01x12 - The Making of Thor: Love and Thunder

[bunniefuu]

Welcome, heroes.

Your journey has been a long one.

Now what will you do with all that power?

You know what I will do?

First, I will heal my wife and my son,

and all the afflicted.

They say that

a water demon brings this plague.

Well, I will find it and I will k*ll it.

And I will find the god who sent it,

and I will k*ll it.

It's been long time

since I've seen you smile.

I guess I smile when I see you.

WOMAN: Can you smile with your eyes?

Turn aside, go back to where you came

or perish

FEIGE: There are lot of ways

to go with Thor.

He's been drawn with more muscles

than any human can possibly have,

with long, flowing blond hair.

But we knew early on

that we didn't want to

just cast a body builder

or just cast a wrestler.

I'm sure there are some

that can act very, very well.

But we said let's find the actor first and

see if we can build on to the body.

We did what was right.

[DRAMATIC MUSIC PLAYING]

His very impressive-looking physique

that looks like

it can take that kind of

intense physical build-up

we're gonna have to put him through,

an intelligence, an acting intelligence

that is very special,

and ability to tap into

his primal side as well.

FEIGE: You can't help but watch him.

He has a presence.

I love you, Mom.

I love you.

He's got a humor about him.

I need a horse.

Of course. Of course.

BRANAGH: We waited

until we felt in our bones

we've got exactly

the right person for Thor,

and Chris Hemsworth is that.

HEMSWORTH: The idea of it being finished

has been sort of this

light at the end of the tunnel

for, yeah, a long time.

And now being here is sort of like,

"sh*t, now what do I do?"

- This doesn't make any sense.

- Nah, nothing makes sense here, man.

The only thing that does make sense

is that nothing makes sense.

Has anyone here fought

the Grandmaster's champion?

WAITITI: Cut.

I freaking cut.

Cut.

Taika, I just love working with him.

We have a great thing,

we've become great friends,

and that certainly is a huge advantage

because you just shortcut to

whatever the point is.

WINDERBAUM: When we set out

to make Thor three,

we knew we could blow the franchise

wide open.

We had an opportunity

to reinvent the character completely.

Ragnarok was obviously

a huge change for us

and really moved the needle into

such a different territory

than we'd originally started.

Of all the Avengers,

maybe it was an advantage to

be the underdog at a certain point

because there was a

It definitely gave me a kind of

a real competitive push

and a want or a need to go,

"I can do something different.

I can do better with this character."

WAITITI: I've always said Chris is

the kind of person who you feel

like is fun, and he's a good friend.

And he's the kind of person that

you would want to be on an adventure with.

Because he does like to look after people

and he is an adventurer.

I think that's what you want

in a superhero.

- And it's the Right there.

- Yeah. All right. Catch.

WAITITI: When I came on to do Ragnarok,

I basically said,

"Look, man, you just gotta be

more of yourself."

Roll.

"Make the character funny."

I swear I'm not even moving.

It's just doing this on its own.

WAITITI: Concentrate on making him

more of a Chris Hemsworth.

Yes!

So much has happened

since I last saw you.

I lost my hammer, like, yesterday.

So that's still pretty fresh.

HEMSWORTH: Both of us were like, "Can we

really raise the bar with Ragnarok?"

And I remember

coming out of Ragnarok, going into

Infinity w*r and Endgame,

and very adamant about trying to hang onto

the new version of Thor

and not go back to the old version.

I had some of the funnest stuff I had

in Infinity w*r and Endgame.

And then Love and Thunder.

There's a huge amount of pressure

coming into this.

He's got tight,

blue denim jeans on, a t*nk top.

His hair's flowing. Instead of it being

- Ah! Elegant.

- It should We're just saying that.

Like, every move is like

[MAKES DRAMATIC SOUND]

- You know?

- WAITITI: Everyone, it's amazing.

HEMSWORTH:

And then everything's like

A little bit flamboyant, like,

a double kick, like

- sh*t you'd never get away with normally.

- WAITITI: Yeah.

HEMSWORTH: Which adds to the like,

[SIGHS] "What is he doing?"

And everything's just got

a little flair to it, like

- A flourish.

- Yeah, yeah, yeah.

I just think that he's so like

WAITITI: Yeah.

- Find cool poses, all of that stuff.

- He could He's like

Yeah, on the camera.

They are on record. I support this.

This is probably This is actually

'Cause we had a That's your idea.

- We're all in it. So, yeah.

- You basically are just underneath me.

- Yeah.

- It is my idea.

- Yeah, yeah. Yeah.

- I would've thought about this.

'Cause you built me, you own me.

I knew you'd say that.

Thor is actually now our

longest-running franchise character.

This is the first time

we've done a fourth movie.

And I think with that

there's some expectations

to keep building upon it.

Memorable and different.

And a big like kickoff to

the film and the action.

When we set out to make a fourth film,

we knew we couldn't make Ragnarok

all over again.

We had to find, you know,

new angles, new surprises

and new places to take these characters.

Wait, wait, wait. Play that one.

No, go back. Play that.

- MAN: Thor Sif

- Sif?

- MAN: Yep, that's Sif what?

- [HEMSWORTH SNORTS]

- [MAN LAUGHING]

- I'm sorry. It k*lled me.

With the Guardians, it's just a very

different pace with that group, you know?

A lot of improvisation, which is

very much how we worked on Thor: Ragnarok.

Charger? Maybe you need a charger?

