iron man2 eng

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Hi, I'm Jon Favreau,
the director of this movie.

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So we start off with our logos,
Paramount and Marvel Studios.

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And we start here by having...

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Hopefully, you'll recognise
some of the dialogue

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we pulled from the press conference
that ended the last movie.

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Otherwise you're hearing the music
come up,

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and it's building to something dramatic.

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It's interesting,
if you look in the deleted scenes,

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there was another opening
we were considering,

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which was, "Pepper, I'm dying."

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"Oh, God, I'm dying. Help me. Oh, God."

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And then you cut on,
and then you see he's hugging the bowl.

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That beginning, it didn't work well for us
for a number of reasons,

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but we included it
'cause it worked as a scene.

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But in the movie,
the tone wasn't working well.

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We had problems in the beginning
trying to crosscut between light Tony

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with scenes of Ivan building his stuff,

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because it just bumped tonally so much.

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And so we decided, after trial and error,
trying many different things, to...

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Instead of having him watch the Expo
on the screen before he died,

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which is what we had had here,

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we figured that we would
set us in the context of the first film

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and actually begin this six months ago

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and give Mickey Rourke
his opportunity to introduce himself

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and to create a sense of danger
at the beginning of the film.

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We had tried in the first film,

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which, if you recall,
starts with a flashback.

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He's driving around,
he gets taken hostage,

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and then we flash back to,
I think, six weeks earlier, if I recall.

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And so that allowed us
to play Tony Stark

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in a much different way
than if we had done it linear.

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We had actually done linear cuts.

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Everybody who saw the movie said,
"Why are you doing a flashback?"

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"Can we see it linear?"

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And so we put it together,
and what happens is,

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Tony Stark would just not be
a very likeable guy.

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Everything he was doing was made...
He was forgiven much more

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because you knew that he was gonna
end up in a really compromised position,

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and probably the worst position
that you can think of,

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which was basically in a hostage video.

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And so here we wanted
to create this sense of danger,

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that something was looming,
something dangerous was coming.

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And here, if you see, "arc reactor,"
and here's your first clue.

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There's Anton Vanko and Howard Stark.
What does that mean?

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Well, Anton Vanko's his dad,
Howard Stark is Tony's father,

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and this whole "sins of the father"
vendetta theme

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begins to be introduced here.

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And here he is
with his Russian prison tattoos.

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And there we have on his wall,

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as any respectable serial killer
would have, the wall of clippings.

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And here we're trying to emulate
the building of the first suit in the cave.

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So this was Ivan's cave,

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figuring he's drawing
from the same information.

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He's the shadow of Tony Stark.

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And there's our monitors and his little...

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We had Matty Libatique shooting this.
We referenced a movie, Pi,

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that he shot with Darren Aronofsky
years ago,

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some of our inspiration
for the way the monitors were set up.

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Of course, that was black and white.
This is color.

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Here we go. We see that Iron Man
has become the Person of the Year.

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We learn clues about what's happened
over the last six months.

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There's the parrot drinking the vodka.
Very important shot.

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That's all Mickey wanted to know.
He was like, "Is the parrot shot in?"

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"What parrot shot?"
"The parrot drinking,

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"the cockatoo drinking the vodka."
I said, "It's not really..."

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"Well, see if it's in. Can you put it in?

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"It would mean a lot to me if you put it."
So, we put it in.

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There it is. I like the shot, too,
but that was very important to him.

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Here we go. This is emulating
the shot from the first film.

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Here it is.
We tried to mirror all that stuff.

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And here you hear some choir,
you hear John Debney's swelling score.

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Much different than our first film.

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We wanted this film to feel
more traditional than the first one,

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which is a little bit more
rough around the edges.

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Here he's been a superhero.

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I'll be quiet for my credit. Okay, let's...

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We wanted this to be a superhero film

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that felt a little bit more
like other superhero films,

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'cause now he's owning it
a little bit more.

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'Cause now he's owning it
a little bit more.

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And here we go.
So, there's our downbeat to the film.

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Boom. There it is.
AC/DC, Shoot to Thrill,

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"Six months later."

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So, here's what we're trying to do.
We're trying to do a misdirect.

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You think it's a mission.
You don't know what it is.

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There he is, in the back of a C-17.

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There's explosives. He jumps off.

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And this shot was gonna be
our first introduction to Iron Man

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in this movie,

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setting the table for what I hope
will be a great reveal of Tony Stark.

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Because you're waiting for him.

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I showed this to Garry Shandling,
who's very aware of...

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You know, you put on a show,
especially from stand-up,

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it's like, "Who's your opening act?"

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Well, he has Mickey Rourke
sort of as his opening act here.

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Now you have the dancing girls
and you have the music,

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and then the helmet
eventually comes off

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and we introduce Tony. So, it was like,

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"How far can we go with this?"

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And there's Flushing Meadow Park.
I grew up right there.

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You just saw my building
that I grew up in, across the street.

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And we set this thing in the world's fair,

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but we call it the Stark Expo
in our world.

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We're saying that the Expo
went on every 10 years

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and Howard Stark,
Tony's father, set it up.

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And it hasn't been going on since 1974.

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And now Tony, as part of his new plan...

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He said he wasn't making weapons
any more. What's he been up to?

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What is he gonna do
with this new-found power?

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He's going to put on a show,
he's going to celebrate himself.

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This was an image I had in my mind
pretty early on,

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the idea of AC/DC blasting.

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I got the idea for this
when I was watching AC/DC

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while we were putting
the script together.

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Before we knew what the story was,
I was at a AC/DC concert

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and I was like, "This is
where we should find Tony Stark."

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"He should be a rock star now."

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And then I thought of the idea
of NFL cheerleader-types

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with a costume that looked like the suit.

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And then you pull off the costume,

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you pull off the suit,
and there he is in a tuxedo,

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like James Bond
getting out of the wetsuit

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with the tuxedo on,

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'cause he's kind of like
a retro James Bond-type.

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And so, here's where
he explains the back story.

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There's been peace. No,
he hasn't been blowing everything up.

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Just the appearance of the suit
settled things down around the world.

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We wanted to come into this movie
with an unexpected choice,

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and that was just basically
the deterrence of the suit.

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Much like when the bomb
was first invented,

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everything settled down.
Everybody chilled out a little bit,

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until, of course,
the inevitable arms race happened.

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And that's sort of
what we're mirroring here

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with Ivan building the same tech.

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So now he explains what the Expo is,

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and what the movie's about, really.
It's about legacy.

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Did he inherit the sins of his father?
What was the best part of his dad?

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What's he gonna do with his life?

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And we're about to find out, too,

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that he knows he's dying
from this invention.

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So, Tony's a good guy.
Tony's still trying to be a good guy here.

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So he might be a little full of himself,

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but clearly there's something driving him
to do something.

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He knows he's not gonna be around.
How does he want to change the world?

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So, he's using
this unprecedented moment of peace

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to put the emphasis
on leaving behind something great.

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Now this part, I'm really proud of.
This is John Slattery. I love Mad Men.

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I reached out to him,
I said, "Hey, could you do this?"

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He says, "Really? Is it...
What kind of part is it?"

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"Is it just a cameo?"

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I'm like, "Well,
I think there's more to it than that."

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"I think we could really
do something cool here."

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"I think it'll be worth your while."

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And here he is. He's sort of like
a Howard Hughes, Walt Disney-type.

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You can see the great artwork
on the wall behind him in the little film.

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We shot the film to look...

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I think we even shot it
on 16mm stock. Yeah.

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There's all the artwork behind him
of all the Expos from all the decades,

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and there's the model, and there's even
a little arc reactor model in there.

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And we came up with the "O" logo.

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There's Olivia Munn. She had been...

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We included in the deleted scenes
what she had been.

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She'd been a girl at the party.
The party had a lot of challenges.

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And the tone of the party,
we didn't want it to get too funny.

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She's a very funny comic actress
and she did a fine job for us,

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but we couldn't include that part of it
because it was throwing the movie off,

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as good of a job as she did,
unfortunately.

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I've been cut out of a lot of stuff myself
as an actor, because it didn't fit in.

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There's Larry Ellison.

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And there's the Stan Lee cameo.

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And there was Seth Green in there
for a moment, if you look closely.

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And here's the lovely and talented
Kate Mara,

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and our product placement.

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And you hear
the Richard Sherman theme,

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which I'll talk more about
in the end credits,

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playing in the background here.

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But Olivia Munn, as I was saying before,
I told her that we couldn't include that,

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and she came back and did...

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I said, "We have something
we're about to shoot."

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We were doing something
and some additional photography

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to help with the exposition,

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to help people understand
what the Stark Expo was,

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and she came in and did a great job
as Chess Roberts

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from the comic books.

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And here we are
with a purchased stock shot

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And here we are
with a purchased stock shot

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that does not hold up well in IMAX,
I might add.

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Here we go.
Here he is, Howard Hughes trial,

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where they're trying
to nail this guy down,

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but his personality is too large

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and he has public opinion on his side,
because he's doing wonderful things.

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And there is peace
and there is prosperity.

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And he's more powerful
than the Senate.

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And it's almost like Caesar.
It's a Caesar-like rise

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we wanted to mirror.
And we wanted to make it fun and funny.

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And this scene was
our first day of photography.

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There's Garry Shandling,
who I've known for many years.

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I asked him to do this.

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He doesn't do films that often,
he's very selective,

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and he agreed.

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And this dialogue, we were beating
on this thing for a long time.

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Justin Theroux did many, many passes
of the scene.

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It was a very long scene.

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You see in some
of the deleted materials

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that it was actually even longer.

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We had Coulson in the back.

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We were introducing a lot of characters
in the scene.

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And one of the problems with this movie

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was that it's slow getting out
of the blocks.

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You're introducing a lot of characters,
there's a lot of beginnings to it.

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And we didn't want it to drag.

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And so, hats off to my editors,

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Dan Lebental and Rick Pearson.

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Boy, they worked on this thing...
This was Rick's...

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Rick got this from the day we shot it,
the first day,

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and there were so many cameras
and so much footage.

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This was his hobby.
He would work on this thing like...

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It was like the Crazy Horse monument
in the Dakotas.

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He would go out there
with his jackhammer

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and carve away at this scene.

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And it took till the end of the movie,

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till the end of the editorial process
to finally land on a proper cut.

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And Dan came in,
and he offered his insight.

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It was just a bear.
It's too long of a scene.

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We introduce Justin Hammer,

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played by Sam Rockwell.
He does a fantastic job.

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I worked with him originally on Made.

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If you go back and look at that,
you'll see he is the concierge,

229
00:13:33,062 --> 00:13:36,148
who does a fantastic job in that.
He's always great.

230
00:13:36,232 --> 00:13:39,151
And I wanted to hire somebody that...
We really made the part for him.

231
00:13:39,235 --> 00:13:41,237
Because it was supposed to be
two Russians,

232
00:13:41,362 --> 00:13:44,240
then it was going to be one Russian.

233
00:13:44,365 --> 00:13:46,385
And Ivan was gonna get killed,
there was gonna be Boris,

234
00:13:46,409 --> 00:13:47,719
and he was gonna get killed
on the track.

235
00:13:47,743 --> 00:13:52,081
But then the other Russian
was gonna continue on.

236
00:13:52,164 --> 00:13:54,500
And I was like,
"Boy, I wish I could hire Sam,"

237
00:13:54,583 --> 00:13:56,585
"but I don't want to see
Sam do it with an accent,"

238
00:13:56,669 --> 00:14:01,340
and so we made it Justin Hammer,
another character from the books.

239
00:14:01,924 --> 00:14:04,009
'Cause Rockwell
was actually somebody who,

240
00:14:04,093 --> 00:14:05,678
when we were making lists of people

241
00:14:05,761 --> 00:14:07,930
that would be interesting choices
to play Tony

242
00:14:08,013 --> 00:14:12,101
before I met with Robert,

243
00:14:13,102 --> 00:14:14,520
as we were putting ideas together,

244
00:14:14,603 --> 00:14:17,356
which is the way the casting process
works for all of these roles,

245
00:14:17,440 --> 00:14:20,609
he was a name I kept throwing out.
I said, "I know he doesn't seem obvious",

246
00:14:20,693 --> 00:14:23,296
"but this guy is really talented.
He could do something cool with it."

247
00:14:23,320 --> 00:14:25,573
And what's fun now is
I got him to come in

248
00:14:25,656 --> 00:14:28,242
and play a very broad

249
00:14:28,325 --> 00:14:33,247
and comedic version
of another one of his...

250
00:14:33,330 --> 00:14:37,084
Like, the guy
who wants to be Tony Stark,

251
00:14:37,168 --> 00:14:40,254
who took over
when Tony vacated the position

252
00:14:40,337 --> 00:14:41,922
because he gave up making weapons.

253
00:14:42,006 --> 00:14:46,010
And here this second-rate Tony Stark
comes in,

254
00:14:46,135 --> 00:14:49,305
and more often than not,
it makes you cringe.

255
00:14:49,430 --> 00:14:51,765
And I love that kind of humor,
and Sam was great at it.

256
00:14:51,849 --> 00:14:54,143
He really owned it, and he never...

257
00:14:54,268 --> 00:14:56,746
He had a lot of fun with it,
but I think he kept the reality of it

258
00:14:56,770 --> 00:14:59,940
to the level that was right
for the tone of this film.

259
00:15:00,649 --> 00:15:01,984
And there's Don Cheadle.

260
00:15:02,109 --> 00:15:04,528
We introduced him earlier
with a shot over his back.

261
00:15:04,653 --> 00:15:06,298
We were really thinking about
how we'd do that,

262
00:15:06,322 --> 00:15:09,033
because we were gonna show that shot
at Comic-Con.

263
00:15:09,158 --> 00:15:13,162
And we figured, everybody was asking
about the recasting,

264
00:15:13,287 --> 00:15:17,249
and so to start on his back
and bring him in and have them say...

265
00:15:17,333 --> 00:15:20,169
Actually, I think that wasn't even
in the script.

266
00:15:20,294 --> 00:15:25,007
That was something that me, Don
and Rob were like, "What do we do?"

267
00:15:25,132 --> 00:15:27,510
"How do we acknowledge
that something's changed?"

268
00:15:27,635 --> 00:15:29,803
And we threw out some lines,

269
00:15:29,887 --> 00:15:34,391
and the one I ended up liking the most
was, "I didn't expect to see you here."

270
00:15:34,517 --> 00:15:38,521
And he goes, "Look, it's me. I'm here.
Deal with it. Let's move on."

271
00:15:38,646 --> 00:15:40,022
And I thought that that was...

272
00:15:40,147 --> 00:15:42,000
'Cause whenever you cast somebody
in a superhero movie,

273
00:15:42,024 --> 00:15:43,585
they never really acknowledge it.
And I thought it was fun,

274
00:15:43,609 --> 00:15:45,249
at least for the fans, to acknowledge it.

275
00:15:45,444 --> 00:15:47,047
But not in a way
that it bumped for the film,

276
00:15:47,071 --> 00:15:49,740
'cause it still works for the characters.

277
00:15:49,865 --> 00:15:52,034
And we have our fun with all of his tech.

278
00:15:52,117 --> 00:15:55,246
There's the, "What's the next version
of the iPhone?"

279
00:15:55,371 --> 00:15:58,249
Of course, just a piece of glass.

280
00:15:58,374 --> 00:16:00,501
The prop people were coming up
with different ideas

281
00:16:00,584 --> 00:16:01,794
for his phone and device,

282
00:16:01,877 --> 00:16:04,296
and I was like,
"Just make it a piece of glass."

283
00:16:04,380 --> 00:16:06,632
And so, that's what it is,
just a piece of glass,

284
00:16:06,715 --> 00:16:09,009
and then we put some stuff on it.

285
00:16:09,093 --> 00:16:13,472
Those, what we call the "feebles,"
those other robots that didn't work,

286
00:16:13,556 --> 00:16:16,225
a little bit inspired by RoboCop.

287
00:16:19,895 --> 00:16:23,524
Those were actually tests
that were done by vendors

288
00:16:23,607 --> 00:16:25,526
and we ended up using them in the film.

289
00:16:25,609 --> 00:16:27,528
And there were some fine, very fine...

290
00:16:27,611 --> 00:16:30,906
I think that was Hydraulx,
if I'm not mistaken.

291
00:16:30,990 --> 00:16:34,785
A lot of great little houses that were
able to contribute to this production.

292
00:16:38,122 --> 00:16:40,403
Here we go. Here's the way
to get around using the F-word.

293
00:16:40,457 --> 00:16:43,252
I figured if it is on TV,
we could bleep him doing it.

294
00:16:43,335 --> 00:16:48,007
Because he said it...
He actually improvised it, if I recall.

295
00:16:48,090 --> 00:16:49,883
There was a lot of improvisation here.

296
00:16:49,967 --> 00:16:53,137
We stuck to the script,
but we embellished.

297
00:16:55,139 --> 00:16:57,325
Good stuff. There's some outtakes.
You should really look at it.

298
00:16:57,349 --> 00:17:00,477
You should really look at it
in the deleted scenes,

299
00:17:00,602 --> 00:17:03,605
see what Rockwell did.
He pulled out a doll.

300
00:17:03,689 --> 00:17:05,399
That wasn't in the script.

301
00:17:05,482 --> 00:17:09,028
And that was good.
That was in for a while.

302
00:17:09,111 --> 00:17:11,822
We wanted to make him
a little more formidable than that.

303
00:17:11,905 --> 00:17:13,633
The real estate in this scene
was very valuable

304
00:17:13,657 --> 00:17:15,784
because it was such a long scene,

305
00:17:15,868 --> 00:17:19,038
and anything
that could be removed was,

306
00:17:19,121 --> 00:17:23,792
just in the interest of pacing
and getting to...

307
00:17:23,876 --> 00:17:26,462
There's not a lot of action sequences
in this film

308
00:17:26,545 --> 00:17:29,256
compared to most films of the genre,
so we wanted to make sure

309
00:17:29,340 --> 00:17:31,759
that we never let things
settle down too long.

310
00:17:31,842 --> 00:17:34,928
And there he is.
There's the cockatoo that he has.

311
00:17:35,012 --> 00:17:37,222
That wasn't in the original script,

312
00:17:37,306 --> 00:17:40,225
but he wanted to have

313
00:17:40,309 --> 00:17:43,687
the idea of having some sort of
little pet or companion.

314
00:17:44,355 --> 00:17:47,167
I saw a picture of him with a cockatoo
at a boxing gym that I had gone to,

315
00:17:47,191 --> 00:17:48,650
I think the Wild Card one.

316
00:17:48,734 --> 00:17:51,153
There was a picture of him
feeding a bird, I remembered.

317
00:17:51,236 --> 00:17:54,615
He told me the story about the cockatoo.
I love cockatoos. My favourite animal.

318
00:17:54,698 --> 00:17:58,827
Thought it might be interesting.
Little bit more like a pirate.

319
00:17:58,911 --> 00:17:59,952
There we go. And he cuts it in half.

320
00:17:59,953 --> 00:18:01,056
There we go. And he cuts it in half.

321
00:18:01,080 --> 00:18:02,414
Then we go back to the house.

322
00:18:02,498 --> 00:18:03,808
And so we ended up with the bird,

323
00:18:03,832 --> 00:18:06,001
and then we added
a lot of bird stuff throughout.

324
00:18:06,085 --> 00:18:07,270
And if you look in the deleted scenes,

325
00:18:07,294 --> 00:18:11,131
he actually snaps the bird's neck
at the end of the movie.

326
00:18:11,215 --> 00:18:13,842
It's not in the film now,
but that was in the movie for a while.

327
00:18:13,926 --> 00:18:16,678
A little off-putting to the kids.

328
00:18:16,762 --> 00:18:20,265
And Jarvis is back.
We love Paul Bettany. He's great.

329
00:18:21,850 --> 00:18:24,395
And Dummy and You,
we wanted to bring them back in here.

330
00:18:24,478 --> 00:18:26,790
And there's that green goo
he was drinking in the last movie.

331
00:18:26,814 --> 00:18:28,107
We look like geniuses now

332
00:18:28,190 --> 00:18:31,318
'cause we bring it back
and explain what it's for.

333
00:18:31,402 --> 00:18:32,945
Or not.

334
00:18:34,405 --> 00:18:35,572
At least call stuff back,

335
00:18:35,656 --> 00:18:39,034
and then it seems
like you know what you're doing.

336
00:18:40,202 --> 00:18:43,664
There's our little... Testing his blood.

337
00:18:44,706 --> 00:18:46,309
Jarvis helps us here
with some exposition.

338
00:18:46,333 --> 00:18:50,129
This was actually
a much longer scene before,

339
00:18:50,212 --> 00:18:54,633
where he was testing different elements
in his new holographic environment.

340
00:18:54,716 --> 00:18:56,135
We wanted to up his workshop.

341
00:18:56,218 --> 00:18:58,029
If you look,
you'll see the floor is now shiny.

342
00:18:58,053 --> 00:19:01,640
It's like a holograph-projection surface.

343
00:19:01,723 --> 00:19:04,143
We played with it a little bit
in the re-shoots last time.

344
00:19:04,226 --> 00:19:07,980
It was very fun with him designing
the Mark II suit using a holograph,

345
00:19:08,063 --> 00:19:13,735
and so we used it here
in his whole workshop.

346
00:19:17,906 --> 00:19:20,510
So, now we find out the device
that's keeping him alive is killing him.

347
00:19:20,534 --> 00:19:23,620
We developed this sort of
fractal rash thing,

348
00:19:23,704 --> 00:19:27,166
and he's hiding it from his best buddy

349
00:19:27,249 --> 00:19:30,002
and potential love interest.

350
00:19:30,085 --> 00:19:31,587
There's my car.

351
00:19:31,670 --> 00:19:34,023
That was the screen saver
from the first film, if you remember,

352
00:19:34,047 --> 00:19:36,717
when Stane walks in.

353
00:19:38,844 --> 00:19:41,430
And here we go.
There's your Hall of Armour back there.

354
00:19:41,513 --> 00:19:45,100
And if you look here,
we developed a new system

355
00:19:46,101 --> 00:19:49,104
to up the ante,
to make his workshop a little high-tech.

356
00:19:49,188 --> 00:19:54,026
There's the suitcase suit right there.
A little foreshadowing moment.

357
00:19:57,029 --> 00:19:59,364
He's given away his artwork.

358
00:20:00,365 --> 00:20:03,619
Some classic cars, a '50 Merc,

359
00:20:03,744 --> 00:20:07,206
of course a '32 Ford,
best car ever made.

360
00:20:09,416 --> 00:20:13,128
And now we see he's working
on the Mark VI back there.

361
00:20:13,795 --> 00:20:17,132
Not that anybody's supposed to notice,
but it's there.

362
00:20:17,257 --> 00:20:19,885
And here we go. I don't know...

363
00:20:21,428 --> 00:20:23,972
During the time
that this movie was being developed,

364
00:20:24,056 --> 00:20:29,061
Obama was voted in,
and so we had a little fun with that.

365
00:20:30,646 --> 00:20:33,649
And now, how do you...

366
00:20:35,442 --> 00:20:38,153
How do you sort of echo
the first workshop scene,

367
00:20:38,278 --> 00:20:39,738
but show how things are different?

368
00:20:39,821 --> 00:20:42,157
So, we tech-up the place,
and their relationship...

369
00:20:42,241 --> 00:20:44,910
Clearly, things are getting tougher
for all these people here.

370
00:20:44,993 --> 00:20:49,331
We're showing the Expo's coming,
the Expo actually just opened.

371
00:20:49,414 --> 00:20:52,334
We show that there's 362 days left
to show it's the same Expo.

372
00:20:52,459 --> 00:20:55,420
People didn't understand that
the Expo actually lasts a whole year.

373
00:20:55,504 --> 00:20:56,505
World's fairs did.

374
00:20:56,630 --> 00:20:59,007
They thought it was a second Expo
at the end of the film.

375
00:20:59,132 --> 00:21:04,513
So we have in bold letters,
"Now open. 362 days left."

