WEBVTT 00:00:15.770 --> 00:00:19.315 Welcome to what is a strange event. 00:00:19.315 --> 00:00:23.528 The first live sitcom taping in Marvel Studios history. 00:00:27.657 --> 00:00:30.702 I didn't know that I was gonna be able to do anything like this, 00:00:30.702 --> 00:00:32.871 so it just feels like an incredible gift. 00:00:32.871 --> 00:00:35.415 Moving through to the '60s and the '70s now, 00:00:35.415 --> 00:00:38.752 and, as we dove into the '80s and '90s, is really fun. 00:00:38.752 --> 00:00:41.296 And then, ending up in a big Marvel, 00:00:41.296 --> 00:00:44.424 full widescreen format is the best. 00:00:44.424 --> 00:00:46.050 We were first really terrified, 00:00:46.050 --> 00:00:48.136 and now I think we're just so excited. 00:01:06.338 --> 00:01:08.497 The first time I heard about the concept, 00:01:08.498 --> 00:01:09.874 I thought it was brilliant. 00:01:09.874 --> 00:01:13.920 We're putting together so many different genres of television, 00:01:13.920 --> 00:01:16.506 and we are putting our own spin on it. 00:01:16.965 --> 00:01:20.010 That is something special, baby. 00:01:20.593 --> 00:01:22.178 I just think it's gonna be 00:01:22.178 --> 00:01:26.433 so shocking, and confusing, and exciting 00:01:26.433 --> 00:01:29.936 for our fans to dissect what we're doing and why, 00:01:29.936 --> 00:01:32.355 and for them to try and get steps ahead of us. 00:01:32.355 --> 00:01:37.277 And that's just very cool and it's very satisfying. 00:01:37.277 --> 00:01:39.904 This is for us. 00:01:39.904 --> 00:01:42.365 So let me handle it. 00:01:42.365 --> 00:01:44.284 What is outside of Westview? 00:01:44.284 --> 00:01:48.455 I got a call from Kevin to come see him in his office. 00:01:48.455 --> 00:01:49.873 When I went, "Oh, I'm getting canned". 00:01:49.873 --> 00:01:51.791 And I went in, and, much to my surprise, 00:01:51.791 --> 00:01:54.294 they pitched this bonkers idea for a show. 00:01:54.294 --> 00:01:57.964 And I was immediately in, of course. 00:01:57.964 --> 00:02:01.926 And the show has only grown more bonkers. 00:02:04.888 --> 00:02:06.139 You're the new clown? 00:02:06.681 --> 00:02:08.349 At least you're already in makeup. 00:02:10.852 --> 00:02:12.395 Welcome home, sir. 00:02:13.313 --> 00:02:16.107 It's so nice to see you finally coming out of your shell. 00:02:16.107 --> 00:02:18.359 - It's been a crazy ride. - That was a good one. 00:02:18.359 --> 00:02:20.945 Jon Favreau rung me up and... 00:02:20.945 --> 00:02:24.324 We had made a movie together called Wimbledon. 00:02:24.324 --> 00:02:26.034 He rung me up and he said, 00:02:26.034 --> 00:02:31.039 "I'm making this movie with Robert Downey, and he's Iron Man. 00:02:31.039 --> 00:02:35.668 And I need sort of a really boring, personality-less voice 00:02:35.668 --> 00:02:37.962 for the computer that runs his world. 00:02:37.962 --> 00:02:41.382 And I immediately thought of you, Paul". 00:02:41.382 --> 00:02:43.468 Rendering periodic table, sir. 00:02:43.468 --> 00:02:45.887 How do you say no when you're asked so nicely? 00:02:48.306 --> 00:02:49.974 Anyway, and it was a great gig. 00:02:49.974 --> 00:02:54.687 They'd shot everything and whatever still needed clarification, 00:02:54.687 --> 00:02:56.731 you could always just have JARVIS 00:02:56.731 --> 00:02:58.358 say, "The baddies are coming!" 00:02:58.358 --> 00:03:00.485 Sir, it appears that this suit can fly. 00:03:00.485 --> 00:03:02.195 Duly noted. Take me to maximum altitude. 00:03:02.195 --> 00:03:04.531 And then, I don't know how the next bit happened. 00:03:04.531 --> 00:03:07.909 I guess Joss Whedon had seen me in some movie, 00:03:07.909 --> 00:03:10.370 and figured out a way for me to actually work for a living, 00:03:10.370 --> 00:03:11.871 if you can call it work. 00:03:11.871 --> 00:03:14.582 So, then that happened. That was Age of Ultron. 00:03:20.380 --> 00:03:21.965 Starting with Ultron, 00:03:22.006 --> 00:03:25.677 Marvel really was so excited to bring Wanda into the MCU. 00:03:25.677 --> 00:03:30.932 And was only really teeing me up for possibilities 00:03:30.932 --> 00:03:33.893 that we didn't know if we would actually 00:03:33.893 --> 00:03:35.687 fulfill those possibilities or not. 00:03:35.687 --> 00:03:38.856 I looked in your head, and I saw annihilation. 00:03:38.856 --> 00:03:39.941 Look again. 00:03:39.941 --> 00:03:42.485 So, we would place Easter eggs in certain places, 00:03:42.485 --> 00:03:46.364 whether it's just a glance too long with Vision or just... 00:03:46.364 --> 00:03:49.909 We were trying to play around with that in Age of Ultron. 00:03:51.369 --> 00:03:54.497 I feel like the hand-off to different directors 00:03:54.497 --> 00:03:57.125 have been completely different experiences 00:03:57.125 --> 00:03:58.960 for this character specifically. 00:03:58.960 --> 00:04:02.672 I think the Russo Brothers were very honest about, 00:04:02.672 --> 00:04:07.510 "You know, I really want this to be something that you shepherd 00:04:07.510 --> 00:04:09.804 and that you take full ownership of". 00:04:09.804 --> 00:04:11.848 And I was like, "Okay". 00:04:11.848 --> 00:04:16.894 So, I had to choreograph with this choreographer, Jenny White, 00:04:16.894 --> 00:04:19.314 who we brought on in Age of Ultron. 00:04:19.314 --> 00:04:21.190 Bring in that energy and throw it back out. 00:04:21.190 --> 00:04:25.278 We just had to figure out our own place at the same time 00:04:25.278 --> 00:04:27.613 while Wanda was trying to figure out her own place 00:04:27.613 --> 00:04:30.325 in the Avengers compound 00:04:30.325 --> 00:04:32.410 and finding solace in Vision. 00:04:32.910 --> 00:04:34.203 Tell me what you feel. 00:04:38.958 --> 00:04:40.960 I just feel you. 00:04:41.502 --> 00:04:44.130 And I think Paul and I, we both really believed, 00:04:44.130 --> 00:04:47.592 as much as it's fun to be part of the humor 00:04:47.592 --> 00:04:49.552 and the playfulness of the Avengers, 00:04:49.552 --> 00:04:52.138 we've always... my character specifically, 00:04:52.138 --> 00:04:54.807 has also always, in our relationship together, 00:04:54.807 --> 00:04:58.478 we've kind of just created just an emotional foundation 00:04:58.478 --> 00:05:01.147 that doesn't play around with irony, really. 00:05:01.147 --> 00:05:04.192 Which is kind of odd in these movies 00:05:04.192 --> 00:05:08.529 when so much is ironic and funny and fun to watch. 00:05:08.529 --> 00:05:10.406 But it's also kind of lovely 00:05:10.406 --> 00:05:12.825 that it's told through their strange love story. 00:05:12.825 --> 00:05:15.369 We are out of time. 00:05:16.412 --> 00:05:17.663 I can't. 00:05:17.663 --> 00:05:18.956 Yes, you can. 00:05:18.956 --> 00:05:20.249 It shouldn't be you, but it is. 00:05:25.963 --> 00:05:27.173 I love you. 00:05:36.390 --> 00:05:38.059 And then moving on to the show 00:05:38.059 --> 00:05:41.395 with Mary Livanos, our producer, and Jac Schaeffer, our creator, 00:05:41.395 --> 00:05:45.399 they really honed in on all these things that were in my head, 00:05:45.399 --> 00:05:47.819 and all these inner monologues and threads 00:05:47.819 --> 00:05:50.196 and arcs that I kind of just created. 00:05:50.196 --> 00:05:53.116 And they just really took it in such a deep way 00:05:53.116 --> 00:05:55.952 and created such beautiful arcs. 00:05:55.952 --> 00:05:57.662 Morning, wife! Morning, sons! 00:05:58.329 --> 00:06:00.373 Morning, unfamiliar wet animal. 00:06:00.373 --> 00:06:01.457 Who's this? 00:06:01.457 --> 00:06:04.919 It's such a homage to the sort of American sitcoms 00:06:04.919 --> 00:06:07.421 throughout the 20th century. 00:06:07.421 --> 00:06:08.840 What kind of housewife would I be 00:06:08.840 --> 00:06:10.341 if I didn't have a gourmet meal 00:06:10.341 --> 00:06:12.301 for four just lying about the place? 00:06:12.301 --> 00:06:14.554 Jac Schaeffer has done such a great job. 00:06:14.971 --> 00:06:17.932 It's such a little beautiful puzzle box. 00:06:20.101 --> 00:06:23.104 I was lucky enough to be invited to look at the materials 00:06:23.104 --> 00:06:25.147 and sort of digest it and think about it. 00:06:25.147 --> 00:06:27.066 And there was so much that was already there. 00:06:27.066 --> 00:06:28.651 This is Kevin Feige's baby. 00:06:28.651 --> 00:06:33.322 He loves the show and had some really distinct ideas and visuals 00:06:33.322 --> 00:06:35.283 and things that they all wanted to achieve. 