TV Review!
“Wanda/Vision” on Disney+ Review by Suzanne 1/16/21
This is a very weird show. The two stars of this series (Elizabeth Olsen and Paul Bettany), and their characters, were in the Avengers’ movies as superheroes The Scarlet Witch and Vision. If you haven’t seen those films, you might not understand what’s going on. However, the rest of it is a mystery to all of us. They dropped the first two episodes today. Clearly something strange is going on. Wanda and Vision are trapped as husband and wife in a 1950’s or 1960’s-style TV show. They know who they are, and they have their powers, but they don’t have much memory of what happened before this, or how they got there. They did something similar in an episode of “Supernatural,” but I think this is going to turn out to be very different from that.
They do a great spoof of the old shows, like “The Dick Van Dyke Show,” “The Honeymooners,” “I Love Lucy,” and Bewitched. I can’t wait to see more. In the first episode, Vision and Wanda can’t remember why there’s a heart on their calendar for some special day. She thinks it must be some anniversary, so she gets ready for that, with the help of her nosy-next-door neighbor, Agnes (Kathryn Hahn). Meanwhile, at his work, Vision learns that today is the day that his boss and the boss’ wife are expected for dinner. He calls Wanda to warn her, but in a typical situation comedy misunderstanding, it doesn’t help. They have a very funny dinner, but it turns weird. In the next episode, they get involved with neighborhood watch as well as doing a magic act to raise money “for the children” (this phrase is repeated by everyone in a monotone that reminds one of a cult).
Besides the sitcom stories, Wanda and Vision get glimpses that something is not right. Vision computes figures at his job, but no one can tell him what their company actually does. Vision’s boss chokes at dinner, and his wife doesn’t act normal as he’s choking. She just keeps saying, “stop that.” Finally, Wanda tells Vision to save him (I guess neither of them know CPR), so he uses his powers to reach into the man’s throat and take out the food that he’s choking on. The boss and his wife don’t act like anything unusual happened. Wanda notices some strange things going on in the second episode when a voice seems to be asking her, through a radio, what happened to her. Also, in their black-and-white world, she sees a red toy helicopter out in their bushes. Some other strange things happen as well. I don’t want to give too much away. The second episode ended with something pretty cool happening.
What makes this show great is the chemistry between Wanda and Vision, and their comic timing; the production’s attention to detail also makes it work. Since they’re in a sitcom, it is funny – funnier than the actual shows were back then. There’s always an edge to what they’re saying, though, because everything is just a little off.
What we’re dying to know is how they got there and where they are. Are they in Wanda’s head? Is Vision dead (since he died in the movies)? Has he come back to life, or did this happen in the past, before he died? Are the other people really people? Of course, the big question is: who’s behind this?
I look forward to the rest of the episodes….there are only 9 this season. If you like superheroes, or good fantasy, you should definitely check this out.
MORE INFORMATION:
Marvel Studios presents âWandaVision,â a blend of classic television and the Marvel Cinematic Universe in which Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) â two super-powered beings living idealized suburban lives â begin to suspect that everything is not as it seems. The new series is directed by Matt Shakman; Jac Schaeffer is head writer.
Fact Sheet: Synopsis:Marvel Studios presents âWandaVision,â The new series debuts exclusively on Disney+ beginning January 15, 2021.Title:âWandaVisionâCategory:Original live-action series U.S. Premiere:January 15, 2021Cast:Elizabeth Olsen, Paul Bettany, Kathryn Hahn, Teyonah Parris, Kat Dennings, Randall Park Directed by:Matt Shakman Head Writer:Jac SchaefferProduction Company:Marvel StudiosSocial Media:Twitter: @WandaVision, @DisneyPlusFacebook: @WandaVisionOfficial, @DisneyPlusInstagram: @MarvelStudios, @DisneyPlusHashtag:#WandaVision, #DisneyPlus
Production Info:
PRODUCTION BRIEF
Marvel Studios presents âWandaVision,â a blend of classic television and the Marvel Cinematic Universe in which Wanda Maximoff and Visionâtwo super-powered beings living idealized suburban livesâbegin to suspect that everything is not as it seems. ââWandaVisionâ will be the very first Marvel Studios series on Disney+,â says Kevin Feige, president, Marvel Studios and chief creative officer, Marvel. âWanda and Vision are two of our most powerful and complex heroes, and this series is a perfect expansion point for MCU storytelling.â
The series not only marks the first Marvel Studiosâ Disney+ series, it is its first journey into the world of sitcomsâwith an MCU twist. âItâs a mash-up of classic sitcoms and large-scale Marvel action,â says Matt Shakman, who directs all nine episodes. âI think itâs really lovely that the first streaming show from Marvel Studiosâproducer of huge blockbuster filmsâis really a love letter to the history of television.â
According to head writer Jac Schaeffer, âWandaVisionâ is funny, mysterious and action- packed. âIt picks up shortly after âAvengers: Endgame,ââ she says. âMarvel fans have never seen Wanda and Vision in this way before. Their storyline has been so romantic and tragicâfans have really latched onto it. But really, itâs been precious little screen time, and itâs all been very fraught. In this show, we get to see them in a domestic light, and it gets to breathe. Itâs really beautiful.
âIn the first episode we meet Wanda and Vision after theyâve just been married,â continues Schaeffer. âTheyâre driving into this new town with âjust marriedâ on the back of their cute little car. Itâs 1950s, black and white, theyâre absolutely adorable. Theyâre madly in love, and there is not a hint of the Avengers or the larger MCU. We see them going about their day, making breakfast. Sheâs a witch, heâs synthezoid. She can dry dishes in the air. He can change density and walk through things.â
Says Shakman, âWanda and Vision are just starting their married life together in this new town, and they’re meeting their neighbors. Vision’s starting to work at his new job while Wanda navigates life at home. They’re concerned about hiding their powers from their new friends and neighbors, and when they’re pushed for more information about where they came from, they’re stumped. That’s when we start to realize that things are not quite what they seem.â
With nine episodes, the series was created much like a motion picture would beâbut more extensive, allowing first-of-its-kind exploration of the relationship between Wanda and Vision. Says co-executive producer Mary Livanos, âElizabeth Olsen and Paul Bettany have the opportunity to flex different muscles over the course of this series that usually an actor wouldnât get to do within the scope of a single project.â
Olsen, who has portrayed Wanda since the characterâs post-credits debut in Marvel Studiosâ 2014 feature film âCaptain America: The Winter Soldier,â returns to her signature roleâtaking it in a curious new direction. âPaul and I get to discover at a much deeper level who these characters are,â she says. âWanda and Vision have always had an unspoken and inherent connection since âUltron.â âThe infinity stone is such a huge part of their intrinsic connection and understanding of one another. I think just like any great love story, there is a strong energy that attracts both of them to one another. In âWandaVision,â we watch them experience a domesticated lifestyle for the first time, or as domesticated as possible for them. We watch them experience the joys and complications of parenting, while also overcoming secrecy and distrust, but always coming together in the end with the common bond, respect and unconditional love for one another.â
Bettany, whose voice made his debut in the MCU as J.A.R.V.I.S. in âIron Man,â first appeared on screen as Vision in âAvengers: Age of Ultron.â The actor says he first heard about âWandaVisionâ during a visit to Marvel Studios. âI went in, and much to my surprise, they pitched this idea for a show that is an homage to American sitcoms,â he says. âItâs a beautiful little puzzle box that you begin to open. As mad and chaotic as the trailer looks, everything has a reason. There are layers upon layers.â
âWandaVisionâ stars Elizabeth Olsen as Wanda Maximoff, Paul Bettany as Vision, Teyonah Parris as Monica Rambeau, who was introduced to audiences in âCaptain Marvel,â and Kathryn Hahn as Agnes, the nosy neighbor. Randall Park will reprise his role as Jimmy Woo from âAnt-Man and The Wasp,â and Kat Dennings will reprise her role as Darcy from âThorâ and âThor: The Dark World.â
The series is directed by Matt Shakman (âGame of Thrones,â âItâs Always Sunny in Philadelphiaâ) with Jac Schaeffer (âThe Hustle,â âOlafâs Frozen Adventureâ) as head writer. Executive producers are Kevin Feige, Louis DâEsposito, Victoria Alonso, Shakman and Schaeffer, and co-executive producers are Mary Livanos and Trevor Waterson. Jess Hall, ASC, is director of photography, Mark Worthington is production designer, Mayes C. Rubeo is costume designer and Tara DeMarco is VFX supervisor. Composer is Christophe Beck, and theme (for certain episodes) is by Kristen Anderson- Lopez and Robert Lopez. âWandaVisionâ debuts on Disney+ on Jan. 15, 2021.
