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JAMES GUNN: Hello, everybody,
this is James Gunn.
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I am the writer and the director of
Guardians of the Galaxy: Volume Two.
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A movie which I spent basically
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the past nearly three years working on
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and has just come out in theaters
as we record this, just a few days ago.
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And I'm really, very proud of this film.
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It's a continuation of the story
that we told
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in Guardians of the Galaxy:
Volume One,
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but it also goes a lot deeper
into the characters,
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and we get to know the characters
a little bit better.
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Last movie, we had the Marvel Studios'
logo a little later,
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after the flashback at the beginning.
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But the Marvel Studios' logo
has gotten much longer since then,
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so it was a tittie strange
when we tried that this time.
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Here we start off in Missouri.
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St. Charles, Missouri, to be specific.
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Um, this is right near
where I grew up in reality,
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and I thought it was a great place
for Star-Lord,
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a character, of course,
whom I relate to quite a bit.
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We have a Ford Mustang Cobra, 1979.
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And most obscure Easter egg
of all time,
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the license plate was the license plate
of my Buick Electra
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when I was in high school.
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"Brandy, fetch another round"
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GUNN: There we have Meredith Quill
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and Kurt Russell,
playing the character of Ego.
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He is made much younger
by a great company called Lola,
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who has done wonderful visual effects
on his face.
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The way we do that is
we shoot Kurt acting out the scene.
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We have a great guy standing by,
who's watching,
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and he watches him, and then
he mimics him in the same shot,
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doing exactly what he did.
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And then basically,
we merge his skin onto Kurt's face
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to create young Kurt Russell,
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who looks almost identical
to Used Cars-era Kurt Russell.
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I actually think that Ego is a little bit
older than Meredith Quill here.
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I didn't want to make him too young.
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I think that she is very young.
She is probably 19, 20 years old.
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We've actually made her
a little younger, as well as Kurt.
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And she's very taken up
by this older, dashing gentleman
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who she knows is a spaceman,
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um, and he's stolen her heart.
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And as we learn later,
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she tells people that
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the father of young Peter is an alien,
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especially after she has brain cancer.
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And people think that
she's gone insane, that she's crazy.
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And it ends up being a difficult time
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for young Peter Quill
and his time here on Earth.
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(MUSIC FADING UP,
"BRANDY (YOU'RE A FINE GIRL")
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We're traveling through the plant,
we're seeing the light.
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And here we are, 34 years later.
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Now a lot of people notice
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that this movie takes place in 2014.
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That's nearly three years before,
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exactly three years before,
the movie actually was released.
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That's because this movie takes place
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only two months after
Guardians of the Galaxy: Volume One.
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Baby Groot, he's only
a couple of months old.
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Now, when I was writing
the screenplay,
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I really wanted to...
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At first, I was going to actually have
Groot full grown in this movie,
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but something seemed
repetitive about it.
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Something seemed not exactly right.
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And so I suddenly came upon the idea
to have Baby Groot still be a baby.
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I know he was very popular
in a stick form
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at the end of the first movie.
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And I thought he would be
a fun character to have in the film,
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and ends up being
one of the favorites of the movie,
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along here with Dave Bautista as Drax,
of course, who people love.
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Blame Quill. He's the one...
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GUNN: We shot this scene on
the very first day of shooting the movie.
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This was everybody
coming back together,
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and I was really happy with how
everybody had upped their game.
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They had all learned a lot
from the first movie coming out.
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All of their performances were better.
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They all took less direction
in many ways.
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Although I was much harder
on all of the actors in this movie.
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Really trying to get the performance
as great as I possibly could.
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(G ROWLS)
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G U N N: Here comes the
multi-dimensional beast
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named the Abilisk,
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who is wanting to eat the batteries.
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(YELLING)
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GUNN: So this shot here
is one long shot.
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Um, that is,
Baby Groot is about to dance.
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I was the motion reference
for Baby Groot dancing.
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So somewhere in secret vaults
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there is me doing all of these
dance moves for Baby Groot.
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This shot was not finished
until about a week and a half
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before the release of the film in Europe.
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And it took a long, long time.
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There were over 4,000 iterations
of this one long shot.
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It was an incredibly difficult shot,
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one of the biggest
visual effects shots of all time.
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I think I need to give a shout out to
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Chris Townsend,
our visual effects supervisor,
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who was really, truly one of
my primary partners on this film,
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and added, in every way,
to making this a great movie.
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And just went out of his way to
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not only make the visual effects
shots as perfect as possible,
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but also would listen to me and
go through a lot of different versions.
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And I had very specific ideas
about everything,
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from the way the characters moved
to the eye movement to the colors.
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In the background,
there is Matter Splatter.
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That's what we call it.
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It is definitely influenced
by my Work with Suda51
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on the video game Lollipop Chainsaw.
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This combination of incredibly
brilliant, bright, beautiful colors
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and the darkness of
what's happening around them,
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which is exemplified by
Baby Groot's dancing.
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I think this scene is actually
really good for the Guardians
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in terms of what they're about.
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This is... Basically,
this is a movie that has
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all the spectacle and dynamic
scenes of any big spectacle film,
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but really, it is about the interaction
between the characters.
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It is, in many ways, an independent film,
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just with a lot of enormous,
enormous scenes and explosions.
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But what we focus on
are the characters.
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And we're focusing on
Baby Groot here,
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even though there's this enormous
battle going on in the background
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With this wonderful Abilisk,
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who I tried to design
after a pinky mouse, his skin,
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and he's got this little fur on him
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that's incredibly disgusting
when you see it up close.
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But I like the Abilisk a lot,
he's a poor guy.
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We'd make a lot of jokes of him
while we were doing this scene.
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That he really just wants to
come down and have friends
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and is now being brutally attacked
by the Guardians for no reason.
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But that's not real, that's just a joke.
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You're gonna see a lot of me
during this movie
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talking about my friends in the movie.
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I know on the last commentary I did for
Guardians of the Galaxy: Volume One
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I got some criticism
because everybody is my friend.
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And listen.
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It's gonna be worse on this movie,
because I really did put
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all of my very best friends in this film.
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You'll see that throughout.
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So this is the end of that one long shot.
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So this whole entire time was one shot,
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we put it together
through different elements.
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Part of it is completely visual effects.
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Part of it is elements that we shot.
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Basically, you know, like I said,
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that scene took almost the entire length
of shooting to put together.
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I turned it over,
right a few days into shooting
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because it was exactly what
we planned out from the beginning.
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I drew those storyboards for that shot
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probably in October
or November of 2014,
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and it eventually came out
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just a couple of weeks
before the movie was finished.
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So it took a long, long time
to do that shot.
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I realize that.
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(YELLING)
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GUNN: Dave Bautista, really,
I'm gonna mention it again,
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just really, just killed it in this movie.
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He's an amazing actor,
a tremendous talent.
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He's incredibly funny, and
he's got such warmth and depth to him.
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I really love him.
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I love this shot here
of Rocket shooting at the Abilisk.
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These shots took a long time.
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This whole opening sequence
took a long time.
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Framestore
is the visual effects company
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that worked on this sequence.
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They were the ones who basically
created the character of Rocket,
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and how he moved and who he was.
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And they came back into this movie.
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They taught the other visual effects
companies how to create Rocket.
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And Rocket, of course,
takes a lot of work.
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He actually takes a lot more work
than Baby Groot does to create.
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Uh, Zoe Saldana actually did that
stunt there of falling down the beast.
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She's an incredibly athletic performer.
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And she was a dancer, and she's able
to do so many of these stunts herself.
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There you get the hair on the Abilisk.
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It looks like inside the ear
of an old man.
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...vanquished the beast! (LAUGHING)
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What?
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GU N N: I created a really complex
color pattern for the movie,
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with different colors for every scene.
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So the first thing I do is
I write the screenplay,
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and the second thing I do is
I create a color story.
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So I take color swatches
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and, for every scene in the movie,
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I create one or two or three different
colors for each scene
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that talk about...
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You know, that basically will be what
the production designer
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and the costume designer
will base their colors on.
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For instance, here
it's gold and this navy blue color.
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So everything is really centered around
those two colors.
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We keep things
much more simple in this movie.
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We got a lot more shout outs
for how visually arresting
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Guardians of the Galaxy:
Volume Two is.
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But we actually have fewer colors.
They're just bolder choices.
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And we have many
fewer of them per scene,
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but they also get a little bit
more complex as the story goes on.
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And they go in and out of
brighter colors and darker colors
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that tell the story in and of themselves.
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...repulsive.
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I'm not into that kind of casual...
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Oh, please.
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G U N N: Elizabeth Debicki plays A yesha,
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and she was an absolute joy
to work with.
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I'm famous for auditioning
hundreds of actors
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for each role that we cast.
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For instance, the role of Mantis,
which is coming up later,
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I auditioned probably a couple
hundred actresses for that role.
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Elizabeth Debicki's character
was different.
208
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We auditioned one actress
who I liked a lot,
209
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and then we auditioned
Elizabeth Debicki.
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And I was like,
"This role is tailor-made for her."
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Um, she's a beautiful
and stunning woman.
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Absolute incredible presence to her.
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She's 6'3", I believe.
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And was perfect for the role of Ayesha,
and so I cast her there on the spot.
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And she's a dynamite person.
Australian woman.
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And your father?
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He ain't from Missouri.
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GUNN: Here we have Peter Quill.
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We set up the story of he and his father.
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That is the center of this movie.
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There is, I think, kind of,
three or four different stories
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that are the center stories in
Guardians of the Galaxy: Volume Two.
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More so than Volume One,
this is a multi-protagonist film.
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We have Rocket's story,
which is very specific.
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We have Gamora's story,
which is very specific.
226
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And we have Peter Quill's story,
which is very specific.
227
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Those are generally
the central stories of the movie
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and each one of them
has something to overcome.
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ROCKET:
You wanna buy some batteries?
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G U N N: But with Peter Quill,
it's his search for a father
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and what he needs to get out of that.
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I think so much of this movie
was really influenced by
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a time when, on the first film,
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Chris Pratt, Dave Bautista, and I
235
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were backstage at an Apple iStore,
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I don't know what they call them.
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An Apple Store Event.
A podcast in England.
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And the first movie was about
to come out.
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Here's Lake Shore Drive
by Aliotta Haynes Jeremiah.
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00:12:47,000 --> 00:12:48,570
(ALIOTTA HAYNES JEREMIAH'S
"LAKE SHORE DRIVE" PLAYING)
241
00:12:48,640 --> 00:12:51,849
This song is one of my favorites
in the movie.
242
00:12:51,920 --> 00:12:54,605
This is a song that was
only a regional hit in...
243
00:12:55,000 --> 00:12:56,286
And I'll get back to the other story
in a second.
244
00:12:56,360 --> 00:13:00,649
But it was only a regional hit
in, like, St. Louis and Chicago,
245
00:13:00,720 --> 00:13:04,281
so people only from the center
of the country know this song,
246
00:13:04,360 --> 00:13:07,330
but it's a classic there.
It plays on classic rock radio.
247
00:13:09,320 --> 00:13:10,606
And it's an incredibly catchy song,
248
00:13:10,960 --> 00:13:13,167
and I think one of the most
exciting things
249
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about putting the soundtrack together
250
00:13:15,640 --> 00:13:18,883
is that we're bringing these songs
251
00:13:18,960 --> 00:13:22,043
to people all over the world
that might be forgotten.
252
00:13:22,320 --> 00:13:23,651
And I think this is one of those songs.
253
00:13:23,720 --> 00:13:26,291
I think that Volume Two,
the soundtrack is a little bit different
254
00:13:26,360 --> 00:13:30,251
in that it's a little bit more mature
than the soundtrack to Volume One.
255
00:13:30,320 --> 00:13:33,164
The songs were for kind of
a younger child in Volume One.
256
00:13:33,240 --> 00:13:35,481
A little bit of an older child
in Volume Two
257
00:13:35,560 --> 00:13:39,042
because Meredith Quill knows
how old her son is obviously.
258
00:13:39,240 --> 00:13:44,201
And, um, we have a mix here
of incredibly popular songs,
259
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like Fleetwood Mac's The Chain
260
00:13:47,160 --> 00:13:50,960
and Cheap Trick's Surrender and
George Harrison's My Sweet Lord.
261
00:13:51,120 --> 00:13:53,248
And then songs
that hardly anyone knows, like
262
00:13:53,960 --> 00:13:57,203
Lake Shore Drive, or at least anyone
outside of St. Louis and Chicago.
263
00:13:57,280 --> 00:14:01,524
And then Wham Barn by Silver,
which I didn't know.
264
00:14:01,800 --> 00:14:03,643
These are, you know...
265
00:14:03,720 --> 00:14:06,405
It's a much different soundtrack
than the first movie.
266
00:14:06,480 --> 00:14:09,006
But I think my promise to the fans
is really that
267
00:14:09,080 --> 00:14:12,368
these Guardians of the Galaxy films
are going to keep changing.
268
00:14:12,440 --> 00:14:14,488
And they're gonna be different.
They're going to evolve.
269
00:14:14,560 --> 00:14:16,210
They're not going to remain the same.
270
00:14:17,120 --> 00:14:19,964
One of the difficulties
of making a sequel,
271
00:14:20,040 --> 00:14:22,281
and one of the challenges,
one of the pitfalls,
272
00:14:22,360 --> 00:14:25,842
is that you can just try
to recreate the first film.
273
00:14:25,920 --> 00:14:28,924
So, you think, "Oh, well,
we had a dance-off in the first film.
274
00:14:29,000 --> 00:14:30,525
"What was our dance-off scene
gonna be?
275
00:14:30,640 --> 00:14:32,802
"What's our 'We are Groot' scene
gonna be?"
276
00:14:33,160 --> 00:14:35,686
And that's what I tried to avoid
in this film.
277
00:14:35,760 --> 00:14:37,888
I think it goes in its own path.
278
00:14:38,480 --> 00:14:39,845
It is a much more emotional film,
279
00:14:39,960 --> 00:14:42,964
which is probably the thing
people talk about the most.
280
00:14:43,720 --> 00:14:46,963
But I just allow the characters
to grow and to change.
281
00:14:47,040 --> 00:14:50,408
I think the relationship here between
Gamora and Nebula is one of them,
282
00:14:50,560 --> 00:14:53,325
where you see them
grow and change the most.
283
00:14:53,400 --> 00:14:56,563
In the first movie, we think that
284
00:14:56,880 --> 00:15:00,327
Nebula is absolutely evil
and Gamora's a hero.
285
00:15:00,400 --> 00:15:02,050
And in this movie, I think we learn that
286
00:15:02,120 --> 00:15:04,088
the story is
a little bit deeper than that.
287
00:15:04,160 --> 00:15:07,323
And that their background
is not so cut and dried.
288
00:15:08,040 --> 00:15:09,804
(CHUCKLES)
Anyway, I was talking about
289
00:15:10,280 --> 00:15:13,363
Dave Bautista and Chris Pratt and I
at the Apple Store Event in London.
290
00:15:13,720 --> 00:15:16,849
And we were backstage,
about to go out on stage,
291
00:15:17,920 --> 00:15:20,207
and we put our arms around each other,
and we could all feel
292
00:15:20,280 --> 00:15:24,444
that something really big was about to
happen with Guardians of the Galaxy.
293
00:15:24,520 --> 00:15:26,921
That something was going to be
very different about this project,
294
00:15:27,000 --> 00:15:28,809
something very special for all of us.
295
00:15:28,880 --> 00:15:30,530
And it was gonna probably change us.
296
00:15:31,440 --> 00:15:33,363
And we said to each other,
297
00:15:33,440 --> 00:15:37,729
"You know, guys, let's just promise
that we will remain ourselves
298
00:15:37,880 --> 00:15:40,724
"and remain down to earth,
299
00:15:40,880 --> 00:15:45,442
"you know, put our relationships first
and put our integrity first."
300
00:15:46,760 --> 00:15:49,889
And it was a moment, sort of,
without ego,
301
00:15:49,960 --> 00:15:54,443
in a moment when I knew
that ego was about to attack all of us.
302
00:15:54,520 --> 00:15:58,366
Chris Pratt was about to become
the biggest movie star in the world.
303
00:15:58,720 --> 00:16:01,929
Dave Bautista was about to have
a kind of cinematic success
304
00:16:02,000 --> 00:16:03,764
that I don't think he ever dreamed of.
305
00:16:03,840 --> 00:16:06,844
And I was about to become a director
306
00:16:07,600 --> 00:16:11,764
who went from doing $3 million movies
and $10 million movies
307
00:16:11,840 --> 00:16:14,366
to making one of the biggest hits
of the year.
308
00:16:14,600 --> 00:16:18,127
And I think that moment Of humility
309
00:16:18,200 --> 00:16:20,123
and that moment of love
between the three of us
310
00:16:20,200 --> 00:16:21,645
is really what drove this film,
311
00:16:21,720 --> 00:16:23,643
and it's what drives me
with these movies.
312
00:16:23,720 --> 00:16:27,247
I don't think I would keep
making Guardians movies.
313
00:16:27,320 --> 00:16:28,526
And, as many of you probably know,
314
00:16:28,600 --> 00:16:31,251
I'm already signed on to do
Guardians of the Galaxy: Volume Three.
315
00:16:31,320 --> 00:16:34,369
And I'm hard at work at it already,
even though this movie just came out.
316
00:16:35,880 --> 00:16:37,644
I don't think that I would ever do that
317
00:16:37,720 --> 00:16:41,884
without the love
that I share with those guys
318
00:16:41,960 --> 00:16:45,487
and with their help and helping me
remain down to earth.
319
00:16:45,920 --> 00:16:48,207
And, you know, when you have
a guy like Chris Pratt,
320
00:16:48,280 --> 00:16:52,080
who is a truly kind person,
a kind human being,
321
00:16:52,160 --> 00:16:54,606
and he's number one on the call sheet,
322
00:16:55,440 --> 00:16:58,284
you really create
a different atmosphere on set,
323
00:16:58,360 --> 00:17:00,886
amongst the crew, amongst the cast,
324
00:17:01,120 --> 00:17:03,122
and I think it's the important thing
325
00:17:04,280 --> 00:17:05,850
about the Guardians, is that...
326
00:17:05,960 --> 00:17:08,611
That kindness is a part of what we do,
327
00:17:08,680 --> 00:17:10,364
and that humility
is a part of what we do.
328
00:17:10,480 --> 00:17:12,881
But I won't say it hasn't been
without its challenges.
329
00:17:12,960 --> 00:17:13,961
It hasn't been...
330
00:17:14,040 --> 00:17:17,761
You know, having a successful
franchise has been difficult at times.
331
00:17:18,680 --> 00:17:21,650
And you meet a lot of people who want
a lot of different things from you.
332
00:17:21,720 --> 00:17:24,246
And you can easily
get sucked up in it all,
333
00:17:24,320 --> 00:17:27,563
and I think that this movie
is really about
334
00:17:27,640 --> 00:17:30,689
(CHUCKLES) my journey with Chris
and Dave and the rest of the cast
335
00:17:31,080 --> 00:17:33,606
in terms of not letting ego destroy us
336
00:17:33,680 --> 00:17:37,446
and, instead, destroying our own ego,
to some degree.
337
00:17:39,280 --> 00:17:41,009
Ah! So this is a space chase!
338
00:17:41,120 --> 00:17:43,407
This was one of the most
difficult scenes to take...
339
00:17:43,480 --> 00:17:46,051
You know, to tell, in the movie.
340
00:17:46,960 --> 00:17:48,928
We spent a lot of time...
341
00:17:49,000 --> 00:17:52,402
Framestore, again, was the company
that did the visual effects for this.
342
00:17:52,480 --> 00:17:56,166
And we spent a lot of time
shooting inside and outside.
343
00:17:56,240 --> 00:17:57,401
One of the things I tried to do...
344
00:17:57,480 --> 00:18:01,166
There's a lot more camera movement
inside the spacecraft.
345
00:18:01,840 --> 00:18:05,606
One of the things that always
bothered me about space operas
346
00:18:05,680 --> 00:18:09,287
is you have all this outside
moving camera,
347
00:18:10,120 --> 00:18:14,364
and then inside is kind of like
one basic shot of whoever's driving.
348
00:18:14,880 --> 00:18:17,360
And I wanted to avoid that in this scene.
349
00:18:18,120 --> 00:18:23,081
I storyboard the entire movie
very early on.
350
00:18:23,240 --> 00:18:25,322
Every single scene in the movie,
351
00:18:25,400 --> 00:18:30,167
I draw the first pass of the,
sort of, stick figure versions
352
00:18:30,440 --> 00:18:33,250
of what's happening in every shot.
353
00:18:33,320 --> 00:18:34,685
And, to me,
354
00:18:35,040 --> 00:18:38,328
the most creative,
the most fun part of making a movie,
355
00:18:38,400 --> 00:18:40,767
in a lot of ways, is the initial part.
356
00:18:40,840 --> 00:18:44,561
Because it's writing the story,
it's coming up with the visuals,
357
00:18:44,880 --> 00:18:47,565
it's trying to create
what happens in the movie.
358
00:18:48,000 --> 00:18:50,810
The rest of it gets to be, sometimes,
very difficult work
359
00:18:50,880 --> 00:18:54,965
because it's just trying to
create on-screen
360
00:18:55,040 --> 00:18:58,647
what I visualized in my head
from the very beginning.
361
00:18:58,720 --> 00:19:00,449
And this movie in particular,
362
00:19:00,520 --> 00:19:04,286
I felt like I had the ability to do that
363
00:19:04,360 --> 00:19:07,443
because of the budget
and because of the freedom.
364
00:19:07,520 --> 00:19:09,443
And like I was saying earlier,
I worked very hard
365
00:19:09,560 --> 00:19:11,562
with both the camera people...
366
00:19:11,760 --> 00:19:13,489
Henry Braham is our cinematographer,
367
00:19:13,560 --> 00:19:15,642
and I had a very good relationship
with him.
368
00:19:16,240 --> 00:19:18,004
And with the actors,
369
00:19:18,160 --> 00:19:24,167
in terms of really taking my time
and pushing the actors
370
00:19:24,320 --> 00:19:27,290
to make sure we get the
best performance out of each of them.
371
00:19:27,360 --> 00:19:30,364
And really taking my time
and pushing the camera people
372
00:19:30,480 --> 00:19:34,769
to make sure that every shot
is as beautiful as it can possibly be.
373
00:19:35,120 --> 00:19:39,011
I think on the first film I was coming
from independent movies,
374
00:19:39,160 --> 00:19:41,686
and I came from a place
where my previous film, Super,
375
00:19:41,760 --> 00:19:45,890
was a film I did 52,
you know, 54 set-ups a day
376
00:19:45,960 --> 00:19:48,167
with one camera, meaning, you know,
377
00:19:48,240 --> 00:19:51,403
54 different shots a day at times
378
00:19:51,960 --> 00:19:53,121
with a single camera.
379
00:19:53,320 --> 00:19:54,890
And I was moving incredibly quickly.
380
00:19:54,960 --> 00:19:57,122
And that's the only thing I could do
to finish that movie
381
00:19:57,200 --> 00:20:00,966
because it was a complicated movie
shot in 20-something days.
382
00:20:01,280 --> 00:20:02,406
Five clicks!
383
00:20:02,480 --> 00:20:05,051
GUNN: On this movie,
on Guardians One,
384
00:20:05,120 --> 00:20:10,160
I still had this sort of need
to move very quickly.
385
00:20:11,600 --> 00:20:15,207
And I think it actually was something
I regretted on the first movie.
386
00:20:15,280 --> 00:20:19,001
I think that there were, you know,
performance moments in there
387
00:20:19,120 --> 00:20:21,600
that I didn't think were
as good as they could've been.
388
00:20:23,920 --> 00:20:25,888
The thing that doesn't cost you
that much money
389
00:20:25,960 --> 00:20:29,169
is to take a tittie bit more time
shooting on set
390
00:20:29,240 --> 00:20:31,891
to create the movie
that you really want to create.
391
00:20:32,000 --> 00:20:35,971
And never, never settling
for second best in anything.
392
00:20:36,240 --> 00:20:38,686
And so that's what I did with all of this.
393
00:20:40,160 --> 00:20:41,446
That's the jump point! Go!
394
00:20:45,200 --> 00:20:46,929
It's a QUY-
395
00:20:52,680 --> 00:20:53,727
(DRAX SCREAMING)
396
00:20:53,960 --> 00:20:54,961
Oh, my God.
397
00:20:55,040 --> 00:20:56,485
He's still out there?
398
00:20:56,560 --> 00:20:57,766
(DRAX CONTINUES SCREAMING)
399
00:21:03,560 --> 00:21:04,561
(GRUNTS)
400
00:21:08,240 --> 00:21:09,321
(STRAINING)
401
00:21:10,480 --> 00:21:12,448
-(YELPS)
-(SCREAMING)
402
00:21:13,440 --> 00:21:14,441
(STRAINING)
403
00:21:19,000 --> 00:21:21,002
GUNN". This is the crash onto Berhert.
404
00:21:21,080 --> 00:21:22,969
There's Baby Groot eating candies.
405
00:21:23,040 --> 00:21:26,886
I get a lot of messages on
social networking sites asking me,
406
00:21:26,960 --> 00:21:29,167
"What kind of candy
is Baby Groot eating?
407
00:21:29,240 --> 00:21:31,481
"Is that Skittles? Is that M&M's?"
408
00:21:31,760 --> 00:21:33,922
And the answer is
no, it is space candy.
409
00:21:34,000 --> 00:21:36,685
It is, in fact,
the space candy that we see
410
00:21:36,760 --> 00:21:39,809
all over the ship
in the first movie from...
411
00:21:39,880 --> 00:21:42,486
That Peter Quill likes to eat.
He's a big candy fan.
412
00:21:42,560 --> 00:21:45,370
In fact, his shirt,
which many people ask me,
413
00:21:45,440 --> 00:21:49,240
"What does his shirt say on it?
Is it 'Yehab beachy'?"
414
00:21:49,320 --> 00:21:53,530
Um, no, it is a foreign language
that means "Gearshift,"
415
00:21:54,160 --> 00:21:59,405
which is a type of candy
that Peter Quill particularly adores.
416
00:21:59,480 --> 00:22:02,643
He's got a very big sweet tooth,
Peter Quill.
417
00:22:05,440 --> 00:22:07,010
That last shot there...
418
00:22:07,080 --> 00:22:10,050
I think that might have been
the last shot that was finished
419
00:22:10,680 --> 00:22:13,650
making the movie from visual effects.
420
00:22:14,240 --> 00:22:15,844
Those little guys...
421
00:22:16,320 --> 00:22:18,926
I gave those guys a name,
I forget what they're called,
422
00:22:19,000 --> 00:22:21,571
but I think we're gonna see
more of them in the future.
423
00:22:21,640 --> 00:22:23,529
I like those little dudes.
424
00:22:23,600 --> 00:22:26,922
Here is the crash landing site
on Berhert.
425
00:22:27,360 --> 00:22:32,127
This entire forest was inside
of an incredibly huge soundstage.
426
00:22:32,200 --> 00:22:34,601
We built an enormous forest,
427
00:22:34,960 --> 00:22:37,008
and we shot there
for an awful long time
428
00:22:37,080 --> 00:22:39,208
because we shot this scene,
429
00:22:39,640 --> 00:22:42,166
we shot a bunch of other scenes
that you'll see.
430
00:22:42,240 --> 00:22:43,651
All the stuff that takes place
431
00:22:43,760 --> 00:22:46,570
with Rocket and Baby Groot
and Nebula on this planet.
432
00:22:46,640 --> 00:22:48,608
answer to "Star-Munch."
- I did it because...
433
00:22:48,720 --> 00:22:51,564
GUNN". I loved this day,
shooting this scene.
434
00:22:51,680 --> 00:22:55,401
We had a great time
shooting the characters acting.
435
00:22:55,480 --> 00:22:58,051
We were having a particularly fun time.
436
00:22:58,480 --> 00:23:01,802
Sean Gunn plays Kraglin in this movie,
who's a great character,
437
00:23:01,880 --> 00:23:03,689
but he also plays Rocket on set.
438
00:23:04,200 --> 00:23:08,489
And we use a lot of
Sean's facial expressions for Rocket,
439
00:23:09,080 --> 00:23:11,481
and this was a scene in which
he was particularly good.
440
00:23:12,080 --> 00:23:13,366
That's all Sean right there.
441
00:23:13,440 --> 00:23:15,329
That looking back and forth.
It's very much him.
