WEBVTT

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Doctor Stephen Strange, a neurosurgeon,

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who, after a terrible accident,

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lost the use of his hands.

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You might even say,
his hands betrayed him.

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And I can relate. If

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you catch my drift.

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Anyway, this Strange guy couldn't
cut it in the operating room anymore,

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so what did he do?

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Run home and cry to mama? No-siree-bob.

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He picked himself up and trained

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to be some kind of
fancy-pants wizard,

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complete with a kooky cape,
and a groovy goatee.

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And yet, they still
call him a doctor.

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Know why?

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Because now, he's a doctor of kicking *
and taking names.

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Strange has mopped the floor

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with cosmic
conquerors, mad Titans,

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and guys with really bad complexions.

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But enough with
the CliffsNotes recap already.

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These days, Strange is up to
his medallion-wearing neck

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in psychedelic scary sauce,

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and that is what we're here to talk about.

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I'm Bruce Campbell,

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and I'll be your host

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as we journey beyond the confines
of our own humdrum reality,

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and see what's really cookin'
in the Multiverse of Madness.

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KEVIN FEIGE: After we finished
the Infinity Saga,

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we were looking at how to evolve
post Endgame

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and into phase four.

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We wanted to explore
entirely new characters

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and entirely new sides
of the Marvel comics.

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One of the things we're exploring
in phase four is the Multiverse.

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And in the Multiverse, we get to see
different realities and different outcomes

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of characters that we all know and love
in an infinite number of ways.

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Some of them are tragic,
some of them are horrific,

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all of them are unexpected.

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And that was always where we were headed
with this sequel to Doctor Strange,

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knowing that we wanted to explore
the mind-bending,

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frightening side of the Multiverse.

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And this could only have been done
under the direction of Sam Raimi.

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RAIMI: I got a call
from my agent saying

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that Kevin Feige
and the Marvel team

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were looking for a new director
for the new Doctor Strange movie.

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I was a big fan of the first one.

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I thought that the director,

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Scott Derrickson,
did a great job

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and Benedict Cumberbatch delivered
an incredible performance.

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So when that offer
came and I thought,

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"Okay, it's been a
long time since I had

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"made a superhero movie,
I wonder if I can still do it?"

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And that alone was reason enough.

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RICHIE PALMER: Sam Raimi is one of
the godfathers of the MCU,

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if you think about it,

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with the Spider-Man trilogy.

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To get to work with Sam
is a dream come true,

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not just for me, but for most
of the people on this set.

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That guy's movies are part of the reason
I became a writer,

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so, to have Sam Raimi come in a room
and sit across from you and be like,

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"All right, kid, what's the movie?"

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Man, it's really a case of
meet your heroes.

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So, I was a very junior part
of the creative team

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on his original
Spider-Man films,

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and now working
so closely with him,

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who would have guessed, certainly not me,

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that nearly 20 years later,

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Sam Raimi would be working

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on a Doctor Strange movie for us.

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We are in the Sanctum Sanctorum,

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Doctor Strange's home,

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his weird, haunted house that he lives in,
and today's day one.

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RAIMI: I think it was
always in Marvel's mind

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that this film would really open the door
wide to the Multiverse.

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The scale is epic.
It's almost unfathomable.

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FEIGE: That's part of the madness.

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Madness of handling this many characters
and this many storylines.

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CAMPBELL: So, this Multiverse
that everybody and their uncle

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keeps yackin' about,

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what is it anyway?

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Well, I looked up Multiverse
in the dictionary.

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Yes, I cracked
open an actual book,

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and this is what it said.

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"An infinite realm of being

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or potential being

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"of which the universe is regarded as
a part or instance."

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(LAUGHS) I don't know what
any of that means, but I'll wager,

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it has something to do
with endless possibilities.

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So, if you're aiming to tell a story

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set in a world
where literally anything goes,

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how do you even begin to begin?

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Yes, it's a maddening job,

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that can make you go insane

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trying to figure all the stuff out,
but it's a lot of fun.

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RAIMI: Telling the story of the Multiverse
was such a gigantic endeavor.

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To not only paint an accurate picture
of our universe,

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but of another, and another, and another.

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It took teams of
really great artists

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and Michael
Waldron's great script,

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which I just thought was brilliant.

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WALDRON: It was February 2020,

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and Kevin Feige called me

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and said
"We'll go in a different direction

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"on Doctor Strange Two,

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"and we want you to come over
and write it."

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There were already sets being built
and everything

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so we really had to
hit the ground running.

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But I think I had, like, three weeks
to try and write that first draft,

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and that last week is
when the NBA shut down, COVID hit,

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and the world stopped spinning.

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And so, it was an interesting month,
to say the least.

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The silver lining was
production pushed

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from May of 2020
to November of 2020,

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so it allowed us the time.

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We said, "All right,
let's blow this thing up entirely,

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"let's start from scratch."

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And that's exactly what we did.

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And we threw that draft of mine
out entirely

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and said, "If we were in on day one
of this movie with Sam Raimi,

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"what is the movie we would make?"

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And we came up with something better
and much more exciting.

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DOUG LEFLER: Michael did a Herculean job
with this project, in my humble opinion.

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He had all the history of Marvel
that he had to work into this.

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Ready.

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How he managed
to balance all of that,

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I think, was extraordinary.

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RAIMI: And, action!

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Nailed that, that was sharp.

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WALDRON: What's interesting in a story
about the Multiverse

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is exploring the other ways
that things could have played out.

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It's especially interesting with
a character that we saw at one point

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sit with his head going
in a million different directions,

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watching 14 million different outcomes
in his particular universe.

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Getting to work on a Doctor Strange sequel
is really exciting

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because the first movie really blew open
the doors of the MCU

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in ways that we
couldn't even imagine,

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because you can't
tell the same stories

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with Captain America that you could
with Doctor Strange.

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RAIMI: Marvel comic books have always been
excellent at painting complex characters.

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It's how in the '60s and '70s
they blew DC out of the water.

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They're able to build upon
these relationships with great depth,

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and we're able to build upon them
movie after movie.

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He's been through a lot,

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he's lost the use of his hands,

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become a sorcerer, assumed this mantle
as master of the New York Sanctum,

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fought in a war against Thanos,

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gave up the Time Stone
in this incredible gambit

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that resulted in saving the universe,

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and he's kind of been dropped back
into normal life.

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RAIMI: The first film did a great job of
describing the journey of Doctor Strange.

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This film, it's about
what he's become,

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the price he's had to pay

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to become this great sorcerer
and savior of the universe.

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I felt, I guess as much as the audience
and the fans did, that, you know,

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this extraordinary character
seemed to be sort of

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all-powerful and perfect,
I wanted to know what it was about him,

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how he'd got there
as much as anything else.

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I wondered what it was costing him
or what it would cost him

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to continue
developing in that way,

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accruing power and ability.

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Really, the film's
an examination of that,

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how far as a maverick
and an outsider,

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and a chancer, and an ego

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can he go
before stuff really becomes undone?

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It's always great in these solo flights,
to kind of shake the snow globe up

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and disturb the character

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and throw stuff at him
that really makes him question his purpose

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and who he is and how to best be.

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I never stopped caring

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Then he's sort of slungshot
into this adventure.

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WALDRON: We're in New York City.

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A giant monstrous octopus

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has attacked New
York, it's bad news.

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RAIMI: Three, two, one, action.

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This is where Doctor Strange

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meets America Chavez.

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Look out!

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Do I know you?

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WALDRON: Through this adventure,

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he forms the
unlikely partnership

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with the young America Chavez,

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the last person you'd expect
Doctor Strange to work with.

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America Chavez has been on a list
for a long time of characters

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that we wanted to bring into the MCU.

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America Chavez
was created in 2011,

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so she is a relatively
new character.

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Casting America Chavez was great,

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it was such a highlight
of this experience,

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we did such a wide search.

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We found Xochitl Gomez

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and thought unanimously

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she was the best person for this role.

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I did my first audition in March, 2020,

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and I didn't hear anything
for six months.

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And then I got a call to do a screen test
in London.

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That's when I got told what character
it was for and I was like, "Oh, my gosh."

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GRAHAM CHURCHYARD:
We started with the comics,

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the denim jackets in many of the comics,

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and I designed these combat jackets
which had red, white, and blue,

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like, stars and stripes flag
that was all kind of blended together

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in this camouflage,
so it was a camouflage jacket.

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America dresses a lot like I do.

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I do wear black ripped jeans

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and a T-shirt and
a nice jacket over it,

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and a pony, I wear
that all the time.

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And so, when I first went in,

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I was just amazed
with all these jackets.

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There's so much detail.

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I don't think
you'll ever see it,

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but there's a bunch of poetry

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and just the way the star is designed
on the back of the jacket.

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I had, like, 100 other versions
of Mexican sort of folkloric art

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and Day of the Dead references
that could be part of the kind of emblem

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on the back of the jacket.

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But I'm really happy
that we went with the star.

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In the street scenes
that we've shot with her running,

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you see this white star
going down the street,

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and it's a really good focus point.

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It was fantastic working with Xochitl.

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I think she's probably gotta be

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one of the youngest
actors in the MCU

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and it can be quite
scary, you know.

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I mean, it was scary
for me to enter into,

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and then someone so young

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with so much on her shoulders.

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One of our moves is
collecting the power

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and knowing that I have it.

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It's a huge
responsibility to originate

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a character, a superhero.

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It's crazy, it's really like,
"Oh, my goodness."

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It's good to kind of lift off the pressure
with that.

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We always have a
bit of music on set,

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and she's big into,
what is it, TikTok?

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She tried to teach
me some moves,

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but I think I pulled a muscle.

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Benedict Wong, I mean, he is amazing.

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He carries this mega-huge, like,
boom speaker

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and he just carries it around
and just, like, bumps up and down.

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He's like a walking rave party,
it's amazing.

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He's got some snazzy moves,

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but I think my moves
are a bit snazzier.

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He's catching on.

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America Chavez, it
was such a pleasure

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for me to get to work
on this character.

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She's just a badass.
It's something

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that we've established is that

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it's impossible, near
impossible to travel

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from one universe to another.

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In Loki, you can kind of hop

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from one timeline
branch to another,

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but you've gotta be anchored
to some original timeline.

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What America can do is, she can jump

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from one universe
to another one.

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She can literally
do the impossible.

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She doesn't know how
to control her power,

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but every time she's
triggered by fear,

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a portal opens into another universe.

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LEFLER: Working with America Chavez,

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we had many different introductions
to her as a character,

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but I think I
storyboarded all of them

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so I got to work with
her character a lot.

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What was so fascinating

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about America Chavez to me

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was just her sense of loneliness
that she didn't have a family,

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she didn't have friends,
she didn't even have a reality.

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So, she finds herself bouncing
between worlds,

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really being lost
amongst the Multiverse,

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and learning how
to survive herself

00:13:03.010 --> 00:13:05.100
until an entity starts hunting her.

00:13:05.890 --> 00:13:07.813
And that's when Doctor
Strange and Wong

00:13:07.837 --> 00:13:09.350
realize the stakes
of this movie.

00:13:09.730 --> 00:13:12.479
It's an incredible
power but represents

00:13:12.503 --> 00:13:15.570
a grave danger for
the world of the MCU.

00:13:15.650 --> 00:13:18.610
DOCTOR STRANGE: The power is
dangerous enough in the hands of a kid...

00:13:18.700 --> 00:13:20.610
imagine if a real threat acquired it?

00:13:23.330 --> 00:13:24.410
RAIMI: Ready,

00:13:24.830 --> 00:13:26.450
and action.

00:13:26.950 --> 00:13:29.620
ELIZABETH OLSEN: When we were about
to go back to finishing WandaVision,

00:13:29.710 --> 00:13:33.040
I was pitched the actual story
of Doctor Strange,

00:13:33.130 --> 00:13:36.800
and I was shocked.

00:13:36.960 --> 00:13:41.590
No one told me that their plan for me
was to be the villain. (LAUGHS)

00:13:42.760 --> 00:13:46.100
We knew that we wanted Wanda to be in it.

00:13:46.220 --> 00:13:50.940
I think, originally, there's a version
where Wanda was maybe gonna turn bad

00:13:51.020 --> 00:13:52.100
at the end.

00:13:52.190 --> 00:13:54.440
That was a big change that I made

00:13:54.520 --> 00:13:58.820
and I had a strong perspective on
making her a villain from the get-go.

