All language subtitles for Marvel Studios Assembled S02E03.eng

because I was playing
something even riskier.

Back in the day, I had eyes everywhere.
Ears, everywhere else.

All the tech you could dream up.

Here we all are, back on Earth...

with nothing but our wit
and our will to save the world.

We have no idea what other
intergalactic threats are out there.

I was ten toes in this thing

when you were still
singing nursery rhymes.

(LAUGHS)

I've been having conversations

about a Nick Fury series
for a long time.

So, when it came up or came about

that they were going to do
Secret Invasion,

I was chuffed about it

and not knowing what the story was,
I had to go back and find

that particular story line
in the comic books.

This doesn't necessarily follow that,

but once, you know,
we started dealing with the Skrulls

and the Kree in Captain Marvel,

that's when things started
to kind of bubble in that particular way.

Don't kill me.

That would really
complicate the situation

I'm about five seconds
from complicating that wall

with some ugly-ass Skrull brain.

TALOS: I'm sorry I simmed your boss,

but now I stand before you
as my true self.

Without deception.

In Captain Marvel,
what we learn about the Skrulls

is that they have been persecuted
by the Kree

for many generations,
that their home world has been blown up

and they are scattered across the cosmos
as refugees in search of a home planet.

You're good to go here until you recover,

but you and your family
are going to need a new look.

I could go back to being your boss.

Uh, please don't.

It felt like there was more story there,
and what we sort of came to was,

what if the end of Captain Marvel

is Captain Marvel leading the Skrulls
into the galaxy

to find a new home world?

And what if she just failed?

What if there was no new home world?

And that felt like a starting point
for sort of the...

The turning of trust
into anger and hatred.

We've been helping you for all these years
to ensure that you kept your promise.

But after The Blip,

you were different.

And then you disappeared.

BRIAN TUCKER: Talos is a Skrull.

Nick Fury is obviously a human,

and he's tasked with preventing
this Skrull invasion.

Can he trust his...

One of his dearest friends
in that process?

Can Talos trust Nick Fury?

So trust and, you know,

the flip side of that,
having faith in people,

having faith in your friends,
even when it's very tough to do so

is at the heart of the story.

You've got nine minutes and counting
to figure out which side you're on!

SCHWARTZ: We wanted to take Nick Fury

and put him in a genre, in a structure
in which he would shine.

And Nick doesn't have superpowers.

His superpower is his brain
and his force of will.

And those are things
that come through really well

in a spy thriller.

TUCKER: We talked about it being
a kind of a non-Marvel Marvel show.

We wanted to really
dial into Fury, the man.

You know, I may not know
when a Skrull is pretending to be a human,

Whatever we think about
his trench coat and his eye patch,

and how cool Sam Jackson is,
Nick Fury is a human,

a human with a certain kind of power,
but not a superpower like Captain Marvel.

Making friends with the locals?

(CHUCKLES) How do you think
we kept the Cold War from going hot?

I, as an individual,

I'm sort of charismatic, I think.

I can be fun.

I can be intimidating.

I can be all the things
that Nick Fury needs to be.

His superpower is his persuasiveness

and his fearlessness.

I'm Nick Fury.

Even when I'm out, I'm in.

The thing that excites me
about this project, Secret Invasion,

is that you get to see
another side of him.

TUCKER: He's gotten older
since we last saw him.

He's been living up on S.A.B.E.R.,
his specially made space station.

So he's been detached as well,

and we wanted to show what it looked like

for Fury a few years older,

to come down and to have to re-acclimate.

Let's just say I had a crisis of faith.

So why'd you come back?

It followed me up there,

and I owe it to Talos.

CLAIRE ANDERSON:
At the start of Episode 1,

I think he arrives back on Earth
not sure quite what to expect,

and what his role will be.

And we wanted to use something
that made him look softer.

We used a cut of tailoring in a coat

that had a softer shoulder
to give him a more broken look.

Although we kept elements
of Fury's original style,

the collar is always popped.

But using a wool meant that
it's more sympathetic to camera.

Wool absorbs light differently to leather,

so everything about him
was a bit less commanding.

The gravitas of Nick's journey
is such that

when we get towards
the penultimate episode,

we need him to gather all his strength
and go forward to save the world

and so that's what he does.

And he moves from a dark, heavy coat

to the black leather coat
and the eye patch,

something that represents
the Fury of old that we know.

So in working in Secret Invasion,

we really wanted to bring back a lot
of our familiar faces within the MCU.

