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Hello, everyone.
My name's Kenneth Branagh
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Everyone calls me Ken,
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so please feel free to do so
if you choose to talk to me
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while this director's commentary
is going on.
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And l'm here to talk a little bit
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about how we came to some
of the artistic decisions we made
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when we were
creating our new film of Thor.
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So first off, the marvel of it all.
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l was asked to do this
back in the summer of 2008.
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And one of the first things
that we had to decide is,
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"What's the basic structure?"
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And one of the things that l was keen
about was that we should start on Earth.
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And so here we are in Puente Antiguo,
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"old bridge," for those of you
who know your Spanish, in New Mexico.
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And the sequence
that you're watching now
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was one of the very first ones
that l worked on
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with our first storyboard artist,
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a brilliantly talented young man
called Federico D'Alessandro.
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And it was about coming up with
a kind of teaser on contemporary Earth
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that allowed us
to do a number of things.
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First of all,
introduce a vast Earth landscape,
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something that could be,
during the course of the picture, epic.
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l'd worked in New Mexico as an actor,
l'd shot there,
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and l knew it was
the land of the big sky.
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And the sense of immensity
in that landscape
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would be, visually, very powerful
and might work as a very strong mirror
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for some of the epic landscapes
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that we would try and convey off Earth,
as it were.
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We also wanted to take this opportunity
to introduce the audience to characters,
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contemporary characters.
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ln this case, Jane Foster,
played by Natalie Portman,
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Erik Selvig, played by Stellan SkarsgÄrd,
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and Kat Dennings,
who plays Darcy Lewis here,
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at the front of the movie
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who are engaged in scientific activity
out in the desert watching the skies,
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and who are introduced to
this extraordinary aurora phenomenon.
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l will digress in various ways.
Let me tell you a little bit about auroras.
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This kind of look, this kind of image
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was the sort of image
that we were finding all over the world
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during the course of the two
or three years of my involvement with it.
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So, every time somebody saw some
amazing thing happening over Moscow
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or over the desert in Finland,
we would pool these kinds of images,
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and we would talk about it
with our visual effects team.
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And we would work out how closely
we could mirror actual phenomena
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that were found on Earth.
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And that's where the beginnings
of that Earth-like aurora phenomenon
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meets the demands of the story,
which calls for a Rainbow Bridge,
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the Bifrost as the comics have it,
which is part of the means
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by which our characters will travel
from world to world.
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This first shocking moment
of a race through the desert
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and then hitting a man
who we don't quite see
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was always a strong feeling
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about literally starting the movie
with a bang in a big landscape,
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new characters,
contemporary characters,
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a race, a chase,
and then a big question mark,
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where did he come from?
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And so, here, at this point in the movie,
in the original version of the screenplay,
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there was the idea
of some kind of prologue.
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So, you have a teaser
to allow the audience,
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perhaps, to understand
we'll be back on Earth,
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a landscape and people
that we'll enjoy being with.
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But now we go
into a version of a prologue
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that tries to introduce
some of the thematic material,
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some of the world
of the larger Thor universe.
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So here, for instance,
this Scandinavian influence, this fjord,
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this world of Tonsberg, Norway,
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a name, indeed, which those of you
interested in the larger Marvel Universe,
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may well find features elsewhere.
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But as you can see through this
very concentrated, condensed,
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we hope very impactive
storytelling here,
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certainly what we were aiming for,
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we introduce both the Viking element
in Viking Earth
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and then the arrival of the Frost Giants.
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The Frost Giants are going to be
enormously important in our story
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and technically, we created them
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by actually designing
some very impressive make-ups
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that real actors wore,
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as well as creating some
computer-generated versions of them.
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The King of the Frost Giants,
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who is facing off here
with Anthony Hopkins as Odin,
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was played by Colm Feore,
a marvellous Canadian actor,
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and we wanted anybody
who had to face off
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against the magnificent master
of the screen, Anthony Hopkins,
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to be also wonderfully charismatic
and able to convey a little with a lot,
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and Colm Feore, with the role of Laufey,
did just that.
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We wanted, here, to understand
that there had been a battle,
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as there were so many
in the history of the Norse myths
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and the history of the Marvel version
of the comics,
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that this is a warrior race
full of historical examples
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of where they fought and lost worlds
and gained worlds,
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and how their history was forged,
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but also how their lives are led,
which is to tell tales of yore,
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tales of dashing exploits.
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And it allowed us also
to talk about where Jotunheim was,
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and where Asgard is in the universe,
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and to introduce it through
this rather disguised upside down shot
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that may or may not be
some kind of power source,
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some kind of lighting,
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some sense
of an almost nuclear reactor
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at the bottom of what we now see
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revealed through the water,
is a fjord-like land.
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You have the magic of the buildings
on the right floating above their base
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and then this vast central tower
at the back of an Asgard,
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which is very much influenced
by Jack Kirby, by empire,
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this kind of image
that you might expect to see
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in the Roman or Grecian empires.
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And here, another example
of how we evoke Asgard,
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which is with a shot like this,
that is a sort of cityscape shot,
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to absolutely maximise
what l'll talk a little bit about later on,
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which is 3-D.
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But for now, let's find ourselves here,
arrived in Asgard,
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with young Thor and young Loki.
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These are terrific performers.
Dakota is Thor and Ted is Loki,
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and they were remarkable
for their ability
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to capture something of the essence
of the older actors who play them,
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and also to have fun with
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and be up to speed
with Mr Hopkins in this scene.
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They loved being in this set,
this vault set, which we constructed.
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Many of the sets, we constructed
because there was a concern
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that we do as much as we can
to make sure
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that as exotic and fantastical as some
of the worlds in the movie should be,
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it should not feel synthetic.
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There's a sort of relative reality
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we discovered that we wanted to have
in a superhero movie, in this case,
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which somehow wants you to believe
everything, even though it's fantastical.
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And building sets
was part of seeing real textures,
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real interaction with real people,
real shadows,
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so that when we go to
the entirely computer-generated world,
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which is the case
with a shot like that one,
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we can feel the reality
of an architectural structure like this,
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the great hall for the ceremony
that will be about to have Thor king.
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And so this vast crown,
the great doors behind, the vast throne,
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all of it were constructed
over many months by Bo Welch,
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our production designer's
great art direction construction team.
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And it did make a great difference,
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for instance, here, to Chris Hemsworth,
who's our wonderful Thor,
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embodying that wilful,
rather arrogant, young warrior,
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who needs to walk
through the halls ofAsgard
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for the purposes of our story,
as if he absolutely owns it.
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So, if you're in a great space like that...
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Although, it's entirely possible
for actors to imagine it,
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they do it in the theatre all the time,
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you have an empty space,
you have to imagine some exotic place.
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Nevertheless, here,
with that costume on,
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these golden walls, with this curious
mixture of a sort of primitive quality
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to the whole layout
with the patterns on the floor,
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but also the sense
in the finish on the walls of a material
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that you believe could be made
by a race that travels through space,
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so that they are
technologically advanced,
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much more advanced than us,
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but also they have this
callback to an ancient culture
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that uses ancient weapons,
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like that spear, Gungnir,
the all-powerful weapon of Odin,
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Mjolnir, the hard-to-pronounce
mighty hammer of Thor,
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an iconic part of the Thorstory.
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And l, as the director,
l love this combination
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of the ancient and the modern,
the primitive and the sophisticated.
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A character like Loki
wearing his horned helmet,
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but they're inside
these kinds of remarkable buildings
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which have their own
partly Viking-influenced layout,
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but also have this
kind of super sci-fi quality.
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For me,
it was a fascinating combination
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to try and bring to bear.
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People interested
in the larger Marvel Universe, l think,
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may be interested
to answer the questions of,
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what are those additional items
in these alcoves, in this vault?
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One of the enjoyments of being
part of that larger Marvel Universe
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was being able to, wherever we could,
maybe just offer a little indication
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of how other elements of it
might play here
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that perhaps feature elsewhere.
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And so, l encourage
anybody who fancies doing it
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to maybe have some fun working out
what else was in the vault.
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lt's time, probably,
to talk a little bit about
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what, l think,
is the luxury casting of our film.
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That man, Anthony Hopkins,
if you're going to cast someone
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who looks as though he should
run the universe, he's your man.
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lt's a universe that has to protect itself
against this kind of thing,
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the vicious violence of the Frost Giants,
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these creatures
who can terraform worlds
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as they do with the vault there,
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creating ice that encapsulates the walls,
the water,
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being able to produce ice weapons
from their very hands.
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But they are not invulnerable
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to something
as extraordinary as the Destroyer,
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and we get a tiny hint of this creature
ruled by, run by Odin,
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who will appear later on in the film
and who is a sort of killing machine.
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This was a very early decision
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to choose that particular creature,
monster, machine,
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whatever you like to call the Destroyer,
as a key element in our picture.
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This brings me back to the casting,
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and how, with some of the things
we've spoken about,
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the idea that at the centre of this there
would be a film that you could refer to
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as being about fathers and sons,
or, indeed, about who would be king.
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Some people have said to me,
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"There are Shakespearean
connections here."
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Where l think connections lie
are between what Stan Lee was after,
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and what classic, mythic tales look at,
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and in this case, it is the story
of a fitness for responsibility.
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Thor, here, reacts to the same thing
that Odin's reacting to.
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Odin reacts with what one might call
judgment and discretion.
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Young Thor, here,
is without those qualities,
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he simply wants to go and hit out.
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He wants to punch, he wants to fight.
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And it looks like that may be the way
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he's going to run
his version of the kingdom.
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But as you see in that very effective
reading from Anthony Hopkins,
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he isn't king yet.
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When we did this scene, and Anthony
Hopkins came out with that reading,
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it was one of the moments
which we subsequently learned,
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as it started to play,
where you could feel for what we hope
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would be all the fun
of the opening of the film.
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This was a moment
where the temperature changed a bit,
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and suddenly you realise that
there was actually a very passionate
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and hot familial relationship
at the centre of it.
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We often talked about it,
for all that they're speaking
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in a slightly more heightened way,
and they're speaking with this passion,
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and here they are on an asteroid
at the top of the universe,
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but we would often say
that the sort of emotional feeling here
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is entirely contemporary in terms of
what a father might relate to his sons
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and the frustration
that the sons might feel.
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And so, that was something
in rehearsal
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we did many times
ahead of the actual shooting.
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We tried to encourage.
You just wanted to believe these people.
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And in this scene, for instance,
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you want to believe
that these two are brothers,
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and that the Warriors Three
and the Lady Sif,
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who join them here,
are their genuine friends.
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The sense, however briefly done,
but in the feel of how it's done,
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in the way they react to each other,
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in the kind of intimacy
and the knowledge,
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in the almost casual way
they talk to each other,
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that they know each other,
that they go back a long way,
233
00:13:42,400 --> 00:13:45,900
that in this case, as we had rehearsed it
and built our backstory,
234
00:13:45,990 --> 00:13:48,910
they'd been to the
Asgardian Academy, if you like,
235
00:13:48,990 --> 00:13:52,240
that they'd already been
through many battles.
236
00:13:52,330 --> 00:13:56,330
So that when Fandral and the others
now suggest to Thor
237
00:13:56,410 --> 00:13:58,170
that it's madness to go to Jotunheim,
238
00:13:58,250 --> 00:14:02,500
we believe that they've been on other
similar kinds of adventures,
239
00:14:02,590 --> 00:14:03,920
that they're bonded,
that they're a group,
240
00:14:04,010 --> 00:14:05,920
in fact, they're a group
that we want to be with.
241
00:14:06,380 --> 00:14:10,340
And so, this was very important
as a means of understanding
242
00:14:10,430 --> 00:14:13,390
that they were this kind of group,
if you like, of young cadets.
243
00:14:13,470 --> 00:14:16,230
And also here,
as throughout the rest of the movie,
244
00:14:16,310 --> 00:14:19,520
there's a kind of lightness of tone,
a lightness of touch
245
00:14:19,600 --> 00:14:22,020
that's embodied
by the warmth between them,
246
00:14:22,110 --> 00:14:25,230
and then a kind of reaction like this
from Thor.
247
00:14:30,110 --> 00:14:33,370
So, that kind of back and forth,
we wanted to enjoy.
248
00:14:53,640 --> 00:14:57,520
Thor is an epic,
and here with this kind of shot,
249
00:14:57,600 --> 00:15:00,560
with the use of the horses
against this extraordinary cityscape,
250
00:15:00,650 --> 00:15:04,480
the sense of breadth
and the geography itself,
251
00:15:04,570 --> 00:15:07,190
these massive golden gates,
252
00:15:07,280 --> 00:15:10,450
and then this iconic element
of the Thor universe,
253
00:15:10,530 --> 00:15:12,950
the Rainbow Bridge, the Bifrost,
254
00:15:13,030 --> 00:15:17,490
which in the comics is a sort of
psychedelic, turning, right-angled thing
255
00:15:18,080 --> 00:15:20,080
that leads all the way
from Asgard to Earth.
256
00:15:20,160 --> 00:15:22,580
Here is a literal bridge,
257
00:15:22,670 --> 00:15:27,590
but with, clearly, energies
running through it that are very special.
258
00:15:27,670 --> 00:15:31,260
lt was something that took us
many, many, many months,
259
00:15:31,340 --> 00:15:35,720
really the whole of the design process,
to perfect to our satisfaction.
260
00:15:35,810 --> 00:15:40,310
lt was tied into this building behind
the glorious ldris Elba as Heimdall,
261
00:15:40,390 --> 00:15:42,770
his observatory, as we called it.
262
00:15:44,360 --> 00:15:46,730
We tried
every kind of experiment with it,
263
00:15:46,820 --> 00:15:48,110
as you'll see in some of the shots.
264
00:15:48,190 --> 00:15:52,900
The bridge and the light impacts
on the bridge as people walk on it
265
00:15:52,990 --> 00:15:55,620
change slightly.
The way in which they do that
266
00:15:55,700 --> 00:15:59,240
has been something we've
experimented with in very many ways.
267
00:15:59,330 --> 00:16:02,960
The actual nature
of the substance of the bridge
268
00:16:03,040 --> 00:16:07,340
we researched
in terms of modern plastics,
269
00:16:07,420 --> 00:16:11,800
in terms of the make-up of quartz,
et cetera, and crystals.
270
00:16:11,880 --> 00:16:15,890
We tried every kind of version
of this fusion
271
00:16:15,970 --> 00:16:18,600
between a light source, a light energy
272
00:16:18,680 --> 00:16:21,600
that would play very importantly
into the story at the end,
273
00:16:21,680 --> 00:16:25,270
but that also had the sort of magical feel
that we were after.
274
00:16:25,360 --> 00:16:29,650
As l said, it was tied into this idea
of this turret, this observatory,
275
00:16:29,730 --> 00:16:34,200
this globe, which in terms of directing
people away from Asgard,
276
00:16:34,280 --> 00:16:36,660
was now something
directed by Heimdall
277
00:16:36,740 --> 00:16:39,580
who, with this extraordinary
inner mechanism,
278
00:16:39,660 --> 00:16:44,040
could direct this gun, this nozzle,
this turret, this observatory
279
00:16:44,120 --> 00:16:45,540
into the universe.
280
00:16:45,630 --> 00:16:50,170
And through the way
in which the lightning connects
281
00:16:50,250 --> 00:16:53,170
and reflects on the interior,
282
00:16:53,260 --> 00:16:56,180
creates a kind of an astral map,
283
00:16:56,260 --> 00:17:02,640
an astral map reflecting, if you like, the
patterns of Yggdrasil, the tree of life.
284
00:17:02,730 --> 00:17:04,480
So, you see an idea of it here,
285
00:17:04,560 --> 00:17:07,520
as if it's some sort of extraordinary
underground map,
286
00:17:07,610 --> 00:17:13,690
or some sort of roadmap where
he chooses a place inside that nebula,
287
00:17:13,780 --> 00:17:19,240
inside that vast galactic solar system
that is Yggdrasil
288
00:17:19,950 --> 00:17:21,910
through which
the Nine Realms are spread.
289
00:17:21,990 --> 00:17:25,290
He chooses the destination
and he sends you there.
290
00:17:25,580 --> 00:17:28,790
And here they are
being drawn into the Bifrost.
291
00:17:33,970 --> 00:17:36,550
And that was me enjoying
taking the sound out completely
292
00:17:36,630 --> 00:17:38,760
to try and create the real impact
293
00:17:38,850 --> 00:17:43,180
of passing through this,
sort of, time warp, space warp,
294
00:17:43,270 --> 00:17:46,230
so that they have travelled
through the Bifrost,
295
00:17:46,310 --> 00:17:49,150
through the trees
and the branches of the Bifrost,
296
00:17:49,230 --> 00:17:52,480
until they land here on Jotunheim.
297
00:17:53,320 --> 00:17:56,070
So, the logic of that,
sort of, space travel,
298
00:17:56,150 --> 00:17:59,240
Heimdall's position up there
as the lonely attendant,
299
00:17:59,320 --> 00:18:03,240
as the guardian ofAsgard,
the last person you see as you leave,
300
00:18:03,330 --> 00:18:05,540
the first person you see as you return.
301
00:18:05,620 --> 00:18:08,210
l'm very pleased with
the way everybody worked on that.
302
00:18:08,290 --> 00:18:12,090
We had a marvellous
visual effects supervisor in Wes Sewell,
303
00:18:12,170 --> 00:18:14,050
who was full of brilliant ideas for that,
304
00:18:14,130 --> 00:18:18,630
as was Bo Welch, whose team built
so much of the observatory itself.
305
00:18:18,720 --> 00:18:20,470
Beautiful finishes.
306
00:18:23,510 --> 00:18:25,600
Here we come to Jotunheim.
307
00:18:25,680 --> 00:18:30,480
Jotunheim, we'd imagined as this
once absolutely splendid city of ice,
308
00:18:30,560 --> 00:18:34,860
also like Asgard, from a civilisation
that were very sophisticated
309
00:18:34,940 --> 00:18:40,240
and yet had this primal connection
to the source of their power,
310
00:18:40,320 --> 00:18:46,290
water, ice, cold,
all concentrated in the blue Casket
311
00:18:46,370 --> 00:18:49,120
that has been stolen from them,
in their view, by Odin,
312
00:18:49,210 --> 00:18:53,250
the Casket ofAncient Winters,
and it's that almost nuclear device
313
00:18:53,340 --> 00:18:55,050
that would allow them to leave here.
314
00:18:55,130 --> 00:18:58,720
First of all, to restore this
to its former glory, then leave here,
315
00:18:58,800 --> 00:19:00,090
travel through the Nine Realms,
316
00:19:00,180 --> 00:19:04,890
and terraform and conquer other worlds
with this terrible, icy power.
317
00:19:04,970 --> 00:19:06,600
So, in this opening sequence,
318
00:19:06,680 --> 00:19:10,230
which is a combination of work
that we did on some set
319
00:19:10,310 --> 00:19:14,060
and some CGl,
realised by Digital Domain
320
00:19:15,320 --> 00:19:19,570
amongst our many VFX vendors
and partners that we worked with,
321
00:19:19,650 --> 00:19:24,660
we wanted to create this
sense of dread at what Jotunheim,
322
00:19:24,740 --> 00:19:28,410
the now broken-down Jotunheim,
the angry planet,
323
00:19:28,500 --> 00:19:31,580
the planet full of emptiness
and echoes and pain,
324
00:19:31,670 --> 00:19:34,250
what that would bring to the story.
325
00:19:50,100 --> 00:19:54,810
There you hear for the first time
a slight treatment of the voice of Laufey.
326
00:19:55,150 --> 00:19:58,400
And here we see a proper,
sort of, first appearance
327
00:19:58,480 --> 00:20:03,570
for this deadly red-eyed
King of the Frost Giants.
328
00:20:04,950 --> 00:20:06,780
Colm Feore, unbelievably patient
329
00:20:06,870 --> 00:20:10,370
about the five, six hours
it would take him
330
00:20:10,450 --> 00:20:14,250
to get into the full body make-up
that we used for him.