00:13:58.900 --> 00:14:02.160
It was always like, "Well, that'll happen
in an Avengers movie or something."

00:14:02.570 --> 00:14:04.070
My perspective was,

00:14:04.160 --> 00:14:08.700
"Why are we letting some other movie
get the best villain ever?"

00:14:10.330 --> 00:14:12.020
It was an exciting opportunity

00:14:12.044 --> 00:14:13.290
because it's really fun

00:14:13.380 --> 00:14:16.920
playing people with moral ambiguity.

00:14:17.000 --> 00:14:18.210
WANDA: Her sacrifice...

00:14:19.210 --> 00:14:20.470
would be for the greater good.

00:14:20.550 --> 00:14:23.557
OLSEN: She is one
of the most powerful

00:14:23.581 --> 00:14:25.550
beings that's ever existed.

00:14:25.640 --> 00:14:27.890
I was meant to rule everything.

00:14:27.970 --> 00:14:32.940
Why does that mean that she now
has to settle for just being good,

00:14:33.020 --> 00:14:36.440
when all she wants is something that seems
so simple and small

00:14:36.520 --> 00:14:37.730
which is to be with her kids?

00:14:39.320 --> 00:14:41.700
We've seen the tragedy of her life.

00:14:41.780 --> 00:14:45.294
She killed Vision,
only to have Thanos

00:14:45.318 --> 00:14:47.950
rewind those events
with the Time Stone,

00:14:48.040 --> 00:14:50.398
the Time Stone he got
from Doctor Strange,

00:14:50.422 --> 00:14:52.410
so that Wanda's
sacrifice was for nothing.

00:14:52.500 --> 00:14:55.580
She's given up a lot
and from her perspective,

00:14:55.670 --> 00:14:57.178
all she wants is one life,

00:14:57.202 --> 00:14:58.710
she wants America Chavez,

00:14:58.800 --> 00:15:00.857
she wants to take
her power, which, yes,

00:15:00.881 --> 00:15:03.220
will kill America,

00:15:03.300 --> 00:15:05.930
but to Wanda, she's earned that sacrifice.

00:15:08.100 --> 00:15:11.930
Alex Byrne's costume in Ultron
was Wanda's first outing.

00:15:12.020 --> 00:15:14.600
So, she started out
in store-bought street clothes

00:15:14.690 --> 00:15:17.060
with the torn jeans,
with the cropped jacket.

00:15:17.150 --> 00:15:19.070
And then, by the time she gets
to Infinity War,

00:15:19.150 --> 00:15:20.964
she's wearing
that red body coat,

00:15:20.988 --> 00:15:23.240
so leaning more
towards the comics.

00:15:23.530 --> 00:15:27.530
The whole WandaVision look,
when she transforms into Scarlet Witch,

00:15:27.620 --> 00:15:30.990
she's been, for some time,
in possession of the Darkhold.

00:15:31.080 --> 00:15:33.029
And such a powerful
tome can have

00:15:33.053 --> 00:15:36.080
a sort of devastating
effect on a person,

00:15:36.170 --> 00:15:38.635
if they try and use its powers,

00:15:38.659 --> 00:15:40.050
so it has its downside.

00:15:40.130 --> 00:15:43.043
You get this sort
of Multiversal mold

00:15:43.067 --> 00:15:45.130
and contamination
growing over your body,

00:15:45.220 --> 00:15:49.300
your costume, as you're overtaken
by the sort of evil powers within it.

00:15:49.390 --> 00:15:52.680
I wanted, if this evil kind of thing
was growing over your body...

00:15:52.770 --> 00:15:56.020
Her shoulders were covered,
and the armor is now...

00:15:56.100 --> 00:15:59.230
The detail on the
corset, on the bodice,

00:15:59.254 --> 00:16:01.150
is now really kind
of deteriorated,

00:16:01.230 --> 00:16:03.440
and the skirt is really fluid now.

00:16:03.530 --> 00:16:06.610
The crown too has a...
It's like it was a sort of jewel,

00:16:06.700 --> 00:16:08.619
but now, it's sort
of pitted and has

00:16:08.643 --> 00:16:10.990
patina and
devastation to it as well,

00:16:11.080 --> 00:16:13.950
so it's a lot more eroded and worn
than in WandaVision.

00:16:14.040 --> 00:16:15.910
And so, those were the changes I made

00:16:16.000 --> 00:16:18.073
because it fitted
within the idea

00:16:18.097 --> 00:16:20.170
that something
had happened to her

00:16:20.250 --> 00:16:24.380
in possession of the Darkhold
that created this sort of distortion

00:16:24.460 --> 00:16:26.880
and deterioration of her costume.

00:16:26.970 --> 00:16:29.510
WANDA: Every night, the same dream.

00:16:30.600 --> 00:16:32.760
And every morning...

00:16:34.390 --> 00:16:37.140
the same nightmare.

00:16:37.520 --> 00:16:39.587
We really wanted
to have the audience

00:16:39.611 --> 00:16:41.400
identify with the
villain of the piece,

00:16:41.480 --> 00:16:45.190
really understand her, not make them
a brouhahaha villain,

00:16:45.280 --> 00:16:47.059
but somebody
who you really loved

00:16:47.083 --> 00:16:49.110
and could relate to.

00:16:49.200 --> 00:16:51.160
WANDA: You break the rules
and become a hero.

00:16:51.780 --> 00:16:53.540
I do it, and I become the enemy.

00:16:54.870 --> 00:16:56.120
That doesn't seem fair.

00:16:56.200 --> 00:16:58.580
RAIMI: That was so beautiful.
Cut, that was great.

00:16:59.790 --> 00:17:02.250
That was a constant thing
for Sam Raimi and I.

00:17:02.340 --> 00:17:05.800
I've had so much fun
playing off of his ideas,

00:17:05.880 --> 00:17:10.800
and I think he and I really relish
in this character

00:17:11.140 --> 00:17:14.810
and we've been enjoying
how delicious it is

00:17:14.890 --> 00:17:17.560
to justify some of the things
she does in the movie.

00:17:17.640 --> 00:17:19.440
RAIMI: I loved it.
There's a little bit of dread

00:17:19.520 --> 00:17:20.980
of what would happen if she were called.

00:17:21.060 --> 00:17:23.690
(OLSEN SPEAKING)

00:17:23.770 --> 00:17:26.570
-(RAIMI SPEAKING)
-(OLSEN SPEAKING)

00:17:26.690 --> 00:17:27.780
(OLSEN SPEAKING)

00:17:27.860 --> 00:17:28.860
(RAIMI SPEAKING)

00:17:31.490 --> 00:17:33.990
RACHEL MCADAMS: That's just
one of the things Marvel does so well

00:17:34.080 --> 00:17:35.450
and better than anyone,

00:17:35.540 --> 00:17:37.950
is that their villains, you know,
you find yourself

00:17:38.040 --> 00:17:41.710
siding with them at times, you're like,
"Wait, I feel bad for you,"

00:17:41.790 --> 00:17:45.670
or, "Well, they have a really good point,
you know, Thanos has a...

00:17:45.750 --> 00:17:47.010
"He has a really good point."

00:17:47.090 --> 00:17:51.300
So I feel like they've built that
with Wanda so well,

00:17:51.380 --> 00:17:54.890
where you just feel for her
and her struggle.

00:17:55.850 --> 00:17:59.640
It's just a very filled-out character
that, I think, makes you feel

00:17:59.730 --> 00:18:01.238
a lot of complicated things.

00:18:01.262 --> 00:18:02.770
Those are always
the best villains.

00:18:04.730 --> 00:18:07.190
RAIMI: She's a villain
because she believes

00:18:07.280 --> 00:18:08.280
the end justifies the means.

00:18:08.360 --> 00:18:11.110
She'll simply do anything
to be with the ones she loves.

00:18:11.200 --> 00:18:14.070
She just loved too much, was her problem.

00:18:14.410 --> 00:18:17.080
But once you start
taking the bad path in life,

00:18:17.160 --> 00:18:19.870
you make one bad choice and another,
it seems like,

00:18:19.960 --> 00:18:21.210
sometimes, there's no way back.

00:18:24.380 --> 00:18:27.340
-That's great, I think we got it.
-OLSEN: Okay, good.

00:18:27.420 --> 00:18:28.460
MAN: So, cut.

00:18:28.550 --> 00:18:32.510
WALDRON: Doctor Strange and Wong bring
America to Kamar-Taj for safekeeping.

00:18:32.590 --> 00:18:33.873
The person you
went to ask for help,

00:18:33.897 --> 00:18:35.180
is the person that's
trying to kill me?

00:18:35.260 --> 00:18:36.260
Yeah.

00:18:36.350 --> 00:18:38.350
It doesn't quite work out
how they hoped it would.

00:18:38.430 --> 00:18:39.592
And arm the students.

00:18:39.616 --> 00:18:41.600
Kamar-Taj must now
become a fortress.

00:18:43.560 --> 00:18:45.250
I'm Sam, the
Director, and all of you

00:18:45.274 --> 00:18:47.900
are students at Kamar-Taj.

00:18:47.980 --> 00:18:50.490
Unfortunately,
a witch has come to town.

00:18:51.240 --> 00:18:54.700
Are you going to let that witch
take that girl?

00:18:54.780 --> 00:18:55.870
ALL: No! No!

00:18:55.950 --> 00:18:58.330
-I can't hear you.
-ALL: No!

00:18:59.490 --> 00:19:02.210
-Sounds like she's doomed.
-(ALL LAUGHING)

00:19:02.580 --> 00:19:06.880
I have to tell you,
most of you will not survive.

00:19:08.630 --> 00:19:12.220
You have no idea just how reasonable
I have been.

00:19:12.300 --> 00:19:14.180
Kamar-Taj stands against you.

00:19:14.380 --> 00:19:16.050
-(GRUNTS)
-Defensive positions!

00:19:16.300 --> 00:19:18.100
We have a particularly big sequence

00:19:18.180 --> 00:19:20.850
where Wanda,
she's coming to attack Kamar-Taj.

00:19:23.390 --> 00:19:26.610
The Kamar-Taj battle,
in terms of shot count, it's huge.

00:19:26.690 --> 00:19:28.770
That scene was shot
on three different stages.

00:19:28.860 --> 00:19:31.070
We're here on the Sirius stage,
as I understand it,

00:19:31.150 --> 00:19:33.360
they lift these stages up
for big concerts.

00:19:33.450 --> 00:19:34.778
So, we lifted the stage up,

00:19:34.802 --> 00:19:35.740
it's quite a massive stage,

00:19:35.820 --> 00:19:37.990
but not big enough for our Kamar-Taj.

00:19:40.160 --> 00:19:41.963
Even though we
only have one rooftop,

00:19:41.987 --> 00:19:43.790
it has to play as
three different rooftops

00:19:43.870 --> 00:19:46.500
on Kamar-Taj
that are all oriented differently.

00:19:46.580 --> 00:19:49.460
And so, one of the tricks is
not only figuring out, on any given day,

00:19:49.540 --> 00:19:52.050
who's supposed to be on that rooftop
and how it's dressed

00:19:52.130 --> 00:19:55.300
and what sort of damage is there,
but also where the lighting comes from.

00:19:55.380 --> 00:19:58.010
Wanda is flying around so she starts off
on the approach

00:19:58.090 --> 00:19:59.580
and there's a little
bit of a stand-off.

00:19:59.604 --> 00:20:01.720
After that, Wanda
starts doing attacks

00:20:01.810 --> 00:20:04.600
and she starts to fly all the way around
looking for weak points

00:20:04.680 --> 00:20:07.020
inside this collective force field.

00:20:07.100 --> 00:20:10.190
We call this the strafing run,
it's kinda like what you'd picture

00:20:10.270 --> 00:20:12.820
if you were in a jet fighter
that's coming around banking

00:20:12.900 --> 00:20:16.320
and just boom, boom, boom.
Stuff flying and in your face.

00:20:20.280 --> 00:20:22.870
TUCKER: Charlie did all of the design
for Kamar-Taj.

00:20:22.950 --> 00:20:26.580
That 3D model was then handed off
to proof the previz company

00:20:26.670 --> 00:20:28.750
that prevized the Kamar Taj sequence.

00:20:28.830 --> 00:20:30.662
Then, to help us visualize that,

00:20:30.686 --> 00:20:31.880
that previz model gets put into

00:20:31.960 --> 00:20:33.390
an iPad and that
allows us to sort of

00:20:33.414 --> 00:20:36.010
temporarily position
ourselves on set.

