(INAUDIBLE DIALOGUE)
Guy and I are both so steeped in these movies from our childhood.
We were interested in harking back to the sort of genesis of spy movies.
WIGRAM: It's second nature to us. We were fluent enough in the language of those films...
...to be able to take that language and put a twist on it...
...put our own little slang and our own view on it.
I like to make movies that I wanna watch.
I wanna create a world which... I don't care whether it's authentic or not.
It just needs to be authentic enough to me for me to believe that it's authentic.
After that, it's a fantasy.
WIGRAM: There's something modern about the feel of the style of the '60s.
- To me it's the coolest era. MAN 1: Walking onto a set in the '60s...
...and seeing everybody wearing real clothes.
Italy in the '60s is quite fabulous. Italians were quite out-there with their fashion.
We need two purses, please. An everyday and clutch.
And grab that belt.
Costumes on this movie are absolutely amazing.
Joanna, our costume designer, has done an amazing job.
Everybody looks good whatever they do.
Whether they're washing up or chasing a car...
...they still look brilliant and smart.
It was a higher priority, wasn't it? Natty dressing, sharp dressing.
VIKANDER: Joanna, she was the first one that I met after Guy and Lionel.
I came in for a few fittings early on, and it's a great way to kind of get into character.
You look important.
Or, at least, your suit does.
You know, you put it on and you feel Napoleon Solo.
Allow me.
JOHNSTON: The character of Solo is very considered...
...and he sort of has manufactured himself into this person...
...which is a sort of front, really.
And he is all about vanity and the projection of his appearance...
...and he is incredibly considered...
...so he looks well-turned-out and a sort of proper gentleman at all times.
Grape?
DEBICKI: Joanna is such an incredibly talented designer, and so collaborative.
We really sort of put our brains together and just created this wardrobe.
I started to chat with her and we saw one picture, and:
"What if that dress that I just tried, what if you...?"
I love that back. It was the most amazing dress.
DEBICKI: I have these incredible costumes in this film.
And they were very... Obviously, very informing as an actor to wear.
JOHNSTON: Victoria is sort of slinky, beautiful...
...kind of couture, but more in her own individual way.
She's a sort of match for Solo.
She's considered super vain. It's all about projection of her image.
Super sexy. She's a snake. She wants to snare people into her lair.
VICTORIA: Sleep well, Napoleon.
JOHNSTON: lllya is much more laid back, so he has suede jackets...
...and cool jackets, and slacks, as they call them in America.
Which was definitely the thing I pulled out from lllya Kuryakin in the TV show.
That bow tie doesn't work with that suit.
This is one of the few times I actually get to wear a suit.
Other than that, I'm in a turtleneck and a suede coat.
So this actually breathes much better right now, so I'm enjoying it.
VIKANDER: I get to be a child and I get to time-travel.
You come out in the street and everything's just changed.
You have those 200 extras dressed up.
It is such a kick.
The period is so fun, you know.
Help yourself to a drink.
WIGRAM: Period movies involve world creation. Completely recreate a new world.
There may be the exterior of a building that you can adjust, but everything is new.
The details of every interior, the telephones, the cut of the suits...
...the style of the shoes, the style of the hair. Everything is just...
It's very specific to a particular period.
And for it to really feel real and authentic, you have to get it right.
GABY: Where are we going?
ILLYA: The same place every architect goes when they visit Rome.
To see the sights.
VIKANDER: I must say, when I shoot a film, it always helps to be on location.
CAVILL: The look of the movie is changed dependent upon where we are in the movie.
Because we've been in East Berlin, West Berlin and Italy.
And of course secret underground lairs and all sorts.
We start in East Berlin, and it's what I call concrete colors.
Everything is very cold and hard. Pretty dismal, really.
Then we get to West Berlin, that's sort of the beginning of the opening up...
...and the dynamics or trend emerging through.
And then we get to Italy. It's all warms and golds.
WIGRAM: We were particularly inspired by the Italy of La Dolce Vita...
...which I think probably is the most glamorous aspect of the '60s.
In Italy, you get all that lovely architecture which is Mussolini and '30s.
You have all these period buildings there.
And it's really gorgeous.
QUINN: We were looking for places that had an edge to it as well...
...so that it had a style, and also to look glamorous...
...so that's why we ended up near Naples.
RITCHIE: So this is the lair underneath the Vinciguerra castle.
I think the most wondrous thing in Naples that we found...
...were these tunnels which were just incredible.
They'd been carved out by people. They were massive.
How did they get up there?
When we had the illustrations, I was like, "There's a ton of rock underneath that castle.
To get to the top, you can either walk up the ramp on the outside of the castle...
...or you go through the World War ll storage areas."
And that's what we did.
DEBICKI: A lot of the things we were shooting in Italy were often boat-related scenes.
I actually spent quite a lot of this film on a boat.
A stipulation from the very beginning is selling the period with the vehicles.
SCHOLL: If you get a period vehicle today, they are either completely falling apart...
...or they are these absolutely gorgeous trophy cars...
...that are being meticulously maintained. Obviously you want something in between.
You want something that looks like it's actually been used at the time.
Do you mind terribly if I borrow your car?
KING: Every Wartburg we had in the film was almost a barnyard find.
So it was rusty, it was an old pale blue, brown, green color...
...falling-apart interior, exterior. They needed love.
We completely gave them a new life. All the bodywork was done.
Seals, interior, head lining...
...seats relined, door cards, carpets, dashboard.
They were all built from scratch pretty much.
All we used were the bodies. Great fun to drive.
ARMIE: Vintage old Alfa Romeos...
...and all these old beautiful race cars on the track.
And it's a lot of fun. It's visceral, you know.
(SHUTTER CLICKS)
Look at this.
This film I'm using has been treated to be sensitive to gamma radiation.
These blurred lines means they've been in close proximity...
...to radioactive material in last 24 hours.
WIGRAM: The technology in the original Man from U.N.C.L.E. series...
...is all about being futuristic and cutting-edge, and trying to predict what the future will be.
The technology in our film is an attempt to be grounded, be faithful to the period...
...and to give today's audience a flavor of what it must have been like in that time.
So that everything that takes place in our story makes sense.
SCHOLL: We're showing the root story, so the gadgetry we know from the series...
...hasn't been developed yet for the spies.
What is that?
Super-hardened boron sharpened with a CO2 laser.
SCHOLL: The gadgetry that lllya and Solo have at this point...
...is actually the KGB stuff and the CIA stuff.
- Try and keep it smooth, without juggling. - Yeah, it's all about... Yeah.
Yeah, you don't... Right, do it smooth.
- The slower you go, the... - Yes.
CO2 laser.
Coming?
There's a lot of gadgets.
(STATIC OVER RADIO)
- I say that it's a tracking device? - Yeah, yeah. That's a tracking device.
GABY: It's a tracking device.
He's probably out there in the woods.
Watching us right now.
(ENGINE STARTS)
(ROCK MUSIC PLAYING OVER RADIO)
(INSTRUMENTAL MUSIC PLAYING OVER RADIO)
WIGRAM: The details that all of us come up with will transport us into a sort of magical place...
...which will feel that much more real because of those details.
MAN 2: It takes it with you...
...to develop things and to do things you wouldn't expect.
It's laying the groundwork for hopefully more of these that we can do that people will enjoy.
It's just been good fun.