Wonder Woman 1984 Full Behind The Scenes 4K

Look at the hair and everything too, it's really working. I'm so happy. This is so cute. This is so original. So awesome. We have to keep it from coming off. Oh! It looks f***ing good! I was super excited to come back and shoot another movie about Wonder Woman. This character is multi-layered and so complex and we did a great job. On the first movie, really establishing the character. And now, it was time to explore the character further. It's interesting developing a follow-up movie. My original idea to put it in 1984 was that I was really craving seeing Diana at the height of her most evolved. Full power, top of the game. Cut! Definitely some details changed, little things changed since we first conceived of it. But it really was very clearly what it was right from the start. And the story kind of came together quite easily. Ready and action! Patty was the real lead on this, working with Jeff Johns as they created the story. About coming up with something that would show a serious progression in what Diana had become over the years. And action! Hold tight. Patty had a very specific vision for a real general shape of the story as far as the thematic of the dangers of getting everything you want. That's where we started. And then we got in a room with a 20-foot whiteboard for a couple weeks and we just started working on the story. I've always been obsessed with The Monkey's Paw. And we live in a world of unnecessary wish fulfillment. And I think it's never been a more timely story than it is right now. The thing that's so amazing about Patty is that when she talks about these stories, she talks about them in terms of emotion. Like when we plot a story together, we're plotting through emotion. How do you feel? It's not necessarily this is what happens and then this is what happens and then this is what happens. It's this is how you're feeling. This is how she's feeling. So many things I don't even know what I would wish for. I do. Obviously we knew she had lost Steve. But to open this movie and see what is it like for somebody who has what I think a lot of people would consider like this great gift. She could do these amazing things and she can live forever. But living forever doesn't seem that great once you consider that it means that you don't ever get to stay close to the people that you love. Steve coming back, it was not at all a reaction to people loving Steve and Diana. I already loved Diana and Steve. It actually just made perfect sense in the plot that we were trying to tell. So both Gal and Chris sort of had an idea of what was going to happen in the next film midway through the first one. Patty's vision for this movie is so ambitious. The stories are personal and beautiful and intimate, but at the same time they're huge and big and mind-blowing. So strangely rare to be in a writer's room talking a story and you just talk about emotion the whole time. But Patty's the perfect director for that and a hundred other reasons. I mean visually you see Wonder Woman and the shots are beautiful, the acting's amazing. It all comes together in a magnificent way. And that's because she cares. Creating this movie was such a team effort with the best captains I could possibly ask for. Because working with people like Patty Jenkins and Chuck Roven that comes with so much experience and knowledge, I couldn't be more grateful for that. From the start Gal and I had a very shared point of view on Wonder Woman. And last time it was odd that once shooting was over Gal was no longer involved in the conversation officially. Therefore it was really great that she continued as a producer this time and the conversation continued because she's such a great partner. It was very important for me that I'll have the level of involvement because I do feel like I know this character so much and I care so much about this character. Like just a little... Yeah. Can I even do that? It's costing you. This movie is not so much about encountering pure evil in the world from a distance. It's about the birth of villains. It tracks villains as they become the villains that they are. Barbara Minerva is such a great character and often times in the comics she presented as somebody who was a friend of Diana's and I loved that. So that I think is an interesting way to take the journey into a villain. She's very awkward in a funny sort of charming way that Kristen can do amazingly well. But in that way she charms Diana and of course Diana is incredibly charming just being Diana. You're so personable. Honestly I must say I envy that. You envy me? Barbara Minerva was created in the 80s by George Perez and Len Wein. And she was not the first cheetah but she was the cheetah that has become the most famous cheetah. Because she got powers that turned her into this werecat. And it was the first version that wasn't somebody dressed up in like a costume. She became the cheetah. Like actually became the cheetah. So she felt much more formidable, scary, cool. But she's not literally a cheetah. She's a character. So I wanted her to be a terrifying but awesome and interesting looking thing. Inspired by a cheetah but she's her own thing. Patty called me and I didn't know anything about it and I said yes. Because I loved the first movie. I didn't know what the character was. I had no idea the extent of like the transformation of my character. The amount of fighting. Just how much I change and how sort of evil I become. It's frightening. And because we love Kristen Wiig already, you're in with her right away. So when you see her change into this monster, this villain, this evil force, it's frightening. I've talked to Patty about this a million times. Like people discovering their powers. People discovering their strengths. Like I love watching that. And so the fact that my character gets to