Marvel Studios: Assembled (2021) s02e01 Episode Script

The Making of Ant-Man and the Wasp Quantumania

CASSIE: Where are we?
We always loved doing
the unexpected with Scott Lang.
FEIGE: He is arguably the character
that is the most underestimated.
I think back to making the first film,
which was one of the titles
that, when we announced,
people kind of looked at us strangely,
like, "Really, Ant-Man?
"You're going to make a movie about that?
Are you kidding?"
PEYTON REED: We had no idea.
"Is Ant-Man going to work?
Are people going to come see it?"
We were fortunate that I think audiences
really latched on to Scott Lang,
and I think they did
for the same reasons I did.
You can't just show up.
SCOTT: I wanna to be a part of her life.
He is not a super scientist
or a billionaire.
He's just a regular guy
who sort of happened upon this suit
and this technology and got sucked
into this insane Marvel Universe.
When we first started with Ant-Man,
we were a palate cleanser.
Because we were always coming after
the kind of finale-big
Marvel story, the Avengers story
that was ripping people's hearts out.
And ours were light and they were fun
and they were sweet.
But at one point, Ant-Man became the key
to saving a literal universe
What if we could enter the Quantum Realm?
FEIGE: in Avengers: Endgame.
And that is not something
I think people would have predicted
after his first appearance.
So carrying that tradition, we thought,
"What do we do with
another Ant-Man movie?"
And that's really when we hit upon,
"Let's use this film
"to kick off Phase Five."
The film that kicks off Phase Five
- is Ant-Man and the Wasp: Quantumania.
PAUL RUDD: One of the things
that was really exciting was
knowing that what we were doing
was probably going
to surprise some people.
Like, "Wow. I can't believe
this is an Ant-Man movie."
Cut it!
SCOTT: "Word of advice.
"Look out for the little guy."
RUDD: Ready? Kang walks in.
So you see him.
And then And then, I blow it up.
REED: Camera is not going to see
Kang at all before.
But we're gonna see Paul,
we're gonna see Scott's expression
not knowing what it is.
- He pushes her in.
- Oh.
Then he gets blasted away.
Then we reveal Kang.
REED: I always knew it would be great
to build to a movie like this.
As a kid, I was a big Fantastic Four fan
and Avengers fan,
and I remember stories
where Doctor Doom would shrink down
and you'd realize,
"Oh, there are whole civilizations
deep down there."
They're worlds within worlds,
and it's populated.
And wouldn't it be great to be able
to get to that at some point?
From that were the early seeds
for what Quantumania could be.
BROUSSARD: This was all sort of
established in the second film
BROUSSARD: where Janet is rescued
from the Quantum Realm.
We hint at what
the Quantum Realm could be,
we hint that there's maybe more
than just a lifeless void down there.
There's even some Easter eggs
if you go back and slow down
the second film, where you see
what looks like subatomic cities.
It's me.
BROUSSARD: And she's wearing clothes,
that, "Where did these clothes come from?"
Somewhere in the back of our mind,
we knew if we ever were
lucky enough to get to a Part 3,
the seeds for that idea,
the seeds for going from
small San Francisco crime movies
to a sci-fi epic that has more in common
with Lord of the Rings or Star Wars,
that was the starting place
for Quantumania.
But we were very conscious of
this film feeling like its own thing.
And we spent a year concepting this film.
It's the longest run of concept time
that I've ever had on a film at Marvel.
REED: The way this hood is hanging over,
that's pretty cool there.
Because you can just barely see the eyes,
so that then when there's the reveal
Before we release
One of my big influences on this
was just going through
old '60s and '70s and '80s
science fiction paperbacks
and looking at the covers.
And they were all about just
creating these whacked-out worlds.
But also, I think you can't do a movie
like this without looking at Moebius.
Things like Flash Gordon.
So literally,
we had everything on the table.
The best thing about
doing a sequel
is the opportunity to work
with the people you worked with before.
So there's a familiarity.
You don't have to go in like strangers
and kind of feel your way out.
When you're lucky enough to get to tell
a third film in your series,
it means that you've been together
with some of these cast members for years,
and with that comes a lot of trust
about the kind of story you're telling.
It's anchored by these amazing actors,
you know, and the choices we made
going back to that first film.
And you look at actors
like Evangeline Lilly, Paul Rudd,
Michael Douglas, and Michelle Pfeiffer,
who joined in the second film.
These are heavyweight talents.
These are absolute world-class actors,
which help sell the craziness
of this world.
- Show us!
- Show us!
KATHRYN NEWTON: You're going to love it.
We'll see about that.
RUDD: Scott Lang,
he's had a lot to digest.
We start this film.
The events of Endgame have happened.
