All language subtitles for Marvel.Studios.Assembled.S01E01.WEBRip.x264-ION10

MATT SHAKMAN: Welcome
to what is a strange event.

The first live sitcom taping
in Marvel Studios history.

(ALL CHEERING)

I didn't know that I was gonna be able
to do anything like this,

so it just feels like an incredible gift.

Moving through
to the '60s and the '70s now,

and, as we dove into the '80s and '90s,
is really fun.

And then, ending up in a big Marvel,
full widescreen format is the best.

We were first really terrified,
and now I think we're just so excited.

The first time I heard about the concept,
I thought it was brilliant.

We're putting together
so many different genres of television,

and we are putting our own spin on it.

That is something special, baby.

I just think it's gonna be

so shocking, and confusing, and exciting

for our fans to dissect
what we're doing and why,

and for them to try
and get steps ahead of us.

And that's just very cool
and it's very satisfying.

This is for us.

So let me handle it.

What is outside of Westview?

I got a call from Kevin
to come see him in his office.

When I went, "Oh, I'm getting canned."

And I went in, and, much to my surprise,
they pitched this bonkers idea for a show.

And I was immediately in, of course.

And the show has only grown
more bonkers. (CHUCKLES)

You're the new clown?

At least you're already in makeup.

JARVIS: Welcome home, sir.

It's so nice to see you
finally coming out of your shell.

-BETTANY: It's been a crazy ride.
-That was a good one.

Jon Favreau rung me up and...

We had made a movie together
called Wimbledon.

He rung me up and he said,

"I'm making this movie
with Robert Downey, and he's Iron Man.

"And I need sort of
a really boring, personality-less voice

"for the computer that runs his world.

(CHUCKLING)
"And I immediately thought of you, Paul."

Rendering periodic table, sir.

How do you say no
when you're asked so nicely?

(LAUGHS)

Anyway, and it was a great gig.

They'd shot everything
and whatever still needed clarification,

you could always just have JARVIS say,
"The baddies are coming!"

JARVIS: Sir, it appears
that this suit can fly.

Duly noted. Take me to maximum altitude.

BETTANY: And then,
I don't know how the next bit happened.

I guess Joss Whedon had seen me
in some movie,

and figured out a way for me
to actually work for a living,

-if you can call it work.
-(LAUGHS)

So, then that happened.
That was Age of Ultron.

(GLASS BREAKS)

OLSEN: Starting with Ultron,

Marvel really was so excited
to bring Wanda into the MCU.

And was only really
teeing me up for possibilities

that we didn't know if we would actually
fulfill those possibilities or not.

I looked in your head,
and I saw annihilation.

Look again.

So, we would place Easter eggs
in certain places,

whether it's just a glance too long
with Vision or just...

We were trying to play around with that
in Age of Ultron.

I feel like the hand-off
to different directors

have been completely different experiences
for this character specifically.

I think the Russo Brothers
were very honest about,

"You know, I really want this
to be something that you shepherd

"and that you take full ownership of."

And I was like, "Okay." (LAUGHS)

So, I had to choreograph
with this choreographer, Jenny White,

who we brought on in Age of Ultron.

Bring in that energy
and throw it back out.

We just had to figure out
our own place at the same time

while Wanda was trying to figure out
her own place in the Avengers compound

and finding solace in Vision.

Tell me what you feel.

I just feel you.

OLSEN: And I think Paul and I,
we both really believed,

as much as it's fun to be part of the
humor and the playfulness of the Avengers,

we've always... my character specifically,

has also always,
in our relationship together,

we've kind of just created
just an emotional foundation

that doesn't play around
with irony, really.

Which is kind of odd in these movies

when so much is ironic
and funny and fun to watch.

But it's also kind of lovely that it's
told through their strange love story.

We are out of time.

I can't.

VISION: Yes, you can.

It shouldn't be you, but it is.

(BREATHES SHAKILY)

(SIGHS)

I love you.

(SCREAMS)

Hey.

-(CHUCKLES)
-(KISSES)

Now we can begin. Wanda, you pick.

OLSEN: And then moving on to the show

with Mary Livanos, our producer,
and Jac Schaeffer, our creator,

they really honed in on all these things
that were in my head,

and all these inner monologues and threads
and arcs that I kind of just created.

And they just really took it
in such a deep way

and created such beautiful arcs.

Morning, wife! Morning, sons!

Morning, unfamiliar wet animal.

Who's this?

BETTANY: It's such a homage
to the sort of American sitcoms

throughout the 20th century.

What kind of housewife would I be

if I didn't have a gourmet meal for four
just lying about the place?

BETTANY: Jac Schaeffer
has done such a great job.

It's such a little beautiful puzzle box.

SCHAEFFER: I was lucky enough
to be invited to look at the materials

and sort of digest it
and think about it.

And there was so much
that was already there.

This is Kevin Feige's baby.

He loves the show and had some
really distinct ideas and visuals

and things that
they all wanted to achieve.

MARY LIVANOS: Matt Shakman
is just the person to direct

a complicated Rubik's cube
of a show like this.

He runs the Geffen Playhouse back in LA.

He's worked on Game of Thrones.

He's worked on countless sitcoms

and, in fact, starred,
back when he was younger,

in sitcoms as a child actor,

and he is just
the Swiss Army knife of a human

that we need for a show like this.

Hart goes back in. Door slams.

-He goes to the phone!
-(DOOR SLAMS)

We pause here. All right.

And let's continue on
with our ladies over here.

It blew my mind when they pitched me
the concept for the show.

More than just because the idea
is outrageously fun and new,

but also because it felt like it hit
all the parts of my life.

