1
00:00:03,796 --> 00:00:05,339
PARKER: Hutch Parker, producer.
2
00:00:05,423 --> 00:00:06,966
KINBERG: I'm Simon Kinberg,
3
00:00:07,049 --> 00:00:09,594
I was a producer, too,
but writer-director.
4
00:00:09,886 --> 00:00:10,886
PARKER: Heh.
5
00:00:11,304 --> 00:00:12,614
KINBERG: I think this will be
the last time
6
00:00:12,638 --> 00:00:14,974
we see this in front of an X-Men movie.
7
00:00:15,057 --> 00:00:17,226
PARKER: Which is sad to say,
I think you're right.
8
00:00:18,102 --> 00:00:21,063
KINBERG: That X, traditionally, was done
differently when Bryan did it
9
00:00:21,147 --> 00:00:22,815
and we wanted to add a little fire to it
10
00:00:22,899 --> 00:00:25,443
because of, obviously,
the Phoenix cosmic flame.
11
00:00:27,612 --> 00:00:31,616
For Hutch and I, this is our what,
third, fourth movie together?
12
00:00:31,699 --> 00:00:36,412
We did Days of Future Past, Apocalypse,
you were really primarily on Logan.
13
00:00:36,495 --> 00:00:38,247
- So, fourth movie.
- PARKER: Yeah.
14
00:00:38,331 --> 00:00:39,349
KINBERG: And then obviously,
we worked together
15
00:00:39,373 --> 00:00:41,459
when Hutch was head of the studio
16
00:00:41,542 --> 00:00:45,796
and I was a lowly writer just trying
to get a job in Hollywood.
17
00:00:46,547 --> 00:00:47,715
PARKER: Hardly.
18
00:00:48,716 --> 00:00:50,635
JEAN GREY: Who are we?
19
00:00:50,718 --> 00:00:53,346
Are we simply what others want us to be?
20
00:00:54,430 --> 00:00:57,642
Are we destined to a fate
beyond our control?
21
00:00:59,560 --> 00:01:01,479
Or can we evolve?
22
00:01:01,771 --> 00:01:04,899
Become... something more?
23
00:01:07,235 --> 00:01:10,780
KINBERG: We went back and forth a lot
in that opening narration.
24
00:01:10,863 --> 00:01:13,282
Obviously, traditionally,
that's Charles Xavier's narration
25
00:01:13,366 --> 00:01:15,785
but because we wanted this movie
to feel different
26
00:01:15,868 --> 00:01:19,080
and be more Jean's story primarily,
27
00:01:19,163 --> 00:01:21,958
that was a late breaking decision
that we wrote in post
28
00:01:22,041 --> 00:01:24,293
with our extraordinary editor, Lee Smith.
29
00:01:24,377 --> 00:01:26,379
When you are old enough to drive,
30
00:01:26,462 --> 00:01:28,381
you can listen to whatever music you want.
31
00:01:29,548 --> 00:01:30,591
That a deal?
32
00:01:32,468 --> 00:01:34,887
PARKER: This was a pretty exciting
piece to shoot,
33
00:01:34,971 --> 00:01:37,306
made up of a lot
of different little pieces.
34
00:01:37,390 --> 00:01:40,476
Obviously, the exterior stuff
but then also a really unique rig
35
00:01:40,559 --> 00:01:44,063
that our special-effects
head of department designed
36
00:01:44,146 --> 00:01:46,691
to create the sensation of the roll.
37
00:01:48,901 --> 00:01:50,754
KINBERG: And one of the things we wanted
to do with the movie,
38
00:01:50,778 --> 00:01:53,948
I mean, generally,
presuming you watched the movie before
39
00:01:54,031 --> 00:01:55,133
because this would be a horrible way
40
00:01:55,157 --> 00:01:57,201
to watch it for the first time,
listening to us,
41
00:01:57,285 --> 00:02:00,329
is that, the tone is different
than the other X-Men movies.
42
00:02:00,413 --> 00:02:03,416
They're little bit more operatic
and over the top
43
00:02:03,499 --> 00:02:05,477
and we wanted this to feel as realistic
and grounded
44
00:02:05,501 --> 00:02:08,629
and gritty and raw as possible.
45
00:02:08,713 --> 00:02:10,715
And so, as part of that,
46
00:02:10,798 --> 00:02:14,885
we wanted the special-effects
to be as in-camera as practical.
47
00:02:14,969 --> 00:02:16,470
When Hutch said special-effects,
48
00:02:16,554 --> 00:02:18,474
I think something
that a lot of people don't know
49
00:02:18,514 --> 00:02:19,866
and a fair amount of people do know,
50
00:02:19,890 --> 00:02:22,435
but if you're not intimate
with the process of making movies,
51
00:02:22,518 --> 00:02:24,830
people think special-effects means
"computer-generated effects"
52
00:02:24,854 --> 00:02:26,540
and they're two completely
different categories.
53
00:02:26,564 --> 00:02:29,668
There's the special-effects, which are
the practical mechanical effects on set,
54
00:02:29,692 --> 00:02:33,446
and then there's the visual effects,
which is what's generated in the computer.
55
00:02:33,529 --> 00:02:36,198
And so, we try to do
as much special-effects,
56
00:02:36,282 --> 00:02:37,992
practical and mechanical effects,
57
00:02:38,075 --> 00:02:41,329
rigs, like Hutch was just describing,
as possible
58
00:02:41,412 --> 00:02:43,205
so that you would feel the physics of it,
59
00:02:43,289 --> 00:02:45,082
you'd feel the visceral impact of it,
60
00:02:45,166 --> 00:02:47,144
and the actors would be interacting
with something real.
61
00:02:47,168 --> 00:02:49,003
As opposed to something in a computer
62
00:02:49,086 --> 00:02:51,672
where they're just having to communicate
with a green ball.
63
00:02:52,840 --> 00:02:54,359
PARKER:
And there are a lot of visual effects
64
00:02:54,383 --> 00:02:57,428
that augment that sequence and help it.
65
00:02:57,511 --> 00:02:58,721
But Simon's right,
66
00:02:58,804 --> 00:03:01,724
it's grounded in actually doing that,
on some level, practically.
67
00:03:02,892 --> 00:03:04,935
♪♪
68
00:03:11,359 --> 00:03:13,444
KINBERG: This is a scene that we had...
69
00:03:13,527 --> 00:03:15,404
Our line producer, Todd Hallowell,
70
00:03:15,488 --> 00:03:19,408
and our Executive Producer
and AD, Josh McLaglen,
71
00:03:19,492 --> 00:03:20,534
they're off camera.
72
00:03:20,618 --> 00:03:24,288
They were the other doctors in the scene
but their performances were just so good
73
00:03:24,372 --> 00:03:26,832
that we thought their voices
would be powerful enough
74
00:03:26,916 --> 00:03:28,626
we wouldn't have to see their faces.
75
00:03:28,709 --> 00:03:30,294
I'm joking. They'll be upset by that.
76
00:03:31,295 --> 00:03:32,671
This is an example, to me,
77
00:03:32,755 --> 00:03:36,050
that first shot of one of the ways
that Lee Smith, our editor,
78
00:03:36,133 --> 00:03:37,676
who was really... I would say,
79
00:03:37,760 --> 00:03:41,305
Hutch was my primary creative partner
in making this movie,
80
00:03:41,389 --> 00:03:44,225
and I would say the second partner
was really Lee Smith
81
00:03:44,308 --> 00:03:46,328
and he just did
a lot of things that were unexpected
82
00:03:46,352 --> 00:03:47,954
as somebody who won an Oscar for Dunkirk.
83
00:03:47,978 --> 00:03:50,439
He works with...
on all of Chris Nolan's movies.
84
00:03:50,523 --> 00:03:52,501
He works with Peter Weir a lot.
He's worked with Sam Mendes.
85
00:03:52,525 --> 00:03:54,568
Really, the most extraordinary
directors alive.
86
00:03:54,652 --> 00:03:58,072
And he just makes surprising
decisions and choices.
87
00:03:58,155 --> 00:03:59,490
And the beginning of this scene,
88
00:03:59,573 --> 00:04:01,968
as opposed to going right into
the coverage of close-ups of their faces
89
00:04:01,992 --> 00:04:02,992
as you're looking at now,
90
00:04:03,035 --> 00:04:05,788
he started this scene in that high
wide shot from the corner
91
00:04:05,871 --> 00:04:09,917
looking down on them at these two small,
sort of isolated from one another, figures
92
00:04:10,000 --> 00:04:13,337
and I think another editor would've
very quickly used it as the master shot,
93
00:04:13,421 --> 00:04:15,423
the establishing shot
and moved into the coverage.
94
00:04:15,506 --> 00:04:18,467
And instead, he held on that for the
first two or three lines of dialogue
95
00:04:18,551 --> 00:04:20,428
and showed you how far away they are,
96
00:04:20,511 --> 00:04:25,099
made you feel like there was a sort of
loneliness and emptiness to the scene.
97
00:04:25,182 --> 00:04:29,478
And he just is someone who edits
with a very artistic, soulful approach.
98
00:04:29,562 --> 00:04:30,604
PARKER: He sure does.
99
00:04:30,688 --> 00:04:32,440
Amazing, or...
100
00:04:32,523 --> 00:04:34,358
Or just... just really cool.
101
00:04:34,442 --> 00:04:35,568
And a unique location,
102
00:04:35,651 --> 00:04:39,280
this is actually in Montreal,
in an abandoned hospital
103
00:04:39,363 --> 00:04:41,991
that we were able to use
for a variety of things.
104
00:04:42,074 --> 00:04:45,744
But incredibly well designed for,
obviously, this particular scene,
105
00:04:45,828 --> 00:04:47,830
but came in handy
for a bunch of other stuff, too,
106
00:04:47,913 --> 00:04:50,749
because it was very near where
we were shooting at the studio, etc.
107
00:04:51,250 --> 00:04:54,753
KINBERG: And this is our third
X-Men movie in a row shooting in Montreal.
108
00:04:54,837 --> 00:04:57,965
We shot Days of Future Past,
Apocalypse and this film in Montreal,
109
00:04:58,048 --> 00:04:59,675
which has been a great home for us.
110
00:04:59,758 --> 00:05:03,471
They have a really great studio there,
Mel's studio that we basically take over
111
00:05:03,554 --> 00:05:05,365
and so we've got lots
and lots of space to build things.
112
00:05:05,389 --> 00:05:07,600
And then the occasional like this,
as Hutch was saying,
113
00:05:07,683 --> 00:05:10,102
the occasional location off the stage,
114
00:05:10,186 --> 00:05:13,272
whether it's an abandoned building
or it's the exterior of somewhere or this,
115
00:05:13,355 --> 00:05:16,275
which is in the countryside
outside of, just outside of Montreal.
116
00:05:16,358 --> 00:05:17,610
PARKER: Great crews there, too.
117
00:05:17,693 --> 00:05:20,529
We really, we had quite a family
over the three movies
118
00:05:20,613 --> 00:05:23,365
and they are fairly long shoots,
so you're there for a while.
119
00:05:23,449 --> 00:05:26,619
Amazing city, but just a crew
that we fell in love with.
120
00:05:27,203 --> 00:05:28,370
I can help.
121
00:05:29,580 --> 00:05:31,665
You're not like the other doctors.
122
00:05:33,000 --> 00:05:34,000
(CHUCKLES)
123
00:05:34,460 --> 00:05:35,503
No.
124
00:05:36,754 --> 00:05:38,631
And you're not like the other patients.
125
00:05:40,132 --> 00:05:43,135
♪♪
126
00:05:51,852 --> 00:05:53,079
KINBERG: This is an interesting shot,
127
00:05:53,103 --> 00:05:55,523
because I feel like it's one
of those visual effects shots
128
00:05:55,606 --> 00:05:57,042
that are sort of invisible in the movie.
129
00:05:57,066 --> 00:05:59,818
I think the presumption is that
that is actually a location,
130
00:05:59,902 --> 00:06:01,487
a mansion or house.
131
00:06:01,570 --> 00:06:04,615
That is a completely
computer-generated house.
132
00:06:04,698 --> 00:06:06,676
We've done that in in the last few
of the X-Men movies.
133
00:06:06,700 --> 00:06:08,869
And if you actually watch
X-Men 1, 2, 3,
134
00:06:08,953 --> 00:06:10,746
First Class, onward,
135
00:06:10,829 --> 00:06:15,084
I think it's a different mansion in all,
but X2 and 3.
136
00:06:15,167 --> 00:06:18,128
So, X1 was in Toronto.
X2 and 3 was in Vancouver.
137
00:06:18,212 --> 00:06:19,547
First Class was in London.
138
00:06:19,630 --> 00:06:21,966
And then we went to,
in Days of Future Past,
139
00:06:22,049 --> 00:06:25,261
doing a visual effect amalgam
of the different mansions
140
00:06:25,344 --> 00:06:28,347
and this is yet a different version
of an Xavier mansion.
141
00:06:28,430 --> 00:06:30,474
Right there, we built that doorway,
142
00:06:30,558 --> 00:06:34,687
but everything around the doorway,
all the stonework and all of that is,
143
00:06:34,770 --> 00:06:35,938
is computer-generated.
144
00:06:36,397 --> 00:06:41,694
PARKER: It's actually in an abandoned golf
course out in the suburbs of Montreal
145
00:06:41,777 --> 00:06:45,656
and became home to us for any
of those entrance shots at the mansion
146
00:06:45,739 --> 00:06:49,076
and any of the exterior
mansion materials all shot there.
147
00:06:54,748 --> 00:06:55,976
KINBERG: And this is another thing
148
00:06:56,000 --> 00:06:58,186
that we wanted to differentiate
from previous X-Men movies
149
00:06:58,210 --> 00:06:59,690
that have these incredibly elaborate,
150
00:06:59,753 --> 00:07:02,298
very visual effects CG-heavy
title sequences.
151
00:07:02,381 --> 00:07:05,151
I just wanted the title sequence
to feel like you were in more of a drama
152
00:07:05,175 --> 00:07:08,971
than you were in a science fiction,
mega-tentpole.
153
00:07:09,054 --> 00:07:11,265
Just keep it grounded,
keep it feeling real,
154
00:07:11,348 --> 00:07:14,727
push you forward in the story
and not get bogged down
155
00:07:15,019 --> 00:07:17,980
in, you know, a three-minute
sort of razzle-dazzle sequence.
156
00:07:32,870 --> 00:07:34,580
(BEEPING, RINGING)
157
00:07:37,666 --> 00:07:40,346
PARKER: This was a lot of fun. We actually
have members of the crew,
158
00:07:40,419 --> 00:07:42,338
including one of our assistant directors...
159
00:07:42,421 --> 00:07:43,481
- KINBERG: Right there.
- In the shot.
160
00:07:43,505 --> 00:07:44,840
- Right there.
- In this scene.
161
00:07:44,923 --> 00:07:45,924
KINBERG: Special talent.
162
00:07:48,510 --> 00:07:51,972
Another AD right there, the blonde guy
who was just adjusting his headpiece.
163
00:07:52,056 --> 00:07:53,974
There's also really good local talent
164
00:07:54,058 --> 00:07:56,977
in terms of acting in Canada,
in general, and Montreal.
165
00:07:57,061 --> 00:08:01,106
The woman who plays the flight director
at NASA was a Canadian actress
166
00:08:01,190 --> 00:08:03,400
and there's a few
other great Canadian actors.
167
00:08:03,484 --> 00:08:05,152
PARKER: Yet another mansion set.
168
00:08:05,235 --> 00:08:08,781
Every movie we've ever made
has had the interior mansion set.
169
00:08:08,864 --> 00:08:11,700
When we actually,
on the last one, Apocalypse,
170
00:08:11,784 --> 00:08:15,245
held the set, or key elements of it
that we could reuse later,
171
00:08:15,329 --> 00:08:16,765
just knowing we'd probably come back.
172
00:08:16,789 --> 00:08:17,915
Are irregular,
173
00:08:17,998 --> 00:08:20,238
- likely from the constant engine burn.
- (PHONE RINGING)
174
00:08:20,709 --> 00:08:22,586
Oxygen generation is down...
175
00:08:22,670 --> 00:08:24,922
Yes? Yes, this is he.
176
00:08:27,341 --> 00:08:28,926
- Charles?
- Mr. President.
177
00:08:29,009 --> 00:08:30,236
KINBERG: You know,
one of the things we did,
178
00:08:30,260 --> 00:08:31,863
going just from a narrative perspective,
obviously,
179
00:08:31,887 --> 00:08:34,890
going back to Days of Future Past,
is we reset the timeline.
180
00:08:34,973 --> 00:08:37,243
And so, even though it's 1992
when this movie takes place,
181
00:08:37,267 --> 00:08:39,147
you don't need Bill Clinton
to be the president.
182
00:08:39,228 --> 00:08:41,855
It's a different reality than the one
we all know from history.
183
00:08:41,939 --> 00:08:42,981
♪♪
184
00:08:45,359 --> 00:08:46,628
MYSTIQUE: It's a simple extraction.
185
00:08:46,652 --> 00:08:47,986
We go into space,
186
00:08:48,070 --> 00:08:49,750
we get the astronauts, we bring them home.
187
00:08:49,822 --> 00:08:52,366
- Any questions?
- Yeah, like a thousand.
188
00:08:52,449 --> 00:08:53,826
We don't have time for a thousand.
189
00:08:53,909 --> 00:08:55,035
So we're going to space?
190
00:08:55,119 --> 00:08:55,994
Yes, Kurt, we are...
191
00:08:56,078 --> 00:08:57,972
KINBERG: And one of the things
that was exciting to all of us
192
00:08:57,996 --> 00:08:59,974
going into making this movie,
is that in the beginning of the film,
193
00:08:59,998 --> 00:09:01,601
for the first time
in any of the X-Men movies,
194
00:09:01,625 --> 00:09:03,877
they are known public superheroes.
195
00:09:03,961 --> 00:09:05,379
And so, they resemble more
196
00:09:05,462 --> 00:09:07,673
the superheroes we know
of other comic book adaptations.
197
00:09:07,756 --> 00:09:09,516
And a lot of what we've seen
from the comics.
198
00:09:09,591 --> 00:09:11,427
They're not a hidden group anymore.
199
00:09:11,510 --> 00:09:15,639
They are an accepted and embraced part
of society when this movie starts.
200
00:09:15,723 --> 00:09:17,933
And I wanted to also use,
a lot of different influences,
201
00:09:18,016 --> 00:09:20,811
but obviously, if you know the comics,
the Grant Morrison run,
202
00:09:20,894 --> 00:09:24,690
the classic yellow and blue/purple suits
203
00:09:24,773 --> 00:09:26,900
we'd never really done
in the movies before.
204
00:09:26,984 --> 00:09:28,336
And just thought this was an opportunity.
205
00:09:28,360 --> 00:09:29,820
And this was a nod to X1,
206
00:09:29,903 --> 00:09:32,173
which is something I thought Bryan Singer
did incredibly well.
207
00:09:32,197 --> 00:09:36,744
And the idea of the basketball
court that opens up for the jet.
208
00:09:40,748 --> 00:09:42,517
PARKER: Another thing
that's been fun on these
209
00:09:42,541 --> 00:09:45,002
is each film has had
its own version of the X-jet.
210
00:09:45,085 --> 00:09:46,962
Simon did a pretty
incredible job, I thought,
211
00:09:47,045 --> 00:09:48,297
with our production designer,
212
00:09:48,380 --> 00:09:51,425
kind of evolving that into something
that felt a little bit more
213
00:09:51,508 --> 00:09:54,011
like it had been in the field, in use,
214
00:09:54,094 --> 00:09:56,889
but still capable
of some of the galactic stuff
215
00:09:56,972 --> 00:09:58,891
that we would experience
going up into space.
216
00:09:58,974 --> 00:10:01,202
KINBERG: Yeah, I mean, traditionally,
in the comic obviously,
217
00:10:01,226 --> 00:10:03,812
it's based on the Blackbird,
a real fighter jet.
218
00:10:03,896 --> 00:10:06,106
And we explored that a little bit
in First Class.
219
00:10:06,190 --> 00:10:10,486
And so, I wanted us to create something
that was part Blackbird, part X-Jet
220
00:10:10,569 --> 00:10:13,280
and something also
we haven't seen in the films before.
221
00:10:13,363 --> 00:10:15,991
And so, Claude Paré,
our production designer,
222
00:10:16,074 --> 00:10:17,826
had a lot of fun working on that with us.
223
00:10:18,911 --> 00:10:21,351
PARKER: Another design element
obviously we feature every time
224
00:10:21,413 --> 00:10:23,832
is both Cerebro and Charles' chair,
225
00:10:23,916 --> 00:10:27,044
which is always the subject
of a lot of thoughtful design work
226
00:10:27,127 --> 00:10:30,506
and Simon, again,
I think found a really nice balance
227
00:10:30,589 --> 00:10:32,591
that pays tribute to what's come before
228
00:10:32,674 --> 00:10:34,927
but also allowed us to go
a little bit further,
229
00:10:35,010 --> 00:10:37,471
both in Cerebro
and in the design of the chair.
230
00:10:37,554 --> 00:10:38,782
Shorted out their electricity.
231
00:10:38,806 --> 00:10:39,824
KINBERG: And even the helmet.
232
00:10:39,848 --> 00:10:42,726
I mean, one of the things
that we looked at was period aesthetic
233
00:10:42,810 --> 00:10:44,996
and if you actually look at the helmet
and a little bit at the chair,
234
00:10:45,020 --> 00:10:48,398
there's a sort
of Apple computer look to it.
235
00:10:48,482 --> 00:10:51,819
The lighting and some of
the plastic translucency to it.
236
00:10:53,987 --> 00:10:55,906
♪♪
237
00:10:57,199 --> 00:11:00,202
I think this is not as much fun
as I thought it would be.
238
00:11:15,259 --> 00:11:17,386
KINBERG: This is, obviously,
all visual effects.
239
00:11:17,469 --> 00:11:21,390
PARKER: And this was a sequence
that Simon had pre-vis'd in prep
240
00:11:21,473 --> 00:11:24,726
and it pretty much is, I mean,
other than being a little bit shorter,
241
00:11:24,810 --> 00:11:27,271
it pretty much is exactly what we planned.
242
00:11:27,354 --> 00:11:30,074
It evolved a little bit in terms
of some of the visual effects design
243
00:11:30,107 --> 00:11:34,152
but it's a sequence that was
the first one that he took from the page
244
00:11:34,236 --> 00:11:37,698
and put into a visual language,
and then in shooting it,
245
00:11:37,781 --> 00:11:40,450
it really did stay true
to the original design.
246
00:11:41,243 --> 00:11:43,179
KINBERG: Well, it's two things really
that I wanted to accomplish here.
247
00:11:43,203 --> 00:11:45,122
One is, as a fan of the X-Men comics
248
00:11:45,205 --> 00:11:47,267
and obviously as someone who's worked
on a lot of the X-Men movies
249
00:11:47,291 --> 00:11:50,544
I felt as though we haven't had a lot
of the X-Men working together as a team.
250
00:11:50,627 --> 00:11:53,422
And there's a few places, opportunities
we have that in this movie
251
00:11:53,505 --> 00:11:55,066
even if they're fighting
against one another,
252
00:11:55,090 --> 00:11:56,425
they're still set into two teams.
253
00:11:56,508 --> 00:11:57,384
In this case, they're one.
254
00:11:57,467 --> 00:11:59,720
And I just love the idea of seeing them,
255
00:11:59,803 --> 00:12:03,098
what fans have always, I think,
enjoyed the most in the comic,
256
00:12:03,181 --> 00:12:06,310
other than the nuanced character work,
is the teamwork.
257
00:12:06,393 --> 00:12:08,538
And so, this is them really working
as a well-oiled machine
258
00:12:08,562 --> 00:12:11,207
and as a team that's obviously,
done a lot of these missions before.
259
00:12:11,231 --> 00:12:13,400
And I guess the other part of it is,
in the X-Men comic
260
00:12:13,483 --> 00:12:15,319
and specifically the Dark Phoenix saga,
261
00:12:15,402 --> 00:12:17,602
it was really important to me
to be as loyal as possible
262
00:12:17,654 --> 00:12:21,408
to the essence of the Dark Phoenix saga
because, as many know,
263
00:12:21,491 --> 00:12:25,412
the Dark Phoenix story was a subplot
OR A B-PLOT OF X-MEN: The Last Stand.
264
00:12:25,495 --> 00:12:29,207
I wanted this to really be
the primary driver and plot of the film.
265
00:12:29,291 --> 00:12:31,001
And in the Dark Phoenix story,
266
00:12:31,084 --> 00:12:33,879
it's not something that just
magically happens to her on Earth.
267
00:12:33,962 --> 00:12:36,840
She gets zapped in space
by a Cosmic Force
268
00:12:36,924 --> 00:12:38,717
and this is where that happens.
269
00:12:38,800 --> 00:12:41,029
And so, from the very beginning
of working on this script
270
00:12:41,053 --> 00:12:43,805
and conceiving the movie,
I knew... if I knew anything,
271
00:12:43,889 --> 00:12:46,224
I knew that some of it
was going to take place in space
272
00:12:46,308 --> 00:12:48,685
because there'd be this cosmic
intergalactic element,
273
00:12:48,769 --> 00:12:51,229
and an alien element to it as well.
274
00:12:51,313 --> 00:12:55,567
So, this sequence sort of built
from the combination of wanting her,
275
00:12:55,651 --> 00:12:58,737
Jean, to get transformed
by the cosmic flare into the Phoenix Force
276
00:12:58,820 --> 00:13:03,700
and also wanting to situate it into
something real and relevant to 1992.