376
00:21:07,015 --> 00:21:08,433
At least we tried.

377
00:21:08,517 --> 00:21:10,662
If you didn't understand that,
then it's not our fault.

378
00:21:10,686 --> 00:21:12,813
We did the best we could.

379
00:21:12,896 --> 00:21:16,775
So, we see that his life is...
He was real busy in the first one,

380
00:21:16,858 --> 00:21:18,738
well, now he's Iron Man, also,
so his life is...

381
00:21:18,860 --> 00:21:21,863
The wheels are coming off.
He can't handle it.

382
00:21:21,989 --> 00:21:25,951
And he promotes Pepper to CEO,

383
00:21:26,034 --> 00:21:31,373
which is as close as you're gonna get
between the two of these

384
00:21:31,498 --> 00:21:34,209
to a marriage proposal.
They know each other,

385
00:21:34,334 --> 00:21:38,589
there's clearly an emotional bond
that they're not really acknowledging,

386
00:21:39,214 --> 00:21:42,050
and this is about the nicest thing
he could do for her,

387
00:21:42,175 --> 00:21:45,596
and it shows that he really respects her
and trusts her.

388
00:21:46,221 --> 00:21:50,225
Little does she know
how tough her life will get very quickly.

389
00:21:50,350 --> 00:21:51,935
And she really does a nice job here.

390
00:21:52,060 --> 00:21:54,187
I think Debney does a really nice job
with the music.

391
00:21:54,271 --> 00:21:57,190
Robert is charming as hell here.

392
00:21:59,026 --> 00:22:01,945
And there it is.
They have their nice little moment.

393
00:22:02,070 --> 00:22:04,740
Kind of the high point, really.

394
00:22:06,408 --> 00:22:07,868
That scene was much longer, too.

395
00:22:07,951 --> 00:22:11,413
You can look at that.
I think we have that included.

396
00:22:12,956 --> 00:22:17,628
There are the three Buddhas back there.

397
00:22:18,712 --> 00:22:21,340
Not sure. I always notice them.

398
00:22:22,758 --> 00:22:26,094
And here we go.
Looks pretty good for a backlot.

399
00:22:27,554 --> 00:22:30,223
Mike Riva did a nice job there.

400
00:22:33,310 --> 00:22:36,688
This was a longer scene, slightly,

401
00:22:39,107 --> 00:22:42,736
and he would reveal a tattoo on his neck
with the 10 Rings.

402
00:22:51,620 --> 00:22:55,040
Mongolian man would reveal
on his neck a 10 Rings tattoo,

403
00:22:55,123 --> 00:22:56,958
with the same little logo

404
00:22:57,042 --> 00:23:00,629
as was on the flags in the cave
in the first film.

405
00:23:00,712 --> 00:23:02,839
We didn't include that.

406
00:23:03,465 --> 00:23:07,469
But if you look in the credits,
he's referred to as...

407
00:23:07,552 --> 00:23:09,432
I think "10 Rings"
is the name of his character.

408
00:23:09,471 --> 00:23:13,100
So a little clue of
what's to come in the future,

409
00:23:13,183 --> 00:23:15,811
and how it relates to the Mandarin.

410
00:23:20,148 --> 00:23:21,900
And there's me.

411
00:23:22,859 --> 00:23:26,530
And there is Natalie

412
00:23:28,323 --> 00:23:30,117
with her nice Veronica Lake hair.

413
00:23:30,200 --> 00:23:36,540
She had other looks in her wardrobe
that were more striking,

414
00:23:36,665 --> 00:23:39,584
but because we wanted to do the stunt
where she flipped me here,

415
00:23:39,668 --> 00:23:42,087
we had to keep her in slacks.

416
00:23:45,340 --> 00:23:49,344
And, boy, she practiced this,
we practiced this a lot, separately.

417
00:23:49,428 --> 00:23:52,264
I think this was the first time
we did it together.

418
00:23:54,015 --> 00:23:56,143
And here she goes.
There's a lot of improv here.

419
00:23:56,226 --> 00:23:59,020
We ended up with just a silent moment.

420
00:24:08,739 --> 00:24:11,825
He's a little off-put.
Tony's not speechless too often.

421
00:24:11,908 --> 00:24:13,827
But just her...
Look at how she looks at him.

422
00:24:13,910 --> 00:24:18,498
Boy, she knows how to work it.
She has tremendous presence.

423
00:24:18,582 --> 00:24:21,918
And now, here they are.
She knows that she likes him.

424
00:24:22,002 --> 00:24:25,922
There's no jealousy here
because they're not together.

425
00:24:26,006 --> 00:24:30,677
But are they together or not,
and is he doing this to drive her crazy?

426
00:24:33,597 --> 00:24:35,658
So, is she saying, "No, she's not,"
because she's jealous,

427
00:24:35,682 --> 00:24:37,744
or is she saying, "No, she's not,"
'cause it's a bad choice?

428
00:24:37,768 --> 00:24:40,896
It's not a very good choice
for an assistant.

429
00:24:42,022 --> 00:24:44,441
You do not want... As good as she is,

430
00:24:44,524 --> 00:24:49,529
you don't want somebody
with that energy in Tony Stark's life.

431
00:24:54,743 --> 00:24:56,536
"Who speaks Latin?"
"No one speaks Latin."

432
00:24:56,620 --> 00:24:58,538
That was actually something that...

433
00:24:58,622 --> 00:25:00,892
I always love when Gwyneth
starts giving me notes on the script,

434
00:25:00,916 --> 00:25:03,352
because I always just put it in the script.
"She speaks Latin."

435
00:25:03,376 --> 00:25:05,536
And she was explaining, she said,
"Nobody speaks Latin.

436
00:25:05,670 --> 00:25:08,632
"It's a dead language."
She could write it. I said, "Just put it in."

437
00:25:08,715 --> 00:25:12,969
That happened in the first film, too.
There's me. Yeah, I did my stunt there.

438
00:25:13,053 --> 00:25:16,264
In IMAX you can see that, that's
my double in the reflection in the glass,

439
00:25:16,348 --> 00:25:18,308
but I did the stunt.

440
00:25:19,351 --> 00:25:21,353
And, no, it was not fun.

441
00:25:26,149 --> 00:25:27,609
Here we go.

442
00:25:29,611 --> 00:25:31,279
I like that joke.

443
00:25:32,697 --> 00:25:34,407
And here they are.

444
00:25:35,200 --> 00:25:37,744
Great. He signs the company over.

445
00:25:39,037 --> 00:25:41,832
So, it already gets kind of bad
for Pepper. Poor Pepper.

446
00:25:41,915 --> 00:25:44,668
She's made CEO,

447
00:25:45,627 --> 00:25:49,881
and then realizing that now
she's gonna be further away from him.

448
00:25:52,050 --> 00:25:53,009
There we go. Here's Monaco.

449
00:25:53,010 --> 00:25:54,344
There we go. Here's Monaco.

450
00:25:55,136 --> 00:25:56,346
The palace.

451
00:25:56,471 --> 00:25:59,850
I'd been to Monaco many years ago,
and this was another one of the...

452
00:25:59,933 --> 00:26:02,561
You know, you gotta come up
with the set pieces before

453
00:26:02,644 --> 00:26:03,964
the whole story's fully in place,

454
00:26:04,020 --> 00:26:05,660
and I was like,
"We gotta do Monaco, man."

455
00:26:05,689 --> 00:26:08,191
"We did Vegas last time. You gotta up it.
You gotta do Monaco."

456
00:26:08,275 --> 00:26:09,943
'Cause we're kind of like...

457
00:26:10,026 --> 00:26:14,406
Tonally, we're kind of like
the James Bond movies I grew up with.

458
00:26:14,489 --> 00:26:18,493
You know, the ones now
are kind of edgy and more real.

459
00:26:18,577 --> 00:26:22,581
The ones then were kind of
tongue-in-cheek. It was kind of fun.

460
00:26:22,664 --> 00:26:23,957
You know, it was a fantasy.

461
00:26:24,040 --> 00:26:26,626
And there I am with the suitcase.

462
00:26:26,710 --> 00:26:28,378
That was a comp shot.

463
00:26:28,461 --> 00:26:31,798
So, we built the Hótel de Paris
a Bar Americain.

464
00:26:32,465 --> 00:26:34,593
This is where I had been
many years ago,

465
00:26:34,676 --> 00:26:36,011
and this was my memory of Monaco.

466
00:26:36,094 --> 00:26:41,683
I had been flown out there by the Prince
as part of the Television Festival

467
00:26:42,183 --> 00:26:47,522
and for a black-tie premiére
of Rocky Marciano.

468
00:26:47,647 --> 00:26:51,192
And, boy, it was amazing
to go there, man.

469
00:26:51,318 --> 00:26:55,822
I felt like royalty. I was nobody.
This is before anything.

470
00:26:56,531 --> 00:26:58,366
And there I was.

471
00:26:58,491 --> 00:27:01,661
I'd gotten that gig off of Friends.
I had just done Swingers, actually.

472
00:27:02,287 --> 00:27:03,848
And after Friends, I did Rocky Marciano,

473
00:27:03,872 --> 00:27:06,374
and nobody... It was a Showtime movie.

474
00:27:06,458 --> 00:27:08,793
And there's Elon Musk, by the way,
back there.

475
00:27:08,877 --> 00:27:11,713
You'll see his place later, SpaceX.

476
00:27:11,796 --> 00:27:14,883
He's as close as you're gonna get
to the real Tony Stark.

477
00:27:15,008 --> 00:27:19,054
And he helped us.
He let us shoot in his place

478
00:27:20,180 --> 00:27:23,725
in exchange for a cameo,
and that was it. He's a great guy.

479
00:27:23,808 --> 00:27:25,977
We've become friends.
I met him through Robert.

480
00:27:26,061 --> 00:27:28,730
Robert spoke to him for research.

481
00:27:30,899 --> 00:27:33,902
And here she is.
And actually Sam and her,

482
00:27:36,363 --> 00:27:38,239
in a relationship in real life.

483
00:27:38,365 --> 00:27:42,494
And I know Leslie Bibb,
and it seemed fun.

484
00:27:42,577 --> 00:27:44,722
I said, "Yeah. Let's have her.
Let's work her into this film."

485
00:27:44,746 --> 00:27:48,083
And then this great bit came out of it.
And I love this little...

486
00:27:49,918 --> 00:27:51,145
I don't know if people
are gonna remember her,

487
00:27:51,169 --> 00:27:53,672
that the first movie started
with him in bed with her

488
00:27:53,755 --> 00:27:56,424
after she was interviewing him
from Vanity Fair.

489
00:27:56,549 --> 00:27:59,594
And poor Justin's just trying
to be like him,

490
00:27:59,719 --> 00:28:03,306
and the girl he's with has already
slept with Tony, and it's just...

491
00:28:03,431 --> 00:28:04,849
This poor guy.

492
00:28:04,933 --> 00:28:06,077
I love him, but he's annoying.

493
00:28:06,101 --> 00:28:09,187
I just get happy
when he's on the screen.

494
00:28:09,270 --> 00:28:13,733
I'm a character actor, so I like when
somebody makes some cool choices.

495
00:28:14,317 --> 00:28:15,753
And, of course, look at Robert here.

496
00:28:15,777 --> 00:28:20,281
He's just slamming him down
left and right. It's not even a fair fight.

497
00:28:20,657 --> 00:28:24,828
It's not even a fair fight, and she's
more interested in Tony than him.

498
00:28:25,787 --> 00:28:30,291
You know, it's a little bit of a
Daffy Duck/Bugs Bunny going on here.

499
00:28:33,461 --> 00:28:35,130
This poor guy.

500
00:28:35,255 --> 00:28:37,465
And now he checks his heart
in the mirror,

501
00:28:37,590 --> 00:28:39,467
and we see that things
are not going well.

502
00:28:39,592 --> 00:28:43,304
He's checking his blood,
and we see the rash is not good.

503
00:28:43,930 --> 00:28:46,224
Why is he doing it, man? What the...

504
00:28:46,307 --> 00:28:50,311
You know, we had a lot of discussions
about this. Why is he...

505
00:28:50,437 --> 00:28:52,605
What's he doing wrong
that he deserves this?

506
00:28:52,689 --> 00:28:56,693
Just in the greater scheme of things
in the movie. I mean, he's just...

507
00:28:57,193 --> 00:29:00,864
He's holding it all together,
and he wants to cut loose.

508
00:29:02,282 --> 00:29:05,118
And he's a thrill-seeker and he loves...

509
00:29:05,201 --> 00:29:09,122
You know,
people get addicted to adrenaline.

510
00:29:09,205 --> 00:29:14,002
They get addicted to fame. They get
addicted to living a life that way.

511
00:29:14,127 --> 00:29:17,380
And so, as the chips
are really getting down for him,

512
00:29:17,505 --> 00:29:19,674
and as his blood toxicity's going up,

513
00:29:20,050 --> 00:29:21,527
and he realizes
that it's the end of the road.

514
00:29:21,551 --> 00:29:24,429
He's not gonna be able
to solve this problem.

515
00:29:24,512 --> 00:29:26,890
So, it's like, "What the hell?"

516
00:29:27,682 --> 00:29:32,228
And, of course, that's when
he makes himself vulnerable.

517
00:29:34,439 --> 00:29:35,523
And so, here's Pepper.

518
00:29:35,607 --> 00:29:39,110
Now Pepper's very upset here,
and that's just something that,

519
00:29:39,194 --> 00:29:41,613
you know,
when we were cutting this together,

520
00:29:41,696 --> 00:29:43,424
"Why is she so upset?
She knows she's got..." Well, no.

521
00:29:43,448 --> 00:29:47,827
It's like if the President leaves his,
you know, little security zone

522
00:29:47,911 --> 00:29:49,263
and does something
he's not supposed to do...

523
00:29:49,287 --> 00:29:50,997
If you go to a ball game
with the President

524
00:29:51,081 --> 00:29:52,391
and he's supposed
to throw out the first pitch

525
00:29:52,415 --> 00:29:57,212
and then sit in the stands, in the box,
and then you see him running around

526
00:29:57,879 --> 00:30:00,924
in the field without
his Secret Service protecting him,

527
00:30:01,049 --> 00:30:04,511
you know, you worry.
And so, this is not cool.

528
00:30:04,594 --> 00:30:07,931
And so, she's upset.

529
00:30:08,056 --> 00:30:11,768
She knows it's not good
even before she knows about Ivan.

530
00:30:11,893 --> 00:30:12,936
That's the thinking here.

531
00:30:13,061 --> 00:30:15,480
And there, I like that little...
It's nice when...

532
00:30:15,563 --> 00:30:17,291
We were able to do that
with two different units

533
00:30:17,315 --> 00:30:21,402
and make it all come together.
There we are. We built this car.

534
00:30:23,738 --> 00:30:26,782
So, we, of course, designed a red car
for Iron Man.

535
00:30:26,783 --> 00:30:27,968
So, we, of course, designed a red car
for Iron Man.

536
00:30:27,992 --> 00:30:30,120
And then Robert was like,
"No, it should be blue."

537
00:30:30,245 --> 00:30:32,997
Like, "Why blue? Red is Iron Man."
He said, "It should be blue.

538
00:30:33,081 --> 00:30:35,208
"Don't want it to be red. Make it blue."

539
00:30:35,291 --> 00:30:39,212
And so, actually, you see
the color scheme of the Iron Man car

540
00:30:39,295 --> 00:30:42,799
is actually on, I think, Hammer's car,
one of the other ones.

541
00:30:44,300 --> 00:30:47,095
I'm like, "Why is he being blue?
It should be red."

542
00:30:47,178 --> 00:30:50,223
And it's like, I'm so happy it's blue now.

543
00:30:51,141 --> 00:30:53,101
It looks so cool blue.

544
00:30:53,184 --> 00:30:59,941
So, you know, that's why
sometimes you gotta be open, man.

545
00:31:01,651 --> 00:31:03,671
'Cause I like it in blue, man.
I can't even picture it red.

546
00:31:03,695 --> 00:31:06,489
It would've been hokey red. He's right.

547
00:31:08,158 --> 00:31:10,743
If you see,
those plates were actually shot,

548
00:31:10,827 --> 00:31:12,427
you know, the cars,
we never raced there.

549
00:31:12,495 --> 00:31:14,622
Those cars were all digital,
done by Digital...

550
00:31:14,706 --> 00:31:17,333
Done by, excuse me,
Double Negative out of England.

551
00:31:17,417 --> 00:31:19,137
These plates we shot,
these are real plates.

552
00:31:19,210 --> 00:31:22,338
They populated it with the crowd
and matched it up.

553
00:31:22,422 --> 00:31:24,299
We built this part of the set in Downey

554
00:31:24,382 --> 00:31:27,343
'cause we couldn't shoot clearly
in Monaco.

555
00:31:27,427 --> 00:31:31,723
They were shooting...
The track was being set up for the race.

556
00:31:31,806 --> 00:31:34,726
We got in there before the race,
cleared out for the race,

557
00:31:34,809 --> 00:31:39,397
so we shot the stands
and we shot the background plates,

558
00:31:39,856 --> 00:31:41,316
and then we put our cars into it.

559
00:31:41,399 --> 00:31:44,319
They let us have access
to the track for a little while.

560
00:31:44,402 --> 00:31:46,988
Those boats were all digital back there.

561
00:31:47,071 --> 00:31:48,615
And we walked every inch of this path.

562
00:31:48,698 --> 00:31:51,534
This part is called Tabac
'cause there's a tobacco shop.

563
00:31:51,618 --> 00:31:57,707
It's very well-known by race fans,
every turn in this course.

564
00:31:58,666 --> 00:32:04,339
And that car, that's Dan Sudick,
our effects guy,

565
00:32:04,422 --> 00:32:07,550
flipping real cars.
I mean, we built those things.

566
00:32:07,634 --> 00:32:08,968
And there's the suitcase suit.

567
00:32:09,052 --> 00:32:11,679
And there's us. That's a great comp.
We never were in Monaco.

568
00:32:11,763 --> 00:32:13,514
I scouted beforehand,

569
00:32:13,598 --> 00:32:16,392
and then they shot with the second unit
with the actual car.

570
00:32:16,476 --> 00:32:20,772
Digital door, real track, real car,
fake race cars.

571
00:32:20,855 --> 00:32:23,399
So there's all different combinations
of layers in these things,

572
00:32:23,483 --> 00:32:27,111
of real and not real,
and I think that's why it's convincing.

573
00:32:27,195 --> 00:32:30,865
But the idea of a Rolls-Royce
racing towards him

574
00:32:30,949 --> 00:32:32,801
and the whips on the track,
this was something...

575
00:32:32,825 --> 00:32:35,286
This was an image I had in my head.

576
00:32:35,370 --> 00:32:37,163
And so, a lot of this was hard.

577
00:32:37,247 --> 00:32:41,709
The resources were, you know,
never opulent

578
00:32:43,586 --> 00:32:47,257
because of the nature of the production.

579
00:32:47,966 --> 00:32:49,717
But I was able to get it to be Monaco.

580
00:32:49,801 --> 00:32:52,679
It was very hard for me
to get it to be Monaco.

581
00:32:52,762 --> 00:32:56,599
If it wasn't for the cooperation
of the Prince and the ACM,

582
00:32:56,683 --> 00:32:59,602
it never would've happened.
They really helped,

583
00:33:01,229 --> 00:33:02,480
and I'm very grateful for that.

584
00:33:02,563 --> 00:33:04,123
Because I think if it was Long Beach...

585
00:33:04,148 --> 00:33:07,068
I mean, as cool as Long Beach is,
and I've been there and it's great,

586
00:33:07,151 --> 00:33:09,904
I don't think it has the same impact

587
00:33:10,613 --> 00:33:15,576
of feeling like you're on the world stage.
It's still California. And this is...

588
00:33:17,078 --> 00:33:21,582
I mean, this is Monaco.
Monte-Carlo is Monte-Carlo.

589
00:33:22,625 --> 00:33:28,756
It's a brand, it's a whole image,
and it evokes a whole nostalgic...

590
00:33:28,840 --> 00:33:32,093
You know,
it just represented the right thing.

591
00:33:32,176 --> 00:33:35,513
And so, we have to be very clear that
it was the Historic race and not the F1

592
00:33:35,596 --> 00:33:39,684
because that's a whole different thing.
That's a different organization.

593
00:33:39,767 --> 00:33:41,769
So there's a lot of signage around,
if you look.

594
00:33:41,894 --> 00:33:48,609
And the cars are actually retro cars
and not current F1 design.

595
00:33:49,610 --> 00:33:52,447
Here we go. We wanted him to
fight without the suit on,

596
00:33:52,572 --> 00:33:53,698
and so put him in peril.

597
00:33:53,781 --> 00:33:57,118
We didn't want the whole movie
to be just dudes fighting in suits.

598
00:33:57,201 --> 00:33:59,078
And the idea of Whiplash

599
00:33:59,954 --> 00:34:04,959
and the guy with this Road Warrior-type
powered whips was cool.

600
00:34:05,084 --> 00:34:07,795
I liked the idea of him with tattoos.

601
00:34:07,879 --> 00:34:12,133
You know, I was thinking he could be
like this Eastern Promises-type dude.

602
00:34:12,258 --> 00:34:16,721
And then the idea of Mickey came about.
I had seen The Wrestler,

603
00:34:16,804 --> 00:34:19,223
and I was like, "Man, this guy's great."

604
00:34:19,307 --> 00:34:22,894
And then, of course,
all the awards attention came

605
00:34:22,977 --> 00:34:24,204
and it became very hard to even...

606
00:34:24,228 --> 00:34:27,315
I met with him
before all that awards stuff happened

607
00:34:27,440 --> 00:34:29,734
and showed him the pictures.

608
00:34:29,817 --> 00:34:34,989
I met with him in I. when he was here,
and he was into it.

609
00:34:35,114 --> 00:34:37,742
And then, of course,
all the awards stuff happened.

610
00:34:37,825 --> 00:34:40,328
It was very hard to get him to commit

611
00:34:40,453 --> 00:34:42,497
because he was traveling around
promoting it.

612
00:34:42,622 --> 00:34:46,709
Fortunately, Robert was also going
around promoting for awards season

613
00:34:46,834 --> 00:34:48,294
because of Tropic Thunder.

614
00:34:48,378 --> 00:34:50,814
And Robert would be like,
"Hey, you gonna do the movie or not?"

615
00:34:50,838 --> 00:34:53,466
And he would corner him in interviews,
which was great.

616
00:34:53,549 --> 00:34:57,178
And Robert's always been a real partner
in every aspect of the production.

617
00:35:00,181 --> 00:35:03,393
There we go.
And we actually cut up a Phantom,

618
00:35:04,018 --> 00:35:09,690
which I thought was both exciting
and heart-breaking.

619
00:35:10,691 --> 00:35:15,405
I guess we've always destroyed
really nice, iconic, expensive cars.

620
00:35:15,530 --> 00:35:18,032
We did the Cobra in the last film.

621
00:35:18,699 --> 00:35:23,079
But, you know, it's just...
I don't know, it's just unique.

622
00:35:25,164 --> 00:35:28,960
Look at that, man. I was in there for that.
That was not fun.

623
00:35:29,043 --> 00:35:31,313
That's real, man. That's not digital.
That thing's coming...

624
00:35:31,337 --> 00:35:34,590
I mean, the whip's digital,
but the car was really coming apart.

625
00:35:34,715 --> 00:35:37,218
And here we go. The suitcase suit.

626
00:35:38,094 --> 00:35:41,931
Oh, boy. I was like, "How do we do it?
How do we..."

627
00:35:43,099 --> 00:35:46,519
It's sort of like,
"What do we do that we haven't done?"

628
00:35:46,602 --> 00:35:50,231
And the idea of the suitcase suit,
you know, it was like, "Could we do it?"

629
00:35:50,356 --> 00:35:52,859
But you can't do it
like in the comic books.

