MILLER: Hey, it's Tim Miller here.
I'm the director of Deadpool by some crazy chance of fortune.
I'm here with Rob Liefeld, who's the creator of Deadpool,
who I'm honored to be doing a DVD commentary with.
Although, he is contractually obligated to be here, so, Rob.
LIEFELD: Hey, Tim, thank you for having me. I'm very excited to be here.
You know how much I absolutely enjoy this movie, so this is gonna be great.
I was just kidding, he's not contractually obligated to be here.
LIEFELD: I love these scrolls. I love the Marvel logo.
I think it's a great way...
MILLER: They change that for every movie, right?
LIEFELD: The Fox one, I think, stays red.
Oh, my gosh, this was amazing when I read it in the script,
and I thought it would be difficult to pull off,
but you aced it.
MILLER: This, oddly enough, is one of the very first things that
kind of launched us down, or me, on this way of doing Deadpool,
where we were gonna have this really big mix of all CG characters
cutting up against live action characters.
And that was our way to sort of have big-scope action,
but keep it as Ryan Reynolds...
MILLER: Yeah. LIEFELD: So fantastic.
MILLER: The Not Green Lantern Corps. LIEFELD: It is so fantastic.
MILLER: But the first time we did this, we did it in animatic
and we hadn't cast the movie,
so our animatic artists just put these placeholder slugs in there
that was like "The Hot Chick," "The Other Hot Chick," "The Funny Guy."
Ryan was the only cast member that we actually knew
was gonna be in the film.
And we all thought it was really funny to have these generic titles in there,
and so, they kind of made it all the way through to the end.
LIEFELD: And it works.
The reaction, every time I've seen it, people, I mean, they love it.
But the whole idea of just pulling the camera through all these characters
with all this crazy action is very inventive.
It sets the tone perfectly. It sets the tone for what’s coming.
And like I said, great credits.
MILLER: We got a few laughs from the fake titles,
which is good because it really starts the audience off in a nice place.
We had another version, older version, where the titles weren't quite as funny,
and we noticed it had a real dampening effect on the whole first act,
because people just weren't in that mode of laughing.
They weren't as ready to laugh as they were when the credits were funnier.
We had a good time with making these faux things
that Deadpool looks at.
We’d put in there exactly what the writers wrote.
I don't know why they came up with the things they did.
I'm sure they had a reason.
But the art department had a really good time making them.
LIEFELD: My gosh, getting the gum off the lens.
And this guy is so good. He's not an actor.
I feel, through the whole movie, this is just a taxi driver you guys hired.
MILLER: No, he's a great actor.
And in fact, Karan Soni, he was one of the hardest actors to get in the film
because he was afraid that it would hurt his TV career
to not be able to take other roles because of the obligations to playing this character.
And we all begged him so much because he was just perfect.
LIEFELD: Oh, he was. MILLER: Just the greatest guy.
And everybody called and begged.
I begged, Ryan begged, Simon Kinberg begged,
and eventually, he gave in, I think, really just to get us to stop calling him.
LIEFELD: Okay, that's a great story. I would never have known that.
That is a fantastic revelation on this guy, 'cause his scene, later on, is the payoff.
It's fantastic.
(LAUGHING) He is so great. His interaction with Ryan is fantastic.
Later we’ll talk about the suit, 'cause we don't see the whole suit right just yet.
But, oh, my gosh, he looks fantastic.
Your Blur department, Tim, everything you did to bring this suit to life,
people constantly say it is the best-costumed superhero
they've ever seen on film.
I heard that multiple times since the film came out.
MILLER: Well, thank you.
One of our concept artists at Blur, Josh Shaw, did the design for this.
And he's an amazing concept guy.
And he put such love into every design element.
But of course, it's based off your original design.
- It's not all that different from... - LIEFELD: No, I love the...
MILLER: ...the way Deadpool's been...
LIEFELD: Yeah. MILLER: ...forever
This shit...
Boo!
MILLER: So, this is our introduction scene for Ajax.
And those cases that he's sitting on
are actual shipping cases for super-slaves.
Inside are these sedated super-slaves that he's selling to this Warlord,
um, so he can use them as soldiers in some illicit war.
'Cause that's what Ajax does, he's a slaver.
Um, and this guy's come in to buy stuff.
And you may not think that this would be the case,
but that is an actual helicopter built in the early '70s.
And it is a beautiful machine.
We had a couple of shots where the helicopter flies in,
and we did these long intro shots of Ed with the helicopter landing
that were really beautiful.
But ultimately, you gotta keep things moving.
But it is a beautiful machine.
It was kind of great to be out there on the tarmac early in the morning,
just feel the power of that thing.
And those helicopter pilots were just amazing.
They could land that thing on a dime every time.
It was crazy.
And now, this is what hooks up to this scene of Deadpool.
Deadpool knows where they're going
after they had this meeting with the Warlord,
and he's going to intercept them and finally get his revenge.
No, no time.
LIEFELD: I gotta tell you, when I first met you,
you had the animatics of this entire scene coming up
on the different screens at Blur Studios you had set up.
And to see over the course of the movie getting green lit
and then the final product,
it's just been fantastic to watch it all come together.
And then actually be in Vancouver where they were shutting down
- the actual freeway for two weeks. - MILLER: To film it, yeah.
Well, I think a lot of people thought we were recreating the test piece in the movie,
but in fact, if they’d happen to read the script that leaked,
this scene we did as a test was really just a compressed version
of what had been in the script all along.
And I just changed some things so that it could tell a story
from beginning, middle to end.
This is actually the way it was originally before I altered it to make a test piece.
Oh, hello. I know, right?
Whose balls did I have to fondle
to get my very own movie?
I can't tell you,
but it does rhyme with "Polverine."
And let me tell you,
he's got a nice pair of smooth criminals down under.
Anyway, I got places to be, a face to fix and, oh...
Bad guys to kill.
(POP MUSIC PLAYING ON RADIO)
Maximum effort.
(GROANS)
LIEFELD: As an action movie fanatic my entire life,
you're always going in looking for something that's gonna be new and fresh,
and not something you've seen before.
And, buddy. you pulled it off.
This car fight, there's nothing like this.
It's part of why this movie is so fresh, this right here.
This car fight is ridiculously well-choreographed and executed.
MILLER: You're very kind. LIEFELD: Big fan.
MILLER: Honestly, I think, for the whole movie, the trickiest part is
we're going in and out of action, and it's mixed with comedy.
And the action is pretty brutal, too.
So, a guy getting his head smashed into a roadside stanchion,
- not so funny. - (LIEFELD CHUCKLES)
MILLER: (CHUCKLING) But uh, you got Deadpool quipping about it the whole time.
Yeah, this is one of my favorite shots in the whole movie, right here.
LIEFELD: It's mine, too. The lighter?
MILLER: No, I just like that whole sequence where the car smashes by.
Yeah, the lighter's great, too.
LIEFELD: This is brutal.
Okay, I've now seen this multiple times.
This hurts me every time I see it.
(SCREAMING)
(MUFFLED SCREAMING)
WADE: I've never said this, but don't swallow.
MILLER: So, in the interest of talking about
those things that were left on the cutting room floor,
the original joke here was, "Love your work in Daredevil."
Because if you know your Marvel comics,
you'll know that Bullseye, in the movies, had that little target on his forehead.
Colin Farrell had that.
So, it was a little inside joke, which the movie is full of.
LIEFELD: That's fantastic,
- I did not know that. - MILLER: Yeah.
We thought that, "Don't swallow," it's a more universal joke.
LIEFELD: It is. MILLER: Yeah.
LIEFELD: And the blend of live action with CG is really seamless.
MILLER: A lot of CG.
(TIRES SCREECHING)
REPORTER: Now, breaking news.
A multi-car collision turned shots fired
on the crosstown expressway this morning.
Gridlock has kept police from the scene.
Residents are advised to remain in their homes.
The assailant appears to be armed...
LIEFELD: This depiction of Colossus excites me the most.
MILLER: As a director, I'm such a nerd that
I underestimated everybody's knowledge of who the X-Men are
and where they come from.
So, originally we didn't have this scene.
They kind of show up later to take Deadpool into custody.
When we did some early screenings, a lot of people were a little confused about
are they against Deadpool, are they here to arrest him,
are they here to help him? They didn't know.
And so, I was excited about adding this scene here
that sort of set up who the X-Men were
and what his connection is to the rest of the mutant world.
But I really love this little scene, underneath the mansion,
when they go to the Blackbird.
And it really helped, I think, set us up...
LIEFELD: Sets the table. MILLER: ...and Colossus shows up. Yeah.
LIEFELD: It 100% sets the table.
Little anecdote. I was reading in the Marvel X-Men Chronicles
that Colossus was intended to be the star of the X-Men franchise,
that's why he’s so prominent on the first six covers.
But Wolverine kind of caught the attention of the fans thrusting forward.
But Colossus has never been served in a way that you did in this film.
These are great thugs.
I'm telling you, there's always thugs in movies,
but this brown pants guy...
These guys are fantastic.
MILLER: These are all stunt guys. And stunt crew did really amazing.
Phil Silvera and Rob Alonzo were our stunt coordinators.
And these guys were all talented.
Will, that guy right there, later jumped into the Deadpool suit.
When one of our other Deadpool stunt doubles got injured,
Will came in and did a great job.
And we shot this sequence for something like 12 days or something crazy.
You gotta remember, those guys, once they get shot here and injured,
they gotta lay there in the rain on the road.
LIEFELD: I didn't think about that. MILLER: For days after we’re done shooting.
When we're shooting the other scenes around them.
So, kudos to them.
LIEFELD: This countdown of the bullets, it's a signature set piece.
When I first read in the script this whole, entire freeway scene,
I was like...
Again, the level of violence in this, you just go, "I hope they put this in."
When I first saw it with you, the first cut,
right there, I'm like, "It's happening."
They made this as hardcore as they could possibly make it.
MILLER: I love it, too, but if you remember the original script,
it was originally 18 bullets.
- And we had to cut it to 12... - LIEFELD: That's awesome.
MILLER: ...for time and schedule and budget.
(BULLETS RICOCHETING)
(GUN COCKS)
Oh!
MILLER: There was some cool stuff that we, unfortunately, had to cut out.
There was a sequence where he shoots one of the other motorcycle riders,
and the bike keeps coming at him.
And he ducks and throws, in slow-mo, the bike over his head,
and then, as it goes towards some other thugs,
he shoots the gas tank and it explodes, and kills a bunch of bad guys.
There.
LIEFELD: This dance, you just react instantly. And up his butthole.
- What does he call it? - (MILLER LAUGHING)
MILLER: "Right up Main Street." LIEFELD: Main Street.
That was Ryan's idea on the day.
He's like, "Dude, I should get shot right in the ass."
LIEFELD: It's fantastic. It just sets it all apart.
It's a level of action and...
Look, by the time this commentary comes out, the movie will have been out.
And the work you guys did here is gonna change so much of what comes next.
- This is the money shot. This is the money. - MILLER: Yeah.
And this one was always in there.
- The three thugs with one bullet shot. - LIEFELD: Oh.
