All language subtitles for Thor.2011.1080p.BluRay.DTS.x264-CtrlHD _track14_[eng]

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:16,260 --> 00:00:18,720 Hello, everyone. My name's Kenneth Branagh 2 00:00:18,810 --> 00:00:21,020 Everyone calls me Ken, 3 00:00:21,100 --> 00:00:23,480 so please feel free to do so if you choose to talk to me 4 00:00:23,560 --> 00:00:26,270 while this director's commentary is going on. 5 00:00:26,360 --> 00:00:28,560 And l'm here to talk a little bit 6 00:00:28,650 --> 00:00:31,570 about how we came to some of the artistic decisions we made 7 00:00:31,650 --> 00:00:35,950 when we were creating our new film of Thor. 8 00:00:38,870 --> 00:00:41,700 So first off, the marvel of it all. 9 00:00:45,170 --> 00:00:49,710 l was asked to do this back in the summer of 2008. 10 00:00:49,800 --> 00:00:52,760 And one of the first things that we had to decide is, 11 00:00:52,840 --> 00:00:54,050 "What's the basic structure?" 12 00:00:54,130 --> 00:00:57,890 And one of the things that l was keen about was that we should start on Earth. 13 00:00:57,970 --> 00:01:00,560 And so here we are in Puente Antiguo, 14 00:01:00,640 --> 00:01:04,770 "old bridge," for those of you who know your Spanish, in New Mexico. 15 00:01:04,850 --> 00:01:06,770 And the sequence that you're watching now 16 00:01:06,850 --> 00:01:09,150 was one of the very first ones that l worked on 17 00:01:09,230 --> 00:01:11,570 with our first storyboard artist, 18 00:01:11,650 --> 00:01:15,150 a brilliantly talented young man called Federico D'Alessandro. 19 00:01:15,240 --> 00:01:19,410 And it was about coming up with a kind of teaser on contemporary Earth 20 00:01:19,490 --> 00:01:21,330 that allowed us to do a number of things. 21 00:01:21,410 --> 00:01:25,120 First of all, introduce a vast Earth landscape, 22 00:01:25,210 --> 00:01:28,540 something that could be, during the course of the picture, epic. 23 00:01:28,630 --> 00:01:31,590 l'd worked in New Mexico as an actor, l'd shot there, 24 00:01:31,670 --> 00:01:33,550 and l knew it was the land of the big sky. 25 00:01:33,630 --> 00:01:35,760 And the sense of immensity in that landscape 26 00:01:35,840 --> 00:01:41,010 would be, visually, very powerful and might work as a very strong mirror 27 00:01:41,100 --> 00:01:42,760 for some of the epic landscapes 28 00:01:42,850 --> 00:01:46,730 that we would try and convey off Earth, as it were. 29 00:01:47,520 --> 00:01:51,110 We also wanted to take this opportunity to introduce the audience to characters, 30 00:01:51,190 --> 00:01:52,270 contemporary characters. 31 00:01:52,360 --> 00:01:55,030 ln this case, Jane Foster, played by Natalie Portman, 32 00:01:55,110 --> 00:01:57,530 Erik Selvig, played by Stellan SkarsgÄrd, 33 00:01:57,610 --> 00:02:00,950 and Kat Dennings, who plays Darcy Lewis here, 34 00:02:01,410 --> 00:02:02,780 at the front of the movie 35 00:02:02,870 --> 00:02:07,500 who are engaged in scientific activity out in the desert watching the skies, 36 00:02:07,580 --> 00:02:12,380 and who are introduced to this extraordinary aurora phenomenon. 37 00:02:13,920 --> 00:02:17,760 l will digress in various ways. Let me tell you a little bit about auroras. 38 00:02:17,840 --> 00:02:19,930 This kind of look, this kind of image 39 00:02:20,010 --> 00:02:24,100 was the sort of image that we were finding all over the world 40 00:02:24,180 --> 00:02:27,480 during the course of the two or three years of my involvement with it. 41 00:02:27,560 --> 00:02:31,060 So, every time somebody saw some amazing thing happening over Moscow 42 00:02:31,150 --> 00:02:36,530 or over the desert in Finland, we would pool these kinds of images, 43 00:02:36,610 --> 00:02:39,780 and we would talk about it with our visual effects team. 44 00:02:40,110 --> 00:02:44,530 And we would work out how closely we could mirror actual phenomena 45 00:02:44,620 --> 00:02:45,910 that were found on Earth. 