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1
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MAN: And camera.
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00:00:18,420 --> 00:00:19,987
And action!
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00:00:20,031 --> 00:00:22,773
We got to get out of here.
Fast.
4
00:00:22,816 --> 00:00:25,601
I have an idea.MAN: What's your idea?
5
00:00:25,645 --> 00:00:28,256
Okay, so, first,
we're all gonna get together
as a big group,
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00:00:28,300 --> 00:00:30,476
and then, we're gonna go out
for a little seafood
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00:00:30,519 --> 00:00:33,435
because it's better to...
Operate on a full stomach.
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00:00:33,479 --> 00:00:35,263
[CREW LAUGHING]
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00:00:37,700 --> 00:00:40,486
Paul is so naturally funny
and likable
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00:00:40,529 --> 00:00:42,357
in everything that he brings
to the Marvel Universe.
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00:00:42,401 --> 00:00:44,359
And action!
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00:00:44,403 --> 00:00:45,578
BROUSSARD: He's just one of
the funniest guys
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00:00:45,621 --> 00:00:47,710
I've ever had the pleasure of working with.
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00:00:47,754 --> 00:00:50,670
It's been fun to watch him
bring Scott Lang to life.
15
00:00:50,713 --> 00:00:51,932
Was it in a wardrobe?No.
16
00:00:51,976 --> 00:00:54,282
It was in a...
Like a tall dresser.
17
00:00:54,326 --> 00:00:56,719
You mean a wardrobe.Is that what that's called?
18
00:00:56,763 --> 00:00:59,157
They broke the mold
after they made Paul Rudd.
19
00:01:00,332 --> 00:01:03,248
MAN: Cut it.PFEIFFER: He is unique.
20
00:01:03,291 --> 00:01:09,080
He has this incredibly dry,
sweet, wicked sense of humor
21
00:01:10,429 --> 00:01:12,300
behind this
very boyish face.
22
00:01:12,344 --> 00:01:14,607
Hi-ya, champ.
How was school today?
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00:01:14,650 --> 00:01:15,869
[LAUGHS MOCKINGLY]
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00:01:15,913 --> 00:01:17,653
All right,
get your jokes out now.
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00:01:17,697 --> 00:01:19,699
Let's do one more.
26
00:01:19,742 --> 00:01:23,485
PEYTON REED: I always
think of Scott Lang
as the real everyman
27
00:01:23,529 --> 00:01:25,183
in the Marvel
Cinematic Universe
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00:01:25,226 --> 00:01:27,489
because he's not
a super scientist.
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00:01:27,533 --> 00:01:29,883
Wait, what's happened?REED: He's not a billionaire.
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00:01:29,927 --> 00:01:31,276
A secret vault!
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00:01:31,319 --> 00:01:33,408
Did you bring
the contact lens?Yes.
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REED: Scott's whole goal is to really just be a better father to his daughter.
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00:01:36,020 --> 00:01:37,238
[BOTH SCREAMING]
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And that definitely continues in this movie.
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00:01:39,980 --> 00:01:42,069
Crash landing!
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CASSIE: Whoo![SCOTT SIGHS]
37
00:01:43,331 --> 00:01:44,898
[GROANS]
38
00:01:44,942 --> 00:01:47,683
I wish we could
shrink for real.Oh. That is pretty cool.
39
00:01:52,993 --> 00:01:56,431
One of the things
that I really like about
playing this character is that
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00:01:56,475 --> 00:02:00,653
he is thrown into these
extraordinary circumstances.
41
00:02:00,696 --> 00:02:01,654
ANT-MAN: We got you now, Ava.
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00:02:02,524 --> 00:02:03,874
Whoa!
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00:02:03,917 --> 00:02:06,137
RUDD: I mean, truly.
44
00:02:06,180 --> 00:02:08,661
Yes! Shrinking and flying
around on ants...
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00:02:09,967 --> 00:02:12,665
ANT-MAN: No, no, no.
[SCREAMING] Ant-onio!
46
00:02:14,014 --> 00:02:15,886
RUDD: Entering quantum realms.
47
00:02:18,932 --> 00:02:21,369
And yet,[GASPING]
48
00:02:21,413 --> 00:02:24,807
one thing that we've
always tried to sustain...
49
00:02:24,851 --> 00:02:29,247
When I say "we"
I mean, uh, me because
I speak of myself in plurals.
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00:02:29,595 --> 00:02:31,771
Sorry, you...
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00:02:31,814 --> 00:02:34,208
RUDD: Is this way of dealing
with everything
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00:02:34,252 --> 00:02:35,949
with a little bit
of a sense of humor.
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00:02:35,993 --> 00:02:38,517
What are we gonna do now?
How are we gonna get out of...
54
00:02:38,560 --> 00:02:41,085
How are we getting out
of this one? Any fine plans?
55
00:02:41,128 --> 00:02:44,088
RUDD: I always think
of Bill Murray inStripes.
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00:02:44,131 --> 00:02:45,698
Actually, Bill Murray
in anything.
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00:02:45,741 --> 00:02:48,396
He just has this way
about him
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00:02:48,440 --> 00:02:52,226
that he just seems to
not take any of it seriously.
59
00:02:52,270 --> 00:02:54,707
Humor is the way
we deal with these traumas.
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00:02:54,750 --> 00:02:55,795
You know...
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00:02:55,838 --> 00:02:58,058
I just love that.
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00:02:58,102 --> 00:03:02,976
[LAUGHING] About Bill Murray,
not about myself
or my portrayal of the role.
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00:03:03,020 --> 00:03:06,806
Paul has this
great quirkiness,
this little twinkle.
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00:03:06,849 --> 00:03:10,636
I mean, if I talk like this
the whole time,
it won't be annoying?
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00:03:10,679 --> 00:03:13,944
DOUGLAS: He's a writer also
as well as being
a wonderful actor.
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00:03:13,987 --> 00:03:17,425
He comes up with some
great clever lines.
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00:03:17,469 --> 00:03:20,385
Hey, what was your
favorite part about
what I did back there?
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00:03:20,428 --> 00:03:22,517
[CLICKS TONGUE]
Let me think about that.
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00:03:22,561 --> 00:03:24,084
Oh, hold on.
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00:03:24,955 --> 00:03:26,782
[CREW LAUGHING]
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00:03:26,826 --> 00:03:28,219
MAN: Ready, and action.
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00:03:32,179 --> 00:03:34,355
How long have you
been Ant-Man again?
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00:03:34,399 --> 00:03:37,663
Scott's devotion to
his family, to his little girl
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00:03:37,706 --> 00:03:41,188
was something that I very much liked and appreciated.
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00:03:41,232 --> 00:03:43,190
[MIMICS RETCHING]
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00:03:43,234 --> 00:03:46,802
And I think that the fun
we have on set sort of
translates onto the screen.
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00:03:46,846 --> 00:03:48,630
[ALL LAUGHING]
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00:03:51,285 --> 00:03:53,679
Paul's a really good friend
of mine. Judy Greer
is a great friend of mine.
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00:03:53,722 --> 00:03:56,421
So we just do
a lot of laughing on set.
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00:03:56,464 --> 00:03:59,815
Paul, on set, on the fly,
can make anything funnier.
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00:03:59,859 --> 00:04:01,426
CASSIE: Bye, Daddy!MAGGIE: Bye!
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00:04:01,469 --> 00:04:03,210
Bye!
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00:04:03,254 --> 00:04:06,300
He understands that, like,
if everyone else
does really well,
84
00:04:06,344 --> 00:04:08,041
he does well.Good scene, everyone.
85
00:04:08,085 --> 00:04:10,130
Let's have fun with this one.Best scene in the movie.
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00:04:11,740 --> 00:04:14,352
[IMITATES ENGINE REVVING]
87
00:04:14,395 --> 00:04:16,484
Is it bad if I start
the scene and go like this?
[IMITATES ENGINE REVVING]
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00:04:18,921 --> 00:04:20,880
DAVID DASTMALCHIAN:
We'll get on set...Hey, dudes.
89
00:04:20,923 --> 00:04:25,015
...and we will,
all of a sudden, see Paul Rudd
do some hilarious improv.
90
00:04:25,058 --> 00:04:27,626
Oh! I don't have a watch.
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00:04:27,669 --> 00:04:29,410
[ALL LAUGHING]
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00:04:29,454 --> 00:04:33,458
And instead of the people,
off-camera,
pulling their hair out,
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00:04:33,501 --> 00:04:35,590
they're pulling their pens out and they're getting excited.
94
00:04:35,634 --> 00:04:38,463
I like weird jokes.
