01x10 - The Making of Doctor Strange in the Multiverse of Madness

[bunniefuu]

Doctor Stephen Strange, a neurosurgeon,

who, after a terrible accident,

lost the use of his hands.

You might even say,

his hands betrayed him.

And I can relate. If you catch my drift.

Anyway, this Strange guy couldn't

cut it in the operating room anymore,

so what did he do?

Run home and cry to mama?

No-siree-bob.

He picked himself up and trained

to be some kind of fancy-pants wizard,

complete with a kooky cape,

and a groovy goatee.

And yet, they still call him a doctor.

Know why?

Because now, he's a doctor of kicking butt

and taking names.

Strange has mopped the floor

with cosmic conquerors, mad Titans,

and guys with really bad complexions.

But enough with

the CliffsNotes recap already.

These days, Strange is up to

his medallion-wearing neck

in psychedelic scary sauce,

and that is what we're here to talk about.

I'm Bruce Campbell, and I'll be your host

as we journey beyond the confines

of our own humdrum reality,

and see what's really cookin'

in the Multiverse of Madness.

KEVIN FEIGE: After we finished

the Infinity Saga,

we were looking at how to evolve

post Endgame

and into phase four.

We wanted to explore

entirely new characters

and entirely new sides

of the Marvel comics.

One of the things we're exploring

in phase four is the Multiverse.

And in the Multiverse, we get to see

different realities and different outcomes

of characters that we all know and love

in an infinite number of ways.

Some of them are tragic,

some of them are horrific,

all of them are unexpected.

And that was always where we were headed

with this sequel to Doctor Strange,

knowing that we wanted to explore

the mind-bending,

frightening side of the Multiverse.

And this could only have been done

under the direction of Sam Raimi.

RAIMI: I got a call from my agent saying

that Kevin Feige and the Marvel team

were looking for a new director

for the new Doctor Strange movie.

I was a big fan of the first one.

I thought that the director,

Scott Derrickson, did a great job

and Benedict Cumberbatch delivered

an incredible performance.

So when that offer came and I thought,

"Okay, it's been a long time since I had

"made a superhero movie,

I wonder if I can still do it?"

And that alone was reason enough.

RICHIE PALMER: Sam Raimi is one of

the godfathers of the MCU,

if you think about it,

with the Spider-Man trilogy.

To get to work with Sam

is a dream come true,

not just for me, but for most

of the people on this set.

That guy's movies are part of the reason

I became a writer,

so, to have Sam Raimi come in a room

and sit across from you and be like,

"All right, kid, what's the movie?"

Man, it's really a case of

meet your heroes.

So, I was a very junior part

of the creative team

on his original Spider-Man films,

and now working so closely with him,

who would have guessed, certainly not me,

that nearly 20 years later,

Sam Raimi would be working

on a Doctor Strange movie for us.

We are in the Sanctum Sanctorum,

Doctor Strange's home,

his weird, haunted house that he lives in,

and today's day one.

RAIMI: I think it was

always in Marvel's mind

that this film would really open the door

wide to the Multiverse.

The scale is epic.

It's almost unfathomable.

FEIGE: That's part of the madness.

Madness of handling this many characters

and this many storylines.

CAMPBELL: So, this Multiverse

that everybody and their uncle

keeps yackin' about,

what is it anyway?

Well, I looked up Multiverse

in the dictionary.

Yes, I cracked open an actual book,

and this is what it said.

"An infinite realm of being

or potential being

"of which the universe is regarded as

a part or instance."

[LAUGHS] I don't know what

any of that means, but I'll wager,

it has something to do

with endless possibilities.

So, if you're aiming to tell a story

set in a world

where literally anything goes,

how do you even begin to begin?

Yes, it's a maddening job,

that can make you go insane

trying to figure all the stuff out,

but it's a lot of fun.

RAIMI: Telling the story of the Multiverse

was such a gigantic endeavor.

To not only paint an accurate picture

of our universe,

but of another, and another, and another.

It took teams of really great artists

and Michael Waldron's great script,

which I just thought was brilliant.

WALDRON: It was February 2020,

and Kevin Feige called me

and said

"We'll go in a different direction

"on Doctor Strange Two,

"and we want you to come over

and write it."

There were already sets being built

and everything

so we really had to

hit the ground running.

But I think I had, like, three weeks

to try and write that first draft,

and that last week is

when the NBA shut down, COVID hit,

and the world stopped spinning.

And so, it was an interesting month,

to say the least.

The silver lining was production pushed

from May of 2020 to November of 2020,

so it allowed us the time.

We said, "All right,

let's blow this thing up entirely,

"let's start from scratch."

And that's exactly what we did.

And we threw that draft of mine

out entirely

and said, "If we were in on day one

of this movie with Sam Raimi,

"what is the movie we would make?"

And we came up with something better

and much more exciting.

DOUG LEFLER: Michael did a Herculean job

with this project, in my humble opinion.

He had all the history of Marvel

that he had to work into this.

Ready.

How he managed to balance all of that,

I think, was extraordinary.

RAIMI: And, action!

Nailed that, that was sharp.

WALDRON: What's interesting in a story

about the Multiverse

is exploring the other ways

that things could have played out.

It's especially interesting with

a character that we saw at one point

sit with his head going

in a million different directions,

watching 14 million different outcomes

in his particular universe.

Getting to work on a Doctor Strange sequel

is really exciting

because the first movie really blew open

the doors of the MCU

in ways that we couldn't even imagine,

because you can't tell the same stories

with Captain America that you could

with Doctor Strange.

RAIMI: Marvel comic books have always been

excellent at painting complex characters.

It's how in the '60s and '70s

they blew DC out of the water.

They're able to build upon

these relationships with great depth,

and we're able to build upon them

movie after movie.

He's been through a lot,

he's lost the use of his hands,

become a sorcerer, assumed this mantle

as master of the New York Sanctum,

fought in a w*r against Thanos,

gave up the Time Stone

in this incredible gambit

that resulted in saving the universe,

and he's kind of been dropped back

into normal life.

RAIMI: The first film did a great job of

describing the journey of Doctor Strange.

This film, it's about what he's become,

the price he's had to pay

to become this great sorcerer

and savior of the universe.

I felt, I guess as much as the audience

and the fans did, that, you know,

this extraordinary character

seemed to be sort of

all-powerful and perfect,

I wanted to know what it was about him,

how he'd got there

as much as anything else.