I grew up being on shows from the '80s

like Facts of Life, and Diff'rent Strokes,
Growing Pains, et cetera.

But I've also directed a lot of
large-scale spectacle.

And so, the idea that there existed
a project in the Marvel Universe,

which I'm also an enormous fan of

and dressed up like superheroes from
the Marvel comic books when I was a kid

until they told me I had to stop,

the idea that I could combine
all these things that I've always loved

into one crazy project
was almost too hard to believe.

It's too good to be true.

All right, ready, Janell?

-Yeah.
-All right, let's do it.

And action!

SCHAEFFER: We're starting in the 1950s,

so it was always our dream
that if we did a true multi-camera show,

we would have a live audience.

And we knew it was a risk,
we knew it would be an expense,

almost an indulgence,

but for the actors, for the energy,
and for the crew,

it will be really exciting.

-I've been playing to the audience, so...
-(LAUGHS)

You tell me where the camera is,
and I'll start playing to the camera.

SHAKMAN: So you're on our sitcom stage
for the first episode.

Over there is Vision's office,
where he works,

and he works for a guy named Mr. Hart.

Mr. Hart and his dear lady wife,
Mrs. Hart. (HUFFS)

That's what I just said.
What's wrong with you, son?

-Have you got a screw loose?
-Oh, no, sir, screws all tight, sir.

And then over here, right to your right,
is the house where Wanda and Vision live.

This is their kitchen, over here,
this beautiful blue kitchen.

But when you see it on the show,
it'll be in black and white,

so you won't get to see the color of it.

And then over here is their living room.

So what's a single gal like you doing
rattling around this big house?

Behind you is our live audience seating.

We wanted it to feel period,

so that's why we have
the old wooden chairs

and we've matched the railings
and how it all looks,

because so much of it is about
the audience's experience.

Kevin Feige and I had a lovely lunch
with Dick Van Dyke

shortly before we started
pre-production on the show,

so we could really get in touch
with how they did it

and to be as authentic as we could,
not just in how it would look and feel,

but in how it was put together,

the style, the way they rehearsed,

the way they approached
blocking and shooting.

SCHAEFFER: Wanda would technically
go to a quick change.

She's not gonna do it now.

We'll get the living room dressed.
It's happening.

Then we would light the candles
right at the very end, and we would go.

The Dick Van Dyke Show was theater.

They put it up.

They shot it once
in front of the audience,

like a play, all the way through.

You can feel it when you watch it.

The audience is in it,
like when they're in the theater.

(AUDIENCE LAUGHING)

The adrenaline, the audience,
and the actors feed off of each other.

That creates something you can't imitate.

That's why we're going
to these great lengths.

Our actors have been wonderful.

I'm a little anxious
about the whole live...

I haven't been in front
of a live audience since 1884.

-Oh, is that right? Oh.
-Yeah.

So, I'm a little anxious
about the whole thing.

Yeah, I would be too.

Still, I just, you know...

Hundred-plus years ago.

-Hundred-plus years ago.
-That's a long time.

MAN: Welcome to WandaVision.
Thank you so much, guys.

(AUDIENCE CHEERING)

We're so excited to have you guys.

We've been working hard the last two weeks

on making this happen for you all.

If you guys can give us all the laughter
and all the natural reactions you have

to what we're doing,
we would be most grateful.

Then you will probably hear yourself,

especially if you're one
of those loud laughers...

(AUDIENCE LAUGHS)

...when you actually
watch the show later on.

I would love to introduce you
to the characters you'll meet today.

-David Lengel.
-(AUDIENCE APPLAUDING)

Asif Ali.

Debra Jo Rupp.

Fred Melamed.

Kathryn Hahn.

The Vision himself, Paul Bettany.

And, as Wanda Maximoff, Elizabeth Olsen!

(AUDIENCE CHEERING)

OLSEN: I mean, I've done theater before,

but shooting a TV show
in front of a live audience

was like a strange meta experience for me

because I grew up on the Full House set

watching these live tapings on Fridays,

never thinking that that would ever be
a form of reality for me.

Guess who?

Oh. (CHUCKLES)

Is that my host behind me?

-It certainly is!
-(SIGHS)

-Lovely to make your acquaintance.
-Yes! (CHUCKLES)

OLSEN: Doing sitcom gave me
so much joy every day.

I think it gave all of us
so much actual joy.

It's really different.

-High-octane.
-It's very authentic,

you know, late '50s sitcom,
and it feels very different.

You have to swing for the fences
and hope that you...

OLSEN: We're playing for an audience.

I feel like in the Marvel films,
it's a cinematic universe,

and this we're playing for laughs.

I've never been allowed to be funny.

This is my first time getting
to be funny as Wanda.

What a gas.

I'm very funny.

-She is enormously funny.
-I'm very funny.

I think I have another idea.

-SHAKMAN: And...
-And then I change.

(AUDIENCE LAUGHING)

BETTANY: Every member of the crew
was dressed in costumes.

Everybody got into the spirit of it.

And then the audience came in,
and we just went for it.

It was nerve-racking, but I think
it was so rewarding and so funny.

Us running backstage,

bumping into me, or Kathryn Hahn,
and making her drop her props or whatever.

Everybody's getting ready
behind doors to come out.

And it was so much fun.

-(OBJECTS CLATTERING)
-Oh, my!

HAHN: That was just a dream.

The costumes are so fabulous.

Mayes, the designer, is such a genius.

That dress!

Yes, the dress! It's... It's so...
It's Sokovian, is what it is! Yes!

It is my favorite period for clothes

because it shows off a waist
if you have a waist.

I have a waist. I have no limbs.

I'm very short, but I have a waist,

so I really like the '50s.
So, that was great.

