01x07 - The Making of Hawkeye

[bunniefuu]

CLINT: Six days until Christmas.

We're gonna do a lot of activities.

What's your favorite one?

- Gingerbread house.

- We're doing that!

- Christmas movie marathon.

- CLINT: Movie marathon, awesome!

- Ugly sweaters.

- CLINT: Ugly Christmas sweaters!

It's going to be amazing,

but most important thing,

we're going to do it all together.

We were in the second half of 2017,

and we were in the trailer,

the Marvel trailer,

and Endgame was filming,

and we started talking about

what the Hawkeye story could be.

We haven't gotten a chance

to really tell the Clint Barton story,

tell Hawkeye's story.

Endgame is when you really see

that emotional journey

that he started

going through with his family,

by losing his family in the Blip,

and getting them back,

but in between that time, becoming Ronin.

So, we started sort of breaking the story,

brainstorming ideas,

and I remember sitting in that trailer

as we were still sh**ting Endgame, going,

"God, there's so much

great source material from the comics,

"and how am I gonna actually

put this all in two hours?"

We thought, "Well,

if there's a lot more story to tell,

"why not just move that project

over to the Disney Plus side?"

Then you say, "Kate, come on!"

You fire the arrow, then you run to join,

and you go, "Jump!"

The show's got everything

that we could want.

So, we've been able to flex,

you know, our different muscles,

but just on another scale that,

you know, we hoped we'd get to one day

and, kind of, here we are.

- So that's been, it's been exciting. Yeah.

- It's fun crashing cars into each other.

So good. [CHUCKLES]

- Almost like, it comes

- As it comes, and I look

- As it lands, I go in. Okay.

- You look, and Yeah, exactly.

I've found him compelling,

the way Jeremy's played him.

There's a sense of this ordinary guy

that is just driven kind of by

this sense of duty more than anything.

He's not Doesn't have the protection

of superpowers,

and I found it interesting

that you get to join him,

and you see him in this place

where, on the surface,

he's found the peace

that possibly he's always wanted,

but you know that

there's been this price that's been paid.

When you watch Avengers: Endgame,

obviously, the stakes couldn't be bigger.

This purple guy's gonna

snap half the universe away,

and we gotta travel

through time to stop him.

But it's because you saw

this human being's family disappear

at the beginning,

and you can imagine, empathize with him.

That carries

you throughout that entire movie.

Let me go.

No.

No!

And it's amazing

what happens when you've let,

you know, actors like Jeremy Renner

really have the space to explore

their character and their backstory.

I love you guys.

- Love you, too.

- Love you, too, Dad.

- Love you

- It's gonna be the best Christmas!

It's been a wonderful way to kind of just

really dig in and discover a lot more

of the humanity of who Clint Barton is.

Okay, Kate, what am I selling?

It's obviously not, you know,

Halloween costumes

and toys and t-shirts, right?

Inspiration.

RENNER: That's where patience

really kind of pans out.

'Cause Thor was just

a quick little cameo thing,

and to get in the first Avengers,

and then, "Hey, guess what?"

You're not Hawkeye,

'cause he's become Loki's,

you know, sidekick.

You have heart.

Like, I'm still trying

to figure this guy out.

If I put an arrow

through Loki's eye socket,

I would sleep better, I suppose.

RENNER: But then, in Ultron,

when they cemented the family life,

I think that was a huge thing

just for the original six Avengers.

It just became, like,

"What are we doing this all for?"

And grounding it to, like, what is,

you know, the real value, and values.

That was a great leap for the character.

You know I totally support your avenging.

I couldn't be prouder.

But I see those guys

Those gods

You don't think they need me.

I think they do, which is a lot scarier.

RENNER:

It started to really cement for me,

and I had to sort of redefine

in my head what a superhero is,

and what a superpower really is,

and that's where the connectivity

of every human, every fan, or whatever,

can come through

someone like Clint Barton.

Wow.

Under different circumstances

this would be totally awesome.

Really, he knows

this character inside out.

So, I think it's very important

to Jeremy to make sure that

what we're establishing,

what we're continuing

to tell about this character is true.

And Jeremy is very much

into the truth about the character.

So, he puts in

the extra effort to make sure that,

"You know what, this does make sense."

The lines that he's saying is correct

and true to how Clint Barton would react.

You know, at the end of the day,

my job is to hurt people.

- You were a hero.

- I was a w*apon.

RENNER: I remember

having a Zoom call and, like,

"Guys, I think in the first

two weeks of sh**ting this

"I've said more than I've said

the entire MCU universe thus far."

All right, so this rescue mission,

it's got a part two?

Yeah. What do I look like?

- Are you Tabatha?

- Yes, that's me.

That's not an Uber Pool? For God's sakes!

RENNER: Just to find his voice

and find timing and rhythm

and just all that sort of stuff,

they were all discoveries

I was making throughout the show.

And a lot of those come from

ad-libbing and just allowing us

as artists to be able to channel

these characters through us

and really try to find it.

I'm sorry.

I got so excited that he was saying,

"It was you," I got wrapped up in it.

- Hey.

- Yeah, it is.

TRINH: Clint Barton

from the Ultimate Comics,

that was the version that was shown

in the previous Avengers movies.

You know,

the more serious action superhero.

But what I found more interesting

that I wanted to explore

more in this particular series

is the Matt Fraction

version of Clint Barton,

you know,

who is a little bit of the reckless,

you know, loner, but so funny and quirky.

I thought, who else better to draw

that out of him but Kate Bishop?

She is just a young,

early 20-year-old girl

who really aspired to be a superhero

because she saw

when she was eight years old,

and in the series,

what Clint Barton could do as Hawkeye

when he did that backward flip in Avengers

and saved her

and everybody else in New York.

I think that really inspired her to go,

"You know what? I can be like him.

"I just have to work hard,

and I have to push myself."

Are you okay? By the way?

I'm good. Yeah! No, I'm fine.

