There Was A Different Idea: An MCU Producer Quest

[X] [Banner] Hugh Dancy
[X] [Betty] Lena Headey
[X] [Rick] Charlies Day (write-in)
[X] [Sterns] Michael Fassbender
[X] [Ross] Tom Skerritt

Cillian Murphy *absolutely* can play a cold, detached, incredibly smart man - look at his performance in Sunshine. Still, I think Fassbender is a better fit for the role.
 
[X] [Banner] Glenn Howerton
[X] [Betty] Lena Headey
[X] [Rick] Lucas Till
[X] [Sterns] Michael Fassbender
[X] [Ross] Tom Skerritt
 
May I suggest Matt Miller cameo as one of the scientists present at the Gamma Bomb testing?
 
May I suggest Matt Miller cameo as one of the scientists present at the Gamma Bomb testing?
I mean you can but I think it would be more meaningful to have Stan Lee cameo there. The Matt Miller cameo isn't a bad idea but Stan Lee just inherently has way more weight and significance to any cameo he makes.
 
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What if both Matt Miller and Stan Lee cameo?
I mean they could but it just feels like diminishing impact at that point. We could technically have Miller, Lee and Letterier all cameo at this point if we wanted to but my question becomes why do that and diminish the impact of each individual cameo?

It's not necessarily bad or anything I'd just prefer to have Miller cameo when his name actually means something so it doesn't come off in universe as self indulgent (the producer inserting himself somewhat into the film). We could do it without much issue I just personally don't think I'd go for it but I also think I fall on the more conservative side of things like character inclusion/mention anyways so it's ultimately more a matter of personal preference for not having Miller cameo now then a strong objection to it's feasibility.
 
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First Take - Production and Post-Production: The Incredible Hulk (May 2008)
The Winning Vote said:
[X] [Banner] Hugh Dancy
[X] [Betty] Lena Headey
[X] [Rick] Garrett Hedlund
[X] [Sterns] Chris Eccleston
[X] [Ross] Tom Skerritt
Technical Aspect

Production Quality:
29
VFX: 67
Choreography: 74
Sound Design: 53
Editing: 90

Production was a mess from day one. You're thankful that Iron Man didn't have this kind of problem since all your time was nearly consumed with making sure that the entire thing just didn't collapse on itself, and even then it was a near thing. At least the VFX team had wizened up and made sure not to screw up the effects this time around; the results were...A bit above average. It was not going to be award worthy, but at least it was not that bright green monstrosity they showed 5 years ago.

You're pleasantly surprised that the action scenes went so smoothly what with all the chaos around. The sound effects...Yeah, you understood very well. So much of their equipment had to be brought, and then ordered back when it got damaged, then misplaced...Ugh, it only added more and more to the time spent. Though it did give more than enough time for the Editing to make sure all scenes filmed fit right where they belonged, so that's something at least.

Protagonist

Hugh Dancy Screen Presence:
96
Lena Headey Screen Presence: 85
Romance Chemistry: 57

Hugh Dancy surprised you the most. Of them all you feared he would be the one who'll need the longest to acclimate, yet he took to the role with aplomb. You don't know from where he managed to get that frustration and anger, and to emote them such a subtle way truly fits in with Bruce's inner struggle.

Lena Headey was not far behind. Though the script had her mostly in scenes with the Leader, she still managed to shine through. Her calm demeanor and experience in playing action-minded women helped her holding her own and making those scenes with the Leader feel all the more tense.

Unfortunately, it's very difficult to find any romantic chemistry. You know the comics tend to portray Bruce and Betty's love as a tragic affair, but their scenes together just don't have the spark that Robert and Jessica had. There is not any ill will, but it doesn't seem to be the Spark-Flying romance that all hoped for either.

Garrett Hedlund Screen Presence: 58

Garrett had to deal with presenting a troubled youth who now found someone who he could relate to and respect, and he mainly achieved it. However, it's his lack of experience that has hampered him in what he can achieve with that role. His performance is nothing to sneeze at though; he managed to bring some true sentiment in his interaction scenes with Hugh, but struggles a bit outside of them.

Protagonist Chemistry: 107

However that is mainly left behind when it comes to the interactions between the cast. The relationship between Rick and Bruce seems so natural that they very well may be adopted family at this point. This has translated to the real world with Garrett and Hugh becoming fast friends, same as Hugh and Lena who can be seen laughing and talking together while sharing tips with each other.

Antagonist

Christopher Eccleston Negotiations:
22
Christopher Eccleston Screen Presence: 98

One of the reasons the filming took so long was the sudden decision to have Christopher Eccleston take the role of the Leader. Aside from the time it took for his changes to make the Leader a more tragic kind of villain, while still remaining a suitable antagonist, there was also his previous filming responsibilities which he refused to dismiss or cancel, meaning he arrived when filming had been in progress for a while now.

Not that it mattered as he proved the reason why he was so in demand! He knocked it out of the park in single scenes, demonstrating a range and depth of emotion to the character not thought of before. His scene when he asks Bruce to join him has now a sub-test of loneliness and yearning for a friend that for a moment you wanted him to say yes. Even his final words to Bruce made him so more sympathetic.

Tom Skerritt Screen Presence: 74

You've known Tom Skerrit was talented, and he didn't disappoint here. he's suitably hardass, while also displaying a "Tough but fair" approach to his men, clearly showing the charisma that would make them follow him in what many would see as a mad quest, but also determined, focused, and obsessed to make him seem dangerous to cross.

Antagonist Chemistry: 59

It's just a shame both actors just can't seem to bring the cooperation needed to make their scenes together work. Here is conflict, but not the kind you'd hoped for between them. The scenes where the Leader and Hulk confront each other are acceptable, so at least there won't be that much problem making the audience satisfied.

It was...something alright. It had taken you longer than usual to have the movie ready and even then you were cutting it close. You don't think you'll be able to change or remake anything with so little time left to you.

This, of course, is when you get the notice from Ike.

PRODUCTION PROBLEM TRIGGERED

Having tested the footage they have found that audiences have responded positively to the character of Rick Jones and his interaction with Bruce. As such they want you to reshoot their goodbye scene and make it so that he travels with him so that he may appear in the next movie. For this they want to cut the final goodbye scene between Bruce and Betty so that there is more time.

[] [Rick Scene] Agree to reshoot the scene; you will make the necessary changes.
[] [Rick Scene] Don't change anything; Bring your discussion to the Creative Committee (Hard Negotiation Roll)

There is also the problem with the Final cut-scene. While not something that the Committee is completely against, Ike personally does not think that foreshadowing She-Hulk is going to aid in any way the future movies of the Hulk. He wants you to redo the Post-Credit Scene with something else that may promote a future movie.

[] [Post-Credit Scene] Disagree and do it anyway (Ike will remember this)
[] [Post-Credit Scene] Agree to changing the Post-Credit Scene.
-[] [Post-Credit Scene] Write In:

You also a Mid-Credit Scene yet to do. What do you want to Foreshadow/Try to influence for the future?

[] [Mid-Credit Scene] Write In:

(You have 3 rerolls)
[ ] [Reshoot] Reshoot to improve a roll.
-[ ] Reroll what result? (Write-in)
[ ] [Reshoot] Intense Focus on a single roll (+10).
-[ ] Where should you focus? (Write-in)

[ ] [Scene] Add or change a story element in the movie.
-[ ] Add or change what?


