1
00:00:12,471 --> 00:00:15,933
MATT SHAKMAN: Welcome
to what is a strange event.
2
00:00:16,016 --> 00:00:20,145
The first live sitcom taping
in Marvel Studios history.
3
00:00:20,229 --> 00:00:21,480
(ALL CHEERING)
4
00:00:24,358 --> 00:00:27,319
I didn't know that I was gonna be able
to do anything like this,
5
00:00:27,402 --> 00:00:29,446
so it just feels like an incredible gift.
6
00:00:29,571 --> 00:00:32,032
Moving through
to the '60s and the '70s now,
7
00:00:32,115 --> 00:00:35,369
and, as we dove into the '80s and '90s,
is really fun.
8
00:00:35,452 --> 00:00:41,041
And then, ending up in a big Marvel,
full widescreen format is the best.
9
00:00:41,124 --> 00:00:44,628
We were first really terrified,
and now I think we're just so excited.
10
00:01:02,938 --> 00:01:06,483
The first time I heard about the concept,
I thought it was brilliant.
11
00:01:06,567 --> 00:01:10,737
We're putting together
so many different genres of television,
12
00:01:10,821 --> 00:01:13,282
and we are putting our own spin on it.
13
00:01:13,866 --> 00:01:16,910
That is something special, baby.
14
00:01:17,494 --> 00:01:19,288
I just think it's gonna be
15
00:01:19,371 --> 00:01:23,250
so shocking, and confusing, and exciting
16
00:01:23,333 --> 00:01:26,753
for our fans to dissect
what we're doing and why,
17
00:01:26,837 --> 00:01:29,173
and for them to try
and get steps ahead of us.
18
00:01:29,256 --> 00:01:34,094
And that's just very cool
and it's very satisfying.
19
00:01:34,178 --> 00:01:36,722
This is for us.
20
00:01:36,805 --> 00:01:39,183
So let me handle it.
21
00:01:39,266 --> 00:01:41,101
What is outside of Westview?
22
00:01:41,185 --> 00:01:45,063
I got a call from Kevin
to come see him in his office.
23
00:01:45,147 --> 00:01:46,690
When I went, "Oh, I'm getting canned."
24
00:01:46,773 --> 00:01:51,111
And I went in, and, much to my surprise,
they pitched this bonkers idea for a show.
25
00:01:51,195 --> 00:01:54,781
And I was immediately in, of course.
26
00:01:54,865 --> 00:01:58,410
And the show has only grown
more bonkers. (CHUCKLES)
27
00:02:01,788 --> 00:02:03,040
You're the new clown?
28
00:02:03,582 --> 00:02:05,250
At least you're already in makeup.
29
00:02:07,753 --> 00:02:09,296
JARVIS: Welcome home, sir.
30
00:02:10,214 --> 00:02:12,925
It's so nice to see you
finally coming out of your shell.
31
00:02:13,008 --> 00:02:15,177
-BETTANY: It's been a crazy ride.
-That was a good one.
32
00:02:15,260 --> 00:02:17,763
Jon Favreau rung me up and...
33
00:02:17,846 --> 00:02:21,141
We had made a movie together
called Wimbledon.
34
00:02:21,225 --> 00:02:22,851
He rung me up and he said,
35
00:02:22,935 --> 00:02:27,856
"I'm making this movie
with Robert Downey, and he's Iron Man.
36
00:02:27,940 --> 00:02:32,361
"And I need sort of
a really boring, personality-less voice
37
00:02:32,444 --> 00:02:34,780
"for the computer that runs his world.
38
00:02:34,863 --> 00:02:38,200
(CHUCKLING)
"And I immediately thought of you, Paul."
39
00:02:38,283 --> 00:02:40,285
Rendering periodic table, sir.
40
00:02:40,369 --> 00:02:42,704
How do you say no
when you're asked so nicely?
41
00:02:42,788 --> 00:02:44,081
(LAUGHS)
42
00:02:45,207 --> 00:02:46,792
Anyway, and it was a great gig.
43
00:02:46,875 --> 00:02:51,505
They'd shot everything
and whatever still needed clarification,
44
00:02:51,588 --> 00:02:55,175
you could always just have JARVIS say,
"The baddies are coming!"
45
00:02:55,259 --> 00:02:57,302
JARVIS: Sir, it appears
that this suit can fly.
46
00:02:57,386 --> 00:02:59,012
Duly noted. Take me to maximum altitude.
47
00:02:59,096 --> 00:03:01,348
BETTANY: And then,
I don't know how the next bit happened.
48
00:03:01,431 --> 00:03:04,726
I guess Joss Whedon had seen me
in some movie,
49
00:03:04,810 --> 00:03:07,396
and figured out a way for me
to actually work for a living,
50
00:03:07,479 --> 00:03:08,897
-if you can call it work.
-(LAUGHS)
51
00:03:08,981 --> 00:03:11,400
So, then that happened.
That was Age of Ultron.
52
00:03:11,483 --> 00:03:12,860
(GLASS BREAKS)
53
00:03:17,489 --> 00:03:18,907
OLSEN: Starting with Ultron,
54
00:03:18,991 --> 00:03:22,494
Marvel really was so excited
to bring Wanda into the MCU.
55
00:03:22,578 --> 00:03:27,749
And was only really
teeing me up for possibilities
56
00:03:27,833 --> 00:03:32,504
that we didn't know if we would actually
fulfill those possibilities or not.
57
00:03:32,588 --> 00:03:35,674
I looked in your head,
and I saw annihilation.
58
00:03:35,757 --> 00:03:37,050
Look again.
59
00:03:37,134 --> 00:03:39,303
So, we would place Easter eggs
in certain places,
60
00:03:39,386 --> 00:03:43,182
whether it's just a glance too long
with Vision or just...
61
00:03:43,265 --> 00:03:46,810
We were trying to play around with that
in Age of Ultron.
62
00:03:48,353 --> 00:03:51,315
I feel like the hand-off
to different directors
63
00:03:51,398 --> 00:03:55,986
have been completely different experiences
for this character specifically.
64
00:03:56,069 --> 00:03:59,573
I think the Russo Brothers
were very honest about,
65
00:03:59,656 --> 00:04:04,328
"You know, I really want this
to be something that you shepherd
66
00:04:04,411 --> 00:04:06,622
"and that you take full ownership of."
67
00:04:06,705 --> 00:04:08,665
And I was like, "Okay." (LAUGHS)
68
00:04:08,749 --> 00:04:13,712
So, I had to choreograph
with this choreographer, Jenny White,
69
00:04:13,795 --> 00:04:16,131
who we brought on in Age of Ultron.
70
00:04:16,215 --> 00:04:18,008
Bring in that energy
and throw it back out.
71
00:04:18,091 --> 00:04:21,803
We just had to figure out
our own place at the same time
72
00:04:21,887 --> 00:04:27,142
while Wanda was trying to figure out
her own place in the Avengers compound
73
00:04:27,226 --> 00:04:29,186
and finding solace in Vision.
74
00:04:29,811 --> 00:04:30,979
Tell me what you feel.
75
00:04:35,859 --> 00:04:37,861
I just feel you.
76
00:04:38,403 --> 00:04:40,948
OLSEN: And I think Paul and I,
we both really believed,
77
00:04:41,031 --> 00:04:46,245
as much as it's fun to be part of the
humor and the playfulness of the Avengers,
78
00:04:46,328 --> 00:04:48,956
we've always... my character specifically,
79
00:04:49,039 --> 00:04:51,625
has also always,
in our relationship together,
80
00:04:51,708 --> 00:04:55,295
we've kind of just created
just an emotional foundation
81
00:04:55,379 --> 00:04:57,965
that doesn't play around
with irony, really.
82
00:04:58,048 --> 00:05:01,009
Which is kind of odd in these movies
83
00:05:01,093 --> 00:05:05,347
when so much is ironic
and funny and fun to watch.
84
00:05:05,430 --> 00:05:09,643
But it's also kind of lovely that it's
told through their strange love story.
85
00:05:09,726 --> 00:05:12,271
We are out of time.
86
00:05:13,313 --> 00:05:14,481
I can't.
87
00:05:14,565 --> 00:05:15,774
VISION: Yes, you can.
88
00:05:15,858 --> 00:05:17,401
It shouldn't be you, but it is.
89
00:05:19,444 --> 00:05:20,654
(BREATHES SHAKILY)
90
00:05:23,073 --> 00:05:24,283
(SIGHS)
91
00:05:27,369 --> 00:05:28,579
I love you.
92
00:05:30,581 --> 00:05:31,582
(SCREAMS)
93
00:05:39,464 --> 00:05:40,465
Hey.
94
00:05:40,549 --> 00:05:42,176
-(CHUCKLES)
-(KISSES)
95
00:05:42,885 --> 00:05:46,638
Now we can begin. Wanda, you pick.
96
00:05:46,722 --> 00:05:48,473
OLSEN: And then moving on to the show
97
00:05:48,557 --> 00:05:51,810
with Mary Livanos, our producer,
and Jac Schaeffer, our creator,
98
00:05:51,894 --> 00:05:55,814
they really honed in on all these things
that were in my head,
99
00:05:55,898 --> 00:06:00,611
and all these inner monologues and threads
and arcs that I kind of just created.
100
00:06:00,694 --> 00:06:03,530
And they just really took it
in such a deep way
101
00:06:03,614 --> 00:06:06,366
and created such beautiful arcs.
102
00:06:06,450 --> 00:06:08,160
Morning, wife! Morning, sons!
103
00:06:08,827 --> 00:06:10,787
Morning, unfamiliar wet animal.
104
00:06:10,871 --> 00:06:11,872
Who's this?
105
00:06:11,955 --> 00:06:15,334
BETTANY: It's such a homage
to the sort of American sitcoms
106
00:06:15,417 --> 00:06:17,836
throughout the 20th century.
107
00:06:17,920 --> 00:06:19,254
What kind of housewife would I be
108
00:06:19,338 --> 00:06:22,716
if I didn't have a gourmet meal for four
just lying about the place?
109
00:06:22,799 --> 00:06:25,052
BETTANY: Jac Schaeffer
has done such a great job.
110
00:06:25,552 --> 00:06:28,680
It's such a little beautiful puzzle box.
111
00:06:31,975 --> 00:06:34,895
SCHAEFFER: I was lucky enough
to be invited to look at the materials
112
00:06:34,978 --> 00:06:36,939
and sort of digest it
and think about it.
113
00:06:37,022 --> 00:06:38,857
And there was so much
that was already there.
114
00:06:38,941 --> 00:06:40,442
This is Kevin Feige's baby.
115
00:06:40,526 --> 00:06:45,113
He loves the show and had some
really distinct ideas and visuals
116
00:06:45,197 --> 00:06:47,157
and things that
they all wanted to achieve.
117
00:06:52,955 --> 00:06:55,207
MARY LIVANOS: Matt Shakman
is just the person to direct
118
00:06:55,290 --> 00:06:58,418
a complicated Rubik's cube
of a show like this.
119
00:06:58,502 --> 00:07:01,505
He runs the Geffen Playhouse back in LA.
120
00:07:01,588 --> 00:07:04,007
He's worked on Game of Thrones.
121
00:07:04,091 --> 00:07:05,801
He's worked on countless sitcoms
122
00:07:05,884 --> 00:07:09,179
and, in fact, starred,
back when he was younger,
123
00:07:09,263 --> 00:07:11,515
in sitcoms as a child actor,
124
00:07:11,598 --> 00:07:14,685
and he is just
the Swiss Army knife of a human
125
00:07:14,768 --> 00:07:16,478
that we need for a show like this.
126
00:07:16,562 --> 00:07:18,814
Hart goes back in. Door slams.
127
00:07:19,356 --> 00:07:20,941
-He goes to the phone!
-(DOOR SLAMS)
128
00:07:21,024 --> 00:07:23,193
We pause here. All right.
129
00:07:23,277 --> 00:07:25,487
And let's continue on
with our ladies over here.
130
00:07:25,571 --> 00:07:28,824
It blew my mind when they pitched me
the concept for the show.
131
00:07:29,533 --> 00:07:33,704
More than just because the idea
is outrageously fun and new,
132
00:07:33,787 --> 00:07:37,165
but also because it felt like it hit
all the parts of my life.
133
00:07:37,249 --> 00:07:40,043
I grew up being on shows from the '80s
134
00:07:40,127 --> 00:07:44,882
like Facts of Life, and Diff'rent Strokes,
Growing Pains, et cetera.
