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CRETTON: Hi, my name is Destin Cretton,
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I am the co-writer
and director of this movie.
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CALLAHAM: Hi, my name is Dave Callaham,
and I am the co-writer of the movie.
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CRETTON: Dave, have you ever done
a director's commentary before?
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CALLAHAM: No, I'm not a director,
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so I'm not normally asked to
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- sit in, but I appreciate it very much.
- (LAUGHS)
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CRETTON: I guess
this wouldn't be a director's...
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This'll just be a commentary.
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- (LAUGHS)
- CALLAHAM: Yeah.
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Have you done a director's commentary
before, Destin, being a director?
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CRETTON: No, this is actually my first.
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So let's try it.
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Let's see what happens.
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(WOMAN SPEAKING MANDARIN)
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CRETTON: Well, we're starting on a flag.
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With the Ten Rings logo,
we could talk about The Ten Rings.
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CALLAHAM: Yeah, this is an organisation
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that's been set up from the MCU
in the past.
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Not this far in the past.
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And we are telling a deeper section of
that story for the first time in here.
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CRETTON: I mean, I guess we could talk
about, like, the first time...
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For some people who are familiar
with the Mandarin in the comics,
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he was wearing the Ten Rings
on his fingers.
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There was one point in the writers' room
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when we were either watching
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36th Chamber of Shaolin
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- or Kung Fu Hustle or both...
- Kung Fu Hustle.
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CRETTON:...and we decided to
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take the rings off his fingers
and put them on his wrists.
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So Tony Leung...
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Tony Leung,
what did you think about Tony Leung
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when you found out that we cast him?
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CALLAHAM: It's awesome.
He's so legendary
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and I wasn't clear on how little
Western films he had done.
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- I think zero, right?
- CRETTON: Yeah, there was...
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I remember when Jonathan asked me
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who I would want to play Wenwu
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and my first instinct was Tony Leung.
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But I also said,
"There's no way we'll ever get him."
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CALLAHAM: Yeah.
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CRETTON: And I honestly
still can't believe it.
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CALLAHAM: I remember that.
I remember you had to do a call.
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He was one of the early people cast,
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which was really helpful because we were
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seeing mock-ups of him
in costume and stuff
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once we had him,
which was really helpful.
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CRETTON: Yeah, I feel like
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bringing Tony on
was kind of the tone-setter
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for the type of movie
that we wanted to make.
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He also, that shot of him on that horse
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just walking towards the people
that he's about to obliterate...
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And that was one of the first shots
that we shot of the movie
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and I remember looking at the monitor,
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watching him just trot on that horse
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in a close-up and thinking,
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"I could watch this man's face
for hours."
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And it was...
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It really was...
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I mean, it was just so exciting
to have that be the first thing
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that we put on film,
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and it really became
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the tone-setter for the entire movie.
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CALLAHAM: He really is amazing.
I mean, the first time
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I saw some of the stuff
you had shot with him,
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the sensitivity that he carries,
which is so great because,
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obviously, this is a villain
that is not quite as moustache-twirly
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or aggressive as maybe you're used to
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in some of the comic book
type of properties.
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So he just really captures what you were
always talking about from day one.
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CRETTON: I mean, we... Oh, yeah, this...
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I mean, I guess we could talk about
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this moving bamboo forest,
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which was
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created by our VFX supervisor,
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Chris Townsend.
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Who has done a lot of
Marvel movies in the past
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and it was such a pleasure
to work with him.
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(WOMAN SPEAKING MANDARIN)
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CRETTON: Fala...
We could talk about Fala,
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who is the actor
who plays our Li character.
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When we're looking for
the actor to play Li, we...
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I mean, it was a big search
because we needed to find somebody
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who could not only stand up
to Tony Leung in a scene but own him.
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Fala was somebody who we
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saw her audition.
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She had actually just finished
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studying at Juilliard.
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And we saw her audition and,
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as you can see,
she's such a special actor
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and has so much strength behind
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every movement, every look.
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And when we lined up her gaze
with Tony Leung's, it just felt perfect.
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(BOTH GRUNTING)
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CRETTON: In our movie, it's...
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We have a character, Wenwu,
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who has lived for a thousand years
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and he would have continued to
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just obliterate and chase power
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for his own glorification,
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and he needed something to stop him.
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And Li is that...
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Is the first person to really
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be able to stop him in his tracks,
to make him realise that
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everything he's been chasing
is empty and pointless.
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CALLAHAM: The acting here is incredible.
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The first time I saw this, I cried.
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Because I think it's beautifully done.
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But also,
when we wrote this on the page,
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it described exactly
what you're seeing here,
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which is that it's a fight
that turns into a mutual appreciation
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that turns into a bit of a dance,
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and then an attraction.
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And all these various things are
happening in this one fight sequence,
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and I remember when we were writing it
thinking it sounds great.
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- But this is such writer BS.
- (BOTH CHUCKLE)
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CALLAHAM: At some point,
Justin has to go direct this
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and these two people have to
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accomplish this on screen.
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It's so complicated and I can't believe
how beautifully it turned out.
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(LI SPEAKING)
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CRETTON: We threw in this shot of
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Wenwu and young Shang-Chi,
late in the game
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and it actually stuck.
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Because it
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became a bit of an iconic shot of what
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the core of our movie is about.
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CALLAHAM: The Great Protector.
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CRETTON: Yeah,
what about the Great Protector?
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CALLAHAM: I think we'll probably talk
about the Great Protector more in a bit.
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This was an idea
that was with us from day one.
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CRETTON: Yeah, the Great Protector...
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I mean, we always knew that
we're going to have
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a dragon in our movie in some way.
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And I really love where we landed
on what the dragon represented
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and that it wasn't just a flashy dragon
to have in our movie.
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That the dragon became rooted
in something a bit more emotional
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and more connected to who Shang-Chi is,
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and the person that he becomes
by the end of the movie.
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CALLAHAM: I don't remember if this is
how we ended up on that name.
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But I do remember talking to my mom,
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who is Chinese.
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When we started this process,
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I'm telling her there's probably
going to be a dragon in this movie.
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And she was like, okay,
but it has to be a good guy.
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And I said, why?
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And she said,
because dragons are protectors.
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CRETTON: Hmm!
CALLAHAM: I thought okay, good note.
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CRETTON: Thanks, Mom.
CALLAHAM: Scratch out "Shang-Chi
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"punches a dragon" out of the third act.
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- (CRETTON LAUGHS)
- CALLAHAM: Cancel that.
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CRETTON: There's Simu.
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Finding Simu was a big search as well
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and Simu really rose to the top,
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not because he can punch
and kick and do a backflip.
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He did do a backflip
in his first audition,
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but that was not why we chose him.
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We chose him
because of his acting purely
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and because of this chemistry with Nora.
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And honestly, I could not think
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of a more perfect person
to play Shang-Chi.
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I think Simu has a very unique ability
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to cross over between
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American and Western culture
and Chinese culture.
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He's fluent in Mandarin,
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and his background
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really spans
both cultures fairly evenly.
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So he's a very unique actor
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and I feel very lucky to have him.
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Most career wins
in all of NASCAR history?
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Please get out of the car.
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CALLAHAM: Yeah, that code switching
the super important because
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it's a theme that we wanted to cover
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in the first Asian American-led
Marvel movie.
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And obviously Shang-Chi
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has to code switch in a way
that is a little more acute
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than the average human being
whose father isn't a supervillain.
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So it's great that
he was able to do that.
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I was getting picked on a lot,
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for all the reasons
we all get picked on a lot.
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Plus, I had just moved to the U.S...
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CRETTON: We keep trying to break us
many stereotypes
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as possible in this movie,
one of which is...
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Asian females,
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there's sometimes a stereotype
that they're not good drivers.
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So, in our movie,
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Nora's character Katy
is the best driver in San Francisco.
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So one by one,
we're breaking those stereotypes.
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CALLAHAM: Yeah, she might be
the best driver in the world.
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- Honestly.
- CRETTON: Yes, probably.
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That's true. You were.
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- What?
- I was just in the back seat.
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- That's a part of the car.
- That's still a part of the car.
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How have you never told me this story?
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You know, before she was a lawyer,
your girl was pretty wild.
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What happened?
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I grew up.
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What's that supposed to mean?
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Yeah, what's that supposed to mean?
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That maybe there's a point where you're
supposed to stop going on joyrides
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and start thinking about
living up to your potential.
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Please tell me you're kidding, Soo.
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SOO: Look,
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we're now living in a world
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where at any moment
half the population can just disappear.
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Life's too short and too fragile.
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Katy, you're a valet driver
with an honors degree from Berkeley,
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and Shaun can speak,
like, four languages.
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CRETTON: One of the things
that I actually
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showed in my pitch to get this job
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was a scene in a bar with four friends
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talking in a bar and I just said,
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"Just imagine this scene
with all Asian Americans."
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And instantly, it becomes something
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that we haven't really seen before
on screen.
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SHAUN: driving skills...
KATY: Soo can't even parallel park.
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CRETTON:
When I shot that scene on set,
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it was really emotional for me.
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There's not a ton of emotion
happening in the movie
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besides people just having fun.
But I was...
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I got really emotional 'cause I thought
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these are my friends, this is my life.
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And it's the first time I've ever
really seen it on film before.
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CALLAHAM: Can you talk
about the song selection
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in this karaoke sequence, Destin?
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(CRETTON CHUCKLES)
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CALLAHAM: Got Old Town Road in there.
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I heard
I Don't Wanna Miss a Thing, right?
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CRETTON: Yes. Yes.
CALLAHAM: Love that.
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CRETTON: They were basically
all of my favourite
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running tracks that I listen to
every time I go for a jog.
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CALLAHAM: I was hoping
those were your karaoke jams.
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Your personal karaoke jams.
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CRETTON: Some of them are.
Some of them are. (LAUGHS)
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We actually started with eight
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and we went into the room with them
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and we had a roaming camera
and let them go.
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And we just chose the highlights
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and put them in the movie
for your viewing pleasure.
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CALLAHAM: Here's Katy's family,
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which has become Shang-Chi's
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adoptive family in America.
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He's Shaun here, by the way.
244
00:14:56,689 --> 00:14:58,274
He has not revealed his true name.
245
00:15:01,235 --> 00:15:03,028
This was also really critical.
246
00:15:03,112 --> 00:15:06,407
You talked about wanting to do
a version of this scene from day one.
247
00:15:06,490 --> 00:15:08,826
SHAUN:...Funyuns and cigarettes
back to the afterlife?
248
00:15:08,909 --> 00:15:11,912
CRETTON: Yeah,
I think for both Dave and I,
249
00:15:11,996 --> 00:15:16,458
it was really important for us to see
250
00:15:17,334 --> 00:15:23,424
an Asian American family
and how the generations interact.
251
00:15:23,841 --> 00:15:29,847
How you can clearly see the influence
252
00:15:29,930 --> 00:15:35,686
of American culture growing stronger
with each new generation,
253
00:15:35,769 --> 00:15:42,401
and all of that not
only informs the character of Katy
254
00:15:42,484 --> 00:15:46,280
but also informs Shang-Chi
and who he is.
255
00:15:47,781 --> 00:15:52,286
There's also an underlying
emotional story
256
00:15:52,411 --> 00:15:54,997
that's happening
from Shang-Chi's perspective.
257
00:15:55,080 --> 00:15:58,250
And if you watch him
throughout this scene,
258
00:15:58,334 --> 00:16:04,048
the way that it was edited
by Nat and Harry and Elizabeth,
259
00:16:04,131 --> 00:16:08,802
our editors, was finding little moments
260
00:16:08,886 --> 00:16:13,098
where Shang-Chi is clearly
looking at this family
261
00:16:13,515 --> 00:16:16,894
and seeing what he misses,
what he longs for.
262
00:16:18,270 --> 00:16:23,275
What he finds is empty in his life.
263
00:16:24,151 --> 00:16:26,362
So it's a bit of a set-up
of what's to come.
264
00:16:33,452 --> 00:16:35,329
CALLAHAM: So, this entire commentary
265
00:16:35,454 --> 00:16:37,331
is going to turn into me talking about
266
00:16:37,414 --> 00:16:40,542
how a huge percentage
of this finished film
267
00:16:40,626 --> 00:16:44,963
is actually a lot of ideas
were there from day one.
268
00:16:45,047 --> 00:16:49,134
Destin, on the very first time
we were in the room together,
269
00:16:49,218 --> 00:16:51,595
I remember, you said that
you wanted to do a bus fight.
270
00:16:52,554 --> 00:16:55,474
I don't know where that idea came from,
but here it is.
271
00:16:55,683 --> 00:16:58,477
CRETTON: (LAUGHS)
It was actually like...
272
00:16:59,603 --> 00:17:05,526
The idea of this sequence
was in my pitch.
273
00:17:06,777 --> 00:17:12,116
One, I've never done an action sequence
in any movie before.
274
00:17:12,366 --> 00:17:14,201
But I do know what I love,
275
00:17:14,535 --> 00:17:19,832
are action sequences
that are crafted around
276
00:17:19,998 --> 00:17:24,002
a unique location or unique scenario.
277
00:17:24,753 --> 00:17:30,050
And as a what-if scenario in my pitch,
278
00:17:30,676 --> 00:17:34,346
it was, rather than have
two people fighting,
279
00:17:34,430 --> 00:17:39,977
what if a fight broke out
on a runaway bus in San Francisco,
280
00:17:40,060 --> 00:17:42,521
zooming down a hill, that can't stop?
281
00:17:42,813 --> 00:17:47,985
So the stakes are raised tenfold
because of that,
282
00:17:50,654 --> 00:17:54,950
and then it turned into this
really fun sequence that...
283
00:17:59,121 --> 00:18:00,789
Holy shit.
284
00:18:01,707 --> 00:18:02,916
Who are you?
285
00:18:03,000 --> 00:18:07,713
CRETTON:
I can't believe that that tiny idea
286
00:18:07,796 --> 00:18:10,424
turned into this crazy fight.
287
00:18:11,550 --> 00:18:13,510
CALLAHAM: It's great, though,
because at some point
288
00:18:13,594 --> 00:18:15,596
the accordion bus idea came into...
289
00:18:15,679 --> 00:18:17,431
I don't remember where
that came from specifically.
290
00:18:17,514 --> 00:18:20,142
But then once we realised
we're going to chop this bus in half
291
00:18:20,434 --> 00:18:26,982
and that we had this man, Razor Fist,
who has a razor fist for an arm,
292
00:18:27,816 --> 00:18:30,778
it all started...
Cutting the brake line, all these ideas
293
00:18:30,861 --> 00:18:33,030
started to really fall together
pretty easily.
294
00:18:35,365 --> 00:18:39,828
CRETTON: The one thing we wanted
for this fight was to introduce,
295
00:18:42,706 --> 00:18:46,627
the Jackie Chan style
296
00:18:48,086 --> 00:18:51,840
of fight sequences into this movie.
297
00:18:53,425 --> 00:18:57,471
Very loosely inspired
by Jackie Chan movies,
298
00:18:57,554 --> 00:19:01,308
but also also loosely inspired
by Buster Keaton movies.
299
00:19:01,475 --> 00:19:06,897
There's a lot of set-ups and payoffs,
a lot of physical gags in this.
300
00:19:07,564 --> 00:19:09,775
Every time I've tried to drive
a bus, I get yelled at.
301
00:19:10,692 --> 00:19:16,281
CRETTON: Our second-unit director,
Brad Allan,
302
00:19:16,907 --> 00:19:22,746
one of his heroes is Buster Keaton
and I love the way that
303
00:19:22,830 --> 00:19:25,707
these set-ups and payoffs
are sprinkled throughout.
304
00:19:25,791 --> 00:19:31,129
So the story is all told
through physical gags
305
00:19:31,213 --> 00:19:32,506
and movement.
306
00:19:34,716 --> 00:19:38,011
CALLAHAM: Worth pointing out here,
the guy filming this,
307
00:19:38,095 --> 00:19:39,972
he's called Klev in the script.
308
00:19:40,055 --> 00:19:42,808
He is doing a live stream
that comes back later.
309
00:19:43,392 --> 00:19:45,310
He's also in one
of the Spider-Man movies,
310
00:19:45,394 --> 00:19:48,814
so he is now
a recurring character in the MCU.
311
00:19:50,190 --> 00:19:51,567
(ALL YELP)
312
00:20:06,373 --> 00:20:07,374
CALLAHAM: This is awesome.
313
00:20:08,208 --> 00:20:13,255
CRETTON: This sequence
was primarily headed
314
00:20:13,338 --> 00:20:16,133
by fight coordinator Andy Cheng.
315
00:20:17,050 --> 00:20:23,473
He was in Jackie Chan's stunt team.
316
00:20:23,849 --> 00:20:29,646
I mean, he has crazy stories
of doubling for Jackie Chan
317
00:20:29,730 --> 00:20:31,648
on some of the craziest stunts
318
00:20:31,732 --> 00:20:36,820
that we've seen in those movies.
319
00:20:37,321 --> 00:20:42,951
So he was the perfect person
to create this really fun vibe
320
00:20:43,452 --> 00:20:45,662
throughout this fight sequence.
321
00:20:46,872 --> 00:20:48,332
This shot in particular
322
00:20:48,957 --> 00:20:54,755
was very loosely inspired
by a pretty iconic shot from Oldboy,
323
00:20:56,089 --> 00:21:01,470
which is one of my favourite films
and we wanted to play
324
00:21:01,553 --> 00:21:08,060
the climax of this fight sequence out
in a pretty simple oner
325
00:21:08,143 --> 00:21:11,229
that comes out of the bus
and tracks with Shang-Chi
326
00:21:11,313 --> 00:21:13,774
as he makes his way down
327
00:21:15,150 --> 00:21:19,404
to the final beats
of taking out these bad guys.
328
00:21:21,657 --> 00:21:23,784
CALLAHAM: And this was all shot
in a moving bus in San Francisco.
329
00:21:23,867 --> 00:21:26,787
Is that correct, Dustin? In one take.
330
00:21:26,870 --> 00:21:30,999
CRETTON: We had 12 cameras
331
00:21:31,083 --> 00:21:34,419
set up throughout the bus.
332
00:21:35,087 --> 00:21:37,464
It was mainly shot like a documentary.
333
00:21:38,882 --> 00:21:40,884
I'm not sure we can say
that kind of stuff.
334
00:21:40,968 --> 00:21:42,135
We're being sarcastic.
335
00:21:42,219 --> 00:21:44,346
(BOTH CHUCKLING)
336
00:21:45,347 --> 00:21:48,475
CALLAHAM: Here's Katy again,
the best driver in the world.
337
00:21:48,558 --> 00:21:52,771
Just jumps behind the wheel of a bus,
which, very different skill set.
338
00:21:52,938 --> 00:21:56,733
CRETTON: I remember, this moment
we had this major problem,
339
00:21:56,817 --> 00:21:59,903
which is after this whole ordeal,
340
00:22:00,821 --> 00:22:03,323
how does Katy stop this bus?
341
00:22:03,782 --> 00:22:08,829
And we were in San Francisco
location scouting,
342
00:22:09,162 --> 00:22:12,124
and I stood up in the bus
that we were on
343
00:22:12,207 --> 00:22:17,045
and looked back
and I yelled to Brad Allan,
344
00:22:17,129 --> 00:22:18,797
"How do we stop this bus, Brad?
345
00:22:18,880 --> 00:22:23,343
"Can you can you figure out
how to stop the bus?"
346
00:22:23,427 --> 00:22:27,139
And he talked it over
with some of his team
347
00:22:27,222 --> 00:22:31,059
in the back of the bus
and literally three minutes later,
348
00:22:31,143 --> 00:22:34,187
he came up
and he pitched this idea to me.
349
00:22:34,271 --> 00:22:37,107
He said,
"What if there's a garbage truck
350
00:22:37,399 --> 00:22:39,317
"that comes into play
351
00:22:39,401 --> 00:22:46,033
"and Katy ramps up onto a pile of cars
and wedges herself
352
00:22:47,784 --> 00:22:49,745
"between the garbage truck
and the line of cars
353
00:22:49,828 --> 00:22:53,040
"and the the intense friction
between them
354
00:22:53,123 --> 00:22:55,333
"is what takes us to a stop?"
355
00:22:55,417 --> 00:22:56,668
And that's what we do.
356
00:22:56,752 --> 00:22:57,961
Those guys are going
after my sister next,
357
00:22:58,045 --> 00:22:59,504
and I have to get to her first.
358
00:22:59,588 --> 00:23:00,797
You have a sister?
359
00:23:00,881 --> 00:23:02,049
Look, I know this is confusing.
360
00:23:02,132 --> 00:23:03,425
I'll explain it when I get back,
I promise.
361
00:23:03,508 --> 00:23:04,509
No, no.
362
00:23:04,676 --> 00:23:06,428
CRETTON: We've got some...
363
00:23:07,137 --> 00:23:11,600
We've got Kung Fu Hustle on the wall
back there in this scene,
364
00:23:13,310 --> 00:23:18,565
which was one of our favourite movies
365
00:23:18,648 --> 00:23:22,861
and we drew
366
00:23:23,904 --> 00:23:29,993
a lot of inspiration from that movie
in a lot of ways.
367
00:23:31,036 --> 00:23:32,454
CALLAHAM: It's a nice apartment.
368
00:23:32,913 --> 00:23:35,248
CRETTON: Yeah,
Shang-Chi lives out of a garage.
369
00:23:35,332 --> 00:23:37,250
There's clearly a garage door there.
