1 00:00:01,960 --> 00:00:03,003 (BREATH TREMBLING) 2 00:00:03,628 --> 00:00:05,588 CASSIE: Where are we? 3 00:00:10,885 --> 00:00:11,886 (JANET BREATHING HEAVILY) 4 00:00:15,473 --> 00:00:18,727 We always loved doing the unexpected with Scott Lang. 5 00:00:18,810 --> 00:00:20,270 (THUDS) 6 00:00:20,353 --> 00:00:23,732 FEIGE: He is arguably the character that is the most underestimated. 7 00:00:24,190 --> 00:00:26,693 STEPHEN BROUSSARD: I think back to making the first film, 8 00:00:26,776 --> 00:00:29,529 which was one of the titles that, when we announced, 9 00:00:29,612 --> 00:00:31,990 people kind of looked at us strangely, like, "Really, Ant-Man? 10 00:00:32,073 --> 00:00:34,325 "You're going to make a movie about that? Are you kidding?" 11 00:00:34,701 --> 00:00:35,869 PEYTON REED: We had no idea. 12 00:00:35,952 --> 00:00:38,163 "Is Ant-Man going to work? Are people going to come see it?" 13 00:00:38,246 --> 00:00:42,459 We were fortunate that I think audiences really latched on to Scott Lang, 14 00:00:42,959 --> 00:00:45,378 and I think they did for the same reasons I did. 15 00:00:45,462 --> 00:00:46,838 Daddy! 16 00:00:46,921 --> 00:00:48,131 You can't just show up. 17 00:00:48,381 --> 00:00:49,966 SCOTT: I wanna to be a part of her life. 18 00:00:50,050 --> 00:00:51,968 He is not a super scientist or a billionaire. 19 00:00:52,052 --> 00:00:56,264 He's just a regular guy who sort of happened upon this suit 20 00:00:56,347 --> 00:01:01,227 and this technology and got sucked into this insane Marvel Universe. 21 00:01:01,311 --> 00:01:04,773 When we first started with Ant-Man, we were a palate cleanser. 22 00:01:04,856 --> 00:01:08,735 Because we were always coming after the kind of finale-big 23 00:01:08,943 --> 00:01:12,739 Marvel story, the Avengers story that was ripping people's hearts out. 24 00:01:12,822 --> 00:01:15,033 And ours were light and they were fun and they were sweet. 25 00:01:15,158 --> 00:01:19,120 But at one point, Ant-Man became the key to saving a literal universe... 26 00:01:19,204 --> 00:01:21,247 What if we could enter the Quantum Realm? 27 00:01:21,331 --> 00:01:22,874 FEIGE: ...in Avengers: Endgame. 28 00:01:22,957 --> 00:01:25,251 And that is not something I think people would have predicted 29 00:01:25,335 --> 00:01:27,045 after his first appearance. 30 00:01:27,128 --> 00:01:28,880 So carrying that tradition, we thought, 31 00:01:28,963 --> 00:01:30,465 "What do we do with another Ant-Man movie?" 32 00:01:30,548 --> 00:01:33,593 And that's really when we hit upon, "Let's use this film 33 00:01:33,676 --> 00:01:35,261 "to kick off Phase Five." 34 00:01:35,345 --> 00:01:37,180 The film that kicks off Phase Five 35 00:01:37,263 --> 00:01:39,432 -is Ant-Man and the Wasp: Quantumania. -(ALL CHEERING) 36 00:01:39,516 --> 00:01:42,018 PAUL RUDD: One of the things that was really exciting was 37 00:01:42,102 --> 00:01:44,312 knowing that what we were doing 38 00:01:44,395 --> 00:01:46,815 was probably going to surprise some people. 39 00:01:48,191 --> 00:01:50,777 Like, "Wow. I can't believe this is an Ant-Man movie." 40 00:01:50,860 --> 00:01:52,612 -(BOTH GRUNTING) -(DRAMATIC MUSIC PLAYING) 41 00:01:52,695 --> 00:01:53,696 Cut it! 42 00:01:58,118 --> 00:01:59,369 (EXCLAIMS) 43 00:02:03,665 --> 00:02:04,916 (SCOTT SCREAMS) 44 00:02:08,545 --> 00:02:09,921 CASSIE: (ECHOING) Dad! 45 00:02:14,134 --> 00:02:15,176 SCOTT: "Word of advice. 46 00:02:16,761 --> 00:02:17,971 "Look out for the little guy." 47 00:02:23,059 --> 00:02:24,686 RUDD: Ready? Kang walks in. 48 00:02:24,978 --> 00:02:25,979 Ready. 49 00:02:26,062 --> 00:02:27,355 So you see him. 50 00:02:27,522 --> 00:02:29,566 And then... And then, I blow it up. 51 00:02:29,899 --> 00:02:32,068 REED: Camera is not going to see Kang at all before. 52 00:02:32,152 --> 00:02:33,319 But we're gonna see Paul, 53 00:02:33,403 --> 00:02:35,613 we're gonna see Scott's expression not knowing what it is. 54 00:02:35,697 --> 00:02:36,698 -He pushes her in. -Oh. 55 00:02:36,781 --> 00:02:38,032 Then he gets blasted away. 56 00:02:38,700 --> 00:02:39,826 Then we reveal Kang. 57 00:02:40,410 --> 00:02:41,744 Oh! 58 00:02:41,828 --> 00:02:45,123 REED: I always knew it would be great to build to a movie like this. 59 00:02:45,206 --> 00:02:46,833 (CREATURES CHITTERING) 60 00:02:48,126 --> 00:02:51,963 As a kid, I was a big Fantastic Four fan and Avengers fan, 61 00:02:52,088 --> 00:02:53,256 and I remember stories 62 00:02:53,339 --> 00:02:55,675 where Doctor Doom would shrink down and you'd realize, 63 00:02:55,758 --> 00:02:57,886 "Oh, there are whole civilizations deep down there." 64 00:02:57,969 --> 00:03:00,180 They're worlds within worlds, and it's populated. 65 00:03:00,263 --> 00:03:03,308 And wouldn't it be great to be able to get to that at some point? 66 00:03:03,516 --> 00:03:06,644 From that were the early seeds for what Quantumania could be. 67 00:03:06,853 --> 00:03:08,021 (BREATHING HEAVILY) 68 00:03:08,104 --> 00:03:11,149 BROUSSARD: This was all sort of established in the second film... 69 00:03:11,274 --> 00:03:12,275 Mom? 70 00:03:12,358 --> 00:03:14,652 BROUSSARD: ...where Janet is rescued from the Quantum Realm. 71 00:03:17,030 --> 00:03:18,656 We hint at what the Quantum Realm could be, 72 00:03:18,740 --> 00:03:22,744 we hint that there's maybe more than just a lifeless void down there. 73 00:03:22,952 --> 00:03:25,914 There's even some Easter eggs if you go back and slow down 74 00:03:25,997 --> 00:03:29,959 the second film, where you see what looks like subatomic cities. 75 00:03:33,296 --> 00:03:34,756 It's me. 76 00:03:34,839 --> 00:03:37,926 BROUSSARD: And she's wearing clothes, that, "Where did these clothes come from?" 77 00:03:38,009 --> 00:03:39,385 Somewhere in the back of our mind, 78 00:03:39,469 --> 00:03:42,472 we knew if we ever were lucky enough to get to a Part 3, 79 00:03:42,555 --> 00:03:43,598 the seeds for that idea, 80 00:03:43,681 --> 00:03:47,936 the seeds for going from small San Francisco crime movies 81 00:03:48,019 --> 00:03:53,066 to a sci-fi epic that has more in common with Lord of the Rings or Star Wars, 82 00:03:53,149 --> 00:03:55,151 that was the starting place for Quantumania. 83 00:03:55,235 --> 00:03:59,447 But we were very conscious of this film feeling like its own thing. 84 00:03:59,572 --> 00:04:01,574 And we spent a year concepting this film. 85 00:04:01,658 --> 00:04:05,703 It's the longest run of concept time that I've ever had on a film at Marvel. 86 00:04:05,787 --> 00:04:08,957 REED: The way this hood is hanging over, that's pretty cool there. 87 00:04:09,040 --> 00:04:12,585 Because you can just barely see the eyes, so that then when there's the reveal... 88 00:04:12,961 --> 00:04:14,254 Before we release... 89 00:04:14,337 --> 00:04:16,339 One of my big influences on this was just going through 90 00:04:16,422 --> 00:04:20,468 old '60s and '70s and '80s science fiction paperbacks 91 00:04:20,551 --> 00:04:22,095 and looking at the covers. 92 00:04:22,178 --> 00:04:24,681 And they were all about just creating these whacked-out worlds. 93 00:04:24,764 --> 00:04:29,352 But also, I think you can't do a movie like this without looking at Moebius. 94 00:04:29,435 --> 00:04:31,229 Things like Flash Gordon. 95 00:04:31,312 --> 00:04:34,023 So literally, we had everything on the table. 96 00:04:34,190 --> 00:04:35,483 The best thing about 97 00:04:37,443 --> 00:04:38,569 doing a sequel 98 00:04:39,112 --> 00:04:42,282 is the opportunity to work with the people you worked with before. 99 00:04:42,365 --> 00:04:43,449 So there's a familiarity. 100 00:04:43,533 --> 00:04:47,578 You don't have to go in like strangers and kind of feel your way out. 101 00:04:47,662 --> 00:04:51,082 When you're lucky enough to get to tell a third film in your series, 102 00:04:51,165 --> 00:04:54,711 it means that you've been together with some of these cast members for years, 103 00:04:54,794 --> 00:04:58,631 and with that comes a lot of trust about the kind of story you're telling. 104 00:04:59,257 --> 00:05:02,385 It's anchored by these amazing actors, 105 00:05:02,510 --> 00:05:05,555 you know, and the choices we made going back to that first film. 106 00:05:05,638 --> 00:05:08,725 And you look at actors like Evangeline Lilly, Paul Rudd, 107 00:05:08,808 --> 00:05:12,562 Michael Douglas, and Michelle Pfeiffer, who joined in the second film. 108 00:05:12,937 --> 00:05:14,397 These are heavyweight talents. 109 00:05:14,480 --> 00:05:17,650 These are absolute world-class actors, 110 00:05:17,734 --> 00:05:20,570 which help sell the craziness of this world. 111 00:05:20,653 --> 00:05:22,071 -Show us! -Show us! 112 00:05:22,155 --> 00:05:23,323 (WOMAN CHUCKLES) 113 00:05:23,406 --> 00:05:24,949 KATHRYN NEWTON: You're going to love it. 114 00:05:25,033 --> 00:05:26,159 We'll see about that. 115 00:05:26,242 --> 00:05:28,411 RUDD: Scott Lang, he's had a lot to digest. 116 00:05:28,911 --> 00:05:32,206 We start this film. The events of Endgame have happened. 117 00:05:32,832 --> 00:05:36,669 And now, I think that, for the first time in many years, 118 00:05:36,794 --> 00:05:41,257 Scott is able to take a breath and kind of sit back 119 00:05:41,341 --> 00:05:43,217 and spend some time with his daughter 120 00:05:43,301 --> 00:05:48,097 and enjoy just being present in his own life. 121 00:05:48,181 --> 00:05:51,893 But that doesn't last that long, that peace. 