SITCOM SAVVY
Filmmakers, Cast and Crew Go Back in Time to Capture Classic Sitcom Style
Marvel Studiosâ foray into the world of the sitcom celebrates the genre in a big way. âThe story imagines Wanda and Vision in a 1950s sitcomâwhen the show opens, thatâs presented without explanation,â says head writer Jac Schaeffer, who also contributed to the story of Marvel Studiosâ upcoming âBlack Widow.â âWe see them move thorough the various eras of sitcoms as the series progresses.â
Director Matt Shakman, Primetime EmmyÂŽ nominee for his work on âThe Great,â came to the production with a unique background, having starred in shows like âJust the Ten of Usâ and âWebsterâ as a child. âIt was a unique challenge for me because I did spend my entire childhood as an actor around sitcoms,â he says. âI grew up on sitcom stages and backlots, and so this was a real trip down memory lane.â
The classic-sitcom approach offered exciting opportunities for humor and levity, but filmmakers were very serious about getting the genre right. Says Shakman, âIt was really important to us from the get-go that we weren’t parodying sitcoms. We studied tone and style from era to era. We wanted to make sure the actors were really fluent in all of these different styles. So, we had a sitcom bootcamp with the cast before we began. We watched old episodes and we tried on different styles to figure out the physicality and the sound for each era.â
According to Elizabeth Olsen, there was a lot to learn. âMatt led us through a sitcom crash course,â she says. âWe watched episodes from the specific shows we wanted to reference in each decade. And as I would any period piece, I worked on the vocal changes as well as the physical manners of the periods. There is also a really amazing arc in sitcoms throughout the decades that is a tug-o-war between earnestness and cynicism. I loved how Jac Schaeffer used these tonal shifts from decade to decade to directly affect Wanda’s emotional journey.â
Cast and crew studied classic sitcoms from the 1950s through the 2000s. âWe wanted to make sure that what we were creating was absolutely faithful to the original touchstone shows,â says Shakman. âTo that end, we watched lots of episodes, read books about the making of those shows, and interviewed, whenever possible, people who had actually worked on those shows.
âI went to lunch with the great Dick Van Dyke and Kevin Feige before we started production on âWandaVision,ââ Shakman continues. âThat was a lovely experience and a great way to hear how they approached production on his show, which was inspiration for our first episode.â
LIVE STUDIO AUDIENCE
To achieve the desired authenticity, filmmakers decided to shoot the first episode in front of a live studio audience. The effort not only conjured genuine laughter, harkening back to classic sitcoms, it affected the performances. Says Shakman, âIt’s amazing when you put actors in front of a live audience, how much that material jumps when the adrenaline, the excitement, the communication is happening between the actor and the audience. It elevates the material, and it becomes much more like a play. That was a huge part of what we captured in episode oneâthat spark, that kind of lightening in a bottle.â
Paul Bettany most definitely felt that spark. âYou can’t help yourself when there are people thereâyou want them to hear it and laugh at it. It makes it all a little bigger. And that, I think, captured the style of the â50s. It was a brilliant decision.
âI was really nervous,â Bettany continues. âWe rehearsed it very thoroughly, and every member of the crew was dressed in [1950s] costumes. Everybody really got into the spirit of it. And then the audience came in, and we just went for it. We jumped into the abyss. I just loved it. I should’ve been on a sitcom all these years.â
TO BE CONTINUEDâŚ
As the episodes progress, so do the sitcom eras, which required a fresh approach with each episodeâincluding production design, costumes, cinematography and performances. âThere aren’t many opportunities as an actor to explore as many genres and tones as we do in this series,â says Olsen. âIt was as much of a challenge as it was a joy. This Marvel story could only ever be told through the medium of television and that’s what makes it such a special piece of the MCU.â
WELCOME TO THE NEIGHBORHOOD
MCU Veterans Wanda and Vision Join New Characters
In Marvel Studiosâ âWandaVision,â two of the MCUâs most intriguing characters are joined by other favorites, plus new charactersâsome of whom will go on to appear in future features. Together with the filmmakers, the cast weaved together a mysterious and mesmerizing story. âThey were all extraordinary, and they were all fabulous to work with,â says director Matt Shakman of the cast. âLizzie and Paul are just absolute gems, and I can’t wait for people to see what theyâre capable of. They changed tone and style sometimes three or four times a dayâfrom these heartbreaking, dramatic scenes to these incredibly goofy, comedic scenesâand they pulled off everything so brilliantly.
They took huge risks, and they never shied away from a challenge. They set the tone for everybody.â
âThey’re both such funny actors,â adds head writer Jac Schaeffer. âThe physical comedy is really great, and theyâve been studying the classic shows with the nuanced performance styles. Theyâve had to be like Swiss Army knife performers.â
WHOâS WHO IN âWANDAVISIONâ
WANDA MAXIMOFF and Vision say goodbye to city strife, and settle into a quiet suburban life in their new hometown of Westview. Try as Wanda may to fit in and conceal her powers from neighbors, merry domestic mishaps call this magical maven to action! With a magical wiggle of her fingers, is there anything she canât do, or conflict she canât resolve?
According to director Matt Shakman, in terms of the MCU timeline, Wanda has just helped to defeat Thanos. âThe world just keeps putting up obstacles for her, and she has all of this untapped power that she doesn’t fully understand,â says Shakman. âHer journey for this show is to come into her own. Sheâs an incredibly powerful figure whoâs been manipulated and used over the years. This is her opportunity to rediscover herself, and at the same time, itâs a brilliant love story.â
Elizabeth Olsen steps into the characterâs shoes once again, bringing with her six years of experience. âI think more than anything, this show created an opportunity to expand upon what makes Wanda Wanda,â says Olsen. âShe is a deep-feeling person, yet in this show she tries to push that part of herself aside. So, it was more of a journey of allowing Wanda to break through the sitcom facade and accept the woman she is and the life she has led.â
Head writer Jac Schaeffer says Wanda has a simple desire. âWhat she wants more than anything is to live happily with her husband in this community and to make friends and to be a part of the community.â
VISION lives happily alongside his wife Wanda Maximoff in the quiet suburb of Westview. Like Wanda, Vision endeavors to keep his powers under wraps, but the superpowered synthezoid has been known to slip. Though this domestic version of Vision is unlike any seen before, he remains as keenly aware of his unique existence as ever.
