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Here we are. It's go time.
Day one. Day one of 90.

2
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Monday, June the 13th, 2022.

3
00:00:16,266 --> 00:00:17,892
London, U.K.

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Time doesn't exist in the TVA
and it doesn't exist in Loki's world.

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And here we are. (CHUCKLES)

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Although, it exists in my head.

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I woke up this morning full of excitement
and full of gratitude, actually.

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I just felt so lucky that I get to do this
and I'm still doing it, and...

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Yeah, I'm just, I'm excited to be back.

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Back in the game, back in the TVA,
back with this amazing team.

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KEVIN R. WRIGHT: We were all excited
to explore and unleash

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the Multiverse in Season 1...

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Something terrible is happening.

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When you're dealing with time travel,
with the Multiverse,

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the plot can get very heavy.

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And the only way any of that works

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is usually to make it
as simple as possible

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and to lean into your characters.

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Mobius, it's me.

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I don't know you.

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ERIC MARTIN: On the outset,
we have to have all those conversations

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about where this is gonna fit
into the MCU,

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where this will fit
within all the other stories,

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and how it will impact
all the other characters.

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But as much as we could,
after we had those conversations,

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we tried to step back
and just look at this as,

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"Okay, now let's tell our story."

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You were a villain and now you're not.

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I thought we were good guys.
Now I'm not so sure.

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At the very least, you've made us
ask some appropriate questions.

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Our approach was
really, really doubling down

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on who Loki cares about,
who we care about.

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And then even trying
to personalize the stakes of,

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"What is a timeline?
What is on a timeline?

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"What does that mean
to people?"

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Our job just really became helping steer
these characters into the vulnerability

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that brought their humanity
to the surface.

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I know it's hard to turn your back
on everything you have believed in.

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But the TVA has to change
and it has to change now.

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It's almost like a snow globe.

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You know,
the TVA was a kind of snow globe

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and the glass has been cracked

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and the whole thing has been shaken up,

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and so, the TVA
is in a process quite similar

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to the process Loki went through
in Season 1,

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which is a process of soul searching
and institutional analysis.

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That's who built this place!
That's who stole your lives!

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I think one of the things
we talked about is,

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he always struggled with family
in the MCU,

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but he's found a new family in the TVA.

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Let me ask you, the Time Door
somehow sent you into the past

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-and that's what started all this?
-Well, it was...

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Which way are we going?

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The chemistry between the actors

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is something we wanted to continue
to explore in Season 2.

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They just really
got along, right,

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they kind of clicked from the moment
that they were on set together

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and had so much fun.

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And we wanted to take that further.

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-We did it!
-We did it!

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We won!

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It's a really special group of people.

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Series 1 was full of challenges,
you know.

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There was a global pandemic and I think
that actually brought us together.

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And I think it shows onscreen.

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-Wow, wow, wow.
-Very nice, very nice, very nice.

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WUNMI MOSAKU: It was great coming back.

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It had been a long time
since we'd seen each other.

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It's tricky thinking about, like,
who B-15 is in Season 1

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and who she evolves into
in Season 2.

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I had to rewatch Season 1.

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And you go, "I remember what happened
but who was she again?

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"And how does she sound?
How does she move?"

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And then, you put on the costume
and you go, "Yeah, I remember this."

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Hey, O.B., this is Casey.
I thought he could help.

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There's a lot of performers that
I didn't get to play with in Season 1.

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And this season, I got to...

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play with everybody else,
and I mean everybody.

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And there is a chemistry there
that is amazing.

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And I think by introducing
a bunch of new characters,

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you got to see more
of the world of the TVA.

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You're Ouroboros?

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-Yes.
-You wrote the TVA Handbook.

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-You've read it?
-Read it? I practically memorized it.

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00:04:27,392 --> 00:04:29,686
-Would you sign it for me?
-Happy to.

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00:04:32,814 --> 00:04:35,984
KE HUY QUAN: It's really exciting
because I've been a fan

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of the Marvel Universe
for a long, long time.

88
00:04:38,653 --> 00:04:40,780
Oh, hey, welcome to R&A.

89
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And I always fantasized
about joining the MCU family.

90
00:04:45,535 --> 00:04:47,120
But I didn't think
it would ever come true

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because it wasn't until recently
that I got back into acting.

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And one day, my agent told me that,

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"Kevin Feige is going
to give you a call."

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And he told me between a certain time,
between 5:00 and 7:00.

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And I was so nervous.

96
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At the same time,
I was also very, very excited.

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And I remember,
I was in a meeting at that time,

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and I told the person
I was having a meeting with,

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and I said, "I'm so sorry,

100
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"but at 4:50,
I'm gonna have to leave."

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And I didn't tell them why.

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So I set my alarm clock at 4:50.

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And when it rang, I got out of there,

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expecting this important call
from Mr. Kevin Feige.

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And I was just driving home,
and all of a sudden, my phone rang.

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And I picked it up,
and on the other end,

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you know, I heard this voice,

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"Hello. Hi. I'm Kevin Feige.
Hello, Ke."

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And he was telling me

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about how much he enjoyed
Everything Everywhere All At Once.

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And I was driving, and...

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he was just praising my performance
and praising the movie.

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And I started getting teary-eyed.

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And I was driving and I couldn't see.

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And I had to pull off
to the side of the road.

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And... And we're talking and then,

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then he said, you know,
"Would you like to join the MCU family?"

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I was... I was ecstatic.

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I was so happy.

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And to get that call from him
meant the world to me.

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It's great being part of a team.

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And sure enough,
couple of months later,

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I was on a flight to London.

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There you go.
That's everything you need to know.

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WRIGHT: O.B. was a character
who was a really fun introduction

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to the Repairs and Advancements world,

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and another interesting kind of leaf
to kind of uncover at the TVA.

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Everything you need to know about this,
I wrote about it in here.

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WRIGHT: Similarly, we wanted to tell
more stories with our Minutemen.

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So we will meet General Dox
who is played by Kate Dickie,

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or Hunter X-5, who also becomes
Brad Wolfe, by Rafael Casal.

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Oh, good. Welcome back.
Why don't you take off this Time Collar

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and treat me like somebody
who outranks you?

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Oh, I don't work here.

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Oh, I'm glad that you know that.
You should stop talking now.

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RAFAEL CASAL: X-5 Brad Wolfe
is an antagonist for Season 2.

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It's a weird phrase on a show
that's about an antagonist.

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You know, we're all in a show

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that is about exposing the duality
and humanity of the antagonist.

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And so, in a lot of ways,
the way we talked about

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X-5 and Brad Wolfe

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was as Loki's sort of
mirror for Season 2

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of another person who feels wronged

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and is trying to find the justice
of themselves,

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and is also trying to figure out
what the goodness in them means.

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You could do with a little perspective
on yourself, so let me help you here.

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It's you. You're the problem.

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Every single time we've come across
one of you, it's you.

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A lot of my job
was get under Loki's skin.

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And so, I think Tom and I
got to have so much fun with that.

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(BOTH LAUGHING AND SPEAKING INDISTINCTLY)

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And what's great is that
the character X-5 of Brad Wolfe

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has worked at the TVA so long

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that he's read his file so many times.

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He knows him so well.

156
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Earlier, I said some
really hurtful things,

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even brought up your mom.
I'm very, very sorry about that.

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What does this one do?

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CASAL: Tom is the person
who's setting the tone for everything.

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And he and I would talk a lot

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about setting the floor
and setting the ceiling for the show.

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And what you do is you look at Tom to know
how big to go and how small to go.

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-And now we know what the numbers are.
-Yeah, yeah, yeah.

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Yeah.

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CASAL: And he's a veteran
in this world, he knows,

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you know, what a scene needs.

167
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So it's amazing to sort of watch him

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set those markers in a scene,
like, "All right, let's...

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"Let's play this one this way
or play this one really big."

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You wanna be, ideally, chasing the bike
and I'm chasing...

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Exactly. Yeah, yeah, yeah.

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A lot of us haven't ever acted
in something this big before.

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We go, "All right, yeah, this is a world
where people teleport

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"and blow out walls, and like,
fly through space and time."

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I need a little help adjusting,
you know, you gotta help me get there.

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MOORHEAD: Tom is way beyond
just the lead performer.

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He is in the writers room,
he is in the visual effects meetings,

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he is right there with us.

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He is very much the author
of all things Loki.

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A group of people
who have a collective aura,

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unique to that moment in time.

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Does that make sense?

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Sort of like you're drawing the...

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RICHARD GRAVES: Tom is fabulous.

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He will always want
to give that extra take.

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The extra... The extra 20 percent.

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And he comes in wanting to give,
wanting to perform.

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PAUL ZUCKER: There's something
that he's working towards.

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And my job as an editor
is to listen to his performance.

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For Tom, there are shades to it.

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He may adjust his pace,

192
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he may adjust his intensity.

193
00:10:01,350 --> 00:10:03,811
But by and large,
he's very, very focused.

194
00:10:03,894 --> 00:10:05,896
It's not about where or when.

195
00:10:05,980 --> 00:10:09,317
It's about who. Who I care about.

196
00:10:10,526 --> 00:10:12,361
I can rewrite the story.

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-And, scene.
-(ALL LAUGH)

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00:10:17,158 --> 00:10:19,201
QUAN: What's really interesting,

199
00:10:19,285 --> 00:10:22,413
every morning,
the way we began the day,

200
00:10:22,496 --> 00:10:25,124
Tom would walk onto the stage,

201
00:10:25,207 --> 00:10:28,252
but before you see him,
you would hear him,

202
00:10:28,336 --> 00:10:29,920
because he always comes to set

203
00:10:30,004 --> 00:10:32,923
with a little, you know,
portable speaker.

204
00:10:33,007 --> 00:10:35,760
And you would hear him enter the stage,

205
00:10:35,843 --> 00:10:37,595
make his way to the set,

206
00:10:37,678 --> 00:10:40,848
and when he arrives,
it just wakes everybody up

207
00:10:40,931 --> 00:10:42,933
and lifts everybody's spirit up.

208
00:10:43,017 --> 00:10:45,102
And that's how
we start the day every day.

209
00:10:45,186 --> 00:10:47,396
CORDERO: It's amazing
just having him there,

210
00:10:47,480 --> 00:10:49,315
leading the way as Loki,

211
00:10:49,398 --> 00:10:52,943
and then, everybody else just having,
like, a fun ensemble.

212
00:10:53,027 --> 00:10:55,988
And it's a great ensemble that will save,

213
00:10:56,072 --> 00:10:58,115
you know, humanity.

214
00:10:58,199 --> 00:11:00,534
I mean, honestly,
that's what we do here at the TVA.

215
00:11:00,618 --> 00:11:02,745
LOKI: We should be dealing
with the bigger problem here.

216
00:11:02,828 --> 00:11:05,539
-He Who Remains.
-I understand and we'll get to that.

217
00:11:05,623 --> 00:11:07,667
In order to do that,
I need a Loki Who Remains.

218
00:11:07,750 --> 00:11:09,835
We need to address you disappearing.

219
00:11:12,713 --> 00:11:16,133
WRIGHT: We knew we wanted
to embrace the idea

220
00:11:16,217 --> 00:11:19,387
of time looping
throughout this season.

