RYAN FLECK: All right, here we are.
This is the Captain Marvel directors' commentary.
I am Anna Boden, co-director.
I'm Ryan Fleck. Let's just jump right into it.
This is the Stan Lee tribute on the Marvel logo.
Stan passed away when we were editing the movie.
BODEN: So sad. FLECK: We were all, you know,
really bummed out by that and sad,
and Marvel presented this to us...
- BODEN: We were so moved. - ...in a room full of people, and we...
There were a bunch of us, got a little teary-eyed.
I think it's a very moving tribute. Thank you, Stan.
BODEN: Thank you, Stan.
FLECK: The slo-mo dust.
This is the origin of the movie. This is it.
This is setting up the mystery of these moments.
And we will come back to these moments later on.
But opening on the slo-mo,
that was our editor Elliot Graham's idea.
He threw that into a cut once, and we all thought that was pretty cool.
BODEN: That's the first time that
we'll see Annette Bening in the film,
and the mystery is, you know,
"Who is that woman?
"Who is that person to Carol Danvers, our lead, here?"
FLECK: Right, and it sets up the big question.
She sees this reoccurring Skrull in her dreams,
and why does she see that Skrull?
It seems like she's been taught
that Skrulls have killed her family in her past
and we learn, as the movie goes on, what the real truth is.
BODEN: This is also our introduction to Hala,
the home world of the Kree.
And this little thing in the back of Vers' neck
that seems to give her, her powers, her photon powers.
Can't sleep.
FLECK: This was the first scene that we did
between Brie and Jude, is that right?
We did this before the sparring fight.
BODEN: Yeah, this was the very first scene.
It was a cover set for a rainy day.
FLECK: Ah, that's right. BODEN: One of those rare rainy days
in Los Angeles.
(GROANS)
BODEN: And then this was probably the second,
second scene that we shot with Jude and Brie.
FLECK: We did this whole scene in one day,
which was semi-miraculous. (CHUCKLES)
BODEN: I think it was like 55 setups or something insane,
and Brie and Jude did most of their own stunts for this.
They trained for many, many days,
and I remember our stunt coordinator
and fight coordinator Walter Garcia said
that Jude came in his first day to train
and saw Brie, and how amazing she was doing and was like,
"Uh-oh, I better step up my game."
And so it became a little competitive between them, like,
who could, you know, do the best with this scene,
and they both ended up doing an incredible job.
FLECK: Yeah, this was shot in a power facility
in Eagle Rock, California.
Love that, first time we see her blast,
and she does what feels right.
She blasts them when she's upset,
and that scene is Yon-Rogg trying to teach her
how to use her powers and how to fight.
And that's the journey Carol goes on,
is learning that she doesn't have to learn from Yon-Rogg how to fight.
No Kree divulges it, ever.
VERS: Who do you see?
- Your brother? - No.
- Father? - No.
- Your old commander? - Vers.
It's me you see, isn't it?
FLECK: Setting up the idea of the Supreme Intelligence and the idea
that the Kree see somebody different in the form of the Supreme Intelligence.
Basically, they all see the person they admire the most.
...of showing you how to use them.
I know how.
Yeah, if that were true, you'd be able to knock me down without them.
Control your impulses.
FLECK: I love this set. Andy Nicholson did a great job
of the interior of this train set.
BODEN: And Ben Davis, our cinematographer,
who set up this really wild system of moving lights
and colored LEDs outside our set so that we'd have this interactive light
that we could really build the world with in visual effects later.
FLECK: Here it is, the Supreme Intelligence,
played by the wonderful Annette Bening.
Vers.
Intelligence.
Your commander insists that you're fit to serve.
I am.
You struggle with your emotions...
with your past, which fuels them.
You are just one victim of the Skrull expansion...
that has threatened our civilization...
FLECK: A little backstory here on the Kree-Skrull war.
I love that. Chris Townsend and his visual effects team.
BODEN: Animal Logic did all the stuff in the Supreme Intelligence chamber.
They did a really wonderful job.
FLECK: And again, there we see the Skrull again,
reinforcing the idea that the Supreme Intelligence
has been teaching Vers
that it was the Skrulls that took her family away.
Perhaps this is a mercy sparing you from a deeper pain.
Freeing you to do what all Kree must...
put your people's needs before your own.
We've given you a great gift.
The chance to fight for the good of all Kree.
BODEN: This idea that the Supreme Intelligence
gave her her powers
was something that was really interesting to us
from the very beginning.
The idea of telling a story about a superhero
who thinks her powers were given to her by somebody else,
but her journey is to discover that she had these powers
and the Supreme Intelligence hasn't been giving them to her,
but has, in fact, been holding her back,
is scared of her using her complete powers.
FLECK: And here we go, the slo-mo Starforce reveal, I love this.
I love this team marching forward in slo-mo.
BODEN: It was really fun to cast everybody
and to put this team of actors together.
They're all so different, and they all come from such different places.
It's quite the international group of actors we have here.
Djimon Hounsou, who you might remember as Korath from Guardians of the Galaxy,
it was really fun to bring him back.
FLECK: And of course, Algenis Perez Soto
played Sugar in our movie, Sugar,
about a Dominican baseball player.
BODEN: And now he plays Att-Lass back there.
Prepare for...
FLECK: Jude is so good here.
I mean, he basically has to dump
a bunch of exposition on the audience and this team,
and he just really commands this moment and I don't know,
I love hearing Jude talk, and he does such a phenomenal job
with this sequence, explaining what's going on.
...the intelligence he's acquired over three years is as good as theirs.
The Accusers will bomb a Skrull stronghold here in the south.
We slip in, we locate Soh-Larr...
and we get out, leaving them none the wiser.
The Torfan populace.
We are not to interfere with them...
BODEN: It was fun to develop the idea
of what Kree technology was gonna look and feel like,
and we had this idea of the ferrofluid
that you see earlier, this kind of fluid-y stuff
that somehow is a part of everything that is Kree technology.
You see when she connects to it
before she goes into the Supreme Intelligence chamber,
and then, again on their suits, you can kind of see it come up
and the holograms come out of that.
It was an idea that we developed with Andy Nicholson and Chris Townsend.
Here we have the Accuser ships,
you know, that are the kind of bomb squad of the Kree.
So we've already met Starforce which is like their SEAL Team Six,
and now we see the bomb squad
that's going to be bombing Skrull strongholds in the south.
We played a lot with the question
of when we introduce Ronan in this movie.
Should we introduce him at the beginning of the film
as the Head Accuser of these Accuser ships
or do we hold onto that reveal until later?
FLECK: Yeah, I think it was more effective to hold on
because it was giving it away too soon that the Kree were the bad guys
because everyone associates him with Guardians of the Galaxy,
and it really just gave away too much too soon.
BODEN: And there we see them camouflaging their suits,
going into a more stealth mode,
which, of course, becomes important later
when Captain Marvel changes
to her hero colors at the end of the film.
MINN-ERVA: Locals on the periphery.
FLECK: This whole sequence was shot over a lot of late nights.
We were shooting in a... What was it, a sand quarry?
BODEN: Sand quarry in Simi Valley,
and we lit it almost like a stage,
so we needed to have it be nighttime,
and we started shooting when the sun went down,
and we shot until the sun came up at 5:00 in the morning,
and it was the only time when we were excited to see
the sun come up and end our day.
Usually, we were just fighting for more and more time,
but I think everybody was so wasted at the end of those days
by doing all these stunts and all this action
at night in these overnights
that we were all a little bit relieved when the sun came up.
Att-Lass, you getting this?
Copy. I see them.
FLECK: Again, another great set,
all this stuff built out in the sand quarry.
KORATH: Commander?
- Get back! Back! - (LOCALITES SHOUTING)
Minn-Erva? Do you have eyes on this?
Keep them back. Minn-Erva?
- Does anybody copy? - (STATIC FEEDBACK)
BODEN: All of these Torfan aliens were...
You know, they weren't VFX.
This was practical prosthetics and costumes
that our costumer Sanja Hays... And then Legacy Effects did the makeup.
They also did the makeup for the Skrulls.
FLECK: Skrulls!
(BOTH GRUNTING)
BODEN: There were references for those Skrull transformations.
That's the first time we see a Skrull transform.
That was like the octopuses... Octopi? What are they?
- Octopuses? Octopi? - FLECK: I think "octopi."
BODEN: (LAUGHS) Octopi. My son would know this. He's only four.
Octopi, you know,
camouflaging themselves in the way that they can camouflage underwater,
and we looked at all these amazing images of real animals
and what their bodies can do
and used that as reference for these Skrull transformations.
You don't really get our hero's Skrull transformation until later
when Ben Mendelsohn's Talos is on the beach.
FLECK: This battle sequence was actually a longer sequence
in both the script and what we shot in early cuts.
And, you know, when we started putting the movie together,
it was just feeling like a little too much.
And we really wanted to get Vers, Captain Marvel, to Earth sooner.
So we trimmed it down just to, sort of, its bare elements,
and this is the result.
Incoming!
Back to the Helion.
(OVER RADIO) Vers. Do you copy?
BODEN: And here we meet Talos for the first time.
FLECK: Played by the great Ben Mendelsohn,
who we'd worked with
on our previous movie, Mississippi Grind.
BODEN: We called him "Ben MendelSkrull" when he was in his prosthetics.
FLECK: This is beautiful. In a previous version of the script,
this was gonna be the opening shot of the whole movie,
but the script kept evolving,
and we decided to start with her on Hala, not on Earth.
And so it's the opening shot of the Mindfrack experience.
