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BRIE LARSON: The first time
I got to play Carol Danvers
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was on the set of Avengers.
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And it was a big surprise.
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They just said, "Brie, if you just
go up these stairs, you can go on set."
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I had no idea who was there.
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I didn't know what scene I was shooting.
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And I was thrust in.
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Suddenly, the cameras were rolling.
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MAN: Whiskey 603 Charlie, take one.
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LARSON: I was completely starstruck.
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It was an incredible moment.
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Our hero... Brie Larson.
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(CHEERING)
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LARSON: It's just...
There's too many things to say
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{\an8}that are the best parts
of being Carol Danvers.
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(CAPTIVATING MUSIC PLAYING)
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Every time I get the opportunity
to play her, I grow.
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These movies are so big and there's
so much you're kind of learning as you go,
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it can feel really overwhelming at first.
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And now at this point,
I feel like I have a sense of ease.
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I know how to train.
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It's all about just being
as prepared as possible,
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because once we start filming,
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I have no idea what I'm in for.
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(HEROIC MUSIC PLAYING)
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- (BELL RINGS)
- DIRECTOR: Let's roll, please.
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MAN: Okay. Rolling?
DIRECTOR: Yeah, okay.
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Here we go. Ready. And action.
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{\an8}Marvels is happening. It's cool.
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Welcome to my happy place.
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So, this is Kamala's bedroom.
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Fun fact. Iman Vellani's head
actually looks like this.
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{\an8}When I first got here,
it was like two workouts a day,
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{\an8}training, craziness.
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It's been really, really fun.
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Kamala's bedroom is just
everything a Marvel fan wants.
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All the love of the superheroes,
it's just all around you,
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and I think that's the coolest part
of playing a character
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that is obsessed with superheroes,
like I am.
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It's like I'm in my own bedroom, you know?
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PARRIS: I love that I get this opportunity
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to get to dive deeper into who Monica is
in the world of the Marvels.
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All right, just some...
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I think I'm distracting him.
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I could not be happier
to be at a place like this
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and also the fact that I'm surrounded by
so many cool women and powerful people,
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you know, working alongside me.
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It's been a real blessing, I think.
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- (ALL LAUGHING)
- And, cut.
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{\an8}It was amazing to work on a film
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{\an8}with three lady heroes,
a badass lady villain,
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{\an8}and many, many lady department heads.
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{\an8}Female producer, female director.
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It was pretty great.
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DIRECTOR: Camera set. And action!
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NIA DaCOSTA: The first step
coming to direct this movie
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{\an8}was that I told everyone
I wanted to do a Marvel movie
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{\an8}for as long as I possibly could. (LAUGHS)
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Eventually my agent came to me and said,
"Hey, like, Captain Marvel 2."
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And then as I got more information,
it was Captain Marvel
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and Monica Rambeau and Ms. Marvel.
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When I heard about Ms. Marvel,
I was really excited.
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She's one of my favorite characters
from the comics.
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I read Ms. Marvel when it first came out
and I thought it was so fun
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and so awesome.
And I related to her so much,
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'cause like I was a big nerd,
from, you know, the tri-state area
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who loved superhero stuff and comic stuff,
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and she was a nerd who loved that stuff.
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The process for me
was basically talking to Mary Livanos,
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who was my exec on the movie.
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{\an8}Nia and I met during the height
of the pandemic via Zoom
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{\an8}and primarily,
we just geeked out about comics,
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{\an8}and she pitched an entire Galactus movie.
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Right off the bat,
it was a case of kindred spirits.
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I love that Nia brought her sense
of fandom to this film.
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She brought so many
big ideas to the table.
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I think that that exchange of ideas,
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that process was how I kind of
showed them like,
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"Oh, yeah, I can take on this challenge."
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{\an8}I've cut two of Nia's movies.
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Candyman and Little Woods.
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Little Woods was very much a drama.
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Candyman was a little more
thriller, horror.
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And then this is really fun and exciting
and has a lot of humor.
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So I do appreciate that genre-wise,
we've been able to play around a lot
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and do a lot of different things together.
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MEGAN McDONNELL: Nia's incredible
and she's an incredible director.
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But I think something that's huge
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{\an8}is she's also a phenomenal screenwriter.
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{\an8}ELISSA KARASIK:
She has such clarity of vision,
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{\an8}who has kind of these
overarching goals for the characters
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{\an8}and the script,
and gives you a North Star always.
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LIVANOS: We've been truly lucky to have
incredible writers on this film.
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Elissa Karasik came to us from Team Loki.
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She's irreverent and hilarious.
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So maybe Captain Marvel broke it.
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- What?
- Yes, your friend, Captain Marvel.
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She was walking up and down
our living room.
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Is Captain Marvel
pressuring you in any way?
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LIVANOS: And then Megan McDonnell,
who I worked with on WandaVision,
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is a brilliant world builder
and sci-fi enthusiast.
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She came up with the idea that
our characters are literally entangled.
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Our joint exposure
to these unsteady jump points
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and our susceptibility
to electromagnetic energy
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- has temporarily entangled world-lines.
- Yeah, that, right there.
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McDONNELL: For us,
entanglement is great thematically
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because one, Carol has a team now,
whether she likes it or not.
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- Oh, my God, we're a team?
- Oh, no, we're not a team.
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- We're not a team.
- (GASPS)
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Also, rather than
making her less powerful,
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our entanglement requires her to be
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more thoughtful about
how she's using her power.
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- KAMALA: (IN DISTANCE) Oh, my God!
- Uh-oh!
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What makes it so exciting creatively
and so difficult for our characters...
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DIRECTOR: Action.
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...is she can't just light blast
something or someone
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and has to sit in her feelings.
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That's really challenging for Carol.
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It's a tough one for Carol
because we've realized
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that she has sort of decided
to work alone.
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So there's a little bit of
this like, protective,
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"No, you stay in the ship,
I got this, don't use your powers."
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And then in time,
they realize that she needs this.
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They can't solve this problem
unless they figure it out together.
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You can stand tall without standing alone.
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(ENERGY WHOOSHING)
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LIVANOS: Entanglement
was a very dynamic idea,
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but it was a bit like playing
three-card monte the entire film.
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DIRECTOR: Hold it. Hold it.
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{\an8}Very good. Here we go.
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{\an8}Three, two, one. Action!
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(GRUNTS)
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DaCOSTA: Because of the switching,
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we got to do probably
my favorite fights in the movie,
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which is the switch fight.
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- DIRECTOR: Action.
- (GRUNTING)
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DaCOSTA: The first big fight scene
between the three heroes,
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seeing them switch,
not knowing what's going on,
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not knowing why they're switching,
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but also having to fight
in three different locations.
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We were first in Kamala's bedroom.
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(SCREAMS)
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And then she teleported
into Dar-Benn's ship,
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and she has no idea it's Dar-Benn's ship.
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- (GOOSE SNARLS)
- (BOTH GRUNTING)
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Oh, my God!
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That switch fight is super fun.
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It has a lot of entanglements.
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- DIRECTOR: Action!
- (BOTH GRUNTING)
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DeMARCO: It was planned really well
by everybody involved.
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It was incredibly difficult to plot out,
which Nia did masterfully
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along with our stunt team
and all of our department heads.
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DaCOSTA: We organized and coordinated
that over a long period of time,
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from writing it, shot listing,
who goes where and when,
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and all that stuff,
and then going into stuntviz.
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{\an8}It's one of our favorite fights.
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Looking at the script beats,
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what we need to achieve,
how long we've got to shoot it
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and, you know,
just a process of breaking it all down.
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DaCOSTA: It was really fun
to put that all together.
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For me it was really about
being super detailed
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and super organized and specific
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because once people
start switching places,
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it just gets really, really crazy.
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DeMARCO: We did find it
a little in the edit, particularly.
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We didn't always know that we'd have
to show both sides of every switch.
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{\an8}When two characters are switching places,
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do you follow the character
to their new location,
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or do you stay in the location
where you are?
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And so there were unlimited
number of combinations.
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You have to try every single alternative
in the editing room
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because something that
you'd never thought about
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could end up being
the absolute best part of the movie.
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MUNEEBA: Kamala, are you okay?
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DIRECTOR: Go and action, Iman.
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The process of creating
entanglement shots on set
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would mean that we would often film
each of the hero actors in place.
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And know that we would have
to stitch them together later.
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(ENERGY CRACKLING)
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We'd take action
up to the point of the switch.
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Okay, pause, pause,
quickly swap around and then carry on.
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It can get confusing at times,
so you have to kind of concentrate.
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Oh, who switched with who?
All right, yep. But fun.
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One, two, three, go.
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Why would you say "go"
if we're going on three?
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I'm aware.
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What was important about the film,
as someone who loves sci-fi,
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was how can we make this feel really epic
and make space feel real,
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but also fun and scary and all that stuff?
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(CRACKLING)
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(WHOOSHES)
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LAURA KARPMAN: In this film, there's
a lot of stuff that goes down in space.
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{\an8}And I think whenever
you're out in space,
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{\an8}that also has wonderful
musical suggestions.
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(DRUM BEATING)
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(SOUND WHOOSHES)
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{\an8}- Right. That's a good one.
- Brilliant. Brilliant.
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There's a huge cinematic history
of what does space sound like.
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That was something
that I definitely leaned into exploring.
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(SOUND REVERBERATES)
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KARPMAN: In space, there is no sound.
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You only feel vibrations,
which then feel like sound.
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Part of that is because sounds in space
are 60 octaves below
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what the human ear can hear.
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When I started researching space,
I thought of my friend Evelyn Glennie.
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(TRILLING)
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(DRUMS BEATING)
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Evelyn Glennie is a deaf percussionist.
She's world famous.
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(MARBLES RATTLING)
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- What is this?
- (KARPMAN CHUCKLES)
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Oh! That's good.
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KARPMAN: Not only she's this
astonishingly amazing musician
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with the most extensive
and fabulous collection
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of percussion instruments in the world,
here's the incredible thing about her.
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She hears through her body.
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(VIBRATING)
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KARPMAN: So Evelyn hears through feeling,
which is exactly the kind of essence
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we're trying to replicate in the score.
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How do you hear through vibrations?
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- (SUSPENSEFUL RUMBLING)
- KARPMAN: Yep. There we go.
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(MOUTHING)
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(SINGING) Pa-ra-pa-ra-pa-ra...
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And then there's the theme on top.
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{\an8}(INTENSE DRUM MUSIC PLAYING)
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(SINGERS VOCALIZING)
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KARPMAN: Really early on,
I recorded two small choirs,
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and those small choirs
were based in world music traditions,
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so we had a South Asian Carnatic singer.
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We had three low basses.
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We had a really wide rooted group.
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What happens is you have kind of this
genderless, otherworldly singing.
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(SINGERS VOCALIZING)
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(INTENSE MUSIC PLAYING)
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KARPMAN: All of that
was super experimental,
235
00:12:29,832 --> 00:12:32,877
and I think the reason why it worked well
236
00:12:32,960 --> 00:12:37,256
is because it's sitting in the world
of the epic Marvel sound.
237
00:12:37,798 --> 00:12:38,799
(WHOOSHES)
238
00:12:41,302 --> 00:12:43,053
- (KAMALA GASPS)
- Hold that thought.
239
00:12:43,137 --> 00:12:48,559
We were lucky to have fully realized
characters team up together for this film.
240
00:12:49,727 --> 00:12:52,396
You've got Iman coming from her show.
241
00:12:52,480 --> 00:12:53,898
Teyonah coming from her show.
242
00:12:53,981 --> 00:12:56,025
There's a lot of history
and a lot of backstory.
243
00:12:56,108 --> 00:12:57,943
You said you'd be back before I knew it.
244
00:12:58,027 --> 00:12:59,153
When you left...
245
00:12:59,236 --> 00:13:01,781
LARSON: For me playing Carol,
I've got one character
246
00:13:01,864 --> 00:13:05,367
that idolizes me and one that
sees me as extremely flawed. (LAUGHS)
247
00:13:05,451 --> 00:13:08,078
I didn't know how to explain
to a little girl that...
248
00:13:08,162 --> 00:13:11,832
A little girl that hung
on your every word.
249
00:13:11,916 --> 00:13:15,920
What's so exciting about putting
these three people together as a writer
250
00:13:16,003 --> 00:13:17,838
- is all of the juicy conflict.