00:06:41.080 --> 00:06:43.416 Matt Shakman is just the person to direct 00:06:43.416 --> 00:06:46.627 a complicated Rubik's cube of a show like this. 00:06:46.627 --> 00:06:49.714 He runs the Geffen Playhouse back in LA. 00:06:49.714 --> 00:06:52.216 He's worked on Game of Thrones. 00:06:52.216 --> 00:06:54.010 He's worked on countless sitcoms 00:06:54.010 --> 00:06:57.388 and, in fact, starred, back when he was younger, 00:06:57.388 --> 00:06:59.724 in sitcoms as a child actor, 00:06:59.724 --> 00:07:02.893 and he is just the Swiss Army knife of a human 00:07:02.893 --> 00:07:04.687 that we need for a show like this. 00:07:04.687 --> 00:07:06.939 Hart goes back in. Door slams. 00:07:07.481 --> 00:07:09.150 He goes to the phone! 00:07:09.150 --> 00:07:11.402 We pause here. All right. 00:07:11.402 --> 00:07:13.696 And let's continue on with our ladies over here. 00:07:13.696 --> 00:07:16.949 It blew my mind when they pitched me the concept for the show. 00:07:17.658 --> 00:07:21.912 More than just because the idea is outrageously fun and new, 00:07:21.912 --> 00:07:25.374 but also because it felt like it hit all the parts of my life. 00:07:25.374 --> 00:07:28.252 I grew up being on shows from the '80s 00:07:28.252 --> 00:07:30.630 like Facts of Life, and Diff'rent Strokes, 00:07:30.830 --> 00:07:33.290 Growing Pains, et cetera. 00:07:33.290 --> 00:07:36.752 But I've also directed a lot of large-scale spectacle. 00:07:36.752 --> 00:07:39.839 And so, the idea that there existed a project 00:07:39.839 --> 00:07:41.006 in the Marvel Universe, 00:07:41.006 --> 00:07:43.551 which I'm also an enormous fan of 00:07:43.551 --> 00:07:45.135 and dressed up like superheroes 00:07:45.135 --> 00:07:47.221 from the Marvel comic books when I was a kid 00:07:47.221 --> 00:07:48.722 until they told me I had to stop, 00:07:48.722 --> 00:07:50.224 the idea that I could combine 00:07:50.266 --> 00:07:52.184 all these things that I've always loved 00:07:52.184 --> 00:07:55.437 into one crazy project was almost too hard to believe. 00:07:55.437 --> 00:07:56.605 It's too good to be true. 00:07:56.605 --> 00:07:58.274 All right, ready, Janell? 00:07:58.274 --> 00:07:59.984 - Yeah. - All right, let's do it. 00:08:07.700 --> 00:08:09.201 And action! 00:08:09.201 --> 00:08:10.744 We're starting in the 1950s, 00:08:10.744 --> 00:08:14.957 so it was always our dream that if we did a true multi-camera show, 00:08:14.957 --> 00:08:16.375 we would have a live audience. 00:08:16.375 --> 00:08:18.877 And we knew it was a risk, we knew it would be an expense, 00:08:18.877 --> 00:08:20.129 almost an indulgence, 00:08:20.129 --> 00:08:23.674 but for the actors, for the energy, and for the crew, 00:08:23.674 --> 00:08:25.467 it will be really exciting. 00:08:25.467 --> 00:08:28.387 I've been playing to the audience, so... 00:08:28.387 --> 00:08:29.847 You tell me where the camera is, 00:08:29.847 --> 00:08:31.682 and I'll start playing to the camera. 00:08:33.892 --> 00:08:37.730 So you're on our sitcom stage for the first episode. 00:08:37.730 --> 00:08:40.774 Over there is Vision's office, where he works, 00:08:40.774 --> 00:08:42.901 and he works for a guy named Mr. Hart. 00:08:42.901 --> 00:08:46.530 Mr. Hart and his dear lady wife, Mrs. Hart. 00:08:46.530 --> 00:08:48.699 That's what I just said. What's wrong with you, son? 00:08:48.699 --> 00:08:51.410 - Have you got a * loose? - Oh, no, sir, *s all tight, sir. 00:08:51.410 --> 00:08:53.537 And then over here, right to your right, 00:08:53.537 --> 00:08:56.999 is the house where Wanda and Vision live. 00:08:56.999 --> 00:08:59.084 This is their kitchen, over here to the right, 00:08:59.084 --> 00:09:00.461 this beautiful blue kitchen. 00:09:00.461 --> 00:09:02.379 But when you see it on the actual show, 00:09:02.379 --> 00:09:03.630 it's gonna be in black and white, 00:09:03.630 --> 00:09:05.924 so you won't actually get to see the color of it. 00:09:05.924 --> 00:09:08.344 And then over here is their living room. 00:09:08.344 --> 00:09:11.096 So what's a single gal like you 00:09:11.096 --> 00:09:13.849 doing rattling around this big house? 00:09:13.849 --> 00:09:16.310 Behind you is our live audience seating. 00:09:16.310 --> 00:09:18.270 We wanted it to feel period, 00:09:18.270 --> 00:09:20.731 so that's why we have the old wooden chairs 00:09:20.731 --> 00:09:23.776 and we've matched the railings and how it all looks, 00:09:23.776 --> 00:09:26.653 because so much of it is about the audience's experience. 00:09:26.653 --> 00:09:29.198 Kevin Feige and I had a lovely lunch with Dick Van Dyke 00:09:29.198 --> 00:09:31.575 shortly before we started pre-production on the show, 00:09:31.575 --> 00:09:34.787 so we could really get in touch with how they did it 00:09:34.787 --> 00:09:36.789 and to be as authentic as we could, 00:09:36.789 --> 00:09:39.083 not just in how it would look and feel, 00:09:39.083 --> 00:09:40.959 but in how it was put together, 00:09:40.959 --> 00:09:43.045 the style, the way they rehearsed, 00:09:43.045 --> 00:09:45.297 the way they approached blocking and shooting. 00:09:45.297 --> 00:09:48.258 Wanda would technically go to a quick change. 00:09:48.258 --> 00:09:49.760 She's not gonna do it now. 00:09:49.760 --> 00:09:52.721 We'll get the living room dressed. It's happening. 00:09:52.721 --> 00:09:55.641 And then we would light the candles right at the very end, 00:09:55.641 --> 00:09:57.017 and we would go. 00:09:57.017 --> 00:09:59.103 The Dick Van Dyke Show really was theater. 00:09:59.103 --> 00:10:00.270 They put it up. 00:10:00.270 --> 00:10:02.773 They shot it once in front of the audience, 00:10:02.773 --> 00:10:04.525 like a play, all the way through. 00:10:04.525 --> 00:10:06.318 You can feel it when you watch that show. 00:10:06.318 --> 00:10:09.196 The audience is in it, like when they're in the theater. 00:10:10.239 --> 00:10:13.742 The adrenaline, the audience, and the actors feed off of each other. 00:10:13.742 --> 00:10:15.786 And that creates something that you can't imitate. 00:10:15.786 --> 00:10:18.122 That's why we're going to these great lengths. 00:10:18.122 --> 00:10:19.581 And our actors have been wonderful. 00:10:19.581 --> 00:10:22.167 I'm a little anxious about the whole live... 00:10:22.167 --> 00:10:28.048 I haven't been in front of a live audience since 1884. 00:10:28.048 --> 00:10:29.424 - Oh, is that right? Oh. - Yeah. 00:10:29.424 --> 00:10:31.927 So, I'm a little anxious about the whole thing. 00:10:31.927 --> 00:10:33.470 Yeah, I would be too. 00:10:33.470 --> 00:10:35.514 Still, I just, you know... 00:10:35.514 --> 00:10:37.516 Hundred-plus years ago. 00:10:37.516 --> 00:10:39.768 - Hundred-plus years ago. - That's a long time. 00:10:41.353 --> 00:10:44.523 Welcome to WandaVision. Thank you so much, guys. 00:10:46.483 --> 00:10:48.277 We're so excited to have you guys. 00:10:48.277 --> 00:10:50.487 We've been working hard the last two weeks 00:10:50.487 --> 00:10:52.114 on making this happen for you all. 00:10:52.114 --> 00:10:54.658 If you guys can give us all the laughter 00:10:54.658 --> 00:10:56.660 and all the natural reactions you have 00:10:56.660 --> 00:10:59.162 to what we're doing, we would be most grateful. 00:10:59.162 --> 00:11:01.206 And then you will probably hear yourself, 00:11:01.206 --> 00:11:03.500 especially if you're one of those loud laughers... 00:11:04.585 --> 00:11:06.587 ... when you actually watch the show later on. 00:11:06.587 --> 00:11:07.963 Now, I would love to introduce you 00:11:07.963 --> 00:11:10.090 to the characters you're gonna meet today. 00:11:10.090 --> 00:11:11.925 David Lengel. 00:11:11.925 --> 00:11:13.218 Asif Ali. 00:11:13.218 --> 00:11:14.928 Debra Jo Rupp. 00:11:14.928 --> 00:11:16.430 Fred Melamed. 00:11:16.430 --> 00:11:18.056 Kathryn Hahn. 00:11:18.056 --> 00:11:20.684 The Vision himself, Paul Bettany. 00:11:20.684 --> 00:11:23.604 And, as Wanda Maximoff, Elizabeth Olsen! 00:11:26.940 --> 00:11:29.192 I mean, I've done theater before, 00:11:29.192 --> 00:11:32.446 but shooting a TV show in front of a live audience 00:11:32.446 --> 00:11:35.449 was like a strange meta experience for me 00:11:35.449 --> 00:11:38.118 because I grew up on the Full House set 00:11:38.118 --> 00:11:41.371 watching these live tapings on Fridays, 00:11:41.371 --> 00:11:46.043 never thinking that that would ever be a form of reality for me. 00:11:46.043 --> 00:11:47.461 Guess who? 00:11:47.461 --> 00:11:49.254 Oh. 00:11:49.254 --> 00:11:51.340 Is that my host behind me? 00:11:51.340 --> 00:11:53.050 It certainly is! 00:11:53.050 --> 00:11:55.344 - Lovely to make your acquaintance. - Yes! 00:11:55.344 --> 00:11:58.805 Doing sitcom gave me so much joy every day. 00:11:58.805 --> 00:12:01.808 I think it gave all of us so much actual joy. 00:12:01.808 --> 00:12:03.060 It's really different. 