Development

In April 1990, Universal Studios bought the rights to develop Iron Man for the big screen,^[39] with Stuart Gordon to direct a low-budget film based on the property.^[15] By February 1996, 20th Century Fox had acquired the rights from Universal.^[40] In January 1997, Nicolas Cage expressed interest in portraying the character,^[41] while in September 1998, Tom Cruise expressed interest in producing as well as starring in an Iron Man film.^[42] Jeff Vintar and Iron Man co-creator Stan Lee co-wrote a story for Fox, which Vintar adapted into a screenplay. It included a new science-fiction origin for the character, and featured MODOK as the villain. Tom Rothman, President of Production at Fox, credited the screenplay with finally making him understand the character. In May 1999, Jeffrey Caine was hired to rewrite Vintar and Lee's script.^[43] That October, Quentin Tarantino was approached to write and direct the film.^[44] Fox sold the rights to New Line Cinema the following December, reasoning that although the Vintar/Lee script was strong, the studio had too many Marvel superheroes in development, and "we can't make them all."^[45]

By July 2000, the film was being written for New Line by Ted Elliott, Terry Rossio,^[43][47] and Tim McCanlies.^[48] McCanlies' script used the idea of a Nick Fury cameo to set up his own film.^[43] In June 2001, New Line entered talks with Joss Whedon, a fan of the character, to direct,^[49] and in December 2002, McCanlies had turned in a completed script.^[50] New Line took a "unique" approach to writing the film's script, hiring David Hayter, David S. Goyer, and Mark Protosevich to "sit in a room and simply talk on camera about Iron Man for a few days". After this, Hayter was hired in 2004 to write a script.^[51] He reworked scripts that had been written by Jeff Vintar and Alfred Gough and Miles Millar, which had included the villain the Mandarin and Pepper Potts as a love interest.^[51][52] Hayter removed the Mandarin and instead chose to pit Iron Man against his father Howard Stark, who becomes War Machine. Hayter said "you want to try to mirror your hero with your villain as much as possible" for his reasoning behind making Howard the villain.^[51] He also made Bethany Cabe the film's love interest over Potts.^[52] In December 2004, the studio attached director Nick Cassavetes to the project for a target 2006 release.^[53] However, this deal ultimately fell through, and Iron Man's film rights returned to Marvel.^[51]

In November 2005, Marvel Studios worked to start development from scratch,^[54] and announced Iron Man as their first independent feature, because the character was their only major one not already depicted in live action.^[12] According to associate producer Jeremy Latcham, "we went after about 30 writers and they all passed," saying they were uninterested in the project due to both the relative obscurity of the character and the fact that it was solely a Marvel production. When the film did have a script, even the requests for rewrites met with many refusals.^[55] Early scripts for the film also directly referenced Sony Pictures' Spider-Man 2 (2004) by identifying Stark as the creator of Otto Octavius's bionic arms.^[56] In order to build the general public's awareness of Iron Man and elevate him to the same level of popularity as Spider-Man or Hulk, Marvel conducted focus groups, trying to find a way to remove the general perception that the character is a robot. The information Marvel received from the focus groups was used to formulate an awareness-building plan, which included releasing three animated short films ahead of the film's release. The shorts were called "Iron Man Advertorials", and were produced by Tim Miller and Blur Studio.^[57]

Pre-production

Jon Favreau was hired to direct the film in April 2006,^[58] celebrating getting the job by going on a diet, losing 70 pounds (32 kg).^[15] Favreau had wanted to work with Marvel producer Avi Arad on another film after they both worked on Daredevil.^[12] The director found the opportunity to create a politically ambitious "ultimate spy movie" in Iron Man, citing inspiration from Tom Clancy, James Bond, and RoboCop,^[59] and compared his approach to an independent film—"[i]f Robert Altman had directed Superman"—and Batman Begins.^[12][60] Favreau wanted to make Iron Man a story of an adult man literally reinventing himself after discovering the world is far more complex than he originally believed.^[61] He changed the Vietnam War origin of the character to Afghanistan, as he did not want to do a period piece.^[16] Art Marcum & Matt Holloway were hired to write the script,^[58] while Mark Fergus & Hawk Ostby wrote another version, with Favreau compiling both teams' scripts,^[62] and John August then "polishing" the combined version.^[63] Comic book staff Mark Millar, Brian Michael Bendis, Joe Quesada, Tom Brevoort, Axel Alonso, and Ralph Macchio were also called upon by Favreau to give advice on the script.^[64] In May 2006, Arad left Marvel Studios to become an independent producer.^[65] Because he was on staff when the deal was made for Iron Man, he retained producer credit on the film.^[66]: 59 By July 2006, Matthew Libatique was attached to serve as cinematographer.^[67]

