Deadpool 2 Teaser

Deadpool (Featuring actor Ryan Reynolds and screenwriters Rhett Reese and Paul Wernick) 

Why Listen: Actually, this commentary would make for fine follow up to Constantine. The trio here strike a similar tone: light, breezy but thoughtful. There’s plenty of anecdotes and info to go along with some big laughs. Considering how long the three of them worked on this film, they have plenty to say about the experience, which lasted around a decade for Reynolds. They never run out of love talking about this character and everything they got away with on the project.

A Day on the Job: When Wade unveils his new face to Weasel (T.J. Miller), it’s great quip after great quip from Miller. The scene was actually a reshoot picked up six months after shooting. Says Reynolds:

You could’ve cut together an entire film of just T.J. Miller doing alternate jokes here. The only reason we stopped shooting this scene is because T.J. eventually had to go to sleep.

Says Reese:

We also shot this scene twice, because we had to alter some key information in the middle of it. This whole scene was working great, and then we had to go back and we were worried if we’d recapture the magic. Thanks to Ryan and T.J’.s comic chemistry, it worked out.

What’s Said: Reynolds calls the editing of the movie a “rollercoaster.” They tried all sorts of different options, including a disastrous linear cut. The tone was a part of the challenge in the editing, which is why they removed this one sequence Reese describes:

This scene [when Wade rises from ashes] was originally followed by a sequence in which Wade tested out his invulnerability by committing suicide in some ridiculous ways. Oh gosh, it made us laugh. He was throwing himself out of subway cars and throwing himself in a lion enclosure and all kinds of self-destructive things. Ultimately, for the tone it made sense to keep this reasonably serious.

Trivia: Somebody at 20th Century Fox was interested in New England Patriots player Rob Gronkowski playing Colossus.

The Golden Army

Hellboy II: The Golden Army (Featuring writer-director Guillermo del Toro)

Why Listen: You’re always in good hands with Guillermo del Toro. He’s nothing but passionate and it comes through every time you listen to one of his tracks. While speaking from the heart, he doesn’t leave a single stone unturned. With this fantasy film, he saw himself making the “anti-summer movie.” When the demon kills the last of its kind, a beautiful and frightened creature doing what it was told, it’s not a “rah-rah” moment where the hero saves the day and kills the bad guy. del Toro shares all the technical details you crave, but his insights into Hellboy and his moral dilemma are every bit as engaging.

A Day on the Job: del Toro, like most fans of Hellboy II, can’t get enough of Hellboy and Abe singing Barry Manilow’s “Can’t Smile Without You.” While Hellboy is a demon who prefers the sounds of Al Green and Tom Waits, after a few beers stir up some sentimental thoughts, del Toro knows it’s a song he’d sing. This day reminds the filmmaker of how Perlman and Jones helped humanize these fantastical characters under some notable restrictions:

One shooting day reminds the filmmaker of how Perlman and Jones helped humanize these fantastical characters under some tough restrictions:

Shooting this scene was truly one of the great days of a shoot of my entire life. Ron and Doug – Doug Jones is an absolutely genial performer, vocal, physical, you name it… found nuances and little touches. People don’t realize, these two guys have, if anything, millimeters of their real face exposed. Same with Johann, who is performed by three actors, all very talented. Each has their own talent. John [Alexander] plays Johann and the Goblin [towards the end]…

These guys perform without a face. They are so gifted. Everything about this movie should not be attempted. It’s an absolutely insane movie to attempt, which sometimes has a scene with a red guy, a blue guy, and a guy made of gas. The three of them are semi-blind by the suit, semi-def, and covered in fiberglass, and yet we are attempting for them to have small comedic moments, small human moments.

What’s Said: Del Toro doesn’t want to waste a single frame. He often has the background reinforcing his story, like when he uses nearly unnoticeable street signs and billboards to slyly reference Liz’s pregnancy. He wants to communicate ideas visually that audiences may not always catch, but he hopes they feel them. The auction house sequence is a good example of del Toro infusing character into a set:

They are lurking in the walls. And, soon enough, the first appearance of the fairies comes, hand in hand, with another piece of information: Liz is pregnant. Both things are lurking beneath the surface, in the movie. The first appearance of the fairies come signaled by an imitation of a pregnant belly on the wall, and in a rather unsubtle way I suppose, the shape of a fallopian tube in the wall when the fairies are tunneling in the wall.

Trivia: When Hellboy’s bedroom door flies by Abe and Manning towards the beginning of the film, they’re standing by the fairies from Pan’s Labyrinth.

Scott Pilgrim

Scott Pilgrim vs. the World (Featuring co-writer/director Edgar Wright, co-writer Michael Bacall, and author Bryan Lee O’Malley)

Why Listen: You’ll get some insight into countless jokes, how ideas evolved, and what was scrapped or changed along the way. This commentary tracked is filled to the brim with fun facts about Wright’s adaptation of Bryan Lee O’Malley’s beloved comic series. There was once a non-evil ex-named Philip, for example, who was cut from the script and was going to be played by Bacall, who still makes a cameo in the film. Anyone who’s a fan of Scott Pilgrim vs. the World should give this track a listen, and then maybe check out one of the other four commentary tracks.

A Day on the Job: One day that didn’t sound particularly enjoyable on Scott Pilgrim vs. the World was when Christine Watson, playing the demon hipster chick, had to sing the same song over and over and over again, according to Wright:

She probably had the worse day on the shoot. She was on this rig and she had to perform this song about 40 times. It was probably the most craziest day of the whole shoot because we had to play Dan the Automator’s Patel song 40 times in a row.

Another day on the job worth mentioning? During the reshoot for when Lucas Lee crashes and explodes on his board, Wright told Michael Cera to say “wow” like a muppet.

What’s Said: Wright’s movies move fast. He communicates a lot of information, establishes a ton of characters, and can build a believable world at a remarkably quick pace. An influence for his rapid style of pacing? Marvel comics:

When people talk about the pace of the film…This isn’t something that really occurred to me until people kept asking about the pace, but it made me realize how I read Marvel comics. I used to read them in 20 minutes flat, if that, and then I’d go back and look at the artwork. I would say the perfect way to watch this film is watch it at normal speed and then anytime it comes to an action scene slow it down on the frame advance and then you can look through it like you read a Frank Miller book.

On the third watch, Wright adds to look for numbers and x’s. In round four, keep an eye on Johny Simmons’ performance. As for the fifth viewing, maybe watch it backward, they joke. If you want to throw on an album to play along with the movie, O’Mally says something by the Smashing Pumpkins would be appropriate. Infinite Sadness is two hours long, Wright notes.

Trivia: A Fargo poster was cut over clearance. There is, on the other hand, a poster of the Dwayne Johnson revenge thriller, Snitch.

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