WEBVTT

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Thyme...

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No, the other "Time."

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Thank you. Much better.

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Time...

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For some, time is a wheel.

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An infinite repetition of what came before
and what is yet to come.

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Looping endlessly over and over.

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For others, time is an arrow.

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Pressing faithfully forward.

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We began Loki on February 10, 2020,

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at eight o'clock in the morning

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and wrapped production 299 days later.

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Approximately 7,176 hours.

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Or 430,560 minutes,

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working and breathing
and dreaming with the show.

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Take that number and whittle it down
with many clever edits,

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and you get six episodes.

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Totaling 280 minutes and 17 seconds
of programming.

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Now, whittle the experience down
even further,

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and you get this one-hour...

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Give or take, documentary.

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A comparatively brief time capsule.

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A remembrance of things past.

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Given the constraints,
we shouldn't waste a single second.

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Let's go back to the beginning.

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At the end of the first day,
I cannot believe that I'm doing this.

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I literally cannot believe it's happening.

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Um, I first wore this costume
ten years ago.

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I can't believe I'm still wearing it.

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Um, and I'm so excited about this show.

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Um, I'm so grateful to all of you
for everything you're gonna do on it.

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So, um, thank you for day one of 849.

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And onward we march.

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I remember going to see
the first Iron Man in 2008.

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And I was actually in Sweden, working on
a project there with Kenneth Branagh.

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And he went to see it the next weekend,

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and we both thought,
"God, Iron Man was extraordinary."

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And then he got the job
of directing Thor...

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I kind of joked about, you know...

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I think once we were on stage,

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and I came in with an empty water cooler
and pretended it was the hammer of Thor.

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He was able to invite me to audition

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'cause he knew that it was going to be
a huge opportunity for so many people.

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It's a long time
since I've seen you smile.

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I remember,
as clear as day, the first auditions.

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I almost remember the scenes.
There was a scene between two brothers,

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and they couldn't reveal
the character names.

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One was called Michael,
the other was called Lucas.

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I believe I learned both sets of lines.

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So you're saying...

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that our friends will stand with me
in defending our home,

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but my own brother will not?

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And then a month later, Chris Hemsworth
and I got the call on the same day.

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Chris and I got together,
and the moment I met him, I thought...

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"This is the beginning
of the most extraordinary journey.

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"And I don't know where it's going to go,
but I really like this person.

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"This could be something."

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From that point on,
I just threw myself at it.

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I threw my whole soul at it.

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Tom is a fan favorite. People loved
what he's brought to the character Loki.

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He's a character that has always
found a way to come back organically

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in new, and interesting,
and exciting ways.

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Your savior is here!

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As we were looking for the kind of stories
we wanted to tell on Disney Plus,

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Tom just seemed like a real no-brainer

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because of the richness of that character
and the depth of that fan base.

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Something happened after Avengers One.

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That's when I realized that
Loki as a character

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had taken on a life of its own
in the mind of the audience.

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So that by the time
we got to Comic-Con in 2013,

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Kevin Feige had this idea that
I should go out on stage in character.

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And I said to him,
"That's insane and amazing.

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"I'm in. Let's go."

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It was a moment in time
that is unrepeatable.

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I don't think I'll ever have a moment
like that ever again.

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It was like stepping off...

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Somehow out of the environment,
into the world, as the character.

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And hearing and feeling
the energy in that room

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was something I will never forget.

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Say my name.

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- Loki!
- Say my name!

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- Loki!
- Say my name!

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Loki!

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And I think after that,
it was, very generously,

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that Kevin Feige, and Louis D'Esposito,
and Victoria Alonso at Marvel thought,

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"Well, Loki's got to hang around
for a bit longer."

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I, Loki, Prince of Asgard,

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Odinson, rightful king of Jotunheim,

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God of Mischief...

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I remember meeting
Joe and Anthony Russo.

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And they said, "Infinity War is in...

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"It's a labyrinthine thing,
and everyone's involved.

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"And we're trying to refine
what happens in it.

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"There are some things
we're not sure of yet. However...

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"we are sure that the opening of this film

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"is Loki giving the Tesseract to Thanos."

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You really are the worst brother.

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"After which he is executed."

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And I looked at Kevin, and I said...

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"So, that's it?"

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And he was like, "Yep."

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No resurrections this time.

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It's gonna be
an extraordinary moment because...

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Immediately, you believe
in the power of Thanos.

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That sacrifice meant something.

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And we didn't wanna undo that sacrifice,
or suggest that it never really happened,

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or some other sort of way
that felt like it might cheapen

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the real emotional weight
of that moment in that film.

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We knew we wanted
to tell more stories with Tom.

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On my way down
to coordinate search and rescue.

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"On my way down
to coordinate search and rescue."

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I mean, honestly,
how do you keep your food down...

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Shut up.

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As Endgame was coming together,
the idea that,

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throughout the time travel misadventures
of the Avengers, something goes wrong...

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No stairs!

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Tom grabs the Cube
and disappears.

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It's a complication in that movie that
really sets our heroes on their back foot.

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What's interesting is,
it's not dealt with.

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We have no idea where that goes.

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One of the things that Kevin Feige
and myself were talking about was,

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"Could that be a jumping-off point
for a new way to tell a Loki story?"

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Variant identified.

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I beg your pardon?

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TV has always been
the medium of the anti-hero.

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You think about the great anti-heroes
like Don Draper or Tony Soprano.

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There's enough time to kind of understand
what some people might call

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"the bad guy" in another movie
or another type of story.

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So we really wanted to have
as much runway as possible

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to explore kind of what makes Loki tick.

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We did the math, and he's...

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Loki's been on screen
for less than two hours

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over the course of ten years,
and he's made this huge impact.

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And suddenly now,
we have six hours to tell this story.

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That's better.

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It's a serious show.
It's a dramatic show.

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It's a thrilling show.
It's a really wacky show.

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And it was just this amazing
team of writers, led by Michael Waldron,

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just trying to crack

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the world and the logic
of how this show works.

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"The TVA manages all of time."
What does that mean?

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You know, I think a lot
of people, what they expected was, like,

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"This'll be Quantum Leap.

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"This is gonna be Loki
riding with Paul Revere,

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"influencing historical events."

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And my pitch from the first time
I met with those guys is,

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"Let's blow up
what people think the show is."

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How'd we do?

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When we were looking
for a director for this series,

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we had a lot of interested parties,
a lot of great conversations.

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Kate really rose above all of them
because of her take on the material.

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I remember my agent
telling me, basically,

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"This is just, like, a friendly
kind of meet-and-greet.

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"Do not prepare a pitch."

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I ignored that and I did, like,
a full-on pitch.

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She came in
with this shock-and-awe pitch

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that was the most amazing pitch
that I had ever seen,

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where it truly was the...
What the show has become.

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And I remember leaving that meeting

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feeling like this is a person
who understands the spirit

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of what we would love to achieve with it.

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And wasn't just going
to execute those ideas,

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but that was going to push them
even further.

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All at the same time,
lift your weapons up towards these guys,

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like, ready to fight.

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I asked her, "What do you think, Kate,
that the show is about?"

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And she said,
"I think it's about self-acceptance.

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"You got a character who doesn't know
how to change and grow.

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"And we have this amazing story
that's actually about

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"coming to terms with who you are."

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From that moment, I thought, "This woman
knows what she's doing. She's in."

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It was such a human, such a deep insight,
so simply put.

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I'm just a bit
of a cheeseball, to be honest.

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Like, I just...
I love that it's about self-love

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and, like, getting past your demons.

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And I think something I always
try and bring to everything I do is,

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digging into the emotion
and the truth of that,

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and sort of letting the characters
be ugly, in a way.

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For me, it feels a bit more real.

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Again, I think it's just, like, don't be
scared to tread on each other a bit.

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-Okay, okay, nice. Yeah. Right. Yeah.
-'Cause it's like...

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- As long as it's okay that we overlap.
- Here we go. Picture up...

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She has so many real-life
experiences that she puts into the show.

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She's worked in a lot of offices
that sound a lot like the TVA,

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so she would understand the buttons
to push to drive Loki crazy.

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The passage of time
may be constant,

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but the sensation of time is not.

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An hour on the beach,

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basking in the briny glow
of utter freedom,

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feels very different from an hour-long
session in a dentist's chair.

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And yet, a minute is a minute is a minute.

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We move forward one minute at a time,
one moment at a time...

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Stop...

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...whether we want to or not.

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-And for that...
-Stop it!

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...we can thank our tireless friends
at the Time Variance Authority.

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There's an organization that
goes back in the history of Marvel Comics

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called the Time Variance Authority,
the TVA.

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It's an organization that
I've long been fascinated with,

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just as I've paged through comics
at Marvel

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in the years that I've been there.

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And I always knew that
they could have a very cool story to tell.

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The notion of this bureaucracy

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that basically controls
all of time and space.

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-Come on.
-Let's go.

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You're making a terrible mistake.

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He's the trickster,
and he's this prince of Asgard,

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this God of Mischief, who's had
this somewhat villainous role to play.

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And we really just liked the idea
of plucking him,

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quite literally out of his own time

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and throwing him down in a place
where he doesn't know the rules.

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You see him first in his Avengers costume.

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And so, that's this, you know,

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very elaborate
sort of fighting outfit, right?

00:11:50.292 --> 00:11:51.794
Absolutely not.

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This is fine Asgardian leather.

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So we wanted to just do
a real stark contrast.

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Just a very, like, open it up with a bang.

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Now, hang on just a minute.

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Two... one... Action!

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We put him
in a standard-issue TVA jumpsuit

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and essentially, in that scene,

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break him down
to his most vulnerable core.

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Please, through the door.

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Oh, right. So the floor can drop out
from under me as soon as I try to leave.

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Nice try. I'm ready for it this time.

00:12:23.576 --> 00:12:26.370
-That's not how this chamber works.
-Liar.

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You kind of wanted to give
a little insight into the character

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that wasn't just about the wall
of the superhero costume, right?

00:12:35.212 --> 00:12:36.672
You wanted to feel like

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you were penetrating some layers
into this character.

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You have no idea what I'm capable of!

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I... I think I might.

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Have an idea of what he's capable of.

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I remember sitting down
with Kevin Wright, the producer,

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and some of the writers,

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and they were telling me the story
of the show. And they were like,

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"So, there's this really interesting
character called Mobius and, um,

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"he's kind of like
an analyst in the TVA.

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"And he's a great intellect,
and he's a scholar.

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"And he kind of understands Loki.

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"And he's able to
show him parts of himself

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"he's never understood before."

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And I always thought, "God,
I wonder who's gonna play that part?"

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-And here he is.
-Here he is.

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The one and only.

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Let me ask you this. How...

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Thought you were leading up to, like,

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"And there's only one person
in my mind..."

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-There's only...
-"...who could play this."

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There's only one person.

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-Instead it was, "Who is it gonna be?"
-It was only ever...

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"Here he is."

00:13:38.901 --> 00:13:42.154
Well, when they first
spoke to me about Iron Man,

00:13:42.238 --> 00:13:45.366
I kind of wanted to let Marvel
get established a little bit.

