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IRON MAN 2

War Machine
Another addition that makes its first appearance in "Iron Man 2” is the highly anticipated emergence of the War Machine armor worn by Rhodey in the film.

"In this film, we knew that we wanted Rhodey to put on the Mark II, which would become the basis of the War Machine armor,” says Favreau. "The tension between Rhodey and Tony builds and finally Rhodey realizes that he is being too good of a friend and not serving the greater good of his country. Tony is being irresponsible and it's dangerous. Rhodey feels like somebody is going to get hurt and that's when he takes the Mark II away from Tony. That action gave us the opportunity to unveil the gun-riddled version of the Iron Man suit that is War Machine.”

"There are many different looks for all the characters in our comics over the years, and we take what we believe are the signature ones,” says Feige. "We developed a style for the suits in the first film and we wanted to continue that in this film. How bulky we could get, how many weapons we could fit on it, and still have it look like a guy could actually walk around in it were major challenges, but when you have Industrial Light & Magic and Legacy Effects bringing it all to life for us, it's a huge pleasure to watch it come together. There is a big difference between the silhouette of Iron Man and the silhouette of War Machine, and they needed to have their distinct characters. Even when the masks are closed, you want to feel the different characterizations and the differences between the two of them.”

"War Machine is built upon the base of the Mark II, but Rhodey and the military don't have Tony Stark adapting it, so it doesn't have Tony's engineering genius to make everything sleek and make missiles pop out,” adds executive producer D'Esposito. "They're not trying to look cool, they're trying to be effective, and Justin Hammer ends up outfitting it with some of the biggest guns you've ever seen – in classic War Machine comic book fashion. For War Machine, it's much less about the sleekness and cleverness of the design than it is about putting a giant gun on one shoulder, a missile pack on the other and big 50 calibers on the forearms and just having a go at it.”

"We pay off War Machine in this film in a big way, right out of the comic books,” concludes Favreau. "Rhodey's transition into the character of War Machine is one of the great moments in this film and the fan response to Don Cheadle has been amazing.”

With War Machine as well as all the other armors in "Iron Man 2,” the final product on screen starts with practical real elements that provide a creative canvas for the extremely talented visual effects technicians.

"It's always been very important to Jon and us that we don't just make everything CG,” says Feige. "There's always a joke on set about just ‘fixing it in post.' While you can fix a lot in post nowadays, one of the reasons we designed the Whiplash outfit the way we did was that we wanted to see Mickey Rourke physically in the suit. We have real race cars, real fire, real explosions and real choreographed fights.”

Feige continues: "It's gotten much easier to do entire sequences digitally and do them amazingly well – and we definitely have some in this film – but we always felt there's a way to mix and match practical and digital in a way that the audience doesn't quite know what's real and what's not. If it's executed well, they'll just give you the benefit of the doubt and think it's all real.”

"Shooting practical elements seems big and expensive, but it's actually less expensive than the type of digital work that would be required to create the scene entirely digitally,” adds Favreau. "Even the strongest proponents of CGI acknowledge that there is a lot to learn and be gained from incorporating pr

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