VErrf382

10
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3INDOXXI
4Support dengan like & share :)
5
61
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8PARKER: Hutch Parker, producer.
9
102
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12KINBERG: I'm Simon Kinberg,
13
143
1500:00:07,049 --> 00:00:09,594
16I was a producer, too,
17but writer-director.
18
194
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21PARKER: Heh.
22
235
2400:00:11,304 --> 00:00:12,555
25KINBERG: I think this will be
26the last time
27
286
2900:00:12,638 --> 00:00:14,974
30we see this in front of an X-Men movie.
31
327
3300:00:15,057 --> 00:00:17,226
34PARKER: Which is sad to say,
35I think you're right.
36
378
3800:00:18,102 --> 00:00:21,063
39KINBERG: That X, traditionally, was done
40differently when Bryan did it
41
429
4300:00:21,147 --> 00:00:22,815
44and we wanted to add a little fire to it
45
4610
4700:00:22,899 --> 00:00:25,443
48because of, obviously,
49the Phoenix cosmic flame.
50
5111
5200:00:27,612 --> 00:00:31,616
53For Hutch and I, this is our what,
54third, fourth movie together?
55
5612
5700:00:31,699 --> 00:00:36,412
58We did Days of Future Past, Apocalypse,
59you were really primarily on Logan.
60
6113
6200:00:36,495 --> 00:00:38,247
63- So, fourth movie.
64- PARKER: Yeah.
65
6614
6700:00:38,331 --> 00:00:39,290
68KINBERG: And then obviously,
69we worked together
70
7115
7200:00:39,373 --> 00:00:41,459
73when Hutch was head of the studio
74
7516
7600:00:41,542 --> 00:00:45,796
77and I was a lowly writer just trying
78to get a job in Hollywood.
79
8017
8100:00:46,547 --> 00:00:47,715
82PARKER: Hardly.
83
8418
8500:00:48,716 --> 00:00:50,635
86JEAN GREY: Who are we?
87
8819
8900:00:50,718 --> 00:00:53,346
90Are we simply what others want us to be?
91
9220
9300:00:54,430 --> 00:00:57,642
94Are we destined to a fate
95beyond our control?
96
9721
9800:00:59,560 --> 00:01:01,479
99Or can we evolve?
100
10122
10200:01:01,771 --> 00:01:04,899
103Become... something more?
104
10523
10600:01:07,235 --> 00:01:10,780
107KINBERG: We went back and forth a lot
108in that opening narration.
109
11024
11100:01:10,863 --> 00:01:13,282
112Obviously, traditionally,
113that's Charles Xavier's narration
114
11525
11600:01:13,366 --> 00:01:15,785
117but because we wanted this movie
118to feel different
119
12026
12100:01:15,868 --> 00:01:19,080
122and be more Jean's story primarily,
123
12427
12500:01:19,163 --> 00:01:21,958
126that was a late breaking decision
127that we wrote in post
128
12928
13000:01:22,041 --> 00:01:24,293
131with our extraordinary editor, Lee Smith.
132
13329
13400:01:24,377 --> 00:01:26,379
135When you are old enough to drive,
136
13730
13800:01:26,462 --> 00:01:28,381
139you can listen to whatever music you want.
140
14131
14200:01:29,548 --> 00:01:30,591
143That a deal?
144
14532
14600:01:32,468 --> 00:01:34,887
147PARKER: This was a pretty exciting
148piece to shoot,
149
15033
15100:01:34,971 --> 00:01:37,306
152made up of a lot
153of different little pieces.
154
15534
15600:01:37,390 --> 00:01:40,476
157Obviously, the exterior stuff
158but then also a really unique rig
159
16035
16100:01:40,559 --> 00:01:44,063
162that our special-effects
163head of department designed
164
16536
16600:01:44,146 --> 00:01:46,691
167to create the sensation of the roll.
168
16937
17000:01:48,901 --> 00:01:50,695
171KINBERG: And one of the things we wanted
172to do with the movie,
173
17438
17500:01:50,778 --> 00:01:53,948
176I mean, generally,
177presuming you watched the movie before
178
17939
18000:01:54,031 --> 00:01:55,074
181because this would be a horrible way
182
18340
18400:01:55,157 --> 00:01:57,201
185to watch it for the first time,
186listening to us,
187
18841
18900:01:57,285 --> 00:02:00,329
190is that, the tone is different
191than the other X-Men movies.
192
19342
19400:02:00,413 --> 00:02:03,416
195They're little bit more operatic
196and over the top
197
19843
19900:02:03,499 --> 00:02:05,418
200and we wanted this to feel as realistic
201and grounded
202
20344
20400:02:05,501 --> 00:02:08,629
205and gritty and raw as possible.
206
20745
20800:02:08,713 --> 00:02:10,715
209And so, as part of that,
210
21146
21200:02:10,798 --> 00:02:14,885
213we wanted the special-effects
214to be as in-camera as practical.
215
21647
21700:02:14,969 --> 00:02:16,470
218When Hutch said special-effects,
219
22048
22100:02:16,554 --> 00:02:18,431
222I think something
223that a lot of people don't know
224
22549
22600:02:18,514 --> 00:02:19,807
227and a fair amount of people do know,
228
22950
23000:02:19,890 --> 00:02:22,435
231but if you're not intimate
232with the process of making movies,
233
23451
23500:02:22,518 --> 00:02:24,770
236people think special-effects means
237"computer-generated effects"
238
23952
24000:02:24,854 --> 00:02:26,480
241and they're two completely
242different categories.
243
24453
24500:02:26,564 --> 00:02:29,608
246There's the special-effects, which are
247the practical mechanical effects on set,
248
24954
25000:02:29,692 --> 00:02:33,446
251and then there's the visual effects,
252which is what's generated in the computer.
253
25455
25500:02:33,529 --> 00:02:36,198
256And so, we try to do
257as much special-effects,
258
25956
26000:02:36,282 --> 00:02:37,992
261practical and mechanical effects,
262
26357
26400:02:38,075 --> 00:02:41,329
265rigs, like Hutch was just describing,
266as possible
267
26858
26900:02:41,412 --> 00:02:43,205
270so that you would feel the physics of it,
271
27259
27300:02:43,289 --> 00:02:45,082
274you'd feel the visceral impact of it,
275
27660
27700:02:45,166 --> 00:02:47,084
278and the actors would be interacting
279with something real.
280
28161
28200:02:47,168 --> 00:02:49,003
283As opposed to something in a computer
284
28562
28600:02:49,086 --> 00:02:51,672
287where they're just having to communicate
288with a green ball.
289
29063
29100:02:52,840 --> 00:02:54,300
292PARKER:
293And there are a lot of visual effects
294
29564
29600:02:54,383 --> 00:02:57,428
297that augment that sequence and help it.
298
29965
30000:02:57,511 --> 00:02:58,721
301But Simon's right,
302
30366
30400:02:58,804 --> 00:03:01,724
305it's grounded in actually doing that,
306on some level, practically.
307
30867
30900:03:02,892 --> 00:03:04,935
310♪♪
311
31268
31300:03:11,359 --> 00:03:13,444
314KINBERG: This is a scene that we had...
315
31669
31700:03:13,527 --> 00:03:15,404
318Our line producer, Todd Hallowell,
319
32070
32100:03:15,488 --> 00:03:19,408
322and our Executive Producer
323and AD, Josh McLaglen,
324
32571
32600:03:19,492 --> 00:03:20,534
327they're off camera.
328
32972
33000:03:20,618 --> 00:03:24,288
331They were the other doctors in the scene
332but their performances were just so good
333
33473
33500:03:24,372 --> 00:03:26,832
336that we thought their voices
337would be powerful enough
338
33974
34000:03:26,916 --> 00:03:28,626
341we wouldn't have to see their faces.
342
34375
34400:03:28,709 --> 00:03:30,294
345I'm joking. They'll be upset by that.
346
34776
34800:03:31,295 --> 00:03:32,671
349This is an example, to me,
350
35177
35200:03:32,755 --> 00:03:36,050
353that first shot of one of the ways
354that Lee Smith, our editor,
355
35678
35700:03:36,133 --> 00:03:37,676
358who was really... I would say,
359
36079
36100:03:37,760 --> 00:03:41,305
362Hutch was my primary creative partner
363in making this movie,
364
36580
36600:03:41,389 --> 00:03:44,225
367and I would say the second partner
368was really Lee Smith
369
37081
37100:03:44,308 --> 00:03:46,268
372and he just did
373a lot of things that were unexpected
374
37582
37600:03:46,352 --> 00:03:47,895
377as somebody who won an Oscar for Dunkirk.
378
37983
38000:03:47,978 --> 00:03:50,439
381He works with...
382on all of Chris Nolan's movies.
383
38484
38500:03:50,523 --> 00:03:52,441
386He works with Peter Weir a lot.
387He's worked with Sam Mendes.
388
38985
39000:03:52,525 --> 00:03:54,568
391Really, the most extraordinary
392directors alive.
393
39486
39500:03:54,652 --> 00:03:58,072
396And he just makes surprising
397decisions and choices.
398
39987
40000:03:58,155 --> 00:03:59,490
401And the beginning of this scene,
402
40388
40400:03:59,573 --> 00:04:01,909
405as opposed to going right into
406the coverage of close-ups of their faces
407
40889
40900:04:01,992 --> 00:04:02,952
410as you're looking at now,
411
41290
41300:04:03,035 --> 00:04:05,788
414he started this scene in that high
415wide shot from the corner
416
41791
41800:04:05,871 --> 00:04:09,917
419looking down on them at these two small,
420sort of isolated from one another, figures
421
42292
42300:04:10,000 --> 00:04:13,337
424and I think another editor would've
425very quickly used it as the master shot,
426
42793
42800:04:13,421 --> 00:04:15,423
429the establishing shot
430and moved into the coverage.
431
43294
43300:04:15,506 --> 00:04:18,467
434And instead, he held on that for the
435first two or three lines of dialogue
436
43795
43800:04:18,551 --> 00:04:20,428
439and showed you how far away they are,
440
44196
44200:04:20,511 --> 00:04:25,099
443made you feel like there was a sort of
444loneliness and emptiness to the scene.
445
44697
44700:04:25,182 --> 00:04:29,478
448And he just is someone who edits
449with a very artistic, soulful approach.
450
45198
45200:04:29,562 --> 00:04:30,604
453PARKER: He sure does.
454
45599
45600:04:30,688 --> 00:04:32,440
457Amazing, or...
458
459100
46000:04:32,523 --> 00:04:34,358
461Or just... just really cool.
462
463101
46400:04:34,442 --> 00:04:35,568
465And a unique location,
466
467102
46800:04:35,651 --> 00:04:39,280
469this is actually in Montreal,
470in an abandoned hospital
471
472103
47300:04:39,363 --> 00:04:41,991
474that we were able to use
475for a variety of things.
476
477104
47800:04:42,074 --> 00:04:45,744
479But incredibly well designed for,
480obviously, this particular scene,
481
482105
48300:04:45,828 --> 00:04:47,830
484but came in handy
485for a bunch of other stuff, too,
486
487106
48800:04:47,913 --> 00:04:50,749
489because it was very near where
490we were shooting at the studio, etc.
491
492107
49300:04:51,250 --> 00:04:54,753
494KINBERG: And this is our third
495X-Men movie in a row shooting in Montreal.
496
497108
49800:04:54,837 --> 00:04:57,965
499We shot Days of Future Past,
500Apocalypse and this film in Montreal,
501
502109
50300:04:58,048 --> 00:04:59,675
504which has been a great home for us.
505
506110
50700:04:59,758 --> 00:05:03,471
508They have a really great studio there,
509Mel's studio that we basically take over
510
511111
51200:05:03,554 --> 00:05:05,306
513and so we've got lots
514and lots of space to build things.
515
516112
51700:05:05,389 --> 00:05:07,600
518And then the occasional like this,
519as Hutch was saying,
520
521113
52200:05:07,683 --> 00:05:10,102
523the occasional location off the stage,
524
525114
52600:05:10,186 --> 00:05:13,272
527whether it's an abandoned building
528or it's the exterior of somewhere or this,
529
530115
53100:05:13,355 --> 00:05:16,275
532which is in the countryside
533outside of, just outside of Montreal.
534
535116
53600:05:16,358 --> 00:05:17,610
537PARKER: Great crews there, too.
538
539117
54000:05:17,693 --> 00:05:20,529
541We really, we had quite a family
542over the three movies
543
544118
54500:05:20,613 --> 00:05:23,365
546and they are fairly long shoots,
547so you're there for a while.
548
549119
55000:05:23,449 --> 00:05:26,619
551Amazing city, but just a crew
552that we fell in love with.
553
554120
55500:05:27,203 --> 00:05:28,370
556I can help.
557
558121
55900:05:29,580 --> 00:05:31,665
560You're not like the other doctors.
561
562122
56300:05:33,000 --> 00:05:33,876
564(chuckles)
565
566123
56700:05:34,460 --> 00:05:35,503
568No.
569
570124
57100:05:36,754 --> 00:05:38,631
572And you're not like the other patients.
573
574125
57500:05:40,132 --> 00:05:43,135
576♪♪
577
578126
57900:05:51,852 --> 00:05:53,020
580KINBERG: This is an interesting shot,
581
582127
58300:05:53,103 --> 00:05:55,523
584because I feel like it's one
585of those visual effects shots
586
587128
58800:05:55,606 --> 00:05:56,982
589that are sort of invisible in the movie.
590
591129
59200:05:57,066 --> 00:05:59,818
593I think the presumption is that
594that is actually a location,
595
596130
59700:05:59,902 --> 00:06:01,487
598a mansion or house.
599
600131
60100:06:01,570 --> 00:06:04,615
602That is a completely
603computer-generated house.
604
605132
60600:06:04,698 --> 00:06:06,617
607We've done that in in the last few
608of the X-Men movies.
609
610133
61100:06:06,700 --> 00:06:08,869
612And if you actually watch
613X-Men 1, 2, 3,
614
615134
61600:06:08,953 --> 00:06:10,746
617First Class, onward,
618
619135
62000:06:10,829 --> 00:06:15,084
621I think it's a different mansion in all,
622but X2 and 3.
623
624136
62500:06:15,167 --> 00:06:18,128
626So, X1 was in Toronto.
627X2 and 3 was in Vancouver.
628
629137
63000:06:18,212 --> 00:06:19,547
631First Class was in London.
632
633138
63400:06:19,630 --> 00:06:21,966
635And then we went to,
636in Days of Future Past,
637
638139
63900:06:22,049 --> 00:06:25,261
640doing a visual effect amalgam
641of the different mansions
642
643140
64400:06:25,344 --> 00:06:28,347
645and this is yet a different version
646of an Xavier mansion.
647
648141
64900:06:28,430 --> 00:06:30,474
650Right there, we built that doorway,
651
652142
65300:06:30,558 --> 00:06:34,687
654but everything around the doorway,
655all the stonework and all of that is,
656
657143
65800:06:34,770 --> 00:06:35,938
659is computer-generated.
660
661144
66200:06:36,397 --> 00:06:41,694
663PARKER: It's actually in an abandoned golf
664course out in the suburbs of Montreal
665
666145
66700:06:41,777 --> 00:06:45,656
668and became home to us for any
669of those entrance shots at the mansion
670
671146
67200:06:45,739 --> 00:06:49,076
673and any of the exterior
674mansion materials all shot there.
675
676147
67700:06:54,748 --> 00:06:55,916
678KINBERG: And this is another thing
679
680148
68100:06:56,000 --> 00:06:58,127
682that we wanted to differentiate
683from previous X-Men movies
684
685149
68600:06:58,210 --> 00:06:59,670
687that have these incredibly elaborate,
688
689150
69000:06:59,753 --> 00:07:02,298
691very visual effects CG-heavy
692title sequences.
693
694151
69500:07:02,381 --> 00:07:05,092
696I just wanted the title sequence
697to feel like you were in more of a drama
698
699152
70000:07:05,175 --> 00:07:08,971
701than you were in a science fiction,
702mega-tentpole.
703
704153
70500:07:09,054 --> 00:07:11,265
706Just keep it grounded,
707keep it feeling real,
708
709154
71000:07:11,348 --> 00:07:14,727
711push you forward in the story
712and not get bogged down
713
714155
71500:07:15,019 --> 00:07:17,980
716in, you know, a three-minute
717sort of razzle-dazzle sequence.
718
719156
72000:07:32,870 --> 00:07:34,580
721(beeping, ringing)
722
723157
72400:07:37,666 --> 00:07:40,336
725PARKER: This was a lot of fun. We actually
726have members of the crew,
727
728158
72900:07:40,419 --> 00:07:42,338
730including one of our assistant directors...
731
732159
73300:07:42,421 --> 00:07:43,422
734- KINBERG: Right there.
735- In the shot.
736
737160
73800:07:43,505 --> 00:07:44,840
739- Right there.
740- In this scene.
741
742161
74300:07:44,923 --> 00:07:45,924
744KINBERG: Special talent.
745
746162
74700:07:48,510 --> 00:07:51,972
748Another AD right there, the blonde guy
749who was just adjusting his headpiece.
750
751163
75200:07:52,056 --> 00:07:53,974
753There's also really good local talent
754
755164
75600:07:54,058 --> 00:07:56,977
757in terms of acting in Canada,
758in general, and Montreal.
759
760165
76100:07:57,061 --> 00:08:01,106
762The woman who plays the flight director
763at NASA was a Canadian actress
764
765166
76600:08:01,190 --> 00:08:03,400
767and there's a few
768other great Canadian actors.
769
770167
77100:08:03,484 --> 00:08:05,152
772PARKER: Yet another mansion set.
773
774168
77500:08:05,235 --> 00:08:08,781
776Every movie we've ever made
777has had the interior mansion set.
778
779169
78000:08:08,864 --> 00:08:11,700
781When we actually,
782on the last one, Apocalypse,
783
784170
78500:08:11,784 --> 00:08:15,245
786held the set, or key elements of it
787that we could reuse later,
788
789171
79000:08:15,329 --> 00:08:16,705
791just knowing we'd probably come back.
792
793172
79400:08:16,789 --> 00:08:17,915
795...are irregular,
796
797173
79800:08:17,998 --> 00:08:19,958
799- likely from the constant engine burn.
800- (phone ringing)
801
802174
80300:08:20,709 --> 00:08:22,586
804Oxygen generation is down...
805
806175
80700:08:22,670 --> 00:08:24,922
808Yes? Yes, this is he.
809
810176
81100:08:27,341 --> 00:08:28,926
812- Charles?
813- Mr. President.
814
815177
81600:08:29,009 --> 00:08:30,177
817KINBERG: You know,
818one of the things we did,
819
820178
82100:08:30,260 --> 00:08:31,804
822going just from a narrative perspective,
823obviously,
824
825179
82600:08:31,887 --> 00:08:34,890
827going back to Days of Future Past,
828is we reset the timeline.
829
830180
83100:08:34,973 --> 00:08:37,184
832And so, even though it's 1992
833when this movie takes place,
834
835181
83600:08:37,267 --> 00:08:39,144
837you don't need Bill Clinton
838to be the president.
839
840182
84100:08:39,228 --> 00:08:41,855
842It's a different reality than the one
843we all know from history.
844
845183
84600:08:41,939 --> 00:08:42,981
847♪♪
848
849184
85000:08:45,359 --> 00:08:46,568
851MYSTIQUE: It's a simple extraction.
852
853185
85400:08:46,652 --> 00:08:47,986
855We go into space,
856
857186
85800:08:48,070 --> 00:08:49,738
859we get the astronauts, we bring them home.
860
861187
86200:08:49,822 --> 00:08:52,366
863- Any questions?
864- Yeah, like a thousand.
865
866188
86700:08:52,449 --> 00:08:53,826
868We don't have time for a thousand.
869
870189
87100:08:53,909 --> 00:08:55,035
872So we're going to space?
873
874190
87500:08:55,119 --> 00:08:55,994
876Yes, Kurt, we are...
877
878191
87900:08:56,078 --> 00:08:57,913
880KINBERG: And one of the things
881that was exciting to all of us
882
883192
88400:08:57,996 --> 00:08:59,915
885going into making this movie,
886is that in the beginning of the film,
887
888193
88900:08:59,998 --> 00:09:01,542
890for the first time
891in any of the X-Men movies,
892
893194
89400:09:01,625 --> 00:09:03,877
895they are known public superheroes.
896
897195
89800:09:03,961 --> 00:09:05,379
899And so, they resemble more
900
901196
90200:09:05,462 --> 00:09:07,673
903the superheroes we know
904of other comic book adaptations.
905
906197
90700:09:07,756 --> 00:09:09,508
908And a lot of what we've seen
909from the comics.
910
911198
91200:09:09,591 --> 00:09:11,427
913They're not a hidden group anymore.
914
915199
91600:09:11,510 --> 00:09:15,639
917They are an accepted and embraced part
918of society when this movie starts.
919
920200
92100:09:15,723 --> 00:09:17,933
922And I wanted to also use,
923a lot of different influences,
924
925201
92600:09:18,016 --> 00:09:20,811
927but obviously, if you know the comics,
928the Grant Morrison run,
929
930202
93100:09:20,894 --> 00:09:24,690
932the classic yellow and blue/purple suits
933
934203
93500:09:24,773 --> 00:09:26,900
936we'd never really done
937in the movies before.
938
939204
94000:09:26,984 --> 00:09:28,277
941And just thought this was an opportunity.
942
943205
94400:09:28,360 --> 00:09:29,820
945And this was a nod to X1,
946
947206
94800:09:29,903 --> 00:09:32,114
949which is something I thought Bryan Singer
950did incredibly well.
951
952207
95300:09:32,197 --> 00:09:36,744
954And the idea of the basketball
955court that opens up for the jet.
956
957208
95800:09:40,748 --> 00:09:42,458
959PARKER: Another thing
960that's been fun on these
961
962209
96300:09:42,541 --> 00:09:45,002
964is each film has had
965its own version of the X-jet.
966
967210
96800:09:45,085 --> 00:09:46,962
969Simon did a pretty
970incredible job, I thought,
971
972211
97300:09:47,045 --> 00:09:48,297
974with our production designer,
975
976212
97700:09:48,380 --> 00:09:51,425
978kind of evolving that into something
979that felt a little bit more
980
981213
98200:09:51,508 --> 00:09:54,011
983like it had been in the field, in use,
984
985214
98600:09:54,094 --> 00:09:56,889
987but still capable
988of some of the galactic stuff
989
990215
99100:09:56,972 --> 00:09:58,891
992that we would experience
993going up into space.
994
995216
99600:09:58,974 --> 00:10:01,143
997KINBERG: Yeah, I mean, traditionally,
998in the comic obviously,
999
1000217
100100:10:01,226 --> 00:10:03,812
1002it's based on the Blackbird,
1003a real fighter jet.
1004
1005218
100600:10:03,896 --> 00:10:06,106
1007And we explored that a little bit
1008in First Class.
1009
1010219
101100:10:06,190 --> 00:10:10,486
1012And so, I wanted us to create something
1013that was part Blackbird, part X-Jet
1014
1015220
101600:10:10,569 --> 00:10:13,280
1017and something also
1018we haven't seen in the films before.
1019
1020221
102100:10:13,363 --> 00:10:15,991
1022And so, Claude Paré,
1023our production designer,
1024
1025222
102600:10:16,074 --> 00:10:17,826
1027had a lot of fun working on that with us.
1028
1029223
103000:10:18,911 --> 00:10:21,330
1031PARKER: Another design element
1032obviously we feature every time
1033
1034224
103500:10:21,413 --> 00:10:23,832
1036is both Cerebro and Charles' chair,
1037
1038225
103900:10:23,916 --> 00:10:27,044
1040which is always the subject
1041of a lot of thoughtful design work
1042
1043226
104400:10:27,127 --> 00:10:30,506
1045and Simon, again,
1046I think found a really nice balance
1047
1048227
104900:10:30,589 --> 00:10:32,591
1050that pays tribute to what's come before
1051
1052228
105300:10:32,674 --> 00:10:34,927
1054but also allowed us to go
1055a little bit further,
1056
1057229
105800:10:35,010 --> 00:10:37,471
1059both in Cerebro
1060and in the design of the chair.
1061
1062230
106300:10:37,554 --> 00:10:38,722
1064...shorted out their electricity.
1065
1066231
106700:10:38,806 --> 00:10:39,765
1068KINBERG: And even the helmet.
1069
1070232
107100:10:39,848 --> 00:10:42,726
1072I mean, one of the things
1073that we looked at was period aesthetic
1074
1075233
107600:10:42,810 --> 00:10:44,937
1077and if you actually look at the helmet
1078and a little bit at the chair,
1079
1080234
108100:10:45,020 --> 00:10:48,398
1082there's a sort
1083of Apple computer look to it.
1084
1085235
108600:10:48,482 --> 00:10:51,819
1087The lighting and some of
1088the plastic translucency to it.
1089
1090236
109100:10:53,987 --> 00:10:55,906
1092♪♪
1093
1094237
109500:10:57,199 --> 00:11:00,202
1096I think this is not as much fun
1097as I thought it would be.
1098
1099238
110000:11:15,259 --> 00:11:17,386
1101KINBERG: This is, obviously,
1102all visual effects.
1103
1104239
110500:11:17,469 --> 00:11:21,390
1106PARKER: And this was a sequence
1107that Simon had pre-vis'd in prep
1108
1109240
111000:11:21,473 --> 00:11:24,726
1111and it pretty much is, I mean,
1112other than being a little bit shorter,
1113
1114241
111500:11:24,810 --> 00:11:27,271
1116it pretty much is exactly what we planned.
1117
1118242
111900:11:27,354 --> 00:11:30,023
1120It evolved a little bit in terms
1121of some of the visual effects design
1122
1123243
112400:11:30,107 --> 00:11:34,152
1125but it's a sequence that was
1126the first one that he took from the page
1127
1128244
112900:11:34,236 --> 00:11:37,698
1130and put into a visual language,
1131and then in shooting it,
1132
1133245
113400:11:37,781 --> 00:11:40,450
1135it really did stay true
1136to the original design.
1137
1138246
113900:11:41,243 --> 00:11:43,120
1140KINBERG: Well, it's two things really
1141that I wanted to accomplish here.
1142
1143247
114400:11:43,203 --> 00:11:45,122
1145One is, as a fan of the X-Men comics
1146
1147248
114800:11:45,205 --> 00:11:47,207
1149and obviously as someone who's worked
1150on a lot of the X-Men movies
1151
1152249
115300:11:47,291 --> 00:11:50,544
1154I felt as though we haven't had a lot
1155of the X-Men working together as a team.
1156
1157250
115800:11:50,627 --> 00:11:53,422
1159And there's a few places, opportunities
1160we have that in this movie
1161
1162251
116300:11:53,505 --> 00:11:55,007
1164even if they're fighting
1165against one another,
1166
1167252
116800:11:55,090 --> 00:11:56,425
1169they're still set into two teams.
1170
1171253
117200:11:56,508 --> 00:11:57,384
1173In this case, they're one.
1174
1175254
117600:11:57,467 --> 00:11:59,720
1177And I just love the idea of seeing them,
1178
1179255
118000:11:59,803 --> 00:12:03,098
1181what fans have always, I think,
1182enjoyed the most in the comic,
1183
1184256
118500:12:03,181 --> 00:12:06,310
1186other than the nuanced character work,
1187is the teamwork.
1188
1189257
119000:12:06,393 --> 00:12:08,478
1191And so, this is them really working
1192as a well-oiled machine
1193
1194258
119500:12:08,562 --> 00:12:11,148
1196and as a team that's obviously,
1197done a lot of these missions before.
1198
1199259
120000:12:11,231 --> 00:12:13,400
1201And I guess the other part of it is,
1202in the X-Men comic
1203
1204260
120500:12:13,483 --> 00:12:15,319
1206and specifically the Dark Phoenix saga,
1207
1208261
120900:12:15,402 --> 00:12:17,571
1210it was really important to me
1211to be as loyal as possible
1212
1213262
121400:12:17,654 --> 00:12:21,408
1215to the essence of the Dark Phoenix saga
1216because, as many know,
1217
1218263
121900:12:21,491 --> 00:12:25,412
1220the Dark Phoenix story was a subplot
1221or a B-plot of X-Men: The Last Stand.
1222
1223264
122400:12:25,495 --> 00:12:29,207
1225I wanted this to really be
1226the primary driver and plot of the film.
1227
1228265
122900:12:29,291 --> 00:12:31,001
1230And in the Dark Phoenix story,
1231
1232266
123300:12:31,084 --> 00:12:33,879
1234it's not something that just
1235magically happens to her on Earth.
1236
1237267
123800:12:33,962 --> 00:12:36,840
1239She gets zapped in space
1240by a Cosmic Force
1241
1242268
124300:12:36,924 --> 00:12:38,717
1244and this is where that happens.
1245
1246269
124700:12:38,800 --> 00:12:40,969
1248And so, from the very beginning
1249of working on this script
1250
1251270
125200:12:41,053 --> 00:12:43,805
1253and conceiving the movie,
1254I knew... if I knew anything,
1255
1256271
125700:12:43,889 --> 00:12:46,224
1258I knew that some of it
1259was going to take place in space
1260
1261272
126200:12:46,308 --> 00:12:48,685
1263because there'd be this cosmic
1264intergalactic element,
1265
1266273
126700:12:48,769 --> 00:12:51,229
1268and an alien element to it as well.
1269
1270274
127100:12:51,313 --> 00:12:55,567
1272So, this sequence sort of built
1273from the combination of wanting her,
1274
1275275
127600:12:55,651 --> 00:12:58,737
1277Jean, to get transformed
1278by the cosmic flare into the Phoenix Force
1279
1280276
128100:12:58,820 --> 00:13:03,700
1282and also wanting to situate it into
1283something real and relevant to 1992.
1284
1285277
128600:13:03,784 --> 00:13:06,411
1287And obviously, back then, we were still
1288sending space shuttles into space,
1289
1290278
129100:13:06,495 --> 00:13:07,871
1292which we don't do anymore.
1293
1294279
129500:13:07,955 --> 00:13:08,914
1296He's not here.
1297
1298280
129900:13:08,997 --> 00:13:11,375
1300He was in the airlock
1301working on the thruster.
1302
1303281
130400:13:15,504 --> 00:13:17,214
1305The heat signature's rising fast.
1306
1307282
130800:13:17,965 --> 00:13:19,299
1309I can't hold it any longer.
1310
1311283
131200:13:19,508 --> 00:13:20,884
1313We gotta get out of here.
1314
1315284
131600:13:20,968 --> 00:13:22,219
1317I said strap in!
1318
1319285
132000:13:22,302 --> 00:13:23,387
1321No, Raven. No.
1322
1323286
132400:13:23,470 --> 00:13:24,680
1325We're not leaving anyone behind.
1326
1327287
132800:13:25,097 --> 00:13:27,265
1329I am not putting this team in more danger.
1330
1331288
133200:13:27,349 --> 00:13:29,518
1333And what about their team? Jean...