Listen to me. I am here to help you.

You know, I had to pinch myself
many mornings

when I would step on set with Sam Jackson,

Don Cheadle, Ben Mendelsohn.

Some of my favorite actors in the world.

How's that? You loved that, didn't ya?

Ben, I got to know a little bit
when he was Talos in Captain Marvel.

It was such a fun, cool,
amazing emotional character

that it was a no-brainer
to bring him back for Secret Invasion.

She's cheeky.

Yeah, 'till she sees
an ugly-ass Skrull like you.

Then she goes into hunting mode.

I'm considered good-looking
amongst my kind there.

BEN MENDELSOHN: In Captain Marvel,
the original brief

was that Talos died in about Page 64.

Once we started working,
the plan changed a little bit.

Was it something I said?

Once he was sticking around,

there was a relationship
which developed with Fury.

Go on, talk to her. She's your type.

All right, if you're done.

You always know just what to say.

(BOTH CHUCKLE)

JACKSON: He was a lot of fun.

And he brings this really...

He brings this verve
to this whole Skrull thing.

Cut that. Let's reset. One more, please.

One more? That was amazing.

Again, again? You want it again? Cut.

That was the best one.
That was the best ending. We got it.

MENDELSOHN: It is one of the great
pleasures of my working life

to have an onscreen banter relationship

with a character
that's being played by Samuel L. Jackson.

-I'm working with Sam Jackson.
-Break the window.

-I'm working with Sam Jackson.
-MAN: So, A-cam, we lost video.

(SINGS) Every day

SMULDERS: I started my journey
with Marvel, gosh, probably a decade ago.

It was on the first Avengers film.

So I went in and read for "female agent."

And I don't know
how I weaseled my way into this role,

but I can't believe ten years later,

you know, she's still
running around with Nick Fury.

You gonna move?

I haven't decided.

See, that's what I'm worried about.

The Fury I knew
was always three steps ahead.

I was excited when I read the scripts

that we got to see Maria
sort of more in action.

-Drop the bags.
-I can't do that.

You don't have a choice, sweetheart.

We shot in here yesterday.

It was a pretty quick fight

(CHUCKLES) as we had to, to make it

because Maria Hill is no match
for sweet Emilia Clarke.

Where'd he go?

She.

Depending on how well you remember
the events of Captain Marvel,

you may remember Talos
reconnecting with his daughter,

who's been hidden from him for many years.

That daughter, years later,
has become G'iah.

Last warning!

It's what you always say
but there's always another.

G'iah.

Working with Ben Mendelsohn
is the joy of my life.

I was so nervous about meeting him

because me and my friends
had a Ben Mendelsohn fan club.

We're obsessed with him as an actor.

There are certain actors
that are actors' actors to watch,

and he is 100%, like,
top of the tree with that.

I didn't know what to expect,
but what I got

was this magical human
who just wants to play

and is so intuitive and is so much fun.

You know what?

-It's all falling apart for me.
-(LAUGHS)

-Let me just check out on this.
-They've always stopped coming.

MENDELSOHN: You act with people,
you get a...

You get an idea of who they are.

It's not always right,
but you get an idea.

And Emilia really blew me away.

She's like fresh air.

Just, you know, really knocked me over.

-One and done.
-There aren't many of those here, mate.

-I'm telling you that.
-It's beautiful.

-No worries.
-Respect.

With G'iah, throughout the show,

you sort of see her go on a journey
of self-discovery as a woman,

but also a journey of self-discovery
as a person.

What her beliefs really are, are tested.

And...

She's a general's daughter,

so there's a responsibility there.

And it's the kind of question of
will she accept it or not?

You don't see me because I'm not here.

I understand you're taking a risk.

Your mother died
while you were working for her killer.

KINGSLEY BEN-ADIR:
With someone like Gravik,

what was most interesting
about exploring him is that

someone who has that impulse
towards violence and destruction,

who also has such a high IQ

is the most dangerous.

GRAVIK: You know the difference
between statesmen and soldiers.

One lot spends the war
posing for pictures,

while the other does all the killing

and the dying.

Krell made his decision when he signed on
to your delusional war against the house.

You know, I would be doing us both a favor

if I just put you out of your misery.

BEN-ADIR: For me, the key into that
was the destruction of his planet

and then coming to Earth
and then trusting in Fury

and then giving him 30 years
and still nothing.

