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TOM HIDDLESTON: Thyme...
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No, the other "Time."
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Thank you. Much better.
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(CLEARS THROAT)
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Time...
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For some, time is a wheel.
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An infinite repetition of what came before
and what is yet to come.
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Looping endlessly over and over.
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For others, time is an arrow.
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Pressing faithfully forward.
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We began Loki on February 10, 2020,
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at eight o'clock in the morning
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and wrapped production 299 days later.
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Approximately 7,176 hours.
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Or 430,560 minutes,
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working and breathing
and dreaming with the show.
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Take that number and whittle it down
with many clever edits,
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and you get six episodes.
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Totaling 280 minutes and 17 seconds
of programming.
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Now, whittle the experience down
even further,
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and you get this one-hour...
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Give or take, documentary.
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A comparatively brief time capsule.
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A remembrance of things past.
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Given the constraints,
we shouldn't waste a single second.
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Let's go back to the beginning.
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At the end of the first day,
I cannot believe that I'm doing this.
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I literally cannot believe it's happening.
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Um, I first wore this costume
ten years ago.
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-I can't believe I'm still wearing it.
-(PEOPLE CHUCKLING)
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Um, and I'm so excited about this show.
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Um, I'm so grateful to all of you
for everything you're gonna do on it.
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So, um, thank you for day one of 849.
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-And onward we march.
-(PEOPLE CLAPPING)
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I remember going to see
the first Iron Man in 2008.
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And I was actually in Sweden, working on
a project there with Kenneth Branagh.
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And he went to see it the next weekend,
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and we both thought,
"God, Iron Man was extraordinary."
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And then he got the job
of directing Thor...
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I kind of joked about, you know...
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I think once we were on stage,
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and I came in with an empty water cooler
and pretended it was the hammer of Thor.
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He was able to invite me to audition
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'cause he knew that it was going to be
a huge opportunity for so many people.
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It's a long time
since I've seen you smile.
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HIDDLESTON: I remember,
as clear as day, the first auditions.
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I almost remember the scenes.
There was a scene between two brothers,
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and they couldn't reveal
the character names.
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One was called Michael,
the other was called Lucas.
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I believe I learned both sets of lines.
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So you're saying...
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that our friends will stand with me
in defending our home,
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but my own brother will not?
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And then a month later, Chris Hemsworth
and I got the call on the same day.
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Chris and I got together,
and the moment I met him, I thought...
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"This is the beginning
of the most extraordinary journey.
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"And I don't know where it's going to go,
but I really like this person.
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"This could be something."
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From that point on,
I just threw myself at it.
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I threw my whole soul at it.
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Tom is a fan favorite. People loved
what he's brought to the character Loki.
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He's a character that has always
found a way to come back organically
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in new, and interesting,
and exciting ways.
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Your savior is here!
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As we were looking for the kind of stories
we wanted to tell on Disney Plus,
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Tom just seemed like a real no-brainer
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because of the richness of that character
and the depth of that fan base.
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Something happened after Avengers One.
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That's when I realized that
Loki as a character
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had taken on a life of its own
in the mind of the audience.
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So that by the time
we got to Comic-Con in 2013,
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Kevin Feige had this idea that
I should go out on stage in character.
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And I said to him,
"That's insane and amazing.
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"I'm in. Let's go."
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It was a moment in time
that is unrepeatable.
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I don't think I'll ever have a moment
like that ever again.
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It was like stepping off...
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Somehow out of the environment,
into the world, as the character.
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And hearing and feeling
the energy in that room
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was something I will never forget.
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HIDDLESTON: Say my name.
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-CROWD: Loki!
-(LOUDLY) Say my name!
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-CROWD: Loki!
-(YELLING) Say my name!
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CROWD: Loki!
85
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And I think after that,
it was, very generously,
86
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that Kevin Feige, and Louis D'Esposito,
and Victoria Alonso at Marvel thought,
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"Well, Loki's got to hang around
for a bit longer." (CHUCKLES)
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I, Loki, Prince of Asgard,
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Odinson, rightful king of Jotunheim,
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God of Mischief...
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HIDDLESTON: I remember meeting
Joe and Anthony Russo.
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And they said, "Infinity War is in...
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"It's a labyrinthine thing,
and everyone's involved.
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"And we're trying to refine
what happens in it.
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"There are some things
we're not sure of yet. However...
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"we are sure that the opening of this film
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"is Loki giving the Tesseract to Thanos."
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You really are the worst brother.
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"After which he is executed."
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And I looked at Kevin, and I said...
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"So, that's it?"
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And he was like, "Yep."
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No resurrections this time.
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It's gonna be
an extraordinary moment because...
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Immediately, you believe
in the power of Thanos.
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BROUSSARD:
That sacrifice meant something.
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And we didn't wanna undo that sacrifice,
or suggest that it never really happened,
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or some other sort of way
that felt like it might cheapen
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the real emotional weight
of that moment in that film.
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We knew we wanted
to tell more stories with Tom.
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On my way down
to coordinate search and rescue.
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"On my way down
to coordinate search and rescue."
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I mean, honestly,
how do you keep your food down...
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Shut up.
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BROUSSARD: As Endgame was coming together,
the idea that,
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throughout the time travel misadventures
of the Avengers, something goes wrong...
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No stairs!
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(PEOPLE YELLING)
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BROUSSARD: Tom grabs the Cube
and disappears.
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It's a complication in that movie that
really sets our heroes on their back foot.
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What's interesting is,
it's not dealt with.
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We have no idea where that goes.
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One of the things that Kevin Feige
and myself were talking about was,
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"Could that be a jumping-off point
for a new way to tell a Loki story?"
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HUNTER B-15: Variant identified.
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I beg your pardon?
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BROUSSARD: TV has always been
the medium of the anti-hero.
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You think about the great anti-heroes
like Don Draper or Tony Soprano.
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There's enough time to kind of understand
what some people might call
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"the bad guy" in another movie
or another type of story.
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So we really wanted to have
as much runway as possible
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to explore kind of what makes Loki tick.
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We did the math, and he's...
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Loki's been on screen
for less than two hours
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over the course of ten years,
and he's made this huge impact.
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And suddenly now,
we have six hours to tell this story.
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(BOTH GRUNTING)
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(SIGHS) That's better.
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WRIGHT: It's a serious show.
It's a dramatic show.
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It's a thrilling show.
It's a really wacky show.
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And it was just this amazing
team of writers, led by Michael Waldron,
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just trying to crack
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the world and the logic
of how this show works.
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"The TVA manages all of time."
What does that mean?
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WALDRON: You know, I think a lot
of people, what they expected was, like,
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"This'll be Quantum Leap.
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"This is gonna be Loki
riding with Paul Revere,
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"influencing historical events."
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And my pitch from the first time
I met with those guys is,
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"Let's blow up
what people think the show is."
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How'd we do?
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BROUSSARD: When we were looking
for a director for this series,
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we had a lot of interested parties,
a lot of great conversations.
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Kate really rose above all of them
because of her take on the material.
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I remember my agent
telling me, basically,
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"This is just, like, a friendly
kind of meet-and-greet.
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"Do not prepare a pitch."
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I ignored that and I did, like,
a full-on pitch.
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WRIGHT: She came in
with this shock-and-awe pitch
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that was the most amazing pitch
that I had ever seen,
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where it truly was the...
What the show has become.
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And I remember leaving that meeting
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feeling like this is a person
who understands the spirit
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of what we would love to achieve with it.
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And wasn't just going
to execute those ideas,
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but that was going to push them
even further.
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HERRON: All at the same time,
lift your weapons up towards these guys,
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like, ready to fight.
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I asked her, "What do you think, Kate,
that the show is about?"
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And she said,
"I think it's about self-acceptance.
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"You got a character who doesn't know
how to change and grow.
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"And we have this amazing story
that's actually about
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"coming to terms with who you are."
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From that moment, I thought, "This woman
knows what she's doing. She's in."
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It was such a human, such a deep insight,
so simply put.
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(CHUCKLING) I'm just a bit
of a cheeseball, to be honest.
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Like, I just...
I love that it's about self-love
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and, like, getting past your demons.
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And I think something I always
try and bring to everything I do is,
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digging into the emotion
and the truth of that,
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and sort of letting the characters
be ugly, in a way.
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For me, it feels a bit more real.
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Again, I think it's just, like, don't be
scared to tread on each other a bit.
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-Okay, okay, nice. Yeah. Right. Yeah.
-'Cause it's like...
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-As long as it's okay that we overlap.
-MAN: Here we go. Picture up...
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WRIGHT: She has so many real-life
experiences that she puts into the show.
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00:10:09,025 --> 00:10:14,280
She's worked in a lot of offices
that sound a lot like the TVA,
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so she would understand the buttons
to push to drive Loki crazy.
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00:10:19,535 --> 00:10:20,536
Shh!
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00:10:23,372 --> 00:10:26,083
HIDDLESTON: The passage of time
may be constant,
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but the sensation of time is not.
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00:10:29,545 --> 00:10:31,547
An hour on the beach,
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00:10:31,631 --> 00:10:35,426
basking in the briny glow
of utter freedom,
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00:10:35,509 --> 00:10:39,180
feels very different from an hour-long
session in a dentist's chair.
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And yet, a minute is a minute is a minute.
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00:10:43,601 --> 00:10:48,356
We move forward one minute at a time,
one moment at a time...
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Stop...
198
00:10:49,523 --> 00:10:51,108
...whether we want to or not.
199
00:10:51,192 --> 00:10:52,193
It.
200
00:10:52,276 --> 00:10:53,569
-And for that...
-Stop it!
201
00:10:53,653 --> 00:10:58,491
...we can thank our tireless friends
at the Time Variance Authority.
202
00:10:58,616 --> 00:11:02,244
BROUSSARD: There's an organization that
goes back in the history of Marvel Comics
203
00:11:02,328 --> 00:11:04,664
called the Time Variance Authority,
the TVA.
204
00:11:04,789 --> 00:11:07,375
It's an organization that
I've long been fascinated with,
205
00:11:07,458 --> 00:11:09,794
just as I've paged through comics
at Marvel
206
00:11:09,877 --> 00:11:11,337
in the years that I've been there.
207
00:11:11,420 --> 00:11:15,383
And I always knew that
they could have a very cool story to tell.
208
00:11:15,466 --> 00:11:17,343
The notion of this bureaucracy
209
00:11:17,426 --> 00:11:20,137
that basically controls
all of time and space.
210
00:11:22,264 --> 00:11:23,265
-Come on.
-Let's go.
211
00:11:23,349 --> 00:11:25,059
You're making a terrible mistake.
212
00:11:25,434 --> 00:11:28,437
BROUSSARD: He's the trickster,
and he's this prince of Asgard,
213
00:11:28,521 --> 00:11:32,817
this God of Mischief, who's had
this somewhat villainous role to play.
214
00:11:32,900 --> 00:11:35,361
And we really just liked the idea
of plucking him,
215
00:11:35,444 --> 00:11:37,238
quite literally out of his own time
216
00:11:37,321 --> 00:11:40,199
and throwing him down in a place
where he doesn't know the rules.
217
00:11:40,282 --> 00:11:43,953
You see him first in his Avengers costume.
218
00:11:44,036 --> 00:11:46,080
And so, that's this, you know,
219
00:11:46,163 --> 00:11:50,209
very elaborate
sort of fighting outfit, right?
220
00:11:50,292 --> 00:11:51,794
Absolutely not.
221
00:11:51,877 --> 00:11:54,213
This is fine Asgardian leather.
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00:11:54,296 --> 00:11:57,216
WADA: So we wanted to just do
a real stark contrast.
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00:11:57,299 --> 00:11:59,885
Just a very, like, open it up with a bang.
224
00:12:01,846 --> 00:12:03,472
Now, hang on just a minute.
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00:12:03,556 --> 00:12:05,474
MAN: Two... one... Action!
226
00:12:05,558 --> 00:12:06,600
(YELPS)
227
00:12:06,684 --> 00:12:07,685
(GASPS)
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00:12:07,768 --> 00:12:11,731
HIDDLESTON: We put him
in a standard-issue TVA jumpsuit
229
00:12:11,814 --> 00:12:13,816
and essentially, in that scene,
230
00:12:13,899 --> 00:12:16,777
break him down
to his most vulnerable core.
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00:12:16,902 --> 00:12:18,195
Please, through the door.
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00:12:18,279 --> 00:12:21,365
Oh, right. So the floor can drop out
from under me as soon as I try to leave.
233
00:12:21,449 --> 00:12:23,492
Nice try. I'm ready for it this time.