Tim, and this is, again, when you first debuted the footage
as a trailer in San Diego,
and this entire sequence ended it,
it was the message to the fans, "This is the Deadpool you wanna see.
"This is hardcore, it's violent. You've already seen all the jokes.
"But let's end with one bullet, three heads."
I got a bunch of my buddies into that Hall H to see this,
and that's all I heard about for weeks, "One bullet, three heads."
Yeah, great shot, great shot.
MILLER: The first time I read the script,
the scene here where he kills the guy with the katanas
was so lavishly written.
- I fell in love with the script right there. - LIEFELD: Yes.
MILLER: Because he does this whole homoerotic monologue
as he's up there and talking about
his muscles are bulging out in every conceivable place.
And it was just this really prolonged moment.
LIEFELD: And the funny thing is, when I saw it for the first time with you,
you said, "Rob, I gotta be honest. I wish we did more with the katanas."
And so, we're, what, 14 minutes into the movie,
and I see him kebab this guy.
And I'm like, "What are you talking about, Tim?
"This is good for me. This is great."
MILLER: Oh, but, yeah, but you want a big sword fight.
LIEFELD: This is great. This is actually also influenced...
MILLER: This is from the comics. LIEFELD: This is from the comics.
MILLER: Yeah. LIEFELD: Daniel Way,
uh, issue 10 Deadpool, I believe.
So, you can match it up.
MILLER: Which I didn't know at first when I read it.
I'm sure I'd read it in the comic books and then forgotten about it,
'cause I read eight million comic books.
But, uh, yeah, it comes right from the books.
LIEFELD: Yeah, no, Rhett and Paul did a great job
mashing up about 18 years' worth of Deadpool history
and just, uh, getting all the high points
and giving it a brand-new narrative.
'Cause I tell people, "You can't find this movie in a comic book."
This is very fresh, but it's the spirit of the character
and it has great details from the comics.
But, like with all great movies, Donner's Superman movie,
I had never seen that version of Lex Luthor before.
That was signature to that film.
And that defined Superman to me.
This is the definitive Deadpool.
And those guys did a great job.
When I read it I was blown away.
And then to see it come to life here.
- This guy is hilarious. - MILLER: He is great, yeah.
Kyle did a great job.
The line that Ryan has here,
(LAUGHING AND STAMMERING) "I'll shoot your fucking cat, "
he did one take of it that was,
"I will shoot you in the fucking cat."
Which, I don't know why, it's so nonsensical.
Oh, my God, it fucking cracked me up.
I ruined the take because I was laughing behind the camera.
- And Ryan starts laughing. - (LIEFELD LAUGHING SOFTLY)
MILLER: And then we do another couple takes of it.
And I loved it.
It was one of my favorite lines in the whole movie.
LIEFELD: It's a good one. MILLER: But nobody laughed.
So, we changed it to, "I will shoot your fucking cat."
Which always gets a laugh.
Although, it's this weird laugh because he's confused.
LIEFELD: Yeah, nobody knows what's... The chaos in this scene.
The jokes are so fast in this movie, I guarantee the movie benefits
from people going back to hear the 10jokes they didn't hear.
Cool?
Yes, sir.
Then we're done.
Wait. (CHUCKLES SLOWLY) We are?
Yeah. We're totally done. (LAUGHS)
You should've seen your face.
I didn't know what to do. I was so scared.
Soft spot, remember?
(WHIMPERS)
LIEFELD: And when he explodes right here, it's great.
- MILLER: Oh, yeah, totally. - (LIEFELD STUTTERING)
MILLER: The kiss was, uh, an ad-lib of Ryan's, too.
It was great.
LIEFELD: And this is great, establishing him as a good guy, as a hero, good intentions.
MILLER: Or at least not as a bad guy. LIEFELD: Yeah.
MILLER: I'm sure a lot of fans picked up on Feige's Famous Pizza there.
- For Kevin. - LIEFELD: Yeah, sure, sure, sure.
I'm sure he'll get a kick out of it.
This sets it up perfectly that, like you said, he's not a bad guy.
MILLER: Yeah, but he's not a good guy, either, so we're trying to walk that line.
He's always a mixed bag in the comics and we wanted to keep that the same.
He should be a little morally ambiguous.
LIEFELD: The mod shirt, people. MILLER: Yes.
- Little Easter egg. - (LIEFELD LAUGHING SOFTLY)
MILLER: We originally shot a different exterior for Sister Margaret’s.
And we got this when we went back to Vancouver
because we didn't have Ryan the day that they had to shoot it,
so we shot a Ryan double,
but it looked like a zombie walking down an alley.
It didn't look like Ryan at all.
It just didn't work.
And so, I'm so happy we got to reshoot it.
And then Ryan, on the day,
he wanted to ride a little bike down the alley.
And we tried that, it was really funny.
And then just him hitting the guy in the nuts
was just a perfect expression of the "I'm no hero" sort of a thing.
LIEFELD: And T.J. Miller nailed it as Weasel.
He and Ryan off each other is electric, fantastic to watch.
Perfect match.
MILLER: Yeah, T.J. is great. He is so completely uncontrollable.
He was doing, literally, a different joke every take,
which was really funny.
Every once in a while, it would throw Ryan off
because Ryan's waiting for a line to finish and then T.J. just keeps rolling
on five or six other alts on top of it.
But, man, it was great.
I don't take the shits. I just disturb them.
MILLER: This fight used to be different
because, originally, he was just watching TV
He starts to fight.
And there's a whole other scene that we shot
with the mercs talking about the code for Sister Margaret’s.
It was so hot in there when we were shooting this fight sequence
that I felt so sorry for these stunt guys in leatherjackets.
And Randal's such a big guy.
LIEFELD: He's huge. MILLER: And he's sweating like
- a motherfucker. - (LIEFELD LAUGHS)
MILLER: And Kayla has to jump on his back every time we did another take.
LIEFELD: That's great, the breath on the mirror.
He's still breathing.
(ALL EXCLAIMING)
MILLER: This location that we shot in, which is partly a relocation, partly a set,
um, that chalkboard was up there already.
It was like destiny for us to shoot in this place
because it was the perfect place for the dead pool.
Of course, there's a lot of Easter eggs up there.
LIEFELD: There is. There's a lot of names people should watch in, uh...
Trust me, the entire time I was there, I think my wife took a picture of it,
and I was like, "You can't blow this. There's Easter eggs on that board."
MILLER: There's a little Easter egg. See those shoes in the background there?
Those are... Shannon Gottlieb, our art director for this set, she, uh,
I told her some story about my wife throwing away my kung fu slippers
that I love to wear, but my wife hated,
and so, she puts up this little thing that says,
"Lost: Tim's slippers. If found, please dial whatever."
And Deadpool's lair is full of these little Easter-egg-type things.
LIEFELD: Oh, it's loaded. It's loaded with Easter eggs.
- I'm sorry. - Breathe through the nose.
LIEFELD: And I told you when we saw this, I turned and I told you,
"Tim, none of these people have ever been shot as well as you shot them."
And I kid you not, I've seen a million movies.
Morena, Ryan, they have never looked better.
They look amazing.
And Morena, their chemistry is fantastic.
I was blown away on set, on screen.
And this entire opening banter,
just fantastic, establishing their attraction.
Where else do you put one out?
I was molested.
Me too. Uncle.
LIEFELD: I've told people, the thing about Deadpool,
why it works, it has so much heart.
It's not what you expect going in, but it's why you loved it so much,
is you are rooting for these two.
And it all starts right here, this banter, and back and forth,
"You lived in a house, I lived in a... Whatever, I lived in a closet."
This one-upmanship is fantastic, the way they establish their attraction.
MILLER: This scene here was actually the audition scene that we used.
So, I'd literally seen this scene acted out
about 400 times before we actually shot it.
But when we were there, it was just this beautiful thing
because you hope that two people have this chemistry
And we'd tested. We'd shot a scene with them together
to make sure it worked before we got on set,
but when they're there and it works and you can feel it,
yes, it's acting, but there's also this chemistry
that is just pretty amazing.
(LIEFELD STUTTERING)
LIEFELD: In a movie that just has sequence after sequence after sequence,
the stuff that we're about to come into,
establishing their yearlong romance...
MILLER: Sex montage.
LIEFELD: ...with Calendar Girl is...
MILLER: Which was the single-most rewritten scene of the entire film.
I think we had 76 versions of the sex montage when we wrote it.
When we originally had it.
And I'll tell you where it started. You can see where it ended,
but it started with scenes like this.
- Easter was Ryan dressed in a big... - LIEFELD: There's a bunny.
MILLER: ...yellow chicken outfit... LIEFELD: Chicken, chicken.
MILLER: ...shitting a chocolate Easter egg onto Morena's stomach, as it were.
LIEFELD: Now, Tim, would that have gotten us an R rating?
- Or would we have gotten a little higher? - (BOTH LAUGHING)
MILLER: I don't know.
FYI, five mini lion-bots come together
to form one super-bot, so...
MILLER: There was also a leprechaun outfit for Saint Patrick's Day,
and a few other various things.
Rhett and Paul are very into costumes.
I'm not sure what that says about them as people or their love lives.
LIEFELD: Sure. MILLER: But it was all about costumes.
LIEFELD: All year.
Okay, we haven't touched on it yet,
but the music in this movie, from the opening with Juice Newton
to Calendar Girl.
The soundtrack is phenomenal.
MILLER: Well, Ryan, Rhett and Paul are virtual encyclopedias
- of bad '80s and '90s music. - LIEFELD: Okay.
MILLER: And so, a lot of that stuff was in the script from day one.
Especially Juice Newton, that was always there.
LIEFELD: Yeah. MILLER: Calendar Girl wasn't.
We found that.
LIEFELD: No, but you’re right, the Juice Newton was always on page one.
MILLER: Yeah. Ted Caplan was our music editor
and he did a great job at finding us all these source cues.
We listened to a million things for this.
This was the scene I dreaded shooting most
because it had to really flow.
LIEFELD: It's a shocker.
MILLER: Everybody thinks it's a lot of fun to shoot a sex scene,
but it's actually kind of awkward when you're telling other people what to do
and it's supposed to be sexy, but there's 40 people around and...
LIEFELD: Hot lights, cameras, yeah. MILLER: Yeah.
LIEFELD: (STUTTERING) You would not know, watching this movie,
they are in the zone.
And again, it's the basis of the entire relationship.
This entire, what is it, a minute, two minutes long?
Oh my gosh, the ugliest Christmas sweaters.
And the ultimate reveal of
why I'm sure every woman is going to love this movie.
MILLER: (CHUCKLING) Ryan Reynolds' ass. LIEFELD: Yeah, come on.
MILLER: Here it comes.
LIEFELD: It's a thing of beauty in and of itself.
When I came to visit, you were like,
"Rob, when you see Ryan, he's chiseled."
He's never been more chiseled and it's... Yeah.
It's shameful to the rest of us. (CHUCKLING)
MILLER: I hadn't seen Ryan in a while,
and when he came in,
he'd started working out while I was up in Vancouver.
It was before he came up.
And then we went down and met for the costume fitting.
And he calls me into the dressing room
and he's got his shirt off and he's like,
"So, what do you think? Am I big enough?"