442
00:23:16,600 --> 00:23:19,206
Company called Method did Rocket,
443
00:23:19,280 --> 00:23:22,329
and the visual effects in this scene,
and many others in the movie.
444
00:23:22,400 --> 00:23:23,731
ROCKET: I've had it with you!
QUILL: No! Back up!
445
00:23:23,920 --> 00:23:25,570
NEBULA: Someone followed you
through the jump point.
446
00:23:26,240 --> 00:23:28,641
GUNN: And there we have
Ego's spaceship for the first time.
447
00:23:28,760 --> 00:23:30,728
It took a long time to design it.
448
00:23:31,200 --> 00:23:37,287
I very much wanted a very simple
egg shape that had a technology to it
449
00:23:37,360 --> 00:23:42,082
that was different from the technology
that was in other spaceships
450
00:23:42,160 --> 00:23:44,845
that we see within
the Guardians-iverse.
451
00:23:45,160 --> 00:23:49,290
Um, so it's kind of
an unexplainable technology.
452
00:23:49,360 --> 00:23:52,443
We don't quite understand
how it moves through space.
453
00:23:52,520 --> 00:23:54,966
Certainly isn't the motorized
454
00:23:55,040 --> 00:23:58,726
Ravager ships that Quill
and the Ravagers drive
455
00:23:59,240 --> 00:24:03,370
that use jump points
through space to move around.
456
00:24:04,000 --> 00:24:07,368
I think trying to set up a tittie bit
more how these characters
457
00:24:07,440 --> 00:24:10,569
move through space was one of things
we wanted to do with this movie,
458
00:24:10,640 --> 00:24:15,851
and so we created this idea of
jump points through outer space.
459
00:24:17,720 --> 00:24:19,370
And who the hell are you?
460
00:24:19,760 --> 00:24:24,641
GUNN: There we have Pom Klementieff
as Mantis and Kurt Russell as Ego.
461
00:24:24,720 --> 00:24:27,246
Kurt Russell, of course,
is one of my heroes.
462
00:24:27,360 --> 00:24:31,888
I spent a lot of time as a kid
running around in my backyard
463
00:24:31,960 --> 00:24:34,964
pretending to be Snake Plissken
from Escape From New York.
464
00:24:35,040 --> 00:24:38,442
Or, you know, Rocky Balboa
or John Rambo,
465
00:24:39,400 --> 00:24:41,801
which are roles that
Sylvester Stallone played.
466
00:24:42,080 --> 00:24:46,085
And I got to work with both of them
in this movie, which was fun.
467
00:24:46,200 --> 00:24:48,646
There is Molly Quinn,
who you might recognize from Castle,
468
00:24:48,720 --> 00:24:50,882
as Howard the Duck's friend.
469
00:24:51,320 --> 00:24:55,723
Molly is a good friend of mine,
and her boyfriend, Elan Gale,
470
00:24:55,800 --> 00:24:59,168
I actually introduced them,
who's a producer on The Bachelor.
471
00:24:59,240 --> 00:25:03,290
You'll see him again as one of
Sylvester Stallone's henchmen.
472
00:25:05,800 --> 00:25:08,690
I love this shot of Yondu.
473
00:25:08,760 --> 00:25:11,684
I think we come to him on Contraxia.
474
00:25:11,760 --> 00:25:14,684
He looks pretty darn miserable.
475
00:25:17,520 --> 00:25:18,931
TULLK: Yondu!
476
00:25:19,640 --> 00:25:21,608
Come on down!
477
00:25:24,600 --> 00:25:26,762
GU N N: Tommy Flanagan plays Tullk,
478
00:25:26,840 --> 00:25:28,490
the character that was
dancing down there.
479
00:25:28,560 --> 00:25:31,245
He's a fantastic actor, really amazing.
480
00:25:32,760 --> 00:25:34,922
Now, we're going to get into the part
where there's all my friends.
481
00:25:35,000 --> 00:25:37,082
Because there on the left,
you have Jimmy Urine,
482
00:25:37,160 --> 00:25:39,527
on the right, you have
Stevie Blackehart, who plays Brahl.
483
00:25:39,640 --> 00:25:41,449
Jimmy Urine plays Half nut.
484
00:25:41,920 --> 00:25:44,571
All of the Ravagers really truly
are my best friends.
485
00:25:44,640 --> 00:25:48,565
You will not be able to come to a party
without seeing most of them.
486
00:25:48,640 --> 00:25:52,486
Michael Rosenbaum as Martinex,
who's one of my best friends.
487
00:25:52,560 --> 00:25:56,531
And Sylvester Stallone as Stakar,
488
00:25:56,600 --> 00:25:59,444
who is also known as Starhawk
in the comics.
489
00:25:59,520 --> 00:26:02,410
And we see now that,
490
00:26:02,480 --> 00:26:06,121
in the same way we took the character
of Yondu from the comics
491
00:26:06,200 --> 00:26:08,248
and we made him
a little bit of an older guy
492
00:26:08,320 --> 00:26:10,163
played by Michael Rocker,
493
00:26:10,240 --> 00:26:15,485
we also have taken the rest of
the original Guardians of the Galaxy.
494
00:26:15,560 --> 00:26:16,561
The ones who were the original
495
00:26:16,640 --> 00:26:18,529
Guardians of the Galaxy
in the comic books
496
00:26:18,600 --> 00:26:21,410
and turned them all into heads
of the Ravager families.
497
00:26:22,160 --> 00:26:27,610
The MCU is not the same
as the Marvel Comics universe,
498
00:26:27,680 --> 00:26:29,523
which is the 616 universe.
499
00:26:29,600 --> 00:26:31,841
It's different. It's a reflection of it,
500
00:26:31,920 --> 00:26:34,651
and we take the same characters
and their archetypes
501
00:26:34,720 --> 00:26:36,927
and build them in a different way
into a movie.
502
00:26:37,000 --> 00:26:39,367
I told you before!
I didn't know what was going on!
503
00:26:39,520 --> 00:26:42,046
You didn't know because you didn't
want to know because it made you rich.
504
00:26:42,240 --> 00:26:46,564
I demand a seat at the table!
I wear these flames, same as you.
505
00:26:46,720 --> 00:26:48,802
You may dress like us...
506
00:26:49,000 --> 00:26:51,367
but you'll never hear the Horns
of Freedom when you die, Yondu.
507
00:26:51,640 --> 00:26:53,449
And the Colors of Ogord...
508
00:26:53,680 --> 00:26:57,002
will never flash over your grave.
509
00:26:58,360 --> 00:26:59,691
If you think...
510
00:27:00,600 --> 00:27:04,207
G U N N: Michael Rooker, in this movie,
is really perhaps
511
00:27:04,280 --> 00:27:06,601
the stand out of all the performances.
512
00:27:06,680 --> 00:27:10,571
Turns in an incredibly nuanced
and beautiful performance
513
00:27:10,720 --> 00:27:16,124
as this lost pirate who has sort of
given up his humanity
514
00:27:16,200 --> 00:27:20,922
and lost everything
that he's ever wanted.
515
00:27:21,040 --> 00:27:23,202
We learn here that he has done
516
00:27:23,280 --> 00:27:26,045
something wrong
with delivering children
517
00:27:26,120 --> 00:27:30,409
and dealing in children,
which is the reason
518
00:27:30,480 --> 00:27:33,927
that Stakar and the other Ravagers
kicked him out of the Ravagers.
519
00:27:34,000 --> 00:27:35,331
They exiled him.
520
00:27:35,400 --> 00:27:40,486
And all of the terrible Ravagers
followed Yondu into exile.
521
00:27:40,560 --> 00:27:42,164
So he's got all of these bad people.
522
00:27:42,240 --> 00:27:45,528
Like there's Gef the Ravager,
played by Steve Agee,
523
00:27:45,640 --> 00:27:49,645
(CHUCKLES) and Joe Fria,
who plays the pink Ravager there,
524
00:27:49,720 --> 00:27:53,805
and Tommy, and my friend
Evan Jones, who plays Retch.
525
00:27:54,160 --> 00:27:56,686
They really, truly are all my friends.
526
00:27:56,760 --> 00:27:59,206
Chris Sullivan, who you might
recognize from the...
527
00:27:59,320 --> 00:28:00,481
Maybe you probably
don't recognize him.
528
00:28:00,560 --> 00:28:03,689
He's on the TV show This ls Us,
plays Taserface.
529
00:28:03,760 --> 00:28:07,970
And here are some of my favorite shots
of Elizabeth Debicki as Ayesha.
530
00:28:08,960 --> 00:28:13,568
Judianna, our costume designer,
did an amazing job on these costumes.
531
00:28:14,400 --> 00:28:16,687
And there's Hannah,
who plays the chambermaid.
532
00:28:16,760 --> 00:28:18,922
We see a bit more of her in this movie.
533
00:28:21,120 --> 00:28:25,364
And this nice moment of the blue skin
against the white snow
534
00:28:25,440 --> 00:28:27,442
falling down over Yondu's face.
535
00:28:28,120 --> 00:28:31,169
And he's confronted with
some sort of choice here
536
00:28:31,240 --> 00:28:34,130
by these wonderful golden people.
537
00:28:35,080 --> 00:28:37,401
Or terrible golden people,
depending on which way you look at it.
538
00:28:37,640 --> 00:28:39,802
I have a proposition for you.
539
00:28:40,360 --> 00:28:42,408
EGO". I hired Yondu to pick you up...
540
00:28:42,640 --> 00:28:44,688
when your mother passed away.
541
00:28:44,840 --> 00:28:46,649
But instead of returning you...
542
00:28:47,640 --> 00:28:49,483
GUNN: Here's the campfire scene.
543
00:28:49,560 --> 00:28:52,131
It was one of the first days
I got to work with Kurt Russell.
544
00:28:52,200 --> 00:28:55,124
It was a lot of fun. Kurt and Chris and I
545
00:28:55,200 --> 00:28:59,000
spent time working on the scenes
beforehand in rehearsal.
546
00:28:59,160 --> 00:29:01,561
I like to rehearse with all of the actors
before we shoot,
547
00:29:01,640 --> 00:29:03,483
so we have a couple of weeks
of rehearsal.
548
00:29:04,720 --> 00:29:07,405
People ask me all the time,
"ls there ever improv in the movies?"
549
00:29:07,480 --> 00:29:09,244
And really, there's very little improv.
550
00:29:09,320 --> 00:29:12,244
I like to have things
pretty tightly scripted, you know.
551
00:29:12,760 --> 00:29:17,641
My experience in the past is
when you start to get too improv-y,
552
00:29:17,720 --> 00:29:21,441
you start to do things
that people find very funny on set,
553
00:29:21,520 --> 00:29:24,649
and then are not as funny as
what was originally written,
554
00:29:24,720 --> 00:29:27,849
which took, you know, years to write
and put into place.
555
00:29:28,040 --> 00:29:30,441
Usually, you have
the best possible thing.
556
00:29:30,520 --> 00:29:33,683
Every once in a while,
you find little moments of improv
557
00:29:33,760 --> 00:29:37,367
that are great, but, for the most part,
things are very tightly scripted.
558
00:29:37,960 --> 00:29:40,440
However, if there ever is any improv,
559
00:29:40,520 --> 00:29:43,603
it usually comes
while we are doing rehearsals,
560
00:29:43,680 --> 00:29:48,129
where I'm kind of making sure
that the dialogue I've written works,
561
00:29:48,200 --> 00:29:50,646
that it fits the actors
who are saying the words,
562
00:29:51,040 --> 00:29:53,441
and wondering if there's places
where I can improve
563
00:29:53,560 --> 00:29:54,846
or make things funnier.
564
00:29:54,920 --> 00:29:58,163
And you find little moments
that you can use while you're shooting.
565
00:29:58,240 --> 00:30:00,004
You know exactly what to focus on.
566
00:30:00,080 --> 00:30:02,731
I change my storyboards at that time
because I see
567
00:30:03,040 --> 00:30:05,566
what works in terms of
movement or not.
568
00:30:06,080 --> 00:30:08,162
Then I draw pretty complex maps
569
00:30:08,240 --> 00:30:12,689
for the sequences
with camera angles and so forth.
570
00:30:12,760 --> 00:30:14,808
Here we have... He's whistling Brandy,
571
00:30:14,880 --> 00:30:17,121
the song that is pretty important
to this film.
572
00:30:17,200 --> 00:30:18,201
-(WHISTLING)
-(URINATING)
573
00:30:18,840 --> 00:30:22,447
GUNN: And here we have
Pom Klementieff as Mantis.
574
00:30:23,000 --> 00:30:26,129
She's a really important,
new cast member,
575
00:30:26,200 --> 00:30:30,000
and she's someone
I've come to truly love and appreciate
576
00:30:30,080 --> 00:30:31,525
throughout this process.
577
00:30:32,080 --> 00:30:36,051
I do not know if I've ever written
578
00:30:36,120 --> 00:30:38,361
any character who
an actress has come in
579
00:30:38,480 --> 00:30:41,962
and more completely
fulfilled that role perfectly.
580
00:30:43,200 --> 00:30:45,362
I think the one
that's the closest, actually,
581
00:30:45,440 --> 00:30:47,090
is sitting right next to her,
is Dave Bautista.
582
00:30:47,160 --> 00:30:50,209
Because I can't imagine
anyone in the world playing Drax
583
00:30:50,280 --> 00:30:52,681
except Dave Bautista,
and, in the same way,
584
00:30:52,760 --> 00:30:57,561
I can't imagine anyone playing Mantis
but Pom Klementieff.
585
00:30:57,960 --> 00:30:59,962
I'd say the only difference
is that Dave...
586
00:31:00,160 --> 00:31:04,006
You know, I've actually changed Drax
a little bit more to suit Dave
587
00:31:04,080 --> 00:31:06,128
over the past few years,
whereas, you know,
588
00:31:06,600 --> 00:31:10,047
Pom just came in, and she slipped
into the role perfectly.
589
00:31:10,120 --> 00:31:11,963
I liked it very much!
590
00:31:12,200 --> 00:31:13,770
I just made it up!
591
00:31:13,840 --> 00:31:15,444
(BOTH LAUGHING)
592
00:31:16,800 --> 00:31:17,881
QUILL: Give me a break!
593
00:31:18,640 --> 00:31:20,961
After all this time, you're gonna
show up, and all of a sudden...
594
00:31:21,120 --> 00:31:22,929
-you wanna be my dad?
- GAMORA: I hear you.
595
00:31:23,080 --> 00:31:25,082
QUILL: And by the way,
this could be a trap.
596
00:31:25,240 --> 00:31:26,890
The Kree purists, the Ravagers...
597
00:31:27,040 --> 00:31:28,644
-they all want us dead.
- I know, but...
598
00:31:28,800 --> 00:31:29,847
But what?
599
00:31:29,920 --> 00:31:32,321
What was that story you told me
about Zardu Hasselfrau?
600
00:31:32,480 --> 00:31:33,527
Who?
601
00:31:33,600 --> 00:31:34,840
He owned a magic boat?
602
00:31:36,880 --> 00:31:38,086
David Hasselhoff?
603
00:31:38,160 --> 00:31:39,241
Right.
604
00:31:39,320 --> 00:31:41,402
Not a magic boat. A talking car.
605
00:31:41,560 --> 00:31:42,641
Why did he talk again?
606
00:31:42,720 --> 00:31:46,247
To help him fight crime,
and to be supportive.
607
00:31:46,400 --> 00:31:49,006
As a child, you would carry his picture
in your pocket...
608
00:31:49,160 --> 00:31:50,844
and you would tell
all the other children...
609
00:31:51,000 --> 00:31:53,162
that he was your father,
but that he was out of town.
610
00:31:53,320 --> 00:31:55,846
Shooting Knight Rider
or touring with his band in Germany.
611
00:31:56,000 --> 00:31:58,321
I told you that when I was drunk.
Why are you bringing that up now?
612
00:31:58,520 --> 00:31:59,521
I love that story.
613
00:31:59,680 --> 00:32:01,648
- I hate that story.
-(SIGHS)
614
00:32:01,800 --> 00:32:03,325
It's so sad!
615
00:32:05,160 --> 00:32:09,131
GUNN: This is kind of a combination
of taking a dramatic scene in the movie
616
00:32:09,200 --> 00:32:12,727
along with a comedic scene,
talking about David Hasselhoff
617
00:32:12,800 --> 00:32:14,882
and what he means to Peter Quill.
618
00:32:15,520 --> 00:32:19,445
David Hasselhoff, of course,
was star of the show Knight Rider
619
00:32:19,520 --> 00:32:20,806
and the show Baywatch.
620
00:32:22,040 --> 00:32:24,964
You know, Peter Quill pretended
he was his father,
621
00:32:25,040 --> 00:32:27,884
and this seems like a throwaway scene
about Hasselhoff.
622
00:32:28,400 --> 00:32:30,767
But as the movie goes on,
623
00:32:30,840 --> 00:32:33,525
Hasselhoff becomes
an incredibly important part of the film.
624
00:32:35,200 --> 00:32:36,326
GAMORA: He's not a fox.
625
00:32:36,520 --> 00:32:38,568
Shoot her if she does
anything suspicious.
626
00:32:38,640 --> 00:32:39,687
(GRUMBLES)
627
00:32:40,040 --> 00:32:42,008
- Or if you feel like it.
- ROCKET: Okay.
628
00:32:43,320 --> 00:32:45,561
It'll be just a couple of days.
629
00:32:45,760 --> 00:32:47,649
We'll be back before
Rocket's finished fixing the ship.
630
00:32:47,720 --> 00:32:48,721
(MUSIC PLAYING)
631
00:32:48,800 --> 00:32:50,848
GUNN: This is Fleetwood Mac's
The Chain.
632
00:32:50,920 --> 00:32:53,764
Again, a very important song
in the movie.
633
00:32:53,880 --> 00:32:57,407
A beautiful song, a wonderful,
amazing song,
634
00:32:57,480 --> 00:33:00,086
and we get to hear it here.
635
00:33:00,160 --> 00:33:01,889
You know, I've been very lucky in that
636
00:33:02,040 --> 00:33:06,409
every single song I've ever asked
to be cleared by our music supervisor
637
00:33:06,520 --> 00:33:09,888
Dave Jordan, on both Volumes One
and Two, has been cleared.
638
00:33:09,960 --> 00:33:13,965
I've never asked for a song that
hasn't been cleared, which is great.
639
00:33:14,080 --> 00:33:16,401
Because I can really tell the story
I wanna tell.
640
00:33:16,480 --> 00:33:17,970
To get everybody to hate you?
641
00:33:18,840 --> 00:33:20,922
Because it's working.
642
00:33:21,160 --> 00:33:23,083
(FLEETWOOD MAC'S
"THE CHAIN" PLAYING)
643
00:33:24,240 --> 00:33:29,565
And if you don't love me now
You will never love me again
644
00:33:30,600 --> 00:33:35,128
I can still hear you saying
You would never break the chain
645
00:33:35,240 --> 00:33:38,244
GU N N: People ask about how I put
the soundtrack together a lot,
646
00:33:38,320 --> 00:33:42,370
and, the truth is,
I have a list of about 500 songs
647
00:33:42,440 --> 00:33:44,488
that I think of as Meredith Quill songs,
648
00:33:44,560 --> 00:33:46,164
songs she would really love.
649
00:33:46,680 --> 00:33:51,720
And in that list, I keep that on a,
you know, files on my computer
650
00:33:51,840 --> 00:33:55,367
and as I'm writing the screenplay,
actually as I'm writing the treatment
651
00:33:55,440 --> 00:33:56,726
before the screenplay,
652
00:33:56,800 --> 00:34:00,361
I'll go through it,
and I'll find songs that fit a moment
653
00:34:00,440 --> 00:34:02,442
or a place that needs a song.
654
00:34:02,560 --> 00:34:05,086
And I'll search out a song
that'll fit the moment.
655
00:34:05,280 --> 00:34:09,126
Sometimes, I'll have to go outside
of that list of 500 songs
656
00:34:09,200 --> 00:34:12,647
and go a tittie bit deeper
and find something that is
657
00:34:13,680 --> 00:34:17,810
more appropriate, which I'll do at times.
658
00:34:17,880 --> 00:34:21,646
But I write them all into the treatment,
and then when I give
659
00:34:22,440 --> 00:34:27,606
everyone that original story,
I'll give that story to Marvel.
660
00:34:27,680 --> 00:34:29,808
And I'll give them a compact disc,
661
00:34:30,280 --> 00:34:33,409
an old-school compact disc
with the songs on it,
662
00:34:33,800 --> 00:34:37,407
so that they can listen to all the music
along with the treatment,
663
00:34:37,480 --> 00:34:40,211
and they know exactly
what we're getting into.
664
00:34:40,840 --> 00:34:42,842
And we really...
We do that from the beginning.
665
00:34:42,920 --> 00:34:44,684
We play into...
666
00:34:45,160 --> 00:34:47,970
When we're playing the music on set,
we play it on set.
667
00:34:48,040 --> 00:34:50,247
We'll put earbuds in the actors' ears
668
00:34:50,320 --> 00:34:52,049
so that they can
hear the music that's playing.
669
00:34:52,160 --> 00:34:54,322
We'll put earbuds
in the camera people's ears,
670
00:34:54,400 --> 00:34:56,209
so that they can move to the songs.
671
00:34:56,320 --> 00:34:58,482
And we don't only do this
with the soundtrack songs,
672
00:34:58,560 --> 00:35:01,370
we do this with the score as well.
673
00:35:01,560 --> 00:35:03,164
Um, we have...
674
00:35:03,520 --> 00:35:07,206
Well, here we have Pom as Mantis
675
00:35:07,520 --> 00:35:11,809
using her superpower for the first time,
which is she can touch someone
676
00:35:11,920 --> 00:35:14,287
and she can feel their feelings.
677
00:35:14,360 --> 00:35:17,250
Not their thoughts, but their feelings.
She's an empath.
678
00:35:17,680 --> 00:35:22,322
And then she can also touch people
and mildly change their feelings.
679
00:35:22,400 --> 00:35:26,530
She can make them do what she wants
or make them feel the way she wants.
680
00:35:26,600 --> 00:35:28,841
Maybe not do,
but make them feel the way she wants.
681
00:35:29,960 --> 00:35:32,645
Anyway, I was talking about the score
with Tyler Bates.
682
00:35:32,720 --> 00:35:36,645
I'll give Tyler Bates the screenplay
very early on,
683
00:35:36,720 --> 00:35:42,602
and he will write songs or write,
you know, score to the scenes.
684
00:35:42,960 --> 00:35:47,488
And then we will play that music
during those scenes on set.
685
00:35:47,920 --> 00:35:52,960
I find that music and sound in general
is an undervalued part
686
00:35:53,040 --> 00:35:55,122
of the cinematic experience.
687
00:35:55,200 --> 00:35:58,841
People concentrate on the visuals a lot,
and so do I, obviously.
688
00:35:58,960 --> 00:36:02,282
But I also think that sound is
often underutilized,
689
00:36:02,440 --> 00:36:05,205
and when I first came into Hollywood
and started making movies,
690
00:36:05,760 --> 00:36:07,330
I was astounded that
691
00:36:07,400 --> 00:36:10,847
people were not choosing songs
for the movie
692
00:36:10,920 --> 00:36:14,527
until after the movie,
you know, was finished.
693
00:36:14,760 --> 00:36:16,250
And sometimes not even,
694
00:36:16,360 --> 00:36:18,601
you know, already edited
and putting songs in.
695
00:36:18,680 --> 00:36:21,570
Not even editing to the songs,
which I thought was just ridiculous.
696
00:36:22,080 --> 00:36:24,242
Songs are so important.
The music is so important,
697
00:36:24,320 --> 00:36:28,166
such an important emotional element
of the filmgoing experience,
698
00:36:28,240 --> 00:36:30,083
you'd think people
would take more care with it,
699
00:36:30,160 --> 00:36:32,970
and so that's why the score
and the soundtrack
700
00:36:33,320 --> 00:36:34,765
is so incredibly important to me.
701
00:36:34,960 --> 00:36:38,806
He lies awake at night
thinking about his progeny.
702
00:36:40,960 --> 00:36:42,121
Do one of those on me.
703
00:36:46,680 --> 00:36:48,284
Sleep.
704
00:36:49,600 --> 00:36:50,965
(SNORING)
705
00:36:52,280 --> 00:36:57,446
GUNN: We are now back on Berhert
with Rocket and Groot, and Nebula,
706
00:36:57,520 --> 00:37:00,524
and we get to see
the Ravagers approaching.
707
00:37:00,600 --> 00:37:01,726
(GLEN CAMPBELL'S
"SOUTHERN NIGHTS" PLAYING)
708
00:37:01,800 --> 00:37:04,406
This song is Southern Nights
by Glen Campbell.
709
00:37:04,480 --> 00:37:07,563
This was my favorite song
when I was a very, very young child.
710
00:37:07,640 --> 00:37:13,044
I was very lucky, a couple of years ago,
to go to a Fourth of July party
711
00:37:13,120 --> 00:37:17,409
at Jane Seymour's house of all places,
and Glen Campbell was there.
712
00:37:17,480 --> 00:37:21,929
And he sat down around a campfire
with maybe eight of us,
713
00:37:22,000 --> 00:37:25,561
and he played his songs,
you know, for one of the...
714
00:37:26,320 --> 00:37:29,130
You know, one of the last concerts.
I guess "concerts."
715
00:37:29,200 --> 00:37:30,565
(DISTANT SINGING)
716
00:37:31,480 --> 00:37:32,686
(GRUNTS)
717
00:37:41,160 --> 00:37:42,685
- ROCKET: I love this song.
-(BEEPING)
718
00:37:42,840 --> 00:37:43,887
(ALL GASP)
719
00:37:44,160 --> 00:37:48,290
GUNN: That is Jimmy Urine from
the band Mindless Self Indulgence,
720
00:37:48,360 --> 00:37:51,523
who also happens to be
one of my best buddies in the world.
721
00:37:51,960 --> 00:37:55,851
We hang out a lot. We travel together.
We've been friends for a long time.
722
00:37:57,440 --> 00:37:59,727
Baby Groot and Rocket
in this sequence
723
00:37:59,800 --> 00:38:02,326
were done by a company called Trixter.
724
00:38:02,440 --> 00:38:06,411
They did marvelous work.
They really, really nailed it.
725
00:38:12,280 --> 00:38:13,281
-(BRANCH SNAPS)
- Huh?
726
00:38:14,360 --> 00:38:15,486
- There!
-(ALL YELLING)
727
00:38:15,560 --> 00:38:17,369
GU N N: We'll see some interesting
shots here in a second.
728
00:38:17,480 --> 00:38:19,209
It's something that
I did a lot in this movie.
729
00:38:19,560 --> 00:38:21,005
This shot was incredibly intense.
730
00:38:21,080 --> 00:38:22,570
That's all real...
731
00:38:22,640 --> 00:38:25,325
Not all real explosions,
but almost all real explosions.
732
00:38:25,400 --> 00:38:27,880
It's a real camera move
through real trees.
733
00:38:27,960 --> 00:38:30,804
And then we put Rocket into it,
and we had all these explosions.
734
00:38:31,240 --> 00:38:33,481
This shot here is multiple layers
735
00:38:33,560 --> 00:38:35,927
of different actors
moving at different speeds.
736
00:38:36,400 --> 00:38:41,042
So at the very top layer, we have a guy
by the name of Jae, who's a stuntman.
737
00:38:41,120 --> 00:38:44,806
And we have him moving
in incredibly slow, phantom speeds,
738
00:38:45,080 --> 00:38:48,084
you know, a thousand frames
or so a second.
739
00:38:48,400 --> 00:38:52,485
And then, right below him,
the next layer is a little bit faster,
740
00:38:52,600 --> 00:38:54,443
a little bit less frames per second.
741
00:38:54,560 --> 00:38:57,848
And below him,
those guys are a little bit faster,
742
00:38:57,920 --> 00:38:59,922
so that there's this weird sort of
743
00:39:00,000 --> 00:39:02,571
accordion feel
of them coming towards us,
744
00:39:02,640 --> 00:39:05,086
but they're all moving
at different speeds.
745
00:39:05,160 --> 00:39:08,687
These variated speeds are something
that I do throughout the movie.
746
00:39:08,760 --> 00:39:11,206
In particular later,
and I'll talk about it more then,
747
00:39:11,280 --> 00:39:12,611
when we get to the arrow sequence.
748
00:39:12,680 --> 00:39:15,604
We do it, like, I don't think
anyone's ever done it before.
