- há 3 horas
O documentário explora um pouco da magia dos bastidores do filme. De James Spader (Ultron) e Mark Ruffalo (Hulk) em seus trajes nada lisonjeiros de captura de desempenho até os ajustes em CGI envolvidos para fazer com que o Visão de Paul Bettany pareça um pouco menos humano. Mostra 18 meses como era no set do filme na Itália e em Seul, Coreia do Sul; uma olhada na Torre dos Vingadores; alguns dos primeiros efeitos visuais dos bastidores de Ultron; trabalhos conceituais iniciais para Mercúrio, Hulk e Visão; e muito mais.
Categoria
🎥
CurtaTranscrição
00:00.
00:00.
00:00.
00:00.
00:00.
00:01.
00:02.
00:02.
00:02.
00:13.
00:13After three years and all the craziness of traveling around the world and going from country to country,
00:17and finally being here on premiere night right here in the middle of Hollywood, it's super exciting.
00:21.
00:22.
00:25.
00:25.
00:25.
00:26.
00:39There we are, it's day one, it's old photography.
00:43We're in Italy, environmental, this place is gorgeous.
00:46It's unlike anything we had in the first movie and it's just a ton of texture.
00:50Everybody's pretty excited.
00:51.
00:51Eu acho que há algo sobre estar em campo e estar no meio de Itália.
00:54Você está em uma cidade que tem todo o lugar shutado.
00:57Você tem cinco intersecções, o carro está overturned.
00:59Você tem real explosões.
01:02É uma ótima forma de tirar a chute.
01:05Você está em um local.
01:06Você faz você sentir autêntico.
01:07E eu estou começando com um pouco, basicamente.
01:10E então é muito bom ter o seu trabalho com os personagens.
01:14Antes de chegar ao set com todos os inimigos.
01:21Coming back after being away and seeing each other was a very sweet reunion.
01:28We all as actors went on this journey together through this wild thing that became Avengers 1.
01:33Go, Bruce. Go, Bruce. Go, Bruce.
01:35It's all common ground now and it's not quite as daunting as the first time around.
01:39I was talking to Robert and Chris and a lot of the guys before we started shooting.
01:42And all of us were looking forward to coming back and kicking it off again.
01:45I never want to work for these kids, but I'll get them there.
01:47And this one, we're together a lot, which is great for us.
01:50Terrible for Joss, because it's tough to wrangle ten crazy actors that love each other.
01:55Oh, my God.
01:56We're about to get yelled at.
01:57Them having that kind of comfortable ease with each other is a delight.
02:02Every now and then, it's an exhausting delight.
02:05Today we have some balls and chokes.
02:07Is that enough balls and chokes?
02:08That just happened.
02:09Here we are in Robert's trailer.
02:12We didn't get the one he asked for, but we feel we did pretty well.
02:16This is Avengers Tower.
02:18This is what Stark Tower became after it was destroyed.
02:23It's just sleek, elegant, futuristic.
02:27I mean, it's Tony's house, so it had to be flashy.
02:31I don't know of anyone in the history of any superhero franchise
02:35who seems to have never run out of money.
02:41Joss wanted it all to be connected.
02:43He wanted to be able to move from downstairs to upstairs and vice versa.
02:46He needed to perform for Tony's world, for Banner's world,
02:50and then float down into sort of the gaming area of the HQ,
02:54which was a little bit more fun.
02:58If you look carefully at the details, you'll see there's a cap poster,
03:02there's stuff for Hawkeye,
03:04and stuff that's up in the lab where Tony's working for all of the team.
03:13This is really our sort of giant science fiction space,
03:16and we put it at the beginning of the film
03:18because it has this grand, optimistic,
03:20things are going well feeling we have a party here in the house,
03:24because who wouldn't have a house party here?
03:32We ended up realizing we have this big Avengers Tower set
03:35who went all trying to attack right here,
03:36because instead of having him built here
03:38and then fly away and attack across town,
03:40it seemed more visceral to kind of have the attack happen right here
03:43in this big, huge space,
03:44because if you build a set this big and you don't blow it up,
03:47you're doing something wrong.