[ ] [Reshoot] Delay the movie 1 Month to reshoot (Hard Negotiation Roll) (Gain 3 Re-Rolls on Success)
-[ ] Reroll what result and how many? (Write-in)
-[ ] Intense Focus on a single roll (+10).
-[ ] Add or change what? (Write-in)

[ ] [Reshoot] No reshoot. Greenlight to release.
 
What is it with the hero's friends being mediocre on their own but being fantastic when drinking milkshakes together?
 
[] Plan: Future Wasp and Wonder
-[] [Rick Scene] Agree to reshoot the scene; you will make the necessary changes.
-[] [Post-Credit Scene] Agree to changing the Post-Credit Scene.
--[] [Post-Credit Scene] Write In: ??? (Something Ant-Man and Wasp related?)
-[] [Mid-Credit Scene] Write In: A man is seen watching a tv in an incredibly messy office: business papers and boxes everywhere. On the screen is Tony announcing his entrance into various industries and intent to change his company and himself for the better. The man sarcastically utters one word: "Wonderful." On the desk is a plate engraved with the name "S. Williams"
-[] [Reshoot] No reshoot. Greenlight to release.

I think teasing She-Hulk right now isn't worth pissing off Ike. We still need him to greenlight a potential Ant-Man & Wasp movie.

I think our rolls are solid enough that we shouldn't try to negotiate a re-roll. Doing this could force delays that could impact our box office returns and affect future negotiations. Let's save/bank our goodwill for Wasp?

I'm willing to change the Rick scene vote.
 
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I think we can agree to change the post-credit scene; I think agreeing to reshoot the Rick scene is a joke, we've already litigated against it in thread, and it puts pretty heavy restrictions on future Hulk movies to include him.

On the other hand, I think we can tease Abomination/the Blonskys in the stinger, being assigned to hunt the Hulk down. It'd be a boon to the comic fans and a sequel hook that ties into my Fear the Hulk pitch, or into any other Hulk pitch that wants to include A-bomb.
 
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For the Rick Scene, could we do something where they maintain some way to get in contact, but don't actually travel together? Leave room for Rick to come back later without requiring him to be in the next film from the start.
 
I really hate the dice sometimes. They love us at one roll and then laughs while making itself the bane of our existence. We love them for it and we hate them for it. It's a paradox (probably isn't. I'm just using words I hear randomly to try and sound smarter).

As much as it pains me, we can get rid of the Jennifer Walters tease and just go with a promotion for the next movie. But I think we need to try and at least bring more from Garret's performance. So reshoots it is for me.
 

Iron Man 2

Script:

We open with Hedeon Vanko rummaging through a junkyard picking up pieces of scrap metal and then tossing them into a sizeable pile of already collected scrap. He accidentally pokes his finger on a piece of metal scrap, causing him to drop it and yell out a curse in Russian. He then grabs a nearby cloth and wipes his finger, muttering about the scrap trying to kill him, before picking up the scrap again. The shot now pans upward, where we see a large billboard with Tony Stark's face looming over this particular part of the junkyard. All the while, we hear a radio broadcast reporting on Tony Stark, detailing his incredible path toward fame and fortune. We also hear an off-hand remark about the Stark Expo happening next week. Time passes and we can hear some noises such as metal being welded together, metal creaking, and such. We then abruptly cut off the radio broadcast, as an ominous sound begins to play. Suddenly, a repulsor blast from seemingly nowhere is shot at the billboard(aimed at the center of Tony's face), setting the billboard on fire. A few car alarms are set off, and we can hear a few people scream and dogs barking as we cut to the ominous, bulky, crimson armor suit responsible for the blast. Its palm is outstretched, and we can see Vanko in an Iron Man-type pose. We then cut to the opening title of the movie.

We now shift over to Tony, three to four months later, partying at one of his many mansions and becoming a little tipsy. After he revealed himself as Iron Man, he's become even more wealthy and famous and is enjoying a hedonistic lifestyle to its fullest. His life now is established as being mostly good now though there will be hints that his vices will grow more excessive and come back to bite him. Examples of these include Happy advising Stark not to sleep with "every sultry broad that winks at you" and Pepper telling him not to drink too much, or at least to do so while he's attending important events and business meetings. We see Tony flirt with many of the ladies at the party, with one blushing woman telling Tony that good looks run in the family then pointing at a picture of Tony's father. The photo will show Howard standing next to a friend of his(Anton Vanko). As the party goes on, though, a man in a bulky, crimson armor suit(Vanko) bursts through one of the walls, yelling for Stark to "come out and fight him one-on-one, and not cower as better men protect him." Rhodey, who'd been dragged along to the party by Tony, pulls out his pistol and yells for everyone to run and take cover, telling some nearby bodyguards to fire at Vanko. He then starts shooting at Vanko as well, hoping to stall for time so that Tony can get his suit on.

Tony pushes Pepper out of harm's way before quickly ducking behind cover himself. He then tells Happy to throw him his suitcase, which contains his Iron Man armor.

Tony Stark: (Some debris flies over Tony's head) "Crap! Happy, where's -"

Happy: "Your suitcase?!" (He holds up Stark's suitcase.) "Catch!" (He then chucks the suitcase toward Tony, who just barely catches it.)

Tony Stark: (Starts to awkwardly unlock the suitcase.) "This is why I'll never leave home without you."

He then suits up, debuting a new and improved Iron Man Suit, and heads off to face Vanko. Meanwhile, most of the bodyguards have been soundly defeated by Vanko, with Rhodey being thrown into a wall. As Vanko is about to finish Rhodey off, pulling back his fist, he's knocked back by a repulsor blast from Tony, initiating a fight between the two. Though Vanko's Suit is bulkier and outclasses Tony's arrow when it comes to a melee fight, Stark's superior tech and repulsors help him fend off Vanko, blasting off some of the exterior platings of the crimson armor. Vanko, cursing Tony, flees from the mansion using jets attached to the armor's legs, and Tony initially chases after him. He stops mid-flight, however, when he notices that, due to having fought while mildly under the influence of alcohol, he caused too much collateral damage while fighting Vanko and has unnecessarily endangered people's lives at the mansion. So, instead of continuing to pursue Vanko, he instead flies back to save the people back at the mansion. One of the people he saves is the charming and beautiful Whitney Frost who thanks Tony for rescuing her. Tony, still under the influence of alcohol and not thinking straight, flirts with her and then sleeps with her on the same night.

The attack on Stark makes international news, with the media dubbing the attacker the Crimson Dynamo. We see Stark lying on a couch, scrolling through various news channels, sarcastically commenting that he can't figure out why the media chose the name "Crimson Dynamo." We then cut to a livid Pepper stomping toward Tony, concerned anger plastered on her face. She snatches the remote from Tony and turns off the TV, then starts berating Tony about his excessive drinking and partying for the past few months. She angrily tells Tony that had he been even tipsier the night of the attack, he might have caused even worst collateral damage than he initially did, as well as probably hurting an innocent civilian or two. "For goodness' sake Tony, you might not have been able to save poor Rhodey," Pepper yells at the end of her tirade, desperate for him to listen. Tony lazily brushes Pepper's words off, saying that it wouldn't have happened, infuriating her even more and exasperating Happy and Rhodey, who had been discreetly watching Pepper and Tony's conversation. Rhodey will have small scars on his face as well as a cast on his left arm since he had been injured fighting Vanko. As the day goes on, Happy, Pepper, and Rhodey each try separately to bring Tony back to his senses, with him curtly refusing each time. Rhodey gets frustrated at Tony's refusal to change, telling him; "Stop making excuses, Tony! I know that you can be better than this crap you pull, so how come you can't think that as well?!"