Enough's enough. Now I teach.
Now I'm the teacher.

(SPEAKS SKRULL LANGUAGE)

MENDELSOHN: Kingsley brings
an incredible energy

and a real interrogation of who Gravik is
and why Gravik is,

and he brings
a great amount of power to it.

And he's very heartfelt.

GRAVIK: You ask me, Talos,

choice between having my story told
in ink and oil paint,

or having it written in blood.

I choose blood all day long.

There's a hurt that has calcified
into his madness and his rage,

and I think he's playing
those things wonderfully.

He's absolutely the Gravik
that I had in mind.

That's what this is all about, isn't it?

You're gonna take our people

to the edge of extinction
with the war with the humans.

All these miscreants know

is murder.

Look how they treat each other.

That's what's gonna happen.

We're gonna murder them all.

SCHWARTZ: Secret Invasion takes place
in the real world and a real world.

It's not alien planets.

It's not starships far away.

It's not other dimensions.

It is Earth and Earth is the stakes.

And that allows us to do a lot for real.

Our production designer, Frank Walsh,

has constructed
some amazing real world sets.

I do like to have
very kind of tangible kind of sets

that you feel you can see the dirt on.

So you can touch something
that feels very real.

I definitely wanted to kind of
create worlds in camera

and not relying a lot on visual effects.

The script was asking some amazing sets

from the safe houses
in Moscow,

which kind of harks back
to very kind of early thrillers, you know,

up to reactor room in Skrull Town.

So it was kind of a broad spectrum
of sets to design

from very gritty places to very high end.

But probably the biggest set piece
we will do is this Unity Day festival.

We're in Piece Hall
in Halifax, West Yorkshire.

We have recreated
a central square in Moscow

that is celebrating Unity Day,

which Gravik decided to attack or bomb

during a time
when there are more people here.

It's enormous. We had 250 extras.

The square could probably
contain 5,000 people to make it look full.

And so we used those 250

and we tiled the floor with them,

moved them around
in different configurations,

so when we get a wide shot of the square,
it looks like it's really full

like Times Square on New Year's Eve.

There are explosions that go off

and we've built,
thanks to John Van Der Pool,

the special effects guy, we've built

bombs that explode with air and fire
and throws debris out

so it looks like buildings are breaking.

VAN DER POOL: This was a busy week for us.

It's quite involved because
we're actually using compressed air,

so as to keep the noise down with
a lot of very ancient windows around us

and confined space.

So we're using high pressure air mortars

and we're using small explosives
linked with propane gas.

We release propane gas
and then ignite it to give us a fireball.

Bit more labor intensive,
but hopefully we'll get the right effect.

I think we'll probably do
ten explosions over the weeks,

especially with an effect like this
with so many variables,

not just from our point of view
but from actors, from cameras,

we're always prepared to do
more than one take.

MAN: Three, two, one, action!

Fury, Talos, what's your status?

One of the kind of
just important decisions

that we had to make early on

was how to really illustrate the scale

and the reality of the danger

that Gravik and his rebels
pose to humans.

And to do that, we couldn't allow

all of our characters
to make it out safely.

This is a contest for the planet.

It's being fought on the ground
and it's gonna be bloody.

There will be casualties in this conflict,

and that means making, you know,
those tough decisions

to say goodbye to beloved characters.

FURY: Hill!

-(GUN FIRES)
-(GROANS)

It's a wrap. That's a wrap on...

On this big day.

We were out in the square
and there was multiple explosions

and there was chaos and madness and...

And in all of that,
Nick Fury was looking for Maria Hill,

and Gravik got to her first

and shape-shifted into the form of Fury
and shot Maria Hill,

in the... In the gut.

In the gut right there.

(FURY GRUNTING)

SMULDERS: I've enjoyed my time
with Sam immensely, and...

And being his partner
in all these adventures

and it's somewhat poetic

that he's the one who I think
kills me, but isn't. It's...

It's going to leave his character
in a very dark place.

TUCKER: With the death of Maria Hill,
he now understands

this is personal between him and Gravik.

I think the real question is,
is Fury capable?

Like, is Fury still Fury,

or has he lost it?

SONYA: I think Thanos's snap changed you.

Taught you that no matter
how hard you fight for what's right,

there's always someone stronger
to undermine you.

SELIM: We are at Hatfield House
outside of London,

and this is the location for

the Russian townhouse of Sonya,

who is the MI6 counterpart of Nick Fury.

