Captain Marvel (2019) eng

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(PAGER PINGING)

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BRIE LARSON: It's such an honor
to be part of the Marvel Universe.

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To be a part
of this legacy of characters

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is so incredibly meaningful
to people.

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ANNA BODEN: It's amazing
to get the opportunity

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to bring
a female superhero to life.

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Not only because
Captain Marvel

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is one of the most powerful
characters in the Marvel Universe.

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But also because
we are getting to create

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the image of this
very powerful superhero.

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There is so much
that I want to bring to her.

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That's the part
that I'm excited about.

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The newest person joining us,
Captain Marvel herself...

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(AUDIENCE CHEERING)

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Brie Larson!

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BODEN: What attracted us to the
project was definitely Brie Larson.

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Such a fan of her acting.

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She's so strong.

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She brings
such a range of emotion.

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She was a huge fan of the
character in the comic.

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LARSON: The idea of that star
and these colors,

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that we can have a symbol

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that represents strength
and humility and compassion.

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Something that
I didn't grow up with having.

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That put things in perspective
of what this was.

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This is more than
a performance.

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Brie in this role
is so important

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because she is such a dynamic
and complex person.

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Stop using this,
start using this.

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Brie brings such humanity
to this character.

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LARSON: When I'm on set
and I'm performing,

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I don't think so much about the
specific choice that I'm making.

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I just think about
what's available to me

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and what's honest
in that moment.

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And if it's honest,
then it can't be wrong.

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BODEN: It was such a joy
to be able to work with her.

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To imagine and develop
and create a character

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who is just about as dynamic as
any character we've ever written.

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(MOUTHS) Oh, my God!

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LARSON: The thing that
I found so unique in Carol

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from reading the comics
and from the script

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was that total capability in
whatever challenge comes her way.

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That core of her
is the Air Force.

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MARIA: You ready?

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Higher, further, faster, baby.
That's right.

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LESLIE FINSTEIN: If Brie was gonna
be playing an Air Force pilot,

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she needed to go
to meet some real pilots.

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Who better to meet than

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the first female fighter
pilot in the Air Force?

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I think it's great to do
that level of research

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and to understand the people
that she is representing.

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For her to take the time to
really sit down and talk with them

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and to experience going up in a fighter
jet, I think, is pretty awesome.

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I believe it was important
for Brie to go up in the F-16.

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Kind of gain an appreciation for
what people in the Air Force do.

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She is so engaged in wanting
to learn about everything.

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LARSON: What's the fastest
that you've gone?

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LEAVITT: Mach 1.6.

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You're so cool.

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LARSON: Once we were on set,

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we were simulating
a barrel roll.

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I was able to
recall that exactly.

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What that feels like,
what your body feels like,

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how hard it is to breathe.

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As soon as you see
the wings go like this,

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here come the G's.

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Here come some G's.

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LARSON: Kazi, my pilot,
is so incredible.

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Super, super talented.

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I want you to
grab the stick,

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and I want you to shake it and
say, "I have the aircraft."

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PARK: It was amazing!

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(LAUGHS)
Unbelievable what she does.

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I'm going to actually
know how to do this.

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FURY: Do you know
how to fly this thing?

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We'll see.

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That's a yes or no question.

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Yes.

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LARSON: By the time
we started shooting,

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I had been training
for nine months.

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I'm so glad that I did.

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Doing kicks and punches up and
down a train for three days,

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felt kind of alive.

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SUPREME INTELLIGENCE:
We found you.

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We made you one of us.

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Gotta admit, that's not the
craziest thing I've heard today.

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Well, it's still early.

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LARSON: Sam and Annette
are incredible actors.

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So talented, so funny.

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It's been really wonderful
working with them.

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I was so thrilled

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when I found out that they were
going to be on this ride with me.

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LAWSON:
Wonderful view, isn't it?

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I prefer the view
from up there.

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You'll get there
soon enough, Ace.

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You'll get there
soon enough, Ace.

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You'll get there
soon enough, Ace.

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What did you put in my head?

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Nothing that wasn't
already there.

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YON-ROGG: Forget who you were.

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Remember what you are.

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LARSON: The thing about Carol is
that she's Kree and she's human.

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VERS: I keep having
these memories.

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She's always trying
to figure out who she is.

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VERS: I think
I had a life here.

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What else aren't you
telling me?

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LARSON:
That internal struggle for her

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is what keeps playing her
so interesting for me.

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It's taken me a year
on this journey.

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I don't think that I fully
understood the scope of it.

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To see photos of homemade
Captain Marvel costumes

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moms have made for their little
girls makes me emotional.

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FEIGE: We had the first
full costume fitting

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on the set of
Avengers: Infinity War.

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Seeing that character that
we've been working on for years

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standing in front of you for
the first time in real life,

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it's incredible.

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LARSON: This experience
has been invaluable.

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It's my opportunity to
bring Carol into this world.

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It's my chance to pick the brains
of living legendary superheroes

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and ask the questions.

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Questions that I wouldn't
be able to have answered

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by anyone other than
the superheroes themselves.

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My entire lifetime
of experience

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is all coming through
to come together

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to play this character right
now at this period of time.

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I feel so grateful
that they have given me

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the most dynamic character that I
have ever had the chance to play.

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MARIA: About to show
these boys how we do it.

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Higher, further,
faster, baby.

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It's really incredible
to be part of this legacy.

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These films are a part of what's
shaping our culture, shaping who we are.

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We've always had powerful
female characters in our movies,

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but having Captain Marvel
as the title character

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for the first time
feels like it's overdue.

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And it's something that we can't
wait to deliver onto the world.

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She's a new,
extremely important part of the MCU.

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Somebody who's not just powerful,
but also really complicated.

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I found evidence
that I had a life here.

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What else
aren't you telling me?

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MAN: Action!
FEIGE: This is not just about somebody

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who can fly around and shoot
photon blasts out of her arm.

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It's somebody
who's very human,

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who's very vulnerable,
and who has multiple dimensions.

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LARSON: She has this
incredible dry sense of humor.

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Put that on.
What is it?

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It's the S.H.I.E.L.D. logo.

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Does announcing
your identity on clothing

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help with the covert part
of your job?

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BODEN: You will definitely meet
somebody who has a lot of swagger.

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She's a fighter pilot,
has that top gun, maverick attitude.

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She's this badass
who just can't be kept down.

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LARSON: It's amazing exploring
the complexity of this character.

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Exploring emotion
mixed with honor.

155
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These two things
that, I think,

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coincide
within Captain Marvel.

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CADET OFFICER:
It's over! Give it up!

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They'll never let you fly.

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She has this thing inside of
her that refuses to give up.

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Get off the track!

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She's already kind of a superhero
before she gets super powers.

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You don't belong out here!

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She has this desire
for perfection,

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and also this leniency
to having this open heart,

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and how there's messiness
between the two of those things.

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CAROL: You have
no idea who I am.

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I don't even know
who I am!

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You are Carol Danvers.

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You are smart,
and funny,

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and you were the most
powerful person I knew

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way before you could
shoot fire from your fists.

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The struggle, needing to find her
strength and ultimately overcoming,

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that's really what
makes her a hero.

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CAPTAIN MARVEL:
What happens when

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I'm finally set free?

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(LAUGHING)

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FEIGE: This film, it also is going to
set the stage for how Captain Marvel

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has influenced everything
that has happened in the MCU.

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You think you can find
others like her?

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FURY: She might
just be the beginning.

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FEIGE: Seeing that character that
we've been working on for years,

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that we've been dreaming about even
longer than that, come to life...

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It was astounding.

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How do I look?
Fresh.

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I'm not going to fight your
war, I'm gonna end it.

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She refuses to give up on herself
and to give up on humanity.

187
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That's why I feel so lucky

188
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to be playing Captain Marvel.

189
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Try to keep up.

190
00:10:21,388 --> 00:10:31,431
Try to keep up.

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(KNOCKING ON GLASS)

192
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Excuse me, miss.

193
00:10:36,804 --> 00:10:38,338
You're watching

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a Carol Danvers origin story,

195
00:10:40,207 --> 00:10:42,910
but you're also watching
a Nick Fury origin story.

196
00:10:42,943 --> 00:10:44,244
You wanna get personal.

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00:10:44,277 --> 00:10:48,181
Which then means that this is kind
of an entire MCU origin story.

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Nicholas Joseph Fury.
Agent of S.H.I.E.L.D.

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00:10:51,819 --> 00:10:54,922
Nicholas Joseph Fury.
You have three names?

200
00:10:55,889 --> 00:10:57,925
Everybody calls me Fury.

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00:10:57,958 --> 00:11:01,829
Nick Fury is one of the most important
characters in the Marvel Universe.

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00:11:01,862 --> 00:11:04,264
Official S.H.I.E.L.D.
activity. Stay back.

