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A film featuring the character was in development at Universal Pictures, 20th Century Fox, and New Line Cinema at various times since 1990, before Marvel Studios reacquired the rights in 2005. Marvel put the project in production as its first self-financed film, with Paramount Pictures distributing. Favreau signed on as director in April 2006, and faced opposition from Marvel when trying to cast Downey in the title role; the actor was signed in September. Filming took place from March to June 2007, primarily in California to differentiate the film from numerous other superhero stories that are set in New York City-esque environments. During filming, the actors were free to create their own dialogue because pre-production was focused on the story and action. Rubber and metal versions of the armor, created by Stan Winston's company, were mixed with computer-generated imagery to create the title character.
Favreau planned to cast a newcomer in the title role, as "those movies don't require an expensive star; Iron Man's the star, the superhero is the star. The success of X-Men and Spider-Man without being star-driven pieces reassures [executives] that the film does have an upside commercially."[64] However, before the screenplay was prepared he had approached Sam Rockwell to play the part. Rockwell was interested, but Favreau changed his decision after the screen-test of Robert Downey, Jr.; Rockwell would later portray Justin Hammer in Iron Man 2 (2010).[65] In September 2006, Downey was cast in the role.[66] Favreau chose Downey, a fan of the comic,[9] because he felt the actor's past made him an appropriate choice for the part, explaining "The best and worst moments of Robert's life have been in the public eye. He had to find an inner balance to overcome obstacles that went far beyond his career. That's Tony Stark."[9] Favreau faced opposition from Marvel in casting Downey, but would not take no for an answer, saying, "It was my job as a director to show that it was the best choice creatively ... everybody knew he was talented [and] certainly by studying the Iron Man role and developing that script I realized that the character seemed to line-up with Robert in all the good and bad ways."[67] Downey earned $500,000 for the role.[68] While preparing for filming, Favreau and Downey were given a tour of SpaceX by Elon Musk. Downey said, "Elon was someone Tony probably hung out with and partied with, or more likely they went on some weird jungle trek together to drink concoctions with the shamans."[69]
There was much improvisation in dialogue scenes, because the script was not completed when filming began (the filmmakers had focused on the story making sense and planning the action). Favreau felt that improvisation would make the film feel more natural. Some scenes were shot with two cameras to capture lines said on the spot. Multiple takes were done, as Downey wanted to try something new each time.[36] It was Downey's idea to have Stark hold a news conference on the floor,[15] and he created the speech Stark makes when demonstrating the Jericho weapon.[10] Bridges described this approach as "a $200 million student film", and noted that it caused stress for Marvel executives when the stars were trying to come up with dialogue on the day of filming scenes. He also noted that in some instances, he and Downey would swap characters for rehearsal to see how their own lines sounded.[87] The crew conceived a post-credits scene featuring Nick Fury and called Samuel L. Jackson to ask him if he would be interest in playing Fury, as Jackson had learned a few years ago that his likeness had been used for Fury in the Ultimate Marvel imprint. However, according to Latchman, Jackson originally appeared without any deal for him to reappear in later movies: "It was just this weird idea that maybe people give a shi-- if we stick it on the end".[74] The dialogue for the Nick Fury cameo scene was also changed on set, with comic writer Brian Michael Bendis providing three pages of dialogue for the part, and the filmmakers choosing the best lines for filming on set.[62] The Nick Fury cameo was filmed with a skeleton crew in order to keep it a secret, but rumors appeared on the Internet only days later. Marvel Studios President Kevin Feige subsequently had the scene removed from all preview prints in order to maintain the surprise and keep fans guessing.[88] An alternate version of the Nick Fury post-credits scene was filmed in which he specifically said "As if gamma accidents, radioactive bugs bites and assorted mutants weren't enough" referencing Hulk, Spider-Man and the X-Men but this was cut due to legal problems with Sony Pictures and 20th Century Fox who at the time had full ownership of the characters until their reacquisition much later in the mid to late 2010s.[89]
Anthony McGlynn is a member of ScreenRant's features team, freelance pop culture critic and heavy metal fan. Like the good little millennial he is, he began blogging about comics, movies, TV and video games in his spare time several years ago and worked his way up from there. Outside of ScreenRant his byline has appeared in places such as VICE, Birth. Movies. Death., PC Gamer, Playboy, Kotaku and GamesMaster. His favourite movie is George A. Romero's Dawn of the Dead and he holds Sons of Anarchy in higher regard than Breaking Bad. Despite proclaiming to enjoy "good art" he is a fan of professional wrestling and genuinely likes Zack Snyder's Dawn of the Dead remake. Recommend him horror movies and death metal records at a[dot]mcglynn89[at]gmail[dot]com
There may be fewer threats for Iron Man to tackle, and fewer ties to other movies in the MCU, but it's a more personal film for the character. It also allows Downey Jr.'s skills as an actor to really shine, and writer-director Shane Black injects a decent amount of comedy into the proceedings. Maybe not as entertaining or emotional as the MCU at its best, but it's still a good entry.