Back in the day, you would've seen
my rather mediocre bag men

coming a mile away.

The fact that you didn't see them coming

means you sure as hell won't see
Gravik and his rebels coming.

Which makes you as a partner
rather pointless.

I don't need to say anything
about Olivia Colman as an actor

because everybody already knows.

She's one of the greatest
living actors in the world

who brings a sense of fun and adventure,

and this amazing spirit
to everything she does.

Alone at last.

Now, shall we do this
the easy way or the other way?

I know after every Marvel film released,

I would phone my agent and say,
"Please, can I be in a Marvel?"

But I don't know
if that actually is how it happened,

but I got a call and said, "Yes."

JACKSON: I just really, really,
really love working with her after...

after watching her
in so many wonderful things

and knowing what kind of actor she was.

COLMAN: I was so excited and so nervous.

Like proper kneecap jelly
when I knew I was going to meet him.

And he was just so lovely.

I think we might have even both gone
(LAUGHS) when we met.

-Ooh!
-JACKSON: That was amazing!

He called my sneakers dope.

I don't think I took them off for a year.

JACKSON: It's one of those things
where I've always known,

you know, from watching her

that as serious and as convincing

and as honest
as her work is when you see it,

you can see the twinkle in her eye
that's fun.

She is a very fun, fun actor

that, you know, like me,
this is sort of a playground for her.

She wants to come to work
and do this thing that we do.

And the better you are at it,
the better she becomes at it,

and the more you engage with her,

the more, you know, we give each other
and the scenes become even fuller.

Well, they do say Darwin never sleeps.

-Let's give our extinction a nice leg up.
-(CHUCKLES)

SCHWARTZ: While Nick is relatively
sympathetic to the Skrulls

and has been working with them
for a long time,

Sonya is not,

and will go scorched-earth
in order to protect Britain and the world.

I've thrown everything at him
and he hasn't said a word.

What makes you think
you can get him to speak?

Oh, I can be quite persuasive.

COLMAN: So, today, we've been shooting
a scene where Sonya is torturing Brogan

because he's a Skrull

and there's some good ones, some bad ones,
and she likes to find out who's who.

-So she chops off his finger.
-(SCREAMING IN PAIN)

We watch the human finger
turn to Skrull so she knows,

"Okay, he's one of them." And then,

tortures him with this injection,
which makes his blood cook.

And then she kicks him over off his chair
so that she can get to the escape hatch.

Sounds like your lift is here.

So I had to kick Brogan over
off his chair,

and I'm quite ashamed
at how much I enjoyed it.

-I really enjoyed it.
-(ALL LAUGHING)

But it's just so exciting to come on set,
on a Marvel set,

and there's gadgets and torture things

and liquids that make people bubble.
Oh, I love it. It's really fun.

What'd you tell 'em?

Nothin', just lies.

Nothin'?

Just lies?

That's all, I swear.

SELIM: Gravik has come up with
a version of the classic chaos theory,

which comes from many types of warfare,

specifically, Skrull warfare,

where you get your enemies
to fight against each other

and reduce their numbers
so that then you can come in

and either finish them off

or just turn them into refugees
and take over.

You've got all these European crybabies.

They're all saying
we had something to do with Moscow.

Well, I call bull on that.

I see no evidence.

There's no way the Moscow attacks
were committed by Americans.

What are you hearing, Senator Byers?

For us to feel like
we could reasonably and believably,

explore this idea of sowing world chaos,

we really felt that the rebel Skrulls
had to infiltrate on a global capacity.

That means infiltrating
different countries,

governments, businesses, communities.

Colonel, are you denying
that two of your citizens,

Mr. Nicholas Fury and Miss Maria Hill,

were present in Moscow
at the scene of the attacks?

We are aware of allegations
that Mr. Fury and Miss Hill

may have traveled to Moscow.

TUCKER: Another example
of trust no one in our show

that has kind of far-reaching
implications for the MCU,

looking backward and projecting forward,
is that we find out that

Colonel Rhodes is, in fact, a Skrull.

It's been an interesting ride,

and through all of the different
iterations of Rhodey,

and it's great to have an opportunity
to keep exploring a character

and finding new facets to him

and new ways to play it.

If Slovakia rolls its eyes at me
one more time,

I'm gonna put on the suit
and carpet bomb it.

I think that's always the exciting thing
to me about these shows is...

Is seeing the other colors
of these characters

and what they're having to deal with.