331
00:20:14,330 --> 00:20:16,920
Legacy was the company
that we worked with,
332
00:20:17,000 --> 00:20:19,250
and they had an incredibly dedicated
team of people
333
00:20:19,340 --> 00:20:23,220
who were up in the small hours
working with him.
334
00:20:23,300 --> 00:20:28,220
And he's an example of the kind of actor
who really can use the make-up.
335
00:20:28,310 --> 00:20:30,060
Not do too much, be very still,
336
00:20:30,140 --> 00:20:34,900
allow the make-up
to really inform who he is,
337
00:20:34,980 --> 00:20:38,730
and so the acting comes in from under
and it's very, very powerful.
338
00:20:38,820 --> 00:20:41,940
This is an interesting moment for Thor
339
00:20:43,070 --> 00:20:45,700
because, in a way, it's his gamble,
it's his risk,
340
00:20:45,780 --> 00:20:48,990
and we see the point
to which perhaps he can be pushed,
341
00:20:49,080 --> 00:20:53,580
before he brutally risks war,
342
00:20:53,660 --> 00:20:58,750
by potentially provoking
and whether he is capable of listening.
343
00:20:58,840 --> 00:21:01,250
lt's a slight sort of shading
344
00:21:01,340 --> 00:21:03,630
on what we may have
to understand about him later on.
345
00:21:03,720 --> 00:21:07,720
Just before all of this kicks off, might be
worth talking about, briefly here,
346
00:21:07,800 --> 00:21:09,510
we will again, costumes.
347
00:21:09,930 --> 00:21:11,810
Alexandra Byrne did the costumes.
348
00:21:11,890 --> 00:21:13,930
She's an Oscar-winning
costume designer.
349
00:21:14,020 --> 00:21:15,520
l've worked with her many times
350
00:21:15,600 --> 00:21:18,860
and started with her back in the theatre
nearly 30 years ago.
351
00:21:18,940 --> 00:21:21,270
Her attention to detail
in Thor's costume was amazing,
352
00:21:21,360 --> 00:21:23,030
from those discs to the cape,
353
00:21:23,110 --> 00:21:25,900
to the way it sculpted itself
around Chris Hemsworth's body,
354
00:21:25,990 --> 00:21:30,120
to the way it was influenced
by the comics and by the Norse myths,
355
00:21:35,460 --> 00:21:40,460
and the way in which a confident
and cocky Thor can move in it.
356
00:21:40,540 --> 00:21:44,550
So, here you'll see these costumes
under great stress and strain.
357
00:21:45,680 --> 00:21:48,680
And the fight you're about to see,
the first big, major action sequence,
358
00:21:48,760 --> 00:21:51,890
was one where we wanted to make sure
that everybody amongst the Asgardians
359
00:21:51,970 --> 00:21:55,310
had a chance to have
some kind of signature move,
360
00:21:55,390 --> 00:21:59,150
particularly, of course, Thor,
who is the provocateur here.
361
00:22:00,310 --> 00:22:03,230
And at the same time,
we wanted to showcase
362
00:22:03,320 --> 00:22:05,820
the incredible threat
of the Frost Giants themselves,
363
00:22:05,900 --> 00:22:09,950
this dormant, pain-filled race,
who are now pouring out
364
00:22:10,030 --> 00:22:13,370
from every conceivable part
of this mixture.
365
00:22:13,450 --> 00:22:17,830
ls it stone, is it jade, is it ice? Exactly
what is this world constructed of?
366
00:22:17,920 --> 00:22:20,040
But it's dangerous, it's lethal,
367
00:22:20,130 --> 00:22:24,170
and potentially has
many, many more of its population
368
00:22:24,260 --> 00:22:27,090
than Thor is currently considering.
369
00:22:28,180 --> 00:22:31,220
Meantime, the general philosophy
for the fight was, as you can see,
370
00:22:31,300 --> 00:22:35,220
to try and put the audience
as close into it as possible.
371
00:22:35,430 --> 00:22:36,810
For my first film, Henry V,
372
00:22:36,890 --> 00:22:40,190
l had the great pleasure of working
with a wonderful second unit director
373
00:22:40,270 --> 00:22:44,360
and a great stuntman as well,
Vic Armstrong,
374
00:22:44,440 --> 00:22:46,280
whose work you'll know
from many Bond films,
375
00:22:46,360 --> 00:22:47,780
from the Raiders films,
376
00:22:47,860 --> 00:22:51,870
from him being an incredibly
impressive double for Harrison Ford,
377
00:22:51,950 --> 00:22:56,290
and having been a very effective
and brilliant director of many things,
378
00:22:56,370 --> 00:22:58,370
but action being one of them.
379
00:22:58,460 --> 00:23:00,460
l worked with him and his team,
Andy Armstrong
380
00:23:00,540 --> 00:23:03,880
and the Armstrong clan,
who are a great part of our industry,
381
00:23:05,460 --> 00:23:10,430
and we worked to, first of all, find out
what everybody's individual gifts were.
382
00:23:10,510 --> 00:23:14,390
We did a kind of boot camp and
we made sure everybody was flexible,
383
00:23:14,470 --> 00:23:16,890
that Fandral could be flashy
with his sword,
384
00:23:16,970 --> 00:23:19,640
that Tom Hiddleston here, as Loki,
385
00:23:19,730 --> 00:23:24,400
could use the daggers in an interesting
way that are part of his character.
386
00:23:24,940 --> 00:23:27,400
And that we could,
with long lens photography,
387
00:23:27,490 --> 00:23:29,570
sometimes do what we did in Henry V,
388
00:23:29,650 --> 00:23:32,570
which is to try and put people
inside the battle, closer,
389
00:23:32,660 --> 00:23:35,160
in this sense of a hectic,
frenzied moment
390
00:23:35,240 --> 00:23:37,160
where things like that can happen.
391
00:23:37,240 --> 00:23:42,330
You turn around and suddenly,
the taking your eye off what's going on
392
00:23:42,420 --> 00:23:44,580
for even a second
is lethal and dangerous.
393
00:23:44,670 --> 00:23:49,050
So, we wanted there to be
this sense of hurry and of frenzy.
394
00:23:49,130 --> 00:23:52,050
lt was less about huge, wide shots
395
00:23:52,130 --> 00:23:55,850
showing hundreds and thousands of
people fighting each other at this point,
396
00:23:55,930 --> 00:24:00,520
but more a dirty scrum
that leads to this kind of revelation
397
00:24:00,600 --> 00:24:03,770
that once again, Thor, cocky Thor,
398
00:24:03,850 --> 00:24:09,150
has underestimated
what this angry, hurt race have in store.
399
00:24:09,240 --> 00:24:12,610
And here, what appeared to be
a statue or a plinth
400
00:24:12,700 --> 00:24:14,950
that was commemorating
some great beast of the past,
401
00:24:15,030 --> 00:24:18,280
that was announcing the entranceway
to this part of the city,
402
00:24:18,370 --> 00:24:20,620
turns out to be, in fact, a sleeping giant,
403
00:24:20,700 --> 00:24:25,630
this beast that now is headed
towards the rest of the Asgardians
404
00:24:25,710 --> 00:24:28,550
who are leaving with the hurt Fandral.
405
00:24:32,720 --> 00:24:36,050
The inclusion of the beast happened
about halfway through post-production,
406
00:24:36,140 --> 00:24:39,220
where the original beat in the story
had thousands,
407
00:24:39,310 --> 00:24:43,060
hundreds of thousands of Frost Giants
emerging from under the earth,
408
00:24:43,140 --> 00:24:46,270
and by this stage of the battle,
we felt we'd done it,
409
00:24:46,360 --> 00:24:50,650
so we needed an additional element,
and l was very, very pleased
410
00:24:50,730 --> 00:24:55,530
that we came up with and then enjoyed
the idea of this ice monster
411
00:24:55,610 --> 00:24:58,450
doing this kind of chasing,
412
00:24:58,530 --> 00:25:00,700
while the damage that Thor has done,
413
00:25:00,790 --> 00:25:04,290
which is essentially
breaking the very floor of the planet up,
414
00:25:04,370 --> 00:25:07,290
is at work in the same way.
415
00:25:07,380 --> 00:25:12,170
These kinds of shots, this massive shot
with Jotunheim falling,
416
00:25:12,260 --> 00:25:16,720
with the creature upside down is
a great idea of Federico D'Alessandro.
417
00:25:18,390 --> 00:25:19,720
Part of the process, where for me,
418
00:25:19,810 --> 00:25:23,520
as a relative newcomer
to the world of big visual effects shots,
419
00:25:23,600 --> 00:25:25,140
happens very late in the day,
420
00:25:25,230 --> 00:25:28,190
so many of these shots,
which l was thrilled by,
421
00:25:28,270 --> 00:25:30,320
were always planned
and l knew what was coming.
422
00:25:30,400 --> 00:25:33,030
But it was really quite late in the day
when they arrived,
423
00:25:33,110 --> 00:25:36,570
so the experience
in a visual effects picture,
424
00:25:36,660 --> 00:25:38,740
where you've worked on it
for maybe two, three years
425
00:25:38,820 --> 00:25:42,700
of the full understanding that
that's gonna happen,
426
00:25:42,790 --> 00:25:45,710
doesn't quite get to you
until the last minute.
427
00:25:45,790 --> 00:25:47,540
So, it's a little harum-scarum.
428
00:25:47,630 --> 00:25:49,540
The visual effects shots
are cooking away,
429
00:25:49,630 --> 00:25:51,540
and eventually they arrive,
430
00:25:51,630 --> 00:25:55,220
and when they do,
you get a lot of magic right at the end.
431
00:25:57,800 --> 00:25:59,840
Meantime, of course,
you're mixing sound,
432
00:25:59,930 --> 00:26:02,850
and you're mixing and creating
other visual effects,
433
00:26:02,930 --> 00:26:06,600
like the additional snow here,
or like these additional Frost Giants.
434
00:26:06,690 --> 00:26:12,400
And you need to be very, very confident
in all of your fellows.
435
00:26:12,480 --> 00:26:15,860
We had a great head of visual effects
in Victoria Alonso
436
00:26:15,950 --> 00:26:18,820
and a great VFX producer
in Diana Giorgiutti.
437
00:26:18,910 --> 00:26:21,410
And they worked all hours
that God sent
438
00:26:21,490 --> 00:26:23,870
with their team to make sure
439
00:26:23,950 --> 00:26:27,620
that if you needed
an eight-legged horse in time,
440
00:26:27,710 --> 00:26:30,500
then Sleipnir would arrive.
441
00:26:30,580 --> 00:26:33,800
Sleipnir, the eight-legged horse,
l absolutely love.
442
00:26:33,880 --> 00:26:36,050
For those of you
familiar with the Norse myths,
443
00:26:36,130 --> 00:26:42,300
you'll know that Sleipnir has many
adventures of his own across the myths,
444
00:26:42,390 --> 00:26:45,930
and in fact, one of the challenges for us
when we came to this material,
445
00:26:46,020 --> 00:26:49,020
was just what to select, what to include.
446
00:26:49,100 --> 00:26:52,610
There are Nine Realms,
there are dwarves, there are elves,
447
00:26:52,690 --> 00:26:56,150
there are Norns, there are characters,
448
00:26:56,240 --> 00:26:59,820
hugely important characters
like Balder, like Princess Karnilla.
449
00:27:04,870 --> 00:27:09,620
There were so many opportunities to
create so many different kinds of story,
450
00:27:09,710 --> 00:27:15,040
but our real sense, both for
the devotees, for the aficionados
451
00:27:15,130 --> 00:27:17,050
and l hope for people new to the story,
452
00:27:17,130 --> 00:27:21,680
was that we would try
and tell a genuine origins story
453
00:27:22,340 --> 00:27:26,060
full of this kind of excitement,
this kind of warring worlds,
454
00:27:26,140 --> 00:27:29,180
but that actually, at the centre of it,
the backbone of it,
455
00:27:29,270 --> 00:27:31,690
apart from the antagonism
of someone like Laufey
456
00:27:31,770 --> 00:27:35,230
and his very disappointed,
revengeful race there,
457
00:27:36,150 --> 00:27:40,950
at the centre of it was a story of, as l've
mentioned before, fathers and sons.
458
00:27:41,030 --> 00:27:45,910
Now, here we come to a scene
which encapsulates this struggle
459
00:27:45,990 --> 00:27:48,790
between an Odin
who is absolutely serious
460
00:27:48,870 --> 00:27:53,170
about how difficult and how necessary
and how precarious a job it is
461
00:27:53,250 --> 00:27:58,170
to protect the safety of the Nine Realms,
the whole of the known universe,
462
00:27:58,260 --> 00:28:01,630
and a son who seems to be
working on instinct,
463
00:28:01,720 --> 00:28:04,510
an instinct that doesn't seem to be
serving him very well.
464
00:28:04,600 --> 00:28:07,760
He may have set off
some kind of nuclear war.
465
00:28:08,720 --> 00:28:11,180
And here you have a chance
for a kind of passion
466
00:28:11,270 --> 00:28:14,190
between these characters
that l think is unusual,
467
00:28:14,270 --> 00:28:17,070
because the stakes are so high,
the universe is at stake,
468
00:28:17,150 --> 00:28:19,360
it can take this level of feeling.
469
00:28:19,440 --> 00:28:23,150
So here, when Anthony Hopkins
receives this blow, this dismissal,
470
00:28:23,240 --> 00:28:25,950
a line that Prince Hal might have
said to Falstaff
471
00:28:26,030 --> 00:28:28,740
in the Henry lV plays in Shakespeare,
472
00:28:28,830 --> 00:28:30,540
you see him take the hurt.
473
00:28:30,620 --> 00:28:37,170
You still see the lion roaring
in relation to Tom Hiddleston as Loki,
474
00:28:37,250 --> 00:28:41,670
but you have this great capacity
for feeling conveyed through simplicity,
475
00:28:41,760 --> 00:28:44,130
but he's not afraid of the fire of it.
476
00:28:44,220 --> 00:28:47,850
So, you feel the incredible passion
at the centre of the picture,
477
00:28:47,970 --> 00:28:50,100
and so you know when they're playing
with this kind of intensity,
478
00:28:50,180 --> 00:28:52,810
that we hopefully will be
able to come back here
479
00:28:52,890 --> 00:28:55,810
and want to know
how this story is resolved.
480
00:28:55,900 --> 00:28:58,980
Who will be king?
What will happen to Asgard?
481
00:28:59,610 --> 00:29:02,570
ls Odin's heart broken?
ls it more than that?
482
00:29:03,490 --> 00:29:08,410
But we're feeling the beginning of a
very marked moment in Thor's journey,
483
00:29:08,490 --> 00:29:14,160
a journey which will literally see us see
him change from that arrogant youth,
484
00:29:14,250 --> 00:29:18,500
who paraded and cheered his way down
that ceremonial room,
485
00:29:18,590 --> 00:29:21,500
to someone who is going to have to
think seriously about
486
00:29:21,590 --> 00:29:23,670
whether he belongs here.
487
00:29:33,350 --> 00:29:35,520
l love this cashiering moment.
488
00:29:39,060 --> 00:29:42,570
There he goes. There's a biblical line
and it's a biblical action.
489
00:29:42,650 --> 00:29:43,650
The fall of man.
490
00:29:43,740 --> 00:29:46,780
Thor falls from the Garden of Eden,
if you'd like, from Asgard,
491
00:29:46,860 --> 00:29:48,820
and he's stripped, court martial-like,
492
00:29:48,910 --> 00:29:51,740
an image that l pulled
from The Dreyfus Affair.
493
00:29:51,830 --> 00:29:53,450
Paul Muni and The Dreyfus Affair,
494
00:29:53,540 --> 00:29:57,120
ancient film about an extraordinary
scandal in the French government
495
00:29:57,210 --> 00:29:58,880
in the late 19th century.
496
00:29:58,960 --> 00:30:01,210
And they pull the epaulets
off the uniform,
497
00:30:01,300 --> 00:30:03,920
and l wanted to do it in that scene.
498
00:30:04,010 --> 00:30:09,090
And then to bring that
extraordinary leap through space,
499
00:30:09,850 --> 00:30:13,010
for our hero to return to the place
500
00:30:13,100 --> 00:30:16,600
from where he first began
at the beginning of the movie.
501
00:30:17,690 --> 00:30:19,810
And as we come to this scene,
502
00:30:19,900 --> 00:30:22,230
one of the things we noticed
when we started to screen the movie
503
00:30:22,320 --> 00:30:25,320
in our small friends and family
screenings, as we call them,
504
00:30:25,400 --> 00:30:27,200
because they don't become public ones,
505
00:30:27,280 --> 00:30:30,030
because of the dread, fear and terror
506
00:30:30,120 --> 00:30:32,740
that negative things
might be written on the lnternet
507
00:30:32,830 --> 00:30:37,580
orjust spoilers, et cetera,
for a work in progress.
508
00:30:38,080 --> 00:30:39,960
We realised that this return to Earth
509
00:30:40,040 --> 00:30:41,670
was something
that people were really enjoying.
510
00:30:41,750 --> 00:30:45,760
They felt pleased to be back
amongst these characters.
511
00:30:45,840 --> 00:30:49,720
Of course, now you're looking at Thor
in a completely different way.
512
00:30:49,800 --> 00:30:55,560
You're bringing to this the sense of
all of that drama and grandeur
513
00:30:55,640 --> 00:30:56,850
that went on up in Asgard,
514
00:30:56,930 --> 00:31:00,350
but it's backing up
against a modern sensibility,
515
00:31:00,440 --> 00:31:02,900
which inevitably results in it
being quite funny.
516
00:31:02,980 --> 00:31:06,030
Absurd and surreal in some ways,
but funny.
517
00:31:06,110 --> 00:31:10,240
And back to what we started talking
about at the beginning of this,
518
00:31:10,320 --> 00:31:13,870
contemporary Earth
and humour were two ways
519
00:31:13,950 --> 00:31:18,120
in which l felt we had to go
in order to blend
520
00:31:18,210 --> 00:31:20,960
and make successfully
stay in the same film,
521
00:31:21,040 --> 00:31:23,750
all of these many combinations
of the fantastical elements,
522
00:31:23,840 --> 00:31:27,090
the space elements,
the Jotunheim elements,
523
00:31:27,170 --> 00:31:32,300
the drama up there and the investigation
and the science down here,
524
00:31:32,390 --> 00:31:35,930
all of it had to include
a sense of humour, basically,
525
00:31:36,010 --> 00:31:40,060
a sense of humour that you've seen
Chris Hemsworth embody
526
00:31:40,140 --> 00:31:41,810
in his performance
527
00:31:41,900 --> 00:31:47,650
and that we definitely see here in the
reactions of Selvig, and of Jane Foster
528
00:31:47,730 --> 00:31:49,990
and of Kat Dennings as Darcy.
529
00:31:50,320 --> 00:31:54,740
Once again, the beginnings now
of the classic tale,
530
00:31:54,830 --> 00:31:59,120
the classic tension, if you like,
of a god amongst men
531
00:31:59,200 --> 00:32:01,290
starts to play out comically.
532
00:32:01,370 --> 00:32:05,420
Let's talk a little bit,
as we see Thor on Earth,
533
00:32:05,500 --> 00:32:08,590
about the casting of Chris Hemsworth.
534
00:32:08,670 --> 00:32:11,420
About 6'3", 6'4",
a young Australian actor,
535
00:32:11,510 --> 00:32:15,600
l met him at the beginning of the
three- or four-month casting process,
536
00:32:15,680 --> 00:32:18,310
and we didn't know much about
what our Thor was going to be like.
537
00:32:18,390 --> 00:32:20,980
He had a cold, l don't think anyone
had given him any pages,
538
00:32:21,060 --> 00:32:23,850
maybe we didn't have
any pages of the script.
539
00:32:23,940 --> 00:32:27,190
lt was a little unsuccessful,
l suppose, our meeting.
