Production Information (Cont'd)
About her character, she adds, "Maria Rambeau
is a very competent former female test pilot.
She is someone who was capable of doing many things in her occupation but didn't
to fly, being from a male-oriented environment. Carol and Maria became best
friends when they
were assigned to the same Air Force base and were literally stuck together like
glue. And wherever
they moved around the world, as you do when you're in the military, Carol was
Lynch was thrilled to come into a project that was breaking ground in the
MCU. "I've been a big
fan for a very long time. I watched all the movies with my friends, and I've
been aiming to be a
part of the MCU for at least two years now," says Lynch. "I was really excited
that Marvel was
focusing on their first female Super Hero franchise. To be a part of this
project in particular was
exciting, because I knew that they were giving Captain Marvel, who is the most
in all the universe, her chance in the limelight and her chance to tell her
story from the very
beginning so you get to see how everything started."
"Lashana's an amazing actress, and we're very lucky that she agreed to do
this, because Maria is
Carol's heart and soul in many ways," says Kevin Feige. "Maria is Carol's link
to her humanity and
link to Earth. And over the course of this story, she is the force that begins
to teach and help Carol
rediscover where she came from before she was this Kree Starforce soldier."
Agent Coulson is a new rookie agent at S.H.I.E.L.D. When unforeseen
circumstances arise, he finds
himself thrust into action and must prove himself.
With the filmmakers rolling the clock back to the 1990s, they were able to
revisit one of the MCU's
favorite characters, Agent Coulson, who in the film is just beginning his work
with S.H.I.E.L.D. and
meeting Nick Fury for the first time. "It was intriguing to go back to the '90s
and play a different
angle of Coulson's relationship with Nick Fury," says Clark Gregg, who is
reprising his role. "It is
essentially an origin story for both characters, and you get to see where they
came from and how
their relationship was formed."
"To a certain extent, I may be the expert in Phil Coulson," laughs Gregg.
"But I have to say one of
the really fun parts about it is that there's always been a certain kind of
license to let me play a
little bit generously because the character and the dynamic was borne out of
Robert Downey Jr.'s
improvisatory style. But everybody adds a little piece along the way. Part of
the fun of the journey
for me is to see where other people take Coulson."
The Supreme Intelligence is the spiritual leader of the Kree people. It is a
intelligence of the greatest minds of the Kree preserved over millennia.
When two-time Golden Globe winner and four-time Academy Award nominee
joined the cast to play the Supreme Intelligence, the MCU was something she was
with, but luckily she didn't have to go far to get all the information she
needed to come on board
the project. "I'm not a comic-book person, but everybody around me is," says
husband and a couple of my kids are big comic-book readers and fans of the MCU.
They were my
resource. So, when I first came on, I had them explain it all to me."
She adds, "What's fun about this story is that the storytellers are taking
the premises and
characters of the Marvel comics that have been established and subverting them.
That is why I had
to really have a sort of crash course, so I could understand the character and
what I was doing in
the bigger overall picture. But once I understood it all I was like wow, how
cool and fun this project
Bening learned that the Kree are led by a god-like being called the Supreme
amalgamation of all the dead who have their consciousness uploaded to it, and as
"All Kree warriors have to go into a virtual chamber and commune with the S.I.
to prepare for
Describing what drew her to the project, Bening says, "We have this fabulous
Carol Danvers, who goes through the hero's journey from trying to figure out who
she is to owning
her own power. That's kind of the classic hero's journey. So, that's fun,
especially because we go
back to the '90s. So, the references and the music and the technology and all of
the world that
we're in seems like another time. Of course, to some of us it's not another
time. It's just real life.
But that's really cool."
"Even though you're in the Marvel Cinematic Universe, it's still about
people," adds Bening. "It's
about real human feelings and growth and challenge and change and adversity. And
adversity, there's a place that we can get to like Captain Marvel does, where
she realizes that her
own power is really just in discovering her own true authentic self."
She continues, "The way that they're approaching the casting of these
characters makes them
memorable. There's a part of us that wants to get back in touch with that sense
of fun and
adventure, no matter how old we are. We're reassured that the universe is a
but there's humor in it and, in the end, there's a meaning to it."
"Annette was perfect casting," exalts Jude Law. "When you first see her with
Brie, you think she
must be her mom. There's a wonderful symmetry to Brie and Annette. They've got a
energy. Annette is another brilliant member of the cast and just wonderful to be
In the film, Carol Danvers has become part of Starforce, the Kree's elite
military operatives. The
Starforce team includes a diverse set of characters, including Korath, played by
Djimon Hounsou, a
stoic and disciplined textbook Kree and second in command for Starforce; Bron-Char,
Rune Temte, an imposingly large presence who is the team's muscle; Minn-Erva,
Gemma Chan, a cool, expert female sniper; and Att-Lass, a stealth infiltration
specialist played by
Algenis Perez Soto.