do that was really exciting. I've been dying to see the cheetah on the big screen forever. And she did an amazing job. To go from this kind of bumbling, you know, self-conscious gemologist to the apex predator. It is so daunting to bring cheetah to the screen. You know how wrong it could go. So it was something that we cared about. There's not one step of cheetah's progression that I can't relate with. I can relate with all of her wants and desires. And yet it turns her into a monster. So that was a really fun story to get to tell. And I loved the two of them having a relationship start to finish. As it progressed, there became a necessity for someone else. And I love that our Max Lord, he's a man. He's a human being. He's not a superhero. He's not a super villain. He's a man. I wish to be you. The dream stone itself. Who is capable of accessing and making supernatural things happen in the world. We had toyed around early on about using the Duke of Deception. But it felt like we had already done a god in the first one with the God of War. And we didn't want to be repetitive with another god. Someone gets the dream stone and becomes the dream stone. And this is a personality they have. And it's like, well, it sounds a lot like the classic Max Lord that, you know, they introduced in Justice League International way back when in the 80s. And ultimately, he became a Wonder Woman villain through this storyline called the OMAC Project. Where he got a satellite and, you know, called Brother Eye. And so it's like, well, let's use Max Lord because it actually fits perfectly. And it also subverts if anyone's waiting for the storyline to play out like it did in the comics. Our version of Max Lord is, he's the portrait of a kind of every man. You can own a piece of the most lucrative industry in the world. A man who wants to be great and grand and hugely successful. And he's in pursuit of that. But can't stop himself once it takes off. The next thing you know, they're the villain. What an interesting story. So I loved getting to dig into that with Max Lord. He is like a Gordon Gekko without the polish, I would say. That's how I would describe him. In the comics, he had the power to influence you like a Jedi might. To make you do things that you wouldn't do. And his nose would bleed, which we have a nod to in the film. And the Dreamstone felt like it was a good approximation for what his abilities were. How he behaved. And there's other nods to comic book stuff. Like, you know, we put in Simon Stagg as a character from the Metamorphose series. You know, he's the first person that Max grants a wish to. And he's like one of the industrialists of DC Comics. I know you wish that too. Of course I wish that too. When we were getting into ideas of how to approach the character. And I was having these creative conversations with Patty. And she insisted that he's not cool. And I was like, oh, perfect. That's so much better for me. I don't have to pretend to be cool again. Pedro playing Max does it in a way where he's the most unusual antagonist. Because you have a hard time disliking him. A tremendous amount of it has to do with the execution on his part. And he's very endearing as he plays this guy who's causing a lot of trouble. Your wish is granted. And in return, I will take your oil. Pedro has such a good and facile understanding of, like, the kinds of villains that I love. And he's so rich. And his comedic ability is fantastic. But also his nuanced character performance that almost reminds me of young Pacino and De Niro. Just a really buoyant character that's also delightful. Let's get to it, Lai. I wouldn't say it's about sympathizing with these evil deeds. But trying to understand where people are coming from when they do bad things. It's all about cracking open these villains and making them people. Not just villains that have problems. They are doing this for some reason. And Diana is the one that breaks them open. But, you know, without Kristen and Pedro, they play those villains so, so well. And they bring the humor to it, the heart to it, along with the great villainy. We couldn't do another Wonder Woman without Chris Pine. I think that all of us together had made the first film. And it felt like we couldn't let go of him. And we had to bring him for this story. And I'm super excited that Jeff and Patty had managed to craft a way and find a way to bring him back to the story in an original way. When we first talked about the story, it was never anything but Steve comes back and Diana has to give him up. That was the story. Steve is very jaded and world weary. But also completely put off his balance in the first film. By meeting Diana and having to drag her through this world. And watching her take in man's world was so interesting. Chris and I had such an interesting time talking about everything about it. The clothing would be so itchy. The shoes would be so bad. The food would be so... You come into the 80s, it's like a wonderland. Look at this clothing and look at this outfit, look at these shoes. Like, he loves everything. This one is me being reintroduced to the world in awe of the most magical and also banal things in the world like a microwave. Look at how cool lights are. It's so great to be back in the world again. So I think to play that positivity, that positive angle for me was fun. To play the earnest, kind of like a boy in a man's body. It really is great to see the world and how it's progressed through his eyes. First of all, it's charming and fun because Chris has this incredible sense of humor and so he makes that wonder very funny. We initially thought it would be the other way around. We thought that Steve would not like progress. But then Chris and I were really talking about it. We're like, what are you talking about? He's been wearing wool clothing and dress shoes through