1
00:00:00,083 --> 00:00:02,794
(INDISTINCT CHATTER)

2
00:00:03,878 --> 00:00:05,839
CREW MEMBER:
<i>All right, clear it. Clear lights, guys.</i>

3
00:00:05,922 --> 00:00:07,173
<i>For the moment. There's a camera test.</i>

4
00:00:07,257 --> 00:00:08,258
MAN: <i>Clear.</i>
MAN 2: <i>Clear.</i>

5
00:00:08,341 --> 00:00:09,384
CREW MEMBER: <i>Slate it.</i>

6
00:00:11,594 --> 00:00:14,097
Slate it, <i>Black Widow</i> camera test.

7
00:00:15,890 --> 00:00:17,350
INTERVIEWER: <i>Do you see yourself...</i>

8
00:00:17,475 --> 00:00:19,394
Because the Marvel Cinematic Universe
will expand.

9
00:00:19,477 --> 00:00:21,938
There's no question about that.
Your character is set up.

10
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Would you follow her
and do break-offs, other sequels?

11
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I would love to.
I would love to take this character

12
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in every different direction.

13
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She certainly encounters her fair share
of the Marvel Universe,

14
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and it's nice to be able to
play a female, you know,

15
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<i>superheroine, who has a past,</i>

16
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<i>and I think has a real foundation</i>
<i>for all different kinds of spin-offs</i>

17
00:00:46,796 --> 00:00:48,882
<i>or interactions with other characters.</i>

18
00:00:53,803 --> 00:00:58,516
The length is okay.
We may have to scale down.

19
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We may have to scale it just by length
to remain dexterous.

20
00:01:01,186 --> 00:01:04,439
The part that appealed to me most
about her is her dedication

21
00:01:04,522 --> 00:01:05,899
and just her intelligence.

22
00:01:05,982 --> 00:01:08,735
You need smart people
in a movie like this.

23
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There's too much up for grabs.

24
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There's too many things that change,
you need somebody

25
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who's gonna be
a steward of their character.

26
00:01:15,450 --> 00:01:16,868
(AUDIENCE CHEERING)

27
00:01:17,911 --> 00:01:20,872
I've never been able to return
to a character before, so,

28
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<i>in a way, putting on the suit is like</i>
<i>a old familiar friend.</i>

29
00:01:25,627 --> 00:01:29,923
It's really so audience-driven,
exactly what people want to see,

30
00:01:30,006 --> 00:01:31,800
<i>what characters they respond to.</i>

31
00:01:31,883 --> 00:01:35,762
I really can't think of
any other opportunity

32
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<i>to grow with the character as I have.</i>

33
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There is a two-year period
between <i>Civil War</i> and <i>Infinity War.</i>

34
00:01:43,436 --> 00:01:44,938
<i>There's a lot to explore there.</i>

35
00:01:45,522 --> 00:01:48,817
There were many different
dramatic directions that we could go.

36
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<i>But her past has to come back</i>
<i>to haunt her.</i>

37
00:01:52,570 --> 00:01:56,533
<i>What's very exciting about the genre</i>
<i>is that it's really fan-driven.</i>

38
00:01:56,616 --> 00:01:59,744
<i>It's almost like you're playing</i>
<i>"Choose Your Own Adventure."</i>

39
00:01:59,828 --> 00:02:02,831
And the fans are kind of navigating
through this universe

40
00:02:02,914 --> 00:02:06,918
and sort of demanding of the studio,
what they wanna see.

41
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FEIGE:
Black Widow, <i>shooting right now in London.</i>

42
00:02:10,755 --> 00:02:13,091
They flew overnight
and got here this morning.

43
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FEMALE HOST: <i>Scarlett,</i>
<i>you've played Natasha through seven films</i>

44
00:02:16,344 --> 00:02:17,512
<i>over the last ten years.</i>

45
00:02:17,595 --> 00:02:21,266
<i>What are you excited for fans to discover</i>
<i>about Natasha this go-around?</i>

46
00:02:22,600 --> 00:02:23,810
Um...

47
00:02:23,893 --> 00:02:24,894
I...

48
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As a film fan, I look at, uh, uh,
how do you take these iconic characters

49
00:02:38,616 --> 00:02:40,910
and humanize them even more.

50
00:02:41,286 --> 00:02:43,663
And Scarlett has humanized Natasha

51
00:02:43,746 --> 00:02:46,541
through the course of ten years
worth of movies for us.

52
00:02:46,624 --> 00:02:50,378
But in this one, it really goes further
by introducing this family unit.

53
00:02:50,461 --> 00:02:56,134
I think about Indiana Jones and his
great entrance in <i>Raiders of the Lost Ark,</i>

54
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and Indy was this enigmatic figure,
and in <i>The Last Crusade</i> you meet his dad.

55
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And you see his dad treating him
just like a dad treats any kid,

56
00:03:03,141 --> 00:03:06,352
and you're like, "That's Indiana Jones,
you can't talk to him that way."

57
00:03:06,436 --> 00:03:11,524
Likewise, the way that Natasha feels
and suddenly becomes this little kid,

58
00:03:11,608 --> 00:03:14,360
I think it's very funny, very relatable,
and very unique

59
00:03:14,444 --> 00:03:17,655
to what we've seen
the circumstances of Widow in before.

60
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FAVREAU: <i>Scarlett really wanted to</i>
<i>make the most of it.</i>

61
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Good.

62
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<i>And she assured me that she would work</i>
<i>as hard as she needed to,</i>

63
00:03:26,623 --> 00:03:28,583
to do her stunts and learn all that stuff.

64
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And she spent hours and hours
and hours for months.

65
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<i>By far, the most dedicated actor</i>

66
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<i>when it came to the stunt work</i>
<i>and the physical work.</i>

67
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Giving away the secrets here.

68
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FAVREAU: <i>The fight choreography,</i>

69
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<i>we combined a lot of</i>
<i>different fighting styles.</i>

70
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And she was game for learning it all.
And the biggest one was lucha libre

71
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which seemed silly to me
when they had first mentioned it,

72
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<i>but when you see the acrobatic moves,</i>
<i>and the swinging around,</i>

73
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<i>and the flips and the turns</i>
<i>and the holds...</i>

74
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<i>When you see a woman doing it</i>
<i>in the Black Widow costume,</i>

75
00:03:57,153 --> 00:03:58,446
<i>it has a much different effect.</i>

76
00:03:58,529 --> 00:04:00,490
There's a freshness to it,
and it felt right

77
00:04:00,573 --> 00:04:02,659
<i>when you saw it choreographed properly.</i>

78
00:04:02,742 --> 00:04:04,827
<i>So you really believe</i>
<i>that as she's moving through</i>

79
00:04:04,911 --> 00:04:06,287
<i>this hallway full of these guards</i>

80
00:04:06,371 --> 00:04:08,456
<i>that she's able to do her flips</i>
<i>turns and grabs.</i>

81
00:04:08,539 --> 00:04:10,291
<i>It was pretty inspired.</i>

82
00:04:13,962 --> 00:04:16,214
-Really tough.
-(LAUGHS) Yeah.

83
00:04:16,297 --> 00:04:18,174
It's ten years,
and we're really kickin' ass.

84
00:04:18,258 --> 00:04:20,927
<i>Training in general,</i>
<i>I feel like these ten years,</i>

85
00:04:21,010 --> 00:04:23,513
I've just been kind of working up
to this point,

86
00:04:23,596 --> 00:04:25,598
<i>I felt really capable, which is great.</i>

87
00:04:26,849 --> 00:04:31,020
When I first got the role, I remember
I went to go and meet Kevin Feige.

88
00:04:31,145 --> 00:04:35,733
And I was a little bit anxious
about how much you have to do.

89
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<i>Like, I don't know</i>
<i>what's involved in these films,</i>

90
00:04:38,486 --> 00:04:40,280
<i>and every single time I've seen one,</i>

91
00:04:40,363 --> 00:04:43,157
<i>there are these essential athlete actors</i>

92
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<i>just running through the screen</i>
<i>all the time.</i>

93
00:04:45,660 --> 00:04:49,747
<i>And I didn't know if that was required</i>
<i>or enforced or whatever.</i>

94
00:04:49,831 --> 00:04:51,207
And so I asked him, I was like,

95
00:04:51,291 --> 00:04:57,463
"What's the deal, like, do you guys
make me into what I need to be?"

96
00:04:57,547 --> 00:05:00,717
He goes, "No, it's totally up to you."

97
00:05:00,800 --> 00:05:03,886
And so with that,
I kind of felt nicely relaxed

98
00:05:03,970 --> 00:05:07,140
because my favorite thing is
getting in there and doing stunts.

99
00:05:08,933 --> 00:05:11,436
<i>From the moment I could,</i>
<i>I went to the warehouse.</i>

100
00:05:11,519 --> 00:05:15,565
All these amazing stunties were just there
to teach you any one of their crafts.

101
00:05:15,648 --> 00:05:16,649
-Ready?
-Yep.

102
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Hey.

103
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<i>I found that fascinating. And, yeah,</i>
<i>I tried to do as much as I could.</i>

104
00:05:24,407 --> 00:05:27,577
WEISZ: <i>James, the stunt coordinator,</i>
<i>makes it a lot of fun.</i>

105
00:05:27,702 --> 00:05:30,288
He would just say, "Just have fun."

106
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You're about to do something
incredibly violent and vicious.

107
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<i>But he'd just say, "Have fun."</i>

108
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The stunt person is like a dance partner.
They just make you look good.

109
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(INTENSE MUSIC PLAYING)

110
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This was the hardest thing I've ever done.

111
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And I am not at all like a Tom Cruise
about this stuff, where I'm like,

112
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"I do all my own stunts."
I do not do any of my own stunts

113
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<i>and I do not want to.</i>

114
00:05:57,774 --> 00:06:00,401
<i>Put the guy in. He does it better than me.</i>

115
00:06:00,485 --> 00:06:03,529
<i>Please, I will go sit and hang out</i>
<i>and have a croissant.</i>

116
00:06:03,613 --> 00:06:06,824
-Trying.
-I love the teeth!

117
00:06:06,908 --> 00:06:08,326
Aren't those cool? I know.

118
00:06:09,202 --> 00:06:11,371
It's more like in your face.

119
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And then she goes for you again.

120
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So we get the emotion back into it.

121
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SHORTLAND:
<i>I want it to be really truthful,</i>

122
00:06:18,086 --> 00:06:21,130
<i>and I want each fight to have a story.</i>

123
00:06:21,214 --> 00:06:25,760
So for me, it was like
we would choreograph fights,

124
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<i>but we would also be choreographing</i>
<i>dramatic moments between the characters,</i>

125
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<i>of trust or revenge, or different feelings</i>
<i>that they might have.</i>

126
00:06:34,477 --> 00:06:36,521
<i>I think we're all lookin'</i>
<i>for those moments,</i>

127
00:06:36,604 --> 00:06:40,525
and that's something
that Cate did as a director,

128
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where she really galvanized all of us
to bring our best, our A-game,

129
00:06:44,404 --> 00:06:46,697
<i>and to really look for the heart</i>
<i>of the movie,</i>

130
00:06:46,781 --> 00:06:49,367
<i>as opposed to looking for what's cool.</i>

131
00:06:49,450 --> 00:06:53,037
<i>She really always would steer us back to,</i>
<i>"What's the heart of the movie?</i>

132
00:06:53,121 --> 00:06:55,373
<i>"What are we looking for here?"</i>

133
00:06:55,456 --> 00:06:57,542
And, you know, that's real artistry.

134
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-ROB: So, Florence. Just...
-Yes.

135
00:07:02,088 --> 00:07:03,840
STUNTWOMAN:
Doesn't matter. Keep pushing on to it.

136
00:07:03,923 --> 00:07:05,591
-Just keep going through that.
-Keep pushing you into it.

137
00:07:05,675 --> 00:07:08,261
PUGH: <i>For me, that opening fight sequence</i>
<i>was scary.</i>

138
00:07:08,344 --> 00:07:10,054
<i>It was our first weekend to shoot,</i>

139
00:07:10,138 --> 00:07:13,182
<i>and I hadn't really hung out</i>
<i>with Scarlett that much before.</i>

140
00:07:13,266 --> 00:07:17,353
<i>That whole fight is about not knowing</i>
<i>how to say what you feel.</i>

141
00:07:17,437 --> 00:07:23,192
It's so aggressive. It's so face to face,
and I think what you were just saying,

142
00:07:23,276 --> 00:07:25,236
we haven't seen that before. It's true.