While the country appreciates your service
to the President tonight,

I'm here now. You can go.

You must be outta your Skrull-ass mind,

you think I'm gonna let you
get anywhere near the President.

Don and I were like golf buddies,

and we've known each other forever
but never worked together.

-Enticing offer.
-Word.

I would think that's what they call
in this business a win-win.

Can I make you a counteroffer?

JACKSON: So, this has been, you know,
a wonderful opportunity for Don and I

to, you know, step in
and do some stuff together

and be able to, I'd say, joust

in that way that good friends
who respect each other's work

and have been anxious to actually,
you know, get in that space together

and do it.

This is a war I got to fight.

When we finish, we can look at each other
and kind of go,

"Yeah, I think we did it.
Yeah, we did it. We did it. Yeah."

TUCKER: One of the special reveals
that we thought was important

in building out this series
and building out a Nick Fury

who was fuller than just his job

is Mrs. Fury.

-Good morning.
-Morning!

TUCKER: Her name's Priscilla Davis

and they met 30 years ago.

There's a rule that, you know, commander
of station and operatives cannot be...

Our unit doesn't exist, Fury.

That means I don't work for you.

-That's an intriguing possibility.
-(CHUCKLES)

TUCKER: And what we further reveal
is that Priscilla's, in fact, a Skrull.

WILLIAMS: She's very much a peer to Fury,

which is something
we don't see often in the MCU.

He's the smartest guy in the room,

and with Priscilla we had somebody
who could match his wit

and his intelligence,
and that was really exciting.

Charlayne Woodard, a friend of mine
that I've known for a very long time

back in the '70s and '80s,

when all of us were, you know,
pounding the pavement

and doing plays
and doing all this other stuff.

She's, you know, fascinating to work with.

I never had a chance to work with her.
We've just been friends forever.

So all of a sudden,
we're working together,

so that's an amazing kind of thing.

-Fancy.
-My old Moroccan pour.

I thought she was something really special

and she knew how to have fun with it.

Thank you for the best time
I've ever had on any project.

-MAN: Yeah.
-Why lie to them? (CHUCKLES)

It's the truth.

If it was Gravik,
then why does he need me?

What Gravik needs,
what Gravik doesn't need,

that's none of your concern.

Gravik is, depending on your perspective,

either a global terrorist
or, you know, a freedom fighter.

BEN-ADIR: Gravik doesn't trust anyone
apart from himself.

Skrulls, humans, they're all the same.

I see you've kept the circle tight
on this one.

-We're the circle. No one else.
-Oh, yeah?

We're over 500 strong now.

BETO: So, is everyone a part of...

G'IAH: The resistance? No.
Gravik provides refuge.

But if you do choose to be a warrior,
there is one advantage.

Oh, yeah? What's that?

You get to leave.

Everyone else stays in the compound.

SELIM: The idea was to have a place
where the Skrulls could survive

and the humans couldn't get to.

So it was like a hideout,

like a refugee camp that was undetectable.

And the Skrulls realized, or knew,
before the story started

that they could withstand radiation.

And there's a town
very much like Chernobyl

that has been the victim of a nuclear
power plant meltdown some years before,

and the humans stay away from it
because the radiation levels are too high.

And the Skrulls, it has no effect on them.

WALSH: I always imagine
it was like 20 years adrift,

that it had been abandoned
at least 20 years.

The buildings there probably date
from maybe 50 years ago?

So I was trying to create
that sort of sense of a place

where it has a history.

It looks derelict in a way
that people have abandoned it.

It needed to feel that
it was kind of natural, degraded,

you know, the way that
nature takes over places.

The Skrulls are not
trying to make it home,

so they're never fixing anything up.
They're just existing there

because this is just
a stopping off place in their journey.

The Skrull experience
is a refugee experience.

It's an experience that has required them
to live in the shadows,

and they want nothing more

than to continue
to be able to live in peace.

Welcome to New Skrullos.

ANDERSON: I looked back
at the Secret Invasion comic,

I looked at Captain Marvel
where we see the Skrulls,

I dug into Marvel Archive
to see if there was anything else.

We explored the Skrull language.

We got Skrull text.

We explored all of those elements,

and what we decided was

the Skrulls will have kept an element
of who they were about themselves.

So, we wanted to find a texture
that represented their skin.

So we have given all the Skrulls
a waffle texture as a base layer,

because that felt close to their skin.