749
00:39:16,080 --> 00:39:19,084
These were all difficult shots
for us to do
750
00:39:19,160 --> 00:39:22,801
because we have a lot of
really interactive shots
751
00:39:22,920 --> 00:39:26,049
with Rocket interacting
and jumping along these guys' heads
752
00:39:26,120 --> 00:39:28,930
and hitting them
and knocking them around.
753
00:39:33,080 --> 00:39:35,686
Here we have Rocket about to face
754
00:39:35,760 --> 00:39:38,127
my best friend in the world
Stevie Blackhart.
755
00:39:38,240 --> 00:39:39,321
He's one of the few people
756
00:39:39,400 --> 00:39:42,006
that's acted in two different roles
in two different Marvel movies
757
00:39:42,120 --> 00:39:45,044
because he played
the Dispatcher in Knowhere
758
00:39:45,120 --> 00:39:47,168
in the first Guardians of the Galaxy,
759
00:39:47,280 --> 00:39:50,762
and now he's back again
as a character in makeup, Brahl,
760
00:39:51,960 --> 00:39:54,645
who doesn't last that long. Spoiler.
761
00:39:56,640 --> 00:39:59,564
And here we have this...
That's also a practical shot
762
00:39:59,640 --> 00:40:02,450
moving through the forest,
and then the arrow was put into it.
763
00:40:02,520 --> 00:40:05,285
So, that isn't CG! background,
CG! arrow.
764
00:40:05,360 --> 00:40:08,807
It's a CG! arrow
with practical background.
765
00:40:09,280 --> 00:40:12,409
I always like to use practical
when it works,
766
00:40:12,480 --> 00:40:14,528
just like I like to use CG! when it works.
767
00:40:14,640 --> 00:40:19,680
I don't buy into this belief
that practical is always best.
768
00:40:19,880 --> 00:40:21,006
It isn't.
769
00:40:21,880 --> 00:40:26,522
I don't believe that there's any way that
we could create the type of emotion
770
00:40:26,840 --> 00:40:29,844
that we're about to see in Baby Groot,
for instance, right there,
771
00:40:30,000 --> 00:40:31,809
uh, through practical effects.
772
00:40:31,880 --> 00:40:34,042
You can't create a puppet like that.
773
00:40:34,160 --> 00:40:35,605
He's just got too much movement,
774
00:40:35,680 --> 00:40:37,921
and the same thing,
even more so with Rocket,
775
00:40:38,000 --> 00:40:39,445
a more complicated character.
776
00:40:39,520 --> 00:40:42,330
A much more complicated character
with his eye moves,
777
00:40:42,400 --> 00:40:45,290
and, you know,
the meniscus in his eyes,
778
00:40:45,360 --> 00:40:47,283
which we spent a lot of time
talking about,
779
00:40:47,360 --> 00:40:50,887
the spotlights in his eyes.
The way he looks.
780
00:40:51,080 --> 00:40:53,401
You couldn't create that
through a puppet.
781
00:40:53,560 --> 00:40:56,166
But when something
can be created practically,
782
00:40:56,240 --> 00:40:58,004
I think it's best to go that route.
783
00:40:58,080 --> 00:41:01,527
Sc if you can create a set practically,
you should.
784
00:41:01,600 --> 00:41:03,090
So, again, the forest,
785
00:41:03,160 --> 00:41:05,401
it's almost all practical
here behind them.
786
00:41:07,080 --> 00:41:09,765
We had a difficult time
lighting this scene because it was...
787
00:41:09,880 --> 00:41:11,041
It came out a little bright,
788
00:41:11,120 --> 00:41:14,886
and so we did a lot of dealing with
789
00:41:15,000 --> 00:41:17,765
Steve Scott, who does our DI,
our color timing,
790
00:41:17,840 --> 00:41:20,684
to try to make it look like it's morning.
791
00:41:21,400 --> 00:41:22,925
It's just starting to be morning.
792
00:41:23,960 --> 00:41:28,170
So this is the scene where
the Ravagers start to break up.
793
00:41:28,240 --> 00:41:29,571
A mutiny starts to occur.
794
00:41:29,640 --> 00:41:33,008
That's my brother, Sean Gunn,
who also plays Rocket on set.
795
00:41:33,080 --> 00:41:35,811
He plays Kraglin in this movie,
and he actually
796
00:41:35,920 --> 00:41:37,843
turns in an incredible performance.
797
00:41:39,240 --> 00:41:42,847
I find his performance deeply touching,
798
00:41:42,920 --> 00:41:45,241
and he's great in the movie.
799
00:41:45,920 --> 00:41:50,084
And Chris Sullivan as Taserface,
a real S.O.B.
800
00:41:50,480 --> 00:41:54,769
And then so many of these Ravagers
are friends of mine.
801
00:41:54,840 --> 00:41:57,081
There must be some kind of
peaceful resolution to this.
802
00:41:57,200 --> 00:41:58,850
GUNN: This is really
the beginning of the end.
803
00:41:58,920 --> 00:42:00,968
We see the really bad Ravagers
804
00:42:01,080 --> 00:42:04,880
against the merely bad Ravagers,
and then we have
805
00:42:05,960 --> 00:42:09,282
the moment here with Nebula.
806
00:42:09,680 --> 00:42:13,924
Sort of a Sergio Leone face-off there
with the close-ups of the eyes,
807
00:42:14,440 --> 00:42:15,771
and she strikes him down.
808
00:42:21,000 --> 00:42:26,803
This was a big controversy
around the editing offices,
809
00:42:29,320 --> 00:42:32,324
whether we should keep in that moment
when she spits out the yaro root.
810
00:42:32,680 --> 00:42:35,160
This is one of my favorite shots
in the movie, by the way.
811
00:42:36,480 --> 00:42:38,801
Beautiful, beautiful shot.
812
00:42:38,880 --> 00:42:40,769
(GEORGE HARRISON'S
"MY SWEET LORD" PLAYING)
813
00:42:40,840 --> 00:42:42,729
Yeah, people thought that
maybe we shouldn't have
814
00:42:42,800 --> 00:42:44,211
that joke moment for Nebula,
815
00:42:44,280 --> 00:42:46,089
that we should make her more cool
in that moment,
816
00:42:46,160 --> 00:42:48,731
but I was a big proponent
of leaving the laugh in.
817
00:42:48,800 --> 00:42:51,087
And actually during
our first couple test screenings...
818
00:42:51,160 --> 00:42:53,970
We do test screenings, in which
we show the movie to audiences,
819
00:42:54,640 --> 00:42:58,247
and, you know, they give us scores on,
you know, whether they like the movie
820
00:42:58,320 --> 00:42:59,810
or don't like the movie
and all this stuff.
821
00:42:59,880 --> 00:43:00,927
And that's somewhat helpful,
822
00:43:01,000 --> 00:43:03,446
but what's really helpful
about test screenings is,
823
00:43:03,520 --> 00:43:07,081
you see what people understand,
what they don't understand.
824
00:43:07,160 --> 00:43:08,605
(MUSIC CONTINUES)
825
00:43:08,680 --> 00:43:11,251
Here we have George Harrison's
My Sweet Lord playing
826
00:43:11,320 --> 00:43:13,766
during the revelation of Ego's planet,
827
00:43:13,840 --> 00:43:16,366
which we're about to learn
is Ego himself.
828
00:43:16,440 --> 00:43:18,408
He is a living planet,
829
00:43:18,480 --> 00:43:23,042
and this Kurt Russell form
is merely an avatar of that planet.
830
00:43:24,880 --> 00:43:27,281
I feel very lucky that
George Harrison's estate
831
00:43:27,360 --> 00:43:28,850
allowed us to have this song.
832
00:43:29,000 --> 00:43:32,800
He is a Beatie, and this is
one of my favorite albums of all time.
833
00:43:33,560 --> 00:43:36,291
So I think it's... We're really lucky.
It's a beautiful song.
834
00:43:36,360 --> 00:43:40,365
It also speaks to sort of,
you know, Hindu mythology a bit,
835
00:43:40,920 --> 00:43:45,130
and I think that there's a lot of
Hindu mythology, creation myth,
836
00:43:45,360 --> 00:43:50,002
in the story of Ego's coming into being.
837
00:43:50,560 --> 00:43:56,044
It used to be a little bit more
on the nose in earlier drafts,
838
00:43:56,120 --> 00:43:58,361
but this sequence coming up
839
00:43:58,440 --> 00:44:01,046
was one of the most difficult sequences
in the movie.
840
00:44:01,400 --> 00:44:04,165
We didn't cut too much from this film
in terms of entire sequences.
841
00:44:04,240 --> 00:44:07,403
One of the things we cut was
a fountain scene here where they're...
842
00:44:07,480 --> 00:44:09,881
You can see in the deleted scenes.
843
00:44:12,440 --> 00:44:15,011
And this shot, I think here was
844
00:44:15,080 --> 00:44:18,084
one of the last shots
we turned in to the movie.
845
00:44:20,000 --> 00:44:23,163
I'm what's called a Celestial, sweetheart.
846
00:44:25,280 --> 00:44:29,285
GUNN: This is where Peter Quill learns
that he is part god.
847
00:44:29,360 --> 00:44:32,045
And I think this is sort of the change.
848
00:44:32,120 --> 00:44:35,169
This is where Peter Quill
is in the very first stages
849
00:44:35,240 --> 00:44:39,928
of starting to buy into his own ego,
850
00:44:40,080 --> 00:44:44,802
in that there's something important
or better about him than other people.
851
00:44:44,880 --> 00:44:49,124
This is really a story of the seduction
of Peter Quill.
852
00:44:50,240 --> 00:44:55,371
Ego, you know, as we find out,
is a really terrible, terrible guy,
853
00:44:55,440 --> 00:44:58,125
and he is seducing his son
854
00:44:58,200 --> 00:45:01,010
for the purpose of
destroying the universe
855
00:45:01,080 --> 00:45:04,289
and taking over everything
with his own ego.
856
00:45:04,800 --> 00:45:05,801
And, uh...
857
00:45:05,880 --> 00:45:11,011
And he is able to be
seemingly very warm and loving,
858
00:45:11,280 --> 00:45:15,046
but it's questionable about
how warm and loving he really is.
859
00:45:15,120 --> 00:45:17,009
EGO: ...layer by layer...
860
00:45:17,160 --> 00:45:19,766
the very planet you walk on now.
861
00:45:19,920 --> 00:45:21,206
Whoa.
862
00:45:21,800 --> 00:45:22,961
But I wanted more.
863
00:45:23,680 --> 00:45:27,526
GUNN: We spent a lot of time
working on these shots, which are...
864
00:45:27,600 --> 00:45:32,208
I think of them as giant, sort of,
Hummel figurines,
865
00:45:32,280 --> 00:45:36,842
Jeff Koons-inspired artwork,
porcelain statues.
866
00:45:37,320 --> 00:45:41,211
I described it to Chris Townsend,
our visual effects supervisor,
867
00:45:41,640 --> 00:45:43,961
as stations of the cross. Sort of.
868
00:45:44,720 --> 00:45:49,044
We went through a bunch of different
visual versions of what this could be,
869
00:45:49,120 --> 00:45:50,690
and we weren't happy with them.
870
00:45:50,760 --> 00:45:54,207
We did a moving oil painting,
and that didn't work.
871
00:45:54,280 --> 00:45:58,490
We did these shifting sand sculptures,
and that didn't work.
872
00:45:58,800 --> 00:46:01,531
And, you know, it was difficult
873
00:46:01,600 --> 00:46:05,571
because we just didn't know
what would be the best.
874
00:46:07,400 --> 00:46:10,722
Here we have one of my favorite Dave
Bautista moments in the whole movie,
875
00:46:10,800 --> 00:46:14,043
which is him talking about Ego's penis.
876
00:46:14,120 --> 00:46:17,124
And, in a moment, he gives
a nice little look to Ego's penis,
877
00:46:17,240 --> 00:46:19,925
which I laughed hysterically
when he did it.
878
00:46:20,760 --> 00:46:23,366
Which is coming up, right there.
879
00:46:23,440 --> 00:46:27,126
(CHUCKLES) I think that's one of
my favorite little moments.
880
00:46:27,200 --> 00:46:28,964
...and all the accompanying junk.
881
00:46:29,440 --> 00:46:34,082
I wanted to experience
what it truly meant to be human...
882
00:46:35,480 --> 00:46:40,884
GUNN: This moment here is
the ship taking off of Ego's planet.
883
00:46:41,200 --> 00:46:45,171
You know, basically we learn
that Ego is a brain
884
00:46:45,280 --> 00:46:48,727
that was left out in space,
and he sought...
885
00:46:48,880 --> 00:46:52,680
That's my niece, Grace,
as a statue, which is pretty cool.
886
00:46:53,760 --> 00:46:56,411
He started out
as this brain floating in space,
887
00:46:56,480 --> 00:46:59,563
and we learn that he was able,
over billions of years,
888
00:46:59,760 --> 00:47:03,003
to learn how to control
the molecules around him,
889
00:47:03,080 --> 00:47:05,447
where he built a body
which was the planet.
890
00:47:05,920 --> 00:47:09,606
And the planet existed
and was completely alone,
891
00:47:09,720 --> 00:47:12,849
so, through that,
he built another type of life,
892
00:47:12,920 --> 00:47:16,766
this form that we see now
as Kurt Russell.
893
00:47:16,920 --> 00:47:20,083
And he went off
in search of meaning and life,
894
00:47:20,240 --> 00:47:25,007
and when he went and he found life,
we find it didn't soothe him at all.
895
00:47:25,080 --> 00:47:26,366
It wasn't what he wanted.
896
00:47:26,440 --> 00:47:30,047
He found out in many ways
that he was a predator,
897
00:47:30,760 --> 00:47:33,684
that he was not who he says he is now,
898
00:47:33,760 --> 00:47:36,366
which is a loving father
towards Peter Quill.
899
00:47:38,600 --> 00:47:42,207
In earlier versions of
Guardians of the Galaxy: Volume Two
900
00:47:42,280 --> 00:47:44,760
I had Star-Lord
901
00:47:44,880 --> 00:47:50,205
much more willing to buy into
Ego's line of thinking.
902
00:47:50,800 --> 00:47:53,929
For instance, the David Hasselhoff
scene in the forest,
903
00:47:54,600 --> 00:47:58,002
I had Gamora going,
"I don't believe any of this."
904
00:47:58,080 --> 00:48:00,811
And Quill saying,
"No, you have to believe me."
905
00:48:01,080 --> 00:48:03,287
I found a great jump forward
in storytelling
906
00:48:04,800 --> 00:48:07,280
came when I shifted that story,
907
00:48:07,360 --> 00:48:12,651
so that instead of having it be
that Gamora was the cynical one,
908
00:48:13,880 --> 00:48:14,927
Quill was the cynical one.
909
00:48:15,000 --> 00:48:17,890
And she was the one
that had to talk him into going.
910
00:48:17,960 --> 00:48:20,042
And I thought that served
a couple of purposes.
911
00:48:20,120 --> 00:48:23,567
Number one, it served the purpose
that we see this deepening relationship
912
00:48:23,640 --> 00:48:25,927
between Gamora and Peter Quill,
913
00:48:26,000 --> 00:48:29,766
that she really cares about him,
and they've developed a friendship,
914
00:48:29,840 --> 00:48:32,161
which is deeper than
just a love relationship.
915
00:48:32,240 --> 00:48:35,050
Although there's
some romance within it as well
916
00:48:36,320 --> 00:48:37,810
she's definitely not comfortable with,
917
00:48:37,880 --> 00:48:41,168
and he is, you know, very desirous of.
918
00:48:42,120 --> 00:48:45,602
So it showed that she had come
a certain amount of ways with that.
919
00:48:45,680 --> 00:48:49,446
But also, I think it does the opposite
of what you think it would do.
920
00:48:49,520 --> 00:48:52,444
Because Peter Quill
is very cynical about his father,
921
00:48:52,520 --> 00:48:55,808
and, you know,
to an audience member,
922
00:48:55,880 --> 00:48:59,043
I think they see that
he's cynical about his father.
923
00:48:59,120 --> 00:49:03,808
And so that is the typical
father-son story that you see in movies
924
00:49:03,880 --> 00:49:05,291
where they would come together,
925
00:49:05,360 --> 00:49:08,728
and you would think that Ego ends up
being a good father.
926
00:49:08,840 --> 00:49:10,205
And that's what a lot of people think
927
00:49:11,600 --> 00:49:13,728
when they're watching the movie
early on.
928
00:49:15,080 --> 00:49:17,686
When it used to be
that Peter Quill thought
929
00:49:17,760 --> 00:49:19,808
that his father was great
from the beginning,
930
00:49:19,880 --> 00:49:23,282
then you expect the opposite
to happen because it's a story,
931
00:49:23,360 --> 00:49:25,806
and it's going to have
pivots and switches.
932
00:49:25,880 --> 00:49:27,484
And you're not going to know
what's going to happen.
933
00:49:27,920 --> 00:49:30,446
So I thought that was
a big move forward for us.
934
00:49:30,520 --> 00:49:31,965
Because you're weak.
935
00:49:32,040 --> 00:49:33,644
-(GRUNTS)
-(ALL CHEERING)
936
00:49:34,560 --> 00:49:38,007
GUNN: Here we have the Ravagers
absolutely, brutally beating up
937
00:49:39,000 --> 00:49:41,651
Yondu and Rocket.
938
00:49:41,720 --> 00:49:45,486
And we end up having
a very comedic scene,
939
00:49:45,560 --> 00:49:47,403
one of the more comedic scenes
in the movie,
940
00:49:47,920 --> 00:49:50,002
where there's a play
on Taserface's name.
941
00:49:50,080 --> 00:49:54,085
Taserface is, of course,
a pretty important character
942
00:49:54,160 --> 00:49:58,006
in the Guardians of the Galaxy
universe in the Marvel comics.
943
00:49:58,080 --> 00:50:01,687
He's actually a bad guy
who's taken rather seriously.
944
00:50:01,960 --> 00:50:06,329
And when I first got the job for
Guardians of the Galaxy: Volume One,
945
00:50:06,440 --> 00:50:08,204
I kidded around on Facebook
946
00:50:08,280 --> 00:50:11,124
that I was going to make
Taserface the bad guy,
947
00:50:11,200 --> 00:50:14,090
and it was a joke
because I thought he was goofy.
948
00:50:15,560 --> 00:50:19,565
So that's sort of a nod to the real
Guardians fans of taking Taserface
949
00:50:19,640 --> 00:50:24,646
and actually making him an important
character in the Guardians comics.
950
00:50:25,080 --> 00:50:27,811
But no one thinks his name
is a good name.
951
00:50:27,920 --> 00:50:29,365
I think probably the Ravagers
952
00:50:29,440 --> 00:50:32,364
have been talking behind his back
for many years
953
00:50:32,440 --> 00:50:34,249
about what a stupid name
"Taserface" is.
954
00:50:34,320 --> 00:50:35,765
They all think it's ridiculous.
955
00:50:36,480 --> 00:50:37,811
But he doesn't realize it
956
00:50:37,880 --> 00:50:41,248
because he is, at the end of the day,
an oaf, a sort of fool.
957
00:50:41,720 --> 00:50:45,406
And Rocket plays him
like a fiddle here.
958
00:50:45,880 --> 00:50:48,929
His whole thing
is to not get Yondu killed.
959
00:50:49,000 --> 00:50:51,571
And here we see
a sort of heroism of Rocket
960
00:50:51,640 --> 00:50:55,884
as he saves Yondu's life,
who's about to get killed
961
00:50:56,320 --> 00:51:00,166
by all of this nonsense of appealing
962
00:51:00,240 --> 00:51:03,608
to the crowd of making jokes.
963
00:51:04,320 --> 00:51:07,369
And then we see here
another side of Rocket
964
00:51:07,440 --> 00:51:11,490
where we realize all along
that he really just is drawing him in,
965
00:51:11,560 --> 00:51:12,925
and he doesn't care about him,
966
00:51:13,000 --> 00:51:14,684
and I don't even know if Rocket cares
967
00:51:14,800 --> 00:51:16,370
that much about dying
at a certain point.
968
00:51:16,440 --> 00:51:19,125
He is a sad and lonely character.
969
00:51:19,200 --> 00:51:22,886
I think in this movie we get to see
that a little more deeply,
970
00:51:22,960 --> 00:51:26,726
that he's a deeply injured,
damaged soul
971
00:51:27,880 --> 00:51:30,690
who has never known tenderness,
he's never known love,
972
00:51:30,760 --> 00:51:32,603
and he's never known affection.
973
00:51:32,680 --> 00:51:36,366
And so when he starts to become
friends with the Guardians,
974
00:51:36,440 --> 00:51:39,489
as he did in Volume One
and going into this movie,
975
00:51:40,000 --> 00:51:42,321
he becomes a real jerk.
He becomes an ass.
976
00:51:42,880 --> 00:51:47,920
He's not able to deal with the intimacy
or the tenderness of friendship,
977
00:51:48,040 --> 00:51:52,443
and so he pushes them away
in a very harsh way.
978
00:51:52,520 --> 00:51:55,364
And that truly is, in many ways,
the heart of this story,
979
00:51:55,680 --> 00:51:58,490
even as much as the father-son story,
980
00:51:58,560 --> 00:52:00,562
or as much as
the Nebula-Gamora story,
981
00:52:00,640 --> 00:52:02,722
which we're about to hear here
in a second.
982
00:52:04,760 --> 00:52:06,762
This is a scene that ends up being
983
00:52:06,840 --> 00:52:09,366
a funny scene between
Kraglin and Nebula.
984
00:52:09,880 --> 00:52:14,681
But really what it is, is giving us
some background on Nebula,
985
00:52:14,760 --> 00:52:16,888
and who she is
and where she comes from.
986
00:52:17,400 --> 00:52:19,926
And I think for the first time
we start to say,
987
00:52:20,000 --> 00:52:21,411
"Oh, wow. She is not...
988
00:52:21,480 --> 00:52:24,006
"Maybe there's a little bit more
to her than we thought."
989
00:52:24,080 --> 00:52:25,491
And we discover that
990
00:52:25,920 --> 00:52:29,322
she was forced to battle her sister
991
00:52:29,400 --> 00:52:32,051
throughout her entire life
as a young child,
992
00:52:32,120 --> 00:52:33,804
and Gamora always won.
993
00:52:33,920 --> 00:52:36,890
She was the younger sister.
She was the weaker sister.
994
00:52:36,960 --> 00:52:39,930
And every time she lost,
995
00:52:40,000 --> 00:52:42,480
Thanos would replace a piece of her
996
00:52:42,560 --> 00:52:47,885
with some types of bionics
or machinery,
997
00:52:47,960 --> 00:52:51,407
so that she became less and less
and less human as time went on.
998
00:52:51,720 --> 00:52:53,882
And the reason
she became less human
999
00:52:53,960 --> 00:52:57,089
is because her sister
was brutally beating her,
1000
00:52:57,160 --> 00:52:59,401
basically, seemingly without caring.
1001
00:52:59,760 --> 00:53:01,524
So that's what's caused
1002
00:53:01,600 --> 00:53:05,366
this incredible anger in her
towards Gamora,
1003
00:53:05,440 --> 00:53:09,001
and towards Thanos, of course,
who she also hates,
1004
00:53:09,120 --> 00:53:10,770
more so than Gamora does even.
1005
00:53:12,080 --> 00:53:15,289
ANYWAYS, happy trails.
1006
00:53:21,920 --> 00:53:26,881
GUNN: Here we have the Meredith Quill
statue, looking quite pretty and simple.
1007
00:53:26,960 --> 00:53:30,009
And we have probably
the most dramatic scene
1008
00:53:30,080 --> 00:53:32,287
that we've ever shot in a Guardians film.
1009
00:53:32,360 --> 00:53:36,160
It's pretty much straight drama
between Peter Quill and his father
1010
00:53:36,240 --> 00:53:40,450
where he confronts him
on what a terrible father he is,
1011
00:53:40,520 --> 00:53:43,000
who left him and, uh,
1012
00:53:43,800 --> 00:53:46,167
you know, left his mother,
who had brain cancer,
1013
00:53:47,080 --> 00:53:52,450
and sent a pirate to come pick him up
and deliver him to him for money.
1014
00:53:53,080 --> 00:53:55,845
And that's the heart of the story.
1015
00:53:56,000 --> 00:53:58,241
Now, one of the things
I think in retrospect
1016
00:53:58,320 --> 00:54:00,209
watching this scene is that
1017
00:54:00,280 --> 00:54:03,966
Kurt Russell's playing Ego,
and he's lying.
1018
00:54:04,040 --> 00:54:07,931
I don't think that most of this is true.
1019
00:54:08,000 --> 00:54:11,686
He has done this to countless children.
1020
00:54:11,760 --> 00:54:17,802
And I do think that Ego, perhaps,
had a special love for Meredith Quill.
1021
00:54:18,960 --> 00:54:22,601
But I also think that
he has done this many, many times.
1022
00:54:22,680 --> 00:54:26,844
And he is absolutely full of it
when he talks about this,
1023
00:54:26,960 --> 00:54:28,086
and he's seducing his son.
1024
00:54:28,200 --> 00:54:32,000
He's bringing him in because he wants
to use his power for his own purposes,
1025
00:54:32,520 --> 00:54:34,204
and what he's doing is pretty evil.
1026
00:54:34,520 --> 00:54:38,684
This is Animal Logic,
who did the effects in this scene.
1027
00:54:38,840 --> 00:54:41,491
This is Maxfield Parrish-inspired.
1028
00:54:41,560 --> 00:54:44,291
I wanted to create this incredibly lush,
1029
00:54:44,360 --> 00:54:46,886
beautiful world that was also very alien.
1030
00:54:47,360 --> 00:54:51,684
And Maxfieid Parrish is definitely
the key influence on this scene
1031
00:54:51,760 --> 00:54:55,162
as well as many
of the exterior Ego scenes.
1032
00:54:56,200 --> 00:55:00,205
Here's where Peter Quill learns
that he has some power.
1033
00:55:00,280 --> 00:55:04,205
He's been basically the weakling
in the Guardians of the Galaxy,
1034
00:55:04,400 --> 00:55:05,640
who's just a human being
1035
00:55:05,720 --> 00:55:09,964
who's kind of good with guns
and good with his charm,
1036
00:55:10,280 --> 00:55:12,203
but he doesn't have
any special powers.
1037
00:55:12,280 --> 00:55:14,681
He's not strong like Drax or Gamora.
1038
00:55:14,760 --> 00:55:18,651
He doesn't have
the incredible intelligence of Rocket.
1039
00:55:18,720 --> 00:55:20,961
He can't stretch like Baby Groot.
1040
00:55:23,680 --> 00:55:26,889
He discovers here
something about himself
1041
00:55:26,960 --> 00:55:28,928
that he thinks he's special.
1042
00:55:29,240 --> 00:55:33,802
And even more special
than the other characters.
1043
00:55:34,240 --> 00:55:38,040
And then he receives here the moment
between he and his father,
1044
00:55:38,120 --> 00:55:44,287
in a somewhat outlandish way,
of space catch. (CHUCKLES)
1045
00:55:44,400 --> 00:55:46,050
Which he talked about
earlier in the movie
1046
00:55:46,120 --> 00:55:49,169
that he wanted to be off,
like the other kids,
1047
00:55:49,280 --> 00:55:51,282
playing catch with their dads,
and he never got that.
1048
00:55:51,360 --> 00:55:54,489
And again, I think Ego's
feeding right into
1049
00:55:54,560 --> 00:55:57,689
what Peter Quill most wants
in his heart, and this is it.
1050
00:55:57,760 --> 00:55:59,171
(MUSIC PLAYING)
1051
00:55:59,240 --> 00:56:03,768
Great score by Tyler Bates.
You know, wonderful father-son theme.
1052
00:56:03,880 --> 00:56:07,043
I think that one of the interesting things
we did with the score here
1053
00:56:07,120 --> 00:56:12,081
is we created this father-son theme
that we hear playing throughout
1054
00:56:12,160 --> 00:56:15,369
when Peter Quill is
touched by his father.
1055
00:56:16,480 --> 00:56:18,448
And yet it plays out
at the end with Yondu.
1056
00:56:18,560 --> 00:56:21,928
That's when the father-son theme
really comes into play
1057
00:56:22,000 --> 00:56:26,164
because he is the true father,
and Ego is the fake father.
1058
00:56:27,560 --> 00:56:28,561
Pom Klementieff.