I kind of like the hair
and I have a magnificent hat.

They had a little table with a whole
bunch of hats, and I just went,

"Could I have that hat, please?"

And it was perfect.

But the '50s undergarments
are not the most comfortable things,

but they help with your posture.

Yeah, I got my Spanx on.
My lifts in my heels.

I've got my Spanx on.
I've got my flats on.

-Ready to go.
-But I'm ready emotionally.

You wanna talk about your butt?

-Yeah, I did, for a second.
-I wanna talk about my dress first.

Um, it makes me have better posture.

And it makes me wanna
walk like this and...

I have exactly the same thing,
but with my fake butt.

-With your fake butt.
-Yeah,

it makes me stand properly,
and wanna do this too.

-This?
-Yeah.

We knew that when we started this show,

the way that we were going to
sell it authentically to an audience

would be with every level of recreation.

So, that includes the camera lenses,

that includes the set decoration,
era-accurate lighting.

SHAKMAN: Jess Hall, who's a brilliant DP,

looked at old original prints
of these television shows,

and he was able to try to match

how closely as we could possibly get
to what it looked like then.

(LAUGHS)

You truly are a pioneer!

SHAKMAN: Action!

Freeze! Swap!

Action!

(GASPS) Oh, no, too much!

We wanted to make sure we approached it
with authenticity and not parody,

and to that end, we wanted
to shoot it the way they shot it.

That means visual effects that would
have been done as special effects.

Luckily, Dan Sudick,
our special effects coordinator,

when I first had my call with him,
when I started this

and I laid out this idea,

I didn't know
if he was going to like the idea

or if he'd be, "What're you talking about?
I blow things up!"

He loved it. He started laughing.

He said, "I came up under the guys
who did Bewitched.

"They were my mentors.

"And so, I started my career
doing things on wires.

"I know how to do it. It's a lot of fun."

And so, we have him and his team

doing really complicated puppeteering gags
with wires and rods,

and they're spending just as much time
on that as they are blowing things up.

How can I be of assistance?

Well, the chicken is no longer a chicken,
and the lobsters just flew the coop

so the steak is the last man standing.

OLSEN: I went to theater school.

You study screwball comedies.

You study film noir style of acting,

you feel so stupid
when you're in college. You're like,

"When will I ever do this?
No one makes this."

And so, getting to use all those tools
that you have somewhere in you.

(EXCLAIMS)

Something that I don't really get to do.

-Now, that's romantic.
-(BOTH LAUGH)

OLSEN: I think the '50s was the hardest
for me because it was like a warm up.

Once it clicked, it was a blast.

Down in one! Down in one!

Please eat before it gets cold.

BETTANY: I think what it did was
it made me think I've wasted my life.

I should've been on a sitcom
all these years.

I... (LAUGHS) I just loved it.

I should have prefaced,
I'm a very shallow person,

so I really rely on people...
(CHUCKLES) people applauding.

-Yes!
-Thank you very much!

-Thank you!
-(AUDIENCE APPLAUDS AND CHEERS)

Thank you!

MAN: All right!

Part of the challenge
in producing a show like this

is that we really are making one giant
movie in the way that we shoot.

Each day, each week, we're shooting
pivotal moments of the series,

we have to make sure that
the larger story, as a whole, is seamless.

OLSEN: We really created all of
these different characters in the town.

And we have our core cast.

Raspberry or cheese-filled?

Oh, neither for me, thank you.
I don't eat food.

OLSEN: We got the Davids.
We have Asif. We have Emma.

MRS. HART: What brought you here?

How long have you been married?
And why don't you have children yet?

So grateful we have Debra Jo,

who is sitcom-gold

and gets to be a part in our wacky show.

My, um, great nephew basically said

if I did not take the job,
he would never visit me again,

so, I... Well, here I am.

She loved getting to film some of the more
Marvel-y stuff that we did in the finale.

She just thought it was fabulous. (LAUGHS)

I got to do this thing.

Oh, my God! I got to do this thing
where you...

I don't know what it's called.

It's a body scan, okay?
And so you stand...

I took pictures. It's amazing.

But I won't show them to anyone, Marvel.

Kathryn Hahn.

(CACKLES)

I don't know how I went so long
never working with her.

I've had the greatest time.

You're, like, a monologue early, Kathryn.

I was feeling left out.

OLSEN: The journey with her
consistently throughout the decades

and how the Nosy Neighbor is so prominent.

Spoiler alert!

OLSEN: She nailed all of the layers

that were required of her
and then went beyond.

-SHAKMAN: Cut!
-One more!

-SHAKMAN: One more! Still rolling.
-Ready?

This character is like
a blooming onion to me.

I mean, the fact that I was able
to start on the outside

and kind of move into the center

as the episodes go on
was, like, such an actor's dream.

I keep saying
it was like a Tracey Ullman...

Like a Tracey Ullman special.

Well, I was just on my way to Jazzercise

when I heard your brand-new
bundles of joy were on a sleep strike.

HAHN: And the fact that her true center

was this fantastical,
incredible witch, was like...

Who gets to do that?
I remember when it was pitched to me...

It's so exciting to be able
to say this out loud to somebody

'cause I have not been able
to say it to anybody. Um...

But when it was pitched to me, I was like

I could not imagine
a part in the Marvel Universe

that I would have wanted to play more.

(CACKLING)

(CONTINUES CACKLING)

-Oh, good times!
-(LAUGHTER)

-Good times!
-SHAKMAN: And cut!

-Did you hear that?
-No.

It was like a...
a chattering sound, like...

Oh! Like a...

(MIMICS MACHINE WHIRRING)

Yeah.

That's my new ice maker,
built right into the fridge.