00:20:36.090 --> 00:20:38.180
LEWIS: I've seen it
in the past five years develop

00:20:38.260 --> 00:20:40.052
from this big virtual
camera, whole crew,

00:20:40.076 --> 00:20:42.350
whole expensive
setup that takes days

00:20:42.430 --> 00:20:44.140
and weeks to do,
whereas now it's on an iPad

00:20:44.220 --> 00:20:45.810
and it's in your back pocket, essentially.

00:20:45.890 --> 00:20:48.350
Any characters or props,
we can bring in with animation

00:20:48.440 --> 00:20:49.485
and virtually see where it is

00:20:49.509 --> 00:20:51.310
so it's a great tool on set

00:20:51.400 --> 00:20:54.440
when we need to look up and see a monster
or an explosion.

00:20:54.530 --> 00:20:57.450
One of the other things we have to really
plan for is, is special effects.

00:20:57.530 --> 00:20:59.570
A lot of planning
going into, from the previz,

00:20:59.660 --> 00:21:03.410
where certain explosions will happen
inside the floors of Kamar-Taj.

00:21:03.490 --> 00:21:05.580
MAN: Three, two, one, action!

00:21:06.910 --> 00:21:08.903
So, we're setting up

00:21:08.927 --> 00:21:10.920
25 different explosions,
some fireballs,

00:21:11.000 --> 00:21:12.336
some ground hits,
where the ground

00:21:12.360 --> 00:21:14.340
is erupting, total mayhem.

00:21:17.920 --> 00:21:21.010
This particular sequence
was a great collaboration

00:21:21.090 --> 00:21:22.637
between special effects, stunts,

00:21:22.661 --> 00:21:23.930
camera crews.

00:21:24.010 --> 00:21:26.148
The whole second unit has worked

00:21:26.172 --> 00:21:27.680
miraculously to
all mesh together

00:21:27.770 --> 00:21:29.600
and create a wonderful little sequence.

00:21:29.690 --> 00:21:33.110
I think that was our biggest
action sequence of the film.

00:21:34.190 --> 00:21:36.990
There were some shots that were
extremely choreographed,

00:21:37.070 --> 00:21:38.663
I mean, we had camera winches,

00:21:38.687 --> 00:21:40.280
and we had R ratchets

00:21:40.360 --> 00:21:41.660
that blow people back.

00:21:41.740 --> 00:21:45.490
We did somewhere between
40 and 50 different ratchets.

00:21:45.580 --> 00:21:47.580
Those are the explosions
when cannons blow up,

00:21:47.660 --> 00:21:49.040
we ratcheted six
people back there,

00:21:49.064 --> 00:21:50.040
when she lands,

00:21:50.120 --> 00:21:51.517
that had six or
seven people on it,

00:21:51.541 --> 00:21:53.340
but it was a lot
of fun to develop.

00:21:53.420 --> 00:21:56.840
We actually, kind of, started the idea
by putting one of our stunt guys

00:21:56.920 --> 00:21:58.703
in the winch holding
a DSLR camera.

00:21:58.727 --> 00:22:00.510
And then we did all the action,

00:22:00.590 --> 00:22:02.800
kind of buzzed him through
as if he were the camera.

00:22:02.890 --> 00:22:06.720
That's sort of our poor man's version
of the motion-based winch camera.

00:22:07.270 --> 00:22:08.825
JEFF: So, we've got a camera

00:22:08.849 --> 00:22:10.230
on a wire, a 3D winch system

00:22:10.310 --> 00:22:12.560
that basically is the Scarlet Witch's
point of view

00:22:12.650 --> 00:22:14.650
and it comes around behind the building.

00:22:14.730 --> 00:22:17.320
You see the first explosion
go up right in front of it.

00:22:17.400 --> 00:22:19.058
It comes through
it, it comes around

00:22:19.082 --> 00:22:20.740
and it just sees all of this,

00:22:20.820 --> 00:22:22.946
chasing it all and
then we got four more

00:22:22.970 --> 00:22:24.740
cameras in various
positions to catch

00:22:24.820 --> 00:22:29.000
Rintrah's run, catch the bell falling,
catch individual people flying

00:22:29.080 --> 00:22:31.000
and hitting the ground
and coming right at ya.

00:22:31.080 --> 00:22:32.620
CORBOULD: The explosions, we really wanted

00:22:32.710 --> 00:22:34.670
to get the stunt people
right on top of them.

00:22:34.750 --> 00:22:36.448
Rather than use
traditional black powder,

00:22:36.472 --> 00:22:38.170
we've gone for a
high pressure nitrogen

00:22:38.250 --> 00:22:39.078
which is really, really safe,

00:22:39.102 --> 00:22:41.050
you can almost
stand right next to it,

00:22:41.130 --> 00:22:42.340
but gives a wonderful effect.

00:22:42.430 --> 00:22:43.590
MAN: Action!

00:22:45.930 --> 00:22:48.060
SAVANI: So we've just done
the first explosion

00:22:48.140 --> 00:22:49.850
and I'm the first one that sort of goes up

00:22:49.930 --> 00:22:52.100
into the air.
Obviously, it's a bit nerve-wracking

00:22:52.190 --> 00:22:53.810
'cause you don't know exactly
what'll happen.

00:22:53.900 --> 00:22:56.820
We've rehearsed a lot of it before
but with the SFX and stuff,

00:22:56.900 --> 00:22:59.070
it's the first time, with full costume,
it's the first time.

00:22:59.150 --> 00:23:02.400
JEFF: I think everyone was
a bit surprised how big it was on the day,

00:23:02.490 --> 00:23:06.120
which kinda helps their acting
'cause it turns from acting to, like,

00:23:06.200 --> 00:23:07.580
"This is really happening."

00:23:07.660 --> 00:23:12.040
We actually had a little too much dust
so you lost 'em and you couldn't see 'em,

00:23:12.120 --> 00:23:13.798
but it looked really
cool in that dust

00:23:13.822 --> 00:23:15.500
so we're gonna lower
the dust a little bit

00:23:15.580 --> 00:23:17.340
and hopefully we'll see
a bit more of that.

00:23:17.420 --> 00:23:18.485
I saw some of the playback.

00:23:18.509 --> 00:23:19.420
Really pleased with it.

00:23:19.500 --> 00:23:21.311
So, yeah, we just take our time,

00:23:21.335 --> 00:23:22.880
don't rush and pick
every camera position

00:23:22.970 --> 00:23:25.800
to get the most out of
what all the stunt players are doing

00:23:25.890 --> 00:23:28.180
and the special effects explosions
are doing.

00:23:28.720 --> 00:23:31.600
CORBOULD: We've been testing this
for probably four months now,

00:23:31.680 --> 00:23:34.230
to reach this point.
But it's great when it all comes together.

00:23:34.310 --> 00:23:36.440
Unfortunately, it's all over
in about 20 seconds,

00:23:36.520 --> 00:23:38.480
but it'll be great on the screen.

00:23:43.190 --> 00:23:46.410
That sequence was what
every stunt coordinator looks forward to,

00:23:46.490 --> 00:23:49.030
to be honest with you. You get to hire
a lot of stunt performers

00:23:49.120 --> 00:23:51.410
that are really talented
and you get to show off their talents

00:23:51.490 --> 00:23:53.120
and you get to blow stuff up.

00:23:54.290 --> 00:23:56.830
This is an extremely wire-intense film.

00:23:56.920 --> 00:23:58.571
So, we've got two
separate rigging teams

00:23:58.595 --> 00:24:00.460
that are working on
different sequences,

00:24:00.550 --> 00:24:02.008
pretty much full-time.
I've been a part of

00:24:02.032 --> 00:24:04.470
five other Marvel
films before this

00:24:04.550 --> 00:24:06.970
and this is the most wire-intensive one
I've been a part of.

00:24:07.050 --> 00:24:10.050
MAN: Three, two, one, action!

00:24:10.140 --> 00:24:15.230
COUNTS: The audience and the actors and
the studio really like to see the actors

00:24:15.310 --> 00:24:17.014
doing their own stunts,

00:24:17.038 --> 00:24:17.980
so, we facilitate that.

00:24:18.060 --> 00:24:21.520
We had Strange fly in, around this corner,
starting at about 30 feet

00:24:21.610 --> 00:24:25.360
and he probably flew about 80 feet
down around the street and we land him

00:24:25.450 --> 00:24:27.070
in the middle of the street
and then action.

00:24:27.160 --> 00:24:29.910
The whole point was to show him,
a really small figure,

00:24:29.990 --> 00:24:31.801
and to land right
in front of camera,

00:24:31.825 --> 00:24:33.950
a foot-and-a-half
away from it, on a cue.

00:24:34.040 --> 00:24:36.290
So, they're computerized
and they're all rehearsed

00:24:36.370 --> 00:24:37.460
and that allows us

00:24:37.540 --> 00:24:40.880
to get selfish and use Benedict's face
as much as we can.

00:24:40.960 --> 00:24:42.170
MAN: And rolling!

00:24:42.460 --> 00:24:44.050
So much happens so quickly.

00:24:47.590 --> 00:24:49.458
So, I just got off
the wires and I'm not

00:24:49.482 --> 00:24:51.350
gonna lie, they're really scary.

00:24:51.430 --> 00:24:52.656
COUNTS: Xochitl's been great.

00:24:52.680 --> 00:24:53.720
She's got a great work ethic.

00:24:53.810 --> 00:24:55.521
She really wants to rehearse

00:24:55.545 --> 00:24:57.100
and do lots of her own stunts.

00:24:57.190 --> 00:24:58.988
Unfortunately, she is a minor.

00:24:59.012 --> 00:25:00.810
So, we can only
allow her to go so far.

00:25:00.900 --> 00:25:02.480
I think she's had a blast on this.

00:25:02.570 --> 00:25:04.730
We've actually had her in the winches
and stuff like that.

00:25:04.820 --> 00:25:05.633
We've moved her around,

00:25:05.657 --> 00:25:06.950
we've dropped her on things.

00:25:07.030 --> 00:25:08.145
I don't know how to describe it.

00:25:08.169 --> 00:25:09.530
It's like, the second
you go down,

00:25:09.610 --> 00:25:12.910
it's like every gut feeling
just disappears and it's like,

00:25:12.990 --> 00:25:14.040
"Where'd everything go?"

00:25:14.120 --> 00:25:15.200
MAN: Go!

00:25:16.250 --> 00:25:17.068
It's been a lot of fun.

00:25:17.092 --> 00:25:18.620
And I've got two
daughters at home,

00:25:18.710 --> 00:25:21.500
they're not quite as old as she is,
but it is a lot of fun

00:25:21.580 --> 00:25:23.550
to sit and watch someone
who's in their mid-teens

00:25:23.630 --> 00:25:26.630
develop a character and get to be
a part of the Marvel universe

00:25:26.710 --> 00:25:27.800
at such a young age.

00:25:30.640 --> 00:25:33.560
OLSEN: For some reason,
I'm okay being in a harness.

00:25:33.640 --> 00:25:35.220
It's fine to fly around

00:25:35.310 --> 00:25:38.690
and be in it for a certain period of time
and I really do enjoy it a lot

00:25:38.770 --> 00:25:40.322
and with these things
called tuning forks.

00:25:40.346 --> 00:25:42.940
So, I'm not just being
held up on wires,

00:25:43.020 --> 00:25:45.460
but I actually have
a harness on with

00:25:45.484 --> 00:25:46.780
a big piece of metal
that hugs my waist.

00:25:46.860 --> 00:25:48.570
I have found that to be really helpful

00:25:48.650 --> 00:25:51.070
because you have more control
over your body

00:25:51.160 --> 00:25:55.240
and so we've done a variation
of these tuning forks and wire work.

00:25:55.490 --> 00:25:57.450
COUNTS: The great thing
about Lizzie is that

00:25:57.540 --> 00:25:59.120
she's played this character for a while.

00:25:59.210 --> 00:26:00.420
MAN: Action!

00:26:01.040 --> 00:26:03.420
COUNTS: She really knows the character
inside and out.

00:26:05.420 --> 00:26:06.460
Scarlet Witch is supposedly

00:26:06.550 --> 00:26:08.920
one of the most powerful
Marvel characters out there.

00:26:09.010 --> 00:26:12.090
The difference is, she uses her magic.
So, when we do these fights,

00:26:12.180 --> 00:26:15.470
you'll notice that she very rarely gets
touched or touches anybody else.