trenches. He's going to think everything's so amazing. Yeah. Does everybody parachute? He would be so appreciative of all of the updates. So getting to play around with his point of view would actually be just delighted with where mankind had gotten to. The character of Diana Prince, the character of Wonder Woman, does not need a man. I mean, I think that's pretty obvious and established up front. But we as human beings watching storytelling from time immemorial, we've told stories about falling in love. Falling in love is one of the great gifts of life. So I think it makes the story more interesting to watch, more emotionally grounding. They bring the best out of each other. And they're there to help each other. So everyone is setting up the other one for the next hit. And they have a really beautiful relationship. It's absolutely true that a lot of what's the dynamic there is real. Chris is always making us laugh. Gal is always putting us in a good mood. They're both super smart, super funny, super good, and super like each other. So it's a delight. Welcome to the future. Life is good, but it can be better. We find Diana in the 80s. Great decades filled with art and music and fashion. Do you have it all? We wanted it to take place in a far enough time of her future from 1918 that she would have evolved and also have to deal with things that she never had to deal with in her young life. Wonder Woman, she's so synonymous with that wonderful TV show. So it's a fun world to be in. It was even fun for us to go back and shoot in the 80s in a mall. And it brought back all of these good memories of like, remember when this all felt so exciting and fresh and like it would last forever? The 80s were a period of a lot of color, a lot of things happening, a lot of new artists, a lot of new things in the world. It was such an interesting decade for all of us across the globe. So we felt that it was a really good idea to explore her story during that time. And I think that it was a really good call because the movie looks incredible. We have a lot of, really, most of the artists from the first film behind the scenes. And the production design has been incredible. We shot at and duplicated some pretty big landmarks. For example, the Smithsonian Institute and what an amazing museum that is. The White House Hall and the Oval Office to every detail. The compound chamber. All these phenomenal sets. The magical part of our job, everywhere it's created a fake thing. And for example, all the compound that has been sculpted in polystyrene and after that, resin. Talking about the Smithsonian, that is something else. And that is creatively, in a way, more interesting, I would say. Because you have to create, really, the place with the feeling of what is the Smithsonian. There's like real scientific notes on these pages and like actual fossils and crystals. You can intellectualize as much as you want, but you've still got to make it incredibly visual. So we tried to work with animals and we tried to work with color and we tried to work with stones. And as much as we possibly could that were juxtaposed together to tell that story. Roll video. We wanted to have a real world of 1984. So you saw scenes in the real world, which is sort of like the mall. But where there is a bit of heightened reality. That also had its challenges with just the amount of extras that we've had. And having to make sure they're wardrobe appropriate, hair appropriate. Hair was a really big thing in the 80s. Really big hair. I remember in the 80s, I had really big hair. Generally, we're seeing all different kinds of 80s looks. And they do really go from, you know, mall rats to punks to glamorous ladies with dynasty shoulders, massive hairdos. But then there are also lots and lots of ordinary people who are still dressing in the 70s, late 70s. And some who even look 50s. So if you make a proper cross section of human beings, you must see all that. The 80s were funny and they were fun, but they were also elegant and beautiful. So she would be wearing the most incredible thing. Subtle, not that expensive, but just beautifully done. You know, it's always going to be the best of the best. It was fun to go through the process of finding the right looks for Diana during the 80s. Because we wanted to keep the tones very specific. She couldn't wear pink or orange or yellow or green or red. We wanted her to be cool and elegant and not to get more attention that she already gets. It's always a complicated road to find exactly what Wonder Woman would wear in this period of time. What would be authentic to the time period, but also just the best of the best of what was happening at that time. It's just one of those women, sort of in a way like James Bond, who's effortlessly elegant. Pants, very nice sort of swishy pants with pleated waists. Shirt blouses, you know, with a little bit of shoulder. There's so many different suits that she wears. I think that Lindy had done amazing work finding all the right looks. And I would wear some of them today. I love 80s fashion. I don't think I ever fully left it. Anything off the shoulders, really flattering. In terms of 80s style, Diana and Barbara are the exact opposites. Hi. Kristen's slightly scatty and really wearing clothes is not her thing. She just dresses like she would dress every day. And so we explore working women going to work and just wearing their normal clothes. And we then added in a little bit of early Madonna. And this is the kind of girl she was. She goes to exercise classes and so there's a bit of Jane Fonda work wear. You look amazing. When you see her first at the fundraiser, it's like, you know, what's happened to her? We created this, it's a dress from, I don't know, a long time past. I made it a little bit more like an Alaia dress. It was very, very bandage tight. And these