1. Hi, I'm Jon Favreau,
the director of this movie.
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2. So we start off with our logos,
Paramount and Marvel Studios.
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3. And we start here by having...
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4. Hopefully, you'll recognise
some of the dialogue
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5. we pulled from the press conference
that ended the last movie.
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6. Otherwise you're hearing the music
come up,
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7. and it's building to something dramatic.
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8. It's interesting,
if you look in the deleted scenes,
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9. there was another opening
we were considering,
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10. which was, "Pepper, I'm dying.
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11. "Oh, God, I'm dying. Help me. Oh, God."
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12. And then you cut on,
and then you see he's hugging the bowl.
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13. That beginning, it didn't work well for us
for a number of reasons,
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14. but we included it
'cause it worked as a scene.
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15. But in the movie,
the tone wasn't working well.
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16. We had problems in the beginning
trying to crosscut between light Tony
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17. with scenes of lvan building his stuff,
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18. because it just bumped tonally so much.
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19. And so we decided, after trial and error,
trying many different things, to...
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20. Instead of having him watch the Expo
on the screen before he died,
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21. which is what we had had here,
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22. we figured that we would
set us in the context of the first film
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23. and actually begin this six months ago
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24. and give Mickey Rourke
his opportunity to introduce himself
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25. and to create a sense of danger
at the beginning of the film.
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26. We had tried in the first film,
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27. which, if you recall,
starts with a flashback.
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28. He's driving around,
he gets taken hostage,
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29. and then we flash back to,
I think, six weeks earlier, if I recall.
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30. And so that allowed us
to play Tony Stark
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31. in a much different way
than if we had done it linear.
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32. We had actually done linear cuts.
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33. Everybody who saw the movie said,
"Why are you doing a flashback?
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34. "Can we see it linear?"
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35. And so we put it together,
and what happens is,
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36. Tony Stark would just not be
a very likeable guy.
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37. Everything he was doing was made...
He was forgiven much more
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38. because you knew that he was gonna
end up in a really compromised position,
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39. and probably the worst position
that you can think of,
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40. which was basically in a hostage video.
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41. And so here we wanted
to create this sense of danger,
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42. that something was looming,
something dangerous was coming.
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43. And here, if you see, "arc reactor,"
and here's your first clue.
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44. There's Anton Vanko and Howard Stark.
What does that mean?
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45. Well, Anton Vanko's his dad,
Howard Stark is Tony's father,
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46. and this whole "sins of the father"
vendetta theme
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47. begins to be introduced here.
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48. And here he is
with his Russian prison tattoos.
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49. And there we have on his wall,
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50. as any respectable serial killer
would have, the wall of clippings.
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51. And here we're trying to emulate
the building of the first suit in the cave.
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52. So this was lvan's cave,
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53. figuring he's drawing
from the same information.
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54. He's the shadow of Tony Stark.
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55. And there's our monitors and his little...
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56. We had Matty Libatique shooting this.
We referenced a movie, Pi,
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57. that he shot with Darren Aronofsky
years ago,
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58. some of our inspiration
for the way the monitors were set up.
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59. Of course, that was black and white.
This is colour.
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60. Here we go. We see that Iron Man
has become the Person of the Year.
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61. We learn clues about what's happened
over the last six months.
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62. There's the parrot drinking the vodka.
Very important shot.
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63. That's all Mickey wanted to know.
He was like, "Is the parrot shot in?"
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64. "What parrot shot?"
"The parrot drinking,
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65. "the cockatoo drinking the vodka."
I said, "It's not really..."
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66. "Well, see if it's in. Can you put it in?
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67. "It would mean a lot to me if you put it."
So, we put it in.
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68. There it is. I like the shot, too,
but that was very important to him.
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69. Here we go. This is emulating
the shot from the first film.
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70. Here it is.
We tried to mirror all that stuff.
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71. And here you hear some choir,
you hear John Debney's swelling score.
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72. Much different than our first film.
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73. We wanted this film to feel
more traditional than the first one,
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74. which is a little bit more
rough around the edges.
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75. Here he's been a superhero.
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76. I'll be quiet for my credit. Okay, let's...
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77. We wanted this to be a superhero film
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78. that felt a little bit more
like other superhero films,
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79. 'cause now he's owning it
a little bit more.
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80. And here we go.
So, there's our downbeat to the film.
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81. Boom. There it is.
AC/DC, Shoot to Thrill,
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82. "Six months later."
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83. So, here's what we're trying to do.
We're trying to do a misdirect.
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84. You think it's a mission.
You don't know what it is.
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85. There he is, in the back of a C-17.
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86. There's explosives. He jumps off.
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87. And this shot was gonna be
our first introduction to Iron Man
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88. in this movie,
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89. setting the table for what I hope
will be a great reveal of Tony Stark.
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90. Because you're waiting for him.
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91. I showed this to Garry Shandling,
who's very aware of...
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92. You know, you put on a show,
especially from stand-up,
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93. it's like, "Who's your opening act?"
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94. Well, he has Mickey Rourke
sort of as his opening act here.
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95. Now you have the dancing girls
and you have the music,
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96. and then the helmet
eventually comes off
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97. and we introduce Tony. So, it was like,
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98. "How far can we go with this?"
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99. And there's Flushing Meadow Park.
I grew up right there.
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100. You just saw my building
that I grew up in, across the street.
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101. And we set this thing in the world's fair,
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102. but we call it the Stark Expo
in our world.
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103. We're saying that the Expo
went on every 10 years
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104. and Howard Stark,
Tony's father, set it up.
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105. And it hasn't been going on since 1974.
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106. And now Tony, as part of his new plan...
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107. He said he wasn't making weapons
any more. What's he been up to?
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108. What is he gonna do
with this newfound power?
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109. He's going to put on a show,
he's going to celebrate himself.
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110. This was an image I had in my mind
pretty early on,
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111. the idea ofAC/DC blasting.
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112. I got the idea for this
when I was watching AC/DC
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113. while we were putting
the script together.
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114. Before we knew what the story was,
I was at a AC/DC concert
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115. and I was like, "This is
where we should find Tony Stark.
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116. "He should be a rock star now."
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117. And then I thought of the idea
of NFL cheerleader-types
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118. with a costume that looked like the suit.
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119. And then you pull off the costume,
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120. you pull off the suit,
and there he is in a tuxedo,
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121. like James Bond
getting out of the wetsuit
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122. with the tuxedo on,
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123. 'cause he's kind of like
a retro James Bond-type.
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124. And so, here's where
he explains the back story.
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125. There's been peace. No,
he hasn't been blowing everything up.
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126. Just the appearance of the suit
settled things down around the world.
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127. We wanted to come into this movie
with an unexpected choice,
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128. and that was just basically
the deterrence of the suit.
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129. Much like when the bomb
was first invented,
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130. everything settled down.
Everybody chilled out a little bit,
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131. until, of course,
the inevitable arms race happened.
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132. And that's sort of
what we're mirroring here
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133. with lvan building the same tech.
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134. So now he explains what the Expo is,
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135. and what the movie's about, really.
It's about legacy.
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136. Did he inherit the sins of his father?
What was the best part of his dad?
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137. What's he gonna do with his life?
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138. And we're about to find out, too,
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139. that he knows he's dying
from this invention.
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140. So, Tony's a good guy.
Tony's still trying to be a good guy here.
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141. So he might be a little full of himself,
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142. but clearly there's something driving him
to do something.
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143. He knows he's not gonna be around.
How does he want to change the world?
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144. So, he's using
this unprecedented moment of peace
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145. to put the emphasis
on leaving behind something great.
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146. Now this part, I'm really proud of.
This is John Slattery. I love Mad Men.
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147. I reached out to him,
I said, "Hey, could you do this?"
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148. He says, "Really? Is it...
What kind of part is it?
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149. "Is it just a cameo?"
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150. I'm like, "Well,
I think there's more to it than that.
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151. "I think we could really
do something cool here.
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152. "I think it'll be worth your while."
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153. And here he is. He's sort of like
a Howard Hughes, Walt Disney-type.
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154. You can see the great artwork
on the wall behind him in the little film.
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155. We shot the film to look...
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156. I think we even shot it
on 16mm stock. Yeah.
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157. There's all the artwork behind him
of all the Expos from all the decades,
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158. and there's the model, and there's even
a little arc reactor model in there.
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159. And we came up with the "O" logo.
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160. There's Olivia Munn. She had been...
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161. We included in the deleted scenes
what she had been.
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162. She'd been a girl at the party.
The party had a lot of challenges.
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163. And the tone of the party,
we didn't want it to get too funny.
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164. She's a very funny comic actress
and she did a fine job for us,
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165. but we couldn't include that part of it
because it was throwing the movie off,
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166. as good of a job as she did,
unfortunately.
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167. I've been cut out of a lot of stuff myself
as an actor, because it didn't fit in.
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168. There's Larry Ellison.
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169. And there's the Stan Lee cameo.
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170. And there was Seth Green in there
for a moment, if you look closely.
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171. And here's the lovely and talented
Kate Mara,
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172. and our product placement.
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173. And you hear
the Richard Sherman theme,
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174. which I'll talk more about
in the end credits,
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175. playing in the background here.
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176. But Olivia Munn, as I was saying before,
I told her that we couldn't include that,
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177. and she came back and did...
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178. I said, "We have something
we're about to shoot."
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179. We were doing something
and some additional photography
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180. to help with the exposition,
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181. to help people understand
what the Stark Expo was,
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182. and she came in and did a great job
as Chess Roberts
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183. from the comic books.
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184. And here we are
with a purchased stock shot
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185. that does not hold up well in IMAX,
I might add.
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186. Here we go.
Here he is, Howard Hughes trial,
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187. where they're trying
to nail this guy down,
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188. but his personality is too large
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189. and he has public opinion on his side,
because he's doing wonderful things.
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190. And there is peace
and there is prosperity.
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191. And he's more powerful
than the Senate.
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192. And it's almost like Caesar.
It's a Caesar-like rise
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193. we wanted to mirror.
And we wanted to make it fun and funny.
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194. And this scene was
our first day of photography.
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195. There's Garry Shandling,
who I've known for many years.
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196. I asked him to do this.
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197. He doesn't do films that often,
he's very selective,
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198. and he agreed.
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199. And this dialogue, we were beating
on this thing for a long time.
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200. Justin Theroux did many, many passes
of the scene.
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201. It was a very long scene.
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202. You see in some
of the deleted materials
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203. that it was actually even longer.
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204. We had Coulson in the back.
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205. We were introducing a lot of characters
in the scene.
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206. And one of the problems with this movie
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207. was that it's slow getting out
of the blocks.
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208. You're introducing a lot of characters,
there's a lot of beginnings to it.
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209. And we didn't want it to drag.
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210. And so, hats off to my editors,
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211. Dan Lebental and Rick Pearson.
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212. Boy, they worked on this thing...
This was Rick's...
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213. Rick got this from the day we shot it,
the first day,
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214. and there were so many cameras
and so much footage.
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215. This was his hobby.
He would work on this thing like...
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216. It was like the Crazy Horse monument
in the Dakotas.
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217. He would go out there
with his jackhammer
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218. and carve away at this scene.
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219. And it took till the end of the movie,
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220. till the end of the editorial process
to finally land on a proper cut.
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221. And Dan came in,
and he offered his insight.
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222. It was just a bear.
It's too long of a scene.
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223. We introduce Justin Hammer,
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224. played by Sam Rockwell.
He does a fantastic job.
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225. I worked with him originally on Made.
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226. If you go back and look at that,
you'll see he is the concierge,
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227. who does a fantastic job in that.
He's always great.
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228. And I wanted to hire somebody that...
We really made the part for him.
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229. Because it was supposed to be
two Russians,
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230. then it was going to be one Russian.
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231. And lvan was gonna get killed,
there was gonna be Boris,
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232. and he was gonna get killed
on the track.
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233. But then the other Russian
was gonna continue on.
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234. And I was like,
"Boy, I wish I could hire Sam,
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235. "but I don't want to see
Sam do it with an accent,"
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236. and so we made it Justin Hammer,
another character from the books.
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237. 'Cause Rockwell
was actually somebody who,
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238. when we were making lists of people
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239. that would be interesting choices
to play Tony
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240. before I met with Robert,
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241. as we were putting ideas together,
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242. which is the way the casting process
works for all of these roles,
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243. he was a name I kept throwing out.
I said, "I know he doesn't seem obvious,
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244. "but this guy is really talented.
He could do something cool with it."
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245. And what's fun now is
I got him to come in
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246. and play a very broad
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247. and comedic version
of another one of his...
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248. Like, the guy
who wants to be Tony Stark,
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249. who took over
when Tony vacated the position
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250. because he gave up making weapons.
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251. And here this second-rate Tony Stark
comes in,
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252. and more often than not,
it makes you cringe.
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253. And I love that kind of humour,
and Sam was great at it.
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254. He really owned it, and he never...
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255. He had a lot of fun with it,
but I think he kept the reality of it
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256. to the level that was right
for the tone of this film.
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257. And there's Don Cheadle.
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258. We introduced him earlier
with a shot over his back.
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259. We were really thinking about
how we'd do that,
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260. because we were gonna show that shot
at Comic-Con.
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261. And we figured, everybody was asking
about the recasting,
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262. and so to start on his back
and bring him in and have them say...
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263. Actually, I think that wasn't even
in the script.
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264. That was something that me, Don
and Rob were like, "What do we do?
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265. "How do we acknowledge
that something's changed?"
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266. And we threw out some lines,
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267. and the one I ended up liking the most
was, "I didn't expect to see you here."
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268. And he goes, "Look, it's me. I'm here.
Deal with it. Let's move on."
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269. And I thought that that was...
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270. 'Cause whenever you cast somebody
in a superhero movie,
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271. they never really acknowledge it.
And I thought it was fun,
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272. at least for the fans, to acknowledge it.
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273. But not in a way
that it bumped for the film,
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274. 'cause it still works for the characters.
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275. And we have our fun with all of his tech.
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276. There's the, "What's the next version
of the iPhone?"
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277. Of course, just a piece of glass.
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278. The prop people were coming up
with different ideas
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279. for his phone and device,
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280. and I was like,
"Just make it a piece of glass."
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281. And so, that's what it is,
just a piece of glass,
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282. and then we put some stuff on it.
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283. Those, what we call the "feebles,"
those other robots that didn't work,
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284. a little bit inspired by RoboCop.
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285. Those were actually tests
that were done by vendors
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286. and we ended up using them in the film.
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287. And there were some fine, very fine...
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288. I think that was Hydraulx,
if I'm not mistaken.
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289. A lot of great little houses that were
able to contribute to this production.
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290. Here we go. Here's the way
to get around using the F-word.
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291. I figured if it is on TV,
we could bleep him doing it.
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292. Because he said it...
He actually improvised it, if I recall.
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293. There was a lot of improvisation here.
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294. We stuck to the script,
but we embellished.
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295. Good stuff. There's some outtakes.
You should really look at it.
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296. You should really look at it
in the deleted scenes,
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297. see what Rockwell did.
He pulled out a doll.
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298. That wasn't in the script.
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299. And that was good.
That was in for a while.
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300. We wanted to make him
a little more formidable than that.
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301. The real estate in this scene
was very valuable
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302. because it was such a long scene,
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303. and anything
that could be removed was,
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304. just in the interest of pacing
and getting to...
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305. There's not a lot of action sequences
in this film
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306. compared to most films of the genre,
so we wanted to make sure
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307. that we never let things
settle down too long.
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308. And there he is.
There's the cockatoo that he has.
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309. That wasn't in the original script,
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310. but he wanted to have
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311. the idea of having some sort of
little pet or companion.
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312. I saw a picture of him with a cockatoo
at a boxing gym that I had gone to,
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313. I think the Wild Card one.
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314. There was a picture of him
feeding a bird, I remembered.
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315. He told me the story about the cockatoo.
I love cockatoos. My favourite animal.
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316. Thought it might be interesting.
Little bit more like a pirate.
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317. There we go. And he cuts it in half.
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318. Then we go back to the house.
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319. And so we ended up with the bird,
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320. and then we added
a lot of bird stuff throughout.
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321. And if you look in the deleted scenes,
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322. he actually snaps the bird's neck
at the end of the movie.
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323. It's not in the film now,
but that was in the movie for a while.