277
00:13:03,784 --> 00:13:06,471
And obviously, back then, we were still
sending space shuttles into space,
278
00:13:06,495 --> 00:13:07,871
which we don't do anymore.
279
00:13:07,955 --> 00:13:08,955
He's not here.
280
00:13:08,997 --> 00:13:11,375
He was in the airlock
working on the thruster.
281
00:13:15,504 --> 00:13:17,214
The heat signature's rising fast.
282
00:13:17,965 --> 00:13:19,299
I can't hold it any longer.
283
00:13:19,508 --> 00:13:20,884
We gotta get out of here.
284
00:13:20,968 --> 00:13:22,219
I said strap in!
285
00:13:22,302 --> 00:13:23,387
No, Raven. No.
286
00:13:23,470 --> 00:13:24,750
We're not leaving anyone behind.
287
00:13:25,097 --> 00:13:27,265
I am not putting this team in more danger.
288
00:13:27,349 --> 00:13:29,518
And what about their team? Jean...
289
00:13:29,601 --> 00:13:31,079
PARKER: The other thing
that's notable about this
290
00:13:31,103 --> 00:13:34,731
is, it's a triumph
of visual effects to me,
291
00:13:34,815 --> 00:13:37,818
that the craft reflected
and all this detail,
292
00:13:37,901 --> 00:13:39,653
the, you know, the shuttle itself,
293
00:13:39,736 --> 00:13:41,863
even the frost on the windows there
294
00:13:41,947 --> 00:13:43,699
is an incredibly demanding sequence.
295
00:13:43,782 --> 00:13:47,577
The bamfing which is something
they've really worked hard to evolve
296
00:13:47,661 --> 00:13:50,998
and give it a deeper texture
and a richness.
297
00:13:51,081 --> 00:13:54,960
But then it's married with really
intense performance moments,
298
00:13:55,043 --> 00:13:58,422
particularly from Sophie and Tye,
but from everybody.
299
00:13:58,505 --> 00:14:00,841
So, a sequence
that I'm incredibly proud of,
300
00:14:00,924 --> 00:14:02,843
and Phil Brennan and Kurt Williams,
301
00:14:02,926 --> 00:14:05,846
who were our champions
of all things visual effects,
302
00:14:05,929 --> 00:14:07,431
did an amazing job with their team.
303
00:14:07,973 --> 00:14:10,243
KINBERG: Yeah, I think
one of the things that was so great
304
00:14:10,267 --> 00:14:11,727
about this team we put together,
305
00:14:11,810 --> 00:14:14,247
which was some people that had worked
on X-Men movies in the past,
306
00:14:14,271 --> 00:14:16,481
some people who were new
to the X-Men universe,
307
00:14:16,565 --> 00:14:18,584
some people who had only done
re-shoots of X-Men movies.
308
00:14:18,608 --> 00:14:21,570
I mean, it is an extraordinary team
and as such talks about it,
309
00:14:21,653 --> 00:14:23,780
it's like Oscar winners, Oscar nominees.
310
00:14:23,864 --> 00:14:25,991
Like I said, Lee Smith
won an Oscar for Dunkirk.
311
00:14:26,074 --> 00:14:29,119
Our DP, Mauro Fiore
won an Oscar for Avatar.
312
00:14:29,202 --> 00:14:32,456
Phil Brennan had been nominated
for Snow White and the Huntsman.
313
00:14:32,539 --> 00:14:34,583
There's just a lot of really,
really talented people
314
00:14:34,666 --> 00:14:37,127
that contributed
to all of these kinds of sequences
315
00:14:37,210 --> 00:14:40,189
where you have hundreds, if not thousands
of people, that are building this.
316
00:14:40,213 --> 00:14:41,965
It's not just us and a green screen.
317
00:14:42,049 --> 00:14:44,249
Obviously, that wouldn't be
a whole lot of fun to watch.
318
00:14:44,301 --> 00:14:46,446
But performance wise, the other thing
that we had in this movie,
319
00:14:46,470 --> 00:14:49,598
and it was a luxury that I wish
we had had in all the films,
320
00:14:49,681 --> 00:14:52,559
was we had a lot more rehearsal time
than we'd ever had with the actors.
321
00:14:52,642 --> 00:14:54,895
And I think that's something
that was important to me,
322
00:14:54,978 --> 00:14:58,690
in terms of focusing on it
being a more character driven movie
323
00:14:58,774 --> 00:15:00,168
than some of the ones had been recently.
324
00:15:00,192 --> 00:15:01,544
And giving some of these young actors,
325
00:15:01,568 --> 00:15:05,447
especially Sophie, the time to really
hone all the nuances of the character.
326
00:15:14,623 --> 00:15:16,833
♪♪
327
00:15:24,925 --> 00:15:26,968
(SCREAMING)
328
00:15:31,431 --> 00:15:33,785
PARKER: By the way, these sequences
are pretty tedious to shoot,
329
00:15:33,809 --> 00:15:36,489
because none of this stuff actually
exists while you're shooting it.
330
00:15:36,520 --> 00:15:39,564
Making the effort by the actors,
I think, particularly good.
331
00:15:40,023 --> 00:15:44,111
Another little factoid, I mean,
this Phoenix effect look, feel,
332
00:15:44,194 --> 00:15:48,031
was something that really did evolve
over the course of the whole film
333
00:15:48,115 --> 00:15:51,034
and into post and modulated and shifted
334
00:15:51,118 --> 00:15:53,328
according to, you know,
the way the story was working.
335
00:15:53,411 --> 00:15:55,291
And I think it ended up
in a really great place,
336
00:15:55,330 --> 00:15:56,682
something I'm really pleased with.
337
00:15:56,706 --> 00:15:58,184
KINBERG: Yeah, I think when it started,
338
00:15:58,208 --> 00:16:01,211
it was probably more
like the Phoenix effect
339
00:16:01,294 --> 00:16:03,922
that we see at the very end of Apocalypse
340
00:16:04,005 --> 00:16:07,926
when Jean sort of goes Phoenix-y,
and that was a more fiery look,
341
00:16:08,009 --> 00:16:10,929
but it didn't really have
any of the cosmic elements
342
00:16:11,012 --> 00:16:13,557
that are obviously a big part
of the Phoenix Saga in the comics.
343
00:16:13,640 --> 00:16:18,728
And so, as we evolved and progressed
in post-production with Phil and Kurt,
344
00:16:18,812 --> 00:16:20,623
the visual effects team
that Hutch was talking about,
345
00:16:20,647 --> 00:16:22,566
we really brought in different colors
346
00:16:22,649 --> 00:16:28,113
that would denote a cosmic
or otherworldly, not just fiery, element.
347
00:16:28,196 --> 00:16:30,383
PARKER: Another pretty critical choice,
I think, in all this,
348
00:16:30,407 --> 00:16:33,618
was something that Simon...
I mean, we talked about a lot,
349
00:16:33,702 --> 00:16:36,288
but obviously he was really
the chief architect of this,
350
00:16:36,371 --> 00:16:38,165
which was keeping the Phoenix effect,
351
00:16:38,248 --> 00:16:41,835
as it manifests itself on Jean,
to be pretty subtle,
352
00:16:41,960 --> 00:16:43,753
you know, to live
a little bit in the eyes,
353
00:16:43,837 --> 00:16:45,589
a little bit in the cracks...
354
00:16:45,672 --> 00:16:50,177
but not take away from the emotional
grounding, the performance,
355
00:16:50,260 --> 00:16:53,346
the psychology that really does sit
at the heart of the story.
356
00:16:53,430 --> 00:16:56,224
And in light of what you can do
and what is often done,
357
00:16:56,308 --> 00:16:57,893
in terms of blowing ideas out,
358
00:16:57,976 --> 00:17:01,062
I thought that was a really
smart and important decision.
359
00:17:01,479 --> 00:17:03,666
KINBERG: Well, I feel like
what's happened a lot in movies
360
00:17:03,690 --> 00:17:06,169
when you're talking about supernatural
or science fiction movies,
361
00:17:06,193 --> 00:17:08,028
there's a tendency to fall in love
362
00:17:08,111 --> 00:17:10,113
with the prosthetics
and the visual effects.
363
00:17:10,197 --> 00:17:13,575
And a lot of the times they get
in the way of the humanity
364
00:17:13,658 --> 00:17:15,619
and the performance of the actors.
365
00:17:15,702 --> 00:17:19,039
And this movie
is so intensively a, to me,
366
00:17:19,122 --> 00:17:22,709
like I say, a character-based
and a performance-based movie,
367
00:17:22,792 --> 00:17:25,420
that if you covered Jean
in too much prosthetic
368
00:17:25,503 --> 00:17:28,256
and visual effect
and glow and all of that,
369
00:17:28,340 --> 00:17:29,860
you'd really be hiding her performance
370
00:17:29,925 --> 00:17:32,005
and you wouldn't give Sophie
a chance to really emote
371
00:17:32,052 --> 00:17:34,596
in the way that she needed to
for the audience to relate to her.
372
00:17:34,679 --> 00:17:35,781
And that's the other part
of it is, like, I think
373
00:17:35,805 --> 00:17:37,515
the more of that you put on a character,
374
00:17:37,599 --> 00:17:40,159
it's more and more layers between
that character in the audience.
375
00:17:40,185 --> 00:17:42,747
It's harder for the audience to relate
to what the character is going through.
376
00:17:42,771 --> 00:17:45,065
And this is a movie so much
about her inner struggle,
377
00:17:45,148 --> 00:17:46,375
I wanted her to be able to play it
378
00:17:46,399 --> 00:17:49,319
rather than us to have to layer...
lather it on.
379
00:17:49,402 --> 00:17:53,782
Felt gratitude. And as for myself,
I've... never been prouder.
380
00:17:54,991 --> 00:17:56,326
Enjoy yourselves.
381
00:17:56,409 --> 00:17:57,827
You certainly deserve it.
382
00:17:57,911 --> 00:17:59,162
In fact, you all do.
383
00:17:59,246 --> 00:18:00,622
No more class, the end of the day.
384
00:18:00,789 --> 00:18:02,874
(CHEERING)
385
00:18:03,917 --> 00:18:04,917
Jean?
386
00:18:06,419 --> 00:18:09,005
You gave us quite a scare up there.
How are you feeling?
387
00:18:10,257 --> 00:18:12,968
Actually, I... I feel fine.
388
00:18:13,301 --> 00:18:15,053
- Hank?
- Yeah?
389
00:18:15,136 --> 00:18:16,280
Would you take a look at Jean?
390
00:18:16,304 --> 00:18:18,556
Standard medical for anyone
injured in the field.
391
00:18:18,640 --> 00:18:19,683
Thank you.
392
00:18:22,143 --> 00:18:25,063
You know, the President
was almost sending his condolences.
393
00:18:25,272 --> 00:18:28,024
PARKER: This is one of the moments
I like most in the film
394
00:18:28,108 --> 00:18:30,860
because it's an idea that Simon
wrote into the script
395
00:18:30,944 --> 00:18:34,572
where you're starting to see
some cracks in the family
396
00:18:34,656 --> 00:18:35,865
and in the belief,
397
00:18:35,949 --> 00:18:38,785
you know, the unwavering belief
in Charles and his vision.
398
00:18:38,868 --> 00:18:41,579
I mean, Jen's great
in this scene, as is James,
399
00:18:41,663 --> 00:18:45,083
but it's really the content of the scene
that I think is so powerful.
400
00:18:45,166 --> 00:18:48,461
And it sets a really interesting
dynamic for the rest of the film,
401
00:18:48,545 --> 00:18:50,630
where we start to explore and look at,
402
00:18:50,714 --> 00:18:53,550
"What is Charles' responsibility?
Has he lost his way?"
403
00:18:53,633 --> 00:18:55,486
You know, one of the metaphors
we talked a lot about
404
00:18:55,510 --> 00:18:58,263
was that of parenting
where you do your best, but sometimes,
405
00:18:58,346 --> 00:19:01,224
you're not necessarily doing
what's right for your child
406
00:19:01,308 --> 00:19:02,350
even though you intend to.
407
00:19:02,434 --> 00:19:06,062
And that's a theme that, I think,
resonates powerfully throughout the piece.
408
00:19:06,146 --> 00:19:08,565
KINBERG: Well, and I think
part of what has been so enduring
409
00:19:08,648 --> 00:19:12,402
and the reason why the Dark Phoenix Saga
is the most beloved of the X-Men stories
410
00:19:12,485 --> 00:19:14,612
is because it's a story that is about,
411
00:19:14,696 --> 00:19:16,573
no pure good guys
and pure bad guys.
412
00:19:16,656 --> 00:19:18,283
There's no pure good and no pure evil.
413
00:19:18,366 --> 00:19:21,453
Someone as benevolent as Charles
can also have a darker side to him,
414
00:19:21,536 --> 00:19:23,621
can be flawed,
can be human like the rest of us.
415
00:19:23,705 --> 00:19:26,166
And so, my intention
going into the writing of the script
416
00:19:26,249 --> 00:19:28,710
and then the directing of
the performance of the actors
417
00:19:28,793 --> 00:19:32,380
is that everybody had,
a spectrum of dark and light to them.
418
00:19:32,464 --> 00:19:33,858
And so, someone like Jean, obviously,
419
00:19:33,882 --> 00:19:36,593
is struggling the most and the most
dramatically with that spectrum.
420
00:19:37,052 --> 00:19:38,511
It's funny.
421
00:19:38,595 --> 00:19:42,140
I can't actually remember the last time
you were the one risking something.
422
00:19:42,724 --> 00:19:43,724
And by the way,
423
00:19:43,767 --> 00:19:46,269
the women are always
saving the men around here.
424
00:19:46,353 --> 00:19:48,497
You might wanna think about
changing the name to X-Women.
425
00:19:48,521 --> 00:19:49,623
KINBERG: Someone even like Charles,
426
00:19:49,647 --> 00:19:51,407
who traditionally,
in almost all these movies
427
00:19:51,483 --> 00:19:53,735
has been this sort of benevolent,
paternal figure,
428
00:19:53,818 --> 00:19:55,487
we sort of explore the space
429
00:19:55,570 --> 00:19:57,822
between being paternal
and being patriarchal.
430
00:19:57,906 --> 00:20:01,743
The idea that he's sitting
down there in his home,
431
00:20:01,826 --> 00:20:05,705
while young people are risking
their lives all over the world,
432
00:20:05,789 --> 00:20:07,248
as a team named after him.
433
00:20:07,332 --> 00:20:09,292
And that there's something
problematic about that
434
00:20:09,376 --> 00:20:11,503
and especially the world
in which we live right now
435
00:20:11,586 --> 00:20:14,839
where, you know, we're looking more
and more at the accountability of people
436
00:20:14,923 --> 00:20:18,301
who are doing things for their own ego
or for their own benefit.
437
00:20:18,385 --> 00:20:20,321
This just felt like an opportunity
to explore that
438
00:20:20,345 --> 00:20:21,739
in a way that these movies
never have before.
439
00:20:21,763 --> 00:20:23,890
And that the comics
sometimes do, by the way.
440
00:20:23,973 --> 00:20:25,659
So, it's like,
as much as I like to take credit
441
00:20:25,683 --> 00:20:27,803
for a lot of the things
that feel unique to this movie
442
00:20:27,852 --> 00:20:29,132
as opposed to other X-Men movies
443
00:20:29,187 --> 00:20:30,897
they are unique
versus other X-Men movies
444
00:20:30,980 --> 00:20:33,191
but they're not necessarily
unique versus the comics.
445
00:20:33,274 --> 00:20:35,485
A lot of the stuff, as someone
that's read these comics
446
00:20:35,568 --> 00:20:36,568
since I was very young,
447
00:20:36,611 --> 00:20:39,197
were just things I felt
as though we hadn't explored
448
00:20:39,280 --> 00:20:41,926
even though we're however many movies
into this franchise as we are.
449
00:20:41,950 --> 00:20:43,076
You're good to go.
450
00:20:43,159 --> 00:20:44,619
- You can head upstairs.
- All right.
451
00:20:47,414 --> 00:20:48,832
Thanks, Hank.
452
00:20:54,295 --> 00:20:55,547
SCOTT: Hank said that?
453
00:20:55,630 --> 00:20:57,507
- "Off the charts?"
- He did.
454
00:20:57,590 --> 00:21:00,093
PARKER: Well, we were just in Hank's lab.
455
00:21:00,176 --> 00:21:02,804
You know, one of the things
that was really fun on the film
456
00:21:02,887 --> 00:21:04,615
and this is kind of an interesting way
to watch the movie,
457
00:21:04,639 --> 00:21:07,851
because you're prompted to think
about what took place,
458
00:21:07,934 --> 00:21:11,396
we had an amazing group of sets
459
00:21:11,479 --> 00:21:13,231
that we built
for the filming of the movie.
460
00:21:13,314 --> 00:21:15,733
And that lab is one of them
that I remember, you know,
461
00:21:15,817 --> 00:21:19,446
you walking in and being particularly
taken by the look and the design of it
462
00:21:19,529 --> 00:21:21,448
and how well Claude had done with that.
463
00:21:21,531 --> 00:21:24,075
But then, you know,
Fifth Avenue to the mansion,
464
00:21:24,159 --> 00:21:26,119
the X-jet stuff, you know,
465
00:21:26,202 --> 00:21:29,038
amazing to be able to build those sets
in such close proximity
466
00:21:29,122 --> 00:21:31,332
and have them all be
so different and unique.
467
00:21:31,416 --> 00:21:32,459
KINBERG: Yeah.
468
00:21:35,128 --> 00:21:36,629
I thought I lost you today.
469
00:21:37,547 --> 00:21:38,548
I know.
470
00:21:41,092 --> 00:21:42,594
KINBERG: And this is, to me, I mean,
471
00:21:42,677 --> 00:21:44,262
the trickiest balance of this movie
472
00:21:44,345 --> 00:21:47,098
for me, tonally,
as a writer and as a director
473
00:21:47,182 --> 00:21:49,184
was balancing a movie
that, you know,
474
00:21:49,267 --> 00:21:51,078
as we talk
about the character aspects of the movie
475
00:21:51,102 --> 00:21:54,772
and Jean that is both intimate
and personal and emotional and human
476
00:21:54,856 --> 00:21:58,109
with what very quickly here
is introduced
477
00:21:58,193 --> 00:22:01,446
and you just saw in that shot of things
coming out of the sky,
478
00:22:01,529 --> 00:22:04,824
is intergalactic,
is cosmic, is very otherworldly,
479
00:22:04,908 --> 00:22:06,659
is actually the opposite of human.
480
00:22:06,743 --> 00:22:08,203
And balancing those two things,
481
00:22:08,286 --> 00:22:10,121
so that it never tips in either direction,
482
00:22:10,205 --> 00:22:11,645
I think if the movie tipped too much
483
00:22:11,706 --> 00:22:13,642
in the direction
of the intergalactic or the cosmic,
484
00:22:13,666 --> 00:22:15,293
you would lose the emotionality of it,
485
00:22:15,376 --> 00:22:18,630
and if it becomes too entirely
just an emotional drama,
486
00:22:18,713 --> 00:22:21,007
this stuff would poke out of the film
487
00:22:21,090 --> 00:22:24,969
and there wouldn't be a feeling
of an organic coherent whole.
488
00:22:27,722 --> 00:22:29,283
I'm just gonna check on her.
I'll be right back.
489
00:22:29,307 --> 00:22:30,307
Just stay.
490
00:22:33,353 --> 00:22:35,480
- Tell her to shut up.
- Luna!
491
00:22:36,064 --> 00:22:37,064
(BARKING)
492
00:22:37,774 --> 00:22:39,442
(BARKING CONTINUES)
493
00:22:39,526 --> 00:22:40,735
Luna!
494
00:22:52,705 --> 00:22:54,123
KINBERG: This particular shot,
495
00:22:54,207 --> 00:22:57,919
this moment of her finding...
discovering these aliens in the woods
496
00:22:58,002 --> 00:23:00,630
was something
that we really played a lot with.
497
00:23:00,713 --> 00:23:06,135
The original shot was a shot
where you fully see the aliens.
498
00:23:06,219 --> 00:23:07,428
They crack her neck.
499
00:23:07,512 --> 00:23:08,672
You watch the transformation,
500
00:23:08,721 --> 00:23:10,561
and it just all felt
like, suddenly, in a movie
501
00:23:10,640 --> 00:23:12,892
that was a more naturalistic,
realistic film,
502
00:23:12,976 --> 00:23:15,311
you were jumping the shark into something
503
00:23:15,395 --> 00:23:20,108
that was this sci-fi film from,
you know, the 70s.
504
00:23:20,191 --> 00:23:23,570
And so, you know, we went with something
much more subtle here
505
00:23:23,653 --> 00:23:26,322
and then the transformation is here,
506
00:23:26,406 --> 00:23:29,117
starting really in shadows,
and you seeing it, you know,
507
00:23:29,200 --> 00:23:33,204
clearly that she's transforming
from another kind of being into a human.
508
00:23:33,288 --> 00:23:38,668
But we're relying much more
on performance and on shadow and detail
509
00:23:38,751 --> 00:23:40,878
than we are on this, sort of, big shots.
510
00:23:40,962 --> 00:23:42,463
And really, we're relying here on,
511
00:23:42,547 --> 00:23:44,692
because she has the same color hair
and the same clothes and all that,
512
00:23:44,716 --> 00:23:49,304
we're relying on Jessica entering into
the sort of Uncanny Valley performance
513
00:23:49,387 --> 00:23:51,264
and Jessica
is extraordinarily good at that.
514
00:23:51,347 --> 00:23:52,640
And the look of this character
515
00:23:52,724 --> 00:23:54,809
is something
that Jess and I worked on together.
516
00:23:54,892 --> 00:23:57,186
She really wanted it
to look unlike anything
517
00:23:57,270 --> 00:23:58,497
she had ever done in a movie before
518
00:23:58,521 --> 00:24:01,024
and Tilda Swinton and other things
were influences.
519
00:24:01,816 --> 00:24:02,900
♪♪
520
00:24:05,361 --> 00:24:07,322
♪ Put your hands on me ♪
521
00:24:08,698 --> 00:24:11,051
KINBERG; This is worth mentioning, because
she's only in the movie for a flash,
522
00:24:11,075 --> 00:24:13,095
but hard-core fans,
and I'm assuming those are the people
523
00:24:13,119 --> 00:24:14,513
that are going to be
listening to us right now,
524
00:24:14,537 --> 00:24:17,915
would recognize
Halston Sage's character as Dazzler,
525
00:24:17,999 --> 00:24:20,811
who is a big character in the comic
and a beloved character in the comic
526
00:24:20,835 --> 00:24:22,629
and also a character who's a critical part
527
00:24:22,712 --> 00:24:25,024
of one of the plot points
in the original Dark Phoenix Saga.
528
00:24:25,048 --> 00:24:26,688
So, I wanted to include her in the movie.
529
00:24:27,550 --> 00:24:29,010
♪ Put your hands on me ♪
530
00:24:29,677 --> 00:24:33,056
PARKER: This was also at that golf
course location and as I recall,
531
00:24:33,139 --> 00:24:36,434
night shoots are not my favorite
but as I recall, it was really cold.
532
00:24:36,517 --> 00:24:37,578
KINBERG: It was freezing cold,
533
00:24:37,602 --> 00:24:39,288
and actually,
going back to the Dazzler thing,
534
00:24:39,312 --> 00:24:42,398
she's wearing the least clothes of anybody
and she's up there dancing around.
535
00:24:42,482 --> 00:24:43,959
- PARKER: She was such a trooper.
- KINBERG: She really was.
536
00:24:43,983 --> 00:24:46,503
And I think we shot her last, so it was
like four or five in the morning,
537
00:24:46,527 --> 00:24:49,572
cold as possible, you could be.
And she was, she stuck with it.
538
00:24:49,656 --> 00:24:50,656
- Hey.
- Rocks.
539
00:24:50,698 --> 00:24:52,825
KINBERG: But this, I like the idea of,
you know,
540
00:24:52,909 --> 00:24:57,246
it's a very normal,
boarding school kind of scene, right,
541
00:24:57,330 --> 00:24:59,332
which is like the principal
of the school is gone,
542
00:24:59,415 --> 00:25:01,644
because Charles is gone,
and the kids are throwing a party.
543
00:25:01,668 --> 00:25:03,145
And it's not much more
complicated than that,
544
00:25:03,169 --> 00:25:06,273
other than the fact that these particular
kids happen to have supernatural powers
545
00:25:06,297 --> 00:25:08,675
and so, when the party
gets a little out of control,
546
00:25:08,758 --> 00:25:11,052
you know,
trees get blasted off the ground.
547
00:25:14,889 --> 00:25:17,558
You know, it wasn't so long ago
we were throwing parties like this.
548
00:25:18,142 --> 00:25:21,104
KINBERG: One of my favorite relationships
in the First Class,
549
00:25:21,187 --> 00:25:24,482
I guess, onward cycle
of these X-Men movies
550
00:25:24,565 --> 00:25:29,112
is just the Beast-Hank,
Mystique-Raven relationship
551
00:25:29,195 --> 00:25:32,699
is really rich and sort of unspoken,
but emotional.
552
00:25:32,782 --> 00:25:35,368
And, you know, the two of them
have really grown up.
553
00:25:35,451 --> 00:25:37,995
I remember when we first
cast them in First Class
554
00:25:38,079 --> 00:25:39,789
and they were both in they're late teens.
555
00:25:39,872 --> 00:25:41,499
Jennifer had only been in Winter's Bone.
556
00:25:41,582 --> 00:25:43,876
Nick had not been in a big movie
since About a Boy.