enormously high crystal encrusted platform shoes. Lindy is one of the best costume designers I've ever worked with. And Patti is so involved with every aspect of how an outfit looks, fits, falls on you. And every little detail, especially in Barbara's wardrobe, is so thought out because it is such a symbol of how she's changing. Can't let you do this, Diana. I was so jealous of Chris Pine's look in the movie. He wears the same ultra comfortable jumpsuit, white t-shirt with like a jogging jacket and jogging pants and these like cool Nikes. Life is good, but it can be better. And I'm in a lot of different 80s power suits of varying colors and layers. In terms of the comfort level, I mean, my God, in the first one she had me in, about 40 pounds of early 20th century wool. This was a, you know, this was a joy. What do you think? Yeah. Huh? Yeah. Right? He wears a members only jacket in black. Beautiful. We made it. We had to make lots of them. We got members only to lend us some of their, you know, trims and what have you. Whether if it's the colors of the movie or the style of the characters and the extras or the music and the vibe, everything is so delightful. So I think it was a really good call. CG can do a lot of great things today. I'm so grateful for it, but there are still those things it can't do. And there's something to really feeling and knowing that you're in a real place, which I wanted to do a lot of. And so we found those locations and we went to great lengths to get to shoot in them. When you're talking about Wonder Woman, these stories have to play out on a global stage because of who she is and what she does and what she fights for and what she believes in. She's just too big. You need to unleash her onto the world. The global footprint of this film is one of the largest that I've ever worked on, starting in the U.S., in Washington, D.C., and neighboring Virginia. It was important to us to have a big vision of Washington, D.C., both in terms of its affluence, its energy, the wonderful architecture that's there, but also over the course of the movie to see it in a chaotic state. I cannot believe the things we shot in Washington, D.C. We shut down all of Pennsylvania Avenue. We shut down the mall and the Lincoln Memorial. We shut down the Smithsonian and the Air and Space Museum. I love those shots in Georgetown. They're amazing. They change the whole street, all the cars, the stores that don't exist anymore. Then we went to London, to the U.K., where we've shot most of our stage work. And we went from there to Spain and then two islands of the Canary Islands, one for a Middle Eastern look and also one for Themyscira. We just shot in such incredible places. Fuerteventura, we're really in the real desert shooting these scenes. Super interesting. Very, very unusual to shoot just a blank slate scene. In the desert, in the wind, it was very difficult, but all worth it. My favorite thing about this movie was that we decided, a la the 80s movies, to go back to doing things for real. It creates a spectacle that is not how things are done anymore. Here we go, we're rolling. Action, go! And here it comes! Brace yourself. And push! So certainly there's CG in the film, but a huge majority of the action is real human beings doing it on wires and on rigs. And three, two, one, action. From the start, our whole ethos and pitch on this was that we want to try to do as much in camera as possible. The brief was we wanted to use Gal as much as possible. Real flying, real fighting. Gal, she's got stunt sequence after stunt sequence after stunt. She's in rigs, she's thrown all over the place. She's super badass and she's just exceptional with her physicality. Three, two, one, action. Now remember that you're talking, listen. You're not understanding the public, but you're pissed at her. So it's where it wants to be. Sorry, I couldn't possibly handle... Couldn't possibly handle your... That's not what I'm saying. Then I do this. Yeah, okay. And I'm going to start and I just mark this. Gal and I always work on it a lot with Wonder Woman. She fights in a certain way and it all is super specific to not being an angry person, not being a hateful person, being a very smart person. And it changes how you approach things. The same was true about Cheetah. Where you're coming from and where your head is when you're doing these things changes your fighting style completely. So Cheetah fights from a very different place in her mind of rage. So it's such a fun language to learn and watch how it affects the actor at the same time as they're influencing the movement. Patty was very specific with how Gal and I fight and how she just didn't want to have two people punching each other. And definitely me being Cheetah, you have to sort of incorporate that sort of feline, those movements without it being like, you know, I'm not like licking my... Barbara, what did you do? I loved getting to do their final confrontation because how often do you have that kind of emotional runway to work with? Diane is in this fascinating position of fighting the strongest foe ever. Having a unique style for this beautiful, strong, two feminine characters, it's like beautiful, it's almost royal. All of the movements in my fight are based on like how would Cheetah move, not how can we make this be a cool fight or get this amazing kick in there. It's like a lot of scratches and swipes and knowing that everything comes from the character, which is so helpful for me. Ready and open! It was very, very complicated for Diana to fight Cheetah because she's fighting Cheetah on the one hand, but on the other hand, it's really Barbara, who's a friend whom she knows is good. Nothing good is born from lies, Barbara. We're wasting precious time. That fight only works because of all the emotional setup that's in there because we know Barbara and