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I'm Matt Shakman.
I'm the director of The Fantastic Four.
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Downloaded from
YTS.MX
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And I'm Kasra Farahani.
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I'm the production designer
of Fantastic Four.
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Official YIFY movies site:
YTS.MX
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[Shakman] We wanted to start
the movie with a logo that was different
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from the ones you've seen before.
So we don't have the classic Marvel flip.
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This one is by Sirovski,
a great design studio,
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and it's meant to feel retro,
but also a little bit retro-futuristic.
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So, which was the whole
design aesthetic of the movie.
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We just saw an establishing
shot that says "Earth 828."
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We're on a different Earth
in a different universe,
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from the traditional Marvel storytelling.
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And we named it 828 in honor
of Jack Kirby's birthday.
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August 28th was his birthday,
and he was the creator,
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one of the co-creators,
with Stan Lee, of The Fantastic Four.
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We should talk about
that building you designed.
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[Farahani] Yeah, so,
that building, the famed Baxter Building.
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We have taken
a slightly different direction
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in the design of that building.
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Heavily inspired by the kind of optimism
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and dynamism of the Jet Age architecture.
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Specifically, we were looking at
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the work of Eero Saarinen
and Oscar Niemeyer.
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And you'll also notice, obviously,
the location of it is very different
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from what we may have
seen previously in comics.
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Early on, Matt knew
that it wanted to occupy
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approximately the footprint of the UN
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in the real world.
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That's because it was
going to have an integrated launch pad.
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And it made the most sense for it to be
in a body of water
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as opposed to in the middle of the city.
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[Shakman] We were heavily inspired
by the Space Race
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and by the Apollo 11 launches.
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We loved the idea of people
gathering at a distance
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with their cameras and binoculars
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to see these incredible moments
when launches happened.
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We knew there would be
a big one in our movie, too,
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so we wanted that idea
of people gathering across the river
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to look at the Baxter Building.
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And in our universe,
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it's the Future Foundation
instead of the United Nations.
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So it was nice they were
occupying the same place.
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The actual United Nations
building is a Niemeyer building, right?
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[Farahani] Right.
He's one of the architects
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that worked on that building.
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[Shakman] One of the other things
that we were inspired by
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was the World's Fair
of the mid-'60s in New York.
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And, you know, it was very much this idea
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of, you know, what will
the future look like?
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And there were monorails and unispheres,
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and there were saucer-shaped buildings
and all this wonderful stuff.
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And the idea was, "Well, what if that
World's Fair was the entire city?"
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And so we brought that language,
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that sense of a monorail,
saucer-shaped buildings and all of that
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into a New York
that was very much based in the '60s.
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So it's a blend of that
sort of retro future
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and a familiar 1960s New York.
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[Farahani] Early
in the conversations with Matt,
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we kind of arrived at this
determinative variable
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in our world versus the world
that the audience lives in,
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which is the kind of inflection point
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for the design of New York
was the birth of Reed Richards.
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And we kind of theorized that, like,
if he's approximately in his mid-30s
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and we're approximately in the mid-'60s,
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uh, that he was born around 1930-ish,
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and that maybe 20 years later,
his influence would start
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to be perceived in the world.
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And so that any building, kind of, built
prior to 1950 might be similar.
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But every building after that might start
to see some of his influence.
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[Shakman] He's sort of
Steve Jobs meets Einstein.
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You know, he's inventing things
that are finding its way into daily life,
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like robots and flying cars,
but also architecture.
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And so Reed Richards in print
is kind of everywhere.
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This is Apollo 11.
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This is one of the big references.
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We already talked about
Space Race, that sense of JFK optimism.
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And I love the idea of the Fantastic Four
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in place of Neil Armstrong,
Buzz Aldrin being the first to space.
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And this ready room here,
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which was in the basement
of our production office
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at Pinewood Studios...
We couldn't believe it.
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...was dressed to match
an Apollo 11 documentary from IMAX.
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That was incredible, done on
the anniversary of the trip to the moon.
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Want to talk about finding that?
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[Farahani] Yeah. I mean,
this was kind of a tone setting thing,
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and we wanted this to be hyper-realistic
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to try to ground it as much as possible
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in the archival imagery
of the Apollo 11 documentary,
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and try to really recreate as much of that
as possible to start the film off
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in this, like, hyper-grounded
archival feeling,
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to then move from, hopefully,
visually move from that in the design
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to this, to the retro-futurism,
to the Jet Age stuff.
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[Shakman] And this is
at Times Square that we're familiar with,
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except we've brought in giant televisions,
we've invented our own billboards,
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created a lot of our own products,
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also worked with partners to bring,
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you know, Little Caesars ads from the '60s
in there and other vintage commercials.
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- But we built this Times Square.
- [Farahani] Yeah.
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[Shakman] And at what scale
was it of the real Times Square?
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[Farahani] It was two-thirds
of the original Times Square,
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which, as it goes for a movie set,
is pretty massive, actually.
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Everything was built up to 30 feet,
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in a couple of places,
slightly higher than that.
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So, for so much of the coverage,
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hopefully, we were able to stay in camera,
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but of course, in the wides, our VFX team
built out the rest of the world,
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and we got to see this
beautiful skyline silhouette.
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[Shakman] It was amazing.
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You could go into every store
or the hotel,
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go into the sandwich shop,
there were sandwiches,
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and a rotating sort of, you know,
automatic machine to put your money in.
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Everything was done
with such amazing detail.
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A big part of what we wanted
to do was build as much as possible
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and to make things
as practical as possible,
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because I think that fools the eye.
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It makes the audience believe
the world so much more.
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And so, the Times Square set
was one of them, the Baxter Building.
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We started the movie
in Reed and Sue's bedroom,
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which is a gorgeous
practical set that was connected
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to their living room and their kitchen.
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It was a full apartment that you could
walk through and connect through.
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This is the Fantasti-Car.
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Well, that's my daughter, Maisie Shakman,
getting saved by Johnny Storm.
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She loved to be on the wires that day.
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The hardest part of it
was getting her not to smile
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as she was in mortal danger being saved.
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But that was a great day.
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Do you want to talk about
the amazing Fantasti-Car?
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[Farahani] Yeah. The Fantasti-Car
was an absolute joy to work on.
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It's one of those rare treats.
You don't often get to design a car
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and build a couple of them.
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And so, you know, the Fantasti-Car is
obviously a storied piece of the comics.
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And so we were treading very lightly on,
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you know, picking the details
to try to keep,
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and while we were overall
moving in a somewhat different direction,
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we were trying to move
more literally towards a car.
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But one of the kind of
essential pieces of the Fantasti-Car
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has always been this
sort of diamond configuration of seating,
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and that's something that we wanted
to keep even in our version of the car.
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So our version of the car is...
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[Shakman] Half Detroit
and half retro-future.
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[Farahani] Half retro-future, yeah.
We were looking a lot at these, like,
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turbine-powered American concept cars,
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particularly the Firebird IV
was a huge inspiration.
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And there's another Chrysler Turbine Car
that was a big inspiration
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because the turbines are really cool
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because they're so
overtly retro-futuristic.
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That idea that turbines
could power an automobile
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is a super-retro-futuristic
car and naively optimistic.
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You can take your pick
of which adjective, but super-fun.
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So, we wanted, like,
a really elegant, sleek, beautiful car
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that also had some of
the right form language
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for something that is a flying vehicle
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more than half of the time.
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But we wanted to ground it in some
iconic retro-futuristic stuff,
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which is why you have,
you know, the bullet heads
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coming out of the centers of the turbines,
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and turbines on all four corners,
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and the thin venting,
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all those kind of distinctly
retro-futuristic details
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to contrast the sleek, elegant forms.
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[Shakman] And it was
a real car, and every part of it worked.
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You could open and close
the doors and the canopy,
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and it had an amazing fast engine.
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It could tear through the streets.
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It really was a marvelous
work of engineering.
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It could be done,
but I'm gonna add a little more garlic.
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Not because it's not delicious.
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I just want to add a little bit
of zip. Okay?
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[Shakman] We've come into
the Baxter Building
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and we should probably comment here
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on the interior space, which, again,
keeps some of these beautiful curves
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that you see in Saarinen,
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that you'd see in, like,
the TWA Terminal at JFK,
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which is now a hotel.
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And unbelievable attention
was paid to palette as well,
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which I want to just comment on your work
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and Alex Byrne,
the costume designer's work,
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and Jess Hall, the cinematographer,
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all working together really carefully
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to kind of make a palette
that spoke to each other.
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What she's wearing,
what the kitchen cabinets look like.
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Everything is speaking
to each other in an interesting way.
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[Farahani] That's right.
Very early on, Jess pulled
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a bunch of really helpful,
great references from '60s and '70s films,
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The Graduate...
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- [Shakman] 2001.
- [Farahani] 2001, of course.
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The French Connection.
There were a lot of great references,
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and we locked in as a group
on a very large palette.
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And then we systematically
winnowed it down to a few dozen colors.
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And that was very helpful to reach that
consensus so early in the process.
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[Shakman] And everything about this space,
I love. It was a gorgeous, practical set.
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The work of the craftsmen
who built this is unbelievable,
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the sunken living room that looks out
over New York City on one side
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and on the rocket pad on the other side.
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And this kitchen, which brings to life
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the things I love about the '60s,
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including the house of tomorrow,
the house of the future.
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The idea of everything in the kitchen
is the Fantasta-kitchen, right,
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so, the cabinets drop down,
they're automated,
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things turn and twist and pop up and down.
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It was just so much fun
figuring out how to use all of that stuff,
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including this chalkboard, which also
was articulated here in Reed's lab.
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Another marvelous set.
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That would go up and down,
and it was cantilevered
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to where he could move
to whatever he needed to work on.
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[Farahani] Yeah,
our special effects team did a greatjob
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with the Fantasti-Car,
of course, but also with all these little
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practical actuated things
like the chalkboard,
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like the cake display and the kitchen.
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It was great. And with the H.E.R.B.I.E.s.
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[Shakman] Let's talk about H.E.R.B.I.E.
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[Farahani] Yeah.
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So H.E.R.B.I.E. is
a wonderful, practical thing
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combined with some visual effects.
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And his design is really driven by
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Ryan Meinerding,
head of visual development at Marvel,
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who is a wonderful artist
and a huge Fantastic Four fan.
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And he really led the charge
on designing H.E.R.B.I.E.,
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who's absolutely adorable
and looks very much of the era.
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You know, he's got these
kind of computer disk eyes,
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and the way he sounds is kind of a lot
of that... [imitates robot whirring]
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that's driven by the actual,
you know, mechanics of him.
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At the same time, he's got Matthew Wood,
our sound supervisor,
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an amazingly talented person
from Skywalker
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who helped create WALL-E,
a lot of Star Wars droids,
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and was the voice
of General Grievous in The Phantom Menace,
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and all those movies... Not Phantom
Menace, the later Star Wars prequels.
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00:11:41,076 --> 00:11:45,497
He helped bring, the sort of,
human aspect to H.E.R.B.I.E.'s voice.
231
00:11:45,580 --> 00:11:48,125
But he's brought to life
in part by a full animatronic
232
00:11:48,208 --> 00:11:50,752
that was created
by our special effects team.
233
00:11:50,836 --> 00:11:53,714
That required lots of
people operating different aspects of it,
234
00:11:53,797 --> 00:11:58,135
controlling the arms, controlling him
as he moved around the space,
235
00:11:58,218 --> 00:12:01,638
his eyes, his head, you know,
turning, nodding, twisting.
236
00:12:01,722 --> 00:12:04,433
And then he was also a puppet
that was puppeteered by
237
00:12:04,516 --> 00:12:07,060
a wonderful guy
named Jack Parker, who was an actor.
238
00:12:07,144 --> 00:12:08,729
He helped stage the scenes.
239
00:12:08,812 --> 00:12:10,105
He was heavily involved in
240
00:12:10,188 --> 00:12:12,899
where H.E.R.B.I.E. would be,
what his attitude was.
241
00:12:12,983 --> 00:12:16,570
The actors could act off of him in a way
just like they would another actor.
242
00:12:16,653 --> 00:12:19,489
And H.E.R.B.I.E. is, you know, he's happy,
243
00:12:19,573 --> 00:12:22,701
he's joyful, he's put upon,
he's exhausted, he's annoyed.
244
00:12:22,784 --> 00:12:26,663
He's got all those great characteristics
of any actor, and so, he would run
245
00:12:26,747 --> 00:12:29,583
this puppet through the scene
and we would paint him out around
246
00:12:29,666 --> 00:12:32,627
and add some arms or do some
extra stuff to bring him to life.
247
00:12:32,711 --> 00:12:37,174
So H.E.R.B.I.E. is very much
that performance from Jack.
248
00:12:37,257 --> 00:12:39,676
We had other puppeteers
who worked on our second unit as well,
249
00:12:39,760 --> 00:12:42,179
who did similar things
bringing H.E.R.B.I.E. to life.
250
00:12:43,764 --> 00:12:46,725
- Have you listened to it yet?
- More of the same. It's a complex...
251
00:12:46,808 --> 00:12:49,311
[Shakman] You want to talk about
this set with its three circles?
252
00:12:49,394 --> 00:12:51,980
[Farahani chuckles] Yeah,
so this is Reed's lab.
253
00:12:52,063 --> 00:12:55,066
As you can see,
it's got this sort of like,
254
00:12:55,150 --> 00:12:59,112
coffered textured ceiling.
255
00:12:59,196 --> 00:13:03,200
The idea for this was that
it was supposed to be a bit of a fortified
256
00:13:03,283 --> 00:13:05,744
kind of, bunker-like environment, so that,
257
00:13:05,827 --> 00:13:09,873
you know, when Reed is doing
all kinds of cutting-edge,
258
00:13:09,956 --> 00:13:14,544
at times dangerous experiments like
the one we're about to witness here,
259
00:13:15,462 --> 00:13:21,259
that he in his architecture...
In the architectural design of this space,
260
00:13:21,343 --> 00:13:24,095
he anticipated the need
for a fortification
261
00:13:24,179 --> 00:13:26,556
to protect the rest of
the building and the city
262
00:13:27,182 --> 00:13:30,185
from what might happen in this room
263
00:13:30,268 --> 00:13:32,938
as he's finding
the cutting-edge of technology.
264
00:13:33,021 --> 00:13:36,233
[Shakman] But what I also love
is that it looks like a cathedral, right?
265
00:13:36,316 --> 00:13:40,028
It has that kind of, like,
knowledge, and you know, it's beautiful.
266
00:13:40,111 --> 00:13:41,947
[Farahani] That's cool.
That's cool. Thank you.
267
00:13:42,572 --> 00:13:46,493
And you can also
definitely see the influence from 2001,
268
00:13:46,576 --> 00:13:48,119
in terms of our palette.
269
00:13:48,203 --> 00:13:50,622
And what we were doing here, though,
270
00:13:50,705 --> 00:13:53,083
is that there's meaning behind the color.
271
00:13:53,166 --> 00:13:59,214
The red area is the sort of workstation
area where electronics are done,
272
00:13:59,297 --> 00:14:01,550
robotics are done, chemistry work.
273
00:14:01,633 --> 00:14:05,804
Basically where anything that's dirty,
where he gets his hands dirty
274
00:14:05,887 --> 00:14:09,474
and he's using the physical world
275
00:14:09,558 --> 00:14:12,519
to solve problems,
that happens in the red area.
276
00:14:12,602 --> 00:14:15,230
The yellow area is
a kind of contemplative,
277
00:14:15,313 --> 00:14:17,482
and the space for discussion.
278
00:14:17,566 --> 00:14:20,110
There's chalkboards,
there's some, you know,
279
00:14:20,193 --> 00:14:23,071
whatever relevant references
he's looking at, at the time.
280
00:14:23,154 --> 00:14:26,324
Then there's a lot of seating for the rest
of the Fantastic Four
281
00:14:26,408 --> 00:14:29,452
to join him and discuss and have meetings.
282
00:14:29,536 --> 00:14:33,373
And then, finally, there's the blue area,
which is the sort of computing area.
283
00:14:34,207 --> 00:14:39,880
Everything from, you know,
monitoring the skies
284
00:14:39,963 --> 00:14:43,466
to communication...
285
00:14:43,550 --> 00:14:46,177
- [Shakman] Mission control.
- [Farahani] Mission control, absolutely.
286
00:14:46,261 --> 00:14:50,265
Heavily involved
in the functions of the Excelsior rocket.
287
00:14:50,348 --> 00:14:52,767
All of that stuff
happens in the blue area.
288
00:14:52,851 --> 00:14:55,729
[Shakman] It's worth
saying, though, like, this MRI machine
289
00:14:55,812 --> 00:14:57,731
with this curved screen here.
290
00:14:58,481 --> 00:15:01,902
The earlier cereal box we saw
291
00:15:01,985 --> 00:15:03,737
on the table
with Johnny Storm on the back,
292
00:15:03,820 --> 00:15:08,033
every tiny little gadget
and gizmo had to be designed.
293
00:15:08,116 --> 00:15:10,702
Everything in this movie
had to be designed.
294
00:15:10,785 --> 00:15:13,163
Kasra was overseeing
an enormous team of people,
295
00:15:13,246 --> 00:15:14,831
including Ty as prop master...
296
00:15:14,915 --> 00:15:16,374
[Farahani] Ty, brilliant set decorator.
297
00:15:16,458 --> 00:15:20,295
[Shakman] Incredible group of people
who were manufacturing so much of this.
298
00:15:20,378 --> 00:15:22,881
You can'tjust rent this stuff.
We had to make it all.
299
00:15:22,964 --> 00:15:25,967
And it all had to be
part of a cohesive design language.
300
00:15:26,051 --> 00:15:30,180
So we felt like we were in a world that
Reed Richards designed a lot of things in,
301
00:15:30,263 --> 00:15:33,391
and, you know, the curves,
the way the curved screens
302
00:15:33,475 --> 00:15:35,060
speak to the curved architecture,
303
00:15:35,143 --> 00:15:37,938
speaks to the curves
of the Fantasti-Car, the Excelsior.
304
00:15:38,021 --> 00:15:42,150
Everything has sort of
a coherence in terms of design language.
305
00:15:43,068 --> 00:15:45,362
And we should also probably say
this movie is about family.
306
00:15:45,445 --> 00:15:48,823
And here we are
in a beautiful scene where we get to see
307
00:15:48,907 --> 00:15:51,117
Sue using her powers of invisibility
308
00:15:51,201 --> 00:15:54,204
to show Franklin to Reed
for the first time,
309
00:15:54,287 --> 00:15:56,414
to literally make him speechless,
310
00:15:56,498 --> 00:16:00,126
and we started the movie with
a domestic scene of them in their bedroom.
311
00:16:00,210 --> 00:16:03,880
In their bathroom, we meet Sue Storm
on the toilet, doing a pregnancy test.
312
00:16:03,964 --> 00:16:06,216
I wanted this movie
to feel like a real family,
313
00:16:06,299 --> 00:16:09,177
to come at it in a really unorthodox way.
314
00:16:09,260 --> 00:16:11,429
That you meet them as real people first,
315
00:16:11,513 --> 00:16:14,975
because that's what I love about
the Fantastic Four. They are real people.
316
00:16:15,058 --> 00:16:18,478
They are family first,
they are scientists, explorers second,
317
00:16:18,561 --> 00:16:20,605
and superheroes only when they have to be,
318
00:16:20,689 --> 00:16:23,566
when their world is threatened,
when their family is threatened.
319
00:16:23,650 --> 00:16:26,027
They're real people.
Like here's Ben on Yancy Street,
320
00:16:26,111 --> 00:16:29,781
based on, you know, Delancey Street
in New York, Lower East Side,
321
00:16:29,864 --> 00:16:32,909
where Jack Kirby,
you know, grew up and spent a lot of time.
322
00:16:32,993 --> 00:16:37,163
And here's Ben, who's, you know,
kind of a local hero to these kiddos.
323
00:16:37,247 --> 00:16:39,416
And this is a backlot at Pinewood,
324
00:16:39,499 --> 00:16:43,044
a gorgeous set built by Kasra.
You want to talk about this?
325
00:16:43,128 --> 00:16:47,674
[Farahani] Sure. Thank you. Yeah,
the art department, set deck department,
326
00:16:47,757 --> 00:16:50,260
amazing construction
department did a fantastic job
327
00:16:50,343 --> 00:16:53,013
building a second New York backlot set.
328
00:16:53,096 --> 00:16:55,640
And like Matt pointed out,
this is very much inspired
329
00:16:55,724 --> 00:17:00,395
by the Lower East Side,
which is very distinct, visually,
330
00:17:00,478 --> 00:17:03,314
from Times Square and Midtown.
331
00:17:03,398 --> 00:17:04,899
You know, so here, in a way,
332
00:17:04,983 --> 00:17:08,820
you can look around,
the palette is warm, very Hopper-like,
333
00:17:08,903 --> 00:17:13,408
as opposed to the kind of
futuristic cool blues and grays
334
00:17:13,491 --> 00:17:15,201
that you see in Times Square.
335
00:17:15,285 --> 00:17:18,038
Also, you know,
there's not a ton of retro-futurism here.
336
00:17:18,121 --> 00:17:22,917
Here, it's like
a sleepier part of the city that hasn't...
337
00:17:23,001 --> 00:17:26,963
Hasn't yet been descended upon
in terms of some of that tech.
338
00:17:27,047 --> 00:17:31,092
You look over the tops of the buildings,
and there are moments where you see
339
00:17:31,176 --> 00:17:35,722
the retro-futurism, other places
in lower Manhattan poking out.
340
00:17:35,805 --> 00:17:40,977
But we wanted this to feel
like this kind of cozy and timeless,
341
00:17:41,061 --> 00:17:44,731
warm, very neighborhood-y place
where everybody knows your name,
342
00:17:46,066 --> 00:17:47,192
and where Ben has always been
343
00:17:47,275 --> 00:17:49,527
a central figure
to the culture of the place.
344
00:17:49,611 --> 00:17:51,946
[Shakman] And it doesn't change.
He says that in a scene.
345
00:17:52,030 --> 00:17:53,073
"That's part of its charm."
346
00:17:53,156 --> 00:17:54,866
There's so much rapid change,
347
00:17:54,949 --> 00:17:57,535
there's something nice about
Yancy Street being the same.
348
00:17:57,619 --> 00:18:01,247
It's got Maisie's Cookies there,
named after my daughter, Maisie Shakman.
349
00:18:01,331 --> 00:18:02,832
- I'm a shameless dad.
- [Farahani laughs]
350
00:18:02,916 --> 00:18:05,877
But it was a beautiful set,
and it's a place where
351
00:18:05,960 --> 00:18:08,296
different cultures
come together, which is great,
352
00:18:08,379 --> 00:18:11,299
including there's the synagogue.
Ben is Jewish in the comics.
353
00:18:11,382 --> 00:18:14,844
So was Jack Kirby and Stan Lee,
and we were trying to honor that.
354
00:18:14,928 --> 00:18:16,805
As well as all of the other cultures
355
00:18:16,888 --> 00:18:19,557
that you see colliding
on that Lower East Side.
356
00:18:19,641 --> 00:18:22,852
Immigrant cultures kind of coming
together, which is really beautiful.
357
00:18:24,062 --> 00:18:25,730
Here's the Fantasta-kitchen
doing its thing.
358
00:18:26,314 --> 00:18:28,024
Reluctantly going down.
359
00:18:28,108 --> 00:18:31,027
Included two extras, I don't know why.
360
00:18:31,111 --> 00:18:32,821
[Shakman] And just to
talk about costuming.
361
00:18:32,904 --> 00:18:35,990
We wanted them to feel like
real people. They wear those tech suits.
362
00:18:36,074 --> 00:18:39,160
We call them tech suits,
not superhero suits. Incredibly well-made.
363
00:18:39,244 --> 00:18:42,497
They honor the comic books,
beautifully R&D'd by Alex Byrne.
364
00:18:42,580 --> 00:18:46,126
And they're difficult to make,
and, you know, to be believable
365
00:18:46,209 --> 00:18:49,003
that each one of them
with their different power sets
366
00:18:49,087 --> 00:18:52,382
could use these suits
to support their powers.
367
00:18:52,465 --> 00:18:55,593
But when they're at home
and they're not doing anything super,
368
00:18:55,677 --> 00:18:59,597
they're dressed like everybody else,
dressed like everybody from the '60s here
369
00:18:59,681 --> 00:19:01,558
to feel as grounded as possible,
370
00:19:01,641 --> 00:19:03,393
'cause we want to believe them
as a real family.
371
00:19:03,476 --> 00:19:05,311
[Farahani] And so elegantly,
all of this stuff,
372
00:19:05,395 --> 00:19:10,316
all of Alex's work in this
is so restrained and beautiful
373
00:19:10,400 --> 00:19:12,360
and sets the period so well.
374
00:19:12,443 --> 00:19:14,863
And, I mean, the tech suits in particular,
375
00:19:14,946 --> 00:19:17,240
I think that's such a tricky thing to do,
376
00:19:17,323 --> 00:19:21,578
to have as much subtlety
as she achieved in those tech suits.
377
00:19:21,661 --> 00:19:26,040
And yet they feel every bit
as fantastic as they need to,
378
00:19:26,124 --> 00:19:30,253
and at once super-elegant and fashionable
379
00:19:30,336 --> 00:19:32,839
in a way, you know,
like, really beautiful.