143
00:07:25,319 --> 00:07:27,822
You're on land,
and you have these two women

144
00:07:27,905 --> 00:07:31,033
kind of doing a bit of
Jason Bourne-style fighting.

145
00:07:31,117 --> 00:07:33,870
They are just kind of
trying to kill each other.

146
00:07:33,953 --> 00:07:38,082
Um, and that was so exhilarating,
as an actor to come to that,

147
00:07:38,166 --> 00:07:40,835
and then they let you
actually do it. Amazing.

148
00:07:44,338 --> 00:07:46,549
ROB: <i>There's a lot of fights.</i>
(CHUCKLES) <i>It's a Marvel movie.</i>

149
00:07:46,632 --> 00:07:49,343
But the next one we come to
will be the bridge fight

150
00:07:49,469 --> 00:07:53,723
which will be the first time we see
Taskmaster come against Natasha.

151
00:07:53,806 --> 00:07:56,601
<i>And it's the first time</i>
<i>we'll see Natasha on the backfoot.</i>

152
00:08:02,899 --> 00:08:06,652
<i>Kevin always said to me,</i>
<i>"We know she's gonna survive it.</i>

153
00:08:06,736 --> 00:08:10,698
"But we have to think, at times, how."

154
00:08:11,407 --> 00:08:14,952
<i>And so we knew we had to put her</i>
<i>in some situations</i>

155
00:08:15,036 --> 00:08:17,497
<i>where you questioned,</i>
<i>were things gonna be okay?</i>

156
00:08:17,580 --> 00:08:19,707
-(GASPS)
-(GUNSHOTS)

157
00:08:25,338 --> 00:08:29,592
Taskmaster is an interesting one
because we've done a little bit

158
00:08:29,675 --> 00:08:35,014
<i>to make the character different than</i>
<i>the comics for our cinematic experience.</i>

159
00:08:35,640 --> 00:08:36,641
Say hello.

160
00:08:41,062 --> 00:08:43,481
PEARSON:
<i>Who says Taskmaster has to be a man?</i>

161
00:08:44,398 --> 00:08:48,194
<i>We had been talking about</i>
<i>this reference that Loki makes</i>

162
00:08:48,277 --> 00:08:52,406
in <i>Avengers </i>about the horrible things
Natasha's done in her past.

163
00:08:53,241 --> 00:08:56,160
Can you wipe out that much red?

164
00:08:58,246 --> 00:08:59,872
Dreykov's daughter?

165
00:09:01,707 --> 00:09:04,126
It was very important to Kevin
that we shed

166
00:09:04,210 --> 00:09:06,128
a little bit of light on that mystery.

167
00:09:07,880 --> 00:09:12,301
It's incredibly redemptive for Natasha
because, in a way,

168
00:09:12,385 --> 00:09:16,597
she can save this person
that she thought she'd murdered.

169
00:09:19,559 --> 00:09:23,938
<i>What the film speaks about a lot</i>
<i>is lack of control,</i>

170
00:09:24,021 --> 00:09:28,442
<i>that these young women didn't have control</i>
<i>over their lives or their bodies.</i>

171
00:09:28,526 --> 00:09:32,613
And Taskmaster is like
the living embodiment of that.

172
00:09:32,697 --> 00:09:39,287
<i>Someone who's completely programmed</i>
<i>and has no say in any of her actions.</i>

173
00:09:42,873 --> 00:09:46,085
TEMIME: <i>The Taskmaster was</i>
<i>one of the film's costume I worked on.</i>

174
00:09:46,168 --> 00:09:51,299
We were quite obsessed by making it
in a way that it was light,

175
00:09:51,382 --> 00:09:53,676
that she could jump, that she could roll,

176
00:09:53,759 --> 00:09:56,762
um, that she could do all the acrobatics
she needed to do.

177
00:09:56,846 --> 00:10:01,642
<i>So we made the armor as light as we could,</i>
<i>the helmet as light as we could.</i>

178
00:10:01,726 --> 00:10:05,813
We printed the fabric
with a very specific little design.

179
00:10:05,896 --> 00:10:08,399
The blue is a gorgeous blue.

180
00:10:08,482 --> 00:10:13,362
That was also a Marvel design,
and then also the interpretation

181
00:10:13,446 --> 00:10:15,865
and the realization is from us.

182
00:10:16,907 --> 00:10:21,495
All of the weapons are concealed
on Taskmaster all the time.

183
00:10:21,579 --> 00:10:24,915
So, they can appear,
and we can decide to lose them.

184
00:10:24,999 --> 00:10:27,501
So the idea of having a shield,
where does it go?

185
00:10:27,585 --> 00:10:29,712
On the back, same as Captain America?
It won't work.

186
00:10:29,795 --> 00:10:33,758
So they wanted to do it so that you could
have it appear from his arms.

187
00:10:33,841 --> 00:10:37,386
<i>Trying not to tie the action down.</i>
<i>The whole thing about these movies</i>

188
00:10:37,470 --> 00:10:40,139
is to try and work out
what the action requires.

189
00:10:40,222 --> 00:10:42,516
<i>Once we started working</i>
<i>with the fight coordinators,</i>

190
00:10:42,600 --> 00:10:45,561
<i>we had to work out that the shield</i>
<i>had to be left or right handed.</i>

191
00:10:45,645 --> 00:10:49,106
<i>Same with the sword. The beauty was</i>
<i>not having a handle involved</i>

192
00:10:49,190 --> 00:10:51,525
<i>and that we can assume</i>
<i>this is held together</i>

193
00:10:51,609 --> 00:10:54,612
<i>by a magnet or some sort of shield</i>
<i>on the armor.</i>

194
00:10:54,695 --> 00:10:55,696
-(EXPLOSIONS)
-(GRUNTS)

195
00:10:56,155 --> 00:11:00,534
What was great was Marvel said to me,
"We'll tell you when to stop.

196
00:11:00,618 --> 00:11:04,830
"You just have to keep having ideas
and don't suppress them.

197
00:11:04,914 --> 00:11:06,499
"Just keep having ideas."

198
00:11:06,582 --> 00:11:10,961
And so, I don't think they ever
really did tell us to stop. (CHUCKLES)

199
00:11:11,045 --> 00:11:12,505
(BOTH GRUNTING)

200
00:11:14,965 --> 00:11:17,510
<i>Cate Shortland is such a gift</i>
<i>as a filmmaker.</i>

201
00:11:17,593 --> 00:11:21,764
The emotional layer
that we added to it was necessary.

202
00:11:21,847 --> 00:11:24,684
<i>It was imperative that we told you</i>

203
00:11:24,767 --> 00:11:26,060
<i>that layer from</i> Black Widow.

204
00:11:26,143 --> 00:11:28,270
<i>Otherwise, it would have been</i>
<i>another action film.</i>

205
00:11:28,354 --> 00:11:31,148
<i>And we've made action films before.</i>

206
00:11:31,232 --> 00:11:33,734
<i>But the emotional resonance had to be</i>

207
00:11:33,818 --> 00:11:37,113
<i>something that got us</i>
<i>through the next two hours.</i>

208
00:11:37,196 --> 00:11:40,574
Because we waited ten years
for these two hours.

209
00:11:40,658 --> 00:11:41,909
So it better be worth it.

210
00:11:41,992 --> 00:11:44,078
And Cate Shortland
is a visionary filmmaker

211
00:11:44,161 --> 00:11:50,584
<i>that takes her time in the detail</i>
<i>of the nuances of that particular moment.</i>

212
00:11:50,668 --> 00:11:55,631
And sometimes it's just with a look,
or with a hand,

213
00:11:55,715 --> 00:11:59,176
or with the camera just tilting.
And you feel it.

214
00:11:59,552 --> 00:12:04,849
<i>And your heart just goes there,</i>
<i>and you're, like, "Oh, I get it."</i>

215
00:12:04,932 --> 00:12:09,812
And that's a true talent
and an all-around phenomenal woman.

216
00:12:10,646 --> 00:12:13,607
Obviously, going into this film,
I knew it was...

217
00:12:13,691 --> 00:12:16,652
The most important thing
was having my partner.

218
00:12:16,736 --> 00:12:19,321
<i>Cate was somebody</i>
<i>whose work I really admired.</i>

219
00:12:19,405 --> 00:12:22,241
<i>Her stuff is so deep,</i>
<i>and so character-driven.</i>

220
00:12:22,324 --> 00:12:24,660
And knowing that I had her,

221
00:12:24,744 --> 00:12:29,081
knowing that she and I would be able
to build this character together,

222
00:12:29,165 --> 00:12:33,127
I knew that we were, you know,
cooking with gas.

223
00:12:34,670 --> 00:12:36,589
(TRAIN HORN HONKING AT A DISTANCE)

224
00:12:38,758 --> 00:12:39,800
(GRUNTS)

225
00:12:39,884 --> 00:12:42,511
ALONSO:
<i>For me, the most important scene for her</i>

226
00:12:42,595 --> 00:12:44,680
<i>was at the beginning</i>
<i>of the first</i> Avengers.

227
00:12:45,389 --> 00:12:49,977
Where she fights these Russians
in a warehouse,

228
00:12:50,060 --> 00:12:53,063
<i>in a tight, beautiful black dress.</i>

229
00:12:53,147 --> 00:12:57,526
<i>And as she walks away,</i>
<i>and she's done an amazing fight,</i>

230
00:12:57,610 --> 00:13:00,946
<i>an introduction that anyone</i>
<i>will dream of having,</i>

231
00:13:01,030 --> 00:13:04,450
<i>she picks up her high heels</i>
<i>and she walks away.</i>

232
00:13:04,909 --> 00:13:09,747
The ultimate female badass.

233
00:13:09,830 --> 00:13:11,499
(INSTRUMENTAL MUSIC PLAYING)

234
00:13:14,835 --> 00:13:18,923
WHITCHER: <i>Each movie, I think</i>
<i>everybody feels a little bit closer</i>

235
00:13:19,006 --> 00:13:22,176
<i>and less guarded with each other.</i>

236
00:13:22,301 --> 00:13:27,431
I mean, I've seen, uh,
Avengers start their families.

237
00:13:27,515 --> 00:13:32,520
And I've seen, you know, from Scarlett
even being pregnant on <i>Avengers,</i> to...

238
00:13:32,603 --> 00:13:36,023
<i>It's crazy. So we've all been together</i>
<i>a long time now,</i>

239
00:13:36,106 --> 00:13:38,359
<i>and I think we trust each other,</i>

240
00:13:38,442 --> 00:13:41,737
<i>and we know that we have</i>
<i>everybody's best interests at heart.</i>

241
00:13:42,530 --> 00:13:44,573
SHORTLAND:
<i>Scarlett was a producer on the film.</i>

242
00:13:44,657 --> 00:13:48,953
<i>So she knew that</i>
<i>she also had to drive production,</i>

243
00:13:49,036 --> 00:13:51,413
and she had to keep people's spirits up.

244
00:13:51,497 --> 00:13:53,541
PEARSON: <i>It was almost too good,</i>
<i>where I was wondering</i>

245
00:13:53,666 --> 00:13:55,167
<i>where the other shoe was gonna drop.</i>

246
00:13:55,251 --> 00:14:00,089
Like, is it really... Can it be this good,
that biggest movie star in the world

247
00:14:00,172 --> 00:14:03,425
is actually a really nice person
who's completely dedicated to the movie

248
00:14:03,509 --> 00:14:05,553
<i>and trying to make it better at all times?</i>

249
00:14:05,636 --> 00:14:08,806
And also, when you see her turn it on,
everything changes.

250
00:14:09,849 --> 00:14:11,517
What you taught me kept me alive.

251
00:14:13,102 --> 00:14:15,688
WEISZ: <i>I think Scarlett portrays</i>
<i>Black Widow in a way</i>

252
00:14:15,771 --> 00:14:18,941
<i>that she's obviously</i>
<i>extremely strong and powerful</i>

253
00:14:19,024 --> 00:14:23,404
and can fight and can outwit everybody.

254
00:14:23,487 --> 00:14:27,867
But she also has a heart
and an emotional life, she's vulnerable,

255
00:14:27,950 --> 00:14:29,827
<i>and she wants, and she needs.</i>

256
00:14:29,910 --> 00:14:33,205
<i>Scarlett's been playing the character,</i>
<i>obviously, now for decades.</i>

257
00:14:33,289 --> 00:14:36,458
<i>So she's grown up with Natasha Romanoff.</i>

258
00:14:36,542 --> 00:14:40,963
<i>And she knows her inside out. I really</i>
<i>feel that when I'm playing opposite her,</i>

259
00:14:41,046 --> 00:14:44,925
<i>it's a character that has many,</i>
<i>many layers. She's deeply committed.</i>

260
00:14:45,009 --> 00:14:49,096
She is Natasha. She is Natasha.
She created that character.

261
00:14:49,179 --> 00:14:52,308
<i>And the minute that she walks on set,</i>
<i>she is Natasha.</i>

262
00:14:52,850 --> 00:14:56,228
I remember her daughter came to set,
I asked, "What does she think you do?"

263
00:14:56,312 --> 00:14:58,731
And she goes,
"Fight baddies for a living."

264
00:14:58,814 --> 00:15:00,649
I was like, "But that is what you do.

265
00:15:00,733 --> 00:15:03,068
<i>"That's what you've been</i>
<i>the face of for so long."</i>

266
00:15:03,152 --> 00:15:05,487
<i>The only woman</i>
<i>that has been at the front of it.</i>

267
00:15:06,030 --> 00:15:09,033
<i>And slowly, there's more coming.</i>

268
00:15:09,116 --> 00:15:14,997
And that's a wicked thing,
to be a part of this new search

269
00:15:15,080 --> 00:15:20,878
for more stories about women
in this world, outside of this world,

270
00:15:20,961 --> 00:15:23,672
as you were just saying.
The era of feminism

271
00:15:23,756 --> 00:15:27,176
and finding women
to tell interesting stories.

272
00:15:28,010 --> 00:15:31,096
And she's been, I suppose,
doing it for a very long time.

273
00:15:31,180 --> 00:15:32,848
(CLOCK TICKING)

274
00:15:33,098 --> 00:15:35,684
Five, six, seven.

275
00:15:40,940 --> 00:15:45,861
Just as an exercise. I'm wondering,
is there a way of letting go of the gun?

276
00:15:45,945 --> 00:15:48,197
This isn't ideal,
but just to give you an idea.

277
00:15:48,280 --> 00:15:50,699
Yeah. I understand you.
I'm just trying to work out...

278
00:15:50,783 --> 00:15:53,160
-Doing into the roll, drop it.
-Here?

279
00:15:55,120 --> 00:15:56,705
-Yeah.
-You just release it?

280
00:15:56,789 --> 00:15:57,957
-Yeah.
-Just release it.

281
00:15:58,040 --> 00:15:59,291
-Yeah, we could just...
-Release it there?

282
00:15:59,375 --> 00:16:00,376
As you roll.

283
00:16:00,459 --> 00:16:03,963
I wonder, if you make it part of...
So that if it's the second time around,

284
00:16:04,046 --> 00:16:05,923
because it feels odd
that they let their gun go.

285
00:16:06,048 --> 00:16:07,841
-Okay.
-But if you made it part of

286
00:16:07,925 --> 00:16:11,470
the first part of it, so if they all
started with their guns on the ground...

287
00:16:11,553 --> 00:16:12,846
-Yes.
-...and there's a move

288
00:16:12,930 --> 00:16:16,350
-that gets them to their gun.
-Then your shoulder. Tuck in your head.

289
00:16:16,433 --> 00:16:17,434
-Yeah. That's great.
-Yeah.

290
00:16:17,518 --> 00:16:19,687
-Yeah. So, guys, this.
-Okay.

291
00:16:22,439 --> 00:16:28,070
All the young Widows are training
in what's called Systema,

292
00:16:28,153 --> 00:16:33,742
<i>which is a Russian form of combat.</i>
<i>And when I first met Cate,</i>

293
00:16:33,826 --> 00:16:39,039
<i>we talked about what kind of movement</i>
<i>that the young Russians could be doing.</i>

294
00:16:39,123 --> 00:16:44,378
And I suggested, because earlier
in the Black Widow's history,

295
00:16:44,461 --> 00:16:47,214
<i>she was trained in ballet,</i>
<i>it would be great</i>

296
00:16:47,297 --> 00:16:51,719
<i>if we could find some kind of movement</i>
<i>that was not balletic,</i>

297
00:16:51,802 --> 00:16:56,974
<i>but still had the beauty,</i>
<i>and the discipline, and the rhythm</i>

298
00:16:57,057 --> 00:16:58,934
<i>that you get in a ballet class.</i>

299
00:16:59,018 --> 00:17:04,314
So I went away and looked at
lots of stuff, and I found the Systema,

300
00:17:04,398 --> 00:17:07,651
<i>and I was like, "Oh, this could be it.</i>
<i>This could be it."</i>

301
00:17:07,735 --> 00:17:11,447
<i>Because this is like a dance.</i>
<i>It's beautiful.</i>

302
00:17:11,530 --> 00:17:14,867
<i>But at the same time,</i>
<i>you need so much strength.</i>

303
00:17:15,659 --> 00:17:19,079
One, two, three, four,
five, six, seven, eight.

304
00:17:19,163 --> 00:17:23,292
I fell in love with our Widows.
That was a wonderful process

305
00:17:23,375 --> 00:17:27,504
<i>because I knew we were</i>
<i>gonna have 25 young women</i>

306
00:17:27,588 --> 00:17:31,800
<i>who were dancers, acrobats</i>
<i>and stunt performers</i>

307
00:17:31,884 --> 00:17:35,888
<i>who trained in fighting.</i>
<i>They trained with guns.</i>

308
00:17:38,891 --> 00:17:41,477
Something that was so amazing
that I loved Cate did,

309
00:17:41,560 --> 00:17:45,481
she made sure that every single girl
had something from where they were from.

310
00:17:46,190 --> 00:17:51,737
<i>Whether it was the way that they did</i>
<i>their hair or something that they owned.</i>

311
00:17:51,820 --> 00:17:55,991
<i>It really felt like these people</i>
<i>had been stolen from their birthplace.</i>

312
00:17:56,075 --> 00:17:58,160
You get to make your own choices now.

313
00:17:59,286 --> 00:18:02,164
<i>It's only when they escape</i>
<i>and when they leave</i>

314
00:18:02,247 --> 00:18:05,417
that maybe they realize
how twisted it all is.

315
00:18:05,501 --> 00:18:07,127
Even though throughout this movie,

316
00:18:07,211 --> 00:18:09,755
they're presented
as an antagonistic force,

317
00:18:10,339 --> 00:18:14,134
<i>it was important that we kind of show</i>
<i>why they were the way they were.</i>

318
00:18:14,218 --> 00:18:17,304
<i>That, like Natasha,</i>
<i>they too have a shot at redemption.</i>

319
00:18:17,387 --> 00:18:18,931
It's not really what people make you,

320
00:18:19,014 --> 00:18:21,183
you can still decide
how you want to live your life.

321
00:18:23,185 --> 00:18:26,688
You know, this is the first piece
of clothing I've ever bought for myself.

322
00:18:28,690 --> 00:18:31,652
-That?
-Yeah, you don't like it?

323
00:18:31,735 --> 00:18:35,572
Was that like an army surplus or...

324
00:18:35,656 --> 00:18:37,991
Okay, it has a lot of pockets.

325
00:18:38,075 --> 00:18:42,204
But I use them all the time,
and I made some of my own modifications.

326
00:18:42,287 --> 00:18:44,123
-Oh, yeah? (CHUCKLES)
-Whatever.

327
00:18:44,206 --> 00:18:48,919
Shut up. The point is, I've never had
control over my own life before.

328
00:18:49,002 --> 00:18:51,547
And now I do. I want to do things.

329
00:18:52,756 --> 00:18:53,966
Mm...

330
00:18:54,049 --> 00:18:55,050
I like your vest.

331
00:18:55,134 --> 00:18:57,010
(EXCLAIMS) I knew it. I knew you did.

332
00:18:57,094 --> 00:18:58,762
-It's so cool, right?
-It's cool.

333
00:19:00,139 --> 00:19:02,224
SCHAEFFER: <i>In the comics,</i>
<i>Yelena is another Widow</i>

334
00:19:02,307 --> 00:19:04,017
<i>who trained in the Red Room.</i>

335
00:19:04,143 --> 00:19:08,105
And in the comics,
she's more of a competitor to Natasha.

336
00:19:08,188 --> 00:19:12,860
<i>But what we've created is that</i>
<i>Yelena and Natasha were children together.</i>

337
00:19:12,943 --> 00:19:15,320
<i>They were part of a spy family.</i>

338
00:19:15,404 --> 00:19:19,658
Florence Pugh plays Yelena,
and her character,

339
00:19:19,741 --> 00:19:22,911
you know, she is the next generation
of Widows, in a way.

340
00:19:22,995 --> 00:19:25,622
<i>When she comes out of that Widow program,</i>

341
00:19:25,706 --> 00:19:28,709
<i>she's never had any sense of independence.</i>

342
00:19:28,792 --> 00:19:32,504
She wants to write her own story.

343
00:19:32,588 --> 00:19:34,840
PUGH: <i>One of the coolest things</i>
<i>about playing Yelena</i>

344
00:19:34,923 --> 00:19:36,967
<i>is just how complex and broken she is,</i>

345
00:19:37,050 --> 00:19:41,930
for someone who is so sure
of what she does.

346
00:19:42,014 --> 00:19:46,560
She knows exactly how to function
in the things that she's been trained in,

347
00:19:46,643 --> 00:19:49,730
<i>but she has no clue how to live</i>
<i>as a human.</i>

348
00:19:50,522 --> 00:19:53,901
She's a bit of a kid,
but she's a lethal weapon.

349
00:19:53,984 --> 00:19:55,527
(GRUNTS)

350
00:19:55,903 --> 00:20:01,450
<i>She has this murky side to her life</i>
<i>that she has no idea what it's about,</i>

351
00:20:01,533 --> 00:20:04,369
and she's having to now discover
who she is.

352
00:20:05,495 --> 00:20:07,331
To him, we are just things.

353
00:20:08,749 --> 00:20:11,543
Weapons with no face
that he can just throw away

354
00:20:12,711 --> 00:20:15,255
because there is always more.

355
00:20:15,339 --> 00:20:17,966
Her and Natasha, I think, both have that.

356
00:20:18,050 --> 00:20:21,762
This constant not knowing
of where they come from

357
00:20:21,845 --> 00:20:25,641
and this constant need to figure out
where they came from and who they are.

358
00:20:26,642 --> 00:20:28,727
I mean, that's what
Natasha's always looking for,

359
00:20:28,810 --> 00:20:32,564
is a sense of family and a sense of home.
And it's because of their history.

360
00:20:33,649 --> 00:20:35,692
(SPEAKING INDISTINCTLY)

361
00:20:36,193 --> 00:20:37,361
No!

362
00:20:37,444 --> 00:20:41,657
You do this split with the hair head flip.
And you do it when you're fighting.

363
00:20:41,740 --> 00:20:44,201
It's like a fighting pose.

364
00:20:44,284 --> 00:20:50,123
SHORTLAND: <i>When I came onto the film,</i>
<i>I spoke to Kevin about actors.</i>

365
00:20:50,207 --> 00:20:53,835
And Florence Pugh
was one of the first people I spoke about

366
00:20:53,919 --> 00:20:56,046
because I'd seen <i>Lady Macbeth,</i>

367
00:20:56,129 --> 00:21:01,760
and she and Scarlett as a team
are unstoppable.

368
00:21:03,387 --> 00:21:08,433
HARBOUR: <i>Florence, I adore her as not only</i>
<i>as an extraordinary actress,</i>

369
00:21:08,517 --> 00:21:10,269
<i>but also just as a human being.</i>

370
00:21:10,352 --> 00:21:14,856
<i>I remember there's a little scene in it</i>
<i>where I think I hug the two of them</i>

371
00:21:14,940 --> 00:21:16,525
<i>in this ridiculous way at this...</i>

372
00:21:16,608 --> 00:21:18,777
I'm, like, "I love you so much."

