All language subtitles for Ant-Man.and.the.Wasp.2018.Digital.Extras.720p.AMZN.WEB-DL.DDP5.1.H.264-NTG_Subtitles01-en

MAN: And camera.

And action!

We got to get out of here.
Fast.

I have an idea.MAN: What's your idea?

Okay, so, first,
we're all gonna get together
as a big group,

and then, we're gonna go out
for a little seafood

because it's better to...
Operate on a full stomach.

[CREW LAUGHING]

Paul is so naturally funny
and likable

in everything that he brings
to the Marvel Universe.

And action!

BROUSSARD: He's just one of
the funniest guys

I've ever had the pleasure of working with.

It's been fun to watch him
bring Scott Lang to life.

Was it in a wardrobe?No.

It was in a...
Like a tall dresser.

You mean a wardrobe.Is that what that's called?

They broke the mold
after they made Paul Rudd.

MAN: Cut it.PFEIFFER: He is unique.

He has this incredibly dry,
sweet, wicked sense of humor

behind this
very boyish face.

Hi-ya, champ.
How was school today?

[LAUGHS MOCKINGLY]

All right,
get your jokes out now.

Let's do one more.

PEYTON REED: I always
think of Scott Lang
as the real everyman

in the Marvel
Cinematic Universe

because he's not
a super scientist.

Wait, what's happened?REED: He's not a billionaire.

A secret vault!

Did you bring
the contact lens?Yes.

REED: Scott's whole goal is to really just be a better father to his daughter.

[BOTH SCREAMING]

And that definitely continues in this movie.

Crash landing!

CASSIE: Whoo![SCOTT SIGHS]

[GROANS]

I wish we could
shrink for real.Oh. That is pretty cool.

One of the things
that I really like about
playing this character is that

he is thrown into these
extraordinary circumstances.

ANT-MAN: We got you now, Ava.

Whoa!

RUDD: I mean, truly.

Yes! Shrinking and flying
around on ants...

ANT-MAN: No, no, no.
[SCREAMING] Ant-onio!

RUDD: Entering quantum realms.

And yet,[GASPING]

one thing that we've
always tried to sustain...

When I say "we"
I mean, uh, me because
I speak of myself in plurals.

Sorry, you...

RUDD: Is this way of dealing
with everything

with a little bit
of a sense of humor.

What are we gonna do now?
How are we gonna get out of...

How are we getting out
of this one? Any fine plans?

RUDD: I always think
of Bill Murray inStripes.

Actually, Bill Murray
in anything.

He just has this way
about him

that he just seems to
not take any of it seriously.

Humor is the way
we deal with these traumas.

You know...

I just love that.

[LAUGHING] About Bill Murray,
not about myself
or my portrayal of the role.

Paul has this
great quirkiness,
this little twinkle.

I mean, if I talk like this
the whole time,
it won't be annoying?

DOUGLAS: He's a writer also
as well as being
a wonderful actor.

He comes up with some
great clever lines.

Hey, what was your
favorite part about
what I did back there?

[CLICKS TONGUE]
Let me think about that.

Oh, hold on.

[CREW LAUGHING]

MAN: Ready, and action.

How long have you
been Ant-Man again?

Scott's devotion to
his family, to his little girl

was something that I very much liked and appreciated.

[MIMICS RETCHING]

And I think that the fun
we have on set sort of
translates onto the screen.

[ALL LAUGHING]

Paul's a really good friend
of mine. Judy Greer
is a great friend of mine.

So we just do
a lot of laughing on set.

Paul, on set, on the fly,
can make anything funnier.

CASSIE: Bye, Daddy!MAGGIE: Bye!

Bye!

He understands that, like,
if everyone else
does really well,

he does well.Good scene, everyone.

Let's have fun with this one.Best scene in the movie.

[IMITATES ENGINE REVVING]

Is it bad if I start
the scene and go like this?
[IMITATES ENGINE REVVING]

DAVID DASTMALCHIAN:
We'll get on set...Hey, dudes.

...and we will,
all of a sudden, see Paul Rudd
do some hilarious improv.

Oh! I don't have a watch.

[ALL LAUGHING]

And instead of the people,
off-camera,
pulling their hair out,

they're pulling their pens out and they're getting excited.

I like weird jokes.
By the way, as does Marvel.

As does Kevin Feige
and Stephen Broussard.

They're all comedy lovers.

MAN: All right, here we go.
Picture!

