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Downloaded from
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[Schreier] Hi, everybody.
I’m Jake Schreier,
director of Thunderbolts*.
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Official YIFY movies site:
YTS.MX
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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
221
00:10:06,795 --> 00:10:10,301
of kind of talking
past each other
and not being able to connect
222
00:10:10,302 --> 00:10:13,056
in the way that they eventually
will need to in the film,
and it really...
223
00:10:13,057 --> 00:10:15,311
You know,
I don’t think we filmed
this scene
224
00:10:15,312 --> 00:10:17,274
until maybe five weeks
into production.
225
00:10:17,275 --> 00:10:19,570
And it was at night.
It was raining.
226
00:10:19,571 --> 00:10:24,329
We had to do it in one night,
which is not so hard,
but it is more like a TV pace,
227
00:10:24,330 --> 00:10:25,832
where it’s
a four-and-a-half-page scene
228
00:10:25,833 --> 00:10:27,377
that goes a lot
of different places.
229
00:10:27,378 --> 00:10:30,800
And I... I just remember
what a lift it gave us,
230
00:10:30,801 --> 00:10:35,602
even though it is in
such a small place
and feels kind of almost dingy.
231
00:10:35,603 --> 00:10:40,653
But to see, you know, really
the theme of what our movie
is about established here
232
00:10:40,654 --> 00:10:42,616
with these two great actors
who are really bringing it
233
00:10:42,617 --> 00:10:44,786
and play so well
off each other...
234
00:10:44,787 --> 00:10:46,832
You know,
sometimes on these action--
235
00:10:46,833 --> 00:10:49,963
I think the biggest
learning curve for me making
a movie like this was that
236
00:10:49,964 --> 00:10:54,181
the proportion of the shoot
is not equal to the proportion
of what you watch.
237
00:10:54,182 --> 00:10:58,814
I love directing action,
but you spend so long
on the action sequences
238
00:10:58,815 --> 00:11:01,195
that, you come to
a scene like this,
239
00:11:01,196 --> 00:11:06,162
and it only makes up one day
of your, you know,
72-day shoot.
240
00:11:06,163 --> 00:11:08,668
But in the movie,
it’s such a huge part
241
00:11:08,669 --> 00:11:12,425
of establishing
what the movie is about.
242
00:11:12,426 --> 00:11:15,013
You know, and for
Florence right here,
look at this moment where,
243
00:11:15,014 --> 00:11:16,767
what is the point
of any of this,
244
00:11:16,768 --> 00:11:19,146
to kind of allude to
the purposelessness of life,
245
00:11:19,147 --> 00:11:21,235
but not in a way
that feels overwrought.
246
00:11:21,236 --> 00:11:23,698
And that actually
could be missed by Alexei.
247
00:11:23,699 --> 00:11:26,453
I mean, that takes
such deft acting.
248
00:11:26,454 --> 00:11:30,920
And, again, for David here
to not overly lean into
the humor of it.
249
00:11:30,921 --> 00:11:33,551
I mean, Red Guardian is
absolutely very funny,
250
00:11:33,552 --> 00:11:35,388
and David is amazing at that,
251
00:11:35,389 --> 00:11:37,016
but he never goes too far
in that direction
252
00:11:37,017 --> 00:11:39,521
so that he can pull back
in the moments like this,
253
00:11:39,522 --> 00:11:44,615
where you really feel his loss
and what he’s missing out on
and the things that he misses.
254
00:11:44,616 --> 00:11:48,289
We always talked about Alexei
as sort of doing it
for the wrong reasons,
255
00:11:48,290 --> 00:11:50,418
that he was the one
that was gonna
assemble this team
256
00:11:50,419 --> 00:11:52,297
’cause he believed
in the idea of teams.
257
00:11:52,298 --> 00:11:56,095
But he’s invested
in this sort of meta idea
of superheroes
258
00:11:56,096 --> 00:11:58,351
and forming a team
and to be aware of this.
259
00:11:58,352 --> 00:12:01,815
He can say things like,
"Scrappy antiheroes,"
like he does later.
260
00:12:01,816 --> 00:12:03,986
But, of course,
what he really needs to learn
261
00:12:03,987 --> 00:12:06,950
is that you’re supposed
to be doing it
for the sake of it,
262
00:12:06,951 --> 00:12:09,457
not for the glory,
as he later says.
263
00:12:11,252 --> 00:12:12,379
Um... [chuckles]
264
00:12:12,380 --> 00:12:14,466
This is a small personal note.
265
00:12:14,467 --> 00:12:17,806
These soccer uniforms
are based, uh,
on my soccer team growing up,
266
00:12:17,807 --> 00:12:21,271
which is what I pitched
as the basis
for Thunderbolts*.
267
00:12:21,272 --> 00:12:23,567
We were called
the Colossal Cleats.
I named the team.
268
00:12:23,568 --> 00:12:26,239
We lost every game.
I was the goalie.
269
00:12:26,240 --> 00:12:28,786
Uh... All of that is true.
270
00:12:28,787 --> 00:12:30,498
And Sanja Hays
did an incredible job
271
00:12:30,499 --> 00:12:34,381
of recreating those, uh,
reversible mesh jerseys
from my childhood.
272
00:12:34,382 --> 00:12:35,717
It was strange to see.
273
00:12:35,718 --> 00:12:38,472
Reporting for duty.
What’s my next assignment?
274
00:12:38,473 --> 00:12:40,935
Thank you, Ms. Belova.
I was starting to worry.
275
00:12:40,936 --> 00:12:42,272
After this though, I--
276
00:12:42,273 --> 00:12:43,899
[Schreier] This is
an interesting phone call
277
00:12:43,900 --> 00:12:45,486
in that we always weren’t sure
if it was gonna be okay
278
00:12:45,487 --> 00:12:48,909
that our two kind of,
you know, our antagonist
and our protagonist
279
00:12:48,910 --> 00:12:50,830
never really meet in person
in the movie.
280
00:12:50,831 --> 00:12:53,502
There used to be versions
where they did,
and then it felt like
281
00:12:53,503 --> 00:12:56,884
by getting them together,
it was almost gonna
cause too many problems,
282
00:12:56,885 --> 00:12:59,138
where, if Val was able
to search her out,
283
00:12:59,139 --> 00:13:02,520
she would know that,
uh, she wasn’t really
in the right place
284
00:13:02,521 --> 00:13:04,691
to do what she needed to do,
285
00:13:04,692 --> 00:13:07,530
and also that Yelena
would be too smart to know
what Val was gonna do to her,
286
00:13:07,531 --> 00:13:09,785
so the phone call made sense
as a separation
287
00:13:09,786 --> 00:13:13,584
and also a way to just
propel us into the action
with that cut
288
00:13:13,585 --> 00:13:17,090
and use this more
as a kind of montage voice-over
289
00:13:17,091 --> 00:13:18,886
to establish the rules
of the world.
290
00:13:18,887 --> 00:13:22,894
This, uh...
A lot of this is CG, but this
is a real helicopter shot
291
00:13:22,895 --> 00:13:25,608
that Jake Morrison,
our visual effects supervisor,
did out in Utah.
292
00:13:25,609 --> 00:13:29,281
And then this whole plaza,
this is real,
that entire facade.
293
00:13:29,282 --> 00:13:32,622
This whole plaza, the rocks,
Grace built all of this
out in Atlanta,
294
00:13:32,623 --> 00:13:34,960
and then, you know,
anything beyond that
is extension.
295
00:13:34,961 --> 00:13:37,799
But all of this,
they shot this
entirely in-camera,
296
00:13:37,800 --> 00:13:40,888
except, I think, at the very,
very edges there might be
some trees painted out.
297
00:13:40,889 --> 00:13:43,142
You’ll have full access.
298
00:13:43,143 --> 00:13:45,940
[Schreier]
Probably my favorite shot in
the film coming up right here.
299
00:13:45,941 --> 00:13:47,902
This was one I really
just wanted
for the trailer.
300
00:13:47,903 --> 00:13:49,406
I wasn’t even sure we’d use it.
301
00:13:49,407 --> 00:13:51,200
But we actually ended up...
You know, it’s funny.
302
00:13:51,201 --> 00:13:53,372
These little pieces
of her going down to the vault,
303
00:13:53,373 --> 00:13:55,501
these got shot over the course
of the entire shoot,
304
00:13:55,502 --> 00:13:57,755
’cause we didn’t have time
to do it as its own scene,
305
00:13:57,756 --> 00:14:00,469
and the sets were getting built
in different pieces.
But I really wanted...
306
00:14:00,470 --> 00:14:03,182
I actually didn’t think
we would end up
using all of them,
307
00:14:03,183 --> 00:14:06,147
but there was
something nice about,
even though it’s-it’s small,
308
00:14:06,148 --> 00:14:08,986
on a smaller scale
of getting to see each piece
309
00:14:08,987 --> 00:14:12,034
of where eventually
our characters were gonna
have to get themselves out of,
310
00:14:12,035 --> 00:14:15,708
and if you don’t show
every piece of that, then
you feel disconnected from it.
311
00:14:15,709 --> 00:14:17,503
But you now,
just subconsciously,
312
00:14:17,504 --> 00:14:20,008
have seen
every single one
of the places
313
00:14:20,009 --> 00:14:23,641
that we’re later gonna revisit
when they’re stuck
down there as a team.
314
00:14:23,642 --> 00:14:27,523
Um, this vault also exists
as an entirely built set.
315
00:14:27,524 --> 00:14:30,111
Those side corridors
aren’t real,
316
00:14:30,112 --> 00:14:34,328
but that entire corridor
that she walks down
into this giant vault...
317
00:14:34,329 --> 00:14:37,961
Grace built
this incredible set
where, again,
318
00:14:37,962 --> 00:14:41,551
it just means that
in this whole fight,
everything behind their heads,
319
00:14:41,552 --> 00:14:43,221
all the texture
that they’re interacting with,
320
00:14:43,222 --> 00:14:45,977
everything that
they’re inside of,
that’s all real.
321
00:14:45,978 --> 00:14:49,149
And, again, it means that
it’s a slightly...
322
00:14:49,150 --> 00:14:51,571
Hilariously,
given how big it is,
it’s probably a smaller set
323
00:14:51,572 --> 00:14:53,784
than you would ordinarily see
in one of these movies,
324
00:14:53,785 --> 00:14:58,627
’cause usually you would
use background extension
to make a larger space,
325
00:14:58,628 --> 00:15:01,382
but then it also wouldn’t have
that same texture of reality,
326
00:15:01,383 --> 00:15:05,683
and that was something that
we tried to prioritize
as much as we could.
327
00:15:05,684 --> 00:15:09,941
Okay, so here begins the fight.
This was one of, you know,
Eric Pearson’s...
328
00:15:09,942 --> 00:15:12,947
This was in
the very first draft
of the script that I read,
329
00:15:12,948 --> 00:15:15,703
this idea of a fight
where everyone
is sent to kill each other.
330
00:15:15,704 --> 00:15:20,336
And I thought that was
such a great flip on what you
expect maybe this movie to be,
331
00:15:20,337 --> 00:15:24,094
um, where it’s just
a team of antiheroes sent to
do bad jobs for the government.
332
00:15:24,095 --> 00:15:27,727
But it became, of course,
a very, very complicated
sequence to design
333
00:15:27,728 --> 00:15:31,400
with Heidi Moneymaker,
our wonderful
stunt coordinator, uh,
334
00:15:31,401 --> 00:15:34,741
trying to establish the idea
that each of them is
going after a different one
335
00:15:34,742 --> 00:15:39,333
was something that took
a lot of stuntvis,
they call it,
336
00:15:39,334 --> 00:15:42,715
and in the end,
Andrew Palermo, my DP,
and I went in
337
00:15:42,716 --> 00:15:46,222
and sort of shot
our own iPhone version
of this fight,
338
00:15:46,223 --> 00:15:49,604
so that each of the shots
were what we were gonna
shoot on the day.
339
00:15:49,605 --> 00:15:52,275
And had that all edited,
and we would reedit it
340
00:15:52,276 --> 00:15:54,614
and add pieces
and make it clearer
and clearer.
341
00:15:54,615 --> 00:15:58,204
And then on this movie,
this wonderful thing about it
342
00:15:58,205 --> 00:16:03,214
was that we had Harry Yoon
and Angela Catanzaro,
our editors,
343
00:16:03,215 --> 00:16:04,968
on set with us
cutting as we went.
344
00:16:04,969 --> 00:16:08,600
So as soon as we would
shoot the shot,
we’d go throw it into the edit,
345
00:16:08,601 --> 00:16:10,479
and we’d basically
be cutting on top
of the sequence
346
00:16:10,480 --> 00:16:14,111
that we had edited before
as stunt reference.
347
00:16:14,112 --> 00:16:18,452
And then we could see,
oh, that works, but actually
we need one more piece here.
348
00:16:18,453 --> 00:16:20,165
I mean, even lines
like this of,
"There you are,"
349
00:16:20,166 --> 00:16:22,753
which seems a little silly
for a character to say,
350
00:16:22,754 --> 00:16:25,801
to remind the audience that
that’s Yelena’s target.
351
00:16:25,802 --> 00:16:27,638
All of the little pieces
of it, you know,
352
00:16:27,639 --> 00:16:29,559
I think it was
our first two weeks
of shooting.
353
00:16:29,560 --> 00:16:31,605
It felt a little bit
like being under water.
354
00:16:31,606 --> 00:16:33,441
It was a tough sequence
to start out in,
355
00:16:33,442 --> 00:16:37,199
just ’cause, again,
these line pulls and
the stunt stuff take so long
356
00:16:37,200 --> 00:16:39,829
that it felt like, okay,
when are we gonna get to
the more emotional stuff?
357
00:16:39,830 --> 00:16:43,294
But, also, as we
put it together, it was
a great kind of reference
358
00:16:43,295 --> 00:16:46,300
for how this movie
was gonna work
and to establish the tone.
359
00:16:46,301 --> 00:16:48,847
And, also, felt a little bit,
in this weird way,
360
00:16:48,848 --> 00:16:52,229
like, we, as a movie,
we’re doing what
the characters were doing,
361
00:16:52,230 --> 00:16:54,609
which was, we were starting
in this very contained vault,
362
00:16:54,610 --> 00:16:56,905
and eventually, we’re gonna
work our way out of it,
363
00:16:56,906 --> 00:16:58,407
eventually to Utah,
towards the end of the shoot,
364
00:16:58,408 --> 00:16:59,911
and then Malaysia
at the very end.
365
00:16:59,912 --> 00:17:03,042
So this is where we started
the whole thing.
366
00:17:03,043 --> 00:17:06,340
There’s Bob,
just a little hint of Bob.
I don’t know how many...
367
00:17:06,341 --> 00:17:08,386
Maybe on your third viewing,
you’d catch that.
368
00:17:08,387 --> 00:17:10,348
Maybe on the first...
369
00:17:10,349 --> 00:17:12,561
Um, but, again, yeah,
even those shots, okay.
370
00:17:12,562 --> 00:17:14,774
So there’s Ghost,
that’s my target,
I have to throw it.
371
00:17:14,775 --> 00:17:20,368
This is, um...
Federico D’Alessandro,
one of our main board artists,
372
00:17:20,369 --> 00:17:22,498
who did some of
the biggest sequences
in this movie.
373
00:17:24,043 --> 00:17:25,838
He and his wife, Coral,
she edits the animatics.
374
00:17:25,839 --> 00:17:27,842
It’s almost like
watching animated movies.
375
00:17:27,843 --> 00:17:30,430
And yeah, that knife catch
was in one of his early boards,
376
00:17:30,431 --> 00:17:32,560
and we just felt like
we had to pull that off.
377
00:17:32,561 --> 00:17:35,482
And a lot of discussions of
the little camera movements
necessary to make that work.
378
00:17:37,863 --> 00:17:40,491
Okay, so, yeah, that’s...
that’s a big moment.
379
00:17:40,492 --> 00:17:42,830
I’ve been asked about this
a lot obviously.
380
00:17:42,831 --> 00:17:45,251
We felt,
coming out of the strike,
381
00:17:45,252 --> 00:17:49,969
when we were, uh,
redeveloping the script
and spending more months in it,
382
00:17:49,970 --> 00:17:53,267
we really felt like the movie
was a little bit bloodless.
383
00:17:53,268 --> 00:17:57,108
Um, and in order to establish
this amount of tension
that we wanted for it,
384
00:17:57,109 --> 00:18:01,993
it felt like,
as sad as it was to not
get to work with Olga more,
385
00:18:01,994 --> 00:18:05,041
that there was a value
in doing an unexpected thing
386
00:18:05,042 --> 00:18:08,172
and having one
of our characters
kill another one,
387
00:18:08,173 --> 00:18:10,176
because that’s what
they were all sent there to do.
388
00:18:10,177 --> 00:18:12,681
And to really establish that
as a possibility in this world,
389
00:18:12,682 --> 00:18:14,351
we thought it was worth it
390
00:18:14,352 --> 00:18:16,188
and that it could hang over
the rest of the movie.
391
00:18:16,189 --> 00:18:18,067
And, also,
as far as where to do it,
392
00:18:18,068 --> 00:18:20,614
that if we did it later,
the emotion of that,
while powerful,
393
00:18:20,615 --> 00:18:22,660
would step on
the Yelena
and Bob relationship,
394
00:18:22,661 --> 00:18:24,287
which was crucial to the movie.
395
00:18:24,288 --> 00:18:27,085
And speaking of Bob,
I just talked over
his introduction,
396
00:18:27,086 --> 00:18:31,009
but obviously he will become
more and more important
as we go in here.
397
00:18:31,010 --> 00:18:34,182
We now find, uh,
Bucky the spy
working the room.
398
00:18:34,183 --> 00:18:36,311
And this benefit,
you know, this is fun,
399
00:18:36,312 --> 00:18:39,443
where, you know, again,
we’re referencing this history.
400
00:18:39,444 --> 00:18:42,323
Given where the movie
is gonna end up and what
they’re gonna be announced as,
401
00:18:42,324 --> 00:18:45,747
we felt like
it was important to weave in
as much as we could,
402
00:18:45,748 --> 00:18:48,377
these kind of tinges
of Marvel’s own history.
403
00:18:48,378 --> 00:18:51,091
What’s fun about working
in a place like this
is that they have those things.
404
00:18:51,092 --> 00:18:54,556
So Grace built that whole "A,"
the Stark "A"
in the background,
405
00:18:54,557 --> 00:18:57,938
but a lot of the items
that you see around
in this room
406
00:18:57,939 --> 00:19:00,026
come from the actual
Marvel vault.
407
00:19:00,027 --> 00:19:04,034
You know, they’ve
lovingly protected and curated
all of these things,
408
00:19:04,035 --> 00:19:08,083
and we could pull them out
for a scene like this
to reference that history
409
00:19:08,084 --> 00:19:12,383
of, uh, of the last time
the Avengers
had to save New York.
410
00:19:12,384 --> 00:19:16,768
You’re scared
because your investigation
of my office came up clean.
411
00:19:16,769 --> 00:19:18,772
Squeaky clean.
Mm-hmm.
412
00:19:18,773 --> 00:19:20,984
[Schreier]
I love Wendell so much
in this scene.
413
00:19:20,985 --> 00:19:23,405
There was more to this scene
that is all very funny
414
00:19:23,406 --> 00:19:26,245
and that we would have
liked to keep in,
but we really felt like, um,
415
00:19:26,246 --> 00:19:28,917
as we went through
the edits and screenings,
416
00:19:28,918 --> 00:19:31,798
that we needed
to get out of that vault.
417
00:19:31,799 --> 00:19:34,929
Um, you know, obviously
we love a lot of the things
that happened down there,
418
00:19:34,930 --> 00:19:37,100
but spending too long
in this section of the movie
419
00:19:37,101 --> 00:19:39,814
and being too contained
within this benefit,
420
00:19:39,815 --> 00:19:42,610
so there was a lot of
kind of editing
that went into this section
421
00:19:42,611 --> 00:19:44,030
to streamline things,
422
00:19:44,031 --> 00:19:47,161
even at the expense sometimes
of really good moments.
423
00:19:47,162 --> 00:19:50,001
Um, just to keep
the overall pace
moving forward
424
00:19:50,002 --> 00:19:53,842
and not spend too long
away from your
perspective characters.
425
00:19:53,843 --> 00:19:56,638
But I do love
Sebastian and Geraldine
in this scene,
426
00:19:56,639 --> 00:19:59,561
especially her, uh,
her business card line.
427
00:19:59,562 --> 00:20:02,776
That was something
that the two of them
came up with together
428
00:20:02,777 --> 00:20:05,531
that feels like
a really fun kind of...
429
00:20:05,532 --> 00:20:08,412
Again, just trying
to establish Bucky
as this fish out of water
430
00:20:08,413 --> 00:20:10,124
trying to do things
a different way,
431
00:20:10,125 --> 00:20:13,840
but it’s not exactly working
as well as he would like it to,
432
00:20:13,841 --> 00:20:15,886
and we need to
kind of feel that frustration,
433
00:20:15,887 --> 00:20:19,810
and then that’ll buy us
the lift of him coming in
434
00:20:19,811 --> 00:20:21,606
on the motorcycle
later in the film.
435
00:20:22,817 --> 00:20:24,152
You say you know
who I am.
436
00:20:24,153 --> 00:20:26,198
So you know my story
437
00:20:26,199 --> 00:20:28,453
and you know
I didn’t have a choice
who I worked for.
438
00:20:29,205 --> 00:20:30,791
But you do.
439
00:20:30,792 --> 00:20:32,878
[Schreier]
And Geraldine kind of has
440
00:20:32,879 --> 00:20:34,339
this perspective character
for, you know,
441
00:20:34,340 --> 00:20:36,969
she says later,
"I was in high school
when the Avengers came."
442
00:20:36,970 --> 00:20:40,769
You know, establishing her
as this kind of
moral perspective on the film
443
00:20:40,770 --> 00:20:44,317
of someone just trying to
work in a job and not
trying to do anything evil,
444
00:20:44,318 --> 00:20:48,575
but having a boss that is,
you know,
perhaps beyond complicated.
445
00:20:48,576 --> 00:20:51,081
And to navigate
those ideas, I think,
is an interesting way in,
446
00:20:51,082 --> 00:20:54,546
especially for younger people
watching the film.
447
00:20:54,547 --> 00:20:56,633
I’m-I’m Bob.
I told you. I’m, uh...
448
00:20:56,634 --> 00:20:58,805
[Schreier] Okay, here’s Lewis
doing his Bob thing.
449
00:20:58,806 --> 00:21:01,811
We know that happens
in another major franchise
from a few years ago.
450
00:21:01,812 --> 00:21:03,898
When I first met with Lewis
about doing this part,
451
00:21:03,899 --> 00:21:06,737
he asked, "Does he have
to be named Bob?
’Cause I have done that."
452
00:21:06,738 --> 00:21:09,659
And I was like,
"Well, it’s pretty important
to what we’ve done,"
453
00:21:09,660 --> 00:21:12,833
so it was very nice of him
to get past that
454
00:21:12,834 --> 00:21:17,175
and embrace the role
in other ways, and, boy,
are we lucky that he did.
455
00:21:17,176 --> 00:21:21,308
This was one of the great joys,
you know, just when
we first started rehearsals,
456
00:21:21,309 --> 00:21:25,524
it’s just with
this core four that we spend
so long with in the vault.
457
00:21:25,525 --> 00:21:28,155
You know, just how quickly
the chemistry
seemed to be there.
458
00:21:28,156 --> 00:21:32,705
And I think Hannah
does such amazing work here
as the glue for this group,
459
00:21:32,706 --> 00:21:36,505
and keeping the rhythm
and the pacing up
and tying them together.
460
00:21:36,506 --> 00:21:41,097
And then Wyatt, you know,
is someone who I worked with
on a show called Lodge 49,
461
00:21:41,098 --> 00:21:43,018
and we’ve been friends
for a long time.
462
00:21:43,019 --> 00:21:45,397
So I knew that there was
this other side of Wyatt
463
00:21:45,398 --> 00:21:49,239
that was deeply affable
and charismatic.
464
00:21:49,240 --> 00:21:52,245
And, I mean, John Walker,
obviously, we’re meant to
have some fun with him here,
465
00:21:52,246 --> 00:21:55,209
but knowing that he had that,
even if, you know,
466
00:21:55,210 --> 00:21:58,048
it hadn’t kind of leaned
in that direction, you know,
467
00:21:58,049 --> 00:22:00,386
his work in the MCU
before that,
468
00:22:00,387 --> 00:22:03,058
it felt exciting
knowing that we could
get there with him.
469
00:22:03,059 --> 00:22:06,773
And Joanna did such a great job
in these scenes,
470
00:22:06,774 --> 00:22:12,326
establishing this
kind of dynamic
between the girls and him,
471
00:22:12,327 --> 00:22:16,084
and this idea of a guy
who just refuses to believe
that he’s been thrown away
472
00:22:16,085 --> 00:22:18,755
and left to die,
where they’re more able
to process it.
473
00:22:18,756 --> 00:22:22,931
And, again, we’re not,
you know,
leaning into that too hard
474
00:22:22,932 --> 00:22:24,894
other than to give him
somewhere to go.
475
00:22:24,895 --> 00:22:28,609
If it’s about, you know,
eventually him having to
be honest with himself
476
00:22:28,610 --> 00:22:31,239
about what he’s done
and what’s happened
to his family
477
00:22:31,240 --> 00:22:34,203
that’s starting it
in this dishonest place,
478
00:22:34,204 --> 00:22:38,462
you know, it’s not about
lying to them as much as it is
about lying to himself.
479
00:22:38,463 --> 00:22:41,301
That-That felt like
a really fun arc
to take him on.
480
00:22:41,302 --> 00:22:44,098
I’m not leaving here without
completing my mission.
481
00:22:44,099 --> 00:22:47,355
Valentina gave me
a clean slate guarantee,
and I’m not screwing that up.
482
00:22:47,356 --> 00:22:48,900
[Schreier]
And Lewis is so good here.
483
00:22:48,901 --> 00:22:50,904
We have such little
narrative real estate,
484
00:22:50,905 --> 00:22:53,408
that you have to come
to care about this guy
very quickly
485
00:22:53,409 --> 00:22:55,621
before we go to the other sides
of the character.
486
00:22:55,622 --> 00:22:59,003
And, you know,
he and I did a lot of work
in rehearsal and in prep
487
00:22:59,004 --> 00:23:02,510
and kind of going
through the script,
really every weekend,
488
00:23:02,511 --> 00:23:04,347
and we would go line by line
489
00:23:04,348 --> 00:23:09,357
and talk about this idea
of Bob and The Sentry
and the Void,
490
00:23:09,358 --> 00:23:13,115
which even in this early phase,
like, which side
of the character
491
00:23:13,116 --> 00:23:15,619
each of those lines leans into
492
00:23:15,620 --> 00:23:18,542
and kind of mapping that out
so that later
when we get there,
493
00:23:18,543 --> 00:23:20,213
it would be...
it would feel like
it had been established.
494
00:23:21,590 --> 00:23:22,675
That’s the sound barrier.
495
00:23:22,676 --> 00:23:24,762
[breathes heavily]
496
00:23:24,763 --> 00:23:26,558
[Schreier]
Yeah, again, all of this...
this whole structure,
497
00:23:26,559 --> 00:23:29,230
Eric Pearson had set up
so it really remains
from that original draft
498
00:23:29,231 --> 00:23:31,026
of them all being
locked in there
499
00:23:31,027 --> 00:23:32,570
and where it goes
with the fireball.
500
00:23:32,571 --> 00:23:34,323
That they’d be trapped
in a vault,
501
00:23:34,324 --> 00:23:36,494
sent to kill each other
and trapped,
502
00:23:36,495 --> 00:23:38,206
needing to work together
to get out.
503
00:23:38,207 --> 00:23:40,502
And everything
that we talked about
in that early phase
504
00:23:40,503 --> 00:23:43,550
was about, you know,
505
00:23:43,551 --> 00:23:45,471
people thrown together
who could not trust each other,
506
00:23:45,472 --> 00:23:47,725
but were going to need to
in order to get out of this.
507
00:23:47,726 --> 00:23:48,895
Holy shit, Bucky.
508
00:23:50,065 --> 00:23:52,193
The assistant, she’s ductile.
509
00:23:52,194 --> 00:23:53,320
Ductile?
510
00:23:53,321 --> 00:23:54,530
Yeah.
511
00:23:54,531 --> 00:23:56,659
[Schreier]
Love Sebastian in this scene.
512
00:23:56,660 --> 00:24:01,044
He’s so excited about
his spy work, and...
[chuckles] ...Wendell just...
513
00:24:01,045 --> 00:24:04,175
Again, just this idea
of having characters
that can be in this world
514
00:24:04,176 --> 00:24:06,387
where it doesn’t feel like
we’re breaking the fourth wall
515
00:24:06,388 --> 00:24:08,016
or stepping so far
outside of it,
516
00:24:08,017 --> 00:24:11,189
but the character themself
can comment on this idea
517
00:24:11,190 --> 00:24:12,942
of how Bucky
has approached things
in the past
518
00:24:12,943 --> 00:24:15,823
and how that’s not the world
that he’s living in now,
519
00:24:15,824 --> 00:24:19,038
and when you have
Wendell Pierce doing it,
then... then it really lands.
520
00:24:19,039 --> 00:24:20,791
...then let the system
do its job.
521
00:24:20,792 --> 00:24:23,463
The system that
goes on recess
every day at 4:00 p.m.?
522
00:24:23,464 --> 00:24:25,926
We are in a good spot,
I assure you.
523
00:24:25,927 --> 00:24:29,600
My team is putting together
a juicy packet
for the next hearing.
524
00:24:29,601 --> 00:24:33,233
[Schreier] I think Joanna
added this "juicy" stuff.
