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Doctor Stephen Strange, a neurosurgeon,
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who, after a terrible accident,
lost the use of his hands.
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You might even say,
his hands betrayed him.
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And I can relate. If you catch my drift.
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Anyway, this Strange guy couldn't
cut it in the operating room anymore,
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so what did he do?
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Run home and cry to mama? No-siree-bob.
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He picked himself up and trained
to be some kind of fancy-pants wizard,
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complete with a kooky cape,
and a groovy goatee.
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And yet, they still call him a doctor.
Know why?
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Because now, he's a doctor of kicking butt
and taking names.
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Strange has mopped the floor
with cosmic conquerors, mad Titans,
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and guys with really bad complexions.
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But enough with
the CliffsNotes recap already.
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These days, Strange is up to
his medallion-wearing neck
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in psychedelic scary sauce,
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and that is what we're here to talk about.
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I'm Bruce Campbell, and I'll be your host
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as we journey beyond the confines
of our own humdrum reality,
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and see what's really cookin'
in the Multiverse of Madness.
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KEVIN FEIGE: After we finished
the Infinity Saga,
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we were looking at how to evolve
post Endgame
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and into phase four.
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We wanted to explore
entirely new characters
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and entirely new sides
of the Marvel comics.
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One of the things we're exploring
in phase four is the Multiverse.
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And in the Multiverse, we get to see
different realities and different outcomes
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of characters that we all know and love
in an infinite number of ways.
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Some of them are tragic,
some of them are horrific,
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all of them are unexpected.
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And that was always where we were headed
with this sequel to Doctor Strange,
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knowing that we wanted to explore
the mind-bending,
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frightening side of the Multiverse.
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And this could only have been done
under the direction of Sam Raimi.
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RAIMI: I got a call from my agent saying
that Kevin Feige and the Marvel team
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were looking for a new director
for the new Doctor Strange movie.
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I was a big fan of the first one.
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I thought that the director,
Scott Derrick son, did a great job
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and Benedict Cumberbatch delivered
an incredible performance.
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So when that offer came and I thought,
"Okay, it's been a long time since I had
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"made a superhero movie,
I wonder if I can still do it?"
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And that alone was reason enough.
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RICHIE PALMER: Sam Raimi is one of
the godfathers of the MCU,
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if you think about it,
with the Spider-Man trilogy.
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To get to work with Sam
is a dream come true,
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not just for me, but for most
of the people on this set.
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That guy's movies are part of the reason
I became a writer,
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so, to have Sam Raimi come in a room
and sit across from you and be like,
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"All right, kid, what's the movie?"
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Man, it's really a case of
meet your heroes.
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So, I was a very junior part
of the creative team
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on his original Spider-Man films,
and now working so closely with him,
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who would have guessed, certainly not me,
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that nearly 20 years later,
Sam Raimi would be working
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on a Doctor Strange movie for us.
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We are in the Sanctum Sanctorum,
Doctor Strange's home,
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his weird, haunted house that he lives in,
and today's day one.
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RAIMI: I think it was
always in Marvel's mind
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that this film would really open the door
wide to the Multiverse.
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The scale is epic.
It's almost unfathomable.
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FEIGE: That's part of the madness.
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Madness of handling this many characters
and this many storylines.
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CAMPBELL: So, this Multiverse
that everybody and their uncle
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keeps yackin' about,
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what is it anyway?
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Well, I looked up Multiverse
in the dictionary.
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Yes, I cracked open an actual book,
and this is what it said.
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"An infinite realm of being
or potential being
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"of which the universe is regarded as
a part or instance."
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(LAUGHS) I don't know what
any of that means, but I'll wager,
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it has something to do
with endless possibilities.
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So, if you're aiming to tell a story
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set in a world
where literally anything goes,
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how do you even begin to begin?
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Yes, it's a maddening job,
that can make you go insane
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trying to figure all the stuff out,
but it's a lot of fun.
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RAIMI: Telling the story of the Multiverse
was such a gigantic endeavor.
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To not only paint an accurate picture
of our universe,
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but of another, and another, and another.
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It took teams of really great artists
and Michael Waldron's great script,
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which I just thought was brilliant.
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WALDRON: It was February 2020,
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and Kevin Feige called me
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and said
"We'll go in a different direction
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"on Doctor Strange Two,
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"and we want you to come over
and write it."
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There were already sets being built
and everything
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so we really had to
hit the ground running.
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But I think I had, like, three weeks
to try and write that first draft,
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and that last week is
when the NBA shut down, COVID hit,
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and the world stopped spinning.
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And so, it was an interesting month,
to say the least.
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The silver lining was production pushed
from May of 2020 to November of 2020,
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so it allowed us the time.
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We said, "All right,
let's blow this thing up entirely,
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"let's start from scratch."
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And that's exactly what we did.
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And we threw that draft of mine
out entirely
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and said, "If we were in on day one
of this movie with Sam Raimi,
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"what is the movie we would make?"
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And we came up with something better
and much more exciting.
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DOUG LEFLER: Michael did a Herculean job
with this project, in my humble opinion.
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He had all the history of Marvel
that he had to work into this.
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Ready.
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How he managed to balance all of that,
I think, was extraordinary.
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RAIMI: And, action!
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Nailed that, that was sharp.
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WALDRON: What's interesting in a story
about the Multiverse
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is exploring the other ways
that things could have played out.
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It's especially interesting with
a character that we saw at one point
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sit with his head going
in a million different directions,
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watching 14 million different outcomes
in his particular universe.
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Getting to work on a Doctor Strange sequel
is really exciting
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because the first movie really blew open
the doors of the MCU
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in ways that we couldn't even imagine,
because you can't tell the same stories
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with Captain America that you could
with Doctor Strange.
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RAIMI: Marvel comic books have always been
excellent at painting complex characters.
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It's how in the '60s and '70s
they blew DC out of the water.
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They're able to build upon
these relationships with great depth,
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and we're able to build upon them
movie after movie.
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He's been through a lot,
he's lost the use of his hands,
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become a sorcerer, assumed this mantle
as master of the New York Sanctum,
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fought in a war against Thanos,
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gave up the Time Stone
in this incredible gambit
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that resulted in saving the universe,
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and he's kind of been dropped back
into normal life.
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RAIMI: The first film did a great job of
describing the journey of Doctor Strange.
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This film, it's about what he's become,
the price he's had to pay
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to become this great sorcerer
and savior of the universe.
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I felt, I guess as much as the audience
and the fans did, that, you know,
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this extraordinary character
seemed to be sort of
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all-powerful and perfect,
I wanted to know what it was about him,
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how he'd got there
as much as anything else.
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I wondered what it was costing him
or what it would cost him
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to continue developing in that way,
accruing power and ability.
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Really, the film's
an examination of that,
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how far as a maverick and an outsider,
and a chancer, and an ego
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can he go
before stuff really becomes undone?
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It's always great in these solo flights,
to kind of shake the snow globe up
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and disturb the character
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and throw stuff at him
that really makes him question his purpose
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and who he is and how to best be.
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I never stopped caring about us.
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But I had to make sacrifices.
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I'm sorry.
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It's quite an emotional place
that he's in at the beginning.
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Then he's sort of slungshot
into this adventure.
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WALDRON: We're in New York City.
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A giant monstrous octopus
has attacked New York, it's bad news.
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RAIMI: Three, two, one, action.
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This is where Doctor Strange
meets America Chavez.
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Look out!
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Do I know you?
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WALDRON: Through this adventure,
he forms the unlikely partnership
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with the young America Chavez,
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the last person you'd expect
Doctor Strange to work with.
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America Chavez has been on a list
for a long time of characters
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that we wanted to bring into the MCU.
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America Chavez was created in 2011,
so she is a relatively new character.
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Casting America Chavez was great,
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it was such a highlight
of this experience,
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we did such a wide search.
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We found Xochitl Gomez
and thought unanimously
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she was the best person for this role.
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I did my first audition in March, 2020,
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and I didn't hear anything
for six months.
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And then I got a call to do a screen test
in London.
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That's when I got told what character
it was for and I was like, "Oh, my gosh."
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GRAHAM CHURCHYARD:
We started with the comics,
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the denim jackets in many of the comics,
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and I designed these combat jackets
which had red, white, and blue,
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like, stars and stripes flag
that was all kind of blended together
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in this camouflage,
so it was a camouflage jacket.
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America dresses a lot like I do.
I do wear black ripped jeans
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and a T-shirt and a nice jacket over it,
and a pony, I wear that all the time.
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And so, when I first went in,
I was just amazed with all these jackets.
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There's so much detail.
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I don't think you'll ever see it,
but there's a bunch of poetry
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and just the way the star is designed
on the back of the jacket.
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I had, like, 100 other versions
of Mexican sort of folkloric art
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and Day of the Dead references
that could be part of the kind of emblem
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on the back of the jacket.
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But I'm really happy
that we went with the star.
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In the street scenes
that we've shot with her running,
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you see this white star
going down the street,
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and it's a really good focus point.
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It was fantastic working with Xochitl.
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I think she's probably gotta be
one of the youngest actors in the MCU
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and it can be quite scary, you know.
I mean, it was scary for me to enter into,
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and then someone so young
with so much on her shoulders.
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One of our moves is collecting the power
and knowing that I have it.
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It's a huge responsibility to originate
a character, a superhero.
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It's crazy, it's really like,
"Oh, my goodness."
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It's good to kind of lift off the pressure
with that.
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We always have a bit of music on set,
and she's big into, what is it, TikTok?
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She tried to teach me some moves,
but I think I pulled a muscle.
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(LAUGHS)
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Benedict Wong, I mean, he is amazing.
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He carries this mega-huge, like,
boom speaker
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and he just carries it around
and just, like, bumps up and down.
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He's like a walking rave party,
it's amazing.
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He's got some snazzy moves,
but I think my moves are a bit snazzier.
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He's catching on.
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America Chavez, it was such a pleasure
for me to get to work on this character.
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She's just a bad ass. It's something
that we've established is that
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it's impossible, near impossible to travel
from one universe to another.
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In Loki, you can kind of hop
from one time line branch to another,
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but you've gotta be anchored
to some original time line.
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What America can do is, she can jump
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from one universe to another one.
She can literally do the impossible.
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She doesn't know how to control her power,
but every time she's triggered by fear,
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a portal opens into another universe.
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LEFLER: Working with America Chavez,
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we had many different introductions
to her as a character,
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but I think I story boarded all of them
so I got to work with her character a lot.
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What was so fascinating
about America Chavez to me
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was just her sense of loneliness
that she didn't have a family,
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she didn't have friends,
she didn't even have a reality.
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So, she finds herself bouncing
between worlds,
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really being lost amongst the Multiverse,
and learning how to survive herself
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until an entity starts hunting her.
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And that's when Doctor Strange and Wong
realize the stakes of this movie.
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It's an incredible power but represents
a grave danger for the world of the MCU.
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DOCTOR STRANGE: The power is
dangerous enough in the hands of a kid...
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imagine if a real threat acquired it?
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00:13:30,309 --> 00:13:31,564
RAIMI: Ready,
227
00:13:31,811 --> 00:13:33,608
and action.
228
00:13:33,938 --> 00:13:36,606
ELIZABETH OLSEN: When we were about
to go back to finishing WandaVision,
229
00:13:36,690 --> 00:13:40,026
I was pitched the actual story
of Doctor Strange,
230
00:13:40,110 --> 00:13:43,864
and I was shocked.
231
00:13:43,948 --> 00:13:48,748
No one told me that their plan for me
was to be the villain. (LAUGHS)
232
00:13:49,745 --> 00:13:53,123
We knew that we wanted Wanda to be in it.
233
00:13:53,207 --> 00:13:57,919
I think, originally, there's a version
where Wanda was maybe gonna turn bad
234
00:13:58,003 --> 00:13:59,087
at the end.
235
00:13:59,171 --> 00:14:01,423
That was a big change that I made
236
00:14:01,507 --> 00:14:05,802
and I had a strong perspective on
making her a villain from the get-go.