380
00:19:32,922 --> 00:19:36,718
[Shakman] She's remarkable.
She's equally at home in prestige drama.
381
00:19:36,801 --> 00:19:39,262
She's won an Oscar for doing
Elizabeth: The Golden Age,
382
00:19:39,345 --> 00:19:43,308
been nominated countless times
for the most amazing, sort of,
383
00:19:43,391 --> 00:19:45,602
period classical stuff
that you would expect.
384
00:19:45,685 --> 00:19:48,062
And then she's also done
Avengers and Thor,
385
00:19:48,146 --> 00:19:51,691
and, you know, all of these amazing,
Doctor Strange, Marvel stuff.
386
00:19:51,774 --> 00:19:54,152
So she understands the superhero world,
387
00:19:54,235 --> 00:19:57,405
she understands big scope film,
and she also understands period.
388
00:19:57,488 --> 00:20:01,284
And this kind of artistic integrity
she brings to everything she does.
389
00:20:01,367 --> 00:20:03,494
She was the perfect person for this film
390
00:20:03,578 --> 00:20:05,830
because she brings
all these skills together,
391
00:20:05,914 --> 00:20:09,500
and kind of, I think this movie
is a great showcase for her range,
392
00:20:09,584 --> 00:20:11,711
as the same with you and same with Jess,
393
00:20:11,794 --> 00:20:14,172
and all the amazing people
who built this world.
394
00:20:23,014 --> 00:20:27,518
Here's Julia Garner,
the Silver Surfer, Shalla-Bal.
395
00:20:27,602 --> 00:20:31,314
She... This was her first day
filming with us.
396
00:20:31,397 --> 00:20:34,317
She showed up, I put her in a mocap suit,
397
00:20:34,400 --> 00:20:36,694
- put her 30 feet up on a scissor lift...
- [Farahani chuckles]
398
00:20:36,778 --> 00:20:40,114
...in Kasra's amazing,
hyper-realistic Times Square set
399
00:20:40,198 --> 00:20:45,453
with 500 period background artists dressed
in their best period clothes,
400
00:20:45,536 --> 00:20:48,456
the Fantasti-Car there,
all four of our actors,
401
00:20:48,539 --> 00:20:50,917
put a mic on her
and a giant speaker and said,
402
00:20:51,000 --> 00:20:52,252
"Tell everybody they're gonna die."
403
00:20:52,335 --> 00:20:56,256
And Julia Garner,
who is fearless and is absolutely amazing,
404
00:20:56,339 --> 00:20:59,592
was like, "You got it,"
and went up there and terrified us all.
405
00:20:59,676 --> 00:21:02,220
What I think is so beautiful
about this performance
406
00:21:02,303 --> 00:21:04,472
is you can see that she carries a burden.
407
00:21:04,555 --> 00:21:08,059
You know, every planet
she comes and tells that their time is up,
408
00:21:08,142 --> 00:21:10,645
she feels it, which is
something we obviously exploit
409
00:21:10,728 --> 00:21:14,190
in the narrative of the film,
the Fantastic Four exploit in terms
410
00:21:14,274 --> 00:21:16,567
of trying to get her to their side.
411
00:21:17,443 --> 00:21:20,947
She feels the weight of her job.
412
00:21:21,656 --> 00:21:24,284
It's a tough job. Galactus, tough boss.
413
00:21:24,367 --> 00:21:26,286
- Toxic relationship, I think.
- [Farahani] Yeah.
414
00:21:26,786 --> 00:21:29,956
You're absolutely right.
You can see that in her face,
415
00:21:30,039 --> 00:21:36,129
and the reluctance,
the resignation, the regret of it all.
416
00:21:36,212 --> 00:21:37,463
It's really powerful.
417
00:21:37,547 --> 00:21:40,925
[Shakman] I mean, we're talking about
Scott Stokdyk and Lisa Marra.
418
00:21:41,009 --> 00:21:45,179
Our VFX team. Scott was our supervisor.
Lisa was our producer.
419
00:21:45,263 --> 00:21:48,224
And their amazing work, and all
the vendors that worked under them,
420
00:21:48,308 --> 00:21:52,145
in this case, this is SPI,
Sony Pictures Imageworks,
421
00:21:52,228 --> 00:21:53,730
doing this Surfer here.
422
00:21:54,564 --> 00:21:58,943
But there's many different vendors.
ILM and Digital Domain.
423
00:21:59,027 --> 00:22:02,613
Amazing, amazing VFX houses
working on this film.
424
00:22:02,697 --> 00:22:05,616
But we knew that
the movie wouldn't work if we didn't have
425
00:22:05,700 --> 00:22:09,704
a Ben Grimm, a Thing
that was believable and real
426
00:22:09,787 --> 00:22:11,873
and just as real
as everybody else in the film.
427
00:22:11,956 --> 00:22:14,584
We knew it wouldn't work
if we didn't have a Surfer
428
00:22:14,667 --> 00:22:17,337
who couldn't be expressing the emotion
429
00:22:17,420 --> 00:22:20,757
that we needed her to express
and go on a journey in an arc.
430
00:22:20,840 --> 00:22:22,967
And the secret of both
of this is that they're driven
431
00:22:23,051 --> 00:22:24,093
by two amazing actors
432
00:22:24,177 --> 00:22:26,304
in Julia Garner and Ebon Moss-Bachrach.
433
00:22:27,013 --> 00:22:29,515
But it's up to these amazing VFX vendors
434
00:22:29,599 --> 00:22:32,060
to make sure they're capturing
that performance,
435
00:22:32,143 --> 00:22:35,396
making sure that performance
is being translated through rock,
436
00:22:35,480 --> 00:22:39,025
you know, to be brought
to life really realistically.
437
00:22:39,108 --> 00:22:42,153
And I think you can see it.
I mean, The Thing is a miracle.
438
00:22:42,236 --> 00:22:44,280
Throughout this film,
it has Ebon's sense of humor,
439
00:22:44,364 --> 00:22:47,992
it has his gruffness, his heart of gold,
440
00:22:48,076 --> 00:22:52,372
his, you know, very unique
sort of way of approaching,
441
00:22:52,455 --> 00:22:54,749
you know, this character,
which was so beautiful
442
00:22:54,832 --> 00:22:58,044
and absolutely perfect for it,
is there in this performance.
443
00:22:58,127 --> 00:23:02,090
And in order to bring it to life,
we used a lot of different methods.
444
00:23:02,173 --> 00:23:05,760
Alex and her team built costumes at scale.
445
00:23:06,260 --> 00:23:08,346
Barrie Gower, this amazing
prosthetics artist
446
00:23:08,429 --> 00:23:10,223
I've worked with since Game of Thrones.
447
00:23:10,306 --> 00:23:14,310
He built a full Ben suit with a foam latex
head and articulated hands.
448
00:23:14,394 --> 00:23:19,482
Amazing. And we put the clothes on that
stand-in Ben,
449
00:23:19,565 --> 00:23:21,901
who had an actor inside,
Richard Summers-Calvert,
450
00:23:21,984 --> 00:23:24,362
who watched all the blocking,
knew what was happening
451
00:23:24,445 --> 00:23:26,197
and we would film him in the scene.
452
00:23:26,280 --> 00:23:28,074
We even used him in the wide shots,
453
00:23:28,157 --> 00:23:30,368
but for the most part, it was a reference,
454
00:23:30,451 --> 00:23:32,203
because when you're doing
anything with VFX,
455
00:23:32,286 --> 00:23:36,165
if you have something real to look at
and say, "This is what it looks like."
456
00:23:36,249 --> 00:23:39,293
"This is what light looked like
reflecting off
457
00:23:39,377 --> 00:23:40,586
"of Ben's head in this moment,"
458
00:23:40,670 --> 00:23:45,049
it helps the artists to know what real is,
and then they can make it look real.
459
00:23:45,133 --> 00:23:47,844
Because when
you make things up completely in VFX,
460
00:23:47,927 --> 00:23:50,471
you spend a ton of times
debating, like, what's real?
461
00:23:50,555 --> 00:23:53,808
Would it look real if there were birds?
How do I make it more real?
462
00:23:53,891 --> 00:23:55,560
- You know, add a flair.
- [Farahani] Yeah.
463
00:23:55,643 --> 00:23:58,229
[Shakman] But what this did is,
it gave us a real one-to-one
464
00:23:58,312 --> 00:24:01,274
for what something real
looked like, what Ben looked like.
465
00:24:01,357 --> 00:24:04,652
And we also went out
to the desert and found a rock,
466
00:24:04,735 --> 00:24:06,821
which we called Jenny from the Rock.
467
00:24:06,904 --> 00:24:10,158
Which we thought,
this is what Ben's skin should look like.
468
00:24:10,241 --> 00:24:13,453
And we're going to film
this rock in every lighting environment.
469
00:24:13,536 --> 00:24:15,246
And it really matters.
470
00:24:15,329 --> 00:24:18,332
I'm notjust saying
just filming this rock in this lab.
471
00:24:18,416 --> 00:24:20,877
I mean filming the rock
in this section in the middle,
472
00:24:20,960 --> 00:24:23,713
because the lighting of that
is very different from the blue
473
00:24:23,796 --> 00:24:24,881
and the red,
474
00:24:24,964 --> 00:24:28,801
how the bounce of the lights,
the color, they all change dramatically
475
00:24:28,885 --> 00:24:32,930
in terms of their color,
space and how they look within the room.
476
00:24:33,014 --> 00:24:35,850
So you have to be, you know,
continually sort of diligent about
477
00:24:35,933 --> 00:24:39,479
trying to capture as much information
as possible to make it look real.
478
00:24:39,562 --> 00:24:41,814
- And we did the same--
- [Farahani] I think it paid off.
479
00:24:41,898 --> 00:24:45,401
I mean, hugely,
because I think while it's absolutely true
480
00:24:45,485 --> 00:24:50,072
that they did an incredible job
translating faithfully Ebon's performance,
481
00:24:50,156 --> 00:24:53,701
and that you can see this
and you can see the performance.
482
00:24:53,784 --> 00:24:56,787
I remember it from, you know,
standing there on set,
483
00:24:56,871 --> 00:25:01,834
and yet, they've also, because of all
of this rigorous methodology
484
00:25:01,918 --> 00:25:04,170
that you've just described, they have...
485
00:25:04,253 --> 00:25:09,175
Scott and his team have achieved,
what I think, nobody has done so far,
486
00:25:09,258 --> 00:25:14,430
which is to absolutely capture the spirit
of Ben Grimm from the comics.
487
00:25:14,514 --> 00:25:18,518
You know, the silhouette,
the way he occupies the space.
488
00:25:18,601 --> 00:25:23,940
His body language feels so faithful
to what we've seen in the comics
489
00:25:24,023 --> 00:25:27,610
in a way that I don't think
anything else has even come close to this.
490
00:25:28,569 --> 00:25:31,072
[Shakman] It's true.
And Ben has been drawn
491
00:25:31,155 --> 00:25:32,907
in a lot of different ways,
different sizes,
492
00:25:32,990 --> 00:25:35,826
but what I've always loved
about the Kirby Ben is that
493
00:25:35,910 --> 00:25:39,121
he's the same height as Ben Grimm
was before he went up to space.
494
00:25:39,205 --> 00:25:41,541
He's the height of Ebon,
which is around 6'1".
495
00:25:41,624 --> 00:25:44,085
I think he looks eye-to-eye
with everybody else.
496
00:25:44,168 --> 00:25:45,878
He's not the Incredible Hulk.
497
00:25:45,962 --> 00:25:48,422
He's a person, you know,
with deep humanity,
498
00:25:48,506 --> 00:25:51,092
an incredibly gruff exterior,
but probably the warmest,
499
00:25:51,175 --> 00:25:53,761
gooiest inside of all of them, you know?
500
00:25:53,844 --> 00:25:56,055
And he was brought beautifully to life.
501
00:25:56,138 --> 00:25:59,392
We should talk about the fact that we
just saw the Excelsior on its launch pad.
502
00:25:59,475 --> 00:26:03,646
They're getting ready to go to space,
building towards our Apollo 11 launch,
503
00:26:03,729 --> 00:26:08,526
and in this interest of doing everything
practically, we built a miniature.
504
00:26:08,609 --> 00:26:11,237
- I didn't do it. Neither did Kasra.
- [Farahani] No.
505
00:26:11,320 --> 00:26:13,322
[Shakman] But Ian,
an amazing miniature model maker,
506
00:26:13,406 --> 00:26:14,740
has worked a lot with Chris Nolan,
507
00:26:14,824 --> 00:26:18,286
did Interstellar and other films with him,
508
00:26:18,369 --> 00:26:21,622
and is just a legend,
built this incredible...
509
00:26:21,706 --> 00:26:24,458
I think it was a 14-foot tall
Excelsior miniature,
510
00:26:24,542 --> 00:26:27,962
because, again,
we talked a lot about 2001.
511
00:26:28,045 --> 00:26:30,464
We talked about these great
movies from the '60s
512
00:26:30,548 --> 00:26:32,300
that were using practical effects,
513
00:26:32,383 --> 00:26:34,260
and we wanted to do that
as much as possible.
514
00:26:34,343 --> 00:26:38,097
We talked about the esthetic of the movie
being where Kirby meets Kubrick.
515
00:26:38,180 --> 00:26:40,808
And how would Stanley Kubrick
have done it?
516
00:26:40,891 --> 00:26:43,978
He would have built a miniature,
and so we wanted to do that, too.
517
00:26:44,061 --> 00:26:48,024
Like a rock from the desert, if you have
a miniature in a lighting environment,
518
00:26:48,107 --> 00:26:50,818
you know exactly what that spaceship
should look like. That helped us.
519
00:26:50,901 --> 00:26:53,779
There are a bunch of shots of the actual
miniature in the movie,
520
00:26:53,863 --> 00:26:56,198
but the ones where we had to use full CG,
521
00:26:56,282 --> 00:26:58,618
we always had the miniature
as a backup, a reference
522
00:26:58,701 --> 00:27:00,328
to know what we were talking about.
523
00:27:00,411 --> 00:27:03,664
This is one of my favorite moments,
Ben seeing himself in human form
524
00:27:03,748 --> 00:27:08,961
and then the TV turning off
and seeing The Thing in reflection
525
00:27:09,045 --> 00:27:11,380
and feeling that humanity
and the weight of it.
526
00:27:11,464 --> 00:27:15,468
And we understand this is a private moment
for him and the burden he carries.
527
00:27:15,551 --> 00:27:17,553
He's the one member of the Four
528
00:27:17,637 --> 00:27:20,556
who can't turn off his power,
can't make himself human.
529
00:27:20,640 --> 00:27:24,018
And, you know, he loses his confidence
530
00:27:24,101 --> 00:27:27,730
and doesn't go talk to Natasha Lyonne's
Rachel, and walks away.
531
00:27:27,813 --> 00:27:30,983
But then he comes here and he puts on
a brave face for Reed, right?
532
00:27:31,067 --> 00:27:33,402
And Reed's basically feeling guilty about,
533
00:27:33,486 --> 00:27:35,112
well, the last time they went to space
534
00:27:35,196 --> 00:27:38,407
and what happened and the accident
and how it's all his fault.
535
00:27:38,491 --> 00:27:39,992
A classic Reed Richards thing.
536
00:27:40,076 --> 00:27:42,787
He feels tremendous guilt
for what happened to everybody,
537
00:27:42,870 --> 00:27:45,456
and Ben says,
"Don't worry about it. It's fine.
538
00:27:45,539 --> 00:27:47,416
"Stop worrying about it.
You're not that smart."
539
00:27:47,500 --> 00:27:50,127
And then we get to see them
goofing around the way,
540
00:27:50,211 --> 00:27:53,297
you know, best friends, people
who've known each other a long time.
541
00:27:53,381 --> 00:27:57,426
That's one of the things I wanted to try
to get, was this sense of history,
542
00:27:57,510 --> 00:27:59,887
and you want the characters
to feel lived-in.
543
00:28:00,554 --> 00:28:02,014
You want the world to feel lived-in.
544
00:28:02,098 --> 00:28:05,685
Even though you're building this
incredibly beautiful Times Square set,
545
00:28:05,768 --> 00:28:08,562
- it needs to feel like it's New York City.
- [Farahani] That's right.
546
00:28:08,646 --> 00:28:11,524
[Shakman] That there's gum,
and trash, there's all this kind of stuff.
547
00:28:11,607 --> 00:28:13,984
And so, wherever
we could make it feel real...
548
00:28:14,068 --> 00:28:16,821
Let's talk... There was a glimpse of it
for a second there.
549
00:28:16,904 --> 00:28:18,280
But that was Calatrava.
550
00:28:18,364 --> 00:28:21,909
[Farahani] Calatrava's
beautiful building in Oviedo, Spain,
551
00:28:21,992 --> 00:28:27,623
that we were lucky enough
to have the privilege of filming in.
552
00:28:28,374 --> 00:28:31,210
Our locations team did a greatjob finding
553
00:28:31,293 --> 00:28:36,215
what was not easy to find,
which was a lobby space,
554
00:28:37,049 --> 00:28:39,802
and a kind of assembly hall space location
555
00:28:39,885 --> 00:28:42,847
that matched the aesthetic
of the Baxter apartment
556
00:28:42,930 --> 00:28:45,433
and the Baxter Building
exterior and Reed's lab
557
00:28:45,516 --> 00:28:47,393
that we designed these, like,
558
00:28:47,476 --> 00:28:53,524
these dynamic spaces
based on parabolic curves
559
00:28:53,607 --> 00:28:55,443
that you see throughout the film,
560
00:28:55,526 --> 00:28:58,112
whether you're looking
at the Excelsior rocket
561
00:28:58,195 --> 00:29:02,032
or the Fantasti-Car, or these
blast shields coming up from the sea,
562
00:29:02,116 --> 00:29:04,994
you constantly are seeing
these conic sections,
563
00:29:05,077 --> 00:29:07,496
these curves of parabolas
564
00:29:08,497 --> 00:29:10,541
all over the place.
565
00:29:10,624 --> 00:29:12,918
So it made it impossible
to find a location...
566
00:29:13,002 --> 00:29:14,044
[Shakman] In London.
567
00:29:14,128 --> 00:29:15,963
[Farahani] In London,
that would work for a lobby.
568
00:29:16,046 --> 00:29:19,175
We talked about shooting
at the TWA Terminal in New York.
569
00:29:19,258 --> 00:29:21,927
It didn't end up being practical for us.
570
00:29:22,011 --> 00:29:24,930
And then we found
this amazing building in Spain.
571
00:29:25,014 --> 00:29:27,641
[Shakman] Which you're going to see
when Reed's doing his speech,
572
00:29:27,725 --> 00:29:29,101
in all of its glory.
573
00:29:30,144 --> 00:29:33,981
Yeah, he's doing it here on stage,
and when we cut wide here,
574
00:29:34,064 --> 00:29:36,317
you'll see this is
an actual space in Spain.
575
00:29:37,234 --> 00:29:39,195
No VFX here except some crowd replication
because we didn't have
576
00:29:40,780 --> 00:29:43,407
2,000 background artists,
unfortunately, in Spain.
577
00:29:44,617 --> 00:29:47,495
But it's gorgeous,
and it also served as our Baxter lobby,
578
00:29:47,578 --> 00:29:49,747
which we see as well in the movie.
579
00:29:49,830 --> 00:29:52,458
And then let's talk about
the Excelsior interior,
580
00:29:52,541 --> 00:29:55,377
which I think is, you know,
maybe my personal favorite set.
581
00:29:55,461 --> 00:30:00,049
I mean, this thing is
so gorgeous from just form standpoint,
582
00:30:00,132 --> 00:30:01,509
but also function.
583
00:30:01,592 --> 00:30:02,593
Like, it has...
584
00:30:02,676 --> 00:30:06,722
The detail is very Apollo 11 meets 2001.
585
00:30:06,806 --> 00:30:09,558
Kasra and his team
had thought through every button.
586
00:30:09,642 --> 00:30:13,270
There was someone on set who'd be like,
"Press this button, this will happen."
587
00:30:13,354 --> 00:30:16,649
Which is wonderful as a filmmaker
and as for the actors, too, to be like,
588
00:30:16,732 --> 00:30:20,319
"Okay, this is how we dock with, you know,
the faster-than-light engine.
589
00:30:20,402 --> 00:30:23,447
"This is how we launch."
We'll get back to it in a second.
590
00:30:23,531 --> 00:30:27,493
But this is all, you know,
based off of Apollo 11
591
00:30:27,576 --> 00:30:29,870
documentary photography, really.
592
00:30:29,954 --> 00:30:31,872
Like, you know,
all of these things are drawn
593
00:30:31,956 --> 00:30:34,291
from the space program in the '60s.
594
00:30:34,375 --> 00:30:38,337
It's amazing how the decade
was defined by this, you know,
595
00:30:38,420 --> 00:30:40,381
looking to the future, looking to space,
596
00:30:40,464 --> 00:30:42,675
looking to the unknown and feeling like
597
00:30:42,758 --> 00:30:45,719
the right technology, right heart,
right mind would get you there.
598
00:30:45,803 --> 00:30:48,305
It's that JFK stuff of like,
"By the end of this decade,
599
00:30:48,389 --> 00:30:50,516
"we're going to put a person on the moon."
600
00:30:50,599 --> 00:30:52,017
That is informing everything.
601
00:30:52,101 --> 00:30:55,688
I have this beautiful Taschen
book of advertisements, decade by decade.
602
00:30:55,771 --> 00:30:59,233
In the '60s one, when you flip through it,
it's all rockets...
603
00:30:59,316 --> 00:31:00,985
- [Farahani] Yeah.
- [Shakman]...and, you know,
604
00:31:01,068 --> 00:31:02,820
- models wearing space helmets.
- Right.
605
00:31:02,903 --> 00:31:04,530
And it's just a part of everything.
606
00:31:04,613 --> 00:31:07,658
- Every kid's toy is a rocket, you know?
- [Farahani] Yeah.
607
00:31:07,741 --> 00:31:09,660
[Shakman] And the idea of, you know,
608
00:31:09,743 --> 00:31:12,580
of the family there, of the little girl
609
00:31:12,663 --> 00:31:16,208
sitting on her dad's shoulder
looking and dreaming of space,
610
00:31:16,292 --> 00:31:19,461
really was what was fueling
this whole section of the movie.
611
00:31:19,545 --> 00:31:22,882
[Farahani] And also, I feel like that
was such a big inspiration for the way
612
00:31:22,965 --> 00:31:25,259
the whole world looked, in that, like,
613
00:31:25,342 --> 00:31:28,846
it felt like we were
trying to take the world that was promised
614
00:31:28,929 --> 00:31:32,850
and all those advertisements
that you just described,
615
00:31:32,933 --> 00:31:35,436
but in this world,
they weren't just pie in the sky.
616
00:31:35,519 --> 00:31:39,565
All of it came to pass,
and it didn't come to pass in decades,
617
00:31:39,648 --> 00:31:42,902
you know, in the distant future,
it came to pass right then,
618
00:31:42,985 --> 00:31:44,570
at the time that they imagined it.
619
00:31:44,653 --> 00:31:46,572
- Or, you know...
- [Shakman] Yep.
620
00:31:46,655 --> 00:31:48,657
[Farahani] That is
the kind of secret sauce
621
00:31:48,741 --> 00:31:51,702
of our retro-futurism in so many ways,
that all those promises were real.
622
00:31:54,872 --> 00:31:58,876
We are... locked.
623
00:31:59,793 --> 00:32:00,961
And clear for...
624
00:32:01,045 --> 00:32:03,297
[Shakman] The shot
of the Excelsior heading towards
625
00:32:03,380 --> 00:32:05,382
this faster-than-light engine, the FTL,
626
00:32:05,466 --> 00:32:09,887
is right out of the little Pan Am jet
flying towards the space station,
627
00:32:09,970 --> 00:32:12,681
by, you know... Intentionally.
628
00:32:13,307 --> 00:32:17,353
And then also, you know, borrowing
a little bit from Christopher Nolan
629
00:32:17,436 --> 00:32:20,147
and, you know, sort of how he mounts
cameras in Interstellar
630
00:32:20,230 --> 00:32:22,149
with the airjets coming off the side.
631
00:32:22,232 --> 00:32:24,902
You know, there were so many
different inspirations.
632
00:32:24,985 --> 00:32:26,820
We looked at Apollo 13,
at The Right Stuff.
633
00:32:26,904 --> 00:32:29,073
We looked at every great movie
about space,
634
00:32:29,156 --> 00:32:31,033
- every documentary about space.
- [Farahani] Yeah.
635
00:32:31,116 --> 00:32:32,534
[Shakman] But one of the things here
636
00:32:32,618 --> 00:32:34,453
is we are in zero-gravity
in the Excelsior,
637
00:32:34,536 --> 00:32:37,456
is that I really wanted it
to be a zero-G environment
638
00:32:37,539 --> 00:32:39,458
when they are in space. I love Marvel,
639
00:32:39,541 --> 00:32:43,128
I love Marvel space movies like
Guardians of the Galaxy. I love Star Trek.
640
00:32:43,212 --> 00:32:45,005
- But they're just walking around.
- [Farahani] Yeah.
641
00:32:45,089 --> 00:32:50,094
But in order for this to feel like
the '60s and Space Race and Apollo 11,
642
00:32:50,177 --> 00:32:54,264
I needed them to be floating.
