❶ Не знаешь, как решить задачу — откажись от задачи.
There are all these little things that work in comics, but then suddenly in a script, they don’t work, because then there’s a whole aspect where she gets stuck in the Phantom Zone for a decade. It suddenly took over the movie. It’s like you either need to say it in a sentence, or it takes over the movie, and that doesn’t totally work. It was almost crafting a new version of her backstory, because the one that we’ve known for so long is that she’s actually older than Clark/Superman, and she gets stuck.
❷ Отношения персонажей с домашними животными по умолчанию хорошие, их не нужно выстраивать.
One of the things about animals is that the relationship is so pure because it’s pretty wordless. You just know each other, and you don’t need to explain yourself ever to a pet. They just love you for exactly who you are.
❸ Свободное место — лучшее место для не работающего на историю персонажа.
I knew Tom King had based the comic on “True Grit,” but originally, Lobo was the bounty hunter and Kara was the girl. Then he was like, “That doesn’t quite work.” He flipped it, and he brought in Ruthye. But when I was trying to bring in Lobo, I was like, “There is a third character in ‘True Grit’: Matt Damon’s character,” so if we follow that structure, there’s still room for this guy who is like a frenemy to the two of them.
❹ Если ориджин персонажа не пережил хотя бы три киноадаптации, можно смело вырезать из него любые креативные решения, всё равно никто не заметит.
In the original draft of the script, the movie opened with meeting Ruthye and getting to know her. But what we realized is that comic readers know Supergirl really, really, really well, so they are OK with meeting her through somebody else’s eyes. But for the movie-going public, Supergirl is not Batman; we haven’t seen her parents die a bunch of times [like Bruce Wayne’s], we don’t know it that well. I’ve seen Spider-Man get bitten by a radioactive spider a bunch of times, but we don’t have that with her. So, we realized we had to onboard the audience to [Kara] as the focus of the movie, not just through Ruthye.
❺ Не смей даже пытаться нарушать линейность повествования.
In the comic, there’s this central planet where there’s been this horrific act in the past — essentially a genocide, an ethnic cleansing — and you find out that Krem was in some way involved. What’s really important about this is them coming and seeing loss that is not perfectly reflective of theirs, but just that deep pain that these girls have been through. And we also had to see that Krem is just like a total POS; that this guy is somebody that we are going to want to see meet a certain end. But I needed it to be something that was happening in the present and not the past, because in the comic, you can jump around to the past, but you can’t do that here. I needed something to feel really immediate, like there was saving to be done now.
❻ Функциональность решения важнее его эмоционального веса.
The comic ends with Ruthye killing him, but in the far, far future. We knew we weren’t gonna be able to do that kind of time jump, and I find it’s quite a dark ending of the comic. He essentially has changed, and she kills him anyway, because she still just has this anger, and you understand there’s this element of deserve, right? So, we wanted to craft a villain who would deserve this, but we also wanted Kara to really care about preserving Ruthye’s innocence, and to feel like she could take on [killing him], that she could be the one to bring justice to this man, and do it without burdening this child.
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