Corruption alert: This story discusses the main developments of the conspiracy, including the end, “Thunderbolts*” from Marvel Studios, which is currently playing in theaters.
The climatic battle in “Thunderbolts*” is unlike any other movie from Marvel Studios in its 17 -year -old history. Throughout the film, when members of the anti -anti -roasted team call the teams with Bob Reynolds (Louis Pullman), they found themselves suddenly absorbed within the memory of one of their greatest dreams. For Yelena Beva (Florence PGH), when she attracted her friend until her death as her first test for the red room. For John Walker (White Russell), he escalates on his wife and neglects his son crying in the aftermath of his disgrace during the events of “The Falcon and Winter Soldier” for 2021. For Valentina Alegra de Fontaine (Julia Louis Drifus), she is witnessing the killing of her father as a young girl.
In the final action of the film, Thunderbolts discovers that these memories are the result of the transformation of Pob to the strong and variable superheroes’ guard, The Void, who begins to distort New York City and all its residents to complete darkness. After Yolina voluntarily steps inside this darkness, she fights her path by darkening her memories to find a bob besieged in a naked room connected to his abusive childhood. The remainder of Thunderbolts-including Bucky (Sebastian Stan), Ghost (Hannah John-Kameen) and Alexei (David Harbour)-to Yelena are inside the vacuum to help Bob fight all his shame rooms, and we hope, from Void completely.
In the end, they reached the memory of Bob for the Malaysian Science Laboratory, where he volunteered for the scientific experiment to turn it into a super hero – the same laboratory destroyed at the beginning of the film. Bob attacks the void, which makes it only stronger; It is not even the adoption of Yeena and Thunderbolts Pop and telling him that it is not alone that he is able to escape from emptiness and return New York to normal.
This entire sequence was filmed by director Jake Sherir (“paper cities” and “beef”) and the cinematic photographer Andrew Druz Paliermo (“The Green Knight” and “The Knight of the Moon”) with a aesthetics that are handcrafted and manually manually raises A24 films such as “Everything everywhere at the same time” and “Indi”.
“Feige said,” Make it different – do it in the camera if I could. “We thought it would be fun to perform a practical handover of what it would be in an intellectual circle or a shame.”
Speak with diverse About designing the shame rooms-including those that did not make the movie-in addition to his personal inspiration for the Pop character and the extent of his participation in the post-credit scene that puts the role of the team in “Avengers: Doomsday” in 2026.
Sebastian Stan and director Jake Serir on the “Thunderbolts*” collection.
Zlotnick / Marvel Studios
When did you shoot the final credit scene?
He was shot four weeks ago, and I did not. This is Russas on the “Avengers: Doomsday” collection. I must be there, which was very fun, to see your comrades go to this great scope.
Did you have a feeling that Sam Wilson was suing them to use the name “Avengers”?
I got a draft vision, definitely. We all only worked on the scene to make sure it was honest in the location of our characters. But also, you give them to this entire new world and a new range, and you want them to work in this way. It was interesting to see them directed in another context and at a different level of scope, which we were treating.
What came first, after Sentry/The Void in your movie, or the desire to explore the topics of unity and depression in Marvel?
The guard/the void was in it. (Screenwriter) Eric Pearson and (Executive Producer) Brian Tangk found this together. He is only who is that character, and what he (comedian) Paul Jenkins did in his presentation – and we talked to him – he was always an example of mental health. I felt an interesting opportunity to bring some ideas that we were exploring in “beef” and knowing if they could work on a wider scale.
A lot of discourse revolves around how things are going on in the world today about a generation of young people who lost desperate and depressed. How much was you in your mind and you explore these topics in this movie?
Once Louis’s role became, we started working together and talking about it, and you will see these moments that felt ringing this way. It was not really the intention to talk about it. But I think, as we did, I felt, oh, there are some ringing there. We never wanted to give any person or anything, but we make it befriend. I mean, for me, this character was always based on a friend who has gone through a lot of these things, and he will have these very high highlands, and will always bring this self -destructive quality under it. He really needed to learn how to be in the middle of that and be fine with his own.