221
00:11:19,470 --> 00:11:23,557
We talked a lot about Slaughterhouse-Five,
the Kurt Vonnegut novel,

222
00:11:23,641 --> 00:11:27,103
where there's somebody who's slipping
through time, uncontrollably,

223
00:11:27,186 --> 00:11:30,690
trying to figure out how to make sense
of their life and the narrative

224
00:11:30,773 --> 00:11:32,983
because they're
experiencing it all out of order.

225
00:11:33,067 --> 00:11:36,153
And there was something in that
that was really compelling with Loki.

226
00:11:36,237 --> 00:11:40,616
He desperately is trying
to get back to our TVA

227
00:11:40,700 --> 00:11:43,160
and let them know
something terrible is coming.

228
00:11:43,244 --> 00:11:46,580
And yet, Loki can't even just stay
in a single place.

229
00:11:47,581 --> 00:11:51,877
Something had happened
to the nature of time.

230
00:11:51,961 --> 00:11:55,172
Once He Who Remains
is killed by Sylvie,

231
00:11:55,256 --> 00:11:57,591
the timelines start to branch.

232
00:11:57,675 --> 00:12:01,554
And essentially,
Loki's anchor in the dimension of time

233
00:12:01,637 --> 00:12:03,013
becomes unstable.

234
00:12:03,097 --> 00:12:05,307
It's real, Mobius.
I'll be in the past TVA

235
00:12:05,391 --> 00:12:08,561
and suddenly I'll feel it all grow thin
and I'll be torn apart,

236
00:12:08,644 --> 00:12:11,397
pulled through time,
ripped from there to here.

237
00:12:11,480 --> 00:12:13,482
-How is that possible?
-I don't know.

238
00:12:13,566 --> 00:12:16,110
But I don't know how long I have
until it happens again.

239
00:12:16,193 --> 00:12:19,655
HIDDLESTON: His physical presence
doesn't have a secure grip

240
00:12:19,739 --> 00:12:22,032
on temporal reality.

241
00:12:22,116 --> 00:12:24,785
You know, even right now, I think,

242
00:12:24,869 --> 00:12:27,288
I am here now.

243
00:12:27,371 --> 00:12:30,708
I'm here in space, but I'm here now.

244
00:12:30,791 --> 00:12:32,084
And Loki's having a problem,

245
00:12:32,168 --> 00:12:35,504
which is that he's rooted in space
but he's not rooted in time.

246
00:12:35,588 --> 00:12:38,841
And so, he's essentially glitching...

247
00:12:38,924 --> 00:12:39,925
Damn it!

248
00:12:40,009 --> 00:12:43,679
...between the past, present
and the future.

249
00:12:43,763 --> 00:12:47,349
He's in one place, and then,
suddenly he's in the same place

250
00:12:47,433 --> 00:12:48,601
but at a different time.

251
00:12:48,684 --> 00:12:50,770
It's incredibly destabilizing for him

252
00:12:50,853 --> 00:12:53,230
and for everybody
who's in his presence

253
00:12:53,355 --> 00:12:55,649
because it looks like
he keeps disappearing.

254
00:12:57,443 --> 00:12:58,944
-You just disappeared.
-I know.

255
00:12:59,028 --> 00:13:01,363
And I can't keep looking at it
'cause it's horrible.

256
00:13:01,447 --> 00:13:03,407
What? I thought you said
it didn't look that bad.

257
00:13:03,491 --> 00:13:04,492
I was lying.

258
00:13:06,619 --> 00:13:09,580
CHRISTOPHER TOWNSEND: It's sort of evolved
as we've been discussing this

259
00:13:09,663 --> 00:13:13,000
on a script level and also
a character level and a visual level.

260
00:13:13,083 --> 00:13:16,128
And realizing that one of the things
that could be very interesting

261
00:13:16,212 --> 00:13:19,048
is making it a very painful experience.

262
00:13:19,131 --> 00:13:21,509
And Tom has really embraced this.

263
00:13:21,592 --> 00:13:24,053
So it's kind of
a windmill and down.

264
00:13:24,136 --> 00:13:27,556
And he has given us
these incredible performances

265
00:13:27,640 --> 00:13:31,977
that we in visual effects will be
joining up these various elements of him

266
00:13:32,061 --> 00:13:35,606
as he goes through and flickers
through these different time periods.

267
00:13:36,232 --> 00:13:40,653
HIDDLESTON: Loki's body is being
molecularly ripped apart.

268
00:13:40,778 --> 00:13:44,532
Ripped... Every...
Every atom, every cell in his body

269
00:13:44,615 --> 00:13:48,619
is being ripped
and pulled apart, disassembled,

270
00:13:48,702 --> 00:13:50,496
and then reassembled very quickly

271
00:13:50,579 --> 00:13:53,082
and kind of re-ripping in another time.

272
00:13:53,165 --> 00:13:54,875
TOWNSEND: There's a line
about looking like

273
00:13:54,959 --> 00:13:57,711
he's being born and dying
all at the same time.

274
00:13:57,795 --> 00:14:00,214
And that idea of
how do you visualize that,

275
00:14:00,297 --> 00:14:01,966
how do you actually make it feel

276
00:14:02,049 --> 00:14:04,009
gruesome and almost like a horror movie.

277
00:14:04,093 --> 00:14:07,179
But not in a bloody guts and gore way,

278
00:14:07,263 --> 00:14:09,932
but something that's a little bit more
stylish and elegant.

279
00:14:10,015 --> 00:14:14,103
This is where I'm embarrassed
to say that in my

280
00:14:14,186 --> 00:14:17,815
limited carpet bag of physical abilities,

281
00:14:17,898 --> 00:14:20,067
I can't, in fact, time slip.

282
00:14:20,442 --> 00:14:22,278
So we've had to find a way.

283
00:14:22,361 --> 00:14:24,822
Obviously, I knew at some point,
I was going to be

284
00:14:24,905 --> 00:14:28,284
brilliantly assisted
by our visual effects department.

285
00:14:28,367 --> 00:14:30,995
And I wanted to give them
enough to work with,

286
00:14:31,078 --> 00:14:35,040
so we tried to film different variations

287
00:14:35,124 --> 00:14:40,212
of being spun into or spun out of,

288
00:14:40,296 --> 00:14:42,965
or ripped away from,

289
00:14:43,048 --> 00:14:45,259
or pulled into, reality.

290
00:14:45,342 --> 00:14:49,054
TOWNSEND: And then can you do one
where you're lunging right at the camera?

291
00:14:49,138 --> 00:14:50,890
So you come back at camera,

292
00:14:50,973 --> 00:14:53,517
twist around and come
right back at the camera.

293
00:14:53,601 --> 00:14:56,729
He's giving us all these things
and he's throwing himself

294
00:14:56,812 --> 00:14:59,565
into the, sort of, performances
absolutely brilliantly.

295
00:14:59,648 --> 00:15:01,650
You couldn't have asked
for a better performer

296
00:15:01,734 --> 00:15:03,569
and a better partner
in this sort of endeavor.

297
00:15:03,652 --> 00:15:06,280
Maybe I'll do one this way too?

298
00:15:06,614 --> 00:15:08,115
And then spin around, yeah.

299
00:15:08,198 --> 00:15:11,702
In the edit, we basically brought
all those elements together.

300
00:15:11,785 --> 00:15:16,916
We picked out, you know, the...
The craziest swinging of arms,

301
00:15:16,999 --> 00:15:20,044
and we created an effect
in the edit for that.

302
00:15:21,253 --> 00:15:23,339
And then with that,
we played with sounds.

303
00:15:23,422 --> 00:15:27,885
We had stretching sounds
and bone crunching sounds

304
00:15:27,968 --> 00:15:30,846
and all kinds of things
that would really enhance

305
00:15:30,930 --> 00:15:32,890
the visuals for the time slip.

306
00:15:33,724 --> 00:15:35,559
And then,
we're taking those performances

307
00:15:35,643 --> 00:15:38,437
and then creating this sort of meld
between them all

308
00:15:38,520 --> 00:15:41,565
and then stretching
between each performance.

309
00:15:41,649 --> 00:15:44,360
And in 3D, on the computer,

310
00:15:44,443 --> 00:15:47,196
we're simulating,
we're joining up these performances

311
00:15:47,279 --> 00:15:50,699
and we're using simulation software
and modeling software

312
00:15:50,783 --> 00:15:53,327
to stretch one performance to another

313
00:15:53,410 --> 00:15:56,121
and make it feel like
he's being ripped through time,

314
00:15:56,205 --> 00:15:58,958
and being born and dying
all at the same time.

315
00:16:00,459 --> 00:16:02,586
I take my hat off already

316
00:16:02,670 --> 00:16:04,922
to the visual effects team
for helping me out.

317
00:16:05,005 --> 00:16:07,508
But it has been a really physical thing.

318
00:16:07,591 --> 00:16:09,677
More physical than I thought
it was going to be.

319
00:16:09,760 --> 00:16:11,679
London School of Contemporary Dance.

320
00:16:13,013 --> 00:16:15,182
It allowed us to play a fun game

321
00:16:15,265 --> 00:16:18,227
of letting Loki slip
through various moments

322
00:16:18,310 --> 00:16:21,689
across all these branches
of the Sacred Timeline.

323
00:16:22,272 --> 00:16:25,484
But he's always being pulled
to people that he knows,

324
00:16:25,567 --> 00:16:27,778
or places that he's been before.

325
00:16:27,861 --> 00:16:31,949
And then we start to realize
that maybe in some way,

326
00:16:32,032 --> 00:16:35,452
Loki is the glue that's holding
all of these things together.

327
00:16:35,536 --> 00:16:39,456
Every one of your friends
has a temporal aura, right?

328
00:16:39,540 --> 00:16:41,041
Right.

329
00:16:41,125 --> 00:16:45,587
Well, that means a group of people

330
00:16:45,671 --> 00:16:51,301
would have a collective aura
unique to that moment in time.

331
00:16:53,804 --> 00:16:55,931
MARTIN: With each person in the TVA,

332
00:16:56,015 --> 00:16:59,101
we wanted to go further
into who they are,

333
00:16:59,184 --> 00:17:00,894
what's driving them
to do everything.

334
00:17:00,978 --> 00:17:04,148
And they're all existing
in this sea change moment.

335
00:17:04,773 --> 00:17:08,902
Tell the TVA to stop pruning,
effective immediately.

336
00:17:08,986 --> 00:17:10,279
(GRUNTS)

337
00:17:11,155 --> 00:17:14,616
MARTIN: Everybody at the TVA,
they lived one path,

338
00:17:14,700 --> 00:17:18,704
and now they're suddenly told that, like,
that path was foisted upon them,

339
00:17:18,787 --> 00:17:21,582
that they had other lives,
that they are all Variants.

340
00:17:21,665 --> 00:17:24,543
I'm not a hunter,
you're not an analyst.

341
00:17:24,626 --> 00:17:26,295
None of this is real.

342
00:17:26,378 --> 00:17:29,423
You know, it's really hard
to keep an eye on the whole story.