370
00:23:38,919 --> 00:23:43,590
This is the moment that Katy realises
her best friend has been lying to her
371
00:23:43,715 --> 00:23:48,595
over the past 10 or so years
that they've known each other.
372
00:23:51,306 --> 00:23:54,643
It's a big turning point
in their relationship.
373
00:23:54,726 --> 00:23:57,062
I think it's also a big character reveal
374
00:23:57,145 --> 00:24:02,067
of who Katy is
and how supportive she is.
375
00:24:02,651 --> 00:24:03,693
CALLAHAM: Yeah.
376
00:24:03,819 --> 00:24:06,822
CRETTON: She's also choosing
to stick with him.
377
00:24:07,447 --> 00:24:09,449
- (MEN GRUNTING)
- (STICKS CLUNKING)
378
00:24:23,922 --> 00:24:25,173
SHAUN: After my mom died...
379
00:24:27,217 --> 00:24:32,931
CRETTON: There is something
that we are tracking throughout
380
00:24:33,014 --> 00:24:36,560
this training montage of Shang-Chi.
381
00:24:37,686 --> 00:24:40,730
The obvious thing is Shang-Chi
being trained by his dad
382
00:24:40,814 --> 00:24:46,194
and the very complicated relationship
383
00:24:46,278 --> 00:24:47,571
that is being built there
384
00:24:47,654 --> 00:24:52,159
that's a mixture of love and abuse.
385
00:24:53,368 --> 00:24:57,122
But we're also more subtly
386
00:24:57,205 --> 00:25:00,542
tracking his sister Xialing's story
387
00:25:01,668 --> 00:25:06,756
and getting glimpses
of what her life was like,
388
00:25:06,840 --> 00:25:09,509
being pushed into the shadows
389
00:25:09,593 --> 00:25:12,345
as all of the focus
is put on her brother.
390
00:25:18,435 --> 00:25:22,230
CALLAHAM: This is also our first look
at Death Dealer,
391
00:25:22,314 --> 00:25:24,107
in the blue with the mask.
392
00:25:25,984 --> 00:25:28,612
CRETTON: Now,
Death Dealer in the comics was...
393
00:25:29,362 --> 00:25:30,572
His design
394
00:25:30,655 --> 00:25:37,078
was a lot more inspired by skulls.
395
00:25:41,291 --> 00:25:45,670
In our movie, our visual development
supervisor, Andy Park,
396
00:25:45,754 --> 00:25:49,507
and his incredible team
came up with a Death Dealer
397
00:25:49,591 --> 00:25:54,262
that is inspired by Chinese opera masks.
398
00:25:56,348 --> 00:25:59,184
And I think the upgrade
399
00:25:59,267 --> 00:26:01,728
that they gave
Death Dealer is pretty cool.
400
00:26:01,811 --> 00:26:03,980
I can only offer you beef or vegetarian.
401
00:26:04,439 --> 00:26:05,607
BOTH: Um...
402
00:26:05,690 --> 00:26:08,068
- Vegetarian would be great.
- Yeah, same.
403
00:26:08,151 --> 00:26:09,569
- FLIGHT ATTENDANT: Okay.
- Thank you.
404
00:26:10,403 --> 00:26:11,488
So...
405
00:26:11,571 --> 00:26:14,699
CRETTON: This aeroplane joke
was something that
406
00:26:14,783 --> 00:26:17,202
Dave Callaham pitched very early on,
407
00:26:18,161 --> 00:26:21,289
and it's stuck around
all the way to the end.
408
00:26:21,373 --> 00:26:25,752
- (CALLAHAM CHUCKLES)
- CRETTON: We always hate...
409
00:26:25,835 --> 00:26:28,505
I think it was like
410
00:26:28,755 --> 00:26:32,926
we just really hated the expository,
411
00:26:33,426 --> 00:26:38,974
here's the serious exposition
of what my life was like
412
00:26:39,057 --> 00:26:40,684
being raised as an assassin,
413
00:26:40,767 --> 00:26:45,272
and Dave's very smart joke pitch
414
00:26:45,355 --> 00:26:51,903
was to hard cut
to an interruption on the aeroplane
415
00:26:52,654 --> 00:26:55,740
that snaps us back into reality.
416
00:26:55,824 --> 00:26:57,242
I'm sorry about your mom.
417
00:27:00,662 --> 00:27:02,289
CALLAHAM: Yeah,
this killed two birds for us
418
00:27:02,372 --> 00:27:04,666
because you always get these scenes.
419
00:27:04,791 --> 00:27:08,837
All of these movies end up having these
deep backstory expository scenes
420
00:27:08,920 --> 00:27:13,466
which are very hard to write
without them starting to go on,
421
00:27:13,550 --> 00:27:16,678
and sometimes the characters
are having these conversations
422
00:27:16,761 --> 00:27:19,139
in locations like this,
and it seems totally bonkers
423
00:27:19,222 --> 00:27:20,807
that these two people
are having this conversation,
424
00:27:20,932 --> 00:27:23,310
and there's people sitting around
and whatnot.
425
00:27:23,393 --> 00:27:27,397
So this seemed like a fun way
to have fun with that idea.
426
00:27:27,856 --> 00:27:33,153
And it also allowed us to get to Macau,
because we also,
427
00:27:33,278 --> 00:27:36,865
Destin and I, both were concerned about
how characters will suddenly
428
00:27:36,948 --> 00:27:40,744
just appear in the next location
on the other side of the world
429
00:27:40,827 --> 00:27:43,121
without seemingly having
had any conversations at all.
430
00:27:43,204 --> 00:27:48,501
So here we have...
For all those fans of travel in movies.
431
00:27:48,710 --> 00:27:53,757
CRETTON: At one point, didn't we have
a whole sequence
432
00:27:53,840 --> 00:27:56,259
where they were just travelling
433
00:27:56,343 --> 00:28:01,681
and time-jumping through
a 13-hour trip to Macau?
434
00:28:01,765 --> 00:28:04,225
CALLAHAM: Yeah, there's versions
of that conversation
435
00:28:04,309 --> 00:28:05,810
that are much longer, for sure.
436
00:28:07,437 --> 00:28:08,438
I love these shots.
437
00:28:08,563 --> 00:28:10,899
CRETTON: Yeah,
I really love how this turned out.
438
00:28:13,026 --> 00:28:18,198
It was very difficult to shoot
this sequence during COVID times.
439
00:28:18,615 --> 00:28:22,160
It's a combination of a few teams.
440
00:28:22,786 --> 00:28:24,954
Some of it was shot in Sydney.
441
00:28:25,038 --> 00:28:30,919
Some was shot in Macau
and some was shot in Hong Kong remotely.
442
00:28:32,420 --> 00:28:34,672
CALLAHAM: I love the look
on Katy's face there.
443
00:28:34,756 --> 00:28:38,426
That was always something
we wanted for her to present.
444
00:28:38,593 --> 00:28:43,723
Just her excitement at seeing
the vibrancy of this Asian culture
445
00:28:43,807 --> 00:28:45,975
that she's never gotten
to experience in this way.
446
00:28:46,059 --> 00:28:47,060
Just... I love that.
447
00:28:47,435 --> 00:28:48,603
CRETTON: Yeah.
448
00:28:49,938 --> 00:28:51,731
CALLAHAM: This guy's tattoos are based
on my tattoos, I think, right?
449
00:28:51,815 --> 00:28:54,067
CRETTON: I think they're... (LAUGHING)
450
00:28:54,150 --> 00:28:58,321
CALLAHAM: Is that me?
CRETTON: No... You'll laugh about that,
451
00:28:58,405 --> 00:29:04,619
but I actually think I gave a photo
of you to Sue Chan to... (LAUGHING)
452
00:29:06,871 --> 00:29:10,708
CALLAHAM: It was like, "Hey,
can this scumbag look like the writer?"
453
00:29:12,460 --> 00:29:16,297
CRETTON: Ronny Chieng as Jon Jon.
454
00:29:17,882 --> 00:29:20,593
I just love Ronny so much.
455
00:29:21,970 --> 00:29:25,098
Ronny has never looked
like this before in his life.
456
00:29:25,515 --> 00:29:30,145
I remember when I showed him
the photo of the haircut
457
00:29:30,228 --> 00:29:31,938
I wanted to give him
458
00:29:33,022 --> 00:29:38,528
and watched him just use
all of his acting ability
459
00:29:38,611 --> 00:29:41,406
to act like he thought it would be cool.
460
00:29:42,115 --> 00:29:43,533
CALLAHAM: I think it is cool.
461
00:29:43,616 --> 00:29:44,701
CRETTON: He looks great.
462
00:29:44,784 --> 00:29:46,411
- I think he looks great.
- CALLAHAM: Looks really good.
463
00:29:47,287 --> 00:29:53,334
Some fun MCU Easter eggs
during this walk
464
00:29:53,460 --> 00:29:54,919
for the fans.
465
00:29:55,003 --> 00:29:57,714
CRETTON: Spike Face is not one of them.
466
00:29:57,797 --> 00:29:59,632
CALLAHAM: No.
But could be in the future.
467
00:29:59,841 --> 00:30:00,842
CRETTON: Yes.
468
00:30:00,925 --> 00:30:02,802
CALLAHAM: Spike Face,
Disney Plus spinoff.
469
00:30:02,886 --> 00:30:04,095
(BOTH CHUCKLE)
470
00:30:05,638 --> 00:30:10,977
CRETTON: Here we have
one of the Black Widows
471
00:30:11,060 --> 00:30:12,729
from Black Widow
472
00:30:12,812 --> 00:30:16,566
that you may recognise, and...
473
00:30:17,901 --> 00:30:19,360
- What's that other guy?
- CALLAHAM: Fighting...
474
00:30:20,278 --> 00:30:24,741
It's a soldier representing
the Extremis plot line
475
00:30:24,824 --> 00:30:26,659
of Iron Man 3.
476
00:30:27,160 --> 00:30:32,207
And here, a more obvious...
Easter egg is probably not the word,
477
00:30:32,290 --> 00:30:35,835
but this here's the Abomination
fighting Wong,
478
00:30:35,919 --> 00:30:37,629
which got a lot of attention
in the trailer.
479
00:30:37,795 --> 00:30:39,672
You want me to show you how it feels?
480
00:30:39,756 --> 00:30:44,385
CRETTON: Did they name Wong
after Benedict Wong?
481
00:30:44,469 --> 00:30:47,055
CALLAHAM: No, that's his name
in the comics. (LAUGHS)
482
00:30:47,472 --> 00:30:48,890
(CROWD CHEERING)
483
00:30:48,973 --> 00:30:51,476
CROWD: (CHANTING)
Wong! Wong! Wong!
484
00:30:51,559 --> 00:30:54,562
Wong! Wong! Wong!
485
00:30:54,646 --> 00:30:56,314
Go, Wong!
486
00:30:56,397 --> 00:30:58,107
I always bet on Asian.
487
00:30:58,191 --> 00:30:59,484
Oh, my God.
488
00:30:59,567 --> 00:31:01,486
Yeah, look, I'm not
going up there, okay?
489
00:31:01,569 --> 00:31:02,737
- I'm just trying to...
- Whoa, whoa, whoa.
490
00:31:02,820 --> 00:31:03,988
It's too late to back out now.
491
00:31:04,072 --> 00:31:05,782
- You already committed, bro.
- SHANG-CHI: What?
492
00:31:05,865 --> 00:31:07,742
JON JON: You signed
the contract, remember?
493
00:31:07,825 --> 00:31:09,202
Your name's on the roster.
494
00:31:09,285 --> 00:31:11,287
The bets are piling in.
495
00:31:11,371 --> 00:31:13,790
- Really? What's our cut?
- Oh, it's huge.
496
00:31:13,873 --> 00:31:14,874
It doesn't matter.
497
00:31:14,958 --> 00:31:16,376
It matters.
498
00:31:16,459 --> 00:31:18,836
Dude, I saw you fight five assassins
499
00:31:18,920 --> 00:31:20,922
and a giant Romanian
with a razor for an arm
500
00:31:21,005 --> 00:31:22,340
on a moving bus.
501
00:31:22,423 --> 00:31:23,758
This is just one guy.
502
00:31:23,841 --> 00:31:26,177
Just do it. Then we all get paid,
503
00:31:26,261 --> 00:31:29,472
and then I'll help you find
whoever you're looking for.
504
00:31:29,556 --> 00:31:31,182
Come on. You got this.
505
00:31:31,266 --> 00:31:32,642
- JON JON: You got this.
- Don't be nervous.
506
00:31:32,725 --> 00:31:33,726
Thank you.
507
00:31:33,810 --> 00:31:35,019
- KATY: Yeah.
- Yeah.
508
00:31:39,274 --> 00:31:42,485
CRETTON: This fight club is...
509
00:31:43,736 --> 00:31:45,196
It's all real.
510
00:31:45,280 --> 00:31:49,534
This was one of our bigger sets
that Sue Chan built
511
00:31:49,617 --> 00:31:52,120
and you can walk
through the entire thing.
512
00:31:52,495 --> 00:31:57,166
This isn't chopped up
and put in different locations.
513
00:31:57,250 --> 00:31:59,335
You can... This is one giant set
514
00:32:00,086 --> 00:32:05,675
that was all built out of metal
and giant shipping containers.
515
00:32:05,800 --> 00:32:08,011
It was a really beautiful set.
516
00:32:08,094 --> 00:32:11,764
This fight ring is also all real.
517
00:32:11,848 --> 00:32:14,767
JON JON: It's Bus Boy!
518
00:32:14,851 --> 00:32:16,269
(SCATTERED CHEERING)
519
00:32:18,896 --> 00:32:20,565
What happened to your shirt?
520
00:32:21,774 --> 00:32:24,193
(TRADITIONAL DRUM MUSIC
PLAYING ON SPEAKER)
521
00:32:24,944 --> 00:32:27,572
JON JON: And his opponent for tonight,
522
00:32:28,114 --> 00:32:31,242
it's Macau's own fearsome killer...
523
00:32:33,328 --> 00:32:37,790
Xu Xialing!
524
00:32:37,874 --> 00:32:39,709
(CROWD CHEERING LOUDLY)
525
00:32:42,170 --> 00:32:43,379
(SPEAKING MANDARIN)
526
00:32:44,047 --> 00:32:45,131
(GRUNTS)
527
00:32:45,506 --> 00:32:46,674
(IN ENGLISH) Wait, wait!
528
00:32:48,635 --> 00:32:49,886
(SPEAKING MANDARIN)
529
00:32:49,969 --> 00:32:51,387
(BOTH GRUNTING)
530
00:33:14,911 --> 00:33:16,412
JON JON: (IN ENGLISH)
Ooh, that's gotta hurt.
531
00:33:23,378 --> 00:33:24,796
(SPEAKING MANDARIN)
532
00:33:40,478 --> 00:33:43,022
CALLAHAM:
Tell us how you cast Meng'er.
533
00:33:43,106 --> 00:33:44,399
Because as far as I understand it,
534
00:33:44,524 --> 00:33:46,025
that she's never been
in a movie before, right?
535
00:33:48,152 --> 00:33:51,823
CRETTON: Meng'er was found by
our casting director, Sarah Finn.
536
00:33:51,906 --> 00:33:54,450
Meng'er was
537
00:33:55,493 --> 00:34:00,206
working in a musical theatre
in Shanghai,
538
00:34:00,832 --> 00:34:04,669
and she sent in an audition,
539
00:34:05,420 --> 00:34:08,548
and there was just something really
540
00:34:10,633 --> 00:34:15,096
playful about the way
that she performed the character
541
00:34:15,179 --> 00:34:17,265
that was really unique,
542
00:34:18,516 --> 00:34:20,852
and we flew her down to Sydney
543
00:34:21,144 --> 00:34:25,106
to play with Simu,
544
00:34:25,773 --> 00:34:30,987
and they're... I mean, to this day,
they are like brother and sister.
545
00:34:31,446 --> 00:34:34,574
Their chemistry is just
so great together.
546
00:34:35,908 --> 00:34:42,540
And Meng'er is... I don't know,
she's a really special actor,
547
00:34:42,623 --> 00:34:43,958
and she was the perfect person
548
00:34:44,041 --> 00:34:49,964
to play this character
that is really a soft child
549
00:34:50,047 --> 00:34:54,802
on the inside
that has been hardened by years
550
00:34:54,886 --> 00:34:58,097
of putting up walls
in order to protect herself.
551
00:34:58,723 --> 00:35:02,226
And Meng'er, I think,
captures that really beautifully.
552
00:35:06,522 --> 00:35:10,902
CALLAHAM: She's great. I love that we're
looking at these two siblings,
553
00:35:11,110 --> 00:35:14,489
arguably, two of the centrepieces,
obviously of the movie.
554
00:35:15,323 --> 00:35:20,286
They're both pretty new
to the world of these blockbuster films,
555
00:35:20,411 --> 00:35:23,539
and you get to watch
these careers blossoming.
556
00:35:23,623 --> 00:35:24,707
It's just one of the things
557
00:35:24,832 --> 00:35:27,376
I think is really exciting
about this movie and special.
558
00:35:35,134 --> 00:35:36,552
(SPEAKING MANDARIN)
559
00:35:39,305 --> 00:35:40,306
(DOOR BEEPS)
560
00:35:42,141 --> 00:35:43,851
(IN ENGLISH) Where'd you
get all that money?
561
00:35:45,144 --> 00:35:50,691
CRETTON: This is the moment of the movie
that we start to see
562
00:35:51,526 --> 00:35:56,280
the core theme of our movie unravelling.
563
00:35:56,697 --> 00:36:00,910
And we're seeing these siblings
564
00:36:02,620 --> 00:36:04,413
much later in their life,
565
00:36:05,414 --> 00:36:11,337
in the personas that they created
566
00:36:11,462 --> 00:36:16,050
in order to adapt or protect themselves
567
00:36:17,802 --> 00:36:21,097
ever since a giant tragedy
happened to them,
568
00:36:21,180 --> 00:36:26,018
and that, at its core,
569
00:36:26,102 --> 00:36:29,063
is what this movie is looking at.
570
00:36:30,147 --> 00:36:35,862
We see a family that is broken
571
00:36:36,028 --> 00:36:39,407
and shattered by a tragedy,
572
00:36:39,699 --> 00:36:44,829
and we're seeing all these characters
react to that differently.
573
00:36:46,330 --> 00:36:50,459
And I think the way...
In this particular scene,
574
00:36:50,585 --> 00:36:56,841
the way that Xialing plays it,
I think, is so subtle and layered.
575
00:36:57,508 --> 00:36:59,969
CALLAHAM: It's really lovely to see it.
576
00:37:00,970 --> 00:37:02,388
XIALING: What postcard?
577
00:37:10,605 --> 00:37:11,772
CALLAHAM: It took us a long time,
578
00:37:11,898 --> 00:37:16,527
I remember, to land on exactly
what Xialing had done with her life
579
00:37:16,611 --> 00:37:18,237
and where she was in this moment.
580
00:37:18,487 --> 00:37:22,867
And I think it's great
that we ended up where we did,
581
00:37:22,950 --> 00:37:26,454
where these two kids grew up
under the same circumstances...
582
00:37:26,537 --> 00:37:31,709
Versions of the same circumstances,
and one has run as far away as possible.
583
00:37:31,792 --> 00:37:34,045
And the other, though,
has also run away,
584
00:37:34,128 --> 00:37:39,342
but has simultaneously stepped into
the shoes of her father in a way,
585
00:37:39,425 --> 00:37:43,596
which is an interesting thing
that we all do sometimes.
586
00:37:44,430 --> 00:37:46,349
CRETTON: Do you remember, Dave,
587
00:37:46,432 --> 00:37:51,062
when there is a moment
when Jonathan said...
588
00:37:51,145 --> 00:37:55,608
Our producer, Jonathan Schwartz,
who was really in the room with us
589
00:37:55,691 --> 00:37:59,236
from day one, the writers' room,
day one all the way to the end.
590
00:37:59,612 --> 00:38:05,201
But there was a day that he said,
591
00:38:05,534 --> 00:38:07,203
"What if her club was a fight club?"
592
00:38:07,870 --> 00:38:09,121
Do you remember that?
593
00:38:10,331 --> 00:38:11,415
(BOTH CHUCKLE)
594
00:38:11,540 --> 00:38:14,001
CALLAHAM: We had a lot of problems
until the fight club,
595
00:38:14,085 --> 00:38:16,587
because there... Then after that,
596
00:38:16,712 --> 00:38:19,048
one of the days I remember the most was,
597
00:38:19,131 --> 00:38:21,842
we got very stuck at some point,
598
00:38:22,051 --> 00:38:24,387
I don't remember the specific details
599
00:38:24,470 --> 00:38:26,973
of what was going to happen
in that fight club.
600
00:38:27,056 --> 00:38:32,687
And then one day it was like, "What if
the person he's fighting is his sister?"
601
00:38:32,895 --> 00:38:35,648
CRETTON: Yeah, yeah, yeah.
CALLAHAM: We didn't start there.
602
00:38:35,815 --> 00:38:38,150
Which, when you look back now,
603
00:38:38,234 --> 00:38:40,778
it seems insane that there was ever
any other idea on the table, but...
604
00:38:40,861 --> 00:38:41,862
CRETTON: Yeah.
605
00:38:42,321 --> 00:38:44,824
CALLAHAM:
That opened up the whole story.
