I’m a magician.  I’m a member of the Magic Castle.

Nice.

So I really dug the magic stuff in this.  And I–

Do you know Blake?

Yeah, I know Blake.  Blake’s a good guy, he didn’t tell me he was in thisWhere did [the magic subplot] come from?  

I think the subplot started with I think it was Chris McKenna and Erik Sommers, the writers.  And we talked about it with Paul.  We talked about all the things, like if Scott Lang is on house arrest for essentially for two years, all the things he’s gonna do to try and entertain not only his daughter, but himself and we were all fans of close-up magic.  And I think it was Chris and Erik who came up with the idea of the online close-up magic.  And the idea is like that’s so up Scott Lang’s alley. 

But then how it could sort of filter into the larger plot.  And this ridiculous specific thing that he did under house arrest culminating in this idea of like this is my plan to how to lure Ghost out.  Misdirection, you know.  And so we just kind of went with it. 

[Note: slight spoiler coming up, skip to the next question if you haven’t seen the movie]

 

And it even informed a gag we do late in the movie with the Giant Man suit, where they’re trying to create a diversion for Scott to get back home in the Giant Suit and it deflates.  And we never explain in the movie how he did it.  You see Scott running away in his underwear.  We never explain it and we thought a lot about, like do we need to get more specific about how to explain this?  And it’s like no, man, it’s we’ve set it up.  It’s magic.  The magician never gives away his secrets. 

And it was a great thing for Randall Park and for Paul to play.  Like Randall Park who’s Agent Jimmy Woo, who’s tasked with enforcing the house arrest.  But he also kind of is a little envious of Scott.  He digs Scott and he’s really intrigued by that magic.  And you see him in his office practicing the magic.  It was fun comedically and weirdly dramatically.

How did Blake get involved?

Well we needed a technical consultant and…

And he’s the guy.

He’s the guy, man.  And when he was on set, he came around several times when we were doing just the simple card tricks and we were doing some of the other stuff.  And he would always do tricks for the crew.  And it was just I’m blown away by that stuff.  I don’t have to tell you.  You know.

He’s amazing.

You’re a member of the Magic Castle.  That stuff blows me away.  

Ant-Man and the Wasp - Reed, Rudd, Lilly

One sequence in this movie that I found particularly funny and amazing is the high school scene where Scott’s changing sizes.  I can’t imagine from a technical aspect of how you film that ’cause you have Hope in the same shot. How does that work?

Yeah.  I have to tell you, there’s a lot of complicated stuff happening in the movie and in that, it’s a relatively short sequence in the movie.  And when you look at it…

Most of the time you can write off it’s CG. But in that scene like it just doesn’t seem…

Yeah.  And it was weird, because most people will see that scene, it’s like, okay, that’s funny.  I laughed.  But like ’cause it’s kind of the most mundane scene in terms of the way it’s shot and you’re just in a school and he’s different sizes.  But it was the most headache-inducing technical challenge out of everything in the movie, because it’s in a mundane, it’s in a school.  You know what that looks like.  And you just want it to be photo real.  But the math involved, ’cause he’s two feet tall, then he’s big, then he’s three feet tall.  And it constantly changes.  And the visual effects department has to do all the literal algebra to make it work and to shoot these plates.  It was so meticulous and I think I rarely get frazzled on the set, but those couple of days we were doing that it was like…

So are you ever creating like multiple versions of that set in different sizes or is it just the like green screen?

Only the janitor’s closet.  The closet was the one that we did sort of a different scales of stuff.  And of course for the, when he’s running down the stairs at the end, that’s the real location, but then we built this insane scale to green screen staircase for Paul to go down.

Ant-Man and the Wasp

Yeah.  And the first film had Janet kind of hidden in there.  You hid here in the Quantum Realm.  Is there anything we should be looking out for in viewing this one?  

Peyton: Yeah, there’s a lot of little-hidden things.  I mean, definitely as you go through Hank Pym’s laboratory, on the practical set and then some of the stuff we added later digitally, there are a lot of weird, little Easter eggs and things.  And then as we kind of go further down into the Quantum Realm in this movie, there definitely is some things to sort of look for.  That was a challenge, the Quantum Realm, ’cause it really could be infinite.  It could be anything.  And figuring out how much of our story took place in the Quantum Realm and particularly like designing that last act that cross-cuts between the chase and the Quantum Realm.  But there’s stuff to look for in there definitely.  

ant-man and the wasp villain

And my last question is involving that because at the press conference you were talking about the editing of that last act.  I wonder like how long was the assembly cut ’cause there’s probably a lot of improv.

The editor’s assembly before I even start a director’s cut was still pretty lean.  I think it was like two hours and 20 minutes.

That’s not bad.

And I had this whole like, this is was my mantra on the first movie and this one.  It’s like it cannot be over two hours.  It’s amazing how fast Infinity War moves at whatever it is, two hours and 45 minutes.  It moves.  But because this is comedic and because it is a more intimate story, it just feels like it wants to be, I like really dense, tight movies.  And I also like hopefully that it’s a repeat viewing experience.  But yeah, it’s, it was I think maybe 2:20 and then just getting it down.  A lot of the stuff suggested itself but really as you sort of start to cut for action and for comedy, it starts to tighten.  And there’s, then there are the things where it’s like oh this thing is great, but I don’t think there’s a place for it in the story now.  You know, those things where you have to execute a scene.  

Yeah.  Well thank you so much, Peyton.

Yeah, thank you.  Good to see you.

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