Diana's history. We know Barbara and what she's experienced and what she's trying not to experience by becoming Cheetah. We know how desperate Diana is to help people see the truth and how she had to deal with herself. She has to be the first one. Like if she doesn't give up her wish, why would anybody else? You're watching these massive and incredible physical feats take place and you can create it in visual effects, but when you really capture it and every single person on the set is actually feeling that electricity, you're capturing that and it is bringing it to the picture. So I think the influence it has on all the actors and everyone in it is not something I can emphasize enough. We went to see Cirque du Soleil and there was this amazing girl going up and down with the cables and it was mind-blowing and Betty held me for a second and she said, this is how Diana should fight Cheetah. This is just beautiful. It was really a long and interesting process, collaborating with Cirque du Soleil and incredible fight coordinators and incredible wire work to make a fight unlike one that you're familiar with. Cheetah is more powerful than Diana and this is what that armor was made for, for when you have to face a foe that is too strong for you. That's what Diana is able to use the armor to do to hold off Cheetah. We have a new beautiful golden armor look. Which is just mind-blowing and when I first saw the design, I couldn't believe I'm going to wear it. I felt so lucky and I think that's part of what we always try to do. We always want to bring something that is new and better and fresh. Their character in the lore who created the golden armor, her name was Pallas and she's had different incarnations. We modified that character for our use and was an aspirational character for all the Amazons because she was so heroic. The golden warrior is a symbol of sacrifice, of giving everything you have for the world, for the people you care about, for whatever needs to be protected. And the fact that this Amazon stayed behind to fight the entire army of man while the other Amazons fled to Themyscira is amazing. And Diana has grown up with this story, this myth, and has sought this Amazon out because she's somewhere in our world. She puts it on at the end of the film. And from the comic books, it's a beautifully illustrated piece by Alex Ross. But to give it that weight, no pun intended, but the weight of that story of that first Amazon, that sacrifice, it makes it mean something more than just a beautiful suit of armor. We have a very, very exciting cameo in this movie. Her name is Linda Carter. There's something very Soul Sister about Linda Carter to me. And she's been like our friend and our partner all along. Like always there, always supportive, always someone that I can talk to. She and Gal are truly unbelievable people. We always talked about how do you get the original Wonder Woman in the film? And the idea was always if Linda was going to do it, it had to be a cool role. People love her, and she's the first Wonder Woman. It was only a matter of time until we got her to come and participate in our movie. We originally talked in the first film, like, oh, she'll pass her in Selfridges. And it didn't feel special enough. It needed to feel like if she's going to play somebody, she's got to play somebody special. And so she became this mythic golden warrior, the first Amazon. The golden warrior really symbolizes what Linda symbolizes to us. She is the great hero that came before us that has inspired us to be the people we are today. And so I loved it for both of those reasons, that we could tease it throughout the film and then reveal that that's who we're talking about. I remember trying and trying to figure it out and then just getting chills when we figured it out. And I was like, that's so right. Um, excuse me. Excuse me. Please. You have to let me thank you, miss. Asturian. Asturian. Wow. I'll always remember the first time that Gal walked around the corner in her Wonder Woman costume. Some seven-year-old part of me gasped and thought, oh, my God, there's Wonder Woman. Likewise, that I walked into the trailer on set and someone flipped around and looked at me, and it was Linda Carter. And I thought, oh, my God, there's Wonder Woman, too. It's just a simple shift in weight. It's really nothing. You know, and Linda Carter made such an impression on myself, on Patty, on the world. It's great to see that legacy carried on and honored. It's cool to see that cameo. It's cool that she plays a character like that. A special, strong warrior. The first. It has been my great privilege to be on this journey with Gal and Patty. I'm no longer alone in my journey with Wonder Woman. It's a beautiful way for us to respect her legacy and everything that she did for Wonder Woman and bringing Wonder Woman to life. We have so much love for her, so much respect. She is such a Wonder Woman, honestly. I'm so happy to join you all in this movie. It's a thrill for me to be with you. My personal feeling about the films that I do is I want to live and breathe the work that I do because that's what makes it worth it. This has so much relevance to the life that we all live now. We always want more and we never have enough. There is something so profound in the story that we chose to tell that we should just let go and accept the truth. What we have is beautiful and it's enough. You cannot have it all. You can only have the truth. It's one thing to say you want to make a movie with these very ambitious techniques and we knew that it would be hard but it totally showed up in the film and so it ends up being completely worth it but it was probably one of the more exhausting films I'll ever do. No doubt. Do you see the truth? Diana's been alone for quite some time and when she first meets Barbara Minerva, there's a connection