525
00:24:33,234 --> 00:24:38,618
And when Wendell says "juicy"
and then we do it again later,
it really... [chuckles]
526
00:24:38,619 --> 00:24:40,414
I think there are
a couple takes
527
00:24:40,415 --> 00:24:42,710
where he said "juicy" twice
just to really lean into it,
528
00:24:42,711 --> 00:24:45,799
but I think we landed
on a good, solid one.
Felt like the right place.
529
00:24:45,800 --> 00:24:48,221
...has been
completely sealed off.
All right, then.
530
00:24:48,222 --> 00:24:51,144
[Schreier] And, again, yeah,
this idea of, you know,
531
00:24:51,145 --> 00:24:54,275
an assistant who wants
to prove herself to her boss,
532
00:24:54,276 --> 00:24:56,863
but at the same time,
is uncertain about the path
that they’re going down,
533
00:24:56,864 --> 00:24:58,658
and Julia just having
no patience for that.
534
00:24:58,659 --> 00:24:59,453
Oh, my God.
535
00:25:01,290 --> 00:25:03,585
[Yelena]
Hey. Job or not...
536
00:25:03,586 --> 00:25:06,382
[Schreier] And this...
Okay, sure,
it’s pretty dismissive.
537
00:25:06,383 --> 00:25:09,013
But it feels like, again,
this is honest to
who these characters are
538
00:25:09,014 --> 00:25:11,226
at the beginning of our film
where it is just a job,
539
00:25:11,227 --> 00:25:13,021
and this is what they do.
540
00:25:13,022 --> 00:25:15,067
And, you know,
Florence found it
very important,
541
00:25:15,068 --> 00:25:18,114
even though her character
didn’t know Antonia
directly so well,
542
00:25:18,115 --> 00:25:20,285
but was aware of her story.
543
00:25:20,286 --> 00:25:23,875
You know, wanting to have
some sense of protectiveness
over that idea
544
00:25:23,876 --> 00:25:25,545
that’s still honoring
that she’s a character
545
00:25:25,546 --> 00:25:27,508
who is in a dark place
and doing these things.
546
00:25:27,509 --> 00:25:29,512
You don’t know that for sure.
Could be for anything.
547
00:25:29,513 --> 00:25:31,099
Could be for when
they come to pick me up.
548
00:25:31,100 --> 00:25:32,476
[Schreier chuckles]
549
00:25:32,477 --> 00:25:34,939
Again, yeah, this is more
of that dynamic
550
00:25:34,940 --> 00:25:38,196
that Joanna established
between the three
that I find so fun.
551
00:25:38,197 --> 00:25:39,490
Okay, it’s an incinerator.
552
00:25:39,491 --> 00:25:41,661
Oh, boy. That is no way to go.
553
00:25:41,662 --> 00:25:43,164
Well, how would you
like to die today, Bob?
554
00:25:43,165 --> 00:25:45,335
- Okay, ghost lady.
- Ava.
555
00:25:45,336 --> 00:25:48,216
Sure. Whatever. Don’t care.
We need to get you
through the walls...
556
00:25:48,217 --> 00:25:50,178
[Schreier]
I remember this line.
557
00:25:50,179 --> 00:25:51,890
Look, in these movies,
you’re gonna have to
do some exposition.
558
00:25:53,477 --> 00:25:54,603
What?
559
00:25:54,604 --> 00:25:55,897
"They built it just for her.
560
00:25:55,898 --> 00:25:57,276
It’s gotta have
an independent power source."
561
00:25:57,277 --> 00:25:59,905
I remember Wyatt and Florence
trying to pass this line
562
00:25:59,906 --> 00:26:02,828
back and forth to each other
’cause it was hard to say.
563
00:26:02,829 --> 00:26:05,709
Uh... I think Wyatt was like,
"Maybe you could say that,"
564
00:26:05,710 --> 00:26:08,214
and Florence was like,
"Nah, I think you’ve got it.
I think you’re good."
565
00:26:08,215 --> 00:26:09,593
And Wyatt did very well
with that in the end.
566
00:26:11,180 --> 00:26:12,140
[breathing heavily]
567
00:26:16,482 --> 00:26:19,862
[Schreier] Again, just trying
to seed the sort of origins
of Bob here,
568
00:26:19,863 --> 00:26:22,117
you know, that they don’t pay
quite enough attention to
569
00:26:22,118 --> 00:26:23,662
’cause they’re distracted
with other things.
570
00:26:24,289 --> 00:26:26,125
Move!
571
00:26:26,126 --> 00:26:28,505
[Schreier] But, yeah,
this was sort of the last...
572
00:26:28,506 --> 00:26:32,304
I think the last thing
we filmed in this vault area.
573
00:26:32,305 --> 00:26:35,894
Uh... Getting them out
and that search
during the countdown.
574
00:26:35,895 --> 00:26:38,149
And this was such
an important moment
in the shoot,
575
00:26:38,150 --> 00:26:41,280
’cause as they go to
the door here, they’re waiting
for the countdown.
576
00:26:41,281 --> 00:26:43,701
I remember I went
up to Florence, and, of course,
we hadn’t shot it yet,
577
00:26:43,702 --> 00:26:45,997
and I said,
"Just in this moment,
578
00:26:45,998 --> 00:26:48,503
while you’re waiting to see
if the door will open or not,
579
00:26:48,504 --> 00:26:52,553
just think about being
on that building
from the beginning of the film
580
00:26:52,554 --> 00:26:54,890
and how you feel,
if there’s anything
that you would do
581
00:26:54,891 --> 00:26:59,900
in connecting with
that sense of kind of loss
or hopelessness,"
582
00:26:59,901 --> 00:27:02,029
and she thought
that was so interesting,
and she did...
583
00:27:02,030 --> 00:27:04,075
I mean, we did the next take,
and it was beautiful.
584
00:27:04,076 --> 00:27:07,833
She did this thing
she does here of
closing her eyes,
585
00:27:07,834 --> 00:27:09,712
taking a deep breath,
586
00:27:09,713 --> 00:27:11,382
and perhaps there’s
a form of acceptance,
587
00:27:11,383 --> 00:27:13,428
and then of course
the door opens and she’s out.
588
00:27:13,429 --> 00:27:16,350
But then that became
this memetic idea
for the rest of the movie,
589
00:27:16,351 --> 00:27:18,897
so she does that four times,
the deep breath
and open her eyes--
590
00:27:18,898 --> 00:27:20,317
at the beginning,
591
00:27:20,318 --> 00:27:21,861
then when she steps
into the Void
592
00:27:21,862 --> 00:27:23,239
and then at
the very end of the film.
593
00:27:23,240 --> 00:27:26,412
But that wasn’t written in
as exactly what would happen.
594
00:27:26,413 --> 00:27:28,750
It was a thing that
she did in this moment
595
00:27:28,751 --> 00:27:30,629
based on that idea
that we then took
596
00:27:30,630 --> 00:27:33,551
and translated
to the rest of the film.
597
00:27:33,552 --> 00:27:37,434
I think this is
one of Grace’s
most beautiful sets. Um...
598
00:27:37,435 --> 00:27:40,398
When we talked about doing
the surrealism of the Void,
599
00:27:40,399 --> 00:27:43,780
we really wanted to
try to find a way to...
600
00:27:43,781 --> 00:27:47,036
in sort of a Gondry
or Spike Jonze style,
to do it in-camera.
601
00:27:47,037 --> 00:27:50,167
So you can see here
that if you actually
pay any attention,
602
00:27:50,168 --> 00:27:52,422
that those are just walls
in the background
from the beginning,
603
00:27:52,423 --> 00:27:55,135
but because you’re so focused
on the characters, you don’t.
604
00:27:55,136 --> 00:27:57,683
Those lights in the background
of the red room
in the distance,
605
00:27:57,684 --> 00:28:00,145
that’s just painted
on to the wall,
606
00:28:00,146 --> 00:28:03,736
and those are lights
behind the scrim,
like, built into the wall.
607
00:28:03,737 --> 00:28:06,534
But you’re so in the moment
that you don’t quite
process at first
608
00:28:06,535 --> 00:28:11,252
that this is in fact
a sort of shame room,
as we talk about.
609
00:28:11,253 --> 00:28:14,842
And, yeah, I mean, Grace...
All of these are
real trees painted black.
610
00:28:14,843 --> 00:28:18,349
There’s black sort of soot
underneath the snow.
611
00:28:18,350 --> 00:28:19,977
And the way Andrew lit it,
612
00:28:19,978 --> 00:28:22,441
I mean, everyone just
looks so beautiful
in this scene.
613
00:28:22,442 --> 00:28:25,739
I feel like it’s the first time
our movie really
gets to tell you
614
00:28:25,740 --> 00:28:28,661
there’s gonna be more to this,
you know,
than what you expected.
615
00:28:28,662 --> 00:28:31,459
This is a different...
a different sort of story,
616
00:28:31,460 --> 00:28:33,880
and there’s something going on
underneath the surface there
617
00:28:33,881 --> 00:28:36,844
and connecting
these two characters,
Bob and Yelena.
618
00:28:36,845 --> 00:28:39,850
’Cause, also,
we’ll see this echo,
this idea of, "You okay?"
619
00:28:39,851 --> 00:28:43,650
"Yeah, I’m fine," but,
of course, the way he says it,
he does not seem fine.
620
00:28:43,651 --> 00:28:46,657
And we’ll revisit that idea
at the very end of the film.
621
00:28:49,412 --> 00:28:52,501
Hey. Didn’t think
you’d come back. Thanks.
622
00:28:52,502 --> 00:28:54,464
I had to.
Someone cut the power
to the elevator.
623
00:28:57,010 --> 00:28:59,055
[Schreier]
This is a shot I got in DC.
624
00:28:59,056 --> 00:29:00,892
I wanted to
really go down there.
625
00:29:00,893 --> 00:29:03,690
We had a crew of about four,
getting a few
of those exteriors.
626
00:29:03,691 --> 00:29:06,278
Um... And then this scene,
this is back in Atlanta,
627
00:29:06,279 --> 00:29:08,408
but something Andrew
was really committed to
in this film
628
00:29:08,409 --> 00:29:10,870
was really trying to never use
green screen or LED,
629
00:29:10,871 --> 00:29:16,047
so this is out on location
in Atlanta at night, in a limo,
630
00:29:16,048 --> 00:29:18,594
I think this is, like,
2:00 in the morning.
631
00:29:18,595 --> 00:29:23,479
And poor Julia and Geraldine,
they’d had a long day
of shooting the, um,
632
00:29:23,480 --> 00:29:27,612
the OXE loading-dock scene
before this
and a couple other things,
633
00:29:27,613 --> 00:29:29,240
and then had to do this
at the end of the night.
634
00:29:29,241 --> 00:29:31,871
And, I think, really only had
about three takes,
635
00:29:31,872 --> 00:29:34,041
maybe four,
before we got shut down.
636
00:29:34,042 --> 00:29:36,756
And, yeah,
pulled it off beautifully.
637
00:29:36,757 --> 00:29:38,926
But, again,
I just think it’s so nice
to have that real texture
638
00:29:38,927 --> 00:29:41,055
of what’s out the windows.
639
00:29:41,056 --> 00:29:43,561
Um... And as the camera
pans around,
640
00:29:43,562 --> 00:29:45,523
like, we’re augmenting
those things a little bit
641
00:29:45,524 --> 00:29:47,067
and putting DC
into the background.
642
00:29:47,068 --> 00:29:49,823
But to start from a place
where the shot has real texture
643
00:29:49,824 --> 00:29:51,702
and then all this in-camera,
644
00:29:51,703 --> 00:29:54,708
I just think that approach
really helped the movie out
in so many ways,
645
00:29:54,709 --> 00:29:58,299
and it took such hard work
from so many people on our crew
to make that happen.
646
00:29:58,300 --> 00:30:00,260
It’s also the kind of thing
you can only do
647
00:30:00,261 --> 00:30:02,097
when you have actors like this
that you can trust.
648
00:30:02,098 --> 00:30:03,434
Even though we’re gonna
get fewer takes,
649
00:30:03,435 --> 00:30:05,439
they’re gonna nail this stuff
and pull it off.
650
00:30:08,027 --> 00:30:09,822
This is a Sonny idea.
651
00:30:09,823 --> 00:30:13,371
The whole idea of having
Alexei as a limo driver
was Sonny’s idea.
652
00:30:13,372 --> 00:30:17,169
And this kind of
very Ocean’s overheard
thing here.
653
00:30:17,170 --> 00:30:22,054
Uh, you know, it’s on the edge
of reality, but the lift
of how we’ve seen him
654
00:30:22,055 --> 00:30:24,183
and bring him back
into the movie felt worth it.
655
00:30:24,184 --> 00:30:25,270
Less talking to yourself,
more talking to us.
656
00:30:28,777 --> 00:30:31,072
[Schreier] And, again,
this is this very
limited narrative real estate
657
00:30:31,073 --> 00:30:33,369
to establish
those different corners of Bob,
658
00:30:33,370 --> 00:30:37,126
that there is this kind
of darker, more inward side
that you see for a moment,
659
00:30:37,127 --> 00:30:40,758
but, you know, still very
eager to please when
he presents to other people.
660
00:30:40,759 --> 00:30:43,514
He’s really not trying
to be a bother, but there
being an inner darkness
661
00:30:43,515 --> 00:30:48,357
and then within
that same scene, also needing
to show a little bit more
662
00:30:48,358 --> 00:30:54,285
of the hubristic side
that comes out when Walker
is being such a dick to him.
663
00:30:54,286 --> 00:30:55,915
- Choke hold? Nerve pinch?
- No.
664
00:30:57,460 --> 00:30:59,588
I think he’s just a civilian.
665
00:30:59,589 --> 00:31:01,967
If he’s a civilian,
he knows too much.
If he’s an agent, he sucks.
666
00:31:01,968 --> 00:31:03,387
Either way, I say
we throw him back
into the fire.
667
00:31:03,388 --> 00:31:04,765
[Schreier] This is so good
on Wyatt’s part.
668
00:31:04,766 --> 00:31:07,102
It’s hard sometimes,
’cause sometimes actors
669
00:31:07,103 --> 00:31:12,363
won’t want to play,
uh, "assholes,"
as Bob calls him here,
670
00:31:12,364 --> 00:31:16,329
but I think Wyatt and I
have that trust and knew
where the character was going
671
00:31:16,330 --> 00:31:18,417
and was really willing
to embrace this stuff,
672
00:31:18,418 --> 00:31:22,467
knowing that there would be
a redemptive arc for Walker
in the film.
673
00:31:22,468 --> 00:31:24,388
And he plays it
with such subtlety here
674
00:31:24,389 --> 00:31:26,809
where it’s not just
a cartoon asshole.
675
00:31:26,810 --> 00:31:29,648
And here,
just a little glimmer,
just a glint in the eyes,
676
00:31:29,649 --> 00:31:33,823
we see, okay, there’s
something a little bit more
going on with Bob,
677
00:31:33,824 --> 00:31:36,327
and there is
a bit of that hubris
where he’s not afraid of this,
678
00:31:36,328 --> 00:31:40,168
and he’s not just
docile and depressed.
679
00:31:40,169 --> 00:31:43,968
And we’re-- again,
we’re trying to get each of
those sides of the character
680
00:31:43,969 --> 00:31:46,724
into the film
with as little room as we have.
681
00:31:46,725 --> 00:31:49,604
This scene, of course,
is crucially important
682
00:31:49,605 --> 00:31:53,696
for establishing that idea
of Bob, but also
his connection to Yelena,
683
00:31:53,697 --> 00:31:57,829
and really this idea
of them connecting over
this thing that they both feel.
684
00:31:57,830 --> 00:32:00,417
And it’s very hard, um...
685
00:32:00,418 --> 00:32:02,505
You know, it’s a scene
Sonny wrote multiple times,
686
00:32:02,506 --> 00:32:04,760
and then Joanna, I think,
wrote the final version
687
00:32:04,761 --> 00:32:07,766
of how we got this there,
and it was a lot of rehearsal
688
00:32:07,767 --> 00:32:11,022
with Florence and Lewis
to see if we could...
689
00:32:11,023 --> 00:32:15,573
Again, it’s so quick
to get to this idea of feeling,
690
00:32:15,574 --> 00:32:19,038
you know, borderline suicidal
or feeling this idea
of the Void,
691
00:32:19,039 --> 00:32:21,585
but we need it.
We need it to happen here
692
00:32:21,586 --> 00:32:23,756
so that she’ll feel
that connection for later.
693
00:32:23,757 --> 00:32:28,933
And so we’ll get these hints
of what eventually allows her
to step into the Void.
694
00:32:28,934 --> 00:32:33,191
And this concept of, you know,
that the movie hinges on, of,
695
00:32:33,192 --> 00:32:35,195
"Are we all alone?
Or are we not?"
696
00:32:35,196 --> 00:32:37,449
And, you know,
as simple as an idea
as that sounds,
697
00:32:37,450 --> 00:32:39,538
that’s gonna become
the crux of the ending,
698
00:32:39,539 --> 00:32:41,207
and we have to
establish it here.
699
00:32:41,208 --> 00:32:44,213
This was shot
at hour 12 of a Friday,
I think.
700
00:32:44,214 --> 00:32:46,300
The week that Florence
had come back
701
00:32:46,301 --> 00:32:49,390
from the Oscars on Monday
for Oppenheimer.
702
00:32:49,391 --> 00:32:53,398
We were all so tired
and running out of time.
703
00:32:53,399 --> 00:32:55,611
And I don’t think I knew
until we got into the edit
704
00:32:55,612 --> 00:32:57,657
for sure whether we had it,
705
00:32:57,658 --> 00:33:01,414
but for them to do that,
you know, in just,
I think, three takes...
706
00:33:01,415 --> 00:33:05,338
Uh, actually, maybe really
two takes with a close-up
on his side was all we had.
707
00:33:05,339 --> 00:33:08,136
And maybe three or four
on her side.
708
00:33:08,137 --> 00:33:10,140
And then getting into the edit,
709
00:33:10,141 --> 00:33:12,562
just really carefully
peeling apart the layers,
710
00:33:12,563 --> 00:33:14,816
and it was there,
you know, that connection,
711
00:33:14,817 --> 00:33:16,654
and it’s so important
to what the film becomes.
712
00:33:19,869 --> 00:33:23,083
Look, we’re all alone.
713
00:33:23,793 --> 00:33:25,588
All of us.
714
00:33:25,589 --> 00:33:28,051
[Schreier]
Yeah, so there it is,
that thesis of the movie.
715
00:33:28,052 --> 00:33:30,263
That’s how she views things.
716
00:33:30,264 --> 00:33:32,644
That’s what she’s sort of
come to accept or believes,
717
00:33:32,645 --> 00:33:34,230
and that’s something
that he accepts as well
718
00:33:34,231 --> 00:33:35,816
and why he’s willing
to trust her
719
00:33:35,817 --> 00:33:38,363
is he finds someone
that connects over that,
720
00:33:38,364 --> 00:33:41,828
so they’re kind of connecting
over the idea
of an absence of connection.
721
00:33:41,829 --> 00:33:43,999
But, eventually,
they’re gonna have to
confront that.
722
00:33:44,000 --> 00:33:47,005
[reading indistinctly]
723
00:33:47,006 --> 00:33:49,761
[Schreier] Okay, so the arm.
This little piece of this,
this...
724
00:33:49,762 --> 00:33:53,476
I think we got an additional
of showing why he had to put
the arm in the dishwasher.
725
00:33:53,477 --> 00:33:57,234
Um... But, yeah,
the arm in the dishwasher
was an Eric Pearson beat
726
00:33:57,235 --> 00:33:58,821
from very, very early on
in the script,
727
00:33:58,822 --> 00:34:00,616
from a totally
different structure,
728
00:34:00,617 --> 00:34:04,373
but, uh, just
such a funny thing
to think about for Bucky,
729
00:34:04,374 --> 00:34:07,004
and, I think for our movie,
felt right,
730
00:34:07,005 --> 00:34:08,882
that, you know, we’re trying
to honor, you know,
731
00:34:08,883 --> 00:34:10,928
and live up to a lot of these
great Marvel movies,
732
00:34:10,929 --> 00:34:14,602
but definitely taking
a slightly more
irreverent approach,
733
00:34:14,603 --> 00:34:17,399
and it felt like
such a funny beat
to get in there.
734
00:34:17,400 --> 00:34:19,236
- ...network.
- [Mel] Mm-hmm.
735
00:34:19,237 --> 00:34:23,494
[Schreier] And, again,
here you have this meta
between, you know...
736
00:34:23,495 --> 00:34:26,835
uh, between Bucky
and Mel about, you know,
737
00:34:26,836 --> 00:34:28,839
and Geraldine has talked
about this,
738
00:34:28,840 --> 00:34:30,718
she was in high school
when Avengers came out,
739
00:34:30,719 --> 00:34:32,512
and that’s what she says
in this scene.
740
00:34:32,513 --> 00:34:35,936
And the sense of distance
from that time and how it feels
741
00:34:35,937 --> 00:34:37,940
and how things feel murkier.
742
00:34:37,941 --> 00:34:40,362
You know, Sebastian has
this great line, you know,
743
00:34:40,363 --> 00:34:42,658
"I think we could be
the people that are coming."
744
00:34:42,659 --> 00:34:45,246
You know, that...
You don’t necessarily...
745
00:34:45,247 --> 00:34:47,542
He’s appealing to this idea
that you don’t
necessarily imagine
746
00:34:47,543 --> 00:34:50,758
that’s going to be you,
but sometimes
in the right circumstance,
747
00:34:50,759 --> 00:34:52,804
that’s who it has to be,
748
00:34:52,805 --> 00:34:54,933
and that’s what Mel
is really grappling with here.
749
00:34:54,934 --> 00:34:56,937
You must really
not know my boss.
750
00:34:56,938 --> 00:34:58,649
We can protect you.
751
00:34:58,650 --> 00:35:01,070
[Schreier] But also,
it’s important
for Bucky’s character
752
00:35:01,071 --> 00:35:03,700
to find himself
in this position of saying,
753
00:35:03,701 --> 00:35:06,748
"I don’t do that anymore.
I’m trying to do things
in a different way."
754
00:35:06,749 --> 00:35:08,752
And, you know,
Mel really pokes at that.
755
00:35:08,753 --> 00:35:10,588
"Is that coming from
the freshman congressman
756
00:35:10,589 --> 00:35:12,677
who can’t get a bill passed
or the Winter Soldier?"
757
00:35:12,678 --> 00:35:14,681
So really trying to
build up all of this,
758
00:35:14,682 --> 00:35:17,937
even if it feels
like a slow burn for Bucky,
759
00:35:17,938 --> 00:35:21,862
is to buy you that moment
where he comes back
on that bike later,
760
00:35:21,863 --> 00:35:24,241
and it feels so triumphant
because he felt the frustration
761
00:35:24,242 --> 00:35:25,912
of trying to do it
a different way.
762
00:35:27,498 --> 00:35:29,711
Okay, so the elevator shaft.
763
00:35:29,712 --> 00:35:31,631
This was one of
the earliest sequences
that we talked about
764
00:35:31,632 --> 00:35:33,009
when I was pitching
on the film.
765
00:35:33,010 --> 00:35:35,096
There was
an elevator shaft sequence
766
00:35:35,097 --> 00:35:37,434
that they got up
in a very different way.
767
00:35:37,435 --> 00:35:39,521
And something I talked about
in that first pitch
768
00:35:39,522 --> 00:35:44,072
is that we really wanted
in this movie to feel like
these are action scenes
769
00:35:44,073 --> 00:35:46,368
that maybe they
could accomplish if
they could work together well,
770
00:35:46,369 --> 00:35:47,914
but they can’t,
so it doesn’t happen,
771
00:35:47,915 --> 00:35:49,751
and needing to
really rely on each other
772
00:35:49,752 --> 00:35:51,838
and trust each other,
or they’re gonna die.
773
00:35:51,839 --> 00:35:55,386
So, I think Brian Chapek,
our executive producer,
774
00:35:55,387 --> 00:35:56,932
had this idea
in that early pitch
775
00:35:56,933 --> 00:35:58,936
about what if
they’re just back-to-back?
776
00:35:58,937 --> 00:36:02,192
And they really, like...
They would fall
without each other.
777
00:36:02,193 --> 00:36:05,198
And it’s just... [chuckles]
It’s so funny to think about,
778
00:36:05,199 --> 00:36:08,288
and I think
we used to refer to it
as the, uh,
779
00:36:09,917 --> 00:36:13,047
least dynamic action sequence
in Marvel history,
780
00:36:13,048 --> 00:36:15,552
that they’re just crawling up
this thing together.
781
00:36:15,553 --> 00:36:18,307
But it also
gives us a way, you know...
782
00:36:18,308 --> 00:36:21,105
Obviously you want to
spend time building
connections with characters,
783
00:36:21,106 --> 00:36:24,027
understanding backstories,
having them share things,
784
00:36:24,028 --> 00:36:29,329
but in this way,
you get to do that as
part of, again, a action scene,
785
00:36:29,330 --> 00:36:33,045
used liberally, perhaps,
because, uh,
it’s not very active,
786
00:36:33,046 --> 00:36:35,592
but, uh, it is at least
part of an action
of where they’re going
787
00:36:35,593 --> 00:36:39,266
where you’re not just pausing
to talk and expose things.
788
00:36:39,267 --> 00:36:42,857
Like, it’s all happening
as part of the trajectory
and the journey up.
789
00:36:42,858 --> 00:36:46,655
And, again, this is where
we start to feel
we’ve seen all of these things.
790
00:36:46,656 --> 00:36:48,785
We’ve seen her go down
that elevator shaft.
791
00:36:48,786 --> 00:36:51,457
We know each piece
of the journey that
they’re gonna have to take up.
792
00:36:51,458 --> 00:36:55,799
That we-- You know,
she said "a mile down" when
we look up here at the end.
793
00:36:55,800 --> 00:37:00,099
Maybe we didn’t realize
quite exactly how far
that was gonna be for them.
794
00:37:00,100 --> 00:37:03,230
And this, again, is filmed
predominantly practically.
795
00:37:03,231 --> 00:37:06,445
Any of these close-ups.
We built two 64-foot
elevator shafts.
796
00:37:06,446 --> 00:37:08,240
The lighting is all real.
797
00:37:08,241 --> 00:37:10,620
Obviously, it’s set extension
when we look at
something like that,
798
00:37:10,621 --> 00:37:13,209
but even the foreground
of those shots is real
799
00:37:13,210 --> 00:37:16,423
and an in-camera set
that Grace built, uh,
800
00:37:16,424 --> 00:37:20,808
just so that everything
is based on, uh,
real textures and real sets.
801
00:37:20,809 --> 00:37:21,601
Oh, God.
802
00:37:23,230 --> 00:37:24,023
[Mel gasps]
803
00:37:25,234 --> 00:37:26,820
[Schreier]
I love this Joanna line.
804
00:37:26,821 --> 00:37:28,364
"Please don’t gasp at work."
805
00:37:28,365 --> 00:37:29,867
I don’t know where
she came up with that,
806
00:37:29,868 --> 00:37:32,080
but I love it so much.
807
00:37:32,081 --> 00:37:35,211
Um, if you wanna look
under the hood,
this is actually...
808
00:37:35,212 --> 00:37:37,507
Later, you’ll see
a helicopter in this film,
809
00:37:37,508 --> 00:37:40,388
and I know it’s a Marvel movie
and we have a lot of resources,
810
00:37:40,389 --> 00:37:42,517
but there are always
budgets to adhere to
811
00:37:42,518 --> 00:37:45,440
and coming out of the strikes,
we had to trim here and there,
812
00:37:45,441 --> 00:37:50,283
so part of the way we did that
was this interior of
Val’s special airplane
813
00:37:50,284 --> 00:37:54,792
is actually also
just the helicopter set
that we reconfigured for this.
814
00:37:54,793 --> 00:37:58,884
Maybe, uh... Maybe I shouldn’t
tell you guys that,
but it’s still filmmaking.
815
00:37:58,885 --> 00:38:01,848
At any level, at some point,
you have to find ways
to be creative
816
00:38:01,849 --> 00:38:05,772
and, uh--
and use what you’ve got.
817
00:38:05,773 --> 00:38:08,611
Um... And this, you know,
yes, there’s a lot of
exposition here,
818
00:38:08,612 --> 00:38:12,828
but this scene
we leaned on a lot
to kind of establish Val’s plan
819
00:38:12,829 --> 00:38:16,502
because it is
a sort of unusual thing
for a movie like this
820
00:38:16,503 --> 00:38:19,884
where it’s not that she starts
with a dastardly plan.
821
00:38:19,885 --> 00:38:22,555
She had a plan. It failed.
She’s getting rid
of the evidence,
822
00:38:22,556 --> 00:38:24,894
and then, all of a sudden,
when it seems like
it might work,
823
00:38:24,895 --> 00:38:27,065
she’s gonna pivot
in the middle of the movie
824
00:38:27,066 --> 00:38:29,444
to try and go
on a different path,
and that’s unusual,
825
00:38:29,445 --> 00:38:32,700
but, I thought, interesting
for a character like Val
826
00:38:32,701 --> 00:38:35,414
who’s complicated and gray
and not necessarily
your typical villain.
827
00:38:35,415 --> 00:38:37,460
Then the other three
immediately fall.
828
00:38:37,461 --> 00:38:39,256
Shit.
829
00:38:39,257 --> 00:38:40,508
[Bob] Sorry. Yeah,
I guess I didn’t...
830
00:38:40,509 --> 00:38:41,845
I didn’t really think
this far ahead.
831
00:38:41,846 --> 00:38:43,472
Genius plan, Bobby.
832
00:38:43,473 --> 00:38:44,558
Always making things worse.
