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We got ourselves an X-Men fan.
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Maybe a quarter of it happened,
and not like this.
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HUGH JACKMAN: It seems to me
that the strength of Wolverine
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is more the humanity than his superpower.
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In exploring his character,
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I really wanted to get to the heart of
who that human was.
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JAMES MANGOLD: Putting superheroes
into very real situations
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that we all can connect with,
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to me, is a way to suddenly reveal
new aspects of these characters
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that we hadn't seen.
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There was a longing on our part
to try to take a more classic approach,
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do a more character-based story.
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What a disappointment you are.
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It was clearly going to be
of a very different nature
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from the way the other films
in the franchise have been seen before.
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STEPHEN MERCHANT: It seems to be
tapping into some sort
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of classic American storytelling.
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It feels both, kind of, old-fashioned
and new and fresh at the same time.
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It's a movie about family.
It's a movie about love.
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HUTCH PARKER: It's much more dramatic,
it's much more real.
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It's entirely different
than we've seen Logan.
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I am fucked up.
And | cannot get you there.
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I want the audience to feel everything.
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I want them to be outraged,
I want them to laugh, I want them to yell.
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(SCREAMS)
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I want them to, by the end, feel like
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they've got to know fully
and understand this human,
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this man called Logan.
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Save the "not okay."
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Meaning it's... Boom! She looks at you,
get her attention. "Not..."
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Make sure she has your attention.
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-Got it.
-Give her a lesson.
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Then pull her out and kind of go,
"Do you have..."
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But, like, really throw it away.
"Do you have phone chargers?"
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Just underplay it, and let's see if it works.
Here we go.
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MANGOLD: The only thing that made
us interested in going around again
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was the idea of doing something
very different.
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Notjust different in storyline,
but different in tone.
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JACKMAN: We both wanted a movie
that was a standalone movie,
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that wasn't necessarily intermingled
with the history of X-Men movies,
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the timeline of X-Men movies,
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or characters that had been set up
or gone or died, or whatever.
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We wanted something to feel
very different, very fresh,
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and ultimate/y, something very human.
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MANGOLD: I think both Hugh and I
wanted to find a way
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to make a movie about these characters
that was actually a dramatic film.
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LOGAN: lt is better this way.
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Because | suck at this.
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Bad shit happens to people I care about.
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You understand me?
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PATRICK STEWART: Rather than being
a multitude of different characters
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with different objectives
and intentions and story lines,
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this is one overriding storyline,
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which I really responded to
ve/y, very strong/y.
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MANGOLD: In terms of narratives,
we were actually taking more
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from the Craig Kyle X-23 series of comics
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than we were from Old Man Logan.
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JAC KMAN: Obviously I've read
Old Man Logan
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and there are elements of that,
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but there's more differences
than similarities
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and that wasn't
what we were using as a template.
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Everyone frame up on A.
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The most powerful effect
Mark Millar's Old Man Logan had on me
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was its setting and its look.
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The story involved a lot of characters
we didn't even have the rights to,
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but also the story is vely bleak,
and I wanted to make a film with heart.
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There was a time when the action movie
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was still character-based
and not spectacle-based.
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And the superhero film has become
kind of like the Western was in the '50s.
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There are dozens of them a year.
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Wolverine.
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I knew it was you.
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JACKMAN: lhad a vision
of something closer to Unforgiven,
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in not necessarily the story
but what Unforgiven did for the Western.
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Where the lead character, Clint Eastwood,
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there was so much
fan following and history
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and he kind ofjust
turned it on its head a little bit.
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Now, Old Man Logan,
having spoken to the writer,
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is absolutely inspired by Unforgiven.
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So, I like to see the connection more
in that way.
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SCOTT FRAN K:
On the last Wolverine movie,
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we were always talking about
Outlaw Josey Wales.
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So, the Western was always
a part of our conversations
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whenever we were talking
about the Wolverine character.
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It's so big on you right now,
it's kind of deadifying you, the...
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And what I wanna feel is just the,
"Fuckl I don't wanna do this!"
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-That's nice. Nice. Nice.
-Yes.
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It's a superhero movie but within that,
we try to create a subgenre,
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so that you feel like
you're seeing something different.
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PARKER: I think Wolverine's essential/y
a Western character.
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That's what he is at his essence,
he is an out/aw,
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he is a character with a great moral code,
at odds with the society in which he lives.
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I know you're still good inside.
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I know you want to help us.
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You don't know anything about me.
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MANGOLD: I think the Western motif
came really naturally to the film
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the second we reduced the scope of
the movie to something more intimate.
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The Westerns that we all love
and remember
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are rarely about the battle of X or Y
or kind of the winning of a great territory.
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They're really about,
"Will this farmer get to keep his land?
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"Will this man hold on to his family?
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"Will this dark family control this county?"
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The questions are local,
and yet they seem huge.
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Three, two, one, action!
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Stay up with him.
Suffer, but stay with him.
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Turn, look, see what happened, then go.
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You're involved in this, you lose the guy,
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"Shit!" Beep! Beep!
Someone's honking at you.
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You look back,
then the guy's waving you through.
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Good, cut. We got it.
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PARKER: Jim is one of the finest dramatic
directors that I know.
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I think his skills
with regard to performance,
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and drama in general, are remarkable.
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He is a director
who can express very clearly
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what he thinks a scene is about,
or a character or a relationship is about,
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and then he's prepared to throw it all away
and do something different,
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and I think most actors find that exciting,
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that they are not being restrained within
certain parameters of directorial objective.
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He's an amazing writer,
and when we worked on the last Wolverine,
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and on Kate and Leopold,
the first movie | did with him,
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there were scripts that had been written,
then he directed.
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I was really excited about the possibility of
what would come if Jim had a clean slate,
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a blank canvas, and that's what we had.
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MANGOLD: I had this kind of Strange vision
in my head
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that I just wanted to make a road movie
with these characters.
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The idea of almost trapping myself
as a filmmaker,
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putting them in a car
and putting them on the highway,
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would kind of tie my hands.
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We couldn't do something
about worlds colliding or an alien invasion.
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The movie would essential/y force itself
to operate on a more intimate level.
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Jim's very keen on establishing
the relationships between people
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and really making sure he burrows
into those interconnections.
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RICHARD E. GRANT: He likes to subvert
what is the obvious way of doing something
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to try and find another way around it,
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so that it doesn't fitjust the cliché
of this big dramatic moment.
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He does everything to play against that,
or divert that.
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DAFNE KEEN: I think he's a good director.
It's fun working with him.
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Lots of directors just tell you
what they want you to do,
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but he says, "Just make it real."
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The trickiest thing about writing
and directing superhero films is,
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if someone is invincible,
if someone cannot be hurt,
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they're essential/y kind of uninteresting.
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JAC KMAN: The beginning of this movie,
Logan is very lost.
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He is despondent, he's older,
there's quite a few more gray hairs,
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but he's not well, he's sick,
he's physically sick,
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and, I would say, spiritual/y and
emotional/y not in a great place.
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He's long past the stage in his life
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where he reacts
to people 's pleas and cries for help.
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He has come to the conclusion
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that generally when he helps,
things end up worse off.
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You're coming upon a man
who's getting poisoned from the inside out.
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His Skeleton, made of Adamantium,
is leeching inside him and he's suffering.
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So, we 're finding a character
in extreme distress.
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MICHAEL GREEN: He's not a hero anymore,
he's a fucking mess.
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His body doesn't behave like it used to.
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His morality doesn't engage like it used to.
He's just getting by.
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A|| of the elements that made
Logan "Logan," Wolverine "Wo|verine,"
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are here in this movie.
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It's just that all the circumstances
are different
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and that's what makes this so interesting,
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that the guy's struggling, really struggling,
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To go back and be the person
you've been trying not to be
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in order to do the right thing,
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that's always an interesting notion
for a character.
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He's always been,
in this role, kind of grumpy,
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but not as grumpy as in this one.
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He's really grumpy.
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The issues that the character is confronting
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are the most challenging ones
he's come upon.
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It's been important for Hugh each time
that we give him a journey, as an actor,
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that was engaging and interesting
and fresh for him,
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so we had to work hard to find new ground.
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MERCHANT: He still seems interested
in finding new elements,
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digging under the surface,
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so I think that's a great testament to him.
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He's not complacent about this character,
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that he's still burrowing into it
and finding new ways of exploring him.
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PARKER: It's the best
I've ever seen him as Wolverine.
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I think it's the best
I've ever seen him, period.
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FRANK: The reason,
if the movie works at all,
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works because Hugh Jackman
committed 1,000% to playing this role,
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and to playing it without compromise,
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to playing him older, broken, angry,
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all the things that make him
wholly unappealing,
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and somehow manages to find humanity
underneath all of that,
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and to make him heroic at the same time,
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and that goes well beyond
anything that was on the page.
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STEWART: The thought of Wolverine
and Hugh Jackman
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cannot now be separated.
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The man and the role have merged.
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| don't mean to say that
you need to be scared of Hugh Jackman,
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that he might actually
rip your neck open at any moment.
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Actually, there's no other actor/ know
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who is less likely to do
something like that than Hugh.
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What's so extraordinary to me is just
seeing the contrast between the real Hugh,
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who couldn't be more lovely
and sweet-natured and generous,
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and then him having to
put on that gruff, taciturn man
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dealing with his darkness and his demons,
who seems so far from the real man.
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KEEN: It's the opposite of him, it really is.
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Because he's very nice and funny
and sings all the time
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and tells jokes and stuff,
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but then, when he's Wolverine,
it's a kind of total change.
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Like, suddenly he's a grumpy man
who hates you,
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and then they say, "Cut,"
and he's smiling and telling jokes.
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-Ow, ow. Ow!
-(LAUGHS)
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(GRUNTS)
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JAC KMAN: It seemed to me
that Wolverine may be one of the darkest,
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most complex characters
in the comic book universe,
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and every time, for the last 17 years,
I've seen PG-13,
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a little part of me has winced, going,
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"Wolverine would never be
in a PG-13 movie.
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"I don't think he would ever watch
a PG-13 movie."
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Just nothing about him seemed PG-13.
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FRAN K: There's a manifesto in the script,
a little two-paragraph thing that we wrote
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about how the violence was going to feel,
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how it was going to appear,
how it was gonna be portrayed,
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that it was gonna be meaningful,
impactful and have Iasting consequences.
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I didn't want to make just a more violent,
more sexy, more explicit, obscene movie.
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| wanted to somehow make an adult movie.
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I've hurt people, too.
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You're gonna have to learn
how to live with that.
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PARKER: It's the tone of this character who
is full of rage, and at times, self-Ioathing,
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and an anger towards the world
that has shunned him.
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JACKMAN: I was like,
"This will not be a movie driven by a rating."
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It's not R-rated because of the violence,
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even though
there is a myriad of violence in it,
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that's not what defines it as R-rated.
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That R rating is more about
the subject matter,
229
00:11:32,734 --> 00:11:35,977
the way the characters are treated,
the wa y violence is depicted.
230
00:11:37,447 --> 00:11:39,404
MANGOLD: When you make
a movie rated R,
231
00:11:39,782 --> 00:11:42,865
it resets everyone
how they're thinking about the movie.
232
00:11:42,952 --> 00:11:45,364
They instantly understand
this is not a movie for children.
233
00:11:45,455 --> 00:11:47,867
So, suddenly, they don't expect you
to be making a movie
234
00:11:47,957 --> 00:11:49,743
that's gonna appeal to 9-year-olds.
235
00:11:49,834 --> 00:11:51,495
With that anticipation gone,
236
00:11:51,586 --> 00:11:54,374
you suddenly are making a movie
about more grown-up themes.
237
00:11:54,464 --> 00:11:57,047
JAC KMAN: It was just basically
taking off the seatbelt,
238
00:11:57,133 --> 00:12:01,969
taking off any kind of restriction
and, "Let's just dive into this character."
239
00:12:02,889 --> 00:12:05,381
MERCHANT: It feels more grounded,
and it's certain/y tough,
240
00:12:05,475 --> 00:12:07,216
and at times, extremely violent.
241
00:12:07,352 --> 00:12:09,093
(GRUNTING)
242
00:12:10,647 --> 00:12:12,012
(SCREAMING)
243
00:12:16,027 --> 00:12:17,188
Who are you?
244
00:12:17,946 --> 00:12:19,277
You know who | am.
245
00:12:19,364 --> 00:12:21,776
You're the man who puts me to sleep.
246
00:12:21,866 --> 00:12:22,901
We both could use some sleep.
247
00:12:22,992 --> 00:12:24,608
No! No!
248
00:12:24,702 --> 00:12:26,238
(G ROANS)
249
00:12:26,913 --> 00:12:28,153
JAMES MANGOLD:
The starting point of the film
250
00:12:28,248 --> 00:12:30,239
was really about creating a situation
251
00:12:30,333 --> 00:12:32,950
where you find Logan
caring for an ailing father.
252
00:12:33,044 --> 00:12:38,084
And struggling to provide protection
and medicine and love and care
253
00:12:38,174 --> 00:12:40,666
for someone who is losing control.
254
00:12:40,760 --> 00:12:44,628
PATRICK STEWART: The history
of Charles Xavier, right up to the last movie,
255
00:12:44,722 --> 00:12:49,091
was one in which
he was in command, in control,
256
00:12:49,185 --> 00:12:51,597
giving the sense that
when Charles Xavier was on the screen
257
00:12:51,688 --> 00:12:53,349
everything was gonna be all right.
258
00:12:53,439 --> 00:12:54,895
Well, that's all changed.
259
00:12:55,775 --> 00:12:59,860
And it becomes perfectly clear
when we first encounter Charles.
260
00:12:59,946 --> 00:13:05,112
And he's old, he's i||,
but most importantly, he's dangerous.
261
00:13:06,035 --> 00:13:07,491
(EXCLAIMS)
262
00:13:07,704 --> 00:13:10,947
MANGOLD: Charles Xavier
with a degenerative brain disease
263
00:13:11,040 --> 00:13:12,701
is very different than you or I,
264
00:13:12,792 --> 00:13:15,284
meaning that
he's the most powerful brain in the world
265
00:13:15,378 --> 00:13:17,039
and he's Iosing control of it.
266
00:13:17,130 --> 00:13:21,124
So, it's also a little like having
a nuclear missile hidden in this tank.
267
00:13:21,217 --> 00:13:22,378
Only, one that you love
268
00:13:22,468 --> 00:13:24,709
and one that
you're t/ying to keep comfortable.
269
00:13:24,804 --> 00:13:26,465
HUGH JACKMAN:
Charles is not in a good place.
270
00:13:26,556 --> 00:13:29,264
His mind is going,
he doesn't remember things,
271
00:13:29,350 --> 00:13:31,682
he doesn't understand
why he's there, at times.
272
00:13:31,769 --> 00:13:35,057
STEWART: He's at peril,
and the person who looks after him,
273
00:13:35,148 --> 00:13:39,187
mothers him, nurses him, supervises him,
argues with him,
274
00:13:39,277 --> 00:13:43,817
picks him up off the floor
when he's fallen down, is Logan.
275
00:13:43,906 --> 00:13:45,988
MICHAEL GREEN: Why does Logan bother
to show up for Charles?
276
00:13:46,075 --> 00:13:49,113
If you asked Logan, he would say
he's doing it because he owes him.
277
00:13:49,203 --> 00:13:51,865
But if you look at his face,
you'll see it's because he loves him.
278
00:13:52,165 --> 00:13:56,580
| thought that was a very relevant theme.
Many people are caring for older parents.
279
00:13:56,669 --> 00:13:59,036
Many people are going through this
as we live longer.
280
00:13:59,130 --> 00:14:01,087
JACKMAN: I think what I love
about what Jim wrote is,
281
00:14:01,174 --> 00:14:03,916
you see the frustration
of caring for someone like that,
282
00:14:04,010 --> 00:14:06,001
and that person not understanding
or knowing.
283
00:14:06,095 --> 00:14:09,133
It's very real, in a way, domestically real.
284
00:14:09,223 --> 00:14:11,760
STEWART: For Charles and Logan,
the roles have been reversed.
285
00:14:11,851 --> 00:14:18,348
Essentially you always felt that
so long as Charles was attending to Logan,
286
00:14:18,441 --> 00:14:20,102
and there with Logan,
287
00:14:20,193 --> 00:14:23,060
that the powers that Logan had
would be controlled.
288
00:14:23,154 --> 00:14:26,192
And in this film, the roles are reversed.
289
00:14:26,282 --> 00:14:31,868
Xavier is the vulnerable one,
and Logan is his minder, his keeper,
290
00:14:31,954 --> 00:14:34,867
his controller, if you like, protecting him.
291
00:14:34,957 --> 00:14:36,288
Take these now.
292
00:14:37,794 --> 00:14:39,626
We have to get out of here.
It's not safe here anymore.
293
00:14:39,712 --> 00:14:41,544
And you can't have an attack out there,
you understand?
294
00:14:41,631 --> 00:14:45,920
When Jim suggested Patrick in this part,
at that stage of his life,
295
00:14:46,010 --> 00:14:47,500
I just thought, "This is so perfect."