135
00:07:44,965 --> 00:07:48,343
But I've also directed a lot of
large-scale spectacle.
136
00:07:48,427 --> 00:07:52,598
And so, the idea that there existed
a project in the Marvel Universe,
137
00:07:52,681 --> 00:07:55,142
which I'm also an enormous fan of
138
00:07:55,225 --> 00:07:58,812
and dressed up like superheroes from
the Marvel comic books when I was a kid
139
00:07:58,896 --> 00:08:00,314
until they told me I had to stop,
140
00:08:00,397 --> 00:08:03,775
the idea that I could combine
all these things that I've always loved
141
00:08:03,859 --> 00:08:07,029
into one crazy project
was almost too hard to believe.
142
00:08:07,112 --> 00:08:08,197
It's too good to be true.
143
00:08:08,280 --> 00:08:09,865
All right, ready, Janell?
144
00:08:09,948 --> 00:08:11,533
-Yeah.
-All right, let's do it.
145
00:08:19,374 --> 00:08:20,375
And action!
146
00:08:20,876 --> 00:08:22,336
SCHAEFFER: We're starting in the 1950s,
147
00:08:22,419 --> 00:08:26,548
so it was always our dream
that if we did a true multi-camera show,
148
00:08:26,632 --> 00:08:27,966
we would have a live audience.
149
00:08:28,050 --> 00:08:30,469
And we knew it was a risk,
we knew it would be an expense,
150
00:08:30,552 --> 00:08:31,720
almost an indulgence,
151
00:08:31,803 --> 00:08:35,265
but for the actors, for the energy,
and for the crew,
152
00:08:35,349 --> 00:08:37,059
it will be really exciting.
153
00:08:37,142 --> 00:08:39,978
-I've been playing to the audience, so...
-(LAUGHS)
154
00:08:40,062 --> 00:08:43,232
You tell me where the camera is,
and I'll start playing to the camera.
155
00:08:45,567 --> 00:08:49,321
SHAKMAN: So you're on our sitcom stage
for the first episode.
156
00:08:49,404 --> 00:08:52,366
Over there is Vision's office,
where he works,
157
00:08:52,449 --> 00:08:54,493
and he works for a guy named Mr. Hart.
158
00:08:54,576 --> 00:08:58,121
Mr. Hart and his dear lady wife,
Mrs. Hart. (HUFFS)
159
00:08:58,205 --> 00:09:00,290
That's what I just said.
What's wrong with you, son?
160
00:09:00,374 --> 00:09:03,001
-Have you got a screw loose?
-Oh, no, sir, screws all tight, sir.
161
00:09:03,085 --> 00:09:08,590
And then over here, right to your right,
is the house where Wanda and Vision live.
162
00:09:08,674 --> 00:09:12,052
This is their kitchen, over here,
this beautiful blue kitchen.
163
00:09:12,135 --> 00:09:15,222
But when you see it on the show,
it'll be in black and white,
164
00:09:15,305 --> 00:09:17,516
so you won't get to see the color of it.
165
00:09:17,599 --> 00:09:19,935
And then over here is their living room.
166
00:09:20,018 --> 00:09:25,440
So what's a single gal like you doing
rattling around this big house?
167
00:09:25,524 --> 00:09:27,901
Behind you is our live audience seating.
168
00:09:27,985 --> 00:09:29,862
We wanted it to feel period,
169
00:09:29,945 --> 00:09:32,322
so that's why we have
the old wooden chairs
170
00:09:32,406 --> 00:09:35,367
and we've matched the railings
and how it all looks,
171
00:09:35,450 --> 00:09:38,245
because so much of it is about
the audience's experience.
172
00:09:38,328 --> 00:09:40,789
Kevin Feige and I had a lovely lunch
with Dick Van Dyke
173
00:09:40,873 --> 00:09:43,166
shortly before we started
pre-production on the show,
174
00:09:43,250 --> 00:09:46,378
so we could really get in touch
with how they did it
175
00:09:46,461 --> 00:09:50,674
and to be as authentic as we could,
not just in how it would look and feel,
176
00:09:50,757 --> 00:09:52,551
but in how it was put together,
177
00:09:52,634 --> 00:09:54,636
the style, the way they rehearsed,
178
00:09:54,720 --> 00:09:56,889
the way they approached
blocking and shooting.
179
00:09:56,972 --> 00:09:59,850
SCHAEFFER: Wanda would technically
go to a quick change.
180
00:09:59,933 --> 00:10:01,351
She's not gonna do it now.
181
00:10:01,435 --> 00:10:04,313
We'll get the living room dressed.
It's happening.
182
00:10:04,396 --> 00:10:08,609
Then we would light the candles
right at the very end, and we would go.
183
00:10:08,692 --> 00:10:10,694
The Dick Van Dyke Show was theater.
184
00:10:10,777 --> 00:10:11,862
They put it up.
185
00:10:11,945 --> 00:10:14,364
They shot it once
in front of the audience,
186
00:10:14,448 --> 00:10:16,116
like a play, all the way through.
187
00:10:16,200 --> 00:10:17,910
You can feel it when you watch it.
188
00:10:17,993 --> 00:10:20,370
The audience is in it,
like when they're in the theater.
189
00:10:20,454 --> 00:10:21,830
(AUDIENCE LAUGHING)
190
00:10:21,914 --> 00:10:25,334
The adrenaline, the audience,
and the actors feed off of each other.
191
00:10:25,417 --> 00:10:27,669
That creates something you can't imitate.
192
00:10:27,753 --> 00:10:29,713
That's why we're going
to these great lengths.
193
00:10:29,796 --> 00:10:31,173
Our actors have been wonderful.
194
00:10:31,256 --> 00:10:33,759
I'm a little anxious
about the whole live...
195
00:10:33,842 --> 00:10:39,723
I haven't been in front
of a live audience since 1884.
196
00:10:39,806 --> 00:10:41,016
-Oh, is that right? Oh.
-Yeah.
197
00:10:41,099 --> 00:10:43,519
So, I'm a little anxious
about the whole thing.
198
00:10:43,602 --> 00:10:45,062
Yeah, I would be too.
199
00:10:45,145 --> 00:10:47,105
Still, I just, you know...
200
00:10:47,189 --> 00:10:49,107
Hundred-plus years ago.
201
00:10:49,191 --> 00:10:51,443
-Hundred-plus years ago.
-That's a long time.
202
00:10:53,028 --> 00:10:56,114
MAN: Welcome to WandaVision.
Thank you so much, guys.
203
00:10:56,198 --> 00:10:58,075
(AUDIENCE CHEERING)
204
00:10:58,158 --> 00:10:59,868
We're so excited to have you guys.
205
00:10:59,952 --> 00:11:02,079
We've been working hard the last two weeks
206
00:11:02,162 --> 00:11:03,705
on making this happen for you all.
207
00:11:03,789 --> 00:11:08,252
If you guys can give us all the laughter
and all the natural reactions you have
208
00:11:08,335 --> 00:11:10,754
to what we're doing,
we would be most grateful.
209
00:11:10,838 --> 00:11:12,798
Then you will probably hear yourself,
210
00:11:12,881 --> 00:11:15,092
especially if you're one
of those loud laughers...
211
00:11:15,175 --> 00:11:16,176
(AUDIENCE LAUGHS)
212
00:11:16,260 --> 00:11:18,178
...when you actually
watch the show later on.
213
00:11:18,262 --> 00:11:21,682
I would love to introduce you
to the characters you'll meet today.
214
00:11:21,765 --> 00:11:23,517
-David Lengel.
-(AUDIENCE APPLAUDING)
215
00:11:23,600 --> 00:11:24,810
Asif Ali.
216
00:11:24,893 --> 00:11:26,520
Debra Jo Rupp.
217
00:11:26,603 --> 00:11:28,021
Fred Melamed.
218
00:11:28,105 --> 00:11:29,648
Kathryn Hahn.
219
00:11:29,731 --> 00:11:32,276
The Vision himself, Paul Bettany.
220
00:11:32,359 --> 00:11:35,195
And, as Wanda Maximoff, Elizabeth Olsen!
221
00:11:35,279 --> 00:11:36,822
(AUDIENCE CHEERING)
222
00:11:38,615 --> 00:11:40,784
OLSEN: I mean, I've done theater before,
223
00:11:40,868 --> 00:11:44,037
but shooting a TV show
in front of a live audience
224
00:11:44,121 --> 00:11:47,040
was like a strange meta experience for me
225
00:11:47,124 --> 00:11:49,710
because I grew up on the Full House set
226
00:11:49,793 --> 00:11:52,963
watching these live tapings on Fridays,
227
00:11:53,046 --> 00:11:57,634
never thinking that that would ever be
a form of reality for me.
228
00:11:57,718 --> 00:11:59,052
Guess who?
229
00:11:59,136 --> 00:12:00,846
Oh. (CHUCKLES)
230
00:12:00,929 --> 00:12:02,931
Is that my host behind me?
231
00:12:03,015 --> 00:12:04,641
-It certainly is!
-(SIGHS)
232
00:12:04,725 --> 00:12:06,935
-Lovely to make your acquaintance.
-Yes! (CHUCKLES)
233
00:12:07,019 --> 00:12:10,397
OLSEN: Doing sitcom gave me
so much joy every day.
234
00:12:10,480 --> 00:12:13,400
I think it gave all of us
so much actual joy.
235
00:12:13,483 --> 00:12:14,651
It's really different.
236
00:12:14,735 --> 00:12:16,486
-High-octane.
-It's very authentic,
237
00:12:16,570 --> 00:12:21,992
you know, late '50s sitcom,
and it feels very different.
238
00:12:22,075 --> 00:12:25,120
You have to swing for the fences
and hope that you...
239
00:12:25,204 --> 00:12:26,663
OLSEN: We're playing for an audience.
240
00:12:26,747 --> 00:12:29,291
I feel like in the Marvel films,
it's a cinematic universe,
241
00:12:29,374 --> 00:12:31,627
and this we're playing for laughs.
242
00:12:31,710 --> 00:12:33,754
I've never been allowed to be funny.
243
00:12:33,837 --> 00:12:36,423
This is my first time getting
to be funny as Wanda.
244
00:12:36,507 --> 00:12:37,716
What a gas.
245
00:12:38,300 --> 00:12:39,635
I'm very funny.
246
00:12:39,718 --> 00:12:41,678
-She is enormously funny.
-I'm very funny.
247
00:12:41,762 --> 00:12:43,472
I think I have another idea.
248
00:12:45,098 --> 00:12:46,767
-SHAKMAN: And...
-And then I change.
249
00:12:46,850 --> 00:12:48,810
(AUDIENCE LAUGHING)
250
00:12:51,188 --> 00:12:53,690
BETTANY: Every member of the crew
was dressed in costumes.
251
00:12:53,774 --> 00:12:55,567
Everybody got into the spirit of it.
252
00:12:55,651 --> 00:12:59,488
And then the audience came in,
and we just went for it.
253
00:12:59,571 --> 00:13:04,284
It was nerve-racking, but I think
it was so rewarding and so funny.
254
00:13:04,368 --> 00:13:05,619
Us running backstage,
255
00:13:05,702 --> 00:13:09,790
bumping into me, or Kathryn Hahn,
and making her drop her props or whatever.
256
00:13:09,873 --> 00:13:13,043
Everybody's getting ready
behind doors to come out.
257
00:13:13,126 --> 00:13:14,878
And it was so much fun.
258
00:13:14,962 --> 00:13:17,089
-(OBJECTS CLATTERING)
-Oh, my!
259
00:13:17,172 --> 00:13:18,423
HAHN: That was just a dream.
260
00:13:18,507 --> 00:13:21,176
The costumes are so fabulous.
261
00:13:21,260 --> 00:13:23,387
Mayes, the designer, is such a genius.
262
00:13:23,470 --> 00:13:24,930
That dress!
263
00:13:25,013 --> 00:13:30,727
Yes, the dress! It's... It's so...
It's Sokovian, is what it is! Yes!
264
00:13:31,353 --> 00:13:34,648
It is my favorite period for clothes
265
00:13:34,731 --> 00:13:37,860
because it shows off a waist
if you have a waist.
266
00:13:37,943 --> 00:13:40,362
I have a waist. I have no limbs.
267
00:13:40,445 --> 00:13:42,865
I'm very short, but I have a waist,
268
00:13:42,948 --> 00:13:45,033
so I really like the '50s.
So, that was great.
269
00:13:45,117 --> 00:13:47,744
I kind of like the hair
and I have a magnificent hat.
