RYAN REYNOLDS: All right.
(LAUGHS) Welcome to the Deadpool home entertainment commentary
PAUL WERNICK: Has a nice ring to it. REYNOLDS: Thank you.
Uh, this is Ryan Reynolds.
I'm here with Rhett Reese and Paul Wernick.
WERNICK: Hello.
REYNOLDS: The screenwriters of the Deadpool cinematic festival.
Just to set the tone, we're at my house.
We're in the basement of my house.
WERNICK: Where we've been for the last, uh, 14 months
you've had us locked down here?
REYNOLDS: Yes, where I've had these guys, uh...
So, if you hear... We're in my house, so if you hear dogs barking or something
or if you hear an elderly door-to-door salesman
who sounds like he's tied up with a ball gag
- and several other things... - (WERNICK LAUGHS)
...just carry on.
It should also be known that we have a life-size Deadpool in the room with us.
The suit that I stole while shooting the film, I brought home with me
and is basically, sort of, presiding over the commentary
WERNICK: What year was the Sexiest Man Alive, Ryan?
REYNOLDS: For me or Hugh Jackman? WERNICK: You, you.
REYNOLDS: For me, it was 2010.
- For Hugh Jackman, 2008. - WERNICK: Mmm.
- Both great years. - REYNOLDS: And I saw Hugh the other day
and somebody made a joke about that
and we couldn't tell you who the other guys were,
which is sort of...
RHETT REESE: Oh, sure, sure.
REYNOLDS: (CHUCKLES) I'm kidding. I've got all the issues right here.
(REESE LAUGHING)
REESE: Does anyone want to talk about what inspired the credit scene here?
REYNOLDS: Yeah. WERNICK: This was a, uh,
Philips Carousel advertisement directed by, I think, Adam Berg?
REYNOLDS: Yup. Adam Berg. Yeah, that's what inspired this.
This is six years old, basically.
This has been in the script forever.
This song was the first song we had in the script as well, right?
WERNICK: It was. REYNOLDS: Yup.
(MUSIC PLAYING)
Angel of the Morning by Juice Newton.
WERNICK: Which will introduce Juice to a whole new generation
which we're most excited about.
REYNOLDS: It's true.
- That's very, very true. - REESE: And this is, of course,
100% CGI.
Tim Miller originally wanted to do the vast, vast majority of the movie
in a computer entirely.
Am I wrong?
REYNOLDS: He actually wanted to... Because he'd never directed a film before,
he wanted to do a CGI version of the entire movie first
before we set foot on this and practically shot it,
which he soon realized was totally ludicrous and impractical.
But a great idea.
Be nice if we could do that.
And our cab here.
But also that opening credit sequence
was in the movie and then out of the movie,
then in the movie and then out of the movie,
and thank God it stayed in, in the end.
'Cause we love it.
That's Tim Miller's gum, by the way.
That is the director's real gum that was on the ceiling of the, uh...
- WERNICK: Is that right? - ...cab. Yes. Yes, it was.
(GRUNTS) Yeah, little help.
Okay, um, just, I have to keep my hands...
WERNICK: As actors in that opening credit sequence,
did you need to have waivers for that
in terms of not having your name on the opening titles?
REYNOLDS: No, we didn't.
As long as you didn't use anyone else's real name, it's fine.
Not the Daffodil Daydream. The girl.
- Ah, yes. Gita. She is quite lovely. - Hmm.
She would have made me a very agreeable wife.
REYNOLDS: Should I say where the name Dopinder comes from?
WERNICK: Please, yes.
REYNOLDS: The name Dopinder is a guy that I went to elementary school with,
who unfortunately died being struck by lightning.
I'm not making that up.
Yeah, sir, you called for it, remember?
No, my slender brown friend.
REYNOLDS: And he was a buddy of mine, and I, sort of, pay homage to him
by using his name here in the movie.
He's now immortalized by Karan Soni, who plays our Dopinder.
- Got it? - Yeah.
WERNICK: Karan actually, uh... My daughter found Karan. (CHUCKLES)
Sir, what does Miss Mama June taste like?
WERNICK: He was in the AT&T ads, and she loves him
- and thought he was so funny. - REYNOLDS: Hmm.
- She was the one who recommended... - REYNOLDS: Really?
...him to me and then me to the casting director
- and then he came in. Yup. - REYNOLDS: Ah, I didn't know that.
God, he was such a find.
- He was so, so great. Yeah. - WERNICK: So great.
REESE: Dopinder is talking about the red suit here.
Should we talk a little bit about the suit
and your reaction to the first time you saw it?
REYNOLDS: Yeah, that's, um...
Oh, God.
The suit made me weep the first time I saw it.
In fact, it was, uh...
REESE: And subsequently made you weep every time you had to put it on.
REYNOLDS: That's true.
At the beginning of the film,
it took about 40 minutes to put it on,
and by the end, I had that down to 10.
But it is a work of art, that suit. It truly is.
Russ Shankle at Film Illusions created it.
I think it's the most faithful
comic-book-to-screen adaptation of a supersuit ever.
REESE: Absolutely. REYNOLDS: I love it.
REESE: It's just awesome. REYNOLDS: Yeah.
WERNICK: How many suits were there, Ryan?
REYNOLDS: There were nine suits.
We destroyed seven of them shooting the film.
And one of the two remaining suits I left with at the end of filming.
That's the one that is presiding over our commentary right now.
I just walked offset with it
and basically told them to go fuck themselves.
- WERNICK: Yeah. - I waited 10 years to do the movie...
REESE: Broke a few laws.
REYNOLDS: If they want to take the suit back,
they can come try and take it from me.
I was in very good shape when I shot the Deadpool movie
and I felt confident that I could take out a 107-pound studio executive.
REESE: And contrary to what you might think,
you could see out of it pretty well,
and we could also hear you talking without it seeming too muffled.
It was a pretty...
REYNOLDS: I do feel like we had some dumb luck with the suit there.
We really got lucky.
You can hear Deadpool very well and I could see very well.
REESE: Yeah.
REYNOLDS: We had two different sets of eyes.
We had the stunt eyes for the suit,
which the black part was sort of a mesh.
I could see through it.
And then for close-ups, I used an opaque eye mask.
So that's an opaque one.
You can't... Just the white part was the only piece I could see through.
WERNICK: And the eyes pop out, right?
REYNOLDS: Yeah, they're magnetic.
They actually clip on with magnets.
REESE: And if you're wondering why Deadpool seems so expressive in the suit,
a part of that is Ryan's genius physicality
- in acting within the suit. - REYNOLDS: Thank you.
REESE: But it's also the fact that they did some facial motion capture.
And they actually used CG to animate the face in specific scenes
so that Deadpool can make expressions,
like his eyes open right there, for instance, just a little bit.
That's actually done in a computer
because the suit itself is not that expressive.
WERNICK: Hmm.
(REYNOLDS LAUGHS)
WERNICK: Ryan's Australian accent.
REYNOLDS: (IN ACCENT) Do you like it? WERNICK: Absolute favorite.
REYNOLDS: Like to have a good time
- with my Aussie accent. - (WERNICK AND REESE LAUGHING)
REYNOLDS: Just get right in there and do a little Hugh Jackman.
- (REYNOLDS CHUCKLING) - WERNICK: This was originally
uh, conceived in a computer
as test footage we did.
REYNOLDS: (IN NORMAL VOICE) This is part of the infamous test footage.
WERNICK: That leaked online.
We did it, I think, what, 2011 we did the test for Fox?
REYNOLDS: Yup. REESE: Yeah.
Tim Miller was...
I believe he got, what, $300,000?
- Something like that? - WERNICK: Something...
REYNOLDS: (STAMMERS) $275,000. REESE: $275,000 to prove to the studio
that he could handle the movie,
and he did this wonderful test.
It was so wonderful, but the public never saw it, so...
We started all hatching a plot.
We were having difficulties getting the movie green lit.
We started hatching a plot to leak the footage.
REYNOLDS: (STUTTERS) Are you... You're, um...
REESE: And when I say "hatching a plot, "
none of us was technologically savvy enough
- to actually leak it. - REYNOLDS: To figure out how to do that.
REESE: Each of us was trying to convince the others to do it for him.
REYNOLDS: I think that's what's... That's the story we're telling each other,
but I think one of us...
- I believe that one of us did it. - WERNICK: Ryan Reynolds.
REYNOLDS: One of us leaked that footage. WERNICK: Ryan Reynolds.
- His name rhymes with Bryan Breynolds. - (REESE LAUGHS)
REYNOLDS: "Bryan Breynolds". REESE: I mean, it's a...
It's kind of like a game of Clue.
There are only about six or seven suspects,
so you know, somebody was in the dining room with the candle stick.
REYNOLDS: Absolutely.
And that...
WERNICK: Which probably is worth talking about...
REYNOLDS: That was fun.
WERNICK: Kind of the evolution of the long process of getting this movie made
because, again, we're talking now 2011, which was five years ago.
REYNOLDS: Yeah. WERNICK: Um...
And the movie, Ryan, has been in development, what...
You were first brought the comics, what, in...
REYNOLDS: I was... WERNICK: 2003?
REYNOLDS: 2004. WERNICK: 2004.
REYNOLDS: I've been involved with Deadpool,
or attached to some aspect Of Deadpool development
for, uh, 11 years before actually making the movie, so...
WERNICK: And it came to you when? When you were doing Blade, right?
REYNOLDS: It came to me when I was doing Blade: Trinity.
Say what you will about that movie, but it brought me great things.
It actually was a lot of fun.
I got to improvise a lot and goof around.
Uh, looking back at it, you know, I look back at it and I think,
"I was kind of, in a weird way, playing Wade Wilson in that movie
"and I didn't know it."
Someone else did, though.
That's who sent me the comic book... The stack of comics.
I was sent them and a guy...
And he said, "You're Deadpool."
I said, "Who's Deadpool?"
And he said, "You should read these comics.
"If they ever make a Deadpool movie, you're the guy."
And I read them and I fell in love with it.
That was in 2004 when that panel came out on the Deadpool comic
that said... Asking what Deadpool, what he looks like.
And he said, "I'm a cross between Ryan Reynolds and a shar-pei."
- (REESE LAUGHS) - That was sort of kismet I thought, so...
Please.
WERNICK: And then it moved over to Fox.
You ate breakfast, yes?
WERNICK: Correct? REYNOLDS: Yes.
WERNICK: 'Cause it was at New Line, was it not?
REYNOLDS: I think it was at New Line, was where it was at initially.
Avi Arad had it, actually.
No, I don't know if it was actually at a studio home.
Avi Arad owned Marvel at the time and...
A little startup called Marvel that seemed to do all right.
Uh, and then, yeah, eventually it was at Fox
with all the other X-Men properties, so, yeah.
WERNICK: And we wrote the script in 2009. REYNOLDS: Yup.
WERNICK: And a draft of the script in every calendar year since.
REYNOLDS: (LAUGHS) Yeah. Right. Yeah. WERNICK: Truly.
- 2009 to 2016... - REYNOLDS: But the script has largely...
The storylines have largely stayed the same.
WERNICK: Interestingly, if you go back and read our first draft of the script
and then you watch the movie, it's not that different.
- I mean... - REYNOLDS: Just more expensive.
WERNICK: A lot more expensive.
REYNOLDS: Yeah, the old version was too expensive.
WERNICK: At one point, we had a PG-13 version.
Fox commissioned us
- to write a PG-13 version... - REYNOLDS: Yeah.
- It was six pages long. - (WERNICK LAUGHS)
REESE: The character of Angel Dust, played by Gina Carano,
was actually three different characters.
It was Garrison Kane, Wyre and Sluggo.
REYNOLDS: Yeah. REESE: If you remember that.
REYNOLDS: Sluggo, yeah.
REESE: For budget reasons, we did away with two
and changed the third to Angel Dust.
REYNOLDS: Yeah.
REESE: We ended up adding Negasonic Teenage Warhead much later.
REYNOLDS: True.
REESE: She was not in the original draft.
But Colossus was always there.
REYNOLDS: This entire sequence is shot on a viaduct
in Vancouver, British Columbia, where I grew up.
This is my hometown.
And I became public enemy number one, uh,
because we cocked up the traffic in Vancouver for two and a half weeks
while we took over this bridge.
Uh, somehow, I got thrown under the bus with that. (CHUCKLES)
All the media in Vancouver was blaming me for the issues,
which I guess, to some degree, it is my fault.
WERNICK: Kind of your fault.
REYNOLDS: I do apologize to the citizens of Vancouver, British Columbia.
WERNICK: We shot the entire movie in Vancouver.
REYNOLDS: Yeah, it was great.
Good city to shoot in. Great crews.
REESE: I think we feel that whenever you're writing an action scene,
you want to stack the odds against your hero.
REYNOLDS: That guy right there who I just shot in the head,
he was my double in Blade.
- He was my stunt double. - REESE: Oh, is that right?
REYNOLDS: That was my main stunt double in Blade.
REESE: Wow. REYNOLDS: Yeah.
Yeah.
REESE: But yeah, we always like to stack the odds against the hero,
and we did it in this scene
by reducing Deadpool's ammunition supply to only 12 bullets.
And we just put him in a predicament.
How do you use 12 bullets
- to kill a bunch of guys? - REYNOLDS: Mmm-hmm.
WERNICK: It's the only sequence Deadpool shoots a gun.
Is that correct?
REYNOLDS: Pretty much. Yeah.
WERNICK: Otherwise it's katanas. REYNOLDS: Yeah.