You'd be shocked at
how many insane ideas
you can go to them with

and they're like,
"Oh, yeah. Okay, that's cool."

MAN: Three, two, one, action![ALL SCREAMING]

REED: Because these are not
small movies.

So, to be able to
approach it in that way

where you're really trying
some way outside-of-the-box
things,

that's fun.

ANT-MAN: Hi. Sorry. Hi.

It's okay. It's okay.

Sorry. No, I'm not a whale.
This will just take a second.

[LAUGHTER]

BROUSSARD: Paul has brought
Scott Lang to life

with so much humanity
and heart and humor.

[THE WASP LAUGHS]

He walks that line between
a guy that can't get out
of his own way

and someone that you
care very deeply for,

and that's a testament
to Paul's innate abilities

as an actor, as a comedian
and as a writer.

[CREW LAUGHING]

This movie might be
the last thing you'd want.

But it might just be
the one thing
you need to save your life.

Yeah!

RUDD: And if we can
just save one life,

I think it would have
been a success

and worth it, in every way.

[ALL CHEERING]

[CLATTERS]

MAN: Cut it. Cut.[CREW LAUGHING]

Maybe you just need someone
watching your back...

[MEN GRUNTING]

CASSIE: Like a partner.

There are a lot of things
that excite me about Ant-Man and The Wasp,

but I think the biggest
is to see Wasp herself.

To see Hope Van Dyne
as a fully-formed hero
in this movie.

The first and foremost
primary motivation

and reason to play Hope again was to put on that suit.

She so desperately wanted
to follow in the footsteps
of her parents,

who had been incredible
superheroes in their day
and in her formative years.

So she's finally doing that.

Pleasure doing business
with you, Sonny.

You could see in that
first film that she was,
frankly, more capable

than Scott Lang was
at being a superhero

and her father, because
of the loss of her mother,

emotionally didn't
want her to do this.

And now we get to see her

with the gloves off
and becoming a superhero.

The film, not by accident,
isn't called Ant-Man 2,

it's called
Ant-Man and The Wasp.

And it's really the story
of these characters

coming into their own
as a team.

THE WASP: Follow my lead.

By the way, I love that suit!

Thanks, man.

LILLY: The Wasp costume
that you saw at the end
of the first film

was an old prototype
from the 1980s.

So it looks totally different.

HANK: Your mother
never got to use it.

And now I realize

that we were working
on it for you.

LILLY: Because
technology has evolved,

I updated the suit
with my father,

we made a new one
based on the prototype

that fit Hope's needs
for this day and age.

It's about damn time.

IVO COVENEY: This is one of
Evangeline's costumes.

Trying to find this color
took a very, very long time,

because somebody at Marvel
jokingly said

this is a combination
of gold and silver.

And they decided to say
that it was gilver.

So what we've got here

is we've got
a reflective silver
in the background,

and then we've got
a patent leather gold

which is cut with a honeycomb on two different levels,

just to try and get
this elusive gilver color.

This piece here,
just the stomach of that,

there are over 90 pieces
just in that.

Because it needs to move,
it needs to be flexible,

we don't want it
to restrict Evangeline.

FEIGE: Scott has
probably not put on

the Ant-Man suit since the events ofCivil War.

Hope, on the other hand,
has been wearing
The Wasp suit since then.

So she is
a much better fighter,
as she was before.

The Wasp suit has wings
and allows flight.

It's got stingers
so she can shoot criminals
as she shrinks and grows.

You gave her wings?

And blasters.

Something just
changed in my DNA
and I felt like a superhero

and I was so excited to get in front of the camera.

And up to that point,
I was so nervous about
taking on this mantle.

But the costume tucks away
all of those feelings

and I can walk on set
with confidence
and feel like The Wasp.

MAN 1: All right, here we go.
Let's roll, please. Rolling.

MAN 2: Rolling.MAN 3: GoPro.

MAN 1: Camera set. Here we go.

And action!

[MEN GRUNTING]

GEORGE COTTLE:
From the very beginning,

we knew there was going to be a come-out moment for Wasp.

There was going to be
her real kind of,

"This is my character,
this is who I am."

And it was going to be
the restaurant sequence.

The stunt team had four to five weeks of pretty intensive training.

So when Evangeline would turn up before filming,

we'd have a really great idea
of exactly what we need to do.

REED: That's been great,
in terms of figuring out
how she moves,

how she fights,
how she flies.