1334
1335289
133600:13:29,601 --> 00:13:31,019
1337PARKER: The other thing
1338that's notable about this
1339
1340290
134100:13:31,103 --> 00:13:34,731
1342is, it's a triumph
1343of visual effects to me,
1344
1345291
134600:13:34,815 --> 00:13:37,818
1347that the craft reflected
1348and all this detail,
1349
1350292
135100:13:37,901 --> 00:13:39,653
1352the, you know, the shuttle itself,
1353
1354293
135500:13:39,736 --> 00:13:41,863
1356even the frost on the windows there
1357
1358294
135900:13:41,947 --> 00:13:43,699
1360is an incredibly demanding sequence.
1361
1362295
136300:13:43,782 --> 00:13:47,577
1364The bamfing which is something
1365they've really worked hard to evolve
1366
1367296
136800:13:47,661 --> 00:13:50,998
1369and give it a deeper texture
1370and a richness.
1371
1372297
137300:13:51,081 --> 00:13:54,960
1374But then it's married with really
1375intense performance moments,
1376
1377298
137800:13:55,043 --> 00:13:58,422
1379particularly from Sophie and Tye,
1380but from everybody.
1381
1382299
138300:13:58,505 --> 00:14:00,841
1384So, a sequence
1385that I'm incredibly proud of,
1386
1387300
138800:14:00,924 --> 00:14:02,843
1389and Phil Brennan and Kurt Williams,
1390
1391301
139200:14:02,926 --> 00:14:05,846
1393who were our champions
1394of all things visual effects,
1395
1396302
139700:14:05,929 --> 00:14:07,431
1398did an amazing job with their team.
1399
1400303
140100:14:07,973 --> 00:14:10,183
1402KINBERG: Yeah, I think
1403one of the things that was so great
1404
1405304
140600:14:10,267 --> 00:14:11,727
1407about this team we put together,
1408
1409305
141000:14:11,810 --> 00:14:14,187
1411which was some people that had worked
1412on X-Men movies in the past,
1413
1414306
141500:14:14,271 --> 00:14:16,481
1416some people who were new
1417to the X-Men universe,
1418
1419307
142000:14:16,565 --> 00:14:18,525
1421some people who had only done
1422re-shoots of X-Men movies.
1423
1424308
142500:14:18,608 --> 00:14:21,570
1426I mean, it is an extraordinary team
1427and as such talks about it,
1428
1429309
143000:14:21,653 --> 00:14:23,780
1431it's like Oscar winners, Oscar nominees.
1432
1433310
143400:14:23,864 --> 00:14:25,991
1435Like I said, Lee Smith
1436won an Oscar for Dunkirk.
1437
1438311
143900:14:26,074 --> 00:14:29,119
1440Our DP, Mauro Fiore
1441won an Oscar for Avatar.
1442
1443312
144400:14:29,202 --> 00:14:32,456
1445Phil Brennan had been nominated
1446for Snow White and the Huntsman.
1447
1448313
144900:14:32,539 --> 00:14:34,583
1450There's just a lot of really,
1451really talented people
1452
1453314
145400:14:34,666 --> 00:14:37,127
1455that contributed
1456to all of these kinds of sequences
1457
1458315
145900:14:37,210 --> 00:14:40,130
1460where you have hundreds, if not thousands
1461of people, that are building this.
1462
1463316
146400:14:40,213 --> 00:14:41,965
1465It's not just us and a green screen.
1466
1467317
146800:14:42,049 --> 00:14:44,217
1469Obviously, that wouldn't be
1470a whole lot of fun to watch.
1471
1472318
147300:14:44,301 --> 00:14:46,386
1474But performance wise, the other thing
1475that we had in this movie,
1476
1477319
147800:14:46,470 --> 00:14:49,598
1479and it was a luxury that I wish
1480we had had in all the films,
1481
1482320
148300:14:49,681 --> 00:14:52,559
1484was we had a lot more rehearsal time
1485than we'd ever had with the actors.
1486
1487321
148800:14:52,642 --> 00:14:54,895
1489And I think that's something
1490that was important to me,
1491
1492322
149300:14:54,978 --> 00:14:58,690
1494in terms of focusing on it
1495being a more character driven movie
1496
1497323
149800:14:58,774 --> 00:15:00,108
1499than some of the ones had been recently.
1500
1501324
150200:15:00,192 --> 00:15:01,485
1503And giving some of these young actors,
1504
1505325
150600:15:01,568 --> 00:15:05,447
1507especially Sophie, the time to really
1508hone all the nuances of the character.
1509
1510326
151100:15:14,623 --> 00:15:16,833
1512♪♪
1513
1514327
151500:15:24,925 --> 00:15:26,968
1516(screaming)
1517
1518328
151900:15:31,431 --> 00:15:33,725
1520PARKER: By the way, these sequences
1521are pretty tedious to shoot,
1522
1523329
152400:15:33,809 --> 00:15:36,436
1525because none of this stuff actually
1526exists while you're shooting it.
1527
1528330
152900:15:36,520 --> 00:15:39,564
1530Making the effort by the actors,
1531I think, particularly good.
1532
1533331
153400:15:40,023 --> 00:15:44,111
1535Another little factoid, I mean,
1536this Phoenix effect look, feel,
1537
1538332
153900:15:44,194 --> 00:15:48,031
1540was something that really did evolve
1541over the course of the whole film
1542
1543333
154400:15:48,115 --> 00:15:51,034
1545and into post and modulated and shifted
1546
1547334
154800:15:51,118 --> 00:15:53,328
1549according to, you know,
1550the way the story was working.
1551
1552335
155300:15:53,411 --> 00:15:55,247
1554And I think it ended up
1555in a really great place,
1556
1557336
155800:15:55,330 --> 00:15:56,623
1559something I'm really pleased with.
1560
1561337
156200:15:56,706 --> 00:15:58,125
1563KINBERG: Yeah, I think when it started,
1564
1565338
156600:15:58,208 --> 00:16:01,211
1567it was probably more
1568like the Phoenix effect
1569
1570339
157100:16:01,294 --> 00:16:03,922
1572that we see at the very end of Apocalypse
1573
1574340
157500:16:04,005 --> 00:16:07,926
1576when Jean sort of goes Phoenix-y,
1577and that was a more fiery look,
1578
1579341
158000:16:08,009 --> 00:16:10,929
1581but it didn't really have
1582any of the cosmic elements
1583
1584342
158500:16:11,012 --> 00:16:13,557
1586that are obviously a big part
1587of the Phoenix Saga in the comics.
1588
1589343
159000:16:13,640 --> 00:16:18,728
1591And so, as we evolved and progressed
1592in post-production with Phil and Kurt,
1593
1594344
159500:16:18,812 --> 00:16:20,564
1596the visual effects team
1597that Hutch was talking about,
1598
1599345
160000:16:20,647 --> 00:16:22,566
1601we really brought in different colors
1602
1603346
160400:16:22,649 --> 00:16:28,113
1605that would denote a cosmic
1606or otherworldly, not just fiery, element.
1607
1608347
160900:16:28,196 --> 00:16:30,323
1610PARKER: Another pretty critical choice,
1611I think, in all this,
1612
1613348
161400:16:30,407 --> 00:16:33,618
1615was something that Simon...
1616I mean, we talked about a lot,
1617
1618349
161900:16:33,702 --> 00:16:36,288
1620but obviously he was really
1621the chief architect of this,
1622
1623350
162400:16:36,371 --> 00:16:38,165
1625which was keeping the Phoenix effect,
1626
1627351
162800:16:38,248 --> 00:16:41,835
1629as it manifests itself on Jean,
1630to be pretty subtle,
1631
1632352
163300:16:41,960 --> 00:16:43,753
1634you know, to live
1635a little bit in the eyes,
1636
1637353
163800:16:43,837 --> 00:16:45,589
1639a little bit in the cracks...
1640
1641354
164200:16:45,672 --> 00:16:50,177
1643but not take away from the emotional
1644grounding, the performance,
1645
1646355
164700:16:50,260 --> 00:16:53,346
1648the psychology that really does sit
1649at the heart of the story.
1650
1651356
165200:16:53,430 --> 00:16:56,224
1653And in light of what you can do
1654and what is often done,
1655
1656357
165700:16:56,308 --> 00:16:57,893
1658in terms of blowing ideas out,
1659
1660358
166100:16:57,976 --> 00:17:01,062
1662I thought that was a really
1663smart and important decision.
1664
1665359
166600:17:01,479 --> 00:17:03,607
1667KINBERG: Well, I feel like
1668what's happened a lot in movies
1669
1670360
167100:17:03,690 --> 00:17:06,109
1672when you're talking about supernatural
1673or science fiction movies,
1674
1675361
167600:17:06,193 --> 00:17:08,028
1677there's a tendency to fall in love
1678
1679362
168000:17:08,111 --> 00:17:10,113
1681with the prosthetics
1682and the visual effects.
1683
1684363
168500:17:10,197 --> 00:17:13,575
1686And a lot of the times they get
1687in the way of the humanity
1688
1689364
169000:17:13,658 --> 00:17:15,619
1691and the performance of the actors.
1692
1693365
169400:17:15,702 --> 00:17:19,039
1695And this movie
1696is so intensively a, to me,
1697
1698366
169900:17:19,122 --> 00:17:22,709
1700like I say, a character-based
1701and a performance-based movie,
1702
1703367
170400:17:22,792 --> 00:17:25,420
1705that if you covered Jean
1706in too much prosthetic
1707
1708368
170900:17:25,503 --> 00:17:28,256
1710and visual effect
1711and glow and all of that,
1712
1713369
171400:17:28,340 --> 00:17:29,841
1715you'd really be hiding her performance
1716
1717370
171800:17:29,925 --> 00:17:31,968
1719and you wouldn't give Sophie
1720a chance to really emote
1721
1722371
172300:17:32,052 --> 00:17:34,596
1724in the way that she needed to
1725for the audience to relate to her.
1726
1727372
172800:17:34,679 --> 00:17:35,722
1729And that's the other part
1730of it is, like, I think
1731
1732373
173300:17:35,805 --> 00:17:37,515
1734the more of that you put on a character,
1735
1736374
173700:17:37,599 --> 00:17:40,101
1738it's more and more layers between
1739that character in the audience.
1740
1741375
174200:17:40,185 --> 00:17:42,687
1743It's harder for the audience to relate
1744to what the character is going through.
1745
1746376
174700:17:42,771 --> 00:17:45,065
1748And this is a movie so much
1749about her inner struggle,
1750
1751377
175200:17:45,148 --> 00:17:46,316
1753I wanted her to be able to play it
1754
1755378
175600:17:46,399 --> 00:17:49,319
1757rather than us to have to layer...
1758lather it on.
1759
1760379
176100:17:49,402 --> 00:17:53,782
1762...felt gratitude. And as for myself,
1763I've... never been prouder.
1764
1765380
176600:17:54,991 --> 00:17:56,326
1767Enjoy yourselves.
1768
1769381
177000:17:56,409 --> 00:17:57,827
1771You certainly deserve it.
1772
1773382
177400:17:57,911 --> 00:17:59,162
1775In fact, you all do.
1776
1777383
177800:17:59,246 --> 00:18:00,622
1779No more class, the end of the day.
1780
1781384
178200:18:00,789 --> 00:18:02,874
1783(cheering)
1784
1785385
178600:18:03,917 --> 00:18:04,793
1787Jean?
1788
1789386
179000:18:06,419 --> 00:18:09,005
1791You gave us quite a scare up there.
1792How are you feeling?
1793
1794387
179500:18:10,257 --> 00:18:12,968
1796Actually, I... I feel fine.
1797
1798388
179900:18:13,301 --> 00:18:15,053
1800- Hank?
1801- Yeah?
1802
1803389
180400:18:15,136 --> 00:18:16,221
1805Would you take a look at Jean?
1806
1807390
180800:18:16,304 --> 00:18:18,556
1809Standard medical for anyone
1810injured in the field.
1811
1812391
181300:18:18,640 --> 00:18:19,683
1814Thank you.
1815
1816392
181700:18:22,143 --> 00:18:25,063
1818You know, the President
1819was almost sending his condolences.
1820
1821393
182200:18:25,272 --> 00:18:28,024
1823PARKER: This is one of the moments
1824I like most in the film
1825
1826394
182700:18:28,108 --> 00:18:30,860
1828because it's an idea that Simon
1829wrote into the script
1830
1831395
183200:18:30,944 --> 00:18:34,572
1833where you're starting to see
1834some cracks in the family
1835
1836396
183700:18:34,656 --> 00:18:35,865
1838and in the belief,
1839
1840397
184100:18:35,949 --> 00:18:38,785
1842you know, the unwavering belief
1843in Charles and his vision.
1844
1845398
184600:18:38,868 --> 00:18:41,579
1847I mean, Jen's great
1848in this scene, as is James,
1849
1850399
185100:18:41,663 --> 00:18:45,083
1852but it's really the content of the scene
1853that I think is so powerful.
1854
1855400
185600:18:45,166 --> 00:18:48,461
1857And it sets a really interesting
1858dynamic for the rest of the film,
1859
1860401
186100:18:48,545 --> 00:18:50,630
1862where we start to explore and look at,
1863
1864402
186500:18:50,714 --> 00:18:53,550
1866"What is Charles' responsibility?
1867Has he lost his way?"
1868
1869403
187000:18:53,633 --> 00:18:55,427
1871You know, one of the metaphors
1872we talked a lot about
1873
1874404
187500:18:55,510 --> 00:18:58,263
1876was that of parenting
1877where you do your best, but sometimes,
1878
1879405
188000:18:58,346 --> 00:19:01,224
1881you're not necessarily doing
1882what's right for your child
1883
1884406
188500:19:01,308 --> 00:19:02,350
1886even though you intend to.
1887
1888407
188900:19:02,434 --> 00:19:06,062
1890And that's a theme that, I think,
1891resonates powerfully throughout the piece.
1892
1893408
189400:19:06,146 --> 00:19:08,565
1895KINBERG: Well, and I think
1896part of what has been so enduring
1897
1898409
189900:19:08,648 --> 00:19:12,402
1900and the reason why the Dark Phoenix Saga
1901is the most beloved of the X-Men stories
1902
1903410
190400:19:12,485 --> 00:19:14,612
1905is because it's a story that is about,
1906
1907411
190800:19:14,696 --> 00:19:16,573
1909no pure good guys
1910and pure bad guys.
1911
1912412
191300:19:16,656 --> 00:19:18,283
1914There's no pure good and no pure evil.
1915
1916413
191700:19:18,366 --> 00:19:21,453
1918Someone as benevolent as Charles
1919can also have a darker side to him,
1920
1921414
192200:19:21,536 --> 00:19:23,621
1923can be flawed,
1924can be human like the rest of us.
1925
1926415
192700:19:23,705 --> 00:19:26,166
1928And so, my intention
1929going into the writing of the script
1930
1931416
193200:19:26,249 --> 00:19:28,710
1933and then the directing of
1934the performance of the actors
1935
1936417
193700:19:28,793 --> 00:19:32,380
1938is that everybody had,
1939a spectrum of dark and light to them.
1940
1941418
194200:19:32,464 --> 00:19:33,798
1943And so, someone like Jean, obviously,
1944
1945419
194600:19:33,882 --> 00:19:36,593
1947is struggling the most and the most
1948dramatically with that spectrum.
1949
1950420
195100:19:37,052 --> 00:19:38,511
1952It's funny.
1953
1954421
195500:19:38,595 --> 00:19:42,140
1956I can't actually remember the last time
1957you were the one risking something.
1958
1959422
196000:19:42,724 --> 00:19:43,683
1961And by the way,
1962
1963423
196400:19:43,767 --> 00:19:46,269
1965the women are always
1966saving the men around here.
1967
1968424
196900:19:46,353 --> 00:19:48,438
1970You might wanna think about
1971changing the name to X-Women.
1972
1973425
197400:19:48,521 --> 00:19:49,564
1975KINBERG: Someone even like Charles,
1976
1977426
197800:19:49,647 --> 00:19:51,399
1979who traditionally,
1980in almost all these movies
1981
1982427
198300:19:51,483 --> 00:19:53,735
1984has been this sort of benevolent,
1985paternal figure,
1986
1987428
198800:19:53,818 --> 00:19:55,487
1989we sort of explore the space
1990
1991429
199200:19:55,570 --> 00:19:57,822
1993between being paternal
1994and being patriarchal.
1995
1996430
199700:19:57,906 --> 00:20:01,743
1998The idea that he's sitting
1999down there in his home,
2000
2001431
200200:20:01,826 --> 00:20:05,705
2003while young people are risking
2004their lives all over the world,
2005
2006432
200700:20:05,789 --> 00:20:07,248
2008as a team named after him.
2009
2010433
201100:20:07,332 --> 00:20:09,292
2012And that there's something
2013problematic about that
2014
2015434
201600:20:09,376 --> 00:20:11,503
2017and especially the world
2018in which we live right now
2019
2020435
202100:20:11,586 --> 00:20:14,839
2022where, you know, we're looking more
2023and more at the accountability of people
2024
2025436
202600:20:14,923 --> 00:20:18,301
2027who are doing things for their own ego
2028or for their own benefit.
2029
2030437
203100:20:18,385 --> 00:20:20,261
2032This just felt like an opportunity
2033to explore that
2034
2035438
203600:20:20,345 --> 00:20:21,679
2037in a way that these movies
2038never have before.
2039
2040439
204100:20:21,763 --> 00:20:23,890
2042And that the comics
2043sometimes do, by the way.
2044
2045440
204600:20:23,973 --> 00:20:25,600
2047So, it's like,
2048as much as I like to take credit
2049
2050441
205100:20:25,683 --> 00:20:27,769
2052for a lot of the things
2053that feel unique to this movie
2054
2055442
205600:20:27,852 --> 00:20:29,104
2057as opposed to other X-Men movies
2058
2059443
206000:20:29,187 --> 00:20:30,897
2061they are unique
2062versus other X-Men movies
2063
2064444
206500:20:30,980 --> 00:20:33,191
2066but they're not necessarily
2067unique versus the comics.
2068
2069445
207000:20:33,274 --> 00:20:35,485
2071A lot of the stuff, as someone
2072that's read these comics
2073
2074446
207500:20:35,568 --> 00:20:36,528
2076since I was very young,
2077
2078447
207900:20:36,611 --> 00:20:39,197
2080were just things I felt
2081as though we hadn't explored
2082
2083448
208400:20:39,280 --> 00:20:41,866
2085even though we're however many movies
2086into this franchise as we are.
2087
2088449
208900:20:41,950 --> 00:20:43,076
2090You're good to go.
2091
2092450
209300:20:43,159 --> 00:20:44,619
2094- You can head upstairs.
2095- All right.
2096
2097451
209800:20:47,414 --> 00:20:48,832
2099Thanks, Hank.
2100
2101452
210200:20:54,295 --> 00:20:55,547
2103SCOTT: Hank said that?
2104
2105453
210600:20:55,630 --> 00:20:57,507
2107- "Off the charts?"
2108- He did.
2109
2110454
211100:20:57,590 --> 00:21:00,093
2112PARKER: Well, we were just in Hank's lab.
2113
2114455
211500:21:00,176 --> 00:21:02,804
2116You know, one of the things
2117that was really fun on the film
2118
2119456
212000:21:02,887 --> 00:21:04,556
2121and this is kind of an interesting way
2122to watch the movie,
2123
2124457
212500:21:04,639 --> 00:21:07,851
2126because you're prompted to think
2127about what took place,
2128
2129458
213000:21:07,934 --> 00:21:11,396
2131we had an amazing group of sets
2132
2133459
213400:21:11,479 --> 00:21:13,231
2135that we built
2136for the filming of the movie.
2137
2138460
213900:21:13,314 --> 00:21:15,733
2140And that lab is one of them
2141that I remember, you know,
2142
2143461
214400:21:15,817 --> 00:21:19,446
2145you walking in and being particularly
2146taken by the look and the design of it
2147
2148462
214900:21:19,529 --> 00:21:21,448
2150and how well Claude had done with that.
2151
2152463
215300:21:21,531 --> 00:21:24,075
2154But then, you know,
2155Fifth Avenue to the mansion,
2156
2157464
215800:21:24,159 --> 00:21:26,119
2159the X-jet stuff, you know,
2160
2161465
216200:21:26,202 --> 00:21:29,038
2163amazing to be able to build those sets
2164in such close proximity
2165
2166466
216700:21:29,122 --> 00:21:31,332
2168and have them all be
2169so different and unique.
2170
2171467
217200:21:31,416 --> 00:21:32,459
2173KINBERG: Yeah.
2174
2175468
217600:21:35,128 --> 00:21:36,629
2177I thought I lost you today.
2178
2179469
218000:21:37,547 --> 00:21:38,548
2181I know.
2182
2183470
218400:21:41,092 --> 00:21:42,594
2185KINBERG: And this is, to me, I mean,
2186
2187471
218800:21:42,677 --> 00:21:44,262
2189the trickiest balance of this movie
2190
2191472
219200:21:44,345 --> 00:21:47,098
2193for me, tonally,
2194as a writer and as a director
2195
2196473
219700:21:47,182 --> 00:21:49,184
2198was balancing a movie
2199that, you know,
2200
2201474
220200:21:49,267 --> 00:21:51,019
2203as we talk
2204about the character aspects of the movie
2205
2206475
220700:21:51,102 --> 00:21:54,772
2208and Jean that is both intimate
2209and personal and emotional and human
2210
2211476
221200:21:54,856 --> 00:21:58,109
2213with what very quickly here
2214is introduced
2215
2216477
221700:21:58,193 --> 00:22:01,446
2218and you just saw in that shot of things
2219coming out of the sky,
2220
2221478
222200:22:01,529 --> 00:22:04,824
2223is intergalactic,
2224is cosmic, is very otherworldly,
2225
2226479
222700:22:04,908 --> 00:22:06,659
2228is actually the opposite of human.
2229
2230480
223100:22:06,743 --> 00:22:08,203
2232And balancing those two things,
2233
2234481
223500:22:08,286 --> 00:22:10,121
2236so that it never tips in either direction,
2237
2238482
223900:22:10,205 --> 00:22:11,623
2240I think if the movie tipped too much
2241
2242483
224300:22:11,706 --> 00:22:13,583
2244in the direction
2245of the intergalactic or the cosmic,
2246
2247484
224800:22:13,666 --> 00:22:15,293
2249you would lose the emotionality of it,
2250
2251485
225200:22:15,376 --> 00:22:18,630
2253and if it becomes too entirely
2254just an emotional drama,
2255
2256486
225700:22:18,713 --> 00:22:21,007
2258this stuff would poke out of the film
2259
2260487
226100:22:21,090 --> 00:22:24,969
2262and there wouldn't be a feeling
2263of an organic coherent whole.
2264
2265488
226600:22:27,722 --> 00:22:29,224
2267I'm just gonna check on her.
2268I'll be right back.
2269
2270489
227100:22:29,307 --> 00:22:30,183
2272Just stay.
2273
2274490
227500:22:33,353 --> 00:22:35,480
2276- Tell her to shut up.
2277- Luna!
2278
2279491
228000:22:36,064 --> 00:22:36,940
2281(barking)
2282
2283492
228400:22:37,774 --> 00:22:39,442
2285(barking continues)
2286
2287493
228800:22:39,526 --> 00:22:40,735
2289Luna!
2290
2291494
229200:22:52,705 --> 00:22:54,123
2293KINBERG: This particular shot,
2294
2295495
229600:22:54,207 --> 00:22:57,919
2297this moment of her finding...
2298discovering these aliens in the woods
2299
2300496
230100:22:58,002 --> 00:23:00,630
2302was something
2303that we really played a lot with.
2304
2305497
230600:23:00,713 --> 00:23:06,135
2307The original shot was a shot
2308where you fully see the aliens.
2309
2310498
231100:23:06,219 --> 00:23:07,428
2312They crack her neck.
2313
2314499
231500:23:07,512 --> 00:23:08,638
2316You watch the transformation,
2317
2318500
231900:23:08,721 --> 00:23:10,557
2320and it just all felt
2321like, suddenly, in a movie
2322
2323501
232400:23:10,640 --> 00:23:12,892
2325that was a more naturalistic,
2326realistic film,
2327
2328502
232900:23:12,976 --> 00:23:15,311
2330you were jumping the shark into something
2331
2332503
233300:23:15,395 --> 00:23:20,108
2334that was this sci-fi film from,
2335you know, the 70s.
2336
2337504
233800:23:20,191 --> 00:23:23,570
2339And so, you know, we went with something
2340much more subtle here
2341
2342505
234300:23:23,653 --> 00:23:26,322
2344and then the transformation is here,
2345
2346506
234700:23:26,406 --> 00:23:29,117
2348starting really in shadows,
2349and you seeing it, you know,
2350
2351507
235200:23:29,200 --> 00:23:33,204
2353clearly that she's transforming
2354from another kind of being into a human.
2355
2356508
235700:23:33,288 --> 00:23:38,668
2358But we're relying much more
2359on performance and on shadow and detail
2360
2361509
236200:23:38,751 --> 00:23:40,878
2363than we are on this, sort of, big shots.
2364
2365510
236600:23:40,962 --> 00:23:42,463
2367And really, we're relying here on,
2368
2369511
237000:23:42,547 --> 00:23:44,632
2371because she has the same color hair
2372and the same clothes and all that,
2373
2374512
237500:23:44,716 --> 00:23:49,304
2376we're relying on Jessica entering into
2377the sort of Uncanny Valley performance
2378
2379513
238000:23:49,387 --> 00:23:51,264
2381and Jessica
2382is extraordinarily good at that.
2383
2384514
238500:23:51,347 --> 00:23:52,640
2386And the look of this character
2387
2388515
238900:23:52,724 --> 00:23:54,809
2390is something
2391that Jess and I worked on together.
2392
2393516
239400:23:54,892 --> 00:23:57,186
2395She really wanted it
2396to look unlike anything
2397
2398517
239900:23:57,270 --> 00:23:58,438
2400she had ever done in a movie before
2401
2402518
240300:23:58,521 --> 00:24:01,024
2404and Tilda Swinton and other things
2405were influences.
2406
2407519
240800:24:01,816 --> 00:24:02,900
2409♪♪
2410
2411520
241200:24:05,361 --> 00:24:07,322
2413♪ Put your hands on me ♪
2414
2415521
241600:24:08,698 --> 00:24:10,992
2417KINBERG; This is worth mentioning, because
2418she's only in the movie for a flash,
2419
2420522
242100:24:11,075 --> 00:24:13,036
2422but hard-core fans,
2423and I'm assuming those are the people
2424
2425523
242600:24:13,119 --> 00:24:14,454
2427that are going to be
2428listening to us right now,
2429
2430524
243100:24:14,537 --> 00:24:17,915
2432would recognize
2433Halston Sage's character as Dazzler,
2434
2435525
243600:24:17,999 --> 00:24:20,752
2437who is a big character in the comic
2438and a beloved character in the comic
2439
2440526
244100:24:20,835 --> 00:24:22,629
2442and also a character who's a critical part
2443
2444527
244500:24:22,712 --> 00:24:24,964
2446of one of the plot points
2447in the original Dark Phoenix Saga.
2448
2449528
245000:24:25,048 --> 00:24:26,674
2451So, I wanted to include her in the movie.
2452
2453529
245400:24:27,550 --> 00:24:29,010
2455♪ Put your hands on me ♪
2456
2457530
245800:24:29,677 --> 00:24:33,056
2459PARKER: This was also at that golf
2460course location and as I recall,
2461
2462531
246300:24:33,139 --> 00:24:36,434
2464night shoots are not my favorite
2465but as I recall, it was really cold.
2466
2467532
246800:24:36,517 --> 00:24:37,518
2469KINBERG: It was freezing cold,
2470
2471533
247200:24:37,602 --> 00:24:39,228
2473and actually,
2474going back to the Dazzler thing,
2475
2476534
247700:24:39,312 --> 00:24:42,398
2478she's wearing the least clothes of anybody
2479and she's up there dancing around.
2480
2481535
248200:24:42,482 --> 00:24:43,900
2483- PARKER: She was such a trooper.
2484- KINBERG: She really was.
2485
2486536
248700:24:43,983 --> 00:24:46,444
2488And I think we shot her last, so it was
2489like four or five in the morning,
2490
2491537
249200:24:46,527 --> 00:24:49,572
2493cold as possible, you could be.
2494And she was, she stuck with it.
2495
2496538
249700:24:49,656 --> 00:24:50,615
2498- Hey.
2499- Rocks.
2500
2501539
250200:24:50,698 --> 00:24:52,825
2503KINBERG: But this, I like the idea of,
2504you know,
2505
2506540
250700:24:52,909 --> 00:24:57,246
2508it's a very normal,
2509boarding school kind of scene, right,
2510
2511541
251200:24:57,330 --> 00:24:59,332
2513which is like the principal
2514of the school is gone,
2515
2516542
251700:24:59,415 --> 00:25:01,584
2518because Charles is gone,
2519and the kids are throwing a party.
2520
2521543
252200:25:01,668 --> 00:25:03,086
2523And it's not much more
2524complicated than that,
2525
2526544
252700:25:03,169 --> 00:25:06,214
2528other than the fact that these particular
2529kids happen to have supernatural powers
2530
2531545
253200:25:06,297 --> 00:25:08,675
2533and so, when the party
2534gets a little out of control,
2535
2536546
253700:25:08,758 --> 00:25:11,052
2538you know,
2539trees get blasted off the ground.
2540
2541547
254200:25:14,889 --> 00:25:17,558
2543You know, it wasn't so long ago
2544we were throwing parties like this.
2545
2546548
254700:25:18,142 --> 00:25:21,104
2548KINBERG: One of my favorite relationships
2549in the First Class,
2550
2551549
255200:25:21,187 --> 00:25:24,482
2553I guess, onward cycle
2554of these X-Men movies
2555
2556550
255700:25:24,565 --> 00:25:29,112
2558is just the Beast-Hank,
2559Mystique-Raven relationship
2560
2561551
256200:25:29,195 --> 00:25:32,699
2563is really rich and sort of unspoken,
2564but emotional.
2565
2566552
256700:25:32,782 --> 00:25:35,368
2568And, you know, the two of them
2569have really grown up.
2570
2571553
257200:25:35,451 --> 00:25:37,995
2573I remember when we first
2574cast them in First Class
2575
2576554
257700:25:38,079 --> 00:25:39,789
2578and they were both in they're late teens.
2579
2580555
258100:25:39,872 --> 00:25:41,499
2582Jennifer had only been in Winter's Bone.
2583
2584556
258500:25:41,582 --> 00:25:43,876
2586Nick had not been in a big movie
2587since About a Boy.
2588
2589557
259000:25:43,960 --> 00:25:44,961
2591Jennifer's obviously grown into being
2592
2593558
259400:25:45,044 --> 00:25:47,255
2595one of the, if not the biggest
2596movie star in the world.
2597
2598559
259900:25:47,338 --> 00:25:49,590
2600And Nick has grown into being
2601an extraordinary actor.
2602
2603560
260400:25:49,674 --> 00:25:52,260
2605And so, I just was excited
2606to write scenes for them to play.
2607
2608561
260900:25:52,343 --> 00:25:53,636
2610...we should go do.