833
00:38:44,559 --> 00:38:46,228
[Schreier]
"Always making things worse."
834
00:38:46,229 --> 00:38:47,898
Maybe on your sixth viewing,
you notice he says that,
835
00:38:47,899 --> 00:38:49,734
and that connects
to his ending.
836
00:38:49,735 --> 00:38:51,948
I don’t know. I wanted
to leave it in
because I liked it.
837
00:38:51,949 --> 00:38:54,996
Uh, so coming up,
this cucumber idea.
838
00:38:54,997 --> 00:38:56,707
This is a Eric Pearson
original,
839
00:38:56,708 --> 00:38:59,713
and there’s
a funny story to this
’cause it’s, uh...
840
00:38:59,714 --> 00:39:02,343
His girlfriend Ashley would
always say "cucumber,"
841
00:39:02,344 --> 00:39:04,389
and then we were
at the premiere,
842
00:39:04,390 --> 00:39:06,643
and I said, "We got
your cucumber thing in there."
843
00:39:06,644 --> 00:39:09,316
She looked at me like
she didn’t understand
what I was talking about.
844
00:39:09,317 --> 00:39:11,194
And then I talked to Eric
who said, apparently,
845
00:39:11,195 --> 00:39:13,950
she genuinely believed
that everyone
in the Western world
846
00:39:13,951 --> 00:39:16,246
said "cucumber"
to avoid a sneeze
847
00:39:16,247 --> 00:39:17,540
and didn’t realize
it was only her.
848
00:39:17,541 --> 00:39:19,669
She asked her mom,
and her mom didn’t know
849
00:39:19,670 --> 00:39:22,050
what she was talking about,
so, uh...
850
00:39:22,051 --> 00:39:24,721
And then this was
a really great Joanna add
here at the end,
851
00:39:24,722 --> 00:39:29,649
to have the, uh, the sneeze
punctuate this action sequence.
852
00:39:32,154 --> 00:39:33,323
[sneezes]
853
00:39:35,912 --> 00:39:38,624
You selfish prick.
854
00:39:38,625 --> 00:39:40,503
[Schreier] So, again,
finding ourselves
in these sets that,
855
00:39:40,504 --> 00:39:42,382
you know,
even if it seems small,
856
00:39:42,383 --> 00:39:44,761
just seeing Yelena
walk through this
in the beginning,
857
00:39:44,762 --> 00:39:47,725
and now we’re back here again
really trying
to understand the space
858
00:39:47,726 --> 00:39:50,606
and understand this world
that we’re grounded in.
859
00:39:50,607 --> 00:39:53,362
And then again
it’s this idea because Bob
just came near death
860
00:39:53,363 --> 00:39:55,993
and is angry at Walker,
that puts him into
this Void space
861
00:39:55,994 --> 00:39:59,040
where it’s not just
anytime you touch Bob,
you go into a Void,
862
00:39:59,041 --> 00:40:03,007
but it’s when he’s
at his darkest,
and you connect to that.
863
00:40:03,008 --> 00:40:06,555
Um, and this is another one
where we probably
could’ve built the set.
864
00:40:06,556 --> 00:40:08,058
We filmed this on location.
865
00:40:08,059 --> 00:40:10,396
Um, if you want
a very small Easter egg,
866
00:40:10,397 --> 00:40:16,074
that little silver mug
on the shelves over there
is a mug from Lodge 49
867
00:40:16,075 --> 00:40:21,376
for the 11 to 15 Lodge fans
that are watching this
for me and Wyatt.
868
00:40:21,377 --> 00:40:23,297
Um...
869
00:40:23,298 --> 00:40:25,593
But yeah, just that thought...
You know,
this was such a nice...
870
00:40:25,594 --> 00:40:27,597
You know, Sonny had written
a kind of domestic scene,
871
00:40:27,598 --> 00:40:30,603
and Joanna took it further
of just this very small idea
872
00:40:30,604 --> 00:40:34,444
of not watching the kid, uh,
because you’re lost
in your own shame.
873
00:40:34,445 --> 00:40:36,782
You know,
and this way of kind of
addressing Walker’s past
874
00:40:36,783 --> 00:40:38,702
and this terrible thing
that he’s done,
875
00:40:38,703 --> 00:40:41,208
but not in the expected way
of going back to that moment
876
00:40:41,209 --> 00:40:44,422
or something more active,
but in this sort of...
877
00:40:44,423 --> 00:40:46,885
the way that it reverberates
within his life
878
00:40:46,886 --> 00:40:50,059
and, you know, what he’s gonna
end up losing because of that.
879
00:40:50,060 --> 00:40:54,109
And that was actually
Wyatt’s addition,
um, to have Walker have a kid.
880
00:40:54,110 --> 00:40:57,824
’Cause, at first,
it was just about losing
that relationship with Olivia,
881
00:40:57,825 --> 00:41:01,289
but he felt like
people would care
and invest more deeply,
882
00:41:01,290 --> 00:41:04,671
and I thought that was
a really great add on his part.
883
00:41:04,672 --> 00:41:08,720
And also the first time
you kind of see inside
the humanity of that character,
884
00:41:08,721 --> 00:41:10,934
which we’re eventually
gonna connect with much more.
885
00:41:15,902 --> 00:41:19,450
So now we’ve finally connected
all of those spaces
back to the front.
886
00:41:19,451 --> 00:41:22,039
Um, again, this whole plaza
was built for real.
887
00:41:22,040 --> 00:41:23,959
It’s obviously extended in CG,
888
00:41:23,960 --> 00:41:26,882
um, but always trying
to combine those elements.
889
00:41:26,883 --> 00:41:30,598
Um, Framestore did a great job
building this whole sequence
890
00:41:30,599 --> 00:41:33,187
folding that CG
in a very integrated way.
891
00:41:33,188 --> 00:41:34,189
...I might just surrender,
probably.
892
00:41:34,190 --> 00:41:35,733
Okay, fine.
Every man for himself.
893
00:41:35,734 --> 00:41:37,653
[Schreier] Uh,
this is one of the more
fun conversations
894
00:41:37,654 --> 00:41:38,780
in the film.
895
00:41:38,781 --> 00:41:40,284
Well, let’s see.
896
00:41:40,285 --> 00:41:42,496
[Schreier chuckles]
Wyatt just leans into
this so great,
897
00:41:42,497 --> 00:41:44,542
the "Back-to-back-to-back.
Go Bears."
898
00:41:44,543 --> 00:41:46,087
But, of course,
this is our way of getting
899
00:41:46,088 --> 00:41:47,965
the Thunderbolts name
into this movie.
900
00:41:47,966 --> 00:41:50,721
Um, and, again,
901
00:41:50,722 --> 00:41:53,602
that soccer team of mine that--
that never won a game.
902
00:41:53,603 --> 00:41:58,862
Um, but it-it does establish
this nice idea of, you know,
903
00:41:58,863 --> 00:42:00,699
Yelena trying to
push this past away,
904
00:42:00,700 --> 00:42:03,956
but eventually Alexei
will allude to that
and show how,
905
00:42:03,957 --> 00:42:08,298
even within that context,
that was a way in which
she cared for others.
906
00:42:08,299 --> 00:42:09,801
And this, of course,
is us trying to plant
907
00:42:09,802 --> 00:42:12,515
that sign-twirling
meth chicken... [chuckles]
908
00:42:12,516 --> 00:42:15,271
...if we can get that
into the movie so that
you’ll remember it later.
909
00:42:15,272 --> 00:42:18,527
Uh, but, again,
just this idea of a team
910
00:42:18,528 --> 00:42:21,866
that is the last team
you would want to try
to break out of anything with.
911
00:42:21,867 --> 00:42:23,996
Um, exceptionally ragtag.
912
00:42:23,997 --> 00:42:26,126
- It will only work if you wait.
- Terrible plan.
913
00:42:26,127 --> 00:42:28,672
[Schreier]
This is very small here,
but, uh, "What about me?"
914
00:42:28,673 --> 00:42:32,638
Um, we’re really trying to
establish this idea, again,
915
00:42:32,639 --> 00:42:34,058
of Bob as this d--
916
00:42:34,059 --> 00:42:37,315
You know, duality
between hubris and despair,
917
00:42:37,316 --> 00:42:39,277
but, uh, this is
the sweet version of him.
918
00:42:39,278 --> 00:42:41,656
He wants to help,
but it’s not just
that he wants to help
919
00:42:41,657 --> 00:42:43,034
’cause he’s a sweet guy. It’s--
920
00:42:43,035 --> 00:42:44,537
Bob wants to matter.
921
00:42:44,538 --> 00:42:46,624
He wants to mean something.
He wants to be something.
922
00:42:46,625 --> 00:42:49,255
That’s gonna feed,
even if it’s very subtle
when you see it there,
923
00:42:49,256 --> 00:42:52,094
that’s gonna feed later
into this idea of The Sentry.
924
00:42:52,095 --> 00:42:55,100
Uh, very, very kind
of Chris Bauer
to come and do this for us.
925
00:42:55,101 --> 00:42:57,146
He’s another actor
that I’ve loved
for a long time.
926
00:42:57,147 --> 00:42:59,692
Obviously, I love The Wire,
uh, with both him and Wendell.
927
00:42:59,693 --> 00:43:01,905
Um, and Kevin said to us,
928
00:43:01,906 --> 00:43:04,327
you know, I think
when we first
had Holt in the script...
929
00:43:04,328 --> 00:43:06,831
He was a little bit more
just a military guy,
and he said,
930
00:43:06,832 --> 00:43:09,086
"I always love in,
you know, in Die Hard,
931
00:43:09,088 --> 00:43:10,631
the FBI guys,
there’s a thing with them.
932
00:43:10,632 --> 00:43:12,134
Can you give it anything?"
933
00:43:12,135 --> 00:43:14,263
And Sonny--
It’s a very Sonny line,
this, uh,
934
00:43:14,264 --> 00:43:16,101
"I spend a lot of time
planning for lethal..."
935
00:43:16,102 --> 00:43:18,605
Just, you know, even amidst
all of this tension,
936
00:43:18,606 --> 00:43:21,736
that there’s just a guy
frustrated at the bureaucracy
937
00:43:21,737 --> 00:43:23,532
and the way he would
like to do his job
938
00:43:23,533 --> 00:43:26,538
versus the way
Val is telling him to do it.
939
00:43:26,539 --> 00:43:30,170
George Cottle,
uh, Chris Nolan’s
longtime stunt coordinator,
940
00:43:30,171 --> 00:43:32,006
uh, worked on
Spider-Man as well,
941
00:43:32,007 --> 00:43:34,345
was our second unit director
on this along with Paul Hughen,
942
00:43:34,346 --> 00:43:37,268
whose, uh, second unit
DP filmed all of those,
uh, laser shots
943
00:43:37,269 --> 00:43:39,313
which are so cool.
944
00:43:39,314 --> 00:43:42,862
Um, and if you want me
to really pull...
just... [chuckles]
945
00:43:42,863 --> 00:43:44,991
...remove some of
the magic to this world,
946
00:43:44,992 --> 00:43:47,413
so all of these hallways,
everything inside
this building,
947
00:43:47,414 --> 00:43:51,546
that’s the same, uh, kinda...
same hallway set,
every one of these.
948
00:43:51,547 --> 00:43:53,633
Grace did a great job
putting these machines into it
949
00:43:53,634 --> 00:43:56,264
and putting things
on the back walls
to make it feel different.
950
00:43:56,265 --> 00:44:00,062
But, again, I know it seems
hard to believe
on a movie like this,
951
00:44:00,063 --> 00:44:04,739
but you do have to make
budget concessions and find
places to tighten your belt
952
00:44:04,740 --> 00:44:08,455
so that you can do some of
the other crazy things
like own a whole road in Utah
953
00:44:08,456 --> 00:44:11,961
or be on the top of
the second tallest building
in the world in Malaysia.
954
00:44:11,962 --> 00:44:15,219
So it is funny to go through
all the Marvel films
and see the hallways.
955
00:44:15,220 --> 00:44:18,225
Y-You always end up
in a hallway
somewhere or another.
956
00:44:18,226 --> 00:44:22,023
Um, but this scene
which Joanna wrote
is another lovely example.
957
00:44:22,024 --> 00:44:24,487
We have, again,
this very little
narrative real estate
958
00:44:24,488 --> 00:44:26,073
to establish
these two characters,
959
00:44:26,074 --> 00:44:28,287
and their connection
is gonna be
the crux of the film.
960
00:44:31,167 --> 00:44:35,259
And also this neat little idea
in here where, you know,
961
00:44:35,260 --> 00:44:38,138
Yelena could’ve heard
what he’s talking about
and really connected,
962
00:44:38,139 --> 00:44:40,602
but she’s in her own world
and not paying attention
963
00:44:40,603 --> 00:44:43,650
or how she just kind of
doesn’t pick up
on what Bob is saying
964
00:44:43,651 --> 00:44:46,406
even though he’s talking
about establishing that past
965
00:44:46,407 --> 00:44:50,956
and the memory loss
and the highs and the lows
and what he’s been through.
966
00:44:50,957 --> 00:44:54,170
But still, if we get any hint
of connection between
the two of them here,
967
00:44:54,171 --> 00:44:57,803
it’s gonna pay dividends
down the road in this film.
968
00:44:57,804 --> 00:45:00,225
Give me that. Follow me.
969
00:45:00,226 --> 00:45:02,229
I hate to say it,
but I think Walter
was right on this one.
970
00:45:02,230 --> 00:45:04,024
[Schreier] I love Lewis’s
little hop there
971
00:45:04,025 --> 00:45:05,944
and then the way
he bounces out of frame.
972
00:45:05,945 --> 00:45:07,030
Small things.
973
00:45:07,031 --> 00:45:08,576
Turn on the lights, Yelena.
974
00:45:09,870 --> 00:45:11,956
[Schreier] Again, same hallway.
[chuckles]
975
00:45:11,957 --> 00:45:14,169
Same sets. And, uh, very hard.
976
00:45:14,170 --> 00:45:16,257
You know, Andrew did
such a beautiful job here.
977
00:45:16,258 --> 00:45:19,472
It’s a tough situation
to give a DP
when the lights are off,
978
00:45:19,473 --> 00:45:22,728
but you have to see things
and how you approach
lighting that.
979
00:45:22,729 --> 00:45:26,986
Um, Andrew had such
a great rapport with,
uh, Chuck and Rafi Sánchez,
980
00:45:26,987 --> 00:45:29,825
uh, our key grip
and our gaffer on this film.
981
00:45:29,826 --> 00:45:32,038
And Andrew and Rafi
really building that together
982
00:45:32,039 --> 00:45:35,044
and did a great job in
a very difficult circumstance.
983
00:45:35,045 --> 00:45:37,758
- Where is he?
- He’s gone.
984
00:45:37,759 --> 00:45:41,098
[Schreier]
If I’m allowed to say this
on a commentary track,
985
00:45:41,099 --> 00:45:44,897
I would say, you know,
I’m proud of a lot of
the work in this film.
986
00:45:44,898 --> 00:45:46,567
I’m so proud of
everyone else who made it.
987
00:45:46,568 --> 00:45:50,992
Uh, this is not a sequence
that I am the proudest of.
988
00:45:50,993 --> 00:45:54,917
Um, sometimes, you know,
you’re focusing on things,
989
00:45:54,918 --> 00:45:57,297
and I think it ends up working.
I like the concept of it.
990
00:45:57,298 --> 00:46:00,762
This idea of a sequence
in which the action is
that Yelena has to protect Bob
991
00:46:00,763 --> 00:46:02,933
while also taking out
a set of guards,
992
00:46:02,934 --> 00:46:06,482
but we just didn’t end up with
quite the amount
of time to focus on it
993
00:46:06,483 --> 00:46:08,110
that I was hoping to.
994
00:46:08,111 --> 00:46:11,325
And I think in the end,
like, once the effects are in,
995
00:46:11,326 --> 00:46:13,455
and you add all the smoke,
like, it works out.
996
00:46:13,456 --> 00:46:15,709
And the concept sells,
which is much more important
997
00:46:15,710 --> 00:46:17,880
as to whether
it’s breathtaking or not,
998
00:46:17,881 --> 00:46:19,800
but I think if we’re really
getting into it,
999
00:46:19,801 --> 00:46:22,931
this is a place where
I feel like if I had to
do it again, I think...
1000
00:46:22,932 --> 00:46:26,731
[swallows] ...maybe we could--
could’ve done it
a little better, but...
1001
00:46:26,732 --> 00:46:28,818
Sliding into
director brain there.
1002
00:46:28,819 --> 00:46:31,491
But I-I think what’s nice
is that throughout post
1003
00:46:31,492 --> 00:46:34,245
and with some of the additions
that Base FX added to it
1004
00:46:34,246 --> 00:46:38,338
as well as when you have
that smoke in there and
the effects on top, it sells.
1005
00:46:38,339 --> 00:46:41,009
Also, it’s a lot of ADR lines
to carry you through it.
1006
00:46:41,010 --> 00:46:43,222
And then when you
get to this, it’s funny
1007
00:46:43,223 --> 00:46:46,228
’cause it’s
just such a small scene
in a dingy hallway,
1008
00:46:46,229 --> 00:46:49,610
but that kind of
brother-sister-
yelling-at-each-other feeling.
1009
00:46:49,611 --> 00:46:51,656
The... [inhales deeply]
1010
00:46:51,657 --> 00:46:56,248
How-- How frayed this team--
Uh, if it-- if it even
is that-- uh, is.
1011
00:46:56,249 --> 00:46:58,503
Like, it’s what you’re really
trying to get towards.
1012
00:46:58,504 --> 00:47:00,967
...what she was supposed to,
maybe we’ll all get out
of here alive.
1013
00:47:04,516 --> 00:47:07,270
[Schreier] Another shot
that George got for us.
Great overhead.
1014
00:47:07,271 --> 00:47:09,525
And, again, this is,
you know, a moment
1015
00:47:09,526 --> 00:47:13,992
that maybe isn’t really
narratively important,
and we did consider cutting,
1016
00:47:13,993 --> 00:47:17,499
but I just thought that
since they don’t confront Val
until so late in the movie,
1017
00:47:17,500 --> 00:47:19,294
that it was important
to see these characters
1018
00:47:19,295 --> 00:47:22,091
who thought that they
were destined for better things
1019
00:47:22,092 --> 00:47:25,515
have one moment like
a brush past the person
who did this to them
1020
00:47:25,516 --> 00:47:29,147
and unable to really,
in this context,
do anything about it.
1021
00:47:29,148 --> 00:47:31,569
But just to sit
in that moment and feel it.
1022
00:47:31,570 --> 00:47:33,071
You never know
with these things.
1023
00:47:33,072 --> 00:47:35,911
Pace is important,
but I just felt like
that was a beat
1024
00:47:35,912 --> 00:47:38,458
that we wanted to keep
in the edit that I tried
to keep in till the end.
1025
00:47:38,459 --> 00:47:40,045
Get in.
1026
00:47:43,259 --> 00:47:45,220
[Schreier] This was
a tough four nights
shooting this.
1027
00:47:45,221 --> 00:47:47,224
I think it was raining
half the time,
1028
00:47:47,225 --> 00:47:51,107
which maybe sometimes
you can see in the background,
but, uh... Yeah.
1029
00:47:51,108 --> 00:47:53,696
Andrew and Jason Tamez,
our wonderful line producer,
1030
00:47:53,697 --> 00:47:56,744
Jeff Okabayashi, our AD,
really pulled me through
on this sequence
1031
00:47:56,745 --> 00:47:58,998
’cause I started with saying,
"It’s raining. We can’t do it."
1032
00:47:58,999 --> 00:48:01,420
And they were like, "We shoot.
If we can shoot, we shoot."
1033
00:48:01,421 --> 00:48:04,175
Uh, and over the course
of those four nights,
1034
00:48:04,176 --> 00:48:06,555
got all of this
predominantly in-camera.
1035
00:48:06,556 --> 00:48:09,185
We’re just extending the skies
and the background.
1036
00:48:09,186 --> 00:48:11,147
We didn’t end up
adding anything
to this sequence.
1037
00:48:11,148 --> 00:48:14,028
There were never
any pickups for it. Like,
it all worked in the edit.
1038
00:48:14,029 --> 00:48:17,326
And, again, that’s credit
to Harry being there
on set for this sequence.
1039
00:48:17,327 --> 00:48:20,792
And Angela just
cutting the stuff in
as we went,
1040
00:48:20,793 --> 00:48:23,255
making sure that it worked,
checking in about
what else we needed
1041
00:48:23,256 --> 00:48:25,635
so that by the time
we got through
those four nights,
1042
00:48:25,636 --> 00:48:27,097
we had every piece
of this sequence.
1043
00:48:29,686 --> 00:48:31,187
Now what?
1044
00:48:31,188 --> 00:48:32,524
[Schreier]
That’s a very funny Joanna add.
1045
00:48:32,525 --> 00:48:35,780
Again, Walker’s sort of
self-confidence
1046
00:48:35,781 --> 00:48:39,370
and sometimes lack of skills
in the areas that
he thinks he’s great at.
1047
00:48:39,371 --> 00:48:41,207
Um, but, again,
1048
00:48:41,208 --> 00:48:44,088
having planted this earlier
about Bob’s desire to help,
1049
00:48:44,089 --> 00:48:46,427
you know, we’re gonna see that
come into play here
1050
00:48:46,428 --> 00:48:49,057
where he really wants
to be of use,
he wants to be important.
1051
00:48:49,058 --> 00:48:50,560
And there’s
a good side to that.
1052
00:48:50,561 --> 00:48:52,939
He’s doing
a very selfless thing here.
1053
00:48:52,940 --> 00:48:54,400
But also we’ll see
later in the film,
1054
00:48:54,401 --> 00:48:56,655
there’s a desire to matter
that, you know,
1055
00:48:56,656 --> 00:48:59,954
in the wrong context,
if appealed to,
can lead to dangerous things.
1056
00:49:01,625 --> 00:49:04,087
And, again, at night.
Middle of the night. Raining.
1057
00:49:04,088 --> 00:49:07,218
But, you know,
when you’re on Florence,
even if it’s two takes
1058
00:49:07,219 --> 00:49:10,475
in a truck that’s making
too much noise
and smells like gas,
1059
00:49:10,476 --> 00:49:14,315
the emotion on her face,
you know, it sells so much.
1060
00:49:14,316 --> 00:49:16,821
- What the hell are you doing?
- This has gone far--
1061
00:49:16,822 --> 00:49:18,825
[Schreier] When I first
talked to Julia
about the film, she said,
1062
00:49:18,826 --> 00:49:21,789
"I wanna punch someone.
I wanna beat someone up
in the movie."
1063
00:49:21,790 --> 00:49:23,876
Uh, so we got that
in there for her.
1064
00:49:23,877 --> 00:49:26,005
I knew there was someplace
we could put it.
1065
00:49:26,006 --> 00:49:28,009
Come on. Let’s go.
1066
00:49:28,010 --> 00:49:30,305
[Schreier] And, again,
seems a little cold,
but that is why he did it,
1067
00:49:30,306 --> 00:49:33,980
and in their circumstances,
if he’s dead,
as they assume he is,
1068
00:49:33,981 --> 00:49:34,941
it’s time to go.
1069
00:49:40,076 --> 00:49:42,163
And this is, I think,
Andrew’s favorite shot
in the film.
1070
00:49:42,164 --> 00:49:45,670
One of my favorites
of knowing Bob
was gonna step up into this.
1071
00:49:45,671 --> 00:49:50,012
Uh, and really that moment
where you finally...
We’ve teased it, you know,
1072
00:49:50,013 --> 00:49:52,893
that this guy that
you think is the least
valuable member of the team
1073
00:49:52,894 --> 00:49:57,359
might actually be
the most powerful and exactly
what Val needs for her plan.
1074
00:49:57,360 --> 00:49:59,656
And his sort of anger
at being discarded.
1075
00:49:59,657 --> 00:50:01,619
Like, seeing these other sides
of him come out
1076
00:50:01,620 --> 00:50:04,541
amidst this action sequence,
seeing that he can fly.
1077
00:50:04,542 --> 00:50:07,379
You know, it’s--
it’s kind of in our--
1078
00:50:07,380 --> 00:50:10,177
in our world,
an origin story for The Sentry.
1079
00:50:10,178 --> 00:50:14,268
So it’s always teasing
these little bits of powers
and flying up into the sky.
1080
00:50:14,269 --> 00:50:16,690
This is another,
I’ll just say it--
I’ll let you in on--
1081
00:50:16,691 --> 00:50:18,778
I think Framestore did
a beautiful job
on this sequence,
1082
00:50:18,779 --> 00:50:22,159
but, uh, in general,
I would not advise
putting yourself in a position
1083
00:50:22,160 --> 00:50:25,875
where you have
no motivated lighting
whatsoever
1084
00:50:25,876 --> 00:50:28,463
except the moon
and a full night sky.
1085
00:50:28,464 --> 00:50:30,802
Um... See, even when
you have just those lights
1086
00:50:30,803 --> 00:50:33,181
that you can see down below,
those shots work better,
1087
00:50:33,182 --> 00:50:36,062
but it’s very tough when
you’re putting yourself
in a position like this.
1088
00:50:36,063 --> 00:50:40,112
Jake Morrison calls it AB,
where it’s just
your character against,
1089
00:50:40,113 --> 00:50:42,701
uh, you know...
We didn’t do blue screen.
We did gray screen for this,
1090
00:50:42,702 --> 00:50:45,497
but just against a background
that’s being replaced,
1091
00:50:45,498 --> 00:50:48,879
and it’s something that
I think we did a great job of
avoiding so much in this movie.
1092
00:50:48,880 --> 00:50:50,758
Like that whole wall
behind them there,
1093
00:50:50,759 --> 00:50:53,889
that entire building,
40 foot high, that’s real.
1094
00:50:53,890 --> 00:50:57,062
Their heads being against that
allows you to do sky extension,
and it looks right.
1095
00:50:57,063 --> 00:50:59,191
Or having that
motivated lighting
on the ground.
1096
00:50:59,192 --> 00:51:02,031
That shot is actually real,
out in Utah, of the truck,
1097
00:51:02,032 --> 00:51:03,533
but in just a couple
of these shots,
1098
00:51:03,534 --> 00:51:05,997
we put ourselves in a situation
where we are reliant on CG.
1099
00:51:05,998 --> 00:51:07,458
This looks better
’cause of the lights,
1100
00:51:07,459 --> 00:51:09,128
and it looks great,
this explosion.
1101
00:51:09,129 --> 00:51:10,590
So, it’s-it’s nothing on...
1102
00:51:10,591 --> 00:51:13,386
You know,
I think sometimes
visual effects companies
1103
00:51:13,387 --> 00:51:17,144
get judged on how things look,
and it has--
it has much more to do
1104
00:51:17,145 --> 00:51:20,777
with the concept and execution
of how you gathered
those elements
1105
00:51:20,778 --> 00:51:23,866
’cause in the right position,
Framestore did incredible work
on this sequence,
1106
00:51:23,867 --> 00:51:26,412
and it’s more on me to--
1107
00:51:26,413 --> 00:51:30,671
to concept things in a way that
puts us in the best chance,
uh, to succeed.
1108
00:51:30,672 --> 00:51:32,759
This is now out
entirely in Utah.
1109
00:51:32,760 --> 00:51:35,807
I mean, the amount of cabling
and lights that Rafi and Andrew
had to bring in
1110
00:51:35,808 --> 00:51:38,854
for that shot
and this whole sequence
was enormous.
1111
00:51:38,855 --> 00:51:40,065
And, you know, it’s subtle.
1112
00:51:40,066 --> 00:51:42,904
Like, could you do it
on a gray screen
1113
00:51:42,905 --> 00:51:44,490
back in Atlanta
and comp this in?
1114
00:51:44,491 --> 00:51:46,119
You could,
but we just felt like
1115
00:51:46,120 --> 00:51:48,081
this was where we wanted
to put our resources.
1116
00:51:48,082 --> 00:51:50,837
We wanted to really
have this film
feel like it was out there
1117
00:51:50,838 --> 00:51:52,089
as much as possible.
1118
00:51:52,090 --> 00:51:54,218
And whether you notice it
or not,
1119
00:51:54,219 --> 00:51:56,723
in every moment where
you could’ve gotten away with
something else,
1120
00:51:56,724 --> 00:51:58,393
over the course of time,
1121
00:51:58,394 --> 00:52:00,314
I think that that texture
really gets into the work.
1122
00:52:01,567 --> 00:52:03,027
[Ava]
"Golden Guardian of Good."
1123
00:52:03,028 --> 00:52:04,447
[Schreier] This was something,
you know, obviously
1124
00:52:04,448 --> 00:52:06,325
we love those--
that initial run
1125
00:52:06,326 --> 00:52:08,496
of Paul Jenkins and Jae Lee
of The Sentry,
1126
00:52:08,497 --> 00:52:11,252
and Kevin was always pushing us
to see if there was
a way to get some
1127
00:52:11,253 --> 00:52:14,550
of those meta ideas
that are in that comic
into the movie.
1128
00:52:14,551 --> 00:52:17,306
It’s hard to do. We can’t
do the strange erasing
everyone’s memory thing,
1129
00:52:17,307 --> 00:52:18,600
or put Sentry
throughout history.
1130
00:52:18,601 --> 00:52:20,312
I mean, that would be
an amazing story,
1131
00:52:20,313 --> 00:52:21,815
but for obvious reasons,
1132
00:52:21,816 --> 00:52:24,654
different things have owned
that corner of the MCU.
1133
00:52:24,655 --> 00:52:27,576
But even that, th--
a lot of that stuff
1134
00:52:27,577 --> 00:52:30,081
came from our own concept art
for designing The Sentry.