46 00:02:45,990 --> 00:02:50,330 And that's where the beginnings of that Earth-like aurora phenomenon 47 00:02:50,420 --> 00:02:55,590 meets the demands of the story, which calls for a Rainbow Bridge, 48 00:02:55,670 --> 00:02:59,970 the Bifrost as the comics have it, which is part of the means 49 00:03:00,050 --> 00:03:04,760 by which our characters will travel from world to world. 50 00:03:06,100 --> 00:03:09,350 This first shocking moment of a race through the desert 51 00:03:09,430 --> 00:03:12,270 and then hitting a man who we don't quite see 52 00:03:12,350 --> 00:03:14,860 was always a strong feeling 53 00:03:14,940 --> 00:03:19,030 about literally starting the movie with a bang in a big landscape, 54 00:03:19,110 --> 00:03:20,860 new characters, contemporary characters, 55 00:03:20,950 --> 00:03:24,200 a race, a chase, and then a big question mark, 56 00:03:24,280 --> 00:03:26,370 where did he come from? 57 00:03:28,290 --> 00:03:33,210 And so, here, at this point in the movie, in the original version of the screenplay, 58 00:03:33,290 --> 00:03:36,460 there was the idea of some kind of prologue. 59 00:03:36,550 --> 00:03:38,340 So, you have a teaser to allow the audience, 60 00:03:38,420 --> 00:03:40,010 perhaps, to understand we'll be back on Earth, 61 00:03:40,090 --> 00:03:42,720 a landscape and people that we'll enjoy being with. 62 00:03:42,800 --> 00:03:46,800 But now we go into a version of a prologue 63 00:03:46,890 --> 00:03:51,100 that tries to introduce some of the thematic material, 64 00:03:51,180 --> 00:03:55,440 some of the world of the larger Thor universe. 65 00:03:55,520 --> 00:03:59,570 So here, for instance, this Scandinavian influence, this fjord, 66 00:03:59,650 --> 00:04:01,990 this world of Tonsberg, Norway, 67 00:04:02,700 --> 00:04:07,200 a name, indeed, which those of you interested in the larger Marvel Universe, 68 00:04:07,280 --> 00:04:11,750 may well find features elsewhere. 69 00:04:12,500 --> 00:04:16,380 But as you can see through this very concentrated, condensed, 70 00:04:16,460 --> 00:04:20,090 we hope very impactive storytelling here, 71 00:04:20,460 --> 00:04:21,920 certainly what we were aiming for, 72 00:04:22,010 --> 00:04:25,970 we introduce both the Viking element in Viking Earth 73 00:04:26,050 --> 00:04:27,550 and then the arrival of the Frost Giants. 74 00:04:27,640 --> 00:04:31,140 The Frost Giants are going to be enormously important in our story 75 00:04:31,220 --> 00:04:34,850 and technically, we created them 76 00:04:34,940 --> 00:04:39,400 by actually designing some very impressive make-ups 77 00:04:39,480 --> 00:04:41,320 that real actors wore, 78 00:04:41,400 --> 00:04:45,610 as well as creating some computer-generated versions of them. 79 00:04:47,240 --> 00:04:48,490 The King of the Frost Giants, 80 00:04:48,580 --> 00:04:52,540 who is facing off here with Anthony Hopkins as Odin, 81 00:04:52,620 --> 00:04:56,000 was played by Colm Feore, a marvellous Canadian actor, 82 00:04:56,080 --> 00:04:58,540 and we wanted anybody who had to face off 83 00:04:58,710 --> 00:05:02,130 against the magnificent master of the screen, Anthony Hopkins, 84 00:05:02,210 --> 00:05:08,470 to be also wonderfully charismatic and able to convey a little with a lot, 85 00:05:08,550 --> 00:05:13,560 and Colm Feore, with the role of Laufey, did just that. 86 00:05:14,730 --> 00:05:18,190 We wanted, here, to understand that there had been a battle, 87 00:05:18,270 --> 00:05:21,230 as there were so many in the history of the Norse myths 88 00:05:21,320 --> 00:05:24,690 and the history of the Marvel version of the comics, 89 00:05:24,780 --> 00:05:28,320 that this is a warrior race full of historical examples 90 00:05:28,410 --> 00:05:32,490 of where they fought and lost worlds and gained worlds, 91 00:05:32,580 --> 00:05:35,000 and how their history was forged, 92 00:05:36,160 --> 00:05:40,960 but also how their lives are led, which is to tell tales of yore, 93 00:05:41,590 --> 00:05:43,630 tales of dashing exploits. 