And I'm like, "Holy fucking shit, you're a monster.
"Yes. Stop working out right now 'cause you're massive."
LIEFELD: Yeah. MILLER: And we ended up...
We had had some padding in the suit to fill it out
because most of the time that's what you do,
but Ryan put the suit on and he didn't need any padding.
LIEFELD: That's a great story.
MILLER: It was just filled out perfect.
And even as big as he looks without a shirt on,
in the suit, I always had this idea and you always drew him this way,
is Deadpool's not some kind of jacked monster.
LIEFELD: Right. No. MILLER: This Hulk-like guy.
- He's slender-fast. Yeah. - LIEFELD: More slender, yes.
Jesus Christ.
It's like I made you in a computer.
(MUSIC PLAYING ON RADIO)
Mmm.
Hey.
- Perfect. - (CAMERA CLICKS)
- Let's see. - All right, wee break.
Shake it, yeah.
(SIGHS)
LIEFELD: (LAUGHING) Oh, this is great.
This caught me unaware, Tim.
When I first saw this,
I was not prepared for what’s about to happen here in just a second.
WADE: This had been the ultimate commercial break.
- (TOILET FLUSHING) - (SIGHS)
MILLER: You mean Ryan's bare chest?
LIEFELD: Yeah, that and this. MILLER: Or him passing out?
LIEFELD: Yeah, I... Boom.
- (THUDS) - Oh, my God. Wade?
LIEFELD: Yeah, the movie's got great heart.
I just keep coming back to the reason that the movie works.
All the action, all the state-of-the-art... You nailed it,
these guys, their relationship sells the whole story.
People react to news of late-stage cancer differently.
MILLER: This doctor's office was the first thing we shot, actually.
LIEFELD: This was day one? MILLER: Yeah, this was day one, this scene.
Sometimes you try and pop something off, a little scene or something during prep,
you squeeze it in before actual shooting starts.
So, this was a real day of shooting, or a half day, anyway,
before the scheduled first day of shooting.
So, this was actually the first thing that we did.
WADE: I'm memorizing the details of her face.
Like it's the first time I'm seeing it.
Or the last.
DOCTOR: Mr. Wilson...
Mr. Wilson?
MILLER: I said to the stunt guy,
"Can you just pull the katanas out and go into that position?"
And I filmed it on my iPhone and then I reversed it.
LIEFELD: You would never know you shot that and then reversed it.
MILLER: And he flips the katanas and they go back in (IMITATES POPPING) like that.
And it's perfect.
And so, we just filmed it and then reversed it.
LIEFELD: The wonder of filmmaking.
That is a great trick.
When I was a kid, they showed how the Sand Person,
they only had one shot of him in the Star Wars film, shaking his stick,
and the guys went back and forth and made him shake it by moving the dial
and you just basically told me the exact... I love that. I love the inside stuff.
MILLER: Michel Gondry did this thing that was on the Internet a while ago
where he's putting together a Rubik's Cube with his feet.
And then you later realize that he just did it backwards.
He started with a perfect Rubik's Cube and undid it
and then played the film backwards.
LIEFELD: So, by the time this has come out,
we've already seen the NFL season use that shot where he lines up the kick.
It was all over football.
And you just go, "That just worked out perfectly,
"it matched up wonderfully."
Especially given that there is a Super Bowl spot that ran with it.
MILLER: That is just a coincidence.
We were in mo-cap, actually, and we were doing previz for this sequence
and we just thought it would be funny to take his time,
and really savor the fact that he's got this guy at last where he wants him.
How about now?
(CHUCKLES SLOWLY)
Wade fucking Wilson.
MILLER: And the kick to the head just seemed like the perfect joke.
LIEFELD: It's brutal. Again, it's part of the brutality.
Character's name is Deadpool. Should be a violent movie.
MILLER: Gonna play with his food.
Ed was an excellent sport here, too, because, for the majority of this sequence,
which again, was days and days of shooting
for at least a couple of days of it, anyway,
he's sitting over there on the side of the road in a puddle
while Ryan does this extended scene with Colossus and NTW behind them.
Never complained.
WADE: ...shit just went sideways
in the most colossal way.
LIEFELD: Oh, my gosh, this gets such a huge reaction.
This gets a huge reaction.
And for those of you who are not aware,
that's the Baraka Deadpool from the much maligned Wolverine: Origins.
MILLER: Yes.
And originally, Rhett and Paul wrote that joke, "I think they're a little mad at me, "
because, originally the way that scene played is
he says, "This is where Wham! earned its exclamation point,
"and this is the worst piece of shit ever."
And he throws it in the trash can.
Which was funny, but I like the fact that it was subtle, the way it is
and so, for people that know the character well,
- they get it just from seeing that. - LIEFELD: Sure.
MILLER: It's a little ironic twist.
LIEFELD: Now tell us what else should we be looking for, in terms of...
Well, there's the Lucha Libre mask in the background,
there's so much stuff going on in the back of these scenes,
- the set designers must have had a blast. - MILLER: Oh, yeah.
And don't ask me why, but there's cocks everywhere.
You'll see so many roosters in Wade's apartment
and then later on in Deadpool's lair, it's amazing.
Shannon had a real thing for cocks.
LIEFELD: It works. MILLER: And by cocks, I mean roosters.
LIEFELD: The scene with him and the chicken,
will that be on the Blu-ray extra scenes?
MILLER: The scene with him and the chicken?
LIEFELD: Dressed up like the rooster?
MILLER: No, no. We never actually shot it.
No, they wrote it in the sex montage he's talking about.
No, they wrote it, but we never shot it.
LIEFELD: Is there anything in the montage that'll make it on?
MILLER: Uh, I don't think there is.
There was some other jokes, alts for Lent,
there was Lyme Disease Awareness Day
and happy Alanis Morissette Day
and a few other things there.
Weasel, like he is in the comics, he's a skeezy arms dealer
that uses this as his office and he's there selling weapons to everybody
and they had all their interactions.
So, just in terms of streamlining everything for time and script
we combined Patch and Weasel into one character.
LIEFELD: It works.
MILLER: And it's great.
It gives T.J. a place to exist in this world that's his.
It's terrific.
LIEFELD: And the recruiter who’s coming up,
you could not, again... Brilliant casting.
You don't like him from the minute you see him
and he is wonderfully smarmy in regards to...
MILLER: But you know what? He's the lead alien in Galaxy Quest.
- Where you love him. He's the nicest guy. - LIEFELD: Fantastic.
MILLER: He's the captain of the alien ship, you know?
LIEFELD: I did not... MILLER: Remember.
LIEFELD: It all clicks now. It all clicks.
MILLER: And you love him in that movie.
I think it's testament that he's such a great actor and versatile because...
LIEFELD: And here he is.
MILLER: ...you love him there and you hate him in this.
He's so precise and persnickety,
you can tell he's got some kind of OCD issues for sure.
(WADE SIGHS)
Mr. Wilson.
How can I help you?
MILLER: We never really say whether or not he's a mutant.
- I thought that maybe he has some subtle... - LIEFELD: Mutations?
MILLER: Yeah, something that allows him to the power of suggestion
reinforced with pheromones or some subtle mutant power
that allows him to convince people.
There's a lot of mutants that are like that in comics.
LIEFELD: I'm laughing 'cause of the lines, the insults that Ryan is hurling at him,
- again, the humor in this film. - MILLER: It's great.
Ryan had another line here,
it was, "How can I help you other than snacking on the innocence of children?"
He was ad-libbing a bunch of shit here.
What if I told you we can cure your cancer?
And what's more, give you abilities most men only dream of?
I'd say that you sound like an infomercial,
but not a good one, like Slap Chop.
More Shake Weight-y.
LIEFELD: Was it always an infomercial line?
How many times did he? I can't believe with Ryan's improv
that he said the same thing over and over, or was it always...
MILLER: Um, you know, Ryan is great, he does a lot of improv,
but he always makes sure that you get the lines that are on the page.
As a director you wanna make sure that you have at least that as a safety
and once you get a good version of what was on the page, the studio likes that,
they don't want you to ad-lib everything either.
But you get a good version of what’s on the page and then you ad-lib.
This scene, we had a couple of different versions of this in the original script.
There was another version where
she wakes up because he's throwing up in the toilet
because the treatments are starting, the cancer is really kicking in.
It would have been a nice scene actually
to see the horror of his beginning disintegration and how it affects her.
I love the way that this is shot, too.
I remember Ryan looking when he finally got up
and took a look at the monitors after we shot the coverage on this scene.
He was like, "Hey, you can't see my tears here, "
and I said, "You were crying?" He's like, "Yeah."
"I was crying, I was really crying.
"You can't see my tears." He was laughing, he wasn't angry about it.
LIEFELD: They work hard for those tears. MILLER: Yeah, he was really
giving it everything for that moment.
LIEFELD: Now, see, I was gonna ask you a couple of scenes back
when it looks like she's been crying all day
when she tells him they're gonna get through this.
MILLER: Yeah, she does. She's great with that
and it became a joke on set with me,
because it's, I guess, a faux pas to ask an actor to cry.
It's frowned upon, you don't wanna do it, for whatever reason.
And so, I would just ask it, and then they would all look at me like,
"You fucking amateur. You can't just ask us to cry."
And so, it became a joke because I would find some other way to say it.
LIEFELD: "You want us to cry, Tim?" MILLER: I really...
"Could you just cry? Can you just cry for me now?"
LIEFELD: Fantastic.
WADE: Pro: They pull down a gaggle of ass.
Local dry cleaning discounts.
Lucrative film deals, both origin stories
and larger ensemble team movies.
LIEFELD: I had to keep it under wraps for a while when I read this 'cause
I knew that it was sensitive, but the way that Colossus is utilized as the straight cop
and somebody for Deadpool to play off.
That's what I really thought when he first appears,
the dynamic that Rhett and Paul had established
was just a perfect way to give him somebody to play straight man.
It elevates his looniness more.
MILLER: I thought it was great, too.
There was some concern in the middle there when
you show people the initial cuts
and Colossus is either a guy in gray pajamas...
- Andre, who did a great job acting on set... - (LIEFELD CHUCKLING SOFTLY)
MILLER: ...but he's still a big guy in a mo-cap suit,
or he’s previz or something like that,
and people start to worry
They can't see the final version of what he's going to be.
This scene is gonna be a big DVD extra,
so we actually shot a much longer version of this scene
where he does a huge rant about
a thinly veiled reference to Green Lantern.
And he really goes on and on, and this is the scene
where he always earned the Merc with a Mouth title.
There's some other stuff that’s going on that we cut around,
like he goes and he pulls the wallet from one of the dead guys
and then he goes to the other guy’s pockets and he gets Ray-Bans and he puts 'em on
and he takes 'em off and he does a Green Lantern rant.
This scene was five minutes long, it was incredibly long.
And it was all funny and I hated to cut any of it,
but sometimes you have to sacrifice jokes for pacing,
but I'm glad we got to put it on the DVD.
LIEFELD: I was gonna say, that's the kind of stuff,
I'm a huge extras guy.
I buy these things for the extras and the commentary,
so I can't wait to see it.