-Oh!
-(CHUCKLES NERVOUSLY)

You're fancy.

I have wanted to be in the MCU
since the MCU debuted.

I didn't even know
what I was auditioning for.

We all know Marvel is very top secret.

And I was just sent some sides.

I think it was the '70s episode.
So, I was very confused.

It didn't say it was '70s,
but it's high farce.

And I was like,
"What do I do with this? I'm not sure."

Because it's not Marvel
as my mind can process.

And so they sent notes like,

"Just overact. It's okay, just go for it.

"We don't care that you don't feel
that it's grounded.

"That's not what we're looking for."

So, I was like, "Okay."

And I did some very great overacting.

Oh, sugar.

He hired me!

Oh! (CHUCKLES)

Wanda! I landed a promotion.

And now that I've gone all corporate,
I need some office supplies.

I just didn't know,
and I was like, "Okay."

And I let it go for, like, two weeks

because you can't hold these things
too close to your heart

'cause you will get heartbroken
so many times.

But this time, there was no heartbreak.

They called, and they were like,
"Hey, you got the part."

And I'm like, (GASPS)
"What part? What's the part?"

(LAUGHS) I went, "What is it?"
But it's Marvel. Okay.

Before they even told me what it was,

I said to my agent, I was like,

"Oh, my gosh, what if it's Monica Rambeau?

"What if it's Monica Rambeau?"

And then it was Monica Rambeau,
and I lost it.

And I practically tried
to jump off a set of stairs

'cause I thought I could fly.
I was so excited.

So, when we leave Captain Marvel,
Monica is a young girl.

She's got her whole life ahead of her.

-You have to go!
-Monica!

You've a chance to fly the coolest mission
in the history of missions.

You'll give it up to sit on the couch
and watch Fresh Prince with me?

I just think you should consider

what kind of example
you're setting for your daughter.

PARRIS: And when we pick up
with her in WandaVision,

we find out she now works for S.W.O.R.D.,
as a astronaut,

and I feel like we've gotten to a really
great origin story for Monica.

Having the opportunity to play
Monica Rambeau is truly an honor,

and to have a Black female superhero
be on a screen is monumental.

(ALL GRUNTING)

Why didn't anyone tell me the plan?

It's been so amazing to bring Darcy back,
especially in kind of an unexpected way.

You know, the last time we saw Darcy,
she was still Jane Foster's intern

and kind of her friend.

We weren't sure what's going on.

Apparently, she's been going to college
this whole time.

And now she's an astrophysicist.

My equipment registered
an extremely high level of CMBR. That's...

Relic Radiation
dating back to the Big Bang.

Yeah, entwined was a broadcast frequency.

So I had your goons pick me up
a sweet vintage TV.

And when I plug this bad boy in,

the cathode ray tube inside
plucked the signal out of the air

and decoded it
just like in the olden times.

Voilà, sound and picture.

DENNINGS: Randall Park,
obviously, is Jimmy Woo,

and it's been really fun to
kind of have us together in scenes.

They kind of have us with Teyonah Parris.

There's a lot of dark, serious drama,

and it's fun to kind of
have that little break.

You can't go back into the Hex.

Worst case scenario,

Wanda removes my free will
and puts me in ultra-low-rise jeans.

I feel like it's like a family.

It's like a big family. Just to be
a member of the family, it's really cool.

I mean, when I did Ant-man and the Wasp,
I was just happy to be there.

I thought it was gonna be a one-off.

Your school has rules, right?

Like, you can't draw on the walls.

Well, your daddy went to Germany

and drew on the walls
with Captain America.

And that was a violation of Article 16,
paragraph 3 of the Sokovia Accords.

Just to have Jimmy come back
is such a thrill for me

because I just love the character so much.

To have so much of the character
we established in Ant-man and the Wasp

with the magic and the tendency
to want to connect with people

and tell stories about his life,
even when it's not necessarily asked for.

Like all those little things, little seeds
that we planted in Ant-man and the Wasp,

they all kind of get to blossom
in WandaVision.

This isn't a missing person's case,
Captain Rambeau, it's a missing town.

Population 3,892.

Why haven't you gone inside
to investigate?

'Cause it doesn't want me to.

Tonally, WandaVision runs the gamut.

I can't even keep up myself sometimes.
(CHUCKLES)

I'm like, "Which world are we in now?"

OLSEN: For the first episode,
it's the '50s, and it's silly humor,

but it was like really great
physical comedy,

and that bleeds into the '60s,
the second episode, which is Bewitched.

Just mind your P's and Q's
and you're gonna do just fine.

OLSEN: The tone doesn't change too much.

Darling! Oh!

I think we still allow her to just
become more modern of a woman

instead of trying to play the housewife.

Well, thank you for giving me
the strength and the courage.

OLSEN: Thing that we loved so much
in the '50s and in the '60s,

between the marriages in those shows,

is that they were like really funny
and really honest,

and, like, lovely and beautiful
and felt in love.

-Should we put our heads together?
-SHAKMAN: Very cute.

OLSEN: And then we get into the'70s

and it just becomes
this, like, Brady Bunch

kinda creepily, like,
not grounded anymore.

Strangest thing
just happened outside with...

Whoa, Nelly!

BETTANY: It's a surprise initially
that she got pregnant.

We didn't know that that was possible.

It's a magical moment because she's,
sort of, suddenly six months pregnant.

SHAKMAN: If you could
lean in as much as...

I have a belly in front of me.

Her pregnancy is progressing
at an alarming speed. (LAUGHS)

You're at about four months now.
Is that right?

OLSEN: I was so excited to have an episode

where I went through every single stage
of my pregnancy in one day.