"When we meet Carol Danvers in the beginning of the
film, she's on the Kree home planet of Hala," explains
Kevin Feige. "She is a member of the Kree Starforce,
which is basically like the Navy SEALS or the Blue Angels.
They are the best of the best. So, in casting the team we
wanted to put a team together that was very diverse."
With the film being period to the 1990s, Djimon
Hounsou was able to reprise his role after being last seen as Korath in Marvel
of the Galaxy." "It feels great to be back in the Marvel Cinematic Universe,"
says Hounsou. "It's
great to be able to recreate some of the backstory in a way that my existence in
'Captain Marvel' is
recounting where Korath came from before 'Guardians of the Galaxy.' We get to
have a hint of
him younger and more dynamic."
Rune Temte, commenting on the Nordic look of his character, Bron-Char, says,
"I was pleased with
the character's look as it brings out the Nordic features I have. Bron-Char is
raw, rugged and real,
and no one will think he is beautiful. He is the guy who has to be the
strong-arm of the group and
As rough around the edges as Bron-Char is, Minn-Erva is his polar opposite.
and always on the top of her game, she is the only female member of Starforce
until Carol comes
along. "Minn-Erva is pretty badass," explains Gemma Chan. "She is the Starforce
sniper. She has blue skin and hair and, until Carol comes onto the team, she was
the star and she
was the commander's favorite. So, there's a little bit of an undercurrent of
playful rivalry with
Carol as she is coming up the ranks."
Re-teaming with Anna Boden and
Ryan Fleck is Algenis Perez Soto, who
starred in one of the directors'
previous films. Describing his
character, Soto says, "In Starforce,
everybody has their special skills.
Att-Lass is very sleek and fast." He
adds about working with Brie Larson,
"When we were not filming, I was
able to spend some time with Brie and talk about various things. She's really
cool and made it easy
for me to build their dynamic in the film."
Rounding out the cast in the film are Lee Pace as Ronan, the highly capable
Kree leader who leads
the fearsome Accusers and was last seen in "Guardians of the Galaxy"; Mckenna
Grace as Young
Carol Danvers; and Akira Akbar as Monica Rambeau, Maria's daughter.
With the casting completed, director Ryan Fleck reflected upon the talented
and diverse cast for
"Captain Marvel." "It was so fun to cast this film because there are so many
roles," he says. "There is not an actor in this film who plays a role that is in
any way singular. They
are like characters that have two sides to them-two interesting and strange
sides. These actors
are playing characters who are very surprising."
With "Captain Marvel" set in the mid-1990s, the filmmakers decided to base
the production in Los
Angeles for its 75-day shooting schedule. "As we developed a look and story for
the film, it became
important to Anna and Ryan in their approach to the material to make it as real
as possible," says
executive producer Jonathan Schwartz. "That meant shooting on location, both for
some of our
alien environments and for some of our earthbound environments. And that meant
Angeles for Los Angeles, which we were really excited to be able to do. It also
meant going out to
some locations that were off the beaten path a little bit and get out of the
city, which was super
cool and something we don't get to do on every film."
Producer Kevin Feige offers, "Parts of
this movie take place on other
planets. Parts take place on
spaceships. Of course, there's going
to be a certain amount of visual
effects involved on other planets and
a certain amount of beautiful,
wonderful production design and set
building involved on the interiors. But a large part of the film takes place on
Earth, and for the
Earth scenes we wanted it to feel very practical and very much on location,
which is one of the
reasons we wanted to shoot in Southern California. There was a reason our
settled in L.A., because there are so many great locations in and around Los
Feige adds, "We were able to secure amazing locations, like Eastwood Power
Station and Shaver
Lake in Fresno as well as the deserts in the Lucerne Valley and Edwards Air
Force Base. So, this
gives us moments in the film where it's a huge, vast expanse, and it's all
actually a real practical
environment. Practical locations like that just add a sense of scope and a sense
of reality to it,
which is what we really wanted when Carol is exploring her past and coming to
terms with her
own origin throughout the film."
Production designer Andy Nicholson also could not have been happier with the
choice to film in
Los Angeles. "L.A. was the perfect place to film this movie. We managed to find
were 1990s locations, and we redressed them as that. For the Blockbuster
sequence, we found a
shopping mall that was built in the '70s, was very active in the '80s and '90s
and now was in
complete disuse. So that was a natural."
"When we first met with Kevin Feige he told us that the
film was going to be set in Los Angeles in the '90s," adds
Anna Boden. "He wanted to set it in a pre-Avengers
world, when Nick Fury didn't know about aliens and
didn't know about superheroes. And meeting Carol
Danvers is sort of what inspires him to come up with the
idea of the Avengers. And it's just great to see a universe
where we don't know about all those other characters.
