All language subtitles for Avengers.Infinity.War.2018.Digital.Extras.1080p.AMZN.WEB-DL.DDP5.1.H.264-NTG

JAMES GUNN:
So, tell us about
how it all started.

JON FAVREAU: Oh,
it's all coming out tonight,
isn't it?

PEYTON REED: Ryan, did you
come down just for this?RYAN COOGLER: Yeah.

FAVREAU:
Seven directors here.
No shortage of opinion.

FAVREAU: I just like
the superhero stuff,

you know, I'm a geek
and I thought
it was supercool.

And I've even done
a bit part in one of
the Batman movies.

So, to me, it was...Which Batman movie
were you in?

It was in Batman Forever.

The Adam West one,
back in '66.

Yes, that's right.
That's right.

It was the early days
of my acting career.

No, yeah, it was
the Batman Forever,

the Joel Schumacher one
with Val Kilmer.

So, seeing all the stuff
from the comic books
was great.

And it was before
the comic book culture was
as mainstream as it is now.

What really hit was Elf.

Because Elfmade money,
and I was on a list of
directors that were hirable.

They approached me about it,

and there was not really
a script or anything.

They were working on a script, they had some story ideas.

And I didn't know
what I was going to do
with it,

but I thought
it was a cool concept.

At the time, Transformers
was being made.

So, I was real confident
that hard surfaces
would look good in CG.

I tended to not really always
buy CG at the time.

Let's face it.
This is not the worst thing
you've caught me doing.

I think, potentially,
Marvel's rise

coincided with the development
of CG, in a way.

I think so.And it was
more photo-real

so that comic book geeks
could go to
the movie theater

and appreciate...You could have
a dude fly...

I remember when I was little,
it was Superman.

And part of that was that
you could show Superman
flying in a way

that wasn't like
the old TV shows.

So, I always think
it's a matching-up of tech
with the material.

And then, of course,
the big thing was Robert.

Like, getting Robert in

and he's been
a really big through-line
through the whole journey.

I am Iron Man.

FAVREAU: It carried
a lot of us through,

and then also just great
casting decisions after that

that were, I think,
influenced by the sensibility
or tone

of hiring Robert
to play Iron Man.

Spider-Man is, like,
achingly sincere.

Batman is obviously glum...

But Iron Man,
the actual reveal was,

"Oh, he's sincere.
He cares now."

Like, when Robert is saying,
"I have to do this.
This is important,"

'cause he's been so glib,
and so good,

and so attractive
while he's being terrible,

that when he actually shows
his heart, literally while
she's pulling his...

FAVREAU: Yes. Right.

WHEDON:
For me, that was like,

"Oh, my God.
I'm so on board
with this guy now."

Was that so hard?

That was fun, right?

Hold on. I got it,
I got it, I got it.

Nice.

I had had a lot of training
being around
animated characters.

So when I came intoGuardians,

I was fortunate
to have had
that background...

FAVREAU: Sure. ...to deal with Rocket
and Groot,

because I had
two main characters
that were both CGI aliens.

Well, it's a character-first
table and I think that
that's what...

What we were
most impressed with
when we saw Iron Man

was the opening 10 minutes
of the movie.

That's a ballsy
interpretation of
a narcissist

who's presented
as a drunk and a jerk.

We'll be throwing
one of these in

with every purchase of
500 million or more.

To peace.

JOE: And this is the guy
that I'm supposed to get
on board with...

FAVREAU: Right.

JOE: ...who goes on this amazing journey over the course of the movie

and I do get on board
with him.

And I think
that that was unique.

If you look back
at superhero films,

there's a tendency
for the hero
or the costume

to outshine the personality
of the character.

And this was one of
the first times I can remember
the character first.

GUNN: Yes.

JOE: And that was
enlightening to us

and what excited us
about Iron Man.

FAVREAU: And very flawed...
The Marvel characters
are very flawed, generally.

JOE: Very flawed.

FURY: Sir! I'm going to
have to ask you to exit
the doughnut.

JOE: And that's what
I loved about him
as a kid.

And then reading
the books... I think a lot
of us read the books.

FAVREAU: And it allows you
to have arcs, too,

character arcs,
which is a big deal.

And that opens you up
to the mythic aspect of it,

which I think is really
the key of the success here,

just like it is withStar Wars or the movies that have endured,

is you have archetypes
and myth.

And I remember
when I sawBlack Panther

and there was the scene
where they bury him,

and it goes
through death and rebirth
and all that,

and I was, like,
"Oh, Ryan's reading
from the old book.

"He's... Now, I'm in,"
and sure enough...
And I was there.

Remember, I was there
the night of the premiere
with you.

Yeah, I remember seeing you.Most of us were there,
actually. Right?

That was kind of nice, too.GUNN: I think we were
all there. Yeah.

FAVREAU: Yeah.
That was really cool,

to be in the gallery
on the balcony with
all these guys.

And here was...The rowdy section.

And here was the new guy
who was coming out

and here you were
and you got up
to the plate

and you just caught that ball
and sent it over the wall.

And we were all look...
Because we all look
at each other.

It's one thing
when the crowd
goes crazy,

but they were all
looking over,

and we're all like,
"Yeah, all right.
All right."

That's crazy.He crushed it.

No, I was
in film school,

my first semester
in film school
when I saw Iron Man.

It's funny that you said
Transformerswas
happening at the same time,

'cause I can remember that
like it was yesterday,

like, the work ILM was doing,
you know, like seeing
the Transformers,

trying to see
Optimus Prime's foot

and seeing all
the gears spinning,

and then seeing
Iron Man's foot.

There were a few folks
that were heavy into comics,
you know what I mean?

Like,Iron Man hit a chord with us, like true comic book fann a way,

and I was there, actually,
the night that you guys
came out to the ArcLight.

FAVREAU: Oh, yeah?COOGLER: Yeah. I was...

FAVREAU: When me and Robert were running around?COOGLER: Yeah, yeah.

Man, like you were all wearing
Stark Industries jackets
and stuff.

Yes.I was there
with my classmates.

Man, I'll never forget
that night.

And we jumped in the front of
the theater.

Yeah. Yeah. Yeah.We were going from
theater to theater.

We were so happy
and relieved and the crowd
was so ready for it.

It was nuts,
just the energy
in there...

Yeah. It was so fun.
Yeah, it was.

You know,
I'll never forget that.

What lit us so up
so much
about that movie was

it's a part of
our creative process,

we've always run
at these opportunities

where you can take
two incongruous things

and smash them together.

Because it's just fun
to see what happens

on a creative level
when you do that.

So you had
this moment in time

where the visual effects
are taking fantasy to a level

that we've never had before.

While at the same time,
on a character level,

you're running hardcore
in the opposite direction

to something very real,
grounded, relatable,
tangible.

FAVREAU: And the irony is that the more focused and specific you make it,

the more universal
the appeal seems to be.

Because these are all
very specific titles,

and in some cases,
starting with real
obscure characters.

First off,
I'm a big fan.

Appreciate it.
So, who the hell are you?

I'm Ant-Man.

"Ant-Man"?What, you haven't heard of me?

I think with Ant-Man,
the main thing
I love about it is that,

I think of all the MCU stuff,

I always think of Scott Lang
as the real everyman,

a guy who does not even...

He may have known
that there was this

other world of heroes
or heightened individuals,

but it wasn't on his radar.

His concerns are very much
just about getting his own
life back on track.

And I mean, Rudd is amazing.

I think he's one of
those guys who can do drama,
comedy, anything.

I ruined the moment,
didn't I?Yes, you did. Yes.

I'm gonna make some tea.