- (CHUCKLES)
251
00:13:17,922 --> 00:13:20,966
These characters fit together so nicely,
and complement each other.
252
00:13:21,050 --> 00:13:22,176
At the core of this movie
253
00:13:22,259 --> 00:13:25,805
is each of their relationships
with the idea of being a superhero.
254
00:13:27,139 --> 00:13:29,600
- (BLASTING)
- (GASPS)
255
00:13:29,683 --> 00:13:31,560
LARSON: It's really important
that we understand
256
00:13:31,644 --> 00:13:35,147
that Captain Marvel
really can't be the thing
257
00:13:35,231 --> 00:13:37,566
standing between life and destruction.
258
00:13:38,484 --> 00:13:41,111
It's not always
about being Captain Marvel.
259
00:13:41,195 --> 00:13:43,113
Sometimes it's about being Carol Danvers.
260
00:13:43,197 --> 00:13:45,032
Maybe we just send it to voice mail.
261
00:13:46,158 --> 00:13:49,161
KARASIK: Brie and Teyonah and Iman
262
00:13:49,245 --> 00:13:51,664
have just brought their characters
to new levels.
263
00:13:51,747 --> 00:13:52,748
Twinsies.
264
00:13:52,832 --> 00:13:54,124
DaCOSTA: It's kind of funny.
265
00:13:54,208 --> 00:13:57,044
All three actresses have lot of qualities
with their characters.
266
00:13:57,127 --> 00:13:59,255
Brie got this job however many years ago,
267
00:13:59,338 --> 00:14:02,007
she has so much determination,
very similar to Carol Danvers.
268
00:14:02,091 --> 00:14:04,760
And then when she got
two other cast members,
269
00:14:04,844 --> 00:14:07,555
she was a leader and made everyone
as comfortable as possible.
270
00:14:07,638 --> 00:14:08,639
DIRECTOR: Action.
271
00:14:08,931 --> 00:14:10,224
(GRUNTS)
272
00:14:11,809 --> 00:14:15,771
It's been really exciting,
really getting to explore the relationship
273
00:14:15,855 --> 00:14:18,774
between Monica and Carol,
what that history is.
274
00:14:18,858 --> 00:14:22,236
What that hurt is,
and how they can hopefully heal.
275
00:14:22,319 --> 00:14:25,531
DaCOSTA: Teyonah Parris
is such a wonderful Monica.
276
00:14:25,614 --> 00:14:29,201
She gave that character
so much depth and spirit.
277
00:14:29,743 --> 00:14:31,787
'Cause she's dealing
with the loss of her mother,
278
00:14:31,871 --> 00:14:33,664
Teyonah just brought
so much beauty to that.
279
00:14:34,623 --> 00:14:37,960
You guys are catching me
at the end of a very long week,
280
00:14:38,043 --> 00:14:41,171
and I just got off the wires
with the harness and stuff,
281
00:14:41,255 --> 00:14:43,173
and I hope they got a good shot.
282
00:14:43,257 --> 00:14:47,845
Lots of craziness happened, but I think
I gave y'all one good take off. (LAUGHS)
283
00:14:48,512 --> 00:14:50,431
You know, we're living the dream here.
284
00:14:50,514 --> 00:14:51,599
Got three fans.
285
00:14:52,182 --> 00:14:55,436
And Iman Vellani is no exception.
She is a huge Marvel nerd.
286
00:14:57,021 --> 00:14:58,397
(LAUGHING) Was that different?
287
00:14:58,480 --> 00:15:00,691
{\an8}Kamala is Iman. Iman is Kamala.
288
00:15:00,774 --> 00:15:04,570
From day one, I believe
that she was born to play this part.
289
00:15:04,653 --> 00:15:07,197
VELLANI: It's the coolest job,
I could not ask for anything else.
290
00:15:07,281 --> 00:15:08,866
I would literally do this my entire life.
291
00:15:08,949 --> 00:15:12,578
She is like someone who gets frozen
when she meets someone that she admires,
292
00:15:12,661 --> 00:15:14,246
{\an8}like Kevin Feige or Sam Jackson.
293
00:15:14,330 --> 00:15:17,833
I hid behind our director
when Sam walked in the room.
294
00:15:17,917 --> 00:15:20,544
She's so sweet and just fierce.
295
00:15:20,628 --> 00:15:23,881
I have to call her fierce because
every time I'm like, "You so cute,"
296
00:15:23,964 --> 00:15:25,966
she's like, "I am fierce and strong."
297
00:15:26,050 --> 00:15:29,094
I'm like, "You're fierce and strong, too.
And you are just so cute."
298
00:15:29,178 --> 00:15:30,846
So it's been really, really fun.
299
00:15:30,930 --> 00:15:34,058
DaCOSTA: She really brings this
incredible warmth and humor.
300
00:15:34,141 --> 00:15:37,645
And I think those are all the things
I loved about Ms. Marvel in the comics.
301
00:15:37,728 --> 00:15:40,230
Her casting is absolutely spot on.
It's amazing.
302
00:15:40,314 --> 00:15:41,649
Ammi, we found
Nani's other bangle,
303
00:15:41,732 --> 00:15:43,817
and there's this weirdly beautiful,
terrifying woman
304
00:15:43,901 --> 00:15:46,362
hurting people with the other one,
we have to stop her.
305
00:15:46,862 --> 00:15:48,656
{\an8}Who is Dar-Benn?
306
00:15:48,739 --> 00:15:50,199
(SCREAMS)
307
00:15:50,282 --> 00:15:54,828
ASHTON: Dar-Benn is the very recent
Supremor of the Kree Empire.
308
00:15:55,245 --> 00:15:56,914
She is a massive contradiction.
309
00:15:56,997 --> 00:16:02,419
She's part rage, part hope,
part science, part war.
310
00:16:02,503 --> 00:16:05,255
The Skrull have betrayed the Kree.
311
00:16:05,339 --> 00:16:09,301
She's basically been born
out of this huge event,
312
00:16:09,385 --> 00:16:12,179
which is Captain Marvel destroying
313
00:16:12,262 --> 00:16:14,723
the Supreme Intelligence
of the Kree Empire.
314
00:16:14,848 --> 00:16:15,891
(EXPLODING)
315
00:16:16,350 --> 00:16:19,478
She has a huge vendetta against her.
316
00:16:19,561 --> 00:16:21,772
The Annihilator destroyed the Kree.
317
00:16:21,855 --> 00:16:24,817
KARASIK: I think about what our heroes
are up against with Dar-Benn,
318
00:16:24,900 --> 00:16:26,652
I think pure conviction.
319
00:16:27,403 --> 00:16:30,656
And I think one of the most
dangerous kinds of villain
320
00:16:30,739 --> 00:16:32,491
is a villain who has nothing left to lose.
321
00:16:33,993 --> 00:16:35,327
(GRUNTS)
322
00:16:36,996 --> 00:16:38,747
(LAUGHING) My God, I...
323
00:16:38,831 --> 00:16:41,834
Zawe just brought
a lot of fun to the character.
324
00:16:41,917 --> 00:16:43,669
{\an8}She had a really good time playing evil.
325
00:16:43,752 --> 00:16:46,839
Zawe as Dar-Benn,
I didn't know what to expect.
326
00:16:46,922 --> 00:16:48,424
When I first saw her on set,
327
00:16:48,507 --> 00:16:51,093
I was like, "Oh, my gosh,
you look amazing,
328
00:16:51,176 --> 00:16:53,012
"but you also are very scary."
329
00:16:53,095 --> 00:16:55,639
She's quite fierce and intense,
330
00:16:56,306 --> 00:16:59,309
and a little unhinged,
not Zawe, but Dar-Benn.
331
00:16:59,393 --> 00:17:01,478
And then, as soon as they call "cut"...
332
00:17:01,562 --> 00:17:03,397
MAN: Cut! Nice, Zawe. Thank you.
333
00:17:03,480 --> 00:17:07,067
...she's like the warmest,
fuzziest, sweetest person.
334
00:17:07,151 --> 00:17:08,193
(EXCLAIMS)
335
00:17:08,277 --> 00:17:10,696
So it's really this crazy juxtaposition.
336
00:17:10,779 --> 00:17:14,033
(LAUGHING) I can't cope. I can't cope.
337
00:17:14,116 --> 00:17:17,286
I'm having a lot of fun playing Dar-Benn.
338
00:17:17,369 --> 00:17:19,747
I sometimes look around,
339
00:17:19,830 --> 00:17:22,624
and can't quite believe
that I'm in this world.
340
00:17:22,708 --> 00:17:24,334
It's actually really moving.
341
00:17:24,418 --> 00:17:28,589
Because, you know, the MCU's been
at the forefront of cinema,
342
00:17:28,672 --> 00:17:32,468
and so it's a very profound experience.
It's amazing.
343
00:17:32,551 --> 00:17:33,969
(BOTH PANTING)
344
00:17:35,554 --> 00:17:37,514
- (BOTH LAUGH)
- End of film.
345
00:17:39,850 --> 00:17:43,187
DeMARCO: Working for Marvel,
we come with a small army to the set.
346
00:17:43,270 --> 00:17:46,774
As support,
we are often there with director,
347
00:17:46,857 --> 00:17:50,402
with camera, with grips,
feeding back constantly
348
00:17:50,486 --> 00:17:52,821
what will and won't work later.
349
00:17:52,905 --> 00:17:55,824
{\an8}It's been a great collaborative effort.
350
00:17:55,908 --> 00:17:59,078
We're all part of the same thing.
We're creating the same world.
351
00:18:00,162 --> 00:18:02,748
McLAREN: We do have to work,
you know, closely together.
352
00:18:02,831 --> 00:18:05,042
So every day there'll be a conversation.
353
00:18:05,125 --> 00:18:06,126
BEN COLLINS: It's epic.
354
00:18:06,210 --> 00:18:08,170
When you've kind of
gone through that process
355
00:18:08,253 --> 00:18:12,091
{\an8}and you see everyone collaborate
and get through all the challenges,
356
00:18:12,174 --> 00:18:13,592
{\an8}and really, nothing's a problem.
357
00:18:13,675 --> 00:18:15,886
It's just all about working out
how you get there.
358
00:18:15,969 --> 00:18:19,348
And then, that all has to come together
for a specific shoot day.
359
00:18:20,015 --> 00:18:25,938
Nia and Sean and the studio really wanted
to embrace as much real as we could.
360
00:18:28,565 --> 00:18:31,151
The sets for this movie
were huge, (LAUGHS)
361
00:18:31,235 --> 00:18:33,195
because I really wanted to do 360 sets.
362
00:18:33,320 --> 00:18:36,031
I wanted to be able to shoot
as dynamically as possible.
363
00:18:36,990 --> 00:18:38,575
Because the movie was gonna be in space,
364
00:18:38,659 --> 00:18:41,703
I wanted to make sure
whatever was real was actually real
365
00:18:41,787 --> 00:18:44,790
so we wouldn't have
a bunch of CG in space and CG sets.
366
00:18:45,791 --> 00:18:47,209
We're split over two studios.
367
00:18:47,292 --> 00:18:51,588
So fundamentally, we had eight stages,
two back lots, 54 separate sets,
368
00:18:51,672 --> 00:18:55,676
six cranes, five different planets,
a space station, five spaceships,
369
00:18:55,759 --> 00:18:59,513
three evacuation pods,
a space elevator, and a golf course.
370
00:18:59,972 --> 00:19:01,181
- What?
- Yes.
371
00:19:01,265 --> 00:19:02,641
For our little Maria house.
372
00:19:03,016 --> 00:19:06,895
Tremendous, amazing art department,
50-strong construction team,
373
00:19:06,979 --> 00:19:08,272
that's probably 350.
374
00:19:09,148 --> 00:19:11,066
DaCOSTA: One of my favorite sets
is Carol's ship.
375
00:19:11,150 --> 00:19:13,735
(SOFTLY) I'm on Captain Marvel's ship.
376
00:19:14,653 --> 00:19:15,863
(WHOOSHES)
377
00:19:18,115 --> 00:19:21,451
VELLANI: All right,
MCU cribs tours. Carol's ship.
378
00:19:21,535 --> 00:19:24,580
If you've ever wondered what it's like
to be inside someone's brain,
379
00:19:24,663 --> 00:19:25,664
this is it.