I wanted to feel like space was dangerous.
643
00:32:54,348 --> 00:32:58,352
Space was difficult,
that all of these things weren't easy.
644
00:32:58,435 --> 00:33:02,731
And then having zero-G allowed us,
you know, as we head into this sequence,
645
00:33:02,815 --> 00:33:05,901
to do some pretty amazing things
that we otherwise wouldn't have.
646
00:33:05,985 --> 00:33:08,404
Which we'll get to,
of course, in a little bit.
647
00:33:08,487 --> 00:33:10,739
But do you want to talk about
Excelsior design?
648
00:33:11,824 --> 00:33:13,367
[Farahani] Yeah, absolutely.
So, the design of the Excelsior
649
00:33:13,450 --> 00:33:18,330
was interesting because there's basically
three kind of major functional jobs
650
00:33:18,414 --> 00:33:20,207
that the ship had to do.
651
00:33:20,290 --> 00:33:23,794
Number one, it had to
have the kind of vernacular of a shuttle,
652
00:33:23,877 --> 00:33:26,213
which is very aircraft-like,
very plane-like,
653
00:33:26,296 --> 00:33:30,050
in terms of what
the workstation of the cockpit feels like,
654
00:33:30,134 --> 00:33:32,094
and the design of the exterior
655
00:33:32,177 --> 00:33:35,305
with the rockets attached
at the end of each fin.
656
00:33:35,389 --> 00:33:39,768
Because it has to, basically, serve
the purpose of getting out of gravity.
657
00:33:40,352 --> 00:33:43,063
So you see that in terms
of what the cockpit looks like.
658
00:33:43,147 --> 00:33:46,316
The second function
is the function of a zero-G environment,
659
00:33:46,400 --> 00:33:49,528
which is more of a workstation
where there's padded surfaces,
660
00:33:49,611 --> 00:33:52,114
and workstations upside-down and all this,
661
00:33:52,197 --> 00:33:54,283
which is different
than what a plane is like.
662
00:33:54,366 --> 00:33:57,661
And so, we had to kind of merge
those two aesthetics for the interior.
663
00:33:57,745 --> 00:34:02,499
And then the third kind of job the ship
had was this faster-than-light travel,
664
00:34:02,583 --> 00:34:04,251
which is how we kind of arrived at
665
00:34:04,334 --> 00:34:08,088
this idea of an exterior
faster-than-light engine
666
00:34:08,172 --> 00:34:11,008
that it could dock into and use as needed,
667
00:34:11,091 --> 00:34:13,927
and that this engine. would stay in space,
668
00:34:14,011 --> 00:34:18,849
perhaps even be used as a space station
when not being used as an engine.
669
00:34:22,227 --> 00:34:25,105
It's all gone, the whole planet.
670
00:34:25,189 --> 00:34:27,483
And it was 13% larger than Earth.
671
00:34:27,566 --> 00:34:29,318
[rumbling]
672
00:34:30,152 --> 00:34:33,530
[Shakman] We've just seen
Galactus' worldship make its introduction.
673
00:34:33,614 --> 00:34:37,242
And, you know, "How do you eat a planet,"
was something I thought a lot about,
674
00:34:37,326 --> 00:34:40,454
because he ranges in size in the comics
675
00:34:40,537 --> 00:34:44,917
from being just 20 feet tall, to being
1,000 feet tall, sometimes bigger.
676
00:34:45,834 --> 00:34:48,587
And so, I wanted to think about it
677
00:34:48,670 --> 00:34:51,882
as realistically as possible,
as scientifically as possible.
678
00:34:51,965 --> 00:34:53,258
So we talked to scientists.
679
00:34:53,342 --> 00:34:55,886
We talked to Dr. Clifford Johnson,
who was our advisor
680
00:34:55,969 --> 00:34:57,387
throughout this whole process.
681
00:34:57,471 --> 00:35:00,099
And was like, "What kind of planets
would you want to eat?
682
00:35:00,182 --> 00:35:01,934
"Why eat planets with life on them?"
683
00:35:02,017 --> 00:35:04,561
He's like, "You would need carbon.
That would be the fuel."
684
00:35:04,645 --> 00:35:07,523
It would make sense
you'd eat planets with life on them.
685
00:35:07,606 --> 00:35:11,360
And then we thought about, "Well, his ship
should be like a big factory."
686
00:35:11,443 --> 00:35:15,322
You know, it's the idea that he's going
to consume an entire planet,
687
00:35:15,405 --> 00:35:18,992
but he's still somewhat of a humanoid
shaped kind of character, right?
688
00:35:19,076 --> 00:35:20,994
He has to process that somehow.
689
00:35:21,078 --> 00:35:24,123
So that's how we came up
with this idea of this giant drill
690
00:35:24,206 --> 00:35:28,377
that essentially goes through a planet,
and as it's drilling through,
691
00:35:28,460 --> 00:35:31,505
it's sucking everything in
through the front and the back.
692
00:35:31,588 --> 00:35:34,424
And then it enters inside...
693
00:35:34,508 --> 00:35:38,220
You know, when we go inside, we see how
all this material has been sucked in,
694
00:35:38,303 --> 00:35:40,514
and it's part of a big assembly line.
695
00:35:40,597 --> 00:35:44,017
It's being, you know,
ground up by big giant grinders.
696
00:35:44,101 --> 00:35:45,894
It's being sent through purification.
697
00:35:45,978 --> 00:35:49,314
It's being burned
by these enormous giant furnaces,
698
00:35:49,398 --> 00:35:53,235
and eventually, it's being
purified into this kind of magma blood,
699
00:35:53,318 --> 00:35:55,362
- this lava that's...
- [Farahani] Pure energy.
700
00:35:55,445 --> 00:35:59,199
[Shakman] Pure energy that's being pumped
into the very center of the ship
701
00:35:59,283 --> 00:36:03,036
through big tubes right into
the back of Galactus.
702
00:36:03,120 --> 00:36:06,540
So when we meet him,
we see that he's this cosmic space vampire
703
00:36:06,623 --> 00:36:08,000
hooked up to his blood supply,
704
00:36:08,083 --> 00:36:11,712
and that this entire ship exists to create
705
00:36:11,795 --> 00:36:14,965
this blood for him to survive off of.
706
00:36:16,300 --> 00:36:19,136
[Farahani] Yeah,
the interior of the worldship
707
00:36:19,219 --> 00:36:24,600
was our moment to create
the cathedral to Kirby, also.
708
00:36:24,683 --> 00:36:29,271
To, like, really celebrate
these kind of distinctive
709
00:36:29,354 --> 00:36:31,773
geometric shapes and motifs
710
00:36:31,857 --> 00:36:34,568
- that you see right there, for instance.
- [Shakman] Right there. Yeah.
711
00:36:34,651 --> 00:36:38,197
[Farahani] In so much of Kirby's work.
712
00:36:38,280 --> 00:36:40,282
You know, it was a challenge to translate
713
00:36:40,365 --> 00:36:47,080
his beautiful, very high contrast style,
which is so often just white and black,
714
00:36:47,164 --> 00:36:52,502
into a fully photographic environment,
and still keep the spirit of it.
715
00:36:52,586 --> 00:36:54,213
That was the goal here. Absolutely.
716
00:36:54,296 --> 00:36:56,632
Here are those furnaces
you were talking about, Matt,
717
00:36:56,715 --> 00:37:00,093
where the raw materials, the good stuff
718
00:37:00,594 --> 00:37:03,472
is burned and purified into that energy.
719
00:37:03,555 --> 00:37:05,807
[Shakman] We spent a lot of time
thinking about scale, right?
720
00:37:05,891 --> 00:37:08,268
Because this is an enormous ship
721
00:37:08,352 --> 00:37:12,397
which has the largest thing
in the universe inside of it,
722
00:37:13,315 --> 00:37:15,234
constantly trying to think
about how do we make
723
00:37:15,317 --> 00:37:17,361
this space feel believably large.
724
00:37:17,444 --> 00:37:20,447
And when you watch Star Wars,
and the ship flies over the top,
725
00:37:20,530 --> 00:37:22,491
you understand its scale
because you see the doors,
726
00:37:22,574 --> 00:37:24,326
the little windows,
and they're human-sized.
727
00:37:24,952 --> 00:37:26,578
- But this is a Galactus ship.
- Yeah.
728
00:37:26,662 --> 00:37:28,330
Everything is Galactus-sized.
729
00:37:28,413 --> 00:37:30,040
So until you get a tiny Surfer,
730
00:37:30,123 --> 00:37:33,001
a tiny Fantastic Four
character walking along,
731
00:37:33,085 --> 00:37:35,879
it's only then that
you realize the scope and the scale of it.
732
00:37:35,963 --> 00:37:38,840
But we also realized
that it was going to be impossibly large.
733
00:37:38,924 --> 00:37:41,677
We talked about going
to factories, about, "Where could we go
734
00:37:41,760 --> 00:37:44,346
"that's enormous in the world
that would reflect this?"
735
00:37:44,429 --> 00:37:47,099
And the fact is,
there just isn't anything big enough.
736
00:37:47,182 --> 00:37:49,476
So we built huge sections
737
00:37:49,559 --> 00:37:52,104
- that still are really very, very small...
- [Farahani] Tiny.
738
00:37:52,187 --> 00:37:55,440
[Shakman]...relative
to what the worldship would be built,
739
00:37:55,524 --> 00:37:59,528
the stair-type vent
that goes up into his chamber here.
740
00:37:59,611 --> 00:38:02,364
We built sections
of what you kind of called a worm...
741
00:38:02,447 --> 00:38:08,578
That was a series of twisty,
turned tubes that they would walk along.
742
00:38:08,662 --> 00:38:11,415
And depending on lighting
and how we framed it,
743
00:38:11,498 --> 00:38:13,458
it could be used
for different environments.
744
00:38:13,542 --> 00:38:17,129
[Farahani] Yeah, that's right.
It's the scale of a landscape.
745
00:38:17,212 --> 00:38:19,756
- [Shakman] Right.
- [Farahani] It's like trying to make--
746
00:38:19,840 --> 00:38:22,676
Trying to make an interior,
a mechanical interior
747
00:38:22,759 --> 00:38:26,013
with the scale
of Yosemite Valley or something like that.
748
00:38:28,432 --> 00:38:31,226
[Shakman] Here's Galactus
in all of his Jack Kirby glory
749
00:38:31,310 --> 00:38:35,731
by way of Ryan Meinerding
designing our take on this.
750
00:38:35,814 --> 00:38:37,733
Ryan really led the charge on this.
751
00:38:37,816 --> 00:38:42,612
I love that he feels enormous,
but, like, stars.
752
00:38:42,696 --> 00:38:44,656
There's all these lights in his suit.
753
00:38:44,740 --> 00:38:46,825
He feels like a star field.
754
00:38:46,908 --> 00:38:50,203
- There's so much texture.
- [Farahani] Just ancient.
755
00:38:50,287 --> 00:38:52,789
[Shakman] He feels ancient.
He's 14 billion years old.
756
00:38:52,873 --> 00:38:56,626
A scientist from
another universe who tried to escape
757
00:38:56,710 --> 00:39:01,006
the end of his universe
and managed to do so.
758
00:39:01,089 --> 00:39:04,176
And he was reborn
into our universe during the Big Bang,
759
00:39:04,259 --> 00:39:08,221
into this universe, 828, as Galactus.
760
00:39:08,305 --> 00:39:13,935
He was transformed into Galactus,
whose purpose is to consume planets.
761
00:39:14,019 --> 00:39:16,563
He's neither good nor bad in a way, right?
762
00:39:16,646 --> 00:39:18,607
- He's inevitable, like Thanos.
- [Farahani] Right.
763
00:39:18,690 --> 00:39:22,444
[Shakman] He's this cosmic force
that moves through the universe
764
00:39:22,527 --> 00:39:24,321
and probably does some good.
765
00:39:24,404 --> 00:39:25,822
In the comics, it's great.
766
00:39:25,906 --> 00:39:28,033
- He's a gardener in a way, right?
- [Farahani] Right.
767
00:39:28,116 --> 00:39:31,995
[Shakman] He eats these planets,
which allows for new things to grow,
768
00:39:32,079 --> 00:39:33,413
and for the universe to expand.
769
00:39:33,497 --> 00:39:35,290
- So, arguably he's helpful.
- [Farahani] Yeah.
770
00:39:35,374 --> 00:39:36,875
[Shakman] In some comics, it's great.
771
00:39:36,958 --> 00:39:40,921
Reed even argues not to kill Galactus
because he thinks he's necessary.
772
00:39:41,004 --> 00:39:42,839
[Farahani] None of it's personal
for Galactus.
773
00:39:42,923 --> 00:39:44,007
[Shakman] It's not personal.
774
00:39:44,091 --> 00:39:45,509
- They're ants.
- [Farahani] Yeah.
775
00:39:45,592 --> 00:39:49,846
[Shakman] He just goes, and he keeps
swimming like a shark through the cosmos.
776
00:39:49,930 --> 00:39:53,058
At the same time,
if it's your planet, then he's a bad guy.
777
00:39:53,141 --> 00:39:55,894
- [Farahani] It feels pretty personal.
- It feels very personal.
778
00:39:55,977 --> 00:39:58,980
[Shakman] And so,
just designing this was a great joy.
779
00:39:59,064 --> 00:40:02,651
But then it's Ralph Ineson,
who's the actor who is playing Galactus,
780
00:40:02,734 --> 00:40:03,902
who brings him to life.
781
00:40:03,985 --> 00:40:07,531
Just like Ebon and Julia are bringing
Ben Grimm and the Surfer to life.
782
00:40:07,614 --> 00:40:09,449
We had Ralph on set here.
783
00:40:09,533 --> 00:40:11,576
He's wearing an actual suit,
784
00:40:11,660 --> 00:40:14,663
a gorgeous suit built
by Alex Byrne and her team,
785
00:40:14,746 --> 00:40:18,875
that had so much detail in it,
and it weighed a ton,
786
00:40:18,959 --> 00:40:21,545
and it was uncomfortable,
and Ralph never complained
787
00:40:21,628 --> 00:40:23,922
because he is just an amazing veteran.
788
00:40:24,005 --> 00:40:27,467
But it was wonderful.
He sat in a big throne that you built.
789
00:40:27,551 --> 00:40:30,345
And we filmed him
the way you film a miniature, right?
790
00:40:30,429 --> 00:40:32,305
You have a 14-foot-tall rocket,
791
00:40:32,389 --> 00:40:35,475
but you want to make it feel
like it's 1,000 feet long.
792
00:40:35,559 --> 00:40:39,271
You have to flood it with light,
you have to consider the lensing of it.
793
00:40:39,354 --> 00:40:42,190
You have to film it
the same way you would...
794
00:40:42,274 --> 00:40:45,026
You would film a miniature
rocket to make it feel large.
795
00:40:45,110 --> 00:40:47,821
So we filmed the human
to make him feel like Mount Rushmore.
796
00:40:47,904 --> 00:40:51,741
And so there would be no focal fall off.
Everything's in focus on Galactus.
797
00:40:51,825 --> 00:40:55,954
And there's a ton of real photography
that's driving these images.
798
00:40:56,037 --> 00:41:00,208
But then SPI, Sony Pictures Imageworks,
is working over the top of that
799
00:41:00,292 --> 00:41:04,421
to help integrate it,
to make it feel old and enormous.
800
00:41:04,504 --> 00:41:06,631
[Farahani] It's very effective.
Very effective.
801
00:41:06,715 --> 00:41:10,719
[Shakman] Good combination
of different approaches.
802
00:41:12,804 --> 00:41:14,598
We should talk about these space suits,
803
00:41:14,681 --> 00:41:18,143
which I absolutely adore,
which are retro-future.
804
00:41:18,226 --> 00:41:20,937
Earlier, we saw them
in their first set of space suits,
805
00:41:21,021 --> 00:41:24,024
which were much more
Apollo 11, but with Fantastic Four covers.
806
00:41:24,107 --> 00:41:27,027
But now we've moved more
into a Kubrick territory,
807
00:41:27,110 --> 00:41:30,155
in terms of retro-future quality
with this great backpack,
808
00:41:30,238 --> 00:41:34,117
which reminds me
of a super-cool Dyson vacuum from the era,
809
00:41:34,201 --> 00:41:35,535
which is incredibly cool.
810
00:41:35,619 --> 00:41:38,622
These helmets, which
have really beautiful lines.
811
00:41:38,705 --> 00:41:41,082
- [Farahani] So great.
- [Shakman] And are very much unique,
812
00:41:41,166 --> 00:41:43,585
but do nod towards 2001
813
00:41:43,668 --> 00:41:49,257
and some of the other
great space helmet designs of the '60s.
814
00:41:49,341 --> 00:41:51,927
- And each of them is slightly different.
- [Farahani] Yeah.
815
00:41:52,010 --> 00:41:58,934
[Shakman] There's a red stripe
down Johnny's to... nod to his hot rod.
816
00:41:59,809 --> 00:42:02,020
And Ben has...
Everyone has slight differences.
817
00:42:02,103 --> 00:42:05,440
And one thing about
Ben's helmet is that because he's a rock,
818
00:42:05,524 --> 00:42:08,401
he doesn't have to worry
about the same things they worry about.
819
00:42:08,485 --> 00:42:11,154
He just needs oxygen,
needs to protect his eyes.
820
00:42:11,238 --> 00:42:14,074
That's why his helmet
doesn't fully enclose him.
821
00:42:14,157 --> 00:42:15,158
[Farahani] Yeah.
822
00:42:20,497 --> 00:42:21,665
[screaming]
823
00:42:22,541 --> 00:42:24,292
[Farahani] There's so much
to talk about here.
824
00:42:24,376 --> 00:42:27,671
[Shakman] Zero-G coming back
as they burst out of the...
825
00:42:27,754 --> 00:42:32,259
We imagined the Galactus ship was so large
that it had its own gravity.
826
00:42:32,342 --> 00:42:35,804
Maybe like the moon,
slightly less than Earth gravity.
827
00:42:35,887 --> 00:42:37,472
But still they were in there...
828
00:42:37,556 --> 00:42:39,849
It was toxic, so they're
wearing their helmets.
829
00:42:39,933 --> 00:42:41,935
There's probably limited oxygen.
830
00:42:42,018 --> 00:42:44,938
But now, they're back out
into the vacuum of space.
831
00:42:45,021 --> 00:42:49,401
So this sequence was shot
with a lot of actors on wires.
832
00:42:49,484 --> 00:42:50,610
They were amazing.
833
00:42:50,694 --> 00:42:53,363
So difficult to act on wires,
very uncomfortable.
834
00:42:53,446 --> 00:42:55,949
Even in something
that's incredibly well-designed,
835
00:42:56,032 --> 00:42:58,910
it's putting a lot of strain on your back.
836
00:42:58,994 --> 00:43:00,287
It requires strong core muscles.
837
00:43:00,370 --> 00:43:04,791
The actors took training
with Rowley Irlam, our stunt coordinator.
838
00:43:04,874 --> 00:43:09,004
And the set had to be designed to have
lots of tracks and ways to open up
839
00:43:09,087 --> 00:43:12,966
so that we could put these lines in
and choreograph all of this action
840
00:43:13,049 --> 00:43:14,551
to get as much of it
in camera as possible.
841
00:43:14,634 --> 00:43:17,679
Every now and then,
Framestore, our vendor here,
842
00:43:17,762 --> 00:43:19,723
amazing vendor, took over,
843
00:43:19,806 --> 00:43:23,059
and would do part of the body
in CG or anything.
844
00:43:23,143 --> 00:43:25,812
Like here, there's
Reed stretching out and grabbing Sue.
845
00:43:25,895 --> 00:43:29,482
We did film a version of that,
but we enhanced it using CG
846
00:43:29,566 --> 00:43:32,193
to help the zero-G of it all.
847
00:43:33,403 --> 00:43:34,988
[Farahani] What does a wormhole look like?
848
00:43:35,071 --> 00:43:38,825
[Shakman] Again, Dr. Clifford Johnson
working with us, working with Framestore,
849
00:43:38,908 --> 00:43:40,869
working with Scott, our VFX supervisor.
850
00:43:40,952 --> 00:43:43,371
This is where we came up
with something that felt like
851
00:43:43,455 --> 00:43:46,666
the mix of real science
meets Space Mountain,
852
00:43:46,750 --> 00:43:48,251
which was what I wanted.
853
00:43:48,335 --> 00:43:53,173
I wanted this to feel very much like
'60s space Disney at its best.
854
00:43:53,256 --> 00:43:56,968
Even in the sound design,
that synth sound that's coming into...
855
00:43:57,052 --> 00:44:00,388
The Moog sounds, synth sounds
that are coming into...
856
00:44:00,472 --> 00:44:03,433
Into play in the '60s. The '50s, '60s.
857
00:44:05,393 --> 00:44:06,978
And amazing score.
858
00:44:07,062 --> 00:44:10,357
As we talk, we're not listening
to Michael Giacchino's amazing score.
859
00:44:10,440 --> 00:44:13,860
But when he came up with our theme,
he said it was a combination
860
00:44:13,943 --> 00:44:16,905
of The Right Stuff
and the Disney Electrical Parade,
861
00:44:17,447 --> 00:44:19,991
which I absolutely adore
because it's the perfect thing.
862
00:44:20,075 --> 00:44:23,286
And that's very much
the spirit of how Skywalker
863
00:44:23,370 --> 00:44:26,539
was approaching
the sound design as well of space here.
864
00:44:26,623 --> 00:44:28,750
And then we imagined...
865
00:44:28,833 --> 00:44:30,960
They have these blasters,
866
00:44:31,044 --> 00:44:33,963
but they're more like
a particle accelerator.
867
00:44:34,047 --> 00:44:37,509
And so the back of the ship
is like a giant collider,
868
00:44:37,592 --> 00:44:39,094
like you would have in physics.
869
00:44:39,177 --> 00:44:41,262
[Farahani] That ring you see
when you look up from below,
870
00:44:41,346 --> 00:44:43,682
you see that collider
where that energy is.
871
00:44:43,765 --> 00:44:47,477
This was a great idea of Scott's,
where that energy just spits around...
872
00:44:47,560 --> 00:44:51,815
Spins around there and powers this cannon.
873
00:44:51,898 --> 00:44:54,359
[Shakman] So it feels everything
is scientific in a way.
874
00:44:54,442 --> 00:44:57,404
The Fantastic Four are not
your classic superheroes
875
00:44:57,487 --> 00:44:59,280
that are getting into
fist fights all the time
876
00:44:59,364 --> 00:45:02,200
and pulling out guns or blasters.
877
00:45:02,283 --> 00:45:03,868
But we needed them to have that ability,
878
00:45:03,952 --> 00:45:05,662
and they knew they needed
to have that ability.
879
00:45:05,745 --> 00:45:09,207
But what's the most scientifically
interesting way to have a blaster?
880
00:45:09,290 --> 00:45:11,000
We were like, "It's a collider."
881
00:45:11,084 --> 00:45:16,715
They're sending sort of pure, accelerated
electron energy out at the Surfer.
882
00:45:16,798 --> 00:45:19,426
- And then here she is surfing.
- [Farahani] So cool.
883
00:45:19,509 --> 00:45:21,970
[Shakman] It's essential to me
that the Silver Surfer surfed.
884
00:45:22,053 --> 00:45:24,931
And so we gave her a chance
to surf on lava in the ship.
885
00:45:25,014 --> 00:45:28,643
Surfing in a wormhole,
what's that look like?
886
00:45:28,727 --> 00:45:32,772
And now she's literally surfing
the accretion disk of a neutron star,
887
00:45:32,856 --> 00:45:34,524
which I think was really fun.
888
00:45:34,607 --> 00:45:39,112
We had a couple of amazing professional
female surfers come in and help us.
889
00:45:39,195 --> 00:45:43,700
Work with Julia and help us with how
a real surfer would move on a board
890
00:45:43,783 --> 00:45:47,620
to make sure that the physical language
was accurate to surfing,
891
00:45:47,704 --> 00:45:51,791
even though the environment is something
no one has ever surfed before.
892
00:45:51,875 --> 00:45:52,876
But here she is.
893
00:45:52,959 --> 00:45:56,004
And so, this is an amazing sequence,
894
00:45:56,087 --> 00:45:58,965
where they're heading into
the center of a neutron star,
895
00:45:59,048 --> 00:46:01,134
which is essentially a black hole,
896
00:46:01,217 --> 00:46:05,889
and they're trying
to trap her into going into
897
00:46:05,972 --> 00:46:09,225
the gravity well of this
neutron star, where time will dilate,
898
00:46:09,309 --> 00:46:13,813
and everything for her
will go much more slowly.
899
00:46:13,897 --> 00:46:17,025
And also will just be exerting
so much force on her
900
00:46:17,108 --> 00:46:18,735
that it will trap her in there.
901
00:46:18,818 --> 00:46:20,111
And this is a Reed Richards way
902
00:46:20,195 --> 00:46:23,364
of getting out of what seems
like an impossible situation.
903
00:46:23,448 --> 00:46:28,077
You've got your wife in labor,
you're being pursued by a super-powered
904
00:46:28,161 --> 00:46:30,872
- cosmic entity you've never seen before.
- [Farahani] Stress bomb.
905
00:46:30,955 --> 00:46:32,415
[Shakman] It's a lot of stress.