373
00:21:18,860 --> 00:21:21,280
And they break away from me
like, "You're a narcissist."

374
00:21:21,363 --> 00:21:24,283
But I remember before that break,
there is a moment that we shot.

375
00:21:24,366 --> 00:21:26,994
I don't know if it's in the movie,
where she softens

376
00:21:27,077 --> 00:21:29,413
in his embrace for a second,

377
00:21:29,997 --> 00:21:35,168
<i>like, "This is my dad holding me."</i>
<i>And it is a beautiful moment, I thought.</i>

378
00:21:35,252 --> 00:21:38,588
<i>So sophisticated to find that moment.</i>

379
00:21:40,132 --> 00:21:41,550
You smell really bad.

380
00:21:43,343 --> 00:21:48,265
The thought was,
who do we pair up with Scarlett

381
00:21:49,057 --> 00:21:52,853
<i>that can hold her own, that could shine?</i>

382
00:21:52,936 --> 00:21:58,900
And we needed to have someone that go,
"Those two together are just nuclear."

383
00:22:00,193 --> 00:22:04,364
<i>Which was the whole idea,</i>
<i>to tell that story of sisterhood</i>

384
00:22:04,448 --> 00:22:08,410
and the conflict of that
and how they grow together in this film.

385
00:22:08,493 --> 00:22:11,288
So I think Florence Pugh was a true gift.

386
00:22:11,371 --> 00:22:15,000
I'm not here trying to be your friend,
but you need to tell me what that is.

387
00:22:15,083 --> 00:22:18,587
It's a synthetic gas,
the counter-agent to chemical subjugation.

388
00:22:18,670 --> 00:22:22,132
The gas immunizes the brain's neural
pathways from external manipulation.

389
00:22:22,215 --> 00:22:23,592
Maybe in English next time.

390
00:22:23,675 --> 00:22:24,760
(SPEAKING RUSSIAN)

391
00:22:25,844 --> 00:22:27,095
<i>Ochen' umno.</i>

392
00:22:27,179 --> 00:22:30,432
(SPEAKING ENGLISH) Why don't you take it
to one of your super-scientist friends?

393
00:22:30,515 --> 00:22:33,352
They can explain it to you.
Tony Stark, maybe?

394
00:22:33,435 --> 00:22:36,021
<i>It was so wonderful to be able to</i>
<i>do those scenes with Florence</i>

395
00:22:36,104 --> 00:22:39,316
'cause she's such a wonderful actor
and playful.

396
00:22:39,399 --> 00:22:45,989
<i>And her work is so touching. And so it was</i>
<i>a ease to feel connected to her</i>

397
00:22:46,073 --> 00:22:48,784
<i>because she's so open in those moments.</i>

398
00:22:48,867 --> 00:22:53,538
And you really feel that when you watch it
on screen, it just feels very natural.

399
00:22:54,206 --> 00:22:55,457
Belts are on the end.

400
00:22:56,666 --> 00:23:01,171
All set, here we go. Ready. And action!

401
00:23:02,756 --> 00:23:04,716
-Charge!
-(YELLING INDISTINCTLY)

402
00:23:09,262 --> 00:23:11,306
(CLAMORING)

403
00:23:18,063 --> 00:23:25,028
The gulag set, we decided very early on
that this would be very remote

404
00:23:25,278 --> 00:23:28,115
<i>in this sort of snowy wilderness,</i>
<i>I suppose.</i>

405
00:23:28,198 --> 00:23:30,325
<i>The set's actually 160 foot in diameter.</i>

406
00:23:30,409 --> 00:23:33,120
<i>We start by building</i>
<i>these sorts of sets as 3-D models.</i>

407
00:23:33,203 --> 00:23:36,456
And then what we do very early on
is we try and populate them.

408
00:23:36,540 --> 00:23:39,042
And we try and see how many extras
we think we need

409
00:23:39,126 --> 00:23:42,629
<i>to try and make the space</i>
<i>feel big enough for camera.</i>

410
00:23:43,255 --> 00:23:45,215
The snow, by the way, is all salt.

411
00:23:45,298 --> 00:23:48,176
<i>It's about the only material</i>
<i>you can use which actually,</i>

412
00:23:48,260 --> 00:23:51,596
<i>really does look like snow.</i>
<i>The really bad news is we're in England.</i>

413
00:23:51,680 --> 00:23:54,683
It rains a lot.
And the salt dissolves in water.

414
00:23:55,517 --> 00:23:59,771
<i>It probably took us about four days</i>
<i>to put the snow down,</i>

415
00:23:59,855 --> 00:24:01,815
and then it just so happens,

416
00:24:01,898 --> 00:24:06,194
the night before we were gonna film,
we had a really bad storm.

417
00:24:06,278 --> 00:24:08,405
And basically, all the snow went away.

418
00:24:08,488 --> 00:24:11,783
So the next morning,
we pulled everyone from everywhere

419
00:24:11,867 --> 00:24:14,161
<i>and put it back together</i>
<i>in about four hours.</i>

420
00:24:14,244 --> 00:24:15,996
Which is what film-making's all about.

421
00:24:17,622 --> 00:24:20,208
CHAPEK: <i>Charlie is such an accomplished</i>
<i>production designer.</i>

422
00:24:20,292 --> 00:24:24,171
His attention to detail is unlike
anything I've ever seen before.

423
00:24:24,254 --> 00:24:26,715
<i>And something that was very important</i>
<i>from the beginning</i>

424
00:24:26,798 --> 00:24:29,926
<i>was creating a world</i>
<i>that Cate saw fit for this movie.</i>

425
00:24:31,511 --> 00:24:33,555
<i>We try and build all of the models.</i>

426
00:24:33,638 --> 00:24:35,765
<i>We try and supply</i>
<i>as much reference as possible,</i>

427
00:24:35,849 --> 00:24:38,810
<i>and we'll go through it all.</i>
<i>But then what also happens is</i>

428
00:24:38,894 --> 00:24:41,146
the stunts department
will then become involved in this

429
00:24:41,229 --> 00:24:43,523
because, obviously,
they have to perform on here.

430
00:24:43,607 --> 00:24:46,234
<i>They'll have their own requirements.</i>
<i>As will lighting.</i>

431
00:24:46,318 --> 00:24:49,779
<i>So the thing about art direction</i>
<i>and set design and that sort of thing,</i>

432
00:24:49,863 --> 00:24:52,365
<i>it's not just for one department.</i>
<i>It's for the entire film.</i>

433
00:24:52,449 --> 00:24:54,993
<i>You have to be mindful and accommodating</i>

434
00:24:55,076 --> 00:24:58,705
of what everyone needs from a set besides
what you're just trying to do visually.

435
00:24:58,788 --> 00:25:02,209
It has to work for everyone.
Otherwise, it, it wouldn't work at all.

436
00:25:06,505 --> 00:25:08,131
(MAN SPEAKING RUSSIAN)

437
00:25:16,181 --> 00:25:17,724
(HUMMING TUNE)

438
00:25:19,893 --> 00:25:21,770
(PLAYING TUNE)

439
00:25:22,687 --> 00:25:26,024
The Red Guardian, he's the most
insecure character in the film,

440
00:25:26,107 --> 00:25:28,401
and so he's always hiding.

441
00:25:28,485 --> 00:25:30,153
Did he talk to you about me?

442
00:25:31,780 --> 00:25:32,822
What?

443
00:25:33,615 --> 00:25:37,077
Did he talk to you about me?
You know, trading war stories.

444
00:25:37,160 --> 00:25:39,955
-Who? What are you talking about?
-Captain America.

445
00:25:40,747 --> 00:25:45,585
When it first came to me, Cate sat me down
and started telling me about the script

446
00:25:45,669 --> 00:25:50,799
'cause they don't let you see a script
in these things, which I understand.

447
00:25:50,882 --> 00:25:54,010
It's all so top secret. But she started
pitching me this idea of this guy,

448
00:25:54,094 --> 00:26:00,016
and I think the first thing she
talked about was this scene in a prison,

449
00:26:00,100 --> 00:26:03,562
and he has this strength,
and he's this, like, beastly guy.

450
00:26:03,645 --> 00:26:07,399
And I was envisioning this kind of
gangster movie and all this stuff, and it,

451
00:26:07,482 --> 00:26:09,985
and I was like, "Oh, this is great."

452
00:26:10,068 --> 00:26:12,195
And I kind of project where he's gonna go.

453
00:26:12,279 --> 00:26:14,990
And then she said,
"And he desperately wants to be liked.

454
00:26:15,073 --> 00:26:17,951
"He desperately wants people
to think he's funny and charming."

455
00:26:18,034 --> 00:26:22,205
I was like, "Whoa!" So the zig
and the zag of the character in that way

456
00:26:22,289 --> 00:26:27,210
was so appealing to me that you are able
to create this full human being

457
00:26:27,294 --> 00:26:30,964
who has this big, strong,
massive side to him,

458
00:26:31,047 --> 00:26:35,927
but also has all these human qualities
of being an obtuse narcissist

459
00:26:36,011 --> 00:26:42,475
and a guy who is desperate
for the affection of the people

460
00:26:42,559 --> 00:26:45,645
<i>that he loves or as much as</i>
<i>he possibly can love, loves.</i>

461
00:26:45,729 --> 00:26:49,816
<i>He's a very complicated guy,</i>
<i>so when she pitched this to me,</i>

462
00:26:49,899 --> 00:26:53,236
<i>I was like,</i>
<i>"Wow, this is really exciting."</i>

463
00:26:54,070 --> 00:26:55,322
It still fits.

464
00:26:55,405 --> 00:26:56,823
(WOLF-WHISTLING)

465
00:26:58,617 --> 00:27:05,582
It is easier for a designer when you know
the behind of the character

466
00:27:05,832 --> 00:27:08,251
because you can project that
in the costume.

467
00:27:08,960 --> 00:27:11,421
<i>Even when you design a superhero,</i>

468
00:27:11,504 --> 00:27:15,216
<i>like when I started designing</i>
<i>the Red Guardian,</i>

469
00:27:15,300 --> 00:27:18,762
<i>I knew that he wanted to be</i>
<i>like Captain America.</i>

470
00:27:18,845 --> 00:27:23,600
<i>I knew that he was a guy who was</i>
<i>always trying too hard to be somebody.</i>

471
00:27:23,683 --> 00:27:28,563
<i>I knew that his personality was</i>
<i>a little bit overdone, bigger than life.</i>

472
00:27:28,647 --> 00:27:31,566
So I project that in the design.

473
00:27:33,568 --> 00:27:38,156
<i>This is why it's so important to know</i>

474
00:27:38,740 --> 00:27:42,535
the psychology of the character,

475
00:27:42,619 --> 00:27:48,333
what's behind the facade of the superhero.
It helps tremendously for the design.

476
00:27:49,834 --> 00:27:51,961
CHAPEK: <i>Jany has such a great backstory</i>

477
00:27:52,045 --> 00:27:54,297
<i>just in terms of everything</i>
<i>that she's done before.</i>

478
00:27:54,381 --> 00:27:58,218
She's come from the <i>007</i> world,
which is a little bit more grounded.

479
00:27:58,301 --> 00:28:00,011
She's also done <i>Harry Potters.</i>

480
00:28:00,095 --> 00:28:03,723
And to be able to strike that balance
was something that we were looking for.

481
00:28:03,807 --> 00:28:07,143
Everything that you see here
is made in our work room.

482
00:28:07,227 --> 00:28:10,355
<i>All the leather, all the rubber bits.</i>

483
00:28:10,939 --> 00:28:13,983
<i>All the costumes here</i>
<i>is made by people here.</i>

484
00:28:18,488 --> 00:28:23,618
For the first time, we are going to have
a white costume for our Black Widow.

485
00:28:24,369 --> 00:28:26,121
-Hey, girl.
-Look at you.

486
00:28:26,204 --> 00:28:29,082
-Day one, White Widow.
-You look good.

487
00:28:29,165 --> 00:28:30,875
-Hmm. You look good.
-Yay. Thanks.

488
00:28:31,918 --> 00:28:37,090
<i>The original idea was that</i>
<i>when they fight in the snow,</i>

489
00:28:37,173 --> 00:28:42,053
they are wearing white uniform
because it's the color of the snow.

490
00:28:42,137 --> 00:28:45,140
So that was the start of an idea.