1135
00:52:30,082 --> 00:52:33,004
And the idea that
they would be looking
at those as marketing materials
1136
00:52:33,005 --> 00:52:35,133
that Val would have
for The Sentry
1137
00:52:35,134 --> 00:52:36,929
became our way
of getting into that
1138
00:52:36,930 --> 00:52:40,560
kind of sense of the meta
in The Sentry creation.
1139
00:52:40,561 --> 00:52:43,107
This scene is also
just very important for
tying their fates together
1140
00:52:43,108 --> 00:52:46,030
and, again, paying off
as they talk about it here,
1141
00:52:46,031 --> 00:52:48,744
what happened to Antonia
and the idea that that
could be any of them,
1142
00:52:48,745 --> 00:52:52,584
and that’s likely
where they’re headed
if they don’t find a bond
1143
00:52:52,585 --> 00:52:54,715
or a way out of this life.
1144
00:52:57,554 --> 00:53:00,183
And then I think Wyatt does
such beautiful work here
1145
00:53:00,184 --> 00:53:03,691
of, uh-- of covering,
you know, the story that
he’s been telling them
1146
00:53:03,692 --> 00:53:05,360
and telling himself.
1147
00:53:05,361 --> 00:53:07,782
But you can see underneath,
uh, for a moment,
1148
00:53:07,783 --> 00:53:09,618
you know,
he sort of forgets himself
1149
00:53:09,619 --> 00:53:11,999
and admits to
how he really feels.
1150
00:53:12,000 --> 00:53:13,753
Uh, and we’ll see that
paid off later.
1151
00:53:15,047 --> 00:53:17,092
...just keep working
at it every day.
1152
00:53:17,093 --> 00:53:19,597
[Schreier] But, yeah,
Sonny always felt we need
some kind of campfire scene.
1153
00:53:19,598 --> 00:53:22,102
We need a pause here
at the end of all that action
1154
00:53:22,103 --> 00:53:25,860
just to bind
these characters together
and start building those ties.
1155
00:53:25,861 --> 00:53:27,571
And then this... [chuckles]
1156
00:53:27,572 --> 00:53:29,408
I think Joanna wrote
the Dr. Phil thing,
1157
00:53:29,409 --> 00:53:31,704
and then this whole run here,
this was just Wyatt
1158
00:53:31,705 --> 00:53:34,961
and, uh, his true understanding
of Dr. Phil
1159
00:53:34,962 --> 00:53:37,507
and whether he’s on air
or not anymore.
1160
00:53:37,508 --> 00:53:40,472
I love let--
just letting this trail off.
That’s just for me.
1161
00:53:40,473 --> 00:53:42,434
But it does get laughs
in the theater.
1162
00:53:42,435 --> 00:53:44,773
Well, it isn’t great.
1163
00:53:44,774 --> 00:53:46,025
[Schreier]
This was a tough shot to get.
1164
00:53:46,026 --> 00:53:48,529
This is actually
on this mountain in Utah
1165
00:53:48,530 --> 00:53:51,870
and so hard to get
the technocrane out there.
1166
00:53:51,871 --> 00:53:54,625
And for Grace and her team
to build at least
a version of that crater.
1167
00:53:54,626 --> 00:53:56,629
That’s a real helicopter.
Uh-- I mean, that,
1168
00:53:56,630 --> 00:54:00,011
what you see is CG
laid over an actual helicopter
1169
00:54:00,012 --> 00:54:04,478
and an actual box
that it’s tethered
to on the ground,
1170
00:54:04,479 --> 00:54:07,819
and we did a real airlift
to get this in here.
1171
00:54:07,820 --> 00:54:09,989
But, again, you don’t have to,
1172
00:54:09,990 --> 00:54:14,289
but, uh, we’re trying
to really kind of
put a stake in the ground
1173
00:54:14,290 --> 00:54:16,669
that, you know, we were making
this Marvel movie differently.
1174
00:54:16,670 --> 00:54:19,133
And really out there.
God, the vistas
are just so beautiful.
1175
00:54:19,134 --> 00:54:21,387
I mean, Grace really fought
to get us out to Utah
1176
00:54:21,388 --> 00:54:24,226
’cause of the rock textures
and the tonality.
1177
00:54:24,227 --> 00:54:27,190
The sort of cyan in the shadows
and the more beige textures
1178
00:54:27,191 --> 00:54:31,073
as opposed to the reds
in New Mexico which, again,
1179
00:54:31,074 --> 00:54:34,538
seems like a... a funny thing
to be able to consider,
but if you have the resources,
1180
00:54:34,539 --> 00:54:38,296
putting it towards that
and really being out
in this incredible vista
1181
00:54:38,297 --> 00:54:40,300
at magic hour
with a real helicopter.
1182
00:54:40,301 --> 00:54:43,891
This airlift is
entirely in-camera
except for, you know...
1183
00:54:43,892 --> 00:54:47,314
They don’t make
OXE-designed helicopters,
so we’re laying over that,
1184
00:54:47,315 --> 00:54:49,862
but the entire rest
of the shot is real.
1185
00:54:51,198 --> 00:54:53,201
And this too.
Just another great vista,
1186
00:54:53,202 --> 00:54:55,580
and having them actually
in this environment,
this texture.
1187
00:54:55,581 --> 00:54:57,501
And you really feel like,
you know,
1188
00:54:57,502 --> 00:55:00,423
we’ve been, you know,
hemmed in so much
with the movie,
1189
00:55:00,424 --> 00:55:03,931
and in this, you know,
intentionally contained space
1190
00:55:03,932 --> 00:55:06,227
that it’s nice
for the movie to feel like
it’s opening up here.
1191
00:55:06,228 --> 00:55:08,648
All right, Walker, we get it.
You were in the military.
1192
00:55:08,649 --> 00:55:11,947
Five or ten clicks
to the bird.
Da-da-da-da-da!
1193
00:55:11,948 --> 00:55:14,828
[Schreier] And then
this very funny...
This, again, part of the limo.
1194
00:55:14,829 --> 00:55:17,791
The Sonny addition of...
[chuckles]
...Yelena’s dad showing up
1195
00:55:17,792 --> 00:55:20,881
and exactly how you would feel
if you were... [chuckles]
1196
00:55:20,882 --> 00:55:23,261
...you know,
just with your friends
leaving soccer,
1197
00:55:23,262 --> 00:55:25,682
and your dad showed up
in his ridiculous car,
1198
00:55:25,683 --> 00:55:26,977
and how embarrassed you’d be,
1199
00:55:26,978 --> 00:55:28,939
but to do that in the middle
of an action movie
1200
00:55:28,940 --> 00:55:30,985
is a very funny thing
to tie together.
1201
00:55:30,986 --> 00:55:35,326
And of course, David just...
[inhales deeply]
...leans into it so hard
1202
00:55:35,327 --> 00:55:37,999
and, you know,
never shies away from that
and brings every bit of it.
1203
00:55:38,000 --> 00:55:40,545
But I love also that
you’re doing
that kind of comedy
1204
00:55:40,546 --> 00:55:42,215
but with
these beautiful vistas,
1205
00:55:42,216 --> 00:55:45,513
and you really feel
the texture of just
actually being out there
1206
00:55:45,514 --> 00:55:49,146
and shooting that wide shot
and having all of these mesas
in the distance.
1207
00:55:49,147 --> 00:55:51,191
You know,
it’s this weird intersection
of our movie
1208
00:55:51,192 --> 00:55:54,823
where it is a very
kind of silly humor sometimes
1209
00:55:54,824 --> 00:55:57,579
that is married with visuals
that treat it
a little bit more seriously,
1210
00:55:57,580 --> 00:56:01,504
and if that works for you,
then that is this kind of tone
that we’re going after.
1211
00:56:03,759 --> 00:56:05,511
I got this shot myself.
[chuckles]
1212
00:56:05,512 --> 00:56:07,766
I was on the tripod,
found this spot down the road.
1213
00:56:07,767 --> 00:56:10,813
This is this road that we owned
for this whole sequence.
1214
00:56:10,814 --> 00:56:13,987
Uh, and I actually went back
and reshot it
’cause it turned out...
1215
00:56:13,988 --> 00:56:15,908
You know,
we waited for magic hour,
1216
00:56:15,909 --> 00:56:19,373
and, uh, you actually
want those mesas
to be a bit more front lit
1217
00:56:19,374 --> 00:56:22,212
so you get the shadows
to show up a little more.
1218
00:56:22,213 --> 00:56:24,174
It gives more shape
to the mesas.
1219
00:56:24,175 --> 00:56:27,180
I felt like, "Oh,
we came all the way out here
and got the timing wrong."
1220
00:56:27,181 --> 00:56:31,438
So went back out
and got it one more time
before we left Utah.
1221
00:56:31,439 --> 00:56:37,200
Um, I have a picture of me
and just a silly little set
of baby stick tripod legs,
1222
00:56:37,201 --> 00:56:40,373
uh, and a little crew out there
getting the shot,
which was fun.
1223
00:56:40,374 --> 00:56:43,879
And this whole sequence,
I mean, this was something
Andrew really pushed for,
1224
00:56:43,880 --> 00:56:47,595
was, again,
this is out on the road
in a hundred-degree heat.
1225
00:56:47,596 --> 00:56:49,808
The AC in this car
is breaking down.
1226
00:56:49,809 --> 00:56:51,938
We had, I think,
three red limos.
Or two. I can’t remember now.
1227
00:56:51,939 --> 00:56:54,109
They all broke.
Everything broke.
1228
00:56:54,110 --> 00:56:57,198
Uh, but they’re in there and,
you know, a lot of the sound
we didn’t replace.
1229
00:56:57,199 --> 00:56:59,954
I love the sound of kind of
the rig on the...
1230
00:56:59,955 --> 00:57:01,832
the shading rig
on top of the car
1231
00:57:01,833 --> 00:57:05,298
and the way it rattled
and the noises in this car.
1232
00:57:05,299 --> 00:57:07,635
It meant, you know...
It means the actors
get fewer takes,
1233
00:57:07,636 --> 00:57:09,723
but when you have
actors like this,
like David, you know,
1234
00:57:09,724 --> 00:57:12,479
we had a long run of road,
and we would stop, give notes
1235
00:57:12,480 --> 00:57:14,274
and then keep going
down the road.
1236
00:57:14,275 --> 00:57:16,946
But once you turned around,
it took so long
to turn this thing around
1237
00:57:16,947 --> 00:57:19,451
and to put on
the new camera mounts
1238
00:57:19,452 --> 00:57:21,956
that you really had to
get it in that run.
1239
00:57:21,957 --> 00:57:24,711
They had four takes each
for each of these setups.
1240
00:57:24,712 --> 00:57:27,383
Uh, but, yeah,
Andrew was just
committed to this idea
1241
00:57:27,384 --> 00:57:29,179
that it’ll just look better
if it’s out there.
1242
00:57:29,180 --> 00:57:31,350
It’s hard to do LED
or green screen
1243
00:57:31,351 --> 00:57:33,354
for a car this big
and have it feel real.
1244
00:57:33,355 --> 00:57:36,193
And, again,
just the texture for the actors
1245
00:57:36,194 --> 00:57:38,990
and the way they’re talking
and speaking
over that environment.
1246
00:57:38,991 --> 00:57:41,620
Just trying to put
our resources into really
going out there and doing it.
1247
00:57:41,621 --> 00:57:43,874
It was crazy.
I was yelling at the ref.
1248
00:57:43,875 --> 00:57:45,419
[Schreier]
Great improv by David here.
1249
00:57:45,420 --> 00:57:48,259
Uh... "A girl who pooped."
1250
00:57:48,260 --> 00:57:49,594
And this-- this whole...
1251
00:57:49,595 --> 00:57:51,849
The Shane and Dmitri
was a Sonny addition.
1252
00:57:51,850 --> 00:57:53,853
And the Shane,
"He didn’t have
that kind of money,"
1253
00:57:53,854 --> 00:57:55,983
that’s a great Sonny add.
1254
00:57:55,984 --> 00:57:58,279
What about this Bob
you mentioned?
What’s the plan?
1255
00:57:58,280 --> 00:57:59,906
[Schreier]
There is also this moment
1256
00:57:59,907 --> 00:58:02,245
that I sort of skipped over
in there that’s very important,
1257
00:58:02,246 --> 00:58:05,168
where, again,
you have such little
real estate where Alexei says,
1258
00:58:05,169 --> 00:58:07,088
"The light inside...
Whatever it is..."
1259
00:58:07,089 --> 00:58:09,467
Or, "Whatever they are,
the light inside you
is brighter."
1260
00:58:09,468 --> 00:58:11,054
So we have to establish
in her performance,
1261
00:58:11,055 --> 00:58:13,350
and it’s so subtle
on Florence’s part,
1262
00:58:13,351 --> 00:58:15,605
that she gives Walker
a little bit of credence.
1263
00:58:15,606 --> 00:58:17,817
And, again, there’s nothing
to be so happy about
at this point in the movie,
1264
00:58:17,818 --> 00:58:20,198
but just that there’s
a little bit of lightness
1265
00:58:20,199 --> 00:58:22,702
in the performance
for him to pick up on,
1266
00:58:22,703 --> 00:58:27,045
so that you can establish that
and go into that kind
of extreme close-up
1267
00:58:27,046 --> 00:58:29,341
where you can see that,
where she’s trying to process
1268
00:58:29,342 --> 00:58:32,513
that he sees that in her
even if she doesn’t want
to admit it about herself.
1269
00:58:32,514 --> 00:58:35,102
Those are the kind of things
we talked about
in building this scene
1270
00:58:35,103 --> 00:58:37,607
as well as all of the comedy.
1271
00:58:37,608 --> 00:58:39,486
- Do you understand?
You don’t understand.
- I do. You don’t.
1272
00:58:39,487 --> 00:58:41,573
[Schreier]
I love that read from David.
It’s so childish.
1273
00:58:41,574 --> 00:58:43,410
...is going to use the power
of this Sentry Project...
1274
00:58:43,411 --> 00:58:45,706
Yes.
...to take over
and kill us all.
1275
00:58:45,707 --> 00:58:48,837
[Schreier] And then here
our action sequence begins.
1276
00:58:48,838 --> 00:58:52,136
So we-- we were out there for,
I think, two weeks in Utah.
1277
00:58:52,137 --> 00:58:56,436
Um, this sequence, maybe,
I think we shot
in seven days, I wanna say.
1278
00:58:56,437 --> 00:58:58,065
We didn’t really
have a second unit,
1279
00:58:58,066 --> 00:59:00,444
but George was out there
with the splinter unit
1280
00:59:00,445 --> 00:59:02,407
down the road
with a camera car.
1281
00:59:02,408 --> 00:59:05,538
And at some point,
after we got kind of
the actors’ parts of it,
1282
00:59:05,539 --> 00:59:08,627
it was just both of us
just shooting action shots,
1283
00:59:08,628 --> 00:59:11,091
and he would text me
what he was getting
on an iPhone,
1284
00:59:11,092 --> 00:59:14,431
and we’d make notes,
and just building this
piece by piece.
1285
00:59:14,432 --> 00:59:18,647
Again, we had this boarded out.
Vinny Dellay, one of our,
uh, great storyboard artists,
1286
00:59:18,648 --> 00:59:20,985
we worked on this a lot, uh,
before we went out there,
1287
00:59:20,986 --> 00:59:23,157
and it was in the edit.
1288
00:59:23,158 --> 00:59:26,913
Uh, and Harry was in a...
You know,
there’s no tent out there,
1289
00:59:26,914 --> 00:59:30,087
but we were in a kind
of camera van that we had
the editing rig built into.
1290
00:59:30,088 --> 00:59:31,923
And just each shot,
just cutting it in
1291
00:59:31,924 --> 00:59:34,137
over the course
of seven shooting days.
1292
00:59:34,138 --> 00:59:37,477
Just building this
piece by piece
along with the boards
1293
00:59:37,478 --> 00:59:39,481
and, you know,
seeing that it worked.
1294
00:59:39,482 --> 00:59:42,570
You know, figuring out
what we needed to add in,
but it really...
1295
00:59:42,571 --> 00:59:45,785
It’s fun watching back
and knowing that you were there
for each of these pieces.
1296
00:59:45,786 --> 00:59:49,542
You know, it was--
it was all-- it was all of us
just making this happen.
1297
00:59:49,543 --> 00:59:51,296
Okay, not really appropriate.
1298
00:59:51,297 --> 00:59:54,886
[Schreier] That, uh--
The pony thing was
a Jon Watts joke suggestion.
1299
00:59:54,887 --> 00:59:57,558
He was nice enough
to lend us that one.
1300
00:59:57,559 --> 01:00:01,023
Uh, I think--
I think the song "Pony,"
I think, was my pick.
1301
01:00:01,024 --> 01:00:04,155
It was gonna be that
or Exile, uh,
"Kiss You All Over."
1302
01:00:04,156 --> 01:00:06,827
Even that shot, we shot for--
I mean the bottle is CG,
1303
01:00:06,828 --> 01:00:08,539
but, you know,
tracking in its trajectory,
1304
01:00:08,540 --> 01:00:10,543
we threw a real bottle
out of there
1305
01:00:10,544 --> 01:00:12,003
that obviously didn’t stay up
as long as that.
1306
01:00:12,004 --> 01:00:13,924
But really, you know,
1307
01:00:13,925 --> 01:00:16,304
the bullet hits and some things
in the sequence are added,
1308
01:00:16,305 --> 01:00:19,602
but almost every single thing
you see in frame is practical.
1309
01:00:19,603 --> 01:00:22,525
The dust, you know,
being along these Humvees.
1310
01:00:22,526 --> 01:00:24,779
You know... [stammers]
...Jake Morrison, again,
1311
01:00:24,780 --> 01:00:27,160
it was that-- that precept
of everything in-camera,
1312
01:00:27,161 --> 01:00:30,291
and if it does not--
if nothing else,
it’s incredible reference
1313
01:00:30,292 --> 01:00:31,960
so that the CG
has direct reference
1314
01:00:31,961 --> 01:00:34,047
of what that thing’s supposed
to look like out there.
1315
01:00:34,048 --> 01:00:37,805
But there’s very few shots
with any real major CG in this.
1316
01:00:37,806 --> 01:00:40,811
Sometimes it’s the--
the firing or the gun turrets.
1317
01:00:40,812 --> 01:00:42,648
Those will get added,
but there’s a ref--
1318
01:00:42,649 --> 01:00:44,986
You know, we’re shooting
with a real one on location.
1319
01:00:44,987 --> 01:00:47,408
It’s Florence
right out of the window.
No rigging.
1320
01:00:47,409 --> 01:00:49,537
And that explosion is real.
That flip.
1321
01:00:49,538 --> 01:00:52,125
I mean... [chuckles]
...it was tough
getting those flips.
1322
01:00:52,126 --> 01:00:53,587
We didn’t have
any backup Humvees.
1323
01:00:53,588 --> 01:00:56,259
Again, that was part of being
a little bit more frugal.
1324
01:00:56,260 --> 01:00:59,807
So I think that,
if I’m not wrong, was
Shane Habberstad’s, uh, Humvee,
1325
01:00:59,808 --> 01:01:02,897
and he had to get it of
into that dirt and make sure
those tires caught
1326
01:01:02,898 --> 01:01:04,692
so that he’d get a proper flip.
1327
01:01:04,693 --> 01:01:07,615
And I think this one
is Noon Orsatti.
1328
01:01:07,616 --> 01:01:09,577
Incredible stuntman.
Longtime stuntman.
1329
01:01:09,578 --> 01:01:12,333
Uh, that one flipped
a little bit easier,
1330
01:01:12,334 --> 01:01:13,544
not that it’s easy
to be in that thing.
1331
01:01:13,545 --> 01:01:15,548
And then here comes Bucky.
1332
01:01:15,549 --> 01:01:18,428
And, again, that’s real dust
blowing across the road.
1333
01:01:18,429 --> 01:01:21,518
You know, everything out there,
you’re just in
this incredible playground
1334
01:01:21,519 --> 01:01:25,192
where it’s really hard,
it’s really hot,
but, you know...
1335
01:01:25,193 --> 01:01:28,865
I think what was nice about it
is the "hard" goes on screen,
1336
01:01:28,866 --> 01:01:31,621
and everything that was
difficult about it is also
what makes it breathtaking
1337
01:01:31,622 --> 01:01:33,418
and shooting it in full IMAX.
1338
01:01:36,299 --> 01:01:41,098
Uh, Joe, what-- Maybe the best,
uh, motorcycle stunt rider
in the world
1339
01:01:41,099 --> 01:01:43,979
doing all of these.
That wide shot
looks like it’s CG. It’s not.
1340
01:01:43,980 --> 01:01:46,401
That’s just how fast
he was going on that bike.
1341
01:01:46,402 --> 01:01:51,118
Uh, and, yeah, I think
this ending piece
was a George suggestion
1342
01:01:51,119 --> 01:01:53,080
about using the winch
and shooting that off.
1343
01:01:53,081 --> 01:01:56,086
And this, I think,
maybe right here, the flip,
1344
01:01:56,087 --> 01:01:58,258
I mean,
that’s not sky replacement.
1345
01:01:58,259 --> 01:02:02,140
Uh, it really looked like this
when this--
this Humvee flipped.
1346
01:02:02,141 --> 01:02:05,522
It was the last thing
we shot out on that road
and got it with a drone.
1347
01:02:05,523 --> 01:02:08,152
Uh, all of this
stuff in-camera.
1348
01:02:08,153 --> 01:02:12,578
Um, and just to be out there
getting stuff like that
1349
01:02:12,579 --> 01:02:14,999
and, you know,
being on the edge of
whether you can get it or not,
1350
01:02:15,000 --> 01:02:16,629
it’s just such a great feeling.
1351
01:02:21,221 --> 01:02:22,014
Oh, sh--
1352
01:02:29,988 --> 01:02:31,991
[Schreier] Another one
of my little DC pickups.
1353
01:02:31,992 --> 01:02:34,706
We didn’t bring
balls and charts for this,
so, uh, I had to bring...
1354
01:02:34,707 --> 01:02:38,213
I got, uh, Christmas
ornaments... [chuckles]
...for lighting reference.
1355
01:02:39,048 --> 01:02:40,467
And then this was, uh...
1356
01:02:40,468 --> 01:02:42,805
This was...
This did come in
additional with Wendell,
1357
01:02:42,806 --> 01:02:45,602
and we just felt like
we needed to sort of
keep the stakes
1358
01:02:45,603 --> 01:02:47,440
and the pressure up on Val
in the movie,
1359
01:02:47,441 --> 01:02:50,487
and it’s another chance
for Wendell to say, "Juicy,"
1360
01:02:50,488 --> 01:02:51,699
so that’s always worth it.
1361
01:02:53,076 --> 01:02:55,289
Um, and this is,
you know, again,
1362
01:02:55,290 --> 01:02:57,960
when you talk about AB
with effects, you know...
1363
01:02:57,961 --> 01:03:00,256
Sure, they’re against gray.
They’re not up on this roof.
1364
01:03:00,257 --> 01:03:02,678
But they’re outside,
something Jake Morrison
always insisted on,
1365
01:03:02,679 --> 01:03:05,309
and we have that real
helicopter behind their heads
for enough of it,
1366
01:03:05,310 --> 01:03:07,897
so at least you have
the foreground
and the mid-ground
1367
01:03:07,898 --> 01:03:09,650
if not the background
that gets added,
1368
01:03:09,651 --> 01:03:13,408
and even just
that little element
helps it sit in much better.
1369
01:03:13,409 --> 01:03:16,706
Or choices like this where,
you know, as opposed to
building a set,
1370
01:03:16,707 --> 01:03:20,881
you know, that’s an actual
abandoned floor in Atlanta
with a real city outside
1371
01:03:20,882 --> 01:03:24,095
that isn’t New York,
but the value of it being real
and then adding some things
1372
01:03:24,096 --> 01:03:27,436
out the windows as opposed
to creating it all with a set
1373
01:03:27,437 --> 01:03:30,485
and green screen out
the windows is worth it
for that sense of texture.
1374
01:03:31,695 --> 01:03:34,909
I would love
for this to be my bedroom.
1375
01:03:34,910 --> 01:03:36,955
I’ve told Grace this
multiple times.
1376
01:03:36,956 --> 01:03:40,712
I love this design of hers.
I would sleep here,
in this recovery room.
1377
01:03:40,713 --> 01:03:42,174
I would be Bob.
1378
01:03:43,803 --> 01:03:46,181
This scene was in
many, many drafts
of the script,
1379
01:03:46,182 --> 01:03:49,145
and, ultimately, Joanna,
you know, really brought
1380
01:03:49,146 --> 01:03:51,108
this really interesting
dynamic to the scene
1381
01:03:51,109 --> 01:03:55,951
that I thought was
so interesting of the way
that someone like Val
1382
01:03:55,952 --> 01:03:59,709
can play upon the sort of
insecurities and desires
1383
01:03:59,710 --> 01:04:01,754
of a character like Bob,
1384
01:04:01,755 --> 01:04:05,136
who really does
just wanna matter
and wants to be important
1385
01:04:05,137 --> 01:04:06,514
and wants to
do the right thing,
1386
01:04:06,515 --> 01:04:08,894
but, you know,
that can very easily
get confused
1387
01:04:08,895 --> 01:04:13,904
with the sense of, you know,
validation, or importance,
or feeling left out,
1388
01:04:13,905 --> 01:04:18,496
and, you know, this idea
that that can really
lead you down the wrong path
1389
01:04:18,497 --> 01:04:21,293
if you meet up with
the wrong people or if
you’re in the wrong hands.
1390
01:04:21,294 --> 01:04:23,465
And you know,
we see a little bit
of that in Alexei,
1391
01:04:23,466 --> 01:04:26,679
and all of them
are grappling with
their own versions of that.
1392
01:04:26,680 --> 01:04:28,516
But of course,
Bob is so powerful
1393
01:04:28,517 --> 01:04:30,102
that you’re really
playing with fire here,
1394
01:04:30,103 --> 01:04:32,106
which is what Mel
keeps suggesting to Val,
1395
01:04:32,107 --> 01:04:35,739
and Val, of course,
thinks that she always
can gain the upper hand,
1396
01:04:35,740 --> 01:04:40,582
but she-- she’s not
exactly aware of what
she’s dealing with in Bob.
1397
01:04:40,583 --> 01:04:43,755
And, you know,
just watching the way
they play off of each other
1398
01:04:43,756 --> 01:04:47,596
and the way that, kind of,
Val massages him into this.
1399
01:04:47,597 --> 01:04:49,182
And I was there
with Joanna on set.
1400
01:04:49,183 --> 01:04:51,562
She was there this day,
and I was at the monitor,
1401
01:04:51,563 --> 01:04:53,400
and she’s like,
"You’re doing such a good job."
1402
01:04:53,401 --> 01:04:55,487
I was like, "Are you...
Are you Valling me right now?"
1403
01:04:55,488 --> 01:04:57,408
"Is that what’s happening?"
I said.
1404
01:04:57,409 --> 01:04:59,704
And I could see it.
She had written it
and she was doing it to me
1405
01:04:59,705 --> 01:05:00,998
at the same time.
1406
01:05:00,999 --> 01:05:02,584
And so, that was fun to watch.
1407
01:05:02,585 --> 01:05:04,755
But yeah, again,
just such subtlety in Lewis
1408
01:05:04,756 --> 01:05:09,473
of needing to now portray
some of that darkness in there
1409
01:05:09,474 --> 01:05:12,896
along with the desire of this--
you know, seeing this belt,
1410
01:05:12,897 --> 01:05:15,359
which is a symbol
of meaning something,
of being important,
1411
01:05:15,360 --> 01:05:17,113
of being what other people
couldn’t see.
1412
01:05:17,114 --> 01:05:20,119
Because Yelena truly
has come to care for him,
1413
01:05:20,120 --> 01:05:22,373
even in this limited time,
1414
01:05:22,374 --> 01:05:25,379
but it’s in this way
that Val will later
describe as pity,
1415
01:05:25,380 --> 01:05:27,968
you know, as opposed to
someone seeing him, you know...
1416
01:05:27,969 --> 01:05:31,391
Yelena says, "Stay behind me.
I have it.
I’ll take care of you."
1417
01:05:31,392 --> 01:05:35,067
And Val is coming to him
and saying, "You could be
something much more than that."
1418
01:05:38,156 --> 01:05:41,829
We actually-- This was
part of a-- an additional
photography, uh, piece,
1419
01:05:41,830 --> 01:05:46,464
where I initially thought
because we were talking about,
uh, Bob’s backstory
1420
01:05:46,465 --> 01:05:48,258
that you would expect
to go into his past,
1421
01:05:48,259 --> 01:05:50,889
and we had a preview
of his addict scene
1422
01:05:50,890 --> 01:05:52,518
that Val went into.
1423
01:05:52,519 --> 01:05:54,688
In testing, it was nice,
’cause people did understand
1424
01:05:54,689 --> 01:05:57,861
the concept of the Void,
but they got very frustrated
at that sequence
1425
01:05:57,862 --> 01:06:00,492
and said, "Why isn’t it Val’s?
It’s always someone else’s."
1426
01:06:00,493 --> 01:06:02,913
And so we got to add
this, uh, really nice scene
1427
01:06:02,914 --> 01:06:05,209
that Joanna wrote, you know.
1428
01:06:05,210 --> 01:06:07,881
And, I mean
it’s just a testament...
I mean, these are...
1429
01:06:07,882 --> 01:06:10,470
Uh, Chiara,
who plays the little girl,
these are great actors,
1430
01:06:10,471 --> 01:06:14,770
’cause a scene like this
being dropped in the melodrama
like this is so delicate.
1431
01:06:14,771 --> 01:06:17,818
And you have some leeway
in a comic book movie
to do that, I think,
1432
01:06:17,819 --> 01:06:20,072
to have these
kind of heightened backstories.
