Iron Man is
an interesting character for us. We’ve done Spider-Man. We’ve done X-Men.
We ‘ve done super powers. Many of the Marvel properties have
long histories in Hollywood. Iron Man was at least
at Fox and New Line before coming back to us. And for whatever reason, you know,
the time wasn’t right. It’s been a different journey for Marvel since it’s really their ﬁrst real venture,
coming out as a company, fully ﬁnancing and releasing Iron Man. And it’s a big deal to be a part
of this production. So much of the company is now
invested into this potential franchise, which is really
what these films were meant to be. But we need a storyteller Jon is a talent in many ﬁelds, in front of the camera,
behind the camera. When you look at Made
and Elf and Zathura, that’s the track of a ﬁlmmaker
that is nearing the top of his game. But very important for us with him
is his love for Iron Man. That was the movie he wanted to make. Iron Man is one of the comics
where you have very few purists who have attached themselves
to speciﬁc storylines. In the case of Iron Man,
it’s the myth of Iron Man, it’s the suit. It’s what the suit could do. Things change from time to time
with the suit, but there’s a basic character
that Tony Stark has and a certain look that the suit has. I went in to meet them,
and then wound up screen-testing for Tony Stark, for Iron Man.
It was, like, I went into the building and everywhere you go,
there’s another movie you love, and the Spider-Mans and everything,
and you go, “God, it would be really great
if I could do one of these.” It was kind of like
an independent director and cast, but, you know, doing this great big ﬁlm. So it was the best of both worlds. -|’m jealous.
-Next time. This is the part of the Marvel offices that they gave us
for Iron Man preproduction. Normally, we would, you know,
start this… We would rent some office space
near a studio. We’re about to move
to Playa Vista Studios. So, this allowed us to sort of
get a running start and be close to the people
who are part of Marvel Studios here. So it was nice,
’cause we had these great digs and we got to use the meeting spaces. And we’re starting
to outgrow this space. Here are some different…
The evolution of concept art for the suit. These are earlier designs
that we didn’t go with. But they helped evolve the suit
into the final look. The suit evolved over decades, and it wasn’t until an artist
named Adi Granov took a whack at the costume
and reinvented it, that you found a suit that
looked more like solid armor. More like something
with a military application. Almost like a flying machine and not like a suit
that somebody slipped on that was skintight and happened
to be metallic. This suit felt real. It felt like something mechanical,
something that was tech-based. And that was the image
that I gravitated towards, from the whole packet of 40 years
of Iron Man images that was given to me. The suit for the movie
is completely different. In my artwork,
I try to make things appear functional, but they’re not functional, because
there isn’t a real person inside. We spent months and months, trying to figure out how different
sections bend and intersect, and how there could be a person inside. And if he bends his arm,
will it actually break his bones? I mean, all those details like that. And then the helmet,
and how the helmet opens and can the head ﬁt inside the helmet? And then does that make
the head look too big? I mean, all these things that,
in a comic book, I mean, Ijust draw
whatever looks the best. We have, basically, the chest piece, which you see
on one of the other renderings here, the abdomen piece, which would go on
sort of like a tank top. You have the boxer shorts area
and then the leg. The whole idea is to make each
of these components expand, so that you can just slip
into them as one big piece. And then, as you put them on,
they would collapse and end up snug on the leg. Here’s Ryan working on some
keyframe work from the movie, of Tony Stark first waking up in captivity. This is the beginnings of… Some thoughts for the beginnings
of the first gray Iron Man suit. So you can see the chest piece, and as you can see, these arm-pieces were inspired by
this piece of hardware here. This armature that we got
from Stan Winston was basically a starting point to say,
“What are the basic pivot points “that you would need
to be able to move your arms “and have as much flexibility
as possible?” This is also something that we used
to help limit the movement that the performer used when we were doing some mo-cap tests
for the 06/ on it. This is sort of a dogfight sequence
that happens late in the second act. As we can see,
we’re sort of cross-cutting between Rhodey,
the pilots and Tony Stark flying. And these have been color-coded
and worked on and photocopied because this is part of what was used
to be input into the animatic. This was all input into the computer
and animated, and you’re able to watch it
like you would a movie. I think, very early on,
Jon had a very compelling vision for how he wanted to cover
the Iron Man action stuff. He wanted to shoot it like we took the Iron Man suit, turned it on, and basically,
we’re flying beside it in a helicopter, and that’s how we got
Iron Man on camera. The one thing that we still have
over pre-vis and animatics is that you can draw a scene
really, really quickly, and you can draw changes really,
really quickly. And as it should be. I mean, it’s
an exploratory part of the process to find the vocabulary of the movie
and find the angles you want and come up with
the coolest stuff possible. If anything, that’s the comic book artist.
He ‘s sort of like, “I’m just going to draw
and draw and draw. “I’m going to make this scene huge. ”
You know? And before you know it, it just expands into something
that’s absolutely unmanageable, unshootable. lt’ll never go in any schedule. But what you can do from that
is take the things in it that you respond to.
And that’s what Jon did. So, this is what I was hoping
would be my office, but they made an appeal to me that this
was the biggest room so we had to… We need a room for all the pre-vis crew. So you have animators, CAD artists,
everybody who is involved with taking what we did on the storyboards
and translating it into 3-D animation. There are certain shots, like,
this is a really successful shot here. We like this one a lot. His little lights
come on, his flying lights. And then coming into
the Santa Monica Pier. Some of these are a little bit too quick,
some of them are a little bit off. The flow is pretty good.
But once we refine it in the pre-vis, it will then translate pretty much
one for one with the final film. We ‘ve seen flying in so many movies, especially through buildings
in New York City. We wanted to put this one
on the West Coast, where flight sort of began,
or where you had Hughes’ aircraft, and sort of keep the tradition of him being
a Howard Hughes-type character alive. I really like this one,
how he’s flying over all the buildings. Really feels like you’re flying
up into space, into the stars. That’s really cool. So, when we’re done with this,
it will actually, hopefully,
translate into the actual movie. And we’ll be able to watch
some finished film while we’re working on the movie, and show it to the actors
and the crew for morale. That’s really great. And the camera shake is pretty strong.
That’s really good. See, this is exciting.
This gives me goose bumps. You’re not even fighting a bad guy here. All you’re doing is, really,
flying through the air. As I was talking to the people
doing the pre-vis, the artists, the storyboard artists,
the animatics, it was about, “How do you really, viscerally,
make you feel as though you’re flying?” We’ve all dreamt about flying. How exciting is one of those dreams?
It’s never boring. I think just the feeling of flying
for the first time, in a movie like this, if you handle it right,
should give you chills. Just seeing him fly,
really feeling like you’re flying with him, if you cover it the right way,
shoot it the right way, present it to the audience
in the right way, it should be an emotional experience. And then, when you ﬁght the bad guy,
even more fun. But don ‘t blow past that stuff.
What’s it really like? What would it really be like
to get in a suit that could fly? It would be a life-changing experience. Don ‘t lose sight of that.
You’re making a movie. And movies are about emotion.
They’re about allowing the audience to experience something
they can’t in real life. But let them experience it in a real way.
And that’s the hope. The hope is
to ground this thing in reality wherever we can,
because it’s so superhuman. These heroes are so larger than life
that any opportunity we could ﬁnd to sort of screw it down to reality… We would be hard-pressed
to make a movie without taking advantage
of those opportunities that you would
really feel something about. Generally speaking, if you’re making
a movie about a billionaire who can go anywhere and do anything and has
any amount of money to do anything, and you have a restricted budget and you have to try and create
that world that he lives in, that’s a big challenge. He doesn ‘t just have the CV,
he has the 737 private plane. You know,
everything is elevated with him. It’s notjust a house,
it’s an insane mansion on the bluff, in Malibu on a cliff. And so, there was a lot of fun
in designing, location-scouting, casting, shooting.
You get to play a little bit of fantasy, ’cause when you think you’ve got
something that’s enough, you amp it up more. When we were looking
for a place to ﬁlm, there were a lot of possibilities.
Marvel doesn’t have its own lot yet. Maybe someday they will. And so we were looking for stage space
that was large enough and in the Los Angeles area. And one of the places where a lot of
ﬁlms have shot is here at Playa Vista. And we thought it was really cool, because this was the place that
the Spruce Goose was originally built. It was Howard Hughes’
old assembly factory, and his headquarters for some time. You know, it wasn’t lost on us
that the legacy of Howard Hughes was sort of alive and well here, and Tony Stark is a little bit of the heir to the throne
of the Howard Hughes reputation. You know, for so long, the divisions
were kept very separate. The film division out in Hollywood, which really was producing the films
with other studios, was separate from the publishing
division, where they make the comics, was kept separate
from the animation division. And it was important to me
to bring all those divisions together. So there’s multiple chambers,
obviously, to this thing for the escape sequence. Marvel Films invited a bunch of us out, myself, Joe Quesada, Axel Alonso,
our big editor brain trust, and a number of our key creators. It was a great thing even just to go out
and be asked and to walk around
the half-ﬁnished sets and see all the preproduction design. It really makes you feel,
just as a guy working at Marvel, that this really is our movie,
as opposed to a movie. Is it too much of a shift to ask
that he feels that he’s fallen short -of what his father’s ideology…
-I think that that’s with either his alcoholism,
his tardiness, his womanizing… Working in the comics for so long, and
then sometimes watching the movies and going, “No, that wasn’t quite right. “If they’d just stayed a little closer
to the source material…” So, part of our being there was saying,
“Guys, how far are we “away from the source material?
How do we steer it back? ”Is it okay to steer away this way? “And how do we just make this
the best possible movie?” I think, also for Pepper,
she has to realize that the moment that kiss happens,
she’s the glue in his life. Without him, the whole thing… We had two great
writing teams on this ﬁlm. Art Marcum and Matt Holloway came on
and did some early drafts for us and continued throughout the process,
on and off. And Mark Fergus and Hawk Ostby
came on board as well. They had worked with Jon
on a ﬁlm he had developed at another studio
that didn’t end up moving fonrvard. Marvel Comics has been really fantastic about giving us the whole history, teaching us everything we could ever
want to know about the characters, and then saying, “Feel free to explore
around those parameters.” When you see he’s in there,
you’ll love this. Right there. We made a decision early to go
with Stan Winston Studios to design, with us, the Iron Man suits. That’s gonna be too kicky.