Of course I need to charge it.

I don't know where the dock is

THOR: Who put you in charge?

Wait, whoa, whoa, whoa, hey!

HEMSWORTH: It's never kind of

You're competing for jokes.

It's basically about

what's the funniest moment

within this scene that we can find

and kinda help you share the load.

And whoever has the button

or the punchline, doesn't really matter,

it's just about hitting the target,

and it's fun.

I don't know which is worse, but it's why

I keep everyone at arm's length.

You've grown too attached.

Damn it, I knew this would happen.

You must go.

There's a kind of humor to it

and sort of irony

and a wackiness that

seems to fit mine and Taika's brain.

Lazybones.

Let's go.

Asleep? Sleeping on the job, are we?

[GRUMBLES] Lazy.

Just being here at the back,

try going a little bit longer,

so I might get a sh*t on you from

the front just going You know?

I've been told you can summon them

with a special whistle

that goes something like this

[WHISTLES]

No, that's not it. [WHISTLES]

No, that's not it.

Summoning. Summoning goats.

It's just a joy to watch Taika play Korg

because, obviously,

he's going back and forth

between directing and playing Korg.

And because it's motion capture,

he has all these dots on his face.

So you're trying to take him seriously

in one moment giving you direction,

and then suddenly he's Korg again

with the head attached to him

and his furry boots.

Taika, of course, as we know,

is an improvisational filmmaker.

Add a bit more rock stuff here, Shane.

Let's just bring it up here.

This is where Rocket's gonna be.

So Sean Sean, we're gonna

map you over here, actually.

MORRISON: It's honestly when your brain

is the most fully engaged

because there are no limitations.

With a lot of filmmakers,

there's responsible practicality,

where you look at what you can do,

and T just doesn't do that.

He just thinks of the end product,

as in like, "What would be cool?"

"What would be the coolest thing to see?"

'Cause he's 90%

there in the audience

already watching the film he's making.

- That's what I made here, so

- You're throwing it to those guys there.

- I can look there as well. So there.

- Yeah, yeah, yeah.

I think Taika, he's like a big kid.

His imagination is second to none.

From the very first time

we worked together,

it was about doing something new,

you know,

and not getting put in a box.

Taika is really good

at reflecting the way life can be.

Dark and comedic all at once.

The old ex-girlfriend.

Jodie Foster.

Jane Foster.

The one that got away.

Most of the time

when we're in our darkest moments,

we try and deflect it with humor,

you know,

or if it's absurd, so it's funny

because the darkest parts of life

are completely absurd.

So, I think he really knows

how important the silly is

when the world is falling down.

[LAUGHS]

Okay. Hold. They're not bad.

Tragedy-comedy has been going hand in hand

for a couple of thousand years.

Yeah, and he does it impeccably.

I think also it doesn't matter what sort

of genre, whether it's comic books,

if the people involved are passionate

about it and are good storytellers,

it's transcendent experience. You know?

And with Taika, you get that.

It's the Oh, boy!

Oh, well, let me get away with it.

One of the most exciting things about

working with Taika Waititi

is that he is very technical,

he's very aware, very savvy

of all of the tools and the tricks,

whether they be old-fashioned tricks

or new technology.

We're sh**ting on The Volume.

It's the first time I've ever sh*t

inside of one of these things.

You can see the background projected

360 and up to the sky.

Pretty spectacular.

So it's all in-camera.

And it looks pretty amazing.

This is the first Marvel film that has

utilized The Volume,

which is this amazing technology

that allows you to be

completely surrounded 360 degrees

in a digital environment.

It allows you to seamlessly place

practical sets with a digital world.

MORRISON: As pertains to The Volume,

you're basically building a room

from LED panels,

and so at a moment we can say,

we're in this world, or in that world,

and then, literally,

the entire environment around the actors

will change in a heartbeat

in terms of the lighting

and the mood and the tone.

That's a game changer.

WAITITI: I had such a good experience

on Mandalorian with The Volume

that I wanted to

bring that technology over to this sh**t.

Resplendent skyscape, Rocky.

There are four suns.

What could be more relaxing than that?

WAITITI: It's a wonderful tool, and, in

a way, you get a lot of stuff in-camera.

And, yeah, we only have to do

a few tweaks to it later on.

And that's really good for the actors

to be able to see

the world that you've created.

- Wow.

- Yeah.

Beautiful.

THOR: So beautiful, so rare.

WAITITI: Being able to see it

in the moment as opposed to

just being in a world of blue,

I think it helps with their performances.

HEMSWORTH: If you're standing

on the edge of a cliff, so to speak,

looking out into the sunset,

to actually be staring into a sunset,

that certainly does pull out

certain emotions and reactions from you

that you may or may not get there

if it's your own imagination.

It's very different staring

at a blue screen or a green screen.

You know, that's quite numbing

and does require a whole lot more effort.

THOMPSON: The Volume is incredible.

It essentially casts light

on our faces, on the costumes.

It feels really, really immersive.

As impressive as The Volume is,

I think I was really blown away

entering New Asgard.

Stand by for sh**t.

You can never really replace

just standing in a fully immersive set.

And perhaps one of the most impressive

sets we created was New Asgard,

which was a complete town

in the middle of nowhere.

And the second you stepped onto it,

you would just get completely lost.

That's pretty cool,

this town is all practical.

Real houses.

People live up here.

We've rented these rooms out.

Tessa's actually staying in that room.

Tessa Thompson.