270
00:13:47,828 --> 00:13:51,498
They had a little table with a whole
bunch of hats, and I just went,
271
00:13:51,582 --> 00:13:53,208
"Could I have that hat, please?"
272
00:13:53,292 --> 00:13:54,918
And it was perfect.
273
00:13:55,002 --> 00:13:59,214
But the '50s undergarments
are not the most comfortable things,
274
00:13:59,298 --> 00:14:00,799
but they help with your posture.
275
00:14:00,883 --> 00:14:03,760
Yeah, I got my Spanx on.
My lifts in my heels.
276
00:14:03,844 --> 00:14:06,388
I've got my Spanx on.
I've got my flats on.
277
00:14:06,471 --> 00:14:08,640
-Ready to go.
-But I'm ready emotionally.
278
00:14:08,724 --> 00:14:10,100
You wanna talk about your butt?
279
00:14:10,184 --> 00:14:13,103
-Yeah, I did, for a second.
-I wanna talk about my dress first.
280
00:14:13,187 --> 00:14:16,064
Um, it makes me have better posture.
281
00:14:16,148 --> 00:14:19,318
And it makes me wanna
walk like this and...
282
00:14:19,401 --> 00:14:21,945
I have exactly the same thing,
but with my fake butt.
283
00:14:22,029 --> 00:14:23,280
-With your fake butt.
-Yeah,
284
00:14:23,363 --> 00:14:25,908
it makes me stand properly,
and wanna do this too.
285
00:14:25,991 --> 00:14:27,075
-This?
-Yeah.
286
00:14:27,159 --> 00:14:29,995
We knew that when we started this show,
287
00:14:30,078 --> 00:14:35,125
the way that we were going to
sell it authentically to an audience
288
00:14:35,209 --> 00:14:38,253
would be with every level of recreation.
289
00:14:38,337 --> 00:14:40,714
So, that includes the camera lenses,
290
00:14:40,797 --> 00:14:44,510
that includes the set decoration,
era-accurate lighting.
291
00:14:44,593 --> 00:14:46,178
SHAKMAN: Jess Hall, who's a brilliant DP,
292
00:14:46,261 --> 00:14:49,640
looked at old original prints
of these television shows,
293
00:14:49,723 --> 00:14:51,183
and he was able to try to match
294
00:14:51,266 --> 00:14:54,436
how closely as we could possibly get
to what it looked like then.
295
00:14:54,520 --> 00:14:55,604
(LAUGHS)
296
00:14:55,687 --> 00:14:57,648
You truly are a pioneer!
297
00:14:57,731 --> 00:14:59,149
SHAKMAN: Action!
298
00:15:00,317 --> 00:15:02,027
Freeze! Swap!
299
00:15:05,405 --> 00:15:06,406
Action!
300
00:15:06,490 --> 00:15:07,699
(GASPS) Oh, no, too much!
301
00:15:07,783 --> 00:15:11,286
We wanted to make sure we approached it
with authenticity and not parody,
302
00:15:11,370 --> 00:15:14,331
and to that end, we wanted
to shoot it the way they shot it.
303
00:15:14,414 --> 00:15:17,709
That means visual effects that would
have been done as special effects.
304
00:15:17,793 --> 00:15:20,254
Luckily, Dan Sudick,
our special effects coordinator,
305
00:15:20,337 --> 00:15:22,798
when I first had my call with him,
when I started this
306
00:15:22,881 --> 00:15:24,633
and I laid out this idea,
307
00:15:24,716 --> 00:15:26,802
I didn't know
if he was going to like the idea
308
00:15:26,885 --> 00:15:30,013
or if he'd be, "What're you talking about?
I blow things up!"
309
00:15:30,097 --> 00:15:31,723
He loved it. He started laughing.
310
00:15:31,807 --> 00:15:34,810
He said, "I came up under the guys
who did Bewitched.
311
00:15:34,893 --> 00:15:36,019
"They were my mentors.
312
00:15:36,103 --> 00:15:38,647
"And so, I started my career
doing things on wires.
313
00:15:38,730 --> 00:15:40,524
"I know how to do it. It's a lot of fun."
314
00:15:40,607 --> 00:15:43,235
And so, we have him and his team
315
00:15:43,318 --> 00:15:47,239
doing really complicated puppeteering gags
with wires and rods,
316
00:15:47,322 --> 00:15:50,784
and they're spending just as much time
on that as they are blowing things up.
317
00:15:50,868 --> 00:15:52,244
How can I be of assistance?
318
00:15:52,327 --> 00:15:56,039
Well, the chicken is no longer a chicken,
and the lobsters just flew the coop
319
00:15:56,123 --> 00:15:57,875
so the steak is the last man standing.
320
00:15:57,958 --> 00:15:59,793
OLSEN: I went to theater school.
321
00:15:59,877 --> 00:16:01,962
You study screwball comedies.
322
00:16:02,045 --> 00:16:05,007
You study film noir style of acting,
323
00:16:05,090 --> 00:16:07,509
you feel so stupid
when you're in college. You're like,
324
00:16:07,593 --> 00:16:09,595
"When will I ever do this?
No one makes this."
325
00:16:09,678 --> 00:16:14,057
And so, getting to use all those tools
that you have somewhere in you.
326
00:16:14,141 --> 00:16:15,851
(EXCLAIMS)
327
00:16:15,934 --> 00:16:18,854
Something that I don't really get to do.
328
00:16:18,937 --> 00:16:21,315
-Now, that's romantic.
-(BOTH LAUGH)
329
00:16:21,398 --> 00:16:24,568
OLSEN: I think the '50s was the hardest
for me because it was like a warm up.
330
00:16:24,651 --> 00:16:26,445
Once it clicked, it was a blast.
331
00:16:26,528 --> 00:16:28,488
Down in one! Down in one!
332
00:16:28,572 --> 00:16:30,532
Please eat before it gets cold.
333
00:16:30,616 --> 00:16:33,911
BETTANY: I think what it did was
it made me think I've wasted my life.
334
00:16:33,994 --> 00:16:35,996
I should've been on a sitcom
all these years.
335
00:16:36,079 --> 00:16:38,582
I... (LAUGHS) I just loved it.
336
00:16:38,665 --> 00:16:40,959
I should have prefaced,
I'm a very shallow person,
337
00:16:41,043 --> 00:16:44,588
so I really rely on people...
(CHUCKLES) people applauding.
338
00:16:44,671 --> 00:16:46,131
-Yes!
-Thank you very much!
339
00:16:46,215 --> 00:16:48,342
-Thank you!
-(AUDIENCE APPLAUDS AND CHEERS)
340
00:16:50,302 --> 00:16:51,386
Thank you!
341
00:16:52,471 --> 00:16:53,514
MAN: All right!
342
00:17:01,730 --> 00:17:04,816
Part of the challenge
in producing a show like this
343
00:17:04,900 --> 00:17:09,488
is that we really are making one giant
movie in the way that we shoot.
344
00:17:09,571 --> 00:17:13,742
Each day, each week, we're shooting
pivotal moments of the series,
345
00:17:13,825 --> 00:17:18,121
we have to make sure that
the larger story, as a whole, is seamless.
346
00:17:18,205 --> 00:17:23,210
OLSEN: We really created all of
these different characters in the town.
347
00:17:23,293 --> 00:17:24,920
And we have our core cast.
348
00:17:26,839 --> 00:17:29,216
Raspberry or cheese-filled?
349
00:17:29,299 --> 00:17:31,635
Oh, neither for me, thank you.
I don't eat food.
350
00:17:31,718 --> 00:17:36,932
OLSEN: We got the Davids.
We have Asif. We have Emma.
351
00:17:37,391 --> 00:17:38,392
MRS. HART: What brought you here?
352
00:17:38,475 --> 00:17:41,937
How long have you been married?
And why don't you have children yet?
353
00:17:42,020 --> 00:17:43,814
So grateful we have Debra Jo,
354
00:17:43,897 --> 00:17:46,233
who is sitcom-gold
355
00:17:46,316 --> 00:17:48,986
and gets to be a part in our wacky show.
356
00:17:49,069 --> 00:17:53,115
My, um, great nephew basically said
357
00:17:53,198 --> 00:17:56,618
if I did not take the job,
he would never visit me again,
358
00:17:56,702 --> 00:17:58,829
so, I... Well, here I am.
359
00:17:58,912 --> 00:18:04,042
She loved getting to film some of the more
Marvel-y stuff that we did in the finale.
360
00:18:04,126 --> 00:18:07,588
She just thought it was fabulous. (LAUGHS)
361
00:18:07,671 --> 00:18:09,256
I got to do this thing.
362
00:18:09,798 --> 00:18:12,259
Oh, my God! I got to do this thing
where you...
363
00:18:12,342 --> 00:18:13,594
I don't know what it's called.
364
00:18:13,677 --> 00:18:16,555
It's a body scan, okay?
And so you stand...
365
00:18:16,638 --> 00:18:18,140
I took pictures. It's amazing.
366
00:18:18,223 --> 00:18:20,767
But I won't show them to anyone, Marvel.
367
00:18:23,812 --> 00:18:25,063
Kathryn Hahn.
368
00:18:25,147 --> 00:18:26,857
(CACKLES)
369
00:18:27,941 --> 00:18:30,736
I don't know how I went so long
never working with her.
370
00:18:30,819 --> 00:18:33,071
I've had the greatest time.
371
00:18:33,155 --> 00:18:35,073
You're, like, a monologue early, Kathryn.
372
00:18:35,157 --> 00:18:36,158
I was feeling left out.
373
00:18:36,241 --> 00:18:40,662
OLSEN: The journey with her
consistently throughout the decades
374
00:18:40,746 --> 00:18:44,458
and how the Nosy Neighbor is so prominent.
375
00:18:44,541 --> 00:18:46,001
Spoiler alert!
376
00:18:46,084 --> 00:18:48,587
OLSEN: She nailed all of the layers
377
00:18:48,670 --> 00:18:51,798
that were required of her
and then went beyond.
378
00:18:51,882 --> 00:18:53,258
-SHAKMAN: Cut!
-One more!
379
00:18:53,342 --> 00:18:55,135
-SHAKMAN: One more! Still rolling.
-Ready?
380
00:18:55,219 --> 00:18:57,387
This character is like
a blooming onion to me.
381
00:18:57,471 --> 00:19:01,058
I mean, the fact that I was able
to start on the outside
382
00:19:01,141 --> 00:19:03,769
and kind of move into the center
383
00:19:03,852 --> 00:19:07,856
as the episodes go on
was, like, such an actor's dream.
384
00:19:07,940 --> 00:19:10,526
I keep saying
it was like a Tracey Ullman...
385
00:19:10,609 --> 00:19:11,902
Like a Tracey Ullman special.
386
00:19:11,985 --> 00:19:14,404
Well, I was just on my way to Jazzercise
387
00:19:14,488 --> 00:19:18,992
when I heard your brand-new
bundles of joy were on a sleep strike.
388
00:19:19,076 --> 00:19:20,786
HAHN: And the fact that her true center
389
00:19:20,869 --> 00:19:24,706
was this fantastical,
incredible witch, was like...
390
00:19:25,207 --> 00:19:28,544
Who gets to do that?
I remember when it was pitched to me...
391
00:19:28,627 --> 00:19:31,296
It's so exciting to be able
to say this out loud to somebody
392
00:19:31,380 --> 00:19:34,132
'cause I have not been able
to say it to anybody. Um...
393
00:19:34,216 --> 00:19:36,593
But when it was pitched to me, I was like
394
00:19:36,677 --> 00:19:39,513
I could not imagine
a part in the Marvel Universe
395
00:19:39,596 --> 00:19:42,224
that I would have wanted to play more.
396
00:19:42,307 --> 00:19:44,309
(CACKLING)
397
00:19:50,482 --> 00:19:52,276
(CONTINUES CACKLING)
398
00:19:53,527 --> 00:19:56,029
-Oh, good times!
-(LAUGHTER)
399
00:19:56,989 --> 00:19:59,408
-Good times!
-SHAKMAN: And cut!
400
00:19:59,491 --> 00:20:01,201
-Did you hear that?
-No.
401
00:20:01,285 --> 00:20:04,830
It was like a...
a chattering sound, like...
402
00:20:04,913 --> 00:20:05,914
Oh! Like a...
403
00:20:05,998 --> 00:20:07,583
(MIMICS MACHINE WHIRRING)
404
00:20:07,666 --> 00:20:08,667
Yeah.