BODEN: Yes, I don't think we ever used the word "Mindfrack" in the movie,
but it's what we used to describe this while we were writing,
and just the whole concept of learning about Carol and her past
through this weird, surreal dive into her memories
that the Skrulls are doing in order to eke out a piece of information
that they think will lead them to the core
and lead them to Dr. Lawson.
FLECK: Yeah, and we just went by it, but Lashana Lynch...
That's our intro to Maria Rambeau, played by Lashana.
BODEN: We tried to get that song
Crazy on You by Heart in about eight places
before we landed on that one. (LAUGHS)
TALOS: Who is this person? Are we in the right...?
What the hell are you thinking?
BODEN: And we did... FLECK: This was a fun day...
Sorry, Anna. This was such a fun day to shoot
'cause we literally built this carnival at this track,
and people were racing these cars all day. It was a lot of fun.
BODEN: Developing the look of the Mindfrack
was something that we worked on with Ben Davis, our cinematographer,
and our visual effects supervisor Chris Townsend,
you know, very early on in the process.
The idea of having kind of a film grain to it
and that nostalgic feel, that vintage feel.
FLECK: That carnival, for instance, is 16mm,
and we gave him a clip of Gimme Shelter, the Rolling Stones documentary and said,
"We want it to look like that."
BODEN: And trying to find organic ways for things to cross into each other,
for these memories to fluctuate and fall together
in almost a stream-of-consciousness way,
and some of that was in the writing, and some of that was in the visuals
and some of it we found in post.
But we wanted to meld these
more organic, practical in-camera effects
with visual effects that we were doing, you know, later
and try to find a nice balance with that.
You'll get there soon enough, Ace.
BODEN: For instance, this whole shot here,
this is all in-camera.
FLECK: So, Annette leaves frame,
and there she is, but that's not really her
because she went around the camera and now she's there.
You'll get there soon enough, Ace.
TALOS: What's that on her shirt? I couldn't read it.
FLECK: There she goes again, and the double,
who was walking away before comes back.
And there she is.
Just a fun little dance that we did
with our camera operators and the actors.
BODEN: Camera operators Geoff Haley and Sarah Levy
just did an amazing job on this film
from, you know, really formal crane moves to handheld camera.
They just kind of did it all.
And we're back to that opening dream moment.
FLECK: And there it is, and there's just...
If you look at it,
it's just a little touch of a humanoid form in that Skrull.
BODEN: The ears disappear for just a second.
FLECK: 'Cause her memories are starting to get really confused.
TALOS: Focus.
BODEN: And we looked at Eternal Sunshine of the Spotless Mind for this sequence.
The idea of these voices outside
that are kind of commenting on the memories and those bleeding in
and just the surreal vibe was really an inspiration.
FLECK: Including a shot of a burning piano,
which I don't wanna spend too much time talking about, but look it up.
It has significance.
Do we have any information we can act on?
FLECK: This was an amazing set.
This whole sequence here that we're about to get into,
the Mindfrack-Ship Escape,
is what we called it when we were designing it.
These are just beautiful sets that were so fun to walk around.
We were shooting them on the same stages where The Wizard of Oz was filmed,
and so, coming to work these days was really a blast.
BODEN: This was one of the first "pinch me" moments on this movie
because this was one of the first sets to go up
and it was such a massive build,
so much bigger than anything we'd ever worked on before.
Uh-oh.
FLECK: Is that your voice still in there?
BODEN: (LAUGHS) Yes. FLECK: Is that you going, "Uh-oh"?
BODEN: Yeah, that was me going, "Uh-oh."
Then they gave my son a little cameo on one of the background screens.
FLECK: Oh, yeah, he is in one of those monitors.
BODEN: Yeah.
FLECK: This is great. We should talk about how Brie falls from...
That hanging upside down, as she breaks herself out,
and basically she did that herself, with the aid of some wires, of course.
BODEN: It's an incredible stunt... FLECK: But it's just a great move
with the camera and the look on her face,
she really just nailed it, and she's so fierce in this sequence.
I love it.
...and her light-speed engine.
I don't know any Dr. Lawson.
Really? Then why is she in your head?
BODEN: And just to take this moment
to talk about Ben Mendelsohn's prosthetics
and the work that Legacy did.
It took a lot of time to kind of develop something
that we could put on his face, that he could emote underneath
because he has prosthetics over his whole face,
but his performance is so subtle and so beautiful,
and we didn't want to have anything on his face
that would prevent him from really being able to express himself.
And they worked long and hard in many iterations,
in order to get the mask that had the right look
but where he could also really emote.
(BOTH GROWL)
FLECK: This was an idea we just had on set,
you know, when we saw that
that Skrull screamed at her like that.
We just suggested to Brie, "Hey, what if you screamed back?
"Just for fun,
"just to see if it works or not," and we put it in the edit.
BODEN: And it's fun having those little moments of personality for her
that kind of pop through. I mean, that's what it is.
It's like her humanity that just keeps popping through.
Those little moments of personality, unexpected,
that we wanted to make sure
that she had even as an alien, even when she thinks she's an alien.
She just can't help but let that humanity crack through.
(CHUCKLES) Now that things are finally off her hands,
it reminds me that,
that was, like, one of the big, important, early decisions,
story decisions for this sequence,
is getting to see somebody who's so powerful fight,
but not have access to their power.
And so keeping those big metal rods on her hands
for almost the whole sequence and really you haven't gotten to see her
fight that much with her photon blasts yet.
And we get to really save that until later in the film.
FLECK: 'Cause at the exact moment she gets control of that power,
there's another crisis at hand.
(SKRULLS WHIMPER)
BODEN: That's me, too. (LAUGHS)
BRET: (ON SPEAKERS) You do know why they call it a...
BODEN: It's all set there.
(GROANS)
TALOS: You leaving so soon?
We're just getting to know each other.
BODEN: I love this synth stuff that finds its way into the movie.
We haven't talked about the score yet,
but Pinar Toprak does such an amazing job.
And it was in this sequence, actually,
she did a spec score for this sequence before we'd shot it,
when it was still just in previz,
like a video game version of this sequence.
She did a spec score for it that really blew us away.
And it was that kind of synth stuff and the chances that she took
and not everything feeling, you know, super conventional,
but she really took some swings in that spec score
that made us say, "Yeah."
FLECK: Here we are. We're on Earth.
We did it.
This was such a fun set to shoot in.
It was really like a time machine.
I worked at a Blockbuster in 1995, I will admit, I did,
and this was just like an amazing recreation of that.
Walking around looking at the shelves,
picking up the VHS boxes, were just so fun.
BODEN: And her, with her hair like this.
This is, like, one of my favorite frames in the movie, just...
FLECK: True Lies, a gargantuan thrill machine.
Vers to Starforce command, do you read me?
FLECK: This movie she's about to pick up is very well-known.
It comes from a very well-known book and also a very well-known movie,
which was about the early days of space exploration.
So we thought it was a nice nod to the Air Force,
and Kelly Sue DeConnick, the writer of the comics.
BODEN: And this is Barry. FLECK: Barry Curtis.
BODEN: He is actually head of Marvel security
and this was the first time...
He's been doing it for years and years through all of their movies,
and this is the first time he ever auditioned for a role
and he just nailed it.
It was so fun. I remember after the very first take he did,
he was so funny, and we were just cracking up,
and I was about to walk over to tell him he did a great job
and Ryan stopped me. He goes, "No, no, no.
"Don't mess it up. Don't say anything that can mess it up."
- (BODEN LAUGHS) - FLECK: "He's in the zone."
BODEN: "He's in the zone."
And so we didn't say anything to him the entire time he was acting,
and it wasn't until afterwards, he's like, "Did I do okay?" (LAUGHS)
FLECK: And I love this shot.
Ben Davis, our cinematographer, we timed this shot
so we were shooting right as that sun was right behind his head,
just geniusly scheduled that day and...
- BODEN: By Lars Winther, our AD. - (FLECK CHUCKLES)
FLECK: Just shooting on a beach.
BODEN: And it was really... This is what I was talking about,
that hero-Skrull transformation where we really get to see
what is going on beneath the surface of that skin.
FLECK: Yeah, we developed that shot for a long time.
That shot, that beach was in El Segundo, California.
BODEN: I guess she went to that RadioShack
and stole some things.
FLECK: Yeah. You know, if you hook a Game Boy up to a 1995 payphone,
you can call intergalactically.
BODEN: Well, only if you have that special key from her suit.
FLECK: Right.
Is everyone okay? What happened?
BODEN: Which she then, if you note it, if you look carefully
the key that she is using there,
she ends up including in the pager
that she gives Nick Fury at the end of...
Not Nick Fury, sorry, just Fury,
- at the end of the movie. - (FLECK AND BODEN LAUGH)
Vers, where are you?
BODEN: So there's that ferrofluid I was talking about earlier,
that ferrofluid-inspired liquid tech.
...who I see.
YON-ROGG: She's what?
FLECK: It's one of those great moments from Brie. You know, she does...
She's able to communicate so much in these little moments.
Just her hesitation about...
She's about to tell him who she sees as the Supreme Intelligence,
but she knows she's not supposed to, so she holds back and...
How far is C-53?
FLECK: Beautifully acted.
Closest jump point is 22 hours.
YON-ROGG: Vers, hold your position until we get there.
Keep your comms online so we can contact you.
BODEN: This, actually, it wasn't just the Blockbuster that we recreated,
it was this whole strip mall, which was completely deserted for a while,
and our art department created that whole strip mall.
New signs, everything.
KORATH: ...she's compromised.
She's stronger than you think.
Ever been to C-53?
Once.
It's a real shithole.
FLECK: Gemma Chan, hilarious.
Here we go, we're gonna meet Keller.
This is S.H.I.E.L.D. boss, played by Ben Mendelsohn, as well.
And of course, the big reveal.
