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Hi, everybody. I’m Jake
Schreier, director of <i>Thunderbolts*.</i>

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I’m gonna try to lead us through here
and throw credit to as many people as I can

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while we’re watching this.

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And, also,
as a snapshot in time,

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this is the day the movie comes
out, and I’ve been on a press tour,

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and I’m a little tired, so...

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I never have much enthusiasm,
energy, but I might have even less.

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Anyway, this title sequence
was created by Imaginary Forces.

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We talked about
really wanting to do

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something that honored
the traditional Marvel flip

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that announced that this movie
was gonna be a little bit different.

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And they did a great job with that,
of kind of bringing the Void into it,

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which we’ll see later.

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And here we find Florence,

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without whom none of
this movie would work.

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Um, what an incredible actress.

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Obviously, this stunt
got talked a lot about.

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This was something, when
Lee Sung Jin came in, uh,

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and did multiple drafts
of the script,

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we talked about wanting
to build our own version

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of a kind of Bond
or <i>Mission: Impossible</i> opening.

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But for our movie, that felt
like more of an emotional stunt,

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so it was this idea of finding
a young woman in a place of...

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where you might imagine
it was a suicide,

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but then actually,
it’s disaffection.

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And it was like, "Oh, can we go
to the tallest building in the world?"

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And, you know, I said to Florence
in the beginning of this shoot,

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"How are you with heights?"

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And she was, like, "I love
heights. What are we doing?"

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Um... And she just
took this on,

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’cause Disney health and safety said no at
least three times, and the whole shoot...

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This was one of the... the last
sequence we did in the film, this roof.

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Uh, she just
would not let it go.

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And just the amount of planning
that went into getting up on that roof

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and her embracing actually
stepping off on that descender rig,

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I’ve never really seen
anything like it.

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We were up there,
every time there’s lightning,

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you have to come off of
the roof for half an hour.

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Uh, I also want to mention Katie,
the best BASE jumper in the world,

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who did the wide shot of that.

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Um, that’s Florence doing
her own stunt right there.

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Man, there’s too many things
to say with this movie as we go.

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This shot, again,
it was this idea of, like,

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"Is there a kind of different way we can
approach an opening action sequence?"

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You know, our own sort of...

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I mean, you know, we can’t
approach the <i>Oldboy</i> hallway fight,

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but this is our own version.
This is Sarah, um,

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Florence’s wonderful
stunt double, doing this,

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and this idea of,
like, could we use it

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as a way to thematically put
shadows into the movie early?

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Again, if we’re gonna be a bit
of a different sort of action movie,

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or an emotional kind
of action movie,

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is there a way to establish that
up front and let you know that?

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So, Joanna Calo, who... another
one of our wonderful writers,

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this is her work here.
Talking to the guard.

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She wanted a taped guard
that wasn’t listening to Florence.

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Um...

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<i>Well, whatever.
You’re useless to me...</i>

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Yeah, I just love
Florence’s sort of...

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her ability to play that humor and that
disaffection just so kind of quietly. Um...

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And, then, yeah,
this was another Sonny add,

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the idea of doing a kind of
whole opening monologue

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that really delivered to a guard that
you have tied up and a guinea pig.

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I think initially, perhaps, it was a
chicken, in one of the early drafts,

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and then, yeah,
landed on guinea pig.

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But it helps you show, again, even
in her sort of disaffection and loss,

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that, like,
she is a caring person.

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There are things, especially
this adorable animal,

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that she cares about.

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Also, if you look closely at that
maze that the guinea pig is in,

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Grace Yun, our wonderful
production designer,

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you actually find
Yelena’s Void rooms in there.

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It’s a little Easter egg,
if you look closely.

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<i>Did Valentina send you?</i>

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<i>This research is property
of OXE Group.</i>

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<i>- You’re gonna tell me I don’t understand.
- You don’t understand.</i>

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This is Eric Lange,
an incredible actor

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who I’ve worked with
on numerous TV shows,

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who was nice enough to come down
to Atlanta and work with us on this.

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Um...

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You know,
it’s a part probably...

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You know, he’s bigger
than this part,

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but at the same time,
I just felt, like,

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it’s the first person that you see
Florence interacting with in the movie,

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so to have someone
of his abilities,

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and, you know, he was nice enough
to come down and do a day for us

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when he was on another show,

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it just was a huge lift
for the film.

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<i>Oh, God.</i>

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So, yeah,
this was an interesting one,

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where we’re trying to do a version of
a kind of disaffected action sequence,

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which was tricky ’cause,
you know, it’s a big movie

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and you want to have fun
action in it, but at the same time,

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we need to sell
this idea of a character

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kind of on the edge of caring
about any of this.

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And a little bit of a meta
commentary on these films, um,

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where, you know, because
she’s disaffected with her job,

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she’s going through all the
things that happen all the time,

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but at the same time, obviously, that’s
a bit of a wink to how guys, you know...

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grunts can never
aim well enough.

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And you get to have
a bit of that commentary,

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because of her perspective
on her life.

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<i>Oh, damn.</i>

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<i>I needed that face.</i>

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So, this was actually shot
on the exact same day

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that we did
the step off the building.

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We did a company move
and then, in a oner,

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blew up a whole floor
of this building.

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Adam is a wonderful special
effects guy in Malaysia. Um...

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And, again, the thing I should say
about that, and the opening shot,

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is it’s the kind of thing you can only
do if you have an actress like Florence,

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where you know that she’s
going to be totally in character,

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and when you only get one
take at it, and it is all in one shot,

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you have every bit of confidence
that she’s gonna pull it off,

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and you always do with her.

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And here we have
the wonderful Sebastian Stan,

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uh, uncomfortable as he is
as a congressman. Um...

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You know, we had to figure out
what is a new path to take Bucky on,

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and it was something I
talked to Sebastian a lot about,

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and he had a lot of input in.

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This idea that, you know,
obviously, in so many of these films,

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a lot of his arc has been resolved
in terms of where he overlaps

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with what our main characters
are going through.

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So is there a new arc
and a new sort of want,

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a need or frustration
that we can take him on?

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And this idea that he’s trying
to figure out how to help

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in a more kind of
conventional way,

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and that, obviously through the film,
is gonna become frustrated with that.

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The great Wendell Pierce, who I’d spend
every day thanking for coming and doing this.

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I’ve just been
such a fan of his for so long.

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And then we meet
Julia and Geraldine.

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And, uh, obviously, for me to
get to work with a legend like Julia,

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someone who I’ve admired for
this long, it was so, so wonderful,

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and also just the fact that
she’s such a lovely person

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and so committed and
just trying to make it better.

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And her notes throughout were the
kind of notes that writers usually give.

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She’s so focused on story and
how to make things clearer and better.

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It was just an absolute
pleasure to work with her.

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<i>- ...of OXE Group?
- Yes.</i>

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<i>Although, I have fully divested
in OXE since taking office.</i>

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This scene has
been in the movie

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in every iteration of drafts
from Eric Pearson’s initial script.

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It’s just taken on many forms,

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and, you know, the story
kind of shifts over time,

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but it always felt like a nice way to kind
of establish the conflict of this movie,

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which is always gonna seem,
at first,

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potentially smaller than you’re
used to in a big, superhero film,

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where it is a little more
ground-bound in a political context.

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Um, but we always liked this
idea that we could make a movie

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where it wasn’t
from the beginning,

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you know, the traditional
evil villain world stakes,

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and that there is no
necessary conventional villain.

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I mean, you could look at
our main characters as villains

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in the right context, in
that, from Val’s perspective,

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she’s just sort of frustrated at
having to kind of back-channel

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in order to have power,

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and this scene is supposed to
kind of establish that,

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that she’s under investigation,
under threat,

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and therefore needs to get rid
of our main characters.

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But, God, would she want
just her own,

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uh, you know,
Golden Guardian of Good

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that she could stand behind
and just be in control of everything.

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That would make things
a lot easier for her.

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And there is also, again,

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this running meta commentary
that we try to establish here

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about this idea that the Avengers
are not in this world anymore,

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and that obviously the way
that sets on Bucky

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and sets for the audience
is feeling like

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we are a ways away
from those films at this point,

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and there is this kind of gap left
in the world that people can feel.

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<i>- ...this investigation?
- Oh, of course not.</i>

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<i>Shit. We gotta get
all of this outta here...</i>

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This is all, uh, a real set.
None of that is extension.

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It’s a very large building in Atlanta,
convention center that we shot at.

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And that was really something we tried
with Grace Yun, our production designer,

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to always find places that...
either that we build all of

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or that we find a location that
we can dress and really try--

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even if it means,
if we did this onstage,

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maybe we could make it
an even bigger warehouse,

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but then it would all be in post, and
just that feeling that starts to come in

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when everything behind their
heads is real and has real texture, um,

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felt like we would get an
overall lift for that in the movie,

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and I thought Grace
did such a nice job,

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if you actually went to that
place, of what it looked like

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to make it feel big and
like it could belong to OXE.

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Uh...

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Still remember the day
of filming David on blue screen

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to put him into
this old footage.

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It was fun looking through all
of this old footage to go through.

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This obviously... this is another scene
that Sonny really brought to the script,

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where, you know, instead of
traditionally opening a movie like this

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with a big action scene
to establish the Red Guardian,

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it couldn’t be more opposite.

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And I also pushed, even though we
probably could’ve built this onstage,

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but it’s only one day
that we shot in here,

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and to go out on location and
whatever that odd constraint

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of being in a small apartment--

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You know,
this was shot in Atlanta--

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would bring in
this strange feeling of reality

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and feeling oddly small
and a little bit sad,

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which is where we’re supposed
to find these characters.

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And I just thought Sonny did
such a beautiful job here,

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and then Joanna pushed it
even further, of, you know,

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this idea that they’ve missed
each other over these years.

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There-- There’s a loss
that they’re not processing,

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and they’re kind
of talking past each other.

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That was something that
really came up in rehearsal

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that Joanna put in so nicely

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of, you know,

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Yelena was always kind
of talking in this scene

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about not really having a
purpose or a reason to live,

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and Alexei is not in a place
to receive that.

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Thinks she’s just
talking about work.

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Can’t understand why she
wouldn’t want to pursue the glory

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that he misses so much.

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00:10:03,163 --> 00:10:06,795
And it’s such a lovely bit
of acting between these two

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of kind of talking past each
other and not being able to connect

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in the way that they eventually
will need to in the film, and it really...

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You know, I don’t think
we filmed this scene

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until maybe five weeks
into production.

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And it was at night.
It was raining.

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We had to do it in one night, which is
not so hard, but it is more like a TV pace,

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where it’s
a four-and-a-half-page scene

224
00:10:25,834 --> 00:10:27,377
that goes a lot
of different places.

225
00:10:27,378 --> 00:10:30,801
And I... I just remember
what a lift it gave us,

226
00:10:30,802 --> 00:10:35,603
even though it is in such a small
place and feels kind of almost dingy.

227
00:10:35,604 --> 00:10:40,654
But to see, you know, really the theme of
what our movie is about established here

228
00:10:40,655 --> 00:10:42,617
with these two great actors
who are really bringing it

229
00:10:42,618 --> 00:10:44,787
and play so well
off each other...

230
00:10:44,788 --> 00:10:46,833
You know,
sometimes on these action--

231
00:10:46,834 --> 00:10:49,964
I think the biggest learning curve for
me making a movie like this was that

232
00:10:49,965 --> 00:10:54,181
the proportion of the shoot is not
equal to the proportion of what you watch.

233
00:10:54,182 --> 00:10:58,815
I love directing action, but you
spend so long on the action sequences

234
00:10:58,816 --> 00:11:01,195
that, you come to
a scene like this,

235
00:11:01,196 --> 00:11:06,163
and it only makes up one day
of your, you know, 72-day shoot.

236
00:11:06,164 --> 00:11:08,669
But in the movie,
it’s such a huge part

237
00:11:08,670 --> 00:11:12,425
of establishing
what the movie is about.

238
00:11:12,426 --> 00:11:15,014
You know, and for Florence right
here, look at this moment where,

239
00:11:15,015 --> 00:11:16,768
what is the point
of any of this,

240
00:11:16,769 --> 00:11:19,147
to kind of allude to
the purposelessness of life,

241
00:11:19,148 --> 00:11:21,235
but not in a way
that feels overwrought.

242
00:11:21,236 --> 00:11:23,699
And that actually
could be missed by Alexei.

243
00:11:23,700 --> 00:11:26,453
I mean, that takes
such deft acting.

244
00:11:26,454 --> 00:11:30,921
And, again, for David here to
not overly lean into the humor of it.

245
00:11:30,922 --> 00:11:33,552
I mean, Red Guardian is
absolutely very funny,

246
00:11:33,553 --> 00:11:35,388
and David is amazing at that,

247
00:11:35,389 --> 00:11:37,017
but he never goes too far
in that direction

248
00:11:37,018 --> 00:11:39,522
so that he can pull back
in the moments like this,

249
00:11:39,523 --> 00:11:44,616
where you really feel his loss and what he’s
missing out on and the things that he misses.

250
00:11:44,617 --> 00:11:48,289
We always talked about Alexei as
sort of doing it for the wrong reasons,

251
00:11:48,290 --> 00:11:50,418
that he was the one that
was gonna assemble this team

252
00:11:50,419 --> 00:11:52,297
’cause he believed
in the idea of teams.

253
00:11:52,298 --> 00:11:56,096
But he’s invested in this sort
of meta idea of superheroes

254
00:11:56,097 --> 00:11:58,351
and forming a team
and to be aware of this.

255
00:11:58,352 --> 00:12:01,816
He can say things like, "Scrappy
antiheroes," like he does later.

256
00:12:01,817 --> 00:12:03,987
But, of course,
what he really needs to learn

257
00:12:03,988 --> 00:12:06,951
is that you’re supposed to
be doing it for the sake of it,

258
00:12:06,952 --> 00:12:09,457
not for the glory,
as he later says.

259
00:12:11,252 --> 00:12:12,379
Um...

260
00:12:12,380 --> 00:12:14,466
This is a small personal note.

261
00:12:14,467 --> 00:12:17,807
These soccer uniforms are based,
uh, on my soccer team growing up,

262
00:12:17,808 --> 00:12:21,271
which is what I pitched as
the basis for <i>Thunderbolts*.</i>

263
00:12:21,272 --> 00:12:23,568
We were called the Colossal
Cleats. I named the team.

264
00:12:23,569 --> 00:12:26,240
We lost every game.
I was the goalie.

265
00:12:26,241 --> 00:12:28,787
Uh... All of that is true.

266
00:12:28,788 --> 00:12:30,498
And Sanja Hays
did an incredible job

267
00:12:30,499 --> 00:12:34,381
of recreating those, uh, reversible
mesh jerseys from my childhood.

268
00:12:34,382 --> 00:12:35,718
It was strange to see.

269
00:12:35,719 --> 00:12:38,472
<i>Reporting for duty.
What’s my next assignment?</i>

270
00:12:38,473 --> 00:12:40,936
<i>Thank you, Ms. Belova.
I was starting to worry.</i>

271
00:12:40,937 --> 00:12:42,272
<i>After this though, I--</i>

272
00:12:42,273 --> 00:12:43,900
This is
an interesting phone call

273
00:12:43,901 --> 00:12:45,486
in that we always weren’t sure
if it was gonna be okay

274
00:12:45,487 --> 00:12:48,910
that our two kind of, you know,
our antagonist and our protagonist

275
00:12:48,911 --> 00:12:50,831
never really meet in person
in the movie.

276
00:12:50,832 --> 00:12:53,503
There used to be versions
where they did, and then it felt like

277
00:12:53,504 --> 00:12:56,885
by getting them together, it was
almost gonna cause too many problems,

278
00:12:56,886 --> 00:12:59,139
where, if Val was able
to search her out,

279
00:12:59,140 --> 00:13:02,521
she would know that, uh, she
wasn’t really in the right place

280
00:13:02,522 --> 00:13:04,692
to do what she needed to do,

281
00:13:04,693 --> 00:13:07,531
and also that Yelena would be too smart
to know what Val was gonna do to her,

282
00:13:07,532 --> 00:13:09,786
so the phone call made sense
as a separation

283
00:13:09,787 --> 00:13:13,585
and also a way to just propel
us into the action with that cut

284
00:13:13,586 --> 00:13:17,091
and use this more
as a kind of montage voice-over

285
00:13:17,092 --> 00:13:18,887
to establish the rules
of the world.

286
00:13:18,888 --> 00:13:22,895
This, uh... A lot of this is CG,
but this is a real helicopter shot

287
00:13:22,896 --> 00:13:25,609
that Jake Morrison, our visual
effects supervisor, did out in Utah.

288
00:13:25,610 --> 00:13:29,282
And then this whole plaza,
this is real, that entire facade.

289
00:13:29,283 --> 00:13:32,623
This whole plaza, the rocks,
Grace built all of this out in Atlanta,

290
00:13:32,624 --> 00:13:34,961
and then, you know, anything
beyond that is extension.

291
00:13:34,962 --> 00:13:37,800
But all of this, they shot
this entirely in-camera,

292
00:13:37,801 --> 00:13:40,889
except, I think, at the very, very edges
there might be some trees painted out.

293
00:13:40,890 --> 00:13:43,143
<i>You’ll have full access.</i>

294
00:13:43,144 --> 00:13:45,941
Probably my favorite shot in
the film coming up right here.

295
00:13:45,942 --> 00:13:47,903
This was one I really
just wanted for the trailer.

296
00:13:47,904 --> 00:13:49,406
I wasn’t even sure we’d use it.

297
00:13:49,407 --> 00:13:51,201
But we actually ended up...
You know, it’s funny.

298
00:13:51,202 --> 00:13:53,372
These little pieces
of her going down to the vault,

299
00:13:53,373 --> 00:13:55,502
these got shot over the course
of the entire shoot,

300
00:13:55,503 --> 00:13:57,756
’cause we didn’t have time
to do it as its own scene,

301
00:13:57,757 --> 00:14:00,469
and the sets were getting built in
different pieces. But I really wanted...

302
00:14:00,470 --> 00:14:03,183
I actually didn’t think we
would end up using all of them,

303
00:14:03,184 --> 00:14:06,148
but there was something nice
about, even though it’s-it’s small,

304
00:14:06,149 --> 00:14:08,987
on a smaller scale
of getting to see each piece

305
00:14:08,988 --> 00:14:12,035
of where eventually our characters
were gonna have to get themselves out of,

306
00:14:12,036 --> 00:14:15,709
and if you don’t show every piece of
that, then you feel disconnected from it.

307
00:14:15,710 --> 00:14:17,504
But you now,
just subconsciously,

308
00:14:17,505 --> 00:14:20,009
have seen every
single one of the places

309
00:14:20,010 --> 00:14:23,642
that we’re later gonna revisit when
they’re stuck down there as a team.

310
00:14:23,643 --> 00:14:27,524
Um, this vault also exists
as an entirely built set.

311
00:14:27,525 --> 00:14:30,112
Those side corridors
aren’t real,

312
00:14:30,113 --> 00:14:34,329
but that entire corridor that she
walks down into this giant vault...

313
00:14:34,330 --> 00:14:37,962
Grace built this
incredible set where, again,

314
00:14:37,963 --> 00:14:41,552
it just means that in this whole
fight, everything behind their heads,

315
00:14:41,553 --> 00:14:43,222
all the texture
that they’re interacting with,

316
00:14:43,223 --> 00:14:45,978
everything that they’re
inside of, that’s all real.

317
00:14:45,979 --> 00:14:49,150
And, again, it means that
it’s a slightly...

318
00:14:49,151 --> 00:14:51,572
Hilariously, given how big it
is, it’s probably a smaller set

319
00:14:51,573 --> 00:14:53,785
than you would ordinarily see
in one of these movies,

320
00:14:53,786 --> 00:14:58,628
’cause usually you would use background
extension to make a larger space,

321
00:14:58,629 --> 00:15:01,383
but then it also wouldn’t have
that same texture of reality,

322
00:15:01,384 --> 00:15:05,684
and that was something that we
tried to prioritize as much as we could.

323
00:15:05,685 --> 00:15:09,942
Okay, so here begins the fight. This
was one of, you know, Eric Pearson’s...

324
00:15:09,943 --> 00:15:12,948
This was in the very first
draft of the script that I read,

325
00:15:12,949 --> 00:15:15,704
this idea of a fight where
everyone is sent to kill each other.

326
00:15:15,705 --> 00:15:20,337
And I thought that was such a great flip
on what you expect maybe this movie to be,

327
00:15:20,338 --> 00:15:24,095
um, where it’s just a team of antiheroes
sent to do bad jobs for the government.

328
00:15:24,096 --> 00:15:27,728
But it became, of course, a very,
very complicated sequence to design

329
00:15:27,729 --> 00:15:31,401
with Heidi Moneymaker, our
wonderful stunt coordinator, uh,

330
00:15:31,402 --> 00:15:34,742
trying to establish the idea that each
of them is going after a different one

331
00:15:34,743 --> 00:15:39,334
was something that took
a lot of stuntvis, they call it,

332
00:15:39,335 --> 00:15:42,716
and in the end, Andrew
Palermo, my DP, and I went in

333
00:15:42,717 --> 00:15:46,223
and sort of shot our own
iPhone version of this fight,

334
00:15:46,224 --> 00:15:49,605
so that each of the shots were
what we were gonna shoot on the day.

335
00:15:49,606 --> 00:15:52,276
And had that all edited,
and we would reedit it

336
00:15:52,277 --> 00:15:54,615
and add pieces and
make it clearer and clearer.

337
00:15:54,616 --> 00:15:58,205
And then on this movie,
this wonderful thing about it

338
00:15:58,206 --> 00:16:03,215
was that we had Harry Yoon
and Angela Catanzaro, our editors,

339
00:16:03,216 --> 00:16:04,969
on set with us
cutting as we went.

340
00:16:04,970 --> 00:16:08,601
So as soon as we would shoot the
shot, we’d go throw it into the edit,

341
00:16:08,602 --> 00:16:10,479
and we’d basically be
cutting on top of the sequence

342
00:16:10,480 --> 00:16:14,112
that we had edited before
as stunt reference.

343
00:16:14,113 --> 00:16:18,453
And then we could see, oh, that works,
but actually we need one more piece here.

344
00:16:18,454 --> 00:16:20,166
I mean, even lines like
this of, "There you are,"

345
00:16:20,167 --> 00:16:22,754
which seems a little silly
for a character to say,

346
00:16:22,755 --> 00:16:25,802
to remind the audience that
that’s Yelena’s target.

347
00:16:25,803 --> 00:16:27,639
All of the little pieces
of it, you know,

348
00:16:27,640 --> 00:16:29,560
I think it was our first
two weeks of shooting.

349
00:16:29,561 --> 00:16:31,606
It felt a little bit
like being under water.

350
00:16:31,607 --> 00:16:33,442
It was a tough sequence
to start out in,

351
00:16:33,443 --> 00:16:37,200
just ’cause, again, these line
pulls and the stunt stuff take so long

352
00:16:37,201 --> 00:16:39,830
that it felt like, okay, when are we
gonna get to the more emotional stuff?

353
00:16:39,831 --> 00:16:43,295
But, also, as we put it together,
it was a great kind of reference

354
00:16:43,296 --> 00:16:46,301
for how this movie was gonna
work and to establish the tone.

355
00:16:46,302 --> 00:16:48,848
And, also, felt a little bit,
in this weird way,

356
00:16:48,849 --> 00:16:52,230
like, we, as a movie, we’re doing
what the characters were doing,

357
00:16:52,231 --> 00:16:54,610
which was, we were starting
in this very contained vault,

358
00:16:54,611 --> 00:16:56,906
and eventually, we’re gonna
work our way out of it,

359
00:16:56,907 --> 00:16:58,408
eventually to Utah,
towards the end of the shoot,

360
00:16:58,409 --> 00:16:59,912
and then Malaysia
at the very end.

361
00:16:59,913 --> 00:17:03,043
So this is where we started
the whole thing.

362
00:17:03,044 --> 00:17:06,341
There’s Bob, just a little hint of
Bob. I don’t know how many...

363
00:17:06,342 --> 00:17:08,387
Maybe on your third viewing,
you’d catch that.

364
00:17:08,388 --> 00:17:10,349
Maybe on the first...

365
00:17:10,350 --> 00:17:12,562
Um, but, again, yeah,
even those shots, okay.

366
00:17:12,563 --> 00:17:14,775
So there’s Ghost, that’s
my target, I have to throw it.

367
00:17:14,776 --> 00:17:20,369
This is, um... Federico D’Alessandro,
one of our main board artists,

368
00:17:20,370 --> 00:17:22,499
who did some of the biggest
sequences in this movie.

369
00:17:24,044 --> 00:17:25,839
He and his wife, Coral,
she edits the animatics.

370
00:17:25,840 --> 00:17:27,843
It’s almost like
watching animated movies.

371
00:17:27,844 --> 00:17:30,431
And yeah, that knife catch
was in one of his early boards,

372
00:17:30,432 --> 00:17:32,561
and we just felt like
we had to pull that off.

373
00:17:32,562 --> 00:17:35,483
And a lot of discussions of the little
camera movements necessary to make that work.

374
00:17:37,864 --> 00:17:40,492
Okay, so, yeah, that’s...
that’s a big moment.

375
00:17:40,493 --> 00:17:42,831
I’ve been asked about this
a lot obviously.

376
00:17:42,832 --> 00:17:45,252
We felt,
coming out of the strike,

377
00:17:45,253 --> 00:17:49,970
when we were, uh, redeveloping the
script and spending more months in it,

378
00:17:49,971 --> 00:17:53,268
we really felt like the movie
was a little bit bloodless.

379
00:17:53,269 --> 00:17:57,109
Um, and in order to establish this
amount of tension that we wanted for it,

380
00:17:57,110 --> 00:18:01,994
it felt like, as sad as it was to
not get to work with Olga more,

381
00:18:01,995 --> 00:18:05,042
that there was a value
in doing an unexpected thing

382
00:18:05,043 --> 00:18:08,173
and having one of our
characters kill another one,

383
00:18:08,174 --> 00:18:10,177
because that’s what
they were all sent there to do.

384
00:18:10,178 --> 00:18:12,682
And to really establish that
as a possibility in this world,

385
00:18:12,683 --> 00:18:14,352
we thought it was worth it

386
00:18:14,353 --> 00:18:16,189
and that it could hang over
the rest of the movie.

387
00:18:16,190 --> 00:18:18,068
And, also,
as far as where to do it,

388
00:18:18,069 --> 00:18:20,615
that if we did it later, the
emotion of that, while powerful,

389
00:18:20,616 --> 00:18:22,661
would step on the Yelena
and Bob relationship,

390
00:18:22,662 --> 00:18:24,288
which was crucial to the movie.

391
00:18:24,289 --> 00:18:27,086
And speaking of Bob, I just
talked over his introduction,

392
00:18:27,087 --> 00:18:31,010
but obviously he will become more
and more important as we go in here.

393
00:18:31,011 --> 00:18:34,183
We now find, uh, Bucky
the spy working the room.

394
00:18:34,184 --> 00:18:36,312
And this benefit,
you know, this is fun,

395
00:18:36,313 --> 00:18:39,444
where, you know, again,
we’re referencing this history.

396
00:18:39,445 --> 00:18:42,324
Given where the movie is gonna end up
and what they’re gonna be announced as,

397
00:18:42,325 --> 00:18:45,748
we felt like it was important to
weave in as much as we could,

398
00:18:45,749 --> 00:18:48,378
these kind of tinges
of Marvel’s own history.

399
00:18:48,379 --> 00:18:51,092
What’s fun about working in a place
like this is that they have those things.

400
00:18:51,093 --> 00:18:54,558
So Grace built that whole "A,"
the Stark "A" in the background,

401
00:18:54,559 --> 00:18:57,939
but a lot of the items that
you see around in this room

402
00:18:57,940 --> 00:19:00,027
come from the actual
Marvel vault.

403
00:19:00,028 --> 00:19:04,035
You know, they’ve lovingly protected
and curated all of these things,

404
00:19:04,036 --> 00:19:08,084
and we could pull them out for a
scene like this to reference that history

405
00:19:08,085 --> 00:19:12,384
of, uh, of the last time the
Avengers had to save New York.

406
00:19:12,385 --> 00:19:16,769
<i>You’re scared because your
investigation of my office came up clean.</i>

407
00:19:16,770 --> 00:19:18,773
<i>Squeaky clean.
Mm-hmm.</i>

408
00:19:18,774 --> 00:19:20,985
I love Wendell so much
in this scene.

409
00:19:20,986 --> 00:19:23,406
There was more to this scene
that is all very funny

410
00:19:23,407 --> 00:19:26,246
and that we would have liked to
keep in, but we really felt like, um,

411
00:19:26,247 --> 00:19:28,918
as we went through
the edits and screenings,

412
00:19:28,919 --> 00:19:31,799
that we needed
to get out of that vault.

413
00:19:31,800 --> 00:19:34,930
Um, you know, obviously we love a lot
of the things that happened down there,

414
00:19:34,931 --> 00:19:37,101
but spending too long
in this section of the movie

415
00:19:37,102 --> 00:19:39,815
and being too contained
within this benefit,

416
00:19:39,816 --> 00:19:42,612
so there was a lot of kind of
editing that went into this section

417
00:19:42,613 --> 00:19:44,031
to streamline things,

418
00:19:44,032 --> 00:19:47,162
even at the expense sometimes
of really good moments.

419
00:19:47,163 --> 00:19:50,002
Um, just to keep the
overall pace moving forward

420
00:19:50,003 --> 00:19:53,843
and not spend too long away
from your perspective characters.

421
00:19:53,844 --> 00:19:56,640
But I do love Sebastian
and Geraldine in this scene,

422
00:19:56,641 --> 00:19:59,563
especially her, uh,
her business card line.

423
00:19:59,564 --> 00:20:02,777
That was something that the
two of them came up with together

424
00:20:02,778 --> 00:20:05,533
that feels like
a really fun kind of...

425
00:20:05,534 --> 00:20:08,413
Again, just trying to establish
Bucky as this fish out of water

426
00:20:08,414 --> 00:20:10,125
trying to do things
a different way,

427
00:20:10,126 --> 00:20:13,841
but it’s not exactly working
as well as he would like it to,

428
00:20:13,842 --> 00:20:15,887
and we need to
kind of feel that frustration,

429
00:20:15,888 --> 00:20:19,811
and then that’ll buy us
the lift of him coming in

430
00:20:19,812 --> 00:20:21,608
on the motorcycle
later in the film.

