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(INDISTINCT CHATTER)
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CREW MEMBER:
All right, clear it. Clear lights, guys.
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For the moment. There's a camera test.
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MAN: Clear.
MAN 2: Clear.
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CREW MEMBER: Slate it.
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Slate it, Black Widow camera test.
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INTERVIEWER: Do you see yourself...
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Because the Marvel Cinematic Universe
will expand.
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There's no question about that.
Your character is set up.
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Would you follow her
and do break-offs, other sequels?
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I would love to.
I would love to take this character
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in every different direction.
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She certainly encounters her fair share
of the Marvel Universe,
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and it's nice to be able to
play a female, you know,
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superheroine, who has a past,
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and I think has a real foundationfor all different kinds of spin-offs
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or interactions with other characters.
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The length is okay.
We may have to scale down.
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We may have to scale it just by length
to remain dexterous.
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The part that appealed to me most
about her is her dedication
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and just her intelligence.
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You need smart people
in a movie like this.
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There's too much up for grabs.
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There's too many things that change,
you need somebody
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who's gonna be
a steward of their character.
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(AUDIENCE CHEERING)
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I've never been able to return
to a character before, so,
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in a way, putting on the suit is likea old familiar friend.
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It's really so audience-driven,
exactly what people want to see,
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what characters they respond to.
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I really can't think of
any other opportunity
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to grow with the character as I have.
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There is a two-year period
between Civil War and Infinity War.
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There's a lot to explore there.
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There were many different
dramatic directions that we could go.
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But her past has to come backto haunt her.
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What's very exciting about the genreis that it's really fan-driven.
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It's almost like you're playing"Choose Your Own Adventure."
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And the fans are kind of navigating
through this universe
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and sort of demanding of the studio,
what they wanna see.
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FEIGE:
Black Widow, shooting right now in London.
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They flew overnight
and got here this morning.
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FEMALE HOST: Scarlett,you've played Natasha through seven films
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over the last ten years.
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What are you excited for fans to discoverabout Natasha this go-around?
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Um...
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I...
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As a film fan, I look at, uh, uh,
how do you take these iconic characters
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and humanize them even more.
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And Scarlett has humanized Natasha
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through the course of ten years
worth of movies for us.
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But in this one, it really goes further
by introducing this family unit.
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I think about Indiana Jones and his
great entrance in Raiders of the Lost Ark,
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and Indy was this enigmatic figure,
and in The Last Crusade you meet his dad.
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And you see his dad treating him
just like a dad treats any kid,
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and you're like, "That's Indiana Jones,
you can't talk to him that way."
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Likewise, the way that Natasha feels
and suddenly becomes this little kid,
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I think it's very funny, very relatable,
and very unique
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to what we've seen
the circumstances of Widow in before.
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FAVREAU: Scarlett really wanted tomake the most of it.
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Good.
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And she assured me that she would workas hard as she needed to,
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to do her stunts and learn all that stuff.
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And she spent hours and hours
and hours for months.
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By far, the most dedicated actor
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when it came to the stunt workand the physical work.
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Giving away the secrets here.
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FAVREAU: The fight choreography,
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we combined a lot ofdifferent fighting styles.
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And she was game for learning it all.
And the biggest one was lucha libre
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which seemed silly to me
when they had first mentioned it,
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but when you see the acrobatic moves,and the swinging around,
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and the flips and the turnsand the holds...
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When you see a woman doing itin the Black Widow costume,
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it has a much different effect.
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There's a freshness to it,
and it felt right
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when you saw it choreographed properly.
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So you really believethat as she's moving through
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this hallway full of these guards
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that she's able to do her flipsturns and grabs.
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It was pretty inspired.
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-Really tough.
-(LAUGHS) Yeah.
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It's ten years,
and we're really kickin' ass.
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Training in general,I feel like these ten years,
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I've just been kind of working up
to this point,
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I felt really capable, which is great.
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When I first got the role, I remember
I went to go and meet Kevin Feige.
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And I was a little bit anxious
about how much you have to do.
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Like, I don't knowwhat's involved in these films,
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and every single time I've seen one,
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there are these essential athlete actors
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just running through the screenall the time.
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And I didn't know if that was requiredor enforced or whatever.
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And so I asked him, I was like,
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"What's the deal, like, do you guys
make me into what I need to be?"
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He goes, "No, it's totally up to you."
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And so with that,
I kind of felt nicely relaxed
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because my favorite thing is
getting in there and doing stunts.
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From the moment I could,I went to the warehouse.
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All these amazing stunties were just there
to teach you any one of their crafts.
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-Ready?
-Yep.
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Hey.
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I found that fascinating. And, yeah,I tried to do as much as I could.
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WEISZ: James, the stunt coordinator,makes it a lot of fun.
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He would just say, "Just have fun."
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You're about to do something
incredibly violent and vicious.
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But he'd just say, "Have fun."
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The stunt person is like a dance partner.
They just make you look good.
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(INTENSE MUSIC PLAYING)
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This was the hardest thing I've ever done.
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And I am not at all like a Tom Cruise
about this stuff, where I'm like,
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"I do all my own stunts."
I do not do any of my own stunts
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and I do not want to.
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Put the guy in. He does it better than me.
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Please, I will go sit and hang outand have a croissant.
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-Trying.
-I love the teeth!
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Aren't those cool? I know.
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It's more like in your face.
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And then she goes for you again.
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So we get the emotion back into it.
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SHORTLAND:
I want it to be really truthful,
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and I want each fight to have a story.
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So for me, it was like
we would choreograph fights,
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but we would also be choreographingdramatic moments between the characters,
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of trust or revenge, or different feelingsthat they might have.
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I think we're all lookin'for those moments,
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and that's something
that Cate did as a director,
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where she really galvanized all of us
to bring our best, our A-game,
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and to really look for the heartof the movie,
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as opposed to looking for what's cool.
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She really always would steer us back to,"What's the heart of the movie?
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"What are we looking for here?"
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And, you know, that's real artistry.
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-ROB: So, Florence. Just...
-Yes.
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STUNTWOMAN:
Doesn't matter. Keep pushing on to it.
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-Just keep going through that.
-Keep pushing you into it.
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PUGH: For me, that opening fight sequencewas scary.
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It was our first weekend to shoot,
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and I hadn't really hung outwith Scarlett that much before.
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That whole fight is about not knowinghow to say what you feel.
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It's so aggressive. It's so face to face,
and I think what you were just saying,
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we haven't seen that before. It's true.
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You're on land,
and you have these two women
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kind of doing a bit of
Jason Bourne-style fighting.
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They are just kind of
trying to kill each other.
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Um, and that was so exhilarating,
as an actor to come to that,
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and then they let you
actually do it. Amazing.
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ROB: There's a lot of fights.
(CHUCKLES) It's a Marvel movie.
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But the next one we come to
will be the bridge fight
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which will be the first time we see
Taskmaster come against Natasha.
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And it's the first timewe'll see Natasha on the backfoot.
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Kevin always said to me,"We know she's gonna survive it.
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"But we have to think, at times, how."
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And so we knew we had to put herin some situations
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where you questioned,were things gonna be okay?
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-(GASPS)
-(GUNSHOTS)
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Taskmaster is an interesting one
because we've done a little bit
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to make the character different thanthe comics for our cinematic experience.
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Say hello.
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PEARSON:
Who says Taskmaster has to be a man?
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We had been talking aboutthis reference that Loki makes
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in Avengers about the horrible things
Natasha's done in her past.
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Can you wipe out that much red?
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Dreykov's daughter?
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It was very important to Kevin
that we shed
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a little bit of light on that mystery.
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It's incredibly redemptive for Natasha
because, in a way,
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she can save this person
that she thought she'd murdered.
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What the film speaks about a lotis lack of control,
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that these young women didn't have controlover their lives or their bodies.
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And Taskmaster is like
the living embodiment of that.
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Someone who's completely programmedand has no say in any of her actions.
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TEMIME: The Taskmaster wasone of the film's costume I worked on.
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We were quite obsessed by making it
in a way that it was light,
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that she could jump, that she could roll,
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um, that she could do all the acrobatics
she needed to do.
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So we made the armor as light as we could,the helmet as light as we could.
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We printed the fabric
with a very specific little design.
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The blue is a gorgeous blue.
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That was also a Marvel design,
and then also the interpretation
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and the realization is from us.
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All of the weapons are concealed
on Taskmaster all the time.
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So, they can appear,
and we can decide to lose them.
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So the idea of having a shield,
where does it go?
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On the back, same as Captain America?
It won't work.
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So they wanted to do it so that you could
have it appear from his arms.
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Trying not to tie the action down.The whole thing about these movies
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is to try and work out
what the action requires.
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Once we started workingwith the fight coordinators,
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we had to work out that the shieldhad to be left or right handed.
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Same with the sword. The beauty wasnot having a handle involved
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and that we can assumethis is held together
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by a magnet or some sort of shieldon the armor.
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-(EXPLOSIONS)
-(GRUNTS)
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What was great was Marvel said to me,
"We'll tell you when to stop.
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"You just have to keep having ideas
and don't suppress them.
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"Just keep having ideas."
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And so, I don't think they ever
really did tell us to stop. (CHUCKLES)
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(BOTH GRUNTING)
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Cate Shortland is such a giftas a filmmaker.
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The emotional layer
that we added to it was necessary.
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It was imperative that we told you
203
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that layer from Black Widow.
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Otherwise, it would have beenanother action film.
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And we've made action films before.
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But the emotional resonance had to be
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something that got usthrough the next two hours.
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Because we waited ten years
for these two hours.