1059
00:56:28,640 --> 00:56:31,644
We shot this on her first day
of shooting, I believe,
1060
00:56:31,720 --> 00:56:34,087
and she's incredible in this scene.
1061
00:56:34,880 --> 00:56:37,645
And there was a difficult cut
in this scene.
1062
00:56:37,720 --> 00:56:41,770
This is many people's favorite scene in
the movie because of the emotion in it.
1063
00:56:41,840 --> 00:56:46,448
And when Pom touches Drax...
1064
00:56:46,520 --> 00:56:49,251
And again, we have a character here
who we're getting to know better.
1065
00:56:49,320 --> 00:56:51,084
He's a doofus.
1066
00:56:51,160 --> 00:56:54,687
And he obviously has a difficult time
1067
00:56:56,160 --> 00:56:58,925
relating to other people
and talking to other people.
1068
00:56:59,000 --> 00:57:01,765
He's calling Mantis "ugly."
1069
00:57:01,840 --> 00:57:04,320
We later learn the reason
he doesn't like Mantis
1070
00:57:04,440 --> 00:57:06,044
is because she's too skinny.
1071
00:57:07,680 --> 00:57:09,205
Something we talk about a lot is that
1072
00:57:09,320 --> 00:57:12,767
Drax likes
incredibly overweight women,
1073
00:57:13,360 --> 00:57:14,930
and that's what he's attracted to.
1074
00:57:15,000 --> 00:57:16,604
But here in this moment,
we have this guy
1075
00:57:16,680 --> 00:57:18,762
who's a goofy character.
He's awful silly.
1076
00:57:19,440 --> 00:57:23,809
And we see at the heart of him
is something really, horrifyingly sad.
1077
00:57:23,880 --> 00:57:28,249
He's lost the woman he loved.
He's lost his daughter. They're dead.
1078
00:57:28,680 --> 00:57:32,048
And now, Mantis is experiencing
all the emotion.
1079
00:57:33,920 --> 00:57:37,845
Pom Klementieff, in that moment,
had a speech that she had given
1080
00:57:38,240 --> 00:57:40,322
that was basically saying,
1081
00:57:40,400 --> 00:57:42,926
"I have never experienced love
1082
00:57:43,040 --> 00:57:45,202
"like the love between
you and your friends.
1083
00:57:45,320 --> 00:57:48,881
"It, you know, both hurts
and soothes the soul."
1084
00:57:49,560 --> 00:57:52,609
And it was a beautiful speech.
1085
00:57:53,320 --> 00:57:55,243
But when I cut it out of the moment,
1086
00:57:55,320 --> 00:57:57,448
I found that the moment
was more potent,
1087
00:57:57,520 --> 00:58:00,603
that we felt everything she was saying
1088
00:58:00,680 --> 00:58:03,251
just by seeing her face
and seeing the two of them.
1089
00:58:03,400 --> 00:58:05,004
Him sitting there stoically
1090
00:58:05,080 --> 00:58:07,401
and her sitting there
completely emotionally,
1091
00:58:07,520 --> 00:58:09,090
it was more powerful.
1092
00:58:09,760 --> 00:58:11,091
What are you talking about?
1093
00:58:11,240 --> 00:58:12,401
GAMORA: Mantis...
1094
00:58:12,920 --> 00:58:14,922
can you show us where we'll be staying?
1095
00:58:15,520 --> 00:58:17,284
Why are there no other beings
on this planet?
1096
00:58:18,480 --> 00:58:20,847
GUNN: This scene was
a reshoot actually.
1097
00:58:20,920 --> 00:58:22,729
We shot it later,
1098
00:58:22,800 --> 00:58:26,725
to, sort of, give us
a little forward momentum
1099
00:58:27,240 --> 00:58:31,564
to explain Gamora's shift
between the earlier scene,
1100
00:58:31,640 --> 00:58:37,488
where she is telling Peter Quill
that he should go see his father,
1101
00:58:37,560 --> 00:58:39,961
and in the scene
that's coming up pretty soon,
1102
00:58:40,040 --> 00:58:42,168
where she is telling Peter Quill
1103
00:58:42,240 --> 00:58:43,605
that there's something
not right about this place,
1104
00:58:43,680 --> 00:58:44,841
that she doesn't believe it.
1105
00:58:46,120 --> 00:58:49,169
So we shot that later in post-production
1106
00:58:49,240 --> 00:58:52,767
to sort of fill in the blanks
of what was happening there.
1107
00:58:53,160 --> 00:58:57,609
Because, to me,
Gamora looked a little bit crazy.
1108
00:58:58,160 --> 00:59:00,447
Which she is, but not that crazy.
1109
00:59:01,920 --> 00:59:04,002
Hey, tell the other guys we said...
1110
00:59:04,160 --> 00:59:05,571
"Hi," Taserface!
1111
00:59:06,480 --> 00:59:07,481
(SIGHS)
1112
00:59:10,000 --> 00:59:14,528
GU N N: Particularly funny line here of
Steve Agee, as Gef the Ravager,
1113
00:59:14,600 --> 00:59:17,046
saying he's going to
smash it with a rock.
1114
00:59:17,120 --> 00:59:19,964
'Cause I was saying earlier,
Steve Agee is one of my best friends.
1115
00:59:20,040 --> 00:59:22,646
He's part of this little group
of guys I have.
1116
00:59:22,760 --> 00:59:24,728
And if you come
to any party at my house,
1117
00:59:24,800 --> 00:59:26,450
and you're all invited, of course,
1118
00:59:27,160 --> 00:59:28,571
you'll see Steve Agee there,
1119
00:59:28,640 --> 00:59:31,530
Jimmy Urine,
Michael Rocker, Sean Gunn.
1120
00:59:31,600 --> 00:59:33,090
You know... (CHUCKLES)
1121
00:59:33,160 --> 00:59:37,210
These are all the guys that are
my buddies that are in the movie.
1122
00:59:37,280 --> 00:59:40,090
...all I needed to do
was adhere to the code.
1123
00:59:40,320 --> 00:59:43,085
GUNN: We learn a little bit more
about Rocker through this scene.
1124
00:59:43,160 --> 00:59:46,323
This scene was tough
because it is a talking scene
1125
00:59:46,400 --> 00:59:49,210
among a lot of other
talking scenes in the movie.
1126
00:59:49,480 --> 00:59:54,441
And again, this movie
is a character-based film.
1127
00:59:54,520 --> 00:59:57,000
And in many ways,
it is an independent film
1128
00:59:57,840 --> 01:00:01,526
with the spectacle all around it,
and there's talking in it.
1129
01:00:02,240 --> 01:00:04,049
And we're getting to know
these characters better.
1130
01:00:04,160 --> 01:00:05,810
We're getting to learn who they are,
1131
01:00:05,880 --> 01:00:09,441
but there's a center to the movie
where it's a lot of talking.
1132
01:00:10,680 --> 01:00:13,251
And I feel like that's something
that adds to the film,
1133
01:00:13,320 --> 01:00:15,607
that makes it different,
and makes it beautiful.
1134
01:00:16,040 --> 01:00:20,568
We have to pay attention
for it really to fully come together,
1135
01:00:20,640 --> 01:00:22,722
and it all makes everything else pay off.
1136
01:00:23,240 --> 01:00:27,086
But this moment between
Rocket and Yondu is important, I think.
1137
01:00:27,160 --> 01:00:31,449
We see a moment earlier,
where Rocket looks at Yondu
1138
01:00:31,520 --> 01:00:34,126
and we see Rocket
has a moment of compassion for him.
1139
01:00:35,000 --> 01:00:37,844
It actually reminds me
a little bit, in the first movie,
1140
01:00:37,920 --> 01:00:40,651
when we see Peter Quill
looking at Rocket's back,
1141
01:00:40,720 --> 01:00:43,246
and he has a moment
of compassion for him.
1142
01:00:43,320 --> 01:00:48,167
And Rocket's back is all scarred
and filled with, you know, electronics,
1143
01:00:48,240 --> 01:00:52,086
(STAMMERS) and he feels
for the little creature.
1144
01:00:52,880 --> 01:00:55,008
And I think that's true here with Rocket,
1145
01:00:55,080 --> 01:00:58,880
but the difference is that the minute
Rocket feels that compassion,
1146
01:00:59,080 --> 01:01:02,004
he calls him a "drama queen."
He starts to be snarky.
1147
01:01:02,880 --> 01:01:05,008
ALL: (CHANTING)
Mascot, mascot, mascot...
1148
01:01:05,080 --> 01:01:07,128
GUNN: This shot was difficult
1149
01:01:07,200 --> 01:01:10,010
because we actually had to
build up the entire stage,
1150
01:01:10,080 --> 01:01:12,321
so that we could get inside of the stage
1151
01:01:12,400 --> 01:01:15,609
to shoot this shot
revolving around Baby Groot.
1152
01:01:15,800 --> 01:01:18,246
And, of course, when we're shooting it,
there is no Baby Groot there.
1153
01:01:18,360 --> 01:01:19,691
That's my friend Evan Jones,
1154
01:01:20,280 --> 01:01:22,089
pouring nothing onto nothing
1155
01:01:22,760 --> 01:01:25,491
that we turn into Baby Groot
by Framestore.
1156
01:01:26,880 --> 01:01:29,087
This entire scene was a question about
1157
01:01:29,160 --> 01:01:32,050
how rough they should get
with Baby Groot,
1158
01:01:32,120 --> 01:01:34,726
because they kick him here,
which was definitely gonna happen.
1159
01:01:35,120 --> 01:01:36,167
And then there was some talk about
1160
01:01:36,240 --> 01:01:38,368
whether we should keep in
this curb stomp
1161
01:01:38,440 --> 01:01:40,522
because it is particularly harsh.
1162
01:01:40,640 --> 01:01:43,530
But Baby Groot is about to
brutally murder that guy,
1163
01:01:43,600 --> 01:01:45,602
so we figured we'd leave it in.
1164
01:01:45,720 --> 01:01:47,006
Come here.
1165
01:01:47,360 --> 01:01:50,569
GUNN: This is one of the more
well-known sequences in the movie.
1166
01:01:50,640 --> 01:01:54,770
It was one of the scenes that we cut
and finished very early on
1167
01:01:54,840 --> 01:01:59,289
because we showed part of it
at San Diego Comic-Con in 2016.
1168
01:02:01,040 --> 01:02:04,840
Baby Groot is probably at his
very best here in the whole movie.
1169
01:02:05,480 --> 01:02:09,724
They did a remarkable job, Framestore,
with his animation in this sequence,
1170
01:02:09,800 --> 01:02:13,043
and Rocket as well.
He looks incredibly real.
1171
01:02:13,800 --> 01:02:18,727
But this is one of the more straight-up
comedic scenes in the movie,
1172
01:02:18,800 --> 01:02:23,089
but the little details of It
are really what worked so well to me.
1173
01:02:23,160 --> 01:02:27,006
This smile by Rocket,
where he's not really smiling.
1174
01:02:27,840 --> 01:02:30,650
There's an Easter egg.
That's a character named...
1175
01:02:30,720 --> 01:02:32,563
I don't know what the stuffed animal is,
1176
01:02:32,640 --> 01:02:34,847
but he's a character
that I have on my Snapchat.
1177
01:02:34,920 --> 01:02:36,285
A lot of stories about him.
1178
01:02:36,360 --> 01:02:40,524
And he's making his appearance,
that little stuffed animal thing.
1179
01:02:41,000 --> 01:02:42,047
And people were excited.
1180
01:02:42,160 --> 01:02:44,049
My Snapchat followers
were very excited
1181
01:02:44,120 --> 01:02:45,724
about his appearance
in the movie.
1182
01:02:47,840 --> 01:02:49,285
(RAVAGERS SNORING)
1183
01:02:52,600 --> 01:02:54,921
GUNN". It was hard to make
space underpants actually.
1184
01:02:55,040 --> 01:02:57,691
We didn't want to make them look
too much like Earth underpants,
1185
01:02:57,760 --> 01:02:59,285
so they had to take the fly out,
1186
01:02:59,680 --> 01:03:01,728
but yet still look like underpants.
1187
01:03:01,840 --> 01:03:03,808
So what are space underpants?
1188
01:03:03,880 --> 01:03:06,360
And I guess that
they just don't have a fly.
1189
01:03:06,640 --> 01:03:09,803
There's an orloni. That's the name
of that animal, and we use them a lot.
1190
01:03:09,880 --> 01:03:12,451
Those are the things that
Peter Quill is kicking
1191
01:03:12,520 --> 01:03:14,204
at the beginning of the first movie.
1192
01:03:14,360 --> 01:03:16,886
They are sort of like...
1193
01:03:16,960 --> 01:03:20,442
They're very much like interstellar rats.
1194
01:03:20,920 --> 01:03:23,651
They show up everywhere.
They breed incredibly easy.
1195
01:03:23,720 --> 01:03:25,802
And they're even on planets
like the Sovereign,
1196
01:03:25,880 --> 01:03:27,644
which are pretty clean planets.
1197
01:03:27,720 --> 01:03:28,687
So they're everywhere,
1198
01:03:28,760 --> 01:03:32,128
and they're definitely on Ravager ships
in droves, most likely.
1199
01:03:32,200 --> 01:03:34,009
(LAUGHING)
1200
01:03:39,160 --> 01:03:40,730
That's a desk.
1201
01:03:40,840 --> 01:03:43,081
GUNN: This scene was
pretty easy to shoot.
1202
01:03:44,240 --> 01:03:48,290
We shot most of the movie...
Most of these shots aren't moving,
1203
01:03:48,360 --> 01:03:51,728
but if you see, there's a lot more
moving shots in this film
1204
01:03:51,800 --> 01:03:53,290
than there were in the first film.
1205
01:03:53,360 --> 01:03:54,521
And part of that is because
1206
01:03:54,640 --> 01:03:58,008
I allowed myself to take a little bit
more time to shoot the movie,
1207
01:03:58,080 --> 01:04:02,961
and part of it is because
we used a rig called Stable Eye,
1208
01:04:03,240 --> 01:04:06,562
which is like a combination between
a dolly and a Steadicam.
1209
01:04:06,840 --> 01:04:10,811
And it's a fun rig to move around.
1210
01:04:10,880 --> 01:04:14,202
I'm talking about this rig in a scene
where it doesn't exist.
1211
01:04:15,400 --> 01:04:17,243
What? No!
1212
01:04:17,320 --> 01:04:18,401
He thinks you want him
to wear it as a hat.
1213
01:04:18,480 --> 01:04:22,804
GU N N: This little moment between
Rocket and Groot
1214
01:04:22,920 --> 01:04:26,606
talking about the hats
and why he hates hats
1215
01:04:26,680 --> 01:04:29,684
is one of my favorites
because (CHUCKLES)
1216
01:04:29,800 --> 01:04:31,609
he doesn't like hats because,
1217
01:04:31,720 --> 01:04:34,200
you know, if you look at someone
from a distance with a hat,
1218
01:04:34,280 --> 01:04:37,011
you don't know if it's a hat
or a part of his head.
1219
01:04:37,080 --> 01:04:40,004
I don't know why that makes
Baby Groot so furious,
1220
01:04:40,080 --> 01:04:41,844
but for some reason that angers him.
1221
01:04:41,920 --> 01:04:44,446
And there's a lot of things that,
you know, make Baby Groot furious.
1222
01:04:44,520 --> 01:04:46,045
(BURPS)
1223
01:05:13,680 --> 01:05:14,681
KRAGLINI That ain't it.
1224
01:05:18,840 --> 01:05:21,650
GUNN: Here we have a nice little bit
with Sean Gunn,
1225
01:05:22,960 --> 01:05:26,567
proving that maybe he's not
as bad as he came out to be,
1226
01:05:26,640 --> 01:05:30,326
and he's always been noncommittal
about the mutiny,
1227
01:05:31,040 --> 01:05:33,850
so I don't think it's too big
of a surprise that he's made a turn.
1228
01:05:34,960 --> 01:05:37,486
Get the third quadrant ready for release.
1229
01:05:37,720 --> 01:05:39,722
GU N N: My direction for Baby Groot
in this scene was,
1230
01:05:39,800 --> 01:05:42,849
"You know when you see a baby
in a movie who's looking around,
1231
01:05:42,920 --> 01:05:45,002
"and he obviously doesn't know
he's being filmed?"
1232
01:05:45,400 --> 01:05:46,731
I wanted him to be like that.
1233
01:05:46,800 --> 01:05:50,247
He's looking around
as if he's just a baby being held
1234
01:05:50,320 --> 01:05:52,084
and not really aware of acting.
1235
01:05:53,480 --> 01:05:57,451
Here we have Jay and The Americans'
Come a Little Bit Closer.
1236
01:05:57,520 --> 01:05:59,170
I believe it's the oldest song, maybe.
1237
01:06:00,000 --> 01:06:03,083
It's one of the two or three
oldest songs that we've ever...
1238
01:06:03,160 --> 01:06:05,686
One of the two oldest songs
that we've ever used
1239
01:06:05,760 --> 01:06:07,922
in a Guardians movie, from the '60s.
1240
01:06:08,800 --> 01:06:10,768
But I think it fits the scene really well.
1241
01:06:10,840 --> 01:06:14,242
It was one of the earlier scenes
I had music for.
1242
01:06:14,720 --> 01:06:17,326
(JAY & THE AMERICANS' "COME
A LITTLE BIT CLOSER" PLAYING)
1243
01:06:17,400 --> 01:06:20,370
The arrow. This sequence
took a long time to finish,
1244
01:06:20,440 --> 01:06:22,681
but also was something that was
1245
01:06:22,760 --> 01:06:25,331
very carefully planned out
and storyboarded,
1246
01:06:25,400 --> 01:06:27,368
and it's remained
almost exactly the same
1247
01:06:27,440 --> 01:06:30,569
from the moment I first drew
those shots.
1248
01:06:32,440 --> 01:06:35,762
There are a couple scenes in the movie
that were drawn more than written,
1249
01:06:35,840 --> 01:06:37,251
and this is one of them.
1250
01:06:37,320 --> 01:06:41,723
The other one is the battle
between Gamora and Nebula,
1251
01:06:41,800 --> 01:06:43,643
which was drawn before it was written.
1252
01:06:46,000 --> 01:06:49,322
Here we have the callback
to the first movie
1253
01:06:49,440 --> 01:06:51,442
with the guys walking
down the hallway
1254
01:06:52,040 --> 01:06:53,883
and a little gangster
1255
01:06:54,320 --> 01:06:55,765
Baby Groot.
1256
01:06:56,680 --> 01:06:59,763
These are all incredibly
complex shots.
1257
01:06:59,840 --> 01:07:01,683
These took a long time to shoot.
1258
01:07:01,760 --> 01:07:04,491
This is all shot mostly
with the Phantom camera,
1259
01:07:04,560 --> 01:07:07,962
so that we can slow down
to incredibly slow speeds,
1260
01:07:08,280 --> 01:07:11,648
and then ramp up and kind of move
between those different speeds.
1261
01:07:11,960 --> 01:07:14,361
That overhead shot there
was difficult to get.
1262
01:07:14,600 --> 01:07:15,965
It's also difficult to get...
1263
01:07:16,280 --> 01:07:18,681
Here's a variated speed shot where
1264
01:07:18,760 --> 01:07:21,650
people are falling
at a much slower speed
1265
01:07:21,720 --> 01:07:24,326
than Yondu is walking.
1266
01:07:24,400 --> 01:07:26,323
That's Richard Christy
from The Howard Stem Show
1267
01:07:26,400 --> 01:07:28,607
who says, "Down there."
He's been a friend of mine for a while.
1268
01:07:28,960 --> 01:07:33,522
This is probably the second-most
complicated shot in the movie,
1269
01:07:33,600 --> 01:07:34,886
after the opening dance sequence.
1270
01:07:34,960 --> 01:07:38,806
And again, variated speeds,
many, many, many different layers
1271
01:07:38,880 --> 01:07:42,726
that we shot of these guys falling
and put on top of each other.
1272
01:07:42,800 --> 01:07:45,406
They're walking
at a much more quick rate,
1273
01:07:45,480 --> 01:07:48,768
but still in slow motion than
the people are falling around them.
1274
01:07:48,840 --> 01:07:52,401
It's incredibly complex shots,
the "It's Raining Men" shots.
1275
01:07:52,960 --> 01:07:58,000
One of the crowd-pleasing moments
here where Baby Groot kills Retch.
1276
01:07:59,440 --> 01:08:00,441
(GROANS)
1277
01:08:01,000 --> 01:08:03,002
-(YELLING)
-(SCREAMING)
1278
01:08:05,240 --> 01:08:07,322
GUNN: And also, I think,
is a little bit, you know...
1279
01:08:08,160 --> 01:08:10,242
Some people,
when they first saw Baby Groot,
1280
01:08:10,320 --> 01:08:13,130
they thought we were going to
over-cute-ize him,
1281
01:08:13,200 --> 01:08:15,441
and, you know, it's hard for him
not to be over-cute-ized.
1282
01:08:15,520 --> 01:08:18,524
"He's a living emoji" is one of the ways
I first described him
1283
01:08:18,600 --> 01:08:21,490
when we were designing him,
and I think that...
1284
01:08:21,640 --> 01:08:24,041
(STAMMERS)
You know, he's not just cute.
1285
01:08:24,160 --> 01:08:27,687
There's a sort of harsher side
to Baby Groot.
1286
01:08:30,800 --> 01:08:32,404
My friend Steve Agee.
1287
01:08:32,480 --> 01:08:34,084
We shot a post-credits scene, actually,
1288
01:08:34,200 --> 01:08:36,851
with Steve Agee there,
who gets killed, as Gef the Ravager.
1289
01:08:37,280 --> 01:08:39,203
We actually shot a post-credits scene
1290
01:08:39,280 --> 01:08:42,841
where Mantis and Gamora are talking
1291
01:08:42,920 --> 01:08:45,161
on the quadrant
at the end of the movie,
1292
01:08:45,240 --> 01:08:48,050
and they hear a screaming
somewhere in the distance,
1293
01:08:48,120 --> 01:08:50,600
and then we cut to where we push in
1294
01:08:51,000 --> 01:08:54,163
and Steve Agee
is still down there alive,
1295
01:08:54,840 --> 01:08:57,207
very wounded but screaming.
1296
01:08:57,640 --> 01:09:01,645
You know, and it just ended up
not making much sense.
1297
01:09:01,720 --> 01:09:05,088
The callback
was too small of a moment.
1298
01:09:05,200 --> 01:09:08,602
But I would say, in the future,
there's always a possibility
1299
01:09:08,680 --> 01:09:11,604
that Gef the Ravager
has survived all of this
1300
01:09:11,680 --> 01:09:15,526
and is still somewhere on
the Guardians' ship, hiding from them.
1301
01:09:15,600 --> 01:09:16,681
(WHISTLES)
1302
01:09:18,400 --> 01:09:20,004
(WHISTLES)
1303
01:09:20,360 --> 01:09:22,442
-(GAsPs)
"(LAUGHS)
1304
01:09:24,200 --> 01:09:27,010
GUNN". I like that moment
where Rocket says,
1305
01:09:27,080 --> 01:09:30,050
"You blew up the whole ship,"
and Baby Groot smiles.
1306
01:09:30,200 --> 01:09:35,240
Now, as you see, Yondu has
a huge fin in these sequences now,
1307
01:09:35,560 --> 01:09:38,291
which is a callback to the comics.
It's funny.
1308
01:09:38,400 --> 01:09:41,563
I never know what comics fans
are gonna get upset about,
1309
01:09:41,640 --> 01:09:44,689
and I took a lot of leeway
with these characters
1310
01:09:44,760 --> 01:09:47,445
when I started doing Guardians
of the Galaxy: Volume One.
1311
01:09:47,800 --> 01:09:51,361
Drax's personality became completely
different than it was in the comics.
1312
01:09:51,680 --> 01:09:54,684
Groot became an innocent,
which he wasn't in the comics.
1313
01:09:55,600 --> 01:09:57,011
Rocket is somewhat similar,
1314
01:09:57,080 --> 01:10:00,641
but he's a lot nastier in the movies
than he was originally in the comics.
1315
01:10:00,960 --> 01:10:03,531
And all of these different elements
of these characters
1316
01:10:03,600 --> 01:10:05,329
I took and changed.
1317
01:10:05,400 --> 01:10:08,131
I changed Nebula.
I changed, of course, Yondu.
1318
01:10:08,280 --> 01:10:10,009
Yondu became a space-pirate
1319
01:10:10,080 --> 01:10:14,881
and not a sort of
a Native American-inspired
1320
01:10:14,960 --> 01:10:17,327
spiritual warrior that he is
in the comics.
1321
01:10:17,640 --> 01:10:22,009
But people very rarely get upset
about any of that stuff.
1322
01:10:22,080 --> 01:10:24,924
It seemed like the one thing
that people got upset about
1323
01:10:25,120 --> 01:10:26,963
was Y0ndu's small fin.
1324
01:10:27,040 --> 01:10:31,364
That they somehow thought it was
important that Yondu had a big fin.
1325
01:10:31,440 --> 01:10:35,240
I don't understand
what comics fans get upset about
1326
01:10:35,320 --> 01:10:37,687
over something else
that they don't get upset about.
1327
01:10:37,760 --> 01:10:41,401
That something so sort of
just physical and small
1328
01:10:41,480 --> 01:10:43,323
would be the thing
they'd get upset about, but they did,
1329
01:10:43,400 --> 01:10:46,609
and so, in a nod to the fans,
who I'm appreciative towards,
1330
01:10:46,720 --> 01:10:48,085
we gave them the big fin.
1331
01:10:48,440 --> 01:10:51,250
And now we're going to
the jump scene
1332
01:10:51,320 --> 01:10:53,926
where Rocket
is making them go to Ego.
1333
01:10:54,000 --> 01:10:56,890
Now, Ego is incredibly far away,
1334
01:10:56,960 --> 01:10:59,804
so he's gotta go through way more
jump points than is healthy,
1335
01:10:59,880 --> 01:11:01,086
but he was trying to sneak it in
1336
01:11:01,160 --> 01:11:04,289
before Kraglin and Yondu
could do anything about it.
1337
01:11:04,360 --> 01:11:06,681
But now he's screwed because
they're gonna go through this
1338
01:11:06,760 --> 01:11:09,445
incredibly torturous thing
1339
01:11:09,520 --> 01:11:12,285
where their faces are distorted,
and they become really goofy.
1340
01:11:13,080 --> 01:11:15,208
It's sort of a Large Marge moment.
1341
01:11:15,720 --> 01:11:19,327
That shot in particular,
of Yondu with his big, open mouth,
1342
01:11:19,400 --> 01:11:22,529
makes me laugh so hard
every time I see it.
1343
01:11:22,600 --> 01:11:24,648
I love that sequence, it's funny,
1344
01:11:25,680 --> 01:11:27,523
and it's a lot of fun.
1345
01:11:29,520 --> 01:11:33,081
I think there were two scenes
that were the hardest to shoot,
1346
01:11:33,160 --> 01:11:35,731
when people ask me, "What scenes
were the hardest to shoot?"
1347
01:11:36,200 --> 01:11:38,043
One of them was this scene,
1348
01:11:38,120 --> 01:11:42,364
and the other one is the one
coming up with Yondu and Rocket.
1349
01:11:42,440 --> 01:11:44,647
And the reason is, is because
they're very intimate scenes
1350
01:11:44,720 --> 01:11:45,846
between two characters,
1351
01:11:45,920 --> 01:11:48,764
and I had to really
keep shooting and shooting,
1352
01:11:48,840 --> 01:11:50,365
and pushing and pushing.
1353
01:11:50,440 --> 01:11:52,920
I think one of the roles of a director
1354
01:11:53,000 --> 01:11:57,289
is really to push people further
than they think they can go.
1355
01:11:57,360 --> 01:12:00,011
And on this day, I really,
especially on the inside stuff,
1356
01:12:00,080 --> 01:12:03,846
I incredibly exhausted Chris and Zoe.
1357
01:12:03,920 --> 01:12:08,084
I kept pushing them and
making them do it again and again
1358
01:12:08,160 --> 01:12:11,209
until I got the performance I wanted.
1359
01:12:11,360 --> 01:12:16,685
You know, it's like when you have
a physical trainer in the gym,
1360
01:12:16,760 --> 01:12:20,321
and they push you to do one final rep
beyond what you think you can do,
1361
01:12:20,440 --> 01:12:22,761
and then they keep doing that
and doing that and doing that.
1362
01:12:22,840 --> 01:12:26,481
That's one of the things I see
as my role as a director.
