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[Schreier] Hi, everybody. I’m Jake
Schreier, director of Thunderbolts*.
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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 Mission: Impossible 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 Oldboy 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.
[chuckles] 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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Well, whatever.
You’re useless to me...
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[Schreier] 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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Did Valentina send you?
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This research is property
of OXE Group.
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- You’re gonna tell me I don’t understand.
- You don’t understand.
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[Schreier] 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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Oh, God.
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[Schreier] 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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[sighs]
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Oh, damn.
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I needed that face.
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[Schreier] 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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- ...of OXE Group?
- Yes.
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Although, I have fully divested
in OXE since taking office.
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[Schreier] 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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- ...this investigation?
- Oh, of course not.
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[chuckles]
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Shit. We gotta get
all of this outta here...
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[Schreier] 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... [chuckles]
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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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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
226
00:10:25,834 --> 00:10:27,377
that goes a lot
of different places.
227
00:10:27,378 --> 00:10:30,801
And I... I just remember
what a lift it gave us,
228
00:10:30,802 --> 00:10:35,603
even though it is in such a small
place and feels kind of almost dingy.
229
00:10:35,604 --> 00:10:40,654
But to see, you know, really the theme of
what our movie is about established here
230
00:10:40,655 --> 00:10:42,617
with these two great actors
who are really bringing it
231
00:10:42,618 --> 00:10:44,787
and play so well
off each other...
232
00:10:44,788 --> 00:10:46,833
You know,
sometimes on these action--
233
00:10:46,834 --> 00:10:49,964
I think the biggest learning curve for
me making a movie like this was that
234
00:10:49,965 --> 00:10:54,181
the proportion of the shoot is not
equal to the proportion of what you watch.
235
00:10:54,182 --> 00:10:58,815
I love directing action, but you
spend so long on the action sequences
236
00:10:58,816 --> 00:11:01,195
that, you come to
a scene like this,
237
00:11:01,196 --> 00:11:06,163
and it only makes up one day
of your, you know, 72-day shoot.
238
00:11:06,164 --> 00:11:08,669
But in the movie,
it’s such a huge part
239
00:11:08,670 --> 00:11:12,425
of establishing
what the movie is about.
240
00:11:12,426 --> 00:11:15,014
You know, and for Florence right
here, look at this moment where,
241
00:11:15,015 --> 00:11:16,768
what is the point
of any of this,
242
00:11:16,769 --> 00:11:19,147
to kind of allude to
the purposelessness of life,
243
00:11:19,148 --> 00:11:21,235
but not in a way
that feels overwrought.
244
00:11:21,236 --> 00:11:23,699
And that actually
could be missed by Alexei.
245
00:11:23,700 --> 00:11:26,453
I mean, that takes
such deft acting.
246
00:11:26,454 --> 00:11:30,921
And, again, for David here to
not overly lean into the humor of it.
247
00:11:30,922 --> 00:11:33,552
I mean, Red Guardian is
absolutely very funny,
248
00:11:33,553 --> 00:11:35,388
and David is amazing at that,
249
00:11:35,389 --> 00:11:37,017
but he never goes too far
in that direction
250
00:11:37,018 --> 00:11:39,522
so that he can pull back
in the moments like this,
251
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.
252
00:11:44,617 --> 00:11:48,289
We always talked about Alexei as
sort of doing it for the wrong reasons,
253
00:11:48,290 --> 00:11:50,418
that he was the one that
was gonna assemble this team
254
00:11:50,419 --> 00:11:52,297
’cause he believed
in the idea of teams.
255
00:11:52,298 --> 00:11:56,096
But he’s invested in this sort
of meta idea of superheroes
256
00:11:56,097 --> 00:11:58,351
and forming a team
and to be aware of this.
257
00:11:58,352 --> 00:12:01,816
He can say things like, "Scrappy
antiheroes," like he does later.
258
00:12:01,817 --> 00:12:03,987
But, of course,
what he really needs to learn
259
00:12:03,988 --> 00:12:06,951
is that you’re supposed to
be doing it for the sake of it,
260
00:12:06,952 --> 00:12:09,457
not for the glory,
as he later says.
261
00:12:11,252 --> 00:12:12,379
Um... [chuckles]
262
00:12:12,380 --> 00:12:14,466
This is a small personal note.
263
00:12:14,467 --> 00:12:17,807
These soccer uniforms are based,
uh, on my soccer team growing up,
264
00:12:17,808 --> 00:12:21,271
which is what I pitched as
the basis for Thunderbolts*.
265
00:12:21,272 --> 00:12:23,568
We were called the Colossal
Cleats. I named the team.
266
00:12:23,569 --> 00:12:26,240
We lost every game.
I was the goalie.
267
00:12:26,241 --> 00:12:28,787
Uh... All of that is true.
268
00:12:28,788 --> 00:12:30,498
And Sanja Hays
did an incredible job
269
00:12:30,499 --> 00:12:34,381
of recreating those, uh, reversible
mesh jerseys from my childhood.
270
00:12:34,382 --> 00:12:35,718
It was strange to see.
271
00:12:35,719 --> 00:12:38,472
Reporting for duty.
What’s my next assignment?
272
00:12:38,473 --> 00:12:40,936
Thank you, Ms. Belova.
I was starting to worry.
273
00:12:40,937 --> 00:12:42,272
After this though, I--
274
00:12:42,273 --> 00:12:43,900
[Schreier] This is
an interesting phone call
275
00:12:43,901 --> 00:12:45,486
in that we always weren’t sure
if it was gonna be okay
276
00:12:45,487 --> 00:12:48,910
that our two kind of, you know,
our antagonist and our protagonist
277
00:12:48,911 --> 00:12:50,831
never really meet in person
in the movie.
278
00:12:50,832 --> 00:12:53,503
There used to be versions
where they did, and then it felt like
279
00:12:53,504 --> 00:12:56,885
by getting them together, it was
almost gonna cause too many problems,
280
00:12:56,886 --> 00:12:59,139
where, if Val was able
to search her out,
281
00:12:59,140 --> 00:13:02,521
she would know that, uh, she
wasn’t really in the right place
282
00:13:02,522 --> 00:13:04,692
to do what she needed to do,
283
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,
284
00:13:07,532 --> 00:13:09,786
so the phone call made sense
as a separation
285
00:13:09,787 --> 00:13:13,585
and also a way to just propel
us into the action with that cut
286
00:13:13,586 --> 00:13:17,091
and use this more
as a kind of montage voice-over
287
00:13:17,092 --> 00:13:18,887
to establish the rules
of the world.
288
00:13:18,888 --> 00:13:22,895
This, uh... A lot of this is CG,
but this is a real helicopter shot
289
00:13:22,896 --> 00:13:25,609
that Jake Morrison, our visual
effects supervisor, did out in Utah.
290
00:13:25,610 --> 00:13:29,282
And then this whole plaza,
this is real, that entire facade.
291
00:13:29,283 --> 00:13:32,623
This whole plaza, the rocks,
Grace built all of this out in Atlanta,
292
00:13:32,624 --> 00:13:34,961
and then, you know, anything
beyond that is extension.
293
00:13:34,962 --> 00:13:37,800
But all of this, they shot
this entirely in-camera,
294
00:13:37,801 --> 00:13:40,889
except, I think, at the very, very edges
there might be some trees painted out.
295
00:13:40,890 --> 00:13:43,143
You’ll have full access.
296
00:13:43,144 --> 00:13:45,941
[Schreier] Probably my favorite
shot in the film coming up right here.
297
00:13:45,942 --> 00:13:47,903
This was one I really
just wanted for the trailer.
298
00:13:47,904 --> 00:13:49,406
I wasn’t even sure we’d use it.
299
00:13:49,407 --> 00:13:51,201
But we actually ended up...
You know, it’s funny.
300
00:13:51,202 --> 00:13:53,372
These little pieces
of her going down to the vault,
301
00:13:53,373 --> 00:13:55,502
these got shot over the course
of the entire shoot,
302
00:13:55,503 --> 00:13:57,756
’cause we didn’t have time
to do it as its own scene,
303
00:13:57,757 --> 00:14:00,469
and the sets were getting built in
different pieces. But I really wanted...
304
00:14:00,470 --> 00:14:03,183
I actually didn’t think we
would end up using all of them,
305
00:14:03,184 --> 00:14:06,148
but there was something nice
about, even though it’s-it’s small,
306
00:14:06,149 --> 00:14:08,987
on a smaller scale
of getting to see each piece
307
00:14:08,988 --> 00:14:12,035
of where eventually our characters
were gonna have to get themselves out of,
308
00:14:12,036 --> 00:14:15,709
and if you don’t show every piece of
that, then you feel disconnected from it.
309
00:14:15,710 --> 00:14:17,504
But you now,
just subconsciously,
310
00:14:17,505 --> 00:14:20,009
have seen every
single one of the places
311
00:14:20,010 --> 00:14:23,642
that we’re later gonna revisit when
they’re stuck down there as a team.
312
00:14:23,643 --> 00:14:27,524
Um, this vault also exists
as an entirely built set.
313
00:14:27,525 --> 00:14:30,112
Those side corridors
aren’t real,
314
00:14:30,113 --> 00:14:34,329
but that entire corridor that she
walks down into this giant vault...
315
00:14:34,330 --> 00:14:37,962
Grace built this
incredible set where, again,
316
00:14:37,963 --> 00:14:41,552
it just means that in this whole
fight, everything behind their heads,
317
00:14:41,553 --> 00:14:43,222
all the texture
that they’re interacting with,
318
00:14:43,223 --> 00:14:45,978
everything that they’re
inside of, that’s all real.
319
00:14:45,979 --> 00:14:49,150
And, again, it means that
it’s a slightly...
320
00:14:49,151 --> 00:14:51,572
Hilariously, given how big it
is, it’s probably a smaller set
321
00:14:51,573 --> 00:14:53,785
than you would ordinarily see
in one of these movies,
322
00:14:53,786 --> 00:14:58,628
’cause usually you would use background
extension to make a larger space,
323
00:14:58,629 --> 00:15:01,383
but then it also wouldn’t have
that same texture of reality,
324
00:15:01,384 --> 00:15:05,684
and that was something that we
tried to prioritize as much as we could.
325
00:15:05,685 --> 00:15:09,942
Okay, so here begins the fight. This
was one of, you know, Eric Pearson’s...
326
00:15:09,943 --> 00:15:12,948
This was in the very first
draft of the script that I read,
327
00:15:12,949 --> 00:15:15,704
this idea of a fight where
everyone is sent to kill each other.
328
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,
329
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.
330
00:15:24,096 --> 00:15:27,728
But it became, of course, a very,
very complicated sequence to design
331
00:15:27,729 --> 00:15:31,401
with Heidi Moneymaker, our
wonderful stunt coordinator, uh,
332
00:15:31,402 --> 00:15:34,742
trying to establish the idea that each
of them is going after a different one
333
00:15:34,743 --> 00:15:39,334
was something that took
a lot of stuntvis, they call it,
334
00:15:39,335 --> 00:15:42,716
and in the end, Andrew
Palermo, my DP, and I went in
335
00:15:42,717 --> 00:15:46,223
and sort of shot our own
iPhone version of this fight,
336
00:15:46,224 --> 00:15:49,605
so that each of the shots were
what we were gonna shoot on the day.
337
00:15:49,606 --> 00:15:52,276
And had that all edited,
and we would reedit it
338
00:15:52,277 --> 00:15:54,615
and add pieces and
make it clearer and clearer.
339
00:15:54,616 --> 00:15:58,205
And then on this movie,
this wonderful thing about it
340
00:15:58,206 --> 00:16:03,215
was that we had Harry Yoon
and Angela Catanzaro, our editors,
341
00:16:03,216 --> 00:16:04,969
on set with us
cutting as we went.
342
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,
343
00:16:08,602 --> 00:16:10,479
and we’d basically be
cutting on top of the sequence
344
00:16:10,480 --> 00:16:14,112
that we had edited before
as stunt reference.
345
00:16:14,113 --> 00:16:18,453
And then we could see, oh, that works,
but actually we need one more piece here.
346
00:16:18,454 --> 00:16:20,166
I mean, even lines like
this of, "There you are,"
347
00:16:20,167 --> 00:16:22,754
which seems a little silly
for a character to say,
348
00:16:22,755 --> 00:16:25,802
to remind the audience that
that’s Yelena’s target.
349
00:16:25,803 --> 00:16:27,639
All of the little pieces
of it, you know,
350
00:16:27,640 --> 00:16:29,560
I think it was our first
two weeks of shooting.
351
00:16:29,561 --> 00:16:31,606
It felt a little bit
like being under water.
352
00:16:31,607 --> 00:16:33,442
It was a tough sequence
to start out in,
353
00:16:33,443 --> 00:16:37,200
just ’cause, again, these line
pulls and the stunt stuff take so long
354
00:16:37,201 --> 00:16:39,830
that it felt like, okay, when are we
gonna get to the more emotional stuff?
355
00:16:39,831 --> 00:16:43,295
But, also, as we put it together,
it was a great kind of reference
356
00:16:43,296 --> 00:16:46,301
for how this movie was gonna
work and to establish the tone.
357
00:16:46,302 --> 00:16:48,848
And, also, felt a little bit,
in this weird way,
358
00:16:48,849 --> 00:16:52,230
like, we, as a movie, we’re doing
what the characters were doing,
359
00:16:52,231 --> 00:16:54,610
which was, we were starting
in this very contained vault,
360
00:16:54,611 --> 00:16:56,906
and eventually, we’re gonna
work our way out of it,
361
00:16:56,907 --> 00:16:58,408
eventually to Utah,
towards the end of the shoot,
362
00:16:58,409 --> 00:16:59,912
and then Malaysia
at the very end.
363
00:16:59,913 --> 00:17:03,043
So this is where we started
the whole thing.
364
00:17:03,044 --> 00:17:06,341
There’s Bob, just a little hint of
Bob. I don’t know how many...
365
00:17:06,342 --> 00:17:08,387
Maybe on your third viewing,
you’d catch that.
366
00:17:08,388 --> 00:17:10,349
Maybe on the first...
367
00:17:10,350 --> 00:17:12,562
Um, but, again, yeah,
even those shots, okay.
368
00:17:12,563 --> 00:17:14,775
So there’s Ghost, that’s
my target, I have to throw it.
369
00:17:14,776 --> 00:17:20,369
This is, um... Federico D’Alessandro,
one of our main board artists,
370
00:17:20,370 --> 00:17:22,499
who did some of the biggest
sequences in this movie.
371
00:17:24,044 --> 00:17:25,839
He and his wife, Coral,
she edits the animatics.
372
00:17:25,840 --> 00:17:27,843
It’s almost like
watching animated movies.
373
00:17:27,844 --> 00:17:30,431
And yeah, that knife catch
was in one of his early boards,
374
00:17:30,432 --> 00:17:32,561
and we just felt like
we had to pull that off.
375
00:17:32,562 --> 00:17:35,483
And a lot of discussions of the little
camera movements necessary to make that work.
376
00:17:37,864 --> 00:17:40,492
Okay, so, yeah, that’s...
that’s a big moment.
377
00:17:40,493 --> 00:17:42,831
I’ve been asked about this
a lot obviously.
378
00:17:42,832 --> 00:17:45,252
We felt,
coming out of the strike,
379
00:17:45,253 --> 00:17:49,970
when we were, uh, redeveloping the
script and spending more months in it,
380
00:17:49,971 --> 00:17:53,268
we really felt like the movie
was a little bit bloodless.
381
00:17:53,269 --> 00:17:57,109
Um, and in order to establish this
amount of tension that we wanted for it,
382
00:17:57,110 --> 00:18:01,994
it felt like, as sad as it was to
not get to work with Olga more,
383
00:18:01,995 --> 00:18:05,042
that there was a value
in doing an unexpected thing
384
00:18:05,043 --> 00:18:08,173
and having one of our
characters kill another one,
385
00:18:08,174 --> 00:18:10,177
because that’s what
they were all sent there to do.
386
00:18:10,178 --> 00:18:12,682
And to really establish that
as a possibility in this world,
387
00:18:12,683 --> 00:18:14,352
we thought it was worth it
388
00:18:14,353 --> 00:18:16,189
and that it could hang over
the rest of the movie.
389
00:18:16,190 --> 00:18:18,068
And, also,
as far as where to do it,
390
00:18:18,069 --> 00:18:20,615
that if we did it later, the
emotion of that, while powerful,
391
00:18:20,616 --> 00:18:22,661
would step on the Yelena
and Bob relationship,
392
00:18:22,662 --> 00:18:24,288
which was crucial to the movie.
393
00:18:24,289 --> 00:18:27,086
And speaking of Bob, I just
talked over his introduction,
394
00:18:27,087 --> 00:18:31,010
but obviously he will become more
and more important as we go in here.
395
00:18:31,011 --> 00:18:34,183
We now find, uh, Bucky
the spy working the room.
396
00:18:34,184 --> 00:18:36,312
And this benefit,
you know, this is fun,
397
00:18:36,313 --> 00:18:39,444
where, you know, again,
we’re referencing this history.
398
00:18:39,445 --> 00:18:42,324
Given where the movie is gonna end up
and what they’re gonna be announced as,
399
00:18:42,325 --> 00:18:45,748
we felt like it was important to
weave in as much as we could,
400
00:18:45,749 --> 00:18:48,378
these kind of tinges
of Marvel’s own history.
401
00:18:48,379 --> 00:18:51,092
What’s fun about working in a place
like this is that they have those things.
402
00:18:51,093 --> 00:18:54,558
So Grace built that whole "A,"
the Stark "A" in the background,
403
00:18:54,559 --> 00:18:57,939
but a lot of the items that
you see around in this room
404
00:18:57,940 --> 00:19:00,027
come from the actual
Marvel vault.
405
00:19:00,028 --> 00:19:04,035
You know, they’ve lovingly protected
and curated all of these things,
406
00:19:04,036 --> 00:19:08,084
and we could pull them out for a
scene like this to reference that history
407
00:19:08,085 --> 00:19:12,384
of, uh, of the last time the
Avengers had to save New York.
408
00:19:12,385 --> 00:19:16,769
You’re scared because your
investigation of my office came up clean.
409
00:19:16,770 --> 00:19:18,773
Squeaky clean.
Mm-hmm.
410
00:19:18,774 --> 00:19:20,985
[Schreier] I love Wendell
so much in this scene.
411
00:19:20,986 --> 00:19:23,406
There was more to this scene
that is all very funny
412
00:19:23,407 --> 00:19:26,246
and that we would have liked to
keep in, but we really felt like, um,
413
00:19:26,247 --> 00:19:28,918
as we went through
the edits and screenings,
414
00:19:28,919 --> 00:19:31,799
that we needed
to get out of that vault.
415
00:19:31,800 --> 00:19:34,930
Um, you know, obviously we love a lot
of the things that happened down there,
416
00:19:34,931 --> 00:19:37,101
but spending too long
in this section of the movie
417
00:19:37,102 --> 00:19:39,815
and being too contained
within this benefit,
418
00:19:39,816 --> 00:19:42,612
so there was a lot of kind of
editing that went into this section
419
00:19:42,613 --> 00:19:44,031
to streamline things,
420
00:19:44,032 --> 00:19:47,162
even at the expense sometimes
of really good moments.
421
00:19:47,163 --> 00:19:50,002
Um, just to keep the
overall pace moving forward
422
00:19:50,003 --> 00:19:53,843
and not spend too long away
from your perspective characters.
423
00:19:53,844 --> 00:19:56,640
But I do love Sebastian
and Geraldine in this scene,
424
00:19:56,641 --> 00:19:59,563
especially her, uh,
her business card line.
425
00:19:59,564 --> 00:20:02,777
That was something that the
two of them came up with together
426
00:20:02,778 --> 00:20:05,533
that feels like
a really fun kind of...
427
00:20:05,534 --> 00:20:08,413
Again, just trying to establish
Bucky as this fish out of water
428
00:20:08,414 --> 00:20:10,125
trying to do things
a different way,
429
00:20:10,126 --> 00:20:13,841
but it’s not exactly working
as well as he would like it to,
430
00:20:13,842 --> 00:20:15,887
and we need to
kind of feel that frustration,
431
00:20:15,888 --> 00:20:19,811
and then that’ll buy us
the lift of him coming in
432
00:20:19,812 --> 00:20:21,608
on the motorcycle
later in the film.
433
00:20:22,818 --> 00:20:24,153
You say you know
who I am.
434
00:20:24,154 --> 00:20:26,199
So you know my story
435
00:20:26,200 --> 00:20:28,454
and you know I didn’t have
a choice who I worked for.
436
00:20:29,206 --> 00:20:30,792
But you do.
437
00:20:30,793 --> 00:20:32,879
[Schreier]
And Geraldine kind of has
438
00:20:32,880 --> 00:20:34,340
this perspective character
for, you know,
439
00:20:34,341 --> 00:20:36,970
she says later, "I was in high
school when the Avengers came."
440
00:20:36,971 --> 00:20:40,770
You know, establishing her as this
kind of moral perspective on the film
441
00:20:40,771 --> 00:20:44,318
of someone just trying to work in a
job and not trying to do anything evil,
442
00:20:44,319 --> 00:20:48,577
but having a boss that is, you
know, perhaps beyond complicated.
443
00:20:48,578 --> 00:20:51,082
And to navigate those ideas, I
think, is an interesting way in,
444
00:20:51,083 --> 00:20:54,548
especially for younger people
watching the film.
445
00:20:54,549 --> 00:20:56,635
I’m-I’m Bob.
I told you. I’m, uh...
446
00:20:56,636 --> 00:20:58,806
[Schreier] Okay, here’s Lewis
doing his Bob thing.
447
00:20:58,807 --> 00:21:01,812
We know that happens in another
major franchise from a few years ago.
448
00:21:01,813 --> 00:21:03,899
When I first met with Lewis
about doing this part,
449
00:21:03,900 --> 00:21:06,739
he asked, "Does he have to be
named Bob? ’Cause I have done that."
450
00:21:06,740 --> 00:21:09,661
And I was like, "Well, it’s pretty
important to what we’ve done,"
451
00:21:09,662 --> 00:21:12,834
so it was very nice of him
to get past that
452
00:21:12,835 --> 00:21:17,176
and embrace the role in other ways,
and, boy, are we lucky that he did.
453
00:21:17,177 --> 00:21:21,309
This was one of the great joys, you know,
just when we first started rehearsals,
454
00:21:21,310 --> 00:21:25,526
it’s just with this core four that
we spend so long with in the vault.
455
00:21:25,527 --> 00:21:28,156
You know, just how quickly the
chemistry seemed to be there.
456
00:21:28,157 --> 00:21:32,707
And I think Hannah does such amazing
work here as the glue for this group,
457
00:21:32,708 --> 00:21:36,507
and keeping the rhythm and the
pacing up and tying them together.
458
00:21:36,508 --> 00:21:41,098
And then Wyatt, you know, is someone who
I worked with on a show called Lodge 49,
459
00:21:41,099 --> 00:21:43,019
and we’ve been friends
for a long time.
460
00:21:43,020 --> 00:21:45,398
So I knew that there was
this other side of Wyatt
461
00:21:45,399 --> 00:21:49,240
that was deeply affable
and charismatic.
462
00:21:49,241 --> 00:21:52,246
And, I mean, John Walker, obviously,
we’re meant to have some fun with him here,
463
00:21:52,247 --> 00:21:55,210
but knowing that he had that,
even if, you know,
464
00:21:55,211 --> 00:21:58,049
it hadn’t kind of leaned
in that direction, you know,
465
00:21:58,050 --> 00:22:00,387
his work in the MCU
before that,
466
00:22:00,388 --> 00:22:03,059
it felt exciting knowing that
we could get there with him.
467
00:22:03,060 --> 00:22:06,775
And Joanna did such a great job
in these scenes,
468
00:22:06,776 --> 00:22:12,327
establishing this kind of
dynamic between the girls and him,
469
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
470
00:22:16,086 --> 00:22:18,757
and left to die, where
they’re more able to process it.
471
00:22:18,758 --> 00:22:22,932
And, again, we’re not, you
know, leaning into that too hard
472
00:22:22,933 --> 00:22:24,895
other than to give him
somewhere to go.
473
00:22:24,896 --> 00:22:28,611
If it’s about, you know, eventually
him having to be honest with himself
474
00:22:28,612 --> 00:22:31,240
about what he’s done and
what’s happened to his family
475
00:22:31,241 --> 00:22:34,204
that’s starting it
in this dishonest place,
476
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.
477
00:22:38,464 --> 00:22:41,302
That-That felt like a really
fun arc to take him on.
478
00:22:41,303 --> 00:22:44,099
I’m not leaving here without
completing my mission.
479
00:22:44,100 --> 00:22:47,356
Valentina gave me a clean slate
guarantee, and I’m not screwing that up.
480
00:22:47,357 --> 00:22:48,901
[Schreier]
And Lewis is so good here.
481
00:22:48,902 --> 00:22:50,905
We have such little
narrative real estate,
482
00:22:50,906 --> 00:22:53,409
that you have to come to
care about this guy very quickly
483
00:22:53,410 --> 00:22:55,623
before we go to the other sides
of the character.
484
00:22:55,624 --> 00:22:59,004
And, you know, he and I did a
lot of work in rehearsal and in prep
485
00:22:59,005 --> 00:23:02,512
and kind of going through the
script, really every weekend,
486
00:23:02,513 --> 00:23:04,348
and we would go line by line
487
00:23:04,349 --> 00:23:09,358
and talk about this idea of Bob
and The Sentry and the Void,
488
00:23:09,359 --> 00:23:13,116
which even in this early phase,
like, which side of the character
489
00:23:13,117 --> 00:23:15,621
each of those lines leans into
490
00:23:15,622 --> 00:23:18,544
and kind of mapping that out
so that later when we get there,
491
00:23:18,545 --> 00:23:20,214
it would be... it would feel
like it had been established.
492
00:23:21,592 --> 00:23:22,677
That’s the sound barrier.
493
00:23:22,678 --> 00:23:24,764
[breathes heavily]
494
00:23:24,765 --> 00:23:26,560
[Schreier] Yeah, again, all
of this... this whole structure,
495
00:23:26,561 --> 00:23:29,231
Eric Pearson had set up so it
really remains from that original draft
496
00:23:29,232 --> 00:23:31,027
of them all being
locked in there
497
00:23:31,028 --> 00:23:32,572
and where it goes
with the fireball.
498
00:23:32,573 --> 00:23:34,324
That they’d be trapped
in a vault,
499
00:23:34,325 --> 00:23:36,495
sent to kill each other
and trapped,
500
00:23:36,496 --> 00:23:38,207
needing to work together
to get out.
501
00:23:38,208 --> 00:23:40,504
And everything that we
talked about in that early phase
502
00:23:40,505 --> 00:23:43,552
was about, you know,
503
00:23:43,553 --> 00:23:45,472
people thrown together
who could not trust each other,
504
00:23:45,473 --> 00:23:47,727
but were going to need to
in order to get out of this.
505
00:23:47,728 --> 00:23:48,897
Holy shit, Bucky.
506
00:23:50,066 --> 00:23:52,194
The assistant, she’s ductile.
507
00:23:52,195 --> 00:23:53,321
Ductile?
508
00:23:53,322 --> 00:23:54,532
Yeah.
509
00:23:54,533 --> 00:23:56,661
[Schreier]
Love Sebastian in this scene.
510
00:23:56,662 --> 00:24:01,045
He’s so excited about his spy work,
and... [chuckles] ...Wendell just...
511
00:24:01,046 --> 00:24:04,176
Again, just this idea of having
characters that can be in this world
512
00:24:04,177 --> 00:24:06,388
where it doesn’t feel like
we’re breaking the fourth wall
513
00:24:06,389 --> 00:24:08,017
or stepping so far
outside of it,
514
00:24:08,018 --> 00:24:11,190
but the character themself
can comment on this idea
515
00:24:11,191 --> 00:24:12,944
of how Bucky has
approached things in the past
516
00:24:12,945 --> 00:24:15,825
and how that’s not the world
that he’s living in now,
517
00:24:15,826 --> 00:24:19,039
and when you have Wendell Pierce
doing it, then... then it really lands.
518
00:24:19,040 --> 00:24:20,793
...then let the system
do its job.
519
00:24:20,794 --> 00:24:23,464
The system that goes on
recess every day at 4:00 p.m.?
520
00:24:23,465 --> 00:24:25,928
We are in a good spot,
I assure you.
521
00:24:25,929 --> 00:24:29,602
My team is putting together a
juicy packet for the next hearing.
522
00:24:29,603 --> 00:24:33,234
[Schreier] I think Joanna
added this "juicy" stuff.
523
00:24:33,235 --> 00:24:38,620
And when Wendell says "juicy" and then we
do it again later, it really... [chuckles]
524
00:24:38,621 --> 00:24:40,415
I think there are
a couple takes
525
00:24:40,416 --> 00:24:42,712
where he said "juicy" twice
just to really lean into it,
526
00:24:42,713 --> 00:24:45,801
but I think we landed on a good,
solid one. Felt like the right place.