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So it better be worth it.
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And Cate Shortland
is a visionary filmmaker
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that takes her time in the detailof the nuances of that particular moment.
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And sometimes it's just with a look,
or with a hand,
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or with the camera just tilting.
And you feel it.
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And your heart just goes there,and you're, like, "Oh, I get it."
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And that's a true talent
and an all-around phenomenal woman.
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Obviously, going into this film,
I knew it was...
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The most important thing
was having my partner.
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Cate was somebodywhose work I really admired.
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Her stuff is so deep,and so character-driven.
220
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And knowing that I had her,
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knowing that she and I would be able
to build this character together,
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I knew that we were, you know,
cooking with gas.
223
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(TRAIN HORN HONKING AT A DISTANCE)
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(GRUNTS)
225
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ALONSO:
For me, the most important scene for her
226
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was at the beginningof the first Avengers.
227
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Where she fights these Russians
in a warehouse,
228
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in a tight, beautiful black dress.
229
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And as she walks away,and she's done an amazing fight,
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an introduction that anyonewill dream of having,
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she picks up her high heelsand she walks away.
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The ultimate female badass.
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(INSTRUMENTAL MUSIC PLAYING)
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WHITCHER: Each movie, I thinkeverybody feels a little bit closer
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and less guarded with each other.
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I mean, I've seen, uh,
Avengers start their families.
237
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And I've seen, you know, from Scarlett
even being pregnant on Avengers, to...
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It's crazy. So we've all been togethera long time now,
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and I think we trust each other,
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and we know that we haveeverybody's best interests at heart.
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SHORTLAND:
Scarlett was a producer on the film.
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So she knew thatshe also had to drive production,
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and she had to keep people's spirits up.
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PEARSON: It was almost too good,where I was wondering
245
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where the other shoe was gonna drop.
246
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Like, is it really... Can it be this good,
that biggest movie star in the world
247
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is actually a really nice person
who's completely dedicated to the movie
248
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and trying to make it better at all times?
249
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And also, when you see her turn it on,
everything changes.
250
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What you taught me kept me alive.
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WEISZ: I think Scarlett portraysBlack Widow in a way
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that she's obviouslyextremely strong and powerful
253
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and can fight and can outwit everybody.
254
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But she also has a heart
and an emotional life, she's vulnerable,
255
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and she wants, and she needs.
256
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Scarlett's been playing the character,obviously, now for decades.
257
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So she's grown up with Natasha Romanoff.
258
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And she knows her inside out. I reallyfeel that when I'm playing opposite her,
259
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it's a character that has many,many layers. She's deeply committed.
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She is Natasha. She is Natasha.
She created that character.
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And the minute that she walks on set,she is Natasha.
262
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I remember her daughter came to set,
I asked, "What does she think you do?"
263
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And she goes,
"Fight baddies for a living."
264
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I was like, "But that is what you do.
265
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"That's what you've beenthe face of for so long."
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The only womanthat has been at the front of it.
267
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And slowly, there's more coming.
268
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And that's a wicked thing,
to be a part of this new search
269
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for more stories about women
in this world, outside of this world,
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as you were just saying.
The era of feminism
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and finding women
to tell interesting stories.
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And she's been, I suppose,
doing it for a very long time.
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(CLOCK TICKING)
274
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Five, six, seven.
275
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Just as an exercise. I'm wondering,
is there a way of letting go of the gun?
276
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This isn't ideal,
but just to give you an idea.
277
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Yeah. I understand you.
I'm just trying to work out...
278
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-Doing into the roll, drop it.
-Here?
279
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-Yeah.
-You just release it?
280
00:15:56,789 --> 00:15:57,957
-Yeah.
-Just release it.
281
00:15:58,040 --> 00:15:59,291
-Yeah, we could just...
-Release it there?
282
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As you roll.
283
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I wonder, if you make it part of...
So that if it's the second time around,
284
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because it feels odd
that they let their gun go.
285
00:16:06,048 --> 00:16:07,841
-Okay.
-But if you made it part of
286
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the first part of it, so if they all
started with their guns on the ground...
287
00:16:11,553 --> 00:16:12,846
-Yes.
-...and there's a move
288
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-that gets them to their gun.
-Then your shoulder. Tuck in your head.
289
00:16:16,433 --> 00:16:17,434
-Yeah. That's great.
-Yeah.
290
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-Yeah. So, guys, this.
-Okay.
291
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All the young Widows are training
in what's called Systema,
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which is a Russian form of combat.And when I first met Cate,
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we talked about what kind of movementthat the young Russians could be doing.
294
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And I suggested, because earlier
in the Black Widow's history,
295
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she was trained in ballet,it would be great
296
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if we could find some kind of movementthat was not balletic,
297
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but still had the beauty,and the discipline, and the rhythm
298
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that you get in a ballet class.
299
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So I went away and looked at
lots of stuff, and I found the Systema,
300
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and I was like, "Oh, this could be it.This could be it."
301
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Because this is like a dance.It's beautiful.
302
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But at the same time,you need so much strength.
303
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One, two, three, four,
five, six, seven, eight.
304
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I fell in love with our Widows.
That was a wonderful process
305
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because I knew we weregonna have 25 young women
306
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who were dancers, acrobatsand stunt performers
307
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who trained in fighting.They trained with guns.
308
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Something that was so amazing
that I loved Cate did,
309
00:17:41,560 --> 00:17:45,481
she made sure that every single girl
had something from where they were from.
310
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Whether it was the way that they didtheir hair or something that they owned.
311
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It really felt like these peoplehad been stolen from their birthplace.
312
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You get to make your own choices now.
313
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It's only when they escapeand when they leave
314
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that maybe they realize
how twisted it all is.
315
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Even though throughout this movie,
316
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they're presented
as an antagonistic force,
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it was important that we kind of showwhy they were the way they were.
318
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That, like Natasha,they too have a shot at redemption.
319
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It's not really what people make you,
320
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you can still decide
how you want to live your life.
321
00:18:23,185 --> 00:18:26,688
You know, this is the first piece
of clothing I've ever bought for myself.
322
00:18:28,690 --> 00:18:31,652
-That?
-Yeah, you don't like it?
323
00:18:31,735 --> 00:18:35,572
Was that like an army surplus or...
324
00:18:35,656 --> 00:18:37,991
Okay, it has a lot of pockets.
325
00:18:38,075 --> 00:18:42,204
But I use them all the time,
and I made some of my own modifications.
326
00:18:42,287 --> 00:18:44,123
-Oh, yeah? (CHUCKLES)
-Whatever.
327
00:18:44,206 --> 00:18:48,919
Shut up. The point is, I've never had
control over my own life before.
328
00:18:49,002 --> 00:18:51,547
And now I do. I want to do things.
329
00:18:52,756 --> 00:18:53,966
Mm...
330
00:18:54,049 --> 00:18:55,050
I like your vest.
331
00:18:55,134 --> 00:18:57,010
(EXCLAIMS) I knew it. I knew you did.
332
00:18:57,094 --> 00:18:58,762
-It's so cool, right?
-It's cool.
333
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SCHAEFFER: In the comics,Yelena is another Widow
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who trained in the Red Room.
335
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And in the comics,
she's more of a competitor to Natasha.
336
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But what we've created is thatYelena and Natasha were children together.
337
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They were part of a spy family.
338
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Florence Pugh plays Yelena,
and her character,
339
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you know, she is the next generation
of Widows, in a way.
340
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When she comes out of that Widow program,
341
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she's never had any sense of independence.
342
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She wants to write her own story.
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PUGH: One of the coolest thingsabout playing Yelena
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is just how complex and broken she is,
345
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for someone who is so sure
of what she does.
346
00:19:42,014 --> 00:19:46,560
She knows exactly how to function
in the things that she's been trained in,
347
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but she has no clue how to liveas a human.
348
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She's a bit of a kid,
but she's a lethal weapon.
349
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(GRUNTS)
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She has this murky side to her lifethat she has no idea what it's about,
351
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and she's having to now discover
who she is.
352
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To him, we are just things.
353
00:20:08,749 --> 00:20:11,543
Weapons with no face
that he can just throw away
354
00:20:12,711 --> 00:20:15,255
because there is always more.
355
00:20:15,339 --> 00:20:17,966
Her and Natasha, I think, both have that.
356
00:20:18,050 --> 00:20:21,762
This constant not knowing
of where they come from
357
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and this constant need to figure out
where they came from and who they are.
358
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I mean, that's what
Natasha's always looking for,
359
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is a sense of family and a sense of home.
And it's because of their history.
360
00:20:33,649 --> 00:20:35,692
(SPEAKING INDISTINCTLY)
361
00:20:36,193 --> 00:20:37,361
No!
362
00:20:37,444 --> 00:20:41,657
You do this split with the hair head flip.
And you do it when you're fighting.
363
00:20:41,740 --> 00:20:44,201
It's like a fighting pose.
364
00:20:44,284 --> 00:20:50,123
SHORTLAND: When I came onto the film,I spoke to Kevin about actors.
365
00:20:50,207 --> 00:20:53,835
And Florence Pugh
was one of the first people I spoke about
366
00:20:53,919 --> 00:20:56,046
because I'd seen Lady Macbeth,
367
00:20:56,129 --> 00:21:01,760
and she and Scarlett as a team
are unstoppable.
368
00:21:03,387 --> 00:21:08,433
HARBOUR: Florence, I adore her as not onlyas an extraordinary actress,
369
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but also just as a human being.
370
00:21:10,352 --> 00:21:14,856
I remember there's a little scene in itwhere I think I hug the two of them
371
00:21:14,940 --> 00:21:16,525
in this ridiculous way at this...