906
00:46:32,499 --> 00:46:33,792
How do you get away with it?
907
00:46:33,875 --> 00:46:36,669
And luckily, your wife,
who happens to be in labor,
908
00:46:36,753 --> 00:46:38,213
also happens to be able to be
909
00:46:38,296 --> 00:46:40,590
- a master of invisibility.
- [Farahani] Cloaking.
910
00:46:40,673 --> 00:46:45,720
[Shakman] And so Sue was able to cloak
the ship, and they escape.
911
00:46:45,804 --> 00:46:47,972
We don't see them doing it, but they do.
912
00:46:48,056 --> 00:46:51,726
And the Surfer doesn't because of all
of the particle dust in the air.
913
00:46:51,810 --> 00:46:55,021
And she follows the bait
right into the center of the neutron star.
914
00:46:55,104 --> 00:46:57,565
And then the ship appears and flies off.
915
00:46:57,649 --> 00:47:01,027
This was a fun mix of miniature
and visual effects design,
916
00:47:01,110 --> 00:47:02,695
Kasra's amazing set.
917
00:47:02,779 --> 00:47:06,950
The stunt coordinator, Rowley, doing
so much amazing work with these actors.
918
00:47:07,033 --> 00:47:08,409
These brave actors on wires.
919
00:47:08,493 --> 00:47:12,497
But this was one of the things that
was super-important to me in this movie,
920
00:47:12,580 --> 00:47:14,415
this moment, this birth.
921
00:47:14,499 --> 00:47:18,920
I think Kasra's a dad,
became one during the--
922
00:47:19,003 --> 00:47:21,214
[Farahani] For the second time, yeah.
923
00:47:21,297 --> 00:47:23,299
[Shakman] Second time during this movie.
924
00:47:24,425 --> 00:47:29,430
The birth of my daughter remains
the most fantastic moment of my life.
925
00:47:30,640 --> 00:47:35,395
The journey into the fantastic
is really part of what these stories are,
926
00:47:35,478 --> 00:47:38,273
whether it's going into
the Negative Zone in the comics,
927
00:47:38,356 --> 00:47:40,483
or going into space,
or going into a neutron star.
928
00:47:40,567 --> 00:47:44,362
But the biggest mystery of all, I think,
is the birth of a baby, right?
929
00:47:44,445 --> 00:47:47,198
And this mysterious future
of being transformed...
930
00:47:47,282 --> 00:47:49,158
- [Farahani] Magic trick.
- [Shakman]...into a parent.
931
00:47:49,242 --> 00:47:51,327
Yes, in a moment.
932
00:47:51,411 --> 00:47:54,622
We thought, "What's the most high stakes
place to have a baby?"
933
00:47:54,706 --> 00:47:59,752
In zero-gravity while
rotating around a neutron star.
934
00:47:59,836 --> 00:48:02,839
- [Farahani] And being pursued by--
- While being pursued by a Silver Surfer
935
00:48:02,922 --> 00:48:04,883
who is like out of a Grimm's fairy tale.
936
00:48:04,966 --> 00:48:07,635
I think when I came up
with the idea of her reaching in
937
00:48:07,719 --> 00:48:10,013
because I knew
she could have the phase ability,
938
00:48:10,096 --> 00:48:12,640
to reach into the womb
and try to pull the baby out...
939
00:48:12,724 --> 00:48:14,934
- [Farahani] Terrifying.
- [Shakman]...was when I was like,
940
00:48:15,018 --> 00:48:17,562
"Ooh, that's terrifying. Let's do it."
941
00:48:17,645 --> 00:48:19,939
That remains one of my favorite moments.
942
00:48:20,023 --> 00:48:22,901
But it is a little bit
like a Grimm's fairy tale,
943
00:48:23,401 --> 00:48:26,321
something is always coming
for a child in one of those.
944
00:48:26,404 --> 00:48:29,699
And in this case,
you have the largest, oldest,
945
00:48:29,782 --> 00:48:33,494
biggest thing in the universe
that, inexplicably to them,
946
00:48:33,578 --> 00:48:36,831
wants the smallest, newest thing.
947
00:48:36,915 --> 00:48:38,750
[Farahani] And the most
precious thing to them.
948
00:48:38,833 --> 00:48:42,712
[Shakman] Exactly. And so now, not only
do they have to protect their world,
949
00:48:42,795 --> 00:48:44,172
they have to protect their child.
950
00:48:44,255 --> 00:48:47,634
This offer Galactus has made to spare
the planet if they give him the child
951
00:48:47,717 --> 00:48:50,386
is one of these impossible
Sophie's choice moments,
952
00:48:50,470 --> 00:48:53,181
where, how can you choose
between your planet and your child?
953
00:48:53,264 --> 00:48:56,392
As a parent, you know
you can never give up your child.
954
00:48:56,476 --> 00:48:58,603
It feels like an impossible choice
955
00:48:58,686 --> 00:49:01,898
between two things
that they can't allow to happen.
956
00:49:01,981 --> 00:49:06,945
But this birth, an amazing performance
from all of them.
957
00:49:07,028 --> 00:49:10,198
But Vanessa Kirby,
who just absolutely gave it her all here.
958
00:49:10,281 --> 00:49:13,117
I love this notion that she...
959
00:49:13,201 --> 00:49:15,328
Staying visible
is probably an effort for her.
960
00:49:15,411 --> 00:49:16,537
[Farahani] Yeah.
961
00:49:16,621 --> 00:49:18,331
[Shakman] Invisibility is probably
more natural.
962
00:49:18,414 --> 00:49:21,000
And in this moment of exertion,
I know being there with my wife,
963
00:49:21,084 --> 00:49:25,421
and it's such a miracle
and such a physical burden.
964
00:49:25,505 --> 00:49:28,925
But the idea that she loses
visibility in this moment of birth.
965
00:49:29,008 --> 00:49:32,470
Spoilers. If you're watching this,
you will have seen the whole movie
966
00:49:32,553 --> 00:49:33,846
at this point, I don't know.
967
00:49:33,930 --> 00:49:36,474
At the end, when she's
at her moment of death,
968
00:49:36,557 --> 00:49:39,060
she's going in and out
of visibility as well.
969
00:49:39,143 --> 00:49:45,024
These moments of birth and death
are interconnected, are very, very close.
970
00:49:45,108 --> 00:49:46,859
We had a real baby here on the day.
971
00:49:46,943 --> 00:49:50,989
And this is a mix of some CG
and a real baby
972
00:49:51,823 --> 00:49:55,076
to bring this birth to life.
973
00:49:57,370 --> 00:50:00,456
There was a shot I absolutely
love that we had in for a long time,
974
00:50:00,540 --> 00:50:04,043
which was that Ben reaches out.
You can see that he almost does it.
975
00:50:04,127 --> 00:50:05,753
The way we cut it out,
you de-emphasize it.
976
00:50:05,837 --> 00:50:10,591
But Ben floats Franklin across
the gap between him and Reed,
977
00:50:10,675 --> 00:50:13,511
and then Reed stretches out
and receives him.
978
00:50:13,594 --> 00:50:15,596
As Franklin crosses
the middle of the big window,
979
00:50:15,680 --> 00:50:17,932
they exit hyperspace.
980
00:50:18,016 --> 00:50:19,851
Boom, there's the Earth right there,
981
00:50:19,934 --> 00:50:22,770
and Franklin is framed against
the edge of the planet.
982
00:50:22,854 --> 00:50:27,275
It's a direct homage to 2001
and Kubrick and the space baby.
983
00:50:27,692 --> 00:50:29,527
It was one of those things
where you're like,
984
00:50:29,610 --> 00:50:32,405
"This is the most
important shot in the movie."
985
00:50:32,488 --> 00:50:35,658
And you execute it,
and you think it's beautiful.
986
00:50:35,742 --> 00:50:37,910
You show it to people,
and they start to giggle
987
00:50:37,994 --> 00:50:40,121
because it seems silly
that you would float
988
00:50:40,204 --> 00:50:42,498
a newborn baby across a space.
989
00:50:42,582 --> 00:50:43,583
And I was like, "Okay."
990
00:50:43,666 --> 00:50:45,877
It's the lesson of filmmaking,
where you're like,
991
00:50:45,960 --> 00:50:48,463
"You have to kill your babies."
Not the real one.
992
00:50:48,546 --> 00:50:50,965
You have to cut the thing
you never thought you'd cut.
993
00:50:51,049 --> 00:50:53,676
The most important shot
becomes the shot you need to lose.
994
00:50:53,760 --> 00:50:55,553
And it was the right decision
995
00:50:55,636 --> 00:51:00,224
because it took people out of the moment,
of the emotionality, this birth.
996
00:51:00,308 --> 00:51:02,310
That birth used to be in different places.
997
00:51:02,393 --> 00:51:04,729
The movie used to open
with the birth of the baby
998
00:51:04,812 --> 00:51:06,522
in the opening action sequence.
999
00:51:06,606 --> 00:51:09,942
And as we kind of played around
with how the story could work,
1000
00:51:10,026 --> 00:51:11,819
it landed at the midpoint of the movie.
1001
00:51:11,903 --> 00:51:17,200
Right after Galactus
had dropped this Grimm's fairy tale deal.
1002
00:51:17,283 --> 00:51:20,286
I think it's right.
I'm happy it ended up where it did.
1003
00:51:20,369 --> 00:51:21,829
The drama of the moment.
1004
00:51:21,913 --> 00:51:23,831
We ended up doing something
in filmmaking, which...
1005
00:51:23,915 --> 00:51:26,084
Which is happy accidents,
where you're like,
1006
00:51:26,167 --> 00:51:28,711
"We developed this neutron star set piece,
1007
00:51:28,795 --> 00:51:32,590
"and we developed this birth set piece
in zero-G at the opening of the movie,
1008
00:51:32,673 --> 00:51:35,301
"when they'd save a space station"
was the original idea.
1009
00:51:35,384 --> 00:51:37,720
We were like,
"I could put those together."
1010
00:51:37,804 --> 00:51:40,598
Now you can have a birth
in the middle of this neutron star thing.
1011
00:51:40,681 --> 00:51:41,933
[Farahani] Level up. Yeah.
1012
00:51:42,016 --> 00:51:44,435
[Shakman] You can level up
by combining ideas.
1013
00:51:48,981 --> 00:51:51,567
They're ready for you. Step up.
1014
00:51:51,651 --> 00:51:56,239
[Shakman] This is the lobby of
the Calatrava building in Oviedo, Spain,
1015
00:51:56,322 --> 00:52:00,243
which, again, it was remarkable to find
this building that felt like...
1016
00:52:00,326 --> 00:52:02,453
I know Calatrava designed it,
1017
00:52:02,537 --> 00:52:05,748
but it felt like you designed it
because it fits the movie perfectly.
1018
00:52:05,832 --> 00:52:09,710
[Farahani] It was an unbelievable score
to find this building.
1019
00:52:09,794 --> 00:52:14,215
And for Tim Lewis and our
amazing producing team to figure out a way
1020
00:52:14,298 --> 00:52:16,551
that we could get there and shoot this.
1021
00:52:16,634 --> 00:52:18,177
It really makes it...
1022
00:52:18,261 --> 00:52:21,139
These are critical scenes.
This scene in particular.
1023
00:52:21,222 --> 00:52:23,683
So many critical scenes
we were able to capture.
1024
00:52:23,766 --> 00:52:25,685
And it's also just so important.
1025
00:52:25,768 --> 00:52:27,895
Matt, you were talking about this
from the very start
1026
00:52:27,979 --> 00:52:31,315
that you have to get into real locations.
1027
00:52:31,399 --> 00:52:35,820
It just does something
critically important for the scope
1028
00:52:35,903 --> 00:52:40,700
and believability of the world,
and thereby, to a degree, the film,
1029
00:52:40,783 --> 00:52:44,370
if you can offset all these
curated environments
1030
00:52:44,453 --> 00:52:49,709
by adding in real places
that have a scale and a materiality
1031
00:52:49,792 --> 00:52:53,921
and a patina that you can
only achieve by a space
1032
00:52:54,005 --> 00:52:58,718
that's been used by big numbers of people
for long periods of time.
1033
00:52:58,801 --> 00:52:59,927
[Shakman] Yeah.
1034
00:53:00,011 --> 00:53:02,722
[Farahani] And this space
absolutely provided
1035
00:53:02,805 --> 00:53:06,934
- that anchor of realism to so much of it.
- [Shakman] Yeah.
1036
00:53:07,018 --> 00:53:09,812
If you have a real foreground,
a real mid-ground,
1037
00:53:09,896 --> 00:53:11,522
you can put anything you want.
1038
00:53:11,606 --> 00:53:14,108
You can put a giant Galactus beyond that.
1039
00:53:14,192 --> 00:53:18,946
You can have a rock man walking around
1040
00:53:19,030 --> 00:53:22,450
in a super-realistic apartment set
or a realistic Baxter lobby.
1041
00:53:22,533 --> 00:53:24,869
Again, the more you have that's real,
1042
00:53:24,952 --> 00:53:28,080
the more your mind will be
tricked for the things that aren't.
1043
00:53:28,164 --> 00:53:30,750
- And you did build this whole back wall...
- [Farahani] We did.
1044
00:53:30,833 --> 00:53:34,003
[Shakman]...which is in the middle
of their lobby, to create this connection.
1045
00:53:34,086 --> 00:53:36,047
[Farahani] Yes.
There were things we had to do
1046
00:53:36,130 --> 00:53:40,051
to synchronize it with the design of
our building and of the Baxter apartment.
1047
00:53:40,134 --> 00:53:43,387
Materials we had to bring in,
some specific details.
1048
00:53:43,471 --> 00:53:45,765
[Shakman] One of the things
I loved about that interior is
1049
00:53:45,848 --> 00:53:48,100
you built this giant model
of the Baxter Building,
1050
00:53:48,184 --> 00:53:50,478
which was a cross-section
you could see through.
1051
00:53:50,561 --> 00:53:54,523
And each floor was labeled, which is
a classic nod to Fantastic Four comics,
1052
00:53:54,607 --> 00:53:57,026
and one of the things
I've loved decade by decade.
1053
00:53:57,109 --> 00:53:59,445
It started with Kirby,
where they'd do a doodle
1054
00:53:59,528 --> 00:54:02,281
of the Baxter Building in a schematic
and tell you where things were.
1055
00:54:02,365 --> 00:54:03,824
[Farahani] Got a view of the building.
1056
00:54:03,908 --> 00:54:05,701
[Shakman] Where the labs were,
the rockets,
1057
00:54:05,785 --> 00:54:08,329
- where everything was kept.
- [Farahani] Gym, the screening room,
1058
00:54:08,412 --> 00:54:10,456
the radar array, all that stuff, yeah.
1059
00:54:10,539 --> 00:54:12,875
[Shakman] And every generation
of Fantastic Four artists
1060
00:54:12,959 --> 00:54:14,669
has done their version of that.
1061
00:54:14,752 --> 00:54:18,673
And so we did that in model form
in that lobby, which is great.
1062
00:54:19,966 --> 00:54:22,677
We can't blast it.
Conventional weapons won't work.
1063
00:54:22,760 --> 00:54:24,720
- So we run.
- We run?
1064
00:54:24,804 --> 00:54:26,264
[Shakman] We should talk about babies.
1065
00:54:26,347 --> 00:54:28,349
We used multiple babies
in the making of the film
1066
00:54:28,432 --> 00:54:31,227
because you have to,
because when you have very young babies,
1067
00:54:31,310 --> 00:54:33,729
they only can be on set
for a few hours at a time.
1068
00:54:33,813 --> 00:54:37,233
And sometimes babies
are not in the mood to be in filmmaking,
1069
00:54:37,316 --> 00:54:38,317
which I understand.
1070
00:54:38,401 --> 00:54:40,528
I'm often not in the mood,
too, but I can't go home.
1071
00:54:40,611 --> 00:54:43,447
I have to keep doing it.
The babies get a break when they need to.
1072
00:54:43,531 --> 00:54:48,869
So we knew we wanted the baby
to have one hero baby look,
1073
00:54:48,953 --> 00:54:53,708
and that we would need
to use every trick in the filmmaking book
1074
00:54:53,791 --> 00:54:55,251
to bring that about
1075
00:54:55,334 --> 00:54:57,670
because we wouldn't have
that baby available to us
1076
00:54:57,753 --> 00:55:00,423
for the amount of time
that we would need to film everything.
1077
00:55:00,506 --> 00:55:03,301
So this is Ada in here.
1078
00:55:03,384 --> 00:55:07,763
That's Pedro. But that's Ada
there in the hands of Ben Grimm.
1079
00:55:07,847 --> 00:55:09,932
And she was the hero Franklin.
1080
00:55:10,808 --> 00:55:15,021
And she has wonderful expressiveness.
1081
00:55:15,104 --> 00:55:17,231
Her eyes are just so alive.
1082
00:55:17,315 --> 00:55:21,235
There are many scenes
in this movie that Ada completely steals.
1083
00:55:21,319 --> 00:55:22,903
[Farahani] Adorable.
1084
00:55:22,987 --> 00:55:26,324
[Shakman] She just seems very much
like the progeny
1085
00:55:26,407 --> 00:55:28,326
of the most brilliant man in the world,
1086
00:55:28,409 --> 00:55:31,203
and probably
the most brilliant woman, too.
1087
00:55:31,287 --> 00:55:33,539
We needed that.
We needed that intelligence
1088
00:55:33,622 --> 00:55:37,460
and that incredible sense of being alive,
which she brought.
1089
00:55:37,543 --> 00:55:40,588
But it meant that,
for instance, this stuff we shot her
1090
00:55:40,671 --> 00:55:45,843
and needed to comp her
in to lots of different takes.
1091
00:55:45,926 --> 00:55:47,887
So, we did this thing.
1092
00:55:47,970 --> 00:55:52,099
She really was carried out of the space,
and we had her in this environment.
1093
00:55:52,183 --> 00:55:55,644
But then we needed to add her to Ben Grimm
1094
00:55:55,728 --> 00:55:58,314
and combine her
with different takes throughout.
1095
00:55:58,397 --> 00:56:02,443
And then every now and then,
we didn't have her,
1096
00:56:02,526 --> 00:56:04,820
but we had a CG version of her.
1097
00:56:04,904 --> 00:56:06,906
And we could take the baby
that we had filmed with.
1098
00:56:06,989 --> 00:56:12,787
And because we had scanned Ada extensively
and had a CG model of her,
1099
00:56:12,870 --> 00:56:16,165
we could then transform
the other baby to look like Ada,
1100
00:56:16,248 --> 00:56:18,626
and that worked well
for wide and medium shots.
1101
00:56:18,709 --> 00:56:20,086
We knew for every close-up,
1102
00:56:20,169 --> 00:56:23,964
we would need to have
an actual close-up of Ada.
1103
00:56:24,048 --> 00:56:27,426
So oftentimes, we would
go back with second unit,
1104
00:56:27,510 --> 00:56:31,680
and film Ada in all of the
same lighting environments multiple times
1105
00:56:31,764 --> 00:56:34,558
to make sure we had enough information
so we could add her.
1106
00:56:34,642 --> 00:56:38,270
So sometimes her photography
is actually done weeks after the scene,
1107
00:56:38,354 --> 00:56:40,981
and we add her in
to try to make it persuasive.
1108
00:56:41,065 --> 00:56:45,361
But making a CG baby was
one of the big challenges of this film,
1109
00:56:45,444 --> 00:56:47,780
and I think they did a greatjob.
1110
00:56:47,863 --> 00:56:50,157
- [Farahani] Absolutely.
- [Shakman] It's a tough one to pull off.
1111
00:56:50,241 --> 00:56:53,994
[Farahani] The sheer number
of titanic VFX feats
1112
00:56:54,078 --> 00:56:58,207
that Scott and his team
and Lisa had to pull off
1113
00:56:58,290 --> 00:57:01,502
between Ben and Johnny and the stretching
1114
00:57:01,585 --> 00:57:06,715
and the baby and Galactus
and the interior of the worldship,
1115
00:57:06,799 --> 00:57:08,008
it's incredible.
1116
00:57:08,092 --> 00:57:09,969
Each one of them is a staggering feat.
1117
00:57:10,052 --> 00:57:12,763
And to do all of them,
and they did them so well.
1118
00:57:12,847 --> 00:57:15,391
[Shakman] The workload
on this movie is incredible,
1119
00:57:15,474 --> 00:57:19,687
because we were building a period world,
a retro-future period world
1120
00:57:19,770 --> 00:57:23,107
as well as these CG characters,
and like you said, all these powers,
1121
00:57:23,190 --> 00:57:26,735
there's not a shot in the movie
that doesn't have a VFX in it somehow.
1122
00:57:26,819 --> 00:57:30,489
There might be 100 of them
out of 3,000 or 2,500,
1123
00:57:30,573 --> 00:57:32,074
or however many shots there are,
1124
00:57:32,158 --> 00:57:35,202
but a tremendous number
of visual effects in it.
1125
00:57:35,286 --> 00:57:37,413
A staggering job that they did.
1126
00:57:40,499 --> 00:57:44,336
[reporter 1] Financial institutions
remain closed as angry protesters take--
1127
00:57:44,420 --> 00:57:46,380
[reporter 2] The newly-formed Galactus...
1128
00:57:46,464 --> 00:57:48,132
[Shakman] All this stuff had to be shot.
1129
00:57:48,215 --> 00:57:50,176
We had to create the Galactus cult
1130
00:57:50,259 --> 00:57:54,513
going up to meet their new leader
at the top of Mount Everest.
1131
00:57:59,435 --> 00:58:00,436
This is an alleyway. Practical location
1132
00:58:00,519 --> 00:58:02,313
- in East London.
- [Farahani] Yeah, practical location.
1133
00:58:02,396 --> 00:58:04,356
- Not far from--
- [Farahani] Beautifully lit by...
1134
00:58:04,440 --> 00:58:06,484
- [Shakman] By Jess Hall.
- [Farahani] By the team. Yeah.
1135
00:58:06,567 --> 00:58:09,236
That's an amazing shot. So many.
1136
00:58:09,320 --> 00:58:12,448
[Shakman] And that was close
to a synagogue location
1137
00:58:12,531 --> 00:58:15,034
that we used in East London as well.
1138
00:58:15,117 --> 00:58:17,036
- That was a fun day out there.
- [Farahani] Yeah.
1139
00:58:18,204 --> 00:58:20,372
But they choose not to...
1140
00:58:20,456 --> 00:58:22,541
[Shakman] And I talk
about Stephen Woolfenden,
1141
00:58:22,625 --> 00:58:24,752
who was our second unit director,
who was incredible
1142
00:58:24,835 --> 00:58:26,879
and a real storyteller,
1143
00:58:26,962 --> 00:58:28,714
who had worked
on all the Harry Potter films,
1144
00:58:28,797 --> 00:58:32,384
and just brilliant
at doing anything really,
1145
00:58:32,468 --> 00:58:37,139
whether it's shooting baby stuff
and getting magical stuff with Ada,
1146
00:58:37,223 --> 00:58:42,853
or whether it's shooting those two pundits
talking in a perfect period way about,
1147
00:58:42,937 --> 00:58:46,774
should the Fantastic Four
give up their baby.
1148
00:58:46,857 --> 00:58:49,318
Shooting crowds,
shooting reactions to the launch,
1149
00:58:49,401 --> 00:58:51,445
shooting action stuff,
1150
00:58:51,529 --> 00:58:56,367
or Fantasti-Car flying
around the streets at speed.
1151
00:58:56,450 --> 00:58:59,495
His team did an amazing job.
1152
00:58:59,578 --> 00:59:02,957
Second units are crucial on films.
1153
00:59:03,040 --> 00:59:05,251
And there's oftentimes
so much stuff just to get done,
1154
00:59:05,334 --> 00:59:07,586
you never have enough time to get it done.
1155
00:59:08,170 --> 00:59:11,382
And their team did an incredible job.
1156
00:59:11,465 --> 00:59:14,969
...mathematical, it's ethical, and it's...
1157
00:59:15,052 --> 00:59:17,680
[Shakman] This becomes
the big moral quandary of the film,
1158
00:59:17,763 --> 00:59:19,306
which is like,
1159
00:59:19,390 --> 00:59:23,352
how do you save your world
and also save your baby?
1160
00:59:24,019 --> 00:59:26,772
In the case of the Silver Surfer,
as we'll learn later,
1161
00:59:26,855 --> 00:59:32,570
she volunteered to become the herald
of Galactus in order to spare her planet.
1162
00:59:34,863 --> 00:59:37,408
But in this case, this is a baby.
1163
00:59:37,491 --> 00:59:39,868
This is a baby whose future is uncertain.
1164
00:59:39,952 --> 00:59:43,414
The Fantastic Four
don't know Franklin's nature.
1165
00:59:43,497 --> 00:59:46,667
They don't necessarily believe
what Galactus has said about Franklin
1166
00:59:46,750 --> 00:59:48,669
and what his destiny is.
1167
00:59:48,752 --> 00:59:52,673
And the baby is not able
to... to say, "Yeah, I want to go.
1168
00:59:52,756 --> 00:59:55,467
"I'll serve Galactus to spare the planet."
1169
00:59:55,551 --> 00:59:57,011
That's not possible.
1170
00:59:57,094 --> 01:00:00,764
So in this particular situation,
they can't accept either option.
1171
01:00:01,724 --> 01:00:04,768
And this scene in particular
is one of my favorites in the movie.