Big introduction to Agent Coulson.
Did you call this in?
FLECK: The name of this bar that he...
In this next shot, here, The Slow Club,
no one's ever really picked up on what that reference is from.
- BODEN: I'll tell you. - I'm gonna leave it there.
BODEN: No, I'm gonna tell you right now.
FLECK: Are you?
- Oh, and there's Fury. Here we go. - (BODEN LAUGHS)
FLECK: Look at that, look how amazing Sam looks.
BODEN: Lola is the VFX company who took the lead on the youthening
of both Agent Fury and Coulson.
Could I see some identification, please?
Vers. Kree Starforce.
We don't carry our identification...
BODEN: It's a really interesting process.
All we did was we put some dots on Sam's face
every day that we shot, and we put a wig on him.
And then Lola hand paints every frame
and completely preserves his performance.
Just makes him look younger. It's like magic.
It just takes a really, really long time.
How do we know you're not one of those shapeshifters?
Congratulations, Agent Fury.
You have finally asked a relevant question.
No! Congratulations to you, Starforce lady.
You're under arrest.
FLECK: There it is, the Skrull stun gun.
He's not trying to kill her, remember, he was trying to stun her.
Rook!
Rook, let's roll!
FLECK: Is that Coulson? I don't know.
Look at this footwork by Shane Habberstad.
Excellent work there.
Did you see her weapon?
- I did not. - (TIRES SCREECHING)
FLECK: This was day one of shooting.
That shot right there, that was the first shot of the movie.
Her running up to that point and looking up at the train.
MAN: Watch it!
BODEN: This sequence that we're about to embark on
is very much inspired by French Connection,
the famous chase sequence in French Connection.
We were watching that movie
when we were prepping for this movie, we just watched so many movies
and all of our favorite films to see, you know...
We always do that when we're starting a film,
just to see what we can pull and absorb from the filmmaking we admire.
And there's a scene where Gene Hackman is on the subway platform
and he's looking across trying to find...
Trying to find the guy who he's chasing,
and he looks around and we thought,
"Well, what if he's looking at all these people,
"but he doesn't know which one of them he's chasing?"
Because anyone could be a Skrull.
And that kind of gave us the idea for this sequence.
It's like she gets on this train and the Skrull could be anybody by now.
FLECK: And of course, the Stan Lee cameo.
I don't know what there is to say about that.
But, you know, of course,
Stan Lee's gonna have a cameo in all of these films,
and we were looking through the script to figure out which scene
made the most sense, and it seemed like he should be a passenger on this train.
And the question became, "What's he doing?
"What's he doing on the train? What was Stan doing in 1995?"
He was in a movie called Mallrats.
So we thought that would be fun if he was rehearsing his lines
for the Kevin Smith film Mallrats.
BODEN: And it's, of course, always an amazing day
when Stan Lee comes to set for his cameo,
and we're so grateful to have had that opportunity
to meet him and work with him.
FLECK: That actress, Marilyn Brett, did a phenomenal job. (LAUGHS)
Her stunt double is played by
Heidi Moneymaker, and she's actually...
Brie does a lot of her stunts in this sequence,
but Brie's stunt double is Renae Moneymaker.
So there's two sisters that are fighting each other
for a lot of this sequence.
BODEN: And we actually shot it on a moving train.
That whole little fight between
the grandma, as we call her,
and Captain Marvel.
We had...
The tracks were shut down for work, and we just got lucky.
They let us rent an actual Metro car,
and we rode it back and forth between a couple of stations.
And we got to shoot all those interiors on an actual moving train,
which is great for us, because we come from indie filmmaking.
And it's just nice to have some of that reality
when you're shooting films, even on films like this.
FLECK: This shot's incredible.
Downtown Los Angeles was added to it.
That tunnel up ahead was enlarged. It was just... You know, you don't...
It doesn't feel like an effects shot,
but there's a lot going on in that shot that's been effect-ed.
(OVER RADIO) Mr. Fury, this is Agent Coulson.
Uh, I'm still here at the Blockbuster.
And, uh, where'd everybody go?
I finished collecting evidence...
BODEN: "Skrullson."
FLECK: (LAUGHING) Skrullson, Skrullson, as we call him.
(CHOKING)
(TIRES SCREECHING)
FLECK: This was shot in a downtown Los Angeles Metro station after-hours.
BODEN: And wait for it.
FLECK: Yeah, key cameo coming up.
Two key cameos.
- Kelly Sue DeConnick. - BODEN: That is Kelly Sue DeConnick.
FLECK: That is Teddy. BODEN: And then... That is Teddy,
who was our craft service genius and amazing chef.
(INDISTINCT CHATTER)
FLECK: Love this shot, this shot that pulls back
from Vers and then lands on Fury.
And reveals a Skrull, all in one here.
BODEN: Oof! Purple blood.
(FLECK CHUCKLES)
BODEN: Sam totally freaked out, but then pulling it together.
Like Agent Fury would.
FLECK: That line there also references another movie
that I'm not going to get into right now, but...
BODEN: Why do you keep having
- so many secrets? - FLECK: I don't know.
I like to tease a little bit here. I can't give away everything.
So, the Skrulldrive that was dropped on the train,
she picked it up, and she was able to hack into it
on her gauntlet there and get a key piece of information
that leads her to a '90s cyber cafe.
BODEN: Yeah, so Pancho's Bar is also a reference.
This is a fun reference.
MAN: Nice scuba suit.
(ENGINE REVS)
BODEN: We just thought from the very beginning
that it would be very funny to have...
To have a superhero trying to deal with a big map.
(FLECK LAUGHS)
BODEN: Which we never have to use anymore.
Then how does she get her clothes? How does she get her motorcycle?
There it is, simple, short.
FLECK: This image was pulled from the comics.
This is from a run of Alien...
BODEN: Secret Invasion.
FLECK: Secret Invasion, excuse me, of course.
This shot here, in the overhead, we pulled from the comics.
BODEN: Alien autopsy. Skrull autopsy.
I'd say fine...
but it can't believe what it's seeing.
BODEN: Yeah, early on in the process,
is just reading a lot of comics, and pulling images
and throwing up ideas on a whiteboard
of what are the things that we really wanna see in this movie,
and that was one of those images, that image of the Skrull autopsy.
What's your plan?
I'll find Blockbuster girl.
I got word on a motorcycle thief that fits her description.
If she can tell us why these lizards are here...
maybe she can tell us how to kick 'em to the curb.
Good.
Do it alone, though. We can't trust anyone.
Not even our own men.
Yes, sir.
FLECK: Now, maybe you could remind me, Anna.
I think Sam just did this.
BODEN: Sam just did this.
FLECK: He just did this, and we kept it in.
Because we thought it was pretty funny.
Wow. They're ugly bastards, aren't they?
FLECK: I love this moment here.
This moment gives me chills when I watch it with an audience on a big screen.
BODEN: Ben does such a great job of turning in this moment.
You see the character he is playing, and then you see him...
FLECK: In his Australian accent. BODEN: ...turn to Talos...
FLECK: His Australian accent comes back, which is nice.
BODEN: Yeah.
EXAMINER: I wouldn't get too close there, boss.
FLECK: And the light on his glasses there,
it's just beautiful.
No one in or out.
(UPBEAT MUSIC PLAYING)
FLECK: Little Garbage. Playing the '90s tunes here.
BODEN: There's the Rosamond, 20-something-miles sign.
- In case you missed it. - (FLECK CHUCKLES)
FLECK: Oh, this next shot. BODEN: Here we are at Pancho's Bar.
FLECK: There it is, Pancho's.
This shot that's coming up here, this is a reference to another movie also.
I'll go ahead and talk about this one.
It's not the only movie that's probably done this kind of shot,
but it's the one I remember most vividly, The Conversation.
There's a scene where Gene Hackman walks into a hotel room,
and the camera pans off of him,
and it feels like you're in his point of view
until you land and realize he's moved behind the camera
and he's landed, and you're actually not in his point of view.
And I've always just been obsessed with that shot.
I think Scorsese does it in Taxi Driver, as well,
but here it is in Captain Marvel.
(FAINT RATTLING)
What can I get ya?
Where was this photograph taken?
An airport.
Where's Pegasus?
FURY: That's classified.
BODEN: It was just so fun to get Brie and Sam together on set.
They've done two movies together.
They already had a preexisting relationship.
The first time we gave Sam the first draft of the script,
he read it, he met with us, he said,
"It feels like you already knew my relationship with Brie,
"because this is exactly how we act with each other."
And they do. They have that kind of, like,
joking with each other rapport, teasing each other, playfulness,
and it really comes across in the film, and makes...
Part of what's fun about this part
after Captain Marvel's landed on Earth
is this relationship and this strange friendship,
and they really bring it to life.
- It was so fun to watch them on set. - FLECK: It was. It was always fun.
We'd looked at all... Just shifting gears for a second.
We'd looked everywhere for this bar interior, all over the place.
- BODEN: Yeah. - All over California, it felt like.
And it's just a bar.
And our favorite bar ended up being in Burbank,
less than a mile from the Disney Studios. (CHUCKLES)
There it is.
I like the B's. I can make them rhyme.
BODEN: "I like the B's. I can make them rhyme."
That's also a Sam special.
He recommended that line on the day.
We thought it was really cute.
FLECK: Yeah, it was scripted slightly differently, but yeah.
He added to it.
If toast is cut diagonally, I can't eat it.
You didn't need that, did you?
No. No, I didn't. But I enjoyed it.
Okay. Your turn.
Prove you're not a Skrull.
BODEN: Why can't he eat toast if it's cut diagonally?
FLECK: I don't know.
It's just one of those things.
And how is that supposed to prove to me you're not a Skrull?