296
00:14:47,595 --> 00:14:50,087
MANGOLD: Patrick has always kind
of played a cool cat,
297
00:14:50,181 --> 00:14:53,014
someone who has it all together,
is in control,
298
00:14:53,101 --> 00:14:55,388
is kind of pulling the puppet strings,
if anything.
299
00:14:55,478 --> 00:14:58,220
And | think one of the things
that was really attractive
300
00:14:58,314 --> 00:15:01,181
when I first started telling Patrick
about what we were thinking of doing,
301
00:15:01,275 --> 00:15:06,441
is it gave him a chance to play weakness,
frailty, fear, anxiety, crotchetiness,
302
00:15:06,531 --> 00:15:08,488
things he rarely gets a chance to be.
303
00:15:08,574 --> 00:15:11,441
CHARLES: Stop it. For God's sake,
| can do this myself!
304
00:15:11,536 --> 00:15:13,823
LOGAN: Yeah, well, you're not doing it.
Just get on with it.
305
00:15:13,913 --> 00:15:15,403
CHARLES: Not with you standing there.
306
00:15:15,498 --> 00:15:16,704
LOGAN: Trust me, I'm not Iookin'.
307
00:15:16,791 --> 00:15:18,122
JAC KMAN: He was so into this.
308
00:15:18,209 --> 00:15:23,249
I think, a little like me, after 17 years,
he looked at the script
309
00:15:23,339 --> 00:15:28,379
and saw a full opportunity to dive into
the deepest part of these characters.
310
00:15:28,469 --> 00:15:30,301
STEPHEN MERCHANT:
Patrick, for all of his years of experience,
311
00:15:30,388 --> 00:15:33,301
for a|| of the Shakespeare he's done,
a|| of the stage work and all the movies,
312
00:15:33,391 --> 00:15:37,134
he's still willing to discuss
and to find new ways into it.
313
00:15:37,228 --> 00:15:40,846
We shot all his stuff first,
and he just came in on day one.
314
00:15:40,940 --> 00:15:44,478
Even in rehearsals, he was ready,
he was off-book, he knew every line.
315
00:15:44,569 --> 00:15:47,027
MERCHANT: The thing with Patrick
is it's just that voice.
316
00:15:47,113 --> 00:15:50,276
It's just, when he starts
talking in that voice,
317
00:15:50,366 --> 00:15:52,698
and he's made up and he's lit,
he's that man,
318
00:15:52,785 --> 00:15:56,619
and you just stand there watching,
believing, and just absorbed by it.
319
00:15:56,706 --> 00:15:59,949
You're just hypnotized
by the gravitas that they bring.
320
00:16:00,042 --> 00:16:01,453
| can barely remember the lines.
321
00:16:01,544 --> 00:16:07,540
It's a heartbreaking, beautiful, Iayered,
textured, complex performance.
322
00:16:07,633 --> 00:16:11,126
At times, unbelievably Iucid and clear.
323
00:16:11,220 --> 00:16:18,058
You see the relationship with he and Logan
as very sort of father-son, in all its colors.
324
00:16:18,144 --> 00:16:23,935
| guess you prefer me pharmaceutically
castrated, rambling on like a Iunatic.
325
00:16:24,066 --> 00:16:25,727
So much easier for you.
326
00:16:25,818 --> 00:16:26,979
LOGAN: Easier? Jesus!
327
00:16:27,069 --> 00:16:28,525
There is nothing easy
about you, Charles, nothing!
328
00:16:28,613 --> 00:16:31,901
Yes, yes, please be
like the rest of the world...
329
00:16:31,991 --> 00:16:34,153
blaming someone else
for your boring shit.
330
00:16:34,702 --> 00:16:39,617
JACKMAN: Pride, disappointment, anger,
frustration, it all plays out.
331
00:16:39,707 --> 00:16:45,123
And what he does with so little
is just really heartbreaking.
332
00:16:45,213 --> 00:16:49,332
DAFNE KEEN: With Patrick, it was funny,
because he would also tell jokes and stuff,
333
00:16:49,425 --> 00:16:55,262
and he was a bit more like his character.
It was very fun, shooting the scenes.
334
00:16:55,348 --> 00:16:57,464
JAC KMAN: I'II never forget,
we were in the back of the car,
335
00:16:57,558 --> 00:16:59,720
and we had finished this great scene
we have in the car
336
00:16:59,810 --> 00:17:01,016
where we're having this argument,
337
00:17:01,103 --> 00:17:06,189
and Dafne, who is 11, she's just on the seat,
watching, and we call cut,
338
00:17:06,275 --> 00:17:07,515
and Patrick goes... (SIGHS)
339
00:17:08,277 --> 00:17:09,938
And Dafne said,
"What's the matter? Are you hot?"
340
00:17:10,029 --> 00:17:11,645
And he goes, "No, Iwasjust sad."
341
00:17:11,739 --> 00:17:15,778
He goes, "|'|| never get to do that
scene again." (CHUCKLES)
342
00:17:16,327 --> 00:17:18,694
And she goes, "Well, you've got lots..."
343
00:17:18,788 --> 00:17:20,529
He goes, "No, you don't understand, Dafne.
344
00:17:20,623 --> 00:17:24,207
"You will understand
that the hardest thing about film is
345
00:17:24,293 --> 00:17:27,411
"when you get a great scene like that,
346
00:17:27,505 --> 00:17:30,918
"you only do it for one day in your life
and then it's gone."
347
00:17:31,008 --> 00:17:34,501
And he looked at her and he said,
"Make sure you do theater.
348
00:17:34,595 --> 00:17:36,552
"Because when you get a great scene,
349
00:17:36,639 --> 00:17:38,880
"at least you get to do it
for six months every night."
350
00:17:38,975 --> 00:17:41,387
And he goes,
"And then you're ready for it to go."
351
00:17:41,477 --> 00:17:45,436
But in that moment,
I saw this man 's joy in what he's doing.
352
00:17:45,523 --> 00:17:48,060
He reveled in this character, and it shows.
353
00:17:48,150 --> 00:17:50,562
MANGOLD: I think this is what's so beautiful
in Patrick's performance,
354
00:17:50,653 --> 00:17:52,860
you see the character you knew,
355
00:17:52,947 --> 00:17:57,862
you see him kind of bubble up and come up
in a really human and beautiful way.
356
00:17:57,952 --> 00:17:59,863
And I think
it's one of Patrick's great performances.
357
00:17:59,954 --> 00:18:01,615
I think it's really astounding.
358
00:18:01,706 --> 00:18:06,951
Playing Charles since, what, 1999, 1998,
359
00:18:07,044 --> 00:18:11,163
has been a delightful
and entertaining experience.
360
00:18:11,257 --> 00:18:14,045
And I hope, for all of us, it will be a Iegacy
361
00:18:14,135 --> 00:18:20,552
that we satisfied the requirement
of that legend and those characters.
362
00:18:24,228 --> 00:18:25,263
You.
363
00:18:26,647 --> 00:18:28,229
Who the hell are you?
364
00:18:29,650 --> 00:18:32,392
Hey! | asked you a question.
Who are you?
365
00:18:33,654 --> 00:18:35,270
You know who she is, Logan.
366
00:18:35,364 --> 00:18:37,071
No, | don't.
367
00:18:37,158 --> 00:18:39,365
Does she remind you of anybody?
368
00:18:40,620 --> 00:18:46,787
Laura and several other kids are mutants
that were actually produced in a lab,
369
00:18:46,876 --> 00:18:50,289
taking DNA from various mutants
and mixing it together
370
00:18:50,379 --> 00:18:52,620
and creating embryos, and therefore kids.
371
00:18:52,715 --> 00:18:55,628
It's probably the least science-fiction part
of our story,
372
00:18:55,718 --> 00:19:00,463
is the idea that embryos
are gonna be created in a petri dish,
373
00:19:00,556 --> 00:19:03,139
and we 're gonna be cutting and splicing
different genes together
374
00:19:03,225 --> 00:19:05,307
and different qualities together,
however we want it,
375
00:19:05,394 --> 00:19:06,884
and eradicating diseases
376
00:19:06,979 --> 00:19:10,222
and bringing in certain qualities
and creating humans as we want them.
377
00:19:11,400 --> 00:19:15,644
KEEN: She's a child,
but she's a kind of strange child.
378
00:19:15,738 --> 00:19:17,479
She's very different.
379
00:19:17,573 --> 00:19:22,067
She loves violence when she gets angry
but then at the same time,
380
00:19:22,203 --> 00:19:27,824
she loves unicorn T-shirts and pink
and stuff like that.
381
00:19:27,917 --> 00:19:29,407
She's not my child.
382
00:19:30,795 --> 00:19:32,377
But I love her.
383
00:19:33,339 --> 00:19:35,330
You may not love her.
384
00:19:37,343 --> 00:19:39,505
But she is your child.
385
00:19:39,595 --> 00:19:44,465
MANGOLD: Laura, in this film, represents
a kind of prima/ challenge to Logan,
386
00:19:44,558 --> 00:19:46,515
whether he's gonna figure out how to love,
387
00:19:46,602 --> 00:19:49,845
whether he's gonna figure out
how to give a shit,
388
00:19:49,939 --> 00:19:52,397
or kind of risk himself and stick with it.
389
00:19:52,483 --> 00:19:55,271
And what's so interesting
and peculiar about Laura
390
00:19:55,361 --> 00:20:00,697
is that this particular kid happens to be
one that is genetically saddled
391
00:20:00,783 --> 00:20:06,825
with the same rage, temper, blades,
volatility and mood swings as her father.
392
00:20:07,498 --> 00:20:08,579
Last ride.
393
00:20:12,795 --> 00:20:13,876
You're welcome.
394
00:20:13,963 --> 00:20:15,670
MANGOLD: He's got a real challenge
on his hands
395
00:20:15,756 --> 00:20:19,124
because he's got a child
as problematic as the parent.
396
00:20:19,218 --> 00:20:20,879
SCOTT FRANK: In previous incarnations
of the movie,
397
00:20:20,970 --> 00:20:22,756
she was talking all the time
from the beginning
398
00:20:22,847 --> 00:20:26,056
and it was a little wise-cracky relationship,
it was more expected.
399
00:20:26,142 --> 00:20:28,975
And I thought it'd be better
to fool the audience,
400
00:20:29,061 --> 00:20:32,645
not in terms of whether or not she speaks,
but in terms of her level of intelligence.
401
00:20:32,732 --> 00:20:34,063
Let's think she's an animal.
402
00:20:34,150 --> 00:20:37,984
Let's think she was created in a test tube
and she is this very feral creature.
403
00:20:38,195 --> 00:20:39,185
(YELLS)
404
00:20:40,406 --> 00:20:44,695
And then you gradually begin to see
how much more aware she is of things,
405
00:20:44,785 --> 00:20:47,243
how much smarter she is,
what she notices,
406
00:20:47,329 --> 00:20:51,163
and she's a lot sharper than anyone,
certain/y Logan, gives her credit for.
407
00:20:51,709 --> 00:20:55,077
Their relationship is very much
at the core of what the movie is,
408
00:20:55,171 --> 00:20:57,037
because it's the relationship through which
409
00:20:57,131 --> 00:21:00,089
he sort of comes to reconnect
to his own humanity.
410
00:21:00,176 --> 00:21:02,338
JACKMAN:
This is a very difficult part to cast.
411
00:21:02,428 --> 00:21:05,921
She's genetically got Wo|verine's DNA.
412
00:21:06,015 --> 00:21:10,509
So, there are elements of him
in her personality and her physicality,
413
00:21:10,603 --> 00:21:13,095
and that's not easy to pull off.
414
00:21:13,189 --> 00:21:17,274
I found it hard to pull off when I was 30,
let alone an 11-year-old girl.
415
00:21:17,359 --> 00:21:21,102
I was really happy
when they told me that I got the part.
416
00:21:21,197 --> 00:21:23,154
It was very fun filming.
417
00:21:23,240 --> 00:21:25,732
PARKER: She loved making this movie.
418
00:21:25,826 --> 00:21:27,442
She couldn't get to work early enough.
419
00:21:27,536 --> 00:21:29,447
Her parents had trouble
getting her to sleep at night.
420
00:21:29,538 --> 00:21:32,155
MANGOLD: Scott and I had the idea
that Laura should be mute
421
00:21:32,249 --> 00:21:34,081
for most of the movie, not speaking,
422
00:21:34,168 --> 00:21:38,287
and then when she does, we put another
impediment between Logan and her,
423
00:21:38,380 --> 00:21:40,041
in that she's speaking Spanish.
424
00:21:40,174 --> 00:21:42,131
(SPEAKING SPANISH)
425
00:21:43,093 --> 00:21:44,925
What? Shut up.
426
00:21:45,012 --> 00:21:46,252
Shut the fuck up!
427
00:21:46,347 --> 00:21:48,839
MANGOLD: So, instantly we needed a kid
who was bilingual,
428
00:21:48,933 --> 00:21:50,469
who could speak fluent Spanish,
429
00:21:50,559 --> 00:21:53,847
who would be credible
as a child raised in a Mexican facility,
430
00:21:53,938 --> 00:21:56,305
which is where
the Transigen lab is located.
431
00:21:56,398 --> 00:22:00,733
We began a search for Latino kids
between nine and 12
432
00:22:00,820 --> 00:22:03,437
that could handle action, could act,
433
00:22:03,531 --> 00:22:06,740
and could speak English and español.
434
00:22:06,826 --> 00:22:08,487
We must have seen 1,000 kids.
435
00:22:08,577 --> 00:22:10,989
STEWART: Both of Dafne's
parents are actors.
436
00:22:11,080 --> 00:22:13,788
An English actor
whose work I've always admired,
437
00:22:13,874 --> 00:22:17,993
and her mother is a ve/y fine
and distinguished Spanish stage actress.
438
00:22:18,087 --> 00:22:19,828
Dafne Keen is a sharp kid,
439
00:22:19,922 --> 00:22:24,166
and she's physical, she's daring,
she's fearless,
440
00:22:24,260 --> 00:22:25,842
and she's a really good actress.
441
00:22:25,928 --> 00:22:30,013
James showed me a clip
of her audition on camera,
442
00:22:30,099 --> 00:22:33,342
and he said, "I'd just like to know
what you think of this."
443
00:22:33,435 --> 00:22:36,268
She was playing the scene
and it was very, very good.
444
00:22:36,355 --> 00:22:39,518
And then on the clip
she asked the director,
445
00:22:39,608 --> 00:22:41,474
could she improvise the scene?
446
00:22:41,569 --> 00:22:44,982
And she went into her own version
of the scene
447
00:22:45,072 --> 00:22:47,029
in a mixture of Spanish and English,
448
00:22:47,116 --> 00:22:50,404
and it was one of the most extraordinary
bits of audition tape
449
00:22:50,494 --> 00:22:51,700
I had ever seen in my life.
450
00:22:51,787 --> 00:22:54,404
JACKMAN: It's 2,000 fucking miles,
you've been sitting in the back,
451
00:22:54,498 --> 00:22:55,909
you cou|d've fucking talked to me
this whole time.
452
00:22:56,000 --> 00:22:58,207
(KEEN YELLING IN SPANISH)
453
00:23:03,424 --> 00:23:04,880
JACKMAN: Shut the fuck up!
454
00:23:05,843 --> 00:23:08,881
Mason, Rictor, Caden,
Bobby and Charlotte.
455
00:23:08,971 --> 00:23:10,132
Who's that?
456
00:23:10,222 --> 00:23:11,838
Mason, Rictor, Caden
Bobby and Charlotte.
457
00:23:11,932 --> 00:23:13,013
Who is that?
458
00:23:14,852 --> 00:23:15,842
Who is it?
459
00:23:16,228 --> 00:23:18,265
Montana. Montana!
460
00:23:19,023 --> 00:23:20,058
What?
461
00:23:20,566 --> 00:23:22,056
-What about it? No.
-Montana.
462
00:23:22,151 --> 00:23:26,236
Yes, your mom, she read a lot of stories,
your mom made this up.
463
00:23:26,322 --> 00:23:29,405
This is all bullshit. You understand?
464
00:23:29,491 --> 00:23:33,485
Yes, I know, I know. I've read it, I've seen it.
This is a comic book, okay?
465
00:23:33,579 --> 00:23:37,914
This is all just fantasy.
It's all just pictures, made-up pictures.
466
00:23:38,000 --> 00:23:39,786
Yes, okay, | understand.
467
00:23:39,877 --> 00:23:41,663
Yes, okay, fine, yeah.
468
00:23:41,754 --> 00:23:45,918
This place here, okay? This does not exist.
Listen to me.
469
00:23:46,008 --> 00:23:50,753
This does not... No existo. Eden, no existo.
470
00:23:50,846 --> 00:23:52,632
There is no Eden. You understand?
471
00:23:52,723 --> 00:23:54,088
Si! Si, si. Eden.
472
00:23:54,183 --> 00:23:58,177
No, there is no Eden, there is no Bobby,
there is no Rictor.
473
00:23:58,270 --> 00:24:01,012
There is none of it.
This is all just some big fucking lie.
474
00:24:01,106 --> 00:24:04,644
I know where fucking Montana is,
and I'm not taking you there!
475
00:24:04,735 --> 00:24:07,898
PARKER: There are qualities
you can't ask of somebody to deliver.