That was fabulous. (LAUGHS)

It was so perfect and funny.

(AUDIENCE LAUGHS)

Vis...

Yes, dear?

I think my water just broke.

We're doing this bit where I'm trying
to hide that I'm pregnant.

And so Monica is over, Teyonah's over.

And I'm switching all these coats
on and off, like, magically.

And I'm in the kitchen and everything's
kind of going bonkers in the kitchen.

I'm trying to hide my belly from her.

And so, I keep magically changing
all of my coats.

So, we'd have to freeze. And then someone
would come on and put on my coat,

then I'd have to freeze again,
then I'd have a contraction.

And there's a moment where
I had to do a double take

and I kept making it like a triple take,
and a quadruple take. (CHUCKLING)

I just kept, like, amping it up each time.

And it was the moment
when Matt came up to me and he said,

"Okay, let's try and keep it...

"I think we're doing too much now,
let's try and keep it to a double take."

And it was the thing
that Matt keeps saying, like,

"Go further, go further!"

And I think that was
when I laughed so hard

because he was telling me to stop.

Vision ran to get the doctor.
He'll be back soon.

BETTANY: Baby's born, and I miss it.

But I'm there for the second baby,
and then, "Oh, my God, they're twins!"

So, yeah, we have twins,
and, uh, they're confusing, too,

because they're born babies,
but very quickly, they're toddlers.

Where are the twins?

-Mommy?
-Daddy?

Wha-- Did y--

And then, very quickly, they are,

you know, sort of ten years old.

We don't think you'll be old enough

to properly care for an animal
until you're at least...

(WHISPERS) Ten.

Ten years old. (CHUCKLES)

SHAKMAN: Look at each other.

-Well, now, hang on there a minute...
-Wait, no, no, no.

VISION: ...you young whippersnappers.
WANDA: No, no, no!

-(AUDIENCE LAUGHS)
-(GASPS)

Let's just hope
this dog stays the same size.

This is the '80s, yeah.
So we designed one basic layout,

and then we've just changed it
through the decades.

So, this is still the Dick Van Dyke set,
inspired by Dick Van Dyke kitchen,

but now this is the '80s

inspired by Full House
and Family Ties...

Growing Pains,
shows that we loved from the '80s.

-(BABIES CRYING)
-Now, I know

parents aren't supposed to take shortcuts,

but I think this situation
calls for one, don't you?

SHAKMAN: It's funny now
when you look back at it,

it's a beloved generation
and it's also a self-parodying era as well

because you look at the hair
and the clothes and we all wonder,

"We really thought that was cool?

"How did we ever go outside
looking that way?"

It's almost like we're on a date.

-Almost.
-(CHUCKLES)

With two really cranky chaperones.

(BOTH LAUGH)

My memories of the '80s, as a '90s child,

is that I still got to wear
these beautiful vests and things like this

and had lots of beautiful hats
with big flowers on them.

I just missed it,

but the '80s were a horrible time
of style and hair.

But I really actually am partial
to this wig, I have to say.

-I'm...
-MAN: It's fabulous.

I feel like I'm filled with secrets.

OLSEN: At the end
of the episode in the '80s,

to Wanda's surprise,

she gets a knock at the door.

It was not something
that she consciously did.

And so she's very confused by it.

And the knock on the door
is her brother, Pietro.

But he looks different
because it's Evan Peters. (CHUCKLES)

-TOMMY: No! Ow!
-Get over here!

OLSEN: And the character he plays
is like Uncle Jesse.

-Come on!
-(LAUGHTER)

OLSEN: Like, the cool uncle,
who's coming in to stir things up.

Right on, little dude!

Chip off the old Maximoff block.

You've got super speed!

-TOMMY: I do?
-Yeah!

OLSEN: And that's the trope he uses

as part of his relationship
to the sitcom land.

I can't believe
what a bad influence you are.

Who beefed in your borscht?

I'm just trying to do my part. Okay?

Come to town,
create tension with the brother-in-law,

stir up trouble with the rugrats,
and give you grief.

I mean, that's what you wanted, isn't it?

What happened to your accent?

What happened to yours?

I'm thrilled. I'm such a huge fan
of the Marvel Universe.

So, I'm, like...
I'm just excited to be here.

It's, like, the character
is so funny and meta,

and an interesting way to do it.

When Kevin was telling me about it,
I was like,

"Oh, that sounds awesome,
and hilarious, and so weird."

Long lost bro get to squeeze
his stinkin' sister to death or what?

(TV AUDIENCE LAUGHS)

She recast Pietro?

SCHAEFFER: For the '80s,

we're doing Family Ties,
Growing Pains, Who's the Boss.

Who's the popsicle?

And, yeah, that's my era,

so I am very excited for that.
And then also, we're having

our theme songs composed
by Bobby and Kristen Anderson-Lopez.

You wander the world with a vision

Of what life could be

But then the years come and teach you
To just wait and see

Matt's actually a friend of mine
from school, from college.

He called and just said,

"Okay, so you know Wanda and Vision
from the Avengers.

"This is a crazy idea. It's like sitcoms,

"and we go from the '50s, we do the '60s,

"and every single episode
is a different style

"and a different theme song."

-And we were like...
-"Sign us up."

"Sign us up. You had us at 'Hello', man.
That is amazing."

Oh

A newlywed couple just moved to town

A regular husband and wife

Who left the big city to find a quiet life

WandaVision!

But we decided,
since everything was so disparate,

there's gonna be a '50s song
and a '60s song,

and they would all have
the word "WandaVision" in them...

WandaVision!

WandaVision!

LOPEZ: ...that we decided
to make a WandaVision motif

that would be able
to be used in a different way.

