The Fantastic Four: First Steps Writer Breaks Down Bringing the Iconic Heroes to the MCU

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Eric Pearson has significantly contributed to the Marvel Cinematic Universe (MCU), having taken on key roles in several movies. As a graduate of the Marvel Writers’ Program, he brought together a team of morally ambiguous characters in the movie “Thunderbolts,” prior to that, he delved into Natasha Romanoff’s backstory in “Black Widow” and prevented the apocalyptic destruction of Asgard in “Thor: Ragnarok.” Currently, Pearson is working on a project titled “The Fantastic Four: First Steps” which marks the beginning of Marvel’s latest phase.

In 1994, film producer Roger Corman unveiled a live-action, budget-friendly version of The Fantastic Four. Later on, Fox released two adaptations where the heroes confronted Dr. Doom and an ominous Galactus. A 2015 remake, which flopped, showcased a younger version of the team battling Dr. Doom once more. The movie Fantastic Four: First Steps , set in the 60s, focuses on the superhero family when Sue has her son, Franklin, and Galactus, a cosmic world-devourer, threatens Earth.

In a recent conversation, our team at ComicBook delved into various topics with Pearson, including the 1960s era backdrop, the tragic demise of Susan Storm, the impending arrival of Galactus, and the upcoming plans for the team.

Movie Enthusiast: What’s it like having not just one, but two Marvel films release within a single year? Could you share some insights on how you managed to break into the world of superhero cinema?

Eric Pearson expresses a sense of fulfillment as both Thunderbolts and Fantastic Four movies have been warmly accepted by audiences. He holds a deep attachment and immense pride towards these projects, but he’s quick to acknowledge that many other talented individuals such as Josh Friedman, Ian Springer, and Jeff Kaplan were instrumental in the creation of Fantastic Four. It’s exciting for him to have multiple projects, each with its unique character, in circulation.

The way I managed to break through was through the Marvel Writers’ Program, a program that no longer exists, as far as I know. It was quite beneficial. As they say, luck is simply being well-prepared and seizing opportunities when they arise. I was thoroughly prepared, and when the opportunity came along, I pitched and auditioned for Kevin Feige. That’s how I got my foot in the door, and it marked my first significant, paid writing job. I was determined to make a lasting impression there.

In my youth, I used to read comics, including notable ones such as Watchmen, The Dark Knight Returns, and The Ultimates. However, my passion for them wasn’t as intense, so I rekindled my interest in my late twenties. It was a delightful journey that involved an on-off connection with comic books.

As a child, I was captivated by Slapstick, the character who transformed into a rubber cartoon after passing through a funhouse mirror. In high school, Nomad caught my attention. As an adult, I found myself drawn to this vast universe that Kevin and his team were constructing. I wondered how I could contribute and where I could find a place to express my voice within this expansive project.

In layman’s terms: The movie “Fantastic Four: First Steps” marked the introduction of this team into the Marvel Cinematic Universe. What creative freedom were you granted during the development of the plot? Can you share some of the initial brainstorming sessions about the film’s direction? Was there a pre-existing script that served as their origin story?

This paraphrased version maintains the original meaning but presents it in a more conversational and easier-to-understand manner.

From what I gather, it seems there wasn’t a script for a traditional origin story that I was aware of. Fortunately for me, Jeff, Ian, and Josh had previously drafted some scripts. They had already done significant groundwork, laying the foundation for the story. When I joined the team, I brought a few ideas to the table. Our main discussion centered around the original draft’s concept where the baby was due at the end of Act 1 or around pages 15-20. We felt that was too swift, as it would alter the dynamics of the team before the audience could fully appreciate this particular team and their family and superhero dynamic. My initial significant decision was to transform the birth moment into a “Oh my goodness, we’re pregnant” revelation instead.

For quite some time, that particular scene was placed further into the narrative. However, the creative editors decided to make it the opening scene instead. Previously, the sequence followed the structure of an ABC special, with this scene and a dinner following afterward. The editors found this scene so captivating and impactful that they wanted it to immediately grab viewers’ attention. The plot has always revolved around approaching Galactus to negotiate terms. But, the latest shift focuses on how we can amplify the chaos, inject comic book-style excitement into Sue giving birth in space, and present Franklin as our celestial baby. This change marked a significant departure from earlier drafts.

In simpler terms, why was the setting of “First Steps” in the 1960s chosen instead of the present day? How does this era contribute to the storytelling in a way that the current time could not?