In the afternoon, Tony walks into his workshop to do some tinkering, telling JARVIS that no one is to disturb him until he leaves the workshop. He walks around the room for a while, opening boxes and cabinets, and we hear him mutter about misplacing his current Arc Reactor's blueprints. He then slides his hand across the wall, stopping when he finds a groove. He then opens a hidden number pad signified by the groove and, after pressing in a password, opens a secret room connected to the workshop. As he enters the room, he stops and stares at a computer reading about the concerning amount of radiation coming from his Arc Reactor's palladium core. We now learn that Stark is slowly dying due to the palladium core poisoning him and that he can't find a suitable substitute for it. Having discovered this two months ago, Tony's grown increasingly despondent over his inability to find a solution, lamenting about how the world isn't advanced enough to cure him and likely won't be for years to come. It's revealed that he's accepted his impending death at this point, and is planning on preparing his associates, and basically the world, for his death. After asking JARVIS to go over the list of things to prepare, we find out that one of Tony's preparations is an armored suit intended for Rhodey to use. Tony pulls out a bottle of whiskey and drinks from it, then starts to rant to JARVIS about how his choice to die from vice over-indulgence just like his father did, who died due to driving drunk. He then dismisses what he just said, saying that he's different from his father in that his father died selfishly while he's going to die in a way that will leave the world better than when he left it. JARVIS isn't convinced though and begins to poke holes in Tony's rant, asking Tony if he's helping people by getting drunk and causing damage that could be otherwise avoided. Tony vehemently attempts to argue with JARVIS but begins to slowly falter in enthusiasm when he is unable to answer most of Jarvis's arguments. JARVIS tells Tony, "Perhaps, Master Stark, before wanting other people to change, you should be the change you want to see." JARVIS then says, "Should you need my presence, Master Stark, I will always be here for you. I will leave you in peace, for now." JARVIS leaves, and Tony is left to reflect on JARVIS's words.

We now cut to Vanko angrily repairing his armor in an abandoned warehouse, hiding from the authorities. He mutters something in Russian as he's welding some of his armor back together. Finishing this, he flips his welding mask upward, showing his face to the audience for the first time in the movie. As he reaches for another piece of scrap metal, a sudden and jarring unlocking noise clicks. We then pan to the warehouse doors slowly opening, and a group of intimidating men in suits walking into the warehouse, guns raised and pointing toward Vanko. He instinctively reaches for a nearby pistol, but before he can grab it, a female voice calls for the suited men to stand down, stating that "it is improper to treat a guest in such a bellicose manner." The men hesitantly lower their guns split into two parts, through which the masked woman(Madam Masque/Whitney Frost) walks through. She introduces herself to Vanko as Madam Masque and explains that the warehouse he's in was recently bought by the Maggia, whom she works for. She then attempts to negotiate with Vanko about a possible alliance between him and the Maggia, with her telling Vanko what the Maggia is and that they're interested in someone who can eliminate Tony Stark. Vanko is initially interested in Frost's offer, but when he learns that the Maggia is an organized crime syndicate, he scoffs and sneeringly states that his campaign for justice would not be dirtied through collaboration with mobsters. He then curtly says he won't accept any offer from the Maggia. After a few tense minutes of attempted negotiation by Frost, she eventually offers Vanko a way to improve his suit and take his dues from Stark, stating that through this deal he'll be able to help others who suffered due to a Stark's actions. The comment cause Vanko to pause in deep, hesitant thought. After a few seconds, he slowly turns around and walks toward Frost. He hesitantly reaches out and shakes her outstretched hand, reluctantly accepting her offer. Frost thanks him for his consideration and hands him an address to a Maggia safe house. Nodding at Frost, Vanko packs his armor and leaves the warehouse. Some of Frost's men start to follow Vanko, but she orders them to stop, telling them it would be unnecessary.

We jump forward a week to the reopening ceremony of Stark Expo in Flushing Meadows Park, with "The Show Must Go On" by Queen blasting through loudspeakers and the stage and sky lighten up with various colored lights. Then, to a wildly cheering crowd, the curtains roll back and the lights focus onto Tony Stark as he jumps forward and does a dance number. This goes on for two minutes as he continues down the walkway, with Pepper watching him from behind the curtains. In the middle of the dance, the scene cuts to Happy and Rhodey in a security room monitoring the event, not wanting a repeat of the Crimson Dynamo incident. Rhodey makes an off-handed joke about "how his job would be so much easier if he had a frickin Iron Man suit as well." Cutting back to Tony, he continues dancing until he reaches the end of the walkway, pointing finger guns at the crowd and shouting; "Welcome back the Stark Expo!" Approaching the podium, Tony begins a passionate speech about how his father Howard Stark had started the Expo back in 1942, and how it brought to the limelight many of the modern world's greatest and most well-known scientists. He also talks briefly of the many inventions that would not be possible had the Expo not existed. He states that these are the reasons why he has continued the Expo, to honor his father's legacy and to allow young and upcoming inventors a chance to make it big. He pauses for a brief moment, before beginning with a more serious tone that he has a big announcement to make. He announces that, due to the increased pressure and stress from having to be both Iron Man and CEO of Stark Industries, he will be stepping down as CEO of Stark Industries so that he can focus more on being Iron Man. He then follows this up by naming Pepper Potts as the new CEO of Stark Industries. He then bows to a shocked audience before walking back across the runway. As he's leaving, though, the bulky, imposing figure of the Crimson Dynamo slams onto where Tony was standing, crushing the podium instantly as well as the stage under it. Tony turns around and looks Crimson Dynamo up and down, an utterly unimpressed look present on his face.

Tony Stark: Look, I can appreciate a good dramatic entrance and all, but couldn't you have done it in a way that didn't steal my thunder?

Hedeon Vanko: (Sneers at Tony's words.) Just like a Stark to only think about who's in the spotlight!

Tony Stark: I was just leaving, Buster, you're the one that's making a big deal out of this.

Vanko then fires a repulsor blast at Stark, who dodges it and runs to the back of the stage while nearby security immediately engages Vanko. Panic fills the park as members of the crowd start stampeding away from the impending fight scene. Happy immediately orders all security forces to engage Vanko as he gets up to fight Vanko as well. Before leaving, he tells Rhodey to stay back and watch the cameras in case anything bad happens. Vanko easily crushes the security sent against him, backhanding one guard so hard that he flies into and causes a dent in a nearby streetlight. Vanko roars at Tony that's he's hiding behind better men again, only to receive a repulsor blast to the face. Stark, now in his Iron Man armor, initiates the fight on his terms. The fight initially goes well for Stark, with him being able to force Vanko back a bit. During the fight, however, he notices that the Crimson Dynamo armor has not only been fixed but fully upgraded with Stark Tech, including a fully operational Arc Reactor. Stark immediately questions Vanko on how the hell he got access to Stark Tech, to which Vanko roars back that it was "this suit was made by a Vanko and has the tech of a Vanko." Tony, not knowing who Vanko is, bluntly asks, "Who?" Vanko responds by punching Stark in the face and the fight shifts in favor of Vanko.