1172
01:00:04,852 --> 01:00:08,188
It's beautifully written
by Josh Friedman, one of our writers,
1173
01:00:08,272 --> 01:00:11,066
who is a brilliant, brilliant writer.
1174
01:00:11,150 --> 01:00:14,403
- And it feels like a real married couple.
- [Farahani] Yeah.
1175
01:00:14,486 --> 01:00:16,405
[Shakman] This is part of every marriage,
1176
01:00:16,488 --> 01:00:19,325
which is that people
don't always get along.
1177
01:00:19,408 --> 01:00:21,285
And things that you love about each other
1178
01:00:21,368 --> 01:00:24,204
can sometimes become difficult
and can become obstacles.
1179
01:00:24,288 --> 01:00:28,375
And the fact that Reed is always
thinking about the larger picture,
1180
01:00:28,459 --> 01:00:31,754
and him trying to prevent
all these terrible things from happening,
1181
01:00:31,837 --> 01:00:34,715
sometimes it means
that he's not thinking enough
1182
01:00:34,798 --> 01:00:37,509
about the small thing, the personal thing.
1183
01:00:37,593 --> 01:00:40,095
- [Farahani] Yeah.
- [Shakman] He's not thinking about...
1184
01:00:40,179 --> 01:00:44,642
As Sue feels, he's not being
aware of how she feels in this scene.
1185
01:00:44,725 --> 01:00:46,935
It's beautifully acted
between both of them,
1186
01:00:47,019 --> 01:00:48,646
beautifully written by Josh.
1187
01:00:49,563 --> 01:00:53,442
And involves some great,
subtle CG baby shots
1188
01:00:53,525 --> 01:00:55,903
to help make this work.
1189
01:00:55,986 --> 01:00:59,114
Because we did have to replace
some of the babies in Vanessa's arms,
1190
01:00:59,198 --> 01:01:00,866
and I think they're very effective.
1191
01:01:00,949 --> 01:01:03,410
- This is one of my favorite shots.
- [Farahani] Beautiful.
1192
01:01:03,494 --> 01:01:04,536
Just beautiful.
1193
01:01:04,620 --> 01:01:06,497
[Shakman] The baby
with an adorable little coo.
1194
01:01:06,580 --> 01:01:10,918
[Farahani] The light, just this
beautiful light on Vanessa and on Ada.
1195
01:01:11,001 --> 01:01:12,670
- The shots.
- [Shakman] Yeah.
1196
01:01:12,753 --> 01:01:15,255
I am not giving him up.
1197
01:01:17,675 --> 01:01:22,429
[Shakman] And this is Sue being Sue,
which is that she doesn't accept the idea
1198
01:01:22,513 --> 01:01:26,350
that it has to be one or the other,
that it has to be the Earth or the baby.
1199
01:01:26,433 --> 01:01:30,771
And she basically comes out
without a real plan, exposed,
1200
01:01:30,854 --> 01:01:33,273
not within a forcefield.
1201
01:01:33,357 --> 01:01:36,735
She brings that baby out and says,
"There's a lot of talk about this baby,
1202
01:01:36,819 --> 01:01:39,405
"and I want you to meet Franklin,
and I want you to know
1203
01:01:39,488 --> 01:01:42,866
"I'm not going to abandon my child,
and I'm not going to abandon you."
1204
01:01:42,950 --> 01:01:46,412
And this is so much about
the thematics of the movie
1205
01:01:46,495 --> 01:01:48,622
and the idea that the Fantastic Four,
1206
01:01:48,706 --> 01:01:52,459
unlike so many other superheroes
who hide and have aliases.
1207
01:01:52,543 --> 01:01:53,752
[Farahani] Yeah, that's right.
1208
01:01:53,836 --> 01:01:55,546
[Shakman] They are very public figures.
1209
01:01:55,629 --> 01:01:58,882
That's one of the things
that's made them so special over the years
1210
01:01:58,966 --> 01:02:02,720
is they are
the leading lights of their age.
1211
01:02:02,803 --> 01:02:04,346
Sue is the head of the Future Foundation.
1212
01:02:04,430 --> 01:02:06,724
She's basically the UN Secretary-General.
1213
01:02:06,807 --> 01:02:09,893
While Reed might be
the most brilliant man in the universe,
1214
01:02:09,977 --> 01:02:12,312
she's probably the most
emotionally brilliant person.
1215
01:02:12,396 --> 01:02:16,442
And Reed is great for mankind
and struggles with individual men.
1216
01:02:16,525 --> 01:02:23,323
She is adept at handling the world
from an emotional standpoint.
1217
01:02:23,407 --> 01:02:26,994
She's a true leader in terms
of bringing them together, inspiring.
1218
01:02:27,077 --> 01:02:33,041
The speeches are sort of JFK speech,
that we will not accept the idea
1219
01:02:33,125 --> 01:02:36,295
that it's the planet or the baby,
that we will find a solution.
1220
01:02:36,378 --> 01:02:39,047
We don't know what it is yet,
but I need you guys
1221
01:02:39,131 --> 01:02:42,676
to believe in us and to believe
that we can all do it together.
1222
01:02:44,303 --> 01:02:46,430
And this was shot outside.
1223
01:02:46,513 --> 01:02:50,225
This is one of those
where it's an enormous set,
1224
01:02:50,309 --> 01:02:54,271
but again, we couldn't
build this entire area.
1225
01:02:54,354 --> 01:02:57,107
You built this amazing statue.
You wanna talk about it?
1226
01:02:57,191 --> 01:03:01,528
[Farahani] Yeah, this statue was...
It's definitely a high point for me.
1227
01:03:01,612 --> 01:03:03,572
I'm very proud of how it turned out.
1228
01:03:03,655 --> 01:03:07,951
We had a lot of brilliant artists,
from Alex Bailey, the art director,
1229
01:03:08,035 --> 01:03:11,955
to Neil, the lead sculptor
on this particular project.
1230
01:03:12,039 --> 01:03:13,207
All the different trades.
1231
01:03:13,290 --> 01:03:17,044
We wanted to come up
with something that was super-dynamic,
1232
01:03:17,127 --> 01:03:22,382
that showcased their powers
in a very subtle and elegant way,
1233
01:03:22,466 --> 01:03:25,552
and that had a composition
1234
01:03:25,636 --> 01:03:29,598
that would, in a subtle way
at least, evoke a four,
1235
01:03:29,681 --> 01:03:33,101
a symbol of a four
that brought them together.
1236
01:03:33,185 --> 01:03:35,354
And I was feeling
very, very happy with it.
1237
01:03:35,437 --> 01:03:38,649
And then I showed it to you,
I remember, an early sketch of it,
1238
01:03:38,732 --> 01:03:43,695
and you had the great idea
that we should create a little accent,
1239
01:03:43,779 --> 01:03:46,031
kind of a focal point,
specifically with Sue,
1240
01:03:46,114 --> 01:03:52,830
that her outstretched arm
be made of glass,
1241
01:03:52,913 --> 01:03:57,459
and that the arm was
turning into the invisibility.
1242
01:03:57,543 --> 01:04:01,630
It became this
very beautiful point of accent
1243
01:04:01,713 --> 01:04:03,757
in the overall bronze sculpture.
1244
01:04:03,841 --> 01:04:05,217
[Shakman] Yeah, it was amazing.
1245
01:04:05,300 --> 01:04:07,511
Really an amazing work of art.
1246
01:04:08,887 --> 01:04:09,888
Sue...
1247
01:04:11,640 --> 01:04:12,724
you solved it.
1248
01:04:12,808 --> 01:04:14,309
- I did?
- Yes.
1249
01:04:14,393 --> 01:04:17,396
[Shakman] And so here we are,
back in the lobby at Spain.
1250
01:04:17,479 --> 01:04:20,774
And we have some
Ada photography that we got on the day,
1251
01:04:20,858 --> 01:04:23,610
and then also some
Ada photography that we added later,
1252
01:04:23,694 --> 01:04:26,530
as well as a little bit of CG work here.
1253
01:04:26,613 --> 01:04:28,115
Across the room.
1254
01:04:28,198 --> 01:04:31,118
- You think you can do that with a planet?
- [Reed] We are out of options.
1255
01:04:31,201 --> 01:04:34,246
We have to make it work.
We will make it work.
1256
01:04:36,373 --> 01:04:39,042
[Shakman] We should probably
talk about these amazing actors.
1257
01:04:39,126 --> 01:04:41,712
We've talked so much about design,
1258
01:04:43,213 --> 01:04:47,426
and I haven't talked enough about
how wonderful they all are individually,
1259
01:04:47,509 --> 01:04:50,012
and how great they were
together as a family.
1260
01:04:50,095 --> 01:04:53,432
Reed Richards
is a really tricky character.
1261
01:04:53,515 --> 01:04:58,478
In the comics, sometimes
he's just the scientist in the lab
1262
01:04:58,562 --> 01:05:00,564
who's oblivious
to what's happening outside.
1263
01:05:00,647 --> 01:05:02,482
He's trying to solve everything.
1264
01:05:02,566 --> 01:05:06,778
And sometimes he's a man of action,
out there, trying to save the day.
1265
01:05:06,862 --> 01:05:10,449
Leading the Avengers,
doing remarkable heroic stuff.
1266
01:05:10,532 --> 01:05:14,202
Sometimes he's the family man,
the father, the husband.
1267
01:05:14,286 --> 01:05:17,664
He really has so many
different aspects to him.
1268
01:05:17,748 --> 01:05:20,542
And I knew that we needed
all of them in this film.
1269
01:05:20,626 --> 01:05:25,505
Then I knew I needed an actor who could
bring all of those things to life.
1270
01:05:25,589 --> 01:05:29,593
Someone who would be
believable as this brilliant person.
1271
01:05:29,676 --> 01:05:35,140
Someone who was also terrific
in moments of crisis and action.
1272
01:05:35,223 --> 01:05:37,267
Wait a minute. That was Kasra.
1273
01:05:37,351 --> 01:05:40,604
We just missed Kasra's cameo in the movie
1274
01:05:40,687 --> 01:05:43,690
- as the Farsi translator.
- [Farahani] My debut.
1275
01:05:43,774 --> 01:05:45,567
[Shakman] Translated Sue's words.
1276
01:05:45,651 --> 01:05:50,197
And you even rocked,
maybe the best mustache since Magnum P.I.
1277
01:05:50,280 --> 01:05:52,824
[Farahani] Thank you.
Thank you, sir. It's a high point.
1278
01:05:52,908 --> 01:05:57,788
I'm sure my wife and mother will print
and frame that frame of the film.
1279
01:05:57,871 --> 01:05:59,289
[Shakman] Yes.
1280
01:05:59,373 --> 01:06:01,416
Yes. A huge part of the film.
1281
01:06:01,500 --> 01:06:03,835
- Yes. Stunning work.
- [Farahani] The sequel will be all about
1282
01:06:03,919 --> 01:06:05,796
- the Farsi language translator.
- [Shakman] Yes.
1283
01:06:05,879 --> 01:06:07,965
- [Farahani] I'm confident.
- [Shakman] Yes, exactly.
1284
01:06:08,048 --> 01:06:09,800
100%. We're building
the sequel around him.
1285
01:06:09,883 --> 01:06:12,469
[Farahani laughing]
1286
01:06:12,552 --> 01:06:14,763
[Shakman] With Pedro,
we needed someone who could do that.
1287
01:06:14,846 --> 01:06:19,518
And also, Reed Richards
is not without emotion.
1288
01:06:19,601 --> 01:06:22,729
He actually has a tremendous amount.
1289
01:06:22,813 --> 01:06:26,858
So much love for Sue,
his family, so much love for Franklin.
1290
01:06:26,942 --> 01:06:29,695
In the comics,
they have a daughter named Valeria.
1291
01:06:29,778 --> 01:06:34,157
And so I knew that this emotional
undercurrent was really important, too,
1292
01:06:34,241 --> 01:06:37,703
and that it would become
more and more important as the film
1293
01:06:37,786 --> 01:06:42,749
went on into these huge moments,
like the birth that we just witnessed.
1294
01:06:42,833 --> 01:06:44,751
And certainly the end of the film,
1295
01:06:44,835 --> 01:06:47,671
where that emotion
would be much more on the surface.
1296
01:06:47,754 --> 01:06:51,800
Pedro is a remarkable actor, in that
he's able to do all of those things.
1297
01:06:51,883 --> 01:06:55,053
All four of our lead actors,
actually everybody in the movie is...
1298
01:06:55,137 --> 01:06:57,180
I think of them as
Swiss Army knives right there.
1299
01:06:57,264 --> 01:07:02,602
Every tool available to them,
like any tone, any style.
1300
01:07:02,686 --> 01:07:04,771
It's just about getting on the same page.
1301
01:07:04,855 --> 01:07:08,233
And we had three weeks of rehearsal,
getting together and figuring out
1302
01:07:08,316 --> 01:07:11,737
this world and this family
and how we wanted to approach things,
1303
01:07:12,529 --> 01:07:15,574
and to build that chemistry
that's so important.
1304
01:07:15,657 --> 01:07:19,870
And Vanessa Kirby, the same way,
she has such range. Incredible range.
1305
01:07:19,953 --> 01:07:24,708
Ebon and Jo here are both
brilliant actors who are alive.
1306
01:07:24,791 --> 01:07:28,712
Lots of little moments
of improv that they brought to the movie
1307
01:07:28,795 --> 01:07:31,923
that are some of
my favorite moments in the movie.
1308
01:07:32,007 --> 01:07:36,928
[Farahani] Great brothers dynamic,
and warmth and humor.
1309
01:07:37,012 --> 01:07:40,390
And it's a very full...
1310
01:07:40,474 --> 01:07:44,978
The full palette of emotions is constantly
being provided between the four of them.
1311
01:07:45,062 --> 01:07:48,523
It's very dynamic
and engaging all the time.
1312
01:07:50,734 --> 01:07:54,529
[Shakman] Here's Ada
looking at Pedro in a remarkable way.
1313
01:07:54,613 --> 01:07:57,657
Like as if she's hearing
exactly what he's saying,
1314
01:07:57,741 --> 01:08:02,037
as he talks about
his vulnerability and his concern about
1315
01:08:02,120 --> 01:08:04,164
how there's something
that's wrong with him
1316
01:08:04,247 --> 01:08:08,460
because he's so brilliant,
but sometimes he doesn't feel like
1317
01:08:08,543 --> 01:08:12,005
he can access every part
of his emotional life.
1318
01:08:12,089 --> 01:08:15,217
He misses some things because
he's focused on the bigger picture.
1319
01:08:15,300 --> 01:08:16,927
This fight that he had with Sue
1320
01:08:17,010 --> 01:08:21,473
comes into this scene here
as he's being vulnerable with his son.
1321
01:08:21,556 --> 01:08:25,811
And Ada is super-alive in this.
1322
01:08:25,894 --> 01:08:28,939
I love this moment when he says,
"Are you a little space God?"
1323
01:08:29,022 --> 01:08:33,318
And she claps her hands together
like Mr. Burns on Simpsons.
1324
01:08:33,401 --> 01:08:34,694
- It's like...
- [Farahani laughs]
1325
01:08:35,821 --> 01:08:38,031
Just so much life.
1326
01:08:38,115 --> 01:08:40,867
And really connected and really present.
1327
01:08:40,951 --> 01:08:42,828
And it was one of my favorite scenes.
1328
01:08:42,911 --> 01:08:45,372
It was one of my favorite
scenes on the page
1329
01:08:45,455 --> 01:08:49,543
and definitely one of
my favorite ones when we were filming.
1330
01:08:49,626 --> 01:08:51,253
I also love this relationship.
1331
01:08:51,336 --> 01:08:54,256
There's so much family,
even between Johnny and H.E.R.B.I.E.,
1332
01:08:54,339 --> 01:08:57,259
who he calls Herbert every now and then.
1333
01:08:57,342 --> 01:08:59,136
Every time he rubs H.E.R.B.I.E.'s head,
1334
01:08:59,219 --> 01:09:01,346
H.E.R.B.I.E. makes
a little happy dog noise.
1335
01:09:01,429 --> 01:09:03,140
He just loves when
Johnny pays attention to him.
1336
01:09:07,310 --> 01:09:09,062
And here we have a Future Foundation flag
1337
01:09:09,146 --> 01:09:11,231
on the moon because they got there first.
1338
01:09:11,314 --> 01:09:14,067
No Apollo 11 in our world.
1339
01:09:14,151 --> 01:09:18,738
And then this enormous shadow
of the... of the worldship coming.
1340
01:09:18,822 --> 01:09:23,535
These are some absolutely
gorgeous shots of the bridge technology
1341
01:09:23,618 --> 01:09:25,871
being deployed around the world.
1342
01:09:25,954 --> 01:09:28,456
And we worked
with Sarah Shepherd, our dialect coach,
1343
01:09:28,540 --> 01:09:31,001
who helped create
the Zenn-Lavian language,
1344
01:09:31,084 --> 01:09:35,088
and she worked with some linguists,
and we came up with this stuff for Johnny,
1345
01:09:35,172 --> 01:09:40,552
who's cracking the Zenn-Lavian
language based off of these gold records,
1346
01:09:40,635 --> 01:09:43,680
which are, of course,
a reference to the Voyager journey,
1347
01:09:43,763 --> 01:09:45,724
where we sent out a gold record
1348
01:09:45,807 --> 01:09:49,769
that had lots of information
about Earth's culture
1349
01:09:49,853 --> 01:09:51,938
in case an alien came in contact with it.
1350
01:09:52,022 --> 01:09:53,773
We love the idea of gold records.
1351
01:09:55,066 --> 01:09:56,359
And here is full mission control.
1352
01:09:56,443 --> 01:09:59,738
So now we're in Apollo 13 territory,
1353
01:09:59,821 --> 01:10:02,282
as they're getting ready
to move the Earth.
1354
01:10:03,241 --> 01:10:05,452
Taking advantage
of all these amazing circles
1355
01:10:05,535 --> 01:10:08,663
in this truly wonderful set.
1356
01:10:08,747 --> 01:10:11,499
[Farahani] Yeah. This workstation was
1357
01:10:11,583 --> 01:10:15,420
an unbelievable build by Ty's props team,
1358
01:10:15,503 --> 01:10:18,465
and Jilly and Fergus, her assistant buyer.
1359
01:10:18,548 --> 01:10:21,551
The amount of complexity
and detail in this mission control area
1360
01:10:21,635 --> 01:10:26,264
is mind-boggling, and absolutely
stood up to being right next to it,
1361
01:10:26,348 --> 01:10:31,061
which I hope in some
small way contributed to the performances.
1362
01:10:31,144 --> 01:10:33,104
Fantastic work by the team.
1363
01:10:34,272 --> 01:10:40,153
[man] Eleven, ten, nine, eight,
1364
01:10:40,237 --> 01:10:43,114
- seven, six...
- [alarm blaring]
1365
01:10:44,115 --> 01:10:45,784
- What is that?
- What's happening?
1366
01:10:52,123 --> 01:10:55,418
[Shakman] So the Surfer shows up
and ruins their plan.
1367
01:10:55,502 --> 01:10:58,755
This is a all-is-lost moment
for them as they realize
1368
01:10:58,838 --> 01:11:00,799
they can't get away from Galactus,
1369
01:11:00,882 --> 01:11:05,011
and their amazing
Fantastic Four idea of moving the planet
1370
01:11:05,095 --> 01:11:06,096
isn't going to work.
1371
01:11:06,179 --> 01:11:09,307
And that she's going around
the world destroying bridges,
1372
01:11:09,391 --> 01:11:12,519
and is going to come for them
and come for Franklin.
1373
01:11:12,602 --> 01:11:16,815
And this is where Johnny gets
to be the hero in a great way.
1374
01:11:16,898 --> 01:11:18,984
And he's the youngest one.
1375
01:11:20,652 --> 01:11:23,321
It's easy for them to have a laugh at him.
1376
01:11:23,405 --> 01:11:26,825
Earlier, he tries to tell them
about how he spoke to her,
1377
01:11:26,908 --> 01:11:29,911
she spoke to him,
and they dismiss it a little bit.
1378
01:11:29,995 --> 01:11:32,539
But what I've always loved
about Johnny is that he is...
1379
01:11:32,622 --> 01:11:36,918
He was on that mission for a reason.
He is incredibly smart.
1380
01:11:37,002 --> 01:11:39,796
He was young
when his whole life was transformed.
1381
01:11:39,879 --> 01:11:41,423
He didn't quite know who he was.
1382
01:11:41,506 --> 01:11:45,468
So part of his journey
in this movie is to figure out who he is.
1383
01:11:45,552 --> 01:11:48,722
And he dreams of space,
he dreams of exploration.
1384
01:11:48,805 --> 01:11:50,473
And they don't do enough of that.
1385
01:11:50,557 --> 01:11:53,685
They're grounded more on Earth
at the beginning of our movie.
1386
01:11:53,768 --> 01:11:56,479
And Reed's afraid of going
back into space a little bit
1387
01:11:56,563 --> 01:11:59,441
because of what happened
to them and how they were transformed.
1388
01:11:59,524 --> 01:12:00,942
But Johnny still dreams of it.
1389
01:12:01,026 --> 01:12:06,114
He meets this character,
Shalla-Bal, and he's fascinated by her.
1390
01:12:06,197 --> 01:12:08,074
He wants to do what she can do,
1391
01:12:08,158 --> 01:12:13,872
which is fly the stars,
right, see every part of the universe.
1392
01:12:13,955 --> 01:12:17,042
And as he becomes more
and more fascinated with her language,
1393
01:12:17,125 --> 01:12:20,754
he gets to know more and more about her,
learns about her history,
1394
01:12:20,837 --> 01:12:22,714
learns about the sacrifice she made,
1395
01:12:22,797 --> 01:12:27,302
and how she saved her planet
and saved her family,
1396
01:12:27,385 --> 01:12:30,680
and ended up being the herald of Galactus.
1397
01:12:30,764 --> 01:12:32,265
And she...
1398
01:12:32,349 --> 01:12:35,018
In this scene is
a great performance from Julia Garner,
1399
01:12:35,101 --> 01:12:40,523
as she remembers her past,
remembers her own family.
1400
01:12:40,607 --> 01:12:45,987
And also has to remember
all of the other planets
1401
01:12:46,071 --> 01:12:49,616
that weren't as lucky as her planet,
the planets that she brought Galactus to,
1402
01:12:49,699 --> 01:12:53,661
where so many people died
and so many families were killed.
1403
01:12:53,745 --> 01:12:57,207
And so Johnny comes up
with this amazing plan on the fly
1404
01:12:57,290 --> 01:13:03,630
and manages to touch a chord
of humanity in the Surfer.
1405
01:13:06,800 --> 01:13:10,637
This amazing beach was filmed
1406
01:13:10,720 --> 01:13:15,058
- in Los Angeles, not far from LAX.
- [Farahani laughs]
1407
01:13:15,141 --> 01:13:18,561
[Shakman] There's some cargo ships that
were painted out and a few other things.
1408
01:13:18,645 --> 01:13:23,483
But we had to film this in LA
because of Julia Garner's schedule.
1409
01:13:23,566 --> 01:13:26,861
But it was great.
It was a wonderfully overcast day,
1410
01:13:26,945 --> 01:13:32,033
which made all these colors
and everything much richer.
1411
01:13:32,784 --> 01:13:34,327
Here we get to see this moment,
1412
01:13:34,411 --> 01:13:41,292
where she sacrifices
everything to become the Silver Surfer.
1413
01:13:41,376 --> 01:13:43,086
I absolutely adore this shot.
1414
01:13:43,169 --> 01:13:48,800
These eyes open here, these amazing eyes
that Ryan Meinerding designed.
1415
01:13:50,301 --> 01:13:54,472
And then it's Julia's performance there,
it really feels quite alive.
1416
01:13:54,556 --> 01:13:58,017
And then this whole sequence
we filmed with Julia,
1417
01:13:58,101 --> 01:14:01,729
where she is overwhelmed
by hearing the screams
1418
01:14:01,813 --> 01:14:06,192
and the sounds
of civilizations and planets dying.
1419
01:14:06,776 --> 01:14:10,321
And all these tears you see are real.
1420
01:14:10,405 --> 01:14:13,158
It's her performance driving all of this.
1421
01:14:15,118 --> 01:14:18,288
[Johnny] You brought Galactus
to all of these planets.
1422
01:14:18,830 --> 01:14:24,711
And now, you're bringing him
here to my home, to my family!
1423
01:14:24,794 --> 01:14:26,963
[screaming]
1424
01:14:27,755 --> 01:14:30,175
[Shakman] We had to create a bunch
of other languages here,
1425
01:14:30,258 --> 01:14:31,509
notjust Zenn-Lavian.
1426
01:14:31,593 --> 01:14:34,929
So Sarah had to create a bunch
of different planets screaming for help.
1427
01:14:35,013 --> 01:14:38,016
And it had to be clear
that they were screaming for help
1428
01:14:38,099 --> 01:14:40,643
because we wouldn't
translate it or subtitle it.
1429
01:14:42,479 --> 01:14:44,564
[Human Torch] I'm just trying
to save my world.
1430
01:14:46,024 --> 01:14:50,862
[Shakman] Johnny's "flame on" effect,
the Human Torch effect, was deceptive.