Age of Ultron is the weakest of the four Avengers movies, but it still has more going for it than most viewers give it credit for. It reunites the core Avengers team to face off against Ultron, an AI gone mad, and introduces important characters for the future of the series, like the Scarlett Witch and Vision.
Jeremy is an omnivore when it comes to his movie-watching diet. He'll gladly watch and write about almost anything, from old Godzilla films to gangster flicks to samurai movies to classic musicals to the French New Wave to the MCU... well, maybe not the Disney+ shows.
His favorite directors include Martin Scorsese, Sergio Leone, Akira Kurosawa, Quentin Tarantino, Werner Herzog, John Woo, Bob Fosse, Fritz Lang, Guillermo del Toro, and Yoji Yamada. He's also very proud of the fact that he's seen every single Nicolas Cage movie released before 2022, even though doing so often felt like a tremendous waste of time. He's plagued by the question of whether or not The Room is genuinely terrible or some kind of accidental masterpiece, and has been for more than 12 years (and a similar number of viewings).
When he's not writing lists - and the occasional feature article - for Collider, he also likes to upload film reviews to his Letterboxd profile (username: Jeremy Urquhart) and Instagram account.
Marvel Studios president Kevin Feige said in a statement, "Iron Man was the very first film Marvel Studios independently produced. It was the first film that we had all of the creative control and oversight on and was really make or break for the studio. All of our favorite movies are the ones that we watch over and over again and that we grow up with. The notion that here we are, almost 15 years after the release of Iron Man, and to have it join the Film Registry tells us it has stood the test of time and that it is still meaningful to audiences around the world."
When I caught up with "Iron Man," a broken hip had delayed me and the movie had already been playing for three weeks. What I heard during that time was that a lot of people loved it, that they were surprised to love it so much, and that Robert Downey Jr.'s performance was special. Apart from that, all I knew was that the movie was about a big iron man. I didn't even know that a human occupied it, and halfway thought that the Downey character's brain had been transplanted into a robot, or a fate equally weird.
Yes, I knew I was looking at sets and special effects--but I'm referring to the reality of the illusion, if that make any sense. With many superhero movies, all you get is the surface of the illusion. With "Iron Man," you get a glimpse into the depths. You get the feeling, for example, of a functioning corporation. Consider the characters of Pepper Potts (Gwyneth Paltrow), Stark's loyal aide, and Obadiah Stane (Jeff Bridges), Stark's business partner. They don't feel drummed up for the occasion. They seem to have worked together for awhile.
Downey's performance is intriguing, and unexpected. He doesn't behave like most superheroes: he lacks the psychic weight and gravitas. Tony Stark is created from the persona Downey has fashioned through many movies: irreverent, quirky, self-deprecating, wise-cracking. The fact that Downey is allowed to think and talk the way he does while wearing all that hardware represents a bold decision by the director, Jon Favreau. If he hadn't desired that, he probably wouldn't have hired Downey. So comfortable is Downey with Tony Stark's dialogue, so familiar does it sound coming from him, that the screenplay seems almost to have been dictated by Downey's persona.
There are some things that some actors can safely say onscreen, and other things they can't. The Robert Downey Jr. persona would find it difficult to get away with weighty, profound statements (in an "entertainment," anyway--a more serious film like "Zodiac" is another matter). Some superheroes speak in a kind of heightened, semi-formal prose, as if dictating to Bartlett's Familiar Quotations. Not Tony Stark. He could talk that way and be Juno's uncle. "Iron Man" doesn't seem to know how seriously most superhero movies take themselves. If there is wit in the dialog, the superhero is often supposed to be unaware of it. If there is broad humor, it usually belongs to the villain. What happens in "Iron Man," however, is that sometimes we wonder how seriously even Stark takes it. He's flippant in the face of disaster, casual on the brink of ruin.
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