And that’s too mattey. I like the brush feeling here. I’d like to say, “Gosh, everybody was
just clamoring after us to do Iron Man.” But the fact of the matter is that the minute we heard that Iron Man was being made,
we went after it. We’re all Iron Man fans. It was like the perfect thing
for the studio. So we went after the show, and just about the time that Jon Favreau was signed
to actually direct it, was when we took our first meeting
with Marvel, and Jon was in that meeting. This particular film
was a little bit more interesting because there was already
a design idea, or a series of design ideas in place. They had conceptual drawings
of Iron Man that ﬁt a certain body proportion
and a certain body type. So we had to inherit those
and then bring them into our world and make them function. The big challenge was the fact that they hadn’t cast anyone to be Iron Man. And here it is. Here’s the final. -And that’s what we come to.
-Here it is. That’s what we get
for the amount we have to spend. The journey you generally go through
in the creation of a suit, is you sit down with Stan Winston,
his design team, our internal team,
Favreau, the producers, and everyone starts with drawings
and images, and you Photoshop
and you get to a 2-D drawing, like a color drawing
that you can hang up. That then gets moved
to a modeling stage, to a 3-D model, so you see a QuickTime
of a model that turns. Then that goes to a clay-maker, and then you see
the ﬁrst clay made of it, and it’s something tangible now,
that you can touch and you can spin. And we’re convinced
that a human head would actually fit in this thing, right? The ears are right up inside,
right up against the… It’s exciting. This is when you really get
a sense of the movie coming together. When you start to see this. It’s a bigger leap, in some ways,
to go from an idea to this, than to go from this to the actual movie. And then there ‘s generally a maquette
that’s made, which is a miniature desktop model
of it. It might be only two feet tall. It’s a work in progress,
but it’s coming along. -That’s great.
-Obviously, we don’t have the wardrobe. And then you wait.
And you know the next step is the suit. And it’s the full-size, shootable,
physical suit that a person’s going to get into. I’ve never made a movie
of this size before, or of this genre. I’ve always been a fan,
but it’s a daunting undertaking. The day I knew everything
was going to be okay, was the day that Robert Downey Jr.
was attached to play Iron Man. That is gorgeous. What Kevin’s going to do,
they’re going to take a cast of your foot, so that it’s a very low relief strap. Stan Winston ‘s reputation,
and Shane and the guys on that team, I’ve worked with them before.
Every time you go into their shop, you go, “Oh, my God. And they did that?
And they did that? “And Al, and this, and that. ” And you see a history of ﬁlms
that I grew up on. The reason that I’m playing Tony Stark,
the reason that I’m involved in Iron Man, the reason that I’m so excited is,
I’m crazy about movies. That’s why I wanted to become an actor. That’s… Like,
I could cry watching C.H.U.D. Cannibalistic Humanoid
Underground Dwellers. | buy into the movies. I love it. I see The Fly, I don’t care
if that’s Jeff Goldblum going… You know, I’m in it. They’re transporting, the fly’s dying… I mean, I’m a sucker for this stuff. Again, I’m just thrilled that we landed
another gig with you. That’s cool. Me too, man. The best thing I can tell you about me is, ultimately, Ijust don’t do anything. Well, I’m sick. I’m out of here. -All right.
-Later. -Get a good night’s sleep.
-Stan, thanks. Good to see you, Robert.
I’ll see you soon. lwalk in like a fan because,
and I say it humbly, because I really don’t do it. I did it when I started. Now | oversee it, Shane oversees it, everybody…
I just enjoy it. I come in, and it’s easy for me to say,
“Wow, that’s cool. Do more of that. “Now, make sure my name
is on the screen.” How many gags are you doing? We’re going to do the inclined one
after this one. But this one, right now,
you’re more upright. We’re just going to do
a small blender section. Hey, I don’t like my little tummy there. I’m not doing all this core work
for nothing. That’s all I’m saying. Behold the mass. -l’m beholding.
-What the… -We could hold off on this part.
-“Hi, honey.” We are building a prototype
while we’re going. We’ve never built
an Iron Man suit before. You’re zooming in on my hammer
right now, aren’t you? Ease up on the hammer. What kind of twisted parlor game’s
going down here? And so, you’re given a launching gun, and then you have to hit the finish mark
with the suit done. So it’s not like we are ever able to
make one, and then scrap it
and make another one, and make improvements and scrap that. We have to actually work it all out and deliver at the time
we ‘re supposed to. Faster! Right now you’re in the Stan Winston
mold shop, in the finishing shop. What you see behind me is where
most of the parts are being modeled, and parts are being painted. There’s about 450 individual parts that make this suit. This is going to be the Mark ll’s chest. This is where the RT will go. And it’s actually SprayChrome metal and it’s been brushed. This is actually the process of putting in
the rivets, based on the design. And actually,
it’s not really a polished rivet at all, it’s just the illusion of a polished rivet. These are two pieces from the Mark III. And these are from our early test. This enormous calf,
it has sort of the accouterments ofjet engines and things. But the foot goes in here, and then these panels had to be
designed to slide and move. These are large sections of the
Crimson Dynamo that are being made. This is a negative, flexible mold, and these are just quickie,
temporary molds to pull out hard shells. What’s interesting
about what Trevor’s painting, is that this is a flexible paint
for urethane. It doesn’t crack or buckle. And we have a lot of parts
that are actually flexible. It took a long time to get that to work. And this is Tim Nordella, who is
mechanizing the Crimson Dynamo. There’s a hatch that opens, revealing the sinister man who’s inside. Eventually, it’ll all be dressed
like a very, very tight… And down below,
like the cockpit of a dive vessel. and the escape hatch
of this particular thing here. When you work with someone
like Stan Winston ‘s company, so far, this is Jon
and my second ﬁlm with them, it’s still a pretty magical experience
when that suit’s ﬁrst rolled out. Shane likes to put it
behind a curtain, generally, and unveil the curtain
in a very dramatic way. And there was Iron Man,
standing behind. What can we do today? -Wow.
-Wow. And then you look at it and you touch it, and it’s half excitement and half fear,
because it’s very real. And generally, you’re pretty close
to production at that point, when that suit’s shown to you. So, hopefully your research was right,
and the proportions all line up, and the textures are good,
and the colors, and all the decisions you made
along the way make sense. Once you start to not see the whole guy, the proportions of him, and I think 2.35 is a good move here, I think it holds up really well. When Jon ﬁrst saw it,
he was all smiles. I mean, he was really happy. Once the stuntmen had really become
accustomed to the suit… When they started out, they were just a little afraid
of damaging it. Plates intersecting and chipping off
paint and that kind of thing. But by the end of the day, he’d really
gotten the full range of motion and sort of learned to live in the suit. Those dailies at the end of the day
were just amazing. I think everyone was just blown away. You have to be strong
and you have to be athletic to do this. It’s like wearing
very heavy football gear. Your endurance level has to be up for it, because it’s a double-edged sword. We have to make it
light enough to move, but we have to make it heavy enough
not to just completely crack apart when somebody puts
too much muscle into it. Do, like,
the first guy outside the door. The Mark I,
with the flamethrowers and stuff, was close to a hundred pounds. Without the flamethrowers and the gas,
and everything on it, it was maybe 60 or 70 pounds. Okay, and roll camera. -Rol|ing.
-Rol|ingl What it feels like you’re doing
inside the suit doesn’t relate at all. When I’m walking, if I look down
to see my mark at all, they notice. But when I roll my shoulders up
and try to hit the hero pose, they can barely see it. So it’s taken
a while to watch ourselves on camera to learn what it looks like,
and what the moves relate to. Another rotation, Mike. Right here, it locks out. And here, the weight comes down
on my shoulder. Soto be erect…
Is this what you’re looking for? | just want to see it. To see if it… ‘Cause right now, | see you crouching… The hero poses kind of came from us
just kind of striking poses and looking at what looked best and then them saying,
”Yeah, hold that, hold that, ” and things from the comic book that
they had took, and poses they want, Just different looks and, you know, just trying to show that you can
see his character. If he’s angry or if things are going good in the suit,
they wanted to see that on camera. -Rol| camera.
-Rol|ing. Action! Yes, of course, there’s going to be
a great deal of digital work that has to be done to bring
something like this to life on screen. But the fact of the matter is
these suits truly exist, and they are going to be there, and they’re gonna be on the set. And there are going to be actors, and we are going to see the real thing
along with the digital things, but when you, as an audience,
are looking at it, it screws you up a little bit, so you
really don’t know what you’re seeing. “Is that real? Or is that digital?”
And then you let go. My background as a ﬁlmmaker
is not in this sort of genre. l have dabbled a little bit in
special effects in Zathura and Elf, but really, I come from more
of an independent background. Primarily, a comedic background. And so I really wanted to offer a human side that would ﬁt in
with my sensibility of ﬁlmmaking. And in assembling
the cast that I did, between Robert Downey Jr. and Jeff Bridges,
Gwyneth Paltrovv, Terrence Howard, that’s a cast that I would be
happy to have in a drama or a comedy. And to be able to have them to
support a bigger-than-life superhero, really offers a possibility to exceed what people ‘s expectations
might be of this type of genre. Listen to me. Listen to me. You are like a little child
sitting next to its father in a car with a plastic steering wheel, turning the wheel.
But it’s the father who’s driving, Tony. Then let me out of the car. Join me, let’s get the hell out of Stark. -We can raise all the funds we want.
-You’re out of the car. What do you mean? l was the one who
arranged the injunction, Tony. Well, you could have saved
a lot of trouble if you just… -Did I hurt you there?