You should see the other guys.

Kate, you know, is someone

who grew up with this figure in her life

as a role model,

you know, unbeknownst to him.

And watching her, you know,

meet him and prove herself to him,

it's a perspective

on the Avengers that I think

is closer for the audience

in terms of, like,

"What would it be like to be there

"and what's the aftermath

of going through that experience?"

[GRUNTING]

[GASPS]

Come on!

You're Hawkeye!

And who the hell are you?

TRINH: I think in the back of

Kevin's mind, he had Hailee as Kate.

We actually just said, "Let's meet Hailee,

"let's just have a conversation

with her and see how that goes."

And I remember, after the conversation,

Kevin just offered her

the role right then and there.

So that was pretty remarkable

that we came out

of that meeting shaking her hand

and going, "Okay, you're in.

You're gonna play Kate Bishop."

HAILEE STEINFELD: I didn't know much

about Kate Bishop

other than fans were very excited

about her story being brought to life.

And from there, I just dove right in.

And it's always so fun to play a character

that has all of this

pre-existing information

and a fanbase nonetheless.

So, I was very excited

to meet with the team

and hear what they were thinking

as far as who this character was

and what elements from the comics

they were going to portray.

She's, you know, a young woman

growing up in New York City,

and she's got a lot of wit.

I built the suit myself

when I was trapped in a cave once

so, I had a lot of time

on my hands, and I just felt

That's very good.

BERTIE: She's so funny, she's so grounded,

so there's no point at which she's playing

for the comedy or the gags,

and it's a really challenging role to kind

of get right because of Kate's eagerness,

and also because of her privilege,

she could tip into being

the annoying whippersnapper.

But she just holds it because there's this

endearing quality that I think we,

as women trying to get by in the world,

recognize in ourselves,

so she really has this wonderful vibrancy.

Hey, look, it's you.

No, it's not, that's Katniss. Let's go.

I do love her.

Cut!

STEINFELD: It's been so fun

doing this thing with Jeremy.

I remember sitting down with him

for the first time over this project

and just really getting right into it,

and right away,

I felt this sense of comfort,

knowing that this is a world

he has been in for ten years.

What are you doing here?

We're too exposed.

Come on. Take cover.

[BOTH LAUGH]

I kinda took the role of shepherding

her into, like, how Marvel works,

and how, with all the stunts,

and then this and that,

and the chaos of schedules,

and then there's a lot going on

She just fell into trust with me

because I was looking

after her in those ways.

- Yeah, I leave the car, then you fire

- Okay.

- then we meet.

- Okay.

When you have that,

then true art can then exist

'cause you have trust with one another.

You're imparting wisdom. Love this part.

- Please, tell me which part.

- You know, come on.

The part where the old cop

comes back for one last job,

and then imparts wisdom on his young,

surprisingly capable partner.

Yeah, I'm not imparting anything on you.

STEINFELD: He was very wonderful

in showing me the ropes

and, you know, collaborating with me

in finding this amazing dynamic

between Clint and Kate.

RHYS: He's thrown into

this energetic environment,

he's thrown up against

this energetic character in Kate,

and so to constantly bring

that guy up against just too much energy

and a situation

that's out of his control

That was fun.

This is the part where you finish

my sentence with a plan.

Planning's not really my thing.

Are you sure that's dry erase?

RENNER: I remember, even the initial pitch

they were telling me about is,

like, it's six days till Christmas,

and I'm with the kids,

and everything kind of goes south.

We originally had Clint with his family

back at his home in Iowa

as the opening of introducing

Clint in the Hawkeye series.

We then shifted

the story of his introduction

to being in New York instead.

Jesus, really?

Merry Christmas, pal.

Being able to start production

in New York was really a blessing.

It's so unique, and it's so special,

and the energy

there can't be replicated, really.

You go to New York

and you know you're in New York.

You go into the city,

and you know you're there.

And you go in during Christmas-time,

and it's really unlike anything else.

RHYS: Getting as much of the real texture

and the real flavor of New York

and feeling these different

neighborhoods was wonderful.

BERT: To get the scale and those vistas,

and the streets, and the dirt,

and the colors, and the people,

and the energy of New York

was important 'cause it's another

character in this show.

You know what is right up

the street, you guys?

- The biggest

- Burger King!

The biggest Christmas tree ever,

at the Rockefeller Center.

How about we go see that, huh?

RENNER: Clint is sort of

always trying to retire. [CHUCKLES]

I don't think you can ever retire

as a superhero.

I think you live or die.

It's one of those things.

But he's just in New York with his family,

he's not thinking about anything else

besides getting back home.

TRINH: He actually is in New York

for a very specific reason,

and that's because he's been invited to

Rogers, The Musical,

and all of the Avengers got invited,

but no one showed up except for Clint.

RENNER: It was something that

I think all of us had joked about

and probably even slightly performed

on set, you know,

with all of our props and whatnot,

'cause everybody is musical

in some sort of way in the Avengers.

But to have it come together

and actually see it.

It's pretty spectacular.

I was really impressed,

this is a lot of production.

It was special. [CHUCKLES] It was special.

All right,

we're gonna set it for the top again.

RHYS: When I came on, there was mention

of a Rogers, the Musical in the script.

It was like a little

layer that was there, and immediately

I was like, "Well, why

Like, you have to see the musical.

"We're gonna mention it.

Let's do the musical."

Kevin absolutely loves the idea

so much that

he wanted us to actually create

an entire song of four and a half minutes.

So, we got Marc Shaiman to write

the song for us, which is incredible.

I can't believe we got

to work with Marc Shaiman.

The first time I met Kevin Feige

I was at an Academy Award function,

the year of Mary Poppins Returns,

and someone came over to me

from Disney and said,

"Kevin Feige would

really like to meet you."

And I thought, "This is a prank."

'Cause my husband, Lou,

is the biggest Marvel nerd on Earth.