343
00:17:29,506 --> 00:17:31,717
Because there's just,
there's time slipping,

344
00:17:31,800 --> 00:17:33,844
there's past Loki, present Loki,

345
00:17:33,927 --> 00:17:36,513
past B-15, present B-15,

346
00:17:36,597 --> 00:17:39,391
B-15 Variant on the timeline,

347
00:17:39,475 --> 00:17:42,144
and you know, there was,
even just the other day, we were like,

348
00:17:42,227 --> 00:17:45,147
"Oh, this is the first time
we've seen Loki time-slip."

349
00:17:45,230 --> 00:17:47,357
And I was like,
"No, we've seen it before."

350
00:17:47,441 --> 00:17:48,734
And they're like, "No actually,

351
00:17:48,817 --> 00:17:51,111
"we just shot out of sequence,
you haven't seen it.

352
00:17:51,195 --> 00:17:53,989
"And that wasn't you,
that was B-15 of the timeline,

353
00:17:54,073 --> 00:17:56,200
"that wasn't B-15 in the TVA."

354
00:17:56,283 --> 00:17:57,743
I was like, "Ahh!"

355
00:17:57,826 --> 00:18:01,371
MARTIN: There were many conversations had
about how is everybody gonna respond,

356
00:18:01,455 --> 00:18:04,625
knowing that they had lives
on the timeline.

357
00:18:04,708 --> 00:18:07,127
B-15, she had a different experience

358
00:18:07,211 --> 00:18:10,756
because she was shown by Sylvie
what her life was on the timeline.

359
00:18:14,551 --> 00:18:16,011
I looked happy.

360
00:18:21,725 --> 00:18:22,726
What now?

361
00:18:22,810 --> 00:18:23,894
MARTIN: So when she comes in,

362
00:18:23,977 --> 00:18:26,855
she has kind of
a resolute feeling about that.

363
00:18:26,939 --> 00:18:28,357
And she wants to get back to that,

364
00:18:28,440 --> 00:18:31,819
but she also has to kind of fight
for that to exist for other people.

365
00:18:32,361 --> 00:18:35,114
People have lives on the timeline, Mobius.

366
00:18:35,197 --> 00:18:38,659
They have to have the chance
to live those lives.

367
00:18:39,118 --> 00:18:42,579
The beauty of the writing
is that everyone has a journey.

368
00:18:42,663 --> 00:18:44,665
And, like, for me personally,

369
00:18:44,748 --> 00:18:48,127
I start off in my full armor

370
00:18:48,210 --> 00:18:50,671
and Time Stick and bringing down gods.

371
00:18:54,925 --> 00:18:59,763
I end with a crooked tie and no armor.

372
00:18:59,847 --> 00:19:02,432
She becomes softer and softer

373
00:19:02,516 --> 00:19:06,854
and she's moving towards
who she once was on the timeline

374
00:19:06,937 --> 00:19:09,106
rather than what the TVA made her.

375
00:19:09,189 --> 00:19:10,899
MOBIUS: No turning back now.

376
00:19:10,983 --> 00:19:13,068
Who said anything about turning back?

377
00:19:18,323 --> 00:19:21,243
OWEN WILSON: The scene today is,

378
00:19:21,326 --> 00:19:26,081
Loki is returning to the timeline
to find Mobius,

379
00:19:26,165 --> 00:19:30,502
who is living his original life
where he is working...

380
00:19:30,586 --> 00:19:34,298
Actually, right here, yeah.
It's called "Piranha."

381
00:19:34,381 --> 00:19:36,633
Piranha Powersports.

382
00:19:36,717 --> 00:19:40,679
And they offer, you know,
things like this.

383
00:19:40,762 --> 00:19:45,309
Well, they say the personal watercraft
is kind of the thinking man's dirt bike.

384
00:19:45,392 --> 00:19:47,895
Come on,
you ready for your Poseidon moment?

385
00:19:47,978 --> 00:19:49,605
Jump up on this bad boy.

386
00:19:50,731 --> 00:19:54,067
How do I create a persona between Don

387
00:19:54,151 --> 00:19:57,946
that's different from Mobius?
Well, Don is a salesman.

388
00:19:58,030 --> 00:20:02,034
And so, it kind of has a bit of that
personality in trying to make a sale.

389
00:20:02,117 --> 00:20:04,119
Hey, you know the Hawaiian word "mana"?

390
00:20:04,203 --> 00:20:08,582
It means "spiritual life force
that permeates the whole universe."

391
00:20:08,665 --> 00:20:12,377
You ready to jump up on this bad boy
and start sucking up the mana?

392
00:20:12,461 --> 00:20:17,132
And Mobius is a little bit more
of a cynical detective type.

393
00:20:17,216 --> 00:20:20,260
You gotta be careful when you've been
doing this as long as I have

394
00:20:20,344 --> 00:20:23,597
because you can start to phone it in
if you're not careful.

395
00:20:23,680 --> 00:20:27,351
Because it all gets
a little bit predictable, stale.

396
00:20:27,434 --> 00:20:30,437
But you are breathing new life
into this song.

397
00:20:30,520 --> 00:20:33,273
WRIGHT: The situation is funny,
the world is funny.

398
00:20:33,357 --> 00:20:36,151
The characters have...
have character to them.

399
00:20:36,235 --> 00:20:38,695
Like, Mobius can be eccentric

400
00:20:38,779 --> 00:20:40,989
because Loki is eccentric, he just is.

401
00:20:41,323 --> 00:20:43,575
But, like, they don't
see themselves that way.

402
00:20:43,659 --> 00:20:45,827
They're the straight man
in this absurd world.

403
00:20:45,911 --> 00:20:50,207
Wind in the hair,
little mist slapping you in the face.

404
00:20:50,290 --> 00:20:53,585
And nothing but open water
in front of you.

405
00:20:53,669 --> 00:20:55,963
Man, I feel
like I'm shredding glass today.

406
00:21:03,553 --> 00:21:07,391
On the timeline,
O.B. is a sci-fi writer.

407
00:21:07,557 --> 00:21:09,393
QUAN: His name is A.D. Doug.

408
00:21:09,476 --> 00:21:11,728
PhD, extremely smart guy.

409
00:21:11,812 --> 00:21:13,855
But he's a passionate writer.

410
00:21:14,356 --> 00:21:18,485
And he writes these amazing
science-fiction novels

411
00:21:18,568 --> 00:21:21,446
that nobody wants to read.

412
00:21:21,530 --> 00:21:25,075
Hey, look! You're lucky.
You should really give this a try.

413
00:21:25,158 --> 00:21:29,288
And right now,
we are in his garage, his workshop.

414
00:21:29,371 --> 00:21:33,417
And it is one of the coolest sets
I've ever seen.

415
00:21:33,500 --> 00:21:36,670
What's so surprising on this series

416
00:21:36,753 --> 00:21:39,881
is that a lot of the sets are practical.

417
00:21:39,965 --> 00:21:42,217
And it's something that I'm used to

418
00:21:42,301 --> 00:21:44,720
because back in the '80s,
that's how we made movies.

419
00:21:44,803 --> 00:21:47,222
And it's really a sight to behold.

420
00:21:49,057 --> 00:21:50,642
Is this room safe?

421
00:21:50,726 --> 00:21:53,478
Yeah, this whole area
is totally abandoned.

422
00:21:53,562 --> 00:21:55,063
No one's around for miles.

423
00:21:58,025 --> 00:22:02,863
CORDERO: Knowing that you were plucked
from a timeline

424
00:22:02,946 --> 00:22:05,198
to work at the TVA

425
00:22:05,282 --> 00:22:08,035
just gives you a lot to wonder

426
00:22:08,118 --> 00:22:11,246
about who this person was before this.

427
00:22:16,293 --> 00:22:18,462
Casey. Thank God you're here.

428
00:22:18,545 --> 00:22:19,629
How'd you get here?

429
00:22:19,713 --> 00:22:21,465
How did I get where? Where's here?

430
00:22:21,548 --> 00:22:22,966
Alcatraz.

431
00:22:23,508 --> 00:22:28,221
Being able to see Casey as a Variant

432
00:22:28,305 --> 00:22:32,184
and doing these Alcatraz scenes

433
00:22:32,267 --> 00:22:33,810
was awesome.

434
00:22:33,894 --> 00:22:36,938
The fact that Casey was this prisoner,

435
00:22:37,022 --> 00:22:39,232
I thought that was the coolest turn.

436
00:22:39,316 --> 00:22:41,526
I remember when looking
at the script, going like,

437
00:22:41,610 --> 00:22:45,113
"This is not what you really want me
to do. This is amazing."

438
00:22:45,197 --> 00:22:47,449
You gotta find your own way off this rock.

439
00:22:47,532 --> 00:22:48,533
Sorry, pal.

440
00:22:52,913 --> 00:22:55,665
We meet Brad Wolfe in Episode 1,

441
00:22:55,749 --> 00:22:58,377
and he's looking
at Mobius's jet ski magazine.

442
00:22:58,460 --> 00:23:00,712
And part of that is him
just realizing, like,

443
00:23:00,796 --> 00:23:03,382
"Wait a second,
there is a greater world out there

444
00:23:03,465 --> 00:23:05,384
"that I haven't really experienced."

445
00:23:05,467 --> 00:23:08,512
WRIGHT: He's gone back in time,
he sort of gamed the system.

446
00:23:08,595 --> 00:23:10,389
He can't go back
and make Star Wars,

447
00:23:10,472 --> 00:23:14,351
he can't do something giant that's going
to change the course of history.

448
00:23:14,810 --> 00:23:18,772
But he could go, "Well, what if I
start making comic book movies?

449
00:23:18,855 --> 00:23:21,566
"What if I start doing these things
before they got really big?"

450
00:23:22,567 --> 00:23:23,860
X-5 is an actor now?

451
00:23:23,944 --> 00:23:25,487
Or he's undercover.

452
00:23:25,570 --> 00:23:26,780
Looks pretty real to me.

453
00:23:26,863 --> 00:23:31,493
Behind us is the Zaniac premiere
in the 1970s.

454
00:23:31,576 --> 00:23:35,497
There's a big crowd here ready
to see movie superstar Brad Wolfe

455
00:23:35,956 --> 00:23:39,334
in his leading role as the Zaniac.

456
00:23:39,418 --> 00:23:41,503
And Loki and Mobius have shown up

457
00:23:41,586 --> 00:23:45,006
to try to figure out why X-5's tracker
is leading them here.

458
00:23:45,090 --> 00:23:48,385
And they're astonished to find that
he's this completely different person now

459
00:23:48,468 --> 00:23:50,470
and they need to get
to the bottom of it.

460
00:23:51,012 --> 00:23:53,682
How do you feel about
your meteoric rise to fame?

461
00:23:53,765 --> 00:23:55,559
I don't know how I feel, but I look good.

462
00:23:55,642 --> 00:23:56,685
Come on, look at this.

463
00:23:56,768 --> 00:23:58,478
Pretty darn good.

464
00:23:58,562 --> 00:24:01,440
I think Brad's movie is probably
not going to stand the test of time.

465
00:24:01,523 --> 00:24:03,942
Come on, Mobius.
You're gonna ruin my life here.