00:12:03.060 --> 00:12:04.895 - High-octane. - It's very authentic, 00:12:04.895 --> 00:12:10.400 you know, late '50s sitcom, and it feels very different. 00:12:10.400 --> 00:12:13.528 You have to swing for the fences and hope that you... 00:12:13.528 --> 00:12:15.072 We're playing for an audience. 00:12:15.072 --> 00:12:17.699 And I feel like in the Marvel films, it's a cinematic universe, 00:12:17.699 --> 00:12:20.035 and this we're playing for laughs. 00:12:20.035 --> 00:12:22.162 I've never been allowed to be funny. 00:12:22.162 --> 00:12:24.831 This is my first time getting to be funny as Wanda. 00:12:24.831 --> 00:12:25.957 What a gas. 00:12:26.625 --> 00:12:28.043 I'm very funny. 00:12:28.043 --> 00:12:30.087 - She is enormously funny. - I'm very funny. 00:12:30.087 --> 00:12:31.588 I think I have another idea. 00:12:33.423 --> 00:12:35.175 - And... - And then I change. 00:12:39.513 --> 00:12:42.099 Every member of the crew was dressed in costumes. 00:12:42.099 --> 00:12:43.975 Everybody got into the spirit of it. 00:12:43.975 --> 00:12:47.896 And then the audience came in, and we just went for it. 00:12:47.896 --> 00:12:52.692 It was nerve-racking, but I think it was so rewarding and so funny. 00:12:52.692 --> 00:12:54.027 Us running backstage, 00:12:54.027 --> 00:12:56.029 bumping into me, bumping into Kathryn Hahn, 00:12:56.029 --> 00:12:58.198 and making her drop her props or whatever. 00:12:58.198 --> 00:13:01.451 Everybody's getting ready behind doors to come out. 00:13:01.451 --> 00:13:03.286 And it was so much fun. 00:13:03.286 --> 00:13:05.497 Oh, my! 00:13:05.497 --> 00:13:06.832 That was just a dream. 00:13:06.832 --> 00:13:09.584 The costumes are so fabulous. 00:13:09.584 --> 00:13:11.795 Mayes, the designer, is such a genius. 00:13:11.795 --> 00:13:13.338 That dress! 00:13:13.338 --> 00:13:15.841 Yes, the dress! It's... It's so... 00:13:15.841 --> 00:13:19.052 It's Sokovian, is what it is! Yes! 00:13:19.678 --> 00:13:23.056 It is my favorite period for clothes 00:13:23.056 --> 00:13:26.268 because it shows off a waist if you have a waist. 00:13:26.268 --> 00:13:28.770 I have a waist. I have no limbs. 00:13:28.770 --> 00:13:31.273 I'm very short, but I have a waist, 00:13:31.273 --> 00:13:33.441 so I really like the '50s. So, that was great. 00:13:33.441 --> 00:13:36.153 I kind of like the hair and I have a magnificent hat. 00:13:36.153 --> 00:13:38.655 They had a little table with a whole bunch of hats, 00:13:38.655 --> 00:13:39.906 and I just went, 00:13:39.906 --> 00:13:41.616 "Could I have that hat, please?" 00:13:41.616 --> 00:13:43.326 And it was perfect. 00:13:43.326 --> 00:13:45.787 But the '50s undergarments are 00:13:45.787 --> 00:13:47.622 not the most comfortable things, 00:13:47.622 --> 00:13:49.207 but they help with your posture. 00:13:49.207 --> 00:13:52.168 Yeah, I got my Spanx on. My lifts in my heels. 00:13:52.168 --> 00:13:54.796 I've got my Spanx on. I've got my flats on. 00:13:54.796 --> 00:13:57.048 - Ready to go. - But I'm ready emotionally. 00:13:57.048 --> 00:13:58.300 You wanna talk about your *? 00:13:58.341 --> 00:13:59.885 Yeah, I did want to talk about my *, for a second. 00:13:59.885 --> 00:14:01.511 I wanna talk about my dress first. 00:14:01.511 --> 00:14:04.472 Um, it makes me have better posture. 00:14:04.472 --> 00:14:07.726 And it makes me wanna walk like this and... 00:14:07.726 --> 00:14:10.353 I have exactly the same thing, but with my fake *. 00:14:10.353 --> 00:14:11.396 - With your fake *. - Yeah, 00:14:11.396 --> 00:14:14.232 it makes me stand properly, and makes me wanna do this too. 00:14:14.232 --> 00:14:15.483 - This? - Yeah. 00:14:15.483 --> 00:14:18.403 We knew that when we started this show, 00:14:18.403 --> 00:14:20.906 the way that we were going to 00:14:20.906 --> 00:14:23.533 sell it authentically to an audience 00:14:23.533 --> 00:14:26.661 would be with every level of recreation. 00:14:26.661 --> 00:14:29.122 So, that includes the camera lenses, 00:14:29.122 --> 00:14:32.918 that includes the set decoration, era-accurate lighting. 00:14:32.918 --> 00:14:34.586 Jess Hall, who's a brilliant DP, 00:14:34.586 --> 00:14:38.048 looked at old original prints of these television shows, 00:14:38.048 --> 00:14:39.591 and he was able to try to match 00:14:39.591 --> 00:14:42.844 how closely as we could possibly get to what it looked like then. 00:14:44.012 --> 00:14:46.056 You truly are a pioneer! 00:14:46.056 --> 00:14:47.474 Action! 00:14:48.642 --> 00:14:50.352 Freeze! Swap! 00:14:53.730 --> 00:14:54.814 Action! 00:14:54.814 --> 00:14:55.899 Oh, no, too much! 00:14:55.940 --> 00:14:57.442 We wanted to make sure we approached it 00:14:57.442 --> 00:14:59.694 with authenticity and not parody, 00:14:59.694 --> 00:15:02.530 and to that end, we wanted to shoot it the way they shot it. 00:15:02.530 --> 00:15:03.782 That means visual effects 00:15:03.823 --> 00:15:05.909 that would have been done as special effects. 00:15:05.950 --> 00:15:08.662 Luckily, Dan Sudick, who's our special effects coordinator, 00:15:08.662 --> 00:15:11.206 when I first had my call with him, when I started this 00:15:11.206 --> 00:15:13.041 and I laid out this idea, 00:15:13.041 --> 00:15:15.210 I didn't know if he was going to like the idea 00:15:15.210 --> 00:15:18.338 or he's gonna be like, "What're you talking about? I blow things up!" 00:15:18.338 --> 00:15:20.131 He actually loved it. He started laughing. 00:15:20.131 --> 00:15:21.341 He said, "I came up under the guys who did Bewitched. 00:15:21.341 --> 00:15:23.551 you feel so stupid when you're in college. You're like, 00:15:23.551 --> 00:15:25.637 "When am I ever gonna do this? No one makes this anymore". 00:15:25.637 --> 00:15:28.098 And so, getting to use all those tools 00:15:28.098 --> 00:15:29.599 I think what it did was it 00:15:29.599 --> 00:15:31.601 made me think I've wasted my life. 00:15:31.601 --> 00:15:33.561 I should've been on a sitcom all these years. 00:15:33.561 --> 00:15:36.147 I... I just loved it. 00:15:36.147 --> 00:15:38.525 I should have prefaced, I'm a very shallow person, 00:15:38.525 --> 00:15:41.569 so I really rely on people... people applauding. 00:15:45.281 --> 00:15:48.451 Part of the challenge in producing a show like this 00:15:48.451 --> 00:15:50.995 is that we really are making one 00:15:50.995 --> 00:15:53.123 giant movie in the way that we shoot. 00:15:53.123 --> 00:15:55.583 Each day, each week, we're shooting 00:15:55.583 --> 00:15:57.168 pivotal moments of the series, 00:15:57.168 --> 00:15:58.586 we have to make sure that 00:15:58.586 --> 00:16:01.423 the larger story, as a whole, is seamless. 00:16:02.924 --> 00:16:05.385 Raspberry or cheese-filled? 00:16:05.385 --> 00:16:07.804 Oh, neither for me, thank you. I don't eat food. 00:16:07.804 --> 00:16:12.767 We got the Davids. We have Asif. We have Emma. 00:16:13.101 --> 00:16:14.978 So grateful we have Debra Jo, 00:16:14.978 --> 00:16:17.397 who is sitcom-gold 00:16:17.397 --> 00:16:20.150 and gets to be a part in our wacky show. 00:16:20.150 --> 00:16:24.279 My, um, great nephew basically said 00:16:24.279 --> 00:16:27.574 if I did not take the job, he would never visit me again, 00:16:27.615 --> 00:16:29.993 so, I... Well, here I am. 00:16:29.993 --> 00:16:32.662 She loved getting to film 00:16:32.662 --> 00:16:35.331 some of the more Marvel-y stuff that we did in the finale. 00:16:35.331 --> 00:16:38.543 She just thought it was fabulous. 00:16:38.585 --> 00:16:40.170 I got to do this thing. 00:16:40.879 --> 00:16:43.423 Oh, my God! I got to do this thing where you... 00:16:43.423 --> 00:16:44.757 I don't know what it's called. 00:16:44.757 --> 00:16:47.719 It's a body scan, okay? And so you stand... 00:16:47.719 --> 00:16:49.304 I took pictures. It's amazing. 00:16:49.304 --> 00:16:51.848 But I won't show them to anyone, Marvel. 00:16:54.893 --> 00:16:56.227 Kathryn Hahn. 00:16:59.022 --> 00:17:01.816 I don't know how I went so long never working with her. 00:17:01.816 --> 00:17:04.152 I've had the greatest time. 00:17:04.152 --> 00:17:06.154 You're, like, a monologue early, Kathryn. 