“We weren’t privy to reading the script to Endgame,” McKenna told Backstory Magazine.
“Marvel keeps everything very close to the vest, but they told us what we needed to know in terms of the main plot points. We knew we were coming off an ending that would have huge repercussions for Peter. And as much as the mandate was, ‘Hey, we’re coming off a very serious, emotionally draining one-two punch of Infinity War and Endgame, let’s try to keep this fun,’ we also couldn’t deny that Peter had just lost his mentor and surrogate father and there would be a lot of questions about what kind of hero he’s going to be in this new landscape.”
Far From Home editors Dan Lebental and Leigh Folsom Boyd only saw the preceding Endgame late into the process on their picture, which led Boyd to believe everyone had died — it was only later Boyd learned the two major sacrifices were Black Widow (Scarlett Johansson) and Peter’s mentor Tony Stark (Robert Downey Jr).
“They did show us Endgame early, but way into the process on this film,” Lebental previously told THR. “At a certain point we had our conceptions of what Endgame was but then I saw it. ‘OK. We need to make a few adjustments.’”
Set after the Avengers’ success reversing Thanos’ (Josh Brolin) snap that wiped out fifty percent of all life in the universe, Far From Home zeroed in on the lingering aftermath of Peter’s feelings over losing another father figure.
“We did have to adjust it to feel light, and then it became really make it the father son connection between Tony Stark and Peter,” Lebental added.
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