카테고리 없음2015. 12. 20. 20:38

[Movie] Ant-Man (film)

Ant-Man (film)

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Ant-Man
Ant-Man poster.jpg
Theatrical release poster
Directed byPeyton Reed
Produced byKevin Feige
Screenplay by
Story by
  • Edgar Wright
  • Joe Cornish
Based onAnt-Man 
by Stan Lee
Larry Lieber
Jack Kirby
Starring
Music byChristophe Beck
CinematographyRussell Carpenter
Edited by
  • Dan Lebental
  • Colby Parker, Jr.
Production
company
Distributed byWalt Disney Studios
Motion Pictures
Release dates
Running time
117 minutes[1]
CountryUnited States
LanguageEnglish
Budget$130 million[2]
Box office$518.6 million[3]

Ant-Man is a 2015 American superhero film based on the Marvel Comics characters of the same name: Scott Lang and Hank Pym. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the twelfth installment of the Marvel Cinematic Universe (MCU). The film was directed by Peyton Reed, with a screenplay by Edgar Wright & Joe Cornish and Adam McKay & Paul Rudd, and stars Rudd, Evangeline Lilly, Corey Stoll, Bobby Cannavale,Michael Peña, Tip "T.I." Harris, Anthony Mackie, Wood Harris, Judy Greer, David Dastmalchian, and Michael Douglas. In Ant-Man, Lang must help defend Dr. Pym's Ant-Man shrinking technology and plot a heist with worldwide ramifications.

Development of Ant-Man began in April 2006, with the hiring of Wright to direct and co-write with Cornish. By April 2011, Wright and Cornish had completed three drafts of the script and Wright shot test footage for the film in July 2012. Pre-production began in October 2013 after being put on hold so that Wright could complete The World's End. Casting began in December 2013, with the hiring of Rudd to play Lang. In May 2014, Wright left the project, citing creative differences, though he still received screenplay and story credits with Cornish, as well as an executive producer credit. The following month, Reed was brought in as Wright's replacement, while McKay was hired to contribute to the script with Rudd. Principal photography took place between August and December 2014 in San Francisco and Metro Atlanta.

Ant-Man held its world premiere in Los Angeles on June 29, 2015, and was released in North America on July 17, 2015, in 3D and IMAX 3D. Upon its release, the film received positive reviews and grossed more than $518 million worldwide. A sequel, titled Ant-Man and the Wasp, is scheduled to be released on July 6, 2018.

Plot[edit]

In 1989, scientist Hank Pym resigns from S.H.I.E.L.D. after discovering their attempt to replicate his Ant-Man shrinking technology. Believing the technology is dangerous, Pym vows to hide it as long as he lives. In the present day, Pym's estranged daughter, Hope van Dyne, and former protégé,Darren Cross, have forced him out of his company, Pym Technologies. Cross is close to perfecting a shrinking suit of his own, the Yellowjacket, which horrifies Pym.

Upon his release from prison, well-meaning thief Scott Lang moves in with his old cellmate, Luis. While visiting his daughter Cassie unannounced, Lang is rebuked by his former wife Maggie and her police-detective fiancé, Paxton, for not providing child support. Unable to hold a job because of his criminal record, Lang agrees to join Luis' crew and commit a burglary. Lang breaks into a house and cracks its safe, but only finds what he believes to be an old motorcycle suit, which he takes home. After trying the suit on, Lang accidentally shrinks himself to the size of an insect. Terrified by the experience, he returns the suit to the house, but is arrested on the way out. Pym, the homeowner, visits Lang in jail and smuggles the suit into his cell to help him break out.

At his home, Pym, who manipulated Lang through an unknowing Luis into stealing the suit as a test, wants Lang to become the new Ant-Man to steal the Yellowjacket from Cross. Having been spying on Cross after discovering his intentions, van Dyne helps Pym train Lang to fight and to control ants. While van Dyne harbors resentment towards Pym about her mother Janet's death, he reveals that Janet, known as the Wasp, disappeared into a subatomicquantum realm to disable a Soviet nuclear missile. Pym warns Lang that he could suffer a similar fate if he overrides his suit's regulator. They send him to steal a device that will aid their heist from the Avengers' headquarters, where he briefly fights Sam Wilson.

Cross perfects the Yellowjacket and hosts an unveiling ceremony at Pym Technologies' headquarters. Lang, along with his crew and a swarm of flying ants, infiltrates the building during the event, sabotages the company's servers, and plants explosives. When he attempts to steal the Yellowjacket, he, along with Pym and Hope, are captured by Cross, who intends to sell both the Yellowjacket and Ant-Man suits to Hydra, led by former S.H.I.E.L.D officerMitchell Carson. Lang breaks free and he and Hope dispatch most of the Hydra agents, though Carson is able to flee with a vial of Cross' particles. Lang pursues Cross as he escapes, while the explosives detonate, imploding the building.

Cross dons the Yellowjacket and attacks Lang before Lang is arrested by Paxton. His mind addled by the imperfect shrinking technology, Cross takes Cassie hostage to lure Lang into another fight. Lang overrides the regulator and shrinks to subatomic size to penetrate Cross' suit and sabotage it to shrink uncontrollably, killing Cross. Lang disappears into the quantum realm but manages to reverse the effects and returns to the macroscopic world. In gratitude for Lang's heroism, Paxton covers for Lang to keep him out of prison. Seeing that Lang survived and returned from the quantum realm, Pym wonders if his wife is alive as well. Later, Lang meets up with Luis, who tells him that Wilson is looking for him.

In a mid-credits scene, Pym shows van Dyne a new Wasp prototype suit and offers it to her. In a post-credits scene, Wilson and Steve Rogers have Bucky Barnes in their custody. Unable to contact Tony Stark because of "the accords", Wilson mentions that he knows someone who could help.

Cast[edit]

(L-R) Peyton Reed (director), Paul Rudd, Michael Douglas, Evangeline Lilly, and Corey Stoll at the 2014 San Diego Comic-Con
A former systems engineer at VistaCorp and petty criminal who acquires a suit that allows him to shrink in size but increase in strength.[4][5][6][7][8]Regarding Rudd's casting, producer Kevin Feige said, "Look at that origin of the petty crook who comes into contact with a suit and does his best to make good, and then look at someone like Paul Rudd, who can do slightly unsavory things like break into people's houses and still be charming and who you root for and whose redemption you will find satisfaction in."[5] Director Peyton Reed compared Lang to George Clooney's character Danny Ocean from Ocean's Eleven, saying, "He's a guy trying to create a new life for himself and find redemption." To get in shape for the role, Rudd worked with trainers and cut alcohol, fried foods and carbohydrates out of his diet.[9] Rudd stated that in preparation for his role, he "basically didn't eat anything for about a year ... I took the Chris Pratt approach to training for an action movie. Eliminate anything fun for a year and then you can play a hero."[10] Rudd signed a multi-film contract with Marvel, with Feige saying it was "three [films]-plus-plus to appear in other things."[2]
The daughter of Hank Pym and Janet van Dyne and a senior board member of Pym Technologies, who helps Darren Cross take over the company.[11][12][13][14][15] Throughout the film, character progression brings Hope closer to becoming a hero; with the end of the film showing Hank give his daughter a prototype Wasp suit, allowing her to take on the mantle from her mother.[16] Lily described her character as "capable, strong, and kick-ass", but said that being raised by two superheroes resulted in Hope being "a pretty screwed up human being... and the clear message sent by my name is that I'm not a big fan of my father and so I took my mother's name."[17] She added that van Dyne's "arc in the movie is trying to find a relationship" with Pym.[9]Originally cast by Wright, Lilly was reluctant to take the role after he left the project until she read the revised script and got a chance to meet with Reed.[13] Feige said that van Dyne was the more obvious choice to take up the mantle of Ant-Man, being "infinitely more capable of actually being a superhero" than Lang, and that the reason she does not is because of Pym's experience with losing her mother, rather than sexism, which Feige felt would not be a problem for Pym in modern times. Lilly signed a multi-film contract with Marvel.[18]
A former protégé of Pym's, who takes over his mentor's company and militarizes a similar version of the Ant-Man technology to create the Yellowjacket suit.[12][14][19][20] Stoll described the suit as "the next generation of Ant-Man's suit" with a sleeker, more militaristic look as "if Apple had designed a battle suit."[21] As for his character, Stoll said that Cross was more like Hank Pym than "Thanos or Loki, who are villains that know it," since Cross is a "brilliant scientist, who is not ethically pure" with shades of gray.[22] Unlike Rudd, who wore a practical costume as Ant-Man, Stoll wore a motion capture suit while performing as Yellowjacket. Reed explained that this decision was made early on when creating and filming with a real Yellowjacket costume was found to be impractical.[23]
An SFPD officer[15][24][25] who is engaged to Lang's former wife Maggie.[26] Cannavale stated that Rudd and McKay convinced him to join the film during the rewriting process before Marvel approached him, saying, "They sort of pumped [my] part up a bit... I really went on good faith [taking the role] because they're so secretive [at Marvel] about the script. I just trusted them." He also added that the process felt like an indie film instead of a large-scale blockbuster, and that he was able to improvise frequently along with the other actors.[26] Patrick Wilson was originally cast in the role[27] before leaving the film because of scheduling conflicts brought on by the filming delay.[28]
Lang's former cellmate[24][25][29] and a member of his crew.[30] Peña stated that he modeled Luis' vocal style and positive outlook on life "on a friend of a friend", saying, "That's just the way he talks and the cadence. He's got this grin on the entire time and he doesn't care. He's the kind of guy where you're like 'Hey, what'd you do this weekend?' and he's like 'I went to jail, dawg,' with a smile on his face. Not a lot of people do that. Not a lot of people think of life on those terms."[31] Peña signed a contract with Marvel for three films.[32]
A member of Lang's crew.[30] Harris described Dave as Lang's "homeboy".[33] Harris also revealed that he was not permitted to read the entire script, explaining "You're just handed scenes as the film [went] along, and when you do that, it's like a blank canvas, 'This is what I'm going to do for this scene,' and you can remember previous performances and remain consistent with that. The energy created by the ensemble you have around you, it contributes to the outlook or the final view of what your character has become, and what he meant to the story."[34]
An Avenger who is a former pararescueman trained by the military in aerial combat using a specially designed wing pack.[35] On including Falcon, Reed said that it was not done just to include the character, rather "[i]t served a plot point; a purpose in our story" and allowed them to enhance Peña's "tip montages", which were written by production writers Gabriel Ferrari and Andrew Barrer,[36] also adding Falcon "seemed like the right character — not a marquee character like Iron Man or Thor, but the right level of hero."[37] Rudd and McKay decided to include Falcon after watching Captain America: The Winter Soldier.[38]
A member of Lang's crew.[30] Dastmalchian worked with actress Isidora Goreshter to learn how to speak in his character's Russian accent. On his character, Dastmalchian said that he "had this idea that Kurt was born and raised in a town even further out than Siberia and he was just an amazing computer wizard who fell in with the wrong people. But he was obsessed with two things: Saturday Night Fever and Elvis Presley, hence the polyester shirts unbuttoned too far and the hair in that pompadour."[40]
A former S.H.I.E.L.D. agent,[41] entomologist, and physicist, who became the original Ant-Man in 1963 after discovering the subatomic particles that make the transformation possible. He later mentors Lang to take over the role.[6][7][19][42] Douglas compared his decision to join a superhero film to his role in Behind the Candelabrasaying, "Sometimes—like [when] they didn't see you for Liberace—you've got to shake them up a little bit and have some fun."[43] Describing Pym, Douglas said, "He's sort of a Northern California, formal guy. He's lost control of his company. He lives in sort of a time warp. He was always a bit of a tinkerer. He's got a lab, plus a lot of other stuff, in his basement that we find out about. He's certainly bitter about what happened with his company and deeply scared of what the future might hold—because he himself, after having gotten small so many times, it's difficult. He looks and tries to find a guy that he can work with and has the right characteristics, which is [Scott]."[15] Douglas indicated that he would not be wearing the Ant-Man suit.[44]

Additionally, John Slattery and Hayley Atwell reprise their roles as Howard Stark and Peggy Carter, respectively, from previous MCU media.[45][46] Slattery stated that his involvement in Ant-Man was "not that much more" than his participation in Iron Man 2, while Atwell described her appearance as being "more of a cameo".[46][47] Abby Ryder Fortson portrays Cassie, the daughter of Lang and Maggie;[2][16][48] Gregg Turkington appears as Dale, the manager of a Baskin-Robbins store;[25][49][50] and Martin Donovan plays Mitchell Carson, a former member of S.H.I.E.L.D. who works for Hydra and looks to purchase the Yellowjacket technology.[51][52] Garrett Morris, who portrayed Ant-Man in a Saturday Night Live sketch, appears as a man in a car.[53] Ant-Man co-creator Stan Leemakes a cameo appearance in the film as a bartender.[54][55] Chris Evans and Sebastian Stan make uncredited appearances during the post-credits scene as Steve Rogers / Captain America and Bucky Barnes / Winter Soldier, respectively.[56] Hayley Lovitt makes a nonspeaking cameo as Janet van Dyne / Wasp.[57] Tom Kenny provides the voice of "Hideous Rabbit", a children's plush toy.[58]

Production[edit]

Development[edit]

Development of an Ant-Man film began as early as the late 1980s, when Ant-Man co-creator Stan Lee pitched the idea to New World Entertainment, Marvel Comics' parent company at the time. However, Walt Disney Pictures was developing a film based on a similar concept, Honey, I Shrunk the Kids, and although Ant-Man went into development, nothing came to fruition.[59]

In 2000, Howard Stern met with Marvel in an attempt to purchase the film rights to Ant-Man.[60] In May of that year, Artisan Entertainment announced a deal with Marvel to coproduce, finance and distribute a film based on Ant-Man.[61] In 2003, Edgar Wright and his writing partner Joe Cornish wrote a treatment for Artisan, with Wright explaining that it revolved around Scott Lang as a burglar "so he could have gone slightly in the Elmore Leonardroute", though Artisan wanted the film to be "like a family thing". However, Wright believed that the treatment was never sent to Marvel.[62] A year later, the duo pitched the film to Marvel Studios' then head of production, Kevin Feige.[9] In April 2006, Marvel Studios hired Wright to direct Ant-Man as part of the company's first slate of independently produced films, buoyed by a $525 million revolving film-financing facility. Wright also signed to co-write the screenplay with Cornish, based on a comic book series about an electronics expert who can shrink to the size of an insect and communicate with ants via telepathic/cybernetic helmet, and to co-produce the film with hisBig Talk Productions partner, Nira Park.[63]

"The thing I like about Ant-Man is that it's not like a secret power, there's no supernatural element or it's not a genetic thing. There's no gamma rays. It's just like the suit and the gas, so in that sense, it really appealed to me in terms that we could do something high-concept, really visual, cross-genre, sort of an action and special effects bonanza, but funny as well."