And now, I think that,
for the first time in many years,
Scott is able to take a breath
and kind of sit back
and spend some time with his daughter
and enjoy just being present
in his own life.
But that doesn't last that long,
that peace.
Scott is just a dad who realizes
that he's accidentally
brought his daughter
into this world with him now.
And now he sees, like,
"Oh, man, I can't really play this
"as loose as I usually do.
"I got to keep my daughter safe."
And so I really tried
to lean into the likeability
and the everyman charm of Paul Rudd.
On top of that, he can deliver any joke
and make it ten times better
just by saying it.
It's like we're camping.
We love camping.
CASSIE: We've never been camping.
But we've always
talked about it.
He is just endlessly coming up
with different ways to come at a scene.
You know, we work very hard
on the screenplay and,
and get it where we want it,
and we shoot that.
But we always mix it up
and, you know, nine times out of ten,
Paul's going to figure out a better,
funnier way to tell that story.
Your Nobel Prize is in the mail.
It better be.
I just saved eight bucks.
God, I admire you.
Thank you.
LOVENESS: It was really fun
to play Evangeline Lilly
as, like, the straight-edge, high status,
highly capable, highly efficient person.
She really surprised me with her
just dead-on deliveries.
She's been, uh,
really great in this movie.
No pizza in the Quantum Realm?
[CHUCKLES] No. No anything.
You know, Mom, you can talk about it.
If you want.
I'll be honest and tell you
it's been really difficult.
Because I
Every time I revisit Hope,
every time I come back for a new film,
I realize I have to reinvent her,
I have to figure out who she is now,
what that looks like and how to make sure
that it doesn't look like
a completely different person,
like that there's a through line
that you still see Hope
and you feel her.
REED: I think maybe a little bit
of a drift in, right?
- There's a whole thing I can see.
- REED: Yeah, there's a force field
that goes all the way
around this thing, right?
- Okay.
- So taking that in,
a little bit of a, a move in,
and then I'll cue you for, um
You've got to do something.
That's where you dig for the thing.
I used to jokingly talk
about the first film,
like she was just always in a bad mood
and kind of had attitude.
Okay, we can try this and when he fails,
I'll do it myself.
LILLY: But by the second film already,
I felt like I had to drop that,
because she was in a much better place.
So, each film, I'm like,
"Wait, who is she and how do I play that?
"And how do I make sure
that it's still Hope?"
And it's been a challenge,
but a challenge that I welcome.
- Awesome.
- If only Cap could see you now.
LILLY: In Ant-Man and the Wasp,
Hope brought her mother back
from the Quantum Realm,
and was very, very excited.
I think she might have had
little girl fantasies
about what that reunion would be like.
Mommy and I will
tell each other everything.
We'll be best of friends.
I missed you so much.
I missed you too, jellybean.
What we don't see
between the last film and this one
is that she wasn't so open.
She wasn't so intimate.
She wasn't so vulnerable.
[BREATHLESSLY] Do not move.
There was a closed-off part of her
that Hope couldn't reach
and it hurts.
Hope and Janet, working through
the gaps in their relationship.
So, you've been studying
the Quantum Realm?
- Mm-hmm.
- Why didn't you ask me about it?
I tried, Mom.
A lot.
You never wanted
to talk about it.
Michelle and I were really passionate
about that part of the story.
And we spent a lot of time
making that really honest.
We didn't want it glossed over.
We didn't want their tension to be cute.
You said there was nothing
down here.
Why didn't you tell us about this?
I will explain everything,
but right now
- I need you to trust me.
- Then make me trust you!
I started to get really excited
about the movie
once we talked about Janet.
Janet, what is he talking about?
LOVENESS: This is Janet's history
of violence coming back.
This is Michelle Pfeiffer's Unforgiven.
How many worlds will die
if you get out?
Not yours.
LOVENESS: This is that movie
with a legendary movie star,
and it's her past coming back
to destroy her family.
And Michelle brought so much
pathos and guilt to this character.
I couldn't beat him.
He was too powerful.
What did you do?
MICHELLE PFEIFFER: This is the first film
where I think we really get to know Janet.
I do think she struggles
with feeling like an outsider.
It's interesting. On the previous film,
I just wasn't there for that long.
REED: And, cut! Yeah. Great.
I sort of maybe left the last one
feeling still a little bit of an outsider,
because my visit was so brief.
Let's go home.
But this one, we were really in
the trenches together
for a very long time.
I even said to Michael one day,
I turned to him and I said,
"I'm just so happy
that I got to know you on this film."
It's watching and learning
from each other.
And, you know, Michael is hysterical,
no matter what you give him to say.
I love ants.
I [BLEEP] love ants.