237
00:14:05,886 --> 00:14:09,310
It was always like, "Well, that'll happen
in an Avengers movie or something."
238
00:14:09,557 --> 00:14:11,057
My perspective was,
239
00:14:11,141 --> 00:14:15,859
"Why are we letting some other movie
get the best villain ever?"
240
00:14:17,314 --> 00:14:20,275
It was an exciting opportunity
because it's really fun
241
00:14:20,359 --> 00:14:23,904
playing people with moral ambiguity.
242
00:14:23,988 --> 00:14:25,368
WANDA: Her sacrifice...
243
00:14:26,198 --> 00:14:27,449
would be for the greater good.
244
00:14:27,533 --> 00:14:32,537
OLSEN: She is one of the most powerful
beings that's ever existed.
245
00:14:32,621 --> 00:14:34,873
I was meant to rule everything.
246
00:14:34,957 --> 00:14:39,920
Why does that mean that she now
has to settle for just being good,
247
00:14:40,004 --> 00:14:43,423
when all she wants is something that seems
so simple and small
248
00:14:43,507 --> 00:14:44,888
which is to be with her kids?
249
00:14:46,302 --> 00:14:48,678
We've seen the tragedy of her life.
250
00:14:48,762 --> 00:14:54,935
She killed Vision, only to have Thanos
rewind those events with the Time Stone,
251
00:14:55,019 --> 00:14:59,397
the Time Stone he got from Doctor Strange,
so that Wanda's sacrifice was for nothing.
252
00:14:59,481 --> 00:15:02,567
She's given up a lot
and from her perspective,
253
00:15:02,651 --> 00:15:05,695
all she wants is one life,
she wants America Chavez,
254
00:15:05,779 --> 00:15:10,200
she wants to take her power, which, yes,
will kill America,
255
00:15:10,284 --> 00:15:13,083
but to Wanda, she's earned that sacrifice.
256
00:15:15,080 --> 00:15:18,917
Alex Byrne's costume in Ultron
was Wanda's first outing.
257
00:15:19,001 --> 00:15:21,586
So, she started out
in store-bought street clothes
258
00:15:21,670 --> 00:15:24,047
with the torn jeans,
with the cropped jacket.
259
00:15:24,131 --> 00:15:26,049
And then, by the time she gets
to Infinity War,
260
00:15:26,133 --> 00:15:30,391
she's wearing that red body coat,
so leaning more towards the comics.
261
00:15:30,512 --> 00:15:34,516
The whole WandaVision look,
when she transforms into Scarlet Witch,
262
00:15:34,600 --> 00:15:37,978
she's been, for some time,
in possession of the Dark hold.
263
00:15:38,062 --> 00:15:43,066
And such a powerful tome can have
a sort of devastating effect on a person,
264
00:15:43,150 --> 00:15:47,028
if they try and use its powers,
so it has its downside.
265
00:15:47,112 --> 00:15:52,117
You get this sort of Multiversal mold
and contamination growing over your body,
266
00:15:52,201 --> 00:15:56,288
your costume, as you're overtaken
by the sort of evil powers within it.
267
00:15:56,372 --> 00:15:59,666
I wanted, if this evil kind of thing
was growing over your body...
268
00:15:59,750 --> 00:16:03,003
Her shoulders were covered,
and the armor is now...
269
00:16:03,087 --> 00:16:08,133
The detail on the corset, on the bodice,
is now really kind of deteriorated,
270
00:16:08,217 --> 00:16:10,427
and the skirt is really fluid now.
271
00:16:10,511 --> 00:16:13,597
The crown too has a...
It's like it was a sort of jewel,
272
00:16:13,681 --> 00:16:17,976
but now, it's sort of pitted and has
patina and devastation to it as well,
273
00:16:18,060 --> 00:16:20,937
so it's a lot more eroded and worn
than in WandaVision.
274
00:16:21,021 --> 00:16:22,898
And so, those were the changes I made
275
00:16:22,982 --> 00:16:27,152
because it fitted within the idea
that something had happened to her
276
00:16:27,236 --> 00:16:31,364
in possession of the Dark hold
that created this sort of distortion
277
00:16:31,448 --> 00:16:33,867
and deterioration of her costume.
278
00:16:33,951 --> 00:16:36,666
WANDA: Every night, the same dream.
279
00:16:37,579 --> 00:16:39,919
And every morning...
280
00:16:41,375 --> 00:16:44,299
the same nightmare.
281
00:16:44,503 --> 00:16:48,381
We really wanted to have the audience
identify with the villain of the piece,
282
00:16:48,465 --> 00:16:52,177
really understand her, not make them
a bro uh a ha ha villain,
283
00:16:52,261 --> 00:16:56,097
but somebody who you really loved
and could relate to.
284
00:16:56,181 --> 00:16:58,313
WANDA: You break the rules
and become a hero.
285
00:16:58,767 --> 00:17:00,690
I do it, and I become the enemy.
286
00:17:01,854 --> 00:17:03,104
That doesn't seem fair.
287
00:17:03,188 --> 00:17:05,737
RAIMI: That was so beautiful.
Cut, that was great.
288
00:17:06,775 --> 00:17:09,235
That was a constant thing
for Sam Raimi and I.
289
00:17:09,319 --> 00:17:12,781
I've had so much fun
playing off of his ideas,
290
00:17:12,865 --> 00:17:17,957
and I think he and I really relish
in this character
291
00:17:18,120 --> 00:17:21,790
and we've been enjoying
how delicious it is
292
00:17:21,874 --> 00:17:24,542
to justify some of the things
she does in the movie.
293
00:17:24,626 --> 00:17:26,419
RAIMI: I loved it.
There's a little bit of dread
294
00:17:26,503 --> 00:17:27,963
of what would happen if she were called.
295
00:17:28,047 --> 00:17:30,674
(OLSEN SPEAKING)
296
00:17:30,758 --> 00:17:33,593
- (RAIMI SPEAKING)
- (OLSEN SPEAKING)
297
00:17:33,677 --> 00:17:34,761
(OLSEN SPEAKING)
298
00:17:34,845 --> 00:17:36,017
(RAIMI SPEAKING)
299
00:17:38,474 --> 00:17:40,976
RACHEL MCADAMS: That's just
one of the things Marvel does so well
300
00:17:41,060 --> 00:17:42,435
and better than anyone,
301
00:17:42,519 --> 00:17:44,938
is that their villains, you know,
you find yourself
302
00:17:45,022 --> 00:17:48,692
siding with them at times, you're like,
"Wait, I feel bad for you,"
303
00:17:48,776 --> 00:17:52,654
or, "Well, they have a really good point,
you know, Thanos has a...
304
00:17:52,738 --> 00:17:53,989
"He has a really good point."
305
00:17:54,073 --> 00:17:58,284
So I feel like they've built that
with Wanda so well,
306
00:17:58,368 --> 00:18:02,043
where you just feel for her
and her struggle.
307
00:18:02,831 --> 00:18:06,626
It's just a very filled-out character
that, I think, makes you feel
308
00:18:06,710 --> 00:18:09,926
a lot of complicated things.
Those are always the best villains.
309
00:18:11,715 --> 00:18:14,175
RAIMI: She's a villain
because she believes
310
00:18:14,259 --> 00:18:15,260
the end justifies the means.
311
00:18:15,344 --> 00:18:18,096
She'll simply do anything
to be with the ones she loves.
312
00:18:18,180 --> 00:18:21,229
She just loved too much, was her problem.
313
00:18:21,391 --> 00:18:24,060
But once you start
taking the bad path in life,
314
00:18:24,144 --> 00:18:26,855
you make one bad choice and another,
it seems like,
315
00:18:26,939 --> 00:18:28,361
sometimes, there's no way back.
316
00:18:31,360 --> 00:18:34,320
- That's great, I think we got it.
- OLSEN: Okay, good.
317
00:18:34,404 --> 00:18:35,447
MAN: So, cut.
318
00:18:35,531 --> 00:18:39,545
WALDRON: Doctor Strange and Wong bring
America to Kamar-Taj for safekeeping.
319
00:18:39,630 --> 00:18:42,312
The person you went to ask for help,
is the person that's trying to kill me?
320
00:18:42,396 --> 00:18:43,246
Yeah.
321
00:18:43,330 --> 00:18:45,331
It doesn't quite work out
how they hoped it would.
322
00:18:45,415 --> 00:18:48,756
And arm the students.
Kamar-Taj must now become a fortress.
323
00:18:50,546 --> 00:18:54,883
I'm Sam, the Director, and all of you
are students at Kamar-Taj.
324
00:18:54,967 --> 00:18:57,640
Unfortunately,
a witch has come to town.
325
00:18:58,220 --> 00:19:01,681
Are you going to let that witch
take that girl?
326
00:19:01,765 --> 00:19:02,849
ALL: No! No!
327
00:19:02,933 --> 00:19:05,481
- I can't hear you.
- ALL: No!
328
00:19:06,478 --> 00:19:09,360
- Sounds like she's doomed.
- (ALL LAUGHING)
329
00:19:09,565 --> 00:19:14,032
I have to tell you,
most of you will not survive.
330
00:19:15,612 --> 00:19:19,199
You have no idea just how reasonable
I have been.
331
00:19:19,283 --> 00:19:21,284
Kamar-Taj stands against you.
332
00:19:21,368 --> 00:19:23,203
- (GRUNTS)
- Defensive positions!
333
00:19:23,287 --> 00:19:25,080
We have a particularly big sequence
334
00:19:25,164 --> 00:19:27,832
where Wanda,
she's coming to attack Kamar-Taj.
335
00:19:27,916 --> 00:19:29,088
(GRUNTS)
336
00:19:30,377 --> 00:19:33,588
The Kamar-Taj battle,
in terms of shot count, it's huge.
337
00:19:33,672 --> 00:19:35,757
That scene was shot
on three different stages.
338
00:19:35,841 --> 00:19:38,051
We're here on the Sirius stage,
as I understand it,
339
00:19:38,135 --> 00:19:40,345
they lift these stages up
for big concerts.
340
00:19:40,429 --> 00:19:42,722
So, we lifted the stage up,
it's quite a massive stage,
341
00:19:42,806 --> 00:19:45,146
but not big enough for our Kamar-Taj.
342
00:19:47,144 --> 00:19:50,772
Even though we only have one rooftop,
it has to play as three different rooftops
343
00:19:50,856 --> 00:19:53,483
on Kamar-Taj
that are all orientated differently.
344
00:19:53,567 --> 00:19:56,444
And so, one of the tricks is
not only figuring out, on any given day,
345
00:19:56,528 --> 00:19:59,030
who's supposed to be on that rooftop
and how it's dressed
346
00:19:59,114 --> 00:20:02,283
and what sort of damage is there,
but also where the lighting comes from.
347
00:20:02,367 --> 00:20:04,994
Wanda is flying around so she starts off
on the approach
348
00:20:05,078 --> 00:20:08,706
and there's a little bit of a stand-off.
After that, Wanda starts doing attacks
349
00:20:08,790 --> 00:20:11,584
and she starts to fly all the way around
looking for weak points
350
00:20:11,668 --> 00:20:14,003
inside this collective force field.
351
00:20:14,087 --> 00:20:17,173
We call this the strafing run,
it's kinda like what you'd picture
352
00:20:17,257 --> 00:20:19,801
if you were in a jet fighter
that's coming around banking
353
00:20:19,885 --> 00:20:23,476
and just boom, boom, boom.
Stuff flying and in your face.
354
00:20:27,267 --> 00:20:29,853
TUCKER: Charlie did all of the design
for Kamar-Taj.
355
00:20:29,937 --> 00:20:33,565
That 3D model was then handed off
to proof the previz company
356
00:20:33,649 --> 00:20:35,733
that prevized the Kamar Taj sequence.
357
00:20:35,817 --> 00:20:38,862
Then, to help us visualize that,
that previz model gets put into
358
00:20:38,946 --> 00:20:42,991
an iPad and that allows us to sort of
temporarily position ourselves on set.