You can't just call on Steve Rogers. You can't just call on
Tony Stark when a crisis comes up because we don't
know what those guys can do yet. So, it really isolates Nick Fury and Carol
Danvers in a way that's
fun. They have to kind of figure it out together on their own, which makes for a
journey to go on."
While there were many practical locations for "Captain Marvel," there was
also a fair share of
stage work where production designer Andy Nicholson and his team created the
worlds of the Kree and Skrulls. "Anytime you have a big sci-fi element in a film
you end up with a
lot of stage work," says executive producer Jonathan Schwartz. "Those stages
were filled with sets
designed by our production design team, who did an amazing job bringing these
Kree and Skrull
ships to life. There are quite a few alien elements in the film. It's all got to
feel real and thorough
and dialed in."
"The biggest responsibility was working and coming up with the worlds for the
Kree and Skrulls
and giving them both an identity," relates production designer Andy Nicholson.
"So, I did lots of
research, helped out by the Marvel guys, about both of the species and what the
back history of
the two species was, because they'd been into it with each other for more than a
Foremost in Nicholson's mind was establishing the look of the worlds for
future stories in the
MCU, if needed, and making the two civilizations stand apart from each other
visually, so that the
audiences will be able to tell the two apart. The Kree world is angular and
symmetrical, with heavy
use of metals, and the Skrull world is curved and asymmetrical, with the use of
ceramics and other
organic materials. This basic broad-stroke design element applied to all
elements of the two
worlds, including buildings, spaceships, interiors and even clothing.
Describing his approach to creating the Skrull spaceships, Nicholson says,
"The overall curved
design for the Skrulls extended into the interiors of their ships as well. When
you see the interior
of the main battleship, it's all about organic lines and curves. And a lot of it
was made out of
ceramic with a skeleton behind it. We did an architectural language that was
about plates and
skeletons and the skeletal structure behind that. So, there are layers and
layers, and they are all
woven organic materials. Contrasting that with the Kree world, where we just
went for a much
more linear, straight-line and angular look."
Nicholson adds, "You know instantly if you're in the Kree world or the Skrull
world. You can
identify the Kree spaceship in the sky because they are that angular shape,
metallic and not curvy
like the Skrulls' ships. Besides making it easier for the audience, it also made
sense for the world
and the species and gave us languages that can be developed."
On two of the biggest sound stages, Nicholson and his team built the interior
of the Skrull
battleship and the interior of Captain Marvel's spaceship, which are both
multiple-room sets. "I
designed all the sets so they start off as one set," comments Nicholson. "And
then by plugging in
and out different places, we turn them into other areas within the same
spaceship. They each
have four or five different variations within them."
One of the biggest sets was the Kree transport system, which features in a
scene at the beginning
of the film. Nicholson describes how the set was envisioned to fit seamlessly
into the Kree world.
"We had the idea to do a two-layered city. There's kind of a top layer, which is
exposed, and then
beneath that is another level that is all subterranean. Then we thought about
how the people
would travel between the levels."
After creating mockups and after many discussions, the team came up with a
carriage that allows the scene to unfold as the Kree capital city serves as a
backdrop. Another set
depicting the Kree world, called Hala, was Carol Danvers' apartment, which also
gives audiences a
look at Kree life as well as another look at the city.
One of the largest exterior set builds was the creation of the planet Torfa.
To create the world,
Nicholson took an existing sand mine and quarry in Simi Valley and transformed
it into a visually
dynamic setting for an important scene in the film.
Commenting on the mine, Nicholson says, "The mine gave us the opportunity to
inordinate 400 feet of playing space, by 160 feet wide. We filled that with
which are sort of destroyed ruins, and then used some archaeology around that.
We also used
colored sands to make it even more alien, with the blue and white colored
With thousands of pounds of sand brought in, Djimon Hounsou, who plays Korath,
running through the sand on the epic set. "We shot a scene where we had to run
with our guns
drawn moving them side to side," explains Hounsou. "So, on that day, the sand
was a powdery
type of sand, and the first step you took in it became like quicksand. On one of
the takes, I lost my
footing and went down headfirst. Luckily the powdery sand also provided a soft
landing! I can't
wait to see the sequence in the film because, despite the challenges and
footing, the visuals and
action are really fun to watch."
Lighting was integral to the success of the look of the Torfa set. Nicholson
and the director of
photography, Ben Davis, discussed doing night shoots so they could light the
whole valley and give
it a look that would not necessarily feel like a night scene. Nicholson
explains, "So we colored all of
the architecture and all of the sand based on what it would look like lit by
this low end-of-night
light. We came up with a color and did some camera tests on that so that it
looked right on the
costumes and the people. But we also worked to give a very alien look to the
that really helped generate the whole thing."