234
00:12:23,576 --> 00:12:26,370
-That's not how this chamber works.
-Liar.
235
00:12:26,454 --> 00:12:30,374
You kind of wanted to give
a little insight into the character
236
00:12:30,458 --> 00:12:35,129
that wasn't just about the wall
of the superhero costume, right?
237
00:12:35,212 --> 00:12:36,672
You wanted to feel like
238
00:12:36,756 --> 00:12:40,217
you were penetrating some layers
into this character.
239
00:12:40,301 --> 00:12:43,053
You have no idea what I'm capable of!
240
00:12:43,137 --> 00:12:44,805
MOBIUS: I... I think I might.
241
00:12:46,849 --> 00:12:49,059
Have an idea of what he's capable of.
242
00:12:49,769 --> 00:12:53,022
I remember sitting down
with Kevin Wright, the producer,
243
00:12:53,105 --> 00:12:54,732
and some of the writers,
244
00:12:54,815 --> 00:12:57,943
and they were telling me the story
of the show. And they were like,
245
00:12:58,027 --> 00:13:01,405
"So, there's this really interesting
character called Mobius and, um,
246
00:13:01,489 --> 00:13:04,658
"he's kind of like
an analyst in the TVA.
247
00:13:04,742 --> 00:13:07,661
"And he's a great intellect,
and he's a scholar.
248
00:13:07,745 --> 00:13:09,955
"And he kind of understands Loki.
249
00:13:10,664 --> 00:13:13,042
"And he's able to
show him parts of himself
250
00:13:13,125 --> 00:13:15,753
"he's never understood before."
251
00:13:15,836 --> 00:13:19,131
And I always thought, "God,
I wonder who's gonna play that part?"
252
00:13:19,507 --> 00:13:21,300
-And here he is.
-Here he is.
253
00:13:21,383 --> 00:13:22,843
-The one and only.
-(BOTH LAUGH)
254
00:13:22,968 --> 00:13:24,470
Let me ask you this. How...
255
00:13:24,553 --> 00:13:26,931
Thought you were leading up to, like,
256
00:13:27,431 --> 00:13:29,350
"And there's only one person
in my mind..."
257
00:13:29,433 --> 00:13:31,185
-There's only...
-"...who could play this."
258
00:13:31,268 --> 00:13:32,478
There's only one person.
259
00:13:32,561 --> 00:13:35,231
-Instead it was, "Who is it gonna be?"
-It was only ever...
260
00:13:35,314 --> 00:13:36,357
"Here he is."
261
00:13:36,440 --> 00:13:37,525
(BOTH LAUGHING)
262
00:13:38,901 --> 00:13:42,154
OWEN WILSON: Well, when they first
spoke to me about Iron Man,
263
00:13:42,238 --> 00:13:45,366
I kind of wanted to let Marvel
get established a little bit.
264
00:13:45,449 --> 00:13:48,828
And so then when they talked to me
about Thor, and then about...
265
00:13:48,911 --> 00:13:51,956
uh, Captain America, and even Hulk,
266
00:13:52,039 --> 00:13:54,458
I was like,
"Well, you know, I don't know..."
267
00:13:54,542 --> 00:13:57,127
So, um, it... I'm just kidding.
268
00:13:57,503 --> 00:14:01,465
You know what's funny is, like,
even the name "Mobius," it's like...
269
00:14:01,549 --> 00:14:02,842
I just like that name.
270
00:14:02,925 --> 00:14:05,052
-It just is a cool...
-It's a great name. Yeah.
271
00:14:05,135 --> 00:14:07,221
So when people say,
"What are you doing?"
272
00:14:07,304 --> 00:14:11,684
And, you know, "What are you doing
in the Marvel Universe?"
273
00:14:11,767 --> 00:14:15,521
"No, I'm not wearing a cape.
I'm not... I don't have any superpowers.
274
00:14:15,604 --> 00:14:20,150
"Other than the name 'Mobius,'
which has a certain power to it."
275
00:14:20,234 --> 00:14:22,361
WALDRON: In a story about anti-heroes,
276
00:14:22,736 --> 00:14:26,448
the exciting thing about Mobius
was to play a guy
277
00:14:26,532 --> 00:14:31,620
who was really just kind of
a down-the-middle, old-school hero.
278
00:14:31,704 --> 00:14:33,330
Clock's always tickin'.
279
00:14:35,833 --> 00:14:38,460
Which is better than the alternative.
280
00:14:38,544 --> 00:14:40,963
WALDRON: He's the rascally detective.
281
00:14:41,046 --> 00:14:44,508
And such a good foil for Tom.
282
00:14:44,592 --> 00:14:46,093
How's training going?
283
00:14:46,176 --> 00:14:48,053
-Complete natural.
-Yeah?
284
00:14:48,554 --> 00:14:50,681
Learning about my jet ski there?
285
00:14:50,764 --> 00:14:54,977
WILSON: It was great when I first
got down here to work in Atlanta
286
00:14:55,060 --> 00:14:58,981
because Tom...
We sort of called them "The Loki Lectures"
287
00:14:59,064 --> 00:15:05,279
that Tom would take us through
and work with me individually.
288
00:15:05,362 --> 00:15:10,284
Just going over the lore
and everything that he felt was important,
289
00:15:10,367 --> 00:15:13,120
and showing me clips and things.
290
00:15:13,203 --> 00:15:18,208
So that was really important to me
for understanding.
291
00:15:18,292 --> 00:15:20,794
And then also, I ended up just
sort of writing down
292
00:15:20,878 --> 00:15:23,339
some of the stuff he said describing Loki.
293
00:15:23,422 --> 00:15:28,594
And I think that even worked its way
sometimes into dialogue that I would say.
294
00:15:29,470 --> 00:15:30,930
Glorious purpose.
295
00:15:31,513 --> 00:15:36,226
HIDDLESTON: I remember Owen asking me
what I loved about playing Loki.
296
00:15:36,310 --> 00:15:38,520
Like, never mind what was great
about the character,
297
00:15:38,604 --> 00:15:40,189
what other people could see.
298
00:15:40,272 --> 00:15:42,441
He was like,
"Tom, what do you love about it?
299
00:15:42,524 --> 00:15:44,276
"What do you love about Loki?"
300
00:15:44,360 --> 00:15:46,236
And I heard myself saying,
301
00:15:46,320 --> 00:15:49,239
"He plays all the keys on the piano.
302
00:15:50,157 --> 00:15:54,036
"So, he plays the light keys
and the major keys, all the...
303
00:15:54,119 --> 00:15:56,121
"All the light, white notes up there.
304
00:15:56,205 --> 00:15:59,416
"But he also plays the heavy keys
with the left hand.
305
00:15:59,500 --> 00:16:03,462
"Those deep, profound chords
306
00:16:03,545 --> 00:16:08,258
"which are full of sorrow, and grief,
and anger.
307
00:16:08,634 --> 00:16:12,888
"And he's able to somehow make it...
308
00:16:12,972 --> 00:16:18,227
"The music of Loki internally
has this breadth of the scale."
309
00:16:18,686 --> 00:16:22,982
Um, and Owen said,
"That sounds about right."
310
00:16:23,065 --> 00:16:24,274
Enough.
311
00:16:27,027 --> 00:16:28,445
Back in your cage.
312
00:16:29,363 --> 00:16:31,198
See, I can play the heavy keys, too.
313
00:16:31,949 --> 00:16:36,036
WILSON: I had a nice conversation one day
where I was talking with Tom.
314
00:16:36,120 --> 00:16:39,707
And he quoted something, and I said,
"Is that Shakespeare?"
315
00:16:39,790 --> 00:16:41,375
And he said, "Yes, Hamlet."
316
00:16:41,458 --> 00:16:44,628
And I was proud just that
I got the Shakespeare part.
317
00:16:44,712 --> 00:16:47,548
And then I said,
"Have you played Hamlet?"
318
00:16:47,631 --> 00:16:52,011
And he said, yes, he had.
That, in fact, Kenneth Branagh
319
00:16:52,094 --> 00:16:55,889
directed him
in some performances of Hamlet.
320
00:16:56,181 --> 00:17:00,144
And he described what that was like
and how rewarding it was,
321
00:17:00,227 --> 00:17:02,187
and I was just listening.
322
00:17:02,271 --> 00:17:07,151
And, um, when he finished, and this is,
I guess, that sort of English politeness,
323
00:17:07,276 --> 00:17:09,611
uh, there was a slight sort of pause.
324
00:17:09,695 --> 00:17:12,656
And then he said,
"Have you ever played Hamlet?"
325
00:17:12,740 --> 00:17:17,578
Uh, and it's the first time, uh,
that, uh...
326
00:17:17,661 --> 00:17:19,246
That someone I've worked with
327
00:17:19,329 --> 00:17:23,167
has ever even thought to ask me
if that was a possibility.
328
00:17:23,250 --> 00:17:27,463
Because I can't imagine
Ben Stiller ever having wondered,
329
00:17:27,546 --> 00:17:29,757
"God, has Owen ever played Hamlet?"
330
00:17:29,840 --> 00:17:31,925
If you had to do a Shakespeare play...
331
00:17:32,801 --> 00:17:34,344
what would you choose?
332
00:17:35,429 --> 00:17:37,973
Two Gentlemen of Verona, I think.
333
00:17:38,557 --> 00:17:40,517
(BOTH LAUGHING)
334
00:17:43,312 --> 00:17:44,605
Do you know it well?
335
00:17:44,688 --> 00:17:47,107
Tom almost was able to keep
a straight face.
336
00:17:47,191 --> 00:17:48,984
-By heart.
-That's when I felt like...
337
00:17:49,068 --> 00:17:52,696
When he was asking the question,
"Have you played Hamlet?"
338
00:17:52,780 --> 00:17:55,199
That's, like... He was just, like...
339
00:17:55,282 --> 00:17:57,159
Just being so polite about it.
340
00:17:57,242 --> 00:17:58,410
-But...
-You never know.
341
00:17:58,494 --> 00:18:00,329
-You could've played it at school...
-Yeah.
342
00:18:00,412 --> 00:18:01,747
...in a school production.
343
00:18:01,830 --> 00:18:03,957
-Yeah. What one could I...
-You know most of it.
344
00:18:04,041 --> 00:18:06,085
He knows most of Hamlet.
People don't know that.
345
00:18:06,168 --> 00:18:07,503
-You know it by heart.
-No.
346
00:18:07,586 --> 00:18:09,338
-That's not true.
-You know some of it.
347
00:18:09,421 --> 00:18:11,673
-As You Like It?
-"Cease to persuade, loving Proteus.
348
00:18:11,757 --> 00:18:14,176
"Home-keeping youth have ever homely wit."
349
00:18:14,259 --> 00:18:17,971
That's the first line
from Two Gentlemen of Verona, I think.
350
00:18:18,055 --> 00:18:20,099
Which, I don't know the play,
351
00:18:20,182 --> 00:18:24,144
but in college,
I took a Shakespeare class.
352
00:18:24,394 --> 00:18:28,107
Déjà vu. Yeah, time moves
a little differently here in the TVA.
353
00:18:28,190 --> 00:18:31,151
I think something that me and Owen
spoke about at the very beginning was
354
00:18:31,235 --> 00:18:33,487
he really wanted to, like,
get out of himself.
355
00:18:33,570 --> 00:18:36,949
And I think a key thing for that
was the wig.
356
00:18:37,032 --> 00:18:39,409
Obviously, we wanted to keep
the moustache for Mobius
357
00:18:39,493 --> 00:18:42,037
'cause that's so key
to his character in the comics
358
00:18:42,121 --> 00:18:44,039
and the artist that he's based on.
359
00:18:44,123 --> 00:18:46,625
You gonna keep this?
Or is this gonna stay in your life?
360
00:18:46,708 --> 00:18:49,503
Well, I've gotten a lot of compliments
on this moustache.
361
00:18:49,586 --> 00:18:52,381
-It's very dashing, I think.
-"Dashing" is the word that
362
00:18:52,464 --> 00:18:54,758
a lot of people have used.
So I might...
363
00:18:54,842 --> 00:18:56,301
-I can't afford...
-"Dapper."
364
00:18:56,385 --> 00:18:57,928
"Dapper." I don't think
365
00:18:58,011 --> 00:19:00,139
-I can afford to shave this.
-"Smart." Yep.
366
00:19:00,222 --> 00:19:01,807
-This might be from...
-"Fancy."