00:26:15.560 --> 00:26:16.653
Everything is done with magic,

00:26:16.677 --> 00:26:17.770
so, it is a fight,

00:26:17.850 --> 00:26:20.350
but we don't actually physically hit her
with stuff.

00:26:21.190 --> 00:26:24.110
YANG: This is the first time I'm working
with the Wanda character.

00:26:24.860 --> 00:26:28.030
I did study a lot, online,
with her movements.

00:26:28.110 --> 00:26:29.734
But first time I met her,

00:26:29.758 --> 00:26:30.700
was see her do her movement.

00:26:30.780 --> 00:26:33.070
I went like, "Wow! She's Wanda."

00:26:33.160 --> 00:26:34.406
COUNTS: She's
done an amazing job

00:26:34.430 --> 00:26:35.990
with helping us
build the action.

00:26:36.080 --> 00:26:38.540
So, it'll kinda culminate
in this Illuminati fight

00:26:38.620 --> 00:26:39.830
you'll see with the superheroes.

00:26:39.910 --> 00:26:41.500
RAIMI: Cut!
MAN: Yeah, can we cut?

00:26:41.580 --> 00:26:42.298
RAIMI: That was good.

00:26:42.322 --> 00:26:44.500
I think we got the
master we need.

00:26:47.210 --> 00:26:48.590
Secret societies.

00:26:49.670 --> 00:26:51.010
Don't think they're real?

00:26:51.590 --> 00:26:52.760
Well, think again, pal.

00:26:53.380 --> 00:26:56.300
Ever heard of the Freemasons,
or the Knights Templar?

00:26:56.760 --> 00:26:58.600
How about the Ten Rings, or HYDRA?

00:26:59.020 --> 00:27:00.568
Maybe those last
two things aren't real,

00:27:00.592 --> 00:27:02.140
but I know you've heard of 'em,

00:27:02.230 --> 00:27:04.310
'cause you're wearing
Captain America underpants.

00:27:05.020 --> 00:27:07.150
The point is, I'm willing to roll
with the idea

00:27:07.230 --> 00:27:10.230
of some clandestine organization
running the whole show

00:27:10.320 --> 00:27:12.490
from behind the proverbial curtain.

00:27:12.570 --> 00:27:17.120
Just don't tell me that those folks are
ridin' around in yellow hoverchairs

00:27:17.200 --> 00:27:22.080
and throwing Vibranium frisbees painted
like Union Jacks. (LAUGHS)

00:27:22.160 --> 00:27:23.500
Don't tell me that.

00:27:33.760 --> 00:27:36.930
The Illuminati's been a group we've wanted
to introduce in our movies for years.

00:27:37.550 --> 00:27:38.600
BARON: Stephen Strange,

00:27:39.470 --> 00:27:41.720
you are now called
before the Illuminati.

00:27:42.270 --> 00:27:43.310
The Illumi-what-y?

00:27:44.270 --> 00:27:47.810
Doctor Strange and America Chavez
find themself in another version

00:27:47.900 --> 00:27:50.150
of our reality
where there is an Illuminati.

00:27:50.230 --> 00:27:52.820
PALMER: They're a secret organization
that works off-the-grid.

00:27:52.900 --> 00:27:55.530
They do the things that the other groups
like the Avengers

00:27:55.610 --> 00:27:56.910
wouldn't be too happy about.

00:27:56.990 --> 00:27:59.740
Your alternate self
created the Illuminati

00:27:59.830 --> 00:28:02.120
to make difficult decisions
that no one else could.

00:28:02.200 --> 00:28:05.330
PALMER: To do it in an alternate universe
in the Multiverse,

00:28:05.420 --> 00:28:06.710
was a really exciting thing

00:28:06.790 --> 00:28:10.920
because we get to meet a version
of this group in this other universe,

00:28:11.050 --> 00:28:15.090
and then we still might get to see
an Illuminati of our main MCU one day,

00:28:15.170 --> 00:28:16.430
which is also very exciting.

00:28:16.510 --> 00:28:19.260
Yeah, that's definitely a case of me
just not knowing

00:28:19.350 --> 00:28:21.430
what to do with the script and thinking...

00:28:21.510 --> 00:28:22.600
Crap.

00:28:22.680 --> 00:28:24.016
"We're in the second act.

00:28:24.040 --> 00:28:25.600
Something's gotta happen.

00:28:25.690 --> 00:28:27.310
"What should it be?"

00:28:27.400 --> 00:28:30.900
It comes at a point where it's like,
"We're a little past halfway.

00:28:30.980 --> 00:28:34.400
"Let's break the movie
and do something really nuts."

00:28:35.900 --> 00:28:37.860
RAIMI: When Marvel first wrote
about the Illuminati,

00:28:37.950 --> 00:28:39.320
they had their characters.

00:28:39.410 --> 00:28:40.580
Doctor Doom was among them,

00:28:40.660 --> 00:28:42.660
Doctor Strange,
plenty of different characters.

00:28:42.740 --> 00:28:44.450
But we had to make a selection.

00:28:44.540 --> 00:28:47.670
WALDRON: Who's the most exciting
cast of characters?

00:28:47.750 --> 00:28:50.000
Do we just pick who we want
from the comics?

00:28:50.080 --> 00:28:51.920
Obviously,
there's different rights' issues,

00:28:52.000 --> 00:28:53.590
folks showin' up in other movies.

00:28:53.670 --> 00:28:56.840
RAIMI: So, we did take into account
what the fans wanted to see.

00:28:56.920 --> 00:28:59.360
We wanted the fans
to go, "Oh, how cool!"

00:28:59.384 --> 00:29:00.340
I mean, that
really was our goal.

00:29:00.430 --> 00:29:02.140
We wanted to give the fans
what they wanted.

00:29:02.220 --> 00:29:04.140
Just not exactly what they expected.

00:29:04.220 --> 00:29:07.350
The Illuminati you meet in this movie
is made up of Mordo...

00:29:07.440 --> 00:29:08.855
It is very much a
different character,

00:29:08.879 --> 00:29:11.270
but with the same,
or a similar essence.

00:29:11.690 --> 00:29:13.020
I'm sorry, Stephen.

00:29:13.480 --> 00:29:15.360
EJIOFOR: From the beginning
of the first film,

00:29:15.440 --> 00:29:16.940
this was what the build was.

00:29:17.030 --> 00:29:19.910
Strange and Mordo are, at some point,
really gonna get into it.

00:29:19.990 --> 00:29:22.740
The bill comes due.

00:29:23.530 --> 00:29:24.540
Always.

00:29:24.620 --> 00:29:27.910
EJIOFOR: Mordo is somebody
who took Strange under his wing.

00:29:28.000 --> 00:29:30.710
And somehow, part of that
is also echoed in the fight,

00:29:30.790 --> 00:29:32.460
even though it's in a different universe.

00:29:32.540 --> 00:29:35.300
It's still the teacher
and student dynamic.

00:29:35.630 --> 00:29:38.090
They're not able to use their magic.

00:29:38.170 --> 00:29:41.090
So, now we're seeing
the Mordo-Strange fight,

00:29:41.180 --> 00:29:42.970
but as a street brawl.

00:29:43.050 --> 00:29:46.310
It's a great way of expressing character
through physicality.

00:29:46.390 --> 00:29:49.940
So, I'm always keen to do it,
as much as I can, to do it myself.

00:29:50.020 --> 00:29:53.400
And that is also fun, you know?
I mean, lest we forget.

00:29:53.480 --> 00:29:55.020
It's also enjoyable to do.

00:29:57.240 --> 00:29:58.990
WALDRON: Alternate Peggy Carter...

00:29:59.070 --> 00:30:00.110
Captain Carter.

00:30:00.200 --> 00:30:02.200
...that got the serum, that's awesome.

00:30:02.280 --> 00:30:05.540
Hayley Atwell is obviously somebody
that the fans love.

00:30:05.620 --> 00:30:07.543
Great. I loved every

00:30:07.567 --> 00:30:08.400
bit of that. Badass.

00:30:08.450 --> 00:30:10.330
That's what the kids want to see. Cut.

00:30:10.410 --> 00:30:13.330
As I understand it, the whole thing
came out of the What If...? animation.

00:30:13.420 --> 00:30:16.300
So, she became the super-soldier.

00:30:16.590 --> 00:30:20.510
We took references,
so First Avenger and then Ultron,

00:30:20.590 --> 00:30:22.090
along with Ryan's illustration,

00:30:22.180 --> 00:30:25.260
which captures
the What if...? vintage feel.

00:30:25.350 --> 00:30:29.600
And we've used the same fabric
as we used on the Age of Ultron

00:30:29.680 --> 00:30:31.653
Captain America costume.

00:30:31.677 --> 00:30:33.650
So, it's not like
a skin-fitting suit.

00:30:33.730 --> 00:30:37.530
It's very much like Captain America,
a combat suit.

00:30:37.610 --> 00:30:39.820
Hayley's really happy
with the whole structure

00:30:39.900 --> 00:30:41.490
and fit and silhouette of it.

00:30:41.570 --> 00:30:44.990
We kept Peggy in the Captain America
sense-of-fighting-style.

00:30:47.290 --> 00:30:48.379
That was a fun sequence to do

00:30:48.403 --> 00:30:50.250
because we got to use the shield

00:30:50.330 --> 00:30:52.710
and it is a little more practical
hand-to-hand fighting.

00:30:54.960 --> 00:30:55.960
Haven't you had enough?

00:30:57.250 --> 00:30:58.590
Oh, I could do this all day.

00:30:58.670 --> 00:31:00.920
Captain Marvel.
Defender of the cosmos.

00:31:01.010 --> 00:31:05.140
Maria Rambeau, who really stole the show
in Captain Marvel...

00:31:05.220 --> 00:31:06.510
Call me "young lady" again,

00:31:06.600 --> 00:31:08.810
I'm gonna put my foot
in a place it's not supposed to be.

00:31:08.890 --> 00:31:10.673
WALDRON: To see her put on

00:31:10.697 --> 00:31:12.480
the suit and kick
ass is so cool.

00:31:12.560 --> 00:31:14.560
Get the hell out
of my universe!

00:31:14.650 --> 00:31:17.230
WALDRON: And Lashana brings
so much to that character.

00:31:17.320 --> 00:31:21.530
CHURCHYARD: Maria Rambeau switching
into the Carol Danvers costume,

00:31:21.610 --> 00:31:22.900
it's black and silver.

00:31:22.990 --> 00:31:27.330
It holds onto all the same design elements
of Brie Larson's costume.

00:31:27.410 --> 00:31:30.290
But we've transposed it
into metallic-silver,

00:31:30.370 --> 00:31:32.375
kind of gun-metal
color and black.

00:31:32.399 --> 00:31:33.790
It looks really amazing.

00:31:34.370 --> 00:31:36.880
That was great. That's awesome.

00:31:37.590 --> 00:31:39.090
WALDRON: And then the big surprise...

00:31:39.170 --> 00:31:40.510
BARON: Our final member,

00:31:40.534 --> 00:31:42.550
Professor Charles Xavier.

00:31:43.420 --> 00:31:47.470
It was just an honor for me to get to sit
and type dialogue for him

00:31:47.550 --> 00:31:50.310
and to introduce him
into the world of the MCU.

00:31:51.310 --> 00:31:54.190
Everybody making comic-book movies
owes him a great debt.

00:31:55.980 --> 00:31:57.610
Movin' on, beautifully done.

00:31:57.860 --> 00:32:00.270
Thank you, Sir Patrick,
for that great concentration.

00:32:00.980 --> 00:32:02.070
OCHS: On this film,

00:32:02.150 --> 00:32:05.280
I think our biggest challenge
was working in a global pandemic.

00:32:06.860 --> 00:32:09.120
Really, it's a scheduling issue.

00:32:09.280 --> 00:32:11.120
For instance, Wanda's orchard...

00:32:11.200 --> 00:32:13.290
RAIMI: Here we go. Roll camera.

00:32:13.370 --> 00:32:17.040
It was a really important scene
for Sam from the very beginning.

00:32:17.540 --> 00:32:20.500
He wanted her to be
in this beautiful apple orchard

00:32:20.590 --> 00:32:23.130
and we were gonna
shoot the movie pre-COVID.

00:32:23.210 --> 00:32:24.510
It was gonna work out perfect

00:32:24.590 --> 00:32:26.590
because we were gonna be
here for the apple blossoms.

00:32:26.680 --> 00:32:28.260
Then our schedule shifted.