94 00:05:43,710 --> 00:05:47,380 And it allowed us also to talk about where Jotunheim was, 95 00:05:47,470 --> 00:05:50,510 and where Asgard is in the universe, 96 00:05:50,600 --> 00:05:55,470 and to introduce it through this rather disguised upside down shot 97 00:05:55,560 --> 00:05:58,520 that may or may not be some kind of power source, 98 00:05:58,600 --> 00:06:01,020 some kind of lighting, 99 00:06:01,110 --> 00:06:03,860 some sense of an almost nuclear reactor 100 00:06:03,940 --> 00:06:05,690 at the bottom of what we now see 101 00:06:05,780 --> 00:06:09,280 revealed through the water, is a fjord-like land. 102 00:06:09,360 --> 00:06:14,370 You have the magic of the buildings on the right floating above their base 103 00:06:15,950 --> 00:06:21,380 and then this vast central tower at the back of an Asgard, 104 00:06:21,460 --> 00:06:26,090 which is very much influenced by Jack Kirby, by empire, 105 00:06:26,170 --> 00:06:28,880 this kind of image that you might expect to see 106 00:06:28,970 --> 00:06:30,890 in the Roman or Grecian empires. 107 00:06:30,970 --> 00:06:33,930 And here, another example of how we evoke Asgard, 108 00:06:34,010 --> 00:06:37,060 which is with a shot like this, that is a sort of cityscape shot, 109 00:06:37,140 --> 00:06:40,440 to absolutely maximise what l'll talk a little bit about later on, 110 00:06:40,520 --> 00:06:42,520 which is 3-D. 111 00:06:43,320 --> 00:06:48,150 But for now, let's find ourselves here, arrived in Asgard, 112 00:06:48,280 --> 00:06:51,160 with young Thor and young Loki. 113 00:06:52,240 --> 00:06:57,040 These are terrific performers. Dakota is Thor and Ted is Loki, 114 00:06:57,500 --> 00:07:00,920 and they were remarkable for their ability 115 00:07:01,000 --> 00:07:04,790 to capture something of the essence of the older actors who play them, 116 00:07:04,880 --> 00:07:06,750 and also to have fun with 117 00:07:06,840 --> 00:07:10,800 and be up to speed with Mr Hopkins in this scene. 118 00:07:10,880 --> 00:07:15,050 They loved being in this set, this vault set, which we constructed. 119 00:07:16,310 --> 00:07:19,850 Many of the sets, we constructed because there was a concern 120 00:07:19,940 --> 00:07:21,600 that we do as much as we can to make sure 121 00:07:21,690 --> 00:07:26,770 that as exotic and fantastical as some of the worlds in the movie should be, 122 00:07:26,860 --> 00:07:28,860 it should not feel synthetic. 123 00:07:28,940 --> 00:07:30,950 There's a sort of relative reality 124 00:07:31,030 --> 00:07:36,700 we discovered that we wanted to have in a superhero movie, in this case, 125 00:07:37,410 --> 00:07:41,160 which somehow wants you to believe everything, even though it's fantastical. 126 00:07:41,250 --> 00:07:43,750 And building sets was part of seeing real textures, 127 00:07:43,830 --> 00:07:46,710 real interaction with real people, real shadows, 128 00:07:46,800 --> 00:07:50,800 so that when we go to the entirely computer-generated world, 129 00:07:50,880 --> 00:07:53,800 which is the case with a shot like that one, 130 00:07:53,890 --> 00:07:59,890 we can feel the reality of an architectural structure like this, 131 00:07:59,980 --> 00:08:05,980 the great hall for the ceremony that will be about to have Thor king. 132 00:08:06,060 --> 00:08:10,650 And so this vast crown, the great doors behind, the vast throne, 133 00:08:10,740 --> 00:08:13,740 all of it were constructed over many months by Bo Welch, 134 00:08:13,820 --> 00:08:17,990 our production designer's great art direction construction team. 135 00:08:18,410 --> 00:08:19,700 And it did make a great difference, 136 00:08:19,790 --> 00:08:22,710 for instance, here, to Chris Hemsworth, who's our wonderful Thor, 137 00:08:22,790 --> 00:08:26,630 embodying that wilful, rather arrogant, young warrior, 138 00:08:26,710 --> 00:08:29,340 who needs to walk through the halls ofAsgard 139 00:08:29,420 --> 00:08:33,170 for the purposes of our story, as if he absolutely owns it. 140 00:08:33,260 --> 00:08:35,550 So, if you're in a great space like that... 141 00:08:35,640 --> 00:08:38,100 Although, it's entirely possible for actors to imagine it, 142 00:08:38,180 --> 00:08:39,430 they do it in the theatre all the time, 143 00:08:39,510 --> 00:08:42,180 you have an empty space, you have to imagine some exotic place. 