Seeing these two fight
in tandem, together.

Like how do they coordinate
their power sets?

Peyton had mentioned
a few things that
he really liked

and then Evangeline
would come in and then
we would kind of tweak it

for how she would see
her character moving.

I was asking to build
a lot of these S-curves
into her fight style.

I think for me,
that's just a suggestion
of fluidity and grace

and when she fights,
I feel like she should
look effortless.

This was just something
she was born to do.

She seems...

More intense.

FEIGE: Seeing her kick ass
is awesome.

Seeing Scott desperately
try to keep up
with that is hilarious.

ANT-MAN: You go low,
I'll go high.

THE WASP: I have wings!
Why would I go low?

MICHAEL DOUGLAS: It's a real
joy to watch Evangeline
come into her own.

I get a kick out of watching
her excitement,

her incredible hard work.

So, I'm proud of her.

REED: It was really fun
for me to work

really closely with Evangeline
in developing this character,

because we wanted her to be
a three-dimensional character.

And we got
extremely specific about
her personality as a hero.

Hi.

REED: She's very confident
and she's very decisive

and she's so focused.

So that was really exciting,

to really present this hero
for the first time
in a Marvel movie.

HANK: When Scott went to
the quantum realm
and came back...

I started to wonder,

could your mother
still be alive?

PAUL RUDD: There are moments
where it doesn't matter
how many films you do,

you find yourself on a set
and you think,

"Oh, wow.
There's Michael Douglas

"and there's Michelle Pfeiffer
and whoa... [CHUCKLES]

"How did I get here?"

Miss Van Dyne,
it's nice to...

Well, I guess
we've already met.

I guess we have.

PFEIFFER: I sawAnt-Man
and I really loved it.

The movie was really smart...

And really funny

and also grounded
in reality.

It had this
unusual tone to it.

You mention my wife again

and I'll show you ferocity.

DOUGLAS: My whole career
has been pretty much
contemporary films.

So to get in to this other
world, the quantum realm...

Ready to dive.

DOUGLAS: And anything goes,
is a trip.

Hank!

PEYTON REED: Hank Pym is definitely a hero,

but he does make
some decisions that might be
a little morally dubious.

Oh, now, that's my girl.

REED: I like that,
and particularly it plays

to the strengths of
Michael Douglas as an actor.

There's a real beautiful
gray area to most of the
characters that he plays.

Hank Pym is a guy who kind of
keeps this thing grounded.

Keeps a degree of credibility and reality.

The bolt is
on the other side.

Tighten that one down and
then bring it down one notch.

Michael Douglas
is very charming
and he's witty.

Hey, Scott.
You think you can stop
daydreaming about my daughter

long enough to get my lab?

Yes, sir.Thank you.

PFEIFFER: He portrays
a kind of an arrogance

and then he's also
able to show vulnerability
when he needs to do that.

Janet?

I think that's
a really hard line to walk.

Hi, honey.

EVANGELINE LILLY:
The very first day
that I worked with him,

I remember immediately
when they called action

and he started to perform,

it was like
he changed the chemistry
of the molecules in the air.

She turned off
her regulator,

and went subatomic.

Then she was gone.

I felt immediately transported

into this world of Hank Pym
and Hope Van Dyne.

I think it's possible
to bring her back.

DOUGLAS: We do flashbacks,

and the chance to act with Michelle Pfeiffer

as we looked 30 years ago,

well, who wouldn't like that?

[SNORTS][BOTH GIGGLE]

I loved that she's such
a seminal character

in the Marvel
comic book world,

and that she was
one of the founding members
of the Avengers.

I would have lots of
conversations with Peyton
that Janet was a warrior

and she is a very important
and brilliant scientist
unto herself

which was exciting to me.

I told Marvel four years ago,

"If you ever bring
a Janet Van Dyne
into one of these films,

"please make it
Michelle Pfeiffer!

"I really want
Michelle Pfeiffer
to play my mom."

Not only is she the most beautiful woman to have ever walked planet Earth,

she was also so cool.

And I somehow wound up

with Michelle Pfeiffer
and Michael Douglas
playing my parents

and both being equally
incredible and talented.

Let's go see our daughter.

DOUGLAS: There was just
a fun factor to it.

I got this whole new
generation of people
under 15 years old

and they say,
"Hey, Hank Pym."

MAN: And crash.

I loved, at this phase,
let's say, in my life,

that I'm playing a superhero.