372
00:21:16,608 --> 00:21:18,777
I'm, like, "I love you so much."
373
00:21:18,860 --> 00:21:21,280
And they break away from me
like, "You're a narcissist."
374
00:21:21,363 --> 00:21:24,283
But I remember before that break,
there is a moment that we shot.
375
00:21:24,366 --> 00:21:26,994
I don't know if it's in the movie,
where she softens
376
00:21:27,077 --> 00:21:29,413
in his embrace for a second,
377
00:21:29,997 --> 00:21:35,168
like, "This is my dad holding me."And it is a beautiful moment, I thought.
378
00:21:35,252 --> 00:21:38,588
So sophisticated to find that moment.
379
00:21:40,132 --> 00:21:41,550
You smell really bad.
380
00:21:43,343 --> 00:21:48,265
The thought was,
who do we pair up with Scarlett
381
00:21:49,057 --> 00:21:52,853
that can hold her own, that could shine?
382
00:21:52,936 --> 00:21:58,900
And we needed to have someone that go,
"Those two together are just nuclear."
383
00:22:00,193 --> 00:22:04,364
Which was the whole idea,to tell that story of sisterhood
384
00:22:04,448 --> 00:22:08,410
and the conflict of that
and how they grow together in this film.
385
00:22:08,493 --> 00:22:11,288
So I think Florence Pugh was a true gift.
386
00:22:11,371 --> 00:22:15,000
I'm not here trying to be your friend,
but you need to tell me what that is.
387
00:22:15,083 --> 00:22:18,587
It's a synthetic gas,
the counter-agent to chemical subjugation.
388
00:22:18,670 --> 00:22:22,132
The gas immunizes the brain's neural
pathways from external manipulation.
389
00:22:22,215 --> 00:22:23,592
Maybe in English next time.
390
00:22:23,675 --> 00:22:24,760
(SPEAKING RUSSIAN)
391
00:22:25,844 --> 00:22:27,095
Ochen' umno.
392
00:22:27,179 --> 00:22:30,432
(SPEAKING ENGLISH) Why don't you take it
to one of your super-scientist friends?
393
00:22:30,515 --> 00:22:33,352
They can explain it to you.
Tony Stark, maybe?
394
00:22:33,435 --> 00:22:36,021
It was so wonderful to be able todo those scenes with Florence
395
00:22:36,104 --> 00:22:39,316
'cause she's such a wonderful actor
and playful.
396
00:22:39,399 --> 00:22:45,989
And her work is so touching. And so it wasa ease to feel connected to her
397
00:22:46,073 --> 00:22:48,784
because she's so open in those moments.
398
00:22:48,867 --> 00:22:53,538
And you really feel that when you watch it
on screen, it just feels very natural.
399
00:22:54,206 --> 00:22:55,457
Belts are on the end.
400
00:22:56,666 --> 00:23:01,171
All set, here we go. Ready. And action!
401
00:23:02,756 --> 00:23:04,716
-Charge!
-(YELLING INDISTINCTLY)
402
00:23:09,262 --> 00:23:11,306
(CLAMORING)
403
00:23:18,063 --> 00:23:25,028
The gulag set, we decided very early on
that this would be very remote
404
00:23:25,278 --> 00:23:28,115
in this sort of snowy wilderness,I suppose.
405
00:23:28,198 --> 00:23:30,325
The set's actually 160 foot in diameter.
406
00:23:30,409 --> 00:23:33,120
We start by buildingthese sorts of sets as 3-D models.
407
00:23:33,203 --> 00:23:36,456
And then what we do very early on
is we try and populate them.
408
00:23:36,540 --> 00:23:39,042
And we try and see how many extras
we think we need
409
00:23:39,126 --> 00:23:42,629
to try and make the spacefeel big enough for camera.
410
00:23:43,255 --> 00:23:45,215
The snow, by the way, is all salt.
411
00:23:45,298 --> 00:23:48,176
It's about the only materialyou can use which actually,
412
00:23:48,260 --> 00:23:51,596
really does look like snow.The really bad news is we're in England.
413
00:23:51,680 --> 00:23:54,683
It rains a lot.
And the salt dissolves in water.
414
00:23:55,517 --> 00:23:59,771
It probably took us about four daysto put the snow down,
415
00:23:59,855 --> 00:24:01,815
and then it just so happens,
416
00:24:01,898 --> 00:24:06,194
the night before we were gonna film,
we had a really bad storm.
417
00:24:06,278 --> 00:24:08,405
And basically, all the snow went away.
418
00:24:08,488 --> 00:24:11,783
So the next morning,
we pulled everyone from everywhere
419
00:24:11,867 --> 00:24:14,161
and put it back togetherin about four hours.
420
00:24:14,244 --> 00:24:15,996
Which is what film-making's all about.
421
00:24:17,622 --> 00:24:20,208
CHAPEK: Charlie is such an accomplishedproduction designer.
422
00:24:20,292 --> 00:24:24,171
His attention to detail is unlike
anything I've ever seen before.
423
00:24:24,254 --> 00:24:26,715
And something that was very importantfrom the beginning
424
00:24:26,798 --> 00:24:29,926
was creating a worldthat Cate saw fit for this movie.
425
00:24:31,511 --> 00:24:33,555
We try and build all of the models.
426
00:24:33,638 --> 00:24:35,765
We try and supplyas much reference as possible,
427
00:24:35,849 --> 00:24:38,810
and we'll go through it all.But then what also happens is
428
00:24:38,894 --> 00:24:41,146
the stunts department
will then become involved in this
429
00:24:41,229 --> 00:24:43,523
because, obviously,
they have to perform on here.
430
00:24:43,607 --> 00:24:46,234
They'll have their own requirements.As will lighting.
431
00:24:46,318 --> 00:24:49,779
So the thing about art directionand set design and that sort of thing,
432
00:24:49,863 --> 00:24:52,365
it's not just for one department.It's for the entire film.
433
00:24:52,449 --> 00:24:54,993
You have to be mindful and accommodating
434
00:24:55,076 --> 00:24:58,705
of what everyone needs from a set besides
what you're just trying to do visually.
435
00:24:58,788 --> 00:25:02,209
It has to work for everyone.
Otherwise, it, it wouldn't work at all.
436
00:25:06,505 --> 00:25:08,131
(MAN SPEAKING RUSSIAN)
437
00:25:16,181 --> 00:25:17,724
(HUMMING TUNE)
438
00:25:19,893 --> 00:25:21,770
(PLAYING TUNE)
439
00:25:22,687 --> 00:25:26,024
The Red Guardian, he's the most
insecure character in the film,
440
00:25:26,107 --> 00:25:28,401
and so he's always hiding.
441
00:25:28,485 --> 00:25:30,153
Did he talk to you about me?
442
00:25:31,780 --> 00:25:32,822
What?
443
00:25:33,615 --> 00:25:37,077
Did he talk to you about me?
You know, trading war stories.
444
00:25:37,160 --> 00:25:39,955
-Who? What are you talking about?
-Captain America.
445
00:25:40,747 --> 00:25:45,585
When it first came to me, Cate sat me down
and started telling me about the script
446
00:25:45,669 --> 00:25:50,799
'cause they don't let you see a script
in these things, which I understand.
447
00:25:50,882 --> 00:25:54,010
It's all so top secret. But she started
pitching me this idea of this guy,
448
00:25:54,094 --> 00:26:00,016
and I think the first thing she
talked about was this scene in a prison,
449
00:26:00,100 --> 00:26:03,562
and he has this strength,
and he's this, like, beastly guy.
450
00:26:03,645 --> 00:26:07,399
And I was envisioning this kind of
gangster movie and all this stuff, and it,
451
00:26:07,482 --> 00:26:09,985
and I was like, "Oh, this is great."
452
00:26:10,068 --> 00:26:12,195
And I kind of project where he's gonna go.
453
00:26:12,279 --> 00:26:14,990
And then she said,
"And he desperately wants to be liked.
454
00:26:15,073 --> 00:26:17,951
"He desperately wants people
to think he's funny and charming."
455
00:26:18,034 --> 00:26:22,205
I was like, "Whoa!" So the zig
and the zag of the character in that way
456
00:26:22,289 --> 00:26:27,210
was so appealing to me that you are able
to create this full human being
457
00:26:27,294 --> 00:26:30,964
who has this big, strong,
massive side to him,
458
00:26:31,047 --> 00:26:35,927
but also has all these human qualities
of being an obtuse narcissist
459
00:26:36,011 --> 00:26:42,475
and a guy who is desperate
for the affection of the people
460
00:26:42,559 --> 00:26:45,645
that he loves or as much ashe possibly can love, loves.
461
00:26:45,729 --> 00:26:49,816
He's a very complicated guy,so when she pitched this to me,
462
00:26:49,899 --> 00:26:53,236
I was like,"Wow, this is really exciting."
463
00:26:54,070 --> 00:26:55,322
It still fits.
464
00:26:55,405 --> 00:26:56,823
(WOLF-WHISTLING)
465
00:26:58,617 --> 00:27:05,582
It is easier for a designer when you know
the behind of the character
466
00:27:05,832 --> 00:27:08,251
because you can project that
in the costume.
467
00:27:08,960 --> 00:27:11,421
Even when you design a superhero,
468
00:27:11,504 --> 00:27:15,216
like when I started designingthe Red Guardian,
469
00:27:15,300 --> 00:27:18,762
I knew that he wanted to belike Captain America.
470
00:27:18,845 --> 00:27:23,600
I knew that he was a guy who wasalways trying too hard to be somebody.
