1 00:00:09,467 --> 00:00:11,553 RICHIE PALMER: Echo is a character we've been excited about 2 00:00:11,636 --> 00:00:13,096 for a long time in Marvel Studios. 3 00:00:13,972 --> 00:00:17,350 It just felt like the right time to introduce a new corner of the universe. 4 00:00:21,521 --> 00:00:23,064 STEPHEN BROUSSARD: In the comics, 5 00:00:23,148 --> 00:00:25,734 this character was first introduced in the world of Daredevil, 6 00:00:25,817 --> 00:00:28,445 dealing with Matt Murdock and with Kingpin, 7 00:00:28,528 --> 00:00:30,822 and that kind of street-level crime. 8 00:00:30,905 --> 00:00:34,784 Much more gritty, urban, as opposed to outer space or Asgard. 9 00:00:34,868 --> 00:00:37,162 That's kind of the space she had occupied in the comics. 10 00:00:37,620 --> 00:00:40,290 It's the space we meet her in in the Hawkeye series. 11 00:00:43,293 --> 00:00:44,669 (INDISTINCT CHATTER) 12 00:00:44,753 --> 00:00:47,338 From there, there was so much we could do with the character. 13 00:00:47,422 --> 00:00:50,717 There was so much potential, many new characters we could introduce. 14 00:00:55,388 --> 00:00:56,556 SYDNEY FREELAND: On Echo, 15 00:00:56,639 --> 00:00:59,893 one of the things that was important to me was authenticity, you know, 16 00:00:59,976 --> 00:01:03,646 and creating and trying to tell the story from an authentic standpoint. 17 00:01:03,730 --> 00:01:05,148 (INDISTINCT CHATTER) 18 00:01:06,941 --> 00:01:08,902 What we wanted to do from the beginning 19 00:01:08,985 --> 00:01:12,030 is show a world that people may not be familiar with. 20 00:01:12,113 --> 00:01:15,658 But then open up our arms and say, "Hey, we're actually not that different." 21 00:01:17,827 --> 00:01:19,537 We tried to do as much in-camera as possible. 22 00:01:19,621 --> 00:01:22,248 We wanted it to feel like the most grounded thing in the MCU. 23 00:01:23,041 --> 00:01:26,377 You get introduced to this Native American world. 24 00:01:26,461 --> 00:01:27,796 Extremely emotional. 25 00:01:45,772 --> 00:01:48,316 FREELAND: In Hawkeye, Maya Lopez is a villain. 26 00:01:49,692 --> 00:01:53,571 And that was super exciting to me 'cause it wasn't about, like, 27 00:01:53,655 --> 00:01:56,199 we weren't trying to turn her into Captain America. 28 00:01:56,282 --> 00:01:58,785 We weren't trying to turn her into this noble person. 29 00:01:58,868 --> 00:02:01,204 Awesome. (CHUCKLES) 30 00:02:02,914 --> 00:02:05,291 FREELAND: It was like, "Let's embrace those flaws" 31 00:02:05,375 --> 00:02:08,503 and it really created, like, a full, complicated, 32 00:02:08,586 --> 00:02:12,757 complex narrative and character that we could build our series on. 33 00:02:15,468 --> 00:02:17,887 BROUSSARD: It's just a really fascinating character that 34 00:02:18,847 --> 00:02:21,808 flees the events of Hawkeye and goes back home. 35 00:02:26,771 --> 00:02:29,858 So it's very much like a prodigal daughter story, 36 00:02:29,941 --> 00:02:33,528 and it's about her going back home and figuring out who she is. 37 00:02:33,611 --> 00:02:35,655 Is she a criminal mastermind? 38 00:02:35,738 --> 00:02:40,577 Is she going to stay on this path of being on the wrong side of the law? 39 00:02:40,660 --> 00:02:44,706 Or is she going to reconnect with a family and a community and a culture? 40 00:02:47,125 --> 00:02:49,002 It's a unique synthesis, 41 00:02:49,544 --> 00:02:52,672 and so we've sort of put the entire point of view of the series 42 00:02:52,755 --> 00:02:56,801 in the hands of this incredible actress named Alaqua Cox. 43 00:02:58,428 --> 00:03:00,471 Alaqua is such a presence as Maya Lopez 44 00:03:00,555 --> 00:03:02,098 that when she showed up on Hawkeye, 45 00:03:02,182 --> 00:03:05,143 it was the first thing she's ever done, and she commanded the screen. 46 00:03:05,226 --> 00:03:08,188 Her presence really just drew you in on that show. 47 00:03:09,230 --> 00:03:11,274 This character, Maya Lopez, 48 00:03:11,357 --> 00:03:14,277 she's a more obscure character in the comics that is deaf 49 00:03:14,360 --> 00:03:16,487 and a young Native American woman. 50 00:03:27,415 --> 00:03:29,500 With the Hawkeye series, we wanted to make sure 51 00:03:29,584 --> 00:03:33,838 that we were looking into the deaf community to find that actress. 52 00:03:33,922 --> 00:03:36,049 And we're looking to the Native American culture 53 00:03:36,132 --> 00:03:39,344 to make sure that we can get a deaf Native American actress. 54 00:03:39,427 --> 00:03:41,679 Now, when you put both of them together that way, 55 00:03:41,763 --> 00:03:43,139 it's a massive undertaking 56 00:03:43,223 --> 00:03:46,184 to be able to find the perfect person to play Maya Lopez. 57 00:03:47,602 --> 00:03:49,729 We pored through so many tapes 58 00:03:49,812 --> 00:03:55,360 and Alaqua, who came from Wisconsin, who is Native American, who's deaf, 59 00:03:55,443 --> 00:03:58,196 was just the perfect person to play this character. 60 00:03:59,280 --> 00:04:01,241 TRAN: She was Maya Lopez. 61 00:04:11,501 --> 00:04:12,669 FISK: Here she is. 62 00:04:13,378 --> 00:04:16,005 VINCENT D'ONOFRIO: Alaqua's amazing. She's like a natural. 63 00:04:16,089 --> 00:04:18,841 She handles this emotional stuff really well 64 00:04:18,925 --> 00:04:23,137 and has this kind of very calm but intense quality about her. 65 00:04:23,221 --> 00:04:27,517 You know, her body is calm, her aura is calm. 66 00:04:27,600 --> 00:04:29,060 But it's intense. 67 00:04:29,936 --> 00:04:33,231 Maybe I rip out your throat. Hmm? 68 00:04:33,314 --> 00:04:34,357 (DOOR OPENS) 69 00:04:36,359 --> 00:04:38,653 Or maybe she will. 70 00:04:39,612 --> 00:04:40,613 HAWKEYE: Hey. 71 00:04:41,489 --> 00:04:43,324 KATE: Okay. You wanna be good cop or bad cop? 72 00:04:43,408 --> 00:04:45,076 -HAWKEYE: What? -Good cop or bad cop? 73 00:04:51,708 --> 00:04:53,835 You rely too much on technology apparently. 74 00:05:09,350 --> 00:05:11,227 (LIVELY CHATTER) 75 00:05:11,311 --> 00:05:14,522 DIRECTOR: Okay. Ladies and gentlemen, thank you for a wonderful day. 76 00:05:14,605 --> 00:05:16,691 Big day. Thank you for everybody. 77 00:05:16,774 --> 00:05:17,984 Great job. 78 00:05:18,067 --> 00:05:19,569 (ALAQUA SIGNING) 79 00:05:29,871 --> 00:05:31,497 (BOTH GRUNTING) 80 00:05:32,957 --> 00:05:34,417 DIRECTOR: Okay, cut. 81 00:05:37,128 --> 00:05:41,466 It's a long, grueling experience to take the lead, 82 00:05:41,549 --> 00:05:44,510 the number-one on a Marvel show, 83 00:05:44,594 --> 00:05:49,057 in which we're going to further tell her story and make her a superhero. 84 00:05:49,140 --> 00:05:52,727 That is challenging for even the most experienced actor. 85 00:05:52,810 --> 00:05:56,522 So, we knew that we had to put in place a support system 86 00:05:56,606 --> 00:05:59,984 that would best service her and bring the best out of her, 87 00:06:00,068 --> 00:06:01,694 and really, all of our cast. 88 00:06:02,528 --> 00:06:04,489 CHASKE SPENCER: Zane took the bodies. 