405
00:20:08,750 --> 00:20:11,879
That's my new ice maker,
built right into the fridge.
406
00:20:11,962 --> 00:20:13,672
-Oh!
-(CHUCKLES NERVOUSLY)
407
00:20:13,755 --> 00:20:15,215
You're fancy.
408
00:20:15,299 --> 00:20:20,262
I have wanted to be in the MCU
since the MCU debuted.
409
00:20:20,345 --> 00:20:23,807
I didn't even know
what I was auditioning for.
410
00:20:23,891 --> 00:20:27,102
We all know Marvel is very top secret.
411
00:20:27,186 --> 00:20:29,396
And I was just sent some sides.
412
00:20:29,479 --> 00:20:32,900
I think it was the '70s episode.
So, I was very confused.
413
00:20:32,983 --> 00:20:36,236
It didn't say it was '70s,
but it's high farce.
414
00:20:36,320 --> 00:20:39,865
And I was like,
"What do I do with this? I'm not sure."
415
00:20:39,948 --> 00:20:43,493
Because it's not Marvel
as my mind can process.
416
00:20:43,577 --> 00:20:45,913
And so they sent notes like,
417
00:20:45,996 --> 00:20:48,874
"Just overact. It's okay, just go for it.
418
00:20:48,957 --> 00:20:51,710
"We don't care that you don't feel
that it's grounded.
419
00:20:51,793 --> 00:20:53,378
"That's not what we're looking for."
420
00:20:53,462 --> 00:20:54,796
So, I was like, "Okay."
421
00:20:54,880 --> 00:20:58,675
And I did some very great overacting.
422
00:20:58,759 --> 00:21:00,093
Oh, sugar.
423
00:21:00,928 --> 00:21:02,429
He hired me!
424
00:21:02,513 --> 00:21:04,139
Oh! (CHUCKLES)
425
00:21:04,223 --> 00:21:06,266
Wanda! I landed a promotion.
426
00:21:06,350 --> 00:21:09,770
And now that I've gone all corporate,
I need some office supplies.
427
00:21:09,853 --> 00:21:12,731
I just didn't know,
and I was like, "Okay."
428
00:21:12,814 --> 00:21:14,983
And I let it go for, like, two weeks
429
00:21:15,067 --> 00:21:18,445
because you can't hold these things
too close to your heart
430
00:21:18,529 --> 00:21:20,697
'cause you will get heartbroken
so many times.
431
00:21:20,781 --> 00:21:24,159
But this time, there was no heartbreak.
432
00:21:24,243 --> 00:21:27,329
They called, and they were like,
"Hey, you got the part."
433
00:21:27,412 --> 00:21:30,249
And I'm like, (GASPS)
"What part? What's the part?"
434
00:21:30,332 --> 00:21:33,168
(LAUGHS) I went, "What is it?"
But it's Marvel. Okay.
435
00:21:33,669 --> 00:21:36,046
Before they even told me what it was,
436
00:21:36,129 --> 00:21:38,423
I said to my agent, I was like,
437
00:21:38,507 --> 00:21:40,384
"Oh, my gosh, what if it's Monica Rambeau?
438
00:21:40,467 --> 00:21:43,136
"What if it's Monica Rambeau?"
439
00:21:43,220 --> 00:21:46,682
And then it was Monica Rambeau,
and I lost it.
440
00:21:46,765 --> 00:21:49,977
And I practically tried
to jump off a set of stairs
441
00:21:50,060 --> 00:21:52,479
'cause I thought I could fly.
I was so excited.
442
00:21:53,856 --> 00:21:56,900
So, when we leave Captain Marvel,
Monica is a young girl.
443
00:21:56,984 --> 00:21:59,403
She's got her whole life ahead of her.
444
00:21:59,486 --> 00:22:00,904
-You have to go!
-Monica!
445
00:22:00,988 --> 00:22:04,032
You've a chance to fly the coolest mission
in the history of missions.
446
00:22:04,116 --> 00:22:07,661
You'll give it up to sit on the couch
and watch Fresh Prince with me?
447
00:22:07,744 --> 00:22:09,538
I just think you should consider
448
00:22:09,621 --> 00:22:12,207
what kind of example
you're setting for your daughter.
449
00:22:12,291 --> 00:22:15,085
PARRIS: And when we pick up
with her in WandaVision,
450
00:22:15,169 --> 00:22:19,506
we find out she now works for S.W.O.R.D.,
as a astronaut,
451
00:22:19,590 --> 00:22:25,512
and I feel like we've gotten to a really
great origin story for Monica.
452
00:22:28,515 --> 00:22:32,144
Having the opportunity to play
Monica Rambeau is truly an honor,
453
00:22:32,227 --> 00:22:39,151
and to have a Black female superhero
be on a screen is monumental.
454
00:22:39,234 --> 00:22:41,236
(ALL GRUNTING)
455
00:22:42,946 --> 00:22:45,282
Why didn't anyone tell me the plan?
456
00:22:48,577 --> 00:22:53,874
It's been so amazing to bring Darcy back,
especially in kind of an unexpected way.
457
00:22:53,957 --> 00:22:58,504
You know, the last time we saw Darcy,
she was still Jane Foster's intern
458
00:22:58,587 --> 00:23:00,255
and kind of her friend.
459
00:23:00,339 --> 00:23:01,757
We weren't sure what's going on.
460
00:23:01,840 --> 00:23:04,301
Apparently, she's been going to college
this whole time.
461
00:23:04,384 --> 00:23:06,261
And now she's an astrophysicist.
462
00:23:06,345 --> 00:23:09,932
My equipment registered
an extremely high level of CMBR. That's...
463
00:23:10,015 --> 00:23:12,226
Relic Radiation
dating back to the Big Bang.
464
00:23:12,309 --> 00:23:15,062
Yeah, entwined was a broadcast frequency.
465
00:23:15,145 --> 00:23:17,689
So I had your goons pick me up
a sweet vintage TV.
466
00:23:17,773 --> 00:23:19,483
And when I plug this bad boy in,
467
00:23:19,566 --> 00:23:22,236
the cathode ray tube inside
plucked the signal out of the air
468
00:23:22,319 --> 00:23:24,905
and decoded it
just like in the olden times.
469
00:23:24,988 --> 00:23:26,532
Voilà, sound and picture.
470
00:23:26,615 --> 00:23:29,409
DENNINGS: Randall Park,
obviously, is Jimmy Woo,
471
00:23:29,493 --> 00:23:33,247
and it's been really fun to
kind of have us together in scenes.
472
00:23:33,330 --> 00:23:35,541
They kind of have us with Teyonah Parris.
473
00:23:35,624 --> 00:23:39,002
There's a lot of dark, serious drama,
474
00:23:39,086 --> 00:23:41,505
and it's fun to kind of
have that little break.
475
00:23:41,588 --> 00:23:43,131
You can't go back into the Hex.
476
00:23:43,215 --> 00:23:44,299
Worst case scenario,
477
00:23:44,383 --> 00:23:47,719
Wanda removes my free will
and puts me in ultra-low-rise jeans.
478
00:23:49,680 --> 00:23:51,765
I feel like it's like a family.
479
00:23:51,849 --> 00:23:57,020
It's like a big family. Just to be
a member of the family, it's really cool.
480
00:23:57,604 --> 00:24:00,983
I mean, when I did Ant-man and the Wasp,
I was just happy to be there.
481
00:24:01,066 --> 00:24:02,568
I thought it was gonna be a one-off.
482
00:24:02,651 --> 00:24:04,319
Your school has rules, right?
483
00:24:04,403 --> 00:24:06,280
Like, you can't draw on the walls.
484
00:24:06,363 --> 00:24:08,323
Well, your daddy went to Germany
485
00:24:08,407 --> 00:24:10,534
and drew on the walls
with Captain America.
486
00:24:10,617 --> 00:24:14,997
And that was a violation of Article 16,
paragraph 3 of the Sokovia Accords.
487
00:24:15,080 --> 00:24:18,959
Just to have Jimmy come back
is such a thrill for me
488
00:24:19,042 --> 00:24:21,712
because I just love the character so much.
489
00:24:21,795 --> 00:24:25,132
To have so much of the character
we established in Ant-man and the Wasp
490
00:24:25,215 --> 00:24:29,011
with the magic and the tendency
to want to connect with people
491
00:24:29,094 --> 00:24:33,599
and tell stories about his life,
even when it's not necessarily asked for.
492
00:24:33,682 --> 00:24:37,561
Like all those little things, little seeds
that we planted in Ant-man and the Wasp,
493
00:24:37,644 --> 00:24:40,939
they all kind of get to blossom
in WandaVision.
494
00:24:41,023 --> 00:24:44,776
This isn't a missing person's case,
Captain Rambeau, it's a missing town.
495
00:24:45,277 --> 00:24:47,779
Population 3,892.
496
00:24:48,947 --> 00:24:51,116
Why haven't you gone inside
to investigate?
497
00:24:51,617 --> 00:24:52,951
'Cause it doesn't want me to.
498
00:24:56,330 --> 00:25:00,042
Tonally, WandaVision runs the gamut.
499
00:25:00,125 --> 00:25:02,294
I can't even keep up myself sometimes.
(CHUCKLES)
500
00:25:02,377 --> 00:25:04,254
I'm like, "Which world are we in now?"
501
00:25:08,592 --> 00:25:12,304
OLSEN: For the first episode,
it's the '50s, and it's silly humor,
502
00:25:12,387 --> 00:25:15,265
but it was like really great
physical comedy,
503
00:25:15,349 --> 00:25:19,311
and that bleeds into the '60s,
the second episode, which is Bewitched.
504
00:25:19,394 --> 00:25:22,940
Just mind your P's and Q's
and you're gonna do just fine.
505
00:25:23,023 --> 00:25:24,733
OLSEN: The tone doesn't change too much.
506
00:25:24,816 --> 00:25:26,318
Darling! Oh!
507
00:25:26,401 --> 00:25:30,197
I think we still allow her to just
become more modern of a woman
508
00:25:30,280 --> 00:25:32,199
instead of trying to play the housewife.
509
00:25:32,282 --> 00:25:36,245
Well, thank you for giving me
the strength and the courage.
510
00:25:36,328 --> 00:25:39,540
OLSEN: Thing that we loved so much
in the '50s and in the '60s,
511
00:25:39,623 --> 00:25:42,084
between the marriages in those shows,
512
00:25:42,167 --> 00:25:45,379
is that they were like really funny
and really honest,
513
00:25:45,462 --> 00:25:47,756
and, like, lovely and beautiful
and felt in love.
514
00:25:47,840 --> 00:25:50,175
-Should we put our heads together?
-SHAKMAN: Very cute.
515
00:25:50,259 --> 00:25:52,094
OLSEN: And then we get into the'70s
516
00:25:52,177 --> 00:25:54,388
and it just becomes
this, like, Brady Bunch
517
00:25:54,471 --> 00:25:58,225
kinda creepily, like,
not grounded anymore.
518
00:25:58,851 --> 00:26:01,144
Strangest thing
just happened outside with...
519
00:26:01,228 --> 00:26:02,521
Whoa, Nelly!
520
00:26:02,604 --> 00:26:05,524
BETTANY: It's a surprise initially
that she got pregnant.
521
00:26:05,607 --> 00:26:07,526
We didn't know that that was possible.
522
00:26:07,609 --> 00:26:12,155
It's a magical moment because she's,
sort of, suddenly six months pregnant.
523
00:26:12,239 --> 00:26:14,491
SHAKMAN: If you could
lean in as much as...
524
00:26:14,575 --> 00:26:16,034
I have a belly in front of me.
525
00:26:16,118 --> 00:26:20,956
Her pregnancy is progressing
at an alarming speed. (LAUGHS)
526
00:26:21,039 --> 00:26:23,542
You're at about four months now.
Is that right?
527
00:26:24,835 --> 00:26:26,795
OLSEN: I was so excited to have an episode
528
00:26:26,879 --> 00:26:32,092
where I went through every single stage
of my pregnancy in one day.
529
00:26:32,176 --> 00:26:35,012
That was fabulous. (LAUGHS)
530
00:26:35,095 --> 00:26:37,431
It was so perfect and funny.
531
00:26:38,432 --> 00:26:39,558
(AUDIENCE LAUGHS)
532
00:26:39,641 --> 00:26:40,851
Vis...
533
00:26:40,934 --> 00:26:42,227
Yes, dear?
534
00:26:42,311 --> 00:26:43,937
I think my water just broke.