-No, that would be great. That’d be great. I’m gonna… I think it was my manager, David Schiff,
who was very excited about this project. He was telling me about Iron Man,
and I said, “Who’s directing it?” He said, “Jon Favreau”,
and I said, “Oh, God. “He’s such a wonderful director,
writer and actor.” I said, “He’d be great to work with. “Who’s playing Iron Man?”
“Robert Downey Jr.” So, “Wow,” I said,
“That’s a pretty good team right there.” And I said, “Keep me posted, this is
something I’d like to get involved with.” We’ll let you warm up a little bit, and then we’ll start throwing
a little movement into it. Robert’s a guy who’s very disciplined
in his approach to everything he does, and he’s really gotten his body
and his mind into a very, you know, sort of clear,
disciplined state and that sort of carried over
into how he prepared for the role. Wherever the direction is,
just point the opposite way, right? Yeah, when you feel it
going the other direction, act like you’re trying to counter it. There you go, just like that. I think he was very aware that
he sort of had a burden in this ﬁlm that he hadn’t had before. He could sort of be charming and funny
and come in and out of a movie and steal scenes in the past, but now he was a
sort of an iconic superhero. It’s good to eat about 10 minutes
before this, right? -Oh, yeah.
-Yeah. l weight-train crazily. And I do a lot of martial arts and yoga. Kung Fu, Wing Chun Kung Fu,
but I was doing that anyway. Now you’re going backwards,
so then you pump it up. About a year ago, lsaid,
“I really want to put on some size, ” which isn’t easy when you’re
in your late 30s, and now I’m 41. I thought if I’m ever gonna do a movie
like this, I’ve got to do it quick, before it’s not embarrassing. But anyway, I feel like I’ve got
a ﬁve to seven-year window, and then if it goes past that, then I’m sure
all the optical stuff and CGI will have advanced
to make you look better. That’s good. -How’s those legs, baby?
-Yeah, no, no, great shape. Legs are ready. You wear this. Fits fine. You guide it across your face. Don’t let your face get scratched
on anything. All right? Robert Downey Jr. ‘s
ﬁrst reactions to the suit were extremely positive,
and he was thrilled. So that made us feel good,
because it is him, after all. He has to feel comfortable being in it. He enjoys the process. He wants to be in the suit
as much as possible, which is fun. That’s what I wanted to see. Just kind of walk around. They don’t bend either, right? -Oh, I see.
-No, they’re basically rotational but they’ve been rotated,
so all the moves are like this. I thought I’d been training
for all these years, and that l was pretty butch.
And I put on that Mark I suit, which is his escape vehicle, and I almost had
a personality meltdown. It also just gives me a great respect
for the stuntmen and the guys who were doubling…
I don ‘t even want to say ”doubling, ” me Careful, actor at work.
Something just snapped off. And I’m not claustrophobic,
and it wasn’t anything like that. ltwasjust, lwore it for half an hour
and I kind of ran around, and the next day I felt like
my spirit had been broken, like… No, I’m exaggerating, but it’s like, these guys
are seriously tough-ass guys. Mark I suit days,
we cancel the strength training. The ﬁrst time I saw him
put on the helmet, I looked at him, I said,
“Robert, you are Iron Man. “I mean, how amazing is that? “For the rest of your life “you are Iron Man.” Nobody’s going to take that
away from you. And he looks at me, and goes,
“Yeah, it’s amazing.” I think we need to
add some rust to it, but… -Here we are.
-Three RTs. I love the lag bolts in there. That’s great. Well, we ‘re right about to start shooting,
and we’re rehearsing now. We have the run of the set. We actually started shooting
second unit. We went down to the Santa Monica Pier
and shot the Ferris wheel yesterday, and that was exciting, ’cause we
crossed a couple of shots off our list of the thousands we need. There ‘s a stress factor that kicks in, and that starts to go away and diminish once you capture each shot
and each scene on ﬁlm. But right now,
all there is is anxiety, stress and going over and over again,
your plan of attack on this movie that’s certainly the biggest movie
I’ve ever been involved in making. I think we have about a 74-day shoot and day one is on Monday. -It was definitely good talking about that.
-Happy trails. Or even really this one but it’ll be… With all the details and stuff… There’s not a lot of
variation of color in there, so if we could do anything,
just to have, maybe, little highlights of rust
or something like that. Here we go. And roll sound. Sound feed. A-mark. And action. Robert… Robert really wanted
to play Tony Stark, and I really wanted him
to play Tony Stark. It wasn’t the most obvious choice
from a studio ‘s point of view, and fortunately, Marvel is a new studio
with a lot of freedom. We weren’t dealing
with the classic studio system where they have their lists
that they generate. There was a lot of freedom
to cast the best person for the role. Because, fortunately,
with Marvel movies, the image of the superhero
is, in fact, the big draw, the big star. And they’ve learned that they’ve had
a lot of success in the past when they’ve hired people
who were good, interesting actors and relied upon
the name of the brand itself to be the thing
that becomes the rallying cry, from a commercial standpoint. You, then, are able to
try to make the best movie possible. How dare you refuse the great… You’re only alive
because of his generosity. You are nothing. Nothing!
You understand me? People have drawn parallels
to the character in his own life. But that wasn’t by any means
the decision or part of the criteria
by which we chose him. He ‘s a tremendous American actor who has an incredible body of work and, lthink, has the personality
of Tony Stark. He has the look that sort of
matches with the comic books. There ‘s a childlike quality to Robert.
There’s an imagination to Robert that is very similar to Tony Stark,
who’s an inventor. There’s a sense of humor to Robert,
which Tony shares. There ‘s a conﬁdence… There were just so many qualities,
as you began to look through the history of the comic books,
and who Tony Stark was, and really, who Robert is,
as an actor and as a person. It allowed the great Genghis Khan to rule from the Pacific to the Ukraine. What is life like
when you’re locked up in a room like that for two or three months? And Robert brought a lot
of his own personal experience to the cave, too, which was fantastic. I mean, he taught us how you make tea
in prison with a nice old sock. Or how you make coffee.
Or how you play games. You can make backgammon sets
out of nothing. Things like that. With Robert in the Iron Man suit,
we tried to keep it at a minimum for him. We try and keep it
at a partial suit for him, so he can do his acting,
because it’s so restrictive in that suit. And then we would let lLM
ﬁll in those blanks where the suit would be full. -Stop. Stop.
-Come on. -Get up. Get up!
-Please. Please stop. As an actor, I’ve never gone through
a process like this before. Because usually you have
a written page and you have a deﬁnite, set idea
what it’s going to be like. But we really found Yinsen
doing rehearsals, sitting around the table and just talking. And the fantastic thing
about this project has been, everybody’s been so open. Maybe if you shave about 90 seconds
off your death, it would be nice, ’cause it’s a little uncomfortable
leaning over there. -Well, 90 seconds…
-You heard me. Robert Downey is just a jewel. My girlfriend says, “I think
you’re in love with him or something.” Here we go. Ready? And action! This is our last day in here. And I remember
when these walls were white, and before there was set dressing in, and we were trying to figure out what
the heck we were going to do in here. And it’s a really cool feeling,
and sort of bittersweet, but it’s satisfying when you say,
“It’s done.” There’s no more decisions to be made after 10 months of trying to figure out
what we’re going to do. But we started off here, and now,
coming out of here, I feel like I understand
who Tony Stark is, more. I think Robert does as well. And hopefully, when this
whole sequence is cut together, people will totally buy that
Robert is in the Iron Man suit and that he built it and it makes sense. But you don’t know.
I mean, now, we just finished, I haven’t seen any of the scenes cut yet, but I know that every day’s work
was really good and really strong, and we did better
than what was in the script. So… We’re shooting a close-up of Robert,
’cause we can, and then we’re leaving the set behind
for second unit to shoot a lot of action stuff. But this was fun.
There’s a lot of memories in here. In the Mark I suit
was mostly Mike Justus. Mike is a strong, ﬁt guy,
and in the very beginning, he would be in it for a couple of hours,
and he literally was spent. It was so hard to do. I mean, imagine carrying around almost
a hundred pounds on your whole body and being asked to move around
quickly and do fight scenes. Ready. And action! But as he did it more,
he got more in shape to do it, and there were days
when he was in that suit, 10, 12 hours. At the end of the day he’d go,
“Man, I feel pretty good. ” Cut! Well, we ﬁnally got out of the cave, and now we’re shooting at Disney Hall. It was designed
by architect Frank Gehry. It’s a very beautiful space, should add a nice look to the movie. And since Tony Stark
is an engineer and a designer, we felt that it was important that the locations
tie in to that sensibility. And when this was available to us,
everybody jumped at the opportunity. We have to shoot here at night,
so it’s going to be very gruesome, brutal shooting hours, ’cause
we’re shooting from dusk till dawn. And this is the first day
that we’re actually on nights. So I think people will be fading fast. Mr. Stark, lwas hoping I could
get a reaction from you. How’s panic? l was referring to your company’s
involvement in this latest atrocity. Hey, theyjust
put my name on the invitation. I say the names
and then I say my name, and I’m like, “Holy crap, it’s amazing!” It’s amazing. It’s one of those moments. lwill leave set, and I’ll call my agent,
I’ll be like, “Okay, dude, here’s how
I’m going to break it down today. “I don’t know.
A man called Jeff Bridges? “Yeah, yeah. I had a scene with him.” So it’s exciting.
And last week, lwas like, “I had a scene with Terrence Howard
and Robert Downey Jr. Yeah. Check it.” It’s so good. Hey, Potts. -What are you doing here?
-Just avoiding government agents. -Are you by yourself?
-Where’d you get that dress? -Oh, it was a birthday present.
-That’s great. -From you, actually.
-Well, I got great taste. Yes. -You want to dance?
-Oh, no. -All right, come on.
-Thank you. No. The scene at Disney Hall
was my ﬁrst scene in the ﬁlm. I had taken quite a lot of time off
to be with my children and have babies and everything, so it was kind of intimidating,
the first scene back, to be in this extremely backless dress. It was good that in that ﬁrst scene,
that Pepper’s kind of nervous and feeling a little bit uncomfortable. I had always wanted to
work with Robert. It had been
one of my lifelong ambitions. And when l was talking to Robert
before I accepted the role, he said, “Aren’t you tired of doing
these great little movies “that no one sees? Don’t you want to
be in a movie that people see?” And I thought, “Yeah, that would be fun.” Cut! -You’re greedy.