The message that it sends
to women of all ages

that we are
still kicking ass.

JANET: Come on!

I really wanted to
open up this movie
even more than the first one.

We wanted to come up
with new and different
and weird ways

to use the shrinking
and growing technology
in this movie.

And I want it
be photorealistic

because the Ant-Manmovies
don't take place

in outer space or in Asgard.

They take place
in the real world.

There it is, right there.
Get the lab.
[STAMMERS] Get the lab!

[BEEPS]

Oh, my God! Oh, my God,
we're gonna die!

When it came time
to design and build
Hank and Hope's laboratory,

I fought really hard to have
Hank's lab be a real tactile
functioning set.

There are digital extensions,

but the set is
this massive set
that we built.

And it's important

because the real world
has to look and feel
like the real world.

Hi, I'm Shepherd Frankel,
production designer on Ant-Man

and welcome to Hank Pym's
shrinking lab.

When we walk in here
the idea is to feel

a really crushed
horizontal space
with a reflective ceiling.

We wanted this moment
of walking into the lab

to be really dramatic.

[ANTS CHITTERING]

And we wanted our audience
to have a very distinct
change of scale.

STEPHEN BROUSSARD:
You see pieces grown big,

you see volume knobs
and clothespins
and light bulbs

and it starts to play
with your mind, "Am I small
in a small building,

"or are these big items
in a normal-sized building?"

The main event
inside this space
is the Quantum Gate.

While you were
relaxing at home,
we were building this.

FRANKEL: Peyton was
really interested

in honoring and referencing
traditional time tunnels,

but taking it
to a whole another level.

Ready to dive.

MAN: Here we go, and action!

We're back here
at Pinewood Studios
in Atlanta.

The first Ant-Manwe shot
at Pinewood, Atlanta,

and in fact, we were
the first movie to shoot
at the Pinewood stages.

MAN: Three, two, one, go.

REED: Which was great
because the stages are
beautiful, state-of-the-art,

and it was like
they had just taken

the wrapping paper
off of them
on the first movie.

They were so clean,
there wasn't a speck
of dust in them.

When we went back
three years later
to doAnt-Man and The Wasp,

they've expanded that studio.

I mean, I think it's probably four times larger than it was

when we shot the first movie.

MAN: All right, here we go.
We're set.

REED: I love shooting
down there 'cause you have
room on that backlot.

You know, if you decide
you wanna build
an entire exterior set,

you can just go
in the woods back there

and build Scott's apartment
in the back of the thing

to give the backyard
a very realistic look.

BROUSSARD: So not only
do you have the great
facilities at Pinewood,

we've been able to make use
of Atlanta the city,

the surrounding
rural environments.

We really shot it
for all its worth.

REED: These movies,
they're really dense movies

and you want
a lot of visual variety.

And that's one of
the cool things about Georgia

is that you're
in downtown Atlanta

and it looks like a big city
because it is a big city.

There's great vantage points
to look back onto the city,

to use that skyline either as
Atlanta or as a basis
for creating another city.

REED: But then you go out
into rural Georgia,

around Peachtree City
or Fayetteville,

and you get some great
rural vistas out there.

There was one thing
where we needed to see

Muir Woods in San Francisco

and we went out to
the woods in Georgia
and shot it.

So, it's really convenient,
and just in terms of
location shooting,

houses and buildings
and things, you can really
find anything from

a traditional house
to a very modern house
to a skyscraper.

And they're great locations.

The thing we were calling
Ghost Lair,

which is where Ghost has her
rejuvenation chamber set up.

We were looking for a location

that felt like our
movie's riff
on a haunted house.

ANT-MAN: Whoa!

THE WASP: It's okay.
It's just the suit.

REED: Basically, the idea was,

this was the house
her parents had
way back in the '70s or '80s

and she was now
living there alone.

And we found this
bizarro house in a town
called Newnan, Georgia,

which was this
modernist structure
built out of concrete

that must've had its heyday
in the late '70s
or early '80s,

but it was abandoned.
It was up for sale.

This seems right.

REED: So we shot our exteriors at this house

and then recreated
the interiors on a stage.

And it's just
such a unique structure
and texture in this movie

and really suited
our character perfectly.

[AVA GRUNTS]

MAN: All right,
now we're set.

And action!

REED: I wanted to mix
the digital effects

with as much real practical
locations as we could,

and that's why in the back half of the movie through San Francisco,

we shot in San Francisco.