By the way, as does Marvel.
95
00:04:38,506 --> 00:04:41,422
As does Kevin Feige
and Stephen Broussard.
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00:04:41,466 --> 00:04:43,076
They're all comedy lovers.
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00:04:43,120 --> 00:04:44,817
MAN: All right, here we go.
Picture!
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00:04:44,860 --> 00:04:46,906
You'd be shocked at
how many insane ideas
you can go to them with
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00:04:46,949 --> 00:04:49,126
and they're like,
"Oh, yeah. Okay, that's cool."
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00:04:49,169 --> 00:04:53,304
MAN: Three, two, one, action![ALL SCREAMING]
101
00:04:53,347 --> 00:04:55,262
REED: Because these are not
small movies.
102
00:04:55,306 --> 00:04:57,438
So, to be able to
approach it in that way
103
00:04:57,482 --> 00:05:00,485
where you're really trying
some way outside-of-the-box
things,
104
00:05:01,660 --> 00:05:02,965
that's fun.
105
00:05:04,663 --> 00:05:07,187
ANT-MAN: Hi. Sorry. Hi.
106
00:05:07,231 --> 00:05:09,581
It's okay. It's okay.
107
00:05:09,624 --> 00:05:12,410
Sorry. No, I'm not a whale.
This will just take a second.
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00:05:14,542 --> 00:05:15,413
[LAUGHTER]
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00:05:16,936 --> 00:05:18,981
BROUSSARD: Paul has brought
Scott Lang to life
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00:05:19,025 --> 00:05:22,289
with so much humanity
and heart and humor.
111
00:05:24,030 --> 00:05:26,206
[THE WASP LAUGHS]
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00:05:26,250 --> 00:05:29,296
He walks that line between
a guy that can't get out
of his own way
113
00:05:30,776 --> 00:05:32,734
and someone that you
care very deeply for,
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00:05:32,778 --> 00:05:36,129
and that's a testament
to Paul's innate abilities
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00:05:36,173 --> 00:05:39,045
as an actor, as a comedian
and as a writer.
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00:05:39,089 --> 00:05:40,568
[CREW LAUGHING]
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00:05:40,612 --> 00:05:42,353
This movie might be
the last thing you'd want.
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00:05:42,396 --> 00:05:45,617
But it might just be
the one thing
you need to save your life.
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00:05:45,660 --> 00:05:47,401
Yeah!
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00:05:47,445 --> 00:05:49,621
RUDD: And if we can
just save one life,
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00:05:50,709 --> 00:05:52,319
I think it would have
been a success
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00:05:52,363 --> 00:05:54,756
and worth it, in every way.
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00:05:55,888 --> 00:05:57,107
[ALL CHEERING]
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00:05:58,020 --> 00:06:00,022
[CLATTERS]
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00:06:00,066 --> 00:06:02,199
MAN: Cut it. Cut.[CREW LAUGHING]
126
00:06:10,207 --> 00:06:12,339
Maybe you just need someone
watching your back...
127
00:06:14,428 --> 00:06:15,342
[MEN GRUNTING]
128
00:06:16,213 --> 00:06:18,171
CASSIE: Like a partner.
129
00:06:18,215 --> 00:06:20,869
There are a lot of things
that excite me about Ant-Man and The Wasp,
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00:06:20,913 --> 00:06:24,177
but I think the biggest
is to see Wasp herself.
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00:06:24,221 --> 00:06:27,963
To see Hope Van Dyne
as a fully-formed hero
in this movie.
132
00:06:28,007 --> 00:06:30,575
The first and foremost
primary motivation
133
00:06:30,618 --> 00:06:32,707
and reason to play Hope again was to put on that suit.
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00:06:35,841 --> 00:06:39,497
She so desperately wanted
to follow in the footsteps
of her parents,
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00:06:41,890 --> 00:06:45,851
who had been incredible
superheroes in their day
and in her formative years.
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00:06:45,894 --> 00:06:47,157
So she's finally doing that.
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00:06:48,810 --> 00:06:50,725
Pleasure doing business
with you, Sonny.
138
00:06:50,769 --> 00:06:53,206
You could see in that
first film that she was,
frankly, more capable
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00:06:53,250 --> 00:06:55,426
than Scott Lang was
at being a superhero
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00:06:55,469 --> 00:06:57,602
and her father, because
of the loss of her mother,
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00:06:57,645 --> 00:06:59,212
emotionally didn't
want her to do this.
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00:06:59,256 --> 00:07:01,345
And now we get to see her
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00:07:01,388 --> 00:07:02,563
with the gloves off
and becoming a superhero.
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00:07:05,566 --> 00:07:08,613
The film, not by accident,
isn't called Ant-Man 2,
145
00:07:08,656 --> 00:07:10,223
it's called
Ant-Man and The Wasp.
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00:07:10,267 --> 00:07:12,225
And it's really the story
of these characters
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00:07:12,269 --> 00:07:13,444
coming into their own
as a team.
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00:07:14,662 --> 00:07:15,620
THE WASP: Follow my lead.
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00:07:18,405 --> 00:07:19,928
By the way, I love that suit!
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00:07:19,972 --> 00:07:21,191
Thanks, man.
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00:07:24,672 --> 00:07:27,588
LILLY: The Wasp costume
that you saw at the end
of the first film
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00:07:27,632 --> 00:07:30,330
was an old prototype
from the 1980s.
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00:07:30,374 --> 00:07:32,376
So it looks totally different.
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00:07:32,419 --> 00:07:33,986
HANK: Your mother
never got to use it.
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00:07:34,987 --> 00:07:36,554
And now I realize
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00:07:36,597 --> 00:07:38,208
that we were working
on it for you.
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00:07:38,251 --> 00:07:39,992
LILLY: Because
technology has evolved,
158
00:07:40,035 --> 00:07:42,124
I updated the suit
with my father,
159
00:07:42,168 --> 00:07:44,605
we made a new one
based on the prototype
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00:07:44,649 --> 00:07:47,652
that fit Hope's needs
for this day and age.
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00:07:47,695 --> 00:07:50,089
It's about damn time.
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00:07:50,132 --> 00:07:53,223
IVO COVENEY: This is one of
Evangeline's costumes.
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00:07:53,266 --> 00:07:58,228
Trying to find this color
took a very, very long time,
164
00:07:58,271 --> 00:08:01,274
because somebody at Marvel
jokingly said
165
00:08:01,318 --> 00:08:03,842
this is a combination
of gold and silver.
166
00:08:03,885 --> 00:08:06,584
And they decided to say
that it was gilver.
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00:08:06,627 --> 00:08:08,194
So what we've got here
168
00:08:08,238 --> 00:08:11,023
is we've got
a reflective silver
in the background,
169
00:08:11,066 --> 00:08:13,025
and then we've got
a patent leather gold
170
00:08:13,068 --> 00:08:16,463
which is cut with a honeycomb on two different levels,
171
00:08:16,507 --> 00:08:20,032
just to try and get
this elusive gilver color.
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00:08:20,075 --> 00:08:22,861
This piece here,
just the stomach of that,
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00:08:22,904 --> 00:08:25,951
there are over 90 pieces
just in that.
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00:08:25,994 --> 00:08:28,040
Because it needs to move,
it needs to be flexible,
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00:08:28,083 --> 00:08:30,521
we don't want it
to restrict Evangeline.
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00:08:32,349 --> 00:08:33,698
FEIGE: Scott has
probably not put on
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00:08:33,741 --> 00:08:35,830
the Ant-Man suit since the events ofCivil War.
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00:08:35,874 --> 00:08:39,138
Hope, on the other hand,
has been wearing
The Wasp suit since then.
179
00:08:39,181 --> 00:08:42,097
So she is
a much better fighter,
as she was before.
180
00:08:42,141 --> 00:08:44,709
The Wasp suit has wings
and allows flight.
181
00:08:44,752 --> 00:08:47,973
It's got stingers
so she can shoot criminals
as she shrinks and grows.
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00:08:48,016 --> 00:08:49,104
You gave her wings?
183
00:08:49,148 --> 00:08:50,149
And blasters.
184
00:08:52,586 --> 00:08:57,112
Something just
changed in my DNA
and I felt like a superhero
185
00:08:57,156 --> 00:08:59,985
and I was so excited to get in front of the camera.
186
00:09:00,028 --> 00:09:04,468
And up to that point,
I was so nervous about
taking on this mantle.
187
00:09:04,511 --> 00:09:07,645
But the costume tucks away
all of those feelings
188
00:09:07,688 --> 00:09:12,693
and I can walk on set
with confidence
and feel like The Wasp.