I’m not sure if I could provide an explanation for why they chose to keep things in the ’60s during production, but here’s my take on it: When I arrived, it was already the 1960s. The reason I believe they decided to maintain that era is because when I entered a room filled with concept art from that time period, it struck me as incredibly cool and fitting for the vision Matt Shakman had in mind. If I were to speculate about the decision-making process behind this choice, the Fantastic Four are one of those hero teams that embody altruism, positivity, and a strong family bond. Their ideals align well with the Americana space race and the “we can do it” spirit of that era, which I think added an extra layer of authenticity to the movie’s atmosphere and message.

* In all your tales, there’s always an emotional aspect that captures our attention. What led you to make Franklin’s birth the central theme?

I’d like to refer back to Josh, Ian, and Jeff, as they were the ones who initially proposed the concept of Galactus desiring the baby. I’m not sure which of them originated the idea. However, it was already established before my arrival that Galactus wanted the baby and Sue would perish only to be resurrected later. Upon hearing this, I thought it was fantastic and we decided to move forward with it. I played a significant role in planning the third act. There were earlier drafts featuring a cosmic final battle, but I felt strongly about having Galactus engage on an Earth-scale, specifically in New York City, where he would appear as a colossal threat. This is how the “Galactus monster” came into being.

In order to create an unparalleled climax, I put in considerable effort. With limited alternatives, we decided to employ their son as a decoy, making him the focal point of tension between Reed and Sue, who are now cornered. This decision, while logical, is hard to express due to its emotional weight. After all, our miracle baby – the fruit of years of longing and unexpected conception – is about to become bait in our fight against an unprecedented villain. The emotional tug-of-war between Reed’s reasoning and Sue’s compassion was the core conflict I aimed to portray. The pressure this situation puts on their marriage, and the profound implications they face, were the compelling elements left for me by Jeff, Ian, and Josh.

Inquire about other potential main antagonists for the Fantastic Four, apart from those already established, who were also in the running for the role?

As it turns out, I wasn’t much of a reader when it came to the Fantastic Four. To be clear, I never delved into their comics during my childhood, teenage years, or even when I first started reading Marvel. However, I found myself playing catch-up with these superheroes through some intriguing books titled “Life Story”. This series showcases the Fantastic Four’s influence on the world and their public persona from the 1960s through to the 2000s by giving each decade a unique character perspective. What particularly appealed to me was seeing how the Fantastic Four were perceived as global figures, both on the surface and beneath it all.

What truly captivated me was the chilling anticipation of Galactus. In those stories, Galactus is subtly introduced and it’s Reed who first perceives him. I can’t quite recall the method, perhaps it was a glimpse through a portal or something similar. However, there’s an impactful full-page image that brings Galactus right up to his face, with the ominous warning, “I am coming for you.” That sense of dread… “Yes, he’s far away, but he’s approaching us relentlessly and we can’t escape.” That dread… I couldn’t help but be enthralled by it, and I wanted to convey as much of that feeling as possible. “Indeed, we ventured up there. We are accustomed to victory, yet we were defeated.

In the movie, Galactus doesn’t make many appearances, but when he does, his impact is immense, similar to the ominous presence of the shark in Jaws, signaling impending doom. The anticipation of his arrival breeds a palpable sense of dread that I aim to capture within the story, instilling fear on the planet as if Galactus himself was about to descend, leaving the characters powerless to stop him.

In the crucial final scene, how significant was it to emphasize Susan Storm’s unique blend of immense power and emotional core within the group?

In Thunderbolts*, we had a situation I like to call the “squash match,” where the bad guy overpowers our heroes relentlessly, leaving them no chance to fight back. It was a tough beat for them. However, something changes in this storyline. Yelena demonstrates her intelligence by venturing into the void to deal with her own issues, assist Bob, and rescue him from the void. In this instance, they all took a beating. Then, Sue experiences that pivotal moment where a mother lifts a car off her child. Moved by this, she makes the decision to use every ounce of her powers, effectively selling herself out in the process.

Embracing the role, there wasn’t much required from me. The concept was already strong and outstanding. It was left up to Vanessa Kirby to bring it to life, which she accomplished brilliantly. Furthermore, Pedro Pascal and Joe Quinn had to respond to it, and they delivered admirably.

The Fantastic Four pulled out all the stops against Galactus in that showdown.