MAN: Go, go, go.

San Francisco gives you
the beauty of the hills.

Lombard Street, of course,
gives you the curves.

So now you have a scene
that has cars, trucks,
motorcycles,

small and large vehicles.

And I think it was
a different way of creating
humor as part of a chase,

but it was really about,

"Oh, we're in trouble.
How do we get out of it?"

THE WASP: Be careful up there.

Hey, give me a break!
I haven't driven in two years!

STEPHANE CERETTI:
We have some macro sets

that we've built like
they did in the first one.

But we kind of mixed them
a little bit more
with the locations.

[SCREAMING]

ALONSO: One of the
greatest things
that we could do

is utilize the capability
of turning different
objects bigger

and having a little
more fun with that.

So we had the candy PEZ

and we had
a 65-feet giant man.

ANT-MAN: Anyone see
a southern gentleman
carrying a building?

[BOAT HORN BLARES]

So, we go from the micro
to the macro all the time,
consistently.

KEVIN FEIGE:
We always wanna be able
to take our characters

into places
we haven't seen them go.

And that required
a lot of macrophotography
at different scales.

So, if Scott is suddenly stuck at two-feet tall

running around
his daughter's school,

what is that gonna look like?

And the quantum realm
is a whole other territory

and a whole other terrain
that we could play with.

Make sure you stay
out of the tardigrade fields.

They're cute,
but they'll eat you.

We just tried to
push everything

even further
from what we did
in the first Ant-Man.

Three, two, one.

REED: And just
show the audience

stuff that they will not see
in any other movie.

Daddy!Oh, gross!

[UPBEAT MUSIC PLAYING]

Come on.

MAN: And cut it.

[LIPS FLAPPING]

Oatmeal? Oh, I...
[SCATS] love it.

The oatmeal? Oh, I...
[SCATS] love it, bro.

I love me some oatmeal, bro.
[SCATS] Love it.

You know what lengths
I've gone to?

Close-up magic.

[GRUNTS]

I'm going to do that again
'cause that was terrible.

[SNORTS] Huh?

[CLATTERING][SNICKERS]

You're not driving.

[SNICKERS]MAN: Cut it.

Thank you.

[BOTH LAUGH]

Shoot. [GRUNTS]

Oh, God.

MAN: Cut it. [LAUGHS][CREW LAUGHS]

[VOCALIZING]

Yeah. That the way
to do it.

MAN: Backwards.All right.

[GRUNTING]

[SIGHS] What a ride.

MAN: Cut it. [CHUCKLES]

[CHUCKLES]

Whoo!

Talk about compact cars!

Damn! Should have paid
those parking tickets.

Oh, no. My sandwich
was in there.

Well, at least
now I'll be able to
park in San Francisco.

Oh, man. I just
stole this car.

Thank God it's a rental.

Well, looks like I'm walking.

Oh, geez, all my coupons
were in there.

Talk about diminishing
returns. Oh, man.

Everything is
shrinking on me.

Well, the '60s were fun,
but now I'm paying for it.

BOAT CAPTAIN: We're gonna
have a lot of fun today.

We're gonna be out
for three-four hours.

Hopefully, we're gonna see
some humpbacks, right?

Get some humpback whales.

They're thinking,
"What is this,
the latest dance craze?"

The Humpback...
I don't know how it would go.

What would it even be?

I'm personally a whale-head.
I freak for whales.

I've loved them
ever since I was a kid.

I'm not trained, really,
in biology or knowing
anything about them.

I've memorized
a couple of facts,
but I couldn't go deep.

This is not a whale learning
cruise, this is a whale
watching cruise.

Oh, wait. Well, hold on, now.
Looks like...

It looks like we might have
some company here, folks.

Yup.

That's a breach.

Oh, look at that. Could be
Moby Mick. That's, uh,
Moby Dick's Irish cousin.

Okay, folks, I can say that.
I'm Irish.

Dutch-Irish, actually.

[STAMMERS]
That's not a whale.

Uh, okay, folks, don't panic.
Please just, uh...

Don't panic, don't panic.

Jump! Jump! Jump overboard!
[SCREAMS]

Daniel Gooobler.
G-O-O-O-B-L-E-R.

G-O-O-O-B-L-E-Y-E-R.

G-O-O-O-B-Y-L-E-Y-E-R.

Gooobler. Daniel.

If you want,
I can jump in your patrol car.

We can go out
and hunt this perp down.