367
00:19:01,890 --> 00:19:05,519
From here on out when you see ol' OCW,
368
00:19:05,602 --> 00:19:08,313
you might... (LAUGHS)
see him with a mustache.
369
00:19:08,647 --> 00:19:10,899
WILSON: I really like the whole look.
370
00:19:10,983 --> 00:19:14,111
And maybe it's a little bit sort of
like that feeling as a kid
371
00:19:14,194 --> 00:19:15,654
when you're kind of make believe.
372
00:19:15,737 --> 00:19:17,906
Come on, gear up. There's been an attack.
373
00:19:19,741 --> 00:19:23,287
Well, that's why I like this hat,
because this feels a little bit like a...
374
00:19:23,370 --> 00:19:25,873
A gumshoe from kind of the '40s,
375
00:19:25,956 --> 00:19:29,376
which I feel like
this "TVA" is a bit like.
376
00:19:29,459 --> 00:19:33,881
WADA: I just wanted him to look completely
like off-the-rack detective.
377
00:19:33,964 --> 00:19:38,010
Almost as if he, you know,
just found his clothing
378
00:19:38,093 --> 00:19:40,012
through the lost and found at the TVA.
379
00:19:40,095 --> 00:19:43,557
"Insubordinate, stubborn, unpredictable."
380
00:19:44,224 --> 00:19:46,018
Sounds like someone else I know.
381
00:19:46,101 --> 00:19:48,312
I was just thinking
it sounds like someone I know.
382
00:19:48,395 --> 00:19:54,026
WALDRON: We always had the Time-Keepers
as kind of this big, omnipotent threat,
383
00:19:54,109 --> 00:19:57,112
antagonistic force in the TVA.
384
00:19:57,571 --> 00:19:59,948
But as we were writing the series,
385
00:20:00,032 --> 00:20:04,953
we realized we probably need
a more on-the-ground threat.
386
00:20:05,037 --> 00:20:07,956
And that really took the form
of Judge Renslayer.
387
00:20:08,040 --> 00:20:11,793
You ridiculous bureaucrats
will not dictate how my story ends!
388
00:20:11,877 --> 00:20:15,172
It's not your story, Mr. Laufeyson.
It never was.
389
00:20:15,255 --> 00:20:20,510
HIDDLESTON: Judge Renslayer, played
with such poise, and authority, and power
390
00:20:20,594 --> 00:20:22,930
by Gugu Mbatha-Raw,
391
00:20:23,013 --> 00:20:27,100
is the TVA's Chief Justice.
392
00:20:27,184 --> 00:20:28,435
RENSLAYER: Hey!
393
00:20:28,518 --> 00:20:29,686
(WEAPONS CLICKING)
394
00:20:29,770 --> 00:20:32,356
I loved the dimensions of Renslayer.
395
00:20:32,439 --> 00:20:34,900
I felt like people who know the comics
know who she is,
396
00:20:34,983 --> 00:20:37,653
but she's never been interpreted before,
you know.
397
00:20:37,736 --> 00:20:41,573
So, there is a sense that
you are really getting to create her.
398
00:20:41,657 --> 00:20:45,160
And I just love the depths that she has
and the layers that she has.
399
00:20:45,244 --> 00:20:47,037
And I think that she's powerful.
400
00:20:47,120 --> 00:20:49,248
She's well respected.
She's worked her way up.
401
00:20:49,331 --> 00:20:50,332
There's our Variant.
402
00:20:50,415 --> 00:20:53,335
I don't think I've ever played
such an authoritative character.
403
00:20:53,418 --> 00:20:56,171
You know what would happen
if we didn't prune the Timeline?
404
00:20:56,255 --> 00:20:58,340
-MOBIUS: What?
-Chaos. Death.
405
00:20:58,423 --> 00:20:59,925
-Free will?
-(SCOFFS)
406
00:21:00,008 --> 00:21:01,510
Free will?
407
00:21:01,593 --> 00:21:04,054
Only one person gets free will.
408
00:21:04,137 --> 00:21:05,264
The one in charge.
409
00:21:10,143 --> 00:21:12,688
We are here in my office...
410
00:21:12,771 --> 00:21:16,275
Uh, Ravonna Renslayer,
Judge Renslayer's office.
411
00:21:16,358 --> 00:21:19,069
Uh, and this is...
This is an incredible set.
412
00:21:19,152 --> 00:21:21,655
And obviously we can't fully see
right behind us,
413
00:21:21,738 --> 00:21:25,367
but between the Time-Keepers right here,
414
00:21:25,450 --> 00:21:30,414
um, there's an amazing view,
um, of the whole of the TVA.
415
00:21:30,497 --> 00:21:34,626
And it's really, um...
It's really a powerful space.
416
00:21:34,710 --> 00:21:37,671
I love it. And it's got that
mid-century warmth to it.
417
00:21:37,754 --> 00:21:40,424
I really feel like
I've bonded with the space. (CHUCKLES)
418
00:21:42,801 --> 00:21:47,222
WRIGHT: We all just knew
we wanted to build sets.
419
00:21:47,306 --> 00:21:54,271
The TVA just lent itself to a tactile,
real, grounded feeling.
420
00:21:54,563 --> 00:21:57,983
You wanted to see the rings of coffee
on papers and desks.
421
00:21:58,066 --> 00:22:00,986
And like, to do that, you just...
You have to build the world.
422
00:22:02,404 --> 00:22:05,574
For the record, this really does feel
like a killing-me kind of a room.
423
00:22:05,657 --> 00:22:08,535
HERRON: You wanna have this kind of
Big-Brother-is-watching vibe
424
00:22:08,618 --> 00:22:11,163
with the TVA, that the Time-Keepers
are always watching.
425
00:22:11,246 --> 00:22:13,957
And it has this beautiful,
big statues of the Time-Keepers,
426
00:22:14,041 --> 00:22:15,834
'cause they are gods, essentially.
427
00:22:15,917 --> 00:22:19,046
But I love the idea of marrying that
with the Mad Men aesthetic,
428
00:22:19,129 --> 00:22:22,090
because, you know, we think that
they're good guys, and it's stylish.
429
00:22:22,174 --> 00:22:23,675
MOBIUS: Home sweet home.
430
00:22:26,470 --> 00:22:28,138
I thought there was no magic here.
431
00:22:28,221 --> 00:22:29,473
There isn't.
432
00:22:29,973 --> 00:22:32,976
BROUSSARD: We talked a lot about
fun sci-fi bureaucracies,
433
00:22:33,060 --> 00:22:36,438
things like Defending Your Life,
or Beetlejuice,
434
00:22:36,521 --> 00:22:38,440
or Terry Gilliam's Brazil.
435
00:22:38,523 --> 00:22:42,486
They've all been great touchstones
for this massive organization
436
00:22:42,569 --> 00:22:46,573
that feels kind of stuck in the past,
in that it's very analog...
437
00:22:46,656 --> 00:22:49,409
There's a lot of paper,
a lot of older machines.
438
00:22:49,493 --> 00:22:53,246
But also do this amazing, huge job
of controlling all of time, basically.
439
00:22:53,330 --> 00:22:55,665
Is this the greatest power
in the universe?
440
00:22:55,749 --> 00:22:58,543
Autumn, our director of photography,
is doing an amazing job.
441
00:22:58,627 --> 00:23:01,505
Painting with light
and making things feel very cinematic,
442
00:23:01,588 --> 00:23:02,923
very moody, and very cool.
443
00:23:04,549 --> 00:23:06,385
Mischievous scamp.
444
00:23:14,476 --> 00:23:16,895
The world that the production
designers created
445
00:23:17,020 --> 00:23:20,649
and kind of Kate's come up with
is very unique for Loki,
446
00:23:20,732 --> 00:23:22,401
and it has a lot of texture.
447
00:23:22,484 --> 00:23:26,154
And I like to kind of bring
that to the space
448
00:23:26,238 --> 00:23:28,156
with lighting and lens choice.
449
00:23:28,240 --> 00:23:31,785
And, you know, I want it to
not be too sharp and too pristine,
450
00:23:31,868 --> 00:23:35,622
so it feels like it could
have been shot on 35.
451
00:23:35,705 --> 00:23:37,082
And that's important to me,
452
00:23:37,165 --> 00:23:39,584
and I think everyone
was kind of on board with that.
453
00:23:40,210 --> 00:23:41,753
Swinging for the fences!
454
00:23:41,837 --> 00:23:43,672
KASRA FARAHANI:
The TVA is radically different
455
00:23:43,755 --> 00:23:46,174
than what we've seen so far in the MCU.
456
00:23:46,258 --> 00:23:50,345
It's heavily kind of influenced
by mid-century Modernism and Brutalism,
457
00:23:50,429 --> 00:23:56,226
with a strong dose
of Kafka-esque humor mixed into it
458
00:23:56,309 --> 00:23:59,020
and bureaucratic kind of chaos.
459
00:23:59,104 --> 00:24:02,441
-Wish I could say I was surprised.
-Yeah, I wish you hadn't interrupted us.
460
00:24:02,524 --> 00:24:05,360
-Me? It's my fault?
-Look, he can't have gotten very far.
461
00:24:05,444 --> 00:24:06,528
HUNTER B-15: Split up!
462
00:24:06,611 --> 00:24:08,905
HIDDLESTON: Some of the architecture
and the design are circular.
463
00:24:08,989 --> 00:24:11,408
I suppose it's the idea
of how we think of time.
464
00:24:11,491 --> 00:24:13,285
Time does exist in circles.
465
00:24:13,368 --> 00:24:15,328
Clocks and watches are circular.
466
00:24:15,412 --> 00:24:17,581
We talk of the years and the seasons.
467
00:24:17,664 --> 00:24:21,126
We speak of seasonal cycles,
and we think of time as a kind of...
468
00:24:21,793 --> 00:24:23,670
it's something that rolls along.
469
00:24:23,753 --> 00:24:24,963
MINUTEMAN: Take a ticket.
470
00:24:25,046 --> 00:24:28,049
FARAHANI: In some ways,
that is one of our simplest sets.
471
00:24:28,133 --> 00:24:32,387
And yet it's a lot of people's favorite,
and it's sort of the funniest.
472
00:24:32,471 --> 00:24:35,098
The idea is that
it's like a very oppressive,
473
00:24:35,182 --> 00:24:37,225
compressed but trash compactor box.
474
00:24:37,309 --> 00:24:38,643
Standing in this room now,
475
00:24:38,727 --> 00:24:41,688
the ceiling is incredibly low,
and there are all these lights.
476
00:24:41,771 --> 00:24:45,233
It feels quite claustrophobic.
And you just wanna get out.
477
00:24:45,317 --> 00:24:47,235
FARAHANI: The ceilings are 7'6''.
478
00:24:47,319 --> 00:24:51,740
Even in a pretty humble apartment,
you typically have 8-foot ceilings,
479
00:24:51,823 --> 00:24:53,867
so there's six inches less headroom.
480
00:24:53,950 --> 00:24:56,161
So it feels like
it's kind of crushing down on you.
481
00:24:56,244 --> 00:24:59,164
And then, obviously,
as you know, the ceiling is covered
482
00:24:59,247 --> 00:25:03,502
in this sea of illuminated
circles of white, reflected light.
483
00:25:03,585 --> 00:25:05,295
And inside of each circle,
484
00:25:05,378 --> 00:25:09,591
there is a bulb that has a chrome tip
at the bottom and shines light up.
485
00:25:09,674 --> 00:25:13,512
And so, if you look at it, it looks
like a sea of eyeballs, essentially.
486
00:25:13,595 --> 00:25:18,642
And, you know, there's all the stanchions
and the kind of nylon ropes
487
00:25:18,725 --> 00:25:21,186
that are corralling them like cattle,
488
00:25:21,269 --> 00:25:24,523
immediately stripping them
of any kind of free will.
489
00:25:24,606 --> 00:25:26,733
MISS MINUTES: Thanks for visiting the TVA.
490
00:25:26,816 --> 00:25:29,027
Don't hesitate
to let us know how we're doin'.
491
00:25:29,611 --> 00:25:33,240
HERRON: We interestingly have a lot
of hierarchy across the whole story.
492
00:25:33,323 --> 00:25:38,828
Like the TVA, in its design, for example,
you have Minutemen, Analysts, then Judges.
493
00:25:38,912 --> 00:25:40,830
But that's reflected
in the design of the TVA.
494
00:25:40,914 --> 00:25:43,500
We have these kind of
Shining Overlook-style corridors
495
00:25:43,583 --> 00:25:45,043
that are endless and go on forever.