2611
2612562
261300:25:54,137 --> 00:25:56,097
2614This is our life.
2615This is what we wanted.
2616
2617563
261800:25:56,180 --> 00:25:57,390
2619Not like this.
2620
2621564
262200:25:57,473 --> 00:26:00,476
2623- Raven...
2624- It's not our life, Hank.
2625
2626565
262700:26:01,269 --> 00:26:02,145
2628It's his.
2629
2630566
263100:26:02,228 --> 00:26:04,856
2632What do you think the "X"
2633in X-Men stands for?
2634
2635567
263600:26:05,940 --> 00:26:07,108
2637Charles and his X-Men are...
2638
2639568
264000:26:07,191 --> 00:26:10,319
2641KINBERG: And this is once again, really
2642showing you that the X-Men are not,
2643
2644569
264500:26:10,403 --> 00:26:14,073
2646you know, underground,
2647ostracized characters anymore
2648
2649570
265000:26:14,157 --> 00:26:16,909
2651but they're embraced by larger society
2652
2653571
265400:26:16,993 --> 00:26:20,705
2655until larger society's prejudices
2656start to emerge again.
2657
2658572
265900:26:20,788 --> 00:26:23,750
2660PARKER: It's a scene that,
2661at different times, was in the movie,
2662
2663573
266400:26:23,833 --> 00:26:25,585
2665out of the movie, in the movie,
2666out of the movie,
2667
2668574
266900:26:25,668 --> 00:26:28,963
2670because on one level, we grapple with...
2671we'd kind of already established that
2672
2673575
267400:26:29,046 --> 00:26:30,757
2675and wanted to get on with the story.
2676
2677576
267800:26:30,840 --> 00:26:33,092
2679On the other hand, you know,
2680we came to realize,
2681
2682577
268300:26:33,176 --> 00:26:35,595
2684you sort of needed to drive
2685that point home
2686
2687578
268800:26:35,678 --> 00:26:37,847
2689just a little bit more that yes, in fact,
2690
2691579
269200:26:37,930 --> 00:26:40,433
2693he is all too happy to accept awards
2694from the President
2695
2696580
269700:26:40,516 --> 00:26:45,605
2698and bask in the glory as part
2699of setting up for his fall, so to speak.
2700
2701581
270200:26:46,272 --> 00:26:47,982
2703- You wanna dance?
2704- Come on, Scott.
2705
2706582
270700:26:49,150 --> 00:26:51,652
2708Did... did you hear
2709what the kids are calling you?
2710
2711583
271200:26:52,361 --> 00:26:54,238
2713- Do I wanna know?
2714- Yeah!
2715
2716584
271700:26:54,572 --> 00:26:56,073
2718Phoenix.
2719
2720585
272100:26:56,157 --> 00:26:59,035
2722It's cool, right? You know,
2723a bird that rises from the dead.
2724
2725586
272600:26:59,160 --> 00:27:01,037
2727KINBERG: And this is a scene
2728that we really experimented with.
2729
2730587
273100:27:01,120 --> 00:27:02,330
2732Like, what is it she's seeing?
2733
2734588
273500:27:02,413 --> 00:27:04,207
2736What is the impact on her face?
2737
2738589
273900:27:04,290 --> 00:27:05,583
2740What's the trigger for her
2741
2742590
274300:27:05,666 --> 00:27:08,252
2744starting to lose control
2745of this Cosmic Force inside of her?
2746
2747591
274800:27:08,336 --> 00:27:11,172
2749It's basically, like,
2750the first bad trip she takes,
2751
2752592
275300:27:11,255 --> 00:27:12,757
2754based on this thing
2755inside of her.
2756
2757593
275800:27:12,840 --> 00:27:14,842
2759It's that moment of what's meant to be
2760
2761594
276200:27:14,926 --> 00:27:17,136
2763the point of view
2764of that Cosmic Force inside of her
2765
2766595
276700:27:17,220 --> 00:27:20,681
2768as if she's having this sort of
2769residual memory of the Cosmic Force,
2770
2771596
277200:27:20,765 --> 00:27:22,141
2773all of it just feeling...
2774
2775597
277600:27:22,225 --> 00:27:25,269
2777The word I used a lot when we were
2778creating all of this sequence
2779
2780598
278100:27:25,353 --> 00:27:27,146
2782was hallucinatory.
2783
2784599
278500:27:27,230 --> 00:27:29,232
2786So, it would feel almost like a bad...
2787
2788600
278900:27:29,315 --> 00:27:32,443
2790I've never done it,
2791but like a bad LSD or, hallucinatory trip.
2792
2793601
279400:27:33,945 --> 00:27:36,614
2795And that, I think, the visual effects guys
2796did a really nice job with.
2797
2798602
279900:27:40,827 --> 00:27:42,078
2800- Thank you.
2801- Thank you, Charles.
2802
2803603
280400:27:44,372 --> 00:27:46,999
2805KINBERG: By the way, that person that
2806Charles is shaking hands with right there
2807
2808604
280900:27:47,083 --> 00:27:49,335
2810that we're just passing
2811is Chris Claremont,
2812
2813605
281400:27:49,418 --> 00:27:51,712
2815who is the creator
2816of the Dark Phoenix Saga. Right there.
2817
2818606
281900:27:51,796 --> 00:27:53,339
2820You see him in the background?
2821Just out of focus.
2822
2823607
282400:27:53,422 --> 00:27:55,883
2825Probably worth rewinding to see.
2826He's got a little goatee there.
2827
2828608
282900:27:55,967 --> 00:27:58,553
2830And Chris was the writer
2831of the Dark Phoenix Saga.
2832
2833609
283400:27:58,636 --> 00:28:00,721
2835He was also the person
2836who essentially created Wolverine.
2837
2838610
283900:28:00,805 --> 00:28:02,348
2840He is, I would say,
2841
2842611
284300:28:02,431 --> 00:28:05,935
2844just short of as important
2845to the X-Men as Stan Lee was.
2846
2847612
284800:28:07,937 --> 00:28:09,355
2849♪♪
2850
2851613
285200:28:13,067 --> 00:28:14,861
2853Once again, fake everything.
2854
2855614
285600:28:14,944 --> 00:28:16,571
2857Fake house, fake car.
2858
2859615
286000:28:16,654 --> 00:28:18,906
2861Fake, I think we had the road,
2862that was about it.
2863
2864616
286500:28:23,703 --> 00:28:25,121
2866And this actually for me was a...
2867
2868617
286900:28:25,204 --> 00:28:26,831
2870you know, having worked
2871in a lot of these movies,
2872
2873618
287400:28:26,914 --> 00:28:30,751
2875I'm very aware of all the different
2876scenes we've had in each of them.
2877
2878619
287900:28:30,835 --> 00:28:34,630
2880And this was a direct sort of call
2881and response from Apocalypse
2882
2883620
288400:28:34,714 --> 00:28:36,465
2885when he goes into her room
2886and she's having a nightmare
2887
2888621
288900:28:36,549 --> 00:28:38,551
2890and that time he could read her mind
2891and this time he can't.
2892
2893622
289400:28:38,634 --> 00:28:39,635
2895...penetrate her mind.
2896
2897623
289800:28:39,719 --> 00:28:41,554
2899KINBERG: And this we talked a lot about,
2900
2901624
290200:28:41,637 --> 00:28:43,723
2903what do we do with Cerebro
2904to make it different
2905
2906625
290700:28:43,806 --> 00:28:47,018
2908than the 75 other times
2909you've seen it in the movies?
2910
2911626
291200:28:47,977 --> 00:28:50,646
2913And I guess hallucinatory
2914is another way to describe it.
2915
2916627
291700:28:50,730 --> 00:28:53,190
2918Again, I really wanted this to feel
2919
2920628
292100:28:53,274 --> 00:28:58,029
2922like you were inside the mind
2923of someone who's losing her mind.
2924
2925629
292600:28:58,112 --> 00:29:00,823
2927And so, we did an immense amount
2928of experimentation
2929
2930630
293100:29:00,907 --> 00:29:02,742
2932with the look of this, how it would-
2933
2934631
293500:29:02,825 --> 00:29:06,913
2936not right here, but once he goes in
2937through Jean's eye into her mind,
2938
2939632
294000:29:06,996 --> 00:29:08,706
2941how would we-
2942we would create something
2943
2944633
294500:29:08,789 --> 00:29:10,333
2946that would have a unique look to it.
2947
2948634
294900:29:10,416 --> 00:29:12,501
2950And in an environment that's, you know,
2951
2952635
295300:29:12,585 --> 00:29:15,713
2954our version of the Enterprise
2955or the Millennium Falcon
2956
2957636
295800:29:15,796 --> 00:29:20,051
2959or any of the most sort of iconic
2960environments of these kinds of franchises.
2961
2962637
296300:29:20,134 --> 00:29:25,056
2964And so, starting right here, we just
2965went to something wildly different.
2966
2967638
296800:29:26,057 --> 00:29:29,101
2969PARKER: I really love this
2970because it is hard to reinvent,
2971
2972639
297300:29:29,185 --> 00:29:31,228
2974or re-imagine some of these components
2975
2976640
297700:29:31,312 --> 00:29:35,149
2978and the idea of going into her memories
2979and seeing these glimpses
2980
2981641
298200:29:35,232 --> 00:29:38,444
2983and all the, you know, what almost feels
2984like the tissue of the brain...
2985
2986642
298700:29:38,527 --> 00:29:39,528
2988...tip it in the wrong direction.
2989
2990643
299100:29:39,612 --> 00:29:44,450
2992PARKER: ...married with that smoky,
2993milky component,
2994
2995644
299600:29:44,533 --> 00:29:48,704
2997all stuff that came
2998from the combined creative team
2999
3000645
300100:29:48,788 --> 00:29:50,748
3002but I just love the way it turned out.
3003
3004646
300500:29:50,831 --> 00:29:53,918
3006Hard to do stuff that's that arresting
3007
3008647
300900:29:54,001 --> 00:29:56,545
3010and not have it take away
3011from the dramatics of the scene.
3012
3013648
301400:29:56,629 --> 00:29:59,632
3015I think it's something that was
3016done really well in this,
3017
3018649
301900:29:59,715 --> 00:30:01,968
3020because obviously, it's really important
3021what they're talking about
3022
3023650
302400:30:02,051 --> 00:30:03,427
3025and what they're sorting through.
3026
3027651
302800:30:03,511 --> 00:30:05,096
3029...did something to her.
3030
3031652
303200:30:05,554 --> 00:30:08,015
3033KINBERG: And that was a sequence
3034we also did a lot of story boarding
3035
3036653
303700:30:08,099 --> 00:30:11,018
3038and pre-vising of, so that we knew
3039what they'd be looking at
3040
3041654
304200:30:11,102 --> 00:30:14,397
3043and we just really kept refining
3044what the look of this would be.
3045
3046655
304700:30:14,480 --> 00:30:18,943
3048So, like Hutch said, it's surreal
3049without being distracting.
3050
3051656
305200:30:19,026 --> 00:30:20,695
3053PARKER: And hundreds of iterations.
3054
3055657
305600:30:20,778 --> 00:30:22,238
3057- KINBERG: Yeah.
3058- PARKER: Of all these things.
3059
3060658
306100:30:22,321 --> 00:30:23,990
3062It's almost done in layers.
3063
3064659
306500:30:24,615 --> 00:30:27,994
3066KINBERG: Yeah, and if you watch over
3067and over again, which you don't have to do
3068
3069660
307000:30:28,077 --> 00:30:29,704
3071but you're clearly
3072watching more than once,
3073
3074661
307500:30:29,787 --> 00:30:33,082
3076you see faces in there,
3077you see memories in there.
3078
3079662
308000:30:33,165 --> 00:30:34,208
3081There's little things.
3082
3083663
308400:30:34,291 --> 00:30:36,836
3085Todd Hallowell who's, like I said,
3086one of our producers,
3087
3088664
308900:30:36,919 --> 00:30:39,380
3090is also someone that has experience
3091as a second unit director
3092
3093665
309400:30:39,463 --> 00:30:41,090
3095and insert unit director.
3096
3097666
309800:30:41,173 --> 00:30:43,884
3099And he would go off and direct like,
3100you know,
3101
3102667
310300:30:43,968 --> 00:30:46,512
3104a little girl riding a tricycle
3105or Big Wheel, rather.
3106
3107668
310800:30:46,595 --> 00:30:48,264
3109That's in there somewhere
3110if you take a look at it.
3111
3112669
311300:30:48,347 --> 00:30:49,598
3114There's a birthday cake.
3115There's a dog barking.
3116
3117670
311800:30:49,682 --> 00:30:54,603
3119There's all kinds of childhood memories
3120that are buried inside those soupy images.
3121
3122671
312300:30:54,687 --> 00:30:55,771
3124Get out of my head.
3125
3126672
312700:30:56,981 --> 00:31:01,152
3128Just stay calm, Jean.
3129
3130673
313100:31:02,236 --> 00:31:04,488
3132She's fighting me.
3133I need you to turn it up.
3134
3135674
313600:31:05,114 --> 00:31:05,990
3137(groans)
3138
3139675
314000:31:07,199 --> 00:31:08,826
3141I heard my father.
3142
3143676
314400:31:11,495 --> 00:31:12,413
3145He's alive.
3146
3147677
314800:31:12,747 --> 00:31:16,042
3149You're just hearing things.
3150Jean, your mind, it needs rest.
3151
3152678
315300:31:16,125 --> 00:31:17,418
3154KINBERG: And this was something I like...
3155
3156679
315700:31:17,501 --> 00:31:21,338
3158I like in movies when, and not to say
3159this is always the intention,
3160
3161680
316200:31:21,422 --> 00:31:23,340
3163sometimes we have shots that are
3164a little out of focus and buzzy,
3165
3166681
316700:31:23,424 --> 00:31:25,926
3168but I like it when the camera goes
3169a little bit in and out of focus.
3170
3171682
317200:31:26,010 --> 00:31:29,221
3173And in general, I know this isn't
3174a Criterion Collection kind of movie,
3175
3176683
317700:31:29,305 --> 00:31:31,682
3178but in talking about
3179the cinematography, like,
3180
3181684
318200:31:31,766 --> 00:31:33,142
3183in previous X-Men movies,
3184
3185685
318600:31:33,225 --> 00:31:36,562
3187they're all done on very static
3188types of cameras.
3189
3190686
319100:31:36,645 --> 00:31:39,356
3192They tend to be on dollies, on cranes.
3193
3194687
319500:31:39,440 --> 00:31:42,276
3196Everything is very smooth.
3197
3198688
319900:31:42,359 --> 00:31:44,737
3200If you look at even like the way
3201the camera's moving right now,
3202
3203689
320400:31:44,820 --> 00:31:47,740
3205the way it was just
3206moving over Scott's shoulder,
3207
3208690
320900:31:47,823 --> 00:31:50,743
3210almost everything in this movie
3211is either handheld or a steady cam,
3212
3213691
321400:31:50,826 --> 00:31:53,829
3215which is a slightly steadier
3216version of a handheld camera.
3217
3218692
321900:31:54,580 --> 00:31:57,041
3220Did I...
3221Did I do... do that?
3222
3223693
322400:31:57,541 --> 00:31:58,417
3225It's fine.
3226
3227694
322800:31:58,501 --> 00:32:02,004
3229KINBERG: There's a sort of docu-realism
3230that a handheld camera gives you.
3231
3232695
323300:32:02,088 --> 00:32:03,839
3234And it also gives you
3235a feeling of humanity
3236
3237696
323800:32:03,923 --> 00:32:05,800
3239because there's just a little bit of like,
3240
3241697
324200:32:05,883 --> 00:32:08,719
3243"That's a handheld camera right there,
3244that's a handheld camera right there."
3245
3246698
324700:32:08,803 --> 00:32:10,763
3248I mean, I, almost every shot,
3249
3250699
325100:32:10,846 --> 00:32:13,432
3252you feel a little bit the breath
3253of the camera person,
3254
3255700
325600:32:13,516 --> 00:32:16,977
3257who's holding the camera
3258because it's not perfect. It's not static.
3259
3260701
326100:32:17,061 --> 00:32:19,563
3262It has a little bit of movement to it
3263and the same way that in life,
3264
3265702
326600:32:19,647 --> 00:32:21,941
3267when you're looking at something,
3268your head is never fully static.
3269
3270703
327100:32:22,024 --> 00:32:24,276
3272Your eyes are never fully
3273looking in one place.
3274
3275704
327600:32:24,360 --> 00:32:27,822
3277And so, I just wanted to create
3278that feel of it being organic,
3279
3280705
328100:32:27,905 --> 00:32:31,033
3282it feeling a little bit more handmade
3283than these movies have felt
3284
3285706
328600:32:31,117 --> 00:32:33,661
3287and that the genre has felt in the past.
3288
3289707
329000:32:33,744 --> 00:32:39,375
3291PARKER: You also talked a lot going in
3292about wanting it to feel more intimate.
3293
3294708
329500:32:39,917 --> 00:32:43,003
3296Part of the movement was to make it feel
3297a little unsteady
3298
3299709
330000:32:43,087 --> 00:32:45,923
3301and a little, you know, unsafe at times,
3302
3303710
330400:32:46,006 --> 00:32:48,425
3305which was a really
3306interesting set of ideas
3307
3308711
330900:32:48,509 --> 00:32:50,845
3310to bring to the photography of the film.
3311
3312712
331300:32:55,141 --> 00:32:56,183
3314KINBERG: This is a crane shot,
3315
3316713
331700:32:56,267 --> 00:32:58,018
3318and it's one of the only crane shots
3319in the movie, actually.
3320
3321714
332200:32:58,102 --> 00:32:59,436
3323There's not a lot of them.
3324
3325715
332600:32:59,937 --> 00:33:00,896
3327That's handheld.
3328
3329716
333000:33:00,980 --> 00:33:03,274
3331You see like just the little drift
3332it gives you?
3333
3334717
333500:33:03,357 --> 00:33:04,275
3336If you watch the movie...
3337
3338718
333900:33:04,358 --> 00:33:06,902
3340like the way its drifting just
3341a little bit around Charles right now
3342
3343719
334400:33:06,986 --> 00:33:07,862
3345because he's not moving.
3346
3347720
334800:33:07,945 --> 00:33:09,071
3349Pain.
3350
3351721
335200:33:10,739 --> 00:33:14,285
3353KINBERG: It's like Hutch said,
3354there's a sort of base level,
3355
3356722
335700:33:14,368 --> 00:33:17,079
3358unconscious level of instability.
3359
3360723
336100:33:17,163 --> 00:33:20,666
3362And that becomes more and more unstable
3363over the span of the movie
3364
3365724
336600:33:20,749 --> 00:33:22,376
3367and that's echoed in the cinematography.
3368
3369725
337000:33:22,459 --> 00:33:23,460
3371I don't know.
3372
3373726
337400:33:25,296 --> 00:33:27,131
3375KINBERG: And it's something
3376that's not necessarily...
3377
3378727
337900:33:27,214 --> 00:33:29,508
3380I mean, certainly conscious
3381for us as the filmmakers,
3382
3383728
338400:33:29,592 --> 00:33:31,844
3385it's not conscious necessarily
3386for an audience
3387
3388729
338900:33:31,927 --> 00:33:33,804
3390but it is something
3391that I think cumulatively,
3392
3393730
339400:33:33,888 --> 00:33:36,390
3395you start to feel
3396in your experience of the film.
3397
3398731
339900:33:37,850 --> 00:33:39,393
3400That doesn't make any sense, right?
3401
3402732
340300:33:40,853 --> 00:33:42,146
3404Prepare the jet.
3405
3406733
340700:33:42,855 --> 00:33:43,981
3408We're going to bring her home.
3409
3410734
341100:33:44,064 --> 00:33:45,733
3412"We?" Charles,
3413you're in no condition...
3414
3415735
341600:33:45,816 --> 00:33:46,984
3417KINBERG: And there's a lot more close-ups.
3418
3419736
342000:33:47,067 --> 00:33:50,905
3421I mean, you know, even this push-in
3422on Charles, as an example,
3423
3424737
342500:33:50,988 --> 00:33:53,616
3426traditionally,
3427would be more of a crane move
3428
3429738
343000:33:53,699 --> 00:33:55,951
3431where it would be a smooth,
3432kind of Steven Spielberg-y,
3433
3434739
343500:33:56,035 --> 00:33:57,494
3436Bryan Singer used to do this a lot,
3437
3438740
343900:33:57,578 --> 00:34:00,414
3440smooth push in on the characters.
3441
3442741
344300:34:01,040 --> 00:34:02,082
3444I wanted those push-ins
3445
3446742
344700:34:02,166 --> 00:34:04,418
3448to feel a little bit more
3449like somebody was walking toward them.
3450
3451743
345200:34:04,501 --> 00:34:06,837
3453Again, just the back
3454of your brain notices that.
3455
3456744
345700:34:06,921 --> 00:34:09,506
3458(VUK speaking alien language) So this is
3459all that's left of the D'Bari Empire.
3460
3461745
346200:34:13,594 --> 00:34:16,263
3463KINBERG: This was a scene that we went
3464back and forth on quite a bit,
3465
3466746
346700:34:16,347 --> 00:34:17,932
3468how much information we need.
3469
3470747
347100:34:18,015 --> 00:34:19,433
3472You know, one of the things
3473I really wanted
3474
3475748
347600:34:19,516 --> 00:34:23,062
3477was for Jessica's character to be
3478a more mysterious character in this movie.
3479
3480749
348100:34:23,145 --> 00:34:26,065
3482She's an amalgam of, you know,
3483even though we name her,
3484
3485750
348600:34:26,148 --> 00:34:28,442
3487and she's of D'Bari descent,
3488
3489751
349000:34:28,525 --> 00:34:31,779
3491she's an amalgam of a few
3492of the different alien characters
3493
3494752
349500:34:31,862 --> 00:34:34,490
3496that have been in different
3497iterations of the Dark Phoenix Saga.
3498
3499753
350000:34:34,573 --> 00:34:37,534
3501Lelandra is a character, obviously,
3502that a lot of people thought that she was.
3503
3504754
350500:34:37,618 --> 00:34:39,411
3506Her hair color would indicate
3507that she's not Lelandra.
3508
3509755
351000:34:39,495 --> 00:34:44,166
3511And for me, the Lelandra story was so
3512complex, that if we were going to do it,
3513
3514756
351500:34:44,250 --> 00:34:46,627
3516we would almost require
3517an extra 45 minutes
3518
3519757
352000:34:46,710 --> 00:34:48,295
3521or extra movie to do properly
3522
3523758
352400:34:48,379 --> 00:34:50,547
3525because the love story
3526with Charles is integral
3527
3528759
352900:34:50,631 --> 00:34:52,132
3530and it's just a different kind of film
3531
3532760
353300:34:52,216 --> 00:34:54,218
3534and I wanted to really focus
3535on this character right here,
3536
3537761
353800:34:54,301 --> 00:34:58,138
3539on Jean and on her struggle
3540and the drama of what she's going through.
3541
3542762
354300:34:58,222 --> 00:35:00,307
3544And I felt as though
3545the more subplots we had,
3546
3547763
354800:35:00,391 --> 00:35:02,518
3549whether it was a Lelandra subplot
3550with the Shi'ar
3551
3552764
355300:35:02,601 --> 00:35:04,186
3554or it was a Hellfire subplot,
3555
3556765
355700:35:04,270 --> 00:35:08,315
3558it was going to take away
3559from this central, really intimate story
3560
3561766
356200:35:08,399 --> 00:35:10,276
3563of a young person losing control.
3564
3565767
356600:35:10,359 --> 00:35:12,569
3567And the people that love them the most,
3568like Hutch was alluding to,
3569
3570768
357100:35:12,653 --> 00:35:15,489
3572the family around them,
3573cracking up with her.
3574
3575769
357600:35:15,572 --> 00:35:17,908
3577Anything that was outside that circle
3578started to feel
3579
3580770
358100:35:17,992 --> 00:35:24,164
3582like it was potentially detracting from
3583the core emotional experience of the film.
3584
3585771
358600:35:26,250 --> 00:35:27,543
3587Can I help you?
3588
3589772
359000:35:30,671 --> 00:35:34,008
3591PARKER: This is another really
3592unique location and set
3593
3594773
359500:35:34,091 --> 00:35:38,137
3596in that it's actually on the back lot
3597of the studio that we were shooting at.
3598
3599774
360000:35:38,220 --> 00:35:43,350
3601And Claude and his team built this
3602neighborhood with incredible detail,
3603
3604775
360500:35:43,434 --> 00:35:44,852
3606individuating each house.
3607
3608776
360900:35:44,935 --> 00:35:47,187
3610You know, they're all
3611just basically façades
3612
3613777
361400:35:47,271 --> 00:35:50,357
3615but dressed the front yards
3616with gardens,
3617
3618778
361900:35:50,441 --> 00:35:52,318
3620with children's toys, all those things,
3621
3622779
362300:35:52,401 --> 00:35:55,779
3624to help make it feel as real
3625and grounded as possible.
3626
3627780
362800:35:55,863 --> 00:35:58,198
3629And it was a really efficient,
3630really effective way
3631
3632781
363300:35:58,282 --> 00:36:00,826
3634to give us something
3635that I think, you know,
3636
3637782
363800:36:00,909 --> 00:36:03,370
3639was pretty iconic
3640as a window into her past
3641
3642783
364300:36:03,454 --> 00:36:06,373
3644and her father,
3645her estranged father.
3646
3647784
364800:36:06,457 --> 00:36:09,209
3649But also, was an unusual setting
3650for an X-Men fight.
3651
3652785
365300:36:09,585 --> 00:36:11,879
3654KINBERG: Right, which is like as grounded
3655as it can possibly be.
3656
3657786
365800:36:11,962 --> 00:36:13,714
3659- PARKER: Yeah.
3660- KINBERG: For a lot of these movies,
3661
3662787
366300:36:13,797 --> 00:36:16,091
3664and when I say a lot of these movies,
3665I mean not just comic book movies,
3666
3667788
366800:36:16,175 --> 00:36:17,593
3669but science fiction movies.
3670
3671789
367200:36:17,676 --> 00:36:19,762
3673It's like the more exotic
3674the location, the better.
3675
3676790
367700:36:19,845 --> 00:36:23,182
3678And to me, in this movie, in many ways,
3679it was like the more mundane,
3680
3681791
368200:36:23,265 --> 00:36:26,101
3683the more realistic, the more relatable
3684the environment, the better.
3685
3686792
368700:36:26,185 --> 00:36:27,728
3688Because these things that they're doing,
3689
3690793
369100:36:27,811 --> 00:36:30,689
3692whether it's optic beams coming out
3693of their eyes or telekinesis
3694
3695794
369600:36:30,773 --> 00:36:33,942
3697or, I mean, there's so many different
3698things that are supernatural,
3699
3700795
370100:36:34,026 --> 00:36:35,194
3702I think it's more interesting
3703
3704796
370500:36:35,277 --> 00:36:37,946
3706to see something supernatural
3707in a natural environment
3708
3709797
371000:36:38,030 --> 00:36:39,406
3711because when you see
3712something supernatural
3713
3714798
371500:36:39,490 --> 00:36:41,825
3716in a supernatural environment,
3717it almost feels redundant.
3718
3719799
372000:36:41,909 --> 00:36:44,578
3721It almost feels like well,
3722"What's the big deal about optic beams
3723
3724800
372500:36:44,661 --> 00:36:46,872
3726coming out of somebody's eyes
3727in an alien planet?"
3728
3729801
373000:36:46,955 --> 00:36:48,749
3731But in a neighborhood that looks
3732like the neighborhood
3733
3734802
373500:36:48,832 --> 00:36:51,710
3736that you, me, any of us could live in,
3737and it's your next-door neighbor,
3738
3739803
374000:36:51,794 --> 00:36:55,631
3741suddenly it becomes, for me,
3742a little bit more intense, threatening,
3743
3744804
374500:36:55,714 --> 00:36:58,258
3746and like, I keep using
3747the word "relatable."
3748
3749805
375000:37:01,261 --> 00:37:03,472
3751I'll get you some water, okay?
3752
3753806
375400:37:17,778 --> 00:37:22,074
3755PARKER: This was a scene
3756that Sophie prepared for,
3757
3758807
375900:37:22,157 --> 00:37:25,828
3760you know, just so rigorously
3761and with such dedication.
3762
3763808
376400:37:25,911 --> 00:37:29,289
3765I think she knew it was such
3766a turning point moment for the character
3767
3768809
376900:37:29,373 --> 00:37:32,876
3770and Simon had rehearsed it
3771with her extensively.
3772
3773810
377400:37:32,960 --> 00:37:35,170
3775But it's a critically
3776important scene for her
3777
3778811
377900:37:35,254 --> 00:37:38,090
3780both as an actress and in this role,
3781
3782812
378300:37:38,215 --> 00:37:42,719
3784because of what it reveals
3785and what it surfaces about her character
3786
3787813
378800:37:42,803 --> 00:37:45,013
3789and it's really
3790when she comes to understand,
3791
3792814
379300:37:45,097 --> 00:37:49,476
3794you know, kind of the broader
3795narrative for her character,
3796
3797815
379800:37:49,560 --> 00:37:53,272
3799Jean Grey in the midst
3800of this larger, larger story.
3801
3802816
380300:37:53,355 --> 00:37:54,231
3804Jean?
3805
3806817
380700:38:03,907 --> 00:38:05,909
3808All these photos, none of me.
3809
3810818
381100:38:11,498 --> 00:38:13,417
3812You never looked for me.
3813
3814819
381500:38:13,500 --> 00:38:15,627
3816- Jean?
3817- Why didn't you look for me?
3818
3819820
382000:38:15,711 --> 00:38:17,713
3821Maybe we should sit down.
3822
3823821
382400:38:17,796 --> 00:38:18,672
3825No, I don't want...
3826
3827822
382800:38:18,755 --> 00:38:20,007
3829KINBERG: And you know,
3830I was talking about partners
3831
3832823
383300:38:20,090 --> 00:38:23,427
3834like Hutch and Lee and Mauro, the DP,
3835
3836824
383700:38:23,510 --> 00:38:26,555
3838but I will say, probably,
3839and I say this with love to you, Hutch,
3840
3841825
384200:38:26,638 --> 00:38:29,516
3843my real partner on this movie was Sophie.
3844
3845826
384600:38:29,600 --> 00:38:32,102
3847You know, Sophie's performance
3848is everything in this movie.
3849
3850827
385100:38:32,186 --> 00:38:34,438
3852If Sophie was not as dedicated
3853and committed
3854
3855828
385600:38:34,521 --> 00:38:36,273
3857and prepared for this performance,
3858
3859829
386000:38:36,356 --> 00:38:37,691
3861the whole movie would fall apart.
3862
3863830
386400:38:37,774 --> 00:38:39,318
3865No matter how good
3866the cinematography was,
3867
3868831
386900:38:39,401 --> 00:38:40,736
3870no matter how good the editing was,
3871
3872832
387300:38:40,819 --> 00:38:42,488
3874no matter how good
3875the production design was,
3876
3877833
387800:38:42,571 --> 00:38:44,156
3879it really would not have mattered.