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00:11:04,297 --> 00:11:05,498
And has influenced,

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00:11:05,532 --> 00:11:07,901
literally, almost everything
that has happened.

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00:11:07,935 --> 00:11:11,839
We have no idea what other
intergalactic threats are out there.

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00:11:11,872 --> 00:11:14,041
S.H.I.E.L.D. alone
can't protect us.

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00:11:14,074 --> 00:11:15,442
SAMUEL L. JACKSON: He realizes

208
00:11:15,475 --> 00:11:16,944
at that point it's like,

209
00:11:16,977 --> 00:11:19,246
"Okay. I need to find
some people

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00:11:19,279 --> 00:11:22,883
"that can do extraordinary
things like this person

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00:11:22,916 --> 00:11:25,052
"because the threat's
not just coming

212
00:11:25,085 --> 00:11:27,420
"from the east or the west
on this planet.

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00:11:27,454 --> 00:11:29,022
"It's coming from out there."

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00:11:29,056 --> 00:11:31,224
COULSON: You think you can find others?
She's just the beginning.

215
00:11:37,064 --> 00:11:39,900
FURY: You think you're the
only superhero in the world?

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00:11:39,933 --> 00:11:43,036
Mr. Stark, you've become
part of a bigger universe.

217
00:11:43,070 --> 00:11:44,972
You just
don't know it yet.

218
00:11:45,005 --> 00:11:47,274
Who the hell are you?
Nick Fury.

219
00:11:47,307 --> 00:11:48,742
Director of S.H.I.E.L.D.

220
00:11:49,777 --> 00:11:52,312
Nick Fury told everyone
what to do.

221
00:11:52,345 --> 00:11:55,749
And he's like the air
traffic controller of Hell.

222
00:11:55,783 --> 00:11:56,850
What do you want from me?

223
00:11:56,884 --> 00:11:58,318
What do we want
from you? Nah-uh-uh.

224
00:11:58,351 --> 00:12:00,253
What do you want
from me?

225
00:12:00,287 --> 00:12:04,091
You have become a problem.
A problem I have to deal with.

226
00:12:08,929 --> 00:12:10,230
FURY: You've been asleep, Cap.

227
00:12:11,131 --> 00:12:12,833
For almost 70 years.

228
00:12:12,866 --> 00:12:16,036
JACKSON: Being able to
introduce the characters,

229
00:12:16,069 --> 00:12:18,338
Nick Fury becomes what we,

230
00:12:18,371 --> 00:12:20,808
I guess, know as
a master manipulator.

231
00:12:20,841 --> 00:12:21,975
That's his superpower.

232
00:12:22,009 --> 00:12:24,444
You here with a mission, sir?
I am.

233
00:12:24,477 --> 00:12:25,913
Trying to get me back
in the world?

234
00:12:26,546 --> 00:12:27,981
Trying to save it.

235
00:12:28,015 --> 00:12:30,383
He really is the one
running the show.

236
00:12:30,417 --> 00:12:33,453
I recognize the Council
has made a decision,

237
00:12:33,486 --> 00:12:35,322
but given that
it's a stupid-ass decision,

238
00:12:35,355 --> 00:12:36,990
I've elected to ignore it.

239
00:12:39,026 --> 00:12:41,895
These people may be isolated,
unbalanced even,

240
00:12:41,929 --> 00:12:43,563
but I believe
with the right push,

241
00:12:43,596 --> 00:12:46,066
they can be exactly
what we need.

242
00:12:46,099 --> 00:12:48,168
JACKSON: He knows
how to bring people together

243
00:12:48,201 --> 00:12:51,905
and manipulate them to get them
to do what needs to be done

244
00:12:51,939 --> 00:12:53,073
to serve the greater good.

245
00:12:53,106 --> 00:12:54,507
What are you asking me to do?

246
00:12:54,541 --> 00:12:58,278
I'm asking, what are you
prepared to do?

247
00:12:58,311 --> 00:13:00,413
He's always observing,
always watching.

248
00:13:00,447 --> 00:13:02,049
You're not the only people
out there, are you?

249
00:13:02,082 --> 00:13:04,885
And you're not
the only threat.

250
00:13:04,918 --> 00:13:07,487
Name a detail so bizarre a
Skrull could never fabricate it.

251
00:13:07,520 --> 00:13:09,957
If toast is cut diagonally,
I can't eat it.

252
00:13:11,291 --> 00:13:13,060
LARSON: Nick Fury
is the character

253
00:13:13,093 --> 00:13:17,264
that we have all loved
and watched for a decade.

254
00:13:17,297 --> 00:13:21,034
AUTOMATED VOICE: Species: human male.
Threat: low to none.

255
00:13:21,068 --> 00:13:23,203
(GRUNTING)

256
00:13:23,236 --> 00:13:25,072
That thing's
clearly busted.

257
00:13:25,105 --> 00:13:27,207
A man who is just a hero.

258
00:13:27,240 --> 00:13:28,541
We need to find more.

259
00:13:29,242 --> 00:13:30,277
More weapons?

260
00:13:30,310 --> 00:13:32,145
More heroes.

261
00:13:32,179 --> 00:13:33,914
There are a lot of people
that have been brought

262
00:13:33,947 --> 00:13:38,051
into the mythology of what
the Marvel Universe is.

263
00:13:38,085 --> 00:13:39,252
Is this normal?

264
00:13:39,286 --> 00:13:40,320
Pretty much.

265
00:13:40,353 --> 00:13:42,455
They're still just
scratching the surface of it.

266
00:13:44,457 --> 00:13:45,558
That's what I'm talking about!

267
00:13:46,894 --> 00:14:00,307
(LAUGHING)
CAPTAIN MARVEL: Whoo!

268
00:14:00,340 --> 00:14:04,044
MAN: All right, here we go.
We're set. And action!

269
00:14:05,578 --> 00:14:07,047
Roll!

270
00:14:09,416 --> 00:14:11,651
KEVIN FEIGE: We've always had powerful
female characters in our movies,

271
00:14:11,684 --> 00:14:14,254
but having Captain Marvel as the
title character for the first time

272
00:14:14,287 --> 00:14:17,124
feels like it's overdue.
And so,

273
00:14:17,157 --> 00:14:21,494
we always love to look for filmmakers
who've done incredibly special films,

274
00:14:21,528 --> 00:14:24,331
and Anna Boden and Ryan Fleck
have done just that.

275
00:14:26,533 --> 00:14:29,302
They just understood Carol
and they understood her story

276
00:14:29,336 --> 00:14:31,371
and that journey
of becoming a superhero.

277
00:14:35,008 --> 00:14:36,609
JONATHAN SCHWARTZ: Ryan and Anna
came in with an amazing perspective,

278
00:14:36,643 --> 00:14:39,446
and they've really put
their own spin on the material

279
00:14:39,479 --> 00:14:43,650
and given it a voice
and a spirit that's fresh.

280
00:14:43,683 --> 00:14:46,586
You guys wouldn't happen to know
how these things come off, would ya?

281
00:14:46,619 --> 00:14:48,355
No? Fine.

282
00:14:48,989 --> 00:14:50,423
(GRUNTING)

283
00:14:51,992 --> 00:14:54,061
CLARK GREGG: I've seen,
time and time again,

284
00:14:54,094 --> 00:14:57,297
directors be brought into the
Marvel Universe and really thrive.

285
00:14:57,330 --> 00:14:58,966
That was really good.

286
00:14:58,999 --> 00:15:00,333
GREGG: The same thing
is true of Ryan and Anna.

287
00:15:00,367 --> 00:15:03,670
They have this intense
enthusiasm for it

288
00:15:03,703 --> 00:15:07,440
and a desire to kind of honor what's
been set up about these characters,

289
00:15:07,474 --> 00:15:09,342
and also take it
somewhere new.

290
00:15:09,376 --> 00:15:10,543
FURY: Do you know
how to fly this thing?

291
00:15:10,577 --> 00:15:11,578
We'll see.

292
00:15:12,645 --> 00:15:14,381
That's a yes or no question.

293
00:15:14,414 --> 00:15:15,415
Yes.

294
00:15:19,419 --> 00:15:21,154
That's good stuff
right there.

295
00:15:21,188 --> 00:15:23,423
BRIE LARSON: We both came from that,
like, scrappy indie film world,

296
00:15:23,456 --> 00:15:24,424
and that's all the stuff

297
00:15:24,457 --> 00:15:25,792
that ultimately goes back
into these films.

298
00:15:28,495 --> 00:15:31,564
Because the car chases and
the explosions are super fun,

299
00:15:31,598 --> 00:15:35,235
but what sits with you are those
interpersonal relationships.

300
00:15:35,268 --> 00:15:38,071
Name a detail so bizarre a
Skrull could never fabricate it.

301
00:15:38,105 --> 00:15:40,507
If toast is cut diagonally,
I can't eat it.

302
00:15:42,242 --> 00:15:43,576
You didn't need that,
did you?

