Marvel’s long-awaited spin-off is the first to be solo-directed by a woman.
She discusses male domination of crews, the film’s feminism – and going from indie films to a blockbusterIt is September 2019.
At Pinewood Studios, just outside London, “action” has been called for the umpteenth take of a scene that opens the third act of Marvel’s Black Widow.
A warehouse has been transformed into the office of the movie’s baddie, Dreykov (played by Ray Winstone with a chewy eastern European accent).
The decor is Soviet drab meets midcentury modern in shades of tobacco, with wood-panelled walls and a huge desk.
Winstone is nowhere to be seen, but a dozen or so badass female assassins in black stand in a circle around his desk; on cue, they jump back.The mood is intense, hear-a-pin-drop silent; then, a disembodied voice pipes up over the sound system, softly spoken,
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