A huge temple and other ruins, as well as a bridge and also a ravine, were
built into the quarry
landscape to give the idea of the alien world. Commenting on the build, director
Ryan Fleck says,
"Andy did a fantastic job creating the world of Torfa. The first time I walked
onto the set, I was just
blown away by the size and scope of it. There were so many great elements,
including a lake,
which just added so much to the look of the film. We shot all nights there so
when you see all of
the smoke and lights drifting through the set, it just created fantastic
textures and lines with a size
and scope fitting the scene."
To create the scene in which Carol Danvers does a crash landing into a
Blockbuster Video store,
filmmakers searched for an abandoned strip mall and found one in the North
Hollywood section of
Los Angeles. Nicholson's team built a new facade including a Radio Shack, a
Blockbuster and a dry
cleaners. The location looked so authentic that people actually drove up to go
into the location,
not realizing that it was really a movie set. Creating the interior of the
Blockbuster to replicate
what it looked like back in the 1990s was a daunting task for the set
decorators, who had to
research the look and source and make hundreds of VHS boxes, plus recreate the
In all, 40 sets were built in both interior and exterior locations, and in
addition to the major sets,
prison rooms, engine rooms, decks, airlocks, laboratories and a hangar dock were
One location secured early in the pre-production was Edwards Air Force Base
just outside of
Rosamond, Calif. In working with the Department of Defense and the Air Force
production was able to secure a vast array of locations and critical assets to
shoot the film.
"The DOD and Air Force were incredibly helpful in putting this movie
together," says executive
producer Jonathan Schwartz. "They gave us access to a lot of great pilots-the
others-who could really help inform Carol as a character, and they worked really
Brie, our costume department and our production design team to make sure that
were trying to do with Carol felt authentic. They were also able to give us
access to a lot of
hardware and planes to help make our MCU locations feel like they were real,
places with pilots, airplanes and military gear."
To add to the authenticity of the flying scenes, Anna Boden, Brie Larson and
Lashana Lynch visited
Nellis Air Force Base in Las Vegas for some once-in-a-lifetime training and
"Part of Brie's research for this film was not just reading the many amazing
comics and source
material that we pull from, but also going to Nellis and Edwards Air Force Bases
and spending a lot
of time with several officers and pilots and airmen up there, including General
Leavitt, who was
the first female Air Force fighter pilot," explains producer Kevin Feige. "It
was amazing, and in
some ways, it was like meeting a real-life Carol Danvers. There was also
something fun for us going
full circle back to Edwards, where Tony Stark and Jim
Rhodes did scenes on the first two 'Iron Man' films, and
we got the same great support from all the airmen there
as we had done ten years before on 'Iron Man.'"
Feige adds, "Brie, Lashana and Anna all went up in F-16s
and pulled serious Gs in going through all of the
maneuvers they do in the training exercises, which is
astounding. They all had their names stenciled on the side
of the cockpit and went for an intense ride. And that's one of the reasons why
the scenes in the
movie where they're piloting ships and planes come off so authentically, because
they have had
the hands-on experience and have been up there."
Brie Larson also was able to spend time with Brigadier General Jeannie M.
Leavitt, who, besides
becoming the United States Air Force's first female fighter pilot in 1993, was
the first woman to
command a USAF combat fighter wing.
For Larson, spending the day with General Leavitt was an
invaluable experience and honor as she prepared to take
on the role of Carol Danvers. "It was great to be able to do
that level of research and to see and understand the
people that General Leavitt is representing, the incredible
men and women of the Air Force, the fighter pilots, the
crews that defend our country," says Larson. "For General
Leavitt, who paved the way for so many young women, to
take the time to really sit down and talk with me was
something very special. I was really moved in a way that I wasn't really
expecting coming into this.
I felt like I kept having waves of emotion, and meeting her was one of the
things I was incredibly
fortunate to have the opportunity to do in preparation for the film."
Things got more hands-on for Larson when she learned she would be
experiencing the real deal in
the cockpit of an F-16 fighter jet. "The fighter jet is so sensitive that at
first I thought that it wasn't
working," says Larson. "It felt like we were not really in control because it
feels like it's not moving
at all. It's based on pressure, so it gives you the sensation that it barely
moves. It takes a while to
get used to, but once I got used to it, it's like nothing I had ever experienced
For the actress, the return back to the base in the jet gave her a little
taste of what the fighter
pilots routinely experience. "It was a little bumpy coming back and there was
turbulence through the mountains," says Larson. "Oh, I threw up a lot. But we
were simulating a
dog fight, so I was like flipping around going upside down, and it would be
crazy if I didn't get sick.
We were on the offense. We were on the defense. My pilot, Kazi, was so
incredible and super
talented. We got to 6.5 Gs."
The actress continues, "It was just amazing to feel all of that and being
able to take that into
production, so when we were simulating a barrel roll, I could recall exactly
what that felt like in my
body and how hard it is to breathe. It's all of those little nuances that I hope
will come through in
the film, so that regardless of who you are, it feels real."