189
00:09:12,737 --> 00:09:14,782
MAN 1: All right, here we go.
Let's roll, please. Rolling.
190
00:09:14,826 --> 00:09:17,002
MAN 2: Rolling.MAN 3: GoPro.
191
00:09:17,045 --> 00:09:18,786
MAN 1: Camera set. Here we go.
192
00:09:19,787 --> 00:09:21,093
And action!
193
00:09:22,529 --> 00:09:24,314
[MEN GRUNTING]
194
00:09:28,448 --> 00:09:29,928
GEORGE COTTLE:
From the very beginning,
195
00:09:29,971 --> 00:09:32,322
we knew there was going to be a come-out moment for Wasp.
196
00:09:32,365 --> 00:09:33,453
There was going to be
her real kind of,
197
00:09:33,497 --> 00:09:36,326
"This is my character,
this is who I am."
198
00:09:36,369 --> 00:09:39,459
And it was going to be
the restaurant sequence.
199
00:09:39,503 --> 00:09:43,028
The stunt team had four to five weeks of pretty intensive training.
200
00:09:43,071 --> 00:09:45,683
So when Evangeline would turn up before filming,
201
00:09:45,726 --> 00:09:48,294
we'd have a really great idea
of exactly what we need to do.
202
00:09:51,950 --> 00:09:55,606
REED: That's been great,
in terms of figuring out
how she moves,
203
00:09:55,649 --> 00:09:57,912
how she fights,
how she flies.
204
00:09:57,956 --> 00:10:00,567
Seeing these two fight
in tandem, together.
205
00:10:00,611 --> 00:10:03,918
Like how do they coordinate
their power sets?
206
00:10:03,962 --> 00:10:06,225
Peyton had mentioned
a few things that
he really liked
207
00:10:06,268 --> 00:10:08,923
and then Evangeline
would come in and then
we would kind of tweak it
208
00:10:08,967 --> 00:10:11,491
for how she would see
her character moving.
209
00:10:11,535 --> 00:10:15,016
I was asking to build
a lot of these S-curves
into her fight style.
210
00:10:15,060 --> 00:10:18,759
I think for me,
that's just a suggestion
of fluidity and grace
211
00:10:18,803 --> 00:10:21,675
and when she fights,
I feel like she should
look effortless.
212
00:10:21,719 --> 00:10:23,373
This was just something
she was born to do.
213
00:10:25,984 --> 00:10:26,985
She seems...
214
00:10:28,160 --> 00:10:29,161
More intense.
215
00:10:31,511 --> 00:10:33,295
FEIGE: Seeing her kick ass
is awesome.
216
00:10:33,339 --> 00:10:36,516
Seeing Scott desperately
try to keep up
with that is hilarious.
217
00:10:36,560 --> 00:10:38,039
ANT-MAN: You go low,
I'll go high.
218
00:10:38,083 --> 00:10:40,868
THE WASP: I have wings!
Why would I go low?
219
00:10:40,912 --> 00:10:44,176
MICHAEL DOUGLAS: It's a real
joy to watch Evangeline
come into her own.
220
00:10:44,219 --> 00:10:46,744
I get a kick out of watching
her excitement,
221
00:10:46,787 --> 00:10:48,049
her incredible hard work.
222
00:10:48,093 --> 00:10:49,355
So, I'm proud of her.
223
00:10:53,838 --> 00:10:55,579
REED: It was really fun
for me to work
224
00:10:55,622 --> 00:10:58,016
really closely with Evangeline
in developing this character,
225
00:10:58,059 --> 00:11:00,540
because we wanted her to be
a three-dimensional character.
226
00:11:00,584 --> 00:11:04,239
And we got
extremely specific about
her personality as a hero.
227
00:11:04,631 --> 00:11:06,241
Hi.
228
00:11:06,285 --> 00:11:07,765
REED: She's very confident
and she's very decisive
229
00:11:07,808 --> 00:11:09,723
and she's so focused.
230
00:11:09,767 --> 00:11:11,551
So that was really exciting,
231
00:11:11,595 --> 00:11:13,858
to really present this hero
for the first time
in a Marvel movie.
232
00:11:29,830 --> 00:11:32,354
HANK: When Scott went to
the quantum realm
and came back...
233
00:11:35,793 --> 00:11:38,143
I started to wonder,
234
00:11:38,186 --> 00:11:40,450
could your mother
still be alive?
235
00:11:42,626 --> 00:11:46,804
PAUL RUDD: There are moments
where it doesn't matter
how many films you do,
236
00:11:46,847 --> 00:11:48,980
you find yourself on a set
and you think,
237
00:11:49,023 --> 00:11:51,112
"Oh, wow.
There's Michael Douglas
238
00:11:51,156 --> 00:11:54,899
"and there's Michelle Pfeiffer
and whoa... [CHUCKLES]
239
00:11:54,942 --> 00:11:56,596
"How did I get here?"
240
00:11:56,640 --> 00:11:58,424
Miss Van Dyne,
it's nice to...
241
00:11:59,556 --> 00:12:01,079
Well, I guess
we've already met.
242
00:12:01,122 --> 00:12:03,124
I guess we have.
243
00:12:03,168 --> 00:12:06,519
PFEIFFER: I sawAnt-Man
and I really loved it.
244
00:12:06,563 --> 00:12:08,739
The movie was really smart...
245
00:12:08,782 --> 00:12:11,176
And really funny
246
00:12:11,219 --> 00:12:13,570
and also grounded
in reality.
247
00:12:13,613 --> 00:12:15,441
It had this
unusual tone to it.
248
00:12:17,182 --> 00:12:19,706
You mention my wife again
249
00:12:19,750 --> 00:12:21,969
and I'll show you ferocity.
250
00:12:22,013 --> 00:12:25,712
DOUGLAS: My whole career
has been pretty much
contemporary films.
251
00:12:25,756 --> 00:12:29,281
So to get in to this other
world, the quantum realm...
252
00:12:29,324 --> 00:12:30,717
Ready to dive.
253
00:12:30,761 --> 00:12:33,503
DOUGLAS: And anything goes,
is a trip.
254
00:12:35,243 --> 00:12:36,549
Hank!
255
00:12:36,593 --> 00:12:38,595
PEYTON REED: Hank Pym is definitely a hero,
256
00:12:38,638 --> 00:12:42,947
but he does make
some decisions that might be
a little morally dubious.
257
00:12:42,990 --> 00:12:45,166
Oh, now, that's my girl.
258
00:12:45,210 --> 00:12:47,255
REED: I like that,
and particularly it plays
259
00:12:47,299 --> 00:12:49,736
to the strengths of
Michael Douglas as an actor.
260
00:12:49,780 --> 00:12:53,784
There's a real beautiful
gray area to most of the
characters that he plays.
261
00:12:53,827 --> 00:12:56,700
Hank Pym is a guy who kind of
keeps this thing grounded.
262
00:12:56,743 --> 00:12:59,311
Keeps a degree of credibility and reality.
263
00:12:59,354 --> 00:13:01,052
The bolt is
on the other side.
264
00:13:01,095 --> 00:13:03,837
Tighten that one down and
then bring it down one notch.
265
00:13:03,881 --> 00:13:08,102
Michael Douglas
is very charming
and he's witty.
266
00:13:08,146 --> 00:13:10,888
Hey, Scott.
You think you can stop
daydreaming about my daughter
267
00:13:10,931 --> 00:13:12,542
long enough to get my lab?
268
00:13:12,585 --> 00:13:14,326
Yes, sir.Thank you.
269
00:13:14,369 --> 00:13:16,894
PFEIFFER: He portrays
a kind of an arrogance
270
00:13:16,937 --> 00:13:20,288
and then he's also
able to show vulnerability
when he needs to do that.
271
00:13:21,072 --> 00:13:22,421
Janet?
272
00:13:22,464 --> 00:13:25,380
I think that's
a really hard line to walk.
273
00:13:25,903 --> 00:13:28,166
Hi, honey.
274
00:13:28,209 --> 00:13:30,342
EVANGELINE LILLY:
The very first day
that I worked with him,
275
00:13:30,385 --> 00:13:33,040
I remember immediately
when they called action
276
00:13:33,084 --> 00:13:35,086
and he started to perform,
277
00:13:35,129 --> 00:13:39,133
it was like
he changed the chemistry
of the molecules in the air.
278
00:13:39,177 --> 00:13:40,570
She turned off
her regulator,
279
00:13:42,223 --> 00:13:44,008
and went subatomic.
280
00:13:44,051 --> 00:13:46,097
Then she was gone.