630
00:35:52,942 --> 00:35:55,570
And so, this was a very hard thing
to conceive of

631
00:35:55,695 --> 00:35:57,047
and actually make look convincing.

632
00:35:57,071 --> 00:35:59,282
It wasn't till about halfway through post

633
00:35:59,407 --> 00:36:02,118
that I was convinced that
this thing was gonna work.

634
00:36:02,243 --> 00:36:04,221
Because you wanted it
to fit within the reality of our world.

635
00:36:04,245 --> 00:36:05,955
You didn't want it to just morph onto him

636
00:36:06,080 --> 00:36:08,624
or be like liquid metal, like, you know,
T2 metal.

637
00:36:08,916 --> 00:36:13,462
That was done. That's been done.
We had to do something cool and fresh.

638
00:36:15,673 --> 00:36:19,760
And the people at Double Negative
really worked very hard on that.

639
00:36:20,803 --> 00:36:23,181
Very hard, and I'm very happy with it.

640
00:36:24,098 --> 00:36:26,267
It's cool. It's the right...

641
00:36:26,350 --> 00:36:29,270
There were so many hours and hours
and hours, and meetings and meetings

642
00:36:29,353 --> 00:36:32,231
of notes for every frame of this thing.

643
00:36:32,315 --> 00:36:35,067
And it's become one of
the iconic images of the film,

644
00:36:35,151 --> 00:36:37,528
so I think they did a nice job.

645
00:36:39,947 --> 00:36:41,991
And so, from a story perspective,

646
00:36:42,116 --> 00:36:44,744
you wanna show that somebody
challenged him with a technology.

647
00:36:44,827 --> 00:36:47,622
He won, but it's just the fact

648
00:36:47,705 --> 00:36:50,958
that this dude showed up
and it was so close

649
00:36:51,542 --> 00:36:55,504
starts to make people freak out,
and make him freak out, too.

650
00:36:55,630 --> 00:36:58,299
And as soon as you lose
that public support,

651
00:36:58,382 --> 00:37:01,469
when you're that famous
and they turn on you...

652
00:37:02,637 --> 00:37:05,848
Well, you see it in the papers, man.
You see it.

653
00:37:07,141 --> 00:37:12,063
The nature of fame and celebrity
is very different now

654
00:37:12,146 --> 00:37:14,482
than it was 10 years ago.

655
00:37:15,233 --> 00:37:17,109
And you see,
you got everybody coming for them.

656
00:37:17,193 --> 00:37:20,363
Later, you got
Christiane Amanpour, O'Reilly,

657
00:37:20,488 --> 00:37:25,952
and Shandling's being interviewed.
It's just, like, relentless.

658
00:37:26,786 --> 00:37:32,041
When you're at the wrong end of that,
it takes quite a toll.

659
00:37:35,336 --> 00:37:37,713
But, for right now,
he doesn't know that that's all turned.

660
00:37:37,797 --> 00:37:41,676
Right now he thinks, "Who is this guy?"
He scanned the tech.

661
00:37:42,134 --> 00:37:45,972
This is clearly something
that's related to what he's built.

662
00:37:46,055 --> 00:37:47,282
And if you remember from the first film,

663
00:37:47,306 --> 00:37:51,519
it was that heart piece that
Jeff Bridges was able to build...

664
00:37:51,602 --> 00:37:56,899
Congratulations to Jeff, by the way,
on the Oscar for Crazy Heart.

665
00:37:57,275 --> 00:37:59,527
Great movie. He did a great job.

666
00:37:59,944 --> 00:38:04,240
And very happy for him in that moment.

667
00:38:12,790 --> 00:38:16,168
And if you remember in the first film,
Jeff had to steal the heart

668
00:38:16,252 --> 00:38:20,339
because he could build the whole
Iron Monger suit, but the heart...

669
00:38:20,423 --> 00:38:22,925
Here Matty Libatique does a great job.

670
00:38:23,009 --> 00:38:26,387
This frame right here, with him there.

671
00:38:26,470 --> 00:38:29,765
And Mickey Rourke was like,
"I wanna do the scene..."

672
00:38:29,849 --> 00:38:32,601
'Cause he wants to consult
on wardrobe.

673
00:38:32,685 --> 00:38:35,271
Very important, wardrobe, hair, teeth,
all that stuff is him.

674
00:38:35,354 --> 00:38:38,566
He works that way.
He's very much into that.

675
00:38:38,649 --> 00:38:40,377
So he'll do the hair himself,
the teeth himself,

676
00:38:40,401 --> 00:38:41,819
he got all that stuff made himself.

677
00:38:41,902 --> 00:38:45,031
Even the glasses he was working
on the suit with

678
00:38:45,114 --> 00:38:48,451
in the beginning of the movie.
He had all that made.

679
00:38:48,534 --> 00:38:51,829
The Georgian Cross around his neck.
Each tattoo he selected.

680
00:38:51,912 --> 00:38:54,665
I showed him a book of the tattoos.
He picked each one.

681
00:38:55,583 --> 00:38:59,712
Wardrobe's very important.
He says, "I wanna wear..."

682
00:38:59,795 --> 00:39:02,882
"I wanna be wearing
dirty white underwear."

683
00:39:05,092 --> 00:39:07,011
And I was like,
"All right. That could be cool."

684
00:39:07,094 --> 00:39:09,323
And then Marvel was like,
"What? What does he wanna wear?

685
00:39:09,347 --> 00:39:12,183
"Is he kidding?"
I'm like, "No, it could be cool."

686
00:39:12,266 --> 00:39:13,869
He actually wanted
to wear dirty white underwear

687
00:39:13,893 --> 00:39:16,270
and be jumping rope with a chain,

688
00:39:16,354 --> 00:39:18,189
and the chain hitting the ground

689
00:39:18,272 --> 00:39:22,526
would send a shower of sparks
every time he was skipping rope.

690
00:39:23,486 --> 00:39:25,446
I thought that was a little too much.

691
00:39:25,529 --> 00:39:27,549
But I did think
that we could do something with him,

692
00:39:27,573 --> 00:39:29,301
like he'd been stripped down
to his underwear

693
00:39:29,325 --> 00:39:33,412
because he was wearing that suit
and everything burnt off and everything.

694
00:39:33,496 --> 00:39:37,500
And he'd worked so much on his body,
and then he had all the...

695
00:39:37,583 --> 00:39:39,728
He'd worked out so much,
and then he had all those tattoos,

696
00:39:39,752 --> 00:39:41,337
I thought it would be really cool.

697
00:39:41,420 --> 00:39:44,924
And here's Tony, all refined, coming in

698
00:39:45,674 --> 00:39:50,221
wearing his leisure wear,

699
00:39:50,304 --> 00:39:53,140
with his hair all coif ed and his goatee,

700
00:39:53,224 --> 00:39:56,227
and then here's this dude, you know,
polar opposite.

701
00:39:56,310 --> 00:40:00,231
So you have these two shadows, sort of,
facing each other.

702
00:40:02,441 --> 00:40:05,069
And there we reveal that
he knows that, that palladium,

703
00:40:05,152 --> 00:40:06,821
he's the one guy who knows he's dying.

704
00:40:06,904 --> 00:40:11,075
So, this guy's got...
He's got the goods on Tony,

705
00:40:11,158 --> 00:40:14,662
and Tony does not like
somebody having a one-up on him.

706
00:40:15,955 --> 00:40:19,083
You know, this was used
in a lot of the trailers.

707
00:40:19,166 --> 00:40:23,587
And the whole notion that
if you make God bleed, everything goes.

708
00:40:24,171 --> 00:40:25,923
It's very much...

709
00:40:26,841 --> 00:40:29,510
It's like The Man Who Would Be King,
you know.

710
00:40:31,095 --> 00:40:33,848
I think even in 300 they had that, as well.

711
00:40:33,973 --> 00:40:39,854
Once you just nick the flesh
of that type of leader,

712
00:40:40,855 --> 00:40:43,941
of the person who's held
in such high esteem,

713
00:40:44,024 --> 00:40:45,609
verging on idolatry,

714
00:40:45,693 --> 00:40:49,280
and with the suit
there is certainly a theme of that,

715
00:40:49,363 --> 00:40:52,950
that once you show that,
that person is vulnerable or human,

716
00:40:53,033 --> 00:40:55,536
it freaks people out. They don't like that.

717
00:40:55,619 --> 00:41:00,666
Not when the following is so nuts.

718
00:41:01,709 --> 00:41:03,794
This is a scene that we actually shot...

719
00:41:03,878 --> 00:41:06,380
If you look, you'll see
the original scene that we shot.

720
00:41:06,505 --> 00:41:09,550
It was much earlier, it was
after the Senate, with Rhodey in it.

721
00:41:09,633 --> 00:41:10,777
And it was gonna be a space plane.

722
00:41:10,801 --> 00:41:11,862
This was designed to be a space plane.

723
00:41:11,886 --> 00:41:14,472
You can even see in one of the cuts,
you'll see her hair,

724
00:41:14,555 --> 00:41:15,866
some tests for her hair going up.

725
00:41:15,890 --> 00:41:19,393
It was gonna be zero G
with a four-point belt.

726
00:41:19,477 --> 00:41:22,146
But we used this set
'cause we needed the scene

727
00:41:22,229 --> 00:41:25,983
to help with the story, the emotional
story between he and Pepper.

728
00:41:26,066 --> 00:41:27,902
What we found in both these movies

729
00:41:27,985 --> 00:41:31,780
is Pepper just has become
such an important aspect to this film,

730
00:41:31,906 --> 00:41:35,576
and you have to keep them connected
and have to clarify their relationship.

731
00:41:35,701 --> 00:41:38,370
And he does so many things
that are distasteful,

732
00:41:38,454 --> 00:41:41,665
even to her at the party, and then later
they're not getting along in the office.

733
00:41:41,749 --> 00:41:44,126
It's nice to show this moment.

734
00:41:57,264 --> 00:41:59,743
There's just, you know,
groups of creative people in Hollywood,

735
00:41:59,767 --> 00:42:02,811
it's very encouraging,
that come together and help each other.

736
00:42:02,937 --> 00:42:04,980
Shandling was also very helpful on this

737
00:42:05,105 --> 00:42:07,650
in the editing room,
and we do it for each other,

738
00:42:07,775 --> 00:42:10,069
and you don't hear a lot about it.

739
00:42:10,152 --> 00:42:13,614
You think of all these different
creative types as being competitive,

740
00:42:13,739 --> 00:42:16,408
but really there's a tremendous
generosity, creatively.

741
00:42:16,492 --> 00:42:19,262
People root for each other's projects,
and they're there for each other.

742
00:42:19,286 --> 00:42:21,455
I remember calling up J.J. Abrams
from the trailer

743
00:42:21,580 --> 00:42:25,417
in the last movie when we couldn't
come up with a solution to a problem.

744
00:42:25,501 --> 00:42:26,811
And, you know, he dropped everything.

745
00:42:26,835 --> 00:42:29,421
He was on speaker phone
with me and Robert.

746
00:42:29,505 --> 00:42:32,716
And I do that for others. I get calls, too.

747
00:42:32,800 --> 00:42:37,638
And it's a very cool part of what I do
and a part that I really appreciate.

748
00:43:05,332 --> 00:43:08,711
So, this is me getting into a different
type of filmmaking than I kind of have.

749
00:43:08,836 --> 00:43:13,090
You know, sort of telling it just
with images and pictures and plot.

750
00:43:15,676 --> 00:43:20,014
We had to get him out of jail
and make it look like he died.

751
00:43:21,098 --> 00:43:25,269
This is actually a prison
that's been shot a lot in downtown LA.

752
00:43:27,688 --> 00:43:29,773
Actually Pasadena, I think.

753
00:43:30,858 --> 00:43:32,443
But they did a nice job.

754
00:43:32,526 --> 00:43:37,573
Riva did a nice job there
with the French on the walls.

755
00:43:37,698 --> 00:43:39,325
Good explosion from Dan Sudick,

756
00:43:39,408 --> 00:43:42,703
and, of course,
he has to brush off his shoulder.

757
00:43:44,288 --> 00:43:45,748
Like Jay-Z.

758
00:43:47,249 --> 00:43:50,878
And Mickey knows
when you can't cut something out.

759
00:43:50,961 --> 00:43:53,547
He knows. He's like...

760
00:43:53,631 --> 00:43:56,175
He knows he just had a big oner
with an explosion behind him,

761
00:43:56,258 --> 00:43:59,636
so he brushed his little shoulder off.
I've grown to like it.

762
00:43:59,637 --> 00:44:01,740
So he brushed his little shoulder off.
I've grown to like it.

763
00:44:01,764 --> 00:44:03,557
At the time, it was like,
"Why'd he do that?"

764
00:44:03,641 --> 00:44:06,393
But you know what? I'm digging it now.

765
00:44:06,477 --> 00:44:08,020
Here he is.

766
00:44:08,103 --> 00:44:10,481
There's Justin Hammer

767
00:44:11,649 --> 00:44:14,026
with the classical music
and the two worlds.

768
00:44:14,109 --> 00:44:15,669
You know, this movie's about contrasts.

769
00:44:15,694 --> 00:44:18,155
I think humor comes out of contrast
a lot of times,

770
00:44:18,238 --> 00:44:23,494
status and contrast, and here
these two are, and I love this scene.

771
00:44:26,455 --> 00:44:29,667
And there he is. And if you look at...

772
00:44:31,377 --> 00:44:35,798
What's his...
Sam wanted to have a spray tan.

773
00:44:35,881 --> 00:44:37,651
I mean, it's so not like him
to have a spray...

774
00:44:37,675 --> 00:44:40,552
He caked that on.
He wanted it to be just orange.

775
00:44:40,636 --> 00:44:44,473
And if you look at his hands,
it's just all over his palms.

776
00:44:45,140 --> 00:44:46,684
But it works.

777
00:44:47,309 --> 00:44:50,396
And here we are, and he sits down.

778
00:44:53,607 --> 00:44:58,195
And we see on his neck the Loki tattoo

779
00:44:58,278 --> 00:44:59,405
that shouldn't be Loki.

780
00:44:59,488 --> 00:45:03,200
He put Loki on his neck

781
00:45:04,326 --> 00:45:07,371
because his dog had passed away,
so it says Loki backwards.

782
00:45:08,080 --> 00:45:10,433
But, of course, Kevin Feige said,
"You can't have Loki on his neck."

783
00:45:10,457 --> 00:45:12,543
"That's the villain from Thor."

784
00:45:12,626 --> 00:45:18,632
And so, we adjusted the tattoo digitally
in many shots to disguise that,

785
00:45:18,716 --> 00:45:20,801
as not to give an improper Easter egg.

786
00:45:20,884 --> 00:45:23,262
I was like, "Why not, man? It's cool."

787
00:45:23,345 --> 00:45:27,224
"No, it can't be that." So I said, "Okay.
I don't know what's going on in Thor,

788
00:45:27,307 --> 00:45:28,493
"but I don't wanna ruin
your other movie."

789
00:45:28,517 --> 00:45:33,522
So, it's slightly changed. I think
they removed one little part of the "O."

790
00:45:33,939 --> 00:45:38,026
But in some shots it wasn't done,
and you'll see that there's some

791
00:45:38,652 --> 00:45:43,949
sketchy blurring done on it
that looks pretty good on the TV,

792
00:45:44,032 --> 00:45:46,452
but in IMAX is...

793
00:45:48,078 --> 00:45:50,956
It was an uncomfortable lesson to learn

794
00:45:52,666 --> 00:45:54,460
that you can't push things for IMAX

795
00:45:54,543 --> 00:45:58,589
the same way you can for
a regular movie screen or video screen.

796
00:45:59,965 --> 00:46:02,801
So here's a scene, two cameras again.
We had a lot of fun here.

797
00:46:02,885 --> 00:46:06,597
A much longer version, but it was
good, good, good stuff.

798
00:46:10,476 --> 00:46:11,935
Here he is. He's speaking Russian.

799
00:46:12,019 --> 00:46:14,146
He wanted to speak Russian.
He had a Russian coach.

800
00:46:14,229 --> 00:46:17,483
We cut half of this line for timing,

801
00:46:21,320 --> 00:46:24,573
and Mickey was not happy about that.

802
00:46:24,656 --> 00:46:26,968
He's like, "Look, I don't want
to come off looking like a fool."

803
00:46:26,992 --> 00:46:31,413
"I did a lot of work to make it sound
like I knew what I was doing."

804
00:46:32,122 --> 00:46:33,540
"Please put the other half in."

805
00:46:33,624 --> 00:46:37,377
I think that was the last change
in the movie. We restored half the line,

806
00:46:37,461 --> 00:46:40,297
the other half of the line back to it.

807
00:46:41,799 --> 00:46:44,134
The bird. We did little bird riffs here.

808
00:46:44,218 --> 00:46:48,222
The bird actually became...
None of this was in the original script,

809
00:46:48,305 --> 00:46:50,849
and we sort of added it
and threaded it in.

810
00:46:50,933 --> 00:46:53,333
As with Jack. The guy, he says,
"Hey, Jack. What's going on?"

811
00:46:53,393 --> 00:46:55,062
He says, "We got salmon carpaccio."

812
00:46:55,145 --> 00:46:58,398
That Jack thing,
he was actually a food stylist

813
00:46:58,482 --> 00:47:01,568
that did a great job
as a background performer there

814
00:47:01,693 --> 00:47:03,546
and we ended up incorporating him
into the other scenes.

815
00:47:03,570 --> 00:47:06,657
He did a good job.
Jack White's his name.

816
00:47:06,740 --> 00:47:11,495
And there's Christiane Amanpour,
friends with Pepper Potts,

817
00:47:11,578 --> 00:47:15,415
Gwyneth Paltrow. In real life
she's friends with, actually, not Pepper,

818
00:47:15,499 --> 00:47:18,260
but with Gwyneth, and she called her up.
She says, "Will you do this?"

819
00:47:18,335 --> 00:47:23,173
'Cause I wanted it
to be hitting the world.

820
00:47:23,257 --> 00:47:25,843
And by having Christiane and O'Reilly,

821
00:47:25,926 --> 00:47:28,595
I felt I was covering
the whole spectrum there.

822
00:47:28,679 --> 00:47:31,431
Hopefully it's fun.

823
00:47:32,266 --> 00:47:34,935
Not too distracting up here.

824
00:47:35,018 --> 00:47:38,939
By the way, great holographs and design

825
00:47:40,023 --> 00:47:42,359
by Prologue,

826
00:47:42,442 --> 00:47:46,405
Kyle Cooper and his gang.
They did all that stuff, too.

827
00:47:48,115 --> 00:47:50,200
And here's Rhodey coming in.

828
00:47:50,284 --> 00:47:52,953
Here's where we start to build towards...

829
00:47:54,413 --> 00:47:56,623
We gotta build towards
why he takes the suit.

830
00:47:56,707 --> 00:47:59,793
'Cause if it doesn't look like Tony
deserves to get the suit taken away,

831
00:47:59,918 --> 00:48:01,378
you don't like Rhodey.

832
00:48:01,461 --> 00:48:06,258
If you go too far, Tony's not likeable,
and so it's a very fine line to walk.

833
00:48:08,302 --> 00:48:11,221
So he's his friend,
trying to protect him here,

834
00:48:11,305 --> 00:48:12,931
and we find out that...

835
00:48:13,015 --> 00:48:16,643
Actually, Rhodey finds out
that he's not in a good way here.

836
00:48:17,477 --> 00:48:19,855
His friend's not doing too good.

837
00:48:22,858 --> 00:48:26,737
So what does a good friend do here?
Do you leave him alone?

838
00:48:26,820 --> 00:48:31,533
And then later, at the party, we see that
it starts to even get further undone.

839
00:48:32,451 --> 00:48:33,970
If you look back there,
in addition to the cars,

840
00:48:33,994 --> 00:48:35,714
there's actually
an airplane that folds up.

841
00:48:35,787 --> 00:48:36,973
That's a real airplane back there.

842
00:48:36,997 --> 00:48:38,975
We said, "How do we outdo
all those cars last time?"

843
00:48:38,999 --> 00:48:40,310
I said, "Put a plane in there, too."

844
00:48:40,334 --> 00:48:43,462
There's a plane that folded up,
and we put it in.

845
00:48:48,842 --> 00:48:54,139
So, this is originally just...
This prop is digital.

846
00:48:54,222 --> 00:48:57,643
The bottom of it is real.
But it didn't look good.

847
00:48:57,726 --> 00:48:59,603
It was something
that was a late-breaking idea.

848
00:48:59,686 --> 00:49:01,313
We did the best we could practically.

849
00:49:01,396 --> 00:49:05,359
But it actually gave us a basis by which
to build the digital thing on.

850
00:49:05,484 --> 00:49:09,446
And it was designed
by a company called Fuel,

851
00:49:09,529 --> 00:49:13,408
a good house, good small house
out of Australia, I think.

852
00:49:15,827 --> 00:49:18,413
There, the thing didn't turn on,

853
00:49:18,538 --> 00:49:22,709
and then finally Russell, our prop guy,
got it to turn on. It's on radio control.

854
00:49:22,834 --> 00:49:24,920
And it finally popped on,
and Robert went with it.

855
00:49:25,045 --> 00:49:27,839
We actually kept that performance,
like it's really falling apart.

856
00:49:27,923 --> 00:49:30,676
He's drinking the green juice
some more.

857
00:49:33,720 --> 00:49:37,724
So, again here, building the case
towards him taking the suit.

858
00:49:38,433 --> 00:49:41,186
This scene used to continue on.
If you look in the deleted scenes,

859
00:49:41,269 --> 00:49:45,899
you'll see that he actually went upstairs,
grabbed the phone from Pepper,

860
00:49:45,982 --> 00:49:50,362
and then talks to the helicopter that's
been watching and circling the house,

861
00:49:50,445 --> 00:49:52,823
making him seem even more undone.

862
00:49:53,907 --> 00:49:57,661
And this is SpaceX right here.
Not actually in Queens.

863
00:49:58,245 --> 00:50:00,455
But we wanted to put it close to the Expo

864
00:50:00,580 --> 00:50:02,833
to believe that we can get over there,
back and forth

865
00:50:02,916 --> 00:50:05,252
with the car and with the suits and stuff.

866
00:50:05,627 --> 00:50:06,795
But this is SpaceX.

867
00:50:06,920 --> 00:50:11,007
This is where Elon Musk
actually builds rocket ships

868
00:50:11,091 --> 00:50:13,844
and the Tesla car, for the time being.

869
00:50:16,680 --> 00:50:20,767
You can't see,
but at the other end of the room,

870
00:50:20,851 --> 00:50:23,478
there is a little commissary

871
00:50:23,603 --> 00:50:27,941
where there now stands a life-sized
Iron Man statue as a "thank you."

872
00:50:30,110 --> 00:50:34,114
There he is. We show that
he's pretty good with the computers.

873
00:50:39,411 --> 00:50:41,288
There we go,
and he's gonna go up to the thing.

874
00:50:41,371 --> 00:50:43,915
There's only actually one real one.
That front one is real.

875
00:50:43,999 --> 00:50:46,126
The rest of those are digital.

876
00:50:46,251 --> 00:50:48,378
All those people in the background
are not extras

877
00:50:48,462 --> 00:50:51,399
that we dressed or told to be there,
but they still had to continue working.

878
00:50:51,423 --> 00:50:52,674
We would shoot nights,

879
00:50:52,758 --> 00:50:56,428
and there's always people working
there, but we worked around it,

880
00:50:57,095 --> 00:51:00,182
in the fine tradition
of shooting in practical locations.

881
00:51:00,265 --> 00:51:01,475
I think we get a lot from it.

882
00:51:01,558 --> 00:51:06,521
It doesn't look like anything you could
get from props or an existing set

883
00:51:06,605 --> 00:51:12,944
or anything you could build on a set.
That's bigger than a sound stage.

884
00:51:13,487 --> 00:51:18,575
So, it gave us a little bit more scope
and scale and authenticity.

885
00:51:19,743 --> 00:51:22,454
So, it was very cool for us
to shoot there.