00:17:06.154 --> 00:17:07.322 I was feeling left out. 00:17:07.322 --> 00:17:11.826 The journey with her consistently throughout the decades 00:17:11.826 --> 00:17:15.622 and how the Nosy Neighbor is so prominent. 00:17:15.622 --> 00:17:17.165 Spoiler alert! 00:17:17.165 --> 00:17:19.751 She nailed all of the layers 00:17:19.751 --> 00:17:22.962 that were required of her and then went beyond. 00:17:22.962 --> 00:17:24.422 - Cut! - One more! 00:17:24.422 --> 00:17:25.757 - One more! Still rolling. - Ready? 00:17:25.757 --> 00:17:28.301 This character is like a blooming onion to me. 00:17:28.301 --> 00:17:32.180 I mean, the fact that I was able to start on the outside 00:17:32.180 --> 00:17:34.933 and kind of move into the center 00:17:34.933 --> 00:17:39.020 as the episodes go on was, like, such an actor's dream. 00:17:39.020 --> 00:17:40.980 I keep saying it was like a Tracey Ullman... 00:17:41.314 --> 00:17:43.107 And the fact that her true center 00:17:43.107 --> 00:17:46.945 was this fantastical, incredible witch, was like... 00:17:47.445 --> 00:17:50.782 Who gets to do that? I remember when it was pitched to me... 00:17:50.782 --> 00:17:53.534 And it's so exciting to be able to say this out loud to somebody 00:17:53.534 --> 00:17:56.371 'cause I have not been able to say it to anybody. Um... 00:17:56.371 --> 00:17:58.539 But when it was pitched to me, I was like 00:17:58.539 --> 00:18:01.626 I could not imagine a part in the Marvel Universe 00:18:01.668 --> 00:18:04.337 that I would have wanted to play more. 00:18:15.765 --> 00:18:18.267 Oh, good times! 00:18:19.227 --> 00:18:21.729 - Good times! - And cut! 00:18:21.729 --> 00:18:23.523 - Did you hear that? - No. 00:18:23.523 --> 00:18:26.943 It was like a... a chattering sound, like... 00:18:26.984 --> 00:18:28.027 Oh! Like a... 00:18:29.904 --> 00:18:30.988 Yeah. 00:18:30.988 --> 00:18:34.200 That's my new ice maker, built right into the fridge. 00:18:34.200 --> 00:18:35.785 Oh! 00:18:35.827 --> 00:18:37.537 You're fancy. 00:18:37.537 --> 00:18:42.583 I have wanted to be in the MCU since the MCU debuted. 00:18:42.583 --> 00:18:46.129 I didn't even know what I was auditioning for. 00:18:46.129 --> 00:18:49.424 We all know Marvel is very top secret. 00:18:49.424 --> 00:18:51.718 And I was just sent some sides. 00:18:51.718 --> 00:18:55.221 I think it was the '70s episode. So, I was very confused. 00:18:55.221 --> 00:18:58.558 It didn't say it was '70s, but it's high farce. 00:18:58.558 --> 00:19:02.103 And I was like, "What do I do with this? I'm not sure". 00:19:02.103 --> 00:19:05.731 Because it's not Marvel as my mind can process. 00:19:05.731 --> 00:19:08.234 And so they sent notes like, 00:19:08.234 --> 00:19:11.195 "Just overact. It's okay, just go for it. 00:19:11.195 --> 00:19:14.115 We don't care that you don't feel that it's grounded. 00:19:14.115 --> 00:19:15.616 That's not what we're looking for". 00:19:15.616 --> 00:19:17.034 So, I was like, "Okay". 00:19:17.034 --> 00:19:20.913 And I did some very great overacting. 00:19:20.913 --> 00:19:22.331 Oh, sugar. 00:19:22.915 --> 00:19:25.376 Before they even told me what it was, 00:19:25.376 --> 00:19:27.587 I said to my agent, I was like, 00:19:27.587 --> 00:19:29.922 "Oh, my gosh, what if it's Monica Rambeau? 00:19:29.922 --> 00:19:32.467 What if it's Monica Rambeau?" 00:19:32.467 --> 00:19:36.012 And then it was Monica Rambeau, and I lost it. 00:19:36.012 --> 00:19:39.307 And I practically tried to jump off a set of stairs 00:19:39.307 --> 00:19:41.934 'cause I thought I could fly. I was so excited. 00:19:43.060 --> 00:19:46.189 So, when we leave Captain Marvel, Monica is a young girl. 00:19:46.189 --> 00:19:48.733 She's got her whole life ahead of her. 00:19:48.733 --> 00:19:50.234 - You have to go! - Monica! 00:19:50.234 --> 00:19:52.862 You've a chance to fly the coolest mission in the history of missions. 00:19:52.862 --> 00:19:54.572 And you're gonna give it up to sit on the couch 00:19:54.572 --> 00:19:56.490 and watch Fresh Prince with me? 00:19:57.200 --> 00:19:59.076 I just think you should consider 00:19:59.076 --> 00:20:01.537 what kind of example you're setting for your daughter. 00:20:01.537 --> 00:20:04.415 And when we pick up with her in WandaVision, 00:20:04.415 --> 00:20:08.628 we find out she now works for S.W.O.R.D., as a astronaut, 00:20:08.669 --> 00:20:11.672 and I feel like we've gotten to a really 00:20:11.672 --> 00:20:14.675 great origin story for Monica. 00:20:17.762 --> 00:20:21.474 Having the opportunity to play Monica Rambeau is truly an honor, 00:20:21.474 --> 00:20:25.228 and to have a Black female superhero 00:20:25.228 --> 00:20:28.481 be on a screen is monumental. 00:20:32.068 --> 00:20:34.403 Why didn't anyone tell me the plan? 00:20:37.823 --> 00:20:40.952 It's been so amazing to bring Darcy back, 00:20:40.952 --> 00:20:43.204 especially in kind of an unexpected way. 00:20:43.204 --> 00:20:45.581 You know, the last time we saw Darcy, she was 00:20:45.581 --> 00:20:48.000 still Jane Foster's intern 00:20:48.000 --> 00:20:49.585 and kind of her friend. 00:20:49.585 --> 00:20:51.253 We weren't really sure what's going on with her. 00:20:51.253 --> 00:20:53.631 Apparently, she's just been going to college this whole time. 00:20:53.631 --> 00:20:55.591 And now she's an astrophysicist. 00:20:55.591 --> 00:20:59.261 My equipment registered an extremely high level of CMBR. That's... 00:20:59.261 --> 00:21:01.555 Relic Radiation dating back to the Big Bang. 00:21:01.555 --> 00:21:04.392 Yeah, entwined was a broadcast frequency. 00:21:04.392 --> 00:21:07.019 So I had your goons pick me up a sweet vintage TV. 00:21:07.019 --> 00:21:08.813 And when I plug this bad boy in, 00:21:08.813 --> 00:21:11.357 the cathode ray tube inside plucked the signal out of the air 00:21:11.399 --> 00:21:14.026 and decoded it just like in the olden times. 00:21:14.068 --> 00:21:15.861 Voilà, sound and picture. 00:21:15.861 --> 00:21:18.739 Randall Park, obviously, is Jimmy Woo, 00:21:18.739 --> 00:21:22.576 and it's been really fun to kind of have us together in scenes. 00:21:22.576 --> 00:21:24.578 They kind of have us with Teyonah Parris. 00:21:24.578 --> 00:21:28.332 There's a lot of dark, serious drama, 00:21:28.332 --> 00:21:30.835 and it's fun to kind of have that little break. 00:21:30.835 --> 00:21:32.294 You can't go back into the Hex. 00:21:32.294 --> 00:21:33.462 Worst case scenario, 00:21:33.462 --> 00:21:36.799 Wanda removes my free will and puts me in ultra-low-rise jeans. 00:21:38.926 --> 00:21:41.095 I feel like it's like a family. 00:21:41.095 --> 00:21:42.680 It's like a big family. 00:21:42.680 --> 00:21:46.267 Just to be a member of the family, it's really cool. 00:21:46.851 --> 00:21:48.936 I mean, when I did Ant-man and the Wasp, 00:21:48.936 --> 00:21:50.229 I was just happy to be there. 00:21:50.229 --> 00:21:51.814 I thought it was gonna be a one-off. 00:21:51.814 --> 00:21:53.566 Your school has rules, right? 00:21:53.566 --> 00:21:55.609 Like, you can't draw on the walls. 00:21:55.609 --> 00:21:57.653 Well, your daddy went to Germany 00:21:57.653 --> 00:21:59.864 and drew on the walls with Captain America. 00:21:59.864 --> 00:22:02.158 And that was a violation of Article 16, 00:22:02.158 --> 00:22:04.326 paragraph 3 of the Sokovia Accords. 00:22:04.326 --> 00:22:07.997 Just to have Jimmy come back is such a thrill for me 00:22:07.997 --> 00:22:10.833 because I just love the character so much. 00:22:10.875 --> 00:22:12.668 And to have so much of the character 00:22:12.668 --> 00:22:14.378 we established in Ant-man and the Wasp 00:22:14.378 --> 00:22:18.340 with the magic and the tendency to want to connect with people 00:22:18.340 --> 00:22:20.843 and tell stories about his life, 00:22:20.885 --> 00:22:22.845 even when it's not necessarily asked for. 00:22:22.845 --> 00:22:24.764 Like all those little things, little seeds 00:22:24.764 --> 00:22:26.891 that we planted in Ant-man and the Wasp, 00:22:26.891 --> 00:22:30.269 they all kind of get to blossom in WandaVision. 00:22:30.269 --> 00:22:31.854 This isn't a missing person's case, 00:22:31.854 --> 00:22:33.939 Captain Rambeau, it's a missing town. 00:22:34.607 --> 00:22:37.109 Population 3,892. 00:22:38.194 --> 00:22:40.362 Why haven't you gone inside to investigate? 00:22:40.863 --> 00:22:42.198 'Cause it doesn't want me to. 00:22:45.576 --> 00:22:49.371 Tonally, WandaVision runs the gamut. 00:22:49.371 --> 00:22:51.749 I can't even keep up myself sometimes. 