Now, the more military Skrulls

have got map pockets and military pockets,

I think, pockets for equipment

because as they assimilate to humans,

they gather information
about what's useful

and what the human does.

So in a military sense,

they adapted aspects
of military clothing and militia look.

And then the more civilian Skrulls
that we see in Skrull Town

are more, more utilitarianly dressed,

and we looked at French work wear,
we looked

at what uniform does society
give its civilians

when they're in a politically
transient situation.

What is your name?

BROGAN: Warrior.

What is your fight?

BROGAN: Skrullos.

PAGON: What is your dream?

BROGAN: Home.

When we came to designing the makeup
for the Skrull refugees,

we were talking about the reality of that

and how we were going to reflect that
with our cast and our Skrulls.

And, you know, they've all got to look,
like, downtrodden and tired

and world-weary.

You may not notice,
but they've all got quite grubby nails

and the necks are all a bit grubby,

and the pores on the...
Across the noses of the children

have got worn in dirt,
little details like that

which just bring that kind of reality
of being constantly on the move.

We're now in the finishing
department of Cam Effects.

This is where we do
all the painting and the seaming

and getting things all ready
just before things go on set.

This is kind of the final stage
before we take the prosthetics on the set

and stick them onto the actor.

Some prosthetics
we actually have done the ears separate.

So the ears would go on first,
then the chin, then the face.

In some cowls, we've done the ears intact.

The reason that we've done them
slightly different for different people

is because some people's ears
are so close to their head

that actually, we can get away
with keeping the ears on the cowl

and some they stick out,

so it's actually easier for us
to do the ears separately.

It just depends on time as well.

The good thing about doing it this way is

the time in the makeup chair
is vastly reduced

because we can stick on this large piece
in probably about 40 minutes

and then that's half the makeup
pretty much done,

and then chin and face goes on

and it's very, very fast.

We have a lot of background Skrulls.

The difference between the cast
and the background is actually minimal.

You know, the actual level of detail

and the application
is pretty much the same.

But the very background
is literally pull-on masks,

and that's to save on time and labor,

and you know, each Skrull actually
has two prosthetic makeup artists on.

So as soon as you have 20 Skrulls on set,
which they will be in makeup,

you know,
that's 40 prosthetic makeup artists.

And then we want
another 15 people in masks,

so we want to minimize that crew.

One of the longest things
that we have to deal with

is painting hands.

So you do these... These Skrull makeups,

but it takes an hour to paint the arms
up to here and put all the detail in

and sometimes back-of-hand prosthetics.

So we've actually avoided that

with basically producing
our Lycra pull-on Skrull gloves,

and then it's... It's done.

You know, you've got a Skrull hand
very, very quickly,

and it means that
they can take the mask off,

they can take the gloves off,
have their lunch.

Talos is the only character

that we haven't sculpted
bespoke ourselves.

This is the character
that is transferring from Captain Marvel.

Ben Mendelsohn's makeup hasn't changed.
Everything still fits okay.

Prosthetics. They do a couple of things.

They tend to make you
better-looking in some ways.

They'll tend to improve
upon the shape of your head.

They take a very long time.

But there's a golden rule, I think.

There's not...
There's nothing to be gained from...

From, you know, bitching about
being inside the costume

or complaining about its difficulties.

You got to suck it up, roll with it

and work inside a superhero
prosthetics and the costumes.

Did you feel that sort of scrolling pain?
Right, look...

SELIM: We are at Dunsfold,
which is a decommissioned air base

that's used for Top Gear.

Top Gear is filmed here,
and so people are very excited about that.

And we're shooting
the presidential motorcade ambush

at the end of Episode 4.

This scene has been
in development for months,

working closely with Rob Inch,

the stunt coordinator
and second unit director,

who is really the hero of this sequence,

which I think will end up being
seven or eight minutes of screentime.

And he's been working on it full-time

since probably May,
and it's now middle of November.

I work with a storyboard artist,
develop the shots, show them to Rob.

Rob develops,

sort of reverse engineers

how to create the car flip
that's been drawn,

then the storyboards go into
an animation sequence called pre-vis

where we pre-visualize
what's going to happen.

The pre-vis people work,
then the editor takes over,

edits together the storyboards
and the pre-vis animation

and ultimately comes up
with a sequence that is paced and timed

as the final sequence will be.

And that gives Rob Inch and myself
a greater sense of

how long the car flips need to take
and how to achieve them.

And we come here to Dunsfold

and Rob basically works
with the mechanics of all that

and any time you see an actor's face

emoting or delivering some information,

that's my job.