Meanwhile, Happy is trying to rally the security forces to aid Stark, but with all the panic and noise happening, he's barely heard by any of the other guards. Rhodey's watching all of this unfold in the security room, frustrated about how he can't do more. However, he notices through the monitors that some members of the security forces are pointing their guns at Stark and Happy. Realizing that the security has been compromised and that Vanko has some of the security on his payroll, Rhodey immediately radios Happy and warns him about the danger. Happy, having noticed something was amiss as well, orders the actual security to fire on the moles, but the moles simply return fire, and the park becomes a messy, confused war zone with people in identical uniforms shooting at each other. As this is taking place, Vanko is manhandling Stark in their fight, the fight culminating with Vanko knocking Stark's hand away just as he's about to fire a repulsor blast and head-butting him, dazing Stark long enough for Vanko to fire an even bigger repulsor blast, knocking Tony back through the walkway, shredding it up as he crashes through it. Meanwhile, Happy has taken cover as the battle rages. Popping out of cover, he guns down three of the moles and is about to take down a fourth when he's downed by a shot to the shoulder. The shooter is a mysterious female mole up in a tree, wearing some sort of riot mask to obscure her face. After shooting Happy, she eliminates some more Stark security guards, before pausing to scan the battlefield. Realizing her side is ultimately going to lose, she cuts her losses and flees the scene.

We then cut back to Tony with his armor a mangled mess and his mask popped off of his helmet. Vanko approaches the now defenseless Stark, looming over Tony and his destroyed armor. He launches into a monologue about how men like Stark and his father are nothing but parasites leeching credit and wealth away from those who truly deserve it. How they lure people to serve them with empty promises, always with a knife at the ready to backstage them. Tony dismisses Vanko, saying Vanko wouldn't know who Tony's father was. Vanko stops rambling suddenly and turns to Stark, a dangerous look present in his eyes. He then says to Tony; "Oh, I do." We suddenly cut to a short flashback of Vanko as a child pressing his ear against a door. We then pass through the wall, revealing that he is eavesdropping on a conversation between his father Anton and Howard Stark. Vanko stops speaking multiple times as he struggles to maintain his composure.

Hedeon Vanko: The day Howard Stark convinced my father to defect and leave the Soviet Union for Stark Industries, I was listening through the door. I heard every word as your father regaled him with fantasies of infinite money and prestige, spouting off about the 'American Dream.' He promised the world to my father.

My father agreed, eager for the wealth and fame… but more so for a better life for me. He only saw all those riches as a means to the end, a way for me to achieve the childhood that he never had. So, he toiled day and night in a constrictive office, working endlessly on various projects and machines, returning home in the dead of night. All so that I could live a good life, free from the horrors he experienced.

And what did your father, the man who convinced him to abandon everything he ever knew, do to his friend? A man who was nothing but loyal and honest and trusting? Your father stabbed my father in the back, but not before wringing every last bit of profit out of him, oh no that would be too kind for the great Howard Stark! He stole my father's ideas, the inventions my father toiled day and night to create, were taken and rebranded as Howard's own. He kept the world from ever seeing the ingenious Anton Vanko, ensuring my father's brilliance never saw the light of day!

So when I saw you and your Iron Man suit, I saw my father's suit of armor. His Crimson Dynamo rebranded and sold as something new. I saw yet another Stark take what was my father's and pass it off as their own. And that, that was the final straw that broke the camel's back. All the wealth and glory that the Starks took from my father, all the credit and respect he had been denied, I would take back. With Vanko ingenuity, I will reclaim what my family is owed. A better man than you shall prevail!

A flashback plays alongside the last paragraph of the monologue:

Hedeon is sat in a bar drinking with some associates when he turns to the TV. He watches on the newscast Tony Stark proclaiming, "I am Iron Man." His body starts to quiver in anger, and his hand is shaking, spilling some of the beer out of the mug he was holding. He fumes silently that a Stark is once again stealing one of his father's ideas, not realizing that Tony doesn't know about Anton's blueprints or that Anton had even worked at Stark Industries. He slams his mug onto the bar countertop, gets up from his seat, and walks out of the bar.

Vanko finishes his monologue, tears dripping down his face, with the shot refocusing on a shocked Stark. He then rears his fist back, ready to smash Tony's face in. As he's about to drop the fist, we hear Pepper yell at Vanko off-screen. Vanko then turns to Pepper, who's standing right above Tony on the stage, and tells her to leave, stating that this isn't her fight. Pepper, undeterred, questions Vanko about the security moles and how he's only done sneak attacks, saying that if he really was a better man, he would have fought Tony one-on-one. Vanko, unprepared for Pepper's tirade, just stands and stares at her in contemplative thought. A grin then appears on Vanko's face. He starts laughing a little bit and then claps, complimenting Pepper about her guts to challenge him like that. He then turns to Tony, and coolly says; "The woman will be granted her wish." He tells Stark that he has one month to prepare, and then, they will face each other one-on-one, alone. To make sure Stark arrives alone, he grabs Pepper and holds her hostage, with Tony screaming bloody murder at him for even touching Pepper. Vanko then rockets off into the night sky, carrying Pepper off with him to the unknown. A sobbing Tony is left lying in the rubble as paramedics rush over to aid him and Happy, with him only able to yell out, "Pepper!! PEPPER!!!"

Following the Stark Expo disaster, we find Tony lying on the floor in his workshop fully indulging his drinking vice. Alcohol bottles, both empty and full, surround him. Tony is wracked with guilt since he believes that his actions have led to Rhodey being injured, Pepper getting kidnapped, and Happy getting shot. As a result, he loathes who he is and has become completely apathetic of everyone and everything. He's also contemplating Vanko's speech to him and how Tony's father had screwed over Vanko's father, wondering if he really is as bad as his father for having put his friends in harm's way. It's in this miserable state that a mildly shocked Agent Coulson discovers Tony. Startled by Coulson's sudden appearance, Tony spits out his drink a little and asks Coulson; "How the hell did you get in?" Before Coulson can answer, JARVIS interrupts and states that he was the one who let Coulson in. Stark isn't happy with JARVIS, sarcastically commenting that he needs to program JARVIS to be less autonomous, but is willing to let Coulson talk and state about why he's here since he's already inside the workshop. After patiently waiting for Jarvis and Tony to finish their conversation, Coulson begins to diplomatically berate Tony for his excessive drinking and for letting Vanko's words get to his head. He states that no matter how much alcohol Tony drinks, it won't help with bringing back Pepper or defeating Vanko. Tony pushes himself up drunkenly and, out of frustration, interjects and coldly reveals to Coulson that he's dying and that nothing will save him. Coulson, undeterred, tells Tony that his defeatist attitude is holding him back as well as his drunkenness. Coulson then goes on about how Tony has is actively causing the damage he seeks to prevent through his defeatism and excessive drinking, and that this cycle of pain will continue unless Tony shapes up and becomes the best man he can be. He follows this up by bluntly saying that Tony isn't like his father. He tells him that despite his many flaws, Tony has the ability to be a better man even if he can't necessarily be a perfect one. Tony just stares at Coulson, taking in every word he says and contemplating them. Before full of anger, self-loathing, and depression, his face slowly morphs into one of determined hope, and he nods in agreement with Coulson.

Tony then asks Coulson why he's really here. Coulson points behind himself to a pile of boxes with SHIELD logos emblazoned on them. Coulson tells Tony that Director Fury sent him to deliver a plethora of schematics, blueprints, and old tech that Howard Stark had left with SHIELD. "Director Fury hopes that you'll be able to improve the Iron Man suit with all this stuff and defeat Crimson Dynamo," Coulson states. He also remarks that perhaps Tony could even find his cure there. Tony starts rifling through the boxes and becomes engrossed with their contents. Coulson excuses himself, saying he has a call from the Director. Tony excuses him and Coulson leaves, though not before he says a quick "Thank you." to JARVIS.