606
00:38:44,907 --> 00:38:47,910
And then here we have
the bamboo fight scene,
607
00:38:47,994 --> 00:38:51,956
which I don't remember exactly
when this idea came,
608
00:38:52,039 --> 00:38:53,457
but it was early.
609
00:38:53,666 --> 00:38:58,963
And I remember seeing fight vis
for this early in the writing process.
610
00:38:59,046 --> 00:39:01,465
CRETTON: This was another...
611
00:39:06,095 --> 00:39:11,475
It was another brainstorm as to
what is another environment
612
00:39:11,559 --> 00:39:13,185
that we can put our characters in
613
00:39:13,269 --> 00:39:15,312
that would create a fight
that is just unique.
614
00:39:15,396 --> 00:39:18,774
So, we came up with these ideas
for environments
615
00:39:18,858 --> 00:39:21,318
that our choreographers
could just riff on
616
00:39:21,402 --> 00:39:23,696
and create something really cool from.
617
00:39:25,072 --> 00:39:30,995
We have seen
bamboo scaffolding fights before.
618
00:39:31,078 --> 00:39:33,664
(SINGING HOTEL CALIFORNIA BY EAGLES)
On a dark desert highway
619
00:39:34,165 --> 00:39:35,458
Cool wind in my hair
620
00:39:35,541 --> 00:39:38,085
CRETTON: I think there's one
in 36th Chamber, isn't there?
621
00:39:38,210 --> 00:39:39,211
I'm pretty sure there is one.
622
00:39:39,503 --> 00:39:43,466
CALLAHAM: Yeah, there's a couple of 'em.
Jackie's done them before.
623
00:39:43,549 --> 00:39:46,427
- And there's one in...
- CRETTON: I think Rush Hour has one.
624
00:39:47,678 --> 00:39:51,140
CALLAHAM: Yeah.
CRETTON: But we thought
625
00:39:51,265 --> 00:39:54,602
one of the unique things
that we wanted to add
626
00:39:55,770 --> 00:40:01,734
to the history of
bamboo scaffolding fights,
627
00:40:02,109 --> 00:40:08,324
is putting it really high up in the air
on a skyscraper.
628
00:40:09,950 --> 00:40:11,285
CALLAHAM: I do remember that.
629
00:40:11,410 --> 00:40:13,954
Somebody had shown us in the room
630
00:40:14,038 --> 00:40:17,458
these pictures, right,
of locations where you'll have
631
00:40:17,583 --> 00:40:21,670
this incredible dichotomy
of this incredibly modern structure
632
00:40:21,754 --> 00:40:24,006
that's going up in Hong Kong
and places like that.
633
00:40:24,715 --> 00:40:27,760
But they're still using
bamboo scaffolding
634
00:40:27,885 --> 00:40:29,887
to accomplish that
in a lot of the areas.
635
00:40:30,262 --> 00:40:33,516
That's, I think,
part of what we seized on.
636
00:40:33,599 --> 00:40:34,850
CRETTON: Yeah.
637
00:40:35,726 --> 00:40:40,022
There was a time when
638
00:40:40,147 --> 00:40:43,651
there was going to be a giant explosion
and all that scaffolding
639
00:40:43,734 --> 00:40:48,614
was gonna peel off
and bash into another building.
640
00:40:48,697 --> 00:40:50,699
But we didn't do that.
641
00:40:51,575 --> 00:40:52,785
CALLAHAM: (CHUCKLES) On fire.
642
00:40:53,285 --> 00:40:55,996
CRETTON: (LAUGHING) Yes.
CALLAHAM: Make it simple.
643
00:40:56,080 --> 00:40:58,666
The other cool thing
about this sequence is,
644
00:40:59,083 --> 00:41:00,668
the challenge, really...
645
00:41:00,793 --> 00:41:03,921
My memory of the challenge
was, on the writing side,
646
00:41:04,338 --> 00:41:07,007
that we had the two siblings
647
00:41:07,591 --> 00:41:10,636
the fighting alongside
each other sort of,
648
00:41:10,719 --> 00:41:12,930
but they have different fighting styles
649
00:41:13,013 --> 00:41:16,350
and different philosophies
on how to handle themselves
650
00:41:16,433 --> 00:41:18,352
in this situation,
and we wanted to make sure
651
00:41:18,435 --> 00:41:21,021
that we were demonstrating
the togetherness
652
00:41:21,147 --> 00:41:22,690
but how far they'd grown apart
653
00:41:22,773 --> 00:41:24,692
inside of the story
of the fight, which...
654
00:41:24,775 --> 00:41:28,404
That was, for me, the hard part,
655
00:41:28,737 --> 00:41:30,364
because I didn't have to choreograph it.
656
00:41:30,447 --> 00:41:32,825
CRETTON: But I do think
that was something
657
00:41:32,908 --> 00:41:37,371
that Brad Allan and his team
were so good at,
658
00:41:37,496 --> 00:41:42,209
was really asking over and over,
659
00:41:42,710 --> 00:41:46,130
"What is the context
of the story of the fight?"
660
00:41:46,463 --> 00:41:51,594
What are these characters
going through and what is the fight
661
00:41:51,677 --> 00:41:56,307
telling us about their relationship
or where they are in their life?
662
00:41:57,141 --> 00:42:03,147
And there really is not
a fight sequence in this movie
663
00:42:03,230 --> 00:42:04,982
that is not doing that.
664
00:42:05,399 --> 00:42:09,904
Even this fight here between
Death Dealer and Shang-Chi,
665
00:42:09,987 --> 00:42:13,157
it's not just two people
having a knife fight.
666
00:42:13,240 --> 00:42:17,077
This is a fight between Shang-Chi
667
00:42:17,161 --> 00:42:24,168
and the guy who trained him
as a young man,
668
00:42:24,251 --> 00:42:25,794
who trained him to kill.
669
00:42:26,420 --> 00:42:29,298
And this scene really is about
670
00:42:29,506 --> 00:42:34,011
Shang-Chi fighting himself,
fighting the urge to get back
671
00:42:34,094 --> 00:42:37,473
into who he was as a child
and what he was taught.
672
00:42:38,474 --> 00:42:41,018
And there's a moment in here
when he almost does.
673
00:42:41,143 --> 00:42:43,812
The guy who taught him his aggression,
674
00:42:43,896 --> 00:42:46,148
and he goes for it, and then he stopped.
675
00:42:51,320 --> 00:42:53,072
CALLAHAM:
Before we get into what happens next,
676
00:42:53,155 --> 00:42:58,786
I just want to say, Simu seems
like he can run really fast.
677
00:42:59,620 --> 00:43:01,705
In that previous shot of him
running down the hall,
678
00:43:01,789 --> 00:43:04,041
he looks like he's moving
very, very quickly.
679
00:43:04,166 --> 00:43:08,128
CRETTON: Yeah, every time he was
doing his running scene,
680
00:43:08,212 --> 00:43:14,051
I would look at Simu and just say,
"Just tap into Tom Cruise.
681
00:43:14,218 --> 00:43:16,720
"You just got to go
for the Tom Cruise run."
682
00:43:18,347 --> 00:43:19,765
CALLAHAM:
It's just a really good movie run.
683
00:43:19,890 --> 00:43:23,477
I'm just saying, as a fan of movie runs.
684
00:43:23,560 --> 00:43:25,854
CRETTON: It's a great run.
685
00:43:43,038 --> 00:43:47,418
I think this is, I guess, what you would
686
00:43:47,501 --> 00:43:51,422
technically call the beginning
of our second act.
687
00:43:52,965 --> 00:43:53,966
CALLAHAM: Yeah.
688
00:43:54,049 --> 00:43:58,679
CRETTON: When Shang-Chi
is forced to go back
689
00:43:58,762 --> 00:44:01,348
to the place he started
and face all the things
690
00:44:01,432 --> 00:44:02,850
that he's been running from.
691
00:44:04,518 --> 00:44:06,687
It's also important to remember that,
692
00:44:07,396 --> 00:44:11,025
though this is a story that is
primarily following Shang-Chi,
693
00:44:11,567 --> 00:44:16,363
it's also Xialing's story and we are...
694
00:44:16,447 --> 00:44:19,241
She's going through
very similar emotions that he is.
695
00:44:19,325 --> 00:44:20,534
My son is home.
696
00:44:25,122 --> 00:44:26,623
Take the girls to their room.
697
00:44:29,752 --> 00:44:32,838
CALLAHAM: It was a lot of fun to think
about this fortress, I remember,
698
00:44:32,921 --> 00:44:37,468
because we knew early on that we needed
to conceive of the kind of place
699
00:44:37,551 --> 00:44:44,350
where somebody could have been holed up
for hundreds of years, building power.
700
00:44:45,642 --> 00:44:46,852
So that was cool.
701
00:44:46,935 --> 00:44:49,188
CRETTON: And a base
that he could actually,
702
00:44:49,271 --> 00:44:56,070
believably be orchestrating
all of the things
703
00:44:56,153 --> 00:45:01,075
that the Ten Rings have their hands in
throughout the world.
704
00:45:02,868 --> 00:45:04,828
He said he couldn't look at me...
705
00:45:04,912 --> 00:45:07,081
CRETTON: This scene was really important
706
00:45:07,164 --> 00:45:11,001
for Xialing and Katy to...
707
00:45:11,085 --> 00:45:17,132
We always knew it was really
important to give them a moment.
708
00:45:19,510 --> 00:45:24,473
As the female leads of our movie,
to have to have a moment together.
709
00:45:26,308 --> 00:45:28,644
You started an underground
fight ring in Macau...
710
00:45:28,727 --> 00:45:32,606
CRETTON: This was a pretty important
moment for Xialing as a character.
711
00:45:33,107 --> 00:45:35,943
If my dad won't let me into his empire,
712
00:45:36,026 --> 00:45:37,653
I'm gonna build my own.
713
00:45:38,862 --> 00:45:40,072
Hell yeah.
714
00:45:42,699 --> 00:45:44,785
CRETTON: It's also a bit of a set-up
715
00:45:44,868 --> 00:45:48,038
for where she goes
toward the end of this movie.
716
00:45:49,331 --> 00:45:51,333
(SENTIMENTAL MUSIC PLAYING)
717
00:45:56,880 --> 00:45:58,757
(GRUNTING)
718
00:45:58,841 --> 00:45:59,842
CRETTON: That post...
719
00:46:01,593 --> 00:46:03,053
For those of you who are worried
720
00:46:03,137 --> 00:46:09,768
about our young actor's fist,
was made of foam.
721
00:46:10,644 --> 00:46:11,854
(SPEAKING MANDARIN)
722
00:46:19,611 --> 00:46:21,613
CRETTON: This shot of Tony
was shot in Hong Kong.
723
00:46:21,697 --> 00:46:24,950
This shot was shot in Los Angeles.
724
00:46:25,200 --> 00:46:30,372
This shot was half shot in Hong Kong
and half shot in Los Angeles.
725
00:46:33,083 --> 00:46:35,669
That shot was shot in Hong Kong.
726
00:46:36,211 --> 00:46:37,463
That's in LA.
727
00:46:38,172 --> 00:46:39,173
Hong Kong.
728
00:46:39,840 --> 00:46:42,593
...you have to show me
you're strong enough to carry them.
729
00:46:42,676 --> 00:46:46,096
CALLAHAM: In retrospect, I wish you had
done this for the entire commentary.
730
00:46:46,180 --> 00:46:47,181
(CRETTON LAUGHS)
731
00:46:47,264 --> 00:46:50,851
CRETTON: LA.
Now, to blow your mind, Dave,
732
00:46:51,059 --> 00:46:54,771
the background
of all those shots, Sydney.
733
00:46:55,939 --> 00:46:58,567
(BOTH LAUGH)
734
00:46:59,526 --> 00:47:02,321
CALLAHAM: Incredible. The future is now.
735
00:47:04,907 --> 00:47:08,535
This was like the other
incredibly critical sequence
736
00:47:08,619 --> 00:47:11,288
that we always knew from day one
had to happen in this movie,
737
00:47:11,371 --> 00:47:12,664
the family dinner.
738
00:47:13,832 --> 00:47:18,128
CRETTON: This family dinner is,
in a lot of ways,
739
00:47:19,755 --> 00:47:24,468
a mirror opposite
of the family breakfast scene
740
00:47:24,551 --> 00:47:28,055
that we have in Act 1 of the movie
in Katy's house.
741
00:47:29,348 --> 00:47:34,853
And this is the emotional set-up
742
00:47:35,020 --> 00:47:37,773
where, if you're watching
743
00:47:37,856 --> 00:47:41,360
Simu's performance in that Act 1 scene,
744
00:47:41,443 --> 00:47:44,613
the payoff to that is here where
745
00:47:44,696 --> 00:47:49,326
all of the family dynamics
that he has buried inside him
746
00:47:49,409 --> 00:47:50,786
comes out.
747
00:47:54,456 --> 00:47:56,124
This is also, I think,
748
00:47:58,168 --> 00:48:03,173
the moment in the movie that we
749
00:48:03,840 --> 00:48:06,176
really see who Wenwu is.
750
00:48:07,177 --> 00:48:09,054
One thing we haven't really talked about
751
00:48:09,137 --> 00:48:15,978
is the baggage that that character
752
00:48:16,103 --> 00:48:18,272
carried into the writing process,
753
00:48:18,355 --> 00:48:23,360
and what we were battling
from the get-go.
754
00:48:25,487 --> 00:48:30,617
Dave was on this movie
even before I came in.
755
00:48:33,370 --> 00:48:35,539
What did you think of that?
756
00:48:36,331 --> 00:48:41,378
CALLAHAM: Well, yeah. So just to get
into that a little bit, in the comics,
757
00:48:41,461 --> 00:48:44,089
Shang-Chi, at one point, initially
758
00:48:44,172 --> 00:48:47,092
was the son of a character
called Fu Manchu,
759
00:48:47,175 --> 00:48:51,471
which is an obviously deeply problematic
stereotypical character
760
00:48:51,555 --> 00:48:54,099
that was borrowed
from previous storytelling.
761
00:48:54,182 --> 00:48:59,062
And then Marvel changed
that character to the Mandarin.
762
00:48:59,521 --> 00:49:05,360
Who became very well-liked
and known among comic book fans
763
00:49:05,444 --> 00:49:07,321
and then eventually that character
764
00:49:07,404 --> 00:49:09,990
became a character
called Zhuang Zhou, I believe.
765
00:49:10,073 --> 00:49:14,411
But all of them were depicted in a way
that wasn't particularly helpful,
766
00:49:14,494 --> 00:49:17,623
or it was always a bit problematic.
767
00:49:17,706 --> 00:49:19,082
And so even when we knew
768
00:49:19,166 --> 00:49:21,752
that we were going to be painting
769
00:49:21,835 --> 00:49:24,463
an entirely new picture
of this character...
770
00:49:25,005 --> 00:49:26,673
He was going to be named Wenwu,
771
00:49:26,757 --> 00:49:28,717
he was going to be
a three-dimensional character
772
00:49:28,842 --> 00:49:31,428
that had really
no relationship whatsoever
773
00:49:31,511 --> 00:49:34,556
with those previous iterations.
774
00:49:35,557 --> 00:49:38,060
Part of the baggage that we inherited
was that he was still
775
00:49:38,143 --> 00:49:41,980
the leader of The Ten Rings,
which meant inside of the MCU canon,
776
00:49:42,105 --> 00:49:46,568
in Iron Man 3 he had been
referred to as the Mandarin,
777
00:49:46,652 --> 00:49:50,322
which is a name that itself
is considered problematic
778
00:49:50,405 --> 00:49:53,950
and is not particularly helpful
to any of us making this movie.
779
00:49:54,034 --> 00:49:56,536
And so we had a lot of conversations,
780
00:49:56,620 --> 00:50:02,709
Destin and I especially,
about how do we account for the stuff
781
00:50:02,793 --> 00:50:06,338
that's been put before us,
but set that record straight
782
00:50:06,421 --> 00:50:09,508
and come up with a storyline
that allows Wenwu to breathe
783
00:50:09,591 --> 00:50:12,177
as this three-dimensional character
and simultaneously
784
00:50:12,886 --> 00:50:16,181
establish why he would have been
called the Mandarin by certain people.
785
00:50:16,264 --> 00:50:20,602
And what we ended up with
was a version where
786
00:50:20,686 --> 00:50:23,480
it's a name that
had been applied to him,
787
00:50:23,563 --> 00:50:25,774
but primarily by people who probably
788
00:50:25,857 --> 00:50:27,943
didn't understand him,
or his culture as well.
789
00:50:28,694 --> 00:50:30,487
And it's never a name that I suspect
790
00:50:30,570 --> 00:50:33,073
that he ever
would have chosen for himself.
791
00:50:34,491 --> 00:50:39,788
CRETTON: When I was talking to Tony
about the character,
792
00:50:39,871 --> 00:50:44,376
the Wenwu character,
there was a moment on set
793
00:50:45,419 --> 00:50:48,588
when he told me...
794
00:50:49,506 --> 00:50:52,592
We started talking about whether
795
00:50:53,009 --> 00:50:56,722
Wenwu has the ability
796
00:50:56,805 --> 00:51:00,892
to love, genuinely love his family
797
00:51:02,644 --> 00:51:08,191
and Tony emphatically said, "Yes."
798
00:51:08,275 --> 00:51:10,861
He said Wenwu
799
00:51:11,153 --> 00:51:16,616
genuinely, deeply loves
not only his wife but also his kids.
800
00:51:18,744 --> 00:51:23,707
But he said his problem
is he doesn't know how.
801
00:51:23,790 --> 00:51:27,961
And when Tony told me that,
802
00:51:28,044 --> 00:51:31,965
it's like this character
just clicked into place.
803
00:51:32,048 --> 00:51:36,970
And when you watch Tony's
performance through that lens,
804
00:51:37,053 --> 00:51:42,350
it really makes so much sense,
that this man
805
00:51:43,602 --> 00:51:47,272
is not necessarily evil.
806
00:51:47,355 --> 00:51:51,818
He is lost and broken
807
00:51:51,902 --> 00:51:56,281
and doing things
that arguably are very evil.
808
00:51:56,364 --> 00:52:01,036
But I think the way Tony played him
is that
809
00:52:02,287 --> 00:52:05,248
rooted in every evil deed
810
00:52:05,332 --> 00:52:11,671
is this pain that is a result
of a lost love.
811
00:52:13,006 --> 00:52:15,926
CALLAHAM: That's probably the thing that
differentiates this character the most
812
00:52:16,009 --> 00:52:18,094
from anything that we've
ever seen in the comics as well.
813
00:52:18,178 --> 00:52:19,721
Because any of those characters
814
00:52:19,805 --> 00:52:20,847
that have been depicted
as Shang-Chi's father
815
00:52:22,015 --> 00:52:26,436
have always been... Moustache-twirling
might not be the exact right word,
816
00:52:26,520 --> 00:52:30,649
but are very arch, very supervillainy.
817
00:52:31,191 --> 00:52:33,485
Love is not a characteristic
that I ever saw
818
00:52:33,568 --> 00:52:35,529
in any of those books
in those characters,
819
00:52:35,612 --> 00:52:37,113
and so that's a thing
that I think really
820
00:52:38,114 --> 00:52:40,283
sets him apart.
821
00:52:40,367 --> 00:52:45,747
CRETTON: Yeah,
I really relate to Tony's Wenwu.
822
00:52:45,872 --> 00:52:48,792
CALLAHAM: This sequence...
CRETTON: This is really cool.
823
00:52:49,876 --> 00:52:52,003
CALLAHAM: This is awesome.
I don't know how you did it.
824
00:52:53,046 --> 00:52:55,131
CRETTON: I don't know how...
825
00:52:55,215 --> 00:53:00,095
This is Chris and his amazing team
826
00:53:01,096 --> 00:53:05,100
of visual effects artists
who are working
827
00:53:05,183 --> 00:53:08,144
on each of these moments.
828
00:53:08,603 --> 00:53:10,522
I mean, they're scattered
throughout the world.
829
00:53:10,605 --> 00:53:13,233
The number of people
who worked on these sequences
830
00:53:13,316 --> 00:53:15,569
is mind-boggling
831
00:53:17,070 --> 00:53:21,116
and this is one of the first
sequences that we worked on,
832
00:53:21,449 --> 00:53:24,911
and it actually could have been
833
00:53:24,995 --> 00:53:28,665
a really lame, expository moment.
834
00:53:28,748 --> 00:53:32,294
But it turned into something
that is really visually beautiful
835
00:53:32,377 --> 00:53:35,797
and sets us up for a lot
of what's to come in the movie.
836
00:53:36,506 --> 00:53:38,174
CALLAHAM: I remember
that being really challenging
837
00:53:38,258 --> 00:53:42,846
because we knew that we're sticking
these pendants into the dragon's eyes
838
00:53:42,929 --> 00:53:45,599
and that information
was going to be revealed.
839
00:53:45,682 --> 00:53:47,267
But the manner in which that information
840
00:53:47,350 --> 00:53:50,186
would be revealed
was a real big question mark for us
841
00:53:50,270 --> 00:53:52,606
for a long time
until those guys got involved.
842
00:53:53,148 --> 00:53:54,816
CRETTON: Yeah,
because Chris, from the beginning,
843
00:53:54,900 --> 00:53:58,778
because he's worked
on so many movies with...
844
00:53:58,862 --> 00:54:03,783
Chris was the VFX supervisor
for Captain America,
845
00:54:04,784 --> 00:54:08,371
and he has worked on
so many Marvel movies since.