89 00:06:10,578 --> 00:06:11,579 Look. 90 00:06:12,997 --> 00:06:14,165 Tonight, 91 00:06:16,000 --> 00:06:18,961 things caught up to us both. 92 00:08:24,420 --> 00:08:25,505 Oh, yeah. 93 00:08:27,381 --> 00:08:30,676 (CHATTERING INDISTINCTLY) 94 00:08:30,760 --> 00:08:33,054 -Okay, cool. All right. Thank you. -Okay. 95 00:08:33,137 --> 00:08:35,097 CHASKE: With ASL, at first, I was terrified. 96 00:08:35,181 --> 00:08:38,351 I wanted to look like I know what I'm doing, but it's been work. 97 00:08:38,434 --> 00:08:41,729 I've lost sleep because I was so nervous about scenes. 98 00:08:41,812 --> 00:08:43,064 I'm not even joking. 99 00:08:43,147 --> 00:08:47,443 Trying to get your mouth and hands to move at the same time, 100 00:08:47,527 --> 00:08:50,780 I've learned that I talk faster than I move my hands. 101 00:08:50,863 --> 00:08:54,784 So for me, it's to take it down a notch and also make it believable 102 00:08:54,867 --> 00:08:57,537 and also have the emotions going when we're acting. 103 00:08:57,620 --> 00:08:59,497 I gotta say Alaqua has been amazing at that. 104 00:09:04,627 --> 00:09:06,629 and you didn't see her, 105 00:09:08,673 --> 00:09:11,133 you will break her heart. 106 00:09:13,052 --> 00:09:17,181 (CHATTERING INDISTINCTLY) 107 00:09:17,265 --> 00:09:20,309 CATRIONA McKENZIE: When it comes to ASL, it's very kinetic. 108 00:09:20,393 --> 00:09:24,397 All expressed through face and hands, and I love that. 109 00:09:24,480 --> 00:09:25,856 It was like poetry. 110 00:09:37,243 --> 00:09:39,996 FREELAND: In being able to study ASL and take lessons, 111 00:09:40,079 --> 00:09:43,791 one of the things that became apparent is that the hands are an extension 112 00:09:43,874 --> 00:09:46,043 of one's emotion and one's expression. 113 00:09:49,630 --> 00:09:53,134 Anyone from the deaf community or ASL community can completely override me. 114 00:09:53,217 --> 00:09:56,262 It's not my lived experience, but the, um... 115 00:09:56,345 --> 00:10:00,308 My interpretation was that it's like the hands are the text 116 00:10:00,391 --> 00:10:02,643 and the face is the subtext, right? 117 00:10:02,727 --> 00:10:05,479 So you really need those two things together 118 00:10:05,563 --> 00:10:08,858 to be able to get an idea of what a person's feeling. 119 00:10:08,941 --> 00:10:11,319 We built our entire visual language with that in mind. 120 00:10:11,402 --> 00:10:15,364 So, for example, a close-up on our show is this. 121 00:10:15,448 --> 00:10:19,452 Specifically so we can see Maya's face but we can also see her hands sign. 122 00:10:19,535 --> 00:10:22,204 So, across the board, our visual language 123 00:10:22,288 --> 00:10:25,458 is trying to cater to this way of existing in the world. 124 00:10:52,026 --> 00:10:53,611 PALMER: Authenticity is key. 125 00:10:53,694 --> 00:10:56,906 We weren't doing anything inauthentic. It was really amazing. 126 00:10:56,989 --> 00:10:59,992 We couldn't have done any of that without the Choctaw Nation. 127 00:11:01,994 --> 00:11:04,789 FREELAND: Welcome, everyone, to day one of the production. 128 00:11:04,872 --> 00:11:06,499 For those of you who don't know, 129 00:11:06,582 --> 00:11:10,878 myself personally, I am Navajo from the Navajo Reservation, New Mexico, 130 00:11:10,961 --> 00:11:13,422 and I grew up with this idea of 131 00:11:14,048 --> 00:11:16,300 whenever you're starting or ending something, 132 00:11:16,384 --> 00:11:19,804 just acknowledging the people and the place where you're at, 133 00:11:19,887 --> 00:11:24,266 and in this case, we are portraying the Choctaw people. 134 00:11:24,350 --> 00:11:27,228 And we have a delegation from the Choctaw Nation 135 00:11:27,311 --> 00:11:29,939 who has come out to do a blessing for our production, 136 00:11:30,022 --> 00:11:31,899 to tell the best story that we can tell. 137 00:11:31,982 --> 00:11:34,402 Thank you for this opportunity that you've had. 138 00:11:35,152 --> 00:11:38,489 Seth will lead you in a Choctaw walk dance. 139 00:11:39,240 --> 00:11:41,742 What you do is just line up behind him. 140 00:11:41,826 --> 00:11:43,494 (MAN CHANTING) 141 00:11:44,620 --> 00:11:47,123 In the beginning of this chant, you will hear, 142 00:11:47,206 --> 00:11:49,917 "I'm starting to go. I'm getting ready to go." 143 00:11:50,000 --> 00:11:51,669 (MAN CONTINUES CHANTING) 144 00:11:54,505 --> 00:11:58,008 Towards the mid of the chant, you'll hear, "I am going." 145 00:11:58,092 --> 00:12:00,886 (MAN CONTINUES CHANTING) 146 00:12:04,140 --> 00:12:07,727 And at the end of the chant, you'll hear, "I have arrived." 147 00:12:07,810 --> 00:12:10,229 (MAN CONTINUES CHANTING) 148 00:12:10,312 --> 00:12:14,024 So this morning, we thank you that you're participating with us 149 00:12:14,108 --> 00:12:17,987 in this traditional walk dance that usually commemorates 150 00:12:18,696 --> 00:12:22,783 the beginning or the end of an event that is meaningful. 151 00:12:23,743 --> 00:12:25,786 CHRISTINA D. KING: In working with a writers' room 152 00:12:25,870 --> 00:12:28,539 that was full of wonderful Indigenous talent, 153 00:12:28,622 --> 00:12:31,041 -some of them were Choctaw. -(SPEAKS CHOCTAW) 154 00:12:31,125 --> 00:12:33,419 KING: So, we reached out to the Choctaw Nation, 155 00:12:33,502 --> 00:12:35,296 told them about what we were doing, 156 00:12:35,379 --> 00:12:38,799 and started having informal creative meetings together. 157 00:12:38,883 --> 00:12:43,596 When we went in, one of the things that's very important for me was to say, like, 158 00:12:43,679 --> 00:12:47,475 "Hey, guys, we're not coming in to tell you what we're going to do. 159 00:12:48,142 --> 00:12:50,519 "We're coming in with the outline of a story, 160 00:12:50,603 --> 00:12:52,146 "and we want to create a dialogue. 161 00:12:52,229 --> 00:12:55,775 "We want your input on this culture and we want your input 162 00:12:55,858 --> 00:12:58,194 "on how we portray this character. 163 00:12:58,277 --> 00:13:00,821 "So we can hopefully do it in a more authentic manner." 164 00:13:00,905 --> 00:13:04,200 And so I think, initially, they were kind of taken aback, too. 165 00:13:04,283 --> 00:13:08,204 The Choctaws were like, "What is this? What's your agenda?" 166 00:13:08,287 --> 00:13:10,331 And we basically kind of said, 167 00:13:10,414 --> 00:13:13,000 well, our agenda is we want to tell the best possible story. 168 00:13:13,501 --> 00:13:16,462 (CHATTERING INDISTINCTLY) 169 00:13:19,256 --> 00:13:21,467 McKENZIE: In the history of telling Indigenous stories, 170 00:13:21,550 --> 00:13:24,178 if the stories have been originated outside of the community, 171 00:13:24,261 --> 00:13:26,764 then there's always a different perspective. 