Yeah, I think I'm just gonna

move in actually. Is that

- That's cool, right?

- You got some Infinity Cones up here,

- which is these delicious ice creams.

- Mmm-hmm.

I actually came up with the name

Infinity Cones.

It's a wordplay on Infinity Stones.

- Did you write it? I didn't think

- Yeah.

- that was you. I didn't

- No, no, I did. [SHUSHING]

WAITITI: Going into this,

we knew people missed Natalie's character

and was never really dealt with,

like, what happened to her.

The idea that she becomes

another version of Thor,

that just seemed like the perfect in,

and the perfect way

to bring that character back.

The elements that come with Jane becoming

The Mighty Thor are inherently dramatic.

And in many ways, tragic.

And Taika was very interested

about telling that story.

I've loved Natalie from afar

for a long time

and I've always wanted to work with her.

Taika came over to my house

to talk to me about it

because I had, kind of, you know,

of course, not been in the last film,

which was so wonderful

and I really enjoyed watching.

WAITITI: Please welcome to the stage

Natalie Portman!

As a fan, I remember

watching the announcement

and seeing Natalie take the hammer

from Taika at Comic-Con,

and I was just so excited

that she was going to rejoin this film.

PORTMAN: I just had been out of

the Marvel world for a while and

So, when he talked to me

about coming back and about how

Jane would be The Mighty Thor,

it was interesting to get to consider

what that experience could be.

Mjolnir!

She was, kind of You know,

this was a very different direction

for the character, and I think

had some real concerns about,

"Hang on, does this match?

The continuity from this to that and"

And we just said,

"That doesn't matter." Like, you know?

That's what happened in Ragnarok.

We went "Who cares about anything

we've done before?"

And so, it was just kind of a rebirth

or new exploration of the character,

and she was down for it.

Natalie came in very early, ready to work.

She wanted to master everything

as much as possible,

so she could do as much as possible.

Despite having been

in lots of action movies,

I'd never really done

any fight training or anything.

Half is going from here,

pulling it back.

Remember when we did

that shuffle footwork?

Into that step.

And going over to kneel.

And you're going diagonal down.

It was really fun to get to train

for the first time in my life

to be strong, you know?

Usually, as women, we're training

to get small as possible.

So it's exciting to actually

be working towards being bigger.

Stand down.

WINDERBAUM: Natalie showed up

in incredible shape.

Like, she was ready to play Mighty Thor.

This is the heavy one.

I'm clearly not worthy.

Not really. But this one is

Often, if we wanna create weight,

so your g*ns can show.

So, we will create a prop

in a heavy weight,

depending on the action.

And then we'll create them

in a lighter weight.

This one, as you can see.

THOR: Excuse me.

Hello, that's my hammer you've got there.

And that's my look.

PARK: For Mighty Thor,

we wanted to maintain a Thor feel

There's certain elements

that are iconically Thor.

while adding new elements throughout.

The helmet that we have,

we went back to the old comic books

and got that vintage feeling for it.

And we adapted to

the beautiful face of Natalie Portman,

but we didn't want to hide

too much of her eyes and her features.

Hey.

It's very easy not to lose her

because she's unique.

WINDERBAUM: Those helmets

are really well-designed,

but they're not always

the most comfortable thing in the world.

Sometimes they're heavy,

they change your posture.

But if you can eliminate all of that

and have a VFX artist put it in later,

then that's what you do.

Our CG artists have gotten so great

at creating reflective surfaces

like the helmet,

that it actually helps us

from a performance standpoint.

BALE: Natalie does

a really beautiful job in this.

You know, there's some scenes

which are tough to watch.

And she's really just

a wonderful heart and soul.

As good as it gets.

It's a gift to see Natalie rediscover

and reimagine who Jane Foster is.

You think I really should be coming?

You're a Thor. Of course you should come.

I think so often,

not just in these movies but in general,

it's really rare to get to

share the screen with other women.

Sometimes you're the only one.

And in this case,

I think it's really impactful,

particularly because

Jane Foster is a character

that doesn't start off as a superhero.

PORTMAN: Tessa is such

a ferocious actress.

We had a lot of fun getting to show,

I think, the sisterhood in battle.

THOMPSON: I've done a lot

of physical preparation.

I just wanted to push myself to get

even stronger than I was on the last one.

The thing that really excites me is

getting to play a superhero

that bucked convention.

And the opportunity

to get to bring this character to life.

This character that doesn't necessarily

look like me in the comics,

but to capture her spirit

was a tremendous challenge,

and to get to do it with people

that I admire and respect.

This is the best day of my life!

There's also a moment where everyone,

if you think about

as your primary school class

CHAPEK: This is probably

the biggest Thor movie we've ever done.

This movie introduces

so many amazing alien species,

monsters, creatures

All right, there you go.

The Indigarrians, that was an army

of aliens, which was massive.

God of Thunder.

King Yakan.

JOHANSEN: It was a production line

for the Indigarrians.

We had some big days.

The Indigarrians had brow pieces

and cheeks and they had big, scared eyes.

We had people that were

sponging them blue,

people that were

gluing on the prosthetics,

people that were spray-painting them,

and powdering them, and

Yeah, it was something to really see.

Yes! Bucket list, tick.

CHAPEK: They're just so funny.

It's so effortless.

And then we have these amazing

alien owl-bikers called the Booskans.

I drink the stiffest cordials and

MAN: Straight to the

And all the black jellybeans.