-It was too much. You’re a greedy human being. Stan, can we get you for the B-roll? Is everything okay here for you?
Are we taking care of you, or… l have never been taken care of
this well in my life. we’re going to have to go there again
and do some acting. Who is the best director
of any Marvel movie? Well, not only the best,
but as far as I’m concerned, -Jon Favreau is the only director.
-That’s right. Unless some other director gets me
a half a dozen pretty girls. Ladies and gentlemen, I invite you
to witness the fantastic new car… We like to keep them a bit wet
as they look even more fantastic. And action! How’s it going, Hef? Oh, sorry.
Thought you were someone else. It’s okay. I get this all the time. Now then, let me set you up here. -Cut!
-Cut! Ladies and gentlemen, that’s a camera wrap
on the creator of Iron Man. Yeah! All right, Stan Lee! -You the man!
-Thank you. So when you hinge, I’m trying to get a camera over
your right shoulder, to get him. l have another camera
over his right shoulder to get you. So I should be on this spot. -I mean, this is where you like it.
-Yeah. Yeah. I had never shaved my head,
I always wanted to. I saw the comic book character,
then I said, “Well, I’ll do this.
I’ll talk to Jon about it.” And Jon says, “Don’t feel like
you have to shave your head.” I said, “Oh, really?”
I kind of wanted him to say, “Yeah, you gotta shave your head.” But he didn’t. So we chipped at it.
We kind of took it down steps at a time, and finally, took the plunge
and shaved it all off, and it felt, you know,
the most Obadiah-like that way. Hey, what a surprise. I’m not going to say anything. -ls that good?
-I doubt that. -l’ll see you inside.
-All right. Okay. Yeah. -And…
-We’ve got a lot to talk about. Hey, listen. They say the best weapon
is one you never have to fire. I respectfully disagree. I prefer the weapon
you only have to fire once. That’s how Dad did it.
That’s how America does it. And it’s worked out pretty well so far. -Go wide. Wide-out the whole frame.
-Yes! Yes! For your consideration, the Jericho. The Jericho, one thousand one,
one thousand… Bang. This right here is Lone Pine. lt’s doubling for what we ‘re suggesting
are the mountains of Afghanistan. I think they did Gunga Din out here. I know they did
a lot of Westerns out here. This particular angle
works really well for Afghanistan, but if you look different ways, different rock formations make you feel
like you’re out in the West. Here, we ‘re on protected land, so there are a lot of parameters that
we have to observe to shoot here, but the trouble that we went through
is well worth it, because it really gives you a look like we traveled
halfway around the world. When you get to work with the guys
at the top of their ﬁeld, you just go, “Okay, that thing’s
going to blow up in back of me, “and I’m gonna be okay. ” Or you get hit with a little frag
and everyone runs over ’cause you’re like, you know,
the star of the movie. And you’re like,
“My God, man, 10 years ago, “I could’ve got knocked off my ass
and have stuff stuck in my skin, “and people would be like,
‘All right, back to one.”‘ ‘Cause if you’re not down,
then you’re not out. Ready and action! l was pretty blown away
by how much we were able to do at such close proximity and… But I’ll tell you, you know,
it deﬁnitely helps you kick up some dust when you know
what you’re running away from. Jon brought everything. Jon is the primal force behind Iron Man. He’s easily half the character. He ‘s infused himself
into every department. He’s an… I won’t say he’s a gentle giant
because he’s very formidable, but he is the most composed person in a position of unimaginable stress
that I’ve ever seen. He’s so gracious and so evolved. Robert, you’re just such a good actor.
We got that? That said, he’s a pain in my ass. He’s checking his goddamn BlackBerry, texting and putting things up
on MySpace while I’m out there dying. But he’s that kind of big brother, too. So, he didn’t call me out
to pitch for his team and then, like, come and, you know,
ice my wrist when it got sore. He’s like, “You’re a grown man.
This is gonna be really hard. “I told you it was. “And sometimes,
I’m a million percent there for you, “and sometimes, I’m just gonna watch
you do whatever you’re gonna do. “Because it’s not up to me to take care
of your feelings. You’re a grown man.” Awesome. That’s pretty good. It’s pretty good. Working with actors in the military sets, I don’t try to make them warriors
from the ground up. What I do is, I focus in on the skills
required to shoot the scene. They are actors, after all. They only need to know how it’s done. And then, as actors,
they will pick up on it. I started just pushing down and, you know, these things are ﬁring like 40 rounds a second. And I’m holding it down, but that would make the barrel very hot,
you know, so you’d have to do it in bursts. And his whole thought was,
“Die, mother… Die, mother…” Huge gun. I mean,
you feel your teeth shatter aftenNards. It’s incredible. Cut! Thank you, everybody. Crew of Iron Man, excellent week.
Really great week, guys. That is a wrap. What’s going on here, coach? A little windy today. It wasn’t like this when we scouted it. We’re gonna shoot Tony landing
in the sand dunes after he escapes from the cave. And then walking through the desert. We got two Marine helicopters
coming out here. I don’t know
if we’re gonna be able to land them. Here we go. Picture ‘s up. It was sand storming and it was
kicking up so hard, and I just remember laying there,
buried waist-deep in all this gear… Roll sound. And I just remember,
I was inside the helmet and I just had this great moment
of gratitude to, kind of, the elements
and what a privilege it was to be able to be there, playing this guy, with the caliber of people
I was working with. Special effects, we got this. I needed three cakes to fit
all the candles. Light it up. I just said, “Wow, man,
what a cool deal, “what a cool suit, what a great crew,
what a blast. ” Tony Stark. Wardrobe, there’s a boot down there.
You know what? That’s okay. We’ve been out here in the sand dunes.
It’s been a Windstorm. There have been a couple of semis
flipping over on the highway. The winds were kicking up to
about 50 miles per hour. So everybody’s making do.
We’re all goggled up. And everybody’s been a real trouper
and they’re out here working. We’ve had cranes swinging
out of control, and today we’re just on sticks because it was just too windy
for any equipment more than that. -Terrence is flying in.
-ls he really? -Yeah.
-Is that Terrence? Yeah, highway’s closed
so they flew him in. It’s just a brutal day, very indicative, honestly,
of what the circumstances are like in Afghanistan.
So it actually, kind of, you know, rang true to what things
are really like there. Well, at 395,
something must have flipped, and they had to send
a helicopter for me. Yeah. How was the ride? It was incredible. The doors are open.
My assistant almost cried. We brought in a couple of
HH-60 Pave Hawk helicopters… Action, Robert! …where actually, you know,
a pair of rescue men in real helicopters, and shooters that do that stuff for real, came in and were part of that scene. When we get out of that helicopter, the ﬁrst breath you take in
is half-ﬁlled with sand, and your lungs
fill up with it immediately, and the cameras are on you, and we’ve got 10 minutes
to get this whole shot. And you’ve gotta run across the desert. Now, if anybody’s ever ran
in the sand on the beach, they know how hard that is. Now, imagine running up a sand dune
with your lungs half-filled with sand. The second day,
when Raza recovers the suit, the winds were so violent that we couldn’t really use
any equipment. And Louis D’Esposito,
our executive producer, was like, “You know, let’s go to our cover set, ”
as you would if it rained. I felt that all that wind, that heavy wind,
was a very haunting image, and so we put goggles
on all the bad guys and wrapped them with scarves, you know,
to help protect the performers, and also that’s really what they
would wear and we just let it play. And as a result,
it has such a great visual quality that if you wrote that into a script,
you could never really achieve that. You know, you can’t
put enough Ritter fans in there to make that kind of wind, but when it really lands there
in your lap, I think, as a director, you have to
take advantage of those opportunities. Time for Iron Man to get out of Dodge. This walk of destruction…
What is it like being inside that suit, shooting flames, with the armor on, -how does it feel?
-|t’s an awesome feeling. It feels powerful.
You’re just burning stuff. You almost have
a false sense of security ’cause you really feel super-protected
by the suit. And the way that the boys
over at Stan Winston designed it, I can move pretty well in it,
for as much as it weighs, and the special effects guys
rigged me up, just making me look like a bloody stud,
so I can swell out some flames, and it’s an awesome feeling. Take a couple of hits,
and then, like, you… You know what, it’s history.
This one I’m doing for my kids. They’re gonna watch this and go,
“That’s you, Dad?” I’m just like… I’m digging it. Hi, Taylor. Hi, Tristan. Hi, Mom.
Awesome! I love this. Just from wear and tear,
we got a little tear in one of the lines, and it spit fuel,
which, being under pressure, kept spraying on my legs, and I ignited. And I kind of felt, “Well, that feels a little hot. Maybe not.
Yep, it’s hot.” It was, you know, an unfortunate thing, but Keith Woulard and Tommy Harper
had all the boys set up to take care of me. They put me out. What’s going on there, coach? I’m finding my character. The inner driver? -Yes.
-What’re you doing today? I’m playing Happy Hogan. At the time, it seemed like a good idea. Let’s try to make my hair
look like how it looks in the comics. And this is it. This is what you get. It’s not too dissimilar
to your regular haircut. Is it not? -Just straight instead of curly.
-We’re gonna put a little product in here and straighten it out. It’s a little thicker. It’s more of a cameo in this ﬁlm. I wanted to give myself a way
to be in the ﬁlm. As a director of a big movie,
there isn’t really a lot of latitude to do much of a performance, but
I was able to, sort of, weave my way in and out of scenes. He’s an ex-boxer, who’s Tony Stark’s
driver/conﬁdant/bodyguard, kind of a sidekick of sorts, although he’s not a superhero
in any way. And he doesn’t crack a smile, and so he, ironically,
is given the name Happy. And it’s more for the comic book fans
to see that, you know, we ‘re sort of trying, you know, in a way, to incorporate
as much of the source material as we could, being that this is the ﬁrst
Marvel movie made for Marvel fans. So, here it is. This is it.