535
00:26:44,021 --> 00:26:47,691
We're doing this bit where I'm trying
to hide that I'm pregnant.
536
00:26:47,774 --> 00:26:51,069
And so Monica is over, Teyonah's over.
537
00:26:51,153 --> 00:26:55,866
And I'm switching all these coats
on and off, like, magically.
538
00:26:55,949 --> 00:26:59,620
And I'm in the kitchen and everything's
kind of going bonkers in the kitchen.
539
00:26:59,703 --> 00:27:02,206
I'm trying to hide my belly from her.
540
00:27:02,289 --> 00:27:05,834
And so, I keep magically changing
all of my coats.
541
00:27:06,919 --> 00:27:10,672
So, we'd have to freeze. And then someone
would come on and put on my coat,
542
00:27:10,756 --> 00:27:13,258
then I'd have to freeze again,
then I'd have a contraction.
543
00:27:13,926 --> 00:27:17,179
And there's a moment where
I had to do a double take
544
00:27:17,262 --> 00:27:20,724
and I kept making it like a triple take,
and a quadruple take. (CHUCKLING)
545
00:27:20,807 --> 00:27:24,144
I just kept, like, amping it up each time.
546
00:27:24,228 --> 00:27:27,147
And it was the moment
when Matt came up to me and he said,
547
00:27:27,231 --> 00:27:29,149
"Okay, let's try and keep it...
548
00:27:29,233 --> 00:27:32,611
"I think we're doing too much now,
let's try and keep it to a double take."
549
00:27:32,694 --> 00:27:35,030
And it was the thing
that Matt keeps saying, like,
550
00:27:35,113 --> 00:27:36,782
"Go further, go further!"
551
00:27:36,865 --> 00:27:38,909
And I think that was
when I laughed so hard
552
00:27:38,992 --> 00:27:41,495
because he was telling me to stop.
553
00:27:41,578 --> 00:27:44,623
Vision ran to get the doctor.
He'll be back soon.
554
00:27:44,706 --> 00:27:46,708
BETTANY: Baby's born, and I miss it.
555
00:27:46,792 --> 00:27:50,504
But I'm there for the second baby,
and then, "Oh, my God, they're twins!"
556
00:27:51,672 --> 00:27:55,717
So, yeah, we have twins,
and, uh, they're confusing, too,
557
00:27:55,801 --> 00:27:59,888
because they're born babies,
but very quickly, they're toddlers.
558
00:27:59,972 --> 00:28:01,348
Where are the twins?
559
00:28:02,432 --> 00:28:03,934
-Mommy?
-Daddy?
560
00:28:06,436 --> 00:28:08,272
Wha-- Did y--
561
00:28:09,106 --> 00:28:13,569
And then, very quickly, they are,
562
00:28:13,652 --> 00:28:15,737
you know, sort of ten years old.
563
00:28:15,821 --> 00:28:18,365
We don't think you'll be old enough
564
00:28:18,448 --> 00:28:21,994
to properly care for an animal
until you're at least...
565
00:28:22,077 --> 00:28:23,078
(WHISPERS) Ten.
566
00:28:24,288 --> 00:28:26,331
Ten years old. (CHUCKLES)
567
00:28:26,832 --> 00:28:28,166
SHAKMAN: Look at each other.
568
00:28:30,043 --> 00:28:33,297
-Well, now, hang on there a minute...
-Wait, no, no, no.
569
00:28:33,380 --> 00:28:35,841
VISION: ...you young whippersnappers.
WANDA: No, no, no!
570
00:28:35,924 --> 00:28:37,551
-(AUDIENCE LAUGHS)
-(GASPS)
571
00:28:37,634 --> 00:28:40,179
Let's just hope
this dog stays the same size.
572
00:28:44,725 --> 00:28:48,312
This is the '80s, yeah.
So we designed one basic layout,
573
00:28:48,395 --> 00:28:50,898
and then we've just changed it
through the decades.
574
00:28:50,981 --> 00:28:56,028
So, this is still the Dick Van Dyke set,
inspired by Dick Van Dyke kitchen,
575
00:28:56,111 --> 00:28:57,779
but now this is the '80s
576
00:28:57,863 --> 00:29:00,199
inspired by Full House
and Family Ties...
577
00:29:00,282 --> 00:29:02,409
Growing Pains,
shows that we loved from the '80s.
578
00:29:02,492 --> 00:29:03,493
-(BABIES CRYING)
-Now, I know
579
00:29:03,577 --> 00:29:05,287
parents aren't supposed to take shortcuts,
580
00:29:05,370 --> 00:29:08,040
but I think this situation
calls for one, don't you?
581
00:29:08,123 --> 00:29:09,958
SHAKMAN: It's funny now
when you look back at it,
582
00:29:10,042 --> 00:29:14,338
it's a beloved generation
and it's also a self-parodying era as well
583
00:29:14,421 --> 00:29:17,216
because you look at the hair
and the clothes and we all wonder,
584
00:29:17,299 --> 00:29:18,842
"We really thought that was cool?
585
00:29:18,926 --> 00:29:21,053
"How did we ever go outside
looking that way?"
586
00:29:21,136 --> 00:29:23,055
It's almost like we're on a date.
587
00:29:23,138 --> 00:29:24,556
-Almost.
-(CHUCKLES)
588
00:29:24,640 --> 00:29:26,725
With two really cranky chaperones.
589
00:29:26,808 --> 00:29:28,018
(BOTH LAUGH)
590
00:29:28,101 --> 00:29:32,606
My memories of the '80s, as a '90s child,
591
00:29:32,689 --> 00:29:37,236
is that I still got to wear
these beautiful vests and things like this
592
00:29:37,319 --> 00:29:40,822
and had lots of beautiful hats
with big flowers on them.
593
00:29:40,906 --> 00:29:41,949
I just missed it,
594
00:29:42,032 --> 00:29:47,162
but the '80s were a horrible time
of style and hair.
595
00:29:47,913 --> 00:29:51,375
But I really actually am partial
to this wig, I have to say.
596
00:29:51,458 --> 00:29:52,584
-I'm...
-MAN: It's fabulous.
597
00:29:52,668 --> 00:29:54,253
I feel like I'm filled with secrets.
598
00:29:56,630 --> 00:29:59,132
OLSEN: At the end
of the episode in the '80s,
599
00:29:59,216 --> 00:30:00,676
to Wanda's surprise,
600
00:30:00,759 --> 00:30:01,927
she gets a knock at the door.
601
00:30:02,010 --> 00:30:04,972
It was not something
that she consciously did.
602
00:30:05,055 --> 00:30:07,850
And so she's very confused by it.
603
00:30:07,933 --> 00:30:10,727
And the knock on the door
is her brother, Pietro.
604
00:30:10,811 --> 00:30:13,438
But he looks different
because it's Evan Peters. (CHUCKLES)
605
00:30:13,522 --> 00:30:14,690
-TOMMY: No! Ow!
-Get over here!
606
00:30:14,773 --> 00:30:17,234
OLSEN: And the character he plays
is like Uncle Jesse.
607
00:30:17,317 --> 00:30:18,986
-Come on!
-(LAUGHTER)
608
00:30:19,069 --> 00:30:22,990
OLSEN: Like, the cool uncle,
who's coming in to stir things up.
609
00:30:23,073 --> 00:30:24,575
Right on, little dude!
610
00:30:24,658 --> 00:30:26,118
Chip off the old Maximoff block.
611
00:30:26,201 --> 00:30:27,369
You've got super speed!
612
00:30:27,452 --> 00:30:28,495
-TOMMY: I do?
-Yeah!
613
00:30:28,579 --> 00:30:30,539
OLSEN: And that's the trope he uses
614
00:30:30,622 --> 00:30:33,542
as part of his relationship
to the sitcom land.
615
00:30:33,625 --> 00:30:35,836
I can't believe
what a bad influence you are.
616
00:30:35,919 --> 00:30:37,337
Who beefed in your borscht?
617
00:30:38,297 --> 00:30:40,591
I'm just trying to do my part. Okay?
618
00:30:40,674 --> 00:30:43,010
Come to town,
create tension with the brother-in-law,
619
00:30:43,093 --> 00:30:45,637
stir up trouble with the rugrats,
and give you grief.
620
00:30:45,721 --> 00:30:49,224
I mean, that's what you wanted, isn't it?
621
00:30:50,017 --> 00:30:51,518
What happened to your accent?
622
00:30:51,602 --> 00:30:52,978
What happened to yours?
623
00:30:54,104 --> 00:30:56,607
I'm thrilled. I'm such a huge fan
of the Marvel Universe.
624
00:30:56,690 --> 00:30:58,984
So, I'm, like...
I'm just excited to be here.
625
00:30:59,067 --> 00:31:03,655
It's, like, the character
is so funny and meta,
626
00:31:03,739 --> 00:31:05,616
and an interesting way to do it.
627
00:31:05,699 --> 00:31:07,743
When Kevin was telling me about it,
I was like,
628
00:31:07,826 --> 00:31:10,787
"Oh, that sounds awesome,
and hilarious, and so weird."
629
00:31:10,871 --> 00:31:13,916
Long lost bro get to squeeze
his stinkin' sister to death or what?
630
00:31:13,999 --> 00:31:15,501
(TV AUDIENCE LAUGHS)
631
00:31:16,084 --> 00:31:18,170
She recast Pietro?
632
00:31:18,921 --> 00:31:20,130
SCHAEFFER: For the '80s,
633
00:31:20,214 --> 00:31:23,842
we're doing Family Ties,
Growing Pains, Who's the Boss.
634
00:31:25,093 --> 00:31:26,345
Who's the popsicle?
635
00:31:26,428 --> 00:31:28,138
And, yeah, that's my era,
636
00:31:28,222 --> 00:31:31,016
so I am very excited for that.
And then also, we're having
637
00:31:31,099 --> 00:31:35,854
our theme songs composed
by Bobby and Kristen Anderson-Lopez.
638
00:31:35,938 --> 00:31:38,649
You wander the world with a vision
639
00:31:38,732 --> 00:31:42,110
Of what life could be
640
00:31:43,862 --> 00:31:50,410
But then the years come and teach you
To just wait and see
641
00:31:51,954 --> 00:31:54,581
Matt's actually a friend of mine
from school, from college.
642
00:31:54,665 --> 00:31:56,083
He called and just said,
643
00:31:56,166 --> 00:31:58,836
"Okay, so you know Wanda and Vision
from the Avengers.
644
00:31:58,919 --> 00:32:01,880
"This is a crazy idea. It's like sitcoms,
645
00:32:01,964 --> 00:32:04,216
"and we go from the '50s, we do the '60s,
646
00:32:04,299 --> 00:32:07,594
"and every single episode
is a different style
647
00:32:07,678 --> 00:32:09,263
"and a different theme song."
648
00:32:09,346 --> 00:32:11,056
-And we were like...
-"Sign us up."
649
00:32:11,139 --> 00:32:14,309
"Sign us up. You had us at 'Hello', man.
That is amazing."
650
00:32:14,393 --> 00:32:16,728
Oh
651
00:32:16,812 --> 00:32:21,567
A newlywed couple just moved to town
652
00:32:21,650 --> 00:32:25,070
A regular husband and wife
653
00:32:25,153 --> 00:32:30,117
Who left the big city to find a quiet life
654
00:32:30,701 --> 00:32:33,954
WandaVision!
655
00:32:37,249 --> 00:32:39,501
But we decided,
since everything was so disparate,
656
00:32:39,585 --> 00:32:41,962
there's gonna be a '50s song
and a '60s song,
657
00:32:42,045 --> 00:32:44,673
and they would all have
the word "WandaVision" in them...
658
00:32:44,756 --> 00:32:46,758
WandaVision!
659
00:32:47,676 --> 00:32:48,886
WandaVision!
660
00:32:49,928 --> 00:32:52,931
LOPEZ: ...that we decided
to make a WandaVision motif
661
00:32:53,015 --> 00:32:55,350
that would be able
to be used in a different way.
662
00:32:55,434 --> 00:32:57,352
I played them through for Kristen,
663
00:32:57,436 --> 00:32:58,896
but the first one was this.
664
00:32:58,979 --> 00:33:00,856
(PLAYS TUNE ON KEYBOARD)
665
00:33:00,939 --> 00:33:02,232
She was like, "That's the one."
666
00:33:02,316 --> 00:33:03,442
-"That's it."
-(BOTH CHUCKLE)
667
00:33:04,026 --> 00:33:05,986
LOPEZ: It could be the '50s,
where it's like...