122 00:05:52,477 --> 00:05:53,686 Dad! 123 00:05:56,522 --> 00:05:57,815 (SCOTT BREATHING HEAVILY) 124 00:06:00,068 --> 00:06:02,028 JEFF LOVENESS: Scott is just a dad who realizes 125 00:06:02,111 --> 00:06:04,364 that he's accidentally brought his daughter 126 00:06:04,447 --> 00:06:05,907 into this world with him now. 127 00:06:06,032 --> 00:06:08,576 And now he sees, like, "Oh, man, I can't really play this 128 00:06:08,659 --> 00:06:09,994 "as loose as I usually do. 129 00:06:10,161 --> 00:06:11,871 "I got to keep my daughter safe." 130 00:06:12,038 --> 00:06:15,750 And so I really tried to lean into the likeability 131 00:06:15,833 --> 00:06:17,960 and the everyman charm of Paul Rudd. 132 00:06:18,044 --> 00:06:21,506 On top of that, he can deliver any joke and make it ten times better 133 00:06:21,589 --> 00:06:22,632 just by saying it. 134 00:06:22,715 --> 00:06:23,758 CASSIE: Hmm. 135 00:06:23,841 --> 00:06:25,927 It's like we're camping. We love camping. 136 00:06:26,677 --> 00:06:28,304 CASSIE: We've never been camping. 137 00:06:29,055 --> 00:06:30,473 But we've always talked about it. 138 00:06:31,391 --> 00:06:35,770 He is just endlessly coming up with different ways to come at a scene. 139 00:06:35,853 --> 00:06:37,814 You know, we work very hard on the screenplay and, 140 00:06:37,939 --> 00:06:39,732 and get it where we want it, and we shoot that. 141 00:06:39,816 --> 00:06:43,694 But we always mix it up and, you know, nine times out of ten, 142 00:06:43,778 --> 00:06:47,865 Paul's going to figure out a better, funnier way to tell that story. 143 00:06:47,949 --> 00:06:49,200 (WARBLES) 144 00:06:50,201 --> 00:06:51,744 Your Nobel Prize is in the mail. 145 00:06:51,828 --> 00:06:54,080 It better be. I just saved eight bucks. 146 00:06:54,831 --> 00:06:55,998 God, I admire you. 147 00:06:56,791 --> 00:06:57,792 Thank you. 148 00:07:00,128 --> 00:07:02,213 LOVENESS: It was really fun to play Evangeline Lilly 149 00:07:02,296 --> 00:07:04,632 as, like, the straight-edge, high status, 150 00:07:04,715 --> 00:07:07,218 highly capable, highly efficient person. 151 00:07:07,343 --> 00:07:09,846 She really surprised me with her just dead-on deliveries. 152 00:07:09,929 --> 00:07:12,098 She's been, uh, really great in this movie. 153 00:07:13,266 --> 00:07:14,684 No pizza in the Quantum Realm? 154 00:07:14,767 --> 00:07:17,979 (CHUCKLES) No. No anything. 155 00:07:18,062 --> 00:07:21,816 You know, Mom, you can talk about it. If you want. 156 00:07:21,899 --> 00:07:24,861 I'll be honest and tell you it's been really difficult. 157 00:07:24,944 --> 00:07:26,988 Because I... 158 00:07:27,071 --> 00:07:30,116 Every time I revisit Hope, every time I come back for a new film, 159 00:07:30,199 --> 00:07:33,453 I realize I have to reinvent her, 160 00:07:33,536 --> 00:07:35,621 I have to figure out who she is now, 161 00:07:35,746 --> 00:07:37,915 what that looks like and how to make sure 162 00:07:37,999 --> 00:07:40,126 that it doesn't look like a completely different person, 163 00:07:40,209 --> 00:07:42,420 like that there's a through line that you still see Hope 164 00:07:42,503 --> 00:07:43,504 and you feel her. 165 00:07:43,588 --> 00:07:46,382 REED: I think maybe a little bit of a drift in, right? 166 00:07:46,507 --> 00:07:48,926 -There's a whole thing I can see. -REED: Yeah, there's a force field 167 00:07:49,010 --> 00:07:50,678 that goes all the way around this thing, right? 168 00:07:50,761 --> 00:07:52,305 -Okay. -So taking that in, 169 00:07:52,388 --> 00:07:54,307 a little bit of a, a move in, 170 00:07:54,390 --> 00:07:56,517 and then I'll cue you for, um... 171 00:07:56,601 --> 00:07:59,520 You've got to do something. That's where you dig for the thing. 172 00:07:59,604 --> 00:08:01,856 I used to jokingly talk about the first film, 173 00:08:01,939 --> 00:08:06,068 like she was just always in a bad mood and kind of had attitude. 174 00:08:06,444 --> 00:08:09,280 Okay, we can try this and when he fails, I'll do it myself. 175 00:08:09,363 --> 00:08:11,991 LILLY: But by the second film already, I felt like I had to drop that, 176 00:08:12,074 --> 00:08:14,035 because she was in a much better place. 177 00:08:14,118 --> 00:08:17,330 So, each film, I'm like, "Wait, who is she and how do I play that? 178 00:08:17,413 --> 00:08:19,207 "And how do I make sure that it's still Hope?" 179 00:08:19,290 --> 00:08:21,876 And it's been a challenge, but a challenge that I welcome. 180 00:08:21,959 --> 00:08:23,294 (WARBLES) 181 00:08:23,377 --> 00:08:25,546 -(SIGHS IN EXASPERATION) -(CLICKING) 182 00:08:25,630 --> 00:08:28,174 -Awesome. -If only Cap could see you now. 183 00:08:28,633 --> 00:08:29,759 LILLY: In Ant-Man and the Wasp, 184 00:08:29,842 --> 00:08:31,969 Hope brought her mother back from the Quantum Realm, 185 00:08:32,053 --> 00:08:33,763 and was very, very excited. 186 00:08:33,888 --> 00:08:36,474 I think she might have had little girl fantasies 187 00:08:36,557 --> 00:08:37,975 about what that reunion would be like. 188 00:08:38,059 --> 00:08:39,977 Mommy and I will tell each other everything. 189 00:08:40,061 --> 00:08:41,312 We'll be best of friends. 190 00:08:41,395 --> 00:08:42,897 I missed you so much. 191 00:08:43,689 --> 00:08:45,858 I missed you too, jellybean. 192 00:08:45,942 --> 00:08:49,111 What we don't see between the last film and this one 193 00:08:49,195 --> 00:08:54,075 is that she wasn't so open. 194 00:08:54,158 --> 00:08:56,827 She wasn't so intimate. She wasn't so vulnerable. 195 00:08:59,080 --> 00:09:01,040 (BREATHLESSLY) Do not move. 196 00:09:01,624 --> 00:09:03,376 (ALL PANTING) 197 00:09:04,710 --> 00:09:09,215 There was a closed-off part of her that Hope couldn't reach 198 00:09:09,298 --> 00:09:10,633 and it hurts. 199 00:09:10,716 --> 00:09:16,472 Hope and Janet, working through the gaps in their relationship. 200 00:09:16,556 --> 00:09:18,015 (WHIRRING) 201 00:09:18,099 --> 00:09:20,351 So, you've been studying the Quantum Realm? 202 00:09:21,852 --> 00:09:23,896 -Mm-hmm. -Why didn't you ask me about it? 203 00:09:23,980 --> 00:09:26,065 I tried, Mom. 204 00:09:26,482 --> 00:09:27,483 A lot. 205 00:09:27,567 --> 00:09:29,110 You never wanted to talk about it. 206 00:09:30,278 --> 00:09:33,906 Michelle and I were really passionate about that part of the story. 207 00:09:33,990 --> 00:09:38,452 And we spent a lot of time making that really honest. 208 00:09:38,536 --> 00:09:40,121 We didn't want it glossed over. 209 00:09:40,204 --> 00:09:44,041 We didn't want their tension to be cute. 210 00:09:45,126 --> 00:09:47,169 You said there was nothing down here. 211 00:09:47,253 --> 00:09:48,504 Why didn't you tell us about this? 212 00:09:48,588 --> 00:09:50,256 I will explain everything, but right now... 213 00:09:50,339 --> 00:09:52,383 -I need you to trust me. -Then make me trust you! 214 00:09:53,467 --> 00:09:57,138 I started to get really excited about the movie 215 00:09:57,221 --> 00:09:59,557 once we talked about Janet. 216 00:10:00,600 --> 00:10:03,102 HANK: Janet, what is he talking about? 217 00:10:03,185 --> 00:10:06,647 LOVENESS: This is Janet's history of violence coming back. 218 00:10:06,731 --> 00:10:08,858 This is Michelle Pfeiffer's Unforgiven. 219 00:10:08,941 --> 00:10:10,610 How many worlds will die 220 00:10:12,820 --> 00:10:14,030 if you get out? 221 00:10:15,656 --> 00:10:16,824 Not yours. 222 00:10:17,617 --> 00:10:20,745 LOVENESS: This is that movie with a legendary movie star, 223 00:10:21,370 --> 00:10:25,499 and it's her past coming back to destroy her family. 224 00:10:25,708 --> 00:10:32,423 And Michelle brought so much pathos and guilt to this character. 225 00:10:32,882 --> 00:10:35,760 I couldn't beat him. He was too powerful. 226 00:10:36,636 --> 00:10:37,637 What did you do? 227 00:10:37,720 --> 00:10:39,889 (PANTING) 228 00:10:40,681 --> 00:10:44,310 MICHELLE PFEIFFER: This is the first film where I think we really get to know Janet. 229 00:10:44,810 --> 00:10:49,690 I do think she struggles with feeling like an outsider. 230 00:10:52,193 --> 00:10:56,364 It's interesting. On the previous film, I just wasn't there for that long. 231 00:10:56,447 --> 00:10:58,157 REED: And, cut! Yeah. Great. 232 00:10:58,240 --> 00:11:01,035 PFEIFFER: I think I sort of maybe left the last one 233 00:11:01,118 --> 00:11:03,204 feeling still a little bit of an outsider, 234 00:11:03,746 --> 00:11:05,289 because my visit was so brief. 235 00:11:05,373 --> 00:11:06,374 (GASPS) 236 00:11:10,086 --> 00:11:11,295 Let's go home. 237 00:11:11,379 --> 00:11:13,506 But this one, we were really in the trenches together 238 00:11:13,589 --> 00:11:14,882 for a very long time. 239 00:11:14,965 --> 00:11:17,718 I even said to Michael one day, I turned to him and I said, 240 00:11:17,802 --> 00:11:22,640 "I'm just so happy that I got to know you on this film." 241 00:11:23,265 --> 00:11:25,476 It's watching and learning from each other. 242 00:11:25,559 --> 00:11:27,812 And, you know, Michael is hysterical, 243 00:11:27,895 --> 00:11:29,563 no matter what you give him to say. 244 00:11:29,939 --> 00:11:31,190 I love ants. 245 00:11:32,525 --> 00:11:34,151 I (BLEEP) love ants. 246 00:11:35,986 --> 00:11:38,656 DOUGLAS: There's just a fun factor to it, 247 00:11:38,739 --> 00:11:42,159 to get into this other world, you know, the Quantum Realm. 