281
00:13:46,140 --> 00:13:48,795
I felt immediately transported
282
00:13:48,839 --> 00:13:53,104
into this world of Hank Pym
and Hope Van Dyne.
283
00:13:53,147 --> 00:13:56,237
I think it's possible
to bring her back.
284
00:13:56,281 --> 00:13:58,022
DOUGLAS: We do flashbacks,
285
00:13:58,065 --> 00:14:00,590
and the chance to act with Michelle Pfeiffer
286
00:14:00,633 --> 00:14:03,288
as we looked 30 years ago,
287
00:14:03,331 --> 00:14:04,768
well, who wouldn't like that?
288
00:14:04,811 --> 00:14:06,465
[SNORTS][BOTH GIGGLE]
289
00:14:06,508 --> 00:14:09,860
I loved that she's such
a seminal character
290
00:14:09,903 --> 00:14:12,210
in the Marvel
comic book world,
291
00:14:12,253 --> 00:14:16,127
and that she was
one of the founding members
of the Avengers.
292
00:14:16,170 --> 00:14:20,653
I would have lots of
conversations with Peyton
that Janet was a warrior
293
00:14:20,697 --> 00:14:25,179
and she is a very important
and brilliant scientist
unto herself
294
00:14:25,223 --> 00:14:26,267
which was exciting to me.
295
00:14:26,311 --> 00:14:30,402
I told Marvel four years ago,
296
00:14:30,445 --> 00:14:35,146
"If you ever bring
a Janet Van Dyne
into one of these films,
297
00:14:35,189 --> 00:14:37,496
"please make it
Michelle Pfeiffer!
298
00:14:37,539 --> 00:14:40,542
"I really want
Michelle Pfeiffer
to play my mom."
299
00:14:40,586 --> 00:14:44,808
Not only is she the most beautiful woman to have ever walked planet Earth,
300
00:14:44,851 --> 00:14:47,201
she was also so cool.
301
00:14:47,245 --> 00:14:49,551
And I somehow wound up
302
00:14:49,595 --> 00:14:52,163
with Michelle Pfeiffer
and Michael Douglas
playing my parents
303
00:14:52,206 --> 00:14:55,166
and both being equally
incredible and talented.
304
00:14:55,209 --> 00:14:56,602
Let's go see our daughter.
305
00:15:00,780 --> 00:15:03,174
DOUGLAS: There was just
a fun factor to it.
306
00:15:03,217 --> 00:15:07,918
I got this whole new
generation of people
under 15 years old
307
00:15:07,961 --> 00:15:10,137
and they say,
"Hey, Hank Pym."
308
00:15:10,181 --> 00:15:11,530
MAN: And crash.
309
00:15:14,576 --> 00:15:18,450
I loved, at this phase,
let's say, in my life,
310
00:15:18,493 --> 00:15:21,409
that I'm playing a superhero.
311
00:15:21,453 --> 00:15:24,848
The message that it sends
to women of all ages
312
00:15:24,891 --> 00:15:27,720
that we are
still kicking ass.
313
00:15:29,635 --> 00:15:30,941
JANET: Come on!
314
00:15:44,911 --> 00:15:47,435
I really wanted to
open up this movie
even more than the first one.
315
00:15:49,437 --> 00:15:52,266
We wanted to come up
with new and different
and weird ways
316
00:15:52,310 --> 00:15:54,529
to use the shrinking
and growing technology
in this movie.
317
00:15:58,098 --> 00:16:00,492
And I want it
be photorealistic
318
00:16:00,535 --> 00:16:02,407
because the Ant-Manmovies
don't take place
319
00:16:02,450 --> 00:16:04,278
in outer space or in Asgard.
320
00:16:07,064 --> 00:16:08,761
They take place
in the real world.
321
00:16:08,805 --> 00:16:11,372
There it is, right there.
Get the lab.
[STAMMERS] Get the lab!
322
00:16:11,416 --> 00:16:12,460
[BEEPS]
323
00:16:14,593 --> 00:16:17,204
Oh, my God! Oh, my God,
we're gonna die!
324
00:16:20,033 --> 00:16:24,081
When it came time
to design and build
Hank and Hope's laboratory,
325
00:16:24,124 --> 00:16:29,303
I fought really hard to have
Hank's lab be a real tactile
functioning set.
326
00:16:30,565 --> 00:16:32,306
There are digital extensions,
327
00:16:32,350 --> 00:16:33,873
but the set is
this massive set
that we built.
328
00:16:33,917 --> 00:16:35,919
And it's important
329
00:16:35,962 --> 00:16:37,485
because the real world
has to look and feel
like the real world.
330
00:16:39,836 --> 00:16:42,316
Hi, I'm Shepherd Frankel,
production designer on Ant-Man
331
00:16:42,360 --> 00:16:44,275
and welcome to Hank Pym's
shrinking lab.
332
00:16:47,321 --> 00:16:49,976
When we walk in here
the idea is to feel
333
00:16:50,020 --> 00:16:54,502
a really crushed
horizontal space
with a reflective ceiling.
334
00:16:58,158 --> 00:17:01,335
We wanted this moment
of walking into the lab
335
00:17:01,379 --> 00:17:03,468
to be really dramatic.
336
00:17:03,947 --> 00:17:06,166
[ANTS CHITTERING]
337
00:17:06,210 --> 00:17:10,475
And we wanted our audience
to have a very distinct
change of scale.
338
00:17:13,347 --> 00:17:15,567
STEPHEN BROUSSARD:
You see pieces grown big,
339
00:17:15,610 --> 00:17:18,352
you see volume knobs
and clothespins
and light bulbs
340
00:17:18,396 --> 00:17:21,834
and it starts to play
with your mind, "Am I small
in a small building,
341
00:17:21,878 --> 00:17:23,793
"or are these big items
in a normal-sized building?"
342
00:17:25,664 --> 00:17:29,842
The main event
inside this space
is the Quantum Gate.
343
00:17:29,886 --> 00:17:33,977
While you were
relaxing at home,
we were building this.
344
00:17:34,020 --> 00:17:36,327
FRANKEL: Peyton was
really interested
345
00:17:36,370 --> 00:17:40,200
in honoring and referencing
traditional time tunnels,
346
00:17:40,244 --> 00:17:41,941
but taking it
to a whole another level.
347
00:17:43,334 --> 00:17:44,509
Ready to dive.
348
00:17:48,078 --> 00:17:50,254
MAN: Here we go, and action!
349
00:17:50,297 --> 00:17:52,299
We're back here
at Pinewood Studios
in Atlanta.
350
00:17:54,824 --> 00:17:57,261
The first Ant-Manwe shot
at Pinewood, Atlanta,
351
00:17:57,304 --> 00:18:00,090
and in fact, we were
the first movie to shoot
at the Pinewood stages.
352
00:18:00,133 --> 00:18:04,572
MAN: Three, two, one, go.
353
00:18:04,616 --> 00:18:08,054
REED: Which was great
because the stages are
beautiful, state-of-the-art,
354
00:18:08,098 --> 00:18:09,751
and it was like
they had just taken
355
00:18:09,795 --> 00:18:11,971
the wrapping paper
off of them
on the first movie.
356
00:18:12,015 --> 00:18:15,192
They were so clean,
there wasn't a speck
of dust in them.
357
00:18:15,235 --> 00:18:17,847
When we went back
three years later
to doAnt-Man and The Wasp,
358
00:18:17,890 --> 00:18:19,413
they've expanded that studio.
359
00:18:19,457 --> 00:18:22,068
I mean, I think it's probably four times larger than it was
360
00:18:22,112 --> 00:18:23,461
when we shot the first movie.
361
00:18:23,504 --> 00:18:25,767
MAN: All right, here we go.
We're set.
362
00:18:25,811 --> 00:18:27,900
REED: I love shooting
down there 'cause you have
room on that backlot.
363
00:18:27,944 --> 00:18:31,208
You know, if you decide
you wanna build
an entire exterior set,
364
00:18:31,251 --> 00:18:32,818
you can just go
in the woods back there
365
00:18:32,862 --> 00:18:35,473
and build Scott's apartment
in the back of the thing
366
00:18:35,516 --> 00:18:37,692
to give the backyard
a very realistic look.
367
00:18:40,347 --> 00:18:42,828
BROUSSARD: So not only
do you have the great
facilities at Pinewood,
368
00:18:42,872 --> 00:18:44,961
we've been able to make use
of Atlanta the city,
369
00:18:45,004 --> 00:18:46,440
the surrounding
rural environments.
370
00:18:46,484 --> 00:18:48,703
We really shot it
for all its worth.
