Original subtitles

MAN: And camera.

And action!

We got to get out of here. Fast.

I have an idea.MAN: What's your idea?

Okay, so, first, we're all gonna get together as a big group,

and then, we're gonna go out for a little seafood

because it's better to... Operate on a full stomach.

[CREW LAUGHING]

Paul is so naturally funny and likable

in everything that he brings to the Marvel Universe.

And action!

BROUSSARD: He's just one of the funniest guys

I've ever had the pleasure of working with.

It's been fun to watch him bring Scott Lang to life.

Was it in a wardrobe?No.

It was in a... Like a tall dresser.

You mean a wardrobe.Is that what that's called?

They broke the mold after they made Paul Rudd.

MAN: Cut it.PFEIFFER: He is unique.

He has this incredibly dry, sweet, wicked sense of humor

behind this very boyish face.

Hi-ya, champ. How was school today?

[LAUGHS MOCKINGLY]

All right, get your jokes out now.

Let's do one more.

PEYTON REED: I always think of Scott Lang as the real everyman

in the Marvel Cinematic Universe

because he's not a super scientist.

Wait, what's happened?REED: He's not a billionaire.

A secret vault!

Did you bring the contact lens?Yes.

REED: Scott's whole goal is to really just be a better father to his daughter.

[BOTH SCREAMING]

And that definitely continues in this movie.

Crash landing!

CASSIE: Whoo![SCOTT SIGHS]

[GROANS]

I wish we could shrink for real.Oh. That is pretty cool.

One of the things that I really like about playing this character is that

he is thrown into these extraordinary circumstances.

ANT-MAN: We got you now, Ava.

Whoa!

RUDD: I mean, truly.

Yes! Shrinking and flying around on ants...

ANT-MAN: No, no, no. [SCREAMING] Ant-onio!

RUDD: Entering quantum realms.

And yet,[GASPING]

one thing that we've always tried to sustain...

When I say "we" I mean, uh, me because I speak of myself in plurals.

Sorry, you...

RUDD: Is this way of dealing with everything

with a little bit of a sense of humor.

What are we gonna do now? How are we gonna get out of...

How are we getting out of this one? Any fine plans?

RUDD: I always think of Bill Murray inStripes.

Actually, Bill Murray in anything.

He just has this way about him

that he just seems to not take any of it seriously.

Humor is the way we deal with these traumas.

You know...

I just love that.

[LAUGHING] About Bill Murray, not about myself or my portrayal of the role.

Paul has this great quirkiness, this little twinkle.

I mean, if I talk like this the whole time, it won't be annoying?

DOUGLAS: He's a writer also as well as being a wonderful actor.

He comes up with some great clever lines.

Hey, what was your favorite part about what I did back there?

[CLICKS TONGUE] Let me think about that.

Oh, hold on.

[CREW LAUGHING]

MAN: Ready, and action.

How long have you been Ant-Man again?

Scott's devotion to his family, to his little girl

was something that I very much liked and appreciated.

[MIMICS RETCHING]

And I think that the fun we have on set sort of translates onto the screen.

[ALL LAUGHING]

Paul's a really good friend of mine. Judy Greer is a great friend of mine.

So we just do a lot of laughing on set.

Paul, on set, on the fly, can make anything funnier.

CASSIE: Bye, Daddy!MAGGIE: Bye!

Bye!

He understands that, like, if everyone else does really well,

he does well.Good scene, everyone.

Let's have fun with this one.Best scene in the movie.

[IMITATES ENGINE REVVING]

Is it bad if I start the scene and go like this? [IMITATES ENGINE REVVING]

DAVID DASTMALCHIAN: We'll get on set...Hey, dudes.

...and we will, all of a sudden, see Paul Rudd do some hilarious improv.

Oh! I don't have a watch.

[ALL LAUGHING]

And instead of the people, off-camera, pulling their hair out,

they're pulling their pens out and they're getting excited.

I like weird jokes. By the way, as does Marvel.

As does Kevin Feige and Stephen Broussard.

They're all comedy lovers.

MAN: All right, here we go. Picture!

You'd be shocked at how many insane ideas you can go to them with

and they're like, "Oh, yeah. Okay, that's cool."