248 00:11:42,243 --> 00:11:45,121 And "anything goes" is a trip. 249 00:11:47,998 --> 00:11:50,459 What I discovered about Michael Douglas in these movies 250 00:11:50,543 --> 00:11:51,794 is how funny he is. 251 00:11:52,253 --> 00:11:53,462 You read my book? 252 00:11:54,255 --> 00:11:57,216 Every goddamn word. 253 00:11:58,509 --> 00:12:01,095 I think the general audience thinks of Michael 254 00:12:01,220 --> 00:12:03,305 in, you know, sexy thrillers, 255 00:12:03,389 --> 00:12:06,934 and his great commanding voice, and he's an incredible dramatic actor. 256 00:12:07,017 --> 00:12:09,562 But his comedic chops are fantastic. 257 00:12:09,687 --> 00:12:11,397 She had some questions, okay? 258 00:12:11,480 --> 00:12:13,858 I can't help if people are inspired by me. 259 00:12:13,941 --> 00:12:16,110 He really is Hollywood royalty. 260 00:12:16,193 --> 00:12:19,447 So to get him as Hank Pym in that first movie was exciting. 261 00:12:19,989 --> 00:12:24,118 40 years ago, I created a formula that altered atomic relative distance. 262 00:12:24,785 --> 00:12:25,786 What does that mean? 263 00:12:25,870 --> 00:12:27,079 (WARBLES) 264 00:12:27,163 --> 00:12:29,165 I learned how to change the distance between atoms. 265 00:12:29,248 --> 00:12:32,918 REED: And to build this character of Hank, who is a mentor character to Scott. 266 00:12:33,002 --> 00:12:34,920 But he's kind of a bent mentor, right? 267 00:12:35,546 --> 00:12:38,924 Hank, I'm a thief. I'm a good thief, but this is insane. 268 00:12:39,925 --> 00:12:42,553 There's some morally gray areas, uh, about Hank, 269 00:12:42,636 --> 00:12:44,680 and he can be a bit of a curmudgeon. 270 00:12:44,764 --> 00:12:47,683 But I love Michael's energy in a big way in this movie. 271 00:12:47,767 --> 00:12:49,685 I would've just broken you out with ants. 272 00:12:49,769 --> 00:12:52,271 All right, you know what? Family meeting. Can we have a family meeting? 273 00:12:52,354 --> 00:12:53,355 Isn't that what we're doing? 274 00:12:53,522 --> 00:12:54,523 Yeah, I mean about this. 275 00:12:54,607 --> 00:12:56,692 About everybody being so fine with this. 276 00:12:58,861 --> 00:12:59,862 MAN: Here we go. 277 00:13:01,030 --> 00:13:03,240 (STAGE BELL RINGS) 278 00:13:04,158 --> 00:13:07,953 We had discussions about who the villain of this movie was going to be, 279 00:13:08,037 --> 00:13:13,501 and we loved the idea of pitting Ant-Man against a major Marvel villain. 280 00:13:13,959 --> 00:13:15,211 You're an interesting man... 281 00:13:19,006 --> 00:13:20,508 Scott Lang. 282 00:13:20,591 --> 00:13:22,218 Kang the Conqueror came to mind 283 00:13:22,343 --> 00:13:25,304 because I was a fan of Kang's since I was a kid, in the comics. 284 00:13:25,387 --> 00:13:26,764 (OMINOUS MUSIC PLAYING) 285 00:13:32,686 --> 00:13:34,772 That excited us, to take the Avenger 286 00:13:34,855 --> 00:13:37,733 who might be perceived as certainly the tiniest Avenger, 287 00:13:37,817 --> 00:13:41,904 and putting him up against this powerful, powerful multiversal villain. 288 00:13:48,285 --> 00:13:49,286 KANG: You're an Avenger? 289 00:13:53,249 --> 00:13:54,291 Have I killed you before? 290 00:13:55,793 --> 00:13:56,877 (SCOFFS) What? 291 00:13:57,753 --> 00:13:59,755 They all blur together after a while. 292 00:14:00,506 --> 00:14:06,220 Audiences have seen a version of this character in the series Loki. 293 00:14:08,305 --> 00:14:10,349 This is wild. (CHUCKLES) 294 00:14:14,812 --> 00:14:15,938 He Who Remains. 295 00:14:16,605 --> 00:14:19,441 It's a very different character. It's just a variation. 296 00:14:19,900 --> 00:14:23,404 LOVENESS: He Who Remains is kind of squirrelly guy 297 00:14:23,487 --> 00:14:25,322 who hides away at the end of time, 298 00:14:25,447 --> 00:14:27,241 and this is the guy he's afraid of. 299 00:14:30,244 --> 00:14:32,121 This is Kang the Conqueror. 300 00:14:36,667 --> 00:14:40,713 This is the version that every other version of him is terrified of, 301 00:14:40,796 --> 00:14:44,800 so terrified that they had to ambush him and banish him down to the Quantum Realm. 302 00:14:45,259 --> 00:14:46,427 What is this place? 303 00:14:46,510 --> 00:14:48,387 (BREATHING HEAVILY) 304 00:14:54,727 --> 00:14:56,145 KANG: Once I get out of here, 305 00:14:58,480 --> 00:15:01,817 I can take any universe I want. 306 00:15:04,069 --> 00:15:09,116 The Ant-Man franchise, within the MCU, has a very clear ethos 307 00:15:09,199 --> 00:15:11,911 has a very clear rhythm to it. 308 00:15:14,538 --> 00:15:18,208 I had the benefit of stepping into a song that was already playing. 309 00:15:19,835 --> 00:15:23,088 Today we conquer eternity. 310 00:15:23,923 --> 00:15:28,928 (INDISTINCT CONVERSATIONS) 311 00:15:29,011 --> 00:15:31,221 (CAPTIVATING MUSIC PLAYING) 312 00:15:38,395 --> 00:15:41,857 REED: The Marvel movies, I think, are at their best when you have a villain 313 00:15:42,608 --> 00:15:45,194 that is a really compelling character. 314 00:15:46,236 --> 00:15:48,614 A villain who has a very clear agenda... 315 00:15:48,697 --> 00:15:50,115 Just be glad I need you. 316 00:15:50,199 --> 00:15:52,076 REED: A villain who also has this side 317 00:15:52,159 --> 00:15:56,372 that you kind of relate to their point of view despite yourself. 318 00:15:56,455 --> 00:15:59,375 We wanted Kang to really, really embody that. 319 00:16:01,210 --> 00:16:02,878 We're going to get out of here. 320 00:16:02,962 --> 00:16:04,254 (SIGHS) 321 00:16:06,215 --> 00:16:07,424 KANG: She's gonna open the door... 322 00:16:07,508 --> 00:16:08,550 (JANET CHUCKLES SOFTLY) 323 00:16:09,551 --> 00:16:10,636 KANG: ...and you'll be there. 324 00:16:11,971 --> 00:16:13,514 KATY O'BRIAN: When it came to the costume, 325 00:16:13,597 --> 00:16:16,266 Kang is very much this futuristic character. 326 00:16:16,350 --> 00:16:19,728 He's very foreign in a lot of ways to our culture and to our world. 327 00:16:20,354 --> 00:16:23,899 So he has a very different, very sleek, futuristic appeal. 328 00:16:23,983 --> 00:16:26,860 That's what conquerors do. 329 00:16:27,653 --> 00:16:30,155 They burn the broken world. 330 00:16:31,407 --> 00:16:34,368 And they make a new one. 331 00:16:34,451 --> 00:16:36,203 It's always a challenge when you're bringing 332 00:16:36,286 --> 00:16:39,331 a Marvel Comics character from a two-dimensional page 333 00:16:39,415 --> 00:16:42,334 into a living, breathing person in a movie. 334 00:16:42,501 --> 00:16:45,004 Because a lot of those designs, almost all of them were, 335 00:16:45,087 --> 00:16:46,880 you know, originated in the '60s. 336 00:16:46,964 --> 00:16:50,092 But we looked at all the panels and we really embraced these things, 337 00:16:50,175 --> 00:16:54,471 and how can we do the sort of 21st-century version of that thing? 338 00:16:54,930 --> 00:16:59,435 Taking visual cues from the comics and, and making them feel real. 339 00:17:00,060 --> 00:17:01,353 (WARBLES) 340 00:17:01,437 --> 00:17:03,022 (THRILLING MUSIC PLAYING) 341 00:17:03,897 --> 00:17:05,607 SAMMY SHELDON DIFFER: This was probably 342 00:17:05,691 --> 00:17:07,651 the most difficult costume on the film to make. 343 00:17:07,776 --> 00:17:13,157 The concept was drawn in a way that you couldn't tell what the fabric was, 344 00:17:13,240 --> 00:17:16,827 whether it's hard or soft, so we had to experiment. 345 00:17:16,910 --> 00:17:22,124 I think this is the third version of how we solved the problem. 346 00:17:22,207 --> 00:17:25,335 IVO COVENEY: What Peyton was really keen on was the lines of this... 347 00:17:25,419 --> 00:17:26,712 It was this line. 348 00:17:26,795 --> 00:17:28,130 -Yeah. -Comic book accurate. 349 00:17:28,213 --> 00:17:32,342 So he wanted the size of that collar. He wanted these lines flowing down. 350 00:17:32,426 --> 00:17:36,055 And although we had that, they had to be broken up to allow for more movement. 351 00:17:38,974 --> 00:17:44,188 Starting out, they brought the costume completely into the trailer. 352 00:17:45,147 --> 00:17:47,483 And I did take a moment. 353 00:17:48,942 --> 00:17:52,654 And then once I put it on, I went, "Mmm, this is it." 354 00:17:52,738 --> 00:17:57,534 You know, like, there are very few moments in my life where you go, "This is it." 355 00:17:57,618 --> 00:17:59,995 (CAPTIVATING MUSIC PLAYING) 356 00:18:01,789 --> 00:18:03,749 MAJORS: There is a energy within the suit. 357 00:18:04,500 --> 00:18:05,834 It makes you stand up straight. 358 00:18:06,001 --> 00:18:07,461 You know, that's just how it's built. 359 00:18:08,087 --> 00:18:12,007 There's mysticism about it, you know. It's iconic. 360 00:18:15,094 --> 00:18:17,179 I think one of the hardest things in this film 361 00:18:17,262 --> 00:18:19,348 from a design point of view was to find that balance 362 00:18:19,431 --> 00:18:21,975 of a certain amount of familiarity about things, 363 00:18:22,059 --> 00:18:25,020 but not be exactly what you think it is. 364 00:18:25,145 --> 00:18:28,357 One of the things that I looked at quite early on were 365 00:18:28,482 --> 00:18:31,527 natural photography and electron microscopy 366 00:18:31,610 --> 00:18:33,654 and just trying to find colors and textures 367 00:18:33,737 --> 00:18:36,740 to help take it from it just being this sort of 368 00:18:36,824 --> 00:18:38,826 hard surface, technological world 369 00:18:38,909 --> 00:18:41,453 to having this slightly more organic feeling to it. 370 00:18:41,537 --> 00:18:43,831 And that's quite a tricky thing, to strike that balance. 