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And so then when they talked to me
about Thor, and then about...

00:13:48.911 --> 00:13:51.956
uh, Captain America, and even Hulk,

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I was like,
"Well, you know, I don't know..."

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So, um, it... I'm just kidding.

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You know what's funny is, like,
even the name "Mobius," it's like...

00:14:01.549 --> 00:14:02.842
I just like that name.

00:14:02.925 --> 00:14:05.052
-It just is a cool...
-It's a great name. Yeah.

00:14:05.135 --> 00:14:07.221
So when people say,
"What are you doing?"

00:14:07.304 --> 00:14:11.684
And, you know, "What are you doing
in the Marvel Universe?"

00:14:11.767 --> 00:14:15.521
"No, I'm not wearing a cape.
I'm not... I don't have any superpowers.

00:14:15.604 --> 00:14:20.150
"Other than the name 'Mobius,'
which has a certain power to it."

00:14:20.234 --> 00:14:22.361
In a story about anti-heroes,

00:14:22.736 --> 00:14:26.448
the exciting thing about Mobius
was to play a guy

00:14:26.532 --> 00:14:31.620
who was really just kind of
a down-the-middle, old-school hero.

00:14:31.704 --> 00:14:33.330
Clock's always tickin'.

00:14:35.833 --> 00:14:38.460
Which is better than the alternative.

00:14:38.544 --> 00:14:40.963
He's the rascally detective.

00:14:41.046 --> 00:14:44.508
And such a good foil for Tom.

00:14:44.592 --> 00:14:46.093
How's training going?

00:14:46.176 --> 00:14:48.053
-Complete natural.
-Yeah?

00:14:48.554 --> 00:14:50.681
Learning about my jet ski there?

00:14:50.764 --> 00:14:54.977
It was great when I first
got down here to work in Atlanta

00:14:55.060 --> 00:14:58.981
because Tom...
We sort of called them "The Loki Lectures"

00:14:59.064 --> 00:15:05.279
that Tom would take us through
and work with me individually.

00:15:05.362 --> 00:15:10.284
Just going over the lore
and everything that he felt was important,

00:15:10.367 --> 00:15:13.120
and showing me clips and things.

00:15:13.203 --> 00:15:18.208
So that was really important to me
for understanding.

00:15:18.292 --> 00:15:20.794
And then also, I ended up just
sort of writing down

00:15:20.878 --> 00:15:23.339
some of the stuff he said describing Loki.

00:15:23.422 --> 00:15:28.594
And I think that even worked its way
sometimes into dialogue that I would say.

00:15:29.470 --> 00:15:30.930
Glorious purpose.

00:15:31.513 --> 00:15:36.226
I remember Owen asking me
what I loved about playing Loki.

00:15:36.310 --> 00:15:38.520
Like, never mind what was great
about the character,

00:15:38.604 --> 00:15:40.189
what other people could see.

00:15:40.272 --> 00:15:42.441
He was like,
"Tom, what do you love about it?

00:15:42.524 --> 00:15:44.276
"What do you love about Loki?"

00:15:44.360 --> 00:15:46.236
And I heard myself saying,

00:15:46.320 --> 00:15:49.239
"He plays all the keys on the piano.

00:15:50.157 --> 00:15:54.036
"So, he plays the light keys
and the major keys, all the...

00:15:54.119 --> 00:15:56.121
"All the light, white notes up there.

00:15:56.205 --> 00:15:59.416
"But he also plays the heavy keys
with the left hand.

00:15:59.500 --> 00:16:03.462
"Those deep, profound chords

00:16:03.545 --> 00:16:08.258
"which are full of sorrow, and grief,
and anger.

00:16:08.634 --> 00:16:12.888
"And he's able to somehow make it...

00:16:12.972 --> 00:16:18.227
"The music of Loki internally
has this breadth of the scale."

00:16:18.686 --> 00:16:22.982
Um, and Owen said,
"That sounds about right."

00:16:23.065 --> 00:16:24.274
Enough.

00:16:27.027 --> 00:16:28.445
Back in your cage.

00:16:29.363 --> 00:16:31.198
See, I can play the heavy keys, too.

00:16:31.949 --> 00:16:36.036
I had a nice conversation one day
where I was talking with Tom.

00:16:36.120 --> 00:16:39.707
And he quoted something, and I said,
"Is that Shakespeare?"

00:16:39.790 --> 00:16:41.375
And he said, "Yes, Hamlet."

00:16:41.458 --> 00:16:44.628
And I was proud just that
I got the Shakespeare part.

00:16:44.712 --> 00:16:47.548
And then I said,
"Have you played Hamlet?"

00:16:47.631 --> 00:16:52.011
And he said, yes, he had.
That, in fact, Kenneth Branagh

00:16:52.094 --> 00:16:55.889
directed him
in some performances of Hamlet.

00:16:56.181 --> 00:17:00.144
And he described what that was like
and how rewarding it was,

00:17:00.227 --> 00:17:02.187
and I was just listening.

00:17:02.271 --> 00:17:07.151
And, um, when he finished, and this is,
I guess, that sort of English politeness,

00:17:07.276 --> 00:17:09.611
uh, there was a slight sort of pause.

00:17:09.695 --> 00:17:12.656
And then he said,
"Have you ever played Hamlet?"

00:17:12.740 --> 00:17:17.578
Uh, and it's the first time, uh,
that, uh...

00:17:17.661 --> 00:17:19.246
That someone I've worked with

00:17:19.329 --> 00:17:23.167
has ever even thought to ask me
if that was a possibility.

00:17:23.250 --> 00:17:27.463
Because I can't imagine
Ben Stiller ever having wondered,

00:17:27.546 --> 00:17:29.757
"God, has Owen ever played Hamlet?"

00:17:29.840 --> 00:17:31.925
If you had to do a Shakespeare play...

00:17:32.801 --> 00:17:34.344
what would you choose?

00:17:35.429 --> 00:17:37.973
Two Gentlemen of Verona, I think.

00:17:43.312 --> 00:17:44.605
Do you know it well?

00:17:44.688 --> 00:17:47.107
Tom almost was able to keep
a straight face.

00:17:47.191 --> 00:17:48.984
-By heart.
-That's when I felt like...

00:17:49.068 --> 00:17:52.696
When he was asking the question,
"Have you played Hamlet?"

00:17:52.780 --> 00:17:55.199
That's, like... He was just, like...

00:17:55.282 --> 00:17:57.159
Just being so polite about it.

00:17:57.242 --> 00:17:58.410
-But...
-You never know.

00:17:58.494 --> 00:18:00.329
-You could've played it at school...
-Yeah.

00:18:00.412 --> 00:18:01.747
...in a school production.

00:18:01.830 --> 00:18:03.957
-Yeah. What one could I...
-You know most of it.

00:18:04.041 --> 00:18:06.085
He knows most of Hamlet.
People don't know that.

00:18:06.168 --> 00:18:07.503
-You know it by heart.
-No.

00:18:07.586 --> 00:18:09.338
-That's not true.
-You know some of it.

00:18:09.421 --> 00:18:11.673
-As You Like It?
-"Cease to persuade, loving Proteus.

00:18:11.757 --> 00:18:14.176
"Home-keeping youth have ever homely wit."

00:18:14.259 --> 00:18:17.971
That's the first line
from Two Gentlemen of Verona, I think.

00:18:18.055 --> 00:18:20.099
Which, I don't know the play,

00:18:20.182 --> 00:18:24.144
but in college,
I took a Shakespeare class.

00:18:24.394 --> 00:18:28.107
Déjà vu. Yeah, time moves
a little differently here in the TVA.

00:18:28.190 --> 00:18:31.151
I think something that me and Owen
spoke about at the very beginning was

00:18:31.235 --> 00:18:33.487
he really wanted to, like,
get out of himself.

00:18:33.570 --> 00:18:36.949
And I think a key thing for that
was the wig.

00:18:37.032 --> 00:18:39.409
Obviously, we wanted to keep
the moustache for Mobius

00:18:39.493 --> 00:18:42.037
'cause that's so key
to his character in the comics

00:18:42.121 --> 00:18:44.039
and the artist that he's based on.

00:18:44.123 --> 00:18:46.625
You gonna keep this?
Or is this gonna stay in your life?

00:18:46.708 --> 00:18:49.503
Well, I've gotten a lot of compliments
on this moustache.

00:18:49.586 --> 00:18:52.381
-It's very dashing, I think.
-"Dashing" is the word that

00:18:52.464 --> 00:18:54.758
a lot of people have used.
So I might...

00:18:54.842 --> 00:18:56.301
-I can't afford...
-"Dapper."

00:18:56.385 --> 00:18:57.928
"Dapper." I don't think

00:18:58.011 --> 00:19:00.139
-I can afford to shave this.
-"Smart." Yep.

00:19:00.222 --> 00:19:01.807
-This might be from...
-"Fancy."

00:19:01.890 --> 00:19:05.519
From here on out when you see ol' OCW,

00:19:05.602 --> 00:19:08.313
you might...
see him with a mustache.

00:19:08.647 --> 00:19:10.899
I really like the whole look.

00:19:10.983 --> 00:19:13.411
And maybe it's a little bit sort of
like that feeling as a kid

00:19:13.420 --> 00:19:15.880
when you're kind of make believe.

00:19:16.037 --> 00:19:18.006
Come on, gear up. There's been an attack.

00:19:19.741 --> 00:19:23.287
Well, that's why I like this hat,
because this feels a little bit like a...

00:19:23.370 --> 00:19:25.873
A gumshoe from kind of the '40s,

00:19:25.956 --> 00:19:29.376
which I feel like
this "TVA" is a bit like.

00:19:29.459 --> 00:19:33.881
I just wanted him to look completely
like off-the-rack detective.

00:19:33.964 --> 00:19:38.010
Almost as if he, you know,
just found his clothing

00:19:38.093 --> 00:19:40.012
through the lost and found at the TVA.

00:19:40.095 --> 00:19:43.557
"Insubordinate, stubborn, unpredictable."

00:19:44.224 --> 00:19:46.018
Sounds like someone else I know.

00:19:46.101 --> 00:19:48.312
I was just thinking
it sounds like someone I know.

00:19:48.395 --> 00:19:54.026
We always had the Time-Keepers
as kind of this big, omnipotent threat,

00:19:54.109 --> 00:19:57.112
antagonistic force in the TVA.

00:19:57.571 --> 00:19:59.948
But as we were writing the series,

00:20:00.032 --> 00:20:04.953
we realized we probably need
a more on-the-ground threat.

00:20:05.037 --> 00:20:07.956
And that really took the form
of Judge Renslayer.

00:20:08.040 --> 00:20:11.793
You ridiculous bureaucrats
will not dictate how my story ends!

00:20:11.877 --> 00:20:15.172
It's not your story, Mr. Laufeyson.
It never was.

00:20:15.255 --> 00:20:20.510
Judge Renslayer, played
with such poise, and authority, and power

00:20:20.594 --> 00:20:22.930
by Gugu Mbatha-Raw,

00:20:23.013 --> 00:20:27.100
is the TVA's Chief Justice.