MAN: Three, two, one, action![ALL SCREAMING]

REED: Because these are not small movies.

So, to be able to approach it in that way

where you're really trying some way outside-of-the-box things,

that's fun.

ANT-MAN: Hi. Sorry. Hi.

It's okay. It's okay.

Sorry. No, I'm not a whale. This will just take a second.

[LAUGHTER]

BROUSSARD: Paul has brought Scott Lang to life

with so much humanity and heart and humor.

[THE WASP LAUGHS]

He walks that line between a guy that can't get out of his own way

and someone that you care very deeply for,

and that's a testament to Paul's innate abilities

as an actor, as a comedian and as a writer.

[CREW LAUGHING]

This movie might be the last thing you'd want.

But it might just be the one thing you need to save your life.

Yeah!

RUDD: And if we can just save one life,

I think it would have been a success

and worth it, in every way.

[ALL CHEERING]

[CLATTERS]

MAN: Cut it. Cut.[CREW LAUGHING]

Maybe you just need someone watching your back...

[MEN GRUNTING]

CASSIE: Like a partner.

There are a lot of things that excite me about Ant-Man and The Wasp,

but I think the biggest is to see Wasp herself.

To see Hope Van Dyne as a fully-formed hero in this movie.

The first and foremost primary motivation

and reason to play Hope again was to put on that suit.

She so desperately wanted to follow in the footsteps of her parents,

who had been incredible superheroes in their day and in her formative years.

So she's finally doing that.

Pleasure doing business with you, Sonny.

You could see in that first film that she was, frankly, more capable

than Scott Lang was at being a superhero

and her father, because of the loss of her mother,

emotionally didn't want her to do this.

And now we get to see her

with the gloves off and becoming a superhero.

The film, not by accident, isn't called Ant-Man 2,

it's called Ant-Man and The Wasp.

And it's really the story of these characters

coming into their own as a team.

THE WASP: Follow my lead.

By the way, I love that suit!

Thanks, man.

LILLY: The Wasp costume that you saw at the end of the first film

was an old prototype from the 1980s.

So it looks totally different.

HANK: Your mother never got to use it.

And now I realize

that we were working on it for you.

LILLY: Because technology has evolved,

I updated the suit with my father,

we made a new one based on the prototype

that fit Hope's needs for this day and age.

It's about damn time.

IVO COVENEY: This is one of Evangeline's costumes.

Trying to find this color took a very, very long time,

because somebody at Marvel jokingly said

this is a combination of gold and silver.

And they decided to say that it was gilver.

So what we've got here

is we've got a reflective silver in the background,

and then we've got a patent leather gold

which is cut with a honeycomb on two different levels,

just to try and get this elusive gilver color.

This piece here, just the stomach of that,

there are over 90 pieces just in that.

Because it needs to move, it needs to be flexible,

we don't want it to restrict Evangeline.

FEIGE: Scott has probably not put on

the Ant-Man suit since the events ofCivil War.

Hope, on the other hand, has been wearing The Wasp suit since then.

So she is a much better fighter, as she was before.

The Wasp suit has wings and allows flight.

It's got stingers so she can shoot criminals as she shrinks and grows.

You gave her wings?

And blasters.

Something just changed in my DNA and I felt like a superhero

and I was so excited to get in front of the camera.

And up to that point, I was so nervous about taking on this mantle.

But the costume tucks away all of those feelings

and I can walk on set with confidence and feel like The Wasp.

MAN 1: All right, here we go. Let's roll, please. Rolling.

MAN 2: Rolling.MAN 3: GoPro.

MAN 1: Camera set. Here we go.

And action!

[MEN GRUNTING]

GEORGE COTTLE: From the very beginning,

we knew there was going to be a come-out moment for Wasp.

There was going to be her real kind of,

"This is my character, this is who I am."

And it was going to be the restaurant sequence.

The stunt team had four to five weeks of pretty intensive training.

So when Evangeline would turn up before filming,

we'd have a really great idea of exactly what we need to do.

REED: That's been great, in terms of figuring out how she moves,

how she fights, how she flies.

Seeing these two fight in tandem, together.

Like how do they coordinate their power sets?