This is Happy Hogan. I hope the fans like it. -You like it, Pete?
-|t’s great. -I really do.
-The real reason I’m doing this, Ijust broke it to Gwyneth
that I marry her. A-mark. A-mark. Edwards Air Force Base is here, about 70 miles north,
northeast of Los Angeles. And Jon wanted to include
Edwards Air Force Base in the story, speciﬁcally, just
because it has such a proud heritage of flight test.
And they really wanted to tie that into, sort of, the research and development
aspects of Stark Enterprises. So we did a lot of filming there.
We shot there for three days. We shot on a C-17 cargo plane.
We brought in an F-22 and a Global Hawk, as set dressing. And we used about 300 airmen and,
actually, Marines as well, as extras. So you’ve got first look,
one shot, one kill. We’re at the merge
even before they know we’re there. Terrence Howard,
we opted, in this ﬁlm, to make him an Air Force Lieutenant Colonel. Although he was a member
of the military in the comic books, he wasn’t somebody of that stature. But he was somebody that bonded
pretty early with Tony Stark. As a matter of fact, he was involved
with his rescue, from what I remember. We tried to incorporate that
into the ﬁlm in a way, as sort of an homage to the books, but we really wanted to flesh
out the character even more. And Rhodey becomes War Machine,
if you follow the course of the books, and as we sort of look fonrvard, to see this as a chapter
in a series of ﬁlms, if we could be so lucky, I think that following Terrence Howard as he becomes a superhero
in his own right is something that I’m really curious
and interested in. That lovely lady you woke up with.
What was his name? -I don’t know.
-I think it was Ivan. No, it was your sister. Right. Come on.
Give us a few seconds, you guys. Pleasure to meet you all. Soon after that shoot,
those guys cycled over to Afghanistan. So, no joke, those are really tough guys
and they got a real tough job to do. And it was really nice to see
Terrence and Jon and Robert interact with them
and just be really humbled by what a tough job those guys got, and what real pros they are. It’s nice seeing you. -Do another one?
-Yeah. -One more?
-Okay, once again. One more, guys.
We’re going again right away. The workshop was always
the most important set for me. It was the space
that was gonna tell you, before he got captured
and builds the Mark I suit, that he’s a guy who likes fabricating.
He likes working with his hands. We have him working on a ’32 Ford that we show in a picture
that he’s working with his dad on. And it just shows
that he’s bit of a gearhead, that he’s a guy who, not only
is he a genius as far as design goes, but he actually has a hands-on
knowledge of how to build things. And he’s an inventor, but the type of inventor
who doesn ‘t just work with a pencil. That was important, to make that leap, so that it didn ‘t just jump
into fantasy-land when he was in a cave
and builds this suit. That he makes a breakthrough
that was inevitable, because he has a mind that is capable
of these kind of realizations. So we put together a shot
that would be any car builder’s dream. We have everything
from old English wheels that look like they were passed down
from generation to generation, maybe they were his dad’s
that were passed down. And we also have like CNC machines
that are sort of state of the art, or plasma cutters,
and everything, we ﬁgured, was tied in,
automated to the brain of the house. So, I wanted to create a real mix
of high tech and low tech. Why are you hustling me out of here?
Where you going? You got plans? Yes, as a matter of fact, I do. You don’t like me? What? You don’t like when she has plans. I don’t like you. You don’t like when she has plans. I don’t like it when you have plans. Well, I’m allowed to have plans
on my birthday. -So, there you go.
-Is it your birthday? It is. -Again?
-Isn’t that funny? Same day as last year. -Wow.
-Yeah. You’re probably feeling coolness. l was deﬁnitely not
a comic book reader, but my brother was. So I grew up with Marvel comics
around the house and my brother had Spider-Man Underoos
and Spider-Man sheets and Spider-Man everything from a very young age,
and he was deﬁnitely into comic books. So I was exposed to it. Although, you know,
I’m a girl, let’s face it. So… You feel it? You feel the… -Oh, pus.
-Don’t worry about it. It’s not pus. It’s an inorganic
plasmic discharge from the device, -not from my body.
-It smells! It’s basically making a very tall,
upside-down you. I’m a huge Military Channel
and Sgt. Rock… lmean, so… Superheroes are great. Superheroes who manufacture weapons and then build one
that they wear and use, to me, is just a complete nerd-gasm. Now we’re ready.
I think the band’s ready to go on. So, without further ado,
I present Robert Downey Jr. and the Boot Brigade. In the origin story of a superhero,
you have certain responsibilities, one of which is, you know,
showing how the hero came to be. And it takes a lot out of a movie
to have that kind of burden. But what it gives you is the opportunity
to allow the audience to sort of become the hero
with the hero. And I have the most fun as a viewer when I see the learning curve of a hero. There’s a tendency to wanna just go
right for the ﬁghting and right for the action. But I know my favorite part
of the ﬁrst Spider-Man ﬁlm was watching him come to terms
with his powers, learn how to swing from his webs… And I, you know,
I referred back to that a lot as we met
and went to preproduction meetings, talking about
what the set pieces would be. I thought you said
you were done making weapons. It is. This is a flight stabilizer.
It’s completely harmless. Three, two, one, go! Well, watch where you point
your flight stabilizer. It’s really dangerous. I like the guy,
that he’s probablyjust as likely to kill himself trying to save people
as he is to do the right thing. As far as Robert Downey doing stunts,
he wants to keep doing more and more, and I gotta keep reining him back ’cause he’s very game
to just keep right on going. Should be following him
while he’s going. So when he hits the wall and falls down, there’ll be like a beat of no movement, and it’sjust punctuated by the blast. Yeah, it’s a timing thing. So… I like to think that I can do a ton of stuff and I ‘m pretty game and physically able, and probably should be for the next,
like I said, five to seven years. So… But then I’ll talk to Tommy, and he’ll be like, “Yeah, yeah,
we’re not gonna have you…” “I could do that.”
He goes, “No. No, you couldn’t. “Well, maybe you could,
but I wouldn’t let you.” It still hurts. But it hurts every day, getting up looking like this. It hurts in here, emotionally. But I’m doing better. I’m doing better. Can I go now? Okay. Thank you. We’re about to do Tony Stark experimenting with
the combination of boots and gauntlets. This is his first successful flight
in his workshop. Robert here has done a lot of training
on this wire rig, and the tests we ‘ve done
were pretty successful. Ready and action! You’re off, right here. Frame up on me. Good. Day 11, test 37, configuration 2.0.
For lack of a better option, Dummy is still on fire safety. If you douse me prematurely,
I swear to God, I will donate you. You’ll be at a city college. All right, we’re gonna start off
really nice and easy. Don’t talk when I am talking. 1% capacity. In three, two, one. -Nice.
-Three, two, one, drop. Great. Steady. I’ve done wire work both as an actor
and as a director in the past. I think that people have been seeing
wire work for so long that, whether consciously or subconsciously,
they can tell where the pick points are. They can tell
where the wires are attached. And even if we use, you know,
computers to paint everything out, there ‘s something
about the physics of it that is unconvincing to me. And I was very skeptical
if we could use it at all or if it would take the audience
out of the movie. What we did was we developed a way by which the character
was picked or supported by his feet. So he wasn’t being suspended by his center of gravity
or his hips or his back, as is usually done in these ﬁlms. Sorry. Clean up later. His feet are supporting his weight. So it actually looks like
he’s being supported by the blast of the repulsers
in the bottom of his boots. And you could see, the dynamics
as he’s flying through the air feels much truer
to what the real physics of flying being powered
by your feet would be. Learning one’s powers -is always the most fun.
-Okay. What would happen
to you or to me or to anybody putting this thing on
and trying to operate it? It’s like surﬁng. One, drop. You feel pretty clumsy in the beginning. And here, he’s wearing an engine.
Pretty elaborate thing. Yeah, I can fly. Okay, cut! Oh, man! Ready? And lights, and action. Something interesting happened
when we saw a black and white rendering
of the Mark III. It looked kind of silver,
and that started our wheels turning, and then we sort of backed into
the design of the Mark II, which is sort of a chromed, aircraft-aluminum, sheet-metal-looking
prototype version of the Mark III. And then we started
incorporating exposed rivets. And because of the wonderful ﬁnishes
that they were able to create through the chroming process and nickel-plating process
over at Stan Winston, he really has a very unique look,
and that’s something different from anything you’ve seen
in the books before. But it helped provide
sort of an intermediate step between the Mark I armor
and the ﬁnal Mark III design. -Tommy, how much is that car?
-$50,000. It’s a replica of a 1967 Cobra SC. Where’s it made? In Poland, at a MiG factory. Here we go. Three, two, one, go! Reset. That brings a tear to my eye. If you like cars at all, that hurts. So you just step off. Over the course of the movie,
I dropped a bit of weight. I started off…
I remember when I was scouting, I was quite a bit heavier than now. My assistant, Karen, helped me out.
She brought me a lot of meals. I didn’t spend a lot of time
at craft service or going to catering. And over the course of the film,
I lost weight. I lost probably about 75 pounds.
Maybe more. Up… Give or take,
depending on where I’m at now. And I wanted to lose weight because I was playing Happy Hogan
in the ﬁlm. And so I wanted to hit a certain weight,
lose a certain amount of pounds, and I just kept going.
And there were problems, too. ‘Cause my wardrobe would
change in size over the course of the ﬁlm. Even my wig size changed. It’s amazing.
Everything sort of changes. Your shoe size changes. I have real hair,
but I wanted to have cool hair. So, straight hair. Ineverhad,
like, a real shock of straight hair, like in the comic books. Ihad a wonderful time working
with Peter Billings/ey, who is a close friend of Favreau’s, and I got him to shave his head bald. Not as bald as mine,
I didn’t want him to upstage me. -It’s like, yeah.