REYNOLDS: Well, other... Right at the very end of the film...
WERNICK: Oh, yes. REYNOLDS: One bullet.
WERNICK: One bullet. Spoiler alert.
REYNOLDS: But, um, we do love the katanas.
I got shot in the asshole there,
which right up until a week before shooting that sequence,
it was in the face.
WERNICK: Yeah. REYNOLDS: And then we changed it.
We just thought asshole would be a lot funnier.
WERNICK: Ryan had the idea that getting shot in the ass was so funny
and it gets a huge laugh.
REYNOLDS: I was trying to find some way to work in "Right up Main Street."
- WERNICK: Such a great line. - (REYNOLDS CHUCKLES)
Oh, yeah.
WERNICK: He shoots one gun there
and both are smoking.
REYNOLDS: We have both barrels smoking, so...
'Cause we're complete asswipes.
Where you at, Francis?
REYNOLDS: Oh, yeah.
That's Glenn.
He's about to get it.
He's about to get what he deserves.
WERNICK: You do training with the katanas, Ryan, beforehand?
I can't remember.
I know you did it going into the Wolverine movie.
REYNOLDS: I did... WERNICK: Did you do it on this one?
REYNOLDS: I did a lot of it on Wolverine and then I...
Yeah, I did, you know...
There's only so much you can do with katanas
and this is one of them,
which is spinning them around like that.
But, yeah, I like doing it.
I like the katana stuff.
WERNICK: And you have some katanas in the house
from Wolverine, don't you?
- Didn't you take the katanas? - REYNOLDS: I did take the katanas.
WERNICK: You steal everything.
- You're a little bit of a kleptomaniac. - REESE: Yeah, I was gonna say.
You're a serial...
REYNOLDS: In a fitting piece of destiny, those were stolen from me.
WERNICK: Were they? REYNOLDS: I moved and, yeah,
somebody stole the Wolverine...
- (CLICKS TONGUE) ...katanas - WERNICK: That's a huge bummer.
REYNOLDS: Yeah.
But, right next to you are actually a pair of katanas
that are stolen from... On the Deadpool, right there.
WERNICK: Oh, okay. REYNOLDS: Yeah.
Oh, those jeans.
WERNICK: Great.
REESE: That was our ass-to-ass transition. REYNOLDS: Yup.
REESE: A nod to Requiem for a Dream.
(REYNOLDS LAUGHING)
REYNOLDS: A nod to Fellini.
WADE: I did!
REYNOLDS: It always bugged me that I flushed the toilet
after telling him I just took a shit in his kitty litterbox.
- WERNICK: Yeah. - (REYNOLDS LAUGHS)
Is it burnt crust?
WERNICK: That is Bea Arthur on the shirt.
REYNOLDS: Yup.
That cost 10 grand.
- I don't mind saying. - WERNICK: Is that right?
REYNOLDS: Yeah.
REESE: Oh, is that right?
WERNICK: Who did we have to license that from?
Is that Bea Arthur's estate or is that Golden Girls?
REYNOLDS: That is exactly it.
It was the Bea Arthur's estate.
It was a donation to one of her charities,
which I think was wonderful and totally worthwhile doing.
But as a producer, I had to approve a $10,000...
Which was just stupid at the time
because we were so desperate to keep every penny on the screen
and our movie did not have a big budget at all.
But you can't have a Deadpool movie without Bea Arthur appearing,
so I felt like it was worth it.
WERNICK: Oh, for sure. REYNOLDS: Yeah.
P.S. I'm keeping your wallet. You did kinda give it to me.
Okay, just look, man, can I have my Sam's card...
I will shoot your fucking cat!
REESE: Those sunglasses that, uh, Gavin's wearing right there
end up on your face in the next scene,
and I think very few people make that connection.
REYNOLDS: I don't think anybody... I know...
And I always cringe as I'm coming down the stairs wearing them in the next scene
because I worry that people think I just made a fashion choice
by selecting those glasses.
Getting that right? Orflosky?
REYNOLDS: "Orflosky?"
WERNICK: The, uh, pizza box
- is, uh, Feige's famous... - (REYNOLDS LAUGHS)
- Kevin Feige? - WERNICK: Kevin Feige.
A little Easter egg to the head of Marvel.
- The genius behind Marvel. - REYNOLDS: That's true.
REESE: But it does bear mentioning, this is not a Marvel Studio movie.
This is a Fox movie.
And a lot of people make that mistake or make that assumption that this is...
REYNOLDS: I'm always shocked how many people in the media
make that mistake, too. You get a lot of that, too.
Yes, sir.
Then we're done.
- And the media's never wrong, so... - (REESE LAUGHS)
You should've seen your face.
I didn't know what to do. I was so scared.
REYNOLDS: That guy was great. That guy was fantastic.
You even look in her general direction again...
and you will learn in the worst of ways that I have some hard spots too.
(REESE LAUGHING)
REYNOLDS: He had no idea I was gonna kiss him here
and he reacted perfectly, I was very happy.
- Oh, there you go. - (REYNOLDS AND REESE CHUCKLING)
WERNICK: This was the final scene we shot of the movie...
REYNOLDS: Of the whole film, yeah. WERNICK: Yeah.
It was, uh...
REYNOLDS: And we said it would never see the light of day.
- And here it is. - WERNICK: And here we are.
Meghan?
REYNOLDS: Mostly 'cause of those glasses that nobody realizes are from...
REESE: I love your expression when you look at them, though.
Here, as you take them off.
REYNOLDS: Oh, it's so... Thank God we found that take because, uh...
Ew! Yeah, there you go.
They're really horrible.
(REYNOLDS CHUCKLES)
Rollerblades for whatever reason have always made me laugh.
WERNICK: Always. That was a Ryan ad-lib.
Ryan is just a genius ad-libber, um,
a genius improviser and just...
REYNOLDS: (SINGSONG VOICE) I can hear you.
No-no-no-no. That I ain't!
REYNOLDS: We have a lot of fun. We all had a lot of fun writing alts, though.
Like that was our favorite pastime
on the set. - WERNICK: Yeah.
I'm just a bad guy who gets paid to fuck up worse guys.
WADE: Welcome to Sister Margaret's.
It's like a job fair for mercenaries.
WERNICK: Sister Margaret's we shot, that was, um...
What bar in Vancouver was that, Ryan? That was a...
REYNOLDS: That was The Cobalt bar in Vancouver.
WERNICK: The Cobalt.
REYNOLDS: A bar, when I was a kid, you would never go within 3,000 feet of.
And now is just like hipster central.
WERNICK: Is it? Because it felt like
- you still wouldn't go within 3,000 feet. - (REYNOLDS LAUGHING)
Yeah, it has its night.
A specific night where it's sort of hipster central,
but, yeah, otherwise it's generally kind of...
Make sure that gets back to Ms...
REESE: I wouldn't go within 3,000 feet of hipster central, to be honest.
REYNOLDS: Well, that's true, yeah.
You know, for a merc, you're pretty warm-blooded.
I bet you let the kid off easy, too.
REESE: T.J. Miller. Force of nature. REYNOLDS: Love T.J. Miller.
I was way worse than him when I was his age.
I was traveling to exotic places...
REYNOLDS: T.J. Miller is one of those guys that can...
He can't not improvise. Like, you can't...
It's like a fish in water. He just has to fuck around.
And it's great.
And at least this is the kind of film where we leave a lot of room to do that so...
WEASEL: ...whipped cream.
I give you a Blow Job.
Why do you make me make that?
Kelly, Kelly, Kelly...
Take that over to Buck, please, and tell him it's from Boothe.
Little foreplay.
Remind me what good will come of this?
I don't take the shits. I just disturb them.
- BUCK: Boothe! - Oh!
- Easy, man. - Hold up! Hold up!
What you want?
- (GRUNTS) - (ALL EXCLAIMING)
- Cheers. To your health. - WEASEL: Fuck you.
BOOTHE: Come here, you fat fuck!
That's a new stool.
(ALL CLAMORING)
BUCK: Stay the fuck down.
(GROANS)
MAN: Whoa! Took his ass out!
WEASEL: All right, move. Move, move, move.
Buck, go rest.
REESE: Now, originally we had...
You had bet on Alex Trebek in the dead pool right?
- That was who you decided... - REYNOLDS: I bet on Alex Trebek.
Uh, I said it because Alejandro's favorite color is cocaine.
Nobody wins today.
Nice try, Wade.
You got me. I picked Boothe in the dead pool. Who did you pick?
Yeah, Wade, about that, um...
No.
You did not bet on me to die.
You bet on me to die.
REYNOLDS: Is anybody dead on the dead pool, now? That would be awful.
REESE: That would be awful. REYNOLDS: I hope that's not the case.
WERNICK: No, I don't think it is the case.
But who's up on that board? It's...
REYNOLDS: You got everybody up there. WERNICK: There's some great ones.
REYNOLDS: Bill Cosby, you got Tim Miller.
(CHUCKLES) You got me.
WERNICK: Yeah, Ryan Reynolds.
REYNOLDS: Yeah, Ryan Reynolds is up there.
There's a shit ton of...
WERNICK: Justin Bieber's up there. REYNOLDS: Great ones.
- Justin Bieber wasn't initially one of the... - WERNICK: Oh, yes.
...names I had on the dead pool,
or one of the guys I had picked for the dead pool.
Uh... Tight.
- Vanessa. - Wade.
WERNICK: When we were trying to get the movie made,
we were doing everything and anything, and actually there was a computer program
that you could, uh... It was like an animated computer program,
where the voice was a computer-generated voice
and you could punch in dialogue
and the computer would spit out the voice matched to the animated characters.
REYNOLDS: I loved that.
WERNICK: And we made one... REYNOLDS: Is that available somewhere?
WERNICK: I tried to pull it back up and I couldn't. They had gotten rid of it.
REYNOLDS: Damn. WERNICK: It didn't exist anymore.
REESE: We made one for this particular scene.
REYNOLDS: Yeah.
I always loved this...
This is just you guys being geniuses.
I love this dialogue here, between the both of us.
I was molested.
Me too. Uncle.
REYNOLDS: Morena was such a sport.
She loves working blue.
Which also happens to be my...
Your bedroom. Lucky.
REYNOLDS: She has a wonderful potty mouth.
You had a dishwasher.
I didn't even know sleep.
It was pretty much 24/7 ball gags, brownie mix and clown porn.
(LAUGHS)
REESE: Boy, I'm just afraid of that word, "clown porn," that just sounds terrifying.
REYNOLDS: Clown porn? REESE: Yeah.
REYNOLDS: You'd be shocked. It's actually not bad.
(REESE LAUGHS)
WERNICK: Did they shave a little notch into your eyebrow, Ryan?
REYNOLDS: You only realized that just now?
WERNICK: I just now realized that.
REYNOLDS: Of course, there's scars all over my head and my face.
And we wanted to give Wade a kind of look
of as though he had sort of a history of violence.
And so there's scars all over.
You could see the side of my head, there's one.
One that runs through my eyebrow.
And that's all the great Bill Corso, who's just a genius makeup artist,
who also did our scarring effect on Deadpool's face.
- He's, uh... - WERNICK: Oh, he's brilliant.
REYNOLDS: He did Foxcatcher and a few other movies that are just...
Lemony Snicket's. Incredible makeup work.
WERNICK: Tireless, too. On set at the crack of dawn all the way through.
REYNOLDS: Yeah, just a great attitude. Great work.
REESE: The skee ball scene was not in the original script
and it was added to give a little bit more of a sense of connection
and romantic development
- between these two characters... - REYNOLDS: Mmm-hmm.
...so that their relationship wasn't too based just on sex.
And I think it captures Wade's kind of immature childish spirit.
I think one of the most important characteristics of Deadpool
is his childish nature.
REYNOLDS: Yeah, he really sort of represents
a huge part of the population that are adult geeks.
I love that. I love that about him.
He worships the Voltron Ring.
WERNICK: My children were in this scene
and ended up on the cutting room floor, actually.
REYNOLDS: Where they belong. WERNICK: Where they belong.
- (LAUGHS) - REYNOLDS: Where they belong.
REESE: If their performances had been better...
REYNOLDS: No nepotism on this film, I'm sorry
(REESE CHUCKLES)
WERNICK: Voltron, uh...
Rhett, talk about the Voltron thing because that was a little bit of a late add.
REESE: Well, I think, again, it was just getting at that nerd...
Okay, we gotta stop talking about Voltron and start talking about this.
Because this was probably the toughest particular sequence in the movie.
REYNOLDS: How is it that we spent more time on this fucking sequence
than any other sequence in the film, I think?
REESE: It was just so difficult to choreograph and design jokes around and...
WERNICK: Get the right tone.
REYNOLDS: Yeah.
International Women's Day coming up.
That's one of our favorites.
WERNICK: Which is, what, March 8th, Rhett?
REYNOLDS: March 8th, International Women's Day.
WERNICK: March 8th, yeah.
REYNOLDS: Also my brother's birthday and Alanis Morissette Day.
WERNICK: Mmm.
- (CHUCKLES) All March 8th? - REYNOLDS: Yeah.
- I know. - WERNICK: Is that right?
REYNOLDS: I know my, uh...
WERNICK: You know your March 8th's.
REYNOLDS: We know our holidays now, after this fucking movie.
We actually had an alt here, which was Happy Alanis Morissette Day,
but we didn't use it.
- Wade? - Sorry.
REESE: We had to line up all the holidays
so that they occurred in the correct chronological order around the year,
which was difficult.