03:57Joss was beginning to put together the character of Ultron,
04:00how he came about, what he wanted to do with the character,
04:02and he said to us,
04:03I think it's got to be James Spader.
04:05And with another moment, we went, yes.
04:07There's nobody else on the list.
04:08There's nobody else that we talked to.
04:09First day when he gives his speech at the party,
04:12I know all of us were kind of eager to be the audience
04:15and just to spectate and just watch him perform.
04:17And it was really exciting,
04:19because it was really good and really intimidating.
04:22And I was tangled in strings.
04:26Spader knew what he was in for,
04:27and he went for it regardless,
04:29because he thought, if I'm going to do it, let me really do it.
04:31It was terrible to put us on a set together.
04:33I just want everyone to know that now.
04:36Showed up at the studio,
04:38and they put me in a suit,
04:40and they had me go through a range of motion,
04:43and very specific motions and movements and so on,
04:46which they captured with all these sort of sensors all over me
04:50and reference cameras all around me.
04:51And within ten minutes,
04:54the sort of rough image of Ultron
04:57was on a screen, a monitor in front of me.
04:59I've outgrown you, Tony. I've evolved.
05:02Performance capture is the entire performance,
05:04so you're filming an actor's entire role.
05:06It just happens to be a different bunch of cameras.
05:08But the actual nuances, all of the acting choices,
05:10you're authoring a role in exactly the same way
05:12that you would if you were playing a live action.
05:15He and I got to do some stuff, you know,
05:17and it's ridiculous.
05:18We're wearing these very unflattering suits,
05:23and I'm trying to explain to him, you know, how it all works.
05:27But I was like, I'm working with James Spader.
05:29Look at you, Ruffalo.
05:30You really, like, pulled one over on the world.
05:33I think it's so fitting because Ultron is everywhere
05:37and everything and has these almost Shakespearean soliloquies at times,
05:43and I certainly think that his theatrical background is all over this.
05:47You know this church is in the exact center of the city.
05:51He had this thing with red dots for eyes,
05:54and so we would rehearse looking at him
05:56so we could have something to respond to,
05:58and then during a take,
05:59we'd have to, like, look three feet above his head,
06:02which was so irritating because he was doing so much
06:05that you wanted to watch.
06:06Probably majority of the shots,
06:08Aaron and I are both going like this.
06:10Like, just, like, shoot.
06:12We didn't want Ultron just floating out there by himself.
06:14We wanted him teamed up with someone.
06:15We wanted there to be an opportunity
06:16to have the twins help carry some of that villain burden.
06:20These characters are integral to the Avengers comic books.
06:23We also wanted to have another powerful female character.
06:26I wanted not just a new perspective,
06:29but a new visual language.
06:30She can get inside their heads.
06:32He can move so that everything is super slow.
06:34That's going to give me a language
06:35I wouldn't have used in the first one.
06:37When it comes down to Pietro,
06:38we went through a very large number of testing and looks
06:42so that we can feel that it was organic.
06:45We didn't want it to be about the effects, per se,
06:48so we looked at, you know, various blurs and trails.
06:52We ended up with something which I think is pretty simple,
06:55but also pretty sophisticated and sort of elegant
06:57as a solution for Pietro, as this blue street trail.
07:01When I run fast, you'll see that, you know, if the light cat is it,
07:03it'll have that kind of sort of lightning bolt sort of strike.
07:09You see pictures of Scarlet Witch, and she's always like that.
07:13So we have these images and these, like, you know, red balls around her hands
07:18for some sort of fire or energy,
07:20and Joss really wanted me to work with a dancer.
07:23It changed a lot, the conversation about how Scarlet Witch would move,
07:26kind of creating a vocabulary.
07:28We took her power and said,
07:30okay, she's got telekinesis, she can move things,
07:33she can have a little bit of energy, kind of shielding or pushing,
07:37and she can get inside your head and tweak it
07:40so that all your worst fear is going to come to the fore.
07:42It was also fun for us to have a sequence with Scarlet Witch
07:46who could take down the Avengers without throwing one punch.
07:49I wanted to get deeper into these characters.
07:52You need visual momentum, and these dream sequences
07:54are designed for specifically to be as engaging as an action sequence.
