Hawkeye’s Directors on “Sociopathic” Big Guy, No Way Home Reference – The Hollywood Reporter

[This story contains spoilers through episode five of Hawkeye.]

When Marvel Studios made their first livestream experience using WandaVision Earlier this year, its creators touted the opportunity to explore characters in ways not possible at the time the film was running. with hook Episode five, it’s especially true thanks to a ten-minute scene in which Yelena Belova (Florence Pugh) and Kate Bishop (Hailee Steinfeld) introduce each other to macaroni and cheese (with hot sauce galore).

Filmmakers Burt and Bertie (Amber Templemore-Finlayson and Katie Ellwood) enjoyed those kinds of moments, especially the creative decisions that featured on set.

“Hot sauce popped in the day,” Bertie says. The Hollywood Reporter. “We wanted Kate to throw something in. Anything… the hot sauce was there. Then Florence said, ‘Well, that now needs macaroni and cheese.'”

After they joined the Marvel Cinematic Universe, Bert and Bertie were treated to a very early and top secret screening. Black Widow to enrich their work with Yelena, who appears prominently in both Hawkeye and this film. They were also privy to the details explored in Spider-Man: There is no room for home – The fact that the Statue of Liberty is being refurbished with Captain America’s shield.

“There is a need to know the basis. Things like that, there was probably a little bit more reference to it in the original scripts,” says Bertie from the No Way Home reference in Episode V. “We love knowing those things.”

The directors also directed the third and fourth episodes, and were praised for the action sequences and character-based humor. The duo raised the stakes throughout their run, all of which led to Wednesday’s finale that will feature fan-favorite villain Wilson Fisk (Vincent Donofrio), the “big guy” referred to throughout the series. (Jonathan Reese, who directed episodes one and two, is back for the ending.)

in conversation with The Hollywood ReporterBert and Bertie dive into their own Marvel journey and reflect on Wilson Fisk’s “social evil and sociopathy.”

In episode five, we see what it’s like to come back from the bleep. How did you develop it?

Bert: This was something we hadn’t seen before. How do you feel about getting a second permit when five years have already passed? What does that mean for the world around them? How do we put the audience in the position of the character? We love doing things practically. We built these two different bathrooms. We have changed the whole world. It wasn’t a CGI world.

The wall slowly changed. Is this the mind of Yelena catch up with her new reality?

Bertie: By visualizing it and actually shooting it, it will be more of a perspective in the way that you won’t actually see granule traces. She wouldn’t see the world change, because she was just experiencing this slight blackout. Then in editing and publishing, I didn’t feel good. It was making the viewer ask a lot of questions. We added a little more grit to the inside, then the wallpaper layer changed. Technically there is a merger of her state in reality.

When working on this episode, did you see Black Widow Daily newspapers? Were you reading the text?

Bert: We were very lucky early on in our setup process Black Widow. do not tell any one. We had to, because her story was a major part of our three episodes. We were very lucky and saw her under heavy guard.

Bertie: We can’t just see the sign. this is not enough. We need the whole experience.

Bertie (Katie Elwood) and Bert (Amber Templemore-Finlayson)
Theo Wargo / Getty Images

Disney + Marvel writers and directors talk about doing things you can’t do in movies. A ten-minute macaroni and cheese scene really proves it. What is the secret to getting this right?

Bertie: There were two secrets to making the ten minute scene interesting. One of them is Hailee Steinfeld and the other is Florence Pugh.

Bert: It’s a gift in this action series that two adorable characters sit and converse. The audience needs it in terms of episode flow. But as directors, you’ll have those days when you have a whole day to do that brilliantly written scene. It is one of those gifts that are given to you, cared for and sealed with care.

Bertie: And put hot sauce on top!

How much macaroni and cheese was eaten during this time? I’m always worried about actors these days.

Bertie: We do too. The hot sauce came out the day. We wanted Kate to throw something up. Anything – the first thing I found was a little silly. The hot sauce was there. Then Florence said, “Well, that now needs macaroni and cheese.” We were like, ‘Oh my God, really? Is this taking so much?’ She said, ‘I love hot sauce.’ We go, “This is a big, inflated, bold decision to make.” Not once complained. We’ve also had instances where an actor made a choice like that and couldn’t quite go through with it. Florence is committed to hot sauce.

Do you want to direct the actors’ performances, or do you rely on them to make exciting character decisions in a scene like this?

Bert: In a scene like this, you’re definitely the guide, and you’re there to explore certain things, but they come as characters. For Florence, we had two fashion choices. We picked one and she came and said, “No. Yelena will wear this. That’s where she came from. She has platforms. She needs style and she needs a fur coat.” I know who you are. You listen to that, because other than that, I think you’re missing out on a lot.

in a Black Widow Florence has been on the family meal scene, too. Black Widow Writer Eric Pearson used rehearsal with the actors to inform his writing about this. How about you did you adjust things in the day?