I wondered what it was costing him

or what it would cost him

to continue developing in that way,

accruing power and ability.

Really, the film's

an examination of that,

how far as a maverick and an outsider,

and a chancer, and an ego

can he go

before stuff really becomes undone?

It's always great in these solo flights,

to kind of shake the snow globe up

and disturb the character

and throw stuff at him

that really makes him question his purpose

and who he is and how to best be.

I never stopped caring about us.

But I had to make sacrifices.

I'm sorry.

It's quite an emotional place

that he's in at the beginning.

Then he's sort of slungshot

into this adventure.

WALDRON: We're in New York City.

A giant monstrous octopus

has att*cked New York, it's bad news.

RAIMI: Three, two, one, action.

This is where Doctor Strange

meets America Chavez.

Look out!

Do I know you?

WALDRON: Through this adventure,

he forms the unlikely partnership

with the young America Chavez,

the last person you'd expect

Doctor Strange to work with.

America Chavez has been on a list

for a long time of characters

that we wanted to bring into the MCU.

America Chavez was created in 2011,

so she is a relatively new character.

Casting America Chavez was great,

it was such a highlight

of this experience,

we did such a wide search.

We found Xochitl Gomez

and thought unanimously

she was the best person for this role.

I did my first audition in March, 2020,

and I didn't hear anything

for six months.

And then I got a call to do a screen test

in London.

That's when I got told what character

it was for and I was like, "Oh, my gosh."

GRAHAM CHURCHYARD:

We started with the comics,

the denim jackets in many of the comics,

and I designed these combat jackets

which had red, white, and blue,

like, stars and stripes flag

that was all kind of blended together

in this camouflage,

so it was a camouflage jacket.

America dresses a lot like I do.

I do wear black ripped jeans

and a T-shirt and a nice jacket over it,

and a pony, I wear that all the time.

And so, when I first went in,

I was just amazed with all these jackets.

There's so much detail.

I don't think you'll ever see it,

but there's a bunch of poetry

and just the way the star is designed

on the back of the jacket.

I had, like, 100 other versions

of Mexican sort of folkloric art

and Day of the Dead references

that could be part of the kind of emblem

on the back of the jacket.

But I'm really happy

that we went with the star.

In the street scenes

that we've sh*t with her running,

you see this white star

going down the street,

and it's a really good focus point.

It was fantastic working with Xochitl.

I think she's probably gotta be

one of the youngest actors in the MCU

and it can be quite scary, you know.

I mean, it was scary for me to enter into,

and then someone so young

with so much on her shoulders.

One of our moves is collecting the power

and knowing that I have it.

It's a huge responsibility to originate

a character, a superhero.

It's crazy, it's really like,

"Oh, my goodness."

It's good to kind of lift off the pressure

with that.

We always have a bit of music on set,

and she's big into, what is it, TikTok?

She tried to teach me some moves,

but I think I pulled a muscle.

[LAUGHS]

Benedict Wong, I mean, he is amazing.

He carries this mega-huge, like,

boom speaker

and he just carries it around

and just, like, bumps up and down.

He's like a walking rave party,

it's amazing.

He's got some snazzy moves,

but I think my moves are a bit snazzier.

He's catching on.

America Chavez, it was such a pleasure

for me to get to work on this character.

She's just a badass. It's something

that we've established is that

it's impossible, near impossible to travel

from one universe to another.

In Loki, you can kind of hop

from one timeline branch to another,

but you've gotta be anchored

to some original timeline.

What America can do is, she can jump

from one universe to another one.

She can literally do the impossible.

She doesn't know how to control her power,

but every time she's triggered by fear,

a portal opens into another universe.

LEFLER: Working with America Chavez,

we had many different introductions

to her as a character,

but I think I storyboarded all of them

so I got to work with her character a lot.

What was so fascinating

about America Chavez to me

was just her sense of loneliness

that she didn't have a family,

she didn't have friends,

she didn't even have a reality.

So, she finds herself bouncing

between worlds,

really being lost amongst the Multiverse,

and learning how to survive herself

until an entity starts hunting her.

And that's when Doctor Strange and Wong

realize the stakes of this movie.

It's an incredible power but represents

a grave danger for the world of the MCU.

DOCTOR STRANGE: The power is

dangerous enough in the hands of a kid

imagine if a real thr*at acquired it?

RAIMI: Ready,

and action.

ELIZABETH OLSEN: When we were about

to go back to finishing WandaVision,

I was pitched the actual story

of Doctor Strange,

and I was shocked.

No one told me that their plan for me

was to be the villain. [LAUGHS]

We knew that we wanted Wanda to be in it.

I think, originally, there's a version

where Wanda was maybe gonna turn bad

at the end.

That was a big change that I made

and I had a strong perspective on

making her a villain from the get-go.

It was always like, "Well, that'll happen

in an Avengers movie or something."

My perspective was,

"Why are we letting some other movie

get the best villain ever?"

It was an exciting opportunity

because it's really fun

playing people with moral ambiguity.

WANDA: Her sacrifice

would be for the greater good.

OLSEN: She is one of the most powerful

beings that's ever existed.

I was meant to rule everything.

Why does that mean that she now

has to settle for just being good,

when all she wants is something that seems

so simple and small

which is to be with her kids?

We've seen the tragedy of her life.

She k*lled Vision, only to have Thanos

rewind those events with the Time Stone,

the Time Stone he got from Doctor Strange,

so that Wanda's sacrifice was for nothing.

She's given up a lot

and from her perspective,

all she wants is one life,

she wants America Chavez,

she wants to take her power, which, yes,

will k*ll America,

but to Wanda, she's earned that sacrifice.

Alex Byrne's costume in Ultron

was Wanda's first outing.

So, she started out

in store-bought street clothes

with the torn jeans,

with the cropped jacket.

And then, by the time she gets

to Infinity w*r,

she's wearing that red body coat,

so leaning more towards the comics.

The whole WandaVision look,

when she transforms into Scarlet Witch,

she's been, for some time,

in possession of the Darkhold.

And such a powerful tome can have

a sort of devastating effect on a person,

if they try and use its powers,

so it has its downside.

You get this sort of Multiversal mold

and contamination growing over your body,

your costume, as you're overtaken

by the sort of evil powers within it.

I wanted, if this evil kind of thing

was growing over your body

Her shoulders were covered,

and the armor is now

The detail on the corset, on the bodice,

is now really kind of deteriorated,

and the skirt is really fluid now.