491
00:28:46,141 --> 00:28:50,937
I was so afraid at the beginning
to start doing it, you know?

492
00:28:51,020 --> 00:28:53,440
I was thinking,
"Oh, my God. Will she like it?"

493
00:28:53,523 --> 00:28:57,986
But the suit is designed in such a way
that you have some graphic line in it,

494
00:28:58,069 --> 00:29:01,489
<i>give an incredible silhouette to Scarlett.</i>

495
00:29:04,200 --> 00:29:08,121
This is the one that Yelena,
her sister, is wearing.

496
00:29:09,664 --> 00:29:13,543
<i>It's more functional.</i>
<i>It was based on a more sportive idea.</i>

497
00:29:13,626 --> 00:29:17,922
<i>And on top of that, she has the vest</i>
<i>that you could see at the end of the film</i>

498
00:29:18,006 --> 00:29:20,508
<i>she's going to give it</i>
<i>to her older sister.</i>

499
00:29:23,762 --> 00:29:27,682
What we are using for fabric
is actually a durable jersey.

500
00:29:27,766 --> 00:29:31,352
Very strong. And we print on them,

501
00:29:31,436 --> 00:29:35,356
we print on them a design
which is different.

502
00:29:35,440 --> 00:29:39,194
And that give her the possibility
of having something very original,

503
00:29:39,277 --> 00:29:44,824
and being able to use any source of fabric
which is necessary

504
00:29:44,908 --> 00:29:48,036
for the elasticity
and the comfort of the suit.

505
00:29:48,828 --> 00:29:52,707
<i>Scarlett and I both have</i>
<i>White Widow suits, which is very cool.</i>

506
00:29:52,791 --> 00:29:54,292
I can move in it, I can fight in it,

507
00:29:54,375 --> 00:29:57,504
which isn't the same
for lots of the superhero suits.

508
00:29:57,587 --> 00:30:00,423
They're usually, you know,
there to look amazing.

509
00:30:00,507 --> 00:30:03,301
So it was cool to be in a suit
that was made for function

510
00:30:03,384 --> 00:30:06,930
and completely summed up
exactly what Yelena is about.

511
00:30:07,013 --> 00:30:10,266
<i>She just puts the clothes on</i>
<i>and then fights.</i>

512
00:30:11,643 --> 00:30:12,852
<i>I think it's never finished.</i>

513
00:30:12,936 --> 00:30:15,897
<i>For me, the costume is finished</i>
<i>when they are shooting on it.</i>

514
00:30:15,980 --> 00:30:18,942
When the first take is done,
and I think, "Ha, ha, it works."

515
00:30:19,025 --> 00:30:22,403
(CHUCKLING) This is the moment
where I think that my job is finished.

516
00:30:22,487 --> 00:30:25,156
But I think till that moment,
you are never finished.

517
00:30:28,618 --> 00:30:31,913
CHAPEK: <i>There are so many great characters</i>
<i>that we needed to design for this.</i>

518
00:30:31,996 --> 00:30:34,207
One thing that's interesting
about Marvel Studios

519
00:30:34,290 --> 00:30:37,544
is we have our in-house
visual development team,

520
00:30:37,627 --> 00:30:38,962
<i>led by Andy Park,</i>

521
00:30:39,045 --> 00:30:41,756
<i>who headed the development</i>
<i>of the costumes and everything.</i>

522
00:30:41,840 --> 00:30:45,176
<i>And what was so great</i>
<i>about Jany is her collaboration with Andy,</i>

523
00:30:45,260 --> 00:30:47,428
<i>is that they formed a great partnership</i>

524
00:30:47,512 --> 00:30:49,722
in ultimately bringing
these characters to life.

525
00:30:51,766 --> 00:30:55,436
My father, he go toilet on my hands.

526
00:30:55,520 --> 00:30:59,190
-Oh, my God. Oh, my God.
-Urine is 35°C...

527
00:30:59,274 --> 00:31:01,526
-Oh, my God.
-...staves off the frostbite.

528
00:31:01,609 --> 00:31:03,194
How is this relevant?

529
00:31:04,070 --> 00:31:06,990
You know, fathers.

530
00:31:07,657 --> 00:31:11,202
I think when you have a juicy scene
that you know you've got coming up,

531
00:31:11,286 --> 00:31:13,538
and especially David and I
get along really well,

532
00:31:13,621 --> 00:31:15,373
we were good mates during the filming.

533
00:31:15,456 --> 00:31:18,751
So we were genuinely excited
about doing that scene.

534
00:31:18,835 --> 00:31:21,796
And then when it came about,
it kind of happened so quickly,

535
00:31:21,880 --> 00:31:23,965
and we... (LAUGHS) And then it was done.

536
00:31:24,048 --> 00:31:26,509
And we're like,
"Oh! We really enjoyed that."

537
00:31:26,593 --> 00:31:29,512
It's amazing when you have
that connection with someone.

538
00:31:29,596 --> 00:31:32,515
It's amazing when you all have
the same idea of where you're going.

539
00:31:32,599 --> 00:31:33,600
That's very rare.

540
00:31:33,683 --> 00:31:35,351
And also to have someone like Cate,

541
00:31:35,435 --> 00:31:38,313
who is constantly
pushing for you to not shy away

542
00:31:38,396 --> 00:31:42,734
from feeling is an amazing,
supportive feeling.

543
00:31:44,402 --> 00:31:49,657
PEARSON: <i>David Harbour,</i>
<i>every choice he makes is so funny and big.</i>

544
00:31:49,741 --> 00:31:51,993
And I love that he...

545
00:31:52,076 --> 00:31:56,539
I said to him, "You should have
Karl Marx across your knuckles."

546
00:31:56,623 --> 00:31:59,000
<i>And that he has all these prison tattoos.</i>

547
00:31:59,083 --> 00:32:01,169
<i>And he just went for it right away.</i>

548
00:32:01,252 --> 00:32:02,629
(GRUNTS) Oh!

549
00:32:03,671 --> 00:32:05,256
(LAUGHS BOISTEROUSLY)

550
00:32:05,340 --> 00:32:07,300
That guy think he goin' to beat me.

551
00:32:07,383 --> 00:32:11,179
PEARSON: <i>He was just another...</i>
<i>Again, we have a real bounty of riches.</i>

552
00:32:11,262 --> 00:32:13,514
Our cast has been
incredible the whole way.

553
00:32:14,766 --> 00:32:17,435
WINSTONE: <i>Well, me joining</i>
<i>the Marvel Universe was a...</i>

554
00:32:17,518 --> 00:32:19,646
<i>I guess a big surprise for me.</i>

555
00:32:19,729 --> 00:32:22,982
I read comic books when I was a kid
like every other kid, I guess.

556
00:32:24,025 --> 00:32:26,986
<i>I always remember</i>
<i>in the early comic books,</i>

557
00:32:27,070 --> 00:32:29,197
<i>that even the bad guy</i>
<i>had kind of a sadness</i>

558
00:32:29,280 --> 00:32:31,240
<i>and a sorrow about him in the end.</i>

559
00:32:32,533 --> 00:32:36,829
So when I kind of read this,
I wondered whether my character Dreykov

560
00:32:37,705 --> 00:32:42,418
might have that same kind of realization

561
00:32:42,502 --> 00:32:46,923
within death or within the ending,
his demise, you know?

562
00:32:52,637 --> 00:32:55,390
FAGBENLE: <i>It's amazing!</i>
<i>Like, it's full on amazing</i>

563
00:32:55,473 --> 00:32:58,810
to think I might be
part of something as big

564
00:32:58,893 --> 00:33:01,020
and important
to so many people as the MCU.

565
00:33:01,104 --> 00:33:02,397
(LAUGHS)

566
00:33:03,898 --> 00:33:05,525
So sorry.

567
00:33:05,608 --> 00:33:07,777
FAGBENLE:<i> I think</i>
<i>I was really attracted to the idea</i>

568
00:33:07,860 --> 00:33:09,612
<i>of working with Cate, our director,</i>

569
00:33:09,696 --> 00:33:12,115
<i>who, you know, is such an auteur</i>

570
00:33:12,198 --> 00:33:15,326
<i>and the movies she's done</i>
<i>are so moving and meaningful.</i>

571
00:33:15,410 --> 00:33:18,246
And so, it would be kind of like,
confluence of her style

572
00:33:18,329 --> 00:33:23,042
with the scope
of the Marvel Universe was just...

573
00:33:23,126 --> 00:33:24,711
It was really intriguing to me.

574
00:33:25,670 --> 00:33:27,005
You're gonna go easy.

575
00:33:27,755 --> 00:33:28,756
Let him go.

576
00:33:28,840 --> 00:33:30,842
<i>What was really</i>
<i>interesting for me actually</i>

577
00:33:30,925 --> 00:33:33,094
<i>was getting to spend</i>
<i>some time with William Hurt.</i>

578
00:33:33,177 --> 00:33:38,850
He was so vigorous and so...
Like, he wanted to explore and sit...

579
00:33:38,933 --> 00:33:40,977
And it really kind of, I don't know,

580
00:33:41,060 --> 00:33:43,187
it gave me a lot of heart,
really, to be honest.

581
00:33:43,271 --> 00:33:45,106
To go, like, "Yeah," you know?

582
00:33:45,189 --> 00:33:48,651
You're still fightin'
for the integrity of the piece.

583
00:33:49,277 --> 00:33:53,990
The perfect model for me,
as an actor, is repertory ensemble, okay?

584
00:33:54,073 --> 00:33:57,076
So that you're an ensemble,
and you're building ethics of trust,

585
00:33:57,160 --> 00:33:58,619
you're learning to trust each other

586
00:33:58,703 --> 00:34:01,664
<i>so that you can surrender</i>
<i>your concentration and trust</i>

587
00:34:01,748 --> 00:34:04,208
<i>to depths that it can't go to without it.</i>

588
00:34:04,292 --> 00:34:10,173
<i>And then one of the things</i>
<i>that you do with that is go to character,</i>

589
00:34:10,256 --> 00:34:13,593
and character demands
all the imagination you have.

590
00:34:13,676 --> 00:34:17,430
So you can't really get to character
unless you can have the imagination

591
00:34:17,513 --> 00:34:19,223
that is only possible with trust.

592
00:34:19,807 --> 00:34:23,436
So trusting the other actor is the scene.

593
00:34:23,519 --> 00:34:25,813
It's the life of the scene. Period.

594
00:34:25,897 --> 00:34:28,691
We got Barton,
we got Wilson, and that other guy,

595
00:34:28,775 --> 00:34:30,401
"The Incredible Shrinking Convict."

596
00:34:30,485 --> 00:34:33,154
<i>Rogers is on the run. You got no friends.</i>

597
00:34:33,821 --> 00:34:35,281
Where are you gonna go?

598
00:34:35,364 --> 00:34:38,910
I think for us, consistently,
we say, "Thank God for our cast.

599
00:34:38,993 --> 00:34:41,329
"Thank God for what they were able to..."

600
00:34:41,412 --> 00:34:45,166
That we had that dream
of what they could create.

601
00:34:45,249 --> 00:34:50,129
And then at the helm,
with Cate's help, that they get there.

602
00:34:50,213 --> 00:34:53,591
And you get those scenes,
and you go, "Hallelujah."

603
00:34:57,178 --> 00:34:59,847
Honey. We're home.

604
00:35:03,768 --> 00:35:06,395
Rachel Weisz is playing Melina Vostokoff.

605
00:35:07,355 --> 00:35:11,275
She, in the comics,
is also a former Russian spy

606
00:35:11,359 --> 00:35:14,821
<i>that we wanted to integrate into the film.</i>

607
00:35:14,904 --> 00:35:16,364
(YOUNG NATASHA SPEAKING INDISTINCTLY)

608
00:35:16,447 --> 00:35:17,573
How long do we have?

609
00:35:17,657 --> 00:35:19,909
I don't know. Like an hour maybe?

610
00:35:23,079 --> 00:35:24,539
I don't wanna go.

611
00:35:24,622 --> 00:35:29,001
With Melina, Rachel Weisz
is such an accomplished dramatic actor.

612
00:35:29,085 --> 00:35:31,963
To have someone like that
step into a role like this,

613
00:35:32,046 --> 00:35:34,132
it's such an incredible
leap of faith for us,

614
00:35:34,215 --> 00:35:35,758
and it validates everything we do.