00:32:28.340 --> 00:32:30.425
And because there's
been a cold spell

00:32:30.449 --> 00:32:32.140
in England, the blossoms
haven't come yet.

00:32:32.220 --> 00:32:33.390
We were like, "What do we do?

00:32:33.470 --> 00:32:35.020
"Do we film them
on a green screen?

00:32:35.044 --> 00:32:37.310
Do we do an entirely
CG orchard later?

00:32:37.400 --> 00:32:40.770
"Or do we go out to the orchard
and do we put CG blossoms on it?"

00:32:40.860 --> 00:32:42.848
Charlie Wood, our
production designer

00:32:42.872 --> 00:32:44.610
sent an army of people out there

00:32:44.690 --> 00:32:47.493
and tied little wire blossoms

00:32:47.517 --> 00:32:50.320
onto about six trees and then

00:32:50.410 --> 00:32:52.492
they added another so
many thousand pounds

00:32:52.516 --> 00:32:53.660
and then they got eight trees

00:32:53.740 --> 00:32:55.963
and then ten trees
and we went out there

00:32:55.987 --> 00:32:58.210
and they've shot this
beautiful scene now

00:32:58.290 --> 00:33:01.320
and no visual effects
and you can't tell

00:33:01.344 --> 00:33:03.880
that these are
fabricated blossoms

00:33:03.960 --> 00:33:06.670
that have been tied on
to these trees by hand.

00:33:07.930 --> 00:33:10.720
Sometimes, people may get the impression
that these films are

00:33:10.800 --> 00:33:12.470
almost entirely virtual, they're not.

00:33:12.970 --> 00:33:17.020
We have hundreds of people
working on these sets and it takes us

00:33:17.100 --> 00:33:18.100
many, many months to build them.

00:33:18.190 --> 00:33:19.900
There's nothing better
than the real thing

00:33:19.980 --> 00:33:22.820
for an actor to be able to understand
the environment they're in,

00:33:22.900 --> 00:33:25.480
for a director to be able to direct
a scene and to understand

00:33:25.570 --> 00:33:27.860
where everything is, and how it is.

00:33:28.280 --> 00:33:31.700
That's incredibly important
as it is for the camera man.

00:33:31.780 --> 00:33:33.200
Am I going on action?

00:33:33.280 --> 00:33:34.910
WOOD: We try and build
as much as we can,

00:33:35.330 --> 00:33:39.370
to a point at where it becomes impractical
or impossible.

00:33:39.460 --> 00:33:42.750
So, if we're building this temple
in Kathmandu,

00:33:42.840 --> 00:33:44.476
we physically
built all the interiors

00:33:44.500 --> 00:33:45.710
they're walking around,

00:33:45.800 --> 00:33:50.010
whether it's corridors, or the interiors
of these temple rooms.

00:33:50.090 --> 00:33:53.970
We would build those in their entirety,
360 degrees.

00:33:57.020 --> 00:34:00.166
You know the set
where I am in the bio lab

00:34:00.190 --> 00:34:02.900
and Doctor Strange and America

00:34:02.980 --> 00:34:05.980
are in these glass boxes,
and they're trapped in there.

00:34:06.070 --> 00:34:07.780
And we couldn't even hear each other.

00:34:07.860 --> 00:34:09.914
So, they gave me
this weird earpiece

00:34:09.938 --> 00:34:12.620
because I'm in this glass box.

00:34:13.240 --> 00:34:15.870
Here. And I can't hear anything at all.

00:34:15.950 --> 00:34:18.250
The sets are so elaborate and built out.

00:34:18.330 --> 00:34:19.645
Charlie's vision is to create

00:34:19.669 --> 00:34:21.500
these wonderful sets,

00:34:21.580 --> 00:34:23.880
which have got incredible detail in them.

00:34:23.960 --> 00:34:27.630
WOOD: We've got this great team
of plasterers and painters

00:34:27.710 --> 00:34:31.180
and mold-building
and there's all sorts of things we can do.

00:34:31.260 --> 00:34:33.680
GIBBS: You've got these stone structures,
you've got bronzes,

00:34:33.760 --> 00:34:37.560
you've got incredible carved timber.
So you go from the Kamar-Taj,

00:34:37.640 --> 00:34:41.690
which is Nepalese
and then you've got the Sinister Sanctum,

00:34:41.770 --> 00:34:43.600
it's this stunning mansion
on Bleecker Street.

00:34:43.690 --> 00:34:44.770
Then when we get to Wundagore,

00:34:44.860 --> 00:34:49.030
you've got an incredible stone temple
that's been produced.

00:34:49.110 --> 00:34:50.900
This isn't a tomb.

00:34:50.990 --> 00:34:52.530
It's a throne.

00:34:52.610 --> 00:34:53.540
It was a tremendous challenge.

00:34:53.564 --> 00:34:55.870
It took teams of
really great artists.

00:34:55.950 --> 00:34:59.120
That was a really exciting challenge
to take on.

00:34:59.620 --> 00:35:00.912
Can I and these teams of artists

00:35:00.936 --> 00:35:03.000
make the audience believe

00:35:03.080 --> 00:35:06.210
that they're taking a journey
through multiple universes?

00:35:07.500 --> 00:35:09.755
Right now, we're
in New York City,

00:35:09.779 --> 00:35:11.630
but we're not
actually in New York.

00:35:11.720 --> 00:35:14.535
We're at Longcross
Studios in England

00:35:14.559 --> 00:35:17.100
in the UK and Marvel
actually built this.

00:35:17.220 --> 00:35:18.490
The streets of New York,

00:35:18.514 --> 00:35:20.140
I mean, look at
how amazing it is.

00:35:20.220 --> 00:35:21.483
Everything lights up,

00:35:21.507 --> 00:35:22.770
everything actually works.

00:35:22.850 --> 00:35:25.020
It was originally
gonna be shot in Cleveland.

00:35:25.100 --> 00:35:29.570
Cleveland has stood in for New York
for the Avengers movies once before.

00:35:29.650 --> 00:35:31.440
And we were all set to go there.

00:35:31.530 --> 00:35:34.490
PALMER: And then, of course,
due to the COVID pandemic,

00:35:34.570 --> 00:35:38.280
travelling to Cleveland seemed like
something we weren't gonna be able to do.

00:35:38.370 --> 00:35:40.695
Our executive producer,
Jamie Christopher,

00:35:40.719 --> 00:35:42.710
who is a genius in movie-making

00:35:42.790 --> 00:35:46.210
and has been around for decades
in this business said,

00:35:46.290 --> 00:35:49.260
"I think we need a
New York backlot set."

00:35:49.284 --> 00:35:50.670
And I think, at first,
people were like,

00:35:50.750 --> 00:35:51.648
"I don't know, Jamie." He said,

00:35:51.672 --> 00:35:53.590
"Guys, just let me
prove it to you."

00:35:53.670 --> 00:35:56.260
And sure enough,
we have a whole small section

00:35:56.340 --> 00:35:59.140
that passes for Greenwich Village,
it passes for Midtown.

00:35:59.220 --> 00:36:02.430
And we got about four blocks
of New York streets

00:36:02.520 --> 00:36:06.600
with all the set dressing, you know,
a lot of it brought from New York.

00:36:06.690 --> 00:36:08.019
A car is gonna flip over

00:36:08.043 --> 00:36:09.820
and I have to try
and not react to it.

00:36:11.820 --> 00:36:13.578
Kinda nervous. If I
do end up reacting,

00:36:13.602 --> 00:36:14.820
they might have to
redo the whole thing.

00:36:21.200 --> 00:36:22.240
RAIMI: And cut!

00:36:22.330 --> 00:36:25.120
And I did it. I'm proud of myself.
Pat on the back.

00:36:25.210 --> 00:36:30.000
A lot of the set has been built to be
ratcheted backwards, pushed over,

00:36:30.090 --> 00:36:31.521
hydraulically dropped, we got

00:36:31.545 --> 00:36:33.960
big debris drops
coming into the street.

00:36:34.050 --> 00:36:37.300
Anything that can be practical,
Sam wants practical.

00:36:37.380 --> 00:36:39.265
Sam's got Chris
Corbould on speed dial,

00:36:39.289 --> 00:36:40.510
our special effects supervisor.

00:36:40.600 --> 00:36:42.180
He can call him in every day.
He's saying,

00:36:42.260 --> 00:36:43.912
"Chris, can we do this for real?

00:36:43.936 --> 00:36:44.760
Can we do this for real?"

00:36:44.840 --> 00:36:46.480
And, you know, we usually can.

00:36:46.560 --> 00:36:50.110
GOMEZ: There was this one specific thing
we did in the New York streets.

00:36:50.190 --> 00:36:54.150
I'm running
and they had all these special effects.

00:36:54.240 --> 00:36:55.787
Like, lights were going off,

00:36:55.811 --> 00:36:57.030
a tree was falling,

00:36:57.110 --> 00:36:58.703
cars were crashing
into each other,

00:36:58.727 --> 00:37:00.320
a fire hydrant goes off,

00:37:00.410 --> 00:37:02.700
a building completely collapses behind me.

00:37:02.790 --> 00:37:06.330
There's more than probably
30-40 different gags in there,

00:37:06.410 --> 00:37:09.185
all with a different
mechanical mechanism.

00:37:09.209 --> 00:37:10.210
It's a great moment.

00:37:10.290 --> 00:37:12.290
This is probably one of the larger sets.

00:37:13.750 --> 00:37:15.460
Probably the largest set on the movie.

00:37:15.760 --> 00:37:18.430
And it's probably one of the largest sets
I've ever built, I'd say.

00:37:18.510 --> 00:37:20.760
But all of these images on the wall
shows you

00:37:21.260 --> 00:37:23.100
what, in fact, we ended up building.

00:37:23.180 --> 00:37:26.560
I saw it when it was just wood
and now I'm seeing it all done

00:37:26.640 --> 00:37:29.480
and I'm like, "Oh, my gosh."
The detail they have put in.

00:37:29.560 --> 00:37:31.400
Looks exactly like New York.

00:37:31.480 --> 00:37:33.555
It makes you hungry.
Because all these

00:37:33.579 --> 00:37:34.610
restaurants look pretty awesome.

00:37:34.690 --> 00:37:37.820
PALMER: It's a testament to Charlie Wood's
production design team

00:37:37.900 --> 00:37:39.710
and to our executive producer,

00:37:39.734 --> 00:37:41.240
Jamie Christopher, who came up

00:37:41.320 --> 00:37:43.990
with the crazy idea to go build it.
It's amazing.

00:37:44.080 --> 00:37:46.200
Not only does it pass for New York
in our universe,

00:37:46.290 --> 00:37:48.540
it passes for New York
in multiple universes.

00:37:49.210 --> 00:37:51.920
WOOD: This set serves three purposes.

00:37:52.460 --> 00:37:55.130
Because we have three different realities
in the film.

00:37:55.210 --> 00:37:57.880
Sam, you know, I remember being
in a meeting with him one day

00:37:57.970 --> 00:37:59.021
and he was like, "Gosh,
how are we gonna

00:37:59.045 --> 00:38:00.720
sell to everyone

00:38:00.800 --> 00:38:04.220
"that this is the exact same place
they were in that universe before?"

00:38:04.310 --> 00:38:07.100
And he had an idea of, every scene
where they land in New York,

00:38:07.180 --> 00:38:08.679
they kind of land
in the same alley.

00:38:08.703 --> 00:38:10.520
So, it was very
important for him,

00:38:10.600 --> 00:38:13.060
for all of the storyboard artists,
and all the previz artists,

00:38:13.150 --> 00:38:17.230
across all of the scenes,
to really make this exit from the alley

00:38:17.320 --> 00:38:20.752
and this turn down the
avenue recognizable

00:38:20.776 --> 00:38:22.240
every time you
came to that universe.

00:38:22.320 --> 00:38:26.620
The different dimensions are on the same
street where originally one was a normal,

00:38:26.700 --> 00:38:28.713
busy New York street.

00:38:28.737 --> 00:38:30.750
The second one was snowbound.

00:38:30.830 --> 00:38:32.189
So, it was totally snowed up

00:38:32.213 --> 00:38:35.170
with weird cars
floating in the air

00:38:35.250 --> 00:38:36.881
which we hung up on cranes

00:38:36.905 --> 00:38:38.010
and were rotating.

00:38:38.380 --> 00:38:42.050
So, you've got this weird, surreal,
deserted New York.