I thought, "Did Lou call someone

and set them up to"

But anyway, there was Kevin Feige,

so I went over to him,

and he was like, all film score

nerding out on me.

I was like, "But you're Kevin Feige,

and if only my husband, Lou, was here."

And then, this phone call came

about writing a song

for a Marvel television show, once again,

I thought, "Lou has put them up to this."

So, Kevin says, "I would really like

there to be a full Broadway musical number

"of an Avengers musical."

So, luckily, all the years I had gone

to see all the movies with Lou,

and then sat in the car afterwards,

and he would explain to me what

I had just seen,

and he explained to me

all the Easter eggs and all the history,

so I actually knew words like "Chitauri"

and "Tesseract."

I mean, I never thought I'd be

writing lyrics with rhyming Tesseract.

Six, seven, and

I've got to get the Tesseract

The battle's just begun

We'll conquer the Chitauri

Get shawarma when we're done

We came into this whole thing,

and it was kind of already built,

and they plugged Ty and I right in.

We immediately started

learning choreography,

and by, like, the second day,

we kind of learned the whole number.

I was surprised at how similar it is to

what I actually do for a living

when I go do a show on Broadway.

- We go down up?

- Yeah.

Five, six

Yes!

It's completely different for me

because I haven't done a Broadway show

in about 30 years, 25 years,

and I was thinking that

it was gonna be easy.

I thought that we were gonna come in,

and it was gonna be, you know,

a musical that felt like a TV show,

and that you weren't going to have

to do much choreography,

and I wasn't gonna be sweating

for eight hours in a rehearsal,

and as it turns out,

we're doing a real musical here.

Avengers unite

'Cause we got to hear you

Got to hear you

JOSHUA: We cast

everybody here locally in Atlanta,

and because we're dealing with, you know,

the COVID pandemic, we couldn't do

what we would normally do, which would be,

you know, a big giant cattle call,

and then the hard part was finding

the people who could play the Avengers.

Officially Tony Stark. I'm shook.

I'm like, "What? Who's that?"

Never did I think I'd be on a stage

acting as Hawkeye, being Hawkeye,

and, you know,

sh**t' arrows, k*lling bad guys while,

you know, singing and dancing.

JOSHUA: A lot of the dancers have

these special skills where

they do a backflip, or they do an aerial

or, you know, these great jumps,

and then we get

the Marvel stunt coordinator.

Heidi comes in, and she can do

everything they can all do.

TRINH: Heidi Moneymaker is one of those

rare gems that

we have been so fortunate to have

worked with so many years.

She's been our Black Widow double

for so long now,

and to be able to work with her at this

different level as a stunt coordinator

has been such a dream come true,

because she is so talented.

Let's get you ready and go,

they have a video for you.

MAN: Great.

Myself and Lloyd Bateman,

our fight coordinator

have sort of given them our little spin

on their little dance fight scenes,

offering suggestions that pertain

to the character

or giving them a little, you know,

direction on punches, kicks,

for me and Natasha's Black Widow moves,

and that kind of thing.

You know, my rigging team went over

and they're prepping to fly Iron Man.

I have to say that

just in rehearsals on being, having

a dance background, and being a gymnast,

and being a performer,

it's like I wanted to be in it.

[BOTH LAUGHING]

Maya Shimoguchi, our production designer,

did an incredible,

incredible job at creating the set.

SHIMOGUCHI: The bridge is something

that we really built as a bridge.

It has a span of 45 feet.

As you can see, most of it is cutouts.

It was hard because there was

nowhere where we could build it

and see the whole thing together until

we'd actually installed it at the theater.

So, all the pieces were built separately

in different buildings,

so actually seeing it together was

a huge relief that it actually worked.

Let's go again and we'll do

the boulder thing, right?

And playback.

Hulk, you know the magic word is

Hulk, you know the magic word is

Hulk, you know the magic word is

Smash. Smash. Smash

Save the city, help us win

TRINH: I just remember going into

the pre-film day,

and just watching it all live,

in front of me, and going,

"I can't believe we're doing this,

but this is pretty, pretty amazing."

It's a bummer 'cause Kevin really wanted

to be there and he didn't get a chance to,

but absolutely incredible.

I mean, it came together.

The song is ingrained in my head now

forever, because it is so much fun.

- I could do this all day

- Save the city, help us win

Save us all from the state we're in

I could do this all day

We could do this all day

DIRECTOR: And cut!

Now, you may recall a masked vigilante

who terrorized organized crime

in this city for years.

He brought a brutal form of justice

to his victims,

and his identity continues to remain

a mystery to this very day.

RENNER: A lot of the story and backstory

in this show is

about what happened when Clint

turned to Ronin, is a vigilante,

and all that's kinda coming back

to haunt him

in a way, and he has to own up to it.

Just because she's not the Ronin,

doesn't mean he's not back.

It's just a rumor.

We can now deepen the story 'cause

what have we seen of Ronin? Not a lot.

I mean, there's a lot of value to it

'cause people love Ronin,

and but always saw him as this

Slay this guy, and then the yakuza,

you don't know much.

TRINH: Kate Bishop puts herself

in a situation

where she puts on his Ronin suit

that she finds at the auction,

and that creates a big problem for him.

You know, in Clint's mind,

he wants to protect this girl,

he wants to make sure that suit

isn't gonna endanger her in any way.

But it does force them to be together.

Look what you did.

RHYS: For me, it was an interesting way in

of just the notion that Clint

is possibly living with this insecurity

of, like,

is his true self really the Ronin

or is it Hawkeye?

'Cause Hawkeye is the guy they make

a musical about, and that Kate idolizes,

and is this hero that she wants to brand,

but he knows he's also the Ronin.

I'm sorry, Kate.

I'm not a role model to anyone.

Never have been.

What? Yes, you are.

You are. You came here.

You left your family at Christmas

because you thought some stranger

was gonna get hurt.

You stuck around even though I screwed up.

And now you're stuck.