We now jump to Vanko and Pepper in a secret Maggia laboratory. Pepper is being kept in a cell room and is under constant surveillance, while Vanko is there to assist in building the Iron Man suits. Vanko approaches Pepper's cell with a bowl of soup and slides it under a slot in the door. He tells Pepper to eat so that she can keep her strength up. Pepper, justifiably suspicious, says that she doesn't want to eat poison. Vanko chucklingly says that though he's many bad things, a poisoner isn't one of them. Pepper tentatively takes the bowl and tells Vanko that he's being oddly courteous to a hostage. Vanko says that, practically, he needs her alive to make sure Stark shows up to fight him. However, he tells her that he's also being nice because he has some honor left in him and that admires her guts to challenge him to his face, though he laments that her bravery is wasted on an arrogant Stark. Pepper asks him to elaborate, and as they continue to make small talk, she gets Vanko to open up about himself. Eventually, the conversation shifts to the topic of Vanko's father. Pepper asks him if he believes he's the same as his father, but Vanko suddenly snaps at her, telling her with a strained voice that he doesn't appreciate the sick joke and that he knows he isn't half as good as his father. Some flashbacks begin to show of Vanko out eating with his obviously tired father. The elder Vanko yawns, which Hedeon notices and asks if he's slept well. Anton replies that he's just a little sleepy, that's all. He then asks Hedeon if he wants his favorite again, to which Hedeon eagerly says yes. The two start talking again about everyday life, and the scene slowly fades back to Pepper who, with a sympathetic tone, quietly responds that perhaps that means Tony isn't half as bad as his father. Vanko is once again left in contemplative shock at Pepper's words.

The moment is interrupted when a loudspeaker announces that Madame Masque wants Vanko to meet with her. Vanko excuses himself before he walks down the corridor. Madame Masque is waiting in the main lab and greets Vanko, before questioning him about the progress of the operation. Vanko replies that things are going slowly but smoothly, stating that two more suits of armor and four arc reactors will be finished by next week. The shot then pans out and we see engineers working on an Iron Man suit, multiple finished Iron Man suits, as well as some Arc Reactors. Frost and Vanko continue their conversation as they walk around the lab, talking about much-needed funds and resources, possible flaws in the armor's designs, and possible customers for the suits and reactors, though it's evident in Vanko's tone that he's uncomfortable about the last point. Vanko mentions that it isn't safe for the Arc Reactors to all be stored in one place, and Frost replies she can arrange for some of them to be shipped to other safe houses. As they finish their conversation, Frost asks if Vanko added the new component she wanted into the Arc Reactors, with Vanko replying that he indeed has, although he doesn't understand why she asked for it to be implemented. Frost dismisses the question, saying that he'll understand in due time. She then places a hand on Vanko and tells him that she has other matters to attend to, saying that he should keep up the good work. As Madame Masque leaves the compound, Vanko turns to watch her leave, his face showing clear doubt.

We cut to Tony back in the workshop, rummaging through his father's old things. He mutters about how the people packing the boxes could have been more organized, before finding a file with details about a secret element that Howard had been experimenting with before his sudden death, as well as a detailed atomic structure of the element. Much of the work in the folder, however, seems to have been done by Anton Vanko, which Tony notices. Tony flips through the file, his face slowly lighting up with joy as he starts flipping through the folder faster, before shouting out in joy that he's found a cure. With JARVIS's help, he synthesizes the element and inserts it into his Arc Reactor, curing him of the radiation and ending his palladium dependency. He then proclaims that if he ever reveals the new element to the public, he'll call it Vankonium, in honor of Anton Vanko.

JARVIS: (In a deadpan tone.) And you complain that others are bad at naming things.

Now that he's cured himself, though, he still needs to find a way how to defeat the Crimson Dynamo. Tony knows that simply upgrading his armor wouldn't do the trick and is frustrated that he's back to square one in terms of fighting Vanko. He decides to watch some old camera recordings of his father and see if there's anything worthwhile in there. As he continues to watch the recordings, he starts to notice a common theme in them. In every single recording, Howard Stark is dismissive of working with other people and companies, always wishing to be the sole hero of the story. Tony, after realizing this, resolves that he won't be like his father. That he won't be a lone man standing against the tide and not drown any weakness he had through drinking and partying. He then remembers his plan of building an Iron Man suit for Rhodey and decides that this will be how he defeats Vanko, by allowing others to help him. He'll fight with brains and not brawn, and remarks; "Because that's what a Stark does best." Tony contacts Rhodey and simply asks him how he feels about an Iron Man suit of his own. Rhodey simply responds; "Oh, hell yeah."

One month later, Tony is seen in his workshop, polishing one of his old Iron Man suits. He's making small talk with JARVIS when Happy runs into the workshop and tells Tony that the Crimson Dynamo is broadcasting. Tony tells JARVIS to pull up the broadcast immediately. JARVIS pulls up a screen with Crimson Dynamo in the center. Vanko announces that the one-month deadline is up and that the time for Stark to fight him is now. He announces the address of the Maggia safe house and states that if anyone other than Tony shows up Pepper Potts will be executed. He closes off with this sentence; "I hope you've prepared yourself, Stark." Tony tells Jarvis to contact Rhodey before suiting up and flying off to the safe house. He approaches the front of the safe house, an old, abandoned warehouse on a mountain overlooking Aspen, Colorado, and finds the front doors locked. He then steps back and blasts the doors open with a repulsor blast. He then enters the large, spacious ground floor room of the warehouse where Vanko and Pepper are waiting for him. He approaches Vanko, telling him that he got the duel invitation and just had to accept. Tony then politely asks Vanko to release Pepper, warning him about what will happen if Pepper was mistreated. Vanko obliges, making way for Pepper to leave, who immediately runs to Stark and hugs him. Pepper tells him to not die or do anything stupid, with Stark jokingly replying that doing stupid stuff is what heroes usually do. She jokingly reprimands Tony for saying that before pecking him on the lips and running out of the warehouse.

Hedeon Vanko: (Watching Pepper run off into the distance.) She's an astounding woman, isn't she?

Tony Stark: (Smiling as he watches Pepper run.) You don't know half of it.

With Vanko and Stark now alone in the safe house, Stark pleads with Vanko to not let the sins of the fathers direct the actions of the sons, begging that they not fight each other. Vanko is clearly conflicted about all this, but he takes in a deep breath, recomposes himself, and tells Stark that they have to fight. That he's done too much, spilled too much blood, to simply back down now. Stark says that it's a shame, with Vanko telling him that he knows. They then begin to fight, with Iron Man taking the advantage in the beginning. Vanko and Stark use different fighting styles and tactics as they fight, with Vanko using his big size and brute force to smash and destroy everything in his path, while Stark uses superior tech and his smaller size to weave and dodge Vanko's attacks with occasional potshot. As the fight progresses, though, Vanko begins to gain the advantage. We see him headbutt Stark and wind his fist back for a punch. Just as Vanko swings his fist, though, he's knocked back by two repulsor blasts, leaving Stark unharmed. Stark quickly turns his head to see two smoldering holes in the wall to his right. The shot closes in on the holes before the wall seemingly explodes as a figure crashes through the wall. We cut to the armored figure's fist pound onto the floor, with a slow pan upward revealing Rhodey in the War Machine suit. Tony tells Rhodey that he took his time, with Rhodey joking back that Tony made the suit a bit tight. Vanko gets up and tells Stark that he's cheating and hiding behind better men. Tony fires back that he's taking Vanko's advice and being a better man than his father was. Rhodey and Stark then subsequently tag team Vanko, who initially puts up a good fight. Eventually, though, Rhodey and Tony manage to overpower and defeat Vanko, with Rhodey ripping out the Crimson Dynamo's exposed Arc Reactor.