371 00:18:44,414 --> 00:18:47,126 I just started with some initial sort of sketches, 372 00:18:47,209 --> 00:18:50,420 put together a bunch of reference boards and materials for Peyton, 373 00:18:50,504 --> 00:18:52,422 just to create the whole vibe of the world. 374 00:18:53,298 --> 00:18:54,716 MAN: Look up. Spin. 375 00:18:55,259 --> 00:18:57,427 It's coming in, it's coming in, it's coming in. 376 00:18:57,511 --> 00:18:58,846 And, bang! 377 00:18:59,513 --> 00:19:01,265 Look at him. Pry him off. 378 00:19:01,348 --> 00:19:02,391 (PFEIFFER GRUNTS) 379 00:19:03,684 --> 00:19:08,397 This world that they've (CHUCKLING) created was, um, pretty spectacular. 380 00:19:10,899 --> 00:19:14,736 We worked with this relatively new technology, 381 00:19:14,820 --> 00:19:17,406 The Volume, where they actually project, 382 00:19:17,489 --> 00:19:20,993 in 3D, all around you on the stage. 383 00:19:21,076 --> 00:19:24,496 So you are really there and you're not having to pretend. 384 00:19:24,580 --> 00:19:27,082 This changes everything we know about life, 385 00:19:27,541 --> 00:19:30,335 about evolution, our place in the galaxy... 386 00:19:30,460 --> 00:19:31,712 Holy shit! 387 00:19:32,838 --> 00:19:34,047 That guy looks like broccoli. 388 00:19:34,339 --> 00:19:35,799 (GRUMBLES) 389 00:19:37,467 --> 00:19:38,927 HTAY: When using The Volume, 390 00:19:39,011 --> 00:19:42,222 from a design point of view, you have to start early... 391 00:19:42,389 --> 00:19:44,641 MAN: All right, everybody. We're gonna get started now. 392 00:19:44,725 --> 00:19:46,101 HTAY: ...to feed the process. 393 00:19:46,185 --> 00:19:48,729 It's a little bit like bringing postproduction up front 394 00:19:48,812 --> 00:19:53,150 and bringing preproduction, production and postproduction all together. 395 00:19:53,233 --> 00:19:55,777 So that you can actually, in effect, shoot on it. 396 00:19:55,986 --> 00:19:59,031 Give us as much in camera as we can, really make it feel real. 397 00:19:59,615 --> 00:20:03,327 Not only that, we had these incredibly imaginative, 398 00:20:03,410 --> 00:20:05,829 otherworldly characters, 399 00:20:05,913 --> 00:20:08,749 and the costumes and the makeup design. 400 00:20:10,000 --> 00:20:12,002 You really felt like you were entering 401 00:20:12,085 --> 00:20:17,841 this sort of strange and frightening and magical universe. 402 00:20:20,177 --> 00:20:22,304 REED: Once we get into our... 403 00:20:22,387 --> 00:20:24,723 Michael and Evangeline are here. 404 00:20:26,058 --> 00:20:27,768 Rock guy in the background. 405 00:20:27,851 --> 00:20:30,062 Right, guys? So I imagine that we can use him here. 406 00:20:30,187 --> 00:20:32,981 You'll be able to get him in the foreground, 407 00:20:33,065 --> 00:20:35,108 like floating pieces of rock right in the foreground. 408 00:20:35,275 --> 00:20:36,485 This, I think would be great. 409 00:20:36,568 --> 00:20:40,530 The biggest challenges on this film is inventing every look 410 00:20:40,614 --> 00:20:42,157 and every idea from the ground up. 411 00:20:43,158 --> 00:20:45,077 And at every angle, we've asked ourselves, 412 00:20:45,160 --> 00:20:46,703 'What's the Quantum Realm version of this? 413 00:20:46,787 --> 00:20:48,664 "What's the Quantum Realm version of aliens?" 414 00:20:48,872 --> 00:20:51,375 We call them aliens because that's the term we're used to, 415 00:20:51,458 --> 00:20:52,751 it's the shorthand we're used to. 416 00:20:52,834 --> 00:20:53,835 But essentially, it's not. 417 00:20:53,919 --> 00:20:56,046 It's a whole different world and a whole different way 418 00:20:56,129 --> 00:20:58,674 of looking at species and life. 419 00:20:59,049 --> 00:21:00,801 CONOR O'SULLIVAN: We needed to go quite extreme. 420 00:21:00,884 --> 00:21:03,262 Nothing should be like it is in our world. 421 00:21:03,345 --> 00:21:06,556 It should be an ephemeral sort of universe. 422 00:21:06,640 --> 00:21:08,392 (CAPTIVATING MUSIC PLAYING) 423 00:21:14,064 --> 00:21:17,067 O'SULLIVAN: We were getting some very unusual designs. 424 00:21:20,445 --> 00:21:23,907 This guy is Pixel Man, he was a great favorite. 425 00:21:23,991 --> 00:21:25,784 The idea of him is that he looks like 426 00:21:25,867 --> 00:21:28,620 a collection of pixels floating in the space 427 00:21:28,704 --> 00:21:31,581 that are kind of concentrated and become the body of a human. 428 00:21:31,915 --> 00:21:35,002 We had a lovely guy called Kintsugi Man. 429 00:21:37,671 --> 00:21:40,465 This lovely gentleman here actually was one of our stuntmen. 430 00:21:40,590 --> 00:21:43,051 So we knew he was going to have to perform stunts. 431 00:21:43,260 --> 00:21:45,679 So I wanted a fairly robust makeup. 432 00:21:45,762 --> 00:21:49,349 I mean, obviously, he couldn't have anything as delicate as those. 433 00:21:49,433 --> 00:21:52,185 We completely covered him, and he had prosthetic pieces. 434 00:21:52,269 --> 00:21:54,896 You can see these are all built up 435 00:21:54,980 --> 00:21:57,316 to give him this sort of slightly broken look. 436 00:21:57,399 --> 00:22:00,360 We also had a lovely chap we called Ribbon Man, 437 00:22:00,444 --> 00:22:03,405 because I wanted it to look like his face was unraveling. 438 00:22:03,488 --> 00:22:06,742 So we drew, like, a bandaged effect on his face. 439 00:22:06,825 --> 00:22:08,577 And then we had these ribbons coming off, 440 00:22:08,660 --> 00:22:11,371 but we had the inside of the ribbon dark blue, 441 00:22:11,455 --> 00:22:13,081 which, if you looked at the back of his skull, 442 00:22:13,165 --> 00:22:15,000 looked like it was the inside of his head. 443 00:22:15,125 --> 00:22:18,420 Some of the things you really couldn't physically make them. 444 00:22:18,503 --> 00:22:21,131 To actually sculpt them with your hands would be very difficult. 445 00:22:21,256 --> 00:22:24,259 So I just exploited 3D printing like crazy. 446 00:22:24,885 --> 00:22:30,223 That was the first for me, to actually do a 3D-printed mold and produce pieces 447 00:22:30,307 --> 00:22:33,393 that were to merge with the skin. 448 00:22:33,685 --> 00:22:35,979 There are moments when you are reading the script, and you go, 449 00:22:36,063 --> 00:22:39,524 "I just struggle to understand what that is as a concept." 450 00:22:40,359 --> 00:22:43,487 And then you kind of get into it and you start spitballing ideas, 451 00:22:43,570 --> 00:22:45,155 and artworking up stuff. 452 00:22:45,238 --> 00:22:47,866 And then it tends to have a life of its own. 453 00:22:48,784 --> 00:22:52,162 Good example of that would be the controls for Krylar's yacht. 454 00:22:52,245 --> 00:22:53,246 (SQUELCHING) 455 00:22:53,497 --> 00:22:55,749 Where are the controls? 456 00:22:55,832 --> 00:22:56,875 Those are the controls. 457 00:22:56,958 --> 00:22:58,126 (SQUELCHING) 458 00:22:58,502 --> 00:22:59,544 What the hell? 459 00:23:03,548 --> 00:23:05,967 O'SULLIVAN: Initially, it was called a dielectric gel, 460 00:23:06,510 --> 00:23:10,222 and it's used for waterproofing electrical components. 461 00:23:10,430 --> 00:23:12,933 It's a very sticky, mucusy jelly, 462 00:23:13,016 --> 00:23:15,560 and it's not really of any use to us. 463 00:23:15,644 --> 00:23:17,938 But I started mixing it with another material, 464 00:23:18,021 --> 00:23:22,025 and I was able to harden it and change the properties of it 465 00:23:22,109 --> 00:23:24,277 to make it much more useful as a prosthetic. 466 00:23:24,986 --> 00:23:26,613 REED: And let's start that up! 467 00:23:26,696 --> 00:23:28,949 HTAY: Sometimes you just have to take a risk and experiment, 468 00:23:29,032 --> 00:23:30,867 and I think we got a great physical result. 469 00:23:30,951 --> 00:23:34,121 And I've got to say, Michael Douglas was an absolute professional. 470 00:23:40,460 --> 00:23:41,461 -Hello. -Whoa! 471 00:23:41,628 --> 00:23:42,629 VEB: Hi. (CHUCKLES) Hi. 472 00:23:42,712 --> 00:23:44,089 Did you drink the ooze? 473 00:23:45,841 --> 00:23:47,426 -Why can I understand you? -VEB: Oh. 474 00:23:47,509 --> 00:23:48,593 Great. That's the ooze. 475 00:23:48,677 --> 00:23:50,887 Hey, everybody, It worked! Ooze worked! 476 00:23:50,971 --> 00:23:52,305 (ALL CHEERING) 477 00:23:52,389 --> 00:23:57,060 Veb, he's just this blob with these weird, creepy arms. 478 00:23:57,144 --> 00:23:59,146 Hi. I am Veb. You just drank me. 479 00:23:59,229 --> 00:24:00,230 I did... What? 480 00:24:00,355 --> 00:24:02,566 This is amazing, because it's so weird. 481 00:24:02,691 --> 00:24:06,153 We knew we needed someone to inhabit it in ways where would come to life, 482 00:24:06,236 --> 00:24:07,821 even though it's a fully CG character. 483 00:24:07,904 --> 00:24:11,324 You wanted to feel personality and feel the performance of that. 484 00:24:12,367 --> 00:24:14,286 VEB: I have holes. 485 00:24:14,369 --> 00:24:18,540 BROUSSARD: Very early on, we hit upon the idea of inviting David Dastmalchian 486 00:24:18,623 --> 00:24:20,333 back to the Ant-Man franchise 487 00:24:20,417 --> 00:24:23,545 to play a completely different character than he had played 488 00:24:23,628 --> 00:24:25,046 in the first two films. 489 00:24:25,130 --> 00:24:27,382 Oh, that's Kurt. He was at Folsom for five years. 490 00:24:27,466 --> 00:24:28,842 He's a wizard on that laptop. 