172 00:13:26,847 --> 00:13:29,725 That's one of the things about this series that was so exciting 173 00:13:29,809 --> 00:13:32,520 is it's coming from within the community. 174 00:13:33,145 --> 00:13:37,942 When approached with this role, getting the chance to read the scripts, 175 00:13:38,025 --> 00:13:42,947 it made total sense that Echo would revolve so much around community 176 00:13:43,030 --> 00:13:47,743 because, as Indigenous people, a huge reason why we've been so resilient 177 00:13:47,827 --> 00:13:51,163 is because we've leaned on each other and leaned on that sense of community, 178 00:13:51,247 --> 00:13:55,125 and that's exactly what we're doing in the world of Echo. 179 00:14:01,423 --> 00:14:02,466 Hey, hey. 180 00:14:03,801 --> 00:14:04,802 Are you okay? 181 00:14:04,885 --> 00:14:08,097 Like, she's not a Captain Rogers, where it's this one person 182 00:14:08,180 --> 00:14:11,225 and he is the person who can save everybody. 183 00:14:11,308 --> 00:14:15,646 It's her leaning on her family and reconnecting with who she is. 184 00:14:15,729 --> 00:14:19,692 So for me, that was something that really was a marker of, 185 00:14:20,150 --> 00:14:24,363 "Oh, we're telling a Native superhero story." 186 00:14:26,282 --> 00:14:30,536 The partnership with the Choctaw, they were integral in helping us prepare, 187 00:14:30,619 --> 00:14:32,746 in helping us shoot the show as we go here, 188 00:14:32,830 --> 00:14:35,291 advising us all along the way, in every respect. 189 00:14:36,125 --> 00:14:39,003 For our community and artists, that's a real Choctaw item. 190 00:14:39,086 --> 00:14:40,963 TAMEZ: I love that. Love that. 191 00:14:44,550 --> 00:14:46,010 (INDISTINCT CHATTER) 192 00:14:46,093 --> 00:14:48,554 Does my hand need to stay down? 193 00:14:48,637 --> 00:14:51,390 -No. -Okay, so I'll just do that. 194 00:14:51,473 --> 00:14:52,641 -Is that okay? -Yeah. 195 00:14:53,225 --> 00:14:56,520 (GRUNTING IN FRUSTRATION) 196 00:14:58,063 --> 00:15:00,941 Kapucha was a prime example of the positive consequences 197 00:15:01,025 --> 00:15:02,359 of working with Choctaw Nation. 198 00:15:02,443 --> 00:15:05,487 Everything from, like, the costumes of the stickball players, 199 00:15:05,571 --> 00:15:08,282 to the type of sticks the stickball players were using, 200 00:15:08,365 --> 00:15:12,953 and then that led to more conversations of, "Okay, they're playing the Cherokees." 201 00:15:13,037 --> 00:15:17,166 So the Cherokees have their own type of sticks, their own type of costume, 202 00:15:17,249 --> 00:15:19,126 their own type of hair, own type of makeup. 203 00:15:19,209 --> 00:15:20,711 And we're able to build something 204 00:15:20,794 --> 00:15:23,631 that is very, um, culturally specific and feels lived in. 205 00:15:25,424 --> 00:15:27,760 (ALL GRUNTING) 206 00:15:30,262 --> 00:15:32,014 The ishtaboli set is so exciting. 207 00:15:32,097 --> 00:15:35,768 It was just breathtaking to be a part of. You really felt like you were in there 208 00:15:35,851 --> 00:15:38,687 in the middle of a real stickball game in 1099 A.D. 209 00:15:38,771 --> 00:15:43,317 This wasn't just 100 background extras that we got (CHUCKLES) in Atlanta. 210 00:15:43,400 --> 00:15:46,195 These were real stickball players from all over the country, 211 00:15:46,278 --> 00:15:50,491 and for the real stickball players to remark on how authentic everything was, 212 00:15:50,574 --> 00:15:53,577 it's just, you know, that's the sweet stuff, man. 213 00:15:53,661 --> 00:15:55,496 (ALL CHEERING) 214 00:15:57,915 --> 00:16:00,668 We're standing at the periphery of our stickball court 215 00:16:00,751 --> 00:16:05,381 which is the centerpiece of our traditional pre-Columbian 216 00:16:05,464 --> 00:16:07,299 Native American village that we've created. 217 00:16:07,383 --> 00:16:10,094 There's no, you know, hard and fast documentation 218 00:16:10,177 --> 00:16:13,639 of what this village would have looked like a thousand years ago. 219 00:16:13,722 --> 00:16:17,142 So all of this based on the handed-down oral traditions. 220 00:16:17,226 --> 00:16:20,813 We've flanked it with these, what... We call them long houses or team houses. 221 00:16:20,896 --> 00:16:23,565 Likely would have been cypress trees that they stripped down 222 00:16:23,649 --> 00:16:26,902 and used as a sort of primary wooden element of the structure, 223 00:16:26,986 --> 00:16:30,781 uh, covered with a sort of mud-based plaster. 224 00:16:30,864 --> 00:16:34,702 And then, the roof, obviously, is a sort of thatching. 225 00:16:34,785 --> 00:16:37,079 Basically, we were able to get as close 226 00:16:37,162 --> 00:16:39,331 as we possibly could to what it would have been. 227 00:16:39,415 --> 00:16:41,166 (WHOOPING) 228 00:16:44,920 --> 00:16:47,589 CODY LIGHTNING: To have our ancestors' ceremonies incorporated 229 00:16:47,673 --> 00:16:50,592 and to have it be portrayed in a good way 230 00:16:50,676 --> 00:16:53,637 is so refreshing to see. 231 00:16:53,721 --> 00:16:57,307 And also to actually have this many Indigenous people 232 00:16:57,391 --> 00:16:59,768 involved in the project is amazing. 233 00:17:02,146 --> 00:17:04,606 A big thing in the film and television industry 234 00:17:04,690 --> 00:17:07,359 is non-Indigenous people playing Indigenous people 235 00:17:07,443 --> 00:17:11,321 when, you know, we were really struggling for years to find work. 236 00:17:11,405 --> 00:17:17,661 So, to have a project this big to fill all those slots with our people, 237 00:17:17,745 --> 00:17:20,289 it's beautiful. It's been a long time coming. 238 00:17:22,708 --> 00:17:23,876 (WIND CHIMES CLINKING) 239 00:17:28,005 --> 00:17:29,006 (GASPS) 240 00:17:44,938 --> 00:17:46,940 PALMER: Kingpin is one of our favorite characters 241 00:17:47,024 --> 00:17:49,359 and Vincent D'Onofrio, he's such a nice guy. 242 00:17:49,443 --> 00:17:51,612 He's nothing like the character that he portrays, 243 00:17:51,695 --> 00:17:54,239 and it's so much fun to watch him transform into that guy, 244 00:17:54,323 --> 00:17:56,241 because he is as bad as they come. 245 00:18:04,458 --> 00:18:07,961 And when Vincent walks onto set, it is like Kingpin walked in the room. 246 00:18:09,129 --> 00:18:12,216 FREELAND: Vincent knows this character better than any of us ever will. 247 00:18:12,299 --> 00:18:15,844 He's got such a deep understanding of who Kingpin is. 248 00:18:17,638 --> 00:18:21,975 I... I offered you everything. 249 00:18:23,018 --> 00:18:24,478 Everything I built. 250 00:18:25,687 --> 00:18:26,855 My legacy. 251 00:18:31,151 --> 00:18:32,611 You threw it in my face. 252 00:18:34,696 --> 00:18:39,076 Early on, I'm allowed into the meetings when it comes to the development, 253 00:18:39,159 --> 00:18:42,496 and I get access to the writers and the directors 254 00:18:42,579 --> 00:18:45,666 and just everybody creatively involved, 255 00:18:45,749 --> 00:18:47,543 and that's a great thing to experience. 