Favreau planned to cast a newcomer in the title role, as "those movies don't require an expensive star; Iron Man's the star, the superhero is the star. The success of X-Men and Spider-Man without being star-driven pieces reassures [executives] that the film does have an upside commercially."^[68] Those considered for the role included Jim Caviezel, Timothy Olyphant, and Sam Rockwell.^[21] Rockwell was approached and was interested,^[69] but Favreau then met with Robert Downey, Jr., who he was convinced was the right actor for the role.^[21] Favreau chose Downey, a fan of the comic, because he felt the actor's past made him an appropriate choice for the part, explaining "The best and worst moments of Robert's life have been in the public eye. He had to find an inner balance to overcome obstacles that went far beyond his career. That's Tony Stark."^[9] Favreau faced opposition from Marvel Entertainment executives in casting Downey,^[21][70] but would not take no for an answer, saying, "It was my job as a director to show that it was the best choice creatively ... everybody knew he was talented [and] certainly by studying the Iron Man role and developing that script I realized that the character seemed to line-up with Robert in all the good and bad ways."^[70] Casting director Sarah Halley Finn suggested Downey create an audition tape to help persuade them. The executives were still not convinced, despite Favreau and Feige recommending Downey for the role, which resulted in Favreau leaking the news that Downey was in talks to the press; the positive reaction and enthusiasm to this story helped convince the executives,^[21] with Downey cast in the role in September 2006.^[71] Rockwell would later portray Justin Hammer in Iron Man 2 (2010).^[69] Downey earned $500,000 for the role.^[72] While preparing for filming, Favreau and Downey were given a tour of SpaceX by Elon Musk. Downey said, "Elon was someone Tony probably hung out with and partied with, or more likely they went on some weird jungle trek together to drink concoctions with the shamans."^[73]

Additional casting for the film occurred over the next few months: Terrence Howard was announced in the role of Stark's best friend James "Rhodey" Rhodes in October 2006.^[74] He had been the first actor cast for the film;^[21] Gwyneth Paltrow was cast as love interest Virginia "Pepper" Potts in January 2007;^[75] and Jeff Bridges was cast in an undisclosed role in February.^[76] Don Cheadle had also been approached for the role of Rhodes, and would eventually replace Howard in the role starting with the sequel, Iron Man 2.^[77] Choosing a character to be the villain of the film was difficult, as Favreau felt Iron Man's arch-nemesis the Mandarin would not feel realistic, especially after Mark Millar gave his opinion on the script.^[64] The Mandarin had originally been envisioned as a rival to Tony Stark with a building of his own right next to Stark Industries, with the Mandarin eventually drilling a hole underneath Stark Industries to steal all of Stark's technology for himself; associate producer Jeremy Latcham described such story as "crazy terrible" and "underwhelming".^[78] Favreau felt only in a sequel, with an altered tone, would the fantasy of the Mandarin's rings be appropriate.^[79] The decision to push him into the background is comparable to Sauron in The Lord of the Rings,^[60] or Palpatine in Star Wars.^[79] Favreau also wanted Iron Man to face a giant enemy. The switch from Mandarin to Obadiah Stane was done after Bridges was cast in that role,^[38] with Stane originally intended to become a villain in the sequel.^[64] The Crimson Dynamo was also a villain in early drafts of the script,^[13] including at one point combining the character with the Mandarin.^[21] Favreau felt it was important to include intentional inside references for fans of the comics, such as giving the two fighter jets that attack Iron Man the call signs of "Whiplash 1" and "Whiplash 2", a reference to the comic book villain Whiplash, and including Captain America's shield in Stark's workshop.^[80]

The scale model of the Iron Monger suit as seen in the film,^[38] based on the larger animatronic version built by Stan Winston Studios.^[22]