846
00:54:08,997 --> 00:54:13,335
His one request from the beginning
for this moment was,
847
00:54:13,668 --> 00:54:17,589
"Can we please not do a hologram?"
848
00:54:21,301 --> 00:54:25,847
And we could not figure out how else
to do this moment without a hologram
849
00:54:25,972 --> 00:54:28,683
until Chris came up with the idea,
850
00:54:28,767 --> 00:54:31,061
"What if it was a water hologram?"
851
00:54:31,144 --> 00:54:33,104
And we said, "Great." (CHUCKLES)
852
00:54:35,774 --> 00:54:39,319
Well, this is a big turning point
in the movie where
853
00:54:41,196 --> 00:54:44,449
Wenwu realises
that his kids aren't going to be
854
00:54:44,532 --> 00:54:47,744
coming on the ride with him,
or believe what he's doing,
855
00:54:47,827 --> 00:54:50,080
and throws them in prison.
856
00:54:50,538 --> 00:54:53,708
It's also the first reveal
that we have that
857
00:54:54,668 --> 00:54:59,214
Wenwu truly believes that his wife is
858
00:55:00,173 --> 00:55:02,968
speaking to him and calling to him from
859
00:55:03,969 --> 00:55:05,637
wherever she is trapped.
860
00:55:07,764 --> 00:55:11,685
Was that idea something that
861
00:55:14,980 --> 00:55:19,901
we discovered in the edit or in
the shooting of... Do you know, Dave?
862
00:55:20,902 --> 00:55:21,987
Was that in the script?
863
00:55:22,070 --> 00:55:23,321
CALLAHAM: That he was
hearing the actual voice?
864
00:55:23,405 --> 00:55:28,410
Yeah, we ended up with that
in the pages at some point because...
865
00:55:29,452 --> 00:55:32,664
The general idea of it
was always in place,
866
00:55:32,747 --> 00:55:35,458
that he believed that his wife was...
867
00:55:36,960 --> 00:55:39,129
He was capable of saving her
at some point,
868
00:55:39,212 --> 00:55:40,630
and that was always his motivation.
869
00:55:40,714 --> 00:55:42,173
The manner in which
870
00:55:42,757 --> 00:55:44,092
that information was presented to him,
871
00:55:44,175 --> 00:55:45,969
we went through
a lot of different iterations.
872
00:55:46,344 --> 00:55:48,888
- Literally hearing a voice.
- CRETTON: Yeah.
873
00:55:49,639 --> 00:55:51,891
CALLAHAM: Imagining it,
not hearing a voice.
874
00:55:54,060 --> 00:55:58,356
CRETTON: It was one of the challenges,
really getting into Wenwu's head
875
00:55:58,440 --> 00:56:01,860
and what he really believes, and...
876
00:56:05,113 --> 00:56:09,617
It was one of the underlying
877
00:56:13,496 --> 00:56:19,377
metaphors of the movie
and are connected to The Ten Rings
878
00:56:19,461 --> 00:56:21,337
and what they represent
879
00:56:23,506 --> 00:56:28,762
and how they are connected to,
not only Wenwu's obsession with power,
880
00:56:28,845 --> 00:56:31,139
but also just his addiction.
881
00:56:34,184 --> 00:56:37,145
And how they act as a veil
882
00:56:37,228 --> 00:56:41,775
that is keeping him from
really seeing the reality around him.
883
00:56:45,028 --> 00:56:46,654
Now we come to
884
00:56:47,947 --> 00:56:49,532
a pretty big reveal of the movie.
885
00:56:52,744 --> 00:56:53,745
CALLAHAM: Here he is.
886
00:56:53,828 --> 00:56:55,413
"Wake Duncan with thy knocking.
887
00:56:55,830 --> 00:56:57,791
"Oh, I would'st though could'st."
888
00:56:57,874 --> 00:56:58,875
CALLAHAM: So this is...
889
00:56:59,459 --> 00:57:04,130
Trevor Slattery, a character
that we first met in Iron Man 3.
890
00:57:04,380 --> 00:57:08,468
He was initially presented
in the film as the Mandarin.
891
00:57:08,551 --> 00:57:15,558
And then we learn, in a great twist,
that he is simply a oafish British actor
892
00:57:15,809 --> 00:57:19,437
who has been hired
to portray the Mandarin.
893
00:57:22,774 --> 00:57:25,985
He obviously has an association with
The Ten Rings because of that movie,
894
00:57:26,069 --> 00:57:30,198
and because of the great short
All Hail the King
895
00:57:30,281 --> 00:57:31,991
that Drew Pearce
directed after that film,
896
00:57:32,742 --> 00:57:36,079
which showed Trevor in jail,
and eventually being broken out of jail,
897
00:57:36,162 --> 00:57:40,125
presumably by the person
whose identity he had stolen,
898
00:57:40,208 --> 00:57:43,336
which in this movie
is revealed to be Wenwu,
899
00:57:43,419 --> 00:57:45,505
and that is why he is in a dungeon
900
00:57:47,215 --> 00:57:48,550
- in this fortress.
- (BOTH CHUCKLE)
901
00:57:48,633 --> 00:57:51,052
CALLAHAM: We knew we wanted to use him
if we could get him.
902
00:57:51,845 --> 00:57:55,306
Very early in the process,
right, Destin? He just seemed so fun.
903
00:57:55,390 --> 00:58:00,937
CRETTON: Yeah, and we actually did talk
to Drew about the direction
904
00:58:01,020 --> 00:58:05,233
that we were taking the character
and we spoke to Sir Ben at length.
905
00:58:05,316 --> 00:58:08,903
And Sir Ben really loved the idea
906
00:58:09,612 --> 00:58:15,952
of a Trevor who has
used his time behind bars
907
00:58:16,411 --> 00:58:19,539
and in a dungeon
to really turn his life around.
908
00:58:19,831 --> 00:58:24,377
And this is a version of Trevor who is
909
00:58:25,587 --> 00:58:28,423
extremely positive
910
00:58:28,631 --> 00:58:32,969
and really enjoying life.
911
00:58:35,513 --> 00:58:39,100
CALLAHAM: It looks like a Manchester
United scarf back there,
912
00:58:39,184 --> 00:58:40,894
which is interesting
since he's from Liverpool.
913
00:58:40,977 --> 00:58:42,729
So we should talk about Morris.
914
00:58:42,812 --> 00:58:44,689
(CRETTON LAUGHS)
915
00:58:44,772 --> 00:58:45,815
CALLAHAM: Morris.
916
00:58:46,566 --> 00:58:48,151
I mean, where do we start here?
917
00:58:49,277 --> 00:58:52,447
This was also something
that we talked about
918
00:58:52,530 --> 00:58:55,074
before we ever even pitched Kevin
the final version
919
00:58:55,158 --> 00:58:56,993
of what we were going
to attempt to write.
920
00:58:57,535 --> 00:59:00,955
Should we talk about
the origin of Morris, Destin?
921
00:59:01,289 --> 00:59:03,750
CRETTON: Yes, I'm not sure...
922
00:59:03,833 --> 00:59:05,084
CALLAHAM: Should we not?
CRETTON: I mean...
923
00:59:05,168 --> 00:59:07,921
CALLAHAM: Is he a mystery that is...
CRETTON: Well, Morris.
924
00:59:08,213 --> 00:59:09,797
I mean, I think we should...
925
00:59:11,507 --> 00:59:12,800
Morris was a loose...
926
00:59:13,509 --> 00:59:17,847
Was originated from a loose sketch
that was up on our wall.
927
00:59:17,931 --> 00:59:19,766
Our mood board wall.
928
00:59:23,019 --> 00:59:29,567
And we initially pitched the idea
up to Kevin
929
00:59:30,151 --> 00:59:32,528
of a six-legged creature
930
00:59:33,154 --> 00:59:35,615
with wings and no face.
931
00:59:35,698 --> 00:59:38,993
And we thought it would get
stomped on pretty quickly.
932
00:59:39,744 --> 00:59:42,038
But Kevin said go for it.
933
00:59:42,163 --> 00:59:43,331
And so we did.
934
00:59:43,456 --> 00:59:49,003
And I think really early on,
935
00:59:49,087 --> 00:59:54,259
in the very beginning,
Dave and I, we made a deal
936
00:59:54,592 --> 00:59:57,428
- that if...
- (BOTH CHUCKLE)
937
00:59:57,512 --> 01:00:02,392
CRETTON: If Morris made it all the way
to the final cut of this movie,
938
01:00:03,518 --> 01:00:07,522
you would get a tattoo of Morris
somewhere on your body.
939
01:00:08,273 --> 01:00:10,024
CALLAHAM: This is true. This is true.
940
01:00:10,275 --> 01:00:11,401
Yeah. We...
941
01:00:11,818 --> 01:00:14,404
The picture that we had on the wall
was really ridiculous.
942
01:00:14,487 --> 01:00:17,407
I remember, Destin...
The first day you walked into that room,
943
01:00:17,490 --> 01:00:20,410
you looked at it and you were like,
"What is that?"
944
01:00:20,493 --> 01:00:22,245
- That's in the movie.
- (CRETTON CHUCKLES)
945
01:00:22,328 --> 01:00:24,247
CALLAHAM: And we all laughed
and we worked out
946
01:00:24,330 --> 01:00:25,707
a way that it might end up in the movie,
947
01:00:25,790 --> 01:00:28,251
and then I do remember very specifically
948
01:00:28,334 --> 01:00:29,919
I had made that crack about how,
949
01:00:30,003 --> 01:00:31,921
"This thing's never gonna
end up in the movie.
950
01:00:32,338 --> 01:00:33,965
"I'll get a tattoo of it if it does."
951
01:00:35,216 --> 01:00:36,426
And then I was pitching
the story to Kevin
952
01:00:36,509 --> 01:00:38,428
and I got to the point
where we're going to bring Morris,
953
01:00:38,511 --> 01:00:41,639
and I pointed to the picture
and I just saw this look on his face.
954
01:00:42,098 --> 01:00:44,851
Kevin, if he doesn't like stuff,
is still super polite about it
955
01:00:44,934 --> 01:00:48,062
and he never really makes you feel bad
about your insane idea.
956
01:00:48,146 --> 01:00:50,481
But when he does like stuff,
it's very clear.
957
01:00:50,565 --> 01:00:53,860
And I just remember looking over
and he was smiling, and I just thought,
958
01:00:53,943 --> 01:00:58,031
"Oh, crap. This thing's going
to end up in the movie."
959
01:00:58,114 --> 01:00:59,741
- (BOTH LAUGH)
- CALLAHAM: And I...
960
01:00:59,991 --> 01:01:02,243
As of this recording, I have not
961
01:01:03,202 --> 01:01:05,872
procured that tattoo,
mostly because of COVID issues.
962
01:01:05,955 --> 01:01:07,415
But I will do so.
963
01:01:07,498 --> 01:01:09,709
And Destin will film it
for your entertainment.
964
01:01:10,585 --> 01:01:13,338
CRETTON: Oh, that'll be... I can't wait.
965
01:01:14,922 --> 01:01:17,592
Morris is also... Little-known fact.
966
01:01:17,675 --> 01:01:20,470
Morris is named after
967
01:01:22,013 --> 01:01:26,642
my wife and my dog, who is a Dachshund
968
01:01:26,726 --> 01:01:27,977
whose name is Morris.
969
01:01:31,481 --> 01:01:33,316
(BOTH GRUNTING)
970
01:01:43,117 --> 01:01:44,535
(TYRES SQUEALING)
971
01:01:45,828 --> 01:01:47,121
KATY: What's happening back there?
972
01:01:48,498 --> 01:01:49,582
SHANG-CHI: Doing my best.
973
01:01:49,665 --> 01:01:51,334
AUTOMATED VOICE:
Scan hand print for gate access.
974
01:01:51,417 --> 01:01:53,836
- Hurry up!
- SHANG-CHI: I'm trying!
975
01:01:55,880 --> 01:01:57,298
Scan hand print for gate access.
976
01:01:57,382 --> 01:01:58,383
Shaun!
977
01:01:59,759 --> 01:02:00,968
Access approved.
978
01:02:07,850 --> 01:02:09,143
(GASPS)
979
01:02:10,019 --> 01:02:11,854
(PANTING)
980
01:02:14,107 --> 01:02:15,191
(DOOR OPENS)
981
01:02:19,737 --> 01:02:22,156
They will come back
once I bring her home.
982
01:02:24,075 --> 01:02:25,910
Prepare the men for war.
983
01:02:26,786 --> 01:02:27,870
Yes, sir.
984
01:02:33,918 --> 01:02:35,837
CRETTON: This next scene
985
01:02:38,714 --> 01:02:41,175
was such a pleasant surprise.
986
01:02:41,259 --> 01:02:43,344
It was first
987
01:02:44,429 --> 01:02:50,226
a fairly different version
of this scene, which was...
988
01:02:52,812 --> 01:02:54,897
The first draft of the scene
989
01:02:55,773 --> 01:02:58,526
- Was talking about Trevor's...
- CALLAHAM: Don't, don't.
990
01:02:58,609 --> 01:03:00,236
CRETTON: Where Trevor's...
CALLAHAM: Don't tell anybody.
991
01:03:00,319 --> 01:03:01,612
CRETTON:...birthplace... (CHUCKLES)
992
01:03:01,904 --> 01:03:05,783
Where Trevor's initial inspiration
for becoming an actor was.
993
01:03:05,992 --> 01:03:08,661
And then we tossed it over to Dave,
994
01:03:09,245 --> 01:03:10,746
who did,
995
01:03:12,290 --> 01:03:15,042
basically, the version of the scene
that you see.
996
01:03:15,418 --> 01:03:19,839
And I laughed so hard
when I read these pages. (LAUGHS)
997
01:03:20,465 --> 01:03:22,091
CALLAHAM: Thank you.
998
01:03:22,467 --> 01:03:25,261
CRETTON: And it stuck ever since.
999
01:03:27,346 --> 01:03:29,974
CALLAHAM: This was definitely
an "a-ha" moment for me.
1000
01:03:30,349 --> 01:03:33,728
I have to say, writing Trevor
is an amazing experience.
1001
01:03:33,811 --> 01:03:35,813
I'm sure you feel the same way, Destin,
because you...
1002
01:03:36,397 --> 01:03:37,398
The weirder...
1003
01:03:38,149 --> 01:03:41,068
It's very tempting to just go
completely off the rails,
1004
01:03:41,360 --> 01:03:44,363
especially because in Iron Man,
when he's on drugs,
1005
01:03:44,906 --> 01:03:48,117
he can never finish a thought
without diverging,
1006
01:03:48,201 --> 01:03:50,536
and so it becomes tempting
to do that with him.
1007
01:03:50,620 --> 01:03:51,621
But in this case,
1008
01:03:53,456 --> 01:03:55,291
I remember having
1009
01:03:56,501 --> 01:03:59,879
the Planet of the Apes idea
and then desperately googling
1010
01:03:59,962 --> 01:04:02,924
when that movie came out to see
if I was actually going to be able to
1011
01:04:03,341 --> 01:04:05,218
make it work, and just feeling so happy.
1012
01:04:05,301 --> 01:04:06,302
(CRETTON LAUGHS)
1013
01:04:06,385 --> 01:04:09,889
CALLAHAM: So happy and then not knowing,
are you guys going to want to use it?
1014
01:04:10,515 --> 01:04:12,141
Will Sir Ben think it's ridiculous?
1015
01:04:13,684 --> 01:04:16,854
CRETTON: Sir Ben loved it
and he played it so well.
1016
01:04:16,938 --> 01:04:23,945
For me, it's not only
a really great long joke
1017
01:04:24,862 --> 01:04:26,489
with a great payoff, but...
1018
01:04:26,989 --> 01:04:31,869
To me, it's a combination of the joke
and the reveal
1019
01:04:33,037 --> 01:04:39,210
of what really makes Trevor tick,
and the reveal of his soft heart
1020
01:04:39,293 --> 01:04:41,963
and his relationship with his mom.
1021
01:04:42,046 --> 01:04:44,340
I don't know.
There's so much connected to it
1022
01:04:44,423 --> 01:04:46,801
that makes that joke really land
on multiple levels.
1023
01:04:49,011 --> 01:04:50,596
Let's talk about this moving maze.
1024
01:04:50,680 --> 01:04:54,183
So we got the set-up of the moving maze
in that water map.
1025
01:04:55,643 --> 01:04:57,937
And this is the payoff.
1026
01:04:58,437 --> 01:04:59,605
This is like a...
1027
01:05:00,648 --> 01:05:03,234
According to... I wish I knew the...
1028
01:05:03,818 --> 01:05:05,111
The statistics
1029
01:05:06,445 --> 01:05:11,117
of how difficult this simulation was
for Chris and his team.
1030
01:05:11,659 --> 01:05:16,080
But I know how difficult it was,
'cause every time we changed an edit
1031
01:05:16,330 --> 01:05:17,331
or I asked,
1032
01:05:17,540 --> 01:05:21,836
"Could we make the dust more intense?
1033
01:05:21,919 --> 01:05:26,340
"Or have the trees move
in a slightly different way?"
1034
01:05:26,424 --> 01:05:29,844
The answer was typically a big groan.
1035
01:05:30,136 --> 01:05:33,681
Because it was so difficult to create
1036
01:05:34,307 --> 01:05:38,519
all of those moving elements
in the VFX world,
1037
01:05:39,770 --> 01:05:42,315
but I think it turned out pretty fine.
1038
01:05:42,898 --> 01:05:45,359
CALLAHAM: It's awesome. I love the way
that the ground is buckling,
1039
01:05:45,443 --> 01:05:47,528
and there's just...
Everything is getting kicked up.
1040
01:05:49,155 --> 01:05:51,032
And there's that scarf again.
1041
01:05:51,324 --> 01:05:56,787
CRETTON: I also love that Razor Fist
drives an electric car.
1042
01:05:58,456 --> 01:05:59,457
(ALL GRUNT)
1043
01:05:59,874 --> 01:06:01,208
(ALL PANTING)
1044
01:06:03,210 --> 01:06:04,211
(MORRIS COOS)
1045
01:06:04,295 --> 01:06:06,922
Morris says, "Great job, everyone."
1046
01:06:08,591 --> 01:06:11,594
Now, all we have to do
is go through that waterfall,
1047
01:06:11,677 --> 01:06:13,095
and we're pretty much there.
1048
01:06:14,555 --> 01:06:15,765
(SHANG-CHI SIGHS)
1049
01:06:20,519 --> 01:06:23,522
CRETTON: Did that waterfall
look real to you? 'Cause it wasn't.
1050
01:06:23,606 --> 01:06:25,399
CALLAHAM: Oh, yeah.
That does look really good.
1051
01:06:25,775 --> 01:06:31,072
CRETTON: Apparently, according to Chris,
the team that did that waterfall,
1052
01:06:31,530 --> 01:06:36,160
they are the best water team
on the planet.
1053
01:06:36,952 --> 01:06:39,497
CALLAHAM: I love that.
I love specialisation.
1054
01:06:41,916 --> 01:06:43,542
(WHOOSHING)
1055
01:06:55,554 --> 01:06:56,764
(BIRDS CHIRPING)
1056
01:06:56,847 --> 01:06:58,849
(ENTHRALLING MUSIC PLAYING)
1057
01:07:00,768 --> 01:07:04,814
CRETTON: Ta Lo is referenced
in the Marvel comics.
1058
01:07:04,897 --> 01:07:06,816
TREVOR: I think those birds are on fire.
1059
01:07:06,899 --> 01:07:09,402
- (MORRIS CHITTERING)
- Really? Oh.
1060
01:07:09,485 --> 01:07:11,112
Morris says it's normal.
1061
01:07:11,904 --> 01:07:13,406
They're old mates of his.
1062
01:07:14,073 --> 01:07:18,369
CRETTON: Took it in a slightly different
direction from the comics
1063
01:07:18,452 --> 01:07:20,830
and gave it a little more context.
1064
01:07:27,336 --> 01:07:28,754
(PUP YAPPING)
1065
01:07:30,548 --> 01:07:33,050
(MORRIS CHITTERING AND CHEERING)
1066
01:07:33,884 --> 01:07:35,886
(ALL CHITTERING AND CHEERING)
1067
01:07:41,475 --> 01:07:42,977
- (KATY GASPS)
- (CAR HALTS)
1068
01:07:48,190 --> 01:07:50,151
That's a weird horse.
1069
01:07:51,652 --> 01:07:53,571
What's it looking at me for?
1070
01:07:56,073 --> 01:07:57,158
(SNORTS)
1071
01:07:59,326 --> 01:08:01,328
(SOFT TRADITIONAL MUSIC PLAYING)
1072
01:08:14,800 --> 01:08:16,218
(MUSIC RISING)
1073
01:08:24,143 --> 01:08:25,978
(CREATURE GRUNTING)
1074
01:08:29,148 --> 01:08:30,149
(GROWLS)
1075
01:08:33,903 --> 01:08:35,321
(MORRIS CHITTERING)
1076
01:08:37,615 --> 01:08:40,826
CALLAHAM: So here's... You can see
the two Fu dogs in that shot.
1077
01:08:41,160 --> 01:08:42,453
Fu dogs are
1078
01:08:46,332 --> 01:08:48,083
pretty traditional figures
in Chinese and other Asian mythologies.
1079
01:08:48,167 --> 01:08:50,211
They are always in twos,
1080
01:08:50,294 --> 01:08:54,340
and they typically
are set on both sides of a place
1081
01:08:54,423 --> 01:08:56,217
as guardians of that place.