557
00:25:43,960 --> 00:25:45,020
Jennifer's obviously grown into being
558
00:25:45,044 --> 00:25:47,255
one of the, if not the biggest
movie star in the world.
559
00:25:47,338 --> 00:25:49,590
And Nick has grown into being
an extraordinary actor.
560
00:25:49,674 --> 00:25:52,260
And so, I just was excited
to write scenes for them to play.
561
00:25:52,343 --> 00:25:53,636
We should go do.
562
00:25:54,137 --> 00:25:56,097
This is our life.
This is what we wanted.
563
00:25:56,180 --> 00:25:57,390
Not like this.
564
00:25:57,473 --> 00:26:00,476
- Raven...
- It's not our life, Hank.
565
00:26:01,269 --> 00:26:02,145
It's his.
566
00:26:02,228 --> 00:26:04,856
What do you think the "X"
in X-Men stands for?
567
00:26:05,940 --> 00:26:07,108
Charles and his X-Men are...
568
00:26:07,191 --> 00:26:10,319
KINBERG: And this is once again, really
showing you that the X-Men are not,
569
00:26:10,403 --> 00:26:14,073
you know, underground,
ostracized characters anymore
570
00:26:14,157 --> 00:26:16,909
but they're embraced by larger society
571
00:26:16,993 --> 00:26:20,705
until larger society's prejudices
start to emerge again.
572
00:26:20,788 --> 00:26:23,750
PARKER: It's a scene that,
at different times, was in the movie,
573
00:26:23,833 --> 00:26:25,644
out of the movie, in the movie,
out of the movie,
574
00:26:25,668 --> 00:26:28,963
because on one level, we grapple with...
we'd kind of already established that
575
00:26:29,046 --> 00:26:30,757
and wanted to get on with the story.
576
00:26:30,840 --> 00:26:33,092
On the other hand, you know,
we came to realize,
577
00:26:33,176 --> 00:26:35,595
you sort of needed to drive
that point home
578
00:26:35,678 --> 00:26:37,847
just a little bit more that yes, in fact,
579
00:26:37,930 --> 00:26:40,433
he is all too happy to accept awards
from the President
580
00:26:40,516 --> 00:26:45,605
and bask in the glory as part
of setting up for his fall, so to speak.
581
00:26:46,272 --> 00:26:47,982
- You wanna dance?
- Come on, Scott.
582
00:26:49,150 --> 00:26:51,652
Did... did you hear
what the kids are calling you?
583
00:26:52,361 --> 00:26:54,238
- Do I wanna know?
- Yeah!
584
00:26:54,572 --> 00:26:56,073
Phoenix.
585
00:26:56,157 --> 00:26:59,035
It's cool, right? You know,
a bird that rises from the dead.
586
00:26:59,160 --> 00:27:01,096
KINBERG: And this is a scene
that we really experimented with.
587
00:27:01,120 --> 00:27:02,330
Like, what is it she's seeing?
588
00:27:02,413 --> 00:27:04,207
What is the impact on her face?
589
00:27:04,290 --> 00:27:05,583
What's the trigger for her
590
00:27:05,666 --> 00:27:08,252
starting to lose control
of this Cosmic Force inside of her?
591
00:27:08,336 --> 00:27:11,172
It's basically, like,
the first bad trip she takes,
592
00:27:11,255 --> 00:27:12,757
based on this thing
inside of her.
593
00:27:12,840 --> 00:27:14,842
It's that moment of what's meant to be
594
00:27:14,926 --> 00:27:17,136
the point of view
of that Cosmic Force inside of her
595
00:27:17,220 --> 00:27:20,681
as if she's having this sort of
residual memory of the Cosmic Force,
596
00:27:20,765 --> 00:27:22,141
all of it just feeling...
597
00:27:22,225 --> 00:27:25,269
The word I used a lot when we were
creating all of this sequence
598
00:27:25,353 --> 00:27:27,146
was hallucinatory.
599
00:27:27,230 --> 00:27:29,232
So, it would feel almost like a bad...
600
00:27:29,315 --> 00:27:32,443
I've never done it,
but like a bad LSD or, hallucinatory trip.
601
00:27:33,945 --> 00:27:36,706
And that, I think, the visual effects guys
did a really nice job with.
602
00:27:40,827 --> 00:27:42,147
- Thank you.
- Thank you, Charles.
603
00:27:44,372 --> 00:27:47,059
KINBERG: By the way, that person that
Charles is shaking hands with right there
604
00:27:47,083 --> 00:27:49,335
that we're just passing
is Chris Claremont,
605
00:27:49,418 --> 00:27:51,712
who is the creator
of the Dark Phoenix Saga. Right there.
606
00:27:51,796 --> 00:27:53,398
You see him in the background?
Just out of focus.
607
00:27:53,422 --> 00:27:55,942
Probably worth rewinding to see.
He's got a little goatee there.
608
00:27:55,967 --> 00:27:58,553
And Chris was the writer
of the Dark Phoenix Saga.
609
00:27:58,636 --> 00:28:00,781
He was also the person
who essentially created Wolverine.
610
00:28:00,805 --> 00:28:02,348
He is, I would say,
611
00:28:02,431 --> 00:28:05,935
just short of as important
to the X-Men as Stan Lee was.
612
00:28:07,937 --> 00:28:09,355
♪♪
613
00:28:13,067 --> 00:28:14,861
Once again, fake everything.
614
00:28:14,944 --> 00:28:16,571
Fake house, fake car.
615
00:28:16,654 --> 00:28:18,906
Fake, I think we had the road,
that was about it.
616
00:28:23,703 --> 00:28:25,121
And this actually for me was a...
617
00:28:25,204 --> 00:28:26,890
you know, having worked
in a lot of these movies,
618
00:28:26,914 --> 00:28:30,751
I'm very aware of all the different
scenes we've had in each of them.
619
00:28:30,835 --> 00:28:34,630
And this was a direct sort of call
and response from Apocalypse
620
00:28:34,714 --> 00:28:36,525
when he goes into her room
and she's having a nightmare
621
00:28:36,549 --> 00:28:38,610
and that time he could read her mind
and this time he can't.
622
00:28:38,634 --> 00:28:39,635
Penetrate her mind.
623
00:28:39,719 --> 00:28:41,554
KINBERG: And this we talked a lot about,
624
00:28:41,637 --> 00:28:43,723
what do we do with Cerebro
to make it different
625
00:28:43,806 --> 00:28:47,018
than the 75 other times
you've seen it in the movies?
626
00:28:47,977 --> 00:28:50,646
And I guess hallucinatory
is another way to describe it.
627
00:28:50,730 --> 00:28:53,190
Again, I really wanted this to feel
628
00:28:53,274 --> 00:28:58,029
like you were inside the mind
of someone who's losing her mind.
629
00:28:58,112 --> 00:29:00,823
And so, we did an immense amount
of experimentation
630
00:29:00,907 --> 00:29:02,742
with the look of this, how it would-
631
00:29:02,825 --> 00:29:06,913
not right here, but once he goes in
through Jean's eye into her mind,
632
00:29:06,996 --> 00:29:08,706
how would we-
we would create something
633
00:29:08,789 --> 00:29:10,333
that would have a unique look to it.
634
00:29:10,416 --> 00:29:12,501
And in an environment that's, you know,
635
00:29:12,585 --> 00:29:15,713
our version of the Enterprise
or the Millennium Falcon
636
00:29:15,796 --> 00:29:20,051
or any of the most sort of iconic
environments of these kinds of franchises.
637
00:29:20,134 --> 00:29:25,056
And so, starting right here, we just
went to something wildly different.
638
00:29:26,057 --> 00:29:29,101
PARKER: I really love this
because it is hard to reinvent,
639
00:29:29,185 --> 00:29:31,228
or re-imagine some of these components
640
00:29:31,312 --> 00:29:35,149
and the idea of going into her memories
and seeing these glimpses
641
00:29:35,232 --> 00:29:38,444
and all the, you know, what almost feels
like the tissue of the brain...
642
00:29:38,527 --> 00:29:39,588
tip it in the wrong direction.
643
00:29:39,612 --> 00:29:44,450
PARKER: married with that smoky,
milky component,
644
00:29:44,533 --> 00:29:48,704
all stuff that came
from the combined creative team
645
00:29:48,788 --> 00:29:50,748
but I just love the way it turned out.
646
00:29:50,831 --> 00:29:53,918
Hard to do stuff that's that arresting
647
00:29:54,001 --> 00:29:56,545
and not have it take away
from the dramatics of the scene.
648
00:29:56,629 --> 00:29:59,632
I think it's something that was
done really well in this,
649
00:29:59,715 --> 00:30:02,027
because obviously, it's really important
what they're talking about
650
00:30:02,051 --> 00:30:03,427
and what they're sorting through.
651
00:30:03,511 --> 00:30:05,096
Did something to her.
652
00:30:05,554 --> 00:30:08,075
KINBERG: And that was a sequence
we also did a lot of story boarding
653
00:30:08,099 --> 00:30:11,018
and pre-vising of, so that we knew
what they'd be looking at
654
00:30:11,102 --> 00:30:14,397
and we just really kept refining
what the look of this would be.
655
00:30:14,480 --> 00:30:18,943
So, like Hutch said, it's surreal
without being distracting.
656
00:30:19,026 --> 00:30:20,695
PARKER: And hundreds of iterations.
657
00:30:20,778 --> 00:30:22,297
- KINBERG: Yeah.
- PARKER: Of all these things.
658
00:30:22,321 --> 00:30:23,990
It's almost done in layers.
659
00:30:24,615 --> 00:30:27,994
KINBERG: Yeah, and if you watch over
and over again, which you don't have to do
660
00:30:28,077 --> 00:30:29,757
but you're clearly
watching more than once,
661
00:30:29,787 --> 00:30:33,082
you see faces in there,
you see memories in there.
662
00:30:33,165 --> 00:30:34,208
There's little things.
663
00:30:34,291 --> 00:30:36,836
Todd Hallowell who's, like I said,
one of our producers,
664
00:30:36,919 --> 00:30:39,380
is also someone that has experience
as a second unit director
665
00:30:39,463 --> 00:30:41,090
and insert unit director.
666
00:30:41,173 --> 00:30:43,884
And he would go off and direct like,
you know,
667
00:30:43,968 --> 00:30:46,512
a little girl riding a tricycle
or Big Wheel, rather.
668
00:30:46,595 --> 00:30:48,323
That's in there somewhere
if you take a look at it.
669
00:30:48,347 --> 00:30:49,658
There's a birthday cake.
There's a dog barking.
670
00:30:49,682 --> 00:30:54,603
There's all kinds of childhood memories
that are buried inside those soupy images.
671
00:30:54,687 --> 00:30:55,771
Get out of my head.
672
00:30:56,981 --> 00:31:01,152
Just stay calm, Jean.
673
00:31:02,236 --> 00:31:04,488
She's fighting me.
I need you to turn it up.
674
00:31:05,114 --> 00:31:06,114
(GROANS)
675
00:31:07,199 --> 00:31:08,826
I heard my father.
676
00:31:11,495 --> 00:31:12,495
He's alive.
677
00:31:12,747 --> 00:31:16,042
You're just hearing things.
Jean, your mind, it needs rest.
678
00:31:16,125 --> 00:31:17,477
KINBERG: And this was something I like...
679
00:31:17,501 --> 00:31:21,338
I like in movies when, and not to say
this is always the intention,
680
00:31:21,422 --> 00:31:23,400
sometimes we have shots that are
a little out of focus and buzzy,
681
00:31:23,424 --> 00:31:25,986
but I like it when the camera goes
a little bit in and out of focus.
682
00:31:26,010 --> 00:31:29,221
And in general, I know this isn't
a Criterion Collection kind of movie,
683
00:31:29,305 --> 00:31:31,682
but in talking about
the cinematography, like,
684
00:31:31,766 --> 00:31:33,142
in previous X-Men movies,
685
00:31:33,225 --> 00:31:36,562
they're all done on very static
types of cameras.
686
00:31:36,645 --> 00:31:39,356
They tend to be on dollies, on cranes.
687
00:31:39,440 --> 00:31:42,276
Everything is very smooth.
688
00:31:42,359 --> 00:31:44,796
If you look at even like the way
the camera's moving right now,
689
00:31:44,820 --> 00:31:47,740
the way it was just
moving over Scott's shoulder,
690
00:31:47,823 --> 00:31:50,743
almost everything in this movie
is either handheld or a steady cam,
691
00:31:50,826 --> 00:31:53,829
which is a slightly steadier
version of a handheld camera.
692
00:31:54,580 --> 00:31:57,041
Did I...
Did I do... do that?
693
00:31:57,541 --> 00:31:58,417
It's fine.
694
00:31:58,501 --> 00:32:02,004
KINBERG: There's a sort of docu-realism
that a handheld camera gives you.
695
00:32:02,088 --> 00:32:03,839
And it also gives you
a feeling of humanity
696
00:32:03,923 --> 00:32:05,800
because there's just a little bit of like,
697
00:32:05,883 --> 00:32:08,779
"That's a handheld camera right there,
that's a handheld camera right there."
698
00:32:08,803 --> 00:32:10,763
I mean, I, almost every shot,
699
00:32:10,846 --> 00:32:13,432
you feel a little bit the breath
of the camera person,
700
00:32:13,516 --> 00:32:16,977
who's holding the camera
because it's not perfect. It's not static.
701
00:32:17,061 --> 00:32:19,623
It has a little bit of movement to it
and the same way that in life,
702
00:32:19,647 --> 00:32:22,000
when you're looking at something,
your head is never fully static.
703
00:32:22,024 --> 00:32:24,276
Your eyes are never fully
looking in one place.
704
00:32:24,360 --> 00:32:27,822
And so, I just wanted to create
that feel of it being organic,
705
00:32:27,905 --> 00:32:31,033
it feeling a little bit more handmade
than these movies have felt
706
00:32:31,117 --> 00:32:33,661
and that the genre has felt in the past.
707
00:32:33,744 --> 00:32:39,375
PARKER: You also talked a lot going in
about wanting it to feel more intimate.
708
00:32:39,917 --> 00:32:43,003
Part of the movement was to make it feel
a little unsteady
709
00:32:43,087 --> 00:32:45,923
and a little, you know, unsafe at times,
710
00:32:46,006 --> 00:32:48,425
which was a really
interesting set of ideas
711
00:32:48,509 --> 00:32:50,845
to bring to the photography of the film.
712
00:32:55,141 --> 00:32:56,243
KINBERG: This is a crane shot,
713
00:32:56,267 --> 00:32:58,078
and it's one of the only crane shots
in the movie, actually.
714
00:32:58,102 --> 00:32:59,436
There's not a lot of them.
715
00:32:59,937 --> 00:33:00,937
That's handheld.
716
00:33:00,980 --> 00:33:03,274
You see like just the little drift
it gives you?
717
00:33:03,357 --> 00:33:04,275
If you watch the movie...
718
00:33:04,358 --> 00:33:06,962
like the way its drifting just
a little bit around Charles right now
719
00:33:06,986 --> 00:33:07,862
because he's not moving.
720
00:33:07,945 --> 00:33:09,071
Pain.
721
00:33:10,739 --> 00:33:14,285
KINBERG: It's like Hutch said,
there's a sort of base level,
722
00:33:14,368 --> 00:33:17,079
unconscious level of instability.
723
00:33:17,163 --> 00:33:20,666
And that becomes more and more unstable
over the span of the movie
724
00:33:20,749 --> 00:33:22,376
and that's echoed in the cinematography.
725
00:33:22,459 --> 00:33:23,460
I don't know.
726
00:33:25,296 --> 00:33:27,190
KINBERG: And it's something
that's not necessarily...
727
00:33:27,214 --> 00:33:29,508
I mean, certainly conscious
for us as the filmmakers,
728
00:33:29,592 --> 00:33:31,844
it's not conscious necessarily
for an audience
729
00:33:31,927 --> 00:33:33,804
but it is something
that I think cumulatively,
730
00:33:33,888 --> 00:33:36,390
you start to feel
in your experience of the film.
731
00:33:37,850 --> 00:33:39,393
That doesn't make any sense, right?
732
00:33:40,853 --> 00:33:42,146
Prepare the jet.
733
00:33:42,855 --> 00:33:44,040
We're going to bring her home.
734
00:33:44,064 --> 00:33:45,733
"We?" Charles,
you're in no condition...
735
00:33:45,816 --> 00:33:47,043
KINBERG: And there's a lot more close-ups.
736
00:33:47,067 --> 00:33:50,905
I mean, you know, even this push-in
on Charles, as an example,
737
00:33:50,988 --> 00:33:53,616
traditionally,
would be more of a crane move
738
00:33:53,699 --> 00:33:55,951
where it would be a smooth,
kind of Steven Spielberg-y,
739
00:33:56,035 --> 00:33:57,494
Bryan Singer used to do this a lot,
740
00:33:57,578 --> 00:34:00,414
smooth push in on the characters.
741
00:34:01,040 --> 00:34:02,082
I wanted those push-ins
742
00:34:02,166 --> 00:34:04,477
to feel a little bit more
like somebody was walking toward them.
743
00:34:04,501 --> 00:34:06,837
Again, just the back
of your brain notices that.
744
00:34:06,921 --> 00:34:10,001
(VUK SPEAKING ALIEN LANGUAGE) So this is
all that's left of the D'Bari Empire.
745
00:34:13,594 --> 00:34:16,314
KINBERG: This was a scene that we went
back and forth on quite a bit,
746
00:34:16,347 --> 00:34:17,932
how much information we need.
747
00:34:18,015 --> 00:34:19,492
You know, one of the things
I really wanted
748
00:34:19,516 --> 00:34:23,062
was for Jessica's character to be
a more mysterious character in this movie.
749
00:34:23,145 --> 00:34:26,065
She's an amalgam of, you know,
even though we name her,
750
00:34:26,148 --> 00:34:28,442
and she's of D'Bari descent,
751
00:34:28,525 --> 00:34:31,779
she's an amalgam of a few
of the different alien characters
752
00:34:31,862 --> 00:34:34,490
that have been in different
iterations of the Dark Phoenix Saga.
753
00:34:34,573 --> 00:34:37,594
Lelandra is a character, obviously,
that a lot of people thought that she was.
754
00:34:37,618 --> 00:34:39,471
Her hair color would indicate
that she's not Lelandra.
755
00:34:39,495 --> 00:34:44,166
And for me, the Lelandra story was so
complex, that if we were going to do it,
756
00:34:44,250 --> 00:34:46,627
we would almost require
an extra 45 minutes
757
00:34:46,710 --> 00:34:48,295
or extra movie to do properly
758
00:34:48,379 --> 00:34:50,547
because the love story
with Charles is integral
759
00:34:50,631 --> 00:34:52,151
and it's just a different kind of film
760
00:34:52,216 --> 00:34:54,277
and I wanted to really focus
on this character right here,
761
00:34:54,301 --> 00:34:58,138
on Jean and on her struggle
and the drama of what she's going through.
762
00:34:58,222 --> 00:35:00,307
And I felt as though
the more subplots we had,
763
00:35:00,391 --> 00:35:02,518
whether it was a Lelandra subplot
with the Shi'ar
764
00:35:02,601 --> 00:35:04,186
or it was a Hellfire subplot,
765
00:35:04,270 --> 00:35:08,315
it was going to take away
from this central, really intimate story
766
00:35:08,399 --> 00:35:10,276
of a young person losing control.
767
00:35:10,359 --> 00:35:12,629
And the people that love them the most,
like Hutch was alluding to,
768
00:35:12,653 --> 00:35:15,489
the family around them,
cracking up with her.
769
00:35:15,572 --> 00:35:17,908
Anything that was outside that circle
started to feel
770
00:35:17,992 --> 00:35:24,164
like it was potentially detracting from
the core emotional experience of the film.
771
00:35:26,250 --> 00:35:27,543
Can I help you?
772
00:35:30,671 --> 00:35:34,008
PARKER: This is another really
unique location and set
773
00:35:34,091 --> 00:35:38,137
in that it's actually on the back lot
of the studio that we were shooting at.
774
00:35:38,220 --> 00:35:43,350
And Claude and his team built this
neighborhood with incredible detail,
775
00:35:43,434 --> 00:35:44,852
individuating each house.
776
00:35:44,935 --> 00:35:47,187
You know, they're all
just basically façades
777
00:35:47,271 --> 00:35:50,357
but dressed the front yards
with gardens,
778
00:35:50,441 --> 00:35:52,318
with children's toys, all those things,
779
00:35:52,401 --> 00:35:55,779
to help make it feel as real
and grounded as possible.
780
00:35:55,863 --> 00:35:58,198
And it was a really efficient,
really effective way
781
00:35:58,282 --> 00:36:00,826
to give us something
that I think, you know,
782
00:36:00,909 --> 00:36:03,370
was pretty iconic
as a window into her past
783
00:36:03,454 --> 00:36:06,373
and her father,
her estranged father.
784
00:36:06,457 --> 00:36:09,209
But also, was an unusual setting
for an X-Men fight.
785
00:36:09,585 --> 00:36:11,938
KINBERG: Right, which is like as grounded
as it can possibly be.
786
00:36:11,962 --> 00:36:13,773
- PARKER: Yeah.
- KINBERG: For a lot of these movies,
787
00:36:13,797 --> 00:36:16,151
and when I say a lot of these movies,
I mean not just comic book movies,
788
00:36:16,175 --> 00:36:17,593
but science fiction movies.
789
00:36:17,676 --> 00:36:19,762
It's like the more exotic
the location, the better.
790
00:36:19,845 --> 00:36:23,182
And to me, in this movie, in many ways,
it was like the more mundane,
791
00:36:23,265 --> 00:36:26,101
the more realistic, the more relatable
the environment, the better.
792
00:36:26,185 --> 00:36:27,785
Because these things that they're doing,
793
00:36:27,811 --> 00:36:30,689
whether it's optic beams coming out
of their eyes or telekinesis
794
00:36:30,773 --> 00:36:33,942
or, I mean, there's so many different
things that are supernatural,
795
00:36:34,026 --> 00:36:35,194
I think it's more interesting
796
00:36:35,277 --> 00:36:37,946
to see something supernatural
in a natural environment
797
00:36:38,030 --> 00:36:39,466
because when you see
something supernatural
798
00:36:39,490 --> 00:36:41,825
in a supernatural environment,
it almost feels redundant.
799
00:36:41,909 --> 00:36:44,578
It almost feels like well,
"What's the big deal about optic beams
800
00:36:44,661 --> 00:36:46,872
coming out of somebody's eyes
in an alien planet?"
801
00:36:46,955 --> 00:36:48,808
But in a neighborhood that looks
like the neighborhood
802
00:36:48,832 --> 00:36:51,710
that you, me, any of us could live in,
and it's your next-door neighbor,
803
00:36:51,794 --> 00:36:55,631
suddenly it becomes, for me,
a little bit more intense, threatening,
804
00:36:55,714 --> 00:36:58,258
and like, I keep using
the word "relatable."
805
00:37:01,261 --> 00:37:03,472
I'll get you some water, okay?
806
00:37:17,778 --> 00:37:22,074
PARKER: This was a scene
that Sophie prepared for,
807
00:37:22,157 --> 00:37:25,828
you know, just so rigorously
and with such dedication.
808
00:37:25,911 --> 00:37:29,289
I think she knew it was such
a turning point moment for the character
809
00:37:29,373 --> 00:37:32,876
and Simon had rehearsed it
with her extensively.
810
00:37:32,960 --> 00:37:35,170
But it's a critically
important scene for her
811
00:37:35,254 --> 00:37:38,090
both as an actress and in this role,
812
00:37:38,215 --> 00:37:42,719
because of what it reveals
and what it surfaces about her character
813
00:37:42,803 --> 00:37:45,013
and it's really
when she comes to understand,
814
00:37:45,097 --> 00:37:49,476
you know, kind of the broader
narrative for her character,
815
00:37:49,560 --> 00:37:53,272
Jean Grey in the midst
of this larger, larger story.
816
00:37:53,355 --> 00:37:54,355
Jean?
817
00:38:03,907 --> 00:38:05,909
All these photos, none of me.
818
00:38:11,498 --> 00:38:13,417
You never looked for me.
819
00:38:13,500 --> 00:38:15,627
- Jean?
- Why didn't you look for me?
820
00:38:15,711 --> 00:38:17,713
Maybe we should sit down.
821
00:38:17,796 --> 00:38:18,672
No, I don't want...
822
00:38:18,755 --> 00:38:20,066
KINBERG: And you know,
I was talking about partners
823
00:38:20,090 --> 00:38:23,427
like Hutch and Lee and Mauro, the DP,
824
00:38:23,510 --> 00:38:26,555
but I will say, probably,
and I say this with love to you, Hutch,
825
00:38:26,638 --> 00:38:29,516
my real partner on this movie was Sophie.
826
00:38:29,600 --> 00:38:32,102
You know, Sophie's performance
is everything in this movie.
827
00:38:32,186 --> 00:38:34,438
If Sophie was not as dedicated
and committed
828
00:38:34,521 --> 00:38:36,273
and prepared for this performance,
829
00:38:36,356 --> 00:38:37,691
the whole movie would fall apart.
830
00:38:37,774 --> 00:38:39,377
No matter how good
the cinematography was,
831
00:38:39,401 --> 00:38:40,795
no matter how good the editing was,
832
00:38:40,819 --> 00:38:42,547
no matter how good
the production design was,
833
00:38:42,571 --> 00:38:44,156
it really would not have mattered.