886
00:51:22,537 --> 00:51:26,166
And there's Jack,
who we put into all these scenes.

887
00:51:30,754 --> 00:51:34,424
And there's another additional scene
that used to come here.

888
00:51:34,508 --> 00:51:37,153
Another scene that used to come here
that's also in the deleted scenes,

889
00:51:37,177 --> 00:51:39,012
him showing him his little room.

890
00:51:40,514 --> 00:51:42,015
And there's the party.

891
00:51:42,682 --> 00:51:46,937
And this has been the most challenging
part of the film, editorially.

892
00:51:47,020 --> 00:51:48,188
Also in the deleted scenes,

893
00:51:48,313 --> 00:51:51,358
you can see that there was
him and her cozying up a bit.

894
00:51:51,441 --> 00:51:54,611
We had this scene right here
where he's flirting more with her.

895
00:51:54,694 --> 00:51:56,112
It felt weird.

896
00:51:56,196 --> 00:51:57,507
It always felt like a bummer to Pepper,

897
00:51:57,531 --> 00:51:59,783
'cause you really want
him and Pepper to be together.

898
00:51:59,866 --> 00:52:04,538
But you also show that
she's up in his face and flirting with him.

899
00:52:09,042 --> 00:52:12,212
There's all these bad decisions
to be made around him.

900
00:52:14,047 --> 00:52:17,717
It's all there for Tony,

901
00:52:17,801 --> 00:52:21,221
and he's got to decide
what he's all about.

902
00:52:23,640 --> 00:52:25,368
And this is his last night.
What's he gonna do?

903
00:52:25,392 --> 00:52:27,811
What do you do?
What's his legacy gonna be?

904
00:52:28,019 --> 00:52:30,647
Is he going to leave
something good behind

905
00:52:30,730 --> 00:52:35,151
or is he going to just indulge himself
and regress?

906
00:52:35,694 --> 00:52:41,241
And we see that tonight,
what he decides to do is have a party,

907
00:52:41,908 --> 00:52:43,159
put on the suit...

908
00:52:43,243 --> 00:52:45,412
You're not supposed to put the suit on
and mess around.

909
00:52:45,537 --> 00:52:49,332
And everybody loves it at the party,
and it's feverish.

910
00:52:49,416 --> 00:52:52,168
They're all gonna be
cheering and celebrating

911
00:52:52,252 --> 00:52:54,588
and encouraging bad behaviour.

912
00:52:54,713 --> 00:52:59,175
And I guess in Tony Stark's life,
there is always people around

913
00:52:59,259 --> 00:53:01,595
that are gonna encourage that.

914
00:53:02,387 --> 00:53:04,323
And, of course,
Pepper doesn't like that or Rhodey.

915
00:53:04,347 --> 00:53:06,474
Those are his real friends.

916
00:53:06,558 --> 00:53:10,478
So, what are you gonna do?
He drinks the martini.

917
00:53:10,562 --> 00:53:13,148
This is as close as we get
to Demon in a Bottle,

918
00:53:13,231 --> 00:53:14,649
this little sequence here.

919
00:53:19,821 --> 00:53:22,365
That's actually me
scratching on the soundtrack

920
00:53:22,449 --> 00:53:24,951
at that particular moment.

921
00:53:25,035 --> 00:53:26,953
And she walks in, she's disappointed.

922
00:53:27,037 --> 00:53:28,121
There he is, dancing.

923
00:53:28,204 --> 00:53:29,849
We wanted it to be funny,
but also a little bit weird.

924
00:53:29,873 --> 00:53:31,917
There's DJ AM back there.

925
00:53:34,377 --> 00:53:38,006
Nice, nice guy
and, unfortunately, passed away.

926
00:53:39,090 --> 00:53:42,510
I think there's a featurette
on the DVD about him.

927
00:53:42,594 --> 00:53:44,596
He was just a great, great, great dude,

928
00:53:44,679 --> 00:53:47,474
and we got to spend
a week with him there.

929
00:53:47,557 --> 00:53:50,435
Robert actually dug him a lot, too.

930
00:53:50,518 --> 00:53:54,105
Very, very, very sad when we found out
that he passed away.

931
00:53:54,189 --> 00:53:59,402
But very happy that we have him here,
and we do a whole little mash-up

932
00:54:00,779 --> 00:54:03,490
that his friend DJ Kevin Scott
helped us put together.

933
00:54:03,573 --> 00:54:05,700
He actually fell by accident, there.

934
00:54:06,618 --> 00:54:10,038
But of course, it worked great
with the smashing sounds.

935
00:54:10,121 --> 00:54:12,624
In trying to motivate him
to go downstairs...

936
00:54:12,707 --> 00:54:15,752
This was another scene
that had Olivia Munn in it.

937
00:54:15,835 --> 00:54:18,338
You'll see that he has her up in the air.

938
00:54:18,421 --> 00:54:20,090
Part of it was just to get through it

939
00:54:20,173 --> 00:54:23,259
and not make him too distasteful
at this part of the movie.

940
00:54:23,343 --> 00:54:27,180
'Cause when he was too abusive,
it was a little rough to recover from.

941
00:54:28,890 --> 00:54:33,687
There's that joke, Justin Theroux,
a wonderful little piece of writing.

942
00:54:34,938 --> 00:54:37,816
And I love this moment
between the two of them,

943
00:54:37,899 --> 00:54:40,026
'cause it was like...

944
00:54:40,110 --> 00:54:42,988
They both really knew
how to play the real of this moment.

945
00:54:46,032 --> 00:54:47,993
And then I threw in,
he just peed in the suit.

946
00:54:48,076 --> 00:54:51,579
That was something that occurred to me
in the moment there,

947
00:54:51,663 --> 00:54:54,332
based on the line that he just said.

948
00:54:54,958 --> 00:54:59,796
I love her here.
"It's not sexy. It's not sexy, trust me.

949
00:55:00,922 --> 00:55:05,385
"You're not gonna be happy about this."
He just peed in the suit.

950
00:55:05,468 --> 00:55:08,638
"It's got filtration...
You could drink that water."

951
00:55:09,305 --> 00:55:12,308
I came up with that one, too,
in the moment.

952
00:55:12,517 --> 00:55:14,286
Take this, too,
it looks like he's gonna go with it,

953
00:55:14,310 --> 00:55:16,604
and he does not go with it.

954
00:55:22,193 --> 00:55:25,030
Well, that's it! He's too far gone now.

955
00:55:25,905 --> 00:55:28,575
There's no stopping him now. She tried.

956
00:55:29,451 --> 00:55:32,162
Rhodey sees she tried.
Something else's gonna have to happen.

957
00:55:32,245 --> 00:55:35,498
Now, there is a sculpture here,
watch this. It's a Giacometti, it's called.

958
00:55:35,582 --> 00:55:37,792
That walking guy.

959
00:55:37,876 --> 00:55:40,336
It was such a bummer
'cause we got the rights to use that,

960
00:55:40,420 --> 00:55:42,881
it's a very famous sculpture,
we got the rights to use it,

961
00:55:42,964 --> 00:55:47,427
but then we found out later
that we couldn't destroy it,

962
00:55:47,510 --> 00:55:48,830
and he has to blow that glass up.

963
00:55:48,887 --> 00:55:51,473
So hopefully it's not too distracting,
it's still there.

964
00:55:53,058 --> 00:55:54,184
Not hit at all.

965
00:55:54,267 --> 00:55:58,188
And interestingly, that sculpture
was bought after we shot...

966
00:55:58,271 --> 00:56:01,357
Not that one, that's a replica,
but the real one was bought

967
00:56:01,441 --> 00:56:07,363
for $150 million
by an anonymous bidder at an auction.

968
00:56:08,239 --> 00:56:10,700
So, maybe it was Tony Stark.

969
00:56:13,787 --> 00:56:17,040
Here we go.
He's gonna do the Gallagher.

970
00:56:17,123 --> 00:56:19,351
"She wants the Gallagher."
He's blowing stuff, playing...

971
00:56:19,375 --> 00:56:21,145
Well, that's like,
what's the least responsible thing

972
00:56:21,169 --> 00:56:24,672
you could be doing with the suit?
Using it as a party favour, essentially.

973
00:56:24,756 --> 00:56:28,718
And then finally we understand
why Rhodey, hopefully, comes up.

974
00:56:34,349 --> 00:56:38,103
Now, this is actually...
A lot of it's been added digitally,

975
00:56:38,186 --> 00:56:41,272
but that silver suit was one of the suits
from the first movie.

976
00:56:41,356 --> 00:56:44,651
It's a very heavy suit.
We've since redesigned it.

977
00:56:47,320 --> 00:56:48,714
He's wearing a lighter version
of the suit.

978
00:56:48,738 --> 00:56:50,418
Part of it is real, part of it is digital.

979
00:56:50,490 --> 00:56:54,786
This is a bit that we added with Adam.
It wasn't in the script, so it was fun,

980
00:56:54,869 --> 00:56:57,413
and we kept it in,
and it's nice to have that.

981
00:56:59,916 --> 00:57:06,005
And this is a little mix that is
inspired by stuff that he would do.

982
00:57:07,257 --> 00:57:09,884
Not easy to get the rights
to do a mash-up of different songs,

983
00:57:10,009 --> 00:57:13,012
but thanks to Dave Jordan, we did it.

984
00:57:13,096 --> 00:57:16,766
There we go.
I love that, them throwing weights.

985
00:57:16,850 --> 00:57:21,563
The storyboard artists had a lot of fun
with this little area,

986
00:57:21,688 --> 00:57:25,358
coming up with all the different things
that could happen in a gym.

987
00:57:32,031 --> 00:57:35,952
All this dialogue has been
changed and changed so many times.

988
00:57:37,745 --> 00:57:39,956
'Cause you can. 'Cause they're in suits.

989
00:57:40,039 --> 00:57:41,600
Boom! You'll see that this, actually,
up here...

990
00:57:41,624 --> 00:57:44,544
Olivia Munn,
this is where she was, up here.

991
00:57:45,086 --> 00:57:47,881
You'll see that in the deleted scenes.

992
00:57:49,549 --> 00:57:55,930
But part of the reason was to keep
it feeling a little more dangerous here.

993
00:57:56,055 --> 00:57:59,893
And too many jokes,
it wasn't feeling good.

994
00:58:00,727 --> 00:58:01,967
And now we get into Robot Rock,

995
00:58:02,061 --> 00:58:06,232
which was Adam Goldstein,
DJ AM's favourite group

996
00:58:07,734 --> 00:58:11,905
from what I'm told by his buddies.

997
00:58:12,947 --> 00:58:15,658
And Robot Rock kind of
works with this, too, right here.

998
00:58:15,742 --> 00:58:17,243
I just wanted that image of them

999
00:58:17,368 --> 00:58:20,163
just loading up and
hitting as hard as they could,

1000
00:58:20,246 --> 00:58:22,165
and not really doing
anything to each other.

1001
00:58:22,248 --> 00:58:27,003
It's like, those suits...
It could go on forever.

1002
00:58:27,086 --> 00:58:29,088
And then it gets darker.

1003
00:58:30,089 --> 00:58:34,344
And all the people with their damned
camera phones and staring at them.

1004
00:58:34,427 --> 00:58:36,346
And all the people
that were encouraging him

1005
00:58:36,429 --> 00:58:38,723
to be acting the way he was.

1006
00:58:44,312 --> 00:58:45,563
And now,

1007
00:58:47,273 --> 00:58:49,984
it has to go one step too far.

1008
00:58:51,402 --> 00:58:53,488
And then this moment,
ILM did a really nice job

1009
00:58:53,947 --> 00:58:55,549
on what happens when
the two RTs hit each other.

1010
00:58:55,573 --> 00:58:57,492
We wanted it to be something cool.

1011
00:58:57,617 --> 00:58:58,897
We sneak in "War Machine" there.

1012
00:58:58,952 --> 00:59:00,787
He says,
"You wanna be a War Machine?"

1013
00:59:00,912 --> 00:59:03,414
We like to say the names
of the characters

1014
00:59:03,498 --> 00:59:04,892
without actually really saying them,

1015
00:59:04,916 --> 00:59:07,877
as though it's their real name,
but have it in there.

1016
00:59:07,961 --> 00:59:10,041
Like we say, "We're Iron Mongers,"
in the first film,

1017
00:59:10,922 --> 00:59:14,092
and here he says,
"You wanna be a War Machine?"

1018
00:59:16,636 --> 00:59:19,389
And so we see when those two things
hit each other, that happens.

1019
00:59:19,472 --> 00:59:21,933
And we wanted the ending to be
some sort of call-back

1020
00:59:22,016 --> 00:59:23,452
to something we established earlier.

1021
00:59:23,476 --> 00:59:27,897
And I like that they work together
to have to defeat the guy,

1022
00:59:27,981 --> 00:59:31,859
and it's about him learning
not to be alone.

1023
00:59:33,778 --> 00:59:35,947
Part of Tony's problem is
he isolates himself,

1024
00:59:36,030 --> 00:59:38,157
he doesn't let Pepper get close to him,

1025
00:59:38,283 --> 00:59:41,494
he doesn't have friends other than
the people he works with, really.

1026
00:59:42,412 --> 00:59:46,124
His best friends are his computer
and his robots.

1027
00:59:47,667 --> 00:59:51,254
So, it really is about him learning

1028
00:59:51,337 --> 00:59:53,923
to open up to these other people
and trust people,

1029
00:59:54,007 --> 01:00:00,179
and leading to the Avengers,
where he's part of a group.

1030
01:00:01,973 --> 01:00:06,519
There's the suit taking off into the night.
I like that little ending there.

1031
01:00:06,644 --> 01:00:09,272
Those are practical suits,
those aren't digital right there,

1032
01:00:09,355 --> 01:00:10,522
the ones on the ground.

1033
01:00:10,523 --> 01:00:11,523
The ones on the ground.

1034
01:00:15,320 --> 01:00:17,506
And here we are back at Edwards.
We were there last movie.

1035
01:00:17,530 --> 01:00:21,367
It's a great place, great guys.
They let us go up in the tower.

1036
01:00:23,619 --> 01:00:25,299
And there's Tim Guinee,
from the last film.

1037
01:00:25,330 --> 01:00:29,208
He was in the CAOC, if you remember,
with Rhodey.

1038
01:00:29,459 --> 01:00:32,045
And these are all real guys here.

1039
01:00:32,128 --> 01:00:35,465
I love that buzzing the tower moment
with the subwoofers.

1040
01:00:35,548 --> 01:00:42,305
And they let us use a B-2 and a F-22,

1041
01:00:42,388 --> 01:00:44,807
and there's a C-17.

1042
01:00:44,891 --> 01:00:47,310
And they just rolled
all the assets out for us.

1043
01:00:47,393 --> 01:00:50,646
They let us shoot
wherever we wanted there.

1044
01:00:50,730 --> 01:00:53,816
And you could only shoot that B-2
from certain angles.

1045
01:00:53,900 --> 01:00:56,736
They wouldn't even let us take pictures,
last time, of that.

1046
01:00:56,819 --> 01:00:57,904
They must've liked Iron Man

1047
01:00:57,987 --> 01:01:02,158
'cause they really rolled out
the red carpet for us.

1048
01:01:02,992 --> 01:01:04,410
And I had challenge coins made up,

1049
01:01:04,494 --> 01:01:05,888
for those of you
who know what those are,

1050
01:01:05,912 --> 01:01:10,124
because I would get them
from the military units and officers.

1051
01:01:10,208 --> 01:01:11,560
It was nice to have
something to give back.

1052
01:01:11,584 --> 01:01:15,254
So, there are Iron Man 2
director coins out there.

1053
01:01:15,338 --> 01:01:16,923
And you see,
we don't have the B-2 there

1054
01:01:17,006 --> 01:01:20,593
or actually War Machine, in that shot.

1055
01:01:20,676 --> 01:01:23,513
B-2 'cause we weren't allowed
to show it from that angle.

1056
01:01:23,596 --> 01:01:27,350
Our excuse is it's stealth, so that's
why you can't see it in that shot.

1057
01:01:27,433 --> 01:01:30,103
And then War Machine,
because I just didn't want to pay for it.

1058
01:01:30,186 --> 01:01:33,731
I didn't think you'd notice.
Didn't want to add another shot.

1059
01:01:33,815 --> 01:01:36,234
And here was another image
that we had.

1060
01:01:36,317 --> 01:01:40,947
I wanted him in the donut hole of
Randy's Donuts the day after a bender.

1061
01:01:42,949 --> 01:01:44,409
Just eating.

1062
01:01:46,244 --> 01:01:50,998
And I love this moment here.
This is like the AA sponsor,

1063
01:01:53,251 --> 01:01:58,506
the grizzled veteran who's like,
"Is this working out for you?"

1064
01:01:58,589 --> 01:02:01,050
"Do you like your life?
Is this how you want to live?"

1065
01:02:01,134 --> 01:02:05,596
You get the phone call,
you call your sponsor at the low point,

1066
01:02:05,680 --> 01:02:09,684
and the sponsor says, "Are you happy?"
He picks you up out of the gutter.

1067
01:02:09,767 --> 01:02:10,967
He picks you up from the place

1068
01:02:11,018 --> 01:02:13,020
you don't even know
how you woke up there.

1069
01:02:13,104 --> 01:02:16,566
And he says to you,
"All right, are we ready to change?"

1070
01:02:16,649 --> 01:02:19,193
"Are you ready
to change something about this"

1071
01:02:19,277 --> 01:02:20,736
"or is this working out for you?"

1072
01:02:20,820 --> 01:02:23,614
And then you gotta say...
You gotta give it up.

1073
01:02:23,698 --> 01:02:26,826
You gotta just say,
"I am ready to give up my old life"

1074
01:02:26,909 --> 01:02:30,204
"and I am ready to find out
who I really am and work at it."

1075
01:02:30,288 --> 01:02:31,914
And that's why I like that moment.

1076
01:02:31,998 --> 01:02:34,459
I like those glasses he was wearing, too,
if you saw.

1077
01:02:34,542 --> 01:02:37,462
They were black-and-red-checked
Ray-Bans.

1078
01:02:37,545 --> 01:02:39,630
He just happened to be
wearing them that day.

1079
01:02:39,714 --> 01:02:41,400
And I was like,
"You got to wear it with the suit."

1080
01:02:41,424 --> 01:02:43,986
He was like, "Really?" I was like, "Yeah."
Robert's always up for that.

1081
01:02:44,010 --> 01:02:47,305
He's like, "Yeah!" And I really like it.
I think it works really well.

1082
01:02:47,388 --> 01:02:50,516
It has that '80s look to it.
I don't know, it's fun to watch him.

1083
01:02:50,600 --> 01:02:52,768
It reminds me of Less Than Zero
or something.

1084
01:02:52,852 --> 01:02:54,312
But it worked somehow.

1085
01:02:54,395 --> 01:02:56,230
And there, of course, is Scarlett in her...

1086
01:02:56,314 --> 01:02:59,984
There's no interior to Randy's.
Don't drive yourself crazy looking for it.

1087
01:03:00,067 --> 01:03:01,507
It's not there. There's no interior.

1088
01:03:01,569 --> 01:03:04,197
This was actually shot someplace else
in the neighbourhood.

1089
01:03:04,280 --> 01:03:06,699
But we put up the Randy signage.

1090
01:03:08,242 --> 01:03:10,411
They were gonna be
in S. H. I. E. I. D. headquarters,

1091
01:03:10,495 --> 01:03:15,458
and I was like, "No, no, no. We got to
put them in Randy's Donuts, man."

1092
01:03:16,000 --> 01:03:21,005
'Cause the first discussions were, like,
it's a stainless steel S. H. I. E. I. D...

1093
01:03:21,088 --> 01:03:23,466
We were even gonna move them
to the East Coast.

1094
01:03:23,549 --> 01:03:26,153
I was like, "No, no, no, get them
in the costumes in this environment."

1095
01:03:26,177 --> 01:03:28,095
"That's our movie, man."

1096
01:03:29,472 --> 01:03:33,309
And this was the first time she was
in the Black Widow costume on set.

1097
01:03:37,271 --> 01:03:41,025
That was when I had tweeted.
I said, "She looks..."

1098
01:03:41,442 --> 01:03:43,861
"You never heard a crew
get so quiet so fast."

1099
01:03:43,945 --> 01:03:48,115
And that turned into
a whole thing of like...

1100
01:03:48,741 --> 01:03:51,536
I thought I was just writing it
and nobody...

1101
01:03:51,619 --> 01:03:54,019
But people who follow me read it,
and it turned into, like...

1102
01:03:54,080 --> 01:03:56,249
Marvel was like,
"Watch what you tweet."

1103
01:03:58,501 --> 01:04:00,021
Like that was a sensitive thing to say

1104
01:04:00,086 --> 01:04:02,672
she was in the costume.
I don't understand.

1105
01:04:02,755 --> 01:04:05,508
The point I am making
is that everything...

1106
01:04:05,591 --> 01:04:07,343
During the shooting of this film,

1107
01:04:07,426 --> 01:04:10,596
it was clear that the information age
had changed dramatically.

1108
01:04:10,680 --> 01:04:14,850
And if you post a picture
of yourself hanging out

1109
01:04:15,851 --> 01:04:17,079
that has nothing to do with the movie,

1110
01:04:17,103 --> 01:04:18,664
hanging out near the set, or talk about it,

1111
01:04:18,688 --> 01:04:21,607
those things get picked up
and move around very quickly.

1112
01:04:21,857 --> 01:04:26,862
And so the way filmmakers
interact with the public

1113
01:04:26,946 --> 01:04:32,785
is changing rapidly,
and it's interesting to see how it evolves.

1114
01:04:33,286 --> 01:04:35,366
And that was the one moment
I remember learning that.

1115
01:04:35,454 --> 01:04:38,416
I said that she looked great
in the costume.

1116
01:04:38,499 --> 01:04:41,836
And by the way, aside from that,
she did look great in the costume.

1117
01:04:41,961 --> 01:04:44,297
The crew did get really quiet.

1118
01:04:44,380 --> 01:04:48,801
Because she had been working so hard
on her martial arts stuff and her stunts,

1119
01:04:51,679 --> 01:04:53,806
and between that
and the red hair and all that,

1120
01:04:53,889 --> 01:04:55,933
and the way they did her makeup up,

1121
01:04:56,017 --> 01:04:57,810
it was very different.

1122
01:04:57,893 --> 01:05:00,187
I would have never pictured Scarlett
looking like this.

1123
01:05:00,313 --> 01:05:03,733
And it's just great. It really works well
and fits in with the comic books,

1124
01:05:03,816 --> 01:05:07,695
and I hope the fanboys
really embrace her in it,

1125
01:05:07,820 --> 01:05:10,990
because she's a great,
great, dedicated performer

1126
01:05:11,073 --> 01:05:15,119
who really loves the idea and
fought very hard to be in this franchise.

1127
01:05:15,202 --> 01:05:18,748
So, I hope a lot comes of it for her.

1128
01:05:19,332 --> 01:05:22,418
I hope she gets to do
her own Black Widow movie.

1129
01:05:24,045 --> 01:05:28,215
So, there it is, showing that
we're changing from a suit to a drone.

1130
01:05:28,341 --> 01:05:30,301
And part of the reason we did that was,

1131
01:05:30,384 --> 01:05:33,429
A, it's kind of in the news,
and that's what's happening.

1132
01:05:33,512 --> 01:05:36,724
It's actually even happened more
since we shot this.

1133
01:05:36,849 --> 01:05:41,729
That's the nature of warfare now.
No casualties.

1134
01:05:41,854 --> 01:05:45,566
It's good for PR,
no human life on the line.

1135
01:05:45,691 --> 01:05:47,693
At least for your side.

1136
01:05:48,027 --> 01:05:54,825
So it's very corporate, safe,
futuristic warfare, antiseptic warfare.

1137
01:05:55,534 --> 01:05:59,747
But also because
I wanted to be able to destroy

1138
01:06:00,498 --> 01:06:03,209
and really have a lot of fun
with the destruction

1139
01:06:03,334 --> 01:06:05,961
that the suits could do
with multiple enemies.