380
00:19:27,916 --> 00:19:32,004
We always knew that Carol's ship
was kind of like the Airstream of space,
381
00:19:32,087 --> 00:19:34,756
and she needed to take
everything with her. It's her home.
382
00:19:34,840 --> 00:19:37,092
She's been living on that ship
for 30 years.
383
00:19:37,176 --> 00:19:40,262
It's a cool ship.
She can also be comfortable living there.
384
00:19:41,013 --> 00:19:44,057
{\an8}When you see a lot of films,
the spaceships are empty
385
00:19:44,141 --> 00:19:46,393
they're devoid of personality,
like an office.
386
00:19:46,476 --> 00:19:49,021
If you're on a spaceship
for a long period of time,
387
00:19:49,104 --> 00:19:50,731
{\an8}how would you live?
388
00:19:51,481 --> 00:19:53,358
We put in some of her past,
389
00:19:53,442 --> 00:19:56,236
things that kept her amused
while she was in space,
390
00:19:56,320 --> 00:19:57,571
her favorite books.
391
00:19:57,654 --> 00:20:00,657
We included some self-help books,
which Nia thought was hilarious.
392
00:20:00,741 --> 00:20:04,494
All her clothes, her workout kit.
We tried to make it very personal.
393
00:20:04,578 --> 00:20:07,956
My favorite thing on this entire ship.
They didn't let me put it on.
394
00:20:08,582 --> 00:20:10,626
Mostly because my head's not that small.
395
00:20:12,044 --> 00:20:13,670
AZIS: You'll see behind me,
big globes.
396
00:20:13,754 --> 00:20:15,547
These lovely terrariums.
397
00:20:15,631 --> 00:20:18,884
We bought the biospheres
thinking they were a certain size.
398
00:20:18,967 --> 00:20:22,346
The company sent these.
We thought these biospheres were too big.
399
00:20:22,429 --> 00:20:24,806
We put one on set.
It was quite interesting.
400
00:20:24,890 --> 00:20:26,850
We thought she was growing her own food.
401
00:20:26,934 --> 00:20:29,019
We immediately loved it and put more in.
402
00:20:30,979 --> 00:20:33,815
The kitchen. We wanted to really
feel like she did some cooking...
403
00:20:33,899 --> 00:20:34,900
I can't touch it.
404
00:20:34,983 --> 00:20:36,360
...rather than just eat space food.
405
00:20:36,443 --> 00:20:39,196
Pickled radish, cucumber and aubergine.
406
00:20:39,279 --> 00:20:40,447
{\an8}Konjac ball.
407
00:20:40,530 --> 00:20:43,033
{\an8}AZIS: She's got a coffee maker,
special knives.
408
00:20:43,116 --> 00:20:45,911
{\an8}Really, a normal kitchen,
but a space age version of it.
409
00:20:45,994 --> 00:20:47,955
And obviously,
quite a lot of cat references.
410
00:20:48,038 --> 00:20:50,207
Her favorite non-human being.
411
00:20:50,290 --> 00:20:52,334
AZIS: Cat books and photographs.
412
00:20:52,417 --> 00:20:54,378
Cat food, much needed.
413
00:20:54,461 --> 00:20:55,796
AZIS: The whole world of Goose.
414
00:20:55,879 --> 00:20:57,714
"Goose Tunes." My heart.
415
00:20:57,798 --> 00:20:59,383
"Soul of Thunder", "Party Mix."
416
00:20:59,466 --> 00:21:02,427
This is on par with
Star-Lord cassette tapes by the way.
417
00:21:02,511 --> 00:21:05,138
AZIS: Our graphics team
did a wonderful job on the photographs
418
00:21:05,222 --> 00:21:06,890
and on creating the mix tapes.
419
00:21:08,267 --> 00:21:09,393
"Yan Songs."
420
00:21:11,979 --> 00:21:13,897
AZIS: We all put in a lot of detail,
421
00:21:13,981 --> 00:21:18,318
and often it's a sort of lucky dip
whether you'll see those things or not.
422
00:21:18,402 --> 00:21:21,029
If you do see them, it's great,
and that pays off.
423
00:21:21,154 --> 00:21:23,865
But also for the actors
who are on the set,
424
00:21:23,949 --> 00:21:25,742
in between shots they're looking around.
425
00:21:25,826 --> 00:21:29,746
- Ah! She hasn't returned any of these.
- It's nice for their character as well.
426
00:21:35,919 --> 00:21:37,254
{\an8}For this movie,
427
00:21:37,337 --> 00:21:39,172
{\an8}we went the way of LED volumes.
428
00:21:39,256 --> 00:21:42,259
The idea is to give the spacescapes
outside of the ships.
429
00:21:43,468 --> 00:21:45,804
This is so exciting.
I get to travel in space.
430
00:21:45,887 --> 00:21:49,057
We actually get to drift past a nebula
and jump through a wormhole
431
00:21:49,141 --> 00:21:51,643
in a way I never thought
we'd be able to do live on set.
432
00:21:54,354 --> 00:21:57,858
We used LEDs as a replacement
for a blue screen.
433
00:21:57,941 --> 00:22:01,320
With the LEDs you get an extension
of the environment outside the windows.
434
00:22:01,403 --> 00:22:02,571
(SHRIEKS) It's Nick Fury!
435
00:22:02,654 --> 00:22:04,906
SEAN BOBBITT: Often
we're shooting at blue screen studios,
436
00:22:04,990 --> 00:22:07,159
{\an8}but the images are put in afterwards.
437
00:22:07,242 --> 00:22:10,746
Oh, Lord, it's a blue screen. That means
Teyonah has a list of questions.
438
00:22:10,829 --> 00:22:14,166
I don't want to get to the movie theater
and be like, "Wait a minute.
439
00:22:14,249 --> 00:22:16,501
"I didn't know
I was supposed to be reacting to that."
440
00:22:19,796 --> 00:22:21,798
Nia loves this set because it feels real.
441
00:22:21,882 --> 00:22:24,968
She can respond to things on the wall
and the characters can respond to things.
442
00:22:25,052 --> 00:22:27,346
The volume screens
are just the greatest thing.
443
00:22:27,429 --> 00:22:29,014
Everyone can actually see
444
00:22:29,097 --> 00:22:31,725
what you're supposed to see
and not just a green screen.
445
00:22:31,808 --> 00:22:33,060
So that's always...
446
00:22:33,143 --> 00:22:36,980
SEAN BOBBITT: We have live images moving
that the actors can then respond to,
447
00:22:37,064 --> 00:22:40,108
and we get interactive lighting
into the spaceship.
448
00:22:40,984 --> 00:22:43,528
All the materials
are very much metal and glass.
449
00:22:43,612 --> 00:22:46,782
The reflections and the colors
you're seeing through the screen,
450
00:22:46,865 --> 00:22:48,408
it's real and you believe it.
451
00:22:50,369 --> 00:22:52,954
{\an8}You could slowly see it roll past
452
00:22:53,038 --> 00:22:56,583
over these amazing, nostalgic props
that are littered all over the set.
453
00:23:01,380 --> 00:23:03,382
The jump points
are the means of space travel.
454
00:23:03,465 --> 00:23:05,342
They're also quite bright wormholes
455
00:23:05,425 --> 00:23:07,636
that give you a view of the world
you're traveling to.
456
00:23:07,719 --> 00:23:09,012
To create these jump points,
457
00:23:09,096 --> 00:23:11,807
we worked quite closely
with the lighting department.
458
00:23:11,890 --> 00:23:15,602
They set up complementary lighting
around the ship for special events
459
00:23:15,685 --> 00:23:17,771
such as the jump points or the Bifrost.
460
00:23:17,854 --> 00:23:20,816
Because, of course, the brightness
of the LEDs sometimes was not enough.
461
00:23:21,024 --> 00:23:22,401
(EXCLAIMING)
462
00:23:23,944 --> 00:23:26,696
So as you come through, you get this
whole, like, immersive lighting
463
00:23:26,780 --> 00:23:29,366
coming from A to B, all the way
through to the back of the ship.
464
00:23:29,449 --> 00:23:32,661
It really makes people's eyes open and go,
"This stuff is really great."
465
00:23:32,744 --> 00:23:34,121
COMPUTER: Alpha Centauri system.
466
00:23:34,204 --> 00:23:35,705
BILLY BROOKS: With
all this new technology,
467
00:23:35,789 --> 00:23:38,041
there has to be somebody
to guide filmmakers.
468
00:23:38,875 --> 00:23:41,211
{\an8}ILM Virtual Art Department
is a group of people
469
00:23:41,294 --> 00:23:44,756
that use real time software
to help answer questions basically.
470
00:23:44,840 --> 00:23:47,926
Working with their team
has been instrumental in our planning.
471
00:23:48,009 --> 00:23:51,430
They built this ship in 3D
and showed us how our content
472
00:23:51,513 --> 00:23:53,265
would play out alongside the scene.
473
00:23:54,266 --> 00:23:56,601
COLLINS: We had 2,400 LED screens.
474
00:23:56,685 --> 00:23:59,604
We could've done with a few more,
but there's never enough of anything.
475
00:24:00,605 --> 00:24:03,275
Having these visualizations
allowed us to decide, for instance,
476
00:24:03,358 --> 00:24:06,069
to strip some of the panels from the side
and put them at the front
477
00:24:06,153 --> 00:24:09,448
to compensate the fact
that we were lacking a bit of height.
478
00:24:09,531 --> 00:24:11,825
JACK BROWN: So we had to create
the front of the wall
479
00:24:11,908 --> 00:24:13,660
and the two left and right sections
480
00:24:13,743 --> 00:24:15,829
to be able to move up and down
on request.
481
00:24:15,912 --> 00:24:18,498
It allowed us to quickly adapt
to any of the needs of Sean.
482
00:24:18,582 --> 00:24:20,292
So even if we were shooting
a bit too high,
483
00:24:20,375 --> 00:24:22,794
because we don't have
an LED ceiling on here,
484
00:24:22,878 --> 00:24:25,839
we were able to simply move the wall up
into position within minutes.
485
00:24:25,922 --> 00:24:27,466
It's actually worked remarkably well.
486
00:24:27,549 --> 00:24:29,134
We have great coverage in this ship,
487
00:24:29,217 --> 00:24:31,845
and we're able to see the content
out of all of the windows.
488
00:24:34,139 --> 00:24:35,140
(BELL RINGS)
489
00:24:36,099 --> 00:24:38,768
Being able to be in a set
where you feel like
490
00:24:38,852 --> 00:24:41,354
you are actually in space
has been quite magical.
491
00:24:41,438 --> 00:24:45,108
We all, myself, Sean, Nia,
have sat in Carol's chair,
492
00:24:45,192 --> 00:24:47,360
come over a moon, and landed on Aladna.
493
00:24:47,486 --> 00:24:50,739
You actually feel like you're moving
through space in the craziest way,
494
00:24:50,822 --> 00:24:52,574
if you're not careful,
you might get dizzy.
495
00:24:52,657 --> 00:24:54,242
But it's been magical for all of us.
496
00:24:54,326 --> 00:24:56,161
The first time Kamala
went through a jump point,
497
00:24:56,244 --> 00:24:57,871
the actual wonder on her face.
498
00:24:57,954 --> 00:25:00,790
It's like being at an amusement park,
especially when we're doing scenes
499
00:25:00,874 --> 00:25:03,543
where they put a gimbal underneath
the ship to move the whole thing.
500
00:25:03,627 --> 00:25:06,379
DAVID WATKINS: We actually built
this gimbal on the stage.
501
00:25:06,463 --> 00:25:08,381
{\an8}We've got a hydraulically controlled
motion base.
502
00:25:08,465 --> 00:25:12,010
Nia, very early on, she wanted to give
the cockpit a real shake,
503
00:25:12,093 --> 00:25:13,303
simulate fast travel...
504
00:25:14,888 --> 00:25:15,931
Change of direction.
505
00:25:17,557 --> 00:25:19,935
All in all,
a team of probably 40 guys and girls
506
00:25:20,018 --> 00:25:22,437
from conception
through to the operation on stage,
507
00:25:22,521 --> 00:25:24,606
a lot of steel and a lot of hard work.
508
00:25:24,689 --> 00:25:27,776
We've done other gimbals before,
but not one of this length.
509
00:25:28,527 --> 00:25:31,488
It was probably the toughest set
in terms of the scale of it.