3880
3881834
388200:38:44,239 --> 00:38:45,282
3883And I came to Sophie,
3884
3885835
388600:38:45,365 --> 00:38:47,993
3887I had a lunch with Sophie about a year
3888or so before we started shooting.
3889
3890836
389100:38:48,076 --> 00:38:50,162
3892I think I was still
3893in the middle of writing
3894
3895837
389600:38:50,245 --> 00:38:52,873
3897at least the second draft
3898of the script, if that,
3899
3900838
390100:38:52,956 --> 00:38:55,626
3902and I said to her "Look,
3903we're going to do the Dark Phoenix story.
3904
3905839
390600:38:56,293 --> 00:38:58,670
3907You're obviously playing Jean,
3908Dark Phoenix.
3909
3910840
391100:38:58,754 --> 00:39:00,005
3912You will be the center of the movie.
3913
3914841
391500:39:00,088 --> 00:39:03,091
3916You're going to have to play,
3917as this scene indicates and many others,
3918
3919842
392000:39:03,175 --> 00:39:04,885
3921as you know, you're going to have to play
3922
3923843
392400:39:04,968 --> 00:39:08,430
3925every sort of color
3926of the spectrum emotionally.
3927
3928844
392900:39:08,514 --> 00:39:09,681
3930You're going to have to play rage.
3931
3932845
393300:39:09,765 --> 00:39:12,100
3934You're going to have to play pain,
3935you're going to have to play sorrow.
3936
3937846
393800:39:12,184 --> 00:39:15,604
3939You're going to have
3940to play violence, defense,
3941
3942847
394300:39:15,687 --> 00:39:18,190
3944I mean all, everything you could imagine
3945
3946848
394700:39:18,273 --> 00:39:21,318
3948and not only that,
3949you're going to be carrying
3950
3951849
395200:39:21,401 --> 00:39:23,612
3953a very, large-scale big movie.
3954
3955850
395600:39:23,695 --> 00:39:25,614
3957The pressure of that
3958is a lot for somebody
3959
3960851
396100:39:25,697 --> 00:39:26,907
3962who's in her late teens, early 20s.
3963
3964852
396500:39:26,990 --> 00:39:29,284
3966And you're going to be
3967playing scenes with,"
3968
3969853
397000:39:29,368 --> 00:39:31,411
3971I mean, this actor
3972right here, Scott Sheppard,
3973
3974854
397500:39:31,495 --> 00:39:34,248
3976is like an incredible stage actor
3977
3978855
397900:39:34,331 --> 00:39:36,708
3980whose won all kinds
3981of awards on stage.
3982
3983856
398400:39:36,792 --> 00:39:38,210
3985And then in addition to him,
3986
3987857
398800:39:38,293 --> 00:39:41,588
3989Michael Fassbender, James McAvoy,
3990Jennifer Lawrence, Jessica Chastain,
3991
3992858
399300:39:41,672 --> 00:39:44,383
3994I mean, the best actors
3995of their generation
3996
3997859
399800:39:44,466 --> 00:39:47,344
3999who are all 10 to 15...
4000well, I guess Jennifer's not,
4001
4002860
400300:39:47,427 --> 00:39:51,848
4004but, you know, significantly older
4005and more experienced than Sophie is.
4006
4007861
400800:39:51,932 --> 00:39:53,976
4009And she was just game for it.
4010
4011862
401200:39:54,059 --> 00:39:56,562
4013And I started sending her,
4014from that first lunch, articles,
4015
4016863
401700:39:56,645 --> 00:40:01,149
4018books, YouTube videos of people
4019that have schizophrenia,
4020
4021864
402200:40:01,233 --> 00:40:02,693
4023Dissociative Identity Disorder,
4024
4025865
402600:40:02,776 --> 00:40:06,071
4027and she would read them,
4028watch them, send me things back.
4029
4030866
403100:40:06,154 --> 00:40:08,448
4032And we just really built
4033the character together
4034
4035867
403600:40:08,532 --> 00:40:09,825
4037and I'm just really proud of her
4038
4039868
404000:40:09,908 --> 00:40:12,035
4041because it's not an easy thing
4042to do for a young actor.
4043
4044869
404500:40:12,703 --> 00:40:14,204
4046You shouldn't have come here.
4047
4048870
404900:40:15,330 --> 00:40:17,165
4050Why is that? We've only come
4051to bring you home, Jean.
4052
4053871
405400:40:17,249 --> 00:40:20,168
4055I don't have a home.
4056You made sure of that.
4057
4058872
405900:40:20,252 --> 00:40:24,381
4060Look, your father couldn't handle you,
4061and we took you in.
4062
4063873
406400:40:24,464 --> 00:40:27,009
4065You told me my father was dead,
4066
4067874
406800:40:27,092 --> 00:40:28,969
4069and you used me for my powers.
4070
4071875
407200:40:29,052 --> 00:40:30,721
4073No, that's not true.
4074That's just not what happened.
4075
4076876
407700:40:30,804 --> 00:40:33,557
4078KINBERG: That shot of Jennifer is not
4079my favorite shot in the entire movie,
4080
4081877
408200:40:33,640 --> 00:40:35,934
4083but the reality of sometimes
4084shooting with these kinds of ensembles
4085
4086878
408700:40:36,018 --> 00:40:38,729
4088is that you don't get all the actors
4089in the same place at the same time
4090
4091879
409200:40:38,812 --> 00:40:40,772
4093and so you got to shoot
4094what's called block shooting.
4095
4096880
409700:40:40,856 --> 00:40:42,941
4098If you've seen Harry Potter
4099you know what that looks like.
4100
4101881
410200:40:43,025 --> 00:40:44,943
4103And you just grab Jennifer Lawrence
4104
4105882
410600:40:45,027 --> 00:40:47,362
4107when you got Jennifer Lawrence
4108for that day in the environment
4109
4110883
411100:40:47,446 --> 00:40:49,072
4112and that's why you see Jen
4113
4114884
411500:40:49,156 --> 00:40:51,992
4116separated from the rest of the group
4117in that one shot.
4118
4119885
412000:40:52,326 --> 00:40:54,870
4121Not a lot of that in that movie, luckily.
4122In this movie, luckily,
4123
4124886
412500:40:54,953 --> 00:40:56,872
4126we did get the actors
4127committed to all being there.
4128
4129887
413000:40:56,955 --> 00:40:58,915
4131But every now and then,
4132you couldn't... you couldn't control it.
4133
4134888
413500:40:59,875 --> 00:41:00,876
4136(sirens wailing)
4137
4138889
413900:41:02,044 --> 00:41:03,837
4140Stay away from me.
4141
4142890
414300:41:03,920 --> 00:41:06,340
4144Stay away from me.
4145Stay away from me!
4146
4147891
414800:41:06,423 --> 00:41:10,052
4149KINBERG: That third car that flips over
4150is a computer-generated car
4151
4152892
415300:41:10,135 --> 00:41:11,428
4154and the first two are real.
4155
4156893
415700:41:12,679 --> 00:41:14,097
4158That is, of course, not real.
4159
4160894
416100:41:23,649 --> 00:41:24,733
4162Jean, please!
4163
4164895
416500:41:26,985 --> 00:41:28,904
4166KINBERG: And that is real.
4167I mean, enhanced, obviously,
4168
4169896
417000:41:28,987 --> 00:41:32,074
4171the smoke and all that but, you know,
4172we blew up that side of the house.
4173
4174897
417500:41:32,157 --> 00:41:34,534
4176And as Hutch was talking about,
4177this whole neighborhood,
4178
4179898
418000:41:34,618 --> 00:41:37,579
4181this whole street is built houses
4182which seems crazy,
4183
4184899
418500:41:37,663 --> 00:41:39,373
4186but in order to create
4187the kind of destruction
4188
4189900
419000:41:39,456 --> 00:41:42,084
4191and the kind of control we needed,
4192we needed to build it.
4193
4194901
419500:41:42,834 --> 00:41:43,960
4196♪♪
4197
4198902
419900:41:49,424 --> 00:41:50,384
4200(Quicksilver screaming)
4201
4202903
420300:42:02,396 --> 00:42:04,022
4204Jean, stop!
4205
4206904
420700:42:04,106 --> 00:42:06,441
4208- I've got the shot. I'm taking...
4209- No, you're not.
4210
4211905
421200:42:07,109 --> 00:42:08,902
4213I'm sorry, Hank.
4214I want Raven to have a chance.
4215
4216906
421700:42:14,616 --> 00:42:16,410
4218I told you to stay away.
4219
4220907
422100:42:16,493 --> 00:42:18,120
4222KINBERG: This was a scene
4223that I would say we...
4224
4225908
422600:42:18,203 --> 00:42:20,539
4227we really dialed in over and over again.
4228
4229909
423000:42:20,622 --> 00:42:21,957
4231We reshot as well.
4232
4233910
423400:42:22,040 --> 00:42:24,000
4235I mean, all of these movies
4236have inevitable re-shoots.
4237
4238911
423900:42:24,084 --> 00:42:25,794
4240We've done that in every one
4241of these X-Men movies.
4242
4243912
424400:42:25,877 --> 00:42:28,004
4245I think pretty much every large-scale
4246movie these days has that
4247
4248913
424900:42:28,088 --> 00:42:30,090
4250because if you have
4251the luxury of doing it, why not?
4252
4253914
425400:42:30,173 --> 00:42:32,634
4255And we really dialed this...
4256tried to dial this in,
4257
4258915
425900:42:32,718 --> 00:42:37,139
4260so we would feel the inner struggle
4261that Jean was going through
4262
4263916
426400:42:37,222 --> 00:42:41,017
4265and we would create as much intimacy
4266as possible from Jennifer,
4267
4268917
426900:42:41,101 --> 00:42:42,728
4270so that this moment that's coming up,
4271
4272918
427300:42:42,811 --> 00:42:44,855
4274you would really feel the tragedy of.
4275
4276919
427700:42:44,938 --> 00:42:46,440
4278When it comes...
4279
4280920
428100:42:48,608 --> 00:42:50,026
4282people get hurt.
4283
4284921
428500:42:52,487 --> 00:42:53,989
4286And we did a lot of stuff,
4287like even in post
4288
4289922
429000:42:54,072 --> 00:42:56,908
4291of warping the imagery around Jen,
4292
4293923
429400:42:56,992 --> 00:42:59,786
4295so that you would feel
4296the point of view of Jean,
4297
4298924
429900:42:59,870 --> 00:43:02,706
4300of Sophie's character,
4301warping out her sound.
4302
4303925
430400:43:02,789 --> 00:43:05,751
4305This is another place that Lee Smith,
4306our editor, was really helpful.
4307
4308926
430900:43:05,834 --> 00:43:09,379
4310And subtle. But the, you know,
4311even Jean's hair moving that way
4312
4313927
431400:43:09,463 --> 00:43:14,301
4315was a visual effect
4316just to suggest that instability,
4317
4318928
431900:43:14,384 --> 00:43:18,138
4320even as you're really meant to be
4321focusing on the emotion on her face.
4322
4323929
432400:43:20,849 --> 00:43:22,184
4325(gasping)
4326
4327930
432800:43:24,519 --> 00:43:28,565
4329KINBERG: And this, Jennifer told me, is
4330the first time she has died in a movie.
4331
4332931
433300:43:31,943 --> 00:43:33,612
4334One of the things
4335I will say about this scene
4336
4337932
433800:43:33,695 --> 00:43:36,072
4339that I think is
4340the most in awe of,
4341
4342933
434300:43:36,156 --> 00:43:38,950
4344I would say proud of
4345but I just kind of stayed out of his way,
4346
4347934
434800:43:39,034 --> 00:43:40,452
4349was Nick's performance.
4350
4351935
435200:43:41,036 --> 00:43:43,163
4353I mean, Nick in general
4354I feel has been the sort of,
4355
4356936
435700:43:43,246 --> 00:43:45,707
4358the unsung hero of this franchise
4359
4360937
436100:43:45,791 --> 00:43:47,292
4362for the last however
4363many movies he's been in them
4364
4365938
436600:43:47,375 --> 00:43:48,919
4367because he's just
4368such a great actor.
4369
4370939
437100:43:49,002 --> 00:43:51,046
4372And he's not showy in terms
4373of his performance
4374
4375940
437600:43:51,129 --> 00:43:52,881
4377and the part doesn't have
4378the same kind of,
4379
4380941
438100:43:52,964 --> 00:43:55,467
4382you know, big flowery monologues
4383that some of the other actors have.
4384
4385942
438600:43:55,550 --> 00:43:59,638
4387But this moment of him having to act
4388and emote through,
4389
4390943
439100:43:59,721 --> 00:44:05,185
4392you know, pounds of blue makeup and
4393contact lenses... pretty extraordinary.
4394
4395944
439600:44:05,268 --> 00:44:08,063
4397I mean, even if it was just Nick,
4398it's still an extraordinary performance.
4399
4400945
440100:44:08,146 --> 00:44:12,609
4402But all of this, he really was very,
4403very focused and in the zone that day
4404
4405946
440600:44:12,692 --> 00:44:14,444
4407and I just kind of stayed out of his way,
4408
4409947
441000:44:14,528 --> 00:44:16,696
4411and didn't try to do too many takes
4412
4413948
441400:44:16,780 --> 00:44:19,366
4415because he was really giving a lot
4416in each one of these takes.
4417
4418949
441900:44:19,449 --> 00:44:21,910
4420And it was really hot out there
4421and he has that big suit on,
4422
4423950
442400:44:21,993 --> 00:44:27,040
4425but having to literally cry through
4426all of that itself is...
4427
4428951
442900:44:27,499 --> 00:44:28,542
4430PARKER: Yeah, it was a real achievement.
4431
4432952
443300:44:28,625 --> 00:44:30,252
4434- KINBERG: Yeah.
4435- PARKER: And a hard scene to shoot.
4436
4437953
443800:44:30,335 --> 00:44:32,295
4439- KINBERG: Yes.
4440- PARKER: In both, it's, you know,
4441
4442954
444300:44:32,379 --> 00:44:35,257
4444intensely emotional scene
4445and those are always hard days.
4446
4447955
444800:44:35,340 --> 00:44:38,176
4449But, you know,
4450there was no escaping the fact
4451
4452956
445300:44:38,260 --> 00:44:41,429
4454that we were killing off a character
4455that we really love
4456
4457957
445800:44:41,513 --> 00:44:46,434
4459and both that what that meant in terms
4460of wrapping Jen from the franchise,
4461
4462958
446300:44:46,518 --> 00:44:49,187
4464or what it meant for the change
4465of stakes in the movie.
4466
4467959
446800:44:49,271 --> 00:44:50,146
4469KINBERG: Mm.
4470
4471960
447200:44:52,732 --> 00:44:54,734
4473The word you used, stakes,
4474is an interesting one,
4475
4476961
447700:44:54,818 --> 00:44:56,653
4478because I think
4479that we all talked about this
4480
4481962
448200:44:56,736 --> 00:44:58,154
4483and it's really important to me,
4484from the beginning,
4485
4486963
448700:44:58,238 --> 00:45:00,073
4488because it's true in the Dark Phoenix Saga
4489
4490964
449100:45:00,156 --> 00:45:03,118
4492that the stakes are more really
4493life-and-death
4494
4495965
449600:45:03,201 --> 00:45:07,414
4497than has been in these movies
4498in the past for the heroes.
4499
4500966
450100:45:07,497 --> 00:45:09,541
4502I mean, obviously,
4503villains come and go and die,
4504
4505967
450600:45:09,624 --> 00:45:13,420
4507but heroes dying is something
4508that people are not used to,
4509
4510968
451100:45:13,503 --> 00:45:16,381
4512it just tells you
4513that everybody's at risk.
4514
4515969
451600:45:16,464 --> 00:45:20,176
4517And again, just adds a sort of level
4518of instability or tension
4519
4520970
452100:45:20,260 --> 00:45:22,971
4522to the rest of the movie
4523that I think is really valuable.
4524
4525971
452600:45:23,054 --> 00:45:25,098
4527And differentiates it
4528from other X-Men movies
4529
4530972
453100:45:25,181 --> 00:45:26,308
4532where people fall off of buildings.
4533
4534973
453500:45:26,391 --> 00:45:28,894
4536If there's any X-Men related movie
4537
4538974
453900:45:28,977 --> 00:45:31,688
4540that is the most inspiring to me
4541going into this film,
4542
4543975
454400:45:31,771 --> 00:45:32,981
4545it was Logan.
4546
4547976
454800:45:33,064 --> 00:45:37,527
4549And again, Hutch was really the producer
4550with Jim Mangold of Logan,
4551
4552977
455300:45:37,611 --> 00:45:41,948
4554and what you guys created was
4555something so real and so grounded.
4556
4557978
455800:45:42,032 --> 00:45:44,075
4559You know, this movie
4560is not as grounded as that.
4561
4562979
456300:45:44,159 --> 00:45:47,954
4564You couldn't have an X-Jet
4565and aliens and cosmic forces in Logan.
4566
4567980
456800:45:48,038 --> 00:45:52,250
4569But, the seriousness of purpose,
4570the emotionality of that film,
4571
4572981
457300:45:52,334 --> 00:45:53,793
4574I tried to bring into this movie,
4575
4576982
457700:45:53,877 --> 00:45:56,755
4578all of these scenes,
4579the performances, you know,
4580
4581983
458200:45:56,838 --> 00:45:59,132
4583I talked to each of the actors
4584I would say to Jen,
4585
4586984
458700:45:59,215 --> 00:46:01,092
4588you know, "Play this like,
4589you know, a David O'Russell movie."
4590
4591985
459200:46:01,176 --> 00:46:03,428
4593For Michael Fassbender it was like,
4594you know,
4595
4596986
459700:46:03,511 --> 00:46:06,097
4598"As if you're in a Steve McQueen,
4599the director, Steve McQueen movie.
4600
4601987
460200:46:06,181 --> 00:46:08,350
4603Don't treat this
4604like you're in a cartoon.
4605
4606988
460700:46:08,433 --> 00:46:12,354
4608Treat this like you're in a serious,
4609humanistic drama."
4610
4611989
461200:46:12,437 --> 00:46:13,605
4613And I think that that was something
4614
4615990
461600:46:13,688 --> 00:46:15,899
4617that you guys did
4618so extraordinarily well in Logan,
4619
4620991
462100:46:15,982 --> 00:46:18,026
4622and I tried to bring to this as well,
4623
4624992
462500:46:18,109 --> 00:46:22,155
4626even though the circumstances of this
4627are more unrealistic.
4628
4629993
463000:46:23,323 --> 00:46:25,951
4631PARKER: I learned a lot from Jim
4632in that regard
4633
4634994
463500:46:26,034 --> 00:46:28,954
4636in the conviction he had
4637to depict the violence,
4638
4639995
464000:46:29,037 --> 00:46:30,830
4641but have consequences.
4642
4643996
464400:46:31,247 --> 00:46:35,001
4645And it's part of...
4646in our conversations on this one,
4647
4648997
464900:46:35,085 --> 00:46:40,048
4650you know, the rationale behind
4651killing off a main character like Raven.
4652
4653998
465400:46:40,131 --> 00:46:45,220
4655Without that, you don't really have
4656the threat of consequence that you need
4657
4658999
465900:46:45,303 --> 00:46:47,472
4660to earn the emotional triumph at the end.
4661
46621000
466300:46:48,765 --> 00:46:52,602
4664To me, her death really does underpin
4665the ending of the movie.
4666
46671001
466800:46:52,686 --> 00:46:55,146
4669- KINBERG: Right.
4670- PARKER: And earn the choice by Jean.
4671
46721002
467300:46:55,730 --> 00:46:57,732
4674And then, by the time
4675you realize who they are...
4676
46771003
467800:46:59,651 --> 00:47:00,902
4679it's too late.
4680
46811004
468200:47:01,903 --> 00:47:02,862
4683(thundering)
4684
46851005
468600:47:05,949 --> 00:47:06,825
4687♪♪
4688
46891006
469000:47:26,094 --> 00:47:30,432
4691Do you know, this is
4692where I first met Raven.
4693
46941007
469500:47:32,350 --> 00:47:33,268
4696(chuckles)
4697
46981008
469900:47:34,894 --> 00:47:38,356
4700She was just this little girl, and...
4701
47021009
470300:47:38,440 --> 00:47:39,524
4704she'd broken in...
4705
47061010
470700:47:39,607 --> 00:47:41,693
4708KINBERG: This is one of my favorite
4709scenes in the movie.
4710
47111011
471200:47:41,776 --> 00:47:43,486
4713Because it's not a scene
4714that you would expect
4715
47161012
471700:47:43,570 --> 00:47:47,032
4718in a summer tentpole superhero film.
4719
47201013
472100:47:47,115 --> 00:47:50,368
4722It's just a drama dialogue scene
4723between two really great actors.
4724
47251014
472600:47:50,744 --> 00:47:53,371
4727It's emotional.
4728It's complicated. It's messy.
4729
47301015
473100:47:53,705 --> 00:47:56,166
4732And they're both just...
4733they're just great actors
4734
47351016
473600:47:56,249 --> 00:47:58,710
4737and I just got to step back
4738and watch them act.
4739
47401017
474100:47:58,793 --> 00:48:00,295
4742And again, I think this is
4743one of those places
4744
47451018
474600:48:00,378 --> 00:48:03,882
4747where Nick traditionally, in this movie,
4748Hank, traditionally in the comics,
4749
47501019
475100:48:03,965 --> 00:48:07,677
4752and in this franchise of movies
4753has been this sort of lapdog,
4754
47551020
475600:48:07,761 --> 00:48:10,430
4757for lack of a less punny metaphor,
4758
47591021
476000:48:10,513 --> 00:48:11,973
4761has been a lapdog of Charles
4762
47631022
476400:48:12,057 --> 00:48:15,602
4765and for him to actually go after Charles
4766and ultimately turn on Charles
4767
47681023
476900:48:15,685 --> 00:48:19,147
4770felt really fresh and different
4771and like an opportunity for Nick
4772
47731024
477400:48:19,230 --> 00:48:21,775
4775as he's growing up to be a man...
4776
47771025
477800:48:22,442 --> 00:48:24,527
4779to break from the father.
4780
47811026
478200:48:24,861 --> 00:48:27,155
4783And I thought that was something
4784that, you know, would feel
4785
47861027
478700:48:27,238 --> 00:48:29,449
4788and certainly is just
4789empirically different
4790
47911028
479200:48:29,532 --> 00:48:30,617
4793than what we've done in the past.
4794
47951029
479600:48:30,700 --> 00:48:34,746
4797PARKER: One of the things I like best
4798about what Simon did in the script
4799
48001030
480100:48:34,829 --> 00:48:39,334
4802was try to give everybody
4803new dimension and new moments,
4804
48051031
480600:48:39,417 --> 00:48:42,337
4807so we see a different
4808thoughtfulness from Raven
4809
48101032
481100:48:42,420 --> 00:48:44,005
4812in the way she's critiquing Charles.
4813
48141033
481500:48:44,089 --> 00:48:48,384
4816We see Hank finally
4817rises up and challenges Charles,
4818
48191034
482000:48:48,468 --> 00:48:53,181
4821even breaks with him to align,
4822obviously, with Magneto.
4823
48241035
482500:48:53,264 --> 00:48:55,809
4826We see a whole different
4827dimension from Magneto.
4828
48291036
483000:48:55,892 --> 00:48:58,394
4831And it's true of everybody
4832from Scott to Storm,
4833
48341037
483500:48:58,478 --> 00:49:00,105
4836obviously, for Jean.
4837
48381038
483900:49:00,188 --> 00:49:04,567
4840But that was exciting
4841from a storytelling perspective
4842
48431039
484400:49:04,651 --> 00:49:09,864
4845to get to see these actors sink
4846their teeth into some new juicy material.
4847
48481040
484900:49:09,948 --> 00:49:12,784
4850And in that scene, I think
4851Nick did a fantastic job
4852
48531041
485400:49:12,867 --> 00:49:15,328
4855and it's the kind of thing we had
4856never given him a chance to do.
4857
48581042
485900:49:15,411 --> 00:49:17,205
4860And really gratifying to see
4861
48621043
486300:49:17,288 --> 00:49:20,458
4864how richly talented they all are
4865when given the chance.
4866
48671044
486800:49:20,959 --> 00:49:22,502
4869Why did I do that?
4870
48711045
487200:49:23,920 --> 00:49:24,838
4873(sobbing)
4874
48751046
487600:49:40,562 --> 00:49:42,147
4877- PARKER: That's our neighborhood.
4878- KINBERG: Yeah.
4879
48801047
488100:49:43,439 --> 00:49:46,818
4882One of those days where it was raining
4883when we didn't want it to rain
4884
48851048
488600:49:46,901 --> 00:49:48,570
4887and not raining when we wanted it to rain.
4888
48891049
489000:49:48,653 --> 00:49:50,697
4891So, just...
4892
48931050
489400:49:51,406 --> 00:49:52,740
4895- PARKER: Kind of roll with it.
4896- KINBERG: Yeah.
4897
48981051
489900:49:52,824 --> 00:49:55,243
4900Turned on some towers
4901and kept it raining.
4902
49031052
490400:49:58,454 --> 00:50:01,666
4905I like using the backs
4906of people's heads in movies.
4907
49081053
490900:50:01,749 --> 00:50:03,293
4910I think it's more dramatic sometimes,
4911
49121054
491300:50:03,376 --> 00:50:06,629
4914and obviously Jessica had
4915this incredible mane of white hair
4916
49171055
491800:50:06,713 --> 00:50:07,964
4919so there's a few shots.
4920
49211056
492200:50:08,047 --> 00:50:09,883
4923That was a minor one
4924because it wasn't in close-up
4925
49261057
492700:50:09,966 --> 00:50:11,718
4928though we did shoot a close-up
4929we didn't use.
4930
49311058
493200:50:11,801 --> 00:50:14,929
4933Where we're really focusing
4934on the back of her head.
4935
49361059
493700:50:17,849 --> 00:50:20,727
4938This performance from Jess,
4939we really talked a lot about
4940
49411060
494200:50:20,810 --> 00:50:22,353
4943and the metaphor we came up with
4944
49451061
494600:50:22,437 --> 00:50:25,190
4947was this notion of like
4948this sort of the veterinarian
4949
49501062
495100:50:25,273 --> 00:50:28,902
4952who's telling you that your animal
4953is sick and needs to be put down.
4954
49551063
495600:50:28,985 --> 00:50:33,364
4957There's like a sort
4958of eerie kindness to her
4959
49601064
496100:50:33,448 --> 00:50:35,450
4962that's lethal, ultimately,
4963
49641065
496500:50:35,533 --> 00:50:38,286
4966but isn't coming in as aggressive.
4967
49681066
496900:50:38,369 --> 00:50:40,496
4970It's coming in quiet, kind.
4971
49721067
497300:50:40,580 --> 00:50:42,498
4974And Jess really inhabited that.
4975
49761068
497700:50:42,582 --> 00:50:44,209
4978PARKER: She's such an amazing actress.
4979
49801069
498100:50:44,292 --> 00:50:46,085
4982- KINBERG: Yeah, she is.
4983- PARKER: Just remarkable.
4984
49851070
498600:50:50,381 --> 00:50:51,716
4987Maybe...
4988
49891071
499000:50:53,843 --> 00:50:56,471
4991KINBERG: What's fun about Jess
4992is that she can be so serious,
4993
49941072
499500:50:56,554 --> 00:50:58,097
4996and so focused and precise
4997
49981073
499900:50:58,181 --> 00:51:01,142
5000and you see how precise
5001that little purse of her lips is.
5002
50031074
500400:51:01,226 --> 00:51:03,937
5005But she's also just a really fun person.
5006
50071075
500800:51:04,020 --> 00:51:06,272
5009So, you know, the second the camera cuts
5010
50111076
501200:51:06,356 --> 00:51:08,358
5013when you're in between shots
5014or in between set ups,
5015
50161077
501700:51:08,441 --> 00:51:13,071
5018she's goofing off and practical joking
5019and she's just a very different person.
5020
50211078
502200:51:13,154 --> 00:51:16,074
5023She's very in control
5024of her instrument as an actress.
5025
50261079
502700:51:16,157 --> 00:51:17,492
5028And so, she can turn it on and off.
5029
50301080
503100:51:17,575 --> 00:51:19,077
5032She doesn't have to stay
5033in the entire time.
5034
50351081
503600:51:19,869 --> 00:51:21,871
5037(screaming)
5038
50391082
504000:51:23,998 --> 00:51:26,876
5041KINBERG: This was something cool that I've
5042been wanting to do an X-Men movie
5043
50441083
504500:51:26,960 --> 00:51:30,797
5046going all the way back to X-Men:
5047The Last Stand which is create Genosha,
5048
50491084
505000:51:30,880 --> 00:51:34,050
5051the mutant homeland that Magneto
5052creates in the comic,
5053
50541085
505500:51:34,133 --> 00:51:37,053
5056almost like the mutant Israel.
5057I say that as a Jew.
5058
50591086
506000:51:38,179 --> 00:51:39,931
5061And I've always wanted to do it
5062
50631087
506400:51:40,014 --> 00:51:41,641
5065and had an opportunity
5066to do it in this movie.
5067
50681088
506900:51:41,724 --> 00:51:44,560
5070And instead of making it look like
5071the way it looks in the comics,
5072
50731089
507400:51:44,644 --> 00:51:48,856
5075which is this sort of bright
5076and shiny, silvery Neverland
5077
50781090
507900:51:48,940 --> 00:51:51,442
5080I wanted it to feel
5081like Genosha sort of 1.0.
5082
50831091
508400:51:51,526 --> 00:51:54,737
5085So, the idea was that Magneto
5086has lifted anything
5087
50881092
508900:51:54,821 --> 00:51:57,490
5090that's metal on the base of the ocean
5091and picked it up
5092
50931093
509400:51:57,573 --> 00:52:01,160
5095and used it to create these domiciles,
5096these structures for people to live in.
5097
50981094
509900:52:01,244 --> 00:52:03,579
5100And we're seeing
5101the very beginning of Genosha.
5102
51031095
510400:52:05,873 --> 00:52:07,000
5105Who are you?
5106
51071096
510800:52:09,043 --> 00:52:10,503
5109What are you doing here?
5110
51111097
511200:52:14,299 --> 00:52:15,842
5113Answer the question.
5114
51151098
511600:52:18,177 --> 00:52:19,971
5117KINBERG: Andrew here, by the way,
5118the guy with the dreadlocks,
5119
51201099
512100:52:20,054 --> 00:52:23,850
5122was a stuntman who was just so good
5123at doing the stunt rehearsals
5124
51251100
512600:52:23,933 --> 00:52:25,601
5127and had such a great voice and face
5128
51291101
513000:52:25,685 --> 00:52:28,021
5131that we ended up
5132casting him as the character.
5133
51341102
513500:52:28,104 --> 00:52:29,397
5136Leave her.
5137
51381103
513900:52:31,357 --> 00:52:32,650
5140Why are you here?
5141
51421104
514300:52:36,738 --> 00:52:38,489
5144KINBERG: Michael really liked this idea,
5145
51461105
514700:52:38,573 --> 00:52:40,700
5148he loved the idea of using Genosha
5149for the first time in the movie
5150
51511106
515200:52:40,783 --> 00:52:43,119
5153because he's someone really,
5154really steeped in the comics.