471
00:27:23,683 --> 00:27:28,563
I knew that his personality wasa little bit overdone, bigger than life.
472
00:27:28,647 --> 00:27:31,566
So I project that in the design.
473
00:27:33,568 --> 00:27:38,156
This is why it's so important to know
474
00:27:38,740 --> 00:27:42,535
the psychology of the character,
475
00:27:42,619 --> 00:27:48,333
what's behind the facade of the superhero.
It helps tremendously for the design.
476
00:27:49,834 --> 00:27:51,961
CHAPEK: Jany has such a great backstory
477
00:27:52,045 --> 00:27:54,297
just in terms of everythingthat she's done before.
478
00:27:54,381 --> 00:27:58,218
She's come from the 007 world,
which is a little bit more grounded.
479
00:27:58,301 --> 00:28:00,011
She's also done Harry Potters.
480
00:28:00,095 --> 00:28:03,723
And to be able to strike that balance
was something that we were looking for.
481
00:28:03,807 --> 00:28:07,143
Everything that you see here
is made in our work room.
482
00:28:07,227 --> 00:28:10,355
All the leather, all the rubber bits.
483
00:28:10,939 --> 00:28:13,983
All the costumes hereis made by people here.
484
00:28:18,488 --> 00:28:23,618
For the first time, we are going to have
a white costume for our Black Widow.
485
00:28:24,369 --> 00:28:26,121
-Hey, girl.
-Look at you.
486
00:28:26,204 --> 00:28:29,082
-Day one, White Widow.
-You look good.
487
00:28:29,165 --> 00:28:30,875
-Hmm. You look good.
-Yay. Thanks.
488
00:28:31,918 --> 00:28:37,090
The original idea was thatwhen they fight in the snow,
489
00:28:37,173 --> 00:28:42,053
they are wearing white uniform
because it's the color of the snow.
490
00:28:42,137 --> 00:28:45,140
So that was the start of an idea.
491
00:28:46,141 --> 00:28:50,937
I was so afraid at the beginning
to start doing it, you know?
492
00:28:51,020 --> 00:28:53,440
I was thinking,
"Oh, my God. Will she like it?"
493
00:28:53,523 --> 00:28:57,986
But the suit is designed in such a way
that you have some graphic line in it,
494
00:28:58,069 --> 00:29:01,489
give an incredible silhouette to Scarlett.
495
00:29:04,200 --> 00:29:08,121
This is the one that Yelena,
her sister, is wearing.
496
00:29:09,664 --> 00:29:13,543
It's more functional.It was based on a more sportive idea.
497
00:29:13,626 --> 00:29:17,922
And on top of that, she has the vestthat you could see at the end of the film
498
00:29:18,006 --> 00:29:20,508
she's going to give itto her older sister.
499
00:29:23,762 --> 00:29:27,682
What we are using for fabric
is actually a durable jersey.
500
00:29:27,766 --> 00:29:31,352
Very strong. And we print on them,
501
00:29:31,436 --> 00:29:35,356
we print on them a design
which is different.
502
00:29:35,440 --> 00:29:39,194
And that give her the possibility
of having something very original,
503
00:29:39,277 --> 00:29:44,824
and being able to use any source of fabric
which is necessary
504
00:29:44,908 --> 00:29:48,036
for the elasticity
and the comfort of the suit.
505
00:29:48,828 --> 00:29:52,707
Scarlett and I both haveWhite Widow suits, which is very cool.
506
00:29:52,791 --> 00:29:54,292
I can move in it, I can fight in it,
507
00:29:54,375 --> 00:29:57,504
which isn't the same
for lots of the superhero suits.
508
00:29:57,587 --> 00:30:00,423
They're usually, you know,
there to look amazing.
509
00:30:00,507 --> 00:30:03,301
So it was cool to be in a suit
that was made for function
510
00:30:03,384 --> 00:30:06,930
and completely summed up
exactly what Yelena is about.
511
00:30:07,013 --> 00:30:10,266
She just puts the clothes onand then fights.
512
00:30:11,643 --> 00:30:12,852
I think it's never finished.
513
00:30:12,936 --> 00:30:15,897
For me, the costume is finishedwhen they are shooting on it.
514
00:30:15,980 --> 00:30:18,942
When the first take is done,
and I think, "Ha, ha, it works."
515
00:30:19,025 --> 00:30:22,403
(CHUCKLING) This is the moment
where I think that my job is finished.
516
00:30:22,487 --> 00:30:25,156
But I think till that moment,
you are never finished.
517
00:30:28,618 --> 00:30:31,913
CHAPEK: There are so many great charactersthat we needed to design for this.
518
00:30:31,996 --> 00:30:34,207
One thing that's interesting
about Marvel Studios
519
00:30:34,290 --> 00:30:37,544
is we have our in-house
visual development team,
520
00:30:37,627 --> 00:30:38,962
led by Andy Park,
521
00:30:39,045 --> 00:30:41,756
who headed the developmentof the costumes and everything.
522
00:30:41,840 --> 00:30:45,176
And what was so greatabout Jany is her collaboration with Andy,
523
00:30:45,260 --> 00:30:47,428
is that they formed a great partnership
524
00:30:47,512 --> 00:30:49,722
in ultimately bringing
these characters to life.
525
00:30:51,766 --> 00:30:55,436
My father, he go toilet on my hands.
526
00:30:55,520 --> 00:30:59,190
-Oh, my God. Oh, my God.
-Urine is 35°C...
527
00:30:59,274 --> 00:31:01,526
-Oh, my God.
-...staves off the frostbite.
528
00:31:01,609 --> 00:31:03,194
How is this relevant?
529
00:31:04,070 --> 00:31:06,990
You know, fathers.
530
00:31:07,657 --> 00:31:11,202
I think when you have a juicy scene
that you know you've got coming up,
531
00:31:11,286 --> 00:31:13,538
and especially David and I
get along really well,
532
00:31:13,621 --> 00:31:15,373
we were good mates during the filming.
533
00:31:15,456 --> 00:31:18,751
So we were genuinely excited
about doing that scene.
534
00:31:18,835 --> 00:31:21,796
And then when it came about,
it kind of happened so quickly,
535
00:31:21,880 --> 00:31:23,965
and we... (LAUGHS) And then it was done.
536
00:31:24,048 --> 00:31:26,509
And we're like,
"Oh! We really enjoyed that."
537
00:31:26,593 --> 00:31:29,512
It's amazing when you have
that connection with someone.
538
00:31:29,596 --> 00:31:32,515
It's amazing when you all have
the same idea of where you're going.
539
00:31:32,599 --> 00:31:33,600
That's very rare.
540
00:31:33,683 --> 00:31:35,351
And also to have someone like Cate,
541
00:31:35,435 --> 00:31:38,313
who is constantly
pushing for you to not shy away
542
00:31:38,396 --> 00:31:42,734
from feeling is an amazing,
supportive feeling.
543
00:31:44,402 --> 00:31:49,657
PEARSON: David Harbour,every choice he makes is so funny and big.
544
00:31:49,741 --> 00:31:51,993
And I love that he...
545
00:31:52,076 --> 00:31:56,539
I said to him, "You should have
Karl Marx across your knuckles."
546
00:31:56,623 --> 00:31:59,000
And that he has all these prison tattoos.
547
00:31:59,083 --> 00:32:01,169
And he just went for it right away.
548
00:32:01,252 --> 00:32:02,629
(GRUNTS) Oh!
549
00:32:03,671 --> 00:32:05,256
(LAUGHS BOISTEROUSLY)
550
00:32:05,340 --> 00:32:07,300
That guy think he goin' to beat me.
551
00:32:07,383 --> 00:32:11,179
PEARSON: He was just another...Again, we have a real bounty of riches.
552
00:32:11,262 --> 00:32:13,514
Our cast has been
incredible the whole way.
553
00:32:14,766 --> 00:32:17,435
WINSTONE: Well, me joiningthe Marvel Universe was a...
554
00:32:17,518 --> 00:32:19,646
I guess a big surprise for me.
555
00:32:19,729 --> 00:32:22,982
I read comic books when I was a kid
like every other kid, I guess.
556
00:32:24,025 --> 00:32:26,986
I always rememberin the early comic books,
557
00:32:27,070 --> 00:32:29,197
that even the bad guyhad kind of a sadness
558
00:32:29,280 --> 00:32:31,240
and a sorrow about him in the end.
559
00:32:32,533 --> 00:32:36,829
So when I kind of read this,
I wondered whether my character Dreykov
560
00:32:37,705 --> 00:32:42,418
might have that same kind of realization
561
00:32:42,502 --> 00:32:46,923
within death or within the ending,
his demise, you know?
562
00:32:52,637 --> 00:32:55,390
FAGBENLE: It's amazing!Like, it's full on amazing
563
00:32:55,473 --> 00:32:58,810
to think I might be
part of something as big
564
00:32:58,893 --> 00:33:01,020
and important
to so many people as the MCU.
565
00:33:01,104 --> 00:33:02,397
(LAUGHS)
566
00:33:03,898 --> 00:33:05,525
So sorry.
567
00:33:05,608 --> 00:33:07,777
FAGBENLE: I thinkI was really attracted to the idea
568
00:33:07,860 --> 00:33:09,612
of working with Cate, our director,
569
00:33:09,696 --> 00:33:12,115
who, you know, is such an auteur
570
00:33:12,198 --> 00:33:15,326
and the movies she's doneare so moving and meaningful.
571
00:33:15,410 --> 00:33:18,246
And so, it would be kind of like,
confluence of her style
572
00:33:18,329 --> 00:33:23,042
with the scope
of the Marvel Universe was just...