I played them through for Kristen,

but the first one was this.

(PLAYS TUNE ON KEYBOARD)

She was like, "That's the one."

-"That's it."
-(BOTH CHUCKLE)

LOPEZ: It could be the '50s,
where it's like...

(PLAYING TUNE ON KEYBOARD)

Or, um, you know,
the '60s one, which is, um...

(PLAYING PEPPY TUNE)

And the '80s one, which is...

(PLAYS SLOWER TUNE)

The fun became finding a way to hide
that musical signature

somewhere in each song.

WandaVision!

You look at the period,
the influences of the period,

and the instrumentation of the period,
and the language of the period.

LOPEZ: We talked a lot with Matt and Jac
about our favorites.

The things that we were all drawn to

became the things
that we tried to emulate the most.

We often talked to them
before we hit each decade,

at least for a half hour.

So, you know, we would...

Maybe we did the '50s and the '60s
on the same call,

and said, "Well, we know what the '50s is.

"'60s, let's talk about it." Um...

And, you know,
all agreed that Bewitched in particular,

um, was a big thing.

But we also lookedat James Bond movies,
we looked at Burt Bacharach...

-We looked at, um...
-Mahna Mahna.

...what was going on
in the pop culture of that time,

and made sure
that we were really referencing

sort of that bebop jazz,
the cool jazz that was there.

(CHUCKLES) And also, just that
Swinging Sixties culture of the time.

WandaVision
Wa-WandaVision

WandaVision

-(POP MUSIC PLAYS)
-(MALE SINGER SCATTING)

WandaVision

ANDERSON-LOPEZ: The '70s
has a touch of tambourine.

LOPEZ: Oh, for sure.

Because we were referencing

The Brady Bunch and The Partridge Family,

and any family jam band
that dresses up in fringe outfits

and travels in a groovy van
to their next gig.

But it's groovy and fun

It's me and it's you

Kristen and I have
always loved songs that go...

(SCATTING)

(MALE SINGER SCATTING)

WandaVision

(MALE SINGER SCATTING)

WandaVision

One plus one is family

WandaVision

LOPEZ: The '80s...
I mean, in particular, the '80s

is where we're all from,
where we grew up in.

After school, that's where we'd go home

and watch Diff'rent Strokes
and Punky Brewster, and...

Right. I mean, our whole family life

was scheduled around Family Ties
coming on, or Growing Pains.

The one that they've done for the '80s
is by far my favorite.

I sing it all the time.

Crossing our fingers,
singing a song

We're making it up as we go along

Oh, and then, with the aughts.

Wanda
Wanda Vision

ANDERSON-LOPEZ: We got
to have this wonderful collaboration

with the original riot grrrl...

LOPEZ: Kathleen Hanna,
the lead singer of Bikini Kill.

And just gives it this
wonderful authenticity, punk authenticity.

Easy come and easy go

But if it's all illusion

Sit back, and enjoy the show

We got to play
in a totally different kind of playground,

with a completely new set of references,

and show off other things
that we could do.

And we got to write things
that really didn't have to

carry a whole lot of story weight,
just had to set tone.

ANDERSON-LOPEZ: I think it's a tone
unlike anything I've ever seen.

It's fun, it's funny,

it's nostalgic, and it's creepy.

OLSEN: To jump off the genre blending,

even in the '50s and '60s episodes,

we have moments of Twilight Zone.

And instead of it being
moments of today's horror,

we take camera tricks from Twilight Zone
to make you feel off-kilter.

So, in order to get
to that cinematic feeling

or sense of something being off in each...

'Cause something has to go wrong
in order to advance to the next decade,

or else why are you changing the scenario
or the given circumstances?

And so we used
Twilight Zone tropes for that.

And then, for something like
once we get to the Halloween episode,

we're in this idyllic town,
it's Halloween,

it's like the perfect type of Halloween.

Truly the most charming costumes
I've seen on extras ever.

It was very, very cute.

And kids are wreaking havoc,
and it's just perfect.

Somebody better be
bleeding, broken, or on fire.

It was so fun to get to be
in these old costumes of the characters.

Why do you... look different?

OLSEN: In Age of Ultron,
everyone referenced

certain comic books for me to focus on,

and told me, "Don't pay attention
to what she's wearing.

"You're not gonna be in a leotard,
tights and a crown on your head. I swear."

And I was like, "Oh, thank God."

And now, the way we incorporated

the retro costume of the Scarlet Witch
on Halloween,

it gave me so much joy.

Like, if you were to ask me
seven years ago to wear that,

even if it were ironically,

I would be like, "Oh, really?"

But now that I've so much love
for the fandom

and so much love for the comics,

it's so fun to be in that costume.

I love you. I'm sorry.

(ALL LAUGHING)

And seeing Paul dressed like a wrestler,

he, it's just the whole...
It's just he's... It's so funny.

Thank you for humoring me
and wearing this ridiculous get-up, honey.

There were no other clothes
in my closet, so...

I get to disguise myself as the Vision,

but the Vision from the comic books.

And it was my favorite costume

'cause it was so humiliating and funny

and I had a pair of shorts
pulled very high up around my waist,

and yellow Converse to be my super-shoes.

When Vision goes out further

to where we call "Ellis Avenue,"

um, I always told the kids...

BOTH: Don't go past Ellis Avenue.

We know, Mom. We know.

OLSEN: That's the end of the Hex.

And so, the closer you get
to the end of the Hex,

the less control Wanda has
of the actual town,

and people are just doing things by rote.

BETTANY: People are having
these repetitive things,

or hanging up Halloween decorations,

and taking it down, and doing it again.

And characters that you realize

are just less well drawn by Wanda.