REYNOLDS: We could have just shot a scene where two people fuck for five minutes
that might have been easier.
WERNICK: Surely easier.
REYNOLDS: But we do love our Deadpool audience, so...
If your left leg is Thanksgiving...
and your right leg is Christmas...
REYNOLDS: Angus Strathie was our costume designer,
who found all these horrific sweaters.
Red's your color.
REYNOLDS: This is just the worst one I chose.
You can imagine what was available.
Really?
...about why we're so good together.
Why's that?
Well, your crazy matches my crazy. Big time.
Hmm. (CHUCKLES)
And, uh, we're like two jigsaw pieces, you know, the weird curvy edges...
You put them together and you can see the picture on top.
Right.
Wade...
there's something I've been meaning to ask you.
But only because you haven't gotten around to asking me.
Will you, um...
- stick it in my... - Marry me?
(REYNOLDS CHUCKLES)
WERNICK: My brother actually proposed to his wife with a ring pop.
REYNOLDS: (LAUGHS) With a ring pop, really?
WERNICK: Yeah.
REESE: Is that true? WERNICK: Yes.
REYNOLDS: Was it hiding up his asshole, as well?
WERNICK: (LAUGHS) I will have to ask him. REYNOLDS: Was he...
Please do, I would love to...
I love you, Wade Wilson.
You're supposed to... So that's a...
- Yes! - Whoo!
REYNOLDS: There we go.
Yes!
REYNOLDS: There we go.
I feel just like a little girl.
- (CHUCKLES) - (SIGHS)
What if I just held on and never let go?
Just ride a bitch's back, like Yoda on Luke.
Oh, Star Wars jokes.
Empire.
Jesus Christ. It's like I...
WERNICK: Interestingly, this movie is many things and...
The beating heart of it is the love story between these two characters.
REYNOLDS: Yeah, we kind of made a joke about that in the marketing,
but it really, actually is sort of true. It does kind of anchor everything.
You know, it's what fuels the revenge story in the film.
WERNICK: It is a fucked-up romantic comedy.
Again, it's many things, but that is one thing it is.
REYNOLDS: Yeah.
God bless it, though.
WERNICK: Oh, look at that. Look at that.
That's years of hard work right there...
- (REYNOLDS LAUGHS) - ...in the gym.
REESE: And a lot of salmon.
REYNOLDS: Yeah, there's a lot of salmon I ate for this movie.
- And steamed vegetables. - REESE: Whole rivers.
Rivers full of salmon.
REYNOLDS: Oh, I just single-handedly
- depleted the world's salmon supply. - (REESE CHUCKLES)
You're not clowning?
I sense clowns.
WERNICK: This was the first scene we shot of the movie.
REYNOLDS: Oh, my God. You're right. WERNICK: Day one.
REYNOLDS: I always think it's Blind Al, but this was... No, this was day minus one.
- This was an off-the-record day. - WERNICK: Yeah.
REYNOLDS: We shot this in pre-production just because we... The movie...
We had basically $50 to make a $500 movie, let's say.
And so we had to do a lot of cheating and fudging
and one of them was shooting this day in advance.
So it was kind of off-the-books.
WERNICK: It was a 48-dayshoot, which is, for a movie like this, tiny.
REYNOLDS: It's insane. WERNICK: Tiny.
REYNOLDS: It's like a little independent film shooting schedule so, yeah.
WERNICK: Most movies of this scope and scale,
really, that's second unit days, they have 48 days.
REYNOLDS: I'll invoke Green Lantern for a second time.
Green Lantern, just to give you a perspective, was an 89-dayshoot.
- And this was 48. - WERNICK: So we were lean and mean.
REYNOLDS: Yeah.
WERNICK: And really the mother of invention, I feel like.
It just forced us to look at things in a different way.
And attack things.
REYNOLDS: Necessity is truly invention's mama.
And it, yeah...
It made us focus on character so much more than anything else.
But we still got to do some fun stuff.
- Like that. - REESE: Yeah.
I mean, among the scenes we had to cut for budget,
we did have a motorcycle chase here,
where Deadpool was chasing Ajax on a motorcycle.
REYNOLDS: I miss that sequence, though. That would have been fun.
WERNICK: I loved that, too.
REYNOLDS: Regina, Saskatchewan.
That joke probably only makes Canadians laugh,
but it makes me laugh.
Oh, and that is why Regina rhymes with fun.
WERNICK: Which, Ryan, tell us the story. You were a child...
REYNOLDS: No, I was not, I wish I was a child.
I was about 25 years old, and I was in Regina, Saskatchewan.
And I got into a lot of trouble because I...
I messed with a sign and changed it.
I just actually put another sign over it,
so I didn't actually vandalize public property,
but I put another sign over it that said, "Welcome to Regina,
- "which rhymes with fun." - (WERNICK CHUCKLES)
REYNOLDS: And I got into a lot of trouble for that, but something good came out of it.
It's now in the Deadpool movie, so...
How about now?
WERNICK: That's all computer-generated right there.
Ryan, obviously, wasn't in the scarred makeup under the mask.
REYNOLDS: I sure wasn't.
WERNICK: When he was in the mask, that was...
REESE: But something you just said, where you said, "It makes me laugh, "
I think that's an important point
because so much of the comedy in this movie,
we had to rely on our guts and say, "Well, does it make us laugh?"
And we took that approach,
if it's making us laugh, perhaps it will make others laugh.
And I think that held us in pretty good stead.
REYNOLDS: I do, too. We had so...
This is another one that just made us laugh and people seem to like it.
(REYNOLDS LAUGHS)
It's T.J. Miller's favorite joke.
WADE: I think we can all agree that shit just went sideways in the most colossal way.
REYNOLDS: There's our Wolverine X-Men Origins reference.
I think, maybe our...
(CHUCKLES) We only make two or three references to it in the movie,
but that's one of them.
WERNICK: You know what people don't get is the one where,
"I'm gonna sew your pretty little mouth shut."
REYNOLDS: And they say, "I wouldn't do that."
WERNICK: "Oh, I wouldn't do that."
- People don't click into that as much. - REYNOLDS: I don't think they realize, yeah.
WERNICK: But it's, on second viewing maybe, yeah.
REESE: Yeah.
WERNICK: Or third viewing.
REESE: Yeah, I do think the movie will have a lot of second and third viewing
surprises for people who miss things the first time.
REYNOLDS: Yeah, there's lots of jokes that you miss.
REESE: Pretty rich in detail.
REYNOLDS: I ran into Bernadette Peters, which is just a weird thing to say,
um, in New York City maybe four months ago.
And she mentioned this scene because she had to give her permission
for us to use her name.
And she was very flattered and very sweet about it.
WERNICK: In our start gifts,
there was a signed Bernadette Peters
- framed 8x10 of her... - REYNOLDS: Mmm.
...which I actually think Simon Kinberg forged her signature.
REYNOLDS: I believe he did.
I found out for a fact that indeed,
Simon Kinberg forged Bernadette Peters' signature,
- which is probably illegal. - WERNICK: I think so.
Bernadette, if you're out there,
- we would love an original signed... - REYNOLDS: Simon Kinberg.
- His number is 310-874... - (WERNICK LAUGHS)
No one is boom-boxing shit. Okay?
We can fight this.
WERNICK: Rhett, talk about some of the obscure references
to Yakov Smirnoff and, you know...
REESE: Well, I think we always felt that
not every reference had to make sense for every audience member.
So we freed ourselves and allowed ourselves occasionally
to make references that we thought only a few people would get.
I mean, when you're talking about Ronnie Milsap...
REYNOLDS: Oh, my God.
...in a movie that's intended for 17 to 34-year-olds,
you're gonna go over some heads.
But we were committed to the idea that Deadpool has a deep understanding
- and memory for pop culture. - WERNICK: Yeah.
REESE: And that we just had to honor that.
REYNOLDS: But we all kind of do.
All three of us together are sort of...
- We love pop culture. - REESE: Yes.
REYNOLDS: I'm not saying that we always understand it, but we love it.
We make a Cocoon joke in the movie.
I mean, that was fun. I love that.
WADE: Here, check it out.
WERNICK: Yeah. Usually they say, pop culture, you have to...
Has to be a timeless reference so that doesn't date the movie,
but again, as Rhett was saying, the beauty of Deadpool is,
you can make those obscure references for comedy.
REYNOLDS: Oh, yeah. WERNICK: And it still works
and almost even enhances the movie in such a way that...
REYNOLDS: Totally, yeah.
Look how happy you look here.
REYNOLDS: Paul, was that your joke?
The "Chechnya, isn't that where you go to get cancer?"
WERNICK: Yeah. REYNOLDS: I love that.
WERNICK: We added that in, in ADR, actually.
REYNOLDS: (LAUGHS) Yeah.
It used to be "Chechnya.
- "I hear that's nice this time of never." - WERNICK: Yeah.
REESE: Which is also fun. WERNICK AND REYNOLDS: Also fun, yeah.
REESE: And we were setting up a sequence in the movie
that will likely be in the deleted scenes
where Wade goes on a world tour to get his cancer cured.
REYNOLDS: Oh, God, yeah. That was good stuff.
REESE: And ultimately ends up in Guadalajara, Mexico,
and meets a quack doctor who's taking advantage of cancer victims
and ends up killing him and feels guilty about it.
There's a whole sequence we ended up taking out of the movie
after much long discussion.
And hopefully you'll find it in the deleted scenes.
REYNOLDS: Yeah. REESE: And if not... (CLICKS TONGUE)
- ...you're SOL. - REYNOLDS: Yeah.
This is Jed Rees.
Local Vancouver actor, guy I've known for maybe 20 years.
Great actor, fun, game for anything.
WERNICK: Galaxy Quest.
REESE: Yeah, he played the good alien in Galaxy Quest.
REYNOLDS: He had fun on Deadpool. He was very sad that we killed him
'cause he was hoping to be in the sequel.
WERNICK: And interestingly, Agent Smith, obviously a nod to, um...
REESE: The Matrix. Yeah. WERNICK: The Matrix.
Although some people think his name is Agent Smith.
REYNOLDS: They just think his name is Agent Smith.
REESE: Yeah, and that was an improv of yours, wasn't it, Ryan?
The Agent Smith thing? It made me laugh in the moment.
REYNOLDS: I think that was actually your guys' writing. I think so.
(STAMMERING) I made the horrible pedophile jokes,
I think, at the end of the scene, but...
REESE: So funny.
REYNOLDS: Agent Smith was you guys, though, which I love, yeah.
WERNICK: Have you seen the GIF or "JIF," I'm not sure... That's going around?
It's you doing the Shake Weight back and forth.
REYNOLDS: Oh, yeah. (CHUCKLES) WERNICK: It's really funny.
REYNOLDS: I have. I don't know... I'm not sure how I feel about it.
- WERNICK: (LAUGHS) I love it. - (REYNOLDS AND REESE LAUGH)
WERNICK: Made me laugh.
REYNOLDS: Can you imagine, we're gonna have to start tailoring performances
to whether or not they'll be turned into GIFs?
WERNICK: Yeah.
REYNOLDS: Is it "JIF" or "GIF?" WERNICK: I think it's "GIF."
REYNOLDS: I thought we're pop culture...
- WERNICK: I know. - ...savvy in some way, but, no.
I think it's "GIF."
WEASEL: What did he say?
(THUNDERCLAP)
(SIREN WAILING IN DISTANCE)
REESE: I hate seeing that business card with the "555" on it...
- REYNOLDS: Fuck. - ...that always takes me out of the movie.
REYNOLDS: It just drove us all crazy.
WERNICK: It's actually Ryan's cellphone number, isn't it?
REYNOLDS: Yes. Do give it a shout, give it a try
WERNICK AND REESE: Call it.
WERNICK: It doesn't even need an area code.
REYNOLDS: No.
WERNICK: You just do the seven numbers.
REYNOLDS: 555...
I can't believe we have that in there and we don't even make a joke about it.
Hey. Sorry.
REYNOLDS: This is, uh...
...a joke from Rhett and Paul, which is one of my favorites.
REESE: I think we were at the front half of it
and then this was your improvised line about him being a bad parent
- which made us laugh so hard. - REYNOLDS: Oh, God.
Hey, uh, they've made three of those movies.
At some point you have to wonder if he's just a bad parent.
Hmm.
REYNOLDS: I've always liked that Deadpool, or Wade Wilson in that moment,
he's obviously got his mind on something else
and he's in this tragic moment, but he still keeps up appearances.
Sort of shows how his mind works.
He's still making these jokes, these random jokes.
He's even phoning them in, but it's still a lot of fun.
WERNICK: Yeah, it's really, you know...
Wade Wilson, Deadpool's such a complex character
that really, you know,
you look at his life and there's so much tragedy in it.
And he hides behind that tragedy.
The comedy is what masks the tragedy of his life.
And I feel that it really makes him relatable
in a way that he's struggling with things
that everybody in real life struggles with
and deals with it in his own particular way.
REYNOLDS: Mmm-hmm.
WADE: Pro: They pull down a gaggle of ass.
Local dry cleaning discounts. Lucrative film deals...
WERNICK: Here comes fourth wall.
Another fourth wall moment.
Ryan, talk about Deadpool and fourth wall and the comics.
REYNOLDS: Well, you can't have Deadpool without him breaking the fourth wall.
That was the first thing that we all, sort of, agreed upon years and years ago.
We tried to do as much of it as made sense in the filming,
and actually, by the end of the movie,
we went back to camera and shot a few extra ones
because we just felt like we didn't have enough.