466
00:24:04,025 --> 00:24:05,026
Your life here?

467
00:24:06,695 --> 00:24:09,990
You know, getting to burst through doors
and, you know, run down alleyways

468
00:24:10,073 --> 00:24:12,826
and jump down staircases
and go underground at times,

469
00:24:12,909 --> 00:24:16,413
and do this crazy maze
getting chased by a god,

470
00:24:16,538 --> 00:24:18,165
is always an adventure in itself.

471
00:24:18,248 --> 00:24:19,583
You're doing your own stunts now?

472
00:24:20,000 --> 00:24:21,168
Real cute.

473
00:24:24,463 --> 00:24:26,256
DI MARTINO: I remember
having a conversation

474
00:24:26,339 --> 00:24:27,757
with Kevin Wright, the producer,

475
00:24:27,841 --> 00:24:30,760
after we shot that scene
where Sylvie kills He Who Remains.

476
00:24:30,844 --> 00:24:34,014
And it was the last scene that we shot

477
00:24:34,097 --> 00:24:36,683
in Atlanta, on Series 1.

478
00:24:36,766 --> 00:24:40,228
And he said to me,
"Where do you think Sylvie goes next?"

479
00:24:40,312 --> 00:24:43,440
And I was like,
"Where do you think she goes next?

480
00:24:44,566 --> 00:24:49,070
"I think she'd be really hungry."
(CHUCKLES)

481
00:24:49,154 --> 00:24:53,325
And that was my lesson in being careful
what you say to producers.

482
00:24:54,326 --> 00:24:57,370
Because next thing I know,
I'm in a McDonald's uniform.

483
00:24:58,788 --> 00:25:00,290
Ordering everything on the menu.

484
00:25:00,373 --> 00:25:01,625
How do I do this?

485
00:25:01,708 --> 00:25:02,918
What would you like?

486
00:25:03,001 --> 00:25:04,920
Not squirrel, not possum, not rats.

487
00:25:05,003 --> 00:25:07,756
Something that's already dead,
and nothing with a face.

488
00:25:07,839 --> 00:25:08,882
Please.

489
00:25:08,965 --> 00:25:12,219
It's just a metaphor, really,
for Sylvie wanting

490
00:25:12,302 --> 00:25:16,723
to experience what it's like
to be in the world.

491
00:25:16,806 --> 00:25:20,185
And not to have to be
on the run the whole time,

492
00:25:20,268 --> 00:25:23,813
not to be hiding out
in these apocalyptic places

493
00:25:23,897 --> 00:25:25,774
where she's constantly in danger,

494
00:25:25,857 --> 00:25:30,445
but to experience
what it's like to be normal.

495
00:25:30,529 --> 00:25:33,240
HIDDLESTON: She is on
a branch of a timeline,

496
00:25:34,282 --> 00:25:37,118
essentially, for the first time,

497
00:25:37,202 --> 00:25:40,038
inhabiting free will.

498
00:25:40,121 --> 00:25:42,958
She's never had it.
Sylvie wasn't supposed to exist.

499
00:25:43,500 --> 00:25:45,418
She's not part of the Sacred Timeline

500
00:25:45,502 --> 00:25:48,547
so she's been on the run from the TVA
since she was a child.

501
00:25:49,297 --> 00:25:52,008
And... And this is her first chance

502
00:25:52,092 --> 00:25:55,262
to experiment with freedom, with choice.

503
00:25:55,345 --> 00:25:59,558
Look, Loki, as much as I'd love to see
the TVA burnt down,

504
00:25:59,641 --> 00:26:02,185
I have no intention of going back there.

505
00:26:02,269 --> 00:26:03,270
My life's here now.

506
00:26:03,353 --> 00:26:07,857
Sylvie realizes how much
she's missed out on

507
00:26:07,941 --> 00:26:13,446
and she begins to make connections
with just a few human beings.

508
00:26:13,530 --> 00:26:17,826
And she starts to realize
how important that is to her.

509
00:26:17,909 --> 00:26:19,744
Your friends are back where they belong.

510
00:26:21,705 --> 00:26:23,331
But without them...

511
00:26:26,293 --> 00:26:27,836
Where do I belong?

512
00:26:30,630 --> 00:26:32,799
We're all writing our own stories now.

513
00:26:38,805 --> 00:26:41,725
BROUSSARD: We had a really
amazing team on Season 1

514
00:26:41,808 --> 00:26:45,103
and we wanted to retain
as much of that crew as possible,

515
00:26:45,186 --> 00:26:47,981
so production designer
Kasra Farahani

516
00:26:48,064 --> 00:26:49,899
is production designing
Season 2 as well.

517
00:26:49,983 --> 00:26:52,569
He stepped into the director's chair
for one episode.

518
00:26:52,652 --> 00:26:55,530
Same for visual effects supervisor
Dan DeLeeuw,

519
00:26:55,614 --> 00:26:59,326
who we made a bunch of movies with
in the visual effects department.

520
00:26:59,409 --> 00:27:02,078
Multiple Academy Award nominee
for that work.

521
00:27:02,162 --> 00:27:05,415
And it's been fun to watch people
step into new roles and really deliver.

522
00:27:05,498 --> 00:27:09,002
Similarly, we had an amazing experience
on Moon Knight with Aaron and Justin.

523
00:27:09,085 --> 00:27:13,423
And they've stepped in
to kind of be the anchor director role

524
00:27:13,506 --> 00:27:16,051
on this one,
directing four of the six episodes.

525
00:27:16,134 --> 00:27:19,929
All four of our directors, you know,
Aaron and Justin, Dan, and Kasra,

526
00:27:20,013 --> 00:27:22,515
have been so sympathetic

527
00:27:22,599 --> 00:27:26,227
to what we created in the first series.

528
00:27:26,311 --> 00:27:30,899
They know that it's already
a sort of live, big beast.

529
00:27:31,650 --> 00:27:34,861
So they haven't come in
and just tried to change everything.

530
00:27:34,944 --> 00:27:39,991
But they've each subtly put their mark
on their episodes.

531
00:27:40,075 --> 00:27:42,535
A greater portion of our body of work

532
00:27:42,619 --> 00:27:46,706
is characters who grow in such a way

533
00:27:46,790 --> 00:27:49,125
that they become less the villain
of their own story

534
00:27:49,209 --> 00:27:50,835
and more the hero
of their own story.

535
00:27:50,919 --> 00:27:52,212
This is where it all started.

536
00:27:52,295 --> 00:27:54,214
MOORHEAD: There's a sci-fi aspect of Loki

537
00:27:54,297 --> 00:27:56,883
that dovetails very nicely
with all of our work,

538
00:27:56,966 --> 00:28:01,179
and in the same way that Moon Knight
had a lot of permission to be weird,

539
00:28:01,262 --> 00:28:04,641
one of the first things
that Kevin Feige ever said to us

540
00:28:04,724 --> 00:28:07,811
when he was asking
if we wanted to do Season 2 was,

541
00:28:07,894 --> 00:28:11,398
"We don't want you to do it
if it's not gonna be something different."

542
00:28:11,481 --> 00:28:14,234
And I think that really got us
engaged with the whole thing,

543
00:28:14,317 --> 00:28:16,736
that it can be as weird
as we would want it to be.

544
00:28:17,028 --> 00:28:19,739
So it's not like you're going...
Like that.

545
00:28:20,115 --> 00:28:23,535
It's because he's still jumping,
so it's more like you're here, down.

546
00:28:23,618 --> 00:28:26,413
They come from a sort of
horror background

547
00:28:26,496 --> 00:28:28,790
and I can tell when they're shooting

548
00:28:28,873 --> 00:28:31,334
that they love, like,
a slow zoom-in on the face,

549
00:28:31,418 --> 00:28:35,380
they love a bit of symmetry,
they like creating atmosphere.

550
00:28:35,463 --> 00:28:37,549
That's really fun to do as an actor,

551
00:28:37,632 --> 00:28:41,010
especially because you know
that it's gonna translate well onscreen.

552
00:28:47,142 --> 00:28:49,936
BENSON: When we are preparing
our shot list, or storyboards,

553
00:28:50,019 --> 00:28:52,355
or whatever it is we're preparing for
in pre-production,

554
00:28:52,439 --> 00:28:56,067
we literally work
with blueprints, photographs,

555
00:28:56,151 --> 00:28:58,528
and sometimes models of these sets.

556
00:28:58,611 --> 00:29:00,989
So there's not huge surprises
when you walk in.

557
00:29:01,072 --> 00:29:03,491
MOORHEAD: When we were
developing our shots

558
00:29:03,575 --> 00:29:05,493
and doing the shot list and the planning,

559
00:29:05,869 --> 00:29:09,831
we wrote, you know, a dense,
roughly 12-page document

560
00:29:09,914 --> 00:29:12,000
about general visual approach.

561
00:29:12,083 --> 00:29:15,420
And then an hour-long video cut together
of different examples

562
00:29:15,503 --> 00:29:17,255
of things that work,
things that don't,

563
00:29:17,338 --> 00:29:18,965
here's what we're gonna do
and not do,

564
00:29:19,048 --> 00:29:21,301
'cause the visual style
is different from Season 1.

565
00:29:21,384 --> 00:29:23,553
And then, our cinematographer,
Isaac Bauman,

566
00:29:23,636 --> 00:29:27,557
took that and made a 700-page book

567
00:29:27,640 --> 00:29:30,310
of not just references,
typed out book,

568
00:29:30,393 --> 00:29:35,440
of the entire visual language of the show
down to the smallest lights.

569
00:29:37,901 --> 00:29:40,445
ISAAC BAUMAN: When you're designing
the look of a project,

570
00:29:40,528 --> 00:29:43,698
the way to make it look
stylish and stylized

571
00:29:43,782 --> 00:29:47,786
and have integrity, is actually to do
as little range as possible.

572
00:29:48,119 --> 00:29:51,247
Create as little diversity as possible
in the amount of looks you're doing

573
00:29:51,372 --> 00:29:53,875
so that the project
takes on a cohesive whole.

574
00:29:53,958 --> 00:29:56,419
However, you want it
to do something different

575
00:29:56,503 --> 00:29:58,713
with all these different time periods
we're visiting

576
00:29:58,797 --> 00:30:00,799
because it was motivated, you know.

577
00:30:00,882 --> 00:30:02,759
We couldn't ignore that motivation.

578
00:30:02,842 --> 00:30:05,720
So, before we started shooting
the first episode,

579
00:30:05,804 --> 00:30:09,599
we mapped all this out,
every single time period, every set.

580
00:30:10,058 --> 00:30:13,770
Everything was calibrated to stand out

581
00:30:13,853 --> 00:30:17,315
and be specific and motivated
by the environment that it was in.

582
00:30:17,398 --> 00:30:19,943
But also by prepping so far in advance,

583
00:30:20,026 --> 00:30:26,074
we made sure that every single thing
felt like a cohesive slice of the pie.

584
00:30:31,579 --> 00:30:34,207
First season of Loki,
they asked me to come in and help out

585
00:30:34,290 --> 00:30:36,000
in post-production
on the visual effects.