510
00:25:31,571 --> 00:25:32,739
Ending up on a gimbal,
511
00:25:32,822 --> 00:25:35,075
it means the whole set
is at 10'6" in the air.
512
00:25:35,158 --> 00:25:37,327
At that height
with the amount of special effects,
513
00:25:37,410 --> 00:25:39,246
it had to be a solid steel structure.
514
00:25:39,329 --> 00:25:41,540
Typically, we might
make it out of scaffold.
515
00:25:42,249 --> 00:25:44,251
To see it all come together,
it's quite special.
516
00:25:44,334 --> 00:25:46,962
The filmmakers feel like
they still have this ownership,
517
00:25:47,045 --> 00:25:49,839
which they totally do.
And that's the goal for us here at ILM.
518
00:25:49,923 --> 00:25:51,758
We want to help tell these stories.
519
00:25:51,841 --> 00:25:55,303
This set has been amazing.
To have this wacky idea nearly a year ago
520
00:25:55,387 --> 00:25:57,764
that we'd be able to fly
in space for a few weeks,
521
00:25:57,847 --> 00:26:00,308
and then actually fly in space here,
it's been amazing.
522
00:26:00,976 --> 00:26:02,143
(WHOOSHES)
523
00:26:03,812 --> 00:26:06,106
{\an8}- (SOFT MUSIC PLAYING)
- (SINGING) Fair Aladna
524
00:26:06,189 --> 00:26:08,608
It's a peaceful crossroads
525
00:26:09,317 --> 00:26:13,405
ALADNEANS: Our princess is home
526
00:26:13,488 --> 00:26:15,156
- Princess?
- (KAMALA GASPS)
527
00:26:16,074 --> 00:26:17,784
- It's a technicality.
- (ALADNEANS VOCALIZE)
528
00:26:18,618 --> 00:26:20,996
When I came into the film,
they wanted a musical number
529
00:26:21,079 --> 00:26:23,540
in the middle of the movie
and I was like, "That's crazy."
530
00:26:23,623 --> 00:26:25,041
Then I got really into the idea.
531
00:26:25,208 --> 00:26:26,459
(UPBEAT MUSIC PLAYING)
532
00:26:28,086 --> 00:26:31,256
You want to live on Aladna.
It is stunning. Gorgeous.
533
00:26:31,339 --> 00:26:32,924
Everybody sings.
534
00:26:33,508 --> 00:26:36,928
It was my favorite place to develop
because it's really bright and hopeful.
535
00:26:37,012 --> 00:26:40,473
I feel like sci-fi usually is
very dark and down and grungy and sad.
536
00:26:40,557 --> 00:26:42,183
But this place is all about joy.
537
00:26:42,851 --> 00:26:45,228
It's been like my dream
to do a musical my whole life,
538
00:26:45,312 --> 00:26:49,065
so to get to do it on this scale
and this set is just super surreal.
539
00:26:49,733 --> 00:26:51,693
When I first signed up
to do a Marvel film,
540
00:26:51,776 --> 00:26:54,988
the last thing I expected to be doing
was a musical number.
541
00:26:55,071 --> 00:26:57,490
DaCOSTA: We had this amazing
choreographer, Shelley Maxwell,
542
00:26:57,574 --> 00:26:59,075
come in and choreograph the dances.
543
00:26:59,159 --> 00:27:00,952
MAXWELL: We're in the streets of Aladna
544
00:27:01,036 --> 00:27:02,954
{\an8}and we're doing a welcoming
big opening number
545
00:27:03,038 --> 00:27:05,373
with lots of dancers and movement extras.
546
00:27:05,457 --> 00:27:10,295
We started off with 15 dancers doing R&D,
and then we graduated to 35,
547
00:27:10,378 --> 00:27:14,215
and now we have over 100 dancers
and movement extras in this space.
548
00:27:14,299 --> 00:27:16,635
Movement inspiration
came from just jubilation
549
00:27:16,718 --> 00:27:18,720
and the idea of being at a great party.
550
00:27:19,888 --> 00:27:21,723
Damn.
551
00:27:23,475 --> 00:27:24,726
(MONICA GRUNTS TEASINGLY)
552
00:27:24,809 --> 00:27:26,227
LINDSAY: Her princess gown...
553
00:27:26,311 --> 00:27:27,312
What the hell?
554
00:27:27,395 --> 00:27:28,647
LINDSAY: It is a musical number.
555
00:27:28,730 --> 00:27:31,983
She has this terrific song
and dance with Prince Yan.
556
00:27:32,067 --> 00:27:33,902
For me, when I read it, first thing was,
557
00:27:33,985 --> 00:27:36,071
it was a
Fred Astaire-Ginger Rogers number.
558
00:27:36,154 --> 00:27:37,155
(SINGING) Yan
559
00:27:37,906 --> 00:27:40,283
(WHISPERS) I'm feeling
so many feelings right now.
560
00:27:40,367 --> 00:27:43,244
- (SINGING) The Captain needs our help
- CROWD: Help!
561
00:27:43,328 --> 00:27:45,872
The first film really made me
push myself physically,
562
00:27:45,955 --> 00:27:47,791
learning how to be strong.
563
00:27:47,874 --> 00:27:49,209
This was actually the opposite.
564
00:27:49,292 --> 00:27:52,170
This was about learning how to move,
learning how to be more fluid...
565
00:27:52,253 --> 00:27:54,547
- What is she doing?
- (WHISPERS) Oh, she's respecting the flow.
566
00:27:54,631 --> 00:27:58,677
Be sensual. Things that I did not think
were gonna come with playing Carol at all.
567
00:27:59,636 --> 00:28:02,514
I just wanted Carol to have a moment
that isn't in a super suit,
568
00:28:02,597 --> 00:28:04,474
that she can be just purely feminine.
569
00:28:04,557 --> 00:28:07,477
But even when she's
in the most princess gown,
570
00:28:07,560 --> 00:28:10,021
it's still a sort of
Captain Marvel princess gown.
571
00:28:10,105 --> 00:28:13,066
How many chapters of your Captain Marvel
fan fiction is this giving you?
572
00:28:13,149 --> 00:28:14,150
KAMALA: So many.
573
00:28:14,234 --> 00:28:17,487
{\an8}Aladna was just a feat of filmmaking.
574
00:28:17,570 --> 00:28:23,201
It really felt like we were on
a lyrical Mediterranean alien planet.
575
00:28:23,284 --> 00:28:26,121
Both the massive scale of it
and the attention to detail,
576
00:28:26,204 --> 00:28:28,873
it was really overwhelming and amazing.
577
00:28:30,125 --> 00:28:31,751
VELLANI: It's beautiful.
The set is awesome.
578
00:28:31,876 --> 00:28:34,129
These poor extras have been here
since 3:00 a.m.
579
00:28:34,212 --> 00:28:35,588
getting their alien makeup done.
580
00:28:35,672 --> 00:28:38,842
I just have so much appreciation
for all the work put into it.
581
00:28:40,969 --> 00:28:43,138
DAVID WHITE: How on earth
do you approach Aladna?
582
00:28:43,221 --> 00:28:44,723
It was massive in scale.
583
00:28:44,806 --> 00:28:48,268
{\an8}We've had over maybe 68 life casts
of individual characters,
584
00:28:48,351 --> 00:28:52,313
full head and hand life casts,
gallons and gallons of silicon.
585
00:28:52,397 --> 00:28:54,649
The one thing about Aladna
is that their costumes
586
00:28:54,733 --> 00:28:58,570
are so outrageously cool color-wise,
and terrific shapes.
587
00:28:58,653 --> 00:29:01,948
Everything about the makeup is heightened,
but it still has to look believable.
588
00:29:02,031 --> 00:29:04,993
So the color tones,
you can use a bright pink,
589
00:29:05,076 --> 00:29:08,204
but it's got these beautiful,
complementary blues that run through it.
590
00:29:08,288 --> 00:29:09,289
All sorts of tones.
591
00:29:09,372 --> 00:29:11,833
And with the structure
of the makeup again,
592
00:29:11,916 --> 00:29:12,959
it's slightly more lavish.
593
00:29:13,042 --> 00:29:15,462
I had, like little wisps,
put on the ends of things
594
00:29:15,545 --> 00:29:18,506
and curls, all of these very
gregarious kind of shapes.
595
00:29:18,590 --> 00:29:20,008
But they worked beautifully.
596
00:29:22,552 --> 00:29:26,222
LINDSAY: Aladna is a planet of sea,
so their everything was very liquid,
597
00:29:26,306 --> 00:29:27,724
very soft, very flowing,
598
00:29:27,807 --> 00:29:30,560
and all of the colors
were from under the sea.
599
00:29:30,643 --> 00:29:33,688
So I took a lot of reference
from under the sea creatures,
600
00:29:33,772 --> 00:29:35,774
pastels and beautiful coral colors.
601
00:29:35,857 --> 00:29:38,401
Also, there are some
fabulous fashion designers
602
00:29:38,485 --> 00:29:41,571
that have that aesthetic in them,
namely Iris van Herpen.
603
00:29:41,654 --> 00:29:46,409
{\an8}So I looked at a lot at her stuff because
she is as off-world as you can get.
604
00:29:47,035 --> 00:29:48,203
Because it was off-world,
605
00:29:48,286 --> 00:29:51,498
it's very little you can buy in the shop,
so we had to make it all.
606
00:29:51,581 --> 00:29:55,960
We had to dye it all, we had to print it,
cut it, everything was done from scratch.
607
00:29:56,044 --> 00:30:00,298
So the people that we have in this room,
which is a vast emporium in here,
608
00:30:00,381 --> 00:30:02,842
was full and buzzing
with people working really hard.
609
00:30:04,803 --> 00:30:07,096
WAKANA YOSHIHARA:
That was the most fun element,
610
00:30:07,180 --> 00:30:09,766
{\an8}creating the Aladna citizens.
611
00:30:09,849 --> 00:30:14,813
I looked into lots of traditional
African art sculptures and tribes
612
00:30:14,896 --> 00:30:16,773
from the early 20th century,
613
00:30:16,856 --> 00:30:21,736
and I found lots of fascinating hairstyles
and how they shaped themselves.
614
00:30:23,780 --> 00:30:25,907
HELEN INGHAM: Aladna is the colorful bit,
615
00:30:25,990 --> 00:30:27,659
it's the happy bit in the movie.
(CHUCKLES)
616
00:30:27,742 --> 00:30:30,954
{\an8}It's the girly bit if you're like,
"I'm not interested in the fights."
617
00:30:31,037 --> 00:30:32,872
We created costumes for dancers,
618
00:30:32,956 --> 00:30:35,208
so that was slightly different
for movement issues.
619
00:30:35,291 --> 00:30:37,961
Lindsay designed tops,
bottoms, jackets, coats,
620
00:30:38,044 --> 00:30:41,714
all sorts of things that we incorporated
into all the different looks at fitting.
621
00:30:41,798 --> 00:30:43,049
But it's not just Aladna.
622
00:30:43,132 --> 00:30:45,677
We've got other planets on the movie,
and that makes up...
623
00:30:45,760 --> 00:30:49,639
Gosh, it must be 1,000 to 1,200 costumes
and looks that we've created.
624
00:30:51,266 --> 00:30:54,727
Fun fact, Aladna is actually
the leading planet for fashion.
625
00:30:54,811 --> 00:30:57,856
Some of the best costumes
I've ever seen. Ever.
626
00:30:57,939 --> 00:30:59,816
- Stunning.
- DaCOSTA: It's really fun to add something
627
00:30:59,899 --> 00:31:01,484
that we've never seen before in the MCU.
628
00:31:01,568 --> 00:31:05,488
Just to kind of go full comic book madness
with our movie overall.
629
00:31:05,572 --> 00:31:10,493
(SINGING) My Princess from the star...
630
00:31:10,577 --> 00:31:13,371
Sorry. Sorry. Sorry. Stop.
Please stop. We need to talk.
631
00:31:13,454 --> 00:31:15,206
- He doesn't have to sing?
- He's bilingual.
632
00:31:17,083 --> 00:31:20,795
- Yes, Prince Yan. So dreamy.
- What a heartthrob.
633
00:31:21,379 --> 00:31:24,257
DaCOSTA: Park Seo-joon I saw
in a Korean drama during the pandemic.