That's a photon blast.
And?
A Skrull can't do that.
FLECK: Obviously.
...colonel turned spy turned S.H.I.E.L.D. agent...
must have pretty high security clearance.
Where's Pegasus?
FLECK: Here we go.
Waterfalls cue.
Boom. It was fun playing with music for this movie.
FURY: ...alien races to infiltrate and take over planets.
And you're a Kree? A race of noble warriors?
Heroes. Noble warrior heroes.
FLECK: This was all shot in a real car, on a process trailer.
BODEN: Was it on a process trailer? Yeah. It wasn't free driving?
FLECK: You know what, was he driving?
BODEN: I thought he was really driving, but I could be totally wrong.
FLECK: It was very early in the shoot.
BODEN: Oh, man. This is so sad.
- FLECK: I think it was a trailer. - This movie aged me.
- I don't remember anything. - FLECK: Maybe he was driving. (LAUGHS)
In any case, a lot of car stuff these days
is done on a stage, and for good reason.
It's easier to control the environment.
But we really wanted to get out into the real world and there it is.
GUARD: (OVER SPEAKERS) This is government property.
- Turn your vehicle around. - (SIGHS)
Nicholas Joseph Fury. Agent of S.H.I.E.L.D.
BODEN: You're right. That was definitely a process trailer,
'cause we had two cameras going.
One of them was in front of him.
FLECK: Mystery solved.
Everybody calls me Fury.
Not Nicholas. Not Joseph. Not Nick. Just Fury.
- What does your mom call you? - Fury.
- What do you call her? - Fury.
What about your kids?
If I have them, they'll call me Fury.
FLECK: This was shot at a place called Pyramid Lake,
aptly named, based on the shapes of some of these rocks.
But then we're gonna transition into a tunnel,
which is in another place in California...
BODEN: Different location. FLECK: ...called Shaver Lake.
It's a beautiful tunnel here.
Not shot in many movies, but that's all real.
BODEN: This is real. It went for a mile. FLECK: Yeah.
BODEN: It was a mile underneath the ground, we shot this whole thing...
And a really unique location.
FLECK: But I bet, in that follow shot...
I bet people look at that and think there's been some kind of visual effect
to make it seem like that tunnel goes on and on, but no.
Nothing happened in that shot,
except for the title that comes on the screen.
Does, uh, announcing your identity on clothing
help with the covert part of your job?
Said the space soldier who was wearing a rubber suit.
Lose the flannel.
SECURITY CHIEF: How can I help you?
We're agents of S.H.I.E.L.D.
We're looking for a woman named Lawson.
A Dr. Wendy Lawson.
Do you know her?
FLECK: Again, we're shooting a mile into a mountain.
Underneath the earth here.
- Not here, thankfully. - BODEN: Not here.
- This is in a different location. - FLECK: But that other location...
I got a little light-headed at times, down there.
BODEN: We all had to wear construction hats.
Is that a communicator?
Yeah. State-of-the-art two-way pager.
BODEN: Here, we're introduced to the pager for the first time,
which some of you may have seen and known immediately
that that was the one that ends up in the tag on Avengers: Infinity War.
FLECK: I love how excited Sam gets here
when he realizes he pulled off that print.
BODEN: Yeah.
- (WHOOPS SOFTLY) - (FLECK IMITATES WHOOP)
FLECK: (CHUCKLING) And she's just so...
She's watching him, letting him have his moment.
BODEN: So amused.
(BEEPS)
After you.
Impressive.
Oh, you should see what I can do with a paperclip.
(ELEVATOR BELL DINGS)
FLECK: This location, not used too much in movies.
We shot in the UCLA archives.
It seemed to have the same sort of vibe as the...
Oh, boy. I gotta stop talking 'cause there's Reggie.
AKA Goose. I'm just gonna stop talking.
BODEN: Yeah, this was the first time meeting Goose,
female cat, played by Reggie, a male cat.
Apparently, trainers don't really train female cats.
I don't know.
Yeah, I don't know if it's
a sexist thing, all the way in the ranks of animal training...
(FLECK CHUCKLES)
VERS: I didn't wanna steal your thunder.
BODEN: But they say that the female cats are less trainable.
FLECK: They do. They say that.
This is another series of shots with no effects.
That's all practical lights.
It almost doesn't even look real
the way that the shadows descend down that aisle.
BODEN: Part of the... It gave us...
The location itself gave us the idea
for how we end up using light in this sequence,
particularly when Fury is later hiding from the S.H.I.E.L.D. agents.
And that's what I love about location shooting
'cause you can build everything.
You can shoot everything on a blue screen,
but sometimes real locations give you ideas.
Like, they really had this kind of crazy light system
where every time you walked into a new aisle,
a light would go on,
and it was part of what, you know, sparked the idea
to have that play into the cat-and-mouse game
that we later shoot.
...unauthorized test flight.
Took a pilot down with her.
BODEN: We had to make a lot of those...
Our art department had to make a lot of those folders, though.
(FLECK LAUGHS)
BODEN: A lot of folders. FLECK: Yes.
Props to Lauri Gaffin and her team
for putting together a lot of file boxes and folders.
Who was the pilot?
Um, most of this thing's redacted...
but there is a testimonial here from a Maria Rambeau.
Last person to see them alive.
(COMM BUZZES)
You okay?
FLECK: Again, one of these moments where Brie,
without saying much or even really moving,
is communicating so much emotion and so much inner turmoil.
It's just great. It's great to watch her here.
BODEN: The day we were shooting this photograph that, you know...
Where Vers discovers that she was a human on Earth in that picture,
we just kind of pulled this actual pilot who was just going to his plane.
We were like, "Oh, we need a pilot. Can you come be in this picture?"
And now he's in the movie.
FLECK: He's featured very heavily.
He had no idea. He was like, "What's going on?"
"Just get in the picture. Shake Annette's hand."
...mission report sent from C-53.
There's only so much I'm cleared to tell you, Vers, but...
Lawson was an undercover Kree operative named Mar-Vell.
She was working on a unique energy core.
Experimenting with tech that apparently could help us win the war.
She still here?
She's cooperating with the investigation, sir.
- You men stay here. - AGENT: Yes, sir.
I want to question her alone.
Excellent work, Nicholas.
FLECK: Oh! "What'd you call me?"
BODEN: We talked a lot about different ways
Fury could realize that his boss was a Skrull.
And one of the ways that didn't end up in the movie,
but I kind of have a certain fondness for,
was that Keller's shoe would be untied, and Nick Fury would point it out.
And the Skrull wouldn't know how to tie a shoelace,
because shoelaces are weirdly complicated
and not obvious, especially to a Skrull that doesn't need that,
you know, has more advanced technology than that.
FLECK: Mm-hmm. I can barely tie my shoes.
FURY: I'll get off on five...
and take the stairs in case she makes a run for it.
Do a pincer move like we did in Havana.
Right.
FLECK: "Like we did in Havana."
Another test failed.
YON-ROGG: We're nearing the jump point.
Leave your beacon on so I can find you.
We'll get to the bottom of this, Vers.
Together.
Okay.
FLECK: Again, Brie doing so much,
doing so much here, and completely still.
Vers!
Fury's colluding with the target.
Then why would he call us in?
All I know is we take him in, too. Dead or alive.
BODEN: This was the smelliest hallway in the world.
(FLECK CHUCKLES)
(SIGHS)
FLECK: Ah, that's what you get for shooting in downtown LA.
AGENT: Go. Go, go!
(GASPS)
BODEN: Ah!
The light went on. That was my "ah!"
FLECK: Fury's really slipping there.
I really feel like he should've looked both ways
before stepping out into that aisle, but...
BODEN: Well, he saw them go the other way.
FLECK: Mm-hmm. But still that light came on on the other side.
BODEN: That's true. FLECK: He blew it.
Now, he also...
(STRAINING)
FLECK: I'll just leave it. BODEN: Yeah.
FLECK: I'll let that hang.
(FLECK GRUNTS)
BODEN: Ben and Sam had a good time with this scene,
but also their incredible stunt doubles, Kiante and Colin.
Now, you know, I don't really need these to see...
FLECK: The Australian accent comes back when he wants to, you know,
drop some special Talos, in certain moments.
(WHOOSHES)
(CRACKLING)
VERS: You called them in?
FLECK: "My bad."
The first time we ever tested this movie... (CHUCKLES)
The audience laughed hysterically when Sam says, "My bad."
Um...
- Not much since. - (BODEN LAUGHS)
FLECK: I don't know, maybe it's not supposed to be funny, but...
AGENT: Coulson, do you have eyes on them?
BODEN: It wasn't. We never thought it was gonna be that funny.
FLECK: A great origin moment between Coulson and Fury here.
BODEN: Yeah, Coulson just following his gut, trusting Fury,
trusting that he's not really the bad guy here.
FLECK: And the bond is solidified.
There it is. The pager is now in Carol's possession.
BODEN: This we shot at Edwards Air Force Base,
in one of their huge hangars.
There were real planes, a real F-22.
We had a real B-2...
FLECK: We did not have that. BODEN: We did not have a real Quadjet.
- That doesn't actually exist. - FLECK: That is a visual effect.
FURY: Do you know how to fly this thing?
FLECK: But we had the front of it, so that's all real.
...a yes or no question.
- (ENGINE POWERS UP) - FLECK: That is not.
BODEN: We had to share the interior cockpit
with Agents of S.H.I.E.L.D.
Little-known fact.
FLECK: That plane, though, behind Ben is real. That's there.
BODEN: That's the B-2, yeah. FLECK: That's a real B-2 bomber.
(CAT MEOWING)
FLECK: Gotta give credit here. This was Geneva's idea.