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324. A little off-putting to the kids.
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325. And Jarvis is back.
We love Paul Bettany. He's great.
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326. And Dummy and You,
we wanted to bring them back in here.
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327. And there's that green goo
he was drinking in the last movie.
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328. We look like geniuses now
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329. 'cause we bring it back
and explain what it's for.
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330. Or not.
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331. At least call stuff back,
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332. and then it seems
like you know what you're doing.
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333. There's our little... Testing his blood.
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334. Jarvis helps us here
with some exposition.
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335. This was actually
a much longer scene before,
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336. where he was testing different elements
in his new holographic environment.
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337. We wanted to up his workshop.
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338. If you look,
you'll see the floor is now shiny.
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339. It's like a holograph-projection surface.
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340. We played with it a little bit
in the re-shoots last time.
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341. It was very fun with him designing
the Mark II suit using a holograph,
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342. and so we used it here
in his whole workshop.
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343. So, now we find out the device
that's keeping him alive is killing him.
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344. We developed this sort of
fractal rash thing,
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345. and he's hiding it from his best buddy
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346. and potential love interest.
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347. There's my car.
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348. That was the screensaver
from the first film, if you remember,
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349. when Stane walks in.
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350. And here we go.
There's your Hall ofArmour back there.
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351. And if you look here,
we developed a new system
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352. to up the ante,
to make his workshop a little high-tech.
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353. There's the suitcase suit right there.
A little foreshadowing moment.
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354. He's given away his artwork.
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355. Some classic cars, a '50 Merc,
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356. of course a '32 Ford,
best car ever made.
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357. And now we see he's working
on the Mark VI back there.
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358. Not that anybody's supposed to notice,
but it's there.
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359. And here we go. I don't know...
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360. During the time
that this movie was being developed,
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361. Obama was voted in,
and so we had a little fun with that.
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362. And now, how do you...
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363. How do you sort of echo
the first workshop scene,
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364. but show how things are different?
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365. So, we tech-up the place,
and their relationship...
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366. Clearly, things are getting tougher
for all these people here.
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367. We're showing the Expo's coming,
the Expo actually just opened.
Copy !req
368. We show that there's 362 days left
to show it's the same Expo.
Copy !req
369. People didn't understand that
the Expo actually lasts a whole year.
Copy !req
370. World's fairs did.
Copy !req
371. They thought it was a second Expo
at the end of the film.
Copy !req
372. So we have in bold letters,
"Now open. 362 days left."
Copy !req
373. At least we tried.
Copy !req
374. If you didn't understand that,
then it's not our fault.
Copy !req
375. We did the best we could.
Copy !req
376. So, we see that his life is...
He was real busy in the first one,
Copy !req
377. well, now he's Iron Man, also,
so his life is...
Copy !req
378. The wheels are coming off.
He can't handle it.
Copy !req
379. And he promotes Pepper to CEO,
Copy !req
380. which is as close as you're gonna get
between the two of these
Copy !req
381. to a marriage proposal.
They know each other,
Copy !req
382. there's clearly an emotional bond
that they're not really acknowledging,
Copy !req
383. and this is about the nicest thing
he could do for her,
Copy !req
384. and it shows that he really respects her
and trusts her.
Copy !req
385. Little does she know
how tough her life will get very quickly.
Copy !req
386. And she really does a nice job here.
Copy !req
387. I think Debney does a really nice job
with the music.
Copy !req
388. Robert is charming as hell here.
Copy !req
389. And there it is.
They have their nice little moment.
Copy !req
390. Kind of the high point, really.
Copy !req
391. That scene was much longer, too.
Copy !req
392. You can look at that.
I think we have that included.
Copy !req
393. There are the three Buddhas back there.
Copy !req
394. Not sure. I always notice them.
Copy !req
395. And here we go.
Looks pretty good for a backlot.
Copy !req
396. Mike Riva did a nice job there.
Copy !req
397. This was a longer scene, slightly,
Copy !req
398. and he would reveal a tattoo on his neck
with the 10 Rings.
Copy !req
399. Mongolian man would reveal
on his neck a 10 Rings tattoo,
Copy !req
400. with the same little logo
Copy !req
401. as was on the flags in the cave
in the first film.
Copy !req
402. We didn't include that.
Copy !req
403. But if you look in the credits,
he's referred to as...
Copy !req
404. I think "10 Rings"
is the name of his character.
Copy !req
405. So a little clue of
what's to come in the future,
Copy !req
406. and how it relates to the Mandarin.
Copy !req
407. And there's me.
Copy !req
408. And there is Natalie
Copy !req
409. with her nice Veronica Lake hair.
Copy !req
410. She had other looks in her wardrobe
that were more striking,
Copy !req
411. but because we wanted to do the stunt
where she flipped me here,
Copy !req
412. we had to keep her in slacks.
Copy !req
413. And, boy, she practised this,
we practised this a lot, separately.
Copy !req
414. I think this was the first time
we did it together.
Copy !req
415. And here she goes.
There's a lot of improv here.
Copy !req
416. We ended up with just a silent moment.
Copy !req
417. He's a little off-put.
Tony's not speechless too often.
Copy !req
418. But just her...
Look at how she looks at him.
Copy !req
419. Boy, she knows how to work it.
She has tremendous presence.
Copy !req
420. And now, here they are.
She knows that she likes him.
Copy !req
421. There's no jealousy here
because they're not together.
Copy !req
422. But are they together or not,
and is he doing this to drive her crazy?
Copy !req
423. So, is she saying, "No, she's not,"
because she's jealous,
Copy !req
424. or is she saying, "No, she's not,"
'cause it's a bad choice?
Copy !req
425. It's not a very good choice
for an assistant.
Copy !req
426. You do not want... As good as she is,
Copy !req
427. you don't want somebody
with that energy in Tony Stark's life.
Copy !req
428. "Who speaks Latin?"
"No one speaks Latin."
Copy !req
429. That was actually something that...
Copy !req
430. I always love when Gwyneth
starts giving me notes on the script,
Copy !req
431. because I always just put it in the script.
"She speaks Latin."
Copy !req
432. And she was explaining, she said,
"Nobody speaks Latin.
Copy !req
433. "It's a dead language."
She could write it. I said, "Just put it in."
Copy !req
434. That happened in the first film, too.
There's me. Yeah, I did my stunt there.
Copy !req
435. In IMAX you can see that, that's
my double in the reflection in the glass,
Copy !req
436. but I did the stunt.
Copy !req
437. And, no, it was not fun.
Copy !req
438. Here we go.
Copy !req
439. I like that joke.
Copy !req
440. And here they are.
Copy !req
441. Great. He signs the company over.
Copy !req
442. So, it already gets kind of bad
for Pepper. Poor Pepper.
Copy !req
443. She's made CEO,
Copy !req
444. and then realising that now
she's gonna be further away from him.
Copy !req
445. There we go. Here's Monaco.
Copy !req
446. The palace.
Copy !req
447. I'd been to Monaco many years ago,
and this was another one of the...
Copy !req
448. You know, you gotta come up
with the set pieces before
Copy !req
449. the whole story's fully in place,
Copy !req
450. and I was like,
"We gotta do Monaco, man.
Copy !req
451. "We did Vegas last time. You gotta up it.
You gotta do Monaco."
Copy !req
452. 'Cause we're kind of like...
Copy !req
453. Tonally, we're kind of like
the James Bond movies I grew up with.
Copy !req
454. You know, the ones now
are kind of edgy and more real.
Copy !req
455. The ones then were kind of
tongue-in-cheek. It was kind of fun.
Copy !req
456. You know, it was a fantasy.
Copy !req
457. And there I am with the suitcase.
Copy !req
458. That was a comp shot.
Copy !req
459. So, we built the Hôtel de Paris
a Bar Americain.
Copy !req
460. This is where I had been
many years ago,
Copy !req
461. and this was my memory of Monaco.
Copy !req
462. I had been flown out there by the Prince
as part of the Television Festival
Copy !req
463. and for a black-tie première
of Rocky Marciano.
Copy !req
464. And, boy, it was amazing
to go there, man.
Copy !req
465. I felt like royalty. I was nobody.
This is before anything.
Copy !req
466. And there I was.
Copy !req
467. I'd gotten that gig off of Friends.
I had just done Swingers, actually.
Copy !req
468. And after Friends, I did Rocky Marciano,
Copy !req
469. and nobody... It was a Showtime movie.
Copy !req
470. And there's Elon Musk, by the way,
back there.
Copy !req
471. You'll see his place later, SpaceX.
Copy !req
472. He's as close as you're gonna get
to the real Tony Stark.
Copy !req
473. And he helped us.
He let us shoot in his place
Copy !req
474. in exchange for a cameo,
and that was it. He's a great guy.
Copy !req
475. We've become friends.
I met him through Robert.
Copy !req
476. Robert spoke to him for research.
Copy !req
477. And here she is.
And actually Sam and her,
Copy !req
478. in a relationship in real life.
Copy !req
479. And I know Leslie Bibb,
and it seemed fun.
Copy !req
480. I said, "Yeah. Let's have her.
Let's work her into this film."
Copy !req
481. And then this great bit came out of it.
And I love this little...
Copy !req
482. I don't know if people
are gonna remember her,
Copy !req
483. that the first movie started
with him in bed with her
Copy !req
484. after she was interviewing him
from Vanity Fair.
Copy !req
485. And poor Justin's just trying
to be like him,
Copy !req
486. and the girl he's with has already
slept with Tony, and it's just...
Copy !req
487. This poor guy.
Copy !req
488. I love him, but he's annoying.
Copy !req
489. I just get happy
when he's on the screen.
Copy !req
490. I'm a character actor, so I like when
somebody makes some cool choices.
Copy !req
491. And, of course, look at Robert here.
Copy !req
492. He's just slamming him down
left and right. It's not even a fair fight.
Copy !req
493. It's not even a fair fight, and she's
more interested in Tony than him.
Copy !req
494. You know, it's a little bit of a
Daffy Duck/Bugs Bunny going on here.
Copy !req
495. This poor guy.
Copy !req
496. And now he checks his heart
in the mirror,
Copy !req
497. and we see that things
are not going well.
Copy !req
498. He's checking his blood,
and we see the rash is not good.
Copy !req
499. Why is he doing it, man? What the...
Copy !req
500. You know, we had a lot of discussions
about this. Why is he...
Copy !req
501. What's he doing wrong
that he deserves this?
Copy !req
502. Just in the greater scheme of things
in the movie. I mean, he's just...
Copy !req
503. He's holding it all together,
and he wants to cut loose.
Copy !req
504. And he's a thrill-seeker and he loves...
Copy !req
505. You know,
people get addicted to adrenaline.
Copy !req
506. They get addicted to fame. They get
addicted to living a life that way.
Copy !req
507. And so, as the chips
are really getting down for him,
Copy !req
508. and as his blood toxicity's going up,
Copy !req
509. and he realises
that it's the end of the road.
Copy !req
510. He's not gonna be able
to solve this problem.
Copy !req
511. So, it's like, "What the hell?"
Copy !req
512. And, of course, that's when
he makes himself vulnerable.
Copy !req
513. And so, here's Pepper.
Copy !req
514. Now Pepper's very upset here,
and that's just something that,
Copy !req
515. you know,
when we were cutting this together,
Copy !req
516. "Why is she so upset?
She knows she's got..." Well, no.
Copy !req
517. It's like if the President leaves his,
you know, little security zone
Copy !req
518. and does something
he's not supposed to do...
Copy !req
519. If you go to a ball game
with the President
Copy !req
520. and he's supposed
to throw out the first pitch
Copy !req
521. and then sit in the stands, in the box,
and then you see him running around
Copy !req
522. in the field without
his Secret Service protecting him,
Copy !req
523. you know, you worry.
And so, this is not cool.
Copy !req
524. And so, she's upset.
Copy !req
525. She knows it's not good
even before she knows about lvan.
Copy !req
526. That's the thinking here.
Copy !req
527. And there, I like that little...
It's nice when...
Copy !req
528. We were able to do that
with two different units
Copy !req
529. and make it all come together.
There we are. We built this car.
Copy !req
530. So, we, of course, designed a red car
for Iron Man.
Copy !req
531. And then Robert was like,
"No, it should be blue."
Copy !req
532. Like, "Why blue? Red is Iron Man."
He said, "It should be blue.
Copy !req
533. "Don't want it to be red. Make it blue."
Copy !req
534. And so, actually, you see
the colour scheme of the Iron Man car
Copy !req
535. is actually on, I think, Hammer's car,
one of the other ones.
Copy !req
536. I'm like, "Why is he being blue?
It should be red."
Copy !req
537. And it's like, I'm so happy it's blue now.
Copy !req
538. It looks so cool blue.
Copy !req
539. So, you know, that's why
sometimes you gotta be open, man.
Copy !req
540. 'Cause I like it in blue, man.
I can't even picture it red.
Copy !req
541. It would've been hokey red. He's right.
Copy !req
542. If you see,
those plates were actually shot,
Copy !req
543. you know, the cars,
we never raced there.
Copy !req
544. Those cars were all digital,
done by Digital...
Copy !req
545. Done by, excuse me,
Double Negative out of England.
Copy !req
546. These plates we shot,
these are real plates.
Copy !req
547. They populated it with the crowd
and matched it up.
Copy !req
548. We built this part of the set in Downey
Copy !req
549. 'cause we couldn't shoot clearly
in Monaco.
Copy !req
550. They were shooting...
The track was being set up for the race.
Copy !req
551. We got in there before the race,
cleared out for the race,
Copy !req
552. so we shot the stands
and we shot the background plates,
Copy !req
553. and then we put our cars into it.
Copy !req
554. They let us have access
to the track for a little while.
Copy !req
555. Those boats were all digital back there.
Copy !req
556. And we walked every inch of this path.
Copy !req
557. This part is called Tabac
'cause there's a tobacco shop.
Copy !req
558. It's very well-known by race fans,
every turn in this course.
Copy !req
559. And that car, that's Dan Sudick,
our effects guy,
Copy !req
560. flipping real cars.
I mean, we built those things.
Copy !req
561. And there's the suitcase suit.
Copy !req
562. And there's us. That's a great comp.
We never were in Monaco.
Copy !req
563. I scouted beforehand,
Copy !req
564. and then they shot with the second unit
with the actual car.
Copy !req
565. Digital door, real track, real car,
fake race cars.
Copy !req
566. So there's all different combinations
of layers in these things,
Copy !req
567. of real and not real,
and I think that's why it's convincing.
Copy !req
568. But the idea of a Rolls-Royce
racing towards him
Copy !req
569. and the whips on the track,
this was something...
Copy !req
570. This was an image I had in my head.
Copy !req
571. And so, a lot of this was hard.
Copy !req
572. The resources were, you know,
never opulent
Copy !req
573. because of the nature of the production.
Copy !req
574. But I was able to get it to be Monaco.
Copy !req
575. It was very hard for me
to get it to be Monaco.
Copy !req
576. If it wasn't for the cooperation
of the Prince and the ACM,
Copy !req
577. it never would've happened.
They really helped,
Copy !req
578. and I'm very grateful for that.
Copy !req
579. Because I think if it was Long Beach...
Copy !req
580. I mean, as cool as Long Beach is,
and I've been there and it's great,
Copy !req
581. I don't think it has the same impact
Copy !req
582. of feeling like you're on the world stage.
It's still California. And this is...
Copy !req
583. I mean, this is Monaco.
Monte-Carlo is Monte-Carlo.
Copy !req
584. It's a brand, it's a whole image,
and it evokes a whole nostalgic...
Copy !req
585. You know,
it just represented the right thing.
Copy !req
586. And so, we have to be very clear that
it was the Historic race and not the F1
Copy !req
587. because that's a whole different thing.
That's a different organisation.
Copy !req
588. So there's a lot of signage around,
if you look.
Copy !req
589. And the cars are actually retro cars
and not current F1 design.
Copy !req
590. Here we go. We wanted him to
fight without the suit on,
Copy !req
591. and so put him in peril.
Copy !req
592. We didn't want the whole movie
to be just dudes fighting in suits.
Copy !req
593. And the idea of Whiplash
Copy !req
594. and the guy with this Road Warrior-type
powered whips was cool.