The crown too has a

It's like it was a sort of jewel,

but now, it's sort of pitted and has

patina and devastation to it as well,

so it's a lot more eroded and worn

than in WandaVision.

And so, those were the changes I made

because it fitted within the idea

that something had happened to her

in possession of the Darkhold

that created this sort of distortion

and deterioration of her costume.

WANDA: Every night, the same dream.

And every morning

the same nightmare.

We really wanted to have the audience

identify with the villain of the piece,

really understand her, not make them

a brouhahaha villain,

but somebody who you really loved

and could relate to.

WANDA: You break the rules

and become a hero.

I do it, and I become the enemy.

That doesn't seem fair.

RAIMI: That was so beautiful.

Cut, that was great.

That was a constant thing

for Sam Raimi and I.

I've had so much fun

playing off of his ideas,

and I think he and I really relish

in this character

and we've been enjoying

how delicious it is

to justify some of the things

she does in the movie.

RAIMI: I loved it.

There's a little bit of dread

of what would happen if she were called.

[OLSEN SPEAKING]

- [RAIMI SPEAKING]

- [OLSEN SPEAKING]

[OLSEN SPEAKING]

[RAIMI SPEAKING]

RACHEL MCADAMS: That's just

one of the things Marvel does so well

and better than anyone,

is that their villains, you know,

you find yourself

siding with them at times, you're like,

"Wait, I feel bad for you,"

or, "Well, they have a really good point,

you know, Thanos has a

"He has a really good point."

So I feel like they've built that

with Wanda so well,

where you just feel for her

and her struggle.

It's just a very filled-out character

that, I think, makes you feel

a lot of complicated things.

Those are always the best villains.

RAIMI: She's a villain

because she believes

the end justifies the means.

She'll simply do anything

to be with the ones she loves.

She just loved too much, was her problem.

But once you start

taking the bad path in life,

you make one bad choice and another,

it seems like,

sometimes, there's no way back.

- That's great, I think we got it.

- OLSEN: Okay, good.

MAN: So, cut.

WALDRON: Doctor Strange and Wong bring

America to Kamar-Taj for safekeeping.

The person you went to ask for help,

is the person that's trying to k*ll me?

Yeah.

It doesn't quite work out

how they hoped it would.

And arm the students.

Kamar-Taj must now become a fortress.

I'm Sam, the Director, and all of you

are students at Kamar-Taj.

Unfortunately,

a witch has come to town.

Are you going to let that witch

take that girl?

ALL: No! No!

- I can't hear you.

- ALL: No!

- Sounds like she's doomed.

- [ALL LAUGHING]

I have to tell you,

most of you will not survive.

You have no idea just how reasonable

I have been.

Kamar-Taj stands against you.

- [GRUNTS]

- Defensive positions!

We have a particularly big sequence

where Wanda,

she's coming to att*ck Kamar-Taj.

[GRUNTS]

The Kamar-Taj battle,

in terms of sh*t count, it's huge.

That scene was sh*t

on three different stages.

We're here on the Sirius stage,

as I understand it,

they lift these stages up

for big concerts.

So, we lifted the stage up,

it's quite a massive stage,

but not big enough for our Kamar-Taj.

Even though we only have one rooftop,

it has to play as three different rooftops

on Kamar-Taj

that are all oriented differently.

And so, one of the tricks is

not only figuring out, on any given day,

who's supposed to be on that rooftop

and how it's dressed

and what sort of damage is there,

but also where the lighting comes from.

Wanda is flying around so she starts off

on the approach

and there's a little bit of a stand-off.

After that, Wanda starts doing att*cks

and she starts to fly all the way around

looking for weak points

inside this collective force field.

We call this the strafing run,

it's kinda like what you'd picture

if you were in a jet fighter

that's coming around banking

and just boom, boom, boom.

Stuff flying and in your face.

TUCKER: Charlie did all of the design

for Kamar-Taj.

That 3D model was then handed off

to proof the previz company

that prevized the Kamar Taj sequence.

Then, to help us visualize that,

that previz model gets put into

an iPad and that allows us to sort of

temporarily position ourselves on set.

LEWIS: I've seen it

in the past five years develop

from this big virtual camera, whole crew,

whole expensive setup that takes days

and weeks to do,

whereas now it's on an iPad

and it's in your back pocket, essentially.

Any characters or props,

we can bring in with animation

and virtually see where it is

so it's a great tool on set

when we need to look up and see a monster

or an expl*si*n.

One of the other things we have to really

plan for is, is special effects.

A lot of planning

going into, from the previz,

where certain explosions will happen

inside the floors of Kamar-Taj.

MAN: Three, two, one, action!

So, we're setting up

25 different explosions, some fireballs,

some ground hits, where the ground

is erupting, total mayhem.

This particular sequence

was a great collaboration

between special effects, stunts,

camera crews.

The whole second unit has worked

miraculously to all mesh together

and create a wonderful little sequence.

I think that was our biggest

action sequence of the film.

There were some sh*ts that were

extremely choreographed,

I mean, we had camera winches,

and we had R ratchets

that blow people back.

We did somewhere between

40 and 50 different ratchets.

Those are the explosions

when cannons blow up,

we ratcheted six people back there,

when she lands,

that had six or seven people on it,

but it was a lot of fun to develop.

We actually, kind of, started the idea

by putting one of our stunt guys

in the winch holding a DSLR camera.

And then we did all the action,

kind of buzzed him through

as if he were the camera.

That's sort of our poor man's version

of the motion-based winch camera.

JEFF: So, we've got a camera

on a wire, a 3D winch system

that basically is the Scarlet Witch's

point of view

and it comes around behind the building.

You see the first expl*si*n

go up right in front of it.

It comes through it, it comes around

and it just sees all of this,

chasing it all and then we got four more

cameras in various positions to catch

Rintrah's run, catch the bell falling,

catch individual people flying

and hitting the ground

and coming right at ya.

CORBOULD: The explosions, we really wanted

to get the stunt people

right on top of them.

Rather than use traditional black powder,

we've gone for a high pressure nitrogen

which is really, really safe,

you can almost stand right next to it,

but gives a wonderful effect.

MAN: Action!

SAVANI: So we've just done

the first expl*si*n

and I'm the first one that sort of goes up

into the air.

Obviously, it's a bit nerve-wracking

'cause you don't know exactly

what'll happen.

We've rehearsed a lot of it before

but with the SFX and stuff,

it's the first time, with full costume,

it's the first time.