834
00:38:44,239 --> 00:38:45,282
And I came to Sophie,
835
00:38:45,365 --> 00:38:48,052
I had a lunch with Sophie about a year
or so before we started shooting.
836
00:38:48,076 --> 00:38:50,162
I think I was still
in the middle of writing
837
00:38:50,245 --> 00:38:52,873
at least the second draft
of the script, if that,
838
00:38:52,956 --> 00:38:55,626
and I said to her "Look,
we're going to do the Dark Phoenix story.
839
00:38:56,293 --> 00:38:58,670
You're obviously playing Jean,
Dark Phoenix.
840
00:38:58,754 --> 00:39:00,064
You will be the center of the movie.
841
00:39:00,088 --> 00:39:03,091
You're going to have to play,
as this scene indicates and many others,
842
00:39:03,175 --> 00:39:04,885
as you know, you're going to have to play
843
00:39:04,968 --> 00:39:08,430
every sort of color
of the spectrum emotionally.
844
00:39:08,514 --> 00:39:09,741
You're going to have to play rage.
845
00:39:09,765 --> 00:39:12,160
You're going to have to play pain,
you're going to have to play sorrow.
846
00:39:12,184 --> 00:39:15,604
You're going to have
to play violence, defense,
847
00:39:15,687 --> 00:39:18,190
I mean all, everything you could imagine
848
00:39:18,273 --> 00:39:21,318
and not only that,
you're going to be carrying
849
00:39:21,401 --> 00:39:23,612
a very, large-scale big movie.
850
00:39:23,695 --> 00:39:25,614
The pressure of that
is a lot for somebody
851
00:39:25,697 --> 00:39:26,966
who's in her late teens, early 20s.
852
00:39:26,990 --> 00:39:29,284
And you're going to be
playing scenes with,"
853
00:39:29,368 --> 00:39:31,411
I mean, this actor
right here, Scott Sheppard,
854
00:39:31,495 --> 00:39:34,248
is like an incredible stage actor
855
00:39:34,331 --> 00:39:36,708
whose won all kinds
of awards on stage.
856
00:39:36,792 --> 00:39:38,210
And then in addition to him,
857
00:39:38,293 --> 00:39:41,588
Michael Fassbender, James McAvoy,
Jennifer Lawrence, Jessica Chastain,
858
00:39:41,672 --> 00:39:44,383
I mean, the best actors
of their generation
859
00:39:44,466 --> 00:39:47,344
who are all 10 to 15...
well, I guess Jennifer's not,
860
00:39:47,427 --> 00:39:51,848
but, you know, significantly older
and more experienced than Sophie is.
861
00:39:51,932 --> 00:39:53,976
And she was just game for it.
862
00:39:54,059 --> 00:39:56,562
And I started sending her,
from that first lunch, articles,
863
00:39:56,645 --> 00:40:01,149
books, YouTube videos of people
that have schizophrenia,
864
00:40:01,233 --> 00:40:02,693
Dissociative Identity Disorder,
865
00:40:02,776 --> 00:40:06,071
and she would read them,
watch them, send me things back.
866
00:40:06,154 --> 00:40:08,448
And we just really built
the character together
867
00:40:08,532 --> 00:40:09,825
and I'm just really proud of her
868
00:40:09,908 --> 00:40:12,068
because it's not an easy thing
to do for a young actor.
869
00:40:12,703 --> 00:40:14,204
You shouldn't have come here.
870
00:40:15,330 --> 00:40:17,225
Why is that? We've only come
to bring you home, Jean.
871
00:40:17,249 --> 00:40:20,168
I don't have a home.
You made sure of that.
872
00:40:20,252 --> 00:40:24,381
Look, your father couldn't handle you,
and we took you in.
873
00:40:24,464 --> 00:40:27,009
You told me my father was dead,
874
00:40:27,092 --> 00:40:28,969
and you used me for my powers.
875
00:40:29,052 --> 00:40:30,780
No, that's not true.
That's just not what happened.
876
00:40:30,804 --> 00:40:33,616
KINBERG: That shot of Jennifer is not
my favorite shot in the entire movie,
877
00:40:33,640 --> 00:40:35,994
but the reality of sometimes
shooting with these kinds of ensembles
878
00:40:36,018 --> 00:40:38,788
is that you don't get all the actors
in the same place at the same time
879
00:40:38,812 --> 00:40:40,832
and so you got to shoot
what's called block shooting.
880
00:40:40,856 --> 00:40:43,001
If you've seen Harry Potter
you know what that looks like.
881
00:40:43,025 --> 00:40:44,943
And you just grab Jennifer Lawrence
882
00:40:45,027 --> 00:40:47,422
when you got Jennifer Lawrence
for that day in the environment
883
00:40:47,446 --> 00:40:49,072
and that's why you see Jen
884
00:40:49,156 --> 00:40:51,992
separated from the rest of the group
in that one shot.
885
00:40:52,326 --> 00:40:54,886
Not a lot of that in that movie, luckily.
In this movie, luckily,
886
00:40:54,953 --> 00:40:56,931
we did get the actors
committed to all being there.
887
00:40:56,955 --> 00:40:59,475
But every now and then,
you couldn't... you couldn't control it.
888
00:40:59,875 --> 00:41:00,876
(SIRENS WAILING)
889
00:41:02,044 --> 00:41:03,837
Stay away from me.
890
00:41:03,920 --> 00:41:06,340
Stay away from me.
Stay away from me!
891
00:41:06,423 --> 00:41:10,052
KINBERG: That third car that flips over
is a computer-generated car
892
00:41:10,135 --> 00:41:11,428
and the first two are real.
893
00:41:12,679 --> 00:41:14,097
That is, of course, not real.
894
00:41:23,649 --> 00:41:24,733
Jean, please!
895
00:41:26,985 --> 00:41:28,963
KINBERG: And that is real.
I mean, enhanced, obviously,
896
00:41:28,987 --> 00:41:32,074
the smoke and all that but, you know,
we blew up that side of the house.
897
00:41:32,157 --> 00:41:34,534
And as Hutch was talking about,
this whole neighborhood,
898
00:41:34,618 --> 00:41:37,579
this whole street is built houses
which seems crazy,
899
00:41:37,663 --> 00:41:39,432
but in order to create
the kind of destruction
900
00:41:39,456 --> 00:41:42,084
and the kind of control we needed,
we needed to build it.
901
00:41:42,834 --> 00:41:43,960
♪♪
902
00:41:49,424 --> 00:41:50,424
(QUICKSILVER SCREAMING)
903
00:42:02,396 --> 00:42:04,022
Jean, stop!
904
00:42:04,106 --> 00:42:06,441
- I've got the shot. I'm taking...
- No, you're not.
905
00:42:07,109 --> 00:42:08,949
I'm sorry, Hank.
I want Raven to have a chance.
906
00:42:14,616 --> 00:42:16,410
I told you to stay away.
907
00:42:16,493 --> 00:42:18,179
KINBERG: This was a scene
that I would say we...
908
00:42:18,203 --> 00:42:20,539
we really dialed in over and over again.
909
00:42:20,622 --> 00:42:21,957
We reshot as well.
910
00:42:22,040 --> 00:42:24,060
I mean, all of these movies
have inevitable re-shoots.
911
00:42:24,084 --> 00:42:25,853
We've done that in every one
of these X-Men movies.
912
00:42:25,877 --> 00:42:28,064
I think pretty much every large-scale
movie these days has that
913
00:42:28,088 --> 00:42:30,128
because if you have
the luxury of doing it, why not?
914
00:42:30,173 --> 00:42:32,634
And we really dialed this...
tried to dial this in,
915
00:42:32,718 --> 00:42:37,139
so we would feel the inner struggle
that Jean was going through
916
00:42:37,222 --> 00:42:41,017
and we would create as much intimacy
as possible from Jennifer,
917
00:42:41,101 --> 00:42:42,728
so that this moment that's coming up,
918
00:42:42,811 --> 00:42:44,855
you would really feel the tragedy of.
919
00:42:44,938 --> 00:42:46,440
When it comes...
920
00:42:48,608 --> 00:42:50,026
people get hurt.
921
00:42:52,487 --> 00:42:54,048
And we did a lot of stuff,
like even in post
922
00:42:54,072 --> 00:42:56,908
of warping the imagery around Jen,
923
00:42:56,992 --> 00:42:59,786
so that you would feel
the point of view of Jean,
924
00:42:59,870 --> 00:43:02,706
of Sophie's character,
warping out her sound.
925
00:43:02,789 --> 00:43:05,751
This is another place that Lee Smith,
our editor, was really helpful.
926
00:43:05,834 --> 00:43:09,379
And subtle. But the, you know,
even Jean's hair moving that way
927
00:43:09,463 --> 00:43:14,301
was a visual effect
just to suggest that instability,
928
00:43:14,384 --> 00:43:18,138
even as you're really meant to be
focusing on the emotion on her face.
929
00:43:20,849 --> 00:43:22,184
(GASPING)
930
00:43:24,519 --> 00:43:28,565
KINBERG: And this, Jennifer told me, is
the first time she has died in a movie.
931
00:43:31,943 --> 00:43:33,671
One of the things
I will say about this scene
932
00:43:33,695 --> 00:43:36,072
that I think is
the most in awe of,
933
00:43:36,156 --> 00:43:38,950
I would say proud of
but I just kind of stayed out of his way,
934
00:43:39,034 --> 00:43:40,452
was Nick's performance.
935
00:43:41,036 --> 00:43:43,163
I mean, Nick in general
I feel has been the sort of,
936
00:43:43,246 --> 00:43:45,707
the unsung hero of this franchise
937
00:43:45,791 --> 00:43:47,351
for the last however
many movies he's been in them
938
00:43:47,375 --> 00:43:48,919
because he's just
such a great actor.
939
00:43:49,002 --> 00:43:51,046
And he's not showy in terms
of his performance
940
00:43:51,129 --> 00:43:52,881
and the part doesn't have
the same kind of,
941
00:43:52,964 --> 00:43:55,526
you know, big flowery monologues
that some of the other actors have.
942
00:43:55,550 --> 00:43:59,638
But this moment of him having to act
and emote through,
943
00:43:59,721 --> 00:44:05,185
you know, pounds of blue makeup and
contact lenses... pretty extraordinary.
944
00:44:05,268 --> 00:44:08,122
I mean, even if it was just Nick,
it's still an extraordinary performance.
945
00:44:08,146 --> 00:44:12,609
But all of this, he really was very,
very focused and in the zone that day
946
00:44:12,692 --> 00:44:14,444
and I just kind of stayed out of his way,
947
00:44:14,528 --> 00:44:16,696
and didn't try to do too many takes
948
00:44:16,780 --> 00:44:19,366
because he was really giving a lot
in each one of these takes.
949
00:44:19,449 --> 00:44:21,910
And it was really hot out there
and he has that big suit on,
950
00:44:21,993 --> 00:44:27,040
but having to literally cry through
all of that itself is...
951
00:44:27,499 --> 00:44:28,601
PARKER: Yeah, it was a real achievement.
952
00:44:28,625 --> 00:44:30,311
- KINBERG: Yeah.
- PARKER: And a hard scene to shoot.
953
00:44:30,335 --> 00:44:32,295
- KINBERG: Yes.
- PARKER: In both, it's, you know,
954
00:44:32,379 --> 00:44:35,257
intensely emotional scene
and those are always hard days.
955
00:44:35,340 --> 00:44:38,176
But, you know,
there was no escaping the fact
956
00:44:38,260 --> 00:44:41,429
that we were killing off a character
that we really love
957
00:44:41,513 --> 00:44:46,434
and both that what that meant in terms
of wrapping Jen from the franchise,
958
00:44:46,518 --> 00:44:49,187
or what it meant for the change
of stakes in the movie.
959
00:44:49,271 --> 00:44:50,271
KINBERG: Mm.
960
00:44:52,732 --> 00:44:54,734
The word you used, stakes,
is an interesting one,
961
00:44:54,818 --> 00:44:56,653
because I think
that we all talked about this
962
00:44:56,736 --> 00:44:58,214
and it's really important to me,
from the beginning,
963
00:44:58,238 --> 00:45:00,073
because it's true in the Dark Phoenix Saga
964
00:45:00,156 --> 00:45:03,118
that the stakes are more really
life-and-death
965
00:45:03,201 --> 00:45:07,414
than has been in these movies
in the past for the heroes.
966
00:45:07,497 --> 00:45:09,541
I mean, obviously,
villains come and go and die,
967
00:45:09,624 --> 00:45:13,420
but heroes dying is something
that people are not used to,
968
00:45:13,503 --> 00:45:16,381
it just tells you
that everybody's at risk.
969
00:45:16,464 --> 00:45:20,176
And again, just adds a sort of level
of instability or tension
970
00:45:20,260 --> 00:45:22,971
to the rest of the movie
that I think is really valuable.
971
00:45:23,054 --> 00:45:25,098
And differentiates it
from other X-Men movies
972
00:45:25,181 --> 00:45:26,367
where people fall off of buildings.
973
00:45:26,391 --> 00:45:28,894
If there's any X-Men related movie
974
00:45:28,977 --> 00:45:31,688
that is the most inspiring to me
going into this film,
975
00:45:31,771 --> 00:45:32,981
it was Logan.
976
00:45:33,064 --> 00:45:37,527
And again, Hutch was really the producer
with Jim Mangold of Logan,
977
00:45:37,611 --> 00:45:41,948
and what you guys created was
something so real and so grounded.
978
00:45:42,032 --> 00:45:44,075
You know, this movie
is not as grounded as that.
979
00:45:44,159 --> 00:45:47,954
You couldn't have an X-Jet
and aliens and cosmic forces in Logan.
980
00:45:48,038 --> 00:45:52,250
But, the seriousness of purpose,
the emotionality of that film,
981
00:45:52,334 --> 00:45:53,793
I tried to bring into this movie,
982
00:45:53,877 --> 00:45:56,755
all of these scenes,
the performances, you know,
983
00:45:56,838 --> 00:45:59,132
I talked to each of the actors
I would say to Jen,
984
00:45:59,215 --> 00:46:01,152
you know, "Play this like,
you know, a David O'Russell movie."
985
00:46:01,176 --> 00:46:03,428
For Michael Fassbender it was like,
you know,
986
00:46:03,511 --> 00:46:06,157
"As if you're in a Steve McQueen,
the director, Steve McQueen movie.
987
00:46:06,181 --> 00:46:08,350
Don't treat this
like you're in a cartoon.
988
00:46:08,433 --> 00:46:12,354
Treat this like you're in a serious,
humanistic drama."
989
00:46:12,437 --> 00:46:13,664
And I think that that was something
990
00:46:13,688 --> 00:46:15,899
that you guys did
so extraordinarily well in Logan,
991
00:46:15,982 --> 00:46:18,026
and I tried to bring to this as well,
992
00:46:18,109 --> 00:46:22,155
even though the circumstances of this
are more unrealistic.
993
00:46:23,323 --> 00:46:25,951
PARKER: I learned a lot from Jim
in that regard
994
00:46:26,034 --> 00:46:28,954
in the conviction he had
to depict the violence,
995
00:46:29,037 --> 00:46:30,830
but have consequences.
996
00:46:31,247 --> 00:46:35,001
And it's part of...
in our conversations on this one,
997
00:46:35,085 --> 00:46:40,048
you know, the rationale behind
killing off a main character like Raven.
998
00:46:40,131 --> 00:46:45,220
Without that, you don't really have
the threat of consequence that you need
999
00:46:45,303 --> 00:46:47,472
to earn the emotional triumph at the end.
1000
00:46:48,765 --> 00:46:52,602
To me, her death really does underpin
the ending of the movie.
1001
00:46:52,686 --> 00:46:55,146
- KINBERG: Right.
- PARKER: And earn the choice by Jean.
1002
00:46:55,730 --> 00:46:57,732
And then, by the time
you realize who they are...
1003
00:46:59,651 --> 00:47:00,902
it's too late.
1004
00:47:01,903 --> 00:47:02,903
(THUNDERING)
1005
00:47:05,949 --> 00:47:06,949
♪♪
1006
00:47:26,094 --> 00:47:30,432
Do you know, this is
where I first met Raven.
1007
00:47:32,350 --> 00:47:33,350
(CHUCKLES)
1008
00:47:34,894 --> 00:47:38,356
She was just this little girl, and...
1009
00:47:38,440 --> 00:47:39,524
she'd broken in...
1010
00:47:39,607 --> 00:47:41,752
KINBERG: This is one of my favorite
scenes in the movie.
1011
00:47:41,776 --> 00:47:43,546
Because it's not a scene
that you would expect
1012
00:47:43,570 --> 00:47:47,032
in a summer tentpole superhero film.
1013
00:47:47,115 --> 00:47:50,368
It's just a drama dialogue scene
between two really great actors.
1014
00:47:50,744 --> 00:47:53,371
It's emotional.
It's complicated. It's messy.
1015
00:47:53,705 --> 00:47:56,166
And they're both just...
they're just great actors
1016
00:47:56,249 --> 00:47:58,710
and I just got to step back
and watch them act.
1017
00:47:58,793 --> 00:48:00,354
And again, I think this is
one of those places
1018
00:48:00,378 --> 00:48:03,882
where Nick traditionally, in this movie,
Hank, traditionally in the comics,
1019
00:48:03,965 --> 00:48:07,677
and in this franchise of movies
has been this sort of lapdog,
1020
00:48:07,761 --> 00:48:10,430
for lack of a less punny metaphor,
1021
00:48:10,513 --> 00:48:11,973
has been a lapdog of Charles
1022
00:48:12,057 --> 00:48:15,602
and for him to actually go after Charles
and ultimately turn on Charles
1023
00:48:15,685 --> 00:48:19,147
felt really fresh and different
and like an opportunity for Nick
1024
00:48:19,230 --> 00:48:21,775
as he's growing up to be a man...
1025
00:48:22,442 --> 00:48:24,527
to break from the father.
1026
00:48:24,861 --> 00:48:27,181
And I thought that was something
that, you know, would feel
1027
00:48:27,238 --> 00:48:29,449
and certainly is just
empirically different
1028
00:48:29,532 --> 00:48:30,676
than what we've done in the past.
1029
00:48:30,700 --> 00:48:34,746
PARKER: One of the things I like best
about what Simon did in the script
1030
00:48:34,829 --> 00:48:39,334
was try to give everybody
new dimension and new moments,
1031
00:48:39,417 --> 00:48:42,337
so we see a different
thoughtfulness from Raven
1032
00:48:42,420 --> 00:48:44,005
in the way she's critiquing Charles.
1033
00:48:44,089 --> 00:48:48,384
We see Hank finally
rises up and challenges Charles,
1034
00:48:48,468 --> 00:48:53,181
even breaks with him to align,
obviously, with Magneto.
1035
00:48:53,264 --> 00:48:55,809
We see a whole different
dimension from Magneto.
1036
00:48:55,892 --> 00:48:58,394
And it's true of everybody
from Scott to Storm,
1037
00:48:58,478 --> 00:49:00,105
obviously, for Jean.
1038
00:49:00,188 --> 00:49:04,567
But that was exciting
from a storytelling perspective
1039
00:49:04,651 --> 00:49:09,864
to get to see these actors sink
their teeth into some new juicy material.
1040
00:49:09,948 --> 00:49:12,784
And in that scene, I think
Nick did a fantastic job
1041
00:49:12,867 --> 00:49:15,387
and it's the kind of thing we had
never given him a chance to do.
1042
00:49:15,411 --> 00:49:17,205
And really gratifying to see
1043
00:49:17,288 --> 00:49:20,458
how richly talented they all are
when given the chance.
1044
00:49:20,959 --> 00:49:22,502
Why did I do that?
1045
00:49:23,920 --> 00:49:24,920
(SOBBING)
1046
00:49:40,562 --> 00:49:42,562
- PARKER: That's our neighborhood.
- KINBERG: Yeah.
1047
00:49:43,439 --> 00:49:46,818
One of those days where it was raining
when we didn't want it to rain
1048
00:49:46,901 --> 00:49:48,581
and not raining when we wanted it to rain.
1049
00:49:48,653 --> 00:49:50,697
So, just...
1050
00:49:51,406 --> 00:49:52,800
- PARKER: Kind of roll with it.
- KINBERG: Yeah.
1051
00:49:52,824 --> 00:49:55,243
Turned on some towers
and kept it raining.
1052
00:49:58,454 --> 00:50:01,666
I like using the backs
of people's heads in movies.
1053
00:50:01,749 --> 00:50:03,293
I think it's more dramatic sometimes,
1054
00:50:03,376 --> 00:50:06,629
and obviously Jessica had
this incredible mane of white hair
1055
00:50:06,713 --> 00:50:07,964
so there's a few shots.
1056
00:50:08,047 --> 00:50:09,942
That was a minor one
because it wasn't in close-up
1057
00:50:09,966 --> 00:50:11,726
though we did shoot a close-up
we didn't use.
1058
00:50:11,801 --> 00:50:14,929
Where we're really focusing
on the back of her head.
1059
00:50:17,849 --> 00:50:20,727
This performance from Jess,
we really talked a lot about
1060
00:50:20,810 --> 00:50:22,353
and the metaphor we came up with
1061
00:50:22,437 --> 00:50:25,190
was this notion of like
this sort of the veterinarian
1062
00:50:25,273 --> 00:50:28,902
who's telling you that your animal
is sick and needs to be put down.
1063
00:50:28,985 --> 00:50:33,364
There's like a sort
of eerie kindness to her
1064
00:50:33,448 --> 00:50:35,450
that's lethal, ultimately,
1065
00:50:35,533 --> 00:50:38,286
but isn't coming in as aggressive.
1066
00:50:38,369 --> 00:50:40,496
It's coming in quiet, kind.
1067
00:50:40,580 --> 00:50:42,498
And Jess really inhabited that.
1068
00:50:42,582 --> 00:50:44,209
PARKER: She's such an amazing actress.
1069
00:50:44,292 --> 00:50:46,292
- KINBERG: Yeah, she is.
- PARKER: Just remarkable.
1070
00:50:50,381 --> 00:50:51,716
Maybe...
1071
00:50:53,843 --> 00:50:56,471
KINBERG: What's fun about Jess
is that she can be so serious,
1072
00:50:56,554 --> 00:50:58,097
and so focused and precise
1073
00:50:58,181 --> 00:51:01,142
and you see how precise
that little purse of her lips is.
1074
00:51:01,226 --> 00:51:03,937
But she's also just a really fun person.
1075
00:51:04,020 --> 00:51:06,272
So, you know, the second the camera cuts
1076
00:51:06,356 --> 00:51:08,358
when you're in between shots
or in between set ups,
1077
00:51:08,441 --> 00:51:13,071
she's goofing off and practical joking
and she's just a very different person.
1078
00:51:13,154 --> 00:51:16,074
She's very in control
of her instrument as an actress.
1079
00:51:16,157 --> 00:51:17,551
And so, she can turn it on and off.
1080
00:51:17,575 --> 00:51:19,295
She doesn't have to stay
in the entire time.
1081
00:51:19,869 --> 00:51:21,871
(SCREAMING)
1082
00:51:23,998 --> 00:51:26,936
KINBERG: This was something cool that I've
been wanting to do an X-Men movie
1083
00:51:26,960 --> 00:51:30,797
GOING ALL THE WAY BACK TO X-MEN:
The Last Stand which is create Genosha,
1084
00:51:30,880 --> 00:51:34,050
the mutant homeland that Magneto
creates in the comic,
1085
00:51:34,133 --> 00:51:37,053
almost like the mutant Israel.
I say that as a Jew.
1086
00:51:38,179 --> 00:51:39,931
And I've always wanted to do it
1087
00:51:40,014 --> 00:51:41,700
and had an opportunity
to do it in this movie.
1088
00:51:41,724 --> 00:51:44,560
And instead of making it look like
the way it looks in the comics,
1089
00:51:44,644 --> 00:51:48,856
which is this sort of bright
and shiny, silvery Neverland
1090
00:51:48,940 --> 00:51:51,442
I wanted it to feel
like Genosha sort of 1.0.
1091
00:51:51,526 --> 00:51:54,737
So, the idea was that Magneto
has lifted anything
1092
00:51:54,821 --> 00:51:57,490
that's metal on the base of the ocean
and picked it up
1093
00:51:57,573 --> 00:52:01,160
and used it to create these domiciles,
these structures for people to live in.
1094
00:52:01,244 --> 00:52:03,579
And we're seeing
the very beginning of Genosha.
1095
00:52:05,873 --> 00:52:07,000
Who are you?
1096
00:52:09,043 --> 00:52:10,503
What are you doing here?
1097
00:52:14,299 --> 00:52:15,842
Answer the question.
1098
00:52:18,177 --> 00:52:20,030
KINBERG: Andrew here, by the way,
the guy with the dreadlocks,
1099
00:52:20,054 --> 00:52:23,850
was a stuntman who was just so good
at doing the stunt rehearsals
1100
00:52:23,933 --> 00:52:25,601
and had such a great voice and face
1101
00:52:25,685 --> 00:52:28,021
that we ended up
casting him as the character.
1102
00:52:28,104 --> 00:52:29,397
Leave her.
1103
00:52:31,357 --> 00:52:32,650
Why are you here?
1104
00:52:36,738 --> 00:52:38,489
KINBERG: Michael really liked this idea,
1105
00:52:38,573 --> 00:52:40,759
he loved the idea of using Genosha
for the first time in the movie
1106
00:52:40,783 --> 00:52:43,119
because he's someone really,
really steeped in the comics.
1107
00:52:43,202 --> 00:52:47,290
But he liked this idea of like
almost Marlon Brando in Apocalypse Now,
1108
00:52:47,373 --> 00:52:49,584
this like, you know,
like it was a commune
1109
00:52:49,667 --> 00:52:54,088
and he was a cult leader, so to speak.