BODEN: In the very first outline
that we worked on...
"The arms and legs akimbo," I believe it said.
"Goose with her arms and legs akimbo..."
Who's a good kitty, huh? Huh, Goose?
BODEN: And we thought it was hilarious. FLECK: And it was.
FURY: Who's a good kitty, Goose?
BODEN: It was also her idea,
just the whole concept that Nick Fury was a cat person,
and that it was kind of more
his relationship with the cat at the end of the day
than Captain Marvel's.
...the pilot that went down with Dr. Lawson?
I'm saying the last person to see them alive could probably tell us.
- Maria Rambeau? - Mm-hmm.
So, how do we get to Louisiana?
Due east. Hang a right at Memphis.
BODEN: So, one other thing about this flying stuff is that...
In prep, Brie and I went to Nellis Air Force Base,
and the Air Force actually took us up in F-16s,
and so we got to be in the back of F-16s.
We were flying right next to each other. We took off right next to each other.
She was probably like, I don't know, 8 feet away from me.
I could see her through my cockpit window as we were taking up,
and they did a bunch of dogfight maneuvers with us in it,
so we got to feel what it actually felt like to...
You know, fly in these jets
and to have the g-forces pressing against you and all of that,
and I think it was really helpful when we were on set with Brie,
or Lashana also did the same thing,
them knowing what it felt like
to have those g-forces press you back in your seat,
and the breathing,
and how hard it was to move your head when that's happening and...
It was really helpful.
...Skrulls anywhere is a threat to Kree everywhere.
BODEN: And this is where we meet Ronan.
Lost.
FLECK: If anyone was ever wondering what Ronan was up to in the '90s...
BODEN: He was heading off the Accuser, the Kree Accuser bomb squad.
FLECK: Still holding that sledgehammer.
BODEN: Yeah.
Doesn't wanna let go of that sledgehammer.
FLECK: Ah, Louisiana.
BODEN: Technical term.
FLECK: (CHUCKLES) That's actually what it's called.
Here we are, Louisiana.
This was the last couple weeks of the shoot.
And we briefly tried to look
for a location that would work in California.
And, you know, there's just nothing that looks like this in California.
Mom, it's Auntie Carol!
I knew it! Everyone said you were dead!
FLECK: It was hot.
But we knew they were lying.
BODEN: Lashana and Akira, playing Maria and her daughter, Monica.
We felt just so lucky to have met them.
We didn't know their work very much
before we started shooting and auditioning.
And Lashana made us cry in the audition.
FLECK: Lashana auditioned, and I literally choked up
and was trying to hide in the corner of the room after.
(BODEN AND FLECK LAUGH)
FLECK: And had a good laugh about that one later.
(KETTLE WHISTLING)
No way!
BODEN: But really, they're the heart of the movie for us
and the heart of Carol and what she's making her way back to
on this journey of self-discovery.
What connects her to her own humanity and to her empathy
and all of that good stuff.
And it's really this scene here
where you get to see how much Lashana brings to this role.
You just feel the lived-in-ness
of their relationship and their friendship.
Even though Carol doesn't remember her,
there's a certain kind of rapport that just naturally comes back.
And Lashana just brings something to it.
It feels like there's this whole history
that we're only seeing glimpses of, but...
She really moved me in this scene.
Your usual move.
Back then, we had to get up so early.
The Air Force still wasn't letting women fly combat...
so testing Lawson's planes was our only shot at doing something that mattered.
FLECK: You know, what's nice about this part of the movie is
you just get to sit with the actors and watch their performances.
There are no visual effects happening here.
There's no explosions.
Of course you don't.
(BOTH LAUGH)
FLECK: Just good, good, solid acting.
When I got to the hangar, Lawson was agitated.
FLECK: You know, and this is a long scene
of two people sitting at a table,
and I think there might be... You might think...
We talked about this.
Do we need to get multiple sizes?
Do we need to get a much closer close-up?
Do we need to get more coverage?
And I think we just decided to focus on the actors
and really just do more takes and let the actors shine here,
not try to over-cover a sequence like this.
BODEN: And we talked to Ben about really wanting
to be able to do two cameras at once here and to cross-cover them,
so they could really be in the moment with each other
and play off each other, and if something happened
for those moments of magic, we'd have both...
We'd have both angles on both the actors.
FLECK: Yeah, that's a good point.
And also it means both actors have to be fully engaged.
Not that either of these actors would do it,
but with the cameras not on you,
there might be a tendency to not bring everything you've got
to a certain take,
and so both of them were so locked in for these,
because two cameras were rolling.
And I think it really helps the scene.
I don't know.
MONICA: Come look!
This is me and you on Halloween.
FLECK: Props to our editor, Debbie Berman.
She cut this scene,
and when she showed us her first cut of this scene,
it's not exactly how we imagined it would go,
where she overlaps all these voices over the photos,
and they get kind of lost, but we just thought
it was really a great way into Carol's head
and these memories.
Oh, wait. I forgot.
Your jacket.
Mom doesn't let me wear it anymore after I spilled ketchup on it.
BODEN: One of the important parts to us
with regards to rehearsals and acting and actors getting to know each other,
much more so than blocking out the scenes
and figuring out exactly how we're gonna play each scene,
it's more about just getting the actors together
so that they can get to know each other and really create those relationships,
those familial relationships that they're meant to have in the movie.
So, with Lashana and Akira,
we went bowling together, and they brought their moms. (LAUGHS)
And it was really fun. We just had a good time and they really bonded.
And with Lashana and Brie, we all went to Disneyland together.
And you can feel it.
You know, we didn't have to do that with Brie and Sam,
because they had a preexisting relationship,
but just their comfort together on set
and them feeling like they're actually friends,
and they actually love each other off-set is such a nice feeling to have.
I'm sorry, Tom. This really isn't a good time.
I'll come by tomorrow, okay?
- Uh... - Okay.
(FLECK CHUCKLES)
You know, you really should be kinder to your neighbors.
You never know when you're gonna need to borrow some sugar.
FLECK: Here it is. And there it is.
Some people think that's from Pulp Fiction,
and it does look like Sam Jackson sipping a milkshake in Pulp Fiction.
But the actual reference for us was Reservoir Dogs.
BODEN: Also Quentin Tarantino, interestingly.
FLECK: Yep. Yeah, the movie right before Pulp Fiction.
No one's gonna hurt the girl.
Just don't kill me.
That would really complicate the situation.
I'm about five seconds from complicating that wall
with some ugly-ass Skrull brains.
TALOS: I'm sorry I simmed your boss.
But now I stand before you as my true self. Without deception.
And who is that out there?
Okay, that's a fair point...
but I'm sure that you understand I had to take some precautions.
I saw you crush 20 of my best men with your hands bound.
I just wanna talk.
Last time we talked, I ended up hanging from my ankles.
That was before I knew who you were.
Before I knew what made you different from the others.
I have an audio recording from Pegasus...
of your voice from a plane crash six years ago...
on a device I believe you call...
FLECK: I love Ben in this scene.
- BODEN: We just wanna watch it. - (FLECK CHUCKLES)
BODEN: I'm sorry. We have nothing to say. (LAUGHS)
She don't understand.
FLECK: They're all great, but...
BODEN: This is Ben's scene. FLECK: Yeah.
Call me "young lady" again...
I'm gonna put my foot in a place it's not supposed to be.
Am I supposed to guess where that is?
FLECK: That came out of rehearsal, actually.
The "Your ass" is scripted that Sam says that. Or is it...
One of them was just supposed to say it in the script,
and then we were doing a rehearsal at the table
and they both said it at the same time,
and we said, "You know what? Let's shoot that."
Call your buddy back inside and I'll listen.
Deal.
(PURRING)
Oh, my God! Get that thing away.
BODEN: This idea of an alien who sees a cat
and thinks it's this alien called a Flerken
and is totally scared of it comes from the comics,
but in the comics it's Rocket who meets Chewie,
which is the name of Carol Danvers' cat in the comics
and is like, "No, it's a Flerken!"
And there's this whole ongoing joke about them being like,
"It's just a cat!" And it's like, "No, it's a Flerken!"
So we thought we'd bring that into the movie,
but since we don't have Rocket in the movie,
we thought Talos could be that character.
FLECK: Slow '90s technology.
What's happening?
It's loading.
FLECK: "Science guy." BODEN: Truth be told,
we did shoot a slow push-in on the cat for that sequence,
but that was maybe just one
- cat joke too far. - (FLECK CHUCKLES)
VERS: (OVER SPEAKERS) Your laboratory? What do you mean?
LAWSON: Oh, no.
VERS: Is that... Wait, what is that? It's not showing up on my radar.
LAWSON: Go, Carol. Fly!
That's no MiG, Lawson. Who the hell are they?
Those are the bad guys. Fly faster now!
Yes, ma'am.
- What do they want? - Me. My work.
I never should have brought you along.
Here come some G's.
FLECK: It's a great sequence for sound design.
We stripped the music out of the sequence
and it's all sound effects happening here, and it's...
BODEN: Yeah.
FLECK: When you're in a big room, it sounds incredible.
Skywalker folks.
BODEN: Props to our team at Skywalker,
Gwen and Chris and the whole team, Lora...
(BEEPING)
They're firing backwards. Hold on!
BODEN: And Scanline was the VFX company
who took the lead on this sequence.
We worked on it in previz,
kind of figured out the beats of the sequence,
but they really, I thought, did an incredible job with the colors
and just taking it to the next level.
FLECK: This, particularly.
Approaching those trees just always
makes my heart beat.
BODEN: And one of the things that we talked about really early on
in creating that sequence was just,
even though it was these two alien crafts,
really wanting it to feel fairly grounded
in terms of what the camera angles were
and what we were actually...