Copy !req
595. I liked the idea of him with tattoos.
Copy !req
596. You know, I was thinking he could be
like this Eastern Promises-type dude.
Copy !req
597. And then the idea of Mickey came about.
I had seen The Wrestler,
Copy !req
598. and I was like, "Man, this guy's great."
Copy !req
599. And then, of course,
all the awards attention came
Copy !req
600. and it became very hard to even...
Copy !req
601. I met with him
before all that awards stuff happened
Copy !req
602. and showed him the pictures.
Copy !req
603. I met with him in LA when he was here,
and he was into it.
Copy !req
604. And then, of course,
all the awards stuff happened.
Copy !req
605. It was very hard to get him to commit
Copy !req
606. because he was travelling around
promoting it.
Copy !req
607. Fortunately, Robert was also going
around promoting for awards season
Copy !req
608. because of Tropic Thunder.
Copy !req
609. And Robert would be like,
"Hey, you gonna do the movie or not?"
Copy !req
610. And he would corner him in interviews,
which was great.
Copy !req
611. And Robert's always been a real partner
in every aspect of the production.
Copy !req
612. There we go.
And we actually cut up a Phantom,
Copy !req
613. which I thought was both exciting
and heart-breaking.
Copy !req
614. I guess we've always destroyed
really nice, iconic, expensive cars.
Copy !req
615. We did the Cobra in the last film.
Copy !req
616. But, you know, it's just...
I don't know, it's just unique.
Copy !req
617. Look at that, man. I was in there for that.
That was not fun.
Copy !req
618. That's real, man. That's not digital.
That thing's coming...
Copy !req
619. I mean, the whip's digital,
but the car was really coming apart.
Copy !req
620. And here we go. The suitcase suit.
Copy !req
621. Oh, boy. I was like, "How do we do it?
How do we..."
Copy !req
622. It's sort of like,
"What do we do that we haven't done?"
Copy !req
623. And the idea of the suitcase suit,
you know, it was like, "Could we do it?"
Copy !req
624. But you can't do it
like in the comic books.
Copy !req
625. And so, this was a very hard thing
to conceive of
Copy !req
626. and actually make look convincing.
Copy !req
627. It wasn't till about halfway through post
Copy !req
628. that I was convinced that
this thing was gonna work.
Copy !req
629. Because you wanted it
to fit within the reality of our world.
Copy !req
630. You didn't want it to just morph onto him
Copy !req
631. or be like liquid metal, like, you know,
T2 metal.
Copy !req
632. That was done. That's been done.
We had to do something cool and fresh.
Copy !req
633. And the people at Double Negative
really worked very hard on that.
Copy !req
634. Very hard, and I'm very happy with it.
Copy !req
635. It's cool. It's the right...
Copy !req
636. There were so many hours and hours
and hours, and meetings and meetings
Copy !req
637. of notes for every frame of this thing.
Copy !req
638. And it's become one of
the iconic images of the film,
Copy !req
639. so I think they did a nice job.
Copy !req
640. And so, from a story perspective,
Copy !req
641. you wanna show that somebody
challenged him with a technology.
Copy !req
642. He won, but it's just the fact
Copy !req
643. that this dude showed up
and it was so close
Copy !req
644. starts to make people freak out,
and make him freak out, too.
Copy !req
645. And as soon as you lose
that public support,
Copy !req
646. when you're that famous
and they turn on you...
Copy !req
647. Well, you see it in the papers, man.
You see it.
Copy !req
648. The nature of fame and celebrity
is very different now
Copy !req
649. than it was 10 years ago.
Copy !req
650. And you see,
you got everybody coming for them.
Copy !req
651. Later, you got
Christiane Amanpour, O'Reilly,
Copy !req
652. and Shandling's being interviewed.
It's just, like, relentless.
Copy !req
653. When you're at the wrong end of that,
it takes quite a toll.
Copy !req
654. But, for right now,
he doesn't know that that's all turned.
Copy !req
655. Right now he thinks, "Who is this guy?"
He scanned the tech.
Copy !req
656. This is clearly something
that's related to what he's built.
Copy !req
657. And if you remember from the first film,
Copy !req
658. it was that heart piece that
Jeff Bridges was able to build...
Copy !req
659. Congratulations to Jeff, by the way,
on the Oscar for Crazy Heart.
Copy !req
660. Great movie. He did a great job.
Copy !req
661. And very happy for him in that moment.
Copy !req
662. And if you remember in the first film,
Jeff had to steal the heart
Copy !req
663. because he could build the whole
Iron Monger suit, but the heart...
Copy !req
664. Here Matty Libatique does a great job.
Copy !req
665. This frame right here, with him there.
Copy !req
666. And Mickey Rourke was like,
"I wanna do the scene..."
Copy !req
667. 'Cause he wants to consult
on wardrobe.
Copy !req
668. Very important, wardrobe, hair, teeth,
all that stuff is him.
Copy !req
669. He works that way.
He's very much into that.
Copy !req
670. So he'll do the hair himself,
the teeth himself,
Copy !req
671. he got all that stuff made himself.
Copy !req
672. Even the glasses he was working
on the suit with
Copy !req
673. in the beginning of the movie.
He had all that made.
Copy !req
674. The Georgian Cross around his neck.
Each tattoo he selected.
Copy !req
675. I showed him a book of the tattoos.
He picked each one.
Copy !req
676. Wardrobe's very important.
He says, "I wanna wear...
Copy !req
677. "I wanna be wearing
dirty white underwear."
Copy !req
678. And I was like,
"All right. That could be cool."
Copy !req
679. And then Marvel was like,
"What? What does he wanna wear?
Copy !req
680. "Is he kidding?"
I'm like, "No, it could be cool."
Copy !req
681. He actually wanted
to wear dirty white underwear
Copy !req
682. and be jumping rope with a chain,
Copy !req
683. and the chain hitting the ground
Copy !req
684. would send a shower of sparks
every time he was skipping rope.
Copy !req
685. I thought that was a little too much.
Copy !req
686. But I did think
that we could do something with him,
Copy !req
687. like he'd been stripped down
to his underwear
Copy !req
688. because he was wearing that suit
and everything burnt off and everything.
Copy !req
689. And he'd worked so much on his body,
and then he had all the...
Copy !req
690. He'd worked out so much,
and then he had all those tattoos,
Copy !req
691. I thought it would be really cool.
Copy !req
692. And here's Tony, all refined, coming in
Copy !req
693. wearing his leisure wear,
Copy !req
694. with his hair all coifed and his goatee,
Copy !req
695. and then here's this dude, you know,
polar opposite.
Copy !req
696. So you have these two shadows, sort of,
facing each other.
Copy !req
697. And there we reveal that
he knows that, that palladium,
Copy !req
698. he's the one guy who knows he's dying.
Copy !req
699. So, this guy's got...
He's got the goods on Tony,
Copy !req
700. and Tony does not like
somebody having a one-up on him.
Copy !req
701. You know, this was used
in a lot of the trailers.
Copy !req
702. And the whole notion that
if you make God bleed, everything goes.
Copy !req
703. It's very much...
Copy !req
704. It's like The Man Who Would Be King,
you know.
Copy !req
705. I think even in 300 they had that, as well.
Copy !req
706. Once you just nick the flesh
of that type of leader,
Copy !req
707. of the person who's held
in such high esteem,
Copy !req
708. verging on idolatry,
Copy !req
709. and with the suit
there is certainly a theme of that,
Copy !req
710. that once you show that,
that person is vulnerable or human,
Copy !req
711. it freaks people out. They don't like that.
Copy !req
712. Not when the following is so nuts.
Copy !req
713. This is a scene that we actually shot...
Copy !req
714. If you look, you'll see
the original scene that we shot.
Copy !req
715. It was much earlier, it was
after the Senate, with Rhodey in it.
Copy !req
716. And it was gonna be a space plane.
Copy !req
717. This was designed to be a space plane.
Copy !req
718. You can even see in one of the cuts,
you'll see her hair,
Copy !req
719. some tests for her hair going up.
Copy !req
720. It was gonna be zero G
with a four-point belt.
Copy !req
721. But we used this set
'cause we needed the scene
Copy !req
722. to help with the story, the emotional
story between he and Pepper.
Copy !req
723. What we found in both these movies
Copy !req
724. is Pepperjust has become
such an important aspect to this film,
Copy !req
725. and you have to keep them connected
and have to clarify their relationship.
Copy !req
726. And he does so many things
that are distasteful,
Copy !req
727. even to her at the party, and then later
they're not getting along in the office.
Copy !req
728. It's nice to show this moment.
Copy !req
729. There's just, you know,
groups of creative people in Hollywood,
Copy !req
730. it's very encouraging,
that come together and help each other.
Copy !req
731. Shandling was also very helpful on this
Copy !req
732. in the editing room,
and we do it for each other,
Copy !req
733. and you don't hear a lot about it.
Copy !req
734. You think of all these different
creative types as being competitive,
Copy !req
735. but really there's a tremendous
generosity, creatively.
Copy !req
736. People root for each other's projects,
and they're there for each other.
Copy !req
737. I remember calling up J.J. Abrams
from the trailer
Copy !req
738. in the last movie when we couldn't
come up with a solution to a problem.
Copy !req
739. And, you know, he dropped everything.
Copy !req
740. He was on speaker phone
with me and Robert.
Copy !req
741. And I do that for others. I get calls, too.
Copy !req
742. And it's a very cool part of what I do
and a part that I really appreciate.
Copy !req
743. So, this is me getting into a different
type of filmmaking than I kind of have.
Copy !req
744. You know, sort of telling it just
with images and pictures and plot.
Copy !req
745. We had to get him out ofjail
and make it look like he died.
Copy !req
746. This is actually a prison
that's been shot a lot in downtown LA.
Copy !req
747. Actually Pasadena, I think.
Copy !req
748. But they did a nice job.
Copy !req
749. Riva did a nice job there
with the French on the walls.
Copy !req
750. Good explosion from Dan Sudick,
Copy !req
751. and, of course,
he has to brush off his shoulder.
Copy !req
752. Like Jay-Z.
Copy !req
753. And Mickey knows
when you can't cut something out.
Copy !req
754. He knows. He's like...
Copy !req
755. He knows he just had a big oner
with an explosion behind him,
Copy !req
756. so he brushed his little shoulder off.
I've grown to like it.
Copy !req
757. At the time, it was like,
"Why'd he do that?"
Copy !req
758. But you know what? I'm digging it now.
Copy !req
759. Here he is.
Copy !req
760. There's Justin Hammer
Copy !req
761. with the classical music
and the two worlds.
Copy !req
762. You know, this movie's about contrasts.
Copy !req
763. I think humour comes out of contrast
a lot of times,
Copy !req
764. status and contrast, and here
these two are, and I love this scene.
Copy !req
765. And there he is. And if you look at...
Copy !req
766. What's his...
Sam wanted to have a spray tan.
Copy !req
767. I mean, it's so not like him
to have a spray...
Copy !req
768. He caked that on.
He wanted it to be just orange.
Copy !req
769. And if you look at his hands,
it's just all over his palms.
Copy !req
770. But it works.
Copy !req
771. And here we are, and he sits down.
Copy !req
772. And we see on his neck the Loki tattoo
Copy !req
773. that shouldn't be Loki.
Copy !req
774. He put Loki on his neck
Copy !req
775. because his dog had passed away,
so it says Loki backwards.
Copy !req
776. But, of course, Kevin Feige said,
"You can't have Loki on his neck.
Copy !req
777. "That's the villain from Thor."
Copy !req
778. And so, we adjusted the tattoo digitally
in many shots to disguise that,
Copy !req
779. as not to give an improper Easter egg.
Copy !req
780. I was like, "Why not, man? It's cool."
Copy !req
781. "No, it can't be that." So I said, "Okay.
I don't know what's going on in Thor,
Copy !req
782. "but I don't wanna ruin
your other movie."
Copy !req
783. So, it's slightly changed. I think
they removed one little part of the "O."
Copy !req
784. But in some shots it wasn't done,
and you'll see that there's some
Copy !req
785. sketchy blurring done on it
that looks pretty good on the TV,
Copy !req
786. but in IMAX is...
Copy !req
787. It was an uncomfortable lesson to learn
Copy !req
788. that you can't push things for IMAX
Copy !req
789. the same way you can for
a regular movie screen or video screen.
Copy !req
790. So here's a scene, two cameras again.
We had a lot of fun here.
Copy !req
791. A much longer version, but it was
good, good, good stuff.
Copy !req
792. Here he is. He's speaking Russian.
Copy !req
793. He wanted to speak Russian.
He had a Russian coach.
Copy !req
794. We cut half of this line for timing,
Copy !req
795. and Mickey was not happy about that.
Copy !req
796. He's like, "Look, I don't want
to come off looking like a fool.
Copy !req
797. "I did a lot of work to make it sound
like I knew what I was doing.
Copy !req
798. "Please put the other half in."
Copy !req
799. I think that was the last change
in the movie. We restored half the line,
Copy !req
800. the other half of the line back to it.
Copy !req
801. The bird. We did little bird riffs here.
Copy !req
802. The bird actually became...
None of this was in the original script,
Copy !req
803. and we sort of added it
and threaded it in.
Copy !req
804. As with Jack. The guy, he says,
"Hey, Jack. What's going on?"
Copy !req
805. He says, "We got salmon carpaccio."
Copy !req
806. That Jack thing,
he was actually a food stylist
Copy !req
807. that did a great job
as a background performer there
Copy !req
808. and we ended up incorporating him
into the other scenes.
Copy !req
809. He did a good job.
Jack White's his name.
Copy !req
810. And there's Christiane Amanpour,
friends with Pepper Potts,
Copy !req
811. Gwyneth Paltrow. In real life
she's friends with, actually, not Pepper,
Copy !req
812. but with Gwyneth, and she called her up.
She says, "Will you do this?"
Copy !req
813. 'Cause I wanted it
to be hitting the world.
Copy !req
814. And by having Christiane and O'Reilly,
Copy !req
815. I felt I was covering
the whole spectrum there.
Copy !req
816. Hopefully it's fun.
Copy !req
817. Not too distracting up here.
Copy !req
818. By the way, great holographs and design
Copy !req
819. by Prologue,
Copy !req
820. Kyle Cooper and his gang.
They did all that stuff, too.
Copy !req
821. And here's Rhodey coming in.
Copy !req
822. Here's where we start to build towards...
Copy !req
823. We gotta build towards
why he takes the suit.
Copy !req
824. 'Cause if it doesn't look like Tony
deserves to get the suit taken away,
Copy !req
825. you don't like Rhodey.
Copy !req
826. If you go too far, Tony's not likeable,
and so it's a very fine line to walk.
Copy !req
827. So he's his friend,
trying to protect him here,
Copy !req
828. and we find out that...
Copy !req
829. Actually, Rhodey finds out
that he's not in a good way here.
Copy !req
830. His friend's not doing too good.
Copy !req
831. So what does a good friend do here?
Do you leave him alone?
Copy !req
832. And then later, at the party, we see that
it starts to even get further undone.
Copy !req
833. If you look back there,
in addition to the cars,
Copy !req
834. there's actually
an aeroplane that folds up.
Copy !req
835. That's a real aeroplane back there.
Copy !req
836. We said, "How do we outdo
all those cars last time?"
Copy !req
837. I said, "Put a plane in there, too."
Copy !req
838. There's a plane that folded up,
and we put it in.
Copy !req
839. So, this is originally just...
This prop is digital.
Copy !req
840. The bottom of it is real.
But it didn't look good.
Copy !req
841. It was something
that was a late-breaking idea.
Copy !req
842. We did the best we could practically.
Copy !req
843. But it actually gave us a basis by which
to build the digital thing on.
Copy !req
844. And it was designed
by a company called Fuel,
Copy !req
845. a good house, good small house
out ofAustralia, I think.
Copy !req
846. There, the thing didn't turn on,
Copy !req
847. and then finally Russell, our prop guy,
got it to turn on. It's on radio control.
Copy !req
848. And it finally popped on,
and Robert went with it.
Copy !req
849. We actually kept that performance,
like it's really falling apart.
Copy !req
850. He's drinking the green juice
some more.
Copy !req
851. So, again here, building the case
towards him taking the suit.