...who rooms with a bunch of other little whiners at the Neverland mansion...
of some creepy, old, bald, Heaven's Gate-looking motherfucker...
on that day...
I'll send your shiny, happy ass a friend request.
But until then, I'mma do what I came here to do.
MILLER: This joke with the whole Xavier in Heaven's Gate
and making fun of the X-Men and calling Colossus a cock gobbler.
Fuck, I fell in love with the character all over again
when I read the speech in the script.
It was just so not done in a comic book movie,
that when I read it, which again, was six years ago, the first time,
it was so perfectly Deadpool,
and so, against everything that had been done
in comic book movies so far that I just loved it.
LIEFELD: And it plays huge, it's some of the biggest laughs.
When I've seen it, the "McAvoy or Stewart" line
is one of the biggest laughs.
MILLER: Yeah, that was a Ryan ad-lib. LIEFELD: Oh.
MILLER: No, I think that was Ryan's.
LIEFELD: And let me tell you, this scene,
I know Hugh Jackman heals as Wolverine in the other X-Men films,
but they're generally always cuts,
and when I read the script and then eventually watched this,
this is an audience experiencing a healing factor
in a whole different way that they have never experienced in a movie before.
And that's why I absolutely adore this scene.
(STUTTERING)
And when he eventually leaves the scene...
MILLER: Digital Domain did a great job, of course, it's visual effects,
so it came later in production,
but when you finally see those broken hands,
which up until near the end of production
were just Ryan's hands, they weren't all broken and mangled.
The CG guys did that later. That's pretty amazing.
Same with the Blackbird, the Blackbird was never there.
LIEFELD: So great. I honestly... (STUTTERING)
You can ask Paul and Rhett, I would always ask them...
My gosh, and this reference to Margaret.
MILLER: For the Judy Blume fans in the audience.
LIEFELD: You know what? My wife, it hit home with her.
She got it. Oh, my gosh, it's just fantastic.
This was the scene I was like, "Did this make it?"
And Rhett and Paul said, "It made it, it's wonderful, you'll love it."
By the way, the hand coming off with the "fuck you" on it, was Ryan was over
at Blur and we were looking at some of the previz shots and that was Ryan's idea.
He's like, "Man, it'll be fucking funny if the hand has just got a big 'fuck you' on it
"when Colossus looks at it," which we knew was great, immediately.
You finally hit "fuck it."
Just promise you'll do right by me.
So I can do right by someone else.
Of course.
And please don't make the super-suit green.
LIEFELD: This workshop sequence, I love the darkness, I love how dark it is.
It takes the movie to a different place.
MILLER: Well, again, the tone was the trickiest thing
to handle across the movie
because you've got that action, you've got the comedy.
and now we've got pathos and drama with cancer, which is not funny,
and now we're into this workshop sequence,
which has got a lot of laughs for sure,
but at the end of the day, we're talking about
torture and death and people being hurt
in really horrible ways by really terrible people,
and it's not a lot of laughs, you know?
(GROANS) Easy.
LIEFELD: Here's Gina. MILLER: Here's Gina.
She's great.
MILLER: So, Rob introduced me to Gina for the first time
for another project of his.
And I loved her from the minute... I knew who she was of course,
but I didn't know her personally until Rob brought her down to the studio.
And so, when we rewrote this part for Angel Dust
she was my first and only choice to play that role.
LIEFELD: And she's fantastic, especially as we get towards the end of the film,
we can talk more about how perfect she is for this role.
MILLER: People don't know this about Gina, or maybe some people do,
but she is the sweetest person in the world
and you expect some really tough fighter,
which she is, but she's also one of the nicest people around,
and so, she actually, when I first said, "Hey, do you wanna do this?"
she was like, "So, it's a bad guy? I don't know, Tim.
"I wanna be a good guy, I don't wanna be a bad guy."
And she had some second thoughts about doing it
because she has the heart of a hero.
And that's what she wanted to play.
LIEFELD: And I know for a fact that she was concerned.
She called me, she asked me about the character
and I said, "Gina, you need to trust him,
"and this is going to be absolutely a memorable role for you."
And, Tim, when I saw it the first time,
I believe it will be one of the most popular roles
she's been featured in, and she's been in some big films.
MILLER: What I was telling Ed was,
I said, "I see your character as Roy Batty in Blade Runner."
He's charming and self-educated
and naive at the same time,
but he's got this sinister quality to him that is just frightening,
but also he's got a bit of a sense of humor
and Ed really took that to heart,
and, man, he just nailed this character.
This is one of my favorite scenes.
When he puts him in the punch bowl,
he just fucking kills it.
LIEFELD: You know what? Tim, I have not seen Ed in a film,
and when I saw this,
he holds his weight, the charisma that he has,
and the way he plays off of Ryan, again getting back to chemistry
This is one of the best cast films I've seen in so long
'cause everybody just plays well with each other.
There's no performance you go, "That didn't quite cut it."
Everyone blends well together.
And Ryan's a powerhouse.
This entire workshop, he gets the shit beat out of him.
It looks like he went through hell filming this.
That is not comfortable under any circumstances.
MILLER: This torture montage, we had a bunch of things,
and we didn't want to make it look too horrible or scarring or like it would kill him,
so I was trying to think more things that were part psychological torture.
And this black goo thing, which if you saw it on set, it was really funny
because I stupidly didn't test Ryan in the tub
and the tub we had was actually rather small
and Ryan's feet stuck out the end of it, they looked really goofy,
but anyway, he walks on set and he sees us setting up for the shot
and Gina is up there with this stand-in
who was a really well-built, good-looking guy,
and Gina's like, "Let me go in there,
"and test my role out here, let me give this a shot."
So, Gina goes up there and she's with the guy
and he gets out of this goo, which makes him all shiny and slimy,
and Ryan takes one look at that, and he goes,
"Tim, what the fuck are we doing here?
"I don't know about this, man. I don't know."
And I'm like, "I know, I know,
"I know what it looks like. Trust me, it's gonna be really cool."
And he's like, "All right, all right." And he goes and he gets in the tank.
And we also had these things that made bubbles under the water
that of course just looked like he was farting in the tub.
So, we killed that.
It was one of those moments where I thought to myself,
"I have to test everything," because I have this idea that I think is gonna be cool
and then, if I don't test it, I see it on set for the first time,
and there's problems.
How tough can he be...
MILLER: So this actor that plays Worm, who is in the comics, he's in the workshop,
and he's Wade's friend
and Ajax really fucks with him in order to get back at Wade
and he's got this... I don't know his powers...
What were his powers in the comics?
He had some kind of mental powers.
LIEFELD: He could get in your head.
MILLER: Okay, so, we didn't wanna do a big metal prosthetic,
but we hinted at it with the scars on his face,
and um, Hugh Scott did such a great job
with the little screen time that he actually got.
Ryan is great here, too, he sounds like he's distressed, um,
and he's really been tortured horribly and yet he's distracting Ajax
because he knows otherwise Hugh is gonna be tortured,
so he's taking a bullet for him and distracting Ajax
knowing that he's probably gonna get tortured instead.
One of the great little hero moments that maybe people don't think about it,
what's going on there, because the jokes are good and it's funny,
but I think it's just a great moment for Wade.
If your heart rate slows...
meaning you're able to catch your breath...
Deadpool's not quite sinister and he's not quite a hero,
but he's got some heart
and that's why he’s been so beloved for so many years.
But never better than here. And no one told me to say that.
I have been a huge fan of this, from the script
to the product that you guys... The art that you have delivered here.
And I can't wait until the world will... I guess they've already seen it.
It's very exciting as people who have seen it have gone
absolutely crazy for this.
And it's just a good movie, like you said, everything you said, it's just a good film.
It's not just a good comic book film. It's just a good film.
It's got a great story, great characters, great consequences.
This is horrible.
MILLER: But as an animator, Ed's face is so mobile it's crazy.
The way his jaw muscles move and the way his face is just always in motion...
LIEFELD: And that mouth.
MILLER: Fuck, it's crazy. LIEFELD: Yeah. He's terrific.
Yeah, he's I'm sure...
MILLER: And Ryan just does this amazing job.
It's all in the eyes, he just looks so scared
and yet tough, and yet vulnerable all at the same time.
Even when he's selling the joke,
like the joke here, you know, he's pretending to be in pain
and then he turns it around with a joke.
LIEFELD: And again, that doesn't look comfortable.
The amount of discomfort that Ryan put himself through for this.
MILLER: Oh, my God, it really is like
the whole movie was designed to make him uncomfortable.
This, you can only do so many takes 'cause he's really gasping.
You can't fake getting red in the face like this,
you gotta choke yourself out.
And he was either covered in this smothering makeup
or in a suit that was incredibly uncomfortable.
And a friend of mine, actually, played stunt double for something else,
he's like, "Dude, I don't knowhow he fucking wears that suit,
"it's so hot and uncomfortable,
"and much less, act in it."
LIEFELD: I remember Morena at the Hall H talking about how much he smelled...
- (MILLER LAUGHING) - LIEFELD: ...coming out of the suit.
She uh, commented on how bad, and I'm like,
"Come on, you're wearing leather, of course you're gonna stink."
MILLER: I didn't notice it. I didn't notice the smell.
LIEFELD: Oh, this is great. Look at him.
...high enough to trigger a mutation.
LIEFELD: Now, uh, Bill Corso,
I met Bill, day one, and when I entered the makeup trailer
this life-size head of Ryan that they had used,
- that Bill had created... - MILLER: Which is now in my office.
LIEFELD: Oh, dude. MILLER: Yeah, I know.
LIEFELD: It scared the crap out of me. MILLER: Bill gave it to me as a present.
LIEFELD: I walked into the trailer and no one was there yet
and opened it, and there is a life-size Ryan Reynolds head,
as disfigured Wade, looking right back at you.
I did a double take. Bill obviously was fantastic.
The makeup work that he did is terrific.
MILLER: When we first started, Ryan, he's done a lot of movies,
and he knows everybody in the business,
Ryan immediately said, "We gotta get Bill Corso,
"he's the best guy in the world
"and he's the only guy that should be doing this."
And he just came in, did an amazing job,
and we tried a whole variety of looks and feel
and we're trying to walk that balance between,
you don't wanna make him repulsive.
Sometimes in the comics he's drawn with oozing pustules
and the skin rotted off so you see tendons underneath.
I don't think we could have done that.
But also, he needs to be
hideously deformed enough that it drives the whole plot,
because he's too ashamed of how he looks to go back to the woman he loves.
So, it was this fine balance of how horrible he could look
and still be empathetic.
LIEFELD: Great makeup effects, especially in the age of CGI, is kind of a lost art.
And when you see the work Bill did...
'Cause he showed me his portfolio
and everything that he was doing, and the full body that's coming, of Ryan,
again his artistry, he is a master.
MILLER: Every day in this makeup, the sweat would pool
underneath it on Ryan's skin,
so by the end of five or six hours of shooting,
he would literally have a cupful of water beneath the makeup in his skin
and it would have driven any person insane.
So, as soon as we had the last shot of the day that required makeup
he would immediately start tearing his face off.
