Dark Phoenix (2019) ENG

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PARKER: Hutch Parker, producer.

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KINBERG: I'm Simon Kinberg,

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I was a producer, too,
but writer-director.

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PARKER: Heh.

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KINBERG: I think this will be
the last time

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we see this in front of an X-Men movie.

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PARKER: Which is sad to say,
I think you're right.

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KINBERG: That X, traditionally, was done
differently when Bryan did it

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and we wanted to add a little fire to it

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because of, obviously,
the Phoenix cosmic flame.

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For Hutch and I, this is our what,
third, fourth movie together?

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We did Days of Future Past, Apocalypse,
you were really primarily on Logan.

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- So, fourth movie.
- PARKER: Yeah.

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KINBERG: And then obviously,
we worked together

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when Hutch was head of the studio

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and I was a lowly writer just trying
to get a job in Hollywood.

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PARKER: Hardly.

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JEAN GREY: Who are we?

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Are we simply what others want us to be?

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Are we destined to a fate
beyond our control?

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Or can we evolve?

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Become... something more?

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KINBERG: We went back and forth a lot
in that opening narration.

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Obviously, traditionally,
that's Charles Xavier's narration

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but because we wanted this movie
to feel different

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and be more Jean's story primarily,

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that was a late breaking decision
that we wrote in post

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with our extraordinary editor, Lee Smith.

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When you are old enough to drive,

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you can listen to whatever music you want.

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That a deal?

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PARKER: This was a pretty exciting
piece to shoot,

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made up of a lot
of different little pieces.

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Obviously, the exterior stuff
but then also a really unique rig

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that our special-effects
head of department designed

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to create the sensation of the roll.

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KINBERG: And one of the things we wanted
to do with the movie,

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I mean, generally,
presuming you watched the movie before

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because this would be a horrible way

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to watch it for the first time,
listening to us,

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is that, the tone is different
than the other X-Men movies.

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They're little bit more operatic
and over the top

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and we wanted this to feel as realistic
and grounded

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and gritty and raw as possible.

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And so, as part of that,

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we wanted the special-effects
to be as in-camera as practical.

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When Hutch said special-effects,

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I think something
that a lot of people don't know

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and a fair amount of people do know,

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but if you're not intimate
with the process of making movies,

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people think special-effects means
"computer-generated effects"

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and they're two completely
different categories.

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There's the special-effects, which are
the practical mechanical effects on set,

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and then there's the visual effects,
which is what's generated in the computer.

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And so, we try to do
as much special-effects,

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practical and mechanical effects,

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rigs, like Hutch was just describing,
as possible

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so that you would feel the physics of it,

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you'd feel the visceral impact of it,

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and the actors would be interacting
with something real.

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As opposed to something in a computer

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where they're just having to communicate
with a green ball.

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PARKER:
And there are a lot of visual effects

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that augment that sequence and help it.

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But Simon's right,

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it's grounded in actually doing that,
on some level, practically.

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♪♪

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KINBERG: This is a scene that we had...

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Our line producer, Todd Hallowell,

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and our Executive Producer
and AD, Josh McLaglen,

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they're off camera.

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They were the other doctors in the scene
but their performances were just so good

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that we thought their voices
would be powerful enough

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we wouldn't have to see their faces.

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I'm joking. They'll be upset by that.

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This is an example, to me,

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that first shot of one of the ways
that Lee Smith, our editor,

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who was really... I would say,

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Hutch was my primary creative partner
in making this movie,

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and I would say the second partner
was really Lee Smith

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and he just did
a lot of things that were unexpected

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as somebody who won an Oscar for Dunkirk.

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He works with...
on all of Chris Nolan's movies.

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He works with Peter Weir a lot.
He's worked with Sam Mendes.

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Really, the most extraordinary
directors alive.

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And he just makes surprising
decisions and choices.

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And the beginning of this scene,

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as opposed to going right into
the coverage of close-ups of their faces

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as you're looking at now,

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he started this scene in that high
wide shot from the corner

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looking down on them at these two small,
sort of isolated from one another, figures

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and I think another editor would've
very quickly used it as the master shot,

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the establishing shot
and moved into the coverage.

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And instead, he held on that for the
first two or three lines of dialogue

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and showed you how far away they are,

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made you feel like there was a sort of
loneliness and emptiness to the scene.

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And he just is someone who edits
with a very artistic, soulful approach.

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PARKER: He sure does.

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Amazing, or...

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Or just... just really cool.

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And a unique location,

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this is actually in Montreal,
in an abandoned hospital

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that we were able to use
for a variety of things.

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But incredibly well designed for,
obviously, this particular scene,

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but came in handy
for a bunch of other stuff, too,

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because it was very near where
we were shooting at the studio, etc.

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KINBERG: And this is our third
X-Men movie in a row shooting in Montreal.

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We shot Days of Future Past,
Apocalypse and this film in Montreal,

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which has been a great home for us.

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They have a really great studio there,
Mel's studio that we basically take over

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and so we've got lots
and lots of space to build things.

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And then the occasional like this,
as Hutch was saying,

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the occasional location off the stage,

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whether it's an abandoned building
or it's the exterior of somewhere or this,

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which is in the countryside
outside of, just outside of Montreal.

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PARKER: Great crews there, too.

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We really, we had quite a family
over the three movies

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and they are fairly long shoots,
so you're there for a while.

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Amazing city, but just a crew
that we fell in love with.

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I can help.

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You're not like the other doctors.

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(chuckles)

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No.

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And you're not like the other patients.

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♪♪

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KINBERG: This is an interesting shot,

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because I feel like it's one
of those visual effects shots

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that are sort of invisible in the movie.

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I think the presumption is that
that is actually a location,

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a mansion or house.

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That is a completely
computer-generated house.

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We've done that in in the last few
of the X-Men movies.

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And if you actually watch
X-Men 1, 2, 3,

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First Class, onward,

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I think it's a different mansion in all,
but X2 and 3.

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So, X1 was in Toronto.
X2 and 3 was in Vancouver.

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First Class was in London.

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And then we went to,
in Days of Future Past,

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doing a visual effect amalgam
of the different mansions

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and this is yet a different version
of an Xavier mansion.

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Right there, we built that doorway,

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but everything around the doorway,
all the stonework and all of that is,

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is computer-generated.

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PARKER: It's actually in an abandoned golf
course out in the suburbs of Montreal

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and became home to us for any
of those entrance shots at the mansion

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and any of the exterior
mansion materials all shot there.

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KINBERG: And this is another thing

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that we wanted to differentiate
from previous X-Men movies

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that have these incredibly elaborate,

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very visual effects CG-heavy
title sequences.

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I just wanted the title sequence
to feel like you were in more of a drama

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than you were in a science fiction,
mega-tentpole.

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Just keep it grounded,
keep it feeling real,

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push you forward in the story
and not get bogged down

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in, you know, a three-minute
sort of razzle-dazzle sequence.

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(beeping, ringing)

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PARKER: This was a lot of fun. We actually
have members of the crew,

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including one of our assistant directors...

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- KINBERG: Right there.
- In the shot.

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- Right there.
- In this scene.

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KINBERG: Special talent.

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Another AD right there, the blonde guy
who was just adjusting his headpiece.

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There's also really good local talent

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in terms of acting in Canada,
in general, and Montreal.

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The woman who plays the flight director
at NASA was a Canadian actress

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and there's a few
other great Canadian actors.

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PARKER: Yet another mansion set.

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Every movie we've ever made
has had the interior mansion set.

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When we actually,
on the last one, Apocalypse,

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held the set, or key elements of it
that we could reuse later,

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just knowing we'd probably come back.

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...are irregular,

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- likely from the constant engine burn.
- (phone ringing)

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Oxygen generation is down...

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Yes? Yes, this is he.

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- Charles?
- Mr. President.

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KINBERG: You know,
one of the things we did,

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going just from a narrative perspective,
obviously,

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going back to Days of Future Past,
is we reset the timeline.

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And so, even though it's 1992
when this movie takes place,

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you don't need Bill Clinton
to be the president.

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It's a different reality than the one
we all know from history.

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♪♪

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MYSTIQUE: It's a simple extraction.

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We go into space,

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we get the astronauts, we bring them home.

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- Any questions?
- Yeah, like a thousand.

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We don't have time for a thousand.

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So we're going to space?

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Yes, Kurt, we are...

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KINBERG: And one of the things
that was exciting to all of us

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going into making this movie,
is that in the beginning of the film,

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for the first time
in any of the X-Men movies,

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they are known public superheroes.

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And so, they resemble more

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the superheroes we know
of other comic book adaptations.

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And a lot of what we've seen
from the comics.

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They're not a hidden group anymore.

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They are an accepted and embraced part
of society when this movie starts.

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And I wanted to also use,
a lot of different influences,

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but obviously, if you know the comics,
the Grant Morrison run,

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the classic yellow and blue/purple suits

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we'd never really done
in the movies before.

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And just thought this was an opportunity.

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And this was a nod to X1,

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which is something I thought Bryan Singer
did incredibly well.

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And the idea of the basketball
court that opens up for the jet.

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PARKER: Another thing
that's been fun on these

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is each film has had
its own version of the X-jet.

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Simon did a pretty
incredible job, I thought,

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with our production designer,

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kind of evolving that into something
that felt a little bit more

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like it had been in the field, in use,

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but still capable
of some of the galactic stuff

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that we would experience
going up into space.

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KINBERG: Yeah, I mean, traditionally,
in the comic obviously,

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it's based on the Blackbird,
a real fighter jet.

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And we explored that a little bit
in First Class.

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And so, I wanted us to create something
that was part Blackbird, part X-Jet

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and something also
we haven't seen in the films before.

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And so, Claude Paré,
our production designer,

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had a lot of fun working on that with us.

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PARKER: Another design element
obviously we feature every time

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is both Cerebro and Charles' chair,

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which is always the subject
of a lot of thoughtful design work

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and Simon, again,
I think found a really nice balance

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that pays tribute to what's come before

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but also allowed us to go
a little bit further,

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both in Cerebro
and in the design of the chair.

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...shorted out their electricity.

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KINBERG: And even the helmet.

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I mean, one of the things
that we looked at was period aesthetic

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and if you actually look at the helmet
and a little bit at the chair,

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there's a sort
of Apple computer look to it.

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The lighting and some of
the plastic translucency to it.

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♪♪

237
00:10:57,199 --> 00:11:00,202
I think this is not as much fun
as I thought it would be.

238
00:11:15,259 --> 00:11:17,386
KINBERG: This is, obviously,
all visual effects.

239
00:11:17,469 --> 00:11:21,390
PARKER: And this was a sequence
that Simon had pre-vis'd in prep

240
00:11:21,473 --> 00:11:24,726
and it pretty much is, I mean,
other than being a little bit shorter,

241
00:11:24,810 --> 00:11:27,271
it pretty much is exactly what we planned.

242
00:11:27,354 --> 00:11:30,023
It evolved a little bit in terms
of some of the visual effects design

243
00:11:30,107 --> 00:11:34,152
but it's a sequence that was
the first one that he took from the page

244
00:11:34,236 --> 00:11:37,698
and put into a visual language,
and then in shooting it,

245
00:11:37,781 --> 00:11:40,450
it really did stay true
to the original design.

246
00:11:41,243 --> 00:11:43,120
KINBERG: Well, it's two things really
that I wanted to accomplish here.

247
00:11:43,203 --> 00:11:45,122
One is, as a fan of the X-Men comics

248
00:11:45,205 --> 00:11:47,207
and obviously as someone who's worked
on a lot of the X-Men movies

249
00:11:47,291 --> 00:11:50,544
I felt as though we haven't had a lot
of the X-Men working together as a team.

250
00:11:50,627 --> 00:11:53,422
And there's a few places, opportunities
we have that in this movie

251
00:11:53,505 --> 00:11:55,007
even if they're fighting
against one another,

252
00:11:55,090 --> 00:11:56,425
they're still set into two teams.

253
00:11:56,508 --> 00:11:57,384
In this case, they're one.

254
00:11:57,467 --> 00:11:59,720
And I just love the idea of seeing them,

255
00:11:59,803 --> 00:12:03,098
what fans have always, I think,
enjoyed the most in the comic,

256
00:12:03,181 --> 00:12:06,310
other than the nuanced character work,
is the teamwork.

257
00:12:06,393 --> 00:12:08,478
And so, this is them really working
as a well-oiled machine

258
00:12:08,562 --> 00:12:11,148
and as a team that's obviously,
done a lot of these missions before.

259
00:12:11,231 --> 00:12:13,400
And I guess the other part of it is,
in the X-Men comic

260
00:12:13,483 --> 00:12:15,319
and specifically the Dark Phoenix saga,

261
00:12:15,402 --> 00:12:17,571
it was really important to me
to be as loyal as possible

262
00:12:17,654 --> 00:12:21,408
to the essence of the Dark Phoenix saga
because, as many know,

263
00:12:21,491 --> 00:12:25,412
the Dark Phoenix story was a subplot
or a B-plot of X-Men: The Last Stand.

264
00:12:25,495 --> 00:12:29,207
I wanted this to really be
the primary driver and plot of the film.

265
00:12:29,291 --> 00:12:31,001
And in the Dark Phoenix story,

266
00:12:31,084 --> 00:12:33,879
it's not something that just
magically happens to her on Earth.

267
00:12:33,962 --> 00:12:36,840
She gets zapped in space
by a Cosmic Force

268
00:12:36,924 --> 00:12:38,717
and this is where that happens.

269
00:12:38,800 --> 00:12:40,969
And so, from the very beginning
of working on this script

270
00:12:41,053 --> 00:12:43,805
and conceiving the movie,
I knew... if I knew anything,

271
00:12:43,889 --> 00:12:46,224
I knew that some of it
was going to take place in space

272
00:12:46,308 --> 00:12:48,685
because there'd be this cosmic
intergalactic element,

273
00:12:48,769 --> 00:12:51,229
and an alien element to it as well.

274
00:12:51,313 --> 00:12:55,567
So, this sequence sort of built
from the combination of wanting her,

275
00:12:55,651 --> 00:12:58,737
Jean, to get transformed
by the cosmic flare into the Phoenix Force

276
00:12:58,820 --> 00:13:03,700
and also wanting to situate it into
something real and relevant to 1992.

277
00:13:03,784 --> 00:13:06,411
And obviously, back then, we were still
sending space shuttles into space,

278
00:13:06,495 --> 00:13:07,871
which we don't do anymore.

279
00:13:07,955 --> 00:13:08,914
He's not here.

280
00:13:08,997 --> 00:13:11,375
He was in the airlock
working on the thruster.

281
00:13:15,504 --> 00:13:17,214
The heat signature's rising fast.

282
00:13:17,965 --> 00:13:19,299
I can't hold it any longer.

283
00:13:19,508 --> 00:13:20,884
We gotta get out of here.

284
00:13:20,968 --> 00:13:22,219
I said strap in!

285
00:13:22,302 --> 00:13:23,387
No, Raven. No.

286
00:13:23,470 --> 00:13:24,680
We're not leaving anyone behind.

287
00:13:25,097 --> 00:13:27,265
I am not putting this team in more danger.

288
00:13:27,349 --> 00:13:29,518
And what about their team? Jean...

289
00:13:29,601 --> 00:13:31,019
PARKER: The other thing
that's notable about this

290
00:13:31,103 --> 00:13:34,731
is, it's a triumph
of visual effects to me,

291
00:13:34,815 --> 00:13:37,818
that the craft reflected
and all this detail,

292
00:13:37,901 --> 00:13:39,653
the, you know, the shuttle itself,

293
00:13:39,736 --> 00:13:41,863
even the frost on the windows there

294
00:13:41,947 --> 00:13:43,699
is an incredibly demanding sequence.

295
00:13:43,782 --> 00:13:47,577
The bamfing which is something
they've really worked hard to evolve

296
00:13:47,661 --> 00:13:50,998
and give it a deeper texture
and a richness.

297
00:13:51,081 --> 00:13:54,960
But then it's married with really
intense performance moments,

298
00:13:55,043 --> 00:13:58,422
particularly from Sophie and Tye,
but from everybody.

299
00:13:58,505 --> 00:14:00,841
So, a sequence
that I'm incredibly proud of,

300
00:14:00,924 --> 00:14:02,843
and Phil Brennan and Kurt Williams,

301
00:14:02,926 --> 00:14:05,846
who were our champions
of all things visual effects,

302
00:14:05,929 --> 00:14:07,431
did an amazing job with their team.

303
00:14:07,973 --> 00:14:10,183
KINBERG: Yeah, I think
one of the things that was so great

304
00:14:10,267 --> 00:14:11,727
about this team we put together,

305
00:14:11,810 --> 00:14:14,187
which was some people that had worked
on X-Men movies in the past,

306
00:14:14,271 --> 00:14:16,481
some people who were new
to the X-Men universe,

307
00:14:16,565 --> 00:14:18,525
some people who had only done
re-shoots of X-Men movies.

308
00:14:18,608 --> 00:14:21,570
I mean, it is an extraordinary team
and as such talks about it,

309
00:14:21,653 --> 00:14:23,780
it's like Oscar winners, Oscar nominees.

310
00:14:23,864 --> 00:14:25,991
Like I said, Lee Smith
won an Oscar for Dunkirk.

311
00:14:26,074 --> 00:14:29,119
Our DP, Mauro Fiore
won an Oscar for Avatar.

312
00:14:29,202 --> 00:14:32,456
Phil Brennan had been nominated
for Snow White and the Huntsman.

313
00:14:32,539 --> 00:14:34,583
There's just a lot of really,
really talented people

314
00:14:34,666 --> 00:14:37,127
that contributed
to all of these kinds of sequences

315
00:14:37,210 --> 00:14:40,130
where you have hundreds, if not thousands
of people, that are building this.

316
00:14:40,213 --> 00:14:41,965
It's not just us and a green screen.

317
00:14:42,049 --> 00:14:44,217
Obviously, that wouldn't be
a whole lot of fun to watch.

318
00:14:44,301 --> 00:14:46,386
But performance wise, the other thing
that we had in this movie,

319
00:14:46,470 --> 00:14:49,598
and it was a luxury that I wish
we had had in all the films,

320
00:14:49,681 --> 00:14:52,559
was we had a lot more rehearsal time
than we'd ever had with the actors.

321
00:14:52,642 --> 00:14:54,895
And I think that's something
that was important to me,

322
00:14:54,978 --> 00:14:58,690
in terms of focusing on it
being a more character driven movie

323
00:14:58,774 --> 00:15:00,108
than some of the ones had been recently.

324
00:15:00,192 --> 00:15:01,485
And giving some of these young actors,

325
00:15:01,568 --> 00:15:05,447
especially Sophie, the time to really
hone all the nuances of the character.

326
00:15:14,623 --> 00:15:16,833
♪♪

327
00:15:24,925 --> 00:15:26,968
(screaming)

328
00:15:31,431 --> 00:15:33,725
PARKER: By the way, these sequences
are pretty tedious to shoot,

329
00:15:33,809 --> 00:15:36,436
because none of this stuff actually
exists while you're shooting it.

330
00:15:36,520 --> 00:15:39,564
Making the effort by the actors,
I think, particularly good.

331
00:15:40,023 --> 00:15:44,111
Another little factoid, I mean,
this Phoenix effect look, feel,

332
00:15:44,194 --> 00:15:48,031
was something that really did evolve
over the course of the whole film

333
00:15:48,115 --> 00:15:51,034
and into post and modulated and shifted

334
00:15:51,118 --> 00:15:53,328
according to, you know,
the way the story was working.

335
00:15:53,411 --> 00:15:55,247
And I think it ended up
in a really great place,

336
00:15:55,330 --> 00:15:56,623
something I'm really pleased with.

337
00:15:56,706 --> 00:15:58,125
KINBERG: Yeah, I think when it started,

338
00:15:58,208 --> 00:16:01,211
it was probably more
like the Phoenix effect

339
00:16:01,294 --> 00:16:03,922
that we see at the very end of Apocalypse

340
00:16:04,005 --> 00:16:07,926
when Jean sort of goes Phoenix-y,
and that was a more fiery look,

341
00:16:08,009 --> 00:16:10,929
but it didn't really have
any of the cosmic elements

342
00:16:11,012 --> 00:16:13,557
that are obviously a big part
of the Phoenix Saga in the comics.

343
00:16:13,640 --> 00:16:18,728
And so, as we evolved and progressed
in post-production with Phil and Kurt,

344
00:16:18,812 --> 00:16:20,564
the visual effects team
that Hutch was talking about,

345
00:16:20,647 --> 00:16:22,566
we really brought in different colors

346
00:16:22,649 --> 00:16:28,113
that would denote a cosmic
or otherworldly, not just fiery, element.

347
00:16:28,196 --> 00:16:30,323
PARKER: Another pretty critical choice,
I think, in all this,

348
00:16:30,407 --> 00:16:33,618
was something that Simon...
I mean, we talked about a lot,

349
00:16:33,702 --> 00:16:36,288
but obviously he was really
the chief architect of this,

350
00:16:36,371 --> 00:16:38,165
which was keeping the Phoenix effect,

351
00:16:38,248 --> 00:16:41,835
as it manifests itself on Jean,
to be pretty subtle,

352
00:16:41,960 --> 00:16:43,753
you know, to live
a little bit in the eyes,

353
00:16:43,837 --> 00:16:45,589
a little bit in the cracks...

354
00:16:45,672 --> 00:16:50,177
but not take away from the emotional
grounding, the performance,

355
00:16:50,260 --> 00:16:53,346
the psychology that really does sit
at the heart of the story.

356
00:16:53,430 --> 00:16:56,224
And in light of what you can do
and what is often done,

357
00:16:56,308 --> 00:16:57,893
in terms of blowing ideas out,

358
00:16:57,976 --> 00:17:01,062
I thought that was a really
smart and important decision.

359
00:17:01,479 --> 00:17:03,607
KINBERG: Well, I feel like
what's happened a lot in movies

360
00:17:03,690 --> 00:17:06,109
when you're talking about supernatural
or science fiction movies,

361
00:17:06,193 --> 00:17:08,028
there's a tendency to fall in love

362
00:17:08,111 --> 00:17:10,113
with the prosthetics
and the visual effects.

363
00:17:10,197 --> 00:17:13,575
And a lot of the times they get
in the way of the humanity

364
00:17:13,658 --> 00:17:15,619
and the performance of the actors.

365
00:17:15,702 --> 00:17:19,039
And this movie
is so intensively a, to me,

366
00:17:19,122 --> 00:17:22,709
like I say, a character-based
and a performance-based movie,

367
00:17:22,792 --> 00:17:25,420
that if you covered Jean
in too much prosthetic

368
00:17:25,503 --> 00:17:28,256
and visual effect
and glow and all of that,

369
00:17:28,340 --> 00:17:29,841
you'd really be hiding her performance

370
00:17:29,925 --> 00:17:31,968
and you wouldn't give Sophie
a chance to really emote

371
00:17:32,052 --> 00:17:34,596
in the way that she needed to
for the audience to relate to her.

372
00:17:34,679 --> 00:17:35,722
And that's the other part
of it is, like, I think

373
00:17:35,805 --> 00:17:37,515
the more of that you put on a character,

374
00:17:37,599 --> 00:17:40,101
it's more and more layers between
that character in the audience.

375
00:17:40,185 --> 00:17:42,687
It's harder for the audience to relate
to what the character is going through.

376
00:17:42,771 --> 00:17:45,065
And this is a movie so much
about her inner struggle,

377
00:17:45,148 --> 00:17:46,316
I wanted her to be able to play it

378
00:17:46,399 --> 00:17:49,319
rather than us to have to layer...
lather it on.

379
00:17:49,402 --> 00:17:53,782
...felt gratitude. And as for myself,
I've... never been prouder.

380
00:17:54,991 --> 00:17:56,326
Enjoy yourselves.

381
00:17:56,409 --> 00:17:57,827
You certainly deserve it.

382
00:17:57,911 --> 00:17:59,162
In fact, you all do.

383
00:17:59,246 --> 00:18:00,622
No more class, the end of the day.

384
00:18:00,789 --> 00:18:02,874
(cheering)

385
00:18:03,917 --> 00:18:04,793
Jean?