Whether you like it or not,

the Tracksuits have connected us

both to Ronin,

and it's pretty clear they're not

just gonna drop this.

We lean into Matt Fraction's comics,

so it's much more,

kind of more grounded stunt action

and even the villains.

Like the Tracksuit Mafia,

these very dangerous buffoons.

Wakey-wakey, bro.

They are fun. They're fun characters,

but there also needs to be

a level of danger to them,

an unpredictability, which I think is

where Fra Fee's character comes in, Kazi.

There is a real quiet intensity to Kazi

that I've been figuring out whilst

I'm here and exploring his journey.

I have done a lot of theater

and I love doing theater.

But, you know, telling the truth,

no matter how big or small it is,

it's all the same thing.

So, whenever you know and you trust

that your camera operator is here,

then you have license to just be really,

really small, and that's a real thrill.

ALEKS PAUNOVIC: With Fra, his intensity,

and his quiet intensity,

but you can feel it.

There's a resonance in his performance,

which helps us because the less he does,

the more we do, the more powerful he is.

Maybe I haven't been clear.

I prefer not to k*ll you,

but I'm warming up to the idea.

He's desperately wanted to work

his way up the ranks,

but been unable to do so

because of Maya's position.

You are.

The character we're most excited

about introducing and developing is Echo,

you know, is Maya, and she's

an amazing character to have set up,

and with the new actress, like Alaqua is,

and to see her kind of finding her feet,

I mean, that's been such a gift for us.

TRINH: We were nervous

about casting somebody

who hasn't been

in front of the cameras before

but Alaqua really showed through

her audition tapes

how much she wanted to work for this role.

I remember a friend of mine

sent me the link

for a casting call

for a Native deaf person.

And I said no.

And then two other friends of mine

sent it to me.

And so I decided to go ahead and apply.

And they emailed me back when I enquired.

And they kept emailing me.

And I'm like,

"Wow, this is getting serious."

And so, then they actually

I was cast three months later

and I'm just in this process.

So I didn't ever dream

of becoming an actor,

but this is an amazing opportunity.

You and I, we're the same.

We're weapons.

She's amazing. It's a different experience

working with someone who's deaf,

'cause it's a lot of different things that

have to go on for her to understand

and never acting before,

is a little tricky, you know?

I think she knocks it out of the park.

It's a physical role.

Well, my fighting style,

mostly I do a lot of, like, elbowing.

I do elbow strikes and hits.

I was planning on punching,

but they wanted to protect my hands,

so they switched it to elbow work,

because I sign to communicate,

and they wanted to

make sure that was taken care of.

But my fighting style was more of

an MMA style and karate,

kind of some badass moves. But mostly

my stunt double does a lot of that

because she does a lot of

the kicks and I can't

There's certain angles that I can't move

my prosthetic leg, so,

my stunt double did

an amazing job with that.

She's a natural.

I think she's gonna do well.

I love the turn of her character.

What are you talking about?

FEE: At the beginning of the process,

I started learning sign language,

initially just to help me communicate

with Alaqua on set.

The good thing is that we

did have time to rehearse.

That's not a normal thing in any film set.

But the way that the scheduling

worked out,

I had quite a lot of time to rehearse

the signing, thankfully.

Otherwise that would

have been nerve-racking.

I wanted to talk

There is something interesting about

acting without much voice.

For the little intimate moments

with Maya, you know,

at most I'm just whispering.

It's so quiet. It's an amazing thing.

And all you hear is the breeze,

or, you know, the cars outside.

It's a really incredible way to perform.

I think we're reading off each other.

I'm being brought into her quiet world.

She asked what you're doing here,

Clint Barton.

- Riding a unicorn.

- Learning about trust.

RENNER: You know, I think what Marvel's

done really so excellently,

or in the last, whatever,

12 years or so, is

when it's serious, it's serious,

but then when you get loose,

it can make fun of itself.

They're really great at, like, poking fun

at themselves. Meaning Marvel,

there's characters

who go into eye of the storm,

hit it and talk about the pink elephant

in the room. Like, "Dude, bro, love it."

Like Tracksuit's a great example.

[ALL EXCLAIMING]

Guys, come on! Drop down!

Come on, bro! Get at 'em! Put 'em out!

You're like fried chicken, bro! Get up!

We would see the comic book,

the Tracksuit Mafia and it's, like,

"bro" this and "bro" that, and we were

talking, "Man, we need to up our 'bros.'

"We have not been saying enough 'bros.'"

So, we've been broing it out,

and it's honestly an honor to take on

some villains people have been

hoping to see in the Marvel Universe.

- We're having far too much fun posing.

- Yeah.

I had big expectations when I got

the first text from costumes that,

"Send your sizes, 'cause we are having

a very exceptional costume for you."

You know, speaking about Marvel,

you think that,

"Oh, my God, we'll play the heroes,

you know, like superheroes."

- Form-fitted. Muscular fit.

- Feels awesome.

But it was a joke from the costume guy.

Because he had to do this kind of special

costume thousands of thousands of times.

But I gotta tell you for me, for instance,

we're all wearing the tracksuits,

I think it's great. But I gotta show you

my alligator shoes. Look at these

- Are you kidding me?

- That means he's the boss.

That's the boss!

MICHAEL CROW:

There was discussion of,

"Is it gonna look silly if they all wear

the same tracksuit?

"Where do they get them?"

So we did variations

where they were all in different things.

They were just in regular street clothes,

or in different kinds of tracksuits,

different colors,

different sportswear elements.

And decided in the end, that didn't

make them feel like a collective,

and we really wanted them

to feel like a g*ng.

So we thought that the easiest way

to outfit the number and the quantity

that we needed with stunts and everything

was to build them from scratch.

Bros.

At times they are scary,

and they are a thr*at to our heroes,

and I think a part of that is shown

in the KB Toys scene where

both Clint and Kate are captured.

Maya Shimoguchi in the art department is

amazing at capturing and putting

everything into reality for us

to really help elevate the series.