359
00:20:43,075 --> 00:20:45,160
LEWIS: I've seen it
in the past five years develop
360
00:20:45,244 --> 00:20:49,330
from this big virtual camera, whole crew,
whole expensive setup that takes days
361
00:20:49,414 --> 00:20:51,124
and weeks to do,
whereas now it's on an iPad
362
00:20:51,208 --> 00:20:52,792
and it's in your back pocket, essentially.
363
00:20:52,876 --> 00:20:55,336
Any characters or props,
we can bring in with animation
364
00:20:55,420 --> 00:20:58,298
and virtually see where it is
so it's a great tool on set
365
00:20:58,382 --> 00:21:01,426
when we need to look up and see a monster
or an explosion.
366
00:21:01,510 --> 00:21:04,429
One of the other things we have to really
plan for is, is special effects.
367
00:21:04,513 --> 00:21:06,556
A lot of planning
going into, from the previz,
368
00:21:06,640 --> 00:21:10,393
where certain explosions will happen
inside the floors of Kamar-Taj.
369
00:21:10,477 --> 00:21:12,733
MAN: Three, two, one, action!
370
00:21:13,897 --> 00:21:17,901
So, we're setting up
25 different explosions, some fireballs,
371
00:21:17,985 --> 00:21:21,492
some ground hits, where the ground
is erupting, total mayhem.
372
00:21:24,908 --> 00:21:27,994
This particular sequence
was a great collaboration
373
00:21:28,078 --> 00:21:30,914
between special effects, stunts,
camera crews.
374
00:21:30,998 --> 00:21:34,667
The whole second unit has worked
miraculously to all mesh together
375
00:21:34,751 --> 00:21:36,586
and create a wonderful little sequence.
376
00:21:36,670 --> 00:21:40,261
I think that was our biggest
action sequence of the film.
377
00:21:41,174 --> 00:21:43,968
There were some shots that were
extremely choreographed,
378
00:21:44,052 --> 00:21:47,263
I mean, we had camera winches,
and we had R ratchets
379
00:21:47,347 --> 00:21:48,640
that blow people back.
380
00:21:48,724 --> 00:21:52,477
We did somewhere between
40 and 50 different ratchets.
381
00:21:52,561 --> 00:21:54,562
Those are the explosions
when cannons blow up,
382
00:21:54,646 --> 00:21:57,023
we ratcheted six people back there,
when she lands,
383
00:21:57,107 --> 00:22:00,318
that had six or seven people on it,
but it was a lot of fun to develop.
384
00:22:00,402 --> 00:22:03,821
We actually, kind of, started the idea
by putting one of our stunt guys
385
00:22:03,905 --> 00:22:07,492
in the winch holding a DSLR camera.
And then we did all the action,
386
00:22:07,576 --> 00:22:09,786
kind of buzzed him through
as if he were the camera.
387
00:22:09,870 --> 00:22:13,878
That's sort of our poor man's version
of the motion-based winch camera.
388
00:22:14,249 --> 00:22:17,210
JEFF: So, we've got a camera
on a wire, a 3D winch system
389
00:22:17,294 --> 00:22:19,545
that basically is the Scarlet Witch's
point of view
390
00:22:19,629 --> 00:22:21,631
and it comes around behind the building.
391
00:22:21,715 --> 00:22:24,300
You see the first explosion
go up right in front of it.
392
00:22:24,384 --> 00:22:27,720
It comes through it, it comes around
and it just sees all of this,
393
00:22:27,804 --> 00:22:31,724
chasing it all and then we got four more
cameras in various positions to catch
394
00:22:31,808 --> 00:22:35,979
Rintrah's run, catch the bell falling,
catch individual people flying
395
00:22:36,063 --> 00:22:37,981
and hitting the ground
and coming right at ya.
396
00:22:38,065 --> 00:22:39,607
CORBOULD: The explosions, we really wanted
397
00:22:39,691 --> 00:22:41,651
to get the stunt people
right on top of them.
398
00:22:41,735 --> 00:22:45,154
Rather than use traditional black powder,
we've gone for a high pressure nitrogen
399
00:22:45,238 --> 00:22:48,032
which is really, really safe,
you can almost stand right next to it,
400
00:22:48,116 --> 00:22:49,325
but gives a wonderful effect.
401
00:22:49,409 --> 00:22:50,748
MAN: Action!
402
00:22:52,913 --> 00:22:55,039
SAVANI: So we've just done
the first explosion
403
00:22:55,123 --> 00:22:56,833
and I'm the first one that sort of goes up
404
00:22:56,917 --> 00:22:59,085
into the air.
Obviously, it's a bit nerve-wracking
405
00:22:59,169 --> 00:23:00,795
'cause you don't know exactly
what'll happen.
406
00:23:00,879 --> 00:23:03,798
We've rehearsed a lot of it before
but with the SFX and stuff,
407
00:23:03,882 --> 00:23:06,050
it's the first time, with full costume,
it's the first time.
408
00:23:06,134 --> 00:23:09,387
JEFF: I think everyone was
a bit surprised how big it was on the day,
409
00:23:09,471 --> 00:23:13,099
which kinda helps their acting
'cause it turns from acting to, like,
410
00:23:13,183 --> 00:23:14,559
"This is really happening."
411
00:23:14,643 --> 00:23:19,022
We actually had a little too much dust
so you lost 'em and you couldn't see 'em,
412
00:23:19,106 --> 00:23:22,483
but it looked really cool in that dust
so we're gonna lower the dust a little bit
413
00:23:22,567 --> 00:23:24,319
and hopefully we'll see
a bit more of that.
414
00:23:24,403 --> 00:23:26,404
I saw some of the playback.
Really pleased with it.
415
00:23:26,488 --> 00:23:29,866
So, yeah, we just take our time,
don't rush and pick every camera position
416
00:23:29,950 --> 00:23:32,785
to get the most out of
what all the stunt players are doing
417
00:23:32,869 --> 00:23:35,334
and the special effects explosions
are doing.
418
00:23:35,705 --> 00:23:38,583
CORBOULD: We've been testing this
for probably four months now,
419
00:23:38,667 --> 00:23:41,210
to reach this point.
But it's great when it all comes together.
420
00:23:41,294 --> 00:23:43,421
Unfortunately, it's all over
in about 20 seconds,
421
00:23:43,505 --> 00:23:45,636
but it'll be great on the screen.
422
00:23:50,178 --> 00:23:53,389
That sequence was what
every stunt coordinator looks forward to,
423
00:23:53,473 --> 00:23:56,017
to be honest with you. You get to hire
a lot of stunt performers
424
00:23:56,101 --> 00:23:58,394
that are really talented
and you get to show off their talents
425
00:23:58,478 --> 00:24:00,276
and you get to blow stuff up.
426
00:24:01,273 --> 00:24:03,816
This is an extremely wire-intense film.
427
00:24:03,900 --> 00:24:07,445
So, we've got two separate rigging teams
that are working on different sequences,
428
00:24:07,529 --> 00:24:11,449
pretty much full-time. I've been a part of
five other Marvel films before this
429
00:24:11,533 --> 00:24:13,951
and this is the most wire-intensive one
I've been a part of.
430
00:24:14,035 --> 00:24:17,038
MAN: Three, two, one, action!
431
00:24:17,122 --> 00:24:22,210
COUNTS: The audience and the actors and
the studio really like to see the actors
432
00:24:22,294 --> 00:24:24,962
doing their own stunts,
so, we facilitate that.
433
00:24:25,046 --> 00:24:28,508
We had Strange fly in, around this corner,
starting at about 30 feet
434
00:24:28,592 --> 00:24:32,345
and he probably flew about 80 feet
down around the street and we land him
435
00:24:32,429 --> 00:24:34,055
in the middle of the street
and then action.
436
00:24:34,139 --> 00:24:36,891
The whole point was to show him,
a really small figure,
437
00:24:36,975 --> 00:24:40,937
and to land right in front of camera,
a foot-and-a-half away from it, on a cue.
438
00:24:41,021 --> 00:24:43,272
So, they're computerized
and they're all rehearsed
439
00:24:43,356 --> 00:24:44,440
and that allows us
440
00:24:44,524 --> 00:24:47,860
to get selfish and use Benedict's face
as much as we can.
441
00:24:47,944 --> 00:24:49,325
MAN: And rolling!
442
00:24:49,446 --> 00:24:51,202
So much happens so quickly.
443
00:24:54,576 --> 00:24:58,329
So, I just got off the wires and I'm not
gonna lie, they're really scary.
444
00:24:58,413 --> 00:25:00,706
COUNTS: Xochitl's been great.
She's got a great work ethic.
445
00:25:00,790 --> 00:25:04,085
She really wants to rehearse
and do lots of her own stunts.
446
00:25:04,169 --> 00:25:07,797
Unfortunately, she is a minor.
So, we can only allow her to go so far.
447
00:25:07,881 --> 00:25:09,465
I think she's had a blast on this.
448
00:25:09,549 --> 00:25:11,717
We've actually had her in the winches
and stuff like that.
449
00:25:11,801 --> 00:25:13,928
We've moved her around,
we've dropped her on things.
450
00:25:14,012 --> 00:25:16,514
I don't know how to describe it.
It's like, the second you go down,
451
00:25:16,598 --> 00:25:19,892
it's like every gut feeling
just disappears and it's like,
452
00:25:19,976 --> 00:25:21,018
"Where'd everything go?"
453
00:25:21,102 --> 00:25:22,358
MAN: Go!
454
00:25:23,230 --> 00:25:25,606
It's been a lot of fun.
And I've got two daughters at home,
455
00:25:25,690 --> 00:25:28,484
they're not quite as old as she is,
but it is a lot of fun
456
00:25:28,568 --> 00:25:30,528
to sit and watch someone
who's in their mid-teens
457
00:25:30,612 --> 00:25:33,614
develop a character and get to be
a part of the Marvel universe
458
00:25:33,698 --> 00:25:34,954
at such a young age.
459
00:25:37,619 --> 00:25:40,538
OLSEN: For some reason,
I'm okay being in a harness.
460
00:25:40,622 --> 00:25:42,206
It's fine to fly around
461
00:25:42,290 --> 00:25:45,668
and be in it for a certain period of time
and I really do enjoy it a lot
462
00:25:45,752 --> 00:25:49,922
and with these things called tuning forks.
So, I'm not just being held up on wires,
463
00:25:50,006 --> 00:25:53,759
but I actually have a harness on with
a big piece of metal that hugs my waist.
464
00:25:53,843 --> 00:25:55,553
I have found that to be really helpful
465
00:25:55,637 --> 00:25:58,055
because you have more control
over your body
466
00:25:58,139 --> 00:26:02,393
and so we've done a variation
of these tuning forks and wire work.
467
00:26:02,477 --> 00:26:04,437
COUNTS: The great thing
about Lizzie is that
468
00:26:04,521 --> 00:26:06,105
she's played this character for a while.
469
00:26:06,189 --> 00:26:07,570
MAN: Action!
470
00:26:08,024 --> 00:26:10,573
COUNTS: She really knows the character
inside and out.
471
00:26:12,404 --> 00:26:13,446
Scarlet Witch is supposedly
472
00:26:13,530 --> 00:26:15,907
one of the most powerful
Marvel characters out there.
473
00:26:15,991 --> 00:26:19,076
The difference is, she uses her magic.
So, when we do these fights,
474
00:26:19,160 --> 00:26:22,455
you'll notice that she very rarely gets
touched or touches anybody else.
475
00:26:22,539 --> 00:26:24,749
Everything is done with magic,
so, it is a fight,
476
00:26:24,833 --> 00:26:27,506
but we don't actually physically hit her
with stuff.
477
00:26:28,169 --> 00:26:31,260
YANG: This is the first time I'm working
with the Wanda character.
478
00:26:31,840 --> 00:26:35,009
I did study a lot, online,
with her movements.
479
00:26:35,093 --> 00:26:37,678
But first time I met her,
was see her do her movement.