586
00:30:36,084 --> 00:30:38,920
I fell in love with the show.
So when the opportunity came up,

587
00:30:39,003 --> 00:30:41,965
and said, "Hey, how do you feel about
doing an episode on Season 2?"

588
00:30:42,048 --> 00:30:43,550
I'm like,
I jumped at the chance.

589
00:30:43,633 --> 00:30:47,262
The irony is that Episode 2
has the least amount of visual effects

590
00:30:47,345 --> 00:30:48,847
in the entire season.

591
00:30:49,389 --> 00:30:52,642
And the number of times
a lot of the crew came up, it's like,

592
00:30:52,725 --> 00:30:54,561
"You know, it's weird
you're doing the show

593
00:30:54,644 --> 00:30:56,646
"that has the least amount
of visual effects."

594
00:30:56,729 --> 00:30:58,565
It's like, "Yeah, that occurred to me."

595
00:30:59,566 --> 00:31:02,151
Episode 2 is very much
a kind of a conspiracy

596
00:31:02,235 --> 00:31:04,404
and kind of a, like a thriller-esque thing

597
00:31:04,487 --> 00:31:05,780
where they have to find Sylvie,

598
00:31:05,864 --> 00:31:08,116
they need answers,
what happened at the End of Time.

599
00:31:08,199 --> 00:31:09,701
When I first read the script,

600
00:31:09,784 --> 00:31:13,371
it kind of felt something, you know,
plays out like The French Connection,

601
00:31:13,454 --> 00:31:16,791
from a lot of the '70s movies where you
stay in the perspective of the characters

602
00:31:16,875 --> 00:31:18,209
as they work
to solve the puzzle.

603
00:31:18,293 --> 00:31:21,504
Dan will say, "I saw this thing
that you did in Episode 1,

604
00:31:21,588 --> 00:31:24,549
"I remember this thing you did
in the table read for Episode 2.

605
00:31:24,632 --> 00:31:26,718
"I don't want you to forget it.
Let's do it in take three.

606
00:31:26,801 --> 00:31:27,802
"Let's do two straight,

607
00:31:27,886 --> 00:31:30,346
"then that curveball one
where you're playing around."

608
00:31:30,430 --> 00:31:32,056
-Zaniac.
-What about it?

609
00:31:32,140 --> 00:31:34,183
-I wanna know about it.
-Oh, come on.

610
00:31:34,267 --> 00:31:36,269
-Please.
-You don't care about my movie.

611
00:31:36,352 --> 00:31:39,188
Brad, I saw the poster.
It looked scary.

612
00:31:39,272 --> 00:31:40,648
It's not. It's not.

613
00:31:41,232 --> 00:31:44,193
It's not scary.
It's elevated thriller, all right?

614
00:31:44,277 --> 00:31:45,612
-It is?
-It's cinema.

615
00:31:45,695 --> 00:31:47,530
Like you would know anything
about that.

616
00:31:48,323 --> 00:31:49,741
DELEEUW: Even though it's,

617
00:31:49,824 --> 00:31:52,201
conceptually, it's, you know,
it's like TV,

618
00:31:52,285 --> 00:31:54,245
in the sense
that you have showrunners,

619
00:31:54,329 --> 00:31:57,081
the studio is guiding the scripts,
but when you're brought in,

620
00:31:57,165 --> 00:32:00,501
you're instantaneously brought
into the room with everyone else,

621
00:32:00,585 --> 00:32:02,211
where the scripts
are being developed,

622
00:32:02,295 --> 00:32:04,130
the writers and the producers
are there,

623
00:32:04,213 --> 00:32:06,591
and our other directors on this season,

624
00:32:06,674 --> 00:32:09,052
you're all collaborating
on everybody's episode.

625
00:32:09,135 --> 00:32:11,346
We workshop the script,
and we'll have Tom there

626
00:32:11,429 --> 00:32:13,514
and we'll have Owen come in
and Sophia come in,

627
00:32:13,598 --> 00:32:16,017
everybody gives their perspective
on the characters,

628
00:32:16,100 --> 00:32:19,479
and it keeps elevating the script
and elevating the script...

629
00:32:19,562 --> 00:32:22,106
And it's always the idea,
you know, that the best idea wins.

630
00:32:22,190 --> 00:32:25,860
A little over the top, don't you think,
all the shadow play?

631
00:32:28,947 --> 00:32:30,323
I thought it was spot on.

632
00:32:34,327 --> 00:32:37,664
I've been on this team,
on this Loki ride, for quite a while now.

633
00:32:37,747 --> 00:32:40,416
Since fall of 2019.

634
00:32:40,500 --> 00:32:43,336
That's when we started prep
on Season 1.

635
00:32:43,419 --> 00:32:47,215
And so, when this season came about,
started back up,

636
00:32:47,298 --> 00:32:50,009
they asked me if I wanted
to participate in the writers' room,

637
00:32:50,093 --> 00:32:53,346
which was a huge honor
and a lot of fun, and...

638
00:32:53,429 --> 00:32:57,225
In some ways, it made sense
because so much of the show

639
00:32:57,308 --> 00:32:59,978
comes out of the world
in which it's set.

640
00:33:03,314 --> 00:33:05,191
Out of that opportunity

641
00:33:05,274 --> 00:33:08,778
came this even cooler opportunity
to direct Episode 3,

642
00:33:08,861 --> 00:33:12,281
which is very different than the rest
of the season, I can say.

643
00:33:13,408 --> 00:33:16,536
DI MARTINO: Kasra is doing these,
like, huge long takes

644
00:33:16,619 --> 00:33:19,706
of really intricate scenes,

645
00:33:19,789 --> 00:33:25,294
where he's doing just, like,
these big swooping, like, oners almost,

646
00:33:25,378 --> 00:33:29,382
which is really cool to do
because it's a challenge.

647
00:33:29,465 --> 00:33:32,552
You can really get into the flow of it
when you're not cutting all the time.

648
00:33:32,635 --> 00:33:35,304
So we have different styles, okay?
I'm not sightseeing.

649
00:33:35,388 --> 00:33:37,265
You're a man of action, which is fine.

650
00:33:37,348 --> 00:33:40,309
I take a more slow, deliberate,
cerebral approach

651
00:33:40,393 --> 00:33:42,145
because I see everything.

652
00:33:50,153 --> 00:33:53,781
FARAHANI: The decision for this episode
to be set in the World's Fair

653
00:33:53,865 --> 00:33:55,992
predates my involvement with the project,

654
00:33:56,075 --> 00:34:00,747
but I think it's sort of a very distinct
and iconoclastic setting.

655
00:34:01,414 --> 00:34:04,959
Also, it's just a very unlikely place

656
00:34:05,043 --> 00:34:07,462
to find the next Variant of Kang.

657
00:34:07,545 --> 00:34:09,380
I mean, if they're here, we'll find 'em.

658
00:34:09,464 --> 00:34:10,673
If they're here.

659
00:34:11,257 --> 00:34:13,092
Only one way to find out.

660
00:34:13,509 --> 00:34:15,678
FARAHANI: So this is
the Midway Plaisance.

661
00:34:15,762 --> 00:34:18,598
Some people refer to it almost
as the amusement park

662
00:34:18,681 --> 00:34:20,600
or the gift shop of the World's Fair.

663
00:34:20,683 --> 00:34:24,228
And the Midway was sort of
the more recreational part of it

664
00:34:24,312 --> 00:34:27,190
where there were exhibitions
from different parts of the world

665
00:34:27,273 --> 00:34:31,277
with a more accessible format
to working-class people.

666
00:34:31,360 --> 00:34:33,696
How great is this Ferris wheel?

667
00:34:34,155 --> 00:34:36,574
(CHUCKLES) Cut.

668
00:34:36,657 --> 00:34:39,994
As you can see, there's blue screens
on both ends of the set.

669
00:34:40,078 --> 00:34:42,080
There will be set extension.

670
00:34:42,163 --> 00:34:45,583
But we were able to create
quite a good size chunk of it.

671
00:34:45,666 --> 00:34:49,128
And you'll see
there's Cairo, Egyptian exhibition,

672
00:34:49,212 --> 00:34:51,422
and there's a Chinese village,

673
00:34:51,506 --> 00:34:55,093
and a Norwegian longhouse structure,

674
00:34:55,176 --> 00:34:58,513
where there are the important statues
of the Norse gods,

675
00:34:58,596 --> 00:35:00,181
from which Loki
has been excluded.

676
00:35:00,264 --> 00:35:02,892
You know, sometimes I forget
that you're one of them.

677
00:35:02,975 --> 00:35:06,646
You are one of them. Blows my mind.

678
00:35:09,690 --> 00:35:11,109
MARTIN: Coming into Season 2,

679
00:35:11,192 --> 00:35:13,653
we knew we wanted
to use He Who Remains

680
00:35:13,736 --> 00:35:16,030
and a Variant of He Who Remains
in some form.

681
00:35:16,114 --> 00:35:19,408
But we wanted
to subvert expectations with that

682
00:35:19,492 --> 00:35:22,578
and not have that be the straight line
that people might expect.

683
00:35:22,662 --> 00:35:25,665
So when we see Jonathan there
on that stage,

684
00:35:25,748 --> 00:35:27,375
there is He Who Remains

685
00:35:27,458 --> 00:35:29,293
and it's a totally different version
of him.

686
00:35:29,710 --> 00:35:31,879
Don't be shocked

687
00:35:31,963 --> 00:35:34,257
when I tell you

688
00:35:36,050 --> 00:35:41,264
that time is the future of...

689
00:35:43,266 --> 00:35:44,350
energy.

690
00:35:44,433 --> 00:35:45,852
He's a brilliant scientist,

691
00:35:45,935 --> 00:35:48,437
but he's kind of born
into the wrong time.

692
00:35:48,521 --> 00:35:52,733
And, so, maybe someday,
he'll become He Who Remains.

693
00:35:52,817 --> 00:35:55,319
He'll become
that dangerous, formidable person.

694
00:35:55,403 --> 00:35:59,699
But right now,
he's kind of this likeable character.

695
00:35:59,782 --> 00:36:01,325
We're doing really great here.

696
00:36:01,409 --> 00:36:04,370
We are here in great Chicago.

697
00:36:04,453 --> 00:36:06,539
My name is Victor Timely.

698
00:36:08,833 --> 00:36:10,501
Time is everything.

699
00:36:13,379 --> 00:36:15,089
FARAHANI: In terms
of the Loom itself,

700
00:36:15,173 --> 00:36:19,719
this is essentially the prototype

701
00:36:19,802 --> 00:36:22,555
of the Temporal Loom that ultimately

702
00:36:22,638 --> 00:36:25,933
is at the core of the TVA.

703
00:36:27,268 --> 00:36:31,647
And the idea
is that Victor Timely's innovation

704
00:36:31,731 --> 00:36:35,651
in concert with the information he got
from the TVA Handbook,

705
00:36:35,735 --> 00:36:38,571
which was filled with O.B.'s writings,

706
00:36:38,654 --> 00:36:43,659
and it's through that process
that he arrived at this prototype Loom.

