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SAM: A few months ago, billions of people
reappeared after five years away.
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We need new heroes.
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Ones suited for the times we're in.
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Symbols are nothing without
the women and men that give them meaning.
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And this thing, I don't know
if there's ever been a greater symbol.
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But it's more about the man
who propped it up,
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and he's gone.
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So, today we honor Steve's legacy.
But also, we look to the future...
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and the fights that await us there.
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When Disney Plus was announced,
we realized there was an opportunity
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to interweave a cinematic universe
with the television universe,
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which had never been done before.
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We knew if we could nail it,
that's what would make this unique.
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These characters can continue
to be developed
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in a way that we oftentimes
don't have time to do in films
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and then launch right back
into that feature universe,
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so that it's truly connected
for the first time.
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ZOIE NAGELHOUT: I think
for Nate and I, it was very obvious
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that The Falcon and the Winter Soldier
would be
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the perfect thing for this kind of format.
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FALCON: Look at you.
All stealthy. (CHUCKLES)
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A little time in Wakanda
and you come out White Panther.
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-It's actually White Wolf.
-Huh?
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NAGELHOUT: With, quite frankly, not a ton
of screen time throughout the movies,
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they have become beloved.
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What the hell is that?
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Everyone's got a gimmick now.
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NAGELHOUT: And with the little bit of time
they've interacted,
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have sort of created this
interesting buddy-cop tumultuous dynamic
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that was so worth exploring.
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Can you move your seat up?
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No.
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From the outset,
the goal was to be very grounded.
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Endgame was the battle of the titans
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in a universe that was
from a stellar place.
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So, the swing of the bat here
was to bring all of that
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into a very relatable,
very grounded character place,
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so that really the super side of it
became embedded in character.
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But it was also embedded
in a very real world.
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This is a moment
where you really could drop it all.
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And we should feel
like that's going through your mind.
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-ERIN KELLYMAN: Mmm-hmm.
-And therefore he needs to tell her...
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You know, you're feeling, like,
"I might have her now,"
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and so you can relax your body.
And then boom.
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So you kinda sucker punch him, right?
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ANTHONY MACKIE: Kari's been great.
I think once you see this series,
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you'll realize the emotional depth
of these characters.
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It's more of a drama than anything else.
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Kari was able to make us less macho
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and put machismo in the series
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with all the fighting and special effects
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-and explosions and all that stuff.
-(SCREAMS)
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Not exactly a badass.
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-(MACKIE LAUGHS)
-What?
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MACKIE: But also show
the emotional construct
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that makes everyone an individual.
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SKOGLAND: It was very important
to me, and I think to everybody
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to explore what it means
to be a hero in today's world.
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If in the past, in the MCU,
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being a hero was very much related
to being a soldier and being a warrior,
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the new hero is not that.
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The new hero is really a first responder,
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and so it was embedded
in our journey for both characters.
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Walker! Help me!
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SEBASTIAN STAN: I think she just saw this
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as two regular guys
trying to find their way
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and the main thing that stood out to me
was this new kind of way of shooting
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where she would capture
the characters' inner thoughts and so on.
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And I thought that was really interesting.
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So, now that you've stopped fighting,
what do you want?
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Peace.
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That is utter bull...
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MALCOLM SPELLMAN: As soon as you step into
the second floor of the Marvel building,
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it really does make you feel like
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you've stepped into something
that's bigger than you.
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Kevin and the rest of the Marvel team's
mandate of, "This cannot be TV,"
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it has to feel like a movie,
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but the storytelling
is inherently spread out.
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I felt particularly equipped to do that.
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I always say,
"You break stories two ways."
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You break 'em vertically,
which is by each episode,
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then, horizontally.
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And that horizontal break with
the characters and their relationships,
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every iteration of show we did,
that maintained and actually got stronger.
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Enjoy your ride, Buck.
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No, no, no, no, you can't call me that.
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-Why? That's what Steve called you.
-Steve knew me longer and he had a plan.
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When we were talking
about the idea for the show,
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Malcolm Spellman said the thing
that resonated for him the most
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with the end of Endgame was Sam's line,
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"It feels like it's someone else's,"
and the notion of legacy.
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STEVE: How does it feel?
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Like it's someone else's.
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It isn't.
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(SIGHS)
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NAGELHOUT: That line became sort of
the backbone of Sam's arc.
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And it was very clear to us that if we're
gonna tell a story over six hours,
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we owe it to both that mantle
and that symbol and that character
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to dissect it from every angle
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before he can arc
to a place where he's evolved.
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I'd felt like we would be dishonest
to the fans and dishonest to,
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just on a human level,
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if we had this Black man
just accept this symbol
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without having real ambivalence about it.
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And we knew that that was gonna be
crucial to Sam's burden.
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As a Black man in America,
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to take on the stars and stripes
and wear that proudly,
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that's not something
that Sam Wilson would do out of the box.
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The notion of exploring
what Blackness means in America
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was kind of the hypothesis of the show,
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and the notion of legacy was something
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that both Sam and Bucky,
in the show, explore.
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Maybe this is something
you or Steve will never understand.
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But can you accept
that I did what I thought was right?
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MACKIE: When you think Captain America,
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you think of
a very specific brand of person.
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There are so many different lines,
so many different avenues,
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so many realities
that we have to live in every day
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to be a successful Black man
in our society.
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You know, you can't be the same person
every room you walk in.
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It's a hard duality
that you have to live in
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and sometimes specifically,
for somebody like Sam,
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you have to ask yourself,
"Are you willing to deal with it?"
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KID: Hey, it's Black Falcon. What's up?
SAM: It's just Falcon, kid.
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I mean, I think 2020 and COVID,
if nothing else,
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have proven how difficult it is
to be a Black man in America.
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It's not a new understanding or experience
for anybody Black.
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-Hey, is this guy bothering you?
-No, he's not bothering me.
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Do you know who this is?
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(WHISPERS) Hey, these guys are Avengers.
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Oh, God, I am so sorry, Mr. Wilson.
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(CHUCKLES NERVOUSLY) I didn't
recognize you without the goggles.
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MACKIE: With Sam picking up the shield,
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it's such a representation of
the country that we live in,
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you know, there's a lot of trepidation
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as far as, "How does a Black man represent
a country that does not represent him?"
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SPELLMAN: We knew the journey
that Sam was gonna go on
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was going to be particularly rough for him
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just because of the fact
that he is a Black superhero, right?
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Well, Anthony's backstory
is rooted in Louisiana,
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and we merged some of that so that
it could become really, really personal.
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Then they start telling you
what they've done with the characters,
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and from that a whole life is born.
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I told you specifically
that the water pump
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was not the problem,
and yet, here you are.
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In our defense, we were supposed to
have this done way before you woke up.
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I don't come up to the sky to tell you
how to barrel roll or whatever,
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so you don't come down here
and start messing around with things
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-you clearly don't understand.
-Wow...
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MACKIE: You know, Adepero came in and gave
an amazing performance as my sister
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and really gave that character a backbone
that kind of defined the entire history
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of what this character, Sam Wilson,
really is from Winter Soldier till now.
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-I thought you said you're a pilot.
-I never said pilot.
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MACKIE: You see how all of that became
this man from where he was from.
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I've enjoyed learning
who Sam Wilson truly is.
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What would be the point
of all the pain and sacrifice
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if I wasn't willing to stand up
and keep fightin'?
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NAGELHOUT: Sam's search for identity
is about his future
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and Bucky's search for identity
is about his past.
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And for Bucky, what we don't want to do
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is abandon ten years of storytelling.
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It was really important that we tackle
those ten years of storytelling
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and allow Bucky to process
the events of his life
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in a way that he hasn't had time to
in the two hour stories
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that he's been a part of.
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MOORE: When we were
making First Avenger,
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there are always ideas
of what could happen one day
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if we were so lucky to make a sequel.
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You're trying
to get that movie right the first time.
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You're not sure where this will lead.
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Sergeant Barnes,
you are to be the new fist of HYDRA.
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MOORE: We'd be lying to say we didn't talk
about where Bucky could go,
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but we didn't know how far we could
take him and where he might end up.
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When you see Sebastian
portraying the Winter Soldier,
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which to us was even an extra level,
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we knew there was
something to explore there.
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-What did I do?
-Enough.
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Oh, God. I knew this would happen.
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Everything HYDRA
put inside me is still there.
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MOORE: The relationship
between Bucky and Steve
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is so dramatic and so filled with pathos,
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if you think about it,
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the only person who had believed in Bucky
in the MCU up to this point
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was Steve Rogers.
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Well, now Steve Rogers is gone.
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Bucky feels unmoored in this series
and is looking for his purpose.
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That shield's the closest thing
I've got left to a family.
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So when you retired it,
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it made me feel like I had nothing left.
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What was challenging for me
was the balance between
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introducing the characters in a new way,
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and yet making you still be aware
of where they come from. You know?
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I always think with these movies,
every time I come back,
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I'm always thinking,
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"Okay, what if a fan sits down and watches
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Captain America: First Avenger,
Winter Soldier, Civil War,
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The Avengers, now this,
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00:10:48,774 --> 00:10:52,319
are they gonna be able to see
that same character throughout,
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00:10:52,402 --> 00:10:55,989
and then see that character
evolve in new ways
200
00:10:56,073 --> 00:10:58,033
but still be the same character?"
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00:10:58,116 --> 00:10:59,868
I am no longer the Winter Soldier.
202
00:10:59,952 --> 00:11:01,203
I'm James Bucky Barnes.
203
00:11:01,286 --> 00:11:04,164
And you're part of my efforts
to make amends.
204
00:11:05,916 --> 00:11:08,502
How does this character
now function in the world?
205
00:11:08,585 --> 00:11:10,587
What's his life going back to Brooklyn?
206
00:11:10,671 --> 00:11:13,715
How is he meeting people?
How is he interacting at coffee shops?
207
00:11:13,799 --> 00:11:16,677
Is he dating?
Is he thinking about another career?
208
00:11:16,760 --> 00:11:18,846
Look, you've gotta nurture friendships.
209
00:11:18,929 --> 00:11:21,723
I am the only person
you have called all week.
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-That is so sad.
-(THUDS)
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Bucky got this line in the show
where he tells the shrink...
212
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I had a little...
213
00:11:30,983 --> 00:11:33,235
calm in Wakanda.
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00:11:34,778 --> 00:11:39,241
And other than that, I just went
from one fight to another for 90 years.
215
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SPELLMAN: So the series is now
his first chance to deal with that,
216
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whether or not
he really is a killer in his DNA,
217
00:11:45,581 --> 00:11:47,666
whether or not he can be a hero, right?
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00:11:47,749 --> 00:11:50,002
Like, "Am I even cut out?"
219
00:11:50,085 --> 00:11:52,588
STAN: There's always gonna be
a dark side to this character
220
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which I always loved,
221
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and is, to me, what made him
more interesting and complex.
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And, you know, like, life,
I feel like that doesn't go away.
223
00:12:00,554 --> 00:12:02,139
It's still there in a way.
224
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He's learning how to deal with that
a little more.
225
00:12:07,728 --> 00:12:11,064
Bucky is very much trying to come to grips
with the things that he has done
226
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that can't be undone.
227
00:12:12,316 --> 00:12:15,652
And Sam Wilson becomes
a big part of his journey
228
00:12:15,736 --> 00:12:19,573
towards figuring out who Bucky Barnes is
outside of the Winter Soldier moniker.
229
00:12:23,160 --> 00:12:25,078
You up for a little tough love?
230
00:12:26,955 --> 00:12:28,832
You want to climb out
of that hell you're in,
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00:12:29,791 --> 00:12:30,792
do the work.
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00:12:31,960 --> 00:12:32,961
Do it.
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00:12:34,254 --> 00:12:35,380
I've been making amends.
234
00:12:35,506 --> 00:12:37,716
Nah. You weren't amending,
you were avenging.
235
00:12:37,799 --> 00:12:39,218
(DRAMATIC MUSIC PLAYING)
236
00:12:41,345 --> 00:12:43,430
"Don't worry about me.