5155
51561107
515700:52:43,202 --> 00:52:47,290
5158But he liked this idea of like
5159almost Marlon Brando in Apocalypse Now,
5160
51611108
516200:52:47,373 --> 00:52:49,584
5163this like, you know,
5164like it was a commune
5165
51661109
516700:52:49,667 --> 00:52:54,088
5168and he was a cult leader, so to speak.
5169He wanted to be dressed in big, I think,
5170
51711110
517200:52:54,172 --> 00:52:56,299
5173I can't remember
5174if it was white or black robes.
5175
51761111
517700:52:56,382 --> 00:52:57,759
5178I feel like that was maybe
5179a little too much
5180
51811112
518200:52:57,842 --> 00:53:00,928
5183but he is in pretty
5184monochromatic outfits
5185
51861113
518700:53:01,012 --> 00:53:05,141
5188and he is in this peaceful place
5189in his life before she shows up.
5190
51911114
519200:53:06,309 --> 00:53:09,729
5193And he's just one of these actors
5194where, like, you just turned the camera on
5195
51961115
519700:53:09,812 --> 00:53:14,233
5198and he does so little
5199and yet expresses so much.
5200
52011116
520200:53:14,317 --> 00:53:15,943
5203I don't know
5204if there's another actor like him
5205
52061117
520700:53:16,027 --> 00:53:19,822
5208that can do as much with just his eyes.
5209Really expressive eyes.
5210
52111118
521200:53:20,907 --> 00:53:21,866
5213Look...
5214
52151119
521600:53:22,450 --> 00:53:25,411
5217PARKER: Yeah, and he's so calm
5218in his performance.
5219
52201120
522100:53:25,495 --> 00:53:27,121
5222This was a pretty great scene.
5223
52241121
522500:53:27,205 --> 00:53:31,501
5226I remember shooting this and being
5227blown away by pretty much everything,
5228
52291122
523000:53:31,584 --> 00:53:36,923
5231by the look of the set,
5232by the way in which Sophie came into it
5233
52341123
523500:53:37,006 --> 00:53:40,676
5236and rose to the challenge
5237of a scene with Michael.
5238
52391124
524000:53:40,760 --> 00:53:43,221
5241And I remember Michael
5242commenting to both of us
5243
52441125
524500:53:43,304 --> 00:53:45,932
5246how impressed he was with Sophie
5247
52481126
524900:53:46,015 --> 00:53:48,893
5250and how extraordinary she was
5251as an actress in this scene.
5252
52531127
525400:53:49,977 --> 00:53:51,145
5255Credit to you, too, by the way.
5256
52571128
525800:53:51,229 --> 00:53:53,523
5259KINBERG: Yeah, I appreciate that.
5260But I mean what's been...
5261
52621129
526300:53:53,606 --> 00:53:56,025
5264what was lovely was
5265that each of the actors...
5266
52671130
526800:53:56,109 --> 00:53:59,112
5269Sophie naturally was probably
5270a little intimidated by Michael.
5271
52721131
527300:53:59,195 --> 00:54:02,156
5274James, Jessica, Jennifer,
5275
52761132
527700:54:02,240 --> 00:54:04,951
5278all of them, when they first
5279were acting across from her,
5280
52811133
528200:54:05,034 --> 00:54:07,745
5283would come up to me
5284after the first take or two,
5285
52861134
528700:54:07,829 --> 00:54:09,414
5288and say, "My God, she's incredible,"
5289
52901135
529100:54:09,497 --> 00:54:11,916
5292because she really wasn't given
5293an opportunity in Apocalypse to do much
5294
52951136
529600:54:11,999 --> 00:54:13,876
5297because obviously, there were so many
5298different characters in that movie
5299
53001137
530100:54:13,960 --> 00:54:17,588
5302and they were doing... each had
5303a little tiny piece of the pie.
5304
53051138
530600:54:17,672 --> 00:54:19,549
5307And she had a very small piece
5308of the pie in that film.
5309
53101139
531100:54:19,632 --> 00:54:22,885
5312So, them seeing her as really
5313the leading, obviously,
5314
53151140
531600:54:22,969 --> 00:54:26,097
5317the leading actor
5318in this film and again,
5319
53201141
532100:54:26,180 --> 00:54:28,558
5322all of the different emotional colors
5323she had to play,
5324
53251142
532600:54:28,641 --> 00:54:33,187
5327each of these actors who are
5328so experienced and so extraordinary,
5329
53301143
533100:54:33,271 --> 00:54:34,439
5332they were impressed.
5333
53341144
533500:54:34,522 --> 00:54:37,650
5336I would tell her and it would
5337give her even more confidence.
5338
53391145
534000:54:37,733 --> 00:54:38,901
5341...lose control...
5342
53431146
534400:54:41,529 --> 00:54:44,282
5345things happen, bad things...
5346
53471147
534800:54:46,909 --> 00:54:48,578
5349to people I love.
5350
53511148
535200:54:55,501 --> 00:54:56,836
5353Whose blood is that?
5354
53551149
535600:54:59,380 --> 00:55:01,174
5357Isn't that why you came here?
5358
53591150
536000:55:01,257 --> 00:55:03,342
5361- What do you think I can do for you?
5362- I don't know!
5363
53641151
536500:55:03,426 --> 00:55:05,761
5366Yes, you do.
5367Whose blood is that?
5368
53691152
537000:55:05,845 --> 00:55:07,054
5371- I don't wanna talk about it.
5372- Did you hurt...
5373
53741153
537500:55:07,138 --> 00:55:09,474
5376KINBERG: So funny. There was that moment
5377where he puts the cup down
5378
53791154
538000:55:09,557 --> 00:55:11,476
5381and he kind of misses with the cup
5382and then puts it...
5383
53841155
538500:55:11,559 --> 00:55:13,227
5386there's just little things in movies
5387
53881156
538900:55:13,311 --> 00:55:15,480
5390when you like make a movie
5391that you notice.
5392
53931157
539400:55:15,563 --> 00:55:17,148
5395Some of them you love as mistakes
5396
53971158
539800:55:17,231 --> 00:55:18,858
5399and some of them kind of annoy
5400you a little bit.
5401
54021159
540300:55:18,941 --> 00:55:21,694
5404That one annoys me a little bit
5405because I feel like there was...
5406
54071160
540800:55:21,777 --> 00:55:23,696
5409I always was looking
5410for a cleaner version of him
5411
54121161
541300:55:23,779 --> 00:55:26,616
5414putting the cup down but there -
5415and there were cleaner versions
5416
54171162
541800:55:26,699 --> 00:55:30,161
5419but his performance wasn't quite
5420as aggressive and strong.
5421
54221163
542300:55:30,244 --> 00:55:32,997
5424And so, I just left
5425with the miss of the cup
5426
54271164
542800:55:33,080 --> 00:55:34,582
5429which feels like the real world.
5430
54311165
543200:55:35,333 --> 00:55:36,459
5433(chopper whirring)
5434
54351166
543600:55:43,299 --> 00:55:45,343
5437KINBERG: Now, this sequence
5438is one of my favorites in the movie
5439
54401167
544100:55:45,426 --> 00:55:46,802
5442partly because it's all real.
5443
54441168
544500:55:46,886 --> 00:55:49,222
5446I mean, not all but it's...
5447the vast majority of it is real.
5448
54491169
545000:55:49,305 --> 00:55:53,100
5451These are, obviously, those are
5452real choppers that are flying in
5453
54541170
545500:55:53,851 --> 00:55:56,729
5456but our special-effects again,
5457practical effects, Cam,
5458
54591171
546000:55:56,812 --> 00:55:59,065
5461who was the head
5462of special-effects for us,
5463
54641172
546500:55:59,148 --> 00:56:02,777
5466he created rigs where he could take
5467the bucks of these choppers...
5468
54691173
547000:56:02,860 --> 00:56:06,155
5471so everything except for the propellers...
5472and remote control them.
5473
54741174
547500:56:06,239 --> 00:56:08,783
5476So, the first one that's about to go
5477spinning on the ground
5478
54791175
548000:56:08,866 --> 00:56:11,619
5481is in fact spinning on the ground,
5482and he had explosives in the ground
5483
54841176
548500:56:11,702 --> 00:56:14,622
5486that would be like the propeller
5487ripping open the ground.
5488
54891177
549000:56:14,705 --> 00:56:17,542
5491And the second one,
5492which we'll get to pretty shortly,
5493
54941178
549500:56:17,625 --> 00:56:21,796
5496he brought in two big crane arms
5497and built a crane wire
5498
54991179
550000:56:21,879 --> 00:56:23,589
5501that was going between
5502the two crane arms
5503
55041180
550500:56:23,673 --> 00:56:28,594
5506that was capable of holding
5507I think up to 4000 pounds.
5508
55091181
551000:56:28,678 --> 00:56:33,015
5511And he had the chopper
5512on that wire remote-controlled,
5513
55141182
551500:56:33,099 --> 00:56:36,769
5516so it could go in and out, closer,
5517further away from Sophie and Michael
5518
55191183
552000:56:36,852 --> 00:56:38,688
5521with everything
5522but the propeller because obviously,
5523
55241184
552500:56:38,771 --> 00:56:41,023
5526were not going to put them close
5527to a moving propeller
5528
55291185
553000:56:41,107 --> 00:56:42,400
5531but we had massive rotor fans
5532
55331186
553400:56:42,483 --> 00:56:45,319
5535that were mimicking what it would be
5536like for the propeller to be that close.
5537
55381187
553900:56:45,403 --> 00:56:48,531
5540But literally, they were
5541interacting with a real helicopter.
5542
55431188
554400:56:49,282 --> 00:56:50,700
5545Then step aside.
5546
55471189
554800:56:51,617 --> 00:56:54,579
5549We have the same rights
5550as you and your family.
5551
55521190
555300:56:54,662 --> 00:56:56,581
5554And like I said, we're not here for...
5555
55561191
555700:56:56,664 --> 00:56:58,541
5558KINBERG: The soldiers
5559you're shortly going to see
5560
55611192
556200:56:58,624 --> 00:57:00,334
5563running and jumping onto that chopper
5564
55651193
556600:57:00,418 --> 00:57:02,211
5567are running and jumping onto a chopper
5568
55691194
557000:57:02,295 --> 00:57:07,216
5571that is in fact there, 10-15 feet
5572off the ground and it's just again,
5573
55741195
557500:57:07,300 --> 00:57:10,928
5576there's some part of the audience's
5577brain that recognizes real physics,
5578
55791196
558000:57:11,012 --> 00:57:16,017
5581and so sees a sequence like this
5582and recognizes that it is real in a way
5583
55841197
558500:57:16,100 --> 00:57:17,768
5586that it wouldn't be in
5587almost any other movie.
5588
55891198
559000:57:17,852 --> 00:57:21,022
5591And for the actors... so, right here,
5592that's a real chopper.
5593
55941199
559500:57:22,023 --> 00:57:23,441
5596I said stop that right now!
5597
55981200
559900:57:23,524 --> 00:57:26,110
5600KINBERG: The propeller is obviously fake
5601because that would be dangerous.
5602
56031201
560400:57:27,486 --> 00:57:32,700
5605But as this happens, you will see,
5606that chopper does rise a little bit
5607
56081202
560900:57:33,701 --> 00:57:37,038
5610and then twists real...
5611
56121203
561300:57:38,581 --> 00:57:42,043
5614and this is all the chopper
5615on a rig spinning around
5616
56171204
561800:57:43,502 --> 00:57:46,088
5619and explosives going off
5620in all the places.
5621
56221205
562300:57:46,172 --> 00:57:50,009
5624That's obviously fake because we would
5625not risk Michael Fassbender's life.
5626
56271206
562800:57:50,092 --> 00:57:54,347
5629But this now is that chopper
5630that's on the wire
5631
56321207
563300:57:54,430 --> 00:57:56,766
5634and it is everything
5635but the propeller is real.
5636
56371208
563800:57:58,225 --> 00:58:02,104
5639And it's, you know, 3000,
56404000-pound metal object
5641
56421209
564300:58:02,188 --> 00:58:05,608
5644that's going closer to them,
5645that's going further away from them...
5646
56471210
564800:58:07,234 --> 00:58:09,820
5649with massive fans
5650blowing on them to simulate the wind.
5651
56521211
565300:58:10,613 --> 00:58:14,283
5654That's a camera inside the real buck
5655of the chopper that's filming them.
5656
56571212
565800:58:14,909 --> 00:58:15,910
5659(yelling)
5660
56611213
566200:58:16,577 --> 00:58:19,997
5663PARKER: It's also hugely helpful
5664to the visual effects guys
5665
56661214
566700:58:20,081 --> 00:58:23,751
5668to have real elements
5669in the frame to build off of.
5670
56711215
567200:58:24,585 --> 00:58:27,797
5673It's what allows you to help
5674make this feel photo real...
5675
56761216
567700:58:29,090 --> 00:58:32,760
5678and as Simon said, give you the feeling,
5679you know, unconsciously
5680
56811217
568200:58:32,843 --> 00:58:35,179
5683that this is conforming
5684to real physics.
5685
56861218
568700:58:36,222 --> 00:58:38,349
5688It just makes,
5689it makes all the difference.
5690
56911219
569200:58:39,642 --> 00:58:41,811
5693KINBERG: That's the first shot that's
5694a visual effects shot of a chopper
5695
56961220
569700:58:41,894 --> 00:58:44,063
5698because obviously,
5699that we couldn't control.
5700
57011221
570200:58:54,657 --> 00:58:55,658
5703MAGNETO: Go!
5704
57051222
570600:58:57,952 --> 00:59:00,121
5707- Leave this place!
5708- I need your help!
5709
57101223
571100:59:00,204 --> 00:59:02,164
5712I thought you protected mutants here.
5713
57141224
571500:59:02,248 --> 00:59:05,084
5716I am protecting them... from you.
5717
57181225
571900:59:07,044 --> 00:59:08,421
5720You need to leave.
5721
57221226
572300:59:09,380 --> 00:59:10,464
5724Go!
5725
57261227
572700:59:13,384 --> 00:59:15,261
5728♪♪
5729
57301228
573100:59:28,065 --> 00:59:30,234
5732REPORTER: Word coming late tonight
5733that Congress is considering
5734
57351229
573600:59:30,317 --> 00:59:33,154
5737temporary mutant internment facilities
5738for those...
5739
57401230
574100:59:33,237 --> 00:59:34,947
5742PARKER: Just fun to watch Michael.
5743
57441231
574500:59:35,030 --> 00:59:38,367
5746KINBERG: No, I know, I think we were both
5747sitting here mesmerized,
5748
57491232
575000:59:38,451 --> 00:59:42,663
5751awe/crushing out
5752on Michael Fassbender.
5753
57541233
575500:59:42,747 --> 00:59:45,082
5756...attacking police
5757and military personnel...
5758
57591234
576000:59:50,713 --> 00:59:53,466
5761That news conference there was
5762something we went back and forth
5763
57641235
576500:59:53,549 --> 00:59:56,719
5766on just how severe we wanted
5767the human reaction to be.
5768
57691236
577000:59:56,802 --> 01:00:00,014
5771Initially, the reaction was
5772more severe than that but felt like,
5773
57741237
577501:00:00,097 --> 01:00:01,515
5776we didn't want it to feel
5777as though all of a sudden
5778
57791238
578001:00:01,599 --> 01:00:05,978
5781they were going from embracing the X-Men
5782to interning the X-Men.
5783
57841239
578501:00:06,061 --> 01:00:09,732
5786So, there was, there was
5787a sort of middle ground that I found
5788
57891240
579001:00:09,815 --> 01:00:12,109
5791and we reshot the anchorman.
5792
57931241
579401:00:12,193 --> 01:00:14,862
5795...everything that we've accomplished.
5796You have to give us a chance.
5797
57981242
579901:00:14,945 --> 01:00:15,905
5800(line busy tone)
5801
58021243
580301:00:21,702 --> 01:00:25,331
5804PARKER: And if you notice, Charles's
5805wardrobe starts to kind of deconstruct
5806
58071244
580801:00:25,414 --> 01:00:27,333
5809as we get later in the movie,
5810
58111245
581201:00:27,416 --> 01:00:30,419
5813sort of mirroring his somewhat unraveling,
5814
58151246
581601:00:30,503 --> 01:00:33,130
5817but having to look at himself anew
5818
58191247
582001:00:33,214 --> 01:00:36,175
5821and basically take responsibility
5822for what he's done,
5823
58241248
582501:00:36,258 --> 01:00:39,178
5826but also start to be
5827more honest with himself, I think.
5828
58291249
583001:00:39,261 --> 01:00:40,679
5831...citizens to keep their distance.
5832
58331250
583401:00:40,763 --> 01:00:43,599
5835Any sighting should be reported
5836to the police immediately.
5837
58381251
583901:00:43,933 --> 01:00:45,476
5840Government officials have...
5841
58421252
584301:00:45,976 --> 01:00:47,686
5844KINBERG: This is one of my favorite scenes
5845in the movie.
5846
58471253
584801:00:47,770 --> 01:00:51,315
5849It's a scene I wrote pretty early on
5850that I rewrote a few times
5851
58521254
585301:00:51,398 --> 01:00:54,944
5854of the first interaction between
5855Jean and Jessica's character.
5856
58571255
585801:01:00,282 --> 01:01:03,077
5859And this notion that Jean
5860is controlling everybody's mind
5861
58621256
586301:01:03,160 --> 01:01:06,163
5864but Jessica's mind can't be controlled
5865is, I guess, pretty subtle
5866
58671257
586801:01:06,247 --> 01:01:08,290
5869because some people don't catch it
5870or don't fully understand it.
5871
58721258
587301:01:08,374 --> 01:01:10,417
5874But I just thought was a cool way
5875
58761259
587701:01:10,501 --> 01:01:13,003
5878to reveal
5879you're sort of watching the scene,
5880
58811260
588201:01:13,087 --> 01:01:15,506
5883wondering why you're watching
5884an older gentleman
5885
58861261
588701:01:16,048 --> 01:01:18,008
5888drinking before this transformation.
5889
58901262
589101:01:22,179 --> 01:01:25,057
5892PARKER: Wasn't this our first day
5893with Jessica? Or maybe the second half?
5894
58951263
589601:01:25,140 --> 01:01:27,768
5897Didn't we do something the first half
5898and then moved to this...?
5899
59001264
590101:01:27,852 --> 01:01:29,019
5902KINBERG: Yeah, it may be.
5903
59041265
590501:01:29,103 --> 01:01:30,271
5906PARKER: This location.
5907
59081266
590901:01:30,354 --> 01:01:34,984
5910It's a small bar in Montréal
5911but had this great look and feel.
5912
59131267
591401:01:35,067 --> 01:01:36,360
5915KINBERG: Yeah.
5916
59171268
591801:01:37,444 --> 01:01:40,155
5919Let's just say I have friends
5920in high places.
5921
59221269
592301:01:42,032 --> 01:01:43,701
5924Who are you?
5925
59261270
592701:01:44,285 --> 01:01:45,744
5928The better question is...
5929
59301271
593101:01:46,662 --> 01:01:47,913
5932who are you?
5933
59341272
593501:01:48,289 --> 01:01:51,166
5936KINBERG: And I'm a big believer in that
5937even though Jessica and I are friends
5938
59391273
594001:01:51,250 --> 01:01:53,419
5941and we were friends from having
5942made The Martian together,
5943
59441274
594501:01:53,502 --> 01:01:56,255
5946I think this monologue in here is why
5947she decided to do the movie.
5948
59491275
595001:01:56,338 --> 01:01:59,091
5951Because I think there's...
5952there's a thematic
5953
59541276
595501:01:59,174 --> 01:02:02,344
5956and even political element to this
5957that was compelling to her.
5958
59591277
596001:02:02,428 --> 01:02:03,846
5961And is compelling to me as well.
5962
59631278
596401:02:03,929 --> 01:02:06,724
5965I mean a movie that is
5966a female protagonist movie,
5967
59681279
596901:02:06,807 --> 01:02:09,143
5970I wanted it to be more than
5971just a female protagonist movie.
5972
59731280
597401:02:09,226 --> 01:02:12,104
5975I wanted it to actually explore,
5976like I was saying earlier,
5977
59781281
597901:02:12,187 --> 01:02:14,106
5980this sort of patriarchal
5981side of Charles.
5982
59831282
598401:02:14,189 --> 01:02:17,693
5985I also want to explore
5986the empowerment of a female character
5987
59881283
598901:02:17,776 --> 01:02:21,572
5990in a male dominated,
5991not just world, but candidly, genre.
5992
59931284
599401:02:22,239 --> 01:02:24,450
5995And so, this notion of antiquated words
5996
59971285
599801:02:24,533 --> 01:02:27,036
5999created by men a long time ago
6000with very little minds,
6001
60021286
600301:02:27,119 --> 01:02:31,373
6004something that I thought Jess would dig.
6005And she did.
6006
60071287
600801:02:31,457 --> 01:02:34,251
6009They can't begin to comprehend
6010what you are.
6011
60121288
601301:02:34,919 --> 01:02:36,003
6014Even your X-men.
6015
60161289
601701:02:36,086 --> 01:02:37,963
6018KINBERG: And we had a slightly
6019longer version of this scene
6020
60211290
602201:02:38,047 --> 01:02:41,675
6023that didn't do much else other than do
6024a little bit more convincing
6025
60261291
602701:02:41,759 --> 01:02:45,095
6028and then we cut it, or Lee cut it
6029because going out on a smile,
6030
60311292
603201:02:45,179 --> 01:02:48,766
6033that sort of eerie smile was a stronger
6034way to go out than another line.
6035
60361293
603701:02:48,849 --> 01:02:50,851
6038- What?
6039- Hank's not in class.
6040
60411294
604201:02:52,645 --> 01:02:53,771
6043Did you check his quarters?
6044
60451295
604601:02:54,229 --> 01:02:55,564
6047Yeah, he's not there either.
6048
60491296
605001:03:02,154 --> 01:03:05,449
6051KINBERG: And then this is where I think,
6052to me, as we were conceiving the movie
6053
60541297
605501:03:05,532 --> 01:03:07,952
6056and thinking about
6057how do you break a family up,
6058
60591298
606001:03:08,035 --> 01:03:09,453
6061it's not just about breaking a family up,
6062
60631299
606401:03:09,536 --> 01:03:13,123
6065but it's about switching allegiances
6066and creating new families,
6067
60681300
606901:03:13,207 --> 01:03:17,378
6070and this notion that Hank becomes
6071part of Magneto's family
6072
60731301
607401:03:17,461 --> 01:03:19,254
6075is something that wouldn't have
6076been fathomable
6077
60781302
607901:03:19,338 --> 01:03:20,464
6080a movie or four movies ago
6081
60821303
608301:03:20,547 --> 01:03:23,425
6084especially, as they were enemies
6085for Mystique's affection.
6086
60871304
608801:03:24,301 --> 01:03:26,762
6089- She's gone.
6090- No, I know that.
6091
60921305
609301:03:27,304 --> 01:03:28,722
6094Then why are you here, Hank?
6095
60961306
609701:03:29,682 --> 01:03:31,100
6098You have eyes and ears
6099around the world
6100
61011307
610201:03:31,183 --> 01:03:32,643
6103to help you find mutants
6104for this place.
6105
61061308
610701:03:32,726 --> 01:03:36,772
6108KINBERG: This was an interesting day
6109on set because we had scouted a location
6110
61111309
611201:03:36,855 --> 01:03:38,607
6113for this interaction
6114to take place that was...
6115
61161310
611701:03:38,691 --> 01:03:42,403
6118- PARKER: That's right.
6119- KINBERG: ...like kind of a forest
6120
61211311
612201:03:42,486 --> 01:03:44,029
6123but when we got there,
6124it wasn't really a forest,
6125
61261312
612701:03:44,113 --> 01:03:46,281
6128it was like a tree and some grass,
6129
61301313
613101:03:46,365 --> 01:03:48,617
6132and it felt like it was going to be
6133kind of anticlimactic
6134
61351314
613601:03:48,701 --> 01:03:52,955
6137to have this face-to-face between
6138these actors who have been enemies
6139
61401315
614101:03:53,038 --> 01:03:56,875
6142and this moment for Magneto learning
6143this thing about the woman he loves.
6144
61451316
614601:03:56,959 --> 01:03:58,210
6147And then we were just walking around
6148
61491317
615001:03:58,293 --> 01:04:00,796
6151and saw all the wreckage that was
6152still there from having shot there
6153
61541318
615501:04:00,879 --> 01:04:04,133
6156and it felt like this was
6157the right place to stage it.
6158
61591319
616001:04:04,216 --> 01:04:07,469
6161And Michael, because he's so extraordinary
6162at using everything that he's given,
6163
61641320
616501:04:07,553 --> 01:04:12,433
6166was his decision to make this move
6167toward the skids of the chopper.
6168
61691321
617001:04:12,516 --> 01:04:15,936
6171Weirdly, this became a really interesting
6172environment for these two guys,
6173
61741322
617501:04:16,020 --> 01:04:18,272
6176because it's a world of destruction
6177
61781323
617901:04:18,355 --> 01:04:20,858
6180at a time when the family's
6181being destroyed.
6182
61831324
618401:04:21,150 --> 01:04:23,402
6185I need you to help me find Jean.
6186
61871325
618801:04:29,450 --> 01:04:31,785
6189If I find her, I'll kill her.
6190
61911326
619201:04:33,370 --> 01:04:34,371
6193I know.
6194
61951327
619601:04:35,873 --> 01:04:37,124
6197(honking)
6198
61991328
620001:04:43,505 --> 01:04:45,674
6201KINBERG: This is a little bit of a build
6202
62031329
620401:04:45,758 --> 01:04:49,470
6205and a lot of visual effect in the
6206background to make it look like New York.
6207
62081330
620901:04:49,553 --> 01:04:52,848
6210PARKER: Yeah, that's actually
6211on a big sound stage in Montréal.
6212
62131331
621401:04:53,974 --> 01:04:55,142
6215KINBERG: And this is a set.
6216
62171332
621801:04:55,225 --> 01:04:57,102
6219Everything that takes place in here
6220from this point forward
6221
62221333
622301:04:57,186 --> 01:04:59,271
6224and there's a lot
6225that takes place in here,
6226
62271334
622801:04:59,354 --> 01:05:02,608
6229is a beautiful set that Claude Pare
6230art designed, production designed,
6231
62321335
623301:05:02,691 --> 01:05:07,362
6234and initially we had thought of it
6235as the French Consulate
6236
62371336
623801:05:07,446 --> 01:05:11,700
6239and then as you see on the ground,
6240that rug would indicate French Consulate
6241
62421337
624301:05:11,784 --> 01:05:14,578
6244and then we kind of didn't really
6245explore that much more deeply than that.
6246
62471338
624801:05:14,661 --> 01:05:18,123
6249But I think Claude Pare...
6250emphasis on Claude and Pare,
6251
62521339
625301:05:18,207 --> 01:05:21,001
6254liked the idea of representing
6255the French in this movie.
6256
62571340
625801:05:21,168 --> 01:05:25,923
6259(in alien language) If she can't
6260control it, then we will destroy it.
6261
62621341
626301:05:27,841 --> 01:05:28,926
6264♪♪
6265
62661342
626701:05:31,678 --> 01:05:33,305
6268KINBERG: And this is a scene
6269that we reshot.
6270
62711343
627201:05:33,388 --> 01:05:35,891
6273Initially, this scene
6274didn't really give information
6275
62761344
627701:05:35,974 --> 01:05:38,519
6278about what it is
6279that happened to Jean in space.
6280
62811345
628201:05:38,602 --> 01:05:41,438
6283It didn't really give information about
6284the cosmic force that was inside Jean.
6285
62861346
628701:05:41,522 --> 01:05:47,361
6288And felt like as much as I wanted
6289the character of Jessica to be mysterious,
6290
62911347
629201:05:47,444 --> 01:05:50,489
6293there's a certain point
6294at which mystery becomes enigma.
6295
62961348
629701:05:50,572 --> 01:05:52,741
6298And you're just sort of detached.
6299
63001349
630101:05:52,825 --> 01:05:56,078
6302And so, this became an opportunity
6303for Jessica to explain
6304
63051350
630601:05:56,161 --> 01:05:59,998
6307what she was doing down here,
6308why she was drawn here
6309
63101351
631101:06:00,082 --> 01:06:02,417
6312and most importantly,
6313what was happening to Jean.
6314
63151352
631601:06:02,501 --> 01:06:05,295
6317And this became this big visual
6318effects sequence.
6319
63201353
632101:06:05,379 --> 01:06:09,258
6322And I will say, with the most profound
6323respect to Phil and Kurt,
6324
63251354
632601:06:09,341 --> 01:06:11,510
6327our visual effects supervisor
6328and producer,
6329
63301355
633101:06:11,593 --> 01:06:15,180
6332they created this entire sequence
6333pretty late in the process
6334
63351356
633601:06:15,264 --> 01:06:16,974
6337so they didn't have
6338a whole lot of time to do it
6339
63401357
634101:06:17,057 --> 01:06:18,809
6342and it still looks really amazing.
6343
63441358
634501:06:18,892 --> 01:06:19,893
6346VUK: ...that force.
6347
63481359
634901:06:19,977 --> 01:06:21,311
6350JEAN: Why?
6351
63521360
635301:06:22,271 --> 01:06:25,065
6354Because it's the spark that gave
6355life to the universe...
6356
63571361
635801:06:25,941 --> 01:06:28,485
6359and the flame that consumed my world.
6360
63611362
636201:06:33,365 --> 01:06:34,908
6363What remains of my people...
6364
63651363
636601:06:34,992 --> 01:06:37,619
6367KINBERG: And it's true to the characters
6368of the D'Bari obviously,
6369
63701364
637101:06:37,703 --> 01:06:39,997
6372well, not obviously, I say that
6373to hard-core fans of the comic.
6374
63751365
637601:06:40,080 --> 01:06:43,167
6377Their planet was destroyed
6378by the Phoenix force.
6379
63801366
638101:06:45,210 --> 01:06:47,004
6382Why me?
6383
63841367
638501:06:47,671 --> 01:06:49,923
6386Because you're stronger than you know.
6387
63881368
638901:06:51,508 --> 01:06:53,427
6390Because you're special, Jean.
6391
63921369
639301:06:58,724 --> 01:07:00,350
6394With my help...
6395
63961370
639701:07:00,559 --> 01:07:03,103
6398KINBERG: And I wanted this
6399in some ways to echo
6400
64011371
640201:07:03,187 --> 01:07:07,441
6403the appeal that Charles makes to young
6404Jean at the beginning of the movie.
6405
64061372
640701:07:07,524 --> 01:07:11,737
6408Even using the word special
6409was intentional.
6410
64111373
641201:07:11,820 --> 01:07:13,739
6413At the beginning,
6414Charles was sort of appealing to her
6415
64161374
641701:07:13,822 --> 01:07:15,032
6418for what he believes to be good,
6419
64201375
642101:07:15,115 --> 01:07:19,203
6422and now Jessica's appealing to her
6423for what she believes to be good.