DOUGLAS: There's just a fun factor to it,
to get into this other world,
you know, the Quantum Realm.
And "anything goes" is a trip.
What I discovered
about Michael Douglas in these movies
is how funny he is.
You read my book?
Every goddamn word.
I think the general audience
thinks of Michael
in, you know, sexy thrillers,
and his great commanding voice,
and he's an incredible dramatic actor.
But his comedic chops are fantastic.
She had some questions, okay?
I can't help if people
are inspired by me.
He really is Hollywood royalty.
So to get him as Hank Pym
in that first movie was exciting.
40 years ago, I created a formula
that altered atomic relative distance.
What does that mean?
I learned how to change
the distance between atoms.
REED: And to build this character of Hank,
who is a mentor character to Scott.
But he's kind of a bent mentor, right?
Hank, I'm a thief.
I'm a good thief, but this is insane.
There's some
morally gray areas, uh, about Hank,
and he can be a bit of a curmudgeon.
But I love Michael's energy
in a big way in this movie.
I would've just broken you out
with ants.
All right, you know what? Family meeting.
Can we have a family meeting?
Isn't that what we're doing?
Yeah, I mean about this.
About everybody
being so fine with this.
MAN: Here we go.
We had discussions about who
the villain of this movie was going to be,
and we loved the idea of pitting Ant-Man
against a major Marvel villain.
You're an interesting man
Scott Lang.
Kang the Conqueror came to mind
because I was a fan of Kang's
since I was a kid, in the comics.
That excited us, to take the Avenger
who might be perceived
as certainly the tiniest Avenger,
and putting him up against this
powerful, powerful multiversal villain.
KANG: You're an Avenger?
Have I killed you before?
[SCOFFS] What?
They all blur together
after a while.
Audiences have seen a version
of this character in the series Loki.
This is wild. [CHUCKLES]
He Who Remains.
It's a very different character.
It's just a variation.
LOVENESS: He Who Remains
is kind of squirrelly guy
who hides away at the end of time,
and this is the guy he's afraid of.
This is Kang the Conqueror.
This is the version that every other
version of him is terrified of,
so terrified that they had to ambush him
and banish him down to the Quantum Realm.
What is this place?
KANG: Once I get out of here,
I can take any universe I want.
The Ant-Man franchise, within the MCU,
has a very clear ethos
has a very clear rhythm to it.
I had the benefit of stepping into
a song that was already playing.
Today we conquer eternity.
REED: The Marvel movies, I think,
are at their best when you have a villain
that is a really compelling character.
A villain who has a very clear agenda
Just be glad I need you.
REED: A villain who also has this side
that you kind of relate
to their point of view despite yourself.
We wanted Kang
to really, really embody that.
We're going
to get out of here.
She's gonna open the door
KANG: and you'll be there.
KATY O'BRIAN: When it came to the costume,
Kang is very much
this futuristic character.
He's very foreign in a lot of ways
to our culture and to our world.
So he has a very different,
very sleek, futuristic appeal.
That's what conquerors do.
They burn the broken world.
And they make a new one.
It's always a challenge
when you're bringing
a Marvel Comics character
from a two-dimensional page
into a living, breathing person
in a movie.
Because a lot of those designs,
almost all of them were,
you know, originated in the '60s.
But we looked at all the panels
and we really embraced these things,
and how can we do the sort of
21st-century version of that thing?
Taking visual cues from the comics
and, and making them feel real.
This was probably
the most difficult costume
on the film to make.
The concept was drawn in a way that
you couldn't tell what the fabric was,
whether it's hard or soft,
so we had to experiment.
I think this is the third version
of how we solved the problem.
IVO COVENEY: What Peyton was really
keen on was the lines of this
It was this line.
- Yeah.
- Comic book accurate.
So he wanted the size of that collar.
He wanted these lines flowing down.
And although we had that, they had to be
broken up to allow for more movement.
Starting out, they brought the costume
completely into the trailer.
And I did take a moment.
And then once I put it on,
I went, "Mmm, this is it."
You know, like, there are very few moments
in my life where you go, "This is it."
MAJORS: There is a energy within the suit.
It makes you stand up straight.
You know, that's just how it's built.
There's mysticism about it, you know.
It's iconic.
I think one of the hardest
things in this film
from a design point of view
was to find that balance
of a certain amount
of familiarity about things,
but not be exactly what you think it is.
One of the things that I looked at
quite early on were
natural photography
and electron microscopy
and just trying to find colors
and textures
to help take it from
it just being this sort of
hard surface, technological world
to having this slightly more
organic feeling to it.
And that's quite a tricky thing,
to strike that balance.
I just started with some
initial sort of sketches,
put together a bunch of reference boards
and materials for Peyton,
just to create
the whole vibe of the world.