So, I'm the main unit,
he's the second unit

and we come together in this week

to put together this sequence.

Ready, and three, two, one, action!

Cut that!

So there's loads of elements to this.
First of all, the...

You know, we're doing two-car flip

and with one of the cars,
ultimately, what we do is

we're gonna do a cannon roll,

which is a charged cannon
in the bottom of the car

that throws out a piston which flips it

and as that happens,
we have the presidential car behind that,

swerves out of the way of that one
and he gets hit

and we're going to do
a more conventional pipe ramp with that

which will roll that car over

and disengage the two cars
from the presidential cavalcade.

We got hold of a couple of old cars,

put roll cages in them

and went to Dunsfold and tested it
where we were going to film it.

How's the distance, for this to go under?

It looks... It looks pretty good.

-Okay, good.
-Yeah.

VAN DER POOL: There's several stages
before we actually get to do it.

Certainly, each time we do it,
it's a completely new car,

and they're quite expensive,
those Suburbans, so... (CHUCKLES)

We didn't have too many to play with.

The attack really happens then.
We've got three vans

coming from up in the woods here.

We're doing a jump through some hedge

to introduce the kind of Russian baddies

and then the gun battle happens,

and through that gun battle,
we take down a couple of helicopters.

They land left and right
of the presidential car that's flipped up.

We're going to be ratcheting a couple
people away from that as that happens.

But then the story is a navigation
of getting Fury and Talos

back to where the president is to...

To break open the window, pull him out,

and take him away.

(GROANS)

He's a bloody alien.
He's trying to get to Ritson!

No, no, no! Hold your fire!
He's with me!

The president cannot be got.

He can't be got.

If the president gets got, it's game over.

So, Talos does the only thing that he...

That he can.
He's trying to get him out of that car.

Talos, hang in there.
I'll be back for you.

And you know, it's a...
It's a great move by Gravik.

Put him down.

I said put him down.

TUCKER: I think Nick Fury is aware

that his personal attachments
to other people,

other Skrulls opens him up
to what's at stake.

Not just for humans here on Earth,

but for Skrulls here on Earth,
that they do share the same values

and that Talos has just paid
the ultimate price to demonstrate that.

MENDELSOHN:
It's the Obi-Wan Kenobi thing.

He is more powerful as an example

when he's gone
than I think he would be capable

of living at that time.

SELIM: On a surface level,
the fact that

Nick Fury has lost Maria Hill
and lost Talos,

both at the hands of Gravik,

I think, is just a further extension

of Gravik sinking the knife
and twisting it into Nick Fury.

But I also think it's good to take
a character who has a lot of questions

and needs to make a lot of decisions
and isolate them

so that the pressure
becomes entirely on them

and they are unable
to point fingers anywhere.

Nearly every Avenger
spilled blood in the Battle of Earth.

Even Carol Danvers.

In the aftermath,
some were sent in to collect that DNA.

Nobody knew about them
but me and the collectors,

-led by...
-Gravik.

Gravik, yes.

Which is probably where he got the idea
for the Super Skrull machine.

-So you are responsible for all this?
-Yeah.

Why do you think I came back?

We're developing this process
of injecting ourselves with the DNA of,

you know, other characters,
very powerful characters from the MCU.

It's all going towards the machine,

which is the creation of this machine
which is right behind us,

which you go into and...

It's kind of like a pick-and-mix.
You can choose...

I'll take the DNA of Abomination
or Cull Obsidian, or whoever,

and then you take on their powers.

It's all leading towards basically turning

the minimal Skrull population

into a force of super soldiers.

It was an ongoing conversation throughout
pre-production and even into production,

about which characters,

which superpowered beings
we would pull from for this DNA.

You want to feel that
the strength and the DNA they collect

is powerful enough
to make them a compelling

and interesting and scary villain.

So, we began our search with this hunt
over Planet Earth and we're like,

"Where could they have found
Frost Giant DNA?

"Where could they have found EXTREMIS DNA,
or Groot DNA?"

And so, we started to search
through the movies and they're like, "Ha!"

They found Groot DNA

at the site in Wakanda
where Groot put his arms into the ground

to try to defeat Thanos.

Cull Obsidian's arm gets chopped off
in one of the battles in New York.

So, it was... It was really fun to, like,

pick these, like, seemingly random strands

out of the MCU
and find a new place for them

within the context of Secret Invasion.

