1
00:00:04,734 --> 00:00:09,321
One of the reasons I love movies is going
on that journey the hero's going on

2
00:00:09,405 --> 00:00:12,158
and trying to create the visual
for that character

3
00:00:12,241 --> 00:00:14,660
that's going to, sort of,
lock in the audience's empathy

4
00:00:14,744 --> 00:00:16,746
and take them forward
through the journey of a film,

5
00:00:16,829 --> 00:00:20,082
is something that I, you know,
I'm always going to pick the heroes.

6
00:00:37,224 --> 00:00:41,103
Marvel superheroes are powerful, not only
because they literally have powers,

7
00:00:41,187 --> 00:00:42,772
but also because they have lots of flaws.

8
00:00:43,439 --> 00:00:47,109
Spider-Man and Peter Parker are relatable
because he has real-world problems.

9
00:00:47,193 --> 00:00:49,695
He, you know,
has problems with girlfriends.

10
00:00:49,779 --> 00:00:52,698
He has problems with his Aunt May.
He has problems in school.

11
00:00:53,866 --> 00:00:56,827
I pitched the idea of having
Spider-Man's eyes be emotive.

12
00:00:57,536 --> 00:00:59,955
That they would move
and essentially be able to understand

13
00:01:00,039 --> 00:01:02,541
what Peter is thinking
under the suit through his eyes.

14
00:01:02,625 --> 00:01:05,127
And that was one of the things
that I'm most proud about,

15
00:01:05,211 --> 00:01:07,213
having solved here at Marvel.

16
00:01:08,130 --> 00:01:10,299
That's one of the best parts
of working on this job too

17
00:01:10,383 --> 00:01:11,884
is just working from those great icons.

18
00:01:12,802 --> 00:01:17,390
I was trying to think of different ways
for Thanos to attack Doctor Strange.

19
00:01:17,473 --> 00:01:20,810
so I was thinking, maybe he could,
like, destroy planets or...

20
00:01:20,893 --> 00:01:24,230
A lot of us that work here in the Visual
Development department are fans.

21
00:01:24,730 --> 00:01:27,733
And just make it come through, like,
portals or comets or whatever,

22
00:01:27,817 --> 00:01:29,318
just raining down on Doctor Strange.

23
00:01:29,402 --> 00:01:31,904
[Meinerding] A lot of what the characters
are about is sort of ingrained in us.

24
00:01:31,987 --> 00:01:35,408
Being passionate about finding
new ways of representing them

25
00:01:35,491 --> 00:01:38,077
-in a storytelling context...
-I think they're really great.

26
00:01:38,327 --> 00:01:39,745
...just keeps driving me forward.

27
00:01:40,579 --> 00:01:42,498
If I could talk to
the 13-year-old version of myself

28
00:01:42,581 --> 00:01:46,669
and tell him what I'm working on today,
I don't think that he would believe me.

29
00:01:47,420 --> 00:01:50,673
Having worked on a character
like Captain America or Iron Man...

30
00:01:51,006 --> 00:01:52,925
um, people love them.

31
00:01:53,008 --> 00:01:56,178
And if you do justice by that character,

32
00:01:56,262 --> 00:01:59,265
people will continue to love them,
and I'm excited by that.

33
00:01:59,807 --> 00:02:01,517
I loved these characters
from when I was very young.

34
00:02:01,600 --> 00:02:05,271
I started buying comics
probably when I was 10 or 11.

35
00:02:05,604 --> 00:02:10,693
Um, and then all through the '90s, I was
reading comics when I was a teenager.

36
00:02:10,776 --> 00:02:13,612
So, I started pretty, pretty young
with the characters

37
00:02:13,696 --> 00:02:17,450
and I've, sort of, been fortunate enough
to end up with a job

38
00:02:17,533 --> 00:02:21,954
that really allows me
to play into my fanboy tendencies.

39
00:02:23,039 --> 00:02:26,667
It used to be that a person like me
would be doing pencil drawings

40
00:02:26,751 --> 00:02:29,045
that would need to be approved
before something got made.

41
00:02:29,128 --> 00:02:31,213
[Stegon] The final pose
that we're interested in,

42
00:02:31,297 --> 00:02:36,177
some of the initial pose wasn't dy--
quite dynamic enough. He feels too stiff.

43
00:02:36,260 --> 00:02:39,722
Maybe he doesn't feel menacing enough
because he's a very powerful character,

44
00:02:39,805 --> 00:02:41,432
so he needs to feel powerful.

45
00:02:41,932 --> 00:02:45,728
[Meinerding] It's using computers
and being able to get high resolution,

46
00:02:45,811 --> 00:02:46,979
more finished images.

47
00:02:47,063 --> 00:02:48,814
We're able to actually
accomplish something

48
00:02:48,898 --> 00:02:52,276
that's as close
to the finished thing as possible.

49
00:02:52,693 --> 00:02:55,571
All together, it probably took
about 30 or 40 versions.

50
00:02:55,654 --> 00:02:58,157
And the main purpose of that
was to, essentially,

51
00:02:58,240 --> 00:03:01,285
put it into a 3-D maquette,
that was gonna be 3-D printed,

52
00:03:01,369 --> 00:03:04,497
as a final sign-off
for the directors and the producers

53
00:03:04,580 --> 00:03:07,333
to see the character,
and you know, be able to walk around it.