540
00:32:27,270 --> 00:32:29,650
And then, about three months later,
541
00:32:29,740 --> 00:32:31,820
when we had met people
from all over the world
542
00:32:31,900 --> 00:32:33,780
and tested some people,
543
00:32:33,860 --> 00:32:37,490
we knew much more
about what our character should be like,
544
00:32:37,580 --> 00:32:42,870
as we see the crater here
made by the falling Mjolnir.
545
00:32:43,250 --> 00:32:46,500
When we understood that we needed
this character to change,
546
00:32:46,590 --> 00:32:48,590
there would be
an acting range required,
547
00:32:48,670 --> 00:32:53,220
that he couldn't just be muscle,
he couldn't just be brute strength,
548
00:32:53,720 --> 00:32:57,300
we were then lucky enough
and smart enough, in some way,
549
00:32:57,390 --> 00:33:01,100
one of us was, not me, to understand
we should get Chris back in
550
00:33:01,180 --> 00:33:02,770
if he was prepared to do so.
And come in.
551
00:33:02,850 --> 00:33:06,060
And we did meet, and we talked
and we workshopped and we tested,
552
00:33:06,360 --> 00:33:10,730
and he told Thor war stories, and
he was involved in passionate scenes,
553
00:33:10,820 --> 00:33:14,150
and he had romantic scenes,
and he did some physical work
554
00:33:14,240 --> 00:33:15,860
and he absolutely owned it.
555
00:33:15,950 --> 00:33:18,660
He walked in and took the part
by the scruff of the neck,
556
00:33:18,740 --> 00:33:24,250
and one realised that we'd be luckier
than a lucky thing to have him.
557
00:33:24,330 --> 00:33:27,920
So, Chris Hemsworth,
additionally to all of that,
558
00:33:28,000 --> 00:33:30,460
showed himself
to be a natural screen actor.
559
00:33:30,550 --> 00:33:31,840
He knows how to hold the screen,
560
00:33:31,920 --> 00:33:36,590
he knows how to be
in front of the camera, not just to do.
561
00:33:37,010 --> 00:33:42,520
And so, l feel very, very lucky
that this movie has him at its heart
562
00:33:42,600 --> 00:33:45,520
because he carries it off.
563
00:33:45,600 --> 00:33:48,690
And he's able to carry the movie,
no mean feat.
564
00:33:48,770 --> 00:33:50,690
Here are two people
who have carried movies before,
565
00:33:50,770 --> 00:33:56,860
the beautiful, wondrous, intelligent,
funny, sharp, true Ms Natalie Portman,
566
00:33:56,950 --> 00:34:00,200
and the brilliant Mr Stellan SkarsgÄrd
you've seen in a thousand films.
567
00:34:00,280 --> 00:34:03,950
He's a ubiquitous actor,
always striking, always brilliant.
568
00:34:04,040 --> 00:34:07,540
And there you've seen already lines
that have amused and thrilled us,
569
00:34:07,620 --> 00:34:10,750
Kat Dennings, who is a brilliant
comedian, excellent actress.
570
00:34:10,840 --> 00:34:12,880
The three of them got on very, very well,
571
00:34:12,960 --> 00:34:16,720
and they lend this scientific credibility
to the story of this,
572
00:34:16,800 --> 00:34:18,380
the man who fell to Earth.
573
00:34:18,470 --> 00:34:21,970
Here, an image
from inside that funnel cloud.
574
00:34:22,600 --> 00:34:26,520
l enjoy, in this shot, the red shoes,
575
00:34:26,600 --> 00:34:31,230
the red Crocs on the right side of frame.
576
00:34:31,310 --> 00:34:32,480
And the colour palette throughout,
577
00:34:32,570 --> 00:34:35,650
we try and be as subtle
and intelligent with as we can.
578
00:34:35,740 --> 00:34:39,160
The blues and the reds there
that echo Thor's costume.
579
00:34:40,120 --> 00:34:43,530
And that's something that we discussed,
obviously, with Bo Welch,
580
00:34:43,620 --> 00:34:45,700
who gave me a nice, clean room there,
581
00:34:45,790 --> 00:34:48,500
with Alex Byrne,
who gave me the simple costumes.
582
00:34:48,580 --> 00:34:50,580
And of course, crucially
with Haris Zambarloukos,
583
00:34:50,670 --> 00:34:52,250
our director of photography
584
00:34:52,340 --> 00:34:55,760
who was involved with this project
from the very earliest days.
585
00:34:55,840 --> 00:34:58,840
And he and l, with models of the sets
586
00:34:58,930 --> 00:35:02,340
and an entire mini lighting rig-up,
587
00:35:02,850 --> 00:35:05,930
would play,
as if with a kind of doll's house,
588
00:35:06,020 --> 00:35:08,180
on the interior of something like this.
589
00:35:08,270 --> 00:35:11,650
Then we'd go out to a real interior,
and way ahead of time,
590
00:35:11,730 --> 00:35:15,230
we would practise
what we wanted from the lighting.
591
00:35:16,280 --> 00:35:20,360
His contribution was crucial,
as are moments like this.
592
00:35:30,210 --> 00:35:34,040
lt made me laugh the first time we did it,
it's made me laugh every time since.
593
00:35:34,130 --> 00:35:36,840
l think it's funny when people,
cruel as it is,
594
00:35:36,920 --> 00:35:38,260
get hit in moments like that.
595
00:35:38,340 --> 00:35:41,010
Obviously, it's a bit
of a running gag for Thor.
596
00:35:41,090 --> 00:35:45,140
This scene,
fans of the comics will know,
597
00:35:45,220 --> 00:35:48,430
has appeared in varying versions
of the comics,
598
00:35:49,520 --> 00:35:53,480
and l love it for the fun
and for the colour that it introduces,
599
00:35:53,560 --> 00:35:58,400
but l just also enjoy the fact
that this is Stan Lee,
600
00:35:58,490 --> 00:36:01,150
who you may see
coming up in a moment.
601
00:36:01,240 --> 00:36:04,570
And the Marvelistas
raiding the Norse myths,
602
00:36:04,660 --> 00:36:09,250
but also popping in their own
Arthurian moment with Excalibur.
603
00:36:12,420 --> 00:36:15,380
And there's Stan Lee asking,
"Did it work?"
604
00:36:15,460 --> 00:36:19,380
No, Excalibur or Mjolnir, in this case,
is still in the stone
605
00:36:19,460 --> 00:36:21,800
or in the rock, in this case.
606
00:36:21,880 --> 00:36:23,840
l had lunch with Stan Lee
before we started shooting.
607
00:36:23,930 --> 00:36:27,100
He's the most extraordinary
mixture of energy
608
00:36:27,180 --> 00:36:29,520
and intelligence and kindness.
609
00:36:29,600 --> 00:36:35,190
His insights into the character and
his generosity about his invitation to us
610
00:36:35,270 --> 00:36:38,360
to do with him what we would
were incredible.
611
00:36:38,440 --> 00:36:40,820
He was really a joy to work with.
612
00:36:42,030 --> 00:36:45,570
This work,
evidenced in Chris Hemsworth's torso,
613
00:36:45,660 --> 00:36:51,450
was the product of his six, nine months
of very intensive work in the gym,
614
00:36:51,540 --> 00:36:53,160
and l thought that l might risk saying
615
00:36:53,250 --> 00:36:57,790
that l'd had his head pasted
onto my body here for this sequence,
616
00:36:57,880 --> 00:36:59,460
but l fear that you wouldn't believe me,
617
00:36:59,550 --> 00:37:02,010
so l guess l'm just going to have
to tell you that it was him.
618
00:37:02,090 --> 00:37:04,380
And l remember
a few days before we shot this
619
00:37:04,470 --> 00:37:07,680
saying rather embarrassedly,
"Hey, Chris, l want to do this shot,
620
00:37:07,760 --> 00:37:10,890
"it seems important to me
that we reveal Thor in this way.
621
00:37:10,970 --> 00:37:14,730
"Do you mind taking your shirt off?"
To which he replied, "Do l mind?
622
00:37:14,810 --> 00:37:16,650
"l've been doing this
for nine months, mate.
623
00:37:16,730 --> 00:37:18,810
"Of course l'm gonna get my shirt off."
624
00:37:18,900 --> 00:37:24,070
l'm glad he did, because it's produced
gasps in early screenings,
625
00:37:24,150 --> 00:37:28,030
and we needed Thor to look like a god,
Chris Hemsworth does.
626
00:37:28,120 --> 00:37:30,700
Here is the home of the gods, Asgard,
627
00:37:30,790 --> 00:37:34,960
where from that
beautiful evocation of the city,
628
00:37:35,040 --> 00:37:38,750
we pan into
another one of Bo Welch's great sets.
629
00:37:38,840 --> 00:37:41,880
Above you see
what is a ram's head, inverted,
630
00:37:41,960 --> 00:37:46,470
which becomes the canopy
to this real fire.
631
00:37:46,840 --> 00:37:50,550
Beautiful shot, l think,
that one of Jaimie Alexander as Sif.
632
00:37:50,640 --> 00:37:53,930
Let me talk a little bit about these
excellent actors, starting with this man.
633
00:37:54,020 --> 00:37:58,230
Tom Hiddleston, l worked with in
the theatre and on television in England,
634
00:37:58,310 --> 00:38:02,020
and he brings to Loki
an intellectual complexity.
635
00:38:03,280 --> 00:38:06,570
He has a real swiftness of thought.
636
00:38:07,030 --> 00:38:10,910
Tom has a fine sense of humour,
so you can get Loki, the mischief maker.
637
00:38:10,990 --> 00:38:14,410
He, like all the others, did an enormous
amount of work by way of preparation,
638
00:38:14,500 --> 00:38:17,670
by way of research into the comics.
639
00:38:17,750 --> 00:38:22,340
And he is someone, as an actor, who
from take to take is very free, very able,
640
00:38:22,710 --> 00:38:28,180
very imaginative, and is really
quite a brilliant, young talent.
641
00:38:28,260 --> 00:38:31,680
He got on very well
with both Chris Hemsworth directly
642
00:38:31,760 --> 00:38:35,720
and was part of a very, very happy,
643
00:38:35,810 --> 00:38:40,060
kind of, chemical combination of folk
in this group.
644
00:38:40,810 --> 00:38:42,820
Jaimie Alexander as Sif,
645
00:38:43,440 --> 00:38:46,030
an absolute comic geek,
she knows more about the comics
646
00:38:46,110 --> 00:38:48,820
than most of the people
involved with the project.
647
00:38:48,910 --> 00:38:50,950
l think she's from a family
of many brothers,
648
00:38:51,030 --> 00:38:54,030
and she has also that tomboyish quality
649
00:38:54,120 --> 00:38:58,080
that makes her unafraid
to be involved in the physical stuff.
650
00:38:58,160 --> 00:39:02,710
So, she did a great job
of conveying the warrior princess,
651
00:39:03,040 --> 00:39:07,550
but she also, as you can see,
is quite stunningly beautiful,
652
00:39:07,920 --> 00:39:13,050
and brings to Sif's inner life,
as we go through the movie,
653
00:39:13,140 --> 00:39:15,390
really quite a complex quality,
654
00:39:15,470 --> 00:39:18,350
particularly in relation to
what she feels about Thor.
655
00:39:18,440 --> 00:39:21,440
lt was a very fine,
very subtle piece of acting.
656
00:39:24,070 --> 00:39:26,230
Here we see Tom Hiddleston as Loki
657
00:39:26,320 --> 00:39:28,400
returning to the
Casket ofAncient Winters
658
00:39:28,490 --> 00:39:31,860
to try and understand
what happened on Jotunheim
659
00:39:31,950 --> 00:39:35,030
when his skin appeared to turn blue.
660
00:39:35,410 --> 00:39:38,160
And, in a moment, there was
a very good suggestion of Craig Kyle,
661
00:39:38,250 --> 00:39:41,710
one of our co-producers
who was intimately involved.
662
00:39:41,790 --> 00:39:43,130
We reveal
663
00:39:45,420 --> 00:39:50,130
that Loki is at least part Frost Giant.
664
00:39:53,680 --> 00:39:55,550
Once again in this scene,
665
00:39:55,640 --> 00:40:00,020
it felt as though the film was
trying to be ambitious,
666
00:40:00,100 --> 00:40:03,350
to bring to this family dynamic
667
00:40:03,440 --> 00:40:07,570
this, if you like, relatable,
universal issue,
668
00:40:07,820 --> 00:40:10,740
not experienced by many
but understood by all,
669
00:40:10,820 --> 00:40:15,700
of what happens when your life
appears to have been exposed
670
00:40:15,780 --> 00:40:17,530
as having been a lie.
671
00:40:17,620 --> 00:40:20,830
Loki is not, in fact, Odin's son.
672
00:40:24,170 --> 00:40:29,420
Although the act of saving him
may, in Odin's view,
673
00:40:29,510 --> 00:40:33,220
have been the beginnings
of loving and adoring
674
00:40:33,300 --> 00:40:35,760
and caring for him as his own son,
675
00:40:36,550 --> 00:40:40,930
the reality to Loki of this lie,
676
00:40:41,020 --> 00:40:43,770
and the evidence that his father
is, in fact, Laufey,
677
00:40:43,850 --> 00:40:48,900
is obviously
a cataclysmic discovery for him.
678
00:41:10,590 --> 00:41:15,180
ln a scene like this, it seems to me
that, again, the stakes are so high,
679
00:41:15,260 --> 00:41:17,760
the passions involved
are so extraordinary
680
00:41:17,850 --> 00:41:21,220
that the kind of acting moments
touched on by these two
681
00:41:22,180 --> 00:41:24,980
are pleasing and unusual
in a film like this, l think.
682
00:41:25,060 --> 00:41:27,190
They give it some ballast.
683
00:41:27,480 --> 00:41:30,360
They are the kind of weight
684
00:41:30,440 --> 00:41:36,160
against which the comedy,
the fun of so much of the rest of it sits,
685
00:41:36,240 --> 00:41:39,740
and is offset,
and it's a necessary balance.
686
00:41:40,240 --> 00:41:42,740
When you put these two together
to do something like this,
687
00:41:42,830 --> 00:41:44,660
l think you are blessed.
688
00:41:44,750 --> 00:41:49,630
Tony Hopkins, this was
his first day on set, his first scene.
689
00:41:49,790 --> 00:41:52,340
And l decided that l would experiment
690
00:41:52,420 --> 00:41:55,090
with something l'd been
experimenting with as an actor myself,
691
00:41:55,180 --> 00:42:00,220
which was to start the day in a scene
like this by shooting the close-ups.
692
00:42:00,310 --> 00:42:03,100
Normally, you'd start in a wide shot,
like the one we've just seen,
693
00:42:03,180 --> 00:42:06,100
and you'd move slowly in and you might
get to close-ups after lunch
694
00:42:06,190 --> 00:42:07,640
or in the middle of the afternoon.
695
00:42:07,730 --> 00:42:11,360
At whatever time we got him on set,
maybe 9:30, 10:00 in the morning,
696
00:42:11,440 --> 00:42:13,280
Tony Hopkins was
doing the close-ups for this scene,
697
00:42:13,360 --> 00:42:15,030
and l thought he did a magnificent job.
698
00:42:15,110 --> 00:42:17,700
And he was incredibly generous
to young Tom,
699
00:42:17,780 --> 00:42:20,280
who was incredibly patient
and did his close-ups
700
00:42:20,370 --> 00:42:22,370
much later in the day
or even the next day.
701
00:42:22,450 --> 00:42:26,960
lt was an example of great camaraderie
and cooperation between two actors.
702
00:42:28,710 --> 00:42:34,380
The town of Puente Antiguo,
we built in New Mexico
703
00:42:34,460 --> 00:42:35,880
just outside Santa Fe.
704
00:42:35,970 --> 00:42:40,220
lt's this wonderful western town
that was featured in movies
705
00:42:40,300 --> 00:42:44,810
from as far back as Silverado and
as recently as Ed Harris' Appaloosa.
706
00:42:45,810 --> 00:42:49,730
We took the basic shape
and we remodelled the frontages,
707
00:42:49,810 --> 00:42:52,730
and instead of the dust track
down the middle, we tarmacked
708
00:42:52,820 --> 00:42:57,030
and we created what l wanted to be,
with Bo Welch,
709
00:42:57,110 --> 00:43:00,490
a sort of heightened version
of a kind ofAmericana
710
00:43:00,570 --> 00:43:03,370
that l had enjoyed seeing in the comics.
711
00:43:03,450 --> 00:43:06,870
l wanted it
to sit in the vast sea of the desert,
712
00:43:06,960 --> 00:43:10,250
just like
Asgard sits in the vast sea of space.
713
00:43:10,330 --> 00:43:14,130
And l wanted to be able to have the
colours of the seats, like the red here,
714
00:43:14,210 --> 00:43:19,800
have a sort of ambience that evoked
the world of Edward Hopper,
715
00:43:19,880 --> 00:43:24,640
a kind of heightened,
very familiar, very intensely flavoured,
716
00:43:24,720 --> 00:43:28,600
intensely coloured version
of small-town America
717
00:43:28,690 --> 00:43:30,390
that comes out of the comics,
718
00:43:30,480 --> 00:43:33,020
and that is immensely fascinating
and attractive, l think,
719
00:43:33,110 --> 00:43:35,520
to anyone who is not from America
and l hope, obviously,
720
00:43:35,610 --> 00:43:38,820
if you're from America,
it's equally interesting.
721
00:43:39,320 --> 00:43:41,660
But it was to do with trying to have
Thor land
722
00:43:41,740 --> 00:43:46,490
in a coherent environment, community,
723
00:43:46,790 --> 00:43:49,620
where, when eventually it is threatened,
724
00:43:49,710 --> 00:43:51,920
we have some sense
that it deserves not to be threatened,
725
00:43:52,000 --> 00:43:53,130
it deserves to be saved.
726
00:43:53,210 --> 00:43:56,130
And there are kind people there,
and people like you and me.
727
00:43:56,210 --> 00:43:57,710
And so, the building of this town,
728
00:43:57,800 --> 00:43:59,590
the creation of this town
inside the desert
729
00:43:59,670 --> 00:44:01,510
with that kind of backdrop
right at the back
730
00:44:01,590 --> 00:44:04,140
with the mountains
and the fun of a sign like,
731
00:44:04,220 --> 00:44:08,470
"Welcome to the home of the Vikings"
on the water tower there,
732
00:44:08,560 --> 00:44:12,850
was a wonderful part
of creating an Earth part
733
00:44:12,940 --> 00:44:16,900
of a translation of the comics,
which l loved doing.
734
00:44:16,980 --> 00:44:18,480
From a movie point of view,
735
00:44:18,570 --> 00:44:20,530
building something
where we could have control over it,
736
00:44:20,610 --> 00:44:22,530
we did lots of scouting
down in New Mexico,
737
00:44:22,610 --> 00:44:25,160
there were lots of candidates
as real towns,
738
00:44:25,240 --> 00:44:29,790
and that issue of level of reality
was one we discussed much.
739
00:44:29,870 --> 00:44:33,870
But here, l knew that we would be
staging, later on, a big battle in it,
740
00:44:33,960 --> 00:44:35,790
and l just wanted to be
able to stop and start
741
00:44:35,880 --> 00:44:39,420
and have complete and utter control
over what we were doing
742
00:44:39,510 --> 00:44:42,550
and the camera style,
and not be stopping traffic
743
00:44:42,630 --> 00:44:44,890
and not be dealing with everything
that's to do
744
00:44:44,970 --> 00:44:47,220
with closing down a real town.
745
00:44:48,100 --> 00:44:52,520
Also, l wanted to have the time to,
again, have some of the fun of,
746
00:44:52,600 --> 00:44:56,730
at the beginning of this scene,
Thor walking down the street ignoring,
747
00:44:56,810 --> 00:44:59,650
either walking
on the left- or right-hand side,
748
00:44:59,730 --> 00:45:01,030
walking like a god walks.
749
00:45:01,110 --> 00:45:03,490
l mean,
people should get out of his way.