Paul Bettany once again portrays Vision, who seems to have traded in his super responsibilities for a decidedly human gig. âHe finds himself fully formed and in the 1950s,â says Bettany. âHis daily life is a nine-to-five, briefcase-hat-and-suit job.â
Shakman says Vision is one of the MCUâs most compelling characters. âVision is this AI who is half human and half robot,â says Shakman. âAnd yet, he’s more human than any of us.â
Bettany agrees. âEven from his days as J.A.R.V.I.S., heâs always been becoming,â Bettany says. âVision was born this omnipotent, naĂŻve android, which is a weird combination, and he has always been growing and becomingâtrying to understand what makes humans human, trying to understand love. This definitely feels like a culmination of that journeyâan ending in some ways, and frankly, a new beginning.â
MONICA RAMBEAU, the daughter of Carol Danverâs best friend Maria, has always been like a niece to Carol who liked to call her âLieutenant Trouble.â At age 11, Monica helped Carol choose the colors for the suit sheâd ultimately wear as Captain Marvel.
Today, Monica is all grown up, destined for her own adventures, obstacles, setbacks and discoveries.
Teyonah Parris portrays Monica. âI am a huge Marvel fan,â she says. âI first connected with Marvel after seeing âIron Manâ for the first time. My current favorite title is âCaptain Marvelââmy characterâs origin! That film was great fun and amplified girl power.â
Parris, who will appear as Monica Rambeau in the upcoming feature âCaptain Marvel 2,â adds that filming the complex series has been a great introduction to the MCU. âThere are a lot of moving parts to this production,â she says. âIt feels like we are making something epicâand there are moments that are a nod to the amazing, iconic television shows from our past. The energy on set has been incredibleâfrom the cast to the crew. Itâs clear that we are making something special.â
AGNES is the brassy, nosy neighbor of Wanda and Vision. Sheâs well-versed in all things suburban, happily giving Wanda a leg up in navigating the social pressures of Westview. A beloved extended member of the family, Agnes is never far away.
âEvery sitcom needs a nosy neighbor character,â says Schaeffer. âAgnes is fabulous and brassy and hilarious. She invites herself over and wants to know everything about Wanda. Of course, Wanda doesnât have the answers to any of the questions, but sheâs very charming in deflecting them. Itâs all in good fun and Wanda is relieved and excited to have a friend and an ally in this new town.â
Kathryn Hahn expertly fills Agnesâ shoes, embracing the sitcom approach, the MCU and everything else. âIt could not be more fun and delicious,â she says. âThe fact that I get to do all of this – with these actors, with Matt [Shakman], and play with all of these different characters – it’s a crazy dream that this is my way into this world. It’s bananas. And now with my kids, maybe I will have a little bit of cred! Not much yet, because I’m still a big old nerd to them, but maybe I will be a little bit cooler in their eyes after this comes out.â
âKathryn Hahn can do anything,â says Shakman. âShe is a brilliant comedian and a phenomenal dramatic actor. Having her skillset there to go along with Paul, Lizzie and Teyonah Parrisâthey are an exceptional ensemble.â
DARCY LEWIS and JIMMY WOO are an integral part of the complicated and mysterious story of âWandaVision.â According to Shakman, Darcy has come a long way since she was last seen in âThor: The Dark World.â âShe’s gone on to become Dr. Darcy Lewis now,â he says. âSo, sheâs a real expert in her field.â
Joining Darcy in her latest quest is Jimmy Woo, whoâs the same diligent agent seen in âAnt-Man and The Wasp.â âThey have a mystery to solve,â says Schaeffer. âThey have so many questions and no answers.â
Kat Dennings and Randall Park reprise their roles as Darcy Lewis and Jimmy Woo, respectively.
GETTING THE RIGHT LOOK
Cinematography, Production Design, Costume Design and Visual Effects Work Together to Achieve Authenticity from Era to Era
âWandaVisionâ not only channels classic sitcoms, it aspired to capture specific eras throughout the seriesâwhich meant a fresh approach to each episode when it came to cinematography, production design, costume design and visual effects.
CINEMATOGRAPHY
âThe approach in essence was to study and absorb the references of each period, to distill their technical and aesthetic choices and then to selectively apply and to filter these within our own stylistic sensibility,â says director of photography Jess Hall, ASC. âThe objective is to create images that were in a sense truly post-modern, not simply an homage to the past. This is what the complex narrative of âWandaVisionâ demanded.â
Hall utilized 47 different lenses to create seven different periodsâmany custom modified to render specific period characteristics. âFor the 1950s, I tested lenses of the actual period and then modified modern lenses to selectively render the characteristics that I likedâit was never a case of simply copying what had been done before.â
In terms of lighting, Hall utilized a carefully crafted lighting style, as well as lighting instruments that were period appropriate. âThis meant delving deep into the archives of several studio equipment houses to source equipment that has become almost obsolete,â he says. âThe 1950-1970s episodes are shot almost entirely with period tungsten lighting. LED lighting doesn’t make an appearance until the later episodes that are situated in the 2000s, which is in the correct time line for when this equipment entered the filmmaking vocabulary.â
Hall also studied and incorporated specific composition and camera movement to convey the various periods, adopting specific camera approaches to episodes, depending on what the periodâs sitcoms tended to utilize. âHowever,â he says, âI like to think that âWandaVisionâ has a unique quality and that in a certain sense its look is original, a visual synthesis that has transcended the cut and mix.â
PRODUCTION DESIGN
âWhatâs really interesting was the fact that weâre not just dealing with the different erasâitâs a sitcom,â says production designer Mark Worthington. âSo, what does that mean? The visual language and vocabulary of a sitcom are actually really specific and it changes radically between decades. âI Love Lucyâ had really simple little apartments that looked like theater sets. When you get to âThe Dick Van Dyke Show,â you’re starting to get really interesting period references and a little fun, modern design comes into it. âThe Brady Bunchâ has â70s wild beautiful colors.â
According to Worthington, the idea of setting the story within traditionally lighthearted sitcoms adds to the mystery. âWhat interested me about this story was that dichotomy, because these sitcoms are not just these fluffy things,â he says. âThey imply a much darker idea. It’s really beautiful.â
Worthington also had to consider the seriesâ evolution from black-and-white to color.