386
00:18:06,419 --> 00:18:09,005
You gave us quite a scare up there.
How are you feeling?

387
00:18:10,257 --> 00:18:12,968
Actually, I... I feel fine.

388
00:18:13,301 --> 00:18:15,053
- Hank?
- Yeah?

389
00:18:15,136 --> 00:18:16,221
Would you take a look at Jean?

390
00:18:16,304 --> 00:18:18,556
Standard medical for anyone
injured in the field.

391
00:18:18,640 --> 00:18:19,683
Thank you.

392
00:18:22,143 --> 00:18:25,063
You know, the President
was almost sending his condolences.

393
00:18:25,272 --> 00:18:28,024
PARKER: This is one of the moments
I like most in the film

394
00:18:28,108 --> 00:18:30,860
because it's an idea that Simon
wrote into the script

395
00:18:30,944 --> 00:18:34,572
where you're starting to see
some cracks in the family

396
00:18:34,656 --> 00:18:35,865
and in the belief,

397
00:18:35,949 --> 00:18:38,785
you know, the unwavering belief
in Charles and his vision.

398
00:18:38,868 --> 00:18:41,579
I mean, Jen's great
in this scene, as is James,

399
00:18:41,663 --> 00:18:45,083
but it's really the content of the scene
that I think is so powerful.

400
00:18:45,166 --> 00:18:48,461
And it sets a really interesting
dynamic for the rest of the film,

401
00:18:48,545 --> 00:18:50,630
where we start to explore and look at,

402
00:18:50,714 --> 00:18:53,550
"What is Charles' responsibility?
Has he lost his way?"

403
00:18:53,633 --> 00:18:55,427
You know, one of the metaphors
we talked a lot about

404
00:18:55,510 --> 00:18:58,263
was that of parenting
where you do your best, but sometimes,

405
00:18:58,346 --> 00:19:01,224
you're not necessarily doing
what's right for your child

406
00:19:01,308 --> 00:19:02,350
even though you intend to.

407
00:19:02,434 --> 00:19:06,062
And that's a theme that, I think,
resonates powerfully throughout the piece.

408
00:19:06,146 --> 00:19:08,565
KINBERG: Well, and I think
part of what has been so enduring

409
00:19:08,648 --> 00:19:12,402
and the reason why the Dark Phoenix Saga
is the most beloved of the X-Men stories

410
00:19:12,485 --> 00:19:14,612
is because it's a story that is about,

411
00:19:14,696 --> 00:19:16,573
no pure good guys
and pure bad guys.

412
00:19:16,656 --> 00:19:18,283
There's no pure good and no pure evil.

413
00:19:18,366 --> 00:19:21,453
Someone as benevolent as Charles
can also have a darker side to him,

414
00:19:21,536 --> 00:19:23,621
can be flawed,
can be human like the rest of us.

415
00:19:23,705 --> 00:19:26,166
And so, my intention
going into the writing of the script

416
00:19:26,249 --> 00:19:28,710
and then the directing of
the performance of the actors

417
00:19:28,793 --> 00:19:32,380
is that everybody had,
a spectrum of dark and light to them.

418
00:19:32,464 --> 00:19:33,798
And so, someone like Jean, obviously,

419
00:19:33,882 --> 00:19:36,593
is struggling the most and the most
dramatically with that spectrum.

420
00:19:37,052 --> 00:19:38,511
It's funny.

421
00:19:38,595 --> 00:19:42,140
I can't actually remember the last time
you were the one risking something.

422
00:19:42,724 --> 00:19:43,683
And by the way,

423
00:19:43,767 --> 00:19:46,269
the women are always
saving the men around here.

424
00:19:46,353 --> 00:19:48,438
You might wanna think about
changing the name to X-Women.

425
00:19:48,521 --> 00:19:49,564
KINBERG: Someone even like Charles,

426
00:19:49,647 --> 00:19:51,399
who traditionally,
in almost all these movies

427
00:19:51,483 --> 00:19:53,735
has been this sort of benevolent,
paternal figure,

428
00:19:53,818 --> 00:19:55,487
we sort of explore the space

429
00:19:55,570 --> 00:19:57,822
between being paternal
and being patriarchal.

430
00:19:57,906 --> 00:20:01,743
The idea that he's sitting
down there in his home,

431
00:20:01,826 --> 00:20:05,705
while young people are risking
their lives all over the world,

432
00:20:05,789 --> 00:20:07,248
as a team named after him.

433
00:20:07,332 --> 00:20:09,292
And that there's something
problematic about that

434
00:20:09,376 --> 00:20:11,503
and especially the world
in which we live right now

435
00:20:11,586 --> 00:20:14,839
where, you know, we're looking more
and more at the accountability of people

436
00:20:14,923 --> 00:20:18,301
who are doing things for their own ego
or for their own benefit.

437
00:20:18,385 --> 00:20:20,261
This just felt like an opportunity
to explore that

438
00:20:20,345 --> 00:20:21,679
in a way that these movies
never have before.

439
00:20:21,763 --> 00:20:23,890
And that the comics
sometimes do, by the way.

440
00:20:23,973 --> 00:20:25,600
So, it's like,
as much as I like to take credit

441
00:20:25,683 --> 00:20:27,769
for a lot of the things
that feel unique to this movie

442
00:20:27,852 --> 00:20:29,104
as opposed to other X-Men movies

443
00:20:29,187 --> 00:20:30,897
they are unique
versus other X-Men movies

444
00:20:30,980 --> 00:20:33,191
but they're not necessarily
unique versus the comics.

445
00:20:33,274 --> 00:20:35,485
A lot of the stuff, as someone
that's read these comics

446
00:20:35,568 --> 00:20:36,528
since I was very young,

447
00:20:36,611 --> 00:20:39,197
were just things I felt
as though we hadn't explored

448
00:20:39,280 --> 00:20:41,866
even though we're however many movies
into this franchise as we are.

449
00:20:41,950 --> 00:20:43,076
You're good to go.

450
00:20:43,159 --> 00:20:44,619
- You can head upstairs.
- All right.

451
00:20:47,414 --> 00:20:48,832
Thanks, Hank.

452
00:20:54,295 --> 00:20:55,547
SCOTT: Hank said that?

453
00:20:55,630 --> 00:20:57,507
- "Off the charts?"
- He did.

454
00:20:57,590 --> 00:21:00,093
PARKER: Well, we were just in Hank's lab.

455
00:21:00,176 --> 00:21:02,804
You know, one of the things
that was really fun on the film

456
00:21:02,887 --> 00:21:04,556
and this is kind of an interesting way
to watch the movie,

457
00:21:04,639 --> 00:21:07,851
because you're prompted to think
about what took place,

458
00:21:07,934 --> 00:21:11,396
we had an amazing group of sets

459
00:21:11,479 --> 00:21:13,231
that we built
for the filming of the movie.

460
00:21:13,314 --> 00:21:15,733
And that lab is one of them
that I remember, you know,

461
00:21:15,817 --> 00:21:19,446
you walking in and being particularly
taken by the look and the design of it

462
00:21:19,529 --> 00:21:21,448
and how well Claude had done with that.

463
00:21:21,531 --> 00:21:24,075
But then, you know,
Fifth Avenue to the mansion,

464
00:21:24,159 --> 00:21:26,119
the X-jet stuff, you know,

465
00:21:26,202 --> 00:21:29,038
amazing to be able to build those sets
in such close proximity

466
00:21:29,122 --> 00:21:31,332
and have them all be
so different and unique.

467
00:21:31,416 --> 00:21:32,459
KINBERG: Yeah.

468
00:21:35,128 --> 00:21:36,629
I thought I lost you today.

469
00:21:37,547 --> 00:21:38,548
I know.

470
00:21:41,092 --> 00:21:42,594
KINBERG: And this is, to me, I mean,

471
00:21:42,677 --> 00:21:44,262
the trickiest balance of this movie

472
00:21:44,345 --> 00:21:47,098
for me, tonally,
as a writer and as a director

473
00:21:47,182 --> 00:21:49,184
was balancing a movie
that, you know,

474
00:21:49,267 --> 00:21:51,019
as we talk
about the character aspects of the movie

475
00:21:51,102 --> 00:21:54,772
and Jean that is both intimate
and personal and emotional and human

476
00:21:54,856 --> 00:21:58,109
with what very quickly here
is introduced

477
00:21:58,193 --> 00:22:01,446
and you just saw in that shot of things
coming out of the sky,

478
00:22:01,529 --> 00:22:04,824
is intergalactic,
is cosmic, is very otherworldly,

479
00:22:04,908 --> 00:22:06,659
is actually the opposite of human.

480
00:22:06,743 --> 00:22:08,203
And balancing those two things,

481
00:22:08,286 --> 00:22:10,121
so that it never tips in either direction,

482
00:22:10,205 --> 00:22:11,623
I think if the movie tipped too much

483
00:22:11,706 --> 00:22:13,583
in the direction
of the intergalactic or the cosmic,

484
00:22:13,666 --> 00:22:15,293
you would lose the emotionality of it,

485
00:22:15,376 --> 00:22:18,630
and if it becomes too entirely
just an emotional drama,

486
00:22:18,713 --> 00:22:21,007
this stuff would poke out of the film

487
00:22:21,090 --> 00:22:24,969
and there wouldn't be a feeling
of an organic coherent whole.

488
00:22:27,722 --> 00:22:29,224
I'm just gonna check on her.
I'll be right back.

489
00:22:29,307 --> 00:22:30,183
Just stay.

490
00:22:33,353 --> 00:22:35,480
- Tell her to shut up.
- Luna!

491
00:22:36,064 --> 00:22:36,940
(barking)

492
00:22:37,774 --> 00:22:39,442
(barking continues)

493
00:22:39,526 --> 00:22:40,735
Luna!

494
00:22:52,705 --> 00:22:54,123
KINBERG: This particular shot,

495
00:22:54,207 --> 00:22:57,919
this moment of her finding...
discovering these aliens in the woods

496
00:22:58,002 --> 00:23:00,630
was something
that we really played a lot with.

497
00:23:00,713 --> 00:23:06,135
The original shot was a shot
where you fully see the aliens.

498
00:23:06,219 --> 00:23:07,428
They crack her neck.

499
00:23:07,512 --> 00:23:08,638
You watch the transformation,

500
00:23:08,721 --> 00:23:10,557
and it just all felt
like, suddenly, in a movie

501
00:23:10,640 --> 00:23:12,892
that was a more naturalistic,
realistic film,

502
00:23:12,976 --> 00:23:15,311
you were jumping the shark into something

503
00:23:15,395 --> 00:23:20,108
that was this sci-fi film from,
you know, the 70s.

504
00:23:20,191 --> 00:23:23,570
And so, you know, we went with something
much more subtle here

505
00:23:23,653 --> 00:23:26,322
and then the transformation is here,

506
00:23:26,406 --> 00:23:29,117
starting really in shadows,
and you seeing it, you know,

507
00:23:29,200 --> 00:23:33,204
clearly that she's transforming
from another kind of being into a human.

508
00:23:33,288 --> 00:23:38,668
But we're relying much more
on performance and on shadow and detail

509
00:23:38,751 --> 00:23:40,878
than we are on this, sort of, big shots.

510
00:23:40,962 --> 00:23:42,463
And really, we're relying here on,

511
00:23:42,547 --> 00:23:44,632
because she has the same color hair
and the same clothes and all that,

512
00:23:44,716 --> 00:23:49,304
we're relying on Jessica entering into
the sort of Uncanny Valley performance

513
00:23:49,387 --> 00:23:51,264
and Jessica
is extraordinarily good at that.

514
00:23:51,347 --> 00:23:52,640
And the look of this character

515
00:23:52,724 --> 00:23:54,809
is something
that Jess and I worked on together.

516
00:23:54,892 --> 00:23:57,186
She really wanted it
to look unlike anything

517
00:23:57,270 --> 00:23:58,438
she had ever done in a movie before

518
00:23:58,521 --> 00:24:01,024
and Tilda Swinton and other things
were influences.

519
00:24:01,816 --> 00:24:02,900
♪♪

520
00:24:05,361 --> 00:24:07,322
♪ Put your hands on me ♪

521
00:24:08,698 --> 00:24:10,992
KINBERG; This is worth mentioning, because
she's only in the movie for a flash,

522
00:24:11,075 --> 00:24:13,036
but hard-core fans,
and I'm assuming those are the people

523
00:24:13,119 --> 00:24:14,454
that are going to be
listening to us right now,

524
00:24:14,537 --> 00:24:17,915
would recognize
Halston Sage's character as Dazzler,

525
00:24:17,999 --> 00:24:20,752
who is a big character in the comic
and a beloved character in the comic

526
00:24:20,835 --> 00:24:22,629
and also a character who's a critical part

527
00:24:22,712 --> 00:24:24,964
of one of the plot points
in the original Dark Phoenix Saga.

528
00:24:25,048 --> 00:24:26,674
So, I wanted to include her in the movie.

529
00:24:27,550 --> 00:24:29,010
♪ Put your hands on me ♪

530
00:24:29,677 --> 00:24:33,056
PARKER: This was also at that golf
course location and as I recall,

531
00:24:33,139 --> 00:24:36,434
night shoots are not my favorite
but as I recall, it was really cold.

532
00:24:36,517 --> 00:24:37,518
KINBERG: It was freezing cold,

533
00:24:37,602 --> 00:24:39,228
and actually,
going back to the Dazzler thing,

534
00:24:39,312 --> 00:24:42,398
she's wearing the least clothes of anybody
and she's up there dancing around.

535
00:24:42,482 --> 00:24:43,900
- PARKER: She was such a trooper.
- KINBERG: She really was.

536
00:24:43,983 --> 00:24:46,444
And I think we shot her last, so it was
like four or five in the morning,

537
00:24:46,527 --> 00:24:49,572
cold as possible, you could be.
And she was, she stuck with it.

538
00:24:49,656 --> 00:24:50,615
- Hey.
- Rocks.

539
00:24:50,698 --> 00:24:52,825
KINBERG: But this, I like the idea of,
you know,

540
00:24:52,909 --> 00:24:57,246
it's a very normal,
boarding school kind of scene, right,

541
00:24:57,330 --> 00:24:59,332
which is like the principal
of the school is gone,

542
00:24:59,415 --> 00:25:01,584
because Charles is gone,
and the kids are throwing a party.

543
00:25:01,668 --> 00:25:03,086
And it's not much more
complicated than that,

544
00:25:03,169 --> 00:25:06,214
other than the fact that these particular
kids happen to have supernatural powers

545
00:25:06,297 --> 00:25:08,675
and so, when the party
gets a little out of control,

546
00:25:08,758 --> 00:25:11,052
you know,
trees get blasted off the ground.

547
00:25:14,889 --> 00:25:17,558
You know, it wasn't so long ago
we were throwing parties like this.

548
00:25:18,142 --> 00:25:21,104
KINBERG: One of my favorite relationships
in the First Class,

549
00:25:21,187 --> 00:25:24,482
I guess, onward cycle
of these X-Men movies

550
00:25:24,565 --> 00:25:29,112
is just the Beast-Hank,
Mystique-Raven relationship

551
00:25:29,195 --> 00:25:32,699
is really rich and sort of unspoken,
but emotional.

552
00:25:32,782 --> 00:25:35,368
And, you know, the two of them
have really grown up.

553
00:25:35,451 --> 00:25:37,995
I remember when we first
cast them in First Class

554
00:25:38,079 --> 00:25:39,789
and they were both in they're late teens.

555
00:25:39,872 --> 00:25:41,499
Jennifer had only been in Winter's Bone.

556
00:25:41,582 --> 00:25:43,876
Nick had not been in a big movie
since About a Boy.

557
00:25:43,960 --> 00:25:44,961
Jennifer's obviously grown into being

558
00:25:45,044 --> 00:25:47,255
one of the, if not the biggest
movie star in the world.

559
00:25:47,338 --> 00:25:49,590
And Nick has grown into being
an extraordinary actor.

560
00:25:49,674 --> 00:25:52,260
And so, I just was excited
to write scenes for them to play.

561
00:25:52,343 --> 00:25:53,636
...we should go do.

562
00:25:54,137 --> 00:25:56,097
This is our life.
This is what we wanted.

563
00:25:56,180 --> 00:25:57,390
Not like this.

564
00:25:57,473 --> 00:26:00,476
- Raven...
- It's not our life, Hank.

565
00:26:01,269 --> 00:26:02,145
It's his.

566
00:26:02,228 --> 00:26:04,856
What do you think the "X"
in X-Men stands for?

567
00:26:05,940 --> 00:26:07,108
Charles and his X-Men are...

568
00:26:07,191 --> 00:26:10,319
KINBERG: And this is once again, really
showing you that the X-Men are not,

569
00:26:10,403 --> 00:26:14,073
you know, underground,
ostracized characters anymore

570
00:26:14,157 --> 00:26:16,909
but they're embraced by larger society

571
00:26:16,993 --> 00:26:20,705
until larger society's prejudices
start to emerge again.

572
00:26:20,788 --> 00:26:23,750
PARKER: It's a scene that,
at different times, was in the movie,

573
00:26:23,833 --> 00:26:25,585
out of the movie, in the movie,
out of the movie,

574
00:26:25,668 --> 00:26:28,963
because on one level, we grapple with...
we'd kind of already established that

575
00:26:29,046 --> 00:26:30,757
and wanted to get on with the story.

576
00:26:30,840 --> 00:26:33,092
On the other hand, you know,
we came to realize,

577
00:26:33,176 --> 00:26:35,595
you sort of needed to drive
that point home

578
00:26:35,678 --> 00:26:37,847
just a little bit more that yes, in fact,

579
00:26:37,930 --> 00:26:40,433
he is all too happy to accept awards
from the President

580
00:26:40,516 --> 00:26:45,605
and bask in the glory as part
of setting up for his fall, so to speak.

581
00:26:46,272 --> 00:26:47,982
- You wanna dance?
- Come on, Scott.

582
00:26:49,150 --> 00:26:51,652
Did... did you hear
what the kids are calling you?

583
00:26:52,361 --> 00:26:54,238
- Do I wanna know?
- Yeah!

584
00:26:54,572 --> 00:26:56,073
Phoenix.

585
00:26:56,157 --> 00:26:59,035
It's cool, right? You know,
a bird that rises from the dead.

586
00:26:59,160 --> 00:27:01,037
KINBERG: And this is a scene
that we really experimented with.

587
00:27:01,120 --> 00:27:02,330
Like, what is it she's seeing?

588
00:27:02,413 --> 00:27:04,207
What is the impact on her face?

589
00:27:04,290 --> 00:27:05,583
What's the trigger for her

590
00:27:05,666 --> 00:27:08,252
starting to lose control
of this Cosmic Force inside of her?

591
00:27:08,336 --> 00:27:11,172
It's basically, like,
the first bad trip she takes,

592
00:27:11,255 --> 00:27:12,757
based on this thing
inside of her.

593
00:27:12,840 --> 00:27:14,842
It's that moment of what's meant to be

594
00:27:14,926 --> 00:27:17,136
the point of view
of that Cosmic Force inside of her

595
00:27:17,220 --> 00:27:20,681
as if she's having this sort of
residual memory of the Cosmic Force,

596
00:27:20,765 --> 00:27:22,141
all of it just feeling...

597
00:27:22,225 --> 00:27:25,269
The word I used a lot when we were
creating all of this sequence

598
00:27:25,353 --> 00:27:27,146
was hallucinatory.

599
00:27:27,230 --> 00:27:29,232
So, it would feel almost like a bad...

600
00:27:29,315 --> 00:27:32,443
I've never done it,
but like a bad LSD or, hallucinatory trip.

601
00:27:33,945 --> 00:27:36,614
And that, I think, the visual effects guys
did a really nice job with.

602
00:27:40,827 --> 00:27:42,078
- Thank you.
- Thank you, Charles.

603
00:27:44,372 --> 00:27:46,999
KINBERG: By the way, that person that
Charles is shaking hands with right there

604
00:27:47,083 --> 00:27:49,335
that we're just passing
is Chris Claremont,

605
00:27:49,418 --> 00:27:51,712
who is the creator
of the Dark Phoenix Saga. Right there.

606
00:27:51,796 --> 00:27:53,339
You see him in the background?
Just out of focus.

607
00:27:53,422 --> 00:27:55,883
Probably worth rewinding to see.
He's got a little goatee there.

608
00:27:55,967 --> 00:27:58,553
And Chris was the writer
of the Dark Phoenix Saga.

609
00:27:58,636 --> 00:28:00,721
He was also the person
who essentially created Wolverine.

610
00:28:00,805 --> 00:28:02,348
He is, I would say,

611
00:28:02,431 --> 00:28:05,935
just short of as important
to the X-Men as Stan Lee was.

612
00:28:07,937 --> 00:28:09,355
♪♪

613
00:28:13,067 --> 00:28:14,861
Once again, fake everything.

614
00:28:14,944 --> 00:28:16,571
Fake house, fake car.

615
00:28:16,654 --> 00:28:18,906
Fake, I think we had the road,
that was about it.

616
00:28:23,703 --> 00:28:25,121
And this actually for me was a...

617
00:28:25,204 --> 00:28:26,831
you know, having worked
in a lot of these movies,

618
00:28:26,914 --> 00:28:30,751
I'm very aware of all the different
scenes we've had in each of them.

619
00:28:30,835 --> 00:28:34,630
And this was a direct sort of call
and response from Apocalypse

620
00:28:34,714 --> 00:28:36,465
when he goes into her room
and she's having a nightmare

621
00:28:36,549 --> 00:28:38,551
and that time he could read her mind
and this time he can't.

622
00:28:38,634 --> 00:28:39,635
...penetrate her mind.

623
00:28:39,719 --> 00:28:41,554
KINBERG: And this we talked a lot about,

624
00:28:41,637 --> 00:28:43,723
what do we do with Cerebro
to make it different

625
00:28:43,806 --> 00:28:47,018
than the 75 other times
you've seen it in the movies?

626
00:28:47,977 --> 00:28:50,646
And I guess hallucinatory
is another way to describe it.

627
00:28:50,730 --> 00:28:53,190
Again, I really wanted this to feel

628
00:28:53,274 --> 00:28:58,029
like you were inside the mind
of someone who's losing her mind.

629
00:28:58,112 --> 00:29:00,823
And so, we did an immense amount
of experimentation

630
00:29:00,907 --> 00:29:02,742
with the look of this, how it would-

631
00:29:02,825 --> 00:29:06,913
not right here, but once he goes in
through Jean's eye into her mind,

632
00:29:06,996 --> 00:29:08,706
how would we-
we would create something

633
00:29:08,789 --> 00:29:10,333
that would have a unique look to it.

634
00:29:10,416 --> 00:29:12,501
And in an environment that's, you know,

635
00:29:12,585 --> 00:29:15,713
our version of the Enterprise
or the Millennium Falcon

636
00:29:15,796 --> 00:29:20,051
or any of the most sort of iconic
environments of these kinds of franchises.

637
00:29:20,134 --> 00:29:25,056
And so, starting right here, we just
went to something wildly different.

638
00:29:26,057 --> 00:29:29,101
PARKER: I really love this
because it is hard to reinvent,

639
00:29:29,185 --> 00:29:31,228
or re-imagine some of these components

640
00:29:31,312 --> 00:29:35,149
and the idea of going into her memories
and seeing these glimpses

641
00:29:35,232 --> 00:29:38,444
and all the, you know, what almost feels
like the tissue of the brain...

642
00:29:38,527 --> 00:29:39,528
...tip it in the wrong direction.

643
00:29:39,612 --> 00:29:44,450
PARKER: ...married with that smoky,
milky component,

644
00:29:44,533 --> 00:29:48,704
all stuff that came
from the combined creative team

645
00:29:48,788 --> 00:29:50,748
but I just love the way it turned out.

646
00:29:50,831 --> 00:29:53,918
Hard to do stuff that's that arresting

647
00:29:54,001 --> 00:29:56,545
and not have it take away
from the dramatics of the scene.

648
00:29:56,629 --> 00:29:59,632
I think it's something that was
done really well in this,

649
00:29:59,715 --> 00:30:01,968
because obviously, it's really important
what they're talking about

650
00:30:02,051 --> 00:30:03,427
and what they're sorting through.