Well, we gotta close
the bridges down,
at least, don't you think?

[STAMMERS]

Yeah, I was thinking about
being a cop myself,

but the hours
don't make sense.

JANET: There's so much
we didn't know
about this place, Henry.

Worlds upon worlds.
Entire civilizations.

Far more than
we ever theorized.

[DISTORTED BELLOWING]

It's okay.

[PANTING]

Passing through.
We stake no claim.

DISTORTED VOICE: Go in peace.

There.

This better be good, Uzman.

We checked every
security camera in the area,

they all had ants on them.Ants?

No ants in this one, though.

Exterminator sprayed
the store two days ago.

[CLEARS THROAT]

[STORE OWNER EXCLAIMS]

What is that?

Well, that, my friend, is how
I'm staying in the picture.

Now, the tech in that lab's
gotta be worth billions.

Find them.

And, Uzman...

I wanna know who that is.UZMAN: Right.

You wouldn't happen to have

a first edition copy
of Dianetics,would you?

You're in luck.Signed?

PEYTON REED: So this is a scene we cut from the movie,

it is Hank and Janet
in the quantum realm.

I really quite like
this scene.

They're making
their way back to the pod

and she's explaining a bit
about the quantum realm.
Just a hint.

And they come upon
this quantum creature.

A very large,
threatening creature,

and Janet knows
how to handle her business.

It was important here
to show a scene where
there's no combat,

but she has this device,
this piece of technology

that's similar to say, the Babel fish inHitchhiker's
Guide to the Galaxy

that's able to translate
and she's able to broker

a temporary peace deal
with this creature,

and it moves along.

She assures them that they're just passing through.

And you see Hank's reaction
there, which is quite fun.

PEYTON REED: This is
a scene we cut where
Sonny Burch and his guys

are looking for clues
about Hank Pym and the lab.

And they come upon this
San Francisco bookstore.

This is Dave Gruber Allen as the owner of the bookstore.

And his security camera

happens to have caught
the exact moment
that the lab shrinks.

The other cameras
were covered with ants.

He happened to have
had the exterminator
out a day before,

so his camera catches it.

And Sonny Burch sees
dollar signs and also wants
to know who Scott Lang is.

We also end this scene
with a Scientology joke.

Where Sonny Burch
suddenly has a desire

to buy a first-edition copy
ofDianetics.

We thought it was funny.
It didn't make the movie.

You wouldn't happen to have

a first-edition copy
of Dianetics,would you?

You're in luck.Signed?

KEVIN FEIGE:
Film is a visual medium.

We have the comics,

which is
an incredible advantage,
an incredible start.

Our visual development group
led by Ryan Meinerding

for the better part of
a decade

has been that huge step
between the comics
and the screenplay.

And then even between
the screenplay
and on to the final product

that brings these things
to life.

LOUIS D'ESPOSITO:
Years of comic book lore

doesn't just fall off
the page onto the film.

Their whole team
is absolutely phenomenal.

They're developing
our characters
and inspiring the writers.

It's having
another point of view.

And I think that
when you open the door
to that potential,

then you can create
something great.

Being that medium between
the comics and what is
actually on screen

has been a joy that
I couldn't have imagined.

The visual development
department is a very small
team of artists

that have worked
at Marvel Studios

almost the entire time
that Marvel Studios
has existed.

ANDY PARK:
It was created in 2010.

Kevin Feige, Louis D'Esposito
and Victoria Alonso,

they saw that it would be
beneficial to create
an in-house art team

living and breathing
these characters,

that know this world.

[CROWD GASPS]

FEIGE: Ryan Meinerding
was somebody

who was introduced to us
by John Favreau,

who is I believe the best living concept artist in the world.

Maybe the best of all time.

He's incredibly talented.

Not just in his ability
to paint an image,

but in his ability to come up
with the idea of
what that image should be.

What's really unique
about working at
Marvel Studios

and we're very fortunate
in the visual development
department

is able to work on characters from multiple, multiple projects.

Starting with Captain America:
The First Avenger,

I was able to design
his costume
from that movie on

throughAvengers
andAvengers 2 and onward.

One thing that's great
about working on characters

that have to sort of
intermingle in different
worlds within the universe

is that we're really focusing really on that one movie.

We're trying to figure out

what the look
for the character is
in that movie.

But one of the reasons
why they tend to
work together is

because it's the same
small crew of artists

that are ctually doing
a lot of the design work.