Peyton had mentioned a few things that he really liked

and then Evangeline would come in and then we would kind of tweak it

for how she would see her character moving.

I was asking to build a lot of these S-curves into her fight style.

I think for me, that's just a suggestion of fluidity and grace

and when she fights, I feel like she should look effortless.

This was just something she was born to do.

She seems...

More intense.

FEIGE: Seeing her kick ass is awesome.

Seeing Scott desperately try to keep up with that is hilarious.

ANT-MAN: You go low, I'll go high.

THE WASP: I have wings! Why would I go low?

MICHAEL DOUGLAS: It's a real joy to watch Evangeline come into her own.

I get a kick out of watching her excitement,

her incredible hard work.

So, I'm proud of her.

REED: It was really fun for me to work

really closely with Evangeline in developing this character,

because we wanted her to be a three-dimensional character.

And we got extremely specific about her personality as a hero.

Hi.

REED: She's very confident and she's very decisive

and she's so focused.

So that was really exciting,

to really present this hero for the first time in a Marvel movie.

HANK: When Scott went to the quantum realm and came back...

I started to wonder,

could your mother still be alive?

PAUL RUDD: There are moments where it doesn't matter how many films you do,

you find yourself on a set and you think,

"Oh, wow. There's Michael Douglas

"and there's Michelle Pfeiffer and whoa... [CHUCKLES]

"How did I get here?"

Miss Van Dyne, it's nice to...

Well, I guess we've already met.

I guess we have.

PFEIFFER: I sawAnt-Man and I really loved it.

The movie was really smart...

And really funny

and also grounded in reality.

It had this unusual tone to it.

You mention my wife again

and I'll show you ferocity.

DOUGLAS: My whole career has been pretty much contemporary films.

So to get in to this other world, the quantum realm...

Ready to dive.

DOUGLAS: And anything goes, is a trip.

Hank!

PEYTON REED: Hank Pym is definitely a hero,

but he does make some decisions that might be a little morally dubious.

Oh, now, that's my girl.

REED: I like that, and particularly it plays

to the strengths of Michael Douglas as an actor.

There's a real beautiful gray area to most of the characters that he plays.

Hank Pym is a guy who kind of keeps this thing grounded.

Keeps a degree of credibility and reality.

The bolt is on the other side.

Tighten that one down and then bring it down one notch.

Michael Douglas is very charming and he's witty.

Hey, Scott. You think you can stop daydreaming about my daughter

long enough to get my lab?

Yes, sir.Thank you.

PFEIFFER: He portrays a kind of an arrogance

and then he's also able to show vulnerability when he needs to do that.

Janet?

I think that's a really hard line to walk.

Hi, honey.

EVANGELINE LILLY: The very first day that I worked with him,

I remember immediately when they called action

and he started to perform,

it was like he changed the chemistry of the molecules in the air.

She turned off her regulator,

and went subatomic.

Then she was gone.

I felt immediately transported

into this world of Hank Pym and Hope Van Dyne.

I think it's possible to bring her back.

DOUGLAS: We do flashbacks,

and the chance to act with Michelle Pfeiffer

as we looked 30 years ago,

well, who wouldn't like that?

[SNORTS][BOTH GIGGLE]

I loved that she's such a seminal character

in the Marvel comic book world,

and that she was one of the founding members of the Avengers.

I would have lots of conversations with Peyton that Janet was a warrior

and she is a very important and brilliant scientist unto herself

which was exciting to me.

I told Marvel four years ago,

"If you ever bring a Janet Van Dyne into one of these films,

"please make it Michelle Pfeiffer!

"I really want Michelle Pfeiffer to play my mom."

Not only is she the most beautiful woman to have ever walked planet Earth,

she was also so cool.

And I somehow wound up

with Michelle Pfeiffer and Michael Douglas playing my parents

and both being equally incredible and talented.

Let's go see our daughter.

DOUGLAS: There was just a fun factor to it.

I got this whole new generation of people under 15 years old

and they say, "Hey, Hank Pym."

MAN: And crash.

I loved, at this phase, let's say, in my life,

that I'm playing a superhero.

The message that it sends to women of all ages

that we are still kicking ass.