- I love breaking the fourth wall. - WERNICK: And that's really...
It's really a signature of Deadpool and was in the comics
- from the very start. - REYNOLDS: Very much.
Negasonic Teenage... What the shit?
WERNICK: And not only fourth wall in that he's addressing the camera,
but he's also very aware that he's in a movie
and that he's a superhero, right, Rhett?
REYNOLDS: Yeah. REESE: Yeah.
Well, or not a superhero.
REYNOLDS: Yeah. WERNICK: Yeah.
REESE: As the case maybe, but, yes.
Can we go?
Look! I'm a teenage girl.
WERNICK: Negasonic Teenage Warhead.
Rhett, talk about, um, how we stumbled onto her and...
REESE: Well, Tim, our director, wanted some extra superheroes in the movie,
particularly on the X-Men side.
Colossus was already in there.
But we thought a trainee might be fun.
Tim gave us this list of potential minor characters to use,
and Negasonic was on the list and we just fell in love with the name.
We said, "Who cares what she's like necessarily,
"but that name is just priceless."
So we built the character around the name.
WERNICK: Ryan Reynolds' ad-lib genius, right there.
(REYNOLDS LAUGHING)
Well.
WERNICK: Uh, and NTW, her power, she did not, in the comics,
she doesn't have the explosive power that she has in our movie.
And for us to have added that power to her resume,
we had to ask Marvel for permission.
But until then, I'mma do what I came here to do.
Either that or slap the bitch outta you!
- COLOSSUS: Wade... - Hey.
Zip it, Sinéad!
Hey, douche-pool!
And I hope you're watching...
(MOTORBIKE REVVING)
(GASPS LOUDLY)
Quite unfortunate.
REESE: Colossus is a tremendous piece of CG.
I mean, he's...
REYNOLDS: Yeah.
REESE: Just so impressive and I think much better than he has been
in earlier incarnations.
REYNOLDS: Well, he's certainly a faithful adaptation
- of Colossus now, so. - REESE: Very much.
WERNICK: And really, uh,
it's an actor in a mo-cap suit. Andre...
REYNOLDS: Yeah. Very hard to pronounce last name.
French Canadian name. Tricoteux. Yeah.
But, great. Yeah, great actor.
WERNICK: So a lot of different pieces went in to make Colossus.
Obviously, you have Andre, who was on set in...
Who was, what, about a 6'5"giant,
- who wore platform boots... - REYNOLDS: Mmm-hmm.
...to make himself about 6'8".
REYNOLDS: No, we had him... He was about 7'5".
WERNICK: Is that right? REYNOLDS: Is, I think, the height
that we ended up keeping Colossus.
REESE: We had that little tennis ball on top of his head.
REYNOLDS: Yeah, to get him even higher. REESE: It was like a Teletubby.
WERNICK: And then there was a facial capture
of another actor I don't know.
- Do you know who that actor was? - REESE: I'm not sure.
But then there was a third gentleman
- who does the voice. - REYNOLDS: Who does the voice. Yeah.
You ever see 127 Hours? Spoiler alert.
REYNOLDS: That was one of my favorite jokes,
which was the McAvoy or Stewart joke,
which really kind of sums up Deadpool
in a very easy-to-digest way.
Just the understanding of knowing he's in a movie,
the pop culture references and the timelines.
WERNICK: Yeah.
REESE: When it came time to create Colossus' face,
there was an internal push to have his face be captured by Rob Gronkowski,
- to have them use Rob Gronkowski's face... - REYNOLDS: Yes.
- ...as the face for Colossus. - REYNOLDS: Yeah.
REESE: It didn't work out, but it made us laugh.
WERNICK: The movie is told in a non-linear format.
It bounces in and out of time and space.
We did that for a number of different reasons, one of which, uh...
The big action sequence which is on the freeway,
extends over the course of the almost first half of the movie.
And we did that because budget was such
that we wanted to start the movie with an action sequence
and have action sprinkled throughout the first act,
but couldn't afford to do three different action sequences,
so we structured the film such that
we started and then bounced in and out of time and space.
This place seems sanitary.
REESE: This was shot in an old World War I munitions factory.
So I think we all contracted
- some horrifying diseases by being there. - REYNOLDS: Yeah.
It's gone now.
This was the last thing that was ever...
That building was ever used for.
It was bulldozed shortly after filming.
Easy.
REYNOLDS: Probably turned into condos, no doubt.
Aren't you a little strong for a lady?
I'm calling wang.
REYNOLDS: Gina, so fun, so tough.
But so gentle, for a fighter. She's a fighter
and she never felt that comfortable manhandling me.
I had to keep asking her to be rougher.
We have another talker.
REESE: And, Ed, who was just an absolute true warrior.
The most enthusiastic person I think I've ever met.
- I've said that if he were... - REYNOLDS: Oh...
...on the deck of the Titanic and it were sinking,
he would be the only one standing there doing a jig.
He just doesn't have a negative bone in his body.
REYNOLDS: Unflappable.
So, he's kind of the perfect co-star, you know?
Just shows up ready to work every day.
- Good attitude. Yeah. - WERNICK: Happy to be there.
REYNOLDS: And great. Just really filled Ajax out exactly how we'd hoped.
But if you think superhuman powers are acquired painlessly...
WERNICK: He wasn't written British,
but when we found Ed, when Tim cast Ed,
we thought, "You know what? It really adds to the character
"to keep his British accent." He's obviously British, so.
I'm about to hurt you, Wade.
I was a patient here once myself, you know.
The treatment affects everyone differently.
It made Angel inhumanly strong.
REESE: When you're acting in pain, do you rely on sense memory?
Or how do you trick yourself
- into feeling pain that's not there? - (REYNOLDS CHUCKLES)
That's a good question.
I've certainly had enough accidents in my life
to know what it feels like to kind of seize up like that,
but, yeah, mostly you're just rigid when you're in pain
and that's kind of what you're...
I don't know.
- I'm not really an actor, to be honest. - (REESE AND WERNICK LAUGHING)
REYNOLDS: I actually have a man's hand up my ass
- who's puppeting my body... - (REESE LAUGHING)
...throughout the course of this.
It's my agent, actually.
REESE: Well, I would imagine acting, in a lot of ways,
is an exercise in deluding yourself, right?
Because you're ultimately deluding an audience,
but at some level you have to delude yourself to feel the things
- that you're supposed to be feeling. - REYNOLDS: Yeah, you just believe it.
And it sounds easy enough, but it's not that easy.
But you just believe it.
You just make yourself believe.
We'll see about that.
I suppose we will.
He's all yours.
Oh, come on.
You're gonna leave me all alone here with less-angry Rosie O'Donnell?
WERNICK: There's a string of about 15 or 20 Ryan ad-libs there of...
REYNOLDS: Different...
Well, really, God bless Gina Carano for being such a sport.
I must have insulted her
with every insult you could possibly...
WERNICK: Jose Canseco.
REESE: China. Kevin Sorbo.
REYNOLDS: Yeah, the, um...
- Criss Angel Mindfreak. - WERNICK: Criss Angel Mindfreak.
REESE: The Busta Rhymes. REYNOLDS: Busta Rhymes. (LAUGHS)
WERNICK: I don't know, are those going to be on the DVD?
- I hope so. - REYNOLDS: I hope so, too.
REYNOLDS: I'm trying to remember, there were a few more in there.
REESE: And that ice bath was what, warm water with plastic cubes in it?
REYNOLDS: That ice bath was boiling hot actually.
It was too hot for me to stay in.
And then to pretend like you're freezing was just...
WERNICK: And the goo was freezing, was it the goo?
REYNOLDS: No, the goo was just the slipperiest substance known to man.
I couldn't actually walk out of there back to the trailer to get cleaned up.
And it doesn't come off.
It took me two days to get it off.
WERNICK: And the tub was too small too, right?
REYNOLDS: Oh, yeah, it was just a fucking nightmare.
Anything on my bucket list would involve public nudity.
WERNICK: That's Worm, Worm is from the comics.
REYNOLDS: Yeah, he's in the comics.
REESE: I don't think he's ever called Worm in the movie, is he?
REYNOLDS: Nope.
WERNICK: It's Cunningham.
REESE: Cunningham. REYNOLDS: Yeah, we call him Cunningham.
WERNICK: Which, I think, is his actual name.
REYNOLDS: Yeah, of course. WERNICK: And then his nickname is Worm.
Vanessa.
I wanna see Vanessa.
FRANCIS: You're lovely.
REESE: I want my whole life to be lit like that Vanessa moment right there.
REYNOLDS: Right? God, I know.
REESE: Just to be walking through a Liz Taylor commercial.
REYNOLDS: Yeah, just... Oh...
REESE: White diamonds. REYNOLDS: Right.
I'm wearing white diamonds right now.
Hey, don't take any shit from him, Cunningham.
REESE: I love this look when he hears the word, "Francis."
I love seeing those eyes go up. Ed's face has...
REYNOLDS: It's like a snake.
REESE: Yeah, it's like it casts shadows almost. It's so cool.
WERNICK: Ajax from a dish soap.
Huge laugh.
Probably, in audiences we've seen,
probably the third biggest laugh of the movie.
REYNOLDS: Yeah. REESE: And we didn't see it coming at all.
REYNOLDS: No, I never thought it was really...
WERNICK: In fact, Ajax, I don't even think is a dish soap, is it?
REYNOLDS: It is a cleaning product.
- An abrasive cleaning product. - REESE: A cleanser, yeah.
REYNOLDS: I think it's like an all-purpose counter cleaner or something.
We just gave them about 500 grand worth of advertising, by the way.
(REESE LAUGHING)
REYNOLDS: Right there.
See, here's the problem with round-the-clock torture...
is that you can't really step it up from there.
REYNOLDS: To the three people that listen to a DVD commentary.
REESE: Yes. WERNICK: Which will be us three
- and that's it. - REYNOLDS: Yeah.
REESE: We have dirty kitchens.
REYNOLDS: Yeah, absolutely. REESE: We may need...
FRANCIS: If this doesn't unlock your mutation, then, well...
REYNOLDS: This fucking machine. I felt like I lived in it for two weeks
even though it wasn't that long, but...
God.
WERNICK: In the script, it was called the Punch Bowl.
I don't think it's called the Punch Bowl anymore.
REYNOLDS: It's not anymore, yeah. WERNICK: It's not anymore.
REYNOLDS: But it really was... I really was completely strapped into it.
And it was just a... Always a slightly disconcerting feeling
to know that if that building caught on fire, I'd basically be fucked.
- People would be using me as a doormat. - REESE: We were all gonna run.
- REYNOLDS: Climbing over me... - (REESE LAUGHING)
...just to scramble outside.
REESE: Come on, now, we would have...
REYNOLDS: Wheeled me out?
REESE: Like the old pharaohs.
We would have climbed in there with you
- and gotten burned alive. - (REYNOLDS LAUGHING)
REESE: Just to honor your sacrifice.
WERNICK: I think the original Punch Bowl,
the first Punch Bowl that came out was...
I think cost three quarters of a million dollars,
I think, to make that prop. I think it was our most expensive prop,
next to your suit, which was a little bit more expensive.
REYNOLDS: That Punch Bowl cost three quarters of a million dollars?
WERNICK: Yes. REYNOLDS: No.
WERNICK: Yes, the first one did.
REYNOLDS: Not this one, though. WERNICK: Yes.
REYNOLDS: Wait, really? WERNICK: Yeah.
REYNOLDS: I should know that. That's... What?
WERNICK: I'm pretty sure that's the case.
REESE: Maybe you just made that up. REYNOLDS: I don't believe you.
- There's no way. - REESE: We're getting to the bottom of this.
WERNICK: Stand by. REESE: Yeah, someone's in trouble.
FRANCIS: You're never going home after this.
Now there's a brave face.
WERNICK: And, my God, when Ryan acted this scene.
The breaths and the fighting for... It's...
REESE: Well, you could watch everyone at the monitors just...
WERNICK: I still... It's still...
REESE: They were so ill at ease
just because it made them feel like they were gasping for breath.
It was tough to watch.
REYNOLDS: Suffocating. What a terrible way to go.
WERNICK: It's brilliantly acted.
Oh, my God.
And this must've been one of the harder scenes just physically for you to do, Ryan,
in terms of just what it took your body...
The toll it took on your body. this was intense.
REYNOLDS: There was a lot of stuff we cut out,
which is really the hardest part of it, I think.
But we kept a few pieces in and it was worth it.
WERNICK: Oh... REESE: Yeah, I think we ended up trimming
down what was originally there
because it was so oppressive.
- It was just... - REYNOLDS: It was a little intense.
WERNICK: How did that feel on your skin, Ryan?
REYNOLDS: (CHUCKLES) What?
REESE: This is VFX.
REYNOLDS: Computer-generated...
WERNICK: (CHUCKLES) I know. REYNOLDS: Good Lord.
WADE: Did I say this was a love story?
No, it's a horror movie.
(SCREAMING)
(GASPING)
REYNOLDS: There he is.
FRANCIS: Fucking hell.
Looks like someone lost his shot at Homecoming King.
What have you done to me?
I've merely raised your stress levels high enough to trigger a mutation.
You sadistic fuck!
I've cured you, Wade.
REYNOLDS: Now, some comic book fans will be sad to hear
that there was a scene that we cut out
which actually has, Killebrew, Dr. Killebrew in this sequence
that, after unbelievable debate, we took out of the film.
But it was with a heavy heart we took it out.
But it just had to go, it was...
WERNICK: It was just one more layer in the bad guy plot.