Just keep on doin' what you're doing."
237
00:12:44,056 --> 00:12:45,307
That's not me, that's in the script.
238
00:12:45,390 --> 00:12:47,309
(SNICKERS)
239
00:12:47,392 --> 00:12:50,395
SKOGLAND: The Winter Soldier and Falcon
are incredibly watchable
240
00:12:50,479 --> 00:12:55,526
as a reluctant team
who are out to save the world, frankly.
241
00:12:55,609 --> 00:12:57,402
-Hey, John!
-(SNICKERS)
242
00:12:57,945 --> 00:12:59,613
How'd you find us this time?
243
00:12:59,696 --> 00:13:02,074
-I really wanted to do it like that.
-(LAUGHS)
244
00:13:02,157 --> 00:13:03,200
STAN: You broke my thing.
245
00:13:03,283 --> 00:13:05,160
SKOGLAND: It's been not just fun,
246
00:13:05,244 --> 00:13:09,665
but also very emotionally charged at times
as we explore this.
247
00:13:09,748 --> 00:13:11,667
Because it's one thing to see it on paper
248
00:13:11,750 --> 00:13:14,378
and then, as you know,
Sebastian and Anthony
249
00:13:14,461 --> 00:13:15,879
get a hold of the material,
250
00:13:15,963 --> 00:13:18,131
they embrace it and embody it in a way
251
00:13:18,215 --> 00:13:20,008
that we can't possibly have imagined.
252
00:13:20,092 --> 00:13:22,135
So, every day a scene unfolds,
253
00:13:22,219 --> 00:13:26,181
that is something I didn't anticipate
and it always gets better.
254
00:13:26,265 --> 00:13:29,351
I gotta say,
this is a very Bad Boys II shot.
255
00:13:29,434 --> 00:13:30,644
This was a two-hander.
256
00:13:30,727 --> 00:13:33,397
Two-hander don't mean
just these two characters.
257
00:13:33,480 --> 00:13:37,234
There's a spirit and an energy
that comes from a two-hander.
258
00:13:37,317 --> 00:13:39,111
Like here's the spectrum, right?
259
00:13:39,194 --> 00:13:42,322
Defiant Ones. 48 Hrs.
260
00:13:42,406 --> 00:13:44,700
This... And comedy's over here, right?
261
00:13:44,783 --> 00:13:47,578
48 Hrs., Lethal Weapon.
262
00:13:47,661 --> 00:13:51,957
Then comes Rush Hour, Ride Along
and so on, right?
263
00:13:52,040 --> 00:13:54,585
We knew we wanted to be
somewhere near Lethal Weapon.
264
00:13:54,668 --> 00:13:56,461
It's time for the soul gazing exercise.
265
00:13:56,545 --> 00:13:57,546
I like this one.
266
00:13:57,629 --> 00:13:58,964
He's gonna love this.
267
00:13:59,047 --> 00:14:02,634
-Yeah, I'm ready.
-Just face each other.
268
00:14:02,718 --> 00:14:04,011
You should really enjoy this.
269
00:14:04,094 --> 00:14:06,763
STAN: I really do genuinely love
working with Anthony.
270
00:14:06,847 --> 00:14:11,935
I mean, like there are definitely days
where I feel like he's gonna kill me.
271
00:14:12,019 --> 00:14:17,232
Um... Not physically. Just like
his presence. You know? (CHUCKLES)
272
00:14:17,316 --> 00:14:18,692
MACKIE: We have to get it with the light.
273
00:14:18,817 --> 00:14:20,861
All right, just wanna make sure we're...
274
00:14:20,944 --> 00:14:24,531
It establishes the location.
This is his first movie.
275
00:14:24,615 --> 00:14:25,949
(WIND BLOWING)
276
00:14:26,033 --> 00:14:27,201
Yolo!
277
00:14:27,284 --> 00:14:31,121
The two of them are so good
at bouncing off of each other
278
00:14:31,205 --> 00:14:32,956
and going on a path of discovery.
279
00:14:33,040 --> 00:14:34,333
(WHISPERS) Make sure
you record all of this.
280
00:14:34,416 --> 00:14:35,501
MAN: Quiet!
281
00:14:35,584 --> 00:14:37,669
SKOGLAND: And Daniel Brühl the same,
oh, my gosh.
282
00:14:37,753 --> 00:14:40,923
The three of them together
are at times so hilarious,
283
00:14:41,006 --> 00:14:44,259
I have to kind of pull them all back
and remind them, "Wait a sec.
284
00:14:44,343 --> 00:14:46,303
"We can't be having
this much fun." (LAUGHS)
285
00:14:48,138 --> 00:14:50,516
MOORE: In the
Falcon and Winter Soldier writers' room,
286
00:14:50,599 --> 00:14:53,769
we were inspired by key art
done from Civil War of Zemo.
287
00:14:53,852 --> 00:14:55,354
That was very much on the wall.
288
00:14:55,437 --> 00:14:56,813
How do we get this
289
00:14:56,897 --> 00:14:59,650
great iconography again
back into the show?
290
00:14:59,733 --> 00:15:01,527
And Zemo, the character, in Civil War,
291
00:15:01,610 --> 00:15:03,362
is a complicated
and interesting character,
292
00:15:03,445 --> 00:15:06,281
'cause he's a villain,
but his point of view is very defensible.
293
00:15:06,365 --> 00:15:08,909
I'm here because I made a promise.
294
00:15:08,992 --> 00:15:10,077
You lost someone?
295
00:15:10,744 --> 00:15:12,496
I lost everyone.
296
00:15:12,579 --> 00:15:15,123
He was fighting
to avenge these people he loved.
297
00:15:15,207 --> 00:15:16,458
It came from a place of love,
298
00:15:16,542 --> 00:15:19,711
even if it manifested in this horrible,
tragic way,
299
00:15:19,795 --> 00:15:23,966
it was important for us to maintain
that layered complexity of the character.
300
00:15:24,049 --> 00:15:27,469
It took me two days
until I found their bodies.
301
00:15:30,097 --> 00:15:31,098
My father...
302
00:15:32,391 --> 00:15:35,853
still holding my wife and son in his arms.
303
00:15:38,605 --> 00:15:39,648
(SIGHS)
304
00:15:40,440 --> 00:15:41,900
And the Avengers?
305
00:15:43,569 --> 00:15:44,570
They went home.
306
00:15:45,529 --> 00:15:47,489
We would've
always have tried to figure out
307
00:15:47,573 --> 00:15:49,366
how to get Zemo into the show,
308
00:15:49,449 --> 00:15:51,785
but the truth is
as we started to build the story,
309
00:15:51,869 --> 00:15:53,996
there was a very natural way
to slide him in.
310
00:15:54,079 --> 00:15:57,332
You are assuming
HYDRA has something to do with this...
311
00:15:58,500 --> 00:16:02,796
which is why you came to me,
which means you are desperate.
312
00:16:03,547 --> 00:16:07,926
Luckily for you, I know where to begin.
313
00:16:08,010 --> 00:16:12,181
I was very excited when I got the call
to come back and to read those scripts,
314
00:16:12,264 --> 00:16:18,020
in which you have a lot of meaty scenes
and time to spend with Zemo.
315
00:16:18,103 --> 00:16:21,732
He was a charismatic
and pivotal role
316
00:16:21,815 --> 00:16:23,275
in Captain America: Civil War.
317
00:16:23,358 --> 00:16:26,403
You know, back then I thought
I'd like to know more about him
318
00:16:26,486 --> 00:16:28,113
and explore this character more.
319
00:16:28,197 --> 00:16:29,740
I loved playing him,
320
00:16:29,823 --> 00:16:32,242
but there was
that slight bittersweet feeling
321
00:16:32,326 --> 00:16:34,912
at the very end when I finished,
thinking like,
322
00:16:34,995 --> 00:16:39,208
"Oh, man, now I've played this guy,
but I never wore this mask."
323
00:16:39,291 --> 00:16:40,459
(OMINOUS MUSIC PLAYING)
324
00:16:44,296 --> 00:16:46,965
STAN: (CHUCKLES) He really
blows me away in this thing
325
00:16:47,049 --> 00:16:51,178
because he found
a whole different side of Zemo
326
00:16:51,261 --> 00:16:52,763
that you didn't even see coming.
327
00:16:52,846 --> 00:16:54,681
So all this time you've been rich?
328
00:16:54,765 --> 00:16:55,891
I'm a baron, Sam.
329
00:16:55,974 --> 00:16:58,894
My family was royalty
until your friends destroyed my country.
330
00:16:58,977 --> 00:17:04,775
STAN: And he's really made this character
so dynamic and funny and different.
331
00:17:04,858 --> 00:17:09,321
And there's a very human side to Zemo
that's really cool.
332
00:17:13,408 --> 00:17:15,994
NAGELHOUT: John Walker
was sort of an obvious choice
333
00:17:16,078 --> 00:17:17,412
for us to include in the series,
334
00:17:17,496 --> 00:17:20,374
not only because of his connection
to the publishing run,
335
00:17:20,457 --> 00:17:24,419
but also because he feeds
directly into the conversation
336
00:17:24,503 --> 00:17:26,672
about what the shield means today.
337
00:17:26,755 --> 00:17:31,927
And he embodies a genuine desire
to be good and to do good,
338
00:17:32,010 --> 00:17:33,804
but that's not enough to be Cap.
339
00:17:33,887 --> 00:17:35,639
The serum never corrupted Steve.
340
00:17:35,722 --> 00:17:36,723
Touché.
341
00:17:37,558 --> 00:17:40,435
But there has never been
another Steve Rogers, has there?
342
00:17:40,519 --> 00:17:43,522
MOORE: Wyatt was an interesting choice
because a lot of his work,
343
00:17:43,605 --> 00:17:46,525
he plays, the stoner-slacker
with the long hair and the beard.
344
00:17:46,608 --> 00:17:49,528
But what we found in reading him,
is there is an energy,
345
00:17:49,611 --> 00:17:50,612
there's an edge to him
346
00:17:50,696 --> 00:17:53,198
that neither Sam Wilson
nor Bucky Barnes has.
347
00:17:53,282 --> 00:17:54,616
And we felt that was important
348
00:17:54,700 --> 00:17:57,327
so that John Walker stood apart
from these two characters.
349
00:17:57,411 --> 00:17:59,580
To some degree,
Walker is coming into the show
350
00:17:59,663 --> 00:18:03,250
with a chip on his shoulder
to prove that he is worthy of this mantle.
351
00:18:03,333 --> 00:18:06,837
Just 'cause you carry that shield,
it doesn't mean you're Captain America.
352
00:18:06,920 --> 00:18:08,005
I've done the work.
353
00:18:08,088 --> 00:18:12,551
I gravitate towards characters
who need to make difficult decisions
354
00:18:12,634 --> 00:18:14,511
and they have to be one thing
355
00:18:14,595 --> 00:18:17,931
while trying simultaneously
to toe the line over to the other.
356
00:18:18,015 --> 00:18:20,517
You already have three Medals of Honor.
357
00:18:20,601 --> 00:18:24,688
You consistently make the right decisions
in the heat of battle.
358
00:18:26,440 --> 00:18:27,441
Yep.
359
00:18:28,734 --> 00:18:33,572
Three badges of excellence to make sure
I never forget the worst day of my life.
360
00:18:33,655 --> 00:18:36,450
I had no idea the character I was playing.
361
00:18:36,533 --> 00:18:38,744
I was excited
to be a part of this Marvel thing.
362
00:18:38,827 --> 00:18:43,290
So I had no idea that I was actually
going to be an integral character at all.
363
00:18:43,415 --> 00:18:45,709
They were like
"Well, actually, you're Lemar Hoskins."
364
00:18:45,792 --> 00:18:48,003
(LAUGHS) And I was like
"Shoot! I know Lemar Hoskins."
365
00:18:48,086 --> 00:18:51,089
'Cause I literally have the comic books.
I have them.
366
00:18:51,173 --> 00:18:53,509
I have the editions that he's in.
367
00:18:54,051 --> 00:18:55,219
You know, that famous one,
368
00:18:55,302 --> 00:18:59,014
the Captain America one,
him and they're on the cover, I have that.
