The filmmaker explains why the third act surprise fits into the ethos of the franchise.
movies] are always a kind of fanciful interaction between an aspect of history, science and miracles, and so my goal with the end of the picture was to have a big swing, which is a staple of these movies at the end,” Mangold says. “I wanted Indy to be confronted with something that would not only challenge his notions of belief, but also tempt him in a way. Life in the modern world had gotten disillusioning enough that the idea of actually living in history might be a temptation for him.
Well, neither. He welcomed me. He was part of the contingent that approached me about doing this, so I certainly wouldn’t have even thought of this as being a possibility if Steven and I hadn’t had a private engagement with each other about what was happening. And then I understood I had his blessing and his support. I was going to need it.
There was no eventually, meaning that Steven was involved as myself, Jez Butterworth and John-Henry Butterworth wrote. I would send pages to Steven, Harrison, Kathy Kennedy and George [Lucas], so I’d hear from everyone. I wrote an original treatment that shaped what the movie was going to be, involving the Antikythera, time and a character based on Wernher von Braun in the space program, and I presented that to Steven.
So, what was it like showing the movie to Steven for the first time? I probably showed it to Steven seven times, meaning that he was just really involved and engaged all the way through: before we mixed, after we mixed, when effects came in. He was a marvelous producer and mentor on the movie.brain trust introduce John Williams’ live performance at the L.A. premiere.
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