476
00:24:07,988 --> 00:24:10,946
A level of strength,
a sort of stage presence,
477
00:24:11,033 --> 00:24:13,946
and a maturity
that still doesn't really make sense to me.
478
00:24:14,036 --> 00:24:19,452
It felt like she could do this most
difficult thing of, on the one hand,
479
00:24:19,541 --> 00:24:24,377
being this emotional kind of co-star
with Hugh and with Patrick,
480
00:24:24,463 --> 00:24:28,502
and on top of that, then also manage
the physicality, which is pretty demanding.
481
00:24:28,592 --> 00:24:31,459
She was really a remarkable discovery.
482
00:24:31,553 --> 00:24:33,544
JACKMAN: And she came
in for the audition,
483
00:24:33,639 --> 00:24:35,505
there's a scene where
she punches me in the arm,
484
00:24:35,599 --> 00:24:38,842
and I went home
and I had bruises all over my arm.
485
00:24:38,936 --> 00:24:40,518
No offense to all those guys I've fought,
486
00:24:40,604 --> 00:24:43,642
but I've never gone home with bruises
until that day.
487
00:24:43,732 --> 00:24:48,727
She's the most Ievel-headed, amazing kid.
She is a phenomenal, phenomenal actress.
488
00:24:48,821 --> 00:24:51,153
It was a real honor
to share the film with her.
489
00:24:51,240 --> 00:24:54,528
MERCHANT: For someone so young,
she seems so self-possessed,
490
00:24:54,618 --> 00:24:58,111
and she just does it, she just gets it,
she just understands what's needed.
491
00:24:58,205 --> 00:25:00,788
STEWART: She's a child who performs
492
00:25:00,874 --> 00:25:06,040
with the weight and seriousness
and intensity and diversity
493
00:25:06,130 --> 00:25:10,124
of a very experienced and worldly actress.
494
00:25:10,217 --> 00:25:13,175
JACKMAN: She doesn't speak
for the first 90 minutes of the movie,
495
00:25:13,262 --> 00:25:17,256
everything has to be communicated
through her eyes and her expression,
496
00:25:17,349 --> 00:25:18,931
and her heart, and you get it all.
497
00:25:19,018 --> 00:25:21,476
MANGOLD: Sometimes you don't have
to do much and in this case,
498
00:25:21,562 --> 00:25:25,055
you get Dafne and Hugh
and Patrick together,
499
00:25:25,149 --> 00:25:27,516
our rehearsals before we shot
were amazing
500
00:25:27,609 --> 00:25:30,772
and I was already wanting to cut off the
rehearsal because I wanted to be shooting.
501
00:25:30,863 --> 00:25:32,979
I always am frightened in rehearsals
502
00:25:33,073 --> 00:25:37,112
that I 'm missing the first moment
the scene comes to life.
503
00:25:37,202 --> 00:25:38,738
My goal is to always get...
504
00:25:38,829 --> 00:25:41,867
The moment the scene blossoms,
I wanna be filming.
505
00:25:41,957 --> 00:25:46,201
My greatest fear is that I'm rehearsing
and the scene feels great,
506
00:25:46,295 --> 00:25:49,208
'cause then what's gonna happen is
a month later you're gonna be shooting
507
00:25:49,298 --> 00:25:51,255
and you're gonna be going,
"It's not the same."
508
00:25:51,341 --> 00:25:53,799
So, most of what I do is,
I get the actors together,
509
00:25:53,886 --> 00:25:57,095
in this case you're talking about Dafne,
Hugh and Patrick, and they hang.
510
00:25:57,181 --> 00:25:59,297
They work on the scenes,
they get to know each other,
511
00:25:59,391 --> 00:26:01,302
they trust each other,
they become friends.
512
00:26:01,393 --> 00:26:02,883
Hugh is a father himself
513
00:26:02,978 --> 00:26:06,687
and was really, just, comfortable
talking and working with a kid,
514
00:26:06,774 --> 00:26:09,232
and Patrick was incredibly generous
and lovely with her.
515
00:26:09,526 --> 00:26:14,316
And you just began to see the energies
just naturally developing between them.
516
00:26:15,074 --> 00:26:16,940
You want me to get there basically
as he reaches...
517
00:26:17,034 --> 00:26:19,571
Yes, and |wou|dn't even mind
if you go, "Logan," and you take...
518
00:26:19,661 --> 00:26:21,072
And for another, something wrong,
519
00:26:21,163 --> 00:26:23,245
you take a step toward him,
like, up around the corner.
520
00:26:23,332 --> 00:26:26,745
Caliban in Marvel Iore and X-Men Iore
521
00:26:26,835 --> 00:26:30,703
was kind of on the dark side of things
for a long while in his life.
522
00:26:30,798 --> 00:26:34,792
What I chose to, kind of,
examine in this movie was
523
00:26:34,885 --> 00:26:38,094
finding him as a character
who had already turned,
524
00:26:38,180 --> 00:26:41,798
regretted what he'd done with his past
and kind of turned to helping
525
00:26:41,892 --> 00:26:44,975
and is serving almost, kind of,
babysitter for Logan.
526
00:26:45,062 --> 00:26:46,928
JAC KMAN: It's really important
for the dynamic
527
00:26:47,022 --> 00:26:48,933
that exists between Charles and Logan
528
00:26:49,024 --> 00:26:51,937
that there was the third wheel
and he's the perfect foil.
529
00:26:52,027 --> 00:26:55,315
And the dynamic
between the three of them works perfectly.
530
00:26:55,405 --> 00:26:57,271
You're saving to buy a Sunseeker.
531
00:26:57,366 --> 00:26:58,731
"Sun" is the keyword.
532
00:26:58,826 --> 00:27:02,114
| hardly see myself cowering below decks
like Nosferatu.
533
00:27:02,204 --> 00:27:03,239
D0 you?
534
00:27:03,330 --> 00:27:06,664
Folding your underpants,
and making him spotted dick.
535
00:27:06,750 --> 00:27:08,491
PARKER:
I guess you'd call him kind of the uncle.
536
00:27:08,585 --> 00:27:10,792
Stephen Merchant plays him,
he does a brilliantjob
537
00:27:10,879 --> 00:27:15,294
bringing his, kind of, acerbic wit
but tremendous humanity to the character.
538
00:27:15,384 --> 00:27:21,300
MERCHANT: In this film,
I play a freakishly tall albino mutant.
539
00:27:21,390 --> 00:27:26,009
It's typecasting. I mean, they barely need
to do any makeup to make me sort of
540
00:27:26,103 --> 00:27:27,810
ghostly and albino-like.
541
00:27:27,896 --> 00:27:30,558
What a chameleon.
He's made a dramatic shift in this.
542
00:27:30,899 --> 00:27:33,140
Every day, seeing him,
he's just stark white.
543
00:27:33,235 --> 00:27:34,441
He's almost seven foot tall.
544
00:27:34,528 --> 00:27:37,361
So he's just got one of the coolest
characters in the film.
545
00:27:37,447 --> 00:27:40,735
MANGOLD: Stephen just came in and read
and he's a remarkably good actor,
546
00:27:40,826 --> 00:27:44,444
and of course has all these unique aspects
of personality that he brought to the role.
547
00:27:44,538 --> 00:27:45,824
MERCHANT: I had auditioned With Jim,
548
00:27:45,914 --> 00:27:49,498
I sat there and I was expecting
to do my lines then be sent away,
549
00:27:49,585 --> 00:27:52,168
but Jim was incredibly animated,
he got up on his feet,
550
00:27:52,254 --> 00:27:54,336
he was reading the other lines, he would...
551
00:27:54,423 --> 00:27:57,165
At one point, he took the lines away
from me, he said, "You don't need these"
552
00:27:57,259 --> 00:28:00,672
and he made me take my glasses off
and then he got me up and then
553
00:28:00,762 --> 00:28:04,050
he grabbed a bag from the casting woman
and | had to use that as a prop.
554
00:28:04,141 --> 00:28:06,883
So, it was a veiy live/y,
very physical audition,
555
00:28:06,977 --> 00:28:09,093
which I was a little bit
kind of oven/vhelmed by
556
00:28:09,188 --> 00:28:11,099
'cause I don't mind improvising
and rolling with the punches
557
00:28:11,190 --> 00:28:13,557
but I felt a bit like,
"Crumbs, I 'm not quite prepared for
558
00:28:13,650 --> 00:28:15,516
"this level of playfulness and animation."
559
00:28:15,611 --> 00:28:18,194
So, | kind of left thinking,
"Well, I don't think that he's gonna
560
00:28:18,280 --> 00:28:19,361
"have responded to that."
561
00:28:19,448 --> 00:28:21,485
I never felt like I'd nai/ed it but it turns out
562
00:28:21,575 --> 00:28:23,907
he could see that
by prodding me in certain wa ys,
563
00:28:23,994 --> 00:28:26,361
he was getting the reaction that
he was looking for, which was great.
564
00:28:26,455 --> 00:28:29,368
A year ago, you asked me to help you.
565
00:28:29,458 --> 00:28:32,450
And God knows I've tried.
566
00:28:33,587 --> 00:28:36,124
But | can't help you, Logan,
not really...
567
00:28:37,132 --> 00:28:38,497
if you're not going to talk to me.
568
00:28:38,967 --> 00:28:41,459
STEWART: He is an extraordinary performer
569
00:28:41,553 --> 00:28:46,719
and his characterization in this film
are very original and unexpected.
570
00:28:46,808 --> 00:28:49,641
And indeed, funny at times too.
571
00:28:49,978 --> 00:28:51,969
Take the gun. Dump the body.
572
00:28:52,147 --> 00:28:53,763
Text me when you're on the way back.
573
00:28:54,399 --> 00:28:55,730
You have anything else you need?
574
00:28:55,817 --> 00:28:57,148
Food for the kid?
575
00:28:57,236 --> 00:29:00,900
JAC KMAN: He is funny in this.
He is also dramatically really, really strong.
576
00:29:00,989 --> 00:29:03,777
Takes it very, very seriously.
He did a lot of preparation,
577
00:29:04,034 --> 00:29:06,446
a lot of makeup time,
but I think he is fantastic.
578
00:29:06,536 --> 00:29:09,574
MERC HANT: Jim wanted my physicality
579
00:29:09,665 --> 00:29:14,455
to be more hunched and ravaged,
almost like an old man before his time,
580
00:29:14,544 --> 00:29:18,378
like the world has beaten me down,
perhaps through kind of i|| health
581
00:29:18,465 --> 00:29:21,628
and through the fact
that I struggle to live in this daylight
582
00:29:21,718 --> 00:29:24,801
'cause I have problems coping with the sun,
so we 've played with that
583
00:29:24,888 --> 00:29:27,220
and the voice and him
wanting just for me to seem
584
00:29:27,307 --> 00:29:29,674
lived in and weathered
and almost exhausted.
585
00:29:33,605 --> 00:29:37,974
I'm gonna need you to do
one more thing for the good guys...
586
00:29:39,027 --> 00:29:42,361
and track one more
special mute for me.
587
00:29:43,865 --> 00:29:45,151
MANGOLD: One of the reasons I love Boyd
588
00:29:45,242 --> 00:29:47,483
is I'm always looking for a new shade,
589
00:29:47,577 --> 00:29:52,947
I'm really tired of that, like,
11 on the volume knob of crazy villain.
590
00:29:53,041 --> 00:29:56,830
And again, not unlike the spectacle,
I just wanted to step back.
591
00:29:56,920 --> 00:29:59,161
I wanna go, "What if we cast these
as real people?"
592
00:29:59,256 --> 00:30:02,794
And yes, we have these crazy appendages
and yes, all that's still there,
593
00:30:02,884 --> 00:30:04,625
but we're not
hamming it up every moment.
594
00:30:04,720 --> 00:30:07,462
I think he's a gifted actor,
he does a remarkable job.
595
00:30:07,556 --> 00:30:10,264
BOYD HOLBROOK: What drew me
to this role was how it was written.
596
00:30:10,350 --> 00:30:12,967
Donald was such a personality for me
597
00:30:13,061 --> 00:30:17,476
and | loved that he was drawing out
a lit bit of his flamboyant side
598
00:30:17,566 --> 00:30:19,477
and how engaging he is.
599
00:30:19,568 --> 00:30:22,560
He finds humor in things
when it's most inappropriate.
600
00:30:24,156 --> 00:30:26,818
JACKMAN: I actually told him when I read
the script I thought,
601
00:30:26,908 --> 00:30:28,819
"That's one of the hardest parts to pull off."
602
00:30:28,910 --> 00:30:32,778
He is the villain. But like all great villains,
you're gonna wanna watch him.
603
00:30:32,873 --> 00:30:35,035
I think the greatest villains,
like the Alan Rickman
604
00:30:35,125 --> 00:30:37,332
or Anthony Hopkins in
Silence of the Lambs,
605
00:30:37,419 --> 00:30:39,410
you can't wait for them to get onscreen,
606
00:30:39,504 --> 00:30:42,087
and Jim wrote a character
that loved to just chat.
607
00:30:42,215 --> 00:30:43,797
I heard you was in Phoenix.
608
00:30:44,426 --> 00:30:48,010
But then, last night, some friends of mine
in Texas HP called...
609
00:30:48,096 --> 00:30:52,306
and told me they found
three dead cholos in a pullout on 54.
610
00:30:52,642 --> 00:30:53,848
Not unusual, I know.
611
00:30:54,394 --> 00:30:58,228
Except one was missing a hand,
another one a leg.
612
00:30:58,607 --> 00:30:59,938
So they was thinking...
613
00:31:00,025 --> 00:31:03,143
it was either an escaped tiger
or Freddy Krueger.
614
00:31:03,653 --> 00:31:04,734
JACKMAN: You look at the page and you go,
615
00:31:04,821 --> 00:31:06,528
"Wow, man,
this is three pages of dialogue,"
616
00:31:06,615 --> 00:31:10,358
but he had a really brilliant way
ofjust letting it roll off his tongue
617
00:31:10,452 --> 00:31:14,446
and no take was ever the same,
and he was really into it.
618
00:31:17,709 --> 00:31:19,074
MANGOLD: Why don't we do this in order?
619
00:31:19,753 --> 00:31:24,213
Boyd brought sort of a charm and...
You get the sense that he likes mutants,
620
00:31:24,299 --> 00:31:26,506
even though he's tasked
with hunting them down,
621
00:31:26,593 --> 00:31:28,709
he sort of has a soft spot for them.
622
00:31:28,804 --> 00:31:31,466
So, there's almost a sort of joy
that he takes
623
00:31:31,556 --> 00:31:34,969
in his relationship with them,
even as it's perverse.
624
00:31:35,060 --> 00:31:38,303
Jesus, Wolverine, seeing you like this
just breaks my damn heart.
625
00:31:38,480 --> 00:31:40,266
As soon as I rip it out of your chest,
fuck-stick.
626
00:31:40,357 --> 00:31:41,973
(G ROANS)
627
00:31:42,192 --> 00:31:44,479
MERCHANT: Boyd was quite a Iaid-back guy,
628
00:31:44,569 --> 00:31:47,231
but he's able to switch on
this real intensity when he's playing Pierce.
629
00:31:47,322 --> 00:31:50,735
Like, he really throws himself into it.
I wish I had that level of technique.
630
00:31:50,826 --> 00:31:55,741
He really did a superb job of giving that
breadth and that dimension to the role.
631
00:31:55,831 --> 00:31:57,037
Playback!
632
00:31:57,749 --> 00:32:00,241
MANGOLD: The wonderful thing among
really good actors
633
00:32:00,335 --> 00:32:02,918
is they instantly know
when they're with really good actors.
634
00:32:03,004 --> 00:32:06,122
It's like tennis players.
When you hit the ball, you get it back,
635
00:32:06,216 --> 00:32:08,924
and how you get it back
is how you're gonna swing next.
636
00:32:09,010 --> 00:32:11,001
-There's a lot of reflection.
-There's a lot of reflection, yeah.
637
00:32:11,096 --> 00:32:13,178
-Off my pale skin.
-(LAUGHING)
638
00:32:13,306 --> 00:32:17,595
MANGOLD: So, my biggest job is to get
really good actors together,
639
00:32:17,686 --> 00:32:19,973
and then sometimes
managing is stepping back.
640
00:32:20,063 --> 00:32:23,101
What I'd love is for him to have
a clean entrance into your shot.
641
00:32:23,191 --> 00:32:25,273
For Hugh and I, and everyone else involved,
642
00:32:25,360 --> 00:32:29,604
we really worked hard to pretend
we were not making a superhero movie.
643
00:32:29,698 --> 00:32:33,066
Maybe we weren't even pretending.
We felt we were making a dramatic film
644
00:32:33,160 --> 00:32:37,154
that happened to feature
these established iconic characters.
645
00:32:37,247 --> 00:32:38,658
And I hope people
walk away from the movie
646
00:32:38,748 --> 00:32:41,115
as feeling like they watched
a credible, moving,
647
00:32:41,209 --> 00:32:44,042
dramatic film made by artists
who give a shit.
648
00:32:44,129 --> 00:32:46,461
Good, cut! Moving on.
Very nice, thank you.
649
00:32:46,548 --> 00:32:47,538
Cut!