369
00:18:59,473 --> 00:19:01,391
All right, so I was just totally psyched.
370
00:19:01,475 --> 00:19:05,521
And I was like, "I hope I get a suit.
I hope they make me a suit."
371
00:19:08,148 --> 00:19:11,401
The costume puts you in,
like, that superhero posture.
372
00:19:11,485 --> 00:19:13,779
That sort of feels weird
if you just do it on your own.
373
00:19:13,862 --> 00:19:15,239
A word of advice then,
374
00:19:17,366 --> 00:19:18,951
stay the hell out of my way.
375
00:19:19,034 --> 00:19:22,454
MICHAEL CROW: There's a lot
of similarities, construction-wise,
376
00:19:22,538 --> 00:19:27,417
with John Walker's costume and all the
previous Captain America costumes.
377
00:19:27,501 --> 00:19:31,839
I wanted to keep continuity
of feeling and look.
378
00:19:31,922 --> 00:19:34,675
So we used a lot of the same prints
and the fabrics
379
00:19:34,758 --> 00:19:38,136
and colors that we've used before.
380
00:19:38,220 --> 00:19:40,597
I think we did tweak the red a little bit
381
00:19:40,681 --> 00:19:42,683
and made it a little brighter
382
00:19:42,766 --> 00:19:45,227
and patriotic
than some of the previous costumes.
383
00:19:45,310 --> 00:19:49,398
Definitely, definitely helped the attitude
of the character
384
00:19:49,481 --> 00:19:51,900
'cause it was just
a little bit more arrogant
385
00:19:51,984 --> 00:19:55,529
than I think that I would've been
if I hadn't had a little help.
386
00:19:55,612 --> 00:19:59,032
SKOGLAND: It's really important, I think,
that when setting up a world,
387
00:19:59,116 --> 00:20:02,160
you get into the characterization
as quickly as possible.
388
00:20:02,244 --> 00:20:05,873
And they both explored
the conundrum of being a soldier,
389
00:20:05,956 --> 00:20:09,543
and how difficult it is to walk the lines
of following orders
390
00:20:09,626 --> 00:20:11,920
as well as doing the right thing.
391
00:20:13,297 --> 00:20:15,382
I killed him because I had to.
392
00:20:16,008 --> 00:20:17,050
He killed Lemar.
393
00:20:17,134 --> 00:20:19,636
BENNETT: Lemar
is his voice of reason, right?
394
00:20:19,720 --> 00:20:22,055
And then all of a sudden, he's gone.
395
00:20:22,139 --> 00:20:25,309
First, there's a lot of vengeance
'cause you've killed my best friend,
396
00:20:25,392 --> 00:20:28,020
but then there's a raging insecurity
that just takes over.
397
00:20:28,103 --> 00:20:31,148
RUSSELL: He wants to represent the shield
the best way that he possibly can.
398
00:20:31,231 --> 00:20:32,691
And the really interesting part is
399
00:20:32,774 --> 00:20:36,570
in his mind, he kinda did
because that's what he was trained to do.
400
00:20:37,571 --> 00:20:39,865
(ROCK MUSIC PLAYING)
401
00:20:46,622 --> 00:20:49,666
These boots are not made for walkin'.
402
00:20:52,878 --> 00:20:55,881
MOORE: Typically, we go back to publishing
and look for characters
403
00:20:55,964 --> 00:20:59,259
that thematically matched the things
we're trying to do in the show
404
00:20:59,343 --> 00:21:01,094
and then put our own Marvel spin on them.
405
00:21:01,178 --> 00:21:03,889
Valentina Allegra de Fontaine.
406
00:21:03,972 --> 00:21:07,893
Actually, it's
Contessa Valentina Allegra de Fontaine.
407
00:21:08,393 --> 00:21:11,438
I know it's hard,
but I don't like to repeat myself,
408
00:21:11,563 --> 00:21:12,814
so you can just call me Val.
409
00:21:12,898 --> 00:21:17,110
We needed a character
to be this sort of "Nick Fury",
410
00:21:17,194 --> 00:21:21,073
but shady type,
to sort of enter John's world.
411
00:21:21,156 --> 00:21:23,575
First of all, the name alone,
412
00:21:23,659 --> 00:21:28,747
Contessa Valentina Allegra de Fontaine
is just...
413
00:21:28,830 --> 00:21:33,585
I mean, they had me there,
just with the name, to be honest with you.
414
00:21:33,669 --> 00:21:38,173
You did the right thing taking the serum.
415
00:21:38,257 --> 00:21:41,134
Yeah, of course I know about that.
And I'll tell you something.
416
00:21:41,218 --> 00:21:45,138
It has made you very,
very valuable to certain people.
417
00:21:45,222 --> 00:21:48,934
LOUIS-DREYFUS: Whether she's a good guy
or a bad guy remains to be seen.
418
00:21:49,017 --> 00:21:51,353
She's sort of living in a gray zone,
I think.
419
00:21:51,436 --> 00:21:53,939
Couldn't have planned it better myself.
420
00:21:54,022 --> 00:21:58,318
Maybe I did. No, I didn't.
I'm just kidding. Or am I?
421
00:21:58,402 --> 00:22:00,821
LOUIS-DREYFUS:
I like the idea of a female mastermind.
422
00:22:00,904 --> 00:22:02,656
I think it's about time.
423
00:22:02,739 --> 00:22:06,827
She's about three steps ahead of everyone.
And that's gobs of fun to play.
424
00:22:06,910 --> 00:22:09,830
Things are about to get very weird.
425
00:22:09,913 --> 00:22:14,168
And, you know, when they do,
we're not gonna need a Captain America.
426
00:22:14,251 --> 00:22:15,252
WALKER: No.
427
00:22:16,044 --> 00:22:17,588
You know what we're gonna need?
428
00:22:20,048 --> 00:22:22,009
A U.S. Agent.
429
00:22:22,843 --> 00:22:25,387
How do you want the rest
of this conversation to go, Sam, huh?
430
00:22:27,764 --> 00:22:28,849
Yeah. (CHUCKLES SOFTLY)
431
00:22:28,932 --> 00:22:30,350
Should I put down the shield?
432
00:22:30,434 --> 00:22:32,019
-Make it fair?
-(SCOFFS)
433
00:22:38,233 --> 00:22:41,195
So, we're on Zemo's apartment set,
434
00:22:41,278 --> 00:22:44,531
which we built specifically for Zemo,
435
00:22:44,615 --> 00:22:48,911
also to accommodate a big fight sequence
that we do in here when the Dora show up.
436
00:22:50,287 --> 00:22:51,288
(WALKER GRUNTING)
437
00:22:51,371 --> 00:22:53,790
BRAD MARTIN: We started off
training our actors here.
438
00:22:53,874 --> 00:22:56,835
They do as much as they can,
they learn as much as they can,
439
00:22:56,919 --> 00:22:59,087
and perform as much
as they're able to on camera,
440
00:22:59,171 --> 00:23:02,925
and that's what everybody wants to see,
our actors, our heroes doing the action.
441
00:23:03,008 --> 00:23:06,094
All right, so that's where you stab.
And then I'll count you in.
442
00:23:07,221 --> 00:23:09,223
And three, two, one, stab.
443
00:23:09,306 --> 00:23:12,976
It's an organic hand-to-hand combat,
but they got those spears, man.
444
00:23:13,060 --> 00:23:17,189
When you're choreographing the fight scene
with spears, you can't fake.
445
00:23:17,272 --> 00:23:20,359
A spear is a spear. You're gonna...
(LAUGHS) You know what I'm sayin'?
446
00:23:20,442 --> 00:23:22,653
MARTIN: Working with the Marvel actors
447
00:23:22,736 --> 00:23:25,489
that have done these characters
makes things way easier.
448
00:23:25,572 --> 00:23:28,408
They know the deal. They know
what their characters do in general.
449
00:23:28,492 --> 00:23:30,494
MACKIE: (GROANS) Oh, God.
450
00:23:30,577 --> 00:23:32,246
In terms of the ease and efficiency,
451
00:23:32,329 --> 00:23:34,540
working on a set than working on a stage
452
00:23:34,623 --> 00:23:37,626
is always easier, always faster,
always more controllable.
453
00:23:37,709 --> 00:23:39,837
-That's what you need to do.
-(INDISTINCT CHATTER)
454
00:23:39,920 --> 00:23:43,173
You need to control all the elements
when you're making big action.
455
00:23:46,051 --> 00:23:49,805
So we had three of the Dora,
we had all of our guys.
456
00:23:49,888 --> 00:23:52,599
The room was filled with our characters.
457
00:23:52,683 --> 00:23:54,852
And then everybody
is smashing everybody else.
458
00:23:54,935 --> 00:23:56,645
(CHUCKLES) So it was a lot of fun.
459
00:23:56,728 --> 00:23:59,356
(BOTH GRUNTING)
460
00:24:09,324 --> 00:24:11,201
Bast damn you, James.
461
00:24:12,619 --> 00:24:15,789
NAGELHOUT: It was, in my opinion,
a complete no-brainer
462
00:24:15,873 --> 00:24:16,999
to include the Wakandans.
463
00:24:17,082 --> 00:24:20,586
I mean, Florence Kasumba is just a force.
464
00:24:22,462 --> 00:24:28,385
Any time I get to play Ayo,
it's always like a Christmas present.
465
00:24:29,052 --> 00:24:33,682
Because it actually doesn't really matter
where I would have to work.
466
00:24:33,765 --> 00:24:35,309
I'm always excited.
467
00:24:35,392 --> 00:24:37,352
Most of the time,
when I get the phone call,
468
00:24:37,436 --> 00:24:38,854
I don't even know the story.
469
00:24:38,937 --> 00:24:40,898
I only know
that I will play the character,
470
00:24:40,981 --> 00:24:43,108
but I don't really know what's happening.
471
00:24:43,192 --> 00:24:46,862
And, like the audience, I'm excited
'cause I have no idea.
472
00:24:46,945 --> 00:24:49,239
I will have to read the books and train.
473
00:24:49,323 --> 00:24:52,701
I just got used to the fact that
when I get the phone call,
474
00:24:52,784 --> 00:24:54,578
I will always be ready to function,
475
00:24:54,661 --> 00:24:56,288
because I train the whole year,
476
00:24:56,371 --> 00:25:00,000
and am in contact with the other women,
for example, who played the Dora Milaje.
477
00:25:00,083 --> 00:25:04,254
And we exchange, and everybody
still continues doing other projects.
478
00:25:04,338 --> 00:25:08,967
But at the end of the day, the minute
you put on the armor and the costume,
479
00:25:09,051 --> 00:25:10,928
you become the character,
480
00:25:11,011 --> 00:25:12,429
and that just feels like home.
481
00:25:12,513 --> 00:25:14,806
I was wondering
when you were gonna show up.
482
00:25:16,141 --> 00:25:17,142
(SPEAKING WAKANDAN)
483
00:25:17,809 --> 00:25:20,687
NAGELHOUT: It was really important,
specifically to Kari
484
00:25:20,771 --> 00:25:23,857
and to the rest of us as well,
that the actors have an opportunity
485
00:25:23,941 --> 00:25:27,361
to feel the location
and to be there in real life.
486
00:25:27,444 --> 00:25:29,947
We had planned to go to Puerto Rico
for part of the shoot,
487
00:25:30,030 --> 00:25:33,784
to give the show a bit more scope
because we were based out of Atlanta.
488
00:25:33,867 --> 00:25:36,245
And, unfortunately,
Puerto Rico went through
489
00:25:36,328 --> 00:25:39,623
quite a sizeable earthquake
that really damaged their infrastructure.
490
00:25:39,706 --> 00:25:43,752
Our plan was still to go to Puerto Rico
even after the first earthquake
491
00:25:43,836 --> 00:25:47,172
because we had done a ton of research
as to the seismic activity in the area.
492
00:25:47,256 --> 00:25:50,843
We knew we could get our crews
in and out quickly if we had to.