JEFF: I think everyone was

a bit surprised how big it was on the day,

which kinda helps their acting

'cause it turns from acting to, like,

"This is really happening."

We actually had a little too much dust

so you lost 'em and you couldn't see 'em,

but it looked really cool in that dust

so we're gonna lower the dust a little bit

and hopefully we'll see

a bit more of that.

I saw some of the playback.

Really pleased with it.

So, yeah, we just take our time,

don't rush and pick every camera position

to get the most out of

what all the stunt players are doing

and the special effects explosions

are doing.

CORBOULD: We've been testing this

for probably four months now,

to reach this point.

But it's great when it all comes together.

Unfortunately, it's all over

in about 20 seconds,

but it'll be great on the screen.

That sequence was what

every stunt coordinator looks forward to,

to be honest with you. You get to hire

a lot of stunt performers

that are really talented

and you get to show off their talents

and you get to blow stuff up.

This is an extremely wire-intense film.

So, we've got two separate rigging teams

that are working on different sequences,

pretty much full-time. I've been a part of

five other Marvel films before this

and this is the most wire-intensive one

I've been a part of.

MAN: Three, two, one, action!

COUNTS: The audience and the actors and

the studio really like to see the actors

doing their own stunts,

so, we facilitate that.

We had Strange fly in, around this corner,

starting at about 30 feet

and he probably flew about 80 feet

down around the street and we land him

in the middle of the street

and then action.

The whole point was to show him,

a really small figure,

and to land right in front of camera,

a foot-and-a-half away from it, on a cue.

So, they're computerized

and they're all rehearsed

and that allows us

to get selfish and use Benedict's face

as much as we can.

MAN: And rolling!

So much happens so quickly.

So, I just got off the wires and I'm not

gonna lie, they're really scary.

COUNTS: Xochitl's been great.

She's got a great work ethic.

She really wants to rehearse

and do lots of her own stunts.

Unfortunately, she is a minor.

So, we can only allow her to go so far.

I think she's had a blast on this.

We've actually had her in the winches

and stuff like that.

We've moved her around,

we've dropped her on things.

I don't know how to describe it.

It's like, the second you go down,

it's like every gut feeling

just disappears and it's like,

"Where'd everything go?"

MAN: Go!

It's been a lot of fun.

And I've got two daughters at home,

they're not quite as old as she is,

but it is a lot of fun

to sit and watch someone

who's in their mid-teens

develop a character and get to be

a part of the Marvel universe

at such a young age.

OLSEN: For some reason,

I'm okay being in a harness.

It's fine to fly around

and be in it for a certain period of time

and I really do enjoy it a lot

and with these things called tuning forks.

So, I'm not just being held up on wires,

but I actually have a harness on with

a big piece of metal that hugs my waist.

I have found that to be really helpful

because you have more control

over your body

and so we've done a variation

of these tuning forks and wire work.

COUNTS: The great thing

about Lizzie is that

she's played this character for a while.

MAN: Action!

COUNTS: She really knows the character

inside and out.

Scarlet Witch is supposedly

one of the most powerful

Marvel characters out there.

The difference is, she uses her magic.

So, when we do these fights,

you'll notice that she very rarely gets

touched or touches anybody else.

Everything is done with magic,

so, it is a fight,

but we don't actually physically hit her

with stuff.

YANG: This is the first time I'm working

with the Wanda character.

I did study a lot, online,

with her movements.

But first time I met her,

was see her do her movement.

I went like, "Wow! She's Wanda."

COUNTS: She's done an amazing job

with helping us build the action.

So, it'll kinda culminate

in this Illuminati fight

you'll see with the superheroes.

- RAIMI: Cut!

- MAN: Yeah, can we cut?

RAIMI: That was good.

I think we got the master we need.

Secret societies.

Don't think they're real?

Well, think again, pal.

Ever heard of the Freemasons,

or the Knights Templar?

How about the Ten Rings, or HYDRA?

Maybe those last two things aren't real,

but I know you've heard of 'em,

'cause you're wearing

Captain America underpants.

The point is, I'm willing to roll

with the idea

of some clandestine organization

running the whole show

from behind the proverbial curtain.

Just don't tell me that those folks are

ridin' around in yellow hoverchairs

and throwing Vibranium frisbees painted

like Union Jacks. [LAUGHS]

Don't tell me that.

The Illuminati's been a group we've wanted

to introduce in our movies for years.

BARON: Stephen Strange,

you are now called

before the Illuminati.

The Illumi-what-y?

Doctor Strange and America Chavez

find themself in another version

of our reality

where there is an Illuminati.

PALMER: They're a secret organization

that works off-the-grid.

They do the things that the other groups

like the Avengers

wouldn't be too happy about.

Your alternate self

created the Illuminati

to make difficult decisions

that no one else could.

PALMER: To do it in an alternate universe

in the Multiverse,

was a really exciting thing

because we get to meet a version

of this group in this other universe,

and then we still might get to see

an Illuminati of our main MCU one day,

which is also very exciting.

Yeah, that's definitely a case of me

just not knowing

what to do with the script and thinking

Crap.

"We're in the second act.

Something's gotta happen.

"What should it be?"

It comes at a point where it's like,

"We're a little past halfway.

"Let's break the movie

and do something really nuts."

RAIMI: When Marvel first wrote

about the Illuminati,

they had their characters.

Doctor Doom was among them,

Doctor Strange,

plenty of different characters.

But we had to make a selection.

WALDRON: Who's the most exciting

cast of characters?

Do we just pick who we want

from the comics?

Obviously,

there's different rights' issues,

folks showin' up in other movies.

RAIMI: So, we did take into account

what the fans wanted to see.

We wanted the fans to go, "Oh, how cool!"

I mean, that really was our goal.

We wanted to give the fans

what they wanted.

Just not exactly what they expected.

The Illuminati you meet in this movie

is made up of Mordo

It is very much a different character,

but with the same, or a similar essence.

I'm sorry, Stephen.

EJIOFOR: From the beginning

of the first film,

this was what the build was.

Strange and Mordo are, at some point,

really gonna get into it.

The bill comes due.

Always.

EJIOFOR: Mordo is somebody

who took Strange under his wing.

And somehow, part of that

is also echoed in the fight,

even though it's in a different universe.

It's still the teacher

and student dynamic.

They're not able to use their magic.

So, now we're seeing

the Mordo-Strange fight,

but as a street brawl.