615
00:35:36,384 --> 00:35:37,385
(SPEAKING INDISTINCTLY)

616
00:35:37,468 --> 00:35:38,636
You look like you have...

617
00:35:38,719 --> 00:35:40,555
-Hey, everybody set?
-Set.

618
00:35:40,638 --> 00:35:42,765
Here we go. And action!

619
00:35:43,349 --> 00:35:45,768
CHAPEK: <i>She brings such a gravitas</i>
<i>to this character</i>

620
00:35:45,852 --> 00:35:47,812
<i>who has been a part of this spy world.</i>

621
00:35:47,895 --> 00:35:50,064
<i>Who came from the Red Room before Natasha.</i>

622
00:35:51,691 --> 00:35:52,900
(SNIFFLES)

623
00:35:54,318 --> 00:35:57,196
You know, it's like when you told them

624
00:35:57,280 --> 00:35:59,532
that they could stay up late
to catch Santa Claus.

625
00:35:59,615 --> 00:36:00,616
That was fun, you know.

626
00:36:00,700 --> 00:36:02,910
He come down the chimney, girls.
Look out! Where is he?

627
00:36:02,994 --> 00:36:04,620
But he doesn't come.

628
00:36:05,121 --> 00:36:06,789
Well, I know. But that's the fun.

629
00:36:06,873 --> 00:36:09,417
That's part of the fun of it,
is that he never come.

630
00:36:09,500 --> 00:36:11,502
It's like, you know,
waiting for the thing.

631
00:36:11,586 --> 00:36:12,962
But it gives you hope, right?

632
00:36:13,045 --> 00:36:17,550
And I believe you should...
(LAUGHS WHIMSICALLY) No, no.

633
00:36:17,633 --> 00:36:20,887
-No, I do know it give you hope, you know?
-No, I know. (CHUCKLES)

634
00:36:20,970 --> 00:36:24,182
And I believe you should, you should hope.
(LAUGHS WHIMSICALLY)

635
00:36:24,265 --> 00:36:25,725
I'm sorry. Wait, wait.

636
00:36:25,808 --> 00:36:28,728
You were going for <i>Waiting for Godot.</i>
Well, you were.

637
00:36:28,811 --> 00:36:30,438
-Waiting for whatever.
-Just say it!

638
00:36:30,521 --> 00:36:32,148
<i>As soon as they arrive at Melina's,</i>

639
00:36:32,231 --> 00:36:35,860
we kinda see how even though
they've been separated for 20 years,

640
00:36:35,943 --> 00:36:39,780
they sit down, and it's like picking up
from where they were in Ohio.

641
00:36:39,864 --> 00:36:42,200
You haven't aged a day, huh?

642
00:36:42,283 --> 00:36:47,079
You're just as beautiful and supple
as the day they staged our marriage.

643
00:36:49,999 --> 00:36:52,585
<i>I think because we all individually knew</i>

644
00:36:52,668 --> 00:36:56,214
how each one of our characters
felt about the other person,

645
00:36:57,089 --> 00:37:00,801
it actually, in a way, you kind of
don't want to kill it with rehearsal,

646
00:37:00,885 --> 00:37:04,347
you just wanna get there on the day
and see what everybody's giving.

647
00:37:06,265 --> 00:37:08,559
SHORTLAND: <i>It was really,</i>
<i>the script was the hardest part</i>

648
00:37:08,643 --> 00:37:10,353
<i>because it was a jigsaw puzzle.</i>

649
00:37:10,436 --> 00:37:13,522
It was comedy,
it was drama, it's spectacle.

650
00:37:13,606 --> 00:37:16,192
And you have to make it all
one beautiful thing.

651
00:37:16,275 --> 00:37:18,069
So, that was a challenge.

652
00:37:18,152 --> 00:37:19,570
Action.

653
00:37:19,654 --> 00:37:21,989
Good boy, Alexei. Good boy.

654
00:37:23,366 --> 00:37:25,117
You named the pig after me?

655
00:37:25,785 --> 00:37:27,495
You don't see the resemblance?

656
00:37:27,578 --> 00:37:31,916
The funny-ness that comes out of it
comes from these missed connections

657
00:37:31,999 --> 00:37:36,045
and from these attempts
to love each other.

658
00:37:36,128 --> 00:37:38,506
And they're just
inadequate people, all of them.

659
00:37:39,715 --> 00:37:41,759
-Change it up. Yeah.
-Yep, yep, yes.

660
00:37:43,135 --> 00:37:45,763
-Can you go to your right further?
-Try to find...

661
00:37:45,846 --> 00:37:50,142
PUGH: <i>Cate has made</i>
<i>a film that it isn't necessarily...</i>

662
00:37:50,226 --> 00:37:52,436
<i>The heart isn't about superheroes.</i>

663
00:37:52,520 --> 00:37:55,523
The heart is about being damaged

664
00:37:55,606 --> 00:37:59,652
and trying to find a way to fix yourself.

665
00:37:59,735 --> 00:38:03,364
And so, you know,
there's obviously so much humor in it,

666
00:38:03,447 --> 00:38:06,534
and David Harbour's hilarious,
and Rachel Weisz is just a legend.

667
00:38:06,617 --> 00:38:08,494
But equally, when it gets to those scenes,

668
00:38:08,577 --> 00:38:12,957
Cate was really sure that she needed
this to be the heart of the film.

669
00:38:13,040 --> 00:38:14,792
She kept on saying throughout the shoot,

670
00:38:14,875 --> 00:38:16,711
"What's the heart of the film?"

671
00:38:16,794 --> 00:38:19,338
And she needed this to be about the pain

672
00:38:19,422 --> 00:38:22,925
and how you repair yourself
and how you collect yourself.

673
00:38:23,926 --> 00:38:25,636
You are an idiot.

674
00:38:30,349 --> 00:38:31,934
And you're a coward.

675
00:38:34,520 --> 00:38:37,481
You're a coward,
and our family was never real,

676
00:38:37,565 --> 00:38:40,192
so, there's nothing to hold onto.

677
00:38:41,569 --> 00:38:43,112
We're moving on.

678
00:38:44,739 --> 00:38:47,033
It's important for us
to understand in this film

679
00:38:47,116 --> 00:38:53,748
how this family has shaped
the person that Natasha became.

680
00:38:59,462 --> 00:39:01,005
I'm sorry.

681
00:39:03,716 --> 00:39:06,177
Why she is so guarded,

682
00:39:06,260 --> 00:39:09,889
and why she wears many faces
and puts on the masks.

683
00:39:09,972 --> 00:39:13,434
<i>She's been deeply hurt by the people</i>
<i>who meant the most to her,</i>

684
00:39:13,517 --> 00:39:16,812
<i>and the result is kind</i>
<i>of what you see is what you get.</i>

685
00:39:16,896 --> 00:39:18,939
You got some nerve, I'll give you that.

686
00:39:19,023 --> 00:39:20,691
You could use some of that right now.

687
00:39:21,567 --> 00:39:24,612
<i>I think especially,</i>
<i>coming out of this time,</i>

688
00:39:24,695 --> 00:39:26,989
<i>where we're all really</i>
<i>longing for community,</i>

689
00:39:27,073 --> 00:39:30,368
and there has been so much division,

690
00:39:30,451 --> 00:39:33,579
I think what the film does is it says,

691
00:39:33,662 --> 00:39:36,957
<i>"Accept and love each other</i>
<i>for who you are,</i>

692
00:39:37,041 --> 00:39:40,127
<i>"and look at each other</i>
<i>as precious beings."</i>

693
00:39:40,211 --> 00:39:41,837
And I think that's all I want,

694
00:39:41,921 --> 00:39:47,093
is for people to enjoy it
and see the human under the suit.

695
00:39:49,929 --> 00:39:51,806
It's a security issue, Barry.

696
00:39:51,889 --> 00:39:53,349
-Come on. Come on.
-Barry?

697
00:39:53,432 --> 00:39:55,518
-It's a security.
-I know.

698
00:39:55,601 --> 00:39:56,602
CREW MEMBER: Come on.

699
00:39:56,685 --> 00:40:00,064
So this is my 23rd movie at Marvel.

700
00:40:00,147 --> 00:40:01,816
I've been all around the world.

701
00:40:01,899 --> 00:40:05,903
This is absolutely the biggest
security threat we've ever faced.

702
00:40:06,862 --> 00:40:08,197
These guys right here.

703
00:40:13,369 --> 00:40:15,788
<i>I think this is gonna</i>
<i>have a very different look</i>

704
00:40:15,871 --> 00:40:18,916
than most of the other MCU movies
'cause we're on location.

705
00:40:18,999 --> 00:40:21,794
We're in the brush. We're in the mud.

706
00:40:21,877 --> 00:40:23,921
We're gonna probably be
in the snow, in the sand.

707
00:40:24,004 --> 00:40:28,384
And I feel like we're gonna be
in a lot of real natural places.

708
00:40:29,176 --> 00:40:31,512
-Left pocket is the best one for us.
-Yeah.

709
00:40:31,595 --> 00:40:33,722
-Then let's do a pre-wet.
-Yeah.

710
00:40:33,806 --> 00:40:35,182
So she's really, like...

711
00:40:36,267 --> 00:40:38,394
But, uh, she probably
won't have to act that.

712
00:40:38,477 --> 00:40:41,981
-You know, like, she's like...
-Her, okay. She fell in icy cold water.

713
00:40:42,064 --> 00:40:44,442
And then she's up, and she's like...

714
00:40:44,525 --> 00:40:46,110
You know?

715
00:40:46,193 --> 00:40:48,487
-Shout out if I'm overacting.
-No, overact. Yeah.

716
00:40:48,571 --> 00:40:50,865
-Okay. (LAUGHS)
-That'll make me look better.

717
00:40:50,948 --> 00:40:54,118
Guys, what we'll do, we'll pre-wet
and everything just by the water's edge.

718
00:40:54,201 --> 00:40:56,454
-So mean.
-You're sending her in first?

719
00:40:56,537 --> 00:40:58,456
-Um, oh, we talked about it.
-Always.

720
00:40:58,581 --> 00:41:00,291
(EFFORT GRUNTS)

721
00:41:00,374 --> 00:41:02,042
(COUGHING)

722
00:41:02,418 --> 00:41:03,752
(EXCLAIMS)

723
00:41:03,836 --> 00:41:05,045
(BREATHING HEAVILY)

724
00:41:06,297 --> 00:41:10,801
Crew away, one more.
Keep rolling. Keep rolling.

725
00:41:11,385 --> 00:41:13,429
-Keep going?
-Coming back, C.C.

726
00:41:13,512 --> 00:41:14,805
-Okay.
-You good?

727
00:41:14,889 --> 00:41:16,599
YOUNG:
<i>We couldn't be happier with our doubles.</i>

728
00:41:16,682 --> 00:41:20,102
For Natasha, we've got
Mickey Facchinello and C.C. Ice.

729
00:41:20,186 --> 00:41:24,607
<i>C.C. has come from our</i> Avengers <i>crew,</i>
<i>so she knows the character very well.</i>

730
00:41:25,107 --> 00:41:28,360
<i>And Mickey</i>
<i>is an extremely talented martial artist.</i>

731
00:41:28,444 --> 00:41:31,822
<i>So both our ladies do the research.</i>
<i>They watch the old movies.</i>

732
00:41:31,906 --> 00:41:33,365
They are at the top of their game.

733
00:41:33,449 --> 00:41:36,285
<i>They're looking</i>
<i>for the moments, those pieces,</i>

734
00:41:36,368 --> 00:41:39,205
<i>and they're very conscious</i>
<i>of what Scarlett's gonna be doing.</i>

735
00:41:39,288 --> 00:41:41,749
<i>I think the most important thing</i>
<i>is that they know</i>

736
00:41:41,832 --> 00:41:46,045
<i>that to be a good double is to blend</i>
<i>when we see the actor stunts.</i>

737
00:41:46,128 --> 00:41:49,089
<i>We wanna make it seamless.</i>
<i>The biggest respect to these ladies.</i>

738
00:41:49,173 --> 00:41:52,134
<i>They are brilliant, you know,</i>
<i>story moments of what we want,</i>

739
00:41:52,218 --> 00:41:53,594
but you wanna see Scarlett.