Black jellybeans.

Whereas these guys eat colored jellybeans.

I can't stand them.

JOHANSEN: The Booskans

were really interesting,

'cause they weren't originally

meant to be owl-creatures.

The owl-heads that we see behind us

were these warrior kind of mask.

And then the real Habooskan character

was underneath that.

The more we started designing and honing

in on the look of the Booskans, the mask,

the more that Taika was kinda like,

"You know what?

I really like the look of these guys.

"These guys should be the creatures,

"not so much the masks

that the Habooskan was wearing."

And I loved that.

I thought, you know, that's

For a creature design,

I'd never seen anything like these guys.

Devastation all around.

- Our temple's been destroyed.

- We're donating goats.

Apparently we're still giving away stuff

'cause that

Yeah, that's kinda who we are.

We have nothing else.

We got nothing.

We got no temple or anything,

but we're still giving away our goats.

[GOATS SCREAMING]

No backsies.

This movie is introducing

two new unexpected characters

in Toothgnasher and Toothgrinder,

who are two space-travelling goats.

There's a Viking ship

that floats through space

that's being towed by giant goats

who create fire with their hooves.

It's gonna be nuts.

It's so good, right?

Awesome. Really good.

Really good, really good, yeah. Really.

CHAPEK: You would think something

like that would be completely CG,

and you'd have no reference.

But we didn't do that.

It's very smooth.

CHAPEK: We actually created real-life

goat heads for VFX reference,

but more so

just to be able to interact with them.

[BOTH LAUGHING]

That's really awesome.

They're huge, these things.

They're the size of, you know,

Clydesdale horses.

This is Toothgrinder and Toothgnasher.

They were really the trickiest

thing we've done on this show.

Coming up with the design that was

true to some of the early

visual development art that we received,

but giving them the most realistic finish,

wanting them to look real.

There's lot of designing, incredibly

detailed punched hair, silicon tongue,

got acrylic eyes in here.

The horns are hard.

Toothgnasher and Toothgrinder

are absolute stars.

We loved writing for them.

Retrace your steps.

Where did you put the remote?

One of these goats probably ate it!

Goats didn't eat the remote.

Don't be ridiculous.

One of things that

the goats are really helpful with

is getting in and out of scenes

and infusing more fun into a movie

that already is incredibly fun.

One of those scenes

was the Grand Pantheon,

where we were like,

"How do we get in and out of this scene?

"What is the fantastical way out?"

I did it.

ROBINSON: Well, what if the goats smashed

through the top of the Pantheon

in the goat boat to save our heroes?

I don't know if that's possible,

'cause I come from small productions.

But this is Marvel, so, we got to do that.

Look up there. There's my god.

The God of Kronans. Ninny Nonnie.

I thought he was actually not real.

Oh, no,

they're all very real indeed, Korg.

[LAUGHING] I'm so sorry.

ROBINSON: The Grand Pantheon is one of

the biggest set pieces in the film.

It's full of gods

from all over the Cosmos.

So, we also get to include a lot of gods

and people from other MCU favorites.

It's really about bringing

the whole MCU together in this one space

and having our characters exist

and feel like they are truly

a part of the Marvel Cinematic Universe.

So, now flick. Right, good.

Good stuff, yeah.

But now you know

he's gonna step forward and

You flicked too hard, damn it!

[SCREAMING]

[LAUGHS]

Makeup-wise, in the Golden Temple,

we had 18, 20 gods to create.

I'm playing Fur God.

Although he's dyslexic,

so he likes to be known as Fur Dog.

I'm gonna be up there and I'm gonna be

in a little hole and I have my little

Of course, you can't see here,

but I have these little

furry feet-hands or hand-feet.

He's just gonna be chatting to Thor

about orgies and stuff.

You can see the level of detail they did

on the face. It's just astonishing.

My favorite one was the Aztec god.

He looks like a glass mosaic in his face.

He's got a suit. And then his face, hands,

and feet are painted.

And the other challenge was Dionysus.

Taika wanted Dionysus

to look like a marble statue.

I was, like,

"Oh. How are we gonna do that?"

because they'd never done it

on a movie before.

So, we said,

"Okay, let's try to do it."

We gave him a beard and he looked like,

with all these cracks from the marble,

and we made him like a

I hope he was gonna love it,

because it was perfect.

Two things.

Number one.

I am so sorry to hear

of the death of your father.

Number two

Don't talk back to Zeus!

Zeus is a very powerful character

in the comics.

Someone that goes back with Thor

a long way.

He's one of the most powerful gods.

And so, if you're gonna introduce Zeus,

you need to introduce someone

who can walk those shoes.

You! You are also uninvited to the orgy.

In fact,

all the emotion gods are banned. Okay?

I've had enough.

You're too much hard work.

Zeus, please, you must do something.

My word is final!

Zeus, you must listen to us.

Okay.

Russell Crowe came in to play Zeus,

and I am a massive Russell Crowe fan,

and he's now become a friend,

and he's really funny.

He allowed himself to enjoy that role

and to have fun doing it.

I just never thought

I'd never see the day with him,

sort of semi-gladiator kind of imagery,

yet just with a wink and totally

taking the piss out of himself.

And self-deprecating

and didn't hold back either.

Which was mind-blowing, you know.

It was fantastic.

I think we're so used to him

in these very strong, heroic roles.

So it's fun to see him

be able to let loose.

My hero, Zeus

afraid.