527
00:24:45,802 --> 00:24:48,222
...has been completely
sealed off. All right, then.
528
00:24:48,223 --> 00:24:51,145
[Schreier] And, again, yeah,
this idea of, you know,
529
00:24:51,146 --> 00:24:54,276
an assistant who wants
to prove herself to her boss,
530
00:24:54,277 --> 00:24:56,865
but at the same time, is uncertain
about the path that they’re going down,
531
00:24:56,866 --> 00:24:58,660
and Julia just having
no patience for that.
532
00:24:58,661 --> 00:24:59,454
Oh, my God.
533
00:25:01,291 --> 00:25:03,587
[Yelena]
Hey. Job or not...
534
00:25:03,588 --> 00:25:06,383
[Schreier] And this... Okay,
sure, it’s pretty dismissive.
535
00:25:06,384 --> 00:25:09,014
But it feels like, again, this is
honest to who these characters are
536
00:25:09,015 --> 00:25:11,227
at the beginning of our film
where it is just a job,
537
00:25:11,228 --> 00:25:13,022
and this is what they do.
538
00:25:13,023 --> 00:25:15,068
And, you know, Florence
found it very important,
539
00:25:15,069 --> 00:25:18,115
even though her character didn’t
know Antonia directly so well,
540
00:25:18,116 --> 00:25:20,286
but was aware of her story.
541
00:25:20,287 --> 00:25:23,877
You know, wanting to have some
sense of protectiveness over that idea
542
00:25:23,878 --> 00:25:25,547
that’s still honoring
that she’s a character
543
00:25:25,548 --> 00:25:27,510
who is in a dark place
and doing these things.
544
00:25:27,511 --> 00:25:29,514
You don’t know that for sure.
Could be for anything.
545
00:25:29,515 --> 00:25:31,100
Could be for when
they come to pick me up.
546
00:25:31,101 --> 00:25:32,477
[Schreier chuckles]
547
00:25:32,478 --> 00:25:34,941
Again, yeah, this is more
of that dynamic
548
00:25:34,942 --> 00:25:38,197
that Joanna established
between the three that I find so fun.
549
00:25:38,198 --> 00:25:39,491
Okay, it’s an incinerator.
550
00:25:39,492 --> 00:25:41,663
Oh, boy. That is no way to go.
551
00:25:41,664 --> 00:25:43,165
Well, how would you
like to die today, Bob?
552
00:25:43,166 --> 00:25:45,336
- Okay, ghost lady.
- Ava.
553
00:25:45,337 --> 00:25:48,217
Sure. Whatever. Don’t care. We
need to get you through the walls...
554
00:25:48,218 --> 00:25:50,179
[Schreier]
I remember this line.
555
00:25:50,180 --> 00:25:51,892
Look, in these movies, you’re
gonna have to do some exposition.
556
00:25:53,478 --> 00:25:54,605
What?
557
00:25:54,606 --> 00:25:55,899
"They built it just for her.
558
00:25:55,900 --> 00:25:57,277
It’s gotta have
an independent power source."
559
00:25:57,278 --> 00:25:59,907
I remember Wyatt and Florence
trying to pass this line
560
00:25:59,908 --> 00:26:02,830
back and forth to each other
’cause it was hard to say.
561
00:26:02,831 --> 00:26:05,711
Uh... I think Wyatt was like,
"Maybe you could say that,"
562
00:26:05,712 --> 00:26:08,215
and Florence was like, "Nah, I
think you’ve got it. I think you’re good."
563
00:26:08,216 --> 00:26:09,595
And Wyatt did very well
with that in the end.
564
00:26:11,181 --> 00:26:12,141
[breathing heavily]
565
00:26:16,483 --> 00:26:19,864
[Schreier] Again, just trying to
seed the sort of origins of Bob here,
566
00:26:19,865 --> 00:26:22,118
you know, that they don’t pay
quite enough attention to
567
00:26:22,119 --> 00:26:23,664
’cause they’re distracted
with other things.
568
00:26:24,290 --> 00:26:26,126
Move!
569
00:26:26,127 --> 00:26:28,507
[Schreier] But, yeah,
this was sort of the last...
570
00:26:28,508 --> 00:26:32,305
I think the last thing
we filmed in this vault area.
571
00:26:32,306 --> 00:26:35,896
Uh... Getting them out and that
search during the countdown.
572
00:26:35,897 --> 00:26:38,150
And this was such an
important moment in the shoot,
573
00:26:38,151 --> 00:26:41,281
’cause as they go to the door here,
they’re waiting for the countdown.
574
00:26:41,282 --> 00:26:43,703
I remember I went up to Florence,
and, of course, we hadn’t shot it yet,
575
00:26:43,704 --> 00:26:45,999
and I said,
"Just in this moment,
576
00:26:46,000 --> 00:26:48,505
while you’re waiting to see
if the door will open or not,
577
00:26:48,506 --> 00:26:52,555
just think about being on that
building from the beginning of the film
578
00:26:52,556 --> 00:26:54,892
and how you feel, if there’s
anything that you would do
579
00:26:54,893 --> 00:26:59,902
in connecting with that sense
of kind of loss or hopelessness,"
580
00:26:59,903 --> 00:27:02,031
and she thought that was
so interesting, and she did...
581
00:27:02,032 --> 00:27:04,077
I mean, we did the next take,
and it was beautiful.
582
00:27:04,078 --> 00:27:07,835
She did this thing she does
here of closing her eyes,
583
00:27:07,836 --> 00:27:09,714
taking a deep breath,
584
00:27:09,715 --> 00:27:11,383
and perhaps there’s
a form of acceptance,
585
00:27:11,384 --> 00:27:13,429
and then of course
the door opens and she’s out.
586
00:27:13,430 --> 00:27:16,351
But then that became this memetic
idea for the rest of the movie,
587
00:27:16,352 --> 00:27:18,899
so she does that four times, the
deep breath and open her eyes--
588
00:27:18,900 --> 00:27:20,318
at the beginning,
589
00:27:20,319 --> 00:27:21,863
then when she steps
into the Void
590
00:27:21,864 --> 00:27:23,240
and then at
the very end of the film.
591
00:27:23,241 --> 00:27:26,413
But that wasn’t written in
as exactly what would happen.
592
00:27:26,414 --> 00:27:28,752
It was a thing that
she did in this moment
593
00:27:28,753 --> 00:27:30,631
based on that idea
that we then took
594
00:27:30,632 --> 00:27:33,553
and translated
to the rest of the film.
595
00:27:33,554 --> 00:27:37,435
I think this is one of Grace’s
most beautiful sets. Um...
596
00:27:37,436 --> 00:27:40,399
When we talked about doing
the surrealism of the Void,
597
00:27:40,400 --> 00:27:43,782
we really wanted to
try to find a way to...
598
00:27:43,783 --> 00:27:47,038
in sort of a Gondry or Spike
Jonze style, to do it in-camera.
599
00:27:47,039 --> 00:27:50,169
So you can see here that if
you actually pay any attention,
600
00:27:50,170 --> 00:27:52,423
that those are just walls in the
background from the beginning,
601
00:27:52,424 --> 00:27:55,137
but because you’re so focused
on the characters, you don’t.
602
00:27:55,138 --> 00:27:57,685
Those lights in the background
of the red room in the distance,
603
00:27:57,686 --> 00:28:00,147
that’s just painted
on to the wall,
604
00:28:00,148 --> 00:28:03,738
and those are lights behind
the scrim, like, built into the wall.
605
00:28:03,739 --> 00:28:06,536
But you’re so in the moment
that you don’t quite process at first
606
00:28:06,537 --> 00:28:11,253
that this is in fact a sort of
shame room, as we talk about.
607
00:28:11,254 --> 00:28:14,844
And, yeah, I mean, Grace... All of
these are real trees painted black.
608
00:28:14,845 --> 00:28:18,350
There’s black sort of soot
underneath the snow.
609
00:28:18,351 --> 00:28:19,979
And the way Andrew lit it,
610
00:28:19,980 --> 00:28:22,442
I mean, everyone just looks
so beautiful in this scene.
611
00:28:22,443 --> 00:28:25,741
I feel like it’s the first time
our movie really gets to tell you
612
00:28:25,742 --> 00:28:28,663
there’s gonna be more to this,
you know, than what you expected.
613
00:28:28,664 --> 00:28:31,460
This is a different...
a different sort of story,
614
00:28:31,461 --> 00:28:33,882
and there’s something going on
underneath the surface there
615
00:28:33,883 --> 00:28:36,846
and connecting these two
characters, Bob and Yelena.
616
00:28:36,847 --> 00:28:39,852
’Cause, also, we’ll see this
echo, this idea of, "You okay?"
617
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.
618
00:28:43,653 --> 00:28:46,659
And we’ll revisit that idea
at the very end of the film.
619
00:28:49,413 --> 00:28:52,503
Hey. Didn’t think
you’d come back. Thanks.
620
00:28:52,504 --> 00:28:54,465
I had to. Someone cut
the power to the elevator.
621
00:28:57,012 --> 00:28:59,057
[Schreier]
This is a shot I got in DC.
622
00:28:59,058 --> 00:29:00,894
I wanted to
really go down there.
623
00:29:00,895 --> 00:29:03,692
We had a crew of about four,
getting a few of those exteriors.
624
00:29:03,693 --> 00:29:06,279
Um... And then this scene,
this is back in Atlanta,
625
00:29:06,280 --> 00:29:08,409
but something Andrew was
really committed to in this film
626
00:29:08,410 --> 00:29:10,872
was really trying to never use
green screen or LED,
627
00:29:10,873 --> 00:29:16,049
so this is out on location
in Atlanta at night, in a limo,
628
00:29:16,050 --> 00:29:18,596
I think this is, like,
2:00 in the morning.
629
00:29:18,597 --> 00:29:23,480
And poor Julia and Geraldine, they’d
had a long day of shooting the, um,
630
00:29:23,481 --> 00:29:27,614
the OXE loading-dock scene
before this and a couple other things,
631
00:29:27,615 --> 00:29:29,242
and then had to do this
at the end of the night.
632
00:29:29,243 --> 00:29:31,873
And, I think, really only had
about three takes,
633
00:29:31,874 --> 00:29:34,043
maybe four,
before we got shut down.
634
00:29:34,044 --> 00:29:36,758
And, yeah,
pulled it off beautifully.
635
00:29:36,759 --> 00:29:38,928
But, again, I just think it’s so
nice to have that real texture
636
00:29:38,929 --> 00:29:41,057
of what’s out the windows.
637
00:29:41,058 --> 00:29:43,563
Um... And as the camera
pans around,
638
00:29:43,564 --> 00:29:45,525
like, we’re augmenting
those things a little bit
639
00:29:45,526 --> 00:29:47,069
and putting DC
into the background.
640
00:29:47,070 --> 00:29:49,825
But to start from a place
where the shot has real texture
641
00:29:49,826 --> 00:29:51,704
and then all this in-camera,
642
00:29:51,705 --> 00:29:54,710
I just think that approach really
helped the movie out in so many ways,
643
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.
644
00:29:58,301 --> 00:30:00,262
It’s also the kind of thing
you can only do
645
00:30:00,263 --> 00:30:02,099
when you have actors like this
that you can trust.
646
00:30:02,100 --> 00:30:03,435
Even though we’re gonna
get fewer takes,
647
00:30:03,436 --> 00:30:05,440
they’re gonna nail this stuff
and pull it off.
648
00:30:08,029 --> 00:30:09,824
This is a Sonny idea.
649
00:30:09,825 --> 00:30:13,372
The whole idea of having Alexei
as a limo driver was Sonny’s idea.
650
00:30:13,373 --> 00:30:17,171
And this kind of very
Ocean’s overheard thing here.
651
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
652
00:30:22,057 --> 00:30:24,185
and bring him back
into the movie felt worth it.
653
00:30:24,186 --> 00:30:25,272
Less talking to yourself,
more talking to us.
654
00:30:28,779 --> 00:30:31,074
[Schreier] And, again, this is this
very limited narrative real estate
655
00:30:31,075 --> 00:30:33,370
to establish
those different corners of Bob,
656
00:30:33,371 --> 00:30:37,128
that there is this kind of darker, more
inward side that you see for a moment,
657
00:30:37,129 --> 00:30:40,760
but, you know, still very eager to
please when he presents to other people.
658
00:30:40,761 --> 00:30:43,516
He’s really not trying to be a bother,
but there being an inner darkness
659
00:30:43,517 --> 00:30:48,358
and then within that same scene,
also needing to show a little bit more
660
00:30:48,359 --> 00:30:54,287
of the hubristic side that comes out
when Walker is being such a dick to him.
661
00:30:54,288 --> 00:30:55,917
- Choke hold? Nerve pinch?
- No.
662
00:30:57,461 --> 00:30:59,590
I think he’s just a civilian.
663
00:30:59,591 --> 00:31:01,969
If he’s a civilian, he knows too
much. If he’s an agent, he sucks.
664
00:31:01,970 --> 00:31:03,388
Either way, I say we
throw him back into the fire.
665
00:31:03,389 --> 00:31:04,767
[Schreier] This is so good
on Wyatt’s part.
666
00:31:04,768 --> 00:31:07,104
It’s hard sometimes,
’cause sometimes actors
667
00:31:07,105 --> 00:31:12,365
won’t want to play, uh,
"assholes," as Bob calls him here,
668
00:31:12,366 --> 00:31:16,331
but I think Wyatt and I have that trust
and knew where the character was going
669
00:31:16,332 --> 00:31:18,418
and was really willing
to embrace this stuff,
670
00:31:18,419 --> 00:31:22,468
knowing that there would be a
redemptive arc for Walker in the film.
671
00:31:22,469 --> 00:31:24,389
And he plays it
with such subtlety here
672
00:31:24,390 --> 00:31:26,811
where it’s not just
a cartoon asshole.
673
00:31:26,812 --> 00:31:29,650
And here, just a little
glimmer, just a glint in the eyes,
674
00:31:29,651 --> 00:31:33,825
we see, okay, there’s something
a little bit more going on with Bob,
675
00:31:33,826 --> 00:31:36,329
and there is a bit of that hubris
where he’s not afraid of this,
676
00:31:36,330 --> 00:31:40,170
and he’s not just
docile and depressed.
677
00:31:40,171 --> 00:31:43,970
And we’re-- again, we’re trying to
get each of those sides of the character
678
00:31:43,971 --> 00:31:46,726
into the film
with as little room as we have.
679
00:31:46,727 --> 00:31:49,606
This scene, of course,
is crucially important
680
00:31:49,607 --> 00:31:53,698
for establishing that idea of Bob,
but also his connection to Yelena,
681
00:31:53,699 --> 00:31:57,831
and really this idea of them connecting
over this thing that they both feel.
682
00:31:57,832 --> 00:32:00,419
And it’s very hard, um...
683
00:32:00,420 --> 00:32:02,507
You know, it’s a scene
Sonny wrote multiple times,
684
00:32:02,508 --> 00:32:04,762
and then Joanna, I think,
wrote the final version
685
00:32:04,763 --> 00:32:07,768
of how we got this there,
and it was a lot of rehearsal
686
00:32:07,769 --> 00:32:11,024
with Florence and Lewis
to see if we could...
687
00:32:11,025 --> 00:32:15,575
Again, it’s so quick
to get to this idea of feeling,
688
00:32:15,576 --> 00:32:19,040
you know, borderline suicidal
or feeling this idea of the Void,
689
00:32:19,041 --> 00:32:21,587
but we need it.
We need it to happen here
690
00:32:21,588 --> 00:32:23,758
so that she’ll feel
that connection for later.
691
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.
692
00:32:28,936 --> 00:32:33,193
And this concept of, you know,
that the movie hinges on, of,
693
00:32:33,194 --> 00:32:35,197
"Are we all alone?
Or are we not?"
694
00:32:35,198 --> 00:32:37,451
And, you know, as simple
as an idea as that sounds,
695
00:32:37,452 --> 00:32:39,540
that’s gonna become
the crux of the ending,
696
00:32:39,541 --> 00:32:41,209
and we have to
establish it here.
697
00:32:41,210 --> 00:32:44,215
This was shot at hour
12 of a Friday, I think.
698
00:32:44,216 --> 00:32:46,302
The week that Florence
had come back
699
00:32:46,303 --> 00:32:49,392
from the Oscars on Monday
for Oppenheimer.
700
00:32:49,393 --> 00:32:53,400
We were all so tired
and running out of time.
701
00:32:53,401 --> 00:32:55,613
And I don’t think I knew
until we got into the edit
702
00:32:55,614 --> 00:32:57,659
for sure whether we had it,
703
00:32:57,660 --> 00:33:01,416
but for them to do that, you
know, in just, I think, three takes...
704
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.
705
00:33:05,341 --> 00:33:08,138
And maybe three or four
on her side.
706
00:33:08,139 --> 00:33:10,142
And then getting into the edit,
707
00:33:10,143 --> 00:33:12,564
just really carefully
peeling apart the layers,
708
00:33:12,565 --> 00:33:14,818
and it was there,
you know, that connection,
709
00:33:14,819 --> 00:33:16,656
and it’s so important
to what the film becomes.
710
00:33:19,871 --> 00:33:23,085
Look, we’re all alone.
711
00:33:23,795 --> 00:33:25,590
All of us.
712
00:33:25,591 --> 00:33:28,053
[Schreier] Yeah, so there it
is, that thesis of the movie.
713
00:33:28,054 --> 00:33:30,265
That’s how she views things.
714
00:33:30,266 --> 00:33:32,646
That’s what she’s sort of
come to accept or believes,
715
00:33:32,647 --> 00:33:34,232
and that’s something
that he accepts as well
716
00:33:34,233 --> 00:33:35,818
and why he’s willing
to trust her
717
00:33:35,819 --> 00:33:38,365
is he finds someone
that connects over that,
718
00:33:38,366 --> 00:33:41,830
so they’re kind of connecting over
the idea of an absence of connection.
719
00:33:41,831 --> 00:33:44,001
But, eventually, they’re
gonna have to confront that.
720
00:33:44,002 --> 00:33:47,007
[reading indistinctly]
721
00:33:47,008 --> 00:33:49,763
[Schreier] Okay, so the arm.
This little piece of this, this...
722
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.
723
00:33:53,479 --> 00:33:57,236
Um... But, yeah, the arm in the
dishwasher was an Eric Pearson beat
724
00:33:57,237 --> 00:33:58,823
from very, very early on
in the script,
725
00:33:58,824 --> 00:34:00,618
from a totally
different structure,
726
00:34:00,619 --> 00:34:04,375
but, uh, just such a funny
thing to think about for Bucky,
727
00:34:04,376 --> 00:34:07,006
and, I think for our movie,
felt right,
728
00:34:07,007 --> 00:34:08,884
that, you know, we’re trying
to honor, you know,
729
00:34:08,885 --> 00:34:10,930
and live up to a lot of these
great Marvel movies,
730
00:34:10,931 --> 00:34:14,604
but definitely taking a slightly
more irreverent approach,
731
00:34:14,605 --> 00:34:17,401
and it felt like such a
funny beat to get in there.
732
00:34:17,402 --> 00:34:19,238
- ...network.
- [Mel] Mm-hmm.
733
00:34:19,239 --> 00:34:23,496
[Schreier] And, again, here you
have this meta between, you know...
734
00:34:23,497 --> 00:34:26,837
uh, between Bucky
and Mel about, you know,
735
00:34:26,838 --> 00:34:28,841
and Geraldine has talked
about this,
736
00:34:28,842 --> 00:34:30,720
she was in high school
when Avengers came out,
737
00:34:30,721 --> 00:34:32,515
and that’s what she says
in this scene.
738
00:34:32,516 --> 00:34:35,938
And the sense of distance
from that time and how it feels
739
00:34:35,939 --> 00:34:37,942
and how things feel murkier.
740
00:34:37,943 --> 00:34:40,364
You know, Sebastian has
this great line, you know,
741
00:34:40,365 --> 00:34:42,660
"I think we could be
the people that are coming."
742
00:34:42,661 --> 00:34:45,248
You know, that...
You don’t necessarily...
743
00:34:45,249 --> 00:34:47,545
He’s appealing to this idea that
you don’t necessarily imagine
744
00:34:47,546 --> 00:34:50,760
that’s going to be you, but
sometimes in the right circumstance,
745
00:34:50,761 --> 00:34:52,806
that’s who it has to be,
746
00:34:52,807 --> 00:34:54,935
and that’s what Mel
is really grappling with here.
747
00:34:54,936 --> 00:34:56,939
You must really
not know my boss.
748
00:34:56,940 --> 00:34:58,651
We can protect you.
749
00:34:58,652 --> 00:35:01,072
[Schreier] But also, it’s
important for Bucky’s character
750
00:35:01,073 --> 00:35:03,702
to find himself
in this position of saying,
751
00:35:03,703 --> 00:35:06,750
"I don’t do that anymore. I’m
trying to do things in a different way."
752
00:35:06,751 --> 00:35:08,754
And, you know,
Mel really pokes at that.
753
00:35:08,755 --> 00:35:10,591
"Is that coming from
the freshman congressman
754
00:35:10,592 --> 00:35:12,679
who can’t get a bill passed
or the Winter Soldier?"
755
00:35:12,680 --> 00:35:14,683
So really trying to
build up all of this,
756
00:35:14,684 --> 00:35:17,939
even if it feels
like a slow burn for Bucky,
757
00:35:17,940 --> 00:35:21,864
is to buy you that moment where
he comes back on that bike later,
758
00:35:21,865 --> 00:35:24,243
and it feels so triumphant
because he felt the frustration
759
00:35:24,244 --> 00:35:25,914
of trying to do it
a different way.
760
00:35:27,501 --> 00:35:29,713
Okay, so the elevator shaft.
761
00:35:29,714 --> 00:35:31,633
This was one of the earliest
sequences that we talked about
762
00:35:31,634 --> 00:35:33,011
when I was pitching
on the film.
763
00:35:33,012 --> 00:35:35,098
There was
an elevator shaft sequence
764
00:35:35,099 --> 00:35:37,436
that they got up
in a very different way.
765
00:35:37,437 --> 00:35:39,524
And something I talked about
in that first pitch
766
00:35:39,525 --> 00:35:44,074
is that we really wanted in this movie
to feel like these are action scenes
767
00:35:44,075 --> 00:35:46,370
that maybe they could accomplish
if they could work together well,
768
00:35:46,371 --> 00:35:47,916
but they can’t,
so it doesn’t happen,
769
00:35:47,917 --> 00:35:49,753
and needing to
really rely on each other
770
00:35:49,754 --> 00:35:51,840
and trust each other,
or they’re gonna die.
771
00:35:51,841 --> 00:35:55,388
So, I think Brian Chapek,
our executive producer,
772
00:35:55,389 --> 00:35:56,934
had this idea
in that early pitch
773
00:35:56,935 --> 00:35:58,938
about what if
they’re just back-to-back?
774
00:35:58,939 --> 00:36:02,194
And they really, like... They
would fall without each other.
775
00:36:02,195 --> 00:36:05,200
And it’s just... [chuckles]
It’s so funny to think about,
776
00:36:05,201 --> 00:36:08,290
and I think we used
to refer to it as the, uh,
777
00:36:09,919 --> 00:36:13,049
least dynamic action sequence
in Marvel history,
778
00:36:13,050 --> 00:36:15,555
that they’re just crawling up
this thing together.
779
00:36:15,556 --> 00:36:18,309
But it also
gives us a way, you know...
780
00:36:18,310 --> 00:36:21,107
Obviously you want to spend time
building connections with characters,
781
00:36:21,108 --> 00:36:24,029
understanding backstories,
having them share things,
782
00:36:24,030 --> 00:36:29,331
but in this way, you get to do that
as part of, again, a action scene,
783
00:36:29,332 --> 00:36:33,047
used liberally, perhaps,
because, uh, it’s not very active,
784
00:36:33,048 --> 00:36:35,595
but, uh, it is at least part of
an action of where they’re going
785
00:36:35,596 --> 00:36:39,268
where you’re not just pausing
to talk and expose things.
786
00:36:39,269 --> 00:36:42,859
Like, it’s all happening as part of
the trajectory and the journey up.
787
00:36:42,860 --> 00:36:46,658
And, again, this is where we start
to feel we’ve seen all of these things.
788
00:36:46,659 --> 00:36:48,787
We’ve seen her go down
that elevator shaft.
789
00:36:48,788 --> 00:36:51,459
We know each piece of the journey
that they’re gonna have to take up.
790
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.
791
00:36:55,802 --> 00:37:00,101
Maybe we didn’t realize quite exactly
how far that was gonna be for them.
792
00:37:00,102 --> 00:37:03,232
And this, again, is filmed
predominantly practically.
793
00:37:03,233 --> 00:37:06,447
Any of these close-ups. We
built two 64-foot elevator shafts.
794
00:37:06,448 --> 00:37:08,242
The lighting is all real.
795
00:37:08,243 --> 00:37:10,623
Obviously, it’s set extension
when we look at something like that,
796
00:37:10,624 --> 00:37:13,211
but even the foreground
of those shots is real
797
00:37:13,212 --> 00:37:16,425
and an in-camera set
that Grace built, uh,
798
00:37:16,426 --> 00:37:20,810
just so that everything is based
on, uh, real textures and real sets.
799
00:37:20,811 --> 00:37:21,604
Oh, God.
800
00:37:23,232 --> 00:37:24,025
[Mel gasps]
801
00:37:25,236 --> 00:37:26,822
[Schreier]
I love this Joanna line.
802
00:37:26,823 --> 00:37:28,366
"Please don’t gasp at work."
803
00:37:28,367 --> 00:37:29,869
I don’t know where
she came up with that,
804
00:37:29,870 --> 00:37:32,082
but I love it so much.
805
00:37:32,083 --> 00:37:35,213
Um, if you wanna look under
the hood, this is actually...
806
00:37:35,214 --> 00:37:37,510
Later, you’ll see
a helicopter in this film,
807
00:37:37,511 --> 00:37:40,390
and I know it’s a Marvel movie
and we have a lot of resources,
808
00:37:40,391 --> 00:37:42,520
but there are always
budgets to adhere to
809
00:37:42,521 --> 00:37:45,442
and coming out of the strikes,
we had to trim here and there,
810
00:37:45,443 --> 00:37:50,285
so part of the way we did that was
this interior of Val’s special airplane
811
00:37:50,286 --> 00:37:54,794
is actually also just the helicopter
set that we reconfigured for this.
812
00:37:54,795 --> 00:37:58,886
Maybe, uh... Maybe I shouldn’t tell
you guys that, but it’s still filmmaking.
813
00:37:58,887 --> 00:38:01,850
At any level, at some point, you
have to find ways to be creative
814
00:38:01,851 --> 00:38:05,775
and, uh--
and use what you’ve got.
815
00:38:05,776 --> 00:38:08,614
Um... And this, you know, yes,
there’s a lot of exposition here,
816
00:38:08,615 --> 00:38:12,830
but this scene we leaned on a
lot to kind of establish Val’s plan
817
00:38:12,831 --> 00:38:16,505
because it is a sort of unusual
thing for a movie like this
818
00:38:16,506 --> 00:38:19,886
where it’s not that she starts
with a dastardly plan.
819
00:38:19,887 --> 00:38:22,558
She had a plan. It failed.
She’s getting rid of the evidence,
820
00:38:22,559 --> 00:38:24,896
and then, all of a sudden,
when it seems like it might work,
821
00:38:24,897 --> 00:38:27,067
she’s gonna pivot
in the middle of the movie
822
00:38:27,068 --> 00:38:29,446
to try and go on a different
path, and that’s unusual,
823
00:38:29,447 --> 00:38:32,703
but, I thought, interesting
for a character like Val
824
00:38:32,704 --> 00:38:35,416
who’s complicated and gray and
not necessarily your typical villain.
825
00:38:35,417 --> 00:38:37,462
Then the other three
immediately fall.
826
00:38:37,463 --> 00:38:39,258
Shit.
827
00:38:39,259 --> 00:38:40,511
[Bob] Sorry. Yeah,
I guess I didn’t...
828
00:38:40,512 --> 00:38:41,847
I didn’t really think
this far ahead.
829
00:38:41,848 --> 00:38:43,474
Genius plan, Bobby.
830
00:38:43,475 --> 00:38:44,561
Always making things worse.
831
00:38:44,562 --> 00:38:46,230
[Schreier]
"Always making things worse."
832
00:38:46,231 --> 00:38:47,900
Maybe on your sixth viewing,
you notice he says that,
833
00:38:47,901 --> 00:38:49,737
and that connects
to his ending.
834
00:38:49,738 --> 00:38:51,950
I don’t know. I wanted to
leave it in because I liked it.
835
00:38:51,951 --> 00:38:54,998
Uh, so coming up,
this cucumber idea.