MAN: Look up. Spin.
It's coming in, it's coming in,
it's coming in.
And, bang!
Look at him. Pry him off.
This world that they've [CHUCKLING]
created was, um, pretty spectacular.
We worked with this
relatively new technology,
The Volume, where they actually project,
in 3D, all around you on the stage.
So you are really there
and you're not having to pretend.
This changes everything
we know about life,
about evolution,
our place in the galaxy
Holy shit!
That guy looks like broccoli.
HTAY: When using The Volume,
from a design point of view,
you have to start early
MAN: All right, everybody.
We're gonna get started now.
HTAY: to feed the process.
It's a little bit like bringing
postproduction up front
and bringing preproduction, production
and postproduction all together.
So that you can actually,
in effect, shoot on it.
Give us as much in camera
as we can, really make it feel real.
Not only that, we had these
incredibly imaginative,
otherworldly characters,
and the costumes and the makeup design.
You really felt like you were entering
this sort of strange and frightening
and magical universe.
REED: Once we get into our
Michael and Evangeline are here.
Rock guy in the background.
Right, guys?
So I imagine that we can use him here.
You'll be able to get him
in the foreground,
like floating pieces of rock
right in the foreground.
This, I think would be great.
The biggest challenges
on this film is inventing every look
and every idea from the ground up.
And at every angle, we've asked ourselves,
'What's the Quantum Realm version of this?
"What's the Quantum Realm
version of aliens?"
We call them aliens because
that's the term we're used to,
it's the shorthand we're used to.
But essentially, it's not.
It's a whole different world
and a whole different way
of looking at species and life.
We needed to go quite extreme.
Nothing should be like it is in our world.
It should be
an ephemeral sort of universe.
O'SULLIVAN: We were getting
some very unusual designs.
This guy is Pixel Man,
he was a great favorite.
The idea of him is that he looks like
a collection of pixels
floating in the space
that are kind of concentrated
and become the body of a human.
We had a lovely guy called Kintsugi Man.
This lovely gentleman here
actually was one of our stuntmen.
So we knew he was going
to have to perform stunts.
So I wanted a fairly robust makeup.
I mean, obviously, he couldn't have
anything as delicate as those.
We completely covered him,
and he had prosthetic pieces.
You can see these are all built up
to give him this sort of
slightly broken look.
We also had a lovely chap
we called Ribbon Man,
because I wanted it
to look like his face was unraveling.
So we drew, like,
a bandaged effect on his face.
And then we had these ribbons coming off,
but we had the inside
of the ribbon dark blue,
which, if you looked
at the back of his skull,
looked like it was the inside of his head.
Some of the things you really couldn't
physically make them.
To actually sculpt them
with your hands would be very difficult.
So I just exploited 3D printing
like crazy.
That was the first for me, to actually
do a 3D-printed mold and produce pieces
that were to merge with the skin.
There are moments when you are
reading the script, and you go,
"I just struggle to understand
what that is as a concept."
And then you kind of get into it
and you start spitballing ideas,
and artworking up stuff.
And then it tends to have
a life of its own.
Good example of that would be
the controls for Krylar's yacht.
Where are the controls?
Those are the controls.
What the hell?
O'SULLIVAN: Initially,
it was called a dielectric gel,
and it's used for waterproofing
electrical components.
It's a very sticky, mucusy jelly,
and it's not really of any use to us.
But I started mixing it
with another material,
and I was able to harden it
and change the properties of it
to make it much more useful
as a prosthetic.
REED: And let's start that up!
HTAY: Sometimes you just have to
take a risk and experiment,
and I think we got
a great physical result.
And I've got to say, Michael Douglas
was an absolute professional.
- Hello.
- Whoa!
VEB: Hi.
Did you drink the ooze?
- Why can I understand you?
- VEB: Oh.
Great. That's the ooze.
Hey, everybody, It worked!
Ooze worked!
Veb, he's just this blob
with these weird, creepy arms.
Hi. I am Veb. You just drank me.
I did What?
This is amazing, because it's so weird.
We knew we needed someone to inhabit it
in ways where would come to life,
even though it's a fully CG character.
You wanted to feel personality
and feel the performance of that.
VEB: I have holes.
BROUSSARD: Very early on, we hit upon
the idea of inviting David Dastmalchian
back to the Ant-Man franchise
to play a completely different character
than he had played
in the first two films.
Oh, that's Kurt.
He was at Folsom for five years.
He's a wizard on that laptop.
- Nice meet you.
- Nice to meet you, too.
When Peyton told me about the role,
I'd never done anything like this before.
What would this look like?
How would they involve me?
Was I just going to get to go to a booth
at some point and give my voice?