1082
01:08:58,052 --> 01:08:59,428
Fun to get to see them
1083
01:09:00,137 --> 01:09:01,514
realised in this way.
1084
01:09:01,889 --> 01:09:03,599
CRETTON: If you look closely,
you can see
1085
01:09:03,682 --> 01:09:06,435
that they are
slightly different colours.
1086
01:09:07,102 --> 01:09:11,524
The darker shade,
1087
01:09:12,358 --> 01:09:13,734
I'm not even going to guess
1088
01:09:14,276 --> 01:09:16,529
which one is the male,
and which is the female. (CHUCKLES)
1089
01:09:16,987 --> 01:09:19,698
But one is a male
and the other is a female.
1090
01:09:23,118 --> 01:09:24,286
Guang Bo.
1091
01:09:27,206 --> 01:09:32,795
The commander-in-chief of the Ta Lo Army
is played by Master Yuen Wah.
1092
01:09:32,878 --> 01:09:37,758
Who you might recognise
from Kung Fu Hustle.
1093
01:09:37,842 --> 01:09:41,428
He's one of my favourite characters
in Kung Fu Hustle.
1094
01:09:41,929 --> 01:09:48,394
And he is such a legend
and a joy to work with.
1095
01:09:48,978 --> 01:09:50,312
As is Michelle Yeoh.
1096
01:09:51,689 --> 01:09:53,190
- (LAUGHS)
- CALLAHAM: That was... There you go.
1097
01:09:54,024 --> 01:09:55,609
A good segue.
1098
01:09:57,987 --> 01:10:02,157
CRETTON: One thing people may not
1099
01:10:03,409 --> 01:10:05,202
realise about Michelle...
1100
01:10:07,246 --> 01:10:12,585
Not only how much of
an incredible actor she is
1101
01:10:14,503 --> 01:10:17,423
and how much depth she brings
to her performances,
1102
01:10:17,506 --> 01:10:22,553
she's also just really silly and fun.
1103
01:10:24,680 --> 01:10:28,142
She was such a joy to have on set.
She really
1104
01:10:29,059 --> 01:10:33,731
just brought so much life to the set
every time she stepped on it.
1105
01:10:34,023 --> 01:10:39,153
Made the movie-making process so fun.
1106
01:10:39,236 --> 01:10:41,447
YING NAN: Our people have been
here for over 4,000 years,
1107
01:10:41,530 --> 01:10:43,824
preparing for something
we hope will never happen.
1108
01:10:43,908 --> 01:10:46,076
CALLAHAM: She's such a critical
character here, too, because
1109
01:10:47,953 --> 01:10:51,749
Shang-Chi and Xialing don't get
to interact with their mother
1110
01:10:51,832 --> 01:10:53,792
as adults inside of the movie.
1111
01:10:53,876 --> 01:10:56,420
Obviously, we see them
in flashbacks as children,
1112
01:10:57,046 --> 01:10:59,924
so Nan represents
1113
01:11:00,549 --> 01:11:02,551
the connection that they have
to their mother.
1114
01:11:04,303 --> 01:11:06,430
A lot of elements
that remind them of her.
1115
01:11:06,639 --> 01:11:08,265
Is he wearing the rings?
1116
01:11:08,766 --> 01:11:10,684
SHANG-CHI: He hasn't
taken them off since she died.
1117
01:11:11,435 --> 01:11:14,146
CRETTON: Dave, what did you think of
the visuals of Ta Lo
1118
01:11:14,229 --> 01:11:16,649
when you first saw the village itself?
1119
01:11:16,732 --> 01:11:20,361
Did it feel in line with what you had...
1120
01:11:20,444 --> 01:11:22,404
CALLAHAM: Yeah, yeah.
1121
01:11:22,488 --> 01:11:26,075
I mean, it's beautiful. It's so much
more colourful than I imagined,
1122
01:11:26,158 --> 01:11:28,744
not because I imagined
something super dark, I just...
1123
01:11:29,161 --> 01:11:31,288
I love all the different colours
that we brought into it,
1124
01:11:31,372 --> 01:11:32,915
or that you brought into, excuse me.
1125
01:11:33,415 --> 01:11:35,084
And that gate.
1126
01:11:35,376 --> 01:11:39,004
I always loved the idea of that
looming gate that looks over everything
1127
01:11:39,088 --> 01:11:41,090
and has this vibe to it.
1128
01:11:41,173 --> 01:11:42,591
Talk about this, though.
1129
01:11:42,675 --> 01:11:47,972
Because this came in fairly late
and the visuals are really cool.
1130
01:11:48,430 --> 01:11:49,431
CRETTON: Yeah...
1131
01:11:51,558 --> 01:11:54,979
This backstory to Ta Lo,
1132
01:11:55,062 --> 01:11:58,649
and the purpose of why Ta Lo exists,
1133
01:11:58,732 --> 01:12:04,905
I think, is...
There's a small mention in this moment
1134
01:12:06,740 --> 01:12:09,618
that Michelle talks about Ta Lo
1135
01:12:09,702 --> 01:12:14,331
not just being the village
that we see in our movie.
1136
01:12:14,415 --> 01:12:16,750
That Ta Lo extends far beyond.
1137
01:12:17,918 --> 01:12:21,463
Far beyond the shores of their village,
1138
01:12:21,547 --> 01:12:23,298
and that there are...
1139
01:12:24,466 --> 01:12:28,387
Ta Lo is a region, Ta Lo has cities
1140
01:12:31,181 --> 01:12:36,061
and technology that far surpasses
anything that we see on Earth
1141
01:12:36,145 --> 01:12:37,563
or in our realm.
1142
01:12:37,938 --> 01:12:42,651
This portion or this village of Ta Lo
1143
01:12:43,777 --> 01:12:49,575
has a bit of a monk-ish mentality
where they have
1144
01:12:50,117 --> 01:12:54,121
set aside technology and modern advances
1145
01:12:54,204 --> 01:13:00,002
for the single purpose
that they are here to serve,
1146
01:13:02,046 --> 01:13:06,341
which I think that was really
important context to give to Ta Lo,
1147
01:13:06,425 --> 01:13:07,926
that they're not just this
1148
01:13:09,261 --> 01:13:12,097
village of people who are holding
1149
01:13:14,516 --> 01:13:16,643
sticks and shields.
1150
01:13:18,645 --> 01:13:19,730
(KATY GASPS)
1151
01:13:19,813 --> 01:13:20,898
Oh.
1152
01:13:22,775 --> 01:13:25,611
CALLAHAM: Yeah, there's a much
wider world around it, I think,
1153
01:13:26,361 --> 01:13:28,864
that we hint at,
which is really exciting.
1154
01:13:29,490 --> 01:13:30,783
What? Okay.
1155
01:13:31,533 --> 01:13:33,994
CRETTON: It is really exciting
to be able to explore that one day.
1156
01:13:35,537 --> 01:13:37,331
CALLAHAM: Yeah,
good luck to whoever does that.
1157
01:13:37,414 --> 01:13:38,957
CRETTON: Yeah, good luck.
1158
01:13:39,041 --> 01:13:40,876
(BOTH LAUGHING)
1159
01:13:40,959 --> 01:13:42,586
Let's go see your mother.
1160
01:13:43,420 --> 01:13:48,425
CALLAHAM: This is like the badge
of Marvel writers.
1161
01:13:48,509 --> 01:13:51,053
Every time I read an interview with
another one of them.
1162
01:13:51,345 --> 01:13:54,848
They're all great, but a lot of them
at this point are like,
1163
01:13:54,932 --> 01:13:57,559
"Yeah, at some point that's going to be
someone else's problem.
1164
01:13:57,643 --> 01:13:58,685
"I just did what I did."
1165
01:13:58,769 --> 01:14:00,395
(CRETTON LAUGHS)
1166
01:14:00,979 --> 01:14:03,232
CALLAHAM: Like The Ten Rings
became our problem.
1167
01:14:03,315 --> 01:14:04,942
(CRETTON LAUGHS)
1168
01:14:05,025 --> 01:14:07,277
It's like every time I get
moderately good at something,
1169
01:14:07,402 --> 01:14:09,029
I just quit and start something new.
1170
01:14:09,113 --> 01:14:10,155
CALLAHAM: I love this.
1171
01:14:10,239 --> 01:14:14,493
CRETTON: It's really fun writing
open-endedly like that, right?
1172
01:14:14,576 --> 01:14:16,495
CALLAHAM: I think both ends of it
are super fun.
1173
01:14:16,578 --> 01:14:18,747
I don't know how you feel
about this, Destin,
1174
01:14:18,831 --> 01:14:20,874
but I really like
problem-solving writing,
1175
01:14:20,958 --> 01:14:22,292
when someone has already
1176
01:14:23,001 --> 01:14:24,962
laid something out in front of you.
In our case,
1177
01:14:25,712 --> 01:14:28,674
the history of The Ten Rings
that we inherited,
1178
01:14:28,882 --> 01:14:30,801
and now you're playing
the game of how do we
1179
01:14:31,802 --> 01:14:35,889
weave that story in with ours.
1180
01:14:35,973 --> 01:14:37,182
I like that kind of writing.
1181
01:14:37,266 --> 01:14:38,642
It's super fun,
and then, yeah, you're right.
1182
01:14:38,725 --> 01:14:42,354
At the end, you can just say,
"Now you deal with it."
1183
01:14:42,437 --> 01:14:45,482
CRETTON: You ever see that documentary,
that Lars von Trier documentary,
1184
01:14:45,566 --> 01:14:47,025
The Five Obstructions?
1185
01:14:48,777 --> 01:14:51,071
CALLAHAM: No. What's that about?
CRETTON: Well,
1186
01:14:51,363 --> 01:14:57,369
he basically finds what he considered
to be the perfect short film.
1187
01:14:57,953 --> 01:15:01,165
And he tracks down the director.
1188
01:15:01,415 --> 01:15:03,667
He remembers the short film
from ages ago
1189
01:15:03,750 --> 01:15:06,837
when he was a young filmmaker.
He tracks down the director,
1190
01:15:06,920 --> 01:15:11,091
finds out the director hasn't done
anything since that short film
1191
01:15:11,216 --> 01:15:15,637
and has been stuck
in a creative slump since then.
1192
01:15:16,013 --> 01:15:22,561
So then Lars von Trier creates
five obstructions for him
1193
01:15:22,644 --> 01:15:29,443
to basically replicate his same
perfect short film five different times.
1194
01:15:29,526 --> 01:15:32,738
But every time he gives him
a very big obstruction.
1195
01:15:33,322 --> 01:15:35,657
One is like, he can't use dialogue.
1196
01:15:36,116 --> 01:15:41,163
One, every shot has to be
no longer than a second, I believe.
1197
01:15:42,206 --> 01:15:43,707
Anyway, he has all these obstructions.
1198
01:15:43,790 --> 01:15:47,127
And it not only
1199
01:15:48,795 --> 01:15:52,466
helped force this director
1200
01:15:52,549 --> 01:15:54,718
to make really interesting versions
of this short film,
1201
01:15:57,179 --> 01:16:01,725
it just got him
out of his creative slump.
1202
01:16:03,810 --> 01:16:07,522
All to say, I also love obstructions.
1203
01:16:07,606 --> 01:16:09,149
I think they're very helpful.
1204
01:16:09,233 --> 01:16:11,235
(BOTH LAUGH)
1205
01:16:12,861 --> 01:16:14,279
(SPEAKING MANDARIN)
1206
01:16:20,577 --> 01:16:22,579
(STIRRING MUSIC PLAYING)
1207
01:16:36,134 --> 01:16:37,344
(IN ENGLISH)
Guang Bo, you saw that?
1208
01:16:38,136 --> 01:16:39,429
That was tight!
1209
01:16:42,683 --> 01:16:44,685
(SOFT FOLK MUSIC PLAYING)
1210
01:16:52,818 --> 01:16:54,653
My mother was the only one
who could beat him.
1211
01:16:55,612 --> 01:17:01,034
CRETTON: This sparring match
between Michelle Yeoh and Simu,
1212
01:17:01,201 --> 01:17:03,954
between Nan and Shang-Chi,
1213
01:17:04,037 --> 01:17:08,583
was a very important one
to nail tonally.
1214
01:17:09,251 --> 01:17:14,548
Because obviously, neither of them
are trying to harm or kill each other.
1215
01:17:14,631 --> 01:17:18,468
But Nan is very clearly
1216
01:17:18,552 --> 01:17:21,847
trying to teach Shang-Chi a lesson
1217
01:17:25,058 --> 01:17:28,520
and tear down his pride a little bit
to open him up
1218
01:17:28,603 --> 01:17:30,772
to hear what she needs to tell him.
1219
01:17:33,317 --> 01:17:40,324
This was really beautifully
choreographed by Junchang,
1220
01:17:41,992 --> 01:17:46,121
who really found a pretty amazing,
1221
01:17:46,204 --> 01:17:49,708
pretty great balance
between the playfulness
1222
01:17:49,791 --> 01:17:54,379
that Nan brings to it.
1223
01:17:56,506 --> 01:18:00,010
But also you'll see the transition here
1224
01:18:00,302 --> 01:18:04,139
when it goes from conflict
1225
01:18:04,222 --> 01:18:10,771
to a mentor really dancing...
1226
01:18:10,854 --> 01:18:14,524
Leading the dance with her student.
1227
01:18:27,829 --> 01:18:33,877
And then you start to see a shift
when Shang-Chi starts to catch on
1228
01:18:34,503 --> 01:18:41,343
and tap into some of the things
that Nan is teaching him.
1229
01:18:41,927 --> 01:18:45,263
One of things to remember
is that Nan isn't teaching him
1230
01:18:45,347 --> 01:18:48,475
something he has never
encountered before.
1231
01:18:48,558 --> 01:18:52,646
She's reminding him of things
that were taught to him
1232
01:18:52,729 --> 01:18:54,356
when he was a child by his mom,
1233
01:18:54,981 --> 01:18:58,151
which I think helped us
1234
01:18:59,069 --> 01:19:02,489
with fact that Shang-Chi
is learning it so quickly.
1235
01:19:04,658 --> 01:19:05,909
CALLAHAM:
This is also a little bit about...
1236
01:19:05,992 --> 01:19:08,703
A little bit of what you were talking
about at the beginning of the movie,
1237
01:19:08,787 --> 01:19:10,580
where Wenwu and Li are fighting.
1238
01:19:10,664 --> 01:19:15,752
Where some of those moves and techniques
that you saw in that fight,
1239
01:19:15,836 --> 01:19:18,130
this is where you start
to see them come back,
1240
01:19:18,213 --> 01:19:19,631
in a couple of these sequences.
1241
01:19:21,425 --> 01:19:23,427
CRETTON: Yeah. A lot of the techniques
1242
01:19:23,510 --> 01:19:25,262
that Li was using
in the beginning were...
1243
01:19:28,140 --> 01:19:30,475
YING NAN: It is all
a part of who you are.
1244
01:19:31,810 --> 01:19:34,062
CRETTON: The idea
that the Great Protector
1245
01:19:36,606 --> 01:19:40,402
lends it its power to everybody in Ta Lo
1246
01:19:42,487 --> 01:19:47,826
is threaded throughout this movie,
1247
01:19:51,496 --> 01:19:53,290
so you'll see hints of that throughout.
1248
01:19:56,293 --> 01:19:57,752
CALLAHAM: I'd like to have this office.
1249
01:19:58,503 --> 01:19:59,671
This is my vibe.
1250
01:19:59,921 --> 01:20:01,590
CRETTON: Oh, yeah?
CALLAHAM: Yeah.
1251
01:20:01,673 --> 01:20:03,008
CRETTON: I love that head.
1252
01:20:03,967 --> 01:20:04,968
CALLAHAM: Mm-hmm.
1253
01:20:05,051 --> 01:20:06,803
CRETTON: Just like that
human head there.
1254
01:20:10,307 --> 01:20:13,059
And that head in the background, too.
1255
01:20:13,143 --> 01:20:14,311
It's pretty cool.
1256
01:20:18,231 --> 01:20:22,486
CALLAHAM: The emotion here
in Tony's face blows me away.
1257
01:20:24,112 --> 01:20:25,906
CRETTON: It's such a simple moment.
1258
01:20:25,989 --> 01:20:31,661
This is one of my favourite scenes.
1259
01:20:35,707 --> 01:20:37,667
Even though we wrote it together,
1260
01:20:37,751 --> 01:20:40,712
it was not one of my favourite scenes
on the page.
1261
01:20:41,087 --> 01:20:47,677
But once Tony lended
his performance to it,
1262
01:20:47,761 --> 01:20:51,431
it became one of my favourite scenes
in the movie.
1263
01:20:55,769 --> 01:20:57,187
(LI SPEAKING MANDARIN)
1264
01:21:00,565 --> 01:21:06,738
CRETTON: There was a lovely surprise
that was discovered
1265
01:21:06,821 --> 01:21:08,365
in the editing room
1266
01:21:11,034 --> 01:21:12,869
that really tied
1267
01:21:13,745 --> 01:21:18,667
Wenwu's struggle, inner struggle,
1268
01:21:19,209 --> 01:21:21,336
to his son's inner struggle.
1269
01:21:22,128 --> 01:21:28,343
So that this flashback here,
which is the ultimate reveal
1270
01:21:28,426 --> 01:21:32,681
of what happened to Shang-Chi's mother,
Wenwu's wife, Li.
1271
01:21:34,057 --> 01:21:37,352
It's almost like a shared flashback
between the two of them.
1272
01:21:39,437 --> 01:21:44,693
It's implied that it's the thing
that both of them
1273
01:21:45,610 --> 01:21:50,031
aren't only thinking about right now
in the movie,
1274
01:21:50,115 --> 01:21:52,534
and the moment in the movie.
1275
01:21:52,951 --> 01:21:58,623
But it's implied that this is the thing
that they are constantly thinking about.
1276
01:22:01,001 --> 01:22:03,628
I love the way Fala played this scene.
1277
01:22:06,423 --> 01:22:07,549
She's just so
1278
01:22:09,342 --> 01:22:11,261
soft and tender
1279
01:22:12,137 --> 01:22:13,847
with Shang-Chi,
1280
01:22:14,514 --> 01:22:20,312
and then when she
turns to face her enemy,
1281
01:22:20,395 --> 01:22:23,148
there's so much strength in that turn.
1282
01:22:24,316 --> 01:22:25,775
CALLAHAM: It's also worth pointing out,
1283
01:22:25,859 --> 01:22:29,529
I'm sure the people that have watched
the movie have noticed this,
1284
01:22:29,613 --> 01:22:33,366
but this space
that they're in as a family
1285
01:22:33,450 --> 01:22:36,036
is the same space that the Mandarin...
Excuse me.
1286
01:22:36,119 --> 01:22:37,871
This space that they're in as a family
1287
01:22:37,954 --> 01:22:39,664
is the same space that Wenwu,
1288
01:22:40,248 --> 01:22:45,795
as a warlord, inhabits
before and after Li comes into his life.
1289
01:22:45,879 --> 01:22:48,923
And if I'm not mistaken,
the difference is
1290
01:22:49,007 --> 01:22:54,220
there's a lot more plant life
and vegetation, just life in general,
1291
01:22:54,304 --> 01:22:56,848
inhabiting the space
when she is with them.
1292
01:22:57,098 --> 01:23:00,185
And it becomes
a cold, barren place when she's not.
1293
01:23:01,478 --> 01:23:04,481
CRETTON: Yeah, it was really an amazing
1294
01:23:06,858 --> 01:23:09,861
jigsaw puzzle that Sue Chan
1295
01:23:11,655 --> 01:23:18,453
and our AD, our assistant director,
Jeff Okabayashi, put together
1296
01:23:18,536 --> 01:23:23,166
was scheduling the transformation
of this one set
1297
01:23:23,249 --> 01:23:28,046
over a thousand years of transformation.
1298
01:23:28,129 --> 01:23:32,467
So pretty, pretty amazing to see.
1299
01:23:33,301 --> 01:23:36,554
Every time you see a completely
different version of this set,
1300
01:23:36,638 --> 01:23:41,643
it was actually on the same stage
going through that transformation.
1301
01:23:41,726 --> 01:23:42,936
YOUNG SHANG-CHI: Mama.
1302
01:23:46,106 --> 01:23:47,607
(BREATHES SHAKILY)
1303
01:23:49,484 --> 01:23:54,280
CRETTON: One person
I haven't talked about
1304
01:23:54,364 --> 01:23:59,244
was working with Bill Pope,
our director of photography.
1305
01:24:01,830 --> 01:24:04,541
Bill is a legend in his own right.
1306
01:24:04,624 --> 01:24:09,379
He not only was the cinematographer
1307
01:24:09,462 --> 01:24:12,882
for The Matrix
and the entire Matrix trilogy,
1308
01:24:14,134 --> 01:24:20,265
he has also worked on a lot
of Edgar Wright's movies,
1309
01:24:20,348 --> 01:24:26,104
including one of my faves,
Scott Pilgrim vs. the World.
1310
01:24:28,606 --> 01:24:32,235
He also has worked in the MCU before
1311
01:24:32,318 --> 01:24:36,531
with Spider-Man 2.
1312
01:24:38,950 --> 01:24:44,247
And he did Clueless, did you know that?
1313
01:24:44,831 --> 01:24:45,999
CALLAHAM: I did not.
1314
01:24:46,416 --> 01:24:49,586
- Also a legendary film.
- CRETTON: I know. I love Clueless.