1433
01:06:20,073 --> 01:06:22,368
I mean, who’s to say?
We had a lot of discussion.
1434
01:06:22,369 --> 01:06:24,790
I mean,
Valentina Allegra de Fontaine.
1435
01:06:24,791 --> 01:06:27,588
Is that Italian?
Is that French?
You know, we went with Italian.
1436
01:06:27,589 --> 01:06:29,967
Um, and it gives you
a little bit of that distance.
1437
01:06:29,968 --> 01:06:32,346
Um, and, you know,
tries to show you a window
1438
01:06:32,347 --> 01:06:37,231
into how Val has become
what she’s become,
1439
01:06:37,232 --> 01:06:41,198
which is this idea that,
you know, if it’s a story
about isolation
1440
01:06:41,199 --> 01:06:43,953
and, you know,
the damage that that can cause,
1441
01:06:43,954 --> 01:06:46,249
you know,
if Val is just sort of
someone like them,
1442
01:06:46,250 --> 01:06:50,257
but who never found
anyone else to lift her
out of that place,
1443
01:06:50,258 --> 01:06:53,472
she has hardened
into what she has become.
1444
01:06:53,473 --> 01:06:55,226
But she’s starting
from a similar place,
1445
01:06:55,227 --> 01:06:56,854
that there is
a point of connection
1446
01:06:56,855 --> 01:06:59,526
even between your antagonist
and your protagonists,
1447
01:06:59,527 --> 01:07:01,030
that they all share.
1448
01:07:04,161 --> 01:07:07,250
All right,
let’s get the press here
in the morning.
1449
01:07:07,251 --> 01:07:09,045
It’s time to show everyone
what I’ve been working on.
1450
01:07:09,046 --> 01:07:11,801
Val, you put a serum into
someone like Steve Rogers...
1451
01:07:11,802 --> 01:07:13,888
[Schreier] I do think we added
a number of things.
1452
01:07:13,889 --> 01:07:15,558
We came back to this scene
’cause it was where we
1453
01:07:15,559 --> 01:07:17,896
really needed to establish
that concept of,
1454
01:07:17,897 --> 01:07:20,276
you know, that you’re
playing with fire here.
1455
01:07:20,277 --> 01:07:23,783
And, you know, that--
Yeah, that Bob and The Sentry,
1456
01:07:23,784 --> 01:07:26,079
and it’s about an
internal conflict that he has
1457
01:07:26,080 --> 01:07:28,333
that is exacerbated
by the serum
1458
01:07:28,334 --> 01:07:32,843
and turned into world stakes
and, you know, superhero levels
by the serum.
1459
01:07:32,844 --> 01:07:35,890
That-That concept that
it starts with
what’s inside of you,
1460
01:07:35,891 --> 01:07:38,646
which I think
a lot of people watching
will understand implicitly
1461
01:07:38,647 --> 01:07:40,482
from watching
a lot of these movies,
1462
01:07:40,483 --> 01:07:43,031
but that we maybe
needed to define
for more of the audience.
1463
01:07:45,493 --> 01:07:47,706
This was a beautiful
gas station
in Green River, Utah,
1464
01:07:47,707 --> 01:07:49,334
and this is not a set
on the inside,
1465
01:07:49,335 --> 01:07:51,379
even though
we probably could’ve
done it that way.
1466
01:07:51,380 --> 01:07:53,968
But everything
that’s outside those windows
were really there.
1467
01:07:53,969 --> 01:07:58,644
Uh, and Grace did such a
great job of dressing this,
uh, for this scene,
1468
01:07:58,645 --> 01:08:00,522
and this scene
was a very complicated one.
1469
01:08:00,523 --> 01:08:02,526
And this is towards the end
of our shoot.
1470
01:08:02,527 --> 01:08:05,199
It’s one of the last things
we shot with our principals
in Utah.
1471
01:08:05,200 --> 01:08:07,746
And it needs to do
such heavy lifting
1472
01:08:07,747 --> 01:08:11,169
to kinda have
all of your characters
get together by the end of it
1473
01:08:11,170 --> 01:08:12,631
when they start
on opposite places.
1474
01:08:12,632 --> 01:08:14,300
And I thought
what Joanna did...
1475
01:08:14,301 --> 01:08:17,515
You know,
there are these
little deft turns
1476
01:08:17,516 --> 01:08:20,897
in the way that they’re trying
to convince Bucky about Bob,
1477
01:08:20,898 --> 01:08:22,901
you know,
that they believe
that there’s a threat,
1478
01:08:22,902 --> 01:08:25,364
but they themselves
do not see themselves as worthy
1479
01:08:25,365 --> 01:08:27,994
of going after it
and are just
trying to escape it.
1480
01:08:27,995 --> 01:08:31,000
But he doesn’t even believe
in the thing
that they’re telling him.
1481
01:08:31,001 --> 01:08:35,092
And using this kind of humor
of the repetition of "Bob"
to establish that
1482
01:08:35,093 --> 01:08:38,766
is such a neat way to get you,
’cause it has to do so much
1483
01:08:38,767 --> 01:08:41,187
in such a compressed
amount of time
to keep the story moving,
1484
01:08:41,188 --> 01:08:43,400
and it was so impressive
how she did that.
1485
01:08:43,401 --> 01:08:45,612
I know it’s been hard
since Olivia left you
and took your kid,
1486
01:08:45,613 --> 01:08:48,285
but still, this is on you.
1487
01:08:48,286 --> 01:08:51,207
[Schreier] And this is
such a nice moment
of acting between...
1488
01:08:51,208 --> 01:08:53,003
between Wyatt
and Florence here.
1489
01:08:53,004 --> 01:08:55,758
And we didn’t want to lean
into the music for it.
1490
01:08:55,759 --> 01:08:57,762
Just this recognition,
on her part,
1491
01:08:57,763 --> 01:08:59,892
that he, of course,
is struggling
with the same thing
1492
01:08:59,893 --> 01:09:02,354
that she has struggled with,
in his own way,
1493
01:09:02,355 --> 01:09:05,820
and that all of that
bravado and bluster
is really masking
1494
01:09:05,821 --> 01:09:08,784
feeling very similar
to the way that she feels,
1495
01:09:08,785 --> 01:09:11,247
and, you know,
the way they share that
with just such tiny looks.
1496
01:09:11,248 --> 01:09:14,545
When you have actors like this,
you can...
you can accomplish a lot,
1497
01:09:14,546 --> 01:09:16,967
but, you know, we’re so...
1498
01:09:16,968 --> 01:09:20,349
They’re the magic
that makes any
of this stuff work,
1499
01:09:20,350 --> 01:09:23,773
and I was lucky
to have some of the very best
in every single role.
1500
01:09:23,774 --> 01:09:26,611
I mean, Project Sentry is not
just a failure. It’s dangerous.
1501
01:09:26,612 --> 01:09:28,532
[Schreier]
And, yeah, that’s our movie.
1502
01:09:28,533 --> 01:09:30,828
To do that and have that
really nicely observed
character moment
1503
01:09:30,829 --> 01:09:34,168
and then the kind of
near silliness
of this "Bob" repetition.
1504
01:09:34,169 --> 01:09:36,089
And, again,
if it doesn’t work for you,
I understand.
1505
01:09:36,090 --> 01:09:37,591
You know, it’s an--
1506
01:09:37,592 --> 01:09:39,763
It’s an interesting tonal
set of things to hold,
1507
01:09:39,764 --> 01:09:41,976
but, uh, yeah,
that’s our movie.
1508
01:09:41,977 --> 01:09:43,603
[Mel] The press are set
to come tomorrow morning.
1509
01:09:43,604 --> 01:09:46,192
Someone has to do something.
1510
01:09:46,193 --> 01:09:48,948
Shit. Okay, I have to go.
But come now, please.
1511
01:09:48,949 --> 01:09:50,368
Bring anyone.
Everyone you can.
1512
01:09:57,090 --> 01:09:59,343
[Schreier] I love this, uh,
"How many times?"
from David here.
1513
01:09:59,344 --> 01:10:00,679
Bob.
1514
01:10:00,680 --> 01:10:03,769
- Bob.
- How many times?
1515
01:10:03,770 --> 01:10:05,606
[Schreier] But sometimes,
it gets--
1516
01:10:05,607 --> 01:10:07,192
The first "Bob"
gets a big enough laugh,
1517
01:10:07,193 --> 01:10:09,572
then you don’t get to hear it,
but you at home,
1518
01:10:09,573 --> 01:10:13,496
uh, with just your friends,
will get to--
will get to hear that one.
1519
01:10:13,497 --> 01:10:16,419
And then, yeah, this big shift
where Bucky has to
take this turn
1520
01:10:16,420 --> 01:10:18,381
and bring these folks
along with him,
1521
01:10:18,382 --> 01:10:22,014
and needing to establish
there’s enough time pressure
that that makes sense.
1522
01:10:22,015 --> 01:10:23,976
And then Sebastian
really worked very hard
1523
01:10:23,977 --> 01:10:26,815
and essentially
wrote this speech himself
1524
01:10:26,816 --> 01:10:29,780
to make it honest
to the way that Bucky speaks
1525
01:10:29,781 --> 01:10:33,788
and kind of appealing
to the sense of, you know,
shared past and emptiness.
1526
01:10:33,789 --> 01:10:38,004
And this really becomes
Bucky’s role in our movie,
is he has--
1527
01:10:38,005 --> 01:10:40,885
You know,
he’s gone through that therapy
in Falcon and Winter Soldier.
1528
01:10:40,886 --> 01:10:44,266
He has processed
the things, you know,
that they haven’t yet,
1529
01:10:44,267 --> 01:10:46,772
and he knows where it leads
if you don’t,
1530
01:10:46,773 --> 01:10:49,276
and just that idea of
you have the wrong people,
1531
01:10:49,277 --> 01:10:52,533
but no, actually,
you are the right people,
1532
01:10:52,534 --> 01:10:53,619
if you can overcome it.
1533
01:10:56,876 --> 01:10:58,754
So you can either
do something about it now,
1534
01:11:00,383 --> 01:11:01,593
or live with it forever.
1535
01:11:08,065 --> 01:11:09,943
[Schreier] I haven’t
mentioned Son Lux yet,
1536
01:11:09,944 --> 01:11:12,656
but this beautiful theme,
you know, to their score,
1537
01:11:12,657 --> 01:11:14,285
with kind of a hint
of the Thunderbolts* theme
1538
01:11:14,286 --> 01:11:15,662
and uniting these characters,
1539
01:11:15,663 --> 01:11:17,959
but just played very gently
in the background
1540
01:11:17,960 --> 01:11:20,464
where we’re not
leaning into it too much.
1541
01:11:20,465 --> 01:11:22,886
And you get room for
how subtle they’re
being in that,
1542
01:11:22,887 --> 01:11:24,221
and then, of course, uh,
1543
01:11:24,222 --> 01:11:25,557
Alexei is not a subtle man.
1544
01:11:25,558 --> 01:11:28,313
Yes!
1545
01:11:28,314 --> 01:11:30,442
Yeah!
1546
01:11:30,443 --> 01:11:33,908
[Schreier] This is a scene
that used to be much longer
and was very fun.
1547
01:11:33,909 --> 01:11:36,704
Then again,
there are a lot of these
parts of the movie where...
1548
01:11:36,705 --> 01:11:39,460
There’s very, very few scenes
that were cut whole cloth
from the film.
1549
01:11:39,461 --> 01:11:41,965
The movie that you’re watching,
you know, is essentially...
1550
01:11:41,966 --> 01:11:43,844
Those are the scenes
that we shot,
1551
01:11:43,845 --> 01:11:46,682
but we definitely
pared things down
for time and pace.
1552
01:11:46,683 --> 01:11:50,065
And this used to be
a longer exploration
of this kind of idea
1553
01:11:50,066 --> 01:11:54,281
about youthful idealism
and the way that power actually
functions in the world.
1554
01:11:54,282 --> 01:11:56,619
And just for overall time
1555
01:11:56,620 --> 01:12:00,168
and needing to spend
a little bit more time
with Bob learning his powers,
1556
01:12:00,169 --> 01:12:04,468
we did trim this down,
but I still love,
uh, what Joanna wrote here
1557
01:12:04,469 --> 01:12:06,722
about a bad guy and a worse guy
and nothing else,
1558
01:12:06,723 --> 01:12:08,017
and that really is Val’s ethos,
1559
01:12:08,018 --> 01:12:10,772
which is not that
she aspires to be a bad guy,
1560
01:12:10,773 --> 01:12:13,403
but she just believes
that she sees the truth
in the world,
1561
01:12:13,404 --> 01:12:18,121
which is that it’s all
just a set of grays
and people aspiring for power,
1562
01:12:18,122 --> 01:12:20,375
and if that’s
how the world works,
1563
01:12:20,376 --> 01:12:23,798
then you wanna be the one
with the most power,
1564
01:12:23,799 --> 01:12:26,096
and that’s something
that Mel just hasn’t
come to terms with yet.
1565
01:12:27,807 --> 01:12:31,063
This was another place
where we wanted to have fun
1566
01:12:31,064 --> 01:12:33,610
with the meta of Sentry.
1567
01:12:33,611 --> 01:12:36,699
Um, all of those things
that you see
in the background there,
1568
01:12:36,700 --> 01:12:41,167
um, those are the actual...
[chuckles] ...costume pieces
and, uh, concepts
1569
01:12:41,168 --> 01:12:42,836
for the development
of The Sentry costume,
1570
01:12:42,837 --> 01:12:46,510
and it felt like
what Val was doing
in our movie
1571
01:12:46,511 --> 01:12:49,308
is the same thing
Marvel does so well,
which is build superheroes,
1572
01:12:49,309 --> 01:12:51,354
and you would need to make
a costume for one,
1573
01:12:51,355 --> 01:12:53,901
so we thought it would be fun
to kind of wink at that
1574
01:12:53,902 --> 01:12:55,362
by having
the actual development.
1575
01:12:55,363 --> 01:12:57,909
Those are-- Russell Bobbitt,
our wonderful prop master,
1576
01:12:57,910 --> 01:13:01,499
longtime Marvel prop master,
those are his
3D printers to the side
1577
01:13:01,500 --> 01:13:04,254
that he uses to make
all of these props
and to form them,
1578
01:13:04,255 --> 01:13:07,594
and we tried to just kind of
lean into that connection point
1579
01:13:07,595 --> 01:13:11,352
between what the movie
was doing and what Val
was doing as a character.
1580
01:13:11,353 --> 01:13:14,316
And then really lean into,
again, you know,
1581
01:13:14,317 --> 01:13:17,991
there’s still
an innocence to this,
of Lewis is not turning evil.
1582
01:13:17,992 --> 01:13:22,791
It’s that Bob is having someone
appeal to his importance
1583
01:13:22,792 --> 01:13:26,674
in a way that no one else has
maybe ever in his life.
1584
01:13:26,675 --> 01:13:29,722
And you see the
kind of excitement
of what that could mean
1585
01:13:29,723 --> 01:13:31,308
to someone like that
1586
01:13:31,309 --> 01:13:34,732
and this idea
of the hint in his eyes
at that Sentry side.
1587
01:13:34,733 --> 01:13:37,947
I was in this helicopter.
I got that shot. It’s morning.
1588
01:13:37,948 --> 01:13:39,742
This was also
a very funny Easter egg of...
1589
01:13:39,743 --> 01:13:42,122
That’s a C.C. Rentals truck
that we painted.
1590
01:13:42,123 --> 01:13:45,879
When I was in film school,
there was one rental service
in New York
1591
01:13:45,880 --> 01:13:48,009
that would rent you a truck
to film students
1592
01:13:48,010 --> 01:13:53,352
who consistently ding it
and scratch it
as much as possible, um...
1593
01:13:53,353 --> 01:13:55,315
And when we needed a vehicle
for them to come in on,
1594
01:13:55,316 --> 01:13:56,985
I just thought
it would be funny
1595
01:13:56,986 --> 01:13:59,823
cause that is who would
rent to them on short notice
in New York.
1596
01:13:59,824 --> 01:14:03,039
This whole scene, I think this
is two takes of improv
in the back of that truck.
1597
01:14:03,040 --> 01:14:05,043
And at this point in the shoot,
1598
01:14:05,044 --> 01:14:07,214
they had just figured out
these characters
so well and their dynamic,
1599
01:14:07,215 --> 01:14:10,678
you could just let them go
and you would get
great things like that.
1600
01:14:10,679 --> 01:14:12,933
You know,
about Walker’s insecurity
1601
01:14:12,934 --> 01:14:16,440
and maybe a little hat tip
to how he felt about his,
uh, his helmet
1602
01:14:16,441 --> 01:14:18,319
in Falcon and Winter Soldier.
1603
01:14:18,320 --> 01:14:21,158
But just, yeah,
the interplay felt so nice.
1604
01:14:21,159 --> 01:14:22,995
This is actually out on a set.
1605
01:14:22,996 --> 01:14:26,460
Th-That was onstage,
and this is, again,
never any green screen.
1606
01:14:26,461 --> 01:14:29,968
This is out
on our 45th Street set,
with a camera mount.
1607
01:14:29,969 --> 01:14:31,595
Again,
just two takes of improv.
1608
01:14:31,596 --> 01:14:33,976
Sorry. Joanna wrote
a lot of these lines,
1609
01:14:33,977 --> 01:14:36,188
but just letting
these two guys go
1610
01:14:36,189 --> 01:14:38,359
with each other
to establish this.
1611
01:14:38,360 --> 01:14:40,947
...I drive. [chuckles]
1612
01:14:40,948 --> 01:14:42,033
I don’t get tired.
1613
01:14:42,034 --> 01:14:43,411
No, I mean metaphorically.
1614
01:14:43,412 --> 01:14:44,621
I don’t actually want to drive.
1615
01:14:44,622 --> 01:14:46,041
[Yelena] Are we there yet?
1616
01:14:46,042 --> 01:14:47,836
- Almost!
- Almost!
1617
01:14:47,837 --> 01:14:49,256
[inhales, exhales deeply]
1618
01:14:49,257 --> 01:14:54,184
Okay. Mr. Soldier,
what is secret plan, huh?
1619
01:14:55,311 --> 01:14:56,729
The plan?
1620
01:14:56,730 --> 01:14:57,523
[Alexei] Yeah.
1621
01:15:00,654 --> 01:15:02,824
[Schreier] Okay,
so this whole set, I mean,
1622
01:15:02,825 --> 01:15:05,705
is one of the craziest sets
I’ve ever seen built.
1623
01:15:05,706 --> 01:15:09,046
Grace built
an entire recreation
of 45th Street in New York,
1624
01:15:09,047 --> 01:15:11,967
three stories up,
with this lobby inside.
1625
01:15:11,968 --> 01:15:14,598
Some of the background
of the lobby
is extended by ILM,
1626
01:15:14,599 --> 01:15:17,270
but it all connects,
it all exists.
1627
01:15:17,271 --> 01:15:19,524
The overpasses are real.
1628
01:15:19,525 --> 01:15:21,362
I mean, I’ve really
never seen anything like it,
1629
01:15:21,363 --> 01:15:26,163
and then Chuck built this
incredible rig with silks
over the top of that street,
1630
01:15:26,164 --> 01:15:29,044
so that you could play it
as this consistently
cloudy day the whole time,
1631
01:15:29,045 --> 01:15:31,715
and then ILM
did a beautiful job
extending that set.
1632
01:15:31,716 --> 01:15:35,974
But again, when 60 to 70%
of what you’re looking at
is entirely in-camera,
1633
01:15:35,975 --> 01:15:38,437
when you extend things
in the background,
1634
01:15:38,438 --> 01:15:42,027
you’re giving everyone
a much, much better
chance of success.
1635
01:15:42,028 --> 01:15:44,116
And it was just
such a, you know...
You’re in this weird position
1636
01:15:44,117 --> 01:15:46,954
where shooting on location
wouldn’t make any sense,
1637
01:15:46,955 --> 01:15:50,128
’cause Avengers Tower
doesn’t exist in New York,
1638
01:15:50,129 --> 01:15:52,465
so you’d be adding that,
so it makes sense
to have the control,
1639
01:15:52,466 --> 01:15:54,511
especially given all the action
that we’re gonna do there.
1640
01:15:54,512 --> 01:15:56,307
But then to have
this level of detail,
1641
01:15:56,308 --> 01:15:58,769
Michael Hersey,
longtime art director,
1642
01:15:58,770 --> 01:16:02,026
who we worked with on Beef,
supervised this over months
of building that thing.
1643
01:16:02,027 --> 01:16:04,698
And then we just tried to set
as much as we could there
1644
01:16:04,699 --> 01:16:07,370
to make it pay off
for how much effort
went into it.
1645
01:16:07,371 --> 01:16:10,126
How crazy is it to think
of all the monumental fights...
1646
01:16:10,127 --> 01:16:12,380
[Schreier] It was really fun
when we got to this part
of the shoot.
1647
01:16:12,381 --> 01:16:15,303
I think we’d been
making this movie
that felt very different
1648
01:16:15,304 --> 01:16:17,891
um, and almost felt like
it wasn’t a Marvel movie,
1649
01:16:17,892 --> 01:16:19,895
and then I remember getting
to this scene and this sequence
1650
01:16:19,896 --> 01:16:24,404
and being in our
remodeled Avengers Tower,
1651
01:16:24,405 --> 01:16:26,575
and it felt like, "Okay, no,
it is a Marvel movie."
1652
01:16:26,576 --> 01:16:29,206
I mean, this is
a villain face-off
with a team of heroes.
1653
01:16:29,207 --> 01:16:33,506
Just in our context,
with a little bit
of dryness underneath,
1654
01:16:33,507 --> 01:16:36,720
but knowing that the movie
was gonna exist
in both of those worlds,
1655
01:16:36,721 --> 01:16:38,599
that it was gonna
feel different,
1656
01:16:38,600 --> 01:16:41,563
but also in the end,
hopefully, if it works,
1657
01:16:41,564 --> 01:16:45,446
aspire to live up to the legacy
of the great movies
1658
01:16:45,447 --> 01:16:46,949
that this studio has made.
1659
01:16:46,950 --> 01:16:49,121
And there was a comfort
being in this scene
1660
01:16:49,122 --> 01:16:51,125
and feeling
the familiarity of that.
1661
01:16:51,126 --> 01:16:53,002
It’s tropey for sure,
1662
01:16:53,003 --> 01:16:55,383
but done in our own style,
and that was always the hope
1663
01:16:55,384 --> 01:16:58,347
was to kind of get
to have the fun of those tropes
1664
01:16:58,348 --> 01:16:59,766
and what these movies can be
1665
01:16:59,767 --> 01:17:01,353
and then also undercut it
a little bit
1666
01:17:01,354 --> 01:17:02,730
and hopefully have
all of those things
1667
01:17:02,731 --> 01:17:05,278
live in harmony together.
1668
01:17:05,279 --> 01:17:08,659
And it was also just fun
to get them together
with Julia finally
1669
01:17:08,660 --> 01:17:10,621
and have that
interplay with her.
1670
01:17:10,622 --> 01:17:12,792
She was so great
with the team in this.
1671
01:17:12,793 --> 01:17:15,548
The Santa line, uh,
which was Joanna’s add,
1672
01:17:15,549 --> 01:17:17,927
and the way
Alexei plays this, uh...
1673
01:17:17,928 --> 01:17:20,142
or the way David plays this
is just so fun.
1674
01:17:20,809 --> 01:17:21,561
What?
1675
01:17:23,565 --> 01:17:25,151
- Where’s Mel?
- Mel?
1676
01:17:25,152 --> 01:17:26,945
Oh, Mel. Yeah.
1677
01:17:26,946 --> 01:17:29,743
Uh, Mel is having
a little loyalty issue.
1678
01:17:29,744 --> 01:17:32,540
But I’m just so grateful...
1679
01:17:32,541 --> 01:17:35,755
[Schreier] And then,
we finally get to
our big Sentry reveal,
1680
01:17:35,756 --> 01:17:37,634
which, you know, again,
1681
01:17:37,635 --> 01:17:40,013
it’s so many different places
that this character needs to go
1682
01:17:40,014 --> 01:17:41,391
in so little time,
1683
01:17:41,392 --> 01:17:42,977
and leaning into this idea
1684
01:17:42,978 --> 01:17:44,814
that it’s not necessarily
the most comfortable fit.
1685
01:17:44,815 --> 01:17:47,445
And, you know, I think
what’s so great about
having Lewis is that
1686
01:17:47,446 --> 01:17:50,158
he has the stature
and he can physically embody
1687
01:17:50,159 --> 01:17:53,541
this Golden Guardian of Good,
and at the same time,
1688
01:17:53,542 --> 01:17:56,170
bring a level of insecurity
underneath that.
1689
01:17:56,171 --> 01:17:58,842
And, God, yeah,
Florence’s face there.
1690
01:17:58,843 --> 01:18:01,890
I mean, obviously
the most important
part about this scene
1691
01:18:01,891 --> 01:18:05,523
is this idea that, you know,
if you’re with Yelena
on this journey
1692
01:18:05,524 --> 01:18:07,694
and you believe that
nothing really matters
at the beginning,
1693
01:18:07,695 --> 01:18:10,156
and then you meet this guy
who’s going through
a similar thing,
1694
01:18:10,157 --> 01:18:12,495
and you form some sense
of connection with him,
1695
01:18:12,496 --> 01:18:15,793
and then you feel
like you’ve lost him,
but you’re there to rescue him,
1696
01:18:15,794 --> 01:18:18,215
to see him
in this other context,
1697
01:18:18,216 --> 01:18:21,888
you know, this is what
drives her to the rest
of where the story is going
1698
01:18:21,889 --> 01:18:24,811
and her true low point,
which is to find
1699
01:18:24,812 --> 01:18:27,609
that person that she met
lost to her,
1700
01:18:27,610 --> 01:18:31,742
and you know,
this sort of fight
for his soul and his purpose
1701
01:18:31,743 --> 01:18:34,204
between her and Val
that they’ll play out here.
1702
01:18:34,205 --> 01:18:38,714
The fact that she loses it
is really what drives
the rest of the story.
1703
01:18:38,715 --> 01:18:39,924
Oh, no.
1704
01:18:39,925 --> 01:18:41,887
No, I’m not gonna hurt people.
1705
01:18:41,888 --> 01:18:44,225
[Schreier]
And meanwhile, of course,
we get to hear Val’s plan
1706
01:18:44,226 --> 01:18:46,813
and that she does want to be
in charge of everything,
1707
01:18:46,814 --> 01:18:51,740
you know, with this, uh--
you know, the idea that
in this world of the MCU,
1708
01:18:51,741 --> 01:18:55,581
you can’t really have that
without one of these heroes
at your side,
1709
01:18:55,582 --> 01:18:59,046
especially in this case,
the most powerful one
of all, um...
1710
01:18:59,047 --> 01:19:03,263
And I love the way
Alexei sort of engages
in that meta, you know.
1711
01:19:03,264 --> 01:19:07,855
Thinks the name is cool
and is impressed at
the same time as he wishes...
1712
01:19:07,856 --> 01:19:09,818
I think all of them,
at some point, wished
1713
01:19:09,819 --> 01:19:12,155
that they were standing
in that position.
1714
01:19:12,156 --> 01:19:15,746
And now, to see this guy
who they, you know,
not dismissed, I mean,
1715
01:19:15,747 --> 01:19:19,921
in Walker’s case, perhaps,
in a pretty negative way,
1716
01:19:19,922 --> 01:19:22,385
but just not imagining
that this is what he could be.
1717
01:19:22,386 --> 01:19:25,683
But to see him
standing opposite in this role
1718
01:19:25,684 --> 01:19:27,478
has personal resonance
for each of them
1719
01:19:27,479 --> 01:19:30,443
and thinking about
what they didn’t become.
1720
01:19:30,444 --> 01:19:31,778
Please, don’t do this.
1721
01:19:31,779 --> 01:19:33,490
[Schreier] And, again,
these lines are very delicate
1722
01:19:33,491 --> 01:19:35,327
with Lewis, you know,
to make clear
1723
01:19:35,328 --> 01:19:36,872
that he doesn’t
want to hurt them,
1724
01:19:36,873 --> 01:19:39,335
that if it feels like
a quick turn for the audience,
1725
01:19:39,336 --> 01:19:41,088
we understand
where it’s coming from,
1726
01:19:41,089 --> 01:19:42,884
and he really just does
wanna be important,
1727
01:19:42,885 --> 01:19:47,100
but it’s not that he bears them
any necessary ill will.
1728
01:19:47,101 --> 01:19:49,062
But, again, yeah,
that close-up is where
1729
01:19:49,063 --> 01:19:51,860
Yelena really realizes
that he’s lost,
1730
01:19:51,861 --> 01:19:53,906
and to see
that sinking feeling,
1731
01:19:53,907 --> 01:19:56,369
I mean, it’s just
so great on her part
in just a little close-up.
1732
01:19:56,370 --> 01:19:58,457
Thunderbolts?
1733
01:19:58,458 --> 01:20:00,711
[Schreier] And then here we go!
We finally get to see him work.
1734
01:20:00,712 --> 01:20:02,882
But the idea here
in this sequence was also
1735
01:20:02,883 --> 01:20:05,136
that he hasn’t
trained very much,
1736
01:20:05,137 --> 01:20:07,558
so it’s not only establishing
for the audience--
1737
01:20:07,559 --> 01:20:09,562
for the Thunderbolts,
what his powers are,
1738
01:20:09,563 --> 01:20:13,110
but also for himself to see,
"Oh, I can stop bullets,"
1739
01:20:13,111 --> 01:20:15,741
and become more comfortable
as the sequence goes on.