431
00:20:22,818 --> 00:20:24,153
<i>You say you know
who I am.</i>

432
00:20:24,154 --> 00:20:26,199
<i>So you know my story</i>

433
00:20:26,200 --> 00:20:28,454
<i>and you know I didn’t have
a choice who I worked for.</i>

434
00:20:29,206 --> 00:20:30,792
<i>But you do.</i>

435
00:20:30,793 --> 00:20:32,879
And Geraldine kind of has

436
00:20:32,880 --> 00:20:34,340
this perspective character
for, you know,

437
00:20:34,341 --> 00:20:36,970
she says later, "I was in high
school when the Avengers came."

438
00:20:36,971 --> 00:20:40,770
You know, establishing her as this
kind of moral perspective on the film

439
00:20:40,771 --> 00:20:44,318
of someone just trying to work in a
job and not trying to do anything evil,

440
00:20:44,319 --> 00:20:48,577
but having a boss that is, you
know, perhaps beyond complicated.

441
00:20:48,578 --> 00:20:51,082
And to navigate those ideas, I
think, is an interesting way in,

442
00:20:51,083 --> 00:20:54,548
especially for younger people
watching the film.

443
00:20:54,549 --> 00:20:56,635
<i>I’m-I’m Bob.
I told you. I’m, uh...</i>

444
00:20:56,636 --> 00:20:58,806
Okay, here’s Lewis
doing his Bob thing.

445
00:20:58,807 --> 00:21:01,812
We know that happens in another
major franchise from a few years ago.

446
00:21:01,813 --> 00:21:03,899
When I first met with Lewis
about doing this part,

447
00:21:03,900 --> 00:21:06,739
he asked, "Does he have to be
named Bob? ’Cause I have done that."

448
00:21:06,740 --> 00:21:09,661
And I was like, "Well, it’s pretty
important to what we’ve done,"

449
00:21:09,662 --> 00:21:12,834
so it was very nice of him
to get past that

450
00:21:12,835 --> 00:21:17,176
and embrace the role in other ways,
and, boy, are we lucky that he did.

451
00:21:17,177 --> 00:21:21,309
This was one of the great joys, you know,
just when we first started rehearsals,

452
00:21:21,310 --> 00:21:25,526
it’s just with this core four that
we spend so long with in the vault.

453
00:21:25,527 --> 00:21:28,156
You know, just how quickly the
chemistry seemed to be there.

454
00:21:28,157 --> 00:21:32,707
And I think Hannah does such amazing
work here as the glue for this group,

455
00:21:32,708 --> 00:21:36,507
and keeping the rhythm and the
pacing up and tying them together.

456
00:21:36,508 --> 00:21:41,098
And then Wyatt, you know, is someone who
I worked with on a show called <i>Lodge 49,</i>

457
00:21:41,099 --> 00:21:43,019
and we’ve been friends
for a long time.

458
00:21:43,020 --> 00:21:45,398
So I knew that there was
this other side of Wyatt

459
00:21:45,399 --> 00:21:49,240
that was deeply affable
and charismatic.

460
00:21:49,241 --> 00:21:52,246
And, I mean, John Walker, obviously,
we’re meant to have some fun with him here,

461
00:21:52,247 --> 00:21:55,210
but knowing that he had that,
even if, you know,

462
00:21:55,211 --> 00:21:58,049
it hadn’t kind of leaned
in that direction, you know,

463
00:21:58,050 --> 00:22:00,387
his work in the MCU
before that,

464
00:22:00,388 --> 00:22:03,059
it felt exciting knowing that
we could get there with him.

465
00:22:03,060 --> 00:22:06,775
And Joanna did such a great job
in these scenes,

466
00:22:06,776 --> 00:22:12,327
establishing this kind of
dynamic between the girls and him,

467
00:22:12,328 --> 00:22:16,085
and this idea of a guy who just refuses
to believe that he’s been thrown away

468
00:22:16,086 --> 00:22:18,757
and left to die, where
they’re more able to process it.

469
00:22:18,758 --> 00:22:22,932
And, again, we’re not, you
know, leaning into that too hard

470
00:22:22,933 --> 00:22:24,895
other than to give him
somewhere to go.

471
00:22:24,896 --> 00:22:28,611
If it’s about, you know, eventually
him having to be honest with himself

472
00:22:28,612 --> 00:22:31,240
about what he’s done and
what’s happened to his family

473
00:22:31,241 --> 00:22:34,204
that’s starting it
in this dishonest place,

474
00:22:34,205 --> 00:22:38,463
you know, it’s not about lying to them
as much as it is about lying to himself.

475
00:22:38,464 --> 00:22:41,302
That-That felt like a really
fun arc to take him on.

476
00:22:41,303 --> 00:22:44,099
<i>I’m not leaving here without
completing my mission.</i>

477
00:22:44,100 --> 00:22:47,356
<i>Valentina gave me a clean slate
guarantee, and I’m not screwing that up.</i>

478
00:22:47,357 --> 00:22:48,901
And Lewis is so good here.

479
00:22:48,902 --> 00:22:50,905
We have such little
narrative real estate,

480
00:22:50,906 --> 00:22:53,409
that you have to come to
care about this guy very quickly

481
00:22:53,410 --> 00:22:55,623
before we go to the other sides
of the character.

482
00:22:55,624 --> 00:22:59,004
And, you know, he and I did a
lot of work in rehearsal and in prep

483
00:22:59,005 --> 00:23:02,512
and kind of going through the
script, really every weekend,

484
00:23:02,513 --> 00:23:04,348
and we would go line by line

485
00:23:04,349 --> 00:23:09,358
and talk about this idea of Bob
and The Sentry and the Void,

486
00:23:09,359 --> 00:23:13,116
which even in this early phase,
like, which side of the character

487
00:23:13,117 --> 00:23:15,621
each of those lines leans into

488
00:23:15,622 --> 00:23:18,544
and kind of mapping that out
so that later when we get there,

489
00:23:18,545 --> 00:23:20,214
it would be... it would feel
like it had been established.

490
00:23:21,592 --> 00:23:22,677
That’s the sound barrier.

491
00:23:24,765 --> 00:23:26,560
Yeah, again, all of this...
this whole structure,

492
00:23:26,561 --> 00:23:29,231
Eric Pearson had set up so it
really remains from that original draft

493
00:23:29,232 --> 00:23:31,027
of them all being
locked in there

494
00:23:31,028 --> 00:23:32,572
and where it goes
with the fireball.

495
00:23:32,573 --> 00:23:34,324
That they’d be trapped
in a vault,

496
00:23:34,325 --> 00:23:36,495
sent to kill each other
and trapped,

497
00:23:36,496 --> 00:23:38,207
needing to work together
to get out.

498
00:23:38,208 --> 00:23:40,504
And everything that we
talked about in that early phase

499
00:23:40,505 --> 00:23:43,552
was about, you know,

500
00:23:43,553 --> 00:23:45,472
people thrown together
who could not trust each other,

501
00:23:45,473 --> 00:23:47,727
but were going to need to
in order to get out of this.

502
00:23:47,728 --> 00:23:48,897
<i>Holy shit, Bucky.</i>

503
00:23:50,066 --> 00:23:52,194
<i>The assistant, she’s ductile.</i>

504
00:23:52,195 --> 00:23:53,321
<i>Ductile?</i>

505
00:23:53,322 --> 00:23:54,532
<i>Yeah.</i>

506
00:23:54,533 --> 00:23:56,661
Love Sebastian in this scene.

507
00:23:56,662 --> 00:24:01,045
He’s so excited about his spy
work, and... Wendell just...

508
00:24:01,046 --> 00:24:04,176
Again, just this idea of having
characters that can be in this world

509
00:24:04,177 --> 00:24:06,388
where it doesn’t feel like
we’re breaking the fourth wall

510
00:24:06,389 --> 00:24:08,017
or stepping so far
outside of it,

511
00:24:08,018 --> 00:24:11,190
but the character themself
can comment on this idea

512
00:24:11,191 --> 00:24:12,944
of how Bucky has
approached things in the past

513
00:24:12,945 --> 00:24:15,825
and how that’s not the world
that he’s living in now,

514
00:24:15,826 --> 00:24:19,039
and when you have Wendell Pierce
doing it, then... then it really lands.

515
00:24:19,040 --> 00:24:20,793
<i>...then let the system
do its job.</i>

516
00:24:20,794 --> 00:24:23,464
<i>The system that goes on
recess every day at 4:00 p.m.?</i>

517
00:24:23,465 --> 00:24:25,928
<i>We are in a good spot,
I assure you.</i>

518
00:24:25,929 --> 00:24:29,602
<i>My team is putting together a
juicy packet for the next hearing.</i>

519
00:24:29,603 --> 00:24:33,234
I think Joanna
added this "juicy" stuff.

520
00:24:33,235 --> 00:24:38,620
And when Wendell says "juicy"
and then we do it again later, it really...

521
00:24:38,621 --> 00:24:40,415
I think there are
a couple takes

522
00:24:40,416 --> 00:24:42,712
where he said "juicy" twice
just to really lean into it,

523
00:24:42,713 --> 00:24:45,801
but I think we landed on a good,
solid one. Felt like the right place.

524
00:24:45,802 --> 00:24:48,222
<i>...has been completely
sealed off. All right, then.</i>

525
00:24:48,223 --> 00:24:51,145
And, again, yeah,
this idea of, you know,

526
00:24:51,146 --> 00:24:54,276
an assistant who wants
to prove herself to her boss,

527
00:24:54,277 --> 00:24:56,865
but at the same time, is uncertain
about the path that they’re going down,

528
00:24:56,866 --> 00:24:58,660
and Julia just having
no patience for that.

529
00:24:58,661 --> 00:24:59,454
<i>Oh, my God.</i>

530
00:25:01,291 --> 00:25:03,587
<i>Hey. Job or not...</i>

531
00:25:03,588 --> 00:25:06,383
And this... Okay, sure,
it’s pretty dismissive.

532
00:25:06,384 --> 00:25:09,014
But it feels like, again, this is
honest to who these characters are

533
00:25:09,015 --> 00:25:11,227
at the beginning of our film
where it is just a job,

534
00:25:11,228 --> 00:25:13,022
and this is what they do.

535
00:25:13,023 --> 00:25:15,068
And, you know, Florence
found it very important,

536
00:25:15,069 --> 00:25:18,115
even though her character didn’t
know Antonia directly so well,

537
00:25:18,116 --> 00:25:20,286
but was aware of her story.

538
00:25:20,287 --> 00:25:23,877
You know, wanting to have some
sense of protectiveness over that idea

539
00:25:23,878 --> 00:25:25,547
that’s still honoring
that she’s a character

540
00:25:25,548 --> 00:25:27,510
who is in a dark place
and doing these things.

541
00:25:27,511 --> 00:25:29,514
<i>You don’t know that for sure.
Could be for anything.</i>

542
00:25:29,515 --> 00:25:31,100
<i>Could be for when
they come to pick me up.</i>

543
00:25:32,478 --> 00:25:34,941
Again, yeah, this is more
of that dynamic

544
00:25:34,942 --> 00:25:38,197
that Joanna established
between the three that I find so fun.

545
00:25:38,198 --> 00:25:39,491
<i>Okay, it’s an incinerator.</i>

546
00:25:39,492 --> 00:25:41,663
<i>Oh, boy. That is no way to go.</i>

547
00:25:41,664 --> 00:25:43,165
<i>Well, how would you
like to die today, Bob?</i>

548
00:25:43,166 --> 00:25:45,336
<i>- Okay, ghost lady.
- Ava.</i>

549
00:25:45,337 --> 00:25:48,217
<i>Sure. Whatever. Don’t care. We
need to get you through the walls...</i>

550
00:25:48,218 --> 00:25:50,179
I remember this line.

551
00:25:50,180 --> 00:25:51,892
Look, in these movies, you’re
gonna have to do some exposition.

552
00:25:53,478 --> 00:25:54,605
What?

553
00:25:54,606 --> 00:25:55,899
"They built it just for her.

554
00:25:55,900 --> 00:25:57,277
It’s gotta have
an independent power source."

555
00:25:57,278 --> 00:25:59,907
I remember Wyatt and Florence
trying to pass this line

556
00:25:59,908 --> 00:26:02,830
back and forth to each other
’cause it was hard to say.

557
00:26:02,831 --> 00:26:05,711
Uh... I think Wyatt was like,
"Maybe you could say that,"

558
00:26:05,712 --> 00:26:08,215
and Florence was like, "Nah, I
think you’ve got it. I think you’re good."

559
00:26:08,216 --> 00:26:09,595
And Wyatt did very well
with that in the end.

560
00:26:16,483 --> 00:26:19,864
Again, just trying to seed
the sort of origins of Bob here,

561
00:26:19,865 --> 00:26:22,118
you know, that they don’t pay
quite enough attention to

562
00:26:22,119 --> 00:26:23,664
’cause they’re distracted
with other things.

563
00:26:24,290 --> 00:26:26,126
<i>Move!</i>

564
00:26:26,127 --> 00:26:28,507
But, yeah,
this was sort of the last...

565
00:26:28,508 --> 00:26:32,305
I think the last thing
we filmed in this vault area.

566
00:26:32,306 --> 00:26:35,896
Uh... Getting them out and that
search during the countdown.

567
00:26:35,897 --> 00:26:38,150
And this was such an
important moment in the shoot,

568
00:26:38,151 --> 00:26:41,281
’cause as they go to the door here,
they’re waiting for the countdown.

569
00:26:41,282 --> 00:26:43,703
I remember I went up to Florence,
and, of course, we hadn’t shot it yet,

570
00:26:43,704 --> 00:26:45,999
and I said,
"Just in this moment,

571
00:26:46,000 --> 00:26:48,505
while you’re waiting to see
if the door will open or not,

572
00:26:48,506 --> 00:26:52,555
just think about being on that
building from the beginning of the film

573
00:26:52,556 --> 00:26:54,892
and how you feel, if there’s
anything that you would do

574
00:26:54,893 --> 00:26:59,902
in connecting with that sense
of kind of loss or hopelessness,"

575
00:26:59,903 --> 00:27:02,031
and she thought that was
so interesting, and she did...

576
00:27:02,032 --> 00:27:04,077
I mean, we did the next take,
and it was beautiful.

577
00:27:04,078 --> 00:27:07,835
She did this thing she does
here of closing her eyes,

578
00:27:07,836 --> 00:27:09,714
taking a deep breath,

579
00:27:09,715 --> 00:27:11,383
and perhaps there’s
a form of acceptance,

580
00:27:11,384 --> 00:27:13,429
and then of course
the door opens and she’s out.

581
00:27:13,430 --> 00:27:16,351
But then that became this memetic
idea for the rest of the movie,

582
00:27:16,352 --> 00:27:18,899
so she does that four times, the
deep breath and open her eyes--

583
00:27:18,900 --> 00:27:20,318
at the beginning,

584
00:27:20,319 --> 00:27:21,863
then when she steps
into the Void

585
00:27:21,864 --> 00:27:23,240
and then at
the very end of the film.

586
00:27:23,241 --> 00:27:26,413
But that wasn’t written in
as exactly what would happen.

587
00:27:26,414 --> 00:27:28,752
It was a thing that
she did in this moment

588
00:27:28,753 --> 00:27:30,631
based on that idea
that we then took

589
00:27:30,632 --> 00:27:33,553
and translated
to the rest of the film.

590
00:27:33,554 --> 00:27:37,435
I think this is one of Grace’s
most beautiful sets. Um...

591
00:27:37,436 --> 00:27:40,399
When we talked about doing
the surrealism of the Void,

592
00:27:40,400 --> 00:27:43,782
we really wanted to
try to find a way to...

593
00:27:43,783 --> 00:27:47,038
in sort of a Gondry or Spike
Jonze style, to do it in-camera.

594
00:27:47,039 --> 00:27:50,169
So you can see here that if
you actually pay any attention,

595
00:27:50,170 --> 00:27:52,423
that those are just walls in the
background from the beginning,

596
00:27:52,424 --> 00:27:55,137
but because you’re so focused
on the characters, you don’t.

597
00:27:55,138 --> 00:27:57,685
Those lights in the background
of the red room in the distance,

598
00:27:57,686 --> 00:28:00,147
that’s just painted
on to the wall,

599
00:28:00,148 --> 00:28:03,738
and those are lights behind
the scrim, like, built into the wall.

600
00:28:03,739 --> 00:28:06,536
But you’re so in the moment
that you don’t quite process at first

601
00:28:06,537 --> 00:28:11,253
that this is in fact a sort of
shame room, as we talk about.

602
00:28:11,254 --> 00:28:14,844
And, yeah, I mean, Grace... All of
these are real trees painted black.

603
00:28:14,845 --> 00:28:18,350
There’s black sort of soot
underneath the snow.

604
00:28:18,351 --> 00:28:19,979
And the way Andrew lit it,

605
00:28:19,980 --> 00:28:22,442
I mean, everyone just looks
so beautiful in this scene.

606
00:28:22,443 --> 00:28:25,741
I feel like it’s the first time
our movie really gets to tell you

607
00:28:25,742 --> 00:28:28,663
there’s gonna be more to this,
you know, than what you expected.

608
00:28:28,664 --> 00:28:31,460
This is a different...
a different sort of story,

609
00:28:31,461 --> 00:28:33,882
and there’s something going on
underneath the surface there

610
00:28:33,883 --> 00:28:36,846
and connecting these two
characters, Bob and Yelena.

611
00:28:36,847 --> 00:28:39,852
’Cause, also, we’ll see this
echo, this idea of, "You okay?"

612
00:28:39,853 --> 00:28:43,652
"Yeah, I’m fine," but, of course, the
way he says it, he does not seem fine.

613
00:28:43,653 --> 00:28:46,659
And we’ll revisit that idea
at the very end of the film.

614
00:28:49,413 --> 00:28:52,503
<i>Hey. Didn’t think
you’d come back. Thanks.</i>

615
00:28:52,504 --> 00:28:54,465
<i>I had to. Someone cut
the power to the elevator.</i>

616
00:28:57,012 --> 00:28:59,057
This is a shot I got in DC.

617
00:28:59,058 --> 00:29:00,894
I wanted to
really go down there.

618
00:29:00,895 --> 00:29:03,692
We had a crew of about four,
getting a few of those exteriors.

619
00:29:03,693 --> 00:29:06,279
Um... And then this scene,
this is back in Atlanta,

620
00:29:06,280 --> 00:29:08,409
but something Andrew was
really committed to in this film

621
00:29:08,410 --> 00:29:10,872
was really trying to never use
green screen or LED,

622
00:29:10,873 --> 00:29:16,049
so this is out on location
in Atlanta at night, in a limo,

623
00:29:16,050 --> 00:29:18,596
I think this is, like,
2:00 in the morning.

624
00:29:18,597 --> 00:29:23,480
And poor Julia and Geraldine, they’d
had a long day of shooting the, um,

625
00:29:23,481 --> 00:29:27,614
the OXE loading-dock scene
before this and a couple other things,

626
00:29:27,615 --> 00:29:29,242
and then had to do this
at the end of the night.

627
00:29:29,243 --> 00:29:31,873
And, I think, really only had
about three takes,

628
00:29:31,874 --> 00:29:34,043
maybe four,
before we got shut down.

629
00:29:34,044 --> 00:29:36,758
And, yeah,
pulled it off beautifully.

630
00:29:36,759 --> 00:29:38,928
But, again, I just think it’s so
nice to have that real texture

631
00:29:38,929 --> 00:29:41,057
of what’s out the windows.

632
00:29:41,058 --> 00:29:43,563
Um... And as the camera
pans around,

633
00:29:43,564 --> 00:29:45,525
like, we’re augmenting
those things a little bit

634
00:29:45,526 --> 00:29:47,069
and putting DC
into the background.

635
00:29:47,070 --> 00:29:49,825
But to start from a place
where the shot has real texture

636
00:29:49,826 --> 00:29:51,704
and then all this in-camera,

637
00:29:51,705 --> 00:29:54,710
I just think that approach really
helped the movie out in so many ways,

638
00:29:54,711 --> 00:29:58,300
and it took such hard work from so many
people on our crew to make that happen.

639
00:29:58,301 --> 00:30:00,262
It’s also the kind of thing
you can only do

640
00:30:00,263 --> 00:30:02,099
when you have actors like this
that you can trust.

641
00:30:02,100 --> 00:30:03,435
Even though we’re gonna
get fewer takes,

642
00:30:03,436 --> 00:30:05,440
they’re gonna nail this stuff
and pull it off.

643
00:30:08,029 --> 00:30:09,824
This is a Sonny idea.

644
00:30:09,825 --> 00:30:13,372
The whole idea of having Alexei
as a limo driver was Sonny’s idea.

645
00:30:13,373 --> 00:30:17,171
And this kind of very
<i>Ocean’s</i> overheard thing here.

646
00:30:17,172 --> 00:30:22,056
Uh, you know, it’s on the edge of
reality, but the lift of how we’ve seen him

647
00:30:22,057 --> 00:30:24,185
and bring him back
into the movie felt worth it.

648
00:30:24,186 --> 00:30:25,272
<i>Less talking to yourself,
more talking to us.</i>

649
00:30:28,779 --> 00:30:31,074
And, again, this is this very
limited narrative real estate

650
00:30:31,075 --> 00:30:33,370
to establish
those different corners of Bob,

651
00:30:33,371 --> 00:30:37,128
that there is this kind of darker, more
inward side that you see for a moment,

652
00:30:37,129 --> 00:30:40,760
but, you know, still very eager to
please when he presents to other people.

653
00:30:40,761 --> 00:30:43,516
He’s really not trying to be a bother,
but there being an inner darkness

654
00:30:43,517 --> 00:30:48,358
and then within that same scene,
also needing to show a little bit more

655
00:30:48,359 --> 00:30:54,287
of the hubristic side that comes out
when Walker is being such a dick to him.

656
00:30:54,288 --> 00:30:55,917
<i>- Choke hold? Nerve pinch?
- No.</i>

657
00:30:57,461 --> 00:30:59,590
<i>I think he’s just a civilian.</i>

658
00:30:59,591 --> 00:31:01,969
<i>If he’s a civilian, he knows too
much. If he’s an agent, he sucks.</i>

659
00:31:01,970 --> 00:31:03,388
<i>Either way, I say we
throw him back into the fire.</i>

660
00:31:03,389 --> 00:31:04,767
This is so good
on Wyatt’s part.

661
00:31:04,768 --> 00:31:07,104
It’s hard sometimes,
’cause sometimes actors

662
00:31:07,105 --> 00:31:12,365
won’t want to play, uh,
"assholes," as Bob calls him here,

663
00:31:12,366 --> 00:31:16,331
but I think Wyatt and I have that trust
and knew where the character was going

664
00:31:16,332 --> 00:31:18,418
and was really willing
to embrace this stuff,

665
00:31:18,419 --> 00:31:22,468
knowing that there would be a
redemptive arc for Walker in the film.

666
00:31:22,469 --> 00:31:24,389
And he plays it
with such subtlety here

667
00:31:24,390 --> 00:31:26,811
where it’s not just
a cartoon asshole.

668
00:31:26,812 --> 00:31:29,650
And here, just a little
glimmer, just a glint in the eyes,

669
00:31:29,651 --> 00:31:33,825
we see, okay, there’s something
a little bit more going on with Bob,

670
00:31:33,826 --> 00:31:36,329
and there is a bit of that hubris
where he’s not afraid of this,

671
00:31:36,330 --> 00:31:40,170
and he’s not just
docile and depressed.

672
00:31:40,171 --> 00:31:43,970
And we’re-- again, we’re trying to
get each of those sides of the character

673
00:31:43,971 --> 00:31:46,726
into the film
with as little room as we have.

674
00:31:46,727 --> 00:31:49,606
This scene, of course,
is crucially important

675
00:31:49,607 --> 00:31:53,698
for establishing that idea of Bob,
but also his connection to Yelena,

676
00:31:53,699 --> 00:31:57,831
and really this idea of them connecting
over this thing that they both feel.

677
00:31:57,832 --> 00:32:00,419
And it’s very hard, um...

678
00:32:00,420 --> 00:32:02,507
You know, it’s a scene
Sonny wrote multiple times,

679
00:32:02,508 --> 00:32:04,762
and then Joanna, I think,
wrote the final version

680
00:32:04,763 --> 00:32:07,768
of how we got this there,
and it was a lot of rehearsal

681
00:32:07,769 --> 00:32:11,024
with Florence and Lewis
to see if we could...

682
00:32:11,025 --> 00:32:15,575
Again, it’s so quick
to get to this idea of feeling,

683
00:32:15,576 --> 00:32:19,040
you know, borderline suicidal
or feeling this idea of the Void,

684
00:32:19,041 --> 00:32:21,587
but we need it.
We need it to happen here

685
00:32:21,588 --> 00:32:23,758
so that she’ll feel
that connection for later.

686
00:32:23,759 --> 00:32:28,935
And so we’ll get these hints of what
eventually allows her to step into the Void.

687
00:32:28,936 --> 00:32:33,193
And this concept of, you know,
that the movie hinges on, of,

688
00:32:33,194 --> 00:32:35,197
"Are we all alone?
Or are we not?"

689
00:32:35,198 --> 00:32:37,451
And, you know, as simple
as an idea as that sounds,

690
00:32:37,452 --> 00:32:39,540
that’s gonna become
the crux of the ending,

691
00:32:39,541 --> 00:32:41,209
and we have to
establish it here.

692
00:32:41,210 --> 00:32:44,215
This was shot at hour
12 of a Friday, I think.

693
00:32:44,216 --> 00:32:46,302
The week that Florence
had come back

694
00:32:46,303 --> 00:32:49,392
from the Oscars on Monday
for <i>Oppenheimer.</i>

695
00:32:49,393 --> 00:32:53,400
We were all so tired
and running out of time.

696
00:32:53,401 --> 00:32:55,613
And I don’t think I knew
until we got into the edit

697
00:32:55,614 --> 00:32:57,659
for sure whether we had it,

698
00:32:57,660 --> 00:33:01,416
but for them to do that, you
know, in just, I think, three takes...

699
00:33:01,417 --> 00:33:05,340
Uh, actually, maybe really two takes
with a close-up on his side was all we had.

700
00:33:05,341 --> 00:33:08,138
And maybe three or four
on her side.

701
00:33:08,139 --> 00:33:10,142
And then getting into the edit,

702
00:33:10,143 --> 00:33:12,564
just really carefully
peeling apart the layers,

703
00:33:12,565 --> 00:33:14,818
and it was there,
you know, that connection,

704
00:33:14,819 --> 00:33:16,656
and it’s so important
to what the film becomes.

705
00:33:19,871 --> 00:33:23,085
<i>Look, we’re all alone.</i>

706
00:33:23,795 --> 00:33:25,590
<i>All of us.</i>

707
00:33:25,591 --> 00:33:28,053
Yeah, so there it is,
that thesis of the movie.

708
00:33:28,054 --> 00:33:30,265
That’s how she views things.

709
00:33:30,266 --> 00:33:32,646
That’s what she’s sort of
come to accept or believes,

710
00:33:32,647 --> 00:33:34,232
and that’s something
that he accepts as well

711
00:33:34,233 --> 00:33:35,818
and why he’s willing
to trust her

712
00:33:35,819 --> 00:33:38,365
is he finds someone
that connects over that,

713
00:33:38,366 --> 00:33:41,830
so they’re kind of connecting over
the idea of an absence of connection.

714
00:33:41,831 --> 00:33:44,001
But, eventually, they’re
gonna have to confront that.

715
00:33:47,008 --> 00:33:49,763
Okay, so the arm. This
little piece of this, this...

716
00:33:49,764 --> 00:33:53,478
I think we got an additional of showing why
he had to put the arm in the dishwasher.

717
00:33:53,479 --> 00:33:57,236
Um... But, yeah, the arm in the
dishwasher was an Eric Pearson beat

718
00:33:57,237 --> 00:33:58,823
from very, very early on
in the script,

719
00:33:58,824 --> 00:34:00,618
from a totally
different structure,

720
00:34:00,619 --> 00:34:04,375
but, uh, just such a funny
thing to think about for Bucky,

721
00:34:04,376 --> 00:34:07,006
and, I think for our movie,
felt right,

722
00:34:07,007 --> 00:34:08,884
that, you know, we’re trying
to honor, you know,

723
00:34:08,885 --> 00:34:10,930
and live up to a lot of these
great Marvel movies,

724
00:34:10,931 --> 00:34:14,604
but definitely taking a slightly
more irreverent approach,

725
00:34:14,605 --> 00:34:17,401
and it felt like such a
funny beat to get in there.

726
00:34:17,402 --> 00:34:19,238
<i>- ...network.
- Mm-hmm.</i>

727
00:34:19,239 --> 00:34:23,496
And, again, here you have
this meta between, you know...

728
00:34:23,497 --> 00:34:26,837
uh, between Bucky
and Mel about, you know,

729
00:34:26,838 --> 00:34:28,841
and Geraldine has talked
about this,

730
00:34:28,842 --> 00:34:30,720
she was in high school
when <i>Avengers</i> came out,

731
00:34:30,721 --> 00:34:32,515
and that’s what she says
in this scene.

732
00:34:32,516 --> 00:34:35,938
And the sense of distance
from that time and how it feels

733
00:34:35,939 --> 00:34:37,942
and how things feel murkier.

734
00:34:37,943 --> 00:34:40,364
You know, Sebastian has
this great line, you know,

735
00:34:40,365 --> 00:34:42,660
"I think we could be
the people that are coming."

736
00:34:42,661 --> 00:34:45,248
You know, that...
You don’t necessarily...

737
00:34:45,249 --> 00:34:47,545
He’s appealing to this idea that
you don’t necessarily imagine

738
00:34:47,546 --> 00:34:50,760
that’s going to be you, but
sometimes in the right circumstance,

739
00:34:50,761 --> 00:34:52,806
that’s who it has to be,

740
00:34:52,807 --> 00:34:54,935
and that’s what Mel
is really grappling with here.

741
00:34:54,936 --> 00:34:56,939
<i>You must really
not know my boss.</i>

742
00:34:56,940 --> 00:34:58,651
<i>We can protect you.</i>

743
00:34:58,652 --> 00:35:01,072
But also, it’s important
for Bucky’s character

744
00:35:01,073 --> 00:35:03,702
to find himself
in this position of saying,

745
00:35:03,703 --> 00:35:06,750
"I don’t do that anymore. I’m
trying to do things in a different way."

746
00:35:06,751 --> 00:35:08,754
And, you know,
Mel really pokes at that.

747
00:35:08,755 --> 00:35:10,591
"Is that coming from
the freshman congressman

748
00:35:10,592 --> 00:35:12,679
who can’t get a bill passed
or the Winter Soldier?"