144 00:08:42,270 --> 00:08:45,020 Nevertheless, here, with that costume on, 145 00:08:45,100 --> 00:08:50,360 these golden walls, with this curious mixture of a sort of primitive quality 146 00:08:50,440 --> 00:08:54,860 to the whole layout with the patterns on the floor, 147 00:08:54,950 --> 00:08:58,820 but also the sense in the finish on the walls of a material 148 00:08:58,910 --> 00:09:02,870 that you believe could be made by a race that travels through space, 149 00:09:02,950 --> 00:09:05,210 so that they are technologically advanced, 150 00:09:05,290 --> 00:09:06,710 much more advanced than us, 151 00:09:06,790 --> 00:09:09,500 but also they have this callback to an ancient culture 152 00:09:09,590 --> 00:09:11,550 that uses ancient weapons, 153 00:09:11,630 --> 00:09:16,630 like that spear, Gungnir, the all-powerful weapon of Odin, 154 00:09:16,720 --> 00:09:21,140 Mjolnir, the hard-to-pronounce mighty hammer of Thor, 155 00:09:21,930 --> 00:09:25,390 an iconic part of the Thorstory. 156 00:09:25,640 --> 00:09:27,650 And l, as the director, l love this combination 157 00:09:27,730 --> 00:09:31,400 of the ancient and the modern, the primitive and the sophisticated. 158 00:09:31,480 --> 00:09:33,650 A character like Loki wearing his horned helmet, 159 00:09:33,740 --> 00:09:36,610 but they're inside these kinds of remarkable buildings 160 00:09:36,700 --> 00:09:40,660 which have their own partly Viking-influenced layout, 161 00:09:40,740 --> 00:09:45,580 but also have this kind of super sci-fi quality. 162 00:09:45,660 --> 00:09:48,170 For me, it was a fascinating combination 163 00:09:48,250 --> 00:09:50,330 to try and bring to bear. 164 00:09:52,000 --> 00:09:54,550 People interested in the larger Marvel Universe, l think, 165 00:09:54,630 --> 00:09:56,380 may be interested to answer the questions of, 166 00:09:56,470 --> 00:10:01,010 what are those additional items in these alcoves, in this vault? 167 00:10:01,140 --> 00:10:04,470 One of the enjoyments of being part of that larger Marvel Universe 168 00:10:04,560 --> 00:10:08,270 was being able to, wherever we could, maybe just offer a little indication 169 00:10:08,350 --> 00:10:11,440 of how other elements of it might play here 170 00:10:11,520 --> 00:10:13,270 that perhaps feature elsewhere. 171 00:10:13,360 --> 00:10:16,940 And so, l encourage anybody who fancies doing it 172 00:10:17,030 --> 00:10:19,740 to maybe have some fun working out what else was in the vault. 173 00:10:27,660 --> 00:10:30,710 lt's time, probably, to talk a little bit about 174 00:10:30,790 --> 00:10:34,750 what, l think, is the luxury casting of our film. 175 00:10:35,300 --> 00:10:37,550 That man, Anthony Hopkins, if you're going to cast someone 176 00:10:37,630 --> 00:10:41,220 who looks as though he should run the universe, he's your man. 177 00:10:41,300 --> 00:10:45,060 lt's a universe that has to protect itself against this kind of thing, 178 00:10:45,140 --> 00:10:48,350 the vicious violence of the Frost Giants, 179 00:10:48,440 --> 00:10:50,940 these creatures who can terraform worlds 180 00:10:51,020 --> 00:10:52,940 as they do with the vault there, 181 00:10:53,020 --> 00:10:56,650 creating ice that encapsulates the walls, the water, 182 00:10:56,740 --> 00:11:01,030 being able to produce ice weapons from their very hands. 183 00:11:01,870 --> 00:11:04,240 But they are not invulnerable 184 00:11:04,330 --> 00:11:07,490 to something as extraordinary as the Destroyer, 185 00:11:07,580 --> 00:11:13,380 and we get a tiny hint of this creature ruled by, run by Odin, 186 00:11:13,460 --> 00:11:18,880 who will appear later on in the film and who is a sort of killing machine. 