He wanted to be dressed in big, I think,
1110
00:52:54,172 --> 00:52:56,299
I can't remember
if it was white or black robes.
1111
00:52:56,382 --> 00:52:57,818
I feel like that was maybe
a little too much
1112
00:52:57,842 --> 00:53:00,928
but he is in pretty
monochromatic outfits
1113
00:53:01,012 --> 00:53:05,141
and he is in this peaceful place
in his life before she shows up.
1114
00:53:06,309 --> 00:53:09,729
And he's just one of these actors
where, like, you just turned the camera on
1115
00:53:09,812 --> 00:53:14,233
and he does so little
and yet expresses so much.
1116
00:53:14,317 --> 00:53:16,003
I don't know
if there's another actor like him
1117
00:53:16,027 --> 00:53:19,822
that can do as much with just his eyes.
Really expressive eyes.
1118
00:53:20,907 --> 00:53:21,907
Look...
1119
00:53:22,450 --> 00:53:25,411
PARKER: Yeah, and he's so calm
in his performance.
1120
00:53:25,495 --> 00:53:27,121
This was a pretty great scene.
1121
00:53:27,205 --> 00:53:31,501
I remember shooting this and being
blown away by pretty much everything,
1122
00:53:31,584 --> 00:53:36,923
by the look of the set,
by the way in which Sophie came into it
1123
00:53:37,006 --> 00:53:40,676
and rose to the challenge
of a scene with Michael.
1124
00:53:40,760 --> 00:53:43,221
And I remember Michael
commenting to both of us
1125
00:53:43,304 --> 00:53:45,932
how impressed he was with Sophie
1126
00:53:46,015 --> 00:53:48,893
and how extraordinary she was
as an actress in this scene.
1127
00:53:49,977 --> 00:53:51,205
Credit to you, too, by the way.
1128
00:53:51,229 --> 00:53:53,549
KINBERG: Yeah, I appreciate that.
But I mean what's been...
1129
00:53:53,606 --> 00:53:56,025
what was lovely was
that each of the actors...
1130
00:53:56,109 --> 00:53:59,112
Sophie naturally was probably
a little intimidated by Michael.
1131
00:53:59,195 --> 00:54:02,156
James, Jessica, Jennifer,
1132
00:54:02,240 --> 00:54:04,951
all of them, when they first
were acting across from her,
1133
00:54:05,034 --> 00:54:07,745
would come up to me
after the first take or two,
1134
00:54:07,829 --> 00:54:09,414
and say, "My God, she's incredible,"
1135
00:54:09,497 --> 00:54:11,975
because she really wasn't given
an opportunity in Apocalypse to do much
1136
00:54:11,999 --> 00:54:13,936
because obviously, there were so many
different characters in that movie
1137
00:54:13,960 --> 00:54:17,588
and they were doing... each had
a little tiny piece of the pie.
1138
00:54:17,672 --> 00:54:19,608
And she had a very small piece
of the pie in that film.
1139
00:54:19,632 --> 00:54:22,885
So, them seeing her as really
the leading, obviously,
1140
00:54:22,969 --> 00:54:26,097
the leading actor
in this film and again,
1141
00:54:26,180 --> 00:54:28,558
all of the different emotional colors
she had to play,
1142
00:54:28,641 --> 00:54:33,187
each of these actors who are
so experienced and so extraordinary,
1143
00:54:33,271 --> 00:54:34,439
they were impressed.
1144
00:54:34,522 --> 00:54:37,650
I would tell her and it would
give her even more confidence.
1145
00:54:37,733 --> 00:54:38,901
Lose control...
1146
00:54:41,529 --> 00:54:44,282
things happen, bad things...
1147
00:54:46,909 --> 00:54:48,578
to people I love.
1148
00:54:55,501 --> 00:54:56,836
Whose blood is that?
1149
00:54:59,380 --> 00:55:01,174
Isn't that why you came here?
1150
00:55:01,257 --> 00:55:03,342
- What do you think I can do for you?
- I don't know!
1151
00:55:03,426 --> 00:55:05,761
Yes, you do.
Whose blood is that?
1152
00:55:05,845 --> 00:55:07,114
- I don't wanna talk about it.
- Did you hurt...
1153
00:55:07,138 --> 00:55:09,533
KINBERG: So funny. There was that moment
where he puts the cup down
1154
00:55:09,557 --> 00:55:11,535
and he kind of misses with the cup
and then puts it...
1155
00:55:11,559 --> 00:55:13,227
there's just little things in movies
1156
00:55:13,311 --> 00:55:15,480
when you like make a movie
that you notice.
1157
00:55:15,563 --> 00:55:17,148
Some of them you love as mistakes
1158
00:55:17,231 --> 00:55:18,917
and some of them kind of annoy
you a little bit.
1159
00:55:18,941 --> 00:55:21,694
That one annoys me a little bit
because I feel like there was...
1160
00:55:21,777 --> 00:55:23,697
I always was looking
for a cleaner version of him
1161
00:55:23,779 --> 00:55:26,616
putting the cup down but there -
and there were cleaner versions
1162
00:55:26,699 --> 00:55:30,161
but his performance wasn't quite
as aggressive and strong.
1163
00:55:30,244 --> 00:55:32,997
And so, I just left
with the miss of the cup
1164
00:55:33,080 --> 00:55:34,582
which feels like the real world.
1165
00:55:35,333 --> 00:55:36,459
(CHOPPER WHIRRING)
1166
00:55:43,299 --> 00:55:45,402
KINBERG: Now, this sequence
is one of my favorites in the movie
1167
00:55:45,426 --> 00:55:46,802
partly because it's all real.
1168
00:55:46,886 --> 00:55:49,246
I mean, not all but it's...
the vast majority of it is real.
1169
00:55:49,305 --> 00:55:53,100
These are, obviously, those are
real choppers that are flying in
1170
00:55:53,851 --> 00:55:56,729
but our special-effects again,
practical effects, Cam,
1171
00:55:56,812 --> 00:55:59,065
who was the head
of special-effects for us,
1172
00:55:59,148 --> 00:56:02,777
he created rigs where he could take
the bucks of these choppers...
1173
00:56:02,860 --> 00:56:06,155
so everything except for the propellers...
and remote control them.
1174
00:56:06,239 --> 00:56:08,783
So, the first one that's about to go
spinning on the ground
1175
00:56:08,866 --> 00:56:11,627
is in fact spinning on the ground,
and he had explosives in the ground
1176
00:56:11,702 --> 00:56:14,622
that would be like the propeller
ripping open the ground.
1177
00:56:14,705 --> 00:56:17,542
And the second one,
which we'll get to pretty shortly,
1178
00:56:17,625 --> 00:56:21,796
he brought in two big crane arms
and built a crane wire
1179
00:56:21,879 --> 00:56:23,589
that was going between
the two crane arms
1180
00:56:23,673 --> 00:56:28,594
that was capable of holding
I think up to 4000 pounds.
1181
00:56:28,678 --> 00:56:33,015
And he had the chopper
on that wire remote-controlled,
1182
00:56:33,099 --> 00:56:36,769
so it could go in and out, closer,
further away from Sophie and Michael
1183
00:56:36,852 --> 00:56:38,747
with everything
but the propeller because obviously,
1184
00:56:38,771 --> 00:56:41,023
were not going to put them close
to a moving propeller
1185
00:56:41,107 --> 00:56:42,400
but we had massive rotor fans
1186
00:56:42,483 --> 00:56:45,379
that were mimicking what it would be
like for the propeller to be that close.
1187
00:56:45,403 --> 00:56:48,531
But literally, they were
interacting with a real helicopter.
1188
00:56:49,282 --> 00:56:50,700
Then step aside.
1189
00:56:51,617 --> 00:56:54,579
We have the same rights
as you and your family.
1190
00:56:54,662 --> 00:56:56,581
And like I said, we're not here for...
1191
00:56:56,664 --> 00:56:58,584
KINBERG: The soldiers
you're shortly going to see
1192
00:56:58,624 --> 00:57:00,334
running and jumping onto that chopper
1193
00:57:00,418 --> 00:57:02,211
are running and jumping onto a chopper
1194
00:57:02,295 --> 00:57:07,216
that is in fact there, 10-15 feet
off the ground and it's just again,
1195
00:57:07,300 --> 00:57:10,928
there's some part of the audience's
brain that recognizes real physics,
1196
00:57:11,012 --> 00:57:16,017
and so sees a sequence like this
and recognizes that it is real in a way
1197
00:57:16,100 --> 00:57:17,828
that it wouldn't be in
almost any other movie.
1198
00:57:17,852 --> 00:57:21,022
And for the actors... so, right here,
that's a real chopper.
1199
00:57:22,023 --> 00:57:23,441
I said stop that right now!
1200
00:57:23,524 --> 00:57:26,404
KINBERG: The propeller is obviously fake
because that would be dangerous.
1201
00:57:27,486 --> 00:57:32,700
But as this happens, you will see,
that chopper does rise a little bit
1202
00:57:33,701 --> 00:57:37,038
and then twists real...
1203
00:57:38,581 --> 00:57:42,043
and this is all the chopper
on a rig spinning around
1204
00:57:43,502 --> 00:57:46,088
and explosives going off
in all the places.
1205
00:57:46,172 --> 00:57:50,009
That's obviously fake because we would
not risk Michael Fassbender's life.
1206
00:57:50,092 --> 00:57:54,347
But this now is that chopper
that's on the wire
1207
00:57:54,430 --> 00:57:56,766
and it is everything
but the propeller is real.
1208
00:57:58,225 --> 00:58:02,104
And it's, you know, 3000,
4000-pound metal object
1209
00:58:02,188 --> 00:58:05,608
that's going closer to them,
that's going further away from them...
1210
00:58:07,234 --> 00:58:09,820
with massive fans
blowing on them to simulate the wind.
1211
00:58:10,613 --> 00:58:14,283
That's a camera inside the real buck
of the chopper that's filming them.
1212
00:58:14,909 --> 00:58:15,910
(YELLING)
1213
00:58:16,577 --> 00:58:19,997
PARKER: It's also hugely helpful
to the visual effects guys
1214
00:58:20,081 --> 00:58:23,751
to have real elements
in the frame to build off of.
1215
00:58:24,585 --> 00:58:27,797
It's what allows you to help
make this feel photo real...
1216
00:58:29,090 --> 00:58:32,760
and as Simon said, give you the feeling,
you know, unconsciously
1217
00:58:32,843 --> 00:58:35,179
that this is conforming
to real physics.
1218
00:58:36,222 --> 00:58:38,349
It just makes,
it makes all the difference.
1219
00:58:39,642 --> 00:58:41,870
KINBERG: That's the first shot that's
a visual effects shot of a chopper
1220
00:58:41,894 --> 00:58:44,063
because obviously,
that we couldn't control.
1221
00:58:54,657 --> 00:58:55,658
MAGNETO: Go!
1222
00:58:57,952 --> 00:59:00,121
- Leave this place!
- I need your help!
1223
00:59:00,204 --> 00:59:02,164
I thought you protected mutants here.
1224
00:59:02,248 --> 00:59:05,084
I am protecting them... from you.
1225
00:59:07,044 --> 00:59:08,421
You need to leave.
1226
00:59:09,380 --> 00:59:10,464
Go!
1227
00:59:13,384 --> 00:59:15,261
♪♪
1228
00:59:28,065 --> 00:59:30,293
REPORTER: Word coming late tonight
that Congress is considering
1229
00:59:30,317 --> 00:59:33,154
temporary mutant internment facilities
for those...
1230
00:59:33,237 --> 00:59:34,947
PARKER: Just fun to watch Michael.
1231
00:59:35,030 --> 00:59:38,367
KINBERG: No, I know, I think we were both
sitting here mesmerized,
1232
00:59:38,451 --> 00:59:42,663
awe/crushing out
on Michael Fassbender.
1233
00:59:42,747 --> 00:59:45,082
Attacking police
and military personnel...
1234
00:59:50,713 --> 00:59:53,466
That news conference there was
something we went back and forth
1235
00:59:53,549 --> 00:59:56,719
on just how severe we wanted
the human reaction to be.
1236
00:59:56,802 --> 01:00:00,014
Initially, the reaction was
more severe than that but felt like,
1237
01:00:00,097 --> 01:00:01,575
we didn't want it to feel
as though all of a sudden
1238
01:00:01,599 --> 01:00:05,978
they were going from embracing the X-Men
to interning the X-Men.
1239
01:00:06,061 --> 01:00:09,732
So, there was, there was
a sort of middle ground that I found
1240
01:00:09,815 --> 01:00:12,109
and we reshot the anchorman.
1241
01:00:12,193 --> 01:00:14,873
Everything that we've accomplished.
You have to give us a chance.
1242
01:00:14,945 --> 01:00:15,945
(LINE BUSY TONE)
1243
01:00:21,702 --> 01:00:25,331
PARKER: And if you notice, Charles's
wardrobe starts to kind of deconstruct
1244
01:00:25,414 --> 01:00:27,333
as we get later in the movie,
1245
01:00:27,416 --> 01:00:30,419
sort of mirroring his somewhat unraveling,
1246
01:00:30,503 --> 01:00:33,130
but having to look at himself anew
1247
01:00:33,214 --> 01:00:36,175
and basically take responsibility
for what he's done,
1248
01:00:36,258 --> 01:00:39,178
but also start to be
more honest with himself, I think.
1249
01:00:39,261 --> 01:00:40,679
Citizens to keep their distance.
1250
01:00:40,763 --> 01:00:43,599
Any sighting should be reported
to the police immediately.
1251
01:00:43,933 --> 01:00:45,476
Government officials have...
1252
01:00:45,976 --> 01:00:47,746
KINBERG: This is one of my favorite scenes
in the movie.
1253
01:00:47,770 --> 01:00:51,315
It's a scene I wrote pretty early on
that I rewrote a few times
1254
01:00:51,398 --> 01:00:54,944
of the first interaction between
Jean and Jessica's character.
1255
01:01:00,282 --> 01:01:03,077
And this notion that Jean
is controlling everybody's mind
1256
01:01:03,160 --> 01:01:06,163
but Jessica's mind can't be controlled
is, I guess, pretty subtle
1257
01:01:06,247 --> 01:01:08,350
because some people don't catch it
or don't fully understand it.
1258
01:01:08,374 --> 01:01:10,417
But I just thought was a cool way
1259
01:01:10,501 --> 01:01:13,003
to reveal
you're sort of watching the scene,
1260
01:01:13,087 --> 01:01:15,506
wondering why you're watching
an older gentleman
1261
01:01:16,048 --> 01:01:18,008
drinking before this transformation.
1262
01:01:22,179 --> 01:01:25,059
PARKER: Wasn't this our first day
with Jessica? Or maybe the second half?
1263
01:01:25,140 --> 01:01:27,768
Didn't we do something the first half
and then moved to this...?
1264
01:01:27,852 --> 01:01:29,019
KINBERG: Yeah, it may be.
1265
01:01:29,103 --> 01:01:30,271
PARKER: This location.
1266
01:01:30,354 --> 01:01:34,984
It's a small bar in Montréal
but had this great look and feel.
1267
01:01:35,067 --> 01:01:36,360
KINBERG: Yeah.
1268
01:01:37,444 --> 01:01:40,155
Let's just say I have friends
in high places.
1269
01:01:42,032 --> 01:01:43,701
Who are you?
1270
01:01:44,285 --> 01:01:45,744
The better question is...
1271
01:01:46,662 --> 01:01:47,913
who are you?
1272
01:01:48,289 --> 01:01:51,226
KINBERG: And I'm a big believer in that
even though Jessica and I are friends
1273
01:01:51,250 --> 01:01:53,478
and we were friends from having
made The Martian together,
1274
01:01:53,502 --> 01:01:56,255
I think this monologue in here is why
she decided to do the movie.
1275
01:01:56,338 --> 01:01:59,091
Because I think there's...
there's a thematic
1276
01:01:59,174 --> 01:02:02,344
and even political element to this
that was compelling to her.
1277
01:02:02,428 --> 01:02:03,846
And is compelling to me as well.
1278
01:02:03,929 --> 01:02:06,724
I mean a movie that is
a female protagonist movie,
1279
01:02:06,807 --> 01:02:09,167
I wanted it to be more than
just a female protagonist movie.
1280
01:02:09,226 --> 01:02:12,104
I wanted it to actually explore,
like I was saying earlier,
1281
01:02:12,187 --> 01:02:14,106
this sort of patriarchal
side of Charles.
1282
01:02:14,189 --> 01:02:17,693
I also want to explore
the empowerment of a female character
1283
01:02:17,776 --> 01:02:21,572
in a male dominated,
not just world, but candidly, genre.
1284
01:02:22,239 --> 01:02:24,450
And so, this notion of antiquated words
1285
01:02:24,533 --> 01:02:27,036
created by men a long time ago
with very little minds,
1286
01:02:27,119 --> 01:02:31,373
something that I thought Jess would dig.
And she did.
1287
01:02:31,457 --> 01:02:34,251
They can't begin to comprehend
what you are.
1288
01:02:34,919 --> 01:02:36,003
Even your X-men.
1289
01:02:36,086 --> 01:02:38,023
KINBERG: And we had a slightly
longer version of this scene
1290
01:02:38,047 --> 01:02:41,675
that didn't do much else other than do
a little bit more convincing
1291
01:02:41,759 --> 01:02:45,095
and then we cut it, or Lee cut it
because going out on a smile,
1292
01:02:45,179 --> 01:02:48,766
that sort of eerie smile was a stronger
way to go out than another line.
1293
01:02:48,849 --> 01:02:50,851
- What?
- Hank's not in class.
1294
01:02:52,645 --> 01:02:53,771
Did you check his quarters?
1295
01:02:54,229 --> 01:02:55,564
Yeah, he's not there either.
1296
01:03:02,154 --> 01:03:05,449
KINBERG: And then this is where I think,
to me, as we were conceiving the movie
1297
01:03:05,532 --> 01:03:07,952
and thinking about
how do you break a family up,
1298
01:03:08,035 --> 01:03:09,512
it's not just about breaking a family up,
1299
01:03:09,536 --> 01:03:13,123
but it's about switching allegiances
and creating new families,
1300
01:03:13,207 --> 01:03:17,378
and this notion that Hank becomes
part of Magneto's family
1301
01:03:17,461 --> 01:03:19,301
is something that wouldn't have
been fathomable
1302
01:03:19,338 --> 01:03:20,464
a movie or four movies ago
1303
01:03:20,547 --> 01:03:23,425
especially, as they were enemies
for Mystique's affection.
1304
01:03:24,301 --> 01:03:26,762
- She's gone.
- No, I know that.
1305
01:03:27,304 --> 01:03:28,722
Then why are you here, Hank?
1306
01:03:29,682 --> 01:03:31,159
You have eyes and ears
around the world
1307
01:03:31,183 --> 01:03:32,702
to help you find mutants
for this place.
1308
01:03:32,726 --> 01:03:36,772
KINBERG: This was an interesting day
on set because we had scouted a location
1309
01:03:36,855 --> 01:03:38,655
for this interaction
to take place that was...
1310
01:03:38,691 --> 01:03:42,403
- PARKER: That's right.
- KINBERG: like kind of a forest
1311
01:03:42,486 --> 01:03:44,089
but when we got there,
it wasn't really a forest,
1312
01:03:44,113 --> 01:03:46,281
it was like a tree and some grass,
1313
01:03:46,365 --> 01:03:48,617
and it felt like it was going to be
kind of anticlimactic
1314
01:03:48,701 --> 01:03:52,955
to have this face-to-face between
these actors who have been enemies
1315
01:03:53,038 --> 01:03:56,875
and this moment for Magneto learning
this thing about the woman he loves.
1316
01:03:56,959 --> 01:03:58,269
And then we were just walking around
1317
01:03:58,293 --> 01:04:00,855
and saw all the wreckage that was
still there from having shot there
1318
01:04:00,879 --> 01:04:04,133
and it felt like this was
the right place to stage it.
1319
01:04:04,216 --> 01:04:07,469
And Michael, because he's so extraordinary
at using everything that he's given,
1320
01:04:07,553 --> 01:04:12,433
was his decision to make this move
toward the skids of the chopper.
1321
01:04:12,516 --> 01:04:15,936
Weirdly, this became a really interesting
environment for these two guys,
1322
01:04:16,020 --> 01:04:18,272
because it's a world of destruction
1323
01:04:18,355 --> 01:04:20,858
at a time when the family's
being destroyed.
1324
01:04:21,150 --> 01:04:23,402
I need you to help me find Jean.
1325
01:04:29,450 --> 01:04:31,785
If I find her, I'll kill her.
1326
01:04:33,370 --> 01:04:34,371
I know.
1327
01:04:35,873 --> 01:04:37,124
(HONKING)
1328
01:04:43,505 --> 01:04:45,674
KINBERG: This is a little bit of a build
1329
01:04:45,758 --> 01:04:49,470
and a lot of visual effect in the
background to make it look like New York.
1330
01:04:49,553 --> 01:04:52,848
PARKER: Yeah, that's actually
on a big sound stage in Montréal.
1331
01:04:53,974 --> 01:04:55,142
KINBERG: And this is a set.
1332
01:04:55,225 --> 01:04:57,162
Everything that takes place in here
from this point forward
1333
01:04:57,186 --> 01:04:59,271
and there's a lot
that takes place in here,
1334
01:04:59,354 --> 01:05:02,608
is a beautiful set that Claude Pare
art designed, production designed,
1335
01:05:02,691 --> 01:05:07,362
and initially we had thought of it
as the French Consulate
1336
01:05:07,446 --> 01:05:11,700
and then as you see on the ground,
that rug would indicate French Consulate
1337
01:05:11,784 --> 01:05:14,637
and then we kind of didn't really
explore that much more deeply than that.
1338
01:05:14,661 --> 01:05:18,123
But I think Claude Pare...
emphasis on Claude and Pare,
1339
01:05:18,207 --> 01:05:21,001
liked the idea of representing
the French in this movie.
1340
01:05:21,168 --> 01:05:25,923
(IN ALIEN LANGUAGE) If she can't
control it, then we will destroy it.
1341
01:05:27,841 --> 01:05:28,926
♪♪
1342
01:05:31,678 --> 01:05:33,364
KINBERG: And this is a scene
that we reshot.
1343
01:05:33,388 --> 01:05:35,891
Initially, this scene
didn't really give information
1344
01:05:35,974 --> 01:05:38,519
about what it is
that happened to Jean in space.
1345
01:05:38,602 --> 01:05:41,498
It didn't really give information about
the cosmic force that was inside Jean.
1346
01:05:41,522 --> 01:05:47,361
And felt like as much as I wanted
the character of Jessica to be mysterious,
1347
01:05:47,444 --> 01:05:50,489
there's a certain point
at which mystery becomes enigma.
1348
01:05:50,572 --> 01:05:52,741
And you're just sort of detached.
1349
01:05:52,825 --> 01:05:56,078
And so, this became an opportunity
for Jessica to explain
1350
01:05:56,161 --> 01:05:59,998
what she was doing down here,
why she was drawn here
1351
01:06:00,082 --> 01:06:02,417
and most importantly,
what was happening to Jean.
1352
01:06:02,501 --> 01:06:05,295
And this became this big visual
effects sequence.
1353
01:06:05,379 --> 01:06:09,258
And I will say, with the most profound
respect to Phil and Kurt,
1354
01:06:09,341 --> 01:06:11,510
our visual effects supervisor
and producer,
1355
01:06:11,593 --> 01:06:15,180
they created this entire sequence
pretty late in the process
1356
01:06:15,264 --> 01:06:17,033
so they didn't have
a whole lot of time to do it
1357
01:06:17,057 --> 01:06:18,809
and it still looks really amazing.
1358
01:06:18,892 --> 01:06:19,893
VUK: that force.
1359
01:06:19,977 --> 01:06:21,311
JEAN: Why?
1360
01:06:22,271 --> 01:06:25,065
Because it's the spark that gave
life to the universe...
1361
01:06:25,941 --> 01:06:28,485
and the flame that consumed my world.
1362
01:06:33,365 --> 01:06:34,908
What remains of my people...
1363
01:06:34,992 --> 01:06:37,619
KINBERG: And it's true to the characters
of the D'Bari obviously,
1364
01:06:37,703 --> 01:06:40,056
well, not obviously, I say that
to hard-core fans of the comic.
1365
01:06:40,080 --> 01:06:43,167
Their planet was destroyed
by the Phoenix force.
1366
01:06:45,210 --> 01:06:47,004
Why me?
1367
01:06:47,671 --> 01:06:49,923
Because you're stronger than you know.
1368
01:06:51,508 --> 01:06:53,427
Because you're special, Jean.
1369
01:06:58,724 --> 01:07:00,350
With my help...
1370
01:07:00,559 --> 01:07:03,103
KINBERG: And I wanted this
in some ways to echo
1371
01:07:03,187 --> 01:07:07,441
the appeal that Charles makes to young
Jean at the beginning of the movie.
1372
01:07:07,524 --> 01:07:11,737
Even using the word special
was intentional.
1373
01:07:11,820 --> 01:07:13,798
At the beginning,
Charles was sort of appealing to her
1374
01:07:13,822 --> 01:07:15,091
for what he believes to be good,
1375
01:07:15,115 --> 01:07:19,203
and now Jessica's appealing to her
for what she believes to be good.
1376
01:07:19,286 --> 01:07:21,121
But for both of them,
there's an element of it
1377
01:07:21,205 --> 01:07:25,375
that's empowering them and their agenda.