07:59We all get our opportunities to delve deeper into the backstory
08:03of each one of these characters,
08:05and every one of the Avengers comes to the table with a lot of baggage.
08:09It took a long time to understand
08:10when Scarlet Witch gets inside of Banner's head,
08:13forces him into the Hulk,
08:14then what is the Hulk's nightmare?
08:16What makes him go crazy?
08:20What we try to do with Hulk is really try to take him to the next level
08:23in terms of photorealism.
08:27With Mark's performance and Joss' direction in the story,
08:30there's a lot more moments where we can really get in touch with his feelings.
08:34The first time we did this,
08:36the technology was at a place such as you could capture movement,
08:40and then you had to do all the facial recognition separately.
08:44In that time, this technology's taken another major leap forward.
08:49Trying to create a performance that is as physical as the Hulk,
08:53it really helps to have your body informing that.
08:55What is great if you're playing a character like the Hulk
08:57is it enables you to climb into the mind of the Hulk
09:00without having to wear an enormous amount of prosthetic makeup,
09:03which actually stops you from really acting.
09:05So you can have all of the pain of that character,
09:08or the anger, or the aggression,
09:10or a mixture of all of those things,
09:11and the nuance of what Mark was doing facially,
09:15you know, he's not having to fight against tons and layers of prosthetic makeup.
09:19He can just play the internalized that,
09:21even with a character that big.
09:22You're stronger than her.
09:23You're smarter than her.
09:24You're Bruce Banner.
09:26Right, right, right.
09:27Don't mention puny Banner.
09:31We are here in Johannesburg, South Africa,
09:34where Hulk and Hulkbuster are going to be fighting each other
09:36right up and down the streets,
09:37throwing through a market,
09:39all kinds of crazy stuff happening.
09:40We scouted in the area initially,
09:42took lots of photographs and measurements,
09:43and really just got an idea of the city and the layout,
09:46and we started to previs the whole sequence
09:48and try to figure out where the cam angles could be,
09:50what the set was, or what the environment was,
09:53and how we could use the environment to tell the story
09:54that Joss wanted to tell.
09:56In the script initially, it's imagine Hulk if Hulk hulked out.
10:00You know, it's that kind of craziness.
10:05It's been great to just sort of open it up, and instead of trying to recreate places,
10:09really get to go there to get the local feel, and the architecture, and the life.
10:14It gives the film a veracity, and when half your character says CGI, you just need that.
10:18It had to be very carefully planned, and then it was a lot of, you know,
10:21talking to the special effects guys,
10:23who are the people that do the practical effects on set,
10:25and getting them to, you know, blow cars up, and rip parts of the street up,
10:30and give an explosion there, and dust hits here.
10:33And then you take it all back to the cutting room,
10:36and then you start doing what we call post-viz,
10:38which is then effectively taking the pre-viz,
10:40the sort of animated cartoon version,
10:42and now cutting out the Hulk and the Hulkbuster,
10:45and trying to put that back into what you've already shot.
10:55Right after they've had their visions,
10:56when all of them are realizing how disconnected they are
10:59from their own feelings, and pasts, and thoughts,
11:02and how messed up they are,
11:04they're confronted with a normal family life.
11:07It puts a weight on, oh, this is why we do what we do.
11:10Everyone has to sort of take a look at themselves,
11:11like, oh, yeah, what we're doing is really not quite so important.
11:15This is what it's really all about.
11:16Seeing everybody on set, in costume,
11:19and standing there with everybody, it's pretty fun to watch.
11:21It's pretty fun to see all those superheroes come to life.
11:24This is like a family of people that, you know,
11:26kind of get together and have these powers that act real normal
11:28in terms of how they react to each other,
11:31how they sit around, eat, drink, talk to each other,
11:34or have brotherly fights, and this, that, and the other.
11:37Isn't that why we fight?
11:38So we can end the fight, so we can go home?
11:41These movies are so successful
11:43because they resonate with the audience.
11:44The characters are multifaceted, and they struggle,
11:49and they are unlikely heroes and sort of reluctant heroes.
11:53Being able to embrace that and take it to an unexpected place,
11:58I think, is one of the first ideas Joss had on this film.
12:00There's enough interpersonal and character stuff going on
12:04that you have something to hold on to
12:06when you get into the big set pieces.