493
00:25:50,926 --> 00:25:54,805
And, frankly, in talking with the experts,
even I was comfortable saying,
494
00:25:54,888 --> 00:25:57,140
"Yeah, I'll go. I'll go with the crew."
495
00:25:57,224 --> 00:26:01,311
Because, to me, if I'm willing to go,
that means something.
496
00:26:01,395 --> 00:26:03,939
If I'm not willing to go,
but I'm gonna send other people,
497
00:26:04,064 --> 00:26:05,774
that's not a choice we should be making.
498
00:26:06,733 --> 00:26:08,735
We had prepped the crew
to go to Puerto Rico
499
00:26:08,819 --> 00:26:10,487
in spite of the first earthquake,
500
00:26:10,571 --> 00:26:13,031
and on the eve of going,
they had a second earthquake.
501
00:26:13,115 --> 00:26:15,534
It came to the point where,
between all of us,
502
00:26:15,617 --> 00:26:18,120
we weren't comfortable
sending anybody down there
503
00:26:18,203 --> 00:26:21,456
and we wanted to bring our crew home
because we just didn't know.
504
00:26:21,540 --> 00:26:24,168
So, we brought everybody back.
505
00:26:24,251 --> 00:26:27,254
Right as we brought everybody back,
506
00:26:27,337 --> 00:26:29,673
we regrouped, said "Where can we go now?"
507
00:26:29,756 --> 00:26:31,216
We had planned Prague,
508
00:26:31,300 --> 00:26:33,177
moved it to the end of the schedule
509
00:26:33,260 --> 00:26:35,846
to replace the work
we were gonna do in Puerto Rico.
510
00:26:35,929 --> 00:26:37,973
NAGELHOUT: We actually made it to Prague.
511
00:26:38,056 --> 00:26:40,475
We pulled off
what seemed to be the impossible.
512
00:26:40,559 --> 00:26:41,935
We were having a great shoot,
513
00:26:42,019 --> 00:26:46,064
we were getting a lot of great locations
and performances.
514
00:26:46,148 --> 00:26:48,400
And about a week into our time in Prague,
515
00:26:48,483 --> 00:26:51,278
you know, the pandemic hit,
516
00:26:51,361 --> 00:26:53,322
or became very real,
517
00:26:53,405 --> 00:26:55,574
and caused us to shut down.
518
00:26:55,657 --> 00:27:00,954
And, frankly, the bigger fear at that time
was that we would be stuck.
519
00:27:01,038 --> 00:27:04,082
We called our line producer
at 2:00 in the morning for her, and said,
520
00:27:04,166 --> 00:27:07,252
"We're getting everybody on flights
out of Prague at 5:00 a.m.
521
00:27:07,336 --> 00:27:09,004
"You guys are leaving from 5:00 a.m.
522
00:27:09,087 --> 00:27:11,381
"We're gonna start calling
every crew member
523
00:27:11,465 --> 00:27:13,926
"to tell them to get their stuff together.
524
00:27:14,009 --> 00:27:16,803
"We're gonna get everybody on flights.
525
00:27:16,887 --> 00:27:19,681
"By 9:00 a.m.,
everybody's gonna be on these flights."
526
00:27:19,765 --> 00:27:23,602
We had about 100 people there from the US
and we started flying people back.
527
00:27:23,685 --> 00:27:28,106
Shutting down for COVID was a big part
of the struggle of the show.
528
00:27:28,190 --> 00:27:30,025
We're glad we did, it was the right thing.
529
00:27:30,108 --> 00:27:32,736
And it, weirdly,
gave us more time editorially
530
00:27:32,819 --> 00:27:34,738
to really think about
what the show could be.
531
00:27:34,821 --> 00:27:38,492
But it also was something
we'd never had to fight through before.
532
00:27:38,575 --> 00:27:41,286
And it's a credit to our crew
that they stuck with us,
533
00:27:41,370 --> 00:27:42,871
continued to make the show.
534
00:27:42,955 --> 00:27:44,206
They were so invested.
535
00:27:44,289 --> 00:27:45,832
Even when we came back
536
00:27:45,916 --> 00:27:48,919
and COVID, obviously,
was still and is still an issue,
537
00:27:49,002 --> 00:27:51,964
to figure out
how to mount the show safely,
538
00:27:52,047 --> 00:27:55,133
and to travel internationally safely
was a challenge.
539
00:27:55,217 --> 00:27:57,594
But it was a challenge worth doing
540
00:27:57,678 --> 00:28:00,973
because I know
that it makes the show feel bigger.
541
00:28:03,684 --> 00:28:06,979
SKOGLAND: I have to say,
it gave us a certain kind of energy,
542
00:28:07,062 --> 00:28:09,940
which was bonding.
543
00:28:10,023 --> 00:28:13,819
You know, it's a big crew
with lots of personalities.
544
00:28:13,902 --> 00:28:19,616
And so, when we're all up against
such extraordinary circumstances,
545
00:28:19,700 --> 00:28:23,912
it creates a brother and sisterhood
that is, I think, a bit extraordinary.
546
00:28:23,996 --> 00:28:26,582
-(BOTH CHEERING)
-(ALL APPLAUDING)
547
00:28:26,665 --> 00:28:28,959
Over the next, obviously, eight months,
548
00:28:29,042 --> 00:28:33,088
all we were doing with Disney is trying
to come together with a task force
549
00:28:33,172 --> 00:28:36,300
as to how we could restart things,
and when we'll be able to start.
550
00:28:36,383 --> 00:28:38,177
We knew we had to go
back to Prague. Right?
551
00:28:38,260 --> 00:28:39,970
(LAUGHS) We hadn't finished in Prague.
552
00:28:40,053 --> 00:28:43,307
We had to figure out
how to make the Prague government,
553
00:28:43,390 --> 00:28:46,852
the Czech government comfortable
with an American crew coming into Prague.
554
00:28:46,935 --> 00:28:49,563
Because, frankly, Prague didn't have
the same incidents of COVID
555
00:28:49,646 --> 00:28:51,356
that we did at the time.
556
00:28:51,440 --> 00:28:52,941
Our scouting had to be virtual.
557
00:28:53,025 --> 00:28:55,861
We couldn't have people
flying back and forth.
558
00:28:55,944 --> 00:28:57,738
But our team rallied around
559
00:28:57,821 --> 00:28:59,865
and figured out
how to mount this production.
560
00:28:59,948 --> 00:29:03,243
You know, I will say,
a credit to the writers as well,
561
00:29:03,327 --> 00:29:06,079
because as you're writing,
you're writing to a specific location,
562
00:29:06,163 --> 00:29:08,040
which is gonna dictate a specific story
563
00:29:08,123 --> 00:29:10,209
to get you into Puerto Rico
and then into Prague,
564
00:29:10,292 --> 00:29:12,461
and you have to be nimble as storytellers.
565
00:29:12,544 --> 00:29:15,172
And in Kari Skogland's case,
as a filmmaker,
566
00:29:15,255 --> 00:29:17,424
to visually get your head
into this new place,
567
00:29:17,508 --> 00:29:21,011
and to figure out how to make it work
with the stuff that we shot in Atlanta
568
00:29:21,094 --> 00:29:24,765
that, frankly, was meant to match with
what we were gonna do in Puerto Rico.
569
00:29:24,848 --> 00:29:26,642
There was a lot of thinking that went into
570
00:29:26,725 --> 00:29:29,144
how to adjust our entire production plan
571
00:29:29,228 --> 00:29:31,188
to fit the realities of the world,
572
00:29:31,271 --> 00:29:33,315
but a credit to the crew
for figuring it out.
573
00:29:34,525 --> 00:29:37,903
Do we want to live in a world
full of people like the Red Skull?
574
00:29:40,072 --> 00:29:41,949
That is why we're going to Madripoor.
575
00:29:42,032 --> 00:29:45,827
What's up with Madripoor?
You talk about it like it's Skull Island.
576
00:29:52,501 --> 00:29:54,962
BRÜHL: We are in Madripoor.
577
00:29:55,045 --> 00:29:58,257
Dangerous, dodgy, lawless place
578
00:29:58,340 --> 00:30:01,385
where Zemo has arranged a meeting
with Selby,
579
00:30:01,468 --> 00:30:03,428
who's gonna give us, hopefully,
580
00:30:03,512 --> 00:30:06,056
precious information
about the super-soldier serum.
581
00:30:06,139 --> 00:30:08,559
-Now that's the Zemo I remember.
-Hmm.
582
00:30:08,642 --> 00:30:11,687
I'm glad I decided
not to kill you immediately.
583
00:30:11,812 --> 00:30:14,231
We have to come here and it's not...
584
00:30:14,314 --> 00:30:17,276
We didn't get a warm welcome.
Let's put it that way.
585
00:30:17,359 --> 00:30:18,944
-And it's impressive to see...
-(THUDS)
586
00:30:19,027 --> 00:30:20,320
(INDISTINCT CHATTER)
587
00:30:20,404 --> 00:30:22,614
You see? That's what happens in Madripoor.
588
00:30:22,698 --> 00:30:23,907
High Town's that way.
589
00:30:23,991 --> 00:30:27,494
Not a bad place if you wanna visit,
but Low Town's the other way.
590
00:30:29,621 --> 00:30:32,749
Let me guess.
We don't have any friends in High Town.
591
00:30:36,003 --> 00:30:39,423
SKOGLAND: Ray Chan,
our production designer, is extraordinary,
592
00:30:39,506 --> 00:30:42,759
and we looked for months,
I have to tell you.
593
00:30:42,843 --> 00:30:48,682
And one day, we're standing
in a back alley of a series of crossroads,
594
00:30:48,765 --> 00:30:51,518
and we looked at each other and I said,
"Do you think?"
595
00:30:51,602 --> 00:30:53,187
And he said, "I think I could."
596
00:30:53,270 --> 00:30:55,898
And I... "Okay. Oh, my goodness."
597
00:30:55,981 --> 00:30:58,275
We started looking around
and mapping it out.
598
00:30:58,358 --> 00:31:00,277
And he came up with Madripoor
599
00:31:00,360 --> 00:31:04,072
in a series of back alleys
in a small town outside of Atlanta.
600
00:31:05,157 --> 00:31:07,117
RAYMOND CHAN:
We want to feel the back street,
601
00:31:07,201 --> 00:31:08,660
it needs to be more gritty.
602
00:31:08,744 --> 00:31:12,331
Needs to feel more lawless.
It's a lawless society.
603
00:31:12,414 --> 00:31:15,876
Soon as we walked into this street,
it clearly was empty,
604
00:31:15,959 --> 00:31:18,545
it was just a two, three,
half a dozen buildings,
605
00:31:18,629 --> 00:31:20,297
of just red brick buildings,
606
00:31:20,380 --> 00:31:21,673
I thought, "This was tight.
607
00:31:21,757 --> 00:31:24,176
"It felt claustrophobic.
What can I do with it?"
608
00:31:26,970 --> 00:31:28,388
Several months of research,
609
00:31:28,472 --> 00:31:32,184
and we found this back street in Hanoi,
in Vietnam,
610
00:31:32,267 --> 00:31:36,271
where the homeowners
would step out of their back doors,
611
00:31:36,355 --> 00:31:37,648
and there was this rail track
612
00:31:37,731 --> 00:31:40,442
running literally two feet away
from their back door.
613
00:31:40,526 --> 00:31:44,112
I thought that would be an interesting
concept to bring to this street.
614
00:31:44,196 --> 00:31:48,242
And having traveled the world,
I thought this is quite iconic,
615
00:31:48,325 --> 00:31:50,577
a bridge that I used to cross
in Mozambique,
616
00:31:50,702 --> 00:31:52,204
this heavy industry bridge.
617
00:31:52,287 --> 00:31:56,208
So I married part of Mozambique
and a bit of Vietnam.
618
00:31:56,291 --> 00:31:57,751
ZEMO: Here we are.
619
00:31:58,377 --> 00:31:59,670
(SPEAKING RUSSIAN)
620
00:32:02,881 --> 00:32:05,259
CHAN: (IN ENGLISH)
This is called the Brass Monkey Bar.