And by the end of this movie,
1378
01:07:25,459 --> 01:07:29,046
Jean chooses her own agenda
to save the people that she loves.
1379
01:07:29,129 --> 01:07:32,591
And that's the arc of the movie for me,
is that she's child to neither
1380
01:07:32,674 --> 01:07:35,636
and becomes the grown up
that's making her own decisions.
1381
01:07:35,719 --> 01:07:38,555
But here, she's
sort of in the seduction process
1382
01:07:38,639 --> 01:07:42,976
of being turned toward Jessica's side.
And Jessica's very compelling at that.
1383
01:07:43,060 --> 01:07:44,311
They fear.
1384
01:07:44,394 --> 01:07:45,394
And what they fear...
1385
01:07:46,313 --> 01:07:47,898
They seek to destroy.
1386
01:07:53,612 --> 01:07:54,780
MAGNETO: Did Raven suffer?
1387
01:07:56,782 --> 01:07:58,158
Not for long.
1388
01:07:59,618 --> 01:08:03,580
KINBERG: And again, if you look at this,
it's very dirty
1389
01:08:03,664 --> 01:08:05,749
in a way that X-Men movies
haven't been dirty before.
1390
01:08:05,832 --> 01:08:08,961
The cameras bouncing around
a little bit. It's handheld.
1391
01:08:09,878 --> 01:08:14,466
It's just longer lens,
it's not static and smooth.
1392
01:08:14,549 --> 01:08:16,149
The world itself
is kind of falling apart
1393
01:08:16,218 --> 01:08:21,014
and so I want the camera work to feel
also as if it's not quite as smooth.
1394
01:08:21,556 --> 01:08:22,641
New York.
1395
01:08:22,975 --> 01:08:24,893
We'll have eyes on the ground
when we get there.
1396
01:08:25,936 --> 01:08:27,062
♪♪
1397
01:08:29,606 --> 01:08:32,001
KINBERG: Right there, if you look at all
the movement around Michael, it's subtle,
1398
01:08:32,025 --> 01:08:35,195
but if you look at it you see
the camera's not just set on him.
1399
01:08:41,702 --> 01:08:43,829
And this is a steadicam as opposed
to it being a crane
1400
01:08:43,912 --> 01:08:45,956
which it normally
would be in a shot like that.
1401
01:08:46,039 --> 01:08:48,709
So, it's got a little bit more life
and human movement to it
1402
01:08:48,792 --> 01:08:52,379
and even like human footsteps to the way
the camera was moving just now.
1403
01:08:53,422 --> 01:08:55,424
Anytime we can reveal
the Magneto helmet
1404
01:08:55,507 --> 01:08:58,343
we basically have
in all of these movies.
1405
01:08:58,427 --> 01:09:02,306
I honestly think we have in every single
one of the movies since First Class.
1406
01:09:04,433 --> 01:09:09,187
Big reveal in Days of Future Past.
Reveal in Apocalypse. Big reveal here.
1407
01:09:10,689 --> 01:09:11,874
PARKER: Also, a great score moment.
1408
01:09:11,898 --> 01:09:14,026
Hans Zimmer
did an amazing job throughout.
1409
01:09:14,109 --> 01:09:15,277
Because he also had to attend
1410
01:09:15,360 --> 01:09:18,655
to so many different tonalities,
emotional and psychological
1411
01:09:18,739 --> 01:09:21,950
and as the movie
is starting to take a turn there,
1412
01:09:22,034 --> 01:09:24,661
you can feel the score
get more muscular,
1413
01:09:24,745 --> 01:09:29,750
in the way that it's promising conflict
with Magneto and the X-Men.
1414
01:09:30,459 --> 01:09:33,337
KINBERG: Yeah, and Hans is... sorry,
going back to the people
1415
01:09:33,420 --> 01:09:37,799
who are Oscar nominated-winning,
incredible teammates...
1416
01:09:38,592 --> 01:09:43,513
I've been writing my scripts
to Hans Zimmer scores
1417
01:09:43,597 --> 01:09:46,308
since I was in film school.
He's a hero of mine.
1418
01:09:46,391 --> 01:09:47,851
And an incredible inspiration.
1419
01:09:47,934 --> 01:09:50,771
And, after the last superhero movie
he had worked on before this one,
1420
01:09:50,854 --> 01:09:52,022
he said he wasn't going to do
1421
01:09:52,105 --> 01:09:54,274
any more superhero movies
or comic book adaptations.
1422
01:09:54,358 --> 01:09:59,321
And we basically... I wrote emails.
I called, I begged.
1423
01:09:59,404 --> 01:10:00,739
Finally got a meeting with him
1424
01:10:00,822 --> 01:10:02,462
because he was doing
a concert in Montréal
1425
01:10:02,532 --> 01:10:04,242
while we were in prep on this film
1426
01:10:04,326 --> 01:10:07,287
and convinced him to at least
continue the conversation.
1427
01:10:07,371 --> 01:10:09,373
It was another couple conversations
on the phone
1428
01:10:09,456 --> 01:10:11,666
until finally he committed
to doing the film.
1429
01:10:11,750 --> 01:10:15,337
And I think the reason he committed
to doing the film was that he recognized
1430
01:10:15,420 --> 01:10:17,648
that this was going to be
a different kind of superhero film.
1431
01:10:17,672 --> 01:10:22,928
It wasn't going to be maybe
as bombastic or as broad and operatic
1432
01:10:23,011 --> 01:10:24,596
as the films he'd worked on
in the past.
1433
01:10:24,679 --> 01:10:27,349
It was going to have a more grounded,
gritty feeling to it.
1434
01:10:27,432 --> 01:10:29,494
And so, he saw it as an opportunity
to do something different.
1435
01:10:29,518 --> 01:10:32,938
And the thing about Hans is, and this
is true for I guess any great artist,
1436
01:10:33,021 --> 01:10:34,248
and Hans is certainly a great artist,
1437
01:10:34,272 --> 01:10:37,150
is he just wants to be challenged
to do something different each time.
1438
01:10:37,234 --> 01:10:39,504
And so, this felt like an opportunity
to do something different.
1439
01:10:39,528 --> 01:10:42,656
And this is a very heavily
scored movie.
1440
01:10:42,739 --> 01:10:44,908
It's not wall to wall score music,
1441
01:10:44,991 --> 01:10:48,036
but I would say
we have more music in this film
1442
01:10:48,120 --> 01:10:50,122
than we've had in any
of the other X-Men movies.
1443
01:10:50,205 --> 01:10:51,456
And it's giving us emotion.
1444
01:10:51,540 --> 01:10:55,293
It's reinforcing tension
and momentum, transitions.
1445
01:10:55,836 --> 01:10:58,004
There's a lot of work the score
is doing in this movie
1446
01:10:58,088 --> 01:11:00,590
and I just love the score
so much that we used it.
1447
01:11:00,674 --> 01:11:03,927
Hans, over the span of however many months
and years we were working on the movie,
1448
01:11:04,010 --> 01:11:06,763
I think it was like 11
or 12 hours' worth of music
1449
01:11:06,847 --> 01:11:08,432
that he created for this movie.
1450
01:11:08,515 --> 01:11:12,727
And he creates these long suites,
and then once those suites are created,
1451
01:11:12,811 --> 01:11:17,482
the sound editors
and Lee and Hans's team,
1452
01:11:17,566 --> 01:11:20,360
they start to edit
those suites down to picture
1453
01:11:21,027 --> 01:11:23,447
and into individual themes
for the characters.
1454
01:11:23,530 --> 01:11:28,410
And so, this was a real process
of finding, creating,
1455
01:11:28,493 --> 01:11:30,829
conforming the music to the picture.
1456
01:11:31,496 --> 01:11:33,874
Which I've never done before
as a producer on a movie.
1457
01:11:33,957 --> 01:11:36,918
Usually, composers will write to picture
1458
01:11:37,002 --> 01:11:38,962
and Hans actually didn't want
to see the picture,
1459
01:11:39,045 --> 01:11:42,674
he wanted to start writing the suites
first, based just on conversations,
1460
01:11:42,757 --> 01:11:44,801
even before reading the script.
1461
01:11:44,885 --> 01:11:48,763
PARKER: Incredibly collaborative.
I mean, a remarkable process for me,
1462
01:11:48,847 --> 01:11:51,725
having worked on a ton of movies
as an executive
1463
01:11:51,808 --> 01:11:53,059
and then again as a producer.
1464
01:11:53,143 --> 01:11:57,272
I'd never had an experience
quite like what we had with Hans.
1465
01:11:57,355 --> 01:11:59,483
Both creatively
and in terms of that process.
1466
01:11:59,566 --> 01:12:00,484
KINBERG: Yeah.
1467
01:12:00,567 --> 01:12:01,860
(HONKING)
1468
01:12:06,323 --> 01:12:07,532
(INDISTINCT SCREAMING)
1469
01:12:12,287 --> 01:12:13,705
♪♪
1470
01:12:25,550 --> 01:12:27,844
KINBERG: And this is,
as Hutch was alluding to earlier,
1471
01:12:27,928 --> 01:12:32,682
we built pretty much the majority
of this Fifth Avenue street
1472
01:12:32,766 --> 01:12:35,769
on a sound stage in Montréal.
1473
01:12:35,852 --> 01:12:37,938
It's our biggest stage.
It was our biggest build.
1474
01:12:39,814 --> 01:12:42,317
And when you're looking
in that direction, for the most part,
1475
01:12:42,400 --> 01:12:44,653
that was actually a park in Montréal.
1476
01:12:44,736 --> 01:12:47,072
But then once the action starts,
all this jumps off,
1477
01:12:47,155 --> 01:12:49,032
everything looking
toward the buildings,
1478
01:12:49,115 --> 01:12:51,117
looking down the street,
that's all a build.
1479
01:12:51,201 --> 01:12:54,538
And past a certain point in the street
then it's a visual effect.
1480
01:12:54,621 --> 01:12:56,373
It's what's called a set extension.
1481
01:13:02,254 --> 01:13:06,216
But we built blocks of this
Fifth Avenue sequence.
1482
01:13:06,716 --> 01:13:08,736
And the reason to build as opposed
to being on location is one,
1483
01:13:08,760 --> 01:13:11,763
obviously, this looks like Fifth Avenue.
We weren't going to go to New York
1484
01:13:11,846 --> 01:13:13,807
and shut down Fifth Avenue
for a couple nights.
1485
01:13:13,890 --> 01:13:17,394
But, two, also, all of this destruction
you couldn't do on a real street
1486
01:13:17,477 --> 01:13:19,872
in a way that would give us
the kind of sort of visceral action
1487
01:13:19,896 --> 01:13:21,982
and destruction
that this sequence required,
1488
01:13:22,065 --> 01:13:24,651
especially once Magneto
pulls a subway car out of the ground
1489
01:13:24,734 --> 01:13:26,987
and hurls it through a wall.
1490
01:13:27,070 --> 01:13:31,241
PARKER: Which is an idea that Simon had
I feel like almost before,
1491
01:13:31,324 --> 01:13:34,494
before we got into the script.
It was something he had in his head
1492
01:13:34,578 --> 01:13:37,747
as being this, actually,
this whole sequence,
1493
01:13:37,831 --> 01:13:40,542
the whole fight in New York
at different times,
1494
01:13:40,625 --> 01:13:44,379
you know, had more scale
and even more impact to it.
1495
01:13:44,462 --> 01:13:49,050
But the notion being that it was an idea
of seeing the X-Men fighting the X-Men
1496
01:13:49,134 --> 01:13:52,345
that was critically important to him
and he thought was a breakthrough idea
1497
01:13:52,429 --> 01:13:56,850
and that the climbing moment of that,
climaxing moment of that
1498
01:13:56,933 --> 01:14:01,229
would actually be Magneto pulling
the subway car up through the street.
1499
01:14:01,313 --> 01:14:03,940
I was actually never
all that sure about it,
1500
01:14:04,024 --> 01:14:05,984
but I do love
the way it turned out.
1501
01:14:11,656 --> 01:14:14,534
KINBERG: Yeah, honestly, for me,
it was going back to that idea
1502
01:14:14,618 --> 01:14:18,121
of trying to have the action
take place in real spaces.
1503
01:14:18,204 --> 01:14:20,081
Everybody knows
what a city street looks like.
1504
01:14:20,165 --> 01:14:22,375
A lot of people know what even
Fifth Avenue looks like,
1505
01:14:22,459 --> 01:14:25,253
because they've seen New York
in television shows and movies.
1506
01:14:25,337 --> 01:14:28,798
So one of the things I love about,
as an example, James Cameron movies
1507
01:14:28,882 --> 01:14:32,010
is he stages...
Avatar notwithstanding...
1508
01:14:32,093 --> 01:14:34,554
he stages
these incredible action sequences
1509
01:14:34,638 --> 01:14:40,685
in really relatable everyday locations,
factories, streets.
1510
01:14:40,769 --> 01:14:42,812
It just all feels very real
1511
01:14:42,896 --> 01:14:45,815
even if the action that's happening
is completely surreal.
1512
01:14:45,899 --> 01:14:51,279
And should go back to... speaking of real,
Cam, our special effects supervisor,
1513
01:14:51,363 --> 01:14:56,076
created a rig where that subway train,
which was an actual train,
1514
01:14:56,159 --> 01:15:00,872
was on a hydraulic that went
flying through a breakaway wall.
1515
01:15:00,955 --> 01:15:03,976
So, that train that comes crashing
through the wall behind Michael Fassbender
1516
01:15:04,000 --> 01:15:07,379
is a real train that is crashing through
the wall behind Michael Fassbender
1517
01:15:07,462 --> 01:15:08,606
and actually was meant to stop
1518
01:15:08,630 --> 01:15:11,591
about five or six feet shorter
than it actually stopped
1519
01:15:11,675 --> 01:15:13,718
and got closer to Michael than it
was meant to
1520
01:15:13,802 --> 01:15:16,680
and crashed down
some of the ceiling above him,
1521
01:15:16,763 --> 01:15:18,390
again, closer than it should have.
1522
01:15:18,473 --> 01:15:21,893
And only Michael Fassbender
possibly in the entire world
1523
01:15:21,976 --> 01:15:23,895
would not only stand in place,
but barely blink,
1524
01:15:23,978 --> 01:15:26,856
despite the fact that there was however
many thousands of pounds train
1525
01:15:26,940 --> 01:15:28,650
crashing way too close to him.
1526
01:15:29,025 --> 01:15:30,193
(METAL CREAKING)
1527
01:15:31,194 --> 01:15:34,864
PARKER: And that's one of those
conversations you have about,
1528
01:15:34,948 --> 01:15:36,408
should we be doing this practically
1529
01:15:36,491 --> 01:15:37,968
or should we be doing this
as a visual effect?
1530
01:15:37,992 --> 01:15:41,413
Because practically,
there are obviously risks.
1531
01:15:41,496 --> 01:15:46,167
Generally speaking, you know, those things
don't go necessarily as planned.
1532
01:15:46,251 --> 01:15:51,506
And the time it takes to reset,
to do it a second time is exorbitant.
1533
01:15:51,589 --> 01:15:55,719
And Cam was 100% confident
that it worked. He tested it.
1534
01:15:55,802 --> 01:15:58,972
He was like, "No, I really -"
so, we all were like "Okay."
1535
01:15:59,055 --> 01:16:01,808
And a little skeptically
but it came off beautifully.
1536
01:16:01,891 --> 01:16:03,369
KINBERG: I don't think
we had a reset on that.
1537
01:16:03,393 --> 01:16:05,228
Like, I think the reset
was like a day later.
1538
01:16:05,311 --> 01:16:06,187
PARKER: It was, it was a lot.
1539
01:16:06,271 --> 01:16:07,832
KINBERG: Because he'd have to...
right after... that was...
1540
01:16:07,856 --> 01:16:10,584
PARKER: They'd have to take out that whole
chunk of wall, back up the thing
1541
01:16:10,608 --> 01:16:12,318
and get everything out of there.
1542
01:16:12,402 --> 01:16:14,154
KINBERG: Yeah. But we did get lucky.
1543
01:16:14,237 --> 01:16:17,237
We had a lot of cameras, obviously,
shooting it but we had one take with it.
1544
01:16:17,407 --> 01:16:20,201
Come here!
Get me in that house now!
1545
01:16:24,038 --> 01:16:25,582
Have you come to kill me, too?
1546
01:16:26,124 --> 01:16:28,126
KINBERG: And that's it,
still sitting in there.
1547
01:16:29,335 --> 01:16:31,588
I failed you.
I know that, but...
1548
01:16:31,921 --> 01:16:33,965
KINBERG: This was an idea actually that...
1549
01:16:34,048 --> 01:16:37,927
one of the things for me that I love
about writing and I love about producing
1550
01:16:38,011 --> 01:16:40,239
and I love about directing,
and all of them are pretty fluid
1551
01:16:40,263 --> 01:16:45,226
in terms of how I would define them
in my experience is collaborating,
1552
01:16:45,310 --> 01:16:48,188
collaborating with someone like Hutch,
collaborating with the actors.
1553
01:16:48,271 --> 01:16:49,832
And there's a lot of stuff
in this movie,
1554
01:16:49,856 --> 01:16:52,108
there are great ideas
that came from Hutch.
1555
01:16:52,192 --> 01:16:54,211
There's a lot of great ideas
that came from the actors
1556
01:16:54,235 --> 01:16:58,323
and the idea that Jean lifts
Charles out of his chair
1557
01:16:58,406 --> 01:17:01,576
and walks him up the stairs
toward her was James McAvoy's idea.
1558
01:17:02,160 --> 01:17:05,705
James read the script,
and in the script, she had...
1559
01:17:05,789 --> 01:17:08,625
was sort of torturing him
while he was in his chair
1560
01:17:08,708 --> 01:17:11,353
and James thought the idea of her
actually lifting him out of the chair
1561
01:17:11,377 --> 01:17:16,132
was even more torturous and disturbing.
And it's certainly both of those things.
1562
01:17:19,219 --> 01:17:23,181
And so, that's how this evolved
into this moment.
1563
01:17:23,264 --> 01:17:26,392
Which is a, you know,
painful one to watch.
1564
01:17:27,894 --> 01:17:28,937
♪♪
1565
01:17:31,272 --> 01:17:32,482
Please, Jean.
1566
01:17:41,866 --> 01:17:42,992
Please.
1567
01:17:48,706 --> 01:17:49,975
KINBERG: And James is on wires here,
1568
01:17:49,999 --> 01:17:52,418
but a lot of that is
just his physical performance.
1569
01:17:52,502 --> 01:17:54,045
He's just got the ability to...
1570
01:17:54,128 --> 01:17:56,398
like a lot of these actors,
he's got a lot of control over his body
1571
01:17:56,422 --> 01:18:01,594
and so he can do a lot of really
sort of intricate nuanced little moves
1572
01:18:01,678 --> 01:18:03,805
that make you believe that
what's happening is real.
1573
01:18:03,888 --> 01:18:05,098
See in mine.
1574
01:18:07,267 --> 01:18:08,518
So look.
1575
01:18:10,270 --> 01:18:11,604
Jean, look.
1576
01:18:15,108 --> 01:18:16,776
And what you choose
to do with your gift,
1577
01:18:16,860 --> 01:18:19,404
well, that's entirely up to you.
1578
01:18:19,529 --> 01:18:20,405
(CHARLES GROANS)
1579
01:18:20,488 --> 01:18:23,032
PARKER: A lot of work
for the visual effects team
1580
01:18:23,825 --> 01:18:28,621
with all of that in close,
hair movement, the cracks on her face,
1581
01:18:28,705 --> 01:18:31,416
the demolecularization
of the wall behind.
1582
01:18:31,958 --> 01:18:35,211
KINBERG: You did a really good job
of saying demolecularization, Hutch.
1583
01:18:35,837 --> 01:18:36,939
PARKER: Well, I've had practice.
1584
01:18:36,963 --> 01:18:38,965
KINBERG: Yeah, that was a real...
1585
01:18:39,048 --> 01:18:42,260
I would say that actual saying
the word demolecularization
1586
01:18:42,343 --> 01:18:45,388
was harder for a lot
of our partners on this movie
1587
01:18:45,471 --> 01:18:48,850
than actually manifesting it
visually in the film.
1588
01:18:48,933 --> 01:18:50,995
You're saying a lot
because like you say, it was hard to do.
1589
01:18:51,019 --> 01:18:53,813
I can help her in ways
that you can't.
1590
01:18:54,439 --> 01:18:56,190
She can't be helped.
1591
01:18:56,858 --> 01:18:58,443
She's a lost cause.
1592
01:18:58,651 --> 01:19:01,404
PARKER: Some of these are
fairly stylized shots obviously,
1593
01:19:01,487 --> 01:19:07,327
and it's another way that Simon and Mauro
were really breaking into a new aesthetic
1594
01:19:07,410 --> 01:19:10,496
than we'd seen before
in any of the X-Men movies.
1595
01:19:13,625 --> 01:19:15,293
There's still hope.
1596
01:19:15,376 --> 01:19:17,545
KINBERG: Yeah, one of the things
I said to Mauro
1597
01:19:17,629 --> 01:19:19,148
when we first started
talking about the movie
1598
01:19:19,172 --> 01:19:22,258
and him doing the movie is,
as much as obviously, I admire Avatar
1599
01:19:22,342 --> 01:19:25,094
and it's an extraordinary
achievement visually,
1600
01:19:25,178 --> 01:19:26,947
this movie I wanted
to be as real as possible.
1601
01:19:26,971 --> 01:19:30,058
And so, for me, I was hiring
the Mauro who shot Training Day.
1602
01:19:30,141 --> 01:19:32,018
I wasn't hiring the Mauro
who shot Avatar.
1603
01:19:32,101 --> 01:19:35,897
Even though his fluency with visual
effects was really useful for this movie,
1604
01:19:35,980 --> 01:19:38,125
I wanted him to be able to feel
like he could experiment.
1605
01:19:38,149 --> 01:19:41,277
I wanted it to feel again like gritty
and real and handheld
1606
01:19:41,361 --> 01:19:45,365
and down and dirty.
And so he got excited about that.
1607
01:19:45,448 --> 01:19:47,128
The stylization
you were just talking about
1608
01:19:47,158 --> 01:19:49,202
is just that's less gritty and real,
1609
01:19:49,285 --> 01:19:52,038
but it is certainly an opportunity
to like do something
1610
01:19:52,121 --> 01:19:53,957
that isn't traditionally done
in these films
1611
01:19:54,040 --> 01:19:55,625
and create a new film grammar.
1612
01:19:55,708 --> 01:19:57,710
I think we all felt
like there was a film grammar
1613
01:19:57,794 --> 01:20:02,256
that Bryan Singer created in X-Men 1
that was almost 20 years old,
1614
01:20:02,340 --> 01:20:07,553
and that had been not that radically
changed in all of those 20 years
1615
01:20:07,637 --> 01:20:10,390
despite having other directors,
Brett Ratner, Matthew Vaughn.
1616
01:20:10,473 --> 01:20:12,308
Bryan, having done
a lot of the movies.
1617
01:20:12,392 --> 01:20:16,145
And that I was really inspired again,
I mean, by a lot of movies.
1618
01:20:17,230 --> 01:20:18,773
But at least in this universe,
1619
01:20:18,856 --> 01:20:21,442
I was really inspired
by what Mangold did with Logan
1620
01:20:21,526 --> 01:20:23,778
and creating a completely
different film grammar
1621
01:20:23,861 --> 01:20:25,905
from what he even did
with The Wolverine movie.
1622
01:20:25,989 --> 01:20:27,424
And I just felt like
we had a chance here,
1623
01:20:27,448 --> 01:20:29,993
because of the subject matter,
not because of just arbitrarily
1624
01:20:30,076 --> 01:20:32,245
wanting it to be gritty
and real and intimate,
1625
01:20:32,328 --> 01:20:36,374
but because the subject matter itself
required that kind of aesthetic,
1626
01:20:36,457 --> 01:20:40,920
we could do that and it would
feel organic and not gratuitous.
1627
01:20:49,887 --> 01:20:51,681
♪♪
1628
01:20:58,938 --> 01:21:00,833
And this is a, you know,
as you were saying before,
1629
01:21:00,857 --> 01:21:03,443
the complexity of the visual effect
that's happening here
1630
01:21:03,526 --> 01:21:05,278
between the hair
and the eyes and the cracks
1631
01:21:05,361 --> 01:21:07,739
and the cosmic force
in the different colors
1632
01:21:07,822 --> 01:21:09,115
that are in the cosmic force...
1633
01:21:09,198 --> 01:21:11,534
I mean, we were doing this down
to the very last second
1634
01:21:11,617 --> 01:21:13,828
of like handing this over...
1635
01:21:14,370 --> 01:21:16,789
I mean, these guys,
our visual effects team,
1636
01:21:16,873 --> 01:21:20,585
Kurt and Phil especially, I think
didn't sleep the last couple of weeks
1637
01:21:20,668 --> 01:21:22,354
- before we delivered this movie.
- PARKER: For sure.
1638
01:21:22,378 --> 01:21:24,106
KINBERG: They were back and forth
between here and Montréal
1639
01:21:24,130 --> 01:21:25,357
where a lot of the work
was being done.
1640
01:21:25,381 --> 01:21:30,386
They were on the phone
to every continent on the globe
1641
01:21:30,470 --> 01:21:32,513
because all of these
are bits and pieces.
1642
01:21:33,556 --> 01:21:34,891
Let go!
1643
01:21:40,730 --> 01:21:42,774
SOLDIER: There's one! Get him!
1644
01:21:45,943 --> 01:21:46,986
Jean!