749
00:35:12,680 --> 00:35:14,683
So really trying to
build up all of this,

750
00:35:14,684 --> 00:35:17,939
even if it feels
like a slow burn for Bucky,

751
00:35:17,940 --> 00:35:21,864
is to buy you that moment where
he comes back on that bike later,

752
00:35:21,865 --> 00:35:24,243
and it feels so triumphant
because he felt the frustration

753
00:35:24,244 --> 00:35:25,914
of trying to do it
a different way.

754
00:35:27,501 --> 00:35:29,713
Okay, so the elevator shaft.

755
00:35:29,714 --> 00:35:31,633
This was one of the earliest
sequences that we talked about

756
00:35:31,634 --> 00:35:33,011
when I was pitching
on the film.

757
00:35:33,012 --> 00:35:35,098
There was
an elevator shaft sequence

758
00:35:35,099 --> 00:35:37,436
that they got up
in a very different way.

759
00:35:37,437 --> 00:35:39,524
And something I talked about
in that first pitch

760
00:35:39,525 --> 00:35:44,074
is that we really wanted in this movie
to feel like these are action scenes

761
00:35:44,075 --> 00:35:46,370
that maybe they could accomplish
if they could work together well,

762
00:35:46,371 --> 00:35:47,916
but they can’t,
so it doesn’t happen,

763
00:35:47,917 --> 00:35:49,753
and needing to
really rely on each other

764
00:35:49,754 --> 00:35:51,840
and trust each other,
or they’re gonna die.

765
00:35:51,841 --> 00:35:55,388
So, I think Brian Chapek,
our executive producer,

766
00:35:55,389 --> 00:35:56,934
had this idea
in that early pitch

767
00:35:56,935 --> 00:35:58,938
about what if
they’re just back-to-back?

768
00:35:58,939 --> 00:36:02,194
And they really, like... They
would fall without each other.

769
00:36:02,195 --> 00:36:05,200
And it’s just...
It’s so funny to think about,

770
00:36:05,201 --> 00:36:08,290
and I think we used
to refer to it as the, uh,

771
00:36:09,919 --> 00:36:13,049
least dynamic action sequence
in Marvel history,

772
00:36:13,050 --> 00:36:15,555
that they’re just crawling up
this thing together.

773
00:36:15,556 --> 00:36:18,309
But it also
gives us a way, you know...

774
00:36:18,310 --> 00:36:21,107
Obviously you want to spend time
building connections with characters,

775
00:36:21,108 --> 00:36:24,029
understanding backstories,
having them share things,

776
00:36:24,030 --> 00:36:29,331
but in this way, you get to do that
as part of, again, a action scene,

777
00:36:29,332 --> 00:36:33,047
used liberally, perhaps,
because, uh, it’s not very active,

778
00:36:33,048 --> 00:36:35,595
but, uh, it is at least part of
an action of where they’re going

779
00:36:35,596 --> 00:36:39,268
where you’re not just pausing
to talk and expose things.

780
00:36:39,269 --> 00:36:42,859
Like, it’s all happening as part of
the trajectory and the journey up.

781
00:36:42,860 --> 00:36:46,658
And, again, this is where we start
to feel we’ve seen all of these things.

782
00:36:46,659 --> 00:36:48,787
We’ve seen her go down
that elevator shaft.

783
00:36:48,788 --> 00:36:51,459
We know each piece of the journey
that they’re gonna have to take up.

784
00:36:51,460 --> 00:36:55,801
That we-- You know, she said "a mile
down" when we look up here at the end.

785
00:36:55,802 --> 00:37:00,101
Maybe we didn’t realize quite exactly
how far that was gonna be for them.

786
00:37:00,102 --> 00:37:03,232
And this, again, is filmed
predominantly practically.

787
00:37:03,233 --> 00:37:06,447
Any of these close-ups. We
built two 64-foot elevator shafts.

788
00:37:06,448 --> 00:37:08,242
The lighting is all real.

789
00:37:08,243 --> 00:37:10,623
Obviously, it’s set extension
when we look at something like that,

790
00:37:10,624 --> 00:37:13,211
but even the foreground
of those shots is real

791
00:37:13,212 --> 00:37:16,425
and an in-camera set
that Grace built, uh,

792
00:37:16,426 --> 00:37:20,810
just so that everything is based
on, uh, real textures and real sets.

793
00:37:20,811 --> 00:37:21,604
<i>Oh, God.</i>

794
00:37:25,236 --> 00:37:26,822
I love this Joanna line.

795
00:37:26,823 --> 00:37:28,366
"Please don’t gasp at work."

796
00:37:28,367 --> 00:37:29,869
I don’t know where
she came up with that,

797
00:37:29,870 --> 00:37:32,082
but I love it so much.

798
00:37:32,083 --> 00:37:35,213
Um, if you wanna look under
the hood, this is actually...

799
00:37:35,214 --> 00:37:37,510
Later, you’ll see
a helicopter in this film,

800
00:37:37,511 --> 00:37:40,390
and I know it’s a Marvel movie
and we have a lot of resources,

801
00:37:40,391 --> 00:37:42,520
but there are always
budgets to adhere to

802
00:37:42,521 --> 00:37:45,442
and coming out of the strikes,
we had to trim here and there,

803
00:37:45,443 --> 00:37:50,285
so part of the way we did that was
this interior of Val’s special airplane

804
00:37:50,286 --> 00:37:54,794
is actually also just the helicopter
set that we reconfigured for this.

805
00:37:54,795 --> 00:37:58,886
Maybe, uh... Maybe I shouldn’t tell
you guys that, but it’s still filmmaking.

806
00:37:58,887 --> 00:38:01,850
At any level, at some point, you
have to find ways to be creative

807
00:38:01,851 --> 00:38:05,775
and, uh--
and use what you’ve got.

808
00:38:05,776 --> 00:38:08,614
Um... And this, you know, yes,
there’s a lot of exposition here,

809
00:38:08,615 --> 00:38:12,830
but this scene we leaned on a
lot to kind of establish Val’s plan

810
00:38:12,831 --> 00:38:16,505
because it is a sort of unusual
thing for a movie like this

811
00:38:16,506 --> 00:38:19,886
where it’s not that she starts
with a dastardly plan.

812
00:38:19,887 --> 00:38:22,558
She had a plan. It failed.
She’s getting rid of the evidence,

813
00:38:22,559 --> 00:38:24,896
and then, all of a sudden,
when it seems like it might work,

814
00:38:24,897 --> 00:38:27,067
she’s gonna pivot
in the middle of the movie

815
00:38:27,068 --> 00:38:29,446
to try and go on a different
path, and that’s unusual,

816
00:38:29,447 --> 00:38:32,703
but, I thought, interesting
for a character like Val

817
00:38:32,704 --> 00:38:35,416
who’s complicated and gray and
not necessarily your typical villain.

818
00:38:35,417 --> 00:38:37,462
<i>Then the other three
immediately fall.</i>

819
00:38:37,463 --> 00:38:39,258
<i>Shit.</i>

820
00:38:39,259 --> 00:38:40,511
<i>Sorry. Yeah,
I guess I didn’t...</i>

821
00:38:40,512 --> 00:38:41,847
<i>I didn’t really think
this far ahead.</i>

822
00:38:41,848 --> 00:38:43,474
<i>Genius plan, Bobby.</i>

823
00:38:43,475 --> 00:38:44,561
<i>Always making things worse.</i>

824
00:38:44,562 --> 00:38:46,230
"Always making things worse."

825
00:38:46,231 --> 00:38:47,900
Maybe on your sixth viewing,
you notice he says that,

826
00:38:47,901 --> 00:38:49,737
and that connects
to his ending.

827
00:38:49,738 --> 00:38:51,950
I don’t know. I wanted to
leave it in because I liked it.

828
00:38:51,951 --> 00:38:54,998
Uh, so coming up,
this cucumber idea.

829
00:38:54,999 --> 00:38:56,710
This is a Eric Pearson
original,

830
00:38:56,711 --> 00:38:59,716
and there’s a funny story
to this ’cause it’s, uh...

831
00:38:59,717 --> 00:39:02,345
His girlfriend Ashley would
always say "cucumber,"

832
00:39:02,346 --> 00:39:04,391
and then we were
at the premiere,

833
00:39:04,392 --> 00:39:06,646
and I said, "We got
your cucumber thing in there."

834
00:39:06,647 --> 00:39:09,318
She looked at me like she didn’t
understand what I was talking about.

835
00:39:09,319 --> 00:39:11,196
And then I talked to Eric
who said, apparently,

836
00:39:11,197 --> 00:39:13,952
she genuinely believed that
everyone in the Western world

837
00:39:13,953 --> 00:39:16,248
said "cucumber"
to avoid a sneeze

838
00:39:16,249 --> 00:39:17,543
and didn’t realize
it was only her.

839
00:39:17,544 --> 00:39:19,672
She asked her mom,
and her mom didn’t know

840
00:39:19,673 --> 00:39:22,052
what she was talking about,
so, uh...

841
00:39:22,053 --> 00:39:24,724
And then this was a really
great Joanna add here at the end,

842
00:39:24,725 --> 00:39:29,652
to have the, uh, the sneeze
punctuate this action sequence.

843
00:39:35,914 --> 00:39:38,627
<i>You selfish prick.</i>

844
00:39:38,628 --> 00:39:40,506
So, again, finding
ourselves in these sets that,

845
00:39:40,507 --> 00:39:42,384
you know,
even if it seems small,

846
00:39:42,385 --> 00:39:44,764
just seeing Yelena walk
through this in the beginning,

847
00:39:44,765 --> 00:39:47,728
and now we’re back here again
really trying to understand the space

848
00:39:47,729 --> 00:39:50,609
and understand this world
that we’re grounded in.

849
00:39:50,610 --> 00:39:53,364
And then again it’s this idea
because Bob just came near death

850
00:39:53,365 --> 00:39:55,995
and is angry at Walker, that
puts him into this Void space

851
00:39:55,996 --> 00:39:59,042
where it’s not just anytime you
touch Bob, you go into a Void,

852
00:39:59,043 --> 00:40:03,009
but it’s when he’s at his
darkest, and you connect to that.

853
00:40:03,010 --> 00:40:06,558
Um, and this is another one where
we probably could’ve built the set.

854
00:40:06,559 --> 00:40:08,060
We filmed this on location.

855
00:40:08,061 --> 00:40:10,398
Um, if you want
a very small Easter egg,

856
00:40:10,399 --> 00:40:16,076
that little silver mug on the shelves
over there is a mug from <i>Lodge 49</i>

857
00:40:16,077 --> 00:40:21,378
for the 11 to 15 <i>Lodge</i> fans that
are watching this for me and Wyatt.

858
00:40:21,379 --> 00:40:23,299
Um...

859
00:40:23,300 --> 00:40:25,596
But yeah, just that thought...
You know, this was such a nice...

860
00:40:25,597 --> 00:40:27,600
You know, Sonny had written
a kind of domestic scene,

861
00:40:27,601 --> 00:40:30,606
and Joanna took it further
of just this very small idea

862
00:40:30,607 --> 00:40:34,446
of not watching the kid, uh, because
you’re lost in your own shame.

863
00:40:34,447 --> 00:40:36,785
You know, and this way of
kind of addressing Walker’s past

864
00:40:36,786 --> 00:40:38,705
and this terrible thing
that he’s done,

865
00:40:38,706 --> 00:40:41,210
but not in the expected way
of going back to that moment

866
00:40:41,211 --> 00:40:44,424
or something more active,
but in this sort of...

867
00:40:44,425 --> 00:40:46,888
the way that it reverberates
within his life

868
00:40:46,889 --> 00:40:50,061
and, you know, what he’s gonna
end up losing because of that.

869
00:40:50,062 --> 00:40:54,111
And that was actually Wyatt’s
addition, um, to have Walker have a kid.

870
00:40:54,112 --> 00:40:57,827
’Cause, at first, it was just about
losing that relationship with Olivia,

871
00:40:57,828 --> 00:41:01,291
but he felt like people would
care and invest more deeply,

872
00:41:01,292 --> 00:41:04,674
and I thought that was
a really great add on his part.

873
00:41:04,675 --> 00:41:08,723
And also the first time you kind of see
inside the humanity of that character,

874
00:41:08,724 --> 00:41:10,937
which we’re eventually
gonna connect with much more.

875
00:41:15,905 --> 00:41:19,452
So now we’ve finally connected
all of those spaces back to the front.

876
00:41:19,453 --> 00:41:22,041
Um, again, this whole plaza
was built for real.

877
00:41:22,042 --> 00:41:23,962
It’s obviously extended in CG,

878
00:41:23,963 --> 00:41:26,885
um, but always trying
to combine those elements.

879
00:41:26,886 --> 00:41:30,601
Um, Framestore did a great job
building this whole sequence

880
00:41:30,602 --> 00:41:33,189
folding that CG
in a very integrated way.

881
00:41:33,190 --> 00:41:34,191
<i>...I might just surrender,
probably.</i>

882
00:41:34,192 --> 00:41:35,736
<i>Okay, fine.
Every man for himself.</i>

883
00:41:35,737 --> 00:41:37,656
Uh, this is one of the
more fun conversations

884
00:41:37,657 --> 00:41:38,783
in the film.

885
00:41:38,784 --> 00:41:40,286
<i>Well, let’s see.</i>

886
00:41:40,287 --> 00:41:42,498
Wyatt just leans into
this so great,

887
00:41:42,499 --> 00:41:44,545
the "Back-to-back-to-back.
Go Bears."

888
00:41:44,546 --> 00:41:46,089
But, of course,
this is our way of getting

889
00:41:46,090 --> 00:41:47,968
the Thunderbolts name
into this movie.

890
00:41:47,969 --> 00:41:50,724
Um, and, again,

891
00:41:50,725 --> 00:41:53,605
that soccer team of mine that--
that never won a game.

892
00:41:53,606 --> 00:41:58,865
Um, but it-it does establish
this nice idea of, you know,

893
00:41:58,866 --> 00:42:00,702
Yelena trying to
push this past away,

894
00:42:00,703 --> 00:42:03,959
but eventually Alexei will
allude to that and show how,

895
00:42:03,960 --> 00:42:08,300
even within that context, that was
a way in which she cared for others.

896
00:42:08,301 --> 00:42:09,804
And this, of course,
is us trying to plant

897
00:42:09,805 --> 00:42:12,518
that sign-twirling
meth chicken...

898
00:42:12,519 --> 00:42:15,273
...if we can get that into the movie
so that you’ll remember it later.

899
00:42:15,274 --> 00:42:18,530
Uh, but, again,
just this idea of a team

900
00:42:18,531 --> 00:42:21,869
that is the last team you would want
to try to break out of anything with.

901
00:42:21,870 --> 00:42:23,999
Um, exceptionally ragtag.

902
00:42:24,000 --> 00:42:26,128
<i>- It will only work if you wait.
- Terrible plan.</i>

903
00:42:26,129 --> 00:42:28,675
This is very small here,
but, uh, "What about me?"

904
00:42:28,676 --> 00:42:32,641
Um, we’re really trying to
establish this idea, again,

905
00:42:32,642 --> 00:42:34,060
of Bob as this d--

906
00:42:34,061 --> 00:42:37,317
You know, duality
between hubris and despair,

907
00:42:37,318 --> 00:42:39,279
but, uh, this is
the sweet version of him.

908
00:42:39,280 --> 00:42:41,659
He wants to help, but it’s
not just that he wants to help

909
00:42:41,660 --> 00:42:43,037
’cause he’s a sweet guy. It’s--

910
00:42:43,038 --> 00:42:44,540
Bob wants to matter.

911
00:42:44,541 --> 00:42:46,627
He wants to mean something.
He wants to be something.

912
00:42:46,628 --> 00:42:49,257
That’s gonna feed, even if it’s
very subtle when you see it there,

913
00:42:49,258 --> 00:42:52,096
that’s gonna feed later
into this idea of The Sentry.

914
00:42:52,097 --> 00:42:55,102
Uh, very, very kind of Chris
Bauer to come and do this for us.

915
00:42:55,103 --> 00:42:57,148
He’s another actor that
I’ve loved for a long time.

916
00:42:57,149 --> 00:42:59,695
Obviously, I love <i>The Wire,</i>
uh, with both him and Wendell.

917
00:42:59,696 --> 00:43:01,908
Um, and Kevin said to us,

918
00:43:01,909 --> 00:43:04,329
you know, I think when we
first had Holt in the script...

919
00:43:04,330 --> 00:43:06,834
He was a little bit more just
a military guy, and he said,

920
00:43:06,835 --> 00:43:09,089
"I always love in,
you know, in <i>Die Hard,</i>

921
00:43:09,090 --> 00:43:10,634
the FBI guys,
there’s a thing with them.

922
00:43:10,635 --> 00:43:12,136
Can you give it anything?"

923
00:43:12,137 --> 00:43:14,265
And Sonny-- It’s a
very Sonny line, this, uh,

924
00:43:14,266 --> 00:43:16,103
"I spend a lot of time
planning for lethal..."

925
00:43:16,104 --> 00:43:18,608
Just, you know, even amidst
all of this tension,

926
00:43:18,609 --> 00:43:21,739
that there’s just a guy
frustrated at the bureaucracy

927
00:43:21,740 --> 00:43:23,535
and the way he would
like to do his job

928
00:43:23,536 --> 00:43:26,541
versus the way
Val is telling him to do it.

929
00:43:26,542 --> 00:43:30,172
George Cottle, uh, Chris
Nolan’s longtime stunt coordinator,

930
00:43:30,173 --> 00:43:32,009
uh, worked on
<i>Spider-Man</i> as well,

931
00:43:32,010 --> 00:43:34,347
was our second unit director
on this along with Paul Hughen,

932
00:43:34,348 --> 00:43:37,270
whose, uh, second unit DP
filmed all of those, uh, laser shots

933
00:43:37,271 --> 00:43:39,315
which are so cool.

934
00:43:39,316 --> 00:43:42,865
Um, and if you want
me to really pull... just...

935
00:43:42,866 --> 00:43:44,994
...remove some of
the magic to this world,

936
00:43:44,995 --> 00:43:47,415
so all of these hallways,
everything inside this building,

937
00:43:47,416 --> 00:43:51,549
that’s the same, uh, kinda... same
hallway set, every one of these.

938
00:43:51,550 --> 00:43:53,636
Grace did a great job
putting these machines into it

939
00:43:53,637 --> 00:43:56,266
and putting things on the back
walls to make it feel different.

940
00:43:56,267 --> 00:44:00,065
But, again, I know it seems hard
to believe on a movie like this,

941
00:44:00,066 --> 00:44:04,742
but you do have to make budget concessions
and find places to tighten your belt

942
00:44:04,743 --> 00:44:08,457
so that you can do some of the other
crazy things like own a whole road in Utah

943
00:44:08,458 --> 00:44:11,964
or be on the top of the second
tallest building in the world in Malaysia.

944
00:44:11,965 --> 00:44:15,221
So it is funny to go through all the
Marvel films and see the hallways.

945
00:44:15,222 --> 00:44:18,227
Y-You always end up in a
hallway somewhere or another.

946
00:44:18,228 --> 00:44:22,026
Um, but this scene which Joanna
wrote is another lovely example.

947
00:44:22,027 --> 00:44:24,489
We have, again, this very
little narrative real estate

948
00:44:24,490 --> 00:44:26,076
to establish
these two characters,

949
00:44:26,077 --> 00:44:28,289
and their connection is
gonna be the crux of the film.

950
00:44:31,170 --> 00:44:35,261
And also this neat little idea
in here where, you know,

951
00:44:35,262 --> 00:44:38,141
Yelena could’ve heard what he’s
talking about and really connected,

952
00:44:38,142 --> 00:44:40,605
but she’s in her own world
and not paying attention

953
00:44:40,606 --> 00:44:43,653
or how she just kind of doesn’t
pick up on what Bob is saying

954
00:44:43,654 --> 00:44:46,408
even though he’s talking
about establishing that past

955
00:44:46,409 --> 00:44:50,959
and the memory loss and the highs
and the lows and what he’s been through.

956
00:44:50,960 --> 00:44:54,173
But still, if we get any hint of
connection between the two of them here,

957
00:44:54,174 --> 00:44:57,806
it’s gonna pay dividends
down the road in this film.

958
00:44:57,807 --> 00:45:00,227
<i>Give me that. Follow me.</i>

959
00:45:00,228 --> 00:45:02,231
<i>I hate to say it, but I think
Walter was right on this one.</i>

960
00:45:02,232 --> 00:45:04,027
I love Lewis’s
little hop there

961
00:45:04,028 --> 00:45:05,947
and then the way
he bounces out of frame.

962
00:45:05,948 --> 00:45:07,033
Small things.

963
00:45:07,034 --> 00:45:08,579
<i>Turn on the lights, Yelena.</i>

964
00:45:09,873 --> 00:45:11,959
Again, same hallway.

965
00:45:11,960 --> 00:45:14,172
Same sets. And, uh, very hard.

966
00:45:14,173 --> 00:45:16,259
You know, Andrew did
such a beautiful job here.

967
00:45:16,260 --> 00:45:19,474
It’s a tough situation to give
a DP when the lights are off,

968
00:45:19,475 --> 00:45:22,731
but you have to see things and
how you approach lighting that.

969
00:45:22,732 --> 00:45:26,989
Um, Andrew had such a great rapport
with, uh, Chuck and Rafi Sánchez,

970
00:45:26,990 --> 00:45:29,828
uh, our key grip
and our gaffer on this film.

971
00:45:29,829 --> 00:45:32,041
And Andrew and Rafi
really building that together

972
00:45:32,042 --> 00:45:35,047
and did a great job in
a very difficult circumstance.

973
00:45:35,048 --> 00:45:37,761
<i>- Where is he?
- He’s gone.</i>

974
00:45:37,762 --> 00:45:41,101
If I’m allowed to say this
on a commentary track,

975
00:45:41,102 --> 00:45:44,900
I would say, you know, I’m proud
of a lot of the work in this film.

976
00:45:44,901 --> 00:45:46,570
I’m so proud of
everyone else who made it.

977
00:45:46,571 --> 00:45:50,995
Uh, this is not a sequence
that I am the proudest of.

978
00:45:50,996 --> 00:45:54,920
Um, sometimes, you know,
you’re focusing on things,

979
00:45:54,921 --> 00:45:57,299
and I think it ends up working.
I like the concept of it.

980
00:45:57,300 --> 00:46:00,765
This idea of a sequence in which the
action is that Yelena has to protect Bob

981
00:46:00,766 --> 00:46:02,936
while also taking out
a set of guards,

982
00:46:02,937 --> 00:46:06,484
but we just didn’t end up with
quite the amount of time to focus on it

983
00:46:06,485 --> 00:46:08,113
that I was hoping to.

984
00:46:08,114 --> 00:46:11,327
And I think in the end,
like, once the effects are in,

985
00:46:11,328 --> 00:46:13,457
and you add all the smoke,
like, it works out.

986
00:46:13,458 --> 00:46:15,712
And the concept sells,
which is much more important

987
00:46:15,713 --> 00:46:17,883
as to whether
it’s breathtaking or not,

988
00:46:17,884 --> 00:46:19,803
but I think if we’re really
getting into it,

989
00:46:19,804 --> 00:46:22,934
this is a place where I feel like
if I had to do it again, I think...

990
00:46:22,935 --> 00:46:26,734
...maybe we could-- could’ve
done it a little better, but...

991
00:46:26,735 --> 00:46:28,821
Sliding into
director brain there.

992
00:46:28,822 --> 00:46:31,493
But I-I think what’s nice
is that throughout post

993
00:46:31,494 --> 00:46:34,248
and with some of the additions
that Base FX added to it

994
00:46:34,249 --> 00:46:38,340
as well as when you have that smoke
in there and the effects on top, it sells.

995
00:46:38,341 --> 00:46:41,012
Also, it’s a lot of ADR lines
to carry you through it.

996
00:46:41,013 --> 00:46:43,225
And then when you
get to this, it’s funny

997
00:46:43,226 --> 00:46:46,231
’cause it’s just such a small
scene in a dingy hallway,

998
00:46:46,232 --> 00:46:49,613
but that kind of brother-sister-
yelling-at-each-other feeling.

999
00:46:49,614 --> 00:46:51,659
The...

1000
00:46:51,660 --> 00:46:56,251
How-- How frayed this team--
Uh, if it-- if it even is that-- uh, is.

1001
00:46:56,252 --> 00:46:58,506
Like, it’s what you’re really
trying to get towards.

1002
00:46:58,507 --> 00:47:00,970
<i>...what she was supposed to,
maybe we’ll all get out of here alive.</i>

1003
00:47:04,519 --> 00:47:07,273
Another shot that George
got for us. Great overhead.

1004
00:47:07,274 --> 00:47:09,528
And, again, this is,
you know, a moment

1005
00:47:09,529 --> 00:47:13,995
that maybe isn’t really narratively
important, and we did consider cutting,

1006
00:47:13,996 --> 00:47:17,502
but I just thought that since they don’t
confront Val until so late in the movie,

1007
00:47:17,503 --> 00:47:19,297
that it was important
to see these characters

1008
00:47:19,298 --> 00:47:22,094
who thought that they
were destined for better things

1009
00:47:22,095 --> 00:47:25,518
have one moment like a brush
past the person who did this to them

1010
00:47:25,519 --> 00:47:29,150
and unable to really, in this
context, do anything about it.

1011
00:47:29,151 --> 00:47:31,572
But just to sit
in that moment and feel it.

1012
00:47:31,573 --> 00:47:33,074
You never know
with these things.

1013
00:47:33,075 --> 00:47:35,914
Pace is important, but I
just felt like that was a beat

1014
00:47:35,915 --> 00:47:38,460
that we wanted to keep in the
edit that I tried to keep in till the end.

1015
00:47:38,461 --> 00:47:40,048
<i>Get in.</i>

1016
00:47:43,262 --> 00:47:45,223
This was a tough four
nights shooting this.

1017
00:47:45,224 --> 00:47:47,227
I think it was raining
half the time,

1018
00:47:47,228 --> 00:47:51,110
which maybe sometimes you can
see in the background, but, uh... Yeah.

1019
00:47:51,111 --> 00:47:53,699
Andrew and Jason Tamez,
our wonderful line producer,

1020
00:47:53,700 --> 00:47:56,747
Jeff Okabayashi, our AD, really
pulled me through on this sequence

1021
00:47:56,748 --> 00:47:59,001
’cause I started with saying,
"It’s raining. We can’t do it."

1022
00:47:59,002 --> 00:48:01,422
And they were like, "We shoot.
If we can shoot, we shoot."

1023
00:48:01,423 --> 00:48:04,178
Uh, and over the course
of those four nights,

1024
00:48:04,179 --> 00:48:06,558
got all of this
predominantly in-camera.

1025
00:48:06,559 --> 00:48:09,188
We’re just extending the skies
and the background.

1026
00:48:09,189 --> 00:48:11,150
We didn’t end up adding
anything to this sequence.

1027
00:48:11,151 --> 00:48:14,031
There were never any pickups
for it. Like, it all worked in the edit.

1028
00:48:14,032 --> 00:48:17,329
And, again, that’s credit to Harry
being there on set for this sequence.

1029
00:48:17,330 --> 00:48:20,795
And Angela just cutting
the stuff in as we went,

1030
00:48:20,796 --> 00:48:23,258
making sure that it worked,
checking in about what else we needed

1031
00:48:23,259 --> 00:48:25,638
so that by the time we got
through those four nights,

1032
00:48:25,639 --> 00:48:27,100
we had every piece
of this sequence.

1033
00:48:29,689 --> 00:48:31,190
<i>Now what?</i>

1034
00:48:31,191 --> 00:48:32,527
That’s a very funny Joanna add.

1035
00:48:32,528 --> 00:48:35,783
Again, Walker’s sort of
self-confidence

1036
00:48:35,784 --> 00:48:39,373
and sometimes lack of skills in
the areas that he thinks he’s great at.

1037
00:48:39,374 --> 00:48:41,210
Um, but, again,

1038
00:48:41,211 --> 00:48:44,091
having planted this earlier
about Bob’s desire to help,

1039
00:48:44,092 --> 00:48:46,429
you know, we’re gonna see that
come into play here

1040
00:48:46,430 --> 00:48:49,060
where he really wants to be of
use, he wants to be important.

1041
00:48:49,061 --> 00:48:50,563
And there’s
a good side to that.

1042
00:48:50,564 --> 00:48:52,942
He’s doing
a very selfless thing here.

1043
00:48:52,943 --> 00:48:54,403
But also we’ll see
later in the film,

1044
00:48:54,404 --> 00:48:56,658
there’s a desire to matter
that, you know,

1045
00:48:56,659 --> 00:48:59,957
in the wrong context, if appealed
to, can lead to dangerous things.

1046
00:49:01,628 --> 00:49:04,090
And, again, at night.
Middle of the night. Raining.

1047
00:49:04,091 --> 00:49:07,221
But, you know, when you’re
on Florence, even if it’s two takes

1048
00:49:07,222 --> 00:49:10,477
in a truck that’s making too
much noise and smells like gas,

1049
00:49:10,478 --> 00:49:14,318
the emotion on her face,
you know, it sells so much.

1050
00:49:14,319 --> 00:49:16,824
<i>- What the hell are you doing?
- This has gone far--</i>

1051
00:49:16,825 --> 00:49:18,828
When I first talked to Julia
about the film, she said,

1052
00:49:18,829 --> 00:49:21,792
"I wanna punch someone. I wanna
beat someone up in the movie."

1053
00:49:21,793 --> 00:49:23,879
Uh, so we got that
in there for her.

1054
00:49:23,880 --> 00:49:26,008
I knew there was someplace
we could put it.

1055
00:49:26,009 --> 00:49:28,012
<i>Come on. Let’s go.</i>

1056
00:49:28,013 --> 00:49:30,308
And, again, seems a little
cold, but that is why he did it,

1057
00:49:30,309 --> 00:49:33,983
and in their circumstances, if
he’s dead, as they assume he is,

1058
00:49:33,984 --> 00:49:34,944
it’s time to go.

1059
00:49:40,079 --> 00:49:42,166
And this is, I think, Andrew’s
favorite shot in the film.

1060
00:49:42,167 --> 00:49:45,673
One of my favorites of knowing
Bob was gonna step up into this.

1061
00:49:45,674 --> 00:49:50,015
Uh, and really that moment where
you finally... We’ve teased it, you know,

1062
00:49:50,016 --> 00:49:52,896
that this guy that you think is the
least valuable member of the team

1063
00:49:52,897 --> 00:49:57,362
might actually be the most powerful
and exactly what Val needs for her plan.