256 00:18:47,626 --> 00:18:49,711 But she's there and I want to look at her 257 00:18:49,795 --> 00:18:51,964 -because that's what you do. -Okay. 258 00:18:52,047 --> 00:18:54,174 But they need to be able to see each other. 259 00:18:54,258 --> 00:18:56,593 Vincent brings a humanity to this character. 260 00:18:56,969 --> 00:18:59,179 (CHUCKLES) 261 00:19:00,055 --> 00:19:02,599 The bad guy always thinks they're doing the right thing. 262 00:19:02,683 --> 00:19:05,936 Like, you can see that with Vincent's performance, 263 00:19:06,019 --> 00:19:07,396 his interpretation of Kingpin. 264 00:19:07,479 --> 00:19:11,108 Like, you can see why Vincent would go and beat up an ice cream vendor, 265 00:19:11,191 --> 00:19:13,110 why Vincent would do the things he does. 266 00:19:13,193 --> 00:19:15,529 It was so crystal clear. 267 00:19:15,612 --> 00:19:17,573 I can't remember a time 268 00:19:19,533 --> 00:19:22,327 when I haven't loved you like a daughter. 269 00:19:23,287 --> 00:19:26,540 It's this unhealthy father-daughter dynamic, 270 00:19:27,207 --> 00:19:30,043 but it's also so interesting and I can't look away. 271 00:19:30,127 --> 00:19:33,630 And part of you wants them to kind of succeed, you know. 272 00:19:33,714 --> 00:19:34,965 And there you were, 273 00:19:36,091 --> 00:19:37,843 as broken as I was. 274 00:19:37,926 --> 00:19:42,181 I just wanted to wrap you up and protect you from the pain. 275 00:19:42,764 --> 00:19:44,099 FREELAND: He loves Maya. 276 00:19:44,641 --> 00:19:48,145 You know, that was always something that from our first rehearsal I mentioned, 277 00:19:48,228 --> 00:19:51,231 is that, "Listen, no matter what happens, Kingpin loves Maya, 278 00:19:51,315 --> 00:19:52,691 "and Maya loves Kingpin." 279 00:19:53,275 --> 00:19:56,486 I was there. I was there for you! 280 00:19:58,322 --> 00:20:00,240 Not your so-called "family." 281 00:20:00,324 --> 00:20:03,702 The difference being that Kingpin may not have the tools 282 00:20:03,785 --> 00:20:06,663 to be able to express that in a positive way. 283 00:20:06,747 --> 00:20:07,873 Free yourself. 284 00:20:09,458 --> 00:20:10,500 Free me! 285 00:20:12,544 --> 00:20:14,504 Doesn't mean he doesn't care for her. 286 00:20:14,588 --> 00:20:17,466 And the same way Maya has been through a ton of traumatic events, 287 00:20:17,549 --> 00:20:19,259 that doesn't change the fact that 288 00:20:19,343 --> 00:20:22,846 she has a true love and affinity and care for her uncle. 289 00:20:23,263 --> 00:20:26,141 And those are the things that you really need to lean into 290 00:20:26,225 --> 00:20:28,518 to make it, you know, human. 291 00:20:31,188 --> 00:20:35,108 If you feel half of what I felt for him, 292 00:20:36,401 --> 00:20:41,281 then I've become what I hate. 293 00:20:46,161 --> 00:20:50,040 Vincent and Alaqua, their dynamic 294 00:20:50,123 --> 00:20:55,587 really helps us on-screen as well because they could not really be 295 00:20:55,671 --> 00:20:56,964 more polar opposites, 296 00:20:57,047 --> 00:21:01,969 from their background to their acting experience, everything like that. 297 00:21:02,052 --> 00:21:03,720 But they're both so authentic 298 00:21:03,804 --> 00:21:07,266 and have put so much time and attention 299 00:21:07,349 --> 00:21:11,687 into their characters in the show and their work. 300 00:21:11,770 --> 00:21:14,731 There's almost a playfulness between the two of them 301 00:21:14,815 --> 00:21:18,735 that I think is really helpful when you look at Maya and Kingpin 302 00:21:18,819 --> 00:21:20,737 because it is that cat-and-mouse chase 303 00:21:20,821 --> 00:21:25,158 where you never know who's going to maybe come out on top after an interaction. 304 00:21:25,242 --> 00:21:26,743 What happened to the Lafite? 305 00:21:29,746 --> 00:21:33,542 And, in many ways, they can both keep each other on their toes, 306 00:21:33,625 --> 00:21:35,836 which is very true to those characters. 307 00:21:35,919 --> 00:21:37,921 (INDISTINCT CHATTER) 308 00:22:07,492 --> 00:22:08,910 -Can we run lines? -DIRECTOR: Yeah. 309 00:22:08,994 --> 00:22:11,872 Let's do a rehearsal. Here we go. While we're doing the lights. 310 00:22:11,955 --> 00:22:13,623 Quiet, everybody. Hold the work. 311 00:22:14,291 --> 00:22:15,709 They're working quietly. 312 00:22:16,877 --> 00:22:19,546 The big dialogue scenes that I've done with Alaqua, 313 00:22:19,629 --> 00:22:24,718 those will stick in my memory because there's a superhero aspect to it, 314 00:22:24,801 --> 00:22:28,388 but mainly it's about a father and a daughter. 315 00:22:28,472 --> 00:22:30,974 To play both of those things simultaneously, 316 00:22:31,058 --> 00:22:34,102 I've definitely never done that before, so it's quite unique. 317 00:22:34,644 --> 00:22:35,687 DIRECTOR: Cut! 318 00:22:36,646 --> 00:22:39,775 Well, that's the extent of my talent. That's it. 319 00:22:40,984 --> 00:22:45,280 We knew that we really wanted for him to feel like Kingpin 320 00:22:45,364 --> 00:22:48,867 and for the overall look to look very Kingpin. 321 00:22:50,202 --> 00:22:53,580 And one thing that was really important that we noticed 322 00:22:53,663 --> 00:22:55,999 was the collars of his shirts 323 00:22:56,583 --> 00:22:59,336 are not your typical size collar of a men's dress shirt. 324 00:22:59,419 --> 00:23:02,464 They're much wider, like, two inches. 325 00:23:02,547 --> 00:23:06,009 And so, we knew we wanted to do that to really frame his face, 326 00:23:06,093 --> 00:23:08,553 and make him look powerful. 327 00:23:08,637 --> 00:23:11,139 And just the suits... The sharpness of the suits. 328 00:23:11,223 --> 00:23:14,226 The most technical part of it was just making sure 329 00:23:14,309 --> 00:23:18,105 that the suits looked like he was kind of bursting out of them. 330 00:23:18,188 --> 00:23:21,400 You put that muscle suit on and then the clothes go on top of it. 331 00:23:21,483 --> 00:23:24,694 So, the actor literally has a whole another layer on top of them. 332 00:23:24,778 --> 00:23:27,447 And it was important for Kingpin to have that. 333 00:23:27,531 --> 00:23:29,324 It just makes everything bigger. 334 00:23:29,408 --> 00:23:31,827 Your arms bigger, your shoulders bigger. 335 00:23:31,910 --> 00:23:35,831 It would give that effect of that imposing nature that Kingpin has. 336 00:23:36,498 --> 00:23:38,917 Come on, let it out. (CHUCKLES) 337 00:23:39,000 --> 00:23:41,128 WOMAN: I don't know what you're talking about. 338 00:23:47,426 --> 00:23:49,469 (WATER DRIPPING) 339 00:23:58,687 --> 00:24:01,106 Standing on the bottom step. 340 00:24:01,189 --> 00:24:03,900 So, there's one more step down at the bottom, up one, 341 00:24:03,984 --> 00:24:05,193 and I grabbed... 