371
00:18:48,747 --> 00:18:50,618
REED: These movies,
they're really dense movies
372
00:18:50,662 --> 00:18:52,011
and you want
a lot of visual variety.
373
00:18:52,055 --> 00:18:54,057
And that's one of
the cool things about Georgia
374
00:18:54,100 --> 00:18:56,798
is that you're
in downtown Atlanta
375
00:18:56,842 --> 00:18:59,801
and it looks like a big city
because it is a big city.
376
00:18:59,845 --> 00:19:02,674
There's great vantage points
to look back onto the city,
377
00:19:02,717 --> 00:19:08,027
to use that skyline either as
Atlanta or as a basis
for creating another city.
378
00:19:08,071 --> 00:19:09,681
REED: But then you go out
into rural Georgia,
379
00:19:09,724 --> 00:19:11,901
around Peachtree City
or Fayetteville,
380
00:19:11,944 --> 00:19:14,904
and you get some great
rural vistas out there.
381
00:19:14,947 --> 00:19:16,775
There was one thing
where we needed to see
382
00:19:16,818 --> 00:19:18,690
Muir Woods in San Francisco
383
00:19:18,733 --> 00:19:20,910
and we went out to
the woods in Georgia
and shot it.
384
00:19:20,953 --> 00:19:24,174
So, it's really convenient,
and just in terms of
location shooting,
385
00:19:24,217 --> 00:19:27,960
houses and buildings
and things, you can really
find anything from
386
00:19:28,004 --> 00:19:31,398
a traditional house
to a very modern house
to a skyscraper.
387
00:19:32,312 --> 00:19:33,705
And they're great locations.
388
00:19:33,748 --> 00:19:35,533
The thing we were calling
Ghost Lair,
389
00:19:35,576 --> 00:19:39,232
which is where Ghost has her
rejuvenation chamber set up.
390
00:19:39,276 --> 00:19:41,147
We were looking for a location
391
00:19:41,191 --> 00:19:44,368
that felt like our
movie's riff
on a haunted house.
392
00:19:44,411 --> 00:19:45,717
ANT-MAN: Whoa!
393
00:19:45,760 --> 00:19:47,284
THE WASP: It's okay.
It's just the suit.
394
00:19:47,327 --> 00:19:49,460
REED: Basically, the idea was,
395
00:19:49,503 --> 00:19:51,897
this was the house
her parents had
way back in the '70s or '80s
396
00:19:51,941 --> 00:19:53,768
and she was now
living there alone.
397
00:19:53,812 --> 00:19:57,859
And we found this
bizarro house in a town
called Newnan, Georgia,
398
00:19:57,903 --> 00:20:01,124
which was this
modernist structure
built out of concrete
399
00:20:01,167 --> 00:20:03,648
that must've had its heyday
in the late '70s
or early '80s,
400
00:20:03,691 --> 00:20:05,084
but it was abandoned.
It was up for sale.
401
00:20:05,128 --> 00:20:07,304
This seems right.
402
00:20:07,347 --> 00:20:09,175
REED: So we shot our exteriors at this house
403
00:20:09,219 --> 00:20:11,134
and then recreated
the interiors on a stage.
404
00:20:13,919 --> 00:20:16,791
And it's just
such a unique structure
and texture in this movie
405
00:20:16,835 --> 00:20:19,490
and really suited
our character perfectly.
406
00:20:19,533 --> 00:20:20,534
[AVA GRUNTS]
407
00:20:25,887 --> 00:20:27,237
MAN: All right,
now we're set.
408
00:20:27,280 --> 00:20:29,500
And action!
409
00:20:29,543 --> 00:20:31,893
REED: I wanted to mix
the digital effects
410
00:20:31,937 --> 00:20:35,419
with as much real practical
locations as we could,
411
00:20:35,462 --> 00:20:38,117
and that's why in the back half of the movie through San Francisco,
412
00:20:38,161 --> 00:20:39,989
we shot in San Francisco.
413
00:20:40,032 --> 00:20:40,859
MAN: Go, go, go.
414
00:20:44,819 --> 00:20:47,997
San Francisco gives you
the beauty of the hills.
415
00:20:48,040 --> 00:20:50,956
Lombard Street, of course,
gives you the curves.
416
00:20:51,000 --> 00:20:55,352
So now you have a scene
that has cars, trucks,
motorcycles,
417
00:20:55,395 --> 00:20:58,616
small and large vehicles.
418
00:20:58,659 --> 00:21:02,533
And I think it was
a different way of creating
humor as part of a chase,
419
00:21:03,273 --> 00:21:04,622
but it was really about,
420
00:21:04,665 --> 00:21:06,145
"Oh, we're in trouble.
How do we get out of it?"
421
00:21:06,189 --> 00:21:07,625
THE WASP: Be careful up there.
422
00:21:07,668 --> 00:21:10,541
Hey, give me a break!
I haven't driven in two years!
423
00:21:10,584 --> 00:21:11,846
STEPHANE CERETTI:
We have some macro sets
424
00:21:11,890 --> 00:21:14,110
that we've built like
they did in the first one.
425
00:21:14,153 --> 00:21:16,025
But we kind of mixed them
a little bit more
with the locations.
426
00:21:16,590 --> 00:21:17,678
[SCREAMING]
427
00:21:25,077 --> 00:21:27,253
ALONSO: One of the
greatest things
that we could do
428
00:21:27,297 --> 00:21:31,040
is utilize the capability
of turning different
objects bigger
429
00:21:31,083 --> 00:21:32,780
and having a little
more fun with that.
430
00:21:32,824 --> 00:21:35,261
So we had the candy PEZ
431
00:21:35,305 --> 00:21:39,265
and we had
a 65-feet giant man.
432
00:21:39,309 --> 00:21:42,225
ANT-MAN: Anyone see
a southern gentleman
carrying a building?
433
00:21:42,268 --> 00:21:43,182
[BOAT HORN BLARES]
434
00:21:45,663 --> 00:21:49,754
So, we go from the micro
to the macro all the time,
consistently.
435
00:21:54,454 --> 00:21:56,456
KEVIN FEIGE:
We always wanna be able
to take our characters
436
00:21:56,500 --> 00:21:59,242
into places
we haven't seen them go.
437
00:21:59,285 --> 00:22:03,855
And that required
a lot of macrophotography
at different scales.
438
00:22:03,898 --> 00:22:06,597
So, if Scott is suddenly stuck at two-feet tall
439
00:22:06,640 --> 00:22:08,120
running around
his daughter's school,
440
00:22:08,164 --> 00:22:10,035
what is that gonna look like?
441
00:22:10,079 --> 00:22:13,038
And the quantum realm
is a whole other territory
442
00:22:13,082 --> 00:22:14,866
and a whole other terrain
that we could play with.
443
00:22:14,909 --> 00:22:17,216
Make sure you stay
out of the tardigrade fields.
444
00:22:17,260 --> 00:22:18,652
They're cute,
but they'll eat you.
445
00:22:18,696 --> 00:22:20,872
We just tried to
push everything
446
00:22:20,915 --> 00:22:23,222
even further
from what we did
in the first Ant-Man.
447
00:22:23,266 --> 00:22:26,791
Three, two, one.
448
00:22:28,880 --> 00:22:30,229
REED: And just
show the audience
449
00:22:30,273 --> 00:22:33,058
stuff that they will not see
in any other movie.
450
00:22:33,102 --> 00:22:35,016
Daddy!Oh, gross!
451
00:22:50,380 --> 00:22:51,816
[UPBEAT MUSIC PLAYING]
452
00:22:55,385 --> 00:22:56,168
Come on.
453
00:22:57,169 --> 00:22:58,170
MAN: And cut it.
454
00:22:59,476 --> 00:23:01,826
[LIPS FLAPPING]
455
00:23:01,869 --> 00:23:03,958
Oatmeal? Oh, I...
[SCATS] love it.
456
00:23:04,002 --> 00:23:06,135
The oatmeal? Oh, I...
[SCATS] love it, bro.
457
00:23:06,178 --> 00:23:07,962
I love me some oatmeal, bro.
[SCATS] Love it.
458
00:23:09,225 --> 00:23:10,661
You know what lengths
I've gone to?
459
00:23:12,358 --> 00:23:13,664
Close-up magic.
460
00:23:15,709 --> 00:23:16,449
[GRUNTS]
461
00:23:18,277 --> 00:23:20,149
I'm going to do that again
'cause that was terrible.
462
00:23:20,671 --> 00:23:22,063
[SNORTS] Huh?
463
00:23:26,198 --> 00:23:27,330
[CLATTERING][SNICKERS]
464
00:23:28,505 --> 00:23:30,202
You're not driving.