I really enjoyed that too, especially the large-scale aspects of it. Being in those conference rooms was particularly exciting for me, and I often find myself getting into character. For instance, when speaking about such events, I might say something like, ‘Alright, I am Galactus and I’m arriving here. That means we need to evacuate everyone. This will lead to a fantastic scene with Mole Man.’

Working out all those parts, and seeing them fit into place… It’s just exciting when you find fragments like, “We need more than mere fighting; Galactus could hurl Ben from Earth! Now, Johnny has a fantastic mission – saving his friend!” I really enjoy crafting scenarios like that. When everything aligns, it’s a blast!

Could Johnny have been willing to lay down his own life to prevent Galactus, and was it Susan who ultimately made the ultimate sacrifice to achieve this objective? Was there an alternative scenario in which another individual met their end instead?

I’ve been pondering whether there was an alternate occurrence, but I’m not convinced. In truth, that instance seemed quite powerful. It existed in the past, and it persists even now.

Did the ultimate nullifier ever pop up in any script?

As far as I can recall, it hasn’t been formally documented, though it might have been mentioned during a chat.

What was the thought process behind introducing a female Silver Surfer instead of Norrin Radd?

I can’t recall clearly. When I got here, Shalla-Bal was already present. It was crucial for the narrative that it was Shalla-Bal who participated in our conversation. She resembles Spock and the Silver Surfer in many ways. Her emotions have been suppressed significantly due to her selfless actions, sacrificing herself for others. This emotional detachment is reminiscent of Sue Storm and adds complexity to her character. Johnny’s obsession with her felt organic and not like a forced gender swap.

In this narrative, we delve into the tale of Shalla-Bal. At first, my thoughts mirrored hers: “Indeed, you’re correct. It’s plausible that there exist Norrin Radds in alternate realities.

Ben shouted his iconic line, “It’s clobberin’ time!”  What happened to Johnny’s, “Flame on!”?

You did [get it]. From the little toy., you did. You got it. We checked the box.

As a dedicated film enthusiast, I’ve always found myself chuckling at that particular joke. In one of those nail-biting moments when our heroes were seemingly cornered with no escape plan, Ben pulled out a bottle of whiskey and declared, “It’s clobberin’ time!” – a line that never fails to make me laugh. The punchline was just too perfect for the situation, and timing was everything in delivering it effectively.

The end credits featured Doctor Doom crouching over Franklin. Did you write that sequence?

I did not. I actually don’t know enough, so I am not going to speculate.

As a fan of the MCU, what questions do you believe audiences should be asking after seeing that?

Doomsday” ticket. Instead, they should be figuring out how to get the earliest available tickets on their own. Whatever I say might lead us astray, and I won’t let that happen.

How surprised were you by the cliffhanger then?

The way those stingers are handled during pre-production and initial drafts often provides a chuckle, as they are usually included but never filmed during principal photography. This is because they haven’t yet decided on the next steps. It’s simply too early for those scenes to be shot at that point.

In simpler terms,

I attempted to contribute to some unpredictable Reed and Doom scenes, but it felt like blindly aiming at targets I couldn’t see. I wasn’t aware of their intended direction or the specific tone they wanted to establish. Only shortly before the premiere did I learn about a “Doom stinger,” which made sense to me in context. It seemed they chose to keep audiences guessing, and each scene I wrote may have given away too much information. I likely over-explained the path I thought was being taken for the project titled Doomsday.

First Steps is proving to be a massive hit. Where would you like to take the Fantastic Four next?

As a devoted movie enthusiast, I must confess my bewilderment regarding the latest Marvel saga. Frankly, I’m at a loss as to how the events in “Avengers: Doomsday” and “Secret Wars” intertwine. With such an extensive cast, it’s like a smorgasbord of characters, yet I find myself unsure about who’s who and where we are in this grand narrative. Sometimes, when all the cards are spread out, it can be overwhelming to decide which storyline to dive into first.

As a film enthusiast, I can’t help but wonder: wouldn’t it be thrilling to witness these characters solve a gripping murder mystery together? Or perhaps embark on an exhilarating time-traveling journey? However, I understand that keeping the balance is key. I’m just eagerly awaiting the upcoming adventures featuring Victor von Doom, curious to see how all our beloved characters navigate through the challenges ahead.

The Fantastic Four: First Steps is in theaters now.

This interview has been edited for length and clarity.

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2025-08-07 19:50