342 00:24:05,277 --> 00:24:08,029 You can grab on the underside of the step to your right. 343 00:24:08,447 --> 00:24:11,867 When we shot that Dawn of Time sequence, everything is happening in-camera 344 00:24:11,950 --> 00:24:15,162 down to our actors, who are in full clay makeup, 345 00:24:15,245 --> 00:24:17,289 going down into the puddle of water, 346 00:24:17,372 --> 00:24:19,458 and coming out in the fields. 347 00:24:19,541 --> 00:24:22,878 And it's so amazing to see that we got to do all of that in-camera. 348 00:24:22,961 --> 00:24:24,463 MAN 1: Rolling, everybody. 349 00:24:24,546 --> 00:24:26,548 -Rolling. -WOMAN: Rolling! Rolling, rolling! 350 00:24:27,424 --> 00:24:28,550 MAN 2: Rolling. 351 00:24:29,342 --> 00:24:33,388 Our Dawn of Time was a daunting task for a number of reasons. 352 00:24:33,472 --> 00:24:36,892 MAN: Camera! And action, Julia. 353 00:24:38,310 --> 00:24:41,396 TRUJILLO: Maybe the greatest of which is that, for the first time ever, 354 00:24:41,480 --> 00:24:42,606 to my knowledge, 355 00:24:42,689 --> 00:24:47,068 on screen, we are representing this sacred creation story. 356 00:24:47,777 --> 00:24:51,239 And we didn't want to get, like, incredibly specific, 357 00:24:51,323 --> 00:24:54,201 for reasons of, you know, respecting the culture. 358 00:24:54,284 --> 00:24:57,662 But with the Choctaws' blessing and with their guidance, 359 00:24:57,746 --> 00:25:01,541 we created something that left a little bit of room for interpretation. 360 00:25:01,625 --> 00:25:03,710 It was a little bit more impressionistic. 361 00:25:14,638 --> 00:25:16,389 But also, on a technical level, 362 00:25:16,473 --> 00:25:17,974 it was a very challenging set. 363 00:25:18,058 --> 00:25:22,103 We're fortunate enough to have an incredible sculpture department here. 364 00:25:22,187 --> 00:25:25,273 So, we did all these beautiful carved columns and floor, 365 00:25:25,357 --> 00:25:27,609 and there was a very elaborate water element, 366 00:25:27,692 --> 00:25:30,028 where we have all of these characters emerging. 367 00:25:30,111 --> 00:25:32,948 But I think we created something that we're all proud of, 368 00:25:33,031 --> 00:25:34,407 and, most importantly, 369 00:25:34,491 --> 00:25:38,703 something that the Choctaw people felt really comfortable with, 370 00:25:38,787 --> 00:25:42,624 and felt like did a respectful job of representing, 371 00:25:42,707 --> 00:25:46,086 for the first time on screen, their creation myth. 372 00:25:55,929 --> 00:25:57,305 MAN: All right. Here we go. Reset. 373 00:25:57,389 --> 00:25:58,974 (INDISTINCT CHATTER) 374 00:26:07,941 --> 00:26:10,110 MAN: 9th Street, Ana. Here we go. Lock it up. 375 00:26:12,320 --> 00:26:14,406 The show takes place in Tamaha, Oklahoma, 376 00:26:14,489 --> 00:26:16,366 and there was no better place to tell the story, 377 00:26:16,449 --> 00:26:17,993 because it was real. It was authentic. 378 00:26:22,789 --> 00:26:26,835 I think the overall feel of the show is very naturalistic, 379 00:26:26,918 --> 00:26:30,297 and I think that shooting on location is essential to that. 380 00:26:40,432 --> 00:26:42,017 (CHATTERING INDISTINCTLY) 381 00:26:44,019 --> 00:26:46,021 Yeah. I think it's just one word. 382 00:26:46,104 --> 00:26:47,314 Yeah. Just take it off. 383 00:26:47,939 --> 00:26:50,900 And I won't have her walk all the way to the door. 384 00:26:50,984 --> 00:26:52,360 And freeze there. 385 00:26:53,236 --> 00:26:55,238 TRUJILLO: I think true of the entire show, 386 00:26:55,322 --> 00:26:57,574 all of our intentions was always that, 387 00:26:57,657 --> 00:27:01,161 you know, no matter which way you turn the camera, you're in Tamaha. 388 00:27:01,244 --> 00:27:06,666 We knew that the skating rink was gonna be central to quite a bit of our storylines. 389 00:27:06,750 --> 00:27:08,877 We needed to find something really special. 390 00:27:08,960 --> 00:27:13,715 We scoured many different skating rinks, and we landed on this one in Griffin. 391 00:27:14,507 --> 00:27:17,719 And we knew right away that there was something special about it. 392 00:27:17,802 --> 00:27:20,138 It had a real life to it, all this great color. 393 00:27:20,221 --> 00:27:23,099 And there were all these beautiful murals surrounding the rink. 394 00:27:23,183 --> 00:27:28,021 And essentially, we decided that we were going to lean into the bones 395 00:27:28,104 --> 00:27:31,358 of what was there, and then to just make it our own. 396 00:27:31,441 --> 00:27:34,194 Bring in all of these really fun touches 397 00:27:34,277 --> 00:27:36,905 of playful Native American culture, 398 00:27:36,988 --> 00:27:38,740 and add them into the murals. 399 00:28:00,178 --> 00:28:04,224 One of the funny serendipitous things was, in the script, 400 00:28:04,307 --> 00:28:07,185 there was a scripted mural in the skating rink 401 00:28:07,268 --> 00:28:09,270 that said "Make America Skate Again," 402 00:28:09,354 --> 00:28:11,731 and, shockingly, to all of us, 403 00:28:11,815 --> 00:28:14,984 that mural existed in this skating rink. 404 00:28:15,068 --> 00:28:19,239 So, as soon as we saw that we were like, "This feels like where we're meant to be." 405 00:28:30,375 --> 00:28:32,585 MARC SCIZAK: We got a lot of prep with her this time. 406 00:28:32,669 --> 00:28:34,546 We had her in a couple months before, 407 00:28:34,629 --> 00:28:37,549 knowing that these shows get impossible, 408 00:28:37,632 --> 00:28:39,259 just with the work schedule. 409 00:28:39,342 --> 00:28:42,554 Impossible to get the actress during the the actual shoot. 410 00:28:42,637 --> 00:28:45,432 WOMAN: Instead of a big stomp that we were doing before, 411 00:28:45,515 --> 00:28:48,601 we're just... Like a painful step. 412 00:28:48,685 --> 00:28:51,438 SCIZAK: So, we did as much of the base work as we could. 413 00:28:51,521 --> 00:28:53,732 And she really was dedicated. 414 00:28:55,525 --> 00:28:57,026 She also is... 415 00:28:57,110 --> 00:29:00,780 She's really tough, like, she does not like to be babied at all. 416 00:29:00,864 --> 00:29:03,783 So, she really wanted to get down and dirty. 417 00:29:03,867 --> 00:29:05,076 She wanted to do more. 418 00:29:05,160 --> 00:29:07,328 I mean, it was us holding her back, (CHUCKLES) 419 00:29:07,412 --> 00:29:09,998 saying, "Look, this is a long season, you know? 420 00:29:10,081 --> 00:29:12,083 "Like, I can't have you 421 00:29:12,167 --> 00:29:15,587 "hurting yourself or taking yourself out in the beginning of this." 422 00:29:29,684 --> 00:29:31,060 MAN: Do me a favor? 423 00:29:31,144 --> 00:29:33,146 Clockwork turn all the way around. 424 00:29:33,938 --> 00:29:37,400 So we can see... This is the most important thing. 425 00:29:37,484 --> 00:29:38,693 Yeah, great. 