There was no excessive promotional activity. Filming quietly commenced at Warner Studios, with Duke first shooting scenes involving Black Widow Natasha Romanoff and Captain America Steve Rogers.
In Captain America, it was only mentioned that Steve Rogers had been rescued from the ice and brought back to modern society by Natasha Romanoff and Agent Coulson. Captain America is indeed dedicated to justice, but he's no fool. Even with a former comrade like Natasha Romanoff present, getting him to work for a suddenly emerging organization wasn't going to be easy.
Besides Natasha Romanoff, S.H.I.E.L.D. needed to gain Captain America's trust.
The first scene on the shooting schedule that Duke filmed was precisely about this.
The soundstage was arranged to resemble a hospital room. Scarlett Johansson and Chris Evans walked to the hospital door. John Schwartzman operated the camera, which followed them quietly along a dolly track.
"The last time we met, I was still a Soviet. Now I've become an American agent…"
In Duke's director monitor, Scarlett gently knocked on the door. As she turned the doorknob, she said to Chris Evans, "Steve, you don't say it, but I know you have doubts about me. I'm taking you to meet someone one of the founders of S.H.I.E.L.D., an old friend of ours."
After speaking, she opened the door and walked in, with the visibly puzzled Chris Evans following behind her.
"Cut! That's a take."
After two prior test shots, the first shot was successfully completed. Duke shouted toward the set, "Reset the scene. Shooting resumes in fifteen minutes."
The hospital room had already been set up in advance. After adjustments to the camera and lighting, another actor, Hayley Atwell, joined the shoot. But unlike her stunning appearance in Captain America, she now wore obvious aging makeup.
To gain Steve Rogers' trust in S.H.I.E.L.D., no one was better suited than Peggy Carter.
Plus, Captain America still owed Peggy Carter a dance. A reunion seventy years later would add emotional appeal.
It took Duke a full two days to complete the reunion scenes between Steve Rogers and Peggy Carter. Then, the production moved to Hughes Aircraft Factory, where another soundstage shoot began.
The massive soundstage was transformed into a messy workshop. Multiple cameras were cleverly placed throughout the space, recording every moment without interfering with one another. A Steadicam operator stood to one side, ready to catch close-up shots at any time.
Filming wasn't continuous. The longest single take lasted only about ten seconds. Dressed in a seductive outfit, Scarlett Johansson and her two stunt doubles rotated on set from time to time.
Scarlett was only responsible for flaunting her looks and seductive body in front of the camera. All the difficult fight scenes were almost entirely performed by stunt doubles.
Thanks to post-production montage techniques, these shots wouldn't present any problems.
Of course, it wasn't too hard to tell. Scenes where Black Widow wasn't facing the camera or had her face obscured by hair were mostly done by stunt performers.
To be specific, there were shots that required Scarlett to perform personally, but not many.
"Many CG scenes have already reached the preliminary stage."
During a brief break in filming, Kevin Feige approached Duke to update him on the film's VFX progress. "The location unit led by Anna Prinz has also set out. Also, the California state government is very pleased the crew is staying in Los Angeles for filming and has offered us a 9% tax rebate incentive."
Like many states in the U.S,California began revising its film industry policies to counter the outflow of Hollywood crews. In addition to available subsidies, big-budget productions could also qualify for significant tax rebate programs.
After exchanging a few words with Kevin Feige, Duke told him to find Charles Roven instead. Handling those administrative matters was their responsibility. Duke preferred to focus his energy on filming.
Today's primary shoot involved Black Widow Natasha Romanoff. After finishing the complex fight scenes, Scarlett had a relatively relaxed dialogue scene.
Wearing black stockings and a tight black mini-skirt, she held a pair of high heels in one hand and a phone provided by a sponsor in the other, walking toward the "outside." The boom mic lowered from above to hover near her head.
"Yes, Steve Rogers doesn't trust you! Because you launched several wars that never should've happened. That goes against what he believes in."
Her dialogue was clearly related to assembling the Avengers. "Phil, you and Nick Fury should understand this Captain America is loyal to his country, not to any particular government or organization, even if that organization was founded by Peggy Carter!"
"That billionaire doesn't trust me," she continued walking off. "Phil, let the big shot and the muscle guy be your concern. I'll handle Steve. I'll take him to see Peggy Carter."