303
00:15:43,610 --> 00:15:45,712
No. No, I didn't.
But I enjoyed it.

304
00:15:45,745 --> 00:15:47,647
(LAUGHTER)

305
00:15:47,680 --> 00:15:51,351
JUDE LAW: By bringing in people like
Anna and Ryan to direct Captain Marvel,

306
00:15:51,384 --> 00:15:52,452
their sense of humor

307
00:15:52,485 --> 00:15:55,455
and sense of banter
and insight keeps it youthful.

308
00:15:55,488 --> 00:15:56,656
MAN: Go!

309
00:15:58,225 --> 00:15:59,426
You married?
(LAUGHS)

310
00:15:59,459 --> 00:16:01,094
FLECK: And cut.

311
00:16:03,096 --> 00:16:05,365
BODEN: We are getting to
kind of create the image

312
00:16:05,398 --> 00:16:09,202
of this woman and this very,
very powerful human being

313
00:16:11,338 --> 00:16:15,075
who's complicated
and has flaws and has doubts

314
00:16:15,108 --> 00:16:17,210
and has insecurities,
just like all of us do.

315
00:16:17,244 --> 00:16:20,480
And it reminds us of who
we're making the movie for

316
00:16:20,513 --> 00:16:23,316
and who we want to
inspire with this movie.

317
00:16:23,350 --> 00:16:26,053
I've been fighting with one
arm tied behind my back.

318
00:16:26,086 --> 00:16:27,187
(ALL GRUNTING)

319
00:16:30,323 --> 00:16:31,524
But what happens when

320
00:16:33,193 --> 00:16:45,105
I'm finally set free?

321
00:16:45,138 --> 00:16:49,476
FURY: So, Skrulls
are the bad guys.

322
00:16:49,509 --> 00:16:53,746
And you're a Kree?
A race of noble warriors?

323
00:16:53,780 --> 00:16:56,516
Heroes.
Noble warrior heroes.

324
00:17:00,120 --> 00:17:01,454
KEVIN FEIGE:
Captain Marvel is a character

325
00:17:01,488 --> 00:17:03,456
in our comics and mythology

326
00:17:03,490 --> 00:17:07,094
who's got one foot on Earth,
one foot in the cosmic arena.

327
00:17:08,461 --> 00:17:10,297
So, this story
was the right one

328
00:17:10,330 --> 00:17:13,700
to introduce the overarching
narrative of the Kree-Skrull war.

329
00:17:13,733 --> 00:17:15,768
ASSISTANT DIRECTOR:
Background, and action!

330
00:17:15,802 --> 00:17:19,206
It's inspired by the comics,
but it's at a whole other level.

331
00:17:20,773 --> 00:17:22,242
CAPTAIN MARVEL: I'm not
going to fight your war.

332
00:17:23,476 --> 00:17:24,711
I'm going to end it.

333
00:17:29,582 --> 00:17:35,122
The Marvel Cinematic Universe
has had so many iconic villains.

334
00:17:35,155 --> 00:17:36,789
The Skrulls are
super-interesting villains to us

335
00:17:36,823 --> 00:17:39,126
because they can
turn into anyone.

336
00:17:39,159 --> 00:17:44,831
I'll tell you my secret
when you tell me yours.

337
00:17:44,864 --> 00:17:48,435
Skrulls might be the most famous
alien race in the Marvel comics.

338
00:17:48,468 --> 00:17:51,538
They're shapeshifters and very
important to the mythology.

339
00:17:51,571 --> 00:17:54,641
Skrulls can get inside
your little mind.

340
00:17:54,674 --> 00:18:00,480
So, this makes Skrulls very formidable,
because of their camouflage ability.

341
00:18:00,513 --> 00:18:03,216
They've evolved in such different
ways than the Kree and the humans.

342
00:18:04,851 --> 00:18:07,654
BODEN: They can be your mother,
your father, your brother.

343
00:18:09,622 --> 00:18:11,758
They're like the best
spies in the world

344
00:18:11,791 --> 00:18:13,626
because they can
literally be anybody.

345
00:18:21,368 --> 00:18:24,371
YON-ROGG: Skrulls have invaded
yet another border planet.

346
00:18:24,404 --> 00:18:27,607
The relentless Skrull expansion
dangerously nears our territory.

347
00:18:27,640 --> 00:18:31,344
What's very clever about the
storytelling in Captain Marvel

348
00:18:31,378 --> 00:18:34,381
is that you're fed
the propaganda of one nation

349
00:18:34,414 --> 00:18:38,318
and believe that
the Skrulls are the bad guys.

350
00:18:38,351 --> 00:18:41,188
But you're only seeing it
through the Kree's eyes.

351
00:18:41,221 --> 00:18:42,922
SCHWARTZ: As we meet
the Kree in this movie,

352
00:18:42,955 --> 00:18:45,925
they're technologically driven and
very much motivated by this war,

353
00:18:45,958 --> 00:18:48,895
which has kind of become
pervasive to their entire society.

354
00:18:48,928 --> 00:18:53,300
The Kree are a very dominant
and very aggressive race,

355
00:18:53,333 --> 00:18:56,603
and their military and their
leaders conduct themselves as such.

356
00:18:59,672 --> 00:19:03,743
BRIE LARSON: The Kree are
really incredible warriors.

357
00:19:03,776 --> 00:19:08,215
Hyper-intellectuals and also
totally devoid of emotion.

358
00:19:09,582 --> 00:19:10,850
CAPTAIN MARVEL:
You lied to me.

359
00:19:10,883 --> 00:19:15,388
I made you
the best version of yourself.

360
00:19:15,422 --> 00:19:17,190
SCHWARTZ: What we learn
over the course of the movie

361
00:19:17,224 --> 00:19:18,858
is they won the war years ago.

362
00:19:18,891 --> 00:19:20,760
The Skrulls
are living as refugees,

363
00:19:20,793 --> 00:19:22,929
and the Kree are kind of
hounding them mercilessly.

364
00:19:25,232 --> 00:19:29,369
TALOS: The handful of us that
are left will be slaughtered next

365
00:19:29,402 --> 00:19:33,206
unless you help me finish
what Mar-Vell started.

366
00:19:37,277 --> 00:19:40,247
She's trying to break out.

367
00:19:40,280 --> 00:19:43,516
BODEN: This movie is very much
about the journey of discovery.

368
00:19:44,951 --> 00:19:48,321
Carol learned that she's
not who she thought she was.

369
00:19:48,355 --> 00:19:52,325
She learns that the war that she was
fighting is not what she thought,

370
00:19:52,359 --> 00:19:56,963
and the characters who we have in
the movie are on that journey, too.

371
00:19:58,398 --> 00:20:00,733
This movie
is really about heart,

372
00:20:00,767 --> 00:20:10,810
and we as an audience go on this
amazing, emotional journey.

373
00:20:10,810 --> 00:20:21,788
and we as an audience go on this
amazing, emotional journey.

374
00:20:21,821 --> 00:20:22,789
NARRATOR: In a world
where heroes and villains

375
00:20:22,822 --> 00:20:27,860
are caught in a perpetual game
of cat and mouse,

376
00:20:27,894 --> 00:20:31,598
the good guys only seem to
scratch the surface of justice.

377
00:20:34,901 --> 00:20:38,938
Filmmakers were tasked with finding
the most acclaimed cats-member

378
00:20:38,971 --> 00:20:43,009
to become an unlikely hero with
the power to move mountains.

379
00:20:43,042 --> 00:20:44,243
B-mark.

380
00:20:44,711 --> 00:20:46,012
(CAT MEOWS)

381
00:20:46,045 --> 00:20:47,980
(UPBEAT MUSIC PLAYING)

382
00:20:50,350 --> 00:20:51,484
FURY: What's your name?

383
00:20:51,518 --> 00:20:54,654
"Goose."
Cool name for a cool cat.

384
00:20:54,687 --> 00:20:57,490
ANNA BODEN: When we were working
on the first outline for this movie

385
00:20:57,524 --> 00:20:59,559
and we shared it
with Kevin Feige,

386
00:20:59,592 --> 00:21:03,029
his first note was,
"We need 200% more Goose."

387
00:21:03,062 --> 00:21:05,031
(PURRING) Oh, my God!
Get that thing away.

388
00:21:05,064 --> 00:21:06,466
How'd that get in here?

389
00:21:06,499 --> 00:21:07,867
We gave it to him.
Yeah, we gave it to him.

390
00:21:07,900 --> 00:21:09,035
The cat?
(WHIMPERS)

391
00:21:09,068 --> 00:21:10,803
This isn't what
you're afraid of, is it?

392
00:21:10,837 --> 00:21:11,871
That's not a cat.

393
00:21:12,705 --> 00:21:13,740
That's a Flerken.