Copy !req
852. This scene used to continue on.
If you look in the deleted scenes,
Copy !req
853. you'll see that he actually went upstairs,
grabbed the phone from Pepper,
Copy !req
854. and then talks to the helicopter that's
been watching and circling the house,
Copy !req
855. making him seem even more undone.
Copy !req
856. And this is SpaceX right here.
Not actually in Queens.
Copy !req
857. But we wanted to put it close to the Expo
Copy !req
858. to believe that we can get over there,
back and forth
Copy !req
859. with the car and with the suits and stuff.
Copy !req
860. But this is SpaceX.
Copy !req
861. This is where Elon Musk
actually builds rocket ships
Copy !req
862. and the Tesla car, for the time being.
Copy !req
863. You can't see,
but at the other end of the room,
Copy !req
864. there is a little commissary
Copy !req
865. where there now stands a life-sized
Iron Man statue as a "thank you."
Copy !req
866. There he is. We show that
he's pretty good with the computers.
Copy !req
867. There we go,
and he's gonna go up to the thing.
Copy !req
868. There's only actually one real one.
That front one is real.
Copy !req
869. The rest of those are digital.
Copy !req
870. All those people in the background
are not extras
Copy !req
871. that we dressed or told to be there,
but they still had to continue working.
Copy !req
872. We would shoot nights,
Copy !req
873. and there's always people working
there, but we worked around it,
Copy !req
874. in the fine tradition
of shooting in practical locations.
Copy !req
875. I think we get a lot from it.
Copy !req
876. It doesn't look like anything you could
get from props or an existing set
Copy !req
877. or anything you could build on a set.
That's bigger than a sound stage.
Copy !req
878. So, it gave us a little bit more scope
and scale and authenticity.
Copy !req
879. So, it was very cool for us
to shoot there.
Copy !req
880. And there's Jack,
who we put into all these scenes.
Copy !req
881. And there's another additional scene
that used to come here.
Copy !req
882. Another scene that used to come here
that's also in the deleted scenes,
Copy !req
883. him showing him his little room.
Copy !req
884. And there's the party.
Copy !req
885. And this has been the most challenging
part of the film, editorially.
Copy !req
886. Also in the deleted scenes,
Copy !req
887. you can see that there was
him and her cosying up a bit.
Copy !req
888. We had this scene right here
where he's flirting more with her.
Copy !req
889. It felt weird.
Copy !req
890. It always felt like a bummer to Pepper,
Copy !req
891. 'cause you really want
him and Pepper to be together.
Copy !req
892. But you also show that
she's up in his face and flirting with him.
Copy !req
893. There's all these bad decisions
to be made around him.
Copy !req
894. It's all there for Tony,
Copy !req
895. and he's got to decide
what he's all about.
Copy !req
896. And this is his last night.
What's he gonna do?
Copy !req
897. What do you do?
What's his legacy gonna be?
Copy !req
898. Is he going to leave
something good behind
Copy !req
899. or is he going to just indulge himself
and regress?
Copy !req
900. And we see that tonight,
what he decides to do is have a party,
Copy !req
901. put on the suit...
Copy !req
902. You're not supposed to put the suit on
and mess around.
Copy !req
903. And everybody loves it at the party,
and it's feverish.
Copy !req
904. They're all gonna be
cheering and celebrating
Copy !req
905. and encouraging bad behaviour.
Copy !req
906. And I guess in Tony Stark's life,
there is always people around
Copy !req
907. that are gonna encourage that.
Copy !req
908. And, of course,
Pepper doesn't like that or Rhodey.
Copy !req
909. Those are his real friends.
Copy !req
910. So, what are you gonna do?
He drinks the martini.
Copy !req
911. This is as close as we get
to Demon in a Bottle,
Copy !req
912. this little sequence here.
Copy !req
913. That's actually me
scratching on the soundtrack
Copy !req
914. at that particular moment.
Copy !req
915. And she walks in, she's disappointed.
Copy !req
916. There he is, dancing.
Copy !req
917. We wanted it to be funny,
but also a little bit weird.
Copy !req
918. There's DJ AM back there.
Copy !req
919. Nice, nice guy
and, unfortunately, passed away.
Copy !req
920. I think there's a featurette
on the DVD about him.
Copy !req
921. He was just a great, great, great dude,
Copy !req
922. and we got to spend
a week with him there.
Copy !req
923. Robert actually dug him a lot, too.
Copy !req
924. Very, very, very sad when we found out
that he passed away.
Copy !req
925. But very happy that we have him here,
and we do a whole little mash-up
Copy !req
926. that his friend DJ Kevin Scott
helped us put together.
Copy !req
927. He actually fell by accident, there.
Copy !req
928. But of course, it worked great
with the smashing sounds.
Copy !req
929. In trying to motivate him
to go downstairs...
Copy !req
930. This was another scene
that had Olivia Munn in it.
Copy !req
931. You'll see that he has her up in the air.
Copy !req
932. Part of it was just to get through it
Copy !req
933. and not make him too distasteful
at this part of the movie.
Copy !req
934. 'Cause when he was too abusive,
it was a little rough to recover from.
Copy !req
935. There's that joke, Justin Theroux,
a wonderful little piece of writing.
Copy !req
936. And I love this moment
between the two of them,
Copy !req
937. 'cause it was like...
Copy !req
938. They both really knew
how to play the real of this moment.
Copy !req
939. And then I threw in,
he just peed in the suit.
Copy !req
940. That was something that occurred to me
in the moment there,
Copy !req
941. based on the line that he just said.
Copy !req
942. I love her here.
"It's not sexy. It's not sexy, trust me.
Copy !req
943. "You're not gonna be happy about this."
He just peed in the suit.
Copy !req
944. "It's got filtration...
You could drink that water."
Copy !req
945. I came up with that one, too,
in the moment.
Copy !req
946. Take this, too,
it looks like he's gonna go with it,
Copy !req
947. and he does not go with it.
Copy !req
948. Well, that's it! He's too far gone now.
Copy !req
949. There's no stopping him now. She tried.
Copy !req
950. Rhodey sees she tried.
Something else's gonna have to happen.
Copy !req
951. Now, there is a sculpture here,
watch this. It's a Giacometti, it's called.
Copy !req
952. That walking guy.
Copy !req
953. It was such a bummer
'cause we got the rights to use that,
Copy !req
954. it's a very famous sculpture,
we got the rights to use it,
Copy !req
955. but then we found out later
that we couldn't destroy it,
Copy !req
956. and he has to blow that glass up.
Copy !req
957. So hopefully it's not too distracting,
it's still there.
Copy !req
958. Not hit at all.
Copy !req
959. And interestingly, that sculpture
was bought after we shot...
Copy !req
960. Not that one, that's a replica,
but the real one was bought
Copy !req
961. for $150 million
by an anonymous bidder at an auction.
Copy !req
962. So, maybe it was Tony Stark.
Copy !req
963. Here we go.
He's gonna do the Gallagher.
Copy !req
964. "She wants the Gallagher."
He's blowing stuff, playing...
Copy !req
965. Well, that's like,
what's the least responsible thing
Copy !req
966. you could be doing with the suit?
Using it as a party favour, essentially.
Copy !req
967. And then finally we understand
why Rhodey, hopefully, comes up.
Copy !req
968. Now, this is actually...
A lot of it's been added digitally,
Copy !req
969. but that silver suit was one of the suits
from the first movie.
Copy !req
970. It's a very heavy suit.
We've since redesigned it.
Copy !req
971. He's wearing a lighter version
of the suit.
Copy !req
972. Part of it is real, part of it is digital.
Copy !req
973. This is a bit that we added with Adam.
It wasn't in the script, so it was fun,
Copy !req
974. and we kept it in,
and it's nice to have that.
Copy !req
975. And this is a little mix that is
inspired by stuff that he would do.
Copy !req
976. Not easy to get the rights
to do a mash-up of different songs,
Copy !req
977. but thanks to Dave Jordan, we did it.
Copy !req
978. There we go.
I love that, them throwing weights.
Copy !req
979. The storyboard artists had a lot of fun
with this little area,
Copy !req
980. coming up with all the different things
that could happen in a gym.
Copy !req
981. All this dialogue has been
changed and changed so many times.
Copy !req
982. 'Cause you can. 'Cause they're in suits.
Copy !req
983. Boom! You'll see that this, actually,
up here...
Copy !req
984. Olivia Munn,
this is where she was, up here.
Copy !req
985. You'll see that in the deleted scenes.
Copy !req
986. But part of the reason was to keep
it feeling a little more dangerous here.
Copy !req
987. And too many jokes,
it wasn't feeling good.
Copy !req
988. And now we get into Robot Rock,
Copy !req
989. which was Adam Goldstein,
DJ AM's favourite group
Copy !req
990. from what I'm told by his buddies.
Copy !req
991. And Robot Rock kind of
works with this, too, right here.
Copy !req
992. I just wanted that image of them
Copy !req
993. just loading up and
hitting as hard as they could,
Copy !req
994. and not really doing
anything to each other.
Copy !req
995. It's like, those suits...
It could go on forever.
Copy !req
996. And then it gets darker.
Copy !req
997. And all the people with their damned
camera phones and staring at them.
Copy !req
998. And all the people
that were encouraging him
Copy !req
999. to be acting the way he was.
Copy !req
1000. And now,
Copy !req
1001. it has to go one step too far.
Copy !req
1002. And then this moment,
ILM did a really nice job
Copy !req
1003. on what happens when
the two RTs hit each other.
Copy !req
1004. We wanted it to be something cool.
Copy !req
1005. We sneak in "War Machine" there.
Copy !req
1006. He says,
"You wanna be a War Machine?"
Copy !req
1007. We like to say the names
of the characters
Copy !req
1008. without actually really saying them,
Copy !req
1009. as though it's their real name,
but have it in there.
Copy !req
1010. Like we say, "We're Iron Mongers,"
in the first film,
Copy !req
1011. and here he says,
"You wanna be a War Machine?"
Copy !req
1012. And so we see when those two things
hit each other, that happens.
Copy !req
1013. And we wanted the ending to be
some sort of call-back
Copy !req
1014. to something we established earlier.
Copy !req
1015. And I like that they work together
to have to defeat the guy,
Copy !req
1016. and it's about him learning
not to be alone.
Copy !req
1017. Part of Tony's problem is
he isolates himself,
Copy !req
1018. he doesn't let Pepper get close to him,
Copy !req
1019. he doesn't have friends other than
the people he works with, really.
Copy !req
1020. His best friends are his computer
and his robots.
Copy !req
1021. So, it really is about him learning
Copy !req
1022. to open up to these other people
and trust people,
Copy !req
1023. and leading to the Avengers,
where he's part of a group.
Copy !req
1024. There's the suit taking off into the night.
I like that little ending there.
Copy !req
1025. Those are practical suits,
those aren't digital right there,
Copy !req
1026. the ones on the ground.
Copy !req
1027. And here we are back at Edwards.
We were there last movie.
Copy !req
1028. It's a great place, great guys.
They let us go up in the tower.
Copy !req
1029. And there's Tim Guinee,
from the last film.
Copy !req
1030. He was in the CAOC, if you remember,
with Rhodey.
Copy !req
1031. And these are all real guys here.
Copy !req
1032. I love that buzzing the tower moment
with the subwoofers.
Copy !req
1033. And they let us use a B-2 and a F-22,
Copy !req
1034. and there's a C-17.
Copy !req
1035. And they just rolled
all the assets out for us.
Copy !req
1036. They let us shoot
wherever we wanted there.
Copy !req
1037. And you could only shoot that B-2
from certain angles.
Copy !req
1038. They wouldn't even let us take pictures,
last time, of that.
Copy !req
1039. They must've liked Iron Man
Copy !req
1040. 'cause they really rolled out
the red carpet for us.
Copy !req
1041. And I had challenge coins made up,
Copy !req
1042. for those of you
who know what those are,
Copy !req
1043. because I would get them
from the military units and officers.
Copy !req
1044. It was nice to have
something to give back.
Copy !req
1045. So, there are Iron Man 2
director coins out there.
Copy !req
1046. And you see,
we don't have the B-2 there
Copy !req
1047. or actually War Machine, in that shot.
Copy !req
1048. B-2 'cause we weren't allowed
to show it from that angle.
Copy !req
1049. Our excuse is it's stealth, so that's
why you can't see it in that shot.
Copy !req
1050. And then War Machine,
because I just didn't want to pay for it.
Copy !req
1051. I didn't think you'd notice.
Didn't want to add another shot.
Copy !req
1052. And here was another image
that we had.
Copy !req
1053. I wanted him in the donut hole of
Randy's Donuts the day after a bender.
Copy !req
1054. Just eating.
Copy !req
1055. And I love this moment here.
This is like the AA sponsor,
Copy !req
1056. the grizzled veteran who's like,
"Is this working out for you?
Copy !req
1057. "Do you like your life?
Is this how you want to live?"
Copy !req
1058. You get the phone call,
you call your sponsor at the low point,
Copy !req
1059. and the sponsor says, "Are you happy?"
He picks you up out of the gutter.
Copy !req
1060. He picks you up from the place
Copy !req
1061. you don't even know
how you woke up there.
Copy !req
1062. And he says to you,
"All right, are we ready to change?
Copy !req
1063. "Are you ready
to change something about this
Copy !req
1064. "or is this working out for you?"
Copy !req
1065. And then you gotta say...
You gotta give it up.
Copy !req
1066. You gotta just say,
"I am ready to give up my old life
Copy !req
1067. "and I am ready to find out
who I really am and work at it."
Copy !req
1068. And that's why I like that moment.
Copy !req
1069. I like those glasses he was wearing, too,
if you saw.
Copy !req
1070. They were black-and-red-checked
Ray-Bans.
Copy !req
1071. He just happened to be
wearing them that day.
Copy !req
1072. And I was like,
"You got to wear it with the suit."
Copy !req
1073. He was like, "Really?" I was like, "Yeah."
Robert's always up for that.
Copy !req
1074. He's like, "Yeah!" And I really like it.
I think it works really well.
Copy !req
1075. It has that '80s look to it.
I don't know, it's fun to watch him.
Copy !req
1076. It reminds me of Less Than Zero
or something.
Copy !req
1077. But it worked somehow.
Copy !req
1078. And there, of course, is Scarlett in her...
Copy !req
1079. There's no interior to Randy's.
Don't drive yourself crazy looking for it.
Copy !req
1080. It's not there. There's no interior.
Copy !req
1081. This was actually shot someplace else
in the neighbourhood.
Copy !req
1082. But we put up the Randy signage.
Copy !req
1083. They were gonna be
in S.H.I.E.L.D. Headquarters,
Copy !req
1084. and I was like, "No, no, no. We got to
put them in Randy's Donuts, man."
Copy !req
1085. 'Cause the first discussions were, like,
it's a stainless steel S.H.I.E.L. D...
Copy !req
1086. We were even gonna move them
to the East Coast.
Copy !req
1087. I was like, "No, no, no, get them
in the costumes in this environment.
Copy !req
1088. "That's our movie, man."
Copy !req
1089. And this was the first time she was
in the Black Widow costume on set.
Copy !req
1090. That was when I had tweeted.
I said, "She looks...
Copy !req
1091. "You never heard a crew
get so quiet so fast."
Copy !req
1092. And that turned into
a whole thing of like...
Copy !req
1093. I thought I was just writing it
and nobody...
Copy !req
1094. But people who follow me read it,
and it turned into, like...
Copy !req
1095. Marvel was like,
"Watch what you tweet."
Copy !req
1096. Like that was a sensitive thing to say
Copy !req
1097. she was in the costume.
I don't understand.
Copy !req
1098. The point I am making
is that everything...
Copy !req
1099. During the shooting of this film,
Copy !req
1100. it was clear that the information age
had changed dramatically.
Copy !req
1101. And if you post a picture
of yourself hanging out
Copy !req
1102. that has nothing to do with the movie,
Copy !req
1103. hanging out near the set, or talk about it,
Copy !req
1104. those things get picked up
and move around very quickly.
Copy !req
1105. And so the way filmmakers
interact with the public
Copy !req
1106. is changing rapidly,
and it's interesting to see how it evolves.
Copy !req
1107. And that was the one moment
I remember learning that.
Copy !req
1108. I said that she looked great
in the costume.
Copy !req
1109. And by the way, aside from that,
she did look great in the costume.