00:38:42.510 --> 00:38:44.850
Because we're chopping and changing
as we shoot

00:38:44.930 --> 00:38:46.890
between these three different periods,

00:38:46.970 --> 00:38:49.930
we wouldn't have time
to physically change the street.

00:38:50.020 --> 00:38:53.150
And one of the easiest ways of doing it
is with snow.

00:38:53.650 --> 00:38:57.190
Because this is something we can literally
do in a day and it's effective, yeah?

00:38:57.270 --> 00:39:00.940
And this wanted to be
a much more abstract, haunting place.

00:39:01.530 --> 00:39:04.950
A look like this
is the right way to go, I think.

00:39:05.030 --> 00:39:06.450
I mean, it's rather Dickensian.

00:39:06.530 --> 00:39:09.750
Eventually they get to the end
and the snow turns into black sand

00:39:09.830 --> 00:39:13.710
with a wave, from an Atlantic wave
coming across the road.

00:39:16.460 --> 00:39:20.050
WOOD: With Sanctum Sanctorum.
I think we rebuilt the foyer for...

00:39:20.130 --> 00:39:21.630
I know I've built it three times.

00:39:21.720 --> 00:39:25.050
And I think it's been built by a couple
of other films a couple of times.

00:39:25.510 --> 00:39:27.180
I think that's
number four or number five.

00:39:27.260 --> 00:39:29.043
We changed it a
bit in this reiteration.

00:39:29.067 --> 00:39:30.850
We always do.

00:39:30.930 --> 00:39:33.640
And then we had to come up
with another room, a big room,

00:39:33.730 --> 00:39:37.110
based on a kind of Victorian salon
with a glass roof

00:39:37.190 --> 00:39:40.030
that has become
one of the main spaces in the house.

00:39:41.990 --> 00:39:44.286
We ended up recreating
again the foyer,

00:39:44.310 --> 00:39:45.740
which is the entrance hall

00:39:45.820 --> 00:39:47.490
that leads into the house.

00:39:47.910 --> 00:39:51.290
With the Sinister Sanctum, Charlie wanted
to do something completely different.

00:39:51.370 --> 00:39:55.540
So, he wanted to make it bigger,
more unusual, more "out-there."

00:39:55.620 --> 00:39:57.854
So, as you open the front door,

00:39:57.878 --> 00:39:59.630
you come into this black beach.

00:39:59.710 --> 00:40:01.596
Architecturally, it
could be elongated,

00:40:01.620 --> 00:40:03.760
it could be expanded,
it could be open.

00:40:03.840 --> 00:40:05.180
You could be open to the elements.

00:40:05.260 --> 00:40:08.550
WOOD: So, it's really kind of
our most abstract world.

00:40:08.640 --> 00:40:11.310
We tried very hard to
make each experience,

00:40:11.390 --> 00:40:13.600
each place you go something different.

00:40:14.890 --> 00:40:16.940
By the time we'd got to Mount Wundagore,

00:40:17.020 --> 00:40:21.150
we felt that this world should be
much more primeval than anything else

00:40:21.230 --> 00:40:22.280
we were doing on the film.

00:40:22.360 --> 00:40:23.828
In the comics, Mount Wundagore

00:40:23.852 --> 00:40:25.320
is a castle-like structure

00:40:25.400 --> 00:40:27.950
in this snowy mountain range

00:40:28.030 --> 00:40:30.200
and we looked at
a lot of stuff from Petra.

00:40:30.280 --> 00:40:34.120
We'd wanted to come up with something
which was carved from the mountain.

00:40:34.200 --> 00:40:37.420
We ended up finding this beautiful
mountain range in the Dolomites, in Italy.

00:40:37.500 --> 00:40:38.823
So that was our setting.

00:40:38.847 --> 00:40:40.170
Then we had this
big conversation

00:40:40.250 --> 00:40:42.460
with the studio about
how it should be adorned,

00:40:42.550 --> 00:40:46.880
and all of the inscriptions and all of
this language we see in the Darkhold.

00:40:46.970 --> 00:40:51.100
So, that was all built into the design
of the walls of this temple.

00:40:51.180 --> 00:40:52.733
To me, the sets
are one of the most

00:40:52.757 --> 00:40:54.310
magical things
that you get to see

00:40:54.390 --> 00:40:58.150
on these films,
because it's so world-building.

00:40:58.230 --> 00:41:02.230
Mount Wundagore, I just thought they did
such a beautiful job.

00:41:02.320 --> 00:41:08.200
I'm having them ship it overseas,
so that I can have it in my backyard.

00:41:09.240 --> 00:41:12.620
Another area where we're really
referencing the comics on this movie

00:41:12.700 --> 00:41:13.740
is for the spells.

00:41:14.200 --> 00:41:17.160
So, there's all of these spells
that Doctor Strange has

00:41:17.250 --> 00:41:20.040
and we need to come up with new spells
that haven't been seen somewhere else.

00:41:20.130 --> 00:41:22.170
Keeping it fresh is really important.

00:41:23.670 --> 00:41:25.670
The characters to be in the situation
that they're in

00:41:25.760 --> 00:41:29.220
and have a spell
from the Marvel history books.

00:41:32.510 --> 00:41:34.520
I'm mostly doing the spell

00:41:34.600 --> 00:41:38.230
and hand gesture movements
for Doctor Strange, Wong.

00:41:38.310 --> 00:41:40.650
I've also worked on Infinity War, Endgame.

00:41:40.730 --> 00:41:43.440
They saw the work that I did
on a previous commercial.

00:41:43.520 --> 00:41:44.776
I was doing tutting,

00:41:44.800 --> 00:41:45.860
which is a very
niche dance style

00:41:45.940 --> 00:41:48.110
that uses shapes with hands and arms.

00:41:48.490 --> 00:41:50.450
They were like,
"Well, what could we do with that?"

00:41:50.530 --> 00:41:51.624
So, in one of these moves,

00:41:51.648 --> 00:41:53.240
he is ripping open a bus,

00:41:53.330 --> 00:41:56.290
kind of like dissecting it,
and anytime something involves

00:41:56.370 --> 00:42:00.370
levitation or a movement of matter,
this is involved.

00:42:00.460 --> 00:42:02.670
So, if you see, like, he's flying, right?

00:42:02.750 --> 00:42:04.880
If he's flying with his cloak,
he's also using these.

00:42:04.960 --> 00:42:06.088
But that's him, he's the matter.

00:42:06.112 --> 00:42:07.710
So, in this, the
bus is the matter

00:42:07.800 --> 00:42:11.050
and he's connecting to it.
And then he's just splitting it.

00:42:11.130 --> 00:42:13.390
In my head, as soon as he's dissected
this thing,

00:42:13.470 --> 00:42:15.890
his energy is already connected
to each and every piece.

00:42:15.970 --> 00:42:18.790
So, you'll see,
like, he chops one

00:42:18.814 --> 00:42:20.140
of the legs off 'cause
he's dissected it

00:42:20.230 --> 00:42:21.070
and he's still connected to it.

00:42:21.094 --> 00:42:22.900
You can just pick
one out and chop it.

00:42:22.980 --> 00:42:24.810
He doesn't have
to do another spell.

00:42:24.834 --> 00:42:25.570
He's already connected to it.

00:42:39.160 --> 00:42:41.500
OCHS: That shot had
a pretty amazing history.

00:42:42.210 --> 00:42:44.500
We started with many, many ideas.

00:42:44.590 --> 00:42:47.800
Probably 30 ideas
of different environments that could be

00:42:47.880 --> 00:42:49.773
something that you've
never seen before.

00:42:49.797 --> 00:42:51.010
Just this ride
through the universes.

00:42:51.300 --> 00:42:54.140
Our visual effects supervisor,
Janek Sirrs.

00:42:54.220 --> 00:42:56.600
I mean, he was kind of really
the mastermind behind that shot

00:42:56.680 --> 00:42:58.390
and a lot of the shots in our movie.

00:42:58.470 --> 00:43:00.430
He really came up with the worlds
that we wanted to explore

00:43:00.520 --> 00:43:02.600
so there was a lot of talk
about which world do we wanna do.

00:43:02.690 --> 00:43:04.400
Well, here's some cool ideas.
Here's an all-bone world

00:43:04.480 --> 00:43:06.243
and here's a world
that's futuristic.

00:43:06.267 --> 00:43:08.030
Here's a world where
everybody's paint.

00:43:08.110 --> 00:43:10.118
OCHS: And I think
we ended up with

00:43:10.142 --> 00:43:12.150
about 15 universes
that are in there now.

00:43:12.240 --> 00:43:13.574
Lots of little Easter
eggs in there.

00:43:13.598 --> 00:43:15.740
I think the whole
thing was challenging

00:43:15.820 --> 00:43:18.450
because there's so many elements
that go from shot-to-shot

00:43:18.540 --> 00:43:20.536
and you couldn't really work it

00:43:20.560 --> 00:43:22.830
as a punch-in. It had
to be one long shot.

00:43:23.960 --> 00:43:27.170
MURAWSKI: And then the next part of that
was creating the soundtrack for it.

00:43:27.250 --> 00:43:29.297
And our sound
designer, Jussi Tegelman,

00:43:29.321 --> 00:43:30.510
really spent a lot of work.

00:43:30.590 --> 00:43:33.430
Because, you know, every one
should have a different soundscape.

00:43:33.510 --> 00:43:35.550
Every one should feel like
a different universe.

00:43:36.550 --> 00:43:37.888
In the Multiverse,

00:43:37.912 --> 00:43:39.770
there are alternate versions

00:43:39.850 --> 00:43:41.430
of everyone and everything.

00:43:41.520 --> 00:43:42.560
So, it gives the characters

00:43:42.640 --> 00:43:44.810
the dramatic opportunity
to meet themselves.

00:43:44.940 --> 00:43:46.810
I'm just one of us.

00:43:46.900 --> 00:43:49.270
PALMER: Out of the infinite
Doctor Stranges in the Multiverse,

00:43:49.360 --> 00:43:51.180
we do get to meet
a few in this movie.

00:43:51.204 --> 00:43:52.320
We've given them
different nicknames.

00:43:52.400 --> 00:43:53.740
One is Defender Strange.

00:43:53.820 --> 00:43:55.448
The first Strange that we meet,

00:43:55.472 --> 00:43:56.280
Defender Strange,

00:43:56.370 --> 00:43:58.490
we wanted him to be
a little bit of a swashbuckler.

00:43:58.580 --> 00:44:00.120
Little bit of an adventurer.

00:44:00.200 --> 00:44:01.500
(SPEAKING OTHER LANGUAGE)

00:44:01.950 --> 00:44:07.960
Lot of the fabrics in the costume are like
vintage fabrics from regions of Pakistan.

00:44:08.040 --> 00:44:10.210
I think he was
a little more of a fun-loving,

00:44:10.300 --> 00:44:13.380
Patrick Swayze in Point Break
kind of Strange.

00:44:13.800 --> 00:44:16.010
Somewhere out there
I had a ponytail.

00:44:16.930 --> 00:44:21.720
WALDRON: You've got then the Strange
in the universe with the Illuminati.

00:44:21.810 --> 00:44:23.924
He was Sorcerer
Supreme in this universe.

00:44:23.948 --> 00:44:25.850
Which was probably
even less fun.

00:44:25.940 --> 00:44:30.270
The look goes back to earlier
comic versions

00:44:30.360 --> 00:44:32.190
where Strange had a blue cloak.

00:44:32.280 --> 00:44:35.450
We're doing the biggest collar ever seen
so far.

00:44:35.530 --> 00:44:39.660
WALDRON: He was a little more emotionally
buttoned-up, maladjusted.

00:44:39.740 --> 00:44:42.950
Probably spent more time
negging Christine.

00:44:43.040 --> 00:44:45.660
I guess it worked because she didn't
get married in that universe.

00:44:46.330 --> 00:44:48.290
And then you have Sinister Strange.

00:44:48.380 --> 00:44:50.590
-Are you happy, Stephen?
-What?

00:44:50.670 --> 00:44:54.340
CHURCHYARD: So, it is essentially
the same costume that he wore in Endgame,

00:44:54.420 --> 00:44:57.249
and so, we've
repurposed the disciple

00:44:57.273 --> 00:44:59.010
costume and aged
it down much more,

00:44:59.090 --> 00:45:01.970
and created a texture treatment to it.

00:45:02.060 --> 00:45:04.140
WALDRON: With Benedict,
because he is Doctor Strange,

00:45:04.220 --> 00:45:07.020
it's been such a collaboration
from start to finish.