Nice place you got here.

It's not creepy at all.

The level of detail,

the level of quirk/realism,

so there's like this creativity

that isn't quite reality, but then

there's nothing you don't believe

about any of her sets.

BERT: Even in, like, KB Toys,

where there's this small office upstairs.

I went in there one day

and I just sat down at the desk

and I started looking

at the papers on the desk,

and each one of them had been

individually handwritten

with information that related

to what the g*ng was doing.

It was, like, the level that

she has gone to is unbelievable,

and what it means is that

it makes it real for the actors.

SHIMOGUCHI: Heidi Moneymaker,

the stunt coordinator,

did a really amazing

stunt vis of the whole fight.

We would do sort of preliminary designs,

and then show her

the models or the drawings.

And sometimes she would ask, like,

"Can we change this or that?"

I mean, I found it really fun, actually,

to think about the fighting,

'cause when designing the sets

and we're thinking about it,

we don't really know what the fighting is

actually gonna be,

you're just tryin' to create opportunities

for people to move through the space

or places where some things

could happen

and what they would come up with was

always surprising and fun.

This actually was a bit of a challenge

just in the sense that

we had so many characters and I wanted

them to have their own flair and style.

Starting with Hawkeye,

he has a somewhat established style,

but because he's coming into

this show as a retired superhero,

living with his family, has hearing loss,

is wearing a hearing aid, his back hurts.

He's kind of the John Wick of

the Marvel series, minus all the m*rder.

[GRUNTING]

I was doing fine.

Clint's back to being Clint,

and out of the Ronin life,

and kind of healing from the effects of,

you know, the Blip, and then coming back,

and the families are back, and wanted to

be back on track with his moral code

and what he needs to do,

and that becomes very defensive.

Everything's non-lethal

and you don't wanna hurt anybody.

A plunger arrow? What is the trick?

That it's completely useless?

We haven't really worked

in the action genre before,

and then to see how capable

he is physically

We did the bridge scene, was one of

the first action sequences,

and to watch that man sprint,

things that you don't think about,

that kind of

The muscle memory and the technique

involved in,

you know, left-handed arrow

and then grabbing another

I'm doing it wrong. But just

everything's like so on point with him.

And then just picking up

fight choreography on the spot with Heidi.

This is when you realize that

he's a level up. He's got all the tools.

I remember talking to my creative team.

I'm like, "I don't know

if I wanna be in tights when I'm 50.

"I don't think anybody wants to see me

in tights when I'm 50."

[CHUCKLES] You know what? it's all right,

it's doing okay. I'm happy about it.

Just as we were super impressed by, like,

you realize how many Avengers movies

and how much action Jeremy's done.

Hailee came into this, and I know

she's done Bumblebee before,

she's done a little bit of action,

but physically she's incredible.

STEINFELD: Before I came out to sh**t,

I was training in LA on

the stunt side of things with my dad,

who's a personal trainer.

The best in the game,

if I do say so myself.

And we spent months in all sorts of

different styles of fighting,

hand-to-hand combat. And once I had

my first archery lesson,

we started getting into exercises

and circuits of training

that would help me with my muscles.

Let me tell you,

you are sore in places you never knew

you could be sore the next day.

"Eenie, meenie, miny" and then

- Down the line.

- "Moe," and then breathe?

We had her doing things that you would

buy that a trained female could do.

So there's no big swinging punches

and things a guy would do with a guy.

They're very feminine, but still strong.

We have her doing a little Judo,

but mostly Aikido.

Also using her brain and using

found objects and being able to

think and be really quick-witted.

She evolves through the series.

She's sort of thrown into the deep end

and for the first time faces these guys,

you know, with g*ns

and that really wanna hurt her.

She's probably only fought

in competitions and things with rules,

and so to kinda lean in and see her,

how she's just seizing objects.

We looked at a lot of Jackie Chan

stuff to just

find that rhythm of spontaneity

and improvisation.

[GRUNTS]

We need a car.

Can we take this one?

Man, this thing's beautiful.

RENNER: The car chase

is after the big fight.

I'm not smashing a '72 Challenger.

Come on.

Tracksuits are chasing us down,

and we're severely outnumbered.

And I was roaming through

the streets of "New York."

Atlanta for New York.

They had this rig that they put the car on

where a stunt driver can get on top

and drive us through the streets.

It's an amazing thing.

Got incoming. Come on.

[GRUNTS]

Basically a drivable platform that we can

put the picture car on, put the actors in,

and get them really in the middle

of the action safely,

and duplicate all the physics

you would see in a car chase.

- How many?

- Four.

The actors could do their part,

their acting.

I do my part, I'm driving.

And we can run 'em through traffic,

we can slide it, spin it,

do all these wild stunty things

and it feels real, because it is.

TREVOR WATERSON: We wanted to do that

amazing 360 sh*t of the car coming around.

The idea there was to do it in

a continuous motion

having our actors in the car

and be able to spin them around.

And make it feel like they're moving

and the background's moving

without it being

a visual effects background.

Hawkeye's got a new ride.

- MAN: How fast you been goin'?

- What's that?

How fast you been goin' in there?

I don't know, like,

the last three takes

- MAN 2: Hundred.

- [LAUGHS]

That's I don't know,

I'd say probably maybe 50.

Fifty by the time we hit the 180.

The last three takes for sure,

we were cruising.

RENNER: It's like this is what's

gonna be the Hawkeye ride at Disneyland.

It's like, "No way." It really feels

like you're a part of, and in it.

And both of us, Hailee and I, we're like,

our jaws were on the floor

'cause you never get to experience that.

We're used to driving 25 miles an hour

and just pretending to drive fast,

or whatever it might be.

But we were living in it like

it was a roller coaster ride or something.

We're going

We're hauling butt down this thing.

"Let's do another take."

MAN: How was it?

That was the funnest thing I've done.

in a long time.