740
00:41:54,595 --> 00:41:57,097
-I'm going.
-Here we come, she's comin' in.

741
00:41:57,181 --> 00:41:58,933
(INAUDIBLE)

742
00:41:59,016 --> 00:42:00,601
Happy thoughts.

743
00:42:00,684 --> 00:42:02,937
I'm thinking happy thoughts.

744
00:42:03,020 --> 00:42:04,355
MAN: How's that position, Rob?

745
00:42:04,438 --> 00:42:07,525
I love my job. I love my job.

746
00:42:07,608 --> 00:42:09,777
-MAN: Here we go. Everyone ready?
-(GRUNTS)

747
00:42:10,402 --> 00:42:12,821
-And action!
-(GRUNTS)

748
00:42:15,366 --> 00:42:16,492
(WATER TRICKLING)

749
00:42:16,575 --> 00:42:17,785
(BREATHING HEAVILY)

750
00:42:19,537 --> 00:42:21,580
-MAN 1: Everybody, reset!
-MAN 2: Reset, Scarlett.

751
00:42:21,664 --> 00:42:22,873
(EFFORT GRUNTS)

752
00:42:24,458 --> 00:42:25,793
It's still cold.

753
00:42:28,462 --> 00:42:31,799
(ANNOUNCING INDISTINCTLY OVER PA SYSTEM)

754
00:42:35,719 --> 00:42:37,221
CHAPEK: <i>From the very beginning,</i>

755
00:42:37,304 --> 00:42:39,640
<i>this movie had to be</i>
<i>something very different.</i>

756
00:42:39,723 --> 00:42:43,227
This movie wasn't something
that could be cheated for other locations.

757
00:42:43,310 --> 00:42:46,814
We wouldn't be able to take another
European city and double it for Budapest.

758
00:42:46,897 --> 00:42:50,484
It was very important that we put
our characters on the ground,

759
00:42:50,568 --> 00:42:52,611
<i>feel the city, and feature the city.</i>

760
00:42:52,695 --> 00:42:54,905
<i>And ever since</i> Avengers 1,

761
00:42:54,989 --> 00:43:00,286
we set up this idea that Clint and Natasha
had this incredible adventure in Budapest.

762
00:43:02,037 --> 00:43:05,583
-Just like Budapest all over again.
-I remember Budapest very differently.

763
00:43:05,666 --> 00:43:08,460
It's something that's become
very important to fans,

764
00:43:08,544 --> 00:43:10,045
and when making a <i>Black Widow</i> movie,

765
00:43:10,129 --> 00:43:12,339
it's very important for us
to kind of pay that off,

766
00:43:12,423 --> 00:43:15,259
or at least shed light as to what
had happened so many years ago.

767
00:43:15,342 --> 00:43:16,802
What bullet does that?

768
00:43:19,138 --> 00:43:21,640
-Not bullets, arrows.
-Ah, right.

769
00:43:21,724 --> 00:43:25,477
As Natasha, in our movie, kind of finds
herself thrown back into Budapest,

770
00:43:25,561 --> 00:43:28,689
she's forced to relive things
that happened with her and Clint.

771
00:43:29,607 --> 00:43:32,151
<i>It started out so funnily,</i>
<i>is this thing that,</i>

772
00:43:32,234 --> 00:43:33,819
<i>you know, Joss Whedon threw in there,</i>

773
00:43:33,902 --> 00:43:38,866
as this great sort of quippy moment
between Hawkeye and Black Widow, you know.

774
00:43:38,949 --> 00:43:42,119
That's Clint and Natasha right there,
their kind of history.

775
00:43:42,202 --> 00:43:46,624
Just a fun little Easter egg for people
and for fans to kind of theorize about.

776
00:43:46,707 --> 00:43:49,710
Then we thought, "We gotta find out
what happened in Budapest."

777
00:43:50,711 --> 00:43:53,297
Tell me what happened. Tell me exactly.

778
00:43:54,465 --> 00:43:56,008
-We rigged bombs.
-Who's "we"?

779
00:43:56,091 --> 00:43:57,092
Clint Barton.

780
00:43:57,593 --> 00:44:00,721
Killing Dreykov was the final step
in my defection to S.H.I.E.L.D.

781
00:44:02,264 --> 00:44:03,682
Simple as that.

782
00:44:03,766 --> 00:44:08,604
The location just felt like it would be
visually, really exciting, too.

783
00:44:08,687 --> 00:44:10,230
And give a kind of flavor

784
00:44:10,314 --> 00:44:12,983
that the Marvel Universe
has never really explored,

785
00:44:13,067 --> 00:44:16,320
this great, like,
Eastern European vibe, which is so fun.

786
00:44:21,200 --> 00:44:23,369
All right, no more smoke. Action!

787
00:44:23,452 --> 00:44:24,662
(GRUNTING)

788
00:44:27,623 --> 00:44:30,084
When I first went to Budapest
over 30 years ago,

789
00:44:30,209 --> 00:44:33,212
I went to a lot of apartments like that.
And, um...

790
00:44:33,962 --> 00:44:36,215
And we shot the exterior of it
in a courtyard

791
00:44:36,298 --> 00:44:38,759
in a wonderful old building
called the Express Building,

792
00:44:38,842 --> 00:44:40,928
<i>which is right in the center of Budapest,</i>

793
00:44:41,011 --> 00:44:46,266
<i>which amazingly, hasn't been touched</i>
<i>in all the years I've known the city.</i>

794
00:44:46,892 --> 00:44:49,436
<i>So it was a pleasure</i>
<i>to go back and see that.</i>

795
00:44:50,896 --> 00:44:52,564
I guess I just...

796
00:44:52,648 --> 00:44:56,318
(LAUGHS) Me too.
I just slipped down, basically.

797
00:44:56,402 --> 00:44:57,403
(CONTINUES LAUGHING)

798
00:44:58,070 --> 00:45:01,073
BUSH: <i>It was very nice on this film</i>
<i>to actually see it as Budapest.</i>

799
00:45:01,156 --> 00:45:03,617
<i>'Cause I'll tell you,</i>
<i>in all the times I've been there,</i>

800
00:45:03,701 --> 00:45:08,330
we've always turned it into East Berlin
or Paris or Rome or somewhere else.

801
00:45:08,414 --> 00:45:10,457
But, um, you know, just for a change,

802
00:45:10,541 --> 00:45:13,252
it was Budapest as Budapest
and celebrated as such.

803
00:45:14,169 --> 00:45:15,546
Here we go. Picture's up.

804
00:45:18,132 --> 00:45:21,427
One of the biggest chases
is set in Budapest.

805
00:45:21,510 --> 00:45:26,390
And we are on a motorbike as Taskmaster
is in a tank coming after us.

806
00:45:26,473 --> 00:45:29,685
So for three weeks,
they had a tank drive around Budapest,

807
00:45:29,768 --> 00:45:32,146
<i>and I'm sure</i>
<i>that shocked quite a lot of people.</i>

808
00:45:34,106 --> 00:45:36,734
JOHANSSON: <i>The city of Budapest gave us,</i>
<i>like, you know,</i>

809
00:45:36,817 --> 00:45:37,943
<i>basically the keys to the city.</i>

810
00:45:38,026 --> 00:45:44,450
So we were able to really use these
iconic locations in a very practical way,

811
00:45:44,533 --> 00:45:46,618
which is really fun
'cause you don't have to be

812
00:45:46,702 --> 00:45:50,581
shooting all these plates and using a lot
of CG, you can actually really do it.

813
00:45:50,706 --> 00:45:52,249
(ENGINE ROARING)

814
00:45:52,332 --> 00:45:53,500
PUGH: <i>It was very funny.</i>

815
00:45:53,584 --> 00:45:55,586
<i>We had stunt doubles going around the city</i>

816
00:45:55,669 --> 00:45:56,754
<i>on a real motorbike.</i>

817
00:45:56,837 --> 00:45:59,381
And then we were on
a pole that had a motorbike on it.

818
00:46:03,969 --> 00:46:06,388
MAN: Three, two, one. Go!

819
00:46:09,767 --> 00:46:12,853
That chase is so many things. (LAUGHS)

820
00:46:12,936 --> 00:46:14,396
As it normally is.

821
00:46:14,980 --> 00:46:18,066
<i>Some of it is us being</i>
<i>pulled by a camera on this rig.</i>

822
00:46:18,150 --> 00:46:19,234
And fire!

823
00:46:19,318 --> 00:46:20,319
ROMANOFF: Hey!

824
00:46:20,444 --> 00:46:21,487
(CHUCKLES)

825
00:46:21,570 --> 00:46:24,698
JOHANSSON: <i>That car-flipping stuff</i>
<i>was all on this weird track.</i>

826
00:46:24,782 --> 00:46:26,450
And then a lot of it is also practical.

827
00:46:35,292 --> 00:46:36,293
(TIRES SCREECHING)

828
00:46:42,925 --> 00:46:44,092
(TIRES SCREECHING)

829
00:46:53,769 --> 00:46:57,314
It was just also one of those things
that you had to fill in all the blanks.

830
00:46:57,397 --> 00:47:01,026
So obviously, your stunts are doing
mega things and making this look real.

831
00:47:01,109 --> 00:47:02,861
<i>And then</i> (CHUCKLES)
<i>we have to come in to do</i>

832
00:47:02,945 --> 00:47:04,988
<i>the corner shot</i>
<i>and make it look really scary.</i>

833
00:47:05,072 --> 00:47:08,158
Okay, you got a plan,
or shall I just stay, duck and cover?

834
00:47:08,242 --> 00:47:09,743
My plan was to drive us away!

835
00:47:09,827 --> 00:47:10,911
It's a shit plan.

836
00:47:16,291 --> 00:47:18,627
PUGH: <i>I always find that part</i>
<i>of filmmaking fascinating.</i>

837
00:47:18,710 --> 00:47:22,631
It was a lot of fun, and it starts
the film on that energy straight away.

838
00:47:23,298 --> 00:47:28,053
It excels
and basically moves the entire story line

839
00:47:28,136 --> 00:47:30,722
into the main part of the film.

840
00:47:30,806 --> 00:47:33,642
<i>And it's just one car chase.</i>
<i>It's unbelievable.</i>

841
00:47:51,535 --> 00:47:56,582
Every Marvel film,
we're trying to up the one before it

842
00:47:56,665 --> 00:47:59,334
and give audiences something new,
exciting, and creative

843
00:47:59,418 --> 00:48:01,169
that they've never seen before.

844
00:48:01,253 --> 00:48:02,379
While at the same time,

845
00:48:02,462 --> 00:48:05,632
trying to manage and maintain
a constant and consistent story.

846
00:48:06,675 --> 00:48:08,176
YELENA: What about Romanoff?

847
00:48:08,260 --> 00:48:09,553
She's a traitor.

848
00:48:10,554 --> 00:48:12,723
She turned her back on her people.

849
00:48:12,806 --> 00:48:14,099
On her blood.

850
00:48:15,767 --> 00:48:18,770
BAUMANN: <i>For us right now, the third act</i>
<i>is probably the biggest challenge.</i>

851
00:48:18,854 --> 00:48:20,272
<i>It's a free fall sequence.</i>

852
00:48:20,355 --> 00:48:24,943
<i>Sky-diving in and out of planes</i>
<i>and, you know, zero-G.</i>

853
00:48:25,027 --> 00:48:28,363
So, there's a lot of choreography
that's gonna be involved,

854
00:48:28,447 --> 00:48:31,116
both with the visual effects
and stunts and special effects.

855
00:48:31,199 --> 00:48:33,285
<i>And to really try to bring</i>
<i>that sequence together</i>

856
00:48:33,368 --> 00:48:36,997
<i>and giving our actors opportunities</i>
<i>to really perform at their best</i>

857
00:48:37,080 --> 00:48:41,168
in that environment and not be overwhelmed
by the number of rigs or wires, et cetera,

858
00:48:41,251 --> 00:48:42,544
that they're going to be on.

859
00:48:43,545 --> 00:48:45,714
MARRA: <i>Cate has created</i>
<i>a really beautiful palette.</i>

860
00:48:45,797 --> 00:48:48,842
<i>Because this is a new world for her,</i>
<i>in terms of visual effects,</i>

861
00:48:48,926 --> 00:48:52,596
a lot of her questions had to do with how.