621
00:32:05,342 --> 00:32:08,846
It's an open bar.
You can see the stars through the ceiling.
622
00:32:08,929 --> 00:32:11,557
We thought we would look at it
with the fixtures
623
00:32:11,640 --> 00:32:13,100
being able to give enough light,
624
00:32:13,183 --> 00:32:15,102
and, you know, not to light the set,
625
00:32:15,185 --> 00:32:17,312
but to have a cool ceiling,
a geometric ceiling.
626
00:32:17,396 --> 00:32:22,150
Here, to your left,
are these crazy monkey skulls.
627
00:32:22,234 --> 00:32:23,610
My art director, Jennifer,
628
00:32:23,694 --> 00:32:27,823
she scoured the Internet,
and we purchased three skulls,
629
00:32:27,906 --> 00:32:28,907
I think from memory,
630
00:32:28,991 --> 00:32:31,660
and we sent them to our staff shop,
which they cast,
631
00:32:31,743 --> 00:32:34,246
I think, about 115 or 120 skulls.
632
00:32:34,329 --> 00:32:37,791
And yeah, so that's a homage
to The Brass Monkey.
633
00:32:41,170 --> 00:32:43,672
BARTENDER: Wasn't expecting you,
Smiling Tiger.
634
00:32:43,755 --> 00:32:44,923
His plans changed.
635
00:32:45,007 --> 00:32:48,552
CROW: Anthony's character, Sam,
is very straight-laced.
636
00:32:48,635 --> 00:32:52,222
We play him as very, sort of,
conservative dressed.
637
00:32:52,306 --> 00:32:54,766
His clothes are, sort of,
every day, every man.
638
00:32:54,850 --> 00:32:58,687
I mean, we did do some crazy stuff
with him on this show,
639
00:32:58,770 --> 00:33:00,022
the wild African suit,
640
00:33:00,105 --> 00:33:02,649
and he was totally game to go for it.
641
00:33:02,733 --> 00:33:04,026
MAN: Cut.
MACKIE: Whoo!
642
00:33:04,109 --> 00:33:06,111
I'm on. Let's roll again. I'm on!
643
00:33:08,739 --> 00:33:11,909
Sebastian is great to work with
'cause he gets into the character,
644
00:33:11,992 --> 00:33:15,078
and wants to know
why are we picking these things.
645
00:33:15,162 --> 00:33:19,041
And because he's
sort of newly in the modern world,
646
00:33:19,124 --> 00:33:25,422
I tried to make it feel
as classic and vintage as we could.
647
00:33:28,509 --> 00:33:31,053
Image-wise, it makes it very interesting
648
00:33:31,136 --> 00:33:34,765
to see these three guys dressing up
in a very different way.
649
00:33:34,848 --> 00:33:37,309
We have to do something about this.
I look like a pimp.
650
00:33:37,392 --> 00:33:41,355
BRÜHL: It was fun to have these couple
of scenes with the full outfit, you know,
651
00:33:41,438 --> 00:33:42,940
with that incredible coat.
652
00:33:43,023 --> 00:33:44,525
We had a lot of fun developing it.
653
00:33:44,608 --> 00:33:50,197
You know, it's kind of based
on a World War II Russian military,
654
00:33:50,280 --> 00:33:52,157
Polish military overcoat,
655
00:33:52,241 --> 00:33:57,955
and then we tried to make it a little
comic book-inspired on top of that.
656
00:33:58,038 --> 00:34:00,707
Yesterday, I had a day off,
and I went to a comic shop
657
00:34:00,791 --> 00:34:04,253
to see if I could find
some covers of Zemo.
658
00:34:04,336 --> 00:34:06,922
So I got myself
a couple of comic books with Zemo.
659
00:34:07,005 --> 00:34:10,759
And it's just great
to finally look like him in the comics.
660
00:34:11,593 --> 00:34:14,221
Hello, guys. Do you like my style?
661
00:34:14,888 --> 00:34:18,308
You can have it as well. Suitkovia.
662
00:34:18,392 --> 00:34:23,230
We offer elegant clothes,
but also casual clothes.
663
00:34:23,313 --> 00:34:28,360
Pajamas, sweaters, T-shirt,
socks, sneakers, everything.
664
00:34:28,443 --> 00:34:29,570
(SPEAKS RUSSIAN)
665
00:34:29,653 --> 00:34:35,158
(IN ENGLISH) Come and visit us in Sokovia.
Check out Suitkovia.
666
00:34:39,621 --> 00:34:40,622
MAN: Cut.
667
00:34:40,706 --> 00:34:42,833
(ALL LAUGHING)
668
00:34:45,419 --> 00:34:49,089
We created this marvelous space
for our characters to be off-grid.
669
00:34:49,173 --> 00:34:50,757
WOMAN: Well, this is too perfect.
670
00:34:53,844 --> 00:34:55,053
Drop it, Zemo.
671
00:34:56,138 --> 00:34:57,139
Sharon?
672
00:34:57,222 --> 00:35:00,267
SKOGLAND: After a series of mishaps
with the S.H.I.E.L.D. and such,
673
00:35:00,350 --> 00:35:04,146
she has had to go to a place
where you can live with impunity.
674
00:35:04,229 --> 00:35:08,066
I also took the wings for your ass
so that you can save his ass from his ass.
675
00:35:08,650 --> 00:35:11,320
Unlike you, I didn't have the Avengers
to back me up.
676
00:35:11,403 --> 00:35:13,071
So I'm off the grid in Madripoor.
677
00:35:13,155 --> 00:35:15,616
Bringing back Sharon Carter
was something that we explored
678
00:35:15,699 --> 00:35:17,075
even in Avengers three and four.
679
00:35:17,159 --> 00:35:19,870
And the truth was there were so many
characters in those films,
680
00:35:19,953 --> 00:35:22,206
you couldn't really
do her character justice,
681
00:35:22,289 --> 00:35:24,249
nor where we had left her in Civil War.
682
00:35:24,333 --> 00:35:28,253
And interestingly enough, divorcing her
from her relationship with Steve Rogers
683
00:35:28,337 --> 00:35:31,131
actually allowed us to explore
a different side of the character.
684
00:35:31,215 --> 00:35:35,010
Because now, she doesn't have to be
the white hat who is only good.
685
00:35:35,093 --> 00:35:37,971
Now, we can explore what happened to her
as a result of Civil War,
686
00:35:38,055 --> 00:35:40,140
and some of the more morally gray choices
687
00:35:40,224 --> 00:35:42,100
she's had to make
to survive in the universe.
688
00:35:42,184 --> 00:35:44,394
SHARON: At some point,
I thought if I had to hustle,
689
00:35:44,478 --> 00:35:46,438
might as well
enjoy the life of a real hustler.
690
00:35:46,522 --> 00:35:48,357
You know how much I can get
for a real Monet?
691
00:35:49,858 --> 00:35:52,402
Just a little bit tougher,
a little raw, you know,
692
00:35:52,486 --> 00:35:53,904
rough around the edges.
693
00:35:53,987 --> 00:35:57,366
A totally different version of Sharon
than we've seen in the films.
694
00:35:59,826 --> 00:36:02,037
VANCAMP: There's so much about this
that I've loved.
695
00:36:02,120 --> 00:36:06,959
I got to do, physically,
a lot of stuff in this one that...
696
00:36:07,042 --> 00:36:09,336
It's always nice
to get back into your body and...
697
00:36:09,419 --> 00:36:12,381
I used to be a dancer,
so doing fight training was a lot of fun.
698
00:36:12,464 --> 00:36:14,883
There you go. Feel that angle?
Good. You got it.
699
00:36:14,967 --> 00:36:16,426
WOMAN: There you go.
MAN: Good. There you go.
700
00:36:16,510 --> 00:36:19,847
One thing we thought was interesting
was positioning Sharon Carter
701
00:36:19,930 --> 00:36:22,599
as somebody who you think
is naturally altruistic,
702
00:36:22,683 --> 00:36:24,852
but building the mythology
of this Power Broker
703
00:36:24,935 --> 00:36:26,478
who also plays in Madripoor,
704
00:36:26,562 --> 00:36:28,480
a new corner
of the Marvel Cinematic Universe.
705
00:36:28,564 --> 00:36:30,566
The mystery of who the Power Broker is,
706
00:36:30,649 --> 00:36:33,068
we hope is satisfyingly revealed
in episode six.
707
00:36:33,151 --> 00:36:34,361
Drop your weapon, Karli.
708
00:36:35,571 --> 00:36:36,989
SPELLMAN: I thought for sure
709
00:36:37,072 --> 00:36:39,408
the Power Broker storyline
was not gonna work.
710
00:36:39,491 --> 00:36:41,618
Sometimes, we would be too heavy-handed.
711
00:36:41,702 --> 00:36:43,579
You're like, "Nah, we see it coming."
712
00:36:43,662 --> 00:36:45,414
And sometimes, it would be too thin.
713
00:36:45,497 --> 00:36:48,792
And then, the more we start to work on it,
714
00:36:48,876 --> 00:36:50,252
you're like, "Oh, this is great."
715
00:36:50,335 --> 00:36:52,504
Come back and work for me again.
All of you.
716
00:36:52,588 --> 00:36:54,298
We can make a difference together.
717
00:36:54,840 --> 00:36:57,426
You just want me
because you need your muscle back.
718
00:36:57,509 --> 00:37:01,305
Without us Super Soldiers, how much power
does the Power Broker really have?
719
00:37:03,015 --> 00:37:04,224
More than you.
720
00:37:04,308 --> 00:37:08,520
MOORE: We knew we needed an antagonist
to challenge the notion of symbols
721
00:37:08,604 --> 00:37:10,314
and ideology in the show.
722
00:37:10,397 --> 00:37:12,900
And the Flag Smasher from the comics,
Karl Morgenthau,
723
00:37:12,983 --> 00:37:16,069
is much different,
visually and in conceit,
724
00:37:16,153 --> 00:37:18,155
than Karli Morgenthau is in the MCU.
725
00:37:18,238 --> 00:37:20,365
But the root of that character
is the same.
726
00:37:21,992 --> 00:37:24,036
You're becoming a bit of a legend.
727
00:37:24,119 --> 00:37:27,039
I hear more and more people
talk about the freedom fighters
728
00:37:27,122 --> 00:37:28,207
who are pushing back.
729
00:37:28,290 --> 00:37:32,044
Nothing in this show works
without Erin Kellyman.
730
00:37:33,045 --> 00:37:37,007
SKOGLAND: What we were looking for was
kind of that innocent face that she has.
731
00:37:37,591 --> 00:37:40,594
I wanted her to be unexpected.
732
00:37:40,677 --> 00:37:41,970
You okay?
733
00:37:45,140 --> 00:37:49,102
It had to be someone who,
besides being instantly likable,
734
00:37:49,186 --> 00:37:53,148
was someone who, in her eyes,
has the resolve
735
00:37:53,232 --> 00:37:57,819
and the toughness of having had,
perhaps, a background
736
00:37:57,903 --> 00:38:00,280
that is written in her face.
737
00:38:01,114 --> 00:38:03,075
It doesn't have to be a war, Karli.
738
00:38:03,158 --> 00:38:06,870
They started a war when they kicked us out
of our new homes and onto the street.
739
00:38:06,954 --> 00:38:09,331
People all around the world need me.
Millions of them.
740
00:38:09,414 --> 00:38:11,750
I can't speak for millions,
but I understand you.
741
00:38:14,628 --> 00:38:18,257
Can't have a hero and a villain
in the room together,
742
00:38:18,340 --> 00:38:21,176
having a conversation, and be honest
743
00:38:21,260 --> 00:38:23,971
unless it is earned at every level.
744
00:38:24,054 --> 00:38:26,473
And the first level is the actor.
745
00:38:26,557 --> 00:38:29,393
I'm trying to figure out
if I need to kill your brother.
746
00:38:31,436 --> 00:38:32,604
I thought I could trust him.
747
00:38:32,688 --> 00:38:36,733
I'd had, like,
a few FaceTimes with Kari and Zoie.