Before they leave the safe house, though, Tony and Rhodey decide to head deeper into it and take down whoever provided Vanko with the Stark Tech. They drag Vanko along to act as a guide. As Rhodey, Stark, and Vanko make their way through the secret lab's hallways, the first two fight off two groups of Maggia thugs sent to stall them. Vanko guides them through the labyrinth-like hallways to the main lab, where Frost and some of her men are waiting. Frost, upon noticing the three, orders her subordinates to deal with Rhodey, Stark, and Vanko, before running off into another hallway. Rhodey and Stark engage the Maggia goons and defeat them with relative ease. Tony remarks that he expected more of a fight from Madame Masque. The three then begin to chase after Frost, who's pulling every dirty trick she knows to stall them. She shoots out the lights to confuse them and get them lost in the maze of hallways, closes reinforced doors on them, sending even more goons to shoot at the trio, and even shoots down an entire ceiling onto them. During the chase, a few stray shots from the Maggia thugs seemingly graze Vanko. Frost then makes it a room with a whole bunch of screens, computers, and a huge control board in the center. She closes the door behind her and locks it, blocking it with furniture to further secure it. She then approaches the control board and starts messing with a program on the computer. After she's finished, she begins to shoot the control board and computers to make them inoperable. When she's almost done, a repulsor blast blows the door and furniture away and Stark rushes in. He then fires a repulsor blast off at Madame Masque and knocks her mask off, revealing her as Whitney Frost.

Whitney Frost: (Slowly turns around after her mask was knocked off, revealing her face.) Buongiorno, Mr. Stark.

Tony Stark: (Dolly shot towards Stark's surprised face, his eyes widening in recognition.) Clever girl.

James "Rhodey" Rhodes: (Runs into the room and immediately points his repulsers.) Hey! Back away from the controls right now, woman!

Whitney Frost: There is no rush, gentlemen. (She picks her mask up from the floor and slowly backs away from the controls.)

James "Rhodey" Rhodes: Don't even try anything, lady, we have you at a disadvantage.

Whitney Frost: (Slowly begins to smirk.) Oh, do you? Do you think I ran here just to push random buttons and shoot computer screens? No, I came here for a reason. I've set up some contingencies in case Vanko wasn't able to finish the job. (Points toward the control board.) Gentlemen, you were a few seconds too late to prevent me from rigging the Arc Reactors to overload themselves with energy and explode.

James "Rhodey" Rhodes: (Tilts his head a little in frustrated confusion.) Alright, and exactly how's that a problem for Tony and me? We have suits that fly and I sure don't give a damn if you and your goons get blown up.

Whitney Frost: (Smirk morphs into a full-blown Cheshire grin.) Did you forget that there's a city at the bottom of this mountain, Mister?

Tony Stark: (Tony's face slowly shifts as he realizes the dawning horror of what Frost did.) Oh, that's not good, not good at all.

James "Rhodey" Rhodes: (Turns toward Tony, tone turning serious.) What's the matter, Tony?

Tony Stark: Rhodey, if this whole place explodes with anything near it, oh God. If I'm correct, what's gonna happen with multiple arc reactors going off is that the explosion will cause an avalanche, an avalanche that will kill everyone currently in Aspen.

Whitney Frost: (Slows claps as Tony finishes.) There's that famous Stark genius at work, always figuring things out. I'm sure you now know that you have two decisions possible. You could continue to chase after me and fight men, but condemns thousands of innocents to certain death. (Points toward the controls again.) Or, you could choose to contain the explosion and save the civilians' lives at the cost of letting me escape. You have ample time for only one choice, gentlemen.

Stark and Rhodey immediately rush toward the controls, deciding to save the civilians. Frost tells the two "Arriverderci" and makes her escape, activating a smoke grenade for good measure. Stark and Rhodey try their best to contain the explosion, with Stark bringing JARVIS in to help, but it's made difficult because Frost has destroyed most of the control board and computers. To be able to contain the explosion, one of them needs to enter a room that could potentially fry them due to the ensuing energy. Vanko then staggers into the control room and watches Stark and Rhodey trying their best to save multiple innocent lives while the woman that he allied with and trusted left him for dead and would kill hundreds if not thousands of innocent people just to save her own skin. Vanko makes the decision then and there to put aside his vendetta against Stark and be a better man. He offers to go into the room and make the necessary repairs, but Stark and Rhodey protest, saying that he doesn't have to sacrifice himself. After Vanko insists, they reluctantly give him permission to do so. Vanko enters the room to make the necessary repairs, using his basic engineering knowledge and also being guided by Stark on the more complicated parts. With mere minutes left on the timers, Vanko successfully shuts down the. He then makes his way out of the room, having fortunately not fried himself while in the room.

A smiling Vanko approaches Stark, before suddenly collapsing to the ground. A panicked Stark rushes to Vanko and asks him what's wrong. He yells at Rhodey to get help before turning back to Vanko, trying to patch up his wounds. Vanko tells Stark that one of Frost's thugs had managed to mortally wound him earlier and that he can't be saved. Stark protests vehemently, insisting that he can save him, before being stopped by Vanko. Vanko admits to Tony that he's already accepted his death and that he wants to die having done the right thing, to make up for all the bad he's done. Vanko admits that he knows he'll never be as good as his father, but that he can at least try to be good. Just like how Stark isn't as bad as his father. Vanko then turns his face toward Stark and tells him that he'd misjudged him as a man. Vanko says that Stark has proved himself better than Hedeon and Howard because he's learned from his mistakes.

Hedeon Vanko: (Coughs twice, with a little blood spurting out of his mouth with each cough) St-stark… I…

Tony Stark: (Brings his face closer to Vanko's face so that he can hear him.) Yes? What is it?

Hedeon Vanko: (Cough.) I want y-you… to promise m-me… (Cough.) that my father w-will not be forgotten… Please, th-that's all I ask…

Tony Stark (Tearing up as he stares at Vanko, slowly nodding his head.) Y-yes…

Hedeon Vanko: Hedeon.

Tony Stark: Yes, Hedeon. (Begins to choke up.) I promise that the world will know who Anton Vanko is.

Hedeon Vanko: (Slowly smiles as he hears that, letting out a little chuckle.) G-good… good man…

Hedeon chuckles a little more before his face slowly freezes, his chest stops moving up and down. Tony tearfully says goodbye to Vanko, promising once again that the world will know who Anton Vanko is. Rhodey then bursts back into the room, yelling that the military's here now. He then notices Tony kneeling and sobbing silently over Vanko's dead body and, realizing what happened, slowly approaches him. He stops, sighs, and pats Tony's shoulder, telling Tony that he's had a long day and probably needs rest. Tony reluctantly agrees after being silent for a while, and Rhodey pulls him up. He then wraps his arm around Tony's back, and they leave the safe house together.

The movie ends with Tony and Rhodey being awarded the Medal of Freedom and the Medal of Honor respectively. At the award ceremony, Tony gives a speech about the world's nations needing to work together to solve their problems and not stand apart as bickering nations embroiled in petty feuds. He states that the world must stand together, lest it is broken separately. Because of this, Tony says, he's beginning the Anton Vanko Foundation, a non-profit organization dedicated to bringing peace to the world through charity. He states that the organization is named in honor of Anton Vanko, a Stark engineer who helped bring Stark Industries to where it was now but sadly never got any of the credit he deserved.