—Screenwriter Edgar Wright[64]

At the 2006 San Diego Comic-Con International, Wright said he was intrigued by the story's high concept and character. Wright also stressed that the film would not be a spoof but an action-adventure with some comedic elements and would incorporate both the Hank Pym and Scott Lang incarnations of the character.[65] Wright said that he was looking to "do a prologue where you see Pym as Ant-Man in action in the 60's, in sort of Tales to Astonish mode basically, and then the contemporary, sort of flash-forward, is Scott Lang's story, and how he comes to acquire the suit, how he crosses paths with Hank Pym, and then, in an interesting sort of Machiavellian way, teams up with him."[64] The next February, Wright said that the project was in "a holding pattern" while the script was being revised,[66] and that he had been doing research for the film by studying nanotechnology.[67]In March 2008, Wright said that the first draft of the script had been completed and he was working on the second.[68]

Stan Lee tweeted in February 2010 that Marvel was prepping the film and that he met with Wright for lunch to discuss the character.[69] Wright noted that there was no timetable for the film because Marvel did not consider the character to be one of their bigger, tentpole properties, so "It's more like me and Kevin Feige saying...'Let's make a good script that works, that's all about a great genre film, and that isn't necessarily relying on anything else'".[70] At the 2010 San Diego Comic-Con International, Wright said that Ant-Man would not fit in the chronology of The Avengers due to the origin story he had written not working in the MCU.[71] In January 2011, Wright stated that he had resumed writing the script for the film following the conclusion of the international promotion for Scott Pilgrim vs. the World,[72] and by April he and Cornish delivered the second draft of Ant-Man to Marvel.[73] At the 2011 San Diego Comic-Con International, Wright revealed a third draft had been handed in.[74]

(L-R) moderator Geoff Boucher, producer Kevin Feige and Wright at the 2012 San Diego Comic-Con International.

In May 2012, Feige said that the project was "as close as it's ever been" while Wright teased the film by tweeting a pictogram of Ant-Man.[75] In June, Wright spent just under a week shooting footage for a reel that would be used to test out the potential look and tone of his movie, as well as to decide how convincing Ant-Man's powers look on screen.[76] The test footage was screened to audiences during the Marvel Studios panel at the 2012 San Diego Comic-Con International, with Wright confirming that Ant-Man would be happening.[77] Germain Lussier of /Film felt the footage worked and was "awesome", as "it had a totally different vibe from the other Marvel films. It was much more like something you'd recognize from Hot Fuzz." Lussier, along with Katy Rich of CinemaBlend, also enjoyed the costume design choice.[78][79] That October, Disney scheduled the film for release on November 6, 2015.[80]

Feige stated in January 2013 that Ant-Man would in fact be part of Phase Three of the Marvel Cinematic Universe,[81] and indicated in May that the screenplay needed to be modified in order to fit into the universe, as the project had been in development before the first Iron Man film. Feige also stated that shooting was slated to begin sometime in 2014,[82] and that casting would begin towards the end of 2013.[83] In July 2013, Wright said that he and Cornish had completed the script for the film and that Marvel allowed him to delay its production so that he could complete The World's End,[84] as that film's producer Eric Fellner was diagnosed with cancer.[85]

In August 2013, after Joss Whedon, director of Avengers: Age of Ultron, announced that Hank Pym would not beUltron's creator, Wright said Ultron was never a part of the story of Ant-Man,[86] explaining that "just to sort of set up what Ant-Man does is enough for one movie".[87] Wright described Ant-Man as a stand-alone film but said it would fit into to the larger continuity of the Marvel Cinematic Universe, explaining, "I like to make it standalone because I think the premise of it needs time. I want to put the crazy premise of it into a real world, which is why I think Iron Man really works because it's a relatively simple universe; it's relatable. I definitely want to go into finding a streamlined format where you use the origin format to introduce the main character and further adventures can bring other people into it."[88] Wright also stated that pre-production for Ant-Man would begin in October and filming would begin in 2014.[89] The next month, Disney moved the film's release date up to July 31, 2015.[90]

Pre-production[edit]

In October 2013, Wright revealed that he was in Los Angeles to work on Ant-Man by tweeting a photograph from the production of the June 2012 test reel.[91] Joseph Gordon-Levitt and Paul Rudd were soon being considered for the lead role,[92] though Gordon-Levitt dismissed his consideration as a rumor.[93] Feige stated that Ant-Man would be a "heist movie", and that a casting announcement for Hank Pym would come before the end of 2013.[94] The next month, Feige stated that Eric O'Grady's Ant-Man would not be featured in the film,[95] while Rudd became the front-runner to play Hank Pym, and casting for the character's girlfriend had begun.[96] Around that time, the filmmakers' intentions to shoot in the United Kingdom were dashed because of a lack of studio space, which Wright believed was due to the plan by Pinewood Shepperton to add fifteen studios to their facility, which was rejected in part by the local council in May 2013 because the project was eyeing protected land.[97][98] By the end of the month, the film was scheduled to be shot in the U.S. instead.[99]

In December 2013, Wright, a fan of the comic book since childhood—owning copies of Tales to Astonish #27 featuring the "The Man in the Ant-Hill" storyline and Marvel Premiere #47 featuring the first appearance of Scott Lang[100]—stated that the difference between Ant-Man and other films featuring size-changing is "other shrinking movies are usually about somebody trapped small. This is different in that he can actually change size and he can do that at will, so it becomes more of a power than an impediment."[101] Wright also talked about the challenge of directing a superhero film, saying, "Shaun and Hot Fuzz and World's End are all R-rated films. I like the challenge of making a PG-13 film. Because you've got to entertain in a different way. You don't have the same tools."[102] By December 19, Rudd was in negotiations to star in the film,[103][104] and Marvel announced that he had been cast as Ant-Man the next day.[105]

In January 2014, Wright posted a screenshot on his blog from the Avengers: Earth's Mightiest Heroes episode "To Steal an Ant-Man", which features Hank Pym and introduces the Scott Lang character, with the caption "homework".[106][107] Michael Douglas was subsequently cast as Pym, with Rudd confirmed to play Lang.[6] Michael Peña was offered an unspecified role in the film.[108] Also in January, filming was scheduled take place at Pinewood Atlanta in Fayette County, Georgia,[109] while Disney changed the release date once again, moving the film up to July 17, 2015.[110] The next month, Evangeline Lilly entered early talks to portray the female lead,[11] and Wright announced on his blog that Bill Pope, who he worked with on Scott Pilgrim vs. the World and The World's End, would be his director of photography.[111] By March, Wright and Cornish turned in a fifth draft of the script, amid alleged disputes on the direction the script was taking. As well, Wright and Cornish wrote a scene intended for the post-credits of Avengers: Age of Ultron that would have acted as a prelude to the film.[112] Corey Stoll entered negotiations for an undisclosed role in the film,[20] and by April, Patrick Wilson and Matt Gerald were cast in undisclosed roles.[113][114]

"Ant-Man is interesting because he was one of the original Avengers, which I think people forget about. So, I like that idea in the movie universe... I also like that it's this sort of passing of the torch. There's sort of a weird mentor / pupil thing happening between Michael Douglas' character Hank Pym and Scott Lang, which Paul Rudd plays. Hank Pym used to be old Ant-Man and he is trying to find someone to be the new Ant-Man. I like that. I think that's sort of a classic Marvel Comics thing and something that we really haven't seen in that universe."

—Peyton Reed, director of Ant-Man[115]

On May 23, 2014, Marvel and Wright jointly announced that Wright was leaving the project, because of "differences in their vision of the film" and that the studio was closing in on a new director.[116] Pope also left the project in the wake of Wright's departure.[117] By May 30, Adam McKay had entered negotiations to replace Wright,[118] but pulled out of negotiations the next day.[119] On June 7, Marvel announced that Peyton Reed would direct the film, with McKay contributing to the film's script.[4] Other directors under consideration included Ruben Fleischer,Rawson Marshall Thurber, Nicholas Stoller, Michael Dowse, and David Wain.[120][121][122][123]

Later in June, Feige stated the film was still intended to be released on the July 17, 2015 date, with production slated to begin on August 18, 2014.[124][125] Feige elaborated that "much of the movie will still be based very much on [Wright and Cornish's] draft and the DNA of what Edgar has created up to this point" with Reed stepping in to direct, and McKay reworking only parts of the script. "[Reed] wanted to be sure that he wasn't just inheriting something or following someone else's lead. Or wasn't inheriting something that the evil studio had watered down to be something bad," Feige continued. "He looked at everything, he talked with us, and he said 'Number one, I agree with the direction you're going in. And number two, I can add to it.'"[126]

McKay stated that Rudd helped him rewrite the script, calling Rudd "great with dialogue", adding "the two of us holed up in hotel rooms on the east and west coast, and I think it was like six to eight weeks we just ground it out and did a giant rewrite of the script. I was really proud of what we did, I really thought we put some amazing stuff in there and built on an already strong script from Edgar Wright and sort of just enhanced some stuff."[127] Rudd elaborated, "The idea, the trajectory, the goal, and the blueprint of it all, is really Edgar and Joe. It's their story. We changed some scenes, we added new sequences, we changed some characters, we added new characters. If you took the two scripts and held them up together they'd be very different—but the idea is all theirs."[128] Reed also offered contributions to the revised script, as did Lilly and Stoll, who contributed ideas to help flesh out their respective characters. Lilly's character received a fuller arc and more action sequences as a result.[15] One of the important things when joining the film for Reed was emphasizing both Hope and Janet van Dyne more, given the Wasp being "a crucial part" of the Ant-Man comics.[129] For their efforts, McKay and Rudd were credited as additional writers of the screenplay, with Wright and Cornish credited for the screenplay and story.[130] Wright also held an executive producer credit on the film.[131]

By the end of July, Wilson left the film because of scheduling conflicts brought on by the filming delay, and characters being played by Gerald and Kevin Weisman were cut in McKay's revised script.[28] Also, Reed indicated that filming would take place in San Francisco as well as Georgia.[132] The next month, Reed revealed that Scott Lang's daughter would appear in the film,[133] and Gabriel Ferrari and Andrew Barrer were hired to make further revisions to the script.[134] After reading the revised script, Evangeline Lilly felt that the film was "pulled" more into the MCU than Wright's version which "was much more in the Edgar Wright camp of films." She added that, while Wright's version was "incredible" and would have been great to film and watch, "it wouldn't have fit in the Marvel Universe. It would have stuck out like a sore thumb, no matter how good it was. It just would have taken you away from this cohesive universe they're trying to create. And therefore it ruins the suspended disbelief that they've built."[13]

Filming[edit]

Reed at the world premiere of Ant-Man in Hollywood.