650
00:32:50,886 --> 00:32:52,297
MAN: (ON RADIO) It's 2029.
651
00:32:52,387 --> 00:32:54,298
Why are we still talking about mutants?
652
00:32:54,389 --> 00:32:56,801
JAMES MANGOLD:
The movie takes place in the year 2029.
653
00:32:56,892 --> 00:33:01,056
| wanted us to land in a place where
we could still see ourselves,
654
00:33:01,146 --> 00:33:03,729
and the here and now,
but maybe just a little worse
655
00:33:03,815 --> 00:33:06,056
or a little bigger or more exaggerated.
656
00:33:06,234 --> 00:33:09,477
PATRICK STEWART: James has created
a world which is recognizable
657
00:33:09,571 --> 00:33:14,065
and familiar and everyday
and in its way, commonplace.
658
00:33:14,159 --> 00:33:18,494
And yet wrapped in this maelstrom of fear
659
00:33:18,580 --> 00:33:22,699
and excitement and danger
and the need to escape.
660
00:33:23,084 --> 00:33:25,576
There are no new mutants. Understand?
661
00:33:25,670 --> 00:33:28,833
Hasn't been a new one born in 25 years.
Not anywhere.
662
00:33:28,924 --> 00:33:30,585
HUTCH PARKER: Mutants are a dying breed
663
00:33:30,675 --> 00:33:32,962
and that casts
a whole new sense to the reality,
664
00:33:33,053 --> 00:33:35,010
the world that Logan now finds himself in.
665
00:33:35,096 --> 00:33:39,431
This movie doesn't have to
pay service to these other films.
666
00:33:39,518 --> 00:33:43,102
It gives you an opportunity
to really do something completely unique.
667
00:33:43,188 --> 00:33:46,601
But setting the movie in the near future
is one of the biggest challenges for us
668
00:33:46,691 --> 00:33:49,023
because we didn't want to have
all these gadgets and gizmos
669
00:33:49,110 --> 00:33:51,772
distracting us from the intimate story.
670
00:33:51,863 --> 00:33:55,777
So we 've created a very unique approach
where we 've stripped even/thing back.
671
00:33:55,867 --> 00:33:57,699
MANGOLD: While the movie is taking place
in the future,
672
00:33:57,786 --> 00:34:00,073
it almost kind of feels
slightly retro in a way.
673
00:34:00,163 --> 00:34:02,700
The kind of cultural struggles
we 're having right now,
674
00:34:02,791 --> 00:34:04,373
the sense of disconnection,
675
00:34:04,459 --> 00:34:06,700
people living disconnected
from one another,
676
00:34:06,795 --> 00:34:09,787
all of that we tried
to incorporate without going nuts
677
00:34:09,881 --> 00:34:13,340
and making the movie kind of
a dystopian fantasy.
678
00:34:13,426 --> 00:34:16,168
AU DOUY: We have automated trucks
that are driving across country,
679
00:34:16,263 --> 00:34:18,300
which is actually probably
only a heartbeat away.
680
00:34:18,390 --> 00:34:21,974
We also have automated threshers
that are harvesting com in Kansas.
681
00:34:22,477 --> 00:34:25,139
In the background of some shots,
we have an automated street sweeper.
682
00:34:25,230 --> 00:34:29,394
MANGOLD: I wanted it to be resembling
our world. I remember 25 years ago,
683
00:34:29,484 --> 00:34:33,227
people would talk about what the future's
gonna be like and here it is, 25 years later,
684
00:34:33,321 --> 00:34:35,483
and New York essentially looks the same,
685
00:34:35,615 --> 00:34:38,232
you know, L.A. essentially looks the same.
686
00:34:38,326 --> 00:34:41,864
The cars change, fashion changes a little,
the music we 're listening to.
687
00:34:41,955 --> 00:34:44,993
It can either be the sad or most beautiful
thing about humanity,
688
00:34:45,083 --> 00:34:47,575
but the truth is that
we don't change that fast.
689
00:34:49,504 --> 00:34:50,494
(SCOFFS)
690
00:34:50,589 --> 00:34:51,750
See?
691
00:34:51,840 --> 00:34:53,672
You're not the only one
that's been enhanced.
692
00:34:53,758 --> 00:34:55,840
MANGOLD: Donald Pierce leads a group
called the Reavers,
693
00:34:55,927 --> 00:34:59,090
who are made up of
a whole different bunch of amputees
694
00:34:59,180 --> 00:35:01,968
and different kinds of damaged guys
with unique Iimbs,
695
00:35:02,058 --> 00:35:04,220
mechanical Iimbs, cyborg limbs built on.
696
00:35:04,311 --> 00:35:06,928
HOLBROOK: Donald has an extensive
background in the military.
697
00:35:07,022 --> 00:35:11,858
So he is genetically engineering them
notjust to get a robotic Iimb,
698
00:35:11,943 --> 00:35:13,604
but to have it that much more functional.
699
00:35:13,695 --> 00:35:19,190
| love the idea of this kind of hardcore,
tough as nails bunch of amputee warriors
700
00:35:19,284 --> 00:35:21,616
and that's what I wanted to retain
and explore.
701
00:35:21,828 --> 00:35:23,114
(LAURA SPEAKING SPANISH)
702
00:35:23,246 --> 00:35:25,112
This is a long way.
703
00:35:25,206 --> 00:35:28,289
You understand?
I am not taking you to North Dakota.
704
00:35:28,585 --> 00:35:32,169
PARKER: It was really important to Jim
that we get off the stage
705
00:35:32,255 --> 00:35:34,121
and that we go to practical locations
706
00:35:34,215 --> 00:35:37,128
and shoot it in a way
not a lot of movies get made anymore.
707
00:35:37,218 --> 00:35:38,834
MARIA T. BIERNIAK:
Jim wanted real places.
708
00:35:38,928 --> 00:35:43,343
He wanted to use real environments
and not have to go to a place
709
00:35:43,433 --> 00:35:45,595
and totally remodel it to make it look like
710
00:35:45,685 --> 00:35:47,722
a film crew came in here
and scenic-ed it out.
711
00:35:47,812 --> 00:35:51,521
AU DOUY: John Mathieson came on
as our DP, who is absolutely terrific
712
00:35:51,858 --> 00:35:55,772
and was really into the idea of using
a lot of practicals and available light
713
00:35:55,862 --> 00:35:58,650
and creating a vely realistic,
grounded look for the movie.
714
00:35:58,740 --> 00:36:02,028
MATHIESON: There's not one glamorous,
clean moment in this film.
715
00:36:02,577 --> 00:36:05,035
You know, everyone's grubby,
dirty, bruised, cut.
716
00:36:05,121 --> 00:36:06,862
We can be rougher and truer
717
00:36:06,956 --> 00:36:11,075
and walk into a location where the light
is unflattering or it's hard.
718
00:36:11,169 --> 00:36:15,003
It's middle of the day, hot,
burning, shimmering desert,
719
00:36:15,090 --> 00:36:17,502
and white skies, not blue skies,
720
00:36:17,592 --> 00:36:20,505
There's a few puffy clouds here and again
but it's uncomfortable.
721
00:36:20,595 --> 00:36:21,881
PARKER: John 's an incredibly talented guy.
722
00:36:21,971 --> 00:36:24,508
He's got a résumé that
anyone would be proud to have,
723
00:36:24,599 --> 00:36:29,810
and for all of us, I think, we want to
get it to be more real, more in-camera,
724
00:36:29,896 --> 00:36:33,685
less digital, less artificial,
in whatever ways we could do that,
725
00:36:33,775 --> 00:36:36,858
and we were lucky enough to get John
to come and help us do that.
726
00:36:36,945 --> 00:36:38,185
MATHIESON:
It's like a road movie to me
727
00:36:38,279 --> 00:36:41,362
and very real,
closer to those road movies of the '70s.
728
00:36:41,449 --> 00:36:45,408
People on the run, got to move, got to run,
got to get away, people in flight.
729
00:36:45,495 --> 00:36:47,156
(ENGINE REVVING)
730
00:36:51,376 --> 00:36:55,040
PARKER: The Iandscapes that
we were able to incorporate
731
00:36:55,130 --> 00:36:57,292
really did impact the filmmaking.
732
00:36:57,382 --> 00:37:00,374
It informed the actors,
it informed production design.
733
00:37:00,468 --> 00:37:03,335
MANGOLD: We wanted to create
this sense of a cross-country journey,
734
00:37:03,430 --> 00:37:06,297
heading northward
from the EI Paso area to the Dakotas.
735
00:37:06,599 --> 00:37:09,307
AU DO UY: Jim, from the veiy beginning,
wanted to get a lot of different looks.
736
00:37:09,394 --> 00:37:14,184
From the dry desert, New Mexico
and Texas and Oklahoma into Kansas,
737
00:37:14,274 --> 00:37:18,108
up through South Dakota, North Dakota
and then ultimately, the border of Canada.
738
00:37:18,194 --> 00:37:22,233
BIERNIAK: François and I actually
had time to go out, poke around and see
739
00:37:22,323 --> 00:37:25,691
what was available and what was out there
and we would come back with locations
740
00:37:25,785 --> 00:37:28,618
and it would inspire Jim to change
certain things in the script.
741
00:37:28,705 --> 00:37:30,241
AU DOUY: With a movie of this size,
742
00:37:30,331 --> 00:37:34,541
it's virtual/y impossible to take 400 people
on the road through America.
743
00:37:34,627 --> 00:37:37,710
So the real challenge was
to try to figure out
744
00:37:37,797 --> 00:37:42,712
how to land in basically two states
and try to get a big look.
745
00:37:42,802 --> 00:37:45,544
MANGOLD: You're gonna
start in the EI Paso terrain,
746
00:37:45,638 --> 00:37:47,299
which we used New Mexico for.
747
00:37:47,432 --> 00:37:49,924
Then you're gonna move slowly
into farmland,
748
00:37:50,351 --> 00:37:53,343
which we used southern Mississippi
and northern Louisiana for.
749
00:37:53,438 --> 00:37:55,270
We did our stage work in New Orleans.
750
00:37:55,356 --> 00:37:56,892
And then as you move into the Rockies,
751
00:37:56,983 --> 00:37:59,941
we actually return to
the highlands of New Mexico,
752
00:38:00,028 --> 00:38:01,268
almost on the Colorado border.
753
00:38:01,362 --> 00:38:05,071
| think you will feel
that you're seeing a real journey
754
00:38:05,158 --> 00:38:09,402
in a way that I don't think is quite
the same as when we do it digital/y.
755
00:38:09,496 --> 00:38:12,614
There is a bit of color arc in the film
in that it starts hot and dry
756
00:38:12,707 --> 00:38:16,416
and they kind of come up to this more
green, verdant place.
757
00:38:16,503 --> 00:38:18,585
AU DOUY: There're a lot of
natural hues and natural tones
758
00:38:18,671 --> 00:38:20,412
that have been inspired by
759
00:38:20,507 --> 00:38:24,000
the colors of the Mexican desert
and the colors of EI Paso,
760
00:38:24,093 --> 00:38:26,300
and going through Kansas
and up to the border north.
761
00:38:26,387 --> 00:38:29,971
So, we've been augmenting that
with some blues
762
00:38:30,058 --> 00:38:31,548
and warm golds and things.
763
00:38:31,643 --> 00:38:33,054
Trying to create kind of a rich look.
764
00:38:33,144 --> 00:38:35,476
In most of these movies,
you are under tremendous pressure
765
00:38:35,563 --> 00:38:37,725
to be bigger than the last one.
766
00:38:37,816 --> 00:38:42,310
To do something bigger,
more fantastic in scope,
767
00:38:42,403 --> 00:38:47,989
Iouder, more intense, and we in a sense
withdrew from that entire challenge.
768
00:38:48,076 --> 00:38:50,989
So, one of the biggest challenges for the
production designer on this film was,
769
00:38:51,079 --> 00:38:54,993
"How do I build these sets?
Create these spaces but do it in a way
770
00:38:55,083 --> 00:38:57,666
"that it doesn't feel like just another
one of these pictures?"
771
00:38:57,752 --> 00:38:58,833
AU DOUY: Our sets were built
772
00:38:58,920 --> 00:39:01,537
like they were really locations
and they had hard ceilings
773
00:39:01,631 --> 00:39:04,840
and a lot of practical lighting
and then he would augment that
774
00:39:04,926 --> 00:39:07,008
to create a very believable world.
775
00:39:07,136 --> 00:39:10,470
MATHIESON: Français' designs
are not symmetrical or pretty,
776
00:39:10,557 --> 00:39:13,299
they are odd and unusual and real.
777
00:39:13,393 --> 00:39:14,849
You didn't know
when you were in a studio,
778
00:39:14,936 --> 00:39:16,267
you didn't know
when you were on the road.
779
00:39:16,563 --> 00:39:18,554
(TRAIN BELL DINGING)
780
00:39:20,942 --> 00:39:23,434
We live in this sort of
derelict smelting plant,
781
00:39:23,528 --> 00:39:25,769
as people inevitably do
in comic book movies.
782
00:39:25,864 --> 00:39:29,323
No one's living in a nice little house
in a cul-de-sac somewhere.
783
00:39:29,409 --> 00:39:31,696
They're living in
an abandoned smelting plant.
784
00:39:31,786 --> 00:39:33,527
| don't even know what a smelting plant is.
785
00:39:33,746 --> 00:39:37,580
STEWART: It's a bizarre set,
but it's Charles' home.
786
00:39:37,667 --> 00:39:41,035
It's a grim and uncomfortable
and unpleasant place.
787
00:39:41,129 --> 00:39:43,211
You can 't blame them
for wanting to get away from it.
788
00:39:43,298 --> 00:39:44,459
MANGOLD: When I first started
writing the script
789
00:39:44,549 --> 00:39:46,165
I actually had them starting in Kentucky
790
00:39:46,259 --> 00:39:48,796
and Charles was being kept inside
a bourbon tank.
791
00:39:48,887 --> 00:39:51,970
And then at some point I moved it
to south of the border
792
00:39:52,056 --> 00:39:55,048
and that's when François and I started
working on different looks.
793
00:39:55,143 --> 00:39:57,726
AU DOUY: One of my favorite sets was
the exterior of the smelting plant
794
00:39:57,812 --> 00:40:00,019
because it was a full build.
795
00:40:00,106 --> 00:40:03,019
Jim wanted to create a chase
and a choreography
796
00:40:03,109 --> 00:40:05,521
all through the eight-acre site.
797
00:40:05,612 --> 00:40:07,774
And so, it was really creating a world
from the ground up.
798
00:40:07,864 --> 00:40:10,731
François made a model
of the smelting plant.
799
00:40:10,825 --> 00:40:13,943
And it had this water tower.
I've got water towers in other films of mine.
800
00:40:14,037 --> 00:40:16,699
Bridges and water towers
I 'm forever fascinated with,
801
00:40:16,789 --> 00:40:18,154
and then at some point, you know,
802
00:40:18,249 --> 00:40:20,661
us talking about different arrangements
of these buildings,
803
00:40:20,752 --> 00:40:24,211
it fell over,
and it suddenly looks like a spider
804
00:40:24,297 --> 00:40:25,412
with its legs kind of sticking
805
00:40:25,506 --> 00:40:28,419
like a dead insect or something
Iying on its side.
806
00:40:28,509 --> 00:40:32,298
There's actually a little water treatment
plant or power plant out there.
807
00:40:32,388 --> 00:40:35,176
It's a very little structure
and we built around it,
808
00:40:35,266 --> 00:40:36,677
basically, on top of it.
809
00:40:36,768 --> 00:40:38,554
And then added the various elements
810
00:40:38,645 --> 00:40:40,636
that we needed to kind of complete
the environment.
811
00:40:40,730 --> 00:40:43,973
I, personally, if | was living there,
I would have had a good sweep.
812
00:40:44,150 --> 00:40:46,107
I'd have got a broom,
I'd have picked up some of the garbage,
813
00:40:46,194 --> 00:40:47,355
I'd have made it more of a home.
814
00:40:47,528 --> 00:40:48,939
If you are planning
to blow your brains out...
815
00:40:49,030 --> 00:40:50,941
could you wait till you're
out on the high seas?
816
00:40:51,032 --> 00:40:52,363
| just mopped these floors.
817
00:40:52,533 --> 00:40:56,276
We're standing outside the smelting plant,
which is Logan's hideout.
818
00:40:56,496 --> 00:40:57,611
We're supposed to be
819
00:40:57,705 --> 00:41:01,494
somewhere in the desert
in Chihuahua, Mexico, outside Juérez.
820
00:41:01,584 --> 00:41:07,205
And we searched for about five months
to find the right location to build this set
821
00:41:07,298 --> 00:41:10,666
and we found it here about an hour outside
Albuquerque, near Rio Rancho.
822
00:41:11,010 --> 00:41:13,798
The set's made up of
about five main structures
823
00:41:13,888 --> 00:41:17,426
that take up, like, 1.35 acres.
It's quite a big set.
824
00:41:17,558 --> 00:41:20,425
There's Charles' tank,
that's a fallen water tower.
825
00:41:20,520 --> 00:41:22,010
Then we 've got the main building,
826
00:41:22,105 --> 00:41:25,564
which is where the kitchen is
and where our heroes hang out.