00:22:51.749 --> 00:22:53.834 I'm like, "Which world are we in now?" 00:22:57.838 --> 00:22:59.632 For the first episode, 00:22:59.632 --> 00:23:01.759 it's the '50s, and it's silly humor, 00:23:01.759 --> 00:23:04.595 but it was like really great physical comedy, 00:23:04.595 --> 00:23:06.597 and that bleeds into the '60s, 00:23:06.597 --> 00:23:08.641 the second episode, which is Bewitched. 00:23:08.641 --> 00:23:12.269 Just mind your P's and Q's and you're gonna do just fine. 00:23:12.269 --> 00:23:14.063 The tone doesn't change too much. 00:23:14.063 --> 00:23:15.648 Darling! Oh! 00:23:15.648 --> 00:23:17.358 I think we still allow her 00:23:17.358 --> 00:23:19.527 to just become more modern of a woman 00:23:19.527 --> 00:23:21.529 instead of trying to play the housewife. 00:23:21.529 --> 00:23:25.574 Well, thank you for giving me the strength and the courage. 00:23:25.574 --> 00:23:28.869 The thing that we loved so much in the '50s and in the '60s, 00:23:28.869 --> 00:23:31.330 between the marriages in those shows, 00:23:31.330 --> 00:23:34.833 is that they were like really funny and really honest, 00:23:34.833 --> 00:23:37.086 and, like, lovely and beautiful and felt in love. 00:23:37.086 --> 00:23:39.505 - Should we put our heads together? - Very cute. 00:23:39.505 --> 00:23:41.423 And then we get into the'70s 00:23:41.423 --> 00:23:43.717 and it just becomes this, like, Brady Bunch 00:23:43.717 --> 00:23:48.097 kinda creepily, like, not grounded anymore. 00:23:48.097 --> 00:23:50.474 Strangest thing just happened outside with... 00:23:50.474 --> 00:23:51.850 Whoa, Nelly! 00:23:51.850 --> 00:23:54.853 It's a surprise initially that she got pregnant. 00:23:54.853 --> 00:23:56.855 We didn't know that that was possible. 00:23:56.855 --> 00:23:58.315 It's a magical moment 00:23:58.315 --> 00:24:01.485 because she's, sort of, suddenly six months pregnant. 00:24:01.485 --> 00:24:03.821 If you could lean in as much as... 00:24:03.821 --> 00:24:05.364 I have a belly in front of me. 00:24:05.364 --> 00:24:10.286 Her pregnancy is progressing at an alarming speed. 00:24:10.286 --> 00:24:12.788 You're at about four months now. Is that right? 00:24:14.081 --> 00:24:16.125 I was so excited to have an episode 00:24:16.125 --> 00:24:18.043 where I went through every single stage 00:24:18.043 --> 00:24:21.422 of my pregnancy in one day. 00:24:21.422 --> 00:24:24.341 That was fabulous. 00:24:24.341 --> 00:24:26.677 It was so perfect and funny. 00:24:28.887 --> 00:24:30.180 Vis... 00:24:30.180 --> 00:24:31.557 Yes, dear? 00:24:31.557 --> 00:24:33.267 I think my water just broke. 00:24:33.267 --> 00:24:37.021 We're doing this bit where I'm trying to hide that I'm pregnant. 00:24:37.021 --> 00:24:40.399 And so Monica is over, Teyonah's over. 00:24:40.399 --> 00:24:44.903 And I'm switching all these coats on and off, like, magically. 00:24:44.903 --> 00:24:46.447 And I'm in the kitchen and 00:24:46.447 --> 00:24:48.741 everything's kind of going bonkers in the kitchen. 00:24:48.782 --> 00:24:51.535 I'm trying to hide my belly from her. 00:24:51.535 --> 00:24:55.080 And so, I keep magically changing all of my coats. 00:24:55.748 --> 00:24:57.124 So, we'd have to freeze. 00:24:57.124 --> 00:25:00.085 And then someone would come on and put on my coat, 00:25:00.085 --> 00:25:02.588 then I'd have to freeze again, then I'd have a contraction. 00:25:03.172 --> 00:25:06.508 And there's a moment where I had to do a double take 00:25:06.508 --> 00:25:08.719 and I kept making it like a triple take, 00:25:08.719 --> 00:25:10.053 and a quadruple take. 00:25:11.847 --> 00:25:15.976 So, yeah, we have twins, and, uh, they're confusing, too, 00:25:15.976 --> 00:25:20.147 because they're born babies, but very quickly, they're toddlers. 00:25:20.147 --> 00:25:21.523 Where are the twins? 00:25:22.608 --> 00:25:24.109 - Mommy? - Daddy? 00:25:26.612 --> 00:25:28.447 Wha... Did y... 00:25:29.281 --> 00:25:33.827 And then, very quickly, they are, 00:25:33.827 --> 00:25:35.996 you know, sort of ten years old. 00:25:35.996 --> 00:25:38.707 We don't think you'll be old enough 00:25:38.707 --> 00:25:42.252 to properly care for an animal until you're at least... 00:25:42.252 --> 00:25:43.253 Ten. 00:25:44.463 --> 00:25:46.507 Ten years old. 00:25:47.007 --> 00:25:48.342 Look at each other. 00:25:50.219 --> 00:25:53.555 - Well, now, hang on there a minute... - Wait, no, no, no. 00:25:53.555 --> 00:25:56.099 - ... you young whippersnappers. - No, no, no! 00:25:57.643 --> 00:26:00.354 Let's just hope this dog stays the same size. 00:26:04.900 --> 00:26:08.779 This is the '80s, yeah. So we designed one basic layout, 00:26:08.779 --> 00:26:11.073 and then we've just changed it through the decades. 00:26:11.073 --> 00:26:13.784 So, this is still the Dick Van Dyke set, 00:26:13.784 --> 00:26:16.286 inspired by Dick Van Dyke kitchen, 00:26:16.286 --> 00:26:18.038 but now this is the '80s 00:26:18.038 --> 00:26:20.457 inspired by Full House and Family Ties... 00:26:20.457 --> 00:26:22.668 Growing Pains, all the shows that we loved from the '80s. 00:26:22.668 --> 00:26:23.752 Now, I know 00:26:23.752 --> 00:26:25.546 parents aren't supposed to take shortcuts, 00:26:25.546 --> 00:26:28.298 but I think this situation calls for one, don't you? 00:26:28.298 --> 00:26:30.217 It's funny now when you look back at it, 00:26:30.217 --> 00:26:34.596 it's a beloved generation and it's also a self-parodying era as well 00:26:34.596 --> 00:26:37.474 because you look at the hair and the clothes and we all wonder, 00:26:37.474 --> 00:26:39.101 "We really thought that was cool? 00:26:39.101 --> 00:26:41.311 "How did we ever go outside looking that way?" 00:26:41.311 --> 00:26:43.313 It's almost like we're on a date. 00:26:43.313 --> 00:26:44.815 Almost. 00:26:44.815 --> 00:26:46.984 With two really cranky chaperones. 00:26:48.277 --> 00:26:52.864 My memories of the '80s, as a '90s child, 00:26:52.864 --> 00:26:55.701 is that I still got to wear these beautiful vests 00:26:55.701 --> 00:26:57.494 and things like this 00:26:57.494 --> 00:27:01.081 and had lots of beautiful hats with big flowers on them. 00:27:01.081 --> 00:27:02.207 I just missed it, 00:27:02.207 --> 00:27:07.337 but the '80s were a horrible time of style and hair. 00:27:08.088 --> 00:27:11.633 But I really actually am partial to this wig, I have to say. 00:27:11.633 --> 00:27:12.843 - I'm... - It's fabulous. 00:27:12.843 --> 00:27:14.428 I feel like I'm filled with secrets. 00:27:16.805 --> 00:27:19.182 At the end of the episode in the '80s, 00:27:19.224 --> 00:27:20.934 to Wanda's surprise, 00:27:20.934 --> 00:27:22.185 she gets a knock at the door. 00:27:22.185 --> 00:27:25.230 It was not something that she consciously did. 00:27:25.230 --> 00:27:27.733 And so she's very confused by it. 00:27:27.733 --> 00:27:30.902 And the knock on the door is her brother, Pietro. 00:27:30.944 --> 00:27:33.613 But he looks different because it's Evan Peters. 00:27:33.655 --> 00:27:34.906 - No! Ow! - Get over here! 00:27:34.906 --> 00:27:37.451 And the character he plays is like Uncle Jesse. 00:27:37.451 --> 00:27:39.244 Come on! 00:27:39.244 --> 00:27:43.248 Like, the cool uncle, who's coming in to stir things up. 00:27:43.248 --> 00:27:44.833 Right on, little dude! 00:27:44.833 --> 00:27:46.376 Chip off the old Maximoff block. 00:27:46.835 --> 00:27:48.879 And that's the trope he uses 00:27:48.879 --> 00:27:51.882 as part of his relationship to the sitcom land. 00:27:51.882 --> 00:27:54.176 I can't believe what a bad influence you are. 00:27:54.176 --> 00:27:55.594 Who beefed in your borscht? 00:27:56.553 --> 00:27:58.930 I'm just trying to do my part. Okay? 00:27:58.930 --> 00:28:01.349 Come to town unexpectedly, create tension with the brother-in-law, 00:28:01.349 --> 00:28:03.977 stir up trouble with the rugrats, and ultimately give you grief. 00:28:03.977 --> 00:28:07.314 I mean, that's what you wanted, isn't it? 00:28:08.273 --> 00:28:09.858 What happened to your accent? 00:28:09.858 --> 00:28:11.151 What happened to yours? 00:28:12.360 --> 00:28:14.946 I'm thrilled. I'm such a huge fan of the Marvel Universe. 00:28:14.946 --> 00:28:17.324 So, I'm, like... I'm just excited to be here. 00:28:17.324 --> 00:28:21.661 It's, like, the character is so funny and meta, 00:28:21.661 --> 00:28:21.995 It's, like, the character is so funny and meta, 00:28:21.995 --> 00:28:23.038 Who's the popsicle? 