And then he gets further out,

and he finds children trick-or-treating,

but they're just absolutely frozen still.

Are those your children?

Are you waiting for something?

BETTANY: And that leads
to the denouement of the whole show.

It's so much fun to have gone through
all of these multi-camera sitcom stuff.

You're shooting
in a very familiar way, right?

Very static cameras.

And then suddenly, when you cut
to an angle that shouldn't be there

or a camera move that would never...

It really, you really feel it
when you're watching it,

so it's a great storytelling tool.
And then, of course,

in the end, everything kind of
breaks down and becomes,

"We're in the real world,
in an MCU version of the real world."

(GASPS)

-Am I dead?
-No.

-Why would you think that?
-Because you are.

We are standing at the very front
of what we call "the pop-up base,"

which is our military base
set up by S.W.O.R.D.

to investigate the anomaly
that Wanda has set up here in Westview.

So that's what this building is about,

a temporary structure

from which to observe
and deal with this problem.

We're in the Marvel world,

so in many ways, you'd expect we would
start with something a bit more stylized

and, sort of, you know, sci-fi.

But we wanted to make it
a little more realistic,

so we started with ideas

of what kind of military response is there
to a disaster, for example,

if it were a chemical attack,

or nuclear attack, or something like that.

And they actually have
these response teams called CBRNs,

which go out and deal with

chemical, biological, radiological
and nuclear threats.

So it's sort of inspired by that.

Now, that said, the building behind me
is a complete hybrid, it isn't...

Nothing exists like this in the air force,
in the army, or marines.

So, we made up our own version of it
to make it a little more Marvel-like.

What do we have up?

Radar, lidar, sodar, infrared.

Cycle through.

We're inside the pop-up base

monitoring the Hex,
which is what Darcy calls

the magical Wanda-world Westview area.

So, this is all
different kinds of military

and space-science people,

and then,
there's my little desk back there.

They gave her her own little corner,

um, where she's basically
cracked the "the magic."

So, you're saying the universe created
a sitcom starring two Avengers?

It's a working theory.

Darcy discovers that there's

basically an old television signal
emanating from the Hex,

from the anomaly.

And she goes, and she grabs an old TV
with a piece of rabbit ears on it,

and she picks up the TV show that
Wanda's broadcasting out from the Hex.

So, what we do is, in each period
that Wanda iterates within the Hex,

we bring in those period TVs.

So you see late '50s, '60s, '70s,
and so on.

Everything might look fake in the TV,
but everything in there is real.

WORTHINGTON:
What's fun is just the contrast.

We started in this very,
sort of, light sitcom world,

which I had never designed before,
so that was fun.

But then,
to then dive right into, sort of,

straight-ahead MCU style,

visual style, acting style,
script, and all that,

just is delightful after all of that,
in a way,

just because, you know,
"Is this all in the same movie?" It is.

Which is great,
but just the design challenges

of having to go from that to this,
that's really fun.

We're at the town square
which is in Hollywood,

so basically, we see that
in six periods pretty extensively.

So much of it is a design challenge
to get all of that right,

to, sort of, express the period,
it's sort of unprecedented.

(APPLAUSE)

Part of the challenge is that
we don't have a shooting schedule

that allows us to shoot for two days,
go away for two days,

turn it around, repaint, come back.

We're doing overnight changeovers.

Which means that we have to basically
define all of the design changes,

all the pieces you're gonna bring in,

design them, build them, paint them,
prefit them probably,

so you know exactly what you're doing,

and everything comes in
almost like LEGO in a certain way.

All these parts come in
and go up very quickly,

'cause you've only got, maybe, 12 hours
to complete this turnaround.

ALL: "For the children!"

(GRUNTS)

(LAUGHTER)

(LAUGHTER STOPS)

(WHOOSHING)

OLSEN: The experience of doing the finale

when Wanda, she has to
run through town square,

and she's looking for Agnes, or Agatha,

and all of the people in the town
start to wake up,

and surround her, and crowd her almost,

like, begging her to let them go.

-I can't take this anymore, Wanda, please.
-(VOICES OVERLAPPING)

Please!

(CLAMORING)

(SCREAMS)

(WAILS)

It was a very long sequence.
It had quite a climax.

AGNES: I mean,
who is the boss here, Wanda?

Heroes don't torture people.

OLSEN: Getting to do a wide like that,
it feels like a piece of theater.

It felt really satisfying
to do emotionally, I think.

And it just felt epic, like the...

There's some moments when these movies
just feel like so cinematic on the day,

and that just felt really grand.

(WANDA GRUNTS)

-WANDA: Go, now, all of you. Go!
-(MAN SHOUTS)

-(PEOPLE SCREAMING)
-MAN: Run!

What's so special about this script

is that you don't actually know
what is coming from where,

and who is actually the bad person,

and when someone has ulterior motives,

and what's actually happening.

So, sometimes you feel like,

"Well, Wanda is the bad...
She's the villain.

"She has turned
all of these people's lives upside down.

"She's the villain."

Then, you find out that, well,
Agnes is pretty terrible. (CHUCKLES)

She's got her own thing
that she's been brewing the entire time,

and kinda counteracting,
counter-magicking Wanda.

And then you have, um, Hayward,

he's pretty not a very good person.
(CHUCKLES)

And he's got his own agenda
that's throwing...

Everyone has their own agenda,

and what's great is that at some point,

you see it all clash and blow up

into an epic superhero fight,
might I say. (CHUCKLES)

Last one to town square
is a walking pair of mom jeans.

-...burden!
-(GRUNTS)

(GRUNTS)

Usually, I'm like one of
the only flyers. (LAUGHS)

Like, I'm the only one on wires often.