491 00:24:30,135 --> 00:24:32,095 -Nice meet you. -Nice to meet you, too. 492 00:24:32,179 --> 00:24:35,223 When Peyton told me about the role, I'd never done anything like this before. 493 00:24:35,307 --> 00:24:37,642 What would this look like? How would they involve me? 494 00:24:37,726 --> 00:24:41,062 Was I just going to get to go to a booth at some point and give my voice? 495 00:24:41,146 --> 00:24:43,106 To me, what I wanted 496 00:24:43,190 --> 00:24:47,694 was the opportunity to, like, be there on set. 497 00:24:47,777 --> 00:24:49,029 A big hole. 498 00:24:49,154 --> 00:24:50,530 How many holes do you have? 499 00:24:51,114 --> 00:24:52,532 I'm sorry. Is that a personal question? 500 00:24:52,616 --> 00:24:53,909 I don't have any holes. 501 00:24:53,992 --> 00:24:57,412 DASTMALCHIAN: When I stepped foot for the very first time 502 00:24:57,496 --> 00:25:00,040 on the set of the Quantum Realm, 503 00:25:00,165 --> 00:25:05,545 it was like all my childhood dreams of making movies coming to life. 504 00:25:05,629 --> 00:25:09,049 There was so much practical set building happening there, 505 00:25:09,132 --> 00:25:11,635 and then all the magnificent imagination. 506 00:25:11,718 --> 00:25:14,137 We got to make sort of like a Marvel Wizard of Oz 507 00:25:14,221 --> 00:25:18,350 which I felt was, like, "What an insane opportunity." 508 00:25:18,934 --> 00:25:20,227 You can read minds? 509 00:25:20,310 --> 00:25:23,563 Yeah, and I really wish I couldn't. 510 00:25:23,647 --> 00:25:26,399 Everyone is disgusting. 511 00:25:26,483 --> 00:25:27,484 (ELECTRICAL RINGING) 512 00:25:27,567 --> 00:25:29,986 -Could you please stop thinking that? -Sorry. 513 00:25:30,070 --> 00:25:34,491 LOVENESS: I had so much fun because I got to write a corner of the Marvel Universe 514 00:25:35,075 --> 00:25:36,868 that basically felt like fresh territory. 515 00:25:36,952 --> 00:25:40,038 REED: You guys will take off your hoods... You let go of him, 516 00:25:40,121 --> 00:25:42,958 take off your hoods, and reveal that you're fuzzy, 517 00:25:43,041 --> 00:25:44,459 cute little owl creatures. 518 00:25:44,543 --> 00:25:47,254 LOVENESS: We got to populate it with so many creatures, 519 00:25:47,337 --> 00:25:51,049 and they built subcultures and they built languages. 520 00:25:51,132 --> 00:25:53,552 -(SPEAKING OTHER LANGUAGE) -(GRUNTS) 521 00:25:53,635 --> 00:25:54,886 LOVENESS: It's just incredible. 522 00:25:54,970 --> 00:25:58,598 Every second you see on camera had so much thought behind it, 523 00:25:58,848 --> 00:26:01,434 whereas I'm sitting here on camera and I was like, "Well, you know, 524 00:26:01,518 --> 00:26:03,019 "there's a broccoli guy, He's drunk. 525 00:26:03,103 --> 00:26:04,688 "He speaks the broccoli language." 526 00:26:05,814 --> 00:26:07,774 So, what's your story then? 527 00:26:08,316 --> 00:26:09,609 JANET: Move. 528 00:26:10,151 --> 00:26:11,653 It's time. Follow me. 529 00:26:12,821 --> 00:26:15,115 LOVENESS: We just tried to make this as heightened 530 00:26:15,198 --> 00:26:18,076 and as colorful and as vibrant as possible. 531 00:26:18,159 --> 00:26:21,413 At the same time, you had no rules, but you also had to make your own rules. 532 00:26:21,496 --> 00:26:25,166 And luckily, those rules could be, you know, whatever you wanted them to be. 533 00:26:25,250 --> 00:26:26,376 (CLANKS) 534 00:26:28,044 --> 00:26:29,546 MAN: Step out, please. Glasses on. 535 00:26:31,339 --> 00:26:32,841 -(LAUGHING) -Yes! Yes! 536 00:26:32,924 --> 00:26:34,676 MAN: All right, and back it up. 537 00:26:36,011 --> 00:26:38,305 -What do we do with our hands? -MAN: Back it up. 538 00:26:38,388 --> 00:26:39,723 -Superhero stuff. -Superhero stuff. 539 00:26:39,931 --> 00:26:41,600 Oh, look at that! She's a natural. 540 00:26:41,725 --> 00:26:43,643 One of our philosophies that we've always applied 541 00:26:43,727 --> 00:26:46,855 is to just go back to character and to root it in character. 542 00:26:46,980 --> 00:26:51,943 And the science fiction and the world building is fun. 543 00:26:52,027 --> 00:26:53,486 Dad! 544 00:26:54,529 --> 00:26:56,072 (MUSIC PLAYING) 545 00:26:57,782 --> 00:26:59,367 But, ultimately, it's window dressing 546 00:26:59,451 --> 00:27:02,454 to this story about a father and his daughter reconnecting. 547 00:27:03,371 --> 00:27:04,831 (GRUNTS) Dad! (PANTING) 548 00:27:05,415 --> 00:27:09,586 RUDD: As far as having Kathryn now play Cassie as a young adult, 549 00:27:09,669 --> 00:27:11,671 it was great because it's life. 550 00:27:11,755 --> 00:27:14,215 It's much different dealing with a 6-year-old... 551 00:27:14,299 --> 00:27:17,552 Mommy's so happy you're here, she choked on her drink. 552 00:27:17,636 --> 00:27:20,972 RUDD: ...than it is somebody who's 18. 553 00:27:21,056 --> 00:27:22,849 SCOTT: Cassie. What happened? 554 00:27:23,767 --> 00:27:24,976 Jail stuff. 555 00:27:25,060 --> 00:27:29,481 And so, I think the thing that was fun was watching Kathryn 556 00:27:29,564 --> 00:27:32,025 kind of take on Cassie 557 00:27:32,651 --> 00:27:37,697 and play a character who wants to find her own way, discover who she is, 558 00:27:37,781 --> 00:27:41,076 and maybe butt heads with her dad a little bit. 559 00:27:41,159 --> 00:27:43,662 -(SCOTT GRUNTS) -Okay. I have a suit. 560 00:27:44,204 --> 00:27:45,538 Yeah, I noticed. 561 00:27:46,623 --> 00:27:50,293 Oh, man. When I read the script for the first time, 562 00:27:50,377 --> 00:27:53,546 the thing I was the most stoked on was Cassie's character. 563 00:27:54,005 --> 00:27:55,006 (GRUNTS) 564 00:27:57,217 --> 00:27:58,677 REED: Yeah. One more. 565 00:27:58,760 --> 00:28:00,762 -MAN: Look there. -Okay. 566 00:28:00,845 --> 00:28:02,889 For about, I don't know, 567 00:28:03,473 --> 00:28:06,101 (STAMMERS) five years now, 568 00:28:06,184 --> 00:28:11,648 I've been pestering Marvel Studios about their female characters. 569 00:28:11,731 --> 00:28:15,318 Saying, like, "We're all very competent. 570 00:28:15,485 --> 00:28:17,237 "We're all very kickass. 571 00:28:17,320 --> 00:28:19,531 "We're all very serious, 572 00:28:20,115 --> 00:28:22,534 "very responsible women who make sure 573 00:28:22,617 --> 00:28:25,870 "that we keep the boys in line and we do everything perfectly. 574 00:28:26,663 --> 00:28:29,124 "And when I look around at the women in my life, 575 00:28:29,207 --> 00:28:32,252 "there are so many other colors to the female 576 00:28:32,335 --> 00:28:34,754 "that I would like to see in your movies." 577 00:28:34,838 --> 00:28:38,425 And then I read the script and Cassie is just... 578 00:28:38,550 --> 00:28:41,928 She's like, zany and brazen 579 00:28:42,011 --> 00:28:48,184 and kind of, like, irresponsible in a fantastically, um, pure way. 580 00:28:48,268 --> 00:28:49,936 -And Kathryn killed it. -(GASPS) 581 00:28:50,478 --> 00:28:52,188 (WHIRRING) 582 00:28:52,272 --> 00:28:53,690 (WHISPERS) Please let this work. 583 00:28:55,984 --> 00:28:56,985 (GRUNTS) 584 00:28:58,361 --> 00:29:00,613 (EXCLAIMS) Yeah! 585 00:29:00,697 --> 00:29:01,906 (LAUGHS) 586 00:29:01,990 --> 00:29:03,158 It worked! 587 00:29:03,908 --> 00:29:04,909 Look at me. 588 00:29:06,661 --> 00:29:07,954 I'm such a dick. 589 00:29:08,037 --> 00:29:10,248 It's never too late to stop being a dick. 590 00:29:10,331 --> 00:29:11,374 Okay? 591 00:29:11,458 --> 00:29:15,170 REED: Audiences who have a relationship with young Cassie, 592 00:29:15,253 --> 00:29:18,006 Abby Ryder Fortson, who played her in the first two Ant-Man movies. 593 00:29:18,089 --> 00:29:20,300 I feel like they want to know 594 00:29:20,383 --> 00:29:22,886 that the daughter of Scott Lang grows up to be funny. 595 00:29:22,969 --> 00:29:26,931 And grows up to be a bright, optimistic person in the way that Scott Lang is. 596 00:29:27,140 --> 00:29:30,185 That was really, really crucial for this movie. 597 00:29:30,268 --> 00:29:33,938 And I'd seen Kathryn in a screen test that she had done for another Marvel role. 598 00:29:35,023 --> 00:29:36,858 -Director Fury sent you. -Wow. Who? 599 00:29:36,941 --> 00:29:38,359 BARTON: He knows where I live. 600 00:29:38,693 --> 00:29:39,861 -Oh. Oh. -BARTON: Fury. 601 00:29:40,320 --> 00:29:41,321 You mean Mr. Good Eye. 602 00:29:41,446 --> 00:29:42,697 -No. -BARTON: Yeah, he loved you. 603 00:29:42,781 --> 00:29:45,283 Like I said, I was on a rooftop at Third... 604 00:29:45,366 --> 00:29:47,160 There's more cookies. Oh, my God. 605 00:29:47,243 --> 00:29:49,913 It's like, wow, she has this brightness to her. She's funny. 606 00:29:50,538 --> 00:29:53,500 She has this youthful optimism about her. 607 00:29:53,583 --> 00:29:54,751 And she has the physicality. 608 00:29:54,834 --> 00:29:57,212 She's an athlete. So I really wanted someone 609 00:29:57,295 --> 00:30:00,924 who could do all the physical demands that that role required. 610 00:30:01,007 --> 00:30:02,842 And Kathryn was just terrific. 611 00:30:03,218 --> 00:30:05,094 For a lot of the movie, our heroes are split up. 612 00:30:05,178 --> 00:30:07,388 And Scott and Cassie are on one side of the story. 613 00:30:07,472 --> 00:30:10,767 So I needed someone who could really, really hang with Scott 614 00:30:10,850 --> 00:30:12,936 because it was important for the dynamic of the movie. 