465
00:23:30,246 --> 00:23:31,595
[SNICKERS]MAN: Cut it.
466
00:23:31,638 --> 00:23:32,465
Thank you.
467
00:23:33,814 --> 00:23:35,164
[BOTH LAUGH]
468
00:23:35,990 --> 00:23:37,949
Shoot. [GRUNTS]
469
00:23:39,733 --> 00:23:40,691
Oh, God.
470
00:23:42,040 --> 00:23:42,780
MAN: Cut it. [LAUGHS][CREW LAUGHS]
471
00:23:47,698 --> 00:23:49,308
[VOCALIZING]
472
00:23:49,352 --> 00:23:51,571
Yeah. That the way
to do it.
473
00:23:55,053 --> 00:23:56,054
MAN: Backwards.All right.
474
00:24:02,495 --> 00:24:04,367
[GRUNTING]
475
00:24:09,110 --> 00:24:11,287
[SIGHS] What a ride.
476
00:24:12,288 --> 00:24:13,332
MAN: Cut it. [CHUCKLES]
477
00:24:13,376 --> 00:24:14,638
[CHUCKLES]
478
00:24:15,508 --> 00:24:16,248
Whoo!
479
00:24:23,734 --> 00:24:27,041
Talk about compact cars!
480
00:24:27,085 --> 00:24:30,610
Damn! Should have paid
those parking tickets.
481
00:24:30,654 --> 00:24:34,266
Oh, no. My sandwich
was in there.
482
00:24:34,310 --> 00:24:37,226
Well, at least
now I'll be able to
park in San Francisco.
483
00:24:38,531 --> 00:24:41,491
Oh, man. I just
stole this car.
484
00:24:42,318 --> 00:24:44,929
Thank God it's a rental.
485
00:24:44,972 --> 00:24:47,236
Well, looks like I'm walking.
486
00:24:48,106 --> 00:24:52,197
Oh, geez, all my coupons
were in there.
487
00:24:52,241 --> 00:24:55,244
Talk about diminishing
returns. Oh, man.
488
00:24:56,332 --> 00:24:59,378
Everything is
shrinking on me.
489
00:24:59,422 --> 00:25:03,121
Well, the '60s were fun,
but now I'm paying for it.
490
00:25:09,040 --> 00:25:10,563
BOAT CAPTAIN: We're gonna
have a lot of fun today.
491
00:25:10,607 --> 00:25:12,304
We're gonna be out
for three-four hours.
492
00:25:12,348 --> 00:25:15,307
Hopefully, we're gonna see
some humpbacks, right?
493
00:25:15,351 --> 00:25:17,353
Get some humpback whales.
494
00:25:17,396 --> 00:25:19,398
They're thinking,
"What is this,
the latest dance craze?"
495
00:25:19,442 --> 00:25:21,182
The Humpback...
I don't know how it would go.
496
00:25:21,226 --> 00:25:23,315
What would it even be?
497
00:25:23,359 --> 00:25:25,883
I'm personally a whale-head.
I freak for whales.
498
00:25:25,926 --> 00:25:28,146
I've loved them
ever since I was a kid.
499
00:25:28,189 --> 00:25:31,367
I'm not trained, really,
in biology or knowing
anything about them.
500
00:25:31,410 --> 00:25:33,978
I've memorized
a couple of facts,
but I couldn't go deep.
501
00:25:34,021 --> 00:25:37,024
This is not a whale learning
cruise, this is a whale
watching cruise.
502
00:25:37,068 --> 00:25:38,983
Oh, wait. Well, hold on, now.
Looks like...
503
00:25:39,026 --> 00:25:41,551
It looks like we might have
some company here, folks.
504
00:25:41,594 --> 00:25:42,639
Yup.
505
00:25:42,682 --> 00:25:45,032
That's a breach.
506
00:25:45,076 --> 00:25:49,385
Oh, look at that. Could be
Moby Mick. That's, uh,
Moby Dick's Irish cousin.
507
00:25:49,428 --> 00:25:51,648
Okay, folks, I can say that.
I'm Irish.
508
00:25:51,691 --> 00:25:53,606
Dutch-Irish, actually.
509
00:25:53,650 --> 00:25:56,653
[STAMMERS]
That's not a whale.
510
00:25:56,696 --> 00:26:00,309
Uh, okay, folks, don't panic.
Please just, uh...
511
00:26:00,352 --> 00:26:02,485
Don't panic, don't panic.
512
00:26:02,528 --> 00:26:05,662
Jump! Jump! Jump overboard!
[SCREAMS]
513
00:26:05,705 --> 00:26:09,361
Daniel Gooobler.
G-O-O-O-B-L-E-R.
514
00:26:09,405 --> 00:26:13,234
G-O-O-O-B-L-E-Y-E-R.
515
00:26:13,278 --> 00:26:16,455
G-O-O-O-B-Y-L-E-Y-E-R.
516
00:26:16,499 --> 00:26:18,631
Gooobler. Daniel.
517
00:26:18,675 --> 00:26:20,677
If you want,
I can jump in your patrol car.
518
00:26:20,720 --> 00:26:22,113
We can go out
and hunt this perp down.
519
00:26:23,897 --> 00:26:26,247
Well, we gotta close
the bridges down,
at least, don't you think?
520
00:26:27,510 --> 00:26:28,815
[STAMMERS]
521
00:26:28,859 --> 00:26:30,556
Yeah, I was thinking about
being a cop myself,
522
00:26:30,600 --> 00:26:31,905
but the hours
don't make sense.
523
00:26:47,573 --> 00:26:50,402
JANET: There's so much
we didn't know
about this place, Henry.
524
00:26:50,446 --> 00:26:53,274
Worlds upon worlds.
Entire civilizations.
525
00:26:53,318 --> 00:26:56,060
Far more than
we ever theorized.
526
00:26:56,103 --> 00:26:57,235
[DISTORTED BELLOWING]
527
00:26:59,846 --> 00:27:01,152
It's okay.
528
00:27:01,195 --> 00:27:02,371
[PANTING]
529
00:27:04,329 --> 00:27:06,375
Passing through.
We stake no claim.
530
00:27:13,643 --> 00:27:16,994
DISTORTED VOICE: Go in peace.
531
00:27:22,608 --> 00:27:23,609
There.
532
00:27:32,923 --> 00:27:34,403
This better be good, Uzman.
533
00:27:34,446 --> 00:27:36,230
We checked every
security camera in the area,
534
00:27:36,274 --> 00:27:38,537
they all had ants on them.Ants?
535
00:27:38,581 --> 00:27:40,670
No ants in this one, though.
536
00:27:40,713 --> 00:27:42,759
Exterminator sprayed
the store two days ago.
537
00:27:43,977 --> 00:27:45,196
[CLEARS THROAT]
538
00:27:48,939 --> 00:27:50,201
[STORE OWNER EXCLAIMS]
539
00:27:52,333 --> 00:27:54,292
What is that?
540
00:27:56,599 --> 00:27:59,428
Well, that, my friend, is how
I'm staying in the picture.
541
00:27:59,471 --> 00:28:01,473
Now, the tech in that lab's
gotta be worth billions.
542
00:28:01,517 --> 00:28:02,605
Find them.
543
00:28:02,648 --> 00:28:04,215
And, Uzman...
544
00:28:04,258 --> 00:28:06,347
I wanna know who that is.UZMAN: Right.
545
00:28:10,961 --> 00:28:12,353
You wouldn't happen to have
546
00:28:12,397 --> 00:28:13,920
a first edition copy
of Dianetics,would you?
547
00:28:13,964 --> 00:28:16,357
You're in luck.Signed?
548
00:28:22,581 --> 00:28:25,105
PEYTON REED: So this is a scene we cut from the movie,
549
00:28:25,149 --> 00:28:26,977
it is Hank and Janet
in the quantum realm.
550
00:28:27,020 --> 00:28:28,892
I really quite like
this scene.
551
00:28:28,935 --> 00:28:31,111
They're making
their way back to the pod
552
00:28:31,155 --> 00:28:34,593
and she's explaining a bit
about the quantum realm.
Just a hint.
553
00:28:34,637 --> 00:28:37,509
And they come upon
this quantum creature.
554
00:28:37,553 --> 00:28:39,816
A very large,
threatening creature,
555
00:28:39,859 --> 00:28:42,732
and Janet knows
how to handle her business.