1140
01:06:06,045 --> 01:06:08,381
If you just have a body count like that
with people,

1141
01:06:08,506 --> 01:06:10,883
you just can't do it
in a movie like this, PG-13.

1142
01:06:11,008 --> 01:06:14,762
You don't want kids seeing that.
And so the idea

1143
01:06:16,222 --> 01:06:20,559
of multiple robotic bad guys

1144
01:06:20,685 --> 01:06:23,312
that you could completely disembowel
and cut the heads off

1145
01:06:23,396 --> 01:06:26,065
and have oil squirting out
was something I really liked.

1146
01:06:26,190 --> 01:06:29,110
I know that Genndy Tartakovsky did it
in Samurai Jack a lot.

1147
01:06:29,235 --> 01:06:31,779
That was the trick he would use
on Cartoon Network.

1148
01:06:31,904 --> 01:06:35,324
He'd use the samurai warrior cutting
heads and limbs off of these things,

1149
01:06:35,408 --> 01:06:37,243
but they were all robots.

1150
01:06:37,368 --> 01:06:39,221
And so that was something
that I thought was really cool.

1151
01:06:39,245 --> 01:06:40,746
And I actually contacted Genndy.

1152
01:06:40,871 --> 01:06:45,710
I liked what he did with Clone Wars,
and I liked Samurai Jack,

1153
01:06:45,793 --> 01:06:47,545
and I reached out to him,

1154
01:06:47,628 --> 01:06:50,715
and we had been talking and meeting,
and I finally asked him,

1155
01:06:50,798 --> 01:06:53,259
"Hey, you wanna come on board
and help me with this stuff?"

1156
01:06:53,384 --> 01:06:56,887
"You have a great handle on action.
It's not what I'm from."

1157
01:06:58,806 --> 01:07:01,516
And he did. He helped out,
him and Bryan, his partner,

1158
01:07:01,517 --> 01:07:03,686
And he did. He helped out,
him and Bryan, his partner,

1159
01:07:03,769 --> 01:07:05,855
did storyboards and animatics

1160
01:07:05,938 --> 01:07:08,941
and even came for some of the shooting
with the second unit

1161
01:07:09,024 --> 01:07:11,277
of the plates
in the Japanese garden later,

1162
01:07:11,402 --> 01:07:12,945
in the Oracle Pavilion.

1163
01:07:14,405 --> 01:07:17,283
So, it was great.
I thank them so much for helping,

1164
01:07:17,366 --> 01:07:22,037
and I learned so much from them,
and they brought a lot of great tone

1165
01:07:22,121 --> 01:07:24,790
and a nice tongue-in-cheek quality
to the violence

1166
01:07:24,915 --> 01:07:28,461
and a nice imagination
to all of that action stuff.

1167
01:07:29,128 --> 01:07:32,631
It fit in well.
We were able to balance it all out well.

1168
01:07:32,715 --> 01:07:38,220
So, here's our scene
between Nick Fury and Tony Stark

1169
01:07:38,304 --> 01:07:40,473
where he learns about his dad.

1170
01:07:40,598 --> 01:07:44,894
And he learns that if he finishes
what his father was exploring,

1171
01:07:44,977 --> 01:07:48,397
when he invented the arc reactor
with Anton Vanko,

1172
01:07:48,564 --> 01:07:55,488
that maybe
that final technical breakthrough

1173
01:07:57,114 --> 01:08:02,077
would help him solve the problem
that he's facing, coincidentally,

1174
01:08:02,161 --> 01:08:04,079
because he has that thing in his chest.

1175
01:08:04,163 --> 01:08:07,166
How to replace palladium
with the element that would make it

1176
01:08:07,249 --> 01:08:10,085
the perfect version of the arc reactor.

1177
01:08:10,920 --> 01:08:14,423
But he's also enticing him
to become part of S. H. I. E. I. D.

1178
01:08:14,673 --> 01:08:16,675
And to join the group.

1179
01:08:17,510 --> 01:08:19,929
So, Sam Jackson has
tremendous screen presence

1180
01:08:20,012 --> 01:08:23,432
and is able to carry off
a lot of exposition here.

1181
01:08:24,433 --> 01:08:25,518
And then we even related it

1182
01:08:25,643 --> 01:08:28,020
to the emotion of
his relationship to his dad

1183
01:08:28,103 --> 01:08:31,565
that was set up in the press conference
of the first film.

1184
01:08:31,649 --> 01:08:34,652
This movie is about
the sins of the fathers in a lot of ways,

1185
01:08:34,735 --> 01:08:41,742
with Anton extending this vendetta
against the Stark family

1186
01:08:41,826 --> 01:08:43,744
and feeling betrayed

1187
01:08:45,079 --> 01:08:48,207
because he was turned in
for spying by the dad,

1188
01:08:48,290 --> 01:08:51,877
and Tony inheriting
all the good and bad of his dad.

1189
01:08:52,920 --> 01:08:56,799
You see the dad drinking in the video...
I mean, in the old movies

1190
01:08:56,882 --> 01:08:58,217
in the next scene.

1191
01:09:01,345 --> 01:09:03,848
But also the legacy
and all the innovations

1192
01:09:03,931 --> 01:09:07,059
that helped change the world
in a great way.

1193
01:09:07,142 --> 01:09:08,519
So, the choice is his.

1194
01:09:08,602 --> 01:09:13,816
And so we found a way to incorporate,
to create a character arc for this guy,

1195
01:09:13,899 --> 01:09:16,461
because it's so easy in the first film,
with the origin, to have an arc,

1196
01:09:16,485 --> 01:09:17,736
the rise of the hero.

1197
01:09:17,820 --> 01:09:21,657
But how do you not just make it
a serialized version

1198
01:09:21,740 --> 01:09:23,117
of the adventures of a hero?

1199
01:09:23,200 --> 01:09:25,327
How do you
actually make the character grow?

1200
01:09:25,411 --> 01:09:27,955
And so the relationship with the dad

1201
01:09:29,498 --> 01:09:32,793
seemed to be the fulcrum of that for us.

1202
01:09:33,419 --> 01:09:35,188
And so, now this is the first scene
with Coulson,

1203
01:09:35,212 --> 01:09:36,772
when, if you've seen
the deleted scenes,

1204
01:09:36,839 --> 01:09:40,301
he was actually introduced
in the courtroom earlier.

1205
01:09:41,385 --> 01:09:44,263
But here we go in the movie proper,

1206
01:09:44,346 --> 01:09:48,017
in Iron Man movie canon,
he's introduced in this scene.

1207
01:09:49,643 --> 01:09:51,854
And there is the box.

1208
01:09:51,937 --> 01:09:54,189
"Property of Howard Stark."
What's gonna be in there?

1209
01:09:54,273 --> 01:09:57,109
And now, here we pull apart the Mark II.

1210
01:09:57,192 --> 01:10:01,405
Legacy built a really cool, practical suit
that could come apart.

1211
01:10:01,488 --> 01:10:05,576
See the inner workings,
and there he pulls out the arc reactor.

1212
01:10:06,118 --> 01:10:08,996
For those of you playing at home, yes,

1213
01:10:09,079 --> 01:10:11,874
the arc reactor
should be in Tony's chest.

1214
01:10:11,957 --> 01:10:13,959
Why is it in the suit?

1215
01:10:14,960 --> 01:10:18,297
I hope nobody bumps on that too hard.

1216
01:10:18,380 --> 01:10:19,757
We figured he built extra ones

1217
01:10:19,840 --> 01:10:22,301
'cause he had so much problem
the last movie.

1218
01:10:22,384 --> 01:10:25,262
He'd always want to have extras around.

1219
01:10:25,346 --> 01:10:26,639
It also looks cooler

1220
01:10:26,722 --> 01:10:28,116
in the Hall of Armour
if the chests are glowing.

1221
01:10:28,140 --> 01:10:31,477
So, we just sort of said that,
that was the case.

1222
01:10:31,560 --> 01:10:33,854
And you gotta know the special code
to get into the room,

1223
01:10:33,938 --> 01:10:35,856
so they're safe there.

1224
01:10:38,734 --> 01:10:40,402
And here we go.

1225
01:10:44,823 --> 01:10:46,676
Yeah, "I'm gonna upgrade
your software." Hopefully, that helps

1226
01:10:46,700 --> 01:10:50,204
to understand why Ivan was able
to hack into the Iron Man suit later,

1227
01:10:52,456 --> 01:10:54,416
and control it in War Machine.

1228
01:10:56,669 --> 01:10:58,253
So, here we go, man. I was like,

1229
01:10:58,337 --> 01:10:59,856
"We gotta have a scene
where we have..."

1230
01:10:59,880 --> 01:11:02,216
"I want this to be like Taxi Driver."

1231
01:11:02,299 --> 01:11:07,429
I think some of the shots are even... The
above, the overhead shot of the guns.

1232
01:11:07,513 --> 01:11:11,392
So these are real guns,
and originally they were fake guns,

1233
01:11:11,475 --> 01:11:13,894
the prop guy brought
some fake guns that we built,

1234
01:11:13,978 --> 01:11:16,897
but the real ones
looked so much more cool

1235
01:11:18,941 --> 01:11:21,235
that I said to them,
"Look, we gotta do..."

1236
01:11:21,318 --> 01:11:23,880
We're up at Edwards Air Force Base,
I said, "We gotta do the real guns."

1237
01:11:23,904 --> 01:11:26,740
"Let's come up..."
And then Justin scrambled to write it.

1238
01:11:26,824 --> 01:11:31,578
And, actually, Justin is
talking over an earwig

1239
01:11:31,704 --> 01:11:36,542
to him in the scene,
to help feed him the stats on this stuff,

1240
01:11:37,084 --> 01:11:39,086
because I had just changed all the lines.

1241
01:11:39,211 --> 01:11:44,216
So, he actually has an earpiece in here
to help cue him for each of the things.

1242
01:11:44,967 --> 01:11:48,387
Sam's a very fine actor,
never has problems memorizing,

1243
01:11:48,470 --> 01:11:50,723
but I threw him a curve ball that day.

1244
01:11:50,806 --> 01:11:53,559
And so they ended up having
a lot of fun together,

1245
01:11:54,476 --> 01:11:58,939
where Justin would feed him lines
and he would throw other things in,

1246
01:12:00,065 --> 01:12:01,459
and then Rockwell would add things,

1247
01:12:01,483 --> 01:12:06,030
and this was a very fun day
with Justin and Rockwell, where they...

1248
01:12:06,113 --> 01:12:07,882
It was almost like
two musicians playing together,

1249
01:12:07,906 --> 01:12:10,242
and it's one of my favourite scenes
in the film.

1250
01:12:10,325 --> 01:12:13,120
So, a lot of this run-on stuff
was them both adding...

1251
01:12:14,413 --> 01:12:17,541
They were both adding
to the other person's thing.

1252
01:12:17,624 --> 01:12:20,169
And one of my favourite lines
in the scene, he says,

1253
01:12:20,252 --> 01:12:22,671
"But I can tell this isn't disco enough
for you,"

1254
01:12:22,755 --> 01:12:25,299
he says about the Belgian gun.

1255
01:12:25,424 --> 01:12:27,184
And I don't even know
where he got that from.

1256
01:12:27,259 --> 01:12:29,139
I don't even know what it means,
but I loved it.

1257
01:12:29,261 --> 01:12:31,430
And every cut, I was like,
"Make sure that line's in."

1258
01:12:31,513 --> 01:12:33,153
He only said it in one take of one thing,

1259
01:12:33,265 --> 01:12:34,576
but I was like, "Make sure it's in."

1260
01:12:34,600 --> 01:12:37,603
"It isn't disco enough for you."

1261
01:12:40,939 --> 01:12:43,233
And then he says here,
"You're like a sphinx,"

1262
01:12:43,317 --> 01:12:47,279
which is something that Ed Asner said
about another performer on Elf once.

1263
01:12:48,030 --> 01:12:50,783
He said,
"I can't perform with that person."

1264
01:12:50,866 --> 01:12:53,494
"It's like staring into the face
of a sphinx."

1265
01:12:53,827 --> 01:12:56,622
I'm not gonna say who.
It's nobody you know.

1266
01:12:57,331 --> 01:13:00,584
But he did say,
"The actor's not giving me anything."

1267
01:13:00,667 --> 01:13:03,337
"It's like staring into the face
of a sphinx."

1268
01:13:03,462 --> 01:13:06,590
And so he says,
"I don't know what to make of you."

1269
01:13:06,673 --> 01:13:09,301
"It's like I'm looking at a sphinx."

1270
01:13:10,844 --> 01:13:13,114
Nobody would know that but me,
except you guys know it now.

1271
01:13:13,138 --> 01:13:15,140
And I love Ed Asner.

1272
01:13:15,641 --> 01:13:19,144
And so we dig out of the box
all the little secrets.

1273
01:13:21,021 --> 01:13:23,315
Kodak, a partner of ours

1274
01:13:24,775 --> 01:13:25,984
on the film.

1275
01:13:26,318 --> 01:13:29,446
And here we are,
there's the arc reactor, and so

1276
01:13:30,197 --> 01:13:32,574
we didn't know
if we were gonna get away with this.

1277
01:13:32,658 --> 01:13:34,698
That the dad's talking to him
from beyond the grave.

1278
01:13:35,953 --> 01:13:38,872
But between Slattery,
the way it was shot,

1279
01:13:38,997 --> 01:13:41,875
and the great, great job
Downey does here

1280
01:13:42,000 --> 01:13:44,837
in just emotionally engaging
and reacting.

1281
01:13:44,962 --> 01:13:46,672
And we had shot that film earlier.

1282
01:13:46,797 --> 01:13:48,757
So, we were actually able to
project that film,

1283
01:13:48,841 --> 01:13:51,301
so he was reacting to Slattery.

1284
01:13:51,844 --> 01:13:54,125
And so, when Slattery asked,
"Just a cameo?" I said, "No."

1285
01:13:54,179 --> 01:13:56,807
And I think
this moment really makes it...

1286
01:13:56,890 --> 01:14:01,228
I think it's a memorable moment. I think
it was a good day's work for the guy.

1287
01:14:01,353 --> 01:14:04,356
'Cause I think he really made
a big impression in the film.

1288
01:14:04,481 --> 01:14:07,359
And there's Tony,
we see how old Tony is.

1289
01:14:09,027 --> 01:14:11,697
He's curious about this thing even then.

1290
01:14:11,822 --> 01:14:15,367
And, of course, here Tony's seeing
what their relationship was like.

1291
01:14:15,492 --> 01:14:18,453
Not what you wanna see when you...

1292
01:14:18,537 --> 01:14:21,057
If you have one little piece of footage
you find with you and your dad,

1293
01:14:21,081 --> 01:14:25,002
that's not exactly what you'd want.
It's sad.

1294
01:14:26,169 --> 01:14:28,329
His dad was an important guy,
but wasn't there for him.

1295
01:14:28,380 --> 01:14:30,883
And there he is, having a drink.

1296
01:14:31,884 --> 01:14:34,887
Little things, you know, subtle but...

1297
01:14:40,017 --> 01:14:41,310
Here he is.

1298
01:14:41,393 --> 01:14:43,562
It's funny, but it's not to him.

1299
01:14:43,645 --> 01:14:45,665
It's fun watching it with a crowd,
'cause they laugh,

1300
01:14:45,689 --> 01:14:48,233
but they don't know
if they're supposed to laugh or not.

1301
01:14:48,358 --> 01:14:51,820
And we see that this damn book
and these clues,

1302
01:14:51,904 --> 01:14:56,658
what he thought was in the box,
he's frustrated. There's nothing there.

1303
01:14:56,742 --> 01:15:00,412
He's not gonna live, he's not...

1304
01:15:02,080 --> 01:15:04,249
And then here's the...

1305
01:15:06,835 --> 01:15:08,587
Here's the thing.

1306
01:15:09,421 --> 01:15:13,342
And I showed this to Damon Lindelof,
who does Lost,

1307
01:15:13,425 --> 01:15:16,094
because I thought
they did a really nice job

1308
01:15:16,178 --> 01:15:18,865
at the end of the first season,
or the beginning of the second season,

1309
01:15:18,889 --> 01:15:21,850
when they go down in the bunker
and they see...

1310
01:15:21,934 --> 01:15:24,603
There was the missing footage
from the DHARMA Initiative thing,

1311
01:15:24,728 --> 01:15:27,272
and they find the missing frames.

1312
01:15:27,773 --> 01:15:29,608
So, this is sort of like
the missing footage

1313
01:15:29,733 --> 01:15:33,445
from the thing you see
at the beginning of the movie.

1314
01:15:34,279 --> 01:15:36,448
And Damon was like,
"Yeah, yeah, yeah."

1315
01:15:36,531 --> 01:15:38,371
"Is it good? Did we do it?"
"Yeah, yeah, yeah."

1316
01:15:38,450 --> 01:15:42,287
He was a very encouraging guy,
very supportive, smart, smart dude,

1317
01:15:42,412 --> 01:15:44,092
and one of the writers
on Cowboys & Aliens.

1318
01:15:44,122 --> 01:15:46,291
I'm actually working with him now.

1319
01:15:50,295 --> 01:15:52,214
And there's the acceptance. He says,

1320
01:15:52,297 --> 01:15:55,509
"Of all the things,
all my work that's so important,"

1321
01:15:55,592 --> 01:15:57,886
"you're the most important."

1322
01:15:58,220 --> 01:16:00,389
And there he is, Robert does a...

1323
01:16:01,014 --> 01:16:04,559
It's the best acting in the movie,
for my money, right there.

1324
01:16:04,935 --> 01:16:08,939
And then, boom!
We go out, and he's ready now.

1325
01:16:09,022 --> 01:16:11,942
He's connected with his dad,
he's uncovered.

1326
01:16:12,025 --> 01:16:15,112
It's like therapy,
he uncovered the old wound.

1327
01:16:15,195 --> 01:16:16,571
He faced it.

1328
01:16:17,531 --> 01:16:19,700
His dad accepts him
from beyond the grave,

1329
01:16:19,783 --> 01:16:21,618
says, "You're not a bad kid."

1330
01:16:21,702 --> 01:16:25,580
I like this. He gives a $80,000 watch
for some strawberries.

1331
01:16:25,664 --> 01:16:28,875
And this also shows that he's famous,
like, everybody knows him.

1332
01:16:28,959 --> 01:16:31,586
They like him. People still like the guy.

1333
01:16:33,046 --> 01:16:35,924
And now he's ready to make amends.
He goes to...

1334
01:16:36,967 --> 01:16:38,051
He goes there.

1335
01:16:38,135 --> 01:16:39,278
There was a lot of discussion about

1336
01:16:39,302 --> 01:16:40,863
whether he should be going there
to get the model,

1337
01:16:40,887 --> 01:16:42,848
or he discovers the model.

1338
01:16:42,931 --> 01:16:45,434
And Robert and I felt very strongly
it was emotionally correct

1339
01:16:45,517 --> 01:16:49,396
to have it be that you go there
because he wants to be with Pepper.

1340
01:16:49,479 --> 01:16:52,858
He wants to talk to her.
He's discovered something.

1341
01:16:53,442 --> 01:16:56,945
He doesn't think he knows anything
about how to solve his problem,

1342
01:16:57,029 --> 01:16:59,823
but he knows what's important to him.

1343
01:17:01,283 --> 01:17:05,120
And there's O'Reilly
going off on Gwyneth.

1344
01:17:11,126 --> 01:17:14,546
Life is not easy
for Pepper Potts right now.

1345
01:17:14,629 --> 01:17:16,131
He really made things uncomfortable.

1346
01:17:16,214 --> 01:17:18,192
There's all his stuff, if you remember,
from the first movie.

1347
01:17:18,216 --> 01:17:19,718
This was his office.

1348
01:17:19,801 --> 01:17:22,345
So we justify that the model was there,
he sees it.

1349
01:17:22,429 --> 01:17:25,265
It's not interesting, not a big deal.

1350
01:17:25,348 --> 01:17:28,894
But we felt that if he went there
just to get the model,

1351
01:17:28,977 --> 01:17:32,814
instead of apologizing to Pepper,
that it would make him selfish.

1352
01:17:32,898 --> 01:17:35,901
And this way,
we felt it was more sincere.

1353
01:17:36,443 --> 01:17:38,070
He's really trying.

1354
01:17:42,032 --> 01:17:44,326
Now, see this thing on the table?

1355
01:17:44,409 --> 01:17:46,995
I showed up to the set,

1356
01:17:47,287 --> 01:17:52,167
and Lauri Gaff in, our set decorator,
was like, "Put that on the table."

1357
01:17:52,375 --> 01:17:55,087
I'm like, "That's the most distracting..."

1358
01:17:55,545 --> 01:17:59,883
The idea of set dressing is that
you don't notice it that much.

1359
01:17:59,966 --> 01:18:01,652
She was like,
"Look, if you wanna use it, use it."

1360
01:18:01,676 --> 01:18:04,846
"You don't, you can totally remove it.
It's unique and hi-tech."

1361
01:18:04,930 --> 01:18:08,642
And I was like,
"No, let's put it right in his close-up."

1362
01:18:08,725 --> 01:18:10,936
And so we turned it into a whole bit.

1363
01:18:11,019 --> 01:18:13,355
So, it was a gift.

1364
01:18:13,438 --> 01:18:16,108
She put the right thing in the set.

1365
01:18:17,150 --> 01:18:20,487
But any time any department
makes a choice,

1366
01:18:20,570 --> 01:18:23,031
sometimes you gotta be able to tell...

1367
01:18:23,115 --> 01:18:24,801
As a director,
you're kind of not doing anything,

1368
01:18:24,825 --> 01:18:28,411
but in a sense, you're sort of
watching everything and making sure.

1369
01:18:28,495 --> 01:18:31,998
Seeing if something's distracting,
or if it's helping.

1370
01:18:32,124 --> 01:18:37,129
And you gotta just be there.
It's just a matter of balancing things out.

1371
01:18:40,465 --> 01:18:45,637
That little ball on her desk was actually
a big, important part of the movie

1372
01:18:45,720 --> 01:18:49,516
at one point. It was a tech-ball
that could change shape and do things.

1373
01:18:49,599 --> 01:18:51,768
That was supposed to
set up the suitcase suit.

1374
01:18:51,852 --> 01:18:53,788
And all we see in the movie now
is just that little moment,

1375
01:18:53,812 --> 01:18:55,939
looks like he's playing with something
on her desk.

1376
01:18:56,022 --> 01:19:00,152
But that was a tech-ball.
It was a big plot point for a while.

1377
01:19:01,653 --> 01:19:04,990
I like this, they get this good.
"I need you to leave."

1378
01:19:06,908 --> 01:19:10,078
And he's hurt. But he's made amends,
you know. He tried.

1379
01:19:10,162 --> 01:19:12,247
And you can't always get it accepted,

1380
01:19:12,330 --> 01:19:14,958
but at least he's made that movement
towards growth.

1381
01:19:15,041 --> 01:19:18,336
And that's all part of that sort of subtle,

1382
01:19:20,422 --> 01:19:21,673
12-step-type thing.

1383
01:19:21,756 --> 01:19:27,012
It's like, you humble yourself,
you come to terms with your feelings,

1384
01:19:28,013 --> 01:19:30,098
you sincerely try and...

1385
01:19:32,184 --> 01:19:33,685
He's trying.

1386
01:19:37,355 --> 01:19:39,983
And you see he's just up against it.

1387
01:19:40,066 --> 01:19:43,653
Everybody's done with him.
Well, Pepper certainly is.

1388
01:19:43,737 --> 01:19:46,281
Natalie here has slid right in.

1389
01:19:47,616 --> 01:19:50,619
Now he's just the odd man out
in every way.

1390
01:19:51,536 --> 01:19:53,205
And we added...