And we no longer just change faces.

We change powers.

We're gonna be uniquely programmed
weapons of mass destruction.

All of us.

Super Skrulls.

SELIM: Gravik realizes that
he needs to be stronger.

He needs bigger weapons,

and the biggest weapon
you can have is Avenger DNA

and become Carol Danvers.

Carol's DNA
represents the highest of the high

in terms of the powers,
even more than the Avengers, I think.

Once he gets
Captain Marvel's powers,

everyone will then
be able to experience his pain

and absolute destruction and chaos
or cleanse or whatever you want to call it

will be inevitable.

It's part of what I...

I know it's a part of his mind game,

but what part of a mind game is it?

It's, um...

I think this...

This entire thing is a tribunal.

To put you on trial, put Nick Fury,

the man that made this promise,

the guy who sacrificed

his life, his relationships...

Things he should have done,
but he never did.

All the relationships he's had
have been tainted by it.

Everything you've touched.

-His commitment to something else.
-Right.

-...you've tainted in his estimation...
-Yeah.

...put you on trial for that.

(COUGHS)

What we're sitting in at the moment
is the core of the reactor control room.

The assumption
is there's still power here,

that the Skrulls are using this as
a power source for their own experiments.

I was in Budapest last year

and visited this power station
this is based on

and just thought, "What an amazing space."

It was an Art Deco,

it's period
and there is a pattern in here.

You've got an oval space
with a sphere inside it.

But I just thought the idea of it
being an eye in some way was interesting.

What is so interesting about the Skrulls

is that they have
this shape-shifting trick they do

that fools the eye,

and what you see and what you don't see

is a constant theme all the way through,

and it's something
I have kind of exploited in subtle ways.

I was interested in reflections,
I was interested in mirrors,

and sometimes you look into spaces

and you see something
but it's not really there.

The Skrulls are like magpies.
They take stuff away

from what they find around
and make their own things.

So I just thought
it was kind of great foil

to have redundant technology
and future technology

existing in the same place.

So I pitched it and I don't know,
they seemed to like it. (CHUCKLES)

Whoa! Colonel Rhodes, I've got you.

You've been held hostage
for a long time.

(GROANS)

CHEADLE: One of the big themes in the show
is the theme of the other and...

And feeling

like you don't have a place that you...
That you don't belong.

And that gives us a feeling of what we are
dealing with day-to-day in this world.

This happens every once in a while
where, you know, writers write a show,

and by the time it comes out,
it's the life we're living.

It's dealing with
some very real human issues

and very real human struggles

and to give that air time,
to give that space,

I think it's remarkable,

and I feel utterly privileged
to be a part of that conversation.

I just wanted to tell you that I love you.

As I am.

Only as you are.

-Oh, Lord.
-(CHUCKLES)

Well.

Yeah. I'm gonna miss this one.
I'm gonna miss it a lot.

I will miss the degree
to which this is in people's hearts.

I'm gonna miss a lot of the people
that the audience don't see

who make up the real experience
of what it is to do this...

These things.
The people I work with every day,

and I'm going to miss
being on set with Sam.

JACKSON: I've been fortunate
from the first time I showed up.

I was making sure they didn't kill me.

I'm here to talk to you
about the Avenger Initiative.

So I could be the next one
and the next one

and I kind of keep doing that in this,

hoping, "Well, okay,
are they gonna kill me this time?

"They ain't kill me yet.

"Are they gonna kill me
in the series now?"

But that's another story for another time.

I think the luxury of doing a series
within the Marvel Universe

is you get to spend time.

We get to jump into Nick Fury's world

which is very Spy vs. Spy.

Not bad. Not a bad plan
for a washed-up old man.

I am literally half your age.

(CHUCKLES)

SMULDERS: It's very
dark alley conversations.

It's very film noir,

and you're able to sort of see
him trying to navigate

using his old techniques
in these new waters.

(ALL LAUGHING)

I think that the thing
that I'll take away from it is just like

-the effect that these films have...
-(CREW CHEERING)

...in people's lives.

It's so cool
being a part of Marvel history,

and when you meet people and you see
how much they love these movies

and you see how... How excited they are

about the characters and the story
and the future of it,

it's just like... It's entertaining.

But I think, you know, when it started,

I think we all knew that
it was something special.

JACKSON: There was an idea.

SMULDERS: I think that there was
so much excitement,

but I didn't imagine that the scope of it
would widen so much

and this world would become so large.