651
00:30:03,511 --> 00:30:05,096
...did something to her.

652
00:30:05,554 --> 00:30:08,015
KINBERG: And that was a sequence
we also did a lot of story boarding

653
00:30:08,099 --> 00:30:11,018
and pre-vising of, so that we knew
what they'd be looking at

654
00:30:11,102 --> 00:30:14,397
and we just really kept refining
what the look of this would be.

655
00:30:14,480 --> 00:30:18,943
So, like Hutch said, it's surreal
without being distracting.

656
00:30:19,026 --> 00:30:20,695
PARKER: And hundreds of iterations.

657
00:30:20,778 --> 00:30:22,238
- KINBERG: Yeah.
- PARKER: Of all these things.

658
00:30:22,321 --> 00:30:23,990
It's almost done in layers.

659
00:30:24,615 --> 00:30:27,994
KINBERG: Yeah, and if you watch over
and over again, which you don't have to do

660
00:30:28,077 --> 00:30:29,704
but you're clearly
watching more than once,

661
00:30:29,787 --> 00:30:33,082
you see faces in there,
you see memories in there.

662
00:30:33,165 --> 00:30:34,208
There's little things.

663
00:30:34,291 --> 00:30:36,836
Todd Hallowell who's, like I said,
one of our producers,

664
00:30:36,919 --> 00:30:39,380
is also someone that has experience
as a second unit director

665
00:30:39,463 --> 00:30:41,090
and insert unit director.

666
00:30:41,173 --> 00:30:43,884
And he would go off and direct like,
you know,

667
00:30:43,968 --> 00:30:46,512
a little girl riding a tricycle
or Big Wheel, rather.

668
00:30:46,595 --> 00:30:48,264
That's in there somewhere
if you take a look at it.

669
00:30:48,347 --> 00:30:49,598
There's a birthday cake.
There's a dog barking.

670
00:30:49,682 --> 00:30:54,603
There's all kinds of childhood memories
that are buried inside those soupy images.

671
00:30:54,687 --> 00:30:55,771
Get out of my head.

672
00:30:56,981 --> 00:31:01,152
Just stay calm, Jean.

673
00:31:02,236 --> 00:31:04,488
She's fighting me.
I need you to turn it up.

674
00:31:05,114 --> 00:31:05,990
(groans)

675
00:31:07,199 --> 00:31:08,826
I heard my father.

676
00:31:11,495 --> 00:31:12,413
He's alive.

677
00:31:12,747 --> 00:31:16,042
You're just hearing things.
Jean, your mind, it needs rest.

678
00:31:16,125 --> 00:31:17,418
KINBERG: And this was something I like...

679
00:31:17,501 --> 00:31:21,338
I like in movies when, and not to say
this is always the intention,

680
00:31:21,422 --> 00:31:23,340
sometimes we have shots that are
a little out of focus and buzzy,

681
00:31:23,424 --> 00:31:25,926
but I like it when the camera goes
a little bit in and out of focus.

682
00:31:26,010 --> 00:31:29,221
And in general, I know this isn't
a Criterion Collection kind of movie,

683
00:31:29,305 --> 00:31:31,682
but in talking about
the cinematography, like,

684
00:31:31,766 --> 00:31:33,142
in previous X-Men movies,

685
00:31:33,225 --> 00:31:36,562
they're all done on very static
types of cameras.

686
00:31:36,645 --> 00:31:39,356
They tend to be on dollies, on cranes.

687
00:31:39,440 --> 00:31:42,276
Everything is very smooth.

688
00:31:42,359 --> 00:31:44,737
If you look at even like the way
the camera's moving right now,

689
00:31:44,820 --> 00:31:47,740
the way it was just
moving over Scott's shoulder,

690
00:31:47,823 --> 00:31:50,743
almost everything in this movie
is either handheld or a steady cam,

691
00:31:50,826 --> 00:31:53,829
which is a slightly steadier
version of a handheld camera.

692
00:31:54,580 --> 00:31:57,041
Did I...
Did I do... do that?

693
00:31:57,541 --> 00:31:58,417
It's fine.

694
00:31:58,501 --> 00:32:02,004
KINBERG: There's a sort of docu-realism
that a handheld camera gives you.

695
00:32:02,088 --> 00:32:03,839
And it also gives you
a feeling of humanity

696
00:32:03,923 --> 00:32:05,800
because there's just a little bit of like,

697
00:32:05,883 --> 00:32:08,719
"That's a handheld camera right there,
that's a handheld camera right there."

698
00:32:08,803 --> 00:32:10,763
I mean, I, almost every shot,

699
00:32:10,846 --> 00:32:13,432
you feel a little bit the breath
of the camera person,

700
00:32:13,516 --> 00:32:16,977
who's holding the camera
because it's not perfect. It's not static.

701
00:32:17,061 --> 00:32:19,563
It has a little bit of movement to it
and the same way that in life,

702
00:32:19,647 --> 00:32:21,941
when you're looking at something,
your head is never fully static.

703
00:32:22,024 --> 00:32:24,276
Your eyes are never fully
looking in one place.

704
00:32:24,360 --> 00:32:27,822
And so, I just wanted to create
that feel of it being organic,

705
00:32:27,905 --> 00:32:31,033
it feeling a little bit more handmade
than these movies have felt

706
00:32:31,117 --> 00:32:33,661
and that the genre has felt in the past.

707
00:32:33,744 --> 00:32:39,375
PARKER: You also talked a lot going in
about wanting it to feel more intimate.

708
00:32:39,917 --> 00:32:43,003
Part of the movement was to make it feel
a little unsteady

709
00:32:43,087 --> 00:32:45,923
and a little, you know, unsafe at times,

710
00:32:46,006 --> 00:32:48,425
which was a really
interesting set of ideas

711
00:32:48,509 --> 00:32:50,845
to bring to the photography of the film.

712
00:32:55,141 --> 00:32:56,183
KINBERG: This is a crane shot,

713
00:32:56,267 --> 00:32:58,018
and it's one of the only crane shots
in the movie, actually.

714
00:32:58,102 --> 00:32:59,436
There's not a lot of them.

715
00:32:59,937 --> 00:33:00,896
That's handheld.

716
00:33:00,980 --> 00:33:03,274
You see like just the little drift
it gives you?

717
00:33:03,357 --> 00:33:04,275
If you watch the movie...

718
00:33:04,358 --> 00:33:06,902
like the way its drifting just
a little bit around Charles right now

719
00:33:06,986 --> 00:33:07,862
because he's not moving.

720
00:33:07,945 --> 00:33:09,071
Pain.

721
00:33:10,739 --> 00:33:14,285
KINBERG: It's like Hutch said,
there's a sort of base level,

722
00:33:14,368 --> 00:33:17,079
unconscious level of instability.

723
00:33:17,163 --> 00:33:20,666
And that becomes more and more unstable
over the span of the movie

724
00:33:20,749 --> 00:33:22,376
and that's echoed in the cinematography.

725
00:33:22,459 --> 00:33:23,460
I don't know.

726
00:33:25,296 --> 00:33:27,131
KINBERG: And it's something
that's not necessarily...

727
00:33:27,214 --> 00:33:29,508
I mean, certainly conscious
for us as the filmmakers,

728
00:33:29,592 --> 00:33:31,844
it's not conscious necessarily
for an audience

729
00:33:31,927 --> 00:33:33,804
but it is something
that I think cumulatively,

730
00:33:33,888 --> 00:33:36,390
you start to feel
in your experience of the film.

731
00:33:37,850 --> 00:33:39,393
That doesn't make any sense, right?

732
00:33:40,853 --> 00:33:42,146
Prepare the jet.

733
00:33:42,855 --> 00:33:43,981
We're going to bring her home.

734
00:33:44,064 --> 00:33:45,733
"We?" Charles,
you're in no condition...

735
00:33:45,816 --> 00:33:46,984
KINBERG: And there's a lot more close-ups.

736
00:33:47,067 --> 00:33:50,905
I mean, you know, even this push-in
on Charles, as an example,

737
00:33:50,988 --> 00:33:53,616
traditionally,
would be more of a crane move

738
00:33:53,699 --> 00:33:55,951
where it would be a smooth,
kind of Steven Spielberg-y,

739
00:33:56,035 --> 00:33:57,494
Bryan Singer used to do this a lot,

740
00:33:57,578 --> 00:34:00,414
smooth push in on the characters.

741
00:34:01,040 --> 00:34:02,082
I wanted those push-ins

742
00:34:02,166 --> 00:34:04,418
to feel a little bit more
like somebody was walking toward them.

743
00:34:04,501 --> 00:34:06,837
Again, just the back
of your brain notices that.

744
00:34:06,921 --> 00:34:09,506
(VUK speaking alien language) So this is
all that's left of the D'Bari Empire.

745
00:34:13,594 --> 00:34:16,263
KINBERG: This was a scene that we went
back and forth on quite a bit,

746
00:34:16,347 --> 00:34:17,932
how much information we need.

747
00:34:18,015 --> 00:34:19,433
You know, one of the things
I really wanted

748
00:34:19,516 --> 00:34:23,062
was for Jessica's character to be
a more mysterious character in this movie.

749
00:34:23,145 --> 00:34:26,065
She's an amalgam of, you know,
even though we name her,

750
00:34:26,148 --> 00:34:28,442
and she's of D'Bari descent,

751
00:34:28,525 --> 00:34:31,779
she's an amalgam of a few
of the different alien characters

752
00:34:31,862 --> 00:34:34,490
that have been in different
iterations of the Dark Phoenix Saga.

753
00:34:34,573 --> 00:34:37,534
Lelandra is a character, obviously,
that a lot of people thought that she was.

754
00:34:37,618 --> 00:34:39,411
Her hair color would indicate
that she's not Lelandra.

755
00:34:39,495 --> 00:34:44,166
And for me, the Lelandra story was so
complex, that if we were going to do it,

756
00:34:44,250 --> 00:34:46,627
we would almost require
an extra 45 minutes

757
00:34:46,710 --> 00:34:48,295
or extra movie to do properly

758
00:34:48,379 --> 00:34:50,547
because the love story
with Charles is integral

759
00:34:50,631 --> 00:34:52,132
and it's just a different kind of film

760
00:34:52,216 --> 00:34:54,218
and I wanted to really focus
on this character right here,

761
00:34:54,301 --> 00:34:58,138
on Jean and on her struggle
and the drama of what she's going through.

762
00:34:58,222 --> 00:35:00,307
And I felt as though
the more subplots we had,

763
00:35:00,391 --> 00:35:02,518
whether it was a Lelandra subplot
with the Shi'ar

764
00:35:02,601 --> 00:35:04,186
or it was a Hellfire subplot,

765
00:35:04,270 --> 00:35:08,315
it was going to take away
from this central, really intimate story

766
00:35:08,399 --> 00:35:10,276
of a young person losing control.

767
00:35:10,359 --> 00:35:12,569
And the people that love them the most,
like Hutch was alluding to,

768
00:35:12,653 --> 00:35:15,489
the family around them,
cracking up with her.

769
00:35:15,572 --> 00:35:17,908
Anything that was outside that circle
started to feel

770
00:35:17,992 --> 00:35:24,164
like it was potentially detracting from
the core emotional experience of the film.

771
00:35:26,250 --> 00:35:27,543
Can I help you?

772
00:35:30,671 --> 00:35:34,008
PARKER: This is another really
unique location and set

773
00:35:34,091 --> 00:35:38,137
in that it's actually on the back lot
of the studio that we were shooting at.

774
00:35:38,220 --> 00:35:43,350
And Claude and his team built this
neighborhood with incredible detail,

775
00:35:43,434 --> 00:35:44,852
individuating each house.

776
00:35:44,935 --> 00:35:47,187
You know, they're all
just basically façades

777
00:35:47,271 --> 00:35:50,357
but dressed the front yards
with gardens,

778
00:35:50,441 --> 00:35:52,318
with children's toys, all those things,

779
00:35:52,401 --> 00:35:55,779
to help make it feel as real
and grounded as possible.

780
00:35:55,863 --> 00:35:58,198
And it was a really efficient,
really effective way

781
00:35:58,282 --> 00:36:00,826
to give us something
that I think, you know,

782
00:36:00,909 --> 00:36:03,370
was pretty iconic
as a window into her past

783
00:36:03,454 --> 00:36:06,373
and her father,
her estranged father.

784
00:36:06,457 --> 00:36:09,209
But also, was an unusual setting
for an X-Men fight.

785
00:36:09,585 --> 00:36:11,879
KINBERG: Right, which is like as grounded
as it can possibly be.

786
00:36:11,962 --> 00:36:13,714
- PARKER: Yeah.
- KINBERG: For a lot of these movies,

787
00:36:13,797 --> 00:36:16,091
and when I say a lot of these movies,
I mean not just comic book movies,

788
00:36:16,175 --> 00:36:17,593
but science fiction movies.

789
00:36:17,676 --> 00:36:19,762
It's like the more exotic
the location, the better.

790
00:36:19,845 --> 00:36:23,182
And to me, in this movie, in many ways,
it was like the more mundane,

791
00:36:23,265 --> 00:36:26,101
the more realistic, the more relatable
the environment, the better.

792
00:36:26,185 --> 00:36:27,728
Because these things that they're doing,

793
00:36:27,811 --> 00:36:30,689
whether it's optic beams coming out
of their eyes or telekinesis

794
00:36:30,773 --> 00:36:33,942
or, I mean, there's so many different
things that are supernatural,

795
00:36:34,026 --> 00:36:35,194
I think it's more interesting

796
00:36:35,277 --> 00:36:37,946
to see something supernatural
in a natural environment

797
00:36:38,030 --> 00:36:39,406
because when you see
something supernatural

798
00:36:39,490 --> 00:36:41,825
in a supernatural environment,
it almost feels redundant.

799
00:36:41,909 --> 00:36:44,578
It almost feels like well,
"What's the big deal about optic beams

800
00:36:44,661 --> 00:36:46,872
coming out of somebody's eyes
in an alien planet?"

801
00:36:46,955 --> 00:36:48,749
But in a neighborhood that looks
like the neighborhood

802
00:36:48,832 --> 00:36:51,710
that you, me, any of us could live in,
and it's your next-door neighbor,

803
00:36:51,794 --> 00:36:55,631
suddenly it becomes, for me,
a little bit more intense, threatening,

804
00:36:55,714 --> 00:36:58,258
and like, I keep using
the word "relatable."

805
00:37:01,261 --> 00:37:03,472
I'll get you some water, okay?

806
00:37:17,778 --> 00:37:22,074
PARKER: This was a scene
that Sophie prepared for,

807
00:37:22,157 --> 00:37:25,828
you know, just so rigorously
and with such dedication.

808
00:37:25,911 --> 00:37:29,289
I think she knew it was such
a turning point moment for the character

809
00:37:29,373 --> 00:37:32,876
and Simon had rehearsed it
with her extensively.

810
00:37:32,960 --> 00:37:35,170
But it's a critically
important scene for her

811
00:37:35,254 --> 00:37:38,090
both as an actress and in this role,

812
00:37:38,215 --> 00:37:42,719
because of what it reveals
and what it surfaces about her character

813
00:37:42,803 --> 00:37:45,013
and it's really
when she comes to understand,

814
00:37:45,097 --> 00:37:49,476
you know, kind of the broader
narrative for her character,

815
00:37:49,560 --> 00:37:53,272
Jean Grey in the midst
of this larger, larger story.

816
00:37:53,355 --> 00:37:54,231
Jean?

817
00:38:03,907 --> 00:38:05,909
All these photos, none of me.

818
00:38:11,498 --> 00:38:13,417
You never looked for me.

819
00:38:13,500 --> 00:38:15,627
- Jean?
- Why didn't you look for me?

820
00:38:15,711 --> 00:38:17,713
Maybe we should sit down.

821
00:38:17,796 --> 00:38:18,672
No, I don't want...

822
00:38:18,755 --> 00:38:20,007
KINBERG: And you know,
I was talking about partners

823
00:38:20,090 --> 00:38:23,427
like Hutch and Lee and Mauro, the DP,

824
00:38:23,510 --> 00:38:26,555
but I will say, probably,
and I say this with love to you, Hutch,

825
00:38:26,638 --> 00:38:29,516
my real partner on this movie was Sophie.

826
00:38:29,600 --> 00:38:32,102
You know, Sophie's performance
is everything in this movie.

827
00:38:32,186 --> 00:38:34,438
If Sophie was not as dedicated
and committed

828
00:38:34,521 --> 00:38:36,273
and prepared for this performance,

829
00:38:36,356 --> 00:38:37,691
the whole movie would fall apart.

830
00:38:37,774 --> 00:38:39,318
No matter how good
the cinematography was,

831
00:38:39,401 --> 00:38:40,736
no matter how good the editing was,

832
00:38:40,819 --> 00:38:42,488
no matter how good
the production design was,

833
00:38:42,571 --> 00:38:44,156
it really would not have mattered.

834
00:38:44,239 --> 00:38:45,282
And I came to Sophie,

835
00:38:45,365 --> 00:38:47,993
I had a lunch with Sophie about a year
or so before we started shooting.

836
00:38:48,076 --> 00:38:50,162
I think I was still
in the middle of writing

837
00:38:50,245 --> 00:38:52,873
at least the second draft
of the script, if that,

838
00:38:52,956 --> 00:38:55,626
and I said to her "Look,
we're going to do the Dark Phoenix story.

839
00:38:56,293 --> 00:38:58,670
You're obviously playing Jean,
Dark Phoenix.

840
00:38:58,754 --> 00:39:00,005
You will be the center of the movie.

841
00:39:00,088 --> 00:39:03,091
You're going to have to play,
as this scene indicates and many others,

842
00:39:03,175 --> 00:39:04,885
as you know, you're going to have to play

843
00:39:04,968 --> 00:39:08,430
every sort of color
of the spectrum emotionally.

844
00:39:08,514 --> 00:39:09,681
You're going to have to play rage.

845
00:39:09,765 --> 00:39:12,100
You're going to have to play pain,
you're going to have to play sorrow.

846
00:39:12,184 --> 00:39:15,604
You're going to have
to play violence, defense,

847
00:39:15,687 --> 00:39:18,190
I mean all, everything you could imagine

848
00:39:18,273 --> 00:39:21,318
and not only that,
you're going to be carrying

849
00:39:21,401 --> 00:39:23,612
a very, large-scale big movie.

850
00:39:23,695 --> 00:39:25,614
The pressure of that
is a lot for somebody

851
00:39:25,697 --> 00:39:26,907
who's in her late teens, early 20s.

852
00:39:26,990 --> 00:39:29,284
And you're going to be
playing scenes with,"

853
00:39:29,368 --> 00:39:31,411
I mean, this actor
right here, Scott Sheppard,

854
00:39:31,495 --> 00:39:34,248
is like an incredible stage actor

855
00:39:34,331 --> 00:39:36,708
whose won all kinds
of awards on stage.

856
00:39:36,792 --> 00:39:38,210
And then in addition to him,

857
00:39:38,293 --> 00:39:41,588
Michael Fassbender, James McAvoy,
Jennifer Lawrence, Jessica Chastain,

858
00:39:41,672 --> 00:39:44,383
I mean, the best actors
of their generation

859
00:39:44,466 --> 00:39:47,344
who are all 10 to 15...
well, I guess Jennifer's not,

860
00:39:47,427 --> 00:39:51,848
but, you know, significantly older
and more experienced than Sophie is.

861
00:39:51,932 --> 00:39:53,976
And she was just game for it.

862
00:39:54,059 --> 00:39:56,562
And I started sending her,
from that first lunch, articles,

863
00:39:56,645 --> 00:40:01,149
books, YouTube videos of people
that have schizophrenia,

864
00:40:01,233 --> 00:40:02,693
Dissociative Identity Disorder,

865
00:40:02,776 --> 00:40:06,071
and she would read them,
watch them, send me things back.

866
00:40:06,154 --> 00:40:08,448
And we just really built
the character together

867
00:40:08,532 --> 00:40:09,825
and I'm just really proud of her

868
00:40:09,908 --> 00:40:12,035
because it's not an easy thing
to do for a young actor.

869
00:40:12,703 --> 00:40:14,204
You shouldn't have come here.

870
00:40:15,330 --> 00:40:17,165
Why is that? We've only come
to bring you home, Jean.

871
00:40:17,249 --> 00:40:20,168
I don't have a home.
You made sure of that.

872
00:40:20,252 --> 00:40:24,381
Look, your father couldn't handle you,
and we took you in.

873
00:40:24,464 --> 00:40:27,009
You told me my father was dead,

874
00:40:27,092 --> 00:40:28,969
and you used me for my powers.

875
00:40:29,052 --> 00:40:30,721
No, that's not true.
That's just not what happened.

876
00:40:30,804 --> 00:40:33,557
KINBERG: That shot of Jennifer is not
my favorite shot in the entire movie,

877
00:40:33,640 --> 00:40:35,934
but the reality of sometimes
shooting with these kinds of ensembles

878
00:40:36,018 --> 00:40:38,729
is that you don't get all the actors
in the same place at the same time

879
00:40:38,812 --> 00:40:40,772
and so you got to shoot
what's called block shooting.

880
00:40:40,856 --> 00:40:42,941
If you've seen Harry Potter
you know what that looks like.

881
00:40:43,025 --> 00:40:44,943
And you just grab Jennifer Lawrence

882
00:40:45,027 --> 00:40:47,362
when you got Jennifer Lawrence
for that day in the environment

883
00:40:47,446 --> 00:40:49,072
and that's why you see Jen

884
00:40:49,156 --> 00:40:51,992
separated from the rest of the group
in that one shot.

885
00:40:52,326 --> 00:40:54,870
Not a lot of that in that movie, luckily.
In this movie, luckily,

886
00:40:54,953 --> 00:40:56,872
we did get the actors
committed to all being there.

887
00:40:56,955 --> 00:40:58,915
But every now and then,
you couldn't... you couldn't control it.

888
00:40:59,875 --> 00:41:00,876
(sirens wailing)

889
00:41:02,044 --> 00:41:03,837
Stay away from me.

890
00:41:03,920 --> 00:41:06,340
Stay away from me.
Stay away from me!

891
00:41:06,423 --> 00:41:10,052
KINBERG: That third car that flips over
is a computer-generated car

892
00:41:10,135 --> 00:41:11,428
and the first two are real.

893
00:41:12,679 --> 00:41:14,097
That is, of course, not real.

894
00:41:23,649 --> 00:41:24,733
Jean, please!

895
00:41:26,985 --> 00:41:28,904
KINBERG: And that is real.
I mean, enhanced, obviously,

896
00:41:28,987 --> 00:41:32,074
the smoke and all that but, you know,
we blew up that side of the house.

897
00:41:32,157 --> 00:41:34,534
And as Hutch was talking about,
this whole neighborhood,

898
00:41:34,618 --> 00:41:37,579
this whole street is built houses
which seems crazy,

899
00:41:37,663 --> 00:41:39,373
but in order to create
the kind of destruction

900
00:41:39,456 --> 00:41:42,084
and the kind of control we needed,
we needed to build it.

901
00:41:42,834 --> 00:41:43,960
♪♪

902
00:41:49,424 --> 00:41:50,384
(Quicksilver screaming)

903
00:42:02,396 --> 00:42:04,022
Jean, stop!

904
00:42:04,106 --> 00:42:06,441
- I've got the shot. I'm taking...
- No, you're not.

905
00:42:07,109 --> 00:42:08,902
I'm sorry, Hank.
I want Raven to have a chance.

906
00:42:14,616 --> 00:42:16,410
I told you to stay away.

907
00:42:16,493 --> 00:42:18,120
KINBERG: This was a scene
that I would say we...

908
00:42:18,203 --> 00:42:20,539
we really dialed in over and over again.

909
00:42:20,622 --> 00:42:21,957
We reshot as well.

910
00:42:22,040 --> 00:42:24,000
I mean, all of these movies
have inevitable re-shoots.

911
00:42:24,084 --> 00:42:25,794
We've done that in every one
of these X-Men movies.