âHalf of film history is in black and white,â he says. âSo, reentering this space has been interesting because weâve discovered some stuff about how colors work in a black-and- white space.â
COSTUME DESIGN
Costume designer Mayes C. Rubeo ensured the cast wardrobe enhanced the authenticity of each episode. âIt is rare to find a story that arcs through so many decades, without the characters aging,â she says. âJac [Schaeffer]âs concept of the story, and the brilliant way that Matt directed each episode made the work so exciting.â
Rubeo says she has favorite costumes from every episode. âThe suit Vision wears and the wedding dress we made for Wanda for the opening titles were my favorite creations from that episode,â she says. âThey were both made from scratch, and Paul loved the suit and tie so much he was sad it couldnât be used for the whole episode. Wandaâs dress was a beautiful homage to Audrey Hepburn.â
As the series segued from black and white to color, Rubeo collaborated with the director of photography and production designer to ensure they achieved the perfect overall look. She describes the first three episodes as âparticularly stunning,â including a psychedelic 1970s print dress for Wanda in the third episode.
âI think part of the wonder of this show is the strong and fast change between eras and broadcasting styles,â says Rubeo. âThe sets, hair, make-up and costumes, as well as the photography, set the scene beautifully.â
VISUAL EFFECTS
According to VFX supervisor Tara DeMarco, filmmakers studied practical effects and early days visual effects of television and film from each era. For the first three episodes, says DeMarco, âwe used puppeteered props, practical film cuts and rewind effects.â
While filmmakers leaned into the effects used during the era that inspired the episodesâtechnology that improved incrementally with each eraâthey enhanced the look using todayâs tools. âWe used contemporary technology to help remove the wires and smooth the cuts,â says DeMarco, âbut many of the effects were shot in-camera. We occasionally used CG to bolster the storytelling in a beat where we were missing a wire gag. For example, Wanda’s kitchen in the first episode is a blend of practical puppeteered floating objects and CG ones created later to fill out the scene.â
âWANDAVISIONâ SITCOM STYLE TO INCLUDE ORIGINAL THEME SONGS
Kristen Anderson-Lopez and Robert Lopez Behind Original Theme Songs with Original Score by Christophe Beck
âWandaVisionâ filmmakersâ research and detailed examinations of sitcoms throughout television history yielded a common thread: theme songs. The nature and style of the songs changed over the yearsâcreating almost a calling card for each era. This signature enhanced the authenticity sought for âWandaVisionâ and its roots in classic sitcoms. Kristen Anderson-Lopez and Robert Lopez created unique theme songs for episodes spanning from the 1950s to the early 2000s, while Christophe Beck composed the score for the series.
ORIGINAL SONGS
ââWandaVisionâ is such a cool, strange, one-of-a-kind project,â says Lopez. âWhen the director, Matt Shakmanâan old friend from my college daysâpitched it to us, we didnât have to think about it. We loved the bright feeling of American sitcoms mixed with the deep sense of unease the story had, and it was a really inviting challenge to help set that tone. We also really related as a couple to the feeling of chaos Wanda and Vision go throughâtrying to maintain a loving, happy family through an unyielding and constantly growing onslaught of problems.â
Adds Anderson-Lopez, âI grew up in the â80s watching shows from every decade on the networks all day long. Episodes from âI Love Lucy,â âBrady Bunchâ and âFamily Tiesâ shaped who I am and how I move through the world.â
Indeed, both consider themselves âtotal TV addicts as kids,â so they had already done much of the research in terms of creating identifiable themes for each era represented. The next step in their process was to find a way to tie the themes together. Says Lopez, âOne thing we decided to do before writing anything was find a motif that would unify all the songs, since there were so many different styles and tunes. We found a four-note theme that would be kind of like the âWandaVisionâ call-out, easily identifiable in some way in each song, that had to work with every style. Once we had that, everything flowed. It was honestly some of the most fun weâve ever had.â
For the first episode, says Anderson-Lopez, they wanted to evoke the dawn of television. âWe wanted to have an optimistic group of voices singing jazzilyâthough not too jazzilyâabout the love between these two, and the main question of the first episode, whether two Avengers in love can pass for normal in a typical American suburb,â she says. âIt was a great chance to use words like âgalâ and âhubbyâ that we just donât throw into modern songs anymore. We knew there would be a moment where Vision, carrying Wanda across the threshold, forgot to open the door and just phased through the wall, unexpectedly dropping her, so we put a big musical pratfall in the middle of the piece. It was fun to see how the team executed it.â
ORIGINAL SCORE
Christophe Beck was called on to compose unique scores for all nine episodes. âFor each era, the music is a loving homage to the sitcom scores typical of the time period,â says Beck. âThis involved not only the instrumentation, but also the composition style. My team and I had enormous fun exploring these styles!
âIt was also exciting to find ways to connect the scores together even as they span the stylistic variety across all the episodes,â continues Beck. âWanda and Vision have a love theme that I was able to weave in and out within the context of all the different sitcom styles, for example.â
According to Beck, the score features instruments that were typical of the era being represented in a given episode. Early episodes feature small orchestral ensembles, while later episodes embrace a rock-pop style. Beck also utilized period-specific recording and mixing techniques to achieve the authenticity filmmakers wanted.
Beck adds that the length of the cues changed with the eras. âAs the series progresses through the decades, the music becomes more pervasive.â
ABOUT THE TALENT
ELIZABETH OLSEN (Wanda Maximoff) is a vivacious and engaging young actress, a graduate from New York Universityâs prestigious Tisch School of the Arts, and a recipient of Hollywood Rising Star Award at the 41st Annual Deauville Film Festival in 2015.
Olsen starred in and executive produced the dark-comedy series âSorry For Your Lossâ on Facebook Watch. She starred as a young widow whoâs dealing with the grief of losing her husband while reconnecting with relationships of her past. Olsenâs performance earned her a Critics Choice Award nomination for best actress in a drama series. The series wrapped its second and final season on Oct. 1, 2019.
Olsen reprises her role as Wanda Maximoff in Marvel Studiosâ âWandaVision,â starring alongside Paul Bettany, who reprises his role as Vision. The series debuts Jan. 15, 2021, on Disney+. Olsen returns as Wanda in âDoctor Strange In The Multiverse of Madness,â which opens in theaters March 25, 2022.
Olsen resurrected her character Wanda Maximoff in Marvel Studiosâ âAvengers: Endgameâ alongside Chris Evans, Robert Downey Jr., Scarlett Johansson, Paul
Bettany, Brie Larson and Anthony Mackie. The globally anticipated continuation opened in theaters on April 26, 2019, and has grossed almost $3 billion. To date, the film has earned nearly $3 billion in the worldwide box office. Olsen originally appeared as Wanda in 2015âs âAvengers: Age of Ultronâ and subsequently appeared in âCaptain
America: Civil Warâ in 2016.
In 2018, Olsen starred in âKodachomeâ opposite Ed Harris and Jason Sudeikis. The film is set during the final days of the still-photo development system known as Kodachrome. The ticking clock to get the rolls of film developed is the backdrop for a father-and-son bonding trip as they try to reach the Kansas photo lab before it closes its doors for good. âKodachome,â which was acquired by Netflix during the 2017 Toronto International Film Festival, was released on the streaming platform in April 2018.
In 2017, Olsen starred in âWind Riverâ opposite her Avengers co-star, Jeremy Renner. The film, written and directed by Taylor Sheridan, centers on a murder on the Wind River Indian Reservation. That same year, Olsen starred in the dark comedy âIngrid Goes West,â alongside Aubrey Plaza, Wyatt Russell and OâShea Jackson Jr. The Matt Spicer-directed film follows Ingrid Thorburn (Plaza) who becomes obsessed with Taylor Sloane (Olsen), a social media influencer with a seemingly perfect life in Los Angeles. âIngrid Goes Westâ was nominated for a 2018 Film Independent Spirit Award for best first screenplay and best first feature.