573
00:33:23,126 --> 00:33:24,711
It was really intriguing to me.
574
00:33:25,670 --> 00:33:27,005
You're gonna go easy.
575
00:33:27,755 --> 00:33:28,756
Let him go.
576
00:33:28,840 --> 00:33:30,842
What was reallyinteresting for me actually
577
00:33:30,925 --> 00:33:33,094
was getting to spendsome time with William Hurt.
578
00:33:33,177 --> 00:33:38,850
He was so vigorous and so...
Like, he wanted to explore and sit...
579
00:33:38,933 --> 00:33:40,977
And it really kind of, I don't know,
580
00:33:41,060 --> 00:33:43,187
it gave me a lot of heart,
really, to be honest.
581
00:33:43,271 --> 00:33:45,106
To go, like, "Yeah," you know?
582
00:33:45,189 --> 00:33:48,651
You're still fightin'
for the integrity of the piece.
583
00:33:49,277 --> 00:33:53,990
The perfect model for me,
as an actor, is repertory ensemble, okay?
584
00:33:54,073 --> 00:33:57,076
So that you're an ensemble,
and you're building ethics of trust,
585
00:33:57,160 --> 00:33:58,619
you're learning to trust each other
586
00:33:58,703 --> 00:34:01,664
so that you can surrenderyour concentration and trust
587
00:34:01,748 --> 00:34:04,208
to depths that it can't go to without it.
588
00:34:04,292 --> 00:34:10,173
And then one of the thingsthat you do with that is go to character,
589
00:34:10,256 --> 00:34:13,593
and character demands
all the imagination you have.
590
00:34:13,676 --> 00:34:17,430
So you can't really get to character
unless you can have the imagination
591
00:34:17,513 --> 00:34:19,223
that is only possible with trust.
592
00:34:19,807 --> 00:34:23,436
So trusting the other actor is the scene.
593
00:34:23,519 --> 00:34:25,813
It's the life of the scene. Period.
594
00:34:25,897 --> 00:34:28,691
We got Barton,
we got Wilson, and that other guy,
595
00:34:28,775 --> 00:34:30,401
"The Incredible Shrinking Convict."
596
00:34:30,485 --> 00:34:33,154
Rogers is on the run. You got no friends.
597
00:34:33,821 --> 00:34:35,281
Where are you gonna go?
598
00:34:35,364 --> 00:34:38,910
I think for us, consistently,
we say, "Thank God for our cast.
599
00:34:38,993 --> 00:34:41,329
"Thank God for what they were able to..."
600
00:34:41,412 --> 00:34:45,166
That we had that dream
of what they could create.
601
00:34:45,249 --> 00:34:50,129
And then at the helm,
with Cate's help, that they get there.
602
00:34:50,213 --> 00:34:53,591
And you get those scenes,
and you go, "Hallelujah."
603
00:34:57,178 --> 00:34:59,847
Honey. We're home.
604
00:35:03,768 --> 00:35:06,395
Rachel Weisz is playing Melina Vostokoff.
605
00:35:07,355 --> 00:35:11,275
She, in the comics,
is also a former Russian spy
606
00:35:11,359 --> 00:35:14,821
that we wanted to integrate into the film.
607
00:35:14,904 --> 00:35:16,364
(YOUNG NATASHA SPEAKING INDISTINCTLY)
608
00:35:16,447 --> 00:35:17,573
How long do we have?
609
00:35:17,657 --> 00:35:19,909
I don't know. Like an hour maybe?
610
00:35:23,079 --> 00:35:24,539
I don't wanna go.
611
00:35:24,622 --> 00:35:29,001
With Melina, Rachel Weisz
is such an accomplished dramatic actor.
612
00:35:29,085 --> 00:35:31,963
To have someone like that
step into a role like this,
613
00:35:32,046 --> 00:35:34,132
it's such an incredible
leap of faith for us,
614
00:35:34,215 --> 00:35:35,758
and it validates everything we do.
615
00:35:36,384 --> 00:35:37,385
(SPEAKING INDISTINCTLY)
616
00:35:37,468 --> 00:35:38,636
You look like you have...
617
00:35:38,719 --> 00:35:40,555
-Hey, everybody set?
-Set.
618
00:35:40,638 --> 00:35:42,765
Here we go. And action!
619
00:35:43,349 --> 00:35:45,768
CHAPEK: She brings such a gravitasto this character
620
00:35:45,852 --> 00:35:47,812
who has been a part of this spy world.
621
00:35:47,895 --> 00:35:50,064
Who came from the Red Room before Natasha.
622
00:35:51,691 --> 00:35:52,900
(SNIFFLES)
623
00:35:54,318 --> 00:35:57,196
You know, it's like when you told them
624
00:35:57,280 --> 00:35:59,532
that they could stay up late
to catch Santa Claus.
625
00:35:59,615 --> 00:36:00,616
That was fun, you know.
626
00:36:00,700 --> 00:36:02,910
He come down the chimney, girls.
Look out! Where is he?
627
00:36:02,994 --> 00:36:04,620
But he doesn't come.
628
00:36:05,121 --> 00:36:06,789
Well, I know. But that's the fun.
629
00:36:06,873 --> 00:36:09,417
That's part of the fun of it,
is that he never come.
630
00:36:09,500 --> 00:36:11,502
It's like, you know,
waiting for the thing.
631
00:36:11,586 --> 00:36:12,962
But it gives you hope, right?
632
00:36:13,045 --> 00:36:17,550
And I believe you should...
(LAUGHS WHIMSICALLY) No, no.
633
00:36:17,633 --> 00:36:20,887
-No, I do know it give you hope, you know?
-No, I know. (CHUCKLES)
634
00:36:20,970 --> 00:36:24,182
And I believe you should, you should hope.
(LAUGHS WHIMSICALLY)
635
00:36:24,265 --> 00:36:25,725
I'm sorry. Wait, wait.
636
00:36:25,808 --> 00:36:28,728
You were going for Waiting for Godot.
Well, you were.
637
00:36:28,811 --> 00:36:30,438
-Waiting for whatever.
-Just say it!
638
00:36:30,521 --> 00:36:32,148
As soon as they arrive at Melina's,
639
00:36:32,231 --> 00:36:35,860
we kinda see how even though
they've been separated for 20 years,
640
00:36:35,943 --> 00:36:39,780
they sit down, and it's like picking up
from where they were in Ohio.
641
00:36:39,864 --> 00:36:42,200
You haven't aged a day, huh?
642
00:36:42,283 --> 00:36:47,079
You're just as beautiful and supple
as the day they staged our marriage.
643
00:36:49,999 --> 00:36:52,585
I think because we all individually knew
644
00:36:52,668 --> 00:36:56,214
how each one of our characters
felt about the other person,
645
00:36:57,089 --> 00:37:00,801
it actually, in a way, you kind of
don't want to kill it with rehearsal,
646
00:37:00,885 --> 00:37:04,347
you just wanna get there on the day
and see what everybody's giving.
647
00:37:06,265 --> 00:37:08,559
SHORTLAND: It was really,the script was the hardest part
648
00:37:08,643 --> 00:37:10,353
because it was a jigsaw puzzle.
649
00:37:10,436 --> 00:37:13,522
It was comedy,
it was drama, it's spectacle.
650
00:37:13,606 --> 00:37:16,192
And you have to make it all
one beautiful thing.
651
00:37:16,275 --> 00:37:18,069
So, that was a challenge.
652
00:37:18,152 --> 00:37:19,570
Action.
653
00:37:19,654 --> 00:37:21,989
Good boy, Alexei. Good boy.
654
00:37:23,366 --> 00:37:25,117
You named the pig after me?
655
00:37:25,785 --> 00:37:27,495
You don't see the resemblance?
656
00:37:27,578 --> 00:37:31,916
The funny-ness that comes out of it
comes from these missed connections
657
00:37:31,999 --> 00:37:36,045
and from these attempts
to love each other.
658
00:37:36,128 --> 00:37:38,506
And they're just
inadequate people, all of them.
659
00:37:39,715 --> 00:37:41,759
-Change it up. Yeah.
-Yep, yep, yes.
660
00:37:43,135 --> 00:37:45,763
-Can you go to your right further?
-Try to find...
661
00:37:45,846 --> 00:37:50,142
PUGH: Cate has madea film that it isn't necessarily...
662
00:37:50,226 --> 00:37:52,436
The heart isn't about superheroes.
663
00:37:52,520 --> 00:37:55,523
The heart is about being damaged
664
00:37:55,606 --> 00:37:59,652
and trying to find a way to fix yourself.
665
00:37:59,735 --> 00:38:03,364
And so, you know,
there's obviously so much humor in it,
666
00:38:03,447 --> 00:38:06,534
and David Harbour's hilarious,
and Rachel Weisz is just a legend.
667
00:38:06,617 --> 00:38:08,494
But equally, when it gets to those scenes,
668
00:38:08,577 --> 00:38:12,957
Cate was really sure that she needed
this to be the heart of the film.
669
00:38:13,040 --> 00:38:14,792
She kept on saying throughout the shoot,
670
00:38:14,875 --> 00:38:16,711
"What's the heart of the film?"
671
00:38:16,794 --> 00:38:19,338
And she needed this to be about the pain
672
00:38:19,422 --> 00:38:22,925
and how you repair yourself
and how you collect yourself.
673
00:38:23,926 --> 00:38:25,636
You are an idiot.
674
00:38:30,349 --> 00:38:31,934
And you're a coward.