912
00:42:25,877 --> 00:42:28,004
I think pretty much every large-scale
movie these days has that

913
00:42:28,088 --> 00:42:30,090
because if you have
the luxury of doing it, why not?

914
00:42:30,173 --> 00:42:32,634
And we really dialed this...
tried to dial this in,

915
00:42:32,718 --> 00:42:37,139
so we would feel the inner struggle
that Jean was going through

916
00:42:37,222 --> 00:42:41,017
and we would create as much intimacy
as possible from Jennifer,

917
00:42:41,101 --> 00:42:42,728
so that this moment that's coming up,

918
00:42:42,811 --> 00:42:44,855
you would really feel the tragedy of.

919
00:42:44,938 --> 00:42:46,440
When it comes...

920
00:42:48,608 --> 00:42:50,026
people get hurt.

921
00:42:52,487 --> 00:42:53,989
And we did a lot of stuff,
like even in post

922
00:42:54,072 --> 00:42:56,908
of warping the imagery around Jen,

923
00:42:56,992 --> 00:42:59,786
so that you would feel
the point of view of Jean,

924
00:42:59,870 --> 00:43:02,706
of Sophie's character,
warping out her sound.

925
00:43:02,789 --> 00:43:05,751
This is another place that Lee Smith,
our editor, was really helpful.

926
00:43:05,834 --> 00:43:09,379
And subtle. But the, you know,
even Jean's hair moving that way

927
00:43:09,463 --> 00:43:14,301
was a visual effect
just to suggest that instability,

928
00:43:14,384 --> 00:43:18,138
even as you're really meant to be
focusing on the emotion on her face.

929
00:43:20,849 --> 00:43:22,184
(gasping)

930
00:43:24,519 --> 00:43:28,565
KINBERG: And this, Jennifer told me, is
the first time she has died in a movie.

931
00:43:31,943 --> 00:43:33,612
One of the things
I will say about this scene

932
00:43:33,695 --> 00:43:36,072
that I think is
the most in awe of,

933
00:43:36,156 --> 00:43:38,950
I would say proud of
but I just kind of stayed out of his way,

934
00:43:39,034 --> 00:43:40,452
was Nick's performance.

935
00:43:41,036 --> 00:43:43,163
I mean, Nick in general
I feel has been the sort of,

936
00:43:43,246 --> 00:43:45,707
the unsung hero of this franchise

937
00:43:45,791 --> 00:43:47,292
for the last however
many movies he's been in them

938
00:43:47,375 --> 00:43:48,919
because he's just
such a great actor.

939
00:43:49,002 --> 00:43:51,046
And he's not showy in terms
of his performance

940
00:43:51,129 --> 00:43:52,881
and the part doesn't have
the same kind of,

941
00:43:52,964 --> 00:43:55,467
you know, big flowery monologues
that some of the other actors have.

942
00:43:55,550 --> 00:43:59,638
But this moment of him having to act
and emote through,

943
00:43:59,721 --> 00:44:05,185
you know, pounds of blue makeup and
contact lenses... pretty extraordinary.

944
00:44:05,268 --> 00:44:08,063
I mean, even if it was just Nick,
it's still an extraordinary performance.

945
00:44:08,146 --> 00:44:12,609
But all of this, he really was very,
very focused and in the zone that day

946
00:44:12,692 --> 00:44:14,444
and I just kind of stayed out of his way,

947
00:44:14,528 --> 00:44:16,696
and didn't try to do too many takes

948
00:44:16,780 --> 00:44:19,366
because he was really giving a lot
in each one of these takes.

949
00:44:19,449 --> 00:44:21,910
And it was really hot out there
and he has that big suit on,

950
00:44:21,993 --> 00:44:27,040
but having to literally cry through
all of that itself is...

951
00:44:27,499 --> 00:44:28,542
PARKER: Yeah, it was a real achievement.

952
00:44:28,625 --> 00:44:30,252
- KINBERG: Yeah.
- PARKER: And a hard scene to shoot.

953
00:44:30,335 --> 00:44:32,295
- KINBERG: Yes.
- PARKER: In both, it's, you know,

954
00:44:32,379 --> 00:44:35,257
intensely emotional scene
and those are always hard days.

955
00:44:35,340 --> 00:44:38,176
But, you know,
there was no escaping the fact

956
00:44:38,260 --> 00:44:41,429
that we were killing off a character
that we really love

957
00:44:41,513 --> 00:44:46,434
and both that what that meant in terms
of wrapping Jen from the franchise,

958
00:44:46,518 --> 00:44:49,187
or what it meant for the change
of stakes in the movie.

959
00:44:49,271 --> 00:44:50,146
KINBERG: Mm.

960
00:44:52,732 --> 00:44:54,734
The word you used, stakes,
is an interesting one,

961
00:44:54,818 --> 00:44:56,653
because I think
that we all talked about this

962
00:44:56,736 --> 00:44:58,154
and it's really important to me,
from the beginning,

963
00:44:58,238 --> 00:45:00,073
because it's true in the Dark Phoenix Saga

964
00:45:00,156 --> 00:45:03,118
that the stakes are more really
life-and-death

965
00:45:03,201 --> 00:45:07,414
than has been in these movies
in the past for the heroes.

966
00:45:07,497 --> 00:45:09,541
I mean, obviously,
villains come and go and die,

967
00:45:09,624 --> 00:45:13,420
but heroes dying is something
that people are not used to,

968
00:45:13,503 --> 00:45:16,381
it just tells you
that everybody's at risk.

969
00:45:16,464 --> 00:45:20,176
And again, just adds a sort of level
of instability or tension

970
00:45:20,260 --> 00:45:22,971
to the rest of the movie
that I think is really valuable.

971
00:45:23,054 --> 00:45:25,098
And differentiates it
from other X-Men movies

972
00:45:25,181 --> 00:45:26,308
where people fall off of buildings.

973
00:45:26,391 --> 00:45:28,894
If there's any X-Men related movie

974
00:45:28,977 --> 00:45:31,688
that is the most inspiring to me
going into this film,

975
00:45:31,771 --> 00:45:32,981
it was Logan.

976
00:45:33,064 --> 00:45:37,527
And again, Hutch was really the producer
with Jim Mangold of Logan,

977
00:45:37,611 --> 00:45:41,948
and what you guys created was
something so real and so grounded.

978
00:45:42,032 --> 00:45:44,075
You know, this movie
is not as grounded as that.

979
00:45:44,159 --> 00:45:47,954
You couldn't have an X-Jet
and aliens and cosmic forces in Logan.

980
00:45:48,038 --> 00:45:52,250
But, the seriousness of purpose,
the emotionality of that film,

981
00:45:52,334 --> 00:45:53,793
I tried to bring into this movie,

982
00:45:53,877 --> 00:45:56,755
all of these scenes,
the performances, you know,

983
00:45:56,838 --> 00:45:59,132
I talked to each of the actors
I would say to Jen,

984
00:45:59,215 --> 00:46:01,092
you know, "Play this like,
you know, a David O'Russell movie."

985
00:46:01,176 --> 00:46:03,428
For Michael Fassbender it was like,
you know,

986
00:46:03,511 --> 00:46:06,097
"As if you're in a Steve McQueen,
the director, Steve McQueen movie.

987
00:46:06,181 --> 00:46:08,350
Don't treat this
like you're in a cartoon.

988
00:46:08,433 --> 00:46:12,354
Treat this like you're in a serious,
humanistic drama."

989
00:46:12,437 --> 00:46:13,605
And I think that that was something

990
00:46:13,688 --> 00:46:15,899
that you guys did
so extraordinarily well in Logan,

991
00:46:15,982 --> 00:46:18,026
and I tried to bring to this as well,

992
00:46:18,109 --> 00:46:22,155
even though the circumstances of this
are more unrealistic.

993
00:46:23,323 --> 00:46:25,951
PARKER: I learned a lot from Jim
in that regard

994
00:46:26,034 --> 00:46:28,954
in the conviction he had
to depict the violence,

995
00:46:29,037 --> 00:46:30,830
but have consequences.

996
00:46:31,247 --> 00:46:35,001
And it's part of...
in our conversations on this one,

997
00:46:35,085 --> 00:46:40,048
you know, the rationale behind
killing off a main character like Raven.

998
00:46:40,131 --> 00:46:45,220
Without that, you don't really have
the threat of consequence that you need

999
00:46:45,303 --> 00:46:47,472
to earn the emotional triumph at the end.

1000
00:46:48,765 --> 00:46:52,602
To me, her death really does underpin
the ending of the movie.

1001
00:46:52,686 --> 00:46:55,146
- KINBERG: Right.
- PARKER: And earn the choice by Jean.

1002
00:46:55,730 --> 00:46:57,732
And then, by the time
you realize who they are...

1003
00:46:59,651 --> 00:47:00,902
it's too late.

1004
00:47:01,903 --> 00:47:02,862
(thundering)

1005
00:47:05,949 --> 00:47:06,825
♪♪

1006
00:47:26,094 --> 00:47:30,432
Do you know, this is
where I first met Raven.

1007
00:47:32,350 --> 00:47:33,268
(chuckles)

1008
00:47:34,894 --> 00:47:38,356
She was just this little girl, and...

1009
00:47:38,440 --> 00:47:39,524
she'd broken in...

1010
00:47:39,607 --> 00:47:41,693
KINBERG: This is one of my favorite
scenes in the movie.

1011
00:47:41,776 --> 00:47:43,486
Because it's not a scene
that you would expect

1012
00:47:43,570 --> 00:47:47,032
in a summer tentpole superhero film.

1013
00:47:47,115 --> 00:47:50,368
It's just a drama dialogue scene
between two really great actors.

1014
00:47:50,744 --> 00:47:53,371
It's emotional.
It's complicated. It's messy.

1015
00:47:53,705 --> 00:47:56,166
And they're both just...
they're just great actors

1016
00:47:56,249 --> 00:47:58,710
and I just got to step back
and watch them act.

1017
00:47:58,793 --> 00:48:00,295
And again, I think this is
one of those places

1018
00:48:00,378 --> 00:48:03,882
where Nick traditionally, in this movie,
Hank, traditionally in the comics,

1019
00:48:03,965 --> 00:48:07,677
and in this franchise of movies
has been this sort of lapdog,

1020
00:48:07,761 --> 00:48:10,430
for lack of a less punny metaphor,

1021
00:48:10,513 --> 00:48:11,973
has been a lapdog of Charles

1022
00:48:12,057 --> 00:48:15,602
and for him to actually go after Charles
and ultimately turn on Charles

1023
00:48:15,685 --> 00:48:19,147
felt really fresh and different
and like an opportunity for Nick

1024
00:48:19,230 --> 00:48:21,775
as he's growing up to be a man...

1025
00:48:22,442 --> 00:48:24,527
to break from the father.

1026
00:48:24,861 --> 00:48:27,155
And I thought that was something
that, you know, would feel

1027
00:48:27,238 --> 00:48:29,449
and certainly is just
empirically different

1028
00:48:29,532 --> 00:48:30,617
than what we've done in the past.

1029
00:48:30,700 --> 00:48:34,746
PARKER: One of the things I like best
about what Simon did in the script

1030
00:48:34,829 --> 00:48:39,334
was try to give everybody
new dimension and new moments,

1031
00:48:39,417 --> 00:48:42,337
so we see a different
thoughtfulness from Raven

1032
00:48:42,420 --> 00:48:44,005
in the way she's critiquing Charles.

1033
00:48:44,089 --> 00:48:48,384
We see Hank finally
rises up and challenges Charles,

1034
00:48:48,468 --> 00:48:53,181
even breaks with him to align,
obviously, with Magneto.

1035
00:48:53,264 --> 00:48:55,809
We see a whole different
dimension from Magneto.

1036
00:48:55,892 --> 00:48:58,394
And it's true of everybody
from Scott to Storm,

1037
00:48:58,478 --> 00:49:00,105
obviously, for Jean.

1038
00:49:00,188 --> 00:49:04,567
But that was exciting
from a storytelling perspective

1039
00:49:04,651 --> 00:49:09,864
to get to see these actors sink
their teeth into some new juicy material.

1040
00:49:09,948 --> 00:49:12,784
And in that scene, I think
Nick did a fantastic job

1041
00:49:12,867 --> 00:49:15,328
and it's the kind of thing we had
never given him a chance to do.

1042
00:49:15,411 --> 00:49:17,205
And really gratifying to see

1043
00:49:17,288 --> 00:49:20,458
how richly talented they all are
when given the chance.

1044
00:49:20,959 --> 00:49:22,502
Why did I do that?

1045
00:49:23,920 --> 00:49:24,838
(sobbing)

1046
00:49:40,562 --> 00:49:42,147
- PARKER: That's our neighborhood.
- KINBERG: Yeah.

1047
00:49:43,439 --> 00:49:46,818
One of those days where it was raining
when we didn't want it to rain

1048
00:49:46,901 --> 00:49:48,570
and not raining when we wanted it to rain.

1049
00:49:48,653 --> 00:49:50,697
So, just...

1050
00:49:51,406 --> 00:49:52,740
- PARKER: Kind of roll with it.
- KINBERG: Yeah.

1051
00:49:52,824 --> 00:49:55,243
Turned on some towers
and kept it raining.

1052
00:49:58,454 --> 00:50:01,666
I like using the backs
of people's heads in movies.

1053
00:50:01,749 --> 00:50:03,293
I think it's more dramatic sometimes,

1054
00:50:03,376 --> 00:50:06,629
and obviously Jessica had
this incredible mane of white hair

1055
00:50:06,713 --> 00:50:07,964
so there's a few shots.

1056
00:50:08,047 --> 00:50:09,883
That was a minor one
because it wasn't in close-up

1057
00:50:09,966 --> 00:50:11,718
though we did shoot a close-up
we didn't use.

1058
00:50:11,801 --> 00:50:14,929
Where we're really focusing
on the back of her head.

1059
00:50:17,849 --> 00:50:20,727
This performance from Jess,
we really talked a lot about

1060
00:50:20,810 --> 00:50:22,353
and the metaphor we came up with

1061
00:50:22,437 --> 00:50:25,190
was this notion of like
this sort of the veterinarian

1062
00:50:25,273 --> 00:50:28,902
who's telling you that your animal
is sick and needs to be put down.

1063
00:50:28,985 --> 00:50:33,364
There's like a sort
of eerie kindness to her

1064
00:50:33,448 --> 00:50:35,450
that's lethal, ultimately,

1065
00:50:35,533 --> 00:50:38,286
but isn't coming in as aggressive.

1066
00:50:38,369 --> 00:50:40,496
It's coming in quiet, kind.

1067
00:50:40,580 --> 00:50:42,498
And Jess really inhabited that.

1068
00:50:42,582 --> 00:50:44,209
PARKER: She's such an amazing actress.

1069
00:50:44,292 --> 00:50:46,085
- KINBERG: Yeah, she is.
- PARKER: Just remarkable.

1070
00:50:50,381 --> 00:50:51,716
Maybe...

1071
00:50:53,843 --> 00:50:56,471
KINBERG: What's fun about Jess
is that she can be so serious,

1072
00:50:56,554 --> 00:50:58,097
and so focused and precise

1073
00:50:58,181 --> 00:51:01,142
and you see how precise
that little purse of her lips is.

1074
00:51:01,226 --> 00:51:03,937
But she's also just a really fun person.

1075
00:51:04,020 --> 00:51:06,272
So, you know, the second the camera cuts

1076
00:51:06,356 --> 00:51:08,358
when you're in between shots
or in between set ups,

1077
00:51:08,441 --> 00:51:13,071
she's goofing off and practical joking
and she's just a very different person.

1078
00:51:13,154 --> 00:51:16,074
She's very in control
of her instrument as an actress.

1079
00:51:16,157 --> 00:51:17,492
And so, she can turn it on and off.

1080
00:51:17,575 --> 00:51:19,077
She doesn't have to stay
in the entire time.

1081
00:51:19,869 --> 00:51:21,871
(screaming)

1082
00:51:23,998 --> 00:51:26,876
KINBERG: This was something cool that I've
been wanting to do an X-Men movie

1083
00:51:26,960 --> 00:51:30,797
going all the way back to X-Men:
The Last Stand which is create Genosha,

1084
00:51:30,880 --> 00:51:34,050
the mutant homeland that Magneto
creates in the comic,

1085
00:51:34,133 --> 00:51:37,053
almost like the mutant Israel.
I say that as a Jew.

1086
00:51:38,179 --> 00:51:39,931
And I've always wanted to do it

1087
00:51:40,014 --> 00:51:41,641
and had an opportunity
to do it in this movie.

1088
00:51:41,724 --> 00:51:44,560
And instead of making it look like
the way it looks in the comics,

1089
00:51:44,644 --> 00:51:48,856
which is this sort of bright
and shiny, silvery Neverland

1090
00:51:48,940 --> 00:51:51,442
I wanted it to feel
like Genosha sort of 1.0.

1091
00:51:51,526 --> 00:51:54,737
So, the idea was that Magneto
has lifted anything

1092
00:51:54,821 --> 00:51:57,490
that's metal on the base of the ocean
and picked it up

1093
00:51:57,573 --> 00:52:01,160
and used it to create these domiciles,
these structures for people to live in.

1094
00:52:01,244 --> 00:52:03,579
And we're seeing
the very beginning of Genosha.

1095
00:52:05,873 --> 00:52:07,000
Who are you?

1096
00:52:09,043 --> 00:52:10,503
What are you doing here?

1097
00:52:14,299 --> 00:52:15,842
Answer the question.

1098
00:52:18,177 --> 00:52:19,971
KINBERG: Andrew here, by the way,
the guy with the dreadlocks,

1099
00:52:20,054 --> 00:52:23,850
was a stuntman who was just so good
at doing the stunt rehearsals

1100
00:52:23,933 --> 00:52:25,601
and had such a great voice and face

1101
00:52:25,685 --> 00:52:28,021
that we ended up
casting him as the character.

1102
00:52:28,104 --> 00:52:29,397
Leave her.

1103
00:52:31,357 --> 00:52:32,650
Why are you here?

1104
00:52:36,738 --> 00:52:38,489
KINBERG: Michael really liked this idea,

1105
00:52:38,573 --> 00:52:40,700
he loved the idea of using Genosha
for the first time in the movie

1106
00:52:40,783 --> 00:52:43,119
because he's someone really,
really steeped in the comics.

1107
00:52:43,202 --> 00:52:47,290
But he liked this idea of like
almost Marlon Brando in Apocalypse Now,

1108
00:52:47,373 --> 00:52:49,584
this like, you know,
like it was a commune

1109
00:52:49,667 --> 00:52:54,088
and he was a cult leader, so to speak.
He wanted to be dressed in big, I think,

1110
00:52:54,172 --> 00:52:56,299
I can't remember
if it was white or black robes.

1111
00:52:56,382 --> 00:52:57,759
I feel like that was maybe
a little too much

1112
00:52:57,842 --> 00:53:00,928
but he is in pretty
monochromatic outfits

1113
00:53:01,012 --> 00:53:05,141
and he is in this peaceful place
in his life before she shows up.

1114
00:53:06,309 --> 00:53:09,729
And he's just one of these actors
where, like, you just turned the camera on

1115
00:53:09,812 --> 00:53:14,233
and he does so little
and yet expresses so much.

1116
00:53:14,317 --> 00:53:15,943
I don't know
if there's another actor like him

1117
00:53:16,027 --> 00:53:19,822
that can do as much with just his eyes.
Really expressive eyes.

1118
00:53:20,907 --> 00:53:21,866
Look...

1119
00:53:22,450 --> 00:53:25,411
PARKER: Yeah, and he's so calm
in his performance.

1120
00:53:25,495 --> 00:53:27,121
This was a pretty great scene.

1121
00:53:27,205 --> 00:53:31,501
I remember shooting this and being
blown away by pretty much everything,

1122
00:53:31,584 --> 00:53:36,923
by the look of the set,
by the way in which Sophie came into it

1123
00:53:37,006 --> 00:53:40,676
and rose to the challenge
of a scene with Michael.

1124
00:53:40,760 --> 00:53:43,221
And I remember Michael
commenting to both of us

1125
00:53:43,304 --> 00:53:45,932
how impressed he was with Sophie

1126
00:53:46,015 --> 00:53:48,893
and how extraordinary she was
as an actress in this scene.

1127
00:53:49,977 --> 00:53:51,145
Credit to you, too, by the way.

1128
00:53:51,229 --> 00:53:53,523
KINBERG: Yeah, I appreciate that.
But I mean what's been...

1129
00:53:53,606 --> 00:53:56,025
what was lovely was
that each of the actors...

1130
00:53:56,109 --> 00:53:59,112
Sophie naturally was probably
a little intimidated by Michael.

1131
00:53:59,195 --> 00:54:02,156
James, Jessica, Jennifer,

1132
00:54:02,240 --> 00:54:04,951
all of them, when they first
were acting across from her,

1133
00:54:05,034 --> 00:54:07,745
would come up to me
after the first take or two,

1134
00:54:07,829 --> 00:54:09,414
and say, "My God, she's incredible,"

1135
00:54:09,497 --> 00:54:11,916
because she really wasn't given
an opportunity in Apocalypse to do much

1136
00:54:11,999 --> 00:54:13,876
because obviously, there were so many
different characters in that movie

1137
00:54:13,960 --> 00:54:17,588
and they were doing... each had
a little tiny piece of the pie.

1138
00:54:17,672 --> 00:54:19,549
And she had a very small piece
of the pie in that film.

1139
00:54:19,632 --> 00:54:22,885
So, them seeing her as really
the leading, obviously,

1140
00:54:22,969 --> 00:54:26,097
the leading actor
in this film and again,

1141
00:54:26,180 --> 00:54:28,558
all of the different emotional colors
she had to play,

1142
00:54:28,641 --> 00:54:33,187
each of these actors who are
so experienced and so extraordinary,

1143
00:54:33,271 --> 00:54:34,439
they were impressed.

1144
00:54:34,522 --> 00:54:37,650
I would tell her and it would
give her even more confidence.

1145
00:54:37,733 --> 00:54:38,901
...lose control...

1146
00:54:41,529 --> 00:54:44,282
things happen, bad things...

1147
00:54:46,909 --> 00:54:48,578
to people I love.

1148
00:54:55,501 --> 00:54:56,836
Whose blood is that?

1149
00:54:59,380 --> 00:55:01,174
Isn't that why you came here?

1150
00:55:01,257 --> 00:55:03,342
- What do you think I can do for you?
- I don't know!

1151
00:55:03,426 --> 00:55:05,761
Yes, you do.
Whose blood is that?

1152
00:55:05,845 --> 00:55:07,054
- I don't wanna talk about it.
- Did you hurt...

1153
00:55:07,138 --> 00:55:09,474
KINBERG: So funny. There was that moment
where he puts the cup down

1154
00:55:09,557 --> 00:55:11,476
and he kind of misses with the cup
and then puts it...

1155
00:55:11,559 --> 00:55:13,227
there's just little things in movies

1156
00:55:13,311 --> 00:55:15,480
when you like make a movie
that you notice.

1157
00:55:15,563 --> 00:55:17,148
Some of them you love as mistakes

1158
00:55:17,231 --> 00:55:18,858
and some of them kind of annoy
you a little bit.

1159
00:55:18,941 --> 00:55:21,694
That one annoys me a little bit
because I feel like there was...

1160
00:55:21,777 --> 00:55:23,696
I always was looking
for a cleaner version of him

1161
00:55:23,779 --> 00:55:26,616
putting the cup down but there -
and there were cleaner versions

1162
00:55:26,699 --> 00:55:30,161
but his performance wasn't quite
as aggressive and strong.

1163
00:55:30,244 --> 00:55:32,997
And so, I just left
with the miss of the cup

1164
00:55:33,080 --> 00:55:34,582
which feels like the real world.

1165
00:55:35,333 --> 00:55:36,459
(chopper whirring)

1166
00:55:43,299 --> 00:55:45,343
KINBERG: Now, this sequence
is one of my favorites in the movie

1167
00:55:45,426 --> 00:55:46,802
partly because it's all real.

1168
00:55:46,886 --> 00:55:49,222
I mean, not all but it's...
the vast majority of it is real.