496
00:25:45,126 --> 00:25:48,421
But we have the security level,
and the management office level,
497
00:25:48,505 --> 00:25:50,298
and then the level where Renslayer is.
498
00:25:50,382 --> 00:25:53,051
And I think that
that was really key as well,
499
00:25:53,134 --> 00:25:56,972
was making it clear that the TVA,
even in the design and the architecture,
500
00:25:57,055 --> 00:25:58,765
had this kind of feeling of hierarchy.
501
00:25:58,848 --> 00:26:04,396
We really worked hard to develop
class systems in this show.
502
00:26:04,479 --> 00:26:06,565
So we just created
all this different ranking.
503
00:26:06,648 --> 00:26:10,569
So basically, the Hunters
have solid black uniforms.
504
00:26:10,652 --> 00:26:13,863
All the Minutemen,
all the sort of enlisted, have,
505
00:26:13,947 --> 00:26:15,615
what I call the harlequin pattern,
506
00:26:15,699 --> 00:26:19,619
where everybody's, from side to side,
it's a contrasting panel,
507
00:26:19,703 --> 00:26:21,788
and it switches around on each person.
508
00:26:21,871 --> 00:26:25,709
So sometimes one panel
is lighter on the right side.
509
00:26:25,792 --> 00:26:27,836
On the other person,
it's light on the left side.
510
00:26:27,919 --> 00:26:29,546
On an another,
it's light on the front.
511
00:26:29,629 --> 00:26:32,424
So that it played
with the concept of time and space.
512
00:26:32,507 --> 00:26:35,760
If you see a Loki, prune it.
513
00:26:37,178 --> 00:26:39,180
The bad Loki, preferably.
514
00:26:39,264 --> 00:26:43,852
WADA: It is kind of meant to feel
that this organization
515
00:26:43,935 --> 00:26:46,771
sort of strips you of your individuality.
516
00:26:46,855 --> 00:26:50,567
And the only things
that I did do were scarring marks.
517
00:26:50,650 --> 00:26:56,740
Like B-15 has the amount of kills
she's scratched in numbers on her helmet.
518
00:26:57,907 --> 00:27:01,286
She's a badass.
She's proficient physically.
519
00:27:01,369 --> 00:27:05,457
And, um, she's strong.
She's dedicated and loyal.
520
00:27:05,540 --> 00:27:07,334
Your Loki jumped me.
521
00:27:07,417 --> 00:27:09,294
I told you he wasn't to be trusted.
522
00:27:09,377 --> 00:27:12,505
When we were casting,
Wunmi came in, and it was just like,
523
00:27:12,589 --> 00:27:14,507
"This is it.
This is the character."
524
00:27:14,591 --> 00:27:17,052
We talked a lot about religion and faith.
525
00:27:17,135 --> 00:27:19,638
And when people have crisis of faith or
526
00:27:19,721 --> 00:27:24,643
like an epiphany or an awakening
and everything changes.
527
00:27:25,352 --> 00:27:26,394
I looked happy.
528
00:27:29,522 --> 00:27:30,523
What now?
529
00:27:30,607 --> 00:27:35,153
She brings this warmth to the character,
but then she is our most badass.
530
00:27:35,236 --> 00:27:37,405
Honestly, she's like
an action hero, right?
531
00:27:37,489 --> 00:27:39,366
It was such an exciting
moment to be, like,
532
00:27:39,449 --> 00:27:42,202
bring this really awesome
woman to the MCU.
533
00:27:45,205 --> 00:27:50,251
I really was excited about doing
the stunts and doing all of that stuff
534
00:27:50,335 --> 00:27:52,587
'cause I've never really
done that stuff before.
535
00:27:52,671 --> 00:27:54,798
A huge part of it
was just being comfortable
536
00:27:54,881 --> 00:27:56,758
with a weapon like the Time Stick,
537
00:27:56,841 --> 00:28:00,428
where you turn it on, and you snap it open
and twist it, and the light goes on.
538
00:28:00,512 --> 00:28:03,181
It's orange when you want
to prune something.
539
00:28:03,264 --> 00:28:04,307
CASEY: You almost hit me!
540
00:28:04,391 --> 00:28:06,476
MOSAKU: And then we have
the TemPad, which,
541
00:28:06,559 --> 00:28:08,770
it looks like a mobile phone,
a gold mobile phone.
542
00:28:08,853 --> 00:28:10,772
And you can call up a Time Door.
543
00:28:10,855 --> 00:28:12,107
So that's what we'd use
544
00:28:12,190 --> 00:28:15,568
to get to the new branch
and back to the TVA.
545
00:28:15,652 --> 00:28:19,823
LUKE MCDONALD: The technology that
they're using needs to feel like it's not,
546
00:28:19,906 --> 00:28:22,534
it's not futuristic, but it's not archaic.
547
00:28:22,617 --> 00:28:28,623
It needs to be this kind of
ethereal place in time.
548
00:28:28,707 --> 00:28:30,959
Because the way
that it was written and described
549
00:28:31,042 --> 00:28:35,839
in the script from the writers
was that it was a glassy time door,
550
00:28:35,922 --> 00:28:38,883
it instantly kind of started
to all click into place.
551
00:28:39,259 --> 00:28:40,260
Sir...
552
00:28:40,385 --> 00:28:42,971
MCDONALD: And one of the things
that really inspired us
553
00:28:43,054 --> 00:28:46,015
for the Time Doors was David Lynch's Dune,
554
00:28:46,099 --> 00:28:48,393
when they're practice fighting,
555
00:28:48,476 --> 00:28:50,645
and they have these
kind of shields over them.
556
00:28:50,729 --> 00:28:54,232
And we did a camera test shoot,
and we shot an element.
557
00:28:54,315 --> 00:28:58,820
And instantly I jumped into
literally lookdeving this element out.
558
00:28:58,903 --> 00:29:03,992
And we lookdeved out probably
a good 150 different designs
559
00:29:04,075 --> 00:29:07,829
before we landed on something
that everyone really liked.
560
00:29:16,379 --> 00:29:17,881
Fancy technology.
561
00:29:19,090 --> 00:29:20,925
Threatening interrogation tactics.
562
00:29:22,552 --> 00:29:25,138
Seems you and I are in a loop of our own.
563
00:29:29,017 --> 00:29:31,895
Yeah, the Time Theater's
where we really broke the back of this,
564
00:29:31,978 --> 00:29:33,396
the early part of our shoot.
565
00:29:33,480 --> 00:29:37,859
And there's such a huge and hugely
important scene that takes place in it.
566
00:29:37,942 --> 00:29:39,736
Do you enjoy hurting people?
567
00:29:39,819 --> 00:29:41,029
It's a simple question.
568
00:29:41,112 --> 00:29:42,489
Do you enjoy killing?
569
00:29:42,572 --> 00:29:43,698
LOKI: I'll kill you.
570
00:29:43,782 --> 00:29:45,283
What, like you killed your mother?
571
00:29:45,366 --> 00:29:47,076
He and Mobius in the Time Theater,
572
00:29:47,160 --> 00:29:50,705
it's two people talking
for 30 pages about identity
573
00:29:50,789 --> 00:29:53,333
and philosophy,
and life, and it's thrilling.
574
00:29:54,417 --> 00:29:56,377
I can't believe you were D.B. Cooper.
575
00:29:57,128 --> 00:29:59,130
I was young, and I lost a bet to Thor.
576
00:29:59,214 --> 00:30:02,091
Obviously, when you're working
on a Marvel production,
577
00:30:02,175 --> 00:30:04,969
there's a lot of secrecy, right?
So not everyone has a script.
578
00:30:05,053 --> 00:30:06,846
And I remember filming
on the Time Theater,
579
00:30:06,930 --> 00:30:09,808
Owen and Tom are looking at a stage,
but there's nothing on it.
580
00:30:09,891 --> 00:30:13,228
So, the stage is paused
on the Avengers on stage.
581
00:30:14,229 --> 00:30:18,733
And then Loki gets up.
He sets down the Time Disk.
582
00:30:18,817 --> 00:30:21,069
Me and the editors
have kind of cut together, like,
583
00:30:21,152 --> 00:30:24,656
"Okay, we think this is a good
moment to play, or this moment."
584
00:30:24,739 --> 00:30:27,575
Let's go from the top of that clip,
just so we get the timing on it.
585
00:30:27,659 --> 00:30:29,369
MAN: All right. Let's reset.
Let's shoot it.
586
00:30:29,452 --> 00:30:31,704
HERRON: There were points
where the crew were like,
587
00:30:31,788 --> 00:30:35,917
"Okay. This is two guys in a room,
and they're looking at a wall.
588
00:30:36,543 --> 00:30:40,046
"And Kate and Tom seem
to have a groove for what's going on."
589
00:30:40,129 --> 00:30:42,799
'Cause I'd say, "Now it's Dark World.
Or now it's Avengers."
590
00:30:42,882 --> 00:30:45,802
So, I've gone back
to the same clip of Mum dying.
591
00:30:47,053 --> 00:30:50,306
This is where the reaction
goes on my own now.
592
00:30:50,390 --> 00:30:52,433
HERRON: What was really
beautiful about it was that,
593
00:30:52,517 --> 00:30:55,103
filming that,
some of the crew were probably, like,
594
00:30:55,186 --> 00:30:56,437
"Okay, this is very strange."
595
00:30:56,521 --> 00:30:59,482
But they still threw
their heart and souls into it.
596
00:30:59,566 --> 00:31:03,152
And I think it was a real unifying moment
for everyone.
597
00:31:03,236 --> 00:31:06,489
And also, beyond that, just seeing
Owen and Tom's chemistry on screen.
598
00:31:06,573 --> 00:31:08,283
It was incredible.
599
00:31:08,366 --> 00:31:10,785
And, like, it kind of began
this chess match
600
00:31:10,869 --> 00:31:13,663
that both those characters really play
across the whole show.
601
00:31:13,746 --> 00:31:16,499
A fugitive Variant's
been killing our Minutemen.
602
00:31:17,375 --> 00:31:20,962
And you need the God of Mischief
to help you stop him?
603
00:31:21,254 --> 00:31:22,463
That's right.
604
00:31:23,131 --> 00:31:24,215
Why me?
605
00:31:24,757 --> 00:31:26,718
The Variant we're hunting is...
606
00:31:27,385 --> 00:31:28,469
you.
607
00:31:30,513 --> 00:31:31,514
I beg your pardon?
608
00:31:33,099 --> 00:31:36,060
HIDDLESTON:
"The enemy of my enemy is my friend."
609
00:31:36,561 --> 00:31:40,106
And Loki is, by far, his own worst enemy.
610
00:31:40,189 --> 00:31:43,860
In the 11 years of playing him,
over six films,
611
00:31:43,943 --> 00:31:46,821
spanning 13 hours and 50 minutes,
612
00:31:46,905 --> 00:31:49,532
he has fought his brother and his father,
613
00:31:49,949 --> 00:31:54,329
Frost Giants and Elves,
Avengers and Titans.
614
00:31:55,121 --> 00:31:57,707
But I can say with complete certainty
615
00:31:57,790 --> 00:32:02,795
that Loki's biggest battle
has always been within himself...
616
00:32:03,922 --> 00:32:05,340
...until now.
617
00:32:07,717 --> 00:32:12,555
If this show was about
Loki learning to love himself,
618
00:32:12,639 --> 00:32:17,268
a key way to help him arc and learn
to overcome those things
619
00:32:17,352 --> 00:32:19,145
is to have somebody that's gonna come in
620
00:32:19,228 --> 00:32:21,356
and challenge those views
in the first place.
621
00:32:21,439 --> 00:32:23,191
This isn't about you.
622
00:32:23,274 --> 00:32:24,275
Right.
623
00:32:24,776 --> 00:32:27,570
BROUSSARD: Sophia plays a character
in the comics
624
00:32:27,654 --> 00:32:30,698
that was known as Sylvie Lushton.
She was an apprentice of Loki's
625
00:32:30,782 --> 00:32:34,327
and sort of someone that
he groomed to be a great sorcerer.
626
00:32:34,410 --> 00:32:40,458
Our version in the show is basically
another version of Loki himself.
627
00:32:40,833 --> 00:32:41,960
What are you doing?
628
00:32:42,043 --> 00:32:43,044
What are you doing?
629
00:32:44,295 --> 00:32:46,255
-You trying to enchant me?
-No.
630
00:32:46,339 --> 00:32:48,508
-It won't work.
-Why? Because you're a magician?
631
00:32:48,591 --> 00:32:50,468
No, because my mind is too strong.