827
00:41:25,650 --> 00:41:29,393
And we've got Logan's bedroom
and the shower room.
828
00:41:29,862 --> 00:41:31,398
It's been repurposed.
829
00:41:31,489 --> 00:41:34,106
And these series of catwalks
that are designed
830
00:41:34,534 --> 00:41:37,743
to appear like we're taking
ore out of the ground,
831
00:41:37,829 --> 00:41:40,321
and then up into the main building
for processing.
832
00:41:40,415 --> 00:41:43,077
New deal. Cranes move in down there.
833
00:41:43,167 --> 00:41:45,875
AU DOUY: And what's wonderful here is
you can look in 360 degrees
834
00:41:45,962 --> 00:41:50,172
and not see any signs of homes
or habitation.
835
00:41:50,258 --> 00:41:52,090
So it's really a phenomenal location.
836
00:41:52,176 --> 00:41:56,010
When we started, it was squeaky clean,
brand new when we moved in.
837
00:41:56,097 --> 00:41:58,259
So we went through over
a period of about two months
838
00:41:58,349 --> 00:42:00,716
and started cladding the entire place
839
00:42:00,810 --> 00:42:03,393
to make it look like it had been
forgotten and abandoned.
840
00:42:03,479 --> 00:42:06,471
MATHIESON: Charles is kept in an old tank,
which is rusted,
841
00:42:06,607 --> 00:42:09,770
it's like a colander,
it's got lots of holes in it, rust holes.
842
00:42:09,861 --> 00:42:12,523
It also has that feeling of
the universe and the stars
843
00:42:12,613 --> 00:42:14,024
and that he is connected with everything.
844
00:42:14,157 --> 00:42:16,114
MANGOLD:
The reason I kept gravitating toward a tank
845
00:42:16,200 --> 00:42:19,693
was I wanted something
that still had some echo of Cerebro,
846
00:42:19,787 --> 00:42:23,280
and also the idea that you're
trying to somehow insulate or contain
847
00:42:23,374 --> 00:42:26,992
the power of his brain
in some kind of reflective material
848
00:42:27,086 --> 00:42:30,249
that would reduce how many people
he could hurt if he had an attack.
849
00:42:30,339 --> 00:42:32,626
You're waiting for me to die.
850
00:42:32,759 --> 00:42:34,670
AU DOUY:
It's sort of a bittersweet end to him
851
00:42:34,761 --> 00:42:38,379
where his happy days
and his most powerful time
852
00:42:38,473 --> 00:42:42,717
in the previous films was in this
spherical structure at the X-Mansion.
853
00:42:42,935 --> 00:42:44,471
(CAR HORN BLARING)
854
00:42:45,646 --> 00:42:47,557
Is this where we're hiding out?
855
00:42:47,648 --> 00:42:50,310
One of the first stops on the journey
is a casino.
856
00:42:50,401 --> 00:42:53,610
BIERNIAK: In Louisiana, most of the casinos
are water-based paddle boats.
857
00:42:53,696 --> 00:42:57,234
So we actually went to the only
land-based casino in town
858
00:42:57,325 --> 00:42:59,862
and it was great for us
because it did give us a big Vegas feel
859
00:42:59,952 --> 00:43:02,034
without having to go to Las Vegas.
860
00:43:02,121 --> 00:43:04,863
MANGOLD: That scene was really difficult
for a bizarre reason,
861
00:43:04,957 --> 00:43:06,493
which is that even a movie shoot,
862
00:43:06,584 --> 00:43:09,417
anyone under 18 could not
set foot in the casino.
863
00:43:09,504 --> 00:43:12,166
Specifically, in the Louisiana area,
864
00:43:12,298 --> 00:43:16,917
you're just not allowed to have a minor
anywhere near the interior of the casino.
865
00:43:17,011 --> 00:43:20,174
PARKER: We had to do little bit of trickery,
we had to use doubles.
866
00:43:20,264 --> 00:43:23,222
We did some visual effects work
to kind of communicate it
867
00:43:23,309 --> 00:43:26,427
and we created sets where
we could double the environment.
868
00:43:26,521 --> 00:43:29,354
So between all three of those
or four of those little cheats,
869
00:43:29,440 --> 00:43:30,475
we were able to pull it off.
870
00:43:30,566 --> 00:43:32,352
MANGOLD:
It's a pretty elaborate special effects scene
871
00:43:32,443 --> 00:43:35,105
that hopefully does not look like
a special effects scene at all.
872
00:43:35,196 --> 00:43:38,359
Just so we could walk her
from the entrance to the elevator.
873
00:43:38,699 --> 00:43:40,360
-(PEOPLE SCREAMING)
-(GROANS)
874
00:43:40,451 --> 00:43:42,533
-(CAR HORN BLARING)
-(T|RES SCREECHING)
875
00:43:45,039 --> 00:43:48,282
MANGOLD: Charles' ability
to stop everyone in place
876
00:43:48,376 --> 00:43:50,959
and freeze everyone in place
is really interesting.
877
00:43:51,045 --> 00:43:54,458
STEWART: In this movie, that's the power
that has gone out of control,
878
00:43:54,549 --> 00:43:57,792
because when he is not medicated,
879
00:43:57,885 --> 00:44:02,470
he is Iiable to have seizures,
which can impact other people.
880
00:44:02,557 --> 00:44:05,970
Even if they are not even in the same room
or the same building with him,
881
00:44:06,060 --> 00:44:08,051
-and that makes him vely dangerous.
-(RUMBLING)
882
00:44:08,187 --> 00:44:09,393
(GLASS BREAKING)
883
00:44:09,897 --> 00:44:12,764
MANGOLD: The idea is that he's actually
stopped everyone from breathing.
884
00:44:12,859 --> 00:44:15,396
So they're not only frozen
but they're actually drowning.
885
00:44:15,486 --> 00:44:19,320
And that Ied me to imagining,
what kind of action sequence could I have?
886
00:44:19,407 --> 00:44:21,648
And something that seemed really chilly
887
00:44:21,742 --> 00:44:24,951
would be the idea of Logan entering
a sequence where everyone's frozen
888
00:44:25,037 --> 00:44:27,995
and him picking out every bad guy
and essentially gutting them
889
00:44:28,082 --> 00:44:30,995
while they can't even move anything
but their eyeballs.
890
00:44:32,211 --> 00:44:35,294
The look was really interesting.
There's a lot of technology now
891
00:44:35,381 --> 00:44:37,497
where if someone is too bumpy
with their camera,
892
00:44:37,592 --> 00:44:39,708
you can run it through a program
that steadies it.
893
00:44:39,802 --> 00:44:43,545
So we did tests before we shot
where we were crazy with the camera.
894
00:44:43,639 --> 00:44:46,848
Like crazy shaking it and
then we ran it through these programs
895
00:44:46,934 --> 00:44:49,517
and of course,
once the camera is shaking that much,
896
00:44:49,604 --> 00:44:54,019
it can't ever really bring it down
but you get all this beautiful smearing
897
00:44:54,108 --> 00:44:57,521
as the computer is trying to kind of
pull together an image
898
00:44:57,612 --> 00:44:59,194
from something that's so Chaotic.
899
00:44:59,280 --> 00:45:01,567
So the whole sequence is actually shot
900
00:45:01,657 --> 00:45:04,649
with the Cameraman
on a kind of vibrating rope,
901
00:45:04,744 --> 00:45:06,451
vibrating the camera like crazy.
902
00:45:06,537 --> 00:45:10,371
And then we run it through a process
which takes all the shake out,
903
00:45:10,458 --> 00:45:13,291
but you're left with
this kind of smearing effect.
904
00:45:14,128 --> 00:45:15,618
(ALL GASPING)
905
00:45:15,796 --> 00:45:17,127
(ALL PANTING)
906
00:45:24,138 --> 00:45:25,378
CHARLES: We should help them.
907
00:45:27,099 --> 00:45:29,215
No, we have to keep going.
Someone will come along.
908
00:45:29,310 --> 00:45:30,721
Someone has come along.
909
00:45:30,811 --> 00:45:32,893
MANGOLD: One thing that happens when
you're writing a road picture
910
00:45:32,980 --> 00:45:35,062
is you have characters who just arrive.
911
00:45:35,149 --> 00:45:38,016
You just land and you meet them.
912
00:45:38,110 --> 00:45:41,273
They're not here for the whole movie,
they're here just to kind of play a role.
913
00:45:41,364 --> 00:45:45,107
And the Munson family is a family
that at a mid-point in the movie,
914
00:45:45,201 --> 00:45:48,068
in a moment of repose, a moment of rest,
915
00:45:48,162 --> 00:45:51,371
our heroes have a chance
to gather themselves
916
00:45:51,457 --> 00:45:53,869
after their last brush with the Reavers.
917
00:45:53,960 --> 00:45:56,998
AU DO UY: The farm scenes represented
the heart of the movie.
918
00:45:57,088 --> 00:45:59,750
It was really important that
that feel very, very real.
919
00:45:59,840 --> 00:46:03,253
We were lucky enough to find
an amazing farmhouse
920
00:46:03,511 --> 00:46:07,630
in northern Louisiana, which is
the only spot in the entire state
921
00:46:07,723 --> 00:46:10,465
where they produce corn
at a great quantity.
922
00:46:10,559 --> 00:46:14,769
So the farmhouse was surrounded
by acres and acres of corn in all directions.
923
00:46:14,855 --> 00:46:18,849
And it happened to be this incredible
house that was built in the 18303
924
00:46:18,943 --> 00:46:22,732
that hadn 't really been modified and
then we recreated the interior on stage.
925
00:46:22,822 --> 00:46:26,611
The family environment,
the place that Logan has not been to,
926
00:46:26,701 --> 00:46:29,113
whether it's been years,
decades, whatever.
927
00:46:29,203 --> 00:46:31,285
It's a place he's not comfortable in.
928
00:46:31,372 --> 00:46:33,784
It's a place Charles has been yearning for,
929
00:46:33,874 --> 00:46:38,084
and it's the first time that our young
actress has ever seen a family dinner.
930
00:46:38,170 --> 00:46:42,789
Ever seen family photos, mementos,
a place of that environment.
931
00:46:42,883 --> 00:46:47,298
It's a scene of such warmth
and mutual affection,
932
00:46:47,388 --> 00:46:49,345
and understanding and good humor,
933
00:46:49,432 --> 00:46:52,550
and good food in a domestic environment,
934
00:46:52,643 --> 00:46:56,261
which is not something that you
have seen much in this franchise.
935
00:46:56,397 --> 00:46:57,887
You know, Logan...
936
00:46:58,357 --> 00:47:00,724
this is what life looks like.
937
00:47:01,402 --> 00:47:03,894
A home, people who love each other.
938
00:47:04,196 --> 00:47:05,436
Safe place.
939
00:47:05,531 --> 00:47:07,898
You should take a moment and feel it.
940
00:47:09,243 --> 00:47:11,029
When the Munsons die,
941
00:47:11,120 --> 00:47:15,239
for no better reason than our heroes
have sadly stopped there to rest,
942
00:47:15,333 --> 00:47:18,075
it launches
a very dark movement of the film
943
00:47:18,169 --> 00:47:20,536
in which Logan and Laura
are trapped together.
944
00:47:20,629 --> 00:47:24,213
You're trying as a screenwriter to
lift an audience up,
945
00:47:24,967 --> 00:47:28,255
and then, however cruel it sounds,
drop them as hard as you can.
946
00:47:28,346 --> 00:47:30,678
So what we're trying to do is to, kind of,
947
00:47:30,765 --> 00:47:35,510
allow Logan this glimpse of life
and then to rip it.
948
00:47:35,603 --> 00:47:38,721
In a sense, proving Logan right.
It's like, "No, the world...
949
00:47:38,814 --> 00:47:41,431
"That is not for me
and wi|| never be for me."
950
00:47:42,902 --> 00:47:45,109
(MAN TALKING INDISTINCTLY)
951
00:47:46,364 --> 00:47:48,150
You gotta be fucking kidding me.
952
00:47:48,240 --> 00:47:51,574
AU DOUY:
The idea of Eden is actually three parts.
953
00:47:51,660 --> 00:47:55,699
First, it's this image that appears
in a comic book
954
00:47:55,790 --> 00:48:00,125
as a fantastical sort of creation
from a comic book artist,
955
00:48:00,211 --> 00:48:02,794
and it turns out that it does not exist.
956
00:48:02,880 --> 00:48:05,212
It's just a bunch of dusty rocks
957
00:48:05,299 --> 00:48:08,712
with an old, abandoned ranger station
sitting on top of the mesa.
958
00:48:08,803 --> 00:48:11,044
That was the second part
that had to be designed.
959
00:48:11,138 --> 00:48:14,972
What's in the comic book looks grander
and more splendiferous and designed,
960
00:48:15,059 --> 00:48:16,891
but there is a sanctuary for these children.
961
00:48:16,977 --> 00:48:18,559
We want it as minimal as possible,
962
00:48:18,646 --> 00:48:22,514
meaning you have this duality of
the kind of fantasy one and reality one.
963
00:48:22,608 --> 00:48:26,067
PARKER: Where the mutant kids are waiting
is outside of Abiquiu
964
00:48:26,153 --> 00:48:28,440
where Georgia O'Keeffe painted
and famously lived,
965
00:48:28,531 --> 00:48:31,569
and it's this very unique
and distinctive landscape.
966
00:48:31,992 --> 00:48:33,903
François built these two structures there.
967
00:48:33,994 --> 00:48:35,200
He built the watchtower,
968
00:48:35,287 --> 00:48:39,201
which is mimicking a fire ranger's station,
and the bunkhouse.
969
00:48:39,291 --> 00:48:40,656
I love the ranger tower.
970
00:48:40,751 --> 00:48:42,867
It's got all this promise,
it's got all this hope,
971
00:48:42,962 --> 00:48:45,420
that sense of scope and scale,
all the windows.
972
00:48:45,506 --> 00:48:46,837
You feel like they're perched,
973
00:48:46,924 --> 00:48:49,666
ready to take that final step
across the border.
974
00:48:49,760 --> 00:48:52,001
So I know François
had a great time with that
975
00:48:52,096 --> 00:48:55,134
and the art department in general had
a great time dressing those environments.
976
00:48:55,224 --> 00:48:57,932
We had to create a little environment
that is believable,
977
00:48:58,018 --> 00:49:00,601
that for the first time in their lives,
these kids are free.
978
00:49:00,688 --> 00:49:05,228
For the first time they're at a campfire,
out in the stars, working together.
979
00:49:05,317 --> 00:49:07,979
They've had to take these skills
that they learned as mercenaries
980
00:49:08,070 --> 00:49:09,185
and bring them together.
981
00:49:09,447 --> 00:49:10,983
RICTOR: You see the woods?
982
00:49:11,490 --> 00:49:12,480
Si.
983
00:49:12,575 --> 00:49:14,282
-|t's an 8-mile hike through there.
-(BOYS WHOOPING)
984
00:49:15,077 --> 00:49:16,283
And you see that pass?
985
00:49:16,370 --> 00:49:17,701
That's where we wi|| be safe.
986
00:49:17,788 --> 00:49:23,204
The third part of Eden is these woods
where our heroes end up
987
00:49:23,294 --> 00:49:26,286
on the very border with freedom
on the other side of the cliffs.
988
00:49:26,380 --> 00:49:29,463
For that, we had to find vely impressive
989
00:49:29,550 --> 00:49:33,134
and awesome visual of gigantic cliffs
that had to be traversed.
990
00:49:33,220 --> 00:49:37,134
We're really lucky to find them here
at Brazos Cliffs in northern New Mexico,
991
00:49:37,224 --> 00:49:40,967
where we're flanked with 1,200-foot
Precambrian cliffs
992
00:49:41,061 --> 00:49:43,644
that are really impressive
on one side of the set
993
00:49:43,731 --> 00:49:45,972
and then some really beautiful forests
on the other.
994
00:49:46,066 --> 00:49:50,355
BIERNIAK: We wanted to expand the feel
of the film and give it some larger scope.
995
00:49:50,446 --> 00:49:53,484
Brazos Cliffs gives us
an architectural element
996
00:49:53,574 --> 00:49:55,656
and something to focus on
in the background.
997
00:49:55,743 --> 00:50:01,489
AU DOUY: They gave us a really wonderful,
flexible space to create the final showdown
998
00:50:01,582 --> 00:50:04,665
where we get to see Logan
and his last stand.
999
00:50:04,752 --> 00:50:06,914
MAN: Three, two, one, action!
1000
00:50:07,004 --> 00:50:08,290
-(GRUNTS)
-(GUNSHOTS)
1001
00:50:08,380 --> 00:50:09,996
- Ahh!
1002
00:50:10,090 --> 00:50:11,080
-(GRUNTS)
-(GROANS)
1003
00:50:11,383 --> 00:50:13,169
I'm hoping that
when people see this movie,
1004
00:50:13,260 --> 00:50:17,345
they're gonna be really surprised
at how refreshing and new it is.
1005
00:50:17,431 --> 00:50:19,217
MANGOLD: Using real locations
whenever we could,
1006
00:50:19,308 --> 00:50:21,094
real Vehicles, real driving.