It's a great way of expressing character

through physicality.

So, I'm always keen to do it,

as much as I can, to do it myself.

And that is also fun, you know?

I mean, lest we forget.

It's also enjoyable to do.

WALDRON: Alternate Peggy Carter

Captain Carter.

that got the serum, that's awesome.

Hayley Atwell is obviously somebody

that the fans love.

Great. I loved every bit of that. Badass.

That's what the kids want to see. Cut.

As I understand it, the whole thing

came out of the What If? animation.

So, she became the super-soldier.

We took references,

so First Avenger and then Ultron,

along with Ryan's illustration,

which captures

the What if? vintage feel.

And we've used the same fabric

as we used on the Age of Ultron

Captain America costume.

So, it's not like a skin-fitting suit.

It's very much like Captain America,

a combat suit.

Hayley's really happy

with the whole structure

and fit and silhouette of it.

We kept Peggy in the Captain America

sense-of-fighting-style.

[GRUNTING]

That was a fun sequence to do

because we got to use the shield

and it is a little more practical

hand-to-hand fighting.

Haven't you had enough?

[SPITS]

Oh, I could do this all day.

Captain Marvel.

Defender of the cosmos.

Maria Rambeau, who really stole the show

in Captain Marvel

Call me "young lady" again,

I'm gonna put my foot

in a place it's not supposed to be.

WALDRON: To see her put on

the suit and kick ass is so cool.

Get the hell out

of my universe!

WALDRON: And Lashana brings

so much to that character.

CHURCHYARD: Maria Rambeau switching

into the Carol Danvers costume,

it's black and silver.

It holds onto all the same design elements

of Brie Larson's costume.

But we've transposed it

into metallic-silver,

kind of g*n-metal color and black.

It looks really amazing.

That was great. That's awesome.

WALDRON: And then the big surprise

BARON: Our final member,

Professor Charles Xavier.

It was just an honor for me to get to sit

and type dialogue for him

and to introduce him

into the world of the MCU.

Everybody making comic-book movies

owes him a great debt.

Movin' on, beautifully done.

Thank you, Sir Patrick,

for that great concentration.

OCHS: On this film,

I think our biggest challenge

was working in a global pandemic.

Really, it's a scheduling issue.

For instance, Wanda's orchard

RAIMI: Here we go. Roll camera.

It was a really important scene

for Sam from the very beginning.

He wanted her to be

in this beautiful apple orchard

and we were gonna

sh**t the movie pre-COVID.

It was gonna work out perfect

because we were gonna be

here for the apple blossoms.

Then our schedule shifted.

And because there's been a cold spell

in England, the blossoms haven't come yet.

We were like, "What do we do?

"Do we film them on a green screen?

Do we do an entirely CG orchard later?

"Or do we go out to the orchard

and do we put CG blossoms on it?"

Charlie Wood, our production designer

sent an army of people out there

and tied little wire blossoms

onto about six trees and then

they added another so many thousand pounds

and then they got eight trees

and then ten trees and we went out there

and they've sh*t this beautiful scene now

and no visual effects and you can't tell

that these are fabricated blossoms

that have been tied on

to these trees by hand.

Sometimes, people may get the impression

that these films are

almost entirely virtual, they're not.

We have hundreds of people

working on these sets and it takes us

many, many months to build them.

There's nothing better

than the real thing

for an actor to be able to understand

the environment they're in,

for a director to be able to direct

a scene and to understand

where everything is, and how it is.

That's incredibly important

as it is for the camera man.

Am I going on action?

WOOD: We try and build

as much as we can,

to a point at where it becomes impractical

or impossible.

So, if we're building this temple

in Kathmandu,

we physically built all the interiors

they're walking around,

whether it's corridors, or the interiors

of these temple rooms.

We would build those in their entirety,

360 degrees.

You know the set where I am in the bio lab

and Doctor Strange and America

are in these glass boxes,

and they're trapped in there.

And we couldn't even hear each other.

So, they gave me this weird earpiece

because I'm in this glass box.

Here. And I can't hear anything at all.

The sets are so elaborate and built out.

Charlie's vision is to create

these wonderful sets,

which have got incredible detail in them.

WOOD: We've got this great team

of plasterers and painters

and mold-building

and there's all sorts of things we can do.

GIBBS: You've got these stone structures,

you've got bronzes,

you've got incredible carved timber.

So you go from the Kamar-Taj,

which is Nepalese

and then you've got the Sinister Sanctum,

it's this stunning mansion

on Bleecker Street.

Then when we get to Wundagore,

you've got an incredible stone temple

that's been produced.

This isn't a tomb.

It's a throne.

It was a tremendous challenge.

It took teams of really great artists.

That was a really exciting challenge

to take on.

Can I and these teams of artists

make the audience believe

that they're taking a journey

through multiple universes?

Right now, we're in New York City,

but we're not actually in New York.

We're at Longcross Studios in England

in the UK and Marvel actually built this.

The streets of New York,

I mean, look at how amazing it is.

Everything lights up,

everything actually works.

It was originally

gonna be sh*t in Cleveland.

Cleveland has stood in for New York

for the Avengers movies once before.

And we were all set to go there.

PALMER: And then, of course,

due to the COVID pandemic,

travelling to Cleveland seemed like

something we weren't gonna be able to do.

Our executive producer, Jamie Christopher,

who is a genius in movie-making

and has been around for decades

in this business said,

"I think we need a New York backlot set."

And I think, at first, people were like,

"I don't know, Jamie." He said,

"Guys, just let me prove it to you."

And sure enough,

we have a whole small section

that passes for Greenwich Village,

it passes for Midtown.

And we got about four blocks

of New York streets

with all the set dressing, you know,

a lot of it brought from New York.

A car is gonna flip over

and I have to try and not react to it.

Kinda nervous. If I do end up reacting,

they might have to redo the whole thing.

[SHUDDERS]

RAIMI: And cut!

And I did it. I'm proud of myself.

Pat on the back.

A lot of the set has been built to be

ratcheted backwards, pushed over,

hydraulically dropped, we got

big debris drops coming into the street.

Anything that can be practical,

Sam wants practical.

Sam's got Chris Corbould on speed dial,

our special effects supervisor.

He can call him in every day.

He's saying,

"Chris, can we do this for real?

Can we do this for real?"

And, you know, we usually can.

GOMEZ: There was this one specific thing

we did in the New York streets.

I'm running

and they had all these special effects.