632
00:32:50,927 --> 00:32:53,346
SOPHIA DI MARTINO: What really
intrigued me about the story was that
633
00:32:53,429 --> 00:32:56,933
this was a female variant of Loki
who was a lot more in line
634
00:32:57,016 --> 00:32:59,477
with The Enchantress character
that we know from the comics,
635
00:32:59,560 --> 00:33:02,397
but also, in a sense, a complete
re-imagining of The Enchantress.
636
00:33:02,480 --> 00:33:04,774
I thought there was something
interesting in that.
637
00:33:04,857 --> 00:33:07,193
Like, taking these two kind of
identities of Loki
638
00:33:07,276 --> 00:33:08,569
but doing something different.
639
00:33:08,653 --> 00:33:10,363
-Keep it together.
-It's gonna be fine.
640
00:33:10,446 --> 00:33:16,911
She's another version of him
in the unlimited universes (CHUCKLES)
641
00:33:17,620 --> 00:33:21,249
um, that are around.
And there are many versions of Loki.
642
00:33:21,332 --> 00:33:22,959
So her nexus event
643
00:33:23,042 --> 00:33:27,255
pulled her away
from her Loki life in Asgard,
644
00:33:27,338 --> 00:33:31,342
and so she's been living
a parallel life the whole time.
645
00:33:31,426 --> 00:33:33,302
And it hasn't been great for Sylvie.
646
00:33:33,761 --> 00:33:36,431
(SCREAMING)
647
00:33:37,932 --> 00:33:42,103
WADA: We still needed cues
to her being a Loki.
648
00:33:42,186 --> 00:33:46,399
But she needed to feel armored in a more
lost-and-found sort of way as well.
649
00:33:46,482 --> 00:33:51,696
Sort of as if she was picking up pieces
along the way in her hideout.
650
00:33:52,071 --> 00:33:53,948
It's as if Sylvie needed to feel
651
00:33:54,032 --> 00:33:57,368
as though she was trying to recede
into these worlds a little bit,
652
00:33:57,452 --> 00:34:00,371
but also be badass, tough, and armored.
653
00:34:00,455 --> 00:34:02,206
DI MARTINO: They've borrowed things
from Loki.
654
00:34:02,290 --> 00:34:05,251
Sort of the gold shape around the neck,
655
00:34:05,877 --> 00:34:08,421
and the leather, and the cape.
656
00:34:09,088 --> 00:34:11,132
The green circles on...
657
00:34:11,215 --> 00:34:14,177
On the arms are...
The green is for Loki, obviously.
658
00:34:14,260 --> 00:34:16,554
And there's little bits of Enchantress
there as well.
659
00:34:16,637 --> 00:34:19,348
We really wanted it to be super practical.
660
00:34:19,432 --> 00:34:23,186
Something that you can fight in
and that Sylvie could be on the run in,
661
00:34:23,269 --> 00:34:25,480
rather than high heels and a leotard.
662
00:34:28,900 --> 00:34:30,777
(YELLS)
663
00:34:32,236 --> 00:34:33,905
DI MARTINO: Such a gift of a character.
664
00:34:33,988 --> 00:34:37,992
I get to just be this absolute badass
who's really angry,
665
00:34:38,076 --> 00:34:40,620
and fight all of these guys.
666
00:34:44,165 --> 00:34:45,583
HERRON: Something that was really fun
667
00:34:45,666 --> 00:34:47,752
in looking at Sylvie
and her fighting style
668
00:34:47,835 --> 00:34:49,962
and looking at these little
differences between her,
669
00:34:50,046 --> 00:34:51,756
you know, being a female version of Loki,
670
00:34:51,839 --> 00:34:53,049
what makes her different?
671
00:34:53,132 --> 00:34:54,801
And it's the nature and nurture.
672
00:34:54,884 --> 00:34:56,135
TRAINER: Bam. Push down.
673
00:34:56,219 --> 00:34:59,138
HERRON: Loki grew up in a palace,
and he's very balletic, the way he fights.
674
00:34:59,222 --> 00:35:00,848
It's very graceful and very beautiful.
675
00:35:00,932 --> 00:35:05,311
Whereas Sylvie, she's had to be on the run
and live and grow up in an apocalypse.
676
00:35:05,394 --> 00:35:08,523
So, I always think of her a bit
like a feral cat, the way she fights.
677
00:35:08,606 --> 00:35:10,525
You almost expect her to bite someone.
678
00:35:10,608 --> 00:35:12,485
You see her at some point
take off her horns
679
00:35:12,568 --> 00:35:13,945
and put them in someone's face.
680
00:35:14,028 --> 00:35:17,365
Whereas Loki,
it's very, like, big arm movements.
681
00:35:19,158 --> 00:35:22,870
Loki has this matador style of fighting,
682
00:35:22,954 --> 00:35:27,458
where everything is about a kind of
elegance and a kind of showmanship.
683
00:35:27,542 --> 00:35:28,918
MAN: And fight!
684
00:35:29,001 --> 00:35:30,711
(ALL GRUNTING)
685
00:35:32,130 --> 00:35:34,715
HIDDLESTON: We're actually trying
to build on everything I've done,
686
00:35:34,799 --> 00:35:38,219
but make it even more graceful, I suppose.
If I can.
687
00:35:38,302 --> 00:35:40,763
It's another mechanism for story.
It's very cool.
688
00:35:46,477 --> 00:35:48,354
-Hey! There it is.
-(LAUGHING)
689
00:35:48,855 --> 00:35:51,607
Once you take away
all the action and spectacle,
690
00:35:51,691 --> 00:35:53,317
our story is about identity
691
00:35:53,401 --> 00:35:55,403
and someone finding their place
in the world.
692
00:35:55,486 --> 00:35:57,446
-You're not a serious man.
-You're right. I'm a god.
693
00:35:57,530 --> 00:35:58,573
You're a clown.
694
00:35:58,656 --> 00:36:00,408
HERRON: In Episode Three, in Shuroo,
695
00:36:00,491 --> 00:36:03,244
this is a really big moment
for Loki and Sylvie in their journey.
696
00:36:03,327 --> 00:36:05,121
They're actually working as a team.
697
00:36:05,204 --> 00:36:07,456
We have to get on that ark
and make sure it takes off.
698
00:36:07,540 --> 00:36:08,666
How?
699
00:36:09,417 --> 00:36:10,501
We go around.
700
00:36:10,585 --> 00:36:12,753
HIDDLESTON: Loki and Sylvie
have to run through this town,
701
00:36:12,837 --> 00:36:14,380
and the stakes are very high.
702
00:36:14,463 --> 00:36:19,343
And the scene has to have an enormous
amount of momentum and propulsive energy.
703
00:36:19,427 --> 00:36:22,471
And Kasra built a town.
704
00:36:22,889 --> 00:36:25,391
He just built the town on the backlot.
705
00:36:27,143 --> 00:36:29,896
WRIGHT: Shuroo was a set and a set piece
706
00:36:29,979 --> 00:36:33,441
that from the early days,
we planted the flag and said,
707
00:36:33,524 --> 00:36:35,526
"This is what it's going to be.
708
00:36:35,610 --> 00:36:38,529
"And we want it to be big.
We want it to be practical.
709
00:36:38,613 --> 00:36:41,157
"They need to be able
to run through this city.
710
00:36:41,240 --> 00:36:43,117
"We have to build the city."
711
00:36:43,784 --> 00:36:45,620
Shuroo, where we are now,
712
00:36:45,703 --> 00:36:50,499
has some of the archetypical
visual elements of a frontier town,
713
00:36:50,583 --> 00:36:54,378
but has some elements
that are completely different,
714
00:36:54,462 --> 00:36:56,130
from what we've seen on Earth
715
00:36:56,214 --> 00:36:58,633
and completely different
from any other alien worlds
716
00:36:58,716 --> 00:37:01,469
that have been established
so far in the MCU.
717
00:37:01,552 --> 00:37:06,140
The scenes are all at night,
and you gotta check it out at night.
718
00:37:06,224 --> 00:37:10,019
There's a lot of black light paint,
so the finishes, as you see them now,
719
00:37:10,102 --> 00:37:12,939
are quite different than
where they actually end up being.
720
00:37:13,022 --> 00:37:16,901
There's a quality where the architecture
itself becomes light sources
721
00:37:16,984 --> 00:37:19,612
because there's these elaborate,
painted patterns
722
00:37:19,695 --> 00:37:22,740
that are interactive with light on them.
723
00:37:22,823 --> 00:37:25,993
And so, it's almost, like,
floating, glowing patterns.
724
00:37:26,077 --> 00:37:27,453
SYLVIE: Do we trust each other?
725
00:37:27,536 --> 00:37:29,580
LOKI: We do and you can.
726
00:37:29,664 --> 00:37:31,207
(PEOPLE CLAMORING)
727
00:37:31,332 --> 00:37:32,333
SYLVIE: Good.
728
00:37:32,458 --> 00:37:36,754
So, we walk up,
we walk through this tunnel
729
00:37:36,837 --> 00:37:40,716
and into the city of Shuroo. Follow me.
730
00:37:44,804 --> 00:37:47,348
Ta-da! (CHUCKLES)
731
00:37:47,431 --> 00:37:49,725
Which is, I have to say,
732
00:37:50,351 --> 00:37:54,188
the most amazing... One of the most
amazing sets I have ever been on.
733
00:37:55,189 --> 00:37:58,985
I mean, it's been...
This has all been built on the backlot,
734
00:37:59,068 --> 00:38:00,987
here in Atlanta at the studios.
735
00:38:01,070 --> 00:38:05,157
Uh, it's all been lit and painted
so that it glows in the dark.
736
00:38:05,241 --> 00:38:07,076
Uh, it didn't exist before.
737
00:38:07,159 --> 00:38:09,870
And even on a Marvel project,
738
00:38:09,954 --> 00:38:12,415
I've never been on a set this size,
I don't think.
739
00:38:12,498 --> 00:38:15,835
FARAHANI: The scene here is being shot
as a oner.
740
00:38:15,918 --> 00:38:18,629
And so what's required to do that
741
00:38:18,713 --> 00:38:22,883
is essentially a set
that is 360 degrees photographable.
742
00:38:22,967 --> 00:38:27,263
So, every surface has to be designed,
and built, and set decked.
743
00:38:27,346 --> 00:38:30,933
Big part of it was not building
any more set than we need.
744
00:38:31,017 --> 00:38:33,936
It's really doing a lot of planning
in the early phases.
745
00:38:34,020 --> 00:38:36,314
Kate worked with previz
and storyboards quite a lot
746
00:38:36,397 --> 00:38:38,983
to figure out exactly how much we needed.
747
00:38:39,066 --> 00:38:43,321
So that was a huge part to making sure
the resources were utilized well.
748
00:38:43,404 --> 00:38:45,990
Kate and I have probably been
working on this for about a year
749
00:38:46,073 --> 00:38:47,700
when we first met,
750
00:38:47,783 --> 00:38:50,494
and started our prep in Los Angeles
at Disney.
751
00:38:50,578 --> 00:38:52,413
There are cuts in our sequence,
752
00:38:52,496 --> 00:38:55,499
but we wanted the audience
to feel like it's one shot.
753
00:38:55,583 --> 00:38:59,879
So, we have stitches that transition us
from one shot to the other.
754
00:38:59,962 --> 00:39:02,506
But the way that we filmed them,
we hide them
755
00:39:02,590 --> 00:39:04,342
so that they feel seamless,
756
00:39:04,425 --> 00:39:07,011
so you feel like it's one shot
from start to finish.
757
00:39:09,096 --> 00:39:13,309
I think it will be eight or nine
sort of stitches in the oner.
758
00:39:13,392 --> 00:39:15,895
But essentially,
we come through this thing.
759
00:39:15,978 --> 00:39:17,396
And behind me, you see...
760
00:39:17,480 --> 00:39:21,734
In the show, you see
this enormous crowd of people.
761
00:39:21,817 --> 00:39:25,863
And at the very, very end of this street,
up in the night sky,
762
00:39:26,113 --> 00:39:29,241
is the docking point for this ark,
763
00:39:29,325 --> 00:39:32,119
this ship that is potentially leaving.
764
00:39:32,703 --> 00:39:35,164
And these meteors
are crashing into the buildings,
765
00:39:35,247 --> 00:39:38,000
and the buildings are falling down,
and it's mayhem.
766
00:39:38,084 --> 00:39:40,127
People are running and screaming,
767
00:39:40,211 --> 00:39:42,338
and trying to get on the ark.
768
00:39:42,421 --> 00:39:45,674
And there are guards
who are trying to stop them.