REYNOLDS: Slowing us down.
WERNICK: That Ajax really worked for Dr. Killebrew,
who you didn't know was the mastermind until the very end of the movie.
REESE: Mmm-hmm.
I think audiences just got a little bit confused
about the hierarchy and it just made sense, ultimately, to simplify it.
REYNOLDS: Yeah, and it's just a straight revenge story
you don't really want to mess with,
and it's between these two guys.
It's between Wade Wilson and Ajax.
And adding that extra layer was tough, it was tough to digest.
WERNICK: Talk about the makeup, Ryan,
- how long of a process was it... - REYNOLDS: (CLICKS TONGUE) Oh...
...to put you in the face and at times the full body makeup?
Well, the full body one, it's just a pain in the ass that's unavoidable.
But this one's not too bad, when you do arms and face.
It's about, uh, five hours.
That's about five hours.
But when you do full body
which is the sequence that comes up after this, so head-to-toe naked fight scene,
full body. that's about eight or nine hours.
- And then you do a 15-hourshoot day... - WERNICK: Oh, boy.
...and you're working 25, 26 hours in a day,
so tough days, but you don't complain.
You just remind yourself
that you're getting to make Deadpool after 10 years of waiting.
WERNICK: So, hours to put it on,
and what about 30 seconds
- to just rip it off yourself, right? - (REYNOLDS LAUGHING)
At the end of each day, man,
I was counting the seconds to rip it off and I would do it with my hands,
which would totally aggravate our sweet, incredible, genius makeup artist Bill Corso
because he was worried about my skin,
'cause when you rip it off it's epoxied to your skin, so it's kind of damaging,
but I didn't care, I was just dying to get home.
WERNICK: And you spend about a third, a third, a third, I think.
We broke it down.
A third in the costume.
A third in the makeup.
A third as unscarred Wade Wilson, before he became Deadpool.
REYNOLDS: Yeah, that was...
Well, the sort of equation we felt would work best for the studio.
And it ended up working best for the film, too...
- WERNICK: Yup. - ...which aren't always the same, so...
REESE: I like the fact that, uh...
That you got out by virtue of this match.
I think a lot of times, as a screenwriter,
you're trying to get your protagonist locked in a box.
And then figure out how to get them out in a way that's not overly obvious.
And we planted that match in the mouth of Angel Dust,
always with the intent to have it be the device
that Wade used to get out of the Punch Bowl. That's kind of cool.
REYNOLDS: Yeah, I always loved that, too.
That was a nice plant pay-off, as you call it.
These scenes were fun.
Ed Skrein is so physically gifted
and he spent months and months training with fighters and all kinds of stuff,
and I think it really shows in this sequence.
He's so good, physically.
Just has this kind of simian quality, which is great.
You don't want to kill me.
I'm the only one who can fix your ugly mug.
WERNICK: Your penis there,
that's your actual penis, yes, Ryan?
- (REESE LAUGHING) - REYNOLDS: Of course it is.
(REYNOLDS CHUCKLES)
100%.
My penis looks like pepperoni flatbread.
(WERNICK AND REESE LAUGHING)
WERNICK: I can vouch for that. REYNOLDS: Yeah.
(REYNOLDS LAUGHING)
REYNOLDS: Kind of a terrible way to die, I would imagine.
WERNICK: But a great way to discover your powers.
REYNOLDS: Yeah.
What's my name?
REYNOLDS: That fucking room.
Had to be 145 degrees.
I mean, it was just intense.
So much fire, so much heat trapped in there.
Fire marshal kept shutting us down
because the interior temperature rose to such a degree
that it was a huge fire hazard, so...
It was a long, slow day.
WERNICK: And this was the 25-hourday, right?
REYNOLDS: This was the 25-hour shooting day for me.
REESE: It's not as though we were shooting in an ex-munitions factory
that might explode.
REYNOLDS: (LAUGHS) I know.
Ugh, genius location manager.
REYNOLDS: Another sort of God-awful...
REESE: Yeah, this scene was originally followed by a sequence
in which Wade tested out his invulnerability
by committing suicide in ridiculous ways.
And it... Gosh, it made us laugh.
He was throwing himself out of subway cars,
and jumping into polar bear enclosures,
and doing all kinds of... All kinds of self-destructive things.
But ultimately I think that, for the tone,
it just made more sense to keep this reasonably serious.
WERNICK: The tone of this movie, it was a real, you know, juggling act
in terms of bouncing in and out of darkness and humor and...
If done wrong, it can be a disaster.
It can feel, you know, schizophrenic and inconsistent,
but I think, you know, we all managed to string together
the movie in such a way that the tone really does work.
It's a ride, you know, in and out...
REYNOLDS: Mmm-hmm.
...of fun and tragedy. and sadness and...
REYNOLDS: Made the edit room a real rollercoaster ride, though.
- There was a lot of different... - WERNICK: Yes.
REYNOLDS: When you shoot a movie that has a fractured narrative like this,
you can really kind of...
You can compose the movie in so many different ways,
and so many different timelines.
I mean, at one point, we experimented with a linear timeline
which was just a disaster, a nightmare for us, 'cause it was never...
Obviously, it was never written that way by Rhett and Paul and it just...
Presented a lot of problems but, um...
WERNICK: And again, I think that has to do with tone, it's, you know...
The origin story of Deadpool is so dark.
You know, a character who has cancer who loses his, you know...
You know,
scarring and loses his girl.
I feel like the non-linear nature allowed us to bounce in and out
of, you know, tones that created not too much darkness
over a long period of time,
that you could give the audience breaks of the darkness,
amongst the comedy and lightness...
- REYNOLDS: Hmm. - ...of him being Deadpool.
REYNOLDS: Typical summer day in Vancouver, British Columbia.
Come on, Wade, it can't be that bad.
Bullshit!
I'm a monster inside and out. I belong in a fucking circus.
Wade, Vanessa loves you. She doesn't care what you...
Oh! Oh.
Do you like what you see?
REYNOLDS: You could've cut together an entire film
just of T.J. Miller doing alternate jokes here.
Not gently. Like it was hate-fucking.
There was something wrong with the relationship...
(WERNICK CHUCKLES)
...and that was the only catharsis that they could find...
REYNOLDS: The only reason we stopped shooting the scene
was 'cause T.J., eventually, had to go to sleep.
(REESE LAUGHING)
- We also shot the scene twice. - REYNOLDS: Yeah. This is the second...
REESE: Because we had to alter some key information in the middle of it,
so we shot this whole scene, and it was working great,
and then we had to go back and do it again.
And we were afraid, "Are we gonna recapture the magic?"
But thanks to Ryan and T.J.'s comic chemistry, it worked out.
REYNOLDS: Yeah, this is a full six months after shooting finished.
I'm gonna work through his crew until somebody gives up Francis...
force him to fix this, then put a bullet in his skull...
and fuck the brain hole.
I don't wanna see that or think of it again.
REYNOLDS: That is kind of stolen
from Dan Aykroyd in Grosse Pointe Blank when he says
that he's gonna fuck the brain-hole of someone,
and I always loved that.
WERNICK: A big reference point for you.
Grosse Pointe Blank, you love that movie.
REYNOLDS: I do love Grosse Pointe Blank, I'm a little obsessed with it.
WERNICK: Great movie. REYNOLDS: Yeah.
Like a testicle with teeth.
You will die alone.
I mean, if you could die.
Ideally, for others' sake.
(REYNOLDS LAUGHING)
All you need now is a suit and a nickname...
like Wade the Wisecracker...
REYNOLDS: I don't know why "dying alone"
makes me laugh more than any other joke in that.
What?
I put all my money on you and now...
I just realized I'm never gonna win the, uh...
Dead pool.
Captain Deadpool.
No, just...
- Just Deadpool, yeah. - Just Deadpool.
To you, Mr. Pool.
Deadpool. That sounds like a fucking franchise.
REYNOLDS: Oh, I was always so uncomfortable with that line!
WERNICK: Audiences love it. REESE: It gets a laugh, though.
REYNOLDS: Yup.
REESE: It gets a laugh. REYNOLDS: Yup.
REESE: Yeah, originally this montage was, um,
believe it or not, just Deadpool going on random kills
while Ajax was waiting to get out of prison.
Ajax had gone to prison at the end of the workshop fight.
And Deadpool was just biding his time, waiting for Ajax to get out of prison.
But somebody. I think it might have been Simon, had the bright idea
to make this montage into a search for Ajax.
So, Ajax doesn't go to prison,
and Deadpool goes on a
month-to-year-long search for his arch enemy.
REYNOLDS: Which is why we had to fucking change
that whole bar scene, too, which was...
REESE: Yeah, and it gave it some propulsive energy.
I mean, you're starting to feel like Deadpool's got a goal here,
- and obviously it's to find Francis. - REYNOLDS: Yeah.
WERNICK: And it's worth mentioning, you know,
Simon was really our guardian angel on this movie,
- you know, he... - REYNOLDS: Very true.
WERNICK: He came aboard, uh...
Fox has immense trust in him.
He's the keeper of the X-Universe and, uh...
And he came aboard and we were off to the races, and...
REYNOLDS: Mainly, he just really protected the tone and the vibe of Deadpool, and...
WERNICK: Yes.
REYNOLDS: He was a huge asset to us. He's amazing.
Where the fuck is Francis?
WERNICK: I'm on that board somewhere, a picture of me.
I don't think it's in the movie.
(REYNOLDS CHUCKLES)
WADE: Where's Francis?
REYNOLDS: The Zamboni idea was our first AD.
That was his idea, to shoot a kill with the Zamboni,
- and I love it. - WERNICK: Yeah.
REYNOLDS: Good Canadian joke right there.
Where... is... Francis?
This is confusing.
Is it sexist to hit you? Is it more sexist to not hit you?
I mean, the line gets real... blurry.
(SPEAKING SPANISH)
WHERE IS FRANCIS?
WERNICK: In case you were wondering what "Dónde está Francesca" means...
REYNOLDS: Jesus. WERNICK: "Where is Francis?"
REYNOLDS: That drives Paul insane.
WERNICK: Insane, I'm sorry
REYNOLDS: And I'm with him on that one.
I have no idea why we subtitled that.
WERNICK: Agent Smith.
555-0199.
Ryan Reynolds' number.
REYNOLDS: (WHISPERS) Call me.
- (WHISPERS) Call me. - (WERNICK CHUCKLES)
WERNICK: Those are bags of rice.
REYNOLDS: Those are... Yeah.
- (GRUFFLY) "Rice to see you!" - WERNICK: "Why?"
- REYNOLDS: That was a joke we wanted... - (WERNICK LAUGHS)
(LAUGHS) ...to get in there but we didn't.
WADE: I'll take the foot long...
REYNOLDS: Fully loaded.
WERNICK: A little known fact,
we spend most of our days
around the house quoting the movie ourselves.
(REYNOLDS LAUGHING)
REYNOLDS: That's true.
REESE: I love that violent hit right there. WERNICK: That's great and violent.
We did that about six or seven times to make that work.
REYNOLDS: God, that was a nasty hit, though.
It was practical. It was real.
You're looking very alive.
Ha! Only on the outside.
- This is not going to end well for me, is it? - This is not gonna end well for you, no.
Where's your boss?
I can tell you exactly...
(SHUSHING MOCKINGLY)
Oh, you'll tell me, but first...
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.
(HINDI SONG PLAYING ON RADIO)
WADE: And we all know how this turned out.
REESE: Uh-oh, here it comes.
- There it is. - (REYNOLDS CHUCKLES)
REYNOLDS: I have that unicorn upstairs.
REESE: That's...
WERNICK: The, uh, third film you've masturbated in, Ryan?
REYNOLDS: It is the third feature length film that I have masturbated in.
WERNICK: And what are the other two?
REYNOLDS: The Nines
and The Change Up
are the two other films that I have made love to myself in.
I'm not proud to say.
WERNICK: That is an impressive filmography of masturbation.
REYNOLDS: Thank you. Thank you very much.
People have gotten a star on the Walk of Fame in Hollywood for less, my friend.
(WERNICK AND REESE LAUGHING)
Whoo!
Some kinds of anger can't be managed...
REESE: Always looks like, it always looks like that rag already has blood all over it.
REYNOLDS: I know. (LAUGHS) It does, doesn't it?
Didn't even think about it when we were shooting.
REESE: Just gonna pick up my bloody rag and...
REYNOLDS: Yeah, the one I usually grab when...
REESE: Yes.
REYNOLDS: Lost an appendage.
God, I miss cocaine.
(REYNOLDS GROANS)
WERNICK: In the script, Blind Al was introduced a little bit earlier than this.
In the fractured narrative.
REYNOLDS: She was so much fun.
Leslie Uggams is just such a trooper, she'll just...
And this doesn't make her a trooper, but it makes me adore her.
Which is, she’ll just kind of... Is just game for anything.
We just threw her that line like, "God, I miss cocaine."
And she just says it without even thinking about it. (LAUGHS)
WERNICK: Oh, she's great.
REYNOLDS: She is just so...
WERNICK: And a very talented actress.
REYNOLDS: And an incredible singer, one of the great singers.
WERNICK: Was in Roots, yes?
I'm not gonna go there 'cause I'm not 100% sure
but I know she sang with Frank Sinatra. She's done a...
REESE: She was on The Muppet Show, I know that.
REYNOLDS: Oh, yeah.
WERNICK: Uh, talk about the Crocs, Ryan. That was a Ryan, um...
REYNOLDS: Oh, yeah, the big, rubber, masturbating shoes.