1064
00:49:57,363 --> 00:49:59,659
And his sort of anger
at being discarded.

1065
00:49:59,660 --> 00:50:01,622
Like, seeing these other sides
of him come out

1066
00:50:01,623 --> 00:50:04,544
amidst this action sequence,
seeing that he can fly.

1067
00:50:04,545 --> 00:50:07,382
You know, it’s--
it’s kind of in our--

1068
00:50:07,383 --> 00:50:10,180
in our world,
an origin story for The Sentry.

1069
00:50:10,181 --> 00:50:14,271
So it’s always teasing these little
bits of powers and flying up into the sky.

1070
00:50:14,272 --> 00:50:16,693
This is another, I’ll just
say it-- I’ll let you in on--

1071
00:50:16,694 --> 00:50:18,781
I think Framestore did a
beautiful job on this sequence,

1072
00:50:18,782 --> 00:50:22,162
but, uh, in general, I would not
advise putting yourself in a position

1073
00:50:22,163 --> 00:50:25,878
where you have no
motivated lighting whatsoever

1074
00:50:25,879 --> 00:50:28,466
except the moon
and a full night sky.

1075
00:50:28,467 --> 00:50:30,805
Um... See, even when
you have just those lights

1076
00:50:30,806 --> 00:50:33,184
that you can see down below,
those shots work better,

1077
00:50:33,185 --> 00:50:36,065
but it’s very tough when you’re
putting yourself in a position like this.

1078
00:50:36,066 --> 00:50:40,115
Jake Morrison calls it AB, where
it’s just your character against,

1079
00:50:40,116 --> 00:50:42,704
uh, you know... We didn’t do blue
screen. We did gray screen for this,

1080
00:50:42,705 --> 00:50:45,501
but just against a background
that’s being replaced,

1081
00:50:45,502 --> 00:50:48,882
and it’s something that I think we did a
great job of avoiding so much in this movie.

1082
00:50:48,883 --> 00:50:50,761
Like that whole wall
behind them there,

1083
00:50:50,762 --> 00:50:53,892
that entire building,
40 foot high, that’s real.

1084
00:50:53,893 --> 00:50:57,065
Their heads being against that allows you
to do sky extension, and it looks right.

1085
00:50:57,066 --> 00:50:59,194
Or having that motivated
lighting on the ground.

1086
00:50:59,195 --> 00:51:02,034
That shot is actually real,
out in Utah, of the truck,

1087
00:51:02,035 --> 00:51:03,537
but in just a couple
of these shots,

1088
00:51:03,538 --> 00:51:06,000
we put ourselves in a situation
where we are reliant on CG.

1089
00:51:06,001 --> 00:51:07,461
This looks better
’cause of the lights,

1090
00:51:07,462 --> 00:51:09,131
and it looks great,
this explosion.

1091
00:51:09,132 --> 00:51:10,593
So, it’s-it’s nothing on...

1092
00:51:10,594 --> 00:51:13,389
You know, I think sometimes
visual effects companies

1093
00:51:13,390 --> 00:51:17,147
get judged on how things look,
and it has-- it has much more to do

1094
00:51:17,148 --> 00:51:20,780
with the concept and execution of
how you gathered those elements

1095
00:51:20,781 --> 00:51:23,869
’cause in the right position, Framestore
did incredible work on this sequence,

1096
00:51:23,870 --> 00:51:26,415
and it’s more on me to--

1097
00:51:26,416 --> 00:51:30,674
to concept things in a way that puts
us in the best chance, uh, to succeed.

1098
00:51:30,675 --> 00:51:32,762
This is now out
entirely in Utah.

1099
00:51:32,763 --> 00:51:35,810
I mean, the amount of cabling and
lights that Rafi and Andrew had to bring in

1100
00:51:35,811 --> 00:51:38,857
for that shot and this whole
sequence was enormous.

1101
00:51:38,858 --> 00:51:40,068
And, you know, it’s subtle.

1102
00:51:40,069 --> 00:51:42,907
Like, could you do it
on a gray screen

1103
00:51:42,908 --> 00:51:44,493
back in Atlanta
and comp this in?

1104
00:51:44,494 --> 00:51:46,122
You could,
but we just felt like

1105
00:51:46,123 --> 00:51:48,084
this was where we wanted
to put our resources.

1106
00:51:48,085 --> 00:51:50,840
We wanted to really have
this film feel like it was out there

1107
00:51:50,841 --> 00:51:52,092
as much as possible.

1108
00:51:52,093 --> 00:51:54,221
And whether you notice it
or not,

1109
00:51:54,222 --> 00:51:56,726
in every moment where you could’ve
gotten away with something else,

1110
00:51:56,727 --> 00:51:58,396
over the course of time,

1111
00:51:58,397 --> 00:52:00,317
I think that that texture
really gets into the work.

1112
00:52:01,571 --> 00:52:03,030
<i>"Golden Guardian of Good."</i>

1113
00:52:03,031 --> 00:52:04,450
This was something,
you know, obviously

1114
00:52:04,451 --> 00:52:06,328
we love those--
that initial run

1115
00:52:06,329 --> 00:52:08,499
of Paul Jenkins and Jae Lee
of <i>The Sentry,</i>

1116
00:52:08,501 --> 00:52:11,255
and Kevin was always pushing us
to see if there was a way to get some

1117
00:52:11,256 --> 00:52:14,554
of those meta ideas that are
in that comic into the movie.

1118
00:52:14,555 --> 00:52:17,309
It’s hard to do. We can’t do the
strange erasing everyone’s memory thing,

1119
00:52:17,310 --> 00:52:18,604
or put Sentry
throughout history.

1120
00:52:18,605 --> 00:52:20,315
I mean, that would be
an amazing story,

1121
00:52:20,316 --> 00:52:21,818
but for obvious reasons,

1122
00:52:21,819 --> 00:52:24,657
different things have owned
that corner of the MCU.

1123
00:52:24,658 --> 00:52:27,580
But even that, th--
a lot of that stuff

1124
00:52:27,581 --> 00:52:30,084
came from our own concept art
for designing The Sentry.

1125
00:52:30,085 --> 00:52:33,007
And the idea that they would be
looking at those as marketing materials

1126
00:52:33,008 --> 00:52:35,136
that Val would have
for The Sentry

1127
00:52:35,137 --> 00:52:36,932
became our way
of getting into that

1128
00:52:36,933 --> 00:52:40,564
kind of sense of the meta
in The Sentry creation.

1129
00:52:40,565 --> 00:52:43,110
This scene is also just very
important for tying their fates together

1130
00:52:43,111 --> 00:52:46,033
and, again, paying off
as they talk about it here,

1131
00:52:46,034 --> 00:52:48,747
what happened to Antonia and the
idea that that could be any of them,

1132
00:52:48,748 --> 00:52:52,588
and that’s likely where they’re
headed if they don’t find a bond

1133
00:52:52,589 --> 00:52:54,718
or a way out of this life.

1134
00:52:57,558 --> 00:53:00,186
And then I think Wyatt does
such beautiful work here

1135
00:53:00,187 --> 00:53:03,694
of, uh-- of covering, you know,
the story that he’s been telling them

1136
00:53:03,695 --> 00:53:05,363
and telling himself.

1137
00:53:05,364 --> 00:53:07,785
But you can see underneath,
uh, for a moment,

1138
00:53:07,786 --> 00:53:09,622
you know,
he sort of forgets himself

1139
00:53:09,623 --> 00:53:12,002
and admits to
how he really feels.

1140
00:53:12,003 --> 00:53:13,756
Uh, and we’ll see that
paid off later.

1141
00:53:15,050 --> 00:53:17,095
<i>...just keep working
at it every day.</i>

1142
00:53:17,096 --> 00:53:19,601
But, yeah, Sonny always felt we
need some kind of campfire scene.

1143
00:53:19,602 --> 00:53:22,105
We need a pause here
at the end of all that action

1144
00:53:22,106 --> 00:53:25,863
just to bind these characters
together and start building those ties.

1145
00:53:25,864 --> 00:53:27,575
And then this...

1146
00:53:27,576 --> 00:53:29,411
I think Joanna wrote
the <i>Dr. Phil</i> thing,

1147
00:53:29,412 --> 00:53:31,708
and then this whole run here,
this was just Wyatt

1148
00:53:31,709 --> 00:53:34,964
and, uh, his true understanding
of Dr. Phil

1149
00:53:34,965 --> 00:53:37,511
and whether he’s on air
or not anymore.

1150
00:53:37,512 --> 00:53:40,475
I love let-- just letting this
trail off. That’s just for me.

1151
00:53:40,476 --> 00:53:42,437
But it does get laughs
in the theater.

1152
00:53:42,438 --> 00:53:44,776
<i>Well, it isn’t great.</i>

1153
00:53:44,777 --> 00:53:46,028
This was a tough shot to get.

1154
00:53:46,029 --> 00:53:48,533
This is actually
on this mountain in Utah

1155
00:53:48,534 --> 00:53:51,873
and so hard to get
the technocrane out there.

1156
00:53:51,874 --> 00:53:54,629
And for Grace and her team to
build at least a version of that crater.

1157
00:53:54,630 --> 00:53:56,633
That’s a real helicopter.
Uh-- I mean, that,

1158
00:53:56,634 --> 00:54:00,014
what you see is CG
laid over an actual helicopter

1159
00:54:00,015 --> 00:54:04,481
and an actual box that it’s
tethered to on the ground,

1160
00:54:04,482 --> 00:54:07,822
and we did a real airlift
to get this in here.

1161
00:54:07,823 --> 00:54:09,992
But, again, you don’t have to,

1162
00:54:09,993 --> 00:54:14,292
but, uh, we’re trying to really
kind of put a stake in the ground

1163
00:54:14,293 --> 00:54:16,673
that, you know, we were making
this Marvel movie differently.

1164
00:54:16,674 --> 00:54:19,136
And really out there. God,
the vistas are just so beautiful.

1165
00:54:19,137 --> 00:54:21,390
I mean, Grace really fought
to get us out to Utah

1166
00:54:21,391 --> 00:54:24,229
’cause of the rock textures
and the tonality.

1167
00:54:24,230 --> 00:54:27,193
The sort of cyan in the shadows
and the more beige textures

1168
00:54:27,194 --> 00:54:31,076
as opposed to the reds
in New Mexico which, again,

1169
00:54:31,077 --> 00:54:34,542
seems like a... a funny thing to be able
to consider, but if you have the resources,

1170
00:54:34,543 --> 00:54:38,299
putting it towards that and really
being out in this incredible vista

1171
00:54:38,300 --> 00:54:40,303
at magic hour
with a real helicopter.

1172
00:54:40,304 --> 00:54:43,894
This airlift is entirely
in-camera except for, you know...

1173
00:54:43,895 --> 00:54:47,317
They don’t make OXE-designed
helicopters, so we’re laying over that,

1174
00:54:47,318 --> 00:54:49,865
but the entire rest
of the shot is real.

1175
00:54:51,201 --> 00:54:53,204
And this too.
Just another great vista,

1176
00:54:53,205 --> 00:54:55,584
and having them actually in
this environment, this texture.

1177
00:54:55,585 --> 00:54:57,505
And you really feel like,
you know,

1178
00:54:57,506 --> 00:55:00,426
we’ve been, you know, hemmed
in so much with the movie,

1179
00:55:00,427 --> 00:55:03,934
and in this, you know,
intentionally contained space

1180
00:55:03,935 --> 00:55:06,230
that it’s nice for the movie to
feel like it’s opening up here.

1181
00:55:06,231 --> 00:55:08,652
<i>All right, Walker, we get it.
You were in the military.</i>

1182
00:55:08,653 --> 00:55:11,950
<i>Five or ten clicks to the
bird. Da-da-da-da-da!</i>

1183
00:55:11,951 --> 00:55:14,831
And then this very funny...
This, again, part of the limo.

1184
00:55:14,832 --> 00:55:17,795
The Sonny addition of...
...Yelena’s dad showing up

1185
00:55:17,796 --> 00:55:20,884
and exactly how you would feel
if you were...

1186
00:55:20,885 --> 00:55:23,264
...you know, just with
your friends leaving soccer,

1187
00:55:23,265 --> 00:55:25,686
and your dad showed up
in his ridiculous car,

1188
00:55:25,687 --> 00:55:26,980
and how embarrassed you’d be,

1189
00:55:26,981 --> 00:55:28,942
but to do that in the middle
of an action movie

1190
00:55:28,943 --> 00:55:30,988
is a very funny thing
to tie together.

1191
00:55:30,989 --> 00:55:35,329
And of course, David just...
...leans into it so hard

1192
00:55:35,330 --> 00:55:38,002
and, you know, never shies away
from that and brings every bit of it.

1193
00:55:38,003 --> 00:55:40,549
But I love also that you’re
doing that kind of comedy

1194
00:55:40,550 --> 00:55:42,218
but with
these beautiful vistas,

1195
00:55:42,219 --> 00:55:45,517
and you really feel the texture
of just actually being out there

1196
00:55:45,518 --> 00:55:49,149
and shooting that wide shot and
having all of these mesas in the distance.

1197
00:55:49,150 --> 00:55:51,194
You know, it’s this weird
intersection of our movie

1198
00:55:51,195 --> 00:55:54,827
where it is a very
kind of silly humor sometimes

1199
00:55:54,828 --> 00:55:57,583
that is married with visuals that
treat it a little bit more seriously,

1200
00:55:57,584 --> 00:56:01,508
and if that works for you, then that is
this kind of tone that we’re going after.

1201
00:56:03,763 --> 00:56:05,515
I got this shot myself.

1202
00:56:05,516 --> 00:56:07,770
I was on the tripod,
found this spot down the road.

1203
00:56:07,771 --> 00:56:10,817
This is this road that we owned
for this whole sequence.

1204
00:56:10,818 --> 00:56:13,990
Uh, and I actually went back
and reshot it ’cause it turned out...

1205
00:56:13,991 --> 00:56:15,911
You know,
we waited for magic hour,

1206
00:56:15,912 --> 00:56:19,376
and, uh, you actually want those
mesas to be a bit more front lit

1207
00:56:19,377 --> 00:56:22,215
so you get the shadows
to show up a little more.

1208
00:56:22,216 --> 00:56:24,177
It gives more shape
to the mesas.

1209
00:56:24,178 --> 00:56:27,183
I felt like, "Oh, we came all the way
out here and got the timing wrong."

1210
00:56:27,184 --> 00:56:31,441
So went back out and got it
one more time before we left Utah.

1211
00:56:31,442 --> 00:56:37,203
Um, I have a picture of me and just a
silly little set of baby stick tripod legs,

1212
00:56:37,204 --> 00:56:40,376
uh, and a little crew out there
getting the shot, which was fun.

1213
00:56:40,377 --> 00:56:43,883
And this whole sequence, I mean, this
was something Andrew really pushed for,

1214
00:56:43,884 --> 00:56:47,599
was, again, this is out on the
road in a hundred-degree heat.

1215
00:56:47,600 --> 00:56:49,812
The AC in this car
is breaking down.

1216
00:56:49,813 --> 00:56:51,941
We had, I think, three red limos.
Or two. I can’t remember now.

1217
00:56:51,942 --> 00:56:54,112
They all broke.
Everything broke.

1218
00:56:54,113 --> 00:56:57,201
Uh, but they’re in there and, you
know, a lot of the sound we didn’t replace.

1219
00:56:57,202 --> 00:56:59,957
I love the sound of kind of
the rig on the...

1220
00:56:59,958 --> 00:57:01,836
the shading rig
on top of the car

1221
00:57:01,837 --> 00:57:05,301
and the way it rattled
and the noises in this car.

1222
00:57:05,302 --> 00:57:07,639
It meant, you know... It means
the actors get fewer takes,

1223
00:57:07,640 --> 00:57:09,727
but when you have actors
like this, like David, you know,

1224
00:57:09,728 --> 00:57:12,482
we had a long run of road,
and we would stop, give notes

1225
00:57:12,483 --> 00:57:14,277
and then keep going
down the road.

1226
00:57:14,278 --> 00:57:16,949
But once you turned around, it
took so long to turn this thing around

1227
00:57:16,950 --> 00:57:19,454
and to put on
the new camera mounts

1228
00:57:19,455 --> 00:57:21,959
that you really had to
get it in that run.

1229
00:57:21,960 --> 00:57:24,715
They had four takes each
for each of these setups.

1230
00:57:24,716 --> 00:57:27,386
Uh, but, yeah, Andrew was
just committed to this idea

1231
00:57:27,387 --> 00:57:29,182
that it’ll just look better
if it’s out there.

1232
00:57:29,183 --> 00:57:31,353
It’s hard to do LED
or green screen

1233
00:57:31,354 --> 00:57:33,357
for a car this big
and have it feel real.

1234
00:57:33,358 --> 00:57:36,196
And, again,
just the texture for the actors

1235
00:57:36,197 --> 00:57:38,993
and the way they’re talking and
speaking over that environment.

1236
00:57:38,994 --> 00:57:41,624
Just trying to put our resources
into really going out there and doing it.

1237
00:57:41,625 --> 00:57:43,878
<i>It was crazy.
I was yelling at the ref.</i>

1238
00:57:43,879 --> 00:57:45,422
Great improv by David here.

1239
00:57:45,423 --> 00:57:48,262
Uh... "A girl who pooped."

1240
00:57:48,263 --> 00:57:49,598
And this-- this whole...

1241
00:57:49,599 --> 00:57:51,853
The Shane and Dmitri
was a Sonny addition.

1242
00:57:51,854 --> 00:57:53,857
And the Shane, "He didn’t
have that kind of money,"

1243
00:57:53,858 --> 00:57:55,986
that’s a great Sonny add.

1244
00:57:55,987 --> 00:57:58,282
<i>What about this Bob you
mentioned? What’s the plan?</i>

1245
00:57:58,283 --> 00:57:59,910
There is also this moment

1246
00:57:59,911 --> 00:58:02,248
that I sort of skipped over
in there that’s very important,

1247
00:58:02,249 --> 00:58:05,171
where, again, you have such
little real estate where Alexei says,

1248
00:58:05,172 --> 00:58:07,091
"The light inside...
Whatever it is..."

1249
00:58:07,092 --> 00:58:09,470
Or, "Whatever they are, the
light inside you is brighter."

1250
00:58:09,471 --> 00:58:11,057
So we have to establish
in her performance,

1251
00:58:11,058 --> 00:58:13,353
and it’s so subtle
on Florence’s part,

1252
00:58:13,354 --> 00:58:15,609
that she gives Walker
a little bit of credence.

1253
00:58:15,610 --> 00:58:17,821
And, again, there’s nothing to be so
happy about at this point in the movie,

1254
00:58:17,822 --> 00:58:20,201
but just that there’s
a little bit of lightness

1255
00:58:20,202 --> 00:58:22,706
in the performance
for him to pick up on,

1256
00:58:22,707 --> 00:58:27,048
so that you can establish that and
go into that kind of extreme close-up

1257
00:58:27,049 --> 00:58:29,344
where you can see that,
where she’s trying to process

1258
00:58:29,345 --> 00:58:32,517
that he sees that in her even if she
doesn’t want to admit it about herself.

1259
00:58:32,518 --> 00:58:35,105
Those are the kind of things we
talked about in building this scene

1260
00:58:35,106 --> 00:58:37,611
as well as all of the comedy.

1261
00:58:37,612 --> 00:58:39,489
<i>- Do you understand? You don’t understand.
- I do. You don’t.</i>

1262
00:58:39,490 --> 00:58:41,577
I love that read from David.
It’s so childish.

1263
00:58:41,578 --> 00:58:43,413
<i>...is going to use the power
of this Sentry Project...</i>

1264
00:58:43,414 --> 00:58:45,710
Yes... to take
over and kill us all.

1265
00:58:45,711 --> 00:58:48,841
And then here
our action sequence begins.

1266
00:58:48,842 --> 00:58:52,139
So we-- we were out there for,
I think, two weeks in Utah.

1267
00:58:52,140 --> 00:58:56,439
Um, this sequence, maybe, I think
we shot in seven days, I wanna say.

1268
00:58:56,440 --> 00:58:58,068
We didn’t really
have a second unit,

1269
00:58:58,069 --> 00:59:00,447
but George was out there
with the splinter unit

1270
00:59:00,448 --> 00:59:02,410
down the road
with a camera car.

1271
00:59:02,411 --> 00:59:05,542
And at some point, after we
got kind of the actors’ parts of it,

1272
00:59:05,543 --> 00:59:08,631
it was just both of us
just shooting action shots,

1273
00:59:08,632 --> 00:59:11,094
and he would text me what
he was getting on an iPhone,

1274
00:59:11,095 --> 00:59:14,434
and we’d make notes, and
just building this piece by piece.

1275
00:59:14,435 --> 00:59:18,651
Again, we had this boarded out. Vinny Dellay,
one of our, uh, great storyboard artists,

1276
00:59:18,652 --> 00:59:20,989
we worked on this a lot, uh,
before we went out there,

1277
00:59:20,990 --> 00:59:23,160
and it was in the edit.

1278
00:59:23,161 --> 00:59:26,917
Uh, and Harry was in a... You
know, there’s no tent out there,

1279
00:59:26,918 --> 00:59:30,090
but we were in a kind of camera van
that we had the editing rig built into.

1280
00:59:30,091 --> 00:59:31,927
And just each shot,
just cutting it in

1281
00:59:31,928 --> 00:59:34,140
over the course
of seven shooting days.

1282
00:59:34,141 --> 00:59:37,480
Just building this piece by
piece along with the boards

1283
00:59:37,481 --> 00:59:39,484
and, you know,
seeing that it worked.

1284
00:59:39,485 --> 00:59:42,574
You know, figuring out what we
needed to add in, but it really...

1285
00:59:42,575 --> 00:59:45,789
It’s fun watching back and knowing that
you were there for each of these pieces.

1286
00:59:45,790 --> 00:59:49,546
You know, it was-- it was all-- it
was all of us just making this happen.

1287
00:59:49,547 --> 00:59:51,299
<i>Okay, not really appropriate.</i>

1288
00:59:51,300 --> 00:59:54,890
That, uh-- The pony thing was
a Jon Watts joke suggestion.

1289
00:59:54,891 --> 00:59:57,562
He was nice enough
to lend us that one.

1290
00:59:57,563 --> 01:00:01,027
Uh, I think-- I think the song
"Pony," I think, was my pick.

1291
01:00:01,028 --> 01:00:04,158
It was gonna be that or
Exile, uh, "Kiss You All Over."

1292
01:00:04,159 --> 01:00:06,831
Even that shot, we shot for--
I mean the bottle is CG,

1293
01:00:06,832 --> 01:00:08,543
but, you know,
tracking in its trajectory,

1294
01:00:08,544 --> 01:00:10,547
we threw a real bottle
out of there

1295
01:00:10,548 --> 01:00:12,007
that obviously didn’t stay up
as long as that.

1296
01:00:12,008 --> 01:00:13,928
But really, you know,

1297
01:00:13,929 --> 01:00:16,307
the bullet hits and some things
in the sequence are added,

1298
01:00:16,308 --> 01:00:19,606
but almost every single thing
you see in frame is practical.

1299
01:00:19,607 --> 01:00:22,529
The dust, you know,
being along these Humvees.

1300
01:00:22,530 --> 01:00:24,783
You know...
...Jake Morrison, again,

1301
01:00:24,784 --> 01:00:27,163
it was that-- that precept
of everything in-camera,

1302
01:00:27,164 --> 01:00:30,294
and if it does not-- if nothing
else, it’s incredible reference

1303
01:00:30,295 --> 01:00:31,964
so that the CG
has direct reference

1304
01:00:31,965 --> 01:00:34,051
of what that thing’s supposed
to look like out there.

1305
01:00:34,052 --> 01:00:37,809
But there’s very few shots
with any real major CG in this.

1306
01:00:37,810 --> 01:00:40,815
Sometimes it’s the--
the firing or the gun turrets.

1307
01:00:40,816 --> 01:00:42,652
Those will get added,
but there’s a ref--

1308
01:00:42,653 --> 01:00:44,990
You know, we’re shooting
with a real one on location.

1309
01:00:44,991 --> 01:00:47,411
It’s Florence right out of
the window. No rigging.

1310
01:00:47,412 --> 01:00:49,541
And that explosion is real.
That flip.

1311
01:00:49,542 --> 01:00:52,129
I mean... it was
tough getting those flips.

1312
01:00:52,130 --> 01:00:53,591
We didn’t have
any backup Humvees.

1313
01:00:53,592 --> 01:00:56,262
Again, that was part of being
a little bit more frugal.

1314
01:00:56,263 --> 01:00:59,811
So I think that, if I’m not wrong, was
Shane Habberstad’s, uh, Humvee,

1315
01:00:59,812 --> 01:01:02,901
and he had to get it of into that
dirt and make sure those tires caught

1316
01:01:02,902 --> 01:01:04,696
so that he’d get a proper flip.

1317
01:01:04,697 --> 01:01:07,619
And I think this one
is Noon Orsatti.

1318
01:01:07,620 --> 01:01:09,581
Incredible stuntman.
Longtime stuntman.

1319
01:01:09,582 --> 01:01:12,336
Uh, that one flipped
a little bit easier,

1320
01:01:12,337 --> 01:01:13,548
not that it’s easy
to be in that thing.

1321
01:01:13,549 --> 01:01:15,552
And then here comes Bucky.

1322
01:01:15,553 --> 01:01:18,431
And, again, that’s real dust
blowing across the road.

1323
01:01:18,432 --> 01:01:21,522
You know, everything out there,
you’re just in this incredible playground

1324
01:01:21,523 --> 01:01:25,195
where it’s really hard, it’s
really hot, but, you know...

1325
01:01:25,196 --> 01:01:28,869
I think what was nice about it
is the "hard" goes on screen,

1326
01:01:28,870 --> 01:01:31,625
and everything that was difficult about
it is also what makes it breathtaking

1327
01:01:31,626 --> 01:01:33,421
and shooting it in full IMAX.

1328
01:01:36,302 --> 01:01:41,102
Uh, Joe, what-- Maybe the best,
uh, motorcycle stunt rider in the world

1329
01:01:41,103 --> 01:01:43,983
doing all of these. That wide
shot looks like it’s CG. It’s not.

1330
01:01:43,984 --> 01:01:46,404
That’s just how fast
he was going on that bike.

1331
01:01:46,405 --> 01:01:51,122
Uh, and, yeah, I think this ending
piece was a George suggestion

1332
01:01:51,123 --> 01:01:53,084
about using the winch
and shooting that off.

1333
01:01:53,085 --> 01:01:56,090
And this, I think,
maybe right here, the flip,

1334
01:01:56,091 --> 01:01:58,261
I mean,
that’s not sky replacement.

1335
01:01:58,262 --> 01:02:02,144
Uh, it really looked like this
when this-- this Humvee flipped.

1336
01:02:02,145 --> 01:02:05,526
It was the last thing we shot out
on that road and got it with a drone.

1337
01:02:05,527 --> 01:02:08,156
Uh, all of this
stuff in-camera.

1338
01:02:08,157 --> 01:02:12,582
Um, and just to be out there
getting stuff like that

1339
01:02:12,583 --> 01:02:15,003
and, you know, being on the edge
of whether you can get it or not,

1340
01:02:15,004 --> 01:02:16,633
it’s just such a great feeling.

1341
01:02:21,225 --> 01:02:22,018
<i>Oh, sh--</i>

1342
01:02:29,992 --> 01:02:31,995
Another one
of my little DC pickups.

1343
01:02:31,996 --> 01:02:34,710
We didn’t bring balls and charts
for this, so, uh, I had to bring...

1344
01:02:34,711 --> 01:02:38,217
I got, uh, Christmas ornaments...
...for lighting reference.

1345
01:02:39,052 --> 01:02:40,470
And then this was, uh...

1346
01:02:40,471 --> 01:02:42,809
This was... This did come
in additional with Wendell,

1347
01:02:42,810 --> 01:02:45,606
and we just felt like we
needed to sort of keep the stakes

1348
01:02:45,607 --> 01:02:47,443
and the pressure up on Val
in the movie,

1349
01:02:47,444 --> 01:02:50,490
and it’s another chance
for Wendell to say, "Juicy,"

1350
01:02:50,491 --> 01:02:51,703
so that’s always worth it.

1351
01:02:53,080 --> 01:02:55,292
Um, and this is,
you know, again,

1352
01:02:55,293 --> 01:02:57,964
when you talk about AB
with effects, you know...

1353
01:02:57,965 --> 01:03:00,260
Sure, they’re against gray.
They’re not up on this roof.

1354
01:03:00,261 --> 01:03:02,682
But they’re outside, something
Jake Morrison always insisted on,

1355
01:03:02,683 --> 01:03:05,312
and we have that real helicopter
behind their heads for enough of it,

1356
01:03:05,313 --> 01:03:07,901
so at least you have the
foreground and the mid-ground

1357
01:03:07,902 --> 01:03:09,654
if not the background
that gets added,

1358
01:03:09,655 --> 01:03:13,411
and even just that little element
helps it sit in much better.

1359
01:03:13,412 --> 01:03:16,710
Or choices like this where, you
know, as opposed to building a set,

1360
01:03:16,711 --> 01:03:20,885
you know, that’s an actual abandoned
floor in Atlanta with a real city outside

1361
01:03:20,886 --> 01:03:24,099
that isn’t New York, but the value of it
being real and then adding some things

1362
01:03:24,100 --> 01:03:27,439
out the windows as opposed
to creating it all with a set

1363
01:03:27,440 --> 01:03:30,488
and green screen out the windows
is worth it for that sense of texture.

1364
01:03:31,699 --> 01:03:34,913
I would love
for this to be my bedroom.

1365
01:03:34,914 --> 01:03:36,959
I’ve told Grace this
multiple times.

1366
01:03:36,960 --> 01:03:40,716
I love this design of hers. I would
sleep here, in this recovery room.

1367
01:03:40,717 --> 01:03:42,178
I would be Bob.

1368
01:03:43,807 --> 01:03:46,185
This scene was in many,
many drafts of the script,

1369
01:03:46,186 --> 01:03:49,149
and, ultimately, Joanna,
you know, really brought

1370
01:03:49,150 --> 01:03:51,112
this really interesting
dynamic to the scene

1371
01:03:51,113 --> 01:03:55,955
that I thought was so interesting
of the way that someone like Val

1372
01:03:55,956 --> 01:03:59,713
can play upon the sort of
insecurities and desires

1373
01:03:59,714 --> 01:04:01,758
of a character like Bob,

1374
01:04:01,759 --> 01:04:05,140
who really does just wanna
matter and wants to be important

1375
01:04:05,141 --> 01:04:06,518
and wants to
do the right thing,

1376
01:04:06,519 --> 01:04:08,898
but, you know, that can
very easily get confused

1377
01:04:08,899 --> 01:04:13,908
with the sense of, you know, validation,
or importance, or feeling left out,

1378
01:04:13,909 --> 01:04:18,499
and, you know, this idea that that
can really lead you down the wrong path

1379
01:04:18,501 --> 01:04:21,297
if you meet up with the wrong
people or if you’re in the wrong hands.