Principal photography began on August 18, 2014 in San Francisco,[25] under theworking title Bigfoot.[41] Scenes were shot in the Tenderloin neighborhood andBuena Vista Park.[135] By the end of September 2014, production on Ant-Man moved to Pinewood Atlanta Studios in Fayette County, Georgia,[136] and David Callahamcompleted a rewrite of the film.[137] Filming also took place at the State Archives building in Downtown Atlanta,[138] to double as Pym Technologies, which is located on Treasure Island, San Francisco in the film.[139] In October 2014, Martin Donovanwas added to the cast,[51] and Feige revealed that Ant-Man would no longer start Phase Three of the Marvel Cinematic Universe and would instead be the final film of Phase Two.[140] When told by /Film's Germain Lussier that this placement betweenAvengers: Age of Ultron and Captain America: Civil War made the film feel like an afterthought, Feige replied,

It's not [an after thought]. The truth is the phases mean a lot to me and some people but...Civil War is the start of Phase Three. It just is. AndAnt-Man is a different kind of culmination of Phase Two because it very much is in the MCU. You meet new characters and you learn about Hank Pym and his lineage with the MCU over the years. But at the same time, it also picks up the thread of Age of Ultron in terms of heroes—major heroes, Avengers—coming from unexpected places... And in that way it connects a lot. Also, Hank Pym's attitude towards Avengers, towards S.H.I.E.L.D., and kind of the cinematic universe in general, is much more informed after the events of Age of Ultron, and in a certain way, before the events of Civil War.[141]

Feige later expanded on this by saying, "[W]e put Ant-Man at the end of Phase Two as opposed to the beginning of Phase Three, because it sets up a lot of the things you're going to see heading into Phase Three, one of which is this mind-bending, reality-altering landscape [in Doctor Strange].[38] On December 5, 2014, Reed announced on social media that principal photography on Ant-Man had been completed.[142]

For the film, cinematographer Russell Carpenter used a 1.85 aspect ratio shot with Arri Alexa XT and M cameras, using the M for fight sequences and helicopter filming. Camera operator Peter Rosenfeld said, "Russell and Peyton's decision to shoot in 1.85 was a good call, since at 2.35 there's insufficient height in frame to appreciate the vertical aspects of [Ant-Man] going from standing full-size to falling through a crack in the floor." Carpenter andTechnicolor also devised a lookup table (LUT) to darken the color palette. Carpenter said, "For a lot of recent comedies I've kept my LUTs kind of 'Kodak' – saturated and upbeat. But this show needed something different that affected skin tones and the Ant-Man suit, which dates back to the 1980s, so it looks a little run-down. What I loved about this LUT was how it allowed the costume to retain the color but took it from fire-engine red to something a little more weathered."[143]

The filmmakers made extensive use of macro photography. Production designer Shepherd Frankel said, "It's more visually interesting to depict things from Ant-Man's point of view instead of seeing him from a normal perspective. But we wanted a realistic realization, not Honey, I Shrunk the Kids with its oversized set pieces."[143] Rebecca Baehler served as the director of macro photography, taking cues from Carpenter.[144] Carpenter said vibration became "a tremendous problem" when moving the camera during the macro photography because "one inch off the ground is like fifteen feet in the air. From an ant's perspective, you move four inches, to a human perspective, that's a football field!" The solution required the filmmakers to think outside of the box so they turned to Baehler, who had a background in "commercial 'tabletop' photography." In order to add Rudd's performance as Ant-Man when in the macro world a Centroid facial capture set up was used, with a 5-camera array of Alexas surrounding Rudd. Rosenfeld explained, "One camera was set up vertically while the others were horizontal with overlapping image areas, all set to record at 48 frames per second. This maximized resolution and provided 3D modeling [of] Paul's performance." Reed would then call out story moments with Rudd performing "facial expressions that would later be composited on a CG Ant-Man."[143]

Post-production[edit]

Following the completion of principal photography, Marvel released an updated synopsis revealing that Jordi Mollàwas included in the cast and the names of several supporting characters.[24] However, Mollà subsequently did not appear in the theatrical release of the film. Reed explained that the film's original opening, which was filmed and cut in the editing process, featured a standalone sequence similar to the opening of a James Bond film, where an unseen Pym was attempting to retrieve some microfilm from Mollà's character, Castillo, a Panama army general. Reed stated the scene was going to show Ant-Man's powers, without seeing him, almost "like an Invisible Man sequence, and it's really, really cool. It started to feel tonally disconnected from the movie we were making and story-wise, and it also kind of like, it set a standalone adventure, but it didn’t just connect to the rest of our story... It felt like vestige of those earlier drafts [by Wright and Cornish], which as a standalone thing was really cool."[145]Dan Lebental and Colby Parker, Jr. served as film editors.[25] In March 2015, Hayley Atwell confirmed that she would reprise her role as Peggy Carter in the film.[46] In April 2015, Reed stated that, while not completed yet, the film would be undergoing "a little bit of additional" filming.[146]

In June 2015, Feige confirmed that the character of Janet van Dyne would be seen, though the film would not address Pym and van Dyne's infamous domestic abuse storyline in the comics, saying, "We hint at a temper in a way that people who know the stories might go, 'Oh, perhaps that's a bit of [Hank's] character,' but not in a way that would ever indicate [he beat his wife]."[147] Also in the month, Reed confirmed there would be a post-credit sequence "that may tie into the other films."[148] Feige revealed the post-credit sequence was footage shot by theAnthony and Joe Russo from Captain America: Civil War, saying the clip would be seen in that film, though it may be "different takes... different angles."[149][150] On June 25, 2015, Reed announced on social media that production of Ant-Man was officially complete.[151] In early July 2015, an international teaser trailer revealed that Anthony Mackie would appear in the film as Sam Wilson / Falcon.[35] Mackie appears in the post-credit sequence as well, along with Chris Evans and Sebastian Stan as Steve Rogers / Captain America and Bucky Barnes / Winter Soldier, respectively.[56] Stan stated the scene that was used for the post-credit sequence was shot in May 2015, and would appear in the middle of Civil War.[152] Also in the month, Reed revealed that the quantum realm in the film was MCU's version of the microverse,[36] and that the end of the film originally had a sequence where Ant-Man went after Carson to retrieve the stolen vial of Cross' particles, "[b]ut then for a couple reasons, it felt like maybe we should leave those particles out there."[153] For the title sequences, Marvel again went with design firm Sarofsky, who had done the credits for both Captain America: The Winter Soldier and Guardians of the Galaxy, with the credits "intricately connected to the film's overall narrative."[154]

For Yellowjacket sequences, Stoll wore a motion capture suit while on set (top), which was replaced by an entirely digital creation built by Double Negative (bottom).[144]

Visual effects for the film were provided by Industrial Light & Magic (ILM), Lola VFX, Double Negative, Luma Pictures, and Method Studios, withprevisualization by The Third Floor.[15][144][155] Double Negative handled the scenes featuring shrunken characters, incorporating the macro photography and motion capture performances shot in principal photography with digital models of the characters. Double Negative also worked on Ant-Man's shrinking effect, in coordination with ILM to be used by all vendors, which showed the outline of his body – an element from the comics. Visual effects supervisor Alex Wuttke said, "It's like a little time echo. As Ant-Man shrinks in almost a stop motion way he would leave behind outlines of the poses he'd been in as he shrinks down... We'd have two CG cameras rendering the action from different points along the timeline with slightly different framings. One would be the main shot camera, the other would be a utility camera that would provide renders of static poses of Ant-Man at different points along the timeline."[144]

For the flashbacks in 1989, Douglas and Donovan appeared de-aged via CGI, alongside Atwell as Carter (aged in makeup and with CGI) and John Slatteryas Howard Stark.[41][49][144][147] To de-age Douglas, Lola VFX used a similar process and technology that was used to make Steve Rogers skinny in Captain America: The First Avenger and Carter older in Captain America: The Winter Soldier as well as footage of Douglas' other films from the late 1980s as reference.[38][155] Dax Griffin served as Douglas' body double and an additional reference for Lola, because of his "striking resemblance of Michael when he was about 40".[155][156] For Donovan, he only needed to be de-aged about a decade, so no double was used, the work on him focused on his eyes, neck, and chin. Atwell wore a wig on set, along with a fine layer of latex makeup to give the skin a more leathery look, with Lola transposing the facial features of an elderly actress onto the face of Atwell.[144]

Method and Luma both worked on creating the various ants seen in the film, with Method creating the several species of ants, to share among the vendors. Luma also handled many of the scenes at Pym Technologies when Ant-Man attempts to acquire the Yellowjacket. ILM worked on the Falcon fight sequence, having done Falcon visual effects in The Winter Soldier. Using practical suit pieces built by Legacy Effects, ILM mixed live-action shots with digital take-overs and fully digital shots to create the sequence. ILM also handled the sequences in the quantum realm, providing an array of microscopic and largely psychedelic imagery for the subatomic shrinking, taking advantage of procedural fractal rendering techniques the studio had utilized on Lucy.[144]

Music[edit]

Main article: Ant-Man (soundtrack)

In February 2014, Wright tweeted that Steven Price would score the film.[111] However, Price left soon after Wright's departure from the project in May 2014.[117] In January 2015, Christophe Beck, who worked with Reed on Bring It On, was hired to replace Price.[157] Describing the film's score, Beck said, "For Ant-Man, I wanted to write a score in the grand symphonic tradition of my favorite superhero movies, with a sweeping scope and a big, catchy main theme. What makes this score stand out among other Marvel movies, though, is a sneaky sense of fun since it is, after all, not only a superhero movie, but also a heist comedy."[158] Hollywood Records released the soundtrack digitally on July 17, 2015, and had a physical release on August 7.[159]

Release[edit]

Rudd at the world premiere of Ant-Man in Hollywood.

Ant-Man premiered at the Dolby Theatre in Hollywood on June 29, 2015,[160] and opened the 2015 Fantasia International Film Festival on July 14, 2015, along withMiss Hokusai.[161] The film was released in France on July 14,[162] and was released in North America on July 17,[110] in 3D and IMAX 3D.[163][164] The film was released in the United States in 3,800 theaters, with the breakdown of 3,100 3D screens, 361 IMAX screens, 388 large format screens and 133 D-Box screens.[162] Ant-Man had originally been scheduled for release on November 6, 2015.[80] In September 2013, the release was moved to July 31, 2015,[90] before changing for a final time to July 17, 2015 in January 2014.[110] An unfinished version of the film was screened on June 24, 2015, at CineEurope.[165]

Marketing[edit]

In March 2014, ABC aired a one-hour television special titled, Marvel Studios: Assembling a Universe, which included a sneak peek of Ant-Man.[166][167] In July 2014, Reed, Rudd, Douglas, Lilly, and Stoll appeared at Marvel Studios' panel at the 2014 San Diego Comic–Con International to help promote the film and screen a visual effects test featuring Rudd and Douglas.[19] In October 2014, Marvel Comics' Editor-in-Chief Axel Alonsostated there are comic tie-in plans for the film.[168] In November 2014, ABC aired another one-hour television special titled, Marvel 75 Years: From Pulp to Pop!, which featured behind the scenes footage of Ant-Man.[169]Marvel Comics' February 2015 solicitations released in December 2014, revealed a two-issue comic tie-in, Marvel's Ant-Man Prelude, following Hank Pym as Ant-Man on a mission during the Cold War.[170] A second comic tie-in,Marvel's Ant-Man—Scott Lang: Small Time, was released digitally on March 3, 2015. It explains Lang's circumstances at the beginning of the film.[171]

In January 2015, Disney officially began the film's marketing campaign by releasing a miniature "ant-sized" teaser trailer, a full-sized version of the same teaser trailer, a poster, a cover on Entertainment Weekly, and a full-length trailer during the premiere of the television series Agent Carter. Scott Mendelson of Forbes, said, "It was darn-clever for Disney to put out a miniature 'can't see anything without a microscope' version of the now-standard trailer for the trailer. I sighed just a little when they 'gave in' and released a human-sized version, realizing that Disney had just released what amounted to a teaser to a teaser to a trailer... But nonetheless, credit where credit is due, Disney was able to turn a single theatrical trailer into three separate news drops in about five days." Mendelson went on to say that "the peppy, witty trailer above is a general audience sell. Marvel knows the geeks will come if only to throw stones, but it's the mainstream audience that needs to be sold. So far, so good."[172] However, Graeme McMillan of The Hollywood Reporter criticized the trailer for its placement during the broadcast premiere of Agent Carter, its tone, its soundtrack, and for being thematically similar to other trailers from Marvel Studios. McMillan concluded, "The Ant-Man trailer isn't bad, per se; it is, however, impressively underwhelming, which almost seems worse. Thanks to the last-minute exit of original writer-director Edgar Wright and the subsequent struggle to find a replacement, Ant-Man has become the movie that people are expecting to be Marvel's first failure, in critical if not financial terms, at least; this trailer, which fails to convince and gets by on goodwill for those involved and the Marvel brand as much as anything else, doesn't do enough — or anything, really — to persuade audiences that that's not the case."[173] The trailer generated 29 million views worldwide in three days, the third-largest viewership for a Marvel Studios film, behind trailers for Iron Man 3 and Avengers: Age of Ultron.[174]