CREW MEMBER:
We have a special guest
that is going to join us here.

FAVREAU: Here it is.

REED: Oh, no.FAVREAU: Hello.

REED: Oh, no, no.WHEDON: This can only
end in tears.

REED: No, no, no.How are you, my friend?

Who thought
this was a good idea?

So, Taika, since you're here,
why don't we talk a little bit
about Thor: Ragnarok?

Yeah? How'd you get
involved?

I assume that they just
scraped the bottom of
the barrel.

Then they lifted up
the barrel

and looked at all the things
that were underneath it,

and they said,
"Oh, this guy here,
he's desperate."

So, yeah, that's how
I assumed it happened.

WHEDON: I want to know
how they let you go
full Taika

for that entire movie.FAVREAU: True.

I was like...
That was so exciting to me

that it just kept just going
to the next level.

I think James had
something to do with that.

I feel like Guardians...

FAVREAU: He opened the door
a little bit. Yeah.

That opened the door
to a kind of anarchy

and just extraordinary
next-level humor.

A lot of the, sort of,
pitch thing
that I had was

a lot ofBig Trouble
in Little China

and the thing I loved
about that film
was Jack Burton,

all he wants in that film...

His only thing he wants is to get his truck back.

Something so simple
and all this crazy stuff
that was going on

and I don't know
if you've ever seen this,

someone cobbled together
this YouTube video,

all the questions
that Jack Burton asked

inBig Trouble
in Little China.

And it's five minutes long.

And it's basically
every question that
the audience is asking,

which is, "Who's that?
What is this thing?

"Where are we?
What are we doing?

"Where's my truck?
I want my truck back.
Who's that guy?"

And I thought,
"Yeah, with someone
who's from outer space,

"you can't really relate
to this rich kid Viking,

"and you want him to be
asking the questions
that you're asking."

And that was one of
the main focuses
on that film,

was Thor is always
on the back foot

asking the questions
that we're asking.

Was it weird for you to see
how your movie ended

and then how it dovetailed
into The Avengersfilm?

It felt like it was almost
a direct...JOE: Yeah.

Narratively? Yeah.JOE: It was
a direct hand-off.

A direct hand-off
to a very different tone.

It felt, really, not to be
that involved
in something else...

I felt very much like,
"Oh, this could be just like
a standalone little thing

"that could be deleted
really easily, in a way,
if I screw this up."

But, then... Yeah,

to have a link to
something else afterwards
was really...

Between your film, and with
Black Panthercoming out
so soon before,

I really thought
it captured the momentum.

I think that's probably

the most interesting thing
about the Marvel Universe

is this grand experiment
narrative. It's like
a giant mosaic.

Storytelling told by
a bunch of
different people.

And I think the audience has
also gained an ability
to understand the language

of how we shift quickly,
how there are
different voices,

how the tone can shift
dramatically,

and they appreciate it
because they're
constantly being surprised.

I think that's a big part
of Marvel's success.

WHEDON: Ragnarok,
for me, I loved...

'Cause I read Marvel
all the time,
since I was nine.

It was like when Gene Colan
would take overIron Man
for a couple of issues

and for two issues, Iron Man
looked like he was made
out of smoke

because that's how
Gene Colan draws.

And it would just be
a very different version
of what you love,

but you didn't go, like,
"Oh, they've ruined it.
It's not Iron Man."

It was exciting to see
somebody else's
interpretation.

I didn't have
a deep comic book
knowledge.

You understood it
in your bones

and you were able to bring
a comic book sensibility to it

that allowed it to open up
in scope, in size,

and give it a set of rules
that could bear out for
the rest of the films.

And then to see you pull
all that stuff together
and get laughs

and have the characters
feel consistent...

And when you're a filmmaker,
it's a very personal thing.

You are the steward
and the shepherd
over this whole thing.

Then you hand it off
and then
those characters live on

and move through the world
without you.

You're an Avenger now.

When he says,
"I am Iron Man,"

that was letting go
of the idea
of secret identities.

Because to have to tell
the stories that
we have been telling,

while somebody's hiding
from Aunt May
in the closet...

It's so hard to
keep it feeling real.It's hard.

FAVREAU: A lot of that
was Kevin,
to be honest with you,

like, we came up...
He was like,
"Yes, we should."

He latched onto that

and he latched very much
onto the Nick Fury setup
post-credits scene.

So there were certain things
that I would tell
that he wouldn't back...

That he would hear it
or come up with it
or say it, and then,

it was something that was
clicking for him
in the bigger picture.

Oh, I made a joke about,

"We should see them
all leaning forward
for 30 seconds."

And then,
two months later, he's like,
"I think we can do it."

I'm like, "Do what?"That was crazy.

By the way,
can we talk about that
for a second?

So you did
a post-credits scene
that you filmed,

was it after
the premiere even or...

Yes.FAVREAU:
It wasn't in the premiere.

REED: That's the legend
that they got.FAVREAU: That's crazy!

Yes. It did not go out
in Europe because we didn't
have time.

It was during... While we were
doing press after the premiere
at the hotel.

There was a shawarma place,
like, three blocks away.

He got everybody in there.

He had to cover...
Didn't he have facial hair?

WHEDON: Yep.FAVREAU: It was Chris Evans.

Evans had a beard.
So they put, like...

It looked like
the Warren Beatty Dick Tracy,

like, giant jaw on him,

and he just sort of
hid it like this.

COOGLER: That's also
someone I love.

Like, you hear
stories about...

It's like,
"Y'all gonna work up
to the last second."

But it's like
a double-edged sword.Yeah.

COOGLER: It's like, yo,
anything's possible

that you want to do,
maybe if you get
a late-in-the-game idea,

but you also are gonna
not sleep for four months,
you know.

And having Nate is great,

'cause I'm constantly asking,
like, "When did you all
do this thing?"

He's like,
"Oh, man, that was...

"I guess we were two weeks
from having the print master."

So, I'm like, "Okay, cool..."

FAVREAU:
It's not healthy.
It's not healthy.

COOGLER: Yeah, it's not,
but at the same time, I feel
like we all got those stories

where you throw
something crazy out

and then, Kevin is like,
"Yeah, we can do that."

I was editing
The Break-Up.FAVREAU: Yes.

In which you were
an actor.Yes.

And I remember you...
I think it...

Probably right around
the time

you were starting to prep
or develop Iron Man.

Could be.The idea that,
as a director,

"Here's something where
I want to take this
in-the-moment life

"and reflecting real
human dynamics, and put it
in a fantasy thing."

I really was excited to see
what you were going to do
with Iron Man.

It was cool
because you didn't...

When you do a comedy,
people judge your comedy

and ask you
to defend jokes
or scrutinize it.

Like in Elf,every joke
was up for discussion.

But the action sequences for
Elf,nobody cared about.

Like, I never got
any notes.

And you were very excited
about... "That's going
to be my domain.

"I can go and do this thing
and not be under this
comedy radar where..."

I didn't even know
that they...

I didn't even think they knew
it was going to be funny.

I remember when
we first screened it

and Kevin Feige was like,
"Whoa, this is pretty funny."

I'm like,
"Yeah, it's pretty..."

I think that Marvel has
developed into this
sort of Trojan horse

where you can come in
and tell these stories
that are real

and they're heightened stories

and they have their roots in science fiction and comics,

but you can also say a lot
about the human condition.

And they're able to
sort of walk this line
of some drama

that's pretty heavy
and intense drama

and then some comedy
that's like, I think, kind of
cutting-edge comedy

in terms of what's going on
in movies.

And it can be subtle.

In all of our films,
the comedy was snuck in.