Copy !req
1110. The crew did get really quiet.
Copy !req
1111. Because she had been working so hard
on her martial arts stuff and her stunts,
Copy !req
1112. and between that
and the red hair and all that,
Copy !req
1113. and the way they did her makeup up,
Copy !req
1114. it was very different.
Copy !req
1115. I would have never pictured Scarlett
looking like this.
Copy !req
1116. And it's just great. It really works well
and fits in with the comic books,
Copy !req
1117. and I hope the fanboys
really embrace her in it,
Copy !req
1118. because she's a great,
great, dedicated performer
Copy !req
1119. who really loves the idea and
fought very hard to be in this franchise.
Copy !req
1120. So, I hope a lot comes of it for her.
Copy !req
1121. I hope she gets to do
her own Black Widow movie.
Copy !req
1122. So, there it is, showing that
we're changing from a suit to a drone.
Copy !req
1123. And part of the reason we did that was,
Copy !req
1124. A, it's kind of in the news,
and that's what's happening.
Copy !req
1125. It's actually even happened more
since we shot this.
Copy !req
1126. That's the nature of warfare now.
No casualties.
Copy !req
1127. It's good for PR,
no human life on the line.
Copy !req
1128. At least for your side.
Copy !req
1129. So it's very corporate, safe,
futuristic warfare, antiseptic warfare.
Copy !req
1130. But also because
I wanted to be able to destroy
Copy !req
1131. and really have a lot of fun
with the destruction
Copy !req
1132. that the suits could do
with multiple enemies.
Copy !req
1133. If you just have a body count like that
with people,
Copy !req
1134. you just can't do it
in a movie like this, PG-13.
Copy !req
1135. You don't want kids seeing that.
And so the idea
Copy !req
1136. of multiple robotic bad guys
Copy !req
1137. that you could completely disembowel
and cut the heads off
Copy !req
1138. and have oil squirting out
was something I really liked.
Copy !req
1139. I know that Genndy Tartakovsky did it
in Samurai Jack a lot.
Copy !req
1140. That was the trick he would use
on Cartoon Network.
Copy !req
1141. He'd use the samurai warrior cutting
heads and limbs off of these things,
Copy !req
1142. but they were all robots.
Copy !req
1143. And so that was something
that I thought was really cool.
Copy !req
1144. And I actually contacted Genndy.
Copy !req
1145. I liked what he did with Clone Wars,
and I liked Samurai Jack,
Copy !req
1146. and I reached out to him,
Copy !req
1147. and we had been talking and meeting,
and I finally asked him,
Copy !req
1148. "Hey, you wanna come on board
and help me with this stuff?
Copy !req
1149. "You have a great handle on action.
It's not what I'm from."
Copy !req
1150. And he did. He helped out,
him and Bryan, his partner,
Copy !req
1151. did storyboards and animatics
Copy !req
1152. and even came for some of the shooting
with the second unit
Copy !req
1153. of the plates
in the Japanese garden later,
Copy !req
1154. in the Oracle Pavilion.
Copy !req
1155. So, it was great.
I thank them so much for helping,
Copy !req
1156. and I learned so much from them,
and they brought a lot of great tone
Copy !req
1157. and a nice tongue-in-cheek quality
to the violence
Copy !req
1158. and a nice imagination
to all of that action stuff.
Copy !req
1159. It fit in well.
We were able to balance it all out well.
Copy !req
1160. So, here's our scene
between Nick Fury and Tony Stark
Copy !req
1161. where he learns about his dad.
Copy !req
1162. And he learns that if he finishes
what his father was exploring,
Copy !req
1163. when he invented the arc reactor
with Anton Vanko,
Copy !req
1164. that maybe
that final technical breakthrough
Copy !req
1165. would help him solve the problem
that he's facing, coincidentally,
Copy !req
1166. because he has that thing in his chest.
Copy !req
1167. How to replace palladium
with the element that would make it
Copy !req
1168. the perfect version of the arc reactor.
Copy !req
1169. But he's also enticing him
to become part of S.H.I.E.L.D.
Copy !req
1170. And to join the group.
Copy !req
1171. So, Sam Jackson has
tremendous screen presence
Copy !req
1172. and is able to carry off
a lot of exposition here.
Copy !req
1173. And then we even related it
Copy !req
1174. to the emotion of
his relationship to his dad
Copy !req
1175. that was set up in the press conference
of the first film.
Copy !req
1176. This movie is about
the sins of the fathers in a lot of ways,
Copy !req
1177. with Anton extending this vendetta
against the Stark family
Copy !req
1178. and feeling betrayed
Copy !req
1179. because he was turned in
for spying by the dad,
Copy !req
1180. and Tony inheriting
all the good and bad of his dad.
Copy !req
1181. You see the dad drinking in the video...
I mean, in the old movies
Copy !req
1182. in the next scene.
Copy !req
1183. But also the legacy
and all the innovations
Copy !req
1184. that helped change the world
in a great way.
Copy !req
1185. So, the choice is his.
Copy !req
1186. And so we found a way to incorporate,
to create a character arc for this guy,
Copy !req
1187. because it's so easy in the first film,
with the origin, to have an arc,
Copy !req
1188. the rise of the hero.
Copy !req
1189. But how do you not just make it
a serialised version
Copy !req
1190. of the adventures of a hero?
Copy !req
1191. How do you
actually make the character grow?
Copy !req
1192. And so the relationship with the dad
Copy !req
1193. seemed to be the fulcrum of that for us.
Copy !req
1194. And so, now this is the first scene
with Coulson,
Copy !req
1195. when, if you've seen
the deleted scenes,
Copy !req
1196. he was actually introduced
in the courtroom earlier.
Copy !req
1197. But here we go in the movie proper,
Copy !req
1198. in Iron Man movie canon,
he's introduced in this scene.
Copy !req
1199. And there is the box.
Copy !req
1200. "Property of Howard Stark."
What's gonna be in there?
Copy !req
1201. And now, here we pull apart the Mark II.
Copy !req
1202. Legacy built a really cool, practical suit
that could come apart.
Copy !req
1203. See the inner workings,
and there he pulls out the arc reactor.
Copy !req
1204. For those of you playing at home, yes,
Copy !req
1205. the arc reactor
should be in Tony's chest.
Copy !req
1206. Why is it in the suit?
Copy !req
1207. I hope nobody bumps on that too hard.
Copy !req
1208. We figured he built extra ones
Copy !req
1209. 'cause he had so much problem
the last movie.
Copy !req
1210. He'd always want to have extras around.
Copy !req
1211. It also looks cooler
Copy !req
1212. in the Hall ofArmour
if the chests are glowing.
Copy !req
1213. So, we just sort of said that,
that was the case.
Copy !req
1214. And you gotta know the special code
to get into the room,
Copy !req
1215. so they're safe there.
Copy !req
1216. And here we go.
Copy !req
1217. Yeah, "I'm gonna upgrade
your software." Hopefully, that helps
Copy !req
1218. to understand why lvan was able
to hack into the Iron Man suit later,
Copy !req
1219. and control it in War Machine.
Copy !req
1220. So, here we go, man. I was like,
Copy !req
1221. "We gotta have a scene
where we have...
Copy !req
1222. "I want this to be like Taxi Driver."
Copy !req
1223. I think some of the shots are even... The
above, the overhead shot of the guns.
Copy !req
1224. So these are real guns,
and originally they were fake guns,
Copy !req
1225. the prop guy brought
some fake guns that we built,
Copy !req
1226. but the real ones
looked so much more cool
Copy !req
1227. that I said to them,
"Look, we gotta do..."
Copy !req
1228. We're up at Edwards Air Force Base,
I said, "We gotta do the real guns.
Copy !req
1229. "Let's come up..."
And then Justin scrambled to write it.
Copy !req
1230. And, actually, Justin is
talking over an earwig
Copy !req
1231. to him in the scene,
to help feed him the stats on this stuff,
Copy !req
1232. because I had just changed all the lines.
Copy !req
1233. So, he actually has an earpiece in here
to help cue him for each of the things.
Copy !req
1234. Sam's a very fine actor,
never has problems memorising,
Copy !req
1235. but I threw him a curve ball that day.
Copy !req
1236. And so they ended up having
a lot of fun together,
Copy !req
1237. where Justin would feed him lines
and he would throw other things in,
Copy !req
1238. and then Rockwell would add things,
Copy !req
1239. and this was a very fun day
with Justin and Rockwell, where they...
Copy !req
1240. It was almost like
two musicians playing together,
Copy !req
1241. and it's one of my favourite scenes
in the film.
Copy !req
1242. So, a lot of this run-on stuff
was them both adding...
Copy !req
1243. They were both adding
to the other person's thing.
Copy !req
1244. And one of my favourite lines
in the scene, he says,
Copy !req
1245. "But I can tell this isn't disco enough
for you,"
Copy !req
1246. he says about the Belgian gun.
Copy !req
1247. And I don't even know
where he got that from.
Copy !req
1248. I don't even know what it means,
but I loved it.
Copy !req
1249. And every cut, I was like,
"Make sure that line's in."
Copy !req
1250. He only said it in one take of one thing,
Copy !req
1251. but I was like, "Make sure it's in."
Copy !req
1252. "It isn't disco enough for you."
Copy !req
1253. And then he says here,
"You're like a sphinx,"
Copy !req
1254. which is something that Ed Asner said
about another performer on Elfonce.
Copy !req
1255. He said,
"I can't perform with that person.
Copy !req
1256. "It's like staring into the face
of a sphinx."
Copy !req
1257. I'm not gonna say who.
It's nobody you know.
Copy !req
1258. But he did say,
"The actor's not giving me anything.
Copy !req
1259. "It's like staring into the face
of a sphinx."
Copy !req
1260. And so he says,
"I don't know what to make of you.
Copy !req
1261. "It's like I'm looking at a sphinx."
Copy !req
1262. Nobody would know that but me,
except you guys know it now.
Copy !req
1263. And I love Ed Asner.
Copy !req
1264. And so we dig out of the box
all the little secrets.
Copy !req
1265. Kodak, a partner of ours
Copy !req
1266. on the film.
Copy !req
1267. And here we are,
there's the arc reactor, and so
Copy !req
1268. we didn't know
if we were gonna get away with this.
Copy !req
1269. That the dad's talking to him
from beyond the grave.
Copy !req
1270. But between Slattery,
the way it was shot,
Copy !req
1271. and the great, great job
Downey does here
Copy !req
1272. in just emotionally engaging
and reacting.
Copy !req
1273. And we had shot that film earlier.
Copy !req
1274. So, we were actually able to
project that film,
Copy !req
1275. so he was reacting to Slattery.
Copy !req
1276. And so, when Slattery asked,
"Just a cameo?" I said, "No."
Copy !req
1277. And I think
this moment really makes it...
Copy !req
1278. I think it's a memorable moment. I think
it was a good day's work for the guy.
Copy !req
1279. 'Cause I think he really made
a big impression in the film.
Copy !req
1280. And there's Tony,
we see how old Tony is.
Copy !req
1281. He's curious about this thing even then.
Copy !req
1282. And, of course, here Tony's seeing
what their relationship was like.
Copy !req
1283. Not what you wanna see when you...
Copy !req
1284. If you have one little piece of footage
you find with you and your dad,
Copy !req
1285. that's not exactly what you'd want.
It's sad.
Copy !req
1286. His dad was an important guy,
but wasn't there for him.
Copy !req
1287. And there he is, having a drink.
Copy !req
1288. Little things, you know, subtle but...
Copy !req
1289. Here he is.
Copy !req
1290. It's funny, but it's not to him.
Copy !req
1291. It's fun watching it with a crowd,
'cause they laugh,
Copy !req
1292. but they don't know
if they're supposed to laugh or not.
Copy !req
1293. And we see that this damn book
and these clues,
Copy !req
1294. what he thought was in the box,
he's frustrated. There's nothing there.
Copy !req
1295. He's not gonna live, he's not...
Copy !req
1296. And then here's the...
Copy !req
1297. Here's the thing.
Copy !req
1298. And I showed this to Damon Lindelof,
who does Lost,
Copy !req
1299. because I thought
they did a really nice job
Copy !req
1300. at the end of the first season,
or the beginning of the second season,
Copy !req
1301. when they go down in the bunker
and they see...
Copy !req
1302. There was the missing footage
from the DHARMA Initiative thing,
Copy !req
1303. and they find the missing frames.
Copy !req
1304. So, this is sort of like
the missing footage
Copy !req
1305. from the thing you see
at the beginning of the movie.
Copy !req
1306. And Damon was like,
"Yeah, yeah, yeah."
Copy !req
1307. "Is it good? Did we do it?"
"Yeah, yeah, yeah."
Copy !req
1308. He was a very encouraging guy,
very supportive, smart, smart dude,
Copy !req
1309. and one of the writers
on Cowboys & Aliens.
Copy !req
1310. I'm actually working with him now.
Copy !req
1311. And there's the acceptance. He says,
Copy !req
1312. "Of all the things,
all my work that's so important,
Copy !req
1313. "you're the most important."
Copy !req
1314. And there he is, Robert does a...
Copy !req
1315. It's the best acting in the movie,
for my money, right there.
Copy !req
1316. And then, boom!
We go out, and he's ready now.
Copy !req
1317. He's connected with his dad,
he's uncovered.
Copy !req
1318. It's like therapy,
he uncovered the old wound.
Copy !req
1319. He faced it.
Copy !req
1320. His dad accepts him
from beyond the grave,
Copy !req
1321. says, "You're not a bad kid."
Copy !req
1322. I like this. He gives a $80,000 watch
for some strawberries.
Copy !req
1323. And this also shows that he's famous,
like, everybody knows him.
Copy !req
1324. They like him. People still like the guy.
Copy !req
1325. And now he's ready to make amends.
He goes to...
Copy !req
1326. He goes there.
Copy !req
1327. There was a lot of discussion about
Copy !req
1328. whether he should be going there
to get the model,
Copy !req
1329. or he discovers the model.
Copy !req
1330. And Robert and I felt very strongly
it was emotionally correct
Copy !req
1331. to have it be that you go there
because he wants to be with Pepper.
Copy !req
1332. He wants to talk to her.
He's discovered something.
Copy !req
1333. He doesn't think he knows anything
about how to solve his problem,
Copy !req
1334. but he knows what's important to him.
Copy !req
1335. And there's O'Reilly
going off on Gwyneth.
Copy !req
1336. Life is not easy
for Pepper Potts right now.
Copy !req
1337. He really made things uncomfortable.
Copy !req
1338. There's all his stuff, if you remember,
from the first movie.
Copy !req
1339. This was his office.
Copy !req
1340. So we justify that the model was there,
he sees it.
Copy !req
1341. It's not interesting, not a big deal.
Copy !req
1342. But we felt that if he went there
just to get the model,
Copy !req
1343. instead of apologising to Pepper,
that it would make him selfish.
Copy !req
1344. And this way,
we felt it was more sincere.
Copy !req
1345. He's really trying.
Copy !req
1346. Now, see this thing on the table?
Copy !req
1347. I showed up to the set,
Copy !req
1348. and Lauri Gaffin, our set decorator,
was like, "Put that on the table."
Copy !req
1349. I'm like, "That's the most distracting..."
Copy !req
1350. The idea of set dressing is that
you don't notice it that much.
Copy !req
1351. She was like,
"Look, if you wanna use it, use it.
Copy !req
1352. "You don't, you can totally remove it.
It's unique and hi-tech."
Copy !req
1353. And I was like,
"No, let's put it right in his close-up."
Copy !req
1354. And so we turned it into a whole bit.
Copy !req
1355. So, it was a gift.
Copy !req
1356. She put the right thing in the set.
Copy !req
1357. But any time any department
makes a choice,
Copy !req
1358. sometimes you gotta be able to tell...
Copy !req
1359. As a director,
you're kind of not doing anything,
Copy !req
1360. but in a sense, you're sort of
watching everything and making sure.
Copy !req
1361. Seeing if something's distracting,
or if it's helping.
Copy !req
1362. And you gotta just be there.
It's just a matter of balancing things out.
Copy !req
1363. That little ball on her desk was actually
a big, important part of the movie
Copy !req
1364. at one point. It was a tech-ball
that could change shape and do things.
Copy !req
1365. That was supposed to
set up the suitcase suit.