The ceremony finishes and people begin to leave. Pepper is among the crowd leaving, but she's stopped by Tony, who asks her if she would like to go for a walk with him. She answers that she would love to, and they go for a late-afternoon stroll in Central Park. They chat and make small talk as they walk until they reach a picturesque fountain, with streetlights beginning to illuminate the nearby area. They stop in front of the fountain, and Stark says that he's learned a thing or two about learning to depend on others. Pepper jokingly asks if he really did, and Tony replies in a serious tone; "Really." He then tells Pepper that he's philandered with other ladies and flirted with them, but now that he wants to become better than his father, those activities now seem hollow. Tony tells Pepper that even after all he's done, she's stuck with him through good times and bad times, that she's been there to help him even when he didn't acknowledge it. He then laughs out a short laugh and says; "Maybe that's why I've fallen in love with you." Tony then turns to a shocked Pepper and asks her if she wants to start a relationship, asking if he will be able to depend on her for the rest of his life and vice versa. Tearing up a little in joy, Pepper quietly says yes, before pulling Tony in for a long hug. They then chastely kiss each other on the lips, the shoot zooming out slowly as they do so. The scene then cuts to the end credits.

Cameos:
  • Stan Lee cameos as a general attending the award ceremony of Stark and Rhodey.
  • Matt Miller can be briefly seen in the Stark Expo crowd.
Written by me and heavily inspired by @King crimson's script, with Crimson serving as an advisor for me. If you have any thoughts on possible mid-credits scenes and/or post-credit scenes, @ me.
 
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So on the one hand this is more or less a good movie, the worst case scenario is averted. On the other hand we're getting a lot of shit from the creative committee and Ike already.

It sucks that almost everything needed for Guiding Bolt's pitch to work well as is (foreshadowing Jennifer Walters, having Rick not be in the movie any more) is a point that they want to fight us on. I like Guiding Bolt's pitch a lot so it sucks to potentially have to compromise the things I think would make it stronger as a sequel.

I don't think we need any reshoots as is so we can skip that part. I think reshooting the scene with Rick is bad and dumb and actively weakens the movie in every way that matters. I'm not in favor of further weakening the chemistry between Lena and Hugh and I'm not so enamored with Rick that I feel he needs to be included in the sequel. I say we fight the creative committee on this front especially since we already have ways to bring Rick back without needing to have them travel together.

That being said I think reshooting the end scene with Jennifer Walters is fine. It'll require some tweaking to Guiding Bolt's pitch to make Jennifer feel less out of nowhere than it otherwise would've but it's a much smaller deal than having to insert another character who would clash tonally with what it seems to be going for. I think the ideal post credits scene would be something like having Ross looking through a list of names of agents he can trust to bring in the Hulk and then coming across a file labelled "Blonsky" and saying something like "this'll do to bring down Banner" or something like that.

I do think we are better off burning our bridges with Ike later with Ant-Man and Wasp but I'm not a huge fan of including Wonder Man right now and I don't think we can get away with Ant-Man and Wasp in phase 1 all that well either. I don't hate the Wonder Man movie inclusion but I'd rather include Hawkeye to give a bit of perspective on SHIELD and something a little more mundane then all the crazy high concept sci-fi and fantasy stuff we're throwing around. I'd just like something a little more mundane for now and I don't feel Wonder Man as is adds anything particularly unique to the Avenger's roster (and every phase 1 movie ought to have its principle character appear in the Avengers).

As such my vote looks like this:
[ ] Plan Future-Proofing
-[] [Rick Scene] Don't change anything; Bring your discussion to the Creative Committee (Hard Negotiation Roll)
-[] [Mid-Credit Scene] Write In: Phil Coulson appears in the aftermath of the Hulk's rampage carting away the gamma animals to be placed under SHIELD's care. Coulson receives a call and he says everything is fine on his end but mentions that with all the crazy new things they need to keep track of nowadays, SHIELD's busier than ever and their old enemies might be coming out of the woodwork to try and take advantage of a changing world. Director Fury needs to keep a hawk's eye on the state of what's to come if they want to be ready for threats in the future
-[] [Post-Credit Scene] Agree to changing the Post-Credit Scene.
--[] [Post-Credit Scene] Write In: Show General Ross recovering from the injuries he sustained looking through files of various figures. He mutters it was a mistake to trust a gamma freak like Sterns to bring in the Hulk. From now on he'll be working with humans and not another abomination. General Ross finds a file he likes and puts it aside. Pan the camera to show the file is labelled "Blonsky" and cut to black.

Edit: I am aware that the post credits scene I wrote-in was very similar to what I did for Thor. I'm fine with rewrites or alterations and I can be swayed away from Hawkeye if someone makes a great argument for what the character in the next movie is going to do that's different and how it adds to the Avengers as a whole. I don't think we quite have that for Wonder Man. That being said I will be taking criticism like with the previous mid-credits scene I wrote and attempting to improve it with feedback.

Edit #2: I am for an Ant-Man and the Wasp movie. I don't think we have enough pull to give them their own movie considering that Ike gave us problems for just a mid-credits scene of a female supporting character who maybe becomes a lead later. I don't think we can get a movie that makes Ant-Man and the Wasp equally as important just yet. I think we ought to wait till later then start rocking the boat on that front once we've got Avenger's clout behind us.
 
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--[] [Post-Credit Scene] Write In: Show General Ross recovering from the injuries he sustained looking through files of various figures. He mutters it was a mistake to trust a gamma freak like Sterns to bring in the Hulk. From now on he'll be working with humans and not another abomination. General Ross finds a file he likes and puts it aside. Pan the camera to show the file is labelled "Blonsky" and cut to black.
Ironic.
 
[] Plan: Abominable Assault

-[] [Rick Scene] Agree to reshoot the scene; you will make the necessary changes.
-[] [Post-Credit Scene] Agree to changing the Post-Credit Scene.

—[] [Post-Credit Scene] In a dark briefing room, with tapes of the Hulk playing from monitors, a agent is being briefed on the Hulk. He is informed that he will be leading efforts to subdue the Hulk, and it is made clear that failure is not a option. The voice concludes as the shadows slightly lift to show the briefed muscular (albeit still human) figure: 'have I made myself clear, Blonsky?'

-[] [Reshoot] Delay the movie 1 month to reshoot

-[] Focus the +10 on antagonist chemistry
-[] Use the other two rolls on sound
 
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I want Wonder Man as part of phase 1. I'll probably vote for whichever plan includes a Wonder Man tease.

[ ] Plan Future-Proofing

I am fine with this plan with one change: I don't think we need to have a post-credit scene that sets up Abomination for the next Hulk movie in the first Hulk movie. I like the scene idea, but we could have that credit scene in the Thor movie, Captain America movie, etc.

[x] Plan Future-Wonder
-[x] [Rick Scene] Don't change anything; Bring your discussion to the Creative Committee (Hard Negotiation Roll)
-[x] [Mid-Credit Scene] Write In: Phil Coulson appears in the aftermath of the Hulk's rampage carting away the gamma animals to be placed under SHIELD's care. Coulson receives a call and he says everything is fine on his end but mentions that with all the crazy new things they need to keep track of nowadays, SHIELD's busier than ever and their old enemies might be coming out of the woodwork to try and take advantage of a changing world. Director Fury needs to keep a hawk's eye on the state of what's to come if they want to be ready for threats in the future
-[x] [Post-Credit Scene] Agree to changing the Post-Credit Scene.
--[x] [Post-Credit Scene] Write In: A man is seen watching a tv in an incredibly messy office: business papers and boxes everywhere. On the screen is Tony announcing his entrance into various industries and intent to change his company and himself for the better. The man sarcastically utters one word: "Wonderful." On the desk is a plate engraved with the name "S. Williams"
-[x] [Reshoot] No reshoot. Greenlight to release.
 