JANET: Come on!

I really wanted to open up this movie even more than the first one.

We wanted to come up with new and different and weird ways

to use the shrinking and growing technology in this movie.

And I want it be photorealistic

because the Ant-Manmovies don't take place

in outer space or in Asgard.

They take place in the real world.

There it is, right there. Get the lab. [STAMMERS] Get the lab!

[BEEPS]

Oh, my God! Oh, my God, we're gonna die!

When it came time to design and build Hank and Hope's laboratory,

I fought really hard to have Hank's lab be a real tactile functioning set.

There are digital extensions,

but the set is this massive set that we built.

And it's important

because the real world has to look and feel like the real world.

Hi, I'm Shepherd Frankel, production designer on Ant-Man

and welcome to Hank Pym's shrinking lab.

When we walk in here the idea is to feel

a really crushed horizontal space with a reflective ceiling.

We wanted this moment of walking into the lab

to be really dramatic.

[ANTS CHITTERING]

And we wanted our audience to have a very distinct change of scale.

STEPHEN BROUSSARD: You see pieces grown big,

you see volume knobs and clothespins and light bulbs

and it starts to play with your mind, "Am I small in a small building,

"or are these big items in a normal-sized building?"

The main event inside this space is the Quantum Gate.

While you were relaxing at home, we were building this.

FRANKEL: Peyton was really interested

in honoring and referencing traditional time tunnels,

but taking it to a whole another level.

Ready to dive.

MAN: Here we go, and action!

We're back here at Pinewood Studios in Atlanta.

The first Ant-Manwe shot at Pinewood, Atlanta,

and in fact, we were the first movie to shoot at the Pinewood stages.

MAN: Three, two, one, go.

REED: Which was great because the stages are beautiful, state-of-the-art,

and it was like they had just taken

the wrapping paper off of them on the first movie.

They were so clean, there wasn't a speck of dust in them.

When we went back three years later to doAnt-Man and The Wasp,

they've expanded that studio.

I mean, I think it's probably four times larger than it was

when we shot the first movie.

MAN: All right, here we go. We're set.

REED: I love shooting down there 'cause you have room on that backlot.

You know, if you decide you wanna build an entire exterior set,

you can just go in the woods back there

and build Scott's apartment in the back of the thing

to give the backyard a very realistic look.

BROUSSARD: So not only do you have the great facilities at Pinewood,

we've been able to make use of Atlanta the city,

the surrounding rural environments.

We really shot it for all its worth.

REED: These movies, they're really dense movies

and you want a lot of visual variety.

And that's one of the cool things about Georgia

is that you're in downtown Atlanta

and it looks like a big city because it is a big city.

There's great vantage points to look back onto the city,

to use that skyline either as Atlanta or as a basis for creating another city.

REED: But then you go out into rural Georgia,

around Peachtree City or Fayetteville,

and you get some great rural vistas out there.

There was one thing where we needed to see

Muir Woods in San Francisco

and we went out to the woods in Georgia and shot it.

So, it's really convenient, and just in terms of location shooting,

houses and buildings and things, you can really find anything from

a traditional house to a very modern house to a skyscraper.

And they're great locations.

The thing we were calling Ghost Lair,

which is where Ghost has her rejuvenation chamber set up.

We were looking for a location

that felt like our movie's riff on a haunted house.

ANT-MAN: Whoa!

THE WASP: It's okay. It's just the suit.

REED: Basically, the idea was,

this was the house her parents had way back in the '70s or '80s

and she was now living there alone.

And we found this bizarro house in a town called Newnan, Georgia,

which was this modernist structure built out of concrete

that must've had its heyday in the late '70s or early '80s,

but it was abandoned. It was up for sale.

This seems right.

REED: So we shot our exteriors at this house

and then recreated the interiors on a stage.

And it's just such a unique structure and texture in this movie

and really suited our character perfectly.

[AVA GRUNTS]

MAN: All right, now we're set.

And action!

REED: I wanted to mix the digital effects

with as much real practical locations as we could,

and that's why in the back half of the movie through San Francisco,

we shot in San Francisco.

MAN: Go, go, go.

San Francisco gives you the beauty of the hills.

