Martin Scorsese Marvel OriginalScorsese's original article in The New York Times,"I Say Marvel Movies Are Not Movies, Let Me Explain," read:
At the beginning of October, I was interviewed by Empire magazine in the UK. I was asked questions about Marvel movies and answered them. I tried to watch a few Marvel movies, but they didn't suit me. In my opinion, they were more like theme parks than the movies I knew and loved all my life. In the end, I said that I didn't think they were movies (cinema, the film industry, and the various arts and techniques of making movies, different from the most general definition of movies).
Some people paid attention to the last sentence of my answer and thought that it was an insult or evidence that I hated Marvel. If someone wanted to understand me that way, I couldn't stop it.
Many series were created by very talented and artistic people, which could be seen on the big screen. These movies don't interest me because of my personal preferences and temperament. I know that if I were younger or later, I might be excited about these movies and even want to make one myself. But I developed an understanding of what movies were and what they could do when I was growing up. The movies I knew were extremely far from the Marvel Universe.
For me, the people I love and respect, and my friends who started making movies around the same time as me, cinema is about revelation-aesthetic, emotional, and spiritual revelation, about the complexity and contrasting, sometimes contradictory nature of people who can hurt each other, love each other, and suddenly confront themselves. It was about encountering unexpected things on the silver screen. These things came from real life that was dramatized and further broadened the possibilities of the art form of film.
This is the key for us: film is an art form. In the past, we argued that movies were equal to literature, music, and dance. We also know that this art can exist in different forms and places, such as Samuel Fuller's Steel Helmet, Ingmar Bogman's Mask, Stanley Donen and Gene Kelly's Good Weather, and so on, like the rise of the Scorpius by Ken Anger, The Way of the World by Jean-Luc Godard, and Don Siegl's The Horror of Wealth and Beauty.
Or like Alfred Hitchcock's movies, to a certain extent, he became a "series of movies." At that time, he was our "series of movies." Every new Hitchcock movie was a "big event movie." For example, watching "Back Window" in an old theater was an extraordinary experience, a big event caused by the chemical reaction between the audience and the movie. Some Hitchcock movies were like theme parks to some extent. For example, the climax of Strangers on a Train happened on the amusement park's merry-go-round, and the midnight premiere of Psycho was also unforgettable. People watched these movies to be shocked, surprised, and excited, and they were not disappointed. But what we still watch and marvel at sixty or seventy years later is not the thrill.
"The Silent Eyewitness" novel is equally exciting. Everyone is welcome to click and read it!
Is the strongest character in Marvel the original surpasser?The answer to the question of whether Marvel's strongest character was a primitive surpasser was uncertain because the concept of a primitive surpasser was not clearly defined in Marvel comics. Primitive surpassers usually referred to existences that had power and abilities that surpassed humans, such as the Primitive Heavenly Venerate, the Heavenly Father, and the surpassers.
The most powerful character in the Marvel Cinematic Universe was probably Thanos. He had the power of the Infinity Gem and could destroy everything. However, Thanos was not a primitive surpasser. His power came from the Infinity Gem, not some mysterious power.
There were many powerful characters in Marvel Comics, such as Iron Man, Spiderman, Thor, Captain America, Black Widow, etc. They were all very powerful and it was difficult to tell who was the strongest. Therefore, whether the original surpasser was the strongest character in Marvel still needed to be judged according to the specific situation.