1431
01:14:50,945 --> 01:14:54,824
I thought, "We all know what someone
on fire looks like. That'll be easy."
1432
01:14:54,908 --> 01:14:58,369
But how do you create
something that's glowing from the inside?
1433
01:14:58,453 --> 01:15:00,413
We did a lot of tests.
1434
01:15:00,497 --> 01:15:03,124
We filmed a lot
of different things on fire.
1435
01:15:03,208 --> 01:15:06,169
- Not actually Jo Quinn, ever.
- [Farahani] Yeah.
1436
01:15:06,252 --> 01:15:09,464
[Shakman] But we did light up
forms that we had.
1437
01:15:09,547 --> 01:15:11,633
We heated up things to see what...
1438
01:15:11,716 --> 01:15:16,554
When you made different materials glow,
what would it look like?
1439
01:15:16,638 --> 01:15:19,224
We used that as reference
in creating this look for him.
1440
01:15:19,307 --> 01:15:23,019
And then we also had an LED vest
that Jess and his team made to...
1441
01:15:23,102 --> 01:15:27,190
That Jo could wear so that
there would be proper interactive light.
1442
01:15:27,273 --> 01:15:31,653
And then because the Surfer is a mirror
essentially, which is very tricky,
1443
01:15:32,487 --> 01:15:35,740
we had a reflective version
of her head that we brought in and used,
1444
01:15:35,823 --> 01:15:37,951
like the rock for Ben that we would have,
1445
01:15:38,034 --> 01:15:41,829
and see what the lighting looked like
with her in every single environment.
1446
01:15:41,913 --> 01:15:44,415
I really wanted her
to look like an old mirror.
1447
01:15:44,499 --> 01:15:48,920
I love that idea of coppering
and the sense of seeing the tarnish of...
1448
01:15:49,003 --> 01:15:51,422
- She's been flying the stars.
- [Farahani] Texture and history.
1449
01:15:51,506 --> 01:15:52,549
[Shakman] Yeah.
1450
01:15:52,632 --> 01:15:54,300
[Farahani] Just
a perfect characterless mirror.
1451
01:15:54,384 --> 01:15:57,345
[Shakman] Yeah. Nine million years
of flying the stars.
1452
01:15:57,428 --> 01:16:00,557
And so it was that blend
of how reflective could she be.
1453
01:16:00,640 --> 01:16:02,100
And we cheated a little bit.
1454
01:16:02,183 --> 01:16:04,477
Sometimes she's more
reflective, sometimes less.
1455
01:16:04,561 --> 01:16:07,897
We had to shape the lighting
very carefully because she is a mirror,
1456
01:16:07,981 --> 01:16:11,901
and sometimes reflecting everything means
you don't feel enough of the emotion,
1457
01:16:11,985 --> 01:16:13,987
you don't feel enough of the performance.
1458
01:16:14,696 --> 01:16:16,823
So we had to alter that
a little bit from time to time.
1459
01:16:18,116 --> 01:16:19,867
[Sue] Hold, Paris. Paris, hold.
1460
01:16:19,951 --> 01:16:21,828
[man] Line's not very good.
Say that again.
1461
01:16:32,505 --> 01:16:37,051
[Shakman] So all of this, you know...
You know, "Nothing's going to change,"
1462
01:16:37,135 --> 01:16:39,470
they say to each other
at the beginning of the movie.
1463
01:16:39,554 --> 01:16:43,391
And then, obviously,
while the baby is being born,
1464
01:16:43,474 --> 01:16:46,436
Sue says, "Everything is
going to change, " he says, "No."
1465
01:16:47,103 --> 01:16:50,398
Then they fight about,
"How can you think of the worst thing
1466
01:16:50,481 --> 01:16:52,400
"when it relates to our child?"
1467
01:16:52,483 --> 01:16:56,404
And here we are in this moment of crisis
where they've managed to turn the Surfer,
1468
01:16:56,487 --> 01:16:58,489
taken the Surfer off the table.
1469
01:16:58,573 --> 01:17:01,701
But Galactus is still coming.
The Earth is still threatened.
1470
01:17:01,784 --> 01:17:03,453
Things are really dire.
1471
01:17:03,536 --> 01:17:08,666
And Reed realizes that there's
only one way to save the day,
1472
01:17:08,750 --> 01:17:11,919
and it does involve
putting their child at risk.
1473
01:17:12,003 --> 01:17:15,256
And, you know, so this is
the sort of continued story
1474
01:17:15,340 --> 01:17:17,425
of this kind of marriage fight, you know,
1475
01:17:17,508 --> 01:17:21,304
these two people
with very strong opposing thoughts,
1476
01:17:21,387 --> 01:17:23,806
kind of having to come together
and make a decision.
1477
01:17:24,474 --> 01:17:28,603
And Sue ultimately knows, in this moment,
1478
01:17:28,686 --> 01:17:32,357
that Reed's right, that this is
the only way to defeat Galactus,
1479
01:17:32,440 --> 01:17:34,651
and that they're going
to have to take this risk.
1480
01:17:34,734 --> 01:17:37,445
But it doesn't mean
that she comes to it easily.
1481
01:17:37,528 --> 01:17:40,782
I think there's a tremendous
performance here by all four of them,
1482
01:17:40,865 --> 01:17:43,201
but Pedro and Vanessa
are remarkable in this,
1483
01:17:43,284 --> 01:17:48,289
and the emotion that you see,
the war that is happening within Sue
1484
01:17:48,373 --> 01:17:52,251
as she realizes what Reed has figured out.
1485
01:17:53,127 --> 01:17:55,171
You can see that sort of anguish,
1486
01:17:55,254 --> 01:17:57,465
that personal anguish there,
which is remarkable.
1487
01:17:57,548 --> 01:17:59,133
She's putting it together here.
1488
01:17:59,217 --> 01:18:01,344
It's a wonderful performance,
both of them.
1489
01:18:01,427 --> 01:18:03,012
Reed knows there's only one solution,
1490
01:18:03,096 --> 01:18:05,556
but he can't, kind of,
bring himself to tell her
1491
01:18:05,640 --> 01:18:07,684
- that this is the only way.
- [Farahani] Yeah.
1492
01:18:07,767 --> 01:18:09,185
[Shakman] They must use Franklin.
1493
01:18:09,268 --> 01:18:11,896
So, this is sort of a dramatic,
I think, high point, for the film
1494
01:18:11,979 --> 01:18:13,648
in terms of performance.
1495
01:18:13,731 --> 01:18:15,316
[Farahani] And Ben's got his beard here.
1496
01:18:15,400 --> 01:18:17,944
[Shakman] Oh, yeah, we haven't
talked about Ben's beard.
1497
01:18:18,027 --> 01:18:19,570
Which was a great thing.
1498
01:18:19,654 --> 01:18:22,865
It's in the comics.
He gets spiky. There's spikier versions
1499
01:18:22,949 --> 01:18:25,118
of Ben in the comics,
and I always liked that.
1500
01:18:25,201 --> 01:18:27,745
And so, we came up with this idea that
1501
01:18:27,829 --> 01:18:29,664
he gets spiky every day
and he just has to shave.
1502
01:18:29,747 --> 01:18:31,290
[Farahani chuckling] Yeah.
1503
01:18:31,374 --> 01:18:34,043
[Shakman] And, you know,
he uses this grinder
1504
01:18:34,127 --> 01:18:36,713
that Reed probably made for him
and he shaves it down.
1505
01:18:36,796 --> 01:18:41,718
And then during the worldwide
conservation of power moment,
1506
01:18:41,801 --> 01:18:44,595
his grinder doesn't work,
and he ends up getting spiky
1507
01:18:44,679 --> 01:18:46,806
in a way that he doesn't like,
and he's ashamed.
1508
01:18:46,889 --> 01:18:49,267
- Johnny goes, "A beard will look good."
- [Farahani] That's cool.
1509
01:18:49,350 --> 01:18:51,102
[Shakman] So we end up with a bearded Ben.
1510
01:18:51,185 --> 01:18:54,731
And bearded Ben does have some precedent
in the comics, which I love.
1511
01:18:54,814 --> 01:18:57,525
But this is, again,
a Ryan Meinerding design,
1512
01:18:57,608 --> 01:18:58,609
which I think is really fun.
1513
01:18:58,693 --> 01:19:00,153
[Farahani] Yeah, very cool.
1514
01:19:00,236 --> 01:19:02,780
[Shakman] Gives us a Ben
we haven't seen in film before.
1515
01:19:04,073 --> 01:19:05,241
And also, I think it's nice.
1516
01:19:05,324 --> 01:19:08,411
Here's a guy
who secretly wants to be human again,
1517
01:19:08,494 --> 01:19:11,414
and these are these little ways
that he can, you know.
1518
01:19:11,914 --> 01:19:14,751
Which is why I also don't have
a shirtless Ben in the movie very often.
1519
01:19:14,834 --> 01:19:18,463
He takes it off when he jumps in the water
at the beginning to pull the ship out
1520
01:19:18,546 --> 01:19:22,008
with that kind of classic
shirtless Ben wearing short shorts.
1521
01:19:22,091 --> 01:19:24,260
You know, from the Kirby run.
1522
01:19:24,343 --> 01:19:27,013
That's one of those
early comic book things I chose not to do,
1523
01:19:27,096 --> 01:19:30,558
because to me it felt like
this is a guy who wants to be human...
1524
01:19:30,641 --> 01:19:33,019
- [Farahani] Wants to be a person.
- [Shakman] Who is a person,
1525
01:19:33,102 --> 01:19:35,563
- and would dress in a human way.
- [Farahani] Yeah.
1526
01:19:35,646 --> 01:19:38,232
Unless they're going out
in a space suit or a tech suit
1527
01:19:38,316 --> 01:19:39,942
or something like that.
1528
01:19:40,026 --> 01:19:43,279
And so, we had one nod
to the comic early on, because, you know,
1529
01:19:43,362 --> 01:19:45,156
he's jumping in the river, makes sense.
1530
01:19:45,239 --> 01:19:47,950
[Ben] Johnny, go check, see if...
1531
01:19:48,534 --> 01:19:51,204
[Shakman] This is one of my favorite
scenes. These guys are very funny.
1532
01:19:51,287 --> 01:19:52,580
A lot of this is improv.
1533
01:19:54,248 --> 01:19:57,627
And then I love
the Andy Warhol portrait of Johnny Storm
1534
01:19:57,710 --> 01:19:59,253
in the background there.
1535
01:20:00,004 --> 01:20:02,632
Johnny is one of the most
famous people in the world,
1536
01:20:02,715 --> 01:20:05,218
of course, Warhol
would've done a silkscreen.
1537
01:20:05,301 --> 01:20:06,469
Come on.
1538
01:20:06,552 --> 01:20:10,431
But just again, the fun family dynamic
and the idea of Sue just appearing,
1539
01:20:10,515 --> 01:20:13,059
and I love this last moment here of Ben.
1540
01:20:13,142 --> 01:20:16,229
You know, "I hate when she appears.
I don't like that."
1541
01:20:16,813 --> 01:20:18,731
He's so sensitive. He's so sweet.
1542
01:20:18,815 --> 01:20:23,444
You know, this big, tough guy,
and he doesn't like to be scared.
1543
01:20:23,528 --> 01:20:24,612
[Farahani] Exactly.
1544
01:20:25,279 --> 01:20:28,074
[Shakman] This is an amazing prop
that you and...
1545
01:20:28,157 --> 01:20:29,158
[Farahani] Ty's team.
1546
01:20:29,242 --> 01:20:32,286
- [Shakman] Yeah.
- [Farahani]...threw together this amazing
1547
01:20:32,370 --> 01:20:34,330
baby carrier that just
1548
01:20:34,413 --> 01:20:38,167
fits exactly the aesthetic
of the Fantasti-Car and clicks in
1549
01:20:39,460 --> 01:20:41,337
just as you would expect.
1550
01:20:41,420 --> 01:20:43,422
All the mothers and fathers out there...
1551
01:20:43,506 --> 01:20:45,216
- will know.
- [Shakman] Yes, car seats.
1552
01:20:45,299 --> 01:20:46,926
We know how difficult they are.
1553
01:20:48,094 --> 01:20:49,971
Ben is wearing
a Brooklyn Dodgers hat here.
1554
01:20:50,054 --> 01:20:51,639
This was much discussed.
1555
01:20:51,722 --> 01:20:55,476
In one comic run,
I think they have Ben as a Yankee fan,
1556
01:20:55,560 --> 01:20:56,936
which always felt wrong to me
1557
01:20:57,019 --> 01:20:59,397
because, you know, those are the fat cats
1558
01:20:59,480 --> 01:21:02,441
from the... from the
Upper East Side, right?
1559
01:21:02,525 --> 01:21:06,696
And he feels, you know,
with a Yancy Street, like,
1560
01:21:06,779 --> 01:21:09,198
- he'd root for the bums from Brooklyn.
- [Farahani] Right. Exactly.
1561
01:21:09,282 --> 01:21:11,576
[Shakman] And I also love
the idea that in our world,
1562
01:21:12,118 --> 01:21:13,452
they haven't moved to Los Angeles.
1563
01:21:13,536 --> 01:21:15,997
- They're still there, still in Brooklyn.
- [Farahani] Yeah.
1564
01:21:16,080 --> 01:21:18,416
[Shakman] In this retro-future,
alt universe,
1565
01:21:18,499 --> 01:21:20,251
things stayed the way
they should have been.
1566
01:21:20,334 --> 01:21:21,419
[Farahani] Right.
1567
01:21:21,502 --> 01:21:23,129
[Shakman] And also
it's blue in a great way.
1568
01:21:23,212 --> 01:21:25,506
- [Farahani] Yeah. No, it's fantastic.
- [Shakman] So I talked to
1569
01:21:25,590 --> 01:21:28,384
Jack Kirby's son, Neal Kirby,
just to kind of make sure I could
1570
01:21:28,467 --> 01:21:31,137
dial this in appropriately
in case they grew up Yankee fans,
1571
01:21:31,220 --> 01:21:34,015
and he said "No, I was
a Brooklyn Dodger fan as a kid."
1572
01:21:34,098 --> 01:21:35,850
His dad wasn't a big baseball fan.
1573
01:21:35,933 --> 01:21:39,061
Jack wasn't a big baseball fan,
but he was a big boxing fan.
1574
01:21:39,145 --> 01:21:41,772
But he's like, "No, he would absolutely be
a Brooklyn Dodger fan."
1575
01:21:41,856 --> 01:21:42,857
[Farahani] That's awesome.
1576
01:21:42,940 --> 01:21:44,567
[Shakman] So that's how
we settled on that.
1577
01:21:44,650 --> 01:21:46,777
Everything, you know,
we went back to the source.
1578
01:21:46,861 --> 01:21:48,195
Why don't you butter me up?
1579
01:21:49,989 --> 01:21:52,533
[Shakman] Here's
Paul Walter Hauser, who I worked with
1580
01:21:52,617 --> 01:21:54,785
on one of his first
professional jobs, I think,
1581
01:21:54,869 --> 01:21:58,247
on It's Always Sunny in Philadelphia,
and he was amazing.
1582
01:21:58,331 --> 01:22:00,458
He was very young
and he could hold his own
1583
01:22:00,541 --> 01:22:03,336
with those guys and improv
and was so funny.
1584
01:22:03,419 --> 01:22:06,797
And I've just been so thrilled
to see his career grow,
1585
01:22:06,881 --> 01:22:11,218
you know, winning Emmys and all sorts
of other awards for his work.
1586
01:22:11,302 --> 01:22:14,597
And so, when we were thinking
about who could be Mole Man, Harvey Elder,
1587
01:22:14,680 --> 01:22:19,810
you know, Paul seemed perfect,
and he brings so much humor to it,
1588
01:22:19,894 --> 01:22:21,938
but also, a lot of gravitas here.
1589
01:22:23,481 --> 01:22:25,149
And I love his relationship with Sue.
1590
01:22:25,733 --> 01:22:29,111
You know, these are two leaders
who kind of understand each other.
1591
01:22:29,195 --> 01:22:31,697
And he was once an enemy, and now an ally,
1592
01:22:31,781 --> 01:22:36,452
and he's going to help them
evacuate the entire New York City
1593
01:22:36,535 --> 01:22:38,788
to Subterranea, which, you know,
1594
01:22:38,871 --> 01:22:41,832
we should talk about as well
because part of our approach
1595
01:22:41,916 --> 01:22:44,710
to practical filmmaking,
what you're looking at, is real.
1596
01:22:44,794 --> 01:22:50,633
This is a real mine
in the middle of England, and we drove...
1597
01:22:50,716 --> 01:22:53,803
First, we had built this set
very, very deep,
1598
01:22:53,886 --> 01:22:57,098
and we found this thing
called Cathedral Row.
1599
01:22:57,181 --> 01:22:58,975
[Shakman] That's what
the mine folks called it.
1600
01:22:59,058 --> 01:23:00,184
- It was epic.
- [Farahani] Yeah.
1601
01:23:00,267 --> 01:23:01,602
[Shakman] But there was ten minutes
1602
01:23:01,686 --> 01:23:04,981
of driving underground,
basically, to reach it.
1603
01:23:05,690 --> 01:23:08,943
[man]...prepare for what could be
our final moments.
1604
01:23:09,944 --> 01:23:14,073
The hours ahead may feel long,
but we must use them...
1605
01:23:14,156 --> 01:23:15,908
[Shakman] It was great.
I mean, you guys built
1606
01:23:15,992 --> 01:23:17,910
such an incredible world down there.
1607
01:23:17,994 --> 01:23:22,581
[Farahani] Thanks. Yeah, it was really
an amazing collaboration
1608
01:23:22,665 --> 01:23:25,626
between Jille's fantastic set dec team
1609
01:23:25,710 --> 01:23:30,339
and our construction department,
led by Art Director Oliver Goodier,
1610
01:23:30,423 --> 01:23:34,427
basically, to build the Mole Man HQ,
1611
01:23:34,510 --> 01:23:37,388
which was a kind of
an adaptation of a disused bus,
1612
01:23:37,471 --> 01:23:40,599
and to create this sort of hub of activity
1613
01:23:40,683 --> 01:23:44,562
where you can imagine Harvey held court.
1614
01:23:45,855 --> 01:23:48,441
In the layers of dressing and stuff,
1615
01:23:48,524 --> 01:23:54,071
the kind of old stuff
from the first half of the 20th century,
1616
01:23:54,155 --> 01:23:57,116
we imagine brought down,
things that had been cast off
1617
01:23:57,199 --> 01:23:59,744
by society on the surface
had been kind of
1618
01:24:01,495 --> 01:24:05,207
salvaged and reused
down in Subterranea, which had a kind of,
1619
01:24:05,291 --> 01:24:10,087
maybe, a more humble feeling initially.
1620
01:24:10,171 --> 01:24:13,799
And I think that's sort of
the arc of Subterranea.
1621
01:24:13,883 --> 01:24:19,055
And Harvey's collaboration
with Sue is to get better treatment
1622
01:24:19,138 --> 01:24:21,557
and acknowledgment
for the people of Subterranea.
1623
01:24:21,640 --> 01:24:25,853
So we wanted to kind of represent
the "before" state of that in the decor.
1624
01:24:25,936 --> 01:24:27,563
[Shakman] I really want one of those
giant drills I could drive around in.
1625
01:24:28,814 --> 01:24:31,692
[Farahani] Yeah,
the giant retro-future drills. Super-fun.
1626
01:24:31,776 --> 01:24:33,694
[Shakman] They're really, really cool.
1627
01:24:33,778 --> 01:24:36,989
[Farahani] This amazing texture here
on Galactus' neck,
1628
01:24:37,073 --> 01:24:40,076
you get a great sense
of the scale in these shots.
1629
01:24:40,159 --> 01:24:43,245
[Shakman] And this was all...
You know, Jess lit this beautifully.
1630
01:24:43,329 --> 01:24:44,872
You know, Ralph's performance,
1631
01:24:44,955 --> 01:24:47,792
and obviously there's
a ton of beautiful CG work on top of it,
1632
01:24:47,875 --> 01:24:52,505
but a lot of this is really close
to what we filmed in camera.
1633
01:24:53,547 --> 01:24:57,176
I love that it's starting to snow here.
It snowed beautifully the night before.
1634
01:24:57,259 --> 01:24:59,678
I love those shots of Ben
walking on Yancy Street
1635
01:24:59,762 --> 01:25:03,599
with the little bits of snow on his coat,
that Framestore did so beautifully.
1636
01:25:03,682 --> 01:25:06,894
And just the sense that we start
this movie really in the spring,
1637
01:25:06,977 --> 01:25:09,980
you know, everything is bright
and lovely and optimistic.
1638
01:25:10,064 --> 01:25:12,066
- [Farahani] Yeah.
- [Shakman] And by the end here,
1639
01:25:12,149 --> 01:25:15,569
as the world is threatened,
we've entered into, you know,
1640
01:25:15,653 --> 01:25:18,405
it was Halloween
when they launched to go up to Galactus,
1641
01:25:18,489 --> 01:25:22,118
and now we're heading
towards Christmas when he's arrived.
1642
01:25:24,161 --> 01:25:26,622
[Farahani] A great shot
of the Fantasti-Car there.
1643
01:25:26,705 --> 01:25:29,375
- And this amazing shot.
- [Shakman] This amazing shot,
1644
01:25:29,959 --> 01:25:33,003
which I knew when we were conceiving it,
that would be... Would be epic.
1645
01:25:33,087 --> 01:25:35,464
And this, a lot of this stuff here,
1646
01:25:35,548 --> 01:25:39,301
I want to just tip my hat
to Richard Bennett,
1647
01:25:39,385 --> 01:25:42,847
who's an incredible storyboard artist,
who, you know, one of the best
1648
01:25:42,930 --> 01:25:45,683
and has done a lot of Kaiju stuff
1649
01:25:45,766 --> 01:25:47,810
like King Kong and Godzilla as well.
1650
01:25:47,893 --> 01:25:50,855
I've worked with him on many things
over the years. He's brilliant.
1651
01:25:50,938 --> 01:25:53,858
And these shots,
like Galactus standing up,
1652
01:25:53,941 --> 01:25:57,570
water dripping off of him, turning around,
looking at the Statue of Liberty,
1653
01:25:57,653 --> 01:25:59,363
all this stuff is just amazing.
1654
01:25:59,446 --> 01:26:01,699
- It comes right out of his boards.
- [Farahani] So cool.
1655
01:26:01,782 --> 01:26:03,951
[Shakman] And he still
hand-draws them all, too.
1656
01:26:04,034 --> 01:26:05,536
- [Farahani] Yeah.
- [Shakman] So incredible.
1657
01:26:05,619 --> 01:26:08,289
You know, the artistry is just amazing.
1658
01:26:09,039 --> 01:26:12,585
The speed he can draw at,
I've never seen anything like that.
1659
01:26:12,668 --> 01:26:16,088
Speed and quality, like,
at the same time, it's really amazing.
1660
01:26:16,172 --> 01:26:18,215
And so he really led the charge
1661
01:26:18,299 --> 01:26:21,385
on Galactus here
in this third act set piece.
1662
01:26:28,976 --> 01:26:31,937
And the scale here.
But again, Ralph was really in the suit,
1663
01:26:32,021 --> 01:26:35,983
shooting all of this stuff,
and then ILM is doing the work
1664
01:26:36,066 --> 01:26:38,319
throughout the sequence on top of that.
1665
01:26:39,820 --> 01:26:42,406
And I love these shots
that come up here like this,
1666
01:26:42,489 --> 01:26:46,285
you know, teasing,
the size, the giant boots coming through.
1667
01:26:46,368 --> 01:26:48,495
[Farahani] People have asked me
how that shot was done
1668
01:26:48,579 --> 01:26:50,206
- because it's in the trailer.
- [Shakman] Yeah.
1669
01:26:50,289 --> 01:26:52,875
[Farahani] Because it's so real.
All of it is so real.
1670
01:26:52,958 --> 01:26:55,002
- [Shakman] And yet it's all virtual.
- [Farahani] Yeah.
1671
01:26:55,085 --> 01:26:57,463
[Shakman] Well, we shot
some tarmac, we shot some cars,
1672
01:26:57,546 --> 01:27:00,507
things like that for, you know...
1673
01:27:00,591 --> 01:27:02,927
- So much of it is ILM...
- [Farahani] They did a greatjob.
1674
01:27:03,010 --> 01:27:05,054
[Shakman]...but it's based
on Richard Bennett's boards,
1675
01:27:05,137 --> 01:27:07,723
and on the pre-visualization
The Third Floor did.
1676
01:27:08,724 --> 01:27:13,395
But here you are, you know, the collision
of the oldest, most enormous thing
1677
01:27:13,479 --> 01:27:17,066
and the small,
most innocent thing coming together.
1678
01:27:23,239 --> 01:27:24,823
[groans]
1679
01:27:24,907 --> 01:27:28,619
[Shakman] It's like this idea,
you know, of creating a magnifying glass,
1680
01:27:28,702 --> 01:27:33,415
and what would happen to Johnny's flame
if it went through one of Sue's fields?
1681
01:27:33,499 --> 01:27:37,294
You know, kind of like
little kids torturing ants, you know?
1682
01:27:37,378 --> 01:27:40,005
But it means that, you know,
Johnny is even more powerful
1683
01:27:40,089 --> 01:27:43,259
and all they need to do
is to distract him for a moment
1684
01:27:43,342 --> 01:27:45,135
in order to be able to do this swap
1685
01:27:45,219 --> 01:27:47,638
and to get Franklin
to safety, which works.
