From the Marvel Cinematic Universe comes the next film to feature the adventures of Ant-Man, “Ant-Man and The Wasp,” which debuts Ant-Man’s long-awaited ally, The Wasp.
With its eye-popping shrinking-and-growing act on, fast-paced chases and family-friendly comedy, “Ant-Man and The Wasp” once again delivers a fresh, one-two punch that smacks of the MCU in an accessible and relatable way. And that’s how director Peyton Reed always envisioned it. “It’s a fun and hopefully surprising ride,” says the director. “The visuals are stunning and the act on sequences are crazy.”
“What’s exciting about ‘Ant-Man and The Wasp,’” says producer Kevin Feige, “is it’s really a sequel to two movies. It’s a follow-up to ‘Ant-Man,’ while also showing the aftermath of ‘Captain America: Civil War.’
About the Story:
While audiences were primed for the next film in the “Ant-Man” franchise, ostensibly with a more prominent role for Evangeline Lilly as The Wasp, everyone was thrown a gigantic curve ball by Ant-Man’s appearance in “Captain America: Civil War.”
Ant-Man joining the fray with Cap and the Avengers firmly planted him within the Super Hero family, albeit a fractured, dysfunctional one. But, more importantly for Marvel aficionados, it also provided the setting for the splashy debut of Giant-Man, the oversize incarnation on of one of the super heroes.
About Creating the Worlds:
Exploration on of more new worlds began in the summer of 2017 when principal photography on “Ant-Man and The Wasp” commenced almost three years after “Ant-Man” was filmed. Filming took place in Atlanta, Georgia, for the bulk of the shooting schedule. Cast and crew then traveled to San Francisco to shoot on location on in the Bay Area.
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Pinewood Atlanta Studios is home to many of Marvel Studios’ productions and was the home base for “Ant-Man and The Wasp.” Production on crews filmed on multiple sound stages there as well as took advantage of Atlanta’s diverse landscape to film scenes to match the San Francisco-based story line.
Production designer Shepherd Frankel, who designed the incredible eye-popping sets for “Ant-Man,” returns for this next chapter and is doubling down on his visually arresting production on design that involves playing with scale. For “Ant-Man and The Wasp,” he opted to build more over-sized set pieces wherever he could to realistically integrate it into the landscape.
About the Super-Hero Costume Designs:
Concept art for each superhero suit was rendered by Marvel Studios’ visual development supervisor Andy Park and his team. Then it was given to the costume designer and sometimes the visual effects supervisor, when needed, to plot out the design, materials, fit and function for every conceivable scenario the script demanded while fulfilling the visual aesthetics.
For the Wasp suit, audiences were given a hint of what was to come in “Ant-Man” when Hank unveiled a prototype for Hope in the film’s final scene. It is perhaps the most exciting and highly anticipated costume reveal for Marvel Comics fans. Evangeline Lilly is quick to educate fans about the newest incarnation of the suit.
For Ant-Man, Rudd got a modernized version of the original leather suit he debuted in “Ant-Man,” which had more of a vintage feel reflecting its 1960s origins. Remarks Coveney, “The suit from the first film was meant to look pre y old-fashioned with a loose fit, almost like a motorcycle suit. It was meant to be resurrected after being tucked away for so many years. Our new version is definitely more modern with a fighter fit, so it makes a very heroic look for Paul.”
An extraordinary amount of research and development went into developing the Ant-Man suit for the original film, and the practicality es of
the demands placed upon Rudd and his stunt doubles as they performed provided additional lessons for the next generation on of design work for the suit.
About the Stunts & Action:
Stunt coordinator George Cottle, who refined his specialty of designing intricate, gravity- defying wirework for Tom Holland’s web slinger in “Spider-Man: Homecoming,” was entrusted to formulate and choreograph a myriad of equally dynamic stunts to drive the top-notch action for “Ant-Man and The Wasp.”
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From the very beginning, Cottle knew The Wasp’s on-screen debut would be the primary focus of their efforts to showcase what Marvel’s first female Super Hero is truly capable of. For Lilly, the hours spent rehearsing paid off when she and John-Kamen were on set filming the elaborate fight sequence that introduces Wasp in action mode to audiences for the first time.
While Cottle handled the action on the main unit, second unit director Jeff Habberstad and veteran stunt coordinator Andy Gill and his team oversaw the mind-boggling practically executed action on the streets of Atlanta and San Francisco.
Commenting on the action in the film, Reed says, “We’re doing some action sequences that obviously you would not see in any other movie because they’re so specific to these characters and to their powers. It’s really fun as a filmmaker to be able to have access to all the tools that Marvel allows you to have access to, like the greatest visual effects artists in the world. So you can come up with crazy ideas that have never been seen in a movie. It’s exhilarating to think about it.”
Watch a behind-the-scenes clip of the car crashes of Ant-Man and The Wasp:
Anllelic Lozada “Angie” is a proud P.A.N.K (professional aunt with no kids), a Personal Marketing Strategist in NYC and Los Tweens & Teens “Tia-in-Charge,” based in New York City. Anllelic wants you to best your best life so you can positively influence your tween and teen. Subscribe to her weekly e-newsletter in Spanish in marketingparatucarrera.com/Vendete, where she shares personal marketing strategies to help you “Comunicar lo genial que eres.”