187 00:11:18,970 --> 00:11:20,630 This was a very early decision 188 00:11:20,720 --> 00:11:23,930 to choose that particular creature, monster, machine, 189 00:11:24,010 --> 00:11:28,100 whatever you like to call the Destroyer, as a key element in our picture. 190 00:11:30,600 --> 00:11:32,350 This brings me back to the casting, 191 00:11:32,440 --> 00:11:34,860 and how, with some of the things we've spoken about, 192 00:11:34,940 --> 00:11:38,820 the idea that at the centre of this there would be a film that you could refer to 193 00:11:38,900 --> 00:11:44,820 as being about fathers and sons, or, indeed, about who would be king. 194 00:11:44,910 --> 00:11:45,950 Some people have said to me, 195 00:11:46,030 --> 00:11:49,160 "There are Shakespearean connections here." 196 00:11:49,250 --> 00:11:52,370 Where l think connections lie are between what Stan Lee was after, 197 00:11:52,460 --> 00:11:55,710 and what classic, mythic tales look at, 198 00:11:55,790 --> 00:12:00,550 and in this case, it is the story of a fitness for responsibility. 199 00:12:01,720 --> 00:12:05,390 Thor, here, reacts to the same thing that Odin's reacting to. 200 00:12:05,470 --> 00:12:08,720 Odin reacts with what one might call judgment and discretion. 201 00:12:08,810 --> 00:12:11,230 Young Thor, here, is without those qualities, 202 00:12:11,310 --> 00:12:14,650 he simply wants to go and hit out. 203 00:12:14,730 --> 00:12:17,440 He wants to punch, he wants to fight. 204 00:12:17,520 --> 00:12:19,730 And it looks like that may be the way 205 00:12:19,820 --> 00:12:22,190 he's going to run his version of the kingdom. 206 00:12:22,280 --> 00:12:25,910 But as you see in that very effective reading from Anthony Hopkins, 207 00:12:25,990 --> 00:12:28,620 he isn't king yet. 208 00:12:30,750 --> 00:12:33,410 When we did this scene, and Anthony Hopkins came out with that reading, 209 00:12:33,500 --> 00:12:35,830 it was one of the moments which we subsequently learned, 210 00:12:35,920 --> 00:12:39,250 as it started to play, where you could feel for what we hope 211 00:12:39,340 --> 00:12:41,340 would be all the fun of the opening of the film. 212 00:12:41,420 --> 00:12:43,300 This was a moment where the temperature changed a bit, 213 00:12:43,380 --> 00:12:46,340 and suddenly you realise that there was actually a very passionate 214 00:12:46,430 --> 00:12:51,390 and hot familial relationship at the centre of it. 215 00:12:51,470 --> 00:12:54,020 We often talked about it, for all that they're speaking 216 00:12:54,100 --> 00:12:57,020 in a slightly more heightened way, and they're speaking with this passion, 217 00:12:57,110 --> 00:12:59,820 and here they are on an asteroid at the top of the universe, 218 00:12:59,900 --> 00:13:03,280 but we would often say that the sort of emotional feeling here 219 00:13:03,360 --> 00:13:08,660 is entirely contemporary in terms of what a father might relate to his sons 220 00:13:08,740 --> 00:13:10,660 and the frustration that the sons might feel. 221 00:13:10,740 --> 00:13:13,250 And so, that was something in rehearsal 222 00:13:13,330 --> 00:13:16,330 we did many times ahead of the actual shooting. 223 00:13:16,420 --> 00:13:18,960 We tried to encourage. You just wanted to believe these people. 224 00:13:19,040 --> 00:13:20,420 And in this scene, for instance, 225 00:13:20,500 --> 00:13:22,460 you want to believe that these two are brothers, 226 00:13:22,550 --> 00:13:25,590 and that the Warriors Three and the Lady Sif, 227 00:13:25,680 --> 00:13:28,090 who join them here, are their genuine friends. 228 00:13:28,180 --> 00:13:32,100 The sense, however briefly done, but in the feel of how it's done, 229 00:13:32,180 --> 00:13:34,310 in the way they react to each other, 230 00:13:34,390 --> 00:13:36,560 in the kind of intimacy and the knowledge, 231 00:13:36,640 --> 00:13:40,110 in the almost casual way they talk to each other, 232 00:13:40,190 --> 00:13:42,320 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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