707
00:36:43,743 --> 00:36:45,870
My Temporal Loom

708
00:36:45,953 --> 00:36:50,791
inverts the temporal decay
of the electricity flowing through it,

709
00:36:50,875 --> 00:36:55,755
lowering its entropy and gathering it

710
00:36:55,838 --> 00:37:00,468
into fine, organized threads of...

711
00:37:03,012 --> 00:37:04,555
power!

712
00:37:05,848 --> 00:37:08,809
FARAHANI: And in the case
of this Victorian-era one,

713
00:37:08,893 --> 00:37:11,854
the idea is that
it's weaving strands of energy

714
00:37:11,938 --> 00:37:16,734
because this one is focused
on refining the efficiency

715
00:37:16,817 --> 00:37:18,819
of electrical output.

716
00:37:18,903 --> 00:37:22,615
Whereas the one in the TVA
applies the same sort of idea

717
00:37:22,698 --> 00:37:24,367
to strands of time.

718
00:37:24,450 --> 00:37:26,953
So there's a similar kind
of visual language

719
00:37:27,036 --> 00:37:29,205
between this Loom
and the one in the TVA,

720
00:37:29,288 --> 00:37:32,250
but this one is rendered in materials

721
00:37:32,333 --> 00:37:36,003
and construction methods
from the Victorian era.

722
00:37:36,128 --> 00:37:39,215
All science is fiction

723
00:37:40,091 --> 00:37:43,636
until it's fact!

724
00:37:45,805 --> 00:37:48,391
Mr. Timely. A moment, please.

725
00:37:49,475 --> 00:37:51,602
(STAMMERS) Of course.

726
00:37:51,686 --> 00:37:53,604
We need to talk about your future.

727
00:37:54,188 --> 00:37:57,566
MOORHEAD: Gugu completely understood
where we were trying to bring Renslayer.

728
00:37:57,650 --> 00:38:01,195
She could've easily fallen into villain
status and instead is a human being.

729
00:38:01,279 --> 00:38:04,115
You're the one who sided
with a Loki over me.

730
00:38:04,198 --> 00:38:06,575
Don't play the teamwork card on me now.

731
00:38:06,659 --> 00:38:10,329
There is a really easy way
to take Renslayer that is one-dimensional,

732
00:38:10,413 --> 00:38:12,707
which is, she wants power,
and that's it.

733
00:38:12,790 --> 00:38:15,710
We just pretty strongly felt
like what it really was is,

734
00:38:15,793 --> 00:38:19,630
she has been done wrong
and she genuinely has a desire

735
00:38:19,714 --> 00:38:22,758
to bring stability to the TVA,
which is important.

736
00:38:22,842 --> 00:38:25,720
So she is an antagonist,
but I don't think she's a villain.

737
00:38:25,803 --> 00:38:26,887
-Miss Minutes?
-MISS MINUTES: Yeah?

738
00:38:26,971 --> 00:38:29,181
-This is your moment.
-ROBBER BARON: Get him!

739
00:38:31,475 --> 00:38:34,353
-Boo! (LAUGHS)
-(CROWD SCREAMING)

740
00:38:34,437 --> 00:38:37,857
TOWNSEND: Miss Minutes is coming back
so we're gonna be seeing her quite a bit,

741
00:38:37,940 --> 00:38:40,526
which is gonna be lovely,
to work with her.

742
00:38:40,609 --> 00:38:44,155
When we can get her out of her trailer.
She can be quite temperamental.

743
00:38:44,238 --> 00:38:49,744
Well, even before the TVA
or her, you created me.

744
00:38:49,827 --> 00:38:53,289
And we worked together at the End of Time.

745
00:38:53,372 --> 00:38:58,127
I'm here because I know
what a great man you can become.

746
00:38:58,210 --> 00:39:00,755
EMMA MCCLEAVE: On set, they shoot
Miss Minutes with a lamp.

747
00:39:00,838 --> 00:39:03,549
And we have an on-set reader
who does a really great job

748
00:39:03,632 --> 00:39:05,760
working with the actors
to create the scene.

749
00:39:05,843 --> 00:39:08,262
We then go away,
myself and the director Kasra,

750
00:39:08,346 --> 00:39:10,848
and we cut a version
of the scene that works.

751
00:39:10,931 --> 00:39:13,017
My assistant editors go in
and do their best

752
00:39:13,100 --> 00:39:15,019
to comp in a version of Miss Minutes.

753
00:39:15,102 --> 00:39:17,897
And then we recorded Tara's ADR.

754
00:39:17,980 --> 00:39:20,066
So then you refine the scene again.

755
00:39:20,149 --> 00:39:22,943
And you hope that the animation
is all going to come together.

756
00:39:23,027 --> 00:39:26,030
Rising Sun Pictures did Miss Minutes
this season, she's phenomenal.

757
00:39:26,113 --> 00:39:27,823
So, original orange Miss Minutes,

758
00:39:27,907 --> 00:39:29,408
they revamped her a little bit

759
00:39:29,492 --> 00:39:31,243
to give her a bit
of a different rig

760
00:39:31,327 --> 00:39:33,746
so that she had more expression
and all that stuff.

761
00:39:33,829 --> 00:39:34,955
Just watch.

762
00:39:35,039 --> 00:39:38,125
PAUL: Then there's black and white
Miss Minutes that we see in Episode 3,

763
00:39:38,209 --> 00:39:41,212
and initially, Kasra,
who directed that episode,

764
00:39:41,295 --> 00:39:44,715
wanted her to be fully 2D cel-animated.

765
00:39:45,132 --> 00:39:48,636
And we could have done it but it
would've been prohibitively expensive.

766
00:39:48,719 --> 00:39:51,347
So we asked,
"Is there any way that you can rig this

767
00:39:51,430 --> 00:39:53,391
"so it looks like
a 2D cel-animated figure?"

768
00:39:53,474 --> 00:39:54,517
Better?

769
00:39:54,600 --> 00:39:56,852
PAUL: And they were able to do it
and she looks fantastic.

770
00:39:56,936 --> 00:39:59,980
With all your powers
and all your abilities,

771
00:40:00,064 --> 00:40:02,525
you just kept me as your thing.

772
00:40:02,942 --> 00:40:05,569
Your computer, your toy.

773
00:40:05,653 --> 00:40:08,739
Instead of what I could have been.

774
00:40:09,698 --> 00:40:13,702
Your girl.

775
00:40:23,003 --> 00:40:26,549
FARAHANI: This is
the Temporal Core control room.

776
00:40:28,676 --> 00:40:32,471
So, this set is very much influenced

777
00:40:32,555 --> 00:40:37,768
by mid-century European
and Eastern European power plants,

778
00:40:37,852 --> 00:40:42,481
along with some kind
of NORAD-type environments.

779
00:40:42,565 --> 00:40:44,733
As you walk through
the containment corridor,

780
00:40:44,817 --> 00:40:49,530
you're walking through a series
of three to four-foot thick doors.

781
00:40:49,613 --> 00:40:53,576
And then ultimately, when you get
to the main door into the control room,

782
00:40:54,034 --> 00:40:57,246
you know, the threshold
for that door is about nine feet.

783
00:40:57,329 --> 00:40:59,165
And then you get in here,

784
00:40:59,248 --> 00:41:01,959
and as you go
into the control room airlock

785
00:41:02,042 --> 00:41:03,794
and you go through the airlock door,

786
00:41:03,878 --> 00:41:05,838
there's another 8-foot deep

787
00:41:05,921 --> 00:41:08,507
concrete threshold
that you have to move through.

788
00:41:09,341 --> 00:41:13,053
The idea is that
what is outside this window

789
00:41:13,137 --> 00:41:15,806
is the most awesome force,

790
00:41:15,890 --> 00:41:19,727
something akin to a nuclear blast
or a volcano.

791
00:41:25,649 --> 00:41:28,277
Suit up, get down the gangway
as fast as you can,

792
00:41:28,360 --> 00:41:31,238
load the Multiplier, hit the green button,
launch it and get back.

793
00:41:31,322 --> 00:41:35,034
DI MARTINO: It was actually really great
shooting in here with everyone,

794
00:41:35,117 --> 00:41:38,621
that we did a lot of days in this room.

795
00:41:38,704 --> 00:41:42,458
We did a lot of different versions
of the same events

796
00:41:42,541 --> 00:41:45,127
over and over again,
almost like Groundhog Day.

797
00:41:45,461 --> 00:41:46,795
Hit the green button.

798
00:41:46,879 --> 00:41:49,048
Hit the green button.

799
00:41:49,131 --> 00:41:51,091
That's right. Now launch it.

800
00:41:51,217 --> 00:41:53,969
That's it, you've done it.
Get back, get back. Go, go!

801
00:41:54,053 --> 00:41:56,222
There were some really fun times

802
00:41:56,305 --> 00:41:58,349
when we were all going
a little bit stir-crazy.

803
00:41:58,432 --> 00:42:01,477
Cabin fever, sort of, you know,
on the edge.

804
00:42:01,727 --> 00:42:02,811
Yes.

805
00:42:05,272 --> 00:42:08,692
I've spent so many days in this room.

806
00:42:09,860 --> 00:42:12,821
We shot this scene,

807
00:42:12,905 --> 00:42:16,367
A version, B version, C, D, E, F, G, H,

808
00:42:16,450 --> 00:42:18,786
I, J, K, L, M, N, O, P...

809
00:42:19,328 --> 00:42:22,957
And I would go home
and I would dream about it

810
00:42:23,040 --> 00:42:26,126
and have to come to set
and do it all over again.

811
00:42:26,210 --> 00:42:28,629
And then go home and dream about it.

812
00:42:28,712 --> 00:42:32,383
(CHUCKLES) And then come to set
and do it all over again.

813
00:42:32,466 --> 00:42:37,179
I mean, I will always remember
the Temporal Core.

814
00:42:41,308 --> 00:42:43,686
With the Loom,
there was quite a bit of R&D.

815
00:42:43,769 --> 00:42:45,938
It was more to make sure
the thing looked real.

816
00:42:46,021 --> 00:42:47,898
Art department was incredible.

817
00:42:47,982 --> 00:42:50,526
They were the ones
that started the concept work.

818
00:42:50,609 --> 00:42:53,070
And then we handed it off
in pre-production

819
00:42:53,153 --> 00:42:56,365
to a vendor called Trixter,
who works out of Germany.

820
00:42:56,448 --> 00:42:58,951
And they started to try
and make this thing function.

821
00:42:59,493 --> 00:43:01,954
Initially, it was supposed to be
the size of a moon.

822
00:43:02,037 --> 00:43:05,249
But the distance for it to be
how big we see it in screen

823
00:43:05,332 --> 00:43:07,918
would've had to have been
so extremely far away

824
00:43:08,002 --> 00:43:09,920
that it wouldn't have been functional

825
00:43:10,004 --> 00:43:12,214
in a way for us to try and fix it.

826
00:43:14,675 --> 00:43:18,721
Benson and Moorhead were really big on us
having a lot of color in there.

827
00:43:18,804 --> 00:43:20,973
They wanted to see, like,
the full spectrum.

828
00:43:21,056 --> 00:43:24,643
That Temporal Core lighting setup

829
00:43:24,727 --> 00:43:28,063
was absolutely massive, it was
the biggest we did in the whole season.