634
00:31:24,340 --> 00:31:25,341
Absolutely loved him.
635
00:31:25,425 --> 00:31:27,886
I was like, "I think this guy
would be really good."
636
00:31:28,678 --> 00:31:32,098
Park is maybe the most famous person
I've ever worked with in my life.
637
00:31:32,807 --> 00:31:35,184
Like, next level, beyond.
638
00:31:35,560 --> 00:31:36,561
(LAUGHS)
639
00:31:36,895 --> 00:31:40,148
We actually went to karaoke
one night during filming,
640
00:31:40,231 --> 00:31:43,735
and it was quite a stir. (LAUGHS)
641
00:31:44,485 --> 00:31:47,530
He is amazing.
I got to stare into his eyes,
642
00:31:47,614 --> 00:31:50,575
be scene partners with him.
He just has so much charisma.
643
00:31:51,618 --> 00:31:53,995
People are gonna be very into Prince Yan.
644
00:31:56,331 --> 00:32:00,585
Yeah, Park was just supernatural.
He took to a sword so beautifully.
645
00:32:00,668 --> 00:32:03,379
Liang would show him
the choreography once, twice.
646
00:32:03,463 --> 00:32:04,964
- He watched.
- Yeah!
647
00:32:05,048 --> 00:32:08,676
Got it. Did it absolutely beautifully
and with great energy and grace.
648
00:32:08,843 --> 00:32:09,844
(SCREAMS)
649
00:32:11,679 --> 00:32:15,350
You know, we're stunt people.
We love battles and sword play.
650
00:32:15,433 --> 00:32:16,684
We're always in our element.
651
00:32:16,768 --> 00:32:18,519
The more stunt people
we've got flying around,
652
00:32:18,603 --> 00:32:20,480
trying to kill each other,
the happier we are.
653
00:32:21,564 --> 00:32:23,274
- I have an army.
- (ALL EXCLAIM)
654
00:32:23,358 --> 00:32:25,818
ASHTON: My army are made up of the people
655
00:32:25,902 --> 00:32:29,113
that have been teaching these stunts
over the past seven months.
656
00:32:29,197 --> 00:32:32,492
The energy that they give
for an entire shooting day,
657
00:32:32,575 --> 00:32:35,286
and then go learn more fighting
to teach you the next day,
658
00:32:35,370 --> 00:32:39,165
I mean, they're just such uplifting,
kind, gentle people.
659
00:32:39,248 --> 00:32:40,959
They do terrible things in the fight,
660
00:32:41,042 --> 00:32:44,212
but they're very kind (CHUCKLES)
when we're not on camera.
661
00:32:44,921 --> 00:32:48,883
We tried to bring different, unique styles
to the battle with the Aladnians.
662
00:32:48,967 --> 00:32:51,552
We wanted them
to move differently to the Kree.
663
00:32:51,636 --> 00:32:55,765
Aladnian people are much more peaceful,
much more graceful,
664
00:32:55,848 --> 00:32:58,267
much more fluid in their movement
and almost dance-like.
665
00:32:58,351 --> 00:33:01,229
So we wanted to incorporate that
in the battle movements
666
00:33:01,312 --> 00:33:04,524
so you could see the difference,
how they moved the different weapons
667
00:33:04,607 --> 00:33:05,775
as opposed to the Kree,
668
00:33:05,858 --> 00:33:08,444
more traditional
with the guns and the maces.
669
00:33:08,528 --> 00:33:09,904
The battle was great fun.
670
00:33:12,198 --> 00:33:14,659
It's crazy because we're just about
at the halfway mark,
671
00:33:14,742 --> 00:33:17,328
and it's the first time we're
all together in our super suits.
672
00:33:17,412 --> 00:33:21,290
So, we're dressed up as the Marvels.
So that's really exciting.
673
00:33:21,958 --> 00:33:24,961
LINDSAY: For the costumes,
the genesis of everything is the comics.
674
00:33:25,044 --> 00:33:26,421
And so we looked at those
675
00:33:26,504 --> 00:33:29,090
and looking at the way
the illustrations moved
676
00:33:29,173 --> 00:33:32,135
and how it informs you very much
of what the character is,
677
00:33:32,218 --> 00:33:34,762
so you can bring that into something
that then is made real.
678
00:33:34,846 --> 00:33:36,973
It's made 3D, it's made out of fabric.
679
00:33:37,807 --> 00:33:40,852
{\an8}To start the research,
the designer and the design team
680
00:33:40,935 --> 00:33:42,895
look at what they want
to make it look like,
681
00:33:42,979 --> 00:33:44,689
down to buying the correct fabrics,
682
00:33:44,772 --> 00:33:47,483
testing the fabrics, the dyes, the colors,
683
00:33:47,567 --> 00:33:49,527
the fixtures, the zips, the poppers.
684
00:33:50,319 --> 00:33:53,281
{\an8}We are doing things old-school,
by hand, sculpting by hand.
685
00:33:53,364 --> 00:33:56,117
{\an8}We're also digitally sculpting,
we're 3D printing,
686
00:33:56,200 --> 00:33:58,995
laser cutting where everything
is drawn up in the computer.
687
00:33:59,078 --> 00:34:03,207
So we're here to make anything
that is prop-side of all the costumes,
688
00:34:03,291 --> 00:34:05,460
whether it is parts of
the Marvel super suits,
689
00:34:05,543 --> 00:34:09,839
done in rubber, to space helmets,
jewelry, all sorts of things.
690
00:34:10,465 --> 00:34:14,594
HORNSBY: We've had four big workshops,
around 170 crew.
691
00:34:14,677 --> 00:34:19,932
It's almost like a big retail park,
if you can imagine 300-square-foot units.
692
00:34:20,433 --> 00:34:22,685
{\an8}You might have between
eight and 12 cutters
693
00:34:22,769 --> 00:34:24,437
with their teams working on the costumes,
694
00:34:24,520 --> 00:34:27,774
a team of 20-30 people
in the breakdown department,
695
00:34:28,232 --> 00:34:30,443
aging them, dyeing them, gluing them.
696
00:34:30,526 --> 00:34:32,945
A leather department
making the leather sculpting,
697
00:34:33,029 --> 00:34:35,615
costume effects department
making the armors.
698
00:34:35,698 --> 00:34:37,200
We've got some really talented people
699
00:34:37,283 --> 00:34:40,036
that achieved a lot
in a short space of time.
700
00:34:41,871 --> 00:34:45,249
LINDSAY: We all wanted
to find a female strength,
701
00:34:45,333 --> 00:34:49,921
to do this without it being sexualized,
with just being women.
702
00:34:50,004 --> 00:34:52,673
And I think that was
really important to all of us,
703
00:34:52,757 --> 00:34:56,886
that we have these strong characters
just going about their business
704
00:34:56,969 --> 00:35:03,142
without any sort of underlying
or sidelong sort of sexuality.
705
00:35:03,226 --> 00:35:05,895
It was just women being women
and being strong.
706
00:35:05,978 --> 00:35:09,273
Captain Marvel is pretty much invincible,
so she doesn't need armor.
707
00:35:09,357 --> 00:35:11,275
She doesn't need to have
anything to protect her
708
00:35:11,359 --> 00:35:12,944
'cause she does all that herself.
709
00:35:13,027 --> 00:35:16,197
Where we got to was to just have
something that she can work in,
710
00:35:16,280 --> 00:35:19,700
something that's comfortable,
that really shows her brand.
711
00:35:19,784 --> 00:35:22,203
Likewise with Monica,
712
00:35:22,787 --> 00:35:25,498
she's a character that's been around,
that people have seen.
713
00:35:25,581 --> 00:35:27,208
So it was a development of that.
714
00:35:27,291 --> 00:35:29,001
She is now black and white.
715
00:35:29,085 --> 00:35:31,337
That was where we wanted
to go with that one.
716
00:35:31,796 --> 00:35:35,341
Lindsay has been very open
to my thoughts and ideas
717
00:35:35,424 --> 00:35:38,261
and what I'm comfortable with,
what I haven't been comfortable with.
718
00:35:38,344 --> 00:35:40,763
So I'm really happy with the final look.
719
00:35:41,597 --> 00:35:44,767
Get the boots, get everything.
Yes. Thank you.
720
00:35:46,519 --> 00:35:49,564
LINDSAY: And then little Kamala,
she has a series.
721
00:35:49,647 --> 00:35:52,525
So we had that costume
which we carried on through this.
722
00:35:52,608 --> 00:35:54,068
And then she gets an upgrade.
723
00:35:54,527 --> 00:35:56,654
Could you get us something
a little more battle-ready?
724
00:35:56,737 --> 00:35:58,030
DIRECTOR: Action!
725
00:35:58,114 --> 00:36:00,324
You're literally working out
when you wear these suits,
726
00:36:00,408 --> 00:36:01,993
because there's, like, so much going on.
727
00:36:02,076 --> 00:36:06,789
But it's fine because I'm basically
getting jacked just wearing it.
728
00:36:06,873 --> 00:36:08,541
'Cause it's like a workout.
729
00:36:08,624 --> 00:36:10,751
Imagine wearing a dress
made out of resistance bands.
730
00:36:10,835 --> 00:36:13,171
And it's great for my shoulders,
731
00:36:13,254 --> 00:36:16,048
and my trainer says
I'm getting stronger from it.
732
00:36:16,132 --> 00:36:17,508
So that's all that matters.
733
00:36:19,552 --> 00:36:21,804
ASHTON: The outfits
have been such a pleasure.
734
00:36:21,888 --> 00:36:24,348
They've brought such an element
of transformation.
735
00:36:25,224 --> 00:36:29,520
Just running around in leather all day
and studs and these space boots,
736
00:36:29,604 --> 00:36:31,564
you know, it's made it feel so real.
737
00:36:32,481 --> 00:36:35,401
Dar-Benn has a brain for science
and a body for war.
738
00:36:35,484 --> 00:36:41,073
And so it had to be something
that was realistically intimidating
739
00:36:41,157 --> 00:36:42,950
and smart in a way,
740
00:36:43,034 --> 00:36:47,371
because we meet her at this new point
in her career as an emperor.
741
00:36:47,455 --> 00:36:51,209
But then she also does
a hell of a lot of fighting.
742
00:36:52,376 --> 00:36:54,212
It's one against three, you know.
743
00:36:54,295 --> 00:36:56,005
And so I had to be able to move
744
00:36:56,088 --> 00:36:59,008
and to really be believable
as a trained soldier.
745
00:36:59,634 --> 00:37:02,929
So there's a really lovely mixture
of emperor and soldier
746
00:37:03,012 --> 00:37:05,223
that I think Lindsay Pugh,
our costume designer,
747
00:37:05,306 --> 00:37:06,432
has done brilliantly.
748
00:37:06,891 --> 00:37:10,728
I feel so lucky to have had
the hair and makeup team
749
00:37:10,811 --> 00:37:12,605
that I've had on this film.
750
00:37:12,688 --> 00:37:15,233
Wakana Yoshihara,
who's done my hair,
751
00:37:15,316 --> 00:37:17,735
and Chantel McDonald
who's done my makeup
752
00:37:17,818 --> 00:37:19,195
have been my super heroes
753
00:37:19,278 --> 00:37:21,739
because the transformation
has been massive.
754
00:37:21,989 --> 00:37:23,115
(LAUGHS)
755
00:37:23,783 --> 00:37:26,494
It's such a bonkers journey,
but I love it.
756
00:37:26,577 --> 00:37:28,120
I love this look so much.
757
00:37:31,415 --> 00:37:32,833
(INTENSE MUSIC PLAYING)
758
00:37:38,881 --> 00:37:40,967
God, the action's great.
The action's so good.
759
00:37:41,050 --> 00:37:42,843
(LAUGHING) If I do say so myself.
760
00:37:44,845 --> 00:37:47,223
{\an8}Oh, wow. This movie has a lot of action.
761
00:37:49,016 --> 00:37:50,810
My mom is texting me, "How's work today?"
762
00:37:50,893 --> 00:37:52,853
And I'm like,
"Oh, just fighting some aliens."
763
00:37:53,562 --> 00:37:54,563
That's what I do now.
764
00:37:54,647 --> 00:37:55,648
(GROANS)
765
00:37:56,732 --> 00:37:58,359
I mean, it's playtime.