750
00:45:03,570 --> 00:45:06,950
The other part of his god-like quality
was this sort of gallantry,
751
00:45:07,030 --> 00:45:10,490
the idea of kissing hands
and generally being a sort of knight
752
00:45:10,580 --> 00:45:13,960
gallant to someone like Jane Foster.
753
00:45:14,250 --> 00:45:17,210
And here you see that
in the very brief time
754
00:45:17,290 --> 00:45:18,880
in which you may be able to establish
755
00:45:18,960 --> 00:45:21,380
some kind of romantic feeling
between them,
756
00:45:21,460 --> 00:45:27,930
she is absolutely thrown for a loop
by his old-fashioned gentlemanliness
757
00:45:28,010 --> 00:45:33,480
wrapped up in this kind of gargantuan,
massive, sort of, caveman body.
758
00:45:34,270 --> 00:45:37,650
One can see that
he makes an impression, and swiftly.
759
00:45:40,570 --> 00:45:43,780
However, we also know
that life won't be made easy
760
00:45:43,860 --> 00:45:47,160
and into the movie,
as hinted at earlier on
761
00:45:47,240 --> 00:45:50,740
when Clark Gregg showed up
at the crater site,
762
00:45:50,830 --> 00:45:53,160
there's now a much stronger presence
763
00:45:53,250 --> 00:45:56,920
of the mysterious government agency,
S.H.l.E.L.D.,
764
00:45:57,000 --> 00:46:02,250
in the form of Mr Clark Gregg,
who you'll know from lron Man
765
00:46:02,340 --> 00:46:06,510
and who l was really thrilled
to be working with in this.
766
00:46:06,840 --> 00:46:09,430
He has a great sensitivity
for the character,
767
00:46:09,510 --> 00:46:14,270
a great deadpan quality, very dry
and funny man in his own right.
768
00:46:14,350 --> 00:46:16,890
But he does the difficult thing
in a part like this,
769
00:46:16,980 --> 00:46:19,480
especially one that's now
become a very successful part,
770
00:46:19,560 --> 00:46:22,690
of continuing to keep it honest,
play it straight,
771
00:46:23,190 --> 00:46:27,240
and he brings that side of the story,
772
00:46:27,320 --> 00:46:30,950
this concern on the part of S.H.l.E.L.D.
and Nick Fury
773
00:46:31,490 --> 00:46:33,790
and those who work with him,
774
00:46:33,870 --> 00:46:37,160
at the potential danger,
the potential knowledge to be learnt
775
00:46:37,250 --> 00:46:40,250
from what's happening out here
in the New Mexican desert,
776
00:46:40,330 --> 00:46:42,380
and from what's happening
777
00:46:42,460 --> 00:46:46,550
in Jane Foster's brilliant, maverick,
scientific journey.
778
00:46:49,220 --> 00:46:52,350
The shots that follow,
l love having been in New Mexico.
779
00:46:52,430 --> 00:46:56,810
lt gets away from the synthetic and there
we are, the real set, the real desert.
780
00:46:56,890 --> 00:47:00,520
And for me, tilted angles,
Dutched angles as we call them,
781
00:47:00,610 --> 00:47:04,270
because that's the way
l remember comic book frames.
782
00:47:04,360 --> 00:47:05,820
lt was something controversial
at the time,
783
00:47:05,900 --> 00:47:08,320
l remember there was some concern
about whether l was overdoing it.
784
00:47:08,400 --> 00:47:10,160
l hope you don't feel l did.
785
00:47:10,240 --> 00:47:14,410
They were there because
that's how l received the dynamism
786
00:47:14,490 --> 00:47:17,080
of the composition in the frames.
787
00:47:17,160 --> 00:47:20,210
Wide-angle lenses with lots of depth
788
00:47:20,290 --> 00:47:23,250
and it's why l chose it as a style for this.
789
00:47:25,920 --> 00:47:30,630
And while we're talking about depth and
here, live in the New Mexican desert
790
00:47:30,720 --> 00:47:32,680
on the top of Smith's Motors,
791
00:47:32,760 --> 00:47:35,890
this spaceship,
'50s retro designed look
792
00:47:35,970 --> 00:47:40,690
that tries to evoke a little outer space
even on Earth,
793
00:47:40,770 --> 00:47:43,440
let's talk a little bit about 3-D.
794
00:47:43,520 --> 00:47:45,820
3-D was a discussion
early on in the process.
795
00:47:45,900 --> 00:47:49,360
l didn't want to shoot in 3-D. l needed
more time to work with the actors.
796
00:47:49,450 --> 00:47:54,910
l wasn't confident about how swiftly
l could work with the two 3-D cameras.
797
00:47:55,870 --> 00:48:01,080
And so, l investigated, instead,
what would happen if we converted,
798
00:48:01,170 --> 00:48:03,790
and as we, indeed, did render,
799
00:48:03,880 --> 00:48:09,300
the vast majority of our 1,309
visual effects shots in post-production.
800
00:48:20,640 --> 00:48:23,560
l was very, very happy with the results.
801
00:48:23,650 --> 00:48:25,270
l had the initial discussion saying,
802
00:48:25,360 --> 00:48:29,230
"Look, if this is just an attempt
to make some more money,
803
00:48:29,320 --> 00:48:30,900
"people will see through it.
804
00:48:30,990 --> 00:48:33,320
"l need to go through a journey
where l can understand
805
00:48:33,410 --> 00:48:35,410
"how much more value
it can add for me."
806
00:48:35,490 --> 00:48:38,120
So l did, and when we prepared
our five-minute piece
807
00:48:38,200 --> 00:48:41,080
for the great convention
of Comic-Con in San Diego,
808
00:48:41,160 --> 00:48:48,040
we worked out how 3-D could enhance
a more and differently immersive
809
00:48:48,130 --> 00:48:51,630
version of the film
for sequences like this,
810
00:48:51,720 --> 00:48:56,180
where you have an iconic image of
Tom Hiddleston as Loki on the throne.
811
00:48:56,510 --> 00:49:00,930
And where here, you can have
a sense of the grandeur, vastness,
812
00:49:01,020 --> 00:49:04,810
and layer out the depth
between the Warriors Four
813
00:49:04,900 --> 00:49:07,440
and him between them
and the background
814
00:49:07,520 --> 00:49:09,940
in a way that, l think, often subtly
815
00:49:10,030 --> 00:49:13,320
and sometimes more directly
puts you in the picture,
816
00:49:13,400 --> 00:49:16,450
gives you a stronger, more immersive
sense of being in Asgard.
817
00:49:16,530 --> 00:49:19,120
We worked particularly
on the depth script,
818
00:49:19,200 --> 00:49:22,660
that is to say through being able
to have control shot to shot
819
00:49:22,750 --> 00:49:27,580
on how the compression or release
of the space inside the frame worked,
820
00:49:28,290 --> 00:49:31,710
we could avoid, we hoped,
that headache-inducing,
821
00:49:31,800 --> 00:49:34,970
eye-hurting kind of quality
that is sometimes the product
822
00:49:35,050 --> 00:49:40,350
of either rushed 3-D,
or 3-D where shot for shot, when shot,
823
00:49:40,430 --> 00:49:42,180
has depth judged perfectly,
824
00:49:42,270 --> 00:49:44,180
but when put together
can be problematic.
825
00:49:44,270 --> 00:49:48,060
We wanted a smooth
and subtly enhancing,
826
00:49:48,150 --> 00:49:52,230
but not wildly disturbing version of 3-D.
827
00:49:52,320 --> 00:49:56,150
l was delighted with the results
in both the spectacular scenes,
828
00:49:56,240 --> 00:49:58,660
but also in some of the subtler scenes
829
00:49:58,740 --> 00:50:01,660
where just a different sense
of being there
830
00:50:01,740 --> 00:50:05,330
and a different relationship
to some of the characters, the textures
831
00:50:05,410 --> 00:50:07,580
and the compositional elements
was something
832
00:50:07,670 --> 00:50:09,580
that l was very happy to experiment with.
833
00:50:09,670 --> 00:50:12,340
lt took a long time,
but l was pleased and proud
834
00:50:12,420 --> 00:50:15,010
with the company
we worked with, Stereo D,
835
00:50:15,090 --> 00:50:17,130
they did a fantastic job.
836
00:50:17,720 --> 00:50:19,930
There's the Rainbow Bridge for you,
and Odin on it.
837
00:50:20,010 --> 00:50:21,600
That shows you how far we came.
838
00:50:21,680 --> 00:50:25,020
And then something that l wanted
to have in the movie from day one,
839
00:50:25,100 --> 00:50:28,940
which is just the simple explanation
that "Thursday" comes from "Thor."
840
00:50:29,020 --> 00:50:31,360
lt is "Thor's day."
841
00:50:31,440 --> 00:50:34,190
As, indeed,
"Friday" comes from "Frigga"
842
00:50:34,280 --> 00:50:36,740
and the two other days
from the western character
843
00:50:36,820 --> 00:50:39,740
that are also influenced
by the Norse myths.
844
00:50:44,040 --> 00:50:46,120
l wish l could tell you
l'd given Chris Hemsworth
845
00:50:46,210 --> 00:50:49,370
a great reading of that line
"l want a horse,"
846
00:50:49,460 --> 00:50:51,710
which makes me laugh
almost every time.
847
00:50:51,790 --> 00:50:53,340
l didn't, he did.
848
00:50:53,420 --> 00:50:57,090
He came at the part
with such a natural sense of humour
849
00:50:57,170 --> 00:51:02,260
that it was great to see him get value
out of that fish-out-of-water moment,
850
00:51:02,350 --> 00:51:05,430
and a very good reaction
from the pet shop keeper.
851
00:51:08,640 --> 00:51:10,600
This is an area
where 3-D, l like very much
852
00:51:10,690 --> 00:51:15,400
in terms of how it makes me
feel the vastness of the desert.
853
00:51:15,480 --> 00:51:16,900
And if you're not watching in 3-D,
of course,
854
00:51:16,990 --> 00:51:19,360
it's a very nice series of shots.
855
00:51:19,450 --> 00:51:21,200
But it was one
856
00:51:22,320 --> 00:51:26,910
where it was about
giving an in-depth experience
857
00:51:27,000 --> 00:51:31,250
that wasn't necessarily to do with
hammers throwing themselves at you.
858
00:51:31,830 --> 00:51:33,710
This is an experience, by the by,
859
00:51:33,790 --> 00:51:37,210
where Natalie Portman, who had
just been working on Black Swan,
860
00:51:37,300 --> 00:51:40,760
was talking about the moments
when people said to her,
861
00:51:40,840 --> 00:51:44,260
"Are you frustrated
you get to work on an independent film
862
00:51:44,350 --> 00:51:47,390
"and you have all that marvellous
creative satisfaction,
863
00:51:47,480 --> 00:51:50,690
"and then you do something like Thor
and it's all a big sort of machine?"
864
00:51:50,770 --> 00:51:53,770
She said, on this one, for this scene,
we had all day to do this scene.
865
00:51:53,860 --> 00:51:55,440
We spent all day
driving around the desert,
866
00:51:55,520 --> 00:51:57,480
many, many takes
to try and get this right.
867
00:51:57,570 --> 00:52:00,610
She said on an independent film,
you never have any time.
868
00:52:00,700 --> 00:52:04,700
You've got to do four scenes
in a morning and move on,
869
00:52:04,780 --> 00:52:08,750
and you're often left frustrated because
you didn't get a chance to practise.
870
00:52:08,830 --> 00:52:12,500
So, for Natalie, the kind of time
that we were able to take
871
00:52:12,580 --> 00:52:15,750
just for a scene like that, to try
and get it right with lightness of touch
872
00:52:15,840 --> 00:52:20,880
but depth at the same time,
was a real enjoyment in the process.
873
00:52:24,550 --> 00:52:28,260
The talented and beautiful Rene Russo
plays Frigga,
874
00:52:28,350 --> 00:52:31,850
and she and Odin had
some more scenes in the film
875
00:52:31,940 --> 00:52:34,730
that in the end
didn't make it into the final cut
876
00:52:34,810 --> 00:52:36,650
simply because
we just didn't have the room
877
00:52:36,730 --> 00:52:38,230
to do everything else
the story was doing,
878
00:52:38,320 --> 00:52:40,360
but l admire her so much.
879
00:52:40,440 --> 00:52:44,990
She was such a beautiful actress
inside and out
880
00:52:45,070 --> 00:52:49,740
and gave a wonderful, wonderful
sense of depth
881
00:52:49,830 --> 00:52:52,580
in this warrior queen.
882
00:52:52,670 --> 00:52:54,500
She was a pleasure to work with.
883
00:52:54,580 --> 00:52:57,250
God, she's a great-looking gal,
884
00:52:57,340 --> 00:52:59,460
and she got on very well
with these two kids.
885
00:52:59,550 --> 00:53:02,880
This idea for the restorative
Odinsleep effect
886
00:53:02,970 --> 00:53:05,840
was a very good one
from Ms Victoria Alonso,
887
00:53:05,930 --> 00:53:11,270
and l think it tells the story
of Odin's need to regenerate.
888
00:53:25,280 --> 00:53:29,120
Now, we do one of these switches
from Asgard to Earth.
889
00:53:29,200 --> 00:53:31,740
That was one
of the real challenges, story-wise,
890
00:53:31,830 --> 00:53:33,330
about how we could make it work,
891
00:53:33,410 --> 00:53:37,880
and throughout draft after draft,
this rhythm, finding this rhythm,
892
00:53:37,960 --> 00:53:40,880
and in post-production
was really crucial.
893
00:53:40,960 --> 00:53:43,550
Kevin Feige, our producer,
always had very good instincts
894
00:53:43,630 --> 00:53:50,220
about when we could or shouldn't
go to Earth or Asgard, back and forth.
895
00:53:50,850 --> 00:53:53,020
What were the ways
to exploit that rhythm
896
00:53:53,100 --> 00:53:54,230
and not confuse the audience?
897
00:53:54,310 --> 00:53:57,520
We knew, probably, there would be
people who preferred being on Earth,
898
00:53:57,610 --> 00:53:59,980
there would be some people
who preferred being in Asgard.
899
00:54:00,070 --> 00:54:04,320
We wanted both because we felt
as though the story had to interweave.
900
00:54:10,660 --> 00:54:14,540
lt was an exciting sequence like this
that allowed us a sense of
901
00:54:14,620 --> 00:54:16,460
how, with music, we could come back
902
00:54:16,540 --> 00:54:21,790
and really make a great advantage
of this, as she says, "city"
903
00:54:22,380 --> 00:54:23,760
thrown up by S.H.l.E.L.D.
904
00:54:23,840 --> 00:54:27,590
with all of this paraphernalia
to analyse this hammer.
905
00:54:27,680 --> 00:54:31,220
lt's worth talking, perhaps,
a little bit about this set,
906
00:54:31,310 --> 00:54:33,850
which was put together by Bo Welch,
907
00:54:33,930 --> 00:54:37,060
and l thought was a sort of
brilliant graphic response,
908
00:54:37,140 --> 00:54:40,860
a sort of comic
visual language response
909
00:54:40,940 --> 00:54:47,400
in all of these tubes
and cubes to the marriage between,
910
00:54:47,490 --> 00:54:52,280
again, the fantastical up on Asgard
and in space,
911
00:54:52,370 --> 00:54:56,660
and down here, earthbound,
but still excitingly graphic and dynamic.
912
00:54:56,750 --> 00:55:00,380
Lots of shapes, lots of texture.
913
00:55:02,920 --> 00:55:07,470
l think that both the way he designed it
and the starkness
914
00:55:07,550 --> 00:55:12,100
with which Haris Zambarloukos
could light it was very exciting.
915
00:55:12,640 --> 00:55:16,560
lt felt like a really different
kind of texture, it felt surprising,
916
00:55:16,640 --> 00:55:20,140
a different kind of dynamic
to this part of the movie.
917
00:55:20,230 --> 00:55:22,610
lt's also worth talking about music.
918
00:55:22,690 --> 00:55:26,070
The composer of the score for the film
was Patrick Doyle.
919
00:55:26,150 --> 00:55:31,030
Patrick, l've worked with
since his first film and mine, Henry V.
920
00:55:31,120 --> 00:55:33,570
He was a student of composition
and piano
921
00:55:33,660 --> 00:55:35,490
at the Royal Scottish Academy of Music.
922
00:55:35,580 --> 00:55:40,420
He then worked as an actor. He has
a very wide-ranging experience of story,
923
00:55:40,500 --> 00:55:44,920
and his gifts as a composer
are a wonderful ear for melody,
924
00:55:45,670 --> 00:55:48,130
but a great sense of the dramatic.
925
00:55:48,220 --> 00:55:50,720
He always gets involved very early on,
926
00:55:50,800 --> 00:55:55,760
and we knew that he needed to have
927
00:55:55,850 --> 00:55:58,020
the kind of drive in the music
928
00:55:58,100 --> 00:56:03,560
that would keep the sort of ticking clock
of Thor's time on Earth
929
00:56:03,650 --> 00:56:09,240
really vibrantly motoring through,
for instance, a sequence like this.
930
00:56:09,700 --> 00:56:13,110
Patrick is particularly good
at being able to craft,
931
00:56:13,200 --> 00:56:17,290
once he sees a sequence like this,
the ups and the downs of the music,
932
00:56:17,370 --> 00:56:23,960
leaves space for the sound effects,
leaves space for the visual effects,
933
00:56:24,380 --> 00:56:28,000
be able to give and paint in
a musical introduction
934
00:56:28,090 --> 00:56:32,300
to as important a character
as we're about to see, this man.
935
00:56:33,300 --> 00:56:37,390
And so, his sculpting of the score
is really exemplary,
936
00:56:37,470 --> 00:56:42,730
and his ability to write a great tune
is, l think, unmatched.
937
00:56:42,810 --> 00:56:44,440
He's had a fantastic
938
00:56:44,520 --> 00:56:46,690
and continues to have a fantastic career
as a composer,
939
00:56:46,770 --> 00:56:49,730
and he made an enormous
contribution to this.
940
00:56:51,650 --> 00:56:55,030
This is Barton, Hawkeye,
941
00:56:55,120 --> 00:56:59,740
a character familiar
to readers of the comics beyond Thor.
942
00:56:59,830 --> 00:57:02,370
They'll know
that he is one of the Avengers,
943
00:57:02,460 --> 00:57:05,250
and an extra pleasure
in being in the Marvel Universe
944
00:57:05,330 --> 00:57:08,040
was to get a chance on this picture
to work with this young man,
945
00:57:08,130 --> 00:57:09,170
Jeremy Renner,
946
00:57:09,250 --> 00:57:14,510
who came in much further down the line
to shoot his part of this sequence,
947
00:57:14,840 --> 00:57:17,760
but was a joy to watch and to work with.
948
00:57:17,850 --> 00:57:22,430
And to see someone
latch onto a character immediately,
949
00:57:22,520 --> 00:57:26,350
and to do so in the style
and with the talent of the best
950
00:57:26,440 --> 00:57:30,650
by a beautiful choice
of relative minimalism
951
00:57:31,820 --> 00:57:34,950
in the look and speech of the character.
952
00:57:35,030 --> 00:57:39,450
And it was very, very nice
to have that kind of a talent
953
00:57:39,540 --> 00:57:43,580
come into a movie like this in,
in this case, a small part.
954
00:57:44,080 --> 00:57:48,670
All of this work in the mud
was done very late in the night,
955
00:57:48,750 --> 00:57:52,420
maybe 4:00 in the morning, during
a couple of weeks of night shoots,
956
00:57:52,510 --> 00:57:54,630
which are always a challenge
on a movie.
957
00:57:55,050 --> 00:57:57,300
Mr Hemsworth, uncomplaining,
958
00:57:57,390 --> 00:58:00,220
as were the rest
of the brilliant stunt team.
959
00:58:00,720 --> 00:58:03,890
All the boys who are used to this,
who nevertheless have to
960
00:58:03,980 --> 00:58:07,650
sometimes put up with
fairly trying conditions, were great.