1686
01:27:47,721 --> 01:27:51,725
And it manages to poke the bull,
which is what they're trying to do.
1687
01:27:51,809 --> 01:27:53,769
They want him to walk into this bridge.
1688
01:27:53,852 --> 01:27:56,188
They want him to not think about this,
1689
01:27:56,272 --> 01:27:59,316
and he's almost doing
exactly what they want them to do.
1690
01:27:59,400 --> 01:28:02,403
But he's Galactus,
and he won't be fooled so easily.
1691
01:28:04,697 --> 01:28:07,199
This is also one
of my favorite moments here,
1692
01:28:07,283 --> 01:28:13,247
when this big boot
hovers over this line and the jig is up.
1693
01:28:17,710 --> 01:28:18,711
[Farahani] The tension.
1694
01:28:19,920 --> 01:28:23,173
[Shakman] And then he says,
he calls them clever little bugs,
1695
01:28:23,257 --> 01:28:26,260
- which is sort of a classic Galactus line.
- [Farahani] Right.
1696
01:28:26,343 --> 01:28:28,554
[Shakman] You know, ants,
bugs, tiny things.
1697
01:28:28,637 --> 01:28:31,056
Everyone is inconsequential to him,
1698
01:28:31,140 --> 01:28:35,185
but he's kind of moderately
impressed at this point.
1699
01:28:35,269 --> 01:28:37,104
And then off he goes.
1700
01:28:37,813 --> 01:28:40,607
We destroyed so many buildings
in New York City,
1701
01:28:40,691 --> 01:28:42,943
but because they're the Fantastic Four,
1702
01:28:43,027 --> 01:28:45,154
- everybody's safely down below.
- [Farahani] Exactly.
1703
01:28:45,738 --> 01:28:47,239
They're in Subterranea.
1704
01:28:47,323 --> 01:28:50,659
[Shakman] And with ReedTech, they'll
rebuild all of this stuff. No problem.
1705
01:28:50,743 --> 01:28:54,079
So here is this fast-moving Fantasti-Car,
1706
01:28:54,163 --> 01:28:56,123
which, some of this stuff is ILM,
1707
01:28:56,206 --> 01:28:58,334
some of that stuff
is actual plate photography
1708
01:28:58,417 --> 01:29:02,546
of a fast-moving Fantasti-Car, which
Stephen Woolfenden in the second unit
1709
01:29:02,629 --> 01:29:05,424
went out to this
old air force base in England
1710
01:29:05,507 --> 01:29:07,259
and took the stunt version
of the Fantasti-Car,
1711
01:29:07,343 --> 01:29:10,262
which had an electric engine in it,
a Tesla engine in it.
1712
01:29:10,346 --> 01:29:16,643
And it cooked as they had
a stunt driver swinging around curves...
1713
01:29:16,727 --> 01:29:19,563
We got amazing stuff
based off of that photography.
1714
01:29:19,646 --> 01:29:20,689
[Farahani] This is so cool.
1715
01:29:20,773 --> 01:29:22,191
Galactus on fire is so cool.
1716
01:29:22,274 --> 01:29:24,943
[Shakman] Galactus on fire.
He can't be stopped.
1717
01:29:25,652 --> 01:29:28,030
- Ben being thrown out in space.
- [Farahani] So ominous.
1718
01:29:28,113 --> 01:29:29,156
It's amazing.
1719
01:29:29,239 --> 01:29:30,866
Ben!
1720
01:29:31,533 --> 01:29:33,660
Ben being tossed out of the atmosphere.
1721
01:29:33,744 --> 01:29:37,664
Eric Pearson, one of our screenwriters,
had this fun idea.
1722
01:29:37,748 --> 01:29:41,919
Just Galactus doesn't care, he's just
going to throw him out of the atmosphere.
1723
01:29:42,002 --> 01:29:43,045
[Farahani] Right.
1724
01:29:43,128 --> 01:29:47,049
[Shakman] Love this moment,
which, of course, then helps to set up
1725
01:29:47,132 --> 01:29:49,760
- one of the runners in the movie...
- [Farahani] Yeah.
1726
01:29:49,843 --> 01:29:51,887
[Shakman]...which is "clobberin' time."
1727
01:29:51,970 --> 01:29:54,306
You know, we made a whole cartoon,
1728
01:29:54,390 --> 01:29:57,309
which, if you stay through
to the end of the credits,
1729
01:29:57,393 --> 01:30:00,312
you get to see the wonderful
animated opening
1730
01:30:00,396 --> 01:30:03,357
to a kind of in-universe
Fantastic Four cartoon
1731
01:30:03,440 --> 01:30:06,235
made by an animation
company called Titmouse. They're amazing.
1732
01:30:06,318 --> 01:30:09,279
They also worked on WandaVision for me,
doing a Bewitched opening,
1733
01:30:09,363 --> 01:30:13,450
Bewitched-style opening
to one of WandaVision's episodes.
1734
01:30:13,534 --> 01:30:15,285
And so they made this great opening,
1735
01:30:15,369 --> 01:30:19,915
and part of that has Ben saying
"clobberin' time," which makes it famous.
1736
01:30:21,375 --> 01:30:24,378
And so, we love this idea of playing
with their catchphrases.
1737
01:30:24,461 --> 01:30:27,005
You know, catchphrases
in comics are always great.
1738
01:30:27,089 --> 01:30:29,508
It took Marvel Studios a decade
1739
01:30:29,591 --> 01:30:32,928
before Captain America
said "Avengers assemble..."
1740
01:30:33,011 --> 01:30:34,930
- [Farahani] Right.
- [Shakman]...and we liked the idea
1741
01:30:35,013 --> 01:30:36,765
of playing around with it, too.
1742
01:30:36,849 --> 01:30:39,685
So, you know, the toy
in the kitchen says "Flame on,"
1743
01:30:39,768 --> 01:30:41,937
until Ben smashes it, saying, "Flame off."
1744
01:30:42,020 --> 01:30:45,858
And here, we're building
to "clobberin' time,"
1745
01:30:45,941 --> 01:30:47,151
which is coming up in a second
1746
01:30:47,234 --> 01:30:50,529
where Ben actually says it finally, again.
1747
01:30:51,822 --> 01:30:54,450
[Farahani] This is so cool.
This is really clever.
1748
01:30:54,533 --> 01:30:56,535
[Shakman] So all of
this stuff, this is Reed
1749
01:30:56,618 --> 01:30:58,787
really at wit's end
trying to stop Galactus.
1750
01:30:58,871 --> 01:31:02,458
But he's still brilliant, and he knows
how Galactus is fed with those tubes,
1751
01:31:02,541 --> 01:31:06,044
and so he's trying
to literally drain him of lifeblood,
1752
01:31:06,128 --> 01:31:07,212
and it's almost working.
1753
01:31:07,296 --> 01:31:09,840
This is an image
literally trying to copy a Goya painting,
1754
01:31:09,923 --> 01:31:12,885
Saturn devouring his children,
which I love.
1755
01:31:13,677 --> 01:31:16,930
And here he is, stretching
the stretchiest man in the world
1756
01:31:17,014 --> 01:31:19,475
and just enjoying it,
almost like a kid, you know,
1757
01:31:19,558 --> 01:31:22,728
pulling the legs off
of an insect or something.
1758
01:31:22,811 --> 01:31:26,940
And we really wanted this to be impactful.
We wanted him not to have stretched
1759
01:31:27,024 --> 01:31:28,775
nearly as far as this before,
1760
01:31:28,859 --> 01:31:32,196
so we would understand
that now he's being stretched too far.
1761
01:31:36,658 --> 01:31:38,202
And stretching is a big thing.
1762
01:31:38,285 --> 01:31:41,246
We should take a moment
to probably talk about stretching,
1763
01:31:41,330 --> 01:31:44,374
because it's the hardest one
just to translate into film.
1764
01:31:44,458 --> 01:31:47,377
People on fire, people being invisible,
rock guy,
1765
01:31:47,461 --> 01:31:49,588
- we can kind of understand those things.
- [Farahani] Yeah.
1766
01:31:49,671 --> 01:31:52,966
[Shakman] But nobody can stretch
in the real world the way Reed does.
1767
01:31:53,050 --> 01:31:57,095
An octopus can kind of jam itself through
tiny holes and do amazing things,
1768
01:31:57,179 --> 01:32:01,558
but we try to figure out how do we do this
and make it work in live-action.
1769
01:32:01,642 --> 01:32:03,810
- It works great in animation--
- [Farahani] With a skeleton.
1770
01:32:03,894 --> 01:32:07,105
- In an organism that has a skeleton.
- [Shakman] Exactly.
1771
01:32:07,189 --> 01:32:09,483
And so, we wanted to maintain anatomy.
1772
01:32:09,566 --> 01:32:12,194
There's always a wrist,
always an elbow, a shoulder.
1773
01:32:12,277 --> 01:32:13,779
You can see the muscles in there.
1774
01:32:13,862 --> 01:32:15,614
We looked a lot at Alex Ross,
1775
01:32:15,697 --> 01:32:20,285
who's an amazing
comic book painter, artist, writer.
1776
01:32:20,369 --> 01:32:23,121
And he always keeps
these heroic portions for Reed.
1777
01:32:23,205 --> 01:32:25,832
Even when he's stretching,
there's a dynamic to it.
1778
01:32:25,916 --> 01:32:28,460
And the way he moves.
He moves quickly, like Spider-Man,
1779
01:32:28,544 --> 01:32:30,629
you know, in our version of him.
1780
01:32:30,712 --> 01:32:35,050
So, we're not living very long
in these sort of uncanny poses.
1781
01:32:35,133 --> 01:32:37,553
You know, the stretching
is happening fast.
1782
01:32:37,636 --> 01:32:39,680
- There's an elastic quality to it.
- [Farahani] Yeah.
1783
01:32:39,763 --> 01:32:41,765
[Shakman] We also thought
about conservation of mass.
1784
01:32:41,848 --> 01:32:43,725
If you're stretching your arm really far,
1785
01:32:43,809 --> 01:32:46,353
you need to take it
from your leg or waist or something.
1786
01:32:46,436 --> 01:32:49,565
So that's what so much of the stretching
you see here is based off of.
1787
01:32:49,648 --> 01:32:52,651
And I also wanted to use it,
kind of, when he had to,
1788
01:32:52,734 --> 01:32:55,904
as opposed to, I think,
using it for comic purposes,
1789
01:32:55,988 --> 01:32:59,700
or, you know, just kind of
having it happen here, there, everywhere.
1790
01:32:59,783 --> 01:33:01,952
But it's something that's done purposeful,
1791
01:33:02,035 --> 01:33:04,913
and it's done in moments
of high stakes for the most part.
1792
01:33:04,997 --> 01:33:06,456
[Shakman] He stretches a bit in the lab
1793
01:33:06,540 --> 01:33:08,875
because he's busy doing
a bunch of different things,
1794
01:33:08,959 --> 01:33:10,794
but it's always got a purpose to it.
1795
01:33:13,088 --> 01:33:18,176
All right, so now Galactus has the baby,
and we have, you know, a battle between,
1796
01:33:18,260 --> 01:33:20,304
you know, Sue and Galactus here,
1797
01:33:20,387 --> 01:33:23,307
a battle that she should not
be able to win.
1798
01:33:23,390 --> 01:33:26,643
But because so much is at stake,
1799
01:33:26,727 --> 01:33:28,520
she's literally willing
to sacrifice herself
1800
01:33:29,896 --> 01:33:35,110
to push Galactus towards
Times Square and to get their child back.
1801
01:33:35,193 --> 01:33:37,613
And this was just
an unbelievable performance
1802
01:33:37,696 --> 01:33:39,573
- from Vanessa.
- [Farahani] Incredible.
1803
01:33:39,656 --> 01:33:42,951
[Shakman] Gave it her all,
just for hour after hour after hour.
1804
01:33:43,035 --> 01:33:46,371
Several days of this required,
1805
01:33:46,455 --> 01:33:48,915
because of all the different
areas she was doing this,
1806
01:33:48,999 --> 01:33:50,626
the different moments of the story.
1807
01:33:50,709 --> 01:33:52,586
- But she was a rock star.
- Sue, stop!
1808
01:33:52,669 --> 01:33:53,670
Save our son.
1809
01:33:53,754 --> 01:33:56,465
[Franklin crying]
1810
01:33:59,468 --> 01:34:03,764
[Farahani] And you can see
the sort of disbelief in Reed's eyes, too.
1811
01:34:03,847 --> 01:34:05,682
He just can't believe
that she's able to do this.
1812
01:34:05,766 --> 01:34:07,225
[Shakman] Yeah.
1813
01:34:11,980 --> 01:34:13,398
[grunting]
1814
01:34:14,399 --> 01:34:15,400
[grunts]
1815
01:34:16,401 --> 01:34:18,320
[Shakman] This notion,
as parents, which we all feel,
1816
01:34:18,403 --> 01:34:20,656
which is, you'd do anything
to save your child.
1817
01:34:21,198 --> 01:34:24,242
The parent who, full of adrenaline,
can lift the car off of their kid.
1818
01:34:24,326 --> 01:34:27,746
You know, and it was the idea
of, "Okay, what's the version of that
1819
01:34:27,829 --> 01:34:30,457
"if you're already a superpowered person?"
1820
01:34:30,540 --> 01:34:32,501
And it's this, you know, which is that
1821
01:34:33,335 --> 01:34:37,756
she's able to lift, you know,
the biggest creature in the universe.
1822
01:34:37,839 --> 01:34:40,926
[Farahani] Yeah. She's using
all the reserves.
1823
01:34:41,009 --> 01:34:45,347
She's not saving anything for herself.
She's just using everything in her.
1824
01:34:45,430 --> 01:34:46,848
[Shakman] Her last full measure.
1825
01:34:47,683 --> 01:34:50,560
But, you know, she hits a snag here.
1826
01:34:50,644 --> 01:34:53,689
Galactus is grabbing
this building, Ben comes to her aid,
1827
01:34:53,772 --> 01:34:56,775
everybody is working together as a team,
which is really important.
1828
01:34:56,858 --> 01:35:01,988
They're all doing what they need to do
to save this world, to save this baby.
1829
01:35:03,657 --> 01:35:05,701
[Farahani] Crosses the line...
1830
01:35:05,784 --> 01:35:08,203
[Shakman] Right,
which we've set up earlier.
1831
01:35:08,745 --> 01:35:10,997
- Lot of debate about how many seconds.
- [Farahani] Yeah.
1832
01:35:11,081 --> 01:35:12,999
[Shakman] Can't seem too long,
can't be too short.
1833
01:35:13,083 --> 01:35:14,459
[Farahani] Right.
1834
01:35:18,338 --> 01:35:21,174
[Shakman] Amazing images.
Franklin, just barely...
1835
01:35:22,592 --> 01:35:24,678
[Farahani] That's nuts. Yeah. So cool.
1836
01:35:25,637 --> 01:35:29,307
So well-calibrated by you guys.
1837
01:35:29,391 --> 01:35:31,351
- Scott, and everybody.
- [Shakman] Great work.
1838
01:35:31,435 --> 01:35:34,688
ILM. If you see that field
kind of engulf the hand
1839
01:35:34,771 --> 01:35:36,940
just as Reed saves the baby.
1840
01:35:37,023 --> 01:35:39,025
- And then this, a real stunt.
- [Farahani] Yeah.
1841
01:35:39,109 --> 01:35:41,611
An amazing stunt performer, which I think,
1842
01:35:41,695 --> 01:35:43,447
that was a tough one.
1843
01:35:43,530 --> 01:35:44,531
She did great.
1844
01:35:45,323 --> 01:35:47,242
Then, emotion. Again, like,
1845
01:35:47,325 --> 01:35:49,786
the emotion of birth,
the emotion of death,
1846
01:35:49,870 --> 01:35:52,164
trying to make this feel
as real as possible.
1847
01:35:52,247 --> 01:35:53,248
It worked!
1848
01:35:57,252 --> 01:36:01,465
[Shakman] Galactus comes back like
a horror film, you know, villain here.
1849
01:36:02,424 --> 01:36:05,010
Which sets up this wonderful
moment for Johnny,
1850
01:36:05,093 --> 01:36:08,096
who has offered
to sacrifice himself several times,
1851
01:36:08,180 --> 01:36:11,641
who is willing to do what Shalla-Bal did.
1852
01:36:11,725 --> 01:36:14,978
And now, in this last moment
as the seconds tick away,
1853
01:36:15,061 --> 01:36:18,398
he knows that it's on him,
and he's willing to do it.
1854
01:36:19,274 --> 01:36:21,693
But then, at the last minute,
this happens,
1855
01:36:22,277 --> 01:36:24,321
- which is a wonderful shot.
- [Farahani] Yeah.
1856
01:36:24,404 --> 01:36:25,781
[Shakman] Really well-executed.
1857
01:36:27,073 --> 01:36:32,579
Based off of, again, Richard's boards,
and amazing previz by Third Floor.
1858
01:36:32,662 --> 01:36:35,165
Pat Gehlen, Pat Haskew,
who are supervisors.
1859
01:36:35,248 --> 01:36:36,917
They're amazing artists.
1860
01:36:38,126 --> 01:36:39,503
And then, finally, boom.
1861
01:36:40,837 --> 01:36:42,214
They're gone, thrown
to the other side of the universe,
1862
01:36:42,297 --> 01:36:45,425
where, you know, we won't hear
from them for millions of years.
1863
01:36:47,594 --> 01:36:48,970
- And poor Ada.
- [Farahani] Yeah.
1864
01:36:49,054 --> 01:36:50,847
[Shakman] She was upset that morning.
1865
01:36:50,931 --> 01:36:52,265
- I feel bad.
- [Farahani] Yeah.
1866
01:36:54,309 --> 01:36:56,645
- But performance-wise...
- [Shakman] It works for the scene.
1867
01:36:56,728 --> 01:36:58,355
She was fine. Nothing was done to her.
1868
01:36:58,438 --> 01:37:00,982
- [Farahani] I'm glad she's okay.
- [Shakman] She was happy.
1869
01:37:01,066 --> 01:37:03,443
But just in that moment,
you know, babies cry.
1870
01:37:06,112 --> 01:37:08,281
And then this, you know,
resurrection here,
1871
01:37:08,365 --> 01:37:10,450
was a very difficult thing.
1872
01:37:10,534 --> 01:37:14,037
I think there's... You know, trying
to figure out sound design,
1873
01:37:14,120 --> 01:37:17,207
trying to figure out her look.
You know, she's obviously very pale.
1874
01:37:17,290 --> 01:37:20,335
We wanted to make sure
it was understood that she was gone.
1875
01:37:20,418 --> 01:37:23,630
And then this is where that amazing
1876
01:37:23,713 --> 01:37:29,594
emotional, you know,
work of Pedro comes to the surface.
1877
01:37:30,470 --> 01:37:34,224
And his desperation
to save her is so believable, powerful...
1878
01:37:34,307 --> 01:37:37,185
Stay with us, baby. Stay with us, baby.
1879
01:37:37,269 --> 01:37:41,147
[Shakman]...culminating really,
in this incredibly sad resignation moment
1880
01:37:41,231 --> 01:37:46,194
when he realizes that he can't save her
and that she's truly gone...
1881
01:37:46,278 --> 01:37:47,529
[Reed] Come on, baby!
1882
01:37:48,488 --> 01:37:50,282
[Shakman]...is really heart-breaking.
1883
01:37:50,866 --> 01:37:55,370
And he does this thing
where he goes down and kisses her,
1884
01:37:55,453 --> 01:37:58,874
and one tear falls
from his eye onto her cheek.
1885
01:37:58,957 --> 01:38:01,585
- And it's just there...
- [Farahani] Perfect.
1886
01:38:01,668 --> 01:38:03,169
[Shakman]...in the performance, you know?
1887
01:38:03,253 --> 01:38:05,171
No, no VFX happening there.
1888
01:38:07,382 --> 01:38:08,967
He really brought it.
1889
01:38:09,050 --> 01:38:12,220
You know, she brought it in that
incredible battle against Galactus.
1890
01:38:12,304 --> 01:38:15,682
And then Pedro brought it amazingly here.
1891
01:38:15,765 --> 01:38:17,893
And they did,
all four of them did every day.
1892
01:38:17,976 --> 01:38:22,981
But this in particular,
here's the shot, which, you know,
1893
01:38:23,064 --> 01:38:26,067
when I saw it on the day,
I was just stunned.
1894
01:38:32,115 --> 01:38:33,491
[Farahani] It's perfect.
1895
01:38:37,662 --> 01:38:40,123
- Just that face also. I mean...
- [Shakman] Yeah.
1896
01:38:40,206 --> 01:38:41,499
[Farahani]...so much emotion here.
1897
01:38:41,583 --> 01:38:43,293
[Shakman] You know,
watching your sister die
1898
01:38:43,376 --> 01:38:46,880
and maybe never having the language
or knowing what to do with yourself.
1899
01:38:46,963 --> 01:38:49,299
- He's just kind of frozen, you know.
- [Farahani] Yeah.
1900
01:38:52,469 --> 01:38:55,138
[crying]
1901
01:39:01,561 --> 01:39:04,731
[Shakman] And then here's Ada,
actually, on the day, which was amazing.
1902
01:39:04,814 --> 01:39:07,150
We filmed a lot of her on different days,
1903
01:39:07,233 --> 01:39:10,862
but this performance is,
again, these moments where
1904
01:39:11,446 --> 01:39:14,282
you're like, "Does the baby understand
1905
01:39:14,366 --> 01:39:16,868
- "the scene she's playing?"
- [Farahani] What's going on here? Yeah.
1906
01:39:16,952 --> 01:39:19,454
[Shakman] 'Cause her hands
are doing what they needed to do.
1907
01:39:19,537 --> 01:39:21,289
- [Farahani] Right.
- [Shakman] She's focused,
1908
01:39:21,373 --> 01:39:24,376
she was crying, as you saw in different
parts of the scene, then stopped.
1909
01:39:24,459 --> 01:39:27,587
- [Farahani] Right. Amazing.
- [Shakman] She's making eye contact.
1910
01:39:27,671 --> 01:39:31,007
Sure, we did a few tricks,
we had, you know, some toys down below
1911
01:39:31,091 --> 01:39:32,884
- to draw her eye.
- [Farahani] Right.
1912
01:39:32,968 --> 01:39:35,220
[Shakman] But, like,
it was these moments where I was like,
1913
01:39:35,303 --> 01:39:38,974
"This baby knows what's happening
and what her job is in the scene,
1914
01:39:39,057 --> 01:39:42,102
- "and she shouldn't 'cause she's a baby."
- [Farahani] Right.
1915
01:39:42,185 --> 01:39:44,020
[Shakman] Including, you know,
1916
01:39:44,646 --> 01:39:49,234
the shot that comes up
here in a second, which she just did.
1917
01:39:49,317 --> 01:39:53,113
She just clapped after
she resurrected her mother.
1918
01:39:54,322 --> 01:39:56,866
And it was... I didn't make her do it.
1919
01:39:56,950 --> 01:39:59,244
- I didn't ask her to do it.
- [Farahani] That's unbelievable.
1920
01:39:59,327 --> 01:40:03,164
[Shakman] Yeah, and it's just
those lucky moments in filmmaking
1921
01:40:03,248 --> 01:40:06,001
where you're like, "Wow,
that just happened," you know?
1922
01:40:06,084 --> 01:40:08,169
[Farahani] Yeah. That's so cool.
1923
01:40:08,253 --> 01:40:10,463
[Shakman] So much
of this moment... I just love the...
1924
01:40:10,547 --> 01:40:13,091
The music in here
is beautiful, the restraint,
1925
01:40:13,174 --> 01:40:16,594
you know, holding out
on the music for as long as possible,
1926
01:40:16,678 --> 01:40:19,222
keeping it absolutely quiet
until you hear the one,
1927
01:40:19,305 --> 01:40:21,266
- you know, twitch of her finger.
- [Farahani] Mmm-hmm.
1928
01:40:21,349 --> 01:40:24,894
[Shakman] Just trying to kind of hide
what's happening as much as possible...
1929
01:40:24,978 --> 01:40:26,146
[Farahani] Yeah.
1930
01:40:26,229 --> 01:40:29,524
[Shakman]...you know,
to keep it mysterious.
1931
01:40:29,607 --> 01:40:33,278
And then just until you see the stars,
really, in Vanessa's eyes,
1932
01:40:33,361 --> 01:40:37,282
you understand that this loss,
you know, the death of Sue
1933
01:40:37,365 --> 01:40:40,118
has opened up something in Franklin,
has triggered this Power Cosmic
1934
01:40:40,201 --> 01:40:44,831
that Reed could never
find in all the scans that he was doing,
1935
01:40:44,914 --> 01:40:46,458
that something has awakened.
1936
01:40:47,292 --> 01:40:48,460
- [Farahani] Yeah.
- [Shakman] And they realize it.
1937
01:40:48,543 --> 01:40:51,004
And she says,
"He's not like us, he's more."
1938
01:40:51,087 --> 01:40:54,466
So, Galactus is sort of right,
but not really right,
1939
01:40:54,549 --> 01:40:57,844
that there's something
mysterious and unknown about the child.