394
00:21:15,975 --> 00:21:17,644
(ALL SCREAMING)

395
00:21:19,479 --> 00:21:20,480
(MEOWS)

396
00:21:21,113 --> 00:21:22,582
Okay.

397
00:21:22,615 --> 00:21:24,651
Good kitty.

398
00:21:24,684 --> 00:21:27,854
NARRATOR: In cats-ing Marvel's
most ambitious role yet,

399
00:21:27,887 --> 00:21:30,390
filmmakers had to endure
countless hours

400
00:21:30,423 --> 00:21:34,627
of cuddles, nuzzles,
and possible allergy attacks.

401
00:21:34,661 --> 00:21:35,962
JONATHAN SCHWARTZ: We
auditioned a few different cats.

402
00:21:35,995 --> 00:21:37,364
We ended up with

403
00:21:37,397 --> 00:21:38,431
primarily a cat named Reggie

404
00:21:38,465 --> 00:21:40,567
to play Goose,
who looks like a cat,

405
00:21:40,600 --> 00:21:42,569
but is actually an alien
called a Flerken.

406
00:21:43,002 --> 00:21:45,372
MAN: Action.

407
00:21:45,405 --> 00:21:48,341
AUTOMATED VOICE: Species: Flerken.
Threat: high.

408
00:21:48,375 --> 00:21:49,376
(MEOWS)

409
00:21:52,612 --> 00:21:55,482
NARRATOR: Reggie's unique sense
of humor and comedic timing

410
00:21:55,515 --> 00:21:56,949
were an asset to filmmakers.

411
00:21:58,518 --> 00:21:59,852
And his acting chops...

412
00:21:59,886 --> 00:22:01,454
Who's a good kitty, huh?

413
00:22:01,488 --> 00:22:03,523
...proved paws-itively
ferocious.

414
00:22:03,556 --> 00:22:07,026
Yes, that's right.
Who's a good kitty?

415
00:22:07,059 --> 00:22:09,396
We got performances out of this cat
that I never thought we would get.

416
00:22:09,429 --> 00:22:11,864
Aren't you the prettiest
little kitty ever, huh?

417
00:22:11,898 --> 00:22:14,801
NARRATOR: He quickly became a
favorite among fellow cats-members...

418
00:22:14,834 --> 00:22:16,536
Oh, you feisty!

419
00:22:16,569 --> 00:22:19,406
...forging friendships
to span all nine of his lives.

420
00:22:19,439 --> 00:22:21,908
Oh, whoa.
You're a tough little fella.

421
00:22:23,743 --> 00:22:25,011
SAMUEL L. JACKSON:
I love working with him.

422
00:22:25,044 --> 00:22:26,078
(MEOWS)

423
00:22:26,112 --> 00:22:28,415
(LAUGHING)

424
00:22:28,448 --> 00:22:30,550
We laugh and do things
in the trailer, but,

425
00:22:30,583 --> 00:22:31,951
when we hit the playground,

426
00:22:31,984 --> 00:22:34,086
you know,
the games become serious.

427
00:22:34,120 --> 00:22:36,088
NARRATOR: But his appetite
for purr-fection

428
00:22:36,122 --> 00:22:38,057
could sometimes be a problem.

429
00:22:38,090 --> 00:22:39,792
I'm not touching
that thing.

430
00:22:39,826 --> 00:22:41,093
You want me to
get you an oven mitt?

431
00:22:41,127 --> 00:22:42,595
(MEOWS)

432
00:22:46,499 --> 00:22:47,900
Whoa!

433
00:22:47,934 --> 00:22:49,436
LASHANA LYNCH:
I'm always like,

434
00:22:49,469 --> 00:22:51,538
trying not to touch the cat 'cause I
feel like it's going to eat my face.

435
00:22:54,474 --> 00:22:56,509
NARRATOR: With Reggie's
distinct cat-titude

436
00:22:56,543 --> 00:22:58,845
and fierce dedication
to his role...

437
00:22:58,878 --> 00:23:01,080
(SNARLS)
Ow! Mother Flerken!

438
00:23:01,113 --> 00:23:04,417
NARRATOR: ...there was
no time for kitten-around.

439
00:23:04,451 --> 00:23:09,589
Because if one thing's for sure,
this cat is Flerken purr-fect.

440
00:23:11,190 --> 00:23:12,759
(FURY GRUNTS)

441
00:23:12,792 --> 00:23:13,793
Come on, do your thing!

442
00:23:14,927 --> 00:23:15,962
Come on!

443
00:23:18,565 --> 00:23:19,866
Come on!

444
00:23:19,899 --> 00:23:21,000
(MEOWS)

445
00:23:21,033 --> 00:23:23,903
Damn it, Goose. Pick a side.
(MEOWS)

446
00:23:23,936 --> 00:23:33,980
He's our Flerken kitty.

447
00:23:33,980 --> 00:23:42,088
He's our Flerken kitty.

448
00:23:42,121 --> 00:23:44,557
You develop the film,
then you shoot the film,

449
00:23:44,591 --> 00:23:46,192
then you edit the film
in post.

450
00:23:46,225 --> 00:23:50,497
And that process, for me,
became where the movie's actually made,

451
00:23:50,530 --> 00:23:52,231
because every little decision
you make there

452
00:23:52,264 --> 00:23:54,734
impacts how it's being
presented to the audience.

453
00:23:56,736 --> 00:24:00,607
Iron Man 1 did not have a big budget,
did not have a lot of time in post.

454
00:24:02,274 --> 00:24:03,943
And when there were
a lot of new ideas

455
00:24:03,976 --> 00:24:08,481
that we wanted to execute that
many other places would say no...

456
00:24:08,515 --> 00:24:11,484
"No, too late to do that.
There's no way to afford that."

457
00:24:11,518 --> 00:24:13,219
Victoria made it happen.

458
00:24:19,125 --> 00:24:20,660
LOUIS D'ESPOSITO:
I was working on a film

459
00:24:20,693 --> 00:24:22,695
and Victoria Alonso
was the VFX producer.

460
00:24:22,729 --> 00:24:23,996
The film shut down.

461
00:24:24,030 --> 00:24:25,632
The day after
the film shut down,

462
00:24:25,665 --> 00:24:27,900
I go up to meet Jon Favreau,
Kevin Feige.

463
00:24:27,934 --> 00:24:30,737
Kevin was very shy at that
point, didn't really say much.

464
00:24:30,770 --> 00:24:33,773
And I told Jon I met this
great visual effects producer.

465
00:24:33,806 --> 00:24:35,675
My original job on Iron Man

466
00:24:35,708 --> 00:24:37,810
was as
a visual effects producer,

467
00:24:37,844 --> 00:24:40,246
and then I received a
co-producer credit for the film.

468
00:24:40,279 --> 00:24:42,582
Victoria and I
got along great.

469
00:24:42,615 --> 00:24:44,551
She was smart,
she was with it,

470
00:24:44,584 --> 00:24:46,819
she had a love
for filmmaking, too.

471
00:24:46,853 --> 00:24:48,721
(INDISTINCT SHOUTING)

472
00:24:48,755 --> 00:24:50,256
ALONSO: Kevin said,
"We're going to get a chance

473
00:24:50,289 --> 00:24:51,824
"to actually do
more than one movie.

474
00:24:51,858 --> 00:24:53,192
"Are you guys interested?"

475
00:24:53,225 --> 00:24:57,129
I didn't want to be a studio
person because I like producing.

476
00:24:57,163 --> 00:25:01,067
I like the pace, being around
teams and lifting this behemoth.

477
00:25:01,100 --> 00:25:04,871
"If I still get to produce with you
guys, then I will do it.

478
00:25:04,904 --> 00:25:06,639
"I will run
the post-production team,

479
00:25:06,673 --> 00:25:08,841
"the stereo team,
the technology team

480
00:25:08,875 --> 00:25:10,643
"if it can
all be under one roof."

481
00:25:10,677 --> 00:25:11,778
Good luck keeping up.

482
00:25:13,680 --> 00:25:15,815
ALONSO: The job
is a lot of things.

483
00:25:15,848 --> 00:25:19,218
Whether it's by picking the right
team for visual development,

484
00:25:19,251 --> 00:25:21,854
being in the edit room, being
in the visual effects reviews,

485
00:25:21,888 --> 00:25:24,190
color reviews,
being in sound reviews.

486
00:25:26,292 --> 00:25:28,595
We talk about costumes,
we talk about sets,

487
00:25:28,628 --> 00:25:30,830
we talk about color,
we talk about technology

488
00:25:30,863 --> 00:25:32,732
and how to implement
the technology

489
00:25:32,765 --> 00:25:33,966
that is out there in the world

490
00:25:34,000 --> 00:25:36,769
to make something new
and cool and different,

491
00:25:36,803 --> 00:25:40,539
and that makes our story
be a better story.

492
00:25:48,948 --> 00:25:51,150
Technology can be
your friend or your enemy.