426 00:29:39,277 --> 00:29:41,279 So, camera here. 427 00:29:41,946 --> 00:29:43,740 So when you turn... 428 00:29:43,823 --> 00:29:45,283 -Yeah. -Full body. 429 00:29:47,368 --> 00:29:48,578 Gotcha. Sounds good. 430 00:29:48,661 --> 00:29:50,205 One more? 431 00:29:52,582 --> 00:29:54,042 SCIZAK: In designing the fights, 432 00:29:54,125 --> 00:29:57,462 we wanted to add in, you know, a little bit of the jujitsu, 433 00:29:57,545 --> 00:29:59,172 a little bit of the tae kwon do, 434 00:29:59,255 --> 00:30:01,633 a little bit of the other martial art forms 435 00:30:01,716 --> 00:30:05,178 in her, like, brutal fighting style 436 00:30:05,261 --> 00:30:07,347 where she doesn't pull punches. 437 00:30:08,348 --> 00:30:10,391 It's different. Yes, perfect. 438 00:30:12,477 --> 00:30:14,479 SCIZAK: And when she does fight, 439 00:30:14,562 --> 00:30:17,774 it's to basically make as much mayhem as possible. 440 00:30:17,857 --> 00:30:19,359 (INAUDIBLE) 441 00:30:25,657 --> 00:30:27,283 (GRUNTING) 442 00:30:29,285 --> 00:30:30,286 (GROANS) 443 00:30:30,578 --> 00:30:32,413 PALMER: It's mostly hand to hand combat. 444 00:30:32,497 --> 00:30:34,666 There's cool gags with weapons that Maya does. 445 00:30:34,749 --> 00:30:38,336 There's a whole fight in the skate rink where Maya is basically forced to grab 446 00:30:38,419 --> 00:30:41,089 everything around her at the rink and use them as a weapon. 447 00:30:41,172 --> 00:30:44,509 And we even see Maya, whether she knows it or not at the time, 448 00:30:44,592 --> 00:30:46,678 she's channeling some of the specific moves 449 00:30:46,761 --> 00:30:50,682 and some of the specific strategies that her ancestors channeled years ago. 450 00:30:52,725 --> 00:30:55,019 SCIZAK: Can she hold the gun closer to her body? 451 00:30:55,895 --> 00:30:57,021 MAN: Rolling. 452 00:30:57,605 --> 00:30:58,898 SCIZAK: Good. 453 00:30:58,982 --> 00:31:00,358 That looks amazing. 454 00:31:00,441 --> 00:31:01,985 I know it feels weird, 455 00:31:03,444 --> 00:31:04,988 but it looks good on camera. 456 00:31:05,071 --> 00:31:06,364 Can we try to do that? 457 00:31:07,782 --> 00:31:09,784 Catch in with this lineup for the gun. 458 00:31:12,370 --> 00:31:14,038 Yes, that looks amazing. 459 00:31:14,122 --> 00:31:15,540 Looks really, really good. 460 00:31:15,623 --> 00:31:19,127 With Alaqua, one leg is prosthetic. So, it was a lot of fun 461 00:31:19,210 --> 00:31:21,546 to do a little trial and error with that. 462 00:31:28,136 --> 00:31:30,555 She can do bigger blocks with it, 463 00:31:30,638 --> 00:31:32,724 where she doesn't have the pain 464 00:31:32,807 --> 00:31:35,310 that somebody else might, you know, have. 465 00:31:35,393 --> 00:31:37,061 (BOTH GRUNTING) 466 00:31:44,027 --> 00:31:47,322 We had to have Daredevil here, because Echo, Maya Lopez, 467 00:31:47,405 --> 00:31:49,407 is a character from the Daredevil comics. 468 00:31:49,490 --> 00:31:52,035 How could we have an Echo show without Daredevil? 469 00:31:52,118 --> 00:31:53,786 Your first time working together. 470 00:31:53,870 --> 00:31:55,997 PALMER: So, we thought about the best way to do it, 471 00:31:56,080 --> 00:31:59,083 and we figured, "Let's tell our own version of the comics' story 472 00:31:59,167 --> 00:32:03,922 "in which Maya and Daredevil meet while Maya Lopez is on a mission 473 00:32:04,005 --> 00:32:07,467 "to prove herself to Kingpin, to prove herself to the tracksuit mafia, 474 00:32:07,550 --> 00:32:08,801 "that she can roll with them." 475 00:32:08,885 --> 00:32:11,220 She can be just as badass as any of those guys. 476 00:32:11,304 --> 00:32:13,389 And she proves it by fighting Daredevil. 477 00:32:19,312 --> 00:32:21,940 The way that these characters operate is 478 00:32:22,023 --> 00:32:25,777 as they are in combat with someone, they're learning about the other person, 479 00:32:25,860 --> 00:32:28,488 they're learning about their training and their capabilities. 480 00:32:28,571 --> 00:32:30,615 What's interesting about these two characters 481 00:32:30,698 --> 00:32:32,492 is that, as they're fighting, 482 00:32:32,575 --> 00:32:35,453 they are discovering that both of them have a disability. 483 00:32:37,163 --> 00:32:39,499 MAN: Here we go. Ready. And action! 484 00:32:43,211 --> 00:32:45,213 (BOTH GRUNTING) 485 00:32:47,173 --> 00:32:49,509 SCIZAK: Daredevil's a little bit caught off-guard 486 00:32:49,592 --> 00:32:51,761 by her ability to get the upper hand here. 487 00:32:51,844 --> 00:32:55,515 You know, there's a gunshot that goes off right next to his ear, 488 00:32:55,598 --> 00:32:59,435 which, for anybody, it would be something that causes a little bit of stress, 489 00:32:59,519 --> 00:33:01,187 but for him, it's even more. 490 00:33:01,270 --> 00:33:05,233 So, they basically try to use their senses against each other. 491 00:33:12,782 --> 00:33:15,326 (INAUDIBLE) 492 00:33:15,410 --> 00:33:16,619 (HEART BEATING) 493 00:33:18,538 --> 00:33:20,707 PALMER: Sound design on this one has been amazing. 494 00:33:22,875 --> 00:33:27,463 We want to convey the deaf experience to hearing audiences the best we can. 495 00:33:27,547 --> 00:33:30,466 We can never fully do that, but there's moments in the show 496 00:33:30,550 --> 00:33:33,136 where we drop out the sound or we'll drop out sound effects 497 00:33:33,219 --> 00:33:36,389 and keep score or sometimes, frankly, we'll drop everything out. 498 00:33:40,643 --> 00:33:43,896 It's quite amazing to see how it changes a scene, 499 00:33:43,980 --> 00:33:46,566 and you could watch a whole scene with all the sound, 500 00:33:46,649 --> 00:33:48,026 and it's really awesome. 501 00:33:48,109 --> 00:33:51,446 But when you take the sound out, you feel like, "Oh, this is Maya's story. 502 00:33:51,529 --> 00:33:52,613 "I get it." 503 00:33:52,697 --> 00:33:55,908 We're trying to help the audience put themselves in Maya's shoes 504 00:33:55,992 --> 00:33:57,326 as much as possible. 505 00:34:41,204 --> 00:34:43,039 (INDISTINCT CHATTER) 506 00:34:46,834 --> 00:34:50,588 TANTOO CARDINAL: From my character's perspective, it's a revelation for me 507 00:34:51,380 --> 00:34:55,051 to see the powers, that my own daughter had, 508 00:34:55,134 --> 00:34:57,929 now in my granddaughter. 509 00:34:58,012 --> 00:35:03,684 And so, I created this whole warrior's outfit for her. 510 00:35:08,397 --> 00:35:12,860 It was very exciting when I saw Alaqua for the first time. 511 00:35:12,944 --> 00:35:16,364 It was, "Yes, yes! Here she is. 512 00:35:16,447 --> 00:35:20,618 "We've been needing a superhero for a long, long time, 513 00:35:21,494 --> 00:35:23,037 "and there she is." 514 00:35:25,873 --> 00:35:29,502 LILLAS: We knew we really wanted to incorporate a lot of the Choctaw symbols. 515 00:35:29,585 --> 00:35:32,088 One of the big things is their Choctaw diamonds 516 00:35:32,171 --> 00:35:34,465 that they wear on their traditional dresses. 