1380
01:04:21,298 --> 01:04:23,468
And you know, we see
a little bit of that in Alexei,

1381
01:04:23,469 --> 01:04:26,683
and all of them are grappling
with their own versions of that.

1382
01:04:26,684 --> 01:04:28,520
But of course,
Bob is so powerful

1383
01:04:28,521 --> 01:04:30,106
that you’re really
playing with fire here,

1384
01:04:30,107 --> 01:04:32,110
which is what Mel
keeps suggesting to Val,

1385
01:04:32,111 --> 01:04:35,743
and Val, of course, thinks that
she always can gain the upper hand,

1386
01:04:35,744 --> 01:04:40,586
but she-- she’s not exactly aware
of what she’s dealing with in Bob.

1387
01:04:40,587 --> 01:04:43,759
And, you know, just watching
the way they play off of each other

1388
01:04:43,760 --> 01:04:47,600
and the way that, kind of,
Val massages him into this.

1389
01:04:47,601 --> 01:04:49,186
And I was there
with Joanna on set.

1390
01:04:49,187 --> 01:04:51,566
She was there this day,
and I was at the monitor,

1391
01:04:51,567 --> 01:04:53,403
and she’s like,
"You’re doing such a good job."

1392
01:04:53,404 --> 01:04:55,490
I was like, "Are you...
Are you Valling me right now?"

1393
01:04:55,491 --> 01:04:57,411
"Is that what’s happening?"
I said.

1394
01:04:57,412 --> 01:04:59,708
And I could see it. She had
written it and she was doing it to me

1395
01:04:59,709 --> 01:05:01,002
at the same time.

1396
01:05:01,003 --> 01:05:02,588
And so, that was fun to watch.

1397
01:05:02,589 --> 01:05:04,759
But yeah, again,
just such subtlety in Lewis

1398
01:05:04,760 --> 01:05:09,476
of needing to now portray
some of that darkness in there

1399
01:05:09,477 --> 01:05:12,900
along with the desire of this--
you know, seeing this belt,

1400
01:05:12,901 --> 01:05:15,363
which is a symbol of meaning
something, of being important,

1401
01:05:15,364 --> 01:05:17,117
of being what other people
couldn’t see.

1402
01:05:17,118 --> 01:05:20,123
Because Yelena truly
has come to care for him,

1403
01:05:20,124 --> 01:05:22,377
even in this limited time,

1404
01:05:22,378 --> 01:05:25,383
but it’s in this way that Val
will later describe as pity,

1405
01:05:25,384 --> 01:05:27,972
you know, as opposed to
someone seeing him, you know...

1406
01:05:27,973 --> 01:05:31,395
Yelena says, "Stay behind me.
I have it. I’ll take care of you."

1407
01:05:31,396 --> 01:05:35,071
And Val is coming to him and saying, "You
could be something much more than that."

1408
01:05:38,160 --> 01:05:41,833
We actually-- This was part of a--
an additional photography, uh, piece,

1409
01:05:41,834 --> 01:05:46,467
where I initially thought because we
were talking about, uh, Bob’s backstory

1410
01:05:46,468 --> 01:05:48,262
that you would expect
to go into his past,

1411
01:05:48,263 --> 01:05:50,893
and we had a preview
of his addict scene

1412
01:05:50,894 --> 01:05:52,522
that Val went into.

1413
01:05:52,523 --> 01:05:54,692
In testing, it was nice,
’cause people did understand

1414
01:05:54,693 --> 01:05:57,865
the concept of the Void, but they
got very frustrated at that sequence

1415
01:05:57,866 --> 01:06:00,495
and said, "Why isn’t it Val’s?
It’s always someone else’s."

1416
01:06:00,496 --> 01:06:02,917
And so we got to add
this, uh, really nice scene

1417
01:06:02,918 --> 01:06:05,213
that Joanna wrote, you know.

1418
01:06:05,214 --> 01:06:07,885
And, I mean it’s just a
testament... I mean, these are...

1419
01:06:07,886 --> 01:06:10,473
Uh, Chiara, who plays the
little girl, these are great actors,

1420
01:06:10,474 --> 01:06:14,774
’cause a scene like this being dropped
in the melodrama like this is so delicate.

1421
01:06:14,775 --> 01:06:17,822
And you have some leeway in a
comic book movie to do that, I think,

1422
01:06:17,823 --> 01:06:20,076
to have these
kind of heightened backstories.

1423
01:06:20,077 --> 01:06:22,372
I mean, who’s to say?
We had a lot of discussion.

1424
01:06:22,373 --> 01:06:24,794
I mean,
Valentina Allegra de Fontaine.

1425
01:06:24,795 --> 01:06:27,592
Is that Italian? Is that French?
You know, we went with Italian.

1426
01:06:27,593 --> 01:06:29,971
Um, and it gives you
a little bit of that distance.

1427
01:06:29,972 --> 01:06:32,350
Um, and, you know,
tries to show you a window

1428
01:06:32,351 --> 01:06:37,235
into how Val has become
what she’s become,

1429
01:06:37,236 --> 01:06:41,202
which is this idea that, you
know, if it’s a story about isolation

1430
01:06:41,203 --> 01:06:43,957
and, you know,
the damage that that can cause,

1431
01:06:43,958 --> 01:06:46,253
you know, if Val is just
sort of someone like them,

1432
01:06:46,254 --> 01:06:50,261
but who never found anyone
else to lift her out of that place,

1433
01:06:50,262 --> 01:06:53,476
she has hardened
into what she has become.

1434
01:06:53,477 --> 01:06:55,230
But she’s starting
from a similar place,

1435
01:06:55,231 --> 01:06:56,858
that there is
a point of connection

1436
01:06:56,859 --> 01:06:59,530
even between your antagonist
and your protagonists,

1437
01:06:59,531 --> 01:07:01,034
that they all share.

1438
01:07:04,165 --> 01:07:07,254
<i>All right, let’s get the
press here in the morning.</i>

1439
01:07:07,255 --> 01:07:09,049
<i>It’s time to show everyone
what I’ve been working on.</i>

1440
01:07:09,050 --> 01:07:11,805
<i>Val, you put a serum into
someone like Steve Rogers...</i>

1441
01:07:11,806 --> 01:07:13,892
I do think we added
a number of things.

1442
01:07:13,893 --> 01:07:15,562
We came back to this scene
’cause it was where we

1443
01:07:15,563 --> 01:07:17,900
really needed to establish
that concept of,

1444
01:07:17,901 --> 01:07:20,280
you know, that you’re
playing with fire here.

1445
01:07:20,281 --> 01:07:23,787
And, you know, that--
Yeah, that Bob and The Sentry,

1446
01:07:23,788 --> 01:07:26,083
and it’s about an
internal conflict that he has

1447
01:07:26,084 --> 01:07:28,337
that is exacerbated
by the serum

1448
01:07:28,338 --> 01:07:32,847
and turned into world stakes and, you
know, superhero levels by the serum.

1449
01:07:32,848 --> 01:07:35,894
That-That concept that it
starts with what’s inside of you,

1450
01:07:35,895 --> 01:07:38,650
which I think a lot of people
watching will understand implicitly

1451
01:07:38,651 --> 01:07:40,486
from watching
a lot of these movies,

1452
01:07:40,487 --> 01:07:43,035
but that we maybe needed to
define for more of the audience.

1453
01:07:45,497 --> 01:07:47,710
This was a beautiful gas
station in Green River, Utah,

1454
01:07:47,711 --> 01:07:49,338
and this is not a set
on the inside,

1455
01:07:49,339 --> 01:07:51,383
even though we probably
could’ve done it that way.

1456
01:07:51,384 --> 01:07:53,972
But everything that’s outside
those windows were really there.

1457
01:07:53,973 --> 01:07:58,648
Uh, and Grace did such a great
job of dressing this, uh, for this scene,

1458
01:07:58,649 --> 01:08:00,527
and this scene
was a very complicated one.

1459
01:08:00,528 --> 01:08:02,531
And this is towards the end
of our shoot.

1460
01:08:02,532 --> 01:08:05,203
It’s one of the last things we
shot with our principals in Utah.

1461
01:08:05,204 --> 01:08:07,750
And it needs to do
such heavy lifting

1462
01:08:07,751 --> 01:08:11,173
to kinda have all of your characters
get together by the end of it

1463
01:08:11,174 --> 01:08:12,635
when they start
on opposite places.

1464
01:08:12,636 --> 01:08:14,304
And I thought
what Joanna did...

1465
01:08:14,305 --> 01:08:17,520
You know, there are
these little deft turns

1466
01:08:17,521 --> 01:08:20,901
in the way that they’re trying
to convince Bucky about Bob,

1467
01:08:20,902 --> 01:08:22,905
you know, that they
believe that there’s a threat,

1468
01:08:22,906 --> 01:08:25,368
but they themselves
do not see themselves as worthy

1469
01:08:25,369 --> 01:08:27,998
of going after it and are
just trying to escape it.

1470
01:08:27,999 --> 01:08:31,004
But he doesn’t even believe in
the thing that they’re telling him.

1471
01:08:31,005 --> 01:08:35,096
And using this kind of humor of the
repetition of "Bob" to establish that

1472
01:08:35,097 --> 01:08:38,770
is such a neat way to get you,
’cause it has to do so much

1473
01:08:38,771 --> 01:08:41,191
in such a compressed amount
of time to keep the story moving,

1474
01:08:41,192 --> 01:08:43,404
and it was so impressive
how she did that.

1475
01:08:43,405 --> 01:08:45,617
<i>I know it’s been hard since
Olivia left you and took your kid,</i>

1476
01:08:45,618 --> 01:08:48,289
<i>but still, this is on you.</i>

1477
01:08:48,290 --> 01:08:51,211
And this is such a nice
moment of acting between...

1478
01:08:51,212 --> 01:08:53,007
between Wyatt
and Florence here.

1479
01:08:53,008 --> 01:08:55,762
And we didn’t want to lean
into the music for it.

1480
01:08:55,763 --> 01:08:57,766
Just this recognition,
on her part,

1481
01:08:57,767 --> 01:08:59,896
that he, of course, is
struggling with the same thing

1482
01:08:59,897 --> 01:09:02,358
that she has struggled with,
in his own way,

1483
01:09:02,359 --> 01:09:05,824
and that all of that bravado
and bluster is really masking

1484
01:09:05,825 --> 01:09:08,788
feeling very similar
to the way that she feels,

1485
01:09:08,789 --> 01:09:11,251
and, you know, the way they
share that with just such tiny looks.

1486
01:09:11,252 --> 01:09:14,550
When you have actors like this,
you can... you can accomplish a lot,

1487
01:09:14,551 --> 01:09:16,971
but, you know, we’re so...

1488
01:09:16,972 --> 01:09:20,353
They’re the magic that
makes any of this stuff work,

1489
01:09:20,354 --> 01:09:23,777
and I was lucky to have some of
the very best in every single role.

1490
01:09:23,778 --> 01:09:26,616
<i>I mean, Project Sentry is not
just a failure. It’s dangerous.</i>

1491
01:09:26,617 --> 01:09:28,537
And, yeah, that’s our movie.

1492
01:09:28,538 --> 01:09:30,832
To do that and have that really
nicely observed character moment

1493
01:09:30,833 --> 01:09:34,172
and then the kind of near
silliness of this "Bob" repetition.

1494
01:09:34,173 --> 01:09:36,093
And, again, if it doesn’t
work for you, I understand.

1495
01:09:36,094 --> 01:09:37,596
You know, it’s an--

1496
01:09:37,597 --> 01:09:39,767
It’s an interesting tonal
set of things to hold,

1497
01:09:39,768 --> 01:09:41,980
but, uh, yeah,
that’s our movie.

1498
01:09:41,981 --> 01:09:43,608
<i>The press are set
to come tomorrow morning.</i>

1499
01:09:43,609 --> 01:09:46,196
<i>Someone has to do something.</i>

1500
01:09:46,197 --> 01:09:48,952
<i>Shit. Okay, I have to go.
But come now, please.</i>

1501
01:09:48,953 --> 01:09:50,372
<i>Bring anyone.
Everyone you can.</i>

1502
01:09:57,094 --> 01:09:59,347
I love this, uh, "How many
times?" from David here.

1503
01:09:59,348 --> 01:10:00,684
<i>Bob.</i>

1504
01:10:00,685 --> 01:10:03,773
<i>- Bob.
- How many times?</i>

1505
01:10:03,774 --> 01:10:05,611
But sometimes,
it gets--

1506
01:10:05,612 --> 01:10:07,196
The first "Bob"
gets a big enough laugh,

1507
01:10:07,197 --> 01:10:09,577
then you don’t get to hear it,
but you at home,

1508
01:10:09,578 --> 01:10:13,501
uh, with just your friends, will
get to-- will get to hear that one.

1509
01:10:13,502 --> 01:10:16,423
And then, yeah, this big shift
where Bucky has to take this turn

1510
01:10:16,424 --> 01:10:18,385
and bring these folks
along with him,

1511
01:10:18,386 --> 01:10:22,018
and needing to establish there’s enough
time pressure that that makes sense.

1512
01:10:22,019 --> 01:10:23,980
And then Sebastian
really worked very hard

1513
01:10:23,981 --> 01:10:26,819
and essentially
wrote this speech himself

1514
01:10:26,820 --> 01:10:29,784
to make it honest
to the way that Bucky speaks

1515
01:10:29,785 --> 01:10:33,792
and kind of appealing to the sense of,
you know, shared past and emptiness.

1516
01:10:33,793 --> 01:10:38,008
And this really becomes Bucky’s
role in our movie, is he has--

1517
01:10:38,009 --> 01:10:40,889
You know, he’s gone through that
therapy in <i>Falcon and Winter Soldier.</i>

1518
01:10:40,890 --> 01:10:44,270
He has processed the things,
you know, that they haven’t yet,

1519
01:10:44,271 --> 01:10:46,776
and he knows where it leads
if you don’t,

1520
01:10:46,777 --> 01:10:49,280
and just that idea of
you have the wrong people,

1521
01:10:49,281 --> 01:10:52,538
but no, actually,
you are the right people,

1522
01:10:52,539 --> 01:10:53,624
if you can overcome it.

1523
01:10:56,880 --> 01:10:58,759
<i>So you can either
do something about it now,</i>

1524
01:11:00,387 --> 01:11:01,598
<i>or live with it forever.</i>

1525
01:11:08,069 --> 01:11:09,947
I haven’t
mentioned Son Lux yet,

1526
01:11:09,948 --> 01:11:12,661
but this beautiful theme,
you know, to their score,

1527
01:11:12,662 --> 01:11:14,289
with kind of a hint
of the <i>Thunderbolts*</i> theme

1528
01:11:14,290 --> 01:11:15,667
and uniting these characters,

1529
01:11:15,668 --> 01:11:17,963
but just played very gently
in the background

1530
01:11:17,964 --> 01:11:20,468
where we’re not
leaning into it too much.

1531
01:11:20,469 --> 01:11:22,890
And you get room for how
subtle they’re being in that,

1532
01:11:22,891 --> 01:11:24,225
and then, of course, uh,

1533
01:11:24,226 --> 01:11:25,562
Alexei is not a subtle man.

1534
01:11:25,563 --> 01:11:28,317
<i>Yes!</i>

1535
01:11:28,318 --> 01:11:30,446
<i>Yeah!</i>

1536
01:11:30,447 --> 01:11:33,912
This is a scene that used to be
much longer and was very fun.

1537
01:11:33,913 --> 01:11:36,709
Then again, there are a lot of
these parts of the movie where...

1538
01:11:36,710 --> 01:11:39,464
There’s very, very few scenes that
were cut whole cloth from the film.

1539
01:11:39,465 --> 01:11:41,969
The movie that you’re watching,
you know, is essentially...

1540
01:11:41,970 --> 01:11:43,848
Those are the scenes
that we shot,

1541
01:11:43,849 --> 01:11:46,687
but we definitely pared
things down for time and pace.

1542
01:11:46,688 --> 01:11:50,069
And this used to be a longer
exploration of this kind of idea

1543
01:11:50,070 --> 01:11:54,285
about youthful idealism and the way
that power actually functions in the world.

1544
01:11:54,286 --> 01:11:56,624
And just for overall time

1545
01:11:56,625 --> 01:12:00,172
and needing to spend a little bit
more time with Bob learning his powers,

1546
01:12:00,173 --> 01:12:04,472
we did trim this down, but I still
love, uh, what Joanna wrote here

1547
01:12:04,473 --> 01:12:06,727
about a bad guy and a worse guy
and nothing else,

1548
01:12:06,728 --> 01:12:08,021
and that really is Val’s ethos,

1549
01:12:08,022 --> 01:12:10,777
which is not that
she aspires to be a bad guy,

1550
01:12:10,778 --> 01:12:13,407
but she just believes that
she sees the truth in the world,

1551
01:12:13,408 --> 01:12:18,125
which is that it’s all just a set of
grays and people aspiring for power,

1552
01:12:18,126 --> 01:12:20,379
and if that’s
how the world works,

1553
01:12:20,380 --> 01:12:23,803
then you wanna be the one
with the most power,

1554
01:12:23,804 --> 01:12:26,100
and that’s something that Mel
just hasn’t come to terms with yet.

1555
01:12:27,812 --> 01:12:31,067
This was another place
where we wanted to have fun

1556
01:12:31,068 --> 01:12:33,615
with the meta of Sentry.

1557
01:12:33,616 --> 01:12:36,704
Um, all of those things that
you see in the background there,

1558
01:12:36,705 --> 01:12:41,171
um, those are the actual...
...costume pieces and, uh, concepts

1559
01:12:41,172 --> 01:12:42,841
for the development
of The Sentry costume,

1560
01:12:42,842 --> 01:12:46,515
and it felt like what Val
was doing in our movie

1561
01:12:46,516 --> 01:12:49,312
is the same thing Marvel does
so well, which is build superheroes,

1562
01:12:49,313 --> 01:12:51,358
and you would need to make
a costume for one,

1563
01:12:51,359 --> 01:12:53,905
so we thought it would be fun
to kind of wink at that

1564
01:12:53,906 --> 01:12:55,366
by having
the actual development.

1565
01:12:55,367 --> 01:12:57,913
Those are-- Russell Bobbitt,
our wonderful prop master,

1566
01:12:57,914 --> 01:13:01,504
longtime Marvel prop master,
those are his 3D printers to the side

1567
01:13:01,505 --> 01:13:04,258
that he uses to make all of
these props and to form them,

1568
01:13:04,259 --> 01:13:07,599
and we tried to just kind of
lean into that connection point

1569
01:13:07,600 --> 01:13:11,356
between what the movie was doing
and what Val was doing as a character.

1570
01:13:11,357 --> 01:13:14,320
And then really lean into,
again, you know,

1571
01:13:14,321 --> 01:13:17,995
there’s still an innocence to
this, of Lewis is not turning evil.

1572
01:13:17,996 --> 01:13:22,796
It’s that Bob is having someone
appeal to his importance

1573
01:13:22,797 --> 01:13:26,679
in a way that no one else has
maybe ever in his life.

1574
01:13:26,680 --> 01:13:29,727
And you see the kind of
excitement of what that could mean

1575
01:13:29,728 --> 01:13:31,312
to someone like that

1576
01:13:31,313 --> 01:13:34,737
and this idea of the hint in
his eyes at that Sentry side.

1577
01:13:34,738 --> 01:13:37,951
I was in this helicopter.
I got that shot. It’s morning.

1578
01:13:37,952 --> 01:13:39,747
This was also
a very funny Easter egg of...

1579
01:13:39,748 --> 01:13:42,126
That’s a C.C. Rentals truck
that we painted.

1580
01:13:42,127 --> 01:13:45,884
When I was in film school, there
was one rental service in New York

1581
01:13:45,885 --> 01:13:48,013
that would rent you a truck
to film students

1582
01:13:48,014 --> 01:13:53,356
who consistently ding it and
scratch it as much as possible, um...

1583
01:13:53,357 --> 01:13:55,319
And when we needed a vehicle
for them to come in on,

1584
01:13:55,320 --> 01:13:56,989
I just thought
it would be funny

1585
01:13:56,990 --> 01:13:59,828
cause that is who would rent to
them on short notice in New York.

1586
01:13:59,829 --> 01:14:03,043
This whole scene, I think this is two
takes of improv in the back of that truck.

1587
01:14:03,044 --> 01:14:05,047
And at this point in the shoot,

1588
01:14:05,048 --> 01:14:07,218
they had just figured out these
characters so well and their dynamic,

1589
01:14:07,219 --> 01:14:10,683
you could just let them go and
you would get great things like that.

1590
01:14:10,684 --> 01:14:12,938
You know,
about Walker’s insecurity

1591
01:14:12,939 --> 01:14:16,444
and maybe a little hat tip to how
he felt about his, uh, his helmet

1592
01:14:16,445 --> 01:14:18,323
in <i>Falcon and Winter Soldier.</i>

1593
01:14:18,324 --> 01:14:21,162
But just, yeah,
the interplay felt so nice.

1594
01:14:21,163 --> 01:14:22,999
This is actually out on a set.

1595
01:14:23,000 --> 01:14:26,464
Th-That was onstage, and this
is, again, never any green screen.

1596
01:14:26,465 --> 01:14:29,972
This is out on our 45th Street
set, with a camera mount.

1597
01:14:29,973 --> 01:14:31,600
Again,
just two takes of improv.

1598
01:14:31,601 --> 01:14:33,980
Sorry. Joanna wrote
a lot of these lines,

1599
01:14:33,981 --> 01:14:36,192
but just letting
these two guys go

1600
01:14:36,193 --> 01:14:38,363
with each other
to establish this.

1601
01:14:38,364 --> 01:14:40,952
<i>...I drive.</i>

1602
01:14:40,953 --> 01:14:42,037
<i>I don’t get tired.</i>

1603
01:14:42,038 --> 01:14:43,415
<i>No, I mean metaphorically.</i>

1604
01:14:43,416 --> 01:14:44,626
<i>I don’t actually want to drive.</i>

1605
01:14:44,627 --> 01:14:46,045
<i>Are we there yet?</i>

1606
01:14:46,046 --> 01:14:47,841
<i>- Almost!
- Almost!</i>

1607
01:14:49,261 --> 01:14:54,188
<i>Okay. Mr. Soldier,
what is secret plan, huh?</i>

1608
01:14:55,315 --> 01:14:56,734
<i>The plan?</i>

1609
01:14:56,735 --> 01:14:57,528
<i>Yeah.</i>

1610
01:15:00,659 --> 01:15:02,829
Okay,
so this whole set, I mean,

1611
01:15:02,830 --> 01:15:05,710
is one of the craziest sets
I’ve ever seen built.

1612
01:15:05,711 --> 01:15:09,050
Grace built an entire recreation
of 45th Street in New York,

1613
01:15:09,051 --> 01:15:11,972
three stories up,
with this lobby inside.

1614
01:15:11,973 --> 01:15:14,603
Some of the background of
the lobby is extended by ILM,

1615
01:15:14,604 --> 01:15:17,274
but it all connects,
it all exists.

1616
01:15:17,275 --> 01:15:19,529
The overpasses are real.

1617
01:15:19,530 --> 01:15:21,366
I mean, I’ve really
never seen anything like it,

1618
01:15:21,367 --> 01:15:26,167
and then Chuck built this incredible
rig with silks over the top of that street,

1619
01:15:26,168 --> 01:15:29,048
so that you could play it as this
consistently cloudy day the whole time,

1620
01:15:29,049 --> 01:15:31,720
and then ILM did a beautiful
job extending that set.

1621
01:15:31,721 --> 01:15:35,979
But again, when 60 to 70% of what
you’re looking at is entirely in-camera,

1622
01:15:35,980 --> 01:15:38,441
when you extend things
in the background,

1623
01:15:38,442 --> 01:15:42,032
you’re giving everyone a much,
much better chance of success.

1624
01:15:42,033 --> 01:15:44,120
And it was just such a, you
know... You’re in this weird position

1625
01:15:44,121 --> 01:15:46,959
where shooting on location
wouldn’t make any sense,

1626
01:15:46,960 --> 01:15:50,132
’cause Avengers Tower
doesn’t exist in New York,

1627
01:15:50,133 --> 01:15:52,469
so you’d be adding that, so it
makes sense to have the control,

1628
01:15:52,470 --> 01:15:54,516
especially given all the action
that we’re gonna do there.

1629
01:15:54,517 --> 01:15:56,311
But then to have
this level of detail,

1630
01:15:56,312 --> 01:15:58,774
Michael Hersey,
longtime art director,

1631
01:15:58,775 --> 01:16:02,031
who we worked with on <i>Beef,</i> supervised
this over months of building that thing.

1632
01:16:02,032 --> 01:16:04,703
And then we just tried to set
as much as we could there

1633
01:16:04,704 --> 01:16:07,374
to make it pay off for how
much effort went into it.

1634
01:16:07,375 --> 01:16:10,130
<i>How crazy is it to think
of all the monumental fights...</i>

1635
01:16:10,131 --> 01:16:12,384
It was really fun when we
got to this part of the shoot.

1636
01:16:12,385 --> 01:16:15,307
I think we’d been making this
movie that felt very different

1637
01:16:15,308 --> 01:16:17,896
um, and almost felt like
it wasn’t a Marvel movie,

1638
01:16:17,897 --> 01:16:19,900
and then I remember getting
to this scene and this sequence

1639
01:16:19,901 --> 01:16:24,408
and being in our
remodeled Avengers Tower,

1640
01:16:24,409 --> 01:16:26,580
and it felt like, "Okay, no,
it is a Marvel movie."

1641
01:16:26,581 --> 01:16:29,210
I mean, this is a villain
face-off with a team of heroes.

1642
01:16:29,211 --> 01:16:33,511
Just in our context, with a
little bit of dryness underneath,

1643
01:16:33,512 --> 01:16:36,725
but knowing that the movie was
gonna exist in both of those worlds,

1644
01:16:36,726 --> 01:16:38,604
that it was gonna
feel different,

1645
01:16:38,605 --> 01:16:41,568
but also in the end,
hopefully, if it works,

1646
01:16:41,569 --> 01:16:45,450
aspire to live up to the legacy
of the great movies

1647
01:16:45,451 --> 01:16:46,954
that this studio has made.

1648
01:16:46,955 --> 01:16:49,125
And there was a comfort
being in this scene

1649
01:16:49,126 --> 01:16:51,129
and feeling
the familiarity of that.

1650
01:16:51,130 --> 01:16:53,007
It’s tropey for sure,

1651
01:16:53,008 --> 01:16:55,387
but done in our own style,
and that was always the hope

1652
01:16:55,388 --> 01:16:58,351
was to kind of get
to have the fun of those tropes

1653
01:16:58,352 --> 01:16:59,771
and what these movies can be

1654
01:16:59,772 --> 01:17:01,357
and then also undercut it
a little bit

1655
01:17:01,358 --> 01:17:02,735
and hopefully have
all of those things

1656
01:17:02,736 --> 01:17:05,282
live in harmony together.

1657
01:17:05,283 --> 01:17:08,664
And it was also just fun to get
them together with Julia finally

1658
01:17:08,665 --> 01:17:10,626
and have that
interplay with her.

1659
01:17:10,627 --> 01:17:12,797
She was so great
with the team in this.

1660
01:17:12,798 --> 01:17:15,553
The Santa line, uh,
which was Joanna’s add,

1661
01:17:15,554 --> 01:17:17,932
and the way
Alexei plays this, uh...

1662
01:17:17,933 --> 01:17:20,146
or the way David plays this
is just so fun.

1663
01:17:20,814 --> 01:17:21,566
<i>What?</i>

1664
01:17:23,570 --> 01:17:25,155
<i>- Where’s Mel?
- Mel?</i>

1665
01:17:25,156 --> 01:17:26,950
<i>Oh, Mel. Yeah.</i>

1666
01:17:26,951 --> 01:17:29,748
<i>Uh, Mel is having
a little loyalty issue.</i>

1667
01:17:29,749 --> 01:17:32,545
<i>But I’m just so grateful...</i>

1668
01:17:32,546 --> 01:17:35,760
And then, we finally get
to our big Sentry reveal,

1669
01:17:35,761 --> 01:17:37,639
which, you know, again,

1670
01:17:37,640 --> 01:17:40,018
it’s so many different places
that this character needs to go

1671
01:17:40,019 --> 01:17:41,395
in so little time,

1672
01:17:41,396 --> 01:17:42,982
and leaning into this idea

1673
01:17:42,983 --> 01:17:44,819
that it’s not necessarily
the most comfortable fit.

1674
01:17:44,820 --> 01:17:47,449
And, you know, I think what’s so
great about having Lewis is that

1675
01:17:47,450 --> 01:17:50,163
he has the stature
and he can physically embody

1676
01:17:50,164 --> 01:17:53,546
this Golden Guardian of Good,
and at the same time,

1677
01:17:53,547 --> 01:17:56,175
bring a level of insecurity
underneath that.

1678
01:17:56,176 --> 01:17:58,847
And, God, yeah,
Florence’s face there.

1679
01:17:58,848 --> 01:18:01,895
I mean, obviously the most
important part about this scene

1680
01:18:01,896 --> 01:18:05,528
is this idea that, you know, if
you’re with Yelena on this journey

1681
01:18:05,529 --> 01:18:07,699
and you believe that nothing
really matters at the beginning,

1682
01:18:07,700 --> 01:18:10,161
and then you meet this guy
who’s going through a similar thing,

1683
01:18:10,162 --> 01:18:12,499
and you form some sense
of connection with him,

1684
01:18:12,501 --> 01:18:15,798
and then you feel like you’ve lost
him, but you’re there to rescue him,

1685
01:18:15,799 --> 01:18:18,219
to see him
in this other context,

1686
01:18:18,220 --> 01:18:21,893
you know, this is what drives her
to the rest of where the story is going

1687
01:18:21,894 --> 01:18:24,816
and her true low point,
which is to find

1688
01:18:24,817 --> 01:18:27,614
that person that she met
lost to her,

1689
01:18:27,615 --> 01:18:31,747
and you know, this sort of
fight for his soul and his purpose

1690
01:18:31,748 --> 01:18:34,209
between her and Val
that they’ll play out here.