The experience was not lost on Larson's co-star Lashana
Lynch, who went to Luke Air Force Base in Phoenix for
her hands-on training. "I spent Monday with Taboo and
Tuesday with Mother, which are the pilots' call signs,"
says Lynch. "Both of them have husbands and children
and a household. And they're both commanders of a
squadron. They are both superwomen, and it was
amazing to watch how they juggled everything. The next day I got to fly in an
F-16, and I'm so
excited that I did it. It was the best experience of my life. It was crazy. It
was a whirlwind. You can't
really compare it to anything, actually. I pulled 6.9, and pulling more than 6
Gs is something I don't
know if I'll experience ever again."
"The Air Force was an incredible partner on the film," says executive
producer Patty Whitcher.
"They gave us a ton of access and helped us a lot with the reality and the
verisimilitude of what life
in the Air Force is like. They were always willing to send out a couple of
advisors when we needed
it to make sure it all felt real and gritty and grounded. They also had some of
come out to set, who are the coolest guys on the face of the Earth and the best
pilots in the Air
Force, which was super helpful."
Aided by the character conceptualizations provided by Andy Park, Marvel
development supervisor, costume designer Sanja Hays first tackled the
challenging task of Captain
Marvel's costume. "'Captain Marvel' predates all the other Marvel films, except
for the first
'Captain America' film, so in a sense that gave us a little bit more freedom in
costume," explains Hays. "There was a lot of talk as we started about what
Captain Marvel was
going to look like, because there were so many choices and directions it could
have gone. But at
the same time, it is a Marvel Cinematic Universe, and there were events that had
established, which also influenced the direction of the costume design."
Hays continues, "There were two things that were obviously iconic, the whole
chest piece with the
starburst and the red and blue colors. That was something that we couldn't
deviate from. We also
knew that she was going to be a little bit different
than some of the comics, as we wanted her to be
more of a tomboy and pilot, not quite as sexy as the
character in the comics. Brie Larson is obviously a
beautiful woman, but in a way that makes it
believable that she is an actual hero, a soldier and a
In constructing the Captain Marvel costume, Hays
and her team faced the challenge of adding
functionality to the costume to allow Larson and the stunt team the movement
"Translating the sketches into the real costumes that the actor can wear can
be very challenging
because they not only have to be able to walk in it, but they also need to be
able to perform fluidly
in action sequences," explains Hays. "The costume is essentially somewhat like a
jumpsuit, and it
needed to be stretchy so that she can move in any direction."
As a result, the costume design team had to create several different versions
of the suit. One of
them was the hero or beauty suit that was used for the close-ups and heroic
had a shorter top part, which made it easy for Brie Larson to sit down in it.
Then for the action
sequences when she was flying, the suit had soft shoulders and soft materials on
all the normally
hard parts of the costumes like the chest, the gauntlets and the belt.
Otherwise, when she flew, it
would be impossible to lift her arms and hang from the wires.
In total, the costume department made eight Captain Marvel suits for
Larson. For the hero suits, the main fabric was leather with a special
finish that was "pearlized" in blue so that it had a sheen to it when the
light hit it.
In the MCU, when a new franchise character is introduced, the
unveiling of a costume is always an exciting experience for everyone
involved, including producer Kevin Feige as well. "In my 18 years at
Marvel I've had several amazing experiences seeing actors wearing the
costumes for the first time," says Kevin Feige. "It happened for the first
time when I saw all the X-Men all together 18 years ago, and you just
get this sensation of, I can't believe I'm looking at this in real life. There
have been so many iconic
moments, starting with Robert Downey putting on the Iron Man armor, Chris Evans
the Captain America suit, Chris Hemsworth holding Thor's hammer in full regalia,
Chris Pratt in his
Star-Lord outfit, Scarlett Johansson in the Black Widow outfit and most recently
Boseman in his Black Panther suit.
"When we had the first full costume fitting with Brie Larson, it was
astounding. Seeing her in the
suit, as the character we've been working on for years and dreaming about even
in front of you for the first time was incredible. It was an amazing start for
the new adventure that
lies ahead," concludes Feige.
The moment was not lost on Brie Larson, either. "It was very surreal putting
on the costume for
the first time," informs Larson. "It takes a couple people to get me suited up,
so there's a lot of
movement happening around me as gloves are getting put on and sleeves are
getting put on and
things are getting zipped up behind me. You end up having a lot of time in the
mirror to look at
yourself as it is all happening. I'm a deep processor and love to process
things. It's taken me a year
on this journey to finally begin to understand what it is that I'm doing and
what it means to wear
the suit and be the character. For me it's less about how the suit feels on, and
more about the
reaction that I see when I'm wearing it."
