SCOTT: All right. There's an old man...
PEYTON REED: So this is a version of the cable guy scene
that we ended up cutting out of the movie
but this, sort of, stemmed from, uh,
Paul, when you and Adam were working on the script
and meeting with the security guy
about different ways that you might go about, uh,
you know, casing a place
and, uh, before you actually pulled a burglary.
PAUL RUDD: Yeah, if you were really going to, uh,
break into somebody's house
you want to scope the joint first.
And, uh... (CLEARS THROAT)
And that's what the point of all of this was.
And it went through many different versions.
We did one where it was a neighbor, just coming over with
- a heritage loaf... - Oh, yeah.
RUDD: ...which was a shout out to Groove Tube...
- REED: Oh, yeah. -...making the heritage loaf.
Uh...
But, um...
Several different ones and then we eventually landed at this...
The cable, because of that reason of
securing cameras into cable boxes.
REED: And had this remained in the movie, this would've been
Hank Pym's intro in present day movie.
RUDD: And he was also playing a con too,
acting much older than he really was.
Uh...
REED: Acting older and as if he couldn't hear.
- And that expression and all that. - Right, right.
And it, um...
REED: It was two guys sizing each other up, yeah.
RUDD: And even there, you know, I clock that key chain
which, later on in the movie, I come down and I see...
Oh, yes. Here's the lock that I need, that key would fit that, so,
when I do break in later on
uh, that's how I know.
REED: We ended up cutting it out because it felt like
with all the other stuff that happens with, uh,
you dismantling the fingerprint lock and getting in the safe,
we definitely told the story of Scott Lang
being resourceful as a burglar.
RUDD: Yeah.
REED: And also, I think it, um...
We wanted to introduce Pym in a different way.
Yeah. There was a much longer version of this scene
and then there was an even shorter version of this scene.
Um, Scott also kind of...
He clocks a photograph there of Pym and the family.
This was something that, uh, in the research,
was actually done, installing...
RUDD: Maxwell had told us about, uh, this trick.
- REED: Installing cables. - Yeah. Just unhook the cable.
And you can get inside and do what you need to do.
But there...
Like, just checking the doors.
Seeing how the locks are.
REED: Next time you have your cable guy over,
just watch him like a hawk.
Just be careful.
Could be planting hidden cameras in your house.
HANK: That you have nothing to offer. Because...
RUDD: And this also added...
This little exchange here about him placing such a heavy wager
on the, uh, game
because he was playing into the kind of person that I would dislike.
- REED: Yeah. - Which was always a topic of, uh...
REED: The white-collar criminal.
RUDD: ...many conversations
from the studio level.
Um...
But that's the reason that's there.
...give me a call.
Oh, I absolutely will, you seem very good at what you do.
As long as I am alive...
PEYTON REED: This was a scene that was originally gonna follow
the S.H.I.E.L.D. scene
where we see Pym lock away the Ant-Man suit in the vault
that Scott eventually breaks into.
And just for pacing-wise
it just felt superfluous at a certain point.
Um, here we obviously see Michael, um...
Not de-aged,
but this is a scene that we shot on the same day as the S.H.I.E.L.D. scene,
where we had shaved his goatee off
and, uh, put his short hair on.
GALE: The lock hasn't been tampered with...
PEYTON REED: This is a brief scene with Paxton and Gale, where, uh,
they're trying to figure out how Scott got out of a jail cell.
Um, it was a scene that really showed them actually being cops
(STUTTERS) and doing the investigation
to try and find out what happened
and, uh, checking all the cameras around to see if they could find out.
There was more of a runner but, uh, for pace, we just cut it.
If we can teach him how to use the...
PEYTON REED: This was a scene that we had written and shot
that was really meant to explain one of the reasons that Pym
had targeted Scott in the first place.
We toyed with the idea of making him a little bit of a savant,
in terms of being able to
get through this Qubit Defense Matrix,
which was part of the security system of the Futures Vault.
We ended up cutting that whole storyline
'cause we felt like we didn't need it.
We liked the fact that Scott was more of an everyman.
Well, I'm not sure what he is. But I do know that he needs your help.
It's complicated, peanut.
PEYTON REED: I like this scene, I like the chemistry between you guys here.
This was another thing that we, uh, cut for pace
and also that we like the idea that once Cassie...
Or once Maggie took Scott out on the porch
that he was not allowed back in the house.
PAUL RUDD: Right.
And this voice that I'm doing
was the stuffed animal.
Which is what we imagined, that it would say these creepy
- "I love you", kind of... - REED: Yeah.
So it ended up not finding a place in the movie but, um...
RUDD: But it's used in...
It's used actually in...
As a visual, I think, when I'm...
REED: In the Futures Vault, yeah. It's the...
The still of Cassie.
PEYTON REED: This is a bit of the wish fulfillment montage
that we ended up cutting out of the movie
but the idea was that, uh, the guys went to an underground casino
and, unbeknownst to them, Scott is helping them win at the craps table.
And then he acts like he was home the whole time
and they come home big winners.
And there's some incredible dancing going on.
There was a much longer cut of this at one point. (CHUCKLING)
PEYTON REED: This is a longer version of the Futures Lab scene
where, uh, Darren Cross is talking to everybody
about his breakthrough in shrinking technology.
In this version, he shows a handful of examples of positive uses
for the shrinking technology.
Um...
Which was really compelling, but it also, um...
It was killing the pace a little bit and then it also...
We found that when you watch the movie, it opened this door
and had you thinking about,
- "Oh, Wow. " - PAUL RUDD: "That's really good."
REED: "That is really good, they should do more of that. "
It stepped a little bit on the whole idea of Hank Pym...
When I took over this company for Dr. Pym...
REED: ...you know, locking that technology away.
Now the visual effects that you'll see in this deleted scene
are far from complete, they're placeholders.
But they were going to be incredibly well-rendered.
Uh, you know, this was a cube of shipping containers
that had been shrunken down small.
This was gonna be some kind of bio-tech, here it's an eye
(CHUCKLES) that they were...
They, you know, used it to grow an eye and work on it.
And this was a giant waste dump that he had shrunken down.
So there were some really beneficial uses of this technology,
but we just felt it was, uh...
It wasn't crucial to our story so we cut it.
In this shot here, look at the tattoo on the buyer's neck.
Is that a Ten Rings tattoo, Paul?
RUDD: No, that's not. That's, uh...
That's the '96 Olympics.
It's from Atlanta.
REED: That's the Blind Melon tour, uh, from...
RUDD: That's it, yeah. It's the bee from the video.
Before I start any job, I need to know all the details.
PEYTON REED: There's a shorter cut of this that exists in the movie.
Um, this was a bit where we were gonna have...
We were gonna see the moment where Pym explains a little more of his history
as Ant-Man.
Uh, and again, we felt like there's so much exposition in the movie
that this just felt like more exposition.
And we get that Hank Pym was Ant-Man.
Um...
This footage here was a little from this, uh, Panama scene
that we shot for the opening of the movie
that we ended up cutting out.
So we used... We repurposed a few, uh, shots from that
in this sequence as well.
Uh, that shot of Darren Cross was also from a scene that we cut
where he was giving a little speech
to the group of people who were there at the Pym Tech presentation.
All these things, mostly, were cut for time just to tighten the movie.
And, uh, make sure that the movie moved really quickly
and clocked in at under two hours.
That was important to me.
It's a heist movie, it's a comedy.
It doesn't want to overstay its welcome.
...is gonna unleash chaos upon the world.
REED: And then the rest of this is actually in the movie.
I think our first move should be calling the Avengers.
(HANK SCOFFS)