493
00:25:52,652 --> 00:25:55,622
We look at it
when we design the characters,

494
00:25:55,655 --> 00:25:57,323
their powers,
the environments.

495
00:25:57,356 --> 00:26:00,893
Every character is challenging
and beautiful all at the same time

496
00:26:00,927 --> 00:26:03,630
throughout the journey.
When we think about it,

497
00:26:03,663 --> 00:26:05,765
when we're making it,
when we realize it

498
00:26:05,798 --> 00:26:07,734
and when we put it
out to the world.

499
00:26:09,068 --> 00:26:11,270
That's one of the challenges.

500
00:26:11,303 --> 00:26:15,141
The other challenge is to have
main characters be completely CG.

501
00:26:15,174 --> 00:26:18,711
After you see the film,
you realize that they're 100% integrated.

502
00:26:19,411 --> 00:26:21,648
We have Rocket Raccoon...

503
00:26:22,081 --> 00:26:24,684
Oh, yeah.

504
00:26:24,717 --> 00:26:25,918
ALONSO: ...and Groot...

505
00:26:25,952 --> 00:26:26,886
I am Groot.

506
00:26:26,919 --> 00:26:29,922
ALONSO:
...which are completely CG.

507
00:26:29,956 --> 00:26:32,291
You never feel like they were
not there when we shot it.

508
00:26:32,324 --> 00:26:35,294
We took painful detail
on Rocket and Groot

509
00:26:35,327 --> 00:26:38,665
and the performances of Vin
Diesel and Bradley Cooper...

510
00:26:38,698 --> 00:26:39,866
They came.

511
00:26:39,899 --> 00:26:42,268
ALONSO: ...where we captured
their facial expressions.

512
00:26:42,301 --> 00:26:44,336
Give me your word
you won't hurt Groot

513
00:26:44,370 --> 00:26:46,639
and I'll tell you
where the batteries are.

514
00:26:46,673 --> 00:26:48,107
ALONSO:
When we created Thanos,

515
00:26:48,140 --> 00:26:49,742
we did the same
with Josh Brolin.

516
00:26:49,776 --> 00:26:54,180
Where is the Soul Stone?

517
00:26:54,213 --> 00:26:56,783
ALONSO: And we wanted to have
enough of Josh,

518
00:26:56,816 --> 00:26:59,185
his facial expressions

519
00:26:59,218 --> 00:27:02,021
and of who's portraying it,

520
00:27:02,054 --> 00:27:06,425
so that we can extract from
performance as much as we can.

521
00:27:06,458 --> 00:27:07,660
What did it cost?

522
00:27:10,129 --> 00:27:11,397
Everything.

523
00:27:11,430 --> 00:27:13,065
ALONSO:
Our intention is always,

524
00:27:13,099 --> 00:27:15,835
if we can have it real,
we will.

525
00:27:15,868 --> 00:27:19,171
Our exercise consistently is,
"Let's go shoot plates there,

526
00:27:19,205 --> 00:27:21,340
"shoot plates there
and shoot plates there."

527
00:27:23,409 --> 00:27:26,212
Could we do a waterfall
all in CG? Of course you can.

528
00:27:26,245 --> 00:27:29,949
But we did go to Iguazu Falls
and Victoria Falls in Africa

529
00:27:29,982 --> 00:27:32,819
to get the richness
of what that environment was

530
00:27:32,852 --> 00:27:34,721
and then, of course,
you enhance.

531
00:27:34,754 --> 00:27:38,791
But that reference
is irreplaceable.

532
00:27:38,825 --> 00:27:40,827
(BOTH GRUNTING)

533
00:27:40,860 --> 00:27:42,228
When you have a Flerken...

534
00:27:42,261 --> 00:27:44,864
Cool name for a cool cat.
Fury?

535
00:27:44,897 --> 00:27:46,298
ALONSO: We know
what a cat looks like,

536
00:27:46,332 --> 00:27:48,134
but you don't know
what a Flerken looks like.

537
00:27:48,167 --> 00:27:50,837
So then you have
a little bit of leeway.

538
00:27:50,870 --> 00:27:54,741
And yet, we always go back
to a known texture

539
00:27:54,774 --> 00:27:57,043
so that your eye
is tricked enough.

540
00:27:57,076 --> 00:27:59,979
You see the Flerken, you go,
"Oh, that makes total sense."

541
00:28:00,847 --> 00:28:02,481
(ALL SCREAMING)

542
00:28:02,514 --> 00:28:06,485
We take what is practical,
which gives us the best performance,

543
00:28:06,518 --> 00:28:07,619
and then we help it.

544
00:28:07,653 --> 00:28:10,122
And then we do anything
that is needed.

545
00:28:10,156 --> 00:28:12,992
We have a couple of
de-aging moments.

546
00:28:13,025 --> 00:28:17,163
This one has been one of the biggest
undertakings for de-aging that we've done.

547
00:28:17,196 --> 00:28:18,965
Did you see her weapon?
I did not.

548
00:28:18,998 --> 00:28:21,433
ALONSO: We have Coulson,
which is 10 years.

549
00:28:21,467 --> 00:28:25,872
But for Sam, we did more like
almost 25 years, 30 years.

550
00:28:25,905 --> 00:28:27,473
Excuse me, miss.

551
00:28:27,506 --> 00:28:31,243
ALONSO: Sam hasn't changed much
and yet you can see he has.

552
00:28:31,277 --> 00:28:33,479
I'm here to talk to you
about the Avenger Initiative.

553
00:28:33,512 --> 00:28:37,083
ALONSO: He's such an iconic actor
and everyone knows who he is.

554
00:28:37,116 --> 00:28:38,985
So if you do it wrong,
it's very clear.

555
00:28:39,018 --> 00:28:41,453
And we have maybe 800 shots.

556
00:28:41,487 --> 00:28:44,891
That's a lot of de-aging
of Sam Jackson.

557
00:28:44,924 --> 00:28:47,426
Official S.H.I.E.L.D.
activity. Stay back.

558
00:28:48,795 --> 00:28:50,396
We want to tell good stories.

559
00:28:52,064 --> 00:28:53,465
(DISTANT BLAST)

560
00:28:53,499 --> 00:28:56,402
There's nothing
that I want more.

561
00:28:56,435 --> 00:29:01,774
It works because the respect that we
give to the story and the characters

562
00:29:01,808 --> 00:29:06,545
by far is more than anything.

563
00:29:06,578 --> 00:29:10,482
At the end of the day,
it's not about the spectacle of it

564
00:29:10,516 --> 00:29:12,985
just for the spectacle.

565
00:29:13,019 --> 00:29:17,423
Technology and the visual
effects and sound and color

566
00:29:17,456 --> 00:29:19,358
allows us to
create those moments.

567
00:29:19,391 --> 00:29:20,459
Whoo!

568
00:29:20,492 --> 00:29:23,095
ALONSO: In thinking
about the journey

569
00:29:23,129 --> 00:29:25,231
and where we started,

570
00:29:25,264 --> 00:29:28,034
when we did Iron Man 1,
we had 800 shots

571
00:29:28,067 --> 00:29:30,769
that were visual effects shots
out of 1,800 cuts.

572
00:29:32,504 --> 00:29:33,806
(GROANING)

573
00:29:36,408 --> 00:29:39,478
Now movies are 3,200 cuts

574
00:29:39,511 --> 00:29:43,182
and 3,100 of those
are visual effects.

575
00:29:43,215 --> 00:29:47,386
That's sort of the magical
blend of all the departments.

576
00:29:47,419 --> 00:29:50,089
That has worked
really well for us.

577
00:29:50,122 --> 00:29:53,059
You can't do any of this
without your team.

578
00:29:53,092 --> 00:29:55,294
We create together.

579
00:29:55,327 --> 00:29:56,829
It's about your voice.

580
00:29:56,863 --> 00:29:59,431
It's about letting your voice
be heard.

581
00:29:59,465 --> 00:30:03,002
Being a part of the casting,
I'm one of those voices in the room

582
00:30:03,035 --> 00:30:04,003
that is always asking,

583
00:30:04,036 --> 00:30:05,337
"I know it was
written for a man,

584
00:30:05,371 --> 00:30:07,473
"but is there a reason why
that couldn't be a woman?"

585
00:30:08,607 --> 00:30:10,843
This one is fully led
by a woman.

586
00:30:12,378 --> 00:30:15,882
I believed in my gut feeling.

587
00:30:15,915 --> 00:30:17,616
I could have said,
"No, thank you.

588
00:30:17,649 --> 00:30:19,285
"No, thank you.
I'm not a studio girl.

589
00:30:19,318 --> 00:30:20,319
"I don't know how to do that."

590
00:30:20,652 --> 00:30:21,854
(GRUNTING)

591
00:30:23,389 --> 00:30:25,958
I believed in my voice.