Favreau wanted the film to be believable by showing the construction of the Iron Man suit in its three stages.^[16] Stan Winston, a fan of the comic book, and his company, who Favreau worked with on Zathura, built metal and rubber versions of the armor.^[22] The Mark I design was intended to look like it was built from spare parts. The back is less armored than the front, because Stark would use his resources for a forward attack. It also foreshadows the design of Stane's armor. A single 41-kilogram (90 lb) version was built, causing concern when a stuntman fell over inside it, though both the stuntman and the suit were unscathed. The armor was also designed to have only its top half worn at times.^[22] Stan Winston Studios built a 3.0-metre (10 ft), 360-kilogram (800 lb) animatronic version of Iron Monger (Obadiah Stane),^[22] a name which Obadiah Stane calls Tony Stark and himself earlier in the film as a reference, but is never actually used for the suit itself in the film. The animatronic required five operators for the arm, and was built on a gimbal to simulate walking.^[22] A scale model was used for the shots of it being built.^[38] The Mark II resembles an airplane prototype, with visible flaps.^[38] Iron Man comic book artist Adi Granov designed the Mark III with illustrator Phil Saunders.^[81] Granov's designs were the primary inspiration for the film's, and he came on board the film after he recognized his work on Jon Favreau's MySpace page.^[60] Saunders streamlined Granov's concept art, making it stealthier and less cartoonish in its proportions,^[22] and also designed the War Machine armor, but it was "cut from the script about halfway through pre-production." He explained that the War Machine armor "was going to be called the Mark IV armor and would have had weaponized swap-out parts that would be worn over the original Mark III armor," and that it "would have been worn by Tony Stark in the final battle sequence."^[82]

Filming

Production was based in the former Hughes Company soundstages in Playa Vista, Los Angeles, California.^[83] Howard Hughes was one of the inspirations for the comic book, and the filmmakers acknowledged the coincidence that they would film Iron Man creating the flying Mark III where the Hughes H-4 Hercules was built.^[22] Favreau rejected the East Coast setting of the comic books because many superhero films had already been set there.^[16]

Filming began on March 12, 2007,^[84] with Matthew Libatique serving as director of photography.^[67] The first few weeks of filming were spent on Stark's captivity in Afghanistan.^[85] The cave where Stark is imprisoned was a 150-to-200-yard (140–180 m) long set, which had movable forks in the caverns to allow greater freedom for the film's crew.^[16] Production designer J. Michael Riva saw footage of a Taliban fighter in Afghanistan, and saw the cold breath as he spoke: realizing remote caves are actually very cold, Riva placed an air conditioning system in the set. He also sought Downey's advice about makeshift objects in prison, such as a sock being used to make tea.^[22] Afterwards, Stark's capture was filmed at Lone Pine, and other exterior scenes in Afghanistan were filmed at Olancha Sand Dunes, where the crew endured two days of 40-to-60-mile-per-hour (64–97 km/h) winds.^[22] Filming at Edwards Air Force Base began in mid-April,^[86] and ended on May 2.^[87] In return for production assistance, the United States Department of Defense consulted on the film regarding certain scenes and dialogue depicting the military.^[88] This included changing Stark from being opposed to arms deals, to instead becoming one who sells his technology to the U.S. military.^[89] Exterior shots of Stark's home were digitally added to footage of Point Dume in Malibu,^[38] while the interior was built at Playa Vista, where Favreau and Riva aimed to make Stark's home look less futuristic and more "grease monkey".^[22] Filming concluded on June 25, 2007, at Caesars Palace in Las Vegas, Nevada.^[90] Favreau, a newcomer to action films, remarked, "I'm shocked that I [was] on schedule. I thought that there were going to be many curveballs". He hired "people who are good at creating action", so "the human story [felt] like it belongs to the comic book genre".^[15]

There was much improvisation in dialogue scenes, because the script was not completed when filming began (the filmmakers had focused on the story making sense and planning the action). Favreau felt that improvisation would make the film feel more natural. Some scenes were shot with two cameras to capture lines said on the spot. Multiple takes were done, as Downey wanted to try something new each time.^[38] It was Downey's idea to have Stark hold a news conference on the floor,^[15] and he created the speech Stark makes when demonstrating the Jericho weapon.^[10] Bridges described this approach as "a $200 million student film", and noted that it caused stress for Marvel executives when the stars were trying to come up with dialogue on the day of filming scenes. He also noted that in some instances, he and Downey would swap characters for rehearsal to see how their own lines sounded.^[91] Paltrow was less comfortable with improvisation, so Favreau would take notes on things she said during rehearsals or in off-handed moments that were in line with the character to incorporate into Potts' dialogue.^[66]: 76

