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- The very beginning of the movie,

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which I feel is the biggest spoiler,

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I was very excited

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after having just
revisited the last three,

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that you start there

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before jumping ahead.
- [Wes] Yeah.

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- Talk about that decision

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and what it was like doing that stuff.

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- It was the earliest decision for me.

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Actually, it was the first
thing I ever storyboarded.

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- Oh, wow.
- Early on.

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I put music to it, I cut it together.

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Before we even had a script, I did that.

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You know what I mean?

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It just felt right.

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It felt like, let's remind
people it's seven years past.

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Some people don't even remember he died.

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- Yeah, right.
- Caesar.

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You know what I mean?

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So the opening text thing was
actually a fairly late edition

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because audiences were
still, "Wait, who's that?"

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There were still just too many
people that just weren't as,

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you know, fanatical about
those previous movies.

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So they needed that help just
to kinda like, "Okay, okay."

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And then, you know, for
the real fans that love it,

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Caesar's face, I think
it's a great first cut.

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You know what I mean?

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And then to watch that kind of,

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the moment an ape becomes
a legend, becomes a story,

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that's gonna be told through generations

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and it's gonna evolve
and it's gonna change.

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You know what I mean?

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That was important to me.

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And that first frame of the movie

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and that last frame of
the movie is very similar.

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- Yes.
- You know what I mean?

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So yeah, to kind of show
that spirit kind of spreading

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and then that great cut
to a new world, a new day.

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You know what I mean?

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Was like, it was key to me.

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It just felt so right,
you know, how do you,

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okay, look, we love those movies,

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but we are in a new chapter now.

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You know what I mean?

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That was the goal.

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- Starting there also gives
you that ability to, you know,

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sprinkle Caesar's ideals and stuff

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throughout the whole movie.

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Talk about, like, attracting that,

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especially kind of in the writing process

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of, like, how much are
the people going to know,

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you know, the other
Caesar now in this movie,

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you knows, knows a lot more.

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Noa doesn't know anything.

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Talk about sort of weaving
in the Caesarness of it.

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- Yeah, that was kinda
the interesting idea

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because of this time jump.

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It's like in our own human history,

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we've had plenty of lost knowledge.

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And you know, we make
these great discoveries

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and then we lose it and
someone rediscovers it.

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I love that idea.

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There was a dark ages after Caesar died,

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you know, that many things
were lost or you know,

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the spoken word carried on.

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You know what I mean?

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And how it could kind of, you know, split.

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And we had this great kind of

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two versions of Caesar
in the movie, right,

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through kind of bodied, through Raka

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and Proximus Caesar.

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And Noa, this fresh kind of blank page

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that sets off on this
adventure of discovery,

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self-discovery, and discovery
of the world around him.

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You know, that he gets to be
influenced by these two ideas

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and it's gonna shape him into
the future going forward.

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You know, who he's going to become

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is because of the father figures

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that come and go from
his life in this movie.

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You know what I mean?
- Yeah.

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- Including his interactions
with humans themselves.

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You know what I mean?

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So it just felt like the right idea,

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you know, to play around with ideas,

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the concepts of truth
and how fragile it is.

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You know what I mean?

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And how, in our movie, kind of a spoiler,

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but the true Caesar almost died-

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- Mm-hmm.
- Forever.

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- [Germain] Yeah.

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- Except for this fate stepped in

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and this orangutan fell through the sky

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and fell into the lap
of this other character.

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And that little flame carries
on, you know, into the future.

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I think it's a cool idea, you know?

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- It's an awesome idea.
- It's mythic.

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(upbeat music)