836
00:38:54,999 --> 00:38:56,710
This is a Eric Pearson
original,
837
00:38:56,711 --> 00:38:59,716
and there’s a funny story
to this ’cause it’s, uh...
838
00:38:59,717 --> 00:39:02,345
His girlfriend Ashley would
always say "cucumber,"
839
00:39:02,346 --> 00:39:04,391
and then we were
at the premiere,
840
00:39:04,392 --> 00:39:06,646
and I said, "We got
your cucumber thing in there."
841
00:39:06,647 --> 00:39:09,318
She looked at me like she didn’t
understand what I was talking about.
842
00:39:09,319 --> 00:39:11,196
And then I talked to Eric
who said, apparently,
843
00:39:11,197 --> 00:39:13,952
she genuinely believed that
everyone in the Western world
844
00:39:13,953 --> 00:39:16,248
said "cucumber"
to avoid a sneeze
845
00:39:16,249 --> 00:39:17,543
and didn’t realize
it was only her.
846
00:39:17,544 --> 00:39:19,672
She asked her mom,
and her mom didn’t know
847
00:39:19,673 --> 00:39:22,052
what she was talking about,
so, uh...
848
00:39:22,053 --> 00:39:24,724
And then this was a really
great Joanna add here at the end,
849
00:39:24,725 --> 00:39:29,652
to have the, uh, the sneeze
punctuate this action sequence.
850
00:39:32,156 --> 00:39:33,325
[sneezes]
851
00:39:35,914 --> 00:39:38,627
You selfish prick.
852
00:39:38,628 --> 00:39:40,506
[Schreier] So, again, finding
ourselves in these sets that,
853
00:39:40,507 --> 00:39:42,384
you know,
even if it seems small,
854
00:39:42,385 --> 00:39:44,764
just seeing Yelena walk
through this in the beginning,
855
00:39:44,765 --> 00:39:47,728
and now we’re back here again
really trying to understand the space
856
00:39:47,729 --> 00:39:50,609
and understand this world
that we’re grounded in.
857
00:39:50,610 --> 00:39:53,364
And then again it’s this idea
because Bob just came near death
858
00:39:53,365 --> 00:39:55,995
and is angry at Walker, that
puts him into this Void space
859
00:39:55,996 --> 00:39:59,042
where it’s not just anytime you
touch Bob, you go into a Void,
860
00:39:59,043 --> 00:40:03,009
but it’s when he’s at his
darkest, and you connect to that.
861
00:40:03,010 --> 00:40:06,558
Um, and this is another one where
we probably could’ve built the set.
862
00:40:06,559 --> 00:40:08,060
We filmed this on location.
863
00:40:08,061 --> 00:40:10,398
Um, if you want
a very small Easter egg,
864
00:40:10,399 --> 00:40:16,076
that little silver mug on the shelves
over there is a mug from Lodge 49
865
00:40:16,077 --> 00:40:21,378
for the 11 to 15 Lodge fans that
are watching this for me and Wyatt.
866
00:40:21,379 --> 00:40:23,299
Um...
867
00:40:23,300 --> 00:40:25,596
But yeah, just that thought...
You know, this was such a nice...
868
00:40:25,597 --> 00:40:27,600
You know, Sonny had written
a kind of domestic scene,
869
00:40:27,601 --> 00:40:30,606
and Joanna took it further
of just this very small idea
870
00:40:30,607 --> 00:40:34,446
of not watching the kid, uh, because
you’re lost in your own shame.
871
00:40:34,447 --> 00:40:36,785
You know, and this way of
kind of addressing Walker’s past
872
00:40:36,786 --> 00:40:38,705
and this terrible thing
that he’s done,
873
00:40:38,706 --> 00:40:41,210
but not in the expected way
of going back to that moment
874
00:40:41,211 --> 00:40:44,424
or something more active,
but in this sort of...
875
00:40:44,425 --> 00:40:46,888
the way that it reverberates
within his life
876
00:40:46,889 --> 00:40:50,061
and, you know, what he’s gonna
end up losing because of that.
877
00:40:50,062 --> 00:40:54,111
And that was actually Wyatt’s
addition, um, to have Walker have a kid.
878
00:40:54,112 --> 00:40:57,827
’Cause, at first, it was just about
losing that relationship with Olivia,
879
00:40:57,828 --> 00:41:01,291
but he felt like people would
care and invest more deeply,
880
00:41:01,292 --> 00:41:04,674
and I thought that was
a really great add on his part.
881
00:41:04,675 --> 00:41:08,723
And also the first time you kind of see
inside the humanity of that character,
882
00:41:08,724 --> 00:41:10,937
which we’re eventually
gonna connect with much more.
883
00:41:15,905 --> 00:41:19,452
So now we’ve finally connected
all of those spaces back to the front.
884
00:41:19,453 --> 00:41:22,041
Um, again, this whole plaza
was built for real.
885
00:41:22,042 --> 00:41:23,962
It’s obviously extended in CG,
886
00:41:23,963 --> 00:41:26,885
um, but always trying
to combine those elements.
887
00:41:26,886 --> 00:41:30,601
Um, Framestore did a great job
building this whole sequence
888
00:41:30,602 --> 00:41:33,189
folding that CG
in a very integrated way.
889
00:41:33,190 --> 00:41:34,191
...I might just surrender,
probably.
890
00:41:34,192 --> 00:41:35,736
Okay, fine.
Every man for himself.
891
00:41:35,737 --> 00:41:37,656
[Schreier] Uh, this is one of
the more fun conversations
892
00:41:37,657 --> 00:41:38,783
in the film.
893
00:41:38,784 --> 00:41:40,286
Well, let’s see.
894
00:41:40,287 --> 00:41:42,498
[Schreier chuckles] Wyatt
just leans into this so great,
895
00:41:42,499 --> 00:41:44,545
the "Back-to-back-to-back.
Go Bears."
896
00:41:44,546 --> 00:41:46,089
But, of course,
this is our way of getting
897
00:41:46,090 --> 00:41:47,968
the Thunderbolts name
into this movie.
898
00:41:47,969 --> 00:41:50,724
Um, and, again,
899
00:41:50,725 --> 00:41:53,605
that soccer team of mine that--
that never won a game.
900
00:41:53,606 --> 00:41:58,865
Um, but it-it does establish
this nice idea of, you know,
901
00:41:58,866 --> 00:42:00,702
Yelena trying to
push this past away,
902
00:42:00,703 --> 00:42:03,959
but eventually Alexei will
allude to that and show how,
903
00:42:03,960 --> 00:42:08,300
even within that context, that was
a way in which she cared for others.
904
00:42:08,301 --> 00:42:09,804
And this, of course,
is us trying to plant
905
00:42:09,805 --> 00:42:12,518
that sign-twirling
meth chicken... [chuckles]
906
00:42:12,519 --> 00:42:15,273
...if we can get that into the movie
so that you’ll remember it later.
907
00:42:15,274 --> 00:42:18,530
Uh, but, again,
just this idea of a team
908
00:42:18,531 --> 00:42:21,869
that is the last team you would want
to try to break out of anything with.
909
00:42:21,870 --> 00:42:23,999
Um, exceptionally ragtag.
910
00:42:24,000 --> 00:42:26,128
- It will only work if you wait.
- Terrible plan.
911
00:42:26,129 --> 00:42:28,675
[Schreier] This is very small
here, but, uh, "What about me?"
912
00:42:28,676 --> 00:42:32,641
Um, we’re really trying to
establish this idea, again,
913
00:42:32,642 --> 00:42:34,060
of Bob as this d--
914
00:42:34,061 --> 00:42:37,317
You know, duality
between hubris and despair,
915
00:42:37,318 --> 00:42:39,279
but, uh, this is
the sweet version of him.
916
00:42:39,280 --> 00:42:41,659
He wants to help, but it’s
not just that he wants to help
917
00:42:41,660 --> 00:42:43,037
’cause he’s a sweet guy. It’s--
918
00:42:43,038 --> 00:42:44,540
Bob wants to matter.
919
00:42:44,541 --> 00:42:46,627
He wants to mean something.
He wants to be something.
920
00:42:46,628 --> 00:42:49,257
That’s gonna feed, even if it’s
very subtle when you see it there,
921
00:42:49,258 --> 00:42:52,096
that’s gonna feed later
into this idea of The Sentry.
922
00:42:52,097 --> 00:42:55,102
Uh, very, very kind of Chris
Bauer to come and do this for us.
923
00:42:55,103 --> 00:42:57,148
He’s another actor that
I’ve loved for a long time.
924
00:42:57,149 --> 00:42:59,695
Obviously, I love The Wire,
uh, with both him and Wendell.
925
00:42:59,696 --> 00:43:01,908
Um, and Kevin said to us,
926
00:43:01,909 --> 00:43:04,329
you know, I think when we
first had Holt in the script...
927
00:43:04,330 --> 00:43:06,834
He was a little bit more just
a military guy, and he said,
928
00:43:06,835 --> 00:43:09,089
"I always love in,
you know, in Die Hard,
929
00:43:09,090 --> 00:43:10,634
the FBI guys,
there’s a thing with them.
930
00:43:10,635 --> 00:43:12,136
Can you give it anything?"
931
00:43:12,137 --> 00:43:14,265
And Sonny-- It’s a
very Sonny line, this, uh,
932
00:43:14,266 --> 00:43:16,103
"I spend a lot of time
planning for lethal..."
933
00:43:16,104 --> 00:43:18,608
Just, you know, even amidst
all of this tension,
934
00:43:18,609 --> 00:43:21,739
that there’s just a guy
frustrated at the bureaucracy
935
00:43:21,740 --> 00:43:23,535
and the way he would
like to do his job
936
00:43:23,536 --> 00:43:26,541
versus the way
Val is telling him to do it.
937
00:43:26,542 --> 00:43:30,172
George Cottle, uh, Chris
Nolan’s longtime stunt coordinator,
938
00:43:30,173 --> 00:43:32,009
uh, worked on
Spider-Man as well,
939
00:43:32,010 --> 00:43:34,347
was our second unit director
on this along with Paul Hughen,
940
00:43:34,348 --> 00:43:37,270
whose, uh, second unit DP
filmed all of those, uh, laser shots
941
00:43:37,271 --> 00:43:39,315
which are so cool.
942
00:43:39,316 --> 00:43:42,865
Um, and if you want me to
really pull... just... [chuckles]
943
00:43:42,866 --> 00:43:44,994
...remove some of
the magic to this world,
944
00:43:44,995 --> 00:43:47,415
so all of these hallways,
everything inside this building,
945
00:43:47,416 --> 00:43:51,549
that’s the same, uh, kinda... same
hallway set, every one of these.
946
00:43:51,550 --> 00:43:53,636
Grace did a great job
putting these machines into it
947
00:43:53,637 --> 00:43:56,266
and putting things on the back
walls to make it feel different.
948
00:43:56,267 --> 00:44:00,065
But, again, I know it seems hard
to believe on a movie like this,
949
00:44:00,066 --> 00:44:04,742
but you do have to make budget concessions
and find places to tighten your belt
950
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
951
00:44:08,458 --> 00:44:11,964
or be on the top of the second
tallest building in the world in Malaysia.
952
00:44:11,965 --> 00:44:15,221
So it is funny to go through all the
Marvel films and see the hallways.
953
00:44:15,222 --> 00:44:18,227
Y-You always end up in a
hallway somewhere or another.
954
00:44:18,228 --> 00:44:22,026
Um, but this scene which Joanna
wrote is another lovely example.
955
00:44:22,027 --> 00:44:24,489
We have, again, this very
little narrative real estate
956
00:44:24,490 --> 00:44:26,076
to establish
these two characters,
957
00:44:26,077 --> 00:44:28,289
and their connection is
gonna be the crux of the film.
958
00:44:31,170 --> 00:44:35,261
And also this neat little idea
in here where, you know,
959
00:44:35,262 --> 00:44:38,141
Yelena could’ve heard what he’s
talking about and really connected,
960
00:44:38,142 --> 00:44:40,605
but she’s in her own world
and not paying attention
961
00:44:40,606 --> 00:44:43,653
or how she just kind of doesn’t
pick up on what Bob is saying
962
00:44:43,654 --> 00:44:46,408
even though he’s talking
about establishing that past
963
00:44:46,409 --> 00:44:50,959
and the memory loss and the highs
and the lows and what he’s been through.
964
00:44:50,960 --> 00:44:54,173
But still, if we get any hint of
connection between the two of them here,
965
00:44:54,174 --> 00:44:57,806
it’s gonna pay dividends
down the road in this film.
966
00:44:57,807 --> 00:45:00,227
Give me that. Follow me.
967
00:45:00,228 --> 00:45:02,231
I hate to say it, but I think
Walter was right on this one.
968
00:45:02,232 --> 00:45:04,027
[Schreier] I love Lewis’s
little hop there
969
00:45:04,028 --> 00:45:05,947
and then the way
he bounces out of frame.
970
00:45:05,948 --> 00:45:07,033
Small things.
971
00:45:07,034 --> 00:45:08,579
Turn on the lights, Yelena.
972
00:45:09,873 --> 00:45:11,959
[Schreier] Again, same hallway.
[chuckles]
973
00:45:11,960 --> 00:45:14,172
Same sets. And, uh, very hard.
974
00:45:14,173 --> 00:45:16,259
You know, Andrew did
such a beautiful job here.
975
00:45:16,260 --> 00:45:19,474
It’s a tough situation to give
a DP when the lights are off,
976
00:45:19,475 --> 00:45:22,731
but you have to see things and
how you approach lighting that.
977
00:45:22,732 --> 00:45:26,989
Um, Andrew had such a great rapport
with, uh, Chuck and Rafi Sánchez,
978
00:45:26,990 --> 00:45:29,828
uh, our key grip
and our gaffer on this film.
979
00:45:29,829 --> 00:45:32,041
And Andrew and Rafi
really building that together
980
00:45:32,042 --> 00:45:35,047
and did a great job in
a very difficult circumstance.
981
00:45:35,048 --> 00:45:37,761
- Where is he?
- He’s gone.
982
00:45:37,762 --> 00:45:41,101
[Schreier] If I’m allowed to
say this on a commentary track,
983
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.
984
00:45:44,901 --> 00:45:46,570
I’m so proud of
everyone else who made it.
985
00:45:46,571 --> 00:45:50,995
Uh, this is not a sequence
that I am the proudest of.
986
00:45:50,996 --> 00:45:54,920
Um, sometimes, you know,
you’re focusing on things,
987
00:45:54,921 --> 00:45:57,299
and I think it ends up working.
I like the concept of it.
988
00:45:57,300 --> 00:46:00,765
This idea of a sequence in which the
action is that Yelena has to protect Bob
989
00:46:00,766 --> 00:46:02,936
while also taking out
a set of guards,
990
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
991
00:46:06,485 --> 00:46:08,113
that I was hoping to.
992
00:46:08,114 --> 00:46:11,327
And I think in the end,
like, once the effects are in,
993
00:46:11,328 --> 00:46:13,457
and you add all the smoke,
like, it works out.
994
00:46:13,458 --> 00:46:15,712
And the concept sells,
which is much more important
995
00:46:15,713 --> 00:46:17,883
as to whether
it’s breathtaking or not,
996
00:46:17,884 --> 00:46:19,803
but I think if we’re really
getting into it,
997
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...
998
00:46:22,935 --> 00:46:26,734
[swallows] ...maybe we could--
could’ve done it a little better, but...
999
00:46:26,735 --> 00:46:28,821
Sliding into
director brain there.
1000
00:46:28,822 --> 00:46:31,493
But I-I think what’s nice
is that throughout post
1001
00:46:31,494 --> 00:46:34,248
and with some of the additions
that Base FX added to it
1002
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.
1003
00:46:38,341 --> 00:46:41,012
Also, it’s a lot of ADR lines
to carry you through it.
1004
00:46:41,013 --> 00:46:43,225
And then when you
get to this, it’s funny
1005
00:46:43,226 --> 00:46:46,231
’cause it’s just such a small
scene in a dingy hallway,
1006
00:46:46,232 --> 00:46:49,613
but that kind of brother-sister-
yelling-at-each-other feeling.
1007
00:46:49,614 --> 00:46:51,659
The... [inhales deeply]
1008
00:46:51,660 --> 00:46:56,251
How-- How frayed this team--
Uh, if it-- if it even is that-- uh, is.
1009
00:46:56,252 --> 00:46:58,506
Like, it’s what you’re really
trying to get towards.
1010
00:46:58,507 --> 00:47:00,970
...what she was supposed to,
maybe we’ll all get out of here alive.
1011
00:47:04,519 --> 00:47:07,273
[Schreier] Another shot that
George got for us. Great overhead.
1012
00:47:07,274 --> 00:47:09,528
And, again, this is,
you know, a moment
1013
00:47:09,529 --> 00:47:13,995
that maybe isn’t really narratively
important, and we did consider cutting,
1014
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,
1015
00:47:17,503 --> 00:47:19,297
that it was important
to see these characters
1016
00:47:19,298 --> 00:47:22,094
who thought that they
were destined for better things
1017
00:47:22,095 --> 00:47:25,518
have one moment like a brush
past the person who did this to them
1018
00:47:25,519 --> 00:47:29,150
and unable to really, in this
context, do anything about it.
1019
00:47:29,151 --> 00:47:31,572
But just to sit
in that moment and feel it.
1020
00:47:31,573 --> 00:47:33,074
You never know
with these things.
1021
00:47:33,075 --> 00:47:35,914
Pace is important, but I
just felt like that was a beat
1022
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.
1023
00:47:38,461 --> 00:47:40,048
Get in.
1024
00:47:43,262 --> 00:47:45,223
[Schreier] This was a tough
four nights shooting this.
1025
00:47:45,224 --> 00:47:47,227
I think it was raining
half the time,
1026
00:47:47,228 --> 00:47:51,110
which maybe sometimes you can
see in the background, but, uh... Yeah.
1027
00:47:51,111 --> 00:47:53,699
Andrew and Jason Tamez,
our wonderful line producer,
1028
00:47:53,700 --> 00:47:56,747
Jeff Okabayashi, our AD, really
pulled me through on this sequence
1029
00:47:56,748 --> 00:47:59,001
’cause I started with saying,
"It’s raining. We can’t do it."
1030
00:47:59,002 --> 00:48:01,422
And they were like, "We shoot.
If we can shoot, we shoot."
1031
00:48:01,423 --> 00:48:04,178
Uh, and over the course
of those four nights,
1032
00:48:04,179 --> 00:48:06,558
got all of this
predominantly in-camera.
1033
00:48:06,559 --> 00:48:09,188
We’re just extending the skies
and the background.
1034
00:48:09,189 --> 00:48:11,150
We didn’t end up adding
anything to this sequence.
1035
00:48:11,151 --> 00:48:14,031
There were never any pickups
for it. Like, it all worked in the edit.
1036
00:48:14,032 --> 00:48:17,329
And, again, that’s credit to Harry
being there on set for this sequence.
1037
00:48:17,330 --> 00:48:20,795
And Angela just cutting
the stuff in as we went,
1038
00:48:20,796 --> 00:48:23,258
making sure that it worked,
checking in about what else we needed
1039
00:48:23,259 --> 00:48:25,638
so that by the time we got
through those four nights,
1040
00:48:25,639 --> 00:48:27,100
we had every piece
of this sequence.
1041
00:48:29,689 --> 00:48:31,190
Now what?
1042
00:48:31,191 --> 00:48:32,527
[Schreier]
That’s a very funny Joanna add.
1043
00:48:32,528 --> 00:48:35,783
Again, Walker’s sort of
self-confidence
1044
00:48:35,784 --> 00:48:39,373
and sometimes lack of skills in
the areas that he thinks he’s great at.
1045
00:48:39,374 --> 00:48:41,210
Um, but, again,
1046
00:48:41,211 --> 00:48:44,091
having planted this earlier
about Bob’s desire to help,
1047
00:48:44,092 --> 00:48:46,429
you know, we’re gonna see that
come into play here
1048
00:48:46,430 --> 00:48:49,060
where he really wants to be of
use, he wants to be important.
1049
00:48:49,061 --> 00:48:50,563
And there’s
a good side to that.
1050
00:48:50,564 --> 00:48:52,942
He’s doing
a very selfless thing here.
1051
00:48:52,943 --> 00:48:54,403
But also we’ll see
later in the film,
1052
00:48:54,404 --> 00:48:56,658
there’s a desire to matter
that, you know,
1053
00:48:56,659 --> 00:48:59,957
in the wrong context, if appealed
to, can lead to dangerous things.
1054
00:49:01,628 --> 00:49:04,090
And, again, at night.
Middle of the night. Raining.
1055
00:49:04,091 --> 00:49:07,221
But, you know, when you’re
on Florence, even if it’s two takes
1056
00:49:07,222 --> 00:49:10,477
in a truck that’s making too
much noise and smells like gas,
1057
00:49:10,478 --> 00:49:14,318
the emotion on her face,
you know, it sells so much.
1058
00:49:14,319 --> 00:49:16,824
- What the hell are you doing?
- This has gone far--
1059
00:49:16,825 --> 00:49:18,828
[Schreier] When I first talked
to Julia about the film, she said,
1060
00:49:18,829 --> 00:49:21,792
"I wanna punch someone. I wanna
beat someone up in the movie."
1061
00:49:21,793 --> 00:49:23,879
Uh, so we got that
in there for her.
1062
00:49:23,880 --> 00:49:26,008
I knew there was someplace
we could put it.
1063
00:49:26,009 --> 00:49:28,012
Come on. Let’s go.
1064
00:49:28,013 --> 00:49:30,308
[Schreier] And, again, seems a
little cold, but that is why he did it,
1065
00:49:30,309 --> 00:49:33,983
and in their circumstances, if
he’s dead, as they assume he is,
1066
00:49:33,984 --> 00:49:34,944
it’s time to go.
1067
00:49:40,079 --> 00:49:42,166
And this is, I think, Andrew’s
favorite shot in the film.
1068
00:49:42,167 --> 00:49:45,673
One of my favorites of knowing
Bob was gonna step up into this.
1069
00:49:45,674 --> 00:49:50,015
Uh, and really that moment where
you finally... We’ve teased it, you know,
1070
00:49:50,016 --> 00:49:52,896
that this guy that you think is the
least valuable member of the team
1071
00:49:52,897 --> 00:49:57,362
might actually be the most powerful
and exactly what Val needs for her plan.
1072
00:49:57,363 --> 00:49:59,659
And his sort of anger
at being discarded.
1073
00:49:59,660 --> 00:50:01,622
Like, seeing these other sides
of him come out
1074
00:50:01,623 --> 00:50:04,544
amidst this action sequence,
seeing that he can fly.
1075
00:50:04,545 --> 00:50:07,382
You know, it’s--
it’s kind of in our--
1076
00:50:07,383 --> 00:50:10,180
in our world,
an origin story for The Sentry.
1077
00:50:10,181 --> 00:50:14,271
So it’s always teasing these little
bits of powers and flying up into the sky.
1078
00:50:14,272 --> 00:50:16,693
This is another, I’ll just
say it-- I’ll let you in on--
1079
00:50:16,694 --> 00:50:18,781
I think Framestore did a
beautiful job on this sequence,
1080
00:50:18,782 --> 00:50:22,162
but, uh, in general, I would not
advise putting yourself in a position
1081
00:50:22,163 --> 00:50:25,878
where you have no
motivated lighting whatsoever
1082
00:50:25,879 --> 00:50:28,466
except the moon
and a full night sky.
1083
00:50:28,467 --> 00:50:30,805
Um... See, even when
you have just those lights
1084
00:50:30,806 --> 00:50:33,184
that you can see down below,
those shots work better,
1085
00:50:33,185 --> 00:50:36,065
but it’s very tough when you’re
putting yourself in a position like this.
1086
00:50:36,066 --> 00:50:40,115
Jake Morrison calls it AB, where
it’s just your character against,
1087
00:50:40,116 --> 00:50:42,704
uh, you know... We didn’t do blue
screen. We did gray screen for this,
1088
00:50:42,705 --> 00:50:45,501
but just against a background
that’s being replaced,
1089
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.
1090
00:50:48,883 --> 00:50:50,761
Like that whole wall
behind them there,
1091
00:50:50,762 --> 00:50:53,892
that entire building,
40 foot high, that’s real.
1092
00:50:53,893 --> 00:50:57,065
Their heads being against that allows you
to do sky extension, and it looks right.
1093
00:50:57,066 --> 00:50:59,194
Or having that motivated
lighting on the ground.
1094
00:50:59,195 --> 00:51:02,034
That shot is actually real,
out in Utah, of the truck,
1095
00:51:02,035 --> 00:51:03,537
but in just a couple
of these shots,
1096
00:51:03,538 --> 00:51:06,000
we put ourselves in a situation
where we are reliant on CG.
1097
00:51:06,001 --> 00:51:07,461
This looks better
’cause of the lights,
1098
00:51:07,462 --> 00:51:09,131
and it looks great,
this explosion.
1099
00:51:09,132 --> 00:51:10,593
So, it’s-it’s nothing on...
1100
00:51:10,594 --> 00:51:13,389
You know, I think sometimes
visual effects companies
1101
00:51:13,390 --> 00:51:17,147
get judged on how things look,
and it has-- it has much more to do
1102
00:51:17,148 --> 00:51:20,780
with the concept and execution of
how you gathered those elements
1103
00:51:20,781 --> 00:51:23,869
’cause in the right position, Framestore
did incredible work on this sequence,
1104
00:51:23,870 --> 00:51:26,415
and it’s more on me to--
1105
00:51:26,416 --> 00:51:30,674
to concept things in a way that puts
us in the best chance, uh, to succeed.
1106
00:51:30,675 --> 00:51:32,762
This is now out
entirely in Utah.
1107
00:51:32,763 --> 00:51:35,810
I mean, the amount of cabling and
lights that Rafi and Andrew had to bring in
1108
00:51:35,811 --> 00:51:38,857
for that shot and this whole
sequence was enormous.
1109
00:51:38,858 --> 00:51:40,068
And, you know, it’s subtle.
1110
00:51:40,069 --> 00:51:42,907
Like, could you do it
on a gray screen
1111
00:51:42,908 --> 00:51:44,493
back in Atlanta
and comp this in?
1112
00:51:44,494 --> 00:51:46,122
You could,
but we just felt like
1113
00:51:46,123 --> 00:51:48,084
this was where we wanted
to put our resources.
1114
00:51:48,085 --> 00:51:50,840
We wanted to really have
this film feel like it was out there
1115
00:51:50,841 --> 00:51:52,092
as much as possible.
1116
00:51:52,093 --> 00:51:54,221
And whether you notice it
or not,
1117
00:51:54,222 --> 00:51:56,726
in every moment where you could’ve
gotten away with something else,
1118
00:51:56,727 --> 00:51:58,396
over the course of time,
1119
00:51:58,397 --> 00:52:00,317
I think that that texture
really gets into the work.
1120
00:52:01,571 --> 00:52:03,030
[Ava]
"Golden Guardian of Good."
1121
00:52:03,031 --> 00:52:04,450
[Schreier] This was something,
you know, obviously
1122
00:52:04,451 --> 00:52:06,328
we love those--
that initial run
1123
00:52:06,329 --> 00:52:08,499
of Paul Jenkins and Jae Lee
of The Sentry,
1124
00:52:08,501 --> 00:52:11,255
and Kevin was always pushing us
to see if there was a way to get some
1125
00:52:11,256 --> 00:52:14,554
of those meta ideas that are
in that comic into the movie.
1126
00:52:14,555 --> 00:52:17,309
It’s hard to do. We can’t do the
strange erasing everyone’s memory thing,
1127
00:52:17,310 --> 00:52:18,604
or put Sentry
throughout history.
1128
00:52:18,605 --> 00:52:20,315
I mean, that would be
an amazing story,
1129
00:52:20,316 --> 00:52:21,818
but for obvious reasons,
1130
00:52:21,819 --> 00:52:24,657
different things have owned
that corner of the MCU.
1131
00:52:24,658 --> 00:52:27,580
But even that, th--
a lot of that stuff
1132
00:52:27,581 --> 00:52:30,084
came from our own concept art
for designing The Sentry.
1133
00:52:30,085 --> 00:52:33,007
And the idea that they would be
looking at those as marketing materials
1134
00:52:33,008 --> 00:52:35,136
that Val would have
for The Sentry
1135
00:52:35,137 --> 00:52:36,932
became our way
of getting into that
1136
00:52:36,933 --> 00:52:40,564
kind of sense of the meta
in The Sentry creation.
1137
00:52:40,565 --> 00:52:43,110
This scene is also just very
important for tying their fates together
1138
00:52:43,111 --> 00:52:46,033
and, again, paying off
as they talk about it here,
1139
00:52:46,034 --> 00:52:48,747
what happened to Antonia and the
idea that that could be any of them,
1140
00:52:48,748 --> 00:52:52,588
and that’s likely where they’re
headed if they don’t find a bond
1141
00:52:52,589 --> 00:52:54,718
or a way out of this life.