766
00:37:58,484 --> 00:37:59,860
(SCREAMS)
767
00:38:02,196 --> 00:38:04,865
When we talked about action with Nia
in the very beginning,
768
00:38:04,949 --> 00:38:07,243
we want to feel everything we do is real.
769
00:38:07,827 --> 00:38:09,287
- MAN: Pull.
- (PARRIS EXCLAIMS)
770
00:38:09,370 --> 00:38:13,499
DaCOSTA: I really just wanted the action
to feel grounded enough...
771
00:38:16,585 --> 00:38:19,755
So that when things did go crazy
and people were fighting in the sky,
772
00:38:21,299 --> 00:38:23,050
you kind of just believed in everything.
773
00:38:26,095 --> 00:38:27,847
The action's just really special.
774
00:38:27,930 --> 00:38:31,225
One of the first things I talked about
with Jo McLaren, our stunt coordinator,
775
00:38:31,309 --> 00:38:34,937
and our second unit director Peng
was each character having their own style.
776
00:38:36,147 --> 00:38:38,107
We saw how it developed
throughout the film.
777
00:38:38,232 --> 00:38:40,484
Everybody is seeing
so many superhero movies.
778
00:38:40,568 --> 00:38:42,695
How we can make something interesting,
779
00:38:43,487 --> 00:38:44,488
fresh.
780
00:38:45,531 --> 00:38:46,907
That's my challenge.
781
00:38:47,325 --> 00:38:48,534
Now we have Ms. Marvel...
782
00:38:48,617 --> 00:38:49,618
Hi.
783
00:38:50,161 --> 00:38:51,287
We have Monica.
784
00:38:52,913 --> 00:38:54,373
They all have different super power.
785
00:38:56,834 --> 00:38:58,377
I can't fly.
786
00:38:58,919 --> 00:39:00,129
MALE KREE: Annihilator!
787
00:39:00,212 --> 00:39:02,465
In this movie,
you definitely see the powers
788
00:39:02,548 --> 00:39:03,924
they started with evolve.
789
00:39:04,008 --> 00:39:05,885
Ms. Marvel, she's just gotten her powers.
790
00:39:07,386 --> 00:39:08,971
At first it can be a little bit random.
791
00:39:09,055 --> 00:39:11,432
It was a little more clunky,
and not as elegant.
792
00:39:13,184 --> 00:39:16,604
She can create orbs and things
and traps Kree inside those.
793
00:39:17,897 --> 00:39:19,023
(WARBLING)
794
00:39:19,982 --> 00:39:21,692
We definitely see that evolve at the end.
795
00:39:21,776 --> 00:39:25,696
She uses the hard light to completely
her advantage and for teamwork.
796
00:39:25,821 --> 00:39:26,822
(MS. MARVEL GRUNTING)
797
00:39:28,908 --> 00:39:32,453
And then there's Monica Rambeau
who has not used her powers at all,
798
00:39:32,536 --> 00:39:33,621
except for science.
799
00:39:33,704 --> 00:39:35,206
She has to learn how to fight.
800
00:39:35,331 --> 00:39:36,374
(GRUNTS)
801
00:39:36,457 --> 00:39:38,084
She has to know how to fly,
all this stuff.
802
00:39:38,167 --> 00:39:41,379
We first see her begin to fly
outside the Khans' house.
803
00:39:41,462 --> 00:39:42,797
You gotta fly.
804
00:39:45,132 --> 00:39:48,886
She needs to go and believe
that she can go up and help save Kamala.
805
00:39:49,970 --> 00:39:52,223
She gets better
and more confident as we go.
806
00:39:55,518 --> 00:39:58,771
For Teyonah, it was really important
to track, that she's figuring things out.
807
00:39:58,854 --> 00:40:01,107
So a lot of,
"Is this is my first time doing this?"
808
00:40:01,190 --> 00:40:03,067
"Yeah, this is your first time flying."
809
00:40:03,692 --> 00:40:07,321
Or, "It's not your first time doing that,
but your first time doing it offensively.
810
00:40:07,405 --> 00:40:09,740
"It's your first time
hitting someone with it."
811
00:40:11,409 --> 00:40:14,245
And then with Captain Marvel,
she's been doing this for 30 years.
812
00:40:14,745 --> 00:40:17,456
She can be a little bit sloppy
because she's not as focused.
813
00:40:18,833 --> 00:40:20,793
Maybe she takes
certain things for granted,
814
00:40:20,876 --> 00:40:23,003
and we see how that shifts
throughout the film.
815
00:40:23,087 --> 00:40:24,088
Come on.
816
00:40:24,255 --> 00:40:25,381
(EXCLAIMING IN PAIN)
817
00:40:25,881 --> 00:40:29,718
A lot of time, it's Captain Marvel
against maybe 20, 30 Kree.
818
00:40:29,802 --> 00:40:31,637
She is the most powerful.
819
00:40:31,720 --> 00:40:33,848
Three, two, one. Action!
820
00:40:34,473 --> 00:40:35,933
We have to show
that sense of power.
821
00:40:36,016 --> 00:40:38,686
And we do that with
one of the best wire teams...
822
00:40:40,020 --> 00:40:41,021
in the world.
823
00:40:41,605 --> 00:40:43,315
Daryl Andrews, Joe Spilhaus.
824
00:40:45,109 --> 00:40:46,777
Incredibly hardworking team.
825
00:40:47,820 --> 00:40:48,821
LARSON: That's fun.
826
00:40:48,904 --> 00:40:50,614
I can see all the trailers.
827
00:40:50,698 --> 00:40:53,075
This is a very wire-intensive movie.
828
00:40:53,159 --> 00:40:55,244
We have wires pretty much every day.
829
00:40:55,327 --> 00:40:58,664
We see Kree and Dar-Benn getting
flung here, there and everywhere.
830
00:40:58,747 --> 00:41:00,458
And when you see those sequences,
831
00:41:00,541 --> 00:41:03,502
all of those moments
are meticulously worked out.
832
00:41:03,586 --> 00:41:05,504
We look at the physics, we do bag tests,
833
00:41:05,588 --> 00:41:08,257
we rehearse with lots of pads,
lots of thick mats.
834
00:41:08,340 --> 00:41:10,301
And then eventually,
when things get dialed in,
835
00:41:10,384 --> 00:41:12,845
then we'll go to soft set,
we'll go to thinner mats.
836
00:41:12,928 --> 00:41:15,264
Obviously, we want to protect
our stunt performers.
837
00:41:15,764 --> 00:41:17,266
Oh, it's cool. It's Carol.
838
00:41:17,683 --> 00:41:18,809
{\an8}(ZHANG SPEAKING)
839
00:41:24,899 --> 00:41:26,066
(ALL LAUGHING)
840
00:41:26,150 --> 00:41:28,903
Guys, Peng is the best.
841
00:41:28,986 --> 00:41:33,073
If you've seen Shang-Chi,
then you'll know he is an absolute pro.
842
00:41:33,157 --> 00:41:35,826
Fun fact, he used to be
Jet Li's stunt double.
843
00:41:35,910 --> 00:41:37,870
- Zawe's my agent.
- (LAUGHING)
844
00:41:39,163 --> 00:41:42,750
It was really fun to figure out
not just how Ms. Marvel and Captain Marvel
845
00:41:42,833 --> 00:41:43,918
and Monica Rambeau fight,
846
00:41:44,001 --> 00:41:46,003
but also how does the Khan family fight.
847
00:41:46,086 --> 00:41:47,671
How does Mrs. Khan and Mr. Khan,
848
00:41:47,755 --> 00:41:49,924
like, how are they gonna fight
against these aliens?
849
00:41:50,007 --> 00:41:51,675
- DIRECTOR: Action.
- (EXCLAIMING)
850
00:41:51,759 --> 00:41:53,260
- (SCREAMING)
- (ELECTRICITY CRACKLING)
851
00:41:55,429 --> 00:41:56,722
(BOTH GRUNTING)
852
00:41:56,805 --> 00:41:59,308
Obviously, this movie
has a lot of visual effects.
853
00:41:59,391 --> 00:42:02,228
Almost every shot,
you have a visual effects element,
854
00:42:02,311 --> 00:42:05,272
but we wanted physical to do it,
practical to do it.
855
00:42:07,274 --> 00:42:08,943
MAN: Pull the camera away for this one.
856
00:42:09,026 --> 00:42:11,237
ZHANG: Actually, you can see
how high the roof is.
857
00:42:11,320 --> 00:42:15,032
This is Carol, jump off,
landing on MB-418.
858
00:42:16,116 --> 00:42:20,746
With people that small, we still decided
to use a stunt double to drop.
859
00:42:20,829 --> 00:42:23,874
This is about 40 feet
to do the real action.
860
00:42:24,500 --> 00:42:28,128
The visual effects will help to build up
the speed, build up the environment,
861
00:42:28,212 --> 00:42:29,838
but obviously the stunt is real.
862
00:42:31,423 --> 00:42:35,678
Even when they're flying, we put them on
all the different rigs, winches,
863
00:42:36,929 --> 00:42:38,055
ratchets.
864
00:42:41,475 --> 00:42:45,020
I always found it funny when all three,
Iman, Teyonah and Brie
865
00:42:45,104 --> 00:42:46,188
would all be on wires.
866
00:42:46,272 --> 00:42:47,273
Brie's sort of like,
867
00:42:47,356 --> 00:42:49,275
- "All right, here we go."
- (BELL RINGS)
868
00:42:50,025 --> 00:42:51,277
Teyonah's, "This is new for me."
869
00:42:52,820 --> 00:42:54,405
It was real... It was fun.
870
00:42:54,488 --> 00:42:57,199
It was a lot of fun,
but because I'm having to, like, act
871
00:42:57,283 --> 00:42:59,868
and they shoot me up like a cannon,
872
00:43:00,828 --> 00:43:04,248
I was a little scared and shaken up,
but it was nice.
873
00:43:04,331 --> 00:43:06,458
And Iman's like, "Yay!"
She's in a theme park.
874
00:43:06,542 --> 00:43:09,253
I love roller coasters.
So this is, like, my ideal job.
875
00:43:09,336 --> 00:43:11,547
Seeing different reactions
to that was funny.
876
00:43:11,630 --> 00:43:13,632
I'm having the time of my life. (CHUCKLES)
877
00:43:13,716 --> 00:43:16,427
I know Teyonah sometimes
finds it a little difficult.
878
00:43:18,971 --> 00:43:22,391
And she just sees me spinning around
on the tuning fork and everything,
879
00:43:22,474 --> 00:43:24,768
and I'm like having the time of my life.
880
00:43:26,520 --> 00:43:28,272
This is great. (LAUGHING)
881
00:43:29,231 --> 00:43:31,442
I come to work and I just play around.
882
00:43:31,525 --> 00:43:33,277
It's like bungee jumping every day.
883
00:43:33,360 --> 00:43:34,820
Oh, it's great. It's a dream.
884
00:43:34,903 --> 00:43:36,196
DIRECTOR: Action.
885
00:43:38,198 --> 00:43:40,451
This is where all the training
actually comes in,
886
00:43:40,534 --> 00:43:42,244
where you're being hung on a wire
887
00:43:42,328 --> 00:43:44,747
by, like, your shoulder point
and your thighs.
888
00:43:44,830 --> 00:43:46,540
You just got to hold your core like crazy.
889
00:43:46,624 --> 00:43:48,709
You're working out all day. It's insane.
890
00:43:48,792 --> 00:43:50,377
But this is the superhero stuff.
891
00:43:50,919 --> 00:43:53,380
It's dorky, and as weird as it looks,
892
00:43:53,464 --> 00:43:56,550
when we're all bald and have,
like, weird alien spikes on our head
893
00:43:56,634 --> 00:43:58,677
and dots on our face, it's like...
894
00:43:58,761 --> 00:43:59,803
It's weird.
895
00:44:00,387 --> 00:44:02,014
But you still feel like a superhero.
896
00:44:03,140 --> 00:44:05,267
LARSON: The preparation is intense.
897
00:44:05,351 --> 00:44:07,186
For the first film,
I trained for nine months,
898
00:44:07,269 --> 00:44:09,521
the second film,
probably about four months.
899
00:44:09,605 --> 00:44:15,653
I was able to do a one-arm pull-up
and one-arm push-ups. Ten on both arms.
900
00:44:15,736 --> 00:44:19,448
And it's all about just getting my body
completely limber and strong
901
00:44:19,531 --> 00:44:20,783
and ready for whatever.