Samuel L. Jackson appears as Nick Fury in the film's post-credits scene

The crew conceived a post-credits scene featuring Nick Fury and called Samuel L. Jackson to ask him if he would be interested in playing Fury, as Jackson had learned a few years earlier that his likeness had been used for Fury in the Ultimate Marvel comics imprint. However, according to Latchman, Jackson originally appeared without any deal for him to reappear in later films: "It was just this weird idea that maybe people give a shi-- if we stick it on the end".^[78] The dialogue for the scene was also changed on set, with comic writer Brian Michael Bendis providing three pages of dialogue for the part, and the filmmakers choosing the best lines for filming on set.^[64] It was filmed with a skeleton crew in order to keep the cameo a secret, but rumors appeared on the Internet only days later. Feige subsequently had the scene removed from all preview prints in order to maintain the surprise and keep fans guessing.^[92] An alternate version of the Nick Fury post-credits scene was filmed in which he specifically said "As if gamma accidents, radioactive bugs bites and assorted mutants weren't enough" referencing Hulk, Spider-Man and the X-Men, but this was cut due to Sony Pictures and 20th Century Fox holding the respective film rights to Spider-Man and the X-Men at the time.^[93]

Post-production

Favreau's main concern with the film's effects was whether the transition between the computer-generated and practical costumes would be too obvious.^[94] He hired Industrial Light & Magic (ILM) to create the bulk of the visual effects for the film after seeing Pirates of the Caribbean: At World's End and Transformers. The Orphanage and The Embassy did additional work,^[22] with the latter creating a digital version of the Mark I armor.^[95] To help with animating the more refined suits, information was sometimes captured by having Downey wear only the helmet, sleeves and chest of the costume over a motion capture suit,^[22] and skydivers were filmed in a vertical wind tunnel to study the physics of flying.^[96] For shots of the Mark III flying, it was animated to look realistic by taking off slowly, and landing quickly. To generate shots of Iron Man and the F-22 Raptors battling, cameras were flown in the air to provide reference for physics, wind and frost on the lenses.^[97] Favreau conceived of the head-up display shots so audiences would not become disconnected from Stark when watching scenes with the CG Iron Man.^[66]This article incorporates facts obtained from: Lawrence Kestenbaum, The Political Graveyard

When editor Dan Lebental started compiling an initial edit of the film in late 2007, it was quickly realized that the final act of the film was not working, as it was "basically two robots punching each other". They tried shortening the sequence, which did not help as it became "both emotionally unsatisfying and abruptly anticlimactic". Marvel rehired Marcum and Holloway, as all of the screenwriters had been released from their commitments at the end of filming, who suggested the act should call back to earlier in the film when Stark was learning that one of the limitations of the suit was it freezing at high altitudes. Favreau was hesitant to commit to this change, as it would cost an additional $6 million dollars. However, the impending writers' strike forced him to move forward with this idea, with Marcum and Holloway submitting a draft of the ending on November 4, 2007, a day before the strike began. Given no further rewrites could occur because of the strike and Bridges unable to participate in shooting new material, ILM worked with as much previously-shot footage as possible to rework the film's ending.^{[66]: 82–84}

Theatrical

Iron Man premiered at the Greater Union theater at George Street, Sydney, on April 14, 2008.^[113] The film began releasing in international markets on April 30,^[114] and was released in the United States on May 2, 2008.^[115] Iron Man was the first film released in Phase One of the MCU.^[116] The film was re-formatted and screened in IMAX for the first time on August 30, 2018, as part of Marvel Studios' 10th anniversary IMAX festival.^[117]

Home media

The film was released by Paramount Home Entertainment on DVD and Blu-ray Disc on September 30, 2008, in the United States and Canada, and October 27, 2008 in most of Europe.^[118] DVD sales were very successful, selling over 4 million copies the first week and generating a gross of over US$93 million.^[119][120] There were a total of 9 million copies sold and an accumulated total sales of over $160 million (not including Blu-ray).^[119] For the home releases of the film, the image on the newspaper Stark reads before he announces he is Iron Man had to be altered because of amateur photographer Ronnie Adams filing a lawsuit against Paramount and Marvel for using his on-location spy photo in the scene.^[121] A Walmart-exclusive DVD release included a preview of Iron Man: Armored Adventures.^[122]

The film was also collected in a 10-disc box set titled "Marvel Cinematic Universe: Phase One – Avengers Assembled" which includes all of the Phase One films in the Marvel Cinematic Universe.^[123] It was released by Walt Disney Studios Home Entertainment on April 2, 2013.^[124] The IMAX Enhanced version of the film was made available on Disney+ beginning on November 12, 2021.^[125]

Box office

Iron Man earned $319 million in the United States and Canada and $266.8 million in other territories, for a worldwide gross of $585.8 million.^[5]

