actors, but I can hear them in your head as done by Matt. It gave me more insight into what he was thinking. I tried to do it in [Hawkeye] room. I tried to show personality. I try to dub the dialogue in the characters’ voices so that the rest of the writers can hear what I’m hearing in my head.

I’m excited by the image of you working hard Crazy men and then get rid of the stress by reading Matt Fraction’s Hawk Eye comic. Why are you attracted to them?

The premise of the comic book, about a superhero on sabbatical, is exactly the superhero story I wanted to tell as a writer. I was drawn to it. I am drawn to small moments, small human moments and also art. I spend a lot of time justifiably praising Matt Fraction, but [artist] David Aja’s style in this comic and colors [from] Matt Hollingsworth, it’s different and graphically great.

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Hailee Steinfeld and Jeremy Renner in Hawk Eye
Chuck Zlotnick / Marvel Studios

Years ago, Marvel envisioned Hawk Eye like a movie. Do you see any general ideas they have for a feature? Or is it a clean slate?

It’s a pretty clean slate. The only starting point that I feel I have to pursue is what we’ve seen of Clint in the movies. And that will be the introduction to Kate Bishop. The pitch for the show is more fun, real, and conversational than all the pitches I’ve done before and I’m really looking forward to bringing it to me in pitches. I was able to go in and honestly say, “This is something I’m very excited about. This is what I want to see as a fan. This is what I want to do as a writer. ” So a lot of the time when you’re giving a presentation on a project, you’re trying to guess what they want. And because it’s behind the curtain, I said, ‘I’m not even going to try to guess what they want. I will just talk about what I want to do.”

Next, you assemble a writer’s room. Do you have any lessons to learn from? Crazy men like you broke the story?

I have learned a lot of concrete lessons from Crazy men. The way we shared stories Crazy men – we did not think clearly in the behavior. When I work on Height, we know how many ad breaks there have been, and we know roughly when they’ll arrive. It’s a pretty good web show that I’m very proud of, but it’s a web show so we knew we had to do things to get people’s attention and keep them watching. Above Crazy men, the mission is to completely ignore the possibility of commercial disruption. Matt has put them in the post. We’ve never used them as crutches in storytelling. We know that Disney+ will be ad-free. It’s the attitude of not using something like a stunt or an advertisement or a traditional structured piece as crutch. That’s definitely something I’ve tried to instill in all of our storytelling decisions.

You are credited in the script for episode one, but I assume you broke all the episodes with your team?

Marvel wanted to sketch everything out before we even started writing the script. We have put them in order and usually arrange them in a group. That’s what we did too Crazy men, which I like, because I want people to feel as involved as possible in each episode. I definitely enjoyed that when I was a screenwriter, to get the feeling that I was involved in every episode. Then we all started writing at the same time, to write the first drafts of the script.

With a Marvel movie, writing the script is basically never done. There is a writer who is writing production articles. How does that compare to the TV shows you’ve watched or watched? Hawk Eye? Are you constantly writing in production?

For a while, yes. They say editing is the final rewrite, it’s not my job, but in some ways the program is being rewritten until the cut is locked. The text continues to extend beyond the writer’s room. Not long after that, it was almost set. The details change and there are always manufacturing requirements as well as limitations and adjustments. Above Crazy men, I know there’s a famous line that Jon Hamm advertised in the first season of “The Wheel” [before Igla joined the staff]. The only time I saw an ad was John Slattery. It was during a rehearsal when Matt was directing so he enjoyed it. Crazy men on the other hand is like a theater production where it is quite locked.

Do you participate in casting? Alaqua Cox as Maya Lopez is an exploration for the show and is currently getting her own spin-off, Echo.

She was brilliant in the show. I’ve always said that TV writing is a team sport. At Marvel, because they’re a feature company, it’s like a relay race. I wrote the audition scenes, because they were so secretive. They don’t want any actual scenes of Maya (Cox) or Kazi (Fra Fee) to be read by anyone. I did a bunch of new, additional dummy scenes, it was a fun challenge to try to capture in a few pages everything that I knew they would need to see in the actors.

I’ve always been curious who wrote those fake faces.

Above Crazy men, we often disguise existing scenes. Sure, every unnamed male character in a scene, who anyone is against, everyone assumes is Don (Jon Hamm), which is not always the case.

When it comes to structure, there are key lessons you’ve learned from Crazy men that you have registered Hawk Eye?

Sometimes in TV, I think, “This moment would be perfect for mid-episode five,” but as we get to the middle of episode three, I realize this is where it needs to go. Above Crazy menMatt is very flexible. If the story is ready to get somewhere sooner than we want, he never wants to trip over water. He never wanted the show to feel like we were holding something back. In television, there’s an unpredictable part of how the story will play out when it’s running smoothly until you actually start episode four.

“Water trampled” is an interesting way of saying.

When the program repeats is when you get bored. When they are repeating the bet. When they are repeating the dynamics. When you do not feel that this is the development of the conflict between the characters. I am very aware of that on Hawk Eye, because I never want the show to get boring, and because we only have six episodes to fill. I think, there’s no reason we have to repeat something.

You have worked on Bridgerton, which Netflix says is the second most watched original series ever, by hours watched. Do you expect to see any of the insider views on Hawk Eye from Disney+?

I really didn’t expect to see it. I would say I couldn’t be more of a marketing machine than the ones of Disney and Marvel. I think they do such an excellent job. I love the trailer for the show. I love all the posters for the show. I think they did a great job not only in getting people excited about it but also in representing the show.

Hawk Eye opens with the dream of a child who wants to be a hero. What kind of child are you? Are you wandering around with a notebook, dreaming of becoming a television writer?

It would be a lot more romantic if I could pretend I had a notebook, but it’s a laptop. I wrote the script when I was 15 years old. I loved comics growing up and I’m not an artist. So at nine or ten, I said, “Wait a minute. There is more than one name on most of these. ‘Written by.’ ‘Art of.’ This is someone else’s job! I can do it.” I had a few very youthful questions, “Perhaps I could write a novel,” and lost my breath about a page in it, thinking this was too intense for me. with me of any age. Then, for the first time, I got to see a screenplay, “Maybe I can do it.”

***

This interview has been edited for length and clarity. Hawk Eye premieres November 24 on Disney+.

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