[GODS GASP]

THOMPSON: I never thought I would

see Russell Crowe in a tennis skirt.

That's been a real joy.

It's been real nice to see.

Like, I Sometimes he walks past

my trailer in the tennis skirt.

And his perfectly curled, coifed hair.

Basically, they did

a really fantastic job outfitting Russell.

What about the others? Eh?

Russell said, "You guys are gonna

be too busy to look after me.

"So, let's make it easy. Let's choose

my own hair and my own beard."

And we ended up using it, because he had

really long hair and a really long beard.

So, what we did is, we styled that.

I made all these curls and fixed it

to make sure it stay all day.

And it looked great.

He was a great Zeus.

Yes!

[GODS CHEERING]

ZEUS: Zeus!

Yes! Thunderbolt!

[WHOOPING]

This is the hero Thunderbolt, which

This went through many design iterations.

We have two different sizes,

depending on the character who's using it.

We have multiple finishes.

We have foam, soft, cut-off ones

for when they're doing action

and they can't actually throw this at all.

Can we just have the

Bill? Can we just have the short?

I don't want him to poke himself.

Yeah.

Thank you very much.

No. It's getting better,

so we might not need it.

That's a good thing.

WILSON: We have a magnetic version.

So the actors can strap it to their back

with a magnetic plate.

This prop is

a very multi-use lightning bolt

which took a lot of consideration

to figure out all its forms,

including one where the entire

lightning bolt lights up from the inside.

Ding! If you look in closely,

you can see some of the pixels.

But it's just not quite as dotty

as the normal stuff that you come across.

WILSON: The action of this prop,

when they use it, it turns into lightning.

For us, it's been a feat where we're

creating a lot of props that are soft.

Soft enough that

the stunt people can use them,

because most of the action, when it's

meant to light up, occurs during stunts.

MAN: On go. And three, two, one, go!

[ALL GRUNTING]

WILSON: We'll cast it out of a softer

silicon that we can, or rubber,

or sometimes even a foam,

and then inside is a strip of LEDs

that is remotely operated,

so that the silicon prop can light up,

and they can use an actual lit version of

this prop while they're fighting on set.

Lead your army to that axe.

We shall do our worst.

[YELLING]

- Yeah, so I pull

- Remember the About the

CHAPEK: There are so many amazing looks

in this movie,

and I think that's a big opportunity

for us in these Thor films,

is to see Thor evolve,

not only as a character, but his looks.

[INDISTINCT CHATTER]

- All right.

- MAN: Walk back.

SILVI: New thing that we did,

he takes all his clothes off,

and you find him completely naked,

and he's got his back covered in tattoos.

And he's got all these tattoos that he did

after Loki d*ed, his brother.

It's almost too perfect.

This will feel a little bit more like,

jail type that's been done

by a bunch of different people.

SILVI: Some of them

have been designed by Taika.

Literally drawn.

It was cool. It was nice just to

I think, again,

you have to do something different.

Flick.

You flicked too hard, damn it!

There are more costume changes in this

than I think I've had

in the last six films combined.

MAN: Up there, please.

HEMSWORTH: All the montage stuff,

all the flashbacks.

MAN: Stand by to sh**t, please.

Ready, ready.

This is not acceptable behavior.

You wear whatever you want.

However, don't come complaining to me

when your feet get sore.

You'll get no sympathy from me.

[LAUGHING]

I don't like all of them,

as far as comfort goes,

but this is actually really good.

It's got this wetsuit material in here.

Sometimes, that's real hard plastic,

and it chews your arm apart.

- How does it feel to be back in the armor?

- That's what I just said, Dan.

Due to Thor's uncertainty in who he is

and searching for his identity

[CHUCKLES] that's represented

in his wardrobe as well.

- Keep pushing.

- [LAUGHS]

Feels good to be back in the suit.

[EXHALES] Just burning a few calories.

Nothing. Nothing holds him back.

[GRUNTING]

- Okay

- Here? Yeah.

RUBEO: I think we should

do inhale, exhale.

- Like expand the

- MAN: Yeah, expand

Yeah, I just I'm

Each time I'm expanding, I'm doing

WOMAN: Okay, yeah.

Take a deep breath. So 40

I should know how many costumes I've made

for Thor, but I really lost track of it.

Right, how many changes

do we have in this movie? 20

MAN: Twenty-four.

Twenty-four different

clothing outfit changes.

We have, for instance, five main changes.

One of them being extreme Thor.

His looks progressively get bigger

and more bold,

and when The Mighty Thor enters his life,

he has to take on

his most extreme look yet,

and so he dons this amazing,

over-the-top armor.

Head to toe in gold and blue.

Really kind of harkening back

to the original comics

where they didn't hold back

in terms of the fun and the colors.

Why are we taking this helmet off?

With the gold helmet,

it's this narrative that

Thor, maybe, has gone a little too far in

his costume because of those insecurities.

And it's that kind of storytelling that

we're trying to convey in our designs.

- Jane?

- [ALL LAUGHING]

What is

Chris Hemsworth is very involved

in terms of functionality.

We have to ensure

[CACKLES]

that he has an armor that he can manage

in all the very intense actions

that he goes through the movie.

- Yeah.

- Maybe in the Bifrost, it's just gone.

Maybe everything will be ripped off

and you come into this place naked.

Yeah, that's good. Yeah, let's do that.

THOMPSON: I think the most rewarding

part of working with Chris on this film

has been how big he is now.

I'm like, "How did you do it?"