In April 2015, Marvel debuted a second trailer for Ant-Man. Mendelson said it was "frankly the Ant-Man trailer that we've been waiting for. It's not just funny and exciting, it's an 'Ah ha!' moment when we realize just what exactly anAnt-Man movie has to offer."[175] Also in April, miniature billboards promoting Ant-Man with battery-powered LEDlights began appearing in Brisbane, Melbourne and other areas around Queensland, Australia as part of a street marketing campaign for the film.[176] In May 2015, Marvel, in partnership with Dolby Laboratories, Visa, andRaspberry Pi, announced the "Ant-Man Micro-Tech Challenge", aimed at females aged 14 through 18, to create DIYprojects involving micro technology and readily accessible and found materials. Winners teamed with STEM(Science, Technology, Engineering, and Mathematics education) programs in their areas to lead teams in recreating their projects.[177] On June 11, 2015, Marvel released posters featuring Ant-Man juxtaposed with Iron Man's armor,Captain America's shield, and Thor's hammer Mjolnir. Mendelson compared this to Disney's marketing campaign forLilo & Stitch that put the protagonist into iconic scenes from other Disney cartoons.[178] Beginning June 12, a six-minute IMAX preview of the film was screened before showings of Jurassic World.[179] Additionally, beginning June 19, scenes from the film were shown at Disney California Adventure's Bug's Life Theater in 3D with in-theater effects.[180]

In early July 2015, Marvel began a viral marketing campaign featuring Leslie Bibb, reprising her role from the Iron Man films as journalist Christine Everhart, reporting for a faux news program. In the program, Everhart discuses the fallout from the events of Avengers: Age of Ultron, Lang's imprisonment,[181][182] and events leading to Captain America: Civil War.[8] Also in July, Michael Douglas and executives from Marvel Entertainment rang the closing bell of the New York Stock Exchange in celebration of the release of Ant-Man.[183] Disney spent $34.8 million on television advertising for the film, more than the $26.9 million spent for Avengers: Age of Ultron, since the former was a new property.[184]

In December 2015, to commemorate the home media release of Ant-Man, Marvel UK launched a website that offers visitors a view of various London landmarks from the perspective of an ant in a Google Street View-type experience. The company commissioned photographer Will Pearson to capture ten different locations includingTower Bridge, Oxford Circus, the British Museum, St Paul's Cathedral and Nelson's Column using a 360° miniature camera that sat centimeters off of the ground.[185]

Home media[edit]

Ant-Man was released for digital download by Walt Disney Studios Home Entertainment on November 17, 2015 and released on Blu-ray, Blu-ray 3D, and DVD on December 8, 2015. The digital and Blu-ray releases include behind-the-scenes featurettes, audio commentary, deleted scenes, and a blooper reel.[186] Upon its first week of release on home media in the U.S., the film debuted at number two on the Nielsen VideoScan First Alert chart, which tracks overall disc sales, as well as the dedicated Blu-ray Disc sales chart, with 63% of unit sales coming from Blu-ray.[187]

The film was also collected in the 13-disc box set, titled "Marvel Cinematic Universe: Phase Two Collection", which includes all of the Phase Two films in the Marvel Cinematic Universe. It was released on December 8, 2015.[188]

Reception[edit]

Box office[edit]

Ant-Man grossed $180.2 million in North America and $338.4 million in other territories for a worldwide total of $518.6 million.[3]

Ant-Man made $6.4 million from its Thursday night showings in North America, with 48% of tickets sales for IMAX and other large-format showings, and $23.4 million on its opening day, including Thursday's previews,[189] making it the second-lowest opening day for a Marvel film, only ahead of 2008's The Incredible Hulk ($21.4 million).[190] It fell 18% to earn $19.25 million on Saturday, and for its opening weekend total, earned $57.2 million.[189][191] It marked the second-lowest debut for Marvel behind the $55.4 million debut of The Incredible Hulk in 2008.[192] IMAX contributed $6.1 million to the opening gross, with premium large format screens comprising $6.4 million andCinemark XD comprising $1.3 million, respectively. Though the film fell below its $60 million estimate, Disney nonetheless said it was content with the results, which continued Marvel's streak of number one opening films, giving the studio its twelfth consecutive win.[189] Disney also reported that the film drew the largest share of families (28%) and women (32%) of any Marvel superhero title.[192] It was also the biggest live-action opening ever for Rudd (breaking Knocked Up '​s record of $30.7 million) and a record opening for Douglas.[189] It continued to be the top film at the box office in its second weekend.[193]

Outside North America, it earned $55.4 million in its opening weekend from 37 countries, debuting in third place at the international box office behind the Chinese film Monster Hunt and Minions as well as an IMAX opening of $9.1 million. The top openings were the UK ($6 million), Mexico ($5.6 million), and Russia ($4.9 million). It had the biggest opening for a first-installment Marvel film in Hong Kong, Indonesia, Malaysia, the Philippines, Singapore, Taiwan, and Thailand.[194] The film's opening in South Korea in early September 2015 earned $9.3 million, the highest opening for an international market at the time,[195] before being surpassed by the Chinese opening in mid-October 2015, which earned $42.4 million, with $5.1 million coming from IMAX. The large opening weekend in China helped Ant-Man place first at the international box office for the first time, with the Chinese opening the second largest for an MCU film in the country behind Avengers: Age of Ultron.[196][197] The film stayed at number one in China for a second week, earning an additional $22 million.[198] As of November 1, 2015, the largest markets are China with $101.3 million, followed by the UK with $25.4 million, and South Korea with $18.9 million.[199][200]

Critical response[edit]

The review aggregator website Rotten Tomatoes reported an 80% approval rating, based on 249 reviews, with an average rating of 6.8/10. The website's consensus reads, "Led by a charming performance from Paul Rudd, Ant-Manoffers Marvel thrills on an appropriately smaller scale – albeit not as smoothly as its most successful predecessors."[201] On Metacritic, the film has an average score of 64 out of 100, based on 43 critics, indicating "generally favorable reviews".[202] CinemaScore reported that audiences gave the film an "A" grade on an A+ to F scale.[189]

Justin Chang of Variety said the film "succeeds well enough as a genial diversion and sometimes a delightful one, predicated on the rarely heeded Hollywood wisdom that less really can be more."[203] Todd McCarthy of The Hollywood Reporter remarked, "Although the story dynamics are fundamentally silly and the family stuff, with its parallel father-daughter melodrama, is elemental button-pushing, a good cast led by a winning Paul Rudd puts the nonsense over in reasonably disarming fashion."[204] Kenneth Turan of the Los Angeles Times wrote, "Playful in unexpected ways and graced with a genuinely off-center sense of humor, Ant-Man (engagingly directed by Peyton Reed) is light on its feet the way the standard-issue Marvel behemoths never are."[205] Kim Newman of Empirewrote that it "straddles as many genres as the Avengers films have characters but manages to do most of them pretty well. Extremely likable, with a few moments of proper wonder."[206] A. O. Scott of The New York Times said, "This film is a passable piece of drone work from the ever-expanding Marvel-Disney colony."[207]

Conversely, Alonso Duralde of TheWrap said the film "serves up jokes that don't land and thrills that don't thrill."[208] Richard Roeper of the Chicago Sun-Times said Ant-Man "is a lightweight, cliché-riddled origins story that veers between inside-joke comedy, ponderous redemption story lines and admittedly nifty CGI sequences that still seem relatively insignificant compared to the high stakes and city-shattering destruction that take place in most of the Avengers movies."[209] Catherine Shoard of The Guardian wrote, "Ant-Man is a cut-and-shut muddle, haunted by [Edgar Wright's] ghost, produced by a high-end hot dog factory, by turns giddying and stupefying."[210] Joe Morgenstern of The Wall Street Journal said that it is "a film that will surely be popular, given Marvel's marketing might, but one that's woefully short on coherence and originality."[211] Christopher Orr of The Atlantic said, "It's difficult to shake the sense that the film was assembled hurriedly and somewhat haphazardly. Which, from all available evidence, is exactly what happened."[212]

Accolades[edit]

YearAward / Film FestivalCategoryRecipient(s)ResultRef(s)
2015Teen Choice AwardsChoice Summer Movie Star: MalePaul RuddNominated[213]
Choice Summer Movie Star: FemaleEvangeline LillyNominated
2016Critics' Choice AwardsBest Actor in an Action MoviePaul RuddPending[214]

Sequel[edit]

In June 2015, Reed stated, "If we were lucky enough to be able to do a sequel or even a prequel, I'd be way into it. I've really fallen in love with these characters... [T]here's a lot of story to tell with Hank Pym."[215] In July 2015, Douglas expressed the desire to have his wife Catherine Zeta-Jones play Janet van Dyne,[216] while Lilly hoped to see Michelle Pfeiffer in the role.[217] Douglas also revealed he was not signed for any additional films, but "would look forward to more if it comes my way".[218] Also in July, Feige revealed that the studio had "a supercool idea for the next Ant-Man film, and if audiences want it, we'll find a place to do it."[38] Reed also mentioned that there had been talks of doing a standalone adventure with Hank Pym as Ant-Man, possibly including the original opening toAnt-Man that featured Jordi Mollà, which had been cut from the final film. Eric Eisenberg of Cinema Blend opined that a standalone adventure with Pym and the cut sequence would be a good candidate to revive the Marvel One-Shots short film series.[145] By the end of the month, Dastmalchian expressed interest in returning for a sequel.[40] In October 2015, Marvel Studios confirmed that a sequel, titled Ant-Man and the Wasp, is scheduled for release on July 6, 2018.[219] By late October, Reed entered negotiations to direct the sequel,[220] and was confirmed to return in November 2015, along with Rudd and Lilly.[221] Barrer, Ferrari and Rudd were confirmed to write the screenplay in December 2015.[222]

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External links[edit]

Wikimedia Commons has media related to Ant-Man (film).




앤트맨(영화)

최근 수정 시각 : 2015-12-16 12:34:45

이 항목은 개미남(...)으로 검색해도 들어올 수 있습니다.
마블 시네마틱 유니버스 전개
이전 스토리→페이즈 1→페이즈 2→페이즈 3

마블 시네마틱 유니버스의 작품 목록
어벤져스 시리즈어벤져스어벤져스: 에이지 오브 울트론어벤져스: 인피니티 워
아이언맨 시리즈아이언맨아이언맨 2아이언맨 3
캡틴 아메리카 시리즈퍼스트 어벤져캡틴 아메리카: 윈터 솔져캡틴 아메리카: 시빌 워
토르 시리즈토르: 천둥의 신토르: 다크 월드토르: 라그나로크
앤트맨 시리즈앤트맨앤트맨과 와스프
가디언즈 오브 갤럭시 시리즈가디언즈 오브 갤럭시가디언즈 오브 갤럭시 Vol.2
기타 영화인크레더블 헐크닥터 스트레인지
스파이더맨블랙 팬서
캡틴 마블인휴먼스
ABC 드라마에이전트 오브 쉴드에이전트 카터
모스트 원티드대미지 컨트롤
넷플릭스 드라마데어데블제시카 존스
루크 케이지아이언 피스트
디펜더스
마블 원 샷마블 원 샷

앤트맨 (Ant-Man)
마블 시네마틱 유니버스 장편 영화
어벤져스: 에이지 오브 울트론 → 앤트맨 → 캡틴 아메리카: 시빌 워
감독페이턴 리드
각본조 코니시, 애덤 매케이, 에드거 라이트, 폴 러드
출연폴 러드, 마이클 더글러스, 코리 스톨, 에반젤린 릴리 등
장르슈퍼히어로, 액션, SF, 코미디
음악크리스토퍼 벡[1]
북미 개봉일2015년 7월 17일
국내 개봉일2015년 9월 3일[2]
상영 시간117분
제작사마블 스튜디오
배급사월트 디즈니 픽처스
국내등급12세 이상 관람가

1. 개요2. 예고편3. 등장인물4. 개봉 전 정보
4.1. 제작진 변동
4.1.1. 감독 하차4.1.2. 배우 하차
5. 개봉 후 정보6. 줄거리7. 평가8. 흥행
8.1. 한국8.2. 북미8.3. 해외
9. 기타

1. 개요[편집]


Ant-Man

마블 코믹스의 만화 《앤트맨》을 원작으로 한 슈퍼 히어로 영화로, 마블 스튜디오가 제작하고 월트 디즈니 스튜디오 모션 픽처스 가 배급한다. 마블 시네마틱 유니버스 2단계의 여섯 번째 작품이자 마지막 영화이다.[3] 감독은 페이턴 리드,[4] 각본은 애덤 매케이가 맡았다. 참고로 둘 다 이전에 코미디 영화를 주로 만들었던 인물들.

아무래도 가장 인지도가 있는 어벤저스 멤버들이 나오지 않다 보니(단, 어벤져스: 에이지 오브 울트론 마지막에 뉴 어벤져스 멤버로 합류한 팔콘이 나온다.) 국내에서의 관심도는 2016년 개봉 예정인 《캡틴 아메리카: 시빌 워》에 비하면 낮은 편이었으나 2015년 9월에 국내에서 개봉하자 마자 2주 연속 박스오피스 1위를 차지하는 등 좋은 흥행세를 보여줬다. 284만명의 관객을 동원하며 비록 300만 관객을 달성하진 못했지만, 낮은 인지도에 비하여 아주 준수한 성적을 거두었다. 