1007
00:50:21,185 --> 00:50:23,597
There's a certain reality
when someone's riding in a car,
1008
00:50:23,687 --> 00:50:26,475
the way the wind's blowing on them,
the way the Iight's changing around them
1009
00:50:26,565 --> 00:50:28,852
and even the performance,
when the world is really going by.
1010
00:50:28,943 --> 00:50:31,526
They're not sitting in a green void
watching nothing,
1011
00:50:31,820 --> 00:50:34,528
or watching a guy eating a tuna sandwich
from the crafties.
1012
00:50:34,615 --> 00:50:36,822
That's a lot of what we're after.
1013
00:50:36,909 --> 00:50:40,447
The production designer, the DP and I
are trying to get a very naturalistic film.
1014
00:50:40,538 --> 00:50:41,528
Hello.
1015
00:50:45,459 --> 00:50:49,453
I think that if there was a breathing...
Almost like him breathing, kind of...
1016
00:50:49,547 --> 00:50:54,417
This very slow,
kind of tide coming in, going away.
1017
00:50:54,510 --> 00:50:56,092
HUTCH PARKER:
Marco Beltrami is doing the score
1018
00:50:56,178 --> 00:50:57,919
and Jim's worked with him
a number of times, as have I.
1019
00:50:58,264 --> 00:51:00,050
JAMES MANGOLD:
In the score, the big effort is
1020
00:51:00,140 --> 00:51:03,678
to not let go of the feeling
that this movie is different.
1021
00:51:03,769 --> 00:51:04,930
Okay, here we go.
1022
00:51:05,980 --> 00:51:07,721
MANGOLD:
I don't want that big heroic score.
1023
00:51:07,815 --> 00:51:12,275
I don't want trumpets for the good guys
and dark bass for the bad guys.
1024
00:51:12,361 --> 00:51:14,602
I want us to find a new formula.
1025
00:51:14,697 --> 00:51:17,735
MARCO BELTRAMI: When I first heard
that it's a Wolverine movie,
1026
00:51:17,866 --> 00:51:20,073
it brought to mind certain expectations.
1027
00:51:20,160 --> 00:51:21,901
Then knowing that Jim was on it,
1028
00:51:21,996 --> 00:51:25,910
I had different expectations
'cause Jim definitely twists things.
1029
00:51:26,000 --> 00:51:28,833
PARKER: The foundational language
of the film is emotion
1030
00:51:28,919 --> 00:51:33,504
and the score will have the challenge
of serving that to some degree first,
1031
00:51:33,591 --> 00:51:36,959
but also in concert with the scale
and scope of this character,
1032
00:51:37,052 --> 00:51:41,216
the scale of this journey,
the sense of jeopardy and the sense of risk
1033
00:51:41,307 --> 00:51:43,344
and intensity of the action sequences.
1034
00:51:45,853 --> 00:51:48,811
MANGOLD: For Marco and I, the job
becomes looking toward the Western,
1035
00:51:48,897 --> 00:51:51,855
looking toward older action films,
'70s cop movies.
1036
00:51:51,942 --> 00:51:56,277
How do you solve the problems of
building stakes, transitioning scenes,
1037
00:51:56,363 --> 00:51:59,822
and doing that without trying to
kind of bloat the movie,
1038
00:51:59,908 --> 00:52:03,742
and stay true to the intimacy of
the journey these characters have been on?
1039
00:52:03,829 --> 00:52:08,539
Jim referenced Taxi Driver and a couple
Jerry Fielding scores from the '70s.
1040
00:52:08,626 --> 00:52:14,463
He wanted that gritty, unmanipulated,
unrounded sound of a tighter ensemble
1041
00:52:14,548 --> 00:52:18,963
that didn't necessarily ha ve to be
Hollywood or orchestral in nature.
1042
00:52:19,053 --> 00:52:22,466
And we actually tried putting
some period scores to the thing.
1043
00:52:22,556 --> 00:52:25,048
It looked off, it had to be modern as well,
1044
00:52:25,142 --> 00:52:28,510
so the idea is to go for that intensity
of '70s score,
1045
00:52:28,604 --> 00:52:31,471
but with more modern scoring techniques.
1046
00:52:31,565 --> 00:52:35,559
It's not a very melodic score.
It's more of a textural thing.
1047
00:52:35,653 --> 00:52:37,610
Recording stuff with carbon microphones.
1048
00:52:37,696 --> 00:52:41,985
It ñlters out a lot of the warmth
and tonal characteristics
1049
00:52:42,076 --> 00:52:44,033
and gives more of a gritty sound.
1050
00:52:44,161 --> 00:52:46,448
This is who I've been telling you about.
1051
00:52:46,747 --> 00:52:48,033
This is Laura.
1052
00:52:49,208 --> 00:52:50,619
We've been waiting for you.
1053
00:52:51,126 --> 00:52:52,742
BELTRAMI: There are some themes in it
1054
00:52:52,836 --> 00:52:55,794
that might not be melodic themes
in the way that you're used to.
1055
00:52:56,256 --> 00:52:58,088
We have Laura's theme,
1056
00:52:58,175 --> 00:53:02,419
which is also sort of the mystery
because we don't really know who she is.
1057
00:53:07,351 --> 00:53:11,219
There's a theme for Logan,
which is based on a lot of sonic stuff
1058
00:53:11,313 --> 00:53:12,724
but also this harmonica thing.
1059
00:53:12,815 --> 00:53:15,603
MANGOLD: We have two kinds.
Real, standard German-made harmonicas
1060
00:53:15,693 --> 00:53:17,183
and also glass harmonicas.
1061
00:53:17,277 --> 00:53:18,767
BELTRAMI: Sometimes it's blended
with other instruments
1062
00:53:18,862 --> 00:53:20,068
and it becomes more of a texture.
1063
00:53:20,155 --> 00:53:24,365
Sometimes it's even just
the breath effect through the harmonica
1064
00:53:24,451 --> 00:53:26,658
and sometimes it's used
as a melodic instrument.
1065
00:53:26,995 --> 00:53:29,032
(FOREBODING MUSIC PLAYING)
1066
00:53:31,291 --> 00:53:32,372
Go get her.
1067
00:53:32,459 --> 00:53:35,201
BELTRAMI: You know, there's also a theme
for the bad guys,
1068
00:53:35,295 --> 00:53:39,129
which is like a textural bending thing,
it's a lower range.
1069
00:53:46,682 --> 00:53:51,051
That's better, I think we could do
even a little bit more bending as we exit.
1070
00:53:51,437 --> 00:53:53,269
(ENGINE REVVING)
1071
00:53:53,564 --> 00:53:54,645
(GUNSHOTS)
1072
00:53:57,526 --> 00:53:59,392
BELTRAMI: Character,
we 've seen, is different.
1073
00:53:59,486 --> 00:54:02,979
The smelting plant action scene
is a completely different feel
1074
00:54:03,073 --> 00:54:05,986
from the Logan fighting X-24.
1075
00:54:06,076 --> 00:54:07,066
(ROARS)
1076
00:54:09,371 --> 00:54:13,615
Which is much more of a conceptual thing
than like a chase scene,
1077
00:54:13,709 --> 00:54:18,454
which has similarities too but it's different
from the farmhouse murder scene,
1078
00:54:18,547 --> 00:54:21,790
which has almost like
some horrific elements to it.
1079
00:54:22,468 --> 00:54:24,004
Put her down.
1080
00:54:24,344 --> 00:54:27,177
They're all based on similar ideas
but go in different directions.
1081
00:54:27,264 --> 00:54:28,345
One,
1082
00:54:29,057 --> 00:54:30,092
two.
1083
00:54:30,684 --> 00:54:32,550
(PLAYING INTENSE MUSIC)
1084
00:54:41,612 --> 00:54:46,823
The composer has to find a way
to bring together all those different ideas
1085
00:54:46,909 --> 00:54:50,027
but in this case,
I do think you'll find it feels different.
1086
00:54:50,120 --> 00:54:52,862
It's trying to find the alchemy of the sound
1087
00:54:52,956 --> 00:54:56,199
that somehow just doesn't feel
"been there, done that."
1088
00:54:56,418 --> 00:54:58,910
And also doesn't signal for the audience
1089
00:54:59,004 --> 00:55:01,371
that you're watching
just another one of these movies.
1090
00:55:08,138 --> 00:55:10,049
(INDISTINCT TALKING)
1091
00:55:11,600 --> 00:55:12,590
(G ROANS)
1092
00:55:12,684 --> 00:55:15,096
GARRETT WARREN: Hugh's been doing
this character for about 20 years now
1093
00:55:15,187 --> 00:55:17,929
and this character was designed
by someone in a comic book world.
1094
00:55:18,023 --> 00:55:19,263
However, he adapted it.
1095
00:55:19,358 --> 00:55:22,976
He came in and made this thing real,
flesh and blood, and at the same time,
1096
00:55:23,070 --> 00:55:25,277
he's also helped driven
who it is on the screen.
1097
00:55:25,364 --> 00:55:27,230
Nobody knows this character
better than he does.
1098
00:55:27,324 --> 00:55:30,692
Block here, grab him here.
Around his arms, here more.
1099
00:55:30,786 --> 00:55:32,868
-If you can, grab up high on here...
-Yup.
1100
00:55:32,955 --> 00:55:36,869
HUGH JACKMAN: We worked quite a while
beforehand preparing the stunts,
1101
00:55:36,959 --> 00:55:40,327
because it wasn't just about
"slice, slice, punch, punch."
1102
00:55:40,420 --> 00:55:42,161
This is all great, right?
1103
00:55:42,256 --> 00:55:43,997
Just bring the gun a little higher
so it's not low.
1104
00:55:44,091 --> 00:55:45,377
-So you can see it.
-Yeah, and then
1105
00:55:45,467 --> 00:55:48,300
stretch your arm outjust a little bit wider
to the right when you kill him.
1106
00:55:48,387 --> 00:55:49,923
-Go back to just when he...
-Yeah, I cut it short.
1107
00:55:50,013 --> 00:55:51,344
-I was too close to him.
-Okay, good. There you go.
1108
00:55:51,431 --> 00:55:53,798
JAMES MANGOLD: Hugh Jackman's
Incredible at these fight sequences.
1109
00:55:53,892 --> 00:55:57,385
You will show him three moves,
and then suddenly he's doing them
1110
00:55:57,479 --> 00:56:01,347
and coming incredibly close to getting hit
and he's just physically sharp.
1111
00:56:01,441 --> 00:56:04,354
STEVE BROWN: Hugh has done almost
all of his action and stunts.
1112
00:56:04,444 --> 00:56:05,479
He's phenomenal.
1113
00:56:05,571 --> 00:56:08,654
He doesn'tjust learn quickly,
but he sells the character, he's safe
1114
00:56:08,740 --> 00:56:10,481
and he makes it look very, very good.
1115
00:56:10,576 --> 00:56:13,489
RICHARD E. GRANT:
His arms are bigger than my thighs.
1116
00:56:13,579 --> 00:56:16,947
He gets up at 3:00 in the morning
and goes to the gym for two hours.
1117
00:56:17,040 --> 00:56:21,079
And eats constantly throughout the day
and is so disciplined in order to do that.
1118
00:56:21,169 --> 00:56:23,536
BOYD HOLBROOK:
He's just so about the work.
1119
00:56:23,630 --> 00:56:27,214
You have to have a certain integrity
and work ethic for all this to happen.
1120
00:56:27,301 --> 00:56:31,215
And so when Hugh invites you
to go on a 5:00 a.m. run,
1121
00:56:31,305 --> 00:56:33,421
you go on a 5:00 a.m. run and it's fun.
1122
00:56:33,515 --> 00:56:34,971
HUTCH PARKER: The stunt training
is pretty rigorous
1123
00:56:35,058 --> 00:56:38,176
and in this case, we were going
for a harder-edged tone.
1124
00:56:38,270 --> 00:56:42,264
So the fight sequences are more intense.
They are inherently bloody, more violent,
1125
00:56:42,357 --> 00:56:44,189
and in some ways,
could have been more disturbing.
1126
00:56:44,318 --> 00:56:45,308
(SCREAMS)
1127
00:56:45,485 --> 00:56:47,897
BROWN: In the past couple of films,
the stunt coordinators
1128
00:56:47,988 --> 00:56:50,275
and the fight choreographers
of those films were amazing.
1129
00:56:50,365 --> 00:56:53,733
They did a fantastic job.
Their only Iimitation was the rating.
1130
00:56:54,202 --> 00:56:56,159
And when you have six knives
on your hands,
1131
00:56:56,246 --> 00:56:58,328
it's hard to showcase a lot of the action.
1132
00:56:58,415 --> 00:57:02,249
And now that we finally have that rating,
we're able to really show it and go for it.
1133
00:57:02,336 --> 00:57:03,497
WARREN: We get to decapitate people.
1134
00:57:04,129 --> 00:57:05,210
Cut arms off.
1135
00:57:05,297 --> 00:57:08,255
Stab people in the throat so the claws
come out the other side of their face.
1136
00:57:08,508 --> 00:57:11,591
We get to do things
that you couldn 't do on a regular movie,
1137
00:57:11,678 --> 00:57:14,545
but would happen in real life
if you had these weapons.
1138
00:57:14,681 --> 00:57:17,139
-MAN: Boom! Claws come out.
-(GROANS)
1139
00:57:17,225 --> 00:57:19,592
Claws come out, he blocks it. Good, nice.
1140
00:57:19,686 --> 00:57:21,643
Head hit, nice. Body hit right there, Tim.
1141
00:57:21,730 --> 00:57:22,720
(LAUGHS)
1142
00:57:23,023 --> 00:57:24,764
Good, and that's a cut. A|| right?
1143
00:57:24,858 --> 00:57:26,519
WARREN:
The fighting style was already there.
1144
00:57:26,610 --> 00:57:28,817
It's kind of hard
to neglect the fact that he's got claws.
1145
00:57:28,904 --> 00:57:31,692
It was not like you're going out there
trying to do big, huge jump kicks.
1146
00:57:31,782 --> 00:57:32,988
Why would he jump in the air
and kick someone
1147
00:57:33,075 --> 00:57:34,691
when he's got
these knives on his knuckles?
1148
00:57:34,785 --> 00:57:37,903
JP JONES: The number one thing
anybody on the crew wants to see
1149
00:57:37,996 --> 00:57:40,112
or anybody wants to talk about
are the claws.
1150
00:57:40,207 --> 00:57:43,370
Hands down,
the claws are the biggest deal in the movie.
1151
00:57:43,460 --> 00:57:46,293
We obvious/y took a design
from the last Wolverine.
1152
00:57:46,380 --> 00:57:49,498
That was the last incarnation of the claws
that have changed a few times.
1153
00:57:49,591 --> 00:57:53,676
So what we did was we took those claws
and we tarnished them.
1154
00:57:53,762 --> 00:57:56,754
We sandblasted them, sent them out
to have them acid-etched,
1155
00:57:56,848 --> 00:58:00,261
and at the end, we came up with one
that just enough of the edge is off it.
1156
00:58:00,894 --> 00:58:03,386
MAN: Gonna get some green
for this shit right here, homes.
1157
00:58:04,648 --> 00:58:06,184
Ah, fuck.
1158
00:58:06,274 --> 00:58:09,608
In the first 30 seconds of the film,
you're finding Logan
1159
00:58:09,903 --> 00:58:11,359
drunk in the back of his own Iimousine,
1160
00:58:11,446 --> 00:58:17,783
waking as his car is being jacked up
and stripped by a EI Paso street gang.
1161
00:58:17,869 --> 00:58:19,030
Guys?
1162
00:58:20,080 --> 00:58:22,492
Those are chrome-plated Iugs.
You're gonna strip them.
1163
00:58:22,582 --> 00:58:23,572
MAN: Look at this guy, eh?
1164
00:58:23,667 --> 00:58:25,032
The plating flakes off.
1165
00:58:25,293 --> 00:58:26,328
Yeah?
1166
00:58:26,420 --> 00:58:28,957
This is a lease.
No one's gonna pay to ride...
1167
00:58:29,047 --> 00:58:30,458
-(GUNSHOT)
-(MEN LAUGHING)
1168
00:58:30,757 --> 00:58:32,293
MANGOLD: And what I wanted to see is,
1169
00:58:32,384 --> 00:58:36,002
this is a character who,
when he Ioses his temper, it's ugly.
1170
00:58:36,096 --> 00:58:39,589
And it's ugly in a way, and merciless
in a way we haven't seen before.
1171
00:58:39,683 --> 00:58:43,392
BROWN: It's the first time we get to see the
whole rated-R feeling and just seeing how
1172
00:58:43,478 --> 00:58:45,219
right out of the gates, Logan is different.
1173
00:58:45,772 --> 00:58:48,560
Logan is not the same.
He's older, he doesn't move the same.
1174
00:58:48,650 --> 00:58:50,732
And then seeing how that switch just flips.
1175
00:58:51,028 --> 00:58:52,063
MAN: Action!
1176
00:58:54,406 --> 00:58:55,396
BROWN: It's that berserker rage
1177
00:58:55,490 --> 00:58:57,652
that oven/vhelmed
and took over for that moment
1178
00:58:57,743 --> 00:59:00,405
and then he kind of falls
back to himself as Logan.