Copy !req
1366. And all we see in the movie now
is just that little moment,
Copy !req
1367. looks like he's playing with something
on her desk.
Copy !req
1368. But that was a tech-ball.
It was a big plot point for a while.
Copy !req
1369. I like this, they get this good.
"I need you to leave."
Copy !req
1370. And he's hurt. But he's made amends,
you know. He tried.
Copy !req
1371. And you can't always get it accepted,
Copy !req
1372. but at least he's made that movement
towards growth.
Copy !req
1373. And that's all part of that sort of subtle,
Copy !req
1374. 12-step-type thing.
Copy !req
1375. It's like, you humble yourself,
you come to terms with your feelings,
Copy !req
1376. you sincerely try and...
Copy !req
1377. He's trying.
Copy !req
1378. And you see he's just up against it.
Copy !req
1379. Everybody's done with him.
Well, Pepper certainly is.
Copy !req
1380. Natalie here has slid right in.
Copy !req
1381. Now he's just the odd man out
in every way.
Copy !req
1382. And we added...
Copy !req
1383. I want to stick in her speaking Latin, too,
Copy !req
1384. because Gwyneth told me
you can't speak Latin,
Copy !req
1385. so maybe she really does speak Latin,
I don't know.
Copy !req
1386. "You can speak Latin?"
We threw this in. This is all on the day.
Copy !req
1387. So now we were saying,
"What should she say in Latin?"
Copy !req
1388. So, we're looking through all different
things you could say in Latin.
Copy !req
1389. That's not what she said in Latin.
What she really says in Latin is,
Copy !req
1390. "Not everything is as it seems,"
I believe,
Copy !req
1391. which I thought worked well
for Black Widow.
Copy !req
1392. Even the sculpture's giving him
a hard time.
Copy !req
1393. Nothing's going his way.
Copy !req
1394. But he's in a better head space,
if you notice,
Copy !req
1395. 'cause of the thing with the dad.
Copy !req
1396. I love what he does here
with these strawberries.
Copy !req
1397. I think the strawberries
were Robert's idea.
Copy !req
1398. "I should get her strawberries."
Copy !req
1399. "Why are you getting her strawberries?"
Copy !req
1400. "Like, on the street,
I should get her strawberries."
Copy !req
1401. And it turned into a great bit.
Copy !req
1402. So for those of you who want
to be directors, keep an open mind.
Copy !req
1403. "The key to the future is here."
Copy !req
1404. So, something's popping for him.
He doesn't know what it is.
Copy !req
1405. But the dad said that in the video.
Copy !req
1406. In the video? Look at me. In the film.
Copy !req
1407. He's so good here, Robert.
Look at him realise it.
Copy !req
1408. Look at that.
Copy !req
1409. And here Lou D'Esposito,
Copy !req
1410. formerly worked with me on Zathura,
Copy !req
1411. shot some stuff for me there,
on Iron Man,
Copy !req
1412. now a big part of the Marvel family.
Copy !req
1413. He shot that, went out there with a unit.
Copy !req
1414. Did a great job getting the laugh out of
how we get that thing back to the house.
Copy !req
1415. And so we use
this holographic stuff to...
Copy !req
1416. You know, we found that
Copy !req
1417. all the stuff we did on the screens
last time,
Copy !req
1418. other movies were doing
in the two years.
Copy !req
1419. And some did a really good job with it,
Copy !req
1420. but a lot of the stuff we did with the HUD
and all that's been done by other people,
Copy !req
1421. so we wanted to do some new stuff.
So we're saying it's all holographic,
Copy !req
1422. and we changed the HUDs up, too,
on the inside.
Copy !req
1423. So, here we go.
There's the map of the world's fair.
Copy !req
1424. Boy, this was a conundrum between
our post-vis team from...
Copy !req
1425. Let's see. Prologue did this stuff,
but The Third Floor did the post-vis.
Copy !req
1426. And between the two different groups,
we were able to figure out
Copy !req
1427. how to make this dialogue
actually make sense visually.
Copy !req
1428. Yes, Third Floor did a fine job for us.
Copy !req
1429. And then the HUDs were done
Copy !req
1430. by the people who did our pre-vis
last time, PLF.
Copy !req
1431. And they did our HUDs.
They did a very good job.
Copy !req
1432. So, here we go.
He's trying to figure it out.
Copy !req
1433. We wanted to make it that
there was a map to a molecule,
Copy !req
1434. to a new element.
Not a molecule, an element.
Copy !req
1435. So, it's kind of fudgy.
We fudged things a bit.
Copy !req
1436. But it looks visually good,
and Robert sells it.
Copy !req
1437. And we get the idea that
he has to form a new element.
Copy !req
1438. And it kind of uses
movie/comic book-y technology.
Copy !req
1439. None of this is really real.
Copy !req
1440. I learned about
the underlying real technology.
Copy !req
1441. It's just not that cinematic.
Copy !req
1442. I like that he thanks his dad there.
Copy !req
1443. I like how, if you look, you'll see
this interactive light on his fingers.
Copy !req
1444. That's because
Copy !req
1445. we used a real light bulb in there
that we removed.
Copy !req
1446. For those of you who care
about that kind of thing.
Copy !req
1447. I do.
Copy !req
1448. And we're back in hardware mode,
and here he is, like in the first movie.
Copy !req
1449. You're not exactly sure what he's doing.
Copy !req
1450. We could have explained it more,
but thought it would be fun
Copy !req
1451. if you're sort of keeping up with him
and he's just wrecking his house.
Copy !req
1452. I love wrecking sets.
Copy !req
1453. 'Cause you gotta wreck them anyway,
when you tear them down.
Copy !req
1454. Everybody's like, "Oh, my God, you're..."
Copy !req
1455. Yeah, when they tear
these things down, they wreck them.
Copy !req
1456. May as well film it.
Copy !req
1457. That's going through his wall.
Copy !req
1458. And so
Copy !req
1459. he's setting up his prismatic accelerator,
that's what we call it.
Copy !req
1460. And in comes Coulson.
Copy !req
1461. And here's our shield.
Copy !req
1462. So, this shield
Copy !req
1463. popped up in the first movie.
Copy !req
1464. ILM, as a sort ofjoke,
put it in the background of his workshop.
Copy !req
1465. That would never exist in real life.
Copy !req
1466. So many people noticed it.
I said, "Yeah, put it in, why not?"
Copy !req
1467. You could barely see it.
Copy !req
1468. So many people noticed it,
it became like...
Copy !req
1469. Part of this whole thing.
Copy !req
1470. So, we actually built one.
We had our prop guy build one.
Copy !req
1471. And we said that he should pull it out
of the storage container.
Copy !req
1472. And we said, "How can we have fun
with this moment?"
Copy !req
1473. Everybody's expecting us to deal with it,
Copy !req
1474. so he uses it just to level out his thing.
Copy !req
1475. But really what's interesting is that what
he's talking about is the Easter egg.
Copy !req
1476. Because we're about to show
the hammer,
Copy !req
1477. Thor's hammer, at the end of the film.
Copy !req
1478. So we're getting the audience
to lean forward,
Copy !req
1479. thinking about the wrong thing,
Copy !req
1480. and then we sort of
take the piss out of that.
Copy !req
1481. And then they laugh,
but they don't realise
Copy !req
1482. that we really are laying in
some Avengers...
Copy !req
1483. Laying some pipe for the next movie.
Copy !req
1484. And Robert did lots of working out.
Copy !req
1485. And here it is,
Copy !req
1486. all his hard work.
Copy !req
1487. As he likes to say,
he peaks for about three hours,
Copy !req
1488. and then it all disappears.
Copy !req
1489. And here's one of the moments
Copy !req
1490. where he was feeling good about
all the work he'd done, he looks good.
Copy !req
1491. And here it is. So, in our movie,
Copy !req
1492. if you take one piece of metal
and you shoot a laser at it,
Copy !req
1493. where the light's been accelerated,
whatever that means.
Copy !req
1494. I thought the speed of light
was a constant.
Copy !req
1495. But we're apparently accelerating
the light here
Copy !req
1496. and making the laser shoot the thing,
Copy !req
1497. and whatever it is,
it turns into another element.
Copy !req
1498. All that's important...
Copy !req
1499. Don't worry
your pretty little heads about this.
Copy !req
1500. Just know that he made another
element based on his dad's thing,
Copy !req
1501. and he did it 'cause he's Tony Stark
Copy !req
1502. and that's his superpower.
He's a genius.
Copy !req
1503. What is nice is the way that we shot...
Copy !req
1504. I've learned more about visual effects,
Copy !req
1505. and by having this interactive source
actually there,
Copy !req
1506. that was LEDs that we then replaced
with the visual effect,
Copy !req
1507. it gives it the nice light
on his eyes and face.
Copy !req
1508. And then that prop we outdid
with a piece of digital work.
Copy !req
1509. I think that was Fuel did that one.
Copy !req
1510. And there it is, that's digital.
It's nice. Looks good.
Copy !req
1511. Looks good. It was much flatter.
Copy !req
1512. There's lvan and his bird,
Copy !req
1513. getting a call from Shandling
and Rockwell.
Copy !req
1514. That was one of the last days
of shooting.
Copy !req
1515. Why they are playing golf
in Manhattan Beach,
Copy !req
1516. when Stern lives in...
Copy !req
1517. When Stern is in...
Copy !req
1518. He's from, I think, Pennsylvania
and lives in Washington.
Copy !req
1519. And Hammer is, I think,
probably in Queens.
Copy !req
1520. I guess he's not.
I guess he's in California, is what it is.
Copy !req
1521. Which is why it takes long enough.
And there it is.
Copy !req
1522. Hopefully, the movie's not out yet,
hasn't been reviewed yet,
Copy !req
1523. I don't know
if people like this movie or not.
Copy !req
1524. Hopefully, by the time you've seen this,
people will have seen that
Copy !req
1525. and accepted the fact
that just by showing that shot,
Copy !req
1526. we will believe that
lvan has built a Whiplash suit
Copy !req
1527. at the end of the movie.
Copy !req
1528. There's the bird man.
Copy !req
1529. Take his stuff.
Copy !req
1530. I like his performance here.
Copy !req
1531. He finally gets to go off. "I'm onto you.
Something's wrong with you."
Copy !req
1532. He takes the bird away.
Copy !req
1533. I like this.
Copy !req
1534. There's a puppet of a bird.
Not even, I think it's just a doll.
Copy !req
1535. What Skywalker Sound will do to
help make the visuals more convincing.
Copy !req
1536. I like him going off on him, here.
Copy !req
1537. He's just fed up 'cause he's just been...
Copy !req
1538. Hammer's a guy that will kiss your ass
if he needs something,
Copy !req
1539. and then when he doesn't need you,
he's just gonna go off on you.
Copy !req
1540. I hate people like that.
I hate people like that.
Copy !req
1541. And there we are, we see to the left
is my stunt double, Dave Rowden.
Copy !req
1542. I've worked with him for...
Copy !req
1543. I think I met him on Tracey Takes On...,
Tracey Ullman's show.
Copy !req
1544. I've worked with him
for many, many movies.
Copy !req
1545. Hopefully, this scene is not just about
Copy !req
1546. Hammer's creating more conflict
between the two of them
Copy !req
1547. and helping build the stakes,
but also it'll help...
Copy !req
1548. It'll help on the day...
Copy !req
1549. It'll help us understand
Copy !req
1550. how lvan figures out what to do
and what his plan is.
Copy !req
1551. You get away with a lot being a genius.
Copy !req
1552. And we showed that
he could do cool stuff
Copy !req
1553. with computers and with drones
and with the suit.
Copy !req
1554. And then we say he's kind of like
a dark Tony Stark.
Copy !req
1555. So, we get away with a lot.
Copy !req
1556. But you gotta lay just enough
breadcrumbs to be convincing,
Copy !req
1557. but not enough that
you get bogged down in it.
Copy !req
1558. You just want people
to be able to enjoy it
Copy !req
1559. and believe that it's emotionally correct.
Copy !req
1560. There's the bodies
hanging in the background.
Copy !req
1561. There we go, Oracle grid, we got it in.
Copy !req
1562. The good guys got the Oracle computer,
so it's okay.
Copy !req
1563. And Oracle was a very good partner.
Copy !req
1564. I met Larry Ellison.
He was a very, very nice guy.
Copy !req
1565. He sat around all day just to be a cameo
in that one scene at the beginning.
Copy !req
1566. And then we named
the Oracle Pavilion after him.
Copy !req
1567. I thought it was cool
'cause he likes Zen architecture,
Copy !req
1568. so I thought a Japanese garden,
that should be the Oracle Pavilion
Copy !req
1569. 'cause we wanted to set something
in a Japanese-inspired backdrop.
Copy !req
1570. That was part of what Genndy and I
were talking about.
Copy !req
1571. Here we go,
we see that the rash retracts
Copy !req
1572. now that the new thing is in.
Copy !req
1573. And here, momentum is our friend,
I hope.
Copy !req
1574. We never actually show him
building the Mark VI.
Copy !req
1575. You see in the additional scenes,
Copy !req
1576. we actually did.
Copy !req
1577. And that's a cool shot of our set,
matched with some digital stuff.
Copy !req
1578. Digital extension.
Copy !req
1579. And this is...
Copy !req
1580. Here we go, we got Justin
dancing to Average White Band,
Copy !req
1581. which is a song from Swingers.
Copy !req
1582. He wanted to do this to warm up
and have fun.
Copy !req
1583. He said, "Can you play some music?"
Copy !req
1584. And they would play
different music every time.
Copy !req
1585. And he loves to do
his little James Brown dance.
Copy !req
1586. He's a really good dancer.
Copy !req
1587. But he would do it more
to get in the character,
Copy !req
1588. and the editors actually kept cutting it in,
Copy !req
1589. and finally I said,
"No, we gotta remove that."
Copy !req
1590. Finally, we removed it from the cut,
Copy !req
1591. and the producer's like,
"Why'd you take that out? It was great."
Copy !req
1592. And I was like,
"It was kind of fun, wasn't it?"
Copy !req
1593. And it's in character, so we...
Copy !req
1594. It's one of those things
where you just get used to it,
Copy !req
1595. and you miss it when it's not there.
Copy !req
1596. And I think 'cause it's him,
we get away with it.
Copy !req
1597. Maybe not, but I like it.
It makes me smile every time.
Copy !req
1598. And it just makes him more of a knob.
Copy !req
1599. 'Cause that's kind of
what you wanna sell here,
Copy !req
1600. that, again, he's Daffy Duck compared
to Tony Stark's Bugs Bunny.
Copy !req
1601. Nobody claps with him.
Copy !req
1602. And then, ironically, all these awesome
drones come out of the ground.
Copy !req
1603. And they come out of the ground,
Copy !req
1604. and we had one
for each branch of the service.
Copy !req
1605. This is one of the shots
we were working on very early, with ILM,
Copy !req
1606. because it wasn't a lot of animation,
but we had to finalise the designs,
Copy !req
1607. and I think they got the integration
very well here.
Copy !req
1608. So there's our army drones
with the guns,
Copy !req
1609. I think it's called a Bushmaster,
the gun on the back.
Copy !req
1610. I was doing research on real stuff
to inspire what was there.
Copy !req
1611. The colour scheme.
Copy !req
1612. And then the Navy,
with those Polaris missile tubes
Copy !req
1613. on the shoulders.
Copy !req
1614. I love the fonts, the colours.
Copy !req
1615. And here's the Air Force. It's great.
The DOD helped out.
Copy !req
1616. We had all these different themes
and we couldn't get the rights to them,
Copy !req
1617. and the DOD helped us out
and made some calls,
Copy !req
1618. and it all came together
at the last minute.
Copy !req
1619. I think the Marines look super cool
with their tiger-stripe pattern.
Copy !req
1620. And there they are. I like those a lot.
Copy !req
1621. I think it's fun. It's cool.
It'd be cool if we really had those.
Copy !req
1622. Maybe someday.
Copy !req
1623. It was tough, also,
to make the drone heads
Copy !req
1624. look like there's not people in them,
Copy !req
1625. but also not look like the drones
from Star Wars.
Copy !req
1626. But I think they came a long way.
Copy !req
1627. Ryan Meinerding did a lot of work
on that, on those suits.
Copy !req
1628. Those are all digital.
We don't have any real ones of those,
Copy !req
1629. other than the neutral one that was built
for the scene with lvan in SpaceX.