파이기의 말에 의하면 앤트맨은 단순히 페이즈 2의 마지막 영화가 아니라 마블 시네마틱 유니버스의 연결고리가 될 또 하나의 영화라고 한다.#

마블 시네마틱 유니버스/페이즈 2 영화 중에서 가장 적은 제작비(1억 3천만 달러)로 완성된 영화이자 흥행 추이도 낮은 편에 속한다. [5] 여기엔 디즈니가 별 미련이 없는지 그다지 적극적으로 마케팅하지 않은 것도 한 몫 한다. 하지만 전 세계에서 5억 달러 이상을 벌어들여 손익분기점인 3억 7천만 달러를 가뿐히 뛰어넘었기 때문에 속편 제작이 결정 되었다. 일단 알려진 제목은 《앤트맨과 와스프》로 북미 개봉일은 2018년 7월 6일이다.

2. 예고편[편집]

따봉
깨알같은 증기기관차 토마스 장난감

3. 등장인물[편집]


조연급 등장 인물에 대한 설명은 항목 참고.

4. 개봉 전 정보[편집]

  • 토르 시리즈에서 등장하기 시작한 에릭 셀빅 교수는 토르 1편에서 브루스 배너와 더불어 '쉴드를 상대해본 경험이 있는 동료 교수'라는 언급을 했는데 이 '교수'가 행크 핌 박사가 아니냐는 추측이 많이 돌았다. 그러나 이 이후로 어떤 언급도 없었기에 지켜봐야 할 상황.
  • 2014년 7월 24일 엔터테인먼트 위클리지에서 공개된 설정화 포스터
  • 테스트 영상 [15]
  • 1차 공개된 공식 트레일러인데... 개미 사이즈로 먼저 공개를 하였다. 링크 이후 본격적인 공식 트레일러가 공개되었다.
  • 영화의 프리퀄격 이야기인 프레류드 코믹스 <앤트맨 : 서곡(Ant-Man : Prelude)>이 나왔다. 내용은 과거 행크 핌이 젊었던 시절에 있었던 일이며 시기는 과거 독일이 동서로 분단되어있던 시절.
  • 해외 시사회에 따르면 오래간만에 쿠키 영상이 2개 있다고 한다.
  • 첫 번째 쿠키영상은 비교적 일찍 나오지만 두 번째 쿠키영상은 모든 크레딧이 끝난 후 나오므로 인내를 가지고 기다려야 한다. 다만 두 번째 쿠키영상이 매우 중요하다.
  • 추가 해외 시사회 평들.

4.1. 제작진 변동[편집]

4.1.1. 감독 하차[편집]

당초 이 작품의 감독은 《새벽의 황당한 저주》로 유명한 에드거 라이트였다. 라이트는 직접 각본을 써서 감독직에 자원하는 등의 열의를 보였지만, 2014년 5월 갑작스럽게 감독직에서 하차했는데, 마블 측과의 갈등이 원인이라는 듯. 라이트와 조 코니시가 쓴 초기 각본을 본 마블 측에서는 다른 MCU 작품과의 연동을 위해 각본을 수정하기를 요구했고, 라이트 측에서도 이를 받아들여 새로운 각본을 썼지만, 이 결과물도 마블 측은 탐탁치 않게 여겨 결국 프리 프로덕션 단계에서 빌런의 이름이 옐로우 재킷으로 바뀌었고, 자동차 추적씬은 폐기되었으며, 몇몇 캐릭터가 삭제되고 없어지기 시작하더니 데이브 캘러햄(익스펜더블)과 에릭 피어슨(에이전트 카터)이 새로 수정해서 쓴 대본을 읽은 라이트는 결국 앤트-맨 감독직에서 하차하게 된다. 그러니까 마블이 라이트에게 숨기고 그도 모르는 사이에 멋대로 대본을 변경한 게 아니라, "이 대본으로는 못하겠으니 다른 사람을 시켜 대본을 바꾸겠다"라고 라이트에게 미리 통보했고, 라이트도 알겠다고 인정하고 수정된 대본이 나오길 기다렸는데 그 결과물(캘러햄과 피어슨이 새로 수정해서 쓴 버전)을 본 라이트가 "이건 내가 만들고 싶던 그 앤트맨이 아니다"라고 때려친 것. 엠파이어 잡지의 앤트맨 특집기사 내용 요약 (번역)

이후 라이트 감독은 본인 트위터에 코미디언 버스터 키튼이 코르네토 아이스크림을 들고 있는 사진을 올렸는데,[16] 해당 사건에 대해 상심이 큰 듯하다.[17] 《어벤져스》의 조스 위던 감독도 자신의 트위터에 코르네토를 든 사진을 올려 라이트를 지지한다는 입장을 밝혔다. 해당 트윗은 라이트의 트위터에도 리트윗되어 있다. 현재 게시글이 삭제되었다.

사실 예전부터 잘 알려진 《인크레더블 헐크》의 에드워드 노튼 하차 건부터, 《아이언맨 2》에서 이반 반코 역의 미키 루크가 마블 스튜디오의 제작방식을 비판하는 인터뷰를 한 일이나,#, 《토르: 다크 월드》에서 초반에 감독으로 영입한 패티 젱키스가 의견 차이로 하차하자 마블 스튜디오를 비난한 나탈리 포트먼,# 음악 담당이였던 카터 버웰이 의견 차이로 하차하고, 앨런 테일러 감독의 경질 루머도 나오는 등 마블 영화들이 제작 과정에서의 마찰이 좀 잦긴 했다. 그러나 《앤트맨》 같은 경우 시네마틱 유니버스를 제처두더라도 에드거 라이트가 감독을 맡는다는 이유만으로 기대한 팬들이 많았기에 마블 스튜디오의 제작 방식에 대해 회의적인 의견을 갖는 팬들이 생겼다. 

그렇지만 마블 스튜디오에게만 잘못이 있는 것은 아니다. 본래 앤트맨은 2011년에 개봉하여, 《어벤져스》에 앤트맨과 와스프가 등장할 예정이었으나, 라이트가 개인 사정으로 다른 영화부터 찍어야 한다기에 무산되었다. 이 때문에 어벤져스 2의 울트론이 앤트맨과 관련이 없어진 것. 이 때문에 마블 측도 라이트의 각본을 원하지 않게 되고, 라이트도 자신이 원하던 앤트맨을 잃은 것이다. 그저 서로의 의견 차이로 무산된 것이다. 《캡틴 아메리카: 윈터 솔져》의 경우 마블 측이 요구한 것은 히드라 설정과 헬리캐리어 폭파씬이었고, 감독인 루소 형제는 마블 스튜디오의 제작 방식과 잘 맞아 속편인 《캡틴 아메리카: 시빌 워》와 더불어 조스 위던의 후임으로 《어벤져스: 인피니티 워》까지 찍게 되었다. 《앤트맨》이 독특한 케이스인 것이다. 하지만 개봉일이 얼마 안 남은 시점에서의 이런 불협화음은 좋다고 볼 수는 없어서, 《앤트맨》이 잘 나올 수 있는지에 관심이 집중되고 있다.[18] 

라이트를 대신하여 감독 자리에는 《다운 위드 러브》, 《예스맨》 등 코미디 영화를 주로 연출했던 페이턴 리드가 앉게 되었으며, 리드 이전에 감독을 제의받았던 애덤 매케이는 각본을 담당하게 되었다. 리드라는 감독의 전작들로 미루어 영화의 방향성이 흔한 할리우드 전개로 흐르지 않을까 하는 팬들의 우려가 있었다. 하지만 케빈 파이기는 리드를 상당히 맘에 들어하는 한편 이미 라이트가 해놓은 작업이 많으므로 이를 충실히 반영할 것이라고 한다. 립서비스일 가능성이 높다 생각되었으나 이후 개봉한 영화의 연출면에서 에드가 라이트의 느낌이 의외로 많이 드러난다.그리고 엔딩크레딧에서 각본을 짠 사람으로 에드가 라이트 & 페이턴 리드 라고 뜬다. 

4.1.2. 배우 하차[편집]

2014년 7월 26일, 출연이 예정돼 있던 패트릭 월슨, 맷 제럴드, 케빈 와이즈먼이 작품에서 하차 하였다.# 제럴드[19]와 와이즈먼은 캐릭터가 각본의 새 버전에서 제거되었기 때문에, 월슨은 일정이 안 맞았기 때문에 하차한다고 밝혔다.

5. 개봉 후 정보[편집]

6. 줄거리[편집]

7. 평가[편집]

"사실 마블 영화중에서 가장 망하기 쉬운 앤트맨을 가져다가 좋은 영화를 뽑아낸 감독과 각본가, 그리고 마블 스튜디오에 경의를 표할 따름이다" - Cinema snob

로튼토마토에서 처음 비평가들이 매긴 신선도가 공개되었을 때는 67%로 신선한 토마토이긴 했지만 마블 2단계 영화 중에서 가장 낮은 수치였다.메타크리틱에서 평론가들의 평점은 100점 만점에 64점이란 준수한 성적을 받았으며, 호평을 뜻하는 초록불 영역에 들어섰다. 그리고 메타크리틱에서 유저 평점은 10점 만점에 8.1점이다. 애초에 기대치가 상당히 낮은 상태였던 터라 많은 이들이 당연히 본작이 부진할 거라 예상했다. 또한 교체된 제작진 역시 코미디 장르에서 주로 활동하던 이들이고, 에드가 라이트 감독만큼 실력을 검증받은 이들이 아니었던 터라 많은 팬들의 불신이 강했다. 

그러나 개봉 이후 상황은 달라졌다. 로튼토마토에서 평론가들이 매긴 신선도는 80%까지 상승했고[20], 당연히 로튼토마토에서 훌륭한 작품이라는 걸 인증하는 '보증된 신선 마크' 등급도 받았다. 그리고 로튼토마토에서 241명의 평론가들이 매긴 평점은 10점 만점에 6.8점이란 괜찮은 점수를 기록했다. 또 로튼토마토에 따르면 본작은 "폴 러드가 이끄는 매력적인 극화, 마블의 스릴을 더 작은 크기로 성공적으로 선사하나 이전에 대부분 성공적이었던 작품들만큼 부드럽게 전달하지는 못한다."로 평론가들의 평은 일치한다. 그리고 로튼토마토에서 14만명이 넘는 유저들이 매긴 신선도는 89%로 관객들에게 열렬한 지지를 얻는 데도 성공했다. 로튼토마토에서 유저들이 매긴 평점은 5점 만점에 4.1점으로 매우 높은 편이다.IMDB에서도 10점 만점에 7.7점을 기록하고 있다. 그리고 시네마스코어에서도 A라는 좋은 점수를 받았다. 

코미디가 마블 영화에서 가장 잘나온 작품이라는 평이 많다. 중요한 상황에서 흐름을 끊어먹는 불편한 코미디가 아니라 영리하게 배치를 잘해서 관객들이 지루하지 않게 잘 짜였다. 자칫 지루해지기 쉬운 설명에서도 적절히 코미디를 배치해서 흐름을 좋게 넘어가고, 작아졌다 커졌다하는 앤트맨의 전투도 종종 현실적인 시점으로 배치해서 색다른 즐거움을 준다. 특히 후반부 전투는 박물관이 살아있다처럼 앤트맨과 옐로재킷의 축소화 능력을 응용한 코미디 요소가 많이 들어가 있어서 긴장감이 넘치면서도 꽤나 유쾌하다.

MCU에 등장한 히어로 중 첫 전과자이자 예고편에서 보여준 패기 때문인지 주인공인 스콧 랭이 토니 스타크 이상으로 능글맞은 캐릭터라고 예상한 사람들이 많았다. 하지만 안티 히어로처럼 그려지는 토니 스타크와는 달리 스콧은 의적 비슷한 활동 때문에 감옥에 들어갔던 것인 데다가 히어로가 되기 전부터 이미 개심을 결심한 상태인지라 도덕적이고 반듯하며 선량한 캐릭터라고 할 수 있다. 따라서 토니 스타크보다는 스티브 로저스에 가까운 캐릭터, 혹은 그 둘 사이 중간에 있는 캐릭터라고 볼 수 있다.