00:28:23.038 --> 00:28:25.207 And, yeah, that's my era, 00:28:25.207 --> 00:28:28.085 so I am very excited for that. And then also, we're having 00:28:28.085 --> 00:28:32.923 our theme songs composed by Bobby and Kristen Anderson-Lopez. 00:28:32.923 --> 00:28:35.717 You wander the world with a vision 00:28:35.717 --> 00:28:39.095 Of what life could be 00:28:39.095 --> 00:28:39.346 WandaVision! 00:28:40.263 --> 00:28:41.473 WandaVision! 00:28:42.307 --> 00:28:45.727 And, you know, all agreed that Bewitched in particular, 00:28:45.727 --> 00:28:48.230 um, was a big thing. 00:28:48.230 --> 00:28:50.816 But we also looked at James Bond movies, 00:28:50.816 --> 00:28:52.317 we looked at Burt Bacharach... 00:28:52.317 --> 00:28:54.986 - We looked at, um... - Mahna Mahna. 00:28:54.986 --> 00:28:58.865 ... what was going on in the pop culture of that time, 00:28:58.865 --> 00:29:01.535 and made sure that we were really referencing 00:29:01.535 --> 00:29:05.038 sort of that bebop jazz, the cool jazz that was there. 00:29:05.038 --> 00:29:09.751 And also, just that Swinging Sixties culture of the time. 00:29:09.751 --> 00:29:12.170 WandaVision Wa-WandaVision 00:29:13.129 --> 00:29:14.840 WandaVision 00:29:17.676 --> 00:29:19.052 WandaVision 00:29:19.052 --> 00:29:21.096 The '70s has a touch of tambourine. 00:29:21.096 --> 00:29:22.097 Oh, for sure. 00:29:22.097 --> 00:29:24.850 Because we were referencing 00:29:24.850 --> 00:29:27.185 The Brady Bunch and The Partridge Family, 00:29:27.185 --> 00:29:31.940 and any family jam band that dresses up in fringe outfits 00:29:31.940 --> 00:29:34.484 and travels in a groovy van to their next gig. 00:29:34.484 --> 00:29:36.361 But it's groovy and fun 00:29:36.361 --> 00:29:39.573 It's me and it's you 00:29:39.573 --> 00:29:41.616 Kristen and I have always loved songs that go... 00:29:45.829 --> 00:29:46.997 WandaVision 00:29:47.914 --> 00:29:50.709 and watch Diff'rent Strokes and Punky Brewster, and... 00:29:50.709 --> 00:29:52.544 Right. I mean, our whole family life 00:29:52.544 --> 00:29:57.465 was scheduled around Family Ties coming on, or Growing Pains. 00:29:57.465 --> 00:30:01.553 The one that they've done for the '80s is by far my favorite. 00:30:01.553 --> 00:30:02.846 I sing it all the time. 00:30:02.846 --> 00:30:06.725 Crossing our fingers, singing a song 00:30:06.725 --> 00:30:10.437 We're making it up as we go along 00:30:12.439 --> 00:30:14.816 Oh, and then, with the aughts. 00:30:14.816 --> 00:30:17.694 Wanda Wanda Vision 00:30:17.694 --> 00:30:20.739 We got to have this wonderful collaboration 00:30:20.739 --> 00:30:22.866 with the original riot grrrl... 00:30:22.866 --> 00:30:25.869 Kathleen Hanna, the lead singer of Bikini Kill. 00:30:25.869 --> 00:30:29.456 And just gives it this wonderful authenticity, punk authenticity. 00:30:29.456 --> 00:30:31.458 Easy come and easy go 00:30:31.458 --> 00:30:34.085 But if it's all illusion 00:30:37.047 --> 00:30:40.050 To jump off the genre blending, 00:30:40.050 --> 00:30:43.470 even in the '50s and '60s episodes, 00:30:43.470 --> 00:30:46.014 we have moments of Twilight Zone. 00:30:46.014 --> 00:30:50.101 And instead of it being moments of today's horror, 00:30:50.101 --> 00:30:53.188 we take camera tricks from Twilight Zone 00:30:53.188 --> 00:30:54.606 to make you feel off-kilter. 00:30:55.607 --> 00:30:57.067 'Cause something has to go wrong 00:30:57.067 --> 00:30:59.152 in order to advance to the next decade, 00:30:59.152 --> 00:31:00.737 or else why are you changing 00:31:00.737 --> 00:31:03.490 the scenario or the given circumstances? 00:31:03.490 --> 00:31:07.452 And so we used Twilight Zone tropes for that. 00:31:07.452 --> 00:31:10.914 And then, for something like once we get to the Halloween episode, 00:31:10.914 --> 00:31:13.374 we're in this idyllic town, it's Halloween, 00:31:13.374 --> 00:31:15.001 it's like the perfect type of Halloween. 00:31:15.168 --> 00:31:17.921 in these old costumes of the characters. 00:31:17.921 --> 00:31:19.923 Why do you... look different? 00:31:19.923 --> 00:31:22.926 In Age of Ultron, everyone referenced 00:31:22.926 --> 00:31:25.136 certain comic books for me to focus on, 00:31:25.136 --> 00:31:28.014 and told me, "Don't pay attention to what she's wearing. 00:31:28.014 --> 00:31:29.766 You're not gonna be in a leotard, tights 00:31:29.766 --> 00:31:31.559 and a crown on your head. I swear". 00:31:31.559 --> 00:31:33.686 And I was like, "Oh, thank God". 00:31:33.686 --> 00:31:36.022 And now, the way we incorporated 00:31:37.398 --> 00:31:42.362 he, it's just the whole... It's just he's... It's so funny. 00:31:42.362 --> 00:31:46.241 Thank you for humoring me and wearing this ridiculous get-up, honey. 00:31:46.241 --> 00:31:48.243 There were no other clothes in my closet, so... 00:31:48.993 --> 00:31:53.540 'cause it was so humiliating and funny 00:31:53.540 --> 00:31:59.504 and I had a pair of shorts pulled very high up around my waist, 00:31:59.504 --> 00:32:02.966 and yellow Converse to be my super-shoes. 00:32:02.966 --> 00:32:06.052 When Vision goes out further 00:32:06.052 --> 00:32:07.929 to where we call "Ellis Avenue", 00:32:08.096 --> 00:32:10.682 Don't go past Ellis Avenue. 00:32:10.682 --> 00:32:12.267 We know, Mom. We know. 00:32:12.267 --> 00:32:13.810 That's the end of the Hex. 00:32:13.810 --> 00:32:16.437 And so, the closer you get to the end of the Hex, 00:32:16.437 --> 00:32:19.524 the less control Wanda has of the actual town, 00:32:19.524 --> 00:32:25.196 and people are just doing things by rote. 00:32:30.785 --> 00:32:32.954 People are having these repetitive things, 00:32:32.954 --> 00:32:34.706 or hanging up Halloween decorations, 00:32:34.706 --> 00:32:36.666 and taking it down, and doing it again. 00:32:36.666 --> 00:32:40.128 And characters that you realize 00:32:40.128 --> 00:32:44.215 are just less well drawn by Wanda. 00:32:44.215 --> 00:32:45.800 And then he gets further out, 00:32:45.800 --> 00:32:48.595 and he finds children trick-or-treating, 00:32:48.595 --> 00:32:52.599 but they're just absolutely frozen still. 00:32:52.599 --> 00:32:53.808 Are those your children? 00:32:56.519 --> 00:32:58.146 Are you waiting for something? 00:33:03.985 --> 00:33:07.989 And that leads to the denouement of the whole show. 00:33:07.989 --> 00:33:09.782 It's so much fun to have gone through 00:33:09.782 --> 00:33:12.702 all of these multi-camera sitcom stuff. 00:33:12.702 --> 00:33:15.747 You're shooting in a very familiar way, right? 00:33:15.747 --> 00:33:17.373 Very static cameras. 00:33:17.373 --> 00:33:20.752 And then suddenly, when you cut to an angle that shouldn't be there 00:33:20.793 --> 00:33:23.171 or a camera move that would never... 00:33:23.171 --> 00:33:26.090 It really, you really feel it when you're watching it, 00:33:26.090 --> 00:33:28.968 so it's a great storytelling tool. And then, of course, 00:33:28.968 --> 00:33:31.804 in the end, everything kind of breaks down and becomes, 00:33:31.804 --> 00:33:36.976 "We're in the real world, in an MCU version of the real world". 00:33:39.479 --> 00:33:40.938 - Am I dead? - No. 00:33:41.731 --> 00:33:44.192 - Why would you think that? - Because you are. 00:33:49.697 --> 00:33:51.699 We are standing at the very front 00:33:51.741 --> 00:33:53.368 of what we call "the pop-up base", 00:33:53.368 --> 00:33:57.580 which is our military base set up by S.W.O.R.D. 00:33:57.580 --> 00:33:59.082 to investigate the anomaly 00:33:59.082 --> 00:34:01.542 that Wanda has set up here in Westview. 00:34:02.919 --> 00:34:04.837 So that's what this building is about, 00:34:04.837 --> 00:34:06.214 a temporary structure 00:34:06.214 --> 00:34:09.884 from which to observe and deal with this problem. 00:34:14.389 --> 00:34:15.556 We're in the Marvel world, 00:34:15.598 --> 00:34:17.433 so in many ways, you'd expect we would 00:34:17.433 --> 00:34:19.644 start with something a bit more stylized 00:34:19.644 --> 00:34:22.021 and, sort of, you know, sci-fi. 00:34:22.021 --> 00:34:24.273 But we wanted to make it a little more realistic, 00:34:24.273 --> 00:34:25.983 so we started with ideas 00:34:25.983 --> 00:34:28.778 of what kind of military response 00:34:28.778 --> 00:34:30.780 is there to a disaster, for example, 00:34:30.780 --> 00:34:32.865 if it were a chemical attack, 00:34:32.865 --> 00:34:35.076 or nuclear attack, or something like that. 00:34:35.076 --> 00:34:38.913 And they actually have these response teams called CBRNs, 00:34:38.913 --> 00:34:40.331 which go out and deal with 00:34:40.331 --> 00:34:43.376 chemical, biological, radiological and nuclear threats. 