What the cameras were actually doing
and not dancing with the plane too much but kind of staying mounted
or staying inside or in their POV.
FLECK: This was Annette Bening's first day of shooting.
She flew across the country.
She had something she had to do in New York,
and she flew across the country, showed up
without sleeping...
BODEN: (CHUCKLES) That's true.
FLECK: And did a dying scene for us.
(LAUGHS) So, it was a tall...
"Hey, Annette. How's it going?
"So you're gonna get out of this plane, and you're gonna die over here.
"You ready? Let's go."
And she was such a trouper,
and I think it's a very difficult scene for actors to play, and she nails it.
...but we just got shot down by a spaceship and your blood is blue.
Listen, I spent half my life fighting a shameful war.
Now, skedaddle before you give me any more regrets.
Just remember the coordinates, okay?
You gotta save 'em without me.
FLECK: "Save them without me."
"Save who?"
We will learn later.
So this brings us back to that dream,
the image that she keeps seeing of the Skrull firing at her.
BODEN: And everything changes just a little bit each time.
Is the blood blue or red?
Whose blood is blue? Whose blood is red?
FLECK: Is it a Skrull? Is it a man?
BODEN: Is it an alien landscape? Is it a human landscape?
The energy core.
Where is it?
FLECK: Beautiful location we had here.
You have two minutes until you're surrounded.
FLECK: Ilt and his team did a wonderful job finding places for us.
I mean, that's just stunning.
Dan Sudick and his team,
who built that cockpit there
and had flames set all around this sandy beach.
BODEN: We used the Phantom camera to shoot this all super slo-mo.
We really wanted to focus in on these little details
of the dust coming up and the trees.
And we had originally scripted this to be snowy for some reason,
so we had imagined these little snowflakes bursting up,
but instead it's sand.
And this is where she gets filled with energy for the first time.
It kind of pops back into regular motion.
We always used to joke
that maybe Yon-Rogg's pinkie toe got some photon power.
(LAUGHS) But we tried to make it really clear
that the photon energy was going directly into her
and it kind of creates this blast around it,
but the energy is this direct line to her,
and it was something that we worked on a lot in the visual effects
to make sure that it didn't feel like it was going everywhere.
FLECK: I think somewhere, though, in California,
- there's a photon-powered tree... - (BODEN CHUCKLES)
FLECK: ...with superpowers.
BODEN: And the idea here is that
he was meant to bring back this core,
and he thinks it's been destroyed and she's all that's left,
and brings her back as the treasure to the Supreme Intelligence,
seeing that there's power within her.
FLECK: This is my favorite scene in the movie.
This is also probably my favorite scene to shoot.
We were in Louisiana.
We had very limited time, because the sun was going down.
We were at dusk. We had time for a couple of takes.
- I think we had... - BODEN: Three cameras.
FLECK: Three cameras.
- Two primary cameras... - BODEN: All handheld.
FLECK: And then a third sort of picking off the other characters,
but it's just old-school filmmaking.
Here we are, without any visual effects,
and we're in a field and we've got great actors.
BODEN: It's that thing you were talking about earlier
where everybody is on screen at the same time.
So, there's a freedom to do everything
and not match exactly what you'd done before,
and a freedom to really be in the moment and everybody has to be on.
...capable of carrying us to safety.
A new home where the Kree can't reach us.
BODEN: We had a little bit of a crickets problem, (CHUCKLES)
but our amazing sound team was able to solve it.
FLECK: Crickets, or were they cicadas? We always called them cicadas.
- BODEN: They are cicadas. - Are they the same thing?
BODEN: I thought crickets and cicadas were the same thing,
but I'm probably wrong.
FLECK: We need a fact checker on this commentary.
If you help us decode those coordinates...
we can find it.
You'll use it to destroy us.
(SIGHS) We just want a home.
You and I lost everything at the hands of the Kree.
FLECK: Again, this speaks to what Anna was talking about earlier,
with the prosthetics that are on Ben Mendelsohn here.
He's still able to communicate so much with all that stuff on his face.
You can really feel him, feel his performance.
You are Carol Danvers.
You are the woman on that black box...
FLECK: And I think that Lashana and Brie are
extraordinary in this moment right here.
My best friend...
who supported me as a mother and a pilot when no one else did.
You are smart, and funny, and a huge pain in the ass...
and you were the most powerful person I knew...
FLECK: And Pinar's score, which stays out of the way.
It's not trying to push the actors. It's not trying to push the emotion.
It's just sitting underneath it and letting the actors drive the scene.
Come here. Come here, girl.
I got you.
TALOS: I know I don't deserve your trust...
but you were our only lead.
We discovered that your energy signature matched Mar-Vell's core.
Now we know why.
If only you knew the importance of it to me.
I just need your help decoding the coordinates to Mar-Vell's lab.
Those weren't coordinates. They're state vectors.
For orbital position and velocity.
You didn't find her lab on Earth...
FLECK: Sam eating a sandwich.
BODEN: Shrimp po'boy.
FLECK: He did. He wanted a shrimp po'boy.
...in orbit right now.
It's just basic physics.
In orbit?
FLECK: Oh. So funny.
(BODEN LAUGHS)
- BODEN: It is. - I love it. Matt Maher.
Matt Maher, we had worked with before
on one of our other movies, It's Kind of a Funny Story.
And we cast him as Norex.
BODEN: The science guy Skrull. There he is.
Mmm. Your science guy.
(FLECK CHUCKLES)
VERS: Well, I could use a copilot.
- No. No, I can't. - (FLECK CHUCKLES)
I can't leave Monica.
Mom, it's okay. I can stay with Gramma and Paw-paw.
There's no way I'm going, baby. It's too dangerous.
Testing brand-new aerospace tech is dangerous...
and you used to do that.
Your plan is to leave the atmosphere in a craft not designed for the journey...
and you anticipate hostile encounters...
with a technologically-superior foreign enemy.
Correct?
- That's what I'm saying. You have to go! - Monica!
You have a chance to fly the coolest mission in the history of missions...
and you're gonna give it up
to sit on the couch and watch Fresh Prince with me?
BODEN: There's something about the idea of an adult
who speaks about something
like it's the most insane thing that you could possibly do
and then seeing it through a child's eyes as like,
"Yeah, no, that's what I'm saying! You have to go! That's amazing.
"This is the thing that you've always wanted to do,"
and being able to embrace that kind of childhood spirit,
that childlike spirit,
and go for it and take the risk.
Lieutenant Trouble.
You remembered.
Is that mine?
- BODEN: This we shot on the last day? - Mm-hmm.
BODEN: Yeah, this was our last scene on the last day of shooting.
Maybe not our last.
FLECK: Second-to-last scene on the last day of shooting, yeah.
BODEN: Second-to-last, yeah.
And since you are obviously the only person...
- BODEN: It was very hot. - It was very hot.
BODEN: It was very hot and very humid in Louisiana,
and we had trouble keeping everybody's hair ruly.
Is "ruly" the opposite of "unruly"?
Because people's hair was getting unruly.
FLECK: Yeah, totally.
BODEN: So we had to keep it ruly.
And... (CHUCKLES)
Well, since we're on the same team...
FLECK: That green and white there is a nod
to the original Captain Marvel comic book hero.
Big moment here.
Finally get to see Captain Marvel in her hero colors.
BODEN: "Fresh." We couldn't decide.
Should it be "fresh"? Should it be "dope"?
What was more '90s?
Turns out they were both equally '90s.
We went with "fresh."
FLECK: Again, real swamp location,
lit beautifully
by Ben Davis and the team.
I'm fine. Thanks for asking.
- PRY46-B... - No, no codes.
That system is fallible...
BODEN: There were a lot of wasps in this location,
but apparently, they didn't sting or so they told everybody.
They were wasps that didn't sting, but we spent a lot of time
and our stunt coordinator spent a lot of time
pulling wasps out of that little shack.
FLECK: Yeah, every time we'd call "Cut!"
There'd be a team of people in there trying to kill...
- BODEN: Not kill. - Get rid of.
- ...get the wasps out of that shack. - BODEN: Remove the wasps.
This was...
It was just a crazy place to shoot, because it's so alive.
Louisiana's so alive, and the swamps are so alive.
There was a sign that said, "Mommy alligator, don't disturb"
right next to the shack,
because apparently they'd removed all the alligators
from the location,
but there was a mommy alligator that was sitting on her eggs
and you can't remove a mommy alligator from her eggs.
You can't separate her from her eggs
or else she'll send out some weird, like, sonar signal
to all the other male alligators who will come to protect the egg.
So you have to leave the mommy alligator on her egg.
So she was there with us while we were shooting.
FLECK: Yeah, wasps, alligators, snakes.
YON-ROGG: Come at once.
For the good of all Kree, Commander...
the infestation will be eradicated.
(ENGINE WHIRRING)
Passing 500 and climbing.
(CLICKING TONGUE)
You know, you really shouldn't have that thing on your lap.
BODEN: He's trying to tell him.
Trying to warn him.
FLECK: Because it's a Flerken.
BODEN: Yeah.
...yeah, I'm gonna keep giving him all the loves and hugs that he needs, right?
Can I ask you something?
Do you just turn into anything you want?
Ah, well, I have to see it first.
Can you all do it?
Physiologically? Yeah.
But, uh, it takes practice...
and, um, dare I say it, talent to do it well.
- Can you turn into a cat? - What's a cat?
What about a filing cabinet?
Why would I turn into a filing cabinet?
A Venus flytrap?
I'll give you 50 bucks right now if you turn into a Venus flytrap.
FLECK: I feel like there could be a reason
why he would want to turn into a filing cabinet.
There must be a moment where turning into a filing cabinet
would be advantageous.