769
00:39:45,758 --> 00:39:47,885
So, to have the two of us,
to have Loki and Sylvie,
770
00:39:47,968 --> 00:39:49,804
myself and Sophia,
have to get through this,
771
00:39:49,887 --> 00:39:52,556
just creates an extraordinary,
dynamic momentum.
772
00:39:52,640 --> 00:39:57,228
And it's so exciting that at the moment
that Loki and Sylvie actually connect,
773
00:39:57,311 --> 00:40:00,689
that it finishes at the end
of this extraordinary piece of action.
774
00:40:08,781 --> 00:40:11,492
Do you think that what makes a Loki a Loki
775
00:40:11,951 --> 00:40:14,578
is the fact that we're destined to lose?
776
00:40:15,037 --> 00:40:16,247
LOKI: No.
777
00:40:16,872 --> 00:40:18,374
We may lose.
778
00:40:20,292 --> 00:40:21,961
Sometimes painfully.
779
00:40:24,046 --> 00:40:25,506
But we don't die.
780
00:40:25,965 --> 00:40:29,093
One of the writers in our writers' room,
Elissa Karasik,
781
00:40:29,176 --> 00:40:31,846
she came in with a real strong POV
782
00:40:31,929 --> 00:40:34,014
that it should run
at that love-story thing.
783
00:40:34,098 --> 00:40:38,936
And it was something the whole
writers' room got behind from day one.
784
00:40:39,019 --> 00:40:40,104
Not bad.
785
00:40:41,147 --> 00:40:45,401
You know, it's so chaotic to fall in love
with a version of yourself,
786
00:40:45,484 --> 00:40:49,113
but at the same time,
it's such a bad idea and so mischievous,
787
00:40:49,196 --> 00:40:51,657
it's, like, of course
Loki would fall in love with himself.
788
00:40:51,740 --> 00:40:53,451
But he's also a character that,
789
00:40:53,534 --> 00:40:57,705
I think, needs to, you know,
get past his demons
790
00:40:57,788 --> 00:41:01,542
and find the good within himself to be
able to go on that redemptive journey.
791
00:41:01,625 --> 00:41:03,961
So at the heart of it,
it is this love story,
792
00:41:04,044 --> 00:41:06,005
and you never fall in love
at the right time.
793
00:41:06,088 --> 00:41:07,381
The nice thing about it is that
794
00:41:07,465 --> 00:41:10,301
Crater Lake is where these two characters
really come together,
795
00:41:10,384 --> 00:41:13,137
and they realize there's something deeper
going on here.
796
00:41:13,888 --> 00:41:17,099
HIDDLESTON: You know, in life,
we all go through struggles,
797
00:41:17,183 --> 00:41:18,851
but we can't do it alone.
798
00:41:18,934 --> 00:41:21,187
And if we have people we can trust,
799
00:41:21,270 --> 00:41:25,065
it lightens the load,
and it gladdens the heart.
800
00:41:25,149 --> 00:41:29,111
And I think the relationship between
Loki and Sylvie is about that connection.
801
00:41:29,195 --> 00:41:33,199
That they learn, each of them,
to care about the other.
802
00:41:34,366 --> 00:41:38,287
What a incredible seismic narcissist.
803
00:41:38,370 --> 00:41:40,039
You fell for yourself.
804
00:41:40,122 --> 00:41:41,665
Her name was Sylvie.
805
00:41:41,749 --> 00:41:43,542
Ah, Sylvie.
806
00:41:44,084 --> 00:41:48,714
Lovely. How do you spell that?
Is that with an I-E or just an I?
807
00:41:48,797 --> 00:41:50,090
Is she alive?
808
00:41:52,343 --> 00:41:53,344
For now.
809
00:41:56,597 --> 00:42:00,017
HIDDLESTON: People in love
often speak of time stopping
810
00:42:00,100 --> 00:42:03,771
when they first catch
that jolting glance of their paramours,
811
00:42:04,688 --> 00:42:08,359
as if our brain,
perhaps even the universe, is telling us,
812
00:42:08,692 --> 00:42:11,278
"Your life is forever changed."
813
00:42:12,321 --> 00:42:14,156
"Sear this moment into your memory."
814
00:42:16,825 --> 00:42:19,703
So much is forgotten
and discarded every day.
815
00:42:19,787 --> 00:42:22,164
A password, an acquaintance's name.
816
00:42:22,873 --> 00:42:26,752
Our inability to control what stays
and what goes
817
00:42:26,835 --> 00:42:30,381
is a constant reminder
of the fallibility of the human mind.
818
00:42:30,965 --> 00:42:34,843
Objects in the rear view
are often much smaller than they appear,
819
00:42:34,927 --> 00:42:37,721
and they get smaller and smaller each day.
820
00:42:38,931 --> 00:42:40,891
But as we march forever onward,
821
00:42:40,975 --> 00:42:45,646
we will inevitably arrive
at one of those defining moments
822
00:42:45,729 --> 00:42:49,608
where clarity arrives,
followed quickly by more uncertainty.
823
00:42:50,150 --> 00:42:54,530
What we do in this moment
can often define our lives
824
00:42:54,613 --> 00:42:56,365
in ways we never dreamed of.
825
00:42:56,448 --> 00:42:57,533
What is it?
826
00:42:57,616 --> 00:42:59,243
(GASPS)
827
00:43:02,997 --> 00:43:06,959
DI MARTINO:
Sylvie finally gets to the Time-Keepers.
828
00:43:07,042 --> 00:43:09,795
And then she finds herself
in a fight with Renslayer.
829
00:43:10,754 --> 00:43:12,172
That was a really fun scene.
830
00:43:12,715 --> 00:43:17,386
It's like, "Oh, wow!
This woman can fight. Ah!"
831
00:43:17,469 --> 00:43:19,722
"Sugar. Maybe I've met my match here."
832
00:43:19,805 --> 00:43:22,766
This time I finish the job.
833
00:43:26,562 --> 00:43:29,773
It's really the first time that
we get to see them both together.
834
00:43:29,857 --> 00:43:31,650
They have such different styles, I think,
835
00:43:31,734 --> 00:43:35,279
because Renslayer came up
from the military background as a Hunter,
836
00:43:35,362 --> 00:43:39,325
and Sylvie really did
have this street-wise fighting style.
837
00:43:41,744 --> 00:43:44,705
DI MARTINO: The stunt team and
the fight team are really careful as well
838
00:43:44,788 --> 00:43:48,459
about making sure the fights
make sense with the story.
839
00:43:48,542 --> 00:43:51,045
And we make sure that the...
840
00:43:51,128 --> 00:43:55,591
The scenes work as scenes
without any fighting
841
00:43:55,674 --> 00:43:57,718
and then, sort of add the fighting in.
842
00:43:57,801 --> 00:43:59,720
MBATHA-RAW: I think it does make sense
to go back.
843
00:43:59,803 --> 00:44:01,680
-Yeah.
-Even though it's less aggressive,
844
00:44:01,764 --> 00:44:03,140
-but she's coming forward.
-Yeah.
845
00:44:03,223 --> 00:44:04,516
-Also...
-MAN: Keep the counter step.
846
00:44:04,600 --> 00:44:06,060
-It's a good counter step.
-Yeah.
847
00:44:06,143 --> 00:44:08,354
In a musical, you sing
848
00:44:08,812 --> 00:44:12,066
when you don't have the words to express
how you feel anymore.
849
00:44:12,149 --> 00:44:14,068
When you get to that point,
you start singing.
850
00:44:14,151 --> 00:44:18,113
With this, it's like, when you don't have
the words to express how you feel anymore,
851
00:44:18,197 --> 00:44:19,406
we fight.
852
00:44:24,161 --> 00:44:27,790
MBATHA-RAW: For Renslayer, it's kind of
a fascinating arc to go from
853
00:44:27,873 --> 00:44:32,002
this very, very sort of straight
perception of the world that she has
854
00:44:32,086 --> 00:44:34,713
to it sort of all crumbling
before her eyes.
855
00:44:34,797 --> 00:44:39,885
SYLVIE: Did Judge Renslayer really
feel betrayed by her beloved TVA?
856
00:44:39,968 --> 00:44:43,681
Why don't you come back out
and we can talk about it?
857
00:44:49,061 --> 00:44:50,270
(WEAPON CLANGING)
858
00:44:54,441 --> 00:44:56,777
HERRON: When I pitched The Void,
my thought was it's meant to be
859
00:44:56,860 --> 00:45:00,322
this barren wasteland where the TVA
sends everyone, and it's rubbish.
860
00:45:00,406 --> 00:45:02,574
It was so weird
'cause I was on set, obviously,
861
00:45:02,658 --> 00:45:05,994
and we're in this countryside.
And it's gray, and it's miserable.
862
00:45:06,078 --> 00:45:08,455
And I was like,
"Oh, my God. I've pitched England."
863
00:45:08,539 --> 00:45:11,166
(LAUGHS)
But it really did remind me of it.
864
00:45:11,250 --> 00:45:14,420
It was quite strange. Quite a lot of
our cast and crew are British.
865
00:45:14,503 --> 00:45:16,380
We were like,
"Yeah, we feel like we're home."
866
00:45:21,635 --> 00:45:23,846
What I really wanted to feel
in The Void was,
867
00:45:23,929 --> 00:45:26,640
it's this place where it's like
an overgrown garden.
868
00:45:26,724 --> 00:45:30,060
We have all these weird structures.
Like, we have a boat on land,
869
00:45:30,144 --> 00:45:33,105
and you see all these kind of
strange things that have been deleted
870
00:45:33,188 --> 00:45:34,398
that shouldn't exist in time.
871
00:45:34,481 --> 00:45:36,066
We had a lot of fun with Easter eggs
872
00:45:36,150 --> 00:45:38,152
and sprinkling in stuff
that shouldn't be there.
873
00:45:38,235 --> 00:45:40,028
There's meant to be this kind of sadness
874
00:45:40,112 --> 00:45:42,364
and this kind of lack of life
about the place.
875
00:45:42,823 --> 00:45:45,576
HIDDLESTON: But there are some things
in The Void
876
00:45:45,659 --> 00:45:48,495
which have learned to stay alive.
877
00:45:48,579 --> 00:45:51,498
And they've managed
to make a life in The Void,
878
00:45:51,582 --> 00:45:54,251
if that's even possible. (CHUCKLES)
879
00:45:54,334 --> 00:45:56,795
And I can introduce you to them
if you like. (LAUGHS)
880
00:46:00,507 --> 00:46:03,177
RICHARD E. GRANT: So when I got a call
to do it, I said, "Well, what is it?
881
00:46:03,260 --> 00:46:07,681
"Is it to play an older version of Tom?"
That's what I assumed it was.
882
00:46:08,098 --> 00:46:09,767
They put it much more delicately.
883
00:46:09,850 --> 00:46:11,769
They said,
"No, you're playing Classic Loki."
884
00:46:14,396 --> 00:46:18,484
So I said, "So it's in the green Lycra
bodysuit, with muscles."
885
00:46:18,567 --> 00:46:20,861
They said, "No, you're not
gonna have the muscles."
886
00:46:20,944 --> 00:46:23,781
So I'm very distraught that,
887
00:46:23,864 --> 00:46:27,201
having had been born without any,
as you can see,
888
00:46:27,284 --> 00:46:28,994
that I thought I would finally...
889
00:46:29,077 --> 00:46:31,246
I would finally get to wear
890
00:46:31,330 --> 00:46:34,124
a green Lycra suit with built-in muscles.
891
00:46:34,666 --> 00:46:37,085
But that hasn't happened.
But I've got everything else.
892
00:46:37,169 --> 00:46:40,214
The horns, and the cape,
and the, you know, the boots.
893
00:46:40,297 --> 00:46:41,298
(LAUGHING)
894
00:46:41,423 --> 00:46:44,009
When I knew there was
gonna be this character,
895
00:46:44,092 --> 00:46:46,261
-there are, obviously, all these Lokis...
-Old.
896
00:46:46,345 --> 00:46:48,847
No, no. It wasn't just old. We literally,
897
00:46:48,931 --> 00:46:52,392
there's only one person we thought of.
And it was Richard.
898
00:46:52,476 --> 00:46:56,188
If we... If you'd said, "No," I don't know
what we would have done, really.
899
00:46:56,271 --> 00:46:58,190
-'Cause it'd be...
-You would've gone to...
900
00:46:58,273 --> 00:46:59,942
-No. No, no. It was...
