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00:14To have a director that is so
00:16keen and into
00:17all aspects of the film, it's not just
00:19the story, all of the props,
00:21he wanted to be as real as possible.
00:23One of the great things you learn through doing these films for Marvel,
00:25you know, first time round it was, you know,
00:27how they're going to move in it, and now you realize
00:29that you've learned a lot about that language.
00:35For Rona we had to produce a Cosmi rod.
00:37It's essentially a staff with a large head on it.
00:39We had to try and show
00:41that it had an internal power
00:43and the ability to
00:45cast this charge of energy.
00:47We tried desperately not
00:49to make it look like Thor's hammer.
00:51He lives in this world of the Dark Aster,
00:53which is a very sort of constructivist, brutal
00:55architecture.
00:56The challenge for him really was about
00:58how to give him the scale
00:59without making him look overbuilt.
01:07Nebula is a little bit more difficult.
01:08She starts off with a pair of electronic staffs
01:10which are quite short,
01:12which she then flicks out,
01:13and then she clips them together to fight like a quarterstaff.
01:15That was, again, quite an interesting piece,
01:17because trying to work with stunts on what they needed
01:19is trying to make something beautiful, elegant
01:21and practical.
01:23Karen really went for it, and she's great to dress as well.
01:25You know, what I tried to do subtly
01:27is to give a world of the Dark Aster
01:29so that Ronan and Karath and Nebula and Gamora,
01:32they feel like they belong together
01:34but they can be individual.
01:35How do you name it?
01:36I'm Peter Quill.
01:37Okay?
01:37Ciccio, calm.
01:38Move it!
01:39Why?
01:40Ronan wants to ask you.
01:41Karath, he has a...
01:42it's like a steampunk shotgun.
01:44You almost want something that's quite crude,
01:46like a pump-action shotgun.
01:47Jaiman being cast as Karath,
01:49he's got such an extraordinary body.
01:51You could put a bin bag on him
01:52and he would look beautiful.
01:53How you make him look menacing, you know,
01:55that's a different thing.
01:55We had to create a bazooka for the Zacharin,
01:58which fires a charge of energy.
02:01These were based on something
02:02that was quite an organic structure,
02:03so the weapon grew its own armor,
02:05so as opposed to being something
02:06that's made of Kevlar or gunmetal.
02:08He said, because we should believe...
02:10There would be another reason to come to help us.
02:12Glenn Close is the top of the pyramid.
02:14She's the most powerful person on Xander.
02:16So it's about finding
02:17what does a woman in power wear in that situation
02:20and how stated does her power want to be.
02:22And John C. Reilly, he is the causeman,
02:24and so he wears a standard uniform.
02:26You know, there's quite a lot of details specific to him.
02:29The Nova Corps, we had to produce a number of props.
02:31We had to produce weaponized armbands,
02:33so we had to create these double-barreled wrist weapons.
02:40The Kiln, which was a dirty prison,
02:43was very much a grungy, toxic land.
02:46The Kiln Guards were really based on the Nova Corps,
02:49but almost left to a society that was almost forgotten.
02:52So anything we produced, like machine guns,
02:53that weren't beautiful and clean and shiny.
02:56There have been times when James felt a little bit let down,
02:58you know, that something doesn't function as it suggested.
03:01But we are sometimes defying gravity.
03:04I think everybody has had great fun.
03:06It's been hard work,
03:08but actually it's been a really happy, really great film.
03:12I think it's been a bit of an epic deal,
03:18I think it's been a critical deal.
03:20the other level of war?
03:23There's no difference.
03:24I think it's a single difference.
03:28Grazie a tutti.
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