1142
00:52:57,558 --> 00:53:00,186
And then I think Wyatt does
such beautiful work here
1143
00:53:00,187 --> 00:53:03,694
of, uh-- of covering, you know,
the story that he’s been telling them
1144
00:53:03,695 --> 00:53:05,363
and telling himself.
1145
00:53:05,364 --> 00:53:07,785
But you can see underneath,
uh, for a moment,
1146
00:53:07,786 --> 00:53:09,622
you know,
he sort of forgets himself
1147
00:53:09,623 --> 00:53:12,002
and admits to
how he really feels.
1148
00:53:12,003 --> 00:53:13,756
Uh, and we’ll see that
paid off later.
1149
00:53:15,050 --> 00:53:17,095
...just keep working
at it every day.
1150
00:53:17,096 --> 00:53:19,601
[Schreier] But, yeah, Sonny always felt
we need some kind of campfire scene.
1151
00:53:19,602 --> 00:53:22,105
We need a pause here
at the end of all that action
1152
00:53:22,106 --> 00:53:25,863
just to bind these characters
together and start building those ties.
1153
00:53:25,864 --> 00:53:27,575
And then this... [chuckles]
1154
00:53:27,576 --> 00:53:29,411
I think Joanna wrote
the Dr. Phil thing,
1155
00:53:29,412 --> 00:53:31,708
and then this whole run here,
this was just Wyatt
1156
00:53:31,709 --> 00:53:34,964
and, uh, his true understanding
of Dr. Phil
1157
00:53:34,965 --> 00:53:37,511
and whether he’s on air
or not anymore.
1158
00:53:37,512 --> 00:53:40,475
I love let-- just letting this
trail off. That’s just for me.
1159
00:53:40,476 --> 00:53:42,437
But it does get laughs
in the theater.
1160
00:53:42,438 --> 00:53:44,776
Well, it isn’t great.
1161
00:53:44,777 --> 00:53:46,028
[Schreier]
This was a tough shot to get.
1162
00:53:46,029 --> 00:53:48,533
This is actually
on this mountain in Utah
1163
00:53:48,534 --> 00:53:51,873
and so hard to get
the technocrane out there.
1164
00:53:51,874 --> 00:53:54,629
And for Grace and her team to
build at least a version of that crater.
1165
00:53:54,630 --> 00:53:56,633
That’s a real helicopter.
Uh-- I mean, that,
1166
00:53:56,634 --> 00:54:00,014
what you see is CG
laid over an actual helicopter
1167
00:54:00,015 --> 00:54:04,481
and an actual box that it’s
tethered to on the ground,
1168
00:54:04,482 --> 00:54:07,822
and we did a real airlift
to get this in here.
1169
00:54:07,823 --> 00:54:09,992
But, again, you don’t have to,
1170
00:54:09,993 --> 00:54:14,292
but, uh, we’re trying to really
kind of put a stake in the ground
1171
00:54:14,293 --> 00:54:16,673
that, you know, we were making
this Marvel movie differently.
1172
00:54:16,674 --> 00:54:19,136
And really out there. God,
the vistas are just so beautiful.
1173
00:54:19,137 --> 00:54:21,390
I mean, Grace really fought
to get us out to Utah
1174
00:54:21,391 --> 00:54:24,229
’cause of the rock textures
and the tonality.
1175
00:54:24,230 --> 00:54:27,193
The sort of cyan in the shadows
and the more beige textures
1176
00:54:27,194 --> 00:54:31,076
as opposed to the reds
in New Mexico which, again,
1177
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,
1178
00:54:34,543 --> 00:54:38,299
putting it towards that and really
being out in this incredible vista
1179
00:54:38,300 --> 00:54:40,303
at magic hour
with a real helicopter.
1180
00:54:40,304 --> 00:54:43,894
This airlift is entirely
in-camera except for, you know...
1181
00:54:43,895 --> 00:54:47,317
They don’t make OXE-designed
helicopters, so we’re laying over that,
1182
00:54:47,318 --> 00:54:49,865
but the entire rest
of the shot is real.
1183
00:54:51,201 --> 00:54:53,204
And this too.
Just another great vista,
1184
00:54:53,205 --> 00:54:55,584
and having them actually in
this environment, this texture.
1185
00:54:55,585 --> 00:54:57,505
And you really feel like,
you know,
1186
00:54:57,506 --> 00:55:00,426
we’ve been, you know, hemmed
in so much with the movie,
1187
00:55:00,427 --> 00:55:03,934
and in this, you know,
intentionally contained space
1188
00:55:03,935 --> 00:55:06,230
that it’s nice for the movie to
feel like it’s opening up here.
1189
00:55:06,231 --> 00:55:08,652
All right, Walker, we get it.
You were in the military.
1190
00:55:08,653 --> 00:55:11,950
Five or ten clicks to the
bird. Da-da-da-da-da!
1191
00:55:11,951 --> 00:55:14,831
[Schreier] And then this very
funny... This, again, part of the limo.
1192
00:55:14,832 --> 00:55:17,795
The Sonny addition of... [chuckles]
...Yelena’s dad showing up
1193
00:55:17,796 --> 00:55:20,884
and exactly how you would feel
if you were... [chuckles]
1194
00:55:20,885 --> 00:55:23,264
...you know, just with
your friends leaving soccer,
1195
00:55:23,265 --> 00:55:25,686
and your dad showed up
in his ridiculous car,
1196
00:55:25,687 --> 00:55:26,980
and how embarrassed you’d be,
1197
00:55:26,981 --> 00:55:28,942
but to do that in the middle
of an action movie
1198
00:55:28,943 --> 00:55:30,988
is a very funny thing
to tie together.
1199
00:55:30,989 --> 00:55:35,329
And of course, David just...
[inhales deeply] ...leans into it so hard
1200
00:55:35,330 --> 00:55:38,002
and, you know, never shies away
from that and brings every bit of it.
1201
00:55:38,003 --> 00:55:40,549
But I love also that you’re
doing that kind of comedy
1202
00:55:40,550 --> 00:55:42,218
but with
these beautiful vistas,
1203
00:55:42,219 --> 00:55:45,517
and you really feel the texture
of just actually being out there
1204
00:55:45,518 --> 00:55:49,149
and shooting that wide shot and
having all of these mesas in the distance.
1205
00:55:49,150 --> 00:55:51,194
You know, it’s this weird
intersection of our movie
1206
00:55:51,195 --> 00:55:54,827
where it is a very
kind of silly humor sometimes
1207
00:55:54,828 --> 00:55:57,583
that is married with visuals that
treat it a little bit more seriously,
1208
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.
1209
00:56:03,763 --> 00:56:05,515
I got this shot myself.
[chuckles]
1210
00:56:05,516 --> 00:56:07,770
I was on the tripod,
found this spot down the road.
1211
00:56:07,771 --> 00:56:10,817
This is this road that we owned
for this whole sequence.
1212
00:56:10,818 --> 00:56:13,990
Uh, and I actually went back
and reshot it ’cause it turned out...
1213
00:56:13,991 --> 00:56:15,911
You know,
we waited for magic hour,
1214
00:56:15,912 --> 00:56:19,376
and, uh, you actually want those
mesas to be a bit more front lit
1215
00:56:19,377 --> 00:56:22,215
so you get the shadows
to show up a little more.
1216
00:56:22,216 --> 00:56:24,177
It gives more shape
to the mesas.
1217
00:56:24,178 --> 00:56:27,183
I felt like, "Oh, we came all the way
out here and got the timing wrong."
1218
00:56:27,184 --> 00:56:31,441
So went back out and got it
one more time before we left Utah.
1219
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,
1220
00:56:37,204 --> 00:56:40,376
uh, and a little crew out there
getting the shot, which was fun.
1221
00:56:40,377 --> 00:56:43,883
And this whole sequence, I mean, this
was something Andrew really pushed for,
1222
00:56:43,884 --> 00:56:47,599
was, again, this is out on the
road in a hundred-degree heat.
1223
00:56:47,600 --> 00:56:49,812
The AC in this car
is breaking down.
1224
00:56:49,813 --> 00:56:51,941
We had, I think, three red limos.
Or two. I can’t remember now.
1225
00:56:51,942 --> 00:56:54,112
They all broke.
Everything broke.
1226
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.
1227
00:56:57,202 --> 00:56:59,957
I love the sound of kind of
the rig on the...
1228
00:56:59,958 --> 00:57:01,836
the shading rig
on top of the car
1229
00:57:01,837 --> 00:57:05,301
and the way it rattled
and the noises in this car.
1230
00:57:05,302 --> 00:57:07,639
It meant, you know... It means
the actors get fewer takes,
1231
00:57:07,640 --> 00:57:09,727
but when you have actors
like this, like David, you know,
1232
00:57:09,728 --> 00:57:12,482
we had a long run of road,
and we would stop, give notes
1233
00:57:12,483 --> 00:57:14,277
and then keep going
down the road.
1234
00:57:14,278 --> 00:57:16,949
But once you turned around, it
took so long to turn this thing around
1235
00:57:16,950 --> 00:57:19,454
and to put on
the new camera mounts
1236
00:57:19,455 --> 00:57:21,959
that you really had to
get it in that run.
1237
00:57:21,960 --> 00:57:24,715
They had four takes each
for each of these setups.
1238
00:57:24,716 --> 00:57:27,386
Uh, but, yeah, Andrew was
just committed to this idea
1239
00:57:27,387 --> 00:57:29,182
that it’ll just look better
if it’s out there.
1240
00:57:29,183 --> 00:57:31,353
It’s hard to do LED
or green screen
1241
00:57:31,354 --> 00:57:33,357
for a car this big
and have it feel real.
1242
00:57:33,358 --> 00:57:36,196
And, again,
just the texture for the actors
1243
00:57:36,197 --> 00:57:38,993
and the way they’re talking and
speaking over that environment.
1244
00:57:38,994 --> 00:57:41,624
Just trying to put our resources
into really going out there and doing it.
1245
00:57:41,625 --> 00:57:43,878
It was crazy.
I was yelling at the ref.
1246
00:57:43,879 --> 00:57:45,422
[Schreier]
Great improv by David here.
1247
00:57:45,423 --> 00:57:48,262
Uh... "A girl who pooped."
1248
00:57:48,263 --> 00:57:49,598
And this-- this whole...
1249
00:57:49,599 --> 00:57:51,853
The Shane and Dmitri
was a Sonny addition.
1250
00:57:51,854 --> 00:57:53,857
And the Shane, "He didn’t
have that kind of money,"
1251
00:57:53,858 --> 00:57:55,986
that’s a great Sonny add.
1252
00:57:55,987 --> 00:57:58,282
What about this Bob you
mentioned? What’s the plan?
1253
00:57:58,283 --> 00:57:59,910
[Schreier]
There is also this moment
1254
00:57:59,911 --> 00:58:02,248
that I sort of skipped over
in there that’s very important,
1255
00:58:02,249 --> 00:58:05,171
where, again, you have such
little real estate where Alexei says,
1256
00:58:05,172 --> 00:58:07,091
"The light inside...
Whatever it is..."
1257
00:58:07,092 --> 00:58:09,470
Or, "Whatever they are, the
light inside you is brighter."
1258
00:58:09,471 --> 00:58:11,057
So we have to establish
in her performance,
1259
00:58:11,058 --> 00:58:13,353
and it’s so subtle
on Florence’s part,
1260
00:58:13,354 --> 00:58:15,609
that she gives Walker
a little bit of credence.
1261
00:58:15,610 --> 00:58:17,821
And, again, there’s nothing to be so
happy about at this point in the movie,
1262
00:58:17,822 --> 00:58:20,201
but just that there’s
a little bit of lightness
1263
00:58:20,202 --> 00:58:22,706
in the performance
for him to pick up on,
1264
00:58:22,707 --> 00:58:27,048
so that you can establish that and
go into that kind of extreme close-up
1265
00:58:27,049 --> 00:58:29,344
where you can see that,
where she’s trying to process
1266
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.
1267
00:58:32,518 --> 00:58:35,105
Those are the kind of things we
talked about in building this scene
1268
00:58:35,106 --> 00:58:37,611
as well as all of the comedy.
1269
00:58:37,612 --> 00:58:39,489
- Do you understand? You don’t understand.
- I do. You don’t.
1270
00:58:39,490 --> 00:58:41,577
[Schreier] I love that read
from David. It’s so childish.
1271
00:58:41,578 --> 00:58:43,413
...is going to use the power
of this Sentry Project...
1272
00:58:43,414 --> 00:58:45,710
Yes... to take
over and kill us all.
1273
00:58:45,711 --> 00:58:48,841
[Schreier] And then here
our action sequence begins.
1274
00:58:48,842 --> 00:58:52,139
So we-- we were out there for,
I think, two weeks in Utah.
1275
00:58:52,140 --> 00:58:56,439
Um, this sequence, maybe, I think
we shot in seven days, I wanna say.
1276
00:58:56,440 --> 00:58:58,068
We didn’t really
have a second unit,
1277
00:58:58,069 --> 00:59:00,447
but George was out there
with the splinter unit
1278
00:59:00,448 --> 00:59:02,410
down the road
with a camera car.
1279
00:59:02,411 --> 00:59:05,542
And at some point, after we
got kind of the actors’ parts of it,
1280
00:59:05,543 --> 00:59:08,631
it was just both of us
just shooting action shots,
1281
00:59:08,632 --> 00:59:11,094
and he would text me what
he was getting on an iPhone,
1282
00:59:11,095 --> 00:59:14,434
and we’d make notes, and
just building this piece by piece.
1283
00:59:14,435 --> 00:59:18,651
Again, we had this boarded out. Vinny Dellay,
one of our, uh, great storyboard artists,
1284
00:59:18,652 --> 00:59:20,989
we worked on this a lot, uh,
before we went out there,
1285
00:59:20,990 --> 00:59:23,160
and it was in the edit.
1286
00:59:23,161 --> 00:59:26,917
Uh, and Harry was in a... You
know, there’s no tent out there,
1287
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.
1288
00:59:30,091 --> 00:59:31,927
And just each shot,
just cutting it in
1289
00:59:31,928 --> 00:59:34,140
over the course
of seven shooting days.
1290
00:59:34,141 --> 00:59:37,480
Just building this piece by
piece along with the boards
1291
00:59:37,481 --> 00:59:39,484
and, you know,
seeing that it worked.
1292
00:59:39,485 --> 00:59:42,574
You know, figuring out what we
needed to add in, but it really...
1293
00:59:42,575 --> 00:59:45,789
It’s fun watching back and knowing that
you were there for each of these pieces.
1294
00:59:45,790 --> 00:59:49,546
You know, it was-- it was all-- it
was all of us just making this happen.
1295
00:59:49,547 --> 00:59:51,299
Okay, not really appropriate.
1296
00:59:51,300 --> 00:59:54,890
[Schreier] That, uh-- The pony
thing was a Jon Watts joke suggestion.
1297
00:59:54,891 --> 00:59:57,562
He was nice enough
to lend us that one.
1298
00:59:57,563 --> 01:00:01,027
Uh, I think-- I think the song
"Pony," I think, was my pick.
1299
01:00:01,028 --> 01:00:04,158
It was gonna be that or
Exile, uh, "Kiss You All Over."
1300
01:00:04,159 --> 01:00:06,831
Even that shot, we shot for--
I mean the bottle is CG,
1301
01:00:06,832 --> 01:00:08,543
but, you know,
tracking in its trajectory,
1302
01:00:08,544 --> 01:00:10,547
we threw a real bottle
out of there
1303
01:00:10,548 --> 01:00:12,007
that obviously didn’t stay up
as long as that.
1304
01:00:12,008 --> 01:00:13,928
But really, you know,
1305
01:00:13,929 --> 01:00:16,307
the bullet hits and some things
in the sequence are added,
1306
01:00:16,308 --> 01:00:19,606
but almost every single thing
you see in frame is practical.
1307
01:00:19,607 --> 01:00:22,529
The dust, you know,
being along these Humvees.
1308
01:00:22,530 --> 01:00:24,783
You know... [stammers]
...Jake Morrison, again,
1309
01:00:24,784 --> 01:00:27,163
it was that-- that precept
of everything in-camera,
1310
01:00:27,164 --> 01:00:30,294
and if it does not-- if nothing
else, it’s incredible reference
1311
01:00:30,295 --> 01:00:31,964
so that the CG
has direct reference
1312
01:00:31,965 --> 01:00:34,051
of what that thing’s supposed
to look like out there.
1313
01:00:34,052 --> 01:00:37,809
But there’s very few shots
with any real major CG in this.
1314
01:00:37,810 --> 01:00:40,815
Sometimes it’s the--
the firing or the gun turrets.
1315
01:00:40,816 --> 01:00:42,652
Those will get added,
but there’s a ref--
1316
01:00:42,653 --> 01:00:44,990
You know, we’re shooting
with a real one on location.
1317
01:00:44,991 --> 01:00:47,411
It’s Florence right out of
the window. No rigging.
1318
01:00:47,412 --> 01:00:49,541
And that explosion is real.
That flip.
1319
01:00:49,542 --> 01:00:52,129
I mean... [chuckles] ...it
was tough getting those flips.
1320
01:00:52,130 --> 01:00:53,591
We didn’t have
any backup Humvees.
1321
01:00:53,592 --> 01:00:56,262
Again, that was part of being
a little bit more frugal.
1322
01:00:56,263 --> 01:00:59,811
So I think that, if I’m not wrong, was
Shane Habberstad’s, uh, Humvee,
1323
01:00:59,812 --> 01:01:02,901
and he had to get it of into that
dirt and make sure those tires caught
1324
01:01:02,902 --> 01:01:04,696
so that he’d get a proper flip.
1325
01:01:04,697 --> 01:01:07,619
And I think this one
is Noon Orsatti.
1326
01:01:07,620 --> 01:01:09,581
Incredible stuntman.
Longtime stuntman.
1327
01:01:09,582 --> 01:01:12,336
Uh, that one flipped
a little bit easier,
1328
01:01:12,337 --> 01:01:13,548
not that it’s easy
to be in that thing.
1329
01:01:13,549 --> 01:01:15,552
And then here comes Bucky.
1330
01:01:15,553 --> 01:01:18,431
And, again, that’s real dust
blowing across the road.
1331
01:01:18,432 --> 01:01:21,522
You know, everything out there,
you’re just in this incredible playground
1332
01:01:21,523 --> 01:01:25,195
where it’s really hard, it’s
really hot, but, you know...
1333
01:01:25,196 --> 01:01:28,869
I think what was nice about it
is the "hard" goes on screen,
1334
01:01:28,870 --> 01:01:31,625
and everything that was difficult about
it is also what makes it breathtaking
1335
01:01:31,626 --> 01:01:33,421
and shooting it in full IMAX.
1336
01:01:36,302 --> 01:01:41,102
Uh, Joe, what-- Maybe the best,
uh, motorcycle stunt rider in the world
1337
01:01:41,103 --> 01:01:43,983
doing all of these. That wide
shot looks like it’s CG. It’s not.
1338
01:01:43,984 --> 01:01:46,404
That’s just how fast
he was going on that bike.
1339
01:01:46,405 --> 01:01:51,122
Uh, and, yeah, I think this ending
piece was a George suggestion
1340
01:01:51,123 --> 01:01:53,084
about using the winch
and shooting that off.
1341
01:01:53,085 --> 01:01:56,090
And this, I think,
maybe right here, the flip,
1342
01:01:56,091 --> 01:01:58,261
I mean,
that’s not sky replacement.
1343
01:01:58,262 --> 01:02:02,144
Uh, it really looked like this
when this-- this Humvee flipped.
1344
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.
1345
01:02:05,527 --> 01:02:08,156
Uh, all of this
stuff in-camera.
1346
01:02:08,157 --> 01:02:12,582
Um, and just to be out there
getting stuff like that
1347
01:02:12,583 --> 01:02:15,003
and, you know, being on the edge
of whether you can get it or not,
1348
01:02:15,004 --> 01:02:16,633
it’s just such a great feeling.
1349
01:02:21,225 --> 01:02:22,018
Oh, sh--
1350
01:02:29,992 --> 01:02:31,995
[Schreier] Another one
of my little DC pickups.
1351
01:02:31,996 --> 01:02:34,710
We didn’t bring balls and charts
for this, so, uh, I had to bring...
1352
01:02:34,711 --> 01:02:38,217
I got, uh, Christmas ornaments...
[chuckles] ...for lighting reference.
1353
01:02:39,052 --> 01:02:40,470
And then this was, uh...
1354
01:02:40,471 --> 01:02:42,809
This was... This did come
in additional with Wendell,
1355
01:02:42,810 --> 01:02:45,606
and we just felt like we
needed to sort of keep the stakes
1356
01:02:45,607 --> 01:02:47,443
and the pressure up on Val
in the movie,
1357
01:02:47,444 --> 01:02:50,490
and it’s another chance
for Wendell to say, "Juicy,"
1358
01:02:50,491 --> 01:02:51,703
so that’s always worth it.
1359
01:02:53,080 --> 01:02:55,292
Um, and this is,
you know, again,
1360
01:02:55,293 --> 01:02:57,964
when you talk about AB
with effects, you know...
1361
01:02:57,965 --> 01:03:00,260
Sure, they’re against gray.
They’re not up on this roof.
1362
01:03:00,261 --> 01:03:02,682
But they’re outside, something
Jake Morrison always insisted on,
1363
01:03:02,683 --> 01:03:05,312
and we have that real helicopter
behind their heads for enough of it,
1364
01:03:05,313 --> 01:03:07,901
so at least you have the
foreground and the mid-ground
1365
01:03:07,902 --> 01:03:09,654
if not the background
that gets added,
1366
01:03:09,655 --> 01:03:13,411
and even just that little element
helps it sit in much better.
1367
01:03:13,412 --> 01:03:16,710
Or choices like this where, you
know, as opposed to building a set,
1368
01:03:16,711 --> 01:03:20,885
you know, that’s an actual abandoned
floor in Atlanta with a real city outside
1369
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
1370
01:03:24,100 --> 01:03:27,439
out the windows as opposed
to creating it all with a set
1371
01:03:27,440 --> 01:03:30,488
and green screen out the windows
is worth it for that sense of texture.
1372
01:03:31,699 --> 01:03:34,913
I would love
for this to be my bedroom.
1373
01:03:34,914 --> 01:03:36,959
I’ve told Grace this
multiple times.
1374
01:03:36,960 --> 01:03:40,716
I love this design of hers. I would
sleep here, in this recovery room.
1375
01:03:40,717 --> 01:03:42,178
I would be Bob.
1376
01:03:43,807 --> 01:03:46,185
This scene was in many,
many drafts of the script,
1377
01:03:46,186 --> 01:03:49,149
and, ultimately, Joanna,
you know, really brought
1378
01:03:49,150 --> 01:03:51,112
this really interesting
dynamic to the scene
1379
01:03:51,113 --> 01:03:55,955
that I thought was so interesting
of the way that someone like Val
1380
01:03:55,956 --> 01:03:59,713
can play upon the sort of
insecurities and desires
1381
01:03:59,714 --> 01:04:01,758
of a character like Bob,
1382
01:04:01,759 --> 01:04:05,140
who really does just wanna
matter and wants to be important
1383
01:04:05,141 --> 01:04:06,518
and wants to
do the right thing,
1384
01:04:06,519 --> 01:04:08,898
but, you know, that can
very easily get confused
1385
01:04:08,899 --> 01:04:13,908
with the sense of, you know, validation,
or importance, or feeling left out,
1386
01:04:13,909 --> 01:04:18,499
and, you know, this idea that that
can really lead you down the wrong path
1387
01:04:18,501 --> 01:04:21,297
if you meet up with the wrong
people or if you’re in the wrong hands.
1388
01:04:21,298 --> 01:04:23,468
And you know, we see
a little bit of that in Alexei,
1389
01:04:23,469 --> 01:04:26,683
and all of them are grappling
with their own versions of that.
1390
01:04:26,684 --> 01:04:28,520
But of course,
Bob is so powerful
1391
01:04:28,521 --> 01:04:30,106
that you’re really
playing with fire here,
1392
01:04:30,107 --> 01:04:32,110
which is what Mel
keeps suggesting to Val,
1393
01:04:32,111 --> 01:04:35,743
and Val, of course, thinks that
she always can gain the upper hand,
1394
01:04:35,744 --> 01:04:40,586
but she-- she’s not exactly aware
of what she’s dealing with in Bob.
1395
01:04:40,587 --> 01:04:43,759
And, you know, just watching
the way they play off of each other
1396
01:04:43,760 --> 01:04:47,600
and the way that, kind of,
Val massages him into this.
1397
01:04:47,601 --> 01:04:49,186
And I was there
with Joanna on set.
1398
01:04:49,187 --> 01:04:51,566
She was there this day,
and I was at the monitor,
1399
01:04:51,567 --> 01:04:53,403
and she’s like,
"You’re doing such a good job."
1400
01:04:53,404 --> 01:04:55,490
I was like, "Are you...
Are you Valling me right now?"
1401
01:04:55,491 --> 01:04:57,411
"Is that what’s happening?"
I said.
1402
01:04:57,412 --> 01:04:59,708
And I could see it. She had
written it and she was doing it to me
1403
01:04:59,709 --> 01:05:01,002
at the same time.
1404
01:05:01,003 --> 01:05:02,588
And so, that was fun to watch.
1405
01:05:02,589 --> 01:05:04,759
But yeah, again,
just such subtlety in Lewis
1406
01:05:04,760 --> 01:05:09,476
of needing to now portray
some of that darkness in there
1407
01:05:09,477 --> 01:05:12,900
along with the desire of this--
you know, seeing this belt,
1408
01:05:12,901 --> 01:05:15,363
which is a symbol of meaning
something, of being important,
1409
01:05:15,364 --> 01:05:17,117
of being what other people
couldn’t see.
1410
01:05:17,118 --> 01:05:20,123
Because Yelena truly
has come to care for him,
1411
01:05:20,124 --> 01:05:22,377
even in this limited time,
1412
01:05:22,378 --> 01:05:25,383
but it’s in this way that Val
will later describe as pity,
1413
01:05:25,384 --> 01:05:27,972
you know, as opposed to
someone seeing him, you know...
1414
01:05:27,973 --> 01:05:31,395
Yelena says, "Stay behind me.
I have it. I’ll take care of you."
1415
01:05:31,396 --> 01:05:35,071
And Val is coming to him and saying, "You
could be something much more than that."
1416
01:05:38,160 --> 01:05:41,833
We actually-- This was part of a--
an additional photography, uh, piece,
1417
01:05:41,834 --> 01:05:46,467
where I initially thought because we
were talking about, uh, Bob’s backstory
1418
01:05:46,468 --> 01:05:48,262
that you would expect
to go into his past,
1419
01:05:48,263 --> 01:05:50,893
and we had a preview
of his addict scene
1420
01:05:50,894 --> 01:05:52,522
that Val went into.
1421
01:05:52,523 --> 01:05:54,692
In testing, it was nice,
’cause people did understand
1422
01:05:54,693 --> 01:05:57,865
the concept of the Void, but they
got very frustrated at that sequence
1423
01:05:57,866 --> 01:06:00,495
and said, "Why isn’t it Val’s?
It’s always someone else’s."
1424
01:06:00,496 --> 01:06:02,917
And so we got to add
this, uh, really nice scene
1425
01:06:02,918 --> 01:06:05,213
that Joanna wrote, you know.
1426
01:06:05,214 --> 01:06:07,885
And, I mean it’s just a
testament... I mean, these are...
1427
01:06:07,886 --> 01:06:10,473
Uh, Chiara, who plays the
little girl, these are great actors,
1428
01:06:10,474 --> 01:06:14,774
’cause a scene like this being dropped
in the melodrama like this is so delicate.
1429
01:06:14,775 --> 01:06:17,822
And you have some leeway in a
comic book movie to do that, I think,
1430
01:06:17,823 --> 01:06:20,076
to have these
kind of heightened backstories.
1431
01:06:20,077 --> 01:06:22,372
I mean, who’s to say?
We had a lot of discussion.
1432
01:06:22,373 --> 01:06:24,794
I mean,
Valentina Allegra de Fontaine.
1433
01:06:24,795 --> 01:06:27,592
Is that Italian? Is that French?
You know, we went with Italian.
1434
01:06:27,593 --> 01:06:29,971
Um, and it gives you
a little bit of that distance.
1435
01:06:29,972 --> 01:06:32,350
Um, and, you know,
tries to show you a window
1436
01:06:32,351 --> 01:06:37,235
into how Val has become
what she’s become,
1437
01:06:37,236 --> 01:06:41,202
which is this idea that, you
know, if it’s a story about isolation
1438
01:06:41,203 --> 01:06:43,957
and, you know,
the damage that that can cause,
1439
01:06:43,958 --> 01:06:46,253
you know, if Val is just
sort of someone like them,
1440
01:06:46,254 --> 01:06:50,261
but who never found anyone
else to lift her out of that place,
1441
01:06:50,262 --> 01:06:53,476
she has hardened
into what she has become.