592
00:30:25,992 --> 00:30:28,260
If you don't listen
to your voice,

593
00:30:28,294 --> 00:30:30,596
then you're going to shut out
a part of your future

594
00:30:30,629 --> 00:30:32,899
that could have been
bright and beautiful.

595
00:30:33,499 --> 00:30:35,134
It's within you.

596
00:30:37,203 --> 00:30:40,106
I had to take it in
that this was my life.

597
00:30:44,443 --> 00:30:45,978
It takes time.

598
00:30:48,314 --> 00:30:59,358
You will get there.

599
00:30:59,391 --> 00:31:00,993
TALOS: Let's open her up.

600
00:31:04,430 --> 00:31:06,532
Where are we?

601
00:31:06,565 --> 00:31:08,034
NOREX: Stand by.

602
00:31:09,936 --> 00:31:11,037
Where's your head at?

603
00:31:12,138 --> 00:31:14,406
In the clouds.
Where's yours?

604
00:31:14,440 --> 00:31:16,075
On my shoulders.

605
00:31:16,108 --> 00:31:17,944
About to show these boys
how we do it.

606
00:31:17,977 --> 00:31:19,211
You ready?

607
00:31:19,245 --> 00:31:21,380
Higher, further, faster, baby.
That's right.

608
00:31:33,159 --> 00:31:34,660
ANNA BODEN:
The Mind Frack escape

609
00:31:34,693 --> 00:31:37,396
was one of the first
action sequences

610
00:31:37,429 --> 00:31:41,300
that we started storyboarding
and pre-vising.

611
00:31:41,333 --> 00:31:43,135
Even before
we had a script,

612
00:31:43,169 --> 00:31:47,639
we knew that that sequence
was an anchor for our story.

613
00:31:47,673 --> 00:31:49,541
We worked with
different storyboard artists,

614
00:31:49,575 --> 00:31:52,111
who helped us out,
like Rico D'Alessandro.

615
00:31:52,144 --> 00:31:56,515
Do we have any information
we can act on?

616
00:31:56,548 --> 00:32:02,321
BODEN: The Skrulls are looking for
the clue to where the Tesseract is.

617
00:32:02,354 --> 00:32:03,689
VICTORIA ALONSO:
What does it feel if someone

618
00:32:03,722 --> 00:32:06,292
was trying to extract
that memory from your brain?

619
00:32:08,194 --> 00:32:10,296
TALOS: You're almost there.
Don't fight it.

620
00:32:10,329 --> 00:32:12,464
Get her back!
Get her back now!

621
00:32:13,765 --> 00:32:15,434
Where'd she go? Find her.

622
00:32:15,467 --> 00:32:17,169
This doesn't make any sense.

623
00:32:17,203 --> 00:32:18,670
(TALOS AND NOREX
SPEAKING INDISTINCTLY)

624
00:32:18,704 --> 00:32:23,675
We really wanted to capture that feel
for when she's first coming to...

625
00:32:23,709 --> 00:32:26,445
Her eyes, kind of, open up
and then close again.

626
00:32:26,478 --> 00:32:30,482
She's so disoriented and she
sees these upside down figures

627
00:32:30,516 --> 00:32:33,986
and the sound is all murky.

628
00:32:34,020 --> 00:32:36,722
And one of the fun things
that came out of the process

629
00:32:36,755 --> 00:32:39,625
was that shot
where we pull back

630
00:32:39,658 --> 00:32:42,494
and turn around and realize
that she is upside down.

631
00:32:45,097 --> 00:32:46,465
MAN: And action!

632
00:32:47,066 --> 00:32:48,067
(GRUNTS)

633
00:32:51,537 --> 00:32:53,439
I've just been trying
to be as prepared as possible.

634
00:32:55,541 --> 00:32:57,343
So, by the time
we started shooting,

635
00:32:57,376 --> 00:32:59,311
I had been training
for nine months.

636
00:33:01,180 --> 00:33:05,117
She's come in to dedicate time
and effort into her training

637
00:33:05,151 --> 00:33:08,254
like no other person that
I've had the experience with.

638
00:33:11,157 --> 00:33:13,592
Everything I've done up until
this point has been more cerebral,

639
00:33:13,625 --> 00:33:15,194
and to feel this connection
to my body

640
00:33:15,227 --> 00:33:18,230
in a way that I hadn't before
is really exciting.

641
00:33:27,406 --> 00:33:29,007
(GRUNTING)

642
00:33:30,509 --> 00:33:32,244
What did you put in my head?

643
00:33:32,278 --> 00:33:34,012
Nothing that wasn't
already there.

644
00:33:35,547 --> 00:33:36,982
But those aren't my memories.

645
00:33:37,015 --> 00:33:41,787
The Mind Frack is where we get introduced
to Carol's background as a human.

646
00:33:41,820 --> 00:33:44,056
BODEN: It started
in the script stage.

647
00:33:45,391 --> 00:33:48,494
You're going too fast!
You need to go slow!

648
00:33:48,527 --> 00:33:50,496
BODEN: We created
these little scenes

649
00:33:50,529 --> 00:33:53,665
and tried to make them
bite-sized enough

650
00:33:53,699 --> 00:33:57,836
so that we could get as much
as possible about who she was.

651
00:33:57,869 --> 00:33:59,071
Have it feel like

652
00:33:59,105 --> 00:34:01,573
you were getting pulled
through these memories

653
00:34:01,607 --> 00:34:04,643
that were connected by some
kind of stream of consciousness.

654
00:34:06,678 --> 00:34:07,679
It was much longer
on the page.

655
00:34:08,980 --> 00:34:12,084
As the writing evolved,
we kept trimming it down.

656
00:34:14,120 --> 00:34:16,722
BODEN: And really early on,
we did tests with the camera

657
00:34:16,755 --> 00:34:20,392
to see how we could get
that kind of 16 mm film feel

658
00:34:20,426 --> 00:34:22,761
or 35 mm film feel.

659
00:34:22,794 --> 00:34:25,397
And we landed on
a look and color palette

660
00:34:25,431 --> 00:34:27,333
that really felt like
the right one.

661
00:34:29,435 --> 00:34:31,670
FLECK: There is a lot of effects,
but also some of it's in camera.

662
00:34:31,703 --> 00:34:33,805
Like the part where
Brie is talking to Annette.

663
00:34:33,839 --> 00:34:35,474
LAWSON:
Wonderful view, isn't it?

664
00:34:35,507 --> 00:34:37,409
I prefer the view
from up there.

665
00:34:37,443 --> 00:34:39,111
You'll get there
soon enough, Ace.

666
00:34:39,145 --> 00:34:43,415
FLECK: And Annette starts to walk
away, the camera pivots to Brie,

667
00:34:43,449 --> 00:34:47,119
and then we have a double who's
drifting away in the background.

668
00:34:47,153 --> 00:34:48,354
Wonderful view, isn't it?

669
00:34:48,387 --> 00:34:50,722
FLECK: And then, Annette
runs around the camera.

670
00:34:50,756 --> 00:34:52,491
I prefer the view
from up there.

671
00:34:52,524 --> 00:34:54,260
You'll get there
soon enough, Ace.

672
00:34:55,494 --> 00:34:57,529
So it's all in one shot
with no effects.

673
00:35:04,570 --> 00:35:06,872
ALONSO: It's mind boggling
to try and get so many things

674
00:35:06,905 --> 00:35:10,742
that are hints to the story,
and hints to the pain.

675
00:35:10,776 --> 00:35:11,977
They'll never let you fly.

676
00:35:12,010 --> 00:35:15,147
And to do it in a way that
is intertwined and weaved.

677
00:35:16,815 --> 00:35:19,585
BODEN: We haven't done a lot of
big explosions in our movies,

678
00:35:19,618 --> 00:35:21,820
and we certainly have
never left the planet Earth.

679
00:35:21,853 --> 00:35:23,289
And if we are going
to leave the planet Earth,

680
00:35:23,322 --> 00:35:25,891
we want to do it with a
really good crew of people.

681
00:35:25,924 --> 00:35:27,659
And Marvel is the place to be.

682
00:35:30,362 --> 00:35:40,406
All right, I'm ready.

683
00:35:40,406 --> 00:35:50,416
All right, I'm ready.

684
00:35:57,656 --> 00:36:00,359
SUPREME INTELLIGENCE: You were
blinded by your feelings for her.

685
00:36:00,392 --> 00:36:01,693
I have no feelings for her.

686
00:36:02,228 --> 00:36:03,295
Perhaps not.

687
00:36:07,666 --> 00:36:12,338
We both know your admiration is
mostly reserved for yourself.

688
00:36:12,371 --> 00:36:17,309
Six years ago, we sent you to
locate Mar-Vell and her energy core.

689
00:36:17,343 --> 00:36:19,211
I found Mar-Vell.
Wrong.

690
00:36:19,245 --> 00:36:20,946
You executed Mar-Vell.