To me, what I wanted
was the opportunity to, like,
be there on set.
A big hole.
How many holes do you have?
I'm sorry.
Is that a personal question?
I don't have any holes.
DASTMALCHIAN: When I stepped foot
for the very first time
on the set of the Quantum Realm,
it was like all my childhood dreams
of making movies coming to life.
There was so much practical
set building happening there,
and then all the magnificent imagination.
We got to make sort of like
a Marvel Wizard of Oz
which I felt was, like,
"What an insane opportunity."
You can read minds?
Yeah, and I really wish
I couldn't.
Everyone is disgusting.
- Could you please stop thinking that?
- Sorry.
LOVENESS: I had so much fun because I got
to write a corner of the Marvel Universe
that basically felt like fresh territory.
REED: You guys will take off your hoods
You let go of him,
take off your hoods,
and reveal that you're fuzzy,
cute little owl creatures.
LOVENESS: We got to populate it
with so many creatures,
and they built subcultures
and they built languages.
LOVENESS: It's just incredible.
Every second you see on camera
had so much thought behind it,
whereas I'm sitting here on camera
and I was like, "Well, you know,
"there's a broccoli guy, He's drunk.
"He speaks the broccoli language."
So, what's your story then?
JANET: Move.
It's time. Follow me.
LOVENESS: We just tried
to make this as heightened
and as colorful
and as vibrant as possible.
At the same time, you had no rules,
but you also had to make your own rules.
And luckily, those rules could be,
you know, whatever you wanted them to be.
MAN: Step out, please. Glasses on.
- Yes! Yes!
MAN: All right, and back it up.
- What do we do with our hands?
- MAN: Back it up.
- Superhero stuff.
- Superhero stuff.
Oh, look at that! She's a natural.
One of our philosophies
that we've always applied
is to just go back to character
and to root it in character.
And the science fiction
and the world building is fun.
But, ultimately, it's window dressing
to this story about a father
and his daughter reconnecting.
RUDD: As far as having Kathryn
now play Cassie as a young adult,
it was great because it's life.
It's much different dealing
with a 6-year-old
Mommy's so happy you're here,
she choked on her drink.
RUDD: than it is somebody who's 18.
SCOTT: Cassie. What happened?
Jail stuff.
And so, I think the thing that was fun
was watching Kathryn
kind of take on Cassie
and play a character who wants to find
her own way, discover who she is,
and maybe butt heads
with her dad a little bit.
- Okay. I have a suit.
Yeah, I noticed.
Oh, man. When I read the script
for the first time,
the thing I was the most stoked on
was Cassie's character.
REED: Yeah. One more.
- MAN: Look there.
- Okay.
For about, I don't know,
[STAMMERS] five years now,
I've been pestering Marvel Studios
about their female characters.
Saying, like, "We're all very competent.
"We're all very kickass.
"We're all very serious,
"very responsible women who make sure
"that we keep the boys in line
and we do everything perfectly.
"And when I look around
at the women in my life,
"there are so many
other colors to the female
"that I would like to see in your movies."
And then I read the script
and Cassie is just
She's like, zany and brazen
and kind of, like, irresponsible
in a fantastically, um, pure way.
- And Kathryn killed it.
Please let this work.
It worked!
Look at me.
I'm such a dick.
It's never too late
to stop being a dick.
REED: Audiences who have a relationship
with young Cassie,
Abby Ryder Fortson, who played her
in the first two Ant-Man movies.
I feel like they want to know
that the daughter of Scott Lang
grows up to be funny.
And grows up to be a bright, optimistic
person in the way that Scott Lang is.
That was really, really
crucial for this movie.
And I'd seen Kathryn in a screen test
that she had done for another Marvel role.
- Director Fury sent you.
- Wow. Who?
BARTON: He knows where I live.
- Oh. Oh.
- BARTON: Fury.
You mean Mr. Good Eye.
- No.
- BARTON: Yeah, he loved you.
Like I said,
I was on a rooftop at Third
There's more cookies. Oh, my God.
It's like, wow, she has this brightness
to her. She's funny.
She has this youthful optimism about her.
And she has the physicality.
She's an athlete.
So I really wanted someone
who could do all the physical demands
that that role required.
And Kathryn was just terrific.
For a lot of the movie,
our heroes are split up.
And Scott and Cassie
are on one side of the story.
So I needed someone
who could really, really hang with Scott
because it was important
for the dynamic of the movie.
So I needed an actor
in the role to play Cassie
who could really spar with Paul Rudd.
This is not our fight.
Just 'cause it's not happening to you
doesn't mean it's not happening.
She's disappointed in you.
- I got that. Yeah. Thank you.
- You're welcome.
Paul is the best.
He was so welcoming.
- MAN: Boom!