1442
01:06:53,477 --> 01:06:55,230
But she’s starting
from a similar place,
1443
01:06:55,231 --> 01:06:56,858
that there is
a point of connection
1444
01:06:56,859 --> 01:06:59,530
even between your antagonist
and your protagonists,
1445
01:06:59,531 --> 01:07:01,034
that they all share.
1446
01:07:04,165 --> 01:07:07,254
All right, let’s get the
press here in the morning.
1447
01:07:07,255 --> 01:07:09,049
It’s time to show everyone
what I’ve been working on.
1448
01:07:09,050 --> 01:07:11,805
Val, you put a serum into
someone like Steve Rogers...
1449
01:07:11,806 --> 01:07:13,892
[Schreier] I do think we added
a number of things.
1450
01:07:13,893 --> 01:07:15,562
We came back to this scene
’cause it was where we
1451
01:07:15,563 --> 01:07:17,900
really needed to establish
that concept of,
1452
01:07:17,901 --> 01:07:20,280
you know, that you’re
playing with fire here.
1453
01:07:20,281 --> 01:07:23,787
And, you know, that--
Yeah, that Bob and The Sentry,
1454
01:07:23,788 --> 01:07:26,083
and it’s about an
internal conflict that he has
1455
01:07:26,084 --> 01:07:28,337
that is exacerbated
by the serum
1456
01:07:28,338 --> 01:07:32,847
and turned into world stakes and, you
know, superhero levels by the serum.
1457
01:07:32,848 --> 01:07:35,894
That-That concept that it
starts with what’s inside of you,
1458
01:07:35,895 --> 01:07:38,650
which I think a lot of people
watching will understand implicitly
1459
01:07:38,651 --> 01:07:40,486
from watching
a lot of these movies,
1460
01:07:40,487 --> 01:07:43,035
but that we maybe needed to
define for more of the audience.
1461
01:07:45,497 --> 01:07:47,710
This was a beautiful gas
station in Green River, Utah,
1462
01:07:47,711 --> 01:07:49,338
and this is not a set
on the inside,
1463
01:07:49,339 --> 01:07:51,383
even though we probably
could’ve done it that way.
1464
01:07:51,384 --> 01:07:53,972
But everything that’s outside
those windows were really there.
1465
01:07:53,973 --> 01:07:58,648
Uh, and Grace did such a great
job of dressing this, uh, for this scene,
1466
01:07:58,649 --> 01:08:00,527
and this scene
was a very complicated one.
1467
01:08:00,528 --> 01:08:02,531
And this is towards the end
of our shoot.
1468
01:08:02,532 --> 01:08:05,203
It’s one of the last things we
shot with our principals in Utah.
1469
01:08:05,204 --> 01:08:07,750
And it needs to do
such heavy lifting
1470
01:08:07,751 --> 01:08:11,173
to kinda have all of your characters
get together by the end of it
1471
01:08:11,174 --> 01:08:12,635
when they start
on opposite places.
1472
01:08:12,636 --> 01:08:14,304
And I thought
what Joanna did...
1473
01:08:14,305 --> 01:08:17,520
You know, there are
these little deft turns
1474
01:08:17,521 --> 01:08:20,901
in the way that they’re trying
to convince Bucky about Bob,
1475
01:08:20,902 --> 01:08:22,905
you know, that they
believe that there’s a threat,
1476
01:08:22,906 --> 01:08:25,368
but they themselves
do not see themselves as worthy
1477
01:08:25,369 --> 01:08:27,998
of going after it and are
just trying to escape it.
1478
01:08:27,999 --> 01:08:31,004
But he doesn’t even believe in
the thing that they’re telling him.
1479
01:08:31,005 --> 01:08:35,096
And using this kind of humor of the
repetition of "Bob" to establish that
1480
01:08:35,097 --> 01:08:38,770
is such a neat way to get you,
’cause it has to do so much
1481
01:08:38,771 --> 01:08:41,191
in such a compressed amount
of time to keep the story moving,
1482
01:08:41,192 --> 01:08:43,404
and it was so impressive
how she did that.
1483
01:08:43,405 --> 01:08:45,617
I know it’s been hard since
Olivia left you and took your kid,
1484
01:08:45,618 --> 01:08:48,289
but still, this is on you.
1485
01:08:48,290 --> 01:08:51,211
[Schreier] And this is such a
nice moment of acting between...
1486
01:08:51,212 --> 01:08:53,007
between Wyatt
and Florence here.
1487
01:08:53,008 --> 01:08:55,762
And we didn’t want to lean
into the music for it.
1488
01:08:55,763 --> 01:08:57,766
Just this recognition,
on her part,
1489
01:08:57,767 --> 01:08:59,896
that he, of course, is
struggling with the same thing
1490
01:08:59,897 --> 01:09:02,358
that she has struggled with,
in his own way,
1491
01:09:02,359 --> 01:09:05,824
and that all of that bravado
and bluster is really masking
1492
01:09:05,825 --> 01:09:08,788
feeling very similar
to the way that she feels,
1493
01:09:08,789 --> 01:09:11,251
and, you know, the way they
share that with just such tiny looks.
1494
01:09:11,252 --> 01:09:14,550
When you have actors like this,
you can... you can accomplish a lot,
1495
01:09:14,551 --> 01:09:16,971
but, you know, we’re so...
1496
01:09:16,972 --> 01:09:20,353
They’re the magic that
makes any of this stuff work,
1497
01:09:20,354 --> 01:09:23,777
and I was lucky to have some of
the very best in every single role.
1498
01:09:23,778 --> 01:09:26,616
I mean, Project Sentry is not
just a failure. It’s dangerous.
1499
01:09:26,617 --> 01:09:28,537
[Schreier]
And, yeah, that’s our movie.
1500
01:09:28,538 --> 01:09:30,832
To do that and have that really
nicely observed character moment
1501
01:09:30,833 --> 01:09:34,172
and then the kind of near
silliness of this "Bob" repetition.
1502
01:09:34,173 --> 01:09:36,093
And, again, if it doesn’t
work for you, I understand.
1503
01:09:36,094 --> 01:09:37,596
You know, it’s an--
1504
01:09:37,597 --> 01:09:39,767
It’s an interesting tonal
set of things to hold,
1505
01:09:39,768 --> 01:09:41,980
but, uh, yeah,
that’s our movie.
1506
01:09:41,981 --> 01:09:43,608
[Mel] The press are set
to come tomorrow morning.
1507
01:09:43,609 --> 01:09:46,196
Someone has to do something.
1508
01:09:46,197 --> 01:09:48,952
Shit. Okay, I have to go.
But come now, please.
1509
01:09:48,953 --> 01:09:50,372
Bring anyone.
Everyone you can.
1510
01:09:57,094 --> 01:09:59,347
[Schreier] I love this, uh, "How
many times?" from David here.
1511
01:09:59,348 --> 01:10:00,684
Bob.
1512
01:10:00,685 --> 01:10:03,773
- Bob.
- How many times?
1513
01:10:03,774 --> 01:10:05,611
[Schreier] But sometimes,
it gets--
1514
01:10:05,612 --> 01:10:07,196
The first "Bob"
gets a big enough laugh,
1515
01:10:07,197 --> 01:10:09,577
then you don’t get to hear it,
but you at home,
1516
01:10:09,578 --> 01:10:13,501
uh, with just your friends, will
get to-- will get to hear that one.
1517
01:10:13,502 --> 01:10:16,423
And then, yeah, this big shift
where Bucky has to take this turn
1518
01:10:16,424 --> 01:10:18,385
and bring these folks
along with him,
1519
01:10:18,386 --> 01:10:22,018
and needing to establish there’s enough
time pressure that that makes sense.
1520
01:10:22,019 --> 01:10:23,980
And then Sebastian
really worked very hard
1521
01:10:23,981 --> 01:10:26,819
and essentially
wrote this speech himself
1522
01:10:26,820 --> 01:10:29,784
to make it honest
to the way that Bucky speaks
1523
01:10:29,785 --> 01:10:33,792
and kind of appealing to the sense of,
you know, shared past and emptiness.
1524
01:10:33,793 --> 01:10:38,008
And this really becomes Bucky’s
role in our movie, is he has--
1525
01:10:38,009 --> 01:10:40,889
You know, he’s gone through that
therapy in Falcon and Winter Soldier.
1526
01:10:40,890 --> 01:10:44,270
He has processed the things,
you know, that they haven’t yet,
1527
01:10:44,271 --> 01:10:46,776
and he knows where it leads
if you don’t,
1528
01:10:46,777 --> 01:10:49,280
and just that idea of
you have the wrong people,
1529
01:10:49,281 --> 01:10:52,538
but no, actually,
you are the right people,
1530
01:10:52,539 --> 01:10:53,624
if you can overcome it.
1531
01:10:56,880 --> 01:10:58,759
So you can either
do something about it now,
1532
01:11:00,387 --> 01:11:01,598
or live with it forever.
1533
01:11:08,069 --> 01:11:09,947
[Schreier] I haven’t
mentioned Son Lux yet,
1534
01:11:09,948 --> 01:11:12,661
but this beautiful theme,
you know, to their score,
1535
01:11:12,662 --> 01:11:14,289
with kind of a hint
of the Thunderbolts* theme
1536
01:11:14,290 --> 01:11:15,667
and uniting these characters,
1537
01:11:15,668 --> 01:11:17,963
but just played very gently
in the background
1538
01:11:17,964 --> 01:11:20,468
where we’re not
leaning into it too much.
1539
01:11:20,469 --> 01:11:22,890
And you get room for how
subtle they’re being in that,
1540
01:11:22,891 --> 01:11:24,225
and then, of course, uh,
1541
01:11:24,226 --> 01:11:25,562
Alexei is not a subtle man.
1542
01:11:25,563 --> 01:11:28,317
Yes!
1543
01:11:28,318 --> 01:11:30,446
Yeah!
1544
01:11:30,447 --> 01:11:33,912
[Schreier] This is a scene that used
to be much longer and was very fun.
1545
01:11:33,913 --> 01:11:36,709
Then again, there are a lot of
these parts of the movie where...
1546
01:11:36,710 --> 01:11:39,464
There’s very, very few scenes that
were cut whole cloth from the film.
1547
01:11:39,465 --> 01:11:41,969
The movie that you’re watching,
you know, is essentially...
1548
01:11:41,970 --> 01:11:43,848
Those are the scenes
that we shot,
1549
01:11:43,849 --> 01:11:46,687
but we definitely pared
things down for time and pace.
1550
01:11:46,688 --> 01:11:50,069
And this used to be a longer
exploration of this kind of idea
1551
01:11:50,070 --> 01:11:54,285
about youthful idealism and the way
that power actually functions in the world.
1552
01:11:54,286 --> 01:11:56,624
And just for overall time
1553
01:11:56,625 --> 01:12:00,172
and needing to spend a little bit
more time with Bob learning his powers,
1554
01:12:00,173 --> 01:12:04,472
we did trim this down, but I still
love, uh, what Joanna wrote here
1555
01:12:04,473 --> 01:12:06,727
about a bad guy and a worse guy
and nothing else,
1556
01:12:06,728 --> 01:12:08,021
and that really is Val’s ethos,
1557
01:12:08,022 --> 01:12:10,777
which is not that
she aspires to be a bad guy,
1558
01:12:10,778 --> 01:12:13,407
but she just believes that
she sees the truth in the world,
1559
01:12:13,408 --> 01:12:18,125
which is that it’s all just a set of
grays and people aspiring for power,
1560
01:12:18,126 --> 01:12:20,379
and if that’s
how the world works,
1561
01:12:20,380 --> 01:12:23,803
then you wanna be the one
with the most power,
1562
01:12:23,804 --> 01:12:26,100
and that’s something that Mel
just hasn’t come to terms with yet.
1563
01:12:27,812 --> 01:12:31,067
This was another place
where we wanted to have fun
1564
01:12:31,068 --> 01:12:33,615
with the meta of Sentry.
1565
01:12:33,616 --> 01:12:36,704
Um, all of those things that
you see in the background there,
1566
01:12:36,705 --> 01:12:41,171
um, those are the actual... [chuckles]
...costume pieces and, uh, concepts
1567
01:12:41,172 --> 01:12:42,841
for the development
of The Sentry costume,
1568
01:12:42,842 --> 01:12:46,515
and it felt like what Val
was doing in our movie
1569
01:12:46,516 --> 01:12:49,312
is the same thing Marvel does
so well, which is build superheroes,
1570
01:12:49,313 --> 01:12:51,358
and you would need to make
a costume for one,
1571
01:12:51,359 --> 01:12:53,905
so we thought it would be fun
to kind of wink at that
1572
01:12:53,906 --> 01:12:55,366
by having
the actual development.
1573
01:12:55,367 --> 01:12:57,913
Those are-- Russell Bobbitt,
our wonderful prop master,
1574
01:12:57,914 --> 01:13:01,504
longtime Marvel prop master,
those are his 3D printers to the side
1575
01:13:01,505 --> 01:13:04,258
that he uses to make all of
these props and to form them,
1576
01:13:04,259 --> 01:13:07,599
and we tried to just kind of
lean into that connection point
1577
01:13:07,600 --> 01:13:11,356
between what the movie was doing
and what Val was doing as a character.
1578
01:13:11,357 --> 01:13:14,320
And then really lean into,
again, you know,
1579
01:13:14,321 --> 01:13:17,995
there’s still an innocence to
this, of Lewis is not turning evil.
1580
01:13:17,996 --> 01:13:22,796
It’s that Bob is having someone
appeal to his importance
1581
01:13:22,797 --> 01:13:26,679
in a way that no one else has
maybe ever in his life.
1582
01:13:26,680 --> 01:13:29,727
And you see the kind of
excitement of what that could mean
1583
01:13:29,728 --> 01:13:31,312
to someone like that
1584
01:13:31,313 --> 01:13:34,737
and this idea of the hint in
his eyes at that Sentry side.
1585
01:13:34,738 --> 01:13:37,951
I was in this helicopter.
I got that shot. It’s morning.
1586
01:13:37,952 --> 01:13:39,747
This was also
a very funny Easter egg of...
1587
01:13:39,748 --> 01:13:42,126
That’s a C.C. Rentals truck
that we painted.
1588
01:13:42,127 --> 01:13:45,884
When I was in film school, there
was one rental service in New York
1589
01:13:45,885 --> 01:13:48,013
that would rent you a truck
to film students
1590
01:13:48,014 --> 01:13:53,356
who consistently ding it and
scratch it as much as possible, um...
1591
01:13:53,357 --> 01:13:55,319
And when we needed a vehicle
for them to come in on,
1592
01:13:55,320 --> 01:13:56,989
I just thought
it would be funny
1593
01:13:56,990 --> 01:13:59,828
cause that is who would rent to
them on short notice in New York.
1594
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.
1595
01:14:03,044 --> 01:14:05,047
And at this point in the shoot,
1596
01:14:05,048 --> 01:14:07,218
they had just figured out these
characters so well and their dynamic,
1597
01:14:07,219 --> 01:14:10,683
you could just let them go and
you would get great things like that.
1598
01:14:10,684 --> 01:14:12,938
You know,
about Walker’s insecurity
1599
01:14:12,939 --> 01:14:16,444
and maybe a little hat tip to how
he felt about his, uh, his helmet
1600
01:14:16,445 --> 01:14:18,323
in Falcon and Winter Soldier.
1601
01:14:18,324 --> 01:14:21,162
But just, yeah,
the interplay felt so nice.
1602
01:14:21,163 --> 01:14:22,999
This is actually out on a set.
1603
01:14:23,000 --> 01:14:26,464
Th-That was onstage, and this
is, again, never any green screen.
1604
01:14:26,465 --> 01:14:29,972
This is out on our 45th Street
set, with a camera mount.
1605
01:14:29,973 --> 01:14:31,600
Again,
just two takes of improv.
1606
01:14:31,601 --> 01:14:33,980
Sorry. Joanna wrote
a lot of these lines,
1607
01:14:33,981 --> 01:14:36,192
but just letting
these two guys go
1608
01:14:36,193 --> 01:14:38,363
with each other
to establish this.
1609
01:14:38,364 --> 01:14:40,952
...I drive. [chuckles]
1610
01:14:40,953 --> 01:14:42,037
I don’t get tired.
1611
01:14:42,038 --> 01:14:43,415
No, I mean metaphorically.
1612
01:14:43,416 --> 01:14:44,626
I don’t actually want to drive.
1613
01:14:44,627 --> 01:14:46,045
[Yelena] Are we there yet?
1614
01:14:46,046 --> 01:14:47,841
- Almost!
- Almost!
1615
01:14:47,842 --> 01:14:49,260
[inhales, exhales deeply]
1616
01:14:49,261 --> 01:14:54,188
Okay. Mr. Soldier,
what is secret plan, huh?
1617
01:14:55,315 --> 01:14:56,734
The plan?
1618
01:14:56,735 --> 01:14:57,528
[Alexei] Yeah.
1619
01:15:00,659 --> 01:15:02,829
[Schreier] Okay,
so this whole set, I mean,
1620
01:15:02,830 --> 01:15:05,710
is one of the craziest sets
I’ve ever seen built.
1621
01:15:05,711 --> 01:15:09,050
Grace built an entire recreation
of 45th Street in New York,
1622
01:15:09,051 --> 01:15:11,972
three stories up,
with this lobby inside.
1623
01:15:11,973 --> 01:15:14,603
Some of the background of
the lobby is extended by ILM,
1624
01:15:14,604 --> 01:15:17,274
but it all connects,
it all exists.
1625
01:15:17,275 --> 01:15:19,529
The overpasses are real.
1626
01:15:19,530 --> 01:15:21,366
I mean, I’ve really
never seen anything like it,
1627
01:15:21,367 --> 01:15:26,167
and then Chuck built this incredible
rig with silks over the top of that street,
1628
01:15:26,168 --> 01:15:29,048
so that you could play it as this
consistently cloudy day the whole time,
1629
01:15:29,049 --> 01:15:31,720
and then ILM did a beautiful
job extending that set.
1630
01:15:31,721 --> 01:15:35,979
But again, when 60 to 70% of what
you’re looking at is entirely in-camera,
1631
01:15:35,980 --> 01:15:38,441
when you extend things
in the background,
1632
01:15:38,442 --> 01:15:42,032
you’re giving everyone a much,
much better chance of success.
1633
01:15:42,033 --> 01:15:44,120
And it was just such a, you
know... You’re in this weird position
1634
01:15:44,121 --> 01:15:46,959
where shooting on location
wouldn’t make any sense,
1635
01:15:46,960 --> 01:15:50,132
’cause Avengers Tower
doesn’t exist in New York,
1636
01:15:50,133 --> 01:15:52,469
so you’d be adding that, so it
makes sense to have the control,
1637
01:15:52,470 --> 01:15:54,516
especially given all the action
that we’re gonna do there.
1638
01:15:54,517 --> 01:15:56,311
But then to have
this level of detail,
1639
01:15:56,312 --> 01:15:58,774
Michael Hersey,
longtime art director,
1640
01:15:58,775 --> 01:16:02,031
who we worked with on Beef, supervised
this over months of building that thing.
1641
01:16:02,032 --> 01:16:04,703
And then we just tried to set
as much as we could there
1642
01:16:04,704 --> 01:16:07,374
to make it pay off for how
much effort went into it.
1643
01:16:07,375 --> 01:16:10,130
How crazy is it to think
of all the monumental fights...
1644
01:16:10,131 --> 01:16:12,384
[Schreier] It was really fun when
we got to this part of the shoot.
1645
01:16:12,385 --> 01:16:15,307
I think we’d been making this
movie that felt very different
1646
01:16:15,308 --> 01:16:17,896
um, and almost felt like
it wasn’t a Marvel movie,
1647
01:16:17,897 --> 01:16:19,900
and then I remember getting
to this scene and this sequence
1648
01:16:19,901 --> 01:16:24,408
and being in our
remodeled Avengers Tower,
1649
01:16:24,409 --> 01:16:26,580
and it felt like, "Okay, no,
it is a Marvel movie."
1650
01:16:26,581 --> 01:16:29,210
I mean, this is a villain
face-off with a team of heroes.
1651
01:16:29,211 --> 01:16:33,511
Just in our context, with a
little bit of dryness underneath,
1652
01:16:33,512 --> 01:16:36,725
but knowing that the movie was
gonna exist in both of those worlds,
1653
01:16:36,726 --> 01:16:38,604
that it was gonna
feel different,
1654
01:16:38,605 --> 01:16:41,568
but also in the end,
hopefully, if it works,
1655
01:16:41,569 --> 01:16:45,450
aspire to live up to the legacy
of the great movies
1656
01:16:45,451 --> 01:16:46,954
that this studio has made.
1657
01:16:46,955 --> 01:16:49,125
And there was a comfort
being in this scene
1658
01:16:49,126 --> 01:16:51,129
and feeling
the familiarity of that.
1659
01:16:51,130 --> 01:16:53,007
It’s tropey for sure,
1660
01:16:53,008 --> 01:16:55,387
but done in our own style,
and that was always the hope
1661
01:16:55,388 --> 01:16:58,351
was to kind of get
to have the fun of those tropes
1662
01:16:58,352 --> 01:16:59,771
and what these movies can be
1663
01:16:59,772 --> 01:17:01,357
and then also undercut it
a little bit
1664
01:17:01,358 --> 01:17:02,735
and hopefully have
all of those things
1665
01:17:02,736 --> 01:17:05,282
live in harmony together.
1666
01:17:05,283 --> 01:17:08,664
And it was also just fun to get
them together with Julia finally
1667
01:17:08,665 --> 01:17:10,626
and have that
interplay with her.
1668
01:17:10,627 --> 01:17:12,797
She was so great
with the team in this.
1669
01:17:12,798 --> 01:17:15,553
The Santa line, uh,
which was Joanna’s add,
1670
01:17:15,554 --> 01:17:17,932
and the way
Alexei plays this, uh...
1671
01:17:17,933 --> 01:17:20,146
or the way David plays this
is just so fun.
1672
01:17:20,814 --> 01:17:21,566
What?
1673
01:17:23,570 --> 01:17:25,155
- Where’s Mel?
- Mel?
1674
01:17:25,156 --> 01:17:26,950
Oh, Mel. Yeah.
1675
01:17:26,951 --> 01:17:29,748
Uh, Mel is having
a little loyalty issue.
1676
01:17:29,749 --> 01:17:32,545
But I’m just so grateful...
1677
01:17:32,546 --> 01:17:35,760
[Schreier] And then, we finally
get to our big Sentry reveal,
1678
01:17:35,761 --> 01:17:37,639
which, you know, again,
1679
01:17:37,640 --> 01:17:40,018
it’s so many different places
that this character needs to go
1680
01:17:40,019 --> 01:17:41,395
in so little time,
1681
01:17:41,396 --> 01:17:42,982
and leaning into this idea
1682
01:17:42,983 --> 01:17:44,819
that it’s not necessarily
the most comfortable fit.
1683
01:17:44,820 --> 01:17:47,449
And, you know, I think what’s so
great about having Lewis is that
1684
01:17:47,450 --> 01:17:50,163
he has the stature
and he can physically embody
1685
01:17:50,164 --> 01:17:53,546
this Golden Guardian of Good,
and at the same time,
1686
01:17:53,547 --> 01:17:56,175
bring a level of insecurity
underneath that.
1687
01:17:56,176 --> 01:17:58,847
And, God, yeah,
Florence’s face there.
1688
01:17:58,848 --> 01:18:01,895
I mean, obviously the most
important part about this scene
1689
01:18:01,896 --> 01:18:05,528
is this idea that, you know, if
you’re with Yelena on this journey
1690
01:18:05,529 --> 01:18:07,699
and you believe that nothing
really matters at the beginning,
1691
01:18:07,700 --> 01:18:10,161
and then you meet this guy
who’s going through a similar thing,
1692
01:18:10,162 --> 01:18:12,499
and you form some sense
of connection with him,
1693
01:18:12,501 --> 01:18:15,798
and then you feel like you’ve lost
him, but you’re there to rescue him,
1694
01:18:15,799 --> 01:18:18,219
to see him
in this other context,
1695
01:18:18,220 --> 01:18:21,893
you know, this is what drives her
to the rest of where the story is going
1696
01:18:21,894 --> 01:18:24,816
and her true low point,
which is to find
1697
01:18:24,817 --> 01:18:27,614
that person that she met
lost to her,
1698
01:18:27,615 --> 01:18:31,747
and you know, this sort of
fight for his soul and his purpose
1699
01:18:31,748 --> 01:18:34,209
between her and Val
that they’ll play out here.
1700
01:18:34,210 --> 01:18:38,719
The fact that she loses it is really
what drives the rest of the story.
1701
01:18:38,720 --> 01:18:39,929
Oh, no.
1702
01:18:39,930 --> 01:18:41,892
No, I’m not gonna hurt people.
1703
01:18:41,893 --> 01:18:44,229
[Schreier] And meanwhile, of
course, we get to hear Val’s plan
1704
01:18:44,230 --> 01:18:46,818
and that she does want to be
in charge of everything,
1705
01:18:46,819 --> 01:18:51,745
you know, with this, uh-- you know,
the idea that in this world of the MCU,
1706
01:18:51,746 --> 01:18:55,586
you can’t really have that without
one of these heroes at your side,
1707
01:18:55,587 --> 01:18:59,051
especially in this case, the
most powerful one of all, um...
1708
01:18:59,052 --> 01:19:03,267
And I love the way Alexei sort of
engages in that meta, you know.
1709
01:19:03,268 --> 01:19:07,860
Thinks the name is cool and is
impressed at the same time as he wishes...
1710
01:19:07,861 --> 01:19:09,823
I think all of them,
at some point, wished
1711
01:19:09,824 --> 01:19:12,160
that they were standing
in that position.
1712
01:19:12,161 --> 01:19:15,751
And now, to see this guy who they,
you know, not dismissed, I mean,
1713
01:19:15,752 --> 01:19:19,926
in Walker’s case, perhaps,
in a pretty negative way,
1714
01:19:19,927 --> 01:19:22,389
but just not imagining
that this is what he could be.
1715
01:19:22,390 --> 01:19:25,688
But to see him
standing opposite in this role
1716
01:19:25,689 --> 01:19:27,482
has personal resonance
for each of them
1717
01:19:27,483 --> 01:19:30,447
and thinking about
what they didn’t become.
1718
01:19:30,448 --> 01:19:31,783
Please, don’t do this.
1719
01:19:31,784 --> 01:19:33,494
[Schreier] And, again,
these lines are very delicate
1720
01:19:33,495 --> 01:19:35,331
with Lewis, you know,
to make clear
1721
01:19:35,332 --> 01:19:36,877
that he doesn’t
want to hurt them,
1722
01:19:36,878 --> 01:19:39,339
that if it feels like
a quick turn for the audience,
1723
01:19:39,340 --> 01:19:41,093
we understand
where it’s coming from,
1724
01:19:41,094 --> 01:19:42,889
and he really just does
wanna be important,
1725
01:19:42,890 --> 01:19:47,105
but it’s not that he bears them
any necessary ill will.
1726
01:19:47,106 --> 01:19:49,067
But, again, yeah,
that close-up is where
1727
01:19:49,068 --> 01:19:51,865
Yelena really realizes
that he’s lost,
1728
01:19:51,866 --> 01:19:53,911
and to see
that sinking feeling,
1729
01:19:53,912 --> 01:19:56,373
I mean, it’s just so great on
her part in just a little close-up.
1730
01:19:56,374 --> 01:19:58,461
Thunderbolts?
1731
01:19:58,462 --> 01:20:00,716
[Schreier] And then here we go!
We finally get to see him work.
1732
01:20:00,717 --> 01:20:02,887
But the idea here
in this sequence was also
1733
01:20:02,888 --> 01:20:05,141
that he hasn’t
trained very much,
1734
01:20:05,142 --> 01:20:07,563
so it’s not only establishing
for the audience--
1735
01:20:07,564 --> 01:20:09,567
for the Thunderbolts,
what his powers are,
1736
01:20:09,568 --> 01:20:13,115
but also for himself to see,
"Oh, I can stop bullets,"
1737
01:20:13,116 --> 01:20:15,746
and become more comfortable
as the sequence goes on.
1738
01:20:15,747 --> 01:20:19,504
You know, and obviously,
Sentry’s power set is limitless,
1739
01:20:19,505 --> 01:20:22,384
so if the sequence went on
further, if he had more people to fight,
1740
01:20:22,385 --> 01:20:25,098
we could go even further,
but it felt like we could contain it
1741
01:20:25,099 --> 01:20:27,645
to a level that still
fit within our movie,
1742
01:20:27,646 --> 01:20:29,858
where obviously we’re stepping
outside of the fully practical thing now.
1743
01:20:29,859 --> 01:20:31,862
There’s more CG in this.
1744
01:20:31,863 --> 01:20:33,489
But we’ve been
yearning for that.