748
00:38:37,192 --> 00:38:39,486
But obviously,
you can't put anything on that.
749
00:38:39,570 --> 00:38:41,572
So when I got told
that I got it, I was like,
750
00:38:41,655 --> 00:38:44,366
(CHUCKLES) "This is gonna be wild."
751
00:38:44,449 --> 00:38:46,994
Like, I think
it didn't sink in straightaway.
752
00:38:47,077 --> 00:38:49,121
I don't even feel like
it's fully sunk in now.
753
00:38:49,204 --> 00:38:50,205
(INDISTINCT CHATTER)
754
00:38:50,289 --> 00:38:51,790
Oh, it's very dramatic. (CHUCKLES)
755
00:38:51,874 --> 00:38:54,126
KELLYMAN: I knew
that it was a comic character,
756
00:38:54,209 --> 00:38:56,003
so I'd done like a bunch of research.
757
00:38:56,086 --> 00:38:58,213
When I realized it was a guy,
I was like, okay,
758
00:38:58,297 --> 00:39:01,425
this is pretty sick that, first of all,
they've turned him into a girl.
759
00:39:01,508 --> 00:39:02,885
The movement is ready.
760
00:39:04,887 --> 00:39:06,346
They're not going to stop.
761
00:39:07,055 --> 00:39:08,265
Not unless we make them.
762
00:39:08,348 --> 00:39:10,893
KELLYMAN: In the comics,
in the research that I did,
763
00:39:10,976 --> 00:39:14,980
it was kind of
more pressing towards a villain.
764
00:39:15,063 --> 00:39:19,318
And now that I've kind of got the scripts
and understand her a little more,
765
00:39:19,401 --> 00:39:22,029
I know that it's all out of a good place.
You know?
766
00:39:22,112 --> 00:39:24,156
Do you remember how scared we were
when we took the serum?
767
00:39:24,239 --> 00:39:26,158
DOVICH: (SNIFFLES)
Yeah, don't think I'll forget that.
768
00:39:26,241 --> 00:39:28,202
(BLOWS) Felt like my veins were on fire.
769
00:39:30,245 --> 00:39:31,830
I prayed it'd kill me.
770
00:39:34,374 --> 00:39:35,375
But it was worth it.
771
00:39:36,710 --> 00:39:40,339
SPELLMAN: In constructing the character,
we were like, "Let's make her a kid."
772
00:39:40,422 --> 00:39:45,969
And, "Let's make her tap into the spirit
of how people feel today."
773
00:39:46,053 --> 00:39:48,847
And even though
the pandemic hadn't hit yet,
774
00:39:48,931 --> 00:39:53,727
that all just exacerbated
a feeling folks were having.
775
00:39:53,810 --> 00:39:56,772
And if you're Black,
you've been having it your whole life,
776
00:39:56,855 --> 00:39:59,107
which is, the game is rigged,
777
00:39:59,566 --> 00:40:03,612
the people who are at the top
are becoming irresponsible.
778
00:40:03,695 --> 00:40:05,656
We accept that the game is rigged,
779
00:40:05,739 --> 00:40:09,993
but now, they're getting irresponsible
in how much they're taking from us,
780
00:40:10,077 --> 00:40:12,412
and people just have to push back.
781
00:40:12,496 --> 00:40:15,541
And we wrote Karli as a hero.
782
00:40:15,624 --> 00:40:17,876
She is a hero that goes bad.
783
00:40:17,960 --> 00:40:19,211
I don't wanna hurt you.
784
00:40:20,003 --> 00:40:22,589
You're just a tool in the regimes
I'm looking to destroy.
785
00:40:23,382 --> 00:40:24,800
You're not hiding behind a shield.
786
00:40:24,883 --> 00:40:26,385
MOORE: The legacy of Steve Rogers is
787
00:40:26,468 --> 00:40:29,346
people have always tried
to recreate that serum
788
00:40:29,429 --> 00:40:30,806
and it has never gone well.
789
00:40:30,889 --> 00:40:34,268
You can ask Bruce Banner,
who, to some degree, became the Hulk
790
00:40:34,351 --> 00:40:35,936
because General Thaddeus Ross
791
00:40:36,019 --> 00:40:38,355
wanted to develop
his own super-soldier serum.
792
00:40:38,438 --> 00:40:41,108
Steve has always been
the pinnacle of what should be.
793
00:40:41,191 --> 00:40:45,112
We thought it was interesting, again,
in dealing with the legacy of the shield
794
00:40:45,195 --> 00:40:47,406
to see what happens
if somebody successfully
795
00:40:47,489 --> 00:40:50,325
did figure out how to break
the super-soldier serum code,
796
00:40:50,409 --> 00:40:52,911
and who those Super Soldiers then become.
797
00:40:52,995 --> 00:40:54,830
It doesn't even matter if we die.
798
00:40:54,913 --> 00:40:57,541
The movement is strong enough
to continue without us.
799
00:40:57,624 --> 00:41:00,752
MOORE: And I think that's what makes
the Flag Smashers so interesting.
800
00:41:00,836 --> 00:41:04,882
Is you get to explore the different side
of what happens when people
801
00:41:04,965 --> 00:41:07,926
who, frankly, sometimes
are downtrodden or overlooked
802
00:41:08,010 --> 00:41:10,387
are given power
that they don't typically have.
803
00:41:11,346 --> 00:41:13,557
-KARLI: You shouldn't have come here.
-(GRUNTS)
804
00:41:14,433 --> 00:41:15,809
We're in episode 102.
805
00:41:15,893 --> 00:41:19,438
And this is the first time
that Sam and Bucky
806
00:41:19,521 --> 00:41:22,900
have fought beside each other,
and they're not doing terribly well.
807
00:41:22,983 --> 00:41:24,860
Good of you to join the fight, Sam!
808
00:41:24,943 --> 00:41:26,028
(GRUNTS)
809
00:41:26,111 --> 00:41:27,696
-Punch, kick, punch, punch!
-(ALL LAUGHING)
810
00:41:27,779 --> 00:41:31,074
And John Walker arrives
kind of out of the blue.
811
00:41:31,158 --> 00:41:33,118
John Walker, Captain America.
812
00:41:33,202 --> 00:41:36,079
-Lemar Hoskins.
-Looks like you guys could use some help.
813
00:41:36,163 --> 00:41:38,457
SKOGLAND: First time
they see him in action.
814
00:41:38,540 --> 00:41:44,004
And so it's his first action beat
as well as Captain America with Lemar.
815
00:41:44,087 --> 00:41:46,715
And the whole thing is a complete cluster.
816
00:41:50,135 --> 00:41:53,555
Then on top of it,
they're facing Super Soldiers
817
00:41:53,639 --> 00:41:57,017
and they are completely overwhelmed
with what that is.
818
00:41:57,100 --> 00:41:58,435
STAN: No!
819
00:41:59,978 --> 00:42:02,481
SKOGLAND: We started
dreaming up this sequence,
820
00:42:02,564 --> 00:42:06,235
I would say, about eight months ago.
821
00:42:06,818 --> 00:42:09,530
And we had little toy cars
and little toy trucks,
822
00:42:09,613 --> 00:42:11,782
and, we went through, I don't know,
823
00:42:11,865 --> 00:42:17,746
probably 12 or 15 different versions
of this sequence,
824
00:42:17,829 --> 00:42:21,959
because it was so difficult to achieve
on the one hand
825
00:42:22,042 --> 00:42:24,795
to imagine on the other,
with this many people
826
00:42:24,878 --> 00:42:28,048
dealing with all the various elements
that one has to deal with.
827
00:42:28,715 --> 00:42:30,592
The truck sequence was always challenging.
828
00:42:30,676 --> 00:42:33,011
Mostly because
they all need to stay on the trucks.
829
00:42:33,095 --> 00:42:34,763
No one can fall off the truck.
830
00:42:34,847 --> 00:42:36,598
No one can get back on the truck.
831
00:42:36,682 --> 00:42:38,892
Falcon can fly around a bit,
but for the most part,
832
00:42:39,017 --> 00:42:41,436
just the design of it,
it was a very challenging design.
833
00:42:41,520 --> 00:42:44,606
We had fake trucks
that were four feet off the ground
834
00:42:44,690 --> 00:42:46,859
and they could be moved around
on air a bit,
835
00:42:46,942 --> 00:42:48,569
we had people fighting on those.
836
00:42:48,652 --> 00:42:49,820
Then we got real trucks
837
00:42:49,903 --> 00:42:53,782
and we had a couple of shots with people
fighting on real trucks, but not many.
838
00:42:53,866 --> 00:42:55,200
We're shooting in Atlanta.
839
00:42:55,284 --> 00:42:57,786
We shot plates
of a road that we thought
840
00:42:57,870 --> 00:43:00,539
might be able to double
for some part of Germany.
841
00:43:00,622 --> 00:43:03,625
Then it became clear that,
Atlanta does not look like Germany.
842
00:43:03,709 --> 00:43:05,919
So, what was a bunch of guys
on a blue screen
843
00:43:06,003 --> 00:43:07,754
that we're gonna replace the background,
844
00:43:07,838 --> 00:43:09,965
now becomes
a complete digital environment.
845
00:43:10,048 --> 00:43:13,760
So, digital mountains in the background,
all sorts of German trees.
846
00:43:13,844 --> 00:43:15,554
Everything needed to be touched.
847
00:43:16,722 --> 00:43:21,018
Bucky is hanging onto the side of a truck
with spinning wheels right by his head
848
00:43:21,101 --> 00:43:24,062
that are completely digital.
The road is completely digital.
849
00:43:24,563 --> 00:43:28,942
There's a shot where Walker falls off
the back of the truck in Atlanta
850
00:43:29,026 --> 00:43:31,528
and then we cut to him
getting up in Prague.
851
00:43:31,612 --> 00:43:35,115
We need to make both of those things match
and both look like Germany.
852
00:43:35,657 --> 00:43:38,660
Adding digital cars and digital trees,
make everything match,
853
00:43:38,744 --> 00:43:39,912
it was kind of amazing.
854
00:43:41,371 --> 00:43:43,207
(BOTH GRUNTING)
855
00:43:44,458 --> 00:43:46,585
-(GROANS)
-Could have used that shield.
856
00:43:48,378 --> 00:43:50,797
SKOGLAND: When starting any series,
you wanna kick off
857
00:43:50,881 --> 00:43:55,260
with as much promise of what the series
is going to be as possible.
858
00:43:56,136 --> 00:43:58,931
WATERSON: We had to say,
"What don't we know that Falcon can do?
859
00:43:59,014 --> 00:44:02,476
"What are some cool other things
that the Falcon we know he can do
860
00:44:02,559 --> 00:44:04,228
"that we haven't seen before?"
861
00:44:06,730 --> 00:44:10,192
NAGELHOUT: Part of the mandate is,
all right, well, if we're gonna do Falcon
862
00:44:10,275 --> 00:44:13,946
as a titular character finally,
he's gotta have the best Falcon action.
863
00:44:15,322 --> 00:44:19,076
SKOGLAND: I think the opening action
sequence, kind of, took us down that path
864
00:44:19,159 --> 00:44:21,828
in the sense of a, just a, "Holy cow."
865
00:44:22,371 --> 00:44:24,957
If we get to the border,
he's not gonna follow.
866
00:44:25,040 --> 00:44:26,542
-(CLICKING)
-What's up?
867
00:44:28,418 --> 00:44:32,422
We spent a long time on this sequence.
This sequence was always part of the show.
868
00:44:32,506 --> 00:44:34,132
It moved around parts of the show
869
00:44:34,216 --> 00:44:36,218
and it was supposed to be
this amazing thing.
870
00:44:37,594 --> 00:44:39,805
Like any sequence we start with pre-vis
871
00:44:39,888 --> 00:44:43,225
and we work through the blocking
based on storyboards that have been done.
872
00:44:43,308 --> 00:44:46,979
And then we looked at the pre-vis,
like, "Okay, how are we gonna do this?"
873
00:44:47,604 --> 00:44:50,065
NAGELHOUT: One of the things
that we did was actually,
874
00:44:50,148 --> 00:44:52,276
we shot a group of skydivers.