830
00:43:28,147 --> 00:43:30,441
You'll see as the characters
move through that space,

831
00:43:30,524 --> 00:43:33,527
rainbow patterns slide over them.

832
00:43:33,611 --> 00:43:34,945
You've got about five minutes.

833
00:43:35,321 --> 00:43:38,657
BAUMAN: And that was actually
incredibly difficult to figure out.

834
00:43:38,741 --> 00:43:43,037
The first issue is,
no existing LED unit is capable

835
00:43:43,120 --> 00:43:47,833
of making a rainbow
with delineated sections of color.

836
00:43:47,916 --> 00:43:50,919
So, the lighting department,
my gaffer Mark Taylor,

837
00:43:51,003 --> 00:43:53,547
worked with Chris Townsend,
the VFX supervisor,

838
00:43:53,631 --> 00:43:58,677
to develop with VFX tools,
a graphic design rainbow

839
00:43:58,761 --> 00:44:02,139
that we had printed
on these tiny little plates,

840
00:44:02,222 --> 00:44:07,269
it looks like a petri dish
microscope slide-sized little plate.

841
00:44:07,353 --> 00:44:11,440
And then those,
we slid into these units

842
00:44:11,523 --> 00:44:13,817
that are designed mostly
for theatrical, like,

843
00:44:13,901 --> 00:44:18,030
moving LED, point source, spotlight
type of units.

844
00:44:18,113 --> 00:44:20,074
And the light pushed
through the plate

845
00:44:20,157 --> 00:44:23,994
and projected, in effect,
a rainbow on the scene.

846
00:44:24,078 --> 00:44:29,124
However, what we discovered was,
what we put in the computer

847
00:44:29,208 --> 00:44:30,584
and what was printed on the plate

848
00:44:30,668 --> 00:44:33,420
and what it looked like
when the light was shining through it

849
00:44:33,504 --> 00:44:35,381
were all completely different things.

850
00:44:35,464 --> 00:44:37,508
So we kind of
had to work backwards from,

851
00:44:37,591 --> 00:44:39,802
"All right, well,
this design looks like this

852
00:44:39,885 --> 00:44:41,470
"when it's actually
being projected."

853
00:44:41,553 --> 00:44:43,222
It looks nothing like the design.

854
00:44:43,305 --> 00:44:45,891
So we had to make the designs
look all weird

855
00:44:45,974 --> 00:44:49,895
to get it to where it looked normal
in real life, on set.

856
00:44:49,978 --> 00:44:54,900
So it took all...
It not only took all ten weeks of prep,

857
00:44:54,983 --> 00:44:58,487
but it took, you know,
the first ten weeks of shooting

858
00:44:58,570 --> 00:45:01,740
before we had moved
into the Temporal Core control room set,

859
00:45:01,824 --> 00:45:03,283
to trial-and-error this thing.

860
00:45:03,367 --> 00:45:05,035
Trust me. If you stop, you die.

861
00:45:07,246 --> 00:45:08,247
All right.

862
00:45:09,998 --> 00:45:10,999
Here we go.

863
00:45:23,178 --> 00:45:25,389
CHRISTINE WADA:
The main objective with that suit was,

864
00:45:25,472 --> 00:45:30,102
"Just how cumbersome
can we possibly make this thing?"

865
00:45:30,185 --> 00:45:35,441
Believe it or not, that is not
an easy thing to accomplish in this scale.

866
00:45:37,526 --> 00:45:38,610
You're good.

867
00:45:40,404 --> 00:45:41,405
You're good.

868
00:45:45,117 --> 00:45:47,745
WADA: Just getting
the materials to work out,

869
00:45:47,828 --> 00:45:51,832
for instance, I R&D'd many different
treatments to the fabric

870
00:45:51,915 --> 00:45:55,711
to get sort of a retro look
to this canvas,

871
00:45:55,794 --> 00:45:58,589
but yet, a protective quality.

872
00:45:58,672 --> 00:46:02,426
And I thought I found it with a latex

873
00:46:02,509 --> 00:46:06,513
that we would spray onto this canvas.

874
00:46:06,597 --> 00:46:10,350
And about three weeks in,
we discovered that it was turning pink

875
00:46:10,434 --> 00:46:13,520
because the latex was reacting to UV.

876
00:46:13,604 --> 00:46:16,231
Then we had to try
to find UV-protective...

877
00:46:16,315 --> 00:46:18,233
Anyhow, the whole thing
had to get ditched.

878
00:46:18,317 --> 00:46:21,528
We had to do another, we had already
R&D'd this whole process.

879
00:46:21,612 --> 00:46:26,533
But for the Temporal Core suit,
it peels away under temporal energy

880
00:46:26,617 --> 00:46:28,202
and there was a...

881
00:46:28,285 --> 00:46:33,207
A layer underneath that was...
had this reflective quilted quality.

882
00:46:33,290 --> 00:46:36,293
Just figuring out how to get the,
you know,

883
00:46:36,376 --> 00:46:38,962
hundreds of yards of quilting
through these machines,

884
00:46:39,046 --> 00:46:41,381
we had to build
these special stretchers for it,

885
00:46:41,465 --> 00:46:45,010
so it's just endless amount
of engineering feats for that.

886
00:46:45,093 --> 00:46:49,723
And then also, just how does somebody
wear that much weight and scale

887
00:46:49,807 --> 00:46:52,267
and not look like a walkabout costume?

888
00:46:52,351 --> 00:46:56,438
You think it's gonna be really easy
to make something cumbersome for an actor,

889
00:46:56,522 --> 00:46:59,274
and then you realize it's actually
not that easy. (CHUCKLES)

890
00:46:59,358 --> 00:47:04,363
BENSON: There were definitely certain
trips out to the Loom launcher

891
00:47:04,446 --> 00:47:09,451
that were meant to be comedic
in how darkly funny they were.

892
00:47:09,535 --> 00:47:11,245
Then there was other ones
where we're just

893
00:47:11,328 --> 00:47:13,539
drawing out the tension
as much as we could.

894
00:47:13,622 --> 00:47:16,333
MOORHEAD: We knew that
the more cumbersome the journey,

895
00:47:16,416 --> 00:47:17,876
the more painful it would be.

896
00:47:17,960 --> 00:47:20,379
Kind of thinking about when,
like in Gravity,

897
00:47:20,462 --> 00:47:23,799
when someone's reaching for something
and because they don't have the inertia,

898
00:47:23,882 --> 00:47:26,301
it's physically impossible
for them to try harder

899
00:47:26,385 --> 00:47:28,220
to reach something,
it was like that.

900
00:47:29,179 --> 00:47:31,390
(GRUNTS)

901
00:47:32,558 --> 00:47:35,018
Be brave. You're being so brave.

902
00:47:36,520 --> 00:47:38,021
TOWNSEND: We've got several scenes

903
00:47:38,105 --> 00:47:40,774
where we have characters
that walk out along the gangway

904
00:47:40,858 --> 00:47:43,151
towards the Temporal Loom
in order to fix it,

905
00:47:43,235 --> 00:47:46,321
or solve a certain problem,
and as a consequence,

906
00:47:46,405 --> 00:47:49,324
one of the things that happens
when characters walk out there

907
00:47:49,408 --> 00:47:51,827
is that they get affected
by the temporal energy.

908
00:47:51,910 --> 00:47:53,495
And if they're not careful,

909
00:47:53,579 --> 00:47:56,123
and if the temporal energy
is too strong,

910
00:47:56,206 --> 00:47:59,543
they will start, their suits
will start degrading and spaghettifying.

911
00:47:59,626 --> 00:48:01,712
So, almost all the shots you see

912
00:48:01,795 --> 00:48:04,214
have got some visual effects
on the suit itself.

913
00:48:04,298 --> 00:48:06,967
And we are destroying them,
degrading them in-camera,

914
00:48:07,050 --> 00:48:10,429
and we're pulling threads out in this
sort of a spaghettification manner

915
00:48:10,512 --> 00:48:15,642
in a similar way that we've used in
other temporal, sort of, visualizations.

916
00:48:15,726 --> 00:48:18,353
So it's something that's been
a really interesting process,

917
00:48:18,437 --> 00:48:19,855
trying to find that language

918
00:48:19,938 --> 00:48:22,149
that sort of fits in
with the idea of it decaying.

919
00:48:23,150 --> 00:48:25,110
We shot everyone
at 40 frames a second

920
00:48:25,193 --> 00:48:27,779
so that they move
just a little bit more slowly.

921
00:48:27,863 --> 00:48:30,908
We got great performances
from Owen and from Jonathan,

922
00:48:30,991 --> 00:48:32,618
who were all in the suits.

923
00:48:33,660 --> 00:48:35,662
Push the green button!

924
00:48:36,830 --> 00:48:39,499
Sometimes, the suits are all CG
in some of the shots,

925
00:48:39,583 --> 00:48:42,586
but we tried to use the real suits
as much as possible.

926
00:48:44,755 --> 00:48:45,923
Yes!

927
00:48:46,006 --> 00:48:47,341
Pumpkins.

928
00:48:56,558 --> 00:48:58,018
What do I do?

929
00:49:00,312 --> 00:49:04,274
It's the Sacred Timeline, or nothing.

930
00:49:04,358 --> 00:49:07,778
It's not enough
to protect the Sacred Timeline, Loki.

931
00:49:07,861 --> 00:49:11,281
Even down there,
it's full of death and destruction

932
00:49:11,365 --> 00:49:12,658
and injustice.

933
00:49:13,450 --> 00:49:16,787
Do you really wanna be the god
who takes away everyone's free will

934
00:49:16,870 --> 00:49:18,205
so you can protect that?

935
00:49:18,288 --> 00:49:21,750
But what good is free will
if everyone's dead?

936
00:49:21,833 --> 00:49:24,127
And who are you to say
we can't die trying?

937
00:49:25,420 --> 00:49:27,965
Who are you to decide
we can't die fighting?

938
00:49:30,342 --> 00:49:34,388
The thing that Tom said to me
very, very early in Season 2

939
00:49:34,471 --> 00:49:38,308
was if this is about Loki
becoming the best version of himself,

940
00:49:38,392 --> 00:49:40,936
you can't become
the best version of yourself

941
00:49:41,019 --> 00:49:43,981
without accepting your past.

942
00:49:44,064 --> 00:49:47,150
Which means accepting all of it,
warts and all.

943
00:49:47,234 --> 00:49:52,698
And there was an interesting thing of,
like, to become a true, true, true hero,

944
00:49:52,781 --> 00:49:57,202
a guy who is never going to benefit
from any of these choices he makes...

945
00:49:57,285 --> 00:49:59,121
He's gonna get that throne
he always wanted,

946
00:49:59,204 --> 00:50:01,415
but it's not in the way
that he ever anticipated.

947
00:50:01,498 --> 00:50:04,209
He wants to be with his friends, he can't.

948
00:50:04,292 --> 00:50:06,670
To make a true sacrificial play,

949
00:50:06,753 --> 00:50:09,673
he has got to truly understand who he is.

950
00:50:15,303 --> 00:50:18,181
Loki, what are you doing?