961
00:58:07,730 --> 00:58:11,150
The, sort of, mud fight
helped us understand
962
00:58:11,230 --> 00:58:15,490
this primal quality to both Thor
and to this point in the story,
963
00:58:15,570 --> 00:58:16,820
because now he's going home, isn't he?
964
00:58:16,910 --> 00:58:19,370
He's gonna get his hammer,
and he's gonna go home
965
00:58:19,450 --> 00:58:24,330
and that arrogant Thor
is gonna prove that might is right.
966
00:58:24,410 --> 00:58:28,500
lf you could only smash your way out
of a hospital or out of a van
967
00:58:28,790 --> 00:58:33,420
or recruit people like Jane Foster
to help you, you'll get it.
968
00:58:35,170 --> 00:58:41,140
And here in the music, we try and set up
this sense of impending triumph,
969
00:58:41,430 --> 00:58:44,850
the great strongman of the universe
will claim his right,
970
00:58:44,930 --> 00:58:47,230
Excalibur will be lifted from the stone,
971
00:58:47,310 --> 00:58:52,440
Thor will be returned to his full powers
and will be able to go home.
972
00:58:52,520 --> 00:58:55,030
Except, of course, that he can't.
973
00:58:55,320 --> 00:58:59,110
"Only he who is worthy,"
that's what Odin said.
974
00:58:59,700 --> 00:59:04,870
And we have not seen sufficient
evidence in this story of the flawed hero
975
00:59:05,620 --> 00:59:11,170
who must lose in order to find.
976
00:59:11,880 --> 00:59:13,210
We haven't seen the evidence there.
977
00:59:13,300 --> 00:59:15,550
This is not something
he's gonna take easily, however,
978
00:59:15,630 --> 00:59:19,300
and once again, that primal part
of the character kicks in.
979
00:59:20,220 --> 00:59:22,720
Like a great bear yelling
980
00:59:22,800 --> 00:59:28,980
or like a crazed child
hysterically screaming,
981
00:59:29,690 --> 00:59:32,230
some part of him is broken
982
00:59:32,310 --> 00:59:36,070
by the certain knowledge
that he ain't going back,
983
00:59:36,150 --> 00:59:37,940
that's it, it's over.
984
00:59:38,570 --> 00:59:43,320
No home, no friends, no family,
no powers.
985
00:59:44,160 --> 00:59:46,910
This becomes, for Thor,
a pivotal moment
986
00:59:47,000 --> 00:59:49,210
in his journey through the picture.
987
00:59:49,290 --> 00:59:51,870
And one of the things l love
about Chris Hemsworth's performance
988
00:59:51,960 --> 00:59:54,000
is just the look coming up.
989
00:59:56,340 --> 00:59:58,590
The sense,
as he sees the symbol of home,
990
00:59:58,670 --> 01:00:01,930
of that hurt
and of that youthfulness in his look,
991
01:00:02,010 --> 01:00:03,590
that great oak tree of a man
992
01:00:03,680 --> 01:00:09,390
is now almost a, sort of,
bottom-lip-quivering kid.
993
01:00:10,810 --> 01:00:15,110
He's had to really understand
that he's not going home.
994
01:00:15,190 --> 01:00:16,690
lt's very touching, l think,
995
01:00:16,780 --> 01:00:20,780
and l asked Pat
to reflect that in the music.
996
01:00:20,860 --> 01:00:23,450
lt's the moment in which,
perhaps they may have admired,
997
01:00:23,530 --> 01:00:26,330
they may have been amused by him,
they may have a sneaking admiration
998
01:00:26,410 --> 01:00:30,000
for his cheeky, grinning,
winking cockiness,
999
01:00:30,080 --> 01:00:33,460
but now, perhaps the audience have
genuine sympathy for this man,
1000
01:00:33,540 --> 01:00:35,420
because now he's down on our level.
1001
01:00:35,500 --> 01:00:38,550
He loses stuff,
he doesn't get his way all the time,
1002
01:00:38,630 --> 01:00:43,930
and maybe it's the point at which
the audience fully sympathise with him.
1003
01:00:49,890 --> 01:00:51,640
l like this scene very much
for a number of reasons.
1004
01:00:51,730 --> 01:00:56,020
The 3-D orjust the composition
generally in this lab, l love,
1005
01:00:56,110 --> 01:00:58,070
because they were at the back
of the lab in the wide shot,
1006
01:00:58,150 --> 01:01:00,320
and you have all those
layers of structure.
1007
01:01:00,400 --> 01:01:03,490
You have the real genuine outside
of a real town at night
1008
01:01:03,570 --> 01:01:06,370
through the glass, seeing all the neon.
1009
01:01:06,450 --> 01:01:08,160
You have this passionate debate,
1010
01:01:08,240 --> 01:01:11,080
which, in a way,
states the kind of parameters
1011
01:01:11,160 --> 01:01:14,330
of the issue of reality in our film.
1012
01:01:14,420 --> 01:01:18,130
She quotes Arthur C. Clarke, "Magic's
just science we don't understand yet."
1013
01:01:18,210 --> 01:01:22,670
"lt was science fiction," says he.
"Which is a precursor to science fact."
1014
01:01:22,760 --> 01:01:26,340
And l think that if you just look at
what's happened in our own lives
1015
01:01:26,430 --> 01:01:29,010
on what may seem
a rather superficial level,
1016
01:01:29,100 --> 01:01:34,020
but 15, 16 years ago,
we didn't have the lnternet,
1017
01:01:34,100 --> 01:01:39,520
and everything working as it does today,
with all our handheld devices,
1018
01:01:39,610 --> 01:01:41,280
the whole revolution of the social media.
1019
01:01:41,360 --> 01:01:44,280
lmagine the massive shake-up
in our own lives that's gone on,
1020
01:01:44,360 --> 01:01:49,200
so that the degree
to which Jane Foster can argue
1021
01:01:49,280 --> 01:01:54,870
that just because we don't understand
or have complete experience
1022
01:01:54,960 --> 01:02:00,130
of a blond god from another world
coming to live amongst us,
1023
01:02:00,210 --> 01:02:03,760
it doesn't mean
that miraculous things can't happen.
1024
01:02:03,840 --> 01:02:06,930
And if you'd told Christopher
Columbus that a small piece of plastic
1025
01:02:07,010 --> 01:02:11,220
would connect you
to back home, to Genoa,
1026
01:02:11,640 --> 01:02:14,600
when he landed in 1492
1027
01:02:15,140 --> 01:02:17,230
to tell them
that he'd just discovered America,
1028
01:02:17,310 --> 01:02:18,730
he would have
perhaps laughed in your face.
1029
01:02:18,810 --> 01:02:20,360
A few hundred years later,
it's all normal.
1030
01:02:20,440 --> 01:02:25,820
Anyway, the basic notion of accepting
the suspension of disbelief
1031
01:02:25,900 --> 01:02:29,910
for some of the miraculous qualities
in the picture
1032
01:02:29,990 --> 01:02:32,910
that search for
a certain kind of credibility
1033
01:02:32,990 --> 01:02:36,330
were caught
by Natalie Portman's passion there
1034
01:02:36,420 --> 01:02:40,840
and by, l think, some well-written work
from our team of writers.
1035
01:02:42,750 --> 01:02:46,090
When we talk about the sort of
emotional core of the film,
1036
01:02:46,170 --> 01:02:48,720
which exists in a picture
1037
01:02:48,800 --> 01:02:52,180
that essentially has always
drawn the reaction
1038
01:02:52,260 --> 01:02:54,600
when we screened it early on,
and we always wanted to have it
1039
01:02:54,680 --> 01:02:58,230
draw the reaction of being fun,
it's a fun experience,
1040
01:02:58,310 --> 01:03:03,440
it's a summer movie, it's something
to enjoy in a beautiful way.
1041
01:03:05,320 --> 01:03:06,740
But nevertheless, at the centre of it,
1042
01:03:06,820 --> 01:03:09,780
you hope there are these other things,
including here,
1043
01:03:09,870 --> 01:03:14,120
l think beautifully played between
Tom Hiddleston and Chris Hemsworth,
1044
01:03:14,950 --> 01:03:17,960
this moment where Thor believes
1045
01:03:18,040 --> 01:03:21,960
not only has he lost his home
and is forbidden from returning to it,
1046
01:03:22,040 --> 01:03:24,670
but that he has lost his father.
1047
01:03:25,630 --> 01:03:27,630
The reaction to this news
1048
01:03:27,720 --> 01:03:33,140
and the way in which he articulates
quite tenderly, quite vulnerably
1049
01:03:33,220 --> 01:03:35,810
his response, l think, is beautifully done.
1050
01:03:35,890 --> 01:03:41,230
The act, if you like, of Loki is
wonderfully, seamlessly done by Tom,
1051
01:03:41,310 --> 01:03:44,440
who evoked by way of a sort of model
for the character,
1052
01:03:44,520 --> 01:03:47,440
the character of lago
in Shakespeare's play Othello,
1053
01:03:47,530 --> 01:03:51,320
who is, if you like,
the great actor in Shakespeare,
1054
01:03:51,410 --> 01:03:54,830
a terrifying character
who is a sort of sociopath,
1055
01:03:54,910 --> 01:03:58,370
who will disguise every real feeling
1056
01:03:58,460 --> 01:04:02,500
under the mask of something authentic
and genuine-seeming.
1057
01:04:02,580 --> 01:04:04,670
Well, here, this dynamic
between two brothers
1058
01:04:04,750 --> 01:04:08,800
who really, l think, do love each other,
but have this complicated relationship,
1059
01:04:08,880 --> 01:04:13,840
as Loki's burgeoning knowledge
of who or what he might be
1060
01:04:13,930 --> 01:04:16,350
and therefore who or what,
1061
01:04:17,020 --> 01:04:20,020
especially what might be
available to him,
1062
01:04:20,100 --> 01:04:23,940
is occurring inside him,
questions being asked,
1063
01:04:24,020 --> 01:04:27,530
and they play this very delicate scene
so well.
1064
01:04:27,610 --> 01:04:29,240
l was most impressed by them,
1065
01:04:29,320 --> 01:04:31,610
and l like the fact
that it's in this neutral arena,
1066
01:04:31,700 --> 01:04:33,660
this quieter, simpler place,
1067
01:04:33,740 --> 01:04:38,240
another series of contrasts
to the sometimes very busy
1068
01:04:38,330 --> 01:04:41,750
and spectacular world of colour
and complexity,
1069
01:04:41,830 --> 01:04:44,920
in terms of the layout of shots,
1070
01:04:45,000 --> 01:04:47,210
to something very simple and focused.
1071
01:04:47,300 --> 01:04:50,090
Loki, of course, can't resist
the idea of picking up that hammer.
1072
01:04:50,170 --> 01:04:53,720
This was, again, a great touch
from Kevin and Craig and co.
1073
01:04:53,800 --> 01:04:58,640
to suggest that he could be irritated
1074
01:04:58,720 --> 01:05:01,140
by that extra-nice Loki moment.
1075
01:05:02,310 --> 01:05:05,650
The writers involved in our film
have done a wonderful job,
1076
01:05:05,730 --> 01:05:10,900
from the story's shaping
that Joe Michael Straczynski
1077
01:05:10,990 --> 01:05:15,240
and Mark Protosevich did
across various drafts of the screenplay
1078
01:05:15,320 --> 01:05:17,950
that were there just before l arrived,
1079
01:05:18,030 --> 01:05:22,080
that gave this kind of hero's journey arc,
the exile and the return,
1080
01:05:22,160 --> 01:05:28,750
that l certainly was very excited to try
and further develop and enhance.
1081
01:05:29,090 --> 01:05:31,300
And then with Ashley Miller
and Zack Stentz,
1082
01:05:31,380 --> 01:05:34,380
who came in
and then worked with me initially
1083
01:05:34,470 --> 01:05:40,640
on how we bring that
contemporary Earth element to the story
1084
01:05:40,720 --> 01:05:44,810
and allow
consistency of tone across that,
1085
01:05:44,890 --> 01:05:47,940
and there were many excellent drafts
that came out of that process.
1086
01:05:48,020 --> 01:05:51,230
And then,
with my great friend Don Payne,
1087
01:05:51,320 --> 01:05:53,440
a brilliant writer from The Simpsons,
of course,
1088
01:05:53,530 --> 01:05:54,950
we took this yet further
1089
01:05:55,030 --> 01:05:59,160
and really looked into the fun to be had
from a character like Erik Selvig,
1090
01:05:59,240 --> 01:06:05,460
and Erik Selvig and Darcy
very much developed by Don
1091
01:06:05,540 --> 01:06:09,170
with his particular sense of fun,
and in collaboration with them.
1092
01:06:09,250 --> 01:06:11,840
So, Stellan, for instance,
came to rehearsals early on
1093
01:06:11,920 --> 01:06:15,470
and was key in trying to make sure
1094
01:06:15,550 --> 01:06:20,390
that there was nothing sort of merely
functionary about these characters,
1095
01:06:20,470 --> 01:06:22,810
but that they have, as you can see
in the look in his eye there,
1096
01:06:22,890 --> 01:06:24,560
he just carries that sense of worry.
1097
01:06:24,640 --> 01:06:27,440
This is a man who knows he's dealing
with a government organisation
1098
01:06:27,520 --> 01:06:28,900
who can put him in jail.
1099
01:06:28,980 --> 01:06:35,070
And when he reacts here to
Clark Gregg's last farewell instruction,
1100
01:06:35,610 --> 01:06:37,740
you feel the depth of his relief.
1101
01:06:39,240 --> 01:06:43,240
That contribution with Stellan,
talking in that case to Don,
1102
01:06:43,330 --> 01:06:44,950
and coming up in this particular scene
1103
01:06:45,040 --> 01:06:49,960
with some ideas about
how Selvig helps us to understand
1104
01:06:50,040 --> 01:06:53,000
via Chris' very excellent performance,
1105
01:06:53,090 --> 01:06:55,300
once again showing
yet another colour in Thor.
1106
01:06:55,380 --> 01:06:58,550
Very surprising
what we see of Thor in this scene
1107
01:06:58,640 --> 01:07:01,100
from the man we saw
in the very first scene,
1108
01:07:01,180 --> 01:07:06,270
and it's partly brought out by Stellan's
character asking him some questions
1109
01:07:06,350 --> 01:07:09,850
about who he is
and what he finds meaningful.
1110
01:07:09,940 --> 01:07:14,610
And this very, sort of, bonding scene
between the pair of them,
1111
01:07:14,690 --> 01:07:15,940
l think, is very honest.
1112
01:07:16,030 --> 01:07:19,070
lt's very open, it's a scene that
we understood early on in screenings
1113
01:07:19,160 --> 01:07:22,070
was one where the audience
actually did enjoy
1114
01:07:22,160 --> 01:07:26,040
seeing Thorjust like us
and trying to put his life back together.
1115
01:07:26,120 --> 01:07:28,540
We know that the movie
isn't going to end there,
1116
01:07:28,620 --> 01:07:30,710
but we also know
it's not gonna be easy for him,
1117
01:07:30,790 --> 01:07:32,880
whether it's getting back to home
1118
01:07:32,960 --> 01:07:36,880
or whether it's getting to
find a home on Earth,
1119
01:07:36,970 --> 01:07:38,800
especially as we see in this scene
1120
01:07:38,880 --> 01:07:44,470
that Selvig is naturally suspicious
and protective of his,
1121
01:07:45,470 --> 01:07:48,730
as it were, surrogate daughter in Jane.
1122
01:07:48,810 --> 01:07:53,060
These two were so enjoyable
to work with in this scene,
1123
01:07:53,150 --> 01:07:57,110
and Stellan comes in so prepared,
so available, so ready, so different,
1124
01:07:57,190 --> 01:07:59,240
so "ready to play," as he might put it,
1125
01:07:59,320 --> 01:08:05,410
that they really were
such marvellous collaborators.
1126
01:08:06,830 --> 01:08:08,790
They did, however, provide us
with a problem in this scene,
1127
01:08:08,870 --> 01:08:14,750
where we also had a fight and
a series of drinking contest moments
1128
01:08:14,840 --> 01:08:16,130
at the end of how we finished it.
1129
01:08:16,210 --> 01:08:19,420
We wanted to finish
simply on a kind of upbeat moment,
1130
01:08:19,510 --> 01:08:21,130
and of all the scenes in the movie,
1131
01:08:21,220 --> 01:08:24,340
the end of this was re-edited
maybe 150 times,
1132
01:08:24,430 --> 01:08:26,010
and it took a long time
before we went for
1133
01:08:26,100 --> 01:08:29,060
what is usually the preferred option,
which is the simple one,
1134
01:08:29,140 --> 01:08:31,600
especially in the hands
of two very good actors,
1135
01:08:31,690 --> 01:08:38,030
of a real and, in this case, pretty funny
look from Stellan SkarsgÄrd.
1136
01:08:40,280 --> 01:08:43,360
We know he's gonna get into trouble
with that.
1137
01:08:51,120 --> 01:08:57,380
The visual effects here give us,
once again, Loki's return to Jotunheim,
1138
01:08:58,250 --> 01:09:02,470
and the chance for Loki to face,
1139
01:09:02,550 --> 01:09:05,260
but not reveal to his father,
1140
01:09:06,430 --> 01:09:08,810
exactly who he is.
1141
01:09:08,890 --> 01:09:12,730
We did some additional photography
in this scene
1142
01:09:12,810 --> 01:09:17,310
and it was to exploit
one of the qualities in Loki
1143
01:09:17,400 --> 01:09:19,940
that we felt we could,
1144
01:09:20,030 --> 01:09:22,860
by virtue of how good
Tom Hiddleston's performance was,
1145
01:09:22,950 --> 01:09:25,990
also include, aside from him
being a genuine brother,
1146
01:09:26,070 --> 01:09:29,660
and being a hurt brother
1147
01:09:29,740 --> 01:09:32,910
and an ambitious
and perhaps ratherjealous brother,
1148
01:09:33,750 --> 01:09:37,290
to be mischievous and dangerous
is a necessity for Loki.
1149
01:09:37,380 --> 01:09:42,630
Even if one does not necessarily
suggest that he is preternaturally evil,
1150
01:09:42,720 --> 01:09:47,260
but that his capacity for wrongdoing
is emerging, forming,
1151
01:09:47,350 --> 01:09:49,350
shaping itself before our very eyes.
1152
01:09:49,430 --> 01:09:53,180
This scene allows us
to see a more calculating Loki at work.
1153
01:09:53,270 --> 01:09:55,140
Someone who is playing the poker game
1154
01:09:55,230 --> 01:09:58,060
with another master player,
his real father,
1155
01:09:58,150 --> 01:10:02,230
but his real father does not,
at this point, know that this is his son.
1156
01:10:02,320 --> 01:10:05,320
He was abandoned, after all,
and he would have assumed,
1157
01:10:05,410 --> 01:10:08,070
and another version of this scene
suggested this,
1158
01:10:08,160 --> 01:10:12,450
that Odin would have killed
that bastard child of yesteryear.
1159
01:10:12,870 --> 01:10:15,370
So, this becomes a scene
of many levels
1160
01:10:15,460 --> 01:10:18,710
between two very calculating,
dangerous guys
1161
01:10:18,790 --> 01:10:20,960
who are used
to the world of brinkmanship,
1162
01:10:21,050 --> 01:10:23,130
and two good poker faces.
1163
01:10:25,050 --> 01:10:28,430
We return to Heimdall's observatory
1164
01:10:28,510 --> 01:10:32,220
where again, you, in this scene,
get to enjoy
1165
01:10:32,310 --> 01:10:34,730
the power of ldris Elba's performance.
1166
01:10:34,810 --> 01:10:36,100
First of all, the look is fantastic.