I thought when we made the last movie,

that he was the largest human

that I have spent time with.

And now he's bigger than that.

WINDERBAUM: He was in a otherworldly

physique when he showed up to set.

The most insane shape you've ever seen.

THOMPSON: It really is inspiring because

he just works really, really hard.

HEMSWORTH: Each time

I've played the character

and put the muscle on and put the size on,

and then lost it for something else

and played another character,

there's muscle memory, and I used to say

it sort of got easier each time.

Push!

This was particularly hard.

I think because

the target weight we aimed for was

quite a ways above where I'd been before.

We had 12 months when I was at home,

just training

and sort of, you know,

puppeteering the body and manipulating

and trying to like, we could try more

swimming now or try more martial arts.

It was a really fun exploration,

but I don't know that

I wanna get that big again.

- Let me see what

- I told you, though, no more secrets.

But I was sort of

It was Yeah, it was just exhausting.

I don't know, maybe I'm getting old,

but things just started to hurt more.

GARDINER: A lot of difficulties too

because to carry that sort of size,

the physics of things changes.

So the action has to progress with it.

You just have to adapt and

It's just making sure the range of motion

is still good and things like that.

BALE: Talking with Chris as Thor,

I remember thinking that he must be

on a few steps above me

and then realizing,

no, we're on the same level.

And I was still doing that

And ridiculously good guy

and absolutely fantastic at this.

And so much easier to play the villain

than it is to play the hero.

I had the easy role.

Yeah, Chris had the tough role.

PORTMAN: It's just incredible

to watch Chris' talent.

He's just so agile

with moving from serious scenes to,

of course, extreme comedy.

Great to meet you.

We've met before, but, okay.

Great to

Oh, I see.

What a lot of people said about

the first time is that it was so fast

that a lot of people didn't even

know we were in the movie.

- Can you guys shut up?

- [DAMON AND LUKE LAUGHING]

I'm trying to prepare for my scene.

Dear Thor, son of Odin,

may you maketh the sh**t and dayeth

wonderful and positiveth.

He has such a quick brain for

changing things, assimilating information,

reacting in a creative way,

coming up with new ideas.

Can you see me?

Yes, I can see you.

But where's the rest of your body?

Did he cut off your head?

PORTMAN: I always have to remind myself

that I have to act in the scene

and I can't just be an audience.

- Let's go.

- THOMPSON: You don't ha

Getting to see someone

who's played a character for so long,

but is constantly reimagining

what this character can be

is exquisite to work alongside,

with someone that cares so much

about what they do

and cares so much about a character,

and is brave enough

to try things and see what sticks.

[YELLING]

[YELLS]

This is the Stormbreaker.

This is the muscle-showing one.

[INDISTINCT CHATTER]

Actor unit.

I'm an artist, stay away from me.

This would be one that we give to Chris

when we want him to have that

real powerful, godly look about him.

But some of the action

requires it to be much lighter,

so then we'll have this version.

Much lighter weight, but

photo-real.

Almost identical,

which is quite a feat.

And we have some

very talented painters here

who are able to pretty much

turn any material

into something that looks amazing.

As you can see, this is rubber,

but it looks just like metal.

IDOINE: We've had a few location sh**t

on Thor: Love and Thunder.

Obviously, New Asgard behind me

is an exterior location

for day and night work.

We also did some great exterior day work

down at Little Bay

at a golf course

just south of the city in Sydney.

And it was on some cliffs

so we had phenomenal water

and winds blowing in.

Join me or die.

- Never!

- We will never join you, witch.

It was challenging with the wind.

sh**ting with large lighting units

or camera cranes

or different aerial things that need to

get up and not be affected by the wind.

It was ultimately absolutely rewarding

because it was

a beautiful quality of light.

MORRISON: On any given day, we're sh**ting

five completely different worlds.

And 150 feet away, on a patch of sand,

Christian Bale is nursing his daughter

as she passes

It's like, literally,

the stuff that we're doing,

it couldn't be more different.

And what we're doing

So what are we doing?

What are we doing today? Well, we're

This is a flashback.

Basically, this is the

origin story of Gorr, the villain.

Not that, but this is

just here for the camera.

CHAPEK: I think the Thor franchise

has a history of

producing some

pretty interesting villains.

THOR: Why have you done this?

To prove to Father that I am a worthy son.

CHAPEK: Loki is one of our best.

Hela is one of our best.

So it was very important

for us to introduce

another terrifying villain,

and we found that

in Gorr, the God Butcher.

He has a big history

with Thor in the comics.

MAN: And Gorr.

WAITITI: Christian is someone

I've admired for many, many years.

Obviously, he's one of the greatest,

I think, possibly the greatest actor

that's working at the moment.

[SNIFFLES]

Someone I've always imagined

Well, hoped I would get to work with.

[INDISTINCT CHATTER]

When we talked about villains,

they were only a few names

that we threw about,

and his was at the top of that list

pretty early on.

My love.

WAITITI: I think, for him,

he's done everything, and

I think this film

feels a little different for him.

[SOBBING]

I've missed you so much.

HEMSWORTH: He's just so talented.

I've worked with so many people,

I've been so lucky to work with

so many brilliant performers, and then,

every now and again, you sort of

Someone just

It's like a slap in the face.

He added so many more layers to it

and depth to it, which then,

just made me think even harder about,

okay, what is Thor's point of view here

besides just marching off to save the day,

and it not being as simple as

the villain and the hero.