1179
00:59:00,495 --> 00:59:02,532
And I think it's a very powerful,
strong opening to the movie.
1180
00:59:02,831 --> 00:59:07,075
There's a certain kind of vicarious thrill
to watching this kind of blood battle.
1181
00:59:07,169 --> 00:59:10,036
And it also communicates,
"Yes, we're going there.
1182
00:59:10,130 --> 00:59:11,416
"So fasten your seatbelts."
1183
00:59:11,506 --> 00:59:12,871
-(GRUNTS)
-(BOTTLE SHATTERS)
1184
00:59:13,467 --> 00:59:16,630
Most of my training was based around
learning the fights, yes,
1185
00:59:16,720 --> 00:59:20,008
but also learning the different physicalities
of X-24 and Logan.
1186
00:59:20,098 --> 00:59:21,714
MANGOLD:
When I was working on the last Wolverine,
1187
00:59:21,808 --> 00:59:25,221
the Western Shane
rang in my ears all the time
1188
00:59:25,312 --> 00:59:28,555
because it was this curse of being
this kind of violent hero.
1189
00:59:28,648 --> 00:59:30,730
Means that you are forever guilty.
1190
00:59:30,817 --> 00:59:36,859
If Logan is a character like Shane
who has a past that haunts him,
1191
00:59:37,324 --> 00:59:40,737
then what could be worse for him
to have to face
1192
00:59:40,827 --> 00:59:45,446
than almost looking at himself
50 years ago, when he was Weapon X.
1193
00:59:45,540 --> 00:59:49,704
JAC KMAN: Weapon X, Wolverine,
was perfect except for his heart.
1194
00:59:49,795 --> 00:59:52,457
He had that goodness to him,
and if he just didn't have that
1195
00:59:52,547 --> 00:59:53,833
he would have been
the perfect killing machine.
1196
00:59:54,174 --> 00:59:57,087
But he had a heart,
he had a conscience, he had a mind,
1197
00:59:57,177 --> 01:00:01,216
and he didn 't just blind/y follow
whatever order he was given.
1198
01:00:01,306 --> 01:00:05,265
So what has created X-24 is just
1199
01:00:05,352 --> 01:00:09,186
the berserk rage of Wolverine, 24/7.
1200
01:00:09,272 --> 01:00:13,891
That's all he is.
He's just animal, destruction, rage.
1201
01:00:14,402 --> 01:00:16,143
-(MAN SCREAMS)
-(GRUNTS)
1202
01:00:16,488 --> 01:00:17,569
-(WOMAN SCREAMS)
-(LOGAN GRUNTS)
1203
01:00:18,031 --> 01:00:19,021
(GUNSHOT)
1204
01:00:19,157 --> 01:00:20,488
DR. RICE: Get back here!
1205
01:00:20,575 --> 01:00:21,815
Stop! Stop now!
1206
01:00:22,035 --> 01:00:23,992
The most powerful thing
he could have to face,
1207
01:00:24,079 --> 01:00:26,696
the one thing, I think,
he probably wouldn't be able to beat
1208
01:00:26,790 --> 01:00:28,656
would be a vision of himself.
1209
01:00:28,750 --> 01:00:32,960
Yet to see Logan see himself
for the first time in X-24,
1210
01:00:33,046 --> 01:00:35,413
and subsequently,
for the two of them to fight,
1211
01:00:35,507 --> 01:00:38,966
fight fue/ed by Logan having witnessed
Charles murdered,
1212
01:00:39,052 --> 01:00:43,467
and the rage of that and confronting
a new, healthy Wolverine in X-24.
1213
01:00:43,557 --> 01:00:45,139
It was a pretty amazing sequence.
1214
01:00:45,225 --> 01:00:48,308
| get to play him and fight myself,
1215
01:00:48,395 --> 01:00:51,057
which I have to tell you, was very strange.
1216
01:00:51,231 --> 01:00:52,221
(SCREAMS)
1217
01:00:58,864 --> 01:00:59,854
(SCREAMS)
1218
01:01:00,407 --> 01:01:02,068
In a way,
you're at a tremendous advantage
1219
01:01:02,159 --> 01:01:05,823
because now I have an incredible actor
in his physical ability playing two roles.
1220
01:01:05,912 --> 01:01:08,324
But of course, to stage those scenes,
we had two doubles.
1221
01:01:08,415 --> 01:01:09,746
One to play Logan,
1222
01:01:09,833 --> 01:01:12,325
and one to play bad Logan, if you will.
1223
01:01:12,419 --> 01:01:14,751
And Hugh would jump between.
1224
01:01:14,838 --> 01:01:18,172
BROWN: Logan, in this film,
already has a lot of trials and tribulations
1225
01:01:18,258 --> 01:01:20,875
that he's going through,
whether it's emotional or physical.
1226
01:01:20,969 --> 01:01:23,836
And to see him battling that
and then to see a fresher,
1227
01:01:23,930 --> 01:01:26,262
younger version of himself,
and all the emotion that went into it,
1228
01:01:26,349 --> 01:01:29,057
it was kind of beautiful to see
how it all played out.
1229
01:01:29,144 --> 01:01:32,603
JACKMAN: We wanted to have
different physicality for both of them.
1230
01:01:32,689 --> 01:01:35,477
We worked really hard on trying
to distinguish the body language.
1231
01:01:35,567 --> 01:01:38,935
One is aging, one is ill, one is older,
1232
01:01:39,029 --> 01:01:42,238
and one is more animalistic
and younger and invincible.
1233
01:01:42,449 --> 01:01:45,441
We gave him, at one point,
a whole different forehead
1234
01:01:45,535 --> 01:01:49,199
and nose and eyes. I wore contact lenses.
1235
01:01:49,289 --> 01:01:52,498
But it just ended up becoming a little silly
so we pulled it back,
1236
01:01:52,584 --> 01:01:54,621
and if you look closer,
I have a slightly different nose.
1237
01:01:54,711 --> 01:01:56,497
You immediately know it's me,
1238
01:01:56,588 --> 01:02:01,207
but just something in your brain, hopefully,
when watching it, just goes,
1239
01:02:01,301 --> 01:02:03,793
"Something... Something a little off there.
| don't know what it is."
1240
01:02:03,887 --> 01:02:06,424
JOEL HARLOW: The hair is really
whatjumps out, almost instant/y,
1241
01:02:06,514 --> 01:02:09,552
because Logan has got a full head of hair,
a full beard.
1242
01:02:09,643 --> 01:02:11,680
X-24 is buzz cut.
1243
01:02:11,770 --> 01:02:14,558
He's shaved into the traditional
sort of Wolverine chops.
1244
01:02:14,648 --> 01:02:16,434
So that instant/y sets them apart.
1245
01:02:16,524 --> 01:02:17,559
What the hell are you?
1246
01:02:17,776 --> 01:02:20,234
(BOTH YELLING)
1247
01:02:23,573 --> 01:02:26,861
X-24 is newer, better, stronger, faster.
1248
01:02:26,952 --> 01:02:30,070
So he has the last version
of the Wolverine claws.
1249
01:02:30,163 --> 01:02:32,951
They're shiny, new
and evezything about them is perfect.
1250
01:02:33,041 --> 01:02:35,749
JACKMAN: I've worked with a Stuntman
for ages, Dan Stevens.
1251
01:02:35,835 --> 01:02:37,325
If I 'm not doing something,
he's doing it, right?
1252
01:02:37,420 --> 01:02:38,876
So if it's too dangerous for me, he does it.
1253
01:02:38,964 --> 01:02:40,204
All of a sudden,
we were opposite each other
1254
01:02:40,298 --> 01:02:42,460
because when I was playing X-24,
1255
01:02:42,550 --> 01:02:45,759
he would play Logan,
and on the very first take,
1256
01:02:45,845 --> 01:02:48,678
| accidentally hit him in the jaw.
(CHUCKLES)
1257
01:02:49,182 --> 01:02:51,423
And he looked at me and he goes,
"Is this the way it's gonna go?"
1258
01:02:51,518 --> 01:02:54,010
-MAN: Action!
-(GRUNTING) Ah!
1259
01:02:54,562 --> 01:02:57,270
WARREN: For Logan fighting Logan,
or Logan fighting X-24,
1260
01:02:57,357 --> 01:02:59,268
we had to have
two stunt doubles, basically,
1261
01:02:59,359 --> 01:03:01,475
because we always have to have
someone doubling Hugh Jackman
1262
01:03:01,569 --> 01:03:03,526
as well as someone playing X-24,
let me say.
1263
01:03:03,613 --> 01:03:06,446
And then once we shoot the scene,
we have to shoot it almost over again,
1264
01:03:06,533 --> 01:03:07,614
flip-flopped the other way.
1265
01:03:07,951 --> 01:03:10,443
JACKMAN: Garrett Warren, I've worked
with on two other films.
1266
01:03:10,537 --> 01:03:13,450
He's phenomenal and crazy.
1267
01:03:13,540 --> 01:03:15,952
Absolute crazy son of a bitch
and I love him.
1268
01:03:16,042 --> 01:03:17,828
Good. Exactly. That's it. That's all.
1269
01:03:17,919 --> 01:03:19,375
-You know what | mean?
-That's great, I love it.
1270
01:03:19,462 --> 01:03:23,581
JAC KMAN: And he's perfect for this.
He totally got that Wolverine berserk right.
1271
01:03:25,051 --> 01:03:29,136
MANGOLD: For me, the brute/ity of seeing
a Logan-on-Logan fight
1272
01:03:29,222 --> 01:03:33,181
ultimately felt like something
more threatening to each character
1273
01:03:33,268 --> 01:03:35,259
and more interesting to each character.
1274
01:03:35,353 --> 01:03:39,768
The sense of Logan looking in a mirror
and seeing the darkest,
1275
01:03:39,858 --> 01:03:43,601
most shameful part of his own life
and being faced with it.
1276
01:03:43,695 --> 01:03:44,730
-(ENGINE REWING)
-(GRUNTS)
1277
01:03:44,946 --> 01:03:46,937
-(CRASHING)
-(GLASS SHATTERS)
1278
01:03:48,742 --> 01:03:49,823
(GRUNTING)
1279
01:03:49,909 --> 01:03:52,651
Good, exactly. Turn around and then go.
1280
01:03:53,580 --> 01:03:54,570
Boom, boom!
1281
01:03:54,664 --> 01:03:56,951
Good, yes. That's good.
1282
01:03:57,042 --> 01:04:00,455
For X-23, Laura,
we wanted the feel that she's Wolverine,
1283
01:04:00,920 --> 01:04:02,206
but in her own way.
1284
01:04:02,297 --> 01:04:04,379
And using her height and size
to her advantage,
1285
01:04:04,466 --> 01:04:07,333
so being more nimble
and fluid with her movement.
1286
01:04:07,427 --> 01:04:09,088
-(GROANS)
-(SCREAMS)
1287
01:04:10,638 --> 01:04:14,347
JACKMAN: Dafne did a Iot of training,
particularly with that kind of character,
1288
01:04:14,434 --> 01:04:15,515
a young character,
1289
01:04:15,602 --> 01:04:18,014
the more you can have the kid in there
1290
01:04:18,104 --> 01:04:20,721
and for the audience
really to believe it's her, the better.
1291
01:04:20,815 --> 01:04:23,056
MANGOLD:
It's very hard to double an 11-year-old.
1292
01:04:23,151 --> 01:04:28,021
So I wanted a young woman who could
own the kind of intensity of the action,
1293
01:04:28,114 --> 01:04:33,280
because a lot of the way an actor
can justify the physicality of a role
1294
01:04:33,370 --> 01:04:34,701
is if they can really own it.
1295
01:04:34,788 --> 01:04:37,826
If it feels like they would have done that
and it's not pretend.
1296
01:04:37,916 --> 01:04:41,534
And that was a lot of what we worked on
in rehearsals as well, and in the gym.
1297
01:04:41,628 --> 01:04:44,040
We had to have her train in Spain
before she got here
1298
01:04:44,130 --> 01:04:46,087
so that she had some kind of skills
before she came.
1299
01:04:46,174 --> 01:04:48,131
So it was martial arts classes
that she went into.
1300
01:04:48,218 --> 01:04:50,835
When she got here,
we had about a month to train with her.
1301
01:04:50,929 --> 01:04:55,389
I was really worried at the beginning, like,
I have to know my stunt choreographies,
1302
01:04:55,475 --> 01:04:57,887
but then when you get here
they kind of change them all the time.
1303
01:04:57,977 --> 01:04:59,638
So you don't have to worry too much.
1304
01:05:00,480 --> 01:05:01,845
(LAURA SCREAMS)
1305
01:05:03,650 --> 01:05:05,140
-(SCREAMS)
-(MAN ROARING)
1306
01:05:06,236 --> 01:05:07,897
BROWN: It's a hard thing to gauge,
you know,
1307
01:05:07,987 --> 01:05:10,945
at first when you first meet
such a young actress like that.
1308
01:05:11,032 --> 01:05:12,318
You're trying to gauge her personality.
1309
01:05:12,409 --> 01:05:14,901
You wanna know how hard
and how much you can push them,
1310
01:05:14,994 --> 01:05:17,736
and with Dafne, right from day one,
she was excited.
1311
01:05:17,831 --> 01:05:18,992
For her it was like a playground.
1312
01:05:19,082 --> 01:05:20,197
*Gol
1313
01:05:20,417 --> 01:05:21,407
(SCREAMS)
1314
01:05:22,127 --> 01:05:23,834
-Ahh!
-(SCREAMS)
1315
01:05:24,587 --> 01:05:25,793
BROWN: When she was doing her action,
1316
01:05:25,880 --> 01:05:28,542
she understood that, you know,
as the character,
1317
01:05:28,633 --> 01:05:29,873
things that needed to be visceral.
1318
01:05:29,968 --> 01:05:32,380
When she's killing someone,
it had to have emotion in it
1319
01:05:32,470 --> 01:05:34,882
and I thought she did a
phenomenal job bringing that to life.
1320
01:05:34,973 --> 01:05:37,340
JACKMAN: She worked hard...
I'm not gonna say, "Work " She loved it.
1321
01:05:37,434 --> 01:05:40,392
She didn't wanna leave stunt training.
She absolutely loved it.
1322
01:05:40,478 --> 01:05:41,843
I don 't think I ever saw her sitting down.
1323
01:05:42,897 --> 01:05:43,887
Ahh!
1324
01:05:44,441 --> 01:05:45,431
(GRUNTS)
1325
01:05:46,192 --> 01:05:47,182
(G ROANS)
1326
01:05:47,944 --> 01:05:50,276
KEEN:
She has two claws in her hands
1327
01:05:50,363 --> 01:05:53,947
and then she has one
that comes out of here, in her foot.
1328
01:05:54,033 --> 01:05:57,742
And she heals vely quickly.
1329
01:05:59,706 --> 01:06:03,074
Dafne did a lot of it herself
and it's impressive.
1330
01:06:03,168 --> 01:06:06,752
She seemed fearless
about some of the physical things.
1331
01:06:06,838 --> 01:06:10,832
PARKER: With the claws, it requires a level
of active physicality, movement.
1332
01:06:10,925 --> 01:06:13,462
It's not the same as Storm
wie/ding Iightning bolts
1333
01:06:13,553 --> 01:06:14,839
where they're effectively conjuring.
1334
01:06:14,929 --> 01:06:19,264
In this case, they really do have to interact,
but she never flinched at any of it.
1335
01:06:19,350 --> 01:06:22,433
In fact, seemed to be a natural
in all those regards.
1336
01:06:22,520 --> 01:06:24,227
WARREN: We had claws
that she would hold in her hands
1337
01:06:24,314 --> 01:06:25,429
so she would see what that's like.
1338
01:06:25,523 --> 01:06:27,264
I would use paper
and have her break the paper
1339
01:06:27,358 --> 01:06:29,269
and claw the paper and slice it into pieces.
1340
01:06:29,360 --> 01:06:31,476
That way, she knew what it was like
to use those claws for real
1341
01:06:31,571 --> 01:06:32,982
instead ofjust wielding them in the air.
1342
01:06:33,072 --> 01:06:34,312
JAC KMAN: When she put those claws on...
1343
01:06:34,407 --> 01:06:37,490
Actually, l looked over one day,
she had my claws on and she was beaming.
1344
01:06:37,577 --> 01:06:38,908
She's an 11-year-old kid
1345
01:06:38,995 --> 01:06:41,453
who couldn't believe she's putting claws on
and getting to stab people.
1346
01:06:41,539 --> 01:06:43,075
(LAUGHS) You know, she loved it.
1347
01:06:43,416 --> 01:06:46,659
JONES: X-23, Laura,
we got to start from scratch.
1348
01:06:46,753 --> 01:06:48,289
So | come to it with logic.
1349
01:06:48,379 --> 01:06:52,122
She has small arms, smaller hands,
there's only two claws.
1350
01:06:52,217 --> 01:06:53,582
How much can it come out,
1351
01:06:53,676 --> 01:06:56,168
where does it go when it comes back in,
if you wanna think about it.
1352
01:06:56,262 --> 01:06:57,798
DAFNE: They were really sharp.
1353
01:06:57,889 --> 01:07:01,848
The hand claws are rubber
so I don't stab anyone.
