Which parts of Ant-Man are Peyton Reed’s, and which are down to Edgar Wright?
We’ve been taking a look…
This article contains major spoilers forAnt-Man.
One question remains, though how would Edgar Wrights version have been different to Peyton Reeds completed film?
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Just how massive were the post-Edgar WrightAnt-Manrewrites?
Did they rejig the entire story?
Its this kind of bent mentor/pupil story.
Peyton Reed came on board withAnt-Manwithout much time before production properly began.
It shouldnt come as a huge surprise, then, that the big casting decisions were already made.
Indeed, you may remember that Rudd and Douglas were already cast when Reed joined up.
Thats perfect casting to me'.
Conclusion:The big names were Wright, some more recent additions were Reed.
The visual world ofAnt-Mantreads a lot of entirely original ground for a Marvel movie.
When I came on, Shepherd Frankel became the production designer, Reed told us.
So, Shepherd and I worked really closely and designed.
He designed all the Pym Tech stuff, all that stuff.
Russell Carpenter, the cinematographer, I brought on to the movie.
Russell was someone Id wanted to work with for a long time, he added.
Ant-Manhas a memorable score that blends jazzy, heist-y motifs with a more classic superhero sound.
And I wanted a theme.
I wanted a recognisable superhero theme.
And Chris, I felt like, just knocked it out of the park.
Conclusion:Peyton Reed all the way on this one.
Christophe Beck wasnt involved until Reed came on board.
She teaches Scott to punch, helps with all the missions and pops up during the credits, too.
Apparently, some of this came from Adam McKay and Paul Rudds post-Wright-departure rewrites.
Corey Stolls Yellowjacket is a less fully-fleshed-out character.
Regardless, Stoll toldio9that his character was pushed and deepened by the post-Wright drafts.
Something opens up and shes in this whole other dimension.
Conclusion:Mark this one in the Peyton Reed column.
But it turns out that its an Avengers Facility now and Anthony Mackies Falcon is on guard duty today.
Then follows some in-flight fighting with some miniaturisation thrown in, too.
Most people would probably guess that this one wasnt Edgar Wrights idea, and theyd be right.
That blew my mind, and particularity with that specific character [Falcon], he added.
It wasnt like oh, lets put him up against this other guy.
It served a plot point; a purpose in our story.
Heres one that surprised this writer.
Remember those two scenes where Michael Penas Luis told hilariously elongated stories before getting to a fairly simple point?
They garner some of the biggest laughs in the film.
Well, heres what Peyton Reed toldUproxxabout them.
Conclusion:Peyton Reed all the way, with the actual lines written by Andrew Barrer and Gabriel Ferrari.
As you know,Ant-Manhas two credits stings.
The mid-credits scene sees Evangeline Lillys Hope van Dyne finally get offered a chance to suit up.
However, it was actually in the script from the start.
It was really always planned to be at the end of this movie, Peyton Reed told us.
And that was important, to have in the movie.
Conclusion:Edgar Wrights tenure by the sounds of it.
The idea certainly predates Reeds involvement.
The scene is from the Russo brothersCaptain America: Civil War, due out next year.
Reed told us how the scene came to be at the end of theAnt-Mancredits.
Conclusion:Reeds tenure, Feiges initial idea, Russo brothers scene.
Thanks toUproxx,io9,and Peyton Reed.