또 역대 마블 영화 중 가족 영화에 가장 적합하다고 할 수 있는 작품으로 주인공인 스콧부터가 원작대로 하나뿐인 딸인 캐시를 위해 제대로 살고자 하는 바람직한 가장이며, 서로 서먹한 부녀 지간이었던 행크와 호프가 서로 관계를 회복하는 과정이 영화 내에서 중요한 플롯 중 하나이다. 혈연 관계도 아니고 인종부터가 다르지만 스콧과 루이스를 포함한 좀도둑 3인방이 단순히 친한 동료 사이를 넘어서 유사 가족 관계로 그려지기도 한다. 그리고 가족 영화로 포지셔닝했기 때문인지 액션 장면도 다른 마블 영화들에 비해 덜 폭력적이고 자극적이지 않아서 어린 아이들과 함께 봐도 부담이 적다.대런이 핌 입자로 암살한 이사가 순식간에 핏덩이가 되는 건 어린애들한테 충격일 수 있지만그리고 크기를 자유자재로 조절할 수 있는 앤트맨의 능력, 개미를 조종하는 만화 같은 설정 덕에 액션 신이 아기자기하며 다른 몸집 큰 히어로 영화들과는 색다른 재미를 선사한다. 또한 크기를 마음대로 바꾸는 다채로운 앤트맨의 액션을 상당히 잘 활용하여 구성하였으며, 그 덕에 다른 히어로 영화들에선 보기 힘든 전개를 선보이기도 한다. 

그리고 복잡하고 전편보다 다소 무거워진 플롯과 너무 많은 떡밥을 다뤄서 일반 관객의 진입장벽을 높였다는 평을 들은 《어벤져스: 에이지 오브 울트론》와는 달리 어벤져스와 연계가 되긴 하지만 짧게만 언급되고 오직 '앤트맨'에만 초점을 맞춰서 MCU에 대해 전혀 모르는 일반 관객들도 부담 없이 따라가기 쉬워진 단순해진 스토리텔링은 호평을 받았다. MCU가 점점 복잡하고 어려워지는 세계관을 선보이면서 일부에선 지나치게 마니악해졌다는 비판을 받고 있는 상황에 본작처럼 쉽고 유연한 영화가 나왔다는 것은 반가운 일이다. 

하지만 그만큼 영화가 소박해서 일부에선 '영화에서 벌어지는 사건이 과연 영웅이 개입할 필요가 있을만큼 크고 중요한 사건인가?'라는 의심을 받기도 한다. 여기에는 주요 사건 관계자들이 전부 1대 앤트맨인 행크 핌의 친인척들이라 더 그렇게 보이는 것도 있다. 또 MCU 영화들에 공통적으로 지적되는 문제점 중 하나인 '너무 쉽게 리타이어하는 빌런' 문제는 본작 역시 피해가지 못했다. 본작의 메인 빌런인 대런 크로스는 극중 내내 빌런으로서 별로 인상적인 활약을 보여주지 못하고 다소 싱겁게 퇴장한다. 히어로의 기원이나 스토리는 꽤 신경 써서 풀어나가는 반면, 악당은 아무리 일회용이라지만 소홀히 다루고 소모적으로 쓰는 건 본작 뿐만이 아니라 마블 영화의 대표적인 고질병이다.

8. 흥행[편집]

마블 2단계 영화 중 가장 적은 제작비로 완성된 영화로 공식적인 제작비는 2010년대 히어로물 중에서도 적은 편에 속하는 1억 3천만 달러이다. 또 박스오피스닷컴에 따르면 제작 외적인 비용까지 포함한 총 제작비는 1억 8500만 달러이다. 

영화를 완성하기까지의 들어간 제작비뿐만이 아니라 마케팅이나 인건비 등 제작 외적인 비용도 만만찮게 높아져서 흥행 성패 여부에는 이 비용 역시 고려하지 않을 수가 없게 됐다. 영화의 창구가 다양해진 뒤로 2차 시장에서도 영화의 손실이 생기더라도 채울 수 있게 됐지만 여전히 영화의 절대적인 흥행 기준은 극장에서의 흥행 여부이다. 그리고 영화를 극장에서 개봉하기까지 드는 각종 부대 비용도 무시할 수 없으므로 영화의 실질적인 흥행 여부를 판단하기 위해서는 총 제작비 대비로 손익분기점을 판단하는 게 타당하다. 또다른 박스오피스 전문사이트인 박스오피스모조에서는 순제작비를 주로 공개하는데(아예 공개가 안 된 작품들도 많다) 이 역시 정확한 제작비라기보단 추정치라 이 금액이 확실하다고는 할 수 없다. [21]

여하튼 본작의 성패 여부가 달린 손익분기점은 일반적으로 제작비의 2배이므로 순 제작비 기준으로는 2억 6천만 달러, 총 제작비 기준으로는 3억 7천만 달러이다. 그 뒤로 개봉 3주만에 전세계 흥행 총 수익으로 2억 9165만 달러를 벌어들임으로서 순 제작비 기준으로 손익분기점을 돌파한데 이어 총 제작비 기준으로도 손익분기점을 넘기는데에 성공했다. 낮은 인지도도 있고 제작 과정에서 유독 여러 우여곡절을 겪는 등 잡음이 많은 작품이어서 그런지 마블 시네마틱 유니버스 영화들 가운데서는 다소 낮은 흥행세를 보였으나 기존 마블 영화들이 준 신뢰 덕분에 기본 이상은 충분히 해주었다. 또한 중국에서만 1억 달러에 이르는 매출액을 벌어들이며 역대 마블 시네마틱 유니버스 중에서 9번째로 총 수익이 5억 달러를 돌파한 영화가 되었다.

8.1. 한국[편집]

믿고보는 마블이란 말이 나올 만큼 좋은 예매율을 보여주고있다. 갑툭튀한 단독개봉 애니메이션이 잠깐(9.1.~9.2.) 1위를 차지했던 메가박스를 제외한 모든 극장 체인에서 50%가 넘는 압도적인 예매율로 기대를 모으는 중이다. 사실 앤트맨 그 자체는 한국 내에선 인식 자체가 너무 마이너하고, 본디 7월 개봉작이었지만 쟁쟁한 경쟁작들 때문인지 9월로 물러나는 등 매우 아슬아슬 했다. 하지만 새옹지마인지 8월에 핵폐기물이 개봉(...)해서 눈갱을 호소하는 사람들이 이 영화에 큰 기대를 품고 영화관에 가 기대충족 겸 안구정화 하여 오히려 "판타스틱 포보다 낫다!" 라는 여론이 형성돼 좋은 반응을 이끌어낸 면도 한 몫 했다고 볼 수 있다.감히 핵폐기물과 앤트맨을 비교하다니

2014년에 개봉했던 《가디언즈 오브 갤럭시》의 선례를 보고 배워 여름 시장을 피하고 9월에 개봉한 게 결정적으로 신의 한 수가 되었다. 개봉일부터 4주 연속 박스오피스 1위를 차지하며 군림하고 있던 《베테랑》을 몰아내고 1위로 데뷔했다. 그리고 꾸준히 1위를 지켜 개봉 첫 주 박스오피스 1위로 첫 등장했다. 역대 마블 시네마틱 유니버스 영화 시리즈들 중 1편에 해당하는 작품들 중에서 가장 높은 기록을 세웠다. 관객 수로만 따지면 《아이언맨 1》이 역대 MCU 중 오리지널 영화로는 가장 좋은 개봉 기록을 갖고 있으나 매출액 기준으로는 본작이 《아이언맨》보다 많은 금액을 벌어들이며 개봉했다. 개봉 첫 주에 전국 946개관에서 1만 9936회 상영되었는데 130만 9350명의 관객을 불러모으며 111억 666만 2700원을 벌었다. 정식 개봉 전에 관람한 관객 수까지 포함해 개봉 첫 주에 총 누적 관객 수는 131만 1128명이다. 

2주차에도 좋은 흥행 추이를 유지해서 2주 연속으로 박스오피스 1위를 차지했다. 2주차에는 전국 894개관에서 3만 2711회 상영되었는데 전주보다 19.1% 감소한 106만 1649명을 불러모았고, 전주보다 21.3% 감소한 87억 4569만 1655원을 벌었다. 그래서 2주차까지 누적 관객 수는 237만 6160명이며, 누적 매출액은 198억 8059만 3855원이다. 《캡틴 아메리카: 윈터 솔져》와 《토르: 다크 월드》보다 훨씬 더 빨리 200만 관객을 돌파했다.

3주차에는 《사도》와 《메이즈 러너: 스코치 트라이얼》의 공세로 꽤나 큰 타격을 받았다. 위에서 언급한 영화 두 편이 사실상 극장가를 양분해서 생긴 일이다. 그리고 전주보다 2단계 하락한 박스오피스 3위를 차지했다. 3주차에는 전국 800개관에서 1만 5631회 상영되어 전주보다 67.9% 하락한 32만 1961명을 불러모았고, 전주보다 70.9% 하락한 25억 4156만 6782원을 벌었다. 그리고 3주차까지 누적 관객 수는 269만 8109명이고, 총 매출액은 224억 2205만 1637원이다. 하락폭이 갑자기 너무 커져서 관객 3백만명 돌파 여부가 불투명해졌다. 

4주차에는 《탐정: 더 비기닝》, 《인턴》, 《서부전선》 등의 참전으로 인해 폭락했다. 《사도》와 《메이즈 러너》에 계속되는 양강 구도 속 신작들의 혼전으로 인해 급격히 뒷심을 잃었다. 4주차엔 전국 374개관에서 4997회 상영되어 전주보다 71.6% 감소한 9만 1353명을 불러모았고, 전주보다 72.1%나 줄어든 7억 899만 3900원을 벌었다. 그리고 주간 박스오피스에선 전주보다 5단계 떨어진 8위를, 주말 박스오피스에선 6단계나 하락한 9위를 차지했다. 4주차까지 총 관객 수는 278만 9456명이고, 총 매출액은 231억 3099만 8537원이다. 더 이상 10위권에 버티는 게 어려워졌기 때문에 아쉽게도 3백만 관객 달성은 어려울 듯 하다.

5주차에는 주말 박스오피스에선 10위권에서 벗어났지만 평일 기록을 합산한 주간 박스오피스에서는 10위를 차지해 용케도 10위권에 걸쳐 살아남았다. 5주차에는 흥행세가 거의 막바지에 다다라 전국 137개관에서 1007회 상영되었으며 전주보다 45.8% 줄어든 4만 9482명을 불러모았고, 전주보다 46.7% 감소한 3억 7798만 300원을 벌었다. 그래서 5주차까지 총 관객수는 283만 8938명이며, 총 누적 매출액은 235억 897만 8837원이다.

8.2. 북미[편집]

에드거 라이트의 감독 하차 등으로 인해 본작은 개봉 전부터 구설수에 많이 올랐던 상태라 다른 마블 영화에 비해 기대치가 많이 낮은 상태였다. 박스오피스닷컴의 처음 개봉 예상 성적은 6천만 달러에 불과했는데 이는 마블 2단계 영화들 중 가장 낮은 개봉 예상치였다. 그런데 개봉일이 다가오면서 조금씩 반응이 공개되자 분위기는 역전되기 시작했다. 평론가와 관객들의 반응은 생각보다 긍정적이었고 그 덕분인지 북미에서 개봉 전날인 7월 16일에 640만 달러를 벌어들이며 예상보다 훨씬 좋은 성적으로 출발했다. 이는 2013년에 《더 울버린》이 개봉 전날에 벌어들인 4백만 달러보다 훨씬 더 많은 금액이며, 본작 개봉 전주에 박스오피스 1위를 차지한 《미니언즈》가 개봉 전날에 벌어들인 620만 달러보다도 많은 액수이다. 그리고 디즈니에 따르면 3D와 아이맥스 관을 통해 얻은 수익은 전체의 48%였으며, 아이맥스로만 얻은 수입은 전체의 16%에 해당했다. 그리고 강력한 경쟁작인 《미니언즈》를 물리치고 박스오피스 1위로 등장했다. 그러나 애초에 낮은 인지도와 기대치를 반전시키기는 어려웠던지 드러난 개봉 첫 주말 성적은 5722만 5526달러로 6천만 달러에서 6500만 달러에 이를 것이란 예상치보다 낮은 성적을 거뒀다. 북미 전역 3856개관에서 개봉했는데 한 개관당 평균 1만 4841달러를 벌었다. 이는 《인크레더블 헐크》가 기록한 1만 5810달러와 《캡틴 아메리카: 퍼스트 어벤져》가 기록한 1만 7512달러보다 약간 적은 금액이다. 개봉일인 금요일에는 2265만 달러를 벌었으며, 토요일에는 그보다 14% 하락한 1946만 달러를, 일요일에는 22% 하락한 1511만 달러를 벌었다. 그리고 본작의 개봉 성적은 역대 12편의 마블 시네마틱 유니버스 영화 중 두 번째로 낮은 개봉 성적[22]이다. 북미에서는 전체 관객 중에 58%가 남성이었으며, 또 전체 관객 중 55%가 25세 이하였다. 또 28%가 가족 관객이었는데 이는 가족 관객 비중이 22%였던 《어벤져스: 에이지 오브 울트론》보다 약간 더 높은 수치이다. 