00:45:07.100 --> 00:45:09.690
I just really wanted to push
on the darker edge

00:45:09.770 --> 00:45:12.320
of what was a potential face-off
in this film.

00:45:12.400 --> 00:45:16.110
The gist was more thrilling,
was more sinister, more adventurous.

00:45:16.190 --> 00:45:20.070
The artwork that was already in place,
very early on for this, is amazing.

00:45:20.160 --> 00:45:22.780
This picture of the Sanctum
kind of bleeding off into infinity.

00:45:22.870 --> 00:45:23.990
It's really good fun.

00:45:26.660 --> 00:45:28.170
RAIMI: And then we have Dead Strange.

00:45:28.420 --> 00:45:30.920
Our Strange was trapped
in an alternate universe.

00:45:31.250 --> 00:45:32.705
And he had to get
back to our universe

00:45:32.729 --> 00:45:34.000
to help save America.

00:45:34.090 --> 00:45:37.220
But he couldn't get there,
except by Dreamwalking.

00:45:37.300 --> 00:45:40.010
This ugly spell
where you can take your spirit

00:45:40.090 --> 00:45:41.430
and send it across the universe

00:45:41.510 --> 00:45:43.850
and inhabit your alt self
in that universe.

00:45:45.220 --> 00:45:49.810
Unfortunately, the only version of himself
in that reality he needs to get to

00:45:49.900 --> 00:45:51.480
is a corpse,

00:45:51.560 --> 00:45:54.388
which does lead to
very Evil Dead-ish,

00:45:54.412 --> 00:45:57.240
very Sam Raimi
hero, Dead Strange.

00:45:57.320 --> 00:45:59.530
When we pitched
Dead Strange to Kevin,

00:45:59.554 --> 00:46:01.110
we made sure
that we partnered it

00:46:01.200 --> 00:46:02.910
with an even stupider pitch.

00:46:02.990 --> 00:46:05.160
What if there was a blob version
of Strange?

00:46:05.240 --> 00:46:06.368
Because we knew that that's how

00:46:06.392 --> 00:46:08.660
we're gonna get
a Zombie Strange.

00:46:08.750 --> 00:46:09.623
It was a little bit
of a learning curve.

00:46:09.647 --> 00:46:12.130
How do you pilot a dead body?

00:46:12.210 --> 00:46:15.138
I wanted that character
to have conflict.

00:46:15.162 --> 00:46:18.090
What problems could a
Zombie Strange have?

00:46:18.380 --> 00:46:20.623
Well, in my mind, he
was doing something

00:46:20.647 --> 00:46:22.590
that was against the
laws of the universe.

00:46:22.680 --> 00:46:25.810
That there could be demons
that would try and stop him.

00:46:25.890 --> 00:46:28.600
But he is Doctor Strange.
He's Master of the Mystic Arts.

00:46:28.680 --> 00:46:32.690
Nobody, certainly not a bunch of sprits
or demons, can stop him.

00:46:32.770 --> 00:46:36.110
So, he takes these spirits and demons
and weaves them together

00:46:36.190 --> 00:46:40.740
into a Cloak of Souls that he uses
to propel him forward into his battle.

00:46:40.820 --> 00:46:42.240
Now, he is their master.

00:46:48.160 --> 00:46:50.960
An evil book, full of evil magic.

00:46:51.710 --> 00:46:55.630
A vintage Oldsmobile
that couldn't possibly pass a smog test.

00:46:55.710 --> 00:46:58.710
A handsome dark-haired devil
with a chin that could kill.

00:46:58.800 --> 00:47:00.720
If all of this sounds very familiar,

00:47:00.800 --> 00:47:03.680
then I'd say you have extremely good taste
in movies.

00:47:04.180 --> 00:47:05.918
But listen, my friend Sam Raimi

00:47:05.942 --> 00:47:07.680
was dropping
so-called Easter eggs

00:47:07.760 --> 00:47:09.176
into his films when cellphones

00:47:09.200 --> 00:47:11.060
were the size of house cats,

00:47:11.430 --> 00:47:15.360
and Sam has carried on that tradition
with his latest cinematic opus.

00:47:15.690 --> 00:47:18.530
So, keep your peepers properly peeled
during the movie,

00:47:18.610 --> 00:47:19.780
and you're bound to come across

00:47:19.860 --> 00:47:22.740
what we in the biz
like to call Raimi-isms.

00:47:24.410 --> 00:47:28.240
You know, I think the genius of Sam
is he's able to balance all those genres.

00:47:28.540 --> 00:47:31.370
This time, it's gonna take more
than killing me to kill me.

00:47:32.210 --> 00:47:34.330
MURAWSKI: And for years, it was
a huge problem with the studios.

00:47:34.420 --> 00:47:35.750
They said, "You have to pick a lane."

00:47:35.830 --> 00:47:38.000
And they didn't understand
Sam's genre-bending

00:47:38.090 --> 00:47:40.550
and they didn't understand
the tone shifts and everything else.

00:47:40.630 --> 00:47:42.530
And that's something I really give
Marvel credit for, you know.

00:47:42.629 --> 00:47:44.360
Played more to Sam's strengths.

00:47:44.440 --> 00:47:45.744
So, over the course
of the shooting,

00:47:45.768 --> 00:47:47.950
they kept adding
more horror elements.

00:47:48.160 --> 00:47:52.370
When Kevin Feige announced that he wanted
to bring a little bit of a horror element

00:47:52.450 --> 00:47:53.892
to Doctor Strange,

00:47:53.916 --> 00:47:54.660
that was interesting to me.

00:47:54.750 --> 00:47:56.000
I love to dabble in horror.

00:47:56.080 --> 00:47:59.630
It's always been a fun aspect
of movie-making for me.

00:47:59.710 --> 00:48:01.468
I saw Evil Dead 1
when it came out.

00:48:01.492 --> 00:48:03.250
I just thought the
movie was incredible.

00:48:03.550 --> 00:48:05.228
And Sam always
has a lot of cool motifs

00:48:05.252 --> 00:48:06.930
that he puts in his
movies time and again.

00:48:07.260 --> 00:48:09.220
I mean, you can
trace all these things back.

00:48:11.930 --> 00:48:14.720
Sam used a lot of the same people
from Evil Dead 1.

00:48:14.810 --> 00:48:16.035
I'm Bruce Campbell
and I'm playing

00:48:16.059 --> 00:48:18.230
the role of the pizza guy.

00:48:19.730 --> 00:48:22.190
I'm glad that's over. (GROANS)

00:48:22.270 --> 00:48:24.053
You know, we spoke with

00:48:24.077 --> 00:48:25.860
the head of Marvel
and threatened him

00:48:25.940 --> 00:48:28.425
and said that he
couldn't do any Marvel

00:48:28.449 --> 00:48:30.700
without me, especially
if Sam's directing.

00:48:30.780 --> 00:48:32.830
MURAWSKI: It's good to see
those guys work together.

00:48:32.910 --> 00:48:35.370
They have the kind of shorthand
that only comes from

00:48:35.450 --> 00:48:37.290
working together
since you're ten years old.

00:48:37.370 --> 00:48:40.250
CAMPBELL: It's important for the editors
to always have stuff to cut out.

00:48:40.750 --> 00:48:42.025
That's what I'm providing.

00:48:42.049 --> 00:48:43.170
Especially Academy Award...

00:48:43.250 --> 00:48:44.710
-Yes, it is.
-Yeah. See?

00:48:44.800 --> 00:48:47.705
Especially Academy
Award winning editors.

00:48:47.729 --> 00:48:49.300
They love to play cutty-cut-cut.

00:48:49.380 --> 00:48:51.228
"Oh, look at me
cut, look at me cut."

00:48:51.252 --> 00:48:53.100
Yeah, see, he's
already doing it.

00:48:53.180 --> 00:48:54.640
-I'm already cut.
-Trying to keep 'em honest.

00:48:54.720 --> 00:48:57.180
He was on the cutting room floor
but we ended up

00:48:57.270 --> 00:48:58.560
putting him back in at the last minute.

00:48:58.640 --> 00:48:59.690
CAMPBELL: Thanks for nothin'.

00:49:00.560 --> 00:49:01.730
Unbelievable.

00:49:01.810 --> 00:49:03.860
MURAWSKI: Bruce was almost like
a prop for Sam.

00:49:03.940 --> 00:49:05.570
He could tell Bruce to do anything.

00:49:05.650 --> 00:49:07.426
"Bruce, throw
yourself on the ground.

00:49:07.450 --> 00:49:08.610
Hit yourself over
the head with a pan."

00:49:08.700 --> 00:49:10.610
Yeah, I gotta go beat myself up some more.

00:49:11.780 --> 00:49:12.780
Yeah, cheers.

00:49:13.030 --> 00:49:16.200
And then, I think, once Sam started
to work with, like, professional actors,

00:49:16.290 --> 00:49:17.790
they weren't so malleable.

00:49:18.120 --> 00:49:20.830
When I heard Sam
was directing this movie, I said,

00:49:20.920 --> 00:49:24.630
"You know, Sam, you realize
that you're working with an actual actor?

00:49:24.710 --> 00:49:26.670
"You might actually have to
kinda get ready?

00:49:27.800 --> 00:49:29.362
"He's not just gonna
make silly faces

00:49:29.386 --> 00:49:31.180
for you, like I did for years.

00:49:31.720 --> 00:49:34.306
"He might ask questions
about motivation,

00:49:34.330 --> 00:49:36.310
so you better step up your game.

00:49:36.390 --> 00:49:37.673
"I saw Sherlock Holmes.

00:49:37.697 --> 00:49:38.980
That boy can act."

00:49:44.860 --> 00:49:45.685
If he looks at me,

00:49:45.709 --> 00:49:47.820
I always never make eye contact.

00:49:48.070 --> 00:49:50.320
I always pretend
like I'm looking at my script.

00:49:50.820 --> 00:49:51.950
I know all the tricks.

00:49:52.030 --> 00:49:53.715
"Can I get you anything,
Mr. Cumberbatch?"

00:49:53.739 --> 00:49:56.410
And if he *s
up a line, I own it.

00:49:57.240 --> 00:49:58.870
"Benedict, that was me.

00:49:58.950 --> 00:50:01.330
"That was my mistake. Sorry."

00:50:01.410 --> 00:50:02.750
I got this all figured out.

00:50:03.420 --> 00:50:05.334
MURAWSKI: Of
all the directors I've

00:50:05.358 --> 00:50:06.630
worked with, Sam
is one of the best

00:50:06.710 --> 00:50:07.750
working with the actors.

00:50:07.840 --> 00:50:09.340
He understands the power of a good shot.

00:50:09.630 --> 00:50:12.090
And the choreography
between the camera and the actor.

00:50:12.180 --> 00:50:17.260
He just has a really good sense and his
eye on every single detail of the film.

00:50:17.350 --> 00:50:20.930
For me, the fun has been
just how he moves the camera.

00:50:21.020 --> 00:50:23.560
Stuff that's really inventive
and really fun.

00:50:24.810 --> 00:50:27.690
MURAWSKI: Sam always has
a lot of cool mirror gags in his movies,

00:50:27.770 --> 00:50:28.780
from Evil Dead 1.

00:50:29.230 --> 00:50:31.820
The whole scene where the Scarlet Witch
is caught in the mirror trap

00:50:31.900 --> 00:50:35.910
and she was using the puddles,
and the gong as a mirror to get out of.

00:50:37.700 --> 00:50:39.700
The mirror thing is something
he's always been interested in,

00:50:39.790 --> 00:50:41.626
and the duality
of the characters.

00:50:41.650 --> 00:50:43.000
Of course, the Delta 88.

00:50:43.460 --> 00:50:45.460
WOOD: We got Sam Raimi's car, yeah?
The Delta 88.

00:50:45.790 --> 00:50:47.340
Sam's fans are gonna love this bit.

00:50:47.420 --> 00:50:49.590
The Delta 88 is the ultimate Easter egg.

00:50:49.670 --> 00:50:51.388
When I was a film student,

00:50:51.412 --> 00:50:53.130
we'd always love
to see the Delta 88

00:50:53.220 --> 00:50:54.680
in the Sam Raimi movies.

00:50:54.930 --> 00:50:57.140
In Spider-Man and Spider-Man 2,

00:50:57.220 --> 00:50:58.883
I remember walking
into the stage one day

00:50:58.907 --> 00:51:00.260
and going, "There's the car!"