6424
64251376
642601:07:19,286 --> 01:07:21,121
6427But for both of them,
6428there's an element of it
6429
64301377
643101:07:21,205 --> 01:07:25,375
6432that's empowering them and their agenda.
6433And by the end of this movie,
6434
64351378
643601:07:25,459 --> 01:07:29,046
6437Jean chooses her own agenda
6438to save the people that she loves.
6439
64401379
644101:07:29,129 --> 01:07:32,591
6442And that's the arc of the movie for me,
6443is that she's child to neither
6444
64451380
644601:07:32,674 --> 01:07:35,636
6447and becomes the grown up
6448that's making her own decisions.
6449
64501381
645101:07:35,719 --> 01:07:38,555
6452But here, she's
6453sort of in the seduction process
6454
64551382
645601:07:38,639 --> 01:07:42,976
6457of being turned toward Jessica's side.
6458And Jessica's very compelling at that.
6459
64601383
646101:07:43,060 --> 01:07:44,311
6462...they fear.
6463
64641384
646501:07:44,394 --> 01:07:45,312
6466And what they fear...
6467
64681385
646901:07:46,313 --> 01:07:47,898
6470They seek to destroy.
6471
64721386
647301:07:53,612 --> 01:07:54,780
6474MAGNETO: Did Raven suffer?
6475
64761387
647701:07:56,782 --> 01:07:58,158
6478Not for long.
6479
64801388
648101:07:59,618 --> 01:08:03,580
6482KINBERG: And again, if you look at this,
6483it's very dirty
6484
64851389
648601:08:03,664 --> 01:08:05,749
6487in a way that X-Men movies
6488haven't been dirty before.
6489
64901390
649101:08:05,832 --> 01:08:08,961
6492The cameras bouncing around
6493a little bit. It's handheld.
6494
64951391
649601:08:09,878 --> 01:08:14,466
6497It's just longer lens,
6498it's not static and smooth.
6499
65001392
650101:08:14,549 --> 01:08:16,134
6502The world itself
6503is kind of falling apart
6504
65051393
650601:08:16,218 --> 01:08:21,014
6507and so I want the camera work to feel
6508also as if it's not quite as smooth.
6509
65101394
651101:08:21,556 --> 01:08:22,641
6512New York.
6513
65141395
651501:08:22,975 --> 01:08:24,893
6516We'll have eyes on the ground
6517when we get there.
6518
65191396
652001:08:25,936 --> 01:08:27,062
6521♪♪
6522
65231397
652401:08:29,606 --> 01:08:31,942
6525KINBERG: Right there, if you look at all
6526the movement around Michael, it's subtle,
6527
65281398
652901:08:32,025 --> 01:08:35,195
6530but if you look at it you see
6531the camera's not just set on him.
6532
65331399
653401:08:41,702 --> 01:08:43,829
6535And this is a steadicam as opposed
6536to it being a crane
6537
65381400
653901:08:43,912 --> 01:08:45,956
6540which it normally
6541would be in a shot like that.
6542
65431401
654401:08:46,039 --> 01:08:48,709
6545So, it's got a little bit more life
6546and human movement to it
6547
65481402
654901:08:48,792 --> 01:08:52,379
6550and even like human footsteps to the way
6551the camera was moving just now.
6552
65531403
655401:08:53,422 --> 01:08:55,424
6555Anytime we can reveal
6556the Magneto helmet
6557
65581404
655901:08:55,507 --> 01:08:58,343
6560we basically have
6561in all of these movies.
6562
65631405
656401:08:58,427 --> 01:09:02,306
6565I honestly think we have in every single
6566one of the movies since First Class.
6567
65681406
656901:09:04,433 --> 01:09:09,187
6570Big reveal in Days of Future Past.
6571Reveal in Apocalypse. Big reveal here.
6572
65731407
657401:09:10,689 --> 01:09:11,815
6575PARKER: Also, a great score moment.
6576
65771408
657801:09:11,898 --> 01:09:14,026
6579Hans Zimmer
6580did an amazing job throughout.
6581
65821409
658301:09:14,109 --> 01:09:15,277
6584Because he also had to attend
6585
65861410
658701:09:15,360 --> 01:09:18,655
6588to so many different tonalities,
6589emotional and psychological
6590
65911411
659201:09:18,739 --> 01:09:21,950
6593and as the movie
6594is starting to take a turn there,
6595
65961412
659701:09:22,034 --> 01:09:24,661
6598you can feel the score
6599get more muscular,
6600
66011413
660201:09:24,745 --> 01:09:29,750
6603in the way that it's promising conflict
6604with Magneto and the X-Men.
6605
66061414
660701:09:30,459 --> 01:09:33,337
6608KINBERG: Yeah, and Hans is... sorry,
6609going back to the people
6610
66111415
661201:09:33,420 --> 01:09:37,799
6613who are Oscar nominated-winning,
6614incredible teammates...
6615
66161416
661701:09:38,592 --> 01:09:43,513
6618I've been writing my scripts
6619to Hans Zimmer scores
6620
66211417
662201:09:43,597 --> 01:09:46,308
6623since I was in film school.
6624He's a hero of mine.
6625
66261418
662701:09:46,391 --> 01:09:47,851
6628And an incredible inspiration.
6629
66301419
663101:09:47,934 --> 01:09:50,771
6632And, after the last superhero movie
6633he had worked on before this one,
6634
66351420
663601:09:50,854 --> 01:09:52,022
6637he said he wasn't going to do
6638
66391421
664001:09:52,105 --> 01:09:54,274
6641any more superhero movies
6642or comic book adaptations.
6643
66441422
664501:09:54,358 --> 01:09:59,321
6646And we basically... I wrote emails.
6647I called, I begged.
6648
66491423
665001:09:59,404 --> 01:10:00,739
6651Finally got a meeting with him
6652
66531424
665401:10:00,822 --> 01:10:02,449
6655because he was doing
6656a concert in Montréal
6657
66581425
665901:10:02,532 --> 01:10:04,242
6660while we were in prep on this film
6661
66621426
666301:10:04,326 --> 01:10:07,287
6664and convinced him to at least
6665continue the conversation.
6666
66671427
666801:10:07,371 --> 01:10:09,373
6669It was another couple conversations
6670on the phone
6671
66721428
667301:10:09,456 --> 01:10:11,666
6674until finally he committed
6675to doing the film.
6676
66771429
667801:10:11,750 --> 01:10:15,337
6679And I think the reason he committed
6680to doing the film was that he recognized
6681
66821430
668301:10:15,420 --> 01:10:17,589
6684that this was going to be
6685a different kind of superhero film.
6686
66871431
668801:10:17,672 --> 01:10:22,928
6689It wasn't going to be maybe
6690as bombastic or as broad and operatic
6691
66921432
669301:10:23,011 --> 01:10:24,596
6694as the films he'd worked on
6695in the past.
6696
66971433
669801:10:24,679 --> 01:10:27,349
6699It was going to have a more grounded,
6700gritty feeling to it.
6701
67021434
670301:10:27,432 --> 01:10:29,434
6704And so, he saw it as an opportunity
6705to do something different.
6706
67071435
670801:10:29,518 --> 01:10:32,938
6709And the thing about Hans is, and this
6710is true for I guess any great artist,
6711
67121436
671301:10:33,021 --> 01:10:34,189
6714and Hans is certainly a great artist,
6715
67161437
671701:10:34,272 --> 01:10:37,150
6718is he just wants to be challenged
6719to do something different each time.
6720
67211438
672201:10:37,234 --> 01:10:39,444
6723And so, this felt like an opportunity
6724to do something different.
6725
67261439
672701:10:39,528 --> 01:10:42,656
6728And this is a very heavily
6729scored movie.
6730
67311440
673201:10:42,739 --> 01:10:44,908
6733It's not wall to wall score music,
6734
67351441
673601:10:44,991 --> 01:10:48,036
6737but I would say
6738we have more music in this film
6739
67401442
674101:10:48,120 --> 01:10:50,122
6742than we've had in any
6743of the other X-Men movies.
6744
67451443
674601:10:50,205 --> 01:10:51,456
6747And it's giving us emotion.
6748
67491444
675001:10:51,540 --> 01:10:55,293
6751It's reinforcing tension
6752and momentum, transitions.
6753
67541445
675501:10:55,836 --> 01:10:58,004
6756There's a lot of work the score
6757is doing in this movie
6758
67591446
676001:10:58,088 --> 01:11:00,590
6761and I just love the score
6762so much that we used it.
6763
67641447
676501:11:00,674 --> 01:11:03,927
6766Hans, over the span of however many months
6767and years we were working on the movie,
6768
67691448
677001:11:04,010 --> 01:11:06,763
6771I think it was like 11
6772or 12 hours' worth of music
6773
67741449
677501:11:06,847 --> 01:11:08,432
6776that he created for this movie.
6777
67781450
677901:11:08,515 --> 01:11:12,727
6780And he creates these long suites,
6781and then once those suites are created,
6782
67831451
678401:11:12,811 --> 01:11:17,482
6785the sound editors
6786and Lee and Hans's team,
6787
67881452
678901:11:17,566 --> 01:11:20,360
6790they start to edit
6791those suites down to picture
6792
67931453
679401:11:21,027 --> 01:11:23,447
6795and into individual themes
6796for the characters.
6797
67981454
679901:11:23,530 --> 01:11:28,410
6800And so, this was a real process
6801of finding, creating,
6802
68031455
680401:11:28,493 --> 01:11:30,829
6805conforming the music to the picture.
6806
68071456
680801:11:31,496 --> 01:11:33,874
6809Which I've never done before
6810as a producer on a movie.
6811
68121457
681301:11:33,957 --> 01:11:36,918
6814Usually, composers will write to picture
6815
68161458
681701:11:37,002 --> 01:11:38,962
6818and Hans actually didn't want
6819to see the picture,
6820
68211459
682201:11:39,045 --> 01:11:42,674
6823he wanted to start writing the suites
6824first, based just on conversations,
6825
68261460
682701:11:42,757 --> 01:11:44,801
6828even before reading the script.
6829
68301461
683101:11:44,885 --> 01:11:48,763
6832PARKER: Incredibly collaborative.
6833I mean, a remarkable process for me,
6834
68351462
683601:11:48,847 --> 01:11:51,725
6837having worked on a ton of movies
6838as an executive
6839
68401463
684101:11:51,808 --> 01:11:53,059
6842and then again as a producer.
6843
68441464
684501:11:53,143 --> 01:11:57,272
6846I'd never had an experience
6847quite like what we had with Hans.
6848
68491465
685001:11:57,355 --> 01:11:59,483
6851Both creatively
6852and in terms of that process.
6853
68541466
685501:11:59,566 --> 01:12:00,484
6856KINBERG: Yeah.
6857
68581467
685901:12:00,567 --> 01:12:01,860
6860(honking)
6861
68621468
686301:12:06,323 --> 01:12:07,532
6864(indistinct screaming)
6865
68661469
686701:12:12,287 --> 01:12:13,705
6868♪♪
6869
68701470
687101:12:25,550 --> 01:12:27,844
6872KINBERG: And this is,
6873as Hutch was alluding to earlier,
6874
68751471
687601:12:27,928 --> 01:12:32,682
6877we built pretty much the majority
6878of this Fifth Avenue street
6879
68801472
688101:12:32,766 --> 01:12:35,769
6882on a sound stage in Montréal.
6883
68841473
688501:12:35,852 --> 01:12:37,938
6886It's our biggest stage.
6887It was our biggest build.
6888
68891474
689001:12:39,814 --> 01:12:42,317
6891And when you're looking
6892in that direction, for the most part,
6893
68941475
689501:12:42,400 --> 01:12:44,653
6896that was actually a park in Montréal.
6897
68981476
689901:12:44,736 --> 01:12:47,072
6900But then once the action starts,
6901all this jumps off,
6902
69031477
690401:12:47,155 --> 01:12:49,032
6905everything looking
6906toward the buildings,
6907
69081478
690901:12:49,115 --> 01:12:51,117
6910looking down the street,
6911that's all a build.
6912
69131479
691401:12:51,201 --> 01:12:54,538
6915And past a certain point in the street
6916then it's a visual effect.
6917
69181480
691901:12:54,621 --> 01:12:56,373
6920It's what's called a set extension.
6921
69221481
692301:13:02,254 --> 01:13:06,216
6924But we built blocks of this
6925Fifth Avenue sequence.
6926
69271482
692801:13:06,716 --> 01:13:08,677
6929And the reason to build as opposed
6930to being on location is one,
6931
69321483
693301:13:08,760 --> 01:13:11,763
6934obviously, this looks like Fifth Avenue.
6935We weren't going to go to New York
6936
69371484
693801:13:11,846 --> 01:13:13,807
6939and shut down Fifth Avenue
6940for a couple nights.
6941
69421485
694301:13:13,890 --> 01:13:17,394
6944But, two, also, all of this destruction
6945you couldn't do on a real street
6946
69471486
694801:13:17,477 --> 01:13:19,813
6949in a way that would give us
6950the kind of sort of visceral action
6951
69521487
695301:13:19,896 --> 01:13:21,982
6954and destruction
6955that this sequence required,
6956
69571488
695801:13:22,065 --> 01:13:24,651
6959especially once Magneto
6960pulls a subway car out of the ground
6961
69621489
696301:13:24,734 --> 01:13:26,987
6964and hurls it through a wall.
6965
69661490
696701:13:27,070 --> 01:13:31,241
6968PARKER: Which is an idea that Simon had
6969I feel like almost before,
6970
69711491
697201:13:31,324 --> 01:13:34,494
6973before we got into the script.
6974It was something he had in his head
6975
69761492
697701:13:34,578 --> 01:13:37,747
6978as being this, actually,
6979this whole sequence,
6980
69811493
698201:13:37,831 --> 01:13:40,542
6983the whole fight in New York
6984at different times,
6985
69861494
698701:13:40,625 --> 01:13:44,379
6988you know, had more scale
6989and even more impact to it.
6990
69911495
699201:13:44,462 --> 01:13:49,050
6993But the notion being that it was an idea
6994of seeing the X-Men fighting the X-Men
6995
69961496
699701:13:49,134 --> 01:13:52,345
6998that was critically important to him
6999and he thought was a breakthrough idea
7000
70011497
700201:13:52,429 --> 01:13:56,850
7003and that the climbing moment of that,
7004climaxing moment of that
7005
70061498
700701:13:56,933 --> 01:14:01,229
7008would actually be Magneto pulling
7009the subway car up through the street.
7010
70111499
701201:14:01,313 --> 01:14:03,940
7013I was actually never
7014all that sure about it,
7015
70161500
701701:14:04,024 --> 01:14:05,984
7018but I do love
7019the way it turned out.
7020
70211501
702201:14:11,656 --> 01:14:14,534
7023KINBERG: Yeah, honestly, for me,
7024it was going back to that idea
7025
70261502
702701:14:14,618 --> 01:14:18,121
7028of trying to have the action
7029take place in real spaces.
7030
70311503
703201:14:18,204 --> 01:14:20,081
7033Everybody knows
7034what a city street looks like.
7035
70361504
703701:14:20,165 --> 01:14:22,375
7038A lot of people know what even
7039Fifth Avenue looks like,
7040
70411505
704201:14:22,459 --> 01:14:25,253
7043because they've seen New York
7044in television shows and movies.
7045
70461506
704701:14:25,337 --> 01:14:28,798
7048So one of the things I love about,
7049as an example, James Cameron movies
7050
70511507
705201:14:28,882 --> 01:14:32,010
7053is he stages...
7054Avatar notwithstanding...
7055
70561508
705701:14:32,093 --> 01:14:34,554
7058he stages
7059these incredible action sequences
7060
70611509
706201:14:34,638 --> 01:14:40,685
7063in really relatable everyday locations,
7064factories, streets.
7065
70661510
706701:14:40,769 --> 01:14:42,812
7068It just all feels very real
7069
70701511
707101:14:42,896 --> 01:14:45,815
7072even if the action that's happening
7073is completely surreal.
7074
70751512
707601:14:45,899 --> 01:14:51,279
7077And should go back to... speaking of real,
7078Cam, our special effects supervisor,
7079
70801513
708101:14:51,363 --> 01:14:56,076
7082created a rig where that subway train,
7083which was an actual train,
7084
70851514
708601:14:56,159 --> 01:15:00,872
7087was on a hydraulic that went
7088flying through a breakaway wall.
7089
70901515
709101:15:00,955 --> 01:15:03,917
7092So, that train that comes crashing
7093through the wall behind Michael Fassbender
7094
70951516
709601:15:04,000 --> 01:15:07,379
7097is a real train that is crashing through
7098the wall behind Michael Fassbender
7099
71001517
710101:15:07,462 --> 01:15:08,546
7102and actually was meant to stop
7103
71041518
710501:15:08,630 --> 01:15:11,591
7106about five or six feet shorter
7107than it actually stopped
7108
71091519
711001:15:11,675 --> 01:15:13,718
7111and got closer to Michael than it
7112was meant to
7113
71141520
711501:15:13,802 --> 01:15:16,680
7116and crashed down
7117some of the ceiling above him,
7118
71191521
712001:15:16,763 --> 01:15:18,390
7121again, closer than it should have.
7122
71231522
712401:15:18,473 --> 01:15:21,893
7125And only Michael Fassbender
7126possibly in the entire world
7127
71281523
712901:15:21,976 --> 01:15:23,895
7130would not only stand in place,
7131but barely blink,
7132
71331524
713401:15:23,978 --> 01:15:26,856
7135despite the fact that there was however
7136many thousands of pounds train
7137
71381525
713901:15:26,940 --> 01:15:28,650
7140crashing way too close to him.
7141
71421526
714301:15:29,025 --> 01:15:30,193
7144(metal creaking)
7145
71461527
714701:15:31,194 --> 01:15:34,864
7148PARKER: And that's one of those
7149conversations you have about,
7150
71511528
715201:15:34,948 --> 01:15:36,408
7153should we be doing this practically
7154
71551529
715601:15:36,491 --> 01:15:37,909
7157or should we be doing this
7158as a visual effect?
7159
71601530
716101:15:37,992 --> 01:15:41,413
7162Because practically,
7163there are obviously risks.
7164
71651531
716601:15:41,496 --> 01:15:46,167
7167Generally speaking, you know, those things
7168don't go necessarily as planned.
7169
71701532
717101:15:46,251 --> 01:15:51,506
7172And the time it takes to reset,
7173to do it a second time is exorbitant.
7174
71751533
717601:15:51,589 --> 01:15:55,719
7177And Cam was 100% confident
7178that it worked. He tested it.
7179
71801534
718101:15:55,802 --> 01:15:58,972
7182He was like, "No, I really -"
7183so, we all were like "Okay."
7184
71851535
718601:15:59,055 --> 01:16:01,808
7187And a little skeptically
7188but it came off beautifully.
7189
71901536
719101:16:01,891 --> 01:16:03,309
7192KINBERG: I don't think
7193we had a reset on that.
7194
71951537
719601:16:03,393 --> 01:16:05,228
7197Like, I think the reset
7198was like a day later.
7199
72001538
720101:16:05,311 --> 01:16:06,187
7202PARKER: It was, it was a lot.
7203
72041539
720501:16:06,271 --> 01:16:07,772
7206KINBERG: Because he'd have to...
7207right after... that was...
7208
72091540
721001:16:07,856 --> 01:16:10,525
7211PARKER: They'd have to take out that whole
7212chunk of wall, back up the thing
7213
72141541
721501:16:10,608 --> 01:16:12,318
7216and get everything out of there.
7217
72181542
721901:16:12,402 --> 01:16:14,154
7220KINBERG: Yeah. But we did get lucky.
7221
72221543
722301:16:14,237 --> 01:16:16,865
7224We had a lot of cameras, obviously,
7225shooting it but we had one take with it.
7226
72271544
722801:16:17,407 --> 01:16:20,201
7229Come here!
7230Get me in that house now!
7231
72321545
723301:16:24,038 --> 01:16:25,582
7234Have you come to kill me, too?
7235
72361546
723701:16:26,124 --> 01:16:28,126
7238KINBERG: And that's it,
7239still sitting in there.
7240
72411547
724201:16:29,335 --> 01:16:31,588
7243I failed you.
7244I know that, but...
7245
72461548
724701:16:31,921 --> 01:16:33,965
7248KINBERG: This was an idea actually that...
7249
72501549
725101:16:34,048 --> 01:16:37,927
7252one of the things for me that I love
7253about writing and I love about producing
7254
72551550
725601:16:38,011 --> 01:16:40,180
7257and I love about directing,
7258and all of them are pretty fluid
7259
72601551
726101:16:40,263 --> 01:16:45,226
7262in terms of how I would define them
7263in my experience is collaborating,
7264
72651552
726601:16:45,310 --> 01:16:48,188
7267collaborating with someone like Hutch,
7268collaborating with the actors.
7269
72701553
727101:16:48,271 --> 01:16:49,773
7272And there's a lot of stuff
7273in this movie,
7274
72751554
727601:16:49,856 --> 01:16:52,108
7277there are great ideas
7278that came from Hutch.
7279
72801555
728101:16:52,192 --> 01:16:54,152
7282There's a lot of great ideas
7283that came from the actors
7284
72851556
728601:16:54,235 --> 01:16:58,323
7287and the idea that Jean lifts
7288Charles out of his chair
7289
72901557
729101:16:58,406 --> 01:17:01,576
7292and walks him up the stairs
7293toward her was James McAvoy's idea.
7294
72951558
729601:17:02,160 --> 01:17:05,705
7297James read the script,
7298and in the script, she had...
7299
73001559
730101:17:05,789 --> 01:17:08,625
7302was sort of torturing him
7303while he was in his chair
7304
73051560
730601:17:08,708 --> 01:17:11,294
7307and James thought the idea of her
7308actually lifting him out of the chair
7309
73101561
731101:17:11,377 --> 01:17:16,132
7312was even more torturous and disturbing.
7313And it's certainly both of those things.
7314
73151562
731601:17:19,219 --> 01:17:23,181
7317And so, that's how this evolved
7318into this moment.
7319
73201563
732101:17:23,264 --> 01:17:26,392
7322Which is a, you know,
7323painful one to watch.
7324
73251564
732601:17:27,894 --> 01:17:28,937
7327♪♪
7328
73291565
733001:17:31,272 --> 01:17:32,482
7331Please, Jean.
7332
73331566
733401:17:41,866 --> 01:17:42,992
7335Please.
7336
73371567
733801:17:48,706 --> 01:17:49,916
7339KINBERG: And James is on wires here,
7340
73411568
734201:17:49,999 --> 01:17:52,418
7343but a lot of that is
7344just his physical performance.
7345
73461569
734701:17:52,502 --> 01:17:54,045
7348He's just got the ability to...
7349
73501570
735101:17:54,128 --> 01:17:56,339
7352like a lot of these actors,
7353he's got a lot of control over his body
7354
73551571
735601:17:56,422 --> 01:18:01,594
7357and so he can do a lot of really
7358sort of intricate nuanced little moves
7359
73601572
736101:18:01,678 --> 01:18:03,805
7362that make you believe that
7363what's happening is real.
7364
73651573
736601:18:03,888 --> 01:18:05,098
7367...see in mine.
7368
73691574
737001:18:07,267 --> 01:18:08,518
7371So look.
7372
73731575
737401:18:10,270 --> 01:18:11,604
7375Jean, look.
7376
73771576
737801:18:15,108 --> 01:18:16,776
7379And what you choose
7380to do with your gift,
7381
73821577
738301:18:16,860 --> 01:18:19,404
7384well, that's entirely up to you.
7385
73861578
738701:18:19,529 --> 01:18:20,405
7388(Charles groans)
7389
73901579
739101:18:20,488 --> 01:18:23,032
7392PARKER: A lot of work
7393for the visual effects team
7394
73951580
739601:18:23,825 --> 01:18:28,621
7397with all of that in close,
7398hair movement, the cracks on her face,
7399
74001581
740101:18:28,705 --> 01:18:31,416
7402the demolecularization
7403of the wall behind.
7404
74051582
740601:18:31,958 --> 01:18:35,211
7407KINBERG: You did a really good job
7408of saying demolecularization, Hutch.
7409
74101583
741101:18:35,837 --> 01:18:36,880
7412PARKER: Well, I've had practice.
7413
74141584
741501:18:36,963 --> 01:18:38,965
7416KINBERG: Yeah, that was a real...
7417
74181585
741901:18:39,048 --> 01:18:42,260
7420I would say that actual saying
7421the word demolecularization
7422
74231586
742401:18:42,343 --> 01:18:45,388
7425was harder for a lot
7426of our partners on this movie
7427
74281587
742901:18:45,471 --> 01:18:48,850
7430than actually manifesting it
7431visually in the film.
7432
74331588
743401:18:48,933 --> 01:18:50,935
7435You're saying a lot
7436because like you say, it was hard to do.
7437
74381589
743901:18:51,019 --> 01:18:53,813
7440I can help her in ways
7441that you can't.
7442
74431590
744401:18:54,439 --> 01:18:56,190
7445She can't be helped.
7446
74471591
744801:18:56,858 --> 01:18:58,443
7449She's a lost cause.
7450
74511592
745201:18:58,651 --> 01:19:01,404
7453PARKER: Some of these are
7454fairly stylized shots obviously,
7455
74561593
745701:19:01,487 --> 01:19:07,327
7458and it's another way that Simon and Mauro
7459were really breaking into a new aesthetic
7460
74611594
746201:19:07,410 --> 01:19:10,496
7463than we'd seen before
7464in any of the X-Men movies.
7465
74661595
746701:19:13,625 --> 01:19:15,293
7468...there's still hope.
7469
74701596
747101:19:15,376 --> 01:19:17,545
7472KINBERG: Yeah, one of the things
7473I said to Mauro
7474
74751597
747601:19:17,629 --> 01:19:19,088
7477when we first started
7478talking about the movie
7479
74801598
748101:19:19,172 --> 01:19:22,258
7482and him doing the movie is,
7483as much as obviously, I admire Avatar
7484
74851599
748601:19:22,342 --> 01:19:25,094
7487and it's an extraordinary
7488achievement visually,
7489
74901600
749101:19:25,178 --> 01:19:26,888
7492this movie I wanted
7493to be as real as possible.
7494
74951601
749601:19:26,971 --> 01:19:30,058
7497And so, for me, I was hiring
7498the Mauro who shot Training Day.
7499
75001602
750101:19:30,141 --> 01:19:32,018
7502I wasn't hiring the Mauro
7503who shot Avatar.
7504
75051603
750601:19:32,101 --> 01:19:35,897
7507Even though his fluency with visual
7508effects was really useful for this movie,
7509
75101604
751101:19:35,980 --> 01:19:38,066
7512I wanted him to be able to feel
7513like he could experiment.
7514
75151605
751601:19:38,149 --> 01:19:41,277
7517I wanted it to feel again like gritty
7518and real and handheld
7519
75201606
752101:19:41,361 --> 01:19:45,365
7522and down and dirty.
7523And so he got excited about that.
7524
75251607
752601:19:45,448 --> 01:19:47,075
7527The stylization
7528you were just talking about
7529
75301608
753101:19:47,158 --> 01:19:49,202
7532is just that's less gritty and real,
7533
75341609
753501:19:49,285 --> 01:19:52,038
7536but it is certainly an opportunity
7537to like do something
7538
75391610
754001:19:52,121 --> 01:19:53,957
7541that isn't traditionally done
7542in these films
7543
75441611
754501:19:54,040 --> 01:19:55,625
7546and create a new film grammar.
7547
75481612
754901:19:55,708 --> 01:19:57,710
7550I think we all felt
7551like there was a film grammar
7552
75531613
755401:19:57,794 --> 01:20:02,256
7555that Bryan Singer created in X-Men 1
7556that was almost 20 years old,
7557
75581614
755901:20:02,340 --> 01:20:07,553
7560and that had been not that radically
7561changed in all of those 20 years
7562
75631615
756401:20:07,637 --> 01:20:10,390
7565despite having other directors,
7566Brett Ratner, Matthew Vaughn.
7567
75681616
756901:20:10,473 --> 01:20:12,308
7570Bryan, having done
7571a lot of the movies.
7572
75731617
757401:20:12,392 --> 01:20:16,145
7575And that I was really inspired again,
7576I mean, by a lot of movies.
7577
75781618
757901:20:17,230 --> 01:20:18,773
7580But at least in this universe,
7581
75821619
758301:20:18,856 --> 01:20:21,442
7584I was really inspired
7585by what Mangold did with Logan
7586
75871620
758801:20:21,526 --> 01:20:23,778
7589and creating a completely
7590different film grammar
7591
75921621
759301:20:23,861 --> 01:20:25,905
7594from what he even did
7595with The Wolverine movie.
7596
75971622
759801:20:25,989 --> 01:20:27,365
7599And I just felt like
7600we had a chance here,
7601
76021623
760301:20:27,448 --> 01:20:29,993
7604because of the subject matter,
7605not because of just arbitrarily
7606
76071624
760801:20:30,076 --> 01:20:32,245
7609wanting it to be gritty
7610and real and intimate,
7611
76121625
761301:20:32,328 --> 01:20:36,374
7614but because the subject matter itself
7615required that kind of aesthetic,
7616
76171626
761801:20:36,457 --> 01:20:40,920
7619we could do that and it would
7620feel organic and not gratuitous.
7621
76221627
762301:20:49,887 --> 01:20:51,681
7624♪♪
7625
76261628
762701:20:58,938 --> 01:21:00,773
7628And this is a, you know,
7629as you were saying before,
7630
76311629
763201:21:00,857 --> 01:21:03,443
7633the complexity of the visual effect
7634that's happening here
7635
76361630
763701:21:03,526 --> 01:21:05,278
7638between the hair
7639and the eyes and the cracks
7640
76411631
764201:21:05,361 --> 01:21:07,739
7643and the cosmic force
7644in the different colors
7645
76461632
764701:21:07,822 --> 01:21:09,115
7648that are in the cosmic force...
7649
76501633
765101:21:09,198 --> 01:21:11,534
7652I mean, we were doing this down
7653to the very last second
7654
76551634
765601:21:11,617 --> 01:21:13,828
7657of like handing this over...
7658
76591635
766001:21:14,370 --> 01:21:16,789
7661I mean, these guys,
7662our visual effects team,
7663
76641636
766501:21:16,873 --> 01:21:20,585
7666Kurt and Phil especially, I think
7667didn't sleep the last couple of weeks
7668
76691637
767001:21:20,668 --> 01:21:22,295
7671- before we delivered this movie.
7672- PARKER: For sure.
7673
76741638
767501:21:22,378 --> 01:21:24,047
7676KINBERG: They were back and forth
7677between here and Montréal
7678
76791639
768001:21:24,130 --> 01:21:25,298
7681where a lot of the work
7682was being done.
7683
76841640
768501:21:25,381 --> 01:21:30,386
7686They were on the phone
7687to every continent on the globe
7688
76891641
769001:21:30,470 --> 01:21:32,513
7691because all of these
7692are bits and pieces.
7693
76941642
769501:21:33,556 --> 01:21:34,891
7696Let go!