1691
01:18:34,210 --> 01:18:38,719
The fact that she loses it is really
what drives the rest of the story.

1692
01:18:38,720 --> 01:18:39,929
<i>Oh, no.</i>

1693
01:18:39,930 --> 01:18:41,892
<i>No, I’m not gonna hurt people.</i>

1694
01:18:41,893 --> 01:18:44,229
And meanwhile, of course,
we get to hear Val’s plan

1695
01:18:44,230 --> 01:18:46,818
and that she does want to be
in charge of everything,

1696
01:18:46,819 --> 01:18:51,745
you know, with this, uh-- you know,
the idea that in this world of the MCU,

1697
01:18:51,746 --> 01:18:55,586
you can’t really have that without
one of these heroes at your side,

1698
01:18:55,587 --> 01:18:59,051
especially in this case, the
most powerful one of all, um...

1699
01:18:59,052 --> 01:19:03,267
And I love the way Alexei sort of
engages in that meta, you know.

1700
01:19:03,268 --> 01:19:07,860
Thinks the name is cool and is
impressed at the same time as he wishes...

1701
01:19:07,861 --> 01:19:09,823
I think all of them,
at some point, wished

1702
01:19:09,824 --> 01:19:12,160
that they were standing
in that position.

1703
01:19:12,161 --> 01:19:15,751
And now, to see this guy who they,
you know, not dismissed, I mean,

1704
01:19:15,752 --> 01:19:19,926
in Walker’s case, perhaps,
in a pretty negative way,

1705
01:19:19,927 --> 01:19:22,389
but just not imagining
that this is what he could be.

1706
01:19:22,390 --> 01:19:25,688
But to see him
standing opposite in this role

1707
01:19:25,689 --> 01:19:27,482
has personal resonance
for each of them

1708
01:19:27,483 --> 01:19:30,447
and thinking about
what they didn’t become.

1709
01:19:30,448 --> 01:19:31,783
<i>Please, don’t do this.</i>

1710
01:19:31,784 --> 01:19:33,494
And, again,
these lines are very delicate

1711
01:19:33,495 --> 01:19:35,331
with Lewis, you know,
to make clear

1712
01:19:35,332 --> 01:19:36,877
that he doesn’t
want to hurt them,

1713
01:19:36,878 --> 01:19:39,339
that if it feels like
a quick turn for the audience,

1714
01:19:39,340 --> 01:19:41,093
we understand
where it’s coming from,

1715
01:19:41,094 --> 01:19:42,889
and he really just does
wanna be important,

1716
01:19:42,890 --> 01:19:47,105
but it’s not that he bears them
any necessary ill will.

1717
01:19:47,106 --> 01:19:49,067
But, again, yeah,
that close-up is where

1718
01:19:49,068 --> 01:19:51,865
Yelena really realizes
that he’s lost,

1719
01:19:51,866 --> 01:19:53,911
and to see
that sinking feeling,

1720
01:19:53,912 --> 01:19:56,373
I mean, it’s just so great on
her part in just a little close-up.

1721
01:19:56,374 --> 01:19:58,461
<i>Thunderbolts?</i>

1722
01:19:58,462 --> 01:20:00,716
And then here we go!
We finally get to see him work.

1723
01:20:00,717 --> 01:20:02,887
But the idea here
in this sequence was also

1724
01:20:02,888 --> 01:20:05,141
that he hasn’t
trained very much,

1725
01:20:05,142 --> 01:20:07,563
so it’s not only establishing
for the audience--

1726
01:20:07,564 --> 01:20:09,567
for the Thunderbolts,
what his powers are,

1727
01:20:09,568 --> 01:20:13,115
but also for himself to see,
"Oh, I can stop bullets,"

1728
01:20:13,116 --> 01:20:15,746
and become more comfortable
as the sequence goes on.

1729
01:20:15,747 --> 01:20:19,504
You know, and obviously,
Sentry’s power set is limitless,

1730
01:20:19,505 --> 01:20:22,384
so if the sequence went on
further, if he had more people to fight,

1731
01:20:22,385 --> 01:20:25,098
we could go even further,
but it felt like we could contain it

1732
01:20:25,099 --> 01:20:27,645
to a level that still
fit within our movie,

1733
01:20:27,646 --> 01:20:29,858
where obviously we’re stepping
outside of the fully practical thing now.

1734
01:20:29,859 --> 01:20:31,862
There’s more CG in this.

1735
01:20:31,863 --> 01:20:33,489
But we’ve been
yearning for that.

1736
01:20:33,490 --> 01:20:34,826
We wanna see.

1737
01:20:34,827 --> 01:20:36,538
This is where it becomes more
of a superhero movie,

1738
01:20:36,539 --> 01:20:37,748
if we’ve been
something different.

1739
01:20:37,749 --> 01:20:39,669
You wanna see
what The Sentry can do

1740
01:20:39,670 --> 01:20:41,673
that we thought
still balanced with...

1741
01:20:41,674 --> 01:20:45,263
This is shot with a lot
of our first unit as a oner,

1742
01:20:45,264 --> 01:20:47,935
with a motion control rig
and a TechnoDolly.

1743
01:20:47,936 --> 01:20:49,731
And then there’s CG
in between, obviously,

1744
01:20:49,732 --> 01:20:51,651
’cause he’s doing things
that humans can’t do,

1745
01:20:51,652 --> 01:20:54,281
but it is real performance
amidst all of that.

1746
01:20:54,282 --> 01:20:57,538
And still feels, within that
context, like our movie,

1747
01:20:57,539 --> 01:21:01,713
but expanding into that more kind
of traditional superhero territory.

1748
01:21:01,714 --> 01:21:05,178
This is also a shot
with a lot of design from Rico,

1749
01:21:05,179 --> 01:21:06,890
our board artist
who I mentioned before,

1750
01:21:06,891 --> 01:21:09,103
who does such great stuff
with action like this.

1751
01:21:17,913 --> 01:21:21,920
And you land again, just
continuing to lock in on Yelena

1752
01:21:21,921 --> 01:21:23,966
and how she feels
about losing Bob,

1753
01:21:23,967 --> 01:21:28,182
and then playing into this very
kind of, you know, Bucky’s moment,

1754
01:21:28,183 --> 01:21:29,727
where in a normal movie
you might expect...

1755
01:21:29,728 --> 01:21:31,982
You know, we want this
to be Bucky’s moment.

1756
01:21:31,983 --> 01:21:35,029
We want him to succeed here,
but really, you know, it’s interesting.

1757
01:21:35,030 --> 01:21:37,117
Unlike normal fights
in normal movies,

1758
01:21:37,118 --> 01:21:39,246
these are kind of
overall scene arcs

1759
01:21:39,247 --> 01:21:42,252
where they have all wins
downstairs with the guards

1760
01:21:42,253 --> 01:21:46,176
and then all losses in this
sequence to bring them to a low point.

1761
01:21:46,177 --> 01:21:48,015
They get nothing in on Sentry.

1762
01:21:50,645 --> 01:21:52,189
And that’s when
you really feel it.

1763
01:21:53,526 --> 01:21:54,610
It’s pretty rough

1764
01:21:54,611 --> 01:21:56,238
having your arm
tossed towards you

1765
01:21:56,239 --> 01:21:58,827
after being knocked
unconscious with it.

1766
01:21:58,828 --> 01:22:02,586
<i>I’m so glad you were able to
catch a glimpse before your, uh...</i>

1767
01:22:03,253 --> 01:22:05,131
<i>retirement.</i>

1768
01:22:05,132 --> 01:22:08,095
This is gonna
sound very silly,

1769
01:22:08,096 --> 01:22:11,435
but there is a children’s book called
<i>Cookie Monster and The Cookie Tree,</i>

1770
01:22:11,436 --> 01:22:16,487
um, which involves a witch
and a magic cookie tree

1771
01:22:16,488 --> 01:22:21,539
that she puts a spell on so that it won’t
share any cookies with Cookie Monster,

1772
01:22:21,540 --> 01:22:23,585
but then it won’t share
any cookies with her

1773
01:22:23,586 --> 01:22:25,964
’cause it only gives cookies
to people who share.

1774
01:22:25,965 --> 01:22:29,221
That was her spell, and she’s
sort of hoisted by her own petard.

1775
01:22:29,222 --> 01:22:33,145
And I would think about that a lot
when thinking about Val in this moment.

1776
01:22:33,146 --> 01:22:35,567
I think I even gave
Julia that book.

1777
01:22:35,568 --> 01:22:37,863
And she laughed and said,
"You’re very strange, you know that?"

1778
01:22:37,864 --> 01:22:38,740
And she’s not wrong.

1779
01:22:38,741 --> 01:22:40,368
<i>Okay.</i>

1780
01:22:40,369 --> 01:22:42,163
Hannah told me
this is an actual moment

1781
01:22:42,164 --> 01:22:44,292
where she forgot to give
Sebastian his arm back

1782
01:22:44,293 --> 01:22:45,838
and then had to remember it.

1783
01:22:45,839 --> 01:22:47,759
And we kept that in,
which was fun.

1784
01:22:49,387 --> 01:22:53,019
In this scene,
which Joanna wrote,

1785
01:22:54,313 --> 01:22:56,776
I just thought
it’s an interesting one

1786
01:22:56,777 --> 01:23:00,659
where I was worried about
having Yelena go this far.

1787
01:23:00,660 --> 01:23:04,750
I was worried that the audience would
lose touch with her if she was this harsh.

1788
01:23:04,751 --> 01:23:06,420
I mean, it’s obviously
the point of the scene

1789
01:23:06,421 --> 01:23:08,842
is to bring your characters
to a low point

1790
01:23:08,843 --> 01:23:10,178
and have your protagonists,
you know--

1791
01:23:10,179 --> 01:23:12,390
because she feels
those bonds broken--

1792
01:23:12,391 --> 01:23:13,935
tear apart the team.

1793
01:23:13,936 --> 01:23:15,229
But how far she went,

1794
01:23:15,230 --> 01:23:18,987
I think I, you know--
my mistake was cautious

1795
01:23:18,988 --> 01:23:22,035
in how far we would let her go, and
everyone else really spoke up for...

1796
01:23:22,036 --> 01:23:25,249
Joanna spoke up for, and the actors
spoke up for the idea that it was...

1797
01:23:25,250 --> 01:23:27,420
Not only was it okay
to go there,

1798
01:23:27,421 --> 01:23:29,717
but it was important
to go to this place.

1799
01:23:29,718 --> 01:23:32,598
And it really added
so much to this scene.

1800
01:23:32,599 --> 01:23:34,059
<i>See?</i>

1801
01:23:34,060 --> 01:23:35,311
<i>Slow down. Um-nichka.</i>

1802
01:23:35,312 --> 01:23:36,940
<i>Alexei,
I am not your um-nichka.</i>

1803
01:23:36,941 --> 01:23:39,236
<i>I haven’t heard from you
or seen you in a year.</i>

1804
01:23:39,237 --> 01:23:41,323
And here we start
to delve more into that thing

1805
01:23:41,324 --> 01:23:43,912
that’ll become the crux of the next
scene, of how they’re processing...

1806
01:23:43,913 --> 01:23:47,920
Again, you may just know it
in this movie as Yelena’s sister,

1807
01:23:47,921 --> 01:23:50,634
but obviously,
if you’ve seen these films,

1808
01:23:50,635 --> 01:23:53,264
you know, hinting at
this sense of loss

1809
01:23:53,265 --> 01:23:56,271
after Natasha is gone
and how they’re processing it.

1810
01:24:00,780 --> 01:24:01,824
<i>Yelena!</i>

1811
01:24:03,451 --> 01:24:04,871
Meanwhile,
back in the tower,

1812
01:24:05,832 --> 01:24:07,710
not going so great.

1813
01:24:07,711 --> 01:24:09,129
And, again, it’s a tricky
balance, you know.

1814
01:24:09,130 --> 01:24:10,966
I mean, when you have
Julia Louis-Dreyfus,

1815
01:24:10,967 --> 01:24:12,468
you want to
lean into this humor,

1816
01:24:12,469 --> 01:24:14,515
but I felt like we never
pushed it too far

1817
01:24:14,516 --> 01:24:17,521
to come at the expense of the
stakes that are starting to emerge.

1818
01:24:17,522 --> 01:24:19,900
But again, Lewis has
such little real estate here

1819
01:24:19,901 --> 01:24:23,282
to play this more
sort of, you know, manic side

1820
01:24:23,283 --> 01:24:26,413
of the duality
of this sense of hubris

1821
01:24:26,414 --> 01:24:28,501
and the way it’s frustrating
to feel limited in that.

1822
01:24:28,502 --> 01:24:30,379
And this is the side
Val didn’t get to see

1823
01:24:30,380 --> 01:24:32,342
before she put him
into this position,

1824
01:24:32,343 --> 01:24:36,475
because she’s so rushed and
trying to get out of her circumstances.

1825
01:24:36,476 --> 01:24:40,817
But, you know, again, Lewis is
doing so much here with so little time

1826
01:24:40,818 --> 01:24:45,827
to show that it’s not just
a sort of traditional

1827
01:24:45,828 --> 01:24:49,794
villain drunk on power, but
someone who wanted to matter

1828
01:24:49,795 --> 01:24:51,589
but is also uncomfortable
with that position,

1829
01:24:51,590 --> 01:24:54,010
and again, we were always
trying to get at this idea,

1830
01:24:54,011 --> 01:24:56,724
based on a friend of mine,
of the hubristic side

1831
01:24:56,725 --> 01:24:59,062
actually bringing about
the self-destructive side

1832
01:24:59,063 --> 01:25:01,358
and that sense of despair.

1833
01:25:01,359 --> 01:25:04,364
And this was something that we really
drilled in on in this moment of the scene,

1834
01:25:04,365 --> 01:25:08,080
to show that hubris
but in an unstable sort of way,

1835
01:25:08,081 --> 01:25:09,333
which I thought
he did so beautifully.

1836
01:25:13,341 --> 01:25:15,929
<i>You were gonna turn on me...</i>

1837
01:25:15,930 --> 01:25:18,977
And this idea of feeling like
everyone always abandons him,

1838
01:25:18,978 --> 01:25:21,481
which is something that’s true,
or doesn’t see him this way,

1839
01:25:21,482 --> 01:25:22,651
or is willing to
cast him aside,

1840
01:25:22,652 --> 01:25:24,530
which has been true
his whole life,

1841
01:25:24,531 --> 01:25:27,536
which he now sees in her,
which brings about this darker side,

1842
01:25:27,537 --> 01:25:30,959
so that when he is
killed by Mel,

1843
01:25:30,960 --> 01:25:34,467
we then transfer him to that
Void side of The Sentry character.

1844
01:25:40,855 --> 01:25:44,110
And this is sort of completing
Mel’s arc of deciding,

1845
01:25:44,111 --> 01:25:47,534
"Okay, between the two, I
would rather not be on the outside.

1846
01:25:47,535 --> 01:25:49,412
Even if there are
compromises to it,

1847
01:25:49,413 --> 01:25:51,166
I would rather
be closer to power."

1848
01:25:51,167 --> 01:25:53,003
<i>I want a raise.</i>

1849
01:25:53,004 --> 01:25:55,675
<i>Okay, fine.
Get cleanup on the body.</i>

1850
01:25:55,676 --> 01:25:58,516
<i>And tell Holt it’s finally time
to go lethal on these losers.</i>

1851
01:26:00,561 --> 01:26:02,146
This took a lot of
development here

1852
01:26:02,147 --> 01:26:04,568
of how to turn Sentry dark,
you know,

1853
01:26:04,569 --> 01:26:08,576
and how to kind of do a version of
creating this character of the Void.

1854
01:26:08,577 --> 01:26:11,958
This is ILM’s work of kind of
drawing the shadows to him

1855
01:26:11,959 --> 01:26:13,711
to establish
the beginning of that.

1856
01:26:13,712 --> 01:26:15,422
And adding that eye flip.

1857
01:26:15,423 --> 01:26:16,384
<i>Yelena!</i>

1858
01:26:17,595 --> 01:26:19,264
And this is probably...

1859
01:26:19,265 --> 01:26:21,894
well, one of my favorite scenes
in the movie for sure.

1860
01:26:21,895 --> 01:26:24,900
This is another scene
that Sonny really wrote,

1861
01:26:24,901 --> 01:26:28,156
paired with that scene in Alexei’s
apartment from the beginning.

1862
01:26:28,157 --> 01:26:29,743
And, you know, really
trying to push this movie

1863
01:26:29,744 --> 01:26:31,664
to a different corner
than you might expect

1864
01:26:31,665 --> 01:26:34,546
for a young woman who’s
really going through something.

1865
01:26:35,171 --> 01:26:36,966
Uh...

1866
01:26:36,967 --> 01:26:38,720
And I think this was always
one of my favorite scenes

1867
01:26:38,721 --> 01:26:40,180
from the moment I read it.

1868
01:26:40,181 --> 01:26:42,018
I don’t think we shot it
till about eight weeks in,

1869
01:26:42,019 --> 01:26:44,607
and I think we had
half a day for it, um...

1870
01:26:44,608 --> 01:26:50,159
But you just were so excited, knowing
how good David and Florence are together

1871
01:26:50,160 --> 01:26:51,954
and were gonna be.

1872
01:26:51,955 --> 01:26:53,290
And I remember
there actually...

1873
01:26:53,291 --> 01:26:54,835
Yeah, there was
a lightning storm that day.

1874
01:26:54,836 --> 01:26:55,962
We had to wait on stuff.

1875
01:26:55,963 --> 01:26:57,256
There was this tension

1876
01:26:57,257 --> 01:26:59,052
of just wanting
to see this scene happen.

1877
01:26:59,053 --> 01:27:00,805
And I think after
the first take on her,

1878
01:27:00,806 --> 01:27:02,559
David turned to me
and he was like,

1879
01:27:02,560 --> 01:27:03,978
"I mean, that’s it.
I don’t know that

1880
01:27:03,979 --> 01:27:05,607
you’re gonna get
any better than that."

1881
01:27:05,608 --> 01:27:07,778
And we did more takes,
of course,

1882
01:27:07,779 --> 01:27:12,495
but they were just so ready
to perform this, um,

1883
01:27:12,496 --> 01:27:15,417
and I don’t know,

1884
01:27:15,418 --> 01:27:17,463
there are just times when,
you know,

1885
01:27:17,464 --> 01:27:19,217
I care a lot about camerawork,

1886
01:27:19,218 --> 01:27:20,845
but in a scene like this,

1887
01:27:20,846 --> 01:27:23,183
sometimes you wanna just be
as simple as you possibly can.

1888
01:27:23,184 --> 01:27:26,899
And it’s just two lens sizes,
you know, one at a time,

1889
01:27:26,900 --> 01:27:30,030
so you’re on the eyeline on each
of them, and you just let them go.

1890
01:27:30,031 --> 01:27:31,701
There’s a wide shot
to lead you into it,

1891
01:27:31,702 --> 01:27:33,245
but there’s no
fancy camerawork.

1892
01:27:33,246 --> 01:27:34,623
We’re not pushing in.

1893
01:27:34,624 --> 01:27:37,294
The last thing you wanna do
is get in the way

1894
01:27:37,295 --> 01:27:38,631
of performances like that.

1895
01:27:38,632 --> 01:27:40,635
There are times
to do fancy things

1896
01:27:40,636 --> 01:27:42,264
and there are times
to just let it go.

1897
01:27:43,391 --> 01:27:45,018
<i>My first...</i>

1898
01:27:45,019 --> 01:27:46,522
And it’s interesting,
you edit this movie,

1899
01:27:46,523 --> 01:27:48,316
and you watch this stuff
over and over.

1900
01:27:48,317 --> 01:27:50,739
I remember the first time
I saw this in the assembly,

1901
01:27:50,740 --> 01:27:53,536
and, you know, I choked up a little
bit just ’cause of that performance.

1902
01:27:53,537 --> 01:27:56,458
And it’s hard to remember that
that’s a thing that’s out there for you

1903
01:27:56,459 --> 01:27:58,003
as you edit it
over and over again.

1904
01:27:58,004 --> 01:27:59,798
When you see it with an
audience again for the first time,

1905
01:27:59,799 --> 01:28:01,342
you can feel it in the room.

1906
01:28:01,343 --> 01:28:04,641
Maybe not for everyone,
but certainly for me, I think,

1907
01:28:04,642 --> 01:28:07,856
just, again, as someone
who appreciates great acting.

1908
01:28:07,857 --> 01:28:09,985
You know, to be able
to be in this movie

1909
01:28:09,986 --> 01:28:12,699
and with the scale and scope of
everything that’s going on around you,

1910
01:28:12,700 --> 01:28:17,667
but to get to this place that
feels so small and relatable

1911
01:28:17,668 --> 01:28:19,547
and how much she commits to it.

1912
01:28:20,883 --> 01:28:23,094
I mean, you don’t really...

1913
01:28:23,095 --> 01:28:25,098
This is the thing
about making these movies.

1914
01:28:25,099 --> 01:28:26,560
You’re on so much stuff,

1915
01:28:26,561 --> 01:28:28,773
and you’re doing all the action
and all these things,

1916
01:28:28,774 --> 01:28:31,529
but the movie only works if this
thing that you get in half a day

1917
01:28:31,530 --> 01:28:35,285
with two setups,
with two actors, if it sings.

1918
01:28:35,286 --> 01:28:36,665
And, you know, the...

1919
01:28:37,875 --> 01:28:41,381
I mean, she’s actual magic.

1920
01:28:41,382 --> 01:28:44,763
I mean, if you ever get a chance
to work with her, you should take it.

1921
01:28:44,764 --> 01:28:47,686
And David, you know,
to do that performance,

1922
01:28:47,687 --> 01:28:50,650
to be as big and as funny
as Alexei can be

1923
01:28:50,651 --> 01:28:53,154
but bring it in the way
that he does in this scene,

1924
01:28:53,155 --> 01:28:57,246
I mean, I’m just so in awe
of both of them.

1925
01:28:57,247 --> 01:29:00,252
This scene actually used to, and I
think you see it in some of the posters--

1926
01:29:00,253 --> 01:29:02,464
used to end in a hug,
and the hug was beautiful.

1927
01:29:02,465 --> 01:29:04,343
I loved that moment.

1928
01:29:04,344 --> 01:29:07,308
But we actually felt like she
was arcing a little bit too soon,

1929
01:29:07,309 --> 01:29:12,359
like we were letting her learn too
clearly the message in the movie too early,

1930
01:29:12,360 --> 01:29:14,113
and we needed to leave room
for it to go,

1931
01:29:14,114 --> 01:29:17,411
so we cut around that
and had him look up here

1932
01:29:17,412 --> 01:29:19,833
and moved around the hug
before she can entirely process

1933
01:29:19,834 --> 01:29:20,836
what she’s learned here.

1934
01:29:24,176 --> 01:29:27,473
Little Easter egg, some posters for bands
I’ve done music videos for on the wall:

1935
01:29:27,474 --> 01:29:30,647
Haim, and Francis and the
Lights, that I was in for a bit,

1936
01:29:30,648 --> 01:29:32,567
and Cashmere Cat.

1937
01:29:32,568 --> 01:29:36,407
I think also that perfume ad
on the bus station behind it

1938
01:29:36,408 --> 01:29:38,162
we made Watts Perfume,
in Jon’s honor.

1939
01:29:41,001 --> 01:29:43,798
And now the movie gets a little
bit bigger and we get the scope.

1940
01:29:43,799 --> 01:29:46,135
And this is... Obviously,
there’s a lot of CG going on here.

1941
01:29:46,136 --> 01:29:49,141
ILM did such beautiful work
building New York City

1942
01:29:49,142 --> 01:29:51,354
and also just the design
of what the Void looks like,

1943
01:29:51,355 --> 01:29:54,695
which, you know,
Kevin encouraged us to make...

1944
01:29:54,696 --> 01:29:57,241
He asked if there was any photographic,
in-camera way we could do it,

1945
01:29:57,242 --> 01:30:00,330
which there wasn’t really,
but embracing that concept,

1946
01:30:00,331 --> 01:30:02,585
just trying to make it
as simple as it could be,

1947
01:30:02,586 --> 01:30:05,340
where we did shoot Lewis
and then it is sort of...

1948
01:30:05,341 --> 01:30:08,138
You know, it’s not
an overall mask on him,

1949
01:30:08,139 --> 01:30:10,852
but it is kind of
these adjustable, like...

1950
01:30:10,853 --> 01:30:13,273
just allowing a little bit
of light in certain parts

1951
01:30:13,274 --> 01:30:16,112
and turning the rest into
a nearly 2D silhouette.

1952
01:30:16,113 --> 01:30:18,033
And then the eyes
are not animated.

1953
01:30:18,034 --> 01:30:19,870
I mean, those come from
his actual eye movements,

1954
01:30:19,871 --> 01:30:21,832
and it really doesn’t work
if they stay on the whole time.

1955
01:30:21,833 --> 01:30:24,588
It starts to feel a little bit
like Terminator,

1956
01:30:24,589 --> 01:30:28,637
like they come from
the specular highlights,

1957
01:30:28,638 --> 01:30:31,184
you know, in his eye light
that they animated.

1958
01:30:31,185 --> 01:30:32,562
And then, of course,
these shadows...

1959
01:30:32,563 --> 01:30:35,777
Grace brought in
a ton of references for these,

1960
01:30:35,778 --> 01:30:37,907
a lot of, like,
the way burns spread.

1961
01:30:38,575 --> 01:30:40,870
We went to that.

1962
01:30:40,871 --> 01:30:43,416
And, again, just trying to figure
out, like, what’s something simpler?

1963
01:30:43,417 --> 01:30:45,922
You know, when you work
on effects... This is not simple.

1964
01:30:45,923 --> 01:30:48,218
This is incredible
CGI work from ILM.

1965
01:30:48,219 --> 01:30:49,554
There’s no other way
to do this.

1966
01:30:49,555 --> 01:30:51,892
But when it comes
to the shadows, you know,

1967
01:30:51,893 --> 01:30:53,353
we would get wedges--

1968
01:30:53,354 --> 01:30:54,898
and some of that
shadow development

1969
01:30:54,899 --> 01:30:58,238
happened with Framestore
and Rising Sun Pictures as well--

1970
01:30:58,239 --> 01:31:00,785
of, "Here’s six ways we could
do it. Here’s the simplest."

1971
01:31:00,786 --> 01:31:03,331
And we would often say,
"Actually, start from the simplest,

1972
01:31:03,332 --> 01:31:06,337
and then do a wedge of six
ways even simpler than that."

1973
01:31:06,338 --> 01:31:09,051
You know, that we really
didn’t want this to feel like CG,

1974
01:31:09,052 --> 01:31:14,436
even if we were using some of the
best CG companies in the world to do it.

1975
01:31:14,437 --> 01:31:17,401
We wanted it to have
a bit of a different texture.

1976
01:31:17,402 --> 01:31:19,990
This sequence... You know
what I think is funny about this

1977
01:31:19,991 --> 01:31:21,910
is Kevin actually asked,

1978
01:31:21,911 --> 01:31:24,165
"Do we have to do another
crane falling? We do that so much."

1979
01:31:24,166 --> 01:31:26,460
I mean, he kept pushing me
more than I even expected

1980
01:31:26,461 --> 01:31:29,676
to try to do things differently,
and I stood up for that one.

1981
01:31:29,677 --> 01:31:32,389
I wanted the crane falling. I felt like
the trailers were gonna need that scope,

1982
01:31:32,390 --> 01:31:34,895
and really
this entire sequence...

1983
01:31:34,896 --> 01:31:37,191
You know, Alexei references it
in the beginning, you know,

1984
01:31:37,192 --> 01:31:39,111
saving civilians
in the streets, you know,

1985
01:31:39,112 --> 01:31:41,073
it’s this kind of
time-honored thing.

1986
01:31:41,074 --> 01:31:46,877
And even if there is a little bit of, you
know, near hokeyness to some of it,

1987
01:31:46,878 --> 01:31:48,756
you know, especially
when they’re lifting the slab,

1988
01:31:48,757 --> 01:31:52,513
it all exists because
this is a thing they can solve,

1989
01:31:52,514 --> 01:31:54,225
and then there’s going to be
a problem that they can’t,

1990
01:31:54,226 --> 01:31:57,649
so I used to talk about how all of
this money and all of this shooting time

1991
01:31:57,650 --> 01:32:00,863
and all of the CG
was really only going into it

1992
01:32:00,864 --> 01:32:03,326
for that one moment of
the little girl getting voided,

1993
01:32:03,327 --> 01:32:05,121
which we’re gonna come to
in a moment

1994
01:32:05,122 --> 01:32:09,088
and is maybe my favorite moment
to watch in the theater of this film.

1995
01:32:09,089 --> 01:32:12,679
But, again, so much more of this than you
would think was in-camera, like this slab.

1996
01:32:12,680 --> 01:32:15,601
Dan Sudick and his special effects
team built an actual cement slab

1997
01:32:15,602 --> 01:32:17,897
that was on a hoist
that we filmed for this.

1998
01:32:17,898 --> 01:32:20,945
This shot is in-camera,
everything that they’re lifting up.

1999
01:32:20,946 --> 01:32:25,453
That is an actual, gigantically
heavy slab that they’re lifting.

2000
01:32:25,454 --> 01:32:28,794
And, sure, okay,
what is Ghost really gonna do?

2001
01:32:28,795 --> 01:32:30,798
What is Yelena gonna do?
They’re not super soldiers.

2002
01:32:30,799 --> 01:32:34,388
But we just struggled to come up
with an image that would work as well

2003
01:32:34,389 --> 01:32:36,893
for establishing them finally
coming together as a team

2004
01:32:36,894 --> 01:32:40,693
in that very classic hero way
before we undercut that.

2005
01:32:40,694 --> 01:32:43,574
This came from Phil Langone
boards for this sequence,

2006
01:32:43,575 --> 01:32:45,620
and we were never
able to beat it.

2007
01:32:49,294 --> 01:32:52,007
So that’s an actual fall.
All that dust is real.

2008
01:32:52,008 --> 01:32:53,677
We put a little too much dust
on the thing,

2009
01:32:53,678 --> 01:32:55,598
and then we went with it
as a transition.

2010
01:32:59,565 --> 01:33:02,319
And this moment was very
important, as Kevin pointed out--

2011
01:33:02,320 --> 01:33:04,616
Yeah, Alexei soaking it up,
what he wanted--

2012
01:33:04,617 --> 01:33:08,749
of Val processing her idea for what
she’s gonna do at the end of the film.