668
00:33:06,069 --> 00:33:08,322
(PLAYING TUNE ON KEYBOARD)
669
00:33:10,282 --> 00:33:13,160
Or, um, you know,
the '60s one, which is, um...
670
00:33:13,243 --> 00:33:15,245
(PLAYING PEPPY TUNE)
671
00:33:20,042 --> 00:33:21,668
And the '80s one, which is...
672
00:33:22,252 --> 00:33:24,254
(PLAYS SLOWER TUNE)
673
00:33:25,714 --> 00:33:29,510
The fun became finding a way to hide
that musical signature
674
00:33:29,593 --> 00:33:30,719
somewhere in each song.
675
00:33:30,802 --> 00:33:35,933
WandaVision!
676
00:33:36,016 --> 00:33:38,352
You look at the period,
the influences of the period,
677
00:33:38,435 --> 00:33:42,147
and the instrumentation of the period,
and the language of the period.
678
00:33:42,231 --> 00:33:45,067
LOPEZ: We talked a lot with Matt and Jac
about our favorites.
679
00:33:45,150 --> 00:33:47,110
The things that we were all drawn to
680
00:33:47,194 --> 00:33:51,031
became the things
that we tried to emulate the most.
681
00:33:51,114 --> 00:33:54,326
We often talked to them
before we hit each decade,
682
00:33:54,409 --> 00:33:55,702
at least for a half hour.
683
00:33:55,786 --> 00:33:58,288
So, you know, we would...
684
00:33:58,372 --> 00:34:02,251
Maybe we did the '50s and the '60s
on the same call,
685
00:34:02,334 --> 00:34:04,628
and said, "Well, we know what the '50s is.
686
00:34:04,711 --> 00:34:06,672
"'60s, let's talk about it." Um...
687
00:34:07,756 --> 00:34:11,009
And, you know,
all agreed that Bewitched in particular,
688
00:34:11,093 --> 00:34:13,512
um, was a big thing.
689
00:34:13,595 --> 00:34:17,599
But we also lookedat James Bond movies,
we looked at Burt Bacharach...
690
00:34:17,683 --> 00:34:20,269
-We looked at, um...
-Mahna Mahna.
691
00:34:20,352 --> 00:34:24,147
...what was going on
in the pop culture of that time,
692
00:34:24,231 --> 00:34:26,900
and made sure
that we were really referencing
693
00:34:26,984 --> 00:34:30,404
sort of that bebop jazz,
the cool jazz that was there.
694
00:34:30,487 --> 00:34:35,117
(CHUCKLES) And also, just that
Swinging Sixties culture of the time.
695
00:34:35,200 --> 00:34:37,619
WandaVision
Wa-WandaVision
696
00:34:38,495 --> 00:34:40,205
WandaVision
697
00:34:40,873 --> 00:34:42,958
-(POP MUSIC PLAYS)
-(MALE SINGER SCATTING)
698
00:34:43,041 --> 00:34:44,334
WandaVision
699
00:34:44,418 --> 00:34:46,295
ANDERSON-LOPEZ: The '70s
has a touch of tambourine.
700
00:34:46,378 --> 00:34:47,379
LOPEZ: Oh, for sure.
701
00:34:47,462 --> 00:34:50,132
Because we were referencing
702
00:34:50,215 --> 00:34:52,467
The Brady Bunch and The Partridge Family,
703
00:34:52,551 --> 00:34:57,222
and any family jam band
that dresses up in fringe outfits
704
00:34:57,306 --> 00:34:59,766
and travels in a groovy van
to their next gig.
705
00:34:59,850 --> 00:35:01,643
But it's groovy and fun
706
00:35:01,727 --> 00:35:04,855
It's me and it's you
707
00:35:04,938 --> 00:35:06,899
Kristen and I have
always loved songs that go...
708
00:35:06,982 --> 00:35:09,443
(SCATTING)
709
00:35:09,526 --> 00:35:11,111
(MALE SINGER SCATTING)
710
00:35:11,195 --> 00:35:12,362
WandaVision
711
00:35:12,946 --> 00:35:14,406
(MALE SINGER SCATTING)
712
00:35:14,489 --> 00:35:15,949
WandaVision
713
00:35:16,033 --> 00:35:19,244
One plus one is family
714
00:35:19,328 --> 00:35:21,455
WandaVision
715
00:35:22,748 --> 00:35:25,959
LOPEZ: The '80s...
I mean, in particular, the '80s
716
00:35:26,043 --> 00:35:28,045
is where we're all from,
where we grew up in.
717
00:35:28,128 --> 00:35:29,755
After school, that's where we'd go home
718
00:35:29,838 --> 00:35:32,382
and watch Diff'rent Strokes
and Punky Brewster, and...
719
00:35:32,466 --> 00:35:34,218
Right. I mean, our whole family life
720
00:35:34,301 --> 00:35:39,139
was scheduled around Family Ties
coming on, or Growing Pains.
721
00:35:39,223 --> 00:35:43,227
The one that they've done for the '80s
is by far my favorite.
722
00:35:43,310 --> 00:35:44,520
I sing it all the time.
723
00:35:44,603 --> 00:35:48,398
Crossing our fingers,
singing a song
724
00:35:48,482 --> 00:35:52,194
We're making it up as we go along
725
00:35:54,196 --> 00:35:56,490
Oh, and then, with the aughts.
726
00:35:56,573 --> 00:35:59,368
Wanda
Wanda Vision
727
00:35:59,451 --> 00:36:02,412
ANDERSON-LOPEZ: We got
to have this wonderful collaboration
728
00:36:02,496 --> 00:36:04,540
with the original riot grrrl...
729
00:36:04,623 --> 00:36:07,543
LOPEZ: Kathleen Hanna,
the lead singer of Bikini Kill.
730
00:36:07,626 --> 00:36:11,129
And just gives it this
wonderful authenticity, punk authenticity.
731
00:36:11,213 --> 00:36:13,131
Easy come and easy go
732
00:36:13,215 --> 00:36:16,093
But if it's all illusion
733
00:36:16,176 --> 00:36:19,221
Sit back, and enjoy the show
734
00:36:19,805 --> 00:36:23,559
We got to play
in a totally different kind of playground,
735
00:36:23,642 --> 00:36:26,103
with a completely new set of references,
736
00:36:26,186 --> 00:36:28,647
and show off other things
that we could do.
737
00:36:28,730 --> 00:36:30,983
And we got to write things
that really didn't have to
738
00:36:31,066 --> 00:36:33,902
carry a whole lot of story weight,
just had to set tone.
739
00:36:33,986 --> 00:36:36,947
ANDERSON-LOPEZ: I think it's a tone
unlike anything I've ever seen.
740
00:36:37,030 --> 00:36:39,700
It's fun, it's funny,
741
00:36:39,783 --> 00:36:42,953
it's nostalgic, and it's creepy.
742
00:36:48,250 --> 00:36:51,044
OLSEN: To jump off the genre blending,
743
00:36:51,128 --> 00:36:54,464
even in the '50s and '60s episodes,
744
00:36:54,548 --> 00:36:57,009
we have moments of Twilight Zone.
745
00:36:57,092 --> 00:37:01,096
And instead of it being
moments of today's horror,
746
00:37:01,180 --> 00:37:06,226
we take camera tricks from Twilight Zone
to make you feel off-kilter.
747
00:37:06,310 --> 00:37:09,855
So, in order to get
to that cinematic feeling
748
00:37:09,938 --> 00:37:14,776
or sense of something being off in each...
749
00:37:14,860 --> 00:37:18,363
'Cause something has to go wrong
in order to advance to the next decade,
750
00:37:18,447 --> 00:37:22,576
or else why are you changing the scenario
or the given circumstances?
751
00:37:22,659 --> 00:37:26,538
And so we used
Twilight Zone tropes for that.
752
00:37:26,622 --> 00:37:30,000
And then, for something like
once we get to the Halloween episode,
753
00:37:30,083 --> 00:37:32,461
we're in this idyllic town,
it's Halloween,
754
00:37:32,544 --> 00:37:34,421
it's like the perfect type of Halloween.
755
00:37:34,505 --> 00:37:37,966
Truly the most charming costumes
I've seen on extras ever.
756
00:37:38,050 --> 00:37:40,010
It was very, very cute.
757
00:37:40,093 --> 00:37:43,722
And kids are wreaking havoc,
and it's just perfect.
758
00:37:43,805 --> 00:37:47,017
Somebody better be
bleeding, broken, or on fire.
759
00:37:47,100 --> 00:37:51,563
It was so fun to get to be
in these old costumes of the characters.
760
00:37:51,647 --> 00:37:53,565
Why do you... look different?
761
00:37:53,649 --> 00:37:56,652
OLSEN: In Age of Ultron,
everyone referenced
762
00:37:56,735 --> 00:37:58,779
certain comic books for me to focus on,
763
00:37:58,862 --> 00:38:01,657
and told me, "Don't pay attention
to what she's wearing.
764
00:38:01,740 --> 00:38:05,202
"You're not gonna be in a leotard,
tights and a crown on your head. I swear."
765
00:38:05,285 --> 00:38:07,329
And I was like, "Oh, thank God."
766
00:38:07,412 --> 00:38:09,665
And now, the way we incorporated
767
00:38:09,748 --> 00:38:14,753
the retro costume of the Scarlet Witch
on Halloween,
768
00:38:14,837 --> 00:38:17,047
it gave me so much joy.
769
00:38:17,130 --> 00:38:21,134
Like, if you were to ask me
seven years ago to wear that,
770
00:38:21,218 --> 00:38:23,053
even if it were ironically,
771
00:38:23,136 --> 00:38:25,514
I would be like, "Oh, really?"
772
00:38:25,597 --> 00:38:29,101
But now that I've so much love
for the fandom
773
00:38:29,184 --> 00:38:31,478
and so much love for the comics,
774
00:38:31,562 --> 00:38:33,772
it's so fun to be in that costume.
775
00:38:33,856 --> 00:38:36,191
I love you. I'm sorry.
776
00:38:36,275 --> 00:38:37,943
(ALL LAUGHING)
777
00:38:40,320 --> 00:38:45,826
And seeing Paul dressed like a wrestler,
778
00:38:45,909 --> 00:38:50,789
he, it's just the whole...
It's just he's... It's so funny.
779
00:38:50,873 --> 00:38:54,668
Thank you for humoring me
and wearing this ridiculous get-up, honey.
780
00:38:54,751 --> 00:38:56,753
There were no other clothes
in my closet, so...
781
00:38:57,838 --> 00:39:01,300
I get to disguise myself as the Vision,
782
00:39:02,134 --> 00:39:04,803
but the Vision from the comic books.
783
00:39:04,887 --> 00:39:07,681
And it was my favorite costume
784
00:39:07,764 --> 00:39:12,227
'cause it was so humiliating and funny
785
00:39:12,311 --> 00:39:18,192
and I had a pair of shorts
pulled very high up around my waist,
786
00:39:18,275 --> 00:39:21,653
and yellow Converse to be my super-shoes.
787
00:39:21,737 --> 00:39:24,740
When Vision goes out further
788
00:39:24,823 --> 00:39:26,950
to where we call "Ellis Avenue,"
789
00:39:27,034 --> 00:39:28,827
um, I always told the kids...
790
00:39:28,911 --> 00:39:31,413
BOTH: Don't go past Ellis Avenue.
791
00:39:31,496 --> 00:39:32,998
We know, Mom. We know.
792
00:39:33,081 --> 00:39:34,541
OLSEN: That's the end of the Hex.
793
00:39:34,625 --> 00:39:37,169
And so, the closer you get
to the end of the Hex,
794
00:39:37,252 --> 00:39:40,255
the less control Wanda has
of the actual town,
795
00:39:40,339 --> 00:39:46,011
and people are just doing things by rote.
796
00:39:51,600 --> 00:39:53,685
BETTANY: People are having
these repetitive things,
797
00:39:53,769 --> 00:39:55,521
or hanging up Halloween decorations,
798
00:39:55,604 --> 00:39:57,397
and taking it down, and doing it again.
799
00:39:57,481 --> 00:40:00,859
And characters that you realize
800
00:40:00,943 --> 00:40:04,947
are just less well drawn by Wanda.
801
00:40:05,030 --> 00:40:06,532
And then he gets further out,
802
00:40:06,615 --> 00:40:09,326
and he finds children trick-or-treating,
803
00:40:09,409 --> 00:40:13,330
but they're just absolutely frozen still.
804
00:40:13,413 --> 00:40:14,623
Are those your children?