Lombard Street, of course, gives you the curves.

So now you have a scene that has cars, trucks, motorcycles,

small and large vehicles.

And I think it was a different way of creating humor as part of a chase,

but it was really about,

"Oh, we're in trouble. How do we get out of it?"

THE WASP: Be careful up there.

Hey, give me a break! I haven't driven in two years!

STEPHANE CERETTI: We have some macro sets

that we've built like they did in the first one.

But we kind of mixed them a little bit more with the locations.

[SCREAMING]

ALONSO: One of the greatest things that we could do

is utilize the capability of turning different objects bigger

and having a little more fun with that.

So we had the candy PEZ

and we had a 65-feet giant man.

ANT-MAN: Anyone see a southern gentleman carrying a building?

[BOAT HORN BLARES]

So, we go from the micro to the macro all the time, consistently.

KEVIN FEIGE: We always wanna be able to take our characters

into places we haven't seen them go.

And that required a lot of macrophotography at different scales.

So, if Scott is suddenly stuck at two-feet tall

running around his daughter's school,

what is that gonna look like?

And the quantum realm is a whole other territory

and a whole other terrain that we could play with.

Make sure you stay out of the tardigrade fields.

They're cute, but they'll eat you.

We just tried to push everything

even further from what we did in the first Ant-Man.

Three, two, one.

REED: And just show the audience

stuff that they will not see in any other movie.

Daddy!Oh, gross!

[UPBEAT MUSIC PLAYING]

Come on.

MAN: And cut it.

[LIPS FLAPPING]

Oatmeal? Oh, I... [SCATS] love it.

The oatmeal? Oh, I... [SCATS] love it, bro.

I love me some oatmeal, bro. [SCATS] Love it.

You know what lengths I've gone to?

Close-up magic.

[GRUNTS]

I'm going to do that again 'cause that was terrible.

[SNORTS] Huh?

[CLATTERING][SNICKERS]

You're not driving.

[SNICKERS]MAN: Cut it.

Thank you.

[BOTH LAUGH]

Shoot. [GRUNTS]

Oh, God.

MAN: Cut it. [LAUGHS][CREW LAUGHS]

[VOCALIZING]

Yeah. That the way to do it.

MAN: Backwards.All right.

[GRUNTING]

[SIGHS] What a ride.

MAN: Cut it. [CHUCKLES]

[CHUCKLES]

Whoo!

Talk about compact cars!

Damn! Should have paid those parking tickets.

Oh, no. My sandwich was in there.

Well, at least now I'll be able to park in San Francisco.

Oh, man. I just stole this car.

Thank God it's a rental.

Well, looks like I'm walking.

Oh, geez, all my coupons were in there.

Talk about diminishing returns. Oh, man.

Everything is shrinking on me.

Well, the '60s were fun, but now I'm paying for it.

BOAT CAPTAIN: We're gonna have a lot of fun today.

We're gonna be out for three-four hours.

Hopefully, we're gonna see some humpbacks, right?

Get some humpback whales.

They're thinking, "What is this, the latest dance craze?"

The Humpback... I don't know how it would go.

What would it even be?

I'm personally a whale-head. I freak for whales.

I've loved them ever since I was a kid.

I'm not trained, really, in biology or knowing anything about them.

I've memorized a couple of facts, but I couldn't go deep.

This is not a whale learning cruise, this is a whale watching cruise.

Oh, wait. Well, hold on, now. Looks like...

It looks like we might have some company here, folks.

Yup.

That's a breach.

Oh, look at that. Could be Moby Mick. That's, uh, Moby Dick's Irish cousin.

Okay, folks, I can say that. I'm Irish.

Dutch-Irish, actually.

[STAMMERS] That's not a whale.

Uh, okay, folks, don't panic. Please just, uh...

Don't panic, don't panic.

Jump! Jump! Jump overboard! [SCREAMS]

Daniel Gooobler. G-O-O-O-B-L-E-R.

G-O-O-O-B-L-E-Y-E-R.

G-O-O-O-B-Y-L-E-Y-E-R.

Gooobler. Daniel.

If you want, I can jump in your patrol car.

We can go out and hunt this perp down.