615 00:30:13,019 --> 00:30:16,314 So I needed an actor in the role to play Cassie 616 00:30:16,397 --> 00:30:18,900 who could really spar with Paul Rudd. 617 00:30:19,359 --> 00:30:20,860 This is not our fight. 618 00:30:20,944 --> 00:30:23,988 Just 'cause it's not happening to you doesn't mean it's not happening. 619 00:30:24,906 --> 00:30:26,783 (ELECTRICAL RINGING) She's disappointed in you. 620 00:30:26,991 --> 00:30:29,327 -I got that. Yeah. Thank you. -You're welcome. 621 00:30:29,410 --> 00:30:32,205 Paul is the best. 622 00:30:32,580 --> 00:30:33,581 He was so welcoming. 623 00:30:33,665 --> 00:30:34,707 -MAN: Boom! -(GASPS) 624 00:30:35,667 --> 00:30:36,709 (OBJECTS CLATTERING) 625 00:30:36,793 --> 00:30:38,044 -REED: Cut it. -(LAUGHS) 626 00:30:38,127 --> 00:30:39,420 That was too close. 627 00:30:39,504 --> 00:30:43,675 And he told me not to hold back. Like, on our second day of shooting, 628 00:30:43,758 --> 00:30:45,218 I was just trying to be invisible. 629 00:30:45,301 --> 00:30:46,302 Back up. 630 00:30:46,386 --> 00:30:48,221 NEWTON: I was like, "Okay, just don't mess up 631 00:30:48,304 --> 00:30:50,098 -"and then, like, you'll be okay." -Back up. 632 00:30:50,682 --> 00:30:51,683 (ALL LAUGHING) 633 00:30:52,100 --> 00:30:53,977 -Get back! -Oh! Oh! 634 00:30:54,060 --> 00:30:55,812 (LAUGHS) 635 00:30:56,855 --> 00:30:58,356 NEWTON: And we had this scene 636 00:30:58,439 --> 00:31:01,025 with Michelle and Michael and Hope and everybody. 637 00:31:01,109 --> 00:31:03,570 And Peyton was like, "Okay, now do one for fun." 638 00:31:03,653 --> 00:31:06,364 And I was like, "Okay." So I started improvising. 639 00:31:06,447 --> 00:31:08,408 (LAUGHING) And I did, like, whatever I wanted. 640 00:31:08,533 --> 00:31:10,910 And then afterwards, Paul was like, "You've got to do that." 641 00:31:10,994 --> 00:31:13,079 He's like, "You don't want to finish this movie 642 00:31:13,162 --> 00:31:15,206 "and feel like you held anything back." 643 00:31:15,290 --> 00:31:18,459 He's like, "'Cause that's the worst thing. And the truth is, You just have to kind of 644 00:31:18,543 --> 00:31:20,712 "throw it all down, do everything you got 645 00:31:20,795 --> 00:31:22,338 "and just make sure you didn't hold back." 646 00:31:22,505 --> 00:31:24,549 And so that's what I took away from Paul, 647 00:31:24,632 --> 00:31:27,176 and I'll take that on forever, to every project. 648 00:31:27,260 --> 00:31:28,469 That was nice. 649 00:31:28,553 --> 00:31:31,222 (STAGE BELL RINGS) 650 00:31:31,431 --> 00:31:35,768 NEWTON: The first time I tried on my Cassie superhero costume 651 00:31:35,852 --> 00:31:37,604 was when it really felt real. 652 00:31:38,229 --> 00:31:40,773 I'll never forget it, because it fit pretty perfect. 653 00:31:41,733 --> 00:31:44,777 REED: It's a distinct suit. No other hero has that. Boom! 654 00:31:45,987 --> 00:31:49,032 -No other hero has what? -REED: No, we were just talking about... 655 00:31:49,115 --> 00:31:53,411 DIFFER: Cassie's suit is very much inspired by the ant suit, 656 00:31:53,494 --> 00:31:55,538 although Scott doesn't know it exists. 657 00:31:55,914 --> 00:31:57,790 You have a suit? Wait, you have a suit? 658 00:31:57,874 --> 00:32:00,543 DIFFER: So she's kind of taken references from that 659 00:32:00,627 --> 00:32:02,295 and had help making this. 660 00:32:02,378 --> 00:32:04,088 So it's a bit of a surprise in the film. 661 00:32:04,172 --> 00:32:06,591 The purple is obviously from the comic book. 662 00:32:06,716 --> 00:32:11,304 And the fun thing in this is that she's wearing Converse. 663 00:32:11,721 --> 00:32:13,890 -REED: I like where we ended up, man. -MAN: Good job. 664 00:32:14,599 --> 00:32:16,726 Because, as well as doing Cassie, 665 00:32:16,809 --> 00:32:19,395 we're also working on Ant-Man and Wasp. 666 00:32:19,479 --> 00:32:22,023 We're working on all the other characters. 667 00:32:22,106 --> 00:32:24,067 They have to come along together. 668 00:32:24,150 --> 00:32:27,654 I think if you were doing one, from a sewing perspective, 669 00:32:27,737 --> 00:32:30,406 it's probably about two weeks' sewing, but that doesn't include 670 00:32:30,490 --> 00:32:33,576 the backpack and the helmets, all their extra bits and pieces. 671 00:32:33,660 --> 00:32:38,039 Even though we had a long time to prep, there was a change in the concept 672 00:32:38,122 --> 00:32:40,750 of what the suits were during prep. 673 00:32:40,833 --> 00:32:44,253 So originally they were meant to be Quantum Realm suits, 674 00:32:44,337 --> 00:32:46,047 and then that changed. 675 00:32:46,130 --> 00:32:50,134 We almost had to start again, so they became less of a kind of team, 676 00:32:50,218 --> 00:32:52,011 and slightly more individual. 677 00:32:52,261 --> 00:32:53,930 (ENGINE WHIRRING) 678 00:32:56,474 --> 00:32:59,560 (DRAMATIC MUSIC PLAYING) 679 00:33:02,563 --> 00:33:03,690 REED: For this movie, 680 00:33:03,773 --> 00:33:06,567 we needed a character who sort of had this backstory with Janet 681 00:33:06,651 --> 00:33:09,988 and it was a role that needed someone who had a real presence. 682 00:33:10,613 --> 00:33:12,865 Um... And we thought of Bill Murray. 683 00:33:15,952 --> 00:33:17,912 Janet Van Dyne? 684 00:33:17,996 --> 00:33:19,831 I thought you were dead. 685 00:33:20,498 --> 00:33:22,375 Been a long time, Krylar. 686 00:33:22,458 --> 00:33:25,878 Officially, Lord Krylar now. 687 00:33:25,962 --> 00:33:27,964 I fought like hell against that. 688 00:33:28,047 --> 00:33:31,342 I was intrigued by the idea of putting Bill Murray in a Marvel movie. 689 00:33:31,884 --> 00:33:34,721 I was obviously a fan of his movies growing up in the '80s 690 00:33:34,804 --> 00:33:36,764 and watching him on Saturday Night Live. 691 00:33:36,848 --> 00:33:39,434 But I also knew that, pre-Saturday Night Live, 692 00:33:39,517 --> 00:33:44,772 Bill Murray had played the Human Torch in the Fantastic Four radio show in 1975, 693 00:33:44,856 --> 00:33:46,107 and I listened to that as a kid. 694 00:33:46,190 --> 00:33:47,275 So we talked about that. 695 00:33:47,358 --> 00:33:52,030 (BLOWS RASPBERRY) 696 00:33:52,280 --> 00:33:54,240 LOVENESS: Bill came on set the first couple weeks. 697 00:33:54,323 --> 00:33:57,910 He was giving just these micro notes on joke construction. 698 00:33:58,036 --> 00:34:00,913 "Switch that word with that word and maybe take a pause right there." 699 00:34:00,997 --> 00:34:03,791 And you're like, "Bill Murray knows what he's talking about." 700 00:34:04,667 --> 00:34:06,961 We never wanted anyone to guess who he was playing. 701 00:34:07,045 --> 00:34:10,214 The Internet is full of all these rumors, and no one knows who is going to be. 702 00:34:10,298 --> 00:34:13,593 We chose someone they would literally never guess. 703 00:34:16,596 --> 00:34:20,516 We tried to find the deepest cut Marvel character we could 704 00:34:20,600 --> 00:34:24,520 and we found this random character from a random Hulk comic book 705 00:34:24,604 --> 00:34:27,065 in the Quantum Realm called Lord Krylar. 706 00:34:27,857 --> 00:34:28,983 (SCREAMS) 707 00:34:29,776 --> 00:34:32,445 For the costume, you know, I talked with Stephen and Peyton 708 00:34:32,528 --> 00:34:34,989 about, "Who is he? Do you want him more military? 709 00:34:35,073 --> 00:34:36,699 "Do you want him more civilian? 710 00:34:36,783 --> 00:34:39,577 "Can we get away with a suit, or do you want him more bizarre?" 711 00:34:39,660 --> 00:34:43,247 And I think that, um, vis dev went through a whole load of things 712 00:34:43,456 --> 00:34:46,626 of it being very, very like, Quantum and weird and fashiony 713 00:34:46,709 --> 00:34:49,629 and strange textures and stuff, 714 00:34:49,754 --> 00:34:52,548 and that became too theatrical. 715 00:34:52,632 --> 00:34:56,344 So we came up with this blue and cream and gold combo. (CHUCKLES) 716 00:34:57,011 --> 00:34:59,597 Uh, and just tried to have a bit of fun with it 717 00:34:59,680 --> 00:35:03,142 rather than, um, getting into too many kind of crazy patterns and stuff. 718 00:35:03,226 --> 00:35:06,062 Bill brings a lot to the table, and what you don't want to do is 719 00:35:06,145 --> 00:35:09,232 swamp that with a confusing, complicated look. 720 00:35:09,315 --> 00:35:11,943 In the end, we pulled it all back and we get one of these guys 721 00:35:12,026 --> 00:35:14,570 that's in the French Riviera, that has their yacht, 722 00:35:14,654 --> 00:35:17,949 and just added little Quantum elements like weird bits of beading, 723 00:35:18,032 --> 00:35:19,909 and strange lines running across the body. 724 00:35:19,992 --> 00:35:24,789 So there's some continuity of shapes with Will's designs for all the environments. 725 00:35:25,414 --> 00:35:27,250 When Peyton came to me in the first place 726 00:35:27,333 --> 00:35:29,627 and we started talking about this whole project 727 00:35:30,169 --> 00:35:35,258 and the idea of the Quantum Realm being this vast worlds within worlds, 728 00:35:35,341 --> 00:35:37,552 he wanted it to feel like it was huge. 729 00:35:39,846 --> 00:35:43,224 I'm really happy with how Janet's homestead turned out, 730 00:35:43,307 --> 00:35:46,394 because it's very much in my initial sketches 731 00:35:46,477 --> 00:35:49,647 and playing with ideas to Peyton, this idea of subatomic particles 732 00:35:49,730 --> 00:35:53,401 and that maybe the abode that she lived in was such a tiny particle, 733 00:35:53,484 --> 00:35:59,949 and it crashed down through various Quanta and landed on a plain and had died, 734 00:36:00,032 --> 00:36:02,201 and its energy had dissipated over time. 735 00:36:02,285 --> 00:36:04,829 And that became this kind of cave-like structure. 