We got some great shots of that
behind the scenes of him pulling the makeup off,
like, "Oh, my God, get it off."
LIEFELD: Yeah, again I'm talking about the torture that he's going through in this,
the workshop, but again, Ryan Reynolds, man, gave it all
for this film. All that makeup...
MILLER: He paid for his art. LIEFELD: ...that alone, this is terrific.
So, this workshop sequence we shot in two days, um, and, uh,
and one day of it was supposed to be main unit, which was me,
and the other day was supposed to be second unit, which was Rob Alonzo.
It was shot on a Saturday, second unit, and I was supposed to be off,
but I wanted to shoot this sequence so bad
I just said, "Rob, I'm sorry, but I'm gonna come on my day off and shoot."
I didn't actually have any days off,
but I came and shot the sequence 'cause it was so great.
But they were some long days, they were 16 hours of shooting
and for Ryan, in that makeup, the full body thing,
took about six hours to get the face and body on
and so, he had that on top of a 16-hourday
of shooting inside this place,
which a lot of that fire is CG, but a lot of it isn't.
And so, the rest of the crew were all in fire suits with breathers on
and everything else.
And they're running around in this heat.
And every take where you turn, the fire comes up.
It's fucking hot in there,
and these guys are sweating.
And I couldn't wear a mask either because I'm yelling all the time,
so I just probably took a couple of years off my life sucking down fumes.
LIEFELD: Hey, you paid for your art. MILLER: But it was great.
Each time I see this it's... I mean, come on. One of them's naked.
This is as raw a fight as I've seen.
That punch right there was...
MILLER: Brutal. LIEFELD: Oh, crazy.
MILLER: This is where... Again, 16 hours of shooting on top of Ryan’s...
Ryan, on one take, literally fell asleep in that harness when he's there,
because he's exhausted, but always had a good mood,
always ready to do another take.
Ed, 16 hours, too,
and just hopping to get in.
"Don't let stunt guys do it, Tim. Put me in, put me in, put me in."
It was great.
Hugh waited around all day
- 'cause we shot that at the end. - LIEFELD: Sure.
MILLER: It was terrible. I felt so bad for him.
But I love it, too, I think it's one of the most brutal scenes in the movie.
In the original script, um,
he wins that fight against Ajax.
But we changed it because, of course, the bad guy's gotta win.
LIEFELD: Absolutely, it was the right call.
And this emergence scene is really beautifully shot.
And all the soot and the grime on Ryan
is really memorable.
As an artist, it really burned into my head.
I'm like, "This is a great depiction of the character."
MILLER: Yeah, we had to shoot this on the stage
'cause we couldn't find a good location.
So, the art department put together this great little set
that we could have it be one long move.
And we had to bury Ryan in all the shit that, I don't know what,
I'm sure it's reasonably safe.
But you don't want to be breathing it in.
And so, Ryan had to put a little mask on as we buried him beneath all this shit
and wait for the cameras to roll.
LIEFELD: That right there, that is...
MILLER: It's a great shot. LIEFELD: It is fantastic.
Rainy Vancouver, you didn't really need to make it rain there, did you?
MILLER: No. This just so happened, a fortuitous event.
'Cause we were pretty lucky with the weather most of the shoot.
This day, we wanted it to rain. And it did.
'Cause we never would have been able to bring all this rain into the street
if it hadn't been raining already.
It's pretty miserable to shoot in...
LIEFELD: But it worked out, it worked out great.
MILLER: Yeah, it really did. LIEFELD: It sets the tone, it sets the mood.
This does, this wrenches your heart.
MILLER: Yeah, this was a later add.
And we just felt like we really needed to see
Wade try and go and get his old life back.
And just can't quite get over
the shame of what he's become,
and can't bring Vanessa into that world.
And so, he tries, but he can't do it.
- And you really feel how close he gets. - Yeah.
MILLER: And this is one of the things where
I think everybody empathizes with it to some degree.
But I also think that Vanessa would have taken him back.
She's the stronger character, and we prove it at the end.
And he should have gone back to her.
If he was stronger, it would have worked.
But there would be no movie then.
LIEFELD: It plays on the insecurities that everybody has.
Now, this, Tim, and all these insults they're about to trade,
how many versions of this are there?
MILLER: Oh, we got quite a lot of that.
T.J. and Ryan both had their fair share of comebacks here.
So, we just let this roll.
And you know Ryan, he's very generous as an actor.
When we got to this scene, Ryan is like, "T.J., this is all you, my friend.
"You just go."
And it was literally this showcase for T.J.
to do run after run of insults.
LIEFELD: It is where he absolutely shines.
He's so good at this.
And in the trailers and the commercials alone,
I think I've seen four versions of this.
You guys use various versions of it to sell.
MILLER: Yeah, it's a pretty funny scene.
In the audience screens, it never quite got as many laughs
as it did when you watch it out of context,
because you've been in the workshop watching torture,
and really watching this heartbreaking scene as he tries to go back to Vanessa.
And so, you've been in the darkness a long time,
and then, suddenly you come out and you need to laugh.
And it's a hard transition.
What?
LIEFELD: Look at all that. MILLER: But it works.
LIEFELD: Look at all that. Ryan is acting through all of that amazing...
MILLER: Makeup.
LIEFELD: ...Bill Corso artwork on his face.
MILLER: I fucking love that "Captain Deadpool" joke.
MILLER: Yeah, just so cool. LIEFELD: Yeah, that was fantastic.
MILLER: Yeah, just a great little misdirect.
Deadpool.
That sounds like a fucking franchise.
(GLASSES CLINK)
MILLER: T.J. added the, "That sounds like a fucking franchise."
He did a couple of lines that sort of violated my rules,
for nobody breaks the fourth wall.
But Deadpool, Wade doesn't break it.
But, I don't know, it doesn't really break it,
but it suggests that he knows he's in a movie.
But they were just so funny that we had to keep it.
LIEFELD: This is the freshest take on Deadpool creating his costume
that there has been in the history of Deadpool.
And this comes right at the right time in the movie.
It really gives it the pop, like you said, we've been in the workshop.
- My gosh, he's trying to get the stains out. - MILLER: Oh, Yeah.
We had this laundry scene in there
and Ryan is like, "We should bring Leslie back up and put her in this scene."
'Cause we never suggest how those two meet.
And that was a great idea, putting her in that scene.
LIEFELD: I didn't know that.
'Cause it works perfectly, it does make their intro sweeter.
- (PEOPLE SCREAMING) - WADE: Don't make me ask twice.
Where...
is Francis?
He made me ask twice.
Is the mask muffling my voice?
MILLER: And so, we went and shot a lot of these little pieces.
Like, the swords and this little workshop gun
and this little fight here on the stairs.
We shot that all in and around this place.
We just made locations.
We found locations in this complex to shoot these little vignettes.
And because we're in Canada, and of course everybody is into ice hockey,
our first AD said,
"Fellows, Zamboni. We should do a sequence with a Zamboni."
I'm like, "Oh, my God, that's great. Absolutely."
And I think I laughed harder when Ryan was on that Zamboni,
driving around, filming that.
I think I laughed harder than any other time in the movie.
- He was so funny. - LIEFELD: Look.
Great humor comes out of great visuals,
and him on the Zamboni, and the way you blocked the shot,
and him leaning in,
it's just a funny shot.
(STUTTERING)
And the reveal of how far he is from the Zamboni. (LAUGHING)
MILLER: Yeah, he's great.
That's the ultimate joke payoff. It's so good.
MILLER: So, Deadpool's been working his way up through Ajax's crew.
So, finally he’s gonna get Agent Smith, who he finds...
The original idea is
it's sort of a hospital for people that can't afford real hospitals.
It's sort of set up in the back of this rice warehouse.
And he goes to recruit somebody and Deadpool's tracked him down.
So, Ryan had...
Jesus, what a run on this. He's up there.
We've got maybe 10 or 15 alts for that little moment up there.
LIEFELD: And he would stay in the costume...
Through all those takes, would the mask stay on?
MILLER: Oh, yeah.
LIEFELD: So, he's in the mask 15 takes.
- Wow. - MILLER: Oh, yeah.
LIEFELD: 'Cause that mask is snug.
Mr. Wilson?
LIEFELD: Look at those ears. Look, it's pressing up.
MILLER: Yeah. No, it's not comfortable. LIEFELD: That is a snug mask.
MILLER: This lady in the background here was great.
This extra, every time she did just a really terrific take of being surprised
every time we killed Jed.
LIEFELD: Oh, this is fantastic.
You might wanna look away for this.
Now this little piggy went to...
(AGENT SMITH SCREAMS)
WADE: Thank you, Agent Smith.
Taxi!
Hop in! Great day for a ride.
LIEFELD: Look, here's...
Come on. How many...
In an age where the other heroes ride these fancy jets,
even in this movie you got Colossus in the Blackbird.
MILLER: You got Deadpool in a cab.
LIEFELD: And you got Deadpool taking the taxi.
It just is why this movie works so well.
It's just taking a different page.
MILLER: Ha. I love this scene.
We did a bunch of different takes on this,
but the one we used was Ryan gets really angry in the middle
about the wrong guy getting dismembered.
Oh, my God. So many of these things,
I forget sometimes that I'm directing.
And I'm sitting over there at the monitor and I ruin lots and lots of takes
because I would forget and I would just start laughing.
And then people would get mad at me.
And luckily, our monitors were quite a ways away from the action
because when Ryan did that, it fucking cracked me up.
But I wasn't near a microphone, thank God.
Her.
(GASPS) Fourth-wall break inside a fourth-wall break.
That's like 16 walls.
That joke, fresh to the film,
it's why my respect for Rhett and Paul is just off the charts.
You all took Deadpool to a level he hasn't been,
and it's why the film has had the reaction it's had.
MILLER: That joke is super-meta.
LIEFELD: Super-meta.
Oh, my gosh. And the cruelty.
These are some of the first scenes you showed me when I...
MILLER: Yeah, this was the first week we shot all the stuff in Deadpool's lair.
LIEFELD: And you showed these to me on your iPad.
And his cruelty there is...
It plays right, it plays great.
MILLER: Originally this was written, and it was throughout the movie,
there was a little more slapstick.
Like, she falls down, then the door hits her in the head and knocks her,
and Deadpool steps on her.
And we actually filmed a version of that.
And as soon as we started filming it,
I don't know, it just didn't feel quite right.
And I wanted it to be a little bit more believable and realistic,
and it kind of jumped the shark a little bit.
So, we altered the tone right at the beginning there
that ultimately, I think, was a better one for the film.
Where I don't think it would have the same heart and reality
- if we had made it more Airplane! Yeah. - LIEFELD: It was the right call.
And what's about to come up here,
that's the perfect amount of what you’re talking about right there.
You didn't need anything else.
MILLER: Oh, my God. That thing would not fall on cue, and it would not go together.
We were behind schedule already. and the props guys, I felt so sorry for them,
'cause we couldn't get that dresser to fall over the way we wanted it to.
And the clock's ticking, and people are standing around,
and it's terrible when shit doesn't work.
I felt so badly for them.
I felt badly for all of us 'cause we were all fucked,
but particularly for those guys. But they pulled it together.