480
00:26:37,762 --> 00:26:40,056
I went like, "Wow! She's Wanda."
481
00:26:40,140 --> 00:26:42,975
COUNTS: She's done an amazing job
with helping us build the action.
482
00:26:43,059 --> 00:26:45,520
So, it'll kinda culminate
in this Illuminati fight
483
00:26:45,604 --> 00:26:46,812
you'll see with the superheroes.
484
00:26:46,896 --> 00:26:48,481
RAIMI: Cut!
MAN: Yeah, can we cut?
485
00:26:48,565 --> 00:26:51,655
RAIMI: That was good.
I think we got the master we need.
486
00:26:54,195 --> 00:26:55,743
Secret societies.
487
00:26:56,656 --> 00:26:58,162
Don't think they're real?
488
00:26:58,575 --> 00:26:59,914
Well, think again, pal.
489
00:27:00,368 --> 00:27:03,459
Ever heard of the Freemasons,
or the Knights Templar?
490
00:27:03,747 --> 00:27:05,753
How about the Ten Rings, or HYDRA?
491
00:27:05,999 --> 00:27:09,126
Maybe those last two things aren't real,
but I know you've heard of 'em,
492
00:27:09,210 --> 00:27:11,467
'cause you're wearing
Captain America underpants.
493
00:27:12,005 --> 00:27:14,131
The point is, I'm willing to roll
with the idea
494
00:27:14,215 --> 00:27:17,218
of some clandestine organization
running the whole show
495
00:27:17,302 --> 00:27:19,470
from behind the proverbial curtain.
496
00:27:19,554 --> 00:27:24,100
Just don't tell me that those folks are
ridin' around in yellow hoverchairs
497
00:27:24,184 --> 00:27:29,063
and throwing Vibranium frisbees painted
like Union Jacks. (LAUGHS)
498
00:27:29,147 --> 00:27:30,653
Don't tell me that.
499
00:27:40,742 --> 00:27:44,083
The Illuminati's been a group we've wanted
to introduce in our movies for years.
500
00:27:44,537 --> 00:27:45,751
BARON: Stephen Strange,
501
00:27:46,456 --> 00:27:48,879
you are now called
before the Illuminati.
502
00:27:49,250 --> 00:27:50,464
The Illumi-what-y?
503
00:27:51,252 --> 00:27:54,797
Doctor Strange and America Chavez
find them self in another version
504
00:27:54,881 --> 00:27:57,133
of our reality
where there is an Illuminati.
505
00:27:57,217 --> 00:27:59,802
PALMER: They're a secret organization
that works off-the-grid.
506
00:27:59,886 --> 00:28:02,513
They do the things that the other groups
like the Avengers
507
00:28:02,597 --> 00:28:03,889
wouldn't be too happy about.
508
00:28:03,973 --> 00:28:06,726
Your alternate self
created the Illuminati
509
00:28:06,810 --> 00:28:09,103
to make difficult decisions
that no one else could.
510
00:28:09,187 --> 00:28:12,315
PALMER: To do it in an alternate universe
in the Multiverse,
511
00:28:12,399 --> 00:28:13,691
was a really exciting thing
512
00:28:13,775 --> 00:28:17,945
because we get to meet a version
of this group in this other universe,
513
00:28:18,029 --> 00:28:22,074
and then we still might get to see
an Illuminati of our main MCU one day,
514
00:28:22,158 --> 00:28:23,409
which is also very exciting.
515
00:28:23,493 --> 00:28:26,245
Yeah, that's definitely a case of me
just not knowing
516
00:28:26,329 --> 00:28:28,414
what to do with the script and thinking...
517
00:28:28,498 --> 00:28:29,582
Crap.
518
00:28:29,666 --> 00:28:32,585
"We're in the second act.
Something's gotta happen.
519
00:28:32,669 --> 00:28:34,295
"What should it be?"
520
00:28:34,379 --> 00:28:37,882
It comes at a point where it's like,
"We're a little past halfway.
521
00:28:37,966 --> 00:28:41,557
"Let's break the movie
and do something really nuts."
522
00:28:42,887 --> 00:28:44,847
RAIMI: When Marvel first wrote
about the Illuminati,
523
00:28:44,931 --> 00:28:46,307
they had their characters.
524
00:28:46,391 --> 00:28:47,558
Doctor Doom was among them,
525
00:28:47,642 --> 00:28:49,644
Doctor Strange,
plenty of different characters.
526
00:28:49,728 --> 00:28:51,437
But we had to make a selection.
527
00:28:51,521 --> 00:28:54,649
WALDRON: Who's the most exciting
cast of characters?
528
00:28:54,733 --> 00:28:56,984
Do we just pick who we want
from the comics?
529
00:28:57,068 --> 00:28:58,903
Obviously,
there's different rights' issues,
530
00:28:58,987 --> 00:29:00,571
folks showin' up in other movies.
531
00:29:00,655 --> 00:29:03,824
RAIMI: So, we did take into account
what the fans wanted to see.
532
00:29:03,908 --> 00:29:07,328
We wanted the fans to go, "Oh, how cool!"
I mean, that really was our goal.
533
00:29:07,412 --> 00:29:09,121
We wanted to give the fans
what they wanted.
534
00:29:09,205 --> 00:29:11,123
Just not exactly what they expected.
535
00:29:11,207 --> 00:29:14,335
The Illuminati you meet in this movie
is made up of Mordo...
536
00:29:14,419 --> 00:29:18,427
It is very much a different character,
but with the same, or a similar essence.
537
00:29:18,673 --> 00:29:20,179
I'm sorry, Stephen.
538
00:29:20,467 --> 00:29:22,343
EJIOFOR: From the beginning
of the first film,
539
00:29:22,427 --> 00:29:23,928
this was what the build was.
540
00:29:24,012 --> 00:29:26,889
Strange and Mordo are, at some point,
really gonna get into it.
541
00:29:26,973 --> 00:29:29,897
The bill comes due.
542
00:29:30,518 --> 00:29:31,519
Always.
543
00:29:31,603 --> 00:29:34,897
EJIOFOR: Mordo is somebody
who took Strange under his wing.
544
00:29:34,981 --> 00:29:37,692
And somehow, part of that
is also echoed in the fight,
545
00:29:37,776 --> 00:29:39,443
even though it's in a different universe.
546
00:29:39,527 --> 00:29:42,451
It's still the teacher
and student dynamic.
547
00:29:42,614 --> 00:29:45,074
They're not able to use their magic.
548
00:29:45,158 --> 00:29:48,077
So, now we're seeing
the Mordo-Strange fight,
549
00:29:48,161 --> 00:29:49,954
but as a street brawl.
550
00:29:50,038 --> 00:29:53,290
It's a great way of expressing character
through physicality.
551
00:29:53,374 --> 00:29:56,919
So, I'm always keen to do it,
as much as I can, to do it myself.
552
00:29:57,003 --> 00:30:00,381
And that is also fun, you know?
I mean, lest we forget.
553
00:30:00,465 --> 00:30:02,179
It's also enjoyable to do.
554
00:30:04,219 --> 00:30:05,970
WALDRON: Alternate Peggy Carter...
555
00:30:06,054 --> 00:30:07,096
Captain Carter.
556
00:30:07,180 --> 00:30:09,181
...that got the serum, that's awesome.
557
00:30:09,265 --> 00:30:12,518
Hayley At well is obviously somebody
that the fans love.
558
00:30:12,602 --> 00:30:15,354
Great. I loved every bit of that. Bad ass.
559
00:30:15,438 --> 00:30:17,314
That's what the kids want to see. Cut.
560
00:30:17,398 --> 00:30:20,317
As I understand it, the whole thing
came out of the What If...? animation.
561
00:30:20,401 --> 00:30:23,450
So, she became the super-soldier.
562
00:30:23,571 --> 00:30:27,491
We took references,
so First Avenger and then Ultron,
563
00:30:27,575 --> 00:30:29,076
along with Ryan's illustration,
564
00:30:29,160 --> 00:30:32,246
which captures
the What if...? vintage feel.
565
00:30:32,330 --> 00:30:36,584
And we've used the same fabric
as we used on the Age of Ultron
566
00:30:36,668 --> 00:30:40,629
Captain America costume.
So, it's not like a skin-fitting suit.
567
00:30:40,713 --> 00:30:44,508
It's very much like Captain America,
a combat suit.
568
00:30:44,592 --> 00:30:46,802
Hayley's really happy
with the whole structure
569
00:30:46,886 --> 00:30:48,471
and fit and silhouette of it.
570
00:30:48,555 --> 00:30:51,974
We kept Peggy in the Captain America
sense-of-fighting-style.
571
00:30:52,058 --> 00:30:53,564
(GRUNTING)
572
00:30:54,269 --> 00:30:57,229
That was a fun sequence to do
because we got to use the shield
573
00:30:57,313 --> 00:30:59,862
and it is a little more practical
hand-to-hand fighting.
574
00:31:01,943 --> 00:31:02,943
Haven't you had enough?
575
00:31:03,027 --> 00:31:04,153
(SPITS)
576
00:31:04,237 --> 00:31:05,571
Oh, I could do this all day.
577
00:31:05,655 --> 00:31:07,907
Captain Marvel.
Defender of the cosmos.
578
00:31:07,991 --> 00:31:12,119
Maria Rambeau, who really stole the show
in Captain Marvel...
579
00:31:12,203 --> 00:31:13,496
Call me "young lady" again,
580
00:31:13,580 --> 00:31:15,790
I'm gonna put my foot
in a place it's not supposed to be.
581
00:31:15,874 --> 00:31:19,460
WALDRON: To see her put on
the suit and kick ass is so cool.
582
00:31:19,544 --> 00:31:21,545
Get the hell out
of my universe!
583
00:31:21,629 --> 00:31:24,215
WALDRON: And Lashana brings
so much to that character.
584
00:31:24,299 --> 00:31:28,511
CHURCHYARD: Maria Rambeau switching
into the Carol Danvers costume,
585
00:31:28,595 --> 00:31:29,887
it's black and silver.
586
00:31:29,971 --> 00:31:34,308
It holds onto all the same design elements
of Brie Larson's costume.
587
00:31:34,392 --> 00:31:37,269
But we've transposed it
into metallic-silver,
588
00:31:37,353 --> 00:31:40,944
kind of gun-metal color and black.
It looks really amazing.
589
00:31:41,357 --> 00:31:44,031
That was great. That's awesome.
590
00:31:44,569 --> 00:31:46,070
WALDRON: And then the big surprise...
591
00:31:46,154 --> 00:31:49,703
BARON: Our final member,
Professor Charles Xavier.
592
00:31:50,408 --> 00:31:54,453
It was just an honor for me to get to sit
and type dialogue for him
593
00:31:54,537 --> 00:31:57,461
and to introduce him
into the world of the MCU.
594
00:31:58,291 --> 00:32:01,340
Everybody making comic-book movies
owes him a great debt.
595
00:32:02,962 --> 00:32:04,755
Movin' on, beautifully done.
596
00:32:04,839 --> 00:32:07,429
Thank you, Sir Patrick,
for that great concentration.
597
00:32:07,967 --> 00:32:09,051
OCHS: On this film,
598
00:32:09,135 --> 00:32:12,434
I think our biggest challenge
was working in a global pandemic.
599
00:32:13,848 --> 00:32:16,183
Really, it's a scheduling issue.
600
00:32:16,267 --> 00:32:18,102
For instance, Wanda's orchard...
601
00:32:18,186 --> 00:32:20,271
RAIMI: Here we go. Roll camera.
602
00:32:20,355 --> 00:32:24,196
It was a really important scene
for Sam from the very beginning.
603
00:32:24,525 --> 00:32:27,486
He wanted her to be
in this beautiful apple orchard
604
00:32:27,570 --> 00:32:30,114
and we were gonna
shoot the movie pre-COVID.
605
00:32:30,198 --> 00:32:31,490
It was gonna work out perfect
606
00:32:31,574 --> 00:32:33,576
because we were gonna be
here for the apple blossoms.