I know reshooting seems risky, but from my reading it doesn't seem like the movie flows well. I can live with that in regards to Betty, but I want to avoid MCU antagonists being forgettable as much as possible: if a duo needs to be remembered, they need to work well together on screen
 
—[] [Post-Credit Scene] In a dark briefing room, with tapes of the Hulk playing from monitors, a agent is being briefed on the Hulk. He is informed that he will be leading efforts to subdue the Hulk, and it is made clear that failure is not a option. As the voice says, either 'the abomination, or you, agent, will be neutralised.' The briefing voice concludes as the shadows slightly lift to show a very muscular (albeit still human) figure: 'have I made myself clear, Blonsky?'
Yeah I'm not a fan of this post-credit scene. I don't know who the very muscular human is (it can't be Blonsky because he's calling someone else "Blonsky" and it runs into the issue of preemptively casting people. It also seems cartoonishly evil and harsh for no good reason. I can't go for this
-[] [Reshoot] Delay the movie 1 month to reshoot

-[] Reroll antagonist chemistry. If dice remain after getting a better result for chemistry, use them on sound.
If you need to do this, instead of relying on worse than a coin toss odds just use the guaranteed +10 boost to get it up to 68 or 78 and use the remaining 1 or 2 dice to boost sound. It seems safer and less luck dependent.
I am fine with this plan with one change: I don't think we need to have a post-credit scene that sets up Abomination for the next Hulk movie in the first Hulk movie. I like the scene idea, but we could have that credit scene in the Thor movie, Captain America movie, etc.
I'll compromise here. I think we might need to include a scene in here that sets up a future Hulk movie. That being said I'm not inherently intensely strongly opposed to the idea and I'd rather work with you than against you. I'm going to vote for both my original plan and your plan and then not argue against yours any more. I've said my bit about maybe needing to include a future Hulk movie promotion and I don't think I need to say more than that to explain my feelings one way or another.

I want the Hawkeye movie badly enough to fold here and so I'll do what's necessary to strike deals to get it to happen.

[X] Plan Future-Proofing
-[X] [Rick Scene] Don't change anything; Bring your discussion to the Creative Committee (Hard Negotiation Roll)
-[X] [Mid-Credit Scene] Write In: Phil Coulson appears in the aftermath of the Hulk's rampage carting away the gamma animals to be placed under SHIELD's care. Coulson receives a call and he says everything is fine on his end but mentions that with all the crazy new things they need to keep track of nowadays, SHIELD's busier than ever and their old enemies might be coming out of the woodwork to try and take advantage of a changing world. Director Fury needs to keep a hawk's eye on the state of what's to come if they want to be ready for threats in the future
-[X] [Post-Credit Scene] Agree to changing the Post-Credit Scene.
--[X] [Post-Credit Scene] Write In: Show General Ross recovering from the injuries he sustained looking through files of various figures. He mutters it was a mistake to trust a gamma freak like Sterns to bring in the Hulk. From now on he'll be working with humans and not another abomination. General Ross finds a file he likes and puts it aside. Pan the camera to show the file is labelled "Blonsky" and cut to black.

[x] Plan Future-Wonder
-[x] [Rick Scene] Don't change anything; Bring your discussion to the Creative Committee (Hard Negotiation Roll)
-[x] [Mid-Credit Scene] Write In: Phil Coulson appears in the aftermath of the Hulk's rampage carting away the gamma animals to be placed under SHIELD's care. Coulson receives a call and he says everything is fine on his end but mentions that with all the crazy new things they need to keep track of nowadays, SHIELD's busier than ever and their old enemies might be coming out of the woodwork to try and take advantage of a changing world. Director Fury needs to keep a hawk's eye on the state of what's to come if they want to be ready for threats in the future
-[x] [Post-Credit Scene] Agree to changing the Post-Credit Scene.
--[x] [Post-Credit Scene] Write In: A man is seen watching a tv in an incredibly messy office: business papers and boxes everywhere. On the screen is Tony announcing his entrance into various industries and intent to change his company and himself for the better. The man sarcastically utters one word: "Wonderful." On the desk is a plate engraved with the name "S. Williams"
-[x] [Reshoot] No reshoot. Greenlight to release.
 
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Yeah I'm not a fan of this post-credit scene. I don't know who the very muscular human is (it can't be Blonsky because he's calling someone else "Blonsky" and it runs into the issue of preemptively casting people. It also seems cartoonishly evil and harsh for no good reason. I can't go for this

If you need to do this, instead of relying on worse than a coin toss odds just use the guaranteed +10 boost to get it up to 68 or 78 and use the remaining 1 or 2 dice to boost sound. It seems safer and less luck dependent.
Rephrased so it's not cartoonishly evil, and cleared up the wording so it's clear Blonsky is the one getting briefed. Also changed the dice roll stuff.
 
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Do people have any idea of an omake I could try and write to make the negotiation with the creative committee go down better? I'm not opposed putting in the writing work myself and we all seem to be willing to go for that option but I'd still like to hear some general ideas just so I can cut down on the time spent brainstorming and drafting an omake to get this to work.
 
I don't think the Coulson scene is strong (I don't think it's bad, I just don't think it's adding anything compelling or hooking for the audience). I'd like to see something different for the stinger.
Do people have any idea of an omake I could try and write to make the negotiation with the creative committee go down better? I'm not opposed putting in the writing work myself and we all seem to be willing to go for that option but I'd still like to hear some general ideas just so I can cut down on the time spent brainstorming and drafting an omake to get this to work.
Some ideas: blame the production issues on Rick's actor, Louis Letterier's retrospective on the production and his interests for future films, a statement from Atlanta locals who were involved with the production offering goodwill to the Marvel Studios team, or an omake from Betty's actress' perspective arguing in favor of keeping her scene that the film wants cut for the Rick scene.
 
Some ideas: blame the production issues on Rick's actor, Louis Letterier's retrospective on the production and his interests for future films, a statement from Atlanta locals who were involved with the production offering goodwill to the Marvel Studios team, or an omake from Betty's actress' perspective arguing in favor of keeping her scene that the film wants cut for the Rick scene.
I like all of these except for the one where we dump the blame of bad production onto Garrett. That just seems scummy, ya know? We could perhaps instead blame it on how long it took for the negotiations with Eccleston to finish.
 
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I don't think the Coulson scene is strong (I don't think it's bad, I just don't think it's adding anything compelling or hooking for the audience). I'd like to see something different for the stinger.
I do agree with this I just don't know how to try and pitch a Hawkeye stinger without showing Hawkeye or locking us into a specific plot ahead of time while also connecting it back to this movie somehow. I do think it could be better I just think it's difficult to come up with something great given the restrictions I'm working with.
Some ideas: blame the production issues on Rick's actor, Louis Letterier's retrospective on the production and his interests for future films, a statement from Atlanta locals who were involved with the production offering goodwill to the Marvel Studios team, or an omake from Betty's actress' perspective arguing in favor of keeping her scene that the film wants cut for the Rick scene.
Thank you for the ideas. I should have something by 6 pm PST so hopefully it'll arrive on time.
 
If Ike does not like she-hulk, let's give him Carol Danvers (Captain Marvel). In the comic books, she was head of security for NASA before she got her powers, so calling her in after a base security breach makes some sense. (With her doing security for other stuff, but still inspired by comics).
 
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