54
00:03:07,666 --> 00:03:12,755
We're working on around three films a year
and adding more projects to that as we go.

55
00:03:13,589 --> 00:03:15,549
Finding ways of accomplishing that,

56
00:03:15,633 --> 00:03:18,844
both from an artistic standpoint
of actually solving problems,

57
00:03:18,928 --> 00:03:20,012
design problems artistically,

58
00:03:20,096 --> 00:03:25,434
also working with my team to art direct
and help them solve problems as well.

59
00:03:25,768 --> 00:03:28,938
And working with visual effects
and the costume departments

60
00:03:29,021 --> 00:03:34,402
to really take our designs and help them
get resolved in a really amazing way

61
00:03:34,485 --> 00:03:37,822
is enough to keep me busy through the
whole week

62
00:03:37,905 --> 00:03:39,448
and into the weekends and-- [chuckles]

63
00:03:40,574 --> 00:03:44,370
As an artist, there's also just a sense of
wanting to do better than the last time.

64
00:03:45,496 --> 00:03:47,206
Every artist wants to keep growing.

65
00:03:48,582 --> 00:03:51,627
We're always having new chances
to reinterpret the characters.

66
00:03:51,711 --> 00:03:53,295
We're having new places for them to go

67
00:03:53,379 --> 00:03:55,631
with the stories the filmmakers
are coming up with.

68
00:03:55,715 --> 00:03:59,635
And we're really getting the chance
to push ourselves.

69
00:04:00,177 --> 00:04:04,056
This is the Captain America hero costume
from Captain America: The First Avenger.

70
00:04:04,140 --> 00:04:07,226
It's, sort of,
his culmination in that film

71
00:04:07,309 --> 00:04:10,938
for blending,
being a symbol and being a soldier.

72
00:04:11,647 --> 00:04:15,568
It was also the first time I was trying
to incorporate the stripes as straps,

73
00:04:15,651 --> 00:04:18,738
turning them in, pulling them off of it,
just being on the costume,

74
00:04:18,821 --> 00:04:21,741
and turning them into something that
was part of the utility of the costume.

75
00:04:23,325 --> 00:04:27,163
So to transition from the World War II
aesthetic to the end of Cap's journey,

76
00:04:27,246 --> 00:04:31,500
so he's already had, I don't know,
probably six costumes in between this

77
00:04:31,584 --> 00:04:34,253
and The First Avenger costume
and this one.

78
00:04:34,336 --> 00:04:37,965
One of the challenges we had on this suit
was really making these scales work.

79
00:04:38,632 --> 00:04:41,427
A lot of my job
is hopefully inspiring people,

80
00:04:41,510 --> 00:04:43,721
but it's also just letting people
solve problems.

81
00:04:44,722 --> 00:04:49,602
We did a whole bunch of iterations where
it would look perfectly fine in the front.

82
00:04:49,685 --> 00:04:52,980
But the moment that, you know,
you would go into a three-quarter view,

83
00:04:53,064 --> 00:04:56,442
those lines started to diminish
and not look as great.

84
00:04:56,525 --> 00:05:01,197
One of the things as an artist is failure
comes as a fear with every brushstroke.

85
00:05:01,697 --> 00:05:03,532
-Yeah, straight lines on a compound curve.
-Yep.

86
00:05:03,616 --> 00:05:04,533
[both laugh]

87
00:05:04,617 --> 00:05:06,952
You're starting from a blank page
and you're building it up.

88
00:05:07,036 --> 00:05:11,165
And a lot of times, you'll take a misstep.
You'll go the wrong direction...

89
00:05:11,248 --> 00:05:13,834
[Smith] There's, like,
an odd banding shape. Um...

90
00:05:13,918 --> 00:05:15,127
[Meinerding]
...and have to course correct.

91
00:05:15,211 --> 00:05:19,048
So, I sort of deal with failure at every
moment, I feel, of every day. [chuckles]

92
00:05:19,590 --> 00:05:22,301
When you see it on-screen you just say,
"Oh, cool, he's wearing the scales."

93
00:05:22,385 --> 00:05:25,054
But the amount of engineering and artistry
that goes into making these things

94
00:05:25,137 --> 00:05:26,722
really come to fruition is incredible.

95
00:05:26,806 --> 00:05:28,724
I had hoped it would look very good,

96
00:05:28,808 --> 00:05:30,893
and it turned out better
than I could have ever expected.

97
00:05:31,769 --> 00:05:34,397
Every part of this ride has felt like,

98
00:05:34,480 --> 00:05:38,067
it can't get bigger,
it can't get more amazing.

99
00:05:38,150 --> 00:05:42,405
And somehow the filmmakers and
Marvel Studios make it all come together

100
00:05:42,488 --> 00:05:44,490
into something that's even bigger
than what came before.

101
00:05:45,408 --> 00:05:46,867
The characters hold a lot of nostalgia

102
00:05:46,951 --> 00:05:48,703
because I loved them
from when I was younger.

103
00:05:48,786 --> 00:05:53,416
And now that, like, I've been working
at Marvel for a little beyond 13 years,

104
00:05:53,499 --> 00:05:56,168
and those memories are, you know,

105
00:05:56,252 --> 00:05:58,003
are things I'll cherish
for the rest of my life.