In 2016, Olsen appeared in the Hank Williams biopic titled âI Saw the Lightâ as Audrey Mae Williams, opposite Tom Hiddleston. The Sony Pictures Classics film premiered at the Toronto International Film Festival on Sept. 11, 2015, opening in theaters in March 2016. In 2014, Olsen appeared in the Warner Brothers and Legendary Pictures reboot of âGodzilla,â opposite Aaron-Taylor Johnson and Bryan Cranston.
In 2013, Olsen starred in the Spike Lee-directed film âOldboyâ with Samuel L. Jackson and Josh Brolin. The film centers around an everyday man that has only five days and limited resources to discover why he was imprisoned in a nondescript room for 15 years without any explanation. Olsen also appeared in the film âIn Secret,â opposite Jessica Lange and Oscar Issacs, which opened in Feb. 2013. That same year, Olsen helped kick off the Classic Stage Companyâs Fall 2013-2014 season as the lead role, Juliet, in the Off Broadway play âRomeo and Juliet.â Olsen also starred in âVery Good Girls,â opposite Dakota Fanning, which premiered at the 2013 Sundance Film Festival. The Naomi Foner-directed film is about two New York City girls that make a pact to lose their virginity during their first summer out of high school. Olsen had two previous films premiere at the 2012 Sundance Film Festival: âLiberal Artsâ with Josh Radnor, John Magaro, Zac Efron and Richard Jenkins, and âRed Lightsâ opposite Robert DeNiro, Cillian Murphy and Sigourney Weaver.
In spring of 2012 Olsen starred in the independent film âSilent Houseâ from Open Road Films. The film is the re-imagining of the successful Uruguayan psychological horror- thriller âLa Casa Muda.â In 2011 Olsen received a Gotham Award, Critics Choice and Independent Spirit Award nomination for lead actress for her performance in Fox
Searchlightâs âMartha Marcy May Marlene.â The film is a drama that follows a young woman who is living with her older sister after escaping a cult. Olsen stars opposite Hugh Dancy, John Hawkes, Sarah Paulson and Brady Corbet. âMartha Marcy May Marleneâ was also selected in the Un Certain Regard as part of the 2011 Cannes Film Festival. She has been nominated for her performance from the following critic associations: St. Louis, Las Vegas, Houston, FIND Spirit, San Diego, IPA and Detroit. She won best actress from the Indiana Critics Association.
Olsen understudied both on the Off Broadway play âDustâ and the Broadway play âImpressionismâ while attending New York University. Other workshops include âBottom of the Worldâ by Lucy Thurber (Atlantic Theatre Company), and âThe Living Newspaperâ (DRD Theatricals). Olsen has had formal training at Atlantic Acting School and Moscow Art Theatre School.
Olsen serves as a board member of The Latitude Project, which builds solutions to help alleviate the stresses of poverty in ways that engage and empower people from roofs to clean water and healthcare to education. On June 9, 2018, the Environmental Media Association (EMA) honored Olsen with the EMA Futures Award for her work with The Latitude Project. Since 1989, the Environmental Media Association (EMA) has been using its voice to effect change and honoring excelling and role modeling in entertainment, media, technology and business. The organization works to educate the public about water issues, energy solutions, animal protection and conscious consumption for lifestyle choices. The EMA Futures Award is given to young and emerging advocates for the environment. Olsen also is a dedicated volunteer at the Stuart House: Rape Treatment Center, which provides expert comprehensive services for victims of rape, sexual assault, and child sexual abuse, including specialized medical care, forensic services, crisis counseling and longer-term psychotherapy, advocacy, and other forms of support. The center also provides prevention education programs, professional training for law enforcement personnel, medical personnel and school personnel, and advocacy for needed policy rape, sexual assault and child sexual abuse, including specialized medical care, forensic services, crisis counseling and longer-term psychotherapy, advocacy and other forms of support.
PAUL BETTANY (Vision) reprises his role as Vision in the Disney+ series âWandaVision,â debuting on January 15, 2021. Previously, he starred as Vision in the films âCaptain America: Civil War,â âThe Avengers: Age of Ultronâ and âAvengers: Infinity War.â
He was most recently seen in the film âUncle Frankâ for writer/director Alan Ball which premiered at Sundance and sold to Amazon Studios. It was released on Amazon Prime on Nov. 25, 2020.
Bettany was classically trained at the Drama Centre in London. He made his stage debut in a West End production of âAn Inspector Callsâ under the direction of Stephen Daldry.
Bettany was nominated for a British Independent Film Award and a London Film Criticâs Award for best newcomer in IFCâs âGangster No. 1,â directed by Paul McGuigan. He went on to star in Brian Helgelandâs film âA Knightâs Taleâ opposite Heath Ledger.
Bettany also starred in the Academy AwardÂŽ-winning film âA Beautiful Mind,â and Foxâs âMaster & Commander: The Far Side of the Worldâ for director Peter Weir for which he won an Evening Standard Award for best British actor, the London Film Criticâs Award for best supporting actor and Elle Style Award for best actor. His nominations also include a BAFTA for best supporting actor and a Broadcast Film Critics Association nomination for best supporting actor.
Other credits include the Academy Award-nominated film âMargin Call,â the British films âJourneyâs Endâ and âBlood,â the action films âThe DaVinci Code,â âSolo: A Star Wars Story,â âLegion and Priest,â and the avant-garde film âDogville.â
In television, Bettany starred as Ted Kaczynski in âManhunt: Unabomberâ where critics and audiences heralded his performance.
He made his directorial debut with the film âShelterâ starring Jennifer Connelly.
TEYONAH PARRIS (Monica Rambeau) has established herself as a versatile actress who continues to capture attention on stage and screen. She will star opposite John Boyega and Jamie Foxx in the Netflix sci-fi feature film âThey Cloned Tyrone.â The film, which will mark the directorial debut of âCreed 2â scribe Juel Taylor, follows a series of events that thrusts an unlikely trio (Boyega, Foxx, Parris) onto the trail of a nefarious government conspiracy.
On January 15, 2021, global audiences will see Parris join the Marvel Cinematic Universe as the iconic character Monica Rambeau in the highly anticipated Disney+ original series âWandaVisionâ opposite Elizabeth Olsen and Paul Bettany.⯠Next August, Parris will star opposite Yahya Abdul-Mateen II in the contemporary take on the cult horror classic âCandyman.â The film, directed by Nia DaCosta and written by OscarÂŽ winner Jordan Peele, is scheduled to be released in theaters by Universal Pictures on August 27, 2021.
Parris was recently seen in the HBO Max film âCharm City KingsââŻalongside Meek Mill, which had its world premiere at the 2020 Sundance Film Festival and won the Special Jury Prize for ensemble acting. Based on the documentary â12 OâClock Boys,â the film adaptation was originally written by Barry Jenkins, with rewrites from Sherman Payne.