The people that are working
onGuardians of the Galaxy

are right next door
to the people working
on theAvengers movie.

My role is to create
concept art and imagery,

to really design
the characters...

Environments,
sometimes props, vehicles...

MEINERDING: Hero characters, the villain characters...

RODNEY FUENTEBELLA:
Costumes, helmets...PARK: Creatures...

There's a lot more things
to play with

but at the same time,
there's so much more work
that needs to be done

in order to make
these characters feel alive.

MEINERDING:
The amount of man-hours

that go into making designs
that we work on,

it's pretty intense.

Three to four months
of solid time.

And there's nothing
that's actually real yet.

I mean, everyone sort of
takes it for granted

what Iron Man's RT
looks like,

what his contrail was.

There were multiple design
passes at trying to
figure out...

Is it a little bit blue?
Is it a little bit red?

Is it a little bit orange?

How long is the burst
of energy out of it?

We were trying to figure out
how to make things

as iconic as they made them
back then.

If they only had line work
and four colors,

and they're able to
make something

that resonates with people
for 60, 70 years,

how can we find a way
of putting it into our work?

ANTHONY FRANCISCO:
Those are the challenges
we love to face.

I always see it
as a new puzzle to solve.

Pay tribute and be true
to the source material.

Oh, yeah.

And bring it into the language
that the MCU has established.

I got to design Baby Groot
from the pot

to the walking
Baby Groot from
Guardians of the Galaxy 2,

and the teen Groot
you see inInfinity War.

So watching that progression, it's like my baby, it's growing up.

I am Groot.

[STRAINING]

One of the great things
about the department is

a lot of us that work
in the department are fans.

There's a cover by Mark Bright
that got me into
collecting comic books.

InIron Man 3, I had
the honor of actually
designing the MCU version

of the Silver Centurion suit,

and the fanboy in me
was just going crazy.

Like, I couldn't believe it.
It was surreal.

MEINERDING:
What I'm very proud of

is those suits look great
from a distance,

but if you get
up close to them...

FRIDAY: We have some
weapons systems offline.

ANT-MAN: Oh, you're gonna
have to take this
ito the shop.

MEINERDING: There's a level of resolve to them like they should exist in the world.

FUENTEBELLA: Something that
the fans are familiar with,

but at the same time,
works well on film.

MEINERDING: Costume designers and costume departments can sort of feed off that.

Not only match
what we've created,
but try to elevate past it.

You gave her wings?

Sometimes the filmmakers
bring a lot of very specific
ideas with them.

It was great working
with Taika Waititi
because he was like,

"I want Hela to look
like the comic.

"Olivier Coipel, Alan Davis,
Jack Kirby inspired."

I would make the antlers
small so it'd be more
easy for the actor,

but he was like, "No!"

Did you listen
to a word I said?

"I want it, like,
five feet wide."

I was like,
"How are they gonna do this?"

JACKSON SIZE: Lot of times,
as a concept artist
in the industry,

you're responsible for
the preproduction work,
and you leave.

Two years later the movie
comes out and you just watch
on screen

and see what resulted
in your work.

For us,
we actually get to see
the post-production process.

It is probably one of
the greatest feelings
an artist can have

is to see your work
translate onto the screen.

MEINERDING: The stuff
that we worked on

becomes a springboard
for the next thing.

But you actually get to tell
the story of the character
through the costume.

It's an incredible
storytelling device,

but it's also an incredible
source of inspiration for us.

STEVE: There are men
laying down their lives.

I got no right
to do any less than them.

The Avengers was supposed
to be different
than S.H.I.E.L.D.

I can do this all day.

Sometimes the filmmakers
use us as sort of
like a test ground

to see if something
that they're thinking of
would look cool.

What we call key frame
illustrations.

An illustration
that summarizes a scene.

I do a lot of
action sequences.

Get the energy in those comics' splash pages.

It's very difficult to create
that sense of detail,

primarily because
it's live action.

MEINERDING:
Sometimes those images
really help define

very important moments
in the film.

Every character
that you see on screen,

that was hours and hours
and days and days
and months and months

of work by so many people.

MY DING:
Some of that comes
from the awesome content

and the fact that
the producers and directors
are really pushing us,

but I think a lot of it
comes from camaraderie.

That we get to go to premiers
together and hang out,
have dinner beforehand,

and that I enjoy
collaborating with.

I'm actually very fortunate
to lead a team of people

that are just amazing
at what they do.

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