556
00:28:42,775 --> 00:28:46,126
It was important here
to show a scene where
there's no combat,
557
00:28:46,170 --> 00:28:49,434
but she has this device,
this piece of technology
558
00:28:49,478 --> 00:28:53,090
that's similar to say, the Babel fish inHitchhiker's
Guide to the Galaxy
559
00:28:53,133 --> 00:28:56,397
that's able to translate
and she's able to broker
560
00:28:56,441 --> 00:28:57,703
a temporary peace deal
with this creature,
561
00:28:57,747 --> 00:28:59,183
and it moves along.
562
00:28:59,226 --> 00:29:01,751
She assures them that they're just passing through.
563
00:29:01,794 --> 00:29:04,928
And you see Hank's reaction
there, which is quite fun.
564
00:29:10,803 --> 00:29:13,414
PEYTON REED: This is
a scene we cut where
Sonny Burch and his guys
565
00:29:13,458 --> 00:29:16,766
are looking for clues
about Hank Pym and the lab.
566
00:29:16,809 --> 00:29:19,420
And they come upon this
San Francisco bookstore.
567
00:29:19,464 --> 00:29:22,293
This is Dave Gruber Allen as the owner of the bookstore.
568
00:29:22,336 --> 00:29:24,295
And his security camera
569
00:29:24,338 --> 00:29:26,602
happens to have caught
the exact moment
that the lab shrinks.
570
00:29:26,645 --> 00:29:28,821
The other cameras
were covered with ants.
571
00:29:28,865 --> 00:29:31,041
He happened to have
had the exterminator
out a day before,
572
00:29:31,084 --> 00:29:33,478
so his camera catches it.
573
00:29:33,522 --> 00:29:37,787
And Sonny Burch sees
dollar signs and also wants
to know who Scott Lang is.
574
00:29:37,830 --> 00:29:41,530
We also end this scene
with a Scientology joke.
575
00:29:41,573 --> 00:29:44,141
Where Sonny Burch
suddenly has a desire
576
00:29:44,184 --> 00:29:46,404
to buy a first-edition copy
ofDianetics.
577
00:29:46,447 --> 00:29:48,972
We thought it was funny.
It didn't make the movie.
578
00:29:49,015 --> 00:29:50,408
You wouldn't happen to have
579
00:29:50,451 --> 00:29:52,018
a first-edition copy
of Dianetics,would you?
580
00:29:52,062 --> 00:29:55,021
You're in luck.Signed?
581
00:30:03,813 --> 00:30:05,336
KEVIN FEIGE:
Film is a visual medium.
582
00:30:06,685 --> 00:30:08,600
We have the comics,
583
00:30:08,644 --> 00:30:10,733
which is
an incredible advantage,
an incredible start.
584
00:30:10,776 --> 00:30:13,605
Our visual development group
led by Ryan Meinerding
585
00:30:13,649 --> 00:30:15,781
for the better part of
a decade
586
00:30:15,825 --> 00:30:18,741
has been that huge step
between the comics
and the screenplay.
587
00:30:21,047 --> 00:30:23,833
And then even between
the screenplay
and on to the final product
588
00:30:23,876 --> 00:30:25,835
that brings these things
to life.
589
00:30:27,097 --> 00:30:29,012
LOUIS D'ESPOSITO:
Years of comic book lore
590
00:30:29,055 --> 00:30:31,405
doesn't just fall off
the page onto the film.
591
00:30:31,449 --> 00:30:33,494
Their whole team
is absolutely phenomenal.
592
00:30:33,538 --> 00:30:37,368
They're developing
our characters
and inspiring the writers.
593
00:30:38,848 --> 00:30:40,719
It's having
another point of view.
594
00:30:40,763 --> 00:30:43,635
And I think that
when you open the door
to that potential,
595
00:30:43,679 --> 00:30:45,463
then you can create
something great.
596
00:30:48,292 --> 00:30:52,209
Being that medium between
the comics and what is
actually on screen
597
00:30:52,252 --> 00:30:53,819
has been a joy that
I couldn't have imagined.
598
00:31:03,350 --> 00:31:05,831
The visual development
department is a very small
team of artists
599
00:31:05,875 --> 00:31:07,441
that have worked
at Marvel Studios
600
00:31:07,485 --> 00:31:10,053
almost the entire time
that Marvel Studios
has existed.
601
00:31:10,096 --> 00:31:12,621
ANDY PARK:
It was created in 2010.
602
00:31:12,664 --> 00:31:15,841
Kevin Feige, Louis D'Esposito
and Victoria Alonso,
603
00:31:15,885 --> 00:31:19,932
they saw that it would be
beneficial to create
an in-house art team
604
00:31:19,976 --> 00:31:21,673
living and breathing
these characters,
605
00:31:21,717 --> 00:31:23,022
that know this world.
606
00:31:25,895 --> 00:31:27,200
[CROWD GASPS]
607
00:31:27,244 --> 00:31:28,811
FEIGE: Ryan Meinerding
was somebody
608
00:31:28,854 --> 00:31:31,465
who was introduced to us
by John Favreau,
609
00:31:31,509 --> 00:31:35,513
who is I believe the best living concept artist in the world.
610
00:31:36,383 --> 00:31:38,124
Maybe the best of all time.
611
00:31:42,999 --> 00:31:45,262
He's incredibly talented.
612
00:31:45,305 --> 00:31:47,699
Not just in his ability
to paint an image,
613
00:31:47,743 --> 00:31:51,529
but in his ability to come up
with the idea of
what that image should be.
614
00:31:56,229 --> 00:31:58,362
What's really unique
about working at
Marvel Studios
615
00:31:58,405 --> 00:32:00,320
and we're very fortunate
in the visual development
department
616
00:32:00,364 --> 00:32:03,236
is able to work on characters from multiple, multiple projects.
617
00:32:04,760 --> 00:32:06,718
Starting with Captain America:
The First Avenger,
618
00:32:06,762 --> 00:32:09,329
I was able to design
his costume
from that movie on
619
00:32:09,373 --> 00:32:12,811
throughAvengers
andAvengers 2 and onward.
620
00:32:16,206 --> 00:32:19,035
One thing that's great
about working on characters
621
00:32:19,078 --> 00:32:22,908
that have to sort of
intermingle in different
worlds within the universe
622
00:32:22,952 --> 00:32:25,606
is that we're really focusing really on that one movie.
623
00:32:25,650 --> 00:32:27,478
We're trying to figure out
624
00:32:27,521 --> 00:32:29,088
what the look
for the character is
in that movie.
625
00:32:29,132 --> 00:32:30,568
But one of the reasons
why they tend to
work together is
626
00:32:30,611 --> 00:32:33,310
because it's the same
small crew of artists
627
00:32:33,353 --> 00:32:36,617
that are ctually doing
a lot of the design work.
628
00:32:36,661 --> 00:32:38,881
The people that are working
onGuardians of the Galaxy
629
00:32:38,924 --> 00:32:40,752
are right next door
to the people working
on theAvengers movie.
630
00:32:46,323 --> 00:32:48,281
My role is to create
concept art and imagery,
631
00:32:48,325 --> 00:32:50,544
to really design
the characters...
632
00:32:50,588 --> 00:32:53,634
Environments,
sometimes props, vehicles...
633
00:32:53,678 --> 00:32:55,549
MEINERDING: Hero characters, the villain characters...
634
00:32:55,593 --> 00:32:57,769
RODNEY FUENTEBELLA:
Costumes, helmets...PARK: Creatures...
635
00:32:57,813 --> 00:32:59,771
There's a lot more things
to play with
636
00:32:59,815 --> 00:33:03,383
but at the same time,
there's so much more work
that needs to be done
637
00:33:03,427 --> 00:33:05,951
in order to make
these characters feel alive.
638
00:33:13,393 --> 00:33:14,917
MEINERDING:
The amount of man-hours
639
00:33:14,960 --> 00:33:16,309
that go into making designs
that we work on,
640
00:33:16,353 --> 00:33:17,397
it's pretty intense.
641
00:33:17,441 --> 00:33:19,660
Three to four months
of solid time.
642
00:33:19,704 --> 00:33:22,751
And there's nothing
that's actually real yet.
643
00:33:22,794 --> 00:33:24,143
I mean, everyone sort of
takes it for granted
644
00:33:24,187 --> 00:33:25,623
what Iron Man's RT
looks like,
645
00:33:25,666 --> 00:33:27,756
what his contrail was.
646
00:33:27,799 --> 00:33:29,540
There were multiple design
passes at trying to
figure out...
647
00:33:29,583 --> 00:33:31,194
Is it a little bit blue?
Is it a little bit red?
648
00:33:31,237 --> 00:33:32,630
Is it a little bit orange?