LIEFELD: It's kind of stuff you never think about.
I would never have considered that if you didn't tell me.
MILLER: I know, it's one of those things where you don't think is gonna fuck up.
So, this little piece here is
Angel Dust putting super-slaves into the cabinets
and shipping them out to people that have bought them.
So, there's a few super-slaves there being readied for transport.
That's what's going on there.
There was some confusion about this from the audience,
and I don't think we ever did a good job of making it clear,
but Ajax has increased strength and speed and durability,
but he doesn't heal like Deadpool.
His power is those things that I mentioned,
but also the fact that he doesn't feel pain at all.
So, you really have to completely debilitate him to stop him.
And so, there we have that scene where
it's meant to display the fact that he doesn't heal like Deadpool.
LIEFELD: Now, how many days did Blind Al film?
She was there about a week and a half.
(LIEFELD LAUGHING)
LIEFELD: See, that's all... The missed table gets me every time.
And the little hand.
Oh, I cannot tell you how many people have talked to me about the little hand.
You know when you nail a joke. This one.
It's so creepy. It's so creepy.
MILLER: Leslie was amazing. She was so professional.
She would do anything.
She's so respectable and kind.
But I would go, "Hey, say, 'Sounds like you got a dick in your mouth."'
And she'll say, "Sounds like you got a dick in your mouth."
And I'd go, "Okay. Now say this really filthy thing."
And she would do it. Never questioned it. She’d just do it.
LIEFELD: And, Tim, was she in Roots?
MILLER: She was, yeah. LIEFELD: Yeah.
She is so good in this role.
And she does so much with a relative, small role in the film,
but she's meaningful.
In the meantime,
you might wanna leave the room.
I bet it feels huge in this hand.
MILLER: Ed and Gina and T.J.,
their entrance is cued off the end of his jokes.
So, he told 10 different jokes here to these guys
and every one of them had a different rhythm to it.
And so, Ed and Gina would start to walk in
and then stop because the joke wasn't finished.
And I'm like, "T.J., just tell the same fucking joke, please,
"because they gotta walk in on the end of it."
But he is uncontrollable in the best possible way.
LIEFELD: Oh, I think anybody who saw him at Hall H saw how uncontrollable he can be.
He is a force.
I would not know this was the first day they filmed.
You don’t pick that up at all.
MILLER: Yeah.
It's nice about her, she's looking at him like you can tell that he's in control
- and she's there to do... - LIEFELD: Waiting for the cue.
MILLER: Yeah, do what he wants.
I wanted to do this little thing where she picks Weasel up here
and is a little minor display of strength.
And I asked for it and they were like,
"Oh no, we can't rig wires and you gotta put him in a harness, "
and all that other stuff.
And again, I said, "What if we just put an apple box tier?"
And when Gina grabs his throat, he steps up on the apple box.
LIEFELD: Works great. You'd never know. MILLER: Yeah, you'd never know.
You'd never know.
LIEFELD: I was gonna ask you if she really lifted him up.
'Cause, as you know, Gina is very strong.
- Yeah. But she's not quite that strong. - No, I guess not.
Whoo.
MILLER: Yeah, originally there was a fight.
There was a character Wyre in the original script.
And he comes after Wyre
and catches him in the back of a strip club,
which was a really nice fight scene in the original script,
and kind of funny, too.
Have you decided what you're gonna say to her?
Fuck me!
MILLER: But when we go in here now...
This is No5 Orange. This is a real strip club in Vancouver.
And these guys were so great about letting us shoot there.
And I went in and I got the original guy who...
I haven't been to any strip clubs.
But if you do, you notice these guys that announce the girls,
sometimes they're comedians and they have their own little act.
So, I asked the guy who normally announces the girls
to give me some lines that maybe Stan could say.
They were so incredibly foul.
I gave them to Stan Lee and I'm like, "Here's some suggestions."
And Stan and his folks go,
"Tim, come on, Stan can't say this stuff.
"This is really tasteless and terrible."
LIEFELD: It worked out.
MILLER: But it's perfect for what it... Yeah. LIEFELD: This is perfect.
He has that one line later. You just hear him over...
It's my favorite line.
MILLER: Oh, "You can't buy love, but you can rent it for three minutes."
LIEFELD: That's right.
MILLER: Yeah. LIEFELD: It's the "three minutes" line.
MILLER: This is one of my favorite scenes in the movie, too.
LIEFELD: Oh, me, too.
MILLER: It always worked 'cause of this beautiful slow-mo.
Our cinematographer, our DP, Ken Seng,
he just did a great job lighting this whole scene.
(MUSIC FADES IN)
(MEN CHEERING)
ANNOUNCER: You can't buy love,
but you can rent it for three minutes.
(EXHALES)
MILLER: This was shot separately.
That bar is actually at Sister Margaret’s.
I'm sorry, that bathroom is actually Sister Margaret’s bathroom.
In that club. Uh.
And then the club is No5 Orange.
No5 Orange's bathroom was actually way too nice. Um, but, uh...
It was the longest day of the shoot, so we shot all day in the strip club.
And we were behind the whole day, so much so
that I didn't have time to actually enjoy the beautiful women all around.
I was so intent on getting the shots.
And then we moved to another location.
LIEFELD: Is this closer to Sister Margaret’s? MILLER: And we did this alley.
Yeah, this is closer to Sister Margaret’s.
And then we did this alley sequence at the end of the day,
and just dealing with rain.
It's not really raining here.
It's actually rain machines up on the roof.
But just shooting in that, it's difficult because after every take,
you have to take the actors in and dry them off and everything like that.
And it's cold because it's Vancouver.
Although the water's warmed up, it's still cold and miserable.
LIEFELD: That entire area around where you shot Sister Margaret’s,
when we were being driven there, they said,
"You know, they found themselves a really...
"That dive bar was in a dive part of the town."
MILLER: Oh, yeah.
LIEFELD: So, those locations served you so well.
MILLER: There's a...
The bar we were really going to shoot for Sister Margaret’s
was a bar which was really terrific,
but it was a real dive bar.
MILLER: And this is in a pretty scummy part of town.
And it's funny 'cause they have to clean the alleys out completely
and then dress it back up with fake junk and fake garbage
so it's clean.
Although, how clean can you get an alley?
And we're still throwing Morena down on the ground in it and everything else.
I don't think it's in the DVD extras,
but we had originally had a little bigger scene with her
where she fights back a little bit more, she punches Angel Dust.
And then she grabs a Taser out of her purse and she jams it into Angel Dust.
And then Angel Dust just doesn't even do anything.
And she crushes the Taser in her hand and then throws her up against the wall.
But again, you just gotta move things along.
LIEFELD: The pacing of the film is one of the best attributes of it.
It's lean, it's mean.
There are so many movies in the last several years that are so bloated.
And this one just moves.
MILLER: Ryan made fun of me for...
I got a little choked up when he shot this scene
because he’s just so good.
He comes in and he's so full of rage.
And you can just feel it coming off of him in waves.
And he was going for it.
And he came in and after two or three takes, he's like,
"Okay, I only got a few of these takes like that in me."
Because it's just so big the way he was playing it.
LIEFELD: And this is early on in the shoot. This is, again, first-week stuff.
MILLER: Yeah, first or second week we'd shot all the stuff in this location.
Because you go to one location, you shoot everything out there.
Then you go to another location
and sometimes it's not in order or sequence.
So, yeah,
even though it's the end of the movie, it was the beginning of the shoot.
LIEFELD: And this is, by far, my favorite exchange
between Blind Al and Wade.
MILLER: You mean the payoff on the Ikea? LIEFELD: Yes.
MILLER: Or the cure for blindness? LIEFELD: And what he says...
- The cure for blindness and the cocaine. - MILLER: Yeah.
No, I love that one.
LIEFELD: And I love that she has a gun.
And here's where we say goodbye to Weasel.
MILLER: Yeah, "I'd go with you, but I don't wanna."
That was a T.J. ad-lib, I believe, on the day.
Yeah, the cure for blindness thing was fucking awesome.
And Leslie just plays it so straight.
...buried somewhere in the apartment...
I don't think it's on the DVD, we cut it.
Originally, she's gonna hand him the little gun,
and then, before she hands it to him, she turns around and shoots the Roomba
and kills it.
And she goes, "It was either him or me."
Which was a nice little thing,
but again, it was funny but we cut it out for pacing.
LIEFELD: Now, where is this shipyard?
MILLER: You mean in real life or... LIEFELD: In Vancouver?
MILLER: Oh, yeah. This shipyard...
Well, the scrapyard, the bottom part of it
that we have the big fight in is the Amix scrapyard.
And that's in a different place than where this set actually is,
which is out in a place called Richmond in a giant parking lot
where we had several sets.
We had the top of the flight deck for the carrier.
And we also had the tilting flight deck, which was this big gimbal set.
And then we had the collapsed flight deck.
They were all three different big sets
out in this parking lot in the middle of nowhere.
So, the bottom,
everything you see in the bottom of the scrapyard's a different place.
This is a huge moment, huge joke, maybe one of the best jokes in the film.
MILLER: The, "Looks like you couldn't afford another X-Man."
Yeah, that's...
LIEFELD: Didn't see it coming. And it gets roars.
MILLER: We shot all this on the stage, and Ryan,
again, he just did a bunch of ad-libs.
We've got so many options here
that sometimes there was a couple where I was laughing so hard that...
We had enough material, by far, but I was still in the middle of laughing.
And so, we were just going again because it was easy to reset.
I'm gonna wait out here, okay?
It's a big house. It's funny that I only ever see two of you.
It's almost like the studio couldn't afford another X-Man.
WADE: And that is why, in my opinion...
the movie Cocoon is pure pornography.
LIEFELD: And the big reveal coming here is also just a great punch in the gut
when you see Colossus crammed into the taxi.
MILLER: Yeah, I always thought this scene would be great.
It wasn't a huge laugh, but I just thought,
for a comic book fan, it's just great.
LIEFELD: And here's where we see the payoff of all the suggestions he gave...
MILLER: For the Dopinder scene. LIEFELD: In the opening...
MILLER: Ryan on the day, came up with the whole whisper thing.
Originally we played this pretty straight.
But then Ryan had this idea to do the whispers,
which, I think, makes the whole scene work.
LIEFELD: It absolutely enhances the entire exchange.
Ban who?
LIEFELD: Okay, we have gone this far and we have not discussed
how brilliant Colossus' voice is.
(STUTTERING)
We are going to hear people imitating Colossus for...
In the way people imitated Borat. Uh.
And other... The voice is so...
It has such great impact.
Is this the same actor who’s acting him out and giving the voice?
LIEFELD: Or did you combine the two elements?
MILLER: No, Andre did him on set.
Well, Colossus is really...
It takes a village to create a CG character like that.
But Stefan is the guy who did the voice
and he just came in and just did an amazing job.
He's got this really rich and powerful voice, but it's also nuanced
and full of emotion.
And he plays it straight, but there's so much range.
And, man, he’s just such an amazing actor.
We would do 10 takes and every one of them would be different
and every one of them would be good.