But I think it was with
Guardians where it felt like

it could be called a comedy
first and foremost.

GUNN: We ran at it.

Dance-off, bro!
Me and you!

And then certainly
with Ragnarok.

I think Ragnarok
is a comedy,

whereas my movie was
a really funny space opera.

FAVREAU: Space opera.

Well, but it also had
some serious emotion
in it, man.

And it's emote drama.

The way you got
emotion out of
a raccoon

and out of a tree and things
like that, that was
really heartfelt and genuine.

I remember reading
your first outline
that you gave us

and it had a picture
of a Walkman.

GUNN: Yeah,
that was the first.

WHEDON: And at the end of
the first paragraph,
I was crying.

GUNN: Joss,
you were the hugest
influence on me

because I turned in
my first draft
of the screenplay

and I was really afraid,
because I felt good about it,

but I actually thought
it was too funny.

And the thing
that you said to me,
which I share all the time,

was, "Just make it
more James Gunn."

And I went home
and that's when I...

That night, after hearing
that, is when I went home
and wrote the 12% scene.

That's a fake laugh.

It's real.Totally fake.

That is the most real,
authentic, hysterical laugh
of my entire life,

because that is not
a plan.It's barely a concept.

Something that Marvel does
that is brilliant,

and it applies to all of us,

is that nobody here
necessarily had the resume

to make the next
big action film.

They were interested in
having that person speak.

They weren't interested
in saying,
"Look, just hit the marks."

They wanted each one of us
to bring ourselves
to the movie.

And you can tell,
as much as there's
a through-line in Marvel,

you can definitely tell
who's who

and what they constantly
want to talk about.

I got on set
and then I realized,

"This is the biggest thing
I've ever been on."

And I was like...
I had to stop myself
from freaking out

and talk to myself and say,

"There's a reason
that they've asked you
to come here

"and it's obviously not
because of your
experience in explosions

"and action sequences.

"It's because of
a tonal thing."
It relaxed me a lot more.

I'd come out to work
and I'm like,

"This is my strength.
I know my strength now.

"This is why I'm here.
To do this stuff

"and to make Chris
tell these
ridiculous stories

"about all the times
that Loki tried to kill him."

He transformed himself
into a snake and he knows
that I love snakes.

So I went to pick up
the snake to admire it

and he transformed back
into himself

and he was like,
"It's me!"
Then he stabbed me.

We were eight at the time.

I remember
when I first started talking
with Marvel and stuff,

you guys were in post.

And making a film where
your lead actor has been cast
by somebody else is scary.

You know what I mean?
It terrified me.

And I knew
Chadwick was crazy talented.

And I didn't know him
at the time yet.

And I remember
just seeing him

and seeing the decisions
that you guys had made,

it went past me
like a sigh of relief for me
when I made the movie,

but it took me
to being a fan again,
a kid again,

and feeling like
you're in on something.

My generation...

Star Warswas something
that had happened
before I was born.

So, it's like somebody's dad,
you know, if my dad
was into Star Wars.

Somebody's dad was like,
"Yo, check this out.
Harrison Ford is there."

But for me,
I know Harrison Ford
from The Fugitive.

This is something
that he did
before I was around.

Like Rocky Balboa.
I know Sylvester Stallone
from Cliffhanger.

"What's he doing
with these
boxing gloves on?"

That's what his
whole thing is,
you know?

That'll be something
to tell my kids about,

the first time I saw Chadwick
as the Black Panther,

the first time I was
in the theater when
Robert Downey showed up

and put the Iron Man suit on.

So all those things, you feel
a sense of ownership over.

It's something
I could never
thank you guys enough for,

that you guys were competent enough to know who the guy was, to find him.

It just laid the groundwork.

There was a little bit of
Hamletthere.Clearly. Yeah.

But also, we're looking
at The Godfather.

And it was crazy
because I got a chance
to meet Francis.

He watched the film at the ranch while we were still with friends and family.

And I'm just like...
I was sick with nerves.

FAVREAU: What'd he say?Like, out of my mind, man.

I'm nervous
just hearing about it.Yeah.

After the movie was over,
he was just talking like this,

he's giving me notes
faster than I could write.

He just started naming
all of these movies

and all of these books
that I needed to go read.

That related to...That related to like,
you know, he...

So, what was
he calling out?
What was he...

COOGLER: Well, he was like,
"Have you seen Brigadoon?"

I was like,
"No, I've never seen
Brigadoon."

He was, like,
"Whoa, man, you've got
to see Brigadoon

"'cause you've got
this thing
going on in this."

And he said,
"Have you ever read
Shahnameh?"

And I'm like, "Shala-what?"

And he's like,
"Oh, you've got to read
Shahnameh."

It's this Persian story
about these kings

who had sons
who have to inherit
the throne.

And it was
a big inspiration for him
with Godfather.

And for us, we kind of saw
Chadwick's character
as Michael

and his father was Don.

And he's got to fill the shoes of this great man

who's also his father.

So he's just rattling off
all of this stuff.

And you realize it's like,
"Yeah, man, everybody
pulls from everything."

They do.

And the writers
of the comic books
did, too, I'm sure,

because they were
churning out
so much stuff.

What movies were you all...
Were there any
touchstone films?

I mean, for me, Rocket is
Frankenstein's monster.

FAVREAU: Right.

GUNN: He is this
little creature that was
this innocent animal

who was turned
into something that isn't
what he was supposed to be

and is completely alone
and completely lost,

and has no connection, has no tenderness from anyone.

To me, that was the seed
from which
the entire story grew.

JOE: Part of, again,
the passing of the baton is,

as storytellers,
we look at that and go,
"Oh, interesting."

We have somewhere
really dynamic to go
with this character

who never emotionally
connects,'cause it's not
part of his DNA.

What happens if you put him
with this incredible sad sack

who's lost everything
in his life

and has no other choice
but to win or die?

I assume
you're the captain, sir?

You're very perceptive.

You seem like a noble leader.

Will you join me
on my quest to Nidavellir?

Let me just
ask the captain.

Oh, wait a second, it's me.

Yeah, I'll go.Wonderful.

We needed to create
a situation
where you really believe

that Thor was going to
kill Thanos.

That was
the story of the film,
his journey to that.

And it's like
that extreme level
of suffering

that that character
has gone through,

beginning at the end of
Thor: Ragnarok,

and then carrying into
the beginning of
Infinity War,

where this guy
has just lost everything.

And it's that level of
sadness that imbues him
with that underdog quality

that then becomes the heart
of the movie
and you start to root for.

And you believe the energy
that's going to carry you
into the climax.

So, that pairing, I think,
was very interesting
on that level

because they sort of
share that DNA.

So, dead brother, huh?
Yeah, that can be annoying.

Well, he's been
dead before.

There's a belief out there
thatsomehow, over the past
however many years,

we sat in a room
and we came up
with this long big story

that all leads to this
one thing, and it's just
not the way it is.

FAVREAU: It's not, but it...It's much more
like what you say.

FAVREAU: But it kind of is
in a weird way, and a lot of
it's Kevin. Right?

COOGLER: Yeah.

FAVREAU: All kidding aside,
I mean, there was...

Yeah.He's a constant.

There was a map on the wall
behind Tony Stark
and Nick Fury

at the end ofIron Man 2
that had Wakanda on it,

and all those things
that I always thought

were just Easter eggs
and fun for the fans,

but he must have been keeping his journal and having the through-line of one person

that really would come in
and not just be an executive,

but actually have a creative
point of view that you could
go back-and-forth on.

And it wasn't always top-down,
"You must do this,"

but there were things
he would question.

There were things
that he would push on.