00:34:43.376 --> 00:34:45.086 So it's sort of inspired by that. 00:34:45.086 --> 00:34:47.713 Now, that said, the building behind me 00:34:47.713 --> 00:34:49.757 is a complete hybrid, it isn't... 00:34:49.757 --> 00:34:53.636 Nothing exists like this in the air force, in the army, or marines. 00:34:53.636 --> 00:34:55.471 So, we made up our own version of it 00:34:55.471 --> 00:34:57.348 to make it a little more Marvel-like. 00:34:57.348 --> 00:34:58.975 What do we have up? 00:34:58.975 --> 00:35:02.478 Radar, lidar, sodar, infrared. 00:35:02.478 --> 00:35:03.604 Cycle through. 00:35:03.604 --> 00:35:05.731 We're inside the pop-up base 00:35:05.731 --> 00:35:09.360 monitoring the Hex, which is what Darcy calls 00:35:09.360 --> 00:35:14.824 the magical Wanda-world Westview area. 00:35:14.824 --> 00:35:19.245 So, this is all different kinds of military 00:35:19.245 --> 00:35:22.790 and space-science people, 00:35:22.790 --> 00:35:25.793 and then, there's my little desk back there. 00:35:25.793 --> 00:35:27.795 They gave her like her own little corner, 00:35:27.795 --> 00:35:33.467 um, where she's basically cracked the "the magic". 00:35:33.467 --> 00:35:35.511 So, you're saying the universe created 00:35:35.511 --> 00:35:37.680 a sitcom starring two Avengers? 00:35:39.223 --> 00:35:40.850 It's a working theory. 00:35:40.850 --> 00:35:43.394 Darcy discovers that there's 00:35:43.394 --> 00:35:47.690 basically an old television signal emanating from the Hex, 00:35:47.690 --> 00:35:48.900 from the anomaly. 00:35:48.900 --> 00:35:51.027 And she goes, and she grabs an old TV 00:35:51.027 --> 00:35:52.945 with a piece of rabbit ears on it, 00:35:52.945 --> 00:35:54.196 and she picks up the TV show 00:35:54.196 --> 00:35:56.240 that Wanda's broadcasting out from the Hex. 00:35:56.240 --> 00:35:59.243 So, what we do is, in each period 00:35:59.243 --> 00:36:03.080 that Wanda iterates within the Hex, 00:36:03.080 --> 00:36:05.166 we bring in those period TVs. 00:36:05.166 --> 00:36:09.045 So you see late '50s, '60s, '70s, and so on. 00:36:09.837 --> 00:36:12.048 Everything might look fake in the TV, 00:36:12.048 --> 00:36:13.799 but everything in there is real. 00:36:13.799 --> 00:36:15.468 What's fun is just the contrast. 00:36:15.509 --> 00:36:18.220 We started in this very, sort of, light sitcom world, 00:36:18.220 --> 00:36:21.015 which I had never designed before, so that was fun. 00:36:21.057 --> 00:36:24.727 But then, to then dive right into, sort of, 00:36:24.769 --> 00:36:28.105 straight-ahead MCU style, 00:36:28.105 --> 00:36:30.524 visual style, acting style, script, and all that, 00:36:30.524 --> 00:36:33.486 just is delightful after all of that, in a way, 00:36:33.486 --> 00:36:36.364 just because, you know, "Is this all in the same movie?" It is. 00:36:36.364 --> 00:36:39.200 Which is great, but just the design challenges 00:36:39.200 --> 00:36:42.495 of having to go from that to this, that's really fun. 00:36:43.371 --> 00:36:47.583 We're at the town square which is in Hollywood, 00:36:47.583 --> 00:36:51.420 so basically, we see that in six periods pretty extensively. 00:36:51.420 --> 00:36:54.382 So much of it is a design challenge to get all of that right, 00:36:54.382 --> 00:36:57.468 to, sort of, express the period, it's sort of unprecedented. 00:37:00.721 --> 00:37:03.557 Part of the challenge is that we don't have a shooting schedule 00:37:03.557 --> 00:37:06.352 that allows us to shoot for two days, go away for two days, 00:37:06.352 --> 00:37:08.729 turn it around, repaint, come back. 00:37:08.729 --> 00:37:11.065 We're literally doing overnight changeovers. 00:37:11.065 --> 00:37:13.776 Which means that we have to basically define 00:37:13.776 --> 00:37:15.403 all of the design changes, 00:37:15.403 --> 00:37:17.196 all the pieces you're gonna bring in, 00:37:17.196 --> 00:37:20.116 design them, build them, paint them, prefit them probably, 00:37:20.157 --> 00:37:21.867 so you know exactly what you're doing, 00:37:21.909 --> 00:37:25.579 and everything comes in almost like LEGO in a certain way. 00:37:25.621 --> 00:37:28.082 All these parts come in and go up very quickly, 00:37:28.082 --> 00:37:30.793 'cause you've only got, maybe, 12 hours 00:37:30.793 --> 00:37:32.920 to complete this turnaround. 00:37:34.422 --> 00:37:36.257 "For the children!" 00:37:51.230 --> 00:37:54.191 The experience of doing the finale 00:37:54.817 --> 00:37:58.070 when Wanda, she has to run through town square, 00:37:58.070 --> 00:38:00.698 and she's looking for Agnes, or Agatha, 00:38:01.574 --> 00:38:05.369 and all of the people in the town start to wake up, 00:38:05.369 --> 00:38:08.747 and surround her, and crowd her almost, 00:38:09.748 --> 00:38:11.584 like, begging her to let them go. 00:38:11.584 --> 00:38:14.962 I can't take this anymore, Wanda, please. 00:38:14.962 --> 00:38:15.963 Please! 00:38:21.927 --> 00:38:26.056 It was a very long sequence. It had quite a climax. 00:38:26.056 --> 00:38:28.767 I mean, who is the boss here, Wanda? 00:38:29.977 --> 00:38:32.062 Heroes don't torture people. 00:38:32.730 --> 00:38:35.065 Getting to do a wide like that, 00:38:35.065 --> 00:38:37.067 it feels like a piece of theater. 00:38:37.067 --> 00:38:41.488 It felt really satisfying to do emotionally, I think. 00:38:41.488 --> 00:38:43.282 And it just felt epic, like the... 00:38:43.282 --> 00:38:45.075 There's some moments when these movies 00:38:45.075 --> 00:38:47.786 just feel like so cinematic on the day, 00:38:47.786 --> 00:38:50.706 and that just felt really grand. 00:38:52.791 --> 00:38:56.670 Go, now, all of you. Go! 00:38:56.670 --> 00:38:58.464 Run! 00:39:01.634 --> 00:39:03.636 What's so special about this script 00:39:03.636 --> 00:39:06.805 is that you don't actually know what is coming from where, 00:39:06.805 --> 00:39:08.891 and who is actually the bad person, 00:39:09.516 --> 00:39:11.727 and when someone has ulterior motives, 00:39:11.727 --> 00:39:13.854 and what's actually happening. 00:39:13.854 --> 00:39:17.191 So, sometimes you feel like, 00:39:17.191 --> 00:39:19.610 "Well, Wanda is the bad... She's the villain. 00:39:19.610 --> 00:39:23.656 She has turned all of these people's lives upside down. 00:39:23.656 --> 00:39:25.032 She's the villain". 00:39:25.032 --> 00:39:29.995 Then, you find out that, well, Agnes is pretty terrible. 00:39:30.871 --> 00:39:35.751 She's got her own thing that she's been brewing the entire time, 00:39:35.751 --> 00:39:40.589 and kinda counteracting, counter-magicking Wanda. 00:39:40.589 --> 00:39:44.551 And then you have, um, Hayward, 00:39:45.427 --> 00:39:50.099 he's pretty not a very good person. 00:39:50.099 --> 00:39:53.977 And he's got his own agenda that's throwing... 00:39:53.977 --> 00:39:56.230 Everyone has their own agenda, 00:39:56.230 --> 00:39:58.524 and what's great is that at some point, 00:39:58.524 --> 00:40:01.110 you see it all clash and blow up 00:40:01.110 --> 00:40:04.405 into an epic superhero fight, might I say. 00:40:05.948 --> 00:40:09.159 Last one to town square is a walking pair of mom jeans. 00:40:09.159 --> 00:40:11.078 ... burden! 00:40:12.413 --> 00:40:15.082 Usually, I'm like one of the only flyers. 00:40:15.082 --> 00:40:17.751 Like, I'm the only one on wires often. 00:40:17.751 --> 00:40:21.505 That is something I do a lot in these films. 00:40:24.299 --> 00:40:26.343 I mean, it looks like a blast. 00:40:26.343 --> 00:40:29.471 And so, I feel like it's the first time 00:40:29.471 --> 00:40:35.060 Marvel has had to accommodate for so many flying sequences. 00:40:35.060 --> 00:40:38.021 And it was a real challenge... 00:40:38.021 --> 00:40:40.190 I mean, Kathryn's in a ridiculous costume 00:40:40.190 --> 00:40:43.694 that is very uncomfortable to harness and fly in. 00:40:43.694 --> 00:40:48.824 But we all just, like, we're always harnessed 00:40:48.824 --> 00:40:50.617 like, for the last six weeks. 00:40:51.201 --> 00:40:55.456 We've been harnessed quite a bit, and it was so fun. 00:40:55.456 --> 00:40:57.166 It was... I love flying. 00:40:57.166 --> 00:41:01.003 I love doing all the flying work, I really, truly enjoy it so much. 00:41:01.003 --> 00:41:03.630 But we... I think it's the first time 00:41:03.630 --> 00:41:05.757 I think Marvel's really had to create 00:41:05.757 --> 00:41:07.593 a full fight sequence in the air. 00:41:15.350 --> 00:41:17.102 I think my most gratifying was 00:41:18.145 --> 00:41:20.981 when I finally put on Agatha's hero look 00:41:20.981 --> 00:41:26.111 and was able to be raised up in those wires for the first time. 00:41:26.111 --> 00:41:28.614 - You look amazing. - You look amazing. 