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- We're in the endgame now.

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- I sacrificed everything

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and it meant nothing.

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(rising music plays)

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- How has superhero storytelling changed

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since the moments when you
were sort of working with

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much of the sort of clay that has,

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that people have taken and moved forward

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from the "Spider-Man" movies?

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- Well, I think the biggest thing

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is it's not just a one off
anymore with the studio,

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whether it's X-Men and 20th century Fox

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or Spider-Man and Columbia pictures.

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It's now Marvel or DC

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who are very proprietary
about their characters

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and they look out for the
integrity of those characters.

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And it's really great to have

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somebody that's watching out for them.

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That that's why they're a fan favorite

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because they don't care about

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pleasing the studio shareholders.

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They really care about making sure

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Dr. Strange says what
Dr. Strange would say.

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- How complicated was this
for you to sort of navigate?

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I mean,

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was it something that was
easy to sort of organize

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given the fact that there's so many,

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not just that there's so many universes,

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there's so many aspects
to, to sort of this story.

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Was that difficult for you

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or was that relatively easy to navigate?

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- I really had some great producers,

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a whole bunch of great producers

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that worked for Marvel
that were on this movie,

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headed up by Richie Palmer and
Kevin Feige at the very top.

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But in between there are
so many great organizers

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and schedulers and smart smart people

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that understand how to...

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how can we shoot a movie
in New York with COVID?

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Is this going to hit really strong COVID?

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If so, we won't be able to go to New York.

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We'll build the city.

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We'll build just the parts
of it we need in England,

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and we'll do CGI extensions

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for the stuff above second stories,

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and we'll put it together like that.

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So, I'm surrounded with a team of enablers

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people that are planners, great thinkers,

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and it really leaves me free
to work with the artists

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to direct the film.

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- You can't have a scene
in a movie where a,

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a beast gets defeated by
ripping out its eyeball

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that does not seem, you know,

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synonymous or a calling card
for a filmmaker like yourself

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who's so skilled with gore.

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I'm curious if there were elements

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that either you wanted to include

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or that they sort of, in
a sense of anticipation,

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might have included in this movie

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to make it more Raimi-esque

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as you were being that
shepherd for this character.

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- I think that's what happened.

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I was trying to make the
best Marvel movie I could.

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And Kevin Feige and team

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were trying to make the
best Sam movie they could.

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It was really weird.

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I really appreciated the support.

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And I think that they
appreciated how much I respected

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the work that they had done
in the previous Marvel movies

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and was trying to bring
it forward in a way

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that would really satisfy the fans.

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(rousing music plays)