1315
01:24:50,211 --> 01:24:52,255
- This scene...
- CALLAHAM: This is my favourite scene.
1316
01:24:52,338 --> 01:24:56,718
CRETTON: This scene
in particular is really...
1317
01:24:58,219 --> 01:25:02,348
I think it's a great example of
what it's like to work with Bill Pope.
1318
01:25:02,432 --> 01:25:09,189
Because he is not only
looking for the coolest camera angle
1319
01:25:11,107 --> 01:25:13,610
or where to flaunt himself
in what he does.
1320
01:25:13,693 --> 01:25:18,156
He's always looking at it
from a character standpoint,
1321
01:25:18,239 --> 01:25:22,243
and for this scene,
we were trying to figure out
1322
01:25:22,577 --> 01:25:27,749
how we could shoot this scene
differently than other fight sequences
1323
01:25:27,832 --> 01:25:31,252
And it was Bill
in a brainstorming session
1324
01:25:31,336 --> 01:25:35,965
that said, "How about
we never let the camera
1325
01:25:36,049 --> 01:25:39,093
"leave Shang-Chi's perspective?"
1326
01:25:41,679 --> 01:25:47,936
So that the fight takes place completely
from the POV of young Shang-Chi.
1327
01:25:48,603 --> 01:25:51,940
We leave the fight as it's happening.
1328
01:25:52,023 --> 01:25:56,361
We see glimpses of it in the reflection
1329
01:25:56,861 --> 01:25:59,155
while we're also experiencing it
1330
01:25:59,239 --> 01:26:03,827
through young Shang-Chi's face
and performance.
1331
01:26:06,788 --> 01:26:08,248
It was really difficult to do.
1332
01:26:08,331 --> 01:26:13,044
It required a lot of
intricate collaboration
1333
01:26:13,127 --> 01:26:15,964
between Bill Pope
and what we were shooting
1334
01:26:16,047 --> 01:26:17,632
and Chris Townsend
1335
01:26:21,052 --> 01:26:25,431
and quite a bit of VFX had to happen
in order to pull that shot off.
1336
01:26:25,890 --> 01:26:30,311
But I really, really love
how it turned out.
1337
01:26:30,395 --> 01:26:33,815
And it really is an anchor
1338
01:26:33,898 --> 01:26:39,487
to the dark side of Shang-Chi's past
1339
01:26:39,571 --> 01:26:43,783
and the root of where
a lot of his pain birthed from.
1340
01:26:43,867 --> 01:26:47,328
We will rebuild The Ten Rings
to what it once was.
1341
01:26:57,088 --> 01:27:02,343
CRETTON: Our gaffer
or lighting technician, Reg Garside,
1342
01:27:02,427 --> 01:27:06,681
who works primarily in Sydney...
1343
01:27:08,141 --> 01:27:11,811
This was the first time
that Reg and Bill Pope
1344
01:27:11,978 --> 01:27:16,900
have worked on a movie
since doing The Matrix trilogy.
1345
01:27:17,275 --> 01:27:23,698
So this is a pretty momentous occasion
1346
01:27:23,781 --> 01:27:25,533
for the two of them,
1347
01:27:25,617 --> 01:27:28,745
coming back together
since doing The Matrix.
1348
01:27:28,828 --> 01:27:32,665
And I was like
1349
01:27:34,667 --> 01:27:40,423
just a little kid with wide eyes
watching the two of them work together.
1350
01:27:40,965 --> 01:27:44,010
They have such a cool shorthand
1351
01:27:44,093 --> 01:27:48,890
in creating looks for each scene
1352
01:27:50,642 --> 01:27:52,727
that are really lovely, like this scene.
1353
01:28:00,276 --> 01:28:03,071
CALLAHAM: This is also a good place
to give a shout-out to Andrew.
1354
01:28:03,154 --> 01:28:04,364
Let's give a shout-out to Andrew.
1355
01:28:04,447 --> 01:28:07,742
You're only hearing my voice
and Destin's voice.
1356
01:28:07,825 --> 01:28:10,828
But we had a secret weapon
in the writing of this movie,
1357
01:28:10,912 --> 01:28:13,414
which was our third co-writer,
Andrew Lanham,
1358
01:28:13,498 --> 01:28:18,628
who came in and was critical
in getting us over a lot of humps,
1359
01:28:18,711 --> 01:28:22,215
and especially a lot of this stuff
you're seeing here in the third act
1360
01:28:22,298 --> 01:28:24,425
and the stuff that you'll continue
to see in the third act.
1361
01:28:24,509 --> 01:28:29,138
Andrew really
helped us all through at times
1362
01:28:29,222 --> 01:28:30,515
where we were stretched pretty thin.
1363
01:28:33,101 --> 01:28:35,812
- So, what up, Andrew?
- CRETTON: What up, Andrew?
1364
01:28:35,895 --> 01:28:39,107
Andrew came in, flew out to Sydney,
1365
01:28:39,524 --> 01:28:44,779
and became the man on the ground
1366
01:28:45,363 --> 01:28:47,323
while Dave was in LA.
1367
01:28:47,407 --> 01:28:51,369
So, I was prepping a lot of these scenes
1368
01:28:51,452 --> 01:28:55,373
while Dave and Andrew
were bouncing ideas back and forth
1369
01:28:55,456 --> 01:28:57,333
and Andrew was relaying
1370
01:28:57,667 --> 01:29:02,255
the constant changes and obstacles
that are happening during prep time
1371
01:29:02,338 --> 01:29:06,843
to Dave to give context
on how we can shift
1372
01:29:09,262 --> 01:29:14,100
and adjust to create scenes
that are shootable.
1373
01:29:17,020 --> 01:29:19,313
CALLAHAM: That's the tricky part
about filmmaking, isn't it, Destin,
1374
01:29:19,397 --> 01:29:21,190
that you eventually
have to shoot the movie.
1375
01:29:21,274 --> 01:29:22,859
(CRETTON LAUGHS)
1376
01:29:22,942 --> 01:29:25,445
CRETTON: Shoot the movie within...
1377
01:29:25,570 --> 01:29:28,698
Much more than five obstructions
1378
01:29:28,781 --> 01:29:31,617
that are put in front of you
to shoot, though. (LAUGHS)
1379
01:29:35,747 --> 01:29:40,960
I think Simu did such
a beautiful job in this moment.
1380
01:29:44,380 --> 01:29:45,882
And Nora.
1381
01:29:45,965 --> 01:29:49,343
Nora's performance in this
as a genuine, caring,
1382
01:29:53,473 --> 01:29:56,684
loving friend is something
1383
01:29:56,934 --> 01:30:01,981
that you don't really see
too much in film,
1384
01:30:02,065 --> 01:30:07,153
and I really love what she does, and...
1385
01:30:08,613 --> 01:30:11,949
I also really love
what Simu does in that scene
1386
01:30:12,950 --> 01:30:15,995
and how vulnerable he gets.
1387
01:30:18,372 --> 01:30:20,083
CALLAHAM: Nora has an amazing ability.
1388
01:30:20,166 --> 01:30:24,378
I mean, Simu does as well, but Nora's
been doing this a little bit longer,
1389
01:30:24,462 --> 01:30:26,798
so I think she's more known
for her comedy.
1390
01:30:26,881 --> 01:30:29,133
But she does have
this incredible ability
1391
01:30:29,217 --> 01:30:31,677
to be able to do comedy
like that, and then
1392
01:30:32,428 --> 01:30:36,057
transform into this
intensely empathetic character actor
1393
01:30:36,808 --> 01:30:38,559
inside of the same scene.
1394
01:30:38,643 --> 01:30:40,645
(DRAMATIC MUSIC PLAYING)
1395
01:30:52,448 --> 01:30:55,076
CALLAHAM: I want to
throw in here a little detail.
1396
01:30:55,284 --> 01:30:58,788
Credit to Jonathan Schwartz,
the producer, and Destin.
1397
01:30:59,831 --> 01:31:03,459
I had this idea that
I'd never let go of in the room
1398
01:31:03,543 --> 01:31:05,920
that Wenwu, in addition to this army,
1399
01:31:06,003 --> 01:31:09,757
would also have
a couple of giant praying mantises...
1400
01:31:09,841 --> 01:31:11,801
- (CRETTON LAUGHING)
- CALLAHAM:...that he had been raising
1401
01:31:11,884 --> 01:31:12,885
at his fortress.
1402
01:31:13,803 --> 01:31:15,596
I don't know why I had that idea.
1403
01:31:15,847 --> 01:31:17,682
This sounds like a joke,
but it's not a joke.
1404
01:31:17,765 --> 01:31:20,935
And I was pressing those two
on this idea constantly.
1405
01:31:21,018 --> 01:31:22,979
CRETTON: There was a praying mantis
in the comics.
1406
01:31:23,771 --> 01:31:27,817
CALLAHAM: Right. And I just thought,
okay, and then he'll bring them to Ta Lo
1407
01:31:27,900 --> 01:31:30,486
and they'll fight the Fu dogs,
it'll be great.
1408
01:31:32,155 --> 01:31:35,491
To everyone else's credit,
they literally never took me seriously,
1409
01:31:35,575 --> 01:31:37,910
not once, despite me arguing for it.
1410
01:31:38,494 --> 01:31:42,665
So, I just wanted to say, rest in peace
to my giant praying mantises.
1411
01:31:42,748 --> 01:31:43,749
(CRETTON LAUGHING)
1412
01:31:43,833 --> 01:31:46,169
CALLAHAM:
We'll get them in there somewhere.
1413
01:31:46,794 --> 01:31:48,212
(SPEAKING MANDARIN)
1414
01:32:02,643 --> 01:32:04,187
(IN ENGLISH) Let me pass.
1415
01:32:04,478 --> 01:32:06,397
We cannot do that.
1416
01:32:09,192 --> 01:32:10,193
(ALL GRUNT)
1417
01:32:11,986 --> 01:32:13,279
CALLAHAM: We should also
probably talk about
1418
01:32:13,362 --> 01:32:14,906
the designs on those rings a little bit.
1419
01:32:15,323 --> 01:32:18,034
I remember this conversation
happening really early
1420
01:32:18,117 --> 01:32:22,330
in terms of The Ten Rings fighting
with more traditional weapons
1421
01:32:22,413 --> 01:32:25,082
that have been modernised,
which was a pretty cool idea.
1422
01:32:25,333 --> 01:32:26,542
Burn it down.
1423
01:32:28,294 --> 01:32:29,795
(ALL GRUNTING)
1424
01:32:29,879 --> 01:32:31,881
(GROANING)
1425
01:32:33,257 --> 01:32:34,926
- (COMMANDS IN MANDARIN)
- (FIGHTERS YELLING)
1426
01:32:46,646 --> 01:32:50,733
CRETTON: Yeah, The Ten Rings,
if you watch closely
1427
01:32:50,816 --> 01:32:53,986
throughout the opening montage,
1428
01:32:55,029 --> 01:32:59,825
they were fighting
with these hook swords
1429
01:33:02,370 --> 01:33:05,456
thousands of years ago.
We would see the hook swords
1430
01:33:08,000 --> 01:33:11,963
evolve and become these
modern versions of the hook swords.
1431
01:33:30,481 --> 01:33:31,691
Stop him!
1432
01:33:36,570 --> 01:33:38,406
(BOTH GRUNTING)
1433
01:33:56,590 --> 01:33:58,467
(BREATHING HEAVILY)
1434
01:34:02,763 --> 01:34:06,976
CRETTON: This moment,
I really love going from...
1435
01:34:07,059 --> 01:34:12,189
In the sound design,
going from the intensity of that battle
1436
01:34:12,273 --> 01:34:15,901
to this really quiet standoff
between father and son
1437
01:34:16,444 --> 01:34:21,907
that really is modelled after
1438
01:34:22,116 --> 01:34:27,955
a lot of classic Western standoffs.
1439
01:34:29,206 --> 01:34:33,586
This is really
the first moment in the movie
1440
01:34:33,669 --> 01:34:37,214
where Shang-Chi and Dad
1441
01:34:37,715 --> 01:34:42,386
talk about the source of their pain.
1442
01:34:44,096 --> 01:34:47,141
And we hear for the first time
1443
01:34:48,476 --> 01:34:52,188
what Wenwu really thinks of his son
1444
01:34:52,271 --> 01:34:54,190
and where his frustration comes.
1445
01:34:54,273 --> 01:34:56,442
...when they came for her,
and you did nothing.
1446
01:34:57,443 --> 01:35:00,071
You stood at a window
and watched her die!
1447
01:35:03,699 --> 01:35:05,117
(BREATHING SHAKILY)
1448
01:35:08,662 --> 01:35:09,872
(SHANG-CHI GRUNTS)
1449
01:35:11,082 --> 01:35:12,291
(GRUNTING)
1450
01:35:17,171 --> 01:35:18,589
(BOTH GRUNTING)
1451
01:35:35,189 --> 01:35:36,399
She was gone...
1452
01:35:36,482 --> 01:35:38,901
CRETTON: There's a lot
of incredible work done here
1453
01:35:38,984 --> 01:35:41,445
from our sound team at Skywalker.
1454
01:35:42,279 --> 01:35:45,866
Our supervising sound editors,
Katy Wood and J.R. Grubbs,
1455
01:35:45,950 --> 01:35:51,872
and our rerecording mixers,
Onnalee Blank and Lora,
1456
01:35:51,956 --> 01:35:57,628
they worked tireless hours
1457
01:35:57,711 --> 01:36:01,882
to create the sound design
for this movie,
1458
01:36:01,966 --> 01:36:06,429
and some of my favourite moments
of the movie
1459
01:36:06,512 --> 01:36:12,518
are when they chose to use silence to
1460
01:36:13,227 --> 01:36:15,855
really assist these emotional beats.
1461
01:36:15,938 --> 01:36:17,106
(BOTH GRUNTING)
1462
01:36:24,905 --> 01:36:28,492
CRETTON: They really did some
incredible work in Ta Lo because,
1463
01:36:29,535 --> 01:36:32,538
basically, every sound in Ta Lo
was created.
1464
01:36:33,289 --> 01:36:38,335
They never used any background source
1465
01:36:38,419 --> 01:36:42,673
that was real birds or regular
1466
01:36:46,010 --> 01:36:47,178
animals that you might hear.
1467
01:36:47,261 --> 01:36:49,221
Everything was created for the...
1468
01:36:49,305 --> 01:36:51,932
It's supposed to take place
in another dimension.
1469
01:36:53,350 --> 01:36:57,688
So, every sound that you hear
in the third act of this movie was
1470
01:36:59,565 --> 01:37:05,070
hand-sourced and edited and crafted
1471
01:37:05,154 --> 01:37:08,991
by somebody at Skywalker Sound.
1472
01:37:11,660 --> 01:37:12,870
(GRUNTING)
1473
01:37:13,329 --> 01:37:15,164
(RATTLING)
1474
01:37:18,042 --> 01:37:19,043
(GRUNTS)
1475
01:37:19,251 --> 01:37:21,003
(RATTLING)
1476
01:37:21,086 --> 01:37:23,422
CRETTON: This is one of my
favourite sounds of the movie.
1477
01:37:23,506 --> 01:37:29,220
It's the sound
of all these flapping scales
1478
01:37:29,303 --> 01:37:31,388
as Wenwu punches them.
1479
01:37:31,472 --> 01:37:32,473
(SCREECHING)
1480
01:37:32,556 --> 01:37:34,308
- (WENWU PUNCHES)
- (RATTLING)
1481
01:37:34,391 --> 01:37:35,768
(BOTH GRUNTING)
1482
01:37:38,395 --> 01:37:39,813
(ALL GRUNTING)
1483
01:37:43,567 --> 01:37:45,402
(DISTANT SCREECHING)
1484
01:37:45,486 --> 01:37:46,695
(GASPS)
1485
01:37:46,987 --> 01:37:48,364
(SCREECHING)
1486
01:37:48,447 --> 01:37:51,408
CRETTON: Here come our little...
What did we call these things?
1487
01:37:53,035 --> 01:37:54,036
CALLAHAM: Soul Suckers.
1488
01:37:54,286 --> 01:37:55,704
(BOTH CHUCKLE)
1489
01:37:57,289 --> 01:37:58,749
CRETTON: They're...
1490
01:38:00,543 --> 01:38:02,211
I'm not sure what they're...
1491
01:38:02,294 --> 01:38:05,631
I mean, they became the army
1492
01:38:05,714 --> 01:38:09,593
of the Dweller-in-Darkness.
1493
01:38:11,720 --> 01:38:14,557
The Dweller-in-Darkness' minions.
1494
01:38:16,267 --> 01:38:17,810
CALLAHAM:
They're pretty gross, Destin.
1495
01:38:17,893 --> 01:38:18,894
CRETTON: Yeah.
1496
01:38:18,978 --> 01:38:21,981
CALLAHAM: That, especially.
That effect, right?
1497
01:38:22,731 --> 01:38:24,108
I don't think I was prepared for...
1498
01:38:25,317 --> 01:38:27,111
CRETTON: There's something
really gross about
1499
01:38:27,194 --> 01:38:30,030
a flesh-coloured octopus demon.
1500
01:38:30,114 --> 01:38:31,949
(CALLAHAM LAUGHS)
1501
01:38:32,616 --> 01:38:35,995
CALLAHAM: Yeah. They have faces, too,
1502
01:38:36,078 --> 01:38:38,664
which I'm not sure if I remembered.
1503
01:38:40,249 --> 01:38:46,422
CRETTON: I love Florian's delivery
of this line. It's just so perfect.
1504
01:38:47,923 --> 01:38:53,345
It's the first time that we really see
Razor Fist's humanity.
1505
01:38:53,429 --> 01:38:59,101
We see that Razor Fist
is also a vulnerable person
1506
01:38:59,184 --> 01:39:02,271
who is capable of,
1507
01:39:02,855 --> 01:39:05,983
one, cracking a joke, and two,
1508
01:39:07,735 --> 01:39:10,738
being scared and switching sides.
1509
01:39:10,821 --> 01:39:13,449
RAZOR FIST: To the lake!
Let's go! Let's go!
1510
01:39:15,743 --> 01:39:17,369
Hey, where's your brother?
1511
01:39:18,078 --> 01:39:19,496
I was hoping you knew.
1512
01:39:25,294 --> 01:39:26,295
CALLAHAM: How'd you do this?
1513
01:39:27,254 --> 01:39:30,049
CRETTON: All of this started
as an experiment.
1514
01:39:30,132 --> 01:39:35,387
We initially wanted to shoot Shang-Chi
in a pool underwater.
1515
01:39:36,764 --> 01:39:39,391
But we knew it would just...
1516
01:39:39,475 --> 01:39:44,021
We didn't really have the time,
and it would be a real pain
1517
01:39:44,146 --> 01:39:47,733
because Simu would have
to hold his breath for a long time.
1518
01:39:48,108 --> 01:39:51,487
So it started as an experiment where
1519
01:39:51,570 --> 01:39:56,075
we put him on a harness
1520
01:39:56,158 --> 01:40:01,038
and shot him
in extra slow-mo on a stage,
1521
01:40:02,122 --> 01:40:05,584
and Bill and Reg did some
really incredible lighting
1522
01:40:05,668 --> 01:40:09,630
that made it feel like we're underwater
and we shot it at a really high speed.
1523
01:40:09,755 --> 01:40:15,094
So, he was in extra slow-mo,
blew wind on him,
1524
01:40:15,177 --> 01:40:19,682
and we tried it as a test
to see if it could look like
1525
01:40:19,765 --> 01:40:22,810
it was actually shot underwater.
1526
01:40:24,728 --> 01:40:25,979
And it looked really good.
1527
01:40:26,063 --> 01:40:28,357
So that's how we ended up
shooting the entire thing.
1528
01:40:28,440 --> 01:40:31,652
So all of this,
all that lighting right there was...
1529
01:40:33,070 --> 01:40:39,785
Reg had this rig that he put
above Shang-Chi, above Simu,
1530
01:40:40,619 --> 01:40:46,375
and it was actual...
Like, basically an aquarium of water
1531
01:40:46,917 --> 01:40:50,504
that light was shining
through onto Simu.
1532
01:40:50,587 --> 01:40:52,047
CALLAHAM: Oh, cool.
1533
01:40:52,214 --> 01:40:55,592
CRETTON: And so all of those reflections
1534
01:40:56,552 --> 01:40:59,596
were actual reflections from real water.
1535
01:41:01,640 --> 01:41:03,976
CALLAHAM: And then, the bubbles
and the water effects were
1536
01:41:04,101 --> 01:41:05,936
from that same award-winning water team?
1537
01:41:06,770 --> 01:41:08,981
CRETTON: Different award-winning
water team.
1538
01:41:09,064 --> 01:41:10,482
CALLAHAM: Oh, wow.
1539
01:41:11,358 --> 01:41:16,071
CRETTON: Most of the VFX
in the third act,
1540
01:41:16,155 --> 01:41:19,491
almost all of the VFX
in the third act were done by Weta,
1541
01:41:21,618 --> 01:41:25,289
who some of you may know did
1542
01:41:25,372 --> 01:41:28,459
all of VFX for The Lord of the Rings,
1543
01:41:28,542 --> 01:41:31,170
and many other amazing movies.
1544
01:41:31,253 --> 01:41:37,926
We were very, very lucky to have them
for this section of the movie.
1545
01:41:40,012 --> 01:41:44,349
One member of their team was known as
1546
01:41:46,310 --> 01:41:49,438
the best dragon guy in the business.