12:11We are in the heart of Seoul.
12:13We are at Gangnam.
12:15You see all the tall buildings.
12:16It's really busy.
12:17I'm so excited and so proud as a Korean
12:20that we're shooting Avengers 2 here.
12:21The South Korean government was unbelievably helpful
12:25and inviting to allow us to do a massive sequence there.
12:29Korea is a very, very cutting-edge technological society,
12:32and they love the notion of us going there and showcasing that.
12:36And we have one of the biggest street chases we've ever had
12:39in a Marvel film right there through the streets of Seoul.
12:42The idea that we're going to shut down huge parts of Seoul,
12:44close off a major intersection,
12:45we said it's the equivalent of shutting down the 405,
12:48the 101, the 10, all in the middle of Los Angeles,
12:50all on a weekday.
12:56We've been maneuvering through 6, 8, 10, 12 cars at high speed,
12:59chasing the motorcycle, following it at its best speed.
13:06We're kind of hitting speeds at 50, 60 km.
13:09You know, it's pretty quick when you hang on the back of the door.
13:11Those driving sequences are pretty amazing.
13:17You know what's in that cradle?
13:20The power to make real change, and that terrifies you.
13:24I wouldn't call it a comfort.
13:25Going back to, I would say,
13:27it was production on the first Avengers film,
13:28and Joss was very, very interested in Ultron.
13:32And there were some ideas about how Vision,
13:34obviously the most important AI character in our universe up to that point,
13:38could play a part in that.
13:39I said, if you make a second movie, you've got to be Ultron,
13:42and then he should make the Vision,
13:44but they should put Jarvis in the Vision,
13:46and then Paul Bettany can play the Vision,
13:47because only Paul Bettany can play the Vision.
13:49I was just so pleased to see him transcend
13:52what you thought Jarvis was,
13:54and bring into being what Vision is,
13:56and actually kind of exceed our expectations.
13:58It is a privilege to be a monk.
14:00For me, just personally,
14:01it's a nice sort of continuance of this thing,
14:03because I've kind of been involved in this whole thing
14:05right from the beginning.
14:07The depletion rate of Palladium is increasing exponentially, sir.
14:09and I'm sort of annexed.
14:12You know what I mean?
14:13I've always come in right at the end.
14:16It's been fun,
14:17but it's really nice for me to sort of finally be a part of it,
14:20you know, physically.
14:22All right, man's the one he's waiting for.
14:23That's true.
14:24He hates you the most.
14:27You just came to show me the initial drawings and stuff.
14:30I totally flipped,
14:31and I didn't think for a minute
14:32what that was actually going to mean to me physically.
14:36In terms of how we were going to achieve that on a daily basis.
14:43I get put inside this, you know, rubber balaclava
14:46that is then glued to my face,
14:48and it's a lot of prosthetics.
14:50The makeup is actually amazingly quick, I think,
14:53for what is accomplished.
14:55It's about an hour and a half,
14:57and then there's a robot muscle suit that goes on.
15:02I wear a cooling suit that has piping that goes all around me,
15:06and they plug it in, and ice water runs through it,
15:09and it keeps me cool.
15:10It's a little like being inside a gin and tonic.
15:13I can't hear very well,
15:14because I've got this thing over my head,
15:16and there's only this much of my own skin showing.
15:21It took me a couple of days to figure it out.
15:23You know, we made a few holes
15:24so I could sort of hear conversation,
15:26and I read a lot.
15:29The idea was we'll do it all in camera.
15:31We'll fix this, this, this, this, and it's over.
15:33Well, we wanted to also give him an AI look,
15:37so we sort of back-engineered a way
15:39that we were going to utilize the data from the performance,
15:45put it back into a full-on CG model,
15:48and then bring back the human characteristics
15:51that makes him all that more human, and yet not.
15:56There's an expression that we use in visual effects,
15:58as well as other, you know, robotics and things,
16:00called the uncanny valley,
16:01and this is when people are trying to create human beings
16:04as CG characters or robots,
16:05and the closer you get to reality,
16:07the harder it is to make them look believable.
16:10But what we're trying to do in many ways
16:11is we're approaching the uncanny valley from the other side.