1391
01:19:54,039 --> 01:19:57,542
I want to stick in her speaking Latin, too,

1392
01:19:58,376 --> 01:20:00,587
because Gwyneth told me
you can't speak Latin,

1393
01:20:00,712 --> 01:20:04,090
so maybe she really does speak Latin,
I don't know.

1394
01:20:05,217 --> 01:20:09,387
"You can speak Latin?"
We threw this in. This is all on the day.

1395
01:20:14,142 --> 01:20:17,604
So now we were saying,
"What should she say in Latin?"

1396
01:20:17,729 --> 01:20:20,732
So, we're looking through all different
things you could say in Latin.

1397
01:20:20,857 --> 01:20:24,069
That's not what she said in Latin.
What she really says in Latin is,

1398
01:20:24,194 --> 01:20:27,530
"Not everything is as it seems,"
I believe,

1399
01:20:27,781 --> 01:20:30,242
which I thought worked well
for Black Widow.

1400
01:20:30,742 --> 01:20:34,454
Even the sculpture's giving him
a hard time.

1401
01:20:37,707 --> 01:20:39,501
Nothing's going his way.

1402
01:20:39,584 --> 01:20:41,544
But he's in a better head space,
if you notice,

1403
01:20:41,628 --> 01:20:42,948
'cause of the thing with the dad.

1404
01:20:43,046 --> 01:20:44,857
I love what he does here
with these strawberries.

1405
01:20:44,881 --> 01:20:46,567
I think the strawberries
were Robert's idea.

1406
01:20:46,591 --> 01:20:47,860
"I should get her strawberries."

1407
01:20:47,884 --> 01:20:49,237
"Why are you getting her strawberries?"

1408
01:20:49,261 --> 01:20:51,239
"Like, on the street,
I should get her strawberries."

1409
01:20:51,263 --> 01:20:52,514
And it turned into a great bit.

1410
01:20:52,597 --> 01:20:56,810
So for those of you who want
to be directors, keep an open mind.

1411
01:20:57,310 --> 01:20:59,396
"The key to the future is here."

1412
01:20:59,479 --> 01:21:02,065
So, something's popping for him.
He doesn't know what it is.

1413
01:21:02,148 --> 01:21:04,109
But the dad said that in the video.

1414
01:21:04,776 --> 01:21:06,987
In the video? Look at me. In the film.

1415
01:21:07,779 --> 01:21:10,740
He's so good here, Robert.
Look at him realise it.

1416
01:21:12,409 --> 01:21:13,285
Look at that.

1417
01:21:13,285 --> 01:21:14,285
Look at that.

1418
01:21:14,661 --> 01:21:16,454
And here Lou D'Esposito,

1419
01:21:17,789 --> 01:21:21,209
formerly worked with me on Zathura,

1420
01:21:21,293 --> 01:21:24,004
shot some stuff for me there,
on Iron Man,

1421
01:21:24,129 --> 01:21:26,423
now a big part of the Marvel family.

1422
01:21:26,965 --> 01:21:29,301
He shot that, went out there with a unit.

1423
01:21:29,426 --> 01:21:34,139
Did a great job getting the laugh out of
how we get that thing back to the house.

1424
01:21:44,649 --> 01:21:48,028
And so we use
this holographic stuff to...

1425
01:21:48,153 --> 01:21:50,655
You know, we found that

1426
01:21:50,780 --> 01:21:53,325
all the stuff we did on the screens
last time,

1427
01:21:53,408 --> 01:21:55,493
other movies were doing
in the two years.

1428
01:21:55,618 --> 01:21:58,079
And some did a really good job with it,

1429
01:21:58,163 --> 01:22:01,666
but a lot of the stuff we did with the HUD
and all that's been done by other people,

1430
01:22:01,750 --> 01:22:05,670
so we wanted to do some new stuff.
So we're saying it's all holographic,

1431
01:22:05,795 --> 01:22:09,341
and we changed the HUDs up, too,
on the inside.

1432
01:22:09,674 --> 01:22:12,260
So, here we go.
There's the map of the world's fair.

1433
01:22:12,344 --> 01:22:16,431
Boy, this was a conundrum between
our post-vis team from...

1434
01:22:21,353 --> 01:22:28,276
Let's see. Prologue did this stuff,
but The Third Floor did the post-vis.

1435
01:22:28,693 --> 01:22:31,696
And between the two different groups,
we were able to figure out

1436
01:22:31,780 --> 01:22:35,325
how to make this dialogue
actually make sense visually.

1437
01:22:35,825 --> 01:22:38,828
Yes, Third Floor did a fine job for us.

1438
01:22:41,706 --> 01:22:43,208
And then the HUDs were done

1439
01:22:43,333 --> 01:22:47,462
by the people who did our pre-vis
last time, PLF.

1440
01:22:48,046 --> 01:22:51,716
And they did our HUDs.
They did a very good job.

1441
01:22:51,800 --> 01:22:53,194
So, here we go.
He's trying to figure it out.

1442
01:22:53,218 --> 01:22:57,514
We wanted to make it that
there was a map to a molecule,

1443
01:22:59,391 --> 01:23:02,560
to a new element.
Not a molecule, an element.

1444
01:23:03,061 --> 01:23:06,231
So, it's kind of fudgy.
We fudged things a bit.

1445
01:23:06,356 --> 01:23:09,692
But it looks visually good,
and Robert sells it.

1446
01:23:10,151 --> 01:23:12,004
And we get the idea that
he has to form a new element.

1447
01:23:12,028 --> 01:23:17,951
And it kind of uses
movie/comic book-y technology.

1448
01:23:19,119 --> 01:23:20,662
None of this is really real.

1449
01:23:20,745 --> 01:23:23,748
I learned about
the underlying real technology.

1450
01:23:23,832 --> 01:23:26,126
It's just not that cinematic.

1451
01:23:32,507 --> 01:23:34,300
I like that he thanks his dad there.

1452
01:23:34,384 --> 01:23:37,387
I like how, if you look, you'll see
this interactive light on his fingers.

1453
01:23:37,470 --> 01:23:39,389
That's because

1454
01:23:40,515 --> 01:23:43,601
we used a real light bulb in there
that we removed.

1455
01:23:47,480 --> 01:23:50,942
For those of you who care
about that kind of thing.

1456
01:23:51,067 --> 01:23:52,277
I do.

1457
01:23:53,069 --> 01:23:57,282
And we're back in hardware mode,
and here he is, like in the first movie.

1458
01:23:57,365 --> 01:23:59,325
You're not exactly sure what he's doing.

1459
01:23:59,409 --> 01:24:01,637
We could have explained it more,
but thought it would be fun

1460
01:24:01,661 --> 01:24:04,461
if you're sort of keeping up with him
and he's just wrecking his house.

1461
01:24:04,539 --> 01:24:07,208
I love wrecking sets.

1462
01:24:07,750 --> 01:24:09,895
'Cause you gotta wreck them anyway,
when you tear them down.

1463
01:24:09,919 --> 01:24:11,272
Everybody's like, "Oh, my God, you're..."

1464
01:24:11,296 --> 01:24:13,496
Yeah, when they tear
these things down, they wreck them.

1465
01:24:14,174 --> 01:24:16,301
May as well film it.

1466
01:24:16,593 --> 01:24:18,803
That's going through his wall.

1467
01:24:20,805 --> 01:24:22,056
And so

1468
01:24:23,391 --> 01:24:29,147
he's setting up his prismatic accelerator,
that's what we call it.

1469
01:24:30,273 --> 01:24:32,400
And in comes Coulson.

1470
01:24:39,282 --> 01:24:42,076
And here's our shield.

1471
01:24:42,577 --> 01:24:43,661
So, this shield

1472
01:24:45,496 --> 01:24:47,415
popped up in the first movie.

1473
01:24:47,498 --> 01:24:51,669
ILM, as a sort of joke,
put it in the background of his workshop.

1474
01:24:51,753 --> 01:24:53,796
That would never exist in real life.

1475
01:24:53,880 --> 01:24:56,507
So many people noticed it.
I said, "Yeah, put it in, why not?"

1476
01:24:56,591 --> 01:24:57,675
You could barely see it.

1477
01:24:57,759 --> 01:25:00,803
So many people noticed it,
it became like...

1478
01:25:01,888 --> 01:25:02,972
Part of this whole thing.

1479
01:25:03,514 --> 01:25:05,850
So, we actually built one.
We had our prop guy build one.

1480
01:25:05,934 --> 01:25:10,647
And we said that he should pull it out
of the storage container.

1481
01:25:11,231 --> 01:25:14,901
And we said, "How can we have fun
with this moment?"

1482
01:25:17,320 --> 01:25:18,960
Everybody's expecting us to deal with it,

1483
01:25:19,030 --> 01:25:23,826
so he uses it just to level out his thing.

1484
01:25:23,993 --> 01:25:27,622
But really what's interesting is that what
he's talking about is the Easter egg.

1485
01:25:27,705 --> 01:25:30,041
Because we're about to show
the hammer,

1486
01:25:30,124 --> 01:25:31,960
Thor's hammer, at the end of the film.

1487
01:25:35,129 --> 01:25:37,548
So we're getting the audience
to lean forward,

1488
01:25:37,632 --> 01:25:38,776
thinking about the wrong thing,

1489
01:25:38,800 --> 01:25:41,261
and then we sort of
take the piss out of that.

1490
01:25:41,344 --> 01:25:42,947
And then they laugh,
but they don't realise

1491
01:25:42,971 --> 01:25:46,557
that we really are laying in
some Avengers...

1492
01:25:48,017 --> 01:25:51,562
Laying some pipe for the next movie.

1493
01:25:54,941 --> 01:25:57,568
And Robert did lots of working out.

1494
01:25:58,486 --> 01:25:59,988
And here it is,

1495
01:26:01,197 --> 01:26:03,032
all his hard work.

1496
01:26:03,491 --> 01:26:07,078
As he likes to say,
he peaks for about three hours,

1497
01:26:07,161 --> 01:26:09,455
and then it all disappears.

1498
01:26:09,539 --> 01:26:11,207
And here's one of the moments

1499
01:26:12,542 --> 01:26:17,005
where he was feeling good about
all the work he'd done, he looks good.

1500
01:26:21,217 --> 01:26:23,177
And here it is. So, in our movie,

1501
01:26:23,261 --> 01:26:26,306
if you take one piece of metal
and you shoot a laser at it,

1502
01:26:26,389 --> 01:26:30,518
where the light's been accelerated,
whatever that means.

1503
01:26:31,644 --> 01:26:36,607
I thought the speed of light
was a constant.

1504
01:26:36,858 --> 01:26:39,360
But we're apparently accelerating
the light here

1505
01:26:39,444 --> 01:26:42,322
and making the laser shoot the thing,

1506
01:26:42,447 --> 01:26:44,133
and whatever it is,
it turns into another element.

1507
01:26:44,157 --> 01:26:46,075
All that's important...

1508
01:26:46,159 --> 01:26:48,039
Don't worry
your pretty little heads about this.

1509
01:26:48,119 --> 01:26:51,748
Just know that he made another
element based on his dad's thing,

1510
01:26:51,831 --> 01:26:54,208
and he did it 'cause he's Tony Stark

1511
01:26:55,376 --> 01:26:58,880
and that's his superpower.
He's a genius.

1512
01:27:00,465 --> 01:27:03,968
What is nice is the way that we shot...

1513
01:27:04,385 --> 01:27:06,095
I've learned more about visual effects,

1514
01:27:06,179 --> 01:27:08,639
and by having this interactive source
actually there,

1515
01:27:08,723 --> 01:27:12,060
that was LEDs that we then replaced
with the visual effect,

1516
01:27:12,143 --> 01:27:15,021
it gives it the nice light
on his eyes and face.

1517
01:27:15,980 --> 01:27:20,234
And then that prop we outdid
with a piece of digital work.

1518
01:27:20,318 --> 01:27:23,821
I think that was Fuel did that one.

1519
01:27:25,031 --> 01:27:28,534
And there it is, that's digital.
It's nice. Looks good.

1520
01:27:28,659 --> 01:27:31,079
Looks good. It was much flatter.

1521
01:27:31,371 --> 01:27:33,206
There's Ivan and his bird,

1522
01:27:33,331 --> 01:27:36,667
getting a call from Shandling
and Rockwell.

1523
01:27:37,668 --> 01:27:39,629
That was one of the last days
of shooting.

1524
01:27:39,712 --> 01:27:43,174
Why they are playing golf
in Manhattan Beach,

1525
01:27:44,050 --> 01:27:46,094
when Stern lives in...

1526
01:27:47,178 --> 01:27:49,514
When Stern is in...

1527
01:27:49,889 --> 01:27:53,559
He's from, I think, Pennsylvania
and lives in Washington.

1528
01:27:57,522 --> 01:28:01,150
And Hammer is, I think,
probably in Queens.

1529
01:28:01,234 --> 01:28:04,612
I guess he's not.
I guess he's in California, is what it is.

1530
01:28:04,695 --> 01:28:07,115
Which is why it takes long enough.
And there it is.

1531
01:28:08,282 --> 01:28:11,953
Hopefully, the movie's not out yet,
hasn't been reviewed yet,

1532
01:28:12,036 --> 01:28:13,680
I don't know
if people like this movie or not.

1533
01:28:13,704 --> 01:28:16,344
Hopefully, by the time you've seen this,
people will have seen that

1534
01:28:16,416 --> 01:28:19,043
and accepted the fact
that just by showing that shot,

1535
01:28:19,168 --> 01:28:22,672
we will believe that
Ivan has built a Whiplash suit

1536
01:28:24,215 --> 01:28:26,426
at the end of the movie.

1537
01:28:27,760 --> 01:28:29,595
There's the bird man.

1538
01:28:31,389 --> 01:28:33,057
Take his stuff.

1539
01:28:33,599 --> 01:28:35,893
I like his performance here.

1540
01:28:36,018 --> 01:28:38,896
He finally gets to go off. "I'm onto you.
Something's wrong with you."

1541
01:28:39,021 --> 01:28:40,857
He takes the bird away.

1542
01:28:41,524 --> 01:28:42,692
I like this.

1543
01:28:48,197 --> 01:28:51,909
There's a puppet of a bird.
Not even, I think it's just a doll.

1544
01:28:53,119 --> 01:28:57,790
What Skywalker Sound will do to
help make the visuals more convincing.

1545
01:29:01,419 --> 01:29:04,046
I like him going off on him, here.

1546
01:29:04,547 --> 01:29:07,800
He's just fed up 'cause he's just been...

1547
01:29:08,759 --> 01:29:13,097
Hammer's a guy that will kiss your ass
if he needs something,

1548
01:29:13,222 --> 01:29:16,309
and then when he doesn't need you,
he's just gonna go off on you.

1549
01:29:16,434 --> 01:29:19,937
I hate people like that.
I hate people like that.

1550
01:29:22,648 --> 01:29:27,278
And there we are, we see to the left
is my stunt double, Dave Rowden.

1551
01:29:27,570 --> 01:29:28,650
I've worked with him for...

1552
01:29:28,738 --> 01:29:32,909
I think I met him on Tracey Takes On...,
Tracey Ullman's show.

1553
01:29:33,493 --> 01:29:36,496
I've worked with him
for many, many movies.

1554
01:29:41,584 --> 01:29:43,211
Hopefully, this scene is not just about

1555
01:29:43,294 --> 01:29:48,758
Hammer's creating more conflict
between the two of them

1556
01:29:48,841 --> 01:29:52,303
and helping build the stakes,
but also it'll help...

1557
01:29:54,305 --> 01:29:56,599
It'll help on the day...

1558
01:29:58,100 --> 01:30:01,604
It'll help us understand

1559
01:30:01,687 --> 01:30:04,982
how Ivan figures out what to do
and what his plan is.

1560
01:30:05,900 --> 01:30:07,818
You get away with a lot being a genius.

1561
01:30:07,902 --> 01:30:09,129
And we showed that
he could do cool stuff

1562
01:30:09,153 --> 01:30:12,240
with computers and with drones
and with the suit.

1563
01:30:13,449 --> 01:30:15,826
And then we say he's kind of like
a dark Tony Stark.

1564
01:30:15,910 --> 01:30:18,079
So, we get away with a lot.

1565
01:30:18,621 --> 01:30:20,807
But you gotta lay just enough
breadcrumbs to be convincing,

1566
01:30:20,831 --> 01:30:22,667
but not enough that
you get bogged down in it.

1567
01:30:22,792 --> 01:30:24,269
You just want people
to be able to enjoy it

1568
01:30:24,293 --> 01:30:27,296
and believe that it's emotionally correct.

1569
01:31:08,004 --> 01:31:10,715
There's the bodies
hanging in the background.

1570
01:31:11,007 --> 01:31:12,567
There we go, Oracle grid, we got it in.

1571
01:31:12,675 --> 01:31:15,970
The good guys got the Oracle computer,
so it's okay.

1572
01:31:16,053 --> 01:31:17,805
And Oracle was a very good partner.

1573
01:31:17,888 --> 01:31:21,642
I met Larry Ellison.
He was a very, very nice guy.

1574
01:31:21,726 --> 01:31:26,564
He sat around all day just to be a cameo
in that one scene at the beginning.

1575
01:31:27,565 --> 01:31:31,068
And then we named
the Oracle Pavilion after him.

1576
01:31:31,152 --> 01:31:33,213
I thought it was cool
'cause he likes Zen architecture,

1577
01:31:33,237 --> 01:31:35,906
so I thought a Japanese garden,
that should be the Oracle Pavilion

1578
01:31:35,990 --> 01:31:40,036
'cause we wanted to set something
in a Japanese-inspired backdrop.

1579
01:31:40,494 --> 01:31:44,081
That was part of what Genndy and I
were talking about.

1580
01:31:46,334 --> 01:31:49,754
Here we go,
we see that the rash retracts

1581
01:31:49,837 --> 01:31:52,298
now that the new thing is in.

1582
01:31:53,758 --> 01:31:56,385
And here, momentum is our friend,
I hope.

1583
01:31:58,721 --> 01:32:01,849
We never actually show him
building the Mark VI.

1584
01:32:01,932 --> 01:32:04,268
You see in the additional scenes,

1585
01:32:07,188 --> 01:32:08,898
we actually did.

1586
01:32:11,734 --> 01:32:17,657
And that's a cool shot of our set,
matched with some digital stuff.

1587
01:32:18,658 --> 01:32:20,534
Digital extension.

1588
01:32:21,160 --> 01:32:22,328
And this is...

1589
01:32:22,828 --> 01:32:25,956
Here we go, we got Justin
dancing to Average White Band,

1590
01:32:26,040 --> 01:32:28,417
which is a song from Swingers.

1591
01:32:28,501 --> 01:32:32,463
He wanted to do this to warm up
and have fun.

1592
01:32:32,546 --> 01:32:33,690
He said, "Can you play some music?"

1593
01:32:33,714 --> 01:32:34,900
And they would play
different music every time.

1594
01:32:34,924 --> 01:32:37,343
And he loves to do
his little James Brown dance.

1595
01:32:37,426 --> 01:32:38,636
He's a really good dancer.

1596
01:32:38,719 --> 01:32:41,013
But he would do it more
to get in the character,

1597
01:32:41,097 --> 01:32:43,891
and the editors actually kept cutting it in,

1598
01:32:43,974 --> 01:32:47,144
and finally I said,
"No, we gotta remove that."

1599
01:32:47,228 --> 01:32:50,106
Finally, we removed it from the cut,

1600
01:32:50,189 --> 01:32:53,484
and the producer's like,
"Why'd you take that out? It was great."

1601
01:32:53,567 --> 01:32:55,695
And I was like,
"It was kind of fun, wasn't it?"

1602
01:32:55,778 --> 01:32:57,697
And it's in character, so we...

1603
01:32:57,780 --> 01:33:00,199
It's one of those things
where you just get used to it,

1604
01:33:00,282 --> 01:33:02,576
and you miss it when it's not there.

1605
01:33:02,660 --> 01:33:05,996
And I think 'cause it's him,
we get away with it.

1606
01:33:06,664 --> 01:33:10,126
Maybe not, but I like it.
It makes me smile every time.

1607
01:33:10,209 --> 01:33:12,628
And it just makes him more of a knob.

1608
01:33:13,087 --> 01:33:16,048
'Cause that's kind of
what you wanna sell here,

1609
01:33:16,132 --> 01:33:19,552
that, again, he's Daffy Duck compared
to Tony Stark's Bugs Bunny.

1610
01:33:19,635 --> 01:33:21,762
Nobody claps with him.

1611
01:33:24,098 --> 01:33:28,477
And then, ironically, all these awesome
drones come out of the ground.

1612
01:33:31,731 --> 01:33:33,649
And they come out of the ground,

1613
01:33:33,733 --> 01:33:35,860
and we had one
for each branch of the service.

1614
01:33:37,069 --> 01:33:39,947
This is one of the shots
we were working on very early, with ILM,

1615
01:33:40,030 --> 01:33:43,993
because it wasn't a lot of animation,
but we had to finalize the designs,

1616
01:33:44,076 --> 01:33:47,204
and I think they got the integration
very well here.

1617
01:33:47,288 --> 01:33:50,124
So there's our army drones
with the guns,

1618
01:33:50,207 --> 01:33:52,710
I think it's called a Bushmaster,
the gun on the back.

1619
01:33:52,793 --> 01:33:57,131
I was doing research on real stuff
to inspire what was there.

1620
01:33:57,840 --> 01:34:00,259
The color scheme.

1621
01:34:00,342 --> 01:34:05,014
And then the Navy,
with those Polaris missile tubes

1622
01:34:05,097 --> 01:34:08,851
on the shoulders.

1623
01:34:08,934 --> 01:34:13,439
I love the fonts, the colours.

1624
01:34:13,522 --> 01:34:16,442
And here's the Air Force. It's great.
The DOD helped out.

1625
01:34:16,525 --> 01:34:19,987
We had all these different themes
and we couldn't get the rights to them,

1626
01:34:20,070 --> 01:34:23,866
and the DOD helped us out
and made some calls,

1627
01:34:23,949 --> 01:34:25,218
and it all came together
at the last minute.

1628
01:34:25,242 --> 01:34:29,580
I think the Marines look super cool
with their tiger-stripe pattern.

1629
01:34:30,414 --> 01:34:33,876
And there they are. I like those a lot.

1630
01:34:36,003 --> 01:34:38,563
I think it's fun. It's cool.
It'd be cool if we really had those.

1631
01:34:38,631 --> 01:34:40,508
Maybe someday.

1632
01:34:42,760 --> 01:34:44,512
It was tough, also,
to make the drone heads

1633
01:34:44,595 --> 01:34:47,306
look like there's not people in them,

1634
01:34:49,391 --> 01:34:55,231
but also not look like the drones
from Star Wars.

1635
01:34:57,691 --> 01:34:59,193
But I think they came a long way.

1636
01:34:59,276 --> 01:35:02,238
Ryan Meinerding did a lot of work
on that, on those suits.

1637
01:35:02,321 --> 01:35:04,341
Those are all digital.
We don't have any real ones of those,

1638
01:35:04,365 --> 01:35:10,287
other than the neutral one that was built
for the scene with Ivan in SpaceX.

1639
01:35:11,580 --> 01:35:14,833
These are great shots.
ILM did a great job on this.

1640
01:35:14,917 --> 01:35:16,102
Really looks like
there's somebody in there.

1641
01:35:16,126 --> 01:35:18,003
That's totally digital, right there.

1642
01:35:18,087 --> 01:35:22,633
We actually shot a version with the suit,
the Legacy suit, that was good,

1643
01:35:22,716 --> 01:35:25,010
but the shot that's in the movie
is actually digital,

1644
01:35:26,554 --> 01:35:28,806
of him coming out.
It just looks super cool.

1645
01:35:28,889 --> 01:35:32,685
I'm really happy
with War Machine's design.

1646
01:35:32,810 --> 01:35:35,145
I got the big bust poster in my house.

1647
01:35:35,729 --> 01:35:38,315
And there we are,
Flushing Meadow Park.

1648
01:35:38,399 --> 01:35:40,651
Here he comes.
And I just like the idea of...