-Is yours, like, velvety, too? Oh, yeah. That’s nice. We both have good heads of hair. Peter wanted to shave his head
to look a little different, age him up a little bit. When you threw a lab coat on the guy,
he looked like he was 14 years old and so shaving his head,
and throwing glasses on him, and growing a mustache gave him
a little bit more of a distinguished look. There’s an ID,
probably a couple of pens, watch. In approaching this cameo, I really wanted to send a message
to the other actors, who I felt were really
phoning in their performances, that, “Guys, let me show you
a level of commitment to acting.” William! What seems to be
the problem? The camaraderie
that Jon nurtures on a set is to ad lib. You don’t see that all the time
on movies this size, where somebody’s on wires,
you’re up against a green screen, or you can’t move too much, because there’s going to be
a computer effect, and it can get very rigid. And it was very important to Jon
that the film not feel rigid. That the ﬁlm feel and have a flow to it, and have a sense of fun to it.
Always believable, but never too ovenrvhelmingly
pretentious or self-serious. We’re iron mongers.
We make weapons. It’s my name on the side of the building. And what we do
keeps the world from falling into chaos. The spirit in which it was shot,
and the way we did it, was like you might do
a small, independent art ﬁlm, in a funny sort of way. Towards the end of the movie,
I think we ‘re just starting to get up to speed, and start to relax and have faith
in this process that we ‘ve… The way we do it. Each time we would
do one of these scenes, there’d be a great sense of relief, like,
“Man, we got through that one. “We pulled it out. How did we do it?” This technology,
it comes along once in a generation, and it’s a gift. -I think, lthink…
-You could keep him saying… Either that or I could take it,
and you said, “I said no,” -and I put it in front of you?
-Could do that. Ifl have, if! have one… “If I have one drink, could we move on?” -“Yes.” Takes a drink.
-And he takes it. Now, do we cheers before that?
That would be good. -“We have one drink? Okay, here.”
-Okay. -Settle, please, and roll sound.
-And boom up. Boom up. Boom up. Ready, and action. Honey, I hate it when we fight. -Good morning, Mr. Stark.
-I told you, I’m not mad. -I’m just indifferent.
-I said I was sorry. -Thanks.
-I don’t want to hear it. What more do you need
than an apology? You don’t respect yourself,
definitely know you don’t respect me. Jon recognizes that
the script is a skeleton. The comic book is a skeleton. What we are creating is real life,
so he allows it to grow and to improv and to become something alive
and three-dimensional. -I want to do it sober, okay?
-I want to be fresh. I know what I’m doing. I live this.
This is business travel. I got a throttle between my legs, going… -You know what?
-…hopping… Just do what you want to do.
Just leave me alone. Join me. One drink. -To business.
-I said no. To the future. To the Air Force. Will it get you to shut up? The look of the ﬁlm is something that is as much a part of the franchise
as the character himself. And as a director,
it’s one of the elements that you have a lot of control over. Maybe she does one move, and then Sarah can come
and do a move. I’m not a cinematographer. I wouldn’t know how to light a scene
as a cinematographer or gaffer. I have a lot of respect for what they do. But I do understand a look that I like. who I’ve been wanting
to work with for a while, and I’ve been a fan of his,
since his much smaller ﬁlms. He brings a certain style to it,
a certain grittiness. And he’s also able to
give it a big movie look. And he understands how much
a priority reality is, and how the challenge, for this movie,
was to ground it in reality. Because it’s such a fantastic story,
such a fantastic character, that your job as a director
is to make it personal. Welcome home, Mr. Stark. Thanks, Jarvis. -It’s been a long time.
-Yep. You know, there are two ways to go. One is just to create a spectacle
that people could munch popcorn and ogle at and enjoy, and that
certainly is a lucrative proposition. But as a ﬁlmmaker who’s going to be
working on this thing for two years, and possibly other ﬁlms to come, it’s important for me
to have an aspect to it that I could really buy into,
beyond just being a trifle, you know, being just a treat
for the audience. You also want to do something
where you’re telling a story, maybe speaking to something,
going for something a little bit more. And the way Matty lights, and the way that Mike Riva
designs the sets, it brings reality to it. Sir, you have
1, 713 new voice messages. Including three from the Mandarin. About the time
that we cast Robert Downey Jr., I was thinking about the house,
and trying to figure out what kind of design it should be. And even though we had decided on this kind of angular, flat,
metallic, hard-edged look, the idea that Robert Downey Jr. has a… He comes with a certain
vulnerability with him. And it may sound strange, but we redesigned the notion
of the house after casting him. I thought that he would be more suitable in something that architecturally
mirrored who he was. A little softer inside,
a little bit more susceptible, a little more vulnerable. There was a certain vulnerability
about him, so I thought, round is nice.
It’s more elegant. And it just seemed
a little bit more womb-like. When this project ﬁrst came along, they gave me
a bunch of the comic books, and history of the characters,
and so forth, and I said, “Obadiah Stane’s got
this wild suit, Iron Monger suit, “and all these different things.” I got kind of excited about that,
again, the kid in me. We’ll counter your moves. So wherever you move,
we’ll go with you and take the weight of the suit itself. You have rotation by yourself, Jeff. Yeah. I’ve got it now by myself, right? No, you can spin. Spin your waist.
There you go. That’s always just you. Then when I met with Jon the ﬁrst time,
he said, “Oh, no. You don’t get to wear a suit.” And I went, “Oh.” And because the Mandarin
was originally the bad… There was gonna be
two different bad guys. And I said, “Okay, well.
Let’s see how it works out.” And then, the scripts
were being worked on, and when it came back, he says, “It looks like…
You wanted to wear a suit, “now you’ve got your suit.”
I said, “Well, great.” How ironic, Tony! Trying to rid the world of weapons,
you gave it the best one ever! And now I’m going to kill you with it! You pulled out my targeting system!
Hold still! Fire. Fire. Cut! Ready, and action! All clear. I think it was the most strange
for Gwyneth, who, although she had worked on
a green screen show, Sky Captain, she’d never really worked
on an effects show. And she said
that was very different than this. Because in this ﬁlm,
she’s looking at a ten-foot-tall robot that’s being operated
by puppeteers in front of her. And she’s having
explosions go off behind her, and windows being blown out,
and lights going crazy, and things melting down. And she was right in the heart of it,
running through sets at full tilt, and with things blowing up behind her. And she had never experienced
anything like that before. I told her it was Remains of the Day II
when we signed her. When I did Sky Captain,
that was very surreal, because there was literally nothing.
There was nothing practical. There were no props and no sets and that was just like doing experimental theater
or something off-off-Broadwa y, because you were just in a room
with some actors. And this, I was so used to
working with actors and real sets, that when they said, “Okay, now a big
monster’s coming out of the ground,” then I felt like, “Oh, my God.” Look, Gwyneth, look! “This is so silly.”
And Jon said, “Oh, don’t worry.” So, Ijust thought, right,
you just have to really go for it. And cut! Very good! One, two, three… One, two, three! The ﬁrst half hour
of being in the Iron Man suit is like the coolest Halloween
you ever had, except you’re alone in the trailer before they call you on the set
or whatever, or you’re getting ready,
and you just catch a glimpse, and you go,
“That’s right. Grandma’d be proud.” And then, because it’s not really… It’s designed for guys to wear,
but I’m not a stuntman. And most of the stuntmen aren’t doing
65 scenes in the next three weeks. Most of them are young enough
to not have a teenager at home. Ready, ﬁre! Push the button, Pepper! It was tough, and as we went
further and further along, I realized
I could wear the suit all the time, but I can’t wear the suit all the time
and be an effective actor. I’m sorry, did that interrupt your flow? I guess this is a draw. In the last couple of weeks of shooting,
I was like, “You know what? “I made it this far. I need to sleep.
I want to eat pasta. “I don’t care if I’m puffy tomorrow. “Don’t put me in a T-shirt. Kiss my ass.” I did all that stuff,
because then the job is, you drop the saddlebags, and you just charge out of Dodge City, ’cause you want to get out without
getting your ass bit by a rattlesnake. Now it’s time for both of us to go. That’s the law of nature, Tony! Ladies and gentlemen,
on to Las Vegas. That is a wrap. Thank you, everybody. Here we are,
out in front of Caesars Palace, the third movie I ‘ve done here. And we’re exhausted.
We’re doing a death split, which means you start at midnight
and go into the next day. We tried to turn around, everybody stayed up
as late as they could, gambling and partying last night, and tried to sleep all day. I, for one, was not able to sleep all day. And I have to act and direct today. So this could all
go to hell in a handbasket on our last day of principal photography. But here we are.
This is the big finish line. We always knew that if we got here,
we’d be in good shape. So it’s a bit of a celebration.
It’s going to be a fun scene. We’re gonna start outside,
then go inside. Here he is, Tony Stark. -Tony Stark.
-I was just saying, we don’t need sleep, -we got talent.
-That’s right. A-marker. And action! Work it, work it, work it! Winner! I’m just so proud of everybody
and satisﬁed and the whole deal. I mean, in my psyche right now,
it’s that thing of… Like someone was saying,
the last day of high school, and you know? You kind of just can’t wait
to throw your hat up, but then you’re like, “What am I
going to do with the rest of my life?” And I just remember,
last October, November, and meeting Jon regarding this, and then screen testing,
and then preproduction. To me, like, most of us were burnt
by the time preproduction was done, ’cause we prepped ourselves
into a tizzy. And then there’s the starting,
and the first two weeks in the cave, and then going to Lone Pine and then Edwards Air Force Base,
I mean… It’s the problematic thing
of looking at a schedule, or looking at what your… Anyone looking at what their life is
for the next three months, it’s like, “This can’t be done.” Thank you, everybody. That is a wrap. You know, every movie
has its trials and tribulations. We did encounter a snow storm
in the middle of the desert, in the cave scene, which was very odd. We did have sets that blew away
and blew down, but, actually, the movie gods
were with us most of the time. And while it was always daunting,
it went fairly smoothly, which was great for our ﬁrst production. Very important for our ﬁrst production. Ladies and gentlemen, Jon Favreau,
director of Iron Man. That’s a testament to Jon, to the crew
that we put together, and for the cast, who were always game,
who could always maneuver through whatever circumstances
were thrown at them. And we did it.
