How Marvel’s new TV model worked on Loki

Waldron left after completing the author’s room Loki to work with the script for Doctor Strange successor. In a showrunner model, this would have been a much larger deal, as the showrunner’s role is extended beyond just ensuring that all sections are written for elements such as ensuring production on budget and approving final cuts of sections.

In the traditional American TV model (it is worth noting that the showrunner model is less common in the UK, which can give the director more influence on the creative vision of a TV show), directors have much less creative control; they hire hands in to shoot the script for an individual episode before moving on to another show. This is not the case Loki and other Disney + Marvel TV shows, where directors are empowered to make more of the creative decisions, though the ultimate authority seems to lie with Marvel Chief Creative Officer Kevin Feige, the mastermind behind MCU.

“We generally ran it as a movie,” Herron continues. “I worked with the writers in pre-production, and we worked with history and then across the footage in the editing. It was me who worked on the studio and the cuts. ”

Waldron ran a traditional writers’ room that produced “some very amazing manuscripts,” says Herron. Upon her arrival, Herron teamed up with Waldron, Martin, executive producer Kevin Wright and visualization coordinator Alyssa Knittel to further the story.

“There were a few story elements that we worked on there, like TVA all varieties and [other] bits and pieces across the show, ”says Herron about this part of the pre-production process.

Asked about the production model, Herron was more interested in the job, says the British director: “I wanted to work with Marvel and I did not know they were doing it. [a different TV model], to be honest, until I hit. I love Loki, so I was just like, ‘I need to see if I can be involved in some way.’ ”

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