1169
00:55:49,305 --> 00:55:53,100
These are, obviously, those are
real choppers that are flying in

1170
00:55:53,851 --> 00:55:56,729
but our special-effects again,
practical effects, Cam,

1171
00:55:56,812 --> 00:55:59,065
who was the head
of special-effects for us,

1172
00:55:59,148 --> 00:56:02,777
he created rigs where he could take
the bucks of these choppers...

1173
00:56:02,860 --> 00:56:06,155
so everything except for the propellers...
and remote control them.

1174
00:56:06,239 --> 00:56:08,783
So, the first one that's about to go
spinning on the ground

1175
00:56:08,866 --> 00:56:11,619
is in fact spinning on the ground,
and he had explosives in the ground

1176
00:56:11,702 --> 00:56:14,622
that would be like the propeller
ripping open the ground.

1177
00:56:14,705 --> 00:56:17,542
And the second one,
which we'll get to pretty shortly,

1178
00:56:17,625 --> 00:56:21,796
he brought in two big crane arms
and built a crane wire

1179
00:56:21,879 --> 00:56:23,589
that was going between
the two crane arms

1180
00:56:23,673 --> 00:56:28,594
that was capable of holding
I think up to 4000 pounds.

1181
00:56:28,678 --> 00:56:33,015
And he had the chopper
on that wire remote-controlled,

1182
00:56:33,099 --> 00:56:36,769
so it could go in and out, closer,
further away from Sophie and Michael

1183
00:56:36,852 --> 00:56:38,688
with everything
but the propeller because obviously,

1184
00:56:38,771 --> 00:56:41,023
were not going to put them close
to a moving propeller

1185
00:56:41,107 --> 00:56:42,400
but we had massive rotor fans

1186
00:56:42,483 --> 00:56:45,319
that were mimicking what it would be
like for the propeller to be that close.

1187
00:56:45,403 --> 00:56:48,531
But literally, they were
interacting with a real helicopter.

1188
00:56:49,282 --> 00:56:50,700
Then step aside.

1189
00:56:51,617 --> 00:56:54,579
We have the same rights
as you and your family.

1190
00:56:54,662 --> 00:56:56,581
And like I said, we're not here for...

1191
00:56:56,664 --> 00:56:58,541
KINBERG: The soldiers
you're shortly going to see

1192
00:56:58,624 --> 00:57:00,334
running and jumping onto that chopper

1193
00:57:00,418 --> 00:57:02,211
are running and jumping onto a chopper

1194
00:57:02,295 --> 00:57:07,216
that is in fact there, 10-15 feet
off the ground and it's just again,

1195
00:57:07,300 --> 00:57:10,928
there's some part of the audience's
brain that recognizes real physics,

1196
00:57:11,012 --> 00:57:16,017
and so sees a sequence like this
and recognizes that it is real in a way

1197
00:57:16,100 --> 00:57:17,768
that it wouldn't be in
almost any other movie.

1198
00:57:17,852 --> 00:57:21,022
And for the actors... so, right here,
that's a real chopper.

1199
00:57:22,023 --> 00:57:23,441
I said stop that right now!

1200
00:57:23,524 --> 00:57:26,110
KINBERG: The propeller is obviously fake
because that would be dangerous.

1201
00:57:27,486 --> 00:57:32,700
But as this happens, you will see,
that chopper does rise a little bit

1202
00:57:33,701 --> 00:57:37,038
and then twists real...

1203
00:57:38,581 --> 00:57:42,043
and this is all the chopper
on a rig spinning around

1204
00:57:43,502 --> 00:57:46,088
and explosives going off
in all the places.

1205
00:57:46,172 --> 00:57:50,009
That's obviously fake because we would
not risk Michael Fassbender's life.

1206
00:57:50,092 --> 00:57:54,347
But this now is that chopper
that's on the wire

1207
00:57:54,430 --> 00:57:56,766
and it is everything
but the propeller is real.

1208
00:57:58,225 --> 00:58:02,104
And it's, you know, 3000,
4000-pound metal object

1209
00:58:02,188 --> 00:58:05,608
that's going closer to them,
that's going further away from them...

1210
00:58:07,234 --> 00:58:09,820
with massive fans
blowing on them to simulate the wind.

1211
00:58:10,613 --> 00:58:14,283
That's a camera inside the real buck
of the chopper that's filming them.

1212
00:58:14,909 --> 00:58:15,910
(yelling)

1213
00:58:16,577 --> 00:58:19,997
PARKER: It's also hugely helpful
to the visual effects guys

1214
00:58:20,081 --> 00:58:23,751
to have real elements
in the frame to build off of.

1215
00:58:24,585 --> 00:58:27,797
It's what allows you to help
make this feel photo real...

1216
00:58:29,090 --> 00:58:32,760
and as Simon said, give you the feeling,
you know, unconsciously

1217
00:58:32,843 --> 00:58:35,179
that this is conforming
to real physics.

1218
00:58:36,222 --> 00:58:38,349
It just makes,
it makes all the difference.

1219
00:58:39,642 --> 00:58:41,811
KINBERG: That's the first shot that's
a visual effects shot of a chopper

1220
00:58:41,894 --> 00:58:44,063
because obviously,
that we couldn't control.

1221
00:58:54,657 --> 00:58:55,658
MAGNETO: Go!

1222
00:58:57,952 --> 00:59:00,121
- Leave this place!
- I need your help!

1223
00:59:00,204 --> 00:59:02,164
I thought you protected mutants here.

1224
00:59:02,248 --> 00:59:05,084
I am protecting them... from you.

1225
00:59:07,044 --> 00:59:08,421
You need to leave.

1226
00:59:09,380 --> 00:59:10,464
Go!

1227
00:59:13,384 --> 00:59:15,261
♪♪

1228
00:59:28,065 --> 00:59:30,234
REPORTER: Word coming late tonight
that Congress is considering

1229
00:59:30,317 --> 00:59:33,154
temporary mutant internment facilities
for those...

1230
00:59:33,237 --> 00:59:34,947
PARKER: Just fun to watch Michael.

1231
00:59:35,030 --> 00:59:38,367
KINBERG: No, I know, I think we were both
sitting here mesmerized,

1232
00:59:38,451 --> 00:59:42,663
awe/crushing out
on Michael Fassbender.

1233
00:59:42,747 --> 00:59:45,082
...attacking police
and military personnel...

1234
00:59:50,713 --> 00:59:53,466
That news conference there was
something we went back and forth

1235
00:59:53,549 --> 00:59:56,719
on just how severe we wanted
the human reaction to be.

1236
00:59:56,802 --> 01:00:00,014
Initially, the reaction was
more severe than that but felt like,

1237
01:00:00,097 --> 01:00:01,515
we didn't want it to feel
as though all of a sudden

1238
01:00:01,599 --> 01:00:05,978
they were going from embracing the X-Men
to interning the X-Men.

1239
01:00:06,061 --> 01:00:09,732
So, there was, there was
a sort of middle ground that I found

1240
01:00:09,815 --> 01:00:12,109
and we reshot the anchorman.

1241
01:00:12,193 --> 01:00:14,862
...everything that we've accomplished.
You have to give us a chance.

1242
01:00:14,945 --> 01:00:15,905
(line busy tone)

1243
01:00:21,702 --> 01:00:25,331
PARKER: And if you notice, Charles's
wardrobe starts to kind of deconstruct

1244
01:00:25,414 --> 01:00:27,333
as we get later in the movie,

1245
01:00:27,416 --> 01:00:30,419
sort of mirroring his somewhat unraveling,

1246
01:00:30,503 --> 01:00:33,130
but having to look at himself anew

1247
01:00:33,214 --> 01:00:36,175
and basically take responsibility
for what he's done,

1248
01:00:36,258 --> 01:00:39,178
but also start to be
more honest with himself, I think.

1249
01:00:39,261 --> 01:00:40,679
...citizens to keep their distance.

1250
01:00:40,763 --> 01:00:43,599
Any sighting should be reported
to the police immediately.

1251
01:00:43,933 --> 01:00:45,476
Government officials have...

1252
01:00:45,976 --> 01:00:47,686
KINBERG: This is one of my favorite scenes
in the movie.

1253
01:00:47,770 --> 01:00:51,315
It's a scene I wrote pretty early on
that I rewrote a few times

1254
01:00:51,398 --> 01:00:54,944
of the first interaction between
Jean and Jessica's character.

1255
01:01:00,282 --> 01:01:03,077
And this notion that Jean
is controlling everybody's mind

1256
01:01:03,160 --> 01:01:06,163
but Jessica's mind can't be controlled
is, I guess, pretty subtle

1257
01:01:06,247 --> 01:01:08,290
because some people don't catch it
or don't fully understand it.

1258
01:01:08,374 --> 01:01:10,417
But I just thought was a cool way

1259
01:01:10,501 --> 01:01:13,003
to reveal
you're sort of watching the scene,

1260
01:01:13,087 --> 01:01:15,506
wondering why you're watching
an older gentleman

1261
01:01:16,048 --> 01:01:18,008
drinking before this transformation.

1262
01:01:22,179 --> 01:01:25,057
PARKER: Wasn't this our first day
with Jessica? Or maybe the second half?

1263
01:01:25,140 --> 01:01:27,768
Didn't we do something the first half
and then moved to this...?

1264
01:01:27,852 --> 01:01:29,019
KINBERG: Yeah, it may be.

1265
01:01:29,103 --> 01:01:30,271
PARKER: This location.

1266
01:01:30,354 --> 01:01:34,984
It's a small bar in Montréal
but had this great look and feel.

1267
01:01:35,067 --> 01:01:36,360
KINBERG: Yeah.

1268
01:01:37,444 --> 01:01:40,155
Let's just say I have friends
in high places.

1269
01:01:42,032 --> 01:01:43,701
Who are you?

1270
01:01:44,285 --> 01:01:45,744
The better question is...

1271
01:01:46,662 --> 01:01:47,913
who are you?

1272
01:01:48,289 --> 01:01:51,166
KINBERG: And I'm a big believer in that
even though Jessica and I are friends

1273
01:01:51,250 --> 01:01:53,419
and we were friends from having
made The Martian together,

1274
01:01:53,502 --> 01:01:56,255
I think this monologue in here is why
she decided to do the movie.

1275
01:01:56,338 --> 01:01:59,091
Because I think there's...
there's a thematic

1276
01:01:59,174 --> 01:02:02,344
and even political element to this
that was compelling to her.

1277
01:02:02,428 --> 01:02:03,846
And is compelling to me as well.

1278
01:02:03,929 --> 01:02:06,724
I mean a movie that is
a female protagonist movie,

1279
01:02:06,807 --> 01:02:09,143
I wanted it to be more than
just a female protagonist movie.

1280
01:02:09,226 --> 01:02:12,104
I wanted it to actually explore,
like I was saying earlier,

1281
01:02:12,187 --> 01:02:14,106
this sort of patriarchal
side of Charles.

1282
01:02:14,189 --> 01:02:17,693
I also want to explore
the empowerment of a female character

1283
01:02:17,776 --> 01:02:21,572
in a male dominated,
not just world, but candidly, genre.

1284
01:02:22,239 --> 01:02:24,450
And so, this notion of antiquated words

1285
01:02:24,533 --> 01:02:27,036
created by men a long time ago
with very little minds,

1286
01:02:27,119 --> 01:02:31,373
something that I thought Jess would dig.
And she did.

1287
01:02:31,457 --> 01:02:34,251
They can't begin to comprehend
what you are.

1288
01:02:34,919 --> 01:02:36,003
Even your X-men.

1289
01:02:36,086 --> 01:02:37,963
KINBERG: And we had a slightly
longer version of this scene

1290
01:02:38,047 --> 01:02:41,675
that didn't do much else other than do
a little bit more convincing

1291
01:02:41,759 --> 01:02:45,095
and then we cut it, or Lee cut it
because going out on a smile,

1292
01:02:45,179 --> 01:02:48,766
that sort of eerie smile was a stronger
way to go out than another line.

1293
01:02:48,849 --> 01:02:50,851
- What?
- Hank's not in class.

1294
01:02:52,645 --> 01:02:53,771
Did you check his quarters?

1295
01:02:54,229 --> 01:02:55,564
Yeah, he's not there either.

1296
01:03:02,154 --> 01:03:05,449
KINBERG: And then this is where I think,
to me, as we were conceiving the movie

1297
01:03:05,532 --> 01:03:07,952
and thinking about
how do you break a family up,

1298
01:03:08,035 --> 01:03:09,453
it's not just about breaking a family up,

1299
01:03:09,536 --> 01:03:13,123
but it's about switching allegiances
and creating new families,

1300
01:03:13,207 --> 01:03:17,378
and this notion that Hank becomes
part of Magneto's family

1301
01:03:17,461 --> 01:03:19,254
is something that wouldn't have
been fathomable

1302
01:03:19,338 --> 01:03:20,464
a movie or four movies ago

1303
01:03:20,547 --> 01:03:23,425
especially, as they were enemies
for Mystique's affection.

1304
01:03:24,301 --> 01:03:26,762
- She's gone.
- No, I know that.

1305
01:03:27,304 --> 01:03:28,722
Then why are you here, Hank?

1306
01:03:29,682 --> 01:03:31,100
You have eyes and ears
around the world

1307
01:03:31,183 --> 01:03:32,643
to help you find mutants
for this place.

1308
01:03:32,726 --> 01:03:36,772
KINBERG: This was an interesting day
on set because we had scouted a location

1309
01:03:36,855 --> 01:03:38,607
for this interaction
to take place that was...

1310
01:03:38,691 --> 01:03:42,403
- PARKER: That's right.
- KINBERG: ...like kind of a forest

1311
01:03:42,486 --> 01:03:44,029
but when we got there,
it wasn't really a forest,

1312
01:03:44,113 --> 01:03:46,281
it was like a tree and some grass,

1313
01:03:46,365 --> 01:03:48,617
and it felt like it was going to be
kind of anticlimactic

1314
01:03:48,701 --> 01:03:52,955
to have this face-to-face between
these actors who have been enemies

1315
01:03:53,038 --> 01:03:56,875
and this moment for Magneto learning
this thing about the woman he loves.

1316
01:03:56,959 --> 01:03:58,210
And then we were just walking around

1317
01:03:58,293 --> 01:04:00,796
and saw all the wreckage that was
still there from having shot there

1318
01:04:00,879 --> 01:04:04,133
and it felt like this was
the right place to stage it.

1319
01:04:04,216 --> 01:04:07,469
And Michael, because he's so extraordinary
at using everything that he's given,

1320
01:04:07,553 --> 01:04:12,433
was his decision to make this move
toward the skids of the chopper.

1321
01:04:12,516 --> 01:04:15,936
Weirdly, this became a really interesting
environment for these two guys,

1322
01:04:16,020 --> 01:04:18,272
because it's a world of destruction

1323
01:04:18,355 --> 01:04:20,858
at a time when the family's
being destroyed.

1324
01:04:21,150 --> 01:04:23,402
I need you to help me find Jean.

1325
01:04:29,450 --> 01:04:31,785
If I find her, I'll kill her.

1326
01:04:33,370 --> 01:04:34,371
I know.

1327
01:04:35,873 --> 01:04:37,124
(honking)

1328
01:04:43,505 --> 01:04:45,674
KINBERG: This is a little bit of a build

1329
01:04:45,758 --> 01:04:49,470
and a lot of visual effect in the
background to make it look like New York.

1330
01:04:49,553 --> 01:04:52,848
PARKER: Yeah, that's actually
on a big sound stage in Montréal.

1331
01:04:53,974 --> 01:04:55,142
KINBERG: And this is a set.

1332
01:04:55,225 --> 01:04:57,102
Everything that takes place in here
from this point forward

1333
01:04:57,186 --> 01:04:59,271
and there's a lot
that takes place in here,

1334
01:04:59,354 --> 01:05:02,608
is a beautiful set that Claude Pare
art designed, production designed,

1335
01:05:02,691 --> 01:05:07,362
and initially we had thought of it
as the French Consulate

1336
01:05:07,446 --> 01:05:11,700
and then as you see on the ground,
that rug would indicate French Consulate

1337
01:05:11,784 --> 01:05:14,578
and then we kind of didn't really
explore that much more deeply than that.

1338
01:05:14,661 --> 01:05:18,123
But I think Claude Pare...
emphasis on Claude and Pare,

1339
01:05:18,207 --> 01:05:21,001
liked the idea of representing
the French in this movie.

1340
01:05:21,168 --> 01:05:25,923
(in alien language) If she can't
control it, then we will destroy it.

1341
01:05:27,841 --> 01:05:28,926
♪♪

1342
01:05:31,678 --> 01:05:33,305
KINBERG: And this is a scene
that we reshot.

1343
01:05:33,388 --> 01:05:35,891
Initially, this scene
didn't really give information

1344
01:05:35,974 --> 01:05:38,519
about what it is
that happened to Jean in space.

1345
01:05:38,602 --> 01:05:41,438
It didn't really give information about
the cosmic force that was inside Jean.

1346
01:05:41,522 --> 01:05:47,361
And felt like as much as I wanted
the character of Jessica to be mysterious,

1347
01:05:47,444 --> 01:05:50,489
there's a certain point
at which mystery becomes enigma.

1348
01:05:50,572 --> 01:05:52,741
And you're just sort of detached.

1349
01:05:52,825 --> 01:05:56,078
And so, this became an opportunity
for Jessica to explain

1350
01:05:56,161 --> 01:05:59,998
what she was doing down here,
why she was drawn here

1351
01:06:00,082 --> 01:06:02,417
and most importantly,
what was happening to Jean.

1352
01:06:02,501 --> 01:06:05,295
And this became this big visual
effects sequence.

1353
01:06:05,379 --> 01:06:09,258
And I will say, with the most profound
respect to Phil and Kurt,

1354
01:06:09,341 --> 01:06:11,510
our visual effects supervisor
and producer,

1355
01:06:11,593 --> 01:06:15,180
they created this entire sequence
pretty late in the process

1356
01:06:15,264 --> 01:06:16,974
so they didn't have
a whole lot of time to do it

1357
01:06:17,057 --> 01:06:18,809
and it still looks really amazing.

1358
01:06:18,892 --> 01:06:19,893
VUK: ...that force.

1359
01:06:19,977 --> 01:06:21,311
JEAN: Why?

1360
01:06:22,271 --> 01:06:25,065
Because it's the spark that gave
life to the universe...

1361
01:06:25,941 --> 01:06:28,485
and the flame that consumed my world.

1362
01:06:33,365 --> 01:06:34,908
What remains of my people...

1363
01:06:34,992 --> 01:06:37,619
KINBERG: And it's true to the characters
of the D'Bari obviously,

1364
01:06:37,703 --> 01:06:39,997
well, not obviously, I say that
to hard-core fans of the comic.

1365
01:06:40,080 --> 01:06:43,167
Their planet was destroyed
by the Phoenix force.

1366
01:06:45,210 --> 01:06:47,004
Why me?

1367
01:06:47,671 --> 01:06:49,923
Because you're stronger than you know.

1368
01:06:51,508 --> 01:06:53,427
Because you're special, Jean.

1369
01:06:58,724 --> 01:07:00,350
With my help...

1370
01:07:00,559 --> 01:07:03,103
KINBERG: And I wanted this
in some ways to echo

1371
01:07:03,187 --> 01:07:07,441
the appeal that Charles makes to young
Jean at the beginning of the movie.

1372
01:07:07,524 --> 01:07:11,737
Even using the word special
was intentional.

1373
01:07:11,820 --> 01:07:13,739
At the beginning,
Charles was sort of appealing to her

1374
01:07:13,822 --> 01:07:15,032
for what he believes to be good,

1375
01:07:15,115 --> 01:07:19,203
and now Jessica's appealing to her
for what she believes to be good.

1376
01:07:19,286 --> 01:07:21,121
But for both of them,
there's an element of it

1377
01:07:21,205 --> 01:07:25,375
that's empowering them and their agenda.
And by the end of this movie,

1378
01:07:25,459 --> 01:07:29,046
Jean chooses her own agenda
to save the people that she loves.

1379
01:07:29,129 --> 01:07:32,591
And that's the arc of the movie for me,
is that she's child to neither

1380
01:07:32,674 --> 01:07:35,636
and becomes the grown up
that's making her own decisions.

1381
01:07:35,719 --> 01:07:38,555
But here, she's
sort of in the seduction process

1382
01:07:38,639 --> 01:07:42,976
of being turned toward Jessica's side.
And Jessica's very compelling at that.

1383
01:07:43,060 --> 01:07:44,311
...they fear.

1384
01:07:44,394 --> 01:07:45,312
And what they fear...

1385
01:07:46,313 --> 01:07:47,898
They seek to destroy.

1386
01:07:53,612 --> 01:07:54,780
MAGNETO: Did Raven suffer?

1387
01:07:56,782 --> 01:07:58,158
Not for long.

1388
01:07:59,618 --> 01:08:03,580
KINBERG: And again, if you look at this,
it's very dirty

1389
01:08:03,664 --> 01:08:05,749
in a way that X-Men movies
haven't been dirty before.

1390
01:08:05,832 --> 01:08:08,961
The cameras bouncing around
a little bit. It's handheld.

1391
01:08:09,878 --> 01:08:14,466
It's just longer lens,
it's not static and smooth.

1392
01:08:14,549 --> 01:08:16,134
The world itself
is kind of falling apart

1393
01:08:16,218 --> 01:08:21,014
and so I want the camera work to feel
also as if it's not quite as smooth.

1394
01:08:21,556 --> 01:08:22,641
New York.

1395
01:08:22,975 --> 01:08:24,893
We'll have eyes on the ground
when we get there.

1396
01:08:25,936 --> 01:08:27,062
♪♪

1397
01:08:29,606 --> 01:08:31,942
KINBERG: Right there, if you look at all
the movement around Michael, it's subtle,

1398
01:08:32,025 --> 01:08:35,195
but if you look at it you see
the camera's not just set on him.

1399
01:08:41,702 --> 01:08:43,829
And this is a steadicam as opposed
to it being a crane

1400
01:08:43,912 --> 01:08:45,956
which it normally
would be in a shot like that.

1401
01:08:46,039 --> 01:08:48,709
So, it's got a little bit more life
and human movement to it

1402
01:08:48,792 --> 01:08:52,379
and even like human footsteps to the way
the camera was moving just now.

1403
01:08:53,422 --> 01:08:55,424
Anytime we can reveal
the Magneto helmet

1404
01:08:55,507 --> 01:08:58,343
we basically have
in all of these movies.

1405
01:08:58,427 --> 01:09:02,306
I honestly think we have in every single
one of the movies since First Class.

1406
01:09:04,433 --> 01:09:09,187
Big reveal in Days of Future Past.
Reveal in Apocalypse. Big reveal here.

1407
01:09:10,689 --> 01:09:11,815
PARKER: Also, a great score moment.

1408
01:09:11,898 --> 01:09:14,026
Hans Zimmer
did an amazing job throughout.

1409
01:09:14,109 --> 01:09:15,277
Because he also had to attend

1410
01:09:15,360 --> 01:09:18,655
to so many different tonalities,
emotional and psychological

1411
01:09:18,739 --> 01:09:21,950
and as the movie
is starting to take a turn there,

1412
01:09:22,034 --> 01:09:24,661
you can feel the score
get more muscular,

1413
01:09:24,745 --> 01:09:29,750
in the way that it's promising conflict
with Magneto and the X-Men.

1414
01:09:30,459 --> 01:09:33,337
KINBERG: Yeah, and Hans is... sorry,
going back to the people

1415
01:09:33,420 --> 01:09:37,799
who are Oscar nominated-winning,
incredible teammates...

1416
01:09:38,592 --> 01:09:43,513
I've been writing my scripts
to Hans Zimmer scores

1417
01:09:43,597 --> 01:09:46,308
since I was in film school.
He's a hero of mine.

1418
01:09:46,391 --> 01:09:47,851
And an incredible inspiration.

1419
01:09:47,934 --> 01:09:50,771
And, after the last superhero movie
he had worked on before this one,

1420
01:09:50,854 --> 01:09:52,022
he said he wasn't going to do

1421
01:09:52,105 --> 01:09:54,274
any more superhero movies
or comic book adaptations.