And I think part of that
creates consistency

of at least knowing
what everybody else
was up to.

And then, I think,
you all took it
to the next level

where you all were,
especially, I think,

now more so than ever,
on the newAvengers films,

where you were
very involved, right?

It was like
an open-door kind of thing.

I would drop by
and see you guys
at different points.

And you guys would come in
while we were in production
design meetings.

I remember that was
a couple days there.

I remember
when we came over to
see you, by the way.

You were shooting and Taika
was shooting at the same time,
and you were both...

You were building
a whole universe

and he was
completely re-toning
while we were shooting.

So we were trying to absorb
information from both of you

in a way
that I think is...

Again, we've all...
I think we've all made
standalone stories as unique.

What's fascinating about
Marvel is the new form
of storytelling.

It is this giant band
of people playing

and passing
instruments around
and trading licks

and we're trying
different things
with tone

and different things
with humor,
drama, thematics...

On a very big
cultural canvas

in a way that has never
been done before.

And I remember
when we came over
to see you,

we spent two hours with you
and your creative team.

And you guys were just
pitching out the vision.

I remember
we walked out of there
and I went,

"He is building
to the level of detail
of a universe."

That's crazy, by the way.
Let's just take a minute.

It's interesting because,
in a way, yes, you inherited
the character,

but most of us,
we inherit the world
and build a new character.

You inherited a character
and built the world

and also a villain
that got all the attention

that any hero would get.

And a completely
fleshed-out set of
motivations and backstory.

And then that world, when it
opened up and peeled back,
it was fully formed.

It felt completely consistent.

And then, by the way,
when I saw that Wakanda
in your film,

I didn't feel
the differentiation.

When we did
the post-credits scene for
Thor onIron Man 2,

that was shot by Branagh.
I didn't do that sequence.

And so, it felt like
part of Branagh's film.

But what's happening now is
all the Guardiansstuff

felt completely consistent.

I think that these guys
have got
a good sense of

what those characters were.

I didn't ever have an ending
for what Guardians 2
was supposed to be.

I didn't have a single story point that was ever discussed with Marvel

before I wrote the story.

So where that movie ends up,
with Nebula going off
and doing her thing,

that's what I mean by,
people, we kind of do
our own little thing.

We write our own little story
and then it goes off
to these guys.

And I gave
these guys a script
very, very early on.

And they said...

For Guardians...Okay.For 2.

And they were like,
"That's perfect,

"because that works great
for us
with where Nebula is,

"what we want to do
with the story."
And it goes off.

And I think that is the fluid nature of the Marvel Cinematic Universe.

It's that moving
from story to story,

letting a Russo brothers movie be a Russo brothers movie.

Letting a Ryan movie
be a Ryan movie.

Letting a Peyton movie
be a Peyton movie.

But still being true to
the nature of those
different characters

and paying heed
to what came before.

Because you do have to respect
what happened before you.

We've had this whole dance
with Ant-Man,too.

Because we did Ant-Man,

I remember
when we were in post

and you guys, I assume,
were writing and developing Civil War,

and I remember
showing you stuff
that we had done

for when Rudd's breaking in
and seeing the suit and stuff

just to get an idea of
how he was playing
Scott Lang...

Nice.

REED: ...knowing he was
going to be worked into
Civil War in some way.

Oh, this is awesome.
Captain America.
I know you, too. You're great.

REED: And then, of course,
you just came across...

"Wait, are we supposed to be
getting a Giant-Man reveal?

"Wait, wait, hold on.
Let's discuss
this thing, man."

And at a point, I think,
maybe Wasp was even
going to be in at one point.

She was.Yeah, early on.

She was also going to be
in Avengersat one point.

REED: That's right, yeah.
Yeah, yeah.

So, I wrote, like,
a whole draft. Wakanda was
going to be in Ultron.

And then we kept, like,
"Well, it's at the gates.
It's by the..."

And then we started
referring to it as "Wakinda."

And then, finally,
we were like,
"Let's just wait on this one."

Well, you start to figure out,
like, how much can this
one movie contain.

I don't think these guys
asked that question
last time.

The fact that you took
all of those worlds
and people

and made it all matter
and made it all flow.

ANTHONY: There's something terrifying about it when you look at it at first.

But therein lies
the opportunity,

because you know
you have to go somewhere
where you weren't expecting

and that you don't have
a lot of road-map for.

And that's the fun of it.

JOE:
And what's amazing about it,
and this is unique, again, is

it is a united artist

and everybody's standing
on everybody else's shoulders.

What Marvel has done
is hired a group of
very passionate people.

And we're passing off
challenging concepts.

Like, you were
talking about,

you receive things
in a way where you go,
"Oh, that's amazing.

"We can do something
with that.
That's really incredible."

And it's a different form of
having, for 20 years,

told linear,
close-ended stories...
This is exciting to us.

Ant-Man and the Wasp,
when we were talking
about doing a next Ant-Man,

when you have
every possibility there,
that's really daunting.

But what happened
in Civil War

gave us a really natural,
organic starting-off point.

It really suggested, like,

"What are the ramifications
of Scott Lang going off
and taking that technology

"and exposing it to the Avengers, and particularly to Tony Stark?

"That's Hank Pym's worst
nightmare. How's he going to
react to that?"

And that instantly gave us,
like, "Oh, okay.

"Maybe these characters are
going to be fractured at
the beginning of this movie."

It really gave us a really
organic starting-off point
to do this movie

that is a story,
a standalone story,

that fits very squarely in
the timeline in ways that
the audience will discover.

For me, so much of the center
of the Marvel Universe

has to do with the space
between Avengers
and Winter Soldier.

Because Avengers,to me,
is the ultimate
comic book movie.

Like, I went to that movie
and I would go,

"This was what was
in my brain when I was 11
and readingAvengers comics.

"That was better
than what the comics were.

"This is the ultimate
superhero movie ever."

And thenWinter Soldier
came along and said,

"It's not really
a superhero movie.

"It's kind of a 1970s
paranoia thriller."

FAVREAU: Well, I think
that's the trick.

And going into
making genre films...That's right.

...is what has been...
Different genre films.

I also think
you guys defined

not just the costume,
but Cap,
for people, I think.

I think First Avenger
is great.
I really enjoy that movie.

I enjoyed working on it
and, obviously,

I loved working with him,
working with that character.

But I feel like
Winter Soldieris when

he got locked in
and became sort of
the heart of...

If Tony's the head, Cap is
the heart, and in a way
that he hadn't been before.

And I also think, yeah,
going to genre, grounding it,

having action set-pieces
that are tons of practical,

but mapped out
really beautifully.

Because there can be...
If you're doing
a giant space-epic,

there can be a moment
where you're like,

"Just throw your arms about
and we'll add some CG people
that you're punching."

Like, you can do
the vague version.

Try not to do it
as often as possible,
but you can.

AndWinter Soldier
had that extraordinary,

exciting, down-to-the-ground
kind of action.

Engine room secure.

The biggest fear for us
was to make something
that was frivolous.

That was my biggest fear.

The theme of identity,
as it relates to culture,

should be something
that is at the heart of it.

There was also
this idea of nationalism.
"Am I my brother's keeper?

"Is it my duty
to just take care
of my own,

"or do I have
a responsibility
to people over there?"

And it was about Wakanda's
answer to that question.

"Am I my brother's keeper?"
being, "No."

And then going on
the journey to it
becoming, "Yes."

So that's what
we were aiming at.

We didn't know
if we were going to
connect with it,

but every day
we were aiming at it.

And fortunately,
when we pitched these themes,

Kevin, Lou and Victoria
and Nate,

they were like,
"Yeah, let's go.
Let's do it."