2013
01:33:08,750 --> 01:33:09,627
<i>Mom?</i>

2014
01:33:12,298 --> 01:33:14,511
And here we go.
Here’s our little girl.

2015
01:33:14,512 --> 01:33:18,560
So edging on cheese, saving the
most classic little girl in the street,

2016
01:33:18,561 --> 01:33:21,273
which is all, again, this entire
sequence is just building up

2017
01:33:21,274 --> 01:33:24,488
to get this moment to land, which it
didn’t in our earliest test screenings.

2018
01:33:24,489 --> 01:33:27,327
We didn’t get the gasp
that we now get in theaters,

2019
01:33:27,328 --> 01:33:31,460
which I think really had to
fine-tune the music with Son Lux,

2020
01:33:31,461 --> 01:33:34,174
of building up to
this borderline cheesy moment

2021
01:33:34,175 --> 01:33:36,303
before it’s undercut
and then we finally start to...

2022
01:33:36,304 --> 01:33:38,976
Maybe it’s also just getting
all the VFX finished

2023
01:33:38,977 --> 01:33:41,313
and buying into that sequence.

2024
01:33:41,314 --> 01:33:44,194
But now you get to see more of
that shadow spread that ILM built.

2025
01:33:44,195 --> 01:33:46,783
You know, and there’s a lot of
nice texture in those shadows.

2026
01:33:46,784 --> 01:33:49,496
It is a very simple effect
with no flash.

2027
01:33:49,497 --> 01:33:54,298
It’s a one-and-a-half frame animation
from being upright to becoming a shadow,

2028
01:33:54,299 --> 01:33:58,139
and anything more than that, you
started to feel the CG creep into it,

2029
01:33:58,140 --> 01:34:00,769
so it really took
some confidence to feel...

2030
01:34:00,770 --> 01:34:04,151
It feels a little exposed
to do such a simple...

2031
01:34:04,152 --> 01:34:06,531
It’s almost just a cut
to them being gone.

2032
01:34:06,532 --> 01:34:09,036
But, you know,
it just felt like

2033
01:34:09,037 --> 01:34:10,831
a different way
to approach this.

2034
01:34:10,832 --> 01:34:13,921
And it’s nice to see how
effective that is in theaters.

2035
01:34:13,922 --> 01:34:16,467
And this is one of my
favorite moments in the film.

2036
01:34:16,468 --> 01:34:20,643
You know, really Yelena processing
that, and maybe that little feeling inside,

2037
01:34:20,644 --> 01:34:22,730
that is she drawn
to that same thing

2038
01:34:22,731 --> 01:34:24,316
she was drawn to
in the beginning?

2039
01:34:24,317 --> 01:34:26,487
Is this it for her?

2040
01:34:26,488 --> 01:34:28,825
You know, is she not along for this
ride given what she’s gone through?

2041
01:34:28,826 --> 01:34:30,871
But also she’s had
that experience with Alexei,

2042
01:34:30,872 --> 01:34:33,376
and, of course,
really what’s happening is

2043
01:34:33,377 --> 01:34:35,631
she understands maybe
even a little bit of guilt

2044
01:34:35,632 --> 01:34:40,306
for having expressed this idea
to Bob of "We’re all alone" to him

2045
01:34:40,307 --> 01:34:44,314
that he’s now processing and knowing
that she needs to take a leap of faith,

2046
01:34:44,315 --> 01:34:47,613
and again, that same memetic,
eyes closed, breath in and step.

2047
01:34:47,614 --> 01:34:49,617
And we matched that frame.

2048
01:34:49,618 --> 01:34:51,871
I mean, it’s not exact,
but we actually had to shoot

2049
01:34:51,872 --> 01:34:54,334
on a different side
of the building in Malaysia

2050
01:34:54,335 --> 01:34:58,134
to match the angle that she’s
stepping into the shadow here,

2051
01:34:58,135 --> 01:35:01,683
so it’s meant to truly mirror that
image of her stepping off the building

2052
01:35:01,684 --> 01:35:03,020
at the beginning of the film.

2053
01:35:13,625 --> 01:35:16,295
And now we’re back in
one of my favorite sets.

2054
01:35:16,296 --> 01:35:17,591
<i>Yelena!</i>

2055
01:35:19,803 --> 01:35:23,435
And this is where we really come
to understand the idea of the Void

2056
01:35:25,481 --> 01:35:27,735
and these loops, ’cause we
haven’t looped these things before,

2057
01:35:27,736 --> 01:35:29,363
and I think
we kept adding to that,

2058
01:35:29,364 --> 01:35:31,785
I felt like, in the edit,
as we were cutting it on set.

2059
01:35:31,786 --> 01:35:34,456
You would need
to do three of these

2060
01:35:34,457 --> 01:35:38,255
to really understand
the looping nature of this.

2061
01:35:38,256 --> 01:35:41,303
Something Kevin thought was
very important, which was nice,

2062
01:35:41,304 --> 01:35:43,474
is that she’s calling out to Bob
so there’s an urgency to this,

2063
01:35:43,475 --> 01:35:45,186
like she’s in here to find him

2064
01:35:45,187 --> 01:35:49,444
but then is also almost unable to
look away from her prior shame.

2065
01:35:49,445 --> 01:35:53,035
And again, that wall’s just been
there the whole time, and this is a very...

2066
01:35:53,036 --> 01:35:54,956
You know, again,
sometimes you feel exposed

2067
01:35:54,957 --> 01:35:56,333
and you’re, like,
everyone’s just gonna notice,

2068
01:35:56,334 --> 01:35:59,423
but I think most people don’t
until this moment

2069
01:35:59,424 --> 01:36:02,680
when she hits it
and you see the loop extend,

2070
01:36:02,681 --> 01:36:06,730
which then draws her back in,
attempting to stop this from happening.

2071
01:36:06,731 --> 01:36:08,859
But of course,
the sort of rule of the Void,

2072
01:36:08,860 --> 01:36:10,863
you know, that we learned
through the course of making this

2073
01:36:10,864 --> 01:36:13,200
is that you cannot
interfere with it.

2074
01:36:13,201 --> 01:36:16,290
That only through some sort of acceptance
and distance can you get out of this loop.

2075
01:36:16,291 --> 01:36:18,670
As she tries to fight it,
it makes it even worse,

2076
01:36:18,671 --> 01:36:20,508
and the Void fights back
against her.

2077
01:36:25,894 --> 01:36:28,857
This is the "sentient tree" that
Sonny added, we used to call it.

2078
01:36:28,858 --> 01:36:32,280
Looked a little silly on set, but
Florence really sold that thing,

2079
01:36:32,281 --> 01:36:34,911
and then the little additions
in post made it work.

2080
01:36:38,628 --> 01:36:40,129
These kids are so good.

2081
01:36:40,130 --> 01:36:41,257
Uh...

2082
01:36:42,134 --> 01:36:44,514
Alexa plays Anya,

2083
01:36:44,515 --> 01:36:48,522
and of course, Violet McGraw who played
a young Yelena Belova in <i>Black Widow</i>

2084
01:36:48,523 --> 01:36:50,066
is back to play
Young Yelena here,

2085
01:36:50,067 --> 01:36:51,695
and they both did
just such a great job.

2086
01:37:06,307 --> 01:37:08,394
<i>Bob?</i>

2087
01:37:08,395 --> 01:37:10,858
These scenes, that scene
of Yelena’s childhood

2088
01:37:10,859 --> 01:37:12,862
and having a friend killed,

2089
01:37:12,863 --> 01:37:15,449
that was a Sonny addition
as well as this scene,

2090
01:37:15,450 --> 01:37:17,453
and going through
to the bathroom in the attic,

2091
01:37:17,454 --> 01:37:19,124
all the details
of that sequence

2092
01:37:19,125 --> 01:37:20,711
were something he really
brought to the movie

2093
01:37:20,712 --> 01:37:24,050
in such a beautiful way.

2094
01:37:24,051 --> 01:37:27,600
He really felt it was important
that this not just be about trauma

2095
01:37:27,601 --> 01:37:32,651
but focusing more on a sense of
shame and one’s own culpability

2096
01:37:32,652 --> 01:37:35,782
for the darkness
that one finds oneself in.

2097
01:37:35,783 --> 01:37:37,912
And I thought that was
such an interesting distinction,

2098
01:37:37,913 --> 01:37:41,126
so that you see each of that
in these scenes, you know,

2099
01:37:41,127 --> 01:37:43,715
that it’s not just
a terrible memory

2100
01:37:43,716 --> 01:37:45,929
but one’s own culpability
within it.

2101
01:37:59,121 --> 01:38:03,128
Florence is just so good here
playing both sides of herself, you know.

2102
01:38:03,129 --> 01:38:05,968
And this is in a very recent
dark place she felt.

2103
01:38:05,969 --> 01:38:08,640
Incredible VFX work here.

2104
01:38:08,641 --> 01:38:11,228
You know, we didn’t do
motion control for any of this,

2105
01:38:11,229 --> 01:38:13,858
but just filmed
Florence with the double

2106
01:38:13,859 --> 01:38:16,405
and filmed both sides of it,
got it as close as we could,

2107
01:38:16,406 --> 01:38:18,702
and then used face replacement
and compositing

2108
01:38:18,703 --> 01:38:20,789
to bring those
two shots together.

2109
01:38:20,790 --> 01:38:23,002
And then, again, it’s just an
editing transition of the loop.

2110
01:38:23,003 --> 01:38:25,632
And this is where I think you
really start to feel the weight

2111
01:38:25,633 --> 01:38:29,180
of there being no way out
of here if you try to disturb it.

2112
01:38:29,181 --> 01:38:32,813
This scene was a later add
and a Kevin idea

2113
01:38:32,814 --> 01:38:35,151
about wanting to find...

2114
01:38:35,152 --> 01:38:39,577
to track our heroes on their journey
into this Void after her and showing...

2115
01:38:39,578 --> 01:38:41,831
It’s nice to see some of--

2116
01:38:41,832 --> 01:38:44,795
despite the last time
we saw them together--

2117
01:38:44,796 --> 01:38:48,970
Ava’s faith in Yelena’s
decision to go in

2118
01:38:48,971 --> 01:38:51,183
and the idea that
that would be worth following.

2119
01:38:51,184 --> 01:38:54,648
And of course,
Alexei in his sadness,

2120
01:38:54,649 --> 01:38:58,155
is grateful for any idea that
he might be able to find her.

2121
01:38:58,156 --> 01:39:00,577
And here we find where
she just says, "Enough,"

2122
01:39:00,578 --> 01:39:02,246
and it’s a simple thing,

2123
01:39:02,247 --> 01:39:04,919
but it just means she’s
not gonna fight it anymore,

2124
01:39:04,920 --> 01:39:07,131
and in not fighting it,
that brings her closer to Bob.

2125
01:39:07,132 --> 01:39:08,968
This was actually all built...

2126
01:39:08,969 --> 01:39:11,431
So that wall with that mirror,
we built onto the attic set.

2127
01:39:11,432 --> 01:39:14,395
This is all in-camera. There’s
no compositing in those mirrors.

2128
01:39:14,396 --> 01:39:17,151
And these sets are built
just for that shot.

2129
01:39:17,152 --> 01:39:19,532
Obviously here, we’re in
the normal bathroom set.

2130
01:39:19,533 --> 01:39:21,369
But as we begin
this transition...

2131
01:39:24,041 --> 01:39:26,963
You know, after she says,
"What we talked about in the vault,"

2132
01:39:26,964 --> 01:39:28,800
this is all in-camera,

2133
01:39:28,801 --> 01:39:32,140
where the lights go down here
and we pan her through.

2134
01:39:32,141 --> 01:39:34,979
And it’s just two joined sets

2135
01:39:34,980 --> 01:39:37,316
that brings her into the attic
and to the center of the Void

2136
01:39:37,317 --> 01:39:39,279
because he’s allowed her in.

2137
01:39:39,280 --> 01:39:41,199
And then, of course, we establish
now that’s not there anymore.

2138
01:39:41,200 --> 01:39:43,580
But, again, just very, very
simple editing tricks for this.

2139
01:39:43,581 --> 01:39:47,588
It felt like, in a funny way, by
doing smaller, simpler things,

2140
01:39:47,589 --> 01:39:51,428
that was the way to take things in a
newer, different direction for Marvel

2141
01:39:51,429 --> 01:39:56,104
and honor that instruction
from Kevin to make it different.

2142
01:39:56,105 --> 01:39:59,068
And then, you know, when you
have an actress like Florence,

2143
01:39:59,069 --> 01:40:03,202
when you can establish, uh,
with humor, what this is,

2144
01:40:03,203 --> 01:40:04,580
these interconnected
shame rooms,

2145
01:40:04,581 --> 01:40:06,499
but even amidst
all this darkness,

2146
01:40:06,501 --> 01:40:08,714
that always gets a laugh
in the theater.

2147
01:40:10,676 --> 01:40:13,556
Some beautiful sound work
here too from Paul Hsu.

2148
01:40:13,557 --> 01:40:16,228
Skywalker did the sound for this
movie and did an incredible job.

2149
01:40:16,229 --> 01:40:19,150
Paul is someone I’ve known
since my first movie, <i>Robot & Frank,</i>

2150
01:40:19,151 --> 01:40:22,490
where, you know, we tried to
design the sound of the Void.

2151
01:40:22,491 --> 01:40:26,958
And we tried a lot of things and this idea
of voices poking in from the other rooms,

2152
01:40:26,959 --> 01:40:29,672
which was too much
of a cacophony,

2153
01:40:29,673 --> 01:40:31,968
but it ended up
this very simple thing he built

2154
01:40:31,969 --> 01:40:37,646
where building this infinity
reverb tail on the lines of the Void,

2155
01:40:37,647 --> 01:40:40,986
processing that
and then doing a detune on that

2156
01:40:40,987 --> 01:40:46,956
and mixing that in so there’s this
constant spooky, detuned reverb wash

2157
01:40:46,957 --> 01:40:49,461
that is built on the lines
that are being said above it.

2158
01:40:52,092 --> 01:40:53,761
So yeah, this was a beautiful
scene that Sonny wrote.

2159
01:40:53,762 --> 01:40:55,097
Then what’s happening
down below,

2160
01:40:55,098 --> 01:40:58,938
Joanna wrote beautifully,
this sense of...

2161
01:40:58,939 --> 01:41:01,151
You know, there’s so much
to establish in this moment

2162
01:41:01,152 --> 01:41:03,781
of Bob trying to be the hero,
which his dad alludes to,

2163
01:41:03,782 --> 01:41:05,618
and protect his mother.

2164
01:41:05,619 --> 01:41:07,581
But then the heartbreak
comes from his mother saying,

2165
01:41:07,582 --> 01:41:10,002
"In doing that,
you only made it worse."

2166
01:41:10,003 --> 01:41:11,797
And in such a few
amount of lines

2167
01:41:11,798 --> 01:41:15,054
to establish both sides
of that duality

2168
01:41:15,055 --> 01:41:18,435
of Bob’s desire for heroism
and his sense that, in fact,

2169
01:41:18,436 --> 01:41:22,109
that aspiration is what
brought about the worst thing,

2170
01:41:22,110 --> 01:41:24,447
to have all of those things
in such a tiny scene

2171
01:41:24,448 --> 01:41:28,163
to establish The Sentry side
and the Void side,

2172
01:41:28,164 --> 01:41:30,669
I thought that was such
beautiful writing on her part.

2173
01:41:31,462 --> 01:41:32,923
And this scene...

2174
01:41:32,924 --> 01:41:35,135
We filmed this, I think,
in the third week of filming,

2175
01:41:35,136 --> 01:41:37,724
and I was so excited to have
these two actors and do this scene

2176
01:41:37,725 --> 01:41:39,435
and have it build
to this conversation.

2177
01:41:39,436 --> 01:41:41,064
But it’s one of those things

2178
01:41:41,065 --> 01:41:43,360
where I think all of us
would say if we were asked,

2179
01:41:43,361 --> 01:41:46,867
I don’t know that any of us felt for
sure that we had it when we left set,

2180
01:41:46,868 --> 01:41:49,122
and it was only really
when we got in the edit

2181
01:41:49,123 --> 01:41:50,834
where I was able
to find those moments,

2182
01:41:50,835 --> 01:41:52,504
and it’s like,
"Oh, no, it was there."

2183
01:41:52,505 --> 01:41:56,261
But it’s a risky thing
to build a movie like this

2184
01:41:56,262 --> 01:41:59,393
up to a conversation
with no movement in an attic.

2185
01:42:01,397 --> 01:42:03,985
And just her
sense of confidence

2186
01:42:03,986 --> 01:42:08,034
and how nuanced and small
her performance is,

2187
01:42:08,035 --> 01:42:11,166
and just that moment of Lewis
being unable to hold her gaze.

2188
01:42:11,167 --> 01:42:13,378
And then this idea
that things are shaking

2189
01:42:13,379 --> 01:42:15,758
because he’s beginning
to be won over

2190
01:42:15,759 --> 01:42:17,596
and that he thinks
he might leave,

2191
01:42:17,597 --> 01:42:21,019
that’s when the Void begins to
fight him, that it begins to wake up.

2192
01:42:21,020 --> 01:42:24,526
And the other side of himself is
gonna fight them to not let them out.

2193
01:42:24,527 --> 01:42:26,237
And so much of this
was done practically.

2194
01:42:26,238 --> 01:42:29,746
There’s a bunch of excellent CG
in here from Framestore, but this...

2195
01:42:31,541 --> 01:42:35,673
I’m one shot early, but this
footstool that flies at them,

2196
01:42:35,674 --> 01:42:38,930
these were all Pyrocell pieces
that Dan Sudick and his team built

2197
01:42:38,931 --> 01:42:41,017
that are actually
flying at them

2198
01:42:41,018 --> 01:42:42,604
and look like they have weight.

2199
01:42:42,605 --> 01:42:44,191
This is an actual
guy in the wall...

2200
01:42:46,070 --> 01:42:48,323
Just trying to really honor
that kind of handmade sense

2201
01:42:48,324 --> 01:42:51,454
of how some of these
more horror ideas were done.

2202
01:42:51,455 --> 01:42:53,333
And the papers that are
flying around are real,

2203
01:42:53,334 --> 01:42:55,547
but then, yeah, we do have
some added CG pieces,

2204
01:42:55,548 --> 01:42:58,553
but again, that idea that if
you get enough of it in-camera,

2205
01:42:58,554 --> 01:43:00,765
you’re putting yourself
in such a position of success.

2206
01:43:00,766 --> 01:43:03,980
I mean, even the way
this curtain strangles them,

2207
01:43:03,981 --> 01:43:05,984
that almost is
an in-camera edit,

2208
01:43:05,985 --> 01:43:09,282
you know, that we add
a little bit of CG to.

2209
01:43:09,283 --> 01:43:11,829
Again, you’re just dependent
on these incredible actors

2210
01:43:11,830 --> 01:43:15,587
being able to sell that a magic
evil curtain is strangling them.

2211
01:43:15,588 --> 01:43:18,300
But when it’s these actors and
when they built up to that moment,

2212
01:43:18,301 --> 01:43:20,220
you go with it, you buy it.

2213
01:43:20,221 --> 01:43:21,599
And then we get our...

2214
01:43:21,600 --> 01:43:23,936
Maybe the strangest
triumphant save

2215
01:43:23,937 --> 01:43:26,232
in one of these movies
where you’re...

2216
01:43:26,233 --> 01:43:28,739
breaking furniture
and ripping apart a pillow.

2217
01:43:31,035 --> 01:43:33,664
But, you know, within the
context of what we’ve established,

2218
01:43:33,665 --> 01:43:37,004
we were always a little... wondering
if people would go with this.

2219
01:43:37,005 --> 01:43:39,342
But then when you get
to Bucky’s line and he says,

2220
01:43:39,343 --> 01:43:42,849
"It’s okay. I have a great
past so I’m totally fine,"

2221
01:43:42,850 --> 01:43:45,228
that’s one of the biggest
laughs that we get in the movie,

2222
01:43:45,229 --> 01:43:47,483
and you would only get that
laugh if people were with you

2223
01:43:47,484 --> 01:43:50,531
on that journey of understanding
what it means to go through this Void.

2224
01:43:50,532 --> 01:43:52,368
And believe me, in another
version of this movie,

2225
01:43:52,369 --> 01:43:56,627
I would’ve loved to see
inside all of their Void rooms.

2226
01:43:56,628 --> 01:43:59,675
And there were different drafts of
the script where we tried to do that.

2227
01:43:59,676 --> 01:44:02,639
But in the end, it felt like going
through Bob’s was the most important

2228
01:44:02,640 --> 01:44:04,601
as far as how to
get out of here.

2229
01:44:04,602 --> 01:44:06,355
<i>Okay, okay. Just h-how
do we get out of here?</i>

2230
01:44:11,073 --> 01:44:14,997
<i>I mean, as far as I know,
it’s just endless rooms.</i>

2231
01:44:17,503 --> 01:44:20,465
From this point on, this was really
something that Joanna pushed for,

2232
01:44:20,466 --> 01:44:22,929
which was the idea
of getting back to a big bad

2233
01:44:22,930 --> 01:44:25,475
and finding the worst room and
finding the Void at the heart of this thing

2234
01:44:25,476 --> 01:44:28,440
and needing to confront him.

2235
01:44:28,441 --> 01:44:31,320
And then this is about
establishing the external stakes

2236
01:44:31,321 --> 01:44:33,366
if they don’t solve this.

2237
01:44:33,367 --> 01:44:36,164
And, you know, I thought, at first we
had kind of ominous music over this,

2238
01:44:36,165 --> 01:44:40,130
but in the end it felt more
spooky to just let it play.

2239
01:44:40,131 --> 01:44:42,134
That’s actually my old commercial
production company office

2240
01:44:42,135 --> 01:44:43,721
in New York, Park Pictures.

2241
01:44:43,722 --> 01:44:45,223
They were nice enough
to let us shoot there

2242
01:44:45,224 --> 01:44:46,936
when I did all the New York
aerials and exteriors.

2243
01:44:48,397 --> 01:44:50,777
Um, and then we find ourselves
back in the Void

2244
01:44:50,778 --> 01:44:56,205
and back in this very kind of
Spike Jonze, Gondry escape, uh,

2245
01:44:57,040 --> 01:44:59,126
through Bob’s rooms.

2246
01:44:59,127 --> 01:45:01,673
And here we have...
this was added later.

2247
01:45:01,674 --> 01:45:04,345
This is the meth chicken room,
which is definitely on the edge.

2248
01:45:04,346 --> 01:45:06,140
Probably the only time
you’re gonna see "meth chicken"

2249
01:45:06,141 --> 01:45:09,689
on a strip board
or a schedule board at Marvel.

2250
01:45:09,690 --> 01:45:12,319
But I just felt... Both for the
dynamics of them falling through...

2251
01:45:12,320 --> 01:45:14,616
And it felt like in the
Pixar version of this movie,

2252
01:45:14,617 --> 01:45:18,498
you would have a bit of humor
before you got to the lowest point,

2253
01:45:18,499 --> 01:45:20,753
even if it’s a very
dark form of humor,

2254
01:45:20,754 --> 01:45:23,341
and it’s atypical to say..."I
was on meth," in a Marvel movie.

2255
01:45:23,342 --> 01:45:27,391
Or to have Bucky Barnes save
the day by punching a chicken,

2256
01:45:27,392 --> 01:45:32,276
but it felt like we really wanted to push
the concept to its furthest extensions

2257
01:45:32,277 --> 01:45:34,698
before we got
to the lowest point.

2258
01:45:34,699 --> 01:45:36,326
So hopefully,
you go with us on that one.

2259
01:45:38,038 --> 01:45:41,294
Love that shot.
Great shot by Andrew.

2260
01:45:41,295 --> 01:45:43,464
And it’s nice
where you actually have...

2261
01:45:43,465 --> 01:45:45,803
I mean, obviously the Void, that’s
an effect to make him a silhouette,

2262
01:45:45,804 --> 01:45:49,895
but by putting him against the
backlight, it doesn’t feel as incongruous,

2263
01:45:49,896 --> 01:45:51,607
like it feels like it fits

2264
01:45:51,608 --> 01:45:54,863
with how the photography actually
would be for a moment like that,

2265
01:45:54,864 --> 01:45:56,282
so that’s a really nice...

2266
01:45:56,283 --> 01:45:58,579
You know, between Framestore,
who did this sequence,

2267
01:45:58,580 --> 01:46:01,710
and Andrew and Rafi and Chuck
and all the lighting,

2268
01:46:01,711 --> 01:46:03,882
that’s a nice way to watch
those two things dovetail.

2269
01:46:05,928 --> 01:46:08,139
<i>Felt like a miracle.</i>

2270
01:46:08,140 --> 01:46:10,937
And here Bob
finally defines, you know,

2271
01:46:10,938 --> 01:46:14,819
this idea of what would the worst
room for someone like Bob be,

2272
01:46:14,820 --> 01:46:18,911
and it’s not actually, in some ways,
the trauma of his childhood, but more...

2273
01:46:18,912 --> 01:46:21,123
you know, is there something
more heartbreaking

2274
01:46:21,124 --> 01:46:24,046
about it being the place
where he tried to be a hero,

2275
01:46:24,047 --> 01:46:26,760
where he tried to become
something bigger than himself

2276
01:46:26,761 --> 01:46:29,181
and, in his own estimation...

2277
01:46:29,182 --> 01:46:31,227
You know, he says it here,
"The most shameful thing of all

2278
01:46:31,228 --> 01:46:34,274
was thinking you could be
anything more than nothing."

2279
01:46:34,275 --> 01:46:36,738
And for the way that Bob feels
about himself in this moment,

2280
01:46:36,739 --> 01:46:38,282
this is the biggest shame,

2281
01:46:38,283 --> 01:46:41,038
is to imagine that
he could be anything better.

2282
01:46:41,039 --> 01:46:42,710
And that feels
like the lowest feeling.

2283
01:46:45,297 --> 01:46:46,091
<i>No.</i>

2284
01:46:52,270 --> 01:46:55,025
It’s quite a thing when you ask a
bunch of the greatest actors on Earth

2285
01:46:55,026 --> 01:46:58,615
to be locked up against a wall
by furniture.

2286
01:46:58,616 --> 01:47:02,790
Requires a lot of faith on their
part and a lot of faith on our part

2287
01:47:02,791 --> 01:47:05,420
to know that Framestore was
gonna come through eventually,

2288
01:47:05,421 --> 01:47:08,384
and even though we had practical
versions of these things on set, for sure,

2289
01:47:08,385 --> 01:47:11,641
obviously they’ve augmented
them to make them look better.

2290
01:47:11,642 --> 01:47:14,606
And then just to watch Lewis, you
know, have to play both of these parts,

2291
01:47:14,607 --> 01:47:16,693
have to learn both sides
of this fight

2292
01:47:16,694 --> 01:47:19,574
and still appeal to this sense
of him trying to protect people

2293
01:47:19,575 --> 01:47:21,703
and, you know, have his
darker side laugh at himself

2294
01:47:21,704 --> 01:47:23,582
for wanting to do that.

2295
01:47:25,336 --> 01:47:26,839
<i>Robert, the hero.</i>

2296
01:47:30,847 --> 01:47:33,560
That’s a real
glass explosion that we did.

2297
01:47:33,561 --> 01:47:35,981
And then there’s candy glass
on their faces.

2298
01:47:35,982 --> 01:47:38,361
<i>I’m stronger than you.</i>

2299
01:47:38,362 --> 01:47:40,323
And this idea
that you’re expecting to

2300
01:47:40,324 --> 01:47:42,077
want to fight the Void
and beat him,

2301
01:47:42,078 --> 01:47:43,705
but that, in fact,
this is what the Void wants.

2302
01:47:43,706 --> 01:47:45,627
He’s goading Bob
into doing this.

2303
01:47:47,965 --> 01:47:51,470
And, again, Lewis learning both sides
of this fight and having to perform it,

2304
01:47:51,471 --> 01:47:53,266
switch costumes,
do it for each of these shots,

2305
01:47:53,267 --> 01:47:55,478
and do both sides of it
before he becomes a silhouette

2306
01:47:55,479 --> 01:47:59,612
’cause even as a silhouette, even
though sometimes this is Alec or Ben,

2307
01:47:59,613 --> 01:48:02,159
his wonderful stunt doubles,

2308
01:48:02,160 --> 01:48:05,583
you really want Lewis, even in
silhouette form, embodying that character.

2309
01:48:05,584 --> 01:48:08,422
And so we really did it both ways
as much as we possibly could.

2310
01:48:11,428 --> 01:48:14,016
And then here’s the idea of the
movie: "We will always be alone."

2311
01:48:14,017 --> 01:48:17,272
And then this was something we
added later, after principal photography,

2312
01:48:17,273 --> 01:48:19,067
this idea of the room expanding

2313
01:48:19,068 --> 01:48:22,490
and physically carrying
our protagonists away from him

2314
01:48:22,491 --> 01:48:24,705
and establishing
that sense of isolation.

2315
01:48:28,671 --> 01:48:30,549
That first shot
is actually done in-camera,

2316
01:48:30,550 --> 01:48:34,223
where we just had Lewis on a piece
of Lexan attached to a camera car

2317
01:48:34,224 --> 01:48:35,893
and pulled him back.

2318
01:48:35,894 --> 01:48:38,397
So even though there’s a lot of
wonderful CG in this sequence,

2319
01:48:38,398 --> 01:48:40,527
a lot of it is practical
and in-camera.

2320
01:48:40,528 --> 01:48:42,031
Again, always trying
to find that balance.

2321
01:48:47,668 --> 01:48:49,461
And then, again, this
is this thing you root for,

2322
01:48:49,462 --> 01:48:52,050
as you see a near smile
on Walker’s face.

2323
01:48:52,051 --> 01:48:55,139
You’re used to rooting that
you should beat up the bad guy.

2324
01:48:55,140 --> 01:48:58,855
You should beat the big bad, but in
our movie, there is no winning that way.

2325
01:48:58,856 --> 01:49:01,110
You know, there’s no version
of this that ever could’ve ended

2326
01:49:01,111 --> 01:49:02,613
in just a punch solving it,

2327
01:49:02,614 --> 01:49:05,118
and you see that, in fact,
in trying to fight himself

2328
01:49:05,119 --> 01:49:07,080
and destroy
that side of himself,

2329
01:49:07,081 --> 01:49:10,295
he’s becoming the darkness
that he’s trying to avoid

2330
01:49:10,296 --> 01:49:12,925
and that our characters and
everyone watching needs to learn

2331
01:49:12,926 --> 01:49:14,972
that there is no kind of
physical solution to this.