1363
01:12:26,760 --> 01:12:29,047
Here we have the Steadicam
moving around the two,
1364
01:12:29,120 --> 01:12:31,088
and you see it's a little bit
of a different movement than...
1365
01:12:31,480 --> 01:12:34,131
I'm sorry, not the Steadicam,
the Stabileye moving around them,
1366
01:12:34,240 --> 01:12:35,366
and it's a tittie bit
of a different movement
1367
01:12:35,440 --> 01:12:37,408
than a Steadicam or a dolly.
1368
01:12:37,760 --> 01:12:39,125
But that's, I think, my job as a director,
1369
01:12:39,240 --> 01:12:41,368
is to push people beyond
where they think they can go.
1370
01:12:41,440 --> 01:12:44,046
So when someone's
working on a costume design
1371
01:12:44,120 --> 01:12:45,281
and they keep bringing it back,
1372
01:12:45,360 --> 01:12:47,840
I'll keep making them do it
again and again and again
1373
01:12:47,920 --> 01:12:50,526
until it's the best
it can possibly be, you know.
1374
01:12:50,600 --> 01:12:52,409
I think that's
what Kevin Feige does with me
1375
01:12:52,480 --> 01:12:53,606
when I'm making this movie.
1376
01:12:53,800 --> 01:12:56,201
People ask, "What's your collaboration
with Kevin Feige like?"
1377
01:12:56,280 --> 01:12:59,523
And I think that he is someone
who pushes me
1378
01:12:59,600 --> 01:13:01,489
beyond where I wanna be pushed,
1379
01:13:01,560 --> 01:13:04,211
and we finish a cut of the movie,
and it's great,
1380
01:13:04,280 --> 01:13:07,329
and the audiences love it
that watch it in the screen test,
1381
01:13:07,400 --> 01:13:08,401
and Kevin says to me,
1382
01:13:08,480 --> 01:13:11,051
"Well, maybe there's somethin' more
you can do here in the middle."
1383
01:13:11,120 --> 01:13:13,043
And I think, "Oh, God, I don't want to.
1384
01:13:13,120 --> 01:13:15,964
"It's perfect and I'm tired,
and I don't wanna make any changes."
1385
01:13:16,320 --> 01:13:19,802
And yet, I go, and I look,
and I see what I can do differently,
1386
01:13:19,880 --> 01:13:21,370
and then I make some changes
1387
01:13:21,440 --> 01:13:23,408
because, at the end of the day,
I'll do whatever I can
1388
01:13:23,480 --> 01:13:26,529
to make these movies
as good as they can possibly be.
1389
01:13:26,600 --> 01:13:27,965
I'm only half human, remember?
1390
01:13:28,040 --> 01:13:29,326
That's the half I'm worried about.
1391
01:13:30,040 --> 01:13:31,690
Oh, I get it. You're jealous...
1392
01:13:31,800 --> 01:13:32,926
because I'm part-god...
1393
01:13:33,000 --> 01:13:35,287
GUNN". I love this scene, and I love
the way the camera moves in it.
1394
01:13:35,360 --> 01:13:37,328
I love the way the two actors are in it.
1395
01:13:37,400 --> 01:13:40,404
I love the fact that it, again, combines
1396
01:13:40,520 --> 01:13:44,241
humor with real dramatic stakes
between the two of them.
1397
01:13:44,320 --> 01:13:48,928
And you see that
how Gamora is closed off to him,
1398
01:13:49,000 --> 01:13:52,800
but also how he's getting overtaken
with this sort of ego
1399
01:13:53,400 --> 01:13:54,481
and pushing her away.
1400
01:13:54,560 --> 01:13:58,804
This moment from Zoe is fantastic,
you know, where he says...
1401
01:13:58,880 --> 01:14:00,644
I finally found my family.
Don't you understand that?
1402
01:14:01,880 --> 01:14:03,166
I thought you already had.
1403
01:14:03,240 --> 01:14:05,049
GU N N: Yeah,
"I thought you already had."
1404
01:14:05,240 --> 01:14:06,321
I love that moment.
1405
01:14:07,760 --> 01:14:11,321
This next sequence
is one of my favorites in the movie.
1406
01:14:12,040 --> 01:14:13,451
You'll notice it has no music,
1407
01:14:13,520 --> 01:14:16,729
which is unusual for
a Guardians of the Galaxy scene
1408
01:14:17,400 --> 01:14:20,802
because we really chock it full of
both soundtrack and score.
1409
01:14:20,880 --> 01:14:27,047
But, in this one, I really wanted
the sound to be a big part of it.
1410
01:14:27,560 --> 01:14:29,562
This is what we called
the North by Northwest scene
1411
01:14:29,640 --> 01:14:34,282
because it's definitely inspired
by the North by Northwest movie
1412
01:14:34,360 --> 01:14:38,809
directed by Alfred Hitchcock, in which
the crop duster attacks Cary Grant,
1413
01:14:38,880 --> 01:14:43,169
and, in this case, the crop duster
is an M-ship driven by Nebula
1414
01:14:43,240 --> 01:14:45,641
and Cary Grant is Zoe Saldana.
1415
01:14:46,040 --> 01:14:51,251
And after this it becomes
something much more extreme
1416
01:14:51,320 --> 01:14:52,970
than is in North by Northwest.
1417
01:14:53,080 --> 01:14:55,321
The chase keeps going on,
1418
01:14:55,400 --> 01:14:59,450
and Cary Grant really didn't have
a chance against the crop duster,
1419
01:15:00,120 --> 01:15:01,849
but Gamora,
well, she's a different story.
1420
01:15:01,920 --> 01:15:04,924
She has a little bit more of a chance
against an M-ship than Cary Grant did,
1421
01:15:05,000 --> 01:15:07,287
although it's still not really
a fair fight.
1422
01:15:07,360 --> 01:15:08,441
Psychopath!
1423
01:15:13,440 --> 01:15:15,647
GUNN: The other thing that inspired me
in this sequence was
1424
01:15:16,120 --> 01:15:17,963
Spy vs. Spy, the comic strip
1425
01:15:18,040 --> 01:15:21,010
where the two spies are fighting
and one gets one-up,
1426
01:15:21,120 --> 01:15:23,566
and then the other one gets one-up,
and the other one gets one-up,
1427
01:15:23,640 --> 01:15:26,689
and you see that
the power position shifts
1428
01:15:26,760 --> 01:15:28,967
a couple of times throughout this fight.
1429
01:15:29,520 --> 01:15:34,401
I also thought one of the main
relationships in this movie,
1430
01:15:35,200 --> 01:15:39,524
in both movies, is the relationship
between Gamora and Nebula,
1431
01:15:39,600 --> 01:15:42,922
and their sisterhood,
and how that manifests itself.
1432
01:15:43,280 --> 01:15:47,080
And this physically combative scene,
1433
01:15:47,160 --> 01:15:53,691
I think, is pretty accurate representation
of what exists internally
1434
01:15:53,760 --> 01:15:57,685
in many siblings' lives
and in their relationships.
1435
01:15:57,760 --> 01:16:00,730
This need to one-up one another,
1436
01:16:00,800 --> 01:16:04,327
this unspoken need
to vanquish the other.
1437
01:16:04,400 --> 01:16:07,370
And, uh, I've seen a lot of siblings
who don't get along
1438
01:16:07,440 --> 01:16:09,408
as well as my siblings and I get along.
1439
01:16:09,480 --> 01:16:12,404
And this is that relationship.
1440
01:16:12,480 --> 01:16:15,882
Luckily, Sean and I don't shoot
giant guns at each other
1441
01:16:15,960 --> 01:16:17,928
or try to mow each other down
with spaceships
1442
01:16:18,000 --> 01:16:20,082
because that would be really terrible.
1443
01:16:20,160 --> 01:16:23,767
And I definitely would never have cast
him as Kraglin, if that ever happened,
1444
01:16:23,840 --> 01:16:25,490
if he ever chased me with a spaceship.
1445
01:16:25,920 --> 01:16:29,402
I also think this scene is very important,
as I talked about a little bit earlier,
1446
01:16:29,520 --> 01:16:34,651
because we learn that this relationship
is not what we thought it was.
1447
01:16:35,000 --> 01:16:41,007
We thought of Nebula as the villain
and Gamora as the hero.
1448
01:16:41,200 --> 01:16:44,409
And in this scene,
when Nebula opens up,
1449
01:16:44,840 --> 01:16:48,049
we learn that, I think, historically,
1450
01:16:49,040 --> 01:16:51,691
Gamora is the villain
and Nebula was the innocent.
1451
01:16:51,760 --> 01:16:55,003
I think that they came together
as little children.
1452
01:16:55,080 --> 01:16:57,526
They were both adopted by Thanos.
1453
01:16:57,600 --> 01:16:59,762
Gamora was older and tougher,
1454
01:17:00,240 --> 01:17:03,210
and Nebula looked up to her,
and she loved her,
1455
01:17:03,280 --> 01:17:05,726
and she wanted the love of her sister.
1456
01:17:05,800 --> 01:17:07,564
And that's really all she wanted,
1457
01:17:07,640 --> 01:17:11,804
and instead Gamora just
beat the crap out of her regularly.
1458
01:17:12,680 --> 01:17:16,651
And Gamora was into being a warrior,
and Gamora was into being strong.
1459
01:17:16,720 --> 01:17:20,088
And she didn't have much feeling
for anyone else.
1460
01:17:20,160 --> 01:17:23,323
And the more sensitive
of the two sisters is not Gamora.
1461
01:17:23,400 --> 01:17:27,121
The more naturally sensitive
of the two sisters is Nebula,
1462
01:17:27,280 --> 01:17:29,123
and it is that sensitivity
1463
01:17:29,200 --> 01:17:33,808
which has caused her to become
so incredibly mean.
1464
01:17:34,080 --> 01:17:37,289
Because she needs to,
because otherwise,
1465
01:17:37,360 --> 01:17:41,046
life is just too harsh, and too tender,
and hurts too bad.
1466
01:17:41,560 --> 01:17:44,689
I think Karen Gillan
is just marvelous in this scene.
1467
01:17:44,760 --> 01:17:46,922
It was incredibly moving to see on set.
1468
01:17:47,760 --> 01:17:52,527
I really loved her, and she was great
in the fight sequence, as well.
1469
01:17:52,840 --> 01:17:54,683
She's a marvelous person.
1470
01:17:55,080 --> 01:17:56,650
And I'm glad to see
1471
01:17:57,200 --> 01:18:00,682
how much attention she has gotten
for this role because she really is great,
1472
01:18:00,760 --> 01:18:03,684
and I think in the first movie
her role was slight.
1473
01:18:03,760 --> 01:18:06,889
Karen came in for the first time
to meet with me
1474
01:18:06,960 --> 01:18:10,328
about Guardians of the Galaxy,
on the first movie,
1475
01:18:10,400 --> 01:18:13,722
and I showed her
the designs of Nebula, and I said,
1476
01:18:13,800 --> 01:18:15,564
"Listen, you know,
it's not that big of a role.
1477
01:18:15,640 --> 01:18:18,484
"She only has a few lines
and a fight scene in this movie.
1478
01:18:18,560 --> 01:18:20,289
"It's not a huge role.
1479
01:18:20,480 --> 01:18:25,361
"But my plan is that Nebula becomes
a Guardian of the Galaxy,
1480
01:18:25,440 --> 01:18:27,886
"and that's where this is going.
1481
01:18:27,960 --> 01:18:31,043
"She isn't that big now, but she's going
to become a Guardian of the Galaxy."
1482
01:18:31,120 --> 01:18:34,567
And a lot of times people tell you this,
and it's not true.
1483
01:18:34,640 --> 01:18:38,725
Or I'll tell people things like that,
or I hope that's where things are going,
1484
01:18:38,800 --> 01:18:41,201
and things don't work out exactly
like you hope they do
1485
01:18:41,320 --> 01:18:43,448
because the story is always
the master of itself,
1486
01:18:44,880 --> 01:18:48,566
and when you're writing a story,
you have to really listen to the truth
1487
01:18:48,640 --> 01:18:50,802
of what the story is and where it goes.
1488
01:18:50,880 --> 01:18:53,201
And sometimes it doesn't go
where you expect.
1489
01:18:53,280 --> 01:18:56,966
It goes in some place new and
more magical, and more interesting.
1490
01:18:57,040 --> 01:18:58,804
But in this case, I was very happy
1491
01:18:58,920 --> 01:19:00,206
that Nebula ended up being
1492
01:19:00,280 --> 01:19:02,931
such an important part
of Guardians of the Galaxy.
1493
01:19:03,000 --> 01:19:04,650
And I think now is as important a part
1494
01:19:04,760 --> 01:19:06,808
of the Guardians of the Galaxy
as Gamora is.
1495
01:19:07,000 --> 01:19:08,240
...you listening to this song.
1496
01:19:08,400 --> 01:19:09,970
- You know...
- Brandy?
1497
01:19:10,440 --> 01:19:11,487
By Looking Glass?
1498
01:19:12,400 --> 01:19:14,687
(CHUCKLES) A favorite of your mom's.
1499
01:19:15,080 --> 01:19:18,289
GUNN: Brandy,
by the band Looking Glass,
1500
01:19:18,360 --> 01:19:21,762
has been one of my favorite songs
for a long time.
1501
01:19:22,200 --> 01:19:26,444
And it's embarrassing and maybe not
regular for a director's commentary,
1502
01:19:26,520 --> 01:19:30,002
but it's very true
that when I was a young man,
1503
01:19:30,320 --> 01:19:32,607
I was in love with this woman,
1504
01:19:32,680 --> 01:19:36,287
and there was something about it
that maybe wasn't working out right.
1505
01:19:36,360 --> 01:19:39,603
I was still living in St. Louis.
I was going to Saint Louis University,
1506
01:19:40,040 --> 01:19:42,884
and I spent part of the night
with this woman,
1507
01:19:42,960 --> 01:19:46,203
and then I went to drive home,
and when I got into my car,
1508
01:19:46,280 --> 01:19:47,645
oldies radio was on.
1509
01:19:47,760 --> 01:19:48,966
I liked to listen to oldies radio
1510
01:19:49,040 --> 01:19:51,361
because radio in St. Louis
at the time was not so great.
1511
01:19:51,880 --> 01:19:56,442
And the song Brandy came on,
and I heard the lyrics for the first time.
1512
01:19:56,560 --> 01:19:58,483
I heard what it was about.
1513
01:19:58,560 --> 01:20:01,006
And I was struck
with this incredible sadness
1514
01:20:01,080 --> 01:20:04,641
because I related to the song,
I related to the story of the sailor.
1515
01:20:04,720 --> 01:20:07,121
And, yes, I don't know
if it's sappy or not,
1516
01:20:07,200 --> 01:20:09,851
but I absolutely related to the song.
1517
01:20:10,040 --> 01:20:11,883
And it spoke to my own life
1518
01:20:11,960 --> 01:20:14,281
that I was not going to stay in St. Louis.
1519
01:20:14,560 --> 01:20:17,086
I was not going to
stay with this woman.
1520
01:20:17,160 --> 01:20:20,528
My love was the sea,
and I needed to go out,
1521
01:20:20,600 --> 01:20:23,922
and I needed to follow my dreams
and do what I needed to do
1522
01:20:24,840 --> 01:20:26,649
within the world of entertainment.
1523
01:20:26,720 --> 01:20:28,563
And I always related to that song,
1524
01:20:28,640 --> 01:20:32,361
and it's always sort of haunted me
in the same way
1525
01:20:33,160 --> 01:20:35,891
that I, for some reason,
1526
01:20:36,280 --> 01:20:39,727
am not allowed the pleasures
that other people have
1527
01:20:39,800 --> 01:20:42,963
because I've committed my life
to a life of filmmaking.
1528
01:20:44,440 --> 01:20:45,726
And I'm trying to combat
some of that in my life.
1529
01:20:46,080 --> 01:20:50,642
I'm trying to be a person
who allows love into my life,
1530
01:20:50,720 --> 01:20:52,927
that allows friendship,
1531
01:20:53,000 --> 01:20:54,604
and that I'm able to
have fun sometimes
1532
01:20:54,680 --> 01:20:57,365
and not everything
about my life is work.
1533
01:20:57,440 --> 01:21:01,206
And not everything about my life
is just making movies.
1534
01:21:01,440 --> 01:21:03,363
It's a personal struggle for me.
1535
01:21:03,440 --> 01:21:07,047
So I relate to that song,
and I relate to that conversation
1536
01:21:07,120 --> 01:21:09,930
between Peter Quill and his father.
1537
01:21:10,240 --> 01:21:11,924
Not in terms of being a god,
1538
01:21:12,000 --> 01:21:17,131
(CHUCKLES) but just in terms of
being someone who has a calling.
1539
01:21:17,440 --> 01:21:19,727
And I do believe I have a calling.
1540
01:21:20,400 --> 01:21:22,129
I believe that very much,
1541
01:21:23,120 --> 01:21:26,806
and it's important to me,
and it's important to why I do what I do.
1542
01:21:28,120 --> 01:21:29,963
I'm sorry.
1543
01:21:30,120 --> 01:21:32,327
But I like a woman
with some meat on her bones.
1544
01:21:32,480 --> 01:21:33,561
What?
1545
01:21:33,720 --> 01:21:36,963
I tried to let you down easily
by telling you I found you disgusting.
1546
01:21:37,160 --> 01:21:38,525
No, that's not what I...
1547
01:21:38,880 --> 01:21:40,405
(RETCHING)
1548
01:21:42,120 --> 01:21:43,531
What are you doing?
1549
01:21:44,160 --> 01:21:46,481
I'm imagining being with you physically.
1550
01:21:46,640 --> 01:21:47,971
Drax...
1551
01:21:48,480 --> 01:21:49,641
I don't like you like that.
1552
01:21:50,520 --> 01:21:55,731
GUNN: I love this scene between
Dave and Mantis. (CHUCKLES)
1553
01:21:56,480 --> 01:22:00,963
That moment where Dave says,
"No need to get personal."
1554
01:22:01,040 --> 01:22:02,530
That was not in the script.
1555
01:22:02,600 --> 01:22:04,250
That was something I thought of
1556
01:22:04,320 --> 01:22:07,847
while Dave was doing
his vomiting thing,
1557
01:22:08,000 --> 01:22:09,729
and you know, he, uh...
1558
01:22:09,800 --> 01:22:11,882
And, you know, he turned to her...
1559
01:22:11,960 --> 01:22:14,566
(CHUCKLES) And I thought of it
when I was sitting at the monitor,
1560
01:22:14,640 --> 01:22:16,244
and I went in and told him to say that,
1561
01:22:16,320 --> 01:22:18,004
and it made me laugh pretty hard
when he did.
1562
01:22:18,360 --> 01:22:23,605
I think that that was a scene that we
had that we deleted from the last movie
1563
01:22:23,680 --> 01:22:27,048
where Bautista was looking at
this incredibly beautiful actress
1564
01:22:27,200 --> 01:22:29,771
and talking about
how she made him want to vomit.
1565
01:22:30,560 --> 01:22:33,211
I thought it was funny,
but it didn't belong in the movie,
1566
01:22:33,280 --> 01:22:34,281
and so we cut it.
1567
01:22:34,360 --> 01:22:35,646
But I always liked the joke,
1568
01:22:35,760 --> 01:22:39,731
and I liked the through line
of Bautista, or Drax.
1569
01:22:39,800 --> 01:22:42,121
Sorry, I call them often
by their actor names.
1570
01:22:42,200 --> 01:22:45,329
Of Drax being disgusted
by beautiful women,
1571
01:22:45,400 --> 01:22:47,767
and that's something
that he doesn't find appealing.
1572
01:22:47,880 --> 01:22:49,723
...disappointing.
1573
01:22:50,040 --> 01:22:53,567
And that is when I came...
1574
01:22:54,640 --> 01:22:57,120
GUNN: You know, this is probably
one of the darker moments
1575
01:22:57,240 --> 01:22:59,368
in any Marvel movie ever.
1576
01:22:59,440 --> 01:23:02,808
It's a moment in which we really see
1577
01:23:02,880 --> 01:23:07,363
this whole sequence,
how incredibly dark Ego is.
1578
01:23:07,560 --> 01:23:10,723
And we learn that
what Ego has been doing
1579
01:23:10,800 --> 01:23:15,328
is that he has been looking for a way
to take over the universe,
1580
01:23:15,400 --> 01:23:18,131
and that is his meaning,
that is his purpose.
1581
01:23:18,200 --> 01:23:21,682
His purpose is to take over everything
1582
01:23:21,760 --> 01:23:24,161
in the same way
our egos can take over
1583
01:23:24,240 --> 01:23:27,005
everything around us
and destroy everything.
1584
01:23:27,080 --> 01:23:29,287
That's what the story is about.
It's very simply about ego.
1585
01:23:29,400 --> 01:23:31,289
It's not that complicated.
1586
01:23:31,400 --> 01:23:36,247
And here we have Peter Quill
looking into that moment,
1587
01:23:36,320 --> 01:23:37,970
in a wonderful acting moment
by Chris Pratt.
1588
01:23:38,040 --> 01:23:39,565
I just think he's great in that shot.
1589
01:23:40,200 --> 01:23:44,888
And the women discover the skulls.
1590
01:23:44,960 --> 01:23:48,442
And these are all the skulls
of Ego's children,
1591
01:23:48,520 --> 01:23:50,522
and if you look closely in those skulls,
1592
01:23:50,600 --> 01:23:53,922
you'll see some pretty,
pretty cool Easter eggs.
1593
01:23:55,560 --> 01:23:56,971
(ALL SCREAMING)
1594
01:23:58,440 --> 01:24:01,762
G U N N: (CH UCKLES) Another great
moment with Michael Rocker as Yondu.
1595
01:24:05,640 --> 01:24:06,880
You know, I was talking earlier...
1596
01:24:06,960 --> 01:24:09,440
Here we have the Stan Lee cameo.
1597
01:24:09,640 --> 01:24:12,246
Um, Stan Lee is with the Watchers.
1598
01:24:12,320 --> 01:24:16,041
A great deal has been made
of this moment, because...
1599
01:24:16,400 --> 01:24:18,562
Does it mean that
Stan Lee is a Watcher?
1600
01:24:18,800 --> 01:24:20,882
You know, doesn't look like a Watcher.
1601
01:24:20,960 --> 01:24:22,928
It looks like he's reporting
to the Watchers,
1602
01:24:23,000 --> 01:24:25,844
so who knows what Stan Lee is?
1603
01:24:25,920 --> 01:24:28,651
And there's a great vomit moment
by Baby Groot.
1604
01:24:30,080 --> 01:24:33,004
I know my roots in B-movies,
1605
01:24:33,080 --> 01:24:37,210
and I'm still not unwilling to resort to
the lowest common denominator,
1606
01:24:37,280 --> 01:24:39,044
which is a baby tree vomiting.
1607
01:24:40,480 --> 01:24:43,006
I talked earlier about the hardest
scenes in the movie to shoot,
1608
01:24:43,080 --> 01:24:45,128
and this was the other one, I think,
1609
01:24:45,680 --> 01:24:50,811
where I really had to
push Michael Rocker,
1610
01:24:51,440 --> 01:24:55,206
who's a close friend of mine,
a very, very close friend of mine.
1611
01:24:55,360 --> 01:24:59,922
And I had to push him hard
to do this scene.
1612
01:25:01,360 --> 01:25:03,931
I made him go further,
and further, and further.
1613
01:25:04,000 --> 01:25:06,480
And I think it ends up being
one of the best scenes in the movie.
1614
01:25:06,560 --> 01:25:09,370
This scene was also difficult because,
as you see in some of these shots,
1615
01:25:09,440 --> 01:25:12,603
we have Kraglin in the background
and Rocket in the foreground.
1616
01:25:13,600 --> 01:25:17,650
As you know, Sean Gunn plays
both of those roles on set,
1617
01:25:17,720 --> 01:25:21,611
so I had to shoot the scene first
with Sean acting it out,
1618
01:25:21,720 --> 01:25:24,564
and then go put him as Kraglin
in the background.
1619
01:25:24,680 --> 01:25:25,886
But because we don't have time...
1620
01:25:25,960 --> 01:25:29,567
Normally, when Sean comes on set,
he's wearing this gray suit,
1621
01:25:30,040 --> 01:25:34,045
and that's his Rocket uniform
when he's playing Rocket.
1622
01:25:34,120 --> 01:25:36,009
Then he's dressed as Kraglin
when he's playing Kraglin.
1623
01:25:36,200 --> 01:25:39,807
But, on this day, we didn't have time
to change between those two outfits,
1624
01:25:39,880 --> 01:25:42,042
so he would have to crouch
as Rocket on the floor,
1625
01:25:42,120 --> 01:25:43,770
and then go play Kraglin
in the background.
1626
01:25:44,000 --> 01:25:47,129
So during the first cut of this sequence,
1627
01:25:47,200 --> 01:25:52,206
it's changing back and forth between
close-up of Kraglin acting like Rocket
1628
01:25:52,280 --> 01:25:54,169
to Kraglin watching acting like Kraglin.
1629
01:25:54,240 --> 01:25:55,685
And it was incredibly confusing.
1630
01:25:56,520 --> 01:25:57,646
Who are you people?
1631
01:25:57,720 --> 01:26:00,405
GUNN: Here we see
Pom Klementieff as Mantis
1632
01:26:00,480 --> 01:26:04,929
putting the power of fear
into Zoe Saldana,
1633
01:26:05,240 --> 01:26:09,370
who is taken aback by this
and screwed up.
1634
01:26:10,760 --> 01:26:13,764
And here, we learn of Ego's plan
1635
01:26:15,480 --> 01:26:20,850
and basically of his ego, of him,
Ego, taking over everything.
1636
01:26:21,840 --> 01:26:26,482
And Peter Quill is enamored
of this moment.
1637
01:26:26,960 --> 01:26:28,803
This is sort of
a Cronenbergian moment
1638
01:26:28,880 --> 01:26:33,010
where he pulls out a chunk of himself
and shoves it into the ground
1639
01:26:33,080 --> 01:26:36,368
and watches it spread through
the planet like a disease.
1640
01:26:36,440 --> 01:26:39,523
EGO: To grow and spread,
covering all...
1641
01:26:39,600 --> 01:26:42,206
GUNN: I love this piece of score
by Tyler Bates.
1642
01:26:42,280 --> 01:26:43,884
I think it's really amazing.
1643
01:26:43,960 --> 01:26:47,601
It harkens back a little bit to
some of the post-rock stuff we did
1644
01:26:47,720 --> 01:26:50,451
with the movie Super
that we worked on.
1645
01:26:50,640 --> 01:26:52,244
She already told me everything.
1646
01:26:52,400 --> 01:26:54,971
I only had one problem.
1647
01:26:55,320 --> 01:27:00,611
GUNN: And here we learn the truth
about the children, that it is,
1648
01:27:01,440 --> 01:27:04,444
indeed, that he has
simply been procreating
1649
01:27:04,520 --> 01:27:07,763
with women all over the universe,
1650
01:27:07,840 --> 01:27:10,161
or characters all over the universe,
1651
01:27:10,400 --> 01:27:13,210
and putting his progeny into them.
1652
01:27:14,200 --> 01:27:15,406
EGO: Out of all my labors...
1653
01:27:16,160 --> 01:27:18,970
GUNN: Again, I think the statues here
that we see (CHUCKLES)
1654
01:27:19,040 --> 01:27:21,247
are some of my favorite statues
1655
01:27:21,320 --> 01:27:24,324
of Kurt Russell sitting
in that woman's arms,
1656
01:27:24,400 --> 01:27:26,402
with the horns for eyes.
1657
01:27:26,480 --> 01:27:27,845
All those different monsters,
1658
01:27:27,960 --> 01:27:31,123
and there's something that looks
almost exactly like a turtle up there.
1659
01:27:31,200 --> 01:27:33,771
So it means Kurt Russell
made love to a turtle
1660
01:27:33,840 --> 01:27:35,080
and created a turtle baby,
1661
01:27:35,160 --> 01:27:37,162
and there's a couple of other
little Easter eggs in there.
1662
01:27:37,320 --> 01:27:41,848
But I think that those statues
are there for the purpose of Quill.
1663
01:27:41,920 --> 01:27:44,048
Everything he does
is for the purpose of Quill,
1664
01:27:44,120 --> 01:27:47,363
and I think in reality, probably,
1665
01:27:47,440 --> 01:27:50,523
Ego has different forms he takes
besides Kurt Russell.