607
00:32:33,660 --> 00:32:35,244
Then our schedule shifted.
608
00:32:35,328 --> 00:32:39,123
And because there's been a cold spell
in England, the blossoms haven't come yet.
609
00:32:39,207 --> 00:32:40,374
We were like, "What do we do?
610
00:32:40,458 --> 00:32:44,295
"Do we film them on a green screen?
Do we do an entirely CG orchard later?
611
00:32:44,379 --> 00:32:47,756
"Or do we go out to the orchard
and do we put CG blossoms on it?"
612
00:32:47,840 --> 00:32:51,594
Charlie Wood, our production designer
sent an army of people out there
613
00:32:51,678 --> 00:32:57,308
and tied little wire blossoms
onto about six trees and then
614
00:32:57,392 --> 00:33:00,644
they added another so many thousand pounds
and then they got eight trees
615
00:33:00,728 --> 00:33:05,190
and then ten trees and we went out there
and they've shot this beautiful scene now
616
00:33:05,274 --> 00:33:10,863
and no visual effects and you can't tell
that these are fabricated blossoms
617
00:33:10,947 --> 00:33:13,829
that have been tied on
to these trees by hand.
618
00:33:14,909 --> 00:33:17,703
Sometimes, people may get the impression
that these films are
619
00:33:17,787 --> 00:33:19,626
almost entirely virtual, they're not.
620
00:33:19,956 --> 00:33:24,001
We have hundreds of people
working on these sets and it takes us
621
00:33:24,085 --> 00:33:25,085
many, many months to build them.
622
00:33:25,169 --> 00:33:26,879
There's nothing better
than the real thing
623
00:33:26,963 --> 00:33:29,798
for an actor to be able to understand
the environment they're in,
624
00:33:29,882 --> 00:33:32,468
for a director to be able to direct
a scene and to understand
625
00:33:32,552 --> 00:33:35,017
where everything is, and how it is.
626
00:33:35,263 --> 00:33:38,682
That's incredibly important
as it is for the camera man.
627
00:33:38,766 --> 00:33:40,184
Am I going on action?
628
00:33:40,268 --> 00:33:42,065
WOOD: We try and build
as much as we can,
629
00:33:42,311 --> 00:33:46,357
to a point at where it becomes impractical
or impossible.
630
00:33:46,441 --> 00:33:49,735
So, if we're building this temple
in Kathmandu,
631
00:33:49,819 --> 00:33:52,696
we physically built all the interiors
they're walking around,
632
00:33:52,780 --> 00:33:56,992
whether it's corridors, or the interiors
of these temple rooms.
633
00:33:57,076 --> 00:34:01,126
We would build those in their entirety,
360 degrees.
634
00:34:04,000 --> 00:34:09,880
You know the set where I am in the bio lab
and Doctor Strange and America
635
00:34:09,964 --> 00:34:12,967
are in these glass boxes,
and they're trapped in there.
636
00:34:13,051 --> 00:34:14,760
And we couldn't even hear each other.
637
00:34:14,844 --> 00:34:19,770
So, they gave me this weird earpiece
because I'm in this glass box.
638
00:34:20,224 --> 00:34:22,851
Here. And I can't hear anything at all.
639
00:34:22,935 --> 00:34:25,229
The sets are so elaborate and built out.
640
00:34:25,313 --> 00:34:28,482
Charlie's vision is to create
these wonderful sets,
641
00:34:28,566 --> 00:34:30,859
which have got incredible detail in them.
642
00:34:30,943 --> 00:34:34,613
WOOD: We've got this great team
of plasterers and painters
643
00:34:34,697 --> 00:34:38,158
and mold-building
and there's all sorts of things we can do.
644
00:34:38,242 --> 00:34:40,661
GIBBS: You've got these stone structures,
you've got bronzes,
645
00:34:40,745 --> 00:34:44,540
you've got incredible carved timber.
So you go from the Kamar-Taj,
646
00:34:44,624 --> 00:34:48,669
which is Nepalese
and then you've got the Sinister Sanctum,
647
00:34:48,753 --> 00:34:50,587
it's this stunning mansion
on Bleecker Street.
648
00:34:50,671 --> 00:34:51,755
Then when we get to Wundagore,
649
00:34:51,839 --> 00:34:56,010
you've got an incredible stone temple
that's been produced.
650
00:34:56,094 --> 00:34:57,886
This isn't a tomb.
651
00:34:57,970 --> 00:34:59,513
It's a throne.
652
00:34:59,597 --> 00:35:02,850
It was a tremendous challenge.
It took teams of really great artists.
653
00:35:02,934 --> 00:35:06,275
That was a really exciting challenge
to take on.
654
00:35:06,604 --> 00:35:09,982
Can I and these teams of artists
make the audience believe
655
00:35:10,066 --> 00:35:13,365
that they're taking a journey
through multiple universes?
656
00:35:14,487 --> 00:35:18,615
Right now, we're in New York City,
but we're not actually in New York.
657
00:35:18,699 --> 00:35:24,121
We're at Long cross Studios in England
in the UK and Marvel actually built this.
658
00:35:24,205 --> 00:35:27,124
The streets of New York,
I mean, look at how amazing it is.
659
00:35:27,208 --> 00:35:29,752
Everything lights up,
everything actually works.
660
00:35:29,836 --> 00:35:32,004
It was originally
gonna be shot in Cleveland.
661
00:35:32,088 --> 00:35:36,550
Cleveland has stood in for New York
for the Avengers movies once before.
662
00:35:36,634 --> 00:35:38,427
And we were all set to go there.
663
00:35:38,511 --> 00:35:41,472
PALMER: And then, of course,
due to the COVID pandemic,
664
00:35:41,556 --> 00:35:45,267
travelling to Cleveland seemed like
something we weren't gonna be able to do.
665
00:35:45,351 --> 00:35:49,688
Our executive producer, Jamie Christopher,
who is a genius in movie-making
666
00:35:49,772 --> 00:35:53,192
and has been around for decades
in this business said,
667
00:35:53,276 --> 00:35:57,654
"I think we need a New York back lot set."
And I think, at first, people were like,
668
00:35:57,738 --> 00:36:00,574
"I don't know, Jamie." He said,
"Guys, just let me prove it to you."
669
00:36:00,658 --> 00:36:03,243
And sure enough,
we have a whole small section
670
00:36:03,327 --> 00:36:06,121
that passes for Greenwich Village,
it passes for Midtown.
671
00:36:06,205 --> 00:36:09,416
And we got about four blocks
of New York streets
672
00:36:09,500 --> 00:36:13,587
with all the set dressing, you know,
a lot of it brought from New York.
673
00:36:13,671 --> 00:36:16,970
A car is gonna flip over
and I have to try and not react to it.
674
00:36:18,801 --> 00:36:21,804
Kinda nervous. If I do end up reacting,
they might have to redo the whole thing.
675
00:36:21,888 --> 00:36:23,143
(SHUDDERS)
676
00:36:28,186 --> 00:36:29,228
RAIMI: And cut!
677
00:36:29,312 --> 00:36:32,106
And I did it. I'm proud of myself.
Pat on the back.
678
00:36:32,190 --> 00:36:36,985
A lot of the set has been built to be
ratcheted backwards, pushed over,
679
00:36:37,069 --> 00:36:40,948
hydraulically dropped, we got
big debris drops coming into the street.
680
00:36:41,032 --> 00:36:44,284
Anything that can be practical,
Sam wants practical.
681
00:36:44,368 --> 00:36:47,496
Sam's got Chris Corbould on speed dial,
our special effects supervisor.
682
00:36:47,580 --> 00:36:49,164
He can call him in every day.
He's saying,
683
00:36:49,248 --> 00:36:51,542
"Chris, can we do this for real?
Can we do this for real?"
684
00:36:51,626 --> 00:36:53,460
And, you know, we usually can.
685
00:36:53,544 --> 00:36:57,089
GOMEZ: There was this one specific thing
we did in the New York streets.
686
00:36:57,173 --> 00:37:01,135
I'm running
and they had all these special effects.
687
00:37:01,219 --> 00:37:04,012
Like, lights were going off,
a tree was falling,
688
00:37:04,096 --> 00:37:07,307
cars were crashing into each other,
a fire hydrant goes off,
689
00:37:07,391 --> 00:37:09,685
a building completely collapses behind me.
690
00:37:09,769 --> 00:37:13,313
There's more than probably
30-40 different gags in there,
691
00:37:13,397 --> 00:37:17,192
all with a different mechanical mechanism.
It's a great moment.
692
00:37:17,276 --> 00:37:19,449
This is probably one of the larger sets.
693
00:37:20,738 --> 00:37:22,619
Probably the largest set on the movie.
694
00:37:22,740 --> 00:37:25,409
And it's probably one of the largest sets
I've ever built, I'd say.
695
00:37:25,493 --> 00:37:27,916
But all of these images on the wall
shows you
696
00:37:28,246 --> 00:37:30,080
what, in fact, we ended up building.
697
00:37:30,164 --> 00:37:33,542
I saw it when it was just wood
and now I'm seeing it all done
698
00:37:33,626 --> 00:37:36,461
and I'm like, "Oh, my gosh."
The detail they have put in.
699
00:37:36,545 --> 00:37:38,380
Looks exactly like New York.
700
00:37:38,464 --> 00:37:41,592
It makes you hungry. Because all these
restaurants look pretty awesome.
701
00:37:41,676 --> 00:37:44,803
PALMER: It's a testament to Charlie Wood's
production design team
702
00:37:44,887 --> 00:37:48,223
and to our executive producer,
Jamie Christopher, who came up
703
00:37:48,307 --> 00:37:50,976
with the crazy idea to go build it.
It's amazing.
704
00:37:51,060 --> 00:37:53,187
Not only does it pass for New York
in our universe,
705
00:37:53,271 --> 00:37:55,694
it passes for New York
in multiple universes.
706
00:37:56,190 --> 00:37:59,072
WOOD: This set serves three purposes.
707
00:37:59,443 --> 00:38:02,112
Because we have three different realities
in the film.
708
00:38:02,196 --> 00:38:04,865
Sam, you know, I remember being
in a meeting with him one day
709
00:38:04,949 --> 00:38:07,701
and he was like, "Gosh, how are we gonna
sell to everyone
710
00:38:07,785 --> 00:38:11,205
"that this is the exact same place
they were in that universe before?"
711
00:38:11,289 --> 00:38:14,082
And he had an idea of, every scene
where they land in New York,
712
00:38:14,166 --> 00:38:17,502
they kind of land in the same alley.
So, it was very important for him,
713
00:38:17,586 --> 00:38:20,047
for all of the storyboard artists,
and all the previz artists,
714
00:38:20,131 --> 00:38:24,218
across all of the scenes,
to really make this exit from the alley
715
00:38:24,302 --> 00:38:29,223
and this turn down the avenue recognizable
every time you came to that universe.
716
00:38:29,307 --> 00:38:33,602
The different dimensions are on the same
street where originally one was a normal,
717
00:38:33,686 --> 00:38:37,731
busy New York street.
The second one was snowbound.
718
00:38:37,815 --> 00:38:42,152
So, it was totally snowed up
with weird cars floating in the air
719
00:38:42,236 --> 00:38:45,160
which we hung up on cranes
and were rotating.
720
00:38:45,364 --> 00:38:49,206
So, you've got this weird, surreal,
deserted New York.
721
00:38:49,493 --> 00:38:51,828
Because we're chopping and changing
as we shoot
722
00:38:51,912 --> 00:38:53,872
between these three different periods,
723
00:38:53,956 --> 00:38:56,917
we wouldn't have time
to physically change the street.
724
00:38:57,001 --> 00:39:00,300
And one of the easiest ways of doing it
is with snow.
725
00:39:00,629 --> 00:39:04,174
Because this is something we can literally
do in a day and it's effective, yeah?
726
00:39:04,258 --> 00:39:08,099
And this wanted to be
a much more abstract, haunting place.