Yeah, the Crocs were sort of an addition that we liked, I don't know, just to
- you know, adding as much... - WERNICK: Character, yeah.
...kind of weird character with Deadpool as possible.
I like that he had his specific shoes that he liked to masturbate with.
The Ikea is something that the boys here
had in the script for six years which is... I love.
WERNICK: Just weird, you know, it's... REYNOLDS: Yeah.
WERNICK: But it's Deadpool weird and that's why it works.
REESE: I just like that they have this whole language, this whole
- (CHUCKLES) Swedish language, there. - REYNOLDS: Yeah.
REYNOLDS: This was actually our first official day of shooting, though.
WERNICK: And you know, it's interesting
because the, you know, the traditional studio note would be,
"Wait, he just lost his arm, his girl and the bad guy,
"and he's talking about Ikea?"
"That doesn't work. You've got to get him back on track."
You know, again, Deadpool allows you to break all the rules
and we jumped at the chance.
REYNOLDS: Yeah.
REESE: I think the only rule with Deadpool is to break the rules.
REYNOLDS: True. REESE: If that makes sense.
Catching him was my only chance to be hot again, get my super sexy ex back...
REYNOLDS: And then, we're back on point here,
we're sort of saying what's really going on.
WERNICK: That is lavender wasabi lotion?
REYNOLDS: Lavender wasabi lotion, my unicorn wearing assless leather chaps,
and the unicorn has a tiny penis.
For the record.
WERNICK: Nevin Swain.
REYNOLDS: Nevin Swain, our incredible props guy.
I would call Nevin in the middle of the night and say,
"Nevin, I need a tiny, stuffed unicorn wearing assless chaps and...
"And a proportionate penis."
And he would have that for me pretty much within 12 hours.
(REESE LAUGHING)
WERNICK: And he would say, "Is this for the movie or your personal needs?"
REYNOLDS: And we would... Often times,
- the line was blurred. - WERNICK: Both.
(WERNICK LAUGHS)
REYNOLDS: I can't even get an erection
- unless I have a unicorn in the room. - (WERNICK LAUGHS)
I just... I don't even care who knows that.
Obviously, 'cause I'm saying it on the commentary.
REESE: Oh, my...
He can't.
Not if there's nothing left of him to heal.
You know, it's funny. I almost miss the fucker.
I like a challenge.
But he's bad for business.
Now let's go find him.
Oh.
(WADE GRUNTS SLOWLY)
Tylenol PM?
REYNOLDS: What I love about this scene is that
there's a weirdly, like, sweet energy between Blind Al and Wade.
In a weird way, it kind of lets us forgive
how hostile they are toward each other half the time, you know.
WERNICK: Yeah, I mean, you know, it's...
You love this woman and she loves you.
And it's really, um... As abusive as the relationship is, it's...
There's a real love behind it and a warmth.
Find this woman... and tell her how you feel.
What do I keep telling you, Mrs. Magoo? She wouldn't have me.
WERNICK: She's like the oracle here, you know.
Looks are everything.
You ever heard David Beckham speak?
It's like he mouth-sexed a can of helium.
REESE: Not many movies where the protagonist is played by an actor
and references that same actor within the movie.
You're blind.
So, you're just gonna lie there and whimper?
WERNICK: And in the comics, Ryan Reynolds is referenced in the comics.
REESE: He is, yeah.
In the meantime, you might wanna leave the room.
I bet it feels huge in this hand.
WERNICK: I say that line all the time.
(REYNOLDS LAUGHING)
WEASEL: So, the doctor says,
"The bad news is you don't have that long to live."
So, the patient says, "How long do I have?"
The doctor says, "Five."
REESE: This was a joke that T.J. just broke out on the day.
- And we thought it was nice... - REYNOLDS: Is it?
REESE: 'Cause it dovetailed thematically.
REYNOLDS: Is it an original joke of his?
WERNICK: I don't think so.
REESE: No, I just think it's one of those classic jokes
that you just hear and it gets told and retold.
REYNOLDS: I can never tell a joke.
Like, I have never... I can't retain them for some reason.
I've never been able to be that guy who just...
WERNICK: No. My dad is a great, great joke-teller...
- REYNOLDS: Really? - ...one of the great joke-tellers, yeah.
- I don't have that... - REYNOLDS: Such a gift.
WERNICK: It is.
REESE: Well, T.J.'s got a bunch of them.
He is a student of comedy.
REYNOLDS: He really is. REESE: And the history of comedy.
and stand-up and joke-telling.
Just everything, he's the guy.
WERNICK: We called him Benjamin Button on set
because he would always button a scene with an improv joke.
REYNOLDS: (LAUGHS) Yeah. WERNICK: He does it at the back end here.
REYNOLDS: He does about 50 of them at the back end here,
where we had to, eventually, run out of digital...
Sweetheart, you might wanna look around.
This isn't really the place to do something like that.
Easy, Angel.
Put the little man down.
We have everything we need now.
REESE: Yeah, I mean there's some funny people
who turn it on for the camera and aren't funny in real life.
And T.J.'s not one of those. He's funny in real life, too.
REYNOLDS: Very funny.
Whoo!
Thanks for having my back, guys.
Wade, we have a fucking problem. And by "we," I mean "you."
I can't believe I'm doing this.
Is there a word for half afraid, half angry?
Yeah, "afrangry," I guess.
Have you decided what you're gonna say to her?
Fuck me!
Maybe not start with that.
(TRAP MUSIC PLAYING)
Hey, coming onto our stage...
WERNICK: Stan Lee.
...give it up for Chastity!
REYNOLDS: Here's a great Stan Lee cameo.
Or as I like to call her, Irony.
REESE: There was a thought that we needed to make
Stan Lee's dialogue as realistic as possible,
so Paul got assigned the task of talking to the real strip club MC
and writing down lines that he might really say
(LAUGHS) and handing them to Stan Lee.
WERNICK: Really kind of the low point of my screenwriting career...
REESE: That was probably the low point of Paul's career.
...when I'm sitting across from a guy...
(REYNOLDS LAUGHING)
...and he's saying, "Show me them big ol' titties!"
REYNOLDS: Oh, God.
Needless to say, Stan didn't say any of those lines.
REESE: He was game to do it,
but there was a line that he drew in terms of exactly what he'd be willing to say.
WERNICK: Fortunately.
Just Ryan's face right here, it's just...
Wow, it's just...
REESE: Yeah, I mean there are multiple times in the movie where I feel like that.
When you first learn you have terminal cancer,
and you're looking at Vanessa,
you could freeze-frame that face
and show it to anybody in the world and say,
"What's going on here?"
And they could tell you that this guy is in a horrible situation.
And the same with this, the longing... It just...
You have a really wonderful ability
to reveal an emotion on your face without doing much.
WERNICK: Talk about Ryan acting behind that...
REYNOLDS: Thank you.
WERNICK: Because, really, you're in a mask here as well.
- I mean, all that makeup. - REESE: Yeah.
WERNICK: It's thick, there's glue.
You can't really move your face as naturally as you want.
Talk about what that's like.
REYNOLDS: In that instance... In these instances, it's very helpful...
I mean, Bill Corso is so gifted at...
You know, applying prosthetic makeup
isn't just, you know, throwing a mask on somebody and calling it a day.
It's really like using the face that's already there
and creating something else.
And Bill gave me that ability to really, kind of, emote through that makeup,
and I say that he, sort of, in a weird way, did half my job for me.
And that's true.
I mean, I would leave that makeup trailer with really half the job done already.
And I'm so grateful that he was on the movie.
He was my first call.
When I knew we were gonna do this movie,
when we got the green light from the studio,
I called Bill Corso to check if he was available.
And thank God he was.
WERNICK: One of the few times it was actually not raining in Vancouver,
that we had to create rain.
REYNOLDS: (LAUGHS) I know.
REESE: I always wonder if the audience is at all
genuinely surprised that it's Ajax, and not you here.
REYNOLDS: I don't think so. REESE: I don't think so, either.
- I think they're ahead of us. - REYNOLDS: I know. Yeah.
Uh, I saw her head to the back. Go get her, tiger.
REESE: That was a sly wink to the Spider-Man line.
REYNOLDS: Mmm-hmm. REESE: And it comes back once more.
REYNOLDS: Yup.
REESE: And Bernadette Peters became the link to indicate to Wade
that Vanessa was grabbed from this alley in a violent fashion.
Motherfucker!
- Wait, wait. Let's... Just... - Cockjuggling...
- We can talk about what we're gonna... - Jiminy! Fuck face!
REYNOLDS: Oh, I hit that thing hard.
I remember that really, really fucking hurt
my wrist. (LAUGHS)
WERNICK: Oh, man.
Such an intense scene, such a...
REYNOLDS: I gave Tim Miller two takes of this.
I said, "You get two takes, and then, that's it."
- I'm gonna get angry. - Okay. All right.
All right. Okay. All right.
Here. This is Vanessa.
- What? - No, wait. It's Francis.
He wants you to come to him.
REESE: This is a great little foreshadowing of the marketing campaign
- where they use those emojis... - (REYNOLDS LAUGHING)
...on the billboards.
- I didn't realize that. - REYNOLDS: The Deadpool, yeah.
Those all started as a text message, you know.
REESE: Oh, is that right? REYNOLDS: Deadpool emoji, yeah.
All right. Okay.
WERNICK: Our third movie we've had produced, Rhett and I,
and our third "Arm up, grab the gun" scene around the house.
REESE: Yeah.
We like the arming-up scene.
REYNOLDS: Yup.
(REYNOLDS LAUGHS)
That's about 3,000 rounds.
REYNOLDS: Hugh Jackman.
I love that Hugh Jackman does appear in our movie in that regard
just because he is...
I often think of Hugh Jackman as the guy
that kind of ushered in the cool comic book character again
because when he created Wolverine, and created that character, and...
Just so... I think it just so changed the game.
It was a strange thing that it ushered in
a whole new wave of comic book movies that were cool again and...
REESE: Yeah, he's like our spiritual godfather.
REYNOLDS: Yeah, he really is and such a sport, you know.
Was such a huge supporter of this movie
and it getting made with the studio
because he's obviously one of the biggest stars the studio works with.
I definitely owe him a debt of gratitude.
Listen, AI...
if I never see you again, I want you to know that I love you very much.
REESE: This was Ryan's idea, this cocaine bit.
And also, there's about 116 kilos of cocaine buried somewhere in the apartment...
right next to the cure for blindness. Good luck.
REESE: It's this seesawing between sentiment and emotion,
and then undercutting that with just cynicism and cruelty.
(REYNOLDS AND REESE LAUGHING)
REYNOLDS: But there's a little truth there.
I think Deadpool does really love her and wonders if he'll ever see her again.
But he always has to kind of undercut it with...
WERNICK: "Wanna get fucked up?" The TV version that T.J...
REYNOLDS: Oh, yeah, what was it? WERNICK: "Wanna get felt up?"
REYNOLDS: Oh, yeah, which is worse. WERNICK: Which is actually worse.
REYNOLDS: So much worse but totally fine for television.
Go on then.
Thanks, dickless. And I mean you.
Wow. You're a talker too. You and Wade.
I've been trying to tell you assholes, you've got the wrong girl.
My old boyfriend, he's dead.
See, I thought that too. But he keeps on coming back.
Like a cockroach...
WERNICK: "Or like a bad Jesus."
REYNOLDS: There was a line that Rhett and Paul had for...
As an alternate there, "It keeps coming back like a bad Jesus, "
and I'll always be sad that that's not actually in the movie.
For what ever reason, it got C-Blocked.
WERNICK: This mansion is in... Where is this mansion?
REYNOLDS: It's in Vancouver. WERNICK: Vancouver.
REYNOLDS: Shaughnessy area, Vancouver, yeah.
From Alien 3!
Fuck, you're old.
(REYNOLDS AND REESE LAUGHING)
(WERNICK CHUCKLES)
Fake laugh. Hiding real pain.
Go get Silver Balls.
You guys going for a bite? Early bird special?
Like there's something wrong with eating before sundown or saving money.
No, you know that bad guy that you let go?
REYNOLDS: That's real for me, by the way.
WERNICK: Me, too. REYNOLDS: Yeah.
You're gonna help me get her back.
COLOSSUS: Wade? Is that you?
Yeah, it's me, Deadpool, and I got an offer that you can't refuse.
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.
WERNICK: Ladies and gentlemen, Ryan Reynolds.
- The genius of Ryan Reynolds right there. - (REYNOLDS LAUGHING)
- That was... - WERNICK: Biggest laugh of the movie.
REYNOLDS: That one I love, it was just funny 'cause it's true.
REESE: It is just about the biggest laugh of the movie.
WERNICK: I sat behind Jim Gianopulos, who's the head of Fox,
when that joke played,
- and he was howling, laughing so hard. - REYNOLDS: Yeah.
He's also laughing because it's true.
- WERNICK: True, yeah. - (REYNOLDS CHUCKLES)
REESE: Colossus is written on that Starbucks cup.
Unfortunately, you can't quite get enough of a glimpse of it.
But I just love the idea of him going into the Starbucks...
WERNICK: "What's your name?" "Colossus."
(MAN SCREAMS)
WERNICK: That's your scream, Ryan, yes?
REYNOLDS: Yes, that is my scream.
WERNICK: You play Bandhu.
REYNOLDS: I guess I do technically play Bandhu.
WERNICK: Are you listed in the credits as Bandhu?
REESE: I didn't even think about that.