902
00:44:23,410 --> 00:44:24,620
PARRIS: When I first got here,
903
00:44:24,703 --> 00:44:27,247
I had a couple of weeks with Maria,
my stunt double,
904
00:44:27,331 --> 00:44:28,957
just really trying to learn some basics.
905
00:44:29,041 --> 00:44:32,419
They've just been so helpful,
so patient, so encouraging.
906
00:44:32,503 --> 00:44:34,213
Also just really badass, as you can see.
907
00:44:34,296 --> 00:44:36,965
So I'm like, "I'm gonna tap you in.
You go. You do it.
908
00:44:37,049 --> 00:44:39,927
"Please make me look great.
I'll do what I can." It's been wonderful.
909
00:44:40,636 --> 00:44:43,013
ASHTON: I can't talk about
the stunt team without crying,
910
00:44:43,097 --> 00:44:45,140
so I'm going to try this one time.
911
00:44:45,683 --> 00:44:47,059
(ELECTRONIC MUSIC PLAYING)
912
00:44:48,519 --> 00:44:53,982
I had no idea how key the stunt team is
to a film like this.
913
00:44:57,236 --> 00:45:00,030
That might sound naive,
but they are the beating heart.
914
00:45:03,075 --> 00:45:06,620
Like in a musical, when you sing,
that's your level of communication.
915
00:45:06,704 --> 00:45:10,165
Combat is the communication
of these films.
916
00:45:11,375 --> 00:45:13,168
When I first went into my stunt session,
917
00:45:13,252 --> 00:45:17,423
I worried about my level
of strength and coordination.
918
00:45:18,590 --> 00:45:22,678
But I needn't have worried
because the stunt team are the kindest,
919
00:45:22,761 --> 00:45:24,847
most hardworking people you could meet.
920
00:45:27,599 --> 00:45:30,144
{\an8}I've just been talking about all you guys.
921
00:45:30,227 --> 00:45:32,187
{\an8}LISTER: Oh, no. It's not true. I promise.
922
00:45:32,271 --> 00:45:34,773
ASHTON: These are the amazing team
that I've been talking about.
923
00:45:34,857 --> 00:45:38,318
Andy Lister, Liang, Snow,
Rashid Phoenix.
924
00:45:38,402 --> 00:45:41,113
That's Maria and Jess and Snow.
925
00:45:42,156 --> 00:45:44,491
My stunt double's one of
the greatest people ever. (CHUCKLES)
926
00:45:44,867 --> 00:45:47,786
- As you can see, Rashid is a male.
- (LAUGHS)
927
00:45:47,870 --> 00:45:51,331
Yes, so Zawe is a lovely,
lovely tall lady.
928
00:45:52,875 --> 00:45:57,379
We're a little bit short on 5'11" ladies
over here in the UK.
929
00:45:57,463 --> 00:45:59,840
So come on, girls,
get training for the stunt register.
930
00:45:59,923 --> 00:46:05,137
He's had to throw himself into wearing
a lot of padding in all the right places.
931
00:46:05,888 --> 00:46:10,142
He's a tall, slender gentleman with legs
most women would absolutely kill for.
932
00:46:11,810 --> 00:46:13,854
Zawe had that situation before,
933
00:46:13,937 --> 00:46:16,523
and was more than happy
and absolutely loves Rash.
934
00:46:16,607 --> 00:46:20,319
And then we have the lovely Chloe
who is a beautiful mover as well,
935
00:46:20,402 --> 00:46:22,279
but can't be in two places at once.
936
00:46:22,362 --> 00:46:25,449
He makes me look so good.
And you wear the hair well.
937
00:46:26,366 --> 00:46:27,743
Thank you. (LAUGHS)
938
00:46:27,826 --> 00:46:30,204
(CHUCKLING) Sometimes it's styled
a bit better than mine.
939
00:46:30,287 --> 00:46:32,372
- I get annoyed about that.
- Don't talk about that.
940
00:46:36,168 --> 00:46:40,172
The wonderful thing about working
in visual effects for Marvel Studios,
941
00:46:41,131 --> 00:46:45,636
they allow us to capture all of the
reference we would ever need every time.
942
00:46:49,723 --> 00:46:51,600
Are there cats? (GASPS)
943
00:46:53,602 --> 00:46:54,937
(MEOWS)
944
00:46:57,606 --> 00:47:00,859
{\an8}- Nia really cared about cats.
- (MEOWS)
945
00:47:00,943 --> 00:47:04,196
DeMARCO: We brought real cats
into pretty much every scene.
946
00:47:04,279 --> 00:47:05,572
DaCOSTA: It was so cute.
947
00:47:05,656 --> 00:47:09,076
Even the grumpiest crew members
would be like, "Where are the cats?"
948
00:47:10,452 --> 00:47:14,331
DeMARCO: The interesting challenge
with recreating a house cat
949
00:47:14,414 --> 00:47:17,376
is that many, many people have house cats,
950
00:47:17,459 --> 00:47:19,461
and they know what they look like.
951
00:47:19,545 --> 00:47:21,296
You might have one
that sleeps next to you.
952
00:47:21,922 --> 00:47:24,883
We wanted to be as accurate as possible.
953
00:47:24,967 --> 00:47:29,429
So we actually did a super complicated
cat scan... (IMITATES DRUM ROLL)
954
00:47:29,513 --> 00:47:31,849
...to create the best possible CG cat.
955
00:47:33,725 --> 00:47:35,352
JO VAUGHN: We have two Geese on this.
956
00:47:35,435 --> 00:47:39,481
{\an8}This is Nemo, who is one of them.
The lead cat is called Tango.
957
00:47:39,565 --> 00:47:42,359
We have two because they're both good
at very different things.
958
00:47:42,442 --> 00:47:44,486
Nemo, he's a bit more of a stunt cat.
959
00:47:44,570 --> 00:47:46,572
He likes to do all the running,
the jumping.
960
00:47:46,655 --> 00:47:48,031
Tango is much steadier.
961
00:47:48,115 --> 00:47:51,618
He does all of the sitting, staying,
the eyelines, the quirky looks.
962
00:47:51,702 --> 00:47:52,786
They're a good team.
963
00:47:53,161 --> 00:47:54,162
(BELL RINGS)
964
00:47:55,330 --> 00:47:57,916
Tango and Nemo,
they're really just a nightmare.
965
00:47:58,000 --> 00:48:00,335
- (BOTH LAUGHING)
- I'm kidding.
966
00:48:00,419 --> 00:48:02,671
They're just the biggest divas
on this set.
967
00:48:02,754 --> 00:48:05,674
At one point, to Nia I was like,
"It's me or them."
968
00:48:05,757 --> 00:48:08,135
- And Nia made her choice. (LAUGHS)
- KARASIK: Yeah.
969
00:48:08,218 --> 00:48:10,345
And that was the last day
I worked on The Marvels.
970
00:48:10,429 --> 00:48:11,513
DIRECTOR: Action.
971
00:48:12,222 --> 00:48:13,223
(WOMAN LAUGHS)
972
00:48:13,307 --> 00:48:16,351
DaCOSTA: I'll give these back
so people think I'm actually working.
973
00:48:18,020 --> 00:48:20,856
LIVANOS: Kitten days were exhilarating,
truly the best thing ever.
974
00:48:20,939 --> 00:48:22,566
Also, incredibly stressful.
975
00:48:24,651 --> 00:48:27,237
They were tiny and sweet
and terrifyingly unpredictable.
976
00:48:27,654 --> 00:48:28,739
(PURRS)
977
00:48:28,906 --> 00:48:31,408
LIVANOS: The entire crew became cat moms.
978
00:48:31,491 --> 00:48:33,869
Everyone was liable to herd cats
979
00:48:33,952 --> 00:48:35,621
if ever they ran off
in the wrong direction.
980
00:48:35,704 --> 00:48:37,122
So, we're literally herding cats?
981
00:48:37,956 --> 00:48:41,251
It basically became the scene
of the movie that we were shooting.
982
00:48:41,335 --> 00:48:45,380
DeMARCO: Just like with Goose, we often
would film our kittens as a reference.
983
00:48:45,464 --> 00:48:49,176
But kittens aren't as well-trained
as our hero Goose was.
984
00:48:49,259 --> 00:48:52,095
So almost every kitten
in the movie is a CG kitten.
985
00:48:52,179 --> 00:48:53,180
(MEOWS)
986
00:48:53,263 --> 00:48:56,433
But there are a handful of shots
where they were too cute to pass up,
987
00:48:56,516 --> 00:48:59,186
and I'll let you decide
which ones they were.
988
00:48:59,853 --> 00:49:02,064
LARSON: When your director's
giving you notes
989
00:49:02,147 --> 00:49:04,399
and like everyone's got a kitten,
that's a great day.
990
00:49:04,483 --> 00:49:05,984
When you're on an 85-day shoot,
991
00:49:06,068 --> 00:49:08,236
you should have some days
where kittens are there.
992
00:49:10,280 --> 00:49:11,365
I do like cats.
993
00:49:11,823 --> 00:49:13,241
(CAPTIVATING MUSIC PLAYING)
994
00:49:16,495 --> 00:49:21,375
KARASIK: The gift and challenge of this
movie is that you're not only answering
995
00:49:21,458 --> 00:49:24,878
to the widening MCU
and multiple backstories,
996
00:49:24,962 --> 00:49:26,672
but you're doing that times three.
997
00:49:27,756 --> 00:49:30,258
Something that I've always loved
about MCU as a fan
998
00:49:30,342 --> 00:49:33,261
is how it blends so many genres at once.
999
00:49:33,345 --> 00:49:37,641
And oftentimes the tone of a movie
will follow from the character.
1000
00:49:38,141 --> 00:49:40,018
When you have three characters like this,
1001
00:49:40,102 --> 00:49:43,146
it actually gives you a lot to play with.
1002
00:49:45,315 --> 00:49:47,359
KARPMAN: We're here today
at Abbey Road Studios
1003
00:49:48,610 --> 00:49:50,904
recording the score for The Marvels.
1004
00:49:52,656 --> 00:49:53,907
(PLAYING VIOLIN)
1005
00:49:56,159 --> 00:49:58,328
KARPMAN: I feel privileged
beyond belief to be here.
1006
00:49:59,121 --> 00:50:02,791
It sounds amazing. The room is amazing.
The musicians are amazing.
1007
00:50:03,750 --> 00:50:05,919
To have this kind of orchestra,
1008
00:50:06,003 --> 00:50:09,840
and this combination of 90 players
out there who are all phenomenal,
1009
00:50:09,923 --> 00:50:12,926
to be able to express
my musical thoughts is a privilege.
1010
00:50:14,970 --> 00:50:18,015
Laura Karpman came to us from What If...?,
1011
00:50:18,098 --> 00:50:21,768
taking many different heroes
from all across the Marvel universe
1012
00:50:21,852 --> 00:50:26,857
and finding each of their own
signature sounds and themes
1013
00:50:26,940 --> 00:50:28,275
and bringing them together.
1014
00:50:28,358 --> 00:50:33,113
What If...? was a great place to train
for doing Ms. Marvel and The Marvels.
1015
00:50:35,991 --> 00:50:40,787
You've got our three protagonists,
all who've appeared in other shows, right?
1016
00:50:40,871 --> 00:50:42,789
Ms. Marvel, WandaVision,
1017
00:50:42,873 --> 00:50:44,583
and, of course, Captain Marvel.
1018
00:50:45,625 --> 00:50:50,547
So we had to have a new superhero theme
that was the theme for the three of them.
1019
00:50:50,630 --> 00:50:52,507
Like, a team theme.
1020
00:50:52,591 --> 00:50:54,176
(ORCHESTRAL MUSIC PLAYING)
1021
00:50:56,595 --> 00:50:58,805
Laura did an amazing job
coming up with a theme
1022
00:50:58,889 --> 00:51:00,766
that we all hum around the office.
1023
00:51:00,849 --> 00:51:02,100
So good. (LAUGHS)
1024
00:51:02,184 --> 00:51:05,812
Sometimes I'll turn it on just to dance
to it (LAUGHING) in my office.
1025
00:51:08,857 --> 00:51:10,692
KARPMAN: I think it's a fabulous theme.
1026
00:51:10,776 --> 00:51:12,986
Am I allowed to say that?