-(LAUGHING)
901
00:47:00,025 --> 00:47:02,861
In fact, even in the concept art
when we were drawing it,
902
00:47:02,945 --> 00:47:05,656
it was drawn with Richard's face.
It was like a wish fulfilment.
903
00:47:05,739 --> 00:47:07,282
-Here we are, livin' the dream.
-Good.
904
00:47:07,366 --> 00:47:09,117
I'm livin' the dream. You may not be.
905
00:47:09,201 --> 00:47:10,786
-I am in the dream.
-You're saying that
906
00:47:10,869 --> 00:47:13,288
-'cause the cameras are rolling.
-I'm living in the dream.
907
00:47:13,372 --> 00:47:15,874
WADA: Well, thank God that
Loki has a sense of humor.
908
00:47:15,958 --> 00:47:18,544
And thank God that
the MCU has a sense of humor
909
00:47:18,627 --> 00:47:23,006
because it was just feeling like
you could go really
910
00:47:23,090 --> 00:47:25,259
to all corners for inspiration.
911
00:47:25,342 --> 00:47:29,972
In so many ways I kinda thought,
there's no acting required
912
00:47:30,055 --> 00:47:32,140
because the costume does it.
913
00:47:32,224 --> 00:47:35,352
I mean, it's so massive, and I'm 6'6".
914
00:47:35,435 --> 00:47:37,396
But then the boots that I have
915
00:47:37,479 --> 00:47:39,523
have, like, two inches on it, so I feel...
916
00:47:39,606 --> 00:47:41,441
I'm probably 6'8" in it already.
917
00:47:41,525 --> 00:47:43,068
And the shoulders are out here.
918
00:47:43,151 --> 00:47:47,239
I betrayed you, and now, I'm king.
919
00:47:47,781 --> 00:47:50,701
My army, my throne.
920
00:47:52,661 --> 00:47:55,581
HERRON: Something from the comics
that I love about Loki is, like,
921
00:47:55,664 --> 00:47:58,584
he has been all these different
personalities, you know.
922
00:47:58,667 --> 00:48:00,544
In the early comics,
he was very villainous,
923
00:48:00,627 --> 00:48:03,589
but then you have the very different
Kid Loki in the later comics.
924
00:48:04,172 --> 00:48:06,133
He's been like a unicorn.
He's been President.
925
00:48:06,216 --> 00:48:08,719
I feel like I'm having an identity crisis.
926
00:48:08,802 --> 00:48:11,096
WRIGHT: It was fun. It was weird.
927
00:48:11,179 --> 00:48:14,433
We were able to create
all of these bandit versions of Lokis.
928
00:48:15,183 --> 00:48:17,311
WADA: They all got different nicknames.
929
00:48:17,394 --> 00:48:22,691
They were, like, Glamshades Wolfie,
which was kinda based originally of, like,
930
00:48:22,774 --> 00:48:26,194
sort of a tribal leader. Like a shaman.
931
00:48:26,278 --> 00:48:27,863
And we had Poky Loki.
932
00:48:27,946 --> 00:48:32,284
It was just another play
on In-Prison Loki. Bicycle Loki.
933
00:48:32,367 --> 00:48:34,161
These are bicycle handlebars,
934
00:48:34,244 --> 00:48:36,246
which I think is very creative,
935
00:48:36,330 --> 00:48:40,334
and you could probably try to make,
to recreate at home, if you so choose.
936
00:48:40,417 --> 00:48:42,586
It was endless.
937
00:48:45,714 --> 00:48:47,925
Why the hell
is there an alligator in here?
938
00:48:48,008 --> 00:48:51,386
WRIGHT: Alligator Loki is wholly invented
by Michael Waldron
939
00:48:51,470 --> 00:48:53,597
in the first pitch
he ever came to us with.
940
00:48:53,680 --> 00:48:57,392
WALDRON: I'll tell you, for every really
dumb idea like that that made it in,
941
00:48:57,476 --> 00:49:01,355
there's a hundred even stupider ones
that these guys had to pull me back from.
942
00:49:01,438 --> 00:49:03,106
(GROWLING)
943
00:49:03,774 --> 00:49:07,277
That's alligator for growling
and saying "liar" at the same time.
944
00:49:07,361 --> 00:49:10,530
I remember sending a note
to the VFX team from our team,
945
00:49:10,614 --> 00:49:13,200
which was basically like,
"We want to have an alligator
946
00:49:13,283 --> 00:49:15,118
"that's very handsome
with beautiful eyes."
947
00:49:15,202 --> 00:49:16,745
And I was like, "What is this job?"
(LAUGHS)
948
00:49:16,828 --> 00:49:20,666
Alligator Loki was a very unique character
because of the fact that
949
00:49:20,749 --> 00:49:25,921
sometimes the physics of a real alligator
are not taken into consideration.
950
00:49:26,004 --> 00:49:28,423
Things like picking him up for instance.
951
00:49:28,507 --> 00:49:31,551
Well, picking up an alligator
is a very, very strange thing
952
00:49:31,635 --> 00:49:36,139
because alligators' spines
only kind of bend a certain way.
953
00:49:36,223 --> 00:49:39,226
So we were working with ILM on this.
954
00:49:39,309 --> 00:49:40,769
They found a piece of reference
955
00:49:40,852 --> 00:49:43,355
that was one of the best references
I've ever seen.
956
00:49:43,438 --> 00:49:45,649
It's this alligator called Wally,
957
00:49:45,732 --> 00:49:47,818
and he is a support alligator.
958
00:49:47,901 --> 00:49:51,655
He's absolutely amazing.
So we used this reference
959
00:49:51,738 --> 00:49:56,326
to make our alligator, based off
of this particular Wally alligator.
960
00:49:56,785 --> 00:49:58,286
It can't just be an alligator.
961
00:49:58,370 --> 00:50:01,248
It can't be something that's like,
"That's just an alligator."
962
00:50:01,331 --> 00:50:05,335
We really wanted it to give
that kind of cheeky Loki grin
963
00:50:05,419 --> 00:50:07,921
or that mischievous look to him.
964
00:50:08,005 --> 00:50:13,885
So, we based our alligator off of
as much reality as we possibly could.
965
00:50:15,095 --> 00:50:16,221
(SNARLING)
966
00:50:20,017 --> 00:50:22,227
(SCREAMING)
967
00:50:29,651 --> 00:50:34,781
HIDDLESTON: Inside The Void is
a living storm that consumes matter.
968
00:50:34,865 --> 00:50:37,409
You can think of the biggest storm
you've ever seen.
969
00:50:37,492 --> 00:50:40,203
Thunder, lightning, dark clouds.
970
00:50:40,287 --> 00:50:42,789
And the storm is called Alioth.
971
00:50:44,374 --> 00:50:45,917
(RUMBLING)
972
00:50:46,001 --> 00:50:47,127
HERRON: I love monster movies.
973
00:50:47,210 --> 00:50:49,004
And trying to tackle a monster
974
00:50:49,087 --> 00:50:52,716
where we kind of give little tastes
and teases of this creature,
975
00:50:52,799 --> 00:50:56,178
but we don't kind of show him off
completely until the big showdown.
976
00:50:56,261 --> 00:50:57,721
'Cause I love Jaws,
977
00:50:57,804 --> 00:51:00,474
and I think something really effective
about that film is that
978
00:51:00,557 --> 00:51:03,101
you get peeks at the shark,
but you don't completely see it
979
00:51:03,185 --> 00:51:05,312
until the big finale on the boat.
980
00:51:05,687 --> 00:51:08,899
And I think, for us, we were really
inspired with Alioth by nature,
981
00:51:08,982 --> 00:51:10,442
and nature can be terrifying.
982
00:51:12,611 --> 00:51:14,571
MCDONALD: While they were
pitching the story,
983
00:51:14,654 --> 00:51:18,158
I literally was like, "Hey, guys,
could you give me one second?"
984
00:51:18,575 --> 00:51:19,951
And I jumped on Google.
985
00:51:20,035 --> 00:51:24,414
And I'd seen a documentary
on volcanic eruptions,
986
00:51:24,498 --> 00:51:28,752
and pyroclastic flows,
and just absolutely beautiful, uh,
987
00:51:28,835 --> 00:51:32,047
thermal lightning
inside these pyroclastic flows.
988
00:51:34,382 --> 00:51:35,926
So, I got the job,
989
00:51:36,009 --> 00:51:40,847
and then the first thing that I said
as soon as I had boots on the ground was,
990
00:51:40,931 --> 00:51:43,892
"We need to start
lookdeving this character."
991
00:51:45,102 --> 00:51:48,730
We put together this absolutely
fantastic kind of package
992
00:51:48,814 --> 00:51:53,110
that had a very, very short
animation of Alioth
993
00:51:53,193 --> 00:51:55,070
in what I envisioned him to be.
994
00:51:55,278 --> 00:51:59,491
Come and get me! Come on!
995
00:51:59,574 --> 00:52:03,203
The main thing with Alioth is that
even Kid Loki describes, as he says,
996
00:52:03,286 --> 00:52:06,248
"He's a shark,
and we're in his tank, basically."
997
00:52:06,331 --> 00:52:09,543
I think that was the key thing
with Alioth, is that he's a predator,
998
00:52:09,626 --> 00:52:11,211
and he's just there to eat.
999
00:52:11,294 --> 00:52:15,006
And it's great 'cause the TVA are just
throwing him loads of T-bone steaks.
1000
00:52:20,929 --> 00:52:24,266
HIDDLESTON: "It was the best of times,
it was the worst of times."
1001
00:52:24,349 --> 00:52:27,018
It also happens to be the end of time.
1002
00:52:27,519 --> 00:52:29,396
In the final episode of Loki,
1003
00:52:29,479 --> 00:52:32,274
after jumping from New York
to the Gobi Desert
1004
00:52:32,357 --> 00:52:37,195
to the TVA to a Renaissance fair
to Pompeii to Roxxcart to...
1005
00:52:37,863 --> 00:52:39,030
You get the idea.
1006
00:52:39,114 --> 00:52:42,033
-Long, strange trip and all that jazz.
-LOKI: Ow!
1007
00:52:42,117 --> 00:52:44,870
HIDDLESTON:
After all the space-time shenanigans,
1008
00:52:44,953 --> 00:52:47,956
our heroes arrive at their destination.
1009
00:52:48,039 --> 00:52:49,499
The end of the road trip
1010
00:52:49,583 --> 00:52:53,920
where you get out of the car,
stretch your legs, and continue on,
1011
00:52:54,004 --> 00:52:56,798
barely pausing to reflect
on the journey behind you.
1012
00:52:57,382 --> 00:53:00,677
It's a refreshing change
to go into the final act of a story,
1013
00:53:00,760 --> 00:53:04,055
where Loki is neither
leading an alien horde into battle
1014
00:53:04,139 --> 00:53:06,641
nor knifing a loved one in the back.
1015
00:53:11,980 --> 00:53:14,649
Usually in Marvel,
the third act of the story
1016
00:53:14,733 --> 00:53:18,069
is obviously, like, a massive battle
and a huge, amazing spectacle.
1017
00:53:18,153 --> 00:53:21,281
And I feel like our Episode Five
of Alioth is sort of
1018
00:53:21,364 --> 00:53:24,367
almost like a traditional third act
of an MCU story.
1019
00:53:24,784 --> 00:53:28,371
Whereas I loved in Episode Six that
it was actually more within our show like,
1020
00:53:28,455 --> 00:53:31,249
"No, we're gonna sit down,
and we're gonna have a conversation
1021
00:53:31,333 --> 00:53:33,627
"about all these questions
we've put forward to you guys
1022
00:53:33,710 --> 00:53:35,295
"over the last six hours."
1023
00:53:35,378 --> 00:53:40,258
After a very long journey,
Sylvie and Loki are able to discover
1024
00:53:40,342 --> 00:53:43,595
that the TVA had an architect.
1025
00:53:43,678 --> 00:53:49,351
At the end of time, beyond The Void,
beyond Alioth, is a doorway,
1026
00:53:49,434 --> 00:53:52,145
and through the doorway is a Citadel.
1027
00:53:52,229 --> 00:53:56,566
The Citadel is essentially uninhabited
and abandoned.
1028
00:53:56,650 --> 00:53:59,861
But there is one solitary light on
in the window,
1029
00:53:59,945 --> 00:54:03,698
and that light is illuminated
by He Who Remains.
1030
00:54:09,246 --> 00:54:13,083
HERRON: I was really inspired
by the idea of this kind of manor house
1031
00:54:13,166 --> 00:54:15,126
like Sunset Boulevard or Grey Gardens.