1354
01:07:01,935 --> 01:07:04,222
But then the foot claw, I was like,
1355
01:07:04,312 --> 01:07:07,600
"Oh, my God, I'm going to wear
this shoe with a foot claw on it."
1356
01:07:07,857 --> 01:07:12,317
The foot claw turns out to be
one of my favorite props in the movie.
1357
01:07:12,737 --> 01:07:14,353
It brought a smile to her face.
1358
01:07:14,447 --> 01:07:17,405
It's the greatest smile I've ever seen
when I delivered a prop.
1359
01:07:18,159 --> 01:07:21,527
When we used it, we wanted her to drag
her feet, we wanted to see the dirt.
1360
01:07:21,621 --> 01:07:25,865
But that's difficult, the interaction between
the metal and the dirt is hard to recreate.
1361
01:07:25,959 --> 01:07:27,666
So it was important
that we made something
1362
01:07:27,752 --> 01:07:29,083
that she could put her foot into,
1363
01:07:29,170 --> 01:07:32,708
and that was sturdy enough
to withstand the shot we needed.
1364
01:07:32,799 --> 01:07:35,882
So we built a metal plate and a steel toe
1365
01:07:35,969 --> 01:07:40,338
and then | had the blade welded onto that
and it goes in through her shoe.
1366
01:07:40,431 --> 01:07:44,766
So literally, her weight is actually
holding the blade in place.
1367
01:07:44,852 --> 01:07:47,435
So as long as she's standing there
and has her foot in the shoe,
1368
01:07:47,522 --> 01:07:49,479
it's firm enough for her to do
what we need.
1369
01:07:49,566 --> 01:07:53,605
You did a greatjob last time of seeing mad
and then seeing Logan, right? Good.
1370
01:07:53,695 --> 01:07:55,356
And then gunfire.
(IMITATES GUNSHOTS)
1371
01:07:55,572 --> 01:07:56,653
Right. Good, look back to him.
1372
01:07:56,739 --> 01:07:59,652
We have a moment where we finally see
Logan and Laura fighting together.
1373
01:07:59,742 --> 01:08:02,575
And we see that emotion come out of him,
that he cares and he's looking for her
1374
01:08:02,662 --> 01:08:04,198
and then he finds her finally,
1375
01:08:04,289 --> 01:08:07,532
and then we get to see father-daughter
fighting together and it's awesome.
1376
01:08:07,625 --> 01:08:08,911
-(GRUNTS)
-(SCREAMS)
1377
01:08:09,002 --> 01:08:09,992
(G ROWLS)
1378
01:08:10,169 --> 01:08:12,285
(LAURA SCREAMING)
1379
01:08:13,423 --> 01:08:14,458
(G ROANS)
1380
01:08:15,008 --> 01:08:16,214
-(SCREAMS)
-(CLAW STABBING)
1381
01:08:16,301 --> 01:08:17,757
-(PANTING)
-(GROWLS)
1382
01:08:18,553 --> 01:08:21,762
That look, after the end of that is, in a way,
1383
01:08:21,848 --> 01:08:24,055
both of them are proud of each other.
She's proud of me.
1384
01:08:24,142 --> 01:08:25,928
-Yes, and we're the same.
-And we're the same.
1385
01:08:26,019 --> 01:08:27,054
Yes.
1386
01:08:27,145 --> 01:08:30,308
Ultimately,
however he talks about himself,
1387
01:08:30,398 --> 01:08:34,608
the reality of the character is that he has
as big a heart as any of these characters.
1388
01:08:34,694 --> 01:08:37,231
He's weary, he's tired.
1389
01:08:37,322 --> 01:08:40,485
He's lost too many times
and lost too many people.
1390
01:08:40,575 --> 01:08:44,944
But in the end,
he will rise to defend the innocent.
1391
01:08:45,038 --> 01:08:46,278
Showtime, boy!
1392
01:08:46,497 --> 01:08:47,862
(SCREAMS)
1393
01:08:50,543 --> 01:08:51,578
(SCREAMS)
1394
01:08:51,669 --> 01:08:55,378
The idea for me was, "What in the end
is gonna destroy Logan?"
1395
01:08:55,673 --> 01:08:58,415
And I had to stan* to answer the question
psychologically, like,
1396
01:08:58,509 --> 01:09:00,671
"Well, he should be killed by himself."
1397
01:09:00,762 --> 01:09:03,129
PARKER: It's interesting 'cause even
as it's sad, of course,
1398
01:09:03,222 --> 01:09:06,305
you can't help but feel it's right.
1399
01:09:06,601 --> 01:09:07,591
(SCREAMS)
1400
01:09:07,685 --> 01:09:08,720
-(METAL CLATTERING)
-(GROANS)
1401
01:09:09,562 --> 01:09:11,144
(PANTING)
1402
01:09:12,607 --> 01:09:13,847
(SCREAMING)
1403
01:09:14,233 --> 01:09:15,268
Laura!
1404
01:09:17,904 --> 01:09:21,488
MANGOLD: It was the kind of last chapter
in the love story between him and Laura.
1405
01:09:21,574 --> 01:09:23,941
A father-daughter story
in which a father and a daughter
1406
01:09:24,035 --> 01:09:27,153
who have never had the ability
to connect very well
1407
01:09:27,246 --> 01:09:30,284
finally find a way
to understand each other.
1408
01:09:30,375 --> 01:09:32,241
SCOTT FRANK: If you know
you're gonna kill him at the end,
1409
01:09:32,335 --> 01:09:34,667
you can write that story because
there's real weight at the end of it.
1410
01:09:34,754 --> 01:09:36,916
You're writing towards something
that's real.
1411
01:09:37,006 --> 01:09:39,589
You're not trying to figure out
how to save him at the end.
1412
01:09:39,676 --> 01:09:42,088
You're writing toward
a real emotional place.
1413
01:09:42,178 --> 01:09:46,888
And that's actually easier
than trying to car/y on to the next chapter.
1414
01:09:48,184 --> 01:09:49,640
(SCREAMING IN PAIN)
1415
01:09:52,814 --> 01:09:53,804
(G ROANS)
1416
01:09:54,857 --> 01:09:56,188
(GUNSHOT)
1417
01:09:59,153 --> 01:10:04,239
Jim remained resolute
in wanting to stay emotionally true.
1418
01:10:04,325 --> 01:10:08,489
And as a result, the scene is pretty simple.
It's not a wordy scene.
1419
01:10:08,579 --> 01:10:12,368
It's played in bits of silence,
in fragments of dialogue
1420
01:10:12,458 --> 01:10:16,952
that tell us what we need to know,
which is, you sense their resolution.
1421
01:10:17,046 --> 01:10:19,504
They finally come
to the resolution together
1422
01:10:19,590 --> 01:10:22,002
that we've been hoping
for the whole movie they would.
1423
01:10:22,093 --> 01:10:23,675
(SCREAMS IN AGONY)
1424
01:10:25,722 --> 01:10:26,712
(LAURA SOBS)
1425
01:10:27,265 --> 01:10:29,552
MANGOLD: Scott Frank wrote that line
and when I read it,
1426
01:10:29,642 --> 01:10:32,384
I knew that was gonna be
the last words he spoke.
1427
01:10:32,478 --> 01:10:35,015
And those words mean
so many different things.
1428
01:10:35,106 --> 01:10:38,940
He has his daughter, kneeling beside him,
holding his hand.
1429
01:10:39,026 --> 01:10:40,482
"Oh, this is what it feels like."
1430
01:10:40,570 --> 01:10:42,026
Okay, he now knows what love feels like.
1431
01:10:42,447 --> 01:10:44,905
He's also got life ebbing from his body.
1432
01:10:44,991 --> 01:10:49,280
A guy who's been living for
200 years, stressed out,
1433
01:10:49,370 --> 01:10:55,787
is finally getting released into nothingness
or whatever is on the other side.
1434
01:10:56,210 --> 01:10:57,700
"Oh, this is what it feels like."
1435
01:10:57,795 --> 01:11:02,335
Opening himself up to love,
doing the right thing, despite it hurting.
1436
01:11:02,425 --> 01:11:04,166
"Oh, so, this is what it feels like."
1437
01:11:04,260 --> 01:11:07,924
FRANK: I will say, for me,
it was not about having a family.
1438
01:11:08,014 --> 01:11:11,177
Because I'd been thinking about
this character through two movies,
1439
01:11:11,267 --> 01:11:14,931
and it was always about someone
who is immortal becoming mortal.
1440
01:11:15,021 --> 01:11:20,232
And it was always about understanding
that this is what it's like to be at the end.
1441
01:11:20,318 --> 01:11:22,025
MANGOLD: I think that in many ways,
1442
01:11:22,111 --> 01:11:25,979
the idea was to find
the most minimal, gruff way
1443
01:11:26,073 --> 01:11:30,783
for Logan to acknowledge that there had,
for all the years he's lived,
1444
01:11:30,870 --> 01:11:34,955
there is something he didn't taste
or know until right now.
1445
01:11:35,041 --> 01:11:38,830
And I think Hugh also found a way
to really take those words and deliver.
1446
01:11:38,920 --> 01:11:39,910
So...
1447
01:11:40,963 --> 01:11:43,421
Oh, so, this is what it feels like.
1448
01:11:45,551 --> 01:11:46,541
(CRYING) No;
1449
01:11:54,560 --> 01:11:55,550
No!
1450
01:11:58,606 --> 01:11:59,596
(ALL LAUGHING)
1451
01:11:59,690 --> 01:12:01,272
MAN: All right, last looks.
Picture's up, good to go.
1452
01:12:01,359 --> 01:12:03,316
SIMON KINBERG:
Hugh always had said that Logan
1453
01:12:03,402 --> 01:12:04,858
was gonna be his last Wolverine movie.
1454
01:12:04,946 --> 01:12:07,779
That this has to be the best one
and it has to hit a bar
1455
01:12:07,865 --> 01:12:10,197
that perhaps some of the movies
hadn 't hit before.
1456
01:12:10,284 --> 01:12:11,900
And cut. We got it.
1457
01:12:12,578 --> 01:12:13,989
-MAN: Cut!
-(CHEERING)
1458
01:12:14,080 --> 01:12:17,618
There's always something strange
about the last day
1459
01:12:17,708 --> 01:12:19,574
because it's suddenly over.
1460
01:12:19,669 --> 01:12:22,161
It was kind of painful, kind of bittersweet,
1461
01:12:22,255 --> 01:12:25,373
but Hugh, he's such a pro
and he's so generous,
1462
01:12:25,466 --> 01:12:28,128
at least for me, it's wanting to make sure
it's good for him.
1463
01:12:28,219 --> 01:12:29,709
-Hugh Jackman?
-JACKMAN: Yes.
1464
01:12:30,137 --> 01:12:34,301
That is the cessation of main unit
photography for you on...
1465
01:12:34,392 --> 01:12:36,929
-JACKMAN: What a way to go.
-And what a way to go, and in style.
1466
01:12:37,311 --> 01:12:38,767
(CHEERING)
1467
01:12:38,855 --> 01:12:41,938
MANGOLD: The reality is that
when an actor is really great in a role
1468
01:12:42,024 --> 01:12:44,857
and finds a way to connect to audiences
and everyone else,
1469
01:12:44,944 --> 01:12:47,527
what it has to be, it seems to me, is that
1470
01:12:47,613 --> 01:12:51,777
they've found a way to connect
a deep part of themselves to this character:
1471
01:12:51,868 --> 01:12:54,610
There's no way that
they can just be kind of fak/ng it.
1472
01:12:54,704 --> 01:12:55,819
-(ALL APPLAUDING)
-Let me say one thing.
1473
01:12:55,913 --> 01:12:57,870
I've had the pleasure now of making
1474
01:12:57,957 --> 01:13:00,494
three major motion pictures
with this person.
1475
01:13:00,585 --> 01:13:04,795
And, um, beyond him being enormously,
inconceivably talented,
1476
01:13:05,214 --> 01:13:08,832
um, he is also just
one of the greatest persons in the world.
1477
01:13:08,926 --> 01:13:11,213
Greatest collaborators
and greatest friends.
1478
01:13:11,304 --> 01:13:15,548
I know I wouldn't find anyone among
this sea of people who would disagree.
1479
01:13:15,641 --> 01:13:18,975
And I think that, at least,
is something I aspire to be
1480
01:13:19,061 --> 01:13:22,395
as | go fonNard in my life,
is someone as Collaborative and kind
1481
01:13:22,481 --> 01:13:24,222
and ready for action every day
1482
01:13:24,317 --> 01:13:26,934
and greatness as you are every day,
so thank you.
1483
01:13:27,028 --> 01:13:29,360
And what a great role
you've given everyone,
1484
01:13:29,447 --> 01:13:32,530
um, for so many years,
and | hope this lives up to it.
1485
01:13:32,617 --> 01:13:34,403
-| hope to God, 'cause we worked really...
-(LAUGHS)
1486
01:13:34,493 --> 01:13:36,279
-Yeah.
-We worked our asses off.
1487
01:13:36,370 --> 01:13:37,826
PARKER: You kind of take your cue from him
1488
01:13:37,914 --> 01:13:41,999
and how he's choosing to navigate it
and follow that lead,
1489
01:13:42,084 --> 01:13:44,496
out of respect and appreciation
for all that he's done.
1490
01:13:44,587 --> 01:13:47,830
STEWART:
The film is full of unexpected events
1491
01:13:47,924 --> 01:13:50,757
and attitudes and manners
and relationships.
1492
01:13:50,843 --> 01:13:53,710
You think you know exactly where you are
and what you're witnessing,
1493
01:13:53,804 --> 01:13:56,546
and then someone does something
and you realize that you were wrong.
1494
01:13:56,641 --> 01:14:00,384
It was something else
and I think that's what makes it exciting.
1495
01:14:00,478 --> 01:14:02,264
MANGOLD: I think what we owe a character
1496
01:14:02,355 --> 01:14:05,723
who has reached as many people
as Hugh 's Wolverine has
1497
01:14:05,816 --> 01:14:08,729
is to end on a note of heart.
1498
01:14:08,819 --> 01:14:11,982
| felt like we owed him not making
a bigger one or a Iouder one
1499
01:14:12,073 --> 01:14:16,192
or a more spectacular one
but making the most feeling one.
1500
01:14:16,285 --> 01:14:19,778
The one that stirred you up
inside the most, that moved you.
1501
01:14:19,872 --> 01:14:21,408
Before I go to the cake,
1502
01:14:21,499 --> 01:14:23,456
it's a really surreal day.
1503
01:14:23,542 --> 01:14:27,126
I've got my 16-year-old in the trailer,
1504
01:14:27,755 --> 01:14:30,417
who was not even born
when | started playing this part.
1505
01:14:30,508 --> 01:14:32,215
(MANGOLD LAUGHS)
1506
01:14:32,718 --> 01:14:34,709
And Jim and about five people,
1507
01:14:34,804 --> 01:14:37,796
we've been probably working on this
for three or four years.
1508
01:14:37,890 --> 01:14:41,679
No movie has meant more to me
than this movie.
1509
01:14:41,769 --> 01:14:44,477
I'm really, really proud of what we've done.
1510
01:14:44,563 --> 01:14:47,100
We could not have done it
without every single one of you.
1511
01:14:47,191 --> 01:14:48,352
So from the bottom of my heart,
1512
01:14:48,442 --> 01:14:50,683
thank you so much
for helping us realize this dream.
1513
01:14:50,778 --> 01:14:52,815
(ALL CHEERING AND APPLAUDING)
1514
01:14:54,907 --> 01:14:56,443
Let there be cake!
1515
01:14:56,993 --> 01:14:59,030
JACKMAN: This film
felt different to all of them.
1516
01:14:59,120 --> 01:15:03,990
E very day, every scene, for me,
was a kind of battle
1517
01:15:05,084 --> 01:15:09,624
to get the best out of that character,
to get the best out of me and the situation.
1518
01:15:09,922 --> 01:15:12,163
PARKE R: We've seen a lot from him.
1519
01:15:12,258 --> 01:15:16,297
From his love story with Jean to his
conflicts with some of the otherX-Men,
1520
01:15:16,387 --> 01:15:20,096
to the degree to which
he sen/ed as a sort of guide
1521
01:15:20,182 --> 01:15:22,298
and a facilitator in Days of Future Past.
1522
01:15:22,393 --> 01:15:26,432
We 've seen a lot of different facets
of that character's life.
1523
01:15:26,522 --> 01:15:28,934
It could kind of only end in one place.
1524
01:15:29,025 --> 01:15:33,110
I love this character.
This character has been amazing to me.
1525
01:15:33,320 --> 01:15:35,357
-Thank you so much.
-You were awesome.
1526
01:15:35,448 --> 01:15:36,688
-Thanks, buddy.
-Thanks for everything.
1527
01:15:37,116 --> 01:15:39,608
JACKMAN: I'd be Iying if I said that
1528
01:15:40,327 --> 01:15:44,070
I would've been okay if I didn't feel
everything was left on the table.
1529
01:15:44,165 --> 01:15:45,200
And I mean eve/ything.
1530
01:15:45,583 --> 01:15:48,325
| don't even know what to say.
Hasn't sunk in yet. (LAUGHS)