1547
01:41:50,355 --> 01:41:52,775
CALLAHAM: Oh! Good timing.
1548
01:41:52,858 --> 01:41:54,276
(CRETTON LAUGHS)
1549
01:41:58,322 --> 01:42:01,575
CALLAHAM: And here's our...
I love the moss. I keep saying I love...
1550
01:42:01,658 --> 01:42:03,327
I just like telling you things
I like about your movie.
1551
01:42:04,161 --> 01:42:05,913
But I really like the moss...
1552
01:42:06,789 --> 01:42:10,375
The algae or the moss or the growth
on the Great Protector's horns.
1553
01:42:11,168 --> 01:42:12,294
Just these little details...
1554
01:42:13,545 --> 01:42:16,423
CRETTON: It's amazing
with character development
1555
01:42:16,507 --> 01:42:21,512
in a VFX process,
how much back and forth
1556
01:42:21,595 --> 01:42:25,599
and meticulous notes it takes
to get to a place.
1557
01:42:25,682 --> 01:42:30,521
Like, how much moss should be
on that dragon?
1558
01:42:31,313 --> 01:42:35,526
There was a point where there was
so much moss on that dragon
1559
01:42:35,609 --> 01:42:38,445
that she looked like a green dragon.
1560
01:42:38,737 --> 01:42:44,284
And we're like... She looked sick.
(CHUCKLES)
1561
01:42:45,327 --> 01:42:47,454
- CALLAHAM: I remember that part.
- (CRETTON LAUGHING)
1562
01:42:47,579 --> 01:42:50,165
CALLAHAM: I feel like this is
a part of the process
1563
01:42:50,249 --> 01:42:54,503
that would be really interesting
for people to see at some point.
1564
01:42:54,586 --> 01:42:58,465
But they present hundreds
of versions of these things,
1565
01:42:58,549 --> 01:43:00,676
the weapons and the costumes and stuff.
1566
01:43:01,260 --> 01:43:03,971
Some of them are so minorly different
from one another
1567
01:43:04,054 --> 01:43:05,681
that you can't even tell.
1568
01:43:06,223 --> 01:43:09,852
And trying to make the right call,
it seems impossible at times.
1569
01:43:12,312 --> 01:43:13,939
She's not back there, Dad.
1570
01:43:15,858 --> 01:43:17,818
Get out of my way, boy.
1571
01:43:17,901 --> 01:43:22,906
CRETTON: It's extra impossible
when you're someone like me
1572
01:43:22,990 --> 01:43:27,911
who has never made a movie of this size,
1573
01:43:28,328 --> 01:43:31,081
even remotely close to this size,
1574
01:43:31,874 --> 01:43:35,711
and then being presented with options
1575
01:43:35,794 --> 01:43:38,213
from some of the best artists
in the world,
1576
01:43:38,297 --> 01:43:41,300
and every option looks pretty amazing.
1577
01:43:41,383 --> 01:43:45,637
And it's really hard for me
1578
01:43:45,721 --> 01:43:48,932
not to just say "Great"
every single time.
1579
01:43:49,016 --> 01:43:54,897
The result of that would be
1580
01:43:54,980 --> 01:44:00,861
a movie that isn't cohesive.
And so, that's the challenge.
1581
01:44:01,778 --> 01:44:03,196
Everything is going to look great.
1582
01:44:03,280 --> 01:44:06,617
The challenge is
trying to keep everything
1583
01:44:06,700 --> 01:44:09,620
looking like it belongs
in the same movie.
1584
01:44:09,703 --> 01:44:10,787
CALLAHAM: Right.
1585
01:44:11,914 --> 01:44:15,459
I do remember of one of those meetings
when we were looking at
1586
01:44:15,542 --> 01:44:17,711
the dragon jacket that Simu wears,
1587
01:44:17,794 --> 01:44:20,464
that Shang-Chi wears in this sequence.
1588
01:44:21,006 --> 01:44:23,508
And there was different piping
and different...
1589
01:44:23,592 --> 01:44:25,844
These costumes all have to be
designed in a way
1590
01:44:25,928 --> 01:44:27,554
that the actors
can get in and out of them,
1591
01:44:27,888 --> 01:44:30,390
which doesn't sound like much,
but they don't have
1592
01:44:30,474 --> 01:44:32,476
front zippers and whatnot visibly.
1593
01:44:33,393 --> 01:44:37,064
And you and I were staring
at those for a while.
1594
01:44:37,689 --> 01:44:40,901
I couldn't even tell the difference
at some point, and I do remember Kevin
1595
01:44:41,109 --> 01:44:44,488
just standing up at one point,
pointing to one, and he's like, "This.
1596
01:44:45,405 --> 01:44:48,158
"But the red needs to be
two ticks brighter."
1597
01:44:48,241 --> 01:44:49,326
(CRETTON CHUCKLES)
1598
01:44:49,451 --> 01:44:51,244
CALLAHAM: And we're like, "Great!"
And he was right.
1599
01:44:51,328 --> 01:44:53,121
And it was one of those many moments
1600
01:44:53,205 --> 01:44:55,457
where you and I were like,
"This is a guy who
1601
01:44:55,540 --> 01:44:58,001
"has been doing this,
knows how to do this,
1602
01:44:58,085 --> 01:45:00,379
"can see these things
in ways that we can't."
1603
01:45:00,462 --> 01:45:01,588
I thought it was so cool.
1604
01:45:03,882 --> 01:45:05,592
CRETTON: Kevin is really cool.
1605
01:45:14,518 --> 01:45:17,521
These flashbacks, I guess we never...
1606
01:45:18,939 --> 01:45:22,943
The way that the flashback
turned out in the final cut of the movie
1607
01:45:23,026 --> 01:45:25,904
of the movie was actually something that
1608
01:45:29,908 --> 01:45:33,453
was pushed to a certain extent
in the scriptwriting phase,
1609
01:45:34,454 --> 01:45:37,666
but was pushed even more
in the editing phase.
1610
01:45:40,210 --> 01:45:41,795
There was always
1611
01:45:42,754 --> 01:45:47,050
the plan to have callbacks
to the flashbacks with Shang-Chi
1612
01:45:47,175 --> 01:45:49,302
when he's underwater with the dragon.
1613
01:45:53,015 --> 01:45:57,352
But because of that element
being introduced
1614
01:45:57,436 --> 01:46:00,147
in the scriptwriting phase,
1615
01:46:00,230 --> 01:46:02,482
we were able to play with it even more
1616
01:46:04,401 --> 01:46:08,196
and tease out the flashbacks
throughout the movie
1617
01:46:08,280 --> 01:46:11,283
so they almost became
a parallel storyline
1618
01:46:11,366 --> 01:46:16,288
to Shang-Chi's present-day story.
1619
01:46:19,875 --> 01:46:22,169
That moment
1620
01:46:23,587 --> 01:46:27,049
when Wenwu punches
Shang-Chi to the ground...
1621
01:46:28,258 --> 01:46:33,138
This whole father-son fight
1622
01:46:34,306 --> 01:46:36,808
was the brainchild of
1623
01:46:38,185 --> 01:46:43,356
two really important members
of Brad Allan's team,
1624
01:46:43,440 --> 01:46:46,902
Junchang and Chris Cowan,
who we've talked about before.
1625
01:46:47,110 --> 01:46:49,738
They together choreographed
1626
01:46:49,821 --> 01:46:54,785
the first Wenwu versus Li fight.
1627
01:46:55,535 --> 01:46:58,580
And they also choreographed
1628
01:47:00,999 --> 01:47:02,667
the father versus son fights,
1629
01:47:03,418 --> 01:47:06,922
which were very important
to keep together
1630
01:47:07,005 --> 01:47:09,424
because if you look at both fights
back to back,
1631
01:47:09,508 --> 01:47:12,385
there's a lot of set-ups
and payoffs between the two,
1632
01:47:13,095 --> 01:47:17,891
and this final fight here was...
1633
01:47:18,934 --> 01:47:21,770
There were a lot of inspirations, too,
1634
01:47:22,521 --> 01:47:26,608
taken from Chinese and Asian anime...
1635
01:47:30,987 --> 01:47:34,157
You'll definitely see some references
1636
01:47:34,241 --> 01:47:36,952
pulled from Dragon Ball Z, which is
1637
01:47:38,161 --> 01:47:42,207
one of our childhood favourites,
1638
01:47:43,125 --> 01:47:44,459
including mine.
1639
01:47:45,544 --> 01:47:47,671
You might see a reference pulled from
1640
01:47:48,672 --> 01:47:52,759
the Kamehameha of Dragon Ball Z.
1641
01:47:53,135 --> 01:47:54,553
(LI'S VOICE ECHOES LOUDLY)
1642
01:47:54,636 --> 01:47:56,471
(SCREECHES)
1643
01:48:00,350 --> 01:48:01,434
(SCREECHES LOUDLY)
1644
01:48:02,352 --> 01:48:04,062
CRETTON:
And here's the Dweller-in-Darkness.
1645
01:48:05,105 --> 01:48:06,356
CALLAHAM: Also gross.
1646
01:48:09,276 --> 01:48:10,485
(CRETTON LAUGHS)
1647
01:48:10,569 --> 01:48:12,070
(ROARING)
1648
01:48:13,488 --> 01:48:20,078
CRETTON: Character-wise, what I love
about the Dweller-in-Darkness is...
1649
01:48:21,288 --> 01:48:24,749
Not just that it's a big, scary monster.
1650
01:48:25,667 --> 01:48:27,586
It is the...
1651
01:48:29,546 --> 01:48:36,428
The physical representation
of Wenwu's blindness.
1652
01:48:36,595 --> 01:48:41,725
And when he looks at that thing
straight in the face
1653
01:48:41,808 --> 01:48:44,519
and they
1654
01:48:45,687 --> 01:48:47,898
meet eye-to-eye,
1655
01:48:47,981 --> 01:48:49,691
except I guess the Dweller
doesn't have eyes,
1656
01:48:49,774 --> 01:48:52,152
but when they're looking directly
at each other,
1657
01:48:52,569 --> 01:48:55,322
I think Wenwu is finally
1658
01:48:57,407 --> 01:49:00,994
looking at
all the stupid mistakes he made,
1659
01:49:01,119 --> 01:49:07,709
and realising that everything
he has been chasing has been wrong.
1660
01:49:14,424 --> 01:49:16,593
CALLAHAM: And it's a moment
where the flashbacks works so well.
1661
01:49:17,385 --> 01:49:21,640
It's very affecting as a father
to think about running back in your head
1662
01:49:21,723 --> 01:49:23,475
all the moments
that you had with your kid.
1663
01:49:25,769 --> 01:49:27,270
(SCREECHES)
1664
01:49:27,354 --> 01:49:28,730
(RINGS HUM)
1665
01:49:28,813 --> 01:49:30,440
(ROARING)
1666
01:49:30,899 --> 01:49:33,068
CRETTON: What I love
about Wenwu's ending is
1667
01:49:35,487 --> 01:49:39,991
he doesn't really have time to change.
1668
01:49:40,158 --> 01:49:44,621
In my mind,
he doesn't have a big character
1669
01:49:45,622 --> 01:49:47,999
change that happens...
1670
01:49:49,709 --> 01:49:52,754
He just changes, just enough,
1671
01:49:53,296 --> 01:49:57,008
to do one selfless act and...
1672
01:49:58,218 --> 01:49:59,469
It's headed for the village!
1673
01:49:59,552 --> 01:50:01,179
(CREATURES CHITTERING)
1674
01:50:01,263 --> 01:50:03,265
(TENSE MUSIC PLAYING)
1675
01:50:03,974 --> 01:50:07,310
CRETTON: That's it. I don't know.
To me, him giving up those rings
1676
01:50:07,394 --> 01:50:13,108
is the first time that Wenwu did
1677
01:50:13,775 --> 01:50:17,529
a truly selfless act
since his wife died.
1678
01:50:19,072 --> 01:50:20,448
That shot right there
1679
01:50:21,741 --> 01:50:24,286
was a shot that...
1680
01:50:26,788 --> 01:50:29,791
With Shang-Chi running
and jumping onto the dragon,
1681
01:50:29,874 --> 01:50:33,086
was one of the first shots
that we saw from Weta,
1682
01:50:33,378 --> 01:50:36,423
and it was actually just an experiment
1683
01:50:37,590 --> 01:50:40,385
to see how the dragon moves
1684
01:50:41,011 --> 01:50:45,056
and how Shang-Chi might
move alongside the dragon.
1685
01:50:45,724 --> 01:50:50,770
And it never made into the movie
until late, late in the game.
1686
01:50:53,189 --> 01:50:57,777
We were trying to figure out how
to get Shang-Chi onto that dragon.
1687
01:50:59,070 --> 01:51:04,534
And Kevin brought up
that experimental shot
1688
01:51:04,617 --> 01:51:06,619
that was given to us from Weta
that he always liked
1689
01:51:06,703 --> 01:51:09,122
and we went and revisited it
1690
01:51:09,456 --> 01:51:13,460
and asked them to
1691
01:51:14,002 --> 01:51:17,255
finalise it and it made it in the movie
and it's pretty iconic.
1692
01:51:19,758 --> 01:51:23,219
CALLAHAM: Again,
Simu running really well.
1693
01:51:23,303 --> 01:51:25,013
CRETTON: Yeah,
Simu's really good at running.
1694
01:51:25,930 --> 01:51:29,601
CALLAHAM: He looks fast, man.
It'd like to know what his 40-10 is.
1695
01:51:29,684 --> 01:51:31,102
(CRETTON CHUCKLES)
1696
01:51:33,063 --> 01:51:34,230
CRETTON: I love this shot, too.
1697
01:51:35,148 --> 01:51:36,775
(GROWLING)
1698
01:51:41,446 --> 01:51:43,448
- (SCREECHING)
- (BOTH GRUNTING)
1699
01:51:49,954 --> 01:51:51,373
(GUANG BO SPEAKING MANDARIN)
1700
01:51:52,165 --> 01:51:53,833
CRETTON: I always wondered
1701
01:51:55,377 --> 01:51:57,796
what it was like directing these
1702
01:51:59,464 --> 01:52:03,927
really VFX-heavy moments in a movie.
1703
01:52:04,511 --> 01:52:07,514
And I always thought I would...
1704
01:52:07,597 --> 01:52:12,143
As a director, I would just sit back
and let other people do all the work.
1705
01:52:13,770 --> 01:52:16,022
But it's much more
1706
01:52:16,856 --> 01:52:20,777
collaborative and involved
than I expected,
1707
01:52:20,860 --> 01:52:25,657
and way harder than I anticipated.
1708
01:52:26,366 --> 01:52:29,869
Trying to tell all of
1709
01:52:30,912 --> 01:52:35,333
the A, B, C, stories that are happening
throughout this entire sequence
1710
01:52:35,417 --> 01:52:37,043
was something that was
1711
01:52:37,877 --> 01:52:41,089
really a crazy puzzle piece
to put together.
1712
01:52:47,595 --> 01:52:53,184
It really is a testament
to the team that we had
1713
01:52:53,268 --> 01:52:59,023
to be able to overly communicate
with all of these bits and pieces
1714
01:52:59,107 --> 01:53:03,027
that fit together
to create this third act.
1715
01:53:05,280 --> 01:53:07,907
CALLAHAM:
It's so complicated. It's incredible.
1716
01:53:08,783 --> 01:53:10,785
(OMINOUS MUSIC PLAYING)
1717
01:53:15,165 --> 01:53:17,000
(PAINED SCREECHING)
1718
01:53:18,960 --> 01:53:20,462
Holy shit.
1719
01:53:22,213 --> 01:53:25,467
CRETTON: That shot of Nora was shot...
1720
01:53:28,553 --> 01:53:31,806
Right now we're about a week
from the premiere.
1721
01:53:31,890 --> 01:53:34,058
That shot
1722
01:53:35,018 --> 01:53:38,605
was shot in England
with Nora about a month ago.
1723
01:53:39,731 --> 01:53:41,316
CALLAHAM: Oh, really?
CRETTON: Yeah.
1724
01:53:41,399 --> 01:53:43,234
(BOTH CHUCKLING)
1725
01:53:45,653 --> 01:53:46,988
CALLAHAM: The way
that you steal these things
1726
01:53:47,071 --> 01:53:49,365
and get them into the movie,
it's incredible.
1727
01:53:52,702 --> 01:53:53,703
(SPEAKING MANDARIN)
1728
01:53:57,957 --> 01:53:59,167
(SHANG-CHI GRUNTING)
1729
01:54:05,507 --> 01:54:08,968
CRETTON: So, some beautiful Weta...
1730
01:54:10,845 --> 01:54:12,597
Weta work right here.
1731
01:54:13,473 --> 01:54:19,229
Everything in that is created
100% by Weta.
1732
01:54:22,398 --> 01:54:26,528
CALLAHAM:
The work here is so amazing.
1733
01:54:26,653 --> 01:54:28,696
I mean, for me to watch it now...
1734
01:54:28,780 --> 01:54:32,784
Because this on the page,
this is just words,
1735
01:54:33,117 --> 01:54:36,996
the scale of what you're seeing
is so enormous
1736
01:54:37,080 --> 01:54:39,249
and you can't imagine it in your head
when you're writing it.
1737
01:54:40,542 --> 01:54:44,963
But the way that they were able to
capture that scale of...
1738
01:54:45,129 --> 01:54:48,424
The enormity of this sequence
is pretty mind-boggling.
1739
01:54:48,508 --> 01:54:51,511
There's this dragon and this demon,
1740
01:54:51,678 --> 01:54:54,013
both of them are enormous,
and you've got
1741
01:54:54,222 --> 01:54:57,600
the water and the weather pattern
that you're seeing right here.
1742
01:54:59,185 --> 01:55:00,979
But then, simultaneously,
1743
01:55:01,271 --> 01:55:03,731
you're still able to focus on
1744
01:55:03,815 --> 01:55:06,150
Shang-Chi and Xialing
and the story that they're telling
1745
01:55:06,276 --> 01:55:08,611
inside of this incredibly huge moment.
1746
01:55:10,071 --> 01:55:11,072
It's really well done.
1747
01:55:15,201 --> 01:55:17,370
CRETTON: One of things I love
about that final moment
1748
01:55:17,453 --> 01:55:21,124
is the way that our composer,
Joel P. West...
1749
01:55:25,545 --> 01:55:28,006
He created these themes that
have been woven throughout the movie.
1750
01:55:28,673 --> 01:55:33,803
There's a clear Wenwu theme,
there's a clear theme for Li.
1751
01:55:34,429 --> 01:55:37,140
And the way that both of those themes
1752
01:55:37,223 --> 01:55:39,892
come together
and interact with Shang-Chi
1753
01:55:39,976 --> 01:55:44,856
as he's falling toward
the Dweller-in-Darkness.
1754
01:55:46,274 --> 01:55:50,945
And using a combination
of his mom's power
1755
01:55:51,029 --> 01:55:52,697
with his dad's rings
1756
01:55:52,780 --> 01:55:57,076
to destroy the beast and save the world.
1757
01:55:58,786 --> 01:56:01,664
The way that those themes come together
1758
01:56:01,748 --> 01:56:06,252
to create one melody
is really beautiful.
1759
01:56:07,962 --> 01:56:13,301
So proud to have the work
that Joel did for this movie.
1760
01:56:15,303 --> 01:56:17,513
YING NAN:...our sisters and brothers.
1761
01:56:19,098 --> 01:56:22,518
And though we will always
hold on to their memories...
1762
01:56:23,436 --> 01:56:27,982
CRETTON: This was one of one of
the last scenes that we shot
1763
01:56:29,108 --> 01:56:33,029
when we were leaving this set.
1764
01:56:33,738 --> 01:56:36,491
This village of Ta Lo
1765
01:56:36,574 --> 01:56:39,786
was a physical set that was built out
1766
01:56:39,869 --> 01:56:44,207
in the countryside outside of Sydney.
1767
01:56:44,749 --> 01:56:48,586
And this was one of
the last nights that we were there,
1768
01:56:48,670 --> 01:56:53,883
and it really was
a very sombre and special night
1769
01:56:53,966 --> 01:56:57,428
for all of us to remember.
1770
01:56:58,721 --> 01:57:00,264
Loved ones that
1771
01:57:00,598 --> 01:57:06,396
we all remembered who have passed on.
1772
01:57:06,979 --> 01:57:08,981
(SOMBRE TRADITIONAL MUSIC PLAYING)
1773
01:57:17,990 --> 01:57:19,409
(MUSIC SWELLING)
1774
01:57:32,672 --> 01:57:34,424
KATY: I seriously thought
we were going to die.
1775
01:57:34,507 --> 01:57:36,050
And I'd only learned how to shoot a bow,
1776
01:57:36,134 --> 01:57:37,385
like, a day earlier,
1777
01:57:37,468 --> 01:57:39,137
CALLAHAM: That's a great cut.
1778
01:57:39,220 --> 01:57:40,972
...killing all these Soul Suckers
with Shaun's auntie,
1779
01:57:41,055 --> 01:57:43,349
who's this awesome,
magical kung fu goddess.
1780
01:57:43,433 --> 01:57:44,892
And I'm hanging on
to The Great Protector
1781
01:57:44,976 --> 01:57:46,060
with my sister at this point,
1782
01:57:46,144 --> 01:57:48,062
trying not to get eaten
by the Mega Soul Sucker.
1783
01:57:48,146 --> 01:57:50,648
Oh, the Mega Soul Sucker
was such a nasty bitch.