00:20:27.184 --> 00:20:28.435
Hey!

00:20:29.770 --> 00:20:32.356
I loved the dimensions of Renslayer.

00:20:32.439 --> 00:20:35.230
I felt like people who know the comics
know who she is,

00:20:35.283 --> 00:20:37.653
but she's never been interpreted before,
you know.

00:20:37.736 --> 00:20:41.573
So, there is a sense that
you are really getting to create her.

00:20:41.657 --> 00:20:45.160
And I just love the depths that she has
and the layers that she has.

00:20:45.244 --> 00:20:47.037
And I think that she's powerful.

00:20:47.120 --> 00:20:49.248
She's well respected.
She's worked her way up.

00:20:49.331 --> 00:20:50.332
There's our Variant.

00:20:50.415 --> 00:20:53.335
I don't think I've ever played
such an authoritative character.

00:20:53.418 --> 00:20:56.171
You know what would happen
if we didn't prune the Timeline?

00:20:56.255 --> 00:20:58.340
- What?
- Chaos. Death.

00:20:58.423 --> 00:20:59.925
Free will?

00:21:00.008 --> 00:21:01.510
Free will?

00:21:01.593 --> 00:21:04.054
Only one person gets free will.

00:21:04.137 --> 00:21:05.264
The one in charge.

00:21:10.143 --> 00:21:12.688
We are here in my office...

00:21:12.771 --> 00:21:16.275
Uh, Ravonna Renslayer,
Judge Renslayer's office.

00:21:16.358 --> 00:21:19.069
Uh, and this is...
This is an incredible set.

00:21:19.152 --> 00:21:21.655
And obviously we can't fully see
right behind us,

00:21:21.738 --> 00:21:25.367
but between the Time-Keepers right here,

00:21:25.450 --> 00:21:30.414
um, there's an amazing view,
um, of the whole of the TVA.

00:21:30.497 --> 00:21:34.626
And it's really, um...
It's really a powerful space.

00:21:34.710 --> 00:21:37.671
I love it. And it's got that
mid-century warmth to it.

00:21:37.754 --> 00:21:40.424
I really feel like
I've bonded with the space.

00:21:42.801 --> 00:21:47.222
We all just knew
we wanted to build sets.

00:21:47.306 --> 00:21:54.271
The TVA just lent itself to a tactile,
real, grounded feeling.

00:21:54.563 --> 00:21:57.983
You wanted to see the rings of coffee
on papers and desks.

00:21:58.066 --> 00:22:00.986
And like, to do that, you just...
You have to build the world.

00:22:02.404 --> 00:22:05.574
For the record, this really does feel
like a killing-me kind of a room.

00:22:05.657 --> 00:22:08.535
You wanna have this kind of
Big-Brother-is-watching vibe

00:22:08.618 --> 00:22:11.163
with the TVA, that the Time-Keepers
are always watching.

00:22:11.246 --> 00:22:13.957
And it has this beautiful,
big statues of the Time-Keepers,

00:22:14.041 --> 00:22:15.834
'cause they are gods, essentially.

00:22:15.917 --> 00:22:19.046
But I love the idea of marrying that
with the Mad Men aesthetic,

00:22:19.129 --> 00:22:22.090
because, you know, we think that
they're good guys, and it's stylish.

00:22:22.174 --> 00:22:23.675
Home sweet home.

00:22:26.470 --> 00:22:28.138
I thought there was no magic here.

00:22:28.221 --> 00:22:29.473
There isn't.

00:22:29.973 --> 00:22:32.976
We talked a lot about
fun sci-fi bureaucracies,

00:22:33.060 --> 00:22:36.438
things like Defending Your Life,
or Beetlejuice,

00:22:36.521 --> 00:22:38.440
or Terry Gilliam's Brazil.

00:22:38.523 --> 00:22:42.486
They've all been great touchstones
for this massive organization

00:22:42.569 --> 00:22:46.573
that feels kind of stuck in the past,
in that it's very analog...

00:22:46.656 --> 00:22:49.409
There's a lot of paper,
a lot of older machines.

00:22:49.493 --> 00:22:53.246
But also do this amazing, huge job
of controlling all of time, basically.

00:22:53.330 --> 00:22:55.665
Is this the greatest power
in the universe?

00:22:55.749 --> 00:22:58.543
Autumn, our director of photography,
is doing an amazing job.

00:22:58.627 --> 00:23:01.505
Painting with light
and making things feel very cinematic,

00:23:01.588 --> 00:23:02.923
very moody, and very cool.

00:23:04.549 --> 00:23:06.385
Mischievous scamp.

00:23:14.476 --> 00:23:16.895
The world that the production
designers created

00:23:17.020 --> 00:23:20.649
and kind of Kate's come up with
is very unique for Loki,

00:23:20.732 --> 00:23:22.401
and it has a lot of texture.

00:23:22.484 --> 00:23:26.154
And I like to kind of bring
that to the space

00:23:26.238 --> 00:23:28.156
with lighting and lens choice.

00:23:28.240 --> 00:23:31.785
And, you know, I want it to
not be too sharp and too pristine,

00:23:31.868 --> 00:23:35.622
so it feels like it could
have been shot on 35.

00:23:35.705 --> 00:23:37.082
And that's important to me,

00:23:37.165 --> 00:23:39.584
and I think everyone
was kind of on board with that.

00:23:40.210 --> 00:23:41.753
Swinging for the fences!

00:23:41.837 --> 00:23:43.672
The TVA is radically different

00:23:43.755 --> 00:23:46.174
than what we've seen so far in the MCU.

00:23:46.258 --> 00:23:50.345
It's heavily kind of influenced
by mid-century Modernism and Brutalism,

00:23:50.429 --> 00:23:56.226
with a strong dose
of Kafka-esque humor mixed into it

00:23:56.309 --> 00:23:59.020
and bureaucratic kind of chaos.

00:23:59.104 --> 00:24:02.441
-Wish I could say I was surprised.
-Yeah, I wish you hadn't interrupted us.

00:24:02.524 --> 00:24:05.360
-Me? It's my fault?
-Look, he can't have gotten very far.

00:24:05.444 --> 00:24:06.528
Split up!

00:24:06.611 --> 00:24:08.905
Some of the architecture
and the design are circular.

00:24:08.989 --> 00:24:11.408
I suppose it's the idea
of how we think of time.

00:24:11.491 --> 00:24:13.285
Time does exist in circles.

00:24:13.368 --> 00:24:15.328
Clocks and watches are circular.

00:24:15.412 --> 00:24:17.581
We talk of the years and the seasons.

00:24:17.664 --> 00:24:21.126
We speak of seasonal cycles,
and we think of time as a kind of...

00:24:21.793 --> 00:24:23.670
it's something that rolls along.

00:24:23.753 --> 00:24:24.963
Take a ticket.

00:24:25.046 --> 00:24:28.049
In some ways,
that is one of our simplest sets.

00:24:28.133 --> 00:24:32.387
And yet it's a lot of people's favorite,
and it's sort of the funniest.

00:24:32.471 --> 00:24:35.098
The idea is that
it's like a very oppressive,

00:24:35.182 --> 00:24:37.225
compressed but trash compactor box.

00:24:37.309 --> 00:24:38.643
Standing in this room now,

00:24:38.727 --> 00:24:41.688
the ceiling is incredibly low,
and there are all these lights.

00:24:41.771 --> 00:24:45.233
It feels quite claustrophobic.
And you just wanna get out.

00:24:45.317 --> 00:24:47.235
The ceilings are 7'6''.

00:24:47.319 --> 00:24:51.740
Even in a pretty humble apartment,
you typically have 8-foot ceilings,

00:24:51.823 --> 00:24:53.867
so there's six inches less headroom.

00:24:53.950 --> 00:24:56.161
So it feels like
it's kind of crushing down on you.

00:24:56.244 --> 00:24:59.164
And then, obviously,
as you know, the ceiling is covered

00:24:59.247 --> 00:25:03.502
in this sea of illuminated
circles of white, reflected light.

00:25:03.585 --> 00:25:05.295
And inside of each circle,

00:25:05.378 --> 00:25:09.591
there is a bulb that has a chrome tip
at the bottom and shines light up.

00:25:09.674 --> 00:25:13.512
And so, if you look at it, it looks
like a sea of eyeballs, essentially.

00:25:13.595 --> 00:25:18.642
And, you know, there's all the stanchions
and the kind of nylon ropes

00:25:18.725 --> 00:25:21.186
that are corralling them like cattle,

00:25:21.269 --> 00:25:24.523
immediately stripping them
of any kind of free will.

00:25:24.606 --> 00:25:26.733
Thanks for visiting the TVA.

00:25:26.816 --> 00:25:29.027
Don't hesitate
to let us know how we're doin'.

00:25:29.611 --> 00:25:33.240
We interestingly have a lot
of hierarchy across the whole story.

00:25:33.323 --> 00:25:38.828
Like the TVA, in its design, for example,
you have Minutemen, Analysts, then Judges.

00:25:38.912 --> 00:25:40.830
But that's reflected
in the design of the TVA.

00:25:40.914 --> 00:25:43.500
We have these kind of
Shining Overlook-style corridors

00:25:43.583 --> 00:25:45.043
that are endless and go on forever.

00:25:45.126 --> 00:25:48.421
But we have the security level,
and the management office level,

00:25:48.505 --> 00:25:50.298
and then the level where Renslayer is.

00:25:50.382 --> 00:25:53.051
And I think that
that was really key as well,

00:25:53.134 --> 00:25:56.972
was making it clear that the TVA,
even in the design and the architecture,

00:25:57.055 --> 00:25:58.765
had this kind of feeling of hierarchy.

00:25:58.848 --> 00:26:04.396
We really worked hard to develop
class systems in this show.

00:26:04.479 --> 00:26:06.565
So we just created
all this different ranking.

00:26:06.648 --> 00:26:10.569
So basically, the Hunters
have solid black uniforms.

00:26:10.652 --> 00:26:13.863
All the Minutemen,
all the sort of enlisted, have,

00:26:13.947 --> 00:26:15.615
what I call the harlequin pattern,

00:26:15.699 --> 00:26:19.619
where everybody's, from side to side,
it's a contrasting panel,

00:26:19.703 --> 00:26:21.788
and it switches around on each person.

00:26:21.871 --> 00:26:25.709
So sometimes one panel
is lighter on the right side.

00:26:25.792 --> 00:26:27.836
On the other person,
it's light on the left side.

00:26:27.919 --> 00:26:29.546
On an another,
it's light on the front.

00:26:29.629 --> 00:26:32.424
So that it played
with the concept of time and space.

00:26:32.507 --> 00:26:35.760
If you see a Loki, prune it.

00:26:37.178 --> 00:26:39.180
The bad Loki, preferably.

00:26:39.264 --> 00:26:43.852
It is kind of meant to feel
that this organization

00:26:43.935 --> 00:26:46.771
sort of strips you of your individuality.

00:26:46.855 --> 00:26:50.567
And the only things
that I did do were scarring marks.