GUNN: So much of
the secret has to do
with Marvel Comics.

I mean, it really is
what Marvel Comics
always did.

They had these stories with
characters that continued
from one story to the next.

They were all very different,
individual stories

that somehow were all
part of the Marvel Universe.

So, in one way,
there's nothing new
about any of this.

It's just taking what were
comic books and putting them
into movie form.

And like you said so clearly,
it just so happened that

when Iron Manstarted,
it was a movie that somehow

finally had caught up
with technology,

so that we could watch
a superhero film

and it could be like what
we imagined when we were
reading comic books.

I'm just
incredibly grateful.

Iron Manwould have been
a little chapter,

like a little footnote
in history,

but because of all the work
everybody's done,

and each film sort of builds
upon the other ones
that came before it,

it's still relevant now
through the voices
of everybody here

who has worked on it
and others who aren't here

and the people at Marvel
and Kevin.

JOE: I think
it's interesting
that all of us, I think,

showed up at the moment
that we needed to show up
in the Marvel Universe.

You kind of go back
and look at it,

that everyone played a part,
in a way,
that built this mosaic

and in a way
that's completely
unpredictable.

And I don't know
of any other way
it could have been built.

Because you're worth it.

Ohh!

Rolling.

I'm Doctor... Ugh...
I'm Doctor I-Can't-Walk
at the moment.

Yep.I'm in.

Yeah?

Flying about 80 miles an hour.
Just a big chocolate missile.

Hey, Russo, you want me
to go Jamie Foxx on this one?

Oh...

Everybody put on
your sunglasses.
Denzel's coming out.

I'm going full Cheadle
on this take.

JOE: Oh.
Don't give 'em full Cheadle.

Full Cheadle.

I know you have
found something.

A sense of peace.

Okay, now you are
going too far now.

We don't trade lives,
Captain.

I told you to go.

- We need to destroy...
- you, Ruffalo.

How long do I stand here
overacting for?

Oh, yeah. Okay. Oh, my God.
This is going to be
some bad acting now.

Supercalifragilisticexpiali-
nano.RUFFALO: ...expiali-dada.

Hold on. There's a fly.

God bugs!

Who are you guys?

Why was she up there
all this time...

Was that good?

Upload by 100Malay
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Mr. Stark.

Captain.

KEVIN FEIGE: There is
just something awesome
about seeing these

different franchise heroes
interacting with each other
for the first time.

BANNER: Who are you?Natasha Romanoff.

The notion of seeing
characters who you've grown
to love in their own movies

walking into another movie
for the first time,

there is just something
that is satisfying.

We haven't really seen that
since the firstAvengers.

Avengers: Age of Ultron introduced some new characters

within the body of that film.

Captain America: Civil Warintroduced Black Panther
and Spider-Man.

Hey, everyone.

And then,
here we are years later...

...doing Infinity War.

ROCKET: Wipers! Wipers!

Get it off.

How the hell
is this dude still alive?

He is not a dude.

You're a dude.

This... This is a man.

A handsome, muscular man.

I'm muscular.

We're doing something
the fans have wanted
from day one.

Who the hell are you guys?

Ever since the very beginning
of getting the job as Drax
in Guardians,

I was really wishing that
the worlds would collide.

We like to combine things
that don't seem like
they belong together.

I feel your pain.

I feel your pain as well.

JOE: The exciting aspect
of the film

is that we're gonna take
all of these characters

from different franchises
in the Marvel Universe

and we're gonna
put them together.

Tony Stark.

I'm Doctor Stephen Strange.
I need you to come with me.

I'm sorry, you giving out
tickets to something?

The "Strange Alchemy"
is a phrase that we came up
with in the writers' room.

"Which characters
can we put together that
audiences are excited to see?"

What is your job exactly?
Besides making
balloon animals.

Protecting your reality.

"How do you combine all these
different tones, all these
different characters,

"and how do we balance it?"

What exactly is it
that they do?

Kick names, take ass.

Yeah, that's right.

JOE: That's gonna create
the most spark

because conflict between
heroes can be entertaining.

What are you doing?Taking your pod.

No, you're not.

You will not be taking
our pod today, sir.

Are you making
your voice deeper?

We had the opportunity
to bring all of the
Marvel Universe

practically together.

RHODES: You guys...

really look like crap.

TRAN: I think
those small little
character moments

are what makes
Marvel movies so special.

Where's your guy?

Dude, you're embarrassing me
in front of the wizard.

T'CHALLA: Today,
we don't fight for one life,

we fight for all of them.

JOE: So, the greatest test
that these characters
will ever face,

they can barely
face it together.

DR. STRANGE:
We're in the endgame now.

We are embarking on something

that is much bigger than we've ever embarked on before.

Where's the fight?

On its way.

It's a collaborative thing
where you've got

that many people pooling
their talent together.

That's really something
to enjoy.

I am Spider-Man.Dr. Strange.

There was sort of
a camaraderie between us.

They all make each other
better in the scenes.

PETER: Who are you?

We're the Avengers, man.

THANOS: The end is near.

There's never been
anything like this.

Ready?

Let's go.

FEIGE: It's fun putting people

who have no business being on the same planet together...

This is a friend of mine.

...much less,
the same room together.

I am Groot.

I am Steve Rogers.

FEIGE: The amount of actors
in this film is staggering.

How much for the gun?Not for sale.

Okay. How much for the arm?

Just look around.
It's like, "Oh, wow.

"There's all this potential."

Thank you
for standing with us.

Everybody knows this has
all been leading to something.
Well, this is it.

Everybody wants the characters
uniting for a big battle.

PROXIMA MIDNIGHT:
You'll die alone.

BLACK WIDOW: She's not alone.

That's why
we make these movies.

That, to us, is the fun.

You're an Avenger now.

Wakanda forever!

GAMORA:
The entire time I knew him,
he only ever had one goal.

To bring balance
to the universe

by wiping out
half of all life.

He kills people
planet by planet,

massacre by massacre.

Tell me his name again.

Thanos.

Thanos has been lurking
in the shadows of our universe

sinceAvengers one.

We see a glimpse of him
inGuardians of the Galaxy.

I will bathe the star ways
in your blood.

FEIGE: We see a tiny glimpse of him at the end ofAge of Ultron.

He has had his hand

in every action
that has occurred
on a grand level in the MCU,

all surrounding his desire to obtain these Infinity Stones.

Someone has been playing
an intricate game
and has made pawns of us.

GAMORA: If he gets
all the Infinity Stones,

he can wipe out
half the universe

with the snap of his fingers.

Just like that.

The Stones are spread out
throughout the franchises.

We're building
every one of them into
this epic, colossal event.

STARK: So, this is it?

It's all been
leading to this.

Josh Brolin is bringing
a new iconic villain to life.

Thanos is a very
complex character.

What he's doing,
from his point of view,
is a very positive thing.

He's basically
an eco-terrorist,

and he wants to eliminate
50% of the universe
to save the other 50%.

We wanted to tell a story
about a character

with a really complex
and empathetic interior life.

And there's not a lot of
actors that can give you
both of those things.

D'ESPOSITO: Josh Brolin brings a reality to the character.

He's wearing that mocap suit,
he's wearing
motion capture cameras.

The performance
is coming through,

not only in his gestures, in his face, but in his eyes.

VICTORIA ALONSO:
There's about 2,900 visual
effects shots in the movie.

We wanted to make it
as photographic as possible.

And I think that that's
the most important part.

Oh, my God.

MANTIS: What happened?

GAMORA: Death follows him
like a shadow.