And I'd go, "Okay, man, we got it covered." And he'd go,
"Wait, wait, wait, I got one more. I got one more."
And then he'd do another five.
We have so much good material from him.
He was so enthusiastic.
LIEFELD: It's definitive.
MILLER: And, I think, more than any other actor in the movie,
he was so excited.
He's just such a huge comic book fan.
He was so happy to be in the movie and be Colossus
that he was literally bouncing every time he came in to do ADR.
It was amazing.
LIEFELD: Look, his voice defines the character.
MILLER: But, really, it's this amalgam because you have Andre on set.
Then we did motion capture on top of that,
in which you have another actor playing, doing the motion capture.
Then you have the facial performance, which is again a different actor.
And then you have the animators
taking all that data and bringing them together and tweaking the performance.
LIEFELD: Well, anybody who knows you, Tim, knows that
when you're given a chance to show how well you can mo-cap,
you're gonna leave it all out there, and Colossus is 100%.
Oh, my gosh, I love this.
This whole "What's my name?" and the "Francis," great bit.
(LAUGHING)
WADE: Whoo!
Superhero landing!
You know, that's really hard on your knees.
Totally impractical. They all do it.
LIEFELD: When I saw this, I was not prepared for what’s coming.
They talk about throwing punches in comics and in film.
And the way he right comes at you in the foreground here, that's a comic book.
That's quintessential comic book.
MILLER: But I'm trying to make it not unbelievable.
You know, if you had two super-strong people hitting each other.
LIEFELD: I meant, like, the way Kirby or Buscema would have cropped that shot.
Like in How to Draw Comics the Marvel Way,
they'd say, "Here's how you do it wrong, and here's how you do it right."
And that's how you do it right.
I love what you did with Negasonic.
All right, then. Fire!
(GUNS FIRING)
MILLER: We took a little liberty with her character.
In the comics, she can read minds,
and we had to get special permission to make her blow up.
But I'm so glad Marvel let us do that.
She was only in three or four episodes of X-Factor, I believe.
Normally, I'm a by-the-book sort of a guy,
but I thought, "Okay, this is not a character that is beloved by millions
"because she's had her own book..."
LIEFELD: She's being discovered through this film, for sure.
MILLER: Yeah. So, I felt a little Hollywood, to be honest, doing it.
Because I feel like you shouldn't change that basic character.
But I thought, in her case, it was worth it.
LIEFELD: What was the decision to go with the...
Because I don't think we've seen that level of yellow and black,
the traditional New Mutants costume?
MILLER: Oh, no, it's a new design.
Again, Josh Shaw designed the costume.
But it's very much based on...
I loved New Mutants back in the day.
Remember the Bill Sienkiewicz run on that?
LIEFELD: Come on, it was the best.
MILLER: I originally thought Cannonball would be a good trainee to be with him.
Because I thought, "Okay, you're gonna take this hick, redneck with an accent,
"and Deadpool will just have a fucking field day with him."
LIEFELD: Oh, come on.
MILLER: And he's visually spectacular, too.
LIEFELD: No, you made the right choice.
Like I said, Negasonic, this movie will define her.
And you’re right.
In this fight, it is very grounded,
and it is a great MMA throwdown.
MILLER: The amazing thing, though,
again, in hindsight, I feel like I got so lucky
because Gina was just amazing.
She had a stunt person, but we laughed all the time,
because she didn't have as much to do as she should have,
because Gina just did all of that stuff herself.
LIEFELD: She was looking forward to this. MILLER: And she was amazing.
So, we would have her do the fight with Andre in the suit, or a stunt guy,
and then she would do it without them, just fighting an invisible foe.
And she was amazing. It was like she had photographic reflexes.
It's one of the best superhero throwdowns that I have seen.
MILLER: So, this of course is Bob. LIEFELD: Yes.
LIEFELD: I loved the katana action you worked in here.
MILLER: Yeah, we'd originally...
Actually, I could've cut some more of that into the DVD extras, come to think of it.
LIEFELD: Great joke. MILLER: We had a little bit more. Yes.
That is so sweet.
MILLER: Yeah. The boobjoke. It's good.
LIEFELD: Ultimate payoff.
MILLER: As much as I wanted to see Gina's breasts there, she wouldn't do it.
I don't blame her.
LIEFELD: Well, it's gonna play off the fact that Gina, as beautiful as she is,
the audience wants to see it, too, so it plays on their desire.
- And then she gets the last laugh. - MILLER: Yeah.
LIEFELD: That is a terrific... That punch to Colossus.
That's, again, not something you've seen in a movie.
MILLER: No. LIEFELD: This entire movie is so fresh.
MILLER: Unless it’s Austin Powers. We stole it from that.
Not the punching, just the hiding of genitalia.
LIEFELD: No, no. Sure.
(DRAMATIC MUSIC PLAYING)
MILLER: This sequence coming up, I liked it and I thought it was funny.
But it really came alive, oddly enough,
when the sound guys put Deadpool screaming
- in there. - (LIEFELD LAUGHING)
MILLER: It really made it perfect for me.
In the original script, when it was Garrison Kane fighting,
Garrison Kane comes up to the edge of the flight deck,
and he's firing missiles from his bionic arm down into the scrapyard,
and Deadpool shoots up on the wing, knocks him off, he stays up there,
and then Garrison Kane fought NTW down in the scrapyard.
That was the original thing. We had some cool shit for that.
(LAUGHING) We had a great little joke here, originally,
that Rhett and Paul really fought me about cutting out.
One of the guys who is wounded with the wing grabs his ankle,
and Deadpool skull-stomps him and says,
- "Your plan to trip me to death has failed." - (LIEFELD LAUGHING)
MILLER: Which is really funny, but I thought
he sees her in the punch bowl, and he knows that it's some serious shit,
so I wanted to keep focused on this emotional moment.
And again, it's this weird balance.
'Cause I'mma go lookin'!
LIEFELD: No, you gotta hone the story, hone the emotion.
I think it works.
Like I said, you're ready for these two guys to throw down. It's been building.
MILLER: That's my favorite joke.
Maybe my favorite joke in the movie.
So many times after that, on set or something,
we would go, "Yeah, that was a good one, "
and you’d just do that joke over and over again.
LIEFELD: You talked about it earlier, but you can really see Ed.
He does give it everything he's got, and he sells it.
MILLER: Oh, yeah, they practiced
and trained and really worked on this sequence.
- It's crazy. - LIEFELD: Love the axes.
Great choice. Again, you don't see that in a film.
You don't see that. That's fresh. Great.
MILLER: Yeah, the axes, they were always there, from the beginning.
A little CG move there.
(COLOSSUS GROANING)
LIEFELD: This low angle you shoot here, her choking him,
and later you cut back to it again, just great.
This right here. Terrific.
MILLER: Yeah, you see all that metal skin sort of cinched up around the cable.
It's pretty badass, I love it. He looks great in that scene.
Oh, sounds like your last Saturday night.
MILLER: Another great joke.
Just throwing it away, you know.
"Sounds like your last Saturday night."
LIEFELD: Is this towards the end of the shoot?
MILLER: Um, yeah, this was later in the shoot.
There was another joke there,
where Deadpool had him by the mouth, and he pulls out his tooth,
and he goes, "You see that? You didn't feel this, did you? It's your tooth."
But again, you shoot all this stuff and you think...
LIEFELD: No, it's got the right momentum.
MILLER: Yeah, you just gotta keep the pace up.
It's great. I love the fact that she saves him when he's going down.
LIEFELD: Oh, yeah. Like you said from the beginning, she's the tough one.
MILLER: Yeah. LIEFELD: And she's no damsel.
MILLER: Even though she's angry, which,
something we decided to do on set
was to really make her angry through this whole sequence.
LIEFELD: Yes, audience, the cartoon animals have begun to crawl into the frame.
This just is disarming in the best possible way.
MILLER: This was a French artist one of our guys at Blur knew.
And uh... Nobody was sure that this was gonna work, most of all me,
but I thought, "Okay, it's worth a try, "
and then I fell in love with it.
The first time I saw it, I'm like, "This might jump the shark, but it's funny."
LIEFELD: Well, if it wasn't set to Peter Cetera, it wouldn't have worked.
It works perfectly with Peter Cetera.
MILLER: That Chicago song is the shit.
For a long time, it was John Denver's I Want To Live.
But Chicago, at the end of the day, won.
LIEFELD: I tell ya, I could see an entire movie with Colossus and Brianna.
I'm not gonna mince words here. They work so well.
And people who have seen this movie have asked me,
"Hey, when's the spin-off with Colossus and Negasonic?"
And I'm like, "Well, I'm sure Fox would love to hear that."
MILLER: Well, they are doing a New Mutants movie.
LIEFELD: So, there you go, kids. There's a New Mutants movie coming.
Maybe you'll see Negasonic there.
(SCREAMS)
MILLER: This whole sequence, it's pretty cool what the effects guys did.
The whole gimbal sliding set is about 20 by 20.
It's very small.
And it's on this big arm, moving,
and yet, when the effects are done, it feels like this huge expanse, high up.
They did an amazing job with it.
Digital Domain did this sequence, the bulk of it.
And it's just fucking phenomenal when you finally see all this stuff going for real.
LIEFELD: For years, I felt like a lot of movies
had their biggest moments in the middle of the movies,
and the finales were a letdown.
And Deadpool literally gets so much bigger in this final conflict,
and you feel like the movie's expanded, it's gotten bigger. The stakes are bigger.
Look at this.
This one, I felt like I jumped the shark a little bit,
because I really tried hard to make everything grounded and believable,
but there's no way she can survive that fall.
Momentum doesn't stop just because you're encased in something else.
So, she would have died for sure.
LIEFELD: Come on, Tim, you...
MILLER: So, the fans that listen to this know that I know these things.
LIEFELD: Okay.
MILLER: Yes. She would have died for sure. End of story.
LIEFELD: And you’re ruining my suspension of belief, come on.
Of course she survived that in the glass case.
MILLER: It's not glass. It's reinforced Plexi.
LIEFELD: Reinforced Plexi? MILLER: Yeah.
But she wouldn't have survived it.
She certainly wouldn't have survived it without severe damage.
LIEFELD: So, we can look forward to something like that on a real...
MILLER: But she is a mutant, right?
LIEFELD: I'm contractually not able to say that.
MILLER: Even though that's not her power.
WADE: Yoo-hoo!
Oh, my God! That was so...
LIEFELD: And again, Morena,
she's gamer, too, man, she gets dragged on the floor and thrown around.
MILLER: Oh, yeah.
LIEFELD: You guys put her through her paces, too.
MILLER: She's a trouper.
She was up on that gimbal, too, and it was really high off the ground,
and it was not a comfortable place to be.
She doesn't like heights either,
but she never complained about it.
You know, there's a...
It's so fast, you hardly see it, but Deadpool... You hear it,
he breaks one arm, and then the other.
But you actually see it in that other shot.
It's a little quick, but he snaps the arm at the elbow,
it bends back the other way.
LIEFELD: Yeah. Ed's a rock star. Let's just go on record and say, "Ed is a rock star."
He just has so much charisma.
MILLER: I love the way, when he delivers that line,
"It sounds even stupider when you say it."