In its opening weekend, Iron Man grossed $98.6 million in 4,105 theaters in the United States and Canada, ranking first at the box office,^[126] giving it the eleventh biggest-opening weekend at the time,^[127] ninth-widest release in terms of theaters,^[128] and the third highest-grossing opening weekend of 2008 behind Indiana Jones and the Kingdom of the Crystal Skull and The Dark Knight. It grossed $35.2 million on its first day, giving it the thirteenth biggest-opening day at the time.^[129] Iron Man had the second-best premiere for a non-sequel, behind Spider-Man, and the fourth biggest-opening for a superhero film.^[130] Iron Man was also the number one film in the United States and Canada in its second weekend, grossing $51.2 million,^[126] giving it the twelfth-best second weekend and the fifth-best for a non-sequel.^[131] On June 19, 2008, Iron Man became that year's first film to pass the $300 million mark for the domestic box office.^[132]

Critical response

The review aggregator Rotten Tomatoes reported an approval rating of 94%, with an average score of 7.7/10, based on 281 reviews. The website's critical consensus reads, "Powered by Robert Downey Jr.'s vibrant charm, Iron Man turbo-charges the superhero genre with a deft intelligence and infectious sense of fun."^[133] On Metacritic, the film has an average score of 79 out of 100, based on 38 critics, indicating "generally favorable reviews".^[134] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.^[135]

Among the major trade journals, Todd McCarthy of Variety called the film an "expansively entertaining special effects extravaganza" with "fresh energy and stylistic polish",^[28] while Kirk Honeycutt of The Hollywood Reporter praised the film, while nonetheless finding "disappointment [in] a climatic [sic] battle between different Iron Man prototypes ... how did Tony's nemesis learn how to use the suit?"^[136] In one of the first major-daily newspaper reviews, Frank Lovece of Newsday lauded the film's "emotional truth ... pitch-perfect casting and plausibly rendered super-science" that made it "faithful to the source material while updating it – and recognizing what's made that material so enduring isn't just the high-tech cool of a man in a metal suit, but the human condition that got him there".^[137] Roger Ebert of the Chicago Sun-Times gave the film four out of four stars, praising Downey Jr.'s performance and stating, "At the end of the day it's Robert Downey Jr. who powers the lift-off separating this from most other superhero movies".^[138] A. O. Scott of The New York Times called the film "an unusually good superhero picture. Or at least – since it certainly has its problems – a superhero movie that's good in unusual ways."^[139] Among the specialty press, Garth Franklin of Dark Horizons commended the "impressive sets and mechanics that combine smoothly with relatively seamless CG", and said, "Robert Downey Jr., along with director Jon Favreau ... help this rise above formula. The result is something that, whilst hardly original or groundbreaking, is nevertheless refreshing in its earnestness to avoid dark dramatic stylings in favor of an easy-going, crowd-pleasing action movie with a sprinkle of anti-war and redemption themes".^[140]

Among major metropolitan weeklies, David Edelstein of New York magazine called the film "a shapely piece of mythmaking ... Favreau doesn't go in for stylized comic-book frames, at least in the first half. He gets real with it – you'd think you were watching a military thriller",^[141] while conversely, David Denby of The New Yorker gave a negative review, claiming "a slightly depressed, going-through-the-motions feel to the entire show ... Gwyneth Paltrow, widening her eyes and palpitating, can't do much with an antique role as Stark's girl Friday, who loves him but can't say so; Terrence Howard, playing a military man who chases around after Stark, looks dispirited and taken for granted".^[142] IGN's Todd Gilchrist recognized Downey as "the best thing" in a film that "functions on autopilot, providing requisite story developments and character details to fill in this default 'origin story' while the actors successfully breathe life into their otherwise conventional roles".^[143]

Accolades

Roger Ebert and Richard Corliss named Iron Man as among their favorite films of 2008.^[138][163] It was selected by the American Film Institute as one of the ten best films of the year^[164] and by Empire magazine as one of The 500 Greatest Movies of All Time.^[165] Tony Stark was also selected by Empire as one of The 100 Greatest Movie Characters of All Time,^[166] and on their list of the 100 Greatest Fictional Characters, Fandomania.com ranked him at number 37.^[167] The Library of Congress selected Iron Man to be added to the National Film Registry in 2022, deeming it "culturally, historically, or aesthetically significant". Responding to the selection, Feige stated its inclusion on the Film Registry meant the film "has stood the test of time and that it is still meaningful to audiences around the world".^[168]