Well, we gotta close the bridges down, at least, don't you think?

[STAMMERS]

Yeah, I was thinking about being a cop myself,

but the hours don't make sense.

JANET: There's so much we didn't know about this place, Henry.

Worlds upon worlds. Entire civilizations.

Far more than we ever theorized.

[DISTORTED BELLOWING]

It's okay.

[PANTING]

Passing through. We stake no claim.

DISTORTED VOICE: Go in peace.

There.

This better be good, Uzman.

We checked every security camera in the area,

they all had ants on them.Ants?

No ants in this one, though.

Exterminator sprayed the store two days ago.

[CLEARS THROAT]

[STORE OWNER EXCLAIMS]

What is that?

Well, that, my friend, is how I'm staying in the picture.

Now, the tech in that lab's gotta be worth billions.

Find them.

And, Uzman...

I wanna know who that is.UZMAN: Right.

You wouldn't happen to have

a first edition copy of Dianetics,would you?

You're in luck.Signed?

PEYTON REED: So this is a scene we cut from the movie,

it is Hank and Janet in the quantum realm.

I really quite like this scene.

They're making their way back to the pod

and she's explaining a bit about the quantum realm. Just a hint.

And they come upon this quantum creature.

A very large, threatening creature,

and Janet knows how to handle her business.

It was important here to show a scene where there's no combat,

but she has this device, this piece of technology

that's similar to say, the Babel fish inHitchhiker's Guide to the Galaxy

that's able to translate and she's able to broker

a temporary peace deal with this creature,

and it moves along.

She assures them that they're just passing through.

And you see Hank's reaction there, which is quite fun.

PEYTON REED: This is a scene we cut where Sonny Burch and his guys

are looking for clues about Hank Pym and the lab.

And they come upon this San Francisco bookstore.

This is Dave Gruber Allen as the owner of the bookstore.

And his security camera

happens to have caught the exact moment that the lab shrinks.

The other cameras were covered with ants.

He happened to have had the exterminator out a day before,

so his camera catches it.

And Sonny Burch sees dollar signs and also wants to know who Scott Lang is.

We also end this scene with a Scientology joke.

Where Sonny Burch suddenly has a desire

to buy a first-edition copy ofDianetics.

We thought it was funny. It didn't make the movie.

You wouldn't happen to have

a first-edition copy of Dianetics,would you?

You're in luck.Signed?

KEVIN FEIGE: Film is a visual medium.

We have the comics,

which is an incredible advantage, an incredible start.

Our visual development group led by Ryan Meinerding

for the better part of a decade

has been that huge step between the comics and the screenplay.

And then even between the screenplay and on to the final product

that brings these things to life.

LOUIS D'ESPOSITO: Years of comic book lore

doesn't just fall off the page onto the film.

Their whole team is absolutely phenomenal.

They're developing our characters and inspiring the writers.

It's having another point of view.

And I think that when you open the door to that potential,

then you can create something great.

Being that medium between the comics and what is actually on screen

has been a joy that I couldn't have imagined.

The visual development department is a very small team of artists

that have worked at Marvel Studios

almost the entire time that Marvel Studios has existed.

ANDY PARK: It was created in 2010.

Kevin Feige, Louis D'Esposito and Victoria Alonso,

they saw that it would be beneficial to create an in-house art team

living and breathing these characters,

that know this world.

[CROWD GASPS]

FEIGE: Ryan Meinerding was somebody

who was introduced to us by John Favreau,

who is I believe the best living concept artist in the world.

Maybe the best of all time.

He's incredibly talented.

Not just in his ability to paint an image,

but in his ability to come up with the idea of what that image should be.

What's really unique about working at Marvel Studios

and we're very fortunate in the visual development department

is able to work on characters from multiple, multiple projects.

Starting with Captain America: The First Avenger,

I was able to design his costume from that movie on

throughAvengers andAvengers 2 and onward.

One thing that's great about working on characters

that have to sort of intermingle in different worlds within the universe

is that we're really focusing really on that one movie.

We're trying to figure out

what the look for the character is in that movie.

But one of the reasons why they tend to work together is

because it's the same small crew of artists

that are ctually doing a lot of the design work.