1666
01:27:50,600 --> 01:27:54,002
When he goes to the turtle planet,
he's actually a turtle.
1667
01:27:54,120 --> 01:27:56,930
When he goes to the woman
with horns for eyes' planet,
1668
01:27:57,040 --> 01:27:59,008
he's actually a man
with horns for eyes,
1669
01:27:59,080 --> 01:28:02,687
that he changes his shape
according to what planet he is.
1670
01:28:03,360 --> 01:28:05,362
He changes his physiology,
1671
01:28:05,440 --> 01:28:08,842
so that he's able to procreate
with each of those different species.
1672
01:28:08,920 --> 01:28:10,365
You are not friends.
1673
01:28:10,520 --> 01:28:11,885
You're right.
1674
01:28:12,400 --> 01:28:13,447
We're family.
1675
01:28:15,360 --> 01:28:16,441
We leave no one behind.
1676
01:28:16,560 --> 01:28:18,847
GUNN: Here we have what I think of
as the Vin Diesel moment.
1677
01:28:18,920 --> 01:28:20,968
"We're not friends, we're family."
1678
01:28:21,040 --> 01:28:23,122
But, of course, we undercut it with
1679
01:28:23,200 --> 01:28:27,285
what he says to Nebula about,
"Except maybe her."
1680
01:28:27,360 --> 01:28:29,681
I am truly not alone!
1681
01:28:31,720 --> 01:28:33,882
GUNN: I think that there is a sort of...
1682
01:28:35,200 --> 01:28:36,440
(SIGHS)
1683
01:28:37,160 --> 01:28:39,970
Something in Ego
where he himself, even, is...
1684
01:28:40,080 --> 01:28:41,161
Has some...
1685
01:28:41,240 --> 01:28:44,005
Part of him wants a friend,
1686
01:28:44,080 --> 01:28:46,651
which is what he wants
out of Peter Quill.
1687
01:28:46,720 --> 01:28:50,202
But part of him just wants a tool,
so that he can take over the universe.
1688
01:28:50,920 --> 01:28:55,005
I don't think the guy
is without wanting company.
1689
01:28:55,080 --> 01:28:56,491
He wants company,
1690
01:28:56,600 --> 01:28:59,410
and that's what happens
in these following sequences,
1691
01:28:59,520 --> 01:29:03,286
is he's hoping
that he will both help him
1692
01:29:03,440 --> 01:29:06,284
to take over the universe,
and he will have company.
1693
01:29:07,600 --> 01:29:08,601
And here we have the most...
1694
01:29:08,680 --> 01:29:12,207
This is the moment, in theaters at least,
when people "Ah!" out loud.
1695
01:29:12,280 --> 01:29:16,444
Where Ego admits that he is the one
1696
01:29:16,520 --> 01:29:20,161
who put the brain tumor
into Peter's mother.
1697
01:29:20,600 --> 01:29:25,288
And the reason for doing this, I think,
is because he did care about her,
1698
01:29:25,360 --> 01:29:26,964
and he didn't want the distraction.
1699
01:29:27,040 --> 01:29:28,963
And he was committed to his plan.
1700
01:29:29,040 --> 01:29:31,964
I think he also did it
to cover his tracks.
1701
01:29:35,800 --> 01:29:37,529
I think that's the thing
that breaks through.
1702
01:29:37,640 --> 01:29:38,926
It's always interesting, you know,
1703
01:29:39,000 --> 01:29:42,163
because we talk about all these
other things that Ego is going to do.
1704
01:29:42,280 --> 01:29:44,681
He's going to kill everyone
in the universe.
1705
01:29:44,760 --> 01:29:46,569
He's going to kill all of his friends.
1706
01:29:46,800 --> 01:29:49,451
And, you know, Quill is not...
1707
01:29:49,520 --> 01:29:51,010
He's torn by it,
1708
01:29:51,400 --> 01:29:55,007
but he doesn't totally go against it
until the mother thing comes up.
1709
01:29:55,080 --> 01:29:57,560
And here we have
one of my favorite moments, of course,
1710
01:29:57,640 --> 01:29:59,130
and one of the audience's
favorite moments,
1711
01:29:59,200 --> 01:30:03,000
where Zardu Hasselfrau,
AKA David Hasselhoff,
1712
01:30:03,080 --> 01:30:04,127
makes an appearance.
1713
01:30:04,200 --> 01:30:07,966
And we discover here
that what Ego has been doing is...
1714
01:30:08,040 --> 01:30:11,249
Everything he has done,
everything he has crafted,
1715
01:30:11,320 --> 01:30:15,120
has been simply to pull in Peter Quill.
1716
01:30:15,200 --> 01:30:17,168
He tried to take on the right form.
1717
01:30:17,240 --> 01:30:21,768
He liked to try to do what he could do
to take in Peter Quill.
1718
01:30:21,840 --> 01:30:24,605
He is simply a being of light.
He is a giant brain.
1719
01:30:25,760 --> 01:30:30,209
And he doesn't have any sort of real
1720
01:30:32,040 --> 01:30:33,405
compassion, I don't think.
1721
01:30:33,480 --> 01:30:34,970
I think that Ego,
1722
01:30:35,040 --> 01:30:37,884
and there used to be more of this
early on in the scripts,
1723
01:30:37,960 --> 01:30:39,803
but you cut out too much explanation.
1724
01:30:39,880 --> 01:30:43,441
I think Ego experiences emotions.
1725
01:30:43,520 --> 01:30:48,128
He experiences love.
He experiences compassion.
1726
01:30:48,200 --> 01:30:50,726
He experiences sadness.
1727
01:30:51,600 --> 01:30:53,364
And all sorts of things.
1728
01:30:54,200 --> 01:30:57,409
But he doesn't ever let those things
1729
01:30:57,480 --> 01:31:02,168
affect his primary purpose,
his primary choice.
1730
01:31:02,880 --> 01:31:05,121
And, I think, in me thinking about that,
1731
01:31:05,200 --> 01:31:09,125
I actually have
some admiration for Ego
1732
01:31:09,200 --> 01:31:11,601
because he doesn't let his emotions
1733
01:31:11,680 --> 01:31:13,842
stop him from doing
what he thinks of as,
1734
01:31:13,920 --> 01:31:16,082
I don't know, the right thing.
1735
01:31:16,560 --> 01:31:18,881
And I think that that makes him
an interesting character.
1736
01:31:19,880 --> 01:31:22,884
He has these emotions,
but he makes another choice.
1737
01:31:23,200 --> 01:31:24,167
And he does it here.
1738
01:31:24,240 --> 01:31:27,449
We see it in that moment
where he's holding the Walkman.
1739
01:31:27,680 --> 01:31:29,330
He's hearing Brandy.
1740
01:31:29,400 --> 01:31:32,529
Brandy is bringing back to him
the memories of the love
1741
01:31:32,600 --> 01:31:34,250
that he had for Meredith Quill,
1742
01:31:34,320 --> 01:31:37,324
that he actually had,
that he actually felt,
1743
01:31:37,400 --> 01:31:40,722
but yet he overcame it
and pushed it aside
1744
01:31:40,800 --> 01:31:44,850
for the sake of
taking over the universe.
1745
01:31:45,080 --> 01:31:47,606
His noble calling, in his own mind.
1746
01:31:50,640 --> 01:31:53,803
Here we have DQ.
You know, I got some messages.
1747
01:31:53,880 --> 01:31:55,325
You know,
"Oh, I don't know if I, you know,
1748
01:31:55,400 --> 01:31:57,880
"want, like, the product placement
with Dairy Queen."
1749
01:31:57,960 --> 01:31:59,485
And I'm like,
"It's not product placement!"
1750
01:31:59,560 --> 01:32:01,210
That was incredibly important to me.
1751
01:32:01,280 --> 01:32:03,567
Dairy Queen was a place
from my childhood
1752
01:32:03,640 --> 01:32:07,087
where I loved to go
and eat ice cream cones.
1753
01:32:07,160 --> 01:32:11,404
And having something that brought up
those childhood memories for me
1754
01:32:11,480 --> 01:32:12,641
at the beginning of the movie,
1755
01:32:12,720 --> 01:32:16,805
that so perfectly spoke
to the 1980s for me.
1756
01:32:17,120 --> 01:32:20,442
And, at the same time,
had had a change,
1757
01:32:20,520 --> 01:32:24,730
but still retained that iconic shape
of the "DQ" over time,
1758
01:32:24,800 --> 01:32:28,043
so that we could go back to it today
and see that it was many years later,
1759
01:32:28,120 --> 01:32:31,647
in one moment, was what was so
important about Dairy Queen for me,
1760
01:32:31,720 --> 01:32:34,530
and why it was in the script
from the beginning,
1761
01:32:34,640 --> 01:32:36,051
and why it was a part of the script,
1762
01:32:36,120 --> 01:32:38,248
and not something
that we went out and sought
1763
01:32:38,320 --> 01:32:41,403
whoever was the highest bidder
as a product placement.
1764
01:32:41,480 --> 01:32:43,209
It was about the story,
1765
01:32:43,280 --> 01:32:45,601
and that's always true
about these movies.
1766
01:32:45,680 --> 01:32:47,967
I will never make product placement
1767
01:32:48,080 --> 01:32:51,050
more important
than the story I'm telling. Ever.
1768
01:32:51,160 --> 01:32:52,400
That is only an extension...
1769
01:32:52,480 --> 01:32:54,528
of his true self.
He will be back soon.
1770
01:32:54,680 --> 01:32:55,966
What's Smurfette doing here?
1771
01:32:56,120 --> 01:32:58,043
Whatever I need to do to get
a damn ride home.
1772
01:32:58,200 --> 01:32:59,440
She tried to murder me!
1773
01:32:59,600 --> 01:33:01,602
I saved you, you stupid fox!
1774
01:33:01,800 --> 01:33:03,040
He's not a fox.
1775
01:33:03,200 --> 01:33:04,247
- I am Groot.
- I'm not...
1776
01:33:04,320 --> 01:33:06,482
GUNN: (CHUCKLES)
Here, Baby Groot...
1777
01:33:06,640 --> 01:33:07,801
"Raccoon." Whatever.
1778
01:33:07,880 --> 01:33:11,202
GUNN: We'd learn that somehow
he's able to correct Rocket
1779
01:33:11,280 --> 01:33:12,725
on his pronunciation
1780
01:33:12,840 --> 01:33:16,686
of "rabb00n" versus "raccoon"
1781
01:33:16,760 --> 01:33:18,364
by simply saying, "I am Groot."
1782
01:33:18,440 --> 01:33:22,650
How he does that, I don't know.
I believe that there's some sort of...
1783
01:33:22,720 --> 01:33:26,008
Over time, I think that you
start to understand "I am Groot."
1784
01:33:26,120 --> 01:33:27,963
I think there's some sort of
psychic connection.
1785
01:33:28,080 --> 01:33:31,482
Something in which you understand
what he's saying over time.
1786
01:33:31,560 --> 01:33:33,449
And something that
not too many people
1787
01:33:33,520 --> 01:33:35,284
have talked about in the movies.
1788
01:33:35,360 --> 01:33:37,169
Now, it's getting
way ahead of myself here,
1789
01:33:37,240 --> 01:33:39,971
but in the post-credits scene,
we have
1790
01:33:40,040 --> 01:33:44,204
Peter Quill talking to a tween Groot,
Adolescent Groot,
1791
01:33:44,280 --> 01:33:46,328
and he's understanding
everything he's saying.
1792
01:33:46,400 --> 01:33:50,803
So, obviously, over the past five years,
he now understands.
1793
01:33:50,880 --> 01:33:52,120
Because that was,
1794
01:33:52,200 --> 01:33:54,885
I think that's four or five years
in the future from now
1795
01:33:56,040 --> 01:33:58,441
that he understands
what Groot is saying.
1796
01:33:58,560 --> 01:34:00,085
That's my freakin' father!
1797
01:34:00,720 --> 01:34:02,085
GUNN: There we have, uh...
1798
01:34:03,040 --> 01:34:07,409
I love this freaky father,
Kurt Russell, CG],
1799
01:34:07,480 --> 01:34:11,326
and I also love this next shot
of the sunlight coming down.
1800
01:34:11,880 --> 01:34:13,245
(ALL GRUNT)
1801
01:34:13,320 --> 01:34:15,482
GUNN: The thing coming down
over the sunset.
1802
01:34:15,560 --> 01:34:17,722
- We should be going up!
- QUILL: We can't!
1803
01:34:19,040 --> 01:34:21,008
GUNN: And here we see
the Guardians of the Galaxy
1804
01:34:21,080 --> 01:34:22,491
come back together again,
1805
01:34:22,560 --> 01:34:25,962
starting to work together,
overcoming their differences,
1806
01:34:26,040 --> 01:34:27,405
and doing what they do best,
1807
01:34:27,480 --> 01:34:31,007
which is Quill driving,
Rocket manning the guns...
1808
01:34:31,080 --> 01:34:32,923
QUILL: Whoo-hoo!
1809
01:34:33,000 --> 01:34:35,526
GUNN: (CHUCKLES) Michael Rocker
doing whatever he's doing as Yondu,
1810
01:34:35,600 --> 01:34:37,011
working on wires.
1811
01:34:37,320 --> 01:34:40,529
Rooker... The two people
who are very, very good on set
1812
01:34:40,600 --> 01:34:42,090
of being in a situation
1813
01:34:42,160 --> 01:34:44,447
and just pretending like
they're doing something
1814
01:34:44,520 --> 01:34:46,966
are Zoe Saldana and Michael Rocker.
1815
01:34:47,040 --> 01:34:52,604
When they're sitting at a console,
they're constantly just working on this
1816
01:34:52,680 --> 01:34:54,921
whatever stuff they're doing,
and they're really good at it.
1817
01:34:55,080 --> 01:34:56,366
I care about the planets,
and the buildings...
1818
01:34:56,440 --> 01:34:58,204
and all the animals on the planets.
1819
01:34:58,360 --> 01:34:59,566
And the people.
1820
01:34:59,720 --> 01:35:00,926
Meh.
1821
01:35:01,440 --> 01:35:05,490
The crabby puppy is so cute.
He makes me wanna die!
1822
01:35:06,160 --> 01:35:07,924
(SILVER'S "WHAM BAM
SHANG-A-LANG" PLAYING)
1823
01:35:10,280 --> 01:35:11,884
(some CONTINUES)
1824
01:35:18,280 --> 01:35:19,884
(SINGING ALONG)
1825
01:35:19,960 --> 01:35:22,611
GUNN: Here we have Sean singing,
"Soup, soup," to Wham Barn.
1826
01:35:22,680 --> 01:35:26,287
Wham Bam is an interesting song
because I had never heard it
1827
01:35:26,360 --> 01:35:28,010
before I put it in the movie.
1828
01:35:34,160 --> 01:35:35,764
(MUSIC CONTINUES)
1829
01:35:43,240 --> 01:35:44,241
AYES HA: Pilots...
1830
01:35:44,400 --> 01:35:45,765
release envoy units.
1831
01:35:48,040 --> 01:35:52,090
Our sensors detect the batteries
are below the surface of the planet.
1832
01:35:53,960 --> 01:35:55,041
Dive!
1833
01:35:58,320 --> 01:36:00,084
(some CONTINUES)
1834
01:36:11,880 --> 01:36:13,370
Um... Captain?
1835
01:36:14,160 --> 01:36:15,571
Captain?
1836
01:36:15,640 --> 01:36:16,641
(TRANSMISSION BREAKING UP)
1837
01:36:18,520 --> 01:36:20,409
GUNN". I love this stuff,
with them working together,
1838
01:36:21,360 --> 01:36:22,566
and going through that thing,
1839
01:36:22,640 --> 01:36:26,122
and using those lasers to
pinpoint every moment.
1840
01:36:26,200 --> 01:36:28,885
And it shows you how good they are
at what they're doing.
1841
01:36:29,240 --> 01:36:30,366
So, could you?
1842
01:36:30,520 --> 01:36:31,726
A little.
1843
01:36:32,080 --> 01:36:34,890
GUNN". Here we have Rocker
sort of laughing at
1844
01:36:34,960 --> 01:36:36,291
his ability to make a ball.
1845
01:36:36,360 --> 01:36:39,204
This great super power he has,
which is to make a ball.
1846
01:36:39,760 --> 01:36:42,331
And he's about to tell him
that he doesn't use the arrow,
1847
01:36:42,440 --> 01:36:44,681
you know, he doesn't, you know...
1848
01:36:44,760 --> 01:36:46,649
He doesn't think it. He doesn't think it.
1849
01:36:46,720 --> 01:36:48,165
He feels it with his heart.
It's something...
1850
01:36:48,280 --> 01:36:50,521
He goes from his gut
when he flies that arrow.
1851
01:36:50,600 --> 01:36:51,681
He's not thinking.
1852
01:36:51,760 --> 01:36:55,651
In fact, I think it's about
clearing his head of space
1853
01:36:55,720 --> 01:36:59,008
when he flies that arrow,
in the same way a baseball player
1854
01:36:59,080 --> 01:37:01,731
doesn't think about hitting the ball
as it comes towards him.
1855
01:37:05,000 --> 01:37:06,001
MANTIS: There.
1856
01:37:06,080 --> 01:37:10,165
GUNN: This world is based a lot
on the Mandelbrot an'
1857
01:37:10,240 --> 01:37:13,005
of a guy by the name of Hal Tenny.
1858
01:37:13,560 --> 01:37:17,610
When we were trying to design what
the interior of Ego's planet looked like,
1859
01:37:17,680 --> 01:37:19,808
we brought up
a lot of different references.
1860
01:37:19,880 --> 01:37:21,245
We tried a lot of different things
1861
01:37:21,320 --> 01:37:24,051
with Scott Chambliss,
our wonderful production designer.
1862
01:37:24,800 --> 01:37:27,201
And one of the main things I wanted
1863
01:37:27,320 --> 01:37:28,890
in Guardians of the Galaxy:
Volume Two
1864
01:37:28,960 --> 01:37:31,440
was a very pulp fiction feel.
1865
01:37:31,520 --> 01:37:35,411
I harken back a lot to Flash Gordon,
1866
01:37:35,480 --> 01:37:36,970
from the 1980s version especially,
1867
01:37:37,080 --> 01:37:41,324
but also the Williamson art
from the comics.
1868
01:37:42,000 --> 01:37:46,369
I harken back a lot to
the old Amazing Stories
1869
01:37:46,440 --> 01:37:49,364
pulp magazine covers.
1870
01:37:50,120 --> 01:37:54,045
I brought up a lot of these references
for our whole team to look at
1871
01:37:54,120 --> 01:37:56,043
to create what
the look of this movie was.
1872
01:37:56,120 --> 01:37:58,009
I wanted something brashly colorful.
1873
01:37:58,920 --> 01:38:02,242
It's '50s and '60s
science-fiction inspired.
1874
01:38:02,320 --> 01:38:03,526
But for the interior of the planet,
1875
01:38:03,600 --> 01:38:04,806
we needed something
completely unique,
1876
01:38:04,880 --> 01:38:06,609
something that we hadn't seen before.
1877
01:38:06,680 --> 01:38:08,921
And so we came up with this sort of...
1878
01:38:09,000 --> 01:38:11,685
We found this Mandelbrot art online,
1879
01:38:11,760 --> 01:38:17,529
which is, you know, an organic,
mathematical way of things growing.
1880
01:38:17,840 --> 01:38:21,765
And the best person,
the one who I found the most art by,
1881
01:38:21,840 --> 01:38:25,083
is this guy Hal Tenny.
And his stuff is truly beautiful.
1882
01:38:25,160 --> 01:38:27,561
And so we hired Hal Tenny
1883
01:38:27,640 --> 01:38:30,371
to come in and help us design
the interior of this planet,
1884
01:38:30,440 --> 01:38:33,205
and he did a great job for us,
and we're very grateful to him.
1885
01:38:33,520 --> 01:38:34,965
We'll have to get out of here fast.
1886
01:38:35,920 --> 01:38:37,365
GUNN: In the same way,
on the first movie,
1887
01:38:37,440 --> 01:38:39,522
we used an artist
by the name of Chris Foss
1888
01:38:39,640 --> 01:38:43,326
who was a famous science-fiction artist
1889
01:38:43,400 --> 01:38:46,006
who came to prominence
in the 1970s
1890
01:38:46,360 --> 01:38:48,806
and did work on Blade Runner
and Alien
1891
01:38:48,880 --> 01:38:51,201
and Jodorowsky's unmade Dune.
1892
01:38:51,520 --> 01:38:56,367
And also a lot of novel covers
and things like that,
1893
01:38:56,440 --> 01:38:59,489
and he really helped
to strike the center of
1894
01:38:59,560 --> 01:39:02,723
what the visual look of
Guardians of the Galaxy is.
1895
01:39:03,480 --> 01:39:06,609
One of the first things I do
before I ever write the screenplay
1896
01:39:06,680 --> 01:39:09,763
is I write a treatment.
1897
01:39:09,880 --> 01:39:12,884
My treatment is just the story
of Guardians of the Galaxy,
1898
01:39:12,960 --> 01:39:15,611
but intermingled in that
is what the look is like
1899
01:39:15,720 --> 01:39:17,210
of Guardians of the Galaxy.
1900
01:39:17,440 --> 01:39:19,966
And I have a lot of photographs in that.
1901
01:39:20,040 --> 01:39:22,122
So that treatment's
about 70 pages long,
1902
01:39:22,200 --> 01:39:25,204
about 10 or 15 pages
of that are photographs,
1903
01:39:25,280 --> 01:39:28,250
or paintings, or pieces of art,
or movie references,
1904
01:39:28,320 --> 01:39:31,483
or other things that show us
where we're going as a movie.
1905
01:39:31,560 --> 01:39:34,450
Not only in terms of the words
and the story,
1906
01:39:34,520 --> 01:39:36,010
but in terms of the visuals
and what that's going to be like.
1907
01:39:37,240 --> 01:39:39,641
It's an incredibly important part
of these movies.
1908
01:39:40,040 --> 01:39:45,046
And I think one of the reasons people
have loved rewatching these movies,
1909
01:39:45,120 --> 01:39:47,282
and this movie in particular,
again and again,
1910
01:39:47,360 --> 01:39:51,888
is because the visuals are
something that can carry you so far,
1911
01:39:51,960 --> 01:39:54,327
and there's so many little things
you can see in there.
1912
01:39:54,400 --> 01:39:56,004
I also think people like to watch them
1913
01:39:56,080 --> 01:39:58,242
because you can watch this movie
for Baby Groot.
1914
01:39:58,560 --> 01:40:01,166
And you just watch what Baby Groot
does throughout the movie
1915
01:40:01,240 --> 01:40:03,607
because he's doing so many
crazy things in the background.
1916
01:40:03,680 --> 01:40:05,887
I didn't point it out,
but much earlier in the movie,
1917
01:40:05,960 --> 01:40:09,851
when Gamora is
walking by a spaceship,
1918
01:40:09,920 --> 01:40:12,366
when they're talking
about trash pandas,
1919
01:40:12,440 --> 01:40:14,602
Baby Groot looks up at Gamora,
and he waves at her,
1920
01:40:14,680 --> 01:40:16,284
and he's very small in the background.
1921
01:40:16,440 --> 01:40:18,363
And it isn't something that I noticed
1922
01:40:18,440 --> 01:40:20,761
until I was working on the color timing
of the movie.
1923
01:40:20,920 --> 01:40:23,764
I didn't even know because
the point of the shot was Rocket.
1924
01:40:23,840 --> 01:40:25,842
Rocket was saying
something in that shot,
1925
01:40:25,920 --> 01:40:28,048
and I was always looking at Rocket.
1926
01:40:28,120 --> 01:40:29,690
Does Rocket look good?
Is he great?
1927
01:40:29,760 --> 01:40:31,762
Is he working?
Is he moving right?
1928
01:40:32,200 --> 01:40:34,680
And I didn't even notice
that they had a little Baby Groot
1929
01:40:34,760 --> 01:40:38,731
just sort of casually waving at Gamora
as she goes by.
1930
01:40:39,360 --> 01:40:41,601
I love the relationships Baby Groot has
1931
01:40:41,720 --> 01:40:45,247
with the different characters
in the Guardians.
1932
01:40:45,560 --> 01:40:48,530
And I think it's important as well.
I think that you see that
1933
01:40:48,640 --> 01:40:53,043
Baby Groot has
a father-son relationship with Rocket,
1934
01:40:53,120 --> 01:40:56,408
and Rocket is his father in many ways,
1935
01:40:56,480 --> 01:40:59,723
but he also is not always
the most understanding.
1936
01:40:59,800 --> 01:41:03,646
But he is pretty loving actually, and
he takes care of him, and he's nice.
1937
01:41:03,720 --> 01:41:05,848
But, in this situation, he's upset.
1938
01:41:05,920 --> 01:41:08,526
I think a lot of his anger
is more geared towards Peter Quill
1939
01:41:08,600 --> 01:41:10,967
for even coming up
with this idea of Baby Groot
1940
01:41:11,040 --> 01:41:13,168
saving all of them
by pressing the bomb.
1941
01:41:13,920 --> 01:41:15,888
It's probably the most famous scene
in the movie,
1942
01:41:15,960 --> 01:41:21,251
is this classic comedic moment
of trying to pick the right button,
1943
01:41:21,320 --> 01:41:24,244
and Baby Groot
being a baby, basically,
1944
01:41:24,320 --> 01:41:27,051
who can't tell at all
what the right button is.
1945
01:41:27,480 --> 01:41:29,847
And then the Scotch tape moment
with Drax.
1946
01:41:29,920 --> 01:41:31,410
QUILL: Why did you ask me
if Scotch tape would work,
1947
01:41:31,520 --> 01:41:33,010
if you don't have any?
1948
01:41:34,000 --> 01:41:34,967
Nobody has any tape!
1949
01:41:35,040 --> 01:41:36,087
GUNN: You know, but back to
1950
01:41:36,160 --> 01:41:38,083
Baby Groot's relationship
with the different characters,
1951
01:41:38,160 --> 01:41:40,128
I think we see that
he has his best relationship
1952
01:41:40,200 --> 01:41:41,281
is probably with Gamora.
1953
01:41:41,360 --> 01:41:44,443
That's who he really loves,
and he waves at her all the time.
1954
01:41:44,520 --> 01:41:47,000
And she's very sweet to him,
and she's kind.
1955
01:41:47,120 --> 01:41:50,363
You know, she gets all of the kindness
that the other characters don't get.
1956
01:41:51,080 --> 01:41:53,287
And she's very loving
and maternal towards him.
1957
01:41:53,360 --> 01:41:56,125
So, his best relationship is with her
and with Rocket.
1958
01:41:56,520 --> 01:41:59,967
And then you have Drax,
who he obviously has some sort of,
1959
01:42:00,040 --> 01:42:05,490
seemingly, some sort of hatred for,
that he's constantly punching Drax,
1960
01:42:05,560 --> 01:42:08,131
and getting angry at Drax,
and beating up Drax.
1961
01:42:08,200 --> 01:42:10,601
He beats him up numerous times
throughout the movie
1962
01:42:10,680 --> 01:42:14,048
for seemingly no reason whatsoever,
and Drax is mean to him.
1963
01:42:14,120 --> 01:42:16,646
He calls him a, you know,
dumber, smaller Groot,
1964
01:42:16,720 --> 01:42:19,564
and he gets mad when he dances.
And he doesn't like him.
1965
01:42:20,520 --> 01:42:23,330
Yet, at the end of the movie,
what we see is...
1966
01:42:23,400 --> 01:42:26,722
We see that the first person he goes to
when he wants to sleep
1967
01:42:26,800 --> 01:42:29,451
and when he needs comfort is Drax.
1968
01:42:29,720 --> 01:42:32,326
AYESHA: ...that your deaths
are not without purpose.
1969
01:42:32,880 --> 01:42:34,450
They will serve as a warning...
1970
01:42:34,600 --> 01:42:37,001
to all of those tempted
with betraying us.
1971
01:42:37,640 --> 01:42:39,165
Don't screw with...
1972
01:42:39,240 --> 01:42:42,323
GUNN: Here we have
the end of Ayesha, basically.
1973
01:42:42,400 --> 01:42:45,802
Although it is not the last
we will see of her most likely.
1974
01:42:47,000 --> 01:42:51,005
But they do this thing
between the two of them.
1975
01:42:51,920 --> 01:42:54,491
You know, one of the sad things
about this movie is, I really think
1976
01:42:54,560 --> 01:42:57,848
that Nebula and Yondu
would become pretty close friends.