1784
01:57:51,315 --> 01:57:55,403
CALLAHAM: This is another example of
1785
01:57:56,237 --> 01:57:58,823
that tone that Destin
set up so beautifully
1786
01:57:58,906 --> 01:58:01,284
at the beginning of the movie showing
1787
01:58:01,367 --> 01:58:03,578
friends hang out at a bar,
doing normal things.
1788
01:58:03,661 --> 01:58:05,747
The way that you intercut here
1789
01:58:05,830 --> 01:58:11,377
between this giant,
literally universe-hinging set piece
1790
01:58:12,170 --> 01:58:15,965
and then back to, they're still people,
they still have their friends,
1791
01:58:16,048 --> 01:58:17,467
they still live in the real world.
1792
01:58:18,259 --> 01:58:20,136
I love that. I love the way
1793
01:58:21,512 --> 01:58:23,473
it both amplifies and undercuts
1794
01:58:23,556 --> 01:58:26,517
the enormity of what they've
just been through, which is super fun.
1795
01:58:27,393 --> 01:58:30,104
And these two
just being like, "Bullshit."
1796
01:58:30,188 --> 01:58:31,606
(CRETTON CHUCKLES)
1797
01:58:32,148 --> 01:58:33,775
She's back
at my dad's compound,
1798
01:58:33,858 --> 01:58:35,067
shutting down his operations.
1799
01:58:35,943 --> 01:58:37,779
CALLAHAM: It has
a man-on-the-ground feeling
1800
01:58:37,862 --> 01:58:39,447
that we haven't seen
1801
01:58:39,530 --> 01:58:42,283
or I don't remember seeing in
any MCU movie up until now.
1802
01:58:42,366 --> 01:58:43,743
You know, Spider-Man
does that pretty well,
1803
01:58:43,826 --> 01:58:48,790
but this is an even more
comedic version of that.
1804
01:58:48,873 --> 01:58:50,416
Of just what happens
when you save the world
1805
01:58:50,500 --> 01:58:53,085
and you come home and no one knows.
1806
01:58:54,045 --> 01:58:59,133
CRETTON: I really love
the way Stephanie plays
1807
01:58:59,550 --> 01:59:01,969
this moment right here.
1808
01:59:03,387 --> 01:59:07,600
When you watch her reaction
1809
01:59:08,851 --> 01:59:11,187
when Wong comes in. (CHUCKLES)
1810
01:59:13,147 --> 01:59:14,524
It's really funny.
1811
01:59:15,858 --> 01:59:17,985
Yeah, I know, sir.
I'm a huge fan...
1812
01:59:18,069 --> 01:59:19,821
Do you have the rings?
1813
01:59:21,322 --> 01:59:22,615
SHANG-CHI: Uh... Yeah, yes.
1814
01:59:22,698 --> 01:59:26,160
CRETTON: Benedict is such a force
when he came into this scene.
1815
01:59:26,244 --> 01:59:32,083
It's like, he walks into a set,
1816
01:59:32,166 --> 01:59:38,506
he looks at everything,
he just starts circling it
1817
01:59:38,589 --> 01:59:41,133
like a shark,
like, what's he going to do?
1818
01:59:41,217 --> 01:59:43,928
And he's looking at the props
1819
01:59:44,011 --> 01:59:47,640
and he felt the weight of
each of their chairs
1820
01:59:47,723 --> 01:59:50,476
and was like, "Okay,
I know what I'm going to do."
1821
01:59:50,560 --> 01:59:51,978
But he waits for the take,
1822
01:59:52,061 --> 01:59:54,689
and then he comes in
without them knowing.
1823
01:59:54,981 --> 01:59:55,982
When he walked in,
1824
01:59:56,065 --> 01:59:59,527
he just grabbed both of their chairs
and ripped it apart.
1825
02:00:00,278 --> 02:00:01,904
(LAUGHS)
1826
02:00:01,988 --> 02:00:06,993
So their reactions
were completely not acted.
1827
02:00:07,493 --> 02:00:11,080
They had no idea he was going
to just scoop them out.
1828
02:00:12,748 --> 02:00:18,337
CALLAHAM: Had he been told to
pound that drink, or did he do that?
1829
02:00:18,421 --> 02:00:20,214
CRETTON: That was also improvised.
1830
02:00:20,548 --> 02:00:21,549
CALLAHAM: It's amazing.
1831
02:00:21,632 --> 02:00:22,884
CRETTON: Yeah, he does...
1832
02:00:24,051 --> 02:00:28,014
I mean, I love improvisation on set,
1833
02:00:28,097 --> 02:00:32,018
and he's the perfect actor
1834
02:00:32,143 --> 02:00:34,729
'cause he's just always
looking for a way
1835
02:00:34,812 --> 02:00:37,273
to disrupt a scene in the best way.
1836
02:00:39,233 --> 02:00:41,444
CALLAHAM: Talk about these credits.
1837
02:00:41,527 --> 02:00:42,945
Where did the idea for this come from?
1838
02:00:43,696 --> 02:00:48,034
CRETTON: The ideas for these credits
came from the theme of the movie,
1839
02:00:48,117 --> 02:00:52,121
which was rooted in the spirit of Mom,
1840
02:00:52,204 --> 02:00:56,125
and Mom's spirit is rooted in water.
1841
02:00:56,208 --> 02:01:01,839
So we talked to Perception,
who did our credits,
1842
02:01:01,923 --> 02:01:05,176
and we talked to them
about what we could do
1843
02:01:05,259 --> 02:01:08,804
with animating water
that we haven't really seen before.
1844
02:01:09,472 --> 02:01:12,224
And really loved what they pitched us,
1845
02:01:12,308 --> 02:01:14,769
- and this is where we landed.
- CALLAHAM: That's really neat.
1846
02:01:14,852 --> 02:01:17,855
There's like a gentleness to it
1847
02:01:17,939 --> 02:01:21,901
because the music is soft in a way.
1848
02:01:21,984 --> 02:01:24,195
CRETTON: I mean, I love the song.
1849
02:01:24,278 --> 02:01:27,365
I love the song
that plays over the end credits.
1850
02:01:27,490 --> 02:01:32,411
It's an Anderson.Paak song,
who's one of my favourite artists,
1851
02:01:32,536 --> 02:01:36,582
and it's a song he hasn't released yet,
1852
02:01:36,791 --> 02:01:39,585
or will be releasing
with the album of our movie.
1853
02:01:40,044 --> 02:01:43,714
And I heard an early draft of the song
1854
02:01:43,798 --> 02:01:45,466
and just fell in love with it,
1855
02:01:46,384 --> 02:01:49,887
so I'm so happy that it's in
the end of our movie.
1856
02:01:51,806 --> 02:01:53,349
Okay. What about this scene?
1857
02:01:53,975 --> 02:01:55,101
CALLAHAM: Holograms.
1858
02:01:55,518 --> 02:01:57,603
Finally.
1859
02:01:58,479 --> 02:02:02,525
CRETTON: We always...
From the beginning,
1860
02:02:02,608 --> 02:02:07,238
we knew that we wanted
to keep the legend
1861
02:02:07,321 --> 02:02:12,451
of The Ten Rings alive
at the end of our movie.
1862
02:02:12,952 --> 02:02:16,706
So we wanted to end this movie
1863
02:02:17,373 --> 02:02:24,296
with a clear question
that we know will be answered
1864
02:02:24,380 --> 02:02:26,382
at some point in the future.
1865
02:02:26,465 --> 02:02:28,467
CALLAHAM:
Which is where do they come from?
1866
02:02:29,051 --> 02:02:31,846
CRETTON: Where do they come from?
Who are they talking to?
1867
02:02:32,596 --> 02:02:36,350
- What exactly do they do?
- CALLAHAM: In the comics,
1868
02:02:36,475 --> 02:02:41,689
the finger rings come from a spaceship.
1869
02:02:43,274 --> 02:02:47,194
And I do you remember talking a lot
about what we wanted to reveal,
1870
02:02:47,278 --> 02:02:50,906
and whether we were going to keep
any element of that origin story or not.
1871
02:02:50,990 --> 02:02:54,160
And we had the freedom
to do what we wanted to do,
1872
02:02:54,243 --> 02:02:55,745
because we were changing the rings.
1873
02:02:55,828 --> 02:02:58,289
But we had written a lot of versions
1874
02:02:58,372 --> 02:03:02,334
of how Wenwu came upon them,
where did he get them?
1875
02:03:02,418 --> 02:03:07,048
And they were always designed
to be intentionally nebulous,
1876
02:03:07,131 --> 02:03:09,550
so that this could happen.
1877
02:03:11,052 --> 02:03:13,554
CRETTON: Yeah, who knows what's going
to happen with those rings?
1878
02:03:13,888 --> 02:03:15,389
Welcome to the circus.
1879
02:03:16,015 --> 02:03:17,641
(CRETTON CHUCKLES)
1880
02:03:18,309 --> 02:03:20,644
CRETTON: Who knows?
1881
02:03:22,730 --> 02:03:24,565
I know this is a lot to take in,
1882
02:03:25,274 --> 02:03:27,276
but you're gonna have
to start getting used to that.
1883
02:03:28,319 --> 02:03:31,447
From now on,
the trajectory of your lives
1884
02:03:31,530 --> 02:03:34,700
will be like nothing you've
ever experienced before.
1885
02:03:35,618 --> 02:03:37,453
And there's no going back.
1886
02:03:39,497 --> 02:03:41,499
You both have a long journey
ahead of you.
1887
02:03:42,458 --> 02:03:44,877
Go home, get some rest.
1888
02:03:47,088 --> 02:03:48,422
Yeah. That's a good idea.
1889
02:03:48,506 --> 02:03:51,342
Yeah. Yeah,
we probably should do that.
1890
02:03:53,052 --> 02:03:54,261
Or...
1891
02:03:55,930 --> 02:03:56,931
(HOTEL CALIFORNIA BY EAGLES PLAYING)
1892
02:03:57,014 --> 02:04:00,101
ALL: (SINGING)
Welcome to the Hotel California
1893
02:04:01,227 --> 02:04:05,648
CRETTON: You know, I have wanted to have
1894
02:04:05,731 --> 02:04:08,609
Hotel California in one of my movies
1895
02:04:10,486 --> 02:04:15,241
since I was in high school.
1896
02:04:17,284 --> 02:04:18,452
CALLAHAM: Congratulations.
1897
02:04:19,578 --> 02:04:20,871
It's a big moment.
1898
02:04:20,955 --> 02:04:23,791
CRETTON: I have not
been able to afford it
1899
02:04:23,874 --> 02:04:26,877
until finally working on a Marvel movie.
1900
02:04:26,961 --> 02:04:29,130
(BOTH LAUGHING)
1901
02:04:29,213 --> 02:04:31,090
CALLAHAM: That's great. That's great.
1902
02:04:31,173 --> 02:04:32,591
It's very critical, though.
1903
02:04:32,675 --> 02:04:35,052
It's not just a fun needle drop.
1904
02:04:35,136 --> 02:04:38,806
You've got a real story around it.
It's paid off.
1905
02:04:39,265 --> 02:04:40,683
CRETTON: We had to...
CALLAHAM: I'm not going to ask
1906
02:04:40,850 --> 02:04:43,769
how much it cost you, but...
1907
02:04:43,853 --> 02:04:47,857
CRETTON: We had to make it critical
in order to justify
1908
02:04:47,940 --> 02:04:51,026
the amount of money
that we paid to put it in the movie.
1909
02:04:51,110 --> 02:04:52,528
(CALLAHAM CHUCKLES)
1910
02:04:56,991 --> 02:04:59,743
CALLAHAM: I have a bad habit of writing
needle drops into movies,
1911
02:04:59,827 --> 02:05:02,371
and the one I've tried every time
is I really want
1912
02:05:03,289 --> 02:05:06,250
Don't Know What You Got (Till It's Gone)
by Cinderella to end up
1913
02:05:06,333 --> 02:05:10,921
in a movie I've written at some point,
but it gets cut immediately.
1914
02:05:11,505 --> 02:05:12,506
CRETTON: Can you sing it for us?
1915
02:05:12,590 --> 02:05:14,008
CALLAHAM: On the first rewrite
every time.
1916
02:05:15,134 --> 02:05:16,760
I don't sing well.
You know the song, come on.
1917
02:05:19,930 --> 02:05:21,849
It's about how you don't know
what you've got till it's gone.
1918
02:05:21,932 --> 02:05:24,435
- CRETTON: Yeah...
- (BOTH LAUGH)
1919
02:05:24,518 --> 02:05:26,979
CALLAHAM: It's a theme that works
in almost every movie ever made.
1920
02:05:27,062 --> 02:05:28,689
CRETTON: That's what I figured.
1921
02:05:33,027 --> 02:05:34,737
(SONG PLAYING)
What a nice surprise
1922
02:05:34,820 --> 02:05:36,280
What a nice surprise
1923
02:05:36,363 --> 02:05:39,450
Bring your alibis
1924
02:05:41,994 --> 02:05:45,623
CALLAHAM: This is
a very accomplished film, Destin.
1925
02:05:45,706 --> 02:05:46,707
Well done.
1926
02:05:46,790 --> 02:05:48,792
CRETTON: Thank you. I thought...
CALLAHAM: Did you ever think...
1927
02:05:49,043 --> 02:05:50,878
CRETTON: Did I ever think that I would
make a movie like this?
1928
02:05:50,961 --> 02:05:52,922
CALLAHAM:
When you were making Short Term 12,
1929
02:05:54,298 --> 02:05:56,508
did you look down the path of the future
1930
02:05:56,592 --> 02:06:00,179
and think,
"Someday I'm gonna make a giant..."
1931
02:06:00,346 --> 02:06:01,805
Were there superhero movies?
1932
02:06:01,889 --> 02:06:04,850
Were they happening in the way
that they're happening now
1933
02:06:04,934 --> 02:06:07,144
at the time that you jumped in?
1934
02:06:07,311 --> 02:06:08,312
Probably not, right?
1935
02:06:08,729 --> 02:06:12,441
CRETTON: I mean, I think
Christopher Nolan's Batman
1936
02:06:12,524 --> 02:06:15,778
- was going on around that time.
- CALLAHAM: But the Marvel thing
1937
02:06:15,861 --> 02:06:18,656
probably was just a couple Iron Mans
at that point, maybe.
1938
02:06:18,739 --> 02:06:24,245
CRETTON: Yeah, Marvel was
never the end goal of mine
1939
02:06:24,328 --> 02:06:29,917
until I saw the announcement
that this character was
1940
02:06:30,584 --> 02:06:33,420
going to be introduced to the MCU.
1941
02:06:34,296 --> 02:06:40,261
And it was...
I don't know, something sparked.
1942
02:06:40,678 --> 02:06:45,099
And it wasn't an obvious
"I have to do this movie, "
1943
02:06:45,182 --> 02:06:50,396
but it was a "I really have to be
part of this conversation."
1944
02:06:50,854 --> 02:06:54,650
And coming in to talk
to Jonathan Schwartz,
1945
02:06:54,733 --> 02:06:59,196
our producer, really got me excited
1946
02:06:59,530 --> 02:07:01,949
that they were taking
the character seriously,
1947
02:07:02,032 --> 02:07:05,536
and that they were wanting
to do something
1948
02:07:05,619 --> 02:07:10,040
that was really special
and significant and respectful
1949
02:07:10,124 --> 02:07:12,960
to the Asian
and Asian American community.
1950
02:07:15,254 --> 02:07:16,839
And then hearing that, Dave,
1951
02:07:16,922 --> 02:07:20,134
you were on the project,
connected to the project,
1952
02:07:20,259 --> 02:07:24,430
was also really exciting to me.
1953
02:07:24,555 --> 02:07:26,598
CALLAHAM: I felt the same way. I love...
1954
02:07:26,724 --> 02:07:29,518
Working collaboratively is, I think...
1955
02:07:29,601 --> 02:07:32,688
I don't know any other way
at this point, but I just...
1956
02:07:33,605 --> 02:07:35,274
It just makes everything a lot more fun
1957
02:07:36,859 --> 02:07:38,819
and I was very eager for them to
1958
02:07:39,653 --> 02:07:42,698
bring me a director
that I could spitball with,
1959
02:07:42,781 --> 02:07:46,660
and I was a little bit alone
in the room with Jonathan,
1960
02:07:46,744 --> 02:07:49,288
and we were both smashing our heads
against the wall quite a bit
1961
02:07:49,371 --> 02:07:50,372
before you came in,
1962
02:07:50,456 --> 02:07:54,251
and you came in
and so much to say and so many ideas.
1963
02:07:55,169 --> 02:07:58,172
Every major theme
and concept in this movie
1964
02:07:58,255 --> 02:07:59,840
came in the day you walked in it.
1965
02:07:59,923 --> 02:08:03,052
So, it was just so fun to be able
1966
02:08:03,135 --> 02:08:08,766
to help make that a reality.
1967
02:08:09,600 --> 02:08:11,018
And I felt the same way
that you did, by the way,
1968
02:08:11,143 --> 02:08:13,103
when they first talked to me
about this project.
1969
02:08:13,187 --> 02:08:14,480
I was really nervous.
1970
02:08:14,563 --> 02:08:19,610
I was like, "Oh, boy, I want to do it
but I don't want to mess it up, "
1971
02:08:19,693 --> 02:08:22,696
and I didn't know which of those things
was stronger for quite some time.
1972
02:08:23,447 --> 02:08:24,656
There's so much baggage
1973
02:08:24,740 --> 02:08:27,868
that comes with Asian American
representation in Western filmmaking,
1974
02:08:27,951 --> 02:08:32,956
so, I'm really glad
we were crazy enough to try.
1975
02:08:40,047 --> 02:08:44,426
CRETTON: I should also take a moment
to talk about Brad Allan
1976
02:08:44,593 --> 02:08:49,431
and the incredible work
that he did on this movie.
1977
02:08:53,310 --> 02:08:55,354
We're all devastated
1978
02:08:55,437 --> 02:09:00,818
to hear that we lost Brad Allan
1979
02:09:03,112 --> 02:09:05,656
before he was able to see this movie,
1980
02:09:05,739 --> 02:09:11,286
and he was such an integral part
1981
02:09:11,453 --> 02:09:15,874
of every aspect of this movie,
that the things that he contributed to,
1982
02:09:15,958 --> 02:09:21,713
not only in the choreography
and the fight sequences,
1983
02:09:23,632 --> 02:09:30,639
but the questions that he posed
in the room were vital to
1984
02:09:31,348 --> 02:09:36,270
really big story structure
1985
02:09:36,353 --> 02:09:38,772
and character development,
1986
02:09:38,856 --> 02:09:41,775
that happened even in scenes
1987
02:09:41,859 --> 02:09:46,405
that have nothing to do
with fight choreography.
1988
02:09:47,614 --> 02:09:53,370
It was... It's still really,
1989
02:09:55,289 --> 02:09:59,293
really hard to even process
1990
02:10:00,669 --> 02:10:03,088
the fact that he's not with us any more.
1991
02:10:06,258 --> 02:10:09,261
But, I mean,
for anybody watching this movie,
1992
02:10:09,344 --> 02:10:14,391
his fingerprints are everywhere
throughout this movie,
1993
02:10:14,475 --> 02:10:20,814
and I feel so privileged and honoured
1994
02:10:20,898 --> 02:10:23,567
to have been able to work with him
1995
02:10:26,403 --> 02:10:31,325
and hope that that this movie
is something
1996
02:10:31,408 --> 02:10:35,120
that he would have really been proud of.
1997
02:10:51,762 --> 02:10:53,764
CALLAHAM: Give a little shout-out
to Allana here if you want.
1998
02:10:53,847 --> 02:10:55,057
CRETTON: Oh, yeah.
1999
02:10:55,140 --> 02:10:56,517
Allana drew that.
2000
02:10:56,600 --> 02:10:57,809
(DOOR SLIDES OPEN)
2001
02:10:58,977 --> 02:11:00,187
They're waiting.
2002
02:11:00,270 --> 02:11:01,355
CRETTON: Yeah.
2003
02:11:01,438 --> 02:11:03,023
CALLAHAM: Unbelievable, really.
2004
02:11:03,273 --> 02:11:05,359
CRETTON: Yeah, Allana Williams.
2005
02:11:05,651 --> 02:11:09,696
You basically asked her
any question about anything
2006
02:11:09,780 --> 02:11:12,533
and she'll have the answer
in about three minutes.
2007
02:11:16,036 --> 02:11:20,040
Turns out she also is
a really amazing artist,
2008
02:11:20,165 --> 02:11:25,462
and so she sketched out
that drawing of Li
2009
02:11:25,546 --> 02:11:29,341
that Xialing was looking at.
2010
02:11:30,509 --> 02:11:31,677
CALLAHAM: That always makes me insane.
2011
02:11:31,760 --> 02:11:33,762
When you find out that someone
who's really talented
2012
02:11:33,845 --> 02:11:38,267
in one thing that you already know about
also has incredible talents elsewhere.
2013
02:11:38,850 --> 02:11:41,478
That's really hard for me to deal with.
2014
02:11:41,562 --> 02:11:43,564
(HIP-HOP MUSIC PLAYING)
2015
02:11:43,647 --> 02:11:45,482
(ALL GRUNTING SYNCHRONOUSLY)
2016
02:12:06,295 --> 02:12:07,963
CALLAHAM: The Ten Rings will return.
2017
02:12:08,046 --> 02:12:09,256
CRETTON: Ten Rings will return.