00:26:50.650 --> 00:26:56.740
Like B-15 has the amount of kills
she's scratched in numbers on her helmet.

00:26:57.907 --> 00:27:01.286
She's a badass.
She's proficient physically.

00:27:01.369 --> 00:27:05.457
And, um, she's strong.
She's dedicated and loyal.

00:27:05.540 --> 00:27:07.334
Your Loki jumped me.

00:27:07.417 --> 00:27:09.294
I told you he wasn't to be trusted.

00:27:09.377 --> 00:27:12.505
When we were casting,
Wunmi came in, and it was just like,

00:27:12.589 --> 00:27:14.507
"This is it.
This is the character."

00:27:14.591 --> 00:27:17.052
We talked a lot about religion and faith.

00:27:17.135 --> 00:27:19.638
And when people have crisis of faith or

00:27:19.721 --> 00:27:24.643
like an epiphany or an awakening
and everything changes.

00:27:25.352 --> 00:27:26.394
I looked happy.

00:27:29.522 --> 00:27:30.523
What now?

00:27:30.607 --> 00:27:35.153
She brings this warmth to the character,
but then she is our most badass.

00:27:35.236 --> 00:27:37.405
Honestly, she's like
an action hero, right?

00:27:37.489 --> 00:27:39.366
It was such an exciting
moment to be, like,

00:27:39.449 --> 00:27:42.202
bring this really awesome
woman to the MCU.

00:27:45.205 --> 00:27:50.251
I really was excited about doing
the stunts and doing all of that stuff

00:27:50.335 --> 00:27:52.587
'cause I've never really
done that stuff before.

00:27:52.671 --> 00:27:54.798
A huge part of it
was just being comfortable

00:27:54.881 --> 00:27:56.758
with a weapon like the Time Stick,

00:27:56.841 --> 00:28:00.428
where you turn it on, and you snap it open
and twist it, and the light goes on.

00:28:00.512 --> 00:28:03.181
It's orange when you want
to prune something.

00:28:03.264 --> 00:28:04.307
You almost hit me!

00:28:04.391 --> 00:28:06.476
And then we have
the TemPad, which,

00:28:06.559 --> 00:28:08.770
it looks like a mobile phone,
a gold mobile phone.

00:28:08.853 --> 00:28:10.772
And you can call up a Time Door.

00:28:10.805 --> 00:28:12.147
So that's what we'd use

00:28:12.190 --> 00:28:15.568
to get to the new branch
and back to the TVA.

00:28:15.652 --> 00:28:19.823
The technology that
they're using needs to feel like it's not,

00:28:19.906 --> 00:28:22.534
it's not futuristic, but it's not archaic.

00:28:22.617 --> 00:28:28.623
It needs to be this kind of
ethereal place in time.

00:28:28.707 --> 00:28:32.259
Because the way
that it was written and described

00:28:32.342 --> 00:28:35.839
in the script from the writers
was that it was a glassy time door,

00:28:35.922 --> 00:28:38.883
it instantly kind of started
to all click into place.

00:28:39.259 --> 00:28:40.260
Sir...

00:28:40.385 --> 00:28:42.971
And one of the things
that really inspired us

00:28:43.054 --> 00:28:46.015
for the Time Doors was David Lynch's Dune,

00:28:46.099 --> 00:28:48.393
when they're practice fighting,

00:28:48.476 --> 00:28:50.645
and they have these
kind of shields over them.

00:28:50.729 --> 00:28:54.232
And we did a camera test shoot,
and we shot an element.

00:28:54.315 --> 00:28:58.820
And instantly I jumped into
literally lookdeving this element out.

00:28:58.903 --> 00:29:03.992
And we lookdeved out probably
a good 150 different designs

00:29:04.075 --> 00:29:07.829
before we landed on something
that everyone really liked.

00:29:16.379 --> 00:29:17.881
Fancy technology.

00:29:19.090 --> 00:29:20.925
Threatening interrogation tactics.

00:29:22.552 --> 00:29:25.138
Seems you and I are in a loop of our own.

00:29:29.017 --> 00:29:32.095
Yeah, the Time Theater's
where we really broke the back of this,

00:29:32.178 --> 00:29:33.396
the early part of our shoot.

00:29:33.480 --> 00:29:37.859
And there's such a huge and hugely
important scene that takes place in it.

00:29:37.942 --> 00:29:39.736
Do you enjoy hurting people?

00:29:39.819 --> 00:29:41.029
It's a simple question.

00:29:41.112 --> 00:29:42.489
Do you enjoy killing?

00:29:42.572 --> 00:29:43.698
I'll kill you.

00:29:43.782 --> 00:29:45.283
What, like you killed your mother?

00:29:45.366 --> 00:29:47.076
He and Mobius in the Time Theater,

00:29:47.160 --> 00:29:50.705
it's two people talking
for 30 pages about identity

00:29:50.789 --> 00:29:53.833
and philosophy,
and life, and it's thrilling.

00:29:54.417 --> 00:29:56.377
I can't believe you were D.B. Cooper.

00:29:57.128 --> 00:29:59.130
I was young, and I lost a bet to Thor.

00:29:59.214 --> 00:30:02.091
Obviously, when you're working
on a Marvel production,

00:30:02.175 --> 00:30:04.969
there's a lot of secrecy, right?
So not everyone has a script.

00:30:05.053 --> 00:30:06.846
And I remember filming
on the Time Theater,

00:30:06.930 --> 00:30:09.808
Owen and Tom are looking at a stage,
but there's nothing on it.

00:30:09.891 --> 00:30:13.228
So, the stage is paused
on the Avengers on stage.

00:30:14.229 --> 00:30:18.733
And then Loki gets up.
He sets down the Time Disk.

00:30:18.817 --> 00:30:21.069
Me and the editors
have kind of cut together, like,

00:30:21.152 --> 00:30:24.656
"Okay, we think this is a good
moment to play, or this moment."

00:30:24.739 --> 00:30:27.575
Let's go from the top of that clip,
just so we get the timing on it.

00:30:27.659 --> 00:30:29.369
All right. Let's reset.
Let's shoot it.

00:30:29.452 --> 00:30:31.704
There were points
where the crew were like,

00:30:31.788 --> 00:30:35.917
"Okay. This is two guys in a room,
and they're looking at a wall.

00:30:36.543 --> 00:30:40.046
"And Kate and Tom seem
to have a groove for what's going on."

00:30:40.129 --> 00:30:42.799
'Cause I'd say, "Now it's Dark World.
Or now it's Avengers."

00:30:42.882 --> 00:30:45.802
So, I've gone back
to the same clip of Mum dying.

00:30:47.053 --> 00:30:50.306
This is where the reaction
goes on my own now.

00:30:50.390 --> 00:30:52.433
What was really
beautiful about it was that,

00:30:52.517 --> 00:30:55.103
filming that,
some of the crew were probably, like,

00:30:55.186 --> 00:30:56.437
"Okay, this is very strange."

00:30:56.521 --> 00:30:59.482
But they still threw
their heart and souls into it.

00:30:59.566 --> 00:31:03.152
And I think it was a real unifying moment
for everyone.

00:31:03.236 --> 00:31:06.489
And also, beyond that, just seeing
Owen and Tom's chemistry on screen.

00:31:06.573 --> 00:31:08.283
It was incredible.

00:31:08.366 --> 00:31:10.785
And, like, it kind of began
this chess match

00:31:10.869 --> 00:31:13.663
that both those characters really play
across the whole show.

00:31:13.746 --> 00:31:16.499
A fugitive Variant's
been killing our Minutemen.

00:31:17.375 --> 00:31:20.962
And you need the God of Mischief
to help you stop him?

00:31:21.254 --> 00:31:22.463
That's right.

00:31:23.131 --> 00:31:24.215
Why me?

00:31:24.757 --> 00:31:26.718
The Variant we're hunting is...

00:31:27.385 --> 00:31:28.469
you.

00:31:30.513 --> 00:31:31.514
I beg your pardon?

00:31:33.099 --> 00:31:36.060
"The enemy of my enemy is my friend."

00:31:36.561 --> 00:31:40.106
And Loki is, by far, his own worst enemy.

00:31:40.189 --> 00:31:43.860
In the 11 years of playing him,
over six films,

00:31:43.943 --> 00:31:46.821
spanning 13 hours and 50 minutes,

00:31:46.905 --> 00:31:49.532
he has fought his brother and his father,

00:31:49.949 --> 00:31:54.029
Frost Giants and Elves,
Avengers and Titans.

00:31:54.121 --> 00:31:56.707
But I can say with complete certainty

00:31:56.790 --> 00:32:01.795
that Loki's biggest battle
has always been within himself...

00:32:02.922 --> 00:32:04.340
...until now.

00:32:06.717 --> 00:32:11.555
If this show was about
Loki learning to love himself,

00:32:11.639 --> 00:32:16.268
a key way to help him arc and learn
to overcome those things

00:32:16.352 --> 00:32:18.145
is to have somebody that's gonna come in

00:32:18.228 --> 00:32:20.356
and challenge those views
in the first place.

00:32:20.439 --> 00:32:22.191
This isn't about you.

00:32:22.274 --> 00:32:23.275
Right.

00:32:23.776 --> 00:32:26.570
Sophia plays a character
in the comics

00:32:26.654 --> 00:32:29.698
that was known as Sylvie Lushton.
She was an apprentice of Loki's

00:32:29.782 --> 00:32:33.327
and sort of someone that
he groomed to be a great sorcerer.

00:32:33.410 --> 00:32:39.458
Our version in the show is basically
another version of Loki himself.

00:32:39.833 --> 00:32:40.960
What are you doing?

00:32:41.043 --> 00:32:42.044
What are you doing?

00:32:43.295 --> 00:32:45.255
-You trying to enchant me?
-No.

00:32:45.339 --> 00:32:47.508
-It won't work.
-Why? Because you're a magician?

00:32:47.591 --> 00:32:49.468
No, because my mind is too strong.

00:32:49.927 --> 00:32:52.346
What really
intrigued me about the story was that

00:32:52.429 --> 00:32:55.933
this was a female variant of Loki
who was a lot more in line

00:32:56.016 --> 00:32:58.477
with The Enchantress character
that we know from the comics,

00:32:58.560 --> 00:33:01.397
but also, in a sense, a complete
re-imagining of The Enchantress.

00:33:01.480 --> 00:33:03.774
I thought there was something
interesting in that.

00:33:03.857 --> 00:33:06.193
Like, taking these two kind of
identities of Loki

00:33:06.276 --> 00:33:07.569
but doing something different.

00:33:07.653 --> 00:33:09.363
-Keep it together.
-It's gonna be fine.

00:33:09.446 --> 00:33:15.911
She's another version of him
in the unlimited universes

00:33:16.620 --> 00:33:20.249
um, that are around.
And there are many versions of Loki.

00:33:20.332 --> 00:33:21.959
So her nexus event

00:33:22.042 --> 00:33:26.255
pulled her away
from her Loki life in Asgard,

00:33:26.338 --> 00:33:30.342
and so she's been living
a parallel life the whole time.