1422
01:09:54,358 --> 01:09:59,321
And we basically... I wrote emails.
I called, I begged.

1423
01:09:59,404 --> 01:10:00,739
Finally got a meeting with him

1424
01:10:00,822 --> 01:10:02,449
because he was doing
a concert in Montréal

1425
01:10:02,532 --> 01:10:04,242
while we were in prep on this film

1426
01:10:04,326 --> 01:10:07,287
and convinced him to at least
continue the conversation.

1427
01:10:07,371 --> 01:10:09,373
It was another couple conversations
on the phone

1428
01:10:09,456 --> 01:10:11,666
until finally he committed
to doing the film.

1429
01:10:11,750 --> 01:10:15,337
And I think the reason he committed
to doing the film was that he recognized

1430
01:10:15,420 --> 01:10:17,589
that this was going to be
a different kind of superhero film.

1431
01:10:17,672 --> 01:10:22,928
It wasn't going to be maybe
as bombastic or as broad and operatic

1432
01:10:23,011 --> 01:10:24,596
as the films he'd worked on
in the past.

1433
01:10:24,679 --> 01:10:27,349
It was going to have a more grounded,
gritty feeling to it.

1434
01:10:27,432 --> 01:10:29,434
And so, he saw it as an opportunity
to do something different.

1435
01:10:29,518 --> 01:10:32,938
And the thing about Hans is, and this
is true for I guess any great artist,

1436
01:10:33,021 --> 01:10:34,189
and Hans is certainly a great artist,

1437
01:10:34,272 --> 01:10:37,150
is he just wants to be challenged
to do something different each time.

1438
01:10:37,234 --> 01:10:39,444
And so, this felt like an opportunity
to do something different.

1439
01:10:39,528 --> 01:10:42,656
And this is a very heavily
scored movie.

1440
01:10:42,739 --> 01:10:44,908
It's not wall to wall score music,

1441
01:10:44,991 --> 01:10:48,036
but I would say
we have more music in this film

1442
01:10:48,120 --> 01:10:50,122
than we've had in any
of the other X-Men movies.

1443
01:10:50,205 --> 01:10:51,456
And it's giving us emotion.

1444
01:10:51,540 --> 01:10:55,293
It's reinforcing tension
and momentum, transitions.

1445
01:10:55,836 --> 01:10:58,004
There's a lot of work the score
is doing in this movie

1446
01:10:58,088 --> 01:11:00,590
and I just love the score
so much that we used it.

1447
01:11:00,674 --> 01:11:03,927
Hans, over the span of however many months
and years we were working on the movie,

1448
01:11:04,010 --> 01:11:06,763
I think it was like 11
or 12 hours' worth of music

1449
01:11:06,847 --> 01:11:08,432
that he created for this movie.

1450
01:11:08,515 --> 01:11:12,727
And he creates these long suites,
and then once those suites are created,

1451
01:11:12,811 --> 01:11:17,482
the sound editors
and Lee and Hans's team,

1452
01:11:17,566 --> 01:11:20,360
they start to edit
those suites down to picture

1453
01:11:21,027 --> 01:11:23,447
and into individual themes
for the characters.

1454
01:11:23,530 --> 01:11:28,410
And so, this was a real process
of finding, creating,

1455
01:11:28,493 --> 01:11:30,829
conforming the music to the picture.

1456
01:11:31,496 --> 01:11:33,874
Which I've never done before
as a producer on a movie.

1457
01:11:33,957 --> 01:11:36,918
Usually, composers will write to picture

1458
01:11:37,002 --> 01:11:38,962
and Hans actually didn't want
to see the picture,

1459
01:11:39,045 --> 01:11:42,674
he wanted to start writing the suites
first, based just on conversations,

1460
01:11:42,757 --> 01:11:44,801
even before reading the script.

1461
01:11:44,885 --> 01:11:48,763
PARKER: Incredibly collaborative.
I mean, a remarkable process for me,

1462
01:11:48,847 --> 01:11:51,725
having worked on a ton of movies
as an executive

1463
01:11:51,808 --> 01:11:53,059
and then again as a producer.

1464
01:11:53,143 --> 01:11:57,272
I'd never had an experience
quite like what we had with Hans.

1465
01:11:57,355 --> 01:11:59,483
Both creatively
and in terms of that process.

1466
01:11:59,566 --> 01:12:00,484
KINBERG: Yeah.

1467
01:12:00,567 --> 01:12:01,860
(honking)

1468
01:12:06,323 --> 01:12:07,532
(indistinct screaming)

1469
01:12:12,287 --> 01:12:13,705
♪♪

1470
01:12:25,550 --> 01:12:27,844
KINBERG: And this is,
as Hutch was alluding to earlier,

1471
01:12:27,928 --> 01:12:32,682
we built pretty much the majority
of this Fifth Avenue street

1472
01:12:32,766 --> 01:12:35,769
on a sound stage in Montréal.

1473
01:12:35,852 --> 01:12:37,938
It's our biggest stage.
It was our biggest build.

1474
01:12:39,814 --> 01:12:42,317
And when you're looking
in that direction, for the most part,

1475
01:12:42,400 --> 01:12:44,653
that was actually a park in Montréal.

1476
01:12:44,736 --> 01:12:47,072
But then once the action starts,
all this jumps off,

1477
01:12:47,155 --> 01:12:49,032
everything looking
toward the buildings,

1478
01:12:49,115 --> 01:12:51,117
looking down the street,
that's all a build.

1479
01:12:51,201 --> 01:12:54,538
And past a certain point in the street
then it's a visual effect.

1480
01:12:54,621 --> 01:12:56,373
It's what's called a set extension.

1481
01:13:02,254 --> 01:13:06,216
But we built blocks of this
Fifth Avenue sequence.

1482
01:13:06,716 --> 01:13:08,677
And the reason to build as opposed
to being on location is one,

1483
01:13:08,760 --> 01:13:11,763
obviously, this looks like Fifth Avenue.
We weren't going to go to New York

1484
01:13:11,846 --> 01:13:13,807
and shut down Fifth Avenue
for a couple nights.

1485
01:13:13,890 --> 01:13:17,394
But, two, also, all of this destruction
you couldn't do on a real street

1486
01:13:17,477 --> 01:13:19,813
in a way that would give us
the kind of sort of visceral action

1487
01:13:19,896 --> 01:13:21,982
and destruction
that this sequence required,

1488
01:13:22,065 --> 01:13:24,651
especially once Magneto
pulls a subway car out of the ground

1489
01:13:24,734 --> 01:13:26,987
and hurls it through a wall.

1490
01:13:27,070 --> 01:13:31,241
PARKER: Which is an idea that Simon had
I feel like almost before,

1491
01:13:31,324 --> 01:13:34,494
before we got into the script.
It was something he had in his head

1492
01:13:34,578 --> 01:13:37,747
as being this, actually,
this whole sequence,

1493
01:13:37,831 --> 01:13:40,542
the whole fight in New York
at different times,

1494
01:13:40,625 --> 01:13:44,379
you know, had more scale
and even more impact to it.

1495
01:13:44,462 --> 01:13:49,050
But the notion being that it was an idea
of seeing the X-Men fighting the X-Men

1496
01:13:49,134 --> 01:13:52,345
that was critically important to him
and he thought was a breakthrough idea

1497
01:13:52,429 --> 01:13:56,850
and that the climbing moment of that,
climaxing moment of that

1498
01:13:56,933 --> 01:14:01,229
would actually be Magneto pulling
the subway car up through the street.

1499
01:14:01,313 --> 01:14:03,940
I was actually never
all that sure about it,

1500
01:14:04,024 --> 01:14:05,984
but I do love
the way it turned out.

1501
01:14:11,656 --> 01:14:14,534
KINBERG: Yeah, honestly, for me,
it was going back to that idea

1502
01:14:14,618 --> 01:14:18,121
of trying to have the action
take place in real spaces.

1503
01:14:18,204 --> 01:14:20,081
Everybody knows
what a city street looks like.

1504
01:14:20,165 --> 01:14:22,375
A lot of people know what even
Fifth Avenue looks like,

1505
01:14:22,459 --> 01:14:25,253
because they've seen New York
in television shows and movies.

1506
01:14:25,337 --> 01:14:28,798
So one of the things I love about,
as an example, James Cameron movies

1507
01:14:28,882 --> 01:14:32,010
is he stages...
Avatar notwithstanding...

1508
01:14:32,093 --> 01:14:34,554
he stages
these incredible action sequences

1509
01:14:34,638 --> 01:14:40,685
in really relatable everyday locations,
factories, streets.

1510
01:14:40,769 --> 01:14:42,812
It just all feels very real

1511
01:14:42,896 --> 01:14:45,815
even if the action that's happening
is completely surreal.

1512
01:14:45,899 --> 01:14:51,279
And should go back to... speaking of real,
Cam, our special effects supervisor,

1513
01:14:51,363 --> 01:14:56,076
created a rig where that subway train,
which was an actual train,

1514
01:14:56,159 --> 01:15:00,872
was on a hydraulic that went
flying through a breakaway wall.

1515
01:15:00,955 --> 01:15:03,917
So, that train that comes crashing
through the wall behind Michael Fassbender

1516
01:15:04,000 --> 01:15:07,379
is a real train that is crashing through
the wall behind Michael Fassbender

1517
01:15:07,462 --> 01:15:08,546
and actually was meant to stop

1518
01:15:08,630 --> 01:15:11,591
about five or six feet shorter
than it actually stopped

1519
01:15:11,675 --> 01:15:13,718
and got closer to Michael than it
was meant to

1520
01:15:13,802 --> 01:15:16,680
and crashed down
some of the ceiling above him,

1521
01:15:16,763 --> 01:15:18,390
again, closer than it should have.

1522
01:15:18,473 --> 01:15:21,893
And only Michael Fassbender
possibly in the entire world

1523
01:15:21,976 --> 01:15:23,895
would not only stand in place,
but barely blink,

1524
01:15:23,978 --> 01:15:26,856
despite the fact that there was however
many thousands of pounds train

1525
01:15:26,940 --> 01:15:28,650
crashing way too close to him.

1526
01:15:29,025 --> 01:15:30,193
(metal creaking)

1527
01:15:31,194 --> 01:15:34,864
PARKER: And that's one of those
conversations you have about,

1528
01:15:34,948 --> 01:15:36,408
should we be doing this practically

1529
01:15:36,491 --> 01:15:37,909
or should we be doing this
as a visual effect?

1530
01:15:37,992 --> 01:15:41,413
Because practically,
there are obviously risks.

1531
01:15:41,496 --> 01:15:46,167
Generally speaking, you know, those things
don't go necessarily as planned.

1532
01:15:46,251 --> 01:15:51,506
And the time it takes to reset,
to do it a second time is exorbitant.

1533
01:15:51,589 --> 01:15:55,719
And Cam was 100% confident
that it worked. He tested it.

1534
01:15:55,802 --> 01:15:58,972
He was like, "No, I really -"
so, we all were like "Okay."

1535
01:15:59,055 --> 01:16:01,808
And a little skeptically
but it came off beautifully.

1536
01:16:01,891 --> 01:16:03,309
KINBERG: I don't think
we had a reset on that.

1537
01:16:03,393 --> 01:16:05,228
Like, I think the reset
was like a day later.

1538
01:16:05,311 --> 01:16:06,187
PARKER: It was, it was a lot.

1539
01:16:06,271 --> 01:16:07,772
KINBERG: Because he'd have to...
right after... that was...

1540
01:16:07,856 --> 01:16:10,525
PARKER: They'd have to take out that whole
chunk of wall, back up the thing

1541
01:16:10,608 --> 01:16:12,318
and get everything out of there.

1542
01:16:12,402 --> 01:16:14,154
KINBERG: Yeah. But we did get lucky.

1543
01:16:14,237 --> 01:16:16,865
We had a lot of cameras, obviously,
shooting it but we had one take with it.

1544
01:16:17,407 --> 01:16:20,201
Come here!
Get me in that house now!

1545
01:16:24,038 --> 01:16:25,582
Have you come to kill me, too?

1546
01:16:26,124 --> 01:16:28,126
KINBERG: And that's it,
still sitting in there.

1547
01:16:29,335 --> 01:16:31,588
I failed you.
I know that, but...

1548
01:16:31,921 --> 01:16:33,965
KINBERG: This was an idea actually that...

1549
01:16:34,048 --> 01:16:37,927
one of the things for me that I love
about writing and I love about producing

1550
01:16:38,011 --> 01:16:40,180
and I love about directing,
and all of them are pretty fluid

1551
01:16:40,263 --> 01:16:45,226
in terms of how I would define them
in my experience is collaborating,

1552
01:16:45,310 --> 01:16:48,188
collaborating with someone like Hutch,
collaborating with the actors.

1553
01:16:48,271 --> 01:16:49,773
And there's a lot of stuff
in this movie,

1554
01:16:49,856 --> 01:16:52,108
there are great ideas
that came from Hutch.

1555
01:16:52,192 --> 01:16:54,152
There's a lot of great ideas
that came from the actors

1556
01:16:54,235 --> 01:16:58,323
and the idea that Jean lifts
Charles out of his chair

1557
01:16:58,406 --> 01:17:01,576
and walks him up the stairs
toward her was James McAvoy's idea.

1558
01:17:02,160 --> 01:17:05,705
James read the script,
and in the script, she had...

1559
01:17:05,789 --> 01:17:08,625
was sort of torturing him
while he was in his chair

1560
01:17:08,708 --> 01:17:11,294
and James thought the idea of her
actually lifting him out of the chair

1561
01:17:11,377 --> 01:17:16,132
was even more torturous and disturbing.
And it's certainly both of those things.

1562
01:17:19,219 --> 01:17:23,181
And so, that's how this evolved
into this moment.

1563
01:17:23,264 --> 01:17:26,392
Which is a, you know,
painful one to watch.

1564
01:17:27,894 --> 01:17:28,937
♪♪

1565
01:17:31,272 --> 01:17:32,482
Please, Jean.

1566
01:17:41,866 --> 01:17:42,992
Please.

1567
01:17:48,706 --> 01:17:49,916
KINBERG: And James is on wires here,

1568
01:17:49,999 --> 01:17:52,418
but a lot of that is
just his physical performance.

1569
01:17:52,502 --> 01:17:54,045
He's just got the ability to...

1570
01:17:54,128 --> 01:17:56,339
like a lot of these actors,
he's got a lot of control over his body

1571
01:17:56,422 --> 01:18:01,594
and so he can do a lot of really
sort of intricate nuanced little moves

1572
01:18:01,678 --> 01:18:03,805
that make you believe that
what's happening is real.

1573
01:18:03,888 --> 01:18:05,098
...see in mine.

1574
01:18:07,267 --> 01:18:08,518
So look.

1575
01:18:10,270 --> 01:18:11,604
Jean, look.

1576
01:18:15,108 --> 01:18:16,776
And what you choose
to do with your gift,

1577
01:18:16,860 --> 01:18:19,404
well, that's entirely up to you.

1578
01:18:19,529 --> 01:18:20,405
(Charles groans)

1579
01:18:20,488 --> 01:18:23,032
PARKER: A lot of work
for the visual effects team

1580
01:18:23,825 --> 01:18:28,621
with all of that in close,
hair movement, the cracks on her face,

1581
01:18:28,705 --> 01:18:31,416
the demolecularization
of the wall behind.

1582
01:18:31,958 --> 01:18:35,211
KINBERG: You did a really good job
of saying demolecularization, Hutch.

1583
01:18:35,837 --> 01:18:36,880
PARKER: Well, I've had practice.

1584
01:18:36,963 --> 01:18:38,965
KINBERG: Yeah, that was a real...

1585
01:18:39,048 --> 01:18:42,260
I would say that actual saying
the word demolecularization

1586
01:18:42,343 --> 01:18:45,388
was harder for a lot
of our partners on this movie

1587
01:18:45,471 --> 01:18:48,850
than actually manifesting it
visually in the film.

1588
01:18:48,933 --> 01:18:50,935
You're saying a lot
because like you say, it was hard to do.

1589
01:18:51,019 --> 01:18:53,813
I can help her in ways
that you can't.

1590
01:18:54,439 --> 01:18:56,190
She can't be helped.

1591
01:18:56,858 --> 01:18:58,443
She's a lost cause.

1592
01:18:58,651 --> 01:19:01,404
PARKER: Some of these are
fairly stylized shots obviously,

1593
01:19:01,487 --> 01:19:07,327
and it's another way that Simon and Mauro
were really breaking into a new aesthetic

1594
01:19:07,410 --> 01:19:10,496
than we'd seen before
in any of the X-Men movies.

1595
01:19:13,625 --> 01:19:15,293
...there's still hope.

1596
01:19:15,376 --> 01:19:17,545
KINBERG: Yeah, one of the things
I said to Mauro

1597
01:19:17,629 --> 01:19:19,088
when we first started
talking about the movie

1598
01:19:19,172 --> 01:19:22,258
and him doing the movie is,
as much as obviously, I admire Avatar

1599
01:19:22,342 --> 01:19:25,094
and it's an extraordinary
achievement visually,

1600
01:19:25,178 --> 01:19:26,888
this movie I wanted
to be as real as possible.

1601
01:19:26,971 --> 01:19:30,058
And so, for me, I was hiring
the Mauro who shot Training Day.

1602
01:19:30,141 --> 01:19:32,018
I wasn't hiring the Mauro
who shot Avatar.

1603
01:19:32,101 --> 01:19:35,897
Even though his fluency with visual
effects was really useful for this movie,

1604
01:19:35,980 --> 01:19:38,066
I wanted him to be able to feel
like he could experiment.

1605
01:19:38,149 --> 01:19:41,277
I wanted it to feel again like gritty
and real and handheld

1606
01:19:41,361 --> 01:19:45,365
and down and dirty.
And so he got excited about that.

1607
01:19:45,448 --> 01:19:47,075
The stylization
you were just talking about

1608
01:19:47,158 --> 01:19:49,202
is just that's less gritty and real,

1609
01:19:49,285 --> 01:19:52,038
but it is certainly an opportunity
to like do something

1610
01:19:52,121 --> 01:19:53,957
that isn't traditionally done
in these films

1611
01:19:54,040 --> 01:19:55,625
and create a new film grammar.

1612
01:19:55,708 --> 01:19:57,710
I think we all felt
like there was a film grammar

1613
01:19:57,794 --> 01:20:02,256
that Bryan Singer created in X-Men 1
that was almost 20 years old,

1614
01:20:02,340 --> 01:20:07,553
and that had been not that radically
changed in all of those 20 years

1615
01:20:07,637 --> 01:20:10,390
despite having other directors,
Brett Ratner, Matthew Vaughn.

1616
01:20:10,473 --> 01:20:12,308
Bryan, having done
a lot of the movies.

1617
01:20:12,392 --> 01:20:16,145
And that I was really inspired again,
I mean, by a lot of movies.

1618
01:20:17,230 --> 01:20:18,773
But at least in this universe,

1619
01:20:18,856 --> 01:20:21,442
I was really inspired
by what Mangold did with Logan

1620
01:20:21,526 --> 01:20:23,778
and creating a completely
different film grammar

1621
01:20:23,861 --> 01:20:25,905
from what he even did
with The Wolverine movie.

1622
01:20:25,989 --> 01:20:27,365
And I just felt like
we had a chance here,

1623
01:20:27,448 --> 01:20:29,993
because of the subject matter,
not because of just arbitrarily

1624
01:20:30,076 --> 01:20:32,245
wanting it to be gritty
and real and intimate,

1625
01:20:32,328 --> 01:20:36,374
but because the subject matter itself
required that kind of aesthetic,

1626
01:20:36,457 --> 01:20:40,920
we could do that and it would
feel organic and not gratuitous.

1627
01:20:49,887 --> 01:20:51,681
♪♪

1628
01:20:58,938 --> 01:21:00,773
And this is a, you know,
as you were saying before,

1629
01:21:00,857 --> 01:21:03,443
the complexity of the visual effect
that's happening here

1630
01:21:03,526 --> 01:21:05,278
between the hair
and the eyes and the cracks

1631
01:21:05,361 --> 01:21:07,739
and the cosmic force
in the different colors

1632
01:21:07,822 --> 01:21:09,115
that are in the cosmic force...

1633
01:21:09,198 --> 01:21:11,534
I mean, we were doing this down
to the very last second

1634
01:21:11,617 --> 01:21:13,828
of like handing this over...

1635
01:21:14,370 --> 01:21:16,789
I mean, these guys,
our visual effects team,

1636
01:21:16,873 --> 01:21:20,585
Kurt and Phil especially, I think
didn't sleep the last couple of weeks

1637
01:21:20,668 --> 01:21:22,295
- before we delivered this movie.
- PARKER: For sure.

1638
01:21:22,378 --> 01:21:24,047
KINBERG: They were back and forth
between here and Montréal

1639
01:21:24,130 --> 01:21:25,298
where a lot of the work
was being done.

1640
01:21:25,381 --> 01:21:30,386
They were on the phone
to every continent on the globe

1641
01:21:30,470 --> 01:21:32,513
because all of these
are bits and pieces.

1642
01:21:33,556 --> 01:21:34,891
Let go!

1643
01:21:40,730 --> 01:21:42,774
SOLDIER: There's one! Get him!

1644
01:21:45,943 --> 01:21:46,986
Jean!

1645
01:21:51,783 --> 01:21:55,453
PARKER: That's another piece
of impressive practical filmmaking,

1646
01:21:55,536 --> 01:21:59,457
where they actually pulled the stunt
woman through the ceiling,

1647
01:21:59,540 --> 01:22:01,793
through that... that shot is a real woman

1648
01:22:01,876 --> 01:22:07,006
flying through that ceiling wall
and into that... into the exterior wall.

1649
01:22:07,090 --> 01:22:07,965
SOLDIER: Take him out! Come on!

1650
01:22:08,049 --> 01:22:09,967
Out, out!
You guys, come on. Train.

1651
01:22:10,051 --> 01:22:11,302
SOLDIER 2: You four with me, let's go!

1652
01:22:11,385 --> 01:22:13,262
- Let's go!
- SOLDIER 1: Come on, move, move, move!

1653
01:22:24,357 --> 01:22:26,150
- She's alive.
- Scott, you have to get her out.

1654
01:22:26,234 --> 01:22:27,568
You have to... No!

1655
01:22:31,906 --> 01:22:33,282
(indistinct radio chatter)

1656
01:22:33,866 --> 01:22:35,118
We're clear.

1657
01:22:37,829 --> 01:22:38,871
♪♪

1658
01:22:44,961 --> 01:22:47,088
KINBERG: Quite a lot of talk here
about just how much power

1659
01:22:47,171 --> 01:22:49,048
would remain
in Jessica's hand there.

1660
01:22:49,132 --> 01:22:51,259
Because obviously, we didn't
want it to feel like Tinkerbell

1661
01:22:51,342 --> 01:22:54,303
but we wanted it
to be clear that she had...

1662
01:22:54,387 --> 01:22:57,014
she had retained
some of that power,

1663
01:22:57,098 --> 01:23:00,184
that cosmic power from Jean
and really wanted the rest of it.

1664
01:23:00,268 --> 01:23:01,894
There was a scene that I wrote

1665
01:23:01,978 --> 01:23:03,855
and that we shot that was
a sort of interstitial scene

1666
01:23:03,938 --> 01:23:06,858
between this scene and the next
that made that explicitly clear.

1667
01:23:06,941 --> 01:23:09,777
But we all felt like it was
clear enough in that look

1668
01:23:09,861 --> 01:23:11,237
and then the fact
that she's actually here

1669
01:23:11,320 --> 01:23:13,489
and then James McAvoy says,

1670
01:23:13,573 --> 01:23:15,158
"She'll be coming back
for the rest of it,"

1671
01:23:15,241 --> 01:23:17,118
that we didn't need
that extra scene.

1672
01:23:20,329 --> 01:23:21,873
And this was a train car,

1673
01:23:21,956 --> 01:23:24,709
obviously, the exterior of that
was a visual effect,

1674
01:23:24,792 --> 01:23:27,670
but all of these were train cars
that were created

1675
01:23:27,753 --> 01:23:30,965
and put on a gimbal, a hydraulic system,

1676
01:23:31,048 --> 01:23:33,134
where they could be jostling around
like normal train cars.

