![]() ![]() Do you think there’s a single key takeