James Gunn Answers 92 Twitter Questions - Pt. 2 - Guardians of the Galaxy Vol. 3
Guardians of the Galaxy Vol. 3 is a tailor-fitted exit for James Gunn from Marvel’s Cinematic Universe (should DC be his new forever home). It’s the “Gunniest” Guardians of the Galaxy film (review) as the interstellar outfit sees Gunn’s trilogy come to a close, arguably the most individually-voiced Marvel film down to the universe’s first uncensored F-Bomb. Gunn injected every ounce of himself into the Guardians trilogy, from soundtrack to screenplay to Baby Groot’s motion capture, and found the best version of characters he emphatically adores, since each film allows a bit more of his background telling comically bleak stories into the DNA of the Guardians films. Pound for pound, the Guardians trilogy is one of the best character-focused substories in the MCU — and that’s wholly thanks to freedoms that allowed Gunn to be himself with minimal interference.
From Peter Quill’s thievery set to Redbone’s “Come and Get Your Love” at the beginning of the first Guardians of the Galaxy to Vol. 3’s bittersweet finale set to Florence + The Machine’s “Dog Days Are Over,” Gunn puts a premium on cinematic personality through songs. What other Marvel film generates excitement around filmmaker-selected mixtapes before a movie releases? Gunn’s ability to accentuate his story’s impact by picking the perfect backing track adds another layer of depth to his cosmic rock operas, because Gunn’s thinking about how every piece fits his Guardians puzzle. Tracks on Gunn’s at-home playlists become the rhythm behind Quill’s antics, Drax’s beatdowns, and deeply emotional confessions like he’s writing scenes to fit pre-selected needle drops, not vice versa.
James Gunn Cares a Lot
Music is just one ingredient that makes up Gunn’s special sauce. There’s a consistency to the Guardians’ evolution, from unlikely prison-break unions, to battles against Celestials that bring them together, to rescue missions that cause teary goodbyes. The complaint that Marvel movies feel churned out of a machine is nullified by the Guardians trilogy, written (with co-writers) and directed by Gunn. No one’s better at making us fall in love with misfits than Gunn, never losing Drax, Gamora, Rocket, or Groot in the shuffle of Quill’s continued battle to save the galaxy instead of confronting his mamma and papa issues. Unlike lesser superteam movies that fail to elevate all their members, Gunn wants you to love each Guardian as much as he loves them, especially his personal favorite, Rocket Raccoon.
Unlike lesser superteam movies that fail to elevate all their members, Gunn wants you to love each Guardian as much as he loves them.
His wacky-yet-weighty signatures are subtler in the first Guardians of the Galaxy movie. Gunn’s tasked with creating an origin story worthy of the MCU limelight for superheroes without the mainstream recognition of Captain America or The Hulk. It’s the most neatly tucked and uniform of his Guardians films, minus a dance-off distraction or Groot’s violent skewering-and-slamming of Ronan’s Kree guards as they charge down a hallway. Guardians of the Galaxy is Gunn playing nicely in Marvel’s sandbox, because it’s enough that Vol. 1 is the MCU’s first foray into “Cosmic Marvel.” Gunn knows the spectacle is inherent as Ronan brattily threatens Thanos or we speed around in Quill’s Milano spacecraft. The sights, the sounds, they were MCU unseen back in 2014.
Gunn’s attention to the little details sets his films apart, starting with Vol. 1. Quill’s dedication to his battered walkman and sentimental mixtapes opens the character like a pop-up picture book. The messiness of Rocket and Drax’s alcohol-soaked fight outside The Collector’s den reveals background trauma. The quieter conversations and bonding moments outside Nova Corps fleets zipping around Kree fighter crafts above Xandar echo loudly throughout all three films. The foundation that Gunn lays for his Guardians in Vol. 1 is impeccable, allowing for durable storytelling arcs to ruin and revitalize heroes who have no idea what to do with conditional love. Gunn never gets distracted by the grand spectacle in Guardians of the Galaxy, always ensuring the Guardians themselves are the main focus.
There’s no more prominent beneficiary of Gunn’s character building than blue-meanie slash secret softy Yondu — not Quill’s father, but damn sure his daddy. Quill and Yondu banter about how the Ravager captain kidnapped an Earth boy and threatened cannibalism daily, which plays for jokes on the surface, but that’s a cover as Gunn sneaks father-son compassion under Yondu’s supposedly callous motivations. Again, little touches like Yondu’s dashboard tchotchkes or the approving smiles Quill doesn’t see lead to the waterworks flood at the end of Guardians of the Galaxy Vol. 2 that’s one of the most beautiful celebrations in the entire MCU. Gunn’s stealthy development of Quill and Yondu’s parent/child fondness hits like Ronan’s hammer as Cat Stevens’ “Father and Son” plays over Yondu’s fireworks-filled
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