00:33:30.426 --> 00:33:32.302
And it hasn't been great for Sylvie.

00:33:36.932 --> 00:33:41.103
We still needed cues
to her being a Loki.

00:33:41.186 --> 00:33:45.399
But she needed to feel armored in a more
lost-and-found sort of way as well.

00:33:45.482 --> 00:33:50.696
Sort of as if she was picking up pieces
along the way in her hideout.

00:33:51.071 --> 00:33:52.948
It's as if Sylvie needed to feel

00:33:53.032 --> 00:33:56.368
as though she was trying to recede
into these worlds a little bit,

00:33:56.452 --> 00:33:59.371
but also be badass, tough, and armored.

00:33:59.455 --> 00:34:01.206
They've borrowed things
from Loki.

00:34:01.290 --> 00:34:04.251
Sort of the gold shape around the neck,

00:34:04.877 --> 00:34:07.421
and the leather, and the cape.

00:34:08.088 --> 00:34:10.132
The green circles on...

00:34:10.215 --> 00:34:13.177
On the arms are...
The green is for Loki, obviously.

00:34:13.260 --> 00:34:15.554
And there's little bits of Enchantress
there as well.

00:34:15.637 --> 00:34:18.348
We really wanted it to be super practical.

00:34:18.432 --> 00:34:22.186
Something that you can fight in
and that Sylvie could be on the run in,

00:34:22.269 --> 00:34:24.480
rather than high heels and a leotard.

00:34:31.236 --> 00:34:32.905
Such a gift of a character.

00:34:32.988 --> 00:34:36.992
I get to just be this absolute badass
who's really angry,

00:34:37.076 --> 00:34:39.620
and fight all of these guys.

00:34:43.165 --> 00:34:44.583
Something that was really fun

00:34:44.666 --> 00:34:46.752
in looking at Sylvie
and her fighting style

00:34:46.835 --> 00:34:48.962
and looking at these little
differences between her,

00:34:49.046 --> 00:34:50.756
you know, being a female version of Loki,

00:34:50.839 --> 00:34:52.049
what makes her different?

00:34:52.132 --> 00:34:53.801
And it's the nature and nurture.

00:34:53.884 --> 00:34:55.135
Bam. Push down.

00:34:55.219 --> 00:34:58.138
Loki grew up in a palace,
and he's very balletic, the way he fights.

00:34:58.222 --> 00:34:59.848
It's very graceful and very beautiful.

00:34:59.932 --> 00:35:04.311
Whereas Sylvie, she's had to be on the run
and live and grow up in an apocalypse.

00:35:04.394 --> 00:35:07.523
So, I always think of her a bit
like a feral cat, the way she fights.

00:35:07.606 --> 00:35:09.525
You almost expect her to bite someone.

00:35:09.608 --> 00:35:11.485
You see her at some point
take off her horns

00:35:11.568 --> 00:35:12.945
and put them in someone's face.

00:35:13.028 --> 00:35:16.365
Whereas Loki,
it's very, like, big arm movements.

00:35:18.158 --> 00:35:21.870
Loki has this matador style of fighting,

00:35:21.954 --> 00:35:26.458
where everything is about a kind of
elegance and a kind of showmanship.

00:35:26.542 --> 00:35:27.918
And fight!

00:35:31.130 --> 00:35:33.715
We're actually trying
to build on everything I've done,

00:35:33.799 --> 00:35:37.219
but make it even more graceful, I suppose.
If I can.

00:35:37.302 --> 00:35:39.763
It's another mechanism for story.
It's very cool.

00:35:45.477 --> 00:35:47.354
Hey! There it is.

00:35:47.855 --> 00:35:50.607
Once you take away
all the action and spectacle,

00:35:50.691 --> 00:35:52.317
our story is about identity

00:35:52.401 --> 00:35:54.403
and someone finding their place
in the world.

00:35:54.486 --> 00:35:56.446
-You're not a serious man.
-You're right. I'm a god.

00:35:56.530 --> 00:35:57.573
You're a clown.

00:35:57.656 --> 00:35:59.408
In Episode Three, in Shuroo,

00:35:59.491 --> 00:36:02.244
this is a really big moment
for Loki and Sylvie in their journey.

00:36:02.327 --> 00:36:04.121
They're actually working as a team.

00:36:04.204 --> 00:36:06.456
We have to get on that ark
and make sure it takes off.

00:36:06.540 --> 00:36:07.666
How?

00:36:08.417 --> 00:36:09.501
We go around.

00:36:09.585 --> 00:36:11.753
Loki and Sylvie
have to run through this town,

00:36:11.837 --> 00:36:13.380
and the stakes are very high.

00:36:13.463 --> 00:36:18.343
And the scene has to have an enormous
amount of momentum and propulsive energy.

00:36:18.427 --> 00:36:21.471
And Kasra built a town.

00:36:21.889 --> 00:36:24.391
He just built the town on the backlot.

00:36:26.143 --> 00:36:28.896
Shuroo was a set and a set piece

00:36:28.979 --> 00:36:32.441
that from the early days,
we planted the flag and said,

00:36:32.524 --> 00:36:34.526
"This is what it's going to be.

00:36:34.610 --> 00:36:37.529
"And we want it to be big.
We want it to be practical.

00:36:37.613 --> 00:36:40.157
"They need to be able
to run through this city.

00:36:40.240 --> 00:36:42.117
"We have to build the city."

00:36:42.784 --> 00:36:44.620
Shuroo, where we are now,

00:36:44.703 --> 00:36:49.499
has some of the archetypical
visual elements of a frontier town,

00:36:49.583 --> 00:36:53.378
but has some elements
that are completely different,

00:36:53.462 --> 00:36:55.130
from what we've seen on Earth

00:36:55.214 --> 00:36:57.633
and completely different
from any other alien worlds

00:36:57.716 --> 00:37:00.469
that have been established
so far in the MCU.

00:37:00.552 --> 00:37:05.140
The scenes are all at night,
and you gotta check it out at night.

00:37:05.224 --> 00:37:09.019
There's a lot of black light paint,
so the finishes, as you see them now,

00:37:09.102 --> 00:37:11.939
are quite different than
where they actually end up being.

00:37:12.022 --> 00:37:15.901
There's a quality where the architecture
itself becomes light sources

00:37:15.984 --> 00:37:18.612
because there's these elaborate,
painted patterns

00:37:18.695 --> 00:37:21.740
that are interactive with light on them.

00:37:21.823 --> 00:37:24.993
And so, it's almost, like,
floating, glowing patterns.

00:37:25.077 --> 00:37:26.453
Do we trust each other?

00:37:26.536 --> 00:37:28.580
We do and you can.

00:37:30.332 --> 00:37:31.333
Good.

00:37:31.458 --> 00:37:35.754
So, we walk up,
we walk through this tunnel

00:37:35.837 --> 00:37:39.716
and into the city of Shuroo. Follow me.

00:37:43.804 --> 00:37:46.348
Ta-da!

00:37:46.431 --> 00:37:48.725
Which is, I have to say,

00:37:49.351 --> 00:37:53.188
the most amazing... One of the most
amazing sets I have ever been on.

00:37:54.189 --> 00:37:57.985
I mean, it's been...
This has all been built on the backlot,

00:37:58.068 --> 00:37:59.987
here in Atlanta at the studios.

00:38:00.070 --> 00:38:04.157
Uh, it's all been lit and painted
so that it glows in the dark.

00:38:04.241 --> 00:38:06.076
Uh, it didn't exist before.

00:38:06.159 --> 00:38:08.870
And even on a Marvel project,

00:38:08.954 --> 00:38:11.415
I've never been on a set this size,
I don't think.

00:38:11.498 --> 00:38:14.835
The scene here is being shot
as a oner.

00:38:14.918 --> 00:38:17.629
And so what's required to do that

00:38:17.713 --> 00:38:21.883
is essentially a set
that is 360 degrees photographable.

00:38:21.967 --> 00:38:26.263
So, every surface has to be designed,
and built, and set decked.

00:38:26.346 --> 00:38:29.933
Big part of it was not building
any more set than we need.

00:38:30.017 --> 00:38:32.936
It's really doing a lot of planning
in the early phases.

00:38:33.020 --> 00:38:35.314
Kate worked with previz
and storyboards quite a lot

00:38:35.397 --> 00:38:37.983
to figure out exactly how much we needed.

00:38:38.066 --> 00:38:41.921
So that was a huge part to making sure
the resources were utilized well.

00:38:42.004 --> 00:38:44.190
Kate and I have probably been
working on this for about a year

00:38:44.273 --> 00:38:47.400
when we first met,

00:38:47.403 --> 00:38:49.554
and started our prep in Los Angeles
at Disney.

00:38:49.578 --> 00:38:51.413
There are cuts in our sequence,

00:38:51.496 --> 00:38:54.499
but we wanted the audience
to feel like it's one shot.

00:38:54.583 --> 00:38:58.879
So, we have stitches that transition us
from one shot to the other.

00:38:58.962 --> 00:39:01.506
But the way that we filmed them,
we hide them

00:39:01.590 --> 00:39:03.342
so that they feel seamless,

00:39:03.425 --> 00:39:06.011
so you feel like it's one shot
from start to finish.

00:39:08.096 --> 00:39:12.309
I think it will be eight or nine
sort of stitches in the oner.

00:39:12.392 --> 00:39:14.895
But essentially,
we come through this thing.

00:39:14.978 --> 00:39:16.396
And behind me, you see...

00:39:16.480 --> 00:39:20.734
In the show, you see
this enormous crowd of people.

00:39:20.817 --> 00:39:24.863
And at the very, very end of this street,
up in the night sky,

00:39:25.113 --> 00:39:28.241
is the docking point for this ark,

00:39:28.325 --> 00:39:31.119
this ship that is potentially leaving.

00:39:31.703 --> 00:39:34.164
And these meteors
are crashing into the buildings,

00:39:34.247 --> 00:39:37.000
and the buildings are falling down,
and it's mayhem.

00:39:37.084 --> 00:39:39.127
People are running and screaming,

00:39:39.211 --> 00:39:41.338
and trying to get on the ark.

00:39:41.421 --> 00:39:44.674
And there are guards
who are trying to stop them.

00:39:44.758 --> 00:39:46.885
So, to have the two of us,
to have Loki and Sylvie,

00:39:46.968 --> 00:39:48.804
myself and Sophia,
have to get through this,

00:39:48.887 --> 00:39:51.556
just creates an extraordinary,
dynamic momentum.

00:39:51.640 --> 00:39:56.228
And it's so exciting that at the moment
that Loki and Sylvie actually connect,

00:39:56.311 --> 00:39:59.689
that it finishes at the end
of this extraordinary piece of action.

00:40:07.781 --> 00:40:10.492
Do you think that what makes a Loki a Loki

00:40:10.951 --> 00:40:13.578
is the fact that we're destined to lose?

00:40:14.037 --> 00:40:15.247
No.

00:40:15.872 --> 00:40:17.374
We may lose.

00:40:19.292 --> 00:40:20.961
Sometimes painfully.

00:40:23.046 --> 00:40:24.506
But we don't die.