727
00:39:08,512 --> 00:39:11,932
A look like this
is the right way to go, I think.
728
00:39:12,016 --> 00:39:13,433
I mean, it's rather Dickensian.
729
00:39:13,517 --> 00:39:16,728
Eventually they get to the end
and the snow turns into black sand
730
00:39:16,812 --> 00:39:20,862
with a wave, from an Atlantic wave
coming across the road.
731
00:39:23,444 --> 00:39:27,030
WOOD: With Sanctum Sanctorum.
I think we rebuilt the foyer for...
732
00:39:27,114 --> 00:39:28,615
I know I've built it three times.
733
00:39:28,699 --> 00:39:32,207
And I think it's been built by a couple
of other films a couple of times.
734
00:39:32,495 --> 00:39:34,162
I think that's
number four or number five.
735
00:39:34,246 --> 00:39:37,833
We changed it a bit in this reiteration.
We always do.
736
00:39:37,917 --> 00:39:40,627
And then we had to come up
with another room, a big room,
737
00:39:40,711 --> 00:39:44,089
based on a kind of Victorian salon
with a glass roof
738
00:39:44,173 --> 00:39:47,180
that has become
one of the main spaces in the house.
739
00:39:48,969 --> 00:39:52,723
We ended up recreating again the foyer,
which is the entrance hall
740
00:39:52,807 --> 00:39:54,646
that leads into the house.
741
00:39:54,892 --> 00:39:58,270
With the Sinister Sanctum, Charlie wanted
to do something completely different.
742
00:39:58,354 --> 00:40:02,524
So, he wanted to make it bigger,
more unusual, more "out-there."
743
00:40:02,608 --> 00:40:06,611
So, as you open the front door,
you come into this black beach.
744
00:40:06,695 --> 00:40:10,741
Architecturally, it could be elongated,
it could be expanded, it could be open.
745
00:40:10,825 --> 00:40:12,159
You could be open to the elements.
746
00:40:12,243 --> 00:40:15,537
WOOD: So, it's really kind of
our most abstract world.
747
00:40:15,621 --> 00:40:18,290
We tried very hard to
make each experience,
748
00:40:18,374 --> 00:40:20,755
each place you go something different.
749
00:40:21,877 --> 00:40:23,920
By the time we'd got to Mount Wundagore,
750
00:40:24,004 --> 00:40:28,133
we felt that this world should be
much more primeval than anything else
751
00:40:28,217 --> 00:40:29,259
we were doing on the film.
752
00:40:29,343 --> 00:40:32,304
In the comics, Mount Wundagore
is a castle-like structure
753
00:40:32,388 --> 00:40:34,931
in this snowy mountain range
754
00:40:35,015 --> 00:40:37,184
and we looked at
a lot of stuff from Petra.
755
00:40:37,268 --> 00:40:41,104
We'd wanted to come up with something
which was carved from the mountain.
756
00:40:41,188 --> 00:40:44,399
We ended up finding this beautiful
mountain range in the Dolomites, in Italy.
757
00:40:44,483 --> 00:40:47,152
So that was our setting.
Then we had this big conversation
758
00:40:47,236 --> 00:40:49,446
with the studio about
how it should be adorned,
759
00:40:49,530 --> 00:40:53,867
and all of the inscriptions and all of
this language we see in the Dark hold.
760
00:40:53,951 --> 00:40:58,080
So, that was all built into the design
of the walls of this temple.
761
00:40:58,164 --> 00:41:01,291
To me, the sets are one of the most
magical things that you get to see
762
00:41:01,375 --> 00:41:05,128
on these films,
because it's so world-building.
763
00:41:05,212 --> 00:41:09,216
Mount Wundagore, I just thought they did
such a beautiful job.
764
00:41:09,300 --> 00:41:15,352
I'm having them ship it overseas,
so that I can have it in my backyard.
765
00:41:16,223 --> 00:41:19,601
Another area where we're really
referencing the comics on this movie
766
00:41:19,685 --> 00:41:20,899
is for the spells.
767
00:41:21,187 --> 00:41:24,147
So, there's all of these spells
that Doctor Strange has
768
00:41:24,231 --> 00:41:27,025
and we need to come up with new spells
that haven't been seen somewhere else.
769
00:41:27,109 --> 00:41:29,324
Keeping it fresh is really important.
770
00:41:30,654 --> 00:41:32,656
The characters to be in the situation
that they're in
771
00:41:32,740 --> 00:41:36,373
and have a spell
from the Marvel history books.
772
00:41:39,497 --> 00:41:41,498
I'm mostly doing the spell
773
00:41:41,582 --> 00:41:45,210
and hand gesture movements
for Doctor Strange, Wong.
774
00:41:45,294 --> 00:41:47,629
I've also worked on Infinity War, Endgame.
775
00:41:47,713 --> 00:41:50,424
They saw the work that I did
on a previous commercial.
776
00:41:50,508 --> 00:41:52,843
I was doing tutting,
which is a very niche dance style
777
00:41:52,927 --> 00:41:55,266
that uses shapes with hands and arms.
778
00:41:55,471 --> 00:41:57,431
They were like,
"Well, what could we do with that?"
779
00:41:57,515 --> 00:42:00,225
So, in one of these moves,
he is ripping open a bus,
780
00:42:00,309 --> 00:42:03,270
kind of like dissecting it,
and anytime something involves
781
00:42:03,354 --> 00:42:07,357
levitation or a movement of matter,
this is involved.
782
00:42:07,441 --> 00:42:09,651
So, if you see, like, he's flying, right?
783
00:42:09,735 --> 00:42:11,862
If he's flying with his cloak,
he's also using these.
784
00:42:11,946 --> 00:42:14,698
But that's him, he's the matter.
So, in this, the bus is the matter
785
00:42:14,782 --> 00:42:18,034
and he's connecting to it.
And then he's just splitting it.
786
00:42:18,118 --> 00:42:20,370
In my head, as soon as he's dissected
this thing,
787
00:42:20,454 --> 00:42:22,873
his energy is already connected
to each and every piece.
788
00:42:22,957 --> 00:42:27,127
So, you'll see, like, he chops one
of the legs off 'cause he's dissected it
789
00:42:27,211 --> 00:42:29,880
and he's still connected to it.
You can just pick one out and chop it.
790
00:42:29,964 --> 00:42:32,735
He doesn't have to do another spell.
He's already connected to it.
791
00:42:35,678 --> 00:42:36,891
(GROANS)
792
00:42:39,098 --> 00:42:40,353
(GRUNTS)
793
00:42:40,891 --> 00:42:43,064
(SCREAMS)
794
00:42:46,146 --> 00:42:48,653
OCHS: That shot had
a pretty amazing history.
795
00:42:49,191 --> 00:42:51,485
We started with many, many ideas.
796
00:42:51,569 --> 00:42:54,779
Probably 30 ideas
of different environments that could be
797
00:42:54,863 --> 00:42:58,163
something that you've never seen before.
Just this ride through the universes.
798
00:42:58,284 --> 00:43:01,119
Our visual effects supervisor,
Janek Sirrs.
799
00:43:01,203 --> 00:43:03,580
I mean, he was kind of really
the mastermind behind that shot
800
00:43:03,664 --> 00:43:05,373
and a lot of the shots in our movie.
801
00:43:05,457 --> 00:43:07,417
He really came up with the worlds
that we wanted to explore
802
00:43:07,501 --> 00:43:09,586
so there was a lot of talk
about which world do we wanna do.
803
00:43:09,670 --> 00:43:11,379
Well, here's some cool ideas.
Here's an all-bone world
804
00:43:11,463 --> 00:43:15,008
and here's a world that's futuristic.
Here's a world where everybody's paint.
805
00:43:15,092 --> 00:43:19,137
OCHS: And I think we ended up with
about 15 universes that are in there now.
806
00:43:19,221 --> 00:43:22,724
Lots of little Easter eggs in there.
I think the whole thing was challenging
807
00:43:22,808 --> 00:43:25,435
because there's so many elements
that go from shot-to-shot
808
00:43:25,519 --> 00:43:29,986
and you couldn't really work it
as a punch-in. It had to be one long shot.
809
00:43:30,941 --> 00:43:34,152
MURAWSKI: And then the next part of that
was creating the soundtrack for it.
810
00:43:34,236 --> 00:43:37,489
And our sound designer, Jussi Tegelman,
really spent a lot of work.
811
00:43:37,573 --> 00:43:40,408
Because, you know, every one
should have a different soundscape.
812
00:43:40,492 --> 00:43:42,707
Every one should feel like
a different universe.
813
00:43:43,537 --> 00:43:46,748
In the Multiverse,
there are alternate versions
814
00:43:46,832 --> 00:43:48,416
of everyone and everything.
815
00:43:48,500 --> 00:43:49,543
So, it gives the characters
816
00:43:49,627 --> 00:43:51,836
the dramatic opportunity
to meet themselves.
817
00:43:51,920 --> 00:43:53,797
I'm just one of us.
818
00:43:53,881 --> 00:43:56,258
PALMER: Out of the infinite
Doctor Stranges in the Multiverse,
819
00:43:56,342 --> 00:43:59,302
we do get to meet a few in this movie.
We've given them different nicknames.
820
00:43:59,386 --> 00:44:00,720
One is Defender Strange.
821
00:44:00,804 --> 00:44:03,265
The first Strange that we meet,
Defender Strange,
822
00:44:03,349 --> 00:44:05,475
we wanted him to be
a little bit of a swashbuckler.
823
00:44:05,559 --> 00:44:07,102
Little bit of an adventurer.
824
00:44:07,186 --> 00:44:08,650
(SPEAKING OTHER LANGUAGE)
825
00:44:08,937 --> 00:44:14,943
Lot of the fabrics in the costume are like
vintage fabrics from regions of Pakistan.
826
00:44:15,027 --> 00:44:17,195
I think he was
a little more of a fun-loving,
827
00:44:17,279 --> 00:44:20,537
Patrick Swayze in Point Break
kind of Strange.
828
00:44:20,783 --> 00:44:23,164
Somewhere out there
I had a ponytail.
829
00:44:23,911 --> 00:44:28,707
WALDRON: You've got then the Strange
in the universe with the Illuminati.
830
00:44:28,791 --> 00:44:32,836
He was Sorcerer Supreme in this universe.
Which was probably even less fun.
831
00:44:32,920 --> 00:44:37,257
The look goes back to earlier
comic versions
832
00:44:37,341 --> 00:44:39,175
where Strange had a blue cloak.
833
00:44:39,259 --> 00:44:42,429
We're doing the biggest collar ever seen
so far.
834
00:44:42,513 --> 00:44:46,641
WALDRON: He was a little more emotionally
buttoned-up, maladjusted.
835
00:44:46,725 --> 00:44:49,936
Probably spent more time
negging Christine.
836
00:44:50,020 --> 00:44:52,819
I guess it worked because she didn't
get married in that universe.
837
00:44:53,315 --> 00:44:55,275
And then you have Sinister Strange.
838
00:44:55,359 --> 00:44:57,569
- Are you happy, Stephen?
- What?
839
00:44:57,653 --> 00:45:01,323
CHURCHYARD: So, it is essentially
the same costume that he wore in Endgame,
840
00:45:01,407 --> 00:45:05,994
and so, we've repurposed the disciple
costume and aged it down much more,
841
00:45:06,078 --> 00:45:08,955
and created a texture treatment to it.
842
00:45:09,039 --> 00:45:11,124
WALDRON: With Benedict,
because he is Doctor Strange,
843
00:45:11,208 --> 00:45:14,002
it's been such a collaboration
from start to finish.
844
00:45:14,086 --> 00:45:16,671
I just really wanted to push
on the darker edge
845
00:45:16,755 --> 00:45:19,299
of what was a potential face-off
in this film.
846
00:45:19,383 --> 00:45:23,094
The gist was more thrilling,
was more sinister, more adventurous.
847
00:45:23,178 --> 00:45:27,057
The artwork that was already in place,
very early on for this, is amazing.
