Few filmmakers burst onto the scene as confidently asRyan Coogler. From his indie debut,Fruitvale Station, to his groundbreaking entry in the Marvel Cinematic Universe,Black Panther, Coogler is blessed with the ability to weave personal expression into docu-dramas and pre-established universes and IP. Despite only having four films under his belt,Coogler’s upcoming film,Sinners,an original story, is sold on his name as a bankable and universally approved creative artist. The movie that elevated him from an indie darling to a mainstream titan,Creed, was a concept that seemed ill-advised on paper. We take legacy sequels for granted nowadays, but 10 years ago, reviving theRockyseries,which seemed like ancient history, was something no one was pushing for.The prospect of a re-imagining of the series was vetoed by Rocky Balboa himself,Sylvester Stallone, for two years, but the persistent Coogler never wavered, resulting in arguably the finest legacy sequel we’ll ever see.
Sylvester Stallone Wasn’t Initially Sold on Making ‘Creed’
In an age where everything is revived from the IP grave,we don’t blink twice when we hear that the same actors from a beloved film are reuniting for a legacy sequel.The subgenre, featuring recent hits likeStar Wars: The Force AwakensandTop Gun: Maverick, is an ingenious amalgamation by studios to present pre-existing brands as a fresh take for all generations. As creatively bankrupt as they can be, audiences have grown accustomed to the concept. WhenCreed, which shifts the perspective of the Rocky franchise away from the titular character and to Apollo Creed’s (Carl Weathers) illegitimate son, Adonis, was first announced, everyone was on guard. Although not a perfect capstone,the supposed final film in the series,Rocky Balboafrom 2006, was a worthy swan song to an aging legend’s most iconic character.
In aconversation withDeadlinein 2016, Sylvester Stallone believed thatRocky Balboa"wrapped up [Rocky’s] story in a satisfactory way for the audience." Before he directed any feature films, Ryan Coogler approached Stallone about a potential revival, a proposition that he adamantly denied. According to Stallone,it took Coogler “two years” to finally convince him to makeCreed.Stallone found Coogler’s pitch to be “disconcerting.” The angle of an ailingRocky facing off against the toughest opponentyet — life — did nothing for the unwavering Stallone. “No, kid, I think we’re tampering with something here we should leave alone,” he said to a young Coogler.
The turning point came when Coogler’s breakthrough,award-winning debut,Fruitvale Station, was released to mass critical acclaim. Following his debut at Sundance, Coogler likely had countless job opportunities thrown at him, but he was determined to receive Stallone’s approval forCreed, which impressed the actor. “It is heartfelt, not monetary, not ego. It’s as though he has to finish a mission,” Stallone said, referring to thefilm’s parallels to Coogler’s own relationship with his father. For Stallone, Coogler’s persistence reminded him of the person he once was, the plucky, unknown actor in the 1970s who was determined to bring his script forRockyto the screen and demanded that he play the titular character. “Someone took a chance on me, once. I’m just going to throw caution to the wind and let him run with it,” he said.
‘Creed’ Redefined What a Legacy Sequel Could Be
In an advantageous move, Stallone handed Coogler and newly-minted starMichael B. Jordanthe keys to the Rocky franchise. Without any writing or directing duties,Stallone dug deep into his soulto give a mesmerizing performance that unearthed his dramatic gravitas. His determination paid dividends, asCoogler’s film is anything but a soulless IP cash grab.Evoking the intimacy of an indie drama and the grandeur of a classic sports movie,Creedrepresents everything a legacy sequel ought to be, paying homage to its predecessors while pushing into new directions by speaking to contemporary times. Coogler extracts genuine soulfulness between all the brutal blows and uses the ring to underline the intersection of life, identity, and competition.
We Can’t Believe the World Missed Out on Sylvester Stallone and John Candy Doing Battle in This Lost ’90s Comedy
Rambo and Uncle Buck almost went head-to-head.
Most stars with a series synonymous with their name would have too much ego to allow an outsider to re-imagine their work. In an era when studios and figures are too sacred towards their IP, Sylvester Stallone putting faith in Ryan Coogler tore-imagineRockywas admirable, and audiences were grateful in 2015. Coogler’s skills as a filmmaker are only matched by his negotiating practices. (In a rare move,the rights toSinnerswill revert to Coogler’s control after 25 years of release.)While Adonis Creed went the distance, Ryan Coogler went home as a champion.