1649
01:35:40,734 --> 01:35:44,947
He shows up and lands, to save the day,
and the crowd goes crazy.

1650
01:35:45,030 --> 01:35:49,243
They love him. They still love him,
more than all the stuff that he does.

1651
01:35:50,703 --> 01:35:52,413
And this is a hard moment to make real,

1652
01:35:52,496 --> 01:35:54,623
and make you understand
and get it right.

1653
01:35:54,707 --> 01:35:57,751
How would each person really react
in this moment? How do you sell it?

1654
01:35:57,835 --> 01:36:00,796
There's a lot of information
being transferred around.

1655
01:36:00,879 --> 01:36:03,966
I think the fact that ILM did
a really nice job integrating everything,

1656
01:36:04,049 --> 01:36:07,636
PLF did a good job with the HUDs,
performances are good.

1657
01:36:07,720 --> 01:36:09,179
We kept rewriting and changing,

1658
01:36:09,263 --> 01:36:14,018
and re-shooting the HUDs
about three times to get it right.

1659
01:36:16,562 --> 01:36:19,398
And I think this communicated
the information properly.

1660
01:36:19,523 --> 01:36:20,709
That the suit's being taken over,

1661
01:36:20,733 --> 01:36:23,777
and then you have to show
that he's taking it over,

1662
01:36:23,861 --> 01:36:25,613
and things coming down.

1663
01:36:25,696 --> 01:36:27,296
You want to make sure
everything's clear,

1664
01:36:27,364 --> 01:36:28,717
but you also want to make it move fast

1665
01:36:28,741 --> 01:36:32,202
and not feel like you're sitting around,
waiting too much.

1666
01:36:32,286 --> 01:36:33,763
So, I think
everybody worked well together.

1667
01:36:33,787 --> 01:36:36,081
I think once you buy
what's going on here,

1668
01:36:36,206 --> 01:36:38,917
then you can enjoy
the rest of the sequence.

1669
01:36:39,043 --> 01:36:42,254
Good job there. Cool.

1670
01:36:43,547 --> 01:36:46,050
A lot of these shots,
it took a long time for them to be right,

1671
01:36:46,133 --> 01:36:48,802
but they finally came together.

1672
01:36:48,886 --> 01:36:54,391
That's part of the process with this stuff.
It often doesn't look real till the very end.

1673
01:36:55,809 --> 01:36:59,730
See, look at that.
I love all those flares and the sounds.

1674
01:36:59,813 --> 01:37:02,650
That really goes a long way.
Not seeing everything is usually better,

1675
01:37:02,733 --> 01:37:05,653
and if you see,
we play with darkness a lot here.

1676
01:37:05,736 --> 01:37:08,656
And a lot of my notes were,
"Just make it look... It looks too good.

1677
01:37:08,739 --> 01:37:11,283
"Blur it. Make the lights bloom more.

1678
01:37:11,408 --> 01:37:13,994
"Let's look at some real photography."
I love this shot.

1679
01:37:14,078 --> 01:37:18,624
It's hard to get your bearings,
but it's fun, that one over his shoulder.

1680
01:37:18,749 --> 01:37:21,293
Getting the twinkle of the lights right.

1681
01:37:22,586 --> 01:37:24,606
You sort of do the best you can
with all this stuff.

1682
01:37:24,630 --> 01:37:26,274
The score, actually, I love,
right here, too.

1683
01:37:26,298 --> 01:37:29,885
Debney's score with the horns,
as they're coming off the stage.

1684
01:37:29,968 --> 01:37:34,306
Marc Chu doing his animation here.
Very good animator.

1685
01:37:34,431 --> 01:37:36,892
First time working with him
as the main guy.

1686
01:37:36,975 --> 01:37:39,228
He'd worked on the other film.

1687
01:37:39,311 --> 01:37:43,482
But this time he was the main guy,
working with Ben Snow.

1688
01:37:46,402 --> 01:37:48,254
And there's Jack.
Look, he got a whole part out of it.

1689
01:37:48,278 --> 01:37:50,989
He was a food stylist, guys.

1690
01:37:51,115 --> 01:37:54,326
See? If you do a good job, you know...

1691
01:37:55,911 --> 01:37:57,913
'Cause dreams come true.

1692
01:37:57,996 --> 01:38:02,167
He was an actor before, too.
It's not like I created him.

1693
01:38:02,292 --> 01:38:04,378
He actually had done acting before.

1694
01:38:04,461 --> 01:38:08,507
He was almost on, I think, Top Chef
He's a really cool dude.

1695
01:38:08,632 --> 01:38:12,094
And he and Rockwell
had a great time together,

1696
01:38:12,177 --> 01:38:16,140
bouncing off each other,
so I just kept adding him to scenes.

1697
01:38:20,602 --> 01:38:26,984
There's Pepper taking control,
showing her a little strong in this thing.

1698
01:38:27,109 --> 01:38:29,903
Here we go. You see
the Hammer Pavilion in the background.

1699
01:38:29,987 --> 01:38:32,448
Part of that's our real set.

1700
01:38:34,491 --> 01:38:39,121
There we go.
And now it's giant killer robots.

1701
01:38:41,957 --> 01:38:45,461
Can't mess with the classics.
Can't go wrong.

1702
01:38:47,963 --> 01:38:49,338
And there we go. I like how the graphic
looks like Missile Command,

1703
01:38:49,339 --> 01:38:50,650
And there we go. I like how the graphic
looks like Missile Command,

1704
01:38:50,674 --> 01:38:53,844
for those of you over 40.

1705
01:38:57,848 --> 01:39:00,160
And now we set off on our thing.
So a lot of people are like,

1706
01:39:00,184 --> 01:39:02,686
"You got a lot of villains,"
but part of it was not to...

1707
01:39:02,811 --> 01:39:06,273
I'm not a fan
of making things overwrought.

1708
01:39:06,356 --> 01:39:10,778
So, the trick was to weave everything
so it wasn't in multiple story lines.

1709
01:39:10,861 --> 01:39:12,297
There's only two real story lines going.

1710
01:39:12,321 --> 01:39:15,365
It's the Ivan story with Hammer,
and then there's the Tony story.

1711
01:39:15,491 --> 01:39:20,287
I think when you get too many villains,
too many threads are going.

1712
01:39:21,705 --> 01:39:28,378
And so we kept Black Widow with Tony
and Nick Fury in that vein,

1713
01:39:28,462 --> 01:39:29,880
and then you had the Ivan stuff.

1714
01:39:29,963 --> 01:39:32,966
And the Ivan stuff
connected with Hammer.

1715
01:39:33,050 --> 01:39:38,055
So it all, hopefully,
isn't too convoluted here.

1716
01:39:38,180 --> 01:39:39,807
'Cause that is what happens
with sequels,

1717
01:39:39,890 --> 01:39:41,058
and we wanted to avoid that,

1718
01:39:41,141 --> 01:39:44,061
but yet we wanted to build
to The Avengers.

1719
01:39:44,144 --> 01:39:45,729
So, that's what we're doing here.

1720
01:39:45,854 --> 01:39:47,397
And there we go.

1721
01:39:49,066 --> 01:39:51,485
And there he is, and...

1722
01:39:53,737 --> 01:39:57,574
And here's Iron Man being a hero.

1723
01:39:59,993 --> 01:40:01,578
"Nice work, kid."

1724
01:40:02,579 --> 01:40:06,542
We were gonna have him say, "Stay
in school," but that was too RoboCop.

1725
01:40:09,753 --> 01:40:13,841
Cool. That's actually down
at the Nokia center in LA.

1726
01:40:13,924 --> 01:40:15,759
We changed the signage.

1727
01:40:16,927 --> 01:40:18,887
Here we go.

1728
01:40:22,933 --> 01:40:25,269
There's my big comedy moment.

1729
01:40:26,728 --> 01:40:30,107
And that's actual plates shot
in Queens there,

1730
01:40:30,232 --> 01:40:32,693
right by where I used to live
and grew up.

1731
01:40:32,776 --> 01:40:36,280
So, it's really fun for me to actually be...
I didn't shoot these plates.

1732
01:40:36,363 --> 01:40:40,951
Here's a Genndy Tartakovsky moment
we kept in there.

1733
01:40:41,034 --> 01:40:43,328
That's from his storyboards.

1734
01:40:46,415 --> 01:40:49,585
It's really fun for me
'cause they shot the plates

1735
01:40:49,668 --> 01:40:52,629
right across the street from my house
I grew up at.

1736
01:40:52,713 --> 01:40:53,797
So, seeing all this stuff

1737
01:40:53,881 --> 01:40:56,842
and putting all the digital work
into where I grew up,

1738
01:40:56,925 --> 01:41:01,054
it's kind of odd.
But really fun. Really fun.

1739
01:41:01,138 --> 01:41:02,681
One of the perks.

1740
01:41:02,764 --> 01:41:04,617
It's when you really appreciate
what you're able to do

1741
01:41:04,641 --> 01:41:08,562
and what you have,
and all these thousands of people

1742
01:41:09,980 --> 01:41:16,236
essentially helping to support a vision
and make a great film.

1743
01:41:16,320 --> 01:41:18,530
But a lot of the decisions...
As a director,

1744
01:41:18,614 --> 01:41:20,908
there's a lot of arbitrary jump balls here.

1745
01:41:20,991 --> 01:41:23,535
And to be able to shoot that
at the Flushing Meadow Park

1746
01:41:23,619 --> 01:41:25,412
across the street from where I grew up,

1747
01:41:25,495 --> 01:41:30,083
and bring that park back to life,
the park that I looked at and...

1748
01:41:30,167 --> 01:41:31,710
It was closed after I was...

1749
01:41:31,793 --> 01:41:35,297
I was born in '66, and it was open in '64.

1750
01:41:35,380 --> 01:41:37,191
I never got to see the park,
just heard the stories.

1751
01:41:37,215 --> 01:41:43,680
And to have ILM basically rebuild it
and modernize it digitally

1752
01:41:43,764 --> 01:41:45,766
was a big thrill.

1753
01:41:48,310 --> 01:41:50,395
And speaking of big thrills,

1754
01:41:51,563 --> 01:41:53,649
here is Scarlett Johansson

1755
01:41:53,732 --> 01:42:00,238
after months of training doing wire-work,
flips, kicks, martial arts.

1756
01:42:01,949 --> 01:42:03,533
Look at that.

1757
01:42:03,617 --> 01:42:07,371
Look at that pose.
We worked on that pose for a while.

1758
01:42:07,454 --> 01:42:08,956
Lucha libre,

1759
01:42:10,123 --> 01:42:15,545
which looks a lot better with her doing it
than an overweight wrestler.

1760
01:42:21,885 --> 01:42:24,262
A lot of different mixed martial arts
in there.

1761
01:42:24,346 --> 01:42:26,598
She had a wonderful double
named Heidi.

1762
01:42:26,682 --> 01:42:29,267
Did a great job helping her
learn how to do it

1763
01:42:29,351 --> 01:42:32,854
and doubling her
for some of the more difficult moments.

1764
01:42:32,938 --> 01:42:35,774
But I was amazed at
how much we actually used Scarlett.

1765
01:42:35,857 --> 01:42:37,192
I never expected that.

1766
01:42:37,275 --> 01:42:40,737
And there's really me doing it, too.
Look at that. I'm pretty good.

1767
01:42:40,821 --> 01:42:42,948
I was Marciano.

1768
01:42:46,034 --> 01:42:50,080
And she had the attitude down.
And the hair, I love that hair.

1769
01:42:51,415 --> 01:42:55,961
I guess her superpower is that
her hair falls perfectly out of a bun.

1770
01:42:56,044 --> 01:42:57,921
And the look.

1771
01:42:59,798 --> 01:43:01,883
That's a lucha libre move.

1772
01:43:01,967 --> 01:43:07,097
Good editing. Rick did a lot of this.
It's good stuff. Really cool stuff.

1773
01:43:07,180 --> 01:43:09,683
And a lot of this stuff moved around
and wasn't together.

1774
01:43:09,766 --> 01:43:11,685
And there was a thing
where we strung a guy up,

1775
01:43:11,768 --> 01:43:13,913
and I think we found a great...
I love that last little moment.

1776
01:43:13,937 --> 01:43:15,272
Lot of 'tude.

1777
01:43:15,355 --> 01:43:20,068
And there's me fighting...
American Gladiator, remember Toa?

1778
01:43:20,152 --> 01:43:23,780
He's The Rock's double and cousin.
Good guy.

1779
01:43:25,073 --> 01:43:28,577
I never really could kick his ass,
just for the record.

1780
01:43:28,660 --> 01:43:29,786
That would never happen.

1781
01:43:29,870 --> 01:43:32,998
That's the most unbelievable moment
in the whole movie.

1782
01:43:33,081 --> 01:43:34,750
But I guess Happy Hogan was a boxer,

1783
01:43:34,833 --> 01:43:39,004
for those of you who read
the comic books. I beat one guy.

1784
01:43:39,087 --> 01:43:41,256
That was also a Genndy moment,
by the way.

1785
01:43:41,339 --> 01:43:44,176
And this is, too. Genndy Tartakovsky
came up with a lot of good bits.

1786
01:43:44,259 --> 01:43:46,636
Him and Bryan. A lot of good bits.

1787
01:43:46,720 --> 01:43:48,513
And we expanded on them
and changed them,

1788
01:43:48,597 --> 01:43:54,019
and ILM worked on them and pre-vis
and our storyboard artists,

1789
01:43:54,102 --> 01:43:59,066
but a lot of the inception of these ideas
came from ideas that those guys had.

1790
01:43:59,149 --> 01:44:01,068
They were very, very...

1791
01:44:01,151 --> 01:44:03,904
I learned a tremendous amount
from them.

1792
01:44:04,696 --> 01:44:07,699
This actually was just an interstitial part
of the battle

1793
01:44:07,824 --> 01:44:11,078
that turned into the ending,
the culmination.

1794
01:44:11,995 --> 01:44:13,705
And this whole bit of her walking up,

1795
01:44:13,830 --> 01:44:15,550
this was part of
the additional photography.

1796
01:44:15,665 --> 01:44:18,001
You could tell because I weigh more.

1797
01:44:18,668 --> 01:44:23,006
And she's actually now being used
to reboot Rhodey,

1798
01:44:23,090 --> 01:44:26,885
which, in the original conception,

1799
01:44:27,010 --> 01:44:30,263
Tony rebooted Rhodey with a long spike,

1800
01:44:30,347 --> 01:44:33,183
like R2-D2 has.

1801
01:44:33,767 --> 01:44:36,394
Or like, I think, in RoboCop.

1802
01:44:37,687 --> 01:44:40,899
And then it was left to us
as a dangling participle there

1803
01:44:41,024 --> 01:44:42,668
that didn't really have anything
to do with anything.

1804
01:44:42,692 --> 01:44:44,712
And so this is when
additional photography is wonderful.

1805
01:44:44,736 --> 01:44:48,031
In the few days we shot, we were able
to make sense of this whole thing

1806
01:44:48,115 --> 01:44:49,407
and make her relevant.

1807
01:44:49,533 --> 01:44:52,953
As opposed to just,
she got in there and Ivan's gone.

1808
01:44:53,703 --> 01:44:57,999
So, this environment,
the foreground is built at Sony,

1809
01:44:58,083 --> 01:45:03,046
and everything beyond
a certain distance was digital.

1810
01:45:05,132 --> 01:45:07,884
I like this little moment here.

1811
01:45:11,721 --> 01:45:13,281
This is what we call
"the Skype moment."

1812
01:45:13,306 --> 01:45:16,893
This was part of
our additional photography, as well.

1813
01:45:17,727 --> 01:45:19,146
This was...

1814
01:45:19,229 --> 01:45:22,232
This wasn't even a scripted moment.

1815
01:45:22,315 --> 01:45:25,110
I just shot plates when we were
doing the shoot with Scarlett,

1816
01:45:25,235 --> 01:45:27,612
who flew in from doing a Broadway play,

1817
01:45:27,737 --> 01:45:28,905
wiping of the screens,

1818
01:45:28,989 --> 01:45:33,910
and then I set the two of them up
next to each other

1819
01:45:33,994 --> 01:45:37,247
on little sets, these little fake-y sets,

1820
01:45:37,330 --> 01:45:39,392
so that they could hear each other
and bounce off each other.

1821
01:45:39,416 --> 01:45:41,751
And I would feed them lines
and things like that,

1822
01:45:41,835 --> 01:45:44,504
and we took some passes at it.

1823
01:45:44,588 --> 01:45:46,590
"Hammeroid" was something that...

1824
01:45:46,673 --> 01:45:50,677
Dan Lebental would jokingly call
the Hammer drones "the Hammeroids."

1825
01:45:50,760 --> 01:45:54,472
And so I put that in there,
and it turned into a nice little bit

1826
01:45:54,598 --> 01:45:56,725
that actually helps a lot, story-wise.

1827
01:45:56,808 --> 01:46:00,270
And if you can get the audience laughing
while you're doing the exposition,

1828
01:46:00,395 --> 01:46:02,898
it makes the medicine go down
a lot easier,

1829
01:46:02,981 --> 01:46:05,358
and it also helps the plausibility.

1830
01:46:05,442 --> 01:46:10,780
If you get people laughing,
they tend to be more accepting.

1831
01:46:11,781 --> 01:46:15,243
Here, I love this scene.
This was out for a while

1832
01:46:15,327 --> 01:46:16,929
'cause it felt like
it was a momentum stopper.

1833
01:46:16,953 --> 01:46:18,639
I love it. It's one of my favourite scenes.

1834
01:46:18,663 --> 01:46:21,166
And I'm not a fan of looping or ADR.

1835
01:46:21,291 --> 01:46:24,211
And so we asked Laura
and the Skywalker team

1836
01:46:24,294 --> 01:46:28,590
to do a lot of filtering,
and they would've preferred to loop this,

1837
01:46:28,673 --> 01:46:30,610
but you lose the chemistry.
I would rather have...

1838
01:46:30,634 --> 01:46:32,510
And there is water flowing,

1839
01:46:32,636 --> 01:46:37,098
and they are in suits, so I believe
that the sound could be a little bit off.

1840
01:46:37,182 --> 01:46:39,517
But I just liked this performance
of this take so much,

1841
01:46:39,643 --> 01:46:41,561
and I just love them in those suits.

1842
01:46:41,645 --> 01:46:45,732
They performed this
basically in tracking suits and pajamas.

1843
01:46:45,815 --> 01:46:48,693
So, it never was funny
until they finally did the final rendering.

1844
01:46:48,818 --> 01:46:50,779
So, I had to fight very hard
to keep this scene in

1845
01:46:50,862 --> 01:46:53,949
as I was getting notes from above,
saying, "Hey, get it out."

1846
01:46:54,032 --> 01:46:56,243
"Take 10 minutes out.
Get this out. Get this out."

1847
01:46:56,326 --> 01:46:58,995
And I was like,
"This scene is gonna be good."

1848
01:46:59,120 --> 01:47:02,165
And now we're all happy with it.

1849
01:47:02,290 --> 01:47:05,377
But sometimes it takes faith,
a bit of faith.

1850
01:47:05,502 --> 01:47:09,130
This is a Genndy moment, here,
with the taiko drums

1851
01:47:09,214 --> 01:47:13,551
and them arriving and being around,
and this big fight,

1852
01:47:13,677 --> 01:47:16,513
'cause I wanted it to be just a bloodbath.

1853
01:47:18,056 --> 01:47:19,557
A PG bloodbath, so it's an oil-bath.

1854
01:47:23,853 --> 01:47:25,814
And it's fantastic.

1855
01:47:25,897 --> 01:47:30,277
My favourite moments of the film
right here.

1856
01:47:30,360 --> 01:47:32,696
I could watch this forever.

1857
01:47:35,532 --> 01:47:37,372
I love it. I love that,
like the tank missiles.

1858
01:47:39,285 --> 01:47:42,122
They're talking to each other.
Look at this, man.

1859
01:47:42,205 --> 01:47:45,458
And so much of it
was getting a different fighting style.

1860
01:47:45,542 --> 01:47:47,627
War Machine was
a little too martial arts-y,

1861
01:47:47,711 --> 01:47:49,105
and we wanted to make them different.

1862
01:47:49,129 --> 01:47:52,632
So War Machine's clunky,
like a biker kicking somebody.

1863
01:47:52,716 --> 01:47:56,052
And look at this little moment.
This was in the middle of the fight.

1864
01:47:56,136 --> 01:47:58,138
We ended up making it
at the end of the fight.

1865
01:47:58,221 --> 01:47:59,782
It was like,
"Well, why didn't you use it before?"

1866
01:47:59,806 --> 01:48:01,850
So I said, "Well, we should say that."

1867
01:48:05,478 --> 01:48:07,063
The most obvious thing.

1868
01:48:07,147 --> 01:48:09,399
When Genndy was pitching that,

1869
01:48:09,482 --> 01:48:12,068
the thing of a laser
that would cut people in half...

1870
01:48:12,193 --> 01:48:14,714
And that was just part of the battle.
It was just one of many weapons.

1871
01:48:14,738 --> 01:48:18,241
'Cause Genndy's very much into...
If you look at Samurai Jack,

1872
01:48:18,366 --> 01:48:22,162
it's just, like,
building on top of the ridiculous.

1873
01:48:22,245 --> 01:48:24,664
It's taking those images to the extreme.

1874
01:48:24,748 --> 01:48:26,475
And it's really tough,
in a movie, to do that

1875
01:48:26,499 --> 01:48:30,253
because you start crossing lines
that you can't.

1876
01:48:30,378 --> 01:48:32,839
You gotta live with this for
not just the rest of the movie,

1877
01:48:32,922 --> 01:48:36,509
but for sequels. You gotta keep balance.

1878
01:48:39,763 --> 01:48:44,934
And as I was bringing those pictures
to say, "Hey, this is a cool moment."

1879
01:48:47,187 --> 01:48:49,105
The DP and the stunt guy
and everybody was like,

1880
01:48:49,189 --> 01:48:51,608
"Why wouldn't he have used it...
It doesn't make sense."

1881
01:48:51,691 --> 01:48:52,859
It was like, "Well..."

1882
01:48:52,942 --> 01:48:57,113
And again, a good laugh
will set you free often.

1883
01:48:57,238 --> 01:49:00,533
So... This is funny.

1884
01:49:00,617 --> 01:49:02,845
Like, "Lead with that next time.
Why are you making me fight?"

1885
01:49:02,869 --> 01:49:05,789
Sometimes you gotta
fly right at the problem.

1886
01:49:05,914 --> 01:49:09,292
Because the image was so strong,
and I'm glad we were able to use it.

1887
01:49:09,417 --> 01:49:11,377
It's a great image.

1888
01:49:11,461 --> 01:49:13,296
Look who's here.

1889
01:49:16,257 --> 01:49:18,093
There he is.

1890
01:49:19,761 --> 01:49:21,596
"Good to be back."

1891
01:49:22,972 --> 01:49:24,450
Which is what Tony says
at the beginning.

1892
01:49:24,474 --> 01:49:26,935
So, here's the Ex-Wife we set up.

1893
01:49:28,728 --> 01:49:31,606
I've not seen this with an audience yet.
I hope it gets a laugh.

1894
01:49:31,689 --> 01:49:33,525
I don't know.

1895
01:49:35,401 --> 01:49:38,738
So we set up the Ex-Wife so much,
and then it does this.

1896
01:49:41,825 --> 01:49:46,121
And there's the little fart noise
in the water.

1897
01:49:47,122 --> 01:49:48,832
With apologies

1898
01:49:48,915 --> 01:49:52,669
to people with a more sophisticated
sense of humor than me.

1899
01:49:52,752 --> 01:49:57,674
There's the shoulder missiles
he uses against the bad guys in Gulmira

1900
01:49:57,757 --> 01:49:59,342
in the last film.

1901
01:49:59,425 --> 01:50:02,345
This is great.
Ben Snow pitched an environment

1902
01:50:02,428 --> 01:50:05,598
that it got really smoky and dark in here,

1903
01:50:05,682 --> 01:50:11,813
and you just saw spot fires and smoke,
and that would help change the look.

