jobloffski
Posts: 1837
Joined: 30/9/2005
From: elsewhere
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As per usual I have a suggestion for how to do this. My level of ignorance of the source material will shine through, but it's all about telling a story, and the source material is always there for people to then go to if the film appeals(and still there for the people who want 18 rated stuff from this kind of film and are never gonna get it due to the cost of such movies).
Firstly, TDK demonstrated just how dark a 12 rated film can be made to feel, suggesting much darker things than ever made it to the screen (the Joker cutting opening one of his hoods and putting a bomb inside, for example).
Secondly, play the story as a tragedy. The main character encounters the symbiote , and in a kind of spin of Spidey learning to use his powers in Raimi's first movie, go with the exileration, fun and freedom the power affords him. But there is a subltly planted seed: the main character is gently becoming more and more sarcastic as the story progresses and when he realises there is another 'being' competing for conteol of him, he tries to fight it, loses and Venom goes on the rampage (adding tragedy and scares to the tone).
By now we're some way past the halfway mark of the film, and it has become a 'horror' toned movie and the audience while still being thrilled don't know just how far the gleeful venom is going to go.
Intoduce spidey, but viewed from Venom's perspective, a fast moving, tough as nails hindrance. Spidey is very much peripheral and shown from an opponents perspctive and therefore very very fast. Not so fast that we can't tell its spidey, but it's spidey, and definitely not Peter Parker in this film.
This (relatively minor) aspect of the running time of the film gets blown aside by the emergence of Carnage and (in time honoured fashion) spidey takes a terribly brutal battering, the shocking sight of which brings the main characters personality back from its dark place, as (perhaps) peter parker peeps through the characterisation in this film...exhaustedly and weakly, begging for help ("Eddie...Eddie....help me...
We don't ususally see this sort of thing, so the emotional note that persuades the human in venom to take on carnage can be devastating for the audience too, and the difficult sell of Venom as heroic is achieved by having a coherent character arc, from the innocent at the start, to the villain, to the semi-redeemed antihero by the end, because it is a lesser of two evils situation for the last quarter (or so of the film). And using spidey to facilitate the change in tone avoids the scriptwriters having to pull something out their arses (and avoiding the 'memory erasing adamantium bullets' type of bullshit from Wolverine, a plot device required because the film didn't go down the (more realistic route) of psychological amnesia resulting from Logan realising what he was, and what he had done and the mind protecting him from insanity by suppressing the memories he couldn't deal with).
If it works, then (and only then), for sequels posit the Venom of the Franchise as a defender of innocents, a heroic pose that may, at any time, be compromised by the re-emergence of the Venom character, so while the heroic side would triumph, there is the added dramatic impetus of never knowing what the main character will actually do, because he could conceivably 'lose it' at any time.
Anyway, blah, blah, blah, etc.
< Message edited by jobloffski -- 9/10/2009 1:23:07 PM >
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Yes, dreamers dream and doers do. But if dreamers DON'T dream, doers don't have anything TO do. Everything that is only here because people exist, only exists because someone thought of it., or in other words, dreamed it.
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