517 00:35:34,549 --> 00:35:38,553 And we knew that we wanted to put that in multiple places. 518 00:35:38,636 --> 00:35:41,055 So, that was a main focal point. 519 00:35:54,485 --> 00:35:58,239 Generally, you put this strip on first, and then you put that in the middle, 520 00:35:58,322 --> 00:35:59,824 and start working with it. 521 00:35:59,907 --> 00:36:01,742 Like, I might work all the way down. 522 00:36:01,826 --> 00:36:04,579 And then when I start over, I come back down on this side. 523 00:36:04,662 --> 00:36:06,122 -MAN: Okay. Yeah. -So... 524 00:36:06,706 --> 00:36:10,084 PESHAWN BREAD: When people are creating beadwork, it takes a lot of time. 525 00:36:10,168 --> 00:36:13,504 When you do beadwork, you have to be in a state of good intention, 526 00:36:13,588 --> 00:36:17,216 and you have to not put any negative energy into that work. 527 00:36:17,300 --> 00:36:19,844 Because that's something that someone will wear. 528 00:36:19,927 --> 00:36:23,055 And that's medicine. It's something that you carry with you. 529 00:36:23,139 --> 00:36:25,975 It's that energy you carry with you. It's that prayer. 530 00:36:27,602 --> 00:36:29,687 So, we had to work with their timeline, 531 00:36:29,770 --> 00:36:32,523 and give them enough time to send us samples. 532 00:36:32,607 --> 00:36:34,859 See the samples, give our notes, 533 00:36:34,942 --> 00:36:38,154 send it back to them, and then have them do the next round. 534 00:36:38,237 --> 00:36:41,616 But we really worked closely with the Choctaw to make sure 535 00:36:41,699 --> 00:36:46,412 that they were really proud of her super suit costume. 536 00:36:46,495 --> 00:36:48,289 The main thing was making sure 537 00:36:48,372 --> 00:36:51,042 that they approved, (CHUCKLES) above anybody else, really. 538 00:36:51,542 --> 00:36:54,420 -MAN: It's amazing. -WOMAN: This just blows me away. 539 00:36:58,090 --> 00:37:02,470 All of the symbols and all the meanings of all the pieces 540 00:37:02,720 --> 00:37:05,973 that go into the costumes that were being built 541 00:37:06,057 --> 00:37:09,018 was much, much more so than just clothing. 542 00:37:09,101 --> 00:37:11,646 It looks fabulous, but that story that it's telling 543 00:37:11,729 --> 00:37:14,774 is stronger than any superhero power 544 00:37:14,857 --> 00:37:16,984 that we ever get to portray on the screen. 545 00:37:23,032 --> 00:37:24,367 Set's in Oklahoma. 546 00:37:24,450 --> 00:37:28,537 The Choctaw Nation powwow that we've put on is pretty amazing. 547 00:37:29,705 --> 00:37:33,000 People from all over are here tonight to be a part of this powwow. 548 00:37:33,084 --> 00:37:35,836 It's one of the most special things done in Marvel Studios. 549 00:37:35,920 --> 00:37:38,089 (LAUGHTER) 550 00:38:08,911 --> 00:38:11,789 What we're gonna do is we'll just be bringing 'em in. 551 00:38:12,748 --> 00:38:15,167 And then, when you guys tell us to cut, 552 00:38:15,251 --> 00:38:17,920 usually the ringleader goes like this, they're all in. 553 00:38:18,629 --> 00:38:19,714 We'll stomp this out. 554 00:38:19,797 --> 00:38:22,800 (INDISTINCT CHATTER) 555 00:38:30,891 --> 00:38:33,978 We started this process of putting together this powwow, 556 00:38:34,061 --> 00:38:37,023 and trying to figure out the logistics of what it would take 557 00:38:37,106 --> 00:38:39,567 to get everyone and everything here that we needed 558 00:38:39,650 --> 00:38:41,777 to accurately represent the powwow. 559 00:38:41,861 --> 00:38:45,906 And ultimately, we just determined that we should just throw a powwow. 560 00:38:57,918 --> 00:39:01,464 We go out to the real performers, the real dancers, 561 00:39:01,547 --> 00:39:05,259 the real singers, the real drummers, the real vendors. 562 00:39:05,343 --> 00:39:08,512 In every respect, reaching out to that community, 563 00:39:08,596 --> 00:39:11,724 and just asking them if they would come to Georgia, 564 00:39:11,807 --> 00:39:16,479 and be a part of the first powwow in the MCU. 565 00:39:16,562 --> 00:39:19,231 SHIKOBA: (ON MIC) Look at this beautiful powwow tonight, 566 00:39:19,315 --> 00:39:22,443 round of applause! 567 00:39:22,526 --> 00:39:24,278 -(SHIKOBA VOCABLES) -(DRUMS BEATING) 568 00:39:24,362 --> 00:39:27,823 (MEN SINGING) 569 00:39:32,161 --> 00:39:36,791 SHIKOBA: It's the beauty of our way on display right now! 570 00:39:40,044 --> 00:39:42,296 KING: You can't fake this with actors. 571 00:39:42,380 --> 00:39:46,008 The regalia that everybody wears is very specific to their tribe. 572 00:39:46,592 --> 00:39:50,012 So, it's not something you can just dress from a costume house. 573 00:39:50,096 --> 00:39:53,099 We had so many people come and bring their family's regalia 574 00:39:53,182 --> 00:39:55,976 that's been passed down to them through generations. 575 00:39:56,936 --> 00:39:58,604 One of the dancers was telling me 576 00:39:58,687 --> 00:40:01,982 that she had yellow regalia, which isn't typical for her tribe, 577 00:40:02,066 --> 00:40:05,820 but she had a dream about regalia, and she was telling me that in her tribe, 578 00:40:05,903 --> 00:40:09,073 if you have a dream about a new regalia, you have to go make that regalia. 579 00:40:09,156 --> 00:40:11,492 And that's really cool to hear those stories. 580 00:40:11,575 --> 00:40:13,160 So, I'm a jingle dress dancer. 581 00:40:13,244 --> 00:40:16,747 I've been dancing jingle for a long time now. 582 00:40:17,248 --> 00:40:18,541 The Anishinaabe people, 583 00:40:18,624 --> 00:40:23,087 they share this dress with other tribes, and they use it as a healing dress. 584 00:40:23,170 --> 00:40:25,631 So, it's really important to, you know, 585 00:40:25,714 --> 00:40:28,634 have prayers while dancing, and bring that healing to everything. 586 00:40:28,717 --> 00:40:31,095 So that's really what it is. That's why I dance. 587 00:40:31,178 --> 00:40:34,557 Right there, what you're listening to is the medicine of our people. 588 00:40:34,640 --> 00:40:39,353 The beauty of this dance right here is healing our hearts, our mind, our spirits. 589 00:40:40,604 --> 00:40:43,899 Let's give a round of applause for our jingle dress dancers 590 00:40:43,983 --> 00:40:45,651 and their sidestep song. 591 00:40:46,735 --> 00:40:48,404 (SHIKOBA VOCABLES) 592 00:40:49,280 --> 00:40:51,657 It feels like a real powwow and it does help us. 593 00:40:51,740 --> 00:40:55,327 It helps us as actors to, like, accept this reality 594 00:40:55,411 --> 00:40:56,829 and help do our job better. 595 00:40:57,455 --> 00:41:01,000 The second night, once everything got this lived-in quality, 596 00:41:01,083 --> 00:41:03,043 I remember I started to relax. 597 00:41:03,127 --> 00:41:06,213 I was like, "Yeah, I'm at a powwow. I'm gonna go hang out. 598 00:41:06,297 --> 00:41:09,008 "I'm gonna hang out with friends. Go to the concession stand." 