- REED: Cut it.
That was too close.
And he told me not to hold back.
Like, on our second day of shooting,
I was just trying to be invisible.
Back up.
NEWTON: I was like,
"Okay, just don't mess up
- "and then, like, you'll be okay."
- Back up.
- Get back!
- Oh! Oh!
NEWTON: And we had this scene
with Michelle and Michael
and Hope and everybody.
And Peyton was like,
"Okay, now do one for fun."
And I was like, "Okay."
So I started improvising.
[LAUGHING] And I did,
like, whatever I wanted.
And then afterwards, Paul was like,
"You've got to do that."
He's like, "You don't want
to finish this movie
"and feel like you held anything back."
He's like, "'Cause that's the worst thing.
And the truth is, You just have to kind of
"throw it all down, do everything you got
"and just make sure you didn't hold back."
And so that's what I took away from Paul,
and I'll take that on forever,
to every project.
That was nice.
NEWTON: The first time I tried on
my Cassie superhero costume
was when it really felt real.
I'll never forget it,
because it fit pretty perfect.
REED: It's a distinct suit.
No other hero has that. Boom!
- No other hero has what?
- REED: No, we were just talking about
DIFFER: Cassie's suit is very much
inspired by the ant suit,
although Scott doesn't know it exists.
You have a suit?
Wait, you have a suit?
DIFFER: So she's kind of taken
references from that
and had help making this.
So it's a bit of a surprise in the film.
The purple is obviously
from the comic book.
And the fun thing in this
is that she's wearing Converse.
- REED: I like where we ended up, man.
- MAN: Good job.
Because, as well as doing Cassie,
we're also working on Ant-Man and Wasp.
We're working on all the other characters.
They have to come along together.
I think if you were doing one,
from a sewing perspective,
it's probably about two weeks' sewing,
but that doesn't include
the backpack and the helmets,
all their extra bits and pieces.
Even though we had a long time to prep,
there was a change in the concept
of what the suits were during prep.
So originally they were meant
to be Quantum Realm suits,
and then that changed.
We almost had to start again,
so they became less of a kind of team,
and slightly more individual.
REED: For this movie,
we needed a character
who sort of had this backstory with Janet
and it was a role that needed
someone who had a real presence.
Um And we thought of Bill Murray.
Janet Van Dyne?
I thought you were dead.
Been a long time, Krylar.
Officially, Lord Krylar now.
I fought like hell
against that.
I was intrigued by the idea
of putting Bill Murray in a Marvel movie.
I was obviously a fan of his movies
growing up in the '80s
and watching him on Saturday Night Live.
But I also knew that,
pre-Saturday Night Live,
Bill Murray had played the Human Torch
in the Fantastic Four radio show in 1975,
and I listened to that as a kid.
So we talked about that.
LOVENESS: Bill came on set
the first couple weeks.
He was giving just these micro notes
on joke construction.
"Switch that word with that word
and maybe take a pause right there."
And you're like, "Bill Murray
knows what he's talking about."
We never wanted anyone
to guess who he was playing.
The Internet is full of all these rumors,
and no one knows who is going to be.
We chose someone
they would literally never guess.
We tried to find the deepest cut
Marvel character we could
and we found this random character
from a random Hulk comic book
in the Quantum Realm called Lord Krylar.
For the costume, you know,
I talked with Stephen and Peyton
about, "Who is he?
Do you want him more military?
"Do you want him more civilian?
"Can we get away with a suit,
or do you want him more bizarre?"
And I think that, um, vis dev
went through a whole load of things
of it being very, very like, Quantum
and weird and fashiony
and strange textures and stuff,
and that became too theatrical.
So we came up with this blue
and cream and gold combo. [CHUCKLES]
Uh, and just tried to have
a bit of fun with it
rather than, um, getting into too many
kind of crazy patterns and stuff.
Bill brings a lot to the table,
and what you don't want to do is
swamp that with
a confusing, complicated look.
In the end, we pulled it all back
and we get one of these guys
that's in the French Riviera,
that has their yacht,
and just added little Quantum elements
like weird bits of beading,
and strange lines running across the body.
So there's some continuity of shapes with
Will's designs for all the environments.
When Peyton came to me in the first place
and we started talking
about this whole project
and the idea of the Quantum Realm
being this vast worlds within worlds,
he wanted it to feel like it was huge.
I'm really happy with
how Janet's homestead turned out,
because it's very much
in my initial sketches
and playing with ideas to Peyton,
this idea of subatomic particles
and that maybe the abode that she lived in
was such a tiny particle,
and it crashed down through various Quanta
and landed on a plain and had died,
and its energy had dissipated over time.
And that became this kind of
cave-like structure.
That was realized in quite a nice way.