16:14So we're starting with a real human in Paul Bettany,
16:17and we're adding CG to him.
16:19If you look at his eyes, if you look at his lips,
16:21if you look at his face,
16:23you feel the human feelings that we do when we emote,
16:27and yet there is that moment where you go,
16:30oh, he could be full-on AI, is he?
16:34I was born yesterday.
16:47We're in Sokovia, which is now in Hendon, in London.
16:50Sokovia previously was in Italy.
16:52Sokovia's been on stage.
16:54Sokovia's kind of all over the place,
16:56this big place that we're kind of putting together
16:57in visual effects,
16:58and today here in Sokovia,
16:59we're doing kind of the end of the movie.
17:02Everything's kind of wrapping up.
17:04Open fire!
17:06And we just had this massive strafing run.
17:09You know, Ultron has commandeered the Quinjet,
17:11and he came through, bam, bam, bam, bam, bam,
17:13and is taking out everybody.
17:15We had 1,300 explosions going off,
17:17one after the other,
17:18all timed, all rigged by our great special effects team.
17:25We were very lucky.
17:27We looked very hard for that location,
17:28and because we knew what we had to do to it,
17:30in a sense, the post-destruction look,
17:32that made our search that much harder,
17:34because a lot of places simply wouldn't have allowed us
17:36to have done it with all the pyrotechnics
17:38and all the special effects and our footprint,
17:40you know, what we needed to do there.
17:41Very quickly, we realized that it actually worked incredibly well.
17:48Watching it be destroyed slowly but surely
17:51was pretty amazing to see, you know,
17:54this beautiful statue that Aaron and I were laughing about,
17:57you know, pretending it was us.
17:59And then, like, later when the world's ending
18:01and their limbs are gone,
18:02and there's, like, a children's playground that's a tank.
18:06Like, it's just, it had a lot of humor as well.
18:08I really loved that set,
18:09because that was a world.
18:11That was a whole world.
18:16It's very weird to be this close to being done.
18:18It was sort of,
18:19I describe it as the light at the end of the ballroom,
18:22because I really have been having so much fun.
18:25It doesn't really feel like a tunnel.
18:27Part of that is because of being here.
18:29There's so much depth.
18:30There's so much room to maneuver.
18:31We've never had a set or a place to shoot like this.
18:34It's huge.
18:34You always want to end big.
18:36We've got a whole city lifting off and being ripped out of the ground.
18:40And then we've got all these sub-Ultrons
18:42that are attacking the Avengers
18:43and trying to take the Avengers out of the equation,
18:45whilst Ultron Prime is trying to destroy humanity.
18:50When I read some of the things that I read on the page,
18:53it just seemed so enormous.
18:57You'd think that there must be some diminishment of that
19:01during the making of or even the development of the script,
19:04and not so.
19:05I've been here long enough to understand
19:07that the unthinkable will happen,
19:09the unthinkable will be written,
19:11and the unthinkable will come to fruition
19:13as some of the most amazing visual effects we've seen.
19:16So that I'm proud to say,
19:18that none of that scares me.
19:19On the contrary, all of that is the greatest challenge of working here.
19:22So they've got to end the film fighting together,
19:25and we've got to know that the Avengers live on.
19:27But the idea that the Avengers will live on,
19:30but in a completely different form,
19:32there's a galvanizing excitement about that.
19:42My favorite part about Avengers Age of Ultron
19:45is what's brought into potential at the end.
19:49The fun of the comics is the shifting roster,
19:52is the notion that the Avengers begin as a certain roster of people,
19:56but over time, some characters go off into their own adventures,
20:00new characters come in.
20:01So for us, that was always part and parcel
20:04of the concept of the Avengers.
20:05So it was always the idea that we were going to mix up the teammates.
20:09I feel like this is really a kind of a feeling of an ending of an era
20:14and the beginning of another, and I welcome it.
20:16I think it makes the audience even that more invested
20:19in our interpersonal relationships
20:21and the future of these characters.
20:24So that's pretty cool.
20:27To be able to create this spectacle
20:30and have it be something that you can crawl inside
20:33and feel the life within it,
20:36that's, I think, that's this film in its finest form.
20:46The best take ever.
Comentários