1745
01:20:33,490 --> 01:20:34,826
We wanna see.
1746
01:20:34,827 --> 01:20:36,538
This is where it becomes more
of a superhero movie,
1747
01:20:36,539 --> 01:20:37,748
if we’ve been
something different.
1748
01:20:37,749 --> 01:20:39,669
You wanna see
what The Sentry can do
1749
01:20:39,670 --> 01:20:41,673
that we thought
still balanced with...
1750
01:20:41,674 --> 01:20:45,263
This is shot with a lot
of our first unit as a oner,
1751
01:20:45,264 --> 01:20:47,935
with a motion control rig
and a TechnoDolly.
1752
01:20:47,936 --> 01:20:49,731
And then there’s CG
in between, obviously,
1753
01:20:49,732 --> 01:20:51,651
’cause he’s doing things
that humans can’t do,
1754
01:20:51,652 --> 01:20:54,281
but it is real performance
amidst all of that.
1755
01:20:54,282 --> 01:20:57,538
And still feels, within that
context, like our movie,
1756
01:20:57,539 --> 01:21:01,713
but expanding into that more kind
of traditional superhero territory.
1757
01:21:01,714 --> 01:21:05,178
This is also a shot
with a lot of design from Rico,
1758
01:21:05,179 --> 01:21:06,890
our board artist
who I mentioned before,
1759
01:21:06,891 --> 01:21:09,103
who does such great stuff
with action like this.
1760
01:21:17,913 --> 01:21:21,920
And you land again, just
continuing to lock in on Yelena
1761
01:21:21,921 --> 01:21:23,966
and how she feels
about losing Bob,
1762
01:21:23,967 --> 01:21:28,182
and then playing into this very
kind of, you know, Bucky’s moment,
1763
01:21:28,183 --> 01:21:29,727
where in a normal movie
you might expect...
1764
01:21:29,728 --> 01:21:31,982
You know, we want this
to be Bucky’s moment.
1765
01:21:31,983 --> 01:21:35,029
We want him to succeed here,
but really, you know, it’s interesting.
1766
01:21:35,030 --> 01:21:37,117
Unlike normal fights
in normal movies,
1767
01:21:37,118 --> 01:21:39,246
these are kind of
overall scene arcs
1768
01:21:39,247 --> 01:21:42,252
where they have all wins
downstairs with the guards
1769
01:21:42,253 --> 01:21:46,176
and then all losses in this
sequence to bring them to a low point.
1770
01:21:46,177 --> 01:21:48,015
They get nothing in on Sentry.
1771
01:21:50,645 --> 01:21:52,189
And that’s when
you really feel it.
1772
01:21:53,526 --> 01:21:54,610
It’s pretty rough
1773
01:21:54,611 --> 01:21:56,238
having your arm
tossed towards you
1774
01:21:56,239 --> 01:21:58,827
after being knocked
unconscious with it.
1775
01:21:58,828 --> 01:22:02,586
[Valentina] I’m so glad you were able
to catch a glimpse before your, uh...
1776
01:22:03,253 --> 01:22:05,131
retirement.
1777
01:22:05,132 --> 01:22:08,095
[Schreier] This is gonna
sound very silly,
1778
01:22:08,096 --> 01:22:11,435
but there is a children’s book called
Cookie Monster and The Cookie Tree,
1779
01:22:11,436 --> 01:22:16,487
um, which involves a witch
and a magic cookie tree
1780
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,
1781
01:22:21,540 --> 01:22:23,585
but then it won’t share
any cookies with her
1782
01:22:23,586 --> 01:22:25,964
’cause it only gives cookies
to people who share.
1783
01:22:25,965 --> 01:22:29,221
That was her spell, and she’s
sort of hoisted by her own petard.
1784
01:22:29,222 --> 01:22:33,145
And I would think about that a lot
when thinking about Val in this moment.
1785
01:22:33,146 --> 01:22:35,567
I think I even gave
Julia that book.
1786
01:22:35,568 --> 01:22:37,863
And she laughed and said,
"You’re very strange, you know that?"
1787
01:22:37,864 --> 01:22:38,740
And she’s not wrong.
1788
01:22:38,741 --> 01:22:40,368
Okay.
1789
01:22:40,369 --> 01:22:42,163
Hannah told me
this is an actual moment
1790
01:22:42,164 --> 01:22:44,292
where she forgot to give
Sebastian his arm back
1791
01:22:44,293 --> 01:22:45,838
and then had to remember it.
1792
01:22:45,839 --> 01:22:47,759
And we kept that in,
which was fun.
1793
01:22:49,387 --> 01:22:53,019
In this scene,
which Joanna wrote,
1794
01:22:54,313 --> 01:22:56,776
I just thought
it’s an interesting one
1795
01:22:56,777 --> 01:23:00,659
where I was worried about
having Yelena go this far.
1796
01:23:00,660 --> 01:23:04,750
I was worried that the audience would
lose touch with her if she was this harsh.
1797
01:23:04,751 --> 01:23:06,420
I mean, it’s obviously
the point of the scene
1798
01:23:06,421 --> 01:23:08,842
is to bring your characters
to a low point
1799
01:23:08,843 --> 01:23:10,178
and have your protagonists,
you know--
1800
01:23:10,179 --> 01:23:12,390
because she feels
those bonds broken--
1801
01:23:12,391 --> 01:23:13,935
tear apart the team.
1802
01:23:13,936 --> 01:23:15,229
But how far she went,
1803
01:23:15,230 --> 01:23:18,987
I think I, you know--
my mistake was cautious
1804
01:23:18,988 --> 01:23:22,035
in how far we would let her go, and
everyone else really spoke up for...
1805
01:23:22,036 --> 01:23:25,249
Joanna spoke up for, and the actors
spoke up for the idea that it was...
1806
01:23:25,250 --> 01:23:27,420
Not only was it okay
to go there,
1807
01:23:27,421 --> 01:23:29,717
but it was important
to go to this place.
1808
01:23:29,718 --> 01:23:32,598
And it really added
so much to this scene.
1809
01:23:32,599 --> 01:23:34,059
[scoffs] See?
1810
01:23:34,060 --> 01:23:35,311
Slow down. Um-nichka.
1811
01:23:35,312 --> 01:23:36,940
Alexei,
I am not your um-nichka.
1812
01:23:36,941 --> 01:23:39,236
I haven’t heard from you
or seen you in a year.
1813
01:23:39,237 --> 01:23:41,323
[Schreier] And here we start
to delve more into that thing
1814
01:23:41,324 --> 01:23:43,912
that’ll become the crux of the next
scene, of how they’re processing...
1815
01:23:43,913 --> 01:23:47,920
Again, you may just know it
in this movie as Yelena’s sister,
1816
01:23:47,921 --> 01:23:50,634
but obviously,
if you’ve seen these films,
1817
01:23:50,635 --> 01:23:53,264
you know, hinting at
this sense of loss
1818
01:23:53,265 --> 01:23:56,271
after Natasha is gone
and how they’re processing it.
1819
01:24:00,780 --> 01:24:01,824
Yelena!
1820
01:24:03,451 --> 01:24:04,871
[Schreier] Meanwhile,
back in the tower,
1821
01:24:05,832 --> 01:24:07,710
not going so great.
1822
01:24:07,711 --> 01:24:09,129
And, again, it’s a tricky
balance, you know.
1823
01:24:09,130 --> 01:24:10,966
I mean, when you have
Julia Louis-Dreyfus,
1824
01:24:10,967 --> 01:24:12,468
you want to
lean into this humor,
1825
01:24:12,469 --> 01:24:14,515
but I felt like we never
pushed it too far
1826
01:24:14,516 --> 01:24:17,521
to come at the expense of the
stakes that are starting to emerge.
1827
01:24:17,522 --> 01:24:19,900
But again, Lewis has
such little real estate here
1828
01:24:19,901 --> 01:24:23,282
to play this more
sort of, you know, manic side
1829
01:24:23,283 --> 01:24:26,413
of the duality
of this sense of hubris
1830
01:24:26,414 --> 01:24:28,501
and the way it’s frustrating
to feel limited in that.
1831
01:24:28,502 --> 01:24:30,379
And this is the side
Val didn’t get to see
1832
01:24:30,380 --> 01:24:32,342
before she put him
into this position,
1833
01:24:32,343 --> 01:24:36,475
because she’s so rushed and
trying to get out of her circumstances.
1834
01:24:36,476 --> 01:24:40,817
But, you know, again, Lewis is
doing so much here with so little time
1835
01:24:40,818 --> 01:24:45,827
to show that it’s not just
a sort of traditional
1836
01:24:45,828 --> 01:24:49,794
villain drunk on power, but
someone who wanted to matter
1837
01:24:49,795 --> 01:24:51,589
but is also uncomfortable
with that position,
1838
01:24:51,590 --> 01:24:54,010
and again, we were always
trying to get at this idea,
1839
01:24:54,011 --> 01:24:56,724
based on a friend of mine,
of the hubristic side
1840
01:24:56,725 --> 01:24:59,062
actually bringing about
the self-destructive side
1841
01:24:59,063 --> 01:25:01,358
and that sense of despair.
1842
01:25:01,359 --> 01:25:04,364
And this was something that we really
drilled in on in this moment of the scene,
1843
01:25:04,365 --> 01:25:08,080
to show that hubris
but in an unstable sort of way,
1844
01:25:08,081 --> 01:25:09,333
which I thought
he did so beautifully.
1845
01:25:10,335 --> 01:25:11,337
[grunts]
1846
01:25:13,341 --> 01:25:15,929
You were gonna turn on me...
1847
01:25:15,930 --> 01:25:18,977
[Schreier] And this idea of feeling
like everyone always abandons him,
1848
01:25:18,978 --> 01:25:21,481
which is something that’s true,
or doesn’t see him this way,
1849
01:25:21,482 --> 01:25:22,651
or is willing to
cast him aside,
1850
01:25:22,652 --> 01:25:24,530
which has been true
his whole life,
1851
01:25:24,531 --> 01:25:27,536
which he now sees in her,
which brings about this darker side,
1852
01:25:27,537 --> 01:25:30,959
so that when he is
killed by Mel,
1853
01:25:30,960 --> 01:25:34,467
we then transfer him to that
Void side of The Sentry character.
1854
01:25:40,855 --> 01:25:44,110
And this is sort of completing
Mel’s arc of deciding,
1855
01:25:44,111 --> 01:25:47,534
"Okay, between the two, I
would rather not be on the outside.
1856
01:25:47,535 --> 01:25:49,412
Even if there are
compromises to it,
1857
01:25:49,413 --> 01:25:51,166
I would rather
be closer to power."
1858
01:25:51,167 --> 01:25:53,003
I want a raise.
1859
01:25:53,004 --> 01:25:55,675
[Valentina] Okay, fine.
Get cleanup on the body.
1860
01:25:55,676 --> 01:25:58,516
And tell Holt it’s finally time
to go lethal on these losers.
1861
01:26:00,561 --> 01:26:02,146
[Schreier] This took a
lot of development here
1862
01:26:02,147 --> 01:26:04,568
of how to turn Sentry dark,
you know,
1863
01:26:04,569 --> 01:26:08,576
and how to kind of do a version of
creating this character of the Void.
1864
01:26:08,577 --> 01:26:11,958
This is ILM’s work of kind of
drawing the shadows to him
1865
01:26:11,959 --> 01:26:13,711
to establish
the beginning of that.
1866
01:26:13,712 --> 01:26:15,422
And adding that eye flip.
1867
01:26:15,423 --> 01:26:16,384
[Alexei] Yelena!
1868
01:26:17,595 --> 01:26:19,264
[Schreier]
And this is probably...
1869
01:26:19,265 --> 01:26:21,894
well, one of my favorite scenes
in the movie for sure.
1870
01:26:21,895 --> 01:26:24,900
This is another scene
that Sonny really wrote,
1871
01:26:24,901 --> 01:26:28,156
paired with that scene in Alexei’s
apartment from the beginning.
1872
01:26:28,157 --> 01:26:29,743
And, you know, really
trying to push this movie
1873
01:26:29,744 --> 01:26:31,664
to a different corner
than you might expect
1874
01:26:31,665 --> 01:26:34,546
for a young woman who’s
really going through something.
1875
01:26:35,171 --> 01:26:36,966
Uh...
1876
01:26:36,967 --> 01:26:38,720
And I think this was always
one of my favorite scenes
1877
01:26:38,721 --> 01:26:40,180
from the moment I read it.
1878
01:26:40,181 --> 01:26:42,018
I don’t think we shot it
till about eight weeks in,
1879
01:26:42,019 --> 01:26:44,607
and I think we had
half a day for it, um...
1880
01:26:44,608 --> 01:26:50,159
But you just were so excited, knowing
how good David and Florence are together
1881
01:26:50,160 --> 01:26:51,954
and were gonna be.
1882
01:26:51,955 --> 01:26:53,290
And I remember
there actually...
1883
01:26:53,291 --> 01:26:54,835
Yeah, there was
a lightning storm that day.
1884
01:26:54,836 --> 01:26:55,962
We had to wait on stuff.
1885
01:26:55,963 --> 01:26:57,256
There was this tension
1886
01:26:57,257 --> 01:26:59,052
of just wanting
to see this scene happen.
1887
01:26:59,053 --> 01:27:00,805
And I think after
the first take on her,
1888
01:27:00,806 --> 01:27:02,559
David turned to me
and he was like,
1889
01:27:02,560 --> 01:27:03,978
"I mean, that’s it.
I don’t know that
1890
01:27:03,979 --> 01:27:05,607
you’re gonna get
any better than that."
1891
01:27:05,608 --> 01:27:07,778
And we did more takes,
of course,
1892
01:27:07,779 --> 01:27:12,495
but they were just so ready
to perform this, um,
1893
01:27:12,496 --> 01:27:15,417
and I don’t know,
1894
01:27:15,418 --> 01:27:17,463
there are just times when,
you know,
1895
01:27:17,464 --> 01:27:19,217
I care a lot about camerawork,
1896
01:27:19,218 --> 01:27:20,845
but in a scene like this,
1897
01:27:20,846 --> 01:27:23,183
sometimes you wanna just be
as simple as you possibly can.
1898
01:27:23,184 --> 01:27:26,899
And it’s just two lens sizes,
you know, one at a time,
1899
01:27:26,900 --> 01:27:30,030
so you’re on the eyeline on each
of them, and you just let them go.
1900
01:27:30,031 --> 01:27:31,701
There’s a wide shot
to lead you into it,
1901
01:27:31,702 --> 01:27:33,245
but there’s no
fancy camerawork.
1902
01:27:33,246 --> 01:27:34,623
We’re not pushing in.
1903
01:27:34,624 --> 01:27:37,294
The last thing you wanna do
is get in the way
1904
01:27:37,295 --> 01:27:38,631
of performances like that.
1905
01:27:38,632 --> 01:27:40,635
There are times
to do fancy things
1906
01:27:40,636 --> 01:27:42,264
and there are times
to just let it go.
1907
01:27:43,391 --> 01:27:45,018
My first...
1908
01:27:45,019 --> 01:27:46,522
[Schreier] And it’s
interesting, you edit this movie,
1909
01:27:46,523 --> 01:27:48,316
and you watch this stuff
over and over.
1910
01:27:48,317 --> 01:27:50,739
I remember the first time
I saw this in the assembly,
1911
01:27:50,740 --> 01:27:53,536
and, you know, I choked up a little
bit just ’cause of that performance.
1912
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
1913
01:27:56,459 --> 01:27:58,003
as you edit it
over and over again.
1914
01:27:58,004 --> 01:27:59,798
When you see it with an
audience again for the first time,
1915
01:27:59,799 --> 01:28:01,342
you can feel it in the room.
1916
01:28:01,343 --> 01:28:04,641
Maybe not for everyone,
but certainly for me, I think,
1917
01:28:04,642 --> 01:28:07,856
just, again, as someone
who appreciates great acting.
1918
01:28:07,857 --> 01:28:09,985
You know, to be able
to be in this movie
1919
01:28:09,986 --> 01:28:12,699
and with the scale and scope of
everything that’s going on around you,
1920
01:28:12,700 --> 01:28:17,667
but to get to this place that
feels so small and relatable
1921
01:28:17,668 --> 01:28:19,547
and how much she commits to it.
1922
01:28:20,883 --> 01:28:23,094
I mean, you don’t really...
1923
01:28:23,095 --> 01:28:25,098
This is the thing
about making these movies.
1924
01:28:25,099 --> 01:28:26,560
You’re on so much stuff,
1925
01:28:26,561 --> 01:28:28,773
and you’re doing all the action
and all these things,
1926
01:28:28,774 --> 01:28:31,529
but the movie only works if this
thing that you get in half a day
1927
01:28:31,530 --> 01:28:35,285
with two setups,
with two actors, if it sings.
1928
01:28:35,286 --> 01:28:36,665
And, you know, the...
1929
01:28:37,875 --> 01:28:41,381
I mean, she’s actual magic.
1930
01:28:41,382 --> 01:28:44,763
I mean, if you ever get a chance
to work with her, you should take it.
1931
01:28:44,764 --> 01:28:47,686
And David, you know,
to do that performance,
1932
01:28:47,687 --> 01:28:50,650
to be as big and as funny
as Alexei can be
1933
01:28:50,651 --> 01:28:53,154
but bring it in the way
that he does in this scene,
1934
01:28:53,155 --> 01:28:57,246
I mean, I’m just so in awe
of both of them.
1935
01:28:57,247 --> 01:29:00,252
This scene actually used to, and I
think you see it in some of the posters--
1936
01:29:00,253 --> 01:29:02,464
used to end in a hug,
and the hug was beautiful.
1937
01:29:02,465 --> 01:29:04,343
I loved that moment.
1938
01:29:04,344 --> 01:29:07,308
But we actually felt like she
was arcing a little bit too soon,
1939
01:29:07,309 --> 01:29:12,359
like we were letting her learn too
clearly the message in the movie too early,
1940
01:29:12,360 --> 01:29:14,113
and we needed to leave room
for it to go,
1941
01:29:14,114 --> 01:29:17,411
so we cut around that
and had him look up here
1942
01:29:17,412 --> 01:29:19,833
and moved around the hug
before she can entirely process
1943
01:29:19,834 --> 01:29:20,836
what she’s learned here.
1944
01:29:24,176 --> 01:29:27,473
Little Easter egg, some posters for bands
I’ve done music videos for on the wall:
1945
01:29:27,474 --> 01:29:30,647
Haim, and Francis and the
Lights, that I was in for a bit,
1946
01:29:30,648 --> 01:29:32,567
and Cashmere Cat.
1947
01:29:32,568 --> 01:29:36,407
I think also that perfume ad
on the bus station behind it
1948
01:29:36,408 --> 01:29:38,162
we made Watts Perfume,
in Jon’s honor.
1949
01:29:41,001 --> 01:29:43,798
And now the movie gets a little
bit bigger and we get the scope.
1950
01:29:43,799 --> 01:29:46,135
And this is... Obviously,
there’s a lot of CG going on here.
1951
01:29:46,136 --> 01:29:49,141
ILM did such beautiful work
building New York City
1952
01:29:49,142 --> 01:29:51,354
and also just the design
of what the Void looks like,
1953
01:29:51,355 --> 01:29:54,695
which, you know,
Kevin encouraged us to make...
1954
01:29:54,696 --> 01:29:57,241
He asked if there was any photographic,
in-camera way we could do it,
1955
01:29:57,242 --> 01:30:00,330
which there wasn’t really,
but embracing that concept,
1956
01:30:00,331 --> 01:30:02,585
just trying to make it
as simple as it could be,
1957
01:30:02,586 --> 01:30:05,340
where we did shoot Lewis
and then it is sort of...
1958
01:30:05,341 --> 01:30:08,138
You know, it’s not
an overall mask on him,
1959
01:30:08,139 --> 01:30:10,852
but it is kind of
these adjustable, like...
1960
01:30:10,853 --> 01:30:13,273
just allowing a little bit
of light in certain parts
1961
01:30:13,274 --> 01:30:16,112
and turning the rest into
a nearly 2D silhouette.
1962
01:30:16,113 --> 01:30:18,033
And then the eyes
are not animated.
1963
01:30:18,034 --> 01:30:19,870
I mean, those come from
his actual eye movements,
1964
01:30:19,871 --> 01:30:21,832
and it really doesn’t work
if they stay on the whole time.
1965
01:30:21,833 --> 01:30:24,588
It starts to feel a little bit
like Terminator,
1966
01:30:24,589 --> 01:30:28,637
like they come from
the specular highlights,
1967
01:30:28,638 --> 01:30:31,184
you know, in his eye light
that they animated.
1968
01:30:31,185 --> 01:30:32,562
And then, of course,
these shadows...
1969
01:30:32,563 --> 01:30:35,777
Grace brought in
a ton of references for these,
1970
01:30:35,778 --> 01:30:37,907
a lot of, like,
the way burns spread.
1971
01:30:38,575 --> 01:30:40,870
We went to that.
1972
01:30:40,871 --> 01:30:43,416
And, again, just trying to figure
out, like, what’s something simpler?
1973
01:30:43,417 --> 01:30:45,922
You know, when you work
on effects... This is not simple.
1974
01:30:45,923 --> 01:30:48,218
This is incredible
CGI work from ILM.
1975
01:30:48,219 --> 01:30:49,554
There’s no other way
to do this.
1976
01:30:49,555 --> 01:30:51,892
But when it comes
to the shadows, you know,
1977
01:30:51,893 --> 01:30:53,353
we would get wedges--
1978
01:30:53,354 --> 01:30:54,898
and some of that
shadow development
1979
01:30:54,899 --> 01:30:58,238
happened with Framestore
and Rising Sun Pictures as well--
1980
01:30:58,239 --> 01:31:00,785
of, "Here’s six ways we could
do it. Here’s the simplest."
1981
01:31:00,786 --> 01:31:03,331
And we would often say,
"Actually, start from the simplest,
1982
01:31:03,332 --> 01:31:06,337
and then do a wedge of six
ways even simpler than that."
1983
01:31:06,338 --> 01:31:09,051
You know, that we really
didn’t want this to feel like CG,
1984
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.
1985
01:31:14,437 --> 01:31:17,401
We wanted it to have
a bit of a different texture.
1986
01:31:17,402 --> 01:31:19,990
This sequence... You know
what I think is funny about this
1987
01:31:19,991 --> 01:31:21,910
is Kevin actually asked,
1988
01:31:21,911 --> 01:31:24,165
"Do we have to do another
crane falling? We do that so much."
1989
01:31:24,166 --> 01:31:26,460
I mean, he kept pushing me
more than I even expected
1990
01:31:26,461 --> 01:31:29,676
to try to do things differently,
and I stood up for that one.
1991
01:31:29,677 --> 01:31:32,389
I wanted the crane falling. I felt like
the trailers were gonna need that scope,
1992
01:31:32,390 --> 01:31:34,895
and really
this entire sequence...
1993
01:31:34,896 --> 01:31:37,191
You know, Alexei references it
in the beginning, you know,
1994
01:31:37,192 --> 01:31:39,111
saving civilians
in the streets, you know,
1995
01:31:39,112 --> 01:31:41,073
it’s this kind of
time-honored thing.
1996
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,
1997
01:31:46,878 --> 01:31:48,756
you know, especially
when they’re lifting the slab,
1998
01:31:48,757 --> 01:31:52,513
it all exists because
this is a thing they can solve,
1999
01:31:52,514 --> 01:31:54,225
and then there’s going to be
a problem that they can’t,
2000
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
2001
01:31:57,650 --> 01:32:00,863
and all of the CG
was really only going into it
2002
01:32:00,864 --> 01:32:03,326
for that one moment of
the little girl getting voided,
2003
01:32:03,327 --> 01:32:05,121
which we’re gonna come to
in a moment
2004
01:32:05,122 --> 01:32:09,088
and is maybe my favorite moment
to watch in the theater of this film.
2005
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.
2006
01:32:12,680 --> 01:32:15,601
Dan Sudick and his special effects
team built an actual cement slab
2007
01:32:15,602 --> 01:32:17,897
that was on a hoist
that we filmed for this.
2008
01:32:17,898 --> 01:32:20,945
This shot is in-camera,
everything that they’re lifting up.
2009
01:32:20,946 --> 01:32:25,453
That is an actual, gigantically
heavy slab that they’re lifting.
2010
01:32:25,454 --> 01:32:28,794
And, sure, okay,
what is Ghost really gonna do?
2011
01:32:28,795 --> 01:32:30,798
What is Yelena gonna do?
They’re not super soldiers.
2012
01:32:30,799 --> 01:32:34,388
But we just struggled to come up
with an image that would work as well
2013
01:32:34,389 --> 01:32:36,893
for establishing them finally
coming together as a team
2014
01:32:36,894 --> 01:32:40,693
in that very classic hero way
before we undercut that.
2015
01:32:40,694 --> 01:32:43,574
This came from Phil Langone
boards for this sequence,
2016
01:32:43,575 --> 01:32:45,620
and we were never
able to beat it.
2017
01:32:49,294 --> 01:32:52,007
So that’s an actual fall.
All that dust is real.
2018
01:32:52,008 --> 01:32:53,677
We put a little too much dust
on the thing,
2019
01:32:53,678 --> 01:32:55,598
and then we went with it
as a transition.
2020
01:32:55,599 --> 01:32:59,564
[crowd applauding]
2021
01:32:59,565 --> 01:33:02,319
[Schreier] And this moment was
very important, as Kevin pointed out--
2022
01:33:02,320 --> 01:33:04,616
Yeah, Alexei soaking it up,
what he wanted--
2023
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.
2024
01:33:08,750 --> 01:33:09,627
[child] Mom?
2025
01:33:12,298 --> 01:33:14,511
[Schreier] And here we
go. Here’s our little girl.
2026
01:33:14,512 --> 01:33:18,560
So edging on cheese, saving the
most classic little girl in the street,
2027
01:33:18,561 --> 01:33:21,273
which is all, again, this entire
sequence is just building up
2028
01:33:21,274 --> 01:33:24,488
to get this moment to land, which it
didn’t in our earliest test screenings.
2029
01:33:24,489 --> 01:33:27,327
We didn’t get the gasp
that we now get in theaters,
2030
01:33:27,328 --> 01:33:31,460
which I think really had to
fine-tune the music with Son Lux,
2031
01:33:31,461 --> 01:33:34,174
of building up to
this borderline cheesy moment
2032
01:33:34,175 --> 01:33:36,303
before it’s undercut
and then we finally start to...
2033
01:33:36,304 --> 01:33:38,976
Maybe it’s also just getting
all the VFX finished
2034
01:33:38,977 --> 01:33:41,313
and buying into that sequence.
2035
01:33:41,314 --> 01:33:44,194
But now you get to see more of
that shadow spread that ILM built.
2036
01:33:44,195 --> 01:33:46,783
You know, and there’s a lot of
nice texture in those shadows.
2037
01:33:46,784 --> 01:33:49,496
It is a very simple effect
with no flash.
2038
01:33:49,497 --> 01:33:54,298
It’s a one-and-a-half frame animation
from being upright to becoming a shadow,
2039
01:33:54,299 --> 01:33:58,139
and anything more than that, you
started to feel the CG creep into it,
2040
01:33:58,140 --> 01:34:00,769
so it really took
some confidence to feel...
2041
01:34:00,770 --> 01:34:04,151
It feels a little exposed
to do such a simple...
2042
01:34:04,152 --> 01:34:06,531
It’s almost just a cut
to them being gone.
2043
01:34:06,532 --> 01:34:09,036
But, you know,
it just felt like
2044
01:34:09,037 --> 01:34:10,831
a different way
to approach this.
2045
01:34:10,832 --> 01:34:13,921
And it’s nice to see how
effective that is in theaters.
2046
01:34:13,922 --> 01:34:16,467
And this is one of my
favorite moments in the film.
2047
01:34:16,468 --> 01:34:20,643
You know, really Yelena processing
that, and maybe that little feeling inside,
2048
01:34:20,644 --> 01:34:22,730
that is she drawn
to that same thing
2049
01:34:22,731 --> 01:34:24,316
she was drawn to
in the beginning?
2050
01:34:24,317 --> 01:34:26,487
Is this it for her?
2051
01:34:26,488 --> 01:34:28,825
You know, is she not along for this
ride given what she’s gone through?
2052
01:34:28,826 --> 01:34:30,871
But also she’s had
that experience with Alexei,
2053
01:34:30,872 --> 01:34:33,376
and, of course,
really what’s happening is
2054
01:34:33,377 --> 01:34:35,631
she understands maybe
even a little bit of guilt
2055
01:34:35,632 --> 01:34:40,306
for having expressed this idea
to Bob of "We’re all alone" to him
2056
01:34:40,307 --> 01:34:44,314
that he’s now processing and knowing
that she needs to take a leap of faith,
2057
01:34:44,315 --> 01:34:47,613
and again, that same memetic,
eyes closed, breath in and step.
2058
01:34:47,614 --> 01:34:49,617
And we matched that frame.