599 00:41:09,091 --> 00:41:11,469 But then, "No, I'm on a film set. I can't relax. 600 00:41:11,552 --> 00:41:14,180 "We got to get the shots and stuff." It was weird. 601 00:41:14,263 --> 00:41:16,390 It was this constant push and pull of like, 602 00:41:16,474 --> 00:41:18,767 "I'm gonna relax. No, I can't." 603 00:41:18,851 --> 00:41:21,604 You know, (CHUCKLES) and it was... 604 00:41:21,687 --> 00:41:24,940 I guess that's a testament to how well our art department team did, 605 00:41:25,024 --> 00:41:29,195 and our AD team did in terms of bringing in the dancers and all that. 606 00:41:33,115 --> 00:41:35,826 After being in the heat for three nights, 607 00:41:35,910 --> 00:41:40,623 (CHUCKLES) and shooting back to back, and being tired, 608 00:41:40,706 --> 00:41:45,669 it felt really good to have everyone come together at the end, 609 00:41:45,753 --> 00:41:49,340 and do a round dance together as cast and crew. 610 00:41:50,382 --> 00:41:51,592 DALLAS GOLDTOOTH: Come on out! 611 00:41:51,675 --> 00:41:53,260 (LIVELY CHATTER) 612 00:41:53,344 --> 00:41:54,470 Here we go. 613 00:41:56,680 --> 00:41:59,141 There you go. Come in. Good. Good. 614 00:42:00,851 --> 00:42:03,103 I'll come on in. I'll join, too. 615 00:42:03,187 --> 00:42:05,064 Gonna get this started. Here we go! 616 00:42:05,147 --> 00:42:08,150 -(MEN SINGING, DRUMS BEATING) -(RHYTHMIC JINGLING) 617 00:42:29,088 --> 00:42:30,381 GOLDTOOTH: Historic first. 618 00:42:30,464 --> 00:42:33,050 This is the first round dance of the MCU right here. 619 00:42:33,133 --> 00:42:37,304 You're a part of this, people. You're making history right now! 620 00:42:37,388 --> 00:42:39,139 (CHEERS) 621 00:42:41,308 --> 00:42:42,768 BREAD: Usually for powwows, 622 00:42:42,851 --> 00:42:45,104 they'll do one more song for everyone to join, 623 00:42:45,187 --> 00:42:46,939 and send people home with a prayer. 624 00:42:47,022 --> 00:42:50,276 And that's something that I wanted to do and pay homage to. 625 00:42:51,360 --> 00:42:54,321 People were even holding hands, laughing with each other. 626 00:42:54,405 --> 00:42:57,741 People were having a good time. Like, it felt so good to see 627 00:42:58,701 --> 00:43:01,704 everyone come together, because with powwows, 628 00:43:01,787 --> 00:43:05,332 and with production, and with just being Indigenous, 629 00:43:05,416 --> 00:43:07,585 no one can ever do anything by themselves. 630 00:43:07,668 --> 00:43:09,086 It takes a community, 631 00:43:10,212 --> 00:43:12,506 it takes teamwork to come together, 632 00:43:12,590 --> 00:43:15,676 and to fully have that experience. 633 00:43:15,759 --> 00:43:20,598 So, for us to do a round dance at the end, it was a really beautiful moment. 634 00:43:21,307 --> 00:43:24,810 It was a beautiful moment to see people that have been tense behind camera, 635 00:43:24,893 --> 00:43:26,979 or people that have been running around, 636 00:43:27,062 --> 00:43:31,025 just rejoice and finally understand the beauty 637 00:43:31,108 --> 00:43:32,526 of what we just did. 638 00:43:32,610 --> 00:43:35,070 And to see the sun coming up, and to take that in, 639 00:43:35,154 --> 00:43:37,156 and to take in the fresh moment, 640 00:43:38,532 --> 00:43:39,867 it felt really powerful. 641 00:43:40,242 --> 00:43:41,910 WOMAN: Thank you for the lives, Lord, 642 00:43:42,578 --> 00:43:45,247 that are represented, the tribes that are represented, 643 00:43:45,331 --> 00:43:47,249 the nations that are represented. 644 00:43:47,791 --> 00:43:51,211 I just pray that you will just continue to work within us. 645 00:43:51,962 --> 00:43:55,549 For we are all here for a purpose. And that's your purpose. 646 00:43:56,634 --> 00:43:59,053 I just give you all the glory, honor and praise, Lord. 647 00:44:01,138 --> 00:44:03,474 PALMER: She's not exactly a hero by the end of this show. 648 00:44:03,557 --> 00:44:05,684 I think she has chosen her family, 649 00:44:05,768 --> 00:44:08,270 and chosen selflessness over selfishness. 650 00:44:08,354 --> 00:44:10,606 But that doesn't exactly make her a hero yet. 651 00:44:11,273 --> 00:44:12,941 (GASPING) 652 00:44:14,443 --> 00:44:15,569 What did you just do? 653 00:44:16,528 --> 00:44:18,739 What did you do? Huh? 654 00:44:20,616 --> 00:44:22,284 (YELLS) What did you do? 655 00:44:22,368 --> 00:44:25,621 D'ONOFRIO: I love it that Fisk comes into the series, 656 00:44:25,704 --> 00:44:30,668 and you get to see that relationship that's iconic when it comes to the comic. 657 00:44:32,795 --> 00:44:36,048 But there is so much more to Echo than that. 658 00:44:36,131 --> 00:44:38,509 It's Maya's origin story to become Echo, 659 00:44:38,592 --> 00:44:42,513 and it's got this flavor that's very spiritual and very cool. 660 00:44:43,806 --> 00:44:45,516 CARDINAL: I was raised by my grandmother. 661 00:44:45,599 --> 00:44:47,601 I was raised in the bush, 662 00:44:47,685 --> 00:44:51,689 and the people that have been my heroes are people from the land. 663 00:44:51,772 --> 00:44:54,358 And that's where my essence breathes from. 664 00:44:54,900 --> 00:45:00,322 I couldn't be involved unless my world can be brought forward. 665 00:45:02,408 --> 00:45:05,285 And this is my world. 666 00:45:07,579 --> 00:45:10,541 FREELAND: One of the things that initially attracted me to the project 667 00:45:10,624 --> 00:45:14,086 was this idea of balance is something that is very specific 668 00:45:14,169 --> 00:45:15,754 to Native American communities. 669 00:45:15,838 --> 00:45:17,172 It's like, "Oh, this is cool." 670 00:45:17,256 --> 00:45:19,675 "It isn't about a character swinging between extremes. 671 00:45:19,758 --> 00:45:22,469 "It's about a character on an extreme finding balance." 672 00:45:22,553 --> 00:45:25,723 HENRY: I don't want you to become me. 673 00:45:25,806 --> 00:45:28,934 CHASKE: I'm very proud and very grateful to be a part of Maya's story. 674 00:45:29,017 --> 00:45:30,978 And Alaqua is amazing as Maya Lopez, 675 00:45:31,061 --> 00:45:33,397 and the supporting cast around her were her team. 676 00:45:36,024 --> 00:45:38,736 GRAHAM GREENE: When I started out in the business 42 years ago, 677 00:45:38,819 --> 00:45:41,238 there wasn't that many opportunities left. 678 00:45:41,321 --> 00:45:44,074 There's a lot of really talented kids out there 679 00:45:44,158 --> 00:45:46,660 that should be part of this, if they wanted to be. 680 00:45:46,744 --> 00:45:48,620 And lo and behold, there's Alaqua. 681 00:45:48,704 --> 00:45:51,665 I'm so proud of her. She's just a wonderful girl. 682 00:45:53,250 --> 00:45:54,626 (ALAQUA SIGNING) 683 00:46:22,237 --> 00:46:26,033 MAN: Ladies and gentlemen, that is a wrap on Echo. 684 00:46:26,116 --> 00:46:27,701 -Way to go, everybody. -(APPLAUSE) 685 00:46:33,332 --> 00:46:35,876 (APPLAUSE) 686 00:46:37,628 --> 00:46:38,754 Thank you, everybody.