I think it's great.
1027
00:51:13,987 --> 00:51:17,616
Twelve French horns, Marvel theme,
upbeat, you know, super fun.
1028
00:51:20,243 --> 00:51:21,453
(ORCHESTRAL MUSIC PLAYING)
1029
00:51:25,165 --> 00:51:28,251
Also, quite noteworthy
is our theme for Dar-Benn.
1030
00:51:29,419 --> 00:51:34,257
For her sound, I used seven flutes,
including a contrabass flute.
1031
00:51:35,342 --> 00:51:39,638
So, it's this wicked, low, slithery sound.
1032
00:51:40,472 --> 00:51:42,432
That, to me, is Dar-Benn.
1033
00:51:45,977 --> 00:51:49,106
The flute theme you'll hear,
there's bit of jazz in there, I gotta say.
1034
00:51:51,108 --> 00:51:54,319
'Cause Dar-Benn's kind of jazzy
in her own way, right?
1035
00:51:54,402 --> 00:51:55,779
She's got a vibe.
1036
00:51:55,862 --> 00:51:59,116
She's got an attitude
which struck me as smoky.
1037
00:52:03,787 --> 00:52:05,413
Nia had a lot of input.
1038
00:52:05,497 --> 00:52:08,959
She came to every session.
She was really there. She participated.
1039
00:52:09,042 --> 00:52:11,586
- See all the strings doing that.
- DaCOSTA: Mmm-hmm.
1040
00:52:11,670 --> 00:52:14,923
KARPMAN: We did some really cool
improvisations with the orchestra as well.
1041
00:52:15,006 --> 00:52:18,885
I call it the wall of sound, where I took
all of the elements of Dar-Benn's theme
1042
00:52:18,969 --> 00:52:22,097
and cued everyone in the orchestra
to play them simultaneously.
1043
00:52:22,180 --> 00:52:24,808
So what it is, is it's structured chaos.
1044
00:52:24,891 --> 00:52:26,268
She was super hip to that,
1045
00:52:26,351 --> 00:52:28,562
and loved all that
kind of experimentation.
1046
00:52:37,070 --> 00:52:38,405
(FLUTE MUSIC PLAYING)
1047
00:52:46,079 --> 00:52:47,497
(INTENSE MUSIC PLAYING)
1048
00:52:54,754 --> 00:52:55,881
(MUSIC STOPS)
1049
00:52:58,216 --> 00:52:59,426
{\an8}Absolutely perfect.
1050
00:52:59,509 --> 00:53:00,760
{\an8}Thank you.
1051
00:53:04,598 --> 00:53:06,808
KARPMAN: The week
that we spent at Abbey Road was
1052
00:53:06,892 --> 00:53:08,643
really one of the best weeks of my life.
1053
00:53:08,727 --> 00:53:13,440
There was a sense of camaraderie.
We had all-female first chair players,
1054
00:53:13,523 --> 00:53:15,275
and I insisted on a diverse orchestra.
1055
00:53:15,358 --> 00:53:18,695
So we saw a lot of different faces
in the orchestra, so that was great.
1056
00:53:18,778 --> 00:53:24,201
I feel so fortunate to be appreciated
in this world because I love it so much.
1057
00:53:24,284 --> 00:53:26,119
MAN: Three, two, one...
1058
00:53:26,912 --> 00:53:29,039
(LAUGHING) A bit too quickly. Sorry.
1059
00:53:30,290 --> 00:53:32,667
There were so many fun
and memorable things from set.
1060
00:53:32,751 --> 00:53:35,086
- (ALL CHEERING)
- It was a really fun shoot
1061
00:53:35,170 --> 00:53:37,088
with so many moments
that were really memorable.
1062
00:53:37,172 --> 00:53:39,090
- Oh, my God!
- (WOMEN SCREAMING)
1063
00:53:40,300 --> 00:53:43,094
Kevin Feige, Samuel Jackson,
Brie Larson, Teyonah Parris,
1064
00:53:43,178 --> 00:53:45,430
just all these amazing people
singing me Happy Birthday.
1065
00:53:45,513 --> 00:53:47,182
(ALL CHEERING)
1066
00:53:47,265 --> 00:53:49,893
That moment replays in my head
over and over again.
1067
00:53:50,060 --> 00:53:51,269
Cake was good, too.
1068
00:53:51,645 --> 00:53:55,482
This is not us going to, like, work
and then we clock out. This is our life.
1069
00:53:55,565 --> 00:53:57,776
So there was just this childlike play.
1070
00:53:57,859 --> 00:54:01,029
We're able to rib each other because
we have so much love for one another.
1071
00:54:03,365 --> 00:54:06,201
Some really funny things that happened
will not sound funny at all,
1072
00:54:06,284 --> 00:54:08,578
'cause it's like,
"Someone went up on a wire weird."
1073
00:54:08,662 --> 00:54:12,374
And we could not stop laughing
for the longest time.
1074
00:54:13,708 --> 00:54:14,709
This is my fault.
1075
00:54:14,793 --> 00:54:16,711
It was so much fun. It was so great.
1076
00:54:17,379 --> 00:54:19,464
I had the most amazing crew...
1077
00:54:19,547 --> 00:54:20,632
(COOING)
1078
00:54:20,715 --> 00:54:22,175
...and every day was something new.
1079
00:54:22,968 --> 00:54:24,970
This show,
it's a bit like a party. (CHUCKLES)
1080
00:54:26,054 --> 00:54:27,639
We all just had each other basically.
1081
00:54:28,765 --> 00:54:32,269
{\an8}Now, guys, just one more from me
before I hand over to Nia.
1082
00:54:32,352 --> 00:54:34,813
{\an8}I want to say to Nia from all of us,
1083
00:54:34,896 --> 00:54:39,150
I think, will join me in saying, the most
fantastic leader we could have had
1084
00:54:39,234 --> 00:54:41,069
for the last 17 weeks
and all the prep,
1085
00:54:41,152 --> 00:54:42,445
and the best of luck to her.
1086
00:54:42,529 --> 00:54:43,738
(ALL CHEERING)
1087
00:54:44,739 --> 00:54:46,950
Thank you so, so, so, so much.
1088
00:54:47,033 --> 00:54:50,161
This job absolutely terrified me
when I got it last summer.
1089
00:54:50,662 --> 00:54:55,583
You guys have made it the most enjoyable,
exciting, awesome experience I've had.
1090
00:54:55,667 --> 00:54:59,296
- I love you all. Thank you. Thank you.
- (ALL APPLAUDING)
1091
00:55:01,298 --> 00:55:03,883
LIVANOS: The set was a really
wonderful place to be.
1092
00:55:03,967 --> 00:55:05,593
The crew really became a family.
1093
00:55:05,677 --> 00:55:08,972
It's truly been a passion project
for each and every one of us.
1094
00:55:09,889 --> 00:55:14,978
Nia, our director, and Mary, our producer,
fostered the best on-set environment.
1095
00:55:15,061 --> 00:55:20,442
It was really fulfilling to work with
such an integrated collaborative group.
1096
00:55:20,525 --> 00:55:21,568
LIVANOS: Amazing, guys.
1097
00:55:21,651 --> 00:55:23,528
The most rewarding part
of this whole production
1098
00:55:23,611 --> 00:55:26,781
is the collaboration with the cast,
with the crew.
1099
00:55:26,865 --> 00:55:27,949
Thank you so much.
1100
00:55:28,742 --> 00:55:32,704
It is an extraordinary privilege
to work with such talented people.
1101
00:55:33,788 --> 00:55:38,335
LARSON: Hair, makeup, wardrobe,
choreography, everything.
1102
00:55:38,418 --> 00:55:39,544
It went to the next level.
1103
00:55:41,004 --> 00:55:44,424
VELLANI: This movie's gonna inspire
a lot of people, and I'm very excited.
1104
00:55:44,507 --> 00:55:47,635
I think it's very different
than everything we have in the MCU so far,
1105
00:55:47,719 --> 00:55:50,180
and, you know, it's so rare
where you get to see
1106
00:55:50,263 --> 00:55:54,309
this many badass people of color
and women at the forefront
1107
00:55:54,392 --> 00:55:57,312
of a movie on a scale this huge.
1108
00:56:02,734 --> 00:56:04,027
(DEBRIS CRUMBLING)
1109
00:56:07,197 --> 00:56:11,117
KARASIK: This movie is a tone-setter,
I think, for the MCU going forward,
1110
00:56:11,201 --> 00:56:13,370
in terms of how it does bring
1111
00:56:13,453 --> 00:56:16,873
disparate characters together
across space and time,
1112
00:56:16,956 --> 00:56:20,502
how that can really escalate
or upgrade the storytelling.
1113
00:56:20,585 --> 00:56:24,798
There's more of a cosmic community,
whether or not the characters know that.
1114
00:56:26,174 --> 00:56:28,385
"What you seek is seeking you."
1115
00:56:28,468 --> 00:56:29,761
Okay.
1116
00:56:30,512 --> 00:56:32,305
(SIGHS) Today is my wrap day.
1117
00:56:32,972 --> 00:56:34,599
Very bittersweet about it.
1118
00:56:34,682 --> 00:56:36,851
Haven't really processed anything.
1119
00:56:36,935 --> 00:56:40,063
This job has been so incredibly wonderful.
1120
00:56:40,146 --> 00:56:41,898
- (ALL CLAPPING)
- (PERSON WHISTLES)
1121
00:56:50,990 --> 00:56:52,492
Thank you, everyone.
1122
00:56:52,575 --> 00:56:55,203
Thank you so much.
Thank you for being here.
1123
00:56:55,286 --> 00:56:59,749
Thank you for being away from your
families and your friends and your pets
1124
00:56:59,833 --> 00:57:01,126
and your loved ones.
1125
00:57:01,209 --> 00:57:03,628
Thank you for dedicating
so much time to this.
1126
00:57:03,711 --> 00:57:05,880
I just cherish all of you so much.
1127
00:57:05,964 --> 00:57:07,966
(ALL CHEERING AND CLAPPING)
1128
00:57:08,925 --> 00:57:10,260
(PERSON WHISTLES)
1129
00:57:12,387 --> 00:57:13,680
(SOFTLY) Thank you so much.
1130
00:57:16,933 --> 00:57:18,726
Where this film ends,
1131
00:57:19,477 --> 00:57:23,064
there's a big question mark there
of what that means for Carol.
1132
00:57:23,982 --> 00:57:26,067
There's a lot in her heart
that is settled.
1133
00:57:26,151 --> 00:57:28,027
There's a lot in my heart
that feels settled.
1134
00:57:29,112 --> 00:57:33,408
Every other character, when it's over,
I'm like, "Get it off."
1135
00:57:33,491 --> 00:57:35,952
And this is the one that I've been like,
1136
00:57:36,035 --> 00:57:38,663
"I think I'm gonna keep this on
a little bit longer."
1137
00:57:38,746 --> 00:57:44,752
And I've seen how this star, this symbol
has meant so much to so many people.
1138
00:57:44,836 --> 00:57:48,298
I would love to carry on that tradition
of being able to be part of it.
1139
00:57:49,132 --> 00:57:52,969
And also I understand
that it's not all mine, you know?
1140
00:57:53,052 --> 00:57:56,764
Anybody can take that mantle.
And I also feel at peace with the fact
1141
00:57:56,848 --> 00:57:58,933
that we've got this new school coming in.
1142
00:57:59,017 --> 00:58:00,351
I was born for this.
1143
00:58:00,435 --> 00:58:03,813
LARSON: There's new faces,
new superheroes coming in,
1144
00:58:03,897 --> 00:58:06,191
and so I don't know
where Carol's place is.
1145
00:58:06,858 --> 00:58:09,152
And I feel like I can rest
in the fact that, like,
1146
00:58:09,235 --> 00:58:10,820
we've got some amazing people
1147
00:58:10,904 --> 00:58:13,072
that are going to help
take care of this universe.
1148
00:58:13,823 --> 00:58:15,450
Higher, further, faster.
1149
00:58:15,533 --> 00:58:16,993
Higher, further, faster.
1150
00:58:18,328 --> 00:58:19,412
(MUSIC BUILDS)
1151
00:58:25,043 --> 00:58:26,044
(WHOOSHES)
1152
00:58:28,171 --> 00:58:30,173
(HEROIC MUSIC PLAYING)