That's who Thanos is.

You seem to know
a great deal about Thanos.

Gamora is
the daughter of Thanos.

Infinity Warreveals
this whole new world

that Nebula and Gamora
have been running away
from for years.

GAMORA: Nebula!

THANOS: Some time ago,
your sister snuck aboard
this ship to kill me.

So I brought her here.

To talk.

His relationship with Gamora,
it's quite emotional.

I ignored my destiny once.

I cannot do that again.

Even for you.

D'ESPOSITO: What makes Thanos so great is his conviction.

This is the only solution.

He's seen it firsthand
on his planet.

THANOS:
Titan was like most planets.

And when we faced extinction,
I offered a solution.

Genocide.

What I predicted
came to pass.

Congratulations,
you're a prophet.

I'm a survivor.

Tony knows just by the way
that Bruce Banner
describes Thanos,

it's a different game now.

BANNER: He sent Loki.

The attack on New York,
that's him.

He has the biggest army
in the universe,
and he is not gonna stop.

Just his sheer force
is something

that none of the Avengers
has ever encountered before.

Thanos has been
inside my head
for six years.

So I say we take
the fight to him.

JOE: Heroes are only
as good as their villain,

but if the Avengers
were built for anything,

it's for stopping Thanos
from completing his goal.

THANOS: Fun really isn't
something one considers
when balancing the universe,

but this does put a smile
on my face.

Oh, man.

Thanos is the greatest villain

in the history
of Marvel Cinematic Universe.

The hardest choices require
the strongest wills.

I think you'll find our will
equal to yours.

Imagine if
our heroes all lost.

You should have gone
for the head.

No!

The Marvel Cinematic Universe
will never be the same.

Oh, God.

He did it.

What did it cost?

Everything.

Avengers 3is by far and away
the most intense
of all three films.

Part of the reason why
we were drawn to tell
the story of Civil War

and one of the reasons
why we thought

it was such a great place
to leave the Avengers divided

was because we knew
the greatest threat
they would ever face

would be coming in Thanos.

For storytellers,
you want your heroes
to be at their lowest point

when they meet
their worst threat.

The hardest choices require
the strongest wills.

I think you'll find our will
equal to yours.

JOE: This film was taking
all the characters

from all the
different franchises

and putting them together
in one movie
for the first time.

It's about as massive
a production
as you could mount.

We need a plan.
If all we come at him
with is plucky attitude...

Don't call us plucky.

We don't know what it means.

We were in production
all year on Infinity War.

It's the largest
global shoot
we've ever had.

Joe and Anthony have
the stamina to do two films,
back-to-back.

It's very difficult.

Moving on to a clean pass.Okay, back to the other set.

Something this big
isn't daunting to them.

And they're the
perfect combination
of structure and freedom.

Do what you want to do
on this first take,

and then we'll start
to tweak it from there.

The Russos elevated
the franchise,
even past its inception.

Who are you guys?

Sorry.

We spent a lot of time
with Joe and Anthony,
Markus and McFeely

creating storylines
that really allow these
characters their moments.

Action!

If he gets his hands
on all six stones, Tony...

He could destroy life
on a scale
hitherto undreamt of.

Did you seriously just say
"hitherto undreamt of"?

You really look
at how all the characters
interweave

into the main arc.

ANTHONY:
The connective tissue that
pulls our entire MCU together

is the fact that the Stones
are spread out throughout
the franchises.

JOE: The exciting aspect of the film is that

we're going to take
all of these characters

from different franchises in the Marvel Universe

and we're going to put them
together to stop Thanos
from completing his goal.

It takes months
to plan sequences
like Titan.

Titan, we shot
that exclusively
on a sound stage.

DAN DELEEUW:
Beautiful set built
by Charlie Wood,

our production designer.

There's green screen
in the background.

All that extension will be
from plates that we went
to Chile and shot.

VICTORIA ALONSO:
This entire movie
is one big CG scene.

The environment is CG,
the weapons are CG,

every shot is dense in layers.

We were pushing colors
in both locations,

more green and yellows
in Wakanda,

and more orange hues
and red hues in Titan,

so that we could
distinguish the two
as you're intercutting them.

It was a constant challenge
to see, how do we keep
this photographic enough?

We wanted to have
that apocalyptic look

that both Joe
and Anthony wanted.

That it was the end of an era.

Heroes are only as good
as their villain.

And we spent
a lot of time and energy
on this one

making sure that Thanos
was the most intense
and the best villain

that the Marvel Universe
has seen.

We had had
an initial meeting,
me and the Russos,

and it was incredibly helpful.

I felt like they cared deeply.

MATT AITKEN:
Thanos is entirely digital,

so we have Josh Brolin
performing him on stage.

SWEN GILLBERG: We record
all the positions
of all their joints,

and we record their motion.

We've dotted up his face,
and basically
those two cameras give us

a three-dimensional solid
of his face
in very fine detail.

The performance
is coming through,

not only in his gestures
and in his face,
but in his eyes.

You're much more of a Thanos.

I take it the Maw is dead.

This day
extracts a heavy toll.

The battle between
Thanos and Dr. Strange,

that was all previz.

And the way
we work through that

is probably that sequence
was twice as long
as it ended up in the movie,

so we shrunk it.

Once we agree
on what that sequence is,

the only element
that is missing
from a sequence like that

is Benedict Cumberbatch.

We'll then go shoot
Benedict Cumberbatch,

but everything else is
already turned over
to the VFX vendors,

so they can get to work
on Thanos' side of it

and everything else
around Dr. Strange.

You're full of tricks, wizard.

Action sequences
are very difficult.

Every action sequence
is used
to illuminate character,

who the character is,
what they're made of.

You never once used
your greatest weapon.

A fake.

Those battles usually start
with either the stunt team
or the VFX team.

Yes, sir!

We owe it to Sam Hargrave
to create these
amazing stunts for Titan.

We got a room full
of movie stars.

We've got three
franchise-carrying
actors here.

This is our first day.

Here we are in Pinewood
in Atlanta, and it's actually
pretty unbelievable.

You can actually engage
in this collaborative,
creative conversation

about what should this
look like.

We would show them
our previz material

just to let them know, like,
these are the certain things

that you would be working with to get to this final product.

It's going to look awesome
when Chris does it.

JOE: Every character,
every hero involved

has to use
the highest level
of their power

just to stay on the
battlefield with him.

The big two.
Thanos versus Iron Man.
This is the showdown.

This is what it's all about.

This is what
the whole movie's
leading up to right here.

We've got
Robert Downey, Jr.,
Josh Brolin,

going hand-to-hand,
right here!

THANOS: Stark.

How do you know my name?

I know your soul.

It is much like mine,
cursed with knowledge.

My only curse is you.

Iron Man has been battling
for six years now

the shadow of Thanos.

He has been waiting
for this moment.

All that for a drop of blood.

We knew we were going
to a place in the story

that audiences
wouldn't expect.

And then I drive him
back like this,

pin him down like that...

Yes or no?Yeah, I like it.

It was our intent
in this movie to play
against your expectations.

MAN: Action!

You have my respect, Stark.

When I'm done, half of
humanity will still be alive.

The movie
sort of keeps twisting
at the end there

in ways that you can't believe that it's going one step beyond,

and that the fate
of our characters

and the fate
of the universe
are still at play.

Mr. Stark?
I don't feel so good.

Peter Parker uses
all of the strength
that he has as a hero

to fight against disappearing.

You're all right.
You're all right.

JOE: It allows him
to last longer
than some of the others.

The emotional experience
that the characters
are going through

as they experience that
is where the power lies.

Please, I don't want to go.
I don't want to go.