649
00:33:32,673 --> 00:33:34,153
How long is the burst
of energy out of it?
650
00:33:37,809 --> 00:33:39,202
We were trying to figure out
how to make things
651
00:33:39,245 --> 00:33:41,204
as iconic as they made them
back then.
652
00:33:41,247 --> 00:33:44,120
If they only had line work
and four colors,
653
00:33:44,163 --> 00:33:45,686
and they're able to
make something
654
00:33:45,730 --> 00:33:47,819
that resonates with people
for 60, 70 years,
655
00:33:47,863 --> 00:33:49,429
how can we find a way
of putting it into our work?
656
00:33:51,736 --> 00:33:53,390
ANTHONY FRANCISCO:
Those are the challenges
we love to face.
657
00:33:53,433 --> 00:33:55,566
I always see it
as a new puzzle to solve.
658
00:33:55,609 --> 00:33:58,134
Pay tribute and be true
to the source material.
659
00:33:59,352 --> 00:34:03,052
Oh, yeah.
660
00:34:03,095 --> 00:34:06,272
And bring it into the language
that the MCU has established.
661
00:34:09,885 --> 00:34:12,365
I got to design Baby Groot
from the pot
662
00:34:12,409 --> 00:34:15,412
to the walking
Baby Groot from
Guardians of the Galaxy 2,
663
00:34:15,455 --> 00:34:19,851
and the teen Groot
you see inInfinity War.
664
00:34:19,895 --> 00:34:23,420
So watching that progression, it's like my baby, it's growing up.
665
00:34:23,463 --> 00:34:24,464
I am Groot.
666
00:34:26,727 --> 00:34:28,860
[STRAINING]
667
00:34:28,904 --> 00:34:30,557
One of the great things
about the department is
668
00:34:30,601 --> 00:34:32,908
a lot of us that work
in the department are fans.
669
00:34:32,951 --> 00:34:37,260
There's a cover by Mark Bright
that got me into
collecting comic books.
670
00:34:37,303 --> 00:34:41,481
InIron Man 3, I had
the honor of actually
designing the MCU version
671
00:34:41,525 --> 00:34:43,483
of the Silver Centurion suit,
672
00:34:43,527 --> 00:34:46,660
and the fanboy in me
was just going crazy.
673
00:34:49,054 --> 00:34:50,534
Like, I couldn't believe it.
It was surreal.
674
00:34:54,190 --> 00:34:55,669
MEINERDING:
What I'm very proud of
675
00:34:55,713 --> 00:34:56,757
is those suits look great
from a distance,
676
00:34:56,801 --> 00:34:58,281
but if you get
up close to them...
677
00:34:58,324 --> 00:34:59,760
FRIDAY: We have some
weapons systems offline.
678
00:34:59,804 --> 00:35:02,720
ANT-MAN: Oh, you're gonna
have to take this
ito the shop.
679
00:35:02,763 --> 00:35:05,679
MEINERDING: There's a level of resolve to them like they should exist in the world.
680
00:35:05,723 --> 00:35:07,203
FUENTEBELLA: Something that
the fans are familiar with,
681
00:35:07,246 --> 00:35:09,901
but at the same time,
works well on film.
682
00:35:09,945 --> 00:35:12,948
MEINERDING: Costume designers and costume departments can sort of feed off that.
683
00:35:12,991 --> 00:35:16,038
Not only match
what we've created,
but try to elevate past it.
684
00:35:16,081 --> 00:35:17,126
You gave her wings?
685
00:35:19,693 --> 00:35:23,045
Sometimes the filmmakers
bring a lot of very specific
ideas with them.
686
00:35:23,088 --> 00:35:25,525
It was great working
with Taika Waititi
because he was like,
687
00:35:25,569 --> 00:35:27,658
"I want Hela to look
like the comic.
688
00:35:27,701 --> 00:35:31,270
"Olivier Coipel, Alan Davis,
Jack Kirby inspired."
689
00:35:31,314 --> 00:35:34,099
I would make the antlers
small so it'd be more
easy for the actor,
690
00:35:34,143 --> 00:35:35,231
but he was like, "No!"
691
00:35:35,274 --> 00:35:38,103
Did you listen
to a word I said?
692
00:35:38,147 --> 00:35:40,236
"I want it, like,
five feet wide."
693
00:35:40,279 --> 00:35:41,890
I was like,
"How are they gonna do this?"
694
00:35:44,066 --> 00:35:47,199
JACKSON SIZE: Lot of times,
as a concept artist
in the industry,
695
00:35:47,243 --> 00:35:50,724
you're responsible for
the preproduction work,
and you leave.
696
00:35:50,768 --> 00:35:52,901
Two years later the movie
comes out and you just watch
on screen
697
00:35:52,944 --> 00:35:54,990
and see what resulted
in your work.
698
00:35:55,033 --> 00:35:56,948
For us,
we actually get to see
the post-production process.
699
00:35:56,992 --> 00:36:00,169
It is probably one of
the greatest feelings
an artist can have
700
00:36:00,212 --> 00:36:03,085
is to see your work
translate onto the screen.
701
00:36:05,261 --> 00:36:06,827
MEINERDING: The stuff
that we worked on
702
00:36:06,871 --> 00:36:09,265
becomes a springboard
for the next thing.
703
00:36:09,308 --> 00:36:11,223
But you actually get to tell
the story of the character
through the costume.
704
00:36:11,267 --> 00:36:12,833
It's an incredible
storytelling device,
705
00:36:12,877 --> 00:36:15,097
but it's also an incredible
source of inspiration for us.
706
00:36:15,140 --> 00:36:16,576
STEVE: There are men
laying down their lives.
707
00:36:16,620 --> 00:36:18,796
I got no right
to do any less than them.
708
00:36:18,839 --> 00:36:20,754
The Avengers was supposed
to be different
than S.H.I.E.L.D.
709
00:36:20,798 --> 00:36:21,930
I can do this all day.
710
00:36:26,717 --> 00:36:29,589
Sometimes the filmmakers
use us as sort of
like a test ground
711
00:36:29,633 --> 00:36:31,722
to see if something
that they're thinking of
would look cool.
712
00:36:31,765 --> 00:36:33,158
What we call key frame
illustrations.
713
00:36:36,161 --> 00:36:37,946
An illustration
that summarizes a scene.
714
00:36:37,989 --> 00:36:39,773
I do a lot of
action sequences.
715
00:36:39,817 --> 00:36:42,167
Get the energy in those comics' splash pages.
716
00:36:42,211 --> 00:36:44,561
It's very difficult to create
that sense of detail,
717
00:36:44,604 --> 00:36:46,606
primarily because
it's live action.
718
00:36:46,650 --> 00:36:49,261
MEINERDING:
Sometimes those images
really help define
719
00:36:49,305 --> 00:36:50,610
very important moments
in the film.
720
00:37:02,318 --> 00:37:04,494
Every character
that you see on screen,
721
00:37:04,537 --> 00:37:07,192
that was hours and hours
and days and days
and months and months
722
00:37:07,236 --> 00:37:08,889
of work by so many people.
723
00:37:14,069 --> 00:37:16,419
MY DING:
Some of that comes
from the awesome content
724
00:37:16,462 --> 00:37:19,639
and the fact that
the producers and directors
are really pushing us,
725
00:37:19,683 --> 00:37:21,032
but I think a lot of it
comes from camaraderie.
726
00:37:23,513 --> 00:37:26,255
That we get to go to premiers
together and hang out,
have dinner beforehand,
727
00:37:26,298 --> 00:37:27,865
and that I enjoy
collaborating with.
728
00:37:27,908 --> 00:37:29,954
I'm actually very fortunate
to lead a team of people
729
00:37:29,998 --> 00:37:31,390
that are just amazing
at what they do.
730
00:37:44,316 --> 00:37:46,101
[INSTRUMENTAL MUSIC PLAYING]
731
00:37:48,755 --> 00:37:50,279
WOMAN: Imagine a place
732
00:37:52,281 --> 00:37:54,674
with leaders, creators
and inventors,
733
00:37:56,328 --> 00:37:59,244
scholars, artists, pioneers,
734
00:38:01,290 --> 00:38:02,334
and you.
735
00:38:02,378 --> 00:38:03,683
[MUSIC CONTINUES]
736
00:38:06,599 --> 00:38:10,125
We teach our pupils to harness the power within themselves,
737
00:38:11,387 --> 00:38:14,172
to help transform
the hearts of millions.
738
00:38:18,611 --> 00:38:21,049
Discover the infinite
possibilities.
739
00:38:24,400 --> 00:38:26,097
[WOMAN READING]
60395
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