1167
01:10:36,190 --> 01:10:40,480
l can't imagine another actor who would
carry off this incredible costume,
1168
01:10:40,570 --> 01:10:44,070
which Alex Byrne, l think,
has triumphantly presented
1169
01:10:44,150 --> 01:10:47,110
as the kind of look that a guardian,
1170
01:10:47,200 --> 01:10:49,950
a man who really is the person
who says,
1171
01:10:50,030 --> 01:10:52,990
and we believe him,
"Thou shalt not pass."
1172
01:10:53,790 --> 01:10:58,500
ln wonderful, wonderful golds
and with a great shape, great design,
1173
01:10:58,580 --> 01:11:00,710
it's a marvellous frame for an actor.
1174
01:11:00,790 --> 01:11:05,090
And in it, you have ldris Elba,
whose voice we slightly amend
1175
01:11:05,170 --> 01:11:11,350
to just maximise the beautiful, rich,
dark, warm tones in it,
1176
01:11:11,550 --> 01:11:16,020
because, as the single
representative ofAsgard out there,
1177
01:11:16,100 --> 01:11:18,940
we wanted, every time we heard
and saw him,
1178
01:11:19,020 --> 01:11:23,020
to be aware of this
memory of the guardian,
1179
01:11:23,110 --> 01:11:26,690
the man whom you disobey at your peril.
1180
01:11:27,110 --> 01:11:28,450
lt's nice to go from him
1181
01:11:28,530 --> 01:11:32,530
to something as relatively mundane
as Jane's caravan.
1182
01:11:33,200 --> 01:11:35,950
This is the moment in the movie,
1183
01:11:36,040 --> 01:11:39,370
in a way, where it could go
several different places.
1184
01:11:40,710 --> 01:11:43,920
Thor is without his powers,
he's starting, he's reborn, if you like,
1185
01:11:44,000 --> 01:11:48,470
and so, this is a moment
where we understand,
1186
01:11:48,550 --> 01:11:52,840
maybe with Loki's activities
in the worlds above,
1187
01:11:52,930 --> 01:11:55,390
that it's the calm before the storm.
1188
01:11:55,470 --> 01:11:59,640
But it's the calm in which the audience
have a chance to take in this new Thor,
1189
01:11:59,730 --> 01:12:02,190
and, l think, fully invest in him
1190
01:12:03,270 --> 01:12:05,610
and perhaps invest in the idea
1191
01:12:05,690 --> 01:12:08,150
of some kind of relationship
between him and Jane.
1192
01:12:08,240 --> 01:12:11,200
lt is difficult in a big action film
1193
01:12:11,280 --> 01:12:15,780
to allow the room for romance,
if you like, or a kind of
1194
01:12:17,410 --> 01:12:21,750
chemistry between
perhaps the central boy and gal,
1195
01:12:22,920 --> 01:12:26,750
having any extra dimensions,
1196
01:12:26,840 --> 01:12:29,010
or even just having
a feeling of authenticity
1197
01:12:29,090 --> 01:12:31,010
to whatever level that's pursued.
1198
01:12:31,090 --> 01:12:35,010
lt isn't the case that these things
have to be grand passions.
1199
01:12:35,100 --> 01:12:37,100
l suppose what you want to feel
is that they like each other,
1200
01:12:37,180 --> 01:12:39,350
that they get on, that they're listening,
1201
01:12:39,430 --> 01:12:42,190
that it's a relationship in which, slowly,
1202
01:12:42,270 --> 01:12:44,270
you're interested in what happens,
1203
01:12:44,360 --> 01:12:46,360
and in which you might invest.
1204
01:12:46,440 --> 01:12:47,730
lt can't be overburdened
1205
01:12:47,820 --> 01:12:52,610
by suddenly becoming
the grand passion of the ages,
1206
01:12:52,700 --> 01:12:56,660
and yet, there is much to value
1207
01:12:56,740 --> 01:13:00,330
out of these instant connections
1208
01:13:00,620 --> 01:13:02,710
between, in this case,
people from other worlds.
1209
01:13:02,790 --> 01:13:05,420
Many people have asked me about the
sort of Shakespearean influence on this.
1210
01:13:05,500 --> 01:13:09,210
And l can't say any of it was remotely,
if it is, there,
1211
01:13:09,300 --> 01:13:11,010
that it's only because
Shakespeare nicked
1212
01:13:11,090 --> 01:13:16,180
some terrific story ideas and plot points
from great writers of the past,
1213
01:13:16,260 --> 01:13:17,850
and we continue to steal from him.
1214
01:13:17,930 --> 01:13:22,890
And one situation
that clearly was a big hit for him
1215
01:13:22,980 --> 01:13:26,060
was the idea of putting people together
from different worlds,
1216
01:13:26,150 --> 01:13:28,610
the Romeo and Juliet,
if you like, of it all.
1217
01:13:28,690 --> 01:13:31,650
And so, the beginnings of that
starts here,
1218
01:13:31,740 --> 01:13:35,610
which is simply that a new and humble
and modest Thor is listening,
1219
01:13:35,700 --> 01:13:39,330
and is asking questions
and is caring about someone else.
1220
01:13:39,410 --> 01:13:42,080
He is interested in someone else.
1221
01:13:42,160 --> 01:13:47,540
And that generosity of spirit, of course,
is incredibly winning for us, for Jane,
1222
01:13:47,630 --> 01:13:51,840
and you see a quite honest
beginning to a relationship
1223
01:13:51,920 --> 01:13:55,590
that leaves the question mark
of exactly how far can it go
1224
01:13:55,680 --> 01:13:58,180
during the context of this story?
1225
01:13:59,140 --> 01:14:01,470
And what kind of weight can it hold,
1226
01:14:01,560 --> 01:14:06,810
and can it do that
whilst still allowing for it to be fun?
1227
01:14:07,310 --> 01:14:09,860
And l think that many people have
commented about this scene,
1228
01:14:09,940 --> 01:14:11,980
that it's their favourite scene
in the movie.
1229
01:14:12,070 --> 01:14:18,280
You get some wonderful simple things,
which are, this look, for instance.
1230
01:14:18,700 --> 01:14:21,410
Natalie Portman looking at someone
1231
01:14:22,080 --> 01:14:25,290
and letting us understand
that she may feel something for him
1232
01:14:25,370 --> 01:14:28,080
that is even beginning to surprise her.
1233
01:14:28,710 --> 01:14:31,840
l think that that quality
in her performance,
1234
01:14:31,920 --> 01:14:34,510
subtle, brief, rich,
1235
01:14:34,590 --> 01:14:39,680
is one of the things
that sort of helps distinguish the picture
1236
01:14:40,390 --> 01:14:43,470
in terms of how it
approaches certain things.
1237
01:14:43,560 --> 01:14:46,430
We're trying not to work too hard,
but just for it to be real,
1238
01:14:46,520 --> 01:14:49,770
and l think that she's very real,
very convincing there,
1239
01:14:49,860 --> 01:14:51,520
she's very, very charming
1240
01:14:51,610 --> 01:14:54,690
as she laughs
about the Hubble/Hooble mix-up.
1241
01:15:20,090 --> 01:15:22,220
This is a handsome shot of our hero.
1242
01:15:22,310 --> 01:15:25,560
All the way through shooting,
between Mr Hemsworth, Ms Portman,
1243
01:15:25,640 --> 01:15:29,770
and all of them,
Kat, Jaimie, all the boys,
1244
01:15:30,560 --> 01:15:32,940
Tom and then some
of the other Warriors Three,
1245
01:15:33,020 --> 01:15:34,440
who l'll talk about in a little while,
1246
01:15:34,530 --> 01:15:35,780
one was constantly reminded
1247
01:15:35,860 --> 01:15:38,860
of what an amazingly handsome
group of people,
1248
01:15:39,700 --> 01:15:41,030
marvellous to look at.
1249
01:15:41,120 --> 01:15:47,160
Here, the Warriors Three
are disputing what to do.
1250
01:15:48,160 --> 01:15:49,580
Josh Dallas plays Fandral,
1251
01:15:49,670 --> 01:15:53,460
and he does so with an English accent
with great aplomb,
1252
01:15:53,790 --> 01:15:56,090
marvellous debonair dash.
1253
01:15:56,170 --> 01:15:58,880
And he's matched equally
by the tremendous Ray Stevenson,
1254
01:15:58,970 --> 01:16:04,180
who you'll know from his brilliant turn
on the HBO TV series Rome
1255
01:16:04,260 --> 01:16:05,600
and many, many other films.
1256
01:16:05,680 --> 01:16:08,020
l worked with Ray many moons ago,
1257
01:16:08,100 --> 01:16:13,480
and it was a pleasure to bring
his incredible screen gifts.
1258
01:16:13,560 --> 01:16:15,940
He's got such a great face for movies.
1259
01:16:16,030 --> 01:16:18,320
Handsome lad
who knows how to be still.
1260
01:16:18,400 --> 01:16:22,240
He's matched here by Tadanobu Asano,
a great star from Japan,
1261
01:16:22,320 --> 01:16:26,740
who brings to the role of
Hogun the Grim inscrutability,
1262
01:16:26,830 --> 01:16:30,500
but an enigmatic, playful intelligence
1263
01:16:30,580 --> 01:16:34,080
and a sort of deadly capacity
for physical violence.
1264
01:16:34,170 --> 01:16:36,840
You know that when he speaks,
it's gonna be important.
1265
01:16:36,920 --> 01:16:40,010
There was great camaraderie
between these four,
1266
01:16:40,090 --> 01:16:43,760
and it really fuelled
the quality of the scenes,
1267
01:16:43,840 --> 01:16:47,850
the sense of that bond between them,
and loyalty and fun, of course.
1268
01:16:55,690 --> 01:17:00,190
lt's true to say that there was more of
the Warriors Three and Lady Sif shot,
1269
01:17:00,280 --> 01:17:02,990
and once again, not through
lack of quality from them,
1270
01:17:03,070 --> 01:17:09,950
but through a simple
traffic jam of elements
1271
01:17:10,040 --> 01:17:15,000
that we wanted to put gracefully
into this world of the film,
1272
01:17:16,460 --> 01:17:18,090
it wasn't possible to include everything.
1273
01:17:18,170 --> 01:17:20,130
But they had great fun.
1274
01:17:20,210 --> 01:17:23,470
And some of it now
infuses this part of the movie
1275
01:17:23,550 --> 01:17:28,220
where once again, we enjoy
the fact of the gods coming to Earth.
1276
01:17:31,810 --> 01:17:35,310
Here, the rhythm of the film,
as it switches so instantaneously,
1277
01:17:35,400 --> 01:17:39,730
is a great tribute
to the gifts of our editor, Paul Rubell,
1278
01:17:39,820 --> 01:17:42,030
who was a wonderful collaborator
throughout.
1279
01:17:42,110 --> 01:17:47,910
A marvellous and award-winning editor,
and very musical.
1280
01:17:47,990 --> 01:17:51,750
l always think it's very helpful
if an editor is musical.
1281
01:17:51,830 --> 01:17:55,460
He plays the piano,
but he has an intuitive feel
1282
01:17:55,540 --> 01:17:59,210
for the length of a cut
and the feel of a cut,
1283
01:17:59,300 --> 01:18:01,380
and has so many tricks at his disposal
1284
01:18:01,460 --> 01:18:03,720
to do with being able
to use everything we can.
1285
01:18:03,800 --> 01:18:07,760
Whether it's split screens,
or accelerating shots,
1286
01:18:07,850 --> 01:18:09,760
or flipping and flopping shots,
1287
01:18:09,850 --> 01:18:12,180
really, we used
every kind of trick in the book here,
1288
01:18:12,270 --> 01:18:16,350
and he had that in addition to the
great treasure trove of visual effects
1289
01:18:16,440 --> 01:18:19,230
that produces things like the Destroyer.
1290
01:18:22,740 --> 01:18:25,450
So, we bring the Warriors Four to Earth.
1291
01:18:26,740 --> 01:18:31,740
This is a fun moment
and one that is tough to get just right.
1292
01:18:31,830 --> 01:18:35,870
lt's very nicely underpinned
by Patrick's music.
1293
01:18:36,330 --> 01:18:38,920
There's a part of the magic of movies,
1294
01:18:39,000 --> 01:18:41,920
the character Volstagg
was not in the shot that you saw,
1295
01:18:42,000 --> 01:18:44,460
we filmed him separately afterwards,
and we put him into the shot.
1296
01:18:44,550 --> 01:18:47,090
The kind of thing
that seemed necessary in post,
1297
01:18:47,180 --> 01:18:50,600
and only possible because you're
working on a great, big Marvel movie
1298
01:18:50,680 --> 01:18:52,640
where that kind of thing can happen.
1299
01:18:52,720 --> 01:18:54,890
lt was one of the numerous moments
where l thought,
1300
01:18:54,980 --> 01:18:57,890
"Gosh, if l had this opportunity
on previous films,
1301
01:18:57,980 --> 01:19:00,270
"they'd all have
cost squinty billion dollars."
1302
01:19:00,360 --> 01:19:02,940
But l hasten to add
that's not what this cost,
1303
01:19:03,030 --> 01:19:07,990
but it does provide
the chance to get things right.
1304
01:19:10,410 --> 01:19:14,740
Just before we head
into the last phase of the movie,
1305
01:19:14,830 --> 01:19:17,120
which is full of action and destruction,
1306
01:19:17,210 --> 01:19:20,420
it's lovely to have had,
including the cup drop,
1307
01:19:20,500 --> 01:19:24,250
a piece of delicious daft comedy.
1308
01:19:25,010 --> 01:19:29,300
Before now, coming back to
the big question of why they're here,
1309
01:19:29,390 --> 01:19:32,180
of taking Thor home.
1310
01:19:39,940 --> 01:19:42,020
But of course,
it being the kind of movie it is,
1311
01:19:42,110 --> 01:19:43,520
we're not going to make it
as easy as that,
1312
01:19:43,610 --> 01:19:47,240
and there's going to be
a significant sequence now
1313
01:19:47,320 --> 01:19:51,280
where the Destroyer, called by Loki,
comes to Earth
1314
01:19:51,370 --> 01:19:54,490
to deal with Thor and prevent his return.
1315
01:19:54,580 --> 01:19:57,410
First, of course,
Loki has to deal with Heimdall,
1316
01:19:57,500 --> 01:19:59,250
who's been registering suspicion.
1317
01:19:59,330 --> 01:20:01,250
And l love, by the way, this shot
1318
01:20:01,330 --> 01:20:04,380
and the way it evokes the kinds of work
1319
01:20:04,460 --> 01:20:08,420
that were done
by the French VFX vendors BUF,
1320
01:20:08,840 --> 01:20:11,340
Pierre Buffin and his team
with Nicolas Chevallier,
1321
01:20:11,430 --> 01:20:13,970
a great team there
who were able to give us
1322
01:20:14,050 --> 01:20:16,970
both the incredible water effects
1323
01:20:17,060 --> 01:20:23,060
and the beaten copper,
space-aged qualities
1324
01:20:23,150 --> 01:20:25,400
to the outside of the observatory.
1325
01:20:25,480 --> 01:20:28,190
This marvellous effect with Heimdall
1326
01:20:28,280 --> 01:20:32,280
and the freezing that comes out
of the Casket ofAncient Winters.
1327
01:20:32,360 --> 01:20:34,160
l love the water
in the background of this shot
1328
01:20:34,240 --> 01:20:37,160
and the idea
of encasing Heimdall like this.
1329
01:20:45,250 --> 01:20:47,300
Back on Earth,
we had other things to contend with.
1330
01:20:47,380 --> 01:20:50,090
ln New Mexico,
quite splendid though it is,
1331
01:20:50,170 --> 01:20:51,800
and although some of this is enhanced,
1332
01:20:51,880 --> 01:20:53,590
we had our own challenges
with the weather.
1333
01:20:53,680 --> 01:20:58,260
Not with the arrival of the Destroyer,
but with four seasons in a day,
1334
01:20:58,350 --> 01:21:01,680
sometimes 50-mile-an-hour winds,
1335
01:21:01,770 --> 01:21:06,110
sometimes hail, sometimes snow,
sometimes rain,
1336
01:21:06,860 --> 01:21:08,020
literally all in one day.
1337
01:21:08,110 --> 01:21:10,320
And so, sometimes working out quite
what we could shoot
1338
01:21:10,400 --> 01:21:13,990
or if we could still shoot
was pretty difficult.
1339
01:21:16,120 --> 01:21:18,410
Once again, Darcy, it seems to me,
1340
01:21:18,490 --> 01:21:20,450
is a great representative
of the audience,
1341
01:21:20,540 --> 01:21:23,210
and Kat Dennings played her beautifully.
1342
01:21:23,290 --> 01:21:28,880
She has a great comic gift
and is also extremely smart.
1343
01:21:28,960 --> 01:21:32,380
She's one of those characters
who allows you to believe
1344
01:21:32,470 --> 01:21:36,640
that there is a very different
kind of individual in there,
1345
01:21:37,140 --> 01:21:39,890
beyond the surface
of a very quick-witted,
1346
01:21:39,970 --> 01:21:43,520
sort of cynical, sarcastic individual.
1347
01:21:43,810 --> 01:21:48,900
And it seems to me she scores
in almost every moment she speaks,
1348
01:21:48,980 --> 01:21:50,980
and it's very valuable.
1349
01:21:55,280 --> 01:21:58,200
What it gives you, as you approach
these big sequences
1350
01:21:58,280 --> 01:22:00,240
at the end of the movie,
is a chance to orchestrate.
1351
01:22:00,330 --> 01:22:04,750
You know that somewhere
you want to go from fun to laughter,
1352
01:22:04,830 --> 01:22:08,420
to thrill, to exhilaration, to violence,
1353
01:22:08,500 --> 01:22:14,300
to big music, to little music,
to rhythm, to excitement,
1354
01:22:14,380 --> 01:22:20,260
and so, there's this thriller throb
to some of the action here.
1355
01:22:20,350 --> 01:22:22,770
Camera moving all of the time,
1356
01:22:22,850 --> 01:22:26,390
interrupted by this,
the great weight of the Destroyer.
1357
01:22:27,190 --> 01:22:28,270
ln planning this sequence,
1358
01:22:28,360 --> 01:22:31,320
l remember it was one of the first things
l did when l arrived in New Mexico,
1359
01:22:31,400 --> 01:22:32,610
and down this very street,
1360
01:22:32,690 --> 01:22:36,070
where the beautiful Jaimie Alexander
is just about to hide herself,
1361
01:22:36,410 --> 01:22:38,360
l walked with 30, 40 colleagues,
1362
01:22:38,450 --> 01:22:41,080
and we tried to work out
where we needed to be,
1363
01:22:41,160 --> 01:22:45,330
and how we needed to shoot
all of the following and in what order.
1364
01:22:45,870 --> 01:22:49,920
This was as complicated logistically
as anything on the picture,
1365
01:22:50,000 --> 01:22:54,710
because it depended on certainty
about when certain bombs would go off,
1366
01:22:55,130 --> 01:22:58,340
when things that blew up out of
the bottom of the road would be buried,
1367
01:22:58,430 --> 01:23:00,680
when the special effects
would be buried,
1368
01:23:00,760 --> 01:23:02,810
when the second unit could come in
1369
01:23:02,890 --> 01:23:05,480
and shoot the scenes
that they needed to do.
1370
01:23:05,560 --> 01:23:07,270
So, for instance,
you won't be surprised to know
1371
01:23:07,350 --> 01:23:10,270
that was Kylie Furneaux,
her stunt double,
1372
01:23:10,360 --> 01:23:14,190
not Jaimie Alexander, who did
the biggest of those leaps as Sif.
1373
01:23:14,280 --> 01:23:17,650
That had to be scheduled at a time
when we were off doing something else
1374
01:23:17,740 --> 01:23:21,660
so that Vic Armstrong and his team
had the entire town to himself.
1375
01:23:21,740 --> 01:23:26,160
And so, the make-up of this particular
sequence, the orchestration
1376
01:23:26,250 --> 01:23:29,830
and, indeed, the working
with the Destroyer who, on the day,
1377
01:23:29,920 --> 01:23:34,170
was sometimes a complete
replicated model, but immobile.