Like, lights were going off,

a tree was falling,

cars were crashing into each other,

a fire hydrant goes off,

a building completely collapses behind me.

There's more than probably

30-40 different gags in there,

all with a different mechanical mechanism.

It's a great moment.

This is probably one of the larger sets.

Probably the largest set on the movie.

And it's probably one of the largest sets

I've ever built, I'd say.

But all of these images on the wall

shows you

what, in fact, we ended up building.

I saw it when it was just wood

and now I'm seeing it all done

and I'm like, "Oh, my gosh."

The detail they have put in.

Looks exactly like New York.

It makes you hungry. Because all these

restaurants look pretty awesome.

PALMER: It's a testament to Charlie Wood's

production design team

and to our executive producer,

Jamie Christopher, who came up

with the crazy idea to go build it.

It's amazing.

Not only does it pass for New York

in our universe,

it passes for New York

in multiple universes.

WOOD: This set serves three purposes.

Because we have three different realities

in the film.

Sam, you know, I remember being

in a meeting with him one day

and he was like, "Gosh, how are we gonna

sell to everyone

"that this is the exact same place

they were in that universe before?"

And he had an idea of, every scene

where they land in New York,

they kind of land in the same alley.

So, it was very important for him,

for all of the storyboard artists,

and all the previz artists,

across all of the scenes,

to really make this exit from the alley

and this turn down the avenue recognizable

every time you came to that universe.

The different dimensions are on the same

street where originally one was a normal,

busy New York street.

The second one was snowbound.

So, it was totally snowed up

with weird cars floating in the air

which we hung up on cranes

and were rotating.

So, you've got this weird, surreal,

deserted New York.

Because we're chopping and changing

as we sh**t

between these three different periods,

we wouldn't have time

to physically change the street.

And one of the easiest ways of doing it

is with snow.

Because this is something we can literally

do in a day and it's effective, yeah?

And this wanted to be

a much more abstract, haunting place.

A look like this

is the right way to go, I think.

I mean, it's rather Dickensian.

Eventually they get to the end

and the snow turns into black sand

with a wave, from an Atlantic wave

coming across the road.

WOOD: With Sanctum Sanctorum.

I think we rebuilt the foyer for

I know I've built it three times.

And I think it's been built by a couple

of other films a couple of times.

I think that's

number four or number five.

We changed it a bit in this reiteration.

We always do.

And then we had to come up

with another room, a big room,

based on a kind of Victorian salon

with a glass roof

that has become

one of the main spaces in the house.

We ended up recreating again the foyer,

which is the entrance hall

that leads into the house.

With the Sinister Sanctum, Charlie wanted

to do something completely different.

So, he wanted to make it bigger,

more unusual, more "out-there."

So, as you open the front door,

you come into this black beach.

Architecturally, it could be elongated,

it could be expanded, it could be open.

You could be open to the elements.

WOOD: So, it's really kind of

our most abstract world.

We tried very hard to

make each experience,

each place you go something different.

By the time we'd got to Mount Wundagore,

we felt that this world should be

much more primeval than anything else

we were doing on the film.

In the comics, Mount Wundagore

is a castle-like structure

in this snowy mountain range

and we looked at

a lot of stuff from Petra.

We'd wanted to come up with something

which was carved from the mountain.

We ended up finding this beautiful

mountain range in the Dolomites, in Italy.

So that was our setting.

Then we had this big conversation

with the studio about

how it should be adorned,

and all of the inscriptions and all of

this language we see in the Darkhold.

So, that was all built into the design

of the walls of this temple.

To me, the sets are one of the most

magical things that you get to see

on these films,

because it's so world-building.

Mount Wundagore, I just thought they did

such a beautiful job.

I'm having them ship it overseas,

so that I can have it in my backyard.

Another area where we're really

referencing the comics on this movie

is for the spells.

So, there's all of these spells

that Doctor Strange has

and we need to come up with new spells

that haven't been seen somewhere else.

Keeping it fresh is really important.

The characters to be in the situation

that they're in

and have a spell

from the Marvel history books.

I'm mostly doing the spell

and hand gesture movements

for Doctor Strange, Wong.

I've also worked on Infinity w*r, Endgame.

They saw the work that I did

on a previous commercial.

I was doing tutting,

which is a very niche dance style

that uses shapes with hands and arms.

They were like,

"Well, what could we do with that?"

So, in one of these moves,

he is ripping open a bus,

kind of like dissecting it,

and anytime something involves

levitation or a movement of matter,

this is involved.

So, if you see, like, he's flying, right?

If he's flying with his cloak,

he's also using these.

But that's him, he's the matter.

So, in this, the bus is the matter

and he's connecting to it.

And then he's just splitting it.

In my head, as soon as he's dissected

this thing,

his energy is already connected

to each and every piece.

So, you'll see, like, he chops one

of the legs off 'cause he's dissected it

and he's still connected to it.

You can just pick one out and chop it.

He doesn't have to do another spell.

He's already connected to it.

[GROANS]

[GRUNTS]

[SCREAMS]

OCHS: That sh*t had

a pretty amazing history.

We started with many, many ideas.

Probably 30 ideas

of different environments that could be

something that you've never seen before.

Just this ride through the universes.

Our visual effects supervisor,

Janek Sirrs.

I mean, he was kind of really

the mastermind behind that sh*t

and a lot of the sh*ts in our movie.

He really came up with the worlds

that we wanted to explore

so there was a lot of talk

about which world do we wanna do.

Well, here's some cool ideas.

Here's an all-bone world

and here's a world that's futuristic.

Here's a world where everybody's paint.

OCHS: And I think we ended up with

about 15 universes that are in there now.

Lots of little Easter eggs in there.

I think the whole thing was challenging

because there's so many elements

that go from sh*t-to-sh*t

and you couldn't really work it

as a punch-in. It had to be one long sh*t.

MURAWSKI: And then the next part of that

was creating the soundtrack for it.

And our sound designer, Jussi Tegelman,

really spent a lot of work.

Because, you know, every one

should have a different soundscape.

Every one should feel like

a different universe.

In the Multiverse,

there are alternate versions

of everyone and everything.

So, it gives the characters

the dramatic opportunity

to meet themselves.

I'm just one of us.

PALMER: Out of the infinite

Doctor Stranges in the Multiverse,

we do get to meet a few in this movie.

We've given them different nicknames.

One is Defender Strange.

The first Strange that we meet,

Defender Strange,

we wanted him to be

a little bit of a swashbuckler.