Larson continues, "The first time I tried it on I could see the Marvel team
get so emotional when I
walked into the tent to show everyone that I began to feel the weight of the
situation. It always
makes me emotional when I see photos of homemade Captain Marvel costumes that
have made with their moms. The idea of that star and these colors and what that
represents-strength, humility, compassion-just feels incredible. Bringing that
into this world is
very valuable and satisfying."
Another challenge for the costume designer was realizing
the look of the Skrulls for their debut in the Marvel
Cinematic Universe. "In the comics, the Skrulls are in
purple jumpsuits and a black undergarment, and we knew
we did not want to do that," says Hays. "The one thing
that we did keep from the comics was the purple color, as
the idea was to make them as different as possible from
the teal and black of the Starforce costumes. So, through
a lot of discussions, sketches and artwork, the decision
was made to make the Skrulls be very asymmetrical and not have all that symmetry
lines that you typically see in Marvel characters. I was aware of how big a
challenge that would
present, because when you have a symmetrical costume you essentially do one half
and then you
do the reverse. But with the asymmetrical look we essentially had to do two
everything was different on the left and the right."
The costume designer continues, "The other challenge was that purple is a
very sensitive color,
and it can look very unpleasant really easily. We had decided to go with a dark
purple, but then
there are a lot of night scenes, so we made them kind of shiny and interesting
in texture with lots
of detail so that in the low light they didn't look like jumpsuits. I think we
were very successful, and
they looked great."
"There were so many different looks for the Skrulls, and Sanja did such a
great job creating that
world from a costume standpoint," says director Anna Boden. "The Skrulls are so
beloved in the
comics, and Sanja did a great job giving them our distinctive look for the film.
She really did that
with every character she designed as well, creating period-appropriate costumes
for the '90s that
looked great and were authentic without making them feel they were being
designed to lampoon
Jude Law, representing the Kree in their teal and black, symmetrical
uniforms, says of the power of
his costume: "I'm always astounded at the power of seeing yourself for the first
time in the
costume that's been decided on in its final stages. It gives you such assistance
in finding a
character and performing a character. I had several fittings, but the day it was
finished, and I got to
really sort of step back and look, it was so exciting. The attention to detail
and the quality of the
suits they make are just extraordinary. They look fantastic, and there's a scale
to everything that
helps fill in certain areas. It also gives you the sense of the formidable
presence that Starforce
Reflecting on her experience in creating the world of
Captain Marvel through her costumes' textures and
colors, Hays says, "From a costume standpoint, this
film was a big challenge for us in the costumes
because we had costumes from the '70s, '80s and
She continues, "Then we really had Captain Marvel
and the whole Starforce team. Then we had a big
collection of Skrulls, and their leader, Talos. Then we had the whole world of
Hala, the people and
two worlds of the Hala with the subzone and the upper zone. We had the world of
Torfa. So, there
were a lot of different worlds that we had to create, and each of them were
in color, image and texture. It was quite challenging for us, but also a lot of
fun, and I really hope
that audiences enjoy all of the visual worlds we created."
A unique character in the film-and something new to the Marvel Cinematic
Universe-is Goose, a
tabby cat, who was played by several different cats. This is the first time that
a cat has been front
and center in the MCU. "Goose was primarily played by real-life cats," explains
"We auditioned several different cats, and we ended up with a cat named Reggie.
with a team of three other cats: Archie, Gonzo and Rizzo. They all specialize in
certain tricks and
Reggie was the hero cat, who has a
special knack for facial expressions.
Archie, Gonzo and Rizzo filled in for
Reggie when he was tired or when
filmmakers needed a very specific trick
that one of the other three cats had
been trained for.
When one of the cats was not cooperating, or the actors didn't feel
comfortable around them,
filmmakers used a stuffed cat puppet that Legacy Effects created for the film.
And if that didn't
work, they went to Plan B and created a CGI cat that was so lifelike that most
people could not tell
whether or not it was the real cat. So, the Goose feline character ended up
being a combination of
several cats and visual effects.
For producer Kevin Feige, working with a cat as a co-star was a learning
experience, but well worth
the effort and challenge of having live cats on the set working with the cast.
"Reggie is going to be
a big star after this film," laughs Feige. "In the process, we learned several
things. One is you can
do an incredibly realistic computer-generated cat, and the other thing we
learned is that cats can
be incredibly well trained and sometimes hit their mark better than some of the
members they were sharing the screen with. So, it was this amazing combination
that resulted in a
real performance for this cat, which really worked like a charm. People are
really going to love this
"Yes, there were cats, and there were children on set, which goes against
and can wreak havoc on your shooting schedule," says director Anna Boden with a
Reggie was a delight. Super cute, super friendly."