1740
01:20:15,742 --> 01:20:19,499
You know, and obviously,
Sentry’s power set
is limitless,
1741
01:20:19,500 --> 01:20:22,380
so if the sequence
went on further,
if he had more people to fight,
1742
01:20:22,381 --> 01:20:25,093
we could go even further,
but it felt like
we could contain it
1743
01:20:25,094 --> 01:20:27,640
to a level that still
fit within our movie,
1744
01:20:27,641 --> 01:20:29,853
where obviously
we’re stepping outside of
the fully practical thing now.
1745
01:20:29,854 --> 01:20:31,857
There’s more CG in this.
1746
01:20:31,858 --> 01:20:33,485
But we’ve been
yearning for that.
1747
01:20:33,486 --> 01:20:34,821
We wanna see.
1748
01:20:34,822 --> 01:20:36,533
This is where it becomes more
of a superhero movie,
1749
01:20:36,534 --> 01:20:37,743
if we’ve been
something different.
1750
01:20:37,744 --> 01:20:39,664
You wanna see
what The Sentry can do
1751
01:20:39,665 --> 01:20:41,668
that we thought
still balanced with...
1752
01:20:41,669 --> 01:20:45,258
This is shot with a lot
of our first unit as a oner,
1753
01:20:45,259 --> 01:20:47,930
with a motion control rig
and a TechnoDolly.
1754
01:20:47,931 --> 01:20:49,726
And then there’s CG
in between, obviously,
1755
01:20:49,727 --> 01:20:51,646
’cause he’s doing things
that humans can’t do,
1756
01:20:51,647 --> 01:20:54,276
but it is real performance
amidst all of that.
1757
01:20:54,277 --> 01:20:57,533
And still feels,
within that context,
like our movie,
1758
01:20:57,534 --> 01:21:01,708
but expanding into that more
kind of traditional
superhero territory.
1759
01:21:01,709 --> 01:21:05,173
This is also a shot
with a lot of design from Rico,
1760
01:21:05,174 --> 01:21:06,885
our board artist
who I mentioned before,
1761
01:21:06,886 --> 01:21:09,098
who does such great stuff
with action like this.
1762
01:21:17,908 --> 01:21:21,915
And you land again,
just continuing to
lock in on Yelena
1763
01:21:21,916 --> 01:21:23,961
and how she feels
about losing Bob,
1764
01:21:23,962 --> 01:21:28,177
and then playing into
this very kind of,
you know, Bucky’s moment,
1765
01:21:28,178 --> 01:21:29,722
where in a normal movie
you might expect...
1766
01:21:29,723 --> 01:21:31,977
You know, we want this
to be Bucky’s moment.
1767
01:21:31,978 --> 01:21:35,024
We want him to succeed here,
but really, you know,
it’s interesting.
1768
01:21:35,025 --> 01:21:37,112
Unlike normal fights
in normal movies,
1769
01:21:37,113 --> 01:21:39,241
these are kind of
overall scene arcs
1770
01:21:39,242 --> 01:21:42,247
where they have all wins
downstairs with the guards
1771
01:21:42,248 --> 01:21:46,171
and then all losses
in this sequence
to bring them to a low point.
1772
01:21:46,172 --> 01:21:48,010
They get nothing in on Sentry.
1773
01:21:50,640 --> 01:21:52,184
And that’s when
you really feel it.
1774
01:21:53,521 --> 01:21:54,605
It’s pretty rough
1775
01:21:54,606 --> 01:21:56,233
having your arm
tossed towards you
1776
01:21:56,234 --> 01:21:58,822
after being knocked
unconscious with it.
1777
01:21:58,823 --> 01:22:02,581
[Valentina] I’m so glad
you were able to catch
a glimpse before your, uh...
1778
01:22:03,248 --> 01:22:05,126
retirement.
1779
01:22:05,127 --> 01:22:08,090
[Schreier] This is gonna
sound very silly,
1780
01:22:08,091 --> 01:22:11,431
but there is a children’s book
called Cookie Monster
and The Cookie Tree,
1781
01:22:11,432 --> 01:22:16,483
um, which involves a witch
and a magic cookie tree
1782
01:22:16,484 --> 01:22:21,534
that she puts a spell on
so that it won’t share any
cookies with Cookie Monster,
1783
01:22:21,535 --> 01:22:23,580
but then it won’t share
any cookies with her
1784
01:22:23,581 --> 01:22:25,959
’cause it only gives cookies
to people who share.
1785
01:22:25,960 --> 01:22:29,216
That was her spell,
and she’s sort of
hoisted by her own petard.
1786
01:22:29,217 --> 01:22:33,140
And I would think about that
a lot when thinking
about Val in this moment.
1787
01:22:33,141 --> 01:22:35,562
I think I even gave
Julia that book.
1788
01:22:35,563 --> 01:22:37,858
And she laughed and said,
"You’re very strange,
you know that?"
1789
01:22:37,859 --> 01:22:38,735
And she’s not wrong.
1790
01:22:38,736 --> 01:22:40,363
Okay.
1791
01:22:40,364 --> 01:22:42,158
Hannah told me
this is an actual moment
1792
01:22:42,159 --> 01:22:44,287
where she forgot to give
Sebastian his arm back
1793
01:22:44,288 --> 01:22:45,833
and then had to remember it.
1794
01:22:45,834 --> 01:22:47,754
And we kept that in,
which was fun.
1795
01:22:49,382 --> 01:22:53,014
In this scene,
which Joanna wrote,
1796
01:22:54,308 --> 01:22:56,771
I just thought
it’s an interesting one
1797
01:22:56,772 --> 01:23:00,654
where I was worried about
having Yelena go this far.
1798
01:23:00,655 --> 01:23:04,745
I was worried that the audience
would lose touch with her
if she was this harsh.
1799
01:23:04,746 --> 01:23:06,415
I mean, it’s obviously
the point of the scene
1800
01:23:06,416 --> 01:23:08,837
is to bring your characters
to a low point
1801
01:23:08,838 --> 01:23:10,173
and have your protagonists,
you know--
1802
01:23:10,174 --> 01:23:12,385
because she feels
those bonds broken--
1803
01:23:12,386 --> 01:23:13,930
tear apart the team.
1804
01:23:13,931 --> 01:23:15,224
But how far she went,
1805
01:23:15,225 --> 01:23:18,982
I think I, you know--
my mistake was cautious
1806
01:23:18,983 --> 01:23:22,030
in how far we would let her go,
and everyone else
really spoke up for...
1807
01:23:22,031 --> 01:23:25,244
Joanna spoke up for,
and the actors spoke up
for the idea that it was...
1808
01:23:25,245 --> 01:23:27,415
Not only was it okay
to go there,
1809
01:23:27,416 --> 01:23:29,712
but it was important
to go to this place.
1810
01:23:29,713 --> 01:23:32,593
And it really added
so much to this scene.
1811
01:23:32,594 --> 01:23:34,054
[scoffs] See?
1812
01:23:34,055 --> 01:23:35,306
Slow down. Um-nichka.
1813
01:23:35,307 --> 01:23:36,935
Alexei,
I am not your um-nichka.
1814
01:23:36,936 --> 01:23:39,231
I haven’t heard from you
or seen you in a year.
1815
01:23:39,232 --> 01:23:41,318
[Schreier] And here we start
to delve more into that thing
1816
01:23:41,319 --> 01:23:43,907
that’ll become the crux
of the next scene,
of how they’re processing...
1817
01:23:43,908 --> 01:23:47,915
Again, you may just know it
in this movie
as Yelena’s sister,
1818
01:23:47,916 --> 01:23:50,629
but obviously,
if you’ve seen these films,
1819
01:23:50,630 --> 01:23:53,259
you know, hinting at
this sense of loss
1820
01:23:53,260 --> 01:23:56,266
after Natasha is gone
and how they’re processing it.
1821
01:24:00,775 --> 01:24:01,819
Yelena!
1822
01:24:03,446 --> 01:24:04,866
[Schreier] Meanwhile,
back in the tower,
1823
01:24:05,827 --> 01:24:07,705
not going so great.
1824
01:24:07,706 --> 01:24:09,124
And, again,
it’s a tricky balance,
you know.
1825
01:24:09,125 --> 01:24:10,961
I mean, when you have
Julia Louis-Dreyfus,
1826
01:24:10,962 --> 01:24:12,463
you want to
lean into this humor,
1827
01:24:12,464 --> 01:24:14,509
but I felt like we never
pushed it too far
1828
01:24:14,510 --> 01:24:17,515
to come at the expense
of the stakes
that are starting to emerge.
1829
01:24:17,516 --> 01:24:19,895
But again,
Lewis has such little
real estate here
1830
01:24:19,896 --> 01:24:23,277
to play this more
sort of, you know, manic side
1831
01:24:23,278 --> 01:24:26,408
of the duality
of this sense of hubris
1832
01:24:26,409 --> 01:24:28,495
and the way it’s frustrating
to feel limited in that.
1833
01:24:28,496 --> 01:24:30,374
And this is the side
Val didn’t get to see
1834
01:24:30,375 --> 01:24:32,337
before she put him
into this position,
1835
01:24:32,338 --> 01:24:36,470
because she’s so rushed
and trying to get out of
her circumstances.
1836
01:24:36,471 --> 01:24:40,812
But, you know, again,
Lewis is doing so much here
with so little time
1837
01:24:40,813 --> 01:24:45,822
to show that it’s not just
a sort of traditional
1838
01:24:45,823 --> 01:24:49,789
villain drunk on power,
but someone who
wanted to matter
1839
01:24:49,790 --> 01:24:51,583
but is also uncomfortable
with that position,
1840
01:24:51,584 --> 01:24:54,005
and again,
we were always trying
to get at this idea,
1841
01:24:54,006 --> 01:24:56,719
based on a friend of mine,
of the hubristic side
1842
01:24:56,720 --> 01:24:59,057
actually bringing about
the self-destructive side
1843
01:24:59,058 --> 01:25:01,353
and that sense of despair.
1844
01:25:01,354 --> 01:25:04,359
And this was something
that we really drilled in on
in this moment of the scene,
1845
01:25:04,360 --> 01:25:08,075
to show that hubris
but in an unstable sort of way,
1846
01:25:08,076 --> 01:25:09,328
which I thought
he did so beautifully.
1847
01:25:10,330 --> 01:25:11,332
[grunts]
1848
01:25:13,336 --> 01:25:15,924
You were gonna turn on me...
1849
01:25:15,925 --> 01:25:18,972
[Schreier] And this idea
of feeling like
everyone always abandons him,
1850
01:25:18,973 --> 01:25:21,476
which is something that’s true,
or doesn’t see him this way,
1851
01:25:21,477 --> 01:25:22,646
or is willing to
cast him aside,
1852
01:25:22,647 --> 01:25:24,524
which has been true
his whole life,
1853
01:25:24,525 --> 01:25:27,530
which he now sees in her,
which brings about
this darker side,
1854
01:25:27,531 --> 01:25:30,954
so that when he is
killed by Mel,
1855
01:25:30,955 --> 01:25:34,462
we then transfer him
to that Void side
of The Sentry character.
1856
01:25:40,850 --> 01:25:44,105
And this is sort of
completing Mel’s
arc of deciding,
1857
01:25:44,106 --> 01:25:47,528
"Okay, between the two,
I would rather not
be on the outside.
1858
01:25:47,529 --> 01:25:49,407
Even if there are
compromises to it,
1859
01:25:49,408 --> 01:25:51,161
I would rather
be closer to power."
1860
01:25:51,162 --> 01:25:52,998
I want a raise.
1861
01:25:52,999 --> 01:25:55,670
[Valentina]
Okay, fine.
Get cleanup on the body.
1862
01:25:55,671 --> 01:25:58,510
And tell Holt it’s finally time
to go lethal on these losers.
1863
01:26:00,555 --> 01:26:02,141
[Schreier]
This took a lot of
development here
1864
01:26:02,142 --> 01:26:04,562
of how to turn Sentry dark,
you know,
1865
01:26:04,563 --> 01:26:08,570
and how to kind of
do a version of creating
this character of the Void.
1866
01:26:08,571 --> 01:26:11,953
This is ILM’s work of kind of
drawing the shadows to him
1867
01:26:11,954 --> 01:26:13,706
to establish
the beginning of that.
1868
01:26:13,707 --> 01:26:15,417
And adding that eye flip.
1869
01:26:15,418 --> 01:26:16,379
[Alexei] Yelena!
1870
01:26:17,589 --> 01:26:19,259
[Schreier]
And this is probably...
1871
01:26:19,260 --> 01:26:21,889
well, one of my favorite scenes
in the movie for sure.
1872
01:26:21,890 --> 01:26:24,895
This is another scene
that Sonny really wrote,
1873
01:26:24,896 --> 01:26:28,151
paired with that scene
in Alexei’s apartment
from the beginning.
1874
01:26:28,152 --> 01:26:29,738
And, you know,
really trying
to push this movie
1875
01:26:29,739 --> 01:26:31,658
to a different corner
than you might expect
1876
01:26:31,659 --> 01:26:34,540
for a young woman
who’s really
going through something.
1877
01:26:35,166 --> 01:26:36,961
Uh...
1878
01:26:36,962 --> 01:26:38,715
And I think this was always
one of my favorite scenes
1879
01:26:38,716 --> 01:26:40,175
from the moment I read it.
1880
01:26:40,176 --> 01:26:42,013
I don’t think we shot it
till about eight weeks in,
1881
01:26:42,014 --> 01:26:44,601
and I think we had
half a day for it, um...
1882
01:26:44,602 --> 01:26:50,154
But you just were so excited,
knowing how good David
and Florence are together
1883
01:26:50,155 --> 01:26:51,949
and were gonna be.
1884
01:26:51,950 --> 01:26:53,285
And I remember
there actually...
1885
01:26:53,286 --> 01:26:54,830
Yeah, there was
a lightning storm that day.
1886
01:26:54,831 --> 01:26:55,957
We had to wait on stuff.
1887
01:26:55,958 --> 01:26:57,251
There was this tension
1888
01:26:57,252 --> 01:26:59,047
of just wanting
to see this scene happen.
1889
01:26:59,048 --> 01:27:00,800
And I think after
the first take on her,
1890
01:27:00,801 --> 01:27:02,553
David turned to me
and he was like,
1891
01:27:02,554 --> 01:27:03,973
"I mean, that’s it.
I don’t know that
1892
01:27:03,974 --> 01:27:05,601
you’re gonna get
any better than that."
1893
01:27:05,602 --> 01:27:07,773
And we did more takes,
of course,
1894
01:27:07,774 --> 01:27:12,490
but they were just so ready
to perform this, um,
1895
01:27:12,491 --> 01:27:15,412
and I don’t know,
1896
01:27:15,413 --> 01:27:17,458
there are just times when,
you know,
1897
01:27:17,459 --> 01:27:19,212
I care a lot about camerawork,
1898
01:27:19,213 --> 01:27:20,840
but in a scene like this,
1899
01:27:20,841 --> 01:27:23,178
sometimes you wanna just be
as simple as you possibly can.
1900
01:27:23,179 --> 01:27:26,894
And it’s just two lens sizes,
you know, one at a time,
1901
01:27:26,895 --> 01:27:30,025
so you’re on the eyeline
on each of them,
and you just let them go.
1902
01:27:30,026 --> 01:27:31,695
There’s a wide shot
to lead you into it,
1903
01:27:31,696 --> 01:27:33,240
but there’s no
fancy camerawork.
1904
01:27:33,241 --> 01:27:34,617
We’re not pushing in.
1905
01:27:34,618 --> 01:27:37,289
The last thing you wanna do
is get in the way
1906
01:27:37,290 --> 01:27:38,625
of performances like that.
1907
01:27:38,626 --> 01:27:40,629
There are times
to do fancy things
1908
01:27:40,630 --> 01:27:42,259
and there are times
to just let it go.
1909
01:27:43,386 --> 01:27:45,013
My first...
1910
01:27:45,014 --> 01:27:46,516
[Schreier]
And it’s interesting,
you edit this movie,
1911
01:27:46,517 --> 01:27:48,311
and you watch this stuff
over and over.
1912
01:27:48,312 --> 01:27:50,733
I remember the first time
I saw this in the assembly,
1913
01:27:50,734 --> 01:27:53,530
and, you know, I choked up
a little bit just
’cause of that performance.
1914
01:27:53,531 --> 01:27:56,453
And it’s hard to remember that
that’s a thing
that’s out there for you
1915
01:27:56,454 --> 01:27:57,998
as you edit it
over and over again.
1916
01:27:57,999 --> 01:27:59,793
When you see it with
an audience again
for the first time,
1917
01:27:59,794 --> 01:28:01,337
you can feel it in the room.
1918
01:28:01,338 --> 01:28:04,635
Maybe not for everyone,
but certainly for me, I think,
1919
01:28:04,636 --> 01:28:07,851
just, again, as someone
who appreciates great acting.
1920
01:28:07,852 --> 01:28:09,980
You know, to be able
to be in this movie
1921
01:28:09,981 --> 01:28:12,693
and with the scale
and scope of everything
that’s going on around you,
1922
01:28:12,694 --> 01:28:17,661
but to get to this place
that feels so small
and relatable
1923
01:28:17,662 --> 01:28:19,541
and how much she commits to it.
1924
01:28:20,878 --> 01:28:23,089
I mean, you don’t really...
1925
01:28:23,090 --> 01:28:25,093
This is the thing
about making these movies.
1926
01:28:25,094 --> 01:28:26,554
You’re on so much stuff,
1927
01:28:26,555 --> 01:28:28,767
and you’re doing all the action
and all these things,
1928
01:28:28,768 --> 01:28:31,523
but the movie only works
if this thing that you get
in half a day
1929
01:28:31,524 --> 01:28:35,280
with two setups,
with two actors, if it sings.
1930
01:28:35,281 --> 01:28:36,659
And, you know, the...
1931
01:28:37,870 --> 01:28:41,376
I mean, she’s actual magic.
1932
01:28:41,377 --> 01:28:44,757
I mean, if you ever
get a chance to work with her,
you should take it.
1933
01:28:44,758 --> 01:28:47,680
And David, you know,
to do that performance,
1934
01:28:47,681 --> 01:28:50,644
to be as big and as funny
as Alexei can be
1935
01:28:50,645 --> 01:28:53,149
but bring it in the way
that he does in this scene,
1936
01:28:53,150 --> 01:28:57,241
I mean, I’m just so in awe
of both of them.
1937
01:28:57,242 --> 01:29:00,247
This scene actually used to,
and I think you see it
in some of the posters--
1938
01:29:00,248 --> 01:29:02,459
used to end in a hug,
and the hug was beautiful.
1939
01:29:02,460 --> 01:29:04,338
I loved that moment.
1940
01:29:04,339 --> 01:29:07,303
But we actually felt
like she was arcing
a little bit too soon,
1941
01:29:07,304 --> 01:29:12,354
like we were letting her
learn too clearly the message
in the movie too early,
1942
01:29:12,355 --> 01:29:14,108
and we needed to leave room
for it to go,
1943
01:29:14,109 --> 01:29:17,406
so we cut around that
and had him look up here
1944
01:29:17,407 --> 01:29:19,827
and moved around the hug
before she can entirely process
1945
01:29:19,828 --> 01:29:20,830
what she’s learned here.
1946
01:29:24,171 --> 01:29:27,468
Little Easter egg, some posters
for bands I’ve done
music videos for on the wall:
1947
01:29:27,469 --> 01:29:30,641
Haim, and Francis
and the Lights,
that I was in for a bit,
1948
01:29:30,642 --> 01:29:32,561
and Cashmere Cat.
1949
01:29:32,562 --> 01:29:36,402
I think also that perfume ad
on the bus station behind it
1950
01:29:36,403 --> 01:29:38,157
we made Watts Perfume,
in Jon’s honor.
1951
01:29:40,996 --> 01:29:43,792
And now the movie
gets a little bit bigger
and we get the scope.
1952
01:29:43,793 --> 01:29:46,130
And this is...
Obviously, there’s
a lot of CG going on here.
1953
01:29:46,131 --> 01:29:49,136
ILM did such beautiful work
building New York City
1954
01:29:49,137 --> 01:29:51,349
and also just the design
of what the Void looks like,
1955
01:29:51,350 --> 01:29:54,689
which, you know,
Kevin encouraged us to make...
1956
01:29:54,690 --> 01:29:57,236
He asked if there was
any photographic,
in-camera way we could do it,
1957
01:29:57,237 --> 01:30:00,325
which there wasn’t really,
but embracing that concept,
1958
01:30:00,326 --> 01:30:02,579
just trying to make it
as simple as it could be,
1959
01:30:02,580 --> 01:30:05,335
where we did shoot Lewis
and then it is sort of...
1960
01:30:05,336 --> 01:30:08,133
You know, it’s not
an overall mask on him,
1961
01:30:08,134 --> 01:30:10,846
but it is kind of
these adjustable, like...
1962
01:30:10,847 --> 01:30:13,268
just allowing
a little bit of light
in certain parts
1963
01:30:13,269 --> 01:30:16,107
and turning the rest into
a nearly 2D silhouette.
1964
01:30:16,108 --> 01:30:18,028
And then the eyes
are not animated.
1965
01:30:18,029 --> 01:30:19,864
I mean, those come from
his actual eye movements,
1966
01:30:19,865 --> 01:30:21,826
and it really doesn’t work
if they stay on the whole time.
1967
01:30:21,827 --> 01:30:24,582
It starts to feel a little bit
like Terminator,
1968
01:30:24,583 --> 01:30:28,631
like they come from
the specular highlights,
1969
01:30:28,632 --> 01:30:31,179
you know, in his eye light
that they animated.
1970
01:30:31,180 --> 01:30:32,556
And then, of course,
these shadows...
1971
01:30:32,557 --> 01:30:35,771
Grace brought in
a ton of references for these,
1972
01:30:35,772 --> 01:30:37,901
a lot of, like,
the way burns spread.
1973
01:30:38,569 --> 01:30:40,864
We went to that.
1974
01:30:40,865 --> 01:30:43,411
And, again, just trying
to figure out, like,
what’s something simpler?
1975
01:30:43,412 --> 01:30:45,916
You know,
when you work on effects...
This is not simple.
1976
01:30:45,917 --> 01:30:48,213
This is incredible
CGI work from ILM.
1977
01:30:48,214 --> 01:30:49,548
There’s no other way
to do this.
1978
01:30:49,549 --> 01:30:51,886
But when it comes
to the shadows, you know,
1979
01:30:51,887 --> 01:30:53,348
we would get wedges--
1980
01:30:53,349 --> 01:30:54,892
and some of that
shadow development
1981
01:30:54,893 --> 01:30:58,233
happened with Framestore
and Rising Sun Pictures
as well--
1982
01:30:58,234 --> 01:31:00,779
of, "Here’s six ways
we could do it.
Here’s the simplest."
1983
01:31:00,780 --> 01:31:03,326
And we would often say,
"Actually,
start from the simplest,
1984
01:31:03,327 --> 01:31:06,332
and then do a wedge
of six ways
even simpler than that."
1985
01:31:06,333 --> 01:31:09,046
You know, that we really
didn’t want this
to feel like CG,
1986
01:31:09,047 --> 01:31:14,431
even if we were using
some of the best CG companies
in the world to do it.
1987
01:31:14,432 --> 01:31:17,396
We wanted it to have
a bit of a different texture.
1988
01:31:17,397 --> 01:31:19,985
This sequence...
You know what I think
is funny about this
1989
01:31:19,986 --> 01:31:21,904
is Kevin actually asked,
1990
01:31:21,905 --> 01:31:24,160
"Do we have to do
another crane falling?
We do that so much."
1991
01:31:24,161 --> 01:31:26,455
I mean, he kept pushing me
more than I even expected
1992
01:31:26,456 --> 01:31:29,670
to try to
do things differently,
and I stood up for that one.
1993
01:31:29,671 --> 01:31:32,384
I wanted the crane falling.
I felt like the trailers
were gonna need that scope,
1994
01:31:32,385 --> 01:31:34,889
and really
this entire sequence...
1995
01:31:34,890 --> 01:31:37,186
You know, Alexei references it
in the beginning, you know,
1996
01:31:37,187 --> 01:31:39,106
saving civilians
in the streets, you know,
1997
01:31:39,107 --> 01:31:41,068
it’s this kind of
time-honored thing.
1998
01:31:41,069 --> 01:31:46,871
And even if there is
a little bit of, you know,
near hokeyness to some of it,
1999
01:31:46,872 --> 01:31:48,750
you know, especially
when they’re lifting the slab,
2000
01:31:48,751 --> 01:31:52,507
it all exists because
this is a thing they can solve,
2001
01:31:52,508 --> 01:31:54,220
and then there’s going to be
a problem that they can’t,
2002
01:31:54,221 --> 01:31:57,643
so I used to talk about
how all of this money
and all of this shooting time
2003
01:31:57,644 --> 01:32:00,857
and all of the CG
was really only going into it
2004
01:32:00,858 --> 01:32:03,321
for that one moment
of the little girl
getting voided,
2005
01:32:03,322 --> 01:32:05,116
which we’re gonna come to
in a moment
2006
01:32:05,117 --> 01:32:09,083
and is maybe my favorite moment
to watch in the theater
of this film.
2007
01:32:09,084 --> 01:32:12,673
But, again, so much more
of this than you would think
was in-camera, like this slab.
2008
01:32:12,674 --> 01:32:15,595
Dan Sudick
and his special effects team
built an actual cement slab
2009
01:32:15,596 --> 01:32:17,891
that was on a hoist
that we filmed for this.
2010
01:32:17,892 --> 01:32:20,939
This shot is in-camera,
everything that
they’re lifting up.
2011
01:32:20,940 --> 01:32:25,448
That is an actual,
gigantically heavy slab
that they’re lifting.
2012
01:32:25,449 --> 01:32:28,788
And, sure, okay,
what is Ghost really gonna do?
2013
01:32:28,789 --> 01:32:30,792
What is Yelena gonna do?
They’re not super soldiers.
2014
01:32:30,793 --> 01:32:34,383
But we just struggled
to come up with an image
that would work as well
2015
01:32:34,384 --> 01:32:36,887
for establishing them
finally coming together
as a team
2016
01:32:36,888 --> 01:32:40,687
in that very classic hero way
before we undercut that.
2017
01:32:40,688 --> 01:32:43,568
This came from
Phil Langone boards
for this sequence,
2018
01:32:43,569 --> 01:32:45,614
and we were never
able to beat it.
2019
01:32:49,289 --> 01:32:52,001
So that’s an actual fall.
All that dust is real.
2020
01:32:52,002 --> 01:32:53,671
We put a little too much dust
on the thing,
2021
01:32:53,672 --> 01:32:55,592
and then we went with it
as a transition.
2022
01:32:55,593 --> 01:32:59,558
[crowd applauding]
2023
01:32:59,559 --> 01:33:02,314
[Schreier] And this moment
was very important,
as Kevin pointed out--
2024
01:33:02,315 --> 01:33:04,610
Yeah, Alexei soaking it up,
what he wanted--
2025
01:33:04,611 --> 01:33:08,743
of Val processing her idea
for what she’s gonna do
at the end of the film.
2026
01:33:08,744 --> 01:33:09,621
[child] Mom?
2027
01:33:12,293 --> 01:33:14,505
[Schreier]
And here we go.
Here’s our little girl.
2028
01:33:14,506 --> 01:33:18,554
So edging on cheese,
saving the most classic
little girl in the street,
2029
01:33:18,555 --> 01:33:21,268
which is all, again,
this entire sequence
is just building up
2030
01:33:21,269 --> 01:33:24,483
to get this moment to land,
which it didn’t in our
earliest test screenings.
2031
01:33:24,484 --> 01:33:27,322
We didn’t get the gasp
that we now get in theaters,
2032
01:33:27,323 --> 01:33:31,455
which I think really
had to fine-tune
the music with Son Lux,
2033
01:33:31,456 --> 01:33:34,169
of building up to
this borderline cheesy moment
2034
01:33:34,170 --> 01:33:36,298
before it’s undercut
and then we finally start to...
2035
01:33:36,299 --> 01:33:38,970
Maybe it’s also just getting
all the VFX finished
2036
01:33:38,971 --> 01:33:41,308
and buying into that sequence.
2037
01:33:41,309 --> 01:33:44,189
But now you get to see more
of that shadow spread
that ILM built.
2038
01:33:44,190 --> 01:33:46,777
You know, and there’s a lot of
nice texture in those shadows.
2039
01:33:46,778 --> 01:33:49,491
It is a very simple effect
with no flash.
2040
01:33:49,492 --> 01:33:54,293
It’s a one-and-a-half frame
animation from being upright
to becoming a shadow,
2041
01:33:54,294 --> 01:33:58,134
and anything more than that,
you started to feel
the CG creep into it,
2042
01:33:58,135 --> 01:34:00,763
so it really took
some confidence to feel...
2043
01:34:00,764 --> 01:34:04,146
It feels a little exposed
to do such a simple...
2044
01:34:04,147 --> 01:34:06,525
It’s almost just a cut
to them being gone.
2045
01:34:06,526 --> 01:34:09,030
But, you know,
it just felt like
2046
01:34:09,031 --> 01:34:10,825
a different way
to approach this.
2047
01:34:10,826 --> 01:34:13,915
And it’s nice to see
how effective that is
in theaters.
2048
01:34:13,916 --> 01:34:16,462
And this is one of my
favorite moments in the film.
2049
01:34:16,463 --> 01:34:20,637
You know, really Yelena
processing that, and maybe
that little feeling inside,
2050
01:34:20,638 --> 01:34:22,724
that is she drawn
to that same thing
2051
01:34:22,725 --> 01:34:24,311
she was drawn to
in the beginning?
2052
01:34:24,312 --> 01:34:26,482
Is this it for her?
2053
01:34:26,483 --> 01:34:28,819
You know, is she not
along for this ride
given what she’s gone through?