951
00:50:19,016 --> 00:50:20,392
I know what I want.

952
00:50:23,854 --> 00:50:26,064
I know what kind of god I need to be...

953
00:50:28,775 --> 00:50:29,776
for you.

954
00:50:31,820 --> 00:50:33,030
For all of us.

955
00:50:34,239 --> 00:50:38,660
WRIGHT: And when he steps into
the Temporal Loom and sacrifices himself,

956
00:50:38,744 --> 00:50:41,788
I think that's a moment
that's been coming for Loki,

957
00:50:41,872 --> 00:50:43,331
that we haven't seen.

958
00:50:43,415 --> 00:50:45,917
We wanted to truly have him step up

959
00:50:46,001 --> 00:50:49,212
from lowercase-G god,
to capital-G God.

960
00:50:49,296 --> 00:50:51,298
There was a draft of the script

961
00:50:51,381 --> 00:50:53,050
of the very end, the very end.

962
00:50:53,133 --> 00:50:55,677
Something wasn't sitting right
with both of us about it.

963
00:50:55,761 --> 00:50:59,306
And the issue was, this draft
didn't have Loki destroying the Loom.

964
00:50:59,389 --> 00:51:03,018
He saved the Loom from imploding
and then ascended the throne.

965
00:51:03,101 --> 00:51:05,270
We all knew something was up,
we didn't know what.

966
00:51:05,353 --> 00:51:07,355
'Cause it was like,
he's trying to save the Loom,

967
00:51:07,439 --> 00:51:08,857
he gets the throne, all of this.

968
00:51:08,940 --> 00:51:11,943
But the problem was,
is that he didn't have the sacrifice

969
00:51:12,027 --> 00:51:15,113
and we realized,
why doesn't he destroy the Loom

970
00:51:15,197 --> 00:51:17,949
and then have to take over
the Loom's massive responsibility?

971
00:51:18,033 --> 00:51:19,534
He doesn't get anything out of it.

972
00:51:19,618 --> 00:51:22,913
It seems so obvious now,
it seems like exactly the right choice.

973
00:51:22,996 --> 00:51:25,832
But that was a watershed moment
in the development of it,

974
00:51:25,916 --> 00:51:29,169
when we realized Loki needs
to destroy and become the Loom.

975
00:51:29,252 --> 00:51:32,923
TOWNSEND: We see
his normal clothes shed off

976
00:51:33,006 --> 00:51:35,509
and reveal his final Loki costume

977
00:51:35,592 --> 00:51:37,594
and his horns begin to grow back.

978
00:51:40,806 --> 00:51:43,350
We've already shot Tom
climbing these stairs

979
00:51:43,433 --> 00:51:46,436
and ascending to what will become,
effectively, his throne,

980
00:51:46,520 --> 00:51:49,606
as he then holds onto time
and holds it all together.

981
00:51:50,440 --> 00:51:53,026
That was a pretty epic sort of moment.

982
00:51:58,615 --> 00:52:01,993
WADA: Tonally, that was
a very tough costume to land on

983
00:52:02,077 --> 00:52:05,163
because it needed
to have a monastic quality,

984
00:52:05,914 --> 00:52:11,002
but he also has a history
of wanting the throne, to be a king.

985
00:52:11,086 --> 00:52:14,005
And he's kind of
positioning himself to be

986
00:52:14,089 --> 00:52:18,301
looking over everything
in the manner of a king, but humble.

987
00:52:21,847 --> 00:52:24,683
And humbled by the weight
of that responsibility,

988
00:52:24,766 --> 00:52:29,187
so it's just figuring out how that costume
could say all those things.

989
00:52:34,359 --> 00:52:37,529
-The grand finale.
-The grand finale of Loki.

990
00:52:37,612 --> 00:52:39,364
-Yeah.
-Seasons 1 and 2.

991
00:52:39,447 --> 00:52:43,243
It's resonant, it's moving,
'cause he's been through so much.

992
00:52:43,326 --> 00:52:47,038
And so much struggle
and so much suffering, and...

993
00:52:48,832 --> 00:52:50,792
So many questions.

994
00:52:50,876 --> 00:52:54,838
And to sort of come back,
it feels like it's

995
00:52:54,921 --> 00:52:58,258
a reacceptance of something.

996
00:52:58,341 --> 00:53:01,553
Or a redefinition of himself, somehow.

997
00:53:01,636 --> 00:53:03,930
And I think it's interesting
that from the beginning,

998
00:53:04,014 --> 00:53:06,183
we always talked,
I mean, from November,

999
00:53:06,266 --> 00:53:09,394
-we talked about it being organic.
-Yeah.

1000
00:53:09,477 --> 00:53:12,397
-And it is that organic part of Loki.
-Yeah.

1001
00:53:12,480 --> 00:53:14,983
-It's real. It's a toss-up.
-It's very real.

1002
00:53:15,066 --> 00:53:17,110
It's an inter...
It's the inside on the outside.

1003
00:53:17,194 --> 00:53:18,195
WADA: It is. Yes.

1004
00:53:18,278 --> 00:53:22,908
HIDDLESTON: So, what I love about it is,
it's familiar in its colors

1005
00:53:23,533 --> 00:53:25,660
and in its shape,

1006
00:53:25,744 --> 00:53:28,246
but it's new in its humility.

1007
00:53:28,330 --> 00:53:30,540
-So, gone are the...
-WADA: Armors.

1008
00:53:30,624 --> 00:53:34,127
HIDDLESTON: ...the armor and the metal
and the breastplates.

1009
00:53:34,211 --> 00:53:36,129
-It's kind of a hybrid.
-It's more vulnerable.

1010
00:53:36,213 --> 00:53:38,757
It is. And it's a hybrid of, like,

1011
00:53:38,840 --> 00:53:42,135
sort of a king and... a monk.

1012
00:53:42,219 --> 00:53:43,386
-Right?
-Yeah. Yeah.

1013
00:53:43,470 --> 00:53:46,431
These are...
These are the robes of someone

1014
00:53:46,514 --> 00:53:50,727
who might be dedicated to a purpose

1015
00:53:50,810 --> 00:53:52,938
-beyond the self.
-WADA: Right.

1016
00:53:53,021 --> 00:53:57,275
HIDDLESTON: And these are
the garments of purpose and practice.

1017
00:53:57,359 --> 00:53:59,277
WADA: And weight.
HIDDLESTON: And weight.

1018
00:53:59,361 --> 00:54:01,196
-Yeah.
-WADA: Yeah.

1019
00:54:01,279 --> 00:54:03,281
HIDDLESTON: Was it Mobius
who says in Episode 6,

1020
00:54:03,365 --> 00:54:06,743
"Sometimes purpose
is more burden than glory.

1021
00:54:06,826 --> 00:54:08,453
"You choose your burden."

1022
00:54:08,536 --> 00:54:10,956
And so, this is him
accepting that mantle.

1023
00:54:26,012 --> 00:54:29,307
WRIGHT: The first ten years of movies
with Loki was about the glory.

1024
00:54:29,391 --> 00:54:31,977
He was a villain,
he was chasing a throne.

1025
00:54:33,353 --> 00:54:36,273
This season is about him learning
that his glorious purpose

1026
00:54:36,356 --> 00:54:38,942
is to carry the burden
of everyone else.

1027
00:54:39,859 --> 00:54:42,821
He's embracing the caring person
that he's turned into

1028
00:54:42,904 --> 00:54:44,739
through these two seasons,

1029
00:54:44,823 --> 00:54:47,200
but he's also embracing his past

1030
00:54:47,284 --> 00:54:50,245
and his status as an Asgardian god

1031
00:54:50,328 --> 00:54:54,499
to hold everything together
and to save his friends.

1032
00:54:54,582 --> 00:54:55,875
He's giving us a chance.

1033
00:54:56,293 --> 00:54:59,504
His magical power as a demigod

1034
00:54:59,587 --> 00:55:02,215
is enhanced because he realizes
that this...

1035
00:55:02,299 --> 00:55:07,679
this authority he has
over coordinating and managing time

1036
00:55:07,762 --> 00:55:09,723
is, in fact, where the story ends.

1037
00:55:09,806 --> 00:55:15,645
And it's his only resistance
against the grand plan of He Who Remains.

1038
00:55:16,646 --> 00:55:19,149
There was a huge opportunity here

1039
00:55:19,232 --> 00:55:21,860
to show a character evolve

1040
00:55:21,943 --> 00:55:25,530
from being petty to being
someone who sacrifices for others

1041
00:55:25,613 --> 00:55:27,532
and feels the value of that.

1042
00:55:27,615 --> 00:55:31,328
And to tell that story,
especially today, was a gift.

1043
00:55:31,411 --> 00:55:33,371
I think what was also really important

1044
00:55:33,455 --> 00:55:36,416
is that the sacrifice
weren't just a superhero sacrifice,

1045
00:55:36,499 --> 00:55:39,586
it was one where he never even
gets to see the benefits of it.

1046
00:55:39,669 --> 00:55:42,547
He doesn't get to save his friends
and then hang out with them.

1047
00:55:42,630 --> 00:55:44,466
It is a pure sacrifice.

1048
00:55:44,549 --> 00:55:47,469
He is Atlas at the End of Time
holding it all together.

1049
00:55:47,552 --> 00:55:51,973
And then that came from wanting
to tell a story

1050
00:55:52,057 --> 00:55:54,726
that had, like, a mythic weight to it,

1051
00:55:54,809 --> 00:55:58,730
that's befitting the Norse mythology
that all of this is built on.

1052
00:55:58,813 --> 00:56:00,190
I remember,

1053
00:56:01,191 --> 00:56:05,487
over two years ago,
I put this on for Season 1.

1054
00:56:05,570 --> 00:56:08,073
And Season 1 felt like a new beginning

1055
00:56:08,156 --> 00:56:12,077
because we were stripping Loki
of everything that was familiar to him,

1056
00:56:12,160 --> 00:56:16,247
it was taking him away from Asgard
and Thor and Odin.

1057
00:56:16,331 --> 00:56:19,584
A new beginning,
a new story, a new chapter.

1058
00:56:19,667 --> 00:56:23,838
And wearing this jumpsuit and hoping

1059
00:56:23,922 --> 00:56:28,927
that the audience would accept
and be inspired by our new story.

1060
00:56:29,803 --> 00:56:33,681
No matter how hard you work,
there's always that sense of uncertainty.

1061
00:56:33,765 --> 00:56:35,850
You think, "Well, I hope they love it,

1062
00:56:35,934 --> 00:56:39,938
"and I hope they are as excited
and interested in this new idea as I am."

1063
00:56:42,190 --> 00:56:46,277
And I feel so fortunate
and so grateful to the audience

1064
00:56:46,361 --> 00:56:48,363
'cause people really
seem to be interested

1065
00:56:48,446 --> 00:56:51,282
in the ideas and the characters
and the world and the TVA

1066
00:56:51,366 --> 00:56:55,036
and the performances and all these
great new actors in the MCU.

1067
00:56:55,120 --> 00:56:59,416
So, my feeling
is one of immense gratitude and,

1068
00:57:00,250 --> 00:57:03,628
to be completely honest,
profound excitement.