00:51:00.350 --> 00:51:02.480
Yeah, the '73 Delta 88.

00:51:02.560 --> 00:51:04.970
It's been in every
one of Sam's movies,

00:51:04.994 --> 00:51:06.900
including his western.

00:51:06.980 --> 00:51:08.700
Yeah, he had the body taken off

00:51:08.724 --> 00:51:10.820
and put a wagon over the chassis

00:51:10.900 --> 00:51:13.570
so he could say (IMITATING RAIMI)
"It's been in all my movies."

00:51:13.650 --> 00:51:17.950
WOOD: We actually got a bloody great big
crane and puppeteered it down the street

00:51:18.030 --> 00:51:19.660
in this kind of snowstorm.

00:51:19.740 --> 00:51:21.660
And you get to see a few versions
of the car.

00:51:24.620 --> 00:51:25.588
I've done everything I can

00:51:25.612 --> 00:51:26.960
to destroy that car,

00:51:27.040 --> 00:51:29.630
because I don't appreciate
Sam's infatuation with it.

00:51:29.710 --> 00:51:32.170
He won't really let me near it
'cause he knows

00:51:32.260 --> 00:51:34.130
I will silently slit the seats.

00:51:34.220 --> 00:51:36.880
And one day, he might just wake up
and it's gone.

00:51:38.180 --> 00:51:42.560
The amazing thing is, it's not even
a fake version of the car. That's the car.

00:51:42.640 --> 00:51:45.270
It was actually the car that we drove
in high school.

00:51:45.350 --> 00:51:48.690
And I know when you open the door
and the key is in it, it goes...

00:51:51.400 --> 00:51:53.181
But I have to say, I hate it,

00:51:53.205 --> 00:51:53.940
but I love it.

00:51:54.440 --> 00:51:56.030
When I sit back in that car,

00:51:56.110 --> 00:51:58.700
you really do, honestly,
not even exaggerating,

00:51:58.780 --> 00:52:02.870
you get a flood of memories that come back
from that piece of crap.

00:52:03.410 --> 00:52:04.768
It's always fun
to work with Sam.

00:52:04.792 --> 00:52:06.710
He's really funny
and entertaining

00:52:07.000 --> 00:52:10.290
and he's very serious
about things, but at the same time,

00:52:10.380 --> 00:52:12.040
-doesn't take things seriously.
-(LAUGHS)

00:52:12.130 --> 00:52:14.210
That is fine.
Let us go. Let's go, you animals.

00:52:14.300 --> 00:52:15.901
I think one of the
things that's most fun

00:52:15.925 --> 00:52:18.300
for me about watching
one of Sam's films

00:52:18.380 --> 00:52:23.220
and working on Sam's films is just the joy
that he has in the process,

00:52:23.930 --> 00:52:25.390
in the art form.

00:52:25.770 --> 00:52:30.310
I don't know anybody that quite loves
cinema the way that Sam does.

00:52:30.400 --> 00:52:31.204
Can I have even more of,

00:52:31.228 --> 00:52:32.440
"It feels good to be back."

00:52:32.520 --> 00:52:33.820
-Okay.
-"This is who I am."

00:52:33.900 --> 00:52:35.110
-Okay.
-You ready?

00:52:35.190 --> 00:52:36.740
WALDRON: I've learned so much from him.

00:52:36.820 --> 00:52:40.950
Just the way he conducts the orchestra
of the movie,

00:52:41.030 --> 00:52:43.002
working with me on script pages,

00:52:43.026 --> 00:52:44.410
directing the cameras,

00:52:44.490 --> 00:52:45.397
swinging across a set, you know,

00:52:45.421 --> 00:52:47.080
working with the actors.

00:52:47.160 --> 00:52:49.068
I love that elegance.
That was beautiful.

00:52:49.092 --> 00:52:51.000
Perfectly timed
with the move too.

00:52:51.080 --> 00:52:52.130
That's great, man.

00:52:52.210 --> 00:52:54.300
I want you to play this more vulnerable
than I've ever seen.

00:52:54.380 --> 00:52:55.766
I love all that emotion.

00:52:55.790 --> 00:52:56.510
Give me a double.

00:52:56.590 --> 00:52:58.340
All right, let's take it back to one.

00:52:58.420 --> 00:53:01.010
WALDRON: Every day, when we're
starting in on a new scene,

00:53:01.090 --> 00:53:02.640
it's like, let's look at this

00:53:02.720 --> 00:53:05.140
as if this is the most important scene
in the movie.

00:53:05.220 --> 00:53:08.600
NOLAN: He is just so aware of
every aspect of filmmaking.

00:53:08.680 --> 00:53:11.013
I think a few weeks
ago, Bob Murawski,

00:53:11.037 --> 00:53:12.730
the other editor
who's been with Sam

00:53:12.810 --> 00:53:14.972
for 25-30 years
said something like,

00:53:14.996 --> 00:53:17.940
"If Sam sat in
every single chair,

00:53:18.030 --> 00:53:20.030
"he would be able to pick it up
and do it right away,"

00:53:20.110 --> 00:53:23.240
'cause he's just so aware
of what every person on a film is doing.

00:53:23.320 --> 00:53:26.410
Sam has fostered such
a collaborative environment,

00:53:26.490 --> 00:53:29.620
Sam really wanted to make sure
that we had the best ideas on the table.

00:53:31.670 --> 00:53:33.540
-RAIMI: I think it's gonna work.
-I think so.

00:53:33.630 --> 00:53:35.340
Yeah, I can't ask for better.

00:53:36.840 --> 00:53:37.932
Guys, thank you very much.

00:53:37.956 --> 00:53:40.090
This was a great
place to live and work.

00:53:40.170 --> 00:53:42.510
You guys were wonderful.

00:53:43.340 --> 00:53:44.760
So, so professional.

00:53:45.180 --> 00:53:48.810
I really appreciate that, and I've learned
a lot from so many of you,

00:53:48.890 --> 00:53:51.480
made some good friends,
and the movie will be a lot of fun

00:53:51.560 --> 00:53:54.900
thanks to all your hard work,
and inventiveness, and craftsmanship.

00:53:54.980 --> 00:53:56.570
Thank you very much. I salute all of you.

00:53:56.650 --> 00:53:57.650
MAN: Thank you.

00:54:00.610 --> 00:54:03.070
MCADAMS: It's a real honor
to be in the family.

00:54:03.160 --> 00:54:05.700
So many talented people
all working together

00:54:05.780 --> 00:54:08.700
to take people on this incredible journey.

00:54:08.790 --> 00:54:11.620
It does feel like one of
the biggest things Marvel's ever done.

00:54:12.000 --> 00:54:17.750
It's pretty unfathomably exciting to be
the test pilot for all things Multiversal.

00:54:18.130 --> 00:54:21.880
We've got this amazing canvas
of imagination to sort of bounce off ideas

00:54:21.970 --> 00:54:25.260
of what the human condition is and
what the challenges that we all face are

00:54:25.340 --> 00:54:28.640
and what the best version of ourselves
could possibly be.

00:54:29.140 --> 00:54:34.150
Protecting America Chavez becomes not just
about protecting his universe

00:54:34.230 --> 00:54:35.810
but protecting his friend.

00:54:36.110 --> 00:54:41.860
He's capable of emotional growth in a way
he was never able to demonstrate before.

00:54:43.740 --> 00:54:45.820
CUMBERBATCH: What he comes to realize
in that relationship

00:54:45.910 --> 00:54:47.370
is he has to empower her,

00:54:47.450 --> 00:54:49.423
he has to give
up control himself.

00:54:49.447 --> 00:54:50.580
It's not about him.

00:54:50.660 --> 00:54:52.750
It's actually about somebody else.

00:54:52.830 --> 00:54:55.576
Of course, being
an egotistical hero,

00:54:55.600 --> 00:54:56.920
he's scrambling
around in every universe

00:54:57.000 --> 00:55:00.050
for the answer for the weapon,
for the surgeon's knife

00:55:00.130 --> 00:55:02.970
in order to save the day and not realizing
all the time

00:55:03.050 --> 00:55:04.760
that the weapon is right in front of him.

00:55:04.840 --> 00:55:07.550
It's someone who needs love, trust
and encouragement.

00:55:08.680 --> 00:55:13.100
I think the lesson for Strange is really
how to be the best version of yourself,

00:55:13.770 --> 00:55:16.980
and it's not necessarily
about self-perfection.

00:55:17.060 --> 00:55:19.190
It can be about helping someone else

00:55:19.270 --> 00:55:21.980
rather than thinking that
you can do it all yourself.

00:55:22.610 --> 00:55:25.030
A real hero has to believe in others.

00:55:25.530 --> 00:55:26.740
This is the only way.

00:55:28.120 --> 00:55:32.870
RAIMI: He allows himself to believe
in America Chavez and she saves the day.

00:55:35.370 --> 00:55:38.330
And that's the beauty of
these comic books, these heroes,

00:55:38.420 --> 00:55:42.170
is that they show us the people
that we can be, what we're capable of.

00:55:45.510 --> 00:55:49.430
Wanda doesn't actually do the work
that maybe someone like Strange

00:55:49.510 --> 00:55:53.310
is gonna eventually have to do, which is,
take a look at our surroundings

00:55:53.390 --> 00:55:56.480
and how we treat one another
and find something that is in front of us

00:55:56.560 --> 00:56:00.480
as opposed to what we are leaping
different universes for.

00:56:01.360 --> 00:56:02.974
Where does it leave the MCU?

00:56:02.998 --> 00:56:05.320
We've blown the lid
on the Multiverse now.

00:56:05.740 --> 00:56:08.740
PALMER: The Multiverse is going to be
so big in the future of the MCU,

00:56:08.820 --> 00:56:11.160
primarily because of the events
of this movie.

00:56:11.240 --> 00:56:12.580
After Infinity War and Endgame,

00:56:12.660 --> 00:56:15.620
Doctor Strange was poised to be
the chief protector of the MCU,

00:56:15.710 --> 00:56:16.750
but now, in this movie,

00:56:16.830 --> 00:56:20.000
we see Doctor Strange become not just
the protector of the MCU,

00:56:20.080 --> 00:56:23.380
but the protector of the Multiverse
within the Marvel Cinematic Universe.

00:56:24.170 --> 00:56:28.260
What's compelling about where he's left
is that third eye opens,

00:56:28.760 --> 00:56:32.050
and now there's this evil awakened
within him.

00:56:32.350 --> 00:56:33.970
I think it begs the question,

00:56:34.220 --> 00:56:37.831
is what makes
Doctor Strange happy?

00:56:37.855 --> 00:56:40.560
Could it possibly
be not being a hero?

00:56:42.110 --> 00:56:46.400
Marvel is always about finding
the humanity within the icon, right?

00:56:46.490 --> 00:56:49.740
Finding the flaws beneath the cape
or the mask or the armor,

00:56:49.820 --> 00:56:52.530
and learning about who the human
is inside it.

00:56:54.540 --> 00:56:56.200
PALMER: Based on this ending,

00:56:56.660 --> 00:56:58.460
who knows where that could take us?

00:56:58.540 --> 00:57:00.433
Into the Dark
Dimension and beyond,

00:57:00.457 --> 00:57:01.380
I don't know.

00:57:02.960 --> 00:57:06.550
RAIMI: We're trying to give the audience
a mind-expanding experience,

00:57:06.630 --> 00:57:10.760
something that makes them talk
about the nature of reality in a fun way

00:57:10.840 --> 00:57:14.970
and ask questions like great comic books
or science fiction can do.

00:57:19.980 --> 00:57:20.846
I don't know about you,

00:57:20.870 --> 00:57:22.230
but being here today,

00:57:22.310 --> 00:57:24.190
I had an epiphany of sorts.

00:57:24.480 --> 00:57:27.860
I realized that making a film is not
unlike conjuring another facet

00:57:27.940 --> 00:57:29.200
of the Multiverse.

00:57:29.280 --> 00:57:32.530
It's about creating an alternate reality
from the ground up,

00:57:32.620 --> 00:57:35.450
where time and space can bend
any which way

00:57:35.530 --> 00:57:39.210
according to the whims of those pulling
the strings behind the scenes.

00:57:39.960 --> 00:57:44.090
I know that might sound a little lofty,
but well, I'm a lofty kinda guy.

00:57:44.460 --> 00:57:49.340
This is Bruce Campbell saying farewell,
until we meet again in the next dimension.