805
00:40:17,417 --> 00:40:19,044
Are you waiting for something?
806
00:40:24,800 --> 00:40:28,720
BETTANY: And that leads
to the denouement of the whole show.
807
00:40:28,804 --> 00:40:33,433
It's so much fun to have gone through
all of these multi-camera sitcom stuff.
808
00:40:33,517 --> 00:40:36,478
You're shooting
in a very familiar way, right?
809
00:40:36,562 --> 00:40:38,105
Very static cameras.
810
00:40:38,188 --> 00:40:41,191
And then suddenly, when you cut
to an angle that shouldn't be there
811
00:40:41,275 --> 00:40:43,902
or a camera move that would never...
812
00:40:43,986 --> 00:40:46,822
It really, you really feel it
when you're watching it,
813
00:40:46,905 --> 00:40:49,700
so it's a great storytelling tool.
And then, of course,
814
00:40:49,783 --> 00:40:52,536
in the end, everything kind of
breaks down and becomes,
815
00:40:52,619 --> 00:40:57,791
"We're in the real world,
in an MCU version of the real world."
816
00:40:59,126 --> 00:41:00,210
(GASPS)
817
00:41:00,294 --> 00:41:01,753
-Am I dead?
-No.
818
00:41:02,546 --> 00:41:04,798
-Why would you think that?
-Because you are.
819
00:41:10,554 --> 00:41:14,099
We are standing at the very front
of what we call "the pop-up base,"
820
00:41:14,183 --> 00:41:18,312
which is our military base
set up by S.W.O.R.D.
821
00:41:18,395 --> 00:41:22,357
to investigate the anomaly
that Wanda has set up here in Westview.
822
00:41:23,734 --> 00:41:25,569
So that's what this building is about,
823
00:41:25,652 --> 00:41:26,945
a temporary structure
824
00:41:27,029 --> 00:41:30,699
from which to observe
and deal with this problem.
825
00:41:35,454 --> 00:41:36,580
We're in the Marvel world,
826
00:41:36,663 --> 00:41:40,459
so in many ways, you'd expect we would
start with something a bit more stylized
827
00:41:40,542 --> 00:41:42,753
and, sort of, you know, sci-fi.
828
00:41:42,836 --> 00:41:45,005
But we wanted to make it
a little more realistic,
829
00:41:45,088 --> 00:41:46,715
so we started with ideas
830
00:41:46,798 --> 00:41:51,512
of what kind of military response is there
to a disaster, for example,
831
00:41:51,595 --> 00:41:53,597
if it were a chemical attack,
832
00:41:53,680 --> 00:41:55,807
or nuclear attack, or something like that.
833
00:41:55,891 --> 00:41:59,728
And they actually have
these response teams called CBRNs,
834
00:41:59,811 --> 00:42:01,063
which go out and deal with
835
00:42:01,146 --> 00:42:04,107
chemical, biological, radiological
and nuclear threats.
836
00:42:04,191 --> 00:42:05,817
So it's sort of inspired by that.
837
00:42:05,901 --> 00:42:10,489
Now, that said, the building behind me
is a complete hybrid, it isn't...
838
00:42:10,572 --> 00:42:14,368
Nothing exists like this in the air force,
in the army, or marines.
839
00:42:14,451 --> 00:42:18,080
So, we made up our own version of it
to make it a little more Marvel-like.
840
00:42:18,163 --> 00:42:19,706
What do we have up?
841
00:42:19,790 --> 00:42:23,210
Radar, lidar, sodar, infrared.
842
00:42:23,293 --> 00:42:24,336
Cycle through.
843
00:42:24,419 --> 00:42:26,463
We're inside the pop-up base
844
00:42:26,547 --> 00:42:30,092
monitoring the Hex,
which is what Darcy calls
845
00:42:30,175 --> 00:42:36,056
the magical Wanda-world Westview area.
846
00:42:36,139 --> 00:42:39,977
So, this is all
different kinds of military
847
00:42:40,060 --> 00:42:43,522
and space-science people,
848
00:42:43,605 --> 00:42:46,525
and then,
there's my little desk back there.
849
00:42:46,608 --> 00:42:48,527
They gave her her own little corner,
850
00:42:48,610 --> 00:42:54,199
um, where she's basically
cracked the "the magic."
851
00:42:54,283 --> 00:42:58,495
So, you're saying the universe created
a sitcom starring two Avengers?
852
00:43:00,038 --> 00:43:01,582
It's a working theory.
853
00:43:01,665 --> 00:43:04,126
Darcy discovers that there's
854
00:43:04,209 --> 00:43:08,505
basically an old television signal
emanating from the Hex,
855
00:43:08,589 --> 00:43:09,715
from the anomaly.
856
00:43:09,798 --> 00:43:13,760
And she goes, and she grabs an old TV
with a piece of rabbit ears on it,
857
00:43:13,844 --> 00:43:17,055
and she picks up the TV show that
Wanda's broadcasting out from the Hex.
858
00:43:17,139 --> 00:43:23,562
So, what we do is, in each period
that Wanda iterates within the Hex,
859
00:43:23,645 --> 00:43:25,898
we bring in those period TVs.
860
00:43:25,981 --> 00:43:29,860
So you see late '50s, '60s, '70s,
and so on.
861
00:43:30,652 --> 00:43:34,531
Everything might look fake in the TV,
but everything in there is real.
862
00:43:34,615 --> 00:43:36,408
WORTHINGTON:
What's fun is just the contrast.
863
00:43:36,491 --> 00:43:38,952
We started in this very,
sort of, light sitcom world,
864
00:43:39,036 --> 00:43:41,955
which I had never designed before,
so that was fun.
865
00:43:42,039 --> 00:43:45,667
But then,
to then dive right into, sort of,
866
00:43:45,751 --> 00:43:48,837
straight-ahead MCU style,
867
00:43:48,921 --> 00:43:51,256
visual style, acting style,
script, and all that,
868
00:43:51,340 --> 00:43:54,218
just is delightful after all of that,
in a way,
869
00:43:54,301 --> 00:43:57,095
just because, you know,
"Is this all in the same movie?" It is.
870
00:43:57,179 --> 00:43:59,932
Which is great,
but just the design challenges
871
00:44:00,015 --> 00:44:03,310
of having to go from that to this,
that's really fun.
872
00:44:06,063 --> 00:44:10,192
We're at the town square
which is in Hollywood,
873
00:44:10,275 --> 00:44:14,029
so basically, we see that
in six periods pretty extensively.
874
00:44:14,112 --> 00:44:16,990
So much of it is a design challenge
to get all of that right,
875
00:44:17,074 --> 00:44:20,077
to, sort of, express the period,
it's sort of unprecedented.
876
00:44:20,160 --> 00:44:21,370
(APPLAUSE)
877
00:44:23,580 --> 00:44:26,333
Part of the challenge is that
we don't have a shooting schedule
878
00:44:26,416 --> 00:44:29,044
that allows us to shoot for two days,
go away for two days,
879
00:44:29,127 --> 00:44:31,338
turn it around, repaint, come back.
880
00:44:31,421 --> 00:44:33,674
We're doing overnight changeovers.
881
00:44:33,757 --> 00:44:38,011
Which means that we have to basically
define all of the design changes,
882
00:44:38,095 --> 00:44:39,805
all the pieces you're gonna bring in,
883
00:44:39,888 --> 00:44:42,933
design them, build them, paint them,
prefit them probably,
884
00:44:43,016 --> 00:44:44,685
so you know exactly what you're doing,
885
00:44:44,768 --> 00:44:48,397
and everything comes in
almost like LEGO in a certain way.
886
00:44:48,480 --> 00:44:50,691
All these parts come in
and go up very quickly,
887
00:44:50,774 --> 00:44:55,404
'cause you've only got, maybe, 12 hours
to complete this turnaround.
888
00:44:57,114 --> 00:44:58,949
ALL: "For the children!"
889
00:45:02,911 --> 00:45:04,037
(GRUNTS)
890
00:45:04,955 --> 00:45:06,456
(LAUGHTER)
891
00:45:06,540 --> 00:45:07,541
(LAUGHTER STOPS)
892
00:45:09,710 --> 00:45:11,003
(WHOOSHING)
893
00:45:16,675 --> 00:45:19,636
OLSEN: The experience of doing the finale
894
00:45:20,262 --> 00:45:23,432
when Wanda, she has to
run through town square,
895
00:45:23,515 --> 00:45:26,143
and she's looking for Agnes, or Agatha,
896
00:45:27,019 --> 00:45:30,731
and all of the people in the town
start to wake up,
897
00:45:30,814 --> 00:45:34,193
and surround her, and crowd her almost,
898
00:45:35,194 --> 00:45:36,945
like, begging her to let them go.
899
00:45:37,029 --> 00:45:40,324
-I can't take this anymore, Wanda, please.
-(VOICES OVERLAPPING)
900
00:45:40,407 --> 00:45:41,408
Please!
901
00:45:42,618 --> 00:45:44,453
(CLAMORING)
902
00:45:44,536 --> 00:45:45,829
(SCREAMS)
903
00:45:45,913 --> 00:45:47,289
(WAILS)
904
00:45:47,372 --> 00:45:51,418
It was a very long sequence.
It had quite a climax.
905
00:45:51,502 --> 00:45:54,087
AGNES: I mean,
who is the boss here, Wanda?
906
00:45:55,422 --> 00:45:57,508
Heroes don't torture people.
907
00:45:58,175 --> 00:46:02,429
OLSEN: Getting to do a wide like that,
it feels like a piece of theater.
908
00:46:02,513 --> 00:46:06,850
It felt really satisfying
to do emotionally, I think.
909
00:46:06,934 --> 00:46:09,019
And it just felt epic, like the...
910
00:46:09,102 --> 00:46:13,148
There's some moments when these movies
just feel like so cinematic on the day,
911
00:46:13,232 --> 00:46:16,068
and that just felt really grand.
912
00:46:16,151 --> 00:46:17,402
(WANDA GRUNTS)
913
00:46:18,237 --> 00:46:22,032
-WANDA: Go, now, all of you. Go!
-(MAN SHOUTS)
914
00:46:22,115 --> 00:46:23,909
-(PEOPLE SCREAMING)
-MAN: Run!
915
00:46:27,079 --> 00:46:28,997
What's so special about this script
916
00:46:29,081 --> 00:46:31,959
is that you don't actually know
what is coming from where,
917
00:46:32,042 --> 00:46:34,127
and who is actually the bad person,
918
00:46:34,962 --> 00:46:37,089
and when someone has ulterior motives,
919
00:46:37,172 --> 00:46:39,216
and what's actually happening.
920
00:46:39,299 --> 00:46:42,553
So, sometimes you feel like,
921
00:46:42,636 --> 00:46:44,972
"Well, Wanda is the bad...
She's the villain.
922
00:46:45,055 --> 00:46:49,017
"She has turned
all of these people's lives upside down.
923
00:46:49,101 --> 00:46:50,477
"She's the villain."
924
00:46:50,561 --> 00:46:55,524
Then, you find out that, well,
Agnes is pretty terrible. (CHUCKLES)
925
00:46:56,316 --> 00:47:01,113
She's got her own thing
that she's been brewing the entire time,
926
00:47:01,196 --> 00:47:05,951
and kinda counteracting,
counter-magicking Wanda.
927
00:47:06,034 --> 00:47:09,997
And then you have, um, Hayward,
928
00:47:10,873 --> 00:47:15,460
he's pretty not a very good person.
(CHUCKLES)
929
00:47:15,544 --> 00:47:19,339
And he's got his own agenda
that's throwing...
930
00:47:19,423 --> 00:47:21,592
Everyone has their own agenda,
931
00:47:21,675 --> 00:47:24,261
and what's great is that at some point,
932
00:47:24,344 --> 00:47:26,680
you see it all clash and blow up
933
00:47:26,763 --> 00:47:29,725
into an epic superhero fight,
might I say. (CHUCKLES)
934
00:47:31,518 --> 00:47:34,646
Last one to town square
is a walking pair of mom jeans.
935
00:47:34,730 --> 00:47:36,440
-...burden!
-(GRUNTS)
936
00:47:36,523 --> 00:47:37,774
(GRUNTS)
937
00:47:37,858 --> 00:47:40,444
Usually, I'm like one of
the only flyers. (LAUGHS)
938
00:47:40,527 --> 00:47:43,113
Like, I'm the only one on wires often.
939
00:47:43,197 --> 00:47:46,867
That is something I do a lot
in these films.