00:40:24.965 --> 00:40:28.093
One of the writers in our writers' room,
Elissa Karasik,

00:40:28.176 --> 00:40:30.846
she came in with a real strong POV

00:40:30.929 --> 00:40:33.014
that it should run
at that love-story thing.

00:40:33.098 --> 00:40:37.936
And it was something the whole
writers' room got behind from day one.

00:40:38.019 --> 00:40:39.104
Not bad.

00:40:40.147 --> 00:40:44.401
You know, it's so chaotic to fall in love
with a version of yourself,

00:40:44.484 --> 00:40:48.113
but at the same time,
it's such a bad idea and so mischievous,

00:40:48.196 --> 00:40:50.657
it's, like, of course
Loki would fall in love with himself.

00:40:50.740 --> 00:40:52.451
But he's also a character that,

00:40:52.534 --> 00:40:56.705
I think, needs to, you know,
get past his demons

00:40:56.788 --> 00:41:00.542
and find the good within himself to be
able to go on that redemptive journey.

00:41:00.625 --> 00:41:02.961
So at the heart of it,
it is this love story,

00:41:03.044 --> 00:41:05.005
and you never fall in love
at the right time.

00:41:05.088 --> 00:41:06.381
The nice thing about it is that

00:41:06.465 --> 00:41:09.301
Crater Lake is where these two characters
really come together,

00:41:09.384 --> 00:41:12.137
and they realize there's something deeper
going on here.

00:41:12.888 --> 00:41:16.099
You know, in life,
we all go through struggles,

00:41:16.183 --> 00:41:17.851
but we can't do it alone.

00:41:17.934 --> 00:41:20.187
And if we have people we can trust,

00:41:20.270 --> 00:41:24.065
it lightens the load,
and it gladdens the heart.

00:41:24.149 --> 00:41:28.111
And I think the relationship between
Loki and Sylvie is about that connection.

00:41:28.195 --> 00:41:32.199
That they learn, each of them,
to care about the other.

00:41:33.366 --> 00:41:37.287
What a incredible seismic narcissist.

00:41:37.370 --> 00:41:39.039
You fell for yourself.

00:41:39.122 --> 00:41:40.665
Her name was Sylvie.

00:41:40.749 --> 00:41:42.542
Ah, Sylvie.

00:41:43.084 --> 00:41:47.714
Lovely. How do you spell that?
Is that with an I-E or just an I?

00:41:47.797 --> 00:41:49.090
Is she alive?

00:41:51.343 --> 00:41:52.344
For now.

00:41:55.597 --> 00:41:59.017
People in love
often speak of time stopping

00:41:59.100 --> 00:42:02.771
when they first catch
that jolting glance of their paramours,

00:42:03.688 --> 00:42:07.359
as if our brain,
perhaps even the universe, is telling us,

00:42:07.692 --> 00:42:10.278
"Your life is forever changed."

00:42:11.321 --> 00:42:13.156
"Sear this moment into your memory."

00:42:15.825 --> 00:42:18.703
So much is forgotten
and discarded every day.

00:42:18.787 --> 00:42:21.164
A password, an acquaintance's name.

00:42:21.873 --> 00:42:25.752
Our inability to control what stays
and what goes

00:42:25.835 --> 00:42:29.381
is a constant reminder
of the fallibility of the human mind.

00:42:29.965 --> 00:42:33.843
Objects in the rear view
are often much smaller than they appear,

00:42:33.927 --> 00:42:36.721
and they get smaller and smaller each day.

00:42:37.931 --> 00:42:39.891
But as we march forever onward,

00:42:39.975 --> 00:42:44.646
we will inevitably arrive
at one of those defining moments

00:42:44.729 --> 00:42:48.608
where clarity arrives,
followed quickly by more uncertainty.

00:42:49.150 --> 00:42:53.530
What we do in this moment
can often define our lives

00:42:53.613 --> 00:42:55.365
in ways we never dreamed of.

00:42:55.448 --> 00:42:56.533
What is it?

00:43:01.997 --> 00:43:05.959
Sylvie finally gets to the Time-Keepers.

00:43:06.042 --> 00:43:08.795
And then she finds herself
in a fight with Renslayer.

00:43:09.754 --> 00:43:11.172
That was a really fun scene.

00:43:11.715 --> 00:43:16.386
It's like, "Oh, wow!
This woman can fight. Ah!"

00:43:16.469 --> 00:43:18.722
"Sugar. Maybe I've met my match here."

00:43:18.805 --> 00:43:21.766
This time I finish the job.

00:43:25.562 --> 00:43:28.773
It's really the first time that
we get to see them both together.

00:43:28.857 --> 00:43:30.650
They have such different styles, I think,

00:43:30.734 --> 00:43:34.279
because Renslayer came up
from the military background as a Hunter,

00:43:34.362 --> 00:43:38.325
and Sylvie really did
have this street-wise fighting style.

00:43:40.744 --> 00:43:43.705
The stunt team and
the fight team are really careful as well

00:43:43.788 --> 00:43:47.459
about making sure the fights
make sense with the story.

00:43:47.542 --> 00:43:50.045
And we make sure that the...

00:43:50.128 --> 00:43:54.591
The scenes work as scenes
without any fighting

00:43:54.674 --> 00:43:56.718
and then, sort of add the fighting in.

00:43:56.801 --> 00:43:58.720
I think it does make sense
to go back.

00:43:58.803 --> 00:44:00.680
-Yeah.
-Even though it's less aggressive,

00:44:00.764 --> 00:44:02.140
-but she's coming forward.
-Yeah.

00:44:02.223 --> 00:44:03.516
- Also...
- Keep the counter step.

00:44:03.600 --> 00:44:05.060
-It's a good counter step.
-Yeah.

00:44:05.143 --> 00:44:07.354
In a musical, you sing

00:44:07.812 --> 00:44:11.066
when you don't have the words to express
how you feel anymore.

00:44:11.149 --> 00:44:13.068
When you get to that point,
you start singing.

00:44:13.151 --> 00:44:17.113
With this, it's like, when you don't have
the words to express how you feel anymore,

00:44:17.197 --> 00:44:18.406
we fight.

00:44:23.161 --> 00:44:26.790
For Renslayer, it's kind of
a fascinating arc to go from

00:44:26.873 --> 00:44:30.002
this very, very sort of straight
perception of the world that she has

00:44:30.086 --> 00:44:33.713
to it sort of all crumbling
before her eyes.

00:44:33.797 --> 00:44:38.885
Did Judge Renslayer really
feel betrayed by her beloved TVA?

00:44:38.968 --> 00:44:42.681
Why don't you come back out
and we can talk about it?

00:44:53.441 --> 00:44:55.777
When I pitched The Void,
my thought was it's meant to be

00:44:55.860 --> 00:44:59.322
this barren wasteland where the TVA
sends everyone, and it's rubbish.

00:44:59.406 --> 00:45:01.574
It was so weird
'cause I was on set, obviously,

00:45:01.658 --> 00:45:04.994
and we're in this countryside.
And it's gray, and it's miserable.

00:45:05.078 --> 00:45:07.455
And I was like,
"Oh, my God. I've pitched England."

00:45:07.539 --> 00:45:10.166
But it really did remind me of it.

00:45:10.250 --> 00:45:13.420
It was quite strange. Quite a lot of
our cast and crew are British.

00:45:13.503 --> 00:45:15.380
We were like,
"Yeah, we feel like we're home."

00:45:20.635 --> 00:45:22.846
What I really wanted to feel
in The Void was,

00:45:22.929 --> 00:45:25.640
it's this place where it's like
an overgrown garden.

00:45:25.724 --> 00:45:29.060
We have all these weird structures.
Like, we have a boat on land,

00:45:29.144 --> 00:45:32.105
and you see all these kind of
strange things that have been deleted

00:45:32.188 --> 00:45:33.398
that shouldn't exist in time.

00:45:33.481 --> 00:45:35.066
We had a lot of fun with Easter eggs

00:45:35.150 --> 00:45:37.152
and sprinkling in stuff
that shouldn't be there.

00:45:37.235 --> 00:45:39.028
There's meant to be this kind of sadness

00:45:39.112 --> 00:45:41.364
and this kind of lack of life
about the place.

00:45:41.823 --> 00:45:44.576
But there are some things
in The Void

00:45:44.659 --> 00:45:47.495
which have learned to stay alive.

00:45:47.579 --> 00:45:50.498
And they've managed
to make a life in The Void,

00:45:50.582 --> 00:45:53.251
if that's even possible.

00:45:53.334 --> 00:45:55.795
And I can introduce you to them
if you like.

00:45:59.507 --> 00:46:02.177
So when I got a call
to do it, I said, "Well, what is it?

00:46:02.260 --> 00:46:06.681
"Is it to play an older version of Tom?"
That's what I assumed it was.

00:46:07.098 --> 00:46:08.767
They put it much more delicately.

00:46:08.850 --> 00:46:10.769
They said,
"No, you're playing Classic Loki."

00:46:13.396 --> 00:46:17.484
So I said, "So it's in the green Lycra
bodysuit, with muscles."

00:46:17.567 --> 00:46:19.861
They said, "No, you're not
gonna have the muscles."

00:46:19.944 --> 00:46:22.781
So I'm very distraught that,

00:46:22.864 --> 00:46:26.201
having had been born without any,
as you can see,

00:46:26.284 --> 00:46:27.994
that I thought I would finally...

00:46:28.077 --> 00:46:30.246
I would finally get to wear

00:46:30.330 --> 00:46:33.124
a green Lycra suit with built-in muscles.

00:46:33.666 --> 00:46:36.085
But that hasn't happened.
But I've got everything else.

00:46:36.169 --> 00:46:39.214
The horns, and the cape,
and the, you know, the boots.

00:46:40.423 --> 00:46:43.009
When I knew there was
gonna be this character,

00:46:43.092 --> 00:46:45.261
-there are, obviously, all these Lokis...
-Old.

00:46:45.345 --> 00:46:47.847
No, no. It wasn't just old. We literally,

00:46:47.931 --> 00:46:51.392
there's only one person we thought of.
And it was Richard.

00:46:51.476 --> 00:46:55.188
If we... If you'd said, "No," I don't know
what we would have done, really.

00:46:55.271 --> 00:46:57.190
-'Cause it'd be...
-You would've gone to...

00:46:57.273 --> 00:46:58.942
No. No, no. It was...

00:46:59.025 --> 00:47:01.861
In fact, even in the concept art
when we were drawing it,

00:47:01.945 --> 00:47:04.656
it was drawn with Richard's face.
It was like a wish fulfilment.

00:47:04.739 --> 00:47:06.282
-Here we are, livin' the dream.
-Good.

00:47:06.366 --> 00:47:08.117
I'm livin' the dream. You may not be.

00:47:08.201 --> 00:47:09.786
-I am in the dream.
-You're saying that

00:47:09.869 --> 00:47:12.288
-'cause the cameras are rolling.
-I'm living in the dream.

00:47:12.372 --> 00:47:14.874
Well, thank God that
Loki has a sense of humor.