Parris gave a memorable performance in Annapurnaâs âIf Beale Street Could Talk,â directed byâŻAcademy AwardÂŽ-winner Barry JenkinsâŻ(âMoonlightâ). The film, adapted from the successful James Baldwin novel, explored the life and challenges faced by a young couple in Harlem. âIf Beale Street Could Talk,â which first premiered at the 2018 Toronto International Film Festival and screened at the 2018 New York Film Festival, was nominated for a Golden GlobeÂŽ Award for best motion picture drama, and was also honored by AFI as one of their movies of the year.
In 2014, ParrisâŻstarred opposite Tessa Thompson in Justin Simienâs breakout independent film âDear White People.ââŻHer performanceâŻearned her a Black Reel Award in theâŻcategoryâŻofâŻoutstanding breakthrough performance. That next year, Parris was cast as the lead role in Spike LeeâsâŻâChi-Raq,ââŻfor which she wonâŻthe Black Reel and African-American Film Critics Association Awards for best actress, and also garnered an NAACP Image Award nomination. Parris then went on to appear as real-life singer Miki Howard in the Christine Swanson-directed telefilm âLove Under New Management: The Miki Howard Story,â in which she also served as a producer.âŻOther film credits include âHow Do You Know,â âPoint Blankâ and âThe Photograph.â
On television, Parris recurred opposite Jon Hamm on AMC Network’s criticallyâŻacclaimed television series âMad Men,â andâŻremainedâŻwith the showâŻthroughout its final four seasons. In 2013,âŻParris and her fellow âMad Menâ actors earnedâŻa Screen Actors Guild Award nomination for outstanding performance by an ensemble in a drama series. From 2014-2017, ParrisâŻalso starred on the acclaimed television series âSurvivorâs RemorseââŻfor its entire four-season run on Starz.
On stage, Parris made her Broadway debut inâŻJohn Guare’s play âA Free Man of Colorâ alongsideâŻJeffrey Wright and Mos Def.âŻThe play, directed by George C. Wolfe, played at the Vivian Beaumont Theater. In 2019, Parris originated the role of Kaneisha in the Off-Broadway production of Jeremy O. Harrisâ much-buzzed about production of âSlave Play.â
Parris is a graduate of the prestigious Juilliard School in New York City.
KATHRYN HAHN (Agnes) will be seen in “WandaVision,” alongside Elizabeth Olsen and Paul Bettany, portraying the nosy neighbor Agnes. The series is a blend of classic television and the Marvel Cinematic Universe in which two super-powered beings living idealized suburban lives begin to suspect that everything is not as it seems. It is set to debut on Disney+ on January 15.
Hahn is in production in Apple TV+âs âThe Shrink Next Door,â alongside Paul Rudd and Will Ferrell. The limited series is based on the true story of a psychiatrist-patient dynamic that morphs into an exploitative relationship filled with manipulation, power grabs and dysfunction. Hahn portrays Phyllis, the younger sister to Martin Markowitz (Ferrell) who is the patient of Dr. Isaac Herschkopf (Rudd).
Recently, Hahn was seen in the HBO limited series âI Know This Much is True,â in which she co-stars with Mark Ruffalo, Melissa Leo, Rosie OâDonnell, Archie Panjabi, Imogen Poots and Juliette Lewis. The series depicts a family saga that follows the parallel lives of identical twin brothers in a story of betrayal, sacrifice and forgiveness set against the backdrop of 20th-century America, based on the best-selling novel of the same name by Wally Lamb.
Film credits include Tamara Jenkinsâ âPrivate Life,â for which she received a Gotham Independent Film Award nomination; Phil Johnston and Rich Mooreâs âSpider Man: Into the Spider-Verseâ; Genndy Tartakovskyâs âHotel Transylvannia 3: Summer Vacationâ; âMax Winklerâs âFlowerâ; Jon Lucas and Scott Mooreâs âA Bad Moms Christmasâ and âBad Momsâ; Matt Rossâ âCaptain Fantasticâ opposite Viggo Mortensen; Steven Brillâs âThe Do-Overâ alongside Adam Sandler and David Spade; Peter Bogdanovichâs âSheâs Funny That Way,â alongside Imogen Poots, Owen Wilson and Jennifer Aniston; M. Night Shyamalanâs âThe Visitâ; Jarrad Paul and Andrew Mogelâs âThe D Trainâ; Brad Birdâs âTomorrowlandâ opposite George Clooney; as well as Shawn Levyâs âThis is Where I Leave You.â Additional credits include Jason Batemanâs âBad Words,â Ben Stillerâs âThe Secret Life of Walter Mitty,â starring and directed by Ben Stiller, and Rawson Marshall Thurberâs âWeâre the Millersâ with Jennifer Aniston and Jason Sudeikis.
Hahn also starred in Jill Solowayâs âAfternoon Delight,â which premiered at the 2013 Sundance Film Festival and garnered her a 2013 breakthrough actor Gotham Award nomination. Other feature film credits include David Wainâs âWanderlust,â Jesse Peretzâs âOur Idiot Brother,â James Brooksâ âHow Do You Know,â Neal Brennanâs âThe Goods: Live Hard, Sell Hard,â Sam Mendesâ Revolutionary Road,â Adam McKayâs âStep Brothers,â Robert Shayeâs âThe Last Mimzy,â Nancy Meyersâ âThe Holiday,â as well as Adam McKayâs âAnchorman: The Legend of Ron Burgundy.â
On television, Hahn was recently seen in the Tom Perrotta created HBO series âMrs. Fletcher,â Matthew Weinerâs anthology âThe Romanoffsâ with Jay R. Ferguson, Annet Mahendru and Clea Duvall, and Jill Solowayâs âI Love Dickâ opposite Kevin Bacon.
Additionally, Hahn co-starred in season three of the EmmyÂŽ-nominated Amazon original series âTransparentâ created by Jill Soloway. For her portrayal of Raquel Fein, Hahn received a 2017 Emmy Award nomination for outstanding supporting actress in a comedy series. Additional television credits include Showtimeâs dark comedy âHappyishâ opposite Steve Coogan. Hahn had a guest-starring arc on the NBC hit show âParks and Recreation,â as well as HBOâs âNewsroomâ and âGirls.â Her previous roles include NBCâs âCrossing Jordan,â âFour Kings,â âHungâ and âFree Agents.â Hahn also has lent her voice to the Apple TV+ animated series âCentral Park,â FXâs âChozen,â and Foxâs âBobâs Burgersâ and âAmerican Dad!â
Hahn made her Broadway debut in the TonyÂŽ-winning play âBoeing-Boeing,â alongside Bradley Whitford, Gina Gershon, Mary McCormack, Christine Baranski and Mark Rylance. âBoeing-Boeingâ won the 2008 Tony in the category of best revival of a play. Additional theatre credits include âDead Endâ at the Ahmanson Theater and Huntington Theater Company, âTen Unknownsâ at Huntington Theater Company, âA Midsummer Nightâs Dream,â âChaucer in Romeâ and âCamino Realâ at Williamstown Mainstage, and âHedda Gablerâ at Williamstown/Baystreet.
Hahn received her Bachelorâs degree from Northwestern University and her Masters in Fine Arts from Yale School of Drama.
ABOUT THE FILMMAKERS
MATT SHAKMAN (Director/Executive Producer) just finished directing and executive producing Marvel Studiosâ âWandaVision,â starring Elizabeth Olson and Paul Bettany.