1645
01:21:51,783 --> 01:21:55,453
PARKER: That's another piece
of impressive practical filmmaking,
1646
01:21:55,536 --> 01:21:59,457
where they actually pulled the stunt
woman through the ceiling,
1647
01:21:59,540 --> 01:22:01,793
through that... that shot is a real woman
1648
01:22:01,876 --> 01:22:07,006
flying through that ceiling wall
and into that... into the exterior wall.
1649
01:22:07,090 --> 01:22:07,965
SOLDIER: Take him out! Come on!
1650
01:22:08,049 --> 01:22:09,967
Out, out!
You guys, come on. Train.
1651
01:22:10,051 --> 01:22:11,361
SOLDIER 2: You four with me, let's go!
1652
01:22:11,385 --> 01:22:13,385
- Let's go!
- SOLDIER 1: Come on, move, move, move!
1653
01:22:24,357 --> 01:22:26,210
- She's alive.
- Scott, you have to get her out.
1654
01:22:26,234 --> 01:22:27,568
You have to... No!
1655
01:22:31,906 --> 01:22:33,282
(INDISTINCT RADIO CHATTER)
1656
01:22:33,866 --> 01:22:35,118
We're clear.
1657
01:22:37,829 --> 01:22:38,871
♪♪
1658
01:22:44,961 --> 01:22:47,147
KINBERG: Quite a lot of talk here
about just how much power
1659
01:22:47,171 --> 01:22:49,048
would remain
in Jessica's hand there.
1660
01:22:49,132 --> 01:22:51,318
Because obviously, we didn't
want it to feel like Tinkerbell
1661
01:22:51,342 --> 01:22:54,303
but we wanted it
to be clear that she had...
1662
01:22:54,387 --> 01:22:57,014
she had retained
some of that power,
1663
01:22:57,098 --> 01:23:00,184
that cosmic power from Jean
and really wanted the rest of it.
1664
01:23:00,268 --> 01:23:01,894
There was a scene that I wrote
1665
01:23:01,978 --> 01:23:03,914
and that we shot that was
a sort of interstitial scene
1666
01:23:03,938 --> 01:23:06,858
between this scene and the next
that made that explicitly clear.
1667
01:23:06,941 --> 01:23:09,777
But we all felt like it was
clear enough in that look
1668
01:23:09,861 --> 01:23:11,296
and then the fact
that she's actually here
1669
01:23:11,320 --> 01:23:13,489
and then James McAvoy says,
1670
01:23:13,573 --> 01:23:15,217
"She'll be coming back
for the rest of it,"
1671
01:23:15,241 --> 01:23:17,118
that we didn't need
that extra scene.
1672
01:23:20,329 --> 01:23:21,873
And this was a train car,
1673
01:23:21,956 --> 01:23:24,709
obviously, the exterior of that
was a visual effect,
1674
01:23:24,792 --> 01:23:27,670
but all of these were train cars
that were created
1675
01:23:27,753 --> 01:23:30,965
and put on a gimbal, a hydraulic system,
1676
01:23:31,048 --> 01:23:33,193
where they could be jostling around
like normal train cars.
1677
01:23:33,217 --> 01:23:36,262
They could be moving and give
the actors a sense of reality
1678
01:23:37,263 --> 01:23:40,057
and give the camera a sense of,
of movement and reality.
1679
01:23:40,141 --> 01:23:41,309
I was.
1680
01:23:44,854 --> 01:23:46,314
I should never have lied to her.
1681
01:23:49,150 --> 01:23:50,318
I was wrong.
1682
01:23:52,862 --> 01:23:55,990
But this power...
1683
01:23:57,116 --> 01:23:59,285
inside of her,
I never put that there.
1684
01:23:59,660 --> 01:24:02,330
I would never do anything
intentionally to hurt her.
1685
01:24:02,705 --> 01:24:05,666
That isn't me
and this is not Jean.
1686
01:24:05,750 --> 01:24:08,085
PARKER: This is a scene
I was really excited about,
1687
01:24:08,169 --> 01:24:13,299
getting everybody together
in a scene for a dramatic exchange,
1688
01:24:13,799 --> 01:24:15,551
all of which kind of felt to me
1689
01:24:15,635 --> 01:24:20,640
like the culmination of the political
and social arguments they'd been having.
1690
01:24:21,182 --> 01:24:25,019
But it's informed by Jean
and Jean's story.
1691
01:24:25,102 --> 01:24:28,898
So, it's informed by the emotion
of the emotional crisis of the movie.
1692
01:24:28,981 --> 01:24:30,608
And seeing, as I said before,
1693
01:24:30,691 --> 01:24:34,445
seeing Charles have to own and take
responsibility for what he's done,
1694
01:24:34,528 --> 01:24:37,782
and that being the basis for the action
sequence that's going to flow,
1695
01:24:37,865 --> 01:24:40,743
I thought was
a really powerful and exciting idea.
1696
01:24:42,286 --> 01:24:43,496
Thing...
1697
01:24:43,704 --> 01:24:44,956
has had a taste of that power,
1698
01:24:45,039 --> 01:24:47,833
and she'll be coming back for more.
She'll be coming back for Jean.
1699
01:24:47,959 --> 01:24:52,213
PARKER: As Simon mentioned, it is,
this was a triumph of practical effects
1700
01:24:52,296 --> 01:24:54,257
because these trains were big
1701
01:24:54,340 --> 01:24:57,718
and they were double... double high,
sort of two-story high.
1702
01:24:57,802 --> 01:25:03,057
And to put all of that on a gimbal both
for the normal rock and shake,
1703
01:25:03,140 --> 01:25:06,519
but also you can move them
as if you were going around a corner
1704
01:25:06,602 --> 01:25:08,521
so that you had that sense
of real movement?
1705
01:25:08,604 --> 01:25:10,481
It was pretty remarkable.
1706
01:25:10,564 --> 01:25:12,209
They also have to make them
so that you can...
1707
01:25:12,233 --> 01:25:16,904
you can gain access to them
in different ways through the set.
1708
01:25:16,988 --> 01:25:19,824
So, you could remove the ceiling.
You could remove certain walls
1709
01:25:19,907 --> 01:25:21,993
to get the camera in
and get lighting in.
1710
01:25:22,493 --> 01:25:25,288
So, the challenges of getting
this done were formidable.
1711
01:25:25,830 --> 01:25:27,415
You have multiple hostiles on board.
1712
01:25:27,498 --> 01:25:29,601
KINBERG: Yeah, and our art director,
Michele Laliberte,
1713
01:25:29,625 --> 01:25:31,127
deserves a huge shout out for this,
1714
01:25:31,210 --> 01:25:32,712
because she was really integral
1715
01:25:32,795 --> 01:25:35,965
to designing and building this
and so much in the movie.
1716
01:25:36,048 --> 01:25:40,052
She's been, really, our rock
from a production design standpoint
1717
01:25:40,136 --> 01:25:41,929
for quite a few movies in a row, actually.
1718
01:25:42,013 --> 01:25:43,907
Been through a few different
production designers.
1719
01:25:43,931 --> 01:25:46,100
She's local to Montréal
and incredibly talented
1720
01:25:46,183 --> 01:25:48,644
and like you said,
there's just so many things
1721
01:25:48,728 --> 01:25:50,455
that go into the reality
of building something
1722
01:25:50,479 --> 01:25:55,067
that seems like it would be simple
because it's just a rectangle.
1723
01:26:01,365 --> 01:26:02,867
(SOLDIER SCREAMING)
1724
01:26:06,454 --> 01:26:08,473
PARKER: Yeah, one of the biggest
challenges of this sequence
1725
01:26:08,497 --> 01:26:12,585
was getting things ready
in time to shoot,
1726
01:26:12,668 --> 01:26:16,047
and when we had the actors
and balancing out...
1727
01:26:16,130 --> 01:26:19,925
because obviously, it's the same set
we're using both for first unit
1728
01:26:20,009 --> 01:26:22,345
with the lead actors and Simon
1729
01:26:22,428 --> 01:26:25,014
and also with second unit
to do all the stunts.
1730
01:26:25,097 --> 01:26:28,642
So there was a lot
of very intricate planning
1731
01:26:28,726 --> 01:26:31,812
that goes into trying to figure out
how do you execute the sequence
1732
01:26:31,896 --> 01:26:35,107
and get everybody what they need
in order to finish properly.
1733
01:26:36,317 --> 01:26:38,486
- What?
- (RADIO STATIC)
1734
01:26:38,944 --> 01:26:39,820
They're not what?
1735
01:26:39,904 --> 01:26:43,199
- They're not mutants!
- They're here for Jean.
1736
01:26:45,076 --> 01:26:46,160
Get ready to open fire!
1737
01:26:46,535 --> 01:26:48,245
Your kid was right about us.
1738
01:26:48,329 --> 01:26:49,538
We can help you!
1739
01:26:50,873 --> 01:26:51,916
(BANGING ON DOOR)
1740
01:26:55,419 --> 01:26:56,712
(BANGING ON DOOR CONTINUES)
1741
01:26:59,882 --> 01:27:00,883
Please!
1742
01:27:03,469 --> 01:27:04,762
Fire!
1743
01:27:08,599 --> 01:27:11,268
PARKER: Yeah, these healing effects
were really tricky for us, too,
1744
01:27:11,352 --> 01:27:13,437
very demanding
on the visual effects guys
1745
01:27:13,521 --> 01:27:17,024
but also trying to find the right
balance between wanting to stay real
1746
01:27:17,108 --> 01:27:23,239
and also suggesting
the alien-ness under the exterior.
1747
01:27:23,322 --> 01:27:24,907
KINBERG: Yeah, the notion of creating
1748
01:27:24,990 --> 01:27:29,829
an endoskeleton for an alien
underneath human skin was tricky,
1749
01:27:29,912 --> 01:27:31,914
because we didn't want it
to look too reptilian
1750
01:27:31,997 --> 01:27:34,834
and like you say,
too sort of supernatural.
1751
01:27:34,917 --> 01:27:38,170
But we did want it to indicate
that they are alien
1752
01:27:38,254 --> 01:27:41,424
under the sort of shell
of human skin.
1753
01:27:41,882 --> 01:27:43,259
♪♪
1754
01:27:45,094 --> 01:27:47,972
We only want the girl.
Step aside.
1755
01:27:48,055 --> 01:27:48,931
No!
1756
01:27:49,014 --> 01:27:50,814
KINBERG: And this is something
that I think...
1757
01:27:50,891 --> 01:27:54,186
once we sort of committed to this,
this was the natural culmination,
1758
01:27:54,270 --> 01:27:57,440
was this idea that finally,
you have all of the X-Men
1759
01:27:57,523 --> 01:27:59,525
standing together, working together.
1760
01:27:59,608 --> 01:28:02,820
People who were foes or friends,
everybody's on the same side.
1761
01:28:03,737 --> 01:28:06,907
And then there's a lot of the kind
of teamwork that's been in the comics,
1762
01:28:06,991 --> 01:28:08,510
but hasn't really been
in the movies before.
1763
01:28:08,534 --> 01:28:12,413
There's one moment coming up later
where Hank throws somebody,
1764
01:28:12,496 --> 01:28:15,624
Storm blasts that person
while they're in the air.
1765
01:28:21,422 --> 01:28:23,299
Storm is a character in the comic
1766
01:28:23,382 --> 01:28:25,759
who is incredibly powerful
and incredibly popular.
1767
01:28:25,843 --> 01:28:30,264
And we've given her
in the past some cool stuff to do,
1768
01:28:30,347 --> 01:28:34,226
but I think this is the first time she's
really let loose in terms of her power,
1769
01:28:34,310 --> 01:28:36,896
and early reactions
from audiences have been
1770
01:28:36,979 --> 01:28:40,191
that they are happy to see
Storm be a bad ass.
1771
01:28:40,274 --> 01:28:42,818
PARKER: Part of what I like
about this sequence for everybody
1772
01:28:42,902 --> 01:28:47,531
was that everybody
gets to sort of be unleashed
1773
01:28:47,615 --> 01:28:51,327
from, you know,
this martial arts notion
1774
01:28:51,410 --> 01:28:56,457
that Brian Smrz used to inform
Magneto's fighting style,
1775
01:28:56,540 --> 01:28:59,168
that kind of enraged Beast,
1776
01:28:59,251 --> 01:29:01,962
Storm really getting, as you said,
to unleash,
1777
01:29:02,046 --> 01:29:05,508
and even Nightcrawler,
getting to really be ferocious.
1778
01:29:06,133 --> 01:29:08,427
It's something that we all
talked a lot about,
1779
01:29:08,511 --> 01:29:12,056
wanting the fight to feel different
than what we've seen them do before,
1780
01:29:12,139 --> 01:29:14,642
and that was sort of the underpinning,
1781
01:29:14,725 --> 01:29:17,394
was that they're coming together,
they're fighting for Jean
1782
01:29:17,478 --> 01:29:21,398
and they are enraged by the circumstances
they find themselves in.
1783
01:29:30,783 --> 01:29:32,302
KINBERG: And one of the things
we talked about was,
1784
01:29:32,326 --> 01:29:37,206
even though Alan Cumming is in X2
sort of being controlled,
1785
01:29:37,289 --> 01:29:39,375
there is a more ferocious side to him,
1786
01:29:39,458 --> 01:29:45,589
and we've played Kodi Smit-McPhee
as this sort of comic relief Nightcrawler
1787
01:29:45,673 --> 01:29:48,884
and we wanted to see that transformation
into something more mature and violent
1788
01:29:48,968 --> 01:29:53,347
and so, obviously, the trigger is the
death of the person that had trusted them
1789
01:29:53,430 --> 01:29:55,558
and now he's on a rampage,
so to speak.
1790
01:29:57,393 --> 01:29:58,393
(GRUNTS)
1791
01:30:10,364 --> 01:30:12,241
Even this is sort of
a maniacal smile.
1792
01:30:18,539 --> 01:30:21,000
PARKER: Small detail,
but I even really liked the way
1793
01:30:21,083 --> 01:30:23,961
the visual effects team
and Simon evolved the beam.
1794
01:30:24,044 --> 01:30:26,463
It just feels more visceral somehow,
1795
01:30:26,547 --> 01:30:29,466
more lethal than what I'd seen
in previous movies.
1796
01:30:29,550 --> 01:30:31,719
KINBERG: Well, it's literally
a rip off of lightsaber.
1797
01:30:31,802 --> 01:30:34,638
Like, Star Wars was my favorite movie
growing up,
1798
01:30:34,722 --> 01:30:36,533
The Empire Strikes Back, actually,
but the Star Wars franchise
1799
01:30:36,557 --> 01:30:38,517
was my favorite movie
growing up, kind of remains,
1800
01:30:38,559 --> 01:30:42,605
and the lightsaber has
a little more fluctuation to it.
1801
01:30:42,688 --> 01:30:46,567
And that is what gives it a feeling of it
being a little bit more organic and real
1802
01:30:46,650 --> 01:30:49,862
as opposed to just being
like a straight up flashlight beam.
1803
01:30:49,945 --> 01:30:53,657
And so, we just imported
some of that idea to Scott's beam
1804
01:30:53,741 --> 01:30:56,035
which we hadn't really done
before in the past.
1805
01:30:56,118 --> 01:30:58,412
When in doubt, steal from Star Wars.
1806
01:30:58,495 --> 01:30:59,495
(PARKER CHUCKLES)
1807
01:31:11,967 --> 01:31:14,321
Another unlikely partnership.
That was part of the fun of this,
1808
01:31:14,345 --> 01:31:16,972
it was like, "who's going to team up
with whom to do what?"
1809
01:31:17,681 --> 01:31:20,768
and that Magneto-Storm
moment was kind of a cool one.
1810
01:31:20,851 --> 01:31:24,021
This was a very hard visual effects
shot to pull off.
1811
01:31:24,605 --> 01:31:28,150
The interior of that. We worked a lot
to get the lighting right,
1812
01:31:28,233 --> 01:31:31,195
to make it all feel as real as possible
1813
01:31:31,278 --> 01:31:33,864
despite the fact that obviously,
it's wildly unreal.
1814
01:31:34,448 --> 01:31:36,575
♪♪
1815
01:31:37,576 --> 01:31:41,163
And then this is just the kind of stuff
I like in movies, backs of people's heads.
1816
01:31:42,081 --> 01:31:44,541
I'm not even sure
that's the back of Jessica's head.
1817
01:31:44,625 --> 01:31:46,335
But somebody's got that wig on.
1818
01:31:50,339 --> 01:31:52,442
PARKER: I'm still not crazy
about that jumping shot but...
1819
01:31:52,466 --> 01:31:54,176
KINBERG: Yeah, well.
1820
01:31:54,593 --> 01:31:56,011
Hank!
1821
01:32:02,476 --> 01:32:03,894
(STORM GRUNTING)
1822
01:32:18,325 --> 01:32:19,576
♪♪
1823
01:32:24,373 --> 01:32:28,335
PARKER: Another place
where the score plays a big part
1824
01:32:28,836 --> 01:32:32,631
and is so methodically
and carefully built
1825
01:32:32,715 --> 01:32:36,844
to bring all the pieces together
1826
01:32:36,927 --> 01:32:39,263
both in terms of the action
but also ultimately,
1827
01:32:39,346 --> 01:32:44,143
in terms of the emotion of what choice
Jean makes in the end.
1828
01:32:50,983 --> 01:32:52,293
KINBERG: This scene was exciting to me.
1829
01:32:52,317 --> 01:32:56,864
I wish we had even longer just to have
Michael Fassbender and Jessica Chastain
1830
01:32:56,947 --> 01:33:01,618
in a scene together to me was sort
of historic, iconic kind of moment.
1831
01:33:01,702 --> 01:33:03,012
I hope they do more acting together
1832
01:33:03,036 --> 01:33:06,498
because they're actually
very complementary styles of acting.
1833
01:33:07,082 --> 01:33:10,836
Both very subtle, nuanced actors,
both incredibly precise,
1834
01:33:10,919 --> 01:33:14,256
and so I managed
about four lines of dialogue
1835
01:33:14,339 --> 01:33:16,800
and then 50,000 rounds of ammo.
1836
01:33:18,135 --> 01:33:22,097
But just having them face off to me
was exciting and a cool opportunity.
1837
01:33:22,806 --> 01:33:24,534
PARKER: We actually shot
an escalation of that,
1838
01:33:24,558 --> 01:33:29,730
where in addition to firing all those guns
and all those rounds of ammunition,
1839
01:33:29,813 --> 01:33:33,400
Magneto then pulls a series
of hand grenades off the wall
1840
01:33:33,484 --> 01:33:36,820
and pulls their pins
while protecting himself behind a barrier.
1841
01:33:36,904 --> 01:33:42,743
It was great, it was really fun,
but as great as it was,
1842
01:33:42,826 --> 01:33:46,413
it ultimately felt slightly redundant
to what we'd already done.
1843
01:33:46,497 --> 01:33:49,166
So, we decided to drop it,
but cool idea.
1844
01:33:49,249 --> 01:33:52,836
KINBERG: Yeah. He also kind of does it
in X-Men 2.
1845
01:33:52,920 --> 01:33:54,129
PARKER: Yeah.
1846
01:33:54,213 --> 01:33:56,715
I'm so sorry
for what I did to you.
1847
01:33:57,883 --> 01:33:58,801
I know.
1848
01:33:58,884 --> 01:34:01,553
All I ever wanted
was to protect you
1849
01:34:01,637 --> 01:34:04,556
KINBERG: This was amazing,
I have to say, to Mauro's credit,
1850
01:34:04,640 --> 01:34:07,226
because all of that flaring
that's happening behind her,
1851
01:34:07,309 --> 01:34:09,019
which would ordinarily be-
1852
01:34:09,978 --> 01:34:12,648
this kind of level of flaring
would be a visual effect
1853
01:34:12,731 --> 01:34:16,068
was... we got there on the day
and that's the way it looked.
1854
01:34:16,610 --> 01:34:18,612
The light was coming through the window.
1855
01:34:19,404 --> 01:34:21,949
We were using lenses that caught them
and all of this is real.
1856
01:34:22,032 --> 01:34:24,076
That's a real flare.
That's a real flare.
1857
01:34:25,244 --> 01:34:26,912
We overlit the background there.
1858
01:34:28,705 --> 01:34:30,624
PARKER: Summer also did
a great job of this.
1859
01:34:30,707 --> 01:34:32,936
KINBERG: Yeah, she did.
She's a really great young actress.
1860
01:34:32,960 --> 01:34:33,836
I forgive you.
1861
01:34:33,919 --> 01:34:37,214
PARKER: That was back
in our abandoned hospital location.
1862
01:34:37,297 --> 01:34:38,382
KINBERG: Mm-hmm, mm-hmm.
1863
01:34:40,384 --> 01:34:42,219
♪♪
1864
01:34:55,649 --> 01:34:56,918
PARKER: Another challenge
of the train sequence
1865
01:34:56,942 --> 01:34:59,403
is you can't shoot it chronologically.
1866
01:34:59,486 --> 01:35:02,990
So, you also have to...
as you're shooting out of order,
1867
01:35:03,073 --> 01:35:06,285
you've got to destress or put back,
1868
01:35:06,368 --> 01:35:09,204
so whether it's pre-fight
and damage or not,
1869
01:35:09,288 --> 01:35:13,083
it's something that took a tremendous
amount of thoughtful management
1870
01:35:13,166 --> 01:35:16,336
on the part of the art department
and the AD's and props
1871
01:35:16,420 --> 01:35:22,801
and making sure that it all would track
when we put it into the proper sequence.
1872
01:35:25,012 --> 01:35:26,364
KINBERG: This was
one of the visual effects
1873
01:35:26,388 --> 01:35:29,933
that I was the most suspicious of
and terrified of which were these bubbles.
1874
01:35:30,017 --> 01:35:31,786
I mean, that's a pretty
extraordinary visual effects shot
1875
01:35:31,810 --> 01:35:34,980
and obviously incredibly intricate,
but these bubbles,
1876
01:35:35,063 --> 01:35:38,191
the notion of them being protected
by bubbles,
1877
01:35:38,275 --> 01:35:40,527
I have seen work
terribly in movies before,
1878
01:35:40,611 --> 01:35:42,821
some of which I've even worked on.
1879
01:35:42,905 --> 01:35:47,117
And yet these guys found a way
to make those all seem organic
1880
01:35:47,200 --> 01:35:51,580
and I guess realistic, for lack
of a better description, and cool.
1881
01:35:52,706 --> 01:35:54,106
And it was not an easy thing to do,
1882
01:35:54,166 --> 01:35:57,502
because it really was
a series of iterations
1883
01:35:57,586 --> 01:36:00,756
so that they didn't just feel like
they were stuck in a plastic,
1884
01:36:00,839 --> 01:36:02,549
you know, "I'm a bubble boy."
1885
01:36:05,886 --> 01:36:07,220
♪♪
1886
01:36:12,142 --> 01:36:16,605
PARKER: Another really unique location
we found in the outskirts of Montréal
1887
01:36:16,688 --> 01:36:20,317
and then art department
and Michele dressed really extensively
1888
01:36:20,400 --> 01:36:23,946
both the train bodies
and a lot of other... all these fires,
1889
01:36:24,029 --> 01:36:27,783
and to serve as the...
sort of the final staging ground.
1890
01:36:30,827 --> 01:36:31,995
(BREATHING HARD)
1891
01:36:36,249 --> 01:36:38,168
KINBERG: Like the smoke behind Magneto
1892
01:36:38,251 --> 01:36:40,545
is a visual effect there
and really powerful.
1893
01:36:41,088 --> 01:36:43,882
In fact, all those cutaways...
almost all those cutaways,
1894
01:36:43,966 --> 01:36:46,551
the cutaway to Magneto,
the cutaway to Beast that you saw,
1895
01:36:46,635 --> 01:36:49,054
is those guys on a sound stage
and a green screen
1896
01:36:49,137 --> 01:36:50,577
with just set extension behind them.
1897
01:36:54,893 --> 01:36:56,186
♪♪
1898
01:37:03,443 --> 01:37:05,404
KINBERG: And this action sequence was one-
1899
01:37:05,487 --> 01:37:08,532
we had two really great
second unit directors.
1900
01:37:08,615 --> 01:37:09,741
Guy Norris, originally,
1901
01:37:09,825 --> 01:37:12,953
who was the stunt coordinator
on the most recent Mad Max,
1902
01:37:13,036 --> 01:37:15,372
and then Brian Smrz, who'd been
a stunt coordinator for us
1903
01:37:15,455 --> 01:37:17,791
and a second unit director on so many
of the X-Men movies
1904
01:37:17,874 --> 01:37:19,668
came in and helped with this ending.
1905
01:37:19,751 --> 01:37:22,546
And this was just a really nicely
choreographed sequence,
1906
01:37:22,629 --> 01:37:25,716
then, obviously, enhanced
by visual effects that are different
1907
01:37:25,799 --> 01:37:27,819
than the visual effects
we've ever seen in these X-Men before.
1908
01:37:27,843 --> 01:37:33,181
That shot of the camera on a cable going
flying toward her and bouncing back
1909
01:37:33,265 --> 01:37:34,951
was something that Brian Smrz
and I talked about
1910
01:37:34,975 --> 01:37:38,687
because it's something he did in the
Lady Deathstrike-Wolverine fight in X2.
1911
01:37:38,770 --> 01:37:41,273
And I always loved the way it sort
of went slamming toward them
1912
01:37:41,356 --> 01:37:42,733
and just slightly bounced back.
1913
01:37:42,816 --> 01:37:45,485
There was just something
even more visceral about it.