1677
01:23:33,217 --> 01:23:36,262
They could be moving and give
the actors a sense of reality

1678
01:23:37,263 --> 01:23:40,057
and give the camera a sense of,
of movement and reality.

1679
01:23:40,141 --> 01:23:41,309
...I was.

1680
01:23:44,854 --> 01:23:46,314
I should never have lied to her.

1681
01:23:49,150 --> 01:23:50,318
I was wrong.

1682
01:23:52,862 --> 01:23:55,990
But this power...

1683
01:23:57,116 --> 01:23:59,285
inside of her,
I never put that there.

1684
01:23:59,660 --> 01:24:02,330
I would never do anything
intentionally to hurt her.

1685
01:24:02,705 --> 01:24:05,666
That isn't me
and this is not Jean.

1686
01:24:05,750 --> 01:24:08,085
PARKER: This is a scene
I was really excited about,

1687
01:24:08,169 --> 01:24:13,299
getting everybody together
in a scene for a dramatic exchange,

1688
01:24:13,799 --> 01:24:15,551
all of which kind of felt to me

1689
01:24:15,635 --> 01:24:20,640
like the culmination of the political
and social arguments they'd been having.

1690
01:24:21,182 --> 01:24:25,019
But it's informed by Jean
and Jean's story.

1691
01:24:25,102 --> 01:24:28,898
So, it's informed by the emotion
of the emotional crisis of the movie.

1692
01:24:28,981 --> 01:24:30,608
And seeing, as I said before,

1693
01:24:30,691 --> 01:24:34,445
seeing Charles have to own and take
responsibility for what he's done,

1694
01:24:34,528 --> 01:24:37,782
and that being the basis for the action
sequence that's going to flow,

1695
01:24:37,865 --> 01:24:40,743
I thought was
a really powerful and exciting idea.

1696
01:24:42,286 --> 01:24:43,496
...thing...

1697
01:24:43,704 --> 01:24:44,956
has had a taste of that power,

1698
01:24:45,039 --> 01:24:47,833
and she'll be coming back for more.
She'll be coming back for Jean.

1699
01:24:47,959 --> 01:24:52,213
PARKER: As Simon mentioned, it is,
this was a triumph of practical effects

1700
01:24:52,296 --> 01:24:54,257
because these trains were big

1701
01:24:54,340 --> 01:24:57,718
and they were double... double high,
sort of two-story high.

1702
01:24:57,802 --> 01:25:03,057
And to put all of that on a gimbal both
for the normal rock and shake,

1703
01:25:03,140 --> 01:25:06,519
but also you can move them
as if you were going around a corner

1704
01:25:06,602 --> 01:25:08,521
so that you had that sense
of real movement?

1705
01:25:08,604 --> 01:25:10,481
It was pretty remarkable.

1706
01:25:10,564 --> 01:25:12,149
They also have to make them
so that you can...

1707
01:25:12,233 --> 01:25:16,904
you can gain access to them
in different ways through the set.

1708
01:25:16,988 --> 01:25:19,824
So, you could remove the ceiling.
You could remove certain walls

1709
01:25:19,907 --> 01:25:21,993
to get the camera in
and get lighting in.

1710
01:25:22,493 --> 01:25:25,288
So, the challenges of getting
this done were formidable.

1711
01:25:25,830 --> 01:25:27,415
...you have multiple hostiles on board.

1712
01:25:27,498 --> 01:25:29,542
KINBERG: Yeah, and our art director,
Michele Laliberte,

1713
01:25:29,625 --> 01:25:31,127
deserves a huge shout out for this,

1714
01:25:31,210 --> 01:25:32,712
because she was really integral

1715
01:25:32,795 --> 01:25:35,965
to designing and building this
and so much in the movie.

1716
01:25:36,048 --> 01:25:40,052
She's been, really, our rock
from a production design standpoint

1717
01:25:40,136 --> 01:25:41,929
for quite a few movies in a row, actually.

1718
01:25:42,013 --> 01:25:43,848
Been through a few different
production designers.

1719
01:25:43,931 --> 01:25:46,100
She's local to Montréal
and incredibly talented

1720
01:25:46,183 --> 01:25:48,644
and like you said,
there's just so many things

1721
01:25:48,728 --> 01:25:50,396
that go into the reality
of building something

1722
01:25:50,479 --> 01:25:55,067
that seems like it would be simple
because it's just a rectangle.

1723
01:26:01,365 --> 01:26:02,867
(soldier screaming)

1724
01:26:06,454 --> 01:26:08,414
PARKER: Yeah, one of the biggest
challenges of this sequence

1725
01:26:08,497 --> 01:26:12,585
was getting things ready
in time to shoot,

1726
01:26:12,668 --> 01:26:16,047
and when we had the actors
and balancing out...

1727
01:26:16,130 --> 01:26:19,925
because obviously, it's the same set
we're using both for first unit

1728
01:26:20,009 --> 01:26:22,345
with the lead actors and Simon

1729
01:26:22,428 --> 01:26:25,014
and also with second unit
to do all the stunts.

1730
01:26:25,097 --> 01:26:28,642
So there was a lot
of very intricate planning

1731
01:26:28,726 --> 01:26:31,812
that goes into trying to figure out
how do you execute the sequence

1732
01:26:31,896 --> 01:26:35,107
and get everybody what they need
in order to finish properly.

1733
01:26:36,317 --> 01:26:38,486
- What?
- (radio static)

1734
01:26:38,944 --> 01:26:39,820
They're not what?

1735
01:26:39,904 --> 01:26:43,199
- They're not mutants!
- They're here for Jean.

1736
01:26:45,076 --> 01:26:46,160
Get ready to open fire!

1737
01:26:46,535 --> 01:26:48,245
Your kid was right about us.

1738
01:26:48,329 --> 01:26:49,538
We can help you!

1739
01:26:50,873 --> 01:26:51,916
(banging on door)

1740
01:26:55,419 --> 01:26:56,712
(banging on door continues)

1741
01:26:59,882 --> 01:27:00,883
Please!

1742
01:27:03,469 --> 01:27:04,762
Fire!

1743
01:27:08,599 --> 01:27:11,268
PARKER: Yeah, these healing effects
were really tricky for us, too,

1744
01:27:11,352 --> 01:27:13,437
very demanding
on the visual effects guys

1745
01:27:13,521 --> 01:27:17,024
but also trying to find the right
balance between wanting to stay real

1746
01:27:17,108 --> 01:27:23,239
and also suggesting
the alien-ness under the exterior.

1747
01:27:23,322 --> 01:27:24,907
KINBERG: Yeah, the notion of creating

1748
01:27:24,990 --> 01:27:29,829
an endoskeleton for an alien
underneath human skin was tricky,

1749
01:27:29,912 --> 01:27:31,914
because we didn't want it
to look too reptilian

1750
01:27:31,997 --> 01:27:34,834
and like you say,
too sort of supernatural.

1751
01:27:34,917 --> 01:27:38,170
But we did want it to indicate
that they are alien

1752
01:27:38,254 --> 01:27:41,424
under the sort of shell
of human skin.

1753
01:27:41,882 --> 01:27:43,259
♪♪

1754
01:27:45,094 --> 01:27:47,972
We only want the girl.
Step aside.

1755
01:27:48,055 --> 01:27:48,931
No!

1756
01:27:49,014 --> 01:27:50,808
KINBERG: And this is something
that I think...

1757
01:27:50,891 --> 01:27:54,186
once we sort of committed to this,
this was the natural culmination,

1758
01:27:54,270 --> 01:27:57,440
was this idea that finally,
you have all of the X-Men

1759
01:27:57,523 --> 01:27:59,525
standing together, working together.

1760
01:27:59,608 --> 01:28:02,820
People who were foes or friends,
everybody's on the same side.

1761
01:28:03,737 --> 01:28:06,907
And then there's a lot of the kind
of teamwork that's been in the comics,

1762
01:28:06,991 --> 01:28:08,451
but hasn't really been
in the movies before.

1763
01:28:08,534 --> 01:28:12,413
There's one moment coming up later
where Hank throws somebody,

1764
01:28:12,496 --> 01:28:15,624
Storm blasts that person
while they're in the air.

1765
01:28:21,422 --> 01:28:23,299
Storm is a character in the comic

1766
01:28:23,382 --> 01:28:25,759
who is incredibly powerful
and incredibly popular.

1767
01:28:25,843 --> 01:28:30,264
And we've given her
in the past some cool stuff to do,

1768
01:28:30,347 --> 01:28:34,226
but I think this is the first time she's
really let loose in terms of her power,

1769
01:28:34,310 --> 01:28:36,896
and early reactions
from audiences have been

1770
01:28:36,979 --> 01:28:40,191
that they are happy to see
Storm be a bad ass.

1771
01:28:40,274 --> 01:28:42,818
PARKER: Part of what I like
about this sequence for everybody

1772
01:28:42,902 --> 01:28:47,531
was that everybody
gets to sort of be unleashed

1773
01:28:47,615 --> 01:28:51,327
from, you know,
this martial arts notion

1774
01:28:51,410 --> 01:28:56,457
that Brian Smrz used to inform
Magneto's fighting style,

1775
01:28:56,540 --> 01:28:59,168
that kind of enraged Beast,

1776
01:28:59,251 --> 01:29:01,962
Storm really getting, as you said,
to unleash,

1777
01:29:02,046 --> 01:29:05,508
and even Nightcrawler,
getting to really be ferocious.

1778
01:29:06,133 --> 01:29:08,427
It's something that we all
talked a lot about,

1779
01:29:08,511 --> 01:29:12,056
wanting the fight to feel different
than what we've seen them do before,

1780
01:29:12,139 --> 01:29:14,642
and that was sort of the underpinning,

1781
01:29:14,725 --> 01:29:17,394
was that they're coming together,
they're fighting for Jean

1782
01:29:17,478 --> 01:29:21,398
and they are enraged by the circumstances
they find themselves in.

1783
01:29:30,783 --> 01:29:32,243
KINBERG: And one of the things
we talked about was,

1784
01:29:32,326 --> 01:29:37,206
even though Alan Cumming is in X2
sort of being controlled,

1785
01:29:37,289 --> 01:29:39,375
there is a more ferocious side to him,

1786
01:29:39,458 --> 01:29:45,589
and we've played Kodi Smit-McPhee
as this sort of comic relief Nightcrawler

1787
01:29:45,673 --> 01:29:48,884
and we wanted to see that transformation
into something more mature and violent

1788
01:29:48,968 --> 01:29:53,347
and so, obviously, the trigger is the
death of the person that had trusted them

1789
01:29:53,430 --> 01:29:55,558
and now he's on a rampage,
so to speak.

1790
01:29:57,393 --> 01:29:58,269
(grunts)

1791
01:30:10,364 --> 01:30:12,241
Even this is sort of
a maniacal smile.

1792
01:30:18,539 --> 01:30:21,000
PARKER: Small detail,
but I even really liked the way

1793
01:30:21,083 --> 01:30:23,961
the visual effects team
and Simon evolved the beam.

1794
01:30:24,044 --> 01:30:26,463
It just feels more visceral somehow,

1795
01:30:26,547 --> 01:30:29,466
more lethal than what I'd seen
in previous movies.

1796
01:30:29,550 --> 01:30:31,719
KINBERG: Well, it's literally
a rip off of lightsaber.

1797
01:30:31,802 --> 01:30:34,638
Like, Star Wars was my favorite movie
growing up,

1798
01:30:34,722 --> 01:30:36,473
The Empire Strikes Back, actually,
but the Star Wars franchise

1799
01:30:36,557 --> 01:30:38,475
was my favorite movie
growing up, kind of remains,

1800
01:30:38,559 --> 01:30:42,605
and the lightsaber has
a little more fluctuation to it.

1801
01:30:42,688 --> 01:30:46,567
And that is what gives it a feeling of it
being a little bit more organic and real

1802
01:30:46,650 --> 01:30:49,862
as opposed to just being
like a straight up flashlight beam.

1803
01:30:49,945 --> 01:30:53,657
And so, we just imported
some of that idea to Scott's beam

1804
01:30:53,741 --> 01:30:56,035
which we hadn't really done
before in the past.

1805
01:30:56,118 --> 01:30:58,412
When in doubt, steal from Star Wars.

1806
01:30:58,495 --> 01:30:59,371
(PARKER chuckles)

1807
01:31:11,967 --> 01:31:14,261
Another unlikely partnership.
That was part of the fun of this,

1808
01:31:14,345 --> 01:31:16,972
it was like, "who's going to team up
with whom to do what?"

1809
01:31:17,681 --> 01:31:20,768
and that Magneto-Storm
moment was kind of a cool one.

1810
01:31:20,851 --> 01:31:24,021
This was a very hard visual effects
shot to pull off.

1811
01:31:24,605 --> 01:31:28,150
The interior of that. We worked a lot
to get the lighting right,

1812
01:31:28,233 --> 01:31:31,195
to make it all feel as real as possible

1813
01:31:31,278 --> 01:31:33,864
despite the fact that obviously,
it's wildly unreal.

1814
01:31:34,448 --> 01:31:36,575
♪♪

1815
01:31:37,576 --> 01:31:41,163
And then this is just the kind of stuff
I like in movies, backs of people's heads.

1816
01:31:42,081 --> 01:31:44,541
I'm not even sure
that's the back of Jessica's head.

1817
01:31:44,625 --> 01:31:46,335
But somebody's got that wig on.

1818
01:31:50,339 --> 01:31:52,383
PARKER: I'm still not crazy
about that jumping shot but...

1819
01:31:52,466 --> 01:31:54,176
KINBERG: Yeah, well.

1820
01:31:54,593 --> 01:31:56,011
Hank!

1821
01:32:02,476 --> 01:32:03,894
(Storm grunting)

1822
01:32:18,325 --> 01:32:19,576
♪♪

1823
01:32:24,373 --> 01:32:28,335
PARKER: Another place
where the score plays a big part

1824
01:32:28,836 --> 01:32:32,631
and is so methodically
and carefully built

1825
01:32:32,715 --> 01:32:36,844
to bring all the pieces together

1826
01:32:36,927 --> 01:32:39,263
both in terms of the action
but also ultimately,

1827
01:32:39,346 --> 01:32:44,143
in terms of the emotion of what choice
Jean makes in the end.

1828
01:32:50,983 --> 01:32:52,234
KINBERG: This scene was exciting to me.

1829
01:32:52,317 --> 01:32:56,864
I wish we had even longer just to have
Michael Fassbender and Jessica Chastain

1830
01:32:56,947 --> 01:33:01,618
in a scene together to me was sort
of historic, iconic kind of moment.

1831
01:33:01,702 --> 01:33:02,953
I hope they do more acting together

1832
01:33:03,036 --> 01:33:06,498
because they're actually
very complementary styles of acting.

1833
01:33:07,082 --> 01:33:10,836
Both very subtle, nuanced actors,
both incredibly precise,

1834
01:33:10,919 --> 01:33:14,256
and so I managed
about four lines of dialogue

1835
01:33:14,339 --> 01:33:16,800
and then 50,000 rounds of ammo.

1836
01:33:18,135 --> 01:33:22,097
But just having them face off to me
was exciting and a cool opportunity.

1837
01:33:22,806 --> 01:33:24,475
PARKER: We actually shot
an escalation of that,

1838
01:33:24,558 --> 01:33:29,730
where in addition to firing all those guns
and all those rounds of ammunition,

1839
01:33:29,813 --> 01:33:33,400
Magneto then pulls a series
of hand grenades off the wall

1840
01:33:33,484 --> 01:33:36,820
and pulls their pins
while protecting himself behind a barrier.

1841
01:33:36,904 --> 01:33:42,743
It was great, it was really fun,
but as great as it was,

1842
01:33:42,826 --> 01:33:46,413
it ultimately felt slightly redundant
to what we'd already done.

1843
01:33:46,497 --> 01:33:49,166
So, we decided to drop it,
but cool idea.

1844
01:33:49,249 --> 01:33:52,836
KINBERG: Yeah. He also kind of does it
in X-Men 2.

1845
01:33:52,920 --> 01:33:54,129
PARKER: Yeah.

1846
01:33:54,213 --> 01:33:56,715
I'm so sorry
for what I did to you.

1847
01:33:57,883 --> 01:33:58,801
I know.

1848
01:33:58,884 --> 01:34:01,553
All I ever wanted
was to protect you

1849
01:34:01,637 --> 01:34:04,556
KINBERG: This was amazing,
I have to say, to Mauro's credit,

1850
01:34:04,640 --> 01:34:07,226
because all of that flaring
that's happening behind her,

1851
01:34:07,309 --> 01:34:09,019
which would ordinarily be-

1852
01:34:09,978 --> 01:34:12,648
this kind of level of flaring
would be a visual effect

1853
01:34:12,731 --> 01:34:16,068
was... we got there on the day
and that's the way it looked.

1854
01:34:16,610 --> 01:34:18,612
The light was coming through the window.

1855
01:34:19,404 --> 01:34:21,949
We were using lenses that caught them
and all of this is real.

1856
01:34:22,032 --> 01:34:24,076
That's a real flare.
That's a real flare.

1857
01:34:25,244 --> 01:34:26,912
We overlit the background there.

1858
01:34:28,705 --> 01:34:30,624
PARKER: Summer also did
a great job of this.

1859
01:34:30,707 --> 01:34:32,876
KINBERG: Yeah, she did.
She's a really great young actress.

1860
01:34:32,960 --> 01:34:33,836
I forgive you.

1861
01:34:33,919 --> 01:34:37,214
PARKER: That was back
in our abandoned hospital location.

1862
01:34:37,297 --> 01:34:38,382
KINBERG: Mm-hmm, mm-hmm.

1863
01:34:40,384 --> 01:34:42,219
♪♪

1864
01:34:55,649 --> 01:34:56,859
PARKER: Another challenge
of the train sequence

1865
01:34:56,942 --> 01:34:59,403
is you can't shoot it chronologically.

1866
01:34:59,486 --> 01:35:02,990
So, you also have to...
as you're shooting out of order,

1867
01:35:03,073 --> 01:35:06,285
you've got to destress or put back,

1868
01:35:06,368 --> 01:35:09,204
so whether it's pre-fight
and damage or not,

1869
01:35:09,288 --> 01:35:13,083
it's something that took a tremendous
amount of thoughtful management

1870
01:35:13,166 --> 01:35:16,336
on the part of the art department
and the AD's and props

1871
01:35:16,420 --> 01:35:22,801
and making sure that it all would track
when we put it into the proper sequence.

1872
01:35:25,012 --> 01:35:26,305
KINBERG: This was
one of the visual effects

1873
01:35:26,388 --> 01:35:29,933
that I was the most suspicious of
and terrified of which were these bubbles.

1874
01:35:30,017 --> 01:35:31,727
I mean, that's a pretty
extraordinary visual effects shot

1875
01:35:31,810 --> 01:35:34,980
and obviously incredibly intricate,
but these bubbles,

1876
01:35:35,063 --> 01:35:38,191
the notion of them being protected
by bubbles,

1877
01:35:38,275 --> 01:35:40,527
I have seen work
terribly in movies before,

1878
01:35:40,611 --> 01:35:42,821
some of which I've even worked on.

1879
01:35:42,905 --> 01:35:47,117
And yet these guys found a way
to make those all seem organic

1880
01:35:47,200 --> 01:35:51,580
and I guess realistic, for lack
of a better description, and cool.

1881
01:35:52,706 --> 01:35:54,082
And it was not an easy thing to do,

1882
01:35:54,166 --> 01:35:57,502
because it really was
a series of iterations

1883
01:35:57,586 --> 01:36:00,756
so that they didn't just feel like
they were stuck in a plastic,

1884
01:36:00,839 --> 01:36:02,549
you know, "I'm a bubble boy."

1885
01:36:05,886 --> 01:36:07,220
♪♪

1886
01:36:12,142 --> 01:36:16,605
PARKER: Another really unique location
we found in the outskirts of Montréal

1887
01:36:16,688 --> 01:36:20,317
and then art department
and Michele dressed really extensively

1888
01:36:20,400 --> 01:36:23,946
both the train bodies
and a lot of other... all these fires,

1889
01:36:24,029 --> 01:36:27,783
and to serve as the...
sort of the final staging ground.

1890
01:36:30,827 --> 01:36:31,995
(breathing hard)

1891
01:36:36,249 --> 01:36:38,168
KINBERG: Like the smoke behind Magneto

1892
01:36:38,251 --> 01:36:40,545
is a visual effect there
and really powerful.

1893
01:36:41,088 --> 01:36:43,882
In fact, all those cutaways...
almost all those cutaways,

1894
01:36:43,966 --> 01:36:46,551
the cutaway to Magneto,
the cutaway to Beast that you saw,

1895
01:36:46,635 --> 01:36:49,054
is those guys on a sound stage
and a green screen

1896
01:36:49,137 --> 01:36:50,389
with just set extension behind them.

1897
01:36:54,893 --> 01:36:56,186
♪♪

1898
01:37:03,443 --> 01:37:05,404
KINBERG: And this action sequence was one-

1899
01:37:05,487 --> 01:37:08,532
we had two really great
second unit directors.

1900
01:37:08,615 --> 01:37:09,741
Guy Norris, originally,

1901
01:37:09,825 --> 01:37:12,953
who was the stunt coordinator
on the most recent Mad Max,

1902
01:37:13,036 --> 01:37:15,372
and then Brian Smrz, who'd been
a stunt coordinator for us

1903
01:37:15,455 --> 01:37:17,791
and a second unit director on so many
of the X-Men movies

1904
01:37:17,874 --> 01:37:19,668
came in and helped with this ending.

1905
01:37:19,751 --> 01:37:22,546
And this was just a really nicely
choreographed sequence,

1906
01:37:22,629 --> 01:37:25,716
then, obviously, enhanced
by visual effects that are different

1907
01:37:25,799 --> 01:37:27,759
than the visual effects
we've ever seen in these X-Men before.

1908
01:37:27,843 --> 01:37:33,181
That shot of the camera on a cable going
flying toward her and bouncing back

1909
01:37:33,265 --> 01:37:34,891
was something that Brian Smrz
and I talked about

1910
01:37:34,975 --> 01:37:38,687
because it's something he did in the
Lady Deathstrike-Wolverine fight in X2.

1911
01:37:38,770 --> 01:37:41,273
And I always loved the way it sort
of went slamming toward them

1912
01:37:41,356 --> 01:37:42,733
and just slightly bounced back.

1913
01:37:42,816 --> 01:37:45,485
There was just something
even more visceral about it.

1914
01:37:48,780 --> 01:37:51,950
But this is just really cool
visual effects work the guys created.

1915
01:37:52,034 --> 01:37:53,660
PARKER: And right down to the last second.

1916
01:37:53,744 --> 01:37:55,454
KINBERG: Yeah.

1917
01:38:05,881 --> 01:38:08,592
Still amazed that Jessica ran
in these heels.

1918
01:38:08,675 --> 01:38:09,885
(KINBERG chuckles)

1919
01:38:10,052 --> 01:38:11,887
KINBERG: There's very little
that Jessica Chastain cannot do.

1920
01:38:11,970 --> 01:38:13,096
PARKER: That is true.

1921
01:38:13,180 --> 01:38:15,348
KINBERG: I am not sure I have discovered
anything yet.

1922
01:38:15,432 --> 01:38:18,560
But I am still actively
searching for it.

1923
01:38:22,898 --> 01:38:26,026
And this was a shot
that I always envisioned

1924
01:38:26,109 --> 01:38:29,529
as a shot I wanted to do which
is a 360 around them, obviously, or 780

1925
01:38:29,613 --> 01:38:31,490
or however many times
it rotates around them.

1926
01:38:31,573 --> 01:38:35,452
And to see it first empower
Jessica's character,

1927
01:38:35,535 --> 01:38:39,372
and then to see her start to deteriorate
I thought would be interesting to do.

