We're gonna do a one scene breakdown of our train fight scene.

The inspiration for this scene really came out of the movie called The French Connection, which was basically this awesome train chase where Gene Hackman is tracing an aboveground train while trying to capture somebody on that train.

In this sequence, we have Nick Theory chasing Things Train as Captain Marvel's on the Train, also chasing a scroll, which is a shape shifting alien race.

When we were, like, really early on in the writing of the movie, before we had a Scripture, anything.

We're watching movies that really excited us.

And we were watching the French connection scene, and there's like a moment where Gene Hackman, he, like, gets out of his car and he runs up on the elevated train station and he looks around and he's looking across the train trying to find the guy.

And we were like, how interesting would that be if you were chasing a scrawl and it could literally be anybody because girls can shape shift into anybody that was the inspiration for you know Captain Marvel getting on this train, checking people out, but not knowing exactly who she's looking for.

These extras are awesome being These extras were really terrific.

They weren't overacting.

They were reacting, Justus.

They would thio this situation, which in this situation being that like somebody wearing a cosmic Space Warrior outfit, is getting on the train up, she's noticing somebody.

This is a woman who she bumped into before she got on the train, so she looks familiar.

This is actress Marilyn Brett, who does a fantastic job here.

This guy's really good jobs.

Well, we knew that we wanted to have a fight between Captain Marvel and whoever this girl was hiding in the skin of on the train.

You know, initially we thought, What if it's a little kid like, wouldn't that be funny to see her fight a little kid?

And then we thought, No.

But what if it's like the sweetest, nicest looking grandma, the most innocent person you could imagine?

Kind of grandma sweater and the dress and the stockings on giving her glasses.

Just an added plus, because you're really never supposed to hit somebody with glasses or so I'm told which is why I wear glasses and the dimples.

I mean, come on, temples posit there because this is actually this is the actress Maryland who basically did.

She had a whip her head maybe 15 times to get this take right because their glasses had to fly off in the right way.

You might have to kind of posit very carefully to see those glasses, but here they are, those glasses and she looked This expression, she's fantastic.

And then Bree is just so fierce here, and this is one of our favorite extras.

Wouldn't when we played this on this for test audiences, it's, like, so shocking to see your hero punch like a grandma in the face that people aren't like ready tow.

Laugh yet.

And it's like when this guy's like, ooh, that they really start to laugh.

This is very period accurate.

L.

A Metro.

There's only really one line in 1995.

That was one of the really fun things about this.

We actually got to shoot on a really moving Metro train.

They had shut down like two or three stops near El Segundo at the time, and we just happened to be lucky enough, and so they lead us, have it all to ourselves.

We had our own metro car that we had been able to kind of prepare for stunts.

And we shot this entire fight scene just old school on a moving metro car with, like, a couple cameras, kind of hidden in different places and a couple handheld cameras.

And it was kind of an amazing way to start this big, the effects driven movie, because this was something that Ryan and I had to do very well, which is just practical shooting in tight places with real actors and and also felt very appropriate, since it was inspired by the French connection, which was shot at a time when everything was practical.

For this particular moment, we were getting audience reaction.

So the cameras right where it is here it's on the camera operator shoulder.

But you're right.

We probably had, like, a camera here, and then we probably had a camera hidden on this side, like right outside of frame here that was getting other people's reactions and something that was more like straight down the middle, that was getting like a wider shot of a bigger group of passenger reactions.

Yeah, thes moneymaker sisters, these air legends in the stunt world.

Basically, this is Heidi Moneymaker, and this is Renee Moneymaker.

So these air two sisters that are fighting each other in this moment they had so much fun shooting that they've often worked alongside each other, but they don't often get to fight each other in this way.

They're on wires for this stunt.

So that was part of the beauty of having a train that we could own.

And we could also adapt.

You know, she's got wires that are kind of attached, appear to this bar for her flip, and she has some kind of pad back here that she's kind of landing into guys.

More great.

Extras are amazing.

Fight coordinator who I love Walter Garcia.

He's suggested having her dentures pop out when her head hit the hit The thing.

So there is an alternate version of this movie that could have existed where her dentures would have popped out at this exact moment and this we put in a different poll here so that it could bend and it was soft.

Production design was working on the actual interior of the train for weeks, along with our stunt team, to make sure that it was safe for all of the stunts.

We are New Yorkers, and there's a there's something that all New Yorkers know about when you're on the train were riding the subway every now and then, some break dancers will get on and say, Ladies and gentlemen, it's Showtime which people actually do on a moving subway full of normal non stunt de passengers.

And I remember when we were talking about shooting this film and we were suggesting that we shoot on an actual moving train.

People were like, I don't know.

I don't know if we can do that with, like, all the stunts and the fighting.

And we're like, Look, if these ordinary people can do this on a moving train in New York for riel, then certainly are stunt people can can do it.

And so they took that as a challenge.

Yeah, again, it just, like can't stress the importance of having good extras.

They're not people.

You get thio cast beforehand and have read for you.

So you really rely on your extras casting and getting lucky on the day having your a d move around the people who aren't quite nailing it because they add so much life to a scene like this.

We shot a bunch of this on a moving train, and then a week later we picked up a couple little moments that we didn't get.

And this is one of those moments we really wanted.

Thio have more kind of close ups.

Everything's moving so fast in an action scene like this.

And one of the things that we learned, having not honestly shot a lot of action scenes before is just like having the moments of paws are so important.

So we wanted this kind of moment of pause where you get, like, a close up on Captain Marvel and really get to see what she's doing rather than everything whipping so quickly by.

But we couldn't get back.

This is like a very secret thing.

So those of you watching, don't tell anybody, but we couldn't get back the extra that you would have just seen in the previous shot.

And this is Walter Garcia or fight coordinator making a little appearance.

He is dressed like the other guy, but he is not the other guy.

Bree had a really hard time elbowing him in the chest because, you know, she liked him so much and he was basically her sense.

A.

But he typically has a lot more facial hair shaved for us to do this.

And then we were very appreciative.

And this is another one of those moments just having the moment of pause when, after she kicks her back where it's kind of like a moment of its on before they go at each other again, it just sort of sets a nice sort of pacing and rhythm.

So it's not just 55555 It's Fight, fight, fight, fight, fight, fight!

Have you noticed that?

But there was a growl.

There was a scroll growl that occurs right here.

Scroll!

Growl!

Right there.

It's like that was for sure, Heidi getting punched in the face there.

There was no elder abuse happening during the filming of this movie.

We promised part of the reason that we were attracted to doing this movie is because Brie Larson was in it.

She was cast before we were brought on his directors and she waas the draw.

The idea of her is Captain Marvel, an actor who's shown that she kind of has this dynamic range of emotion that's that's so close to the surface that so palpable.

You know, she's just kind of arrived on Earth and is very single minded in her mission.

Thio track down the scrolls.

What was fun for us about this movie and that journey is that, you know, that is kind of the A plot line in a way.

But it's completely intertwined and entangled with her own journey of discovery about her own past, because what the scrolls were looking for is intimately tied Teoh, who she used to be.

And so as she kind of tracks down the scrolls, she finds herself kind of secondarily on this investigation into her own past in her own life.

And it's really that journey over the course of the film, Thio finding her own humanity, discovering more about who she really is, and that kind of opens her up and complicates her relationship to you know what?