He's just got this charm about him that...
LIEFELD: Swagger.
MILLER: I didn't want him to be this typical villain
who is so serious and takes himself seriously.
I really thought his whole character arc is,
he's a dick, obviously, not a nice guy.
And Wade gets under his skin for sure.
But at the end of the day, he doesn't take any of this shit seriously.
And I like his last moment here where,
when he's facing death, and he thinks he's gonna die, and he still...
His last little moment of defiance.
You should like your villains.
LIEFELD: 100%.
Four or five moments.
I'm sorry?
MILLER: Tom Holkenborg, Junkie XL, did the score.
He did just a fucking fantastic job.
And he really mixes this sort of retro sound
with new instrumentation,
and it's just got the right amount of quirkiness
to work for this movie, I thought.
It's a great score.
LIEFELD: It is. It moves.
MILLER: So, Stefan here, with this speech with Colossus, man, I thought he crushed it.
He gives the right amount of sincerity...
- (LIEFELD LAUGHING) - MILLER: ...with um,
pomposity and self-satisfaction,
and then Deadpool just takes the piss out of it.
We had a lot of discussions on
what Colossus' vomit would look like, by the way.
LIEFELD: Spilled milk?
MILLER: At the end of the day, we settled for liquid mercury.
I figured, when he transforms, everything inside him transforms as well.
LIEFELD: Good call, Tim.
MILLER: It would have to work, right?
Some sort of mutagenic field that works its way inwards and transforms everything.
LIEFELD: We haven't said this through most of the film,
but what people need to know about you, especially when I met you,
you have a vast comic collection, and you’ve read comics,
and anyone listening to this commentary can pick up on
Tim is not some passerby in the comics world.
And that's why it’s great hearing you work this stuff out about Colossus.
MILLER: I've been a Marvel boy since maybe 12 or 13.
(STUTTERS) For everything, I'm sorry for leaving...
MILLER: Man, Morena just kills it in this scene.
I've watched it 1,000 times,
and every time, I'm just amazed at how good she is.
When we started putting this scene together,
our editor, Julian Clarke, who did an amazing job...
Julian is just the best with structure, and such an easy-going guy,
so collaborative, and easy to work with.
He says, a lot of times when you're making a movie,
the third act is the hardest thing.
It's the last thing to come together. It's the resolution to the story.
And it's really where all the threads are kind of tied up.
And we got really lucky.
or maybe it wasn't luck because the writers wrote a great script
and the actors did a great performance,
but the third act just worked.
This whole scene where everything comes together,
it worked from the initial rough cut ever after.
This scene here, especially the end of it with Morena and Ryan,
is pretty much actually the way we shot it.
The edit didn't really change from the initial assembly edit,
all the way through the end of the movie.
It just worked. They're both so terrific.
LIEFELD: And again, if I can speak on behalf of the comics history of this stuff,
this entire Beauty and the Beast...
(LAUGHING) I forgot about the...
MILLER: The Hugh Jackman?
LIEFELD: And that has been there in the script.
Paul and Rhett, they did their work.
MILLER: Oh, man, and we got some great ADR.
Like, Ryan does this great Hugh Jackman imitation,
and he did a whole run of jokes there, that would have been terrific,
but again, it just took us out of the mood too much.
But, fuck, they were funny.
LIEFELD: And uh, yeah. I know.
This Beauty and the Beast dynamic
has never been as good in the comics as it's been here.
The whole movie is pinned on it,
and here's the payoff right here, where she's...
I love the comment, "And a whole lot of drinks."
MILLER: Yeah, well, again, you want to make it believable,
and this is a pretty shocking development for her,
not only to find that her boyfriend’s alive,
but that the man she knew has been pretty tragically altered.
I think that would take anyone aback,
and to not see her process that,
I just thought it would have been unrealistic.
So, I think she did just a great job of making it real,
but also, her love wins in the end.
You can see it in her eyes that once she's processed it, she's in again,
and she loves him as much as she ever did.
Tell Beast to stop shitting on my lawn.
And you, chicken noodle...
Nothing compares to you.
LIEFELD: (LAUGHING) Great Sinead O'Connor for those people who get that one.
MILLER: Yeah, that was a late Ryan add.
When he first did that, I'm like, "Nobody is going to laugh at this."
I mean, Sinead O'Connor, I had the album, and I loved it, but it was '90s, right?
LIEFELD: '80s.
All the parents that took their kids to see this,
because they needed to,
will get the joke. Got the joke.
MILLER: It got a really good laugh in the screenings.
Come here.
(POP MUSIC PLAYING)
MILLER: And she's really going for it here.
Now, you talk about smell.
That mask, and that makeup, was not pleasant,
and she really just didn't complain a bit.
Just went right in every time.
LIEFELD: If I could mention one of the screenings that you invited me to,
that I was able to attend.
Afterwards, one of the ladies,
who identified the movie as excellent and that she loved it,
and when she was asked, "Well, why?"
And she said, "I just love all the Wham! I just love all the Wham!"
My kids asked me, "Dad, how does Deadpool end?"
And I said, "Careless Whisper, Wham!"
And they were like, "Are you kidding me?"
I said, "Yes, and Deadpool is singing it."
MILLER: Big Wham! song. Yeah.
LIEFELD: Tim, this is a triumph of the art form, buddy.
This is one for the books. This is a game changer.
I've been saying it for months, I'm sticking to it.
And this animated credit, you just...
Who did this?
MILLER: Oh, this is actually Blur, my company,
and my wife, who is the art director for the design side.
And this was her idea.
They pitched a couple of really great ideas for the credits.
Another one, we were gonna do the whole end sequence like an '80s action movie.
Like, process the footage, and do a special thing.
Then we wanted to get the Honest Trailers guy to review the movie in the credits.
- Where they tear the movie apart. - LIEFELD: Oh, my gosh.
MILLER: I thought that would have been fucking great.
LIEFELD: Yes. MILLER: He would have tore me up.
LIEFELD: When you were saying, "She wouldn't survive this, "
I'm like, "They're gonna get you, Tim, they'll get you on the Honest Trailer."
MILLER: Oh, they're totally gonna get me.
But that's why I want them to know that I know these things.
LIEFELD: You beat 'em to it? Okay.
Oh my gosh, the Deadpool and the unicorn.
I may or may not have, after seeing this,
drawn a page in my newest Deadpool book with Deadpool on a unicorn.
MILLER: You know, this funny thing about international marketing,
they play the movie in lots of territories,
and in some movies, it's okay for Ryan to have a dildo shoved up his ass,
but it's not okay to jerk off a unicorn.
LIEFELD: Oh, my gosh.
MILLER: Who makes these rules up, right? LIEFELD: Exactly.
MILLER: Why can't you jerk off a unicorn? Go figure.
LIEFELD: Jerk off a unicorn that sprays rainbows?
MILLER: Yeah, so, it's really not even jerking off a rainbow.
I mean, jerking off a unicorn.
LIEFELD: It's just a jerk off motion.
MILLER: Yeah. He's polishing the horn and rainbows come out.
LIEFELD: So, look. Congratulations, Tim.
From reading that you were coming on the picture,
to seeing the picture done, I couldn't be happier for you, man.
MILLER: Thank you, Rob.
LIEFELD: And the fans are the real beneficiaries here.
I saw a test screening with you. I saw fan screenings with you.
And the reactions were both the same.
And then, hopefully, there's a whole lot more Deadpool to come, based on this,
'cause you gotta nail the landing to get more, and you guys stuck it.
MILLER: Well, we wouldn't have been here if it wasn't for you, so, thank you.
LIEFELD: Yeah, that's nice, very, very kind,
but I'm not a filmmaker, and films are hard to make, as I saw.
MILLER: Comic books are hard to make. You know that.
LIEFELD: But we live in a great age,
and I'm looking forward to more Deadpool.
Hey, just as we're watching the credits roll here,
I do wanna say that everybody on this movie...
I, of course, have seen a lot of credits, watching movies over the years,
and you think, "How do all those people contribute to the movie?"
And seeing it, up close, just how much of a difference everybody makes
to the final product is really inspiring.
We shot up in Vancouver,
and I could not say more about the professionalism, the quality,
and just the nice,
pleasant-to-work-with people that inhabit that town.
All of these folks were so professional and so good,
it really made the whole set experience...
It really felt like a family to me by the end of our time there.
Our first AD, James Bitonti, made me laugh.
Susan Lambie, our script supervisor, created this warm little place
where I could, at my monitors, get frank and honest feedback.
And picked me up when I was feeling a little down.
Our effects crew was amazing. Jonathan Rothbart did a great job.
And Annemarie Griggs, managing the whole effects pipeline.
It was huge, and we got a lot of effects for our budget on this.
And they just did a great job.
Like, we talked about Bill Corso. We talked about Ken Seng, our DP.
Everybody just did an amazing job.
Russ Shankle built the costume down here.
He did a crazy job.
Angus Strathie did costumes for us on set. Did an amazing job, as well.
And then look at all these visual effects folks.
LIEFELD: Yeah, this is crazy.
MILLER: Yeah.
LIEFELD: This is some great houses... How long, total, in post? Five months?
MILLER: I got back in June 1st, and we wrapped mid-January.
So, I think the last visual effects shot came in mid-January.
LIEFELD: And uh, as people know by now, if you’re not, you're about to find out,
we love our post-credits scenes in comic book films.
MILLER: Yes.
LIEFELD: So, you got a couple of fun ones here,
coming up again, in keeping with the entire film,
another very fresh...
MILLER: Yes, we do.
LIEFELD: It's very fresh.
MILLER: We do, thank you.
Oh, before we get to that, I gotta say,
John Kelly, my producer, was amazing at keeping everything running,
and really doing a great job for me as a first-time director,
to sort of walk me through the whole process,
and keep everything real and help me along and explain it.
He really did an amazing job.
Nevin Swain, our property master,
he was just an unending source of just asking me questions,
but providing all this information about what I should be thinking about
at every stage of the process. He was really terrific.
Anyway. Everybody.
And of course, Simon Kinberg
and Lauren Shuler Donner and Aditya Sood, amazing.
Simon protected us the whole time.
So, this.
Coda.
We had a bunch of different ideas for the coda, as you could imagine.
One that almost got there was
Beast coming and shitting on Deadpool's lawn in the morning
as Deadpool's having coffee.
That was a good one, but we ended up with this.
I thought Deadpool should break the fourth wall.
And what better version of it to come out with the Ferris Bueller...
LIEFELD: The Sam Jackson line got me. The Sam Jackson line.
MILLER: That's a good one.
Go. Go.
MILLER: I know the fans really wanted a Hugh Jackman cameo.
And we had seriously considered it for the coda,
but at the end of the day, I thought this was perfect.
LIEFELD: Tim, people have lost their minds at that news.
You know how long they wanted Deadpool?
- And now they're getting Cable. - MILLER: Yeah.
LIEFELD: And I saw, we were in that when...
And you didn't tell me, and that was a surprise to me.
Did you see those guys in the row?
- "Yeah!" - MILLER: Yeah, that was great.
LIEFELD: So, I think that's going to be worldwide.
(VOCALIZES)