1914
01:37:48,780 --> 01:37:51,950
But this is just really cool
visual effects work the guys created.
1915
01:37:52,034 --> 01:37:53,714
PARKER: And right down to the last second.
1916
01:37:53,744 --> 01:37:55,454
KINBERG: Yeah.
1917
01:38:05,881 --> 01:38:08,592
Still amazed that Jessica ran
in these heels.
1918
01:38:08,675 --> 01:38:09,885
(KINBERG CHUCKLES)
1919
01:38:10,052 --> 01:38:11,946
KINBERG: There's very little
that Jessica Chastain cannot do.
1920
01:38:11,970 --> 01:38:13,096
PARKER: That is true.
1921
01:38:13,180 --> 01:38:15,348
KINBERG: I am not sure I have discovered
anything yet.
1922
01:38:15,432 --> 01:38:18,560
But I am still actively
searching for it.
1923
01:38:22,898 --> 01:38:26,026
And this was a shot
that I always envisioned
1924
01:38:26,109 --> 01:38:29,529
as a shot I wanted to do which
is a 360 around them, obviously, or 780
1925
01:38:29,613 --> 01:38:31,490
or however many times
it rotates around them.
1926
01:38:31,573 --> 01:38:35,452
And to see it first empower
Jessica's character,
1927
01:38:35,535 --> 01:38:39,372
and then to see her start to deteriorate
I thought would be interesting to do.
1928
01:38:39,456 --> 01:38:41,893
And the visual effects guys... it's
a challenge for the visual effects guys,
1929
01:38:41,917 --> 01:38:45,712
it's a very long shot, obviously,
and they did a really great job of it.
1930
01:38:48,423 --> 01:38:49,758
Jean!
1931
01:38:57,641 --> 01:39:00,161
PARKER: Really hard moment
but really effectively done, I think,
1932
01:39:00,185 --> 01:39:03,230
where you're dealing
with such cosmic forces
1933
01:39:03,313 --> 01:39:07,025
and yet you're playing
a really intimate moment
1934
01:39:07,109 --> 01:39:10,445
between Scott and Jean,
and a pretty important one,
1935
01:39:10,529 --> 01:39:14,282
because obviously it has a lot to do
with informing the choice she's made.
1936
01:39:14,366 --> 01:39:16,535
And it's a credit, I think, to Simon
1937
01:39:16,618 --> 01:39:23,458
that you were able to find that
within that much visual noise.
1938
01:39:23,542 --> 01:39:27,003
KINBERG: Well, and a lot of it was taking
down the visual noise, you know?
1939
01:39:27,879 --> 01:39:30,340
Just protecting her face enough,
her eyes enough,
1940
01:39:30,423 --> 01:39:34,136
so that you could really see her
gesticulating and feeling those moments.
1941
01:39:34,219 --> 01:39:35,220
Jean!
1942
01:39:36,555 --> 01:39:37,764
No.
1943
01:39:40,559 --> 01:39:42,102
Jean!
1944
01:39:42,602 --> 01:39:43,895
♪♪
1945
01:39:45,188 --> 01:39:48,108
KINBERG: And ultimately, you know,
if you know the Dark Phoenix Saga
1946
01:39:48,191 --> 01:39:51,027
and even if you just are someone
that understands drama
1947
01:39:51,111 --> 01:39:52,612
and given all she's done,
1948
01:39:52,696 --> 01:39:55,448
you know that there's
some element of sacrifice
1949
01:39:55,532 --> 01:39:58,952
that's going to be necessary
at the end of... at the end of the story.
1950
01:39:59,035 --> 01:40:02,289
And I felt like one of the things that was
really important about this movie,
1951
01:40:02,372 --> 01:40:03,850
not just because she's
a female character
1952
01:40:03,874 --> 01:40:05,309
but also because
she's a female character
1953
01:40:05,333 --> 01:40:09,462
is that the notion of emotions
making you weak, I wanted to flip.
1954
01:40:09,546 --> 01:40:12,632
I wanted it to be that emotions
are something that make you strong.
1955
01:40:12,716 --> 01:40:15,316
And I think we live in a world now
where instead of people feeling
1956
01:40:15,343 --> 01:40:17,238
as though emotions
are something to be afraid of,
1957
01:40:17,262 --> 01:40:19,431
they're something to be embraced.
1958
01:40:21,099 --> 01:40:27,230
And this moment where she really goes...
obviously explodes and then goes Phoenix
1959
01:40:28,398 --> 01:40:32,277
was something we really,
really, really worked on
1960
01:40:32,360 --> 01:40:35,405
to be defined and yet not so defined
1961
01:40:35,488 --> 01:40:38,575
that all of a sudden you were in
a different kind of science fiction film.
1962
01:40:38,658 --> 01:40:41,620
And so, there's still a level
of subtlety and nuance to it.
1963
01:40:42,913 --> 01:40:44,789
♪♪
1964
01:40:47,959 --> 01:40:51,004
But if you know the comics or you
just remember the title,
1965
01:40:51,630 --> 01:40:54,633
it's clearly a Phoenix
and that I felt was important
1966
01:40:54,716 --> 01:40:57,219
because it indicates
that she's not exactly gone,
1967
01:40:57,302 --> 01:41:00,430
that she has evolved into a different
kind of entity.
1968
01:41:00,513 --> 01:41:02,224
And Charles says that here.
1969
01:41:04,809 --> 01:41:06,144
She's free.
1970
01:41:08,271 --> 01:41:10,431
KINBERG: And then she says it
in her monologue to come.
1971
01:41:12,943 --> 01:41:14,277
And this was all on the location.
1972
01:41:14,361 --> 01:41:16,863
Some of these fires
are visual effects fires.
1973
01:41:16,947 --> 01:41:21,618
But most of this is real,
just taken from the day.
1974
01:41:26,915 --> 01:41:28,917
♪♪
1975
01:41:34,339 --> 01:41:36,758
KINBERG: Back on our location
where we started the movie.
1976
01:41:37,592 --> 01:41:40,387
And this sign, for people that know
the comics well, is...
1977
01:41:40,887 --> 01:41:43,598
was not a creation of mine.
1978
01:41:43,682 --> 01:41:47,769
In the comics,
it does actually turn into...
1979
01:41:48,395 --> 01:41:51,523
the Jean Grey school, eventually.
1980
01:41:52,440 --> 01:41:56,027
I am not simply
what others want me to be.
1981
01:41:56,194 --> 01:41:57,755
KINBERG: And this was another place,
just like the opening,
1982
01:41:57,779 --> 01:41:59,340
where we debated who should be speaking.
1983
01:41:59,364 --> 01:42:01,950
At one point, it was the president,
at one point, it was Charles,
1984
01:42:02,033 --> 01:42:04,286
and ultimately, we felt
like this is Jean's movie
1985
01:42:04,369 --> 01:42:06,496
and Jean has evolved into a larger entity
1986
01:42:06,579 --> 01:42:10,333
that has a sort of wisdom greater
than all of theirs.
1987
01:42:10,417 --> 01:42:13,253
And so, she could be
this disembodied voice
1988
01:42:13,837 --> 01:42:16,715
and give you a feeling
of continuation.
1989
01:42:17,924 --> 01:42:20,135
PARKER: That's another thing I like
about this ending
1990
01:42:20,218 --> 01:42:24,264
is that while some
of the characters have evolved
1991
01:42:24,347 --> 01:42:28,893
into the things you hoped they would...
certainly Hank, Scott, Storm as teachers
1992
01:42:28,977 --> 01:42:31,104
and Hank is now head of the school,
1993
01:42:31,688 --> 01:42:34,065
there's a sense
that some of the characters
1994
01:42:34,149 --> 01:42:35,942
have been irrevocably changed.
1995
01:42:36,026 --> 01:42:38,903
Certainly, that's the way
we're meant to feel about Charles.
1996
01:42:38,987 --> 01:42:40,905
And that goes back to that notion
of consequence
1997
01:42:40,989 --> 01:42:42,532
that we were talking about earlier
1998
01:42:42,615 --> 01:42:44,993
and just the degree
to which we sort of wanted to make sure
1999
01:42:45,076 --> 01:42:47,537
we were trying to do something
that we hadn't done
2000
01:42:47,620 --> 01:42:49,331
and that felt different
for the audience.
2001
01:42:49,414 --> 01:42:52,125
And felt like we were pushing
the characters
2002
01:42:52,208 --> 01:42:55,211
further along
in their complex journeys.
2003
01:42:55,795 --> 01:42:57,595
And that's what these scenes
are trying to do.
2004
01:42:57,756 --> 01:42:59,507
(SPEAKING FRENCH)
2005
01:43:16,941 --> 01:43:19,253
KINBERG: This, I think, is in fact
the last scene that we ever shot.
2006
01:43:19,277 --> 01:43:20,779
PARKER: Mm-hmm.
2007
01:43:20,945 --> 01:43:22,822
And if you remember,
it was a challenging day.
2008
01:43:22,906 --> 01:43:25,617
KINBERG: Yeah. I do remember. Noisy, too.
2009
01:43:26,326 --> 01:43:27,494
PARKER: Yeah.
2010
01:43:27,577 --> 01:43:29,496
Came to see an old friend.
2011
01:43:30,246 --> 01:43:32,749
KINBERG: I just love
in the cycle of X-Men...
2012
01:43:32,832 --> 01:43:34,000
in all of the X-Men movies,
2013
01:43:34,084 --> 01:43:37,045
but especially in the cycle
of the X-Men First Class movies,
2014
01:43:37,128 --> 01:43:41,633
this notion that these guys
started as strangers, became enemies,
2015
01:43:41,716 --> 01:43:45,845
and by the end become brothers
is a very emotional journey to me
2016
01:43:45,929 --> 01:43:49,349
over the span of six,
eight hours of storytelling.
2017
01:43:49,432 --> 01:43:51,810
And if you look back on X-Men First Class
2018
01:43:51,893 --> 01:43:54,187
and you look at how young
these guys looked
2019
01:43:54,270 --> 01:43:55,748
and they're still obviously
very young men
2020
01:43:55,772 --> 01:43:58,233
but I mean they looked like babies,
especially James.
2021
01:43:58,316 --> 01:44:01,736
They were guys in their 20s and now
they're guys in their late 30s, 40,
2022
01:44:01,820 --> 01:44:05,657
and I feel like they have matured
with the franchise.
2023
01:44:05,740 --> 01:44:09,828
And this idea that they are all
that's left at the end for one another
2024
01:44:10,412 --> 01:44:13,665
was something that I felt
was a really strong way to end the movie
2025
01:44:13,748 --> 01:44:16,459
without making the end
of the movie about them.
2026
01:44:16,543 --> 01:44:18,711
It just was simply
a sort of come full circle
2027
01:44:18,795 --> 01:44:21,381
about the fact that strangers
have become family,
2028
01:44:21,464 --> 01:44:24,259
have broken apart
and yet ultimately, remain family.
2029
01:44:25,844 --> 01:44:27,470
I'll go easy on you.
2030
01:44:28,972 --> 01:44:30,181
No, you won't.
2031
01:44:30,807 --> 01:44:31,891
(CHUCKLES)
2032
01:44:34,477 --> 01:44:37,021
- PARKER: I love that you did it over...
- KINBERG: The chess.
2033
01:44:37,105 --> 01:44:38,815
PARKER: Yeah, the chessboard.
2034
01:44:40,233 --> 01:44:41,233
♪♪
2035
01:44:42,986 --> 01:44:44,821
KINBERG: Montréal looks a lot like Paris
2036
01:44:44,904 --> 01:44:47,490
when you throw the Eiffel Tower
in the background.
2037
01:44:48,616 --> 01:44:49,969
PARKER: Giving away all our secrets.
2038
01:44:49,993 --> 01:44:51,703
KINBERG: Yeah, well.
2039
01:44:53,621 --> 01:44:57,083
And then this we wanted it to be subtle
but, you know, pronounced.
2040
01:44:57,167 --> 01:44:59,085
It's not exactly
the spinning top in Inception
2041
01:44:59,169 --> 01:45:01,045
but it's also not super obvious.
2042
01:45:04,257 --> 01:45:07,093
And there you have it. That's me.
That's me and Hutch.
2043
01:45:10,138 --> 01:45:13,683
And these are all the other people
that were our partners on the movie.
2044
01:45:14,350 --> 01:45:17,270
Stan Lee obviously is, uh,
the creator of all of this,
2045
01:45:17,353 --> 01:45:21,024
and sadly passed away while we were
completing the movie,
2046
01:45:21,107 --> 01:45:23,026
but left this extraordinary legacy.
2047
01:45:23,109 --> 01:45:25,945
And I'm very proud that we are
a part of that legacy.
2048
01:45:26,029 --> 01:45:27,489
PARKER: Yeah, hear, hear.
2049
01:45:32,660 --> 01:45:36,998
KINBERG: I think maybe since these credits
are another hour and a half long,
2050
01:45:37,582 --> 01:45:39,709
um, it's a good opportunity
for us to talk about...
2051
01:45:39,792 --> 01:45:41,437
we've talked about the people
that worked on this film,
2052
01:45:41,461 --> 01:45:46,049
but just to talk about the fact
that we've been very blessed
2053
01:45:46,132 --> 01:45:48,092
to be part of this legacy ourselves
2054
01:45:48,843 --> 01:45:52,597
and to get to play
in the world of the X-Men.
2055
01:45:53,223 --> 01:45:55,683
You know, I grew up reading
X-Men comics,
2056
01:45:55,767 --> 01:45:57,602
uh, watchin' the cartoons
as well actually,
2057
01:45:57,685 --> 01:46:01,940
and didn't think that I would see
an X-Men movie when I was a kid,
2058
01:46:02,023 --> 01:46:04,484
certainly didn't think
I'd be a part of it.
2059
01:46:04,567 --> 01:46:07,278
So to watch both
as an audience member
2060
01:46:07,362 --> 01:46:09,864
and then in these last 15 years or so...
2061
01:46:09,948 --> 01:46:12,534
and it goes back even further for you,
Hutch, as an executive,
2062
01:46:12,617 --> 01:46:18,456
to be a part of building this legacy,
to tell this story, has been amazing.
2063
01:46:18,540 --> 01:46:23,461
And... I think one of the things
that we've been able to do
2064
01:46:23,545 --> 01:46:27,215
is because these characters are so rich,
each of the movies is different
2065
01:46:27,298 --> 01:46:29,378
because we've been able
to explore different aspects,
2066
01:46:29,425 --> 01:46:33,805
different colors, different...
different corners of the characters.
2067
01:46:37,183 --> 01:46:39,102
And it's always been...
I know for you, Hutch,
2068
01:46:39,185 --> 01:46:42,313
as you and I have worked together
on however many of these we have now,
2069
01:46:42,397 --> 01:46:44,941
for you it's always been character first.
2070
01:46:45,024 --> 01:46:46,859
What's this movie about thematically?
2071
01:46:46,943 --> 01:46:48,111
What's it about emotionally?
2072
01:46:48,194 --> 01:46:53,575
And we found that in this,
and really probably drilled in deeper,
2073
01:46:53,658 --> 01:46:55,094
at least in the mainland X-Men movies,
2074
01:46:55,118 --> 01:46:57,579
drilled in deeper
than we have in the past.
2075
01:46:57,662 --> 01:46:59,262
And so in a way it feels kind of like...
2076
01:46:59,330 --> 01:47:01,749
we talked about this
in the very beginning.
2077
01:47:01,833 --> 01:47:04,502
It's a culmination of however
many X-Men movies
2078
01:47:04,586 --> 01:47:09,299
and especially this cycle of X-Men
First Class movies of these characters,
2079
01:47:09,382 --> 01:47:13,094
these actors who were strangers
when we started whatever it was...
2080
01:47:13,177 --> 01:47:15,054
seven, eight, nine years ago...
2081
01:47:15,138 --> 01:47:18,057
who became friends,
who became family members,
2082
01:47:18,141 --> 01:47:20,852
who were ripped apart
as characters at least,
2083
01:47:21,352 --> 01:47:23,938
who were pulled apart
in terms of just life,
2084
01:47:24,022 --> 01:47:26,441
on the other sides of the globe.
2085
01:47:26,524 --> 01:47:30,570
And this is the film where they're
finally sort of most tested as a family
2086
01:47:31,529 --> 01:47:33,573
and then ultimately
come back together as a family
2087
01:47:33,656 --> 01:47:39,412
that it just felt like this...
this natural culmination of storytelling.
2088
01:47:39,787 --> 01:47:41,539
PARKER: Yeah.
2089
01:47:42,290 --> 01:47:43,791
♪♪
2090
01:48:01,476 --> 01:48:06,564
PARKER: And a credit, as you said earlier,
to the power of the underlying material.
2091
01:48:06,648 --> 01:48:11,110
To me the richness and the breadth
of all these movies is a credit to that.
2092
01:48:11,736 --> 01:48:15,990
And it's invited remarkable filmmakers
to come to the table
2093
01:48:16,074 --> 01:48:19,327
and bring their different instincts
to the material.
2094
01:48:19,410 --> 01:48:21,204
It's also been really fun to watch
2095
01:48:21,287 --> 01:48:26,167
the way these movies have evolved
from the first X-Men,
2096
01:48:26,250 --> 01:48:28,670
and what I think Bryan did so remarkably
2097
01:48:28,753 --> 01:48:33,341
in introducing that radical tone,
opening in Auschwitz
2098
01:48:34,717 --> 01:48:39,931
which was such a bold move,
to what we saw in Dark Knight,
2099
01:48:40,014 --> 01:48:44,435
or what Marvel has done now
so consistently with Avengers,
2100
01:48:44,519 --> 01:48:48,648
and others and then you with Deadpool
and Logan.
2101
01:48:48,731 --> 01:48:52,652
It's just been so much fun to explore
all these different facets
2102
01:48:52,735 --> 01:48:55,113
of these characters
and different tonalities,
2103
01:48:55,196 --> 01:48:59,909
and get to live within the story world
of the X-Men comics.
2104
01:48:59,992 --> 01:49:01,577
Pretty remarkable journey.
2105
01:49:03,329 --> 01:49:06,541
KINBERG: Yeah. No, and I think
the thing that's been fun
2106
01:49:06,624 --> 01:49:09,103
in addition to obviously being able
to explore these characters
2107
01:49:09,127 --> 01:49:11,003
that for me were just...
2108
01:49:11,087 --> 01:49:13,381
lived in my imagination
and on the page when I was a kid,
2109
01:49:13,464 --> 01:49:17,844
is that something that we've tried
to do so much in this franchise,
2110
01:49:17,927 --> 01:49:19,363
which isn't necessarily done in others,
2111
01:49:19,387 --> 01:49:23,641
is each time sort of create a different
subgenre of the comic book genre.
2112
01:49:23,725 --> 01:49:25,160
You know, in the way
that X-Men First Class,
2113
01:49:25,184 --> 01:49:29,939
let's say, was a spy movie
and Apocalypse was a disaster movie.
2114
01:49:30,022 --> 01:49:32,442
And Days of Future Past
was obviously a time travel movie.
2115
01:49:32,525 --> 01:49:35,027
And for me this is very much
a psychological thriller.
2116
01:49:35,111 --> 01:49:36,904
And so with each of these movies,
2117
01:49:36,988 --> 01:49:41,451
and Logan was a western
and Deadpool is a R-rated comedy,
2118
01:49:41,534 --> 01:49:46,664
it's given filmmakers,
and even us as the filmmakers,
2119
01:49:46,748 --> 01:49:49,709
consistently, from movie to movie,
it's given us a chance
2120
01:49:49,792 --> 01:49:53,546
to explore sometimes genres
that aren't explored anymore.
2121
01:49:53,629 --> 01:49:58,176
Nobody's making westerns
for the big screen these days.
2122
01:49:58,259 --> 01:50:02,764
Not a lotta people are even making
R-rated comedies, psychological thrillers.
2123
01:50:02,847 --> 01:50:06,309
And all of the genres I was just talking
about are rarely made these days,
2124
01:50:06,392 --> 01:50:07,560
and to be able to make them
2125
01:50:07,643 --> 01:50:12,899
under the umbrella of a comic book
adaptation or a superhero franchise
2126
01:50:12,982 --> 01:50:16,569
just gives you the opportunity
to really play and be creative.
2127
01:50:16,652 --> 01:50:19,947
And I think for audiences it's part
of what they love about these movies,
2128
01:50:20,031 --> 01:50:24,827
is it's not just another chapter
or another episode of something they know,
2129
01:50:24,911 --> 01:50:28,873
it is a new treatment
of characters they love.
2130
01:50:28,956 --> 01:50:30,541
And so they come back.
2131
01:50:30,625 --> 01:50:33,795
And it's part of the reason
why it's become the most dominant,
2132
01:50:33,878 --> 01:50:38,049
popular genre in film
over the last decade or so.
2133
01:50:39,258 --> 01:50:40,927
PARKER: Yeah, I think that's true.
2134
01:50:56,150 --> 01:50:58,402
And as we're watchin' the credits roll,
2135
01:50:58,486 --> 01:51:01,906
also I have to say a special thanks,
really, to FOX,
2136
01:51:01,989 --> 01:51:07,620
and Tom Rothman,
who initially championed this franchise,
2137
01:51:07,703 --> 01:51:12,166
and the incredible opportunities
that they gave all of us
2138
01:51:12,667 --> 01:51:16,295
who've gotten to work on these movies.
It's a powerful legacy.
2139
01:51:16,379 --> 01:51:19,423
It's kinda the... I guess
the end of that chapter.
2140
01:51:20,049 --> 01:51:23,302
Kind of an honor to get here...
to sit here and chat about it.
2141
01:51:23,386 --> 01:51:24,595
KINBERG: Yeah, for sure.
2142
01:51:24,679 --> 01:51:27,515
And I think, you know,
ultimately it was a coincidence,
2143
01:51:27,598 --> 01:51:31,561
but the fact that the end of that cycle
2144
01:51:31,644 --> 01:51:37,817
is the most beloved, popular, complex,
challenging of the X-Men stories
2145
01:51:37,900 --> 01:51:41,529
and a story that perhaps we didn't
get as right as we wanted to,
2146
01:51:41,612 --> 01:51:43,948
I can say
as the co-writer of it at least...
2147
01:51:44,031 --> 01:51:48,077
with X-Men 3, the fact that we got
a chance to go back and tell this story,
2148
01:51:48,160 --> 01:51:51,497
and tell it in a way that was more true
to the essence of the original comic
2149
01:51:51,581 --> 01:51:57,670
also feels like this sort of full circle
in the experience of making X-Men movies,
2150
01:51:58,170 --> 01:52:00,631
which I think is valuable, too.
And you're right.
2151
01:52:00,715 --> 01:52:02,818
We've always had these
incredible partners at the studio,
2152
01:52:02,842 --> 01:52:06,721
Jim Gianopulos, Emma Watts,
who's been incredibly involved
2153
01:52:06,804 --> 01:52:09,640
especially in the last three
or four of these movies
2154
01:52:09,724 --> 01:52:11,434
and in Logan and in Deadpool.
2155
01:52:12,518 --> 01:52:15,563
It's just been a...
we've become this little family.
2156
01:52:15,646 --> 01:52:18,816
The actors have become a family.
A lot of the crew have become a family.
2157
01:52:18,900 --> 01:52:22,320
You and I have become brothers
and partners in this.
2158
01:52:22,403 --> 01:52:25,823
And, so, it's fun...
it was fun every day to come to set,
2159
01:52:25,907 --> 01:52:29,577
even when it was challenging.
It was a privilege.
2160
01:52:29,660 --> 01:52:32,788
- I think one that we saw a privilege too.
- PARKER: Yeah, for sure.
2161
01:52:32,872 --> 01:52:37,209
KINBERG: And it is... I say
as a fan of the X-Men,
2162
01:52:37,919 --> 01:52:39,921
and I would've said this after X-Men 3,
2163
01:52:40,004 --> 01:52:42,298
I'm excited to see what the future
holds for the X-Men.
2164
01:52:42,381 --> 01:52:43,633
PARKER: Me too.
2165
01:52:43,716 --> 01:52:45,134
Me too. Incredibly rich world,
2166
01:52:45,217 --> 01:52:48,679
and we'll be excited to see
how they choose to explore it.
2167
01:52:48,763 --> 01:52:53,392
KINBERG: Yeah. And the possibilities
are quite limitless
2168
01:52:53,476 --> 01:52:54,727
when you read the comics
2169
01:52:54,810 --> 01:52:59,482
and you know that there are literally
thousands of powerful characters
2170
01:52:59,565 --> 01:53:01,943
in the source material,
2171
01:53:02,568 --> 01:53:04,779
you know that there's so many
different ways you can go
2172
01:53:04,862 --> 01:53:08,532
and so many great story lines
have yet to be explored by the films.
2173
01:53:08,616 --> 01:53:09,742
It'll be really great.
2174
01:53:09,825 --> 01:53:13,079
This is also looking at the people
being thanked,
2175
01:53:13,162 --> 01:53:18,209
Stan Lee, Jack Kirby, Chris Claremont,
Dave Cockrum, Len Wein, John Byrne.
2176
01:53:18,292 --> 01:53:20,836
Those are the people
that actually created,
2177
01:53:20,920 --> 01:53:25,508
gave birth to, nurtured,
raised the X-Men.
2178
01:53:26,008 --> 01:53:31,305
And we have the good fortune
of being able to sort of babysit them
2179
01:53:31,389 --> 01:53:33,766
through however many movies
we've worked on now.
2180
01:53:33,849 --> 01:53:37,228
But those were the, those were
the true parents of the X-Men.
2181
01:53:39,981 --> 01:53:41,565
Subtitled by Point.360