1928
01:38:39,456 --> 01:38:41,833
And the visual effects guys... it's
a challenge for the visual effects guys,

1929
01:38:41,917 --> 01:38:45,712
it's a very long shot, obviously,
and they did a really great job of it.

1930
01:38:48,423 --> 01:38:49,758
Jean!

1931
01:38:57,641 --> 01:39:00,102
PARKER: Really hard moment
but really effectively done, I think,

1932
01:39:00,185 --> 01:39:03,230
where you're dealing
with such cosmic forces

1933
01:39:03,313 --> 01:39:07,025
and yet you're playing
a really intimate moment

1934
01:39:07,109 --> 01:39:10,445
between Scott and Jean,
and a pretty important one,

1935
01:39:10,529 --> 01:39:14,282
because obviously it has a lot to do
with informing the choice she's made.

1936
01:39:14,366 --> 01:39:16,535
And it's a credit, I think, to Simon

1937
01:39:16,618 --> 01:39:23,458
that you were able to find that
within that much visual noise.

1938
01:39:23,542 --> 01:39:27,003
KINBERG: Well, and a lot of it was taking
down the visual noise, you know?

1939
01:39:27,879 --> 01:39:30,340
Just protecting her face enough,
her eyes enough,

1940
01:39:30,423 --> 01:39:34,136
so that you could really see her
gesticulating and feeling those moments.

1941
01:39:34,219 --> 01:39:35,220
Jean!

1942
01:39:36,555 --> 01:39:37,764
No.

1943
01:39:40,559 --> 01:39:42,102
Jean!

1944
01:39:42,602 --> 01:39:43,895
♪♪

1945
01:39:45,188 --> 01:39:48,108
KINBERG: And ultimately, you know,
if you know the Dark Phoenix Saga

1946
01:39:48,191 --> 01:39:51,027
and even if you just are someone
that understands drama

1947
01:39:51,111 --> 01:39:52,612
and given all she's done,

1948
01:39:52,696 --> 01:39:55,448
you know that there's
some element of sacrifice

1949
01:39:55,532 --> 01:39:58,952
that's going to be necessary
at the end of... at the end of the story.

1950
01:39:59,035 --> 01:40:02,289
And I felt like one of the things that was
really important about this movie,

1951
01:40:02,372 --> 01:40:03,790
not just because she's
a female character

1952
01:40:03,874 --> 01:40:05,250
but also because
she's a female character

1953
01:40:05,333 --> 01:40:09,462
is that the notion of emotions
making you weak, I wanted to flip.

1954
01:40:09,546 --> 01:40:12,632
I wanted it to be that emotions
are something that make you strong.

1955
01:40:12,716 --> 01:40:15,260
And I think we live in a world now
where instead of people feeling

1956
01:40:15,343 --> 01:40:17,179
as though emotions
are something to be afraid of,

1957
01:40:17,262 --> 01:40:19,431
they're something to be embraced.

1958
01:40:21,099 --> 01:40:27,230
And this moment where she really goes...
obviously explodes and then goes Phoenix

1959
01:40:28,398 --> 01:40:32,277
was something we really,
really, really worked on

1960
01:40:32,360 --> 01:40:35,405
to be defined and yet not so defined

1961
01:40:35,488 --> 01:40:38,575
that all of a sudden you were in
a different kind of science fiction film.

1962
01:40:38,658 --> 01:40:41,620
And so, there's still a level
of subtlety and nuance to it.

1963
01:40:42,913 --> 01:40:44,789
♪♪

1964
01:40:47,959 --> 01:40:51,004
But if you know the comics or you
just remember the title,

1965
01:40:51,630 --> 01:40:54,633
it's clearly a Phoenix
and that I felt was important

1966
01:40:54,716 --> 01:40:57,219
because it indicates
that she's not exactly gone,

1967
01:40:57,302 --> 01:41:00,430
that she has evolved into a different
kind of entity.

1968
01:41:00,513 --> 01:41:02,224
And Charles says that here.

1969
01:41:04,809 --> 01:41:06,144
She's free.

1970
01:41:08,271 --> 01:41:10,398
KINBERG: And then she says it
in her monologue to come.

1971
01:41:12,943 --> 01:41:14,277
And this was all on the location.

1972
01:41:14,361 --> 01:41:16,863
Some of these fires
are visual effects fires.

1973
01:41:16,947 --> 01:41:21,618
But most of this is real,
just taken from the day.

1974
01:41:26,915 --> 01:41:28,917
♪♪

1975
01:41:34,339 --> 01:41:36,758
KINBERG: Back on our location
where we started the movie.

1976
01:41:37,592 --> 01:41:40,387
And this sign, for people that know
the comics well, is...

1977
01:41:40,887 --> 01:41:43,598
was not a creation of mine.

1978
01:41:43,682 --> 01:41:47,769
In the comics,
it does actually turn into...

1979
01:41:48,395 --> 01:41:51,523
the Jean Grey school, eventually.

1980
01:41:52,440 --> 01:41:56,027
I am not simply
what others want me to be.

1981
01:41:56,194 --> 01:41:57,696
KINBERG: And this was another place,
just like the opening,

1982
01:41:57,779 --> 01:41:59,281
where we debated who should be speaking.

1983
01:41:59,364 --> 01:42:01,950
At one point, it was the president,
at one point, it was Charles,

1984
01:42:02,033 --> 01:42:04,286
and ultimately, we felt
like this is Jean's movie

1985
01:42:04,369 --> 01:42:06,496
and Jean has evolved into a larger entity

1986
01:42:06,579 --> 01:42:10,333
that has a sort of wisdom greater
than all of theirs.

1987
01:42:10,417 --> 01:42:13,253
And so, she could be
this disembodied voice

1988
01:42:13,837 --> 01:42:16,715
and give you a feeling
of continuation.

1989
01:42:17,924 --> 01:42:20,135
PARKER: That's another thing I like
about this ending

1990
01:42:20,218 --> 01:42:24,264
is that while some
of the characters have evolved

1991
01:42:24,347 --> 01:42:28,893
into the things you hoped they would...
certainly Hank, Scott, Storm as teachers

1992
01:42:28,977 --> 01:42:31,104
and Hank is now head of the school,

1993
01:42:31,688 --> 01:42:34,065
there's a sense
that some of the characters

1994
01:42:34,149 --> 01:42:35,942
have been irrevocably changed.

1995
01:42:36,026 --> 01:42:38,903
Certainly, that's the way
we're meant to feel about Charles.

1996
01:42:38,987 --> 01:42:40,905
And that goes back to that notion
of consequence

1997
01:42:40,989 --> 01:42:42,532
that we were talking about earlier

1998
01:42:42,615 --> 01:42:44,993
and just the degree
to which we sort of wanted to make sure

1999
01:42:45,076 --> 01:42:47,537
we were trying to do something
that we hadn't done

2000
01:42:47,620 --> 01:42:49,331
and that felt different
for the audience.

2001
01:42:49,414 --> 01:42:52,125
And felt like we were pushing
the characters

2002
01:42:52,208 --> 01:42:55,211
further along
in their complex journeys.

2003
01:42:55,795 --> 01:42:57,589
And that's what these scenes
are trying to do.

2004
01:42:57,756 --> 01:42:59,507
(speaking French)

2005
01:43:16,941 --> 01:43:19,194
KINBERG: This, I think, is in fact
the last scene that we ever shot.

2006
01:43:19,277 --> 01:43:20,779
PARKER: Mm-hmm.

2007
01:43:20,945 --> 01:43:22,822
And if you remember,
it was a challenging day.

2008
01:43:22,906 --> 01:43:25,617
KINBERG: Yeah. I do remember. Noisy, too.

2009
01:43:26,326 --> 01:43:27,494
PARKER: Yeah.

2010
01:43:27,577 --> 01:43:29,496
Came to see an old friend.

2011
01:43:30,246 --> 01:43:32,749
KINBERG: I just love
in the cycle of X-Men...

2012
01:43:32,832 --> 01:43:34,000
in all of the X-Men movies,

2013
01:43:34,084 --> 01:43:37,045
but especially in the cycle
of the X-Men First Class movies,

2014
01:43:37,128 --> 01:43:41,633
this notion that these guys
started as strangers, became enemies,

2015
01:43:41,716 --> 01:43:45,845
and by the end become brothers
is a very emotional journey to me

2016
01:43:45,929 --> 01:43:49,349
over the span of six,
eight hours of storytelling.

2017
01:43:49,432 --> 01:43:51,810
And if you look back on X-Men First Class

2018
01:43:51,893 --> 01:43:54,187
and you look at how young
these guys looked

2019
01:43:54,270 --> 01:43:55,688
and they're still obviously
very young men

2020
01:43:55,772 --> 01:43:58,233
but I mean they looked like babies,
especially James.

2021
01:43:58,316 --> 01:44:01,736
They were guys in their 20s and now
they're guys in their late 30s, 40,

2022
01:44:01,820 --> 01:44:05,657
and I feel like they have matured
with the franchise.

2023
01:44:05,740 --> 01:44:09,828
And this idea that they are all
that's left at the end for one another

2024
01:44:10,412 --> 01:44:13,665
was something that I felt
was a really strong way to end the movie

2025
01:44:13,748 --> 01:44:16,459
without making the end
of the movie about them.

2026
01:44:16,543 --> 01:44:18,711
It just was simply
a sort of come full circle

2027
01:44:18,795 --> 01:44:21,381
about the fact that strangers
have become family,

2028
01:44:21,464 --> 01:44:24,259
have broken apart
and yet ultimately, remain family.

2029
01:44:25,844 --> 01:44:27,470
I'll go easy on you.

2030
01:44:28,972 --> 01:44:30,181
No, you won't.

2031
01:44:30,807 --> 01:44:31,891
(chuckles)

2032
01:44:34,477 --> 01:44:37,021
- PARKER: I love that you did it over...
- KINBERG: The chess.

2033
01:44:37,105 --> 01:44:38,815
PARKER: Yeah, the chessboard.

2034
01:44:40,233 --> 01:44:41,192
♪♪

2035
01:44:42,986 --> 01:44:44,821
KINBERG: Montréal looks a lot like Paris

2036
01:44:44,904 --> 01:44:47,490
when you throw the Eiffel Tower
in the background.

2037
01:44:48,616 --> 01:44:49,909
PARKER: Giving away all our secrets.

2038
01:44:49,993 --> 01:44:51,703
KINBERG: Yeah, well.

2039
01:44:53,621 --> 01:44:57,083
And then this we wanted it to be subtle
but, you know, pronounced.

2040
01:44:57,167 --> 01:44:59,085
It's not exactly
the spinning top in Inception

2041
01:44:59,169 --> 01:45:01,045
but it's also not super obvious.

2042
01:45:04,257 --> 01:45:07,093
And there you have it. That's me.
That's me and Hutch.

2043
01:45:10,138 --> 01:45:13,683
And these are all the other people
that were our partners on the movie.

2044
01:45:14,350 --> 01:45:17,270
Stan Lee obviously is, uh,
the creator of all of this,

2045
01:45:17,353 --> 01:45:21,024
and sadly passed away while we were
completing the movie,

2046
01:45:21,107 --> 01:45:23,026
but left this extraordinary legacy.

2047
01:45:23,109 --> 01:45:25,945
And I'm very proud that we are
a part of that legacy.

2048
01:45:26,029 --> 01:45:27,489
PARKER: Yeah, hear, hear.

2049
01:45:32,660 --> 01:45:36,998
KINBERG: I think maybe since these credits
are another hour and a half long,

2050
01:45:37,582 --> 01:45:39,709
um, it's a good opportunity
for us to talk about...

2051
01:45:39,792 --> 01:45:41,377
we've talked about the people
that worked on this film,

2052
01:45:41,461 --> 01:45:46,049
but just to talk about the fact
that we've been very blessed

2053
01:45:46,132 --> 01:45:48,092
to be part of this legacy ourselves

2054
01:45:48,843 --> 01:45:52,597
and to get to play
in the world of the X-Men.

2055
01:45:53,223 --> 01:45:55,683
You know, I grew up reading
X-Men comics,

2056
01:45:55,767 --> 01:45:57,602
uh, watchin' the cartoons
as well actually,

2057
01:45:57,685 --> 01:46:01,940
and didn't think that I would see
an X-Men movie when I was a kid,

2058
01:46:02,023 --> 01:46:04,484
certainly didn't think
I'd be a part of it.

2059
01:46:04,567 --> 01:46:07,278
So to watch both
as an audience member

2060
01:46:07,362 --> 01:46:09,864
and then in these last 15 years or so...

2061
01:46:09,948 --> 01:46:12,534
and it goes back even further for you,
Hutch, as an executive,

2062
01:46:12,617 --> 01:46:18,456
to be a part of building this legacy,
to tell this story, has been amazing.

2063
01:46:18,540 --> 01:46:23,461
And... I think one of the things
that we've been able to do

2064
01:46:23,545 --> 01:46:27,215
is because these characters are so rich,
each of the movies is different

2065
01:46:27,298 --> 01:46:29,342
because we've been able
to explore different aspects,

2066
01:46:29,425 --> 01:46:33,805
different colors, different...
different corners of the characters.

2067
01:46:37,183 --> 01:46:39,102
And it's always been...
I know for you, Hutch,

2068
01:46:39,185 --> 01:46:42,313
as you and I have worked together
on however many of these we have now,

2069
01:46:42,397 --> 01:46:44,941
for you it's always been character first.

2070
01:46:45,024 --> 01:46:46,859
What's this movie about thematically?

2071
01:46:46,943 --> 01:46:48,111
What's it about emotionally?

2072
01:46:48,194 --> 01:46:53,575
And we found that in this,
and really probably drilled in deeper,

2073
01:46:53,658 --> 01:46:55,034
at least in the mainland X-Men movies,

2074
01:46:55,118 --> 01:46:57,579
drilled in deeper
than we have in the past.

2075
01:46:57,662 --> 01:46:59,247
And so in a way it feels kind of like...

2076
01:46:59,330 --> 01:47:01,749
we talked about this
in the very beginning.

2077
01:47:01,833 --> 01:47:04,502
It's a culmination of however
many X-Men movies

2078
01:47:04,586 --> 01:47:09,299
and especially this cycle of X-Men
First Class movies of these characters,

2079
01:47:09,382 --> 01:47:13,094
these actors who were strangers
when we started whatever it was...

2080
01:47:13,177 --> 01:47:15,054
seven, eight, nine years ago...

2081
01:47:15,138 --> 01:47:18,057
who became friends,
who became family members,

2082
01:47:18,141 --> 01:47:20,852
who were ripped apart
as characters at least,

2083
01:47:21,352 --> 01:47:23,938
who were pulled apart
in terms of just life,

2084
01:47:24,022 --> 01:47:26,441
on the other sides of the globe.

2085
01:47:26,524 --> 01:47:30,570
And this is the film where they're
finally sort of most tested as a family

2086
01:47:31,529 --> 01:47:33,573
and then ultimately
come back together as a family

2087
01:47:33,656 --> 01:47:39,412
that it just felt like this...
this natural culmination of storytelling.

2088
01:47:39,787 --> 01:47:41,539
PARKER: Yeah.

2089
01:47:42,290 --> 01:47:43,791
♪♪

2090
01:48:01,476 --> 01:48:06,564
PARKER: And a credit, as you said earlier,
to the power of the underlying material.

2091
01:48:06,648 --> 01:48:11,110
To me the richness and the breadth
of all these movies is a credit to that.

2092
01:48:11,736 --> 01:48:15,990
And it's invited remarkable filmmakers
to come to the table

2093
01:48:16,074 --> 01:48:19,327
and bring their different instincts
to the material.

2094
01:48:19,410 --> 01:48:21,204
It's also been really fun to watch

2095
01:48:21,287 --> 01:48:26,167
the way these movies have evolved
from the first X-Men,

2096
01:48:26,250 --> 01:48:28,670
and what I think Bryan did so remarkably

2097
01:48:28,753 --> 01:48:33,341
in introducing that radical tone,
opening in Auschwitz

2098
01:48:34,717 --> 01:48:39,931
which was such a bold move,
to what we saw in Dark Knight,

2099
01:48:40,014 --> 01:48:44,435
or what Marvel has done now
so consistently with Avengers,

2100
01:48:44,519 --> 01:48:48,648
and others and then you with Deadpool
and Logan.

2101
01:48:48,731 --> 01:48:52,652
It's just been so much fun to explore
all these different facets

2102
01:48:52,735 --> 01:48:55,113
of these characters
and different tonalities,

2103
01:48:55,196 --> 01:48:59,909
and get to live within the story world
of the X-Men comics.

2104
01:48:59,992 --> 01:49:01,577
Pretty remarkable journey.

2105
01:49:03,329 --> 01:49:06,541
KINBERG: Yeah. No, and I think
the thing that's been fun

2106
01:49:06,624 --> 01:49:09,043
in addition to obviously being able
to explore these characters

2107
01:49:09,127 --> 01:49:11,003
that for me were just...

2108
01:49:11,087 --> 01:49:13,381
lived in my imagination
and on the page when I was a kid,

2109
01:49:13,464 --> 01:49:17,844
is that something that we've tried
to do so much in this franchise,

2110
01:49:17,927 --> 01:49:19,303
which isn't necessarily done in others,

2111
01:49:19,387 --> 01:49:23,641
is each time sort of create a different
subgenre of the comic book genre.

2112
01:49:23,725 --> 01:49:25,101
You know, in the way
that X-Men First Class,

2113
01:49:25,184 --> 01:49:29,939
let's say, was a spy movie
and Apocalypse was a disaster movie.

2114
01:49:30,022 --> 01:49:32,442
And Days of Future Past
was obviously a time travel movie.

2115
01:49:32,525 --> 01:49:35,027
And for me this is very much
a psychological thriller.

2116
01:49:35,111 --> 01:49:36,904
And so with each of these movies,

2117
01:49:36,988 --> 01:49:41,451
and Logan was a western
and Deadpool is a R-rated comedy,

2118
01:49:41,534 --> 01:49:46,664
it's given filmmakers,
and even us as the filmmakers,

2119
01:49:46,748 --> 01:49:49,709
consistently, from movie to movie,
it's given us a chance

2120
01:49:49,792 --> 01:49:53,546
to explore sometimes genres
that aren't explored anymore.

2121
01:49:53,629 --> 01:49:58,176
Nobody's making westerns
for the big screen these days.

2122
01:49:58,259 --> 01:50:02,764
Not a lotta people are even making
R-rated comedies, psychological thrillers.

2123
01:50:02,847 --> 01:50:06,309
And all of the genres I was just talking
about are rarely made these days,

2124
01:50:06,392 --> 01:50:07,560
and to be able to make them

2125
01:50:07,643 --> 01:50:12,899
under the umbrella of a comic book
adaptation or a superhero franchise

2126
01:50:12,982 --> 01:50:16,569
just gives you the opportunity
to really play and be creative.

2127
01:50:16,652 --> 01:50:19,947
And I think for audiences it's part
of what they love about these movies,

2128
01:50:20,031 --> 01:50:24,827
is it's not just another chapter
or another episode of something they know,

2129
01:50:24,911 --> 01:50:28,873
it is a new treatment
of characters they love.

2130
01:50:28,956 --> 01:50:30,541
And so they come back.

2131
01:50:30,625 --> 01:50:33,795
And it's part of the reason
why it's become the most dominant,

2132
01:50:33,878 --> 01:50:38,049
popular genre in film
over the last decade or so.

2133
01:50:39,258 --> 01:50:40,927
PARKER: Yeah, I think that's true.

2134
01:50:56,150 --> 01:50:58,402
And as we're watchin' the credits roll,

2135
01:50:58,486 --> 01:51:01,906
also I have to say a special thanks,
really, to FOX,

2136
01:51:01,989 --> 01:51:07,620
and Tom Rothman,
who initially championed this franchise,

2137
01:51:07,703 --> 01:51:12,166
and the incredible opportunities
that they gave all of us

2138
01:51:12,667 --> 01:51:16,295
who've gotten to work on these movies.
It's a powerful legacy.

2139
01:51:16,379 --> 01:51:19,423
It's kinda the... I guess
the end of that chapter.

2140
01:51:20,049 --> 01:51:23,302
Kind of an honor to get here...
to sit here and chat about it.

2141
01:51:23,386 --> 01:51:24,595
KINBERG: Yeah, for sure.

2142
01:51:24,679 --> 01:51:27,515
And I think, you know,
ultimately it was a coincidence,

2143
01:51:27,598 --> 01:51:31,561
but the fact that the end of that cycle

2144
01:51:31,644 --> 01:51:37,817
is the most beloved, popular, complex,
challenging of the X-Men stories

2145
01:51:37,900 --> 01:51:41,529
and a story that perhaps we didn't
get as right as we wanted to,

2146
01:51:41,612 --> 01:51:43,948
I can say
as the co-writer of it at least...

2147
01:51:44,031 --> 01:51:48,077
with X-Men 3, the fact that we got
a chance to go back and tell this story,

2148
01:51:48,160 --> 01:51:51,497
and tell it in a way that was more true
to the essence of the original comic

2149
01:51:51,581 --> 01:51:57,670
also feels like this sort of full circle
in the experience of making X-Men movies,

2150
01:51:58,170 --> 01:52:00,631
which I think is valuable, too.
And you're right.

2151
01:52:00,715 --> 01:52:02,758
We've always had these
incredible partners at the studio,

2152
01:52:02,842 --> 01:52:06,721
Jim Gianopulos, Emma Watts,
who's been incredibly involved

2153
01:52:06,804 --> 01:52:09,640
especially in the last three
or four of these movies

2154
01:52:09,724 --> 01:52:11,434
and in Logan and in Deadpool.

2155
01:52:12,518 --> 01:52:15,563
It's just been a...
we've become this little family.

2156
01:52:15,646 --> 01:52:18,816
The actors have become a family.
A lot of the crew have become a family.

2157
01:52:18,900 --> 01:52:22,320
You and I have become brothers
and partners in this.

2158
01:52:22,403 --> 01:52:25,823
And, so, it's fun...
it was fun every day to come to set,

2159
01:52:25,907 --> 01:52:29,577
even when it was challenging.
It was a privilege.

2160
01:52:29,660 --> 01:52:32,788
- I think one that we saw a privilege too.
- PARKER: Yeah, for sure.

2161
01:52:32,872 --> 01:52:37,209
KINBERG: And it is... I say
as a fan of the X-Men,

2162
01:52:37,919 --> 01:52:39,921
and I would've said this after X-Men 3,

2163
01:52:40,004 --> 01:52:42,298
I'm excited to see what the future
holds for the X-Men.

2164
01:52:42,381 --> 01:52:43,633
PARKER: Me too.

2165
01:52:43,716 --> 01:52:45,134
Me too. Incredibly rich world,

2166
01:52:45,217 --> 01:52:48,679
and we'll be excited to see
how they choose to explore it.

2167
01:52:48,763 --> 01:52:53,392
KINBERG: Yeah. And the possibilities
are quite limitless

2168
01:52:53,476 --> 01:52:54,727
when you read the comics

2169
01:52:54,810 --> 01:52:59,482
and you know that there are literally
thousands of powerful characters

2170
01:52:59,565 --> 01:53:01,943
in the source material,

2171
01:53:02,568 --> 01:53:04,779
you know that there's so many
different ways you can go

2172
01:53:04,862 --> 01:53:08,532
and so many great story lines
have yet to be explored by the films.

2173
01:53:08,616 --> 01:53:09,742
It'll be really great.

2174
01:53:09,825 --> 01:53:13,079
This is also looking at the people
being thanked,

2175
01:53:13,162 --> 01:53:18,209
Stan Lee, Jack Kirby, Chris Claremont,
Dave Cockrum, Len Wein, John Byrne.

2176
01:53:18,292 --> 01:53:20,836
Those are the people
that actually created,

2177
01:53:20,920 --> 01:53:25,508
gave birth to, nurtured,
raised the X-Men.

2178
01:53:26,008 --> 01:53:31,305
And we have the good fortune
of being able to sort of babysit them

2179
01:53:31,389 --> 01:53:33,766
through however many movies
we've worked on now.

2180
01:53:33,849 --> 01:53:37,228
But those were the, those were
the true parents of the X-Men.

2181
01:53:39,981 --> 01:53:41,565
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