there. Barbara Minerva is a pretty invisible person. Hi, Jake. Jake, hi. She's always wanted to be something more. She's always wanted to have friends, love. There's something about Barbara that Diana really likes. She likes her honesty, her vulnerability, her truth. I think Diana does see something in Barbara that she's missing in her life, that sort of openness and to be a part of a group, society, because Diana's so alone. They connect over that in a big way. We talked a lot about Barbara and her arc really being Diana's first new friend since Steve and his team and Eda passed away. You're so funny. No one's made me laugh like this in such a long time. Barbara Minerva is such an interesting character but one of my favorite things about her is that she's often a friend of Diana's and that allowed us to really design such a grounded character and start from such an interesting place. She's right. It's not that hard. Ultimately, she just wants what Diana has and to be who Diana is. She doesn't know that she's Wonder Woman so when she makes the wish, she gets a lot more than she thinks. But then when Diana's telling you it's not what you think, you're not quite understanding what that means. Listen, you have no idea what you're dealing with. I'm not what you think. Diana, if anything, feels sorry for her. She's immortal, she can't have relationships, she has all of this duty. It's like Barbara would not understand. She's cursing herself. Barbara, get a hold of yourself. It's like switching bodies almost because now Cheetah is the more dominant one and here they are and Cheetah's winning. She's stronger. Barbara becomes this dark mirror of Diana. Barbara shows Diana the dangers of turning her back on humanity which Diana almost does. It's really, truly scary. And then as she starts to change, she's noticing people are looking at her and she really likes it and then that keeps growing. She starts to lose the Barbaraness of her, the friendliness and the openness and she becomes much more cold and closed and just sort of revengeful. One of the greatest things was watching how generous Gal and Kristen were to each other at the beginning of getting this relationship going. I love Kristen Wiig. She brings so many colors and layers to Barbara and to Cheetah later on. It was an instant friendship and we have a very similar sense of humor. Gal is super funny. Kristen probably has people try to make her laugh all the time. What was funny the first day working with Gal is that Gal was standing there and sort of goofing around and singing a song. And Kristen was like, oh, and I was like, oh, no, no, Kristen. She's like that all the time. Kristen saw that Gal was just hilarious and then it just broke the barrier. They're like singing lines and just making each other laugh. It was so hard to get work done, but it was so enjoyable to watch. And half the time we're struggling to stop them laughing when they're fighting each other. They have a good chemistry. We really hit it off to the crew's dismay because all we're doing is making up songs and singing and laughing all the time. Come on, don't be shy. But at the same time, we can immediately go into those scenes where we have to have that sort of super villain-hero rivalry. And she's just a great scene partner and friend and I'm loving working with her so much. She is brilliant. I was always joking that I felt like a parent and when your kids get along. When I saw the two of them take off into a corner and just be making a music video, it just filled me with joy all the time. Come on everybody, dance in the sun because we're Gal and Chrissy and we're having fun! I enjoyed so much watching that love and friendship blossom between them. The Amazon game. I think I've got a rough idea, but... At the moment I'm getting my cuffs on and I'm fully dressed so I'm ready to go to set. Little Diana, Lily Aspel, is an unbelievable superstar. I cast her when she was so tiny. My audition tape of her is the greatest thing ever. This little girl with this fire in her eyes who's this big. You're not going. But mom, I threw two pitchers with one arrow and I swam with sharks! Listen, it's too dangerous out there. You can't go. But I want to! Okay? And I was like, that's Diana. She's one of the most impressive stunt people I've ever seen in my life. Our stunt guy would come up to me all the time and say like, you couldn't find a better stunt person to cover her if you scoured the world. We had her from the very start and she did everything herself. She was never doubled. So when you load it, you put the string, knock it, draw it, aim it, release. Perfect. Do that again. And action. Hi, my name's Lily Aspel and I'm ten years old. I play young Diana and I'm in the Amazon Games. I start off with the spin. So I jump on, I climb up. The thing is spinning backwards and it goes round two times and I jump off it. And then I'm doing a handspring into the hole and then I come out the hole and I go into my bars. And then I jump on the poles and then I do the bridge, which you can see behind me. She was doing these kind of giants through a bar, running along the top, dropping down, gaining a somersault onto the top of these running logs, which were all set up like sort of 25 feet up in the air, running along that, jumping onto the next platform to avoid the swinging log, and then diving off that at the end of it into a big sort of swallow dive to take you into the water. And then swim, swim, swim, swim, swim. I'm getting dragged along from a boat into the water and it's going to be really, really cool. I said to my mum, I was like, oh, Mum, I just am so privileged to do the stunts and, I mean, like, everything's just so cool. Yeah, and today is probably the best one. The riding sequence at the end, you know, that's... Well, that was her forte, cos she's a fantastic rider in her