875
00:44:52,359 --> 00:44:54,778
And so, we had
all this great reference material.
876
00:44:58,240 --> 00:45:01,118
LEVEN: We have, literally,
the world's best wingsuit fliers
877
00:45:01,201 --> 00:45:03,453
who are ready to do this stuff for us
878
00:45:03,537 --> 00:45:06,206
and get these shots
that no one has ever seen before.
879
00:45:06,290 --> 00:45:08,166
Everyone was really excited about it.
880
00:45:08,250 --> 00:45:11,044
We spent several days pushing people
out of planes
881
00:45:11,128 --> 00:45:15,007
and getting all those suits...
(CHUCKLES) Those wingsuits are all real.
882
00:45:15,090 --> 00:45:17,843
And we were inspired by a team
that does that, you know,
883
00:45:17,926 --> 00:45:19,094
flies through canyons.
884
00:45:22,014 --> 00:45:25,350
MOORE: They all had Blackmagic cameras
that we were able to mount on them,
885
00:45:25,434 --> 00:45:27,144
and then had head-mounted cameras.
886
00:45:27,227 --> 00:45:29,813
There are a few shots
from that skydiving shoot
887
00:45:29,897 --> 00:45:31,523
that made it into the sequence.
888
00:45:31,607 --> 00:45:34,109
So, you get those pops of real
that, I think,
889
00:45:34,193 --> 00:45:37,237
help with the suspension of disbelief
for the audience.
890
00:45:38,530 --> 00:45:40,365
And, you know, we had Mackie on wires.
891
00:45:40,449 --> 00:45:42,117
I could do a Will Smith one.
892
00:45:42,201 --> 00:45:45,329
-I can go for what, "Sweet Jesus!"
-(ALL LAUGHING)
893
00:45:45,412 --> 00:45:48,665
NAGELHOUT: We had real Mackie, you know,
folded in wherever we could.
894
00:45:55,047 --> 00:45:58,175
Most of the helicopters were CG.
We did have a buck,
895
00:45:58,258 --> 00:46:00,552
like a helicopter buck,
for the interior work,
896
00:46:00,636 --> 00:46:03,305
'cause obviously, the actors
have to interact with something
897
00:46:03,388 --> 00:46:04,890
but we even replaced the buck
898
00:46:04,973 --> 00:46:07,392
because it was a very specific
kind of helicopter
899
00:46:07,476 --> 00:46:09,937
that we wanted to see in the sequence
that would fit
900
00:46:10,020 --> 00:46:12,481
the storytelling of the villains
in that sequence.
901
00:46:14,525 --> 00:46:17,236
And that's a huge testament
to our visual effects team,
902
00:46:17,319 --> 00:46:21,240
to Victoria, to Eric Levin.
It's a pretty amazing thing.
903
00:46:21,323 --> 00:46:23,158
For me the most impressive thing about it
904
00:46:23,242 --> 00:46:26,578
was being able to mix
all the different techniques that we have.
905
00:46:26,662 --> 00:46:30,374
You know, it's one thing to have
a fully animated CG landscape
906
00:46:30,457 --> 00:46:32,209
and make it look
as photo-real as possible.
907
00:46:32,292 --> 00:46:34,962
But making sure that we do have close-ups
of Anthony Mackie,
908
00:46:35,045 --> 00:46:37,923
a couple shots of him flying on wires
and the stunt guys.
909
00:46:38,006 --> 00:46:40,300
And the aerial guys
jumping out of airplanes.
910
00:46:41,093 --> 00:46:43,512
Having enough sort of realistic stuff
911
00:46:43,595 --> 00:46:46,390
so when you put it together,
you're not sure how we did anything.
912
00:46:46,473 --> 00:46:48,141
We gotta find another way!
913
00:46:48,225 --> 00:46:49,476
I just did.
914
00:46:54,940 --> 00:46:56,275
(GRUNTS)
915
00:46:59,778 --> 00:47:01,405
MOORE: The idea is to make it seamless.
916
00:47:01,488 --> 00:47:06,034
The idea is that it is a shared universe
that you can never know what to expect.
917
00:47:06,118 --> 00:47:08,495
So, characters may come in
and out of shows,
918
00:47:08,579 --> 00:47:11,915
may come in and out of films
in a way that hopefully feels organic.
919
00:47:11,999 --> 00:47:14,459
DON CHEADLE: We're shooting
a scene in the museum,
920
00:47:14,543 --> 00:47:17,045
where, Falcon, Anthony's character, Sam,
921
00:47:17,421 --> 00:47:20,716
is deciding whether or not
he's going to...
922
00:47:20,799 --> 00:47:25,053
Well, I guess he's decided
that he's going to actually give
923
00:47:25,137 --> 00:47:28,891
the shield to the museum to hold
924
00:47:28,974 --> 00:47:33,395
as opposed to him taking it on
and becoming Captain America himself.
925
00:47:33,478 --> 00:47:38,358
I think Rhodey both understands
why Sam doesn't wanna take it on.
926
00:47:38,442 --> 00:47:41,445
He's been in a similar position
with Iron Patriot,
927
00:47:41,528 --> 00:47:43,822
with a decision about Iron Man.
928
00:47:44,281 --> 00:47:46,533
But I think he also wishes that he would,
929
00:47:46,617 --> 00:47:48,869
because he thinks
it's very needed right now.
930
00:47:48,952 --> 00:47:50,245
The world's broken.
931
00:47:51,371 --> 00:47:53,749
Everybody's just looking for somebody
to fix it.
932
00:47:53,832 --> 00:47:59,171
Don Cheadle and I discussed the role
a few times before he got here.
933
00:47:59,254 --> 00:48:03,550
And he really wanted to bring
something to the character,
934
00:48:03,634 --> 00:48:08,347
and we talked a lot about,
then, also, the one guy
935
00:48:08,430 --> 00:48:11,266
who could really understand the complexity
936
00:48:11,350 --> 00:48:14,019
of what it is for a Black man
to carry the shield.
937
00:48:14,561 --> 00:48:19,775
He is the one guy
who Sam could connect with on that level,
938
00:48:20,234 --> 00:48:25,864
and, so that became a really complex
dance between the two guys.
939
00:48:25,948 --> 00:48:29,910
You know, for me, watching the two of them
go through this amazing history
940
00:48:29,993 --> 00:48:33,038
we shot in our version of the Smithsonian,
941
00:48:33,121 --> 00:48:35,374
which was the history
of the Howling Commandos
942
00:48:35,457 --> 00:48:37,543
alongside Captain America,
943
00:48:37,626 --> 00:48:42,589
and it was so poignant
to see them walking through the history
944
00:48:42,673 --> 00:48:46,426
as we're putting that history to bed,
you know, it was giving us all chills.
945
00:48:55,310 --> 00:48:57,187
NAGELHOUT: I think something
the comics do,
946
00:48:57,271 --> 00:48:58,981
which works for that medium,
947
00:48:59,064 --> 00:49:01,400
is they assume that a mantle has to exist.
948
00:49:01,483 --> 00:49:03,569
Of course there's gonna be
a Captain America.
949
00:49:03,652 --> 00:49:06,572
If something happens to Steve,
somebody's gotta pick up that shield.
950
00:49:08,949 --> 00:49:12,286
That's a very, you know,
comic book-true statement
951
00:49:12,369 --> 00:49:14,997
and it works for that format,
and it's great,
952
00:49:15,080 --> 00:49:18,083
and it allows you to see that shield
pass through hands.
953
00:49:18,709 --> 00:49:23,964
However, when you translate that
to a live-action sort of grounded story,
954
00:49:24,047 --> 00:49:25,382
and to our real world,
955
00:49:25,465 --> 00:49:27,885
it's really important
to ask the question of why.
956
00:49:27,968 --> 00:49:30,012
Why does there have to be
a Captain America?
957
00:49:30,095 --> 00:49:32,264
What does it mean today
versus what it meant
958
00:49:32,347 --> 00:49:33,891
when it was created in the '40s?
959
00:49:33,974 --> 00:49:36,101
And what does it mean to different people?
960
00:49:36,185 --> 00:49:37,519
SAM: Feels weird...
961
00:49:38,353 --> 00:49:39,438
Picking it up again.
962
00:49:41,356 --> 00:49:46,236
The legacy of that shield is complicated,
to say the least.
963
00:49:46,820 --> 00:49:50,824
MACKIE: Sam, you know,
being a soldier and being a veteran,
964
00:49:50,908 --> 00:49:56,413
being a counselor, he realizes
that as a people, we're all Americans.
965
00:49:56,997 --> 00:49:58,790
I'm not Black Captain America.
966
00:49:58,874 --> 00:50:01,001
Steve wasn't white Captain America.
967
00:50:01,084 --> 00:50:03,587
He was solely Captain America.
968
00:50:03,670 --> 00:50:07,341
So as a society, as a country,
we need to realize
969
00:50:07,424 --> 00:50:11,470
that all the people
who are citizens here on this soil,
970
00:50:11,553 --> 00:50:15,432
no matter what their origins are,
they're Americans
971
00:50:15,516 --> 00:50:19,561
and, you know, the old adage,
"I am my brother's keeper,"
972
00:50:19,645 --> 00:50:21,230
comes into play, you know.
973
00:50:21,313 --> 00:50:23,524
Sam realizes he deserves the right,
974
00:50:23,607 --> 00:50:25,734
he's earned the right
to be Captain America
975
00:50:25,817 --> 00:50:28,487
and that has nothing to do
with his race or his background.
976
00:50:28,946 --> 00:50:32,115
I ain't gonna lie. You're special.
977
00:50:34,117 --> 00:50:35,118
Thank you.
978
00:50:36,537 --> 00:50:41,124
I mean, you ain't no Malcolm or Martin,
Mandela, but...
979
00:50:41,208 --> 00:50:44,503
No argument there,
but I know what I've gotta do.
980
00:50:47,840 --> 00:50:49,800
MOORE: Isaiah Bradley
is a character, I think,
981
00:50:49,883 --> 00:50:51,635
comic fans have been clamoring for,
982
00:50:51,718 --> 00:50:55,472
but most fans won't know.
he was a Black soldier who,
983
00:50:55,556 --> 00:50:57,558
much like the Tuskegee Airmen,
984
00:50:57,641 --> 00:51:00,936
was tested on to try and recreate
the super-soldier serum.
985
00:51:01,019 --> 00:51:03,814
The secret of Isaiah Bradley
is that it worked,
986
00:51:03,897 --> 00:51:06,149
but because of his race, he was sidelined
987
00:51:06,233 --> 00:51:08,569
by the American government
and became a pariah.
988
00:51:08,652 --> 00:51:12,364
You think you can wake up one day
and decide who you wanna be?
989
00:51:13,740 --> 00:51:15,075
It doesn't work like that.
990
00:51:15,784 --> 00:51:18,495
When you have two characters
like Sam Wilson and Bucky Barnes,
991
00:51:18,579 --> 00:51:19,913
who are so close to Steve,
992
00:51:19,997 --> 00:51:23,208
to meet a Super Soldier
who had a completely different experience
993
00:51:23,292 --> 00:51:26,503
than the one that Captain America had,
is gonna be eye-opening
994
00:51:26,587 --> 00:51:29,882
and very much informs Sam's feelings
surrounding the shield.
995
00:51:29,965 --> 00:51:33,760
Whether or not that's a legitimate thing
to wish for or to not.
996
00:51:33,844 --> 00:51:35,179
ISAIAH: That what I think it is?
997
00:51:36,972 --> 00:51:38,849
Mmm-mmm. Leave it covered.
998
00:51:40,392 --> 00:51:43,353
Them stars and stripes
don't mean nothin' good to me.
999
00:51:43,437 --> 00:51:45,314
When we first
started talking with Malcolm,
1000
00:51:45,397 --> 00:51:47,566
that was a character he asked about first
1001
00:51:47,649 --> 00:51:49,902
because, as a Black man reading comics,
1002
00:51:49,985 --> 00:51:52,029
that was a story that resonated with him
1003
00:51:52,112 --> 00:51:54,281
when you go back to
Truth: Red, White and Black.