00:47:14.958 --> 00:47:17.544
And thank God that
the MCU has a sense of humor

00:47:17.627 --> 00:47:22.006
because it was just feeling like
you could go really

00:47:22.090 --> 00:47:24.259
to all corners for inspiration.

00:47:24.342 --> 00:47:28.972
In so many ways I kinda thought,
there's no acting required

00:47:29.055 --> 00:47:31.140
because the costume does it.

00:47:31.224 --> 00:47:34.352
I mean, it's so massive, and I'm 6'6".

00:47:34.435 --> 00:47:36.396
But then the boots that I have

00:47:36.479 --> 00:47:38.523
have, like, two inches on it, so I feel...

00:47:38.606 --> 00:47:40.441
I'm probably 6'8" in it already.

00:47:40.525 --> 00:47:42.068
And the shoulders are out here.

00:47:42.151 --> 00:47:46.239
I betrayed you, and now, I'm king.

00:47:46.781 --> 00:47:49.701
My army, my throne.

00:47:51.661 --> 00:47:54.581
Something from the comics
that I love about Loki is, like,

00:47:54.664 --> 00:47:57.584
he has been all these different
personalities, you know.

00:47:57.667 --> 00:47:59.544
In the early comics,
he was very villainous,

00:47:59.627 --> 00:48:02.589
but then you have the very different
Kid Loki in the later comics.

00:48:03.172 --> 00:48:05.133
He's been like a unicorn.
He's been President.

00:48:05.216 --> 00:48:07.719
I feel like I'm having an identity crisis.

00:48:07.802 --> 00:48:10.096
It was fun. It was weird.

00:48:10.179 --> 00:48:13.433
We were able to create
all of these bandit versions of Lokis.

00:48:14.183 --> 00:48:16.311
They all got different nicknames.

00:48:16.394 --> 00:48:22.391
They were, like, Glamshades Wolfie,
which was kinda based originally of, like,

00:48:22.474 --> 00:48:25.194
sort of a tribal leader. Like a shaman.

00:48:25.278 --> 00:48:26.863
And we had Poky Loki.

00:48:26.946 --> 00:48:31.284
It was just another play
on In-Prison Loki. Bicycle Loki.

00:48:31.367 --> 00:48:33.161
These are bicycle handlebars,

00:48:33.244 --> 00:48:35.246
which I think is very creative,

00:48:35.330 --> 00:48:39.334
and you could probably try to make,
to recreate at home, if you so choose.

00:48:39.417 --> 00:48:41.586
It was endless.

00:48:44.714 --> 00:48:46.925
Why the hell
is there an alligator in here?

00:48:47.008 --> 00:48:50.386
Alligator Loki is wholly invented
by Michael Waldron

00:48:50.470 --> 00:48:52.597
in the first pitch
he ever came to us with.

00:48:52.680 --> 00:48:56.392
I'll tell you, for every really
dumb idea like that that made it in,

00:48:56.476 --> 00:49:00.355
there's a hundred even stupider ones
that these guys had to pull me back from.

00:49:02.774 --> 00:49:06.277
That's alligator for growling
and saying "liar" at the same time.

00:49:06.361 --> 00:49:09.530
I remember sending a note
to the VFX team from our team,

00:49:09.614 --> 00:49:12.200
which was basically like,
"We want to have an alligator

00:49:12.283 --> 00:49:14.118
"that's very handsome
with beautiful eyes."

00:49:14.202 --> 00:49:15.745
And I was like, "What is this job?"

00:49:15.828 --> 00:49:19.666
Alligator Loki was a very unique character
because of the fact that

00:49:19.749 --> 00:49:24.921
sometimes the physics of a real alligator
are not taken into consideration.

00:49:25.004 --> 00:49:27.423
Things like picking him up for instance.

00:49:27.507 --> 00:49:30.551
Well, picking up an alligator
is a very, very strange thing

00:49:30.635 --> 00:49:35.139
because alligators' spines
only kind of bend a certain way.

00:49:35.223 --> 00:49:38.226
So we were working with ILM on this.

00:49:38.309 --> 00:49:39.769
They found a piece of reference

00:49:39.852 --> 00:49:42.355
that was one of the best references
I've ever seen.

00:49:42.438 --> 00:49:44.649
It's this alligator called Wally,

00:49:44.732 --> 00:49:46.818
and he is a support alligator.

00:49:46.901 --> 00:49:50.655
He's absolutely amazing.
So we used this reference

00:49:50.738 --> 00:49:55.326
to make our alligator, based off
of this particular Wally alligator.

00:49:55.785 --> 00:49:57.286
It can't just be an alligator.

00:49:57.370 --> 00:50:00.248
It can't be something that's like,
"That's just an alligator."

00:50:00.331 --> 00:50:04.335
We really wanted it to give
that kind of cheeky Loki grin

00:50:04.419 --> 00:50:06.921
or that mischievous look to him.

00:50:07.005 --> 00:50:12.885
So, we based our alligator off of
as much reality as we possibly could.

00:50:28.651 --> 00:50:33.781
Inside The Void is
a living storm that consumes matter.

00:50:33.865 --> 00:50:36.409
You can think of the biggest storm
you've ever seen.

00:50:36.492 --> 00:50:39.203
Thunder, lightning, dark clouds.

00:50:39.287 --> 00:50:41.789
And the storm is called Alioth.

00:50:45.001 --> 00:50:46.127
I love monster movies.

00:50:46.210 --> 00:50:48.004
And trying to tackle a monster

00:50:48.087 --> 00:50:51.716
where we kind of give little tastes
and teases of this creature,

00:50:51.799 --> 00:50:55.178
but we don't kind of show him off
completely until the big showdown.

00:50:55.261 --> 00:50:56.721
'Cause I love Jaws,

00:50:56.804 --> 00:50:59.474
and I think something really effective
about that film is that

00:50:59.557 --> 00:51:02.101
you get peeks at the shark,
but you don't completely see it

00:51:02.185 --> 00:51:04.312
until the big finale on the boat.

00:51:04.687 --> 00:51:07.899
And I think, for us, we were really
inspired with Alioth by nature,

00:51:07.982 --> 00:51:09.442
and nature can be terrifying.

00:51:11.611 --> 00:51:13.571
While they were
pitching the story,

00:51:13.654 --> 00:51:17.158
I literally was like, "Hey, guys,
could you give me one second?"

00:51:17.575 --> 00:51:18.951
And I jumped on Google.

00:51:19.035 --> 00:51:23.414
And I'd seen a documentary
on volcanic eruptions,

00:51:23.498 --> 00:51:27.752
and pyroclastic flows,
and just absolutely beautiful, uh,

00:51:27.835 --> 00:51:31.047
thermal lightning
inside these pyroclastic flows.

00:51:33.382 --> 00:51:34.926
So, I got the job,

00:51:35.009 --> 00:51:39.847
and then the first thing that I said
as soon as I had boots on the ground was,

00:51:39.931 --> 00:51:42.892
"We need to start
lookdeving this character."

00:51:44.102 --> 00:51:47.730
We put together this absolutely
fantastic kind of package

00:51:47.814 --> 00:51:52.110
that had a very, very short
animation of Alioth

00:51:52.193 --> 00:51:54.070
in what I envisioned him to be.

00:51:54.278 --> 00:51:58.491
Come and get me! Come on!

00:51:58.574 --> 00:52:02.203
The main thing with Alioth is that
even Kid Loki describes, as he says,

00:52:02.286 --> 00:52:05.248
"He's a shark,
and we're in his tank, basically."

00:52:05.331 --> 00:52:08.543
I think that was the key thing
with Alioth, is that he's a predator,

00:52:08.626 --> 00:52:10.211
and he's just there to eat.

00:52:10.294 --> 00:52:14.006
And it's great 'cause the TVA are just
throwing him loads of T-bone steaks.

00:52:19.929 --> 00:52:23.266
"It was the best of times,
it was the worst of times."

00:52:23.349 --> 00:52:26.018
It also happens to be the end of time.

00:52:26.519 --> 00:52:28.396
In the final episode of Loki,

00:52:28.479 --> 00:52:31.274
after jumping from New York
to the Gobi Desert

00:52:31.357 --> 00:52:36.195
to the TVA to a Renaissance fair
to Pompeii to Roxxcart to...

00:52:36.863 --> 00:52:38.030
You get the idea.

00:52:38.114 --> 00:52:41.033
- Long, strange trip and all that jazz.
- Ow!

00:52:41.117 --> 00:52:43.870
After all the space-time shenanigans,

00:52:43.953 --> 00:52:46.956
our heroes arrive at their destination.

00:52:47.039 --> 00:52:48.499
The end of the road trip

00:52:48.583 --> 00:52:52.920
where you get out of the car,
stretch your legs, and continue on,

00:52:53.004 --> 00:52:55.798
barely pausing to reflect
on the journey behind you.

00:52:56.382 --> 00:52:59.677
It's a refreshing change
to go into the final act of a story,

00:52:59.760 --> 00:53:03.055
where Loki is neither
leading an alien horde into battle

00:53:03.139 --> 00:53:05.941
nor knifing a loved one in the back.

00:53:10.980 --> 00:53:13.649
Usually in Marvel,
the third act of the story

00:53:13.733 --> 00:53:17.069
is obviously, like, a massive battle
and a huge, amazing spectacle.

00:53:17.153 --> 00:53:20.281
And I feel like our Episode Five
of Alioth is sort of

00:53:20.364 --> 00:53:23.367
almost like a traditional third act
of an MCU story.

00:53:23.784 --> 00:53:27.371
Whereas I loved in Episode Six that
it was actually more within our show like,

00:53:27.455 --> 00:53:30.449
"No, we're gonna sit down,
and we're gonna have a conversation

00:53:30.533 --> 00:53:33.127
"about all these questions
we've put forward to you guys

00:53:33.200 --> 00:53:34.285
"over the last six hours."

00:53:34.378 --> 00:53:39.258
After a very long journey,
Sylvie and Loki are able to discover

00:53:39.342 --> 00:53:42.595
that the TVA had an architect.

00:53:42.678 --> 00:53:48.351
At the end of time, beyond The Void,
beyond Alioth, is a doorway,

00:53:48.434 --> 00:53:51.145
and through the doorway is a Citadel.

00:53:51.229 --> 00:53:55.566
The Citadel is essentially uninhabited
and abandoned.

00:53:55.650 --> 00:53:58.861
But there is one solitary light on
in the window,

00:53:58.945 --> 00:54:02.698
and that light is illuminated
by He Who Remains.

00:54:08.246 --> 00:54:12.083
I was really inspired
by the idea of this kind of manor house

00:54:12.166 --> 00:54:14.126
like Sunset Boulevard or Grey Gardens.

00:54:14.210 --> 00:54:17.421
These basically big, ornate houses,
but there's a loneliness to them.

00:54:17.505 --> 00:54:19.799
Then something that
Kasra came up with that...

00:54:19.882 --> 00:54:23.269
Which I thought was so inspired,
was that the Citadel's actually carved

00:54:23.352 --> 00:54:24.428
from the rock of this asteroid,

00:54:24.512 --> 00:54:26.764
which I think gives it
such a beautiful, unique look

00:54:26.847 --> 00:54:30.101
with the gold veins running through
this black kind of rock.