Having a real cat on set turned out to be a bonus for the directing team,
Anna Boden and Ryan
Fleck. "Sam Jackson was great with the cat, who knew that he was such a cat
lover?" says Fleck. "It
was great, and when you can see that Nick Fury is interacting with a real cat it
really helps the
scene. Even in the scenes where we might replace the real cat with a digital
cat, it's important to
know how the characters in the scene interact with the cat. It also provided a
great reference for
our visual effects team, as it was good to know what the real cat looked like
under the actual
"What we also loved about the real cats was their spontaneity, as sometimes a
cat would just go
up and unexpectedly start rubbing up against an actor or give itself a kitty
bath," adds Boden.
Laughing, she offers, "I remember when we wrote the first outline for this film
and we shared it
with Kevin Feige. His first note was that we need 200% more Goose the Cat in
this movie. We gave
it to him, and I think he was right, because the more time I spend with this
film, the more I love
"Captain Marvel" is chock-full of action and adventure, so Brie Larson
transformed herself to get
ready to play a Marvel Super Hero. She committed to months of stunt and fight
training to be able
to perform as much of the action and fight sequences as she could in the film.
"Brie is the most diligent and dedicated actor that I've ever worked with,"
says fight coordinator
Walter Garcia. "She came in and put so much time and energy into her training,
and it is really
going to show on camera. Five days a week she did two to three hours of
training, which was a
combination of boxing, kickboxing, judo, a bit of wrestling and some jujitsu.
She learned several
different martial-art styles to prepare herself for this role."
Larson's dedication in preparing for the film inspired her cast mates, who
also joined her in
working with Garcia. "Jude got advance intel that Brie was training heavily,"
says Garcia. "So, when
he came in for his first day of fight training and saw Brie with her boxing
gloves on pounding on
the heavy mitts, he was very impressed and inspired. It was the best thing for
him because after
that day, he started coming in every day and training.
Because they had so much time training together, their
chemistry and fight choreography was seamless. It also
felt like they've been training with each other for years,
just like the characters."
"I always do a fair bit of training, and I arrived with a
couple of months to train and learn some of the fight
choreography," injects Jude Law. "Brie had already been
training for three months, so I knew her dedication was extraordinary. She's
really led by example
from the front. Every day she arrived with spirit and was fun to be around,
which is important
because you spend days picking apart fight scenes without any dialogue. For me
it was just a case
of finding out what I needed to do and then put in the hours of rehearsing,
practicing and training
with Brie and Walter. Walter has a great team and is a great fight
Larson trained for nine months to build up her physical strength before
filming even began and
worked her way to lifting over 225 pounds in dead-lifts, 400-pound hip thrusts
and even pulling a
jeep down the road.
The actress, who had never done much strength training, speaks about the
training process that
resulted in a complete physical transformation of strength and balance. "A lot
of the training first
came from the fact that I knew I was doing an action movie, and I was going to
have to do stunts,"
says Brie Larson. "I didn't know what that was, but I knew that a movie like
this was going to feel
like a triathlon, and I wanted to be as prepared as possible so that I wasn't
fighting while being
fatigued or my body hurting. The character is so strong, so I knew that if I
could go through that
experience I would get closer to her and even just standing I could feel really
strong rather than
trying to act strong."
She adds, "Honestly, I didn't know what strength was, because I was truly an
introvert with asthma
before this film. But as I started training I fell in love with it and the way
my body was changing
and transforming. It was the first time where I felt like I was making my body
work for me. I think
in the past I was more interested in my body never being part of a conversation
because it felt like
objectification. I just wanted to be a brain, so I've only cared about like
reading books and like
understanding words, but this was an opportunity for me to take it back and make
my body mine."
Larson continues, "It wasn't until we started filming and I started doing
crazy stunts that people
started saying on set, 'Wow, this is amazing, and by the way, no one does this.'
So, it was a little
ignorance more than anything else, but I found it really empowering, and I do
want to say that I
have two amazing stunt doubles in this, Renae Moneymaker and Joanna Bennett, who
super talented and helped me so much. I put in nine months of intense work that
weeks of four and a half hours of training a day. It seemed as if I was training
for a marathon, but it
means so much more to me knowing the type of dedication I put into it and that
it's not just CGI."
"Brie pushed all-in from the minute she walked out on that stage at Comic-Con
and the world
embraced her," says Kevin Feige. "I remember after that moment at Comic-Con, she
sometimes put up Instagram photos of her reading a Captain Marvel comic. Then,
cameras started rolling, she worked out and trained a tremendous amount and got
into what she
says is the best physical shape of her life so she could just dedicate herself
to playing this part.
That physical and mental dedication continued during a very long and physically
Every step of the way she was not just dedicated to her craft, but also to
expectations and fulfilling the hopes and dreams of the audience."
While Larson got herself into the best shape of her life to play the role,
for Samuel L. Jackson and
Clark Gregg, no workout or magic bullet would produce the results needed to make
them look like
their respective characters did 24 years ago. To create the desired effect, the
upon visual effects supervisor Christopher Townsend and the artists at the
visual effects house
Lola to transform the actors back to the mid-'90s version of their characters.