1977
01:42:57,920 --> 01:43:01,242
And it's a shame that...
I think we see the hints of it here.
1978
01:43:03,280 --> 01:43:07,080
And then I think of this stuff
as very '70s album cover-type art
1979
01:43:07,200 --> 01:43:10,363
with those rays coming out.
There's something very iconic about it.
1980
01:43:10,640 --> 01:43:14,770
The colors here and the darks and
the brights in this scene are very cool.
1981
01:43:18,480 --> 01:43:21,643
And then we have the relationship
between Peter Quill and Baby Groot,
1982
01:43:21,720 --> 01:43:25,566
and Peter Quill ignores Baby Groot
throughout almost the entire movie.
1983
01:43:25,640 --> 01:43:29,645
There's almost no relationship
between Peter Quill and Baby Groot.
1984
01:43:30,040 --> 01:43:31,246
Until the end.
1985
01:43:34,640 --> 01:43:41,444
Now there's one moment in the movie
that's probably been more...
1986
01:43:42,800 --> 01:43:45,644
One quote in the movie that's been
more quoted than any other,
1987
01:43:45,720 --> 01:43:48,291
and it is basically this moment
1988
01:43:48,360 --> 01:43:52,001
where Michael Rocker says,
"I'm Mary Poppins, y'all!"
1989
01:43:52,280 --> 01:43:55,841
And it's a great moment. (CHUCKLES)
1990
01:43:56,320 --> 01:43:58,084
I'm Mary Poppins, y'all!
1991
01:43:58,160 --> 01:43:59,241
GU N N: I think it's a funny moment.
1992
01:43:59,320 --> 01:44:02,244
I actually went back and forth a lot
1993
01:44:02,320 --> 01:44:04,926
about putting the moment
in the script or not,
1994
01:44:05,000 --> 01:44:07,162
but, in the end,
decided to put it in there,
1995
01:44:07,240 --> 01:44:08,890
and I'm really happy I did.
1996
01:44:08,960 --> 01:44:12,328
Because it was the biggest quote
from the movie.
1997
01:44:12,840 --> 01:44:14,365
This shot was incredibly hard.
1998
01:44:14,440 --> 01:44:17,523
We used a thing called a Spidercam,
which goes around.
1999
01:44:17,640 --> 01:44:20,120
You select all the points ahead of time
2000
01:44:20,200 --> 01:44:24,444
of where it goes on these wires,
and it goes in all these crazy places.
2001
01:44:24,520 --> 01:44:26,522
And it's a beautiful rig.
2002
01:44:29,640 --> 01:44:32,450
And these are some just gigantic shots.
2003
01:44:32,520 --> 01:44:38,562
Overall, on Ego's planet
there are over half a trillion polygons.
2004
01:44:39,840 --> 01:44:43,526
And it's incredibly complicated sets,
2005
01:44:43,600 --> 01:44:47,161
you know, virtual sets, and a lot of this.
You know, this stuff...
2006
01:44:47,240 --> 01:44:48,924
I was talking earlier about how
2007
01:44:49,000 --> 01:44:50,889
any time you can shoot something
practically, you should,
2008
01:44:51,000 --> 01:44:53,321
but a lot of this stuff can't...
2009
01:44:53,400 --> 01:44:57,530
You can't shoot that stuff practically
because it's so far away and so huge.
2010
01:44:57,600 --> 01:45:00,604
Now, this ground is all practical,
you know.
2011
01:45:01,320 --> 01:45:02,731
There's a lot of practical ground,
2012
01:45:02,800 --> 01:45:05,565
a lot of practical
set pieces behind them,
2013
01:45:05,640 --> 01:45:08,405
but most of it, of course, is CGI.
2014
01:45:08,480 --> 01:45:10,403
It's done by the company Weta.
2015
01:45:11,920 --> 01:45:16,084
Peter Jackson, you know, company.
And it's, uh...
2016
01:45:16,160 --> 01:45:18,322
They did marvelous, marvelous,
2017
01:45:18,400 --> 01:45:21,722
incredible, groundbreaking work
for this movie.
2018
01:45:21,800 --> 01:45:24,770
And I hope they really
get the acknowledgment for it
2019
01:45:24,880 --> 01:45:27,201
that they deserve
because it's completely unique.
2020
01:45:27,280 --> 01:45:30,409
And it's lovely, and I just think
they did an amazing job.
2021
01:45:30,960 --> 01:45:33,247
-(ALL YELP)
-(SCREAMING)
2022
01:45:34,200 --> 01:45:35,406
Gamers“.!
2023
01:45:37,400 --> 01:45:42,850
GUNN: And here, we start to really
experience Ego as a living planet.
2024
01:45:42,920 --> 01:45:47,084
I think one of the difficult things about
selling this movie to the public
2025
01:45:47,520 --> 01:45:51,411
was that we had so many surprises in it,
2026
01:45:51,480 --> 01:45:54,450
starting at the, you know,
a third of the way through the film
2027
01:45:54,600 --> 01:45:56,682
that we didn't want to give away
the surprises.
2028
01:45:56,760 --> 01:45:59,286
So, at the end of the day,
we were selling a film
2029
01:45:59,360 --> 01:46:00,521
where we weren't telling them
2030
01:46:00,600 --> 01:46:03,171
who the central protagonist was,
which was Ego.
2031
01:46:03,240 --> 01:46:07,165
We didn't want to spoil the fact
that Ego was the bad guy.
2032
01:46:08,000 --> 01:46:10,241
And not only that,
we weren't able to tell them that,
2033
01:46:10,320 --> 01:46:13,563
"Hey, the Guardians fight
a living planet in this movie!"
2034
01:46:13,640 --> 01:46:14,971
Which is a pretty big deal.
2035
01:46:15,040 --> 01:46:17,042
It's a pretty cool thing to be able to do,
2036
01:46:17,120 --> 01:46:19,805
and some of this stuff
with Yondu's just the best.
2037
01:46:20,320 --> 01:46:25,326
I just love these shots,
incredibly pulp fiction,
2038
01:46:25,440 --> 01:46:26,930
amazing and overwhelming
2039
01:46:27,000 --> 01:46:30,163
and really like an Amazing Stories
cover come to life.
2040
01:46:32,560 --> 01:46:34,927
And here we see Rocket
using his technology.
2041
01:46:35,000 --> 01:46:38,004
He's got little bombs and a shield,
2042
01:46:38,120 --> 01:46:42,444
and he's always got something
he pulls out of his utility belt there.
2043
01:46:47,760 --> 01:46:50,001
But it goes wrong,
as it often does for Guardians.
2044
01:46:52,880 --> 01:46:54,245
So, yeah, I think that
that was, you know,
2045
01:46:54,320 --> 01:46:55,765
one of the difficult things
with this movie,
2046
01:46:55,840 --> 01:46:58,889
was we couldn't tell people
about the coolest part of it,
2047
01:46:58,960 --> 01:47:00,644
which is fighting a planet.
2048
01:47:02,080 --> 01:47:04,162
And it has a bit of a slower pace
at the beginning,
2049
01:47:04,240 --> 01:47:06,049
and then gets more and more
amped up as we go on,
2050
01:47:08,040 --> 01:47:10,566
and I think that, you know,
one of the cool things about it is,
2051
01:47:10,640 --> 01:47:15,441
this is a protagonist that
isn't just a guy who's, you know,
2052
01:47:15,520 --> 01:47:18,410
trying to take over the universe that
we have no emotional connection to.
2053
01:47:18,480 --> 01:47:20,767
This is Peter Quill's father,
2054
01:47:20,840 --> 01:47:22,683
and the fact that he's trying to
take over the universe
2055
01:47:22,760 --> 01:47:26,401
is really secondary to the fact
that he's killed Peter Quill's mother,
2056
01:47:26,480 --> 01:47:29,324
that he's going to kill his friends,
and that he doesn't, you know...
2057
01:47:29,400 --> 01:47:31,084
He's betrayed him in a big way.
2058
01:47:31,200 --> 01:47:34,283
So the central part of the story
is an emotional one
2059
01:47:34,360 --> 01:47:36,249
even with all of the action.
2060
01:47:36,360 --> 01:47:39,921
The action is all, you know, in service
2061
01:47:40,000 --> 01:47:43,846
of that central emotional story
between the characters.
2062
01:47:44,440 --> 01:47:47,125
And that is Why I think that
2063
01:47:47,200 --> 01:47:49,965
Marvel Studios has been
so great for me
2064
01:47:50,040 --> 01:47:52,202
in allowing me to tell a story like this.
2065
01:47:52,560 --> 01:47:53,971
And taking a chance
2066
01:47:54,040 --> 01:47:56,486
and really being happy with it
through the whole process.
2067
01:47:56,560 --> 01:48:00,201
I have to say, this was by far the most
fluid movie I have ever worked on
2068
01:48:00,280 --> 01:48:03,727
because it stayed basically the same
from that first treatment I wrote
2069
01:48:03,800 --> 01:48:05,325
all the way through the end.
2070
01:48:05,400 --> 01:48:09,325
All of the difficult stuff
was just this gigantic part of it
2071
01:48:09,400 --> 01:48:11,323
in getting it right,
and making it look right,
2072
01:48:11,400 --> 01:48:12,686
and making it look cool,
2073
01:48:12,760 --> 01:48:14,683
and getting the shots
that we wanted to get,
2074
01:48:14,800 --> 01:48:17,121
and getting the performances
that we wanted to get.
2075
01:48:17,440 --> 01:48:23,800
But the actual creative process
was so easy, really.
2076
01:48:29,440 --> 01:48:30,441
(BOTH YELP)
2077
01:48:31,160 --> 01:48:32,241
(ROCKET GRUNTING)
2078
01:48:33,080 --> 01:48:34,684
G U N N: I like that Kraglin moment
we just saw too,
2079
01:48:34,760 --> 01:48:37,843
where Kraglin sort of becomes a hero
and saves Drax.
2080
01:48:37,920 --> 01:48:39,081
It's pretty cool.
2081
01:48:39,320 --> 01:48:40,924
And a little hint of
I think what's to come
2082
01:48:41,000 --> 01:48:42,445
for the character of Kraglin.
2083
01:48:53,440 --> 01:48:55,090
(GROANS)
2084
01:48:56,600 --> 01:48:57,886
(YELLING IN PAIN)
2085
01:49:00,040 --> 01:49:01,121
(ROCKET GROANING)
2086
01:49:03,720 --> 01:49:04,721
(GROANING)
2087
01:49:11,600 --> 01:49:13,045
(GRUNTS)
2088
01:49:19,480 --> 01:49:21,881
GUNN: These shots were very hard.
Those shots were also
2089
01:49:21,960 --> 01:49:25,123
incredibly ridiculous-looking
because basically what we...
2090
01:49:25,200 --> 01:49:27,806
Oh, I love that shot
with Baby Groot crying. It's so sad.
2091
01:49:28,160 --> 01:49:29,571
(STAMMERS) We have...
2092
01:49:29,640 --> 01:49:33,850
Nebula and Gamora were holding
on to the sides of this cliff
2093
01:49:33,960 --> 01:49:36,725
that we actually built
that had a glow inside of it,
2094
01:49:36,840 --> 01:49:38,968
so that we could
reflect the light off of them.
2095
01:49:39,320 --> 01:49:43,564
And as they are holding on,
Zoe Saldana and Karen Gillan
2096
01:49:43,680 --> 01:49:45,250
are holding on to the side of the cliff,
2097
01:49:45,320 --> 01:49:49,928
we have two guys in blue outfits
who are rubbing their hands
2098
01:49:50,000 --> 01:49:52,890
over their faces and hairs
and backs and sides.
2099
01:49:52,960 --> 01:49:55,201
That's my mom and my dad,
Jim and Lee.
2100
01:49:55,280 --> 01:49:58,409
There's my brother Patrick,
my sister-in-law Laura...
2101
01:49:58,480 --> 01:50:01,882
Basically, I kill my entire family
in this sequence,
2102
01:50:03,080 --> 01:50:04,366
and I'll talk more about that
in a second.
2103
01:50:04,440 --> 01:50:07,922
Here we go back to Xandar.
We see that we...
2104
01:50:08,000 --> 01:50:10,924
This is where we cut most of the stuff
out of the movie that we cut.
2105
01:50:11,040 --> 01:50:13,008
We cut some different players in there.
2106
01:50:14,080 --> 01:50:15,969
Why are you destroying...
2107
01:50:16,040 --> 01:50:17,963
GUNN: Anyway, like I was saying,
we have,
2108
01:50:18,040 --> 01:50:19,610
we had these two guys in blue suits
2109
01:50:19,680 --> 01:50:23,605
rubbing their hands over Zoe
and Karen as they're kind of moaning,
2110
01:50:23,720 --> 01:50:27,122
and it looked incredibly strange,
incredibly strange.
2111
01:50:27,200 --> 01:50:29,726
That's my nephew Griffin,
my brother-in-law Alec.
2112
01:50:30,080 --> 01:50:34,881
(CHUCKLES) These are all the cameos
of all my people in my family.
2113
01:50:35,360 --> 01:50:39,570
My niece Jaden, my nephews
Declan and Mason.
2114
01:50:39,880 --> 01:50:43,726
And I murder them all.
I murder every single one of them.
2115
01:50:45,240 --> 01:50:47,527
This moment here
was originally going to be
2116
01:50:47,600 --> 01:50:51,161
a huge moment
where the walls fall down
2117
01:50:51,280 --> 01:50:54,329
and we reveal statues
of these moments from Quill's life.
2118
01:50:54,400 --> 01:50:57,609
Now, I don't know if that would've
worked or not, but the truth is,
2119
01:50:57,680 --> 01:51:01,127
is I wanted things to get very quiet
for just a moment
2120
01:51:01,240 --> 01:51:02,446
because I think he's going internal.
2121
01:51:02,520 --> 01:51:04,488
And I think it's important, and I said,
2122
01:51:04,560 --> 01:51:07,404
"God, maybe not everything
needs to be huge all time,
2123
01:51:07,520 --> 01:51:11,127
"maybe we can just shoot
these small moments from his life
2124
01:51:11,200 --> 01:51:13,441
"and have those be what drives him."
2125
01:51:14,120 --> 01:51:15,485
That little bit of love.
2126
01:51:16,600 --> 01:51:17,681
Kurt Russell asks him,
2127
01:51:17,760 --> 01:51:20,764
"What other meaning
does life have to offer?"
2128
01:51:21,320 --> 01:51:23,926
And Peter Quill's answer
is resounding.
2129
01:51:24,000 --> 01:51:27,322
It's the love he has
for the people in his life.
2130
01:51:27,400 --> 01:51:28,925
And that includes Yondu,
2131
01:51:29,000 --> 01:51:31,446
who we thought of as a bad guy
for the first movie.
2132
01:51:31,520 --> 01:51:32,965
And I think that's important.
2133
01:51:33,320 --> 01:51:36,483
And then we have
this incredibly triumphant moment
2134
01:51:36,560 --> 01:51:38,050
where he has superpowers!
2135
01:51:38,120 --> 01:51:42,045
I mean, he is, you know,
an incredibly powerful being,
2136
01:51:42,120 --> 01:51:45,920
and it's driven by something other than
the ego and the smallness
2137
01:51:46,000 --> 01:51:48,241
that drives Ego with his powers.
2138
01:51:50,680 --> 01:51:52,250
Here we have Grandpa Quill.
2139
01:51:52,840 --> 01:51:55,366
There we go,
little Grandpa Quill cameo.
2140
01:51:55,440 --> 01:51:58,808
Gregg Henry as Grandpa Quill,
who's driving a van.
2141
01:51:58,880 --> 01:52:02,202
We actually shot a scene where
Grandpa Quill saves that woman
2142
01:52:02,280 --> 01:52:04,203
from the oncoming wave,
and they get into a car.
2143
01:52:04,320 --> 01:52:06,561
But it just was...
2144
01:52:06,640 --> 01:52:10,725
We found that audiences were much
more interested in what's going on
2145
01:52:10,800 --> 01:52:13,406
with the characters and the threat
to the characters than anything else.
2146
01:52:13,480 --> 01:52:17,963
What a beautiful shot there of...
So incredibly pulp science-fiction
2147
01:52:18,040 --> 01:52:22,728
with Baby Groot and this giant brain
that's pulsing different colors.
2148
01:52:23,880 --> 01:52:26,531
It's just incredible work by the guys.
2149
01:52:28,000 --> 01:52:29,570
You know, we had
a lot of different versions of
2150
01:52:29,680 --> 01:52:31,489
what Ego looked like at his core.
2151
01:52:32,480 --> 01:52:36,405
He was this sort of zygote,
sperm-looking thing for a long time
2152
01:52:36,520 --> 01:52:38,761
and eventually I woke up one day,
and I said,
2153
01:52:38,840 --> 01:52:40,251
"I think we should just
make him a brain.
2154
01:52:40,320 --> 01:52:44,211
"I think it's the most cool,
crazy science-fiction idea."
2155
01:52:44,280 --> 01:52:46,442
And it also explains what he is.
2156
01:52:46,520 --> 01:52:49,330
That that's his brain. That's his center.
2157
01:52:51,320 --> 01:52:52,606
(BOTH GRUNTING)
2158
01:52:52,680 --> 01:52:55,923
Incredibly dramatic moments here
with Zoe and Karen
2159
01:52:56,000 --> 01:52:57,843
climbing up the side of the cliff...
2160
01:52:58,240 --> 01:53:00,322
This is a 100%-digital shot.
2161
01:53:00,880 --> 01:53:03,611
We shot those guys flying around a lot,
2162
01:53:03,680 --> 01:53:08,083
but this shot
is 100% Weta Digital creating it.
2163
01:53:08,480 --> 01:53:10,721
And here we have
one of my favorite scenes.
2164
01:53:10,800 --> 01:53:14,646
In this scene is
two of my favorite characters.
2165
01:53:14,720 --> 01:53:18,122
And of course, Michael Rocker is,
as I said, a close friend of mine.
2166
01:53:18,200 --> 01:53:20,806
We've done, I think,
five movies together,
2167
01:53:20,880 --> 01:53:24,965
a web series, a video game,
two reality shows,
2168
01:53:25,040 --> 01:53:28,203
and he stops by my house
and eats my food all the time.
2169
01:53:28,520 --> 01:53:30,648
And this was him saying goodbye.
2170
01:53:30,720 --> 01:53:33,485
And I had a hard time
shooting this scene.
2171
01:53:33,560 --> 01:53:38,771
And I had a hard time dealing with
this plot point in particular.
2172
01:53:39,120 --> 01:53:41,407
I'm being very honest with you,
2173
01:53:42,480 --> 01:53:47,566
I didn't want to kill Yondu in this movie.
2174
01:53:48,520 --> 01:53:49,965
I just didn't wanna do it.
2175
01:53:50,160 --> 01:53:52,845
And the reason was because
2176
01:53:52,920 --> 01:53:55,048
I've had Michael Rooker
in every movie I've ever made,
2177
01:53:55,120 --> 01:53:57,168
and I didn't want to
make a movie without him.
2178
01:53:57,240 --> 01:54:00,403
I love him. I've come to rely upon him.
2179
01:54:00,520 --> 01:54:03,524
I think he's one of the best actors
I've ever known,
2180
01:54:03,600 --> 01:54:08,606
and he's an amazing guy,
and a kindred soul and a brother.
2181
01:54:09,240 --> 01:54:12,084
And I did not want to
have to make a movie without him.
2182
01:54:13,880 --> 01:54:16,804
So as I'm writing the plot and the story,
2183
01:54:16,880 --> 01:54:21,442
I think originally there was a moment
in which Yondu sacrificed himself,
2184
01:54:22,040 --> 01:54:23,485
but then was saved.
2185
01:54:25,240 --> 01:54:29,450
But it created something
that felt to me very false,
2186
01:54:30,280 --> 01:54:31,441
very not true,
2187
01:54:32,200 --> 01:54:33,964
and, at the end of the day,
2188
01:54:34,120 --> 01:54:37,841
my ultimate commitment is to the story.
2189
01:54:38,120 --> 01:54:39,610
It's always to the story,
2190
01:54:39,680 --> 01:54:42,445
and having the story be
as true as it possibly can be.
2191
01:54:43,160 --> 01:54:46,209
And this was a story about a father
2192
01:54:46,280 --> 01:54:50,171
and his ultimate love for his son.
2193
01:54:50,720 --> 01:54:54,167
And that father is Yondu,
and that son is Peter Quill.
2194
01:54:54,280 --> 01:54:58,808
And he doesn't look like a father, and
he certainly wasn't a perfect father.
2195
01:54:58,960 --> 01:55:01,725
But he was a father,
and that's what this movie is about.
2196
01:55:02,280 --> 01:55:04,328
When I attended the premiere,
2197
01:55:04,400 --> 01:55:07,051
I spoke to the audience,
and my parents were in the crowd.
2198
01:55:07,120 --> 01:55:08,724
And I made them stand up.
2199
01:55:08,800 --> 01:55:11,326
And I said,
"I want everybody here to know that
2200
01:55:11,400 --> 01:55:14,768
"these two movies are dedicated
to my mother and my father."
2201
01:55:16,040 --> 01:55:20,090
The first movie was really about
a mother and her love for her son.
2202
01:55:20,160 --> 01:55:24,085
And it ends with a tape
that she gives him
2203
01:55:24,160 --> 01:55:25,685
and speaks to him from beyond.
2204
01:55:26,320 --> 01:55:30,086
And this story is about a father,
and his love for his son.
2205
01:55:30,680 --> 01:55:33,286
And it's not about
Meredith Quill and Ego.
2206
01:55:33,360 --> 01:55:36,011
It's about Meredith Quill
and Yondu Udonta,
2207
01:55:36,080 --> 01:55:38,924
and those are the mother and father.
And those are the true fathers.
2208
01:55:39,720 --> 01:55:41,290
And I think that that's something,
2209
01:55:41,360 --> 01:55:45,604
and one of the reasons why so
many people who have been adopted
2210
01:55:45,680 --> 01:55:49,207
or come from different types of families
2211
01:55:49,280 --> 01:55:51,123
that aren't considered
your normal family
2212
01:55:51,200 --> 01:55:54,522
have written to me about this movie
and how much it means to them.
2213
01:55:54,800 --> 01:55:56,450
And I'm glad that could be the case
2214
01:55:56,520 --> 01:56:00,650
because it really is something that
is about those people who love us.
2215
01:56:00,720 --> 01:56:05,123
But it is also about biological fathers
who we have, who are imperfect.
2216
01:56:05,200 --> 01:56:07,680
My own father is imperfect,
but he loved me.
2217
01:56:07,760 --> 01:56:10,684
And I always knew that, and that's
the most important thing for me.
2218
01:56:10,760 --> 01:56:12,808
And the same thing
is true of my mother.
2219
01:56:12,880 --> 01:56:13,881
AnyW8y---
2220
01:56:16,160 --> 01:56:19,960
Now we're about to see everything
go really wrong for Ego.
2221
01:56:20,040 --> 01:56:21,724
And Baby Groot did his job.
2222
01:56:22,040 --> 01:56:23,087
Stop.
2223
01:56:23,160 --> 01:56:27,165
GUNN: He destroyed this wonderful
Hal Tenn y artwork.
2224
01:56:28,720 --> 01:56:30,085
If you kill me...
2225
01:56:30,240 --> 01:56:32,720
you'll be just like everybody else.
2226
01:56:33,600 --> 01:56:35,489
GUNN: And we see what it's about
for Peter Quill,
2227
01:56:35,960 --> 01:56:39,851
and he says to him, "What's so wrong
with just being a normal person?"
2228
01:56:40,080 --> 01:56:42,526
And this is a sacrifice
for Peter Quill as well.
2229
01:56:42,640 --> 01:56:46,281
He's sacrificing this power that he has.
2230
01:56:46,720 --> 01:56:47,767
And he's giving it up.
2231
01:56:47,840 --> 01:56:52,801
And he's giving up immortality
for the sake of those that he loves.
2232
01:56:53,440 --> 01:56:55,408
And so there's
a big sacrificial theme here,
2233
01:56:55,480 --> 01:56:56,925
both in this movie and the last movie.
2234
01:56:57,000 --> 01:56:59,606
Groot sacrificed himself
for his friends.
2235
01:56:59,680 --> 01:57:03,844
Peter Quill sacrifices immortality
for his friends.
2236
01:57:03,920 --> 01:57:07,720
Yondu Udonta
sacrifices his life for his son.
2237
01:57:07,800 --> 01:57:10,610
And it's all about
the deepest kind of love
2238
01:57:10,680 --> 01:57:12,205
that can possibly exist.
2239
01:57:12,280 --> 01:57:13,884
And, uh, you know...
2240
01:57:13,960 --> 01:57:16,964
(STUTTERS) People call this
a comedy, but to me...
2241
01:57:17,040 --> 01:57:19,008
It is very funny,
and I know that it's funny,
2242
01:57:19,080 --> 01:57:21,447
but it really is mostly about that.
2243
01:57:27,240 --> 01:57:29,561
He may have been your father, boy...
2244
01:57:29,640 --> 01:57:31,927
GUNN: This scene was
one of the hardest scenes
2245
01:57:32,000 --> 01:57:35,402
I've ever had to shoot.
2246
01:57:35,480 --> 01:57:37,528
They're hanging from wires
this whole time,
2247
01:57:37,600 --> 01:57:41,525
and having to turn in these
incredibly intense performances.
2248
01:57:41,600 --> 01:57:45,525
Yondu's smile in this next shot
is just one of my favorite things.
2249
01:57:46,200 --> 01:57:48,202
That smile, Yondu's smile,
2250
01:57:48,280 --> 01:57:49,327
that's one of my favorite things
2251
01:57:49,400 --> 01:57:50,811
Michael Rocker
has ever done on film.
2252
01:57:50,880 --> 01:57:53,087
There's something
so incredibly sweet about it.
2253
01:57:53,160 --> 01:57:54,889
You don't see him
smile very much in film
2254
01:57:54,960 --> 01:57:57,930
unless he's laughing at someone
for something terrible.
2255
01:58:00,080 --> 01:58:03,289
And they really gave their all,
2256
01:58:03,360 --> 01:58:05,488
Chris Pratt and Michael Rocker,
in this moment.
2257
01:58:05,560 --> 01:58:07,528
You'll see some acting from Chris Pratt
2258
01:58:07,640 --> 01:58:09,847
that I think is the finest acting
he's ever done on film.
2259
01:58:10,000 --> 01:58:11,365
And it's very intense,
2260
01:58:11,520 --> 01:58:13,602
and then to think
that he's doing this acting
2261
01:58:13,680 --> 01:58:17,241
while he's hanging from wires
in the middle of the soundstage.
2262
01:58:18,000 --> 01:58:19,604
And we did have earbuds in,
2263
01:58:19,680 --> 01:58:22,365
and we did listen to
this wonderful score by Tyler Bates
2264
01:58:22,440 --> 01:58:23,885
that was playing
during this whole time.
2265
01:58:23,960 --> 01:58:27,726
So that score really is
what drives this scene.
2266
01:58:27,800 --> 01:58:30,610
This scene is completely
intertwined with that score.
2267
01:58:31,040 --> 01:58:32,644
And here we have
this wonderful moment
2268
01:58:32,720 --> 01:58:35,041
where he touches his son,
and he gives him the love.
2269
01:58:37,040 --> 01:58:39,691
I'm getting, uh, sad.
2270
01:58:42,360 --> 01:58:44,522
And then Chris really just losing it.
2271
01:58:46,360 --> 01:58:48,522
His arms outstretched
and surrendered.
2272
01:58:53,880 --> 01:58:57,089
And that's tough for me
because I love the character of Yondu,
2273
01:58:57,160 --> 01:58:59,811
but more importantly
I love Michael Rocker in real life,
2274
01:58:59,880 --> 01:59:04,090
and it was a very, very, very
hard choice to make.
2275
01:59:06,880 --> 01:59:10,248
I just did it because I believe in
the truth of these movies.
2276
01:59:14,440 --> 01:59:15,726
Here we have
2277
01:59:16,240 --> 01:59:19,961
what I think of as
the Hasselhoff funeral speech,
2278
01:59:20,040 --> 01:59:22,964
which is one of those
great moments as a writer
2279
01:59:23,080 --> 01:59:24,491
where I didn't know what
2280
01:59:24,560 --> 01:59:26,608
Chris Pratt was gonna say
during this speech,
2281
01:59:27,680 --> 01:59:30,763
but I woke up one night,
in the middle of the night.