691
00:36:22,514 --> 00:36:23,815
Not part of the plan.

692
00:36:23,849 --> 00:36:25,284
What of the core?

693
00:36:25,317 --> 00:36:27,319
I believed it had been
destroyed by the blast.

694
00:36:27,353 --> 00:36:29,288
Wrong again.

695
00:36:31,022 --> 00:36:33,225
Care to go for a third?

696
00:36:33,259 --> 00:36:35,894
I returned to Hala with a
far more powerful weapon...

697
00:36:35,927 --> 00:36:38,464
One that has slipped
from your grasp.

698
00:36:39,565 --> 00:36:40,932
You're losing control.

699
00:36:42,334 --> 00:36:43,335
Please.

700
00:36:45,571 --> 00:36:47,906
Please, Your Intelligence.

701
00:36:48,740 --> 00:36:49,941
"Please"?

702
00:36:52,811 --> 00:36:54,212
"Please"?

703
00:36:56,415 --> 00:36:57,716
Are you begging?

704
00:36:59,285 --> 00:37:00,586
For what?

705
00:37:00,619 --> 00:37:02,421
For your worthless life?

706
00:37:07,859 --> 00:37:09,661
Allow me to kill her for you.

707
00:37:15,434 --> 00:37:17,869
Her implant
will lead you to her,

708
00:37:17,903 --> 00:37:20,906
and we will disable
her powers.

709
00:37:23,609 --> 00:37:27,946
Bring us the core
and the girl.

710
00:37:29,315 --> 00:37:41,393
Alive, Yon-Rogg.

711
00:37:41,427 --> 00:37:44,930
FEMALE ANNOUNCER: Know your enemy.
It could be you.

712
00:37:44,963 --> 00:37:48,667
Be alert!
The Skrulls can sim anyone.

713
00:37:48,700 --> 00:37:52,538
YON-ROGG: How long has the
Kree-Skrull war been going on?

714
00:37:52,571 --> 00:37:54,873
STARFORCE RECRUITS: Thousands of years.
Thousands of years.

715
00:37:54,906 --> 00:37:58,777
And yet still the Skrull
plague is ever present.

716
00:37:58,810 --> 00:38:02,481
One of you could be a Skrull
and we wouldn't know it.

717
00:38:03,949 --> 00:38:05,651
Is it you?

718
00:38:05,684 --> 00:38:07,719
Are you a Skrull?
What about you?

719
00:38:07,753 --> 00:38:09,688
(RECRUITS GIGGLING)
You sure you're not a Skrull?

720
00:38:11,490 --> 00:38:13,392
As the strongest
remaining empire,

721
00:38:13,425 --> 00:38:16,328
we proudly defend
not just ourselves,

722
00:38:16,362 --> 00:38:19,064
but every nation
too weak to fight. We...

723
00:38:19,097 --> 00:38:20,966
VERS: How do we know you're not a
Skrull, Commander?

724
00:38:20,999 --> 00:38:23,369
(RECRUITS GIGGLING)

725
00:38:25,036 --> 00:38:28,674
There's no greater example
of Kree potential

726
00:38:28,707 --> 00:38:30,642
than the mighty Vers.

727
00:38:35,814 --> 00:38:37,816
The commander's right
about the Skrulls.

728
00:38:37,849 --> 00:38:39,117
They took everything
from me.

729
00:38:39,150 --> 00:38:43,054
My home, my family,
my memory.

730
00:38:44,790 --> 00:38:46,558
Our leader,
the Supreme Intelligence,

731
00:38:46,592 --> 00:38:48,660
saved me,
gave me purpose

732
00:38:48,694 --> 00:38:49,961
and this implant,

733
00:38:52,163 --> 00:38:54,766
so I can fight back.
(WHISPERS INDISTINCTLY)

734
00:38:54,800 --> 00:38:56,568
Did it hurt?
No.

735
00:38:56,602 --> 00:38:58,404
What's
the Supreme Intelligence like?

736
00:38:58,437 --> 00:39:00,606
So vast

737
00:39:00,639 --> 00:39:04,510
our minds can't even
comprehend its true image.

738
00:39:04,543 --> 00:39:06,812
So when we commune
with the Supreme Intelligence,

739
00:39:06,845 --> 00:39:10,616
it appears to each of us
as a unique virtual form,

740
00:39:10,649 --> 00:39:14,953
as the person we respect
and admire above all others.

741
00:39:14,986 --> 00:39:16,021
So you see yourself, huh?

742
00:39:16,755 --> 00:39:17,823
(RECRUITS LAUGHING)

743
00:39:17,856 --> 00:39:19,425
Who do you see?

744
00:39:21,159 --> 00:39:22,428
Everyone back to work.

745
00:39:25,864 --> 00:39:26,965
Dreams again?

746
00:39:31,437 --> 00:39:32,671
Wanna fight?

747
00:39:33,972 --> 00:39:35,140
(GROANS)

748
00:39:35,907 --> 00:39:42,881
(EXHALES) I slipped.

749
00:39:42,914 --> 00:39:44,583
(ELECTRONIC WARBLING)

750
00:39:49,788 --> 00:39:51,022
(EXHALES DEEPLY)

751
00:39:52,057 --> 00:39:53,124
(GRUNTS)

752
00:39:58,830 --> 00:40:00,131
(ALL EXHALE)

753
00:40:00,165 --> 00:40:01,166
KORATH: Yes.

754
00:40:03,702 --> 00:40:05,837
All charged up?
Congratulations.

755
00:40:07,606 --> 00:40:09,074
Was there ever any doubt?

756
00:40:09,107 --> 00:40:12,611
You heard the part about this
being a stealth operation, right?

757
00:40:12,644 --> 00:40:13,845
What are you saying?

758
00:40:13,879 --> 00:40:16,014
X-27. Remember?

759
00:40:16,047 --> 00:40:18,450
Oh, come on.
That was not my fault.

760
00:40:18,484 --> 00:40:20,151
We were specifically told
to bring the heat.

761
00:40:20,185 --> 00:40:21,720
It was very hot.

762
00:40:21,753 --> 00:40:23,455
Just remember, Twinkle-fists.

763
00:40:23,489 --> 00:40:24,990
You think with your head,
not your hands.

764
00:40:25,023 --> 00:40:26,157
YON-ROGG: She knows.

765
00:40:26,191 --> 00:40:27,759
Right.

766
00:40:27,793 --> 00:40:29,094
We follow the beacon
to the target.

767
00:40:29,127 --> 00:40:32,698
Minn-Erva, Att-Lass,
find elevation and provide cover, please.

768
00:40:32,731 --> 00:40:34,432
The rest of you,

769
00:40:35,100 --> 00:40:36,735
let's bring Soh-Larr home.

770
00:40:37,503 --> 00:40:39,538
(WHIRRING)

771
00:40:40,739 --> 00:40:42,007
Shall we take a dip?

772
00:40:45,811 --> 00:40:48,246
(MINN-ERVA EXHALES)

773
00:40:48,279 --> 00:40:58,524
Does anyone else get
claustrophobic in these things?

774
00:40:58,524 --> 00:41:10,268
Does anyone else get
claustrophobic in these things?

775
00:41:10,301 --> 00:41:11,603
(ENGINE REVS)

776
00:41:11,637 --> 00:41:12,904
MAN: Nice scuba suit.

777
00:41:16,107 --> 00:41:17,843
You need a ride, darling?

778
00:41:19,711 --> 00:41:21,547
How about a smile
for me, huh?

779
00:41:21,580 --> 00:41:23,114
A smile?
Yeah.

780
00:41:23,148 --> 00:41:24,683
I'm offering to help you.

781
00:41:24,716 --> 00:41:26,117
The least you could do
is give me a smile.

782
00:41:28,920 --> 00:41:29,988
How about a handshake?

783
00:41:30,556 --> 00:41:31,723
(CHUCKLES)

784
00:41:32,991 --> 00:41:34,125
I'm Vers.

785
00:41:34,159 --> 00:41:36,928
People call me "The Don."

786
00:41:36,962 --> 00:41:38,029
Wow.

787
00:41:41,767 --> 00:41:44,002
(ELECTRICITY CRACKLING)
(GROANS)

788
00:41:44,035 --> 00:41:46,204
Here's a proposition for you.
(GROANS)

789
00:41:46,237 --> 00:41:48,740
You're gonna give me your jacket,
your helmet, and your motorcycle,

790
00:41:48,774 --> 00:41:51,977
and in return,
I'm gonna let you keep your hand.

791
00:41:53,645 --> 00:41:54,646
Take it.

792
00:41:54,980 --> 00:41:56,648
(GROANS)

793
00:41:56,682 --> 00:41:58,249
What, no smile?
(GROANS)

794
00:42:03,254 --> 00:42:04,756
(MOTORCYCLE ENGINE STARTS)

795
00:42:10,962 --> 00:42:25,911
(CAR HORN BLARES)
(TIRES SCREECHING)

796
00:42:25,944 --> 00:42:27,713
TECHNICIAN: The Quadjet
has anti-radar tech.