Little bit of an adventurer.

[SPEAKING OTHER LANGUAGE]

Lot of the fabrics in the costume are like

vintage fabrics from regions of Pakistan.

I think he was

a little more of a fun-loving,

Patrick Swayze in Point Break

kind of Strange.

Somewhere out there

I had a ponytail.

WALDRON: You've got then the Strange

in the universe with the Illuminati.

He was Sorcerer Supreme in this universe.

Which was probably even less fun.

The look goes back to earlier

comic versions

where Strange had a blue cloak.

We're doing the biggest collar ever seen

so far.

WALDRON: He was a little more emotionally

buttoned-up, maladjusted.

Probably spent more time

negging Christine.

I guess it worked because she didn't

get married in that universe.

And then you have Sinister Strange.

- Are you happy, Stephen?

- What?

CHURCHYARD: So, it is essentially

the same costume that he wore in Endgame,

and so, we've repurposed the disciple

costume and aged it down much more,

and created a texture treatment to it.

WALDRON: With Benedict,

because he is Doctor Strange,

it's been such a collaboration

from start to finish.

I just really wanted to push

on the darker edge

of what was a potential face-off

in this film.

The gist was more thrilling,

was more sinister, more adventurous.

The artwork that was already in place,

very early on for this, is amazing.

This picture of the Sanctum

kind of bleeding off into infinity.

It's really good fun.

RAIMI: And then we have Dead Strange.

Our Strange was trapped

in an alternate universe.

And he had to get back to our universe

to help save America.

But he couldn't get there,

except by Dreamwalking.

This ugly spell

where you can take your spirit

and send it across the universe

and inhabit your alt self

in that universe.

Unfortunately, the only version of himself

in that reality he needs to get to

is a corpse,

which does lead to very Evil Dead-ish,

very Sam Raimi hero, Dead Strange.

When we pitched Dead Strange to Kevin,

we made sure that we partnered it

with an even stupider pitch.

What if there was a blob version

of Strange?

Because we knew that that's how

we're gonna get a Zombie Strange.

It was a little bit of a learning curve.

How do you pilot a dead body?

I wanted that character to have conflict.

What problems could a Zombie Strange have?

Well, in my mind, he was doing something

that was against the laws of the universe.

That there could be demons

that would try and stop him.

But he is Doctor Strange.

He's Master of the Mystic Arts.

Nobody, certainly not a bunch of sprits

or demons, can stop him.

So, he takes these spirits and demons

and weaves them together

into a Cloak of Souls that he uses

to propel him forward into his battle.

Now, he is their master.

An evil book, full of evil magic.

A vintage Oldsmobile

that couldn't possibly pass a smog test.

A handsome dark-haired devil

with a chin that could k*ll.

If all of this sounds very familiar,

then I'd say you have extremely good taste

in movies.

But listen, my friend Sam Raimi

was dropping so-called Easter eggs

into his films when cellphones

were the size of house cats,

and Sam has carried on that tradition

with his latest cinematic opus.

So, keep your peepers properly peeled

during the movie,

and you're bound to come across

what we in the biz

like to call Raimi-isms.

You know, I think the genius of Sam

is he's able to balance all those genres.

This time, it's gonna take more

than k*lling me to k*ll me.

MURAWSKI: And for years, it was

a huge problem with the studios.

They said, "You have to pick a lane."

And they didn't understand

Sam's genre-bending

and they didn't understand

the tone shifts and everything else.

And that's something I really give

Marvel credit for, you know.

They got behind it.

Played more to Sam's strengths.

So, over the course of the sh**ting,

they kept adding more horror elements.

When Kevin Feige announced that he wanted

to bring a little bit of a horror element

to Doctor Strange,

that was interesting to me.

I love to dabble in horror.

It's always been a fun aspect

of movie-making for me.

I saw Evil Dead 1 when it came out.

I just thought the movie was incredible.

And Sam always has a lot of cool motifs

that he puts in his movies time and again.

I mean, you can

trace all these things back.

Sam used a lot of the same people

from Evil Dead 1.

I'm Bruce Campbell and I'm playing

the role of the pizza guy.

[EXCLAIMS ANGRILY]

I'm glad that's over. [GROANS]

You know, we spoke with

the head of Marvel and threatened him

and said that he couldn't do any Marvel

without me, especially if Sam's directing.

MURAWSKI: It's good to see

those guys work together.

They have the kind of shorthand

that only comes from

working together

since you're ten years old.

CAMPBELL: It's important for the editors

to always have stuff to cut out.

That's what I'm providing.

Especially Academy Award

- Yes, it is.

- Yeah. See?

Especially Academy Award winning editors.

They love to play cutty-cut-cut.

"Oh, look at me cut, look at me cut."

Yeah, see, he's already doing it.

- I'm already cut.

- Trying to keep 'em honest.

He was on the cutting room floor

but we ended up

putting him back in at the last minute.

CAMPBELL: Thanks for nothin'.

Unbelievable.

MURAWSKI: Bruce was almost like

a prop for Sam.

He could tell Bruce to do anything.

"Bruce, throw yourself on the ground.

Hit yourself over the head with a pan."

Yeah, I gotta go b*at myself up some more.

[GRUNTS]

Yeah, cheers.

And then, I think, once Sam started

to work with, like, professional actors,

they weren't so malleable.

When I heard Sam

was directing this movie, I said,

"You know, Sam, you realize

that you're working with an actual actor?

"You might actually have to

kinda get ready?

"He's not just gonna make silly faces

for you, like I did for years.

"He might ask questions about motivation,

so you better step up your game.

"I saw Sherlock Holmes. That boy can act."

[GRUNTS]

If he looks at me,

I always never make eye contact.

I always pretend

like I'm looking at my script.

I know all the tricks.

"Can I get you anything, Mr. Cumberbatch?"

And if he screws up a line, I own it.

"Benedict, that was me.

"That was my mistake. Sorry."

I got this all figured out.

MURAWSKI: Of all the directors I've

worked with, Sam is one of the best

working with the actors.

He understands the power of a good sh*t.

And the choreography

between the camera and the actor.

He just has a really good sense and his

eye on every single detail of the film.

For me, the fun has been

just how he moves the camera.

Stuff that's really inventive

and really fun.

MURAWSKI: Sam always has

a lot of cool mirror gags in his movies,

from Evil Dead 1.

The whole scene where the Scarlet Witch

is caught in the mirror trap

and she was using the puddles,

and the gong as a mirror to get out of.