848
00:45:27,141 --> 00:45:29,768
This picture of the Sanctum
kind of bleeding off into infinity.
849
00:45:29,852 --> 00:45:31,149
It's really good fun.
850
00:45:33,647 --> 00:45:35,315
RAIMI: And then we have Dead Strange.
851
00:45:35,399 --> 00:45:38,072
Our Strange was trapped
in an alternate universe.
852
00:45:38,235 --> 00:45:40,987
And he had to get back to our universe
to help save America.
853
00:45:41,071 --> 00:45:44,199
But he couldn't get there,
except by Dream walking.
854
00:45:44,283 --> 00:45:46,993
This ugly spell
where you can take your spirit
855
00:45:47,077 --> 00:45:48,411
and send it across the universe
856
00:45:48,495 --> 00:45:51,002
and inhabit your alt self
in that universe.
857
00:45:52,207 --> 00:45:56,795
Unfortunately, the only version of himself
in that reality he needs to get to
858
00:45:56,879 --> 00:45:58,463
is a corpse,
859
00:45:58,547 --> 00:46:04,219
which does lead to very Evil Dead-ish,
very Sam Raimi hero, Dead Strange.
860
00:46:04,303 --> 00:46:08,098
When we pitched Dead Strange to Kevin,
we made sure that we partnered it
861
00:46:08,182 --> 00:46:09,891
with an even stupider pitch.
862
00:46:09,975 --> 00:46:12,143
What if there was a blob version
of Strange?
863
00:46:12,227 --> 00:46:15,647
Because we knew that that's how
we're gonna get a Zombie Strange.
864
00:46:15,731 --> 00:46:19,109
It was a little bit of a learning curve.
How do you pilot a dead body?
865
00:46:19,193 --> 00:46:25,244
I wanted that character to have conflict.
What problems could a Zombie Strange have?
866
00:46:25,365 --> 00:46:29,577
Well, in my mind, he was doing something
that was against the laws of the universe.
867
00:46:29,661 --> 00:46:32,789
That there could be demons
that would try and stop him.
868
00:46:32,873 --> 00:46:35,583
But he is Doctor Strange.
He's Master of the Mystic Arts.
869
00:46:35,667 --> 00:46:39,671
Nobody, certainly not a bunch of sprits
or demons, can stop him.
870
00:46:39,755 --> 00:46:43,091
So, he takes these spirits and demons
and weaves them together
871
00:46:43,175 --> 00:46:47,721
into a Cloak of Souls that he uses
to propel him forward into his battle.
872
00:46:47,805 --> 00:46:49,394
Now, he is their master.
873
00:46:55,145 --> 00:46:58,111
An evil book, full of evil magic.
874
00:46:58,690 --> 00:47:02,610
A vintage Oldsmobile
that couldn't possibly pass a smog test.
875
00:47:02,694 --> 00:47:05,697
A handsome dark-haired devil
with a chin that could kill.
876
00:47:05,781 --> 00:47:07,699
If all of this sounds very familiar,
877
00:47:07,783 --> 00:47:10,832
then I'd say you have extremely good taste
in movies.
878
00:47:11,161 --> 00:47:14,664
But listen, my friend Sam Raimi
was dropping so-called Easter eggs
879
00:47:14,748 --> 00:47:18,214
into his films when cellphones
were the size of house cats,
880
00:47:18,418 --> 00:47:22,510
and Sam has carried on that tradition
with his latest cinematic opus.
881
00:47:22,673 --> 00:47:25,508
So, keep your peepers properly peeled
during the movie,
882
00:47:25,592 --> 00:47:26,760
and you're bound to come across
883
00:47:26,844 --> 00:47:29,892
what we in the biz
like to call Raimi-isms.
884
00:47:31,390 --> 00:47:35,398
You know, I think the genius of Sam
is he's able to balance all those genres.
885
00:47:35,519 --> 00:47:38,526
This time, it's gonna take more
than killing me to kill me.
886
00:47:39,189 --> 00:47:41,316
MURAWSKI: And for years, it was
a huge problem with the studios.
887
00:47:41,400 --> 00:47:42,734
They said, "You have to pick a lane."
888
00:47:42,818 --> 00:47:44,986
And they didn't understand
Sam's genre-bending
889
00:47:45,070 --> 00:47:47,530
and they didn't understand
the tone shifts and everything else.
890
00:47:47,614 --> 00:47:50,116
And that's something I really give
Marvel credit for, you know.
891
00:47:50,200 --> 00:47:52,744
They got behind it.
Played more to Sam's strengths.
892
00:47:52,828 --> 00:47:56,456
So, over the course of the shooting,
they kept adding more horror elements.
893
00:47:56,540 --> 00:48:00,752
When Kevin Feige announced that he wanted
to bring a little bit of a horror element
894
00:48:00,836 --> 00:48:03,046
to Doctor Strange,
that was interesting to me.
895
00:48:03,130 --> 00:48:04,380
I love to dabble in horror.
896
00:48:04,464 --> 00:48:08,009
It's always been a fun aspect
of movie-making for me.
897
00:48:08,093 --> 00:48:11,809
I saw Evil Dead 1 when it came out.
I just thought the movie was incredible.
898
00:48:11,930 --> 00:48:15,480
And Sam always has a lot of cool motifs
that he puts in his movies time and again.
899
00:48:15,642 --> 00:48:17,774
I mean, you can
trace all these things back.
900
00:48:20,314 --> 00:48:23,107
Sam used a lot of the same people
from Evil Dead 1.
901
00:48:23,191 --> 00:48:26,611
I'm Bruce Campbell and I'm playing
the role of the pizza guy.
902
00:48:26,695 --> 00:48:28,029
(EXCLAIMS ANGRILY)
903
00:48:28,113 --> 00:48:30,573
I'm glad that's over. (GROANS)
904
00:48:30,657 --> 00:48:34,244
You know, we spoke with
the head of Marvel and threatened him
905
00:48:34,328 --> 00:48:39,082
and said that he couldn't do any Marvel
without me, especially if Sam's directing.
906
00:48:39,166 --> 00:48:41,209
MURAWSKI: It's good to see
those guys work together.
907
00:48:41,293 --> 00:48:43,753
They have the kind of shorthand
that only comes from
908
00:48:43,837 --> 00:48:45,672
working together
since you're ten years old.
909
00:48:45,756 --> 00:48:48,807
CAMPBELL: It's important for the editors
to always have stuff to cut out.
910
00:48:49,134 --> 00:48:51,553
That's what I'm providing.
Especially Academy Award...
911
00:48:51,637 --> 00:48:53,096
- Yes, it is.
- Yeah. See?
912
00:48:53,180 --> 00:48:57,684
Especially Academy Award winning editors.
They love to play cutty-cut-cut.
913
00:48:57,768 --> 00:49:01,479
"Oh, look at me cut, look at me cut."
Yeah, see, he's already doing it.
914
00:49:01,563 --> 00:49:03,022
- I'm already cut.
- Trying to keep 'em honest.
915
00:49:03,106 --> 00:49:05,567
He was on the cutting room floor
but we ended up
916
00:49:05,651 --> 00:49:06,943
putting him back in at the last minute.
917
00:49:07,027 --> 00:49:08,358
CAMPBELL: Thanks for nothin'.
918
00:49:08,946 --> 00:49:10,113
Unbelievable.
919
00:49:10,197 --> 00:49:12,240
MURAWSKI: Bruce was almost like
a prop for Sam.
920
00:49:12,324 --> 00:49:13,950
He could tell Bruce to do anything.
921
00:49:14,034 --> 00:49:16,995
"Bruce, throw yourself on the ground.
Hit yourself over the head with a pan."
922
00:49:17,079 --> 00:49:18,997
Yeah, I gotta go beat myself up some more.
923
00:49:19,081 --> 00:49:20,081
(GRUNTS)
924
00:49:20,165 --> 00:49:21,332
Yeah, cheers.
925
00:49:21,416 --> 00:49:24,586
And then, I think, once Sam started
to work with, like, professional actors,
926
00:49:24,670 --> 00:49:26,342
they weren't so malleable.
927
00:49:26,505 --> 00:49:29,215
When I heard Sam
was directing this movie, I said,
928
00:49:29,299 --> 00:49:33,011
"You know, Sam, you realize
that you're working with an actual actor?
929
00:49:33,095 --> 00:49:35,226
"You might actually have to
kinda get ready?
930
00:49:36,181 --> 00:49:39,730
"He's not just gonna make silly faces
for you, like I did for years.
931
00:49:40,102 --> 00:49:44,689
"He might ask questions about motivation,
so you better step up your game.
932
00:49:44,773 --> 00:49:47,358
"I saw Sherlock Holmes. That boy can act."
933
00:49:47,442 --> 00:49:49,740
(GRUNTS)
934
00:49:53,240 --> 00:49:56,367
If he looks at me,
I always never make eye contact.
935
00:49:56,451 --> 00:49:58,875
I always pretend
like I'm looking at my script.
936
00:49:59,204 --> 00:50:00,330
I know all the tricks.
937
00:50:00,414 --> 00:50:04,964
"Can I get you anything, Mr. Cumberbatch?"
And if he screws up a line, I own it.
938
00:50:05,627 --> 00:50:07,253
"Benedict, that was me.
939
00:50:07,337 --> 00:50:09,714
"That was my mistake. Sorry."
940
00:50:09,798 --> 00:50:11,304
I got this all figured out.
941
00:50:11,800 --> 00:50:15,011
MURAWSKI: Of all the directors I've
worked with, Sam is one of the best
942
00:50:15,095 --> 00:50:16,137
working with the actors.
943
00:50:16,221 --> 00:50:17,931
He understands the power of a good shot.
944
00:50:18,015 --> 00:50:20,475
And the choreography
between the camera and the actor.
945
00:50:20,559 --> 00:50:25,647
He just has a really good sense and his
eye on every single detail of the film.
946
00:50:25,731 --> 00:50:29,317
For me, the fun has been
just how he moves the camera.
947
00:50:29,401 --> 00:50:32,116
Stuff that's really inventive
and really fun.
948
00:50:33,196 --> 00:50:36,074
MURAWSKI: Sam always has
a lot of cool mirror gags in his movies,
949
00:50:36,158 --> 00:50:37,330
from Evil Dead 1.
950
00:50:37,617 --> 00:50:40,203
The whole scene where the Scarlet Witch
is caught in the mirror trap
951
00:50:40,287 --> 00:50:44,462
and she was using the puddles,
and the gong as a mirror to get out of.
952
00:50:46,084 --> 00:50:48,086
The mirror thing is something
he's always been interested in,
953
00:50:48,170 --> 00:50:51,552
and the duality of the characters.
Of course, the Delta 88.
954
00:50:51,840 --> 00:50:54,013
WOOD: We got Sam Raimi's car, yeah?
The Delta 88.
955
00:50:54,176 --> 00:50:55,718
Sam's fans are gonna love this bit.
956
00:50:55,802 --> 00:50:57,971
The Delta 88 is the ultimate Easter egg.
957
00:50:58,055 --> 00:51:01,516
When I was a film student,
we'd always love to see the Delta 88
958
00:51:01,600 --> 00:51:03,226
in the Sam Raimi movies.
959
00:51:03,310 --> 00:51:05,520
In Spider-Man and Spider-Man 2,
960
00:51:05,604 --> 00:51:08,648
I remember walking into the stage one day
and going, "There's the car!"
961
00:51:08,732 --> 00:51:10,858
Yeah, the '73 Delta 88.
962
00:51:10,942 --> 00:51:15,279
It's been in every one of Sam's movies,
including his western.
963
00:51:15,363 --> 00:51:19,200
Yeah, he had the body taken off
and put a wagon over the chassis
964
00:51:19,284 --> 00:51:21,953
so he could say (IMITATING RAIMI)
"It's been in all my movies."
965
00:51:22,037 --> 00:51:26,332
WOOD: We actually got a bloody great big
crane and puppeteered it down the street
966
00:51:26,416 --> 00:51:28,042
in this kind of snowstorm.