The people that are working onGuardians of the Galaxy

are right next door to the people working on theAvengers movie.

My role is to create concept art and imagery,

to really design the characters...

Environments, sometimes props, vehicles...

MEINERDING: Hero characters, the villain characters...

RODNEY FUENTEBELLA: Costumes, helmets...PARK: Creatures...

There's a lot more things to play with

but at the same time, there's so much more work that needs to be done

in order to make these characters feel alive.

MEINERDING: The amount of man-hours

that go into making designs that we work on,

it's pretty intense.

Three to four months of solid time.

And there's nothing that's actually real yet.

I mean, everyone sort of takes it for granted

what Iron Man's RT looks like,

what his contrail was.

There were multiple design passes at trying to figure out...

Is it a little bit blue? Is it a little bit red?

Is it a little bit orange?

How long is the burst of energy out of it?

We were trying to figure out how to make things

as iconic as they made them back then.

If they only had line work and four colors,

and they're able to make something

that resonates with people for 60, 70 years,

how can we find a way of putting it into our work?

ANTHONY FRANCISCO: Those are the challenges we love to face.

I always see it as a new puzzle to solve.

Pay tribute and be true to the source material.

Oh, yeah.

And bring it into the language that the MCU has established.

I got to design Baby Groot from the pot

to the walking Baby Groot from Guardians of the Galaxy 2,

and the teen Groot you see inInfinity War.

So watching that progression, it's like my baby, it's growing up.

I am Groot.

[STRAINING]

One of the great things about the department is

a lot of us that work in the department are fans.

There's a cover by Mark Bright that got me into collecting comic books.

InIron Man 3, I had the honor of actually designing the MCU version

of the Silver Centurion suit,

and the fanboy in me was just going crazy.

Like, I couldn't believe it. It was surreal.

MEINERDING: What I'm very proud of

is those suits look great from a distance,

but if you get up close to them...

FRIDAY: We have some weapons systems offline.

ANT-MAN: Oh, you're gonna have to take this ito the shop.

MEINERDING: There's a level of resolve to them like they should exist in the world.

FUENTEBELLA: Something that the fans are familiar with,

but at the same time, works well on film.

MEINERDING: Costume designers and costume departments can sort of feed off that.

Not only match what we've created, but try to elevate past it.

You gave her wings?

Sometimes the filmmakers bring a lot of very specific ideas with them.

It was great working with Taika Waititi because he was like,

"I want Hela to look like the comic.

"Olivier Coipel, Alan Davis, Jack Kirby inspired."

I would make the antlers small so it'd be more easy for the actor,

but he was like, "No!"

Did you listen to a word I said?

"I want it, like, five feet wide."

I was like, "How are they gonna do this?"

JACKSON SIZE: Lot of times, as a concept artist in the industry,

you're responsible for the preproduction work, and you leave.

Two years later the movie comes out and you just watch on screen

and see what resulted in your work.

For us, we actually get to see the post-production process.

It is probably one of the greatest feelings an artist can have

is to see your work translate onto the screen.

MEINERDING: The stuff that we worked on

becomes a springboard for the next thing.

But you actually get to tell the story of the character through the costume.

It's an incredible storytelling device,

but it's also an incredible source of inspiration for us.

STEVE: There are men laying down their lives.

I got no right to do any less than them.

The Avengers was supposed to be different than S.H.I.E.L.D.

I can do this all day.

Sometimes the filmmakers use us as sort of like a test ground

to see if something that they're thinking of would look cool.

What we call key frame illustrations.

An illustration that summarizes a scene.

I do a lot of action sequences.

Get the energy in those comics' splash pages.

It's very difficult to create that sense of detail,

primarily because it's live action.

MEINERDING: Sometimes those images really help define

very important moments in the film.

Every character that you see on screen,

that was hours and hours and days and days and months and months

of work by so many people.

MEINERDING: Some of that comes from the awesome content

and the fact that the producers and directors are really pushing us,

but I think a lot of it comes from camaraderie.

That we get to go to premiers together and hang out, have dinner beforehand,

and that I enjoy collaborating with.

I'm actually very fortunate to lead a team of people

that are just amazing at what they do.

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