개봉 2주차에는 월요일까지 1위를 지키다가 화요일부터는 《미니언즈》에게 역전 당해 2위로 하락하는 굴욕을 맛보았다. 그리고 《픽셀》이 개봉한 금요일에는 3위까지 떨어졌다가 주말에 《픽셀》이 무너지고, 《미니언즈》도 큰 폭으로 하락해 가까스로 다시 1위를 수성했다. 결과적으로 주말에는 2주 연속으로 1위를 차지하는 쾌거를 거두었다. 2주차에는 전주보다 12개관이 늘어난 북미 전역 3868개관에서 상영되었는데 한 개관당 평균 6440달러를 벌며 주말 동안 전주보다 56.5% 하락한 2490만 9332달러를 벌어서 2주차까지 북미 누적 매출액이 1억 621만 9861달러가 되었다. 이는 개봉 후 10일 동안 9706만 달러를 번 《인크레더블 헐크》(2주차에 57%의 하락율을 보이며 2214만 달러를 벌었다)보다 9% 많고 개봉 후 10일 동안 1억 1742만 달러를 번 《캡틴 아메리카: 퍼스트 어벤져》(2주차에 61%의 하락율을 보이며 2555만 달러를 벌었다)보다는 9.5% 낮은 기록이다. 개봉 10일 만에 북미 누적 매출액이 1억 달러를 돌파했지만 북미에서는 여전히 예상치보다 낮은 흥행 추이를 보이고 있다. [23] 다만 7월 말 발생한 총기난사 사건 여파가 있었음은 감안해야 할 듯.

개봉 3주차에는 화요일까지 1위를 수성하다 수요일엔 새로 개봉한 코미디 영화 《베케이션》에게 밀려 2위로 하락했으며, 목요일에는 《미니언즈》가 도로 1위로 반등했지만 2위를 유지했다. 그러다 금요일에 《미션 임파서블: 로그 네이션》이 개봉하고 그대로 주저앉나 싶던 《베케이션》이 다시 치고 올라오면서 3주차 주말에는 전주보다 2단계 하락한 박스오피스 3위를 차지했다. 3주차에 북미에서는 전주보다 546개관이 줄어든 3322개관에서 상영되었으며 한 개관당 평균적으로 3854달러를 벌었다. 주말에는 전주보다 48.6% 하락한 1280만 2644달러를 벌었으며 3주차까지 누적된 북미 누적 매출액은 1억 3233만 1563달러로 이는 개봉 17일 동안 1억 4320만 달러를 벌었던 《캡틴 아메리카: 퍼스트 어벤져》보다 8% 적은 금액이다. 

개봉 4주차에는 평일에는 3위권을 유지하다가 《판타스틱 포》, 《더 기프트》 등 신작들의 공세에 주말에는 전주보다 2단계 하락한 박스오피스 5위를 차지했다. 4주차에 북미에서는 전주보다 412개관이 줄어든 2910개관에서 상영되었으며 한 개관당 평균 2719달러를 벌었다. 그리고 주말에는 전주보다 38.2% 하락한 791만 1445달러를 벌었다. 그리고 4주차까지 벌어들인 북미 누적 매출액은 1억 4752만 1991달러이다. 그리고 이는 개봉 후 24일동안 1억 5697만 달러를 벌었던 《퍼스트 어벤저》보다 6% 적은 금액이다. 

개봉 5주차에는 평일에는 5위권을 지키다가 주말에는 유니버설 픽처스의 신작 전기 영화 《스트레이트 아웃 오브 컴턴》, 워너 브라더스의 액션 영화 《맨 프롬 엉클》 등의 개봉으로 인해 주말에는 전주보다 1단계 하락한 박스오피스 6위를 기록했다. 5주차에 북미에서는 전주보다 604개관이 줄어든 2306개관에서 상영하였으며 주말 동안 전주보다 30.6% 감소한 549만 3417달러를 벌었으며 한 개관당 평균 2382달러를 벌었다. 그리고 개봉 5주차까지 벌어들인 북미 누적 매출액은 1억 5754만 3670달러이다. 

개봉 6주차에 북미에서는 계속된 《스트레이트 아웃 오브 컴턴》과 《미션 임파서블》의 강세에 저예산 호러 영화인 《살인소설 2》, 동명의 유명 비디오 게임을 원작으로 삼은 스파이 액션 영화 《히트맨: 에이전트 47》 등 신작들의 개봉까지 더해져 박스오피스에서 전주보다 2단계 하락한 8위를 차지했다. 6주차에는 전주보다 290개관이 줄어든 2016개관에서 상영되었으며 주말 동안 전주보다 26.2% 감소한 405만 5465달러를 벌었으며 한 개관당 평균 2012달러를 벌었다. 그래서 개봉 6주차까지 누적된 북미 매출액은 1억 6449만 1835달러이다. 

개봉 7주차에 북미에서는 기존 상영작들에 소니 픽처스의 신작인 드라마 영화 《워룸》, 웨인스타인 컴퍼니의 신작인 액션 영화 《노 이스케이프》의 가세가 벌어졌지만 신작들 중 다수가 힘을 못 쓰고 금방 떨어져나가 전주와 동일하게 박스오피스 8위를 유지함으로 박스오피스 10위권 안에서 살아남았다. 7주차에는 전주보다 326개관이 줄어든 1690개관에서 상영되었으며 한 개관당 평균 1818달러를 벌어들이면서 주말 동안 전주보다 24.2% 줄어든 307만 3116달러를 벌었다. 그래서 개봉 7주차까지 북미에서 누적된 매출액은 1억 6920만 5642달러가 되었다.

8.3. 해외[편집]

북미와 하루 차이로 전체 개봉 예정 국가의 절반 가량 되는 해외 37개국에서 개봉했는데 5640만 달러를 벌어들이면서 해외 박스오피스 4위로 데뷔했다. 이는 《토르: 천둥의 신》보다는 23% 많고, 《퍼스트 어벤저》보다는 44% 많은 금액이다. 영국과 아일랜드에서 6백만 달러를 벌어들이며 해외 국가 중 가장 많은 금액을 벌어들이며 1위로 데뷔했는데, 이는 《퍼스트 어벤져》보다 23% 많은 금액이다. 그리고 멕시코에서는 《가디언즈 오브 갤럭시》과 같은 수준의 560만 달러를 벌었는데 2위로 데뷔했다. 러시아에서는 《캡틴 아메리카: 윈터 솔져》와 같은 490만 달러를 벌며 등장했다. 프랑스에서는 7월 14일 화요일에 개봉해서 프랑스 혁명 기념일 동안 《퍼스트 어벤저》보다 53% 많은 4백만 달러를 벌었다. 오스트레일리아에서는 《인사이드 아웃》을 밀어내고 4백만 달러를 벌며 1위로 등장했고, 브라질에선 380만 달러를 벌어들이며 1위로 첫 등장했다. 그 외에 대만에서 370만 달러를, 말레이시아에서 280만 달러를, 필리핀에서 270만 달러를, 태국에서 260만 달러를, 아르헨티나에서 110만 달러를 벌었다. 그리고 개봉 1주차에 북미 매출액까지 합친 총 매출액은 1억 1362만 5526달러이다. 

개봉 2주차에 해외에서는 11개국에서 추가 개봉했는데 따라서 북미를 제외한 49개국에서 주말 동안 전주보다 37% 하락한 3540만 달러를 벌었다. 전 세계 박스오피스에서는 전주보다 1단계 상승한 3위를 차지했다. 그리고 2주차까지 누적된 해외 매출액은 1억 2040만 달러이다. 새로 개봉한 국가인 독일과 스페인에선 3위로 데뷔했다. 스페인에선 《픽셀》과 《인사이드 아웃》에 이어서 3위로 데뷔했고, 독일에선 《미니언즈》와 《매직 마이크XXL》에 이은 3위로 데뷔했다. 영국과 아일랜드에선 전주보다 42%라는 낙폭을 보이며 강세를 유지했고 2주차까지 총 1470만 달러를 벌었다. 대만에선 불과 17%라는 하락율을 보이며 총 810만 달러를, 홍콩에선 33%란 하락율을 보이며 510만 달러를 벌었는데, 이 두 국가에서 개봉 11일 만에 《가디언즈 오브 갤럭시》의 흥행 성적을 추월했다. 그리고 개봉 2주차에 북미 매출액까지 합친 총 금액은 2억 2661만 9861달러이다.

개봉 3주차에 해외에서는 북미를 제외한 50개국에서 상영되었으며 주말동안 전주보다 44% 하락한 2천만 달러를 벌며 전주보다 1단계 하락한 전 세계 박스오피스 4위를 차지했다. 3주차에 추가적으로 개봉한 국가는 레바논과 남아프리카뿐이었다. 그리고 3주차까지 본작의 해외 누적 매출액은 1억 5950만 달러가 되었다. 유럽에서 강세를 유지했다. 특히 프랑스에선 29%, 스페인에선 36%, 독일에선 39%라는 좋은 낙폭을 보였다. 누적 매출액이 높은 국가를 순서대로 살펴보면 영국과 아일랜드에서 1990만 달러를, 멕시코에서 1320만 달러를, 브라질에서 1090만 달러를, 러시아에서 1050만 달러를, 프랑스에서 970만 달러를, 대만에서 940만 달러를, 호주에서 930만 달러를 벌었다. 그리고 개봉 3주차까지 북미 매출액까지 합친 총 금액은 2억 9183만 1563달러이다. 

개봉 4주차에 해외에서는 추가 개봉국 없이 50개국에서 주말 동안 전주보다 54% 감소한 약 920만 달러를 벌었다. 그리고 전 세계 박스오피스에선 전주보다 4단계 하락한 8위를 기록하며 벌써부터 힘 빠지는 모습을 보였다. 그리고 4주차까지 누적된 해외 매출액은 1억 7890만 달러이다. 프랑스와 독일에서 각각 39%, 45%라는 좋은 작폭을 보였다. 그리고 해외 매출액이 높은 국가들을 순서대로 살펴보면 영국과 아일랜드에서 2240만 달러를, 멕시코에서 1410만 달러를, 브라질에서 1210만 달러를, 프랑스에서 1130만 달러를, 러시아에서 110만 달러를, 대만에서 1050만 달러를, 호주에선 1020만 달러를, 홍콩에선 670만 달러를, 말레이시아에서 660만 달러를, 필리핀에선 530만 달러를 벌었다. 이탈리아에서 8월 12일에 개봉했고, 한국에선 9월 3일, 일본에선 9월 19일에 개봉한다. 개봉 4주차까지 북미 매출액까지 합친 총 액수는 3억 2642만 1991달러로 손익분기점은 무난히 넘길 것으로 보인다. 

개봉 5주차에 해외에서는 북미를 제외한 51개국에서 주말 동안 전주보다 39% 하락한 560만 달러를 벌었다. 또 전 세계 박스오피스에서는 전주보다 2단계 하락한 10위를 차지했다. 그리고 5주차까지 누적된 해외 매출액은 1억 8950만 달러이다. 5주차에 추가 개봉 국가는 이탈리아 뿐이었으며 220만 달러를 벌었다. 그리고 호주에선 낙폭율이 35%, 멕시코에서 28%, 프랑스에서는 38%, 영국과 아일랜드와 독일에서는 41%, 스페인에서는 44%를 보이며 잘 버텼다. 개봉 5주차까지 북미 매출액까지 합쳐서 전 세계에서 벌어들인 총 금액은 3억 4704만 3670달러이다. 

개봉 6주차에도 추가 개봉국 없이 북미를 제외한 51개국에서 상영되었는데 주말 동안 전주보다 48% 감소한 290만 달러를 벌었다. 그리고 전 세계 박스오피스에서는 전주보다 2단계 하락한 12위를 차지했다. 그리고 6주차까지 누적된 해외 매출액은 1억 9650만 달러이다. 여전히 마블 시네마틱 유니버스 영화 중 2번째로 낮은 흥행세를 보이고 있으며, 전 세계에서 총 2억 6340만 달러를 벌었던 《인크레더블 헐크》의 누계 성적은 뛰어 넘었으나 《캡틴 아메리카: 퍼스트 어벤져》보다는 여전히 적은 흥행 성적을 기록하고 있다. 같은 디즈니 영화인(물론 배급사만 같고 제작사는 다르지만) 《인사이드 아웃》과 마찬가지로 여전히 중국 개봉일이 정해지지 않은 상태이다. 그리고 개봉 6주차까지 북미 매출액까지 포함한 전 세계에서 벌어들인 총 매출액은 3억 6099만 1835달러로 손익분기점에 거의 다다랐다. 

개봉 7주차에 해외에서는 여전히 추가로 개봉한 국가가 없어 매출액이 크게 줄어 주말 동안 150만 달러를 벌었으며, 7주차까지 누적된 해외 매출액이 1억 9980만 달러가 되었다. 그리고 7주차까지 북미 매출액까지 포함한 총 매출액은 3억 6900만 5642달러이다. 

개봉 8주차에 해외에서는 한국에서만 목요일에 개봉하여 920만 달러나 벌어들이며 한국에서 개봉한 역대 마블 시네마틱 유니버스 영화 시리즈들의 1편 중 가장 높은 성적을 거두며 데뷔했다. 주말 동안 북미를 제외한 35개국에서 천만 달러를 벌어들이며 박스오피스 4위를 차지했으며, 8주차까지 누적된 해외 매출액은 2억 1050만 달러이다. 그리고 북미에서 8주차까지 쌓은 누적 매출액 1억 7407만 1653달러와 함친 총 매출액은 3억 8457만 1653달러로 마침내 손익분기점을 통과했다. 