It was a lot more complex than that.

Protect her.

You're supposed

to hate the villain, but

Uh

I'm kind of team Gorr.

I think that you're gonna be right there

and then I'll cradle your head.

THOMPSON: He does that thing that

I think Marvel villains do so well.

The thing that Stan Lee understood

that your villainry comes from pain,

comes from some trauma

that you haven't processed.

I know your pain.

Love is pain.

THOMPSON: It makes him,

in a way,

a villain that you have sympathy for.

He could stand to

work on his dental hygiene.

That aside, he's brilliant.

FEIGE: Gorr the God Butcher has

an awesome look in the comics.

We wanted to tap into that.

But had we done exactly that translation,

we would've lost all of Christian.

So we made the decision early on

that we didn't want him

to be a motion capture character.

There are incredible ways of doing that,

but with this particular actor

in this particular character,

Taika really believed,

rightfully so, that we could

achieve that with makeup.

JOHANSEN: It was a challenging makeup.

We're so lucky we had Christian,

who was, you know,

always just so focused on the makeup,

always wanted everything to be just right.

Would you come here closer?

Yeah, close as you can get.

And you can go higher. Going up higher?

Oh, yeah.

CHAPEK: He just immediately

took the charge

and said that I know who this character is

down to the tiny details

of the length of his fingernails,

just how scary he is,

color of the practical paint we gave him,

the scars and these amazing tattoos

indicative and representative of his past.

He's totally covered from

shoulder to hands, chest, down his back.

It's three and a half hours.

Yep, so

Christian comes in, we do a fresh shave

First up, skin prep.

Head shave, arm shave, pit shave,

face shave,

and then it's, yeah,

straight into coloration

and laying down all the different

The tattoos go on first

and the scarification

goes over the top of that.

And the full paint job over the top.

BALE: Despite the fact that me just going,

"I am exhausted

getting up at these hours,"

it was a great time

to just get into the headspace.

MAN: And action.

Hey. Is that the Necrosword?

That's cool.

I've only ever read about it in stories.

What's a Necrosword?

It's an ancient w*apon that's been passed

through hands since the dawn of time.

It has the ability to slay gods.

WILSON: This is the Gorr hero Necrosword.

Designing this, we did a lot

of research into the comic books

and the sword that he traditionally

might've had in the Marvel universe.

- [BLADE PLUNGES]

- [GASPING]

We presented probably

20 designs of swords,

and it came down to what

Taika envisioned for this character,

and this is where we landed.

Lots of little bits that we have to get,

including establishing this Necrosword

and Gorr being infected by the Necrosword.

RAPU: The sword chose you.

You are now cursed!

Funny.

It doesn't feel like a curse.

WILSON: Once we land on a design,

we have someone 3D model it

and then, they will output

a version that is aluminum.

So this one

It's got a solid tip

and it's a little bit heavier.

You can Feels like a real

You know, it's got a good weight

to the sword.

And then this one, they

Basically, they mold it

and cast it out of rubber.

It still has an armature inside,

but you'll see that

it's flexible and bendy.

Do we need one more?

MAN: Yeah.

WAITITI: Different pose with the sword.

Yeah, get the strong sword, eh?

All of Christian's shadow demons

that he makes, he conjures up

When I was writing the script,

my daughter was

looking over my shoulders, and she's

I was writing down ideas for monsters,

and I didn't really know

what they might be

and I wrote down "shadow monster."

And she goes, "What's a shadow monster?"

and I was like, "I have no idea."

I was writing something and she goes,

"What's it look like?"

I was like, "I don't know."

So she goes,

"We should draw something."

I went, "Yeah, yeah." And so she drew

just this weird, freaky,

snake-like creature

with a giant mouth and three eyes,

and it was covered in spikes.

Then I had this idea, what if we got

the visual development artists

to take kids' drawings

of what they think is scary

and turn them into real

monsters, and put those in the film?

And so that's what we did.

So all of our kids just basically,

drew pictures and we've designed

all of the monsters around those drawings.

So, even that stuff was insane and

I mean, on paper, it just shouldn't work.

MAN: It's a family affair

for everybody's kids, it's so cute.

He refused to be

in the scene with me as Gorr

'cause he said it was too

It will give him nightmares.

MAN 2: Let's roll cameras, please.

ROBINSON: The Moon of Shame is one

of my favorite sequences in the movie

because we get this

amazing fight sequence.

It's like utter disconnect.

I think that You know, how do you

reinvent fight sequences in the MCU?

How do you create something

that people haven't seen before?

And you play with zero-G.

You play with a really small moon

and a bunch of heroes

and a bunch of shadow monsters,

and also everything is topsy turvy

and turning upside down.

- [YELLING]

- [GRUNTS]

GARDINER: We always like to try

and reinvent the wheel,

but sometimes it's not possible,

but you like to push the boundaries.

[LAUGHS]

Somebody's gonna come on down there,

but we're not going.

GARDINER: But it has to fit in

with the story.

I think it's always, with Taika,

very character-driven and story-driven.

It's not action for the sake of action.

We always try to design things

that keeps the story moving forward

and the characters moving forward.

So I think a lot of it was there.

MAN: Go!

GARDINER: The anti-gravity sequence

on Moon of Shame

and the lighting rig they used

for that sequence is pretty special.

I think the single biggest challenge

from a creative and technical point

of view will probably be the lighting.