Bertie: There were two different versions of the script, but we found a lot more back in the day. The text was certainly the basis. The tone of those 10 minutes takes you through comedy and real danger as well and then some deep feelings and dangers. It is a beautifully written scene. Then you find it with the reps and you find more small booms. Yelena goes to the kitchen and goes, “There’s only one fork.” [and Kate saying] “I am only one person.” This was just a find in the kitchen set, there was only one fork left.

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Jeremy Renner as Clint Barton in hook
Marie Cibulsky / Marvel Studios

It was touching to see Clint Barton looking at the painting commemorating the Battle of New York. It brought me back to what I’ve been doing for nearly ten years Avengers for the first time. You accomplished a lot just by focusing the camera on Jeremy Renner’s face.

Bert: She does so much. It’s a very important sight. You understand what he carries with him. Not just losing Natasha [Scarlett Johansson], But [he’s thinking], “I don’t want to let you down, this gift you gave me.” This means being with his family. It was filmed early in New York and Jeremy is an unusual actor, and Clint Barton was on this trip. And he had to go back to that moment. And he did and he took us all with him.

At the end of the scene, we know he’s going to do something a little bad, and then we bring him in as a Ronin. How was it like making the fight scene right?

Bert: It was so important to have a fusion between Clint Barton and Ronin that he thinks he left it behind. at the end of [plaque] It was important for us to get him to lift that black shirt, which is a hint as to where we’re going. It’s Clint facing his dark past and laying down his dark past. He wants to put that behind him, but the fact of the matter is, if this doesn’t go the way he wants to, he’s willing to do anything to save and protect his family. So you see the dark, but Clint Barton wants to be stabbed rather than stabbed [Maya Lopez], to actually take off the mask, be brave, stand up for who it is, demand their humanity and the connection they have, in that they are tools of other people.

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Alaqua Cox as Maya Lopez at Marvel Studios hook.
Courtesy of Marvel Studios

Similar to Jeremy Renner, Alaqua Cox can accomplish a lot by just snapping the camera to her face. What are your thoughts on helping the audience discover this new actor?

Bert: She is a real-life superhero in everything she achieves in her life. For us, just turning the camera on at her and seeing these feelings she brings to the character… it’s all just beneath the surface. She’s kept a lot of them, because she’s a classic decent woman.

Episode 5 refers to the “new” Statue of Liberty. This statue, with Captain America’s shield, is in the figure Spider-Man: There is no room for home. Looking at Marvel silos information, do you know what this new statue is? Or do you think it was a great reference in the text?

Bertie: We did. Basic knowledge is needed. Things like that, there was probably a slightly larger reference in the original texts. We love knowing those things. “Oh! That’s so cute.” Just how you weave things together. This is one we were aware of.

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Vincent Donofrio- at Marvel’s reckless.
David Gesbrecht/Netflix

People have been teasing you in interviews about Vincent Donofrio, who was finally confirmed to have made it to the final. Did you work with him? Or was that photo at the end of Episode 5 taken somewhere else?

Bert: We were fortunate enough to work with him and share time and space with him. He’s the most amazing actor, the way he keeps space. That was fun. That was one of our favorite days on the set.

On Netflix was the Fan favorite villain. So I imagine this is fun to get it back.

Bertie: This means a lot. Not only from the logistical point of view of the world. But only the level of extreme social evil. (He laughs.) which is the real share. There were construction stakes all around hook. It starts with Fun, Games, Tracksuits, Introducing Maya Lopez, There’s Yelena, and it gets more intense. It’s so cool to be a part of this show that starts with one thing and escalates until these beats fuse, so we can go from laughing at your heart to grabbing the edge of your seat.

Many directors and writers working with Marvel tend to return. Have you thought about it?

Bertie: I mean yes! Write that in your article. Put it out there in the universe.

Bert: To be serious for a moment, they work in a way that does not depend on fear. When we come in as directors and are about to direct a 15 minute movement and car chase sequence at any point there was no resistance to anything. As in “Oh, you’ve never done anything before. You can’t do that”. This does not come in. He’s like, “Oh, do you want to put a spinning camera in a car? Cool! We’ll get back to you.” And then you have all these amazing technicians and artists that come up and the discussion begins.

What are some tips you’ve received from Marvel executives Trinh Tran or Kevin Feige in your episodes?

Bert: Their feedback is always good because it is based on the story and the character. It serves the larger story.

Bertie: Trinh was good at being the one to remind us how this fits into the larger cinematic universe. I remember fighting on the rooftop in ‘104, saying, “The most important piece of this is going to be the moment Kate gets off the edge and that connection comes back in again.” Communication again was extremely important. This got us back to game over And watch snapshot versus snapshot play this sequence and repeat these snapshots as often as possible. The size of the shots, the wide picture she was looking at, looking at him. His hand extends down. She was very good at reminding us of the action and how the MCU jigsaw works and Kevin was just like ‘More Christmas’. (He laughs.)

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