2282
01:59:30,960 --> 01:59:34,089
And I rolled over, and I had
this Hasselhoff speech in my head.
2283
01:59:35,120 --> 01:59:37,521
I never thought about it
whatsoever beforehand,
2284
01:59:37,600 --> 01:59:40,444
and I wrote it down in my phone.
2285
01:59:41,280 --> 01:59:42,520
And that's what this speech is.
2286
01:59:42,600 --> 01:59:44,568
That exact same speech,
2287
01:59:44,640 --> 01:59:48,122
not a word has changed since
that night I wrote it down in my phone.
2288
01:59:48,480 --> 01:59:49,970
And that is, uh...
2289
01:59:50,520 --> 01:59:51,521
That's what the scene is,
2290
01:59:51,600 --> 01:59:52,647
and I'm gonna be honest about this too
2291
01:59:52,720 --> 01:59:55,121
because we have this wonderful...
2292
01:59:55,760 --> 01:59:59,651
This wonderful, wonderful performance
by Chris Pratt in this scene.
2293
01:59:59,920 --> 02:00:02,002
Again, one of the best performances
he's ever done.
2294
02:00:02,080 --> 02:00:04,401
But let me tell you,
we shot this scene twice.
2295
02:00:05,320 --> 02:00:06,890
I shot Chris's speech twice.
2296
02:00:06,960 --> 02:00:10,282
The first time I shot it
I had him give the speech
2297
02:00:10,360 --> 02:00:14,001
in a little bit more of a guy
giving the speech at a funeral.
2298
02:00:14,840 --> 02:00:18,890
And that night I went home,
and I was like, "I don't think
2299
02:00:18,960 --> 02:00:24,126
"Quill is as ravaged as
he would've been by losing his father.
2300
02:00:24,200 --> 02:00:26,726
"I think he needs to be
more messed up."
2301
02:00:26,800 --> 02:00:30,361
And I went back to Chris, and I said,
"I think we have to reshoot the scene."
2302
02:00:30,440 --> 02:00:32,807
And we reshot him giving the speech,
2303
02:00:33,320 --> 02:00:35,448
and I'm really, really glad we did that.
2304
02:00:38,880 --> 02:00:40,325
I am Groot.
2305
02:00:40,920 --> 02:00:42,331
GUNN". I think it's also nice to see
2306
02:00:42,400 --> 02:00:47,088
how all of this seems to be
about Peter Quill.
2307
02:00:47,640 --> 02:00:49,722
But it's not. It's about Gamora.
2308
02:00:50,160 --> 02:00:53,448
And, at the end,
she hears what he says about
2309
02:00:53,520 --> 02:00:56,285
"that thing you wanted
is right by your side all along."
2310
02:00:56,680 --> 02:00:59,763
And she thinks of her sister,
and what her sister said to her,
2311
02:00:59,840 --> 02:01:01,569
and she goes out,
and she gives this speech.
2312
02:01:01,800 --> 02:01:02,926
And if you ask me,
2313
02:01:03,000 --> 02:01:07,528
what's my very, very,
very favorite thing in the entire movie?
2314
02:01:08,160 --> 02:01:11,482
It might just be this moment
coming up in a second,
2315
02:01:11,560 --> 02:01:13,449
which was something
that Karen Gillan did
2316
02:01:13,520 --> 02:01:16,330
when we were rehearsing,
that I did not ask her to do,
2317
02:01:16,680 --> 02:01:19,968
and that I wrote into the script
after we rehearsed it.
2318
02:01:20,040 --> 02:01:21,246
And when she did it,
2319
02:01:21,320 --> 02:01:23,687
I started crying
in the middle of rehearsal.
2320
02:01:23,880 --> 02:01:26,008
And it's this little moment
where they hug,
2321
02:01:26,080 --> 02:01:27,206
and we have this wide shot
2322
02:01:27,280 --> 02:01:30,250
that was always planned to be that
way, it was already storyboarded.
2323
02:01:30,720 --> 02:01:33,246
And then she reaches her hand over,
and just a moment...
2324
02:01:33,320 --> 02:01:34,526
You will always be my sister.
2325
02:01:34,640 --> 02:01:36,005
GUNN: ...after Gamora
says that to her...
2326
02:01:37,040 --> 02:01:41,045
And Nebula reaches her hand,
and she hugs her sister back
2327
02:01:41,720 --> 02:01:43,449
for just a moment. (CHUCKLES)
2328
02:01:44,200 --> 02:01:46,806
I still get choked up over this stuff.
2329
02:01:46,880 --> 02:01:48,211
(CHUCKUNG)
2330
02:01:48,680 --> 02:01:49,806
I just love that moment.
2331
02:01:49,880 --> 02:01:52,406
That's maybe my favorite thing
in the entire movie.
2332
02:01:52,480 --> 02:01:53,527
I think in the first movie
2333
02:01:53,600 --> 02:01:55,887
my favorite thing was
Drax petting Rocket,
2334
02:01:55,960 --> 02:01:58,327
and I think that's
a very similar moment.
2335
02:01:58,400 --> 02:02:02,166
This is this character
who's completely damaged,
2336
02:02:02,240 --> 02:02:04,641
probably even more damaged
than Rocket if that's possible,
2337
02:02:05,120 --> 02:02:06,246
and she hugs her sister back
2338
02:02:06,320 --> 02:02:10,803
for just that split second
of sisterhood, of siblinghood.
2339
02:02:19,560 --> 02:02:20,561
KRAGLINI Pete!
2340
02:02:24,240 --> 02:02:26,004
Captain found this for you
in a junker shop.
2341
02:02:26,160 --> 02:02:29,004
Said you'd come back
to the fold someday.
2342
02:02:30,800 --> 02:02:31,926
What is it?
2343
02:02:32,080 --> 02:02:33,081
It's called a Zune.
2344
02:02:33,280 --> 02:02:34,930
It's what everybody's listening
to on Earth nowadays.
2345
02:02:35,960 --> 02:02:39,169
GUNN: People have asked me again,
"Hey, is the Zune product placement?"
2346
02:02:39,680 --> 02:02:43,162
And I have to tell them, "No,
it's absolutely not product placement."
2347
02:02:43,680 --> 02:02:48,049
We simply have the Zune in there
because I think it's funny...
2348
02:02:48,120 --> 02:02:51,044
I think an iPod
would just be too easy to guess.
2349
02:02:51,840 --> 02:02:53,968
Having somehow Kraglin. ..
2350
02:02:54,040 --> 02:02:57,647
Through a game of interstellar
telephone, Kraglin thinks the Zune
2351
02:02:57,720 --> 02:03:01,122
is the most popular device
for listening to music on the Earth,
2352
02:03:01,200 --> 02:03:03,362
is a wonderful little moment.
2353
02:03:03,480 --> 02:03:06,290
And there's the fact that
Peter Quill thinks 300 songs
2354
02:03:06,360 --> 02:03:11,082
is just an amazing amount of songs
that a device can have on it.
2355
02:03:11,160 --> 02:03:14,846
I also don't think that Peter Quill
planned on giving that arrow to Kraglin.
2356
02:03:14,920 --> 02:03:18,322
I think he felt like he had to give it
to him because he gave him the Zune.
2357
02:03:19,240 --> 02:03:22,926
He was gonna keep that arrow
for himself, and he's, like, "Oh."
2358
02:03:23,880 --> 02:03:27,327
I wanted to come back to this moment
'cause we talked about it earlier,
2359
02:03:27,400 --> 02:03:31,325
that Peter Quill has never paid
2360
02:03:31,400 --> 02:03:35,530
any attention
to Groot this whole movie.
2361
02:03:36,160 --> 02:03:39,767
He really has
barely ever paid any attention to him.
2362
02:03:39,840 --> 02:03:42,081
He's a terrible, terrible father.
He brings him into the battle.
2363
02:03:42,160 --> 02:03:45,642
He does all this stuff, and I think
that's what this moment is about.
2364
02:03:45,720 --> 02:03:47,768
I think that this moment
is really about...
2365
02:03:47,840 --> 02:03:48,887
In the first movie,
2366
02:03:48,960 --> 02:03:51,440
we see Peter Quill
listening to the tape from his mom,
2367
02:03:51,520 --> 02:03:54,330
and he has
this private moment about him,
2368
02:03:54,400 --> 02:03:57,563
about his mother's love for him,
and how she loves him.
2369
02:03:57,640 --> 02:03:59,802
And he experiences that.
2370
02:03:59,880 --> 02:04:00,881
In this movie,
2371
02:04:00,960 --> 02:04:04,089
he thinks he's going to have
that same moment with Yondu,
2372
02:04:04,160 --> 02:04:09,929
but, instead, what he has is a moment
where he feels love for his son,
2373
02:04:10,000 --> 02:04:11,525
who is Baby Groot.
2374
02:04:11,600 --> 02:04:15,889
And that's what the moment is about.
It's not about a selfish moment.
2375
02:04:15,960 --> 02:04:19,760
It's a moment about passing it on,
about his love for someone else.
2376
02:04:20,520 --> 02:04:23,091
And that's the first time
he's tender with him.
2377
02:04:23,160 --> 02:04:26,721
(CHUCKLES) And he's as bad
of a father as Yondu was.
2378
02:04:27,360 --> 02:04:31,445
I sent word to Yondu's old Ravager
buddies, and told them what he did.
2379
02:04:35,200 --> 02:04:36,929
It's a Ravager funeral.
2380
02:04:38,600 --> 02:04:43,288
GUNN: And of course, the fireworks
ending, and the Viking funeral.
2381
02:04:44,680 --> 02:04:48,890
The Ravagers giving their respect
to a fallen comrade.
2382
02:04:51,000 --> 02:04:53,571
This is another one of
my favorite moments in the movie,
2383
02:04:53,640 --> 02:04:57,929
is Sean Gunn's reaction to this.
2384
02:04:58,000 --> 02:05:00,571
And in some ways,
this is inspired by Christopher Lloyd
2385
02:05:00,680 --> 02:05:03,524
at the end
of One Flew Over the Cuckoo's Nest
2386
02:05:03,640 --> 02:05:05,005
and their reaction to this.
2387
02:05:05,080 --> 02:05:06,161
It's always one of my favorite endings.
2388
02:05:06,240 --> 02:05:08,208
The ending to
One Flew Over the Cuckoo's Nest.
2389
02:05:11,360 --> 02:05:14,807
This line by Sylvester Stallone, my...
2390
02:05:15,600 --> 02:05:18,649
(CHUCKLES) He said, "How do you
want that delivered, James?"
2391
02:05:18,720 --> 02:05:21,724
I said--. I said,
"Did you see the movie Babe?"
2392
02:05:21,800 --> 02:05:23,086
And he said, "Yeah!"
2393
02:05:24,000 --> 02:05:25,923
We all know
Sylvester Stallone saw Babe.
2394
02:05:26,000 --> 02:05:29,800
And I said, "You know where
he says, 'That'll do, pig,' at the end?"
2395
02:05:29,880 --> 02:05:30,881
And he's like, "Yeah?"
2396
02:05:31,000 --> 02:05:34,049
And I'm like, "This is you saying,
'That'll do, pig.'
2397
02:05:34,120 --> 02:05:37,567
"That's what you're saying to Yondu.
You're accepting him."
2398
02:05:37,640 --> 02:05:38,641
And he's like, "Got it!"
2399
02:05:38,760 --> 02:05:41,331
And he went out there and he killed it.
He just nailed it.
2400
02:05:41,400 --> 02:05:42,811
And he's a great guy to work with.
2401
02:05:43,640 --> 02:05:45,768
And he stole batteries he didn't need.
2402
02:05:48,640 --> 02:05:52,281
GUNN: I love this moment with Rocket
talking about the batteries.
2403
02:05:55,800 --> 02:05:59,202
And again talking about this moment,
as I talked about earlier.
2404
02:05:59,320 --> 02:06:03,530
At the end of the day, who's the one
that Baby Groot goes to for comfort?
2405
02:06:04,040 --> 02:06:05,041
And it's Drax.
2406
02:06:05,160 --> 02:06:07,083
And you see that
their, sort of, feisty relationship
2407
02:06:07,160 --> 02:06:08,366
throughout the whole movie
2408
02:06:08,440 --> 02:06:12,240
is really, you know,
just much different than that.
2409
02:06:12,320 --> 02:06:13,526
It's not that at all.
2410
02:06:13,600 --> 02:06:16,444
The reason they fight is because
they love each other the most.
2411
02:06:16,760 --> 02:06:19,843
(CHUCKLES) Drax loves Baby Groot.
Baby Groot loves Drax.
2412
02:06:20,640 --> 02:06:24,087
And then Gamora
admitting her love for Peter Quill.
2413
02:06:24,480 --> 02:06:28,007
And we could've done this with a kiss.
We almost did.
2414
02:06:28,080 --> 02:06:31,004
But I thought, at the end,
their love is based on friendship.
2415
02:06:31,080 --> 02:06:33,003
It's based on something much deeper
2416
02:06:33,080 --> 02:06:36,482
than just the romantic
and lustful moment of a kiss.
2417
02:06:36,560 --> 02:06:39,530
And it deserves
something different than that,
2418
02:06:39,600 --> 02:06:41,364
and that's what that moment is.
2419
02:06:45,000 --> 02:06:46,240
On the inside.
2420
02:06:50,520 --> 02:06:52,522
GU N N: And a beautiful shot.
2421
02:06:53,120 --> 02:06:54,849
Now there's a way
2422
02:06:56,360 --> 02:06:58,886
GUNN: And I was very happy that, uh...
2423
02:07:00,200 --> 02:07:05,286
This is a moment where Rocket
sees the hints of something beyond.
2424
02:07:05,360 --> 02:07:09,365
He's a character who doesn't believe
in any purpose for himself,
2425
02:07:09,440 --> 02:07:13,286
or that he was made for any reason
other than the cruelty of other beings.
2426
02:07:14,200 --> 02:07:16,646
And I think, in that moment there,
2427
02:07:16,720 --> 02:07:20,247
Rocket sees the hints
of something beyond.
2428
02:07:20,360 --> 02:07:23,682
Something more than
what he expects out of this life,
2429
02:07:23,760 --> 02:07:26,047
and that's why we end on that shot.
2430
02:07:27,160 --> 02:07:28,366
Except for this, of course,
2431
02:07:28,440 --> 02:07:31,808
which is Kragiin
gaining his superpowers.
2432
02:07:31,880 --> 02:07:33,450
He's very bad at the arrow.
2433
02:07:33,520 --> 02:07:37,730
I don't think he's learned how to whistle
with either his brain or his heart.
2434
02:07:38,560 --> 02:07:40,562
And, of course, goes terribly awry.
2435
02:07:41,600 --> 02:07:42,681
People ask you,
2436
02:07:42,800 --> 02:07:46,725
"Do you write the post-credit
scenes into the script,
2437
02:07:46,800 --> 02:07:49,531
"or do you do them afterwards?"
2438
02:07:49,640 --> 02:07:52,803
The answer is
I wrote this one into the script.
2439
02:07:52,880 --> 02:07:57,090
I wrote the Elizabeth Debicki,
Adam Warlock one into the script.
2440
02:07:57,160 --> 02:08:01,882
And I wrote the Adolescent Groot one
into the script.
2441
02:08:01,960 --> 02:08:05,203
The one with Sylvester Stallone
and the other Ravagers
2442
02:08:05,320 --> 02:08:08,529
is something I came up with
after shooting.
2443
02:08:09,880 --> 02:08:12,087
And I was sitting around one day
and I go, "Oh, my God!
2444
02:08:12,160 --> 02:08:15,562
"That would be awesome to be able
to see this other crazier,
2445
02:08:15,640 --> 02:08:21,488
"even darker, weirder Expendables
version of the Guardians of the Galaxy."
2446
02:08:21,560 --> 02:08:23,005
And have them have their moment.
2447
02:08:23,080 --> 02:08:26,527
And perhaps, have that lead
to something else in the MCU,
2448
02:08:26,600 --> 02:08:28,728
which we'll see in just a moment.
2449
02:08:28,800 --> 02:08:33,124
If you look closely, my father
is credited as "Weird Old Man,"
2450
02:08:33,200 --> 02:08:37,285
and my mother is credited
as "Weird Old Man's Mistress."
2451
02:08:37,360 --> 02:08:39,681
Which she loves being referred to
as "mistress."
2452
02:08:39,760 --> 02:08:42,161
They didn't know that those were
the credits they were gonna get.
2453
02:08:42,360 --> 02:08:43,441
You know, it's a shame...
2454
02:08:43,600 --> 02:08:47,969
that it took the tragedy of losing Yondu
to bring us all together again.
2455
02:08:48,120 --> 02:08:51,329
But I think he'd be proud knowing
that we are back as a team.
2456
02:08:52,000 --> 02:08:53,001
I'm in.
2457
02:08:53,120 --> 02:08:54,087
Dope.
2458
02:08:54,160 --> 02:08:55,400
I miss you guys...
2459
02:08:55,480 --> 02:08:59,166
GUNN: That's Kruger, Charlie-27,
Martinex, Mainframe.
2460
02:08:59,240 --> 02:09:01,447
And Michelle Yeoh, Ving Rhames...
2461
02:09:01,520 --> 02:09:03,124
Ving Rhames, who I worked with
on Dawn of the Dead,
2462
02:09:03,200 --> 02:09:04,247
the screenplay I wrote.
2463
02:09:04,320 --> 02:09:08,564
Michelle Yeoh is, of course,
a famous Hong Kong movie star.
2464
02:09:08,640 --> 02:09:10,404
I'm a huge fan of hers.
2465
02:09:10,480 --> 02:09:13,086
And she just happens to be
one of the greatest people I've met.
2466
02:09:13,160 --> 02:09:18,087
And she is played in a movie that
was a big inspiration to me early on,
2467
02:09:18,840 --> 02:09:20,080
The Heroic Trio.
2468
02:09:20,160 --> 02:09:24,802
In fact, Hong Kong movies in general
are a huge influence to me.
2469
02:09:24,880 --> 02:09:29,044
They were able to meld genres
in a way that wasn't done before them.
2470
02:09:29,120 --> 02:09:32,647
They had the best action
that had ever been done on screen,
2471
02:09:32,720 --> 02:09:37,521
especially in the 1990s, during the
golden period of Hong Kong movies.
2472
02:09:37,600 --> 02:09:41,127
And they influence me incredibly,
as well as many of those directors.
2473
02:09:41,200 --> 02:09:43,646
(PARLIAMENT'S
"FLASHLIGHT" PLAYING)
2474
02:09:44,080 --> 02:09:45,650
It's always great
to be at a Marvel movie
2475
02:09:45,720 --> 02:09:49,008
because more people
stay for the end credits than any other.
2476
02:09:49,080 --> 02:09:53,369
And I think we let it out there that
we had five post-credit scenes.
2477
02:09:53,440 --> 02:09:55,283
Why so many post-credit scenes?
2478
02:09:55,360 --> 02:09:58,091
I thought it was funny,
and I know people like them.
2479
02:09:59,560 --> 02:10:02,769
I just wanted to cram as many in
as I could and keep people around.
2480
02:10:02,840 --> 02:10:06,128
We also did a lot with these end credits
by Sarofsky.
2481
02:10:06,200 --> 02:10:10,888
We made something much more
visually arresting with the end credits
2482
02:10:10,960 --> 02:10:12,962
than are normally done
in the regular crawl
2483
02:10:13,040 --> 02:10:14,405
at the end of a Marvel movie.
2484
02:10:14,480 --> 02:10:15,641
We wanted to make it something.
2485
02:10:15,720 --> 02:10:18,326
There was stuff to watch
throughout the whole thing.
2486
02:10:20,080 --> 02:10:23,926
We got
this old album covers inspiration,
2487
02:10:24,960 --> 02:10:27,327
the Guardians are
on those old album covers,
2488
02:10:27,400 --> 02:10:29,607
and made it look as cool as possible.
2489
02:10:29,680 --> 02:10:31,091
I really love it.
2490
02:10:36,240 --> 02:10:39,050
Lots of tittie Easter egg moments
with these hidden things
2491
02:10:39,120 --> 02:10:40,531
and "I am Groots."
2492
02:10:48,600 --> 02:10:50,045
There's Weta.
2493
02:10:50,120 --> 02:10:54,682
The guys who did
all the end of the movie stuff.
2494
02:10:54,760 --> 02:10:57,525
The interior of Ego's planet.
2495
02:10:59,400 --> 02:11:01,209
Rocket in many scenes.
2496
02:11:03,120 --> 02:11:04,690
When you see all the people
2497
02:11:04,760 --> 02:11:06,967
that have worked countless hours
on this movie,
2498
02:11:07,040 --> 02:11:09,486
it's really incredible.
2499
02:11:09,600 --> 02:11:11,841
And I'm so grateful
to all of these people
2500
02:11:11,920 --> 02:11:15,811
that put their time and their lives
into making this movie.
2501
02:11:21,920 --> 02:11:23,809
High Priestess, the Council is waiting.
2502
02:11:24,240 --> 02:11:27,084
GUNN: This is actually
my favorite Elizabeth Debicki scene.
2503
02:11:27,160 --> 02:11:32,087
I love seeing Ayesha
just start to come unhinged.
2504
02:11:32,160 --> 02:11:35,687
There's something going
very wrong with her in this moment.
2505
02:11:35,760 --> 02:11:37,728
And we see it happening.
2506
02:11:38,240 --> 02:11:41,244
And we see her thirst for revenge,
2507
02:11:41,320 --> 02:11:44,449
which leads to her creation
2508
02:11:44,520 --> 02:11:48,525
of a very popular Marvel character,
2509
02:11:49,320 --> 02:11:53,484
which we're about to see in a second,
the cocoon of Adam Warlock.
2510
02:11:54,080 --> 02:11:56,845
One of my favorite characters.
2511
02:11:58,680 --> 02:12:00,921
In my original treatment for the movie,
2512
02:12:01,000 --> 02:12:03,241
I actually had Adam Warlock
as one of the characters.
2513
02:12:03,320 --> 02:12:05,687
She made him early in the film.
2514
02:12:06,920 --> 02:12:11,130
But it was one character too many.
2515
02:12:11,200 --> 02:12:13,123
There's a lot of characters
already in the movie,
2516
02:12:13,200 --> 02:12:16,488
so I needed to lose one,
and I couldn't lose Mantis.
2517
02:12:16,560 --> 02:12:20,201
She was incredibly important
to the central story of Ego,
2518
02:12:20,280 --> 02:12:26,765
and I kept Mantis and saved
Adam Warlock for a different day.
2519
02:12:26,840 --> 02:12:28,729
But he is a character I love.
2520
02:12:28,800 --> 02:12:30,723
I love what we did with him
in the treatment.
2521
02:12:30,880 --> 02:12:35,681
And I can't wait
to unleash him upon the MCU.
2522
02:12:37,360 --> 02:12:40,648
It was also important,
because in the comics...
2523
02:12:40,720 --> 02:12:44,122
Here we have the characters dancing,
which is ridiculous.
2524
02:12:44,200 --> 02:12:47,568
In the comics, Adam Warlock is
a big part of Infinity Wars.
2525
02:12:47,680 --> 02:12:52,891
And as you know, that movie is going
to come out, Avengers: Infinity War.
2526
02:12:52,960 --> 02:12:56,521
It's gonna have the Guardians. I'm
an Executive Producer on the movie.
2527
02:12:57,000 --> 02:12:58,650
But Adam Warlock was
not gonna be in that movie.
2528
02:12:58,720 --> 02:13:00,324
He was never gonna be in that movie.
2529
02:13:00,400 --> 02:13:03,529
I didn't want people
to get too excited about
2530
02:13:03,600 --> 02:13:05,409
Adam Warlock being a part of that film,
2531
02:13:05,480 --> 02:13:07,562
because he's a part
of that storyline in the comics.
2532
02:13:07,640 --> 02:13:10,166
But it's gonna change
for the cinematic universe.
2533
02:13:11,600 --> 02:13:14,410
It was also a reason I almost
didn't put that post-credit scene in,
2534
02:13:14,480 --> 02:13:16,164
but I'm really glad I did,
because I think it's important.
2535
02:13:16,240 --> 02:13:18,208
That's Grandpa Quill dancing,
Gregg Henry,
2536
02:13:18,280 --> 02:13:20,601
in case you didn't know who that was.
2537
02:13:20,720 --> 02:13:23,451
And we have Rocker dancing.
2538
02:13:23,520 --> 02:13:25,329
He's a horrible dancer.
Great actor, horrible dancer.
2539
02:13:25,400 --> 02:13:27,767
And then we have
Jeff Goldblum dancing,
2540
02:13:27,840 --> 02:13:29,683
who will be seen in Thor: Ragnarok.
2541
02:13:29,760 --> 02:13:34,846
(CHUCKLES) It's a little weird,
me doing my Baby Groot move.
2542
02:13:34,920 --> 02:13:36,809
(THE SNEEPERS
FT. DAVID HASSELHOFF'S
2543
02:13:36,880 --> 02:13:38,689
"GUARDIANS INFERNO" PLAYING)
2544
02:13:41,440 --> 02:13:44,649
Coming up now,
we have the next post-credit scene,
2545
02:13:44,720 --> 02:13:47,929
which is Adolescent Groot.
2546
02:13:48,040 --> 02:13:51,283
I think it's important that
people know it's Adolescent Groot.
2547
02:13:51,360 --> 02:13:53,966
It's not Teen Groot,
it's more Tween Groot.
2548
02:13:54,040 --> 02:13:55,963
And he's a little jerk.
2549
02:13:56,040 --> 02:13:58,042
And we get to see him
in his adolescent form.
2550
02:13:58,120 --> 02:14:00,009
And we learn one very important thing,
2551
02:14:00,080 --> 02:14:02,890
which is that Peter Quill
can now understand Adolescent Groot.
2552
02:14:02,960 --> 02:14:04,086
He's been around him.
2553
02:14:04,160 --> 02:14:08,688
Also, he's obviously taken on
the role as a father pretty well.
2554
02:14:08,760 --> 02:14:11,331
I also think
it's a strangely important moment,
2555
02:14:11,400 --> 02:14:13,971
because he says at the end,
"Now I know how Yondu felt."
2556
02:14:14,040 --> 02:14:19,809
Which means that
some of Quill's negative view of Yondu
2557
02:14:19,880 --> 02:14:22,247
probably came from Quill,
and not from Yondu.
2558
02:14:22,320 --> 02:14:25,881
That he wasn't quite as bad
as Quill made him out to be.
2559
02:14:25,960 --> 02:14:28,088
Part of him
was just being an adolescent jerk,
2560
02:14:28,160 --> 02:14:30,401
and we all know that Quill is stunted.
2561
02:14:30,480 --> 02:14:32,084
There's Howard the Duck.
2562
02:14:34,320 --> 02:14:37,403
This song is written by me
2563
02:14:37,480 --> 02:14:40,643
and Tyler Bates.
2564
02:14:40,760 --> 02:14:44,128
It is our first pop song
by our band The Sneepers.
2565
02:14:44,200 --> 02:14:47,283
And it is David Hasselhoff here
2566
02:14:47,360 --> 02:14:52,844
talking about the Procyon lotor,
which is a raccoon.
2567
02:14:53,240 --> 02:14:54,605
It was a lot of fun to make,
2568
02:14:54,680 --> 02:14:57,604
and it was a lot of fun to shoot with
David Hasselhoff, who's a great guy.
2569
02:14:57,680 --> 02:15:00,445
I just want to thank everybody
who's involved with this movie.
2570
02:15:00,520 --> 02:15:03,888
Man, there's so many people
I didn't mention during this process,
2571
02:15:03,960 --> 02:15:06,725
but I also didn't mention all of you,
the fans
2572
02:15:06,800 --> 02:15:09,201
who actually
sat through me saying this
2573
02:15:09,280 --> 02:15:11,760
unless you skip forward,
which is also acceptable.
2574
02:15:11,840 --> 02:15:13,410
I love all you guys!
2575
02:15:13,480 --> 02:15:15,164
We definitely are Groot.
2576
02:15:15,240 --> 02:15:17,641
And I'm so appreciative
2577
02:15:17,720 --> 02:15:20,963
to what you guys have given me
over the past few years,
2578
02:15:21,040 --> 02:15:26,001
and our band of misfit malcontents,
the Guardians of the Galaxy.
2579
02:15:26,080 --> 02:15:28,686
And we'll bring
more to you guys very soon.
2580
02:15:28,760 --> 02:15:32,560
Much love,
from here at Burbank, California.
238686
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