DOWNEY JR.: The Russos realized how you had to bring it to the next level

and also have it have
a great surprise.

I'm sorry.

D'ESPOSITO: Never seen our Avengers really lose,

and they lost,
and it's quite emotional
to see that.

Where is he?

McFEELY: It's a big,
epic movie,

and stakes are high,
with characters that,
hopefully,

because since 2008
you started to love
these people,

you really care about.

And that's the
grand experiment.

Did we just lose?

Rarely, especially
in Avengers 3,

do commercial movies
go to the place
that this film goes to.

Quill?

Oh, man.

Why would you do that?

DR. STRANGE:
We're in the endgame now.

You murdered
half the planet.

A small price to pay
for salvation.

JOE RUSSO: The level of
ambition withAvengers 3
is unprecedented.

But that was the reason
that we wanted to do it.

ROBERT DOWNEY JR.:
Infinity War is nuts.

The difficulty in executing it
was so well thought out.

A lot of things have to
kind of fit into place,

and that's just
a tricky target to hit.

This is D-Day, man.

People don't understand what
they're walking into
with this movie.

This is not going to end well for a lot of people.

KAREN GILLAN:
The stakes are very high,

and we are going
to say goodbye to people.

The whole thing
is just gigantic.

Through the experience of
working with Markus
and McFeely on Civil War,

we knew that there was
a culmination coming.

But how do you combine
all these different tones,

all these
different characters?

And I think the way
we end up balancing it

is we always try to ground it
in an emotional truth
for the character.

If we take out the stone...

there's still a whole lot
of Vision left.

Perhaps the best parts.

Can we do that?

Not me, not here.

I know somewhere.

It felt like
there's a lot of substance

behind them coming to Wakanda.

We've seen Wakanda
as a powerful nation,

but we've also seen it
have to battle with itself.

And so being a part of this
major moment for the Avengers,

it felt like very significant
storylines merging.

ROGERS: Seems like I'm always
thanking you for something.

I think the men really respect
each other and have similar
moral compasses,

and are eager to be there
when the other person's
in need.

He just happens to have
a whole army.

Where's the fight?

On its way.

For our 19th movie,
ten years in the making,

the Russo brothers really
wanted to create
this big, epic battle

that was worth the biggest,
baddest villain and his army.

Probably the most physically
challenging thing
that we've ever done

was execute
that Wakanda sequence.

The scope is gigantic
on this movie,

and it's the largest battle
that we've ever done.

Thank you
for standing with us.

We shot Wakanda
in a practical location.
It was a big ranch in Georgia

that we transformed
into the fields of Wakanda.

DAN DeLEEUW: Working with
the Russo brothers,

the main theme is, they want
to keep everything grounded.

So art department's gone in
and basically built a river

and has dressed in a lot of
trees that are more indigenous
to Africa.

Charlie Wood and his
art department actually carved
an artificial river

through the center of this field,

and we had a gigantic pump that could do like 30,000 gallons a minute.

It was very elaborate.

We want the scope to be huge.

So what we're doing is, we're using a set as the center of the war scene,

and then anything you see off in the distance we're actually replacing

with plates and textures
from Africa itself.

We actually had to work
in tandem with Ryan Coogler.

He and his team had
maps of Wakanda. That was
very helpful to us,

so that we could look
at where we wanted
to place the battle,

understand strategy.

So it's literally
like doing a Jenga puzzle.

The way the Russos work,
they're willing to try
different things.

There was a lot of input,
and we could share how
we would express ourselves,

what war cries we use
as Wakandans.

We have another one
that's more aggressive

Okay, what's that one?

It's mie effa,
which means "win them."

Sie effameans
"separate them."

And they just go...

You get
the actors involved,

and of course they know
their characters better
than anybody.

They have great input.

When you say it,
it's the greatest

"Wakanda forever"
you've ever said,

because this could be it.

You know, it became sort of
the cadence of the whole set.

People walking around saying,
"Wakanda forever!"

Wakanda forever!

We're gonna clash
the Wakandan army
with the Outriders.

Where good meets evil, and they battle.

It was really amazing
to see the vastness
of the battlefield.

It made sense that this is
the sort of battle
that could end the universe.

You definitely kind of catch
yourself looking around

and you have goosebumps.

We've got the Wakandan army,

so we have 70 extras here on set, and then stunt people.

We'll do digital versions
of those, so we can create
the art for those 70

to take them out to about 500.

Then we've got the Outriders, which are Thanos' beasts.

There's 10,000 of those.

VICTORIA ALONSO:
There was a lot of thinking
into the texture,

what they felt like,
what they looked like,
what the teeth looked like.

They had to pose
a real threat.

Why was she up there
all this time?

A lot of our action is based
around character decisions
and moments.

Less punch/jab/cross/uppercut,

but it's more of the things

of, "What are you going to
remember about
the character?"

Combination attacks
working together.

That's our goal,
it's to give you moments
and less choreography.

One of avorite moments
is when Proxima tells
Scarlet Witch...

He'll die alone. As will you.

She's not alone.

In a real,
real moment of threat,

there's two other women there, standing by each other.

It's really great to see
that the audiences
are embracing

really strong female superheroines.

That is one of the biggest
cheer moments in the film.

Coming into Infinity War,
admittedly I was
a little hesitant

because I just was so
protective of what myself
and Taika sort of built.

And I said, "Well, you know,
it's not
the old Thor anymore,"

and Joe said, "No, no, we know."

And Anthony said, "Yeah, we get it,

"but we've got something different in mind as well."

And they were right. They had a whole new version of it,

and one that was equally
as enjoyable
as that last Thor film.

New haircut?

Notice you've copied
my beard.

Pretty good.

Evans was a bit off,
but I think
mine sounds good.

In Atlanta, you get days
like this, which are amazing,

that just resonate what we're
trying to get with Africa.

And other days
you'll get the rain.

MAN: Oh, God.

ALONSO: We had a lot
of different weather issues.

We had rain, sun, fog,
cold, heat. We had it all.

TRAN: The weather was one of the biggest challenges,

because it would just be
pouring and there would be
mud just sliding down

as we're trying to get
our talent up to the field.

And it was incredible.

DeLEEUW: We do
the best we can.

We try to cover actors
for close-ups
and shoot the close-ups,

and then hopefully the next day we get a shot, you know, a day without rain.

TRAN: So when Thanos
shows up,

we really wanted to make this
the most powerful moment ever.

Eyes up, stay sharp.

The movie sort of keeps
twisting at the end there

in ways that you can't believe that it's going one step beyond,

and that the fate of our characters

and the fate of the universe
are still at play.

In terms of our choices

about who Thanos would end up
eradicating with his snap,

it was very story focused.

How do we pay off each
individual character's
storyline most profoundly?

Steve?

The first person to go
is Bucky Barnes,

and it's shot from Captain America's perspective.

You know, we're watching Cap go through the experience of watching him go away.

We're watching Okoye,
whose number one mission it is

in life is to protect the king.

She watches the king go in front of her.

And to see those characters
react in those situations

is very powerful
and resonant.

Groot! No.

Oh, God.

The blip-out sequence,
we had gathered
the whole entire talent there

circled around our directors,

and basically
revealed to them
that morning of,

when they came on set, that that scene was happening,

that some of them
were going to be,
you know, disappearing.

The audience is so good
at predicting stories

that even just
the smallest clue

can tell them
where the film
is going to go.

So we worked really hard
to make sure

that none of the secrets
of the film leaked.

TRAN: This, by far, has been
the most top-secret movie

out of all
of the previous 18 movies.

Did you do it?

Yes.