1004
00:51:54,364 --> 00:51:57,242
So it was something
that he really brought to the project
1005
00:51:57,326 --> 00:51:59,286
and I think enriched the story-telling,
1006
00:51:59,369 --> 00:52:01,705
'cause it's a point of view
that is often lost,
1007
00:52:01,788 --> 00:52:06,251
and again, unfortunately, society
sometimes catches up with narrative.
1008
00:52:06,335 --> 00:52:09,546
It's something that we're talking about
very much in our everyday lives.
1009
00:52:09,630 --> 00:52:13,884
What is the journey of being Black
in America through time?
1010
00:52:13,967 --> 00:52:15,719
Not even just in the modern days,
1011
00:52:15,802 --> 00:52:18,347
but in the '40s, in the '50s.
1012
00:52:18,430 --> 00:52:20,849
It's always been
quite a different journey.
1013
00:52:20,933 --> 00:52:24,603
And this gets to be an interesting lens
into that time and that character,
1014
00:52:24,686 --> 00:52:27,606
which very much informs
how people feel about race today.
1015
00:52:27,689 --> 00:52:29,191
I used to be like you,
1016
00:52:30,692 --> 00:52:32,528
until I opened my eyes,
1017
00:52:33,612 --> 00:52:37,407
until I saw men in the Red Tails,
1018
00:52:37,491 --> 00:52:41,537
the famous 332 fight for this country,
1019
00:52:42,329 --> 00:52:45,999
only to come home to find
crosses burned on their lawn.
1020
00:52:46,083 --> 00:52:48,168
I'm from the south. I get that.
1021
00:52:48,794 --> 00:52:51,797
But you were a Super Soldier like Steve.
You could've been the next...
1022
00:52:51,880 --> 00:52:54,633
The next? What? Huh?
1023
00:52:56,218 --> 00:52:59,429
Blonde hair, blue eyes, stars and stripes?
1024
00:52:59,513 --> 00:53:02,975
He becomes the embodiment
of your hero's fears.
1025
00:53:03,058 --> 00:53:05,227
Isaiah is challenging Sam
1026
00:53:05,894 --> 00:53:08,981
just on whether or not
a Black man should be Captain America.
1027
00:53:09,064 --> 00:53:12,693
He has that line where, "They will never
let a Black man be Captain America,
1028
00:53:12,776 --> 00:53:15,946
"and even if they did, no self-respecting
Black man would ever wanna be."
1029
00:53:16,029 --> 00:53:18,156
We didn't want Isaiah
to be wrong about that.
1030
00:53:18,240 --> 00:53:20,576
That's gonna be
part of his ongoing struggle.
1031
00:53:20,659 --> 00:53:24,162
He says, "Man, I know every time
I pick the shield up,
1032
00:53:24,246 --> 00:53:26,206
"a portion of the world's
gonna hate me for it."
1033
00:53:26,290 --> 00:53:29,710
Sam gotta live with that as he goes off
and tries to make this work.
1034
00:53:31,879 --> 00:53:33,589
It's been an emotional experience,
1035
00:53:33,672 --> 00:53:35,924
especially in the time
in which we live in now.
1036
00:53:36,008 --> 00:53:39,094
For Marvel to give me the opportunity
as a Black man,
1037
00:53:39,553 --> 00:53:42,681
from the south, to become Captain America,
1038
00:53:42,764 --> 00:53:45,809
I think, says a lot, not only about
the work that I've put in
1039
00:53:45,893 --> 00:53:48,395
to get to this point
that they would entrust me with that,
1040
00:53:48,478 --> 00:53:54,318
but the way that they're hoping to change
the way society looks at itself.
1041
00:53:54,401 --> 00:53:57,779
Look, you people have just as much
power as an insane god
1042
00:53:59,573 --> 00:54:01,408
or a misguided teenager.
1043
00:54:03,869 --> 00:54:07,956
The question you have to ask yourself is,
"How are you gonna use it?"
1044
00:54:08,040 --> 00:54:10,501
That last speech that Sam has,
1045
00:54:10,584 --> 00:54:13,253
that's me and Anthony on the phone
for a few hours.
1046
00:54:13,337 --> 00:54:16,340
Anthony has a Black man's perspective
on the world.
1047
00:54:16,423 --> 00:54:20,511
And he's like,
"Mal, I gotta believe this, right?"
1048
00:54:20,594 --> 00:54:22,471
So the first thing we did was
1049
00:54:22,554 --> 00:54:25,265
we had Sam talking to somebody
in that scene
1050
00:54:25,349 --> 00:54:26,975
instead of giving a speech.
1051
00:54:27,059 --> 00:54:30,145
And then, the next thing was me
on the phone with him for hours
1052
00:54:30,229 --> 00:54:34,316
making sure he felt honest
at every single line in this thing.
1053
00:54:34,399 --> 00:54:37,110
You know what I'm saying?
So now we are super proud of that.
1054
00:54:37,194 --> 00:54:40,906
We finally have a common struggle now.
1055
00:54:40,989 --> 00:54:42,199
Think about that.
1056
00:54:42,699 --> 00:54:45,369
For once, all the people
who've been begging,
1057
00:54:45,452 --> 00:54:48,372
and I mean, literally begging for you
1058
00:54:48,497 --> 00:54:52,417
to feel how hard any given day is,
now you know.
1059
00:54:54,795 --> 00:54:58,173
SKOGLAND: The final costume
is very much drawn from the comics.
1060
00:54:58,257 --> 00:55:00,509
Drawing from the comics
was really important
1061
00:55:00,592 --> 00:55:03,762
because it had its own legacy
to start with.
1062
00:55:03,846 --> 00:55:06,223
So all the detail that goes into every...
1063
00:55:06,306 --> 00:55:12,104
And I can tell you,
months of thought went into every seam.
1064
00:55:12,187 --> 00:55:14,731
Not only in the building of it,
but in the design of it.
1065
00:55:14,815 --> 00:55:16,567
CROW: It's kind of a breath of fresh air.
1066
00:55:16,650 --> 00:55:20,070
Visually, it's almost the reverse
of the other costumes we've seen.
1067
00:55:20,153 --> 00:55:21,280
There's a lot of white
1068
00:55:21,363 --> 00:55:24,449
as opposed to all the navy and red
that we've seen before.
1069
00:55:24,533 --> 00:55:28,161
The upper torso and his face
are really kind of highlighted.
1070
00:55:28,245 --> 00:55:29,705
LEVEN: Captain America's new costume
1071
00:55:29,788 --> 00:55:32,916
had a very specific cowl design
that they wanted.
1072
00:55:33,000 --> 00:55:36,044
And it was very difficult
to build practically in real life,
1073
00:55:36,128 --> 00:55:39,423
so when Mackie would move his head around,
it would flex.
1074
00:55:39,506 --> 00:55:42,968
Because there is no magical material
that can have that shape
1075
00:55:43,051 --> 00:55:46,388
and that flexibility and not move around
in a way that they didn't want.
1076
00:55:46,471 --> 00:55:47,931
So, they knew when they built it.
1077
00:55:48,015 --> 00:55:51,185
"This is gonna be really tough,
you're gonna have to help us out."
1078
00:55:51,268 --> 00:55:54,313
And as it turned out, you know,
there were dozens and dozens,
1079
00:55:54,396 --> 00:55:58,233
probably hundreds of visual effects shots
just to make that cowl look better.
1080
00:55:58,317 --> 00:56:00,819
So that it looks heroic
and doesn't have weird gaps.
1081
00:56:00,903 --> 00:56:02,863
We don't want to see
any seams in the costume,
1082
00:56:02,946 --> 00:56:05,073
we don't want to know
that it was closed by Velcro.
1083
00:56:05,157 --> 00:56:06,158
It's just magically...
1084
00:56:06,241 --> 00:56:08,577
It's a magic costume
built by the Wakandans,
1085
00:56:08,660 --> 00:56:10,120
so we need to bring that to life.
1086
00:56:10,204 --> 00:56:11,371
MACKIE: All right, watch this!
1087
00:56:15,751 --> 00:56:18,212
SKOGLAND: I think it was
all to support a combination
1088
00:56:18,295 --> 00:56:22,257
of what the overall red, white
and blue look was going to be
1089
00:56:22,341 --> 00:56:24,676
and that it had to be bright and positive.
1090
00:56:24,760 --> 00:56:28,514
There had to be
an ultimately positive vibe to this,
1091
00:56:29,181 --> 00:56:33,310
you know, sparkling person... (CHUCKLES)
1092
00:56:33,393 --> 00:56:36,480
Which is, and really beautifully, shown,
1093
00:56:36,563 --> 00:56:38,857
I think, in the final speech.
1094
00:56:38,941 --> 00:56:43,070
It has a, you know, a bit of
a knight in shining armor quality to it.
1095
00:56:46,156 --> 00:56:48,033
STAN: It's a new
Captain America, you know,
1096
00:56:48,116 --> 00:56:51,203
it's a new angle, and it's a new vibe
1097
00:56:51,286 --> 00:56:53,455
and I think
he's got some really cool things
1098
00:56:53,539 --> 00:56:56,250
that are being explored in this
from the idea of family,
1099
00:56:56,333 --> 00:56:59,503
pursuit of happiness
versus this American Dream
1100
00:56:59,586 --> 00:57:01,129
that's bestowed on all of us,
1101
00:57:01,213 --> 00:57:03,298
but certainly how
a Black man deals with that.
1102
00:57:03,382 --> 00:57:05,676
I mean, there's all kinds of
actually complex,
1103
00:57:05,759 --> 00:57:08,178
very specific issues dealt in this
1104
00:57:08,262 --> 00:57:10,556
that are very applicable
to the times that we're in.
1105
00:57:10,639 --> 00:57:14,017
This isn't about easy decisions, Senator.
1106
00:57:14,101 --> 00:57:15,644
You just don't understand.
1107
00:57:15,727 --> 00:57:19,523
(SCOFFS) I'm a Black man
carrying the stars and stripes.
1108
00:57:19,606 --> 00:57:21,525
What don't I understand?
1109
00:57:21,608 --> 00:57:24,403
I know what it is
to deal with something bigger than me.
1110
00:57:25,737 --> 00:57:29,449
With everything that's been going on
with COVID
1111
00:57:29,533 --> 00:57:32,870
and the murders of Breonna
1112
00:57:32,953 --> 00:57:35,831
and the murder of George Floyd
1113
00:57:36,248 --> 00:57:41,837
and, you know, the riots and the activism
1114
00:57:41,920 --> 00:57:45,090
going on with the young generation now
and, you know,
1115
00:57:45,174 --> 00:57:46,800
the Black Lives Matter movement,
1116
00:57:46,884 --> 00:57:51,638
it's been jarring to me and surprising
how timely this series is.
1117
00:57:59,062 --> 00:58:02,524
My truth has changed and evolved so much.
1118
00:58:02,608 --> 00:58:04,151
As far as me being a father,
1119
00:58:04,234 --> 00:58:07,321
as far as me being a man,
and as far as me being an American.
1120
00:58:07,404 --> 00:58:11,116
And a lot of that
has come out of this role and this series.
1121
00:58:12,284 --> 00:58:15,078
So, it's been humbling in a real sense,
1122
00:58:15,162 --> 00:58:17,164
but also inspiring to think
1123
00:58:17,247 --> 00:58:21,543
that my sons will be able
to turn on the TV and see,
1124
00:58:21,627 --> 00:58:23,712
a Black Captain America.
1125
00:58:23,795 --> 00:58:25,506
ISAIAH: Ain't gonna be easy, Sam.
1126
00:58:26,089 --> 00:58:28,550
SAM: Yeah, I might fail. I might die.
1127
00:58:29,218 --> 00:58:30,928
But we built this country.
1128
00:58:31,011 --> 00:58:32,346
Bled for it.
1129
00:58:33,347 --> 00:58:36,350
I'm not gonna let anybody tell me
I can't fight for it.
1130
00:58:45,901 --> 00:58:48,278
(MUSIC PLAYING)