FURY: Hey.
Is this normal, like...
BODEN: Well, if you guys noticed any other
filing cabinets in other MCU movies...
FLECK: It's probably a Skrull?
- BODEN: It could be. - It could be a Skrull.
(ENGINE SHUTS DOWN)
(MEOWS)
(AIR HISSING)
VERS: Locking in on coordinate grid.
Where is it?
It's here. It's gotta be here.
Well, is it in front of all that nothing, or behind it?
BODEN: We actually went up to space to shoot this scene.
AUTOMATED VOICE: Decloaking activated.
FLECK: You know, it's about realism. It's about getting it right,
and that's what we needed to do.
FLECK: All right. BODEN: That was
Chris Townsend's favorite shot of the movie,
was the Quadjet coming into Mar-Vell's hangar there.
FLECK: And here we are, back on the stage, on...
- BODEN: A new set? - ...one of our lovely sets here
for Mar-Vell's lab.
Baseball in the hallway. First clue that there's something...
- BODEN: There might be somebody in here. - Something amiss here on this vessel.
BODEN: But we're distracted by the beautiful, glowing cube,
otherwise known as the Tesseract,
which finds its way into many a Marvel movie
and kind of connects them.
In her notes she called it the Tesseract.
BODEN: A lot of people who are MCU fans
might be trying to track
the whereabouts of the Tesseract throughout time.
FLECK: So if we're in the '90s,
it was previously seen in...
- The First Avenger. - BODEN: First Avenger, yeah.
FLECK: Captain America.
(BELLOWING)
(DOORS OPENING)
(SIGHS)
SOREN: Talos!
BODEN: This is another one of those scenes for me,
besides the one that you mentioned before, Ryan,
the scene that we shot at dusk,
that's like the heart of the movie to me...
She kind of finds her humanity in that scene.
Carol finds her humanity in that scene,
and we really see the humanity of the Skrulls in this scene,
and it's like these pointy-eared, weird-looking, shapeshifting aliens
that we assumed were the villains for the first half of the film,
and to open up our hearts and see that they have families
and they care about the same things that we care about,
that was one of the really exciting things about this movie
that us and Jonathan Schwartz
and Kevin Feige and Lou and Victoria and the other...
And Geneva, who we were writing with, all got really excited about
and really wanted to bring to this movie.
Taking these Skrulls, who were the villains from the comics,
and being able to see another side of them.
I didn't know.
TALOS: Carol.
BODEN: And then her reckoning with
not, you know...
With warring with these people, who she didn't understand
and fighting on the wrong side of the war.
This is just the beginning.
There are thousands of us separated from each other...
scattered throughout the galaxy.
(CHITTERS SOFTLY)
If I played the same pinball machine for six years...
I'd have some high scores, too.
(BUTTONS CLICKING)
(MECHANICAL WHIRRING)
- (GOOSE MEOWS) - Fraternizing with the enemy?
BODEN: Ugh. He's holding the kitty all wrong.
FLECK: It's not a real cat, though, so...
You never hold a cat like that.
We never held a cat like that in this movie.
What did you do to your uniform?
They got in her head. Just like we thought.
The Supreme Intelligence will set her straight.
TALOS: You can see they're not soldiers.
Let 'em go. You can have me.
And the core?
You lied to me.
FLECK: This was a beast of a scene
because pretty much every main character in the movie is in this room,
and we had to shoot them all.
And it took a while.
(GRUNTING)
(STRAINING)
KREE SOLIDER: Back here! Move, move!
- Get over here. Get down! - (GRUNTING)
Let's go! Go, move!
(GROANING SOFTLY)
BODEN: Just hear the hint of that Nirvana song out there,
and then it comes in here.
FLECK: Yeah, we really played with that in the mix for a while.
We didn't want it to feel recognizable
when we were outside this environment.
BODEN: Or just like you think you're hearing...
"Is that what I'm hearing?"
And then you pop in...
FLECK: The lyrics of this song feel like they are written for this scene,
which, you know, Kurt Cobain, genius.
Maybe he was a time traveler. Maybe he knew.
Oh.
The music. It's a nice touch.
Let me out.
No can do.
If you hurt them, I will burn you to the ground.
With what exactly?
BODEN: We tried to have things in this world,
populate this world that were like
we might have seen in her memories,
like the wooden table from Maria's house and the chairs.
There's a little bit of texture of stuff from her past
that we might have seen in some of the memories
or in other parts of the movie.
FLECK: The leather jacket, for instance. Now, Lawson has become...
The Supreme Intelligence has become Lawson,
as we know her from her memories.
AUTOMATED VOICE: Species: human male.
Threat: low to none.
BODEN: And our props team worked with our animal trainer
to create a little mask
that the cat, Reggie, would be comfortable wearing
and that wouldn't bother it, (CHUCKLING)
but it was so sad and cute to see that little mask on Reggie.
FLECK: It never fastened to the cat's face.
It was just hanging there for a few seconds.
We found you. We embraced you as our own.
You stole me.
From my home, my family, my friends.
(SIGHS)
(GRUNTS)
(GRUNTING)
It's cute how hard you try.
But remember...
BODEN: We'd always imagined that as just being a white wall
that she gets sucked through, and that's how we had visualized it
and then Animal Logic showed us
this strange wall with the reflections on it,
and it was really exciting to see that for the first time.
FLECK: Here the Supreme Intelligence is trying to show how weak Carol was,
and I guess she didn't...
She didn't plan on what came after all those moments she showed her.
It kind of backfired.
BODEN: I love how fierce that little girl looks there. Young Carol...
FLECK: Yeah, Mckenna. That's, well, Mckenna Grace.
And of course Brie here. I love this shot.
On Hala, you were reborn...
Vers.
My name is...
FLECK: So, this was take one. I don't know, was it...
I feel like we pushed in on her, and a tear fell down...
There's nothing CG there.
A tear fell down Brie's cheek as the camera was pushing in,
and I was just floored. I was, like...
- BODEN: Yeah, there is nothing... - "What did I just witness here?"
BODEN: There's nothing planned about that.
It was not how we imagined it, but there's something really powerful
about seeing somebody at their strongest and most self-possessed
but so full of emotion
that there could be a tear running down their face,
and that not taking away from her power and her strength,
and there's something that just encapsulated so much about
what this movie is trying to say and who Carol is.
And as she is becoming more powerful
and absorbing all this energy,
she eventually goes binary,
which is what it's called in the comics
when she gets super-powered, super-glow.
And we worked from really early on
in prep about what exactly that would look like,
talking with ILM, who eventually did the look here,
and Chris Townsend, VFX supervisor.
And those are some of the earliest shots that we started working on,
were those binary shots,
and this one, in particular, that we're about to see.
You know you're glowing, right?
VERS: I'll explain it later.
Take the Tesseract.
Leave the lunchbox.
FLECK: A little Godfather reference there.
You want me to get you an oven mitt?
(MEOWS)
FLECK: And the Flerken.
Whoa!
Get the Skrulls on the Quadjet and go.
Take the Flerken with you.
- What about you? - I'll buy you some time!
I'm picking you up now.
BODEN: Part of the fun of having the Flerken in the movie
was figuring out how to make it really have a place in the plot,
not just have it be a silly gag,
but actually have the Flerken
become an important member of moving the plot forward.
And so we didn't always know
that it was gonna end up consuming the Tesseract
and holding the Tesseract for us,
but when that idea came to the table, it just was...
- It made it more fun. - FLECK: Absolutely.
(GUN CLICKING)
(ALL SCREAMING)
(MEOWS)
Okay.
Good kitty.
(GROANING)
FLECK: So here we go with
a musical cue here.
We'd gone through so many different songs
that we experimented with for this sequence,
going back to the '60s, '70s, '80s.
And, you know, the movie's set in the '90s,
so we thought, "Hey, we'd been avoiding this song."
- (BODEN LAUGHS) - We'd been avoiding it, and then...
BODEN: Not because we don't love it.
- We think it's an amazing song. - FLECK: We do love it.
BODEN: But it just...
It's like we kind of circled around it many times
and then finally arrived at it,
and we're like, "You know what? This is just...
- "We just gotta go for it." - FLECK: It's an anthem.
I mean, it's so thematically relevant
and maybe that's partly why we were avoiding it for so long,
but it's an anthem, and then when we finally put it in there,
screened it for ourselves and an audience, it just...
- BODEN: It sang. - It just... It sang.
(FLECK AND BODEN CHUCKLE)
GUARD: Hey, in a hurry?
Don't make me do this.
Okay.
(GRUNTS)
FLECK: I think this was Jonathan Schwartz's idea here,
the idea that he tries to use Goose as a weapon,
thinking that he understands how it works
(CHUCKLES) and it doesn't quite work out
the way Fury hoped it would, in that moment.
Pick a side.
- (GROANS IN DISGUST) - (MEOWS)
Take them to the hangar, too.
We'll blast them all into space.
(MEOWS)
Play it cool.
Just like Havana.
BODEN: He's letting him know, of course, that this is Talos,
and he's transformed into this Kree soldier
in order to help make the escape.
FLECK: It's a callback to that elevator moment,
when Fury tested him with the Havana reference.
GUARD: Come on, move!
Move!
Follow my lead.
FLECK: Again, that's Ben Mendelsohn's voice
on another actor.
(BOTH SCREAM)
- (GROANS) - Onto the ship!
Let's go! Let's go!
(BOTH GRUNTING)
- (GRUNTS) - (GROANS)
(CLATTERS)
(SIGHS) Nice diversion.
I could have swore I put it in there.
(BOTH GRUNTING)
BODEN: Ryan's favorite shot of the movie.
FLECK: I love that shot.
It's so simple, just a space hallway.