736 00:36:04,954 --> 00:36:07,123 That was realized in quite a nice way. 737 00:36:10,877 --> 00:36:12,545 This is the exterior of Janet's homestead, 738 00:36:12,628 --> 00:36:14,672 and what we wanted to do here, we were talking about 739 00:36:14,755 --> 00:36:17,800 from early on, was almost to have it like a prairie land, 740 00:36:17,884 --> 00:36:21,762 like an old Western, like an old-timer who was seeing out their days. 741 00:36:21,888 --> 00:36:24,015 And this set was meant to echo that, really, 742 00:36:24,098 --> 00:36:26,976 the idea of some weird Quantum prairie land 743 00:36:27,059 --> 00:36:28,811 with these strange Quantum plants, 744 00:36:28,895 --> 00:36:31,981 and this would be developed by VFX 745 00:36:32,064 --> 00:36:35,151 and extended into much bigger, greater rolling plains. 746 00:36:42,825 --> 00:36:46,370 These rock walls, again, with the idea of Quantum energy down here, 747 00:36:46,495 --> 00:36:49,665 that somehow the Quantum energy had solidified and created these patterns. 748 00:36:49,749 --> 00:36:52,126 And again, when we pull out into the wider shots, 749 00:36:52,210 --> 00:36:55,880 we're going to have these patterns running through the landscape, 750 00:36:55,963 --> 00:36:57,798 as well as the actual crops. 751 00:36:57,965 --> 00:37:00,051 (CAPTIVATING MUSIC PLAYING) 752 00:37:08,768 --> 00:37:11,646 Something again that was strongly pushed throughout this whole show 753 00:37:11,729 --> 00:37:13,898 is trying to create really interesting compositions. 754 00:37:13,981 --> 00:37:17,026 This idea of the sphere and concentric spheres, 755 00:37:17,443 --> 00:37:18,736 and here we have Janet's homestead, 756 00:37:18,819 --> 00:37:21,614 which is a series of concentric spheres in itself. 757 00:37:21,697 --> 00:37:27,203 And in many ways, this room is a precursor to Kang's Celestium as well. 758 00:37:27,286 --> 00:37:31,624 Those little design ideas that were developed out from this idea 759 00:37:31,707 --> 00:37:33,084 into the Celestium itself. 760 00:37:34,794 --> 00:37:35,920 MAJORS: Whoa! 761 00:37:36,504 --> 00:37:38,714 We are on the Richard Attenborough Stage at Pinewood, 762 00:37:38,798 --> 00:37:42,510 and this is Kang's Celestium with his Time Sphere. 763 00:37:42,593 --> 00:37:45,846 It's something that I really wanted to keep as part of Kang's language, 764 00:37:45,930 --> 00:37:48,599 was this circular or spherical motif. 765 00:37:49,267 --> 00:37:51,143 I looked at a lot of Japanese Kintsugi 766 00:37:51,227 --> 00:37:53,938 in the way that you have those sort of cracks through rocks, 767 00:37:54,021 --> 00:37:57,024 and you can seal it up and re-perfect things. 768 00:37:57,108 --> 00:38:01,153 Which is kind of what Kang is doing, destroying stuff and then rebuilding it 769 00:38:01,237 --> 00:38:02,738 in a fashion that he sees fit. 770 00:38:05,866 --> 00:38:08,661 I built an empire down here, Janet. 771 00:38:11,289 --> 00:38:12,707 And I'm taking it with me. 772 00:38:13,666 --> 00:38:17,295 HTAY: Again, I really wanted to create very kind of graphic moments 773 00:38:17,378 --> 00:38:20,756 in terms of composition and try to give Bill Pope, our DP, 774 00:38:20,840 --> 00:38:23,926 an environment in which we could actually frame up Kang 775 00:38:24,010 --> 00:38:26,595 and it almost looked like panels from comic book or graphic novel. 776 00:38:32,268 --> 00:38:34,270 MAN 1: Ready... Three, two, one, action! 777 00:38:34,353 --> 00:38:36,439 -Katy. -MAN 2: And, bang! 778 00:38:36,522 --> 00:38:37,690 Go, Steve. 779 00:38:37,773 --> 00:38:40,651 Here he comes. And, bang! 780 00:38:40,735 --> 00:38:42,653 REED: I loved the idea of building 781 00:38:42,737 --> 00:38:46,657 a sort of barbarian type warrior character for this movie. 782 00:38:46,741 --> 00:38:49,785 That felt like something that we really hadn't seen so much. 783 00:38:49,869 --> 00:38:52,204 You see a little in Thor, you know, with Valkyrie, 784 00:38:52,330 --> 00:38:54,665 but somebody who really felt like 785 00:38:54,749 --> 00:38:57,918 straight out of a Robert E. Howard, you know, pulp novel. 786 00:38:58,252 --> 00:39:00,421 I had worked with Katy O'Brian on The Mandalorian 787 00:39:00,504 --> 00:39:01,797 and I thought she was terrific. 788 00:39:01,881 --> 00:39:05,468 She's a bodybuilder and a fighter, and for real. 789 00:39:05,551 --> 00:39:06,761 (THUDS) 790 00:39:06,844 --> 00:39:10,514 She's got great presence, and we needed someone that was strong 791 00:39:10,598 --> 00:39:14,852 and could embody that aspect of a leader, but also the wisdom of a leader. 792 00:39:14,935 --> 00:39:18,230 And Katy makes great impact in that role. 793 00:39:18,814 --> 00:39:22,610 With Jentorra, I really liked the idea that it was a revolutionary. 794 00:39:22,693 --> 00:39:24,862 It was something different. It was someone who was 795 00:39:24,945 --> 00:39:26,072 fighting for the greater good, 796 00:39:26,155 --> 00:39:29,283 as opposed to maybe suppressing the greater good. 797 00:39:32,661 --> 00:39:36,749 I want people to see, you know, a strong female role in a positive light. 798 00:39:36,832 --> 00:39:39,335 Because this is like a dream role in a lot of ways. (CHUCKLES) 799 00:39:39,418 --> 00:39:41,045 What are you doing here? 800 00:39:41,128 --> 00:39:42,338 CASSIE: I'm rescuing you. 801 00:39:43,339 --> 00:39:44,340 How? 802 00:39:44,423 --> 00:39:49,011 When it came to the costume, I was so glad that Sammy, the costume designer, 803 00:39:49,095 --> 00:39:51,597 called me and she was like, "Hey, have you seen the costume yet? 804 00:39:51,722 --> 00:39:53,891 "Have you seen what we're pitching?" And I'm like, "No." 805 00:39:53,974 --> 00:39:56,227 She's like, "Okay, I thought you might want to know 806 00:39:57,311 --> 00:39:58,479 "you're pretty exposed." 807 00:39:58,562 --> 00:40:01,190 And I was like, "Okay, I'll go to the gym. Thank you." 808 00:40:02,274 --> 00:40:05,027 Jentorra, we were looking more at a kind of 809 00:40:05,111 --> 00:40:08,197 growth, bone architecture. 810 00:40:08,280 --> 00:40:10,449 And seeing what we could do with her armor, 811 00:40:10,533 --> 00:40:14,829 to make it more like she's found a skeleton of a tiny creature 812 00:40:14,912 --> 00:40:16,247 and used that. 813 00:40:16,330 --> 00:40:21,127 He built his citadel on the bones of our people. 814 00:40:21,210 --> 00:40:23,921 O'BRIAN: They were trying to connect it to the world, 815 00:40:24,046 --> 00:40:28,300 because our people, they're very much of the world, of the Earth, 816 00:40:28,384 --> 00:40:29,510 of the Quantum Realm. 817 00:40:29,593 --> 00:40:32,513 So, the blue color that we have kind of meshes in with 818 00:40:32,638 --> 00:40:34,598 things that you might find in our environment. 819 00:40:35,808 --> 00:40:39,145 Once we added the hair, makeup, everything, it just clicks. 820 00:40:39,228 --> 00:40:40,855 You know who you are and who your people are 821 00:40:40,938 --> 00:40:41,939 and where you're going. 822 00:40:49,572 --> 00:40:51,949 Welcome back to the Quantum Realm, Scott. 823 00:40:53,075 --> 00:40:55,411 I've been waiting a long time for this. 824 00:40:56,454 --> 00:40:58,456 BROUSSARD: M.O.D.O.K. was always a character 825 00:40:58,539 --> 00:41:00,624 that we wanted to get into the MCU 826 00:41:00,708 --> 00:41:02,168 somehow, somewhere. 827 00:41:02,751 --> 00:41:05,713 A mechanized organism designed only for killing. 828 00:41:06,922 --> 00:41:08,382 Now I get it. It's an acronym. 829 00:41:10,342 --> 00:41:11,635 Actually, that's M.O.D.O.F.K. 830 00:41:11,760 --> 00:41:15,556 BROUSSARD: Such an odd design, a little bit off-putting, 831 00:41:15,723 --> 00:41:17,391 but really great and memorable. 832 00:41:18,058 --> 00:41:19,685 (CASSIE GRUNTS) 833 00:41:22,229 --> 00:41:25,232 REED: And we thought, like, does Kang need a henchman in this movie? 834 00:41:25,316 --> 00:41:26,609 And we talked about all these things. 835 00:41:26,692 --> 00:41:29,153 And M.O.D.O.K., if there's ever a context 836 00:41:29,278 --> 00:41:31,864 for M.O.D.O.K. to succeed in live action in the MCU, 837 00:41:31,947 --> 00:41:33,199 it feels like the Quantum Realm. 838 00:41:33,908 --> 00:41:35,075 And it hit me 839 00:41:35,910 --> 00:41:38,913 like the loudest bell I've ever heard. Like, "Wait a second." 840 00:41:39,622 --> 00:41:44,335 "What if we have Darren Cross become M.O.D.O.K.?" 841 00:41:44,418 --> 00:41:45,419 Hi, Hank. 842 00:41:48,923 --> 00:41:49,924 Darren? 843 00:41:50,090 --> 00:41:54,595 MAN: There we go. All right, we're set. And three, two, one, action! 844 00:41:54,887 --> 00:41:57,139 (ANT-MAN GRUNTS) 845 00:41:57,223 --> 00:42:00,518 When we originally shot Ant-Man, Darren is, like, arrested 846 00:42:00,601 --> 00:42:02,770 at the end in his super suit. 847 00:42:02,853 --> 00:42:03,938 And I was like, "Okay, great." 848 00:42:04,021 --> 00:42:05,648 MAN: Here we go. And, action! 849 00:42:05,731 --> 00:42:09,318 Then we went back for reshoots and nobody told me anything. 