[BOTH LAUGHING]

Forehand!

Big jump!

When we were in the writers' room

and we were talking about

how do we integrate our heroes into

a world with supporting characters

that really can help elevate them

and bring them the help that they need?

And much like the ex-cons

are to Scott Lang in the Ant-Man world,

we wanted to have a group that can bring

a fun tone to the series.

[SCREAMING]

RENNER: There this whole crew of

live-action role players called LARPers.

It's like cosplay and that stuff.

They're very into this world,

and they make their costumes.

Take my chances.

We're filming here in Atlanta, but it's

supposed to be Central Park in New York.

What we're setting up here is the start

of Clint's sort of LARPing journey.

I'm a Viking. I'm really a Viking.

Basically, I got the suit.

He thinks I stole it, but I found it.

And we all know finders-keepers

is the rule.

Let me k*ll you.

What?

It's make-believe anyway. Just let me

k*ll you in single person combat

and then I'll give you the suit.

No.

Come on, man. You're a hero in real life.

This is as close as I'll ever

get to be to being one.

We set up this duel

and everybody's circling around them

as they do this big, fun mock-LARP battle,

and somebody wins,

and somebody gets the suit. [CHUCKLES]

Proceed!

You suck your stomach in

and your posture gets right.

I don't know what's in the back of

this thing but I feel two inches taller.

You kind of pose different, I've been

putting a lot of hands on hips,

you know, just like stoic

brooding poses and stuff.

It's a suit from the Marvel universe,

it's got a lot of history,

it's got a lot of stuff going on

with the suit in this series.

Also it's usually a pretty serious suit.

If somebody's got this suit on,

it's usually not good for the bad guy.

So, to have it and do something fun

and silly with the LARPers is awesome.

My view is tremendous, by the way.

[ALL LAUGHING]

We, on several occasions today,

have said, "Can't believe they pay us."

Like, it is the silliest I think

I've ever been in a good 20 years,

and I'm not that old. [CHUCKLES]

Pardon me, right behind you. Jesus!

TRINH: Pizza Dog is a must

for the series because

Pizza Dog is a very, very big part of

the Clint and Kate Bishop world

in the Matt Fraction run.

We've never worked with, at least

I've never worked with an animal before.

But we wanted to make sure that Pizza Dog

was gonna come off the right way.

Hey, bud. Look, it's you. It's you.

This is Jolt.

She is a three-year-old Golden Retriever,

and she just loves to work.

Good girl.

BERTIE: Jolt is the most gorgeous,

humorous doggy,

who just wants cuddles

and love all the time,

and I've never seen a dog smile

so broadly. On cue. Just like

BERT: We love working with animals,

though they say not do it,

but we seem to always do it.

But Pizza Dog has been an absolute joy.

Hi.

Before we started filming, Hailee gave her

a bunch of cookies and just loved on her,

and every time they meet

she's really good with her,

and she comes and she greets her.

I think they've become good friends.

[BARKING]

TRINH: In the comics,

Derek Bishop, Kate's dad

is actually the villain,

and what we found interesting was,

what if we actually, you know,

turn it the other way around and make

Eleanor Bishop the villain of the show,

and really explore

the mother and daughter relationship

that we haven't quite seen in the MCU.

Kate, it's sweet that you're worried,

but just remember I'm the mom,

it's my job to protect you.

I am not a little kid anymore.

You're not a superhero either.

It's hard work raising a successful

daughter, especially when have different

definitions of what that success means.

I have given you space

to have this crisis,

but if I don't step in, you're gonna

look back in 10 or 20 years

and you'll wonder

why I didn't take the wheel

when you were swerving over the road.

They're confident, they're capable,

they're strong-willed,

they're opinionated,

but they're very different.

You wanna tell me when

you got into swords, Mom?

Hon, there have been a few changes

while you were away this semester.

Ta-da! Oh. [CHUCKLES NERVOUSLY]

What an unexpected surprise.

FARMIGA: I think Jack coming into

this role and wanting to serve this role

as stepfather figure,

he's walking into an emotional minefield

with these two gals.

I think a common interest

is very fertile ground for bonding.

Bonding. That's exactly

what I was thinking.

TRINH: We really wanted to bring

in Jack Duquesne,

who in the comics is supposed

to be Swordsman,

and Swordsman in the comics

is Clint Barton's mentor.

He taught Clint how to do archery

and really is also a villain at the end.

We wanted to explore that character,

bring him into the series,

but wanted a different twist to it.

My brother got me all these comic books

about The Swordsman that were

printed all these years back.

So I just kinda, you know, got into it,

see what this guy was like,

and it was sort of this swashbuckler

kind of Errol Flynn type of character.

So I tried to kind of instill that

a little bit into the character,

this sort of debonair, kind of very classy

sort of kind of guy, you know?

You know what they say

Life is short.

You never know what you're gonna get.

[CHUCKLES]

What?

TRINH: With Jack's character,

we wanted him to be the red herring,

we wanted people to really question

whether or not

he is acting as sort of like a buffoon,

I guess, in a way, this entire time,

or is he really faking it?

Careful, honey.

When am I not careful?

Always. You were always not careful.

I was talking to Jack.

DALTON: When I got the part,

I hired a professional fencer,

and we went at it for weeks.

I'd taken fencing,

oddly enough, back in the day.

I took a couple of semesters

back in college,

so I knew what I was doing. But I needed

to refresh it. It has been a long time.

What are you hiding, Jack?

Nothing.

I'm an open book. Right, darling?

TRINH: Kate does this one little

smart move on him that he deflects.

And we wanted to leave his character

at the end as a mystery.

And that will actually allow a lot more

opportunities down the line

if we want to explore Swordsman

in the MCU.

RENNER: It's kind of like, you know,

building a brick wall.

I mean, you got to lay one brick, put some

mortar down and then another,

then it defines kind of what it is

as it goes along.

And with each thing

that has been layered in,

we get to use that.