00:54:30.184 --> 00:54:32.645
I really wanted the Citadel
to feel like it had big scale,

00:54:32.728 --> 00:54:36.607
because it only added to He Who Remains'
loneliness and isolation,

00:54:36.691 --> 00:54:39.068
and, like, what lengths
he's gone for basically

00:54:39.151 --> 00:54:41.070
to protect himself from himself.

00:54:41.153 --> 00:54:44.699
The Wizard of Oz
was a big touchstone.

00:54:44.782 --> 00:54:49.161
It's somebody who is looming large
over the story

00:54:49.245 --> 00:54:54.417
and is the driving force of the mystery
of finding the man behind the curtain.

00:54:54.917 --> 00:54:56.752
And hopefully being surprised by

00:54:56.836 --> 00:55:00.423
what you find when you finally
get a peek behind the curtain.

00:55:00.506 --> 00:55:02.717
This is wild.

00:55:03.301 --> 00:55:05.052
Once you see behind the curtain,

00:55:05.136 --> 00:55:06.470
everything is changed.

00:55:06.846 --> 00:55:11.267
And so, I think, for that role,
it's so exciting for an actor then,

00:55:11.350 --> 00:55:13.102
like Jonathan to come in,

00:55:13.185 --> 00:55:15.771
and live this character and get to do it.

00:55:15.855 --> 00:55:20.985
Because, while they're only here
for maybe 30 minutes of this series,

00:55:21.068 --> 00:55:26.407
it feels like they are just in the DNA
of the entire run of the show.

00:55:26.490 --> 00:55:28.426
I'd try to explain what I'm capable of,

00:55:28.451 --> 00:55:31.746
but we don't have the million years
it would take for you to understand.

00:55:32.455 --> 00:55:36.250
Some cultural pop references were,
of course, The Wizard of Oz,

00:55:36.334 --> 00:55:41.172
Sunset Boulevard, Citizen Kane,
Willy Wonka & the Chocolate Factory.

00:55:41.255 --> 00:55:43.883
The archetype of the wizard
and what happens to him

00:55:43.966 --> 00:55:46.802
when he gets bored, you know?
And he becomes a trickster.

00:55:46.886 --> 00:55:49.930
Guys, if I was gonna do
an exploding chair,

00:55:50.014 --> 00:55:51.807
why wouldn't I just do an exploding floor?

00:55:51.891 --> 00:55:54.685
And I think when we meet He Who Remains,

00:55:54.769 --> 00:55:56.645
he's on the borderline
of those two things.

00:55:56.729 --> 00:55:58.356
You don't really know where he's at.

00:55:58.439 --> 00:56:02.276
And I think the ambiguity of that
is one of the wicked things about it.

00:56:02.360 --> 00:56:08.157
You think I'm just here with you.

00:56:12.036 --> 00:56:14.997
I am everywhere.

00:56:15.790 --> 00:56:17.833
He Who Remains has lived forever.

00:56:17.917 --> 00:56:20.127
One of the great things
I got to experience

00:56:20.211 --> 00:56:21.879
with our costume designer is that

00:56:21.962 --> 00:56:26.258
every piece, we decided,
was from a different place.

00:56:26.342 --> 00:56:29.136
The cape I had on
was from the Victorian era,

00:56:29.220 --> 00:56:33.391
the shoes are from Genghis Khan,
the pants from Mongolia, et cetera.

00:56:33.474 --> 00:56:36.227
You just mix and match it together,
and it informs the character.

00:56:37.353 --> 00:56:41.732
Without the me, without the TVA...

00:56:44.610 --> 00:56:45.861
everything burns.

00:56:47.029 --> 00:56:48.572
Then what are you so afraid of?

00:56:51.075 --> 00:56:52.326
Me.

00:56:52.910 --> 00:56:59.333
Jonathan Majors came into this production
in our final week,

00:56:59.417 --> 00:57:01.585
and has created something,

00:57:01.669 --> 00:57:05.047
I think, that it will be talked about
for a long time.

00:57:05.172 --> 00:57:06.799
-Yeah, we're dancin'.
-Very nice.

00:57:06.882 --> 00:57:08.717
-We're dancin', just dancin'.
-Yeah.

00:57:08.801 --> 00:57:12.263
It's absolutely thrilling.
And you could feel the energy on set,

00:57:12.346 --> 00:57:13.973
because I think the crew knew.

00:57:14.056 --> 00:57:18.769
Like, we're watching the flowering
of the next phase of the Marvel Universe.

00:57:19.395 --> 00:57:22.273
The Variant of He Who Remains,

00:57:22.356 --> 00:57:25.776
the one he's been talking about,
the one that he's so afraid of...

00:57:25.860 --> 00:57:27.027
I'll see you soon.

00:57:27.445 --> 00:57:29.071
...is Kang.

00:57:29.947 --> 00:57:31.991
Kang is bent on destruction.

00:57:32.074 --> 00:57:35.953
And I'm so curious to see
what Jonathan does in the future.

00:57:36.412 --> 00:57:39.165
I think with He Who Remains,
the objective for me

00:57:39.248 --> 00:57:41.917
was to give me
the largest canvas possible.

00:57:42.001 --> 00:57:48.549
And then from that, as Kang begins
to rear his head and do his deeds,

00:57:49.216 --> 00:57:52.511
in so many ways, he has no choice
but to be in opposition

00:57:52.595 --> 00:57:55.014
or to be different from He Who Remains.

00:57:56.932 --> 00:57:59.602
That was the thing that grabbed me
and pulled me into the role.

00:57:59.685 --> 00:58:03.314
The fact that Kang
lives in so many iterations.

00:58:03.397 --> 00:58:06.108
As He Who Remains says,
"Reincarnation, baby."

00:58:06.192 --> 00:58:10.112
You know you can't get to the end
until you've been changed by the journey.

00:58:10.196 --> 00:58:12.781
This stuff, it needs to happen.

00:58:14.366 --> 00:58:18.412
The potential of a multiverse
is literally infinite.

00:58:19.079 --> 00:58:22.750
We can already look
at our singular universe with awe.

00:58:22.833 --> 00:58:25.836
One decision begets another and another.

00:58:26.545 --> 00:58:28.214
We like to say

00:58:28.297 --> 00:58:30.382
that the possibilities are endless.

00:58:31.759 --> 00:58:34.720
But in a singular timeline,
that is simply not the case.

00:58:35.221 --> 00:58:38.015
Each falling grain of sand in an hourglass

00:58:38.098 --> 00:58:40.476
changes how every other grain will fall.

00:58:40.976 --> 00:58:45.272
We're both masters of our own destiny
and victims of circumstance.

00:58:45.856 --> 00:58:48.943
There's simply no knowing
how things will turn out,

00:58:49.568 --> 00:58:50.986
until they happen.

00:58:51.779 --> 00:58:54.823
As William Shakespeare wrote
in The Two Gentlemen of Verona,

00:58:55.282 --> 00:58:57.660
"It ain't over till it's over."

00:58:58.160 --> 00:59:00.371
Or maybe that was Lenny Kravitz.

00:59:00.454 --> 00:59:05.084
Anyway, the future of Loki
is still unwritten,

00:59:05.584 --> 00:59:08.087
as it is with us all.

00:59:10.673 --> 00:59:16.971
I will be 40 years old
when Loki goes out on Disney Plus.

00:59:17.054 --> 00:59:21.141
And I was 29 years old
when I was cast as Loki,

00:59:21.225 --> 00:59:23.811
so it's been ten, going on for 11, years.

00:59:24.186 --> 00:59:26.855
It has been one of the great,

00:59:26.939 --> 00:59:31.902
if not the greatest,
surprise of my whole life, probably.

00:59:32.361 --> 00:59:35.531
I mean, it just...
It's hard to sum up.

00:59:36.907 --> 00:59:38.867
I was a young actor,

00:59:38.951 --> 00:59:42.705
and I felt so lucky even to have
the chance to audition for Thor.

00:59:42.788 --> 00:59:47.751
Today was the first day
that I wore this particular costume.

00:59:49.086 --> 00:59:50.254
My best friend.

00:59:51.088 --> 00:59:52.506
- Yeah, yeah, yeah.
- Hello.

00:59:52.590 --> 00:59:56.176
In all my fittings way back, you know,
four, five months ago,

00:59:56.260 --> 00:59:58.387
I kept thinking, "When am I gonna
get the horns on?"

00:59:58.470 --> 01:00:01.056
'Cause it's almost like
the last piece of the jigsaw

01:00:01.140 --> 01:00:03.267
in kind of becoming the character.

01:00:03.350 --> 01:00:06.312
And to wear this thing is,
it feels enormously powerful.

01:00:06.395 --> 01:00:10.107
What happened to you on Earth
that turned you so soft?

01:00:10.190 --> 01:00:11.859
To be cast as Loki

01:00:11.942 --> 01:00:15.404
and to have that extraordinary
opportunity to make that film,

01:00:15.487 --> 01:00:17.406
even as a standalone experience,

01:00:17.489 --> 01:00:20.576
was more than
I could ever have dreamed of.

01:00:20.659 --> 01:00:24.538
As Loki, I had to play the villain
and then I had to play the anti-hero.

01:00:24.622 --> 01:00:28.000
And this time around is the first chance

01:00:28.083 --> 01:00:33.547
I've had to see if we can really
break the mold and change him.

01:00:33.631 --> 01:00:35.341
Why aren't we seeing this the same way?

01:00:36.008 --> 01:00:37.509
Because you can't trust...

01:00:39.887 --> 01:00:40.971
and I can't be trusted.

01:00:41.055 --> 01:00:43.223
I really want the fans to feel that energy

01:00:43.307 --> 01:00:46.602
and feel excited and inspired
about where we go next.

01:00:46.685 --> 01:00:49.146
You know, we're here
at the end of this shoot now.

01:00:49.229 --> 01:00:52.650
I hope we've made something
that people feel is very special.

01:00:52.733 --> 01:00:54.902
I'd love to do one more after this
where I don't cry.

01:00:56.278 --> 01:00:59.490
I feel very grateful
that I'm part of a project

01:00:59.573 --> 01:01:03.327
that I think has probably
changed the direction of the MCU.

01:01:11.210 --> 01:01:13.754
What people don't know is that...

01:01:13.837 --> 01:01:18.967
Is that Owen has basically
broken open the Marvel Cinematic Universe.

01:01:19.051 --> 01:01:20.928
That's what they call it, the MCU.

01:01:21.011 --> 01:01:22.096
What's that mean?

01:01:22.179 --> 01:01:23.889
-The Marvel Cinematic Universe.
-Yeah.

01:01:23.972 --> 01:01:26.809
So, the whole interweaving web
of all the movies.

01:01:26.892 --> 01:01:29.937
They're all stitched together.
They all reference each other.

01:01:30.020 --> 01:01:32.815
And Mobius has cracked it all open.

01:01:33.190 --> 01:01:34.191
It's true.