675
00:38:34,520 --> 00:38:37,481
You're a coward,
and our family was never real,
676
00:38:37,565 --> 00:38:40,192
so, there's nothing to hold onto.
677
00:38:41,569 --> 00:38:43,112
We're moving on.
678
00:38:44,739 --> 00:38:47,033
It's important for us
to understand in this film
679
00:38:47,116 --> 00:38:53,748
how this family has shaped
the person that Natasha became.
680
00:38:59,462 --> 00:39:01,005
I'm sorry.
681
00:39:03,716 --> 00:39:06,177
Why she is so guarded,
682
00:39:06,260 --> 00:39:09,889
and why she wears many faces
and puts on the masks.
683
00:39:09,972 --> 00:39:13,434
She's been deeply hurt by the peoplewho meant the most to her,
684
00:39:13,517 --> 00:39:16,812
and the result is kindof what you see is what you get.
685
00:39:16,896 --> 00:39:18,939
You got some nerve, I'll give you that.
686
00:39:19,023 --> 00:39:20,691
You could use some of that right now.
687
00:39:21,567 --> 00:39:24,612
I think especially,coming out of this time,
688
00:39:24,695 --> 00:39:26,989
where we're all reallylonging for community,
689
00:39:27,073 --> 00:39:30,368
and there has been so much division,
690
00:39:30,451 --> 00:39:33,579
I think what the film does is it says,
691
00:39:33,662 --> 00:39:36,957
"Accept and love each otherfor who you are,
692
00:39:37,041 --> 00:39:40,127
"and look at each otheras precious beings."
693
00:39:40,211 --> 00:39:41,837
And I think that's all I want,
694
00:39:41,921 --> 00:39:47,093
is for people to enjoy it
and see the human under the suit.
695
00:39:49,929 --> 00:39:51,806
It's a security issue, Barry.
696
00:39:51,889 --> 00:39:53,349
-Come on. Come on.
-Barry?
697
00:39:53,432 --> 00:39:55,518
-It's a security.
-I know.
698
00:39:55,601 --> 00:39:56,602
CREW MEMBER: Come on.
699
00:39:56,685 --> 00:40:00,064
So this is my 23rd movie at Marvel.
700
00:40:00,147 --> 00:40:01,816
I've been all around the world.
701
00:40:01,899 --> 00:40:05,903
This is absolutely the biggest
security threat we've ever faced.
702
00:40:06,862 --> 00:40:08,197
These guys right here.
703
00:40:13,369 --> 00:40:15,788
I think this is gonnahave a very different look
704
00:40:15,871 --> 00:40:18,916
than most of the other MCU movies
'cause we're on location.
705
00:40:18,999 --> 00:40:21,794
We're in the brush. We're in the mud.
706
00:40:21,877 --> 00:40:23,921
We're gonna probably be
in the snow, in the sand.
707
00:40:24,004 --> 00:40:28,384
And I feel like we're gonna be
in a lot of real natural places.
708
00:40:29,176 --> 00:40:31,512
-Left pocket is the best one for us.
-Yeah.
709
00:40:31,595 --> 00:40:33,722
-Then let's do a pre-wet.
-Yeah.
710
00:40:33,806 --> 00:40:35,182
So she's really, like...
711
00:40:36,267 --> 00:40:38,394
But, uh, she probably
won't have to act that.
712
00:40:38,477 --> 00:40:41,981
-You know, like, she's like...
-Her, okay. She fell in icy cold water.
713
00:40:42,064 --> 00:40:44,442
And then she's up, and she's like...
714
00:40:44,525 --> 00:40:46,110
You know?
715
00:40:46,193 --> 00:40:48,487
-Shout out if I'm overacting.
-No, overact. Yeah.
716
00:40:48,571 --> 00:40:50,865
-Okay. (LAUGHS)
-That'll make me look better.
717
00:40:50,948 --> 00:40:54,118
Guys, what we'll do, we'll pre-wet
and everything just by the water's edge.
718
00:40:54,201 --> 00:40:56,454
-So mean.
-You're sending her in first?
719
00:40:56,537 --> 00:40:58,456
-Um, oh, we talked about it.
-Always.
720
00:40:58,581 --> 00:41:00,291
(EFFORT GRUNTS)
721
00:41:00,374 --> 00:41:02,042
(COUGHING)
722
00:41:02,418 --> 00:41:03,752
(EXCLAIMS)
723
00:41:03,836 --> 00:41:05,045
(BREATHING HEAVILY)
724
00:41:06,297 --> 00:41:10,801
Crew away, one more.
Keep rolling. Keep rolling.
725
00:41:11,385 --> 00:41:13,429
-Keep going?
-Coming back, C.C.
726
00:41:13,512 --> 00:41:14,805
-Okay.
-You good?
727
00:41:14,889 --> 00:41:16,599
YOUNG:
We couldn't be happier with our doubles.
728
00:41:16,682 --> 00:41:20,102
For Natasha, we've got
Mickey Facchinello and C.C. Ice.
729
00:41:20,186 --> 00:41:24,607
C.C. has come from our Avengers crew,so she knows the character very well.
730
00:41:25,107 --> 00:41:28,360
And Mickeyis an extremely talented martial artist.
731
00:41:28,444 --> 00:41:31,822
So both our ladies do the research.They watch the old movies.
732
00:41:31,906 --> 00:41:33,365
They are at the top of their game.
733
00:41:33,449 --> 00:41:36,285
They're lookingfor the moments, those pieces,
734
00:41:36,368 --> 00:41:39,205
and they're very consciousof what Scarlett's gonna be doing.
735
00:41:39,288 --> 00:41:41,749
I think the most important thingis that they know
736
00:41:41,832 --> 00:41:46,045
that to be a good double is to blendwhen we see the actor stunts.
737
00:41:46,128 --> 00:41:49,089
We wanna make it seamless.The biggest respect to these ladies.
738
00:41:49,173 --> 00:41:52,134
They are brilliant, you know,story moments of what we want,
739
00:41:52,218 --> 00:41:53,594
but you wanna see Scarlett.
740
00:41:54,595 --> 00:41:57,097
-I'm going.
-Here we come, she's comin' in.
741
00:41:57,181 --> 00:41:58,933
(INAUDIBLE)
742
00:41:59,016 --> 00:42:00,601
Happy thoughts.
743
00:42:00,684 --> 00:42:02,937
I'm thinking happy thoughts.
744
00:42:03,020 --> 00:42:04,355
MAN: How's that position, Rob?
745
00:42:04,438 --> 00:42:07,525
I love my job. I love my job.
746
00:42:07,608 --> 00:42:09,777
-MAN: Here we go. Everyone ready?
-(GRUNTS)
747
00:42:10,402 --> 00:42:12,821
-And action!
-(GRUNTS)
748
00:42:15,366 --> 00:42:16,492
(WATER TRICKLING)
749
00:42:16,575 --> 00:42:17,785
(BREATHING HEAVILY)
750
00:42:19,537 --> 00:42:21,580
-MAN 1: Everybody, reset!
-MAN 2: Reset, Scarlett.
751
00:42:21,664 --> 00:42:22,873
(EFFORT GRUNTS)
752
00:42:24,458 --> 00:42:25,793
It's still cold.
753
00:42:28,462 --> 00:42:31,799
(ANNOUNCING INDISTINCTLY OVER PA SYSTEM)
754
00:42:35,719 --> 00:42:37,221
CHAPEK: From the very beginning,
755
00:42:37,304 --> 00:42:39,640
this movie had to besomething very different.
756
00:42:39,723 --> 00:42:43,227
This movie wasn't something
that could be cheated for other locations.
757
00:42:43,310 --> 00:42:46,814
We wouldn't be able to take another
European city and double it for Budapest.
758
00:42:46,897 --> 00:42:50,484
It was very important that we put
our characters on the ground,
759
00:42:50,568 --> 00:42:52,611
feel the city, and feature the city.
760
00:42:52,695 --> 00:42:54,905
And ever since Avengers 1,
761
00:42:54,989 --> 00:43:00,286
we set up this idea that Clint and Natasha
had this incredible adventure in Budapest.
762
00:43:02,037 --> 00:43:05,583
-Just like Budapest all over again.
-I remember Budapest very differently.
763
00:43:05,666 --> 00:43:08,460
It's something that's become
very important to fans,
764
00:43:08,544 --> 00:43:10,045
and when making a Black Widow movie,
765
00:43:10,129 --> 00:43:12,339
it's very important for us
to kind of pay that off,
766
00:43:12,423 --> 00:43:15,259
or at least shed light as to what
had happened so many years ago.
767
00:43:15,342 --> 00:43:16,802
What bullet does that?
768
00:43:19,138 --> 00:43:21,640
-Not bullets, arrows.
-Ah, right.
769
00:43:21,724 --> 00:43:25,477
As Natasha, in our movie, kind of finds
herself thrown back into Budapest,
770
00:43:25,561 --> 00:43:28,689
she's forced to relive things
that happened with her and Clint.
771
00:43:29,607 --> 00:43:32,151
It started out so funnily,is this thing that,
772
00:43:32,234 --> 00:43:33,819
you know, Joss Whedon threw in there,
773
00:43:33,902 --> 00:43:38,866
as this great sort of quippy moment
between Hawkeye and Black Widow, you know.
774
00:43:38,949 --> 00:43:42,119
That's Clint and Natasha right there,
their kind of history.
775
00:43:42,202 --> 00:43:46,624
Just a fun little Easter egg for people
and for fans to kind of theorize about.
776
00:43:46,707 --> 00:43:49,710
Then we thought, "We gotta find out
what happened in Budapest."