7697
76981643
769901:21:40,730 --> 01:21:42,774
7700SOLDIER: There's one! Get him!
7701
77021644
770301:21:45,943 --> 01:21:46,986
7704Jean!
7705
77061645
770701:21:51,783 --> 01:21:55,453
7708PARKER: That's another piece
7709of impressive practical filmmaking,
7710
77111646
771201:21:55,536 --> 01:21:59,457
7713where they actually pulled the stunt
7714woman through the ceiling,
7715
77161647
771701:21:59,540 --> 01:22:01,793
7718through that... that shot is a real woman
7719
77201648
772101:22:01,876 --> 01:22:07,006
7722flying through that ceiling wall
7723and into that... into the exterior wall.
7724
77251649
772601:22:07,090 --> 01:22:07,965
7727SOLDIER: Take him out! Come on!
7728
77291650
773001:22:08,049 --> 01:22:09,967
7731Out, out!
7732You guys, come on. Train.
7733
77341651
773501:22:10,051 --> 01:22:11,302
7736SOLDIER 2: You four with me, let's go!
7737
77381652
773901:22:11,385 --> 01:22:13,262
7740- Let's go!
7741- SOLDIER 1: Come on, move, move, move!
7742
77431653
774401:22:24,357 --> 01:22:26,150
7745- She's alive.
7746- Scott, you have to get her out.
7747
77481654
774901:22:26,234 --> 01:22:27,568
7750You have to... No!
7751
77521655
775301:22:31,906 --> 01:22:33,282
7754(indistinct radio chatter)
7755
77561656
775701:22:33,866 --> 01:22:35,118
7758We're clear.
7759
77601657
776101:22:37,829 --> 01:22:38,871
7762♪♪
7763
77641658
776501:22:44,961 --> 01:22:47,088
7766KINBERG: Quite a lot of talk here
7767about just how much power
7768
77691659
777001:22:47,171 --> 01:22:49,048
7771would remain
7772in Jessica's hand there.
7773
77741660
777501:22:49,132 --> 01:22:51,259
7776Because obviously, we didn't
7777want it to feel like Tinkerbell
7778
77791661
778001:22:51,342 --> 01:22:54,303
7781but we wanted it
7782to be clear that she had...
7783
77841662
778501:22:54,387 --> 01:22:57,014
7786she had retained
7787some of that power,
7788
77891663
779001:22:57,098 --> 01:23:00,184
7791that cosmic power from Jean
7792and really wanted the rest of it.
7793
77941664
779501:23:00,268 --> 01:23:01,894
7796There was a scene that I wrote
7797
77981665
779901:23:01,978 --> 01:23:03,855
7800and that we shot that was
7801a sort of interstitial scene
7802
78031666
780401:23:03,938 --> 01:23:06,858
7805between this scene and the next
7806that made that explicitly clear.
7807
78081667
780901:23:06,941 --> 01:23:09,777
7810But we all felt like it was
7811clear enough in that look
7812
78131668
781401:23:09,861 --> 01:23:11,237
7815and then the fact
7816that she's actually here
7817
78181669
781901:23:11,320 --> 01:23:13,489
7820and then James McAvoy says,
7821
78221670
782301:23:13,573 --> 01:23:15,158
7824"She'll be coming back
7825for the rest of it,"
7826
78271671
782801:23:15,241 --> 01:23:17,118
7829that we didn't need
7830that extra scene.
7831
78321672
783301:23:20,329 --> 01:23:21,873
7834And this was a train car,
7835
78361673
783701:23:21,956 --> 01:23:24,709
7838obviously, the exterior of that
7839was a visual effect,
7840
78411674
784201:23:24,792 --> 01:23:27,670
7843but all of these were train cars
7844that were created
7845
78461675
784701:23:27,753 --> 01:23:30,965
7848and put on a gimbal, a hydraulic system,
7849
78501676
785101:23:31,048 --> 01:23:33,134
7852where they could be jostling around
7853like normal train cars.
7854
78551677
785601:23:33,217 --> 01:23:36,262
7857They could be moving and give
7858the actors a sense of reality
7859
78601678
786101:23:37,263 --> 01:23:40,057
7862and give the camera a sense of,
7863of movement and reality.
7864
78651679
786601:23:40,141 --> 01:23:41,309
7867...I was.
7868
78691680
787001:23:44,854 --> 01:23:46,314
7871I should never have lied to her.
7872
78731681
787401:23:49,150 --> 01:23:50,318
7875I was wrong.
7876
78771682
787801:23:52,862 --> 01:23:55,990
7879But this power...
7880
78811683
788201:23:57,116 --> 01:23:59,285
7883inside of her,
7884I never put that there.
7885
78861684
788701:23:59,660 --> 01:24:02,330
7888I would never do anything
7889intentionally to hurt her.
7890
78911685
789201:24:02,705 --> 01:24:05,666
7893That isn't me
7894and this is not Jean.
7895
78961686
789701:24:05,750 --> 01:24:08,085
7898PARKER: This is a scene
7899I was really excited about,
7900
79011687
790201:24:08,169 --> 01:24:13,299
7903getting everybody together
7904in a scene for a dramatic exchange,
7905
79061688
790701:24:13,799 --> 01:24:15,551
7908all of which kind of felt to me
7909
79101689
791101:24:15,635 --> 01:24:20,640
7912like the culmination of the political
7913and social arguments they'd been having.
7914
79151690
791601:24:21,182 --> 01:24:25,019
7917But it's informed by Jean
7918and Jean's story.
7919
79201691
792101:24:25,102 --> 01:24:28,898
7922So, it's informed by the emotion
7923of the emotional crisis of the movie.
7924
79251692
792601:24:28,981 --> 01:24:30,608
7927And seeing, as I said before,
7928
79291693
793001:24:30,691 --> 01:24:34,445
7931seeing Charles have to own and take
7932responsibility for what he's done,
7933
79341694
793501:24:34,528 --> 01:24:37,782
7936and that being the basis for the action
7937sequence that's going to flow,
7938
79391695
794001:24:37,865 --> 01:24:40,743
7941I thought was
7942a really powerful and exciting idea.
7943
79441696
794501:24:42,286 --> 01:24:43,496
7946...thing...
7947
79481697
794901:24:43,704 --> 01:24:44,956
7950has had a taste of that power,
7951
79521698
795301:24:45,039 --> 01:24:47,833
7954and she'll be coming back for more.
7955She'll be coming back for Jean.
7956
79571699
795801:24:47,959 --> 01:24:52,213
7959PARKER: As Simon mentioned, it is,
7960this was a triumph of practical effects
7961
79621700
796301:24:52,296 --> 01:24:54,257
7964because these trains were big
7965
79661701
796701:24:54,340 --> 01:24:57,718
7968and they were double... double high,
7969sort of two-story high.
7970
79711702
797201:24:57,802 --> 01:25:03,057
7973And to put all of that on a gimbal both
7974for the normal rock and shake,
7975
79761703
797701:25:03,140 --> 01:25:06,519
7978but also you can move them
7979as if you were going around a corner
7980
79811704
798201:25:06,602 --> 01:25:08,521
7983so that you had that sense
7984of real movement?
7985
79861705
798701:25:08,604 --> 01:25:10,481
7988It was pretty remarkable.
7989
79901706
799101:25:10,564 --> 01:25:12,149
7992They also have to make them
7993so that you can...
7994
79951707
799601:25:12,233 --> 01:25:16,904
7997you can gain access to them
7998in different ways through the set.
7999
80001708
800101:25:16,988 --> 01:25:19,824
8002So, you could remove the ceiling.
8003You could remove certain walls
8004
80051709
800601:25:19,907 --> 01:25:21,993
8007to get the camera in
8008and get lighting in.
8009
80101710
801101:25:22,493 --> 01:25:25,288
8012So, the challenges of getting
8013this done were formidable.
8014
80151711
801601:25:25,830 --> 01:25:27,415
8017...you have multiple hostiles on board.
8018
80191712
802001:25:27,498 --> 01:25:29,542
8021KINBERG: Yeah, and our art director,
8022Michele Laliberte,
8023
80241713
802501:25:29,625 --> 01:25:31,127
8026deserves a huge shout out for this,
8027
80281714
802901:25:31,210 --> 01:25:32,712
8030because she was really integral
8031
80321715
803301:25:32,795 --> 01:25:35,965
8034to designing and building this
8035and so much in the movie.
8036
80371716
803801:25:36,048 --> 01:25:40,052
8039She's been, really, our rock
8040from a production design standpoint
8041
80421717
804301:25:40,136 --> 01:25:41,929
8044for quite a few movies in a row, actually.
8045
80461718
804701:25:42,013 --> 01:25:43,848
8048Been through a few different
8049production designers.
8050
80511719
805201:25:43,931 --> 01:25:46,100
8053She's local to Montréal
8054and incredibly talented
8055
80561720
805701:25:46,183 --> 01:25:48,644
8058and like you said,
8059there's just so many things
8060
80611721
806201:25:48,728 --> 01:25:50,396
8063that go into the reality
8064of building something
8065
80661722
806701:25:50,479 --> 01:25:55,067
8068that seems like it would be simple
8069because it's just a rectangle.
8070
80711723
807201:26:01,365 --> 01:26:02,867
8073(soldier screaming)
8074
80751724
807601:26:06,454 --> 01:26:08,414
8077PARKER: Yeah, one of the biggest
8078challenges of this sequence
8079
80801725
808101:26:08,497 --> 01:26:12,585
8082was getting things ready
8083in time to shoot,
8084
80851726
808601:26:12,668 --> 01:26:16,047
8087and when we had the actors
8088and balancing out...
8089
80901727
809101:26:16,130 --> 01:26:19,925
8092because obviously, it's the same set
8093we're using both for first unit
8094
80951728
809601:26:20,009 --> 01:26:22,345
8097with the lead actors and Simon
8098
80991729
810001:26:22,428 --> 01:26:25,014
8101and also with second unit
8102to do all the stunts.
8103
81041730
810501:26:25,097 --> 01:26:28,642
8106So there was a lot
8107of very intricate planning
8108
81091731
811001:26:28,726 --> 01:26:31,812
8111that goes into trying to figure out
8112how do you execute the sequence
8113
81141732
811501:26:31,896 --> 01:26:35,107
8116and get everybody what they need
8117in order to finish properly.
8118
81191733
812001:26:36,317 --> 01:26:38,486
8121- What?
8122- (radio static)
8123
81241734
812501:26:38,944 --> 01:26:39,820
8126They're not what?
8127
81281735
812901:26:39,904 --> 01:26:43,199
8130- They're not mutants!
8131- They're here for Jean.
8132
81331736
813401:26:45,076 --> 01:26:46,160
8135Get ready to open fire!
8136
81371737
813801:26:46,535 --> 01:26:48,245
8139Your kid was right about us.
8140
81411738
814201:26:48,329 --> 01:26:49,538
8143We can help you!
8144
81451739
814601:26:50,873 --> 01:26:51,916
8147(banging on door)
8148
81491740
815001:26:55,419 --> 01:26:56,712
8151(banging on door continues)
8152
81531741
815401:26:59,882 --> 01:27:00,883
8155Please!
8156
81571742
815801:27:03,469 --> 01:27:04,762
8159Fire!
8160
81611743
816201:27:08,599 --> 01:27:11,268
8163PARKER: Yeah, these healing effects
8164were really tricky for us, too,
8165
81661744
816701:27:11,352 --> 01:27:13,437
8168very demanding
8169on the visual effects guys
8170
81711745
817201:27:13,521 --> 01:27:17,024
8173but also trying to find the right
8174balance between wanting to stay real
8175
81761746
817701:27:17,108 --> 01:27:23,239
8178and also suggesting
8179the alien-ness under the exterior.
8180
81811747
818201:27:23,322 --> 01:27:24,907
8183KINBERG: Yeah, the notion of creating
8184
81851748
818601:27:24,990 --> 01:27:29,829
8187an endoskeleton for an alien
8188underneath human skin was tricky,
8189
81901749
819101:27:29,912 --> 01:27:31,914
8192because we didn't want it
8193to look too reptilian
8194
81951750
819601:27:31,997 --> 01:27:34,834
8197and like you say,
8198too sort of supernatural.
8199
82001751
820101:27:34,917 --> 01:27:38,170
8202But we did want it to indicate
8203that they are alien
8204
82051752
820601:27:38,254 --> 01:27:41,424
8207under the sort of shell
8208of human skin.
8209
82101753
821101:27:41,882 --> 01:27:43,259
8212♪♪
8213
82141754
821501:27:45,094 --> 01:27:47,972
8216We only want the girl.
8217Step aside.
8218
82191755
822001:27:48,055 --> 01:27:48,931
8221No!
8222
82231756
822401:27:49,014 --> 01:27:50,808
8225KINBERG: And this is something
8226that I think...
8227
82281757
822901:27:50,891 --> 01:27:54,186
8230once we sort of committed to this,
8231this was the natural culmination,
8232
82331758
823401:27:54,270 --> 01:27:57,440
8235was this idea that finally,
8236you have all of the X-Men
8237
82381759
823901:27:57,523 --> 01:27:59,525
8240standing together, working together.
8241
82421760
824301:27:59,608 --> 01:28:02,820
8244People who were foes or friends,
8245everybody's on the same side.
8246
82471761
824801:28:03,737 --> 01:28:06,907
8249And then there's a lot of the kind
8250of teamwork that's been in the comics,
8251
82521762
825301:28:06,991 --> 01:28:08,451
8254but hasn't really been
8255in the movies before.
8256
82571763
825801:28:08,534 --> 01:28:12,413
8259There's one moment coming up later
8260where Hank throws somebody,
8261
82621764
826301:28:12,496 --> 01:28:15,624
8264Storm blasts that person
8265while they're in the air.
8266
82671765
826801:28:21,422 --> 01:28:23,299
8269Storm is a character in the comic
8270
82711766
827201:28:23,382 --> 01:28:25,759
8273who is incredibly powerful
8274and incredibly popular.
8275
82761767
827701:28:25,843 --> 01:28:30,264
8278And we've given her
8279in the past some cool stuff to do,
8280
82811768
828201:28:30,347 --> 01:28:34,226
8283but I think this is the first time she's
8284really let loose in terms of her power,
8285
82861769
828701:28:34,310 --> 01:28:36,896
8288and early reactions
8289from audiences have been
8290
82911770
829201:28:36,979 --> 01:28:40,191
8293that they are happy to see
8294Storm be a bad ass.
8295
82961771
829701:28:40,274 --> 01:28:42,818
8298PARKER: Part of what I like
8299about this sequence for everybody
8300
83011772
830201:28:42,902 --> 01:28:47,531
8303was that everybody
8304gets to sort of be unleashed
8305
83061773
830701:28:47,615 --> 01:28:51,327
8308from, you know,
8309this martial arts notion
8310
83111774
831201:28:51,410 --> 01:28:56,457
8313that Brian Smrz used to inform
8314Magneto's fighting style,
8315
83161775
831701:28:56,540 --> 01:28:59,168
8318that kind of enraged Beast,
8319
83201776
832101:28:59,251 --> 01:29:01,962
8322Storm really getting, as you said,
8323to unleash,
8324
83251777
832601:29:02,046 --> 01:29:05,508
8327and even Nightcrawler,
8328getting to really be ferocious.
8329
83301778
833101:29:06,133 --> 01:29:08,427
8332It's something that we all
8333talked a lot about,
8334
83351779
833601:29:08,511 --> 01:29:12,056
8337wanting the fight to feel different
8338than what we've seen them do before,
8339
83401780
834101:29:12,139 --> 01:29:14,642
8342and that was sort of the underpinning,
8343
83441781
834501:29:14,725 --> 01:29:17,394
8346was that they're coming together,
8347they're fighting for Jean
8348
83491782
835001:29:17,478 --> 01:29:21,398
8351and they are enraged by the circumstances
8352they find themselves in.
8353
83541783
835501:29:30,783 --> 01:29:32,243
8356KINBERG: And one of the things
8357we talked about was,
8358
83591784
836001:29:32,326 --> 01:29:37,206
8361even though Alan Cumming is in X2
8362sort of being controlled,
8363
83641785
836501:29:37,289 --> 01:29:39,375
8366there is a more ferocious side to him,
8367
83681786
836901:29:39,458 --> 01:29:45,589
8370and we've played Kodi Smit-McPhee
8371as this sort of comic relief Nightcrawler
8372
83731787
837401:29:45,673 --> 01:29:48,884
8375and we wanted to see that transformation
8376into something more mature and violent
8377
83781788
837901:29:48,968 --> 01:29:53,347
8380and so, obviously, the trigger is the
8381death of the person that had trusted them
8382
83831789
838401:29:53,430 --> 01:29:55,558
8385and now he's on a rampage,
8386so to speak.
8387
83881790
838901:29:57,393 --> 01:29:58,269
8390(grunts)
8391
83921791
839301:30:10,364 --> 01:30:12,241
8394Even this is sort of
8395a maniacal smile.
8396
83971792
839801:30:18,539 --> 01:30:21,000
8399PARKER: Small detail,
8400but I even really liked the way
8401
84021793
840301:30:21,083 --> 01:30:23,961
8404the visual effects team
8405and Simon evolved the beam.
8406
84071794
840801:30:24,044 --> 01:30:26,463
8409It just feels more visceral somehow,
8410
84111795
841201:30:26,547 --> 01:30:29,466
8413more lethal than what I'd seen
8414in previous movies.
8415
84161796
841701:30:29,550 --> 01:30:31,719
8418KINBERG: Well, it's literally
8419a rip off of lightsaber.
8420
84211797
842201:30:31,802 --> 01:30:34,638
8423Like, Star Wars was my favorite movie
8424growing up,
8425
84261798
842701:30:34,722 --> 01:30:36,473
8428The Empire Strikes Back, actually,
8429but the Star Wars franchise
8430
84311799
843201:30:36,557 --> 01:30:38,475
8433was my favorite movie
8434growing up, kind of remains,
8435
84361800
843701:30:38,559 --> 01:30:42,605
8438and the lightsaber has
8439a little more fluctuation to it.
8440
84411801
844201:30:42,688 --> 01:30:46,567
8443And that is what gives it a feeling of it
8444being a little bit more organic and real
8445
84461802
844701:30:46,650 --> 01:30:49,862
8448as opposed to just being
8449like a straight up flashlight beam.
8450
84511803
845201:30:49,945 --> 01:30:53,657
8453And so, we just imported
8454some of that idea to Scott's beam
8455
84561804
845701:30:53,741 --> 01:30:56,035
8458which we hadn't really done
8459before in the past.
8460
84611805
846201:30:56,118 --> 01:30:58,412
8463When in doubt, steal from Star Wars.
8464
84651806
846601:30:58,495 --> 01:30:59,371
8467(PARKER chuckles)
8468
84691807
847001:31:11,967 --> 01:31:14,261
8471Another unlikely partnership.
8472That was part of the fun of this,
8473
84741808
847501:31:14,345 --> 01:31:16,972
8476it was like, "who's going to team up
8477with whom to do what?"
8478
84791809
848001:31:17,681 --> 01:31:20,768
8481and that Magneto-Storm
8482moment was kind of a cool one.
8483
84841810
848501:31:20,851 --> 01:31:24,021
8486This was a very hard visual effects
8487shot to pull off.
8488
84891811
849001:31:24,605 --> 01:31:28,150
8491The interior of that. We worked a lot
8492to get the lighting right,
8493
84941812
849501:31:28,233 --> 01:31:31,195
8496to make it all feel as real as possible
8497
84981813
849901:31:31,278 --> 01:31:33,864
8500despite the fact that obviously,
8501it's wildly unreal.
8502
85031814
850401:31:34,448 --> 01:31:36,575
8505♪♪
8506
85071815
850801:31:37,576 --> 01:31:41,163
8509And then this is just the kind of stuff
8510I like in movies, backs of people's heads.
8511
85121816
851301:31:42,081 --> 01:31:44,541
8514I'm not even sure
8515that's the back of Jessica's head.
8516
85171817
851801:31:44,625 --> 01:31:46,335
8519But somebody's got that wig on.
8520
85211818
852201:31:50,339 --> 01:31:52,383
8523PARKER: I'm still not crazy
8524about that jumping shot but...
8525
85261819
852701:31:52,466 --> 01:31:54,176
8528KINBERG: Yeah, well.
8529
85301820
853101:31:54,593 --> 01:31:56,011
8532Hank!
8533
85341821
853501:32:02,476 --> 01:32:03,894
8536(Storm grunting)
8537
85381822
853901:32:18,325 --> 01:32:19,576
8540♪♪
8541
85421823
854301:32:24,373 --> 01:32:28,335
8544PARKER: Another place
8545where the score plays a big part
8546
85471824
854801:32:28,836 --> 01:32:32,631
8549and is so methodically
8550and carefully built
8551
85521825
855301:32:32,715 --> 01:32:36,844
8554to bring all the pieces together
8555
85561826
855701:32:36,927 --> 01:32:39,263
8558both in terms of the action
8559but also ultimately,
8560
85611827
856201:32:39,346 --> 01:32:44,143
8563in terms of the emotion of what choice
8564Jean makes in the end.
8565
85661828
856701:32:50,983 --> 01:32:52,234
8568KINBERG: This scene was exciting to me.
8569
85701829
857101:32:52,317 --> 01:32:56,864
8572I wish we had even longer just to have
8573Michael Fassbender and Jessica Chastain
8574
85751830
857601:32:56,947 --> 01:33:01,618
8577in a scene together to me was sort
8578of historic, iconic kind of moment.
8579
85801831
858101:33:01,702 --> 01:33:02,953
8582I hope they do more acting together
8583
85841832
858501:33:03,036 --> 01:33:06,498
8586because they're actually
8587very complementary styles of acting.
8588
85891833
859001:33:07,082 --> 01:33:10,836
8591Both very subtle, nuanced actors,
8592both incredibly precise,
8593
85941834
859501:33:10,919 --> 01:33:14,256
8596and so I managed
8597about four lines of dialogue
8598
85991835
860001:33:14,339 --> 01:33:16,800
8601and then 50,000 rounds of ammo.
8602
86031836
860401:33:18,135 --> 01:33:22,097
8605But just having them face off to me
8606was exciting and a cool opportunity.
8607
86081837
860901:33:22,806 --> 01:33:24,475
8610PARKER: We actually shot
8611an escalation of that,
8612
86131838
861401:33:24,558 --> 01:33:29,730
8615where in addition to firing all those guns
8616and all those rounds of ammunition,
8617
86181839
861901:33:29,813 --> 01:33:33,400
8620Magneto then pulls a series
8621of hand grenades off the wall
8622
86231840
862401:33:33,484 --> 01:33:36,820
8625and pulls their pins
8626while protecting himself behind a barrier.
8627
86281841
862901:33:36,904 --> 01:33:42,743
8630It was great, it was really fun,
8631but as great as it was,
8632
86331842
863401:33:42,826 --> 01:33:46,413
8635it ultimately felt slightly redundant
8636to what we'd already done.
8637
86381843
863901:33:46,497 --> 01:33:49,166
8640So, we decided to drop it,
8641but cool idea.
8642
86431844
864401:33:49,249 --> 01:33:52,836
8645KINBERG: Yeah. He also kind of does it
8646in X-Men 2.
8647
86481845
864901:33:52,920 --> 01:33:54,129
8650PARKER: Yeah.
8651
86521846
865301:33:54,213 --> 01:33:56,715
8654I'm so sorry
8655for what I did to you.
8656
86571847
865801:33:57,883 --> 01:33:58,801
8659I know.
8660
86611848
866201:33:58,884 --> 01:34:01,553
8663All I ever wanted
8664was to protect you
8665
86661849
866701:34:01,637 --> 01:34:04,556
8668KINBERG: This was amazing,
8669I have to say, to Mauro's credit,
8670
86711850
867201:34:04,640 --> 01:34:07,226
8673because all of that flaring
8674that's happening behind her,
8675
86761851
867701:34:07,309 --> 01:34:09,019
8678which would ordinarily be-
8679
86801852
868101:34:09,978 --> 01:34:12,648
8682this kind of level of flaring
8683would be a visual effect
8684
86851853
868601:34:12,731 --> 01:34:16,068
8687was... we got there on the day
8688and that's the way it looked.
8689
86901854
869101:34:16,610 --> 01:34:18,612
8692The light was coming through the window.
8693
86941855
869501:34:19,404 --> 01:34:21,949
8696We were using lenses that caught them
8697and all of this is real.
8698
86991856
870001:34:22,032 --> 01:34:24,076
8701That's a real flare.
8702That's a real flare.
8703
87041857
870501:34:25,244 --> 01:34:26,912
8706We overlit the background there.
8707
87081858
870901:34:28,705 --> 01:34:30,624
8710PARKER: Summer also did
8711a great job of this.
8712
87131859
871401:34:30,707 --> 01:34:32,876
8715KINBERG: Yeah, she did.
8716She's a really great young actress.
8717
87181860
871901:34:32,960 --> 01:34:33,836
8720I forgive you.
8721
87221861
872301:34:33,919 --> 01:34:37,214
8724PARKER: That was back
8725in our abandoned hospital location.
8726
87271862
872801:34:37,297 --> 01:34:38,382
8729KINBERG: Mm-hmm, mm-hmm.
8730
87311863
873201:34:40,384 --> 01:34:42,219
8733♪♪
8734
87351864
873601:34:55,649 --> 01:34:56,859
8737PARKER: Another challenge
8738of the train sequence
8739
87401865
874101:34:56,942 --> 01:34:59,403
8742is you can't shoot it chronologically.
8743
87441866
874501:34:59,486 --> 01:35:02,990
8746So, you also have to...
8747as you're shooting out of order,
8748
87491867
875001:35:03,073 --> 01:35:06,285
8751you've got to destress or put back,
8752
87531868
875401:35:06,368 --> 01:35:09,204
8755so whether it's pre-fight
8756and damage or not,
8757
87581869
875901:35:09,288 --> 01:35:13,083
8760it's something that took a tremendous
8761amount of thoughtful management
8762
87631870
876401:35:13,166 --> 01:35:16,336
8765on the part of the art department
8766and the AD's and props
8767
87681871
876901:35:16,420 --> 01:35:22,801
8770and making sure that it all would track
8771when we put it into the proper sequence.
8772
87731872
877401:35:25,012 --> 01:35:26,305
8775KINBERG: This was
8776one of the visual effects
8777
87781873
877901:35:26,388 --> 01:35:29,933
8780that I was the most suspicious of
8781and terrified of which were these bubbles.
8782
87831874
878401:35:30,017 --> 01:35:31,727
8785I mean, that's a pretty
8786extraordinary visual effects shot
8787
87881875
878901:35:31,810 --> 01:35:34,980
8790and obviously incredibly intricate,
8791but these bubbles,
8792
87931876
879401:35:35,063 --> 01:35:38,191
8795the notion of them being protected
8796by bubbles,
8797
87981877
879901:35:38,275 --> 01:35:40,527
8800I have seen work
8801terribly in movies before,
8802
88031878
880401:35:40,611 --> 01:35:42,821
8805some of which I've even worked on.
8806
88071879
880801:35:42,905 --> 01:35:47,117
8809And yet these guys found a way
8810to make those all seem organic
8811
88121880
881301:35:47,200 --> 01:35:51,580
8814and I guess realistic, for lack
8815of a better description, and cool.
8816
88171881
881801:35:52,706 --> 01:35:54,082
8819And it was not an easy thing to do,
8820
88211882
882201:35:54,166 --> 01:35:57,502
8823because it really was
8824a series of iterations
8825
88261883
882701:35:57,586 --> 01:36:00,756
8828so that they didn't just feel like
8829they were stuck in a plastic,
8830
88311884
883201:36:00,839 --> 01:36:02,549
8833you know, "I'm a bubble boy."
8834
88351885
883601:36:05,886 --> 01:36:07,220
8837♪♪
8838
88391886
884001:36:12,142 --> 01:36:16,605
8841PARKER: Another really unique location
8842we found in the outskirts of Montréal
8843
88441887
884501:36:16,688 --> 01:36:20,317
8846and then art department
8847and Michele dressed really extensively
8848
88491888
885001:36:20,400 --> 01:36:23,946
8851both the train bodies
8852and a lot of other... all these fires,
8853
88541889
885501:36:24,029 --> 01:36:27,783
8856and to serve as the...
8857sort of the final staging ground.
8858
88591890
886001:36:30,827 --> 01:36:31,995
8861(breathing hard)
8862
88631891
886401:36:36,249 --> 01:36:38,168
8865KINBERG: Like the smoke behind Magneto
8866
88671892
886801:36:38,251 --> 01:36:40,545
8869is a visual effect there
8870and really powerful.
8871
88721893
887301:36:41,088 --> 01:36:43,882
8874In fact, all those cutaways...
8875almost all those cutaways,
8876
88771894
887801:36:43,966 --> 01:36:46,551
8879the cutaway to Magneto,
8880the cutaway to Beast that you saw,
8881
88821895
888301:36:46,635 --> 01:36:49,054
8884is those guys on a sound stage
8885and a green screen
8886
88871896
888801:36:49,137 --> 01:36:50,389
8889with just set extension behind them.
8890
88911897
889201:36:54,893 --> 01:36:56,186
8893♪♪
8894
88951898
889601:37:03,443 --> 01:37:05,404
8897KINBERG: And this action sequence was one-
8898
88991899
890001:37:05,487 --> 01:37:08,532
8901we had two really great
8902second unit directors.
8903
89041900
890501:37:08,615 --> 01:37:09,741
8906Guy Norris, originally,
8907
89081901
890901:37:09,825 --> 01:37:12,953
8910who was the stunt coordinator
8911on the most recent Mad Max,
8912
89131902
891401:37:13,036 --> 01:37:15,372
8915and then Brian Smrz, who'd been
8916a stunt coordinator for us
8917
89181903
891901:37:15,455 --> 01:37:17,791
8920and a second unit director on so many
8921of the X-Men movies
8922
89231904
892401:37:17,874 --> 01:37:19,668
8925came in and helped with this ending.
8926
89271905
892801:37:19,751 --> 01:37:22,546
8929And this was just a really nicely
8930choreographed sequence,
8931
89321906
893301:37:22,629 --> 01:37:25,716
8934then, obviously, enhanced
8935by visual effects that are different
8936
89371907
893801:37:25,799 --> 01:37:27,759
8939than the visual effects
8940we've ever seen in these X-Men before.
8941
89421908
894301:37:27,843 --> 01:37:33,181
8944That shot of the camera on a cable going
8945flying toward her and bouncing back
8946
89471909
894801:37:33,265 --> 01:37:34,891
8949was something that Brian Smrz
8950and I talked about
8951
89521910
895301:37:34,975 --> 01:37:38,687
8954because it's something he did in the
8955Lady Deathstrike-Wolverine fight in X2.
8956
89571911
895801:37:38,770 --> 01:37:41,273
8959And I always loved the way it sort
8960of went slamming toward them
8961
89621912
896301:37:41,356 --> 01:37:42,733
8964and just slightly bounced back.
8965
89661913
896701:37:42,816 --> 01:37:45,485
8968There was just something
8969even more visceral about it.