967
00:51:28,126 --> 00:51:30,216
And you get to see a few versions
of the car.
968
00:51:33,006 --> 00:51:35,341
I've done everything I can
to destroy that car,
969
00:51:35,425 --> 00:51:38,011
because I don't appreciate
Sam's infatuation with it.
970
00:51:38,095 --> 00:51:40,555
He won't really let me near it
'cause he knows
971
00:51:40,639 --> 00:51:42,515
I will silently slit the seats.
972
00:51:42,599 --> 00:51:45,268
And one day, he might just wake up
and it's gone.
973
00:51:45,352 --> 00:51:46,477
(LAUGHS)
974
00:51:46,561 --> 00:51:50,940
The amazing thing is, it's not even
a fake version of the car. That's the car.
975
00:51:51,024 --> 00:51:53,651
It was actually the car that we drove
in high school.
976
00:51:53,735 --> 00:51:57,196
And I know when you open the door
and the key is in it, it goes...
977
00:51:57,280 --> 00:51:59,699
(MAKES WHINY NOISE)
978
00:51:59,783 --> 00:52:02,498
But I have to say, I hate it,
but I love it.
979
00:52:02,828 --> 00:52:04,412
When I sit back in that car,
980
00:52:04,496 --> 00:52:07,081
you really do, honestly,
not even exaggerating,
981
00:52:07,165 --> 00:52:11,424
you get a flood of memories that come back
from that piece of crap.
982
00:52:11,795 --> 00:52:15,261
It's always fun to work with Sam.
He's really funny and entertaining
983
00:52:15,382 --> 00:52:18,676
and he's very serious
about things, but at the same time,
984
00:52:18,760 --> 00:52:20,428
- doesn't take things seriously.
- (LAUGHS)
985
00:52:20,512 --> 00:52:22,597
That is fine.
Let us go. Let's go, you animals.
986
00:52:22,681 --> 00:52:26,684
I think one of the things that's most fun
for me about watching one of Sam's films
987
00:52:26,768 --> 00:52:31,777
and working on Sam's films is just the joy
that he has in the process,
988
00:52:32,315 --> 00:52:33,946
in the art form.
989
00:52:34,151 --> 00:52:38,696
I don't know anybody that quite loves
cinema the way that Sam does.
990
00:52:38,780 --> 00:52:40,823
Can I have even more of,
"It feels good to be back."
991
00:52:40,907 --> 00:52:42,200
- Okay.
- "This is who I am."
992
00:52:42,284 --> 00:52:43,493
- Okay.
- You ready?
993
00:52:43,577 --> 00:52:45,119
WALDRON: I've learned so much from him.
994
00:52:45,203 --> 00:52:49,332
Just the way he conducts the orchestra
of the movie,
995
00:52:49,416 --> 00:52:52,794
working with me on script pages,
directing the cameras,
996
00:52:52,878 --> 00:52:55,463
swinging across a set, you know,
working with the actors.
997
00:52:55,547 --> 00:52:59,383
I love that elegance. That was beautiful.
Perfectly timed with the move too.
998
00:52:59,467 --> 00:53:00,510
That's great, man.
999
00:53:00,594 --> 00:53:02,678
I want you to play this more vulnerable
than I've ever seen.
1000
00:53:02,762 --> 00:53:04,889
I love all that emotion. Give me a double.
1001
00:53:04,973 --> 00:53:06,724
All right, let's take it back to one.
1002
00:53:06,808 --> 00:53:09,393
WALDRON: Every day, when we're
starting in on a new scene,
1003
00:53:09,477 --> 00:53:11,020
it's like, let's look at this
1004
00:53:11,104 --> 00:53:13,523
as if this is the most important scene
in the movie.
1005
00:53:13,607 --> 00:53:16,984
NOLAN: He is just so aware of
every aspect of film making.
1006
00:53:17,068 --> 00:53:21,114
I think a few weeks ago, Bob Murawski,
the other editor who's been with Sam
1007
00:53:21,198 --> 00:53:26,327
for 25-30 years said something like,
"If Sam sat in every single chair,
1008
00:53:26,411 --> 00:53:28,412
"he would be able to pick it up
and do it right away,"
1009
00:53:28,496 --> 00:53:31,624
'cause he's just so aware
of what every person on a film is doing.
1010
00:53:31,708 --> 00:53:34,794
Sam has fostered such
a collaborative environment,
1011
00:53:34,878 --> 00:53:38,177
Sam really wanted to make sure
that we had the best ideas on the table.
1012
00:53:40,050 --> 00:53:41,926
- RAIMI: I think it's gonna work.
- I think so.
1013
00:53:42,010 --> 00:53:43,891
Yeah, I can't ask for better.
1014
00:53:45,222 --> 00:53:48,474
Guys, thank you very much.
This was a great place to live and work.
1015
00:53:48,558 --> 00:53:51,065
You guys were wonderful.
1016
00:53:51,728 --> 00:53:53,317
So, so professional.
1017
00:53:53,563 --> 00:53:57,191
I really appreciate that, and I've learned
a lot from so many of you,
1018
00:53:57,275 --> 00:53:59,861
made some good friends,
and the movie will be a lot of fun
1019
00:53:59,945 --> 00:54:03,281
thanks to all your hard work,
and inventiveness, and craftsmanship.
1020
00:54:03,365 --> 00:54:04,949
Thank you very much. I salute all of you.
1021
00:54:05,033 --> 00:54:06,033
MAN: Thank you.
1022
00:54:06,117 --> 00:54:07,832
(ALL APPLAUDING)
1023
00:54:08,995 --> 00:54:11,455
MCADAMS: It's a real honor
to be in the family.
1024
00:54:11,539 --> 00:54:14,083
So many talented people
all working together
1025
00:54:14,167 --> 00:54:17,086
to take people on this incredible journey.
1026
00:54:17,170 --> 00:54:20,177
It does feel like one of
the biggest things Marvel's ever done.
1027
00:54:20,382 --> 00:54:26,308
It's pretty unfathomably exciting to be
the test pilot for all things Multiversal.
1028
00:54:26,513 --> 00:54:30,266
We've got this amazing canvas
of imagination to sort of bounce off ideas
1029
00:54:30,350 --> 00:54:33,644
of what the human condition is and
what the challenges that we all face are
1030
00:54:33,728 --> 00:54:37,194
and what the best version of ourselves
could possibly be.
1031
00:54:37,524 --> 00:54:42,528
Protecting America Chavez becomes not just
about protecting his universe
1032
00:54:42,612 --> 00:54:44,368
but protecting his friend.
1033
00:54:44,489 --> 00:54:50,416
He's capable of emotional growth in a way
he was never able to demonstrate before.
1034
00:54:52,122 --> 00:54:54,207
CUMBERBATCH: What he comes to realize
in that relationship
1035
00:54:54,291 --> 00:54:55,750
is he has to empower her,
1036
00:54:55,834 --> 00:54:58,961
he has to give up control himself.
It's not about him.
1037
00:54:59,045 --> 00:55:01,130
It's actually about somebody else.
1038
00:55:01,214 --> 00:55:05,301
Of course, being an egotistical hero,
he's scrambling around in every universe
1039
00:55:05,385 --> 00:55:08,429
for the answer for the weapon,
for the surgeon's knife
1040
00:55:08,513 --> 00:55:11,349
in order to save the day and not realizing
all the time
1041
00:55:11,433 --> 00:55:13,142
that the weapon is right in front of him.
1042
00:55:13,226 --> 00:55:16,108
It's someone who needs love, trust
and encouragement.
1043
00:55:17,063 --> 00:55:21,655
I think the lesson for Strange is really
how to be the best version of yourself,
1044
00:55:22,152 --> 00:55:25,363
and it's not necessarily
about self-perfection.
1045
00:55:25,447 --> 00:55:27,573
It can be about helping someone else
1046
00:55:27,657 --> 00:55:30,539
rather than thinking that
you can do it all yourself.
1047
00:55:30,994 --> 00:55:33,584
A real hero has to believe in others.
1048
00:55:33,913 --> 00:55:35,294
This is the only way.
1049
00:55:36,499 --> 00:55:41,254
RAIMI: He allows himself to believe
in America Chavez and she saves the day.
1050
00:55:41,338 --> 00:55:42,635
(GRUNTS)
1051
00:55:43,757 --> 00:55:46,717
And that's the beauty of
these comic books, these heroes,
1052
00:55:46,801 --> 00:55:50,726
is that they show us the people
that we can be, what we're capable of.
1053
00:55:53,892 --> 00:55:57,812
Wanda doesn't actually do the work
that maybe someone like Strange
1054
00:55:57,896 --> 00:56:01,691
is gonna eventually have to do, which is,
take a look at our surroundings
1055
00:56:01,775 --> 00:56:04,860
and how we treat one another
and find something that is in front of us
1056
00:56:04,944 --> 00:56:09,036
as opposed to what we are leaping
different universes for.
1057
00:56:09,741 --> 00:56:13,874
Where does it leave the MCU?
We've blown the lid on the Multiverse now.
1058
00:56:14,120 --> 00:56:17,123
PALMER: The Multiverse is going to be
so big in the future of the MCU,
1059
00:56:17,207 --> 00:56:19,542
primarily because of the events
of this movie.
1060
00:56:19,626 --> 00:56:20,960
After Infinity War and Endgame,
1061
00:56:21,044 --> 00:56:24,005
Doctor Strange was poised to be
the chief protector of the MCU,
1062
00:56:24,089 --> 00:56:25,131
but now, in this movie,
1063
00:56:25,215 --> 00:56:28,384
we see Doctor Strange become not just
the protector of the MCU,
1064
00:56:28,468 --> 00:56:31,934
but the protector of the Multiverse
within the Marvel Cinematic Universe.
1065
00:56:32,555 --> 00:56:36,814
What's compelling about where he's left
is that third eye opens,
1066
00:56:37,143 --> 00:56:40,609
and now there's this evil awakened
within him.
1067
00:56:40,730 --> 00:56:42,523
I think it begs the question,
1068
00:56:42,607 --> 00:56:49,118
is what makes Doctor Strange happy?
Could it possibly be not being a hero?
1069
00:56:50,490 --> 00:56:54,785
Marvel is always about finding
the humanity within the icon, right?
1070
00:56:54,869 --> 00:56:58,122
Finding the flaws beneath the cape
or the mask or the armor,
1071
00:56:58,206 --> 00:57:01,088
and learning about who the human
is inside it.
1072
00:57:02,919 --> 00:57:04,758
PALMER: Based on this ending,
1073
00:57:05,046 --> 00:57:06,839
who knows where that could take us?
1074
00:57:06,923 --> 00:57:09,638
Into the Dark Dimension and beyond,
I don't know.
1075
00:57:11,344 --> 00:57:14,930
RAIMI: We're trying to give the audience
a mind-expanding experience,
1076
00:57:15,014 --> 00:57:19,143
something that makes them talk
about the nature of reality in a fun way
1077
00:57:19,227 --> 00:57:23,527
and ask questions like great comic books
or science fiction can do.
1078
00:57:28,361 --> 00:57:30,613
I don't know about you,
but being here today,
1079
00:57:30,697 --> 00:57:32,745
I had an epiphany of sorts.
1080
00:57:32,866 --> 00:57:36,243
I realized that making a film is not
unlike conjuring another facet
1081
00:57:36,327 --> 00:57:37,578
of the Multiverse.
1082
00:57:37,662 --> 00:57:40,915
It's about creating an alternate reality
from the ground up,
1083
00:57:40,999 --> 00:57:43,834
where time and space can bend
any which way
1084
00:57:43,918 --> 00:57:47,760
according to the whims of those pulling
the strings behind the scenes.
1085
00:57:48,057 --> 00:57:52,358
I know that might sound a little lofty,
but well, I'm a lofty kinda guy.
1086
00:57:52,732 --> 00:57:57,783
This is Bruce Campbell saying farewell,
until we meet again in the next dimension.