00:41:28.614 --> 00:41:30.824 And feel those huge fans on me, 00:41:30.824 --> 00:41:32.201 even though it was like a hundred 00:41:32.201 --> 00:41:33.744 and something degrees outside. 00:41:33.744 --> 00:41:37.581 It was like crazy just to feel all the work of all these people 00:41:37.581 --> 00:41:42.085 that had gone into collaborating, into helping make her. 00:41:42.085 --> 00:41:44.338 You're supposed to be a myth. 00:41:45.464 --> 00:41:49.927 A being capable of spontaneous creation, 00:41:49.927 --> 00:41:55.474 and here you are, using it to make breakfast for dinner! 00:41:55.474 --> 00:41:57.059 To play the good and the bad, 00:41:57.059 --> 00:42:00.312 to play the wicked and the playful, 00:42:00.312 --> 00:42:03.690 and to play a villain that's also funny, 00:42:03.690 --> 00:42:05.484 it's the best. 00:42:05.484 --> 00:42:07.819 There's more. I want it all. 00:42:07.819 --> 00:42:09.571 When you're on these big films, 00:42:09.571 --> 00:42:11.114 and you get all those pieces moving 00:42:11.114 --> 00:42:15.160 that are in the world's control, it feels really special. 00:42:15.160 --> 00:42:16.495 Thanks for the lesson... 00:42:19.164 --> 00:42:25.170 but I don't need you to tell me who I am. 00:42:27.714 --> 00:42:31.760 The features, as you know, set a very high bar for the look, 00:42:31.760 --> 00:42:35.681 and for the effects to supplement the story, 00:42:35.681 --> 00:42:37.391 not overwhelm the story. 00:42:37.391 --> 00:42:40.686 That same mandate for the features 00:42:40.727 --> 00:42:42.270 was absolutely what they were wanting 00:42:42.270 --> 00:42:44.690 to achieve for the streaming service. 00:42:44.690 --> 00:42:47.943 Vision himself, he's a digital prosthetic. 00:42:47.943 --> 00:42:49.736 Poor Paul, we paint him purple, 00:42:49.736 --> 00:42:51.446 and he has to go through the day like that. 00:42:51.488 --> 00:42:54.908 But otherwise, all the rest of that is a digital effect. 00:42:54.908 --> 00:42:59.871 Every time Vision's synthezoid, that he's got a CG face, 00:42:59.871 --> 00:43:03.625 so we would go back to Matt and say, 00:43:03.625 --> 00:43:05.293 "Do you know, for this beat, 00:43:05.293 --> 00:43:08.588 does he really need to be synthezoid? Could he be human?" 00:43:08.588 --> 00:43:11.091 And Matt and Jac would often come back with, 00:43:11.091 --> 00:43:12.843 "Well, he's his true self. 00:43:12.843 --> 00:43:14.511 You know, when he's in his home, 00:43:14.511 --> 00:43:17.014 we want specific beats to be synthezoid 00:43:17.014 --> 00:43:18.640 even though they're visual effect shots, 00:43:18.640 --> 00:43:21.685 just because it's who he is when he's at home with Wanda". 00:43:21.685 --> 00:43:25.731 So, we let the story determine when we'd use the visual effects. 00:43:25.731 --> 00:43:29.109 So when we translated Red Vision into black and white, 00:43:29.109 --> 00:43:30.610 he didn't really look like Vision. 00:43:30.610 --> 00:43:33.947 We did tests using footage from the previous films 00:43:33.947 --> 00:43:36.241 as my first week on the job. 00:43:36.241 --> 00:43:38.368 We knocked on a colorist's door and said, 00:43:38.410 --> 00:43:40.036 "Can we come and see what he looks like?" 00:43:40.036 --> 00:43:42.330 And we quickly realized he would have to be blue. 00:43:42.330 --> 00:43:43.623 During the '50s and '60s, 00:43:43.623 --> 00:43:45.959 actresses would actually use blue makeup, 00:43:45.959 --> 00:43:47.919 blue lipstick so their lips would appear red. 00:43:47.919 --> 00:43:50.714 And lo and behold, we did the same with Paul, 00:43:50.714 --> 00:43:53.842 found the right, uh, shade of blue during some camera tests, 00:43:53.842 --> 00:43:56.094 did a little additional tweaking in the DI 00:43:56.094 --> 00:43:57.262 and found a really good target. 00:43:57.262 --> 00:44:01.141 What we got to was a place where we really keep the performance. 00:44:05.395 --> 00:44:08.815 Wanda's world is her safe haven, 00:44:08.815 --> 00:44:13.779 so when the Hex takes over the military base, 00:44:14.404 --> 00:44:17.699 it turns into a happy thing, into a... 00:44:17.699 --> 00:44:21.286 a kind of absurd thing almost, which is the circus, which is fun. 00:44:21.328 --> 00:44:24.122 For visual effects, it wasn't necessarily a complicated thing. 00:44:24.122 --> 00:44:26.166 You shoot the A side, then you shoot the B side, 00:44:26.541 --> 00:44:28.335 and then you augment each. 00:44:31.963 --> 00:44:35.967 We knew that the Hex had to be a boundary 00:44:35.967 --> 00:44:39.513 that kept the townspeople in, 00:44:39.513 --> 00:44:43.016 but that was mysterious to the people on the outside. 00:44:43.016 --> 00:44:45.769 We decided early that it would be more mysterious 00:44:45.769 --> 00:44:47.771 if it was an invisible Hex. 00:44:47.771 --> 00:44:50.273 And so it helped build tension 00:44:50.273 --> 00:44:52.859 and we got to make it look quite cool. 00:44:52.859 --> 00:44:58.406 We looked at all different manners of film boundaries in the past 00:44:58.406 --> 00:45:00.909 and decided that we wanted our Hex 00:45:00.909 --> 00:45:02.577 to have the language of television. 00:45:04.454 --> 00:45:10.377 So, we studied how magnets were drawn on old CRT televisions 00:45:10.377 --> 00:45:13.463 and the magnetization you would get across the screen, 00:45:13.463 --> 00:45:15.048 the pixelization you would get 00:45:15.048 --> 00:45:17.175 when you zoomed way into an old TV. 00:45:17.550 --> 00:45:20.387 The cathodic lines or those skinny lines that you would see 00:45:20.387 --> 00:45:23.181 in NTSC old, square TVs. 00:45:23.181 --> 00:45:25.725 And so we went to photography, 00:45:25.725 --> 00:45:28.061 and we found our favorite images 00:45:28.061 --> 00:45:29.938 for what this boundary could be, 00:45:29.938 --> 00:45:31.731 using the language of television. 00:45:33.566 --> 00:45:37.862 Westview was meant to be Wanda's idyllic town, 00:45:37.862 --> 00:45:39.781 so that was a touchstone. 00:45:39.781 --> 00:45:42.409 Everything about Wanda's home inside, 00:45:42.409 --> 00:45:44.411 outside, and the town they live in, 00:45:44.411 --> 00:45:49.374 came from this concept that she recreated the reality she wanted 00:45:49.374 --> 00:45:51.251 from her childhood, from those television shows. 00:45:51.584 --> 00:45:54.462 Really, it's executing a vision 00:45:54.462 --> 00:45:56.089 to the standard that Wanda would have wanted. 00:45:56.256 --> 00:45:59.634 As far as TV goes, there is an argument that 00:45:59.634 --> 00:46:04.014 Avengers and the Marvel MCU 00:46:04.014 --> 00:46:09.352 is the largest episodic experiment ever, right? 00:46:09.352 --> 00:46:12.230 Because it's like these shows 00:46:12.230 --> 00:46:14.107 that then have spin-offs that are interconnected 00:46:14.107 --> 00:46:17.027 and then different... Until we culminate. 00:46:17.027 --> 00:46:18.278 Spirits lifted. 00:46:18.737 --> 00:46:21.156 It has always been episodic storytelling, 00:46:22.407 --> 00:46:27.078 For Marvel to take the opportunity to do a television show, 00:46:27.078 --> 00:46:29.873 and for the first show to come out to be an actual love song 00:46:29.873 --> 00:46:31.875 to American sitcoms, 00:46:31.875 --> 00:46:37.422 is so perfect, and it's so perfect for Wanda's character. 00:46:39.883 --> 00:46:43.928 Dick Van Dyke again? Always "sitcom, sitcom, sitcom..." 00:46:43.928 --> 00:46:46.639 The thing that I really loved at the end of the journey 00:46:46.639 --> 00:46:48.266 is, I think it's the first time 00:46:48.266 --> 00:46:51.603 Wanda has really accepted who she is 00:46:51.603 --> 00:46:54.773 and actually puts to bed so much pain. 00:46:54.773 --> 00:46:59.694 And we find her finally having peace and being okay. 00:46:59.694 --> 00:47:01.404 I can't feel you. 00:47:01.404 --> 00:47:07.827 I'm so excited now that we've cracked open this other part of her, 00:47:07.827 --> 00:47:12.081 so that there hopefully could be more stories to tell. 00:47:12.081 --> 00:47:13.666 It's been such a gift, 00:47:13.666 --> 00:47:17.629 and so I really loved doing this show. 00:47:17.629 --> 00:47:18.922 Cut. 00:47:18.922 --> 00:47:20.673 That is a wrap on Lizzy. 00:47:21.841 --> 00:47:23.134 But what is grief... 00:47:24.677 --> 00:47:27.722 if not love persevering?