REYNOLDS: I don't know, I have no idea.
WERNICK: You should be. REESE: Yeah.
REYNOLDS: I do a couple of screams and yells for other people, too.
WERNICK: Really? REYNOLDS: Yeah.
He's tied up in the trunk.
I'm doing as you said, DP.
I plan to gut him like a tandoori fish, then dump his carcass on Gita's doorstep.
I did not tell him to do that.
Absolutely not. It got lost in translation.
Dopinder, this is no way to win Gita's heart back!
(WHISPERS) I'm so proud of you.
(WERNICK AND REESE CHUCKLING)
Kill him.
REESE: This is a very big crowdpleaser, too, this little bit right here.
REYNOLDS: Love it.
Also funny 'cause it's true.
Whoa!
I presume a crisp high five?
For you? 10.
Okay, guys, let's get out there and make a difference.
(WHISPERS) You know what to do.
(REYNOLDS LAUGHS)
Knock 'em dead, Pool Boy!
REESE: We intended to have DMX, X Gonna Give It To Ya, in there
from the very earliest draft of the script.
We just love that song and, thankfully, it made it all the way through.
WERNICK: And it's become the anthem of the movie, in a way.
REYNOLDS: It really has.
REESE: Yeah, they used it in marketing. REYNOLDS: Every commercial and it's...
And chimichanga, we have... That's our chimichanga reference there.
We had to have that in the film.
REESE: Yeah.
And, uh...
This third act action...
Tim Miller did such a wonderful job of balancing budget vs action,
and giving us scope and scale
- with not a lot of money in this sequence. - REYNOLDS: Mmm.
REESE: I mean, particularly this massive fight between Colossus and Angel Dust.
(TRUCK HONKING)
(TIRES SCREECHING)
- (THUDS) - (BANDHU SCREAMS)
DOPINDER: Bandhu?
DOPINDER: Leave a message and have a happy day.
God damn it!
I'm gonna do this the old fashioned way...
with two swords and maximum effort.
WERNICK: "Maximum effort" was a catchphrase.
Was that a comic catchphrase or did you come up with that, Ryan?
REYNOLDS: Oh, I thought you guys came up with that.
- I don't know. I love it. - WERNICK: I can't... Yeah, yeah...
REYNOLDS: But I always thought it was you.
WERNICK: I can't remember exactly but, uh...
He uses it now three times in the movie, I think?
REYNOLDS: Yeah, love it.
What's my name?
Oh, I'mma fuckin' spell it out for ya.
WERNICK: At one point, we had, uh...
- Stripes, Francis. - REYNOLDS: Yeah.
WERNICK: I don't know if you guys remember...
REYNOLDS: On the television in the bar. WERNICK: Yup.
REYNOLDS: I wish it was still there but...
WADE: Totally impractical. They all do it.
You're a lovely lady, but I'm saving myself for Francis.
That's why I brought him.
I prefer not to hit a woman, so please...
(GROANS)
I mean, that's why I brought her?
Oh, no, finish your tweet. It's not... That's...
Just give us a second. Yeah.
There you go. Hashtag it.
WERNICK: Brianna's first feature film role, correct?
REYNOLDS: I think so, yeah. REESE: That's true.
REYNOLDS: Yeah, she's a... She was a hell of a find.
Just such a great look to her as well.
Love her hair, I love everything about her.
She's such a nice girl, too.
WERNICK: The X-Men unitard.
When's the last time we saw that in a movie? Is it ever...
REYNOLDS: Never, never. WERNICK: Never, never.
REYNOLDS: Nobody's ever put it in as it is in the comics until now and...
I'm very proud of that and, you know,
we gotta thank Tim for that as well.
Tim really was a huge supporter of, you know, canon and
always staying faithful to the comics.
And one of the things was the X-Suit that she's wearing.
And the other thing I...
The other big get was both Colossus and, of course, Deadpool.
You know, his suit being so faithful to the comics as well.
WERNICK: This is Gina actually, I think, doing the fighting.
REESE: Oh, yeah. WERNICK: As you know, she's MMA and...
A pretty badass.
REYNOLDS: God, that would hurt so much to really do that.
REESE: Oh, I know. Oh... REYNOLDS: Every time, it makes me cringe.
Cease fire!
REYNOLDS: You can't see there's a tiny shit streak
on that underwear that they...
That they never really captured on film but...
WERNICK: That was a real shit streak, was it not?
REYNOLDS: It is there. (LAUGHS)
Tighty-whities.
Possibly even lover-like treatment.
Fine.
Commando!
(GRUNTING)
REYNOLDS: This is one of my favorite pieces of action.
So nasty but so fun.
WERNICK: Your stunt double, Alex,
tore his ACL in this scene.
REYNOLDS: Oh, it had just exploded in this scene and I felt so horrible.
Because he blew his knee out so I wouldn't blow mine out.
That's how I looked at it and...
But thankfully, it has a happy ending.
His knee is now stronger and better than ever.
He got a great doctor and...
WERNICK: And was back shooting...
REYNOLDS: He was back shooting our reshoots, you know.
He was already back doing stunts for that.
That's actually right here. That's where he blew his knee out.
It looks like nothing, but yeah.
WERNICK: Such a great guy. REYNOLDS: Yeah.
Big, huge Deadpool fan from the Ukraine.
And he's been a Deadpool fan for 15 years or so.
- WERNICK: That is not Gina, actually. - (REYNOLDS CHUCKLES)
REYNOLDS: One would hope not.
WERNICK: Nor is that.
WADE: Teabag!
Bob?
REESE: This always felt very Deadpool to us that
we could stop right in the middle of a massive action scene
and have a very personal connection, moment here.
As ridiculous as it is.
How are the kids? Good?
And Gail? She's still fixing that tuna casserole?
So good! But bad for the waistline, if you know what I'm talking about.
Oh! (CLEARS THROAT)
Your... On the left. You are beautiful woman.
That is so sweet.
Uh...
Thanks.
REESE: You know, when you're building a cast,
you do try to anticipate the interaction between characters.
And one of the reasons we chose Colossus is because he is a goody two-shoes.
- He is a bit of a prude. - REYNOLDS. Mmm.
REESE: Ah, there's the name... The name in bodies, which was...
REYNOLDS: One guy with his pants down.
- That's overlooked a lot. - (REESE CHUCKLES)
But, you know, because Colossus is such a straight arrow,
it makes him all the more fun opposite Deadpool,
who is a lunatic.
NEGASONIC TEENAGE WARHEAD: Hey!
Climb on!
WERNICK: He becomes a little bit of Spider-Man, here.
REYNOLDS: Yeah, it's a little bit... A little Spider-Man. Yeah.
That jump is a little... Pushed it a little bit.
REESE: (CHUCKLES) I love the girlish screams.
REYNOLDS: (LAUGHS) Oh, yeah, totally.
REESE: It's just not enough for him to scream.
REYNOLDS: Deadpool is not a manly man. He's...
REESE: He's got to scream like a 10-year-old girl.
REYNOLDS: He is part-10-year-old girl.
WERNICK: That was filmed on a, uh...
- What do they call that? A gimbal. - REYNOLDS: A gimbal.
REYNOLDS: Yeah. It's a giant sort of floating platform that
rotates and rocks via remote control.
REESE: Yeah, and then ultimately tilts which gave us our, you know,
careening flight deck look.
REYNOLDS: We cut that out but this guy grabs my leg on the ground and I...
I say, "Your plan to trip me to death has failed," and then I break his neck.
Crush him.
Wade?
Don't worry, baby...
I'mma get you out of that shit-box.
What better way to crawl back inside that head of yours?
Oh, you never left.
But you did, asshole!
Deep breath, darling.
Oh, wait.
Wrong choice of words.
(CHOKING)
I hope they blocked pain to your every last nerve.
'Cause I'mma go lookin'!
I hear you grow back body parts now, Wade.
When I'm finished...
parts will have to grow back you.
Good one.
Yep, that was a good one.
Let's dance.
REYNOLDS: I think that was like an impromptu fourth wall break.
I don't know if that was ever meant to be a fourth wall break until we...
WERNICK: And makes me laugh. And again...
REYNOLDS: ...did it there.
WERNICK: Another one I say around the house.
REYNOLDS: Yeah, it's a good one.
REESE: We call Ryan "The Elevator".
Because he elevates every single thing he's in.
REYNOLDS: Now, you're just being sweet to me.
REESE: No, I...
REYNOLDS: Come on, now. REESE: No, I'm serious. You don't...
REYNOLDS: We worked... I'll say that we all...
Us three work together very, very, very well.
And I hope we get to work together until we're all very, very old and grayer.
- Both Rhett and I are already... - (REESE CHUCKLES)
...getting gray whereas Paul...
WERNICK: Oh, come on. I'm just gray as can be.
- REESE: (MOCKING) Dye job. Dye job. - (WERNICK CHUCKLES)
REYNOLDS: Totally, 100%.
(GROANS)
(CHOKING)
WERNICK: The music that's about to kick in here was, uh,
originally John Denver.
REYNOLDS: Sure was, wasn't it?
WERNICK: Rhett was a massive John Denver fan.
REYNOLDS: I do love the John Denver song.
WERNICK: Or is a massive John Denver fan. REESE: Of course.
- Still am. - WERNICK: Still is.
REYNOLDS: It's one of the few times that we've had to change music for the film
that I thought we actually improved on.
REESE: And Chicago took its place. I'm also a huge Chicago fan.
So it felt like a lateral move to me.
But it's...
- WERNICK: Rhett's an easy listener. - (ALL LAUGHING)
REYNOLDS: But how hard it is... It was hard.
It's hard to pick the music for Deadpool because it has to be ironic.
But it still has to be good and emotional and it's...
So you're not really picking songs that, you know, are, sort of,
one-hit-wonder, sucky songs.
You're picking songs that are slightly legendary but also slightly ironic.
- So it's got a weird tone. - WERNICK: Yeah.
REYNOLDS: It's always tough, picking the songs.
REESE: Yeah, but also easy to pick the songs, in a way, too.
Because it's so freeing.
- You can think of any genre... - REYNOLDS: True.
...if it works for the moment.
REYNOLDS: But when you hear one that works,
- you know it works right away. - REESE: That's true.
REYNOLDS: Whereas we always knew right away if something wouldn't work.
WERNICK: Tim had this idea of putting these
- animated cartoon characters. - REYNOLDS: Cartoon.
WERNICK: And really bizarre and fucked up but awesome at the same time.
REYNOLDS: Yeah. WERNICK: In this particular scene.
- (REYNOLDS HUMMING) - WERNICK: Again, here's our love story
and then undercut with...
(REYNOLDS LAUGHING)
Oh, I always enjoy that moment.
This is a great example of sound mixing you're gonna see here
where they just pump the song up
right when we need it.
You'll hear it, just gonna... Pop.
WERNICK: You know, just the little visual effect
of the blood popping out there.
- Tim is such a VFX maestro, you know. - REYNOLDS: Yeah.
WERNICK: He owns a VFX company here in Los Angeles.
And it's just really how he got his start.
And is just brilliant at it and, you know,
you can see it in this entire third act.
REYNOLDS: Weirdly you can't do that little thing in a PG-13 movie.
That's, I mean... That's just one of the billion things that we were able to do
with this movie as a rated-R film that we couldn't have done otherwise.
REESE: Yeah, we really do owe thanks to Jim Gianopulos and Stacey Snider
and Emma Watts for allowing us to do this R.
There's obviously a glass ceiling on box-office grosses.
You make a lot less with an R-rated movie than you do with a PG-13 movie.
And they were willing to sacrifice those hard dollars
for this crazy. creative experience.
And we should really thank them for that.
REYNOLDS: Yeah, and we also, you know...
I personally throw them under the bus all the time
as a joke in the media when we're talking about Deadpool, but...
The real story is that they were 100% supportive of this film being an R-rated film
and 100% supportive of sacrificing,
like you said, that huge amount of money
to deliver an authentic Deadpool that the fans deserve so...
WERNICK: You know that this movie is many things and, uh...
It's an apple amongst oranges.
You know, there's an oversaturation of superhero movies out there.
And this is unlike all of them.
Because it is R and it does break all the rules.
REYNOLDS: We were lucky. though, you know, we...
This movie could've been made six years ago and I don't...
I don't know that it would be as effective just given the fact that
we were in a climate of just extraordinary saturation of superhero movies.
And we're at that intersection where
it's kind of, you know, ready...
We're ready for something a little bit different.
Big Styrofoam...
...stone.
(GRUNTS)
Thanks.
REYNOLDS: That torture device has a five-star safety rating, as you can see,
her surviving that fall.
REESE: Yeah, that would never protect someone in real life.
- (REYNOLDS LAUGHS) - REESE: This is the movies.
REYNOLDS: Yes, it is.
WADE: Oh, my God! That was so...
(GRUNTING)
REYNOLDS: I did not perform this stunt.
I would like everyone to know.
WERNICK: Oh!
REYNOLDS: But Adrian did.
My stunt... One of my stunt doubles.
Ably.
I did this, though. I do enjoy punching.
WERNICK: Snap.
And snap.
REYNOLDS: Oh, yeah.
(EXHALING HEAVILY)
There are no words!
Me and you are headed to fix this butter face.
What?
(CHUCKLES)
REESE: Not as uncomfortable as it looks.
- This is an entirely foam set. - REYNOLDS: Yeah.
REESE: You can practically jump up and down on it like a bed.
REYNOLDS: Yeah, it was sort of fun.
In a weird way... It's like one of those...