We can talk about

all these things that can happen that make

this Hawkeye show even exist.

And because of this Hawkeye show,

Florence comes from the Black Widow movie,

and all these things start to happen in

a weave like Kevin has always done

all in the MCU all along.

What we really wanted to bring

into this series is

the connective tissue

that Clint has with Yelena.

We went to Kevin, and we had asked

if they can do a tag

in the Black Widow project to see if that

can be connected into the Hawkeye series,

and the tag actually has Yelena going to

Natasha's grave site,

and Julia Louis-Dreyfus' character,

Valentina, comes up next to her

to show her her next assignment.

Maybe you'd like a sh*t at the man

responsible for your sister's death.

Kind of a cutie. Don't you think?

When there were early discussions of

if Yelena was gonna come back,

I was thinking about where her mind was.

How does she find out? Who tells her?

How does she react? Who does she go after?

And then when we sh*t the tag scene,

I didn't see it coming that they'd

put me and Clint against each other,

which I thought was a cool twist.

If we did the for-real fight with

me wearing goggles, it'd be like this.

I was I'm gonna, I'll go get you

a sandwich, I'll be right back.

RENNER: There's a lot of things that

we had to work through story-wise,

'cause we don't know each other.

She thinks I k*lled her sister,

I'm like, "That's not true."

All these things, so we're trying to

fill in holes of truths and backstory.

She was really wonderful

to kind of help shape that.

She's such a beast.

She's throwing me around.

When Florence and I had

our first day together,

I just remember being so excited about

the fact that there was another female

that came in and came onto the set

and totally took ownership of her space

and her character

and who she was in our story.

I know you're thinking, "What?

This is crazy.

"I'm going to have dinner with the enemy,

and she made good looking macaroni."

My relationship with Hailee

is kind of like,

our little heartbeat throughout

both of our stories.

I think they're both craving friendship,

especially Yelena.

And I think there's also that

lovely level of

"Oh, well, if we really fought,

I'd win in two seconds."

So, you know, I may as well just

have a friend in all of this.

What are we doing?

I mean, it's Christmas Eve.

Let's grab a drink, huh?

- Okay. Yeah. Sure.

- Cool.

After I k*ll Barton.

No, that's not

No, that's not what

[GRUNTS]

It's a very funny, soft, friendly fight.

- Out of all the fights

- Yes.

this is, like,

a definite sisterly tussle,

which is cute because up until that point,

I think we've both been

in pretty hairy situations.

They're having fun.

- I'm going to do it either way.

- [GRUNTS]

Okay, but hear me out.

What if you, what if you don't

RENNER: We're at the Rockefeller Center.

It's pretty cool being here.

I gotta tell ya.

It's especially with no one here.

[CHUCKLES]

TRINH: We wanted to sh**t

our finale at the Rockefeller Center,

and initially we weren't quite sure

if we were gonna be even allowed to do it,

or how were we gonna

accomplish such a big feat there.

But spending that time there to make sure

that we got the environment

and got the tree and got the rink,

and then replicating that in Atlanta

for the rest of the work

was pretty incredible.

We're not, in fact,

in New York City currently, but we were.

And it feels like

we are now with everything,

from what you see

behind us to the temperature.

The sets that Maya Shimoguchi,

who's our production designer,

built were amazing.

The construction team in Atlanta

put together the sets

that people were blown away by.

They copied right down

to the look of the granite.

So, it was amazing between that,

and the ice was not really ice

because we determined that the ice

was gonna be too hard to maintain

and the temperature levels in Atlanta

wouldn't allow us to keep the ice frozen.

So, it's actually a knock-off substance

you could use, and wasn't slippery.

Which was nice,

we have crew walking around on it.

Getting to this point now

as we near the end of filming this thing,

although we've sh*t

very much out of order,

ending with this part

of Kate is actually pretty special,

I think, because she has grown

and I have been able to find her

through all of those jokey,

crazy, funny, actiony bits,

and then we get down

to the most insane fun action.

Hello, sweetie!

I've always referred to this sequence

as our Rio Bravo sequence,

essentially the siege

of Rockefeller Center.

So, we start out high

in the building at this serene party,

and it's very Christmassy,

and everything's mellow,

and then chaos erupts.

And ends with the tree coming down,

which for me is particularly special

'cause, yeah, I worked

at Rockefeller Center for about 12 years,

so, it's bizarre

that we've recreated this whole thing.

[CRASHING]

Pretty impossible to do what we're doing

to the Rockefeller Christmas tree

for the love of Christmas, right?

[LAUGHING]

But it's pretty awesome.

We're gonna do a lot of really k*ller

kickass fight scenes on this ice.

My g*n! What happened?

That should hold them off for a bit.

- Oh, my God, you wore it!

- Yeah, yeah, yeah.

Oh, my God, it looks so good, I told you.

It is the moment in the story

where they become a team.

So this is the moment

where you really want them to feel like

they're connected and they're a piece.

And I think we accomplished that

with the costumes for each of them.

Bringing the design elements

like the chevron and the various

shades of purple and black

into the design so that

they feel like they are a collective

and a team that can work together well.

Kate.

Let's give 'em hell.

It was so funny,

'cause during our first fitting,

I must have heard

"It's just a prototype" like 100 times,

because I was so overly excited,

much like

Kate is a lot of the show,

that they were like,

"You have no idea. It's not

"This is just the bare bones

of what this is gonna be."

And I was like,

"Well, if that's what this is,

"then this thing

is gonna be pretty badass."

- Stealth.

- That was great.

In keeping

with sort of the utility of everything,

we wanted the costumes to feel

a little bit more like sportswear,

like something that you could move in.

You know, a lot of the superhero costumes

have a lot of bulk to them

or feel restrictive in certain ways.

We really wanted this to feel

like they can move in them.

I'll never ever complain

about the comfort level of suits

compared to every other Avenger

and superhero out there,

'cause I have probably,

or we probably have some of the more

comfortable ones, considering.