2054
01:34:28,820 --> 01:34:30,865
But also she’s had
that experience with Alexei,
2055
01:34:30,866 --> 01:34:33,371
and, of course,
really what’s happening is
2056
01:34:33,372 --> 01:34:35,625
she understands maybe
even a little bit of guilt
2057
01:34:35,626 --> 01:34:40,301
for having expressed
this idea to Bob
of "We’re all alone" to him
2058
01:34:40,302 --> 01:34:44,309
that he’s now processing
and knowing that she needs
to take a leap of faith,
2059
01:34:44,310 --> 01:34:47,607
and again, that same memetic,
eyes closed,
breath in and step.
2060
01:34:47,608 --> 01:34:49,611
And we matched that frame.
2061
01:34:49,612 --> 01:34:51,865
I mean, it’s not exact,
but we actually had to shoot
2062
01:34:51,866 --> 01:34:54,329
on a different side
of the building in Malaysia
2063
01:34:54,330 --> 01:34:58,128
to match the angle
that she’s stepping
into the shadow here,
2064
01:34:58,129 --> 01:35:01,677
so it’s meant to truly mirror
that image of her
stepping off the building
2065
01:35:01,678 --> 01:35:03,014
at the beginning of the film.
2066
01:35:13,619 --> 01:35:16,290
And now we’re back in
one of my favorite sets.
2067
01:35:16,291 --> 01:35:17,585
[Anya] Yelena!
2068
01:35:19,797 --> 01:35:23,430
[Schreier] And this is where
we really come to understand
the idea of the Void
2069
01:35:25,476 --> 01:35:27,729
and these loops,
’cause we haven’t looped
these things before,
2070
01:35:27,730 --> 01:35:29,358
and I think
we kept adding to that,
2071
01:35:29,359 --> 01:35:31,779
I felt like, in the edit,
as we were cutting it on set.
2072
01:35:31,780 --> 01:35:34,451
You would need
to do three of these
2073
01:35:34,452 --> 01:35:38,250
to really understand
the looping nature of this.
2074
01:35:38,251 --> 01:35:41,298
Something Kevin thought
was very important,
which was nice,
2075
01:35:41,299 --> 01:35:43,469
is that she’s
calling out to Bob
so there’s an urgency to this,
2076
01:35:43,470 --> 01:35:45,180
like she’s in here to find him
2077
01:35:45,181 --> 01:35:49,439
but then is also almost
unable to look away
from her prior shame.
2078
01:35:49,440 --> 01:35:53,029
And again, that wall’s
just been there the whole time,
and this is a very...
2079
01:35:53,030 --> 01:35:54,950
You know, again,
sometimes you feel exposed
2080
01:35:54,951 --> 01:35:56,328
and you’re, like,
everyone’s just gonna notice,
2081
01:35:56,329 --> 01:35:59,418
but I think most people don’t
until this moment
2082
01:35:59,419 --> 01:36:02,674
when she hits it
and you see the loop extend,
2083
01:36:02,675 --> 01:36:06,724
which then draws her back in,
attempting to stop this
from happening.
2084
01:36:06,725 --> 01:36:08,853
But of course,
the sort of rule of the Void,
2085
01:36:08,854 --> 01:36:10,857
you know, that we learned
through the course
of making this
2086
01:36:10,858 --> 01:36:13,194
is that you cannot
interfere with it.
2087
01:36:13,195 --> 01:36:16,285
That only through some sort of
acceptance and distance
can you get out of this loop.
2088
01:36:16,286 --> 01:36:18,664
As she tries to fight it,
it makes it even worse,
2089
01:36:18,665 --> 01:36:20,502
and the Void fights back
against her.
2090
01:36:25,888 --> 01:36:28,851
This is the "sentient tree"
that Sonny added,
we used to call it.
2091
01:36:28,852 --> 01:36:32,274
Looked a little silly on set,
but Florence really
sold that thing,
2092
01:36:32,275 --> 01:36:34,905
and then the little additions
in post made it work.
2093
01:36:34,906 --> 01:36:37,328
[speaking Russian]
2094
01:36:38,622 --> 01:36:40,123
[Schreier]
These kids are so good.
2095
01:36:40,124 --> 01:36:41,251
Uh...
2096
01:36:42,128 --> 01:36:44,508
Alexa plays Anya,
2097
01:36:44,509 --> 01:36:48,516
and of course, Violet McGraw
who played a young
Yelena Belova in Black Widow
2098
01:36:48,517 --> 01:36:50,060
is back to play
Young Yelena here,
2099
01:36:50,061 --> 01:36:51,689
and they both did
just such a great job.
2100
01:37:06,301 --> 01:37:08,389
Bob?
2101
01:37:08,390 --> 01:37:10,852
[Schreier]
These scenes, that scene
of Yelena’s childhood
2102
01:37:10,853 --> 01:37:12,856
and having a friend killed,
2103
01:37:12,857 --> 01:37:15,444
that was a Sonny addition
as well as this scene,
2104
01:37:15,445 --> 01:37:17,448
and going through
to the bathroom in the attic,
2105
01:37:17,449 --> 01:37:19,118
all the details
of that sequence
2106
01:37:19,119 --> 01:37:20,705
were something he really
brought to the movie
2107
01:37:20,706 --> 01:37:24,044
in such a beautiful way.
2108
01:37:24,045 --> 01:37:27,594
He really felt it was important
that this not just be
about trauma
2109
01:37:27,595 --> 01:37:32,645
but focusing more
on a sense of shame
and one’s own culpability
2110
01:37:32,646 --> 01:37:35,776
for the darkness
that one finds oneself in.
2111
01:37:35,777 --> 01:37:37,906
And I thought that was
such an interesting
distinction,
2112
01:37:37,907 --> 01:37:41,120
so that you see each of that
in these scenes, you know,
2113
01:37:41,121 --> 01:37:43,709
that it’s not just
a terrible memory
2114
01:37:43,710 --> 01:37:45,923
but one’s own culpability
within it.
2115
01:37:59,115 --> 01:38:03,122
Florence is just so good here
playing both sides of herself,
you know.
2116
01:38:03,123 --> 01:38:05,962
And this is in a very recent
dark place she felt.
2117
01:38:05,963 --> 01:38:08,634
Incredible VFX work here.
2118
01:38:08,635 --> 01:38:11,222
You know,
we didn’t do motion control
for any of this,
2119
01:38:11,223 --> 01:38:13,852
but just filmed
Florence with the double
2120
01:38:13,853 --> 01:38:16,400
and filmed both sides of it,
got it as close as we could,
2121
01:38:16,401 --> 01:38:18,696
and then used face replacement
and compositing
2122
01:38:18,697 --> 01:38:20,783
to bring those
two shots together.
2123
01:38:20,784 --> 01:38:22,996
And then, again, it’s just
an editing transition
of the loop.
2124
01:38:22,997 --> 01:38:25,626
And this is where I think
you really start
to feel the weight
2125
01:38:25,627 --> 01:38:29,174
of there being
no way out of here
if you try to disturb it.
2126
01:38:29,175 --> 01:38:32,807
This scene was a later add
and a Kevin idea
2127
01:38:32,808 --> 01:38:35,145
about wanting to find...
2128
01:38:35,146 --> 01:38:39,571
to track our heroes on
their journey into this Void
after her and showing...
2129
01:38:39,572 --> 01:38:41,825
It’s nice to see some of--
2130
01:38:41,826 --> 01:38:44,789
despite the last time
we saw them together--
2131
01:38:44,790 --> 01:38:48,964
Ava’s faith in Yelena’s
decision to go in
2132
01:38:48,965 --> 01:38:51,177
and the idea that
that would be worth following.
2133
01:38:51,178 --> 01:38:54,642
And of course,
Alexei in his sadness,
2134
01:38:54,643 --> 01:38:58,149
is grateful for any idea
that he might be
able to find her.
2135
01:38:58,150 --> 01:39:00,571
And here we find where
she just says, "Enough,"
2136
01:39:00,572 --> 01:39:02,240
and it’s a simple thing,
2137
01:39:02,241 --> 01:39:04,913
but it just means
she’s not gonna
fight it anymore,
2138
01:39:04,914 --> 01:39:07,125
and in not fighting it,
that brings her closer to Bob.
2139
01:39:07,126 --> 01:39:08,962
This was actually all built...
2140
01:39:08,963 --> 01:39:11,425
So that wall with that mirror,
we built onto the attic set.
2141
01:39:11,426 --> 01:39:14,389
This is all in-camera.
There’s no compositing
in those mirrors.
2142
01:39:14,390 --> 01:39:17,145
And these sets are built
just for that shot.
2143
01:39:17,146 --> 01:39:19,526
Obviously here, we’re in
the normal bathroom set.
2144
01:39:19,527 --> 01:39:21,363
But as we begin
this transition...
2145
01:39:24,035 --> 01:39:26,957
You know, after she says,
"What we talked about
in the vault,"
2146
01:39:26,958 --> 01:39:28,794
this is all in-camera,
2147
01:39:28,795 --> 01:39:32,134
where the lights go down here
and we pan her through.
2148
01:39:32,135 --> 01:39:34,973
And it’s just two joined sets
2149
01:39:34,974 --> 01:39:37,310
that brings her into the attic
and to the center of the Void
2150
01:39:37,311 --> 01:39:39,273
because he’s allowed her in.
2151
01:39:39,274 --> 01:39:41,193
And then, of course,
we establish now
that’s not there anymore.
2152
01:39:41,194 --> 01:39:43,574
But, again,
just very, very simple
editing tricks for this.
2153
01:39:43,575 --> 01:39:47,582
It felt like, in a funny way,
by doing smaller,
simpler things,
2154
01:39:47,583 --> 01:39:51,422
that was the way to take things
in a newer, different direction
for Marvel
2155
01:39:51,423 --> 01:39:56,098
and honor that
instruction from Kevin
to make it different.
2156
01:39:56,099 --> 01:39:59,062
And then, you know,
when you have
an actress like Florence,
2157
01:39:59,063 --> 01:40:03,196
when you can establish, uh,
with humor, what this is,
2158
01:40:03,197 --> 01:40:04,574
these interconnected
shame rooms,
2159
01:40:04,575 --> 01:40:06,493
but even amidst
all this darkness,
2160
01:40:06,494 --> 01:40:08,708
that always gets a laugh
in the theater.
2161
01:40:10,670 --> 01:40:13,550
Some beautiful sound work
here too from Paul Hsu.
2162
01:40:13,551 --> 01:40:16,222
Skywalker did the sound
for this movie
and did an incredible job.
2163
01:40:16,223 --> 01:40:19,144
Paul is someone I’ve known
since my first movie,
Robot & Frank,
2164
01:40:19,145 --> 01:40:22,484
where, you know, we tried
to design the sound
of the Void.
2165
01:40:22,485 --> 01:40:26,952
And we tried a lot of things
and this idea of voices
poking in from the other rooms,
2166
01:40:26,953 --> 01:40:29,666
which was too much
of a cacophony,
2167
01:40:29,667 --> 01:40:31,962
but it ended up
this very simple thing he built
2168
01:40:31,963 --> 01:40:37,640
where building
this infinity reverb tail
on the lines of the Void,
2169
01:40:37,641 --> 01:40:40,980
processing that
and then doing a detune on that
2170
01:40:40,981 --> 01:40:46,950
and mixing that in so
there’s this constant spooky,
detuned reverb wash
2171
01:40:46,951 --> 01:40:49,455
that is built on the lines
that are being said above it.
2172
01:40:52,086 --> 01:40:53,755
So yeah, this was
a beautiful scene
that Sonny wrote.
2173
01:40:53,756 --> 01:40:55,091
Then what’s happening
down below,
2174
01:40:55,092 --> 01:40:58,932
Joanna wrote beautifully,
this sense of...
2175
01:40:58,933 --> 01:41:01,145
You know, there’s so much
to establish in this moment
2176
01:41:01,146 --> 01:41:03,775
of Bob trying to be the hero,
which his dad alludes to,
2177
01:41:03,776 --> 01:41:05,612
and protect his mother.
2178
01:41:05,613 --> 01:41:07,575
But then the heartbreak
comes from his mother saying,
2179
01:41:07,576 --> 01:41:09,996
"In doing that,
you only made it worse."
2180
01:41:09,997 --> 01:41:11,791
And in such a few
amount of lines
2181
01:41:11,792 --> 01:41:15,048
to establish both sides
of that duality
2182
01:41:15,049 --> 01:41:18,429
of Bob’s desire for heroism
and his sense that, in fact,
2183
01:41:18,430 --> 01:41:22,103
that aspiration
is what brought about
the worst thing,
2184
01:41:22,104 --> 01:41:24,441
to have all of those things
in such a tiny scene
2185
01:41:24,442 --> 01:41:28,157
to establish The Sentry side
and the Void side,
2186
01:41:28,158 --> 01:41:30,663
I thought that was
such beautiful writing
on her part.
2187
01:41:31,456 --> 01:41:32,917
And this scene...
2188
01:41:32,918 --> 01:41:35,129
We filmed this, I think,
in the third week of filming,
2189
01:41:35,130 --> 01:41:37,718
and I was so excited
to have these two actors
and do this scene
2190
01:41:37,719 --> 01:41:39,429
and have it build
to this conversation.
2191
01:41:39,430 --> 01:41:41,058
But it’s one of those things
2192
01:41:41,059 --> 01:41:43,354
where I think all of us
would say if we were asked,
2193
01:41:43,355 --> 01:41:46,861
I don’t know that any of us
felt for sure that we had it
when we left set,
2194
01:41:46,862 --> 01:41:49,116
and it was only really
when we got in the edit
2195
01:41:49,117 --> 01:41:50,828
where I was able
to find those moments,
2196
01:41:50,829 --> 01:41:52,497
and it’s like,
"Oh, no, it was there."
2197
01:41:52,498 --> 01:41:56,255
But it’s a risky thing
to build a movie like this
2198
01:41:56,256 --> 01:41:59,387
up to a conversation
with no movement in an attic.
2199
01:42:01,391 --> 01:42:03,979
And just her
sense of confidence
2200
01:42:03,980 --> 01:42:08,028
and how nuanced and small
her performance is,
2201
01:42:08,029 --> 01:42:11,160
and just that moment of Lewis
being unable to hold her gaze.
2202
01:42:11,161 --> 01:42:13,372
And then this idea
that things are shaking
2203
01:42:13,373 --> 01:42:15,752
because he’s beginning
to be won over
2204
01:42:15,753 --> 01:42:17,589
and that he thinks
he might leave,
2205
01:42:17,590 --> 01:42:21,013
that’s when the Void
begins to fight him,
that it begins to wake up.
2206
01:42:21,014 --> 01:42:24,519
And the other side of himself
is gonna fight them
to not let them out.
2207
01:42:24,520 --> 01:42:26,231
And so much of this
was done practically.
2208
01:42:26,232 --> 01:42:29,740
There’s a bunch of
excellent CG in here
from Framestore, but this...
2209
01:42:31,534 --> 01:42:35,667
I’m one shot early,
but this footstool
that flies at them,
2210
01:42:35,668 --> 01:42:38,924
these were all
Pyrocell pieces that
Dan Sudick and his team built
2211
01:42:38,925 --> 01:42:41,011
that are actually
flying at them
2212
01:42:41,012 --> 01:42:42,597
and look like they have weight.
2213
01:42:42,598 --> 01:42:44,185
This is an actual
guy in the wall...
2214
01:42:46,064 --> 01:42:48,317
Just trying to really honor
that kind of handmade sense
2215
01:42:48,318 --> 01:42:51,448
of how some of these
more horror ideas were done.
2216
01:42:51,449 --> 01:42:53,327
And the papers that are
flying around are real,
2217
01:42:53,328 --> 01:42:55,540
but then, yeah,
we do have some
added CG pieces,
2218
01:42:55,541 --> 01:42:58,546
but again, that idea
that if you get enough
of it in-camera,
2219
01:42:58,547 --> 01:43:00,759
you’re putting yourself
in such a position of success.
2220
01:43:00,760 --> 01:43:03,974
I mean, even the way
this curtain strangles them,
2221
01:43:03,975 --> 01:43:05,978
that almost is
an in-camera edit,
2222
01:43:05,979 --> 01:43:09,276
you know, that we add
a little bit of CG to.
2223
01:43:09,277 --> 01:43:11,823
Again, you’re just dependent
on these incredible actors
2224
01:43:11,824 --> 01:43:15,580
being able to sell that
a magic evil curtain
is strangling them.
2225
01:43:15,581 --> 01:43:18,294
But when it’s these actors
and when they built up
to that moment,
2226
01:43:18,295 --> 01:43:20,214
you go with it, you buy it.
2227
01:43:20,215 --> 01:43:21,592
And then we get our...
[chuckles]
2228
01:43:21,593 --> 01:43:23,930
Maybe the strangest
triumphant save
2229
01:43:23,931 --> 01:43:26,226
in one of these movies
where you’re...
2230
01:43:26,227 --> 01:43:28,733
breaking furniture
and ripping apart a pillow.
2231
01:43:31,029 --> 01:43:33,657
But, you know,
within the context
of what we’ve established,
2232
01:43:33,658 --> 01:43:36,998
we were always a little...
wondering if people
would go with this.
2233
01:43:36,999 --> 01:43:39,336
But then when you get
to Bucky’s line and he says,
2234
01:43:39,337 --> 01:43:42,843
"It’s okay.
I have a great past
so I’m totally fine,"
2235
01:43:42,844 --> 01:43:45,222
that’s one of the biggest
laughs that we get
in the movie,
2236
01:43:45,223 --> 01:43:47,477
and you would only
get that laugh
if people were with you
2237
01:43:47,478 --> 01:43:50,524
on that journey
of understanding what it means
to go through this Void.
2238
01:43:50,525 --> 01:43:52,362
And believe me,
in another version
of this movie,
2239
01:43:52,363 --> 01:43:56,620
I would’ve loved to see
inside all of their Void rooms.
2240
01:43:56,621 --> 01:43:59,668
And there were
different drafts of the script
where we tried to do that.
2241
01:43:59,669 --> 01:44:02,632
But in the end, it felt like
going through Bob’s
was the most important
2242
01:44:02,633 --> 01:44:04,594
as far as how to
get out of here.
2243
01:44:04,595 --> 01:44:06,349
Okay, okay.
Just h-how do we
get out of here?
2244
01:44:11,067 --> 01:44:14,991
I mean, as far as I know,
it’s just endless rooms.
2245
01:44:17,496 --> 01:44:20,459
[Schreier] From this point on,
this was really something
that Joanna pushed for,
2246
01:44:20,460 --> 01:44:22,923
which was the idea
of getting back to a big bad
2247
01:44:22,924 --> 01:44:25,469
and finding the worst room
and finding the Void
at the heart of this thing
2248
01:44:25,470 --> 01:44:28,434
and needing to confront him.
2249
01:44:28,435 --> 01:44:31,314
And then this is
about establishing
the external stakes
2250
01:44:31,315 --> 01:44:33,360
if they don’t solve this.
2251
01:44:33,361 --> 01:44:36,158
And, you know, I thought,
at first we had kind of
ominous music over this,
2252
01:44:36,159 --> 01:44:40,124
but in the end
it felt more spooky
to just let it play.
2253
01:44:40,125 --> 01:44:42,128
That’s actually
my old commercial
production company office
2254
01:44:42,129 --> 01:44:43,714
in New York, Park Pictures.
2255
01:44:43,715 --> 01:44:45,217
They were nice enough
to let us shoot there
2256
01:44:45,218 --> 01:44:46,930
when I did all the New York
aerials and exteriors.
2257
01:44:48,391 --> 01:44:50,770
Um, and then we find ourselves
back in the Void
2258
01:44:50,771 --> 01:44:56,199
and back in this very
kind of Spike Jonze,
Gondry escape, uh,
2259
01:44:57,034 --> 01:44:59,120
through Bob’s rooms.
2260
01:44:59,121 --> 01:45:01,666
And here we have...
this was added later.
2261
01:45:01,667 --> 01:45:04,339
This is the meth chicken room,
which is definitely
on the edge.
2262
01:45:04,340 --> 01:45:06,134
Probably the only time
you’re gonna see "meth chicken"
2263
01:45:06,135 --> 01:45:09,682
on a strip board
or a schedule board at Marvel.
2264
01:45:09,683 --> 01:45:12,313
But I just felt...
Both for the dynamics
of them falling through...
2265
01:45:12,314 --> 01:45:14,609
And it felt like
in the Pixar version
of this movie,
2266
01:45:14,610 --> 01:45:18,492
you would have a bit of humor
before you got
to the lowest point,
2267
01:45:18,493 --> 01:45:20,746
even if it’s a very
dark form of humor,
2268
01:45:20,747 --> 01:45:23,335
and it’s atypical to say...
[chuckles] ..."I was on meth,"
in a Marvel movie.
2269
01:45:23,336 --> 01:45:27,385
Or to have Bucky Barnes
save the day
by punching a chicken,
2270
01:45:27,386 --> 01:45:32,270
but it felt like we really
wanted to push the concept
to its furthest extensions
2271
01:45:32,271 --> 01:45:34,691
before we got
to the lowest point.
2272
01:45:34,692 --> 01:45:36,320
So hopefully,
you go with us on that one.
2273
01:45:38,032 --> 01:45:41,288
Love that shot.
Great shot by Andrew.
2274
01:45:41,289 --> 01:45:43,458
And it’s nice
where you actually have...
2275
01:45:43,459 --> 01:45:45,796
I mean, obviously the Void,
that’s an effect
to make him a silhouette,
2276
01:45:45,797 --> 01:45:49,889
but by putting him
against the backlight,
it doesn’t feel as incongruous,
2277
01:45:49,890 --> 01:45:51,600
like it feels like it fits
2278
01:45:51,601 --> 01:45:54,857
with how the photography
actually would be
for a moment like that,
2279
01:45:54,858 --> 01:45:56,276
so that’s a really nice...
2280
01:45:56,277 --> 01:45:58,572
You know, between Framestore,
who did this sequence,
2281
01:45:58,573 --> 01:46:01,703
and Andrew and Rafi and Chuck
and all the lighting,
2282
01:46:01,704 --> 01:46:03,876
that’s a nice way to watch
those two things dovetail.
2283
01:46:05,922 --> 01:46:08,133
[Bob] Felt like a miracle.
2284
01:46:08,134 --> 01:46:10,931
[Schreier] And here Bob
finally defines, you know,
2285
01:46:10,932 --> 01:46:14,812
this idea of
what would the worst room
for someone like Bob be,
2286
01:46:14,813 --> 01:46:18,905
and it’s not actually,
in some ways, the trauma
of his childhood, but more...
2287
01:46:18,906 --> 01:46:21,117
you know, is there something
more heartbreaking
2288
01:46:21,118 --> 01:46:24,040
about it being the place
where he tried to be a hero,
2289
01:46:24,041 --> 01:46:26,753
where he tried to become
something bigger than himself
2290
01:46:26,754 --> 01:46:29,175
and, in his own estimation...
2291
01:46:29,176 --> 01:46:31,221
You know, he says it here,
"The most shameful thing of all
2292
01:46:31,222 --> 01:46:34,268
was thinking you could be
anything more than nothing."
2293
01:46:34,269 --> 01:46:36,731
And for the way that Bob feels
about himself in this moment,
2294
01:46:36,732 --> 01:46:38,276
this is the biggest shame,
2295
01:46:38,277 --> 01:46:41,032
is to imagine that
he could be anything better.
2296
01:46:41,033 --> 01:46:42,703
And that feels
like the lowest feeling.
2297
01:46:45,291 --> 01:46:46,085
No.
2298
01:46:52,264 --> 01:46:55,019
[Schreier] It’s quite a thing
when you ask a bunch
of the greatest actors on Earth
2299
01:46:55,020 --> 01:46:58,608
to be locked up against a wall
by furniture.
2300
01:46:58,609 --> 01:47:02,783
Requires a lot of faith
on their part
and a lot of faith on our part
2301
01:47:02,784 --> 01:47:05,414
to know that Framestore was
gonna come through eventually,
2302
01:47:05,415 --> 01:47:08,378
and even though we had
practical versions of these
things on set, for sure,
2303
01:47:08,379 --> 01:47:11,634
obviously they’ve
augmented them
to make them look better.
2304
01:47:11,635 --> 01:47:14,599
And then just to watch Lewis,
you know, have to play
both of these parts,
2305
01:47:14,600 --> 01:47:16,686
have to learn both sides
of this fight
2306
01:47:16,687 --> 01:47:19,567
and still appeal
to this sense of him
trying to protect people
2307
01:47:19,568 --> 01:47:21,696
and, you know,
have his darker side
laugh at himself
2308
01:47:21,697 --> 01:47:23,575
for wanting to do that.
2309
01:47:23,576 --> 01:47:24,369
[laughs]
2310
01:47:25,330 --> 01:47:26,832
Robert, the hero.
2311
01:47:30,840 --> 01:47:33,553
[Schreier] That’s a real
glass explosion that we did.
2312
01:47:33,554 --> 01:47:35,975
And then there’s candy glass
on their faces.
2313
01:47:35,976 --> 01:47:38,355
I’m stronger than you.
2314
01:47:38,356 --> 01:47:40,317
[Schreier] And this idea
that you’re expecting to
2315
01:47:40,318 --> 01:47:42,071
want to fight the Void
and beat him,
2316
01:47:42,072 --> 01:47:43,698
but that, in fact,
this is what the Void wants.
2317
01:47:43,699 --> 01:47:45,620
He’s goading Bob
into doing this.
2318
01:47:47,958 --> 01:47:51,464
And, again, Lewis learning
both sides of this fight
and having to perform it,
2319
01:47:51,465 --> 01:47:53,260
switch costumes,
do it for each of these shots,
2320
01:47:53,261 --> 01:47:55,472
and do both sides of it
before he becomes a silhouette
2321
01:47:55,473 --> 01:47:59,605
’cause even as a silhouette,
even though sometimes
this is Alec or Ben,
2322
01:47:59,606 --> 01:48:02,153
his wonderful stunt doubles,
2323
01:48:02,154 --> 01:48:05,576
you really want Lewis,
even in silhouette form,
embodying that character.
2324
01:48:05,577 --> 01:48:08,416
And so we really
did it both ways
as much as we possibly could.
2325
01:48:11,422 --> 01:48:14,010
And then here’s
the idea of the movie:
"We will always be alone."
2326
01:48:14,011 --> 01:48:17,266
And then this was
something we added later,
after principal photography,
2327
01:48:17,267 --> 01:48:19,061
this idea of the room expanding
2328
01:48:19,062 --> 01:48:22,484
and physically carrying
our protagonists away from him
2329
01:48:22,485 --> 01:48:24,698
and establishing
that sense of isolation.
2330
01:48:28,664 --> 01:48:30,542
That first shot
is actually done in-camera,
2331
01:48:30,543 --> 01:48:34,217
where we just had Lewis
on a piece of Lexan
attached to a camera car
2332
01:48:34,218 --> 01:48:35,886
and pulled him back.
2333
01:48:35,887 --> 01:48:38,391
So even though there’s a lot of
wonderful CG in this sequence,
2334
01:48:38,392 --> 01:48:40,520
a lot of it is practical
and in-camera.
2335
01:48:40,521 --> 01:48:42,025
Again, always trying
to find that balance.
2336
01:48:47,661 --> 01:48:49,455
And then, again,
this is this thing
you root for,
2337
01:48:49,456 --> 01:48:52,044
as you see a near smile
on Walker’s face.
2338
01:48:52,045 --> 01:48:55,133
You’re used to rooting
that you should beat up
the bad guy.
2339
01:48:55,134 --> 01:48:58,848
You should beat the big bad,
but in our movie,
there is no winning that way.
2340
01:48:58,849 --> 01:49:01,104
You know,
there’s no version of this
that ever could’ve ended
2341
01:49:01,105 --> 01:49:02,606
in just a punch solving it,
2342
01:49:02,607 --> 01:49:05,112
and you see that, in fact,
in trying to fight himself
2343
01:49:05,113 --> 01:49:07,074
and destroy
that side of himself,
2344
01:49:07,075 --> 01:49:10,289
he’s becoming the darkness
that he’s trying to avoid
2345
01:49:10,290 --> 01:49:12,918
and that our characters
and everyone watching
needs to learn
2346
01:49:12,919 --> 01:49:14,965
that there is no kind of
physical solution to this.
2347
01:49:16,677 --> 01:49:18,096
Bob, stop!
2348
01:49:18,097 --> 01:49:20,059
This is what he wants!
2349
01:49:21,645 --> 01:49:23,273
[Schreier] And, of course,
in a superhero movie,
2350
01:49:23,274 --> 01:49:25,569
maybe that feels
like an odd resolution,
2351
01:49:25,570 --> 01:49:27,197
you know,
or it feels too small.
2352
01:49:27,198 --> 01:49:31,289
We added this
sequence of Yelena
so that there was, you know,
2353
01:49:31,290 --> 01:49:34,754
for our protagonist
who’s been inactive
on the sidelines,
2354
01:49:34,755 --> 01:49:38,428
a very active role
in solving this
in a sort of action context
2355
01:49:38,429 --> 01:49:41,016
in which she needs to
get to him to save him
2356
01:49:41,017 --> 01:49:42,311
and thus save the world,
2357
01:49:42,312 --> 01:49:44,273
which will be plunged
into darkness
2358
01:49:44,274 --> 01:49:45,859
if she doesn’t succeed.
2359
01:49:45,860 --> 01:49:47,946
That’s actually
Heidi Moneymaker.
2360
01:49:47,947 --> 01:49:50,869
So to have Scarlett’s
longtime stunt double
2361
01:49:50,870 --> 01:49:52,915
and now stunt coordinator
performing that
2362
01:49:52,916 --> 01:49:56,256
felt like a real...
something really
coming full circle.