1378
01:23:34,250 --> 01:23:39,180
Sometimes it was just
a large pair of lighting clamps
1379
01:23:39,260 --> 01:23:41,680
with some gaffer tape at the top of it
1380
01:23:41,760 --> 01:23:44,890
to indicate
what the Destroyer looked like.
1381
01:23:44,970 --> 01:23:48,690
But it was one sequence
in which both myself
1382
01:23:48,770 --> 01:23:52,730
and my very excellent first
assistant director, Luc Etienne,
1383
01:23:52,820 --> 01:23:55,110
would call out through megaphones,
1384
01:23:55,190 --> 01:24:01,530
across the sounds of huge fans
creating wind or this kind of debris,
1385
01:24:01,620 --> 01:24:04,120
exactly what was happening,
so that here, Jaimie would know,
1386
01:24:04,200 --> 01:24:08,290
"The Destroyer's arriving on your left,
there's smoke on your right," et cetera.
1387
01:24:08,370 --> 01:24:10,710
There needed to be
a clear path through,
1388
01:24:10,790 --> 01:24:13,630
even when out in the open,
not against green screen here,
1389
01:24:13,710 --> 01:24:16,300
although sometimes we did, indeed,
use green or blue screen outside.
1390
01:24:16,380 --> 01:24:19,800
But here, you needed both the benefits
of the actual debris
1391
01:24:19,880 --> 01:24:22,840
and wreckage of cars
and fires that we did provide live.
1392
01:24:22,930 --> 01:24:27,100
But you constantly needed to tell people
what might be happening up in Asgard,
1393
01:24:27,180 --> 01:24:30,060
what was happening
with the Destroyer himself,
1394
01:24:30,140 --> 01:24:34,110
and keep people firmly in touch
with what we're after.
1395
01:24:34,650 --> 01:24:38,110
This brings us to the moment story-wise
that we'd really been aiming for
1396
01:24:38,190 --> 01:24:40,320
that is so inevitably connected
to the moment
1397
01:24:40,400 --> 01:24:43,570
where Thor walks into the movie
for the first time as a grown-up,
1398
01:24:43,660 --> 01:24:47,080
a man who is unwilling
to sacrifice anything,
1399
01:24:47,160 --> 01:24:49,080
so selfish is he.
1400
01:24:49,160 --> 01:24:51,370
And in the moment that follows now,
1401
01:24:51,460 --> 01:24:56,750
we have a man who has learnt
that he must, can and should be able
1402
01:24:56,840 --> 01:24:58,880
as a great leader, as a great king,
1403
01:24:58,960 --> 01:25:00,420
but simply perhaps not as a god
1404
01:25:00,510 --> 01:25:04,010
but as a man,
be prepared to sacrifice everything.
1405
01:25:04,510 --> 01:25:06,850
ln this case, it means his life.
1406
01:25:07,350 --> 01:25:08,850
Natalie Portman asks that question,
1407
01:25:08,930 --> 01:25:11,140
but perhaps as an audience
we already know.
1408
01:25:11,230 --> 01:25:17,360
He's doing what has to be done,
he's doing what a hero would do,
1409
01:25:17,440 --> 01:25:20,610
not the act of a man
who thinks he's a hero,
1410
01:25:20,690 --> 01:25:24,450
but simply he does what has to be done.
lt ends up being heroic.
1411
01:25:24,530 --> 01:25:28,790
This is not about Thor, this is about
resolving things with his brother.
1412
01:25:28,870 --> 01:25:33,870
Crucially, it's about saving the people
and the town that is Puente Antiguo,
1413
01:25:33,960 --> 01:25:36,710
and saving the lives of those
who have come to help him
1414
01:25:36,790 --> 01:25:39,420
and from whom he has learnt
and grown.
1415
01:25:40,420 --> 01:25:41,920
The way Chris Hemsworth does this,
1416
01:25:42,010 --> 01:25:44,130
the Patrick Doyle music
to accompany it,
1417
01:25:44,220 --> 01:25:48,180
the way in which it takes place in
the format of a sort of Wild West fight,
1418
01:25:48,260 --> 01:25:50,520
the showdown,
a kind of high noon moment,
1419
01:25:50,600 --> 01:25:54,140
all of this, l felt, had a sort of leanness
and simplicity to it
1420
01:25:54,230 --> 01:25:58,730
that l thought was
part of the story of the hero.
1421
01:25:59,230 --> 01:26:01,570
And we wanted to maintain surprise
1422
01:26:01,650 --> 01:26:05,400
about how brother Loki
would finally react to this,
1423
01:26:05,490 --> 01:26:09,490
and whether that could
and should change his mind.
1424
01:26:09,580 --> 01:26:11,660
Can it end in peace?
1425
01:26:15,790 --> 01:26:18,460
And the answer is, of course, it can't.
1426
01:26:20,590 --> 01:26:24,170
And we wanted the surprise,
not of the blast there,
1427
01:26:24,260 --> 01:26:26,840
but of a sort of trick,
a piece of Lokian mischief
1428
01:26:26,930 --> 01:26:28,850
which takes the Destroyer's beam away,
1429
01:26:28,930 --> 01:26:32,180
appears to perhaps indicate
that Thor has persuaded him,
1430
01:26:32,270 --> 01:26:34,100
that he will understand, but, no.
1431
01:26:34,600 --> 01:26:37,850
A sneaky trick,
the smack the back of the hand,
1432
01:26:37,940 --> 01:26:41,400
and the clearly fatal blow
takes us to the point
1433
01:26:41,480 --> 01:26:44,400
where perhaps we've always known
we must arrive,
1434
01:26:44,490 --> 01:26:47,200
which is at the death of Thor.
1435
01:26:47,660 --> 01:26:52,660
The death of a man who did not think,
the death of a man who did not care,
1436
01:26:52,740 --> 01:26:55,200
the death of a man who was selfish,
1437
01:26:55,290 --> 01:26:57,710
the death of a man
who disregarded his family,
1438
01:26:57,790 --> 01:26:59,750
his home, his friends,
1439
01:27:00,960 --> 01:27:04,510
and in a sense, symbolically at least,
1440
01:27:04,590 --> 01:27:07,630
that man, that creature had to die.
1441
01:27:07,720 --> 01:27:10,390
He had to give it up.
He had to sacrifice it.
1442
01:27:10,470 --> 01:27:14,520
He had to become, to use Odin's word,
1443
01:27:15,270 --> 01:27:17,980
"worthy" in that act of sacrifice.
1444
01:27:18,060 --> 01:27:20,230
That act of sacrifice from a god,
1445
01:27:20,310 --> 01:27:24,480
perhaps, could lie the seeds,
perhaps instant,
1446
01:27:24,570 --> 01:27:28,990
as they say, enlightenment comes
to those who find it, redemption.
1447
01:27:29,700 --> 01:27:33,990
And it's a redemption,
triggered partly by a father's pain
1448
01:27:34,790 --> 01:27:36,080
and a father's pride.
1449
01:27:36,160 --> 01:27:37,790
And so from Odin,
1450
01:27:37,870 --> 01:27:42,290
we go back to that other hero of the film,
1451
01:27:42,380 --> 01:27:45,630
trapped, but no longer, Mjolnir.
1452
01:27:48,300 --> 01:27:52,390
And this leads us to a moment
that we discussed over and over,
1453
01:27:52,470 --> 01:27:58,520
how visually, emotionally,
musically, effects-ly,
1454
01:27:58,890 --> 01:28:01,310
we could bring together this moment
1455
01:28:01,400 --> 01:28:04,610
that we hoped, maybe in a movie
theatre, could have the audience cheer
1456
01:28:04,690 --> 01:28:07,030
if they loved him as much as we did,
1457
01:28:07,110 --> 01:28:10,150
and if they valued
the idea of that happening.
1458
01:28:10,660 --> 01:28:14,030
The God of Thunder is back in charge,
1459
01:28:15,620 --> 01:28:17,330
powers restored,
1460
01:28:19,120 --> 01:28:24,210
armour back on his
magnificent god's frame,
1461
01:28:25,250 --> 01:28:27,800
announcing his success to the world,
1462
01:28:30,510 --> 01:28:34,140
providing awe and wonder
in those who watch him.
1463
01:28:34,220 --> 01:28:38,850
And now, a chance to have revenge
and some fun, as well.
1464
01:28:41,100 --> 01:28:44,400
This musical cue was written
probably three, four, five times.
1465
01:28:44,480 --> 01:28:46,190
The action sequence here,
1466
01:28:46,270 --> 01:28:51,610
exactly what could Thor do
to potentially trounce the Destroyer?
1467
01:28:51,910 --> 01:28:56,700
This was something that,
even though it's visual effects intensive,
1468
01:28:56,790 --> 01:29:00,330
we worked on for almost
the entire period of the shoot.
1469
01:29:01,620 --> 01:29:03,080
Two things needed to happen,
1470
01:29:03,170 --> 01:29:06,340
this needed to be an absolute example
of the awesome power
1471
01:29:06,420 --> 01:29:10,670
of a fully restored, fully motivated,
truly heroic Thor,
1472
01:29:11,090 --> 01:29:13,800
and it also needed
to happen quite swiftly,
1473
01:29:13,890 --> 01:29:15,800
because we know that
dealing with Destroyer
1474
01:29:15,890 --> 01:29:19,020
will not be the only thing
Thor has to deal with
1475
01:29:19,100 --> 01:29:20,730
before the end of this film.
1476
01:29:20,810 --> 01:29:22,310
He needs to get back home,
1477
01:29:22,390 --> 01:29:24,560
and this needs to be
taking care of business
1478
01:29:24,650 --> 01:29:27,060
and taking care of business
spectacularly,
1479
01:29:27,150 --> 01:29:31,490
but efficiently and briskly,
so that we understand
1480
01:29:32,030 --> 01:29:34,820
what a superhero is
when he's at his best.
1481
01:29:34,910 --> 01:29:40,450
He's efficient, he just gets on with it,
and is a very good neighbour.
1482
01:29:48,250 --> 01:29:51,550
So now, the film takes on
a different kind of pace.
1483
01:29:51,630 --> 01:29:54,380
Earth is protected,
Puente Antiguo is saved,
1484
01:29:54,470 --> 01:29:56,430
there's some business to take care of,
1485
01:29:56,510 --> 01:29:59,680
which is the issue
of the return of S.H.l.E.L.D.
1486
01:29:59,770 --> 01:30:05,520
and Clark Gregg's very funny reading
of this last moment with Thor
1487
01:30:05,600 --> 01:30:08,190
before he needs to return to Asgard.
1488
01:30:08,270 --> 01:30:11,110
And it also, l suppose,
lays out the possibility
1489
01:30:11,190 --> 01:30:15,030
that Jane Foster and Selvig may work
with S.H.l.E.L.D. in some future world
1490
01:30:15,110 --> 01:30:17,570
where that research,
which has brought her so close
1491
01:30:17,660 --> 01:30:20,450
to understanding
how and where Thor is from,
1492
01:30:20,540 --> 01:30:23,620
may perhaps be
developed into something that could
1493
01:30:23,710 --> 01:30:25,710
tell us yet more stories.
1494
01:30:35,510 --> 01:30:38,010
Meantime, back on Asgard,
1495
01:30:38,100 --> 01:30:42,180
Loki allows access for the Frost Giants.
1496
01:30:44,980 --> 01:30:49,110
And lonely Heimdall
looks to have been outwitted.
1497
01:30:49,190 --> 01:30:54,440
l'm sure that can't happen for long.
One feels his frustration in there,
1498
01:30:54,530 --> 01:30:57,780
and l certainly wouldn't want to try
and tie up ldris Elba
1499
01:30:57,860 --> 01:31:00,280
in any way that restricted him.
1500
01:31:01,870 --> 01:31:05,580
We shot these sequences
in the New Mexican desert,
1501
01:31:05,660 --> 01:31:08,330
and it was one of the areas
1502
01:31:09,000 --> 01:31:12,920
where it was so, so much
a signature of the picture
1503
01:31:13,000 --> 01:31:15,300
to see whether it would
work successfully
1504
01:31:15,380 --> 01:31:19,550
to put these costumes
from these Asgardians on Earth.
1505
01:31:19,640 --> 01:31:22,140
And in that space of the desert,
on that kind of canvas,
1506
01:31:22,220 --> 01:31:25,060
l was very, very pleased with the results.
1507
01:31:27,390 --> 01:31:29,850
So, to see them there,
there's something, l don't know,
1508
01:31:29,940 --> 01:31:33,820
very, very much in tune with
modern versions of the comic books.
1509
01:31:33,900 --> 01:31:35,990
Particularly, for instance,
runs of the comics
1510
01:31:36,070 --> 01:31:39,070
that had been authored
by Joe Michael Straczynski,
1511
01:31:39,160 --> 01:31:44,740
who, in a way, was part of perfecting
the modern version of Thor on Earth.
1512
01:31:49,420 --> 01:31:53,340
Heimdall is heroic and allows us
1513
01:31:54,130 --> 01:31:59,130
to just see what we can play,
of the extent to which
1514
01:31:59,220 --> 01:32:04,050
this romantic feeling between
Thor and Jane can play in the movie.
1515
01:32:04,140 --> 01:32:06,020
And l think it's a tribute to these two
1516
01:32:06,100 --> 01:32:09,190
that it carries much more weight
than it might otherwise do
1517
01:32:09,270 --> 01:32:12,690
because of its gentleness
and its simplicity.
1518
01:32:12,770 --> 01:32:13,980
lt doesn't strain too hard,
1519
01:32:14,070 --> 01:32:19,200
they don't strain too hard to be
super sexy, super cool, super romantic.
1520
01:32:19,280 --> 01:32:22,450
As a result, l think
that they are all of those things,
1521
01:32:22,530 --> 01:32:24,700
and l think we want them to be together.
1522
01:32:24,780 --> 01:32:29,000
We know that this hasn't progressed
into the grand love affair,
1523
01:32:29,080 --> 01:32:33,000
but we see that it has the potential
for perhaps something very special
1524
01:32:33,080 --> 01:32:35,460
and that there is a connection.
1525
01:32:41,970 --> 01:32:45,550
Now, we head into
the final phase of the film.
1526
01:32:45,640 --> 01:32:50,310
We're back on Asgard, and the family
business has to be taken care of.
1527
01:32:53,310 --> 01:32:55,610
First of all, of course,
we give Frigga a moment
1528
01:32:55,690 --> 01:33:00,150
to do what any warrior queen would do,
which is to try and defend her husband.
1529
01:33:00,240 --> 01:33:03,490
We consciously kept
the world ofAsgard, these corridors,
1530
01:33:03,570 --> 01:33:06,120
a little emptier
than you might expect them to be,
1531
01:33:06,200 --> 01:33:08,240
suggesting that gods know
how to look after themselves,
1532
01:33:08,330 --> 01:33:09,870
especially gods in Asgard.
1533
01:33:09,960 --> 01:33:12,670
They're not expecting to be invaded.
1534
01:33:14,000 --> 01:33:20,670
l enjoyed reflecting Colm Feore
in Anthony Hopkins' eyeball.
1535
01:33:22,430 --> 01:33:24,970
That's the last creature
l'd wish to have hovering above me,
1536
01:33:25,050 --> 01:33:27,970
and it's especially creepy
that as he says
1537
01:33:28,060 --> 01:33:31,100
Odin can hear and see what's going on,
1538
01:33:31,180 --> 01:33:34,980
even as his attempted murder begins,
1539
01:33:35,520 --> 01:33:37,400
but we know it's only attempted
1540
01:33:37,480 --> 01:33:40,190
because what we hoped
and discovered in previews
1541
01:33:40,280 --> 01:33:44,240
would be the audience believing
that that blow had been struck by Thor,
1542
01:33:44,320 --> 01:33:48,160
actually have an intake of breath
when they understand it is Loki.
1543
01:33:48,620 --> 01:33:51,790
And let's, while he's there,
the great Tom Hiddleston,
1544
01:33:51,870 --> 01:33:54,290
have a talk about those helmets.
1545
01:33:54,370 --> 01:33:57,380
That helmet was worn in two pieces,
it was extremely painful.
1546
01:33:57,460 --> 01:33:58,840
He was very patient about it.
1547
01:33:58,920 --> 01:34:01,130
All the helmets were heavy and tight
1548
01:34:01,210 --> 01:34:03,470
in order to have the great look,
the great line.
1549
01:34:03,550 --> 01:34:06,550
Nothing could rattle, nothing could roll.
1550
01:34:06,640 --> 01:34:09,310
And the combination
of what the collar does,
1551
01:34:09,390 --> 01:34:14,060
the lines on the front of that costume,
ditto Thor's,
1552
01:34:14,730 --> 01:34:20,860
they make it work in
a very streamlined, aerodynamic way
1553
01:34:20,940 --> 01:34:26,950
that hints at the classic renditions
of the frames from the comics,
1554
01:34:27,320 --> 01:34:29,990
but in the way they're worn,
1555
01:34:30,080 --> 01:34:32,330
in the colours, in the palette,
in the textures,
1556
01:34:32,410 --> 01:34:34,620
it stops at being campy,
stops at being kitschy,
1557
01:34:34,710 --> 01:34:36,370
or, at least, not to a degree
1558
01:34:36,460 --> 01:34:41,630
that allows us to accept a different
kind of robustness to it.
1559
01:34:50,890 --> 01:34:54,980
Our rules about
how this observatory worked means that
1560
01:34:55,640 --> 01:34:59,860
we could now have,
instead of Heimdall's sword/key,
1561
01:35:00,270 --> 01:35:03,030
that was what made it work,
we accepted the idea
1562
01:35:03,110 --> 01:35:05,360
that the other instrument
that could make that work
1563
01:35:05,450 --> 01:35:07,950
was Gungnir, Odin's spear.
1564
01:35:08,030 --> 01:35:09,700
And now, usable by Loki,
1565
01:35:09,780 --> 01:35:14,750
because in Odin's absence,
Loki runs Asgard,
1566
01:35:15,120 --> 01:35:17,120
that very sort of map,
1567
01:35:17,210 --> 01:35:20,540
that kind of astral reflective map
of Yggdrasil
1568
01:35:20,630 --> 01:35:22,460
is now frozen, locked solid.
1569
01:35:22,550 --> 01:35:25,460
And we liked the idea of doing this
in order to create
1570
01:35:25,550 --> 01:35:30,390
not a travelling light source that could
take you briefly, instantaneously
1571
01:35:30,470 --> 01:35:33,220
through time warps to other times
and places and worlds,
1572
01:35:33,310 --> 01:35:37,020
but now a burgeoning,
building nuclear weapon.
1573
01:35:37,100 --> 01:35:42,060
So that Bifrost, the miracle agent
of time and space travel,
1574
01:35:42,150 --> 01:35:44,650
becomes the agent of destruction.
1575
01:35:48,570 --> 01:35:51,410
But of course,
although that technology is at work,
1576
01:35:51,490 --> 01:35:53,030
we see it frozen open,
1577
01:35:53,120 --> 01:35:57,250
ready to create chaos on the world
that Loki must destroy,
1578
01:35:57,330 --> 01:35:59,580
the world of his parentage.
1579
01:35:59,670 --> 01:36:01,920
The idea of wiping out the race
1580
01:36:02,000 --> 01:36:04,250
that would prove
that there are no more of that race,
1581
01:36:04,340 --> 01:36:06,300
so that Loki really is an Asgardian,
1582
01:36:06,380 --> 01:36:10,880
is part of where his passionate
determination to belong
1583
01:36:10,970 --> 01:36:15,220
and to win his father's approval
has now sort of led him to.
1584
01:36:17,980 --> 01:36:22,650
So, in the middle of this burgeoning,
sort of technological explosion,
1585
01:36:22,730 --> 01:36:25,020
there is concentrated in this arena,
1586
01:36:25,110 --> 01:36:27,780
this now different arena,
this frozen arena,
1587
01:36:27,860 --> 01:36:32,910
this resolution of the biblical battle
between two brothers.