He previously wrapped the MRC/Hulu pilot âThe Great,â starring Nicholas Hoult and Elle Fanning, for which he received an EmmyÂŽ nomination for outstanding directing for a comedy series, and directed an episode for the second season of HBOâs âSuccession.â His two episodes from season seven of âGame of Thrones,â âThe Spoils of Warâ (DGA nomination) and âEastwatch,â received some of the best reviews of the entire series.
Last year, Shakman directed episodes of âThe Boysâ for Amazon and âBillionsâ for Showtime.
Shakmanâs directorial credits also include the feature film âCut Bankâ for A24 (Toronto International Film Festival premiere), as well as many episodes of TVâs best shows including âMad Men,â âThe Good Wife,â and the season one finale of âFargoâ on
- Shakman also served as the series director and executive producer on âItâs Always Sunny in Philadelphia.â He was tapped to adapt his iconic episode âThe Nightman Comethâ for the stage which resulted in a sold-out national tour. Shakman is also the artistic director of the Geffen Playhouse in Los Angeles.
JAC SCHAEFFER (Head Writer/Executive Producer/Created for Television By) is the head writer and an executive producer for Marvel Studiosâ âWandaVision,â which kicks off on Disney+ on Jan. 15, 2021.
Schaeffer launched her career in 2009 as writer/director/producer of the feature film âTiMER.â She wrote the screenplay for Walt Disney Animation Studiosâ 2017 featurette âOlafâs Frozen Adventure,â and 2019âs âThe Hustle,â which starred Anne Hathaway and Rebel Wilson. Schaeffer also contributed to the story for Marvel Studiosâ upcoming feature film âBlack Widow,â starring Scarlett Johansson as Natasha Romanoff.
Cinematographer JESS HALL (Director of Photography) demonstrates a versatility to move effortlessly between genres bringing his unique eye to a diverse range of projects, incorporating a multiplicity of cinematic styles. From his naturalistic palette and poetic minimal shot structure much celebrated on James Ponsoldtâs Sundance Special Jury Prize winner âThe Spectacular Nowâ to the kinetic pace of Edgar Wrightâs cult classic action comedy âHot Fuzz.â Hallâs images charm, resonate and exhilarate with equal measure.
Hall received a Satellite Award Nomination for his cinematography on âBrideshead Revisited.â His 2017 live-action rendering of the anime classic âGhost In The Shellâ employed many innovative technical strategies, combining 65mm large format digital cinematography, state-of-the-art LED lighting technology, custom-built lenses and the first 24 FPS Photogrammetry capture rig to be used on a live-action feature film. Hallâs use of advanced LED lighting to achieve the precise rendering of the complex secondary anime color palette was honored in the reception of the HPA award for best color grading on a feature film.
In addition to his long-form work, Hall has continued to shoot award-winning commercials, including multiple Cannes Gold Lion winners and Silver D&AD pencils for cinematography. In 2020, Hall received the AICP award for best cinematography on âSmirnoff Infamous Since 1864.â The project also saw Hallâs work receive another award in the color grading category, cementing his reputation as an artist who has dexterously navigated the color science required to produce images of luxurious color depth in the digital format.
Hall collaborated with the Academy AwardÂŽ-winning documentarian Kevin Macdonald on his film âMarleyâ and Academy Award-winning writer/director Stephen Knight on his latest film âSerenity.â Hall is a member of The American Society of Cinematographers, The British Society of Cinematographers and The Academy of Motion Picture Arts and Sciences.
MARK WORTHINGTON (Production Designer) counts among his designs for television include five seasons of âAmerican Horror Story,â the pilot of âLost,â four seasons of ABCâs âUgly Bettyâ and the pilot for âOnce Upon a Time,â âPolitical Animalsâ for TNT, and the pilot for âStar Trek: Discovery,â the return of the franchise to its original home on television. Worthingtonâs credits also include the pilot for âThe Umbrella Academyâ for Netflix, the pilot for Damon Lindelofâs adaptation of âWatchmenâ for HBO, and the first season of the CBS All Access series âWhy Women Kill.â
Worthington has also worked in feature film as an art director on such projects as âTombstone,â âThe Chamber,â âWag the Dog,â âHearts in Atlantis,â âAustin Powers in Goldmember,â and âLegally Blonde 2.â
Worthington has received nine nominations from the Art Directorâs Guild for excellence in production design for television, winning the award five times; he has received eight EmmyÂŽ nominations.
Worthington holds a BA in Theatre from Reed College and an MFA in Scene Design from the Carnegie Mellon University School of Drama.
MAYES C. RUBEO (Costume Designer) adds Marvel Studiosâ âWandaVisionâ to her roster of projects in the Marvel Cinematic Universe, which include 2017âs âThor: Ragnarokâ and the upcoming feature film âThor: Love and Thunder, which opens on May 6, 2022. She is also known for her work on âJojo Rabbitâ (2019), for which she was nominated for an OscarÂŽ and a BAFTA Award, as well âApocalyptoâ (2006), âAvatarâ (2009), âThe Great Wallâ (2016), âWarcraft: The Beginningâ (2016), âWorld War Zâ (2013) and âJohn Carterâ (2012).
Rubeo was born in Mexico City and went on to train in fashion and costume at the Los Angeles Trade-Tech College (LATTC) and UCLA. In a design career spanning two decades, Rubeo has collaborated with visionary directors such as Mel Gibson and Zhang Yimou, leading studios such as Legendary and Marvel, and with screen stars including Cate Blanchett, Ruth Negga, Brad Pitt and Andy Lau. Rubeoâs early collaborations laid the foundations for a career that has demanded great versatility: she began work as an assistant costume designer and costume supervisor, gaining experience with designers Shay Cunliffe, Erica Edell Phillips, Ellen Mirojnick and Enrico Sabbatini, the latter becoming her career mentor.
After assisting Shay Cunliffe on âLone Starâ (1996), Rubeo continued to work with the same independent director-producer team John Sayles and Maggie Renzi, designing costumes for âMen with Gunsâ (1997), âSunshine Stateâ (2002), and âCasa de los Babysâ (2003). For Hallmark’s movie âSaga Fidelâ (2002), Mayes met the challenge of costuming to tell a story which spanned seven decades. But it was Rubeoâs collaboration with Mel Gibson on âApocalyptoâ (2006), for which she delivered a powerful image of the lost Mayan civilization, that set her on the path to creating the look of the otherworldly at an epic scale. Since then, she has been known for creating the visual identities of the Naâvi people in James Cameron’s âAvatarâ (2009), bringing to life Edgar Rice Burroughs’s 100-year-old vision of civilized Mars in Andrew Stanton’s âJohn Carterâ (2012), and for transforming some of the world’s most popular video game and comic book characters into reality on-screen with Duncan Jones’ âWarcraftâ (2016) and Taika Waititi’s âThor: Ragnarokâ (2017). Mayes put her energies back into gritty realism in 2013 for Marc Forster’s âWorld War Zâ (2013), costuming thousands of people (living and un-dead) on a global scale.