8970
89711914
897201:37:48,780 --> 01:37:51,950
8973But this is just really cool
8974visual effects work the guys created.
8975
89761915
897701:37:52,034 --> 01:37:53,660
8978PARKER: And right down to the last second.
8979
89801916
898101:37:53,744 --> 01:37:55,454
8982KINBERG: Yeah.
8983
89841917
898501:38:05,881 --> 01:38:08,592
8986Still amazed that Jessica ran
8987in these heels.
8988
89891918
899001:38:08,675 --> 01:38:09,885
8991(KINBERG chuckles)
8992
89931919
899401:38:10,052 --> 01:38:11,887
8995KINBERG: There's very little
8996that Jessica Chastain cannot do.
8997
89981920
899901:38:11,970 --> 01:38:13,096
9000PARKER: That is true.
9001
90021921
900301:38:13,180 --> 01:38:15,348
9004KINBERG: I am not sure I have discovered
9005anything yet.
9006
90071922
900801:38:15,432 --> 01:38:18,560
9009But I am still actively
9010searching for it.
9011
90121923
901301:38:22,898 --> 01:38:26,026
9014And this was a shot
9015that I always envisioned
9016
90171924
901801:38:26,109 --> 01:38:29,529
9019as a shot I wanted to do which
9020is a 360 around them, obviously, or 780
9021
90221925
902301:38:29,613 --> 01:38:31,490
9024or however many times
9025it rotates around them.
9026
90271926
902801:38:31,573 --> 01:38:35,452
9029And to see it first empower
9030Jessica's character,
9031
90321927
903301:38:35,535 --> 01:38:39,372
9034and then to see her start to deteriorate
9035I thought would be interesting to do.
9036
90371928
903801:38:39,456 --> 01:38:41,833
9039And the visual effects guys... it's
9040a challenge for the visual effects guys,
9041
90421929
904301:38:41,917 --> 01:38:45,712
9044it's a very long shot, obviously,
9045and they did a really great job of it.
9046
90471930
904801:38:48,423 --> 01:38:49,758
9049Jean!
9050
90511931
905201:38:57,641 --> 01:39:00,102
9053PARKER: Really hard moment
9054but really effectively done, I think,
9055
90561932
905701:39:00,185 --> 01:39:03,230
9058where you're dealing
9059with such cosmic forces
9060
90611933
906201:39:03,313 --> 01:39:07,025
9063and yet you're playing
9064a really intimate moment
9065
90661934
906701:39:07,109 --> 01:39:10,445
9068between Scott and Jean,
9069and a pretty important one,
9070
90711935
907201:39:10,529 --> 01:39:14,282
9073because obviously it has a lot to do
9074with informing the choice she's made.
9075
90761936
907701:39:14,366 --> 01:39:16,535
9078And it's a credit, I think, to Simon
9079
90801937
908101:39:16,618 --> 01:39:23,458
9082that you were able to find that
9083within that much visual noise.
9084
90851938
908601:39:23,542 --> 01:39:27,003
9087KINBERG: Well, and a lot of it was taking
9088down the visual noise, you know?
9089
90901939
909101:39:27,879 --> 01:39:30,340
9092Just protecting her face enough,
9093her eyes enough,
9094
90951940
909601:39:30,423 --> 01:39:34,136
9097so that you could really see her
9098gesticulating and feeling those moments.
9099
91001941
910101:39:34,219 --> 01:39:35,220
9102Jean!
9103
91041942
910501:39:36,555 --> 01:39:37,764
9106No.
9107
91081943
910901:39:40,559 --> 01:39:42,102
9110Jean!
9111
91121944
911301:39:42,602 --> 01:39:43,895
9114♪♪
9115
91161945
911701:39:45,188 --> 01:39:48,108
9118KINBERG: And ultimately, you know,
9119if you know the Dark Phoenix Saga
9120
91211946
912201:39:48,191 --> 01:39:51,027
9123and even if you just are someone
9124that understands drama
9125
91261947
912701:39:51,111 --> 01:39:52,612
9128and given all she's done,
9129
91301948
913101:39:52,696 --> 01:39:55,448
9132you know that there's
9133some element of sacrifice
9134
91351949
913601:39:55,532 --> 01:39:58,952
9137that's going to be necessary
9138at the end of... at the end of the story.
9139
91401950
914101:39:59,035 --> 01:40:02,289
9142And I felt like one of the things that was
9143really important about this movie,
9144
91451951
914601:40:02,372 --> 01:40:03,790
9147not just because she's
9148a female character
9149
91501952
915101:40:03,874 --> 01:40:05,250
9152but also because
9153she's a female character
9154
91551953
915601:40:05,333 --> 01:40:09,462
9157is that the notion of emotions
9158making you weak, I wanted to flip.
9159
91601954
916101:40:09,546 --> 01:40:12,632
9162I wanted it to be that emotions
9163are something that make you strong.
9164
91651955
916601:40:12,716 --> 01:40:15,260
9167And I think we live in a world now
9168where instead of people feeling
9169
91701956
917101:40:15,343 --> 01:40:17,179
9172as though emotions
9173are something to be afraid of,
9174
91751957
917601:40:17,262 --> 01:40:19,431
9177they're something to be embraced.
9178
91791958
918001:40:21,099 --> 01:40:27,230
9181And this moment where she really goes...
9182obviously explodes and then goes Phoenix
9183
91841959
918501:40:28,398 --> 01:40:32,277
9186was something we really,
9187really, really worked on
9188
91891960
919001:40:32,360 --> 01:40:35,405
9191to be defined and yet not so defined
9192
91931961
919401:40:35,488 --> 01:40:38,575
9195that all of a sudden you were in
9196a different kind of science fiction film.
9197
91981962
919901:40:38,658 --> 01:40:41,620
9200And so, there's still a level
9201of subtlety and nuance to it.
9202
92031963
920401:40:42,913 --> 01:40:44,789
9205♪♪
9206
92071964
920801:40:47,959 --> 01:40:51,004
9209But if you know the comics or you
9210just remember the title,
9211
92121965
921301:40:51,630 --> 01:40:54,633
9214it's clearly a Phoenix
9215and that I felt was important
9216
92171966
921801:40:54,716 --> 01:40:57,219
9219because it indicates
9220that she's not exactly gone,
9221
92221967
922301:40:57,302 --> 01:41:00,430
9224that she has evolved into a different
9225kind of entity.
9226
92271968
922801:41:00,513 --> 01:41:02,224
9229And Charles says that here.
9230
92311969
923201:41:04,809 --> 01:41:06,144
9233She's free.
9234
92351970
923601:41:08,271 --> 01:41:10,398
9237KINBERG: And then she says it
9238in her monologue to come.
9239
92401971
924101:41:12,943 --> 01:41:14,277
9242And this was all on the location.
9243
92441972
924501:41:14,361 --> 01:41:16,863
9246Some of these fires
9247are visual effects fires.
9248
92491973
925001:41:16,947 --> 01:41:21,618
9251But most of this is real,
9252just taken from the day.
9253
92541974
925501:41:26,915 --> 01:41:28,917
9256♪♪
9257
92581975
925901:41:34,339 --> 01:41:36,758
9260KINBERG: Back on our location
9261where we started the movie.
9262
92631976
926401:41:37,592 --> 01:41:40,387
9265And this sign, for people that know
9266the comics well, is...
9267
92681977
926901:41:40,887 --> 01:41:43,598
9270was not a creation of mine.
9271
92721978
927301:41:43,682 --> 01:41:47,769
9274In the comics,
9275it does actually turn into...
9276
92771979
927801:41:48,395 --> 01:41:51,523
9279the Jean Grey school, eventually.
9280
92811980
928201:41:52,440 --> 01:41:56,027
9283I am not simply
9284what others want me to be.
9285
92861981
928701:41:56,194 --> 01:41:57,696
9288KINBERG: And this was another place,
9289just like the opening,
9290
92911982
929201:41:57,779 --> 01:41:59,281
9293where we debated who should be speaking.
9294
92951983
929601:41:59,364 --> 01:42:01,950
9297At one point, it was the president,
9298at one point, it was Charles,
9299
93001984
930101:42:02,033 --> 01:42:04,286
9302and ultimately, we felt
9303like this is Jean's movie
9304
93051985
930601:42:04,369 --> 01:42:06,496
9307and Jean has evolved into a larger entity
9308
93091986
931001:42:06,579 --> 01:42:10,333
9311that has a sort of wisdom greater
9312than all of theirs.
9313
93141987
931501:42:10,417 --> 01:42:13,253
9316And so, she could be
9317this disembodied voice
9318
93191988
932001:42:13,837 --> 01:42:16,715
9321and give you a feeling
9322of continuation.
9323
93241989
932501:42:17,924 --> 01:42:20,135
9326PARKER: That's another thing I like
9327about this ending
9328
93291990
933001:42:20,218 --> 01:42:24,264
9331is that while some
9332of the characters have evolved
9333
93341991
933501:42:24,347 --> 01:42:28,893
9336into the things you hoped they would...
9337certainly Hank, Scott, Storm as teachers
9338
93391992
934001:42:28,977 --> 01:42:31,104
9341and Hank is now head of the school,
9342
93431993
934401:42:31,688 --> 01:42:34,065
9345there's a sense
9346that some of the characters
9347
93481994
934901:42:34,149 --> 01:42:35,942
9350have been irrevocably changed.
9351
93521995
935301:42:36,026 --> 01:42:38,903
9354Certainly, that's the way
9355we're meant to feel about Charles.
9356
93571996
935801:42:38,987 --> 01:42:40,905
9359And that goes back to that notion
9360of consequence
9361
93621997
936301:42:40,989 --> 01:42:42,532
9364that we were talking about earlier
9365
93661998
936701:42:42,615 --> 01:42:44,993
9368and just the degree
9369to which we sort of wanted to make sure
9370
93711999
937201:42:45,076 --> 01:42:47,537
9373we were trying to do something
9374that we hadn't done
9375
93762000
937701:42:47,620 --> 01:42:49,331
9378and that felt different
9379for the audience.
9380
93812001
938201:42:49,414 --> 01:42:52,125
9383And felt like we were pushing
9384the characters
9385
93862002
938701:42:52,208 --> 01:42:55,211
9388further along
9389in their complex journeys.
9390
93912003
939201:42:55,795 --> 01:42:57,589
9393And that's what these scenes
9394are trying to do.
9395
93962004
939701:42:57,756 --> 01:42:59,507
9398(speaking French)
9399
94002005
940101:43:16,941 --> 01:43:19,194
9402KINBERG: This, I think, is in fact
9403the last scene that we ever shot.
9404
94052006
940601:43:19,277 --> 01:43:20,779
9407PARKER: Mm-hmm.
9408
94092007
941001:43:20,945 --> 01:43:22,822
9411And if you remember,
9412it was a challenging day.
9413
94142008
941501:43:22,906 --> 01:43:25,617
9416KINBERG: Yeah. I do remember. Noisy, too.
9417
94182009
941901:43:26,326 --> 01:43:27,494
9420PARKER: Yeah.
9421
94222010
942301:43:27,577 --> 01:43:29,496
9424Came to see an old friend.
9425
94262011
942701:43:30,246 --> 01:43:32,749
9428KINBERG: I just love
9429in the cycle of X-Men...
9430
94312012
943201:43:32,832 --> 01:43:34,000
9433in all of the X-Men movies,
9434
94352013
943601:43:34,084 --> 01:43:37,045
9437but especially in the cycle
9438of the X-Men First Class movies,
9439
94402014
944101:43:37,128 --> 01:43:41,633
9442this notion that these guys
9443started as strangers, became enemies,
9444
94452015
944601:43:41,716 --> 01:43:45,845
9447and by the end become brothers
9448is a very emotional journey to me
9449
94502016
945101:43:45,929 --> 01:43:49,349
9452over the span of six,
9453eight hours of storytelling.
9454
94552017
945601:43:49,432 --> 01:43:51,810
9457And if you look back on X-Men First Class
9458
94592018
946001:43:51,893 --> 01:43:54,187
9461and you look at how young
9462these guys looked
9463
94642019
946501:43:54,270 --> 01:43:55,688
9466and they're still obviously
9467very young men
9468
94692020
947001:43:55,772 --> 01:43:58,233
9471but I mean they looked like babies,
9472especially James.
9473
94742021
947501:43:58,316 --> 01:44:01,736
9476They were guys in their 20s and now
9477they're guys in their late 30s, 40,
9478
94792022
948001:44:01,820 --> 01:44:05,657
9481and I feel like they have matured
9482with the franchise.
9483
94842023
948501:44:05,740 --> 01:44:09,828
9486And this idea that they are all
9487that's left at the end for one another
9488
94892024
949001:44:10,412 --> 01:44:13,665
9491was something that I felt
9492was a really strong way to end the movie
9493
94942025
949501:44:13,748 --> 01:44:16,459
9496without making the end
9497of the movie about them.
9498
94992026
950001:44:16,543 --> 01:44:18,711
9501It just was simply
9502a sort of come full circle
9503
95042027
950501:44:18,795 --> 01:44:21,381
9506about the fact that strangers
9507have become family,
9508
95092028
951001:44:21,464 --> 01:44:24,259
9511have broken apart
9512and yet ultimately, remain family.
9513
95142029
951501:44:25,844 --> 01:44:27,470
9516I'll go easy on you.
9517
95182030
951901:44:28,972 --> 01:44:30,181
9520No, you won't.
9521
95222031
952301:44:30,807 --> 01:44:31,891
9524(chuckles)
9525
95262032
952701:44:34,477 --> 01:44:37,021
9528- PARKER: I love that you did it over...
9529- KINBERG: The chess.
9530
95312033
953201:44:37,105 --> 01:44:38,815
9533PARKER: Yeah, the chessboard.
9534
95352034
953601:44:40,233 --> 01:44:41,192
9537♪♪
9538
95392035
954001:44:42,986 --> 01:44:44,821
9541KINBERG: Montréal looks a lot like Paris
9542
95432036
954401:44:44,904 --> 01:44:47,490
9545when you throw the Eiffel Tower
9546in the background.
9547
95482037
954901:44:48,616 --> 01:44:49,909
9550PARKER: Giving away all our secrets.
9551
95522038
955301:44:49,993 --> 01:44:51,703
9554KINBERG: Yeah, well.
9555
95562039
955701:44:53,621 --> 01:44:57,083
9558And then this we wanted it to be subtle
9559but, you know, pronounced.
9560
95612040
956201:44:57,167 --> 01:44:59,085
9563It's not exactly
9564the spinning top in Inception
9565
95662041
956701:44:59,169 --> 01:45:01,045
9568but it's also not super obvious.
9569
95702042
957101:45:04,257 --> 01:45:07,093
9572And there you have it. That's me.
9573That's me and Hutch.
9574
95752043
957601:45:10,138 --> 01:45:13,683
9577And these are all the other people
9578that were our partners on the movie.
9579
95802044
958101:45:14,350 --> 01:45:17,270
9582Stan Lee obviously is, uh,
9583the creator of all of this,
9584
95852045
958601:45:17,353 --> 01:45:21,024
9587and sadly passed away while we were
9588completing the movie,
9589
95902046
959101:45:21,107 --> 01:45:23,026
9592but left this extraordinary legacy.
9593
95942047
959501:45:23,109 --> 01:45:25,945
9596And I'm very proud that we are
9597a part of that legacy.
9598
95992048
960001:45:26,029 --> 01:45:27,489
9601PARKER: Yeah, hear, hear.
9602
96032049
960401:45:32,660 --> 01:45:36,998
9605KINBERG: I think maybe since these credits
9606are another hour and a half long,
9607
96082050
960901:45:37,582 --> 01:45:39,709
9610um, it's a good opportunity
9611for us to talk about...
9612
96132051
961401:45:39,792 --> 01:45:41,377
9615we've talked about the people
9616that worked on this film,
9617
96182052
961901:45:41,461 --> 01:45:46,049
9620but just to talk about the fact
9621that we've been very blessed
9622
96232053
962401:45:46,132 --> 01:45:48,092
9625to be part of this legacy ourselves
9626
96272054
962801:45:48,843 --> 01:45:52,597
9629and to get to play
9630in the world of the X-Men.
9631
96322055
963301:45:53,223 --> 01:45:55,683
9634You know, I grew up reading
9635X-Men comics,
9636
96372056
963801:45:55,767 --> 01:45:57,602
9639uh, watchin' the cartoons
9640as well actually,
9641
96422057
964301:45:57,685 --> 01:46:01,940
9644and didn't think that I would see
9645an X-Men movie when I was a kid,
9646
96472058
964801:46:02,023 --> 01:46:04,484
9649certainly didn't think
9650I'd be a part of it.
9651
96522059
965301:46:04,567 --> 01:46:07,278
9654So to watch both
9655as an audience member
9656
96572060
965801:46:07,362 --> 01:46:09,864
9659and then in these last 15 years or so...
9660
96612061
966201:46:09,948 --> 01:46:12,534
9663and it goes back even further for you,
9664Hutch, as an executive,
9665
96662062
966701:46:12,617 --> 01:46:18,456
9668to be a part of building this legacy,
9669to tell this story, has been amazing.
9670
96712063
967201:46:18,540 --> 01:46:23,461
9673And... I think one of the things
9674that we've been able to do
9675
96762064
967701:46:23,545 --> 01:46:27,215
9678is because these characters are so rich,
9679each of the movies is different
9680
96812065
968201:46:27,298 --> 01:46:29,342
9683because we've been able
9684to explore different aspects,
9685
96862066
968701:46:29,425 --> 01:46:33,805
9688different colors, different...
9689different corners of the characters.
9690
96912067
969201:46:37,183 --> 01:46:39,102
9693And it's always been...
9694I know for you, Hutch,
9695
96962068
969701:46:39,185 --> 01:46:42,313
9698as you and I have worked together
9699on however many of these we have now,
9700
97012069
970201:46:42,397 --> 01:46:44,941
9703for you it's always been character first.
9704
97052070
970601:46:45,024 --> 01:46:46,859
9707What's this movie about thematically?
9708
97092071
971001:46:46,943 --> 01:46:48,111
9711What's it about emotionally?
9712
97132072
971401:46:48,194 --> 01:46:53,575
9715And we found that in this,
9716and really probably drilled in deeper,
9717
97182073
971901:46:53,658 --> 01:46:55,034
9720at least in the mainland X-Men movies,
9721
97222074
972301:46:55,118 --> 01:46:57,579
9724drilled in deeper
9725than we have in the past.
9726
97272075
972801:46:57,662 --> 01:46:59,247
9729And so in a way it feels kind of like...
9730
97312076
973201:46:59,330 --> 01:47:01,749
9733we talked about this
9734in the very beginning.
9735
97362077
973701:47:01,833 --> 01:47:04,502
9738It's a culmination of however
9739many X-Men movies
9740
97412078
974201:47:04,586 --> 01:47:09,299
9743and especially this cycle of X-Men
9744First Class movies of these characters,
9745
97462079
974701:47:09,382 --> 01:47:13,094
9748these actors who were strangers
9749when we started whatever it was...
9750
97512080
975201:47:13,177 --> 01:47:15,054
9753seven, eight, nine years ago...
9754
97552081
975601:47:15,138 --> 01:47:18,057
9757who became friends,
9758who became family members,
9759
97602082
976101:47:18,141 --> 01:47:20,852
9762who were ripped apart
9763as characters at least,
9764
97652083
976601:47:21,352 --> 01:47:23,938
9767who were pulled apart
9768in terms of just life,
9769
97702084
977101:47:24,022 --> 01:47:26,441
9772on the other sides of the globe.
9773
97742085
977501:47:26,524 --> 01:47:30,570
9776And this is the film where they're
9777finally sort of most tested as a family
9778
97792086
978001:47:31,529 --> 01:47:33,573
9781and then ultimately
9782come back together as a family
9783
97842087
978501:47:33,656 --> 01:47:39,412
9786that it just felt like this...
9787this natural culmination of storytelling.
9788
97892088
979001:47:39,787 --> 01:47:41,539
9791PARKER: Yeah.
9792
97932089
979401:47:42,290 --> 01:47:43,791
9795♪♪
9796
97972090
979801:48:01,476 --> 01:48:06,564
9799PARKER: And a credit, as you said earlier,
9800to the power of the underlying material.
9801
98022091
980301:48:06,648 --> 01:48:11,110
9804To me the richness and the breadth
9805of all these movies is a credit to that.
9806
98072092
980801:48:11,736 --> 01:48:15,990
9809And it's invited remarkable filmmakers
9810to come to the table
9811
98122093
981301:48:16,074 --> 01:48:19,327
9814and bring their different instincts
9815to the material.
9816
98172094
981801:48:19,410 --> 01:48:21,204
9819It's also been really fun to watch
9820
98212095
982201:48:21,287 --> 01:48:26,167
9823the way these movies have evolved
9824from the first X-Men,
9825
98262096
982701:48:26,250 --> 01:48:28,670
9828and what I think Bryan did so remarkably
9829
98302097
983101:48:28,753 --> 01:48:33,341
9832in introducing that radical tone,
9833opening in Auschwitz
9834
98352098
983601:48:34,717 --> 01:48:39,931
9837which was such a bold move,
9838to what we saw in Dark Knight,
9839
98402099
984101:48:40,014 --> 01:48:44,435
9842or what Marvel has done now
9843so consistently with Avengers,
9844
98452100
984601:48:44,519 --> 01:48:48,648
9847and others and then you with Deadpool
9848and Logan.
9849
98502101
985101:48:48,731 --> 01:48:52,652
9852It's just been so much fun to explore
9853all these different facets
9854
98552102
985601:48:52,735 --> 01:48:55,113
9857of these characters
9858and different tonalities,
9859
98602103
986101:48:55,196 --> 01:48:59,909
9862and get to live within the story world
9863of the X-Men comics.
9864
98652104
986601:48:59,992 --> 01:49:01,577
9867Pretty remarkable journey.
9868
98692105
987001:49:03,329 --> 01:49:06,541
9871KINBERG: Yeah. No, and I think
9872the thing that's been fun
9873
98742106
987501:49:06,624 --> 01:49:09,043
9876in addition to obviously being able
9877to explore these characters
9878
98792107
988001:49:09,127 --> 01:49:11,003
9881that for me were just...
9882
98832108
988401:49:11,087 --> 01:49:13,381
9885lived in my imagination
9886and on the page when I was a kid,
9887
98882109
988901:49:13,464 --> 01:49:17,844
9890is that something that we've tried
9891to do so much in this franchise,
9892
98932110
989401:49:17,927 --> 01:49:19,303
9895which isn't necessarily done in others,
9896
98972111
989801:49:19,387 --> 01:49:23,641
9899is each time sort of create a different
9900subgenre of the comic book genre.
9901
99022112
990301:49:23,725 --> 01:49:25,101
9904You know, in the way
9905that X-Men First Class,
9906
99072113
990801:49:25,184 --> 01:49:29,939
9909let's say, was a spy movie
9910and Apocalypse was a disaster movie.
9911
99122114
991301:49:30,022 --> 01:49:32,442
9914And Days of Future Past
9915was obviously a time travel movie.
9916
99172115
991801:49:32,525 --> 01:49:35,027
9919And for me this is very much
9920a psychological thriller.
9921
99222116
992301:49:35,111 --> 01:49:36,904
9924And so with each of these movies,
9925
99262117
992701:49:36,988 --> 01:49:41,451
9928and Logan was a western
9929and Deadpool is a R-rated comedy,
9930
99312118
993201:49:41,534 --> 01:49:46,664
9933it's given filmmakers,
9934and even us as the filmmakers,
9935
99362119
993701:49:46,748 --> 01:49:49,709
9938consistently, from movie to movie,
9939it's given us a chance
9940
99412120
994201:49:49,792 --> 01:49:53,546
9943to explore sometimes genres
9944that aren't explored anymore.
9945
99462121
994701:49:53,629 --> 01:49:58,176
9948Nobody's making westerns
9949for the big screen these days.
9950
99512122
995201:49:58,259 --> 01:50:02,764
9953Not a lotta people are even making
9954R-rated comedies, psychological thrillers.
9955
99562123
995701:50:02,847 --> 01:50:06,309
9958And all of the genres I was just talking
9959about are rarely made these days,
9960
99612124
996201:50:06,392 --> 01:50:07,560
9963and to be able to make them
9964
99652125
996601:50:07,643 --> 01:50:12,899
9967under the umbrella of a comic book
9968adaptation or a superhero franchise
9969
99702126
997101:50:12,982 --> 01:50:16,569
9972just gives you the opportunity
9973to really play and be creative.
9974
99752127
997601:50:16,652 --> 01:50:19,947
9977And I think for audiences it's part
9978of what they love about these movies,
9979
99802128
998101:50:20,031 --> 01:50:24,827
9982is it's not just another chapter
9983or another episode of something they know,
9984
99852129
998601:50:24,911 --> 01:50:28,873
9987it is a new treatment
9988of characters they love.
9989
99902130
999101:50:28,956 --> 01:50:30,541
9992And so they come back.
9993
99942131
999501:50:30,625 --> 01:50:33,795
9996And it's part of the reason
9997why it's become the most dominant,
9998
99992132
1000001:50:33,878 --> 01:50:38,049
10001popular genre in film
10002over the last decade or so.
10003
100042133
1000501:50:39,258 --> 01:50:40,927
10006PARKER: Yeah, I think that's true.
10007
100082134
1000901:50:56,150 --> 01:50:58,402
10010And as we're watchin' the credits roll,
10011
100122135
1001301:50:58,486 --> 01:51:01,906
10014also I have to say a special thanks,
10015really, to FOX,
10016
100172136
1001801:51:01,989 --> 01:51:07,620
10019and Tom Rothman,
10020who initially championed this franchise,
10021
100222137
1002301:51:07,703 --> 01:51:12,166
10024and the incredible opportunities
10025that they gave all of us
10026
100272138
1002801:51:12,667 --> 01:51:16,295
10029who've gotten to work on these movies.
10030It's a powerful legacy.
10031
100322139
1003301:51:16,379 --> 01:51:19,423
10034It's kinda the... I guess
10035the end of that chapter.
10036
100372140
1003801:51:20,049 --> 01:51:23,302
10039Kind of an honor to get here...
10040to sit here and chat about it.
10041
100422141
1004301:51:23,386 --> 01:51:24,595
10044KINBERG: Yeah, for sure.
10045
100462142
1004701:51:24,679 --> 01:51:27,515
10048And I think, you know,
10049ultimately it was a coincidence,
10050
100512143
1005201:51:27,598 --> 01:51:31,561
10053but the fact that the end of that cycle
10054
100552144
1005601:51:31,644 --> 01:51:37,817
10057is the most beloved, popular, complex,
10058challenging of the X-Men stories
10059
100602145
1006101:51:37,900 --> 01:51:41,529
10062and a story that perhaps we didn't
10063get as right as we wanted to,
10064
100652146
1006601:51:41,612 --> 01:51:43,948
10067I can say
10068as the co-writer of it at least...
10069
100702147
1007101:51:44,031 --> 01:51:48,077
10072with X-Men 3, the fact that we got
10073a chance to go back and tell this story,
10074
100752148
1007601:51:48,160 --> 01:51:51,497
10077and tell it in a way that was more true
10078to the essence of the original comic
10079
100802149
1008101:51:51,581 --> 01:51:57,670
10082also feels like this sort of full circle
10083in the experience of making X-Men movies,
10084
100852150
1008601:51:58,170 --> 01:52:00,631
10087which I think is valuable, too.
10088And you're right.
10089
100902151
1009101:52:00,715 --> 01:52:02,758
10092We've always had these
10093incredible partners at the studio,
10094
100952152
1009601:52:02,842 --> 01:52:06,721
10097Jim Gianopulos, Emma Watts,
10098who's been incredibly involved
10099
101002153
1010101:52:06,804 --> 01:52:09,640
10102especially in the last three
10103or four of these movies
10104
101052154
1010601:52:09,724 --> 01:52:11,434
10107and in Logan and in Deadpool.
10108
101092155
1011001:52:12,518 --> 01:52:15,563
10111It's just been a...
10112we've become this little family.
10113
101142156
1011501:52:15,646 --> 01:52:18,816
10116The actors have become a family.
10117A lot of the crew have become a family.
10118
101192157
1012001:52:18,900 --> 01:52:22,320
10121You and I have become brothers
10122and partners in this.
10123
101242158
1012501:52:22,403 --> 01:52:25,823
10126And, so, it's fun...
10127it was fun every day to come to set,
10128
101292159
1013001:52:25,907 --> 01:52:29,577
10131even when it was challenging.
10132It was a privilege.
10133
101342160
1013501:52:29,660 --> 01:52:32,788
10136- I think one that we saw a privilege too.
10137- PARKER: Yeah, for sure.
10138
101392161
1014001:52:32,872 --> 01:52:37,209
10141KINBERG: And it is... I say
10142as a fan of the X-Men,
10143
101442162
1014501:52:37,919 --> 01:52:39,921
10146and I would've said this after X-Men 3,
10147
101482163
1014901:52:40,004 --> 01:52:42,298
10150I'm excited to see what the future
10151holds for the X-Men.
10152
101532164
1015401:52:42,381 --> 01:52:43,633
10155PARKER: Me too.
10156
101572165
1015801:52:43,716 --> 01:52:45,134
10159Me too. Incredibly rich world,
10160
101612166
1016201:52:45,217 --> 01:52:48,679
10163and we'll be excited to see
10164how they choose to explore it.
10165
101662167
1016701:52:48,763 --> 01:52:53,392
10168KINBERG: Yeah. And the possibilities
10169are quite limitless
10170
101712168
1017201:52:53,476 --> 01:52:54,727
10173when you read the comics
10174
101752169
1017601:52:54,810 --> 01:52:59,482
10177and you know that there are literally
10178thousands of powerful characters
10179
101802170
1018101:52:59,565 --> 01:53:01,943
10182in the source material,
10183
101842171
1018501:53:02,568 --> 01:53:04,779
10186you know that there's so many
10187different ways you can go
10188
101892172
1019001:53:04,862 --> 01:53:08,532
10191and so many great story lines
10192have yet to be explored by the films.
10193
101942173
1019501:53:08,616 --> 01:53:09,742
10196It'll be really great.
10197
101982174
1019901:53:09,825 --> 01:53:13,079
10200This is also looking at the people
10201being thanked,
10202
102032175
1020401:53:13,162 --> 01:53:18,209
10205Stan Lee, Jack Kirby, Chris Claremont,
10206Dave Cockrum, Len Wein, John Byrne.
10207
102082176
1020901:53:18,292 --> 01:53:20,836
10210Those are the people
10211that actually created,
10212
102132177
1021401:53:20,920 --> 01:53:25,508
10215gave birth to, nurtured,
10216raised the X-Men.
10217
102182178
1021901:53:26,008 --> 01:53:31,305
10220And we have the good fortune
10221of being able to sort of babysit them
10222
102232179
1022401:53:31,389 --> 01:53:33,766
10225through however many movies
10226we've worked on now.
10227
102282180
1022901:53:33,849 --> 01:53:37,228
10230But those were the, those were
10231the true parents of the X-Men.
10232
102332181
1023401:53:39,981 --> 01:53:41,565
10235Subtitled by Point.360