Copy !req
1630. These are great shots.
ILM did a great job on this.
Copy !req
1631. Really looks like
there's somebody in there.
Copy !req
1632. That's totally digital, right there.
Copy !req
1633. We actually shot a version with the suit,
the Legacy suit, that was good,
Copy !req
1634. but the shot that's in the movie
is actually digital,
Copy !req
1635. of him coming out.
It just looks super cool.
Copy !req
1636. I'm really happy
with War Machine's design.
Copy !req
1637. I got the big bust poster in my house.
Copy !req
1638. And there we are,
Flushing Meadow Park.
Copy !req
1639. Here he comes.
And I just like the idea of...
Copy !req
1640. He shows up and lands, to save the day,
and the crowd goes crazy.
Copy !req
1641. They love him. They still love him,
more than all the stuff that he does.
Copy !req
1642. And this is a hard moment to make real,
Copy !req
1643. and make you understand
and get it right.
Copy !req
1644. How would each person really react
in this moment? How do you sell it?
Copy !req
1645. There's a lot of information
being transferred around.
Copy !req
1646. I think the fact that ILM did
a really nice job integrating everything,
Copy !req
1647. PLF did a good job with the HUDs,
performances are good.
Copy !req
1648. We kept rewriting and changing,
Copy !req
1649. and re-shooting the HUDs
about three times to get it right.
Copy !req
1650. And I think this communicated
the information properly.
Copy !req
1651. That the suit's being taken over,
Copy !req
1652. and then you have to show
that he's taking it over,
Copy !req
1653. and things coming down.
Copy !req
1654. You want to make sure
everything's clear,
Copy !req
1655. but you also want to make it move fast
Copy !req
1656. and not feel like you're sitting around,
waiting too much.
Copy !req
1657. So, I think
everybody worked well together.
Copy !req
1658. I think once you buy
what's going on here,
Copy !req
1659. then you can enjoy
the rest of the sequence.
Copy !req
1660. Good job there. Cool.
Copy !req
1661. A lot of these shots,
it took a long time for them to be right,
Copy !req
1662. but they finally came together.
Copy !req
1663. That's part of the process with this stuff.
It often doesn't look real till the very end.
Copy !req
1664. See, look at that.
I love all those flares and the sounds.
Copy !req
1665. That really goes a long way.
Not seeing everything is usually better,
Copy !req
1666. and if you see,
we play with darkness a lot here.
Copy !req
1667. And a lot of my notes were,
"Just make it look... It looks too good.
Copy !req
1668. "Blur it. Make the lights bloom more.
Copy !req
1669. "Let's look at some real photography."
I love this shot.
Copy !req
1670. It's hard to get your bearings,
but it's fun, that one over his shoulder.
Copy !req
1671. Getting the twinkle of the lights right.
Copy !req
1672. You sort of do the best you can
with all this stuff.
Copy !req
1673. The score, actually, I love,
right here, too.
Copy !req
1674. Debney's score with the horns,
as they're coming off the stage.
Copy !req
1675. Marc Chu doing his animation here.
Very good animator.
Copy !req
1676. First time working with him
as the main guy.
Copy !req
1677. He'd worked on the other film.
Copy !req
1678. But this time he was the main guy,
working with Ben Snow.
Copy !req
1679. And there's Jack.
Look, he got a whole part out of it.
Copy !req
1680. He was a food stylist, guys.
Copy !req
1681. See? If you do a good job, you know...
Copy !req
1682. 'Cause dreams come true.
Copy !req
1683. He was an actor before, too.
It's not like I created him.
Copy !req
1684. He actually had done acting before.
Copy !req
1685. He was almost on, I think, Top Chef.
He's a really cool dude.
Copy !req
1686. And he and Rockwell
had a great time together,
Copy !req
1687. bouncing off each other,
so I just kept adding him to scenes.
Copy !req
1688. There's Pepper taking control,
showing her a little strong in this thing.
Copy !req
1689. Here we go. You see
the Hammer Pavilion in the background.
Copy !req
1690. Part of that's our real set.
Copy !req
1691. There we go.
And now it's giant killer robots.
Copy !req
1692. Can't mess with the classics.
Can't go wrong.
Copy !req
1693. And there we go. I like how the graphic
looks like Missile Command,
Copy !req
1694. for those of you over 40.
Copy !req
1695. And now we set off on our thing.
So a lot of people are like,
Copy !req
1696. "You got a lot of villains,"
but part of it was not to...
Copy !req
1697. I'm not a fan
of making things overwrought.
Copy !req
1698. So, the trick was to weave everything
so it wasn't in multiple storylines.
Copy !req
1699. There's only two real storylines going.
Copy !req
1700. It's the lvan story with Hammer,
and then there's the Tony story.
Copy !req
1701. I think when you get too many villains,
too many threads are going.
Copy !req
1702. And so we kept Black Widow with Tony
and Nick Fury in that vein,
Copy !req
1703. and then you had the lvan stuff.
Copy !req
1704. And the lvan stuff
connected with Hammer.
Copy !req
1705. So it all, hopefully,
isn't too convoluted here.
Copy !req
1706. 'Cause that is what happens
with sequels,
Copy !req
1707. and we wanted to avoid that,
Copy !req
1708. but yet we wanted to build
to The Avengers.
Copy !req
1709. So, that's what we're doing here.
Copy !req
1710. And there we go.
Copy !req
1711. And there he is, and...
Copy !req
1712. And here's Iron Man being a hero.
Copy !req
1713. "Nice work, kid."
Copy !req
1714. We were gonna have him say, "Stay
in school," but that was too RoboCop.
Copy !req
1715. Cool. That's actually down
at the Nokia centre in LA.
Copy !req
1716. We changed the signage.
Copy !req
1717. Here we go.
Copy !req
1718. There's my big comedy moment.
Copy !req
1719. And that's actual plates shot
in Queens there,
Copy !req
1720. right by where I used to live
and grew up.
Copy !req
1721. So, it's really fun for me to actually be...
I didn't shoot these plates.
Copy !req
1722. Here's a Genndy Tartakovsky moment
we kept in there.
Copy !req
1723. That's from his storyboards.
Copy !req
1724. It's really fun for me
'cause they shot the plates
Copy !req
1725. right across the street from my house
I grew up at.
Copy !req
1726. So, seeing all this stuff
Copy !req
1727. and putting all the digital work
into where I grew up,
Copy !req
1728. it's kind of odd.
But really fun. Really fun.
Copy !req
1729. One of the perks.
Copy !req
1730. It's when you really appreciate
what you're able to do
Copy !req
1731. and what you have,
and all these thousands of people
Copy !req
1732. essentially helping to support a vision
and make a great film.
Copy !req
1733. But a lot of the decisions...
As a director,
Copy !req
1734. there's a lot of arbitrary jump balls here.
Copy !req
1735. And to be able to shoot that
at the Flushing Meadow Park
Copy !req
1736. across the street from where I grew up,
Copy !req
1737. and bring that park back to life,
the park that I looked at and...
Copy !req
1738. It was closed after I was...
Copy !req
1739. I was born in '66, and it was open in '64.
Copy !req
1740. I never got to see the park,
just heard the stories.
Copy !req
1741. And to have ILM basically rebuild it
and modernise it digitally
Copy !req
1742. was a big thrill.
Copy !req
1743. And speaking of big thrills,
Copy !req
1744. here is Scarlett Johansson
Copy !req
1745. after months of training doing wire-work,
flips, kicks, martial arts.
Copy !req
1746. Look at that.
Copy !req
1747. Look at that pose.
We worked on that pose for a while.
Copy !req
1748. Lucha libre,
Copy !req
1749. which looks a lot better with her doing it
than an overweight wrestler.
Copy !req
1750. A lot of different mixed martial arts
in there.
Copy !req
1751. She had a wonderful double
named Heidi.
Copy !req
1752. Did a great job helping her
learn how to do it
Copy !req
1753. and doubling her
for some of the more difficult moments.
Copy !req
1754. But I was amazed at
how much we actually used Scarlett.
Copy !req
1755. I never expected that.
Copy !req
1756. And there's really me doing it, too.
Look at that. I'm pretty good.
Copy !req
1757. I was Marciano.
Copy !req
1758. And she had the attitude down.
And the hair, I love that hair.
Copy !req
1759. I guess her superpower is that
her hair falls perfectly out of a bun.
Copy !req
1760. And the look.
Copy !req
1761. That's a lucha libre move.
Copy !req
1762. Good editing. Rick did a lot of this.
It's good stuff. Really cool stuff.
Copy !req
1763. And a lot of this stuff moved around
and wasn't together.
Copy !req
1764. And there was a thing
where we strung a guy up,
Copy !req
1765. and I think we found a great...
I love that last little moment.
Copy !req
1766. Lot of 'tude.
Copy !req
1767. And there's me fighting...
American Gladiator, remember Toa?
Copy !req
1768. He's The Rock's double and cousin.
Good guy.
Copy !req
1769. I never really could kick his ass,
just for the record.
Copy !req
1770. That would never happen.
Copy !req
1771. That's the most unbelievable moment
in the whole movie.
Copy !req
1772. But I guess Happy Hogan was a boxer,
Copy !req
1773. for those of you who read
the comic books. I beat one guy.
Copy !req
1774. That was also a Genndy moment,
by the way.
Copy !req
1775. And this is, too. Genndy Tartakovsky
came up with a lot of good bits.
Copy !req
1776. Him and Bryan. A lot of good bits.
Copy !req
1777. And we expanded on them
and changed them,
Copy !req
1778. and ILM worked on them and pre-vis
and our storyboard artists,
Copy !req
1779. but a lot of the inception of these ideas
came from ideas that those guys had.
Copy !req
1780. They were very, very...
Copy !req
1781. I learned a tremendous amount
from them.
Copy !req
1782. This actually was just an interstitial part
of the battle
Copy !req
1783. that turned into the ending,
the culmination.
Copy !req
1784. And this whole bit of her walking up,
Copy !req
1785. this was part of
the additional photography.
Copy !req
1786. You could tell because I weigh more.
Copy !req
1787. And she's actually now being used
to reboot Rhodey,
Copy !req
1788. which, in the original conception,
Copy !req
1789. Tony rebooted Rhodey with a long spike,
Copy !req
1790. like R2-D2 has.
Copy !req
1791. Or like, I think, in RoboCop.
Copy !req
1792. And then it was left to us
as a dangling participle there
Copy !req
1793. that didn't really have anything
to do with anything.
Copy !req
1794. And so this is when
additional photography is wonderful.
Copy !req
1795. In the few days we shot, we were able
to make sense of this whole thing
Copy !req
1796. and make her relevant.
Copy !req
1797. As opposed to just,
she got in there and lvan's gone.
Copy !req
1798. So, this environment,
the foreground is built at Sony,
Copy !req
1799. and everything beyond
a certain distance was digital.
Copy !req
1800. I like this little moment here.
Copy !req
1801. This is what we call
"the Skype moment."
Copy !req
1802. This was part of
our additional photography, as well.
Copy !req
1803. This was...
Copy !req
1804. This wasn't even a scripted moment.
Copy !req
1805. I just shot plates when we were
doing the shoot with Scarlett,
Copy !req
1806. who flew in from doing a Broadway play,
Copy !req
1807. wiping of the screens,
Copy !req
1808. and then I set the two of them up
next to each other
Copy !req
1809. on little sets, these little fake-y sets,
Copy !req
1810. so that they could hear each other
and bounce off each other.
Copy !req
1811. And I would feed them lines
and things like that,
Copy !req
1812. and we took some passes at it.
Copy !req
1813. "Hammeroid" was something that...
Copy !req
1814. Dan Lebental would jokingly call
the Hammer drones "the Hammeroids."
Copy !req
1815. And so I put that in there,
and it turned into a nice little bit
Copy !req
1816. that actually helps a lot, story-wise.
Copy !req
1817. And if you can get the audience laughing
while you're doing the exposition,
Copy !req
1818. it makes the medicine go down
a lot easier,
Copy !req
1819. and it also helps the plausibility.
Copy !req
1820. If you get people laughing,
they tend to be more accepting.
Copy !req
1821. Here, I love this scene.
This was out for a while
Copy !req
1822. 'cause it felt like
it was a momentum stopper.
Copy !req
1823. I love it. It's one of my favourite scenes.
Copy !req
1824. And I'm not a fan of looping or ADR.
Copy !req
1825. And so we asked Laura
and the Skywalker team
Copy !req
1826. to do a lot of filtering,
and they would've preferred to loop this,
Copy !req
1827. but you lose the chemistry.
I would rather have...
Copy !req
1828. And there is water flowing,
Copy !req
1829. and they are in suits, so I believe
that the sound could be a little bit off.
Copy !req
1830. But I just liked this performance
of this take so much,
Copy !req
1831. and I just love them in those suits.
Copy !req
1832. They performed this
basically in tracking suits and pyjamas.
Copy !req
1833. So, it never was funny
until they finally did the final rendering.
Copy !req
1834. So, I had to fight very hard
to keep this scene in
Copy !req
1835. as I was getting notes from above,
saying, "Hey, get it out.
Copy !req
1836. "Take 10 minutes out.
Get this out. Get this out."
Copy !req
1837. And I was like,
"This scene is gonna be good."
Copy !req
1838. And now we're all happy with it.
Copy !req
1839. But sometimes it takes faith,
a bit of faith.
Copy !req
1840. This is a Genndy moment, here,
with the taiko drums
Copy !req
1841. and them arriving and being around,
and this big fight,
Copy !req
1842. 'cause I wanted it to be just a bloodbath.
Copy !req
1843. A PG bloodbath, so it's an oil-bath.
Copy !req
1844. And it's fantastic.
Copy !req
1845. My favourite moments of the film
right here.
Copy !req
1846. I could watch this forever.
Copy !req
1847. I love it. I love that,
like the tank missiles.
Copy !req
1848. They're talking to each other.
Look at this, man.
Copy !req
1849. And so much of it
was getting a different fighting style.
Copy !req
1850. War Machine was
a little too martial arts-y,
Copy !req
1851. and we wanted to make them different.
Copy !req
1852. So War Machine's clunky,
like a biker kicking somebody.
Copy !req
1853. And look at this little moment.
This was in the middle of the fight.
Copy !req
1854. We ended up making it
at the end of the fight.
Copy !req
1855. It was like,
"Well, why didn't you use it before?"
Copy !req
1856. So I said, "Well, we should say that."
Copy !req
1857. The most obvious thing.
Copy !req
1858. When Genndy was pitching that,
Copy !req
1859. the thing of a laser
that would cut people in half...
Copy !req
1860. And that was just part of the battle.
It was just one of many weapons.
Copy !req
1861. 'Cause Genndy's very much into...
If you look at Samurai Jack,
Copy !req
1862. it's just, like,
building on top of the ridiculous.
Copy !req
1863. It's taking those images to the extreme.
Copy !req
1864. And it's really tough,
in a movie, to do that
Copy !req
1865. because you start crossing lines
that you can't.
Copy !req
1866. You gotta live with this for
not just the rest of the movie,
Copy !req
1867. but for sequels. You gotta keep balance.
Copy !req
1868. And as I was bringing those pictures
to say, "Hey, this is a cool moment."
Copy !req
1869. The DP and the stunt guy
and everybody was like,
Copy !req
1870. "Why wouldn't he have used it...
It doesn't make sense."
Copy !req
1871. It was like, "Well..."
Copy !req
1872. And again, a good laugh
will set you free often.
Copy !req
1873. So... This is funny.
Copy !req
1874. Like, "Lead with that next time.
Why are you making me fight?"
Copy !req
1875. Sometimes you gotta
fly right at the problem.
Copy !req
1876. Because the image was so strong,
and I'm glad we were able to use it.
Copy !req
1877. It's a great image.
Copy !req
1878. Look who's here.
Copy !req
1879. There he is.
Copy !req
1880. "Good to be back."
Copy !req
1881. Which is what Tony says
at the beginning.
Copy !req
1882. So, here's the Ex-Wife we set up.
Copy !req
1883. I've not seen this with an audience yet.
I hope it gets a laugh.
Copy !req
1884. I don't know.
Copy !req
1885. So we set up the Ex-Wife so much,
and then it does this.
