Props

let's give a little bit of props to D.O.P. while we're at it. Gary, Gary Javier, man. He came in and pretty much almost exclusively handled almost all of the POV stuff himself. All the hardcore stuff with running around and clashing into zombies and running down corridors. All of that was Gary doing that himself. So that's why you see the same hands all over again. Like Fahri there, his hands are hairy.

49:53 · jump to transcript →

Wes Anderson

Roman did this shot. He was involved in it. He did this shot. Yes. - [Coppola] The two Romans. That's the other Roman. The propman. - [Anderson] This is Roman-- That's Roman who is on-set props and set decorating, and who worked also with Till. Roman and Till then became part of our ongoing company. I mean, some people work with us on one movie, then they come on to the next one. So Roman and Till are two Germans who have stayed on with us.

48:14 · jump to transcript →

Joss Whedon

It was a big decision whether to go off on her smile or this grab. Ultimately, the grab very specifically said, "We have a problem, and the problem is Tony." And, um, one of the things that also sort of hit me late in the game is that you can really look at this film and just straight-up Say, "Tony Stark is the villain." It's not just the beard. He's a good man who is corrupted by his own anxiety, by this vision of a disaster, and makes what is obviously a really bad decision. And I spent so much time in the writing process and during filming trying to protect Tony Stark. Trying to make sure that he was still a heroic figure. And at one point I watched the movie, and I went, "You can just go ahead and lean into this, "that he's now evolved into a villain." Obviously, he's not just that. He's redeemed, and he is a hero in so many ways. But it was very freeing to be able... And I think it's not something you get to do a lot in something like this, narratively. To just go ahead and Say, "Your guy just might not be okay." And again, that's something that, thematically, the entire movie is about. It's been commented on, and it's not by accident that the word "monster" is used by most of the team about either themselves or each other. Feels good, yeah? I have a "Jarvis is my co-pilot" sticker on my laptop. Because how could you not? That's one of those things that I thought of and asked for while we were shooting. "Can we just throw that in?" And the prop guys just disappeared and came back with the perfect one. And, of course, it comes right after he says, "Jarvis, take the wheel," so clearly we're already leaning into the Jesus thing. And that's, um, again, not by accident. We're not saying anything specific about religion, but we are playing on Christian iconography a great deal, partially because both Tony Stark and Ultron have god complexes, and partially because the Vision himself does represent an ideal. And when he picks up the hammer, it's... I don't want to say a miracle, but it's playing on that idea of... When we think of that kind of religious figure, we are thinking of the best idea of ourselves. Of what we wish we could be. And this play is so much about the best and worst. This little bit's a bit of embellishment that Robert and I came up with on the day. The two Enhanced? It's always nice to be able to have people who know their character so well that they can give you what you've asked for, but then make it feel lived in. I love this shot. It is very much of the idiom of the first movie, in the sense of, "Look at this big, expensive space. Isn't it grand?"

12:11 · jump to transcript →