Gyms that's like for kids where you get to just run around
and jump on anything.
So, you mean to say...
after all this, you can't fix me?
REYNOLDS: I love the... Colossus has a speech coming up about
four or five moments that define a hero.
And this is something that Rhett and Paul wrote that I...
It's one of the great things about this, I think, about this sequence,
which is that it really resonates.
It's actually... Could work very well in any kind of superhero movie
and stand on its own as a dramatic and beautiful, moving speech.
Which of course we undercut with extraordinary violence.
REESE: Yeah, we worked on the timing quite a bit.
We didn't want the audience to get ahead of the gunshot
and expect it coming.
But we kind of wanted them to get ahead of it just a touch.
So they were wincing, going,
"You don't think he's about to possibly..."
WERNICK: And seeing it with an audience, they do...
- You can see them anticipating the shot... - (REYNOLDS LAUGHS)
...and still waiting for it and wanting it.
REYNOLDS: They start tittering, you know about...
WERNICK: Yeah.
Moments when you're offered a choice.
To make a sacrifice, conquer a flaw, save a friend...
REYNOLDS: Right about here, they start to sort of figure it out.
WERNICK: What Colossus is, what, about...
What was it? $50,000 a sec?
- (STAMMERS) What was it? - REYNOLDS: Oh. It was something cray.
I was like... So much of our budget went to creating Colossus.
- But worth every penny of it. - WERNICK: Every penny.
But at least fuckface won't heal from that.
If wearing superhero tights...
means sparing psychopaths...
then maybe I wasn't meant to wear 'em.
Not everyone monitors a hall like you.
Just promise...
Yeah, yeah, I'll be on the lookout for the next four moments.
Oh, shit.
Now, if you'll excuse me, I'm just a boy...
REESE: What movie is that from? What movie are we referencing?
REYNOLDS: Like Notting Hill? WERNICK: That is...
REESE: Maybe Notting Hill. WERNICK: It's a...
REYNOLDS: I think it's Notting Hill. WERNICK: Notting Hill or the other one.
REYNOLDS: It's Julia Roberts I thought of.
I'm just a girl...
- REESE: I think it is. - "...standing in front of a boy."
Start talking!
I'm sorry.
I'm so sorry.
For everything, I'm sorry for leaving...
I'm sorry for not cowboying up sooner.
WERNICK: I just love this scene so much.
It's just... Ryan and Morena just act
- the fuck out of this scene right here. - REYNOLDS: She's so great. Ugh!
REESE: Every now and then you can catch the dated references.
The "Cowboying up" was in reference to the Boston Red Sox
- cowboying up against the Yankees. - REYNOLDS: I didn't know that. Really?
REESE: Yeah, many years ago and it's just...
You just go, "Oh, yeah, we really did write this script a long time ago."
WERNICK: But again, we're back to the beating heart of the movie, you know.
The love story between these two broken souls, you know.
REYNOLDS: I do like this sequence. WERNICK: And the look.
REYNOLDS: Not sure everybody understood that it was a call back
to their first meeting but...
REESE: It seems like they catch on.
REYNOLDS: Talking about the dire circumstances.
REESE: They catch on as the scene goes.
For a little bit there, they don't quite get what's going on.
I should have come and found you sooner.
But, baby, the guy under this mask, he ain't the same one that you remember.
You mean this mask?
REESE: Yeah, and we always thought that
the Hugh Jackman mask under the other mask.
But again, once again undercut emotion with comedy
and hopefully, you know...
REYNOLDS: That was a fun phone call to Hugh.
(LAUGHING) "Here's what we were thinking."
REESE: "Here's what we had in mind."
REYNOLDS: "How do you feel about
"me stapling your face to my face?"
WERNICK: And a little bit of a cheat here because
that was supposed to be...
If you do the math right,
that was supposed to be cut out from the People magazine.
- Yeah, sexiest man but... - REESE: But it's too big.
- ...it's too big, obviously. - REYNOLDS: Couldn't fit my giant head
is what you're really trying to say.
- My head is huge. - (REESE LAUGHING)
"Like an orange on a toothpick," to quote Mike Myers.
Wow.
Yeah.
REESE: Morena did a great job here because she has to take
the character from very skeptical and cynical back to
full-on commitment in about two minutes and...
- She did a nice job of it. - REYNOLDS: Mmm.
WERNICK: "It's a face I'd be happy to sit on."
Ladies and gentlemen, Rhett Reese.
- When I read that, when Rhett wrote that... - REYNOLDS: Yeah. Love that line.
...I read it, I'm like, "They're never making this movie."
(REYNOLDS AND REESE LAUGHING)
REESE: It hung in there for six years.
- It never got taken out. - REYNOLDS: It did, it did. It never changed.
That's probably why the movie wasn't made for six years.
WERNICK: (LAUGHING) That line.
Super-penis.
COLOSSUS: Come on, Wade. Language.
Young one is present.
What are you still doing?
Get out of here. Go make yourself useful!
You, go be a really big brother to someone.
Tell Beast to stop shitting on my lawn.
WERNICK: The Beast shitting on my lawn was gonna be a coda that we...
REESE: Yeah, Paul wrote the funniest coda ever where the Beast...
Deadpool literally catches Beast
shitting on his lawn.
REYNOLDS: Let people know what a coda is first.
Don't know if everyone knows that.
REESE: Yes, that's the scene at the very end,
after the credits.
And Paul just had this zany idea of what if
we actually catch Beast
- shitting on Deadpool's lawn... - REYNOLDS: (LAUGHING)
...and running off and Deadpool chasing him,
angrily holding his morning newspaper.
- And it was so funny. - REYNOLDS: Nicholas Hoult was game.
He was game, he loved it.
WERNICK: Yeah, we just couldn't make the schedule work.
REYNOLDS: Yeah.
Come here.
REYNOLDS: Poor Morena had to... (LAUGHS)
Not looking my best right there.
(POP MUSIC PLAYING)
WERNICK: Again a plant that then paid off here.
REYNOLDS: Another song that really stayed in this
- script from the beginning, I think, right? - WERNICK: Yeah. Yeah.
REYNOLDS: Thank you, George Michael, for letting us use this.
WERNICK: And Ridgeley, don't forget about Ridgeley.
REYNOLDS: And Ridgeley, of course, of course, of course,
you can't forget about him.
WADE: The right girl will bring out the hero in you.
Now, let's finish this epic wide shot. Pull out.
There we go, that looks nice.
That's gonna be about the only thing that's pulling out tonight.
Who doesn't love a happy ending, huh?
Till next time, this is your friendly neighborhood pool guy singing...
(SINGING) I'm never gonna dance again
REYNOLDS: (SINGING) The way I dance with you, oh!
Wow! That was like 24 walls right there.
- Me singing... - REESE: Oh, my gosh.
...while the movie was singing while George Michael was singing.
Yes, Rhett Reese and Paul Wernick indeed.
(REYNOLDS SINGING)
REESE: This is a beautiful little animated sequence.
REYNOLDS: I know.
This was kind of a late addition, too.
- Really happy with it. - REESE: It was.
I can't remember. Tim hired just this brilliant guy to do it.
And I'm spacing his name.
WERNICK: The same guys who did the... REYNOLDS: Who did the cartoons...
WERNICK: The cartoons in the stab scene, yeah.
REESE: Right.
- The little heart with the arms and legs. - REYNOLDS: Yeah.
Also known as Junkie XL. Great... Great guy.
WERNICK: Just a brilliant group of people who came together to make this
and a bunch of great guys on top of it and women and...
And men, children...
REESE: Yeah, and we also really...
REYNOLDS: Do you really have to talk about children
- while an animated boner is on the screen? - (REESE LAUGHS)
WERNICK: Yeah.
REESE: Collectively stood on all the giants' shoulders
who created Deadpool, Rob Liefeld and all the wonderful writers who...
And artists who brought Deadpool to life for so many years
- before he became a movie. Yeah. - WERNICK: Fabian.
REYNOLDS: Fabian, yeah, just all these guys, yeah.
(LAUGHING)
I love that little sequence.
WERNICK: Salt-n-Pepa.
REYNOLDS: That was another song that reflect... We had, in the movie,
initially, in everyplace that
Shoop is in and it was just too damn expensive, so we ended up
with Shoop, but in a weird way Shoop was better.
It works so much better and...
- WERNICK: Yeah. - ...it worked with the tone of the movie
in a great way.
REYNOLDS: Here is where you'll get to see if I was Bandhu or not...
- WERNICK: Oh, yeah. - ...in the credits. I don't think I was, though.
Nope. Hmm. Oh, well...
REESE: So Bandhu is not even listed.
REYNOLDS: I'm uncredited, yeah.
WERNICK: Get me Ryan's agent on line two, please.
REYNOLDS: You have two lines? WERNICK: I do.
WERNICK: The first line doesn't work, though...
REYNOLDS: Yeah.
REESE: Here in Ryan's house, you have two lines?
- This is getting weird. - REYNOLDS: Superweird.
WERNICK: I've been living in the crawlspace for the last little bit here.
REYNOLDS: Oh.
- Joan Bierman, our post-supervisor that... - WERNICK: Great.
REYNOLDS: There are so many people that work on these movies that
are never front and center, but just they work so goddamn hard.
And Joan is one of them. Joan just...
Day in and day out, just gave this movie her last drop of blood in post.
It was an accelerated post on this film
because Fox gave us very little time between shooting and our release date
to get this movie completely finished and ready for its audience and...
And a key component to that success is Joan Bierman.
WERNICK: We started shooting in March of
- 2015? - REYNOLDS: Not true, April.
Because we'd already... Remember we shot the April Fools' gag with Mario Lopez
and then started shooting which was...
WERNICK: Is that right? Yeah, you're right.
REYNOLDS: I think it was like April 4 we started shooting.
REESE: Wow.
WERNICK: Yeah, and you know it came out in, or it's coming out in February.
So that's a what? A 10-month turnaround?
REYNOLDS: Yeah.
WERNICK: And with all the visual effects and...
- Just amazing. - REYNOLDS: Really tough.
Tough, tough deadline to meet but...
What's that great expression that the task expands for the time allotted,
- or something like that? - REESE: Yeah, exactly.
REYNOLDS: It seems to be about right for this, yeah.
WERNICK: And we're actually nine days away
from the movie actually releasing.
REYNOLDS: Yeah, as we record this, we're nine days out.
REESE: So we have no idea whether this has a happy ending.
REYNOLDS: (LAUGHING) Yeah, that's true.
REESE: We know whether this session's gonna have a happy ending.
WERNICK: What? What? REYNOLDS: Absolutely.
I got two hands, one for each of you.
WERNICK: "I bet it feels huge in this hand."
(REESE AND REYNOLDS LAUGH)
REESE: There's a general misconception that,
well, I don't knowhow much of a misconception it is,
that everybody in Hollywood's out just
lying on the beach and we're all doing cocaine
and yeah, yeah, maybe those things happen now and again.
But what's really happening is
everybody is working their butt off.
Like these are...
When you watch a movie like this and you watch these names
just drift past, these are people who worked 18, 19-hourdays often,
back to back to back to back,
to bring this to life so
I'm just gonna stand up for the people of Hollywood.
And remind everybody how hard they work
to make this magic happen.
REYNOLDS: Absolutely, and in a lot of different cities, too,
not just Los Angeles but all over the country
- and all over the world, frankly. Yeah. - REESE: Yeah, Vancouver.
And our VFX was done all over the place.
It's just, you know, when you're a citizen
and these movies come out in theaters, you think they just come out.
And you don't realize the many, many years of labor.
REYNOLDS: No.
And all those people put their...
Put their blood, sweat and tears into the ones that work.
And they put the same blood, the same sweat, the same tears into the ones
- that don't work. - REESE: Like this one.
- I'm kidding. - REYNOLDS: (LAUGHS) Wow!
REESE: This one is awesome, we love it. REYNOLDS: Oh, we do love it.
I quite literally miss shooting
this film. (CHUCKLES)
And a special thanks, with tongue, to Rob Liefeld and Fabian.
WERNICK: Did they break the...
The two codas here?
Or is it one long coda at the end?
I don't know how we ended up on that.
REYNOLDS: It's one long one. Yeah. WERNICK: Is it?
REYNOLDS: Yeah, this full coda was never shown to...
- At the fan screenings or test audiences. - WERNICK: Test audiences, yeah.
REESE: Whose idea was the Ferris Bueller thing?
REYNOLDS: I don't remember.
I thought it was one of you guys.
WERNICK: Yeah, I think that was me.
REESE: Yeah, I think that was you, wasn't it?
I couldn't remember.
Expecting a teaser for Deadpool 2. Well, we don't have that kind of money.
What are you expecting? Sam Jackson to show up?
With an eye patch and a...
WERNICK: They made us change the wallpaper, Paramount Pictures.
REYNOLDS: 'Cause it was too damn close...
Maybe it is broken up...
'Cause it was too damn close to the original Ferris Bueller wallpaper.
WERNICK: So I think Tim put in some penises onto the wallpaper.
REYNOLDS: Yes. WERNICK: If you look closely...
REYNOLDS: There are penises in the wallpaper.
WERNICK: I'm not kidding. REYNOLDS: No, there are, yeah.
REESE: I don't see any.
- REYNOLDS: You wouldn't! - (ALL CHUCKLING)
Anyway, big secret. Shh.
And don't leave your garbage all lying around. It's a total...
WERNICK: That was a nod to Tim Miller who hates
people who leave their garbage at movie theaters.
I am among them.
(WADE VOCALIZES)