Copy !req
1886. And there's the little fart noise
in the water.
Copy !req
1887. With apologies
Copy !req
1888. to people with a more sophisticated
sense of humour than me.
Copy !req
1889. There's the shoulder missiles
he uses against the bad guys in Gulmira
Copy !req
1890. in the last film.
Copy !req
1891. This is great.
Ben Snow pitched an environment
Copy !req
1892. that it got really smoky and dark in here,
Copy !req
1893. and you just saw spot fires and smoke,
and that would help change the look.
Copy !req
1894. So, the look of it changes
because of that big fight that happened.
Copy !req
1895. There really was a lot of smoke when
we were blowing those charges up.
Copy !req
1896. I mean, there's a lot of real explosions
in that last thing
Copy !req
1897. that helps sell
that little back-to-back fight.
Copy !req
1898. And so I think they did a really nice job
here with the Whiplash suit,
Copy !req
1899. and playing with the light
and the darkness,
Copy !req
1900. and the chaos of it,
and integrating him into the suit.
Copy !req
1901. This was a late-breaking idea,
Copy !req
1902. so there wasn't as much time on this
as the other stuff.
Copy !req
1903. I really trusted them to hold the standard
as high as the other stuff,
Copy !req
1904. and I think that this CG work
is very, very strong.
Copy !req
1905. A lot of it was helped by Steve Scott,
our colour timer,
Copy !req
1906. did a great job here, as well.
Copy !req
1907. And then, of course,
our performers with the voices
Copy !req
1908. helping to sell the whole thing.
Copy !req
1909. And then here we call back the moment
from the house fight,
Copy !req
1910. and hopefully it doesn't feel arbitrary.
Copy !req
1911. It feels well set up. That's the trick.
Copy !req
1912. 'Cause none of it's real,
but you just want it to be plausible,
Copy !req
1913. and part of that
is how you establish the reality.
Copy !req
1914. There was a whole little dialogue scene
here of them coming together.
Copy !req
1915. It just felt a little bit false.
Copy !req
1916. You don't want to get
too comic book movie-ish.
Copy !req
1917. Don't take that the wrong way.
Copy !req
1918. But a lot of the time,
stuff you say in comic books,
Copy !req
1919. when you say it in a movie,
doesn't look...
Copy !req
1920. It isn't convincing.
Copy !req
1921. So we just had him say, "You lose,"
like he did on the track.
Copy !req
1922. Here's our little homage to Predator.
Copy !req
1923. That's the polite way of saying that.
Copy !req
1924. And there he's flying,
trying to get his girl,
Copy !req
1925. past the Kodak... There.
Copy !req
1926. Here it is. Boom. He grabs her.
Copy !req
1927. Boom, boom, boom.
Copy !req
1928. And now we needed a place...
Copy !req
1929. The idea, at first,
was that they were gonna
Copy !req
1930. land on one of those observation decks,
Copy !req
1931. but it was too close,
we needed a building.
Copy !req
1932. So I said, "Hey, I used to live
across the street from there.
Copy !req
1933. "Get up to the roof."
Copy !req
1934. I lived on the 12th floor.
It's a 15-storey building.
Copy !req
1935. So, this was essentially the view
that I had my whole childhood.
Copy !req
1936. That's what I grew up looking at.
Copy !req
1937. And here they are.
Copy !req
1938. I like what ILM did with the suit.
Copy !req
1939. That's a digital suit.
Completely digital suit there.
Copy !req
1940. This was the last day of photography.
Copy !req
1941. And we finally get the kiss for real.
Copy !req
1942. Not like the fake kiss in the first trailer,
that we cut out,
Copy !req
1943. but everybody thought was in.
Copy !req
1944. And I like how they're going at it,
getting mad at each other.
Copy !req
1945. And she quits for all the right reasons.
Copy !req
1946. And he apologises and says,
"Hey, thank you."
Copy !req
1947. And he finally...
Copy !req
1948. He grew up a little bit in this movie.
I like it.
Copy !req
1949. And here, look how
they play the chemistry.
Copy !req
1950. They have such good chemistry
together, these two.
Copy !req
1951. I love that kiss.
I love the music Debney's playing here.
Copy !req
1952. It's like Shrek. I think.
I don't know. I'm not a musician.
Copy !req
1953. It sounds like... In a good way.
Copy !req
1954. I like that music.
Copy !req
1955. "It's not weird. It's not weird."
Copy !req
1956. And we pull the rug good,
'cause you can't...
Copy !req
1957. There's the Empire State Building
back there.
Copy !req
1958. I like...
Copy !req
1959. Hopefully, in future movies,
Copy !req
1960. this is the vibe
between Tony and Rhodey.
Copy !req
1961. I like this relationship,
and Cheadle's great at this stuff.
Copy !req
1962. His rhythm is very entertaining to me,
Copy !req
1963. his cadence, and he's owning it.
Copy !req
1964. Man, I like it. It's like,
"Yeah, we got War Machine now."
Copy !req
1965. And there's my view from my room.
Copy !req
1966. And he doesn't let her resign.
That's ADR. That wasn't in there.
Copy !req
1967. And here is our... Look what's on there!
It's The Hulk.
Copy !req
1968. Yeah, that's from The Hulk,
Copy !req
1969. which means this movie took place
before The Hulk.
Copy !req
1970. I said to Kevin Feige,
when I saw The Hulk,
Copy !req
1971. I said, "What the... How am I gonna...
Copy !req
1972. "You can't have Tony Stark
walking at the end of the thing.
Copy !req
1973. "What? Do I ignore..." He says,
Copy !req
1974. "No, it doesn't have to happen
in the right time frame.
Copy !req
1975. "Comic books jump around."
I said, "Oh, okay."
Copy !req
1976. So, we put it at the end.
Copy !req
1977. And if you look, you'll see
there's a crater on the other monitor.
Copy !req
1978. That's the Thor thing.
Copy !req
1979. That's where the hammer
was recovered.
Copy !req
1980. There's your S.H.I.E.L.D. Logo.
I mean, this is just geek heaven, here.
Copy !req
1981. And if you think anything
on those monitors
Copy !req
1982. is not something we didn't talk about
for hours, you're crazy.
Copy !req
1983. Every one of them.
Copy !req
1984. This is Marvel. One movie goes down,
all of them go down.
Copy !req
1985. It's a lot of responsibility.
Copy !req
1986. And if you look at that one,
you see there's a map up there?
Copy !req
1987. So if you look at those maps,
each one of those locations
Copy !req
1988. corresponds to something
in the Marvel Universe.
Copy !req
1989. I don't know if I'm supposed to say that.
Copy !req
1990. As long as I don't tweet it.
I guess I could say it here.
Copy !req
1991. I can't tweet it.
Copy !req
1992. There. If you look at each one,
and I know what they mean,
Copy !req
1993. but I'm not gonna say
what each one of them are.
Copy !req
1994. But I will say that
one of them relates to...
Copy !req
1995. I think two of them
relate to Captain America,
Copy !req
1996. one of them relates to Thor.
Copy !req
1997. The one in Africa, I think,
relates to Black Panther.
Copy !req
1998. Oh, here we go. And there's the funny...
Copy !req
1999. "Please, Garry, come back
for one more scene."
Copy !req
2000. He did.
Copy !req
2001. Good pay-off.
This was additional photography.
Copy !req
2002. It's good stuff.
Copy !req
2003. And, oh, my God, to get to use AC/DC.
Copy !req
2004. So many movies
I've wanted to use AC/DC.
Copy !req
2005. I've been in movies
where they wanted to use AC/DC.
Copy !req
2006. You can't.
Copy !req
2007. I met with Angus Young and his brother
Copy !req
2008. and their managers and Sony Music,
and they liked how we used...
Copy !req
2009. They liked how we used Back in Black
in the first one.
Copy !req
2010. They didn't even know
that they had granted the rights.
Copy !req
2011. The band didn't,
but their management did.
Copy !req
2012. And they went to see the movie,
and saw Back in Black and they liked it
Copy !req
2013. at the beginning of Iron Man 1.
And so they were into it.
Copy !req
2014. I met them. I love them.
Copy !req
2015. I've seen them
since I was in high school.
Copy !req
2016. For Those About to Rock Tour.
Copy !req
2017. And there's our funny ending.
We had three endings. Always hard.
Copy !req
2018. I'd done it before in Elf.
Copy !req
2019. I said, "Trust me, we'll make it work."
I think we did.
Copy !req
2020. And now I will talk about other things.
Copy !req
2021. Because I like,
when I'm watching a commentary,
Copy !req
2022. when they keep talking over this part.
Copy !req
2023. So I'll try to talk about things
that come up from this,
Copy !req
2024. from what we're looking at.
So, that's the AC/DC story.
Copy !req
2025. I went to see them.
There's Adam Goldstein's credit.
Copy !req
2026. And you'll see at the end,
the film is in memory of him.
Copy !req
2027. It'll say, "In memory ofAdam Goldstein."
Copy !req
2028. He was a special, special guy,
and very proud to have him in the film.
Copy !req
2029. And very beloved
by all the people who knew him,
Copy !req
2030. and a good dude.
Copy !req
2031. And hopefully his family likes this,
and his friends, what we did here.
Copy !req
2032. There you go.
We got Jack Kirby, Don Heck, Stan Lee.
Copy !req
2033. They get their credits.
There's Adi Granov.
Copy !req
2034. He did some designs for us
on this one here.
Copy !req
2035. And Peter Mavromates
deserves a medal
Copy !req
2036. for all the logistical issues
we had on this in post-production.
Copy !req
2037. He did a great job.
Copy !req
2038. There's Genndy and Bryan.
Great, great...
Copy !req
2039. I cannot overstate their contribution
and how creatively great they are.
Copy !req
2040. And I can't wait for Genndy
to be directing a feature.
Copy !req
2041. I know he does mostly animated stuff
in television.
Copy !req
2042. But he's got quite an eye,
and he's very creative.
Copy !req
2043. He's a fountainhead of ideas.
He's great.
Copy !req
2044. And so part of the... We got the scene
at the end of the credits here.
Copy !req
2045. We got the Thorscene.
I don't think I'm ruining anything.
Copy !req
2046. You've all seen the movie
if you're watching this.
Copy !req
2047. If you're watching this for the first time,
Copy !req
2048. watch it without
the commentary, please.
Copy !req
2049. And then come back and watch this.
Copy !req
2050. A lot of these credits are, like,
four-abreast or double credits.
Copy !req
2051. We had six minutes of credits.
It was a lot to make people sit through.
Copy !req
2052. We were pulling our hair out.
Copy !req
2053. And you're realising
as you're watching this,
Copy !req
2054. the economy got...
Copy !req
2055. The time this film was done
Copy !req
2056. was sort of the time
that the economy took a nasty hit,
Copy !req
2057. with the banks failing and bailouts.
Copy !req
2058. And the business model shifted,
Copy !req
2059. and piracy is really
hurting the industry so much,
Copy !req
2060. 'cause DVD money was relied upon
to make movies like this.
Copy !req
2061. And that's disappearing quickly.
Copy !req
2062. Thank you for buying this,
if in fact you did.
Copy !req
2063. If you pirated it,
you should be ashamed of yourself.
Copy !req
2064. But if you bought this,
and you're supporting some...
Copy !req
2065. And I think that's all gonna change
anyway. I don't know that DVDs...
Copy !req
2066. DVDs are gonna be for collectors
and film enthusiasts,
Copy !req
2067. but the mainstream will download films
in the future.
Copy !req
2068. Exclusively. Like music.
Copy !req
2069. And so you look at these credits
going for six minutes,
Copy !req
2070. and it's like, "Oh, my God,
how are we gonna make them shorter?
Copy !req
2071. "How can we make it go faster?"
Copy !req
2072. You realise all these people worked...
I mean, these people...
Copy !req
2073. For two years, these people worked.
Copy !req
2074. It's a lot of...
Copy !req
2075. And it makes me very proud,
this part of it.
Copy !req
2076. It's like all these people who are
all very capable and hardworking,
Copy !req
2077. a lot of these people, especially
as we get into the digital effects stuff,
Copy !req
2078. those people did not sleep
for a long time.
Copy !req
2079. And then the crews worked very hard.
Copy !req
2080. There's a lot of pride in the film industry.
Copy !req
2081. Everybody loves what they do,
and they struggle hard to work in it.
Copy !req
2082. And it's nice to have
all these people working,
Copy !req
2083. and it's paying a lot of good,
talented people and creating good jobs,
Copy !req
2084. and that's something that,
sometimes, I think, gets lost.
Copy !req
2085. You don't think about it,
but you look at these credits,
Copy !req
2086. it's like the ridiculousness
of how long it is,
Copy !req
2087. now I actually take pride in it.
So, sorry if you have to sit through it
Copy !req
2088. to get to your scene at the end
and you did in the theatre,
Copy !req
2089. but these people all worked very hard,
Copy !req
2090. especially this whole crowd here,
this vis effects crowd.
Copy !req
2091. Some of those people,
it's like working in salt mines, man.
Copy !req
2092. It's a lot of thankless jobs,
Copy !req
2093. a lot of thankless gigs
in that end of the credit roll.
Copy !req
2094. We just passed by
Make Way For Tomorrow Today.
Copy !req
2095. That's Dick Sherman.
Copy !req
2096. He's the guy who wrote
all the music for the Disney pavilions,
Copy !req
2097. and Kevin Feige
put me in contact with him.
Copy !req
2098. He had contacted him to write a theme
for not just this film,
Copy !req
2099. because the Stark Expo
was gonna be something in history
Copy !req
2100. and that goes back to Captain America.
Copy !req
2101. So, we wanted to come up
with something that felt authentic.
Copy !req
2102. I think the lyrics are great.
Copy !req
2103. Hewrote It's a Small World.
Copy !req
2104. He wrote all the lyrics
to a lot of the movies you saw,
Copy !req
2105. Mary Poppins and stuff,
and he's a great dude.
Copy !req
2106. And I think
there's a featurette about him.
Copy !req
2107. But he added so much authenticity
to the whole Disney spirit of the...
Copy !req
2108. And this is all before
Disney bought the movie, by the way.
Copy !req
2109. I didn't even know
Disney was looking into the company.
Copy !req
2110. This all came long before Disney.
Copy !req
2111. And so it all sort of felt really cool
that it all came together in that way.
Copy !req
2112. There's Tom Morello.
Copy !req
2113. Tom Morello, guitar player,
Rage Against the Machine,
Copy !req
2114. Audioslave.
Copy !req
2115. Iron Man fan from way back.
Copy !req
2116. Played on the first soundtrack,
and here he is.
Copy !req
2117. This part of the music is from
Black Widow fighting in the hallways.
Copy !req
2118. Once you peel the sound effects back,
you hear this.
Copy !req
2119. There it goes, "In memory of
Adam Goldstein" with the little "AM."
Copy !req
2120. I like the little AC/DC thing in there,
lightning bolt.
Copy !req
2121. And here we go.
Copy !req
2122. This is called "the graveyard."
Copy !req
2123. They call this part "the graveyard,"
for you film fans.
Copy !req
2124. When you get up to this part
where they have all the logos,
Copy !req
2125. it means the credits are almost done.
Copy !req
2126. The cemetery.
Copy !req
2127. And there it is. That's the insider's...
Copy !req
2128. Now here we go into the bonus scene
Copy !req
2129. that was not included
in the pre-release film
Copy !req
2130. as to take the fanboys off the scent
for yet another week,
Copy !req
2131. 'cause it's so hard to keep a secret.
Copy !req
2132. This was actually shot...
This was from the set of Thor.
Copy !req
2133. This is from Thor.
Am I supposed to say that? I think I can.
Copy !req
2134. Not this shot, but there you go,
Land of Enchantment, New Mexico.
Copy !req
2135. This is actually part...
You're actually not just seeing a teaser,
Copy !req
2136. you are seeing part of the next movie.
Copy !req
2137. And it is shot... Because
they're artists over there on Thor.
Copy !req
2138. This is shot with anamorphic lenses.
Copy !req
2139. And there is
where the hammer lands in the desert.
Copy !req
2140. There's Coulson.
Copy !req
2141. And there it is, baby.
Copy !req
2142. All right? What more do you want?
Copy !req
2143. What more do you want?
Copy !req
2144. You got your money's worth.
And goodbye.
Copy !req