797
00:42:31,049 --> 00:42:36,655
So you're telling me you
can't track your own plane?

798
00:42:36,688 --> 00:42:38,824
Well, we're using satellites
to search for it.

799
00:42:38,857 --> 00:42:40,626
That takes time.

800
00:42:40,659 --> 00:42:41,793
Lawson is dead.

801
00:42:41,827 --> 00:42:43,294
Crash site
matches her memory.

802
00:42:44,930 --> 00:42:47,332
Do we have a record
from the flight?

803
00:42:47,365 --> 00:42:48,967
You mean the black box?

804
00:42:51,069 --> 00:42:52,971
Of course I do.

805
00:42:53,004 --> 00:43:03,048
Let's get our hands
on that, shall we?

806
00:43:03,048 --> 00:43:13,058
Let's get our hands
on that, shall we?

807
00:43:20,198 --> 00:43:23,068
Wow. They're ugly bastards,
aren't they?

808
00:43:23,101 --> 00:43:26,304
EXAMINER: (CHUCKLES) Yeah,
well, he's no Brad Pitt, sir.

809
00:43:31,743 --> 00:43:33,945
Safe journey to the beyond,
my friend.

810
00:43:36,047 --> 00:43:38,784
(WHISPERS) I will finish
what we started.

811
00:43:47,425 --> 00:43:49,027
EXAMINER: I wouldn't get
too close there, boss.

812
00:43:51,462 --> 00:43:53,031
No one in or out.

813
00:43:58,303 --> 00:43:59,304
Oh.

814
00:44:00,939 --> 00:44:03,675
Here's the police report you asked for.
Need a partner?

815
00:44:03,709 --> 00:44:04,876
Not now, rook.

816
00:44:10,849 --> 00:44:12,751
COULSON:
Forget your badge, sir?

817
00:44:12,784 --> 00:44:17,255
(SIGHING) Yeah. Yeah.

818
00:44:17,288 --> 00:44:19,657
Thank you. You'd think
it was my first day.

819
00:44:21,793 --> 00:44:31,837
(BEEPS)

820
00:44:31,837 --> 00:44:41,847
(BEEPS)

821
00:44:50,488 --> 00:44:51,689
MAN: Engage.

822
00:44:54,826 --> 00:44:58,129
(GRUNTS) Where was my other hand
supposed to go? I don't know.

823
00:44:58,163 --> 00:44:59,865
(UPBEAT MUSIC PLAYING)

824
00:45:01,466 --> 00:45:03,168
(LAUGHS)
(BURBLING)

825
00:45:03,201 --> 00:45:04,903
(BARKING)

826
00:45:04,936 --> 00:45:06,037
(BOTH GRUNTING)

827
00:45:06,071 --> 00:45:08,774
Other side.
Get on the other side.

828
00:45:08,807 --> 00:45:11,176
I know we rehearsed it this
way, but it's this way now.

829
00:45:12,210 --> 00:45:13,779
MAN: No, you go that way.
(GROANING)

830
00:45:13,812 --> 00:45:16,081
I forgot. I gotta
go the other way.

831
00:45:16,114 --> 00:45:18,383
(IN HIGH-PITCHED VOICE)
Oh, no! I'm destroyed!

832
00:45:19,284 --> 00:45:21,419
I'm melting!

833
00:45:21,452 --> 00:45:22,954
It's in here somewhere.

834
00:45:24,155 --> 00:45:25,857
(MIC RUSTLING)

835
00:45:28,159 --> 00:45:33,331
(LAUGHING) This is the worst take
of anything that's ever happened.

836
00:45:37,435 --> 00:45:39,470
(LAUGHS)
(CREW LAUGHS)

837
00:45:39,504 --> 00:45:40,605
MAN: It's in your nose.

838
00:45:40,638 --> 00:45:42,774
Well, I can't feel it
because it's not my real nose.

839
00:45:44,209 --> 00:45:45,210
(NERF GUN FIRES)

840
00:45:46,277 --> 00:45:48,013
(BOTH GRUNT)

841
00:45:48,046 --> 00:45:49,080
CLARK GREGG: Hold on.
I can't.

842
00:45:49,114 --> 00:45:50,215
(LAUGHING)

843
00:45:50,248 --> 00:45:52,017
(BOTH GRUNT)
(BLEEP)

844
00:45:52,050 --> 00:45:53,084
It's okay.

845
00:45:53,118 --> 00:45:55,053
No, it's not.

846
00:45:55,086 --> 00:45:56,855
SAMUEL L. JACKSON:
Aw, you broke it.

847
00:46:02,160 --> 00:46:03,194
That's enough!

848
00:46:03,228 --> 00:46:04,830
(BRIE LARSON LAUGHS)
(YOWLS)

849
00:46:04,863 --> 00:46:06,031
Good kitty.

850
00:46:08,599 --> 00:46:09,968
(BLEATS)

851
00:46:10,869 --> 00:46:12,503
(BLEATING)

852
00:46:12,537 --> 00:46:14,973
Let's do it,
you trippy camera freak.

853
00:46:15,006 --> 00:46:16,541
(UPBEAT MUSIC PLAYING)

854
00:46:26,351 --> 00:46:28,219
You know how to do the bump?
Mmm.

855
00:46:28,253 --> 00:46:29,554
See,
you remember something.

856
00:46:33,024 --> 00:46:34,025
(YELLS)

857
00:46:37,062 --> 00:46:38,396
Thank you very much.
Good night.

858
00:46:39,064 --> 00:46:40,198
(LAUGHTER)

859
00:46:40,231 --> 00:46:42,901
(SINGING)

860
00:46:42,934 --> 00:46:45,036
JACKSON: No.
(CONTINUES SINGING)

861
00:46:45,070 --> 00:46:46,171
JACKSON: Nope.

862
00:46:46,204 --> 00:46:56,247
Nope. Not happening.

863
00:46:56,247 --> 00:47:07,192
Nope. Not happening.

864
00:47:07,225 --> 00:47:10,128
FURY: We have no idea
what threats are out there.

865
00:47:12,197 --> 00:47:14,132
We can't do this alone.

866
00:47:17,035 --> 00:47:18,103
We need you.

867
00:47:20,138 --> 00:47:24,642
When we were first brainstorming
what this movie should be,

868
00:47:24,675 --> 00:47:29,414
we had a picture on the wall of
this young girl as Captain Marvel,

869
00:47:29,447 --> 00:47:34,619
flying with this huge smile across
her face and her hands up in the air.

870
00:47:34,652 --> 00:47:36,955
And we always kind of
returned to that and said,

871
00:47:36,988 --> 00:47:39,390
"That's how we want people to feel
when they're leaving this movie,

872
00:47:39,424 --> 00:47:40,992
"whether they're
a young girl or not."

873
00:47:43,294 --> 00:47:44,362
Whoo!

874
00:47:44,395 --> 00:47:45,330
RYAN FLECK: One of
the fun things about the movie

875
00:47:45,363 --> 00:47:47,865
is the visual feast
that it provides as well.

876
00:47:51,469 --> 00:47:54,239
ANNA BODEN: It's a very
visual-effects-oriented movie.

877
00:47:54,272 --> 00:47:55,540
There's a lot of action in it.

878
00:47:55,573 --> 00:47:57,175
(ALL GRUNTING)

879
00:47:58,343 --> 00:48:00,078
And that's something
that we hadn't had

880
00:48:00,111 --> 00:48:02,547
the opportunity to explore
in our other films,

881
00:48:02,580 --> 00:48:04,549
so we had to kind of exercise

882
00:48:04,582 --> 00:48:07,385
this totally different part
of our creative minds,

883
00:48:07,418 --> 00:48:09,955
which was building something
from the ground up

884
00:48:09,988 --> 00:48:12,323
and starting with
a blank slate.

885
00:48:12,357 --> 00:48:13,925
YON-ROGG: You can't do this.

886
00:48:14,592 --> 00:48:15,893
(ENGINE STARTS)

887
00:48:22,267 --> 00:48:23,834
BODEN: What we love
about Carol Danvers

888
00:48:23,868 --> 00:48:28,073
isn't just how confident and
what an amazing leader she is,

889
00:48:28,106 --> 00:48:31,276
but it's also her humanity
and her vulnerability.

890
00:48:31,309 --> 00:48:35,613
You are smart, and funny,
and a huge pain in the ass...

891
00:48:35,646 --> 00:48:38,984
FLECK: This is a character who goes
on this amazing, emotional journey,

892
00:48:39,017 --> 00:48:41,719
and we as an audience go on
this journey with Carol Danvers.

893
00:48:41,752 --> 00:48:51,997
And I think that's one of the
special things about this film.