862
00:48:52,763 --> 00:48:56,308
"How do we shoot this?
How to I get this vision onto the screen?"

863
00:48:56,391 --> 00:48:58,268
Which, of course, is our jobs.

864
00:49:05,734 --> 00:49:09,696
So we had lots of early
pre-conversations about, um,

865
00:49:09,780 --> 00:49:11,823
like, how we shoot visual effects,

866
00:49:11,907 --> 00:49:15,035
whether it's set extensions
or just A over B comps

867
00:49:15,118 --> 00:49:17,162
<i>and showing her</i>
<i>what we can bring to her movie.</i>

868
00:49:22,334 --> 00:49:23,710
(EXPLOSION)

869
00:49:27,172 --> 00:49:29,341
Lift those feet a little bit
and push forward.

870
00:49:29,424 --> 00:49:30,717
Heels.

871
00:49:32,719 --> 00:49:35,013
-Nice.
-Need a focus.

872
00:49:35,097 --> 00:49:36,848
-I'll pause it... (INDISTINCT)
-Yeah.

873
00:49:36,932 --> 00:49:39,810
Yeah, that would be better.
That's cool. Let's shoot it.

874
00:49:40,852 --> 00:49:42,854
A lot of the time,
what's written on the page

875
00:49:42,938 --> 00:49:45,315
isn't always what we can produce.

876
00:49:45,399 --> 00:49:47,275
But there are the alternatives that,

877
00:49:47,359 --> 00:49:49,945
if we wanna keep this as grounded
and as real as possible,

878
00:49:50,028 --> 00:49:51,655
<i>this is what we can really achieve.</i>

879
00:49:51,738 --> 00:49:54,116
<i>And then getting everybody on board</i>

880
00:49:54,199 --> 00:49:57,244
<i>with that part of it</i>
<i>and then developing that sequence.</i>

881
00:49:57,327 --> 00:50:00,831
<i>And then go, "Okay, well, that sequence,</i>
<i>that's what we want it to be.</i>

882
00:50:00,914 --> 00:50:04,084
"This is the next sequence.
We will need help to make this work."

883
00:50:04,167 --> 00:50:07,379
<i>It'll be three-quarter visual effects,</i>
<i>quarter stunts.</i>

884
00:50:07,462 --> 00:50:10,090
<i>But are we happy</i>
<i>with the look of what that is?</i>

885
00:50:10,173 --> 00:50:12,592
<i>And then buy into that.</i>
<i>So it's kinda then...</i>

886
00:50:12,676 --> 00:50:16,972
It's making the most of our time on each
sequence, really, which is important.

887
00:50:17,222 --> 00:50:18,390
(ROMANOFF GRUNTS)

888
00:50:18,807 --> 00:50:19,850
(WATER SPLASHING)

889
00:50:22,019 --> 00:50:23,270
(BREATHING HEAVILY)

890
00:50:27,441 --> 00:50:29,568
<i>If you don't know what's happening,</i>

891
00:50:30,110 --> 00:50:34,823
that is the biggest compliment
that you can give a visual effects team.

892
00:50:35,532 --> 00:50:38,869
<i>If you're so into the story</i>
<i>that you don't question,</i>

893
00:50:38,952 --> 00:50:40,912
<i>"How did they do that?"</i>
<i>You don't because why?</i>

894
00:50:40,996 --> 00:50:43,832
'Cause you're afraid
that they're not going to make it.

895
00:50:43,915 --> 00:50:47,002
Or you're so excited that you're like,
"Oh, my God!"

896
00:50:47,085 --> 00:50:49,588
If that's happening to you as an audience,

897
00:50:49,671 --> 00:50:53,967
every single visual effects artist
around the world,

898
00:50:54,051 --> 00:50:57,262
like the, whatever, 5,000 people
that worked on this movie,

899
00:50:57,345 --> 00:50:59,056
everybody will be grateful.

900
00:51:03,560 --> 00:51:05,395
(BREATHING HEAVILY) Enough.

901
00:51:05,479 --> 00:51:07,689
<i>I think there's probably,</i>
<i>out of 2,800 shots,</i>

902
00:51:07,773 --> 00:51:09,900
<i>is maybe 200</i>
<i>that don't have visual effects.</i>

903
00:51:12,736 --> 00:51:14,196
<i>There's a lot of work in there.</i>

904
00:51:14,279 --> 00:51:17,365
<i>A lot of it you know,</i>
<i>and you realize it's happening</i>

905
00:51:17,449 --> 00:51:21,578
<i>'cause it will be not safe to do it</i>
<i>that way, so then you know it's happening.</i>

906
00:51:21,661 --> 00:51:25,165
<i>But there is so much more</i>
<i>that is happening that you have no idea.</i>

907
00:51:25,248 --> 00:51:30,754
<i>What better joy to have</i>
<i>as a filmmaker or as an artist,</i>

908
00:51:30,837 --> 00:51:34,925
<i>that we can have to create</i>
<i>worlds or to create moments</i>

909
00:51:35,008 --> 00:51:36,718
<i>that you don't even know it's happening,</i>

910
00:51:36,802 --> 00:51:39,471
<i>but you can actually</i>
<i>give that to the audience?</i>

911
00:51:39,554 --> 00:51:42,265
I mean, I think to me,
that's a dream come true.

912
00:51:42,349 --> 00:51:46,061
In every movie we make,
and every streaming show we do,

913
00:51:46,144 --> 00:51:51,900
we have a chance to tell a story
that on paper feels or seems impossible.

914
00:51:51,983 --> 00:51:55,278
And then you allow the artistry

915
00:51:55,362 --> 00:51:57,948
of visual effects artists
around the world,

916
00:51:58,031 --> 00:52:01,409
and they come in,
and they just make it work for you.

917
00:52:02,410 --> 00:52:04,996
Can you pull back? Pull back.
Pull back with the girls.

918
00:52:05,080 --> 00:52:06,790
Florence, can you stand?

919
00:52:06,873 --> 00:52:09,835
I want you to cheat
and go through more Widows.

920
00:52:09,918 --> 00:52:11,670
Come through more Widows. Cheat it.

921
00:52:11,753 --> 00:52:15,006
PUGH: <i>Something that I was always very...</i>
<i>For me as an actor,</i>

922
00:52:15,090 --> 00:52:19,136
<i>I've always felt sure about,</i>
<i>what is power, what does power look like?</i>

923
00:52:19,219 --> 00:52:21,471
<i>And when you look at a superhero,</i>

924
00:52:22,222 --> 00:52:25,559
I've always thought,
if I'm in a building, and it's burning,

925
00:52:25,642 --> 00:52:28,478
and I need a superhero
to come and save me,

926
00:52:28,562 --> 00:52:31,314
I need a woman to come and save me,
what would they look like?

927
00:52:31,398 --> 00:52:35,569
And I think for a long time,
we've looked at, you know,

928
00:52:35,652 --> 00:52:38,655
these shooting things that come
through the air, and they grab you.

929
00:52:38,738 --> 00:52:41,074
And actually, if you had a warrior
that was coming in

930
00:52:41,158 --> 00:52:43,827
to come and save you,
what would these people look like?

931
00:52:46,037 --> 00:52:49,124
<i>For me, I always found</i>
<i>something very unique about the script,</i>

932
00:52:49,207 --> 00:52:53,253
<i>which is the amount</i>
<i>of women that this will reach.</i>

933
00:52:54,129 --> 00:52:58,425
<i>This film is about abuse</i>
<i>and women finding their path again.</i>

934
00:52:59,217 --> 00:53:03,013
And something as big
and as serious as that reaching

935
00:53:03,096 --> 00:53:06,600
the amount of people that it will do
because of this film is, um...

936
00:53:07,976 --> 00:53:10,645
I mean, I didn't have that
when I was growing up.

937
00:53:11,646 --> 00:53:15,150
It was striking how many female, you know,

938
00:53:15,233 --> 00:53:17,903
<i>how many stuntwomen we had on set</i>
<i>at any given time.</i>

939
00:53:17,986 --> 00:53:21,281
<i>I mean, just the power of these women,</i>

940
00:53:21,364 --> 00:53:25,869
all in one room together was something
I'd never experienced before.

941
00:53:26,536 --> 00:53:30,874
<i>It was an amazing feeling to be surrounded</i>
<i>by all these badass women</i>

942
00:53:30,957 --> 00:53:33,793
<i>and really be able to get,</i>
<i>like, down and dirty with them.</i>

943
00:53:33,877 --> 00:53:35,212
-MAN: Action!
-(GRUNTS)

944
00:53:37,297 --> 00:53:42,177
<i>What Scarlett brings to her character,</i>
<i>with what she means to young girls today,</i>

945
00:53:42,260 --> 00:53:45,222
what she means to all the fans
'cause she's got such a following,

946
00:53:45,305 --> 00:53:49,392
but especially to young girls,
is incredibly special and inspiring.

947
00:53:49,476 --> 00:53:52,145
When you're watching it
you feel like, "That's me."

948
00:53:52,229 --> 00:53:54,147
You're kinda watching it
thinking it's you,

949
00:53:54,231 --> 00:53:56,191
so I think when a girl or a woman sees

950
00:53:56,274 --> 00:53:59,277
women being action stars,
they can identify.

951
00:53:59,361 --> 00:54:03,198
And you go along with the story
imagining that it's you who are like that.

952
00:54:03,281 --> 00:54:04,908
<i>So it's just a lot more exciting.</i>

953
00:54:04,991 --> 00:54:06,493
ALONSO: <i>It's imperative.</i>

954
00:54:06,576 --> 00:54:11,623
<i>It's imperative that these kids have</i>
<i>a character that they can look up to.</i>

955
00:54:11,706 --> 00:54:15,710
<i>That on a day when they don't</i>
<i>feel up to facing the world,</i>

956
00:54:15,794 --> 00:54:20,090
that they can put a mask,
they can put a cape, and they can pretend.

957
00:54:20,173 --> 00:54:21,633
(DRAMATIC MUSIC PLAYING)

958
00:54:24,177 --> 00:54:27,931
<i>And if that is what gives you the strength</i>
<i>to get through that moment and time,</i>

959
00:54:28,014 --> 00:54:33,186
<i>and it helps you because it empowers you,</i>
<i>then I salute you.</i>

960
00:54:33,853 --> 00:54:38,024
And if we don't do that for every kid,
then we will fail.

961
00:54:38,108 --> 00:54:42,112
<i>One of the beautiful things about comics,</i>
<i>is comics didn't fail you.</i>

962
00:54:42,195 --> 00:54:43,947
<i>People saw themselves.</i>

963
00:54:44,030 --> 00:54:47,075
So that identity that the page created,

964
00:54:47,158 --> 00:54:50,495
we need to continue
to do in the moving image.

965
00:54:51,246 --> 00:54:53,081
-(ALL CHEERING)
-(WHOOPING)

966
00:54:53,331 --> 00:54:55,625
This has been a dream job for me,

967
00:54:55,709 --> 00:54:58,670
and you guys have been
bringing all your creative juice

968
00:54:58,753 --> 00:55:00,714
and spirit and energy to this film.

969
00:55:00,797 --> 00:55:03,133
I think we're making
something really, really special.

970
00:55:03,216 --> 00:55:05,385
Something very, very special
to me, anyway.

971
00:55:05,468 --> 00:55:08,305
And so thank you all so, so much.

972
00:55:08,388 --> 00:55:10,015
-(WHOOPING)
-(ALL APPLAUDING)

973
00:55:11,850 --> 00:55:15,353
JOHANSSON: <i>It's been an incredible</i>
<i>opportunity for me to be able to continue</i>

974
00:55:15,437 --> 00:55:18,523
<i>to come back to a character</i>
<i>that I love so much.</i>

975
00:55:18,606 --> 00:55:21,359
<i>And I really have to thank</i>
<i>the audiences for that.</i>

976
00:55:23,737 --> 00:55:26,906
I'm super happy
with all the work that we've done

977
00:55:26,990 --> 00:55:31,745
<i>with this long-standing series</i>
<i>of franchise films from Marvel,</i>

978
00:55:31,828 --> 00:55:33,955
and it just feels like real family.

979
00:55:34,039 --> 00:55:35,874
(DRAMATIC MUSIC PLAYING)

980
00:55:46,009 --> 00:55:47,677
(THEME MUSIC PLAYING)