2363
01:49:57,217 --> 01:49:58,260
I’m here.
2364
01:50:01,683 --> 01:50:03,479
It will always be just us.
2365
01:50:06,485 --> 01:50:08,822
[Schreier] Okay, yes,
if you want to be
frustrated with us
2366
01:50:08,823 --> 01:50:10,242
’cause it ends in a hug,
2367
01:50:10,243 --> 01:50:12,246
I mean, we always said
it’s not truly a hug.
2368
01:50:12,247 --> 01:50:13,957
They’re trying to
pull him back from himself,
2369
01:50:13,958 --> 01:50:15,877
but, of course,
that’s how it functions.
2370
01:50:15,878 --> 01:50:18,216
And this idea of her answering,
"You’re not alone,"
2371
01:50:18,217 --> 01:50:23,268
this idea that she’s expressed
to him in the beginning
now being answered.
2372
01:50:23,269 --> 01:50:26,357
Okay, it’s a hug,
but how else
were you gonna solve this?
2373
01:50:26,358 --> 01:50:29,613
And it’s a hug that we try
to frame in an action context.
2374
01:50:29,614 --> 01:50:31,993
You know, as much as it can,
we’ve tried to externalize
2375
01:50:31,994 --> 01:50:35,917
these very internal ideas
of the Void and also just...
2376
01:50:35,918 --> 01:50:39,341
I mean, Son Lux’s score
in this moment, I think,
2377
01:50:39,342 --> 01:50:41,387
with these actors
and with those ideas,
2378
01:50:41,388 --> 01:50:45,019
we did everything we could
to have you come along
that ride with us.
2379
01:50:45,020 --> 01:50:48,526
And, you know,
it was always gonna end
in some version of that.
2380
01:50:48,527 --> 01:50:52,701
And I feel like
where Lewis got to,
I’m just so proud of him
2381
01:50:52,702 --> 01:50:55,248
and amazed by Florence
and all of them
2382
01:50:55,249 --> 01:50:58,129
for executing
such a resonant version
of that moment.
2383
01:51:06,313 --> 01:51:08,441
It was very fun
being in this helicopter.
2384
01:51:08,442 --> 01:51:09,945
That’s all I’ll say.
That’s a treat.
2385
01:51:12,909 --> 01:51:14,995
This was something
we also talked a lot about,
2386
01:51:14,996 --> 01:51:16,749
about the ending
and how it would resolve,
2387
01:51:16,750 --> 01:51:20,047
and there’s a reason
in the comics why Sentry
always loses his memory,
2388
01:51:20,048 --> 01:51:24,890
’cause you can’t really
have someone as powerful
like that in the world.
2389
01:51:24,891 --> 01:51:28,063
Um, and in this case...
Yes. Don’t worry.
2390
01:51:28,064 --> 01:51:30,986
We’re not gonna
kill a little girl.
She comes back.
2391
01:51:30,987 --> 01:51:35,453
That was one of the
earliest shadow tests we did,
uh, was rejoining that shadow
2392
01:51:35,454 --> 01:51:37,499
as a means
of getting us out of this
2393
01:51:37,500 --> 01:51:41,257
without having to do
tons of shots of people
waking up around New York.
2394
01:51:41,258 --> 01:51:44,221
But we played around
with a lot of
different versions of...
2395
01:51:44,222 --> 01:51:46,434
You know, there were times
when Bob did remember
2396
01:51:46,435 --> 01:51:49,356
but had learned this lesson
that he can’t be The Sentry
without the Void,
2397
01:51:49,357 --> 01:51:50,775
so he can’t be on the team,
2398
01:51:50,776 --> 01:51:52,194
but then he would
have to walk away
2399
01:51:52,195 --> 01:51:53,406
’cause they have to
go confront Val,
2400
01:51:53,407 --> 01:51:56,202
and that just felt sad.
2401
01:51:56,203 --> 01:51:59,460
So the memory loss
felt like the best way
2402
01:51:59,461 --> 01:52:01,589
that we could kind of
keep them together
2403
01:52:01,590 --> 01:52:06,223
but still be true
to the story of Sentry
that we were telling, um,
2404
01:52:06,224 --> 01:52:09,647
and kind of reserve
that payoff for later,
but also find this way...
2405
01:52:09,648 --> 01:52:13,153
You know, we had tried
a version where he didn’t
remember anything at all,
2406
01:52:13,154 --> 01:52:16,911
and then that felt
like you hadn’t really,
you know...
2407
01:52:16,912 --> 01:52:19,667
People didn’t feel like
it had honored the journey
that they had gone on enough,
2408
01:52:19,668 --> 01:52:23,383
so we landed on this version
where he remembers
who they are,
2409
01:52:23,384 --> 01:52:25,428
but he doesn’t remember
the most recent events
of what’s happened
2410
01:52:25,429 --> 01:52:26,347
and his episode.
2411
01:52:26,348 --> 01:52:28,434
Okay. Come on.
2412
01:52:28,435 --> 01:52:29,687
[Schreier] And in this
very simple way,
it’s like, "Yep.
2413
01:52:29,688 --> 01:52:31,147
We stick together from now on,"
2414
01:52:31,148 --> 01:52:33,319
and not in a kind of
cheesy way, but just,
you gotta...
2415
01:52:33,320 --> 01:52:35,532
you don’t want someone
like Bob out there.
2416
01:52:35,533 --> 01:52:39,457
You gotta keep
that connection alive.
You gotta keep him with you.
2417
01:52:41,586 --> 01:52:44,508
And then this was in
the very first draft
of the script that I read,
2418
01:52:44,509 --> 01:52:48,014
that everything that we did,
whatever changed,
it always ended here
2419
01:52:48,015 --> 01:52:50,144
with Val, you know, kind of...
2420
01:52:50,145 --> 01:52:53,735
This very classic thing
that Kevin and Marvel
are so good at
2421
01:52:53,736 --> 01:52:58,703
about, you know,
this kind of flip
and reveal that we go into.
2422
01:52:58,704 --> 01:53:03,211
Um, and knowing that this
whole movie was building up
to this announcement,
2423
01:53:03,212 --> 01:53:05,842
you know, it needs to work as
a fun twist for the audience,
2424
01:53:05,843 --> 01:53:08,890
but also
on a character level where...
2425
01:53:08,891 --> 01:53:11,437
You know, it’s interesting,
you’re not...
if you’re doing that,
2426
01:53:11,438 --> 01:53:13,649
then you’re not traditionally
beating your bad guy.
2427
01:53:13,650 --> 01:53:15,362
You’re not killing Val.
You’re not arresting her.
2428
01:53:17,115 --> 01:53:20,830
But that line of,
"We own you now,"
becomes very important.
2429
01:53:20,831 --> 01:53:23,168
We had to send
all the extras away
on set this day
2430
01:53:23,169 --> 01:53:25,715
when she said that,
just to make sure
no one heard about it first.
2431
01:53:25,716 --> 01:53:26,885
[crowd cheering, applauding]
2432
01:53:29,432 --> 01:53:32,102
[chuckles] Love that shot
of Lewis clapping.
2433
01:53:32,103 --> 01:53:34,817
The most powerful one unaware
that he’s even on the team.
2434
01:53:34,818 --> 01:53:36,028
[cheering, applauding continue]
2435
01:53:39,117 --> 01:53:41,705
And what I love is that
even amidst all of that,
2436
01:53:41,706 --> 01:53:46,130
and, you know,
this fun sort of positioning
for where the story will go,
2437
01:53:46,131 --> 01:53:49,095
there is a character moment
that we need to complete here,
2438
01:53:49,096 --> 01:53:52,978
and we need to push back
into that close-up
that we start the movie with.
2439
01:53:52,979 --> 01:53:56,234
And, again, it just came
from a moment that Florence
did instinctively on set
2440
01:53:56,235 --> 01:53:58,990
that we then built into
the rest of the movie,
2441
01:53:58,991 --> 01:54:02,832
of that same eyes closed,
breath in, look up,
but now with a smile.
2442
01:54:10,848 --> 01:54:14,145
Uh, this is once again
Imaginary Forces.
Um, this sequence...
2443
01:54:14,146 --> 01:54:18,613
We felt like when we
showed the movie, you know,
we maybe expected at first
2444
01:54:18,614 --> 01:54:21,117
that people would cheer on
this New Avengers thing
a little more,
2445
01:54:21,118 --> 01:54:22,621
and people needed
a moment with it,
2446
01:54:22,622 --> 01:54:26,670
and so we wanted to
kind of acknowledge
the way the real world works
2447
01:54:26,671 --> 01:54:28,633
and how snarky
everything is at first
2448
01:54:28,634 --> 01:54:30,929
and how people might not
be so certain
about this partnership,
2449
01:54:30,930 --> 01:54:33,016
so this was this fun sequence
2450
01:54:33,017 --> 01:54:35,688
that Imaginary Forces did
such a great job of painting,
2451
01:54:35,689 --> 01:54:38,151
of kind of starting
in that skepticism--
2452
01:54:38,152 --> 01:54:39,947
I love the
New York Post headline--
2453
01:54:39,948 --> 01:54:45,583
um, and then bringing you
around by the end of it
to some sense that,
2454
01:54:45,584 --> 01:54:48,715
hey, maybe this could work out,
maybe you could buy into this.
2455
01:54:52,765 --> 01:54:55,980
I’ll just say,
I love all these people
who made this movie.
2456
01:54:57,775 --> 01:55:01,949
Everyone worked so hard,
so incredibly hard
2457
01:55:01,950 --> 01:55:05,080
um, and cared about it
and took it seriously.
2458
01:55:05,081 --> 01:55:06,917
I mean Florence,
I can’t say any more.
2459
01:55:06,918 --> 01:55:09,840
I mean, like I said,
actual magic.
2460
01:55:09,841 --> 01:55:13,514
Sebastian,
to have him as part of this.
Wyatt, who’s a friend.
2461
01:55:13,515 --> 01:55:17,271
Olga, who was such a good sport
to show up for this.
2462
01:55:17,272 --> 01:55:23,868
Lewis, who, I mean,
I think really, you know,
is the find of this movie.
2463
01:55:23,869 --> 01:55:26,123
Geraldine,
who did such a great job.
Chris for showing up.
2464
01:55:27,752 --> 01:55:29,797
Wendell.
I’ve been a fan forever.
2465
01:55:31,593 --> 01:55:34,181
David, one of the
most committed actors
you’ll ever meet.
2466
01:55:35,476 --> 01:55:38,229
And Hannah,
really the glue of that group.
2467
01:55:38,230 --> 01:55:41,487
Julia, who’s a legend that
I just feel lucky
that I got to work with.
2468
01:55:41,488 --> 01:55:43,406
I just, you know,
as a director,
2469
01:55:43,407 --> 01:55:45,703
if you can ever
get a cast like that,
2470
01:55:45,704 --> 01:55:48,835
it just makes the whole job
incredibly easy.
2471
01:55:53,512 --> 01:55:55,723
And then, yeah,
there’s our flip.
2472
01:55:55,724 --> 01:55:56,809
[chuckles]
2473
01:55:56,810 --> 01:55:58,436
Like I said,
this is release day,
2474
01:55:58,437 --> 01:56:00,190
so it’s almost hard
to speak on this until
2475
01:56:00,191 --> 01:56:02,152
we see how that plays
out in the world,
2476
01:56:02,153 --> 01:56:06,954
but I think that’s a fun one
to try and an example
of how open, you know,
2477
01:56:06,955 --> 01:56:09,752
everyone at Marvel was
to try new ideas
on this project.
2478
01:56:11,380 --> 01:56:14,176
And this was a fun one
we did during additional...
2479
01:56:14,177 --> 01:56:17,851
We didn’t shoot any
of our post credit scenes
during principal photography.
2480
01:56:17,852 --> 01:56:20,147
We sort of wanted to see
where the whole thing
was gonna go
2481
01:56:20,148 --> 01:56:21,315
and what we would need,
2482
01:56:21,316 --> 01:56:23,529
but, again,
it felt like paying off
2483
01:56:23,530 --> 01:56:26,242
that kind of meta idea
of the Wheaties box
2484
01:56:26,243 --> 01:56:29,624
and Alexei’s investment in it,
but then undercutting it a bit,
2485
01:56:29,625 --> 01:56:32,213
uh, felt right for
where we ended our story.
2486
01:56:34,217 --> 01:56:37,599
And then because it’s Alexei,
and we start with Muzak
in a supermarket,
2487
01:56:37,600 --> 01:56:39,226
you get into kind of...
2488
01:56:39,227 --> 01:56:41,022
You know, he’s the kind of guy
who would love to have
2489
01:56:41,023 --> 01:56:43,401
a classic post credits song.
2490
01:56:43,402 --> 01:56:45,615
And so we get to
give that to him
2491
01:56:45,616 --> 01:56:47,869
and therefore give it
to our viewers.
2492
01:56:47,870 --> 01:56:50,040
[♪ "Nothing’s Gonna
Stop Us Now"plays]
2493
01:56:50,041 --> 01:56:54,005
I’ll just say that,
you know, I’m struck
when I sit in a theater.
2494
01:56:54,006 --> 01:56:57,765
Um... And I look at
this credit sequence,
and it’s a long one.
2495
01:56:59,142 --> 01:57:00,853
You know, I’ve sat through
credits before.
2496
01:57:00,854 --> 01:57:03,692
I like to kind of
let a movie sink in, you know,
2497
01:57:03,693 --> 01:57:07,241
but going through
this experience,
I know all of these people.
2498
01:57:07,242 --> 01:57:11,040
Um, and I know what they did
and how much...
2499
01:57:11,041 --> 01:57:14,171
You know, I could
talk for an hour about
each of their contributions,
2500
01:57:14,172 --> 01:57:17,679
and it’s just one name
on the list that’s scrolling by
that you won’t notice,
2501
01:57:17,680 --> 01:57:21,477
whether it’s, uh,
Onnalee and Michael,
our incredible mixers,
2502
01:57:21,478 --> 01:57:24,108
or Alex Levy,
our music editor, who...
2503
01:57:24,109 --> 01:57:28,575
so instrumental
in creating this score
with Son Lux.
2504
01:57:28,576 --> 01:57:31,163
You know,
the stunts on this movie
were incredible.
2505
01:57:31,164 --> 01:57:33,459
Every single one
of those people worked so hard.
2506
01:57:33,460 --> 01:57:37,259
You know, Michael Huggins,
who was our...
who did the rigging, and...
2507
01:57:37,260 --> 01:57:39,597
I mean, if you’re Florence Pugh
and you’re stepping
off the roof
2508
01:57:39,598 --> 01:57:43,229
of the second tallest
story building in the world,
2509
01:57:43,230 --> 01:57:45,317
you have to have a lot of faith
in that rigging.
2510
01:57:45,318 --> 01:57:47,989
Um, I could single out
any one of them,
2511
01:57:47,990 --> 01:57:52,999
and I think I’m just struck
by how many people it takes,
2512
01:57:53,000 --> 01:57:56,798
working so hard
and caring so much,
2513
01:57:56,799 --> 01:57:59,303
uh, just to make a good movie.
2514
01:57:59,304 --> 01:58:01,140
It’s just hard
to make a good movie,
2515
01:58:01,141 --> 01:58:04,271
and, you know, I guess,
if you got this far,
hopefully you feel like
2516
01:58:04,272 --> 01:58:06,025
this one was all right.
2517
01:58:06,026 --> 01:58:11,077
Um, and I am just so grateful
to all of those people
2518
01:58:11,078 --> 01:58:13,373
and for all of the work
that they put in,
2519
01:58:13,374 --> 01:58:15,168
and, really, when I look back
on this process...
2520
01:58:15,169 --> 01:58:19,343
something that Grace and I
would talk about,
she would say,
2521
01:58:19,344 --> 01:58:21,640
"You know, we’re going
to grad school.
We’re gonna learn so much."
2522
01:58:21,641 --> 01:58:25,105
And I think, you know,
it’s wonderful to put a movie
out in the world,
2523
01:58:25,106 --> 01:58:27,192
and it’s wonderful
to have it connect with people,
2524
01:58:27,193 --> 01:58:32,494
but also what I mainly
look back on
is the experience of making it
2525
01:58:32,495 --> 01:58:37,045
and how much I learned
and how much you have to
lean on this incredible team.
2526
01:58:37,046 --> 01:58:39,634
Um...
And I’ll never forget that.
2527
01:58:39,635 --> 01:58:42,682
So, um, thank you guys
for watching.
2528
01:58:42,683 --> 01:58:44,518
Um...
2529
01:58:44,519 --> 01:58:48,401
Obviously, uh... Oh, yeah,
I gotta call out
Samara Handelsman,
2530
01:58:48,402 --> 01:58:50,781
my assistant,
who had to put up
with so, so much.
2531
01:58:50,782 --> 01:58:51,992
[chuckles]
2532
01:58:51,993 --> 01:58:53,871
Um, what else can I say here?
2533
01:58:53,872 --> 01:58:56,375
’Cause I do wanna get
to the VFX houses
2534
01:58:56,376 --> 01:59:00,176
and explain kind of
more specifically
what they did, but, uh...
2535
01:59:01,595 --> 01:59:03,724
Sean, who drove me every day.
2536
01:59:03,725 --> 01:59:06,396
Not an easy job.
Definitely going through it.
2537
01:59:07,315 --> 01:59:09,152
Our wonderful second unit.
2538
01:59:10,780 --> 01:59:13,702
Um, really, there were days
where I would start there
2539
01:59:13,703 --> 01:59:15,413
and then come over
to first unit,
2540
01:59:15,414 --> 01:59:17,251
and it was always great
working with those guys.
2541
01:59:19,380 --> 01:59:21,091
Getting out to Utah, obviously.
2542
01:59:21,092 --> 01:59:23,680
I feel like that’s when
the movie really
opened up for me,
2543
01:59:23,681 --> 01:59:25,100
just feeling like
we were out there.
2544
01:59:28,565 --> 01:59:31,403
And Malaysia. You know,
they don’t have the entire crew
in Malaysia listed,
2545
01:59:31,404 --> 01:59:33,992
but it really was
a wonderful crew.
2546
01:59:33,993 --> 01:59:36,288
Adam in special effects,
particularly for blowing up
that building,
2547
01:59:36,289 --> 01:59:37,374
one take to do it.
2548
01:59:37,375 --> 01:59:38,919
Did such a great job.
2549
01:59:38,920 --> 01:59:40,839
New York.
We actually did shoot
in DC as well,
2550
01:59:40,840 --> 01:59:44,137
but it was such a small shoot
I don’t think they
have it listed here.
2551
01:59:44,138 --> 01:59:46,183
Believe it or not,
as long as these credits are,
2552
01:59:46,184 --> 01:59:50,400
there are even more people
that work on these movies.
2553
01:59:50,401 --> 01:59:52,154
All the wonderful people
at Marvel.
2554
02:00:09,773 --> 02:00:13,613
And of course it was great
to see Paul Jenkins
at the, uh, premiere for this
2555
02:00:13,614 --> 02:00:17,579
and just talk a little bit
about his view
of Robert Reynolds
2556
02:00:17,580 --> 02:00:18,957
and the way we treated him.
2557
02:00:18,958 --> 02:00:21,086
And I think he was very happy,
which was nice.
2558
02:00:21,087 --> 02:00:23,466
Everyone in marketing,
they did such a great job
with this movie
2559
02:00:23,467 --> 02:00:25,595
and really embracing
doing something different.
2560
02:00:25,596 --> 02:00:27,599
Okay,
our visual effects houses.
2561
02:00:27,600 --> 02:00:29,520
Third Floor
for all of the previs.
2562
02:00:31,358 --> 02:00:33,444
Digital Domain
and their previs department,
2563
02:00:33,445 --> 02:00:35,573
we worked on earlier,
as well as Framestore.
2564
02:00:35,574 --> 02:00:37,662
It’s really such
an important part
of the process.
2565
02:00:39,248 --> 02:00:41,586
OPSIS did a lot of work
for us in that area as well.
2566
02:00:47,473 --> 02:00:50,728
Then ILM... Really,
the whole New York
street sequence
2567
02:00:50,729 --> 02:00:53,527
and all of the voiding
and the crane falling,
all of the heavy lifting.
2568
02:00:55,322 --> 02:00:59,079
And Chad
and everyone over there
did just such an amazing job.
2569
02:00:59,080 --> 02:01:03,587
Framestore, uh, did
the vault exterior environment,
2570
02:01:03,588 --> 02:01:07,888
Bob’s flight, all of the stuff
in Bob’s attic
and that ending lab fight,
2571
02:01:07,889 --> 02:01:10,184
which, really, I mean,
we were finishing
right to the very end,
2572
02:01:10,185 --> 02:01:11,813
and the movie
doesn’t work without it.
2573
02:01:11,814 --> 02:01:14,526
They just did
such an incredible job.
2574
02:01:14,527 --> 02:01:17,825
Digital Domain, that was a lot
of the early vault sequence,
2575
02:01:17,826 --> 02:01:21,081
a lot of that fighting,
Ghost phasing,
2576
02:01:21,082 --> 02:01:25,631
uh, just every part
of that fight they worked on,
2577
02:01:25,632 --> 02:01:27,719
and that stuff came in great.
2578
02:01:27,720 --> 02:01:30,434
Rising Sun, a lot of
the face replacement stuff
in the film.
2579
02:01:39,118 --> 02:01:43,417
Base, really, just a company
that saved us on Beef as well
2580
02:01:43,418 --> 02:01:45,630
and just a workhorse on this.
2581
02:01:45,631 --> 02:01:48,677
A lot of the Bucky arms
and Void shadow growth,
things like that.
2582
02:01:48,678 --> 02:01:50,641
Raynault did the airplane.
2583
02:01:53,438 --> 02:01:56,694
Val’s drop-off,
the crater design.
Some of the penthouse stuff.
2584
02:01:58,908 --> 02:02:01,203
And then a lot of fill-in work
by these other houses.
2585
02:02:01,204 --> 02:02:04,042
I mean, it just takes
so many people doing so much.
2586
02:02:04,043 --> 02:02:08,467
Imaginary Forces,
who worked so incredibly hard
on that opening Marvel logo
2587
02:02:08,468 --> 02:02:10,346
and our ending
credits sequence,
2588
02:02:10,347 --> 02:02:13,477
um, which really is
such a narrative lift
for the film.
2589
02:02:13,478 --> 02:02:16,651
Tom Poole did such a great job
of coloring this movie
with Andrew.
2590
02:02:17,361 --> 02:02:19,447
Looks beautiful.
2591
02:02:19,448 --> 02:02:21,702
Uh, yeah.
2592
02:02:21,703 --> 02:02:24,791
Again, at every line,
there are people working
so incredibly hard
2593
02:02:24,792 --> 02:02:26,004
to make what you see here.
2594
02:02:32,141 --> 02:02:35,355
Doc, who also helped record
this, uh, commentary track.
2595
02:02:39,655 --> 02:02:41,116
And Son Lux again.
2596
02:02:41,117 --> 02:02:42,660
What an incredible job
they did.
2597
02:02:42,661 --> 02:02:44,706
And it was so fun
to go out to Abbey Road,
2598
02:02:44,707 --> 02:02:47,462
be in that room
and record this score.
2599
02:02:47,463 --> 02:02:50,887
I wasn’t there the whole time,
but just to see it
for a few days was amazing.
2600
02:02:55,062 --> 02:02:57,774
And special thanks
to the Merdeka,
2601
02:02:57,775 --> 02:03:00,404
Jon Watts, who helped me out
so much on this film,
2602
02:03:00,405 --> 02:03:01,824
and my friend Francis.
2603
02:03:06,961 --> 02:03:09,967
Atlanta Metro Studios.
Green River, Utah.
Filmed all over.
2604
02:03:11,094 --> 02:03:12,804
Malaysia.
2605
02:03:12,805 --> 02:03:14,599
A lot of these places
you see here,
2606
02:03:14,600 --> 02:03:16,938
a lot of this is, you know,
where the effects are finished,
2607
02:03:16,939 --> 02:03:18,233
not necessarily where we shot.
2608
02:03:23,785 --> 02:03:25,287
And I’m just...
I’m killing time here
2609
02:03:25,288 --> 02:03:27,334
’cause we do have
one more scene to talk about.
2610
02:03:36,561 --> 02:03:42,864
Okay, so this scene
got filmed maybe a month
before the movie came out.
2611
02:03:42,865 --> 02:03:46,246
Out in London,
on the set of Avengers,
2612
02:03:46,247 --> 02:03:50,171
and really it is also meant
to be really, like,
a hand-off of these characters
2613
02:03:50,172 --> 02:03:52,091
into the world going forward
2614
02:03:52,092 --> 02:03:55,389
and trying to bring back
that sense of connection
between these movies
2615
02:03:55,390 --> 02:03:57,810
and bringing in
the Fantastic Four.
2616
02:03:57,811 --> 02:04:01,651
Um, you know, for our movie,
what we always
talked about is that
2617
02:04:01,652 --> 02:04:06,578
because of the way
the movie ends on the street
and has an immediacy to it
2618
02:04:06,579 --> 02:04:08,749
and Bob’s just lost his memory,
2619
02:04:08,750 --> 02:04:12,298
you can’t really get into,
you know, the future of Bob
in that moment,
2620
02:04:12,299 --> 02:04:14,594
and so for us,
on a narrative level,
2621
02:04:14,595 --> 02:04:16,014
what was really important
about this scene
2622
02:04:16,015 --> 02:04:18,644
is knowing that, you know,
2623
02:04:18,645 --> 02:04:22,777
Bob is with them,
but had sort of processed
the lesson of the movie,
2624
02:04:22,778 --> 02:04:25,908
which is that, you know,
you can’t be The Sentry
2625
02:04:25,909 --> 02:04:27,912
without the other side
coming underneath,
2626
02:04:27,913 --> 02:04:31,169
and, you know, the real task
is to learn how to just be Bob.
2627
02:04:31,170 --> 02:04:34,592
And, of course, I expect,
you know, the tension
between those things
2628
02:04:34,593 --> 02:04:38,392
to play out in the future,
though I have no insight
into that.
2629
02:04:38,393 --> 02:04:39,519
I don’t know anything.
2630
02:04:39,520 --> 02:04:40,855
And then, of course,
2631
02:04:40,856 --> 02:04:43,235
if you have David Harbour,
you gotta use him.
2632
02:04:43,236 --> 02:04:44,445
He carries it all.
2633
02:04:44,446 --> 02:04:46,741
He’s dumb, litigious man,
but I am smart.
2634
02:04:46,742 --> 02:04:48,912
I am smart man.
I have smart solve.
2635
02:04:48,913 --> 02:04:56,887
Avengerz.
With a "Z,"
there is no copyright.
2636
02:04:56,888 --> 02:04:58,557
- No.
- [Alexei] So soft too.
2637
02:04:58,558 --> 02:05:00,811
[Schreier] But, yeah, it just,
you know, it looks different,
2638
02:05:00,812 --> 02:05:02,648
and we talked about
embracing that.
2639
02:05:02,649 --> 02:05:05,654
You know, it sounds different.
It has the music that feels...
2640
02:05:05,655 --> 02:05:07,783
You know, it’s Avengers music,
not our music.
2641
02:05:07,784 --> 02:05:11,291
And really seeing this team
kind of step into a new light
2642
02:05:11,292 --> 02:05:14,339
and, you know,
see how that feels.
2643
02:05:14,340 --> 02:05:17,095
And for you, Bob,
in the corner hiding,
pretending to read the book.
2644
02:05:18,014 --> 02:05:19,849
[Schreier] And this is, yeah.
2645
02:05:19,850 --> 02:05:22,772
You just get to see
that Bob is there with them,
2646
02:05:22,773 --> 02:05:27,490
and for our movie, you know,
if this has any
narrative import on it,
2647
02:05:27,491 --> 02:05:29,827
that was the most
important thing for us
about this scene.
2648
02:05:29,828 --> 02:05:31,456
- Get a satellite image.
- And fire up--
2649
02:05:31,457 --> 02:05:33,710
And fire...
I was gonna say that.
2650
02:05:33,711 --> 02:05:36,675
[Schreier] And, yeah,
just a really interesting day
to be out there
2651
02:05:36,676 --> 02:05:38,303
when they were filming this,
2652
02:05:38,304 --> 02:05:41,518
and they were filming
some stuff for Fantastic Four
2653
02:05:41,519 --> 02:05:44,899
on an adjoining stage
in London,
and just seeing that whole...
2654
02:05:44,900 --> 02:05:48,365
You know, something Lou
was always excited about
for Marvel
2655
02:05:48,366 --> 02:05:52,665
was the idea of, you know,
having a lot where all
these things were getting made
2656
02:05:52,666 --> 02:05:55,379
and getting to go around
and feeling the connectedness
between them,
2657
02:05:55,380 --> 02:05:57,967
and it really felt like
I was there on that day
2658
02:05:57,968 --> 02:06:02,184
where, in theory,
we were finishing our movie
and starting another,
2659
02:06:02,185 --> 02:06:06,901
and another Marvel movie
was being made, you know,
at a stage next door.
2660
02:06:06,902 --> 02:06:10,200
And it was just a really,
really nice day.
2661
02:06:10,201 --> 02:06:11,370
[Alexei] Extradimensional?
What does that mean?
2662
02:06:18,217 --> 02:06:20,138
[Walker] It’s a...
It’s a cool ship.
2663
02:06:23,269 --> 02:06:26,650
[Schreier] And there we go.
It is very fun to watch
people applaud for this.
2664
02:06:29,365 --> 02:06:36,419
And there we go.
The New Avengers,
not the Thunderbolts*. And Bob.
2665
02:06:36,420 --> 02:06:40,219
Thank you guys so much
for watching,
and sorry it was just me,
2666
02:06:40,220 --> 02:06:41,889
but we got through it.