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X-Men: First Class (Original Motion Picture Soundtrack) is the soundtrack album to the 2011 film X-Men: First Class.The film, directed by Matthew Vaughn, is based on the X-Men characters appearing in Marvel Comics, and is the fourth mainline installment in the X-Men film series and the fifth installment overall.
Shuler Donner later said that the original idea was to green-light First Class depending on the success of X-Men Origins: Magneto. [56] That project was seeking approval to film in Washington, D.C., [57] and by December 2008, Goyer said filming would begin if X-Men Origins: Wolverine was successful. The story was moved forward to 1962 and ...
In a 1995 treatment also called Wolverine and the X-Men, written by Laeta Kalogridis, Magneto intends to use the Legacy Virus to wipe out humanity. [9] The film that eventually became X-Men: First Class was originally written to be a pure Magneto origin story called X-Men Origins: Magneto written by screenwriter Sheldon Turner. [10]
Magneto (/ m æ ɡ ˈ n iː t oʊ /; birth name: Max Eisenhardt; alias: Erik Lehnsherr German pronunciation: [ˈeːʁɪk ˈleːnshɛʁ] and Magnus; Auschwitz tattoo: 214782) is a character appearing in American comic books published by Marvel Comics, commonly in association with the X-Men.
Magneto and Rogue in X-Men ’97 Marvel Studios First off, don't worry. If you didn't watch the original series, it's not lore you missed from X-Men: The Animated Series .
X-Men, X2, X-Men: The Last Stand, X-Men Origins: Wolverine, X-Men: First Class, The Wolverine, X-Men: Days of Future Past, X-Men: Apocalypse, Dark Phoenix, The New Mutants As of May 2014, the DVD and Blu-ray sales of the first six films in the United States earned more than $620 million.
Two incarnations of Magneto appear in the X-Men film series, portrayed by Ian McKellen and Michael Fassbender as adults [5] [6] [7] while Brett Morris and Bill Milner portray him as a child in X-Men (2000) and X-Men: First Class, respectively. This version's real name is Erik Magnus Lehnsherr.
Kamen's first draft of the score had been described as having an abundance of themes and rich orchestrations. During early recording sessions, producer Lauren Shuler Donner expressed her dissatisfaction with Kamen's music and forced him to rewrite the entire score by using fewer themes and more electronic elements.
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