This is the exterior of Janet's homestead,
and what we wanted to do here,
we were talking about
from early on, was almost
to have it like a prairie land,
like an old Western, like an old-timer
who was seeing out their days.
And this set was meant
to echo that, really,
the idea of some weird
Quantum prairie land
with these strange Quantum plants,
and this would be developed by VFX
and extended into
much bigger, greater rolling plains.
These rock walls, again,
with the idea of Quantum energy down here,
that somehow the Quantum energy
had solidified and created these patterns.
And again, when we pull out
into the wider shots,
we're going to have these patterns
running through the landscape,
as well as the actual crops.
Something again that was strongly pushed
throughout this whole show
is trying to create
really interesting compositions.
This idea of the sphere
and concentric spheres,
and here we have Janet's homestead,
which is a series
of concentric spheres in itself.
And in many ways, this room is
a precursor to Kang's Celestium as well.
Those little design ideas
that were developed out from this idea
into the Celestium itself.
We are on the Richard Attenborough
Stage at Pinewood,
and this is Kang's Celestium
with his Time Sphere.
It's something that I really wanted
to keep as part of Kang's language,
was this circular or spherical motif.
I looked at a lot of Japanese Kintsugi
in the way that you have
those sort of cracks through rocks,
and you can seal it up
and re-perfect things.
Which is kind of what Kang is doing,
destroying stuff and then rebuilding it
in a fashion that he sees fit.
I built an empire
down here, Janet.
And I'm taking it with me.
HTAY: Again, I really wanted to create
very kind of graphic moments
in terms of composition
and try to give Bill Pope, our DP,
an environment in which
we could actually frame up Kang
and it almost looked like panels
from comic book or graphic novel.
MAN 1: Ready Three, two, one, action!
- Katy.
- MAN 2: And, bang!
Go, Steve.
Here he comes. And, bang!
REED: I loved the idea of building
a sort of barbarian type
warrior character for this movie.
That felt like something
that we really hadn't seen so much.
You see a little in Thor,
you know, with Valkyrie,
but somebody who really felt like
straight out of a Robert E. Howard,
you know, pulp novel.
I had worked with Katy O'Brian
on The Mandalorian
and I thought she was terrific.
She's a bodybuilder and a fighter,
and for real.
She's got great presence,
and we needed someone that was strong
and could embody that aspect of a leader,
but also the wisdom of a leader.
And Katy makes great impact in that role.
With Jentorra, I really liked the idea
that it was a revolutionary.
It was something different.
It was someone who was
fighting for the greater good,
as opposed to maybe
suppressing the greater good.
I want people to see, you know,
a strong female role in a positive light.
Because this is like
a dream role in a lot of ways. [CHUCKLES]
What are you doing here?
CASSIE: I'm rescuing you.
When it came to the costume, I was
so glad that Sammy, the costume designer,
called me and she was like,
"Hey, have you seen the costume yet?
"Have you seen what we're pitching?"
And I'm like, "No."
She's like, "Okay, I thought
you might want to know
"you're pretty exposed."
And I was like,
"Okay, I'll go to the gym. Thank you."
Jentorra, we were looking
more at a kind of
growth, bone architecture.
And seeing what we could do
with her armor,
to make it more like she's found
a skeleton of a tiny creature
and used that.
He built his citadel
on the bones of our people.
O'BRIAN: They were trying to connect it
to the world,
because our people, they're very much
of the world, of the Earth,
of the Quantum Realm.
So, the blue color that we have
kind of meshes in with
things that you might find
in our environment.
Once we added the hair,
makeup, everything, it just clicks.
You know who you are
and who your people are
and where you're going.
Welcome back to the Quantum Realm, Scott.
I've been waiting a long time for this.
was always a character
that we wanted to get into the MCU
somehow, somewhere.
A mechanized organism designed only
for killing.
Now I get it. It's an acronym.
Actually, that's M.O.D.O.F.K.
BROUSSARD: Such an odd design,
a little bit off-putting,
but really great and memorable.
REED: And we thought, like, does Kang need
a henchman in this movie?
And we talked about
all these things.
And M.O.D.O.K., if there's ever a context
for M.O.D.O.K. to succeed
in live action in the MCU,
it feels like the Quantum Realm.
And it hit me
like the loudest bell I've ever heard.
Like, "Wait a second."
"What if we have Darren Cross
become M.O.D.O.K.?"
Hi, Hank.
MAN: There we go. All right, we're set.
And three, two, one, action!
When we originally shot Ant-Man,
Darren is, like, arrested
at the end in his super suit.
And I was like, "Okay, great."
MAN: Here we go. And, action!
Then we went back for reshoots
and nobody told me anything.