We came in on time and under budget. Take a look at this. Get a look at this… Take a look at this. -I want you to go to SU132.
-Okay. It’s looking good. -And Dan extended it?
-Looks like he did. -This just came in?
-That’s much better. -It came in yesterday. It was a temp.
-Oh, wow. It’s coming along nice. -There’s your little ribs moving.
-All right. -Can we see that again?
-Let’s put up the expensive cropper. That actually does help a lot, John,
that little… That little rib event. Yeah, we got to rack that. I want to see under the floor
a little bit too. ‘Cause that helps. Well, they also added…
What I like is the heels that we had on the Mark II as well.
They added it here, which we didn’t have in the other
version and that’s very cool. The thing, I think,
that makes the biggest difference, is they have the arm
actually operate the screw. And that one, too.
There’s one on the… Right there. As we go up,
just take it a few frames fonrvard. That thing’s coming off of there. I almost want that
to linger a little bit more, so we see that. It’s almost happening out of frame. It is. It is happening out of frame. So we should just delay that
when that piece comes out. If we could delay that event…
‘Cause it closes as soon as we’re on it. Yeah, it’s ’cause there’s something
right at the beginning, you want something sort of
in the middle to go… So you just go,
“Yeah, the party’s started.” But it’s definitely cool.
It’s definitely better. It’s much better. And that actually
helps a lot with his little flippies. All right. Anything else to look at? And when would you like to cut? Is that where we get out?
I thought it was longer. Why is it trimmed so short? -Wait till next week. The answer is…
-|t’s on the step. -|t’s on the step.
-That looks like it’s very short. I felt, some of what was cool about it
was that he walks out. I am in the mo-cap suit in this. This is a shot where we were trying
to get the first reveal right. -So you have it, like, cut there.
-Look at them now! Do you have the previous… That’s way short.
So here’s my question. Clearly, we’re going down
a dead-end road here, because we’re changing
the performance on this thing. I like the camera angle,
but now Dan’s cutting out, I’m assuming going downstairs, I’m not going to tell him,
“Hey, get me one more half a step.” -That breaks the shot.
-We||, should we try and get Dan here for a minute,
and maybe at least he can tell us… We can,
but I know what he’s gonna say. He’s going to say, “Why would I
have him just go a half a step?” It throws off the reveal.
This is all about the reveal. So, right now, I’m cutting in
on the middle of the head turn. And the head turn’s
throwing off the reveal, so let’s change that, and maybe
that’ll take some of the curse off of it. But we’re now cutting even shorter
the reveal, and the whole idea of this
was to make it longer. Which is why, when we did
the mo-cap performance, we looked at the full length of the plate
to see what we had. -Right.
-And then after we did that, -we found out that we couldn’t get it.
-Exactly. Check it out. It’s cool. -This stuff is looking fricking awesome.
-|t’s amazing. -That’s a temp, too.
-That is a temp. -Can we file it?
-So can we talk about… -Should I put a mullet on there?
-You guys like the texture of the gantry? -I love everything about it.
-Yeah? Okay. Good. I love the animation too.
All those pieces coming in? -Okay, that’s SU95, right?
-SU95. I think I’d buy that more. I think that’s got to clap more closed. -See how it’s sliding?
-|t’s got to go… -|t’s got to slide in and then go…
-Yeah. And I think there should be some sort of
under gap to it too, which is starting… It’s starting to imply.
I think it’s going to be good. Should there be backs to it
or something -so it doesn’tjust feel like…
-I gotcha. -Do you know what I mean?
-So it should be seamed around here? Something. There should be another,
maybe, cranial element ’cause it just feels very 2-D…
It just feels very… The whole thing is,
as Iron Man, it should be… Yeah, should be tough. Strong. Do you want to have one spin
or no spin at all? I like the spin. Remember we talked
about him going out upside-down? -Yeah.
-That’s what we had talked about. Like he was coming out upside-down
and not spinning. The spin feels a little bit like when he…
In the dogfight? Maybe. That’s what we’d talked about. So I feel like he’s out of frame
and I feel like it’s a little too… -A little too self-conscious.
-Too showy. -A little too showy.
-Okay. Where am I going now?
Down to the mix? And then, hopefully, we can sit with Dan
and we can look at six to seven ADR. -All right.
-Bye. -Been up here before?
-No. -First time?
-It is amazing. -How do you like these posters?
-This one here? There’s that little room. And here it is,
the Akira Kurosawa mixing stage. Let’s see if he’s in here. Ijust wanna make sure
that. ..isn’t where. .. I like the… The actual RT sound itself. Well, now, lwas
only bringing you in for that. -Let’s see that one more time.
-The RT, we haven’t really mixed yet. Good, let me see it again.
I think it’s good. So those sound like servos, right? So the layers I’m expecting, that we’ll get to now are gonna be the winding up of the RT, also… Right, and also movement. You know, presence and sort of servo/plasma sort of type of sound
for him -moving around as well.
-Good. And because this is like when we are seeing the RTs
being used against people, too. It’s the first time
we’re really showing it. -Right.
-We might wanna sweeten it with like… On top of the sound we have,
we should have something in our pocket like a thunder crack or something,
to sort of bury in there, kind of like we did
with the pig squeal and stuff. Right, right, right, yeah. Just to give it a little more pop,
if it’s not… ‘Cause it has to be a little more
ovenrvhelming than it is later. It has to have its own, like,
signature “Holy shit, this guy…” It’s like the first time
Dirty Harry fires the Magnum. -Right, right.
-|t’s gotta really be a special one. Don’t worry about consistency, worry about impact. Jon Favreau called for Iron Man
and said, “Can you help us?” “It’s Iron Man. Are you kidding me? “Of course I wanna work on Iron Man.
Of course we wanna do that.” I mean I love Marvel comics.
I love Spider-Man. I used to read Iron Man. John Nelson called and said, you know, “Can you guys come in
and look at some of these interfaces?” There’s a lot of text
you can’t quite read. And it’s all very… It’s very technical. But it wasn’t advancing the story. But this was the kind of thing. Different ideas
for how those interfaces look. You know,
Jon always used the reference of, you know, the iPhone kind of thing,
sort of the simplicity. He felt like Tony Stark would be really visually sophisticated
and notjust like a technological nerd, but he would have a real sense of style. And all the products in his house would have a real sense of
this high-design sensibility. Connect to the sys. co.
Have it reconﬁgure the shell metals. Use the gold titanium alloy from
the seraphim tactical satellite. That should ensure a fuselage integrity
while maintaining power-to-weight ratio. -Got it?
-Yes. Shall I render
using proposed speciﬁcations? Thrill me. So we wanna show that the computer
is processing something speciﬁc to that, whereas the interfaces prior,
some of them, just looked complicated. But they didn’t look speciﬁc to the story and Jon was very speciﬁc about, you know,
you have to hit this story point. Even though it’s a pan
from one monitor to another and you only have three seconds. I still wanna get
what’s going on with those monitors. The beginning designs of the hologram. That’s that. But then they let us work
on the main title, and we came up with a ton of stuff. We had the idea of the title itself,
kind of forming like… As a company of our size,
we always like to put our best foot fonrvard and get as much out there as we can. Make a really good impression
on the pitch. So we pitched a lot of different styles
and a huge range of things, from the shiny, glossy kind of look to something kind of gritty and textural. When I’m involved in an effort
of that scale, I always like to just do
something completely different, knowing that those stand
a great chance, but maybe there’s, you know,
an opportunity for something else. I had a board that had flying. The interface, he says, “I am Iron Man. ” And then the HUD display
encases him in the… Comes up around him,
and then he takes off. The kind of brief that I gave
the people here is that I thought, when he says,
“I am Iron Man,” it should be like a celebratory thing, like you leave the theater
and, you know, you’re pumped. And I also thought about… I liked the interaction of the robots. And so we had a board
that was all about type, that was kind of being, you know,
very complex kind of situation with type being made by robots. And Jon felt like there wasn’t
a lot of detail material of the suit itself. So he very much responded to a board that was all about the inner mechanics
of the suit. But we had this little motion test and Jon saw it and he really liked it. This is what we had showed to them,
the first meeting. Idecided, well, you know,
maybe it would be kind of interesting to do something
that’s like a video game, kind of wire-frame looking. Tempest. It was fully Tempest. The color, the look of it. It was that and a combination of TRON.
I liked TRON a lot at the time, too, and a game called Battlezone.
So I was a real… I would go into arcades all the time
as a kid, and spend like $40 in quarters
at a time on these… And that was a lot, then, to…
I’m kind of dating myself. Jon saw it and he really liked it. And I think he wanted
to move away from the kind of language of Spider-Man and have something that was more kind of funky and now. Kevin was a little bit more, you know… He was wondering if… It became a conversation then
about what’s the level of rendering. Well, it looks retro and Jon’s like,
“No. That retro is, that’s what’s cool. “That’s what’s cool about it.” In talking to the director, at that point we were
going back and forth so much, you know, between, what can it be… We went a little bit too far, I think,
in the sort of printed kind of look and it ended up
looking like paper, in a way. So we were kind of unhappy with that. Fortunately, after showing them that,
they didn’t like that very much, and we went right back to it. What was super cool for us
was that ILM had given us this… They gave us
the CG model for Iron Man. So you can imagine the detail in that. We were peeling apart layer after layer. It was just endless. I think these guys
had spent months at this thing. But it was so fun to be able to
just take that plate, you remove it, there’s this mesh, you know.