own right. She does show jumping and that, but all of that riding through there was...that was her. It's lovely working with Lily because she already has this natural base of horsemanship, her understanding of the horse and understanding working with us. She's completely fearless and especially when she's on the horse. Nothing stands in her way. She's professional, she turns up, she knows what she needs to do. Occasionally, I forget that she's ten, you kind of go, can she hold your eye contact? She jumps on the horse. Everything the adults can do, she can equally do. And it is, she is a very special little girl. How did that feel? That feel was awesome. Does it feel cool? Have you seen it? Do you want to see it? You've got to come see it. Let's look at take two. Look at this. Take two. Yeah. Trudging. Mom's reclined. A lot of kids could do that. That is amazing. Oh, my God. It's stunning. It's so awesome. They were all developed for like full growns, which made it more of an interesting sort of character derivative for her anyway. She was a child, so you'd kind of end like the jump becomes bigger, the swing becomes higher, all of those things. So we had to, you know, stretch everything that she did a little bit. Because she's just fearless. She goes for everything. You know, she's really attentive as well. When Patty's talking to her, you can tell she's listening and she's just soaking it in. And as soon as she goes again, she gets her cues and she just does it. And she's not afraid of anyone. She stood next to everyone in the line, all these athletes, and she's just there like, yeah, I'm one too. I think that everybody who's had an opportunity to work with Lily has definitely fallen in love with her. She's the perfect young Diana for Gal. She's very physical, very gung-ho. I literally just arrived on set and I saw this tiny little girl on top of a giant horse, and then just like with ease, just jumping off the horse and started walking. I just think everybody walks on set and they're like, they're doing back flips, front flips, and then they're like, cool. Yep. She is a very strong girl, but she's a great actress. Thank you, you too. It was really cool working with Connie. She's the queen. What do you say? She's the queen. She is the one with the extraordinary powers, powers greater even than mine own. For me to see Lily, to see the young girl, the young Diana, do everything by herself and riding this horse and swimming and jumping and doing all those crazy things, I forgot about everything and I was just there and I was like, that's the dream, that's what we need to see. There's some things I do and I'm like, how could I do that? I look back at it and I'm like, OK, but I did it. Yes, mate? Perfect, that's exactly what we wanted. It's bigger and it's better and there's loads more stunts so people can see who she really is because in the first one they saw who she was but they didn't see the real side to Diana and it shows this in the movie. The creative powers of our team are extraordinary. You have this very important scene which is a moment of learning for young Diana. What she has to learn is that there's really only one truth and that is your own. It was something that I think was important for her to have an experience of it. When we set out to do this movie, I realised we had an opportunity to set out to do something that I hadn't seen in a while which was try to do as much of the movie for real as we could. The open road sequence in particular had many insane moments of Gal flying towards the car, Chris Pine literally climbing up and standing on top of moving trucks and fist fighting and so many of those things in that open road sequence were dangerous and hard to do and scary and difficult but thrilling and I think that really shows up on the film. I think that Patty really knows how to craft such a complicated project. The open road scene is very much a reference to No Man's Land. I definitely wanted you to think that you were in for that ride and for a moment you are because that's a scene that we associate with victory and so I very much enjoyed you waiting a while to see Wonder Woman come back. So when it happens and she declares war on that convoy and heads into it, it's exciting and we get excited but as things start to go wrong, the fact that that's not the way we expect it to go, it really punctuates that something diverges in some totally different direction. Camera's here in this lane. You're over there. You now start to gain speed on the convoy. Take your look, come around behind. You stay in the front the whole time. You guys stop. Copy that. What sort of speed? We'll be up here. Other vehicles out. You do the natural move. Literally get up behind. Jared, you've gone around people. We'll push in. On the car. I'll take you then. Full rear attack. All right, thank you. All right team, let's go. It was a heck of a lot of work that went into the open road. We scaped the location, take accurate measurements on everything, then bring it back at a rehearsal area and then pick that whole circus up, ship it out to Fort of Endurance. When it gets windy here, the dust is terrible. The workshops, they're all covered in dust. It was an interesting thing to figure out how to do Gal running so fast that she could compete with cars. The car chase is very different when you then have a live person running around outside of that car chase. You've got her running through the middle of it, dodging bullets, pushing trucks out of the way. It can look really cheesy and roadrunnery. So that took a lot of fine-tuning to try to figure out how to not make it a blur effect but help make it look cool. So that was very, very tricky, to have her running fast but not have her legs moving 100 miles an hour. We were just coming up with rigs between ourselves and special effects. The treadmill, we had one that we could move it down the street and then we would have her on a wire to basically sort of give us the feeling that she's running and pushing this truck to get those kind of close-up moments of her really sprinting in and out of cars, really. And then the truck flip. What I love about the truck flip moment is that she's boxed into a corner and it's her ingenuity that wins the day. She's under fire. She's realizing something's wrong. She's really struggling. But she figures out a mechanical thing that will change the dynamics and executes it. The idea is the Wonder Woman goes, slides underneath this truck, she kicks the prop shaft down, it digs into the ground and it flicks her up through the air. While that happens, the truck was going to go onto its nose and back onto its roof and skid along. We are about to do a 360 flip on this Ural truck behind me. And we've been prepping for this probably for about six months. So it's a big day. And we've got two goes at it today. We've already done three tests and all very successful. So, fingers crossed, today will go well. So, for it to work, we decide whether it's going to be a pyrotechnic flip or whether it's going to be a high-pressure gas. We went for a very large nitrogen cannon. So basically, as the truck comes down the road, as soon as we get to a certain point, I press one button and I can see the cable release. Then I press the second button and then all of the 2,500 pounds of nitrogen fires, the valve just opens, closes, fires all the nitrogen out, which flips the truck over. Alright, Gal. It's always great to take a character who you think can't get any better, who has limits to their ability and overcome those limits. And that's one of the great things that Diana's telling us by constantly increasing her abilities and constantly growing as a character. I love that it's such a heroic moment from someone who's struggling and able to pull it off because of just how smart they are. It was a fun journey, an extremely difficult scene to do. That was pretty good, dude. The 1980s were all about the mall. I think it was not that it was just the right place to establish Wonder Woman. I think it was the perfect portrait of America at that height. We wanted to create something that was fun and thrilling and really to capture the 80s in its best. The mall is a portrait of what our world very much felt like. It was bright, it was colorful, it was shiny, but it was also the status quo. It was like a portrait of the new normal. This is life. You eat whatever you want, you do whatever you want. Food courts, opulence, buy things, shopping bags. And you're also seeing Wonder Woman at the top of her game, coming in and saving the day in the midst of that setting. It was a very interesting thing to think about those visuals as they juxtaposed from each other. When we scouted the landmark mall in Virginia, we were thrilled of its existence, to find an empty mall of the period that still was workable. The escalators worked, the elevators worked, the bathrooms worked. We were all sort of really ecstatic that such a thing existed. Making the mall was one of the more impressive things I've ever seen my production designer do, and she's pretty impressive. We chose the biggest space in the entire mall for a pretty big set piece. So it meant that we had to recreate a pretty substantial part of the mall. I've designed for this movie like 65 stores to fill and create and design and find the signage and find the light and find the item. You need to make a proper research before being able to fill up this 65 shop. She brought it back to life in such a way that it was three full stories of stores stocked completely. So you could actually walk around this mall and walk into the record store and find records from the 80s. There was something magical about that mall that when you would walk into it, there were days I didn't want to leave because it felt like you were back in time and you could remember this much more naive feeling about how life was. From the start, our whole ethos and pitch on this was that we wanted to actually do as much as we can real wire work. We've done more wire work on this movie than I've ever done on any other movie. I don't think we need to go reaching on her. She's going to stand up into it, but she's also going to stand up into it and start running. Historically, wire rigs would pull you over something and land you. What these wire rigs involved was multiple different points of movement. We had a crew in Washington D.C. doing this rigging for the longest time. Normally what sounds like this would be shot on a soundstage so on a soundstage you'd end up with a big grid that you could actually rig from. We're in a mall, so we were speculating what was in the roof until we got here. We had to cut into the columns and then strap into them before they were using all the CG takeoffs and CG landings. Everything here we're doing is for real, so you'll see her physically fly through the mall, you'll see her physically land, you'll see her run. They're all done for real. The mall had different levels and it gives us a great opportunity for a fantastic action sequence of Wonder Woman with the lasso. The entire sequence is all human bodies doing exactly what you're seeing. It was exhausting and laborious but it was incredible even to sit and watch on the day these bodies flying around and these incredible acrobatic stunts and gals flipping over things and landing. You guys are amazing. I miss the spectacles of the films that were pretty common in the 80s and early 90s where you were seeing real stunts on screen and really incredible things. So as difficult as it was going to be to pull off, from the start we really decided to make a grand spectacle again and bring it onto screen and now embrace all of this technology that was possible.