1940
01:40:57,927 --> 01:41:00,221
That, to me, was what
the movie was so much about.
1941
01:41:00,305 --> 01:41:03,058
Because I think, as parents,
we have that same feeling,
1942
01:41:03,141 --> 01:41:05,894
where we worry about our children,
we want the best for them,
1943
01:41:05,977 --> 01:41:07,604
- their future is unknown.
- [Farahani] Yeah.
1944
01:41:07,687 --> 01:41:09,147
[Shakman] Parental anxiety, you know,
1945
01:41:09,230 --> 01:41:11,900
is something that these folks
have just like we do,
1946
01:41:11,983 --> 01:41:14,527
but that, ultimately,
you have to kind of accept that
1947
01:41:14,611 --> 01:41:17,447
whatever their future is,
is up to them, and all we can do is
1948
01:41:18,156 --> 01:41:20,950
do the best to love them
and protect them and support them now,
1949
01:41:21,034 --> 01:41:24,704
and then they will have to take
their first steps out into the world
1950
01:41:24,788 --> 01:41:26,247
and do what they're going to do.
1951
01:41:26,331 --> 01:41:29,042
And that's what
they're saying here backstage.
1952
01:41:29,125 --> 01:41:30,835
Who knows what he will become,
1953
01:41:30,919 --> 01:41:33,171
but he's here now,
so we're going to love him.
1954
01:41:33,254 --> 01:41:34,798
- [Farahani] Adorable...
- [Shakman] Yes.
1955
01:41:34,881 --> 01:41:37,217
- [Farahani]...five tech suit.
- [Shakman] Five onesie.
1956
01:41:37,300 --> 01:41:38,676
[Farahani] Onesie tech suit.
1957
01:41:38,760 --> 01:41:40,261
He's too young for that kind of stuff.
1958
01:41:40,345 --> 01:41:42,305
[Reed] Can't even sit up without help.
1959
01:41:42,388 --> 01:41:46,101
[Shakman] This is Pinewood stage,
one of the classic early Pinewood stages
1960
01:41:46,184 --> 01:41:48,645
where Kubrick shot stuff
and Bond movies were shot,
1961
01:41:48,728 --> 01:41:52,023
and we were using it
as backstage for "The Ted Gilbert Show."
1962
01:41:52,649 --> 01:41:54,734
[Sue] Who knows where
his powers will take him.
1963
01:41:56,653 --> 01:41:58,738
But right now, he's here.
1964
01:42:03,159 --> 01:42:04,327
What's that guy doing?
1965
01:42:05,578 --> 01:42:07,455
Baby... [kisses]
1966
01:42:11,209 --> 01:42:12,252
You got him?
1967
01:42:12,335 --> 01:42:16,131
[man] Explorers, heroes, citizens
or leaders, they continue to change...
1968
01:42:16,214 --> 01:42:19,551
[Shakman] I love Joe fixing his hair
after the baby messed with it.
1969
01:42:19,634 --> 01:42:21,177
- [Farahani] Yeah.
- [Shakman] Great moment.
1970
01:42:21,261 --> 01:42:23,346
And even Ada there, just putting her hand
1971
01:42:23,429 --> 01:42:25,723
on Pedro's face in such a wonderful way.
1972
01:42:25,807 --> 01:42:28,226
This audience was great,
they really got into it.
1973
01:42:29,769 --> 01:42:32,689
[Farahani] Beautiful light,
once again, Jess.
1974
01:42:32,772 --> 01:42:35,191
[Shakman] This is our split screens.
We do a lot of this
1975
01:42:35,275 --> 01:42:36,693
kind of, boxes and stuff in the movie,
1976
01:42:36,776 --> 01:42:38,611
very '60s-inspired Thomas Crown Affair.
1977
01:42:38,695 --> 01:42:40,488
- [Farahani] Yeah.
- [Shakman] That kind of stuff.
1978
01:42:40,572 --> 01:42:42,240
You can see the period lighting there.
1979
01:42:42,323 --> 01:42:45,535
We used so much
period lighting, vintage lenses.
1980
01:42:46,244 --> 01:42:49,747
Here's Ben, precious cargo,
rushing down the hallway.
1981
01:42:50,832 --> 01:42:55,170
And then, this was a scene that existed
in every version of the script.
1982
01:42:55,253 --> 01:42:58,298
It moved around. It was on a spaceship
1983
01:42:58,381 --> 01:43:00,675
because they had the baby
at the beginning of the movie.
1984
01:43:00,758 --> 01:43:05,471
I just never wanted to let it go because
all of us parents out there know...
1985
01:43:05,555 --> 01:43:07,974
- [Farahani] I've done this so many times.
- [Shakman] Yes!
1986
01:43:08,057 --> 01:43:10,101
- Car seats are tough.
- [Farahani] Yeah.
1987
01:43:10,185 --> 01:43:12,896
[Shakman] Even retro-futuristic
Reed Richards, slacks are tough,
1988
01:43:12,979 --> 01:43:15,690
especially if they have
a really annoying buzzer
1989
01:43:15,773 --> 01:43:18,276
- that tells you you're not doing it right.
- [Farahani] That's right.
1990
01:43:18,359 --> 01:43:19,777
- Feedback.
- [Shakman] This was fun.
1991
01:43:19,861 --> 01:43:22,280
This was a fun one.
And these guys did a ton of improv
1992
01:43:22,363 --> 01:43:25,575
- and, you know, it felt very alive.
- [Farahani] Yeah.
1993
01:43:25,658 --> 01:43:27,452
[Shakman] You know, bickering
at each other.
1994
01:43:27,535 --> 01:43:30,079
You know, Ben saying
he can't feel his hands,
1995
01:43:30,163 --> 01:43:32,874
and Johnny's saying he did pull the slack.
1996
01:43:32,957 --> 01:43:34,292
All this feels very familiar.
1997
01:43:34,375 --> 01:43:36,878
I think that's what the charm
of the Fantastic Four is,
1998
01:43:36,961 --> 01:43:38,671
that they're a real family.
1999
01:43:38,755 --> 01:43:40,006
It was a bold idea in the '60s
2000
01:43:40,089 --> 01:43:42,467
to make a superhero team
about a real family.
2001
01:43:42,550 --> 01:43:45,386
And I think it works
because they're like us.
2002
01:43:45,470 --> 01:43:46,512
They're relatable.
2003
01:43:46,596 --> 01:43:49,474
Here they are flying off to save the day.
2004
01:43:51,517 --> 01:43:54,604
This end title sequence is by Perception.
2005
01:43:54,687 --> 01:43:57,607
They worked, they also did the end title
sequence credits for WandaVision.
2006
01:43:57,690 --> 01:44:01,027
They've done a lot
of great stuff for Marvel over the years.
2007
01:44:01,110 --> 01:44:03,029
I thought they knocked it out of the park
2008
01:44:03,112 --> 01:44:05,865
using a lot of stuff
that Kasra created here.
2009
01:44:05,949 --> 01:44:07,992
- The graphics department--
- [Farahani] Posters.
2010
01:44:08,076 --> 01:44:09,911
- [Shakman] Those posters.
- [Farahani] Jason Sweers,
2011
01:44:09,994 --> 01:44:11,037
graphic designer, yeah.
2012
01:44:11,120 --> 01:44:14,624
[Shakman] And there's even some fun little
stuff in here that didn't make the cut.
2013
01:44:14,707 --> 01:44:17,502
We did commercials.
We made our own in-world commercials
2014
01:44:17,585 --> 01:44:20,880
for little bubble cars that you made.
They were adorable.
2015
01:44:21,798 --> 01:44:25,009
This was from an opening where they gave
a tour of the Baxter Building,
2016
01:44:25,093 --> 01:44:27,178
like Jackie Kennedy's tour
of the White House.
2017
01:44:27,262 --> 01:44:28,263
[Farahani] That's right.
2018
01:44:28,346 --> 01:44:32,100
[Shakman] Some of this is concept art
from Ryan Meinerding and his team.
2019
01:44:32,183 --> 01:44:34,602
It really was a chance
to kind of pull together,
2020
01:44:34,686 --> 01:44:38,523
you know, things that we didn't get
a chance to use in the full movie
2021
01:44:38,606 --> 01:44:40,900
or only had used snippets of.
2022
01:44:42,402 --> 01:44:45,530
But I love how...
Like this, we had a longer
2023
01:44:45,613 --> 01:44:47,699
Red Ghost and the Super-Apes
opening there,
2024
01:44:47,782 --> 01:44:51,619
and you see Reed getting
his face stretched by one of the monkeys,
2025
01:44:51,703 --> 01:44:55,039
which is a reference
to a great Alex Ross painting
2026
01:44:55,123 --> 01:44:57,125
of Reed getting his face stretched.
2027
01:44:58,668 --> 01:45:02,714
So it's got a lot of little
Easter eggs of things
2028
01:45:02,797 --> 01:45:05,842
that didn't end up in the final cut,
but they're really wonderful.
2029
01:45:05,925 --> 01:45:08,303
- I loved all the magazines you guys made.
- [Farahani] Yeah.
2030
01:45:08,928 --> 01:45:12,890
Charis and Dom, our graphics team,
they did so many fantastic,
2031
01:45:12,974 --> 01:45:17,228
really layered, detailed
things for the background of all the sets.
2032
01:45:17,312 --> 01:45:20,523
It's awesome to get to showcase
some of them here in the credits.
2033
01:45:20,606 --> 01:45:22,900
[Shakman] I love them,
you know, the flipping through
2034
01:45:22,984 --> 01:45:25,320
the sort of Teen Beat type magazine
2035
01:45:25,403 --> 01:45:29,657
with Johnny, you know, with the insert,
with all of his photographs,
2036
01:45:29,741 --> 01:45:32,327
you know, posing
and his sort of coquettish ways.
2037
01:45:33,286 --> 01:45:36,456
But this was really meant to be,
again, retro-futuristic in style.
2038
01:45:36,539 --> 01:45:38,708
It has that Saul Bass feel
with the split-screen
2039
01:45:38,791 --> 01:45:40,460
and all of that with the boxes,
2040
01:45:41,210 --> 01:45:43,963
but it also has a polish to it
that makes it feel
2041
01:45:44,047 --> 01:45:45,715
like it's slightly more
elevated and more futuristic.
2042
01:45:48,426 --> 01:45:52,138
Four years later,
a little snippet of what's to come.
2043
01:45:52,221 --> 01:45:54,098
- They've changed the colors here...
- [Farahani] Yeah.
2044
01:45:54,182 --> 01:45:57,185
...[Shakman] for this look
at Avengers: Doomsday.
2045
01:45:57,268 --> 01:45:59,103
Moving a little more into the '70s.
2046
01:45:59,187 --> 01:46:01,230
- [Farahani] Yeah. I see that.
- [Shakman] You see oranges.
2047
01:46:01,314 --> 01:46:02,857
Franklin's grown up,
2048
01:46:03,483 --> 01:46:07,445
and here we get a sort of,
you know, glimpse of things to come.
2049
01:46:08,488 --> 01:46:11,157
[Sue] H.E.R.B.I.E.,
have you seen the book Franklin loves?
2050
01:46:11,240 --> 01:46:12,408
[indistinct mechanical voice]
2051
01:46:12,492 --> 01:46:15,536
Not that one. We did that one
yesterday, and I know he loves it...
2052
01:46:15,620 --> 01:46:17,163
Here we are. It's here.
2053
01:46:18,206 --> 01:46:21,292
See, we're going for something
a little bit more fun today, yeah?
2054
01:46:23,169 --> 01:46:27,757
[Shakman] And we changed,
sort of, the hair as well for Sue.
2055
01:46:28,299 --> 01:46:30,259
- [Farahani] Yeah.
- [Shakman] A different era, slightly.
2056
01:46:30,343 --> 01:46:32,970
Which is what's really fun
about Fantastic Four.
2057
01:46:33,054 --> 01:46:35,473
- We started in sort of 1960s...
- [Farahani] Yeah.
2058
01:46:35,556 --> 01:46:37,809
[Shakman]...moving them
into the '70s. Like, there's...
2059
01:46:37,892 --> 01:46:40,645
It's a really fun opportunity,
design-wise.
2060
01:46:40,728 --> 01:46:42,772
[Farahani] Yeah, to see the progression
2061
01:46:42,855 --> 01:46:44,232
and the space... Oh, wow.
2062
01:46:44,315 --> 01:46:46,442
- [Shakman] And there he is.
- [Farahani] Yeah.
2063
01:46:46,526 --> 01:46:48,236
[Shakman] Doctor Doom, things to come.
2064
01:46:53,282 --> 01:46:56,411
It's amazing how many
super-talented people
2065
01:46:56,494 --> 01:46:59,956
are required to put
a movie together of this size.
2066
01:47:00,039 --> 01:47:03,042
And every time I watch this crawl
2067
01:47:03,126 --> 01:47:05,545
and see the amazing folks
who worked on this,
2068
01:47:06,254 --> 01:47:07,880
it sort of takes my breath away.
2069
01:47:07,964 --> 01:47:09,340
So many talented people.
2070
01:47:09,424 --> 01:47:12,301
[Farahani] Yeah,
in different countries, you know,
2071
01:47:12,385 --> 01:47:15,721
over such a sprawling period of time.
2072
01:47:16,305 --> 01:47:19,725
You know, between the prep,
the shoot and the post,
2073
01:47:19,809 --> 01:47:24,439
it's a small army of people
that go into doing this.
2074
01:47:25,314 --> 01:47:26,441
[Shakman] Truly talented.
2075
01:47:50,590 --> 01:47:52,884
We've called out
so many of these folks already,
2076
01:47:52,967 --> 01:47:54,677
from Jille, the set decorator,
2077
01:47:54,760 --> 01:47:57,263
and Rowley, our stunt coordinator.
2078
01:47:58,473 --> 01:48:01,142
You know, and then Alex Byrne,
our costume designer,
2079
01:48:01,225 --> 01:48:03,686
and Dan Grace,
who is the costume supervisor
2080
01:48:03,769 --> 01:48:07,231
who did an incredible job
as sort of her field general
2081
01:48:07,315 --> 01:48:10,193
of organizing and pushing
through all of these things
2082
01:48:10,902 --> 01:48:13,821
from both an artistic
and also just a logistics standpoint.
2083
01:48:13,905 --> 01:48:15,698
- [Farahani] Yeah.
- [Shakman] Amazing.
2084
01:48:15,781 --> 01:48:16,991
[Farahani] Always had an answer.
2085
01:48:18,367 --> 01:48:20,786
[Shakman] Tristan,
our post-production supervisor,
2086
01:48:20,870 --> 01:48:22,997
who made post work so well,
2087
01:48:23,956 --> 01:48:28,586
just an incredible group
of in-house VFX folks.
2088
01:48:29,670 --> 01:48:32,215
[Farahani] Alistair, SFX supe.
2089
01:48:32,298 --> 01:48:35,176
[Shakman] He built the Fantasti-Car
in part, and built H.E.R.B.I.E.
2090
01:48:35,259 --> 01:48:37,136
- and did a greatjob.
- [Farahani] Yeah.
2091
01:48:37,220 --> 01:48:40,515
Ty, who we just saw go by
is our prop master
2092
01:48:40,598 --> 01:48:43,309
who built this entire world
in an incredible way.
2093
01:48:43,392 --> 01:48:46,896
Gaffer, Lee, who lit
this thing beautifully.
2094
01:48:46,979 --> 01:48:49,524
Steve, key grip, and his team that...
2095
01:48:50,066 --> 01:48:52,860
You know, we worked
almost exclusively off a technocrane,
2096
01:48:52,944 --> 01:48:55,196
and his team did a wonderful job,
2097
01:48:55,780 --> 01:48:58,199
you know, making all
these complicated shots work.
2098
01:48:58,282 --> 01:49:01,827
It's a dance, it requires
a lot of folks to bring to life.
2099
01:49:01,911 --> 01:49:04,539
- Look at how many carpenters.
- [Farahani] Yeah, just the carpenters,
2100
01:49:04,622 --> 01:49:07,583
the plasterers, brilliant plasterers,
2101
01:49:07,667 --> 01:49:12,755
the painters, sculptors,
all of these brilliant artisans.
2102
01:49:12,838 --> 01:49:14,840
So many of them required to do this.
2103
01:49:15,633 --> 01:49:17,009
[Shakman] Yeah. Incredible.
2104
01:49:18,636 --> 01:49:20,888
Hats off to Graham here,
listed among the drivers,
2105
01:49:20,972 --> 01:49:24,141
- who drove me back and forth every day.
- [Farahani] Yeah.
2106
01:49:24,225 --> 01:49:29,063
[Shakman] Lovely human and hard worker,
and made things go very smoothly for me.
2107
01:49:29,146 --> 01:49:31,440
Thank you, Graham. Spain unit.
2108
01:49:31,524 --> 01:49:37,321
We were hosted there by,
you know, a wonderful group from Sur Film
2109
01:49:37,405 --> 01:49:40,074
and made that all possible in Oviedo.
2110
01:49:40,157 --> 01:49:43,452
We shot plates in New York again
to make things look as real as possible.
2111
01:49:43,536 --> 01:49:46,455
We got as much
New York photography as we could.
2112
01:49:49,875 --> 01:49:52,295
And again, I mentioned
we shot on the beach in LA.
2113
01:49:52,378 --> 01:49:55,923
- [Farahani] Yeah.
- [Shakman] These folks made that possible.
2114
01:49:56,007 --> 01:49:58,801
And these are all the folks
at Marvel Studios who are amazing.
2115
01:49:58,884 --> 01:50:01,721
Hats off to Danielle Costa,
who runs visual effects.
2116
01:50:02,263 --> 01:50:04,223
Chris Russell who runs post-production.
2117
01:50:05,182 --> 01:50:08,019
Mitch Bell, who was
in charge of production.
2118
01:50:08,811 --> 01:50:13,482
And everyone who works with them,
truly an incredible group.
2119
01:50:14,066 --> 01:50:16,902
"Fantastic Four, created
by Stan Lee and Jack Kirby."
2120
01:50:16,986 --> 01:50:19,363
And then a bunch of folks, special thanks.
2121
01:50:20,114 --> 01:50:23,326
All of the amazing comic book artists
and writers that worked
2122
01:50:23,409 --> 01:50:28,080
as, you know,
inspiration for us, but also as advisors.
2123
01:50:29,290 --> 01:50:31,917
And then SPI here,
I want to call out Theo,
2124
01:50:32,001 --> 01:50:35,254
who was the VFX supervisor,
did a brilliant job at SPI.
2125
01:50:35,338 --> 01:50:41,510
A lot of Galactus' worldship,
Silver Surfer was handled by SPI
2126
01:50:41,594 --> 01:50:43,137
and this amazing team.
2127
01:50:47,475 --> 01:50:50,102
ILM, Daniele, who was our supervisor.
2128
01:50:50,186 --> 01:50:51,979
They're so talented.
2129
01:50:52,063 --> 01:50:55,024
Again, a lot of the Galactus
third act set piece
2130
01:50:55,733 --> 01:50:59,737
when Galactus comes
to New York is Daniele and his team,
2131
01:51:00,237 --> 01:51:03,074
in addition to lots
of other things throughout the movie,
2132
01:51:03,157 --> 01:51:06,577
but did a brilliant job
working on Ben as well.
2133
01:51:06,661 --> 01:51:09,622
They were one of the leads
on developing Ben Grimm.
2134
01:51:10,331 --> 01:51:13,876
Digital Domain, Phil and his team there,
they did a lot of work on Ben
2135
01:51:13,959 --> 01:51:17,421
as well as CG babies
and bringing Franklin to life.
2136
01:51:18,005 --> 01:51:19,215
So much work.
2137
01:51:19,298 --> 01:51:23,761
Framestore, hats off to Rob.
They did a ton of space.
2138
01:51:24,470 --> 01:51:28,641
The neutron star, escaping
Galactus' ship, wormhole,
2139
01:51:29,725 --> 01:51:32,103
just beautiful work throughout as well,
2140
01:51:32,186 --> 01:51:37,316
but that was their... their main focus
was the escape and in that section.
2141
01:51:37,400 --> 01:51:41,112
Weta did a lot of great work
early in the movie
2142
01:51:41,195 --> 01:51:45,324
when we're establishing
their powers and who they are.
2143
01:51:45,408 --> 01:51:48,202
Thanks to everyone else here,
Rise and Base.
2144
01:51:48,285 --> 01:51:52,832
Rise did a lot of the bridge shots
around the world, alongside Base.
2145
01:51:54,333 --> 01:51:56,043
And Barnstorm and Capital T.
2146
01:51:56,127 --> 01:51:58,462
Cantina worked a lot
on WandaVision with me,
2147
01:51:58,546 --> 01:52:01,590
did a ton of the stuff you see in TVs
2148
01:52:01,674 --> 01:52:04,176
and the sort of period ads,
and things like that.
2149
01:52:04,260 --> 01:52:05,928
Really beautiful work.
2150
01:52:06,011 --> 01:52:11,142
And Imaginarium. Hats off to... to them,
everyone at Imaginarium.
2151
01:52:11,642 --> 01:52:13,769
Andy Serkis and his partner, Matt,
2152
01:52:13,853 --> 01:52:16,981
they were very helpful with us,
2153
01:52:17,064 --> 01:52:20,860
and helped Ebon and Julia
learn about mocap and understand...
2154
01:52:20,943 --> 01:52:24,155
You know, Andy developed
that whole world, starting with Gollum,
2155
01:52:24,238 --> 01:52:26,282
and Caesar in Planet of the Apes.
2156
01:52:26,365 --> 01:52:30,411
He is, you know, the Yoda of that world,
2157
01:52:30,494 --> 01:52:32,913
- and he's so generous with his time.
- [Farahani laughs]
2158
01:52:33,998 --> 01:52:36,292
[Shakman] I want to thank Matthew Wood
and his Loop group.
2159
01:52:36,375 --> 01:52:39,962
Several members of Loop Group are
amazing actors I've worked with in theater
2160
01:52:40,045 --> 01:52:42,006
who came out and helped out.
2161
01:52:42,089 --> 01:52:47,136
Helen, Hugo, Leo,
thank you guys for doing that.
2162
01:52:47,219 --> 01:52:48,512
Great soundtrack.
2163
01:52:48,596 --> 01:52:51,265
I want to call out Andrea.
"Let Us Be Devoured,"
2164
01:52:51,348 --> 01:52:53,893
which is a song played
over this section here,
2165
01:52:53,976 --> 01:52:58,773
which she wrote as a kind of
in-universe song about Galactus coming,
2166
01:52:58,856 --> 01:53:01,358
almost as if sort of Joan Baez
had written it.
2167
01:53:01,442 --> 01:53:04,111
- [Farahani] That's great.
- [Shakman] We had planned to use it
2168
01:53:04,195 --> 01:53:06,906
earlier in the movie, but couldn't
figure out how to make that work,
2169
01:53:06,989 --> 01:53:09,074
and so we put it here at the credits,
2170
01:53:09,784 --> 01:53:12,161
and it fits beautifully here at the end.
2171
01:53:15,331 --> 01:53:18,125
"Specially formatted in IMAX."
The entire movie is in IMAX.
2172
01:53:18,209 --> 01:53:19,877
- I'm a big fan of IMAX.
- [Farahani] Yeah.
2173
01:53:19,960 --> 01:53:23,506
[Shakman] It's been a pleasure
working with them to develop this film,
2174
01:53:24,006 --> 01:53:28,093
and to see, you know, Galactus
in all of the IMAX glory is great.
2175
01:53:28,177 --> 01:53:30,471
I want to just mention Jamie Christopher,
2176
01:53:30,554 --> 01:53:33,474
who was our original
line producer on this film
2177
01:53:33,557 --> 01:53:35,267
and worked for Marvel for many years,
2178
01:53:35,351 --> 01:53:40,147
who unfortunately passed away
early in our process.
2179
01:53:41,023 --> 01:53:43,484
An amazing human and an amazing filmmaker.
2180
01:53:44,819 --> 01:53:47,154
Great quote."If you look
at my characters, you'll find me.
2181
01:53:47,238 --> 01:53:48,906
"No matter what character
you create or assume,
2182
01:53:48,989 --> 01:53:51,784
"a little of yourself
must remain there. Jack Kirby."
2183
01:53:51,867 --> 01:53:54,995
That's true, and that's
the special sauce of the Fantastic Four,
2184
01:53:55,079 --> 01:53:57,581
is that they are based on real people.
2185
01:53:57,665 --> 01:54:00,292
You know, Jack had a daughter named Sue,
2186
01:54:00,376 --> 01:54:03,337
and I think there's a Ben
in the family there, too.
2187
01:54:03,420 --> 01:54:04,922
These are based on real people,
2188
01:54:05,005 --> 01:54:07,508
and that's what makes them
so relatable and so special.
2189
01:54:08,217 --> 01:54:10,010
- It's clobberin' time.
- [Farahani chuckling]
2190
01:54:10,094 --> 01:54:14,223
[Shakman] And this is Titmouse's
amazing animated opening
2191
01:54:14,306 --> 01:54:16,851
for an in-universe Fantastic Four cartoon.
2192
01:54:16,934 --> 01:54:18,561
It's clobberin' time.
2193
01:54:18,644 --> 01:54:21,021
[Shakman] All right, thanks,
everyone, for watching.
2194
01:54:21,105 --> 01:54:25,442
♪ Get ready to watch Fantastic Four! ♪