2059
01:34:49,618 --> 01:34:51,871
I mean, it’s not exact,
but we actually had to shoot
2060
01:34:51,872 --> 01:34:54,334
on a different side
of the building in Malaysia
2061
01:34:54,335 --> 01:34:58,134
to match the angle that she’s
stepping into the shadow here,
2062
01:34:58,135 --> 01:35:01,683
so it’s meant to truly mirror that
image of her stepping off the building
2063
01:35:01,684 --> 01:35:03,020
at the beginning of the film.
2064
01:35:13,625 --> 01:35:16,295
And now we’re back in
one of my favorite sets.
2065
01:35:16,296 --> 01:35:17,591
[Anya] Yelena!
2066
01:35:19,803 --> 01:35:23,435
[Schreier] And this is where we really
come to understand the idea of the Void
2067
01:35:25,481 --> 01:35:27,735
and these loops, ’cause we
haven’t looped these things before,
2068
01:35:27,736 --> 01:35:29,363
and I think
we kept adding to that,
2069
01:35:29,364 --> 01:35:31,785
I felt like, in the edit,
as we were cutting it on set.
2070
01:35:31,786 --> 01:35:34,456
You would need
to do three of these
2071
01:35:34,457 --> 01:35:38,255
to really understand
the looping nature of this.
2072
01:35:38,256 --> 01:35:41,303
Something Kevin thought was
very important, which was nice,
2073
01:35:41,304 --> 01:35:43,474
is that she’s calling out to Bob
so there’s an urgency to this,
2074
01:35:43,475 --> 01:35:45,186
like she’s in here to find him
2075
01:35:45,187 --> 01:35:49,444
but then is also almost unable to
look away from her prior shame.
2076
01:35:49,445 --> 01:35:53,035
And again, that wall’s just been
there the whole time, and this is a very...
2077
01:35:53,036 --> 01:35:54,956
You know, again,
sometimes you feel exposed
2078
01:35:54,957 --> 01:35:56,333
and you’re, like,
everyone’s just gonna notice,
2079
01:35:56,334 --> 01:35:59,423
but I think most people don’t
until this moment
2080
01:35:59,424 --> 01:36:02,680
when she hits it
and you see the loop extend,
2081
01:36:02,681 --> 01:36:06,730
which then draws her back in,
attempting to stop this from happening.
2082
01:36:06,731 --> 01:36:08,859
But of course,
the sort of rule of the Void,
2083
01:36:08,860 --> 01:36:10,863
you know, that we learned
through the course of making this
2084
01:36:10,864 --> 01:36:13,200
is that you cannot
interfere with it.
2085
01:36:13,201 --> 01:36:16,290
That only through some sort of acceptance
and distance can you get out of this loop.
2086
01:36:16,291 --> 01:36:18,670
As she tries to fight it,
it makes it even worse,
2087
01:36:18,671 --> 01:36:20,508
and the Void fights back
against her.
2088
01:36:25,894 --> 01:36:28,857
This is the "sentient tree" that
Sonny added, we used to call it.
2089
01:36:28,858 --> 01:36:32,280
Looked a little silly on set, but
Florence really sold that thing,
2090
01:36:32,281 --> 01:36:34,911
and then the little additions
in post made it work.
2091
01:36:34,912 --> 01:36:37,333
[speaking Russian]
2092
01:36:38,628 --> 01:36:40,129
[Schreier]
These kids are so good.
2093
01:36:40,130 --> 01:36:41,257
Uh...
2094
01:36:42,134 --> 01:36:44,514
Alexa plays Anya,
2095
01:36:44,515 --> 01:36:48,522
and of course, Violet McGraw who played
a young Yelena Belova in Black Widow
2096
01:36:48,523 --> 01:36:50,066
is back to play
Young Yelena here,
2097
01:36:50,067 --> 01:36:51,695
and they both did
just such a great job.
2098
01:37:06,307 --> 01:37:08,394
Bob?
2099
01:37:08,395 --> 01:37:10,858
[Schreier] These scenes, that
scene of Yelena’s childhood
2100
01:37:10,859 --> 01:37:12,862
and having a friend killed,
2101
01:37:12,863 --> 01:37:15,449
that was a Sonny addition
as well as this scene,
2102
01:37:15,450 --> 01:37:17,453
and going through
to the bathroom in the attic,
2103
01:37:17,454 --> 01:37:19,124
all the details
of that sequence
2104
01:37:19,125 --> 01:37:20,711
were something he really
brought to the movie
2105
01:37:20,712 --> 01:37:24,050
in such a beautiful way.
2106
01:37:24,051 --> 01:37:27,600
He really felt it was important
that this not just be about trauma
2107
01:37:27,601 --> 01:37:32,651
but focusing more on a sense of
shame and one’s own culpability
2108
01:37:32,652 --> 01:37:35,782
for the darkness
that one finds oneself in.
2109
01:37:35,783 --> 01:37:37,912
And I thought that was
such an interesting distinction,
2110
01:37:37,913 --> 01:37:41,126
so that you see each of that
in these scenes, you know,
2111
01:37:41,127 --> 01:37:43,715
that it’s not just
a terrible memory
2112
01:37:43,716 --> 01:37:45,929
but one’s own culpability
within it.
2113
01:37:59,121 --> 01:38:03,128
Florence is just so good here
playing both sides of herself, you know.
2114
01:38:03,129 --> 01:38:05,968
And this is in a very recent
dark place she felt.
2115
01:38:05,969 --> 01:38:08,640
Incredible VFX work here.
2116
01:38:08,641 --> 01:38:11,228
You know, we didn’t do
motion control for any of this,
2117
01:38:11,229 --> 01:38:13,858
but just filmed
Florence with the double
2118
01:38:13,859 --> 01:38:16,405
and filmed both sides of it,
got it as close as we could,
2119
01:38:16,406 --> 01:38:18,702
and then used face replacement
and compositing
2120
01:38:18,703 --> 01:38:20,789
to bring those
two shots together.
2121
01:38:20,790 --> 01:38:23,002
And then, again, it’s just an
editing transition of the loop.
2122
01:38:23,003 --> 01:38:25,632
And this is where I think you
really start to feel the weight
2123
01:38:25,633 --> 01:38:29,180
of there being no way out
of here if you try to disturb it.
2124
01:38:29,181 --> 01:38:32,813
This scene was a later add
and a Kevin idea
2125
01:38:32,814 --> 01:38:35,151
about wanting to find...
2126
01:38:35,152 --> 01:38:39,577
to track our heroes on their journey
into this Void after her and showing...
2127
01:38:39,578 --> 01:38:41,831
It’s nice to see some of--
2128
01:38:41,832 --> 01:38:44,795
despite the last time
we saw them together--
2129
01:38:44,796 --> 01:38:48,970
Ava’s faith in Yelena’s
decision to go in
2130
01:38:48,971 --> 01:38:51,183
and the idea that
that would be worth following.
2131
01:38:51,184 --> 01:38:54,648
And of course,
Alexei in his sadness,
2132
01:38:54,649 --> 01:38:58,155
is grateful for any idea that
he might be able to find her.
2133
01:38:58,156 --> 01:39:00,577
And here we find where
she just says, "Enough,"
2134
01:39:00,578 --> 01:39:02,246
and it’s a simple thing,
2135
01:39:02,247 --> 01:39:04,919
but it just means she’s
not gonna fight it anymore,
2136
01:39:04,920 --> 01:39:07,131
and in not fighting it,
that brings her closer to Bob.
2137
01:39:07,132 --> 01:39:08,968
This was actually all built...
2138
01:39:08,969 --> 01:39:11,431
So that wall with that mirror,
we built onto the attic set.
2139
01:39:11,432 --> 01:39:14,395
This is all in-camera. There’s
no compositing in those mirrors.
2140
01:39:14,396 --> 01:39:17,151
And these sets are built
just for that shot.
2141
01:39:17,152 --> 01:39:19,532
Obviously here, we’re in
the normal bathroom set.
2142
01:39:19,533 --> 01:39:21,369
But as we begin
this transition...
2143
01:39:24,041 --> 01:39:26,963
You know, after she says,
"What we talked about in the vault,"
2144
01:39:26,964 --> 01:39:28,800
this is all in-camera,
2145
01:39:28,801 --> 01:39:32,140
where the lights go down here
and we pan her through.
2146
01:39:32,141 --> 01:39:34,979
And it’s just two joined sets
2147
01:39:34,980 --> 01:39:37,316
that brings her into the attic
and to the center of the Void
2148
01:39:37,317 --> 01:39:39,279
because he’s allowed her in.
2149
01:39:39,280 --> 01:39:41,199
And then, of course, we establish
now that’s not there anymore.
2150
01:39:41,200 --> 01:39:43,580
But, again, just very, very
simple editing tricks for this.
2151
01:39:43,581 --> 01:39:47,588
It felt like, in a funny way, by
doing smaller, simpler things,
2152
01:39:47,589 --> 01:39:51,428
that was the way to take things in a
newer, different direction for Marvel
2153
01:39:51,429 --> 01:39:56,104
and honor that instruction
from Kevin to make it different.
2154
01:39:56,105 --> 01:39:59,068
And then, you know, when you
have an actress like Florence,
2155
01:39:59,069 --> 01:40:03,202
when you can establish, uh,
with humor, what this is,
2156
01:40:03,203 --> 01:40:04,580
these interconnected
shame rooms,
2157
01:40:04,581 --> 01:40:06,499
but even amidst
all this darkness,
2158
01:40:06,501 --> 01:40:08,714
that always gets a laugh
in the theater.
2159
01:40:10,676 --> 01:40:13,556
Some beautiful sound work
here too from Paul Hsu.
2160
01:40:13,557 --> 01:40:16,228
Skywalker did the sound for this
movie and did an incredible job.
2161
01:40:16,229 --> 01:40:19,150
Paul is someone I’ve known
since my first movie, Robot & Frank,
2162
01:40:19,151 --> 01:40:22,490
where, you know, we tried to
design the sound of the Void.
2163
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,
2164
01:40:26,959 --> 01:40:29,672
which was too much
of a cacophony,
2165
01:40:29,673 --> 01:40:31,968
but it ended up
this very simple thing he built
2166
01:40:31,969 --> 01:40:37,646
where building this infinity
reverb tail on the lines of the Void,
2167
01:40:37,647 --> 01:40:40,986
processing that
and then doing a detune on that
2168
01:40:40,987 --> 01:40:46,956
and mixing that in so there’s this
constant spooky, detuned reverb wash
2169
01:40:46,957 --> 01:40:49,461
that is built on the lines
that are being said above it.
2170
01:40:52,092 --> 01:40:53,761
So yeah, this was a beautiful
scene that Sonny wrote.
2171
01:40:53,762 --> 01:40:55,097
Then what’s happening
down below,
2172
01:40:55,098 --> 01:40:58,938
Joanna wrote beautifully,
this sense of...
2173
01:40:58,939 --> 01:41:01,151
You know, there’s so much
to establish in this moment
2174
01:41:01,152 --> 01:41:03,781
of Bob trying to be the hero,
which his dad alludes to,
2175
01:41:03,782 --> 01:41:05,618
and protect his mother.
2176
01:41:05,619 --> 01:41:07,581
But then the heartbreak
comes from his mother saying,
2177
01:41:07,582 --> 01:41:10,002
"In doing that,
you only made it worse."
2178
01:41:10,003 --> 01:41:11,797
And in such a few
amount of lines
2179
01:41:11,798 --> 01:41:15,054
to establish both sides
of that duality
2180
01:41:15,055 --> 01:41:18,435
of Bob’s desire for heroism
and his sense that, in fact,
2181
01:41:18,436 --> 01:41:22,109
that aspiration is what
brought about the worst thing,
2182
01:41:22,110 --> 01:41:24,447
to have all of those things
in such a tiny scene
2183
01:41:24,448 --> 01:41:28,163
to establish The Sentry side
and the Void side,
2184
01:41:28,164 --> 01:41:30,669
I thought that was such
beautiful writing on her part.
2185
01:41:31,462 --> 01:41:32,923
And this scene...
2186
01:41:32,924 --> 01:41:35,135
We filmed this, I think,
in the third week of filming,
2187
01:41:35,136 --> 01:41:37,724
and I was so excited to have
these two actors and do this scene
2188
01:41:37,725 --> 01:41:39,435
and have it build
to this conversation.
2189
01:41:39,436 --> 01:41:41,064
But it’s one of those things
2190
01:41:41,065 --> 01:41:43,360
where I think all of us
would say if we were asked,
2191
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,
2192
01:41:46,868 --> 01:41:49,122
and it was only really
when we got in the edit
2193
01:41:49,123 --> 01:41:50,834
where I was able
to find those moments,
2194
01:41:50,835 --> 01:41:52,504
and it’s like,
"Oh, no, it was there."
2195
01:41:52,505 --> 01:41:56,261
But it’s a risky thing
to build a movie like this
2196
01:41:56,262 --> 01:41:59,393
up to a conversation
with no movement in an attic.
2197
01:42:01,397 --> 01:42:03,985
And just her
sense of confidence
2198
01:42:03,986 --> 01:42:08,034
and how nuanced and small
her performance is,
2199
01:42:08,035 --> 01:42:11,166
and just that moment of Lewis
being unable to hold her gaze.
2200
01:42:11,167 --> 01:42:13,378
And then this idea
that things are shaking
2201
01:42:13,379 --> 01:42:15,758
because he’s beginning
to be won over
2202
01:42:15,759 --> 01:42:17,596
and that he thinks
he might leave,
2203
01:42:17,597 --> 01:42:21,019
that’s when the Void begins to
fight him, that it begins to wake up.
2204
01:42:21,020 --> 01:42:24,526
And the other side of himself is
gonna fight them to not let them out.
2205
01:42:24,527 --> 01:42:26,237
And so much of this
was done practically.
2206
01:42:26,238 --> 01:42:29,746
There’s a bunch of excellent CG
in here from Framestore, but this...
2207
01:42:31,541 --> 01:42:35,673
I’m one shot early, but this
footstool that flies at them,
2208
01:42:35,674 --> 01:42:38,930
these were all Pyrocell pieces
that Dan Sudick and his team built
2209
01:42:38,931 --> 01:42:41,017
that are actually
flying at them
2210
01:42:41,018 --> 01:42:42,604
and look like they have weight.
2211
01:42:42,605 --> 01:42:44,191
This is an actual
guy in the wall...
2212
01:42:46,070 --> 01:42:48,323
Just trying to really honor
that kind of handmade sense
2213
01:42:48,324 --> 01:42:51,454
of how some of these
more horror ideas were done.
2214
01:42:51,455 --> 01:42:53,333
And the papers that are
flying around are real,
2215
01:42:53,334 --> 01:42:55,547
but then, yeah, we do have
some added CG pieces,
2216
01:42:55,548 --> 01:42:58,553
but again, that idea that if
you get enough of it in-camera,
2217
01:42:58,554 --> 01:43:00,765
you’re putting yourself
in such a position of success.
2218
01:43:00,766 --> 01:43:03,980
I mean, even the way
this curtain strangles them,
2219
01:43:03,981 --> 01:43:05,984
that almost is
an in-camera edit,
2220
01:43:05,985 --> 01:43:09,282
you know, that we add
a little bit of CG to.
2221
01:43:09,283 --> 01:43:11,829
Again, you’re just dependent
on these incredible actors
2222
01:43:11,830 --> 01:43:15,587
being able to sell that a magic
evil curtain is strangling them.
2223
01:43:15,588 --> 01:43:18,300
But when it’s these actors and
when they built up to that moment,
2224
01:43:18,301 --> 01:43:20,220
you go with it, you buy it.
2225
01:43:20,221 --> 01:43:21,599
And then we get our...
[chuckles]
2226
01:43:21,600 --> 01:43:23,936
Maybe the strangest
triumphant save
2227
01:43:23,937 --> 01:43:26,232
in one of these movies
where you’re...
2228
01:43:26,233 --> 01:43:28,739
breaking furniture
and ripping apart a pillow.
2229
01:43:31,035 --> 01:43:33,664
But, you know, within the
context of what we’ve established,
2230
01:43:33,665 --> 01:43:37,004
we were always a little... wondering
if people would go with this.
2231
01:43:37,005 --> 01:43:39,342
But then when you get
to Bucky’s line and he says,
2232
01:43:39,343 --> 01:43:42,849
"It’s okay. I have a great
past so I’m totally fine,"
2233
01:43:42,850 --> 01:43:45,228
that’s one of the biggest
laughs that we get in the movie,
2234
01:43:45,229 --> 01:43:47,483
and you would only get that
laugh if people were with you
2235
01:43:47,484 --> 01:43:50,531
on that journey of understanding
what it means to go through this Void.
2236
01:43:50,532 --> 01:43:52,368
And believe me, in another
version of this movie,
2237
01:43:52,369 --> 01:43:56,627
I would’ve loved to see
inside all of their Void rooms.
2238
01:43:56,628 --> 01:43:59,675
And there were different drafts of
the script where we tried to do that.
2239
01:43:59,676 --> 01:44:02,639
But in the end, it felt like going
through Bob’s was the most important
2240
01:44:02,640 --> 01:44:04,601
as far as how to
get out of here.
2241
01:44:04,602 --> 01:44:06,355
Okay, okay. Just h-how
do we get out of here?
2242
01:44:11,073 --> 01:44:14,997
I mean, as far as I know,
it’s just endless rooms.
2243
01:44:17,503 --> 01:44:20,465
[Schreier] From this point on, this was
really something that Joanna pushed for,
2244
01:44:20,466 --> 01:44:22,929
which was the idea
of getting back to a big bad
2245
01:44:22,930 --> 01:44:25,475
and finding the worst room and
finding the Void at the heart of this thing
2246
01:44:25,476 --> 01:44:28,440
and needing to confront him.
2247
01:44:28,441 --> 01:44:31,320
And then this is about
establishing the external stakes
2248
01:44:31,321 --> 01:44:33,366
if they don’t solve this.
2249
01:44:33,367 --> 01:44:36,164
And, you know, I thought, at first we
had kind of ominous music over this,
2250
01:44:36,165 --> 01:44:40,130
but in the end it felt more
spooky to just let it play.
2251
01:44:40,131 --> 01:44:42,134
That’s actually my old commercial
production company office
2252
01:44:42,135 --> 01:44:43,721
in New York, Park Pictures.
2253
01:44:43,722 --> 01:44:45,223
They were nice enough
to let us shoot there
2254
01:44:45,224 --> 01:44:46,936
when I did all the New York
aerials and exteriors.
2255
01:44:48,397 --> 01:44:50,777
Um, and then we find ourselves
back in the Void
2256
01:44:50,778 --> 01:44:56,205
and back in this very kind of
Spike Jonze, Gondry escape, uh,
2257
01:44:57,040 --> 01:44:59,126
through Bob’s rooms.
2258
01:44:59,127 --> 01:45:01,673
And here we have...
this was added later.
2259
01:45:01,674 --> 01:45:04,345
This is the meth chicken room,
which is definitely on the edge.
2260
01:45:04,346 --> 01:45:06,140
Probably the only time
you’re gonna see "meth chicken"
2261
01:45:06,141 --> 01:45:09,689
on a strip board
or a schedule board at Marvel.
2262
01:45:09,690 --> 01:45:12,319
But I just felt... Both for the
dynamics of them falling through...
2263
01:45:12,320 --> 01:45:14,616
And it felt like in the
Pixar version of this movie,
2264
01:45:14,617 --> 01:45:18,498
you would have a bit of humor
before you got to the lowest point,
2265
01:45:18,499 --> 01:45:20,753
even if it’s a very
dark form of humor,
2266
01:45:20,754 --> 01:45:23,341
and it’s atypical to say... [chuckles]
..."I was on meth," in a Marvel movie.
2267
01:45:23,342 --> 01:45:27,391
Or to have Bucky Barnes save
the day by punching a chicken,
2268
01:45:27,392 --> 01:45:32,276
but it felt like we really wanted to push
the concept to its furthest extensions
2269
01:45:32,277 --> 01:45:34,698
before we got
to the lowest point.
2270
01:45:34,699 --> 01:45:36,326
So hopefully,
you go with us on that one.
2271
01:45:38,038 --> 01:45:41,294
Love that shot.
Great shot by Andrew.
2272
01:45:41,295 --> 01:45:43,464
And it’s nice
where you actually have...
2273
01:45:43,465 --> 01:45:45,803
I mean, obviously the Void, that’s
an effect to make him a silhouette,
2274
01:45:45,804 --> 01:45:49,895
but by putting him against the
backlight, it doesn’t feel as incongruous,
2275
01:45:49,896 --> 01:45:51,607
like it feels like it fits
2276
01:45:51,608 --> 01:45:54,863
with how the photography actually
would be for a moment like that,
2277
01:45:54,864 --> 01:45:56,282
so that’s a really nice...
2278
01:45:56,283 --> 01:45:58,579
You know, between Framestore,
who did this sequence,
2279
01:45:58,580 --> 01:46:01,710
and Andrew and Rafi and Chuck
and all the lighting,
2280
01:46:01,711 --> 01:46:03,882
that’s a nice way to watch
those two things dovetail.
2281
01:46:05,928 --> 01:46:08,139
[Bob] Felt like a miracle.
2282
01:46:08,140 --> 01:46:10,937
[Schreier] And here Bob
finally defines, you know,
2283
01:46:10,938 --> 01:46:14,819
this idea of what would the worst
room for someone like Bob be,
2284
01:46:14,820 --> 01:46:18,911
and it’s not actually, in some ways,
the trauma of his childhood, but more...
2285
01:46:18,912 --> 01:46:21,123
you know, is there something
more heartbreaking
2286
01:46:21,124 --> 01:46:24,046
about it being the place
where he tried to be a hero,
2287
01:46:24,047 --> 01:46:26,760
where he tried to become
something bigger than himself
2288
01:46:26,761 --> 01:46:29,181
and, in his own estimation...
2289
01:46:29,182 --> 01:46:31,227
You know, he says it here,
"The most shameful thing of all
2290
01:46:31,228 --> 01:46:34,274
was thinking you could be
anything more than nothing."
2291
01:46:34,275 --> 01:46:36,738
And for the way that Bob feels
about himself in this moment,
2292
01:46:36,739 --> 01:46:38,282
this is the biggest shame,
2293
01:46:38,283 --> 01:46:41,038
is to imagine that
he could be anything better.
2294
01:46:41,039 --> 01:46:42,710
And that feels
like the lowest feeling.
2295
01:46:45,297 --> 01:46:46,091
No.
2296
01:46:52,270 --> 01:46:55,025
[Schreier] It’s quite a thing when you
ask a bunch of the greatest actors on Earth
2297
01:46:55,026 --> 01:46:58,615
to be locked up against a wall
by furniture.
2298
01:46:58,616 --> 01:47:02,790
Requires a lot of faith on their
part and a lot of faith on our part
2299
01:47:02,791 --> 01:47:05,420
to know that Framestore was
gonna come through eventually,
2300
01:47:05,421 --> 01:47:08,384
and even though we had practical
versions of these things on set, for sure,
2301
01:47:08,385 --> 01:47:11,641
obviously they’ve augmented
them to make them look better.
2302
01:47:11,642 --> 01:47:14,606
And then just to watch Lewis, you
know, have to play both of these parts,
2303
01:47:14,607 --> 01:47:16,693
have to learn both sides
of this fight
2304
01:47:16,694 --> 01:47:19,574
and still appeal to this sense
of him trying to protect people
2305
01:47:19,575 --> 01:47:21,703
and, you know, have his
darker side laugh at himself
2306
01:47:21,704 --> 01:47:23,582
for wanting to do that.
2307
01:47:23,583 --> 01:47:24,375
[laughs]
2308
01:47:25,336 --> 01:47:26,839
Robert, the hero.
2309
01:47:30,847 --> 01:47:33,560
[Schreier] That’s a real
glass explosion that we did.
2310
01:47:33,561 --> 01:47:35,981
And then there’s candy glass
on their faces.
2311
01:47:35,982 --> 01:47:38,361
I’m stronger than you.
2312
01:47:38,362 --> 01:47:40,323
[Schreier] And this idea
that you’re expecting to
2313
01:47:40,324 --> 01:47:42,077
want to fight the Void
and beat him,
2314
01:47:42,078 --> 01:47:43,705
but that, in fact,
this is what the Void wants.
2315
01:47:43,706 --> 01:47:45,627
He’s goading Bob
into doing this.
2316
01:47:47,965 --> 01:47:51,470
And, again, Lewis learning both sides
of this fight and having to perform it,
2317
01:47:51,471 --> 01:47:53,266
switch costumes,
do it for each of these shots,
2318
01:47:53,267 --> 01:47:55,478
and do both sides of it
before he becomes a silhouette
2319
01:47:55,479 --> 01:47:59,612
’cause even as a silhouette, even
though sometimes this is Alec or Ben,
2320
01:47:59,613 --> 01:48:02,159
his wonderful stunt doubles,
2321
01:48:02,160 --> 01:48:05,583
you really want Lewis, even in
silhouette form, embodying that character.
2322
01:48:05,584 --> 01:48:08,422
And so we really did it both ways
as much as we possibly could.
2323
01:48:11,428 --> 01:48:14,016
And then here’s the idea of the
movie: "We will always be alone."
2324
01:48:14,017 --> 01:48:17,272
And then this was something we
added later, after principal photography,
2325
01:48:17,273 --> 01:48:19,067
this idea of the room expanding
2326
01:48:19,068 --> 01:48:22,490
and physically carrying
our protagonists away from him
2327
01:48:22,491 --> 01:48:24,705
and establishing
that sense of isolation.
2328
01:48:28,671 --> 01:48:30,549
That first shot
is actually done in-camera,
2329
01:48:30,550 --> 01:48:34,223
where we just had Lewis on a piece
of Lexan attached to a camera car
2330
01:48:34,224 --> 01:48:35,893
and pulled him back.
2331
01:48:35,894 --> 01:48:38,397
So even though there’s a lot of
wonderful CG in this sequence,
2332
01:48:38,398 --> 01:48:40,527
a lot of it is practical
and in-camera.
2333
01:48:40,528 --> 01:48:42,031
Again, always trying
to find that balance.
2334
01:48:47,668 --> 01:48:49,461
And then, again, this
is this thing you root for,
2335
01:48:49,462 --> 01:48:52,050
as you see a near smile
on Walker’s face.
2336
01:48:52,051 --> 01:48:55,139
You’re used to rooting that
you should beat up the bad guy.
2337
01:48:55,140 --> 01:48:58,855
You should beat the big bad, but in
our movie, there is no winning that way.
2338
01:48:58,856 --> 01:49:01,110
You know, there’s no version
of this that ever could’ve ended
2339
01:49:01,111 --> 01:49:02,613
in just a punch solving it,
2340
01:49:02,614 --> 01:49:05,118
and you see that, in fact,
in trying to fight himself
2341
01:49:05,119 --> 01:49:07,080
and destroy
that side of himself,
2342
01:49:07,081 --> 01:49:10,295
he’s becoming the darkness
that he’s trying to avoid
2343
01:49:10,296 --> 01:49:12,925
and that our characters and
everyone watching needs to learn
2344
01:49:12,926 --> 01:49:14,972
that there is no kind of
physical solution to this.
2345
01:49:16,684 --> 01:49:18,102
Bob, stop!
2346
01:49:18,103 --> 01:49:20,065
This is what he wants!
2347
01:49:21,652 --> 01:49:23,279
[Schreier] And, of course,
in a superhero movie,
2348
01:49:23,280 --> 01:49:25,576
maybe that feels
like an odd resolution,
2349
01:49:25,577 --> 01:49:27,203
you know,
or it feels too small.
2350
01:49:27,204 --> 01:49:31,295
We added this sequence of
Yelena so that there was, you know,
2351
01:49:31,296 --> 01:49:34,761
for our protagonist who’s
been inactive on the sidelines,
2352
01:49:34,762 --> 01:49:38,434
a very active role in solving
this in a sort of action context
2353
01:49:38,435 --> 01:49:41,023
in which she needs to
get to him to save him
2354
01:49:41,024 --> 01:49:42,317
and thus save the world,
2355
01:49:42,318 --> 01:49:44,279
which will be plunged
into darkness
2356
01:49:44,280 --> 01:49:45,866
if she doesn’t succeed.
2357
01:49:45,867 --> 01:49:47,953
That’s actually
Heidi Moneymaker.
2358
01:49:47,954 --> 01:49:50,876
So to have Scarlett’s
longtime stunt double
2359
01:49:50,877 --> 01:49:52,922
and now stunt coordinator
performing that
2360
01:49:52,923 --> 01:49:56,262
felt like a real... something
really coming full circle.
2361
01:49:57,223 --> 01:49:58,266
I’m here.
2362
01:50:01,690 --> 01:50:03,485
It will always be just us.
2363
01:50:06,491 --> 01:50:08,829
[Schreier] Okay, yes, if you
want to be frustrated with us
2364
01:50:08,830 --> 01:50:10,248
’cause it ends in a hug,
2365
01:50:10,249 --> 01:50:12,252
I mean, we always said
it’s not truly a hug.