If you bake the lighting in,

if you make a very strong choice

on an actor

and you put the lighting on them

from a particular angle, that's all it is.

That drives a lot of the reasons

why many

films that you see

will often have

slightly non-committal lighting.

Because you don't know quite when

that sh*t's gonna be used in the edit.

And that's true, dramatically,

and it's incredibly true

when it comes to action sequences.

When Taika told me that he wanted

to sh**t this Moon of Shame piece

The Moon of Shame

is an embarrassingly small asteroid.

It's kind of

What I would describe it as.

Like you had some popcorn

just after eating chewing gum.

It's just like this wad of horrible stuff

that's just stuck in space.

But the crazy thing

about the Moon of Shame

is that one day is six minutes.

So, from dawn to dawn again,

it's six minutes.

So when you stick actors there,

the light's gotta move.

You've got this continuing cycle,

so it's spinning and spinning,

the backgrounds are wheeling.

There's all sorts of craziness.

So I was trying to work out

how we could find a way to

be able to sh**t with

strong directional, interesting light,

but also maintain the creative freedom

that we needed later on

to be able to

actually stitch all this together.

'Cause you think

the sh*t goes there in continuity,

it's actually going there.

Films change an awful lot

when you get into post.

So we roped in

our friends from Satellite Labs

and we found an application

for this new technology called PlateLight.

This is the largest scale version

of PlateLight that we've built.

And it's the first time in cinema history

it's been used.

Lighting with one.

Keeps playing, that's lighting with two.

PlateLight is a way of filming multiple

lighting looks all at the same time

on the same camera.

But out of the camera,

we get each lighting look

as a separate piece of footage.

WAITITI: At the end of the day,

I can choose the lighting

in postproduction that I want.

So I can blend lighting,

I can color time it.

I can have all of the lights behind them,

or all of that in front of them.

We get to make that decision later on.

So it's pretty new and amazing,

and no one has done it before in a film.

And so I'm excited about it. Okay?

ROBINSON: I think the biggest challenge

in writing a script like this,

from writing

Love and Thunder specifically,

has just been wanting to balance the tone.

Obviously, there's a serious nature to it

because kids have been taken.

[CHILDREN SCREAMING]

But also, it's a Taika Waititi movie.

[GOATS SCREAMING]

And it's really, really fun.

We got to bring back one of my

favorite things from Ragnarok,

which is the play.

DAMON: We were trying to one-up

the thing we did last time.

- Transform!

- Transform!

- We had a ball. It was really, really fun.

- It was so fun.

- Hopefully, people will dig it.

- Yeah.

There's a lot of good energy on the set.

A lot of people having a great time

and making a great movie.

It was a lot of fun with Melissa.

Hello!

This feels right. And also, people are

always mistaking me for Cate

Blanchett. So, I was like,

"I don't know if they'll get the joke."

Impossible!

[GRUNTS]

I broke your hammer!

[INDISTINCT CHATTER]

I know, Groot,

but we can't play the distress signal

'til you find the damn remote.

I didn't think

there could be two Thors at the same time.

I thought you must've retired.

It's always really fun

working with Taika. He's like

entertaining on and off camera.

- [INDISTINCT CONVERSATION]

- [LAUGHS]

Good energy,

and it keeps everything really

loose and silly and fun, and

I don't know how he has the energy for it.

It feels really rewarding, and it's been

really exciting to get to come back

with a completely different lens

on the same sort of world.

It's definitely been

a really fun, happy set.

Everyone's been laughing a lot

and enjoying each other.

THOMPSON: We're just playing.

And as the name would suggest,

I think it's a movie that centers love,

in a way that you don't always

have room for in films like this.

You made me worthy.

So whatever you wanna do,

we can do together.

THOMPSON: I think, to see

characters evolve, and change and grow,

it's beautiful.

I think, if anything,

we just had to make sure

that we stuck to the story

and the intention of the story

and didn't veer off

into no-man's-land of comedy,

and just made a ridiculous film.

The lever will shake,

but then you gotta keep the shaft

We just kind of check ourselves a lot.

We have to remind ourselves

that, yeah, we also want

the audience to go on a journey

and to be able to laugh and also cry.

HEMSWORTH: It's just

a constant exploration.

I think there was such a pride

and sense of accomplishment

in what we were achieving,

and what we were aiming for.

Three, two, one, bang!

HEMSWORTH: sh**ting each other ideas,

and you're running on adrenaline

a lot of the time,

but I love it.

I have loved every single time

I've played the character.

This is ten years for most of us now,

and maybe the last time

I play the character.

I certainly was aware of that

while sh**ting.

This has been an incredible sh**t.

If this was the last one,

this is incredibly fitting

to finish here in Australia.

It really is so, so special

to be able to do this at all.

Please say it's not the last movie.

[ALL LAUGHING]

We'll talk to Marvel about that, Son.

I love you all so much. Thank you, Taika,

for leading the charge from day one.

These films are never easy.

They're just exhausting for everybody,

but everything that everyone puts in

is just beyond belief,

and I'm beyond thankful

for the opportunity.

And thank you all so much. I love you all.

I think you never feel like

you have enough time.

It's a ticking clock,

and it ain't gonna quit, you know.

Ten years

and nothing is quite as it seems.

But now, it's like,

who knows what's gonna happen.

- Drop the hammer. I'm out!

- [SCREAMING]

- THOR: What are you doing?

- She's taking minutes.

Precious minutes we don't have.

Jane?

Couldn't find 'em.