2332
01:49:16,684 --> 01:49:18,102
<i>Bob, stop!</i>

2333
01:49:18,103 --> 01:49:20,065
<i>This is what he wants!</i>

2334
01:49:21,652 --> 01:49:23,279
And, of course,
in a superhero movie,

2335
01:49:23,280 --> 01:49:25,576
maybe that feels
like an odd resolution,

2336
01:49:25,577 --> 01:49:27,203
you know,
or it feels too small.

2337
01:49:27,204 --> 01:49:31,295
We added this sequence of
Yelena so that there was, you know,

2338
01:49:31,296 --> 01:49:34,761
for our protagonist who’s
been inactive on the sidelines,

2339
01:49:34,762 --> 01:49:38,434
a very active role in solving
this in a sort of action context

2340
01:49:38,435 --> 01:49:41,023
in which she needs to
get to him to save him

2341
01:49:41,024 --> 01:49:42,317
and thus save the world,

2342
01:49:42,318 --> 01:49:44,279
which will be plunged
into darkness

2343
01:49:44,280 --> 01:49:45,866
if she doesn’t succeed.

2344
01:49:45,867 --> 01:49:47,953
That’s actually
Heidi Moneymaker.

2345
01:49:47,954 --> 01:49:50,876
So to have Scarlett’s
longtime stunt double

2346
01:49:50,877 --> 01:49:52,922
and now stunt coordinator
performing that

2347
01:49:52,923 --> 01:49:56,262
felt like a real... something
really coming full circle.

2348
01:49:57,223 --> 01:49:58,266
<i>I’m here.</i>

2349
01:50:01,690 --> 01:50:03,485
<i>It will always be just us.</i>

2350
01:50:06,491 --> 01:50:08,829
Okay, yes, if you want
to be frustrated with us

2351
01:50:08,830 --> 01:50:10,248
’cause it ends in a hug,

2352
01:50:10,249 --> 01:50:12,252
I mean, we always said
it’s not truly a hug.

2353
01:50:12,253 --> 01:50:13,964
They’re trying to
pull him back from himself,

2354
01:50:13,965 --> 01:50:15,884
but, of course,
that’s how it functions.

2355
01:50:15,885 --> 01:50:18,222
And this idea of her answering,
"You’re not alone,"

2356
01:50:18,223 --> 01:50:23,274
this idea that she’s expressed to him
in the beginning now being answered.

2357
01:50:23,275 --> 01:50:26,363
Okay, it’s a hug, but how
else were you gonna solve this?

2358
01:50:26,364 --> 01:50:29,620
And it’s a hug that we try
to frame in an action context.

2359
01:50:29,621 --> 01:50:32,000
You know, as much as it can,
we’ve tried to externalize

2360
01:50:32,001 --> 01:50:35,924
these very internal ideas
of the Void and also just...

2361
01:50:35,925 --> 01:50:39,347
I mean, Son Lux’s score
in this moment, I think,

2362
01:50:39,348 --> 01:50:41,393
with these actors
and with those ideas,

2363
01:50:41,394 --> 01:50:45,026
we did everything we could to
have you come along that ride with us.

2364
01:50:45,027 --> 01:50:48,533
And, you know, it was always
gonna end in some version of that.

2365
01:50:48,534 --> 01:50:52,708
And I feel like where Lewis
got to, I’m just so proud of him

2366
01:50:52,709 --> 01:50:55,254
and amazed by Florence
and all of them

2367
01:50:55,255 --> 01:50:58,136
for executing such a resonant
version of that moment.

2368
01:51:06,319 --> 01:51:08,447
It was very fun
being in this helicopter.

2369
01:51:08,448 --> 01:51:09,952
That’s all I’ll say.
That’s a treat.

2370
01:51:12,916 --> 01:51:15,002
This was something
we also talked a lot about,

2371
01:51:15,003 --> 01:51:16,756
about the ending
and how it would resolve,

2372
01:51:16,757 --> 01:51:20,054
and there’s a reason in the comics
why Sentry always loses his memory,

2373
01:51:20,055 --> 01:51:24,897
’cause you can’t really have someone
as powerful like that in the world.

2374
01:51:24,898 --> 01:51:28,070
Um, and in this case...
Yes. Don’t worry.

2375
01:51:28,071 --> 01:51:30,993
We’re not gonna kill a
little girl. She comes back.

2376
01:51:30,994 --> 01:51:35,459
That was one of the earliest shadow
tests we did, uh, was rejoining that shadow

2377
01:51:35,460 --> 01:51:37,506
as a means
of getting us out of this

2378
01:51:37,507 --> 01:51:41,263
without having to do tons of shots of
people waking up around New York.

2379
01:51:41,264 --> 01:51:44,227
But we played around with
a lot of different versions of...

2380
01:51:44,228 --> 01:51:46,440
You know, there were times
when Bob did remember

2381
01:51:46,441 --> 01:51:49,362
but had learned this lesson that he
can’t be The Sentry without the Void,

2382
01:51:49,363 --> 01:51:50,782
so he can’t be on the team,

2383
01:51:50,783 --> 01:51:52,201
but then he would
have to walk away

2384
01:51:52,202 --> 01:51:53,412
’cause they have to
go confront Val,

2385
01:51:53,413 --> 01:51:56,209
and that just felt sad.

2386
01:51:56,210 --> 01:51:59,466
So the memory loss
felt like the best way

2387
01:51:59,467 --> 01:52:01,596
that we could kind of
keep them together

2388
01:52:01,597 --> 01:52:06,229
but still be true to the story of
Sentry that we were telling, um,

2389
01:52:06,230 --> 01:52:09,654
and kind of reserve that payoff
for later, but also find this way...

2390
01:52:09,655 --> 01:52:13,160
You know, we had tried a version
where he didn’t remember anything at all,

2391
01:52:13,161 --> 01:52:16,918
and then that felt like you
hadn’t really, you know...

2392
01:52:16,919 --> 01:52:19,674
People didn’t feel like it had honored
the journey that they had gone on enough,

2393
01:52:19,675 --> 01:52:23,389
so we landed on this version
where he remembers who they are,

2394
01:52:23,390 --> 01:52:25,434
but he doesn’t remember the most
recent events of what’s happened

2395
01:52:25,435 --> 01:52:26,353
and his episode.

2396
01:52:26,354 --> 01:52:28,440
<i>Okay. Come on.</i>

2397
01:52:28,441 --> 01:52:29,694
And in this very simple
way, it’s like, "Yep.

2398
01:52:29,695 --> 01:52:31,154
We stick together from now on,"

2399
01:52:31,155 --> 01:52:33,325
and not in a kind of cheesy
way, but just, you gotta...

2400
01:52:33,326 --> 01:52:35,539
you don’t want someone
like Bob out there.

2401
01:52:35,540 --> 01:52:39,463
You gotta keep that connection
alive. You gotta keep him with you.

2402
01:52:41,593 --> 01:52:44,515
And then this was in the very
first draft of the script that I read,

2403
01:52:44,516 --> 01:52:48,021
that everything that we did, whatever
changed, it always ended here

2404
01:52:48,022 --> 01:52:50,151
with Val, you know, kind of...

2405
01:52:50,152 --> 01:52:53,742
This very classic thing that
Kevin and Marvel are so good at

2406
01:52:53,743 --> 01:52:58,710
about, you know, this kind of
flip and reveal that we go into.

2407
01:52:58,711 --> 01:53:03,218
Um, and knowing that this whole movie
was building up to this announcement,

2408
01:53:03,219 --> 01:53:05,849
you know, it needs to work as
a fun twist for the audience,

2409
01:53:05,850 --> 01:53:08,897
but also
on a character level where...

2410
01:53:08,898 --> 01:53:11,443
You know, it’s interesting,
you’re not... if you’re doing that,

2411
01:53:11,444 --> 01:53:13,656
then you’re not traditionally
beating your bad guy.

2412
01:53:13,657 --> 01:53:15,368
You’re not killing Val.
You’re not arresting her.

2413
01:53:17,122 --> 01:53:20,837
But that line of, "We own you
now," becomes very important.

2414
01:53:20,838 --> 01:53:23,175
We had to send all the
extras away on set this day

2415
01:53:23,176 --> 01:53:25,722
when she said that, just to make
sure no one heard about it first.

2416
01:53:29,438 --> 01:53:32,109
Love that shot
of Lewis clapping.

2417
01:53:32,110 --> 01:53:34,824
The most powerful one unaware
that he’s even on the team.

2418
01:53:39,124 --> 01:53:41,712
And what I love is that
even amidst all of that,

2419
01:53:41,713 --> 01:53:46,137
and, you know, this fun sort of
positioning for where the story will go,

2420
01:53:46,138 --> 01:53:49,102
there is a character moment
that we need to complete here,

2421
01:53:49,103 --> 01:53:52,985
and we need to push back into that
close-up that we start the movie with.

2422
01:53:52,986 --> 01:53:56,241
And, again, it just came from a moment
that Florence did instinctively on set

2423
01:53:56,242 --> 01:53:58,997
that we then built into
the rest of the movie,

2424
01:53:58,998 --> 01:54:02,839
of that same eyes closed, breath
in, look up, but now with a smile.

2425
01:54:10,855 --> 01:54:14,152
Uh, this is once again Imaginary
Forces. Um, this sequence...

2426
01:54:14,153 --> 01:54:18,620
We felt like when we showed the movie,
you know, we maybe expected at first

2427
01:54:18,621 --> 01:54:21,124
that people would cheer on this
New Avengers thing a little more,

2428
01:54:21,125 --> 01:54:22,628
and people needed
a moment with it,

2429
01:54:22,629 --> 01:54:26,677
and so we wanted to kind of
acknowledge the way the real world works

2430
01:54:26,678 --> 01:54:28,640
and how snarky
everything is at first

2431
01:54:28,641 --> 01:54:30,936
and how people might not be
so certain about this partnership,

2432
01:54:30,937 --> 01:54:33,023
so this was this fun sequence

2433
01:54:33,024 --> 01:54:35,695
that Imaginary Forces did
such a great job of painting,

2434
01:54:35,696 --> 01:54:38,158
of kind of starting
in that skepticism--

2435
01:54:38,159 --> 01:54:39,954
I love the
<i>New York Post</i> headline--

2436
01:54:39,955 --> 01:54:45,590
um, and then bringing you around
by the end of it to some sense that,

2437
01:54:45,591 --> 01:54:48,722
hey, maybe this could work out,
maybe you could buy into this.

2438
01:54:52,772 --> 01:54:55,987
I’ll just say, I love all these
people who made this movie.

2439
01:54:57,782 --> 01:55:01,956
Everyone worked so hard,
so incredibly hard

2440
01:55:01,957 --> 01:55:05,087
um, and cared about it
and took it seriously.

2441
01:55:05,088 --> 01:55:06,924
I mean Florence,
I can’t say any more.

2442
01:55:06,925 --> 01:55:09,847
I mean, like I said,
actual magic.

2443
01:55:09,848 --> 01:55:13,521
Sebastian, to have him as
part of this. Wyatt, who’s a friend.

2444
01:55:13,522 --> 01:55:17,278
Olga, who was such a good sport
to show up for this.

2445
01:55:17,279 --> 01:55:23,875
Lewis, who, I mean, I think really,
you know, is the find of this movie.

2446
01:55:23,876 --> 01:55:26,130
Geraldine, who did such a
great job. Chris for showing up.

2447
01:55:27,759 --> 01:55:29,804
Wendell.
I’ve been a fan forever.

2448
01:55:31,600 --> 01:55:34,188
David, one of the most
committed actors you’ll ever meet.

2449
01:55:35,482 --> 01:55:38,236
And Hannah,
really the glue of that group.

2450
01:55:38,237 --> 01:55:41,493
Julia, who’s a legend that I just
feel lucky that I got to work with.

2451
01:55:41,494 --> 01:55:43,413
I just, you know,
as a director,

2452
01:55:43,414 --> 01:55:45,710
if you can ever
get a cast like that,

2453
01:55:45,711 --> 01:55:48,842
it just makes the whole job
incredibly easy.

2454
01:55:53,519 --> 01:55:55,730
And then, yeah,
there’s our flip.

2455
01:55:56,817 --> 01:55:58,443
Like I said,
this is release day,

2456
01:55:58,444 --> 01:56:00,197
so it’s almost hard
to speak on this until

2457
01:56:00,198 --> 01:56:02,159
we see how that plays
out in the world,

2458
01:56:02,160 --> 01:56:06,961
but I think that’s a fun one to try and
an example of how open, you know,

2459
01:56:06,962 --> 01:56:09,759
everyone at Marvel was to
try new ideas on this project.

2460
01:56:11,387 --> 01:56:14,183
And this was a fun one
we did during additional...

2461
01:56:14,184 --> 01:56:17,858
We didn’t shoot any of our post credit
scenes during principal photography.

2462
01:56:17,859 --> 01:56:20,154
We sort of wanted to see where
the whole thing was gonna go

2463
01:56:20,155 --> 01:56:21,322
and what we would need,

2464
01:56:21,323 --> 01:56:23,536
but, again,
it felt like paying off

2465
01:56:23,537 --> 01:56:26,249
that kind of meta idea
of the Wheaties box

2466
01:56:26,250 --> 01:56:29,631
and Alexei’s investment in it,
but then undercutting it a bit,

2467
01:56:29,632 --> 01:56:32,220
uh, felt right for
where we ended our story.

2468
01:56:34,224 --> 01:56:37,606
And then because it’s Alexei, and
we start with Muzak in a supermarket,

2469
01:56:37,607 --> 01:56:39,233
you get into kind of...

2470
01:56:39,234 --> 01:56:41,029
You know, he’s the kind of guy
who would love to have

2471
01:56:41,030 --> 01:56:43,408
a classic post credits song.

2472
01:56:43,409 --> 01:56:45,622
And so we get to
give that to him

2473
01:56:45,623 --> 01:56:47,876
and therefore give it
to our viewers.

2474
01:56:50,048 --> 01:56:54,012
I’ll just say that, you know,
I’m struck when I sit in a theater.

2475
01:56:54,013 --> 01:56:57,772
Um... And I look at this credit
sequence, and it’s a long one.

2476
01:56:59,149 --> 01:57:00,860
You know, I’ve sat through
credits before.

2477
01:57:00,861 --> 01:57:03,699
I like to kind of
let a movie sink in, you know,

2478
01:57:03,700 --> 01:57:07,248
but going through this experience,
I know all of these people.

2479
01:57:07,249 --> 01:57:11,047
Um, and I know what they did
and how much...

2480
01:57:11,048 --> 01:57:14,178
You know, I could talk for an hour
about each of their contributions,

2481
01:57:14,179 --> 01:57:17,686
and it’s just one name on the list
that’s scrolling by that you won’t notice,

2482
01:57:17,687 --> 01:57:21,484
whether it’s, uh, Onnalee and
Michael, our incredible mixers,

2483
01:57:21,485 --> 01:57:24,115
or Alex Levy,
our music editor, who...

2484
01:57:24,116 --> 01:57:28,582
so instrumental in creating
this score with Son Lux.

2485
01:57:28,583 --> 01:57:31,170
You know, the stunts on
this movie were incredible.

2486
01:57:31,171 --> 01:57:33,466
Every single one
of those people worked so hard.

2487
01:57:33,467 --> 01:57:37,266
You know, Michael Huggins, who
was our... who did the rigging, and...

2488
01:57:37,267 --> 01:57:39,604
I mean, if you’re Florence Pugh
and you’re stepping off the roof

2489
01:57:39,605 --> 01:57:43,236
of the second tallest
story building in the world,

2490
01:57:43,237 --> 01:57:45,324
you have to have a lot of faith
in that rigging.

2491
01:57:45,325 --> 01:57:47,996
Um, I could single out
any one of them,

2492
01:57:47,997 --> 01:57:53,006
and I think I’m just struck
by how many people it takes,

2493
01:57:53,007 --> 01:57:56,805
working so hard
and caring so much,

2494
01:57:56,806 --> 01:57:59,310
uh, just to make a good movie.

2495
01:57:59,311 --> 01:58:01,147
It’s just hard
to make a good movie,

2496
01:58:01,148 --> 01:58:04,278
and, you know, I guess, if you
got this far, hopefully you feel like

2497
01:58:04,279 --> 01:58:06,032
this one was all right.

2498
01:58:06,033 --> 01:58:11,084
Um, and I am just so grateful
to all of those people

2499
01:58:11,085 --> 01:58:13,380
and for all of the work
that they put in,

2500
01:58:13,381 --> 01:58:15,175
and, really, when I look back
on this process...

2501
01:58:15,176 --> 01:58:19,350
something that Grace and I
would talk about, she would say,

2502
01:58:19,351 --> 01:58:21,647
"You know, we’re going to grad
school. We’re gonna learn so much."

2503
01:58:21,648 --> 01:58:25,112
And I think, you know, it’s wonderful
to put a movie out in the world,

2504
01:58:25,113 --> 01:58:27,199
and it’s wonderful
to have it connect with people,

2505
01:58:27,200 --> 01:58:32,502
but also what I mainly look back
on is the experience of making it

2506
01:58:32,503 --> 01:58:37,052
and how much I learned and how much
you have to lean on this incredible team.

2507
01:58:37,053 --> 01:58:39,641
Um...
And I’ll never forget that.

2508
01:58:39,642 --> 01:58:42,689
So, um, thank you guys
for watching.

2509
01:58:42,690 --> 01:58:44,526
Um...

2510
01:58:44,527 --> 01:58:48,408
Obviously, uh... Oh, yeah, I
gotta call out Samara Handelsman,

2511
01:58:48,409 --> 01:58:50,788
my assistant, who had
to put up with so, so much.

2512
01:58:52,000 --> 01:58:53,878
Um, what else can I say here?

2513
01:58:53,879 --> 01:58:56,382
’Cause I do wanna get
to the VFX houses

2514
01:58:56,383 --> 01:59:00,183
and explain kind of more
specifically what they did, but, uh...

2515
01:59:01,603 --> 01:59:03,731
Sean, who drove me every day.

2516
01:59:03,732 --> 01:59:06,403
Not an easy job.
Definitely going through it.

2517
01:59:07,322 --> 01:59:09,159
Our wonderful second unit.

2518
01:59:10,787 --> 01:59:13,709
Um, really, there were days
where I would start there

2519
01:59:13,710 --> 01:59:15,420
and then come over
to first unit,

2520
01:59:15,421 --> 01:59:17,258
and it was always great
working with those guys.

2521
01:59:19,387 --> 01:59:21,098
Getting out to Utah, obviously.

2522
01:59:21,099 --> 01:59:23,687
I feel like that’s when the
movie really opened up for me,

2523
01:59:23,688 --> 01:59:25,107
just feeling like
we were out there.

2524
01:59:28,573 --> 01:59:31,410
And Malaysia. You know, they don’t
have the entire crew in Malaysia listed,

2525
01:59:31,411 --> 01:59:33,999
but it really was
a wonderful crew.

2526
01:59:34,000 --> 01:59:36,295
Adam in special effects, particularly
for blowing up that building,

2527
01:59:36,296 --> 01:59:37,381
one take to do it.

2528
01:59:37,382 --> 01:59:38,926
Did such a great job.

2529
01:59:38,927 --> 01:59:40,846
New York. We actually
did shoot in DC as well,

2530
01:59:40,847 --> 01:59:44,144
but it was such a small shoot I
don’t think they have it listed here.

2531
01:59:44,145 --> 01:59:46,190
Believe it or not,
as long as these credits are,

2532
01:59:46,191 --> 01:59:50,407
there are even more people
that work on these movies.

2533
01:59:50,408 --> 01:59:52,161
All the wonderful people
at Marvel.

2534
02:00:09,780 --> 02:00:13,621
And of course it was great to see
Paul Jenkins at the, uh, premiere for this

2535
02:00:13,622 --> 02:00:17,587
and just talk a little bit about
his view of Robert Reynolds

2536
02:00:17,588 --> 02:00:18,964
and the way we treated him.

2537
02:00:18,965 --> 02:00:21,093
And I think he was very happy,
which was nice.

2538
02:00:21,094 --> 02:00:23,473
Everyone in marketing, they did
such a great job with this movie

2539
02:00:23,474 --> 02:00:25,603
and really embracing
doing something different.

2540
02:00:25,604 --> 02:00:27,607
Okay,
our visual effects houses.

2541
02:00:27,608 --> 02:00:29,528
Third Floor
for all of the previs.

2542
02:00:31,365 --> 02:00:33,451
Digital Domain
and their previs department,

2543
02:00:33,452 --> 02:00:35,581
we worked on earlier,
as well as Framestore.

2544
02:00:35,582 --> 02:00:37,670
It’s really such an
important part of the process.

2545
02:00:39,255 --> 02:00:41,594
OPSIS did a lot of work
for us in that area as well.

2546
02:00:47,480 --> 02:00:50,736
Then ILM... Really, the whole
New York street sequence

2547
02:00:50,737 --> 02:00:53,535
and all of the voiding and the
crane falling, all of the heavy lifting.

2548
02:00:55,329 --> 02:00:59,086
And Chad and everyone over
there did just such an amazing job.

2549
02:00:59,087 --> 02:01:03,595
Framestore, uh, did
the vault exterior environment,

2550
02:01:03,596 --> 02:01:07,895
Bob’s flight, all of the stuff in
Bob’s attic and that ending lab fight,

2551
02:01:07,896 --> 02:01:10,191
which, really, I mean, we were
finishing right to the very end,

2552
02:01:10,192 --> 02:01:11,820
and the movie
doesn’t work without it.

2553
02:01:11,821 --> 02:01:14,534
They just did
such an incredible job.

2554
02:01:14,535 --> 02:01:17,832
Digital Domain, that was a lot
of the early vault sequence,

2555
02:01:17,833 --> 02:01:21,088
a lot of that fighting,
Ghost phasing,

2556
02:01:21,089 --> 02:01:25,639
uh, just every part
of that fight they worked on,

2557
02:01:25,640 --> 02:01:27,727
and that stuff came in great.

2558
02:01:27,728 --> 02:01:30,441
Rising Sun, a lot of the face
replacement stuff in the film.

2559
02:01:39,125 --> 02:01:43,424
Base, really, just a company
that saved us on <i>Beef</i> as well

2560
02:01:43,425 --> 02:01:45,638
and just a workhorse on this.

2561
02:01:45,639 --> 02:01:48,685
A lot of the Bucky arms and Void
shadow growth, things like that.

2562
02:01:48,686 --> 02:01:50,649
Raynault did the airplane.

2563
02:01:53,445 --> 02:01:56,702
Val’s drop-off, the crater design.
Some of the penthouse stuff.

2564
02:01:58,915 --> 02:02:01,210
And then a lot of fill-in work
by these other houses.

2565
02:02:01,211 --> 02:02:04,049
I mean, it just takes
so many people doing so much.

2566
02:02:04,050 --> 02:02:08,474
Imaginary Forces, who worked so
incredibly hard on that opening Marvel logo

2567
02:02:08,475 --> 02:02:10,353
and our ending
credits sequence,

2568
02:02:10,354 --> 02:02:13,484
um, which really is such
a narrative lift for the film.

2569
02:02:13,485 --> 02:02:16,659
Tom Poole did such a great job
of coloring this movie with Andrew.

2570
02:02:17,368 --> 02:02:19,454
Looks beautiful.

2571
02:02:19,455 --> 02:02:21,710
Uh, yeah.

2572
02:02:21,711 --> 02:02:24,799
Again, at every line, there are
people working so incredibly hard

2573
02:02:24,800 --> 02:02:26,011
to make what you see here.

2574
02:02:32,148 --> 02:02:35,362
Doc, who also helped record
this, uh, commentary track.

2575
02:02:39,663 --> 02:02:41,123
And Son Lux again.

2576
02:02:41,124 --> 02:02:42,668
What an incredible job
they did.

2577
02:02:42,669 --> 02:02:44,714
And it was so fun
to go out to Abbey Road,

2578
02:02:44,715 --> 02:02:47,469
be in that room
and record this score.

2579
02:02:47,470 --> 02:02:50,894
I wasn’t there the whole time, but just
to see it for a few days was amazing.

2580
02:02:55,069 --> 02:02:57,782
And special thanks
to the Merdeka,

2581
02:02:57,783 --> 02:03:00,411
Jon Watts, who helped me out
so much on this film,

2582
02:03:00,412 --> 02:03:01,832
and my friend Francis.

2583
02:03:06,968 --> 02:03:09,974
Atlanta Metro Studios. Green
River, Utah. Filmed all over.

2584
02:03:11,101 --> 02:03:12,812
Malaysia.

2585
02:03:12,813 --> 02:03:14,607
A lot of these places
you see here,

2586
02:03:14,608 --> 02:03:16,945
a lot of this is, you know,
where the effects are finished,

2587
02:03:16,946 --> 02:03:18,240
not necessarily where we shot.

2588
02:03:23,793 --> 02:03:25,294
And I’m just...
I’m killing time here

2589
02:03:25,295 --> 02:03:27,341
’cause we do have
one more scene to talk about.

2590
02:03:36,569 --> 02:03:42,872
Okay, so this scene got filmed maybe
a month before the movie came out.

2591
02:03:42,873 --> 02:03:46,253
Out in London,
on the set of <i>Avengers,</i>

2592
02:03:46,254 --> 02:03:50,178
and really it is also meant to be really,
like, a hand-off of these characters

2593
02:03:50,179 --> 02:03:52,098
into the world going forward

2594
02:03:52,099 --> 02:03:55,396
and trying to bring back that sense
of connection between these movies

2595
02:03:55,397 --> 02:03:57,818
and bringing in
the Fantastic Four.

2596
02:03:57,819 --> 02:04:01,659
Um, you know, for our movie,
what we always talked about is that

2597
02:04:01,660 --> 02:04:06,586
because of the way the movie ends
on the street and has an immediacy to it

2598
02:04:06,587 --> 02:04:08,757
and Bob’s just lost his memory,

2599
02:04:08,758 --> 02:04:12,305
you can’t really get into, you know,
the future of Bob in that moment,

2600
02:04:12,306 --> 02:04:14,602
and so for us,
on a narrative level,

2601
02:04:14,603 --> 02:04:16,021
what was really important
about this scene

2602
02:04:16,022 --> 02:04:18,652
is knowing that, you know,

2603
02:04:18,653 --> 02:04:22,785
Bob is with them, but had sort of
processed the lesson of the movie,

2604
02:04:22,786 --> 02:04:25,916
which is that, you know,
you can’t be The Sentry

2605
02:04:25,917 --> 02:04:27,920
without the other side
coming underneath,

2606
02:04:27,921 --> 02:04:31,176
and, you know, the real task
is to learn how to just be Bob.

2607
02:04:31,177 --> 02:04:34,600
And, of course, I expect, you know,
the tension between those things

2608
02:04:34,601 --> 02:04:38,399
to play out in the future,
though I have no insight into that.

2609
02:04:38,400 --> 02:04:39,527
I don’t know anything.

2610
02:04:39,528 --> 02:04:40,863
And then, of course,

2611
02:04:40,864 --> 02:04:43,242
if you have David Harbour,
you gotta use him.

2612
02:04:43,243 --> 02:04:44,452
He carries it all.

2613
02:04:44,453 --> 02:04:46,749
<i>He’s dumb, litigious man,
but I am smart.</i>

2614
02:04:46,750 --> 02:04:48,920
<i>I am smart man.
I have smart solve.</i>

2615
02:04:48,921 --> 02:04:53,597
<i>Avengerz.</i>

2616
02:04:53,598 --> 02:04:56,895
<i>Avengerz. With a "Z,"
there is no copyright.</i>

2617
02:04:56,896 --> 02:04:58,565
<i>- No.
- So soft too.</i>

2618
02:04:58,566 --> 02:05:00,819
But, yeah, it just,
you know, it looks different,

2619
02:05:00,820 --> 02:05:02,656
and we talked about
embracing that.

2620
02:05:02,657 --> 02:05:05,662
You know, it sounds different.
It has the music that feels...

2621
02:05:05,663 --> 02:05:07,791
You know, it’s <i>Avengers</i> music,
not our music.

2622
02:05:07,792 --> 02:05:11,298
And really seeing this team
kind of step into a new light

2623
02:05:11,299 --> 02:05:14,346
and, you know,
see how that feels.

2624
02:05:14,347 --> 02:05:17,102
<i>And for you, Bob, in the corner
hiding, pretending to read the book.</i>

2625
02:05:18,021 --> 02:05:19,857
And this is, yeah.

2626
02:05:19,858 --> 02:05:22,780
You just get to see
that Bob is there with them,

2627
02:05:22,781 --> 02:05:27,497
and for our movie, you know, if
this has any narrative import on it,

2628
02:05:27,498 --> 02:05:29,835
that was the most important
thing for us about this scene.

2629
02:05:29,836 --> 02:05:31,463
<i>- Get a satellite image.
- And fire up--</i>

2630
02:05:31,464 --> 02:05:33,718
<i>And fire...
I was gonna say that.</i>

2631
02:05:33,719 --> 02:05:36,683
And, yeah, just a really
interesting day to be out there

2632
02:05:36,684 --> 02:05:38,310
when they were filming this,

2633
02:05:38,311 --> 02:05:41,526
and they were filming
some stuff for <i>Fantastic Four</i>

2634
02:05:41,527 --> 02:05:44,907
on an adjoining stage in London,
and just seeing that whole...

2635
02:05:44,908 --> 02:05:48,372
You know, something Lou was
always excited about for Marvel

2636
02:05:48,373 --> 02:05:52,673
was the idea of, you know, having a lot
where all these things were getting made

2637
02:05:52,674 --> 02:05:55,386
and getting to go around and feeling
the connectedness between them,

2638
02:05:55,387 --> 02:05:57,975
and it really felt like
I was there on that day

2639
02:05:57,976 --> 02:06:02,191
where, in theory, we were finishing
our movie and starting another,

2640
02:06:02,192 --> 02:06:06,909
and another Marvel movie was being
made, you know, at a stage next door.

2641
02:06:06,910 --> 02:06:10,207
And it was just a really,
really nice day.

2642
02:06:10,208 --> 02:06:11,377
<i>Extradimensional?
What does that mean?</i>

2643
02:06:18,224 --> 02:06:20,145
<i>It’s a...
It’s a cool ship.</i>

2644
02:06:23,276 --> 02:06:26,658
And there we go. It is very fun
to watch people applaud for this.

2645
02:06:29,372 --> 02:06:36,426
And there we go. <i>The New Avengers,</i>
not the <i>Thunderbolts*.</i> And Bob.

2646
02:06:36,427 --> 02:06:40,226
Thank you guys so much for
watching, and sorry it was just me,

2647
02:06:40,227 --> 02:06:41,897
but we got through it.