1904
01:50:11,896 --> 01:50:15,483
So, the look of it changes
because of that big fight that happened.

1905
01:50:15,567 --> 01:50:18,254
There really was a lot of smoke when
we were blowing those charges up.

1906
01:50:18,278 --> 01:50:21,948
I mean, there's a lot of real explosions
in that last thing

1907
01:50:22,031 --> 01:50:25,201
that helps sell
that little back-to-back fight.

1908
01:50:25,285 --> 01:50:29,789
And so I think they did a really nice job
here with the Whiplash suit,

1909
01:50:29,873 --> 01:50:32,917
and playing with the light
and the darkness,

1910
01:50:33,001 --> 01:50:36,880
and the chaos of it,
and integrating him into the suit.

1911
01:50:36,963 --> 01:50:38,339
This was a late-breaking idea,

1912
01:50:38,423 --> 01:50:41,676
so there wasn't as much time on this
as the other stuff.

1913
01:50:41,759 --> 01:50:44,405
I really trusted them to hold the standard
as high as the other stuff,

1914
01:50:44,429 --> 01:50:47,390
and I think that this CG work
is very, very strong.

1915
01:50:47,473 --> 01:50:50,894
A lot of it was helped by Steve Scott,
our color timer,

1916
01:50:50,977 --> 01:50:52,604
did a great job here, as well.

1917
01:50:52,687 --> 01:50:55,773
And then, of course,
our performers with the voices

1918
01:50:55,857 --> 01:50:58,693
helping to sell the whole thing.

1919
01:50:59,944 --> 01:51:03,865
And then here we call back the moment
from the house fight,

1920
01:51:03,948 --> 01:51:07,285
and hopefully it doesn't feel arbitrary.

1921
01:51:07,368 --> 01:51:10,538
It feels well set up. That's the trick.

1922
01:51:11,289 --> 01:51:13,769
'Cause none of it's real,
but you just want it to be plausible,

1923
01:51:13,833 --> 01:51:17,462
and part of that
is how you establish the reality.

1924
01:51:18,421 --> 01:51:21,382
There was a whole little dialogue scene
here of them coming together.

1925
01:51:21,466 --> 01:51:24,677
It just felt a little bit false.

1926
01:51:24,761 --> 01:51:27,472
You don't want to get
too comic book movie-ish.

1927
01:51:27,555 --> 01:51:30,016
Don't take that the wrong way.

1928
01:51:30,099 --> 01:51:31,911
But a lot of the time,
stuff you say in comic books,

1929
01:51:31,935 --> 01:51:34,479
when you say it in a movie,
doesn't look...

1930
01:51:35,355 --> 01:51:37,732
It isn't convincing.

1931
01:51:39,859 --> 01:51:44,530
So we just had him say, "You lose,"
like he did on the track.

1932
01:51:44,614 --> 01:51:47,951
Here's our little homage to Predator.

1933
01:51:48,034 --> 01:51:50,536
That's the polite way of saying that.

1934
01:51:53,248 --> 01:51:55,083
And there he's flying,
trying to get his girl,

1935
01:51:55,166 --> 01:51:57,710
past the Kodak... There.

1936
01:52:00,630 --> 01:52:03,174
Here it is. Boom. He grabs her.

1937
01:52:03,466 --> 01:52:05,385
Boom, boom, boom.

1938
01:52:05,468 --> 01:52:07,303
And now we needed a place...

1939
01:52:07,387 --> 01:52:08,781
The idea, at first,
was that they were gonna

1940
01:52:08,805 --> 01:52:10,324
land on one of those observation decks,

1941
01:52:10,348 --> 01:52:12,058
but it was too close,
we needed a building.

1942
01:52:12,141 --> 01:52:15,812
So I said, "Hey, I used to live
across the street from there."

1943
01:52:15,895 --> 01:52:17,021
"Get up to the roof."

1944
01:52:17,105 --> 01:52:19,565
I lived on the 12th floor.
It's a 15-story building.

1945
01:52:19,649 --> 01:52:24,112
So, this was essentially the view
that I had my whole childhood.

1946
01:52:24,195 --> 01:52:26,823
That's what I grew up looking at.

1947
01:52:29,492 --> 01:52:31,411
And here they are.

1948
01:52:33,997 --> 01:52:35,748
I like what ILM did with the suit.

1949
01:52:35,832 --> 01:52:37,893
That's a digital suit.
Completely digital suit there.

1950
01:52:37,917 --> 01:52:40,420
This was the last day of photography.

1951
01:52:40,503 --> 01:52:43,548
And we finally get the kiss for real.

1952
01:52:43,631 --> 01:52:48,428
Not like the fake kiss in the first trailer,
that we cut out,

1953
01:52:48,511 --> 01:52:50,972
but everybody thought was in.

1954
01:52:53,016 --> 01:52:57,270
And I like how they're going at it,
getting mad at each other.

1955
01:52:59,522 --> 01:53:02,400
And she quits for all the right reasons.

1956
01:53:03,526 --> 01:53:06,821
And he apologizes and says,
"Hey, thank you."

1957
01:53:06,904 --> 01:53:09,574
And he finally...

1958
01:53:10,908 --> 01:53:13,953
He grew up a little bit in this movie.
I like it.

1959
01:53:15,246 --> 01:53:16,557
And here, look how
they play the chemistry.

1960
01:53:16,581 --> 01:53:18,017
They have such good chemistry
together, these two.

1961
01:53:18,041 --> 01:53:21,878
I love that kiss.
I love the music Debney's playing here.

1962
01:53:23,713 --> 01:53:27,592
It's like Shrek. I think.
I don't know. I'm not a musician.

1963
01:53:27,717 --> 01:53:30,636
It sounds like... In a good way.

1964
01:53:30,720 --> 01:53:32,764
I like that music.

1965
01:53:32,889 --> 01:53:35,475
"It's not weird. It's not weird."

1966
01:53:36,392 --> 01:53:39,562
And we pull the rug good,
'cause you can't...

1967
01:53:41,439 --> 01:53:44,484
There's the Empire State Building
back there.

1968
01:53:47,820 --> 01:53:49,447
I like...

1969
01:53:49,572 --> 01:53:51,616
Hopefully, in future movies,

1970
01:53:51,741 --> 01:53:54,285
this is the vibe
between Tony and Rhodey.

1971
01:53:54,410 --> 01:53:58,456
I like this relationship,
and Cheadle's great at this stuff.

1972
01:53:58,581 --> 01:54:01,626
His rhythm is very entertaining to me,

1973
01:54:01,751 --> 01:54:05,254
his cadence, and he's owning it.

1974
01:54:05,338 --> 01:54:09,258
Man, I like it. It's like,
"Yeah, we got War Machine now."

1975
01:54:12,804 --> 01:54:15,306
And there's my view from my room.

1976
01:54:15,431 --> 01:54:17,349
And he doesn't let her resign.
That's ADR. That wasn't in there.

1977
01:54:17,350 --> 01:54:18,994
And he doesn't let her resign.
That's ADR. That wasn't in there.

1978
01:54:19,018 --> 01:54:22,605
And here is our... Look what's on there!
It's The Hulk.

1979
01:54:23,773 --> 01:54:26,234
Yeah, that's from The Hulk,

1980
01:54:26,317 --> 01:54:29,278
which means this movie took place
before The Hulk.

1981
01:54:30,780 --> 01:54:34,367
I said to Kevin Feige,
when I saw The Hulk,

1982
01:54:35,201 --> 01:54:38,579
I said, "What the... How am I gonna..."

1983
01:54:38,663 --> 01:54:40,891
"You can't have Tony Stark
walking at the end of the thing.

1984
01:54:40,915 --> 01:54:42,226
"What? Do I ignore..." He says,

1985
01:54:42,250 --> 01:54:44,103
"No, it doesn't have to happen
in the right time frame.

1986
01:54:44,127 --> 01:54:47,505
"Comic books jump around."
I said, "Oh, okay."

1987
01:54:47,630 --> 01:54:48,673
So, we put it at the end.

1988
01:54:48,798 --> 01:54:51,884
And if you look, you'll see
there's a crater on the other monitor.

1989
01:54:51,968 --> 01:54:54,595
That's the Thor thing.

1990
01:54:54,679 --> 01:54:56,556
That's where the hammer
was recovered.

1991
01:54:56,639 --> 01:55:01,269
There's your S. H. I. E. I. D. logo.
I mean, this is just geek heaven, here.

1992
01:55:02,645 --> 01:55:04,355
And if you think anything
on those monitors

1993
01:55:04,480 --> 01:55:07,942
is not something we didn't talk about
for hours, you're crazy.

1994
01:55:08,025 --> 01:55:09,819
Every one of them.

1995
01:55:09,944 --> 01:55:13,739
This is Marvel. One movie goes down,
all of them go down.

1996
01:55:13,823 --> 01:55:16,117
It's a lot of responsibility.

1997
01:55:17,994 --> 01:55:19,328
It's a lot of responsibility.

1998
01:55:19,453 --> 01:55:23,374
And if you look at that one,
you see there's a map up there?

1999
01:55:26,002 --> 01:55:28,421
So if you look at those maps,
each one of those locations

2000
01:55:28,504 --> 01:55:32,300
corresponds to something
in the Marvel Universe.

2001
01:55:33,676 --> 01:55:35,887
I don't know if I'm supposed to say that.

2002
01:55:36,637 --> 01:55:38,448
As long as I don't tweet it.
I guess I could say it here.

2003
01:55:38,472 --> 01:55:40,057
I can't tweet it.

2004
01:55:52,570 --> 01:55:56,157
There. If you look at each one,
and I know what they mean,

2005
01:55:56,240 --> 01:55:57,968
but I'm not gonna say
what each one of them are.

2006
01:55:57,992 --> 01:55:59,636
But I will say that
one of them relates to...

2007
01:55:59,660 --> 01:56:02,205
I think two of them
relate to Captain America,

2008
01:56:02,330 --> 01:56:04,582
one of them relates to Thor.

2009
01:56:05,208 --> 01:56:10,254
The one in Africa, I think,
relates to Black Panther.

2010
01:56:10,379 --> 01:56:14,008
Oh, here we go. And there's the funny...

2011
01:56:14,091 --> 01:56:16,469
"Please, Garry, come back
for one more scene."

2012
01:56:16,552 --> 01:56:18,054
He did.

2013
01:56:18,179 --> 01:56:21,599
Good pay-off.
This was additional photography.

2014
01:56:24,685 --> 01:56:25,811
It's good stuff.

2015
01:56:25,895 --> 01:56:28,814
And, oh, my God, to get to use AC/DC.

2016
01:56:28,898 --> 01:56:30,650
So many movies
I've wanted to use AC/DC.

2017
01:56:30,733 --> 01:56:32,169
I've been in movies
where they wanted to use AC/DC.

2018
01:56:32,193 --> 01:56:33,319
You can't.

2019
01:56:33,402 --> 01:56:37,240
I met with Angus Young and his brother

2020
01:56:38,908 --> 01:56:44,664
and their managers and Sony Music,
and they liked how we used...

2021
01:56:44,747 --> 01:56:46,916
They liked how we used Back in Black
in the first one.

2022
01:56:47,041 --> 01:56:49,502
They didn't even know
that they had granted the rights.

2023
01:56:49,585 --> 01:56:51,754
The band didn't,
but their management did.

2024
01:56:51,879 --> 01:56:55,091
And they went to see the movie,
and saw Back in Black and they liked it

2025
01:56:55,216 --> 01:56:57,927
at the beginning of Iron Man 1.
And so they were into it.

2026
01:56:58,052 --> 01:56:59,428
I met them. I love them.

2027
01:56:59,553 --> 01:57:02,515
I've seen them
since I was in high school.

2028
01:57:02,598 --> 01:57:05,268
For Those About to Rock Tour.

2029
01:57:05,351 --> 01:57:08,688
And there's our funny ending.
We had three endings. Always hard.

2030
01:57:08,771 --> 01:57:10,189
I'd done it before in Elf

2031
01:57:10,273 --> 01:57:13,526
I said, "Trust me, we'll make it work."
I think we did.

2032
01:57:13,609 --> 01:57:17,780
And now I will talk about other things.

2033
01:57:18,406 --> 01:57:20,217
Because I like,
when I'm watching a commentary,

2034
01:57:20,241 --> 01:57:22,785
when they keep talking over this part.

2035
01:57:22,868 --> 01:57:26,455
So I'll try to talk about things
that come up from this,

2036
01:57:26,580 --> 01:57:30,126
from what we're looking at.
So, that's the AC/DC story.

2037
01:57:30,251 --> 01:57:33,796
I went to see them.
There's Adam Goldstein's credit.

2038
01:57:34,797 --> 01:57:37,967
And you'll see at the end,
the film is in memory of him.

2039
01:57:38,050 --> 01:57:40,219
It'll say, "In memory of Adam Goldstein."

2040
01:57:40,303 --> 01:57:44,974
He was a special, special guy,
and very proud to have him in the film.

2041
01:57:46,434 --> 01:57:50,813
And very beloved
by all the people who knew him,

2042
01:57:50,896 --> 01:57:53,149
and a good dude.

2043
01:57:53,482 --> 01:57:57,945
And hopefully his family likes this,
and his friends, what we did here.

2044
01:57:59,238 --> 01:58:02,992
There you go.
We got Jack Kirby, Don Heck, Stan Lee.

2045
01:58:03,075 --> 01:58:04,994
They get their credits.
There's Adi Granov.

2046
01:58:05,119 --> 01:58:08,164
He did some designs for us
on this one here.

2047
01:58:09,582 --> 01:58:13,044
And Peter Mavromates
deserves a medal

2048
01:58:13,127 --> 01:58:16,380
for all the logistical issues
we had on this in post-production.

2049
01:58:16,464 --> 01:58:17,590
He did a great job.

2050
01:58:17,673 --> 01:58:20,593
There's Genndy and Bryan.
Great, great...

2051
01:58:20,676 --> 01:58:26,474
I cannot overstate their contribution
and how creatively great they are.

2052
01:58:26,557 --> 01:58:29,268
And I can't wait for Genndy
to be directing a feature.

2053
01:58:29,352 --> 01:58:31,288
I know he does mostly animated stuff
in television.

2054
01:58:31,312 --> 01:58:34,523
But he's got quite an eye,
and he's very creative.

2055
01:58:34,607 --> 01:58:37,735
He's a fountainhead of ideas.
He's great.

2056
01:58:38,861 --> 01:58:42,281
And so part of the... We got the scene
at the end of the credits here.

2057
01:58:42,365 --> 01:58:45,493
We got the Thor scene.
I don't think I'm ruining anything.

2058
01:58:45,576 --> 01:58:47,054
You've all seen the movie
if you're watching this.

2059
01:58:47,078 --> 01:58:48,722
If you're watching this for the first time,

2060
01:58:48,746 --> 01:58:51,415
watch it without
the commentary, please.

2061
01:58:53,667 --> 01:58:55,795
And then come back and watch this.

2062
01:58:57,004 --> 01:58:59,965
A lot of these credits are, like,
four-abreast or double credits.

2063
01:59:00,049 --> 01:59:03,969
We had six minutes of credits.
It was a lot to make people sit through.

2064
01:59:04,053 --> 01:59:05,221
We were pulling our hair out.

2065
01:59:05,304 --> 01:59:08,516
And you're realizing
as you're watching this,

2066
01:59:08,599 --> 01:59:10,851
the economy got...

2067
01:59:10,935 --> 01:59:13,354
The time this film was done

2068
01:59:13,437 --> 01:59:16,690
was sort of the time
that the economy took a nasty hit,

2069
01:59:16,774 --> 01:59:20,152
with the banks failing and bailouts.

2070
01:59:21,153 --> 01:59:23,989
And the business model shifted,

2071
01:59:24,073 --> 01:59:26,826
and piracy is really
hurting the industry so much,

2072
01:59:26,909 --> 01:59:29,745
'cause DVD money was relied upon
to make movies like this.

2073
01:59:29,829 --> 01:59:31,997
And that's disappearing quickly.

2074
01:59:32,081 --> 01:59:34,875
Thank you for buying this,
if in fact you did.

2075
01:59:34,959 --> 01:59:38,087
If you pirated it,
you should be ashamed of yourself.

2076
01:59:38,170 --> 01:59:41,882
But if you bought this,
and you're supporting some...

2077
01:59:41,966 --> 01:59:44,969
And I think that's all gonna change
anyway. I don't know that DVDs...

2078
01:59:45,052 --> 01:59:48,264
DVDs are gonna be for collectors
and film enthusiasts,

2079
01:59:48,347 --> 01:59:52,768
but the mainstream will download films
in the future.

2080
01:59:53,519 --> 01:59:56,021
Exclusively. Like music.

2081
01:59:58,023 --> 02:00:01,068
And so you look at these credits
going for six minutes,

2082
02:00:01,152 --> 02:00:03,296
and it's like, "Oh, my God,
how are we gonna make them shorter?"

2083
02:00:03,320 --> 02:00:04,989
"How can we make it go faster?"

2084
02:00:05,072 --> 02:00:08,617
You realise all these people worked...
I mean, these people...

2085
02:00:08,701 --> 02:00:12,663
For two years, these people worked.

2086
02:00:12,746 --> 02:00:14,290
It's a lot of...

2087
02:00:14,373 --> 02:00:16,542
And it makes me very proud,
this part of it.

2088
02:00:16,625 --> 02:00:20,129
It's like all these people who are
all very capable and hardworking,

2089
02:00:20,212 --> 02:00:23,883
a lot of these people, especially
as we get into the digital effects stuff,

2090
02:00:23,966 --> 02:00:26,427
those people did not sleep
for a long time.

2091
02:00:26,510 --> 02:00:29,221
And then the crews worked very hard.

2092
02:00:31,390 --> 02:00:34,435
There's a lot of pride in the film industry.

2093
02:00:34,518 --> 02:00:39,356
Everybody loves what they do,
and they struggle hard to work in it.

2094
02:00:39,440 --> 02:00:41,692
And it's nice to have
all these people working,

2095
02:00:45,362 --> 02:00:49,742
and it's paying a lot of good,
talented people and creating good jobs,

2096
02:00:49,825 --> 02:00:52,411
and that's something that,
sometimes, I think, gets lost.

2097
02:00:52,495 --> 02:00:54,264
You don't think about it,
but you look at these credits,

2098
02:00:54,288 --> 02:00:57,416
it's like the ridiculousness
of how long it is,

2099
02:00:57,500 --> 02:01:01,921
now I actually take pride in it.
So, sorry if you have to sit through it

2100
02:01:02,004 --> 02:01:06,884
to get to your scene at the end
and you did in the theater,

2101
02:01:06,967 --> 02:01:09,512
but these people all worked very hard,

2102
02:01:09,595 --> 02:01:14,141
especially this whole crowd here,
this vis effects crowd.

2103
02:01:14,225 --> 02:01:17,228
Some of those people,
it's like working in salt mines, man.

2104
02:01:17,311 --> 02:01:18,646
It's a lot of thankless jobs,

2105
02:01:18,729 --> 02:01:22,191
a lot of thankless gigs
in that end of the credit roll.

2106
02:01:22,274 --> 02:01:24,944
We just passed by
Make Way For Tomorrow Today.

2107
02:01:25,027 --> 02:01:27,863
That's Dick Sherman.

2108
02:01:29,281 --> 02:01:33,410
He's the guy who wrote
all the music for the Disney pavilions,

2109
02:01:33,494 --> 02:01:37,665
and Kevin Feige
put me in contact with him.

2110
02:01:37,748 --> 02:01:41,794
He had contacted him to write a theme
for not just this film,

2111
02:01:41,877 --> 02:01:44,296
because the Stark Expo
was gonna be something in history

2112
02:01:44,380 --> 02:01:47,091
and that goes back to Captain America.

2113
02:01:47,216 --> 02:01:51,554
So, we wanted to come up
with something that felt authentic.

2114
02:01:51,637 --> 02:01:53,764
I think the lyrics are great.

2115
02:01:53,889 --> 02:01:55,849
He wrote It's a Small World.

2116
02:01:55,933 --> 02:02:02,481
He wrote all the lyrics
to a lot of the movies you saw,

2117
02:02:02,565 --> 02:02:05,484
Mary Poppins and stuff,
and he's a great dude.

2118
02:02:05,568 --> 02:02:08,696
And I think
there's a featurette about him.

2119
02:02:08,779 --> 02:02:13,117
But he added so much authenticity
to the whole Disney spirit of the...

2120
02:02:13,242 --> 02:02:15,828
And this is all before
Disney bought the movie, by the way.

2121
02:02:15,911 --> 02:02:18,622
I didn't even know
Disney was looking into the company.

2122
02:02:18,747 --> 02:02:20,541
This all came long before Disney.

2123
02:02:20,624 --> 02:02:24,545
And so it all sort of felt really cool
that it all came together in that way.

2124
02:02:24,628 --> 02:02:26,130
There's Tom Morello.

2125
02:02:26,255 --> 02:02:29,883
Tom Morello, guitar player,
Rage Against the Machine,

2126
02:02:29,967 --> 02:02:31,927
Audioslave.

2127
02:02:32,469 --> 02:02:34,763
Iron Man fan from way back.

2128
02:02:35,931 --> 02:02:39,268
Played on the first soundtrack,
and here he is.

2129
02:02:40,352 --> 02:02:45,941
This part of the music is from
Black Widow fighting in the hallways.

2130
02:02:46,025 --> 02:02:47,836
Once you peel the sound effects back,
you hear this.

2131
02:02:47,860 --> 02:02:51,655
There it goes, "In memory of
Adam Goldstein" with the little "AM."

2132
02:02:52,031 --> 02:02:56,952
I like the little AC/DC thing in there,
lightning bolt.

2133
02:03:15,512 --> 02:03:17,139
And here we go.

2134
02:03:17,514 --> 02:03:18,974
This is called "the graveyard."

2135
02:03:19,058 --> 02:03:21,644
They call this part "the graveyard,"
for you film fans.

2136
02:03:21,727 --> 02:03:23,997
When you get up to this part
where they have all the logos,

2137
02:03:24,021 --> 02:03:27,066
it means the credits are almost done.

2138
02:03:27,149 --> 02:03:28,859
The cemetery.

2139
02:03:29,276 --> 02:03:31,445
And there it is. That's the insider's...

2140
02:03:32,196 --> 02:03:36,825
Now here we go into the bonus scene

2141
02:03:36,950 --> 02:03:41,664
that was not included
in the pre-release film

2142
02:03:42,706 --> 02:03:47,503
as to take the fanboys off the scent
for yet another week,

2143
02:03:47,628 --> 02:03:49,213
'cause it's so hard to keep a secret.

2144
02:03:49,338 --> 02:03:53,175
This was actually shot...
This was from the set of Thor.

2145
02:03:53,300 --> 02:03:57,304
This is from Thor.
Am I supposed to say that? I think I can.

2146
02:03:57,388 --> 02:04:00,683
Not this shot, but there you go,
Land of Enchantment, New Mexico.

2147
02:04:00,808 --> 02:04:03,203
This is actually part...
You're actually not just seeing a teaser,

2148
02:04:03,227 --> 02:04:06,021
you are seeing part of the next movie.

2149
02:04:06,146 --> 02:04:11,568
And it is shot... Because
they're artists over there on Thor.

2150
02:04:11,694 --> 02:04:14,321
This is shot with anamorphic lenses.

2151
02:04:14,405 --> 02:04:17,533
And there is
where the hammer lands in the desert.

2152
02:04:17,658 --> 02:04:18,867
There's Coulson.

2153
02:04:21,245 --> 02:04:23,080
And there it is, baby.

2154
02:04:23,872 --> 02:04:26,375
All right? What more do you want?

2155
02:04:28,001 --> 02:04:29,128
What more do you want?

2156
02:04:29,211 --> 02:04:31,422
You got your money's worth.
And goodbye.