777
00:43:50,711 --> 00:43:53,297
Tell me what happened. Tell me exactly.
778
00:43:54,465 --> 00:43:56,008
-We rigged bombs.
-Who's "we"?
779
00:43:56,091 --> 00:43:57,092
Clint Barton.
780
00:43:57,593 --> 00:44:00,721
Killing Dreykov was the final step
in my defection to S.H.I.E.L.D.
781
00:44:02,264 --> 00:44:03,682
Simple as that.
782
00:44:03,766 --> 00:44:08,604
The location just felt like it would be
visually, really exciting, too.
783
00:44:08,687 --> 00:44:10,230
And give a kind of flavor
784
00:44:10,314 --> 00:44:12,983
that the Marvel Universe
has never really explored,
785
00:44:13,067 --> 00:44:16,320
this great, like,
Eastern European vibe, which is so fun.
786
00:44:21,200 --> 00:44:23,369
All right, no more smoke. Action!
787
00:44:23,452 --> 00:44:24,662
(GRUNTING)
788
00:44:27,623 --> 00:44:30,084
When I first went to Budapest
over 30 years ago,
789
00:44:30,209 --> 00:44:33,212
I went to a lot of apartments like that.
And, um...
790
00:44:33,962 --> 00:44:36,215
And we shot the exterior of it
in a courtyard
791
00:44:36,298 --> 00:44:38,759
in a wonderful old building
called the Express Building,
792
00:44:38,842 --> 00:44:40,928
which is right in the center of Budapest,
793
00:44:41,011 --> 00:44:46,266
which amazingly, hasn't been touchedin all the years I've known the city.
794
00:44:46,892 --> 00:44:49,436
So it was a pleasureto go back and see that.
795
00:44:50,896 --> 00:44:52,564
I guess I just...
796
00:44:52,648 --> 00:44:56,318
(LAUGHS) Me too.
I just slipped down, basically.
797
00:44:56,402 --> 00:44:57,403
(CONTINUES LAUGHING)
798
00:44:58,070 --> 00:45:01,073
BUSH: It was very nice on this filmto actually see it as Budapest.
799
00:45:01,156 --> 00:45:03,617
'Cause I'll tell you,in all the times I've been there,
800
00:45:03,701 --> 00:45:08,330
we've always turned it into East Berlin
or Paris or Rome or somewhere else.
801
00:45:08,414 --> 00:45:10,457
But, um, you know, just for a change,
802
00:45:10,541 --> 00:45:13,252
it was Budapest as Budapest
and celebrated as such.
803
00:45:14,169 --> 00:45:15,546
Here we go. Picture's up.
804
00:45:18,132 --> 00:45:21,427
One of the biggest chases
is set in Budapest.
805
00:45:21,510 --> 00:45:26,390
And we are on a motorbike as Taskmaster
is in a tank coming after us.
806
00:45:26,473 --> 00:45:29,685
So for three weeks,
they had a tank drive around Budapest,
807
00:45:29,768 --> 00:45:32,146
and I'm surethat shocked quite a lot of people.
808
00:45:34,106 --> 00:45:36,734
JOHANSSON: The city of Budapest gave us,like, you know,
809
00:45:36,817 --> 00:45:37,943
basically the keys to the city.
810
00:45:38,026 --> 00:45:44,450
So we were able to really use these
iconic locations in a very practical way,
811
00:45:44,533 --> 00:45:46,618
which is really fun
'cause you don't have to be
812
00:45:46,702 --> 00:45:50,581
shooting all these plates and using a lot
of CG, you can actually really do it.
813
00:45:50,706 --> 00:45:52,249
(ENGINE ROARING)
814
00:45:52,332 --> 00:45:53,500
PUGH: It was very funny.
815
00:45:53,584 --> 00:45:55,586
We had stunt doubles going around the city
816
00:45:55,669 --> 00:45:56,754
on a real motorbike.
817
00:45:56,837 --> 00:45:59,381
And then we were on
a pole that had a motorbike on it.
818
00:46:03,969 --> 00:46:06,388
MAN: Three, two, one. Go!
819
00:46:09,767 --> 00:46:12,853
That chase is so many things. (LAUGHS)
820
00:46:12,936 --> 00:46:14,396
As it normally is.
821
00:46:14,980 --> 00:46:18,066
Some of it is us beingpulled by a camera on this rig.
822
00:46:18,150 --> 00:46:19,234
And fire!
823
00:46:19,318 --> 00:46:20,319
ROMANOFF: Hey!
824
00:46:20,444 --> 00:46:21,487
(CHUCKLES)
825
00:46:21,570 --> 00:46:24,698
JOHANSSON: That car-flipping stuffwas all on this weird track.
826
00:46:24,782 --> 00:46:26,450
And then a lot of it is also practical.
827
00:46:35,292 --> 00:46:36,293
(TIRES SCREECHING)
828
00:46:42,925 --> 00:46:44,092
(TIRES SCREECHING)
829
00:46:53,769 --> 00:46:57,314
It was just also one of those things
that you had to fill in all the blanks.
830
00:46:57,397 --> 00:47:01,026
So obviously, your stunts are doing
mega things and making this look real.
831
00:47:01,109 --> 00:47:02,861
And then (CHUCKLES)
we have to come in to do
832
00:47:02,945 --> 00:47:04,988
the corner shotand make it look really scary.
833
00:47:05,072 --> 00:47:08,158
Okay, you got a plan,
or shall I just stay, duck and cover?
834
00:47:08,242 --> 00:47:09,743
My plan was to drive us away!
835
00:47:09,827 --> 00:47:10,911
It's a shit plan.
836
00:47:16,291 --> 00:47:18,627
PUGH: I always find that partof filmmaking fascinating.
837
00:47:18,710 --> 00:47:22,631
It was a lot of fun, and it starts
the film on that energy straight away.
838
00:47:23,298 --> 00:47:28,053
It excels
and basically moves the entire story line
839
00:47:28,136 --> 00:47:30,722
into the main part of the film.
840
00:47:30,806 --> 00:47:33,642
And it's just one car chase.It's unbelievable.
841
00:47:51,535 --> 00:47:56,582
Every Marvel film,
we're trying to up the one before it
842
00:47:56,665 --> 00:47:59,334
and give audiences something new,
exciting, and creative
843
00:47:59,418 --> 00:48:01,169
that they've never seen before.
844
00:48:01,253 --> 00:48:02,379
While at the same time,
845
00:48:02,462 --> 00:48:05,632
trying to manage and maintain
a constant and consistent story.
846
00:48:06,675 --> 00:48:08,176
YELENA: What about Romanoff?
847
00:48:08,260 --> 00:48:09,553
She's a traitor.
848
00:48:10,554 --> 00:48:12,723
She turned her back on her people.
849
00:48:12,806 --> 00:48:14,099
On her blood.
850
00:48:15,767 --> 00:48:18,770
BAUMANN: For us right now, the third actis probably the biggest challenge.
851
00:48:18,854 --> 00:48:20,272
It's a free fall sequence.
852
00:48:20,355 --> 00:48:24,943
Sky-diving in and out of planesand, you know, zero-G.
853
00:48:25,027 --> 00:48:28,363
So, there's a lot of choreography
that's gonna be involved,
854
00:48:28,447 --> 00:48:31,116
both with the visual effects
and stunts and special effects.
855
00:48:31,199 --> 00:48:33,285
And to really try to bringthat sequence together
856
00:48:33,368 --> 00:48:36,997
and giving our actors opportunitiesto really perform at their best
857
00:48:37,080 --> 00:48:41,168
in that environment and not be overwhelmed
by the number of rigs or wires, et cetera,
858
00:48:41,251 --> 00:48:42,544
that they're going to be on.
859
00:48:43,545 --> 00:48:45,714
MARRA: Cate has createda really beautiful palette.
860
00:48:45,797 --> 00:48:48,842
Because this is a new world for her,in terms of visual effects,
861
00:48:48,926 --> 00:48:52,596
a lot of her questions had to do with how.
862
00:48:52,763 --> 00:48:56,308
"How do we shoot this?
How to I get this vision onto the screen?"
863
00:48:56,391 --> 00:48:58,268
Which, of course, is our jobs.
864
00:49:05,734 --> 00:49:09,696
So we had lots of early
pre-conversations about, um,
865
00:49:09,780 --> 00:49:11,823
like, how we shoot visual effects,
866
00:49:11,907 --> 00:49:15,035
whether it's set extensions
or just A over B comps
867
00:49:15,118 --> 00:49:17,162
and showing herwhat we can bring to her movie.
868
00:49:22,334 --> 00:49:23,710
(EXPLOSION)
869
00:49:27,172 --> 00:49:29,341
Lift those feet a little bit
and push forward.
870
00:49:29,424 --> 00:49:30,717
Heels.
871
00:49:32,719 --> 00:49:35,013
-Nice.
-Need a focus.
872
00:49:35,097 --> 00:49:36,848
-I'll pause it... (INDISTINCT)
-Yeah.
873
00:49:36,932 --> 00:49:39,810
Yeah, that would be better.
That's cool. Let's shoot it.
874
00:49:40,852 --> 00:49:42,854
A lot of the time,
what's written on the page
875
00:49:42,938 --> 00:49:45,315
isn't always what we can produce.
876
00:49:45,399 --> 00:49:47,275
But there are the alternatives that,
877
00:49:47,359 --> 00:49:49,945
if we wanna keep this as grounded
and as real as possible,
878
00:49:50,028 --> 00:49:51,655
this is what we can really achieve.