Rubeo continues to bring her costumes into new territories, turning technological and technical challenges into creative opportunities. Her passion and collaborative spirit have enabled her to successfully lead diverse teams across five continents, merging traditional craft skills with state-of-the-art technology.
Rubeo received nominations from the Costume Designerâs Guild for her work on âFidel,â âAvatar,â âThor: Ragnarokâ and âJojo Rabbit,â the latter also earning her a WIN Costume Designers Guild award for excellence in period film. Rubeoâs work has been featured in international exhibitions, including the Deborah Nadoolman Landis curated exhibition Hollywood Costume (2012) at the Victoria & Albert Museum (V&A) in London. Three FIDM Exhibitions: 18th Annual Art of Motion Picture Costume Design for the film âApocalypto,â 21st Annual Art of Motion Picture Costume Design for the film âJohn Carter,â and the 26th Annual Art of Motion Picture Costume Design for the film âThor: Ragnarok.â Rubeo is a member of the Academy of Motion Pictures Arts and Sciences, the Costume Designers Guild of America and the Scenic Arts Guild.
TARA DEMARCO (Visual Effects Supervisor) is an award-winning VFX supervisor known for her cutting-edge work as a flame artist. Her 18-year career in visual effects is grounded in high-end commercial work, having composited on Emmy, Cannes Lion, and DA&D award-winning work. Through a 14-year run at The Mill as well as freelancing with several other studios (Method, Brickyard, Psyop), DeMarco has made her mark as compositor and VFX supervisor. She has worked on classic music videos like The White Stripes âThe Denial Twist,â as well as Brian Buckleyâs Sundance contender âThe Bronze.â Her long career in commercial work was supporting the visions of brands like Old Spice, Geico, Nike, Pepsi, Gatorade, Doritos, Xbox, and Apple, for commercials that have aired at the Super Bowl, the World Cup, the Olympics, as well as the Oscars and Emmys.
DeMarco began her career by studying Fine Art Photography and Interrelated Media at Massachusetts College of Art in Boston. It was there that she discovered a passion for visual effects, and the seamless blending of created images with the footage captured in camera.
Award-winning composer CHRISTOPHE BECK (Composer) has a career that bridges genres and garners well-deserved acclaim. Beck displays his range from scoring Marvel Studiosâ action-adventure âAnt-Manâ to Foxâs film adaptation of Charles Schulzâs beloved comic strip âPeanuts.â Recent projects include âLike a Boss,â âWalkaway Joe,â âThe Christmas Chronicles: Part Two,â and âFree Guy,â which is slated for release this year.
The prolific composer scored the OscarÂŽ and GRAMMYÂŽ-winning animated film âFrozenâ (the soundtrack album has sold over 3 million copies), and âFrozen 2ââwhose soundtrack beat the âFrozenâ record for most weeks at #1 on Billboardâs Soundtrack Charts at 45 non-consecutive weeks. Beckâs recent credits also include the documentary âWatson,â âThe Christmas Chroniclesâ for Netflix, and Marvel Studiosâ âAnt-Man and the Wasp.â He is the musical voice of iconic comedies of the last decade,
including: âThe Hangover,â âAmerican Pie,â âHot Tub Time Machineâ and âPitch Perfectâ; poignant films, including âCake,â starring Jennifer Anniston, and the true-life-based drama âWe Are Marshallâ; documentaries including âRed Armyâ and the award-winning âWaiting for Supermanâ; rom-coms, including âUnder the Tuscan Sunâ and âCrazy,
Stupid, Loveâ; along with action films, including âYear of the Dogâ and âEdge of Tomorrow,â the sci-fi thriller directed by Doug Liman, starring Tom Cruise and Emily
Blunt, as well as the drama/crime film âAmerican Made.â Beckâs breakthrough success came by composing music for the TV series âBuffy the Vampire Slayer,â for which he earned an EmmyÂŽ.
Beck is unique in his versatile ability to develop the tone in any genre. His music combines a masterful use of complex dynamics to create tension and convey a vast spectrum of emotion. Beckâs scores add depth, intrigue, humor and sentiment, and his music contributes powerfully to the aesthetic of each film he scores.
Beck began playing piano at age 5. He then studied music at Yale and attended the USC film-scoring program under the tutelage of legendary composer Jerry Goldsmith. He began composing in television at the personal recommendation of Disney music legend Buddy Baker.
KRISTEN ANDERSON-LOPEZ and ROBERT LOPEZ (Episode-Specific Theme Songs by) are the OscarÂŽ- and GrammyÂŽ-award winning, married songwriting team behind Walt Disney Animation Studiosâ âFrozen 2.â They wrote the songs for original âFrozen,â for which they won the Oscar for best original song for âLet it Go.â They also wrote the Oscar-winning song âRemember Meâ from Disney and Pixarâs âCoco,â and adapted âFrozenâ for the Broadway stage. Their original song âInto the Unknownâ from Disneyâs 2019 feature film âFrozen 2â was also nominated for an Oscar and a Golden GlobeÂŽ.
Lopez co-conceived and co-wrote the hit musicals âAvenue Qâ and âThe Book of Mormon,â both earning him TonyÂŽ Awards. Anderson-Lopezâs show âIn Transitâ made history as the first all a cappella musical to run on Broadway, after earning recognition at the Drama Desk, Drama League and Lucille Lortel Awards for its Off-Broadway run. Lopez and Anderson-Lopez have written for television, film and stage, including âFinding Nemo: The Musical,â songs for âThe Wonder Petsâ (two EmmyÂŽ Award wins) and the âWinnie the Poohâ animated film. Their original musical âUp Hereâ premiered at the La Jolla Playhouse.
Graduates of Yale University and Williams College, respectively, Lopez and Anderson- Lopez now reside in Brooklyn, NY, with their two daughters.
KEY CREDITS
DIRECTOR: | Matt Shakman |
HEAD WRITER/CREATED FOR TELEVISION BY: | Jac Schaeffer |
EXECUTIVE PRODUCERS: | Kevin Feige, Louis DâEsposito, Victoria Alonso, Matt Shakman, Jac Schaeffer |
CO-EXECUTIVE PRODUCERS: | Mary Livanos, Trevor Waterson |
LINE PRODUCER: | Mary Kane |
ASSOCIATE PRODUCER: | Jason Tamez |
EPISODE-SPECIFIC EDITORS: | Tim Roche, Nona Khodai, Zene Baker |
DIRECTOR OF PHOTOGRAPHY: | Jess Hall, ASC |
PRODUCTION DESIGNER: | Mark Worthington |
COSTUME DESIGNER: | Mayes C. Rubeo |
VFX SUPERVISOR: | Tara DeMarco |
VFX PRODUCER: | James Alexander |
COMPOSER: | Christophe Beck |
EPISODE-SPECIFIC THEMES BY: | Kristen Anderson-Lopez and Robert Lopez |
MUSIC SUPERVISOR: | Dave Jordan |
CASTING BY: | Sarah Halley Finn, CSA / Jason B. Stamey, CSA |
MAIN CAST (not all cast in all episodes): | Elizabeth Olsen, Paul Bettany, Teyonah Parris, Kathryn Hahn, Randall Park, Kat Dennings |
Proofread and Edited by Brenda
The opinions in these articles are those of the writer and do not necessarily reflect the opinions of TVMEG.COM or its other volunteers.
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