개봉 9주차에 해외에서는 주말에 510만 달러를 벌어들이며 전주보다 1단계 하락한 전 세계 박스오피스 5위를 차지했다. 9주차까지 누적된 해외 매출엑은 2억 1860만 달러이다. 한국에선 전주보다 겨우 39% 감소한 460만 달러를 벌어들이며 2주 연속 1위를 차지했고, 개봉 후 11일 동안 1670만 달러를 벌었다. 일본과 그리스에서 이번 주말에 개봉하며, 중국 개봉일이 드디어 확정 되었는데 10월 16일이다. 북미에서 9주차까지 얻은 매출액인 1억 7618만 5038달러를 합친 총 매출액은 3억 9478만 5038달러이다. 

개봉 10주차에 해외에서는 북미를 제외한 11개국에서 전주보다 37% 감소한 320만 달러를 벌면서 전주보다 2단계 하락한 박스오피스 7위를 차지했다. 10주차까지 누적된 해외 매출액은 2억 2380만 달러이다. 일본에서는 자국 영화 2편에 이어 3위로 아쉽게 데뷔했는데 개봉 2일동안 170만 달러를 벌었다. 이는 《캡틴 아메리카: 윈터 솔져》와 《토르: 다크 월드》의 개봉 성적보다 훨씬 높은 것이다. 북미에서 10주차까지 얻은 매출액인 1억 7757만 3831달러를 합친 총 매출액은 4억 137만 3831달러로 드디어 4억 달러의 문턱을 넘었다. 

개봉 11주차에 해외에서는 북미를 제외한 11개국에서 주말 동안 150만 달러를 벌어서 전 세계 박스오피스에서 전주보다 2단게 하락한 9위를 차지했다. 11주차까지 누적된 해외 매출액은 2억 2850만 달러로 이제 중국 개봉(10월 16일)만이 남았다. 누적 매출액이 높은 국가들은 영국(2540만 달러), 한국(1940만 달러), 그리고 멕시코(1510만 달러)이다. 북미에서 11주차까지 얻은 누적 매출액인 1억 7823만 2259달러를 합쳐 총 4억 673만 2259달러를 벌었다. 

개봉 12주차에 해외에서는 전 세계 박스오피스 10위권에서 벗어났다. 일본에서는 2주 연속 3위를 차지하다가 새로 개봉한 일본 영화 《바쿠만》이 개봉한 관계로, 《히로인 실격》, 《진격의 거인 part2》에 이어 전주보다 1단계 하락한 4위를 차지했다. 그리고 12주차까지 누적된 해외 매출액은 2억 3100만 달러이며, 북미에서 12주차까지 얻은 매출액인 1억 7848만 2965달러를 합쳐 총 4억 948만 2965달러를 벌었다. 

그 뒤로 잠잠하더니만 10월 16일에 중국에서 개봉하고 1위로 데뷔하며 제대로 잭팟을 터뜨렸다!! 중국에서 주말 동안 약 4270만 달러(디즈니에 따르면 4320만 달러)를 벌어들이며 개봉 이래 최초로 전 세계 박스오피스 1위를 차지했다! 오오 중국 오오 역시 흥행 치트키 참고로 전 세계 박스오피스 1위는 같은 배급사의 전작인 《인사이드 아웃》이 단 한 번도 달성해보지 못한 일이다. 또 개봉 3일간 6800만 달러를 벌었던 《어벤져스: 에이지 오브 울트론》 다음으로 중국에서 역대 마블 시네마틱 유니버스 영화 중 2번째로 높은 개봉 3일간 성적을 거뒀다. 그리고 《가디언즈 오브 갤럭시》가 중국에서 벌었던 개봉 수익보다 41% 더 높은 성적을 기록했다. 그리고 중국에 있는 아이맥스 236개관에서 510만 달러를 벌어들이며 중국에서 역대 가장 높은 10월 아이맥스 개봉 성적을 달성했다. 그래서 중국에서 이런 호조를 딛고 개봉 14주차까지 벌어들인 해외 매출액은 2억 7590만 달러이며, 14주차까지 북미 누적 매출액인 1억 7875만 3293달러를 합친 총 매출액은 4억 5465만 3293달러로 순식간에 4억 5천만 달러를 넘었다. 

개봉 15주차에 해외에서는 북미를 제외한 2개국에서 상영되었으며 여전히 중국에서 흥행세를 이어나갔다. 중국에서만 전주보다 48% 감소한 주말에 2190만 달러를 벌면서 2주 연속 박스오피스 1위를 차지했다. 그리고 전 세계 박스오피스에선 《마션》, 《몬스터 호텔2》, 《파라노말 액티비티: 고스트 디멘션》, 《라스트 위치헌터》에 이어 5위를 차지했다. 중국에서 개봉 10일간 8180만 달러를 벌어들였으며 《가디언즈 오브 갤럭시》 이후로 중국에서 역대 2번째로 가장 많은 돈을 번 마블 시네마틱 유니버스 오리지널 영화가 되었다. 그리고 15주차까지 누적된 해외 매출액은 3억 1480만 달러이다. 15주차까지 북미 누적 매출액인 1억 7901만 7481달러를 합쳐 총 4억 9381만 7481달러를 벌었는데, 어느 새 5억 달러까지 다다랐다. 

개봉 16주차에 해외에서는 여전히 북미를 포함해 3개국에서 상영되었으며 대다수는 중국에서 매출액을 거두었다. 주말 동안 1100만 달러(일주일 동안 총 1114만 8천 달러)를 벌어들이며 박스오피스 9위를 차지했다. 중국에서 개봉 17일 동안 1억 147만 달러를 벌었는데 루한이 주연을 맡은 한국 영화 《블라인드》의 리메이크 작품인 《나는 증인이다》에 밀려나 박스오피스 2위를 차지했다. 16주차까지 누적된 해외 매출액은 3억 3450만 달러로, 북미 누적 매출액인 1억 7926만 7303달러를 합쳐 총 5억 1376만 7303달러를 벌며 5억 달러를 돌파했다. 

9. 기타[편집]

  • 영화 최후반부에 팔콘과 여기자가 대화할 때 여기자가 "We have a guy who can jump. A guy who can swing. A guy who can crawl up walls.(점프해서 다닐 수 있고, 매달려 날아다니며, 벽을 기어갈 수 있는 사람)"라고 말하며 더 정확하게 누굴 찾는지 물어본다. 팬들은 이 대사가 스파이더맨을 암시하는 것이라고 예측했지만, 케빈 파이기가 그 대사는 단순한 우연의 일치라고 해명했다. # 하지만 감독인 페이턴 리드는 오히러 그 대사는 스파이더맨의 판권 협상 이후 추가된것이며 이 대사는 그 후에 나올 슈퍼히어로들을 암시하는 대사라고 셜명했다. [24]
  • 영화 처음 장면에 나오는 헤일리 앳웰의 중년 모습과 마틴 도노번 (미첼 카슨역)의 젊을 적 모습을 CG로 구현했다고 한다.[25]
  • 마이클 페냐가 극중 부르는 휘파람은 "It's a small world." 디즈니 랜드에 있는 놀이기구의 이름으로, 라이드를 타며 각 나라의 문화를 다룬 미니어쳐들을 두루 구경하는 놀이기구이다.[26] 또한 라이드 중 흘러 나오는 노래가 바로 "It's a small world." 로, 이 노래를 마이클 페나가 휘파람으로 부른 것. 앤트맨이란 영화와 잘 어울리면서도 마블 스튜디오의 본사인 디즈니와도 연결되는 일종의 이스터 에그라 볼 수 있다.


  • 사실 특정 부위만 강하다고 한다 솔직히 부럽다 인터넷에서 끝없이 우려 먹히고 있지만, 사실 '작'으로 멀쩡한 글자를 포토샵으로 주작한 것이다.[27]
  • 이번 영화에도 스탠 리 옹이 어김없이 카메오로 등장한다. 영화 최후반부에 루이스의 사촌이 간 술집의 바텐더 역.
  • 앤트맨의 양자 영역(아원자 단위로 축소되는 영역)이 이 인물과 연관있지 않은가 하는 추측들이 이어지고 있다.

  • 스틸북의 디자인이 매우 골룸하다... 역시나 디즈니답게 공용 아트웍이라지만 스파인에 제목이 없다. 이런 디자인들을 컨펌시켜주는 디즈니의 미적감각을 의심된다. 우리나라의 경우 아웃케이스가 증정되기 때문에 희망이라도 있지만 외국은...

[1] 겨울왕국, 엣지 오브 투모로우, 행오버 시리즈의 음악을 맡았던 작곡가이다.[2] 본래는 8월에 개봉 예정이였으나 가디언즈 오브 갤럭시처럼 국내에서 인지도가 낮은 생소한 히어로인 것을 염두에 두어서 여름 시장을 피한 거라는 얘기가 있다.[3] 본래는 3단계의 첫 작품이었으나 변경되었다. 다만 어벤저스 2에서 2단계 내용이 거의 완결이 되었기 때문에 3단계의 시작으로 봐도 상관 없다.[4] 예스맨 등 주로 코미디 영화를 감독했다.[5] 전 세계 기준으로 총 12편의 MCU 영화 중 흥행으로는 10위를 차지했다.[6] 국내에서 가장 인지도 있는 출연작은 전설적인 미드 프렌즈로, 작중 피비 부페이와 결혼하는 캐릭터이다.[7] 드라마 로스트에서 케이트 오스틴과 호빗 실사영화 시리즈에서 타우리엘로 출연한 배우다.[8] 이 영화의 빌런. 마블 코믹스 원작에서 대런 크로스는 크로스파이어라는 빌런으로, 행크 핌을 포함한 역대 옐로재킷으로 활동했던 인물들과는 별개의 인물이다.[9] 아이언맨 2에서 나이 든 하워드 스타크를 맡은 배우다.[10] VOD판 성우는 정재헌이다.[11] VOD판 성우는 이호산이다.[12] 영화 퓨리에서 전차 조종수 트리니 가르시아 병장을 연기했던 배우다.[13] VOD판 성우는 권창욱이다.[14] 영화 다크 나이트에서 하비 덴트가 쏘려고 했던 정신분열증 환자로 나왔다.[15] 나중에 업그레이 되어서 본편에서 쓰이게 되는 듯 하다.[16] 라이트의 작품 《새벽의 황당한 저주》, 《뜨거운 녀석들》, 《더 월즈 엔드》를 묶어 코르네토 삼부작이라고 부른다. 라이트 작품의 상징 같은 물건.[17] 앞써 말했듯이 직접 각본을 써가며 감독직에 자원한데다가, 무려 《아이언맨》이 나오기도 전인 2003년부터 각본을 쓰면서 이 프로젝트를 진행해왔다고 한다. 허탈감이 클 수밖에.[18] 상황은 달랐지만 감독이 여러가지 이유로 사퇴하고 전부 갈아엎고 땜빵칠해서 폭망해버린 그린 랜턴 영화 꼴날까 걱정하는 팬들도 있다.[19] 제럴드는 대신 데어데블 시리즈에 멜빈 포터 역으로 합류했다[20] 이는 무려 《어벤져스: 에이지 오브 울트론》이 기록한 74%보다도 높은 점수이다! 실제로 북미 반응 중에도 《어벤져스: 에이지 오브 울트론》보다도 낫다는 반응이 있다.[21] IMDB 등에서 박스오피스모조에 공개된 제작비를 주로 인용하는 건 사실이나 제작비 옆에 항상 추정치(estimated)라고 적혀 있다.[22] 역대 마블 시네마틱 유니버스 중 가장 낮은 오프닝 성적을 기록한 영화는 《인크레더블 헐크》의 5천 5백만 달러이다.[23] 본작이 1위를 차지한 30주차에 상위 12편의 영화가 약 1억 4600만 달러를 벌었는데 이는 전해에 《루시》가 1위를 차지한 같은 주간에 상위 12편 영화가 벌어들인 1억 3680만 달러보다 2.4% 많은 금액이다. 전해의 같은 주간에는 드웨인 존슨이 주연을 맡은 《허큘리스》가 2980만 달러를 벌어들이며 주말에 4390만 달러를 벌었던 《루시》에 밀려나 2위를 차지했는데 만약 《허큘리스》가 2015년에 개봉해서 이 금액을 벌어들였다면 본작을 제치고 1위를 차지했을 것이다.[24] 애초에 케핀 파이기가 이미 스파이더맨은 MCU에 활동 중이라고 발표했기 때문에 저 대사가 스파이더맨을 암시한다고 생각할 수 있다.[25] 행크 핌의 젊은 모습은 댁스 그리핀의 몸에 마이클의 얼굴을 CG로 구현했다.[26] 한국 문화 미니어쳐도 있다.[27] 바로 옆에 '지'가 복사하기 딱 좋은 모양으로 써있다.

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