And I was looking at the sides,
and this is, you know, uh
Darren becomes like
a tiny little ball of red goo.
I was like,
"Oh, can't really come back from that."
And then there was another iteration
where he just sort of shrinks infinitely
into a little dot.
And I said, "Okay,
that's survivable in this world."
BROUSSARD: But clearly he would have
been hurt very bad.
He would've been disfigured
by this accident.
So we started thinking about that,
and we started to think that maybe
there's an origin story in there
for M.O.D.O.K.
REED: That was exciting to us.
And I remember the day
that we called Corey,
because Corey Stoll,
you may not know this,
a massive comics nerd growing up,
knew who M.O.D.O.K. was, loved the idea,
and really, really embraced it.
I was like, "Yes, I'm in."
REED: Action!
Welcome back to the Quantum Realm, Scott.
I've been waiting a long time for this.
You're looking
at a man set free.
I've created so much more here
than you could possibly imagine.
REED: And cut it!
That's the fulfillment of a dream.
I didn't know I had.
Nowhere left to run.
I would have never thought
that that's a character
that I'd get to play or want to play.
I'm the ultimate weapon!
STOLL: It's just
so ridiculous and so broad.
But, I mean, it all makes so much sense.
I think the audience doesn't even know
that they're waiting for this
resolution to my character.
I bet you thought
you'd seen the last of me.
Just now noticing
the baby legs.
They're not baby legs.
You think you're so smart.
Scott Lang, the man
who took everything from me.
Who stole my whole life.
STOLL: And the filming technique
they were using
It could go one way,
It could be like a real pain,
with dots on your face
and you have this camera
and you don't know
what you're going to look like
and it was so incredibly satisfying.
It's, in some ways,
I feel like the ideal way to act.
Because you're not waiting
for any technology,
even though the whole performance
is so based on technology.
You're not waiting for lights, for camera.
You're not waiting for sound.
You're not waiting
for hair and makeup even.
You know, you're just
It was just me and the rest of the cast
in this open space.
It felt like a really cool play rehearsal,
except that all this rehearsal
is being captured
as data that can be turned
into this performance.
You always were
a brother to me.
I was?
I was.
And at least I died
an Avenger.
- You did.
- Yeah. No, it's
- You're in.
We really liked making an Ant-Man film
as important, as integral
to the MCU going forward
as any other film.
REED: I think that's an important beat.
As you step out of that thing
and land here, that looking to her,
you know, taking your time with that
before you then turn to this
- I do?
- REED: Yeah.
BROUSSARD: It's teeing up
Kang in a very big way.
It's teeing up the future of this
very fearsome, very formidable foe
within the MCU.
It's going to help show us
where the MCU is going next.
But I love that we're getting to make
a trilogy out of Ant-Man. [CHUCKLES]
And, shrink!
Yeah, back to one.
Let's try one more right away, guys.
That's great.
BROUSSARD: The fact that
not only he gets a trilogy,
but that Peyton will have
directed all three films,
that Peyton has seen the trilogy home
is so exciting to me.
PFEIFFER: I've loved working with Peyton.
I feel lucky
that I've had someone like him
to kind of guide me.
REED: Shockwave that comes out
and just take you out of frame there.
We'll do a separate shot of a second thing
which is like [GRUNTS]
Coming from that port.
PFEIFFER: To be able to do
the kind of superhero action
and the heart and the humor
He just gets it.
This is, uh, a day one of, uh, Ant-Man.
I want to thank you all for being here.
I'm so psyched about this movie.
We're going to have a great shoot.
I know a lot of you have been waiting
a very long time to shoot.
And today's the day. Let's do it.
- Thank you so much.
- MAN: Yeah!
REED: I grew up with Superman: The Movie
and Star Wars and Raiders
and all those things.
And I'd always
wanted to do a movie like that.
So, for me, it was really gratifying
because we were able to just paint
on this really large canvas.
- Okay.
- Boom! So you know what to do.
RUDD: Scott Lang has been
really important in my life,
and it really has been
an amazing group of people
I've gotten to spend
a good chunk of time with.
Even in Civil War, I think I had
that scene where we're on the tarmac
and I'm meeting Captain America
for the first time,
and some of the other Avengers.
The whole thing was surreal,
and I felt a little bit like
the character that I was playing.
I still feel that.
I can't believe I'm, I'm on this team.
I've treasured it. I really have.
I know before we ever started
shooting this thing,
I'd tell people, you know, I'm going to
"What are you working on?"
I'd say, "Ant-Man"
What's Ant-Man?"
"It's a Marvel movie."
Because not many people know the character.
And they'd say, "What are your powers?"
I'd say, "Well, I can shrink."
They'd say, "Okay."
"But I can also talk to ants."
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