1032
00:54:15,210 --> 00:54:18,421
These basically big, ornate houses,
but there's a loneliness to them.
1033
00:54:18,505 --> 00:54:20,799
Then something that
Kasra came up with that...
1034
00:54:20,882 --> 00:54:23,969
Which I thought was so inspired,
was that the Citadel's actually carved
1035
00:54:24,052 --> 00:54:25,428
from the rock of this asteroid,
1036
00:54:25,512 --> 00:54:27,764
which I think gives it
such a beautiful, unique look
1037
00:54:27,847 --> 00:54:31,101
with the gold veins running through
this black kind of rock.
1038
00:54:31,184 --> 00:54:33,645
I really wanted the Citadel
to feel like it had big scale,
1039
00:54:33,728 --> 00:54:37,607
because it only added to He Who Remains'
loneliness and isolation,
1040
00:54:37,691 --> 00:54:40,068
and, like, what lengths
he's gone for basically
1041
00:54:40,151 --> 00:54:42,070
to protect himself from himself.
1042
00:54:42,153 --> 00:54:45,699
WRIGHT: The Wizard of Oz
was a big touchstone.
1043
00:54:45,782 --> 00:54:50,161
It's somebody who is looming large
over the story
1044
00:54:50,245 --> 00:54:55,417
and is the driving force of the mystery
of finding the man behind the curtain.
1045
00:54:55,917 --> 00:54:57,752
And hopefully being surprised by
1046
00:54:57,836 --> 00:55:01,423
what you find when you finally
get a peek behind the curtain.
1047
00:55:01,506 --> 00:55:03,717
This is wild. (CHUCKLES)
1048
00:55:04,301 --> 00:55:06,052
WRIGHT: Once you see behind the curtain,
1049
00:55:06,136 --> 00:55:07,470
everything is changed.
1050
00:55:07,846 --> 00:55:12,267
And so, I think, for that role,
it's so exciting for an actor then,
1051
00:55:12,350 --> 00:55:14,102
like Jonathan to come in,
1052
00:55:14,185 --> 00:55:16,771
and live this character and get to do it.
1053
00:55:16,855 --> 00:55:21,985
Because, while they're only here
for maybe 30 minutes of this series,
1054
00:55:22,068 --> 00:55:27,407
it feels like they are just in the DNA
of the entire run of the show.
1055
00:55:27,490 --> 00:55:29,326
I'd try to explain what I'm capable of,
1056
00:55:29,451 --> 00:55:32,746
but we don't have the million years
it would take for you to understand.
1057
00:55:33,455 --> 00:55:37,250
Some cultural pop references were,
of course, The Wizard of Oz,
1058
00:55:37,334 --> 00:55:42,172
Sunset Boulevard, Citizen Kane,
Willy Wonka & the Chocolate Factory.
1059
00:55:42,255 --> 00:55:44,883
The archetype of the wizard
and what happens to him
1060
00:55:44,966 --> 00:55:47,802
when he gets bored, you know?
And he becomes a trickster.
1061
00:55:47,886 --> 00:55:50,930
Guys, if I was gonna do
an exploding chair,
1062
00:55:51,014 --> 00:55:52,807
why wouldn't I just do an exploding floor?
1063
00:55:52,891 --> 00:55:55,685
And I think when we meet He Who Remains,
1064
00:55:55,769 --> 00:55:57,645
he's on the borderline
of those two things.
1065
00:55:57,729 --> 00:55:59,356
You don't really know where he's at.
1066
00:55:59,439 --> 00:56:03,276
And I think the ambiguity of that
is one of the wicked things about it.
1067
00:56:03,360 --> 00:56:09,157
You think I'm just here with you.
1068
00:56:11,076 --> 00:56:12,952
Whoo! (CHUCKLES)
1069
00:56:13,036 --> 00:56:15,997
I am everywhere.
1070
00:56:16,790 --> 00:56:18,833
MAJORS: He Who Remains has lived forever.
1071
00:56:18,917 --> 00:56:21,127
One of the great things
I got to experience
1072
00:56:21,211 --> 00:56:22,879
with our costume designer is that
1073
00:56:22,962 --> 00:56:27,258
every piece, we decided,
was from a different place.
1074
00:56:27,342 --> 00:56:30,136
The cape I had on
was from the Victorian era,
1075
00:56:30,220 --> 00:56:34,391
the shoes are from Genghis Khan,
the pants from Mongolia, et cetera.
1076
00:56:34,474 --> 00:56:37,227
You just mix and match it together,
and it informs the character.
1077
00:56:38,353 --> 00:56:42,732
Without the me, without the TVA...
1078
00:56:45,610 --> 00:56:46,861
everything burns.
1079
00:56:48,029 --> 00:56:49,572
Then what are you so afraid of?
1080
00:56:52,075 --> 00:56:53,326
Me.
1081
00:56:53,910 --> 00:57:00,333
Jonathan Majors came into this production
in our final week,
1082
00:57:00,417 --> 00:57:02,585
and has created something,
1083
00:57:02,669 --> 00:57:06,047
I think, that it will be talked about
for a long time.
1084
00:57:06,172 --> 00:57:07,799
-Yeah, we're dancin'.
-Very nice.
1085
00:57:07,882 --> 00:57:09,717
-We're dancin', just dancin'.
-Yeah.
1086
00:57:09,801 --> 00:57:13,263
WRIGHT: It's absolutely thrilling.
And you could feel the energy on set,
1087
00:57:13,346 --> 00:57:14,973
because I think the crew knew.
1088
00:57:15,056 --> 00:57:19,769
Like, we're watching the flowering
of the next phase of the Marvel Universe.
1089
00:57:20,395 --> 00:57:23,273
HIDDLESTON:
The Variant of He Who Remains,
1090
00:57:23,356 --> 00:57:26,776
the one he's been talking about,
the one that he's so afraid of...
1091
00:57:26,860 --> 00:57:28,027
I'll see you soon.
1092
00:57:28,445 --> 00:57:30,071
...is Kang.
1093
00:57:30,947 --> 00:57:32,991
Kang is bent on destruction.
1094
00:57:33,074 --> 00:57:36,953
And I'm so curious to see
what Jonathan does in the future.
1095
00:57:37,412 --> 00:57:40,165
MAJORS: I think with He Who Remains,
the objective for me
1096
00:57:40,248 --> 00:57:42,917
was to give me
the largest canvas possible.
1097
00:57:43,001 --> 00:57:49,549
And then from that, as Kang begins
to rear his head and do his deeds,
1098
00:57:50,216 --> 00:57:53,511
in so many ways, he has no choice
but to be in opposition
1099
00:57:53,595 --> 00:57:56,014
or to be different from He Who Remains.
1100
00:57:57,932 --> 00:58:00,602
That was the thing that grabbed me
and pulled me into the role.
1101
00:58:00,685 --> 00:58:04,314
The fact that Kang
lives in so many iterations.
1102
00:58:04,397 --> 00:58:07,108
As He Who Remains says,
"Reincarnation, baby."
1103
00:58:07,192 --> 00:58:11,112
You know you can't get to the end
until you've been changed by the journey.
1104
00:58:11,196 --> 00:58:13,781
This stuff, it needs to happen.
1105
00:58:15,366 --> 00:58:19,412
HIDDLESTON: The potential of a multiverse
is literally infinite.
1106
00:58:20,079 --> 00:58:23,750
We can already look
at our singular universe with awe.
1107
00:58:23,833 --> 00:58:26,836
One decision begets another and another.
1108
00:58:27,545 --> 00:58:29,214
We like to say
1109
00:58:29,297 --> 00:58:31,382
that the possibilities are endless.
1110
00:58:32,759 --> 00:58:35,720
But in a singular timeline,
that is simply not the case.
1111
00:58:36,221 --> 00:58:39,015
Each falling grain of sand in an hourglass
1112
00:58:39,098 --> 00:58:41,476
changes how every other grain will fall.
1113
00:58:41,976 --> 00:58:46,272
We're both masters of our own destiny
and victims of circumstance.
1114
00:58:46,856 --> 00:58:49,943
There's simply no knowing
how things will turn out,
1115
00:58:50,568 --> 00:58:51,986
until they happen.
1116
00:58:52,779 --> 00:58:55,823
As William Shakespeare wrote
in The Two Gentlemen of Verona,
1117
00:58:56,282 --> 00:58:58,660
"It ain't over till it's over."
1118
00:58:59,160 --> 00:59:01,371
Or maybe that was Lenny Kravitz.
1119
00:59:01,454 --> 00:59:06,084
Anyway, the future of Loki
is still unwritten,
1120
00:59:06,584 --> 00:59:09,087
as it is with us all.
1121
00:59:11,673 --> 00:59:17,971
I will be 40 years old
when Loki goes out on Disney Plus.
1122
00:59:18,054 --> 00:59:22,141
And I was 29 years old
when I was cast as Loki,
1123
00:59:22,225 --> 00:59:24,811
so it's been ten, going on for 11, years.
1124
00:59:25,186 --> 00:59:27,855
It has been one of the great,
1125
00:59:27,939 --> 00:59:32,902
if not the greatest,
surprise of my whole life, probably.
1126
00:59:33,361 --> 00:59:36,531
(LAUGHS) I mean, it just...
It's hard to sum up.
1127
00:59:37,907 --> 00:59:39,867
I was a young actor,
1128
00:59:39,951 --> 00:59:43,705
and I felt so lucky even to have
the chance to audition for Thor.
1129
00:59:43,788 --> 00:59:48,751
Today was the first day
that I wore this particular costume.
1130
00:59:48,835 --> 00:59:50,003
MAN: Under this...
1131
00:59:50,086 --> 00:59:51,254
My best friend.
1132
00:59:52,088 --> 00:59:53,506
-MAN: Yeah, yeah, yeah.
-Hello.
1133
00:59:53,590 --> 00:59:57,176
In all my fittings way back, you know,
four, five months ago,
1134
00:59:57,260 --> 00:59:59,387
I kept thinking, "When am I gonna
get the horns on?"
1135
00:59:59,470 --> 01:00:02,056
'Cause it's almost like
the last piece of the jigsaw
1136
01:00:02,140 --> 01:00:04,267
in kind of becoming the character.
1137
01:00:04,350 --> 01:00:07,312
And to wear this thing is,
it feels enormously powerful.
1138
01:00:07,395 --> 01:00:11,107
What happened to you on Earth
that turned you so soft?
1139
01:00:11,190 --> 01:00:12,859
HIDDLESTON: To be cast as Loki
1140
01:00:12,942 --> 01:00:16,404
and to have that extraordinary
opportunity to make that film,
1141
01:00:16,487 --> 01:00:18,406
even as a standalone experience,
1142
01:00:18,489 --> 01:00:21,576
was more than
I could ever have dreamed of.
1143
01:00:21,659 --> 01:00:25,538
As Loki, I had to play the villain
and then I had to play the anti-hero.
1144
01:00:25,622 --> 01:00:29,000
And this time around is the first chance
1145
01:00:29,083 --> 01:00:34,547
I've had to see if we can really
break the mold and change him.
1146
01:00:34,631 --> 01:00:36,341
Why aren't we seeing this the same way?
1147
01:00:37,008 --> 01:00:38,509
Because you can't trust...
1148
01:00:40,887 --> 01:00:41,971
and I can't be trusted.
1149
01:00:42,055 --> 01:00:44,223
I really want the fans to feel that energy
1150
01:00:44,307 --> 01:00:47,602
and feel excited and inspired
about where we go next.
1151
01:00:47,685 --> 01:00:50,146
You know, we're here
at the end of this shoot now.
1152
01:00:50,229 --> 01:00:53,650
I hope we've made something
that people feel is very special.
1153
01:00:53,733 --> 01:00:55,902
I'd love to do one more after this
where I don't cry.
1154
01:00:55,985 --> 01:00:57,195
(ALL LAUGHING)
1155
01:00:57,278 --> 01:01:00,490
I feel very grateful
that I'm part of a project
1156
01:01:00,573 --> 01:01:04,327
that I think has probably
changed the direction of the MCU.
1157
01:01:12,210 --> 01:01:14,754
What people don't know is that...
1158
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Is that Owen has basically
broken open the Marvel Cinematic Universe.
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That's what they call it, the MCU.
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What's that mean?
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-The Marvel Cinematic Universe.
-Yeah.
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So, the whole interweaving web
of all the movies.
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They're all stitched together.
They all reference each other.
1164
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And Mobius has cracked it all open.
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It's true.
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(INSTRUMENTAL MUSIC PLAYING)