850 00:42:09,401 --> 00:42:12,738 And I was looking at the sides, and this is, you know, uh... 851 00:42:13,739 --> 00:42:18,035 Darren becomes like a tiny little ball of red goo. 852 00:42:19,286 --> 00:42:21,413 I was like, "Oh, can't really come back from that." 853 00:42:21,497 --> 00:42:23,457 And then there was another iteration 854 00:42:23,541 --> 00:42:28,045 where he just sort of shrinks infinitely into a little dot. 855 00:42:30,381 --> 00:42:33,592 And I said, "Okay, that's survivable in this world." 856 00:42:33,676 --> 00:42:35,678 BROUSSARD: But clearly he would have been hurt very bad. 857 00:42:35,761 --> 00:42:37,763 He would've been disfigured by this accident. 858 00:42:38,180 --> 00:42:40,683 So we started thinking about that, and we started to think that maybe 859 00:42:40,766 --> 00:42:42,726 there's an origin story in there for M.O.D.O.K. 860 00:42:42,851 --> 00:42:44,478 REED: That was exciting to us. 861 00:42:44,645 --> 00:42:48,023 And I remember the day that we called Corey, 862 00:42:48,691 --> 00:42:51,360 because Corey Stoll, you may not know this, 863 00:42:51,443 --> 00:42:53,862 a massive comics nerd growing up, 864 00:42:53,946 --> 00:42:57,575 knew who M.O.D.O.K. was, loved the idea, and really, really embraced it. 865 00:42:58,409 --> 00:43:00,077 I was like, "Yes, I'm in." 866 00:43:00,160 --> 00:43:01,328 REED: Action! 867 00:43:01,996 --> 00:43:04,206 Welcome back to the Quantum Realm, Scott. 868 00:43:05,249 --> 00:43:08,294 I've been waiting a long time for this. 869 00:43:08,377 --> 00:43:09,962 Darren? 870 00:43:10,045 --> 00:43:12,131 You're looking at a man set free. 871 00:43:13,090 --> 00:43:16,969 I've created so much more here than you could possibly imagine. 872 00:43:17,052 --> 00:43:18,262 REED: And cut it! 873 00:43:18,345 --> 00:43:21,473 That's the fulfillment of a dream. I didn't know I had. 874 00:43:22,391 --> 00:43:23,809 Nowhere left to run. 875 00:43:23,892 --> 00:43:25,436 I would have never thought 876 00:43:25,519 --> 00:43:28,981 that that's a character that I'd get to play or want to play. 877 00:43:29,064 --> 00:43:31,442 (YELLING) I'm the ultimate weapon! 878 00:43:32,067 --> 00:43:35,654 STOLL: It's just so ridiculous and so broad. 879 00:43:35,738 --> 00:43:38,782 But, I mean, it all makes so much sense. 880 00:43:38,907 --> 00:43:40,492 I think the audience doesn't even know 881 00:43:40,576 --> 00:43:43,120 that they're waiting for this resolution to my character. 882 00:43:43,329 --> 00:43:44,913 I bet you thought you'd seen the last of me. 883 00:43:44,997 --> 00:43:46,707 Just now noticing the baby legs. 884 00:43:47,625 --> 00:43:48,792 They're not baby legs. 885 00:43:49,168 --> 00:43:50,294 You think you're so smart. 886 00:43:52,129 --> 00:43:55,299 Scott Lang, the man who took everything from me. 887 00:43:56,216 --> 00:43:57,843 Who stole my whole life. 888 00:43:57,926 --> 00:44:02,348 STOLL: And the filming technique they were using... 889 00:44:02,431 --> 00:44:05,643 It could go one way, It could be like a real pain, 890 00:44:05,726 --> 00:44:08,729 with dots on your face and you have this camera 891 00:44:08,896 --> 00:44:10,731 and you don't know what you're going to look like 892 00:44:10,856 --> 00:44:14,443 and it was so incredibly satisfying. 893 00:44:14,526 --> 00:44:19,281 It's, in some ways, I feel like the ideal way to act. 894 00:44:19,365 --> 00:44:23,077 Because you're not waiting for any technology, 895 00:44:23,160 --> 00:44:26,914 even though the whole performance is so based on technology. 896 00:44:26,997 --> 00:44:28,749 You're not waiting for lights, for camera. 897 00:44:28,832 --> 00:44:30,042 You're not waiting for sound. 898 00:44:30,125 --> 00:44:32,044 You're not waiting for hair and makeup even. 899 00:44:33,087 --> 00:44:37,800 You know, you're just... It was just me and the rest of the cast 900 00:44:37,883 --> 00:44:40,052 in this open space. 901 00:44:40,135 --> 00:44:42,721 It felt like a really cool play rehearsal, 902 00:44:42,805 --> 00:44:45,974 except that all this rehearsal is being captured 903 00:44:46,183 --> 00:44:50,104 as data that can be turned into this performance. 904 00:44:51,230 --> 00:44:54,274 You always were a brother to me. 905 00:44:56,735 --> 00:44:57,736 I was? 906 00:45:05,494 --> 00:45:06,829 I was. 907 00:45:06,912 --> 00:45:08,914 And at least I died 908 00:45:10,207 --> 00:45:11,417 an Avenger. 909 00:45:14,962 --> 00:45:16,088 Yeah. 910 00:45:17,047 --> 00:45:18,674 -You did. -Yeah. No, it's... 911 00:45:18,757 --> 00:45:20,259 -You're in. -(DARREN SIGHS IN RELIEF) 912 00:45:21,719 --> 00:45:24,346 We really liked making an Ant-Man film 913 00:45:24,430 --> 00:45:28,016 as important, as integral to the MCU going forward 914 00:45:28,100 --> 00:45:29,601 as any other film. 915 00:45:31,061 --> 00:45:33,605 REED: I think that's an important beat. As you step out of that thing 916 00:45:33,689 --> 00:45:35,441 and land here, that looking to her, 917 00:45:35,524 --> 00:45:38,360 you know, taking your time with that before you then turn to this... 918 00:45:38,444 --> 00:45:39,820 -I do? -REED: Yeah. 919 00:45:39,987 --> 00:45:41,739 BROUSSARD: It's teeing up Kang in a very big way. 920 00:45:41,822 --> 00:45:47,077 It's teeing up the future of this very fearsome, very formidable foe 921 00:45:47,161 --> 00:45:48,454 within the MCU. 922 00:45:50,998 --> 00:45:54,042 It's going to help show us where the MCU is going next. 923 00:45:56,378 --> 00:46:01,467 But I love that we're getting to make a trilogy out of Ant-Man. (CHUCKLES) 924 00:46:01,925 --> 00:46:02,968 And, shrink! 925 00:46:06,597 --> 00:46:08,766 Yeah, back to one. Let's try one more right away, guys. 926 00:46:08,849 --> 00:46:09,850 That's great. 927 00:46:10,601 --> 00:46:12,895 BROUSSARD: The fact that not only he gets a trilogy, 928 00:46:13,228 --> 00:46:15,189 but that Peyton will have directed all three films, 929 00:46:15,272 --> 00:46:19,109 that Peyton has seen the trilogy home is so exciting to me. 930 00:46:20,652 --> 00:46:24,782 PFEIFFER: I've loved working with Peyton. I feel lucky 931 00:46:24,865 --> 00:46:27,451 that I've had someone like him 932 00:46:27,534 --> 00:46:30,537 to kind of guide me. 933 00:46:30,621 --> 00:46:32,581 (SLOW INSTRUMENTAL MUSIC PLAYING) 934 00:46:37,044 --> 00:46:39,129 REED: Shockwave that comes out (IMITATES EXPLOSION) 935 00:46:39,213 --> 00:46:41,507 and just take you out of frame there. 936 00:46:41,590 --> 00:46:44,510 We'll do a separate shot of a second thing which is like... (GRUNTS) 937 00:46:44,593 --> 00:46:46,386 Coming from that port. 938 00:46:47,262 --> 00:46:50,682 PFEIFFER: To be able to do the kind of superhero action 939 00:46:50,766 --> 00:46:53,143 and the heart and the humor... 940 00:46:53,769 --> 00:46:55,103 He just gets it. 941 00:46:55,187 --> 00:46:57,731 This is, uh, a day one of, uh, Ant-Man. 942 00:47:01,819 --> 00:47:03,320 I want to thank you all for being here. 943 00:47:03,403 --> 00:47:06,114 I'm so psyched about this movie. We're going to have a great shoot. 944 00:47:06,198 --> 00:47:08,826 I know a lot of you have been waiting a very long time to shoot. 945 00:47:08,951 --> 00:47:10,369 And today's the day. Let's do it. 946 00:47:10,494 --> 00:47:11,995 -Thank you so much. -MAN: Yeah! 947 00:47:12,079 --> 00:47:13,872 (EXHILARATING MUSIC PLAYING) 948 00:47:15,666 --> 00:47:16,750 (ANT-MAN GRUNTS) 949 00:47:16,834 --> 00:47:18,836 REED: I grew up with Superman: The Movie 950 00:47:18,919 --> 00:47:21,380 and Star Wars and Raiders and all those things. 951 00:47:21,463 --> 00:47:23,966 And I'd always wanted to do a movie like that. 952 00:47:24,049 --> 00:47:26,009 So, for me, it was really gratifying 953 00:47:26,093 --> 00:47:29,847 because we were able to just paint on this really large canvas. 954 00:47:29,930 --> 00:47:31,765 -Okay. -Boom! So you know what to do. 955 00:47:31,849 --> 00:47:34,518 RUDD: Scott Lang has been really important in my life, 956 00:47:34,601 --> 00:47:37,521 and it really has been an amazing group of people 957 00:47:37,604 --> 00:47:40,566 I've gotten to spend a good chunk of time with. 958 00:47:40,649 --> 00:47:44,111 Even in Civil War, I think I had that scene where we're on the tarmac 959 00:47:44,194 --> 00:47:46,947 and I'm meeting Captain America for the first time, 960 00:47:47,030 --> 00:47:48,490 and some of the other Avengers. 961 00:47:48,574 --> 00:47:49,950 The whole thing was surreal, 962 00:47:50,033 --> 00:47:52,286 and I felt a little bit like the character that I was playing. 963 00:47:52,369 --> 00:47:53,704 I still feel that. 964 00:47:53,787 --> 00:47:56,248 I can't believe I'm, I'm on this team. 965 00:47:56,832 --> 00:47:58,542 I've treasured it. I really have. 966 00:48:07,050 --> 00:48:09,052 I know before we ever started shooting this thing, 967 00:48:09,136 --> 00:48:11,013 I'd tell people, you know, I'm going to... 968 00:48:11,096 --> 00:48:12,890 "What are you working on?" I'd say, "Ant-Man" 969 00:48:13,056 --> 00:48:14,433 "Ant-Man? What's Ant-Man?" 970 00:48:14,558 --> 00:48:16,351 "It's a Marvel movie." 971 00:48:17,394 --> 00:48:20,647 "Ant-Man?" Because not many people know the character. 972 00:48:20,731 --> 00:48:23,358 And they'd say, "What are your powers?" 973 00:48:23,442 --> 00:48:24,985 I'd say, "Well, I can shrink." 974 00:48:25,694 --> 00:48:27,279 They'd say, "Okay." 975 00:48:27,362 --> 00:48:30,157 "But I can also talk to ants." 976 00:48:30,240 --> 00:48:35,120 (LEGENDARY MUSIC PLAYING)