It's about as massive
a production
as you can mount.

6,000 crew members
working on the movie,
spread all over the world.

This was so
brutally massive
as a movie.

There's almost 3,000 shots
in the film,

and there's about
2,900 visual effects shots.

So it's a puzzle.
It's a difficult one.

No one has ever assembled
a cast of this size
and this caliber.

So it was a completely unique
filmmaking experience
for everybody involved.

FEIGE: Of all the films
we've made,

Infinity War will have the greatest repercussions.

And, really, the only way
this film could be made

is in the hands
of Anthony and Joe Russo.

This production,
it has been a daunting task.

But we always knew that they're the people for the job.

I can't imagine trying
to tackle such a huge task.

But I had a lot of faith,
not in just Kevin Feige
and the people of Marvel,

but the Russos.
They're batting a thousand
in my opinion.

We thought on Civil War
that we had
12 big cast members.

How are we going to deal with all these characters?

Compared to this movie, with over 30 cast.

But the Russos prove themselves,

and they're able to integrate all these characters together

in a seamless manner.

The energy's perfect.Yeah, right?

Besides being
incredibly smart,

the Russos are very trusting and they are very kind to the crew.

ANTHONY: Okay, everybody
give it up for Geoff Haley!

Joe and Anthony want to
create a relationship
as quickly as possible,

and that's what people respond to.

Last weekend were
the Taurus World Stunt Awards,

and the team from Civil War
did very well.

The Russo brothers
have brought some

extraordinary precision
and complexity
to the Marvel Universe.

They are extraordinary
technicians.

They are making
the biggest movie
of all time,

with the biggest movie
of all time right after it.

We've had a very strong
collaboration

with Markus and McFeely
over all four movies.

ANTHONY:
It's a very organic process.

We sit there and we grab
a character and we start
to tell a story.

We love this work so much
that we want real fidelity

to what it is that we think and believe about these characters,

and we really want that to translate.

I think, when you get to the end of these films,

you'll understand our point of view on life

and our point of view as filmmakers.

So making these movies,

it's been a very
personal journey for us.

STARK: Slow down.PEPPER: Honey.

STARK: Slow down, slow down.
I'll spell it out for you.

PEPPER: You're totally
rambling.No, I'm not.

PEPPER: You lost me.

Look, you know how
you're having a dream,

and in the dream
you gotta pee.

Yeah.Okay.

And then, you're like,
"Oh, my God!
There's no bathrooms.

"What am I gonna do?
Oh, someone's watching..."

Right. And then you wake up,

and in real life,
you actually have to pee.

Yes.Yeah.

Okay.Everybody has that.

Right, that's the point
I'm trying to make.

Apropos of that, last night
I dreamt we had a kid.

It was so real.

We named him
after your eccentric uncle.
Uh, what was his name?

Right.Morgan! Morgan.

So you woke up...Naturally.

...and thought that we were...

Expecting.Yeah.

Yes?No.

Please? Maybe?

We don't even have
a wedding date yet.

You set August 27th...That's the decoy date.

So we have to get married
before that date?

Yes. No, after that date.

You know,
you two should just elope.

Because this media circus
that's going on
is driving me crazy.

Okay.This is me on edge.

STARK: I'm sorry.Because I'm trying to keep

all the pictures
out of the paper
and off the Internet

so your wedding's not ruined.

No one's working
harder than you.

Do you remember
that kid from TMZ

that you had me
trade paint with
on the FDR Drive?

Well, I got a case
against me now.

STARK: That's my fault?Yeah, it's your fault.

"Lose 'em, Hap.
Lose 'em, Hap,"
like The Godfather.

It's really funny.
Now I gotta go to court.

That's why we want you
to get out of the car

and just de-stress,
just walk with us.

Burt! I see you, Burt.

Hold on.

Burt, you son of a bitch.

Come here, Burt! Come here.

Man, we gotta get him
a girlfriend.

You know anyone?
Anyone come to mind
who would maybe...

What?

That blade severed
my vibranium tissue.

Is that even possible?

It isn't supposed to be.

I don't know why.It's all right.

I'm beginning to think
we should've stayed in bed.

Vis!

Record message.

Turn it back on!

DRAX: No.

Turn it back on.

Can't keep listening
to the same song
again and again and again!

I told you.
I'm screwed up, man.

I gotta get back
in the groove.

Specifically
the New York Groove.

Give me my Zune.No.

Give me the Zune.No.

Give it!

The man who sings this song
is a degenerate.

I will not sit here
and allow you
to malign Ace Frehley!

Give me the Zune.No.

Ace Frehley is not helping!

We haven't even
left Knowhere yet.

Ace Frehley is helping
more than you are.

We lost Gamora
because of you.

We lost Gamora because
you would not let me
seize the moment!

What do you care?
You tried to kill her!

She said I'd be saving
the universe!

MANTIS: I would kill
either of you

if it would stop
that blinking yellow light.

PETER: What blinking
yellow light?

The coded message channel?
How long has this been on?

MANTIS: It was so beautiful.

Wait.

Mantis,
a blinking yellow light

indicates an important
secret coded message.

DRAX: Shame on you,
Mantis.How long...

This was your job.

It was his job.

Drax, you didn't see
the blinking yellow light?

I did. But you said
if it was yellow,
"Let it mellow.

"Brown, flush it down."
Those were your orders.

I wasn't talking about
the coded message channel.

Twenty-two important
coded secret messages.

That could have been helpful.

Five hours.
I've been sitting five hours.

We have twenty-two messages.

Twenty-three messages.

Oh, they keep coming in.

From Nebula. Gamora is alive!

"Thanos is taking her
to Titan.

"Why aren't you responding?"

Why aren't you responding?

"Are you getting my important
coded secret messages?"

Ship coordinates.

All right. Let me get my map.
Here we go.

Titan.

Yeah.

Wait. How do we know
this isn't a trap?

Are we sure
that's from Nebula?

"Tell Quill
not to lose my sister
a second time,

"or I will sew his face
to his genitals."

That's her.

She's always wanted
to sew my face to my genitals.

We're going to Titan.

GAMORA: The planet
has been taken, Father.

The Theradite King pledges
eternal loyalty to your cause.

He accepted my terms?

Eventually.

THANOS: Well done, daughter.

Well done.

Stop it.

THANOS: Why?

By the look of it,
you seemed content enough
at the time.

I was a prisoner.

THANOS: You were a warrior.

I didn't ask for it.

THANOS: You didn't refuse.

After my planet died,

I had nothing. No one.

And I thought I never would.

- And I was all right with that.
- I had a new vocation.

Then I found you.

And at my side, you became
the fiercest woman
in the galaxy.

That's why I chose you
to find the Soul Stone.

I'm sorry I disappointed you.

I am disappointed.

But not because
you didn't find it.

But because you did.

And you lied.

I don't know
what you're talking about.

I gave you my trust!

You repaid it with deceit.

At least be honest
about it now.

I can make you tell me.
You seem to know that.

I never wanted to
force you into anything.

That's why when you left me
all those years ago,

I allowed it.

You allowed it?

THANOS: You haven't been
under the impression
you escaped?

Daughter, I raised you
smarter than that.

Your daughter?

You didn't raise me.

You kidnapped me, orphaned me,
and imprisoned me!

Everything I hate about myself
comes from you.

I stayed because
you taught me
I didn't deserve better.

THANOS: Why did you leave?

Because I found people
that showed me I did.

THANOS: You had a family here,
little one.

No. I didn't.

THANOS: Yes.

No.

You just didn't care
what happened to it.

GAMORA: Nebula.

Don't do this.

Please don't do this.