879
00:49:51,738 --> 00:49:54,116
And then getting everybody on board
880
00:49:54,199 --> 00:49:57,244
with that part of itand then developing that sequence.
881
00:49:57,327 --> 00:50:00,831
And then go, "Okay, well, that sequence,that's what we want it to be.
882
00:50:00,914 --> 00:50:04,084
"This is the next sequence.
We will need help to make this work."
883
00:50:04,167 --> 00:50:07,379
It'll be three-quarter visual effects,quarter stunts.
884
00:50:07,462 --> 00:50:10,090
But are we happywith the look of what that is?
885
00:50:10,173 --> 00:50:12,592
And then buy into that.So it's kinda then...
886
00:50:12,676 --> 00:50:16,972
It's making the most of our time on each
sequence, really, which is important.
887
00:50:17,222 --> 00:50:18,390
(ROMANOFF GRUNTS)
888
00:50:18,807 --> 00:50:19,850
(WATER SPLASHING)
889
00:50:22,019 --> 00:50:23,270
(BREATHING HEAVILY)
890
00:50:27,441 --> 00:50:29,568
If you don't know what's happening,
891
00:50:30,110 --> 00:50:34,823
that is the biggest compliment
that you can give a visual effects team.
892
00:50:35,532 --> 00:50:38,869
If you're so into the storythat you don't question,
893
00:50:38,952 --> 00:50:40,912
"How did they do that?"You don't because why?
894
00:50:40,996 --> 00:50:43,832
'Cause you're afraid
that they're not going to make it.
895
00:50:43,915 --> 00:50:47,002
Or you're so excited that you're like,
"Oh, my God!"
896
00:50:47,085 --> 00:50:49,588
If that's happening to you as an audience,
897
00:50:49,671 --> 00:50:53,967
every single visual effects artist
around the world,
898
00:50:54,051 --> 00:50:57,262
like the, whatever, 5,000 people
that worked on this movie,
899
00:50:57,345 --> 00:50:59,056
everybody will be grateful.
900
00:51:03,560 --> 00:51:05,395
(BREATHING HEAVILY) Enough.
901
00:51:05,479 --> 00:51:07,689
I think there's probably,out of 2,800 shots,
902
00:51:07,773 --> 00:51:09,900
is maybe 200that don't have visual effects.
903
00:51:12,736 --> 00:51:14,196
There's a lot of work in there.
904
00:51:14,279 --> 00:51:17,365
A lot of it you know,and you realize it's happening
905
00:51:17,449 --> 00:51:21,578
'cause it will be not safe to do itthat way, so then you know it's happening.
906
00:51:21,661 --> 00:51:25,165
But there is so much morethat is happening that you have no idea.
907
00:51:25,248 --> 00:51:30,754
What better joy to haveas a filmmaker or as an artist,
908
00:51:30,837 --> 00:51:34,925
that we can have to createworlds or to create moments
909
00:51:35,008 --> 00:51:36,718
that you don't even know it's happening,
910
00:51:36,802 --> 00:51:39,471
but you can actuallygive that to the audience?
911
00:51:39,554 --> 00:51:42,265
I mean, I think to me,
that's a dream come true.
912
00:51:42,349 --> 00:51:46,061
In every movie we make,
and every streaming show we do,
913
00:51:46,144 --> 00:51:51,900
we have a chance to tell a story
that on paper feels or seems impossible.
914
00:51:51,983 --> 00:51:55,278
And then you allow the artistry
915
00:51:55,362 --> 00:51:57,948
of visual effects artists
around the world,
916
00:51:58,031 --> 00:52:01,409
and they come in,
and they just make it work for you.
917
00:52:02,410 --> 00:52:04,996
Can you pull back? Pull back.
Pull back with the girls.
918
00:52:05,080 --> 00:52:06,790
Florence, can you stand?
919
00:52:06,873 --> 00:52:09,835
I want you to cheat
and go through more Widows.
920
00:52:09,918 --> 00:52:11,670
Come through more Widows. Cheat it.
921
00:52:11,753 --> 00:52:15,006
PUGH: Something that I was always very...For me as an actor,
922
00:52:15,090 --> 00:52:19,136
I've always felt sure about,what is power, what does power look like?
923
00:52:19,219 --> 00:52:21,471
And when you look at a superhero,
924
00:52:22,222 --> 00:52:25,559
I've always thought,
if I'm in a building, and it's burning,
925
00:52:25,642 --> 00:52:28,478
and I need a superhero
to come and save me,
926
00:52:28,562 --> 00:52:31,314
I need a woman to come and save me,
what would they look like?
927
00:52:31,398 --> 00:52:35,569
And I think for a long time,
we've looked at, you know,
928
00:52:35,652 --> 00:52:38,655
these shooting things that come
through the air, and they grab you.
929
00:52:38,738 --> 00:52:41,074
And actually, if you had a warrior
that was coming in
930
00:52:41,158 --> 00:52:43,827
to come and save you,
what would these people look like?
931
00:52:46,037 --> 00:52:49,124
For me, I always foundsomething very unique about the script,
932
00:52:49,207 --> 00:52:53,253
which is the amountof women that this will reach.
933
00:52:54,129 --> 00:52:58,425
This film is about abuseand women finding their path again.
934
00:52:59,217 --> 00:53:03,013
And something as big
and as serious as that reaching
935
00:53:03,096 --> 00:53:06,600
the amount of people that it will do
because of this film is, um...
936
00:53:07,976 --> 00:53:10,645
I mean, I didn't have that
when I was growing up.
937
00:53:11,646 --> 00:53:15,150
It was striking how many female, you know,
938
00:53:15,233 --> 00:53:17,903
how many stuntwomen we had on setat any given time.
939
00:53:17,986 --> 00:53:21,281
I mean, just the power of these women,
940
00:53:21,364 --> 00:53:25,869
all in one room together was something
I'd never experienced before.
941
00:53:26,536 --> 00:53:30,874
It was an amazing feeling to be surroundedby all these badass women
942
00:53:30,957 --> 00:53:33,793
and really be able to get,like, down and dirty with them.
943
00:53:33,877 --> 00:53:35,212
-MAN: Action!
-(GRUNTS)
944
00:53:37,297 --> 00:53:42,177
What Scarlett brings to her character,with what she means to young girls today,
945
00:53:42,260 --> 00:53:45,222
what she means to all the fans
'cause she's got such a following,
946
00:53:45,305 --> 00:53:49,392
but especially to young girls,
is incredibly special and inspiring.
947
00:53:49,476 --> 00:53:52,145
When you're watching it
you feel like, "That's me."
948
00:53:52,229 --> 00:53:54,147
You're kinda watching it
thinking it's you,
949
00:53:54,231 --> 00:53:56,191
so I think when a girl or a woman sees
950
00:53:56,274 --> 00:53:59,277
women being action stars,
they can identify.
951
00:53:59,361 --> 00:54:03,198
And you go along with the story
imagining that it's you who are like that.
952
00:54:03,281 --> 00:54:04,908
So it's just a lot more exciting.
953
00:54:04,991 --> 00:54:06,493
ALONSO: It's imperative.
954
00:54:06,576 --> 00:54:11,623
It's imperative that these kids havea character that they can look up to.
955
00:54:11,706 --> 00:54:15,710
That on a day when they don'tfeel up to facing the world,
956
00:54:15,794 --> 00:54:20,090
that they can put a mask,
they can put a cape, and they can pretend.
957
00:54:20,173 --> 00:54:21,633
(DRAMATIC MUSIC PLAYING)
958
00:54:24,177 --> 00:54:27,931
And if that is what gives you the strengthto get through that moment and time,
959
00:54:28,014 --> 00:54:33,186
and it helps you because it empowers you,then I salute you.
960
00:54:33,853 --> 00:54:38,024
And if we don't do that for every kid,
then we will fail.
961
00:54:38,108 --> 00:54:42,112
One of the beautiful things about comics,is comics didn't fail you.
962
00:54:42,195 --> 00:54:43,947
People saw themselves.
963
00:54:44,030 --> 00:54:47,075
So that identity that the page created,
964
00:54:47,158 --> 00:54:50,495
we need to continue
to do in the moving image.
965
00:54:51,246 --> 00:54:53,081
-(ALL CHEERING)
-(WHOOPING)
966
00:54:53,331 --> 00:54:55,625
This has been a dream job for me,
967
00:54:55,709 --> 00:54:58,670
and you guys have been
bringing all your creative juice
968
00:54:58,753 --> 00:55:00,714
and spirit and energy to this film.
969
00:55:00,797 --> 00:55:03,133
I think we're making
something really, really special.
970
00:55:03,216 --> 00:55:05,385
Something very, very special
to me, anyway.
971
00:55:05,468 --> 00:55:08,305
And so thank you all so, so much.
972
00:55:08,388 --> 00:55:10,015
-(WHOOPING)
-(ALL APPLAUDING)
973
00:55:11,850 --> 00:55:15,353
JOHANSSON: It's been an incredibleopportunity for me to be able to continue
974
00:55:15,437 --> 00:55:18,523
to come back to a characterthat I love so much.
975
00:55:18,606 --> 00:55:21,359
And I really have to thankthe audiences for that.
976
00:55:23,737 --> 00:55:26,906
I'm super happy
with all the work that we've done
977
00:55:26,990 --> 00:55:31,745
with this long-standing seriesof franchise films from Marvel,
978
00:55:31,828 --> 00:55:33,955
and it just feels like real family.
979
00:55:34,039 --> 00:55:35,874
(DRAMATIC MUSIC PLAYING)
980
00:55:46,009 --> 00:55:47,677
(THEME MUSIC PLAYING)
85470
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