That is something I do a lot
in these films.

(LAUGHTER)

I mean, it looks like a blast.

OLSEN: And so,
I feel like it's the first time

Marvel has had to accommodate
for so many flying sequences.

And it was a real challenge...

I mean, Kathryn's in a ridiculous costume

that is very uncomfortable
to harness and fly in.

But we all just, like,
we're always harnessed

(LAUGHS) like, for the last six weeks.

We've been harnessed quite a bit,
and it was so fun.

It was... I love flying.

I love doing all the flying work,
I really, truly enjoy it so much.

But we... I think it's the first time

I think Marvel's really had to create
a full fight sequence in the air.

(GRUNTS)

(CACKLING)

I think my most gratifying was

when I finally put on Agatha's hero look

and was able to be raised up
in those wires for the first time.

-OLSEN: You look amazing.
-You look amazing.

HAHN: And feel those huge fans on me,

even though it was like
a hundred and something degrees outside.

It was like crazy just to feel
all the work of all these people

that had gone into collaborating,
into helping make her.

You're supposed to be a myth.

A being capable of spontaneous creation,

and here you are,
using it to make breakfast for dinner!

To play the good and the bad,
to play the wicked and the playful,

and to play a villain that's also funny,

it's the best.

There's more. I want it all.

OLSEN: When you're on these big films,
and you get all those pieces moving

that are in the world's control,
it feels really special.

Thanks for the lesson...

but I don't need you to tell me who I am.

The features, as you know,
set a very high bar for the look,

and for the effects to supplement
the story, not overwhelm the story.

That same mandate for the features

was absolutely what they were wanting
to achieve for the streaming service.

Vision himself, he's a digital prosthetic.

Poor Paul, we paint him purple,

and he has to go through
the day like that.

But otherwise,
all the rest of that is a digital effect.

Every time Vision's synthezoid,
that he's got a CG face,

(CHUCKLES) so we would
go back to Matt and say,

"Do you know, for this beat,

"does he really need to be synthezoid?
Could he be human?"

And Matt and Jac would
often come back with,

"Well, he's his true self.

"You know, when he's in his home,
we want specific beats to be synthezoid

"even though they're visual effect shots,

"just because it's who he is
when he's at home with Wanda."

So, we let the story determine
when we'd use the visual effects.

So when we translated Red Vision
into black and white,

he didn't really look like Vision.

We did tests using footage
from the previous films

as my first week on the job.

We knocked on a colorist's door and said,
"Can we see what he looks like?"

And we quickly realized
he would have to be blue.

UNDERDAHL: During the '50s and '60s,
actresses would actually use blue makeup,

blue lipstick
so their lips would appear red.

And lo and behold,
we did the same with Paul,

found the right, uh, shade of blue
during some camera tests,

did a little additional tweaking in the DI
and found a really good target.

What we got to was a place
where we really keep the performance.

Paul is Vision,

and so what we end up doing
is kind of painting out his ears,

and augmenting and tracking CG
onto his body,

but that's him.

UNDERDAHL: Wanda's world
is her safe haven,

so when the Hex takes over
the military base,

it turns into a happy thing, into a...

a kind of absurd thing almost,
which is the circus, which is fun.

For visual effects,
it wasn't necessarily a complicated thing.

You shoot the A side, then the B side,

and then you augment each.

We knew that the Hex had to be a boundary

that kept the townspeople in,

but that was mysterious
to the people on the outside.

We decided early
that it would be more mysterious

if it was an invisible Hex.

And so it helped build tension
and we got to make it look quite cool.

We looked at all different manners
of film boundaries in the past

and decided that we wanted our Hex
to have the language of television.

So, we studied how magnets
were drawn on old CRT televisions

and the magnetization
you would get across the screen,

the pixelization you would get
when you zoomed way into an old TV.

The cathodic lines or those skinny lines
that you would see

in NTSC old, square TVs.

And so we went to photography,

and we found our favorite images
for what this boundary could be,

using the language of television.

Westview was meant
to be Wanda's idyllic town,

so that was a touchstone.

Everything about Wanda's home inside,
outside, and the town they live in,

came from this concept
that she recreated the reality she wanted

from her childhood,
from those television shows.

It's executing a vision to the standard
that Wanda would have wanted.

As far as TV goes,
there is an argument that

Avengers and the Marvel MCU

is the largest
episodic experiment ever, right?

Because it's like these shows
that then have interconnected spin-offs

and then different... Until we culminate.

Spirits lifted.

BETTANY: It has always
been episodic storytelling,

so that didn't feel that different for me.

What feels different
is the focus on Wanda and Vision,

which is really nice after all this time.

OLSEN: I think
the beauty of what Jac Schaeffer,

and Mary Livanos, Matt,
and Feige put together

was a story that can only be told
in the medium of television.

And the way we're telling it
is a complete conversation

of American sitcom hitting against
the Marvel Cinematic Universe.

For Marvel to take the opportunity
to do a television show,

and for the first show to come out to be
an actual love song to American sitcoms,

is so perfect, and it's so perfect
for Wanda's character.

Dick Van Dyke again?
Always "sitcom, sitcom, sitcom..."

The thing that I really loved
at the end of the journey

is, I think it's the first time Wanda
has really accepted who she is

and actually puts to bed so much pain.

And we find her finally having peace
and being okay.

I can't feel you.

I'm so excited now that we've cracked open
this other part of her,

so that there hopefully
could be more stories to tell.

It's been such a gift, and so I really
loved doing this show. (CHUCKLES)

Cut.

MAN: That is a wrap on Lizzy.

VISION: I've never experienced loss

because I've never
had a loved one to lose.

But what is grief...

if not love persevering?