1588
01:36:34,580 --> 01:36:39,540
Two brothers whose conflict now
is potentially liable
1589
01:36:39,620 --> 01:36:43,170
to see the destruction
of part or all of the universe,
1590
01:36:43,250 --> 01:36:45,000
but certainly Jotunheim.
1591
01:36:45,090 --> 01:36:48,960
And all of this has come from a dispute,
if you like, at one simple level
1592
01:36:49,050 --> 01:36:53,890
about their own competition
to enjoy, approve, receive,
1593
01:36:53,970 --> 01:36:56,640
be preeminent in their father's love.
1594
01:36:58,390 --> 01:37:01,980
And now, with these two
extraordinary weapons as equals,
1595
01:37:02,060 --> 01:37:04,480
and inside the dangerous,
1596
01:37:04,560 --> 01:37:10,110
evermore acceleratingly lethal
world of the frozen Bifrost,
1597
01:37:10,200 --> 01:37:14,910
with the observatory and Asgard's fate
spinning out of control,
1598
01:37:14,990 --> 01:37:21,040
you have these stakes and this action
heightening with every blow, as it were.
1599
01:37:21,120 --> 01:37:25,330
lt's a battle, it would seem,
of two equals
1600
01:37:25,420 --> 01:37:29,050
that now spills out
onto the Rainbow Bridge.
1601
01:37:29,130 --> 01:37:32,590
And it was this kind of image, it was
rather like the horses riding across it.
1602
01:37:32,680 --> 01:37:36,720
And this kind of image,
the idea of these two brothers,
1603
01:37:36,800 --> 01:37:41,310
people who we recognise with
human traits, human characteristics,
1604
01:37:41,390 --> 01:37:44,390
fighting with real passions,
real motivations,
1605
01:37:44,480 --> 01:37:46,520
but nevertheless fighting,
1606
01:37:46,610 --> 01:37:50,280
at extreme danger in an epic landscape.
1607
01:37:50,360 --> 01:37:53,650
This bridge in the middle
of outer space,
1608
01:37:53,740 --> 01:37:58,410
attached to the asteroid
on which Asgard rules the universe,
1609
01:37:58,870 --> 01:38:04,710
led to the bridge now in danger
of using its power and its beam
1610
01:38:04,790 --> 01:38:09,710
to destroy one, perhaps more worlds
if this conflict isn't resolved.
1611
01:38:09,800 --> 01:38:12,210
The idea, the heightened nature
of all of that
1612
01:38:12,300 --> 01:38:17,010
seemed to me something that could be
so remarkable and unusual,
1613
01:38:17,100 --> 01:38:21,010
and l'm very proud
of these kinds of images.
1614
01:38:21,100 --> 01:38:22,640
l would call them epic images,
1615
01:38:22,730 --> 01:38:27,900
where the power of the sea,
the power of lightning,
1616
01:38:28,230 --> 01:38:30,690
the power of space,
1617
01:38:30,780 --> 01:38:35,200
the power of these elements,
these elemental forces
1618
01:38:35,570 --> 01:38:41,870
are about to overwhelm, or could they
be at the mercy of these two figures?
1619
01:38:42,250 --> 01:38:44,910
Or one of them, if one can overpower,
1620
01:38:45,000 --> 01:38:47,960
but clearly, with everything
that's been set up,
1621
01:38:48,040 --> 01:38:52,090
we always hoped that we might
put Thor, the man who has changed,
1622
01:38:52,170 --> 01:38:54,340
the man who,
at the beginning of this film,
1623
01:38:54,420 --> 01:38:56,260
wouldn't have thought twice about this,
1624
01:38:56,340 --> 01:38:59,220
now decides
that it's actually a choice to make.
1625
01:38:59,300 --> 01:39:01,850
And Jotunheim, whatever it might be,
1626
01:39:01,930 --> 01:39:05,770
does not deserve the fate
that Loki has imposed upon it.
1627
01:39:05,850 --> 01:39:09,020
And so, this idea of potentially giving up
1628
01:39:09,110 --> 01:39:11,690
a route back to the place
where he found himself,
1629
01:39:11,770 --> 01:39:13,070
where he found happiness,
1630
01:39:13,150 --> 01:39:18,160
and where perhaps he may have found
or could find love,
1631
01:39:18,700 --> 01:39:23,120
is going to be sacrificed
in order to save Jotunheim
1632
01:39:23,200 --> 01:39:26,710
and the stability and peace
of the Nine Realms.
1633
01:39:28,790 --> 01:39:31,880
Let's see whether Jane forgives him.
One man who won't is Loki.
1634
01:39:33,630 --> 01:39:36,260
And the series of images that follow
1635
01:39:36,340 --> 01:39:39,430
really speak
for the sort of cataclysmic ending
1636
01:39:39,510 --> 01:39:43,220
to which we believed
a film like this could head.
1637
01:39:43,680 --> 01:39:45,430
Where this really is, l think,
1638
01:39:45,520 --> 01:39:49,350
a spectacular series
of visual effects moments
1639
01:39:49,440 --> 01:39:52,810
that were beautifully supervised
1640
01:39:52,900 --> 01:39:57,150
by the brilliant Wesley Sewell
and his team,
1641
01:39:58,110 --> 01:40:01,570
and where all of the
key members of the team,
1642
01:40:02,410 --> 01:40:05,120
Bo Welch in design,
Haris Zambarloukos in photography,
1643
01:40:05,200 --> 01:40:09,000
Wes in visual effects,
Paul Rubell in editing,
1644
01:40:09,580 --> 01:40:13,000
our stunt team,
Vic Armstrong and Andy,
1645
01:40:13,920 --> 01:40:16,000
the costumes ofAlex Byrne,
1646
01:40:16,090 --> 01:40:19,510
the various make-ups
of all our characters
1647
01:40:19,590 --> 01:40:25,600
from Luisa Abel, Jan Alexander
in hair and make-up, quite magnificent.
1648
01:40:26,100 --> 01:40:31,020
And l love the look of Mr Hiddleston
as he heads off into that void.
1649
01:40:31,100 --> 01:40:34,820
What is gonna happen?
There's a big question mark there.
1650
01:40:35,690 --> 01:40:39,740
And for us, the big question mark was,
how do we get back to Earth?
1651
01:40:58,970 --> 01:41:01,470
On this occasion,
we were filming this real shot,
1652
01:41:01,550 --> 01:41:03,970
took place on a real Friday afternoon
in New Mexico
1653
01:41:04,050 --> 01:41:05,180
when the sun was going down.
1654
01:41:05,260 --> 01:41:07,350
We got that real sunset. lt was one of,
1655
01:41:07,430 --> 01:41:09,730
if you will please, please, please
forgive my language,
1656
01:41:09,810 --> 01:41:11,980
a sort of "kick, bollock
and scramble" moment,
1657
01:41:12,100 --> 01:41:15,400
where everybody is running
to shoot this moment
1658
01:41:15,480 --> 01:41:17,690
in what some refer to
as the "magic hour,"
1659
01:41:17,780 --> 01:41:20,440
and which we in film
know to be the "tragic hour,"
1660
01:41:20,530 --> 01:41:23,070
because you can never quite
get the shot as you want it.
1661
01:41:23,160 --> 01:41:25,820
Here the opposite was true.
1662
01:41:25,910 --> 01:41:28,740
These three actors rushed,
dragged them out of their trailers.
1663
01:41:28,830 --> 01:41:31,200
"You gotta go.
The light's going, the light's going."
1664
01:41:31,660 --> 01:41:34,580
And we were able to get
the reason we went to New Mexico,
1665
01:41:34,670 --> 01:41:39,800
a big sky, a sunset, mountains,
three amazing actors, a great image,
1666
01:41:39,880 --> 01:41:43,930
and one that would allow us,
as we see Jane's disappointment,
1667
01:41:44,010 --> 01:41:46,970
to perhaps begin the process
of taking us back up
1668
01:41:47,050 --> 01:41:51,180
to see how all of this
is resolved in Asgard.
1669
01:41:51,270 --> 01:41:53,440
Here, this time with the travel
we've done now,
1670
01:41:53,520 --> 01:41:55,980
allowing us to compress the journey,
1671
01:41:56,060 --> 01:42:02,780
but still enjoy feeling that miraculous
and strange underside ofAsgard.
1672
01:42:03,320 --> 01:42:09,870
An Asgard, now in a kind of post-battle,
post-near-apocalypse twilight,
1673
01:42:10,830 --> 01:42:15,080
where a little hint of what happens
in the myths and in the comics,
1674
01:42:15,170 --> 01:42:18,920
which is, although not here,
in the halls of Valhalla,
1675
01:42:19,000 --> 01:42:21,800
they sing and they talk and they drink
and they dance,
1676
01:42:21,880 --> 01:42:25,840
and they celebrate their exploits,
particularly led by Volstagg,
1677
01:42:25,930 --> 01:42:28,430
who's prone to exaggeration, of course.
1678
01:42:29,470 --> 01:42:33,730
There's a kind of melancholy
that hangs over this at this point.
1679
01:42:34,810 --> 01:42:38,560
Thor has left Earth,
has sacrificed the Rainbow Bridge,
1680
01:42:38,650 --> 01:42:42,690
has saved the peace ofAsgard,
has saved Jotunheim,
1681
01:42:42,780 --> 01:42:44,990
but of course, has lost a brother.
1682
01:42:45,070 --> 01:42:48,240
lt wasn't as simple as saying
he was right and Loki was wrong.
1683
01:42:48,320 --> 01:42:50,490
lt was as the film has tried to be,
1684
01:42:50,580 --> 01:42:52,740
because the comics are
and the myths are,
1685
01:42:52,830 --> 01:42:55,460
just a bit more complicated than that.
1686
01:42:57,210 --> 01:43:00,670
We find, of course,
as he walks the halls,
1687
01:43:00,750 --> 01:43:03,760
beyond which this magnificent
1688
01:43:03,840 --> 01:43:09,260
Scandinavian-influenced
landscape ofAsgard sits,
1689
01:43:09,800 --> 01:43:12,850
a fine company called Whiskytree,
who produced the visual effects
1690
01:43:12,930 --> 01:43:15,770
for the creation ofAsgard here,
1691
01:43:17,060 --> 01:43:20,690
we find that he goes back to,
what l mentioned earlier,
1692
01:43:20,770 --> 01:43:25,570
was really the base emotional heart
of the picture, fathers and sons.
1693
01:43:28,360 --> 01:43:30,530
And that was the question,
would he be at the beginning?
1694
01:43:30,620 --> 01:43:34,830
Odin says he will, but actually,
although he's in the affirmative,
1695
01:43:35,200 --> 01:43:37,960
Thor now has second thoughts.
1696
01:43:38,040 --> 01:43:42,210
This is a beautifully and simply done
scene between the two men.
1697
01:43:42,300 --> 01:43:44,090
lt's about, in part,
1698
01:43:44,960 --> 01:43:49,890
the inability of certain kinds of males,
warrior males,
1699
01:43:49,970 --> 01:43:54,180
to easily reveal their feelings
to each other.
1700
01:43:54,810 --> 01:43:56,980
They do here with great delicacy
1701
01:43:57,060 --> 01:44:00,900
and with a sense of vulnerability
that l think is touching.
1702
01:44:00,980 --> 01:44:03,650
l think it's beautifully
and simply played by the pair of them,
1703
01:44:03,730 --> 01:44:06,610
and you feel the weight
of the experience of the film,
1704
01:44:06,690 --> 01:44:12,410
that they have bought this experience,
they've arrived here changed,
1705
01:44:13,490 --> 01:44:16,450
inspired in some ways,
saddened in some ways,
1706
01:44:17,000 --> 01:44:20,790
and now are ready to go on
with their lives.
1707
01:44:20,880 --> 01:44:23,210
But there's a big question mark.
1708
01:44:25,460 --> 01:44:28,260
Can the Rainbow Bridge be rebuilt?
1709
01:44:28,340 --> 01:44:30,300
Where is Jane Foster?
1710
01:44:32,220 --> 01:44:35,510
What will happen
to Asgard's relationship to Earth?
1711
01:44:37,180 --> 01:44:41,020
And the beginning of the up beat
at the end of our picture here
1712
01:44:41,850 --> 01:44:45,820
is the understanding that
perhaps there could always be hope.
1713
01:44:45,900 --> 01:44:48,230
Heimdall says so, l listen to Heimdall.
1714
01:44:48,320 --> 01:44:51,110
Well, sure enough,
down in Smith's Motors in this shot,
1715
01:44:51,200 --> 01:44:54,410
which was a shot originally planned
to open the film with.
1716
01:44:54,490 --> 01:44:56,910
lt was going to be
the very first shot of the movie,
1717
01:44:56,990 --> 01:45:01,250
it turned into the very last, almost.
1718
01:45:15,550 --> 01:45:18,850
And now, as we go through
these main-on-end titles,
1719
01:45:19,560 --> 01:45:22,810
l hope you'll enjoy
this race through space,
1720
01:45:24,440 --> 01:45:26,860
this voyage which originally was
in the body of the movie.
1721
01:45:26,940 --> 01:45:29,730
And it was the beginnings
of a travel from Earth
1722
01:45:29,820 --> 01:45:32,360
up through space
through various time warps here,
1723
01:45:32,450 --> 01:45:36,660
to this Milky Way-style galaxy
through which we pass,
1724
01:45:36,740 --> 01:45:39,830
and then pull out another part of.
1725
01:45:39,910 --> 01:45:44,710
And then understand that we are now,
in fact, travelling through, around
1726
01:45:44,790 --> 01:45:49,340
and between the branches of Yggdrasil,
the Worlds Tree,
1727
01:45:49,420 --> 01:45:52,130
the great galactic nebulae
1728
01:45:52,220 --> 01:45:54,930
that Odin describes
and the comics describe,
1729
01:45:55,010 --> 01:45:57,970
in both ancient art
and in scientific versions,
1730
01:45:58,060 --> 01:46:04,390
as the linking web, if you like, between
the Nine Realms of the universe.
1731
01:46:04,770 --> 01:46:08,860
And this opportunity to take the
audience on a journey through space
1732
01:46:08,940 --> 01:46:13,110
and through Yggdrasil
was something that we worked on
1733
01:46:13,200 --> 01:46:16,530
through the whole of the time
we were making the film.
1734
01:46:16,620 --> 01:46:21,910
Again, this part of the movie
was created by our visual effects team
1735
01:46:22,000 --> 01:46:27,960
and executed
and much enhanced by BUF in Paris.
1736
01:46:28,460 --> 01:46:31,670
And although it didn't make it
into the body of the film,
1737
01:46:31,760 --> 01:46:35,130
it was a fantastic way, l think,
to go out at the end of our Marvel movie
1738
01:46:35,220 --> 01:46:38,930
that has tried to give a sense of fun,
a sense of exhilaration,
1739
01:46:39,010 --> 01:46:41,560
has taken you, l hope,
on an emotional journey,
1740
01:46:41,640 --> 01:46:45,730
but is leaving you
with a sense of a forward movement,
1741
01:46:45,810 --> 01:46:48,400
with a sense of optimism
1742
01:46:48,480 --> 01:46:53,570
and with, perhaps, a sense that
if there are other movies of Thor,
1743
01:46:53,650 --> 01:46:56,360
or other movies in which Thor exists,
1744
01:46:56,990 --> 01:46:59,660
that you might want to come back
and see them.
1745
01:47:03,000 --> 01:47:04,410
My name is Ken Branagh,
1746
01:47:04,500 --> 01:47:07,250
and l thank you very much
for watching Thor.
1747
01:47:07,330 --> 01:47:08,580
l'm gonna leave you now
1748
01:47:08,670 --> 01:47:13,250
with the answer to the question
that some people asked me, which is,
1749
01:47:13,710 --> 01:47:20,640
"How on Earth could you possibly
even start to direct a film like Thor?"
1750
01:47:21,510 --> 01:47:26,310
Well, the answer is unfolding to you
and will do over the next seven minutes.
1751
01:47:26,390 --> 01:47:32,020
lt is all of these people, that's how
anybody can do something like this,
1752
01:47:32,110 --> 01:47:35,570
but l was uniquely blessed
with the talent
1753
01:47:35,690 --> 01:47:40,030
and the kindness of the people
with whom l worked.
1754
01:47:40,410 --> 01:47:45,080
You'll see thousands of names
across this next five or six minutes,
1755
01:47:45,910 --> 01:47:48,120
all of them truly did have
a contribution to make,
1756
01:47:48,210 --> 01:47:50,080
and over two or three years
of making one of these pictures,
1757
01:47:50,170 --> 01:47:51,920
it's something you understand
and appreciate
1758
01:47:52,000 --> 01:47:53,630
and are deeply grateful for.
1759
01:47:53,710 --> 01:47:58,760
So, on behalf of all of these, my fellows,
my fellow collaborators, my co-workers,
1760
01:47:58,840 --> 01:48:01,890
once again, thank you very much
for watching Thor,
1761
01:48:01,970 --> 01:48:05,560
thank you for listening
to this commentary and goodbye.
1762
01:48:08,100 --> 01:48:12,060
Please, however, do enjoy
listening to the amazing Foo Fighters,
1763
01:48:13,150 --> 01:48:16,820
who are singing
and performing this song Walk
1764
01:48:16,900 --> 01:48:19,860
from their latest chart-topping album.
1765
01:48:19,950 --> 01:48:23,160
And what an honour it was to have them
associated with the movie
1766
01:48:23,240 --> 01:48:24,950
with a lyric they might have
written for us.
1767
01:48:25,040 --> 01:48:28,580
So, to all of them,
thank you very much, indeed,
1768
01:48:28,660 --> 01:48:29,960
and if you'd like,
1769
01:48:30,040 --> 01:48:32,540
you might want to join me
just right at the end of the credits
1770
01:48:32,630 --> 01:48:35,420
in case there's
some kind of surprise there.
1771
01:48:35,500 --> 01:48:37,300
l'll see you there.
1772
01:53:06,570 --> 01:53:11,860
And so, that's the end of the film,
the end of another Marvel movie,
1773
01:53:12,490 --> 01:53:16,490
the end of Thor, the God of Thunder.
1774
01:53:19,370 --> 01:53:21,790
Thor will, indeed, return
in The Avengers,
1775
01:53:21,870 --> 01:53:24,960
and he will be directed
by Joss Whedon,
1776
01:53:25,040 --> 01:53:27,920
a brilliant talent who l spoke to
1777
01:53:28,010 --> 01:53:32,260
before he came on board
to do this little piece,
1778
01:53:32,340 --> 01:53:35,970
which l'm very delighted
ends up at the end of our film,
1779
01:53:36,050 --> 01:53:38,680
in which l was especially pleased
1780
01:53:39,430 --> 01:53:42,600
to see the continuing appearance
of Dr Erik Selvig,
1781
01:53:42,690 --> 01:53:49,070
this time talking to the great
Sam Jackson as Nick Fury.
1782
01:53:50,240 --> 01:53:53,740
And l find myself intrigued
by exactly where they are
1783
01:53:53,820 --> 01:53:56,910
and exactly what they are to discuss.
1784
01:53:57,580 --> 01:54:01,200
What l can tell you
is that what you're about to see
1785
01:54:01,290 --> 01:54:05,330
has some reference
back into the movie Thor.
1786
01:54:06,290 --> 01:54:12,970
Have a look at what comes up inside
the suitcase that Sam Jackson refers to,
1787
01:54:13,840 --> 01:54:17,930
and see whether it jogs your memory
about a moment in our picture
1788
01:54:18,850 --> 01:54:21,220
that may have referred to it.
1789
01:54:26,270 --> 01:54:27,770
Loki's back.
1790
01:54:28,360 --> 01:54:31,650
As director of Thor
and as a keen fan of Marvel movies,
1791
01:54:31,740 --> 01:54:35,110
l've learned maybe not to believe
everything l see.
1792
01:54:36,110 --> 01:54:37,910
Thanks for watching.
162431
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