I mean, the last thing I would like to do is to make anyone feel a lecture, or give some public messages more than hope that everyone who sees themselves in the movie feels that it is understandable at a level. It is really related to the connections that you can find, which is the idea that in the wrong hands, someone can be weaken across these things the way Val (Pob) does and falls a darker path – vs., if you make a real contact with someone, there is a way to get out of that.
What is the process of designing the shame rooms and what will be inside?
This was something that really deepened. Initially, it was, well, we cannot overcome this man from the outside, so there should be some inner accuracy. Brian Tangk reached the idea of going to the void. Given that Kevin (Feige) said, “Go there and make it different – do it in the camera if you can,” (we think) it would be fun to perform a practical handover of what it will be in an intellectual episode or a shame room. Sony (Lee) (Lee) (Lee) (Lee) (Lee) (Lee) (Lee) (Lee) (Lee) (Lee) (Lee) was, and he presented multiple drafts, and worked with Grace Yun, our production designer on both “beef”, and we entered into the details of what these rooms will be. (Screenwriter) Calo picked it up and took it more in terms of returning to that initial room that we find in Yeena at the beginning of the movie, and this made the response to contact with the idea that the greatest shame ever was thinking that it could be something greater than yourself.
We see the shame rooms, Elena Walker and Fal. Have you ever discovered how the shame rooms Boki, Ava or Alexei would look like?
I was very sad for not seeing a private Alexi’s shame room. Yes, we tried. There was a time when the finals had escaped through all their shame, and I think this would be very fun. But something I really talked about Joanna was the need to get a bad moment before they left the vacuum. And if the matter will lead to the heart of the void, I felt that it is important to take a trip through the shame rooms – as much as I feel very sad that the past of each character does not get.
To what extent did you think about how it would look like that?
We have reached a large extent. We have complete joint serials, of all kinds of different versions from the end of this movie.
Can you tell me a little about what it would have been?
We had Alexei in Golaj, I think, after I was thrown there. I think Ghost was about her time in the orphanage, and that she is this girl who no one wanted to be present – to be able to be invisible and see the way he looks at and no one wants to link you with great sadness. We had a lot of different boks. We always wanted to do something less than the expected idea. There are some very clear things for Bucky, but I think at some point, Joanna wrote something about some shameful moments in the Boy Scout camp. But I do not know that this would be the right path for that. This is the beautiful thing in working with these actors – they are investors, they are giving up the guardians of their personalities and arcs, as it will inform you of something that seems wrong or incorrect with them.
How did the actors work to sort through the shame rooms that they mean to them, and how do they understand what they see?
Anything when you do practically, in the effects of the camera – such as, there are just transitions for rotation and conformity discounts – I think the actors are somewhat similar, “Are you sure, is this?” Is this? “He is like,” no, I think he will work. “I love what Joanna wrote about Walker. She talks to that terrible moment of” Falcon and Winter Soldier ” – not in returning to that moment, but more in going to what these moments do for us. The idea of seeing like this in this amazing small local situation that can be relied upon as if it is a better tremor is in an emotion of what it can do for you.
For a long time, this film was not supposed to come out at the beginning of May. What is your reaction when you realized that this film now launches the summer season, and it is one of the freedoms of shame, depression and a feeling of loneliness?
((He laughs) See, I am only here to make the movie. “Make it different”, so I never felt that I was running away with something. I said from the beginning, “I don’t want this to be strange.” We have done this film in cooperation and support from everyone in the studio who made all these other films very great. Hope was to reach the end of this matter and that he would get all the procedures, all the explosions and all the humor that you expect from the Marvel movie. After that, yes, the other side of it goes to a more internal place, but when you reach a post -credit sequence, although you have arrived there on a completely different road than you expected, it passes to the legacy of these films. We hope, we have succeeded in doing this.
This interview has been edited and intensified.