The mirror thing is something

he's always been interested in,

and the duality of the characters.

Of course, the Delta 88.

WOOD: We got Sam Raimi's car, yeah?

The Delta 88.

Sam's fans are gonna love this bit.

The Delta 88 is the ultimate Easter egg.

When I was a film student,

we'd always love to see the Delta 88

in the Sam Raimi movies.

In Spider-Man and Spider-Man 2,

I remember walking into the stage one day

and going, "There's the car!"

Yeah, the '73 Delta 88.

It's been in every one of Sam's movies,

including his western.

Yeah, he had the body taken off

and put a wagon over the chassis

so he could say [IMITATING RAIMI]

"It's been in all my movies."

WOOD: We actually got a bloody great big

crane and puppeteered it down the street

in this kind of snowstorm.

And you get to see a few versions

of the car.

I've done everything I can

to destroy that car,

because I don't appreciate

Sam's infatuation with it.

He won't really let me near it

'cause he knows

I will silently slit the seats.

And one day, he might just wake up

and it's gone.

[LAUGHS]

The amazing thing is, it's not even

a fake version of the car. That's the car.

It was actually the car that we drove

in high school.

And I know when you open the door

and the key is in it, it goes

[MAKES WHINY NOISE]

But I have to say, I hate it,

but I love it.

When I sit back in that car,

you really do, honestly,

not even exaggerating,

you get a flood of memories that come back

from that piece of crap.

It's always fun to work with Sam.

He's really funny and entertaining

and he's very serious

about things, but at the same time,

- doesn't take things seriously.

- [LAUGHS]

That is fine.

Let us go. Let's go, you animals.

I think one of the things that's most fun

for me about watching one of Sam's films

and working on Sam's films is just the joy

that he has in the process,

in the art form.

I don't know anybody that quite loves

cinema the way that Sam does.

Can I have even more of,

"It feels good to be back."

- Okay.

- "This is who I am."

- Okay.

- You ready?

WALDRON: I've learned so much from him.

Just the way he conducts the orchestra

of the movie,

working with me on script pages,

directing the cameras,

swinging across a set, you know,

working with the actors.

I love that elegance. That was beautiful.

Perfectly timed with the move too.

That's great, man.

I want you to play this more vulnerable

than I've ever seen.

I love all that emotion. Give me a double.

All right, let's take it back to one.

WALDRON: Every day, when we're

starting in on a new scene,

it's like, let's look at this

as if this is the most important scene

in the movie.

NOLAN: He is just so aware of

every aspect of filmmaking.

I think a few weeks ago, Bob Murawski,

the other editor who's been with Sam

for 25-30 years said something like,

"If Sam sat in every single chair,

"he would be able to pick it up

and do it right away,"

'cause he's just so aware

of what every person on a film is doing.

Sam has fostered such

a collaborative environment,

Sam really wanted to make sure

that we had the best ideas on the table.

- RAIMI: I think it's gonna work.

- I think so.

Yeah, I can't ask for better.

Guys, thank you very much.

This was a great place to live and work.

You guys were wonderful.

So, so professional.

I really appreciate that, and I've learned

a lot from so many of you,

made some good friends,

and the movie will be a lot of fun

thanks to all your hard work,

and inventiveness, and craftsmanship.

Thank you very much. I salute all of you.

MAN: Thank you.

[ALL APPLAUDING]

MCADAMS: It's a real honor

to be in the family.

So many talented people

all working together

to take people on this incredible journey.

It does feel like one of

the biggest things Marvel's ever done.

It's pretty unfathomably exciting to be

the test pilot for all things Multiversal.

We've got this amazing canvas

of imagination to sort of bounce off ideas

of what the human condition is and

what the challenges that we all face are

and what the best version of ourselves

could possibly be.

Protecting America Chavez becomes not just

about protecting his universe

but protecting his friend.

He's capable of emotional growth in a way

he was never able to demonstrate before.

CUMBERBATCH: What he comes to realize

in that relationship

is he has to empower her,

he has to give up control himself.

It's not about him.

It's actually about somebody else.

Of course, being an egotistical hero,

he's scrambling around in every universe

for the answer for the w*apon,

for the surgeon's Kn*fe

in order to save the day and not realizing

all the time

that the w*apon is right in front of him.

It's someone who needs love, trust

and encouragement.

I think the lesson for Strange is really

how to be the best version of yourself,

and it's not necessarily

about self-perfection.

It can be about helping someone else

rather than thinking that

you can do it all yourself.

A real hero has to believe in others.

This is the only way.

RAIMI: He allows himself to believe

in America Chavez and she saves the day.

[GRUNTS]

And that's the beauty of

these comic books, these heroes,

is that they show us the people

that we can be, what we're capable of.

Wanda doesn't actually do the work

that maybe someone like Strange

is gonna eventually have to do, which is,

take a look at our surroundings

and how we treat one another

and find something that is in front of us

as opposed to what we are leaping

different universes for.

Where does it leave the MCU?

We've blown the lid on the Multiverse now.

PALMER: The Multiverse is going to be

so big in the future of the MCU,

primarily because of the events

of this movie.

After Infinity w*r and Endgame,

Doctor Strange was poised to be

the chief protector of the MCU,

but now, in this movie,

we see Doctor Strange become not just

the protector of the MCU,

but the protector of the Multiverse

within the Marvel Cinematic Universe.

What's compelling about where he's left

is that third eye opens,

and now there's this evil awakened

within him.

I think it begs the question,

is what makes Doctor Strange happy?

Could it possibly be not being a hero?

Marvel is always about finding

the humanity within the icon, right?

Finding the flaws beneath the cape

or the mask or the armor,

and learning about who the human

is inside it.

PALMER: Based on this ending,

who knows where that could take us?

Into the Dark Dimension and beyond,

I don't know.

RAIMI: We're trying to give the audience

a mind-expanding experience,

something that makes them talk

about the nature of reality in a fun way

and ask questions like great comic books

or science fiction can do.

I don't know about you,

but being here today,

I had an epiphany of sorts.

I realized that making a film is not

unlike conjuring another facet

of the Multiverse.

It's about creating an alternate reality

from the ground up,

where time and space can bend

any which way

according to the whims of those pulling

the strings behind the scenes.

I know that might sound a little lofty,

but well, I'm a lofty kinda guy.

This is Bruce Campbell saying farewell,

until we meet again in the next dimension.