Eric didn’t want to cop out when it came to that reveal. In past movies, she’s alluded to the “red in my ledger” – something that haunts her, that now motivates her in her exploits with the Avengers.
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Make Everything a Choice for Your CharactersĪny Black Widow prequel movie was inevitably going to reveal the character’s dark past. Want to know some other screenwriting tricks and tips that Eric and his Marvel peers swear by? Here are a few that we learned during his appearance on Script Apart, supported by Screencraft… The result? A third act that’s more an exquisite cut of sirloin than so-so salami, to use the Marvel metaphor. “All for a reveal that was kinda mediocre.” Instead, the finished movie dispenses with the information in a more linear way. It changed so much of the dialogue, what the characters could and couldn’t say,” he recalls. Originally, the New Yorker planned to make the location of the villainous General Dreykov’s lair a surprise, revealed only when super-spy Natasha Romanoff (Scarlett Johannson) breaks out of it.
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In Eric’s first draft for Black Widow, there was one scene that didn’t pass the salami test, he recalls.
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“It just means, are you spending a lot of convoluted energy for something that’s just okay? Is what you’re going to huge lengths to add in actually worth all the trouble?” “That’s a long way to go for salami,” laughs Black Widow screenwriter Eric Pearson, reciting the mantra on my podcast Script Apart.
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Spend a day around writers at Marvel Studios, and you might hear what sounds like a discussion about nearby delicatessens, but is in actual fact indispensable storytelling advice.