2366
01:50:12,253 --> 01:50:13,964
They’re trying to
pull him back from himself,
2367
01:50:13,965 --> 01:50:15,884
but, of course,
that’s how it functions.
2368
01:50:15,885 --> 01:50:18,222
And this idea of her answering,
"You’re not alone,"
2369
01:50:18,223 --> 01:50:23,274
this idea that she’s expressed to him
in the beginning now being answered.
2370
01:50:23,275 --> 01:50:26,363
Okay, it’s a hug, but how
else were you gonna solve this?
2371
01:50:26,364 --> 01:50:29,620
And it’s a hug that we try
to frame in an action context.
2372
01:50:29,621 --> 01:50:32,000
You know, as much as it can,
we’ve tried to externalize
2373
01:50:32,001 --> 01:50:35,924
these very internal ideas
of the Void and also just...
2374
01:50:35,925 --> 01:50:39,347
I mean, Son Lux’s score
in this moment, I think,
2375
01:50:39,348 --> 01:50:41,393
with these actors
and with those ideas,
2376
01:50:41,394 --> 01:50:45,026
we did everything we could to
have you come along that ride with us.
2377
01:50:45,027 --> 01:50:48,533
And, you know, it was always
gonna end in some version of that.
2378
01:50:48,534 --> 01:50:52,708
And I feel like where Lewis
got to, I’m just so proud of him
2379
01:50:52,709 --> 01:50:55,254
and amazed by Florence
and all of them
2380
01:50:55,255 --> 01:50:58,136
for executing such a resonant
version of that moment.
2381
01:51:06,319 --> 01:51:08,447
It was very fun
being in this helicopter.
2382
01:51:08,448 --> 01:51:09,952
That’s all I’ll say.
That’s a treat.
2383
01:51:12,916 --> 01:51:15,002
This was something
we also talked a lot about,
2384
01:51:15,003 --> 01:51:16,756
about the ending
and how it would resolve,
2385
01:51:16,757 --> 01:51:20,054
and there’s a reason in the comics
why Sentry always loses his memory,
2386
01:51:20,055 --> 01:51:24,897
’cause you can’t really have someone
as powerful like that in the world.
2387
01:51:24,898 --> 01:51:28,070
Um, and in this case...
Yes. Don’t worry.
2388
01:51:28,071 --> 01:51:30,993
We’re not gonna kill a
little girl. She comes back.
2389
01:51:30,994 --> 01:51:35,459
That was one of the earliest shadow
tests we did, uh, was rejoining that shadow
2390
01:51:35,460 --> 01:51:37,506
as a means
of getting us out of this
2391
01:51:37,507 --> 01:51:41,263
without having to do tons of shots of
people waking up around New York.
2392
01:51:41,264 --> 01:51:44,227
But we played around with
a lot of different versions of...
2393
01:51:44,228 --> 01:51:46,440
You know, there were times
when Bob did remember
2394
01:51:46,441 --> 01:51:49,362
but had learned this lesson that he
can’t be The Sentry without the Void,
2395
01:51:49,363 --> 01:51:50,782
so he can’t be on the team,
2396
01:51:50,783 --> 01:51:52,201
but then he would
have to walk away
2397
01:51:52,202 --> 01:51:53,412
’cause they have to
go confront Val,
2398
01:51:53,413 --> 01:51:56,209
and that just felt sad.
2399
01:51:56,210 --> 01:51:59,466
So the memory loss
felt like the best way
2400
01:51:59,467 --> 01:52:01,596
that we could kind of
keep them together
2401
01:52:01,597 --> 01:52:06,229
but still be true to the story of
Sentry that we were telling, um,
2402
01:52:06,230 --> 01:52:09,654
and kind of reserve that payoff
for later, but also find this way...
2403
01:52:09,655 --> 01:52:13,160
You know, we had tried a version
where he didn’t remember anything at all,
2404
01:52:13,161 --> 01:52:16,918
and then that felt like you
hadn’t really, you know...
2405
01:52:16,919 --> 01:52:19,674
People didn’t feel like it had honored
the journey that they had gone on enough,
2406
01:52:19,675 --> 01:52:23,389
so we landed on this version
where he remembers who they are,
2407
01:52:23,390 --> 01:52:25,434
but he doesn’t remember the most
recent events of what’s happened
2408
01:52:25,435 --> 01:52:26,353
and his episode.
2409
01:52:26,354 --> 01:52:28,440
Okay. Come on.
2410
01:52:28,441 --> 01:52:29,694
[Schreier] And in this very
simple way, it’s like, "Yep.
2411
01:52:29,695 --> 01:52:31,154
We stick together from now on,"
2412
01:52:31,155 --> 01:52:33,325
and not in a kind of cheesy
way, but just, you gotta...
2413
01:52:33,326 --> 01:52:35,539
you don’t want someone
like Bob out there.
2414
01:52:35,540 --> 01:52:39,463
You gotta keep that connection
alive. You gotta keep him with you.
2415
01:52:41,593 --> 01:52:44,515
And then this was in the very
first draft of the script that I read,
2416
01:52:44,516 --> 01:52:48,021
that everything that we did, whatever
changed, it always ended here
2417
01:52:48,022 --> 01:52:50,151
with Val, you know, kind of...
2418
01:52:50,152 --> 01:52:53,742
This very classic thing that
Kevin and Marvel are so good at
2419
01:52:53,743 --> 01:52:58,710
about, you know, this kind of
flip and reveal that we go into.
2420
01:52:58,711 --> 01:53:03,218
Um, and knowing that this whole movie
was building up to this announcement,
2421
01:53:03,219 --> 01:53:05,849
you know, it needs to work as
a fun twist for the audience,
2422
01:53:05,850 --> 01:53:08,897
but also
on a character level where...
2423
01:53:08,898 --> 01:53:11,443
You know, it’s interesting,
you’re not... if you’re doing that,
2424
01:53:11,444 --> 01:53:13,656
then you’re not traditionally
beating your bad guy.
2425
01:53:13,657 --> 01:53:15,368
You’re not killing Val.
You’re not arresting her.
2426
01:53:17,122 --> 01:53:20,837
But that line of, "We own you
now," becomes very important.
2427
01:53:20,838 --> 01:53:23,175
We had to send all the
extras away on set this day
2428
01:53:23,176 --> 01:53:25,722
when she said that, just to make
sure no one heard about it first.
2429
01:53:25,723 --> 01:53:26,892
[crowd cheering, applauding]
2430
01:53:29,438 --> 01:53:32,109
[chuckles] Love that shot
of Lewis clapping.
2431
01:53:32,110 --> 01:53:34,824
The most powerful one unaware
that he’s even on the team.
2432
01:53:34,825 --> 01:53:36,035
[cheering, applauding continue]
2433
01:53:39,124 --> 01:53:41,712
And what I love is that
even amidst all of that,
2434
01:53:41,713 --> 01:53:46,137
and, you know, this fun sort of
positioning for where the story will go,
2435
01:53:46,138 --> 01:53:49,102
there is a character moment
that we need to complete here,
2436
01:53:49,103 --> 01:53:52,985
and we need to push back into that
close-up that we start the movie with.
2437
01:53:52,986 --> 01:53:56,241
And, again, it just came from a moment
that Florence did instinctively on set
2438
01:53:56,242 --> 01:53:58,997
that we then built into
the rest of the movie,
2439
01:53:58,998 --> 01:54:02,839
of that same eyes closed, breath
in, look up, but now with a smile.
2440
01:54:10,855 --> 01:54:14,152
Uh, this is once again Imaginary
Forces. Um, this sequence...
2441
01:54:14,153 --> 01:54:18,620
We felt like when we showed the movie,
you know, we maybe expected at first
2442
01:54:18,621 --> 01:54:21,124
that people would cheer on this
New Avengers thing a little more,
2443
01:54:21,125 --> 01:54:22,628
and people needed
a moment with it,
2444
01:54:22,629 --> 01:54:26,677
and so we wanted to kind of
acknowledge the way the real world works
2445
01:54:26,678 --> 01:54:28,640
and how snarky
everything is at first
2446
01:54:28,641 --> 01:54:30,936
and how people might not be
so certain about this partnership,
2447
01:54:30,937 --> 01:54:33,023
so this was this fun sequence
2448
01:54:33,024 --> 01:54:35,695
that Imaginary Forces did
such a great job of painting,
2449
01:54:35,696 --> 01:54:38,158
of kind of starting
in that skepticism--
2450
01:54:38,159 --> 01:54:39,954
I love the
New York Post headline--
2451
01:54:39,955 --> 01:54:45,590
um, and then bringing you around
by the end of it to some sense that,
2452
01:54:45,591 --> 01:54:48,722
hey, maybe this could work out,
maybe you could buy into this.
2453
01:54:52,772 --> 01:54:55,987
I’ll just say, I love all these
people who made this movie.
2454
01:54:57,782 --> 01:55:01,956
Everyone worked so hard,
so incredibly hard
2455
01:55:01,957 --> 01:55:05,087
um, and cared about it
and took it seriously.
2456
01:55:05,088 --> 01:55:06,924
I mean Florence,
I can’t say any more.
2457
01:55:06,925 --> 01:55:09,847
I mean, like I said,
actual magic.
2458
01:55:09,848 --> 01:55:13,521
Sebastian, to have him as
part of this. Wyatt, who’s a friend.
2459
01:55:13,522 --> 01:55:17,278
Olga, who was such a good sport
to show up for this.
2460
01:55:17,279 --> 01:55:23,875
Lewis, who, I mean, I think really,
you know, is the find of this movie.
2461
01:55:23,876 --> 01:55:26,130
Geraldine, who did such a
great job. Chris for showing up.
2462
01:55:27,759 --> 01:55:29,804
Wendell.
I’ve been a fan forever.
2463
01:55:31,600 --> 01:55:34,188
David, one of the most
committed actors you’ll ever meet.
2464
01:55:35,482 --> 01:55:38,236
And Hannah,
really the glue of that group.
2465
01:55:38,237 --> 01:55:41,493
Julia, who’s a legend that I just
feel lucky that I got to work with.
2466
01:55:41,494 --> 01:55:43,413
I just, you know,
as a director,
2467
01:55:43,414 --> 01:55:45,710
if you can ever
get a cast like that,
2468
01:55:45,711 --> 01:55:48,842
it just makes the whole job
incredibly easy.
2469
01:55:53,519 --> 01:55:55,730
And then, yeah,
there’s our flip.
2470
01:55:55,731 --> 01:55:56,816
[chuckles]
2471
01:55:56,817 --> 01:55:58,443
Like I said,
this is release day,
2472
01:55:58,444 --> 01:56:00,197
so it’s almost hard
to speak on this until
2473
01:56:00,198 --> 01:56:02,159
we see how that plays
out in the world,
2474
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,
2475
01:56:06,962 --> 01:56:09,759
everyone at Marvel was to
try new ideas on this project.
2476
01:56:11,387 --> 01:56:14,183
And this was a fun one
we did during additional...
2477
01:56:14,184 --> 01:56:17,858
We didn’t shoot any of our post credit
scenes during principal photography.
2478
01:56:17,859 --> 01:56:20,154
We sort of wanted to see where
the whole thing was gonna go
2479
01:56:20,155 --> 01:56:21,322
and what we would need,
2480
01:56:21,323 --> 01:56:23,536
but, again,
it felt like paying off
2481
01:56:23,537 --> 01:56:26,249
that kind of meta idea
of the Wheaties box
2482
01:56:26,250 --> 01:56:29,631
and Alexei’s investment in it,
but then undercutting it a bit,
2483
01:56:29,632 --> 01:56:32,220
uh, felt right for
where we ended our story.
2484
01:56:34,224 --> 01:56:37,606
And then because it’s Alexei, and
we start with Muzak in a supermarket,
2485
01:56:37,607 --> 01:56:39,233
you get into kind of...
2486
01:56:39,234 --> 01:56:41,029
You know, he’s the kind of guy
who would love to have
2487
01:56:41,030 --> 01:56:43,408
a classic post credits song.
2488
01:56:43,409 --> 01:56:45,622
And so we get to
give that to him
2489
01:56:45,623 --> 01:56:47,876
and therefore give it
to our viewers.
2490
01:56:47,877 --> 01:56:50,047
[♪ "Nothing’s Gonna
Stop Us Now"plays]
2491
01:56:50,048 --> 01:56:54,012
I’ll just say that, you know,
I’m struck when I sit in a theater.
2492
01:56:54,013 --> 01:56:57,772
Um... And I look at this credit
sequence, and it’s a long one.
2493
01:56:59,149 --> 01:57:00,860
You know, I’ve sat through
credits before.
2494
01:57:00,861 --> 01:57:03,699
I like to kind of
let a movie sink in, you know,
2495
01:57:03,700 --> 01:57:07,248
but going through this experience,
I know all of these people.
2496
01:57:07,249 --> 01:57:11,047
Um, and I know what they did
and how much...
2497
01:57:11,048 --> 01:57:14,178
You know, I could talk for an hour
about each of their contributions,
2498
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,
2499
01:57:17,687 --> 01:57:21,484
whether it’s, uh, Onnalee and
Michael, our incredible mixers,
2500
01:57:21,485 --> 01:57:24,115
or Alex Levy,
our music editor, who...
2501
01:57:24,116 --> 01:57:28,582
so instrumental in creating
this score with Son Lux.
2502
01:57:28,583 --> 01:57:31,170
You know, the stunts on
this movie were incredible.
2503
01:57:31,171 --> 01:57:33,466
Every single one
of those people worked so hard.
2504
01:57:33,467 --> 01:57:37,266
You know, Michael Huggins, who
was our... who did the rigging, and...
2505
01:57:37,267 --> 01:57:39,604
I mean, if you’re Florence Pugh
and you’re stepping off the roof
2506
01:57:39,605 --> 01:57:43,236
of the second tallest
story building in the world,
2507
01:57:43,237 --> 01:57:45,324
you have to have a lot of faith
in that rigging.
2508
01:57:45,325 --> 01:57:47,996
Um, I could single out
any one of them,
2509
01:57:47,997 --> 01:57:53,006
and I think I’m just struck
by how many people it takes,
2510
01:57:53,007 --> 01:57:56,805
working so hard
and caring so much,
2511
01:57:56,806 --> 01:57:59,310
uh, just to make a good movie.
2512
01:57:59,311 --> 01:58:01,147
It’s just hard
to make a good movie,
2513
01:58:01,148 --> 01:58:04,278
and, you know, I guess, if you
got this far, hopefully you feel like
2514
01:58:04,279 --> 01:58:06,032
this one was all right.
2515
01:58:06,033 --> 01:58:11,084
Um, and I am just so grateful
to all of those people
2516
01:58:11,085 --> 01:58:13,380
and for all of the work
that they put in,
2517
01:58:13,381 --> 01:58:15,175
and, really, when I look back
on this process...
2518
01:58:15,176 --> 01:58:19,350
something that Grace and I
would talk about, she would say,
2519
01:58:19,351 --> 01:58:21,647
"You know, we’re going to grad
school. We’re gonna learn so much."
2520
01:58:21,648 --> 01:58:25,112
And I think, you know, it’s wonderful
to put a movie out in the world,
2521
01:58:25,113 --> 01:58:27,199
and it’s wonderful
to have it connect with people,
2522
01:58:27,200 --> 01:58:32,502
but also what I mainly look back
on is the experience of making it
2523
01:58:32,503 --> 01:58:37,052
and how much I learned and how much
you have to lean on this incredible team.
2524
01:58:37,053 --> 01:58:39,641
Um...
And I’ll never forget that.
2525
01:58:39,642 --> 01:58:42,689
So, um, thank you guys
for watching.
2526
01:58:42,690 --> 01:58:44,526
Um...
2527
01:58:44,527 --> 01:58:48,408
Obviously, uh... Oh, yeah, I
gotta call out Samara Handelsman,
2528
01:58:48,409 --> 01:58:50,788
my assistant, who had
to put up with so, so much.
2529
01:58:50,789 --> 01:58:51,999
[chuckles]
2530
01:58:52,000 --> 01:58:53,878
Um, what else can I say here?
2531
01:58:53,879 --> 01:58:56,382
’Cause I do wanna get
to the VFX houses
2532
01:58:56,383 --> 01:59:00,183
and explain kind of more
specifically what they did, but, uh...
2533
01:59:01,603 --> 01:59:03,731
Sean, who drove me every day.
2534
01:59:03,732 --> 01:59:06,403
Not an easy job.
Definitely going through it.
2535
01:59:07,322 --> 01:59:09,159
Our wonderful second unit.
2536
01:59:10,787 --> 01:59:13,709
Um, really, there were days
where I would start there
2537
01:59:13,710 --> 01:59:15,420
and then come over
to first unit,
2538
01:59:15,421 --> 01:59:17,258
and it was always great
working with those guys.
2539
01:59:19,387 --> 01:59:21,098
Getting out to Utah, obviously.
2540
01:59:21,099 --> 01:59:23,687
I feel like that’s when the
movie really opened up for me,
2541
01:59:23,688 --> 01:59:25,107
just feeling like
we were out there.
2542
01:59:28,573 --> 01:59:31,410
And Malaysia. You know, they don’t
have the entire crew in Malaysia listed,
2543
01:59:31,411 --> 01:59:33,999
but it really was
a wonderful crew.
2544
01:59:34,000 --> 01:59:36,295
Adam in special effects, particularly
for blowing up that building,
2545
01:59:36,296 --> 01:59:37,381
one take to do it.
2546
01:59:37,382 --> 01:59:38,926
Did such a great job.
2547
01:59:38,927 --> 01:59:40,846
New York. We actually
did shoot in DC as well,
2548
01:59:40,847 --> 01:59:44,144
but it was such a small shoot I
don’t think they have it listed here.
2549
01:59:44,145 --> 01:59:46,190
Believe it or not,
as long as these credits are,
2550
01:59:46,191 --> 01:59:50,407
there are even more people
that work on these movies.
2551
01:59:50,408 --> 01:59:52,161
All the wonderful people
at Marvel.
2552
02:00:09,780 --> 02:00:13,621
And of course it was great to see
Paul Jenkins at the, uh, premiere for this
2553
02:00:13,622 --> 02:00:17,587
and just talk a little bit about
his view of Robert Reynolds
2554
02:00:17,588 --> 02:00:18,964
and the way we treated him.
2555
02:00:18,965 --> 02:00:21,093
And I think he was very happy,
which was nice.
2556
02:00:21,094 --> 02:00:23,473
Everyone in marketing, they did
such a great job with this movie
2557
02:00:23,474 --> 02:00:25,603
and really embracing
doing something different.
2558
02:00:25,604 --> 02:00:27,607
Okay,
our visual effects houses.
2559
02:00:27,608 --> 02:00:29,528
Third Floor
for all of the previs.
2560
02:00:31,365 --> 02:00:33,451
Digital Domain
and their previs department,
2561
02:00:33,452 --> 02:00:35,581
we worked on earlier,
as well as Framestore.
2562
02:00:35,582 --> 02:00:37,670
It’s really such an
important part of the process.
2563
02:00:39,255 --> 02:00:41,594
OPSIS did a lot of work
for us in that area as well.
2564
02:00:47,480 --> 02:00:50,736
Then ILM... Really, the whole
New York street sequence
2565
02:00:50,737 --> 02:00:53,535
and all of the voiding and the
crane falling, all of the heavy lifting.
2566
02:00:55,329 --> 02:00:59,086
And Chad and everyone over
there did just such an amazing job.
2567
02:00:59,087 --> 02:01:03,595
Framestore, uh, did
the vault exterior environment,
2568
02:01:03,596 --> 02:01:07,895
Bob’s flight, all of the stuff in
Bob’s attic and that ending lab fight,
2569
02:01:07,896 --> 02:01:10,191
which, really, I mean, we were
finishing right to the very end,
2570
02:01:10,192 --> 02:01:11,820
and the movie
doesn’t work without it.
2571
02:01:11,821 --> 02:01:14,534
They just did
such an incredible job.
2572
02:01:14,535 --> 02:01:17,832
Digital Domain, that was a lot
of the early vault sequence,
2573
02:01:17,833 --> 02:01:21,088
a lot of that fighting,
Ghost phasing,
2574
02:01:21,089 --> 02:01:25,639
uh, just every part
of that fight they worked on,
2575
02:01:25,640 --> 02:01:27,727
and that stuff came in great.
2576
02:01:27,728 --> 02:01:30,441
Rising Sun, a lot of the face
replacement stuff in the film.
2577
02:01:39,125 --> 02:01:43,424
Base, really, just a company
that saved us on Beef as well
2578
02:01:43,425 --> 02:01:45,638
and just a workhorse on this.
2579
02:01:45,639 --> 02:01:48,685
A lot of the Bucky arms and Void
shadow growth, things like that.
2580
02:01:48,686 --> 02:01:50,649
Raynault did the airplane.
2581
02:01:53,445 --> 02:01:56,702
Val’s drop-off, the crater design.
Some of the penthouse stuff.
2582
02:01:58,915 --> 02:02:01,210
And then a lot of fill-in work
by these other houses.
2583
02:02:01,211 --> 02:02:04,049
I mean, it just takes
so many people doing so much.
2584
02:02:04,050 --> 02:02:08,474
Imaginary Forces, who worked so
incredibly hard on that opening Marvel logo
2585
02:02:08,475 --> 02:02:10,353
and our ending
credits sequence,
2586
02:02:10,354 --> 02:02:13,484
um, which really is such
a narrative lift for the film.
2587
02:02:13,485 --> 02:02:16,659
Tom Poole did such a great job
of coloring this movie with Andrew.
2588
02:02:17,368 --> 02:02:19,454
Looks beautiful.
2589
02:02:19,455 --> 02:02:21,710
Uh, yeah.
2590
02:02:21,711 --> 02:02:24,799
Again, at every line, there are
people working so incredibly hard
2591
02:02:24,800 --> 02:02:26,011
to make what you see here.
2592
02:02:32,148 --> 02:02:35,362
Doc, who also helped record
this, uh, commentary track.
2593
02:02:39,663 --> 02:02:41,123
And Son Lux again.
2594
02:02:41,124 --> 02:02:42,668
What an incredible job
they did.
2595
02:02:42,669 --> 02:02:44,714
And it was so fun
to go out to Abbey Road,
2596
02:02:44,715 --> 02:02:47,469
be in that room
and record this score.
2597
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.
2598
02:02:55,069 --> 02:02:57,782
And special thanks
to the Merdeka,
2599
02:02:57,783 --> 02:03:00,411
Jon Watts, who helped me out
so much on this film,
2600
02:03:00,412 --> 02:03:01,832
and my friend Francis.
2601
02:03:06,968 --> 02:03:09,974
Atlanta Metro Studios. Green
River, Utah. Filmed all over.
2602
02:03:11,101 --> 02:03:12,812
Malaysia.
2603
02:03:12,813 --> 02:03:14,607
A lot of these places
you see here,
2604
02:03:14,608 --> 02:03:16,945
a lot of this is, you know,
where the effects are finished,
2605
02:03:16,946 --> 02:03:18,240
not necessarily where we shot.
2606
02:03:23,793 --> 02:03:25,294
And I’m just...
I’m killing time here
2607
02:03:25,295 --> 02:03:27,341
’cause we do have
one more scene to talk about.
2608
02:03:36,569 --> 02:03:42,872
Okay, so this scene got filmed maybe
a month before the movie came out.
2609
02:03:42,873 --> 02:03:46,253
Out in London,
on the set of Avengers,
2610
02:03:46,254 --> 02:03:50,178
and really it is also meant to be really,
like, a hand-off of these characters
2611
02:03:50,179 --> 02:03:52,098
into the world going forward
2612
02:03:52,099 --> 02:03:55,396
and trying to bring back that sense
of connection between these movies
2613
02:03:55,397 --> 02:03:57,818
and bringing in
the Fantastic Four.
2614
02:03:57,819 --> 02:04:01,659
Um, you know, for our movie,
what we always talked about is that
2615
02:04:01,660 --> 02:04:06,586
because of the way the movie ends
on the street and has an immediacy to it
2616
02:04:06,587 --> 02:04:08,757
and Bob’s just lost his memory,
2617
02:04:08,758 --> 02:04:12,305
you can’t really get into, you know,
the future of Bob in that moment,
2618
02:04:12,306 --> 02:04:14,602
and so for us,
on a narrative level,
2619
02:04:14,603 --> 02:04:16,021
what was really important
about this scene
2620
02:04:16,022 --> 02:04:18,652
is knowing that, you know,
2621
02:04:18,653 --> 02:04:22,785
Bob is with them, but had sort of
processed the lesson of the movie,
2622
02:04:22,786 --> 02:04:25,916
which is that, you know,
you can’t be The Sentry
2623
02:04:25,917 --> 02:04:27,920
without the other side
coming underneath,
2624
02:04:27,921 --> 02:04:31,176
and, you know, the real task
is to learn how to just be Bob.
2625
02:04:31,177 --> 02:04:34,600
And, of course, I expect, you know,
the tension between those things
2626
02:04:34,601 --> 02:04:38,399
to play out in the future,
though I have no insight into that.
2627
02:04:38,400 --> 02:04:39,527
I don’t know anything.
2628
02:04:39,528 --> 02:04:40,863
And then, of course,
2629
02:04:40,864 --> 02:04:43,242
if you have David Harbour,
you gotta use him.
2630
02:04:43,243 --> 02:04:44,452
He carries it all.
2631
02:04:44,453 --> 02:04:46,749
He’s dumb, litigious man,
but I am smart.
2632
02:04:46,750 --> 02:04:48,920
I am smart man.
I have smart solve.
2633
02:04:48,921 --> 02:04:53,597
Avengerz.
2634
02:04:53,598 --> 02:04:56,895
Avengerz. With a "Z,"
there is no copyright.
2635
02:04:56,896 --> 02:04:58,565
- No.
- [Alexei] So soft too.
2636
02:04:58,566 --> 02:05:00,819
[Schreier] But, yeah, it just,
you know, it looks different,
2637
02:05:00,820 --> 02:05:02,656
and we talked about
embracing that.
2638
02:05:02,657 --> 02:05:05,662
You know, it sounds different.
It has the music that feels...
2639
02:05:05,663 --> 02:05:07,791
You know, it’s Avengers music,
not our music.
2640
02:05:07,792 --> 02:05:11,298
And really seeing this team
kind of step into a new light
2641
02:05:11,299 --> 02:05:14,346
and, you know,
see how that feels.
2642
02:05:14,347 --> 02:05:17,102
And for you, Bob, in the corner
hiding, pretending to read the book.
2643
02:05:18,021 --> 02:05:19,857
[Schreier] And this is, yeah.
2644
02:05:19,858 --> 02:05:22,780
You just get to see
that Bob is there with them,
2645
02:05:22,781 --> 02:05:27,497
and for our movie, you know, if
this has any narrative import on it,
2646
02:05:27,498 --> 02:05:29,835
that was the most important
thing for us about this scene.
2647
02:05:29,836 --> 02:05:31,463
- Get a satellite image.
- And fire up--
2648
02:05:31,464 --> 02:05:33,718
And fire...
I was gonna say that.
2649
02:05:33,719 --> 02:05:36,683
[Schreier] And, yeah, just a
really interesting day to be out there
2650
02:05:36,684 --> 02:05:38,310
when they were filming this,
2651
02:05:38,311 --> 02:05:41,526
and they were filming
some stuff for Fantastic Four
2652
02:05:41,527 --> 02:05:44,907
on an adjoining stage in London,
and just seeing that whole...
2653
02:05:44,908 --> 02:05:48,372
You know, something Lou was
always excited about for Marvel
2654
02:05:48,373 --> 02:05:52,673
was the idea of, you know, having a lot
where all these things were getting made
2655
02:05:52,674 --> 02:05:55,386
and getting to go around and feeling
the connectedness between them,
2656
02:05:55,387 --> 02:05:57,975
and it really felt like
I was there on that day
2657
02:05:57,976 --> 02:06:02,191
where, in theory, we were finishing
our movie and starting another,
2658
02:06:02,192 --> 02:06:06,909
and another Marvel movie was being
made, you know, at a stage next door.
2659
02:06:06,910 --> 02:06:10,207
And it was just a really,
really nice day.
2660
02:06:10,208 --> 02:06:11,377
[Alexei] Extradimensional?
What does that mean?
2661
02:06:18,224 --> 02:06:20,145
[Walker] It’s a...
It’s a cool ship.
2662
02:06:23,276 --> 02:06:26,658
[Schreier] And there we go. It is very
fun to watch people applaud for this.
2663
02:06:29,372 --> 02:06:36,426
And there we go. The New Avengers,
not the Thunderbolts*. And Bob.
2664
02:06:36,427 --> 02:06:40,226
Thank you guys so much for
watching, and sorry it was just me,
2665
02:06:40,227 --> 02:06:41,897
but we got through it.