"CUT!"
Seated behind the director's camera, Duke shouted for a cut, then gave instructions. "Move to Stage 3. Tell Chris to get ready."
That's movie production for you a set that took over ten days to build was declared obsolete after less than one day of shooting. The filmmaking process is truly a money-burning affair.
Inside the makeup trailer, aside from routine makeup to better match Steve Rogers' image, the stunt coordination team had someone wrap thick bandages around Chris Evans' hands.
He exited the trailer and stepped into a slightly smaller soundstage nearby. It had been set up as a vintage training gym the very place Steve Rogers used daily after waking from his frozen state.
Having fully grasped everything that happened after WWII, Steve Rogers found much of the U.S. government's actions at odds with his ideals—at times, even resembling those he had sworn to destroy. Even though S.H.I.E.L.D. had saved him, he still didn't place much trust in them. Comparatively, Natasha Romanoff, a comrade who had fought alongside him and experienced life-and-death battles, remained one of the few people he could partially trust.
These scenes posed little challenge for Chris Evans at this stage of his career. After Duke gave him brief instructions on blocking and a few minor notes, he stood in front of a punching bag.
"Scene 12, Shot 1. Now rolling!"
With the script supervisor's cue, Chris Evans, like a professional boxer, began striking the hanging punching bag with loud thuds. These weren't soft taps he was genuinely hitting it hard. Even with the bandages, he could still feel a bit of pain.
After several takes of him hitting the bag, the crew switched in a different, hollow prop bag. Chris Evans threw a few punches at this flimsy substitute and then landed a powerful straight punch. At the same moment, a rigged device activated, sending the bag flying like a leaf in a storm.
"OK!"
These shots might appear ordinary now, but with post-production, they would be transformed into outstanding cinematic moments.
Through the loudspeaker, Duke's voice rang out again, "Where's Scarlett Johansson?"
Next up was the scene between Black Widow and Captain America.
"Why do I always feel like Marvel's screenwriters…"
Walking over to the director's chair and seeing the crew still busy arranging lights and props, Scarlett quietly said to Duke, "Want to make Black Widow and Captain America a couple?"
"Because audiences like to watch interactions between superheroes," Duke replied without even lifting his head. "Especially a man and a woman two ninety-year-old senior superheroes."
"But don't you think two ninety-year-olds falling in love is kind of weird?" Scarlett was clearly using the conversation to relax.
Duke quoted Black Widow's line directly, "That's why love is just child's play. Steve Rogers and Natasha Romanoff share more of a comrade-in-arms, colleague, and life-and-death bond it's a complex relationship."
He looked at the crew's progress and said, "You should go get ready."
Scarlett nodded and walked toward the camera.
Once Duke gave the signal for the slate to call action, Chris Evans dragged a sandbag across the floor and hung it in mid-air, pounding it again with thudding punches. From the other side came a clear female voice.
"Steve, are you having trouble sleeping again?"
Chris Evans stopped his movement and looked toward the doorway. Scarlett Johansson was standing there.
"Long time no see, Nat." Chris Evans resumed punching the bag. "I've slept for seventy years I've had enough sleep."
"Then you should get out and see the world." Scarlett strolled in unhurriedly. "Find a girl maybe that'll help."
Glancing at Scarlett, Chris Evans stopped, unwrapped the bandages from his hands, and walked toward the other side. "When I went into the water, the world was still at war. But back then, we fought for justice. I woke up, and they told me we won but all I see is how much we've lost."
"This country's made a lot of mistakes over the years," Scarlett stepped right in front of him, "including some very recent ones."
"You need me?" Chris Evans asked.
"We need you to save the world." Scarlett handed over a file she was holding. "A very serious incident."
"This is HYDRA's secret weapon," Chris Evans said after just a glance. "It's still around?"
"Remember Howard Stark?"
After Chris Evans nodded, Scarlett continued, "He pulled it from the ocean while looking for you. It's been stolen now…"
"It should've never been brought up!"
Picking up his bag, Chris Evans headed for the door. Scarlett followed behind. "Steve, I'm taking you to meet someone tomorrow."
Chris Evans stopped, thought for a moment, and said, "Come get me in the morning. Don't be late."
"OK!"
As Chris Evans walked out through the gym's iron door, Duke's voice came through the loudspeaker, "That take's good!"
....
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