The only one that might rival

the comfort level is Ruffalo's,

it's just some checkered pajamas.

[BOTH LAUGH]

And that Missy, boy, she just

outdid herself with the suit, right?

- The elasticity in this fabric is

- Okay, you can stop.

RHYS: That was a difficult

sequence to manage

because you had so much story

converging in this one place.

Letting each of them have their moment

so you're invested.

You understood what was going on,

but could keep moving between them.

That was the biggest challenge of all.

Your first arrow is gonna go to Kate.

- This is Kate.

- Hi.

- Hi.

- You're gonna fire at him. One, two.

And then second one up high.

We've got a massive fight on this ice rink

with a bunch of Tracksuit Mafia

where Kate and Clint finally find

their rhythm and become a team,

which is a really great evolution.

Ready! And one! And two! And three!

And four! And five!

Ready. And fire!

Kate goes away to kinda find her mom,

and Clint's back on the ice,

getting sh*t at by Kazi

and stuff's going crazy,

and then before you know it,

Yelena's tackling him back onto the ice.

[GRUNTS]

Ribs.

For me, this is one of the most

emotional and epic scenes.

Nobody k*lled her. She made a choice.

Stop lying!

As these pieces of the story unfold,

she's becoming less technical

and more brutal.

So by the end of this,

she's got one of her batons

and she's literally b*ating the crap

out of him and he's letting her,

because he feels as bad as she does.

[SCREAMS]

So, obviously, it being a finale,

we see all of these stories

kind of come to a head,

and Clint's been

on this redemption journey,

and Maya, you know,

is sort of a palpable fallout

of his actions as the Ronin, and so,

we watch them both have their

climactic sort of showdowns.

Him with Yelena, her with Kazi.

[GRUNTS]

Seeing the comic page

come to life on the screen

is what has excited me

for the past 20 years.

But really, as we get into

the second decade of Marvel Studios,

what is equally exciting to me

is the enthusiasm

and the joy that the actors themselves

bring to evolving and portraying

these characters year after year.

We were all on a call,

me and Kevin and Trinh,

and we were talking

about the Tracksuit Mafia

and the criminal organization

behind this story,

and we needed a really big thr*at,

like something that,

you know, would make Eleanor Bishop

shake in her boots and Hawkeye,

you know, get a little bit afraid.

It had to be someone powerful.

When you talk about

organized crime in the Marvel universe

and you talk about

the seedy underbelly of New York City,

there is one primary character

that comes to mind.

TRINH: Kevin threw out the idea that,

"What if this could be Kingpin?"

And I think all of our jaws just

kind of dropped in our Zoom meetings,

and we're kinda like,

"Wait, you're joking, right?

"This can't be serious. Are you serious?

"This is You're

"You really think that there's a chance

"that we can actually

get Vincent D'Onofrio,

"who plays Kingpin in Daredevil,

"in the series as a cameo

for a couple of scenes?

"Like, he is our big boss?"

And Kevin made a call to Vincent.

He said,

"I want to bring you into the MCU."

I'm not gonna say no to that.

That's pretty awesome.

The people

need to be reminded

that the city belongs to me.

I really loved playing this character.

I liked creating him, you know,

from the art of guys like David Mack.

TRINH: We had talked about doing

a heavier set version of Kingpin.

But ultimately, we wanted to go in

a different direction for this character.

To put him in that Hawaiian shirt

was kind of like a dream come true.

We had talks,

and she gets really in depth about things.

I love that 'cause I was able to explain

how I feel about the character

and what motivates the character.

And Fisk is really driven by emotion.

You know, he's like a child

and a monster both at the same time.

So it got very intense yesterday,

and it got a little bit

intense today, too.

Maya.

You and I

we're family.

Family.

Sometimes family doesn't see

eye to eye

[expl*si*n]

This whole experience

has been really crazy.

I mean, there are just

a lot of moving parts

and just an amazing,

amazing large team of people.

And to have

Jeremy as an ally through all of it

has just been really special.

Make sure you get that curve.

- You got it, right?

- Okay.

I keep saying there's a lot going on,

and in the best way,

but it's nice to look

at the person that's next to you,

that you're in this scene with,

and have an understanding

and confidence

that you'll get through it together.

Yeah, he's my partner.

No, we're not partners.

- Well, we're friends-slash-partners.

- That's kind of a stretch.

It's bittersweet for sure

as we come to this end.

TRINH: The mentor-mentee relationship

is what we were really

striving to showcase in the series.

But it's not really

one-sided between Clint and Kate.

What's also really interesting is that

he's learning so much from Kate as well,

too, throughout the series.

And in the end, you know,

having learned a lot from each other,

they both become partners,

and, you know, he eventually

hands the mantle over to her.

What do you think of "Lady Hawk"?

Yeah, that's terrible.

RENNER: I mean, it's hard to quantify

what it's meant for me as in my career.

It certainly made me famous.

When a fourth-grader and third-grader

knows your first and last name,

that's a strange thing, right?

It just,

it becomes like a very global thing.

I know it's affected that way.

But when I think of the MCU

and my experiences playing this character

and every film that

I was fortunate enough to be able to do,

it becomes much more

of a personal journey.

Look at the wonderful

relationships I've got to forge

you know, 'cause we're also

When you do a film,

you're usually done and you move on.

And this is not even just a trilogy.

This is a lot of films, right?

So, you get to have that

sort of family element

and continue on through so many years.

And when you have a career

shared together,

that's very, very far

and few between, or never happens.

And I feel very blessed for that,

and that's what I think about

when I think about my time in the MCU.

See? Tree covers the parts

that won't come off. Damn it!

[LAUGHING]

Am I dead yet?

Ow.

Don't go without me!

Have you ever eaten reindeer?

I cannot say I've had the pleasure.

[FAKE LAUGH] No, it is not a pleasure.

Put it down!

Is my soul dead yet?

How about now?

No?