- (GUNSHOT) - (GROANS)
(SOREN SCREAMS)
(ALL GRUNTING)
(GROANING)
BODEN: Now it's Maria's moment to really shine
and to do what she was never able to do
as a pilot in the Air Force in the '80s,
when women weren't allowed to fly combat.
She can be in this mission
and pilot the ship and get these Skrulls to safety.
It just was an important way...
It was important for us to find a way in the movie
to give her her hero moment and carve out that space for her.
(BEEPING)
(GUN FIRING)
(GRUNTS)
(STRAINING)
BODEN: This is the moment where Captain Marvel realizes
that she can fly.
And we had a lot of different versions of how this might go.
But really liked the idea of pulling out the music
and getting inside her head
and just being with her, and then having those eyes pop open
and they're glowing and she smiles, and we just know.
We know what she can do. We don't need to see it in that moment.
FLECK: This sequence does remind me a little of Star Wars
and I'm not ashamed to say that I'm a big Star Wars fan.
And if that movie has inspired this sequence a little bit...
- BODEN: So be it. - There you go.
(BODEN CHUCKLES)
(GROWLS)
(GRUNTING)
BODEN: It was also our way to get a little bit of that,
like, Top Gun dogfight
in this space movie, you know?
What the hell was that?
BODEN: Those are the jump gates
that are introduced to the MCU in the Guardians movies.
It just happened to be hexagonal, which is the Kree...
Which is like our Kree shape,
so it felt very appropriate for them to find their way into this movie.
(PANTING)
(GRUNTING)
(STRAINING)
FLECK: Boom! So one missile sets off a chain reaction,
and then Captain Marvel flies into the fireball,
and probably takes out some more missiles
as she's flying through.
...doesn't have a defense system advanced enough to destroy our warheads.
BODEN: "That's not their defense system."
(BODEN LAUGHS)
Take her down.
BODEN: You can't take her down.
It's just...
You know, this is the part of the movie where we get to really enjoy
Carol having full control of her powers and figuring them all out
and just kicking butt.
- Just that moment... - FLECK: And enjoying it.
BODEN: We call that the "starfish moment."
Just the idea that she's going through, she's realizing how powerful she is.
She's going through all these drones,
and then she just puts her arms and legs out
and blasts through it, and just really, yeah, enjoys it.
It's a nice release.
FLECK: I love that reaction right there.
BODEN: Yeah.
And ILM did most of the effects in this part of the sequence and just...
It's really, really fun, really fun for us to watch,
and to see those shots come in at the end of the process,
these were some of the last shots to come in,
the last VFX shots to drop in,
and watching those come together was a really fun part of the job.
We'd locked picture and now we were just seeing things
as they were getting refined and more refined.
And that position where she puts her hand in...
Her fist into her hand like that,
that was inspired by some of the comic art.
FLECK: Yeah, that was on one of the covers of the comics,
one of the iconic poses Captain Marvel makes.
This was fun. This was, again, shooting in a desert in California,
and we spent the day out here,
battling snakes and scorpions.
BODEN: The reality is, when we initially wrote this scene,
we wrote that they got together
and they had their final mano-a-mano fight,
and it kind of reminded us
of the... Harking back to the sparring scene in the beginning.
And they kind of duke it out, and this time Captain Marvel wins.
But then as we were writing and discovering this character,
and discovering what her journey is,
we thought, "Why should she be playing
"by Yon-Rogg's rules at this point in the movie?"
That's the last thing we wanna see.
What we wanna see is her blast him. (CHUCKLES)
- Just kick his butt. - FLECK: Yeah, use her power
that he's been trying to convince her to not to use.
- BODEN: To control, yeah. - Yeah, to control
and just let her use it.
(GROANING)
BODEN: Just love watching Yon-Rogg scurry back there.
(BREATHING HEAVILY)
I have nothing to prove to you.
FLECK: Boom.
(GROANS)
AUTOMATED VOICE: Destination: Hala.
I can't go back empty-handed.
You won't be empty-handed.
I'm sending you with a message.
Tell the Supreme Intelligence that I'm coming to end it.
The war. The lies. All of it.
BODEN: It's just the part of the movie I love watching for Brie.
She just really owns herself.
She's so, so powerful,
but not showy.
Just owning herself, it's so great.
That was a close call, huh, Goosey? Huh?
- (LAUGHS) - (MEOWS)
Those bad guys still in there somewhere?
- (SNARLS) - Ow!
Mother Flerken!
- You okay? - FURY: Yeah.
BODEN: People ask if we always knew that the Flerken was gonna be responsible
for Nick Fury losing his eye,
and we didn't know it would happen exactly that way,
but it seemed pretty clear
that when we had a Flerken in this movie,
it was gonna be responsible for taking Nick Fury's eye out.
FURY: Some nifty flying you did out there.
S.H.I.E.L.D. could always use a good pilot like you.
I'll consider it...
as long as you never call my flying "nifty" again.
How's your eye?
Hmm. Getting better every second.
Just so I'm clear...
you were Soh-Larr...
- and the S.H.I.E.L.D. agent? - FURY: Keller.
He tied my boss up, stole his identity.
I borrowed his likeness...
BODEN: Just liked kind of bringing this group...
FURY: You're good to go here until you recover...
BODEN: ...of badass heroes together at the end of a movie,
sharing a meal and being a family. It felt appropriate.
No way. You guys have the best eyes.
Don't ever change your eyes.
TALOS: She has beautiful eyes. That's very sweet of you.
FLECK: Do you think Skrulls are any good at UNO?
BODEN: I bet that little girl Skrull's good at UNO.
FLECK: Probably so.
MONICA: Can't they, Mom?
They won't be safe here, baby.
Auntie Carol's right.
They need their own home.
I'll be back before you know it.
Or maybe I could fly up and meet you halfway?
Ah, only if you learn to glow like your Auntie Carol.
Or maybe I'll build a spaceship. You don't know.
He doesn't.
(LAUGHS)
Keep the Tesseract on Earth.
Hidden.
You sure that's what Marvel would want?
Mar-Vell.
That's what I said.
BODEN: You never hear anybody in the movie
actually say the words "Captain Marvel,"
but this kind of hints at it, hints at where...
How she took the mantle of Mar-Vell and changed it a little bit.
FLECK: Yes, it was the Marvelettes.
It's Captain Marvel inspired by Sam Jackson singing The Marvelettes.
Keep singing. Maybe it'll come back to me.
BODEN: We also just thought it was funny
to watch these guys doing dishes. (LAUGHS)
It's a little bit like that shawarma scene
at the end of The Avengers.
It's just there's something fun
about watching superheroes do mundane things.
What? You think I'm gonna crank call you?
For emergencies only, okay?
(CHUCKLING) Well...
if you're ever passing back through this galaxy...
be sure to give a brother a shout.
- (CRACKLES) - Oh! (LAUGHING)
MONICA: We got the ketchup stain off.
BODEN: One of the things about Kelly Sue DeConnick's run of Captain Marvel
is just how important these female relationships are to it,
and we really wanted to embrace that in the movie,
that the heart of this movie is this friendship between two women.
But then also this relationship with this younger girl
who looks up to Captain Marvel, sees her fly off at the end of the film,
and inspires her in some way,
as well as the mentor, of course, Dr. Lawson,
who had inspired Carol Danvers.
FLECK: And this is the last shot we did of the movie.
BODEN: This right here.
It's Captain Marvel meeting up in space with the Skrulls,
off to go on their next adventure.
(KEYS CLACKING)
BODEN: "The Protector Initiative."
(KNOCK AT DOOR)
Glad to have you back, sir. This came for you.
So, is it true?
That the Kree burned your eye out...
because you refused to give them the Tesseract?
I will neither confirm nor deny the facts of that story.
BODEN: We liked the idea that Nick Fury would never admit
to how he actually lost his eye. It just sounded too dumb.
I'll let you know when it does.
Then what?
Sir?
FLECK: Just the de-aging process.
You get to the end of the movie, I mean, you get midway through the movie...
You get 10 minutes into the movie and you just forget
that you're watching a highly visually-effected shot here.
It just looks like Sam.
We need to find more.
More weapons?
More heroes.
BODEN: Kevin Feige jokes that we de-aged the two people
who least needed it on the face of the earth,
and it is true.
Both Sam and Clark Gregg look so amazing.
BODEN: The inspiration for Nick Fury to form the Avengers.
FLECK: And with a little smile, we go to Courtney Love and Hole.
BODEN: And Elastica who did our main on ends.
I just want to take this opportunity
to thank all the amazing crew and cast who worked on this movie.
There are just so many thousands of people
that it takes to make a movie like this.
We've never worked with a crew this enormous before,
it's always felt like a very small family,
but so many people contributed so much to this movie,
so thank you so much.
The cast was amazing. The crew was amazing.
I hope you guys sit through all of the end crawl, too,
to just appreciate all the many, many people
who it took to pull this together.
FLECK: And thank you for listening to this commentary.
I hope you dug the movie, and I don't know, I'm psyched.
I'm gonna go back and watch it again.
BODEN: Me, too.
(DEVICE BEEPING)
This is a nightmare.
I've had better nightmares.
RHODES: Hey.
So, that thing just stopped doing whatever the hell it was doing.
NATASHA: (SIGHS) What do we got?
Whatever signal it was sending finally crapped out.
STEVE: I thought we bypassed the battery.
RHODES: We did.
It's still plugged in. It just stopped.
Reboot it. Send the signal again.
We don't even know what this is.
Fury did. Just do it, please.
You tell me the second you get a signal.
I wanna know who's on the other end of that thing.
Where's Fury?
(DRAMATIC MUSIC PLAYING)
(PURRS)
(GAGGING)