"The movie is set in 1995," says Townsend. "So that meant de-aging Sam
Jackson and Clark Gregg,
who are Nick Fury and Agent Coulson in the film. The challenge was we had to
take 24 years off
these characters. The payoff for fans is seeing these characters early in their
careers, which is fun.
It was also helpful that both Sam Jackson and Clark Gregg look young for their
Townsend continues, "For both of those actors and characters, we had a lot of
reference material for what they looked like in 1995. We looked at older movies
to reference what is it that made them look exactly the way they did and what we
needed to do to
get them looking like that again. The de-aging process is literally a
frame-by-frame process, and it's
a real artistry. There are artists sitting at computers for months to finesse
these looks but not
stepping on the performance, which is a critical aspect of it. If you pull the
cheeks back or you lift
the mouth a certain way or open the eyes slightly too wide, their reaction to
very different than what the actor did on the day. So, one of the things we had
to do at all times is
maintain the performance the actor brought on the day because that's what the
Director Ryan Fleck discusses how he and Anna Boden approached Samuel L.
Jackson's and Clark
Gregg's performances in the film. "As we were shooting, we kept a very close eye
performances to make sure that the effect looked good and it didn't start
looking weird and fake,"
explains Fleck. "We tried to make sure that when we gave Chris Townsend the
takes to use, we
were very confident that they would be in the film, since so many hours of work
goes into every
shot of Sam and Clark in the film."
Another challenge for Christopher Townsend and his visual effects team was
filmmakers to bring the Kree's archenemies, the Skrulls, to life. For Townsend,
figuring out how to
translate the Skrull world from comics onto the big screen was no easy task.
"It's really fun when
you look at the comics and you can see how they did it," says Townsend, "but we
knew if we just
did a straight adaptation from the comics it just would not look real because
you have to think
about things in a far more detailed way in the film world to create something
that an audience
believes and accepts."
Continuing, Townsend adds, "The Skrulls are also fascinating characters
because they are green. A
lot of the design has been taken from the aesthetics that have been established
in the comic
books. That is often the starting point for us in Marvel films from a visual
effects standpoint, and
we move off that sometimes and go down slightly
The Skrulls are heavily prosthetic, but Townsend and his
team were able to create a great blend between visual
effects and special-effects makeup. Legacy Effects
created the prosthetics for Talos, the main Skrull played
by Ben Mendelsohn, and, according to Townsend, "It
was just beautiful work and looked great. It was so good
that we really didn't have to do a lot of work on him."
The other Skrulls on the ships that are not seen as much wore masks in which
their eyes were
constantly open with a frozen look. The visual effects team gave the eyes some
manipulated the mouths. "It is always great for visual effects when you start
with great physical
performances on camera, as they create an aesthetic and feeling that we try to
emulate in our VFX enhancements and performances," notes Townsend.
"Brian Sipe and all the team at Legacy Effects did an incredible job with all
makeup for the Skrulls and really hit it out of the park in creating the look
for Talos," says director
Anna Boden. "Seeing Ben Mendelsohn transform into Talos was an experience the
cast and crew
never grew tired of seeing. The special-effects makeup and costume gave him such
a great place
from which to find the character. Everyone on set always knew when Ben was 'Skrulling,'
would call it. He looked great in the prosthetics and was a trooper about the
long process, but it
really paid off as audiences are in for a real treat in seeing him bring the
character to life so
When "Captain Marvel" flies into theaters, audiences will be introduced to a
powerful new Super
Hero character who is stepping up to take her place in the Marvel Cinematic
Universe. "It's going
to be an incredibly fun ride with an amazing character that I think audiences
are really going to
love," says Jonathan Schwartz. "It's not going to be the ride you expect. I
think people are going to
come to this movie expecting a certain type of film and get something really
"The humor between Nick Fury and Carol Danvers is very special and is a lot
of fun," adds director
Ryan Fleck. "There are several breakout characters in the film, and Goose the
Cat is a scenestealer!"
Director Anna Boden offers a hint of what to expect from "Captain Marvel": "We
are going to
meet a new, extremely important part of the MCU; a new character who is unlike
any of the other
characters, who is her own unique self, and who goes on a journey of
self-discovery along with the
audiences who go to see her."
She concludes, "It's a mystery film, a film of self-discovery, and something
that really surprises,
and at the end of the day we hope it turns your expectations on their head."
"It's indescribable to work with creative people, especially people who make
movies. It's such a
thrill. And I keep saying to myself I can't believe this is me. I can't believe
I lucked out this way.
But it's something you never forget. I remember every cameo I've done since the
first one. And I
think I'm a very lucky guy."-Stan Lee, 1922-2018
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