You remove that. There’s all these little screws
and bolts and nuts and all of that, which is really evident in this shot here. It’s crazy what these guys did. Theyjust… You know,
it’s like real machine work. They just went
and did every single piece. The detail these guys put in…
It’s just such a labor of love for them. They really, really ﬁgured this thing out. You know, like, we wanted
a little bit of a hint of film here, you know, then we just kind of
give it a lot of nice grain and texture and all that kind of stuff. Ilya had come up with this look,
you know, to give it a little bit of an imperfect quality. And they wanted us to put War Machine
in there. So we found a good opportunity
to do that, I think on this, here. Dave Rinder had modeled this. So all of this was made here
at Prologue. We had a couple reference photos
to go off of, to be able to do that. And then here… I even like laser tag. You know, how they have
all the black light kind of thing? My kids play that. They love that stuff. But I think it’s not as popular anymore. I thought it might be kind of fun
to explore thatjust a little bit, right here. So, here we are. You guys are working extremely hard,
I know, -but I think…
-Can we get a close-up for this part? We’re working extremely hard, but one of the things
that we do need to do is kind of formulate
how we’re gonna finish, now. How we… What is our task at hand to get this movie so that we can
clearly have prints by the end of March. The one relentless thing, calendar-wise,
is vis effects. That’s the thing.
Once we run out of time, we’re done. -Right.
-And so, I wanna make sure
that they’re not waiting, because oftentimes,
they have people hot-bunking and working around the clock
at these vendors, and if I don’t get in there
when they need me… -Absolutely.
-…there are people waiting and, at a certain point, the bell’s gonna ring and we’re not gonna get those shots in
and that’s, honestly, the most concerning part
of the process to me right now. As of today,
we have 162 outstanding shots, out of which, 22 were always
the Gulmira ones from March 21st. So, outstanding is 140. The caveat, though, really, ultimately, is gonna be Iron Man’s voice, because no one’s ever seen it. It actually isn’t something
that really works yet. -Yeah.
-So, it’s like one of those things. It’s like your VFX. Until they work, they don’t work.
And it’s like… And it could mean pulling out
a lot of lines or adding lines and stuff like that. Yeah, the character of the film is radically altered,
so that’s the one… That he shared discovery,
that he’ll have a lot to say about… -Is it the same for Monger too, or no?
-Probably. Yes, it is. He hasn’t heard reel four yet,
where you’re actually… And maybe he’d enjoy
learning extra lines. It doesn’t really start till reel five, because we don’t use Iron Man voice
in first flight. Now the space battle stuff, because it’s such an important
story point, and because
there are so many moving parts between ADR, performance,
robot voices, the effects themselves, the music, all the things are gonna
sort of come together, and have to pay off in a way
that I’m not completely confident in. A big thing that we’re gonna have to dial
and understand, as we see the shape of it in the cut, and as all the finals lay in,
is the degree of ice that’s on him. And that’s gonna be all Ben over there, and that’s gonna be something
where I think we’re gonna be really dialing in and out
more than we have with most of the shots
we’ve been working with them. Once again,
to be honest with you, Charlie, I just honestly think we’re not gonna… We’ll need to go through that weekend,
I think, just to get this thing mixed. Just to get up to the playback
on the 17th. -I’m just…
-So you wanna be mixing -all the way through to this…
-Well, I’m just… I’m just being real with this pace,
you know. What we’re trying to do
and what’s all going on here. Now, I told them no soul patch
on Rhodey… -No soul patch.
-…in his Air Force one. -But that one I think was already done.
-No, these are awesome. How do we get them? They’ll be toys.
They’ll be able to purchase them. -Purchase?
-Or, I mean I can send them to you, -but they’ll be, like, in the toy store.
-What’re you talking about, Jeremy? Come on, you know what I mean.
You know, what I mean. Look at that one.
The Mark I’s awesome. -Pretty great.
-Very cool. -That’s the best Monger.
-Yeah, isn’t that awesome? It’s sick. That’s the best toy yet. How do you feel about that, Matty? -Yeah, that’s better. I think it’ll…
-General|y, I guess… -|t’s not really worth chasing, really.
-Okay. Well, it’s just this one shot. Let’s… Can we see just… What is it about the color
that seems a little… See the blue on the left there? Maybe we could use it as a guide
to try to swing it more… Okay. It’s hard to really read it on the glass.
This is also… See how I’m swinging it away
from the red in his skin tone… -Yeah, I know. That’s fantastic.
-Okay, great. That’s kind of where I want it to go. It’s a very interesting time now,
and I remember this on other movies and, boy, you don’t know
what’s gonna happen. This could be anything from a flop
to a moderate single. You know, where you get on base and just keep plugging along
in your career, to something that… Where it’s beyond
where people’s expectations are. I honestly don ‘t know. I ‘m sort of the worst person
to handicap that kind of thing right now. I’m in the worst seat in the house.
I’m right in the… I ‘m right in the thick of things.
I don ‘t know where we are. Can you click it up? Maybe a hair. Right now,
I’m worried about the minutia. Right now, there’s still shots from ILM
we’re waiting to get back. I don’t know
if that space battle’s gonna pay off. You know, I’m still in the sound mix,
the DI. We ‘re still making picture changes.
That’s just the nature of things. You know, this non-linear style
of postproduction. It used to be you would lock a movie,
you’d do the music, and you’d sit back and mix at this point. Well, we ‘re still making
picture changes. Ramin’s still composing
score cues for us, if it doesn’t quite ﬁt. We’re dancing as fast as we can. And then, I’m gonna be promoting
the thing all around the world. I don’t mind it, though.
I think that if it was just up, it would be less saturated back there. …looks like a Star Wars poster. This is a bit of a fever pitch. We’re getting all the shots in.
We ‘re trying to ﬁnish them up. All the work of, you know, two years
is all paying off now. We showed it to some people.
We’ve shown an unfinished version to, like, Paramount foreign distributors.
They laugh. They like it. We’ve shown scenes at
Comic-Con, WonderCon, they all like it. I’ve shown friends. But this is a Marvel movie.
We don’t test these movies. So… I don’t know. They don’t want it
getting out on the Internet. It’s a very secret process. So… I really don’t know how people
are gonna react to this thing. I know that the people close to me
seem to like it. I know that there’s funny scenes,
there’s scenes with a lot of heart. There’s a lot of truth in it.
I love the performances. I love the cast.
I think the suit worked out really well. I think ILM did a spectacularjob. The score sounds good to me, and certainly the sound effects
sound great. So, I don’t know. Okay, so this is the all ADR cut
that’s loading. Send them two new versions. All right. Let’s see what we got here. How do you think the Mark]
chest piece is gonna hold out? The suit’s at 48% power and falling, sir. That chest piece
was never designed for sustained flight. Keep me posted. I ‘ve located Ms. Potts. Pepper! -Tony! Tony, are you okay?
-I’m ﬁne. How are… -Obadiah, he’s gone insane!
-I know. Get out of there right now! Where do you think you’re going? Your services are no longer required. What a waste. That “What a waste” sounds…
It’s a…waste. Well, all those three lines, are they complementary,
is the big question. I don’t think so. Yeah, yeah, assuming we could get it
to sound the same. Your services… Okay, ’cause you have… The whole thing about him
pointing the gun… Aline over pointing the gun explains
why he’s not smoking her. -Right? That’s the whole thing.
-That’s the idea. Yeah. So, “Your services
are no longer required,” I would push over that.
I know we had it there once before. I would say,
I would get “What a waste” out of there. Okay. I will duplicate your thing
down here. -Sure.
-Okay, where are you working now? -ADR work bin?
-Yeah. Okay. So, right here… You… He hates when directors point
at the screen during photo ops. I do it all the time, now. Your services are no longer required. Right here.
And getting rid of “What a waste.” There’s mixed sounds
’cause that stuff is so long. You’re using mixed sounds? Yeah, so we’ll just right… That’ll be just in the dialogue tracks. That’s even worse.
It a director snaps, he loses his fingers. These are the cuts.
This is how they know to cut. -Give the rhythm of the cut.
-There’s just… It’ll just be like… Your services are no longer required. The only thing I think we could put in
is a “Pepper Potts” before “Your services are
no longer required,” to bridge that cut. Pepper Potts. Pepper Potts. You could tell me that this thing
barely made its money back in its theatrical release,
I would believe you, or that it blew up,
and I would believe that, too. I know there ‘s a lot of big movies
coming out this summer. And they look good. As the head of Sony distribution told me
last time around, he says, “There’s only so many seats
in the bus.” You know, and you got about three or four movies get to be a hit in either a holiday season
or a summer season. And you’re either in it or you’re not. Pepper Potts. -Pepper Potts.
-Pepper Potts. Pepper Potts. Your services are no longer required. Pepper Potts. Come on, Jeremy,
you said that was a good one. Pepper Potts. That was the studio’s select. That was the one that came
with the line “Pepper Potts, I have the feeling
you’re trying to avoid me. “So beautiful, what a waste.” I know that I ‘m proud of it. I know that we’ve done
everything we can. I know that we’re hitting
some sort of note, because we’re getting feedback. After Comic-Con,
we showed the footage, people got on board
and got excited about it. And now it’s being spoken of
in the same breath as Batman and Indiana Jones. I mean, we weren’t part of that
conversation when we started off. We were like an unknown quantity. It built from like a small, little
grassroots thing into something where people are anticipating it. So, I know the awareness is there, which is something I didn’t have
on Zathura, the last ﬁlm I worked on. So it feels different than that. As our first film out of the gate,
I couldn’t be happier. I couldn’t be more proud
of the film that we’ve put together, the team we’ve put together,
of the cast that we’ve put together, and of Jon. It feels very, very good to have
this kind of buzz on a character that, outside of the hardcore Marvel fans, most people didn’t know a year ago. Most people said, “Well, is he the guy
in the metal and the suit, “with the goatee?” Maybe people knew. And now, the name Tony Stark
is as famous as the name Iron Man. It feels exciting. It feels like
people are ready to go out there and start the summer off with our ﬁlm, which is gonna deliver. We ‘re the ﬁrst one out. People seem to be,
you know, ready for the thing. Let’s see if that Internet buzz translates
to a larger buzz, and an anticipation
with the general audience. But I do feel conﬁdent going in. And I get the suspicion that
I’ll be doing more of these, and you know, it could potentially change the nature
of my whole life and my whole career. I’m gonna see it now, for the first time. How does it feel to kind of have
this moment? I’m in great company
and I’ve never had it so good. Is it cool to be directing a movie?
Like a comic book movie? It’s awesome, man. I grew up reading this thing,
and now here I am making this movie.