940
00:47:46,950 --> 00:47:48,869
(LAUGHTER)
941
00:47:49,745 --> 00:47:51,705
I mean, it looks like a blast.
942
00:47:51,788 --> 00:47:54,833
OLSEN: And so,
I feel like it's the first time
943
00:47:54,917 --> 00:48:00,422
Marvel has had to accommodate
for so many flying sequences.
944
00:48:00,506 --> 00:48:03,383
And it was a real challenge...
945
00:48:03,467 --> 00:48:05,552
I mean, Kathryn's in a ridiculous costume
946
00:48:05,636 --> 00:48:09,056
that is very uncomfortable
to harness and fly in.
947
00:48:09,139 --> 00:48:14,186
But we all just, like,
we're always harnessed
948
00:48:14,269 --> 00:48:16,063
(LAUGHS) like, for the last six weeks.
949
00:48:16,647 --> 00:48:20,817
We've been harnessed quite a bit,
and it was so fun.
950
00:48:20,901 --> 00:48:22,528
It was... I love flying.
951
00:48:22,611 --> 00:48:26,365
I love doing all the flying work,
I really, truly enjoy it so much.
952
00:48:26,448 --> 00:48:28,992
But we... I think it's the first time
953
00:48:29,076 --> 00:48:32,955
I think Marvel's really had to create
a full fight sequence in the air.
954
00:48:33,038 --> 00:48:34,498
(GRUNTS)
955
00:48:38,794 --> 00:48:40,712
(CACKLING)
956
00:48:40,796 --> 00:48:42,548
I think my most gratifying was
957
00:48:43,590 --> 00:48:46,343
when I finally put on Agatha's hero look
958
00:48:46,426 --> 00:48:51,473
and was able to be raised up
in those wires for the first time.
959
00:48:51,557 --> 00:48:53,767
-OLSEN: You look amazing.
-You look amazing.
960
00:48:53,851 --> 00:48:56,186
HAHN: And feel those huge fans on me,
961
00:48:56,270 --> 00:48:59,106
even though it was like
a hundred and something degrees outside.
962
00:48:59,189 --> 00:49:02,943
It was like crazy just to feel
all the work of all these people
963
00:49:03,026 --> 00:49:07,447
that had gone into collaborating,
into helping make her.
964
00:49:07,531 --> 00:49:09,783
You're supposed to be a myth.
965
00:49:10,909 --> 00:49:15,289
A being capable of spontaneous creation,
966
00:49:15,372 --> 00:49:20,836
and here you are,
using it to make breakfast for dinner!
967
00:49:20,919 --> 00:49:25,674
To play the good and the bad,
to play the wicked and the playful,
968
00:49:25,757 --> 00:49:29,052
and to play a villain that's also funny,
969
00:49:29,136 --> 00:49:30,846
it's the best.
970
00:49:30,929 --> 00:49:33,182
There's more. I want it all.
971
00:49:33,265 --> 00:49:36,768
OLSEN: When you're on these big films,
and you get all those pieces moving
972
00:49:36,852 --> 00:49:40,522
that are in the world's control,
it feels really special.
973
00:49:40,606 --> 00:49:41,940
Thanks for the lesson...
974
00:49:44,651 --> 00:49:50,574
but I don't need you to tell me who I am.
975
00:49:53,160 --> 00:49:57,122
The features, as you know,
set a very high bar for the look,
976
00:49:57,206 --> 00:50:02,753
and for the effects to supplement
the story, not overwhelm the story.
977
00:50:02,836 --> 00:50:06,256
That same mandate for the features
978
00:50:06,340 --> 00:50:10,052
was absolutely what they were wanting
to achieve for the streaming service.
979
00:50:10,135 --> 00:50:13,305
Vision himself, he's a digital prosthetic.
980
00:50:13,388 --> 00:50:15,098
Poor Paul, we paint him purple,
981
00:50:15,182 --> 00:50:17,017
and he has to go through
the day like that.
982
00:50:17,100 --> 00:50:20,270
But otherwise,
all the rest of that is a digital effect.
983
00:50:20,354 --> 00:50:25,025
Every time Vision's synthezoid,
that he's got a CG face,
984
00:50:25,108 --> 00:50:28,987
(CHUCKLES) so we would
go back to Matt and say,
985
00:50:29,071 --> 00:50:30,656
"Do you know, for this beat,
986
00:50:30,739 --> 00:50:34,034
"does he really need to be synthezoid?
Could he be human?"
987
00:50:34,117 --> 00:50:36,537
And Matt and Jac would
often come back with,
988
00:50:36,620 --> 00:50:38,288
"Well, he's his true self.
989
00:50:38,372 --> 00:50:42,376
"You know, when he's in his home,
we want specific beats to be synthezoid
990
00:50:42,459 --> 00:50:44,169
"even though they're visual effect shots,
991
00:50:44,253 --> 00:50:47,047
"just because it's who he is
when he's at home with Wanda."
992
00:50:47,130 --> 00:50:51,093
So, we let the story determine
when we'd use the visual effects.
993
00:50:51,176 --> 00:50:54,471
So when we translated Red Vision
into black and white,
994
00:50:54,555 --> 00:50:56,056
he didn't really look like Vision.
995
00:50:56,139 --> 00:50:59,393
We did tests using footage
from the previous films
996
00:50:59,476 --> 00:51:01,687
as my first week on the job.
997
00:51:01,770 --> 00:51:05,190
We knocked on a colorist's door and said,
"Can we see what he looks like?"
998
00:51:05,274 --> 00:51:07,693
And we quickly realized
he would have to be blue.
999
00:51:07,776 --> 00:51:11,321
UNDERDAHL: During the '50s and '60s,
actresses would actually use blue makeup,
1000
00:51:11,405 --> 00:51:13,282
blue lipstick
so their lips would appear red.
1001
00:51:13,365 --> 00:51:16,076
And lo and behold,
we did the same with Paul,
1002
00:51:16,159 --> 00:51:19,204
found the right, uh, shade of blue
during some camera tests,
1003
00:51:19,288 --> 00:51:23,125
did a little additional tweaking in the DI
and found a really good target.
1004
00:51:28,172 --> 00:51:32,509
What we got to was a place
where we really keep the performance.
1005
00:51:32,593 --> 00:51:34,219
Paul is Vision,
1006
00:51:34,303 --> 00:51:37,806
and so what we end up doing
is kind of painting out his ears,
1007
00:51:37,890 --> 00:51:41,226
and augmenting and tracking CG
onto his body,
1008
00:51:41,310 --> 00:51:42,436
but that's him.
1009
00:51:48,317 --> 00:51:51,653
UNDERDAHL: Wanda's world
is her safe haven,
1010
00:51:51,737 --> 00:51:56,533
so when the Hex takes over
the military base,
1011
00:51:57,159 --> 00:52:00,370
it turns into a happy thing, into a...
1012
00:52:00,454 --> 00:52:04,166
a kind of absurd thing almost,
which is the circus, which is fun.
1013
00:52:04,249 --> 00:52:06,877
For visual effects,
it wasn't necessarily a complicated thing.
1014
00:52:06,960 --> 00:52:08,712
You shoot the A side, then the B side,
1015
00:52:09,296 --> 00:52:11,089
and then you augment each.
1016
00:52:14,718 --> 00:52:18,639
We knew that the Hex had to be a boundary
1017
00:52:18,722 --> 00:52:22,184
that kept the townspeople in,
1018
00:52:22,267 --> 00:52:25,687
but that was mysterious
to the people on the outside.
1019
00:52:25,771 --> 00:52:28,440
We decided early
that it would be more mysterious
1020
00:52:28,524 --> 00:52:30,442
if it was an invisible Hex.
1021
00:52:30,526 --> 00:52:35,531
And so it helped build tension
and we got to make it look quite cool.
1022
00:52:35,614 --> 00:52:41,078
We looked at all different manners
of film boundaries in the past
1023
00:52:41,161 --> 00:52:45,332
and decided that we wanted our Hex
to have the language of television.
1024
00:52:47,209 --> 00:52:53,048
So, we studied how magnets
were drawn on old CRT televisions
1025
00:52:53,131 --> 00:52:56,218
and the magnetization
you would get across the screen,
1026
00:52:56,301 --> 00:52:59,805
the pixelization you would get
when you zoomed way into an old TV.
1027
00:53:00,305 --> 00:53:03,058
The cathodic lines or those skinny lines
that you would see
1028
00:53:03,141 --> 00:53:05,853
in NTSC old, square TVs.
1029
00:53:05,936 --> 00:53:08,397
And so we went to photography,
1030
00:53:08,480 --> 00:53:12,609
and we found our favorite images
for what this boundary could be,
1031
00:53:12,693 --> 00:53:14,486
using the language of television.
1032
00:53:16,321 --> 00:53:20,534
Westview was meant
to be Wanda's idyllic town,
1033
00:53:20,617 --> 00:53:22,452
so that was a touchstone.
1034
00:53:22,536 --> 00:53:27,082
Everything about Wanda's home inside,
outside, and the town they live in,
1035
00:53:27,165 --> 00:53:32,045
came from this concept
that she recreated the reality she wanted
1036
00:53:32,129 --> 00:53:34,715
from her childhood,
from those television shows.
1037
00:53:35,757 --> 00:53:40,512
It's executing a vision to the standard
that Wanda would have wanted.
1038
00:53:51,815 --> 00:53:54,943
As far as TV goes,
there is an argument that
1039
00:53:55,027 --> 00:53:59,323
Avengers and the Marvel MCU
1040
00:53:59,406 --> 00:54:04,661
is the largest
episodic experiment ever, right?
1041
00:54:04,745 --> 00:54:09,416
Because it's like these shows
that then have interconnected spin-offs
1042
00:54:09,499 --> 00:54:12,336
and then different... Until we culminate.
1043
00:54:12,419 --> 00:54:13,670
Spirits lifted.
1044
00:54:14,129 --> 00:54:17,216
BETTANY: It has always
been episodic storytelling,
1045
00:54:17,299 --> 00:54:20,552
so that didn't feel that different for me.
1046
00:54:20,636 --> 00:54:24,181
What feels different
is the focus on Wanda and Vision,
1047
00:54:24,264 --> 00:54:26,225
which is really nice after all this time.
1048
00:54:26,308 --> 00:54:29,436
OLSEN: I think
the beauty of what Jac Schaeffer,
1049
00:54:29,520 --> 00:54:33,482
and Mary Livanos, Matt,
and Feige put together
1050
00:54:33,565 --> 00:54:38,153
was a story that can only be told
in the medium of television.
1051
00:54:38,237 --> 00:54:41,782
And the way we're telling it
is a complete conversation
1052
00:54:41,865 --> 00:54:45,827
of American sitcom hitting against
the Marvel Cinematic Universe.
1053
00:54:48,080 --> 00:54:52,459
For Marvel to take the opportunity
to do a television show,
1054
00:54:52,543 --> 00:54:57,464
and for the first show to come out to be
an actual love song to American sitcoms,
1055
00:54:57,548 --> 00:55:03,095
is so perfect, and it's so perfect
for Wanda's character.
1056
00:55:05,556 --> 00:55:09,518
Dick Van Dyke again?
Always "sitcom, sitcom, sitcom..."
1057
00:55:09,601 --> 00:55:12,229
The thing that I really loved
at the end of the journey
1058
00:55:12,312 --> 00:55:17,192
is, I think it's the first time Wanda
has really accepted who she is
1059
00:55:17,276 --> 00:55:20,362
and actually puts to bed so much pain.
1060
00:55:20,445 --> 00:55:25,284
And we find her finally having peace
and being okay.
1061
00:55:25,367 --> 00:55:26,994
I can't feel you.
1062
00:55:27,077 --> 00:55:33,417
I'm so excited now that we've cracked open
this other part of her,
1063
00:55:33,500 --> 00:55:37,671
so that there hopefully
could be more stories to tell.
1064
00:55:37,754 --> 00:55:43,218
It's been such a gift, and so I really
loved doing this show. (CHUCKLES)
1065
00:55:43,302 --> 00:55:44,511
Cut.
1066
00:55:44,595 --> 00:55:46,597
MAN: That is a wrap on Lizzy.
1067
00:55:48,015 --> 00:55:49,349
VISION: I've never experienced loss
1068
00:55:49,433 --> 00:55:53,353
because I've never
had a loved one to lose.
1069
00:55:55,689 --> 00:55:56,982
But what is grief...
1070
00:55:58,525 --> 00:56:01,570
if not love persevering?