DEADPOOL & WOLVERINE Behind The Scenes #4 (2024)

Stepping back into Elektra has been a total trip. I played Elektra 21 years ago, so I had not picked up a sigh other than, like, to show off for my kids' friends. Like, I used to tell my kids' friends, I'm a ninja, and I would pull them out, and they'd be like, uh-uh-uh-uh. But I hadn't done anything like that in years and years and years. It's so fun. Ha-ha-ha! Yeah! Wesley is Blade to me and ushered in a whole era and took risks back then that hadn't really been done. This is a character that Wesley, in large part, created. This version of my Blade, I thought I'd make him a little more comfortable with himself, you know? In the first ones, he was a little more angry, and he had chips on his shoulders, and he had a lot of issues. Figured time has passed, he's had plenty of therapy, so now he's issue-less. I was bored, really. Smiling and having a great time being who he is. There's only ever been one Blade. There's only ever gonna be one Blade. Whoo! That's great. They call me the Gambit. You sure you didn't just really, really want them to, but it never quite worked out? I've been dancing around Gambit for almost close to, like, 20 years now. I'd have done truly anything to actually walk onto screen as Gambit, just even one time. You want me to look intense, or do you want me to look like you're the chillest man? You tell me, man. I am trusting you. Even my childhood, I was playing Gambit. My dad's from New Orleans, and I was the kid that was grabbing, like, my dad's duster and my dad's raincoat. I had a pack of cards, and I was always chucking them at my friends and, like, doing the whole thing. Talk, or I'm gonna start dealing. I just felt like we just played the, like, the highest-stakes, like, make-believe game that you could possibly play. I didn't want to stop yesterday. Everybody was, like, tired. I was like, do we have to go home? Do I have to take it off? In the first script that we wrote, Hugh sent us a 10-minute voice memo, which I don't recommend sending a 10-minute voice memo to anyone, but the idea that he was the worst Wolverine is the thing that came of Hugh's voice memo. It was such a great access point for us because you not only have the worst Wolverine, but you have a Wolverine that is finally, after 24 years, wearing the yellow suit, you know, wandering around set like Admiral Banana. When I got in the yellow and blue, I knew immediately it would work. It felt amazing. I felt more grounded, deeper, connected than I ever had before in the 24 years. Holy s***! You save the good stuff for special occasions? Killing, mostly. I was astonished at how we never tried it, never looked at it, but when I see it, and when I see it, particularly with that pal, I feel more than ever before, me, Hugh Jackman, is lost, gone. It's just Wolverine. Oh, my God. The legends are true. In the script, we find a few Wolverine variants. It wasn't until we showed Sean, like, oh, here's what we're thinking, and then all of a sudden, it's like, well, let's get the John Byrne brown and tan costume. Let's get Wolverine on the cross. Let's get Cavalry. Let's get, like, old man Logan. We hit some, like, real deep-cut comic fans to start digging out these Logan variants. It's not you. We're just going in a different direction. That's a recipe for humor. Oh, my God, your hair. It's certainly a recipe for conflict, which is also funny. No makeup Monday. Good for you. In the case of our movie, it's a recipe for violence. John Byrne brown and tan. Now, you fought the Hulk in this outfit. No. I'm Marvel Jesus, you dull creature, and I will not... I've always said if he doesn't want to put the gloss back on again, I will, and I think he really will. Because he's an actor that is like a Swiss army knife and can kind of do anything at any moment and pivot in strange and wonderful ways, he kind of gave the license for Sean and I to really explore a slightly different version of Wolverine. Wow. You really are the worst one. Ray Chan is our production designer who created a world unlike anything I've ever seen for Deadpool and Wolverine. It's hard enough to make a movie on this scale and to figure out how to build in real life things that only existed in our imagination. Time and again, Ray would find a way to do that and to do it with tenacity and diligence and just this tireless joy. Every time we've played back this movie, you have to marvel at what Ray built. And that when you say a filmmaker, a lot of people think of directors, writers, producers, stars, but Ray is a filmmaker. Ray is a storyteller. What he gave us in those environments was the thing that I think is the DNA of the movie. It really can't be overstated, the amazing amount of work that Ray did for us at Marvel and his passion and his artistry really did create the MCU. As fans around the world know it to be today and every single of the ten projects we've worked on together, every single one of those sets, I would walk around with Ray as he would talk about the work that had gone into it and the work that they still had to do. And Ray had a lot of work left to do and it is a great sadness to all of us that we won't be able to see it, but a great joy that we'll get to see everything that he did for us over these many years. I would say the happiest moment for myself is when I see a design executed, fully lit, dressed, with the actors in costume and the director and the DP making a film. That's my happiest moment. Get your special sock out, nerds. Let's go. Be the first to watch at home October 1st. Who's ready? I was born ready. Oh, yeah. Go even deeper with loads of extras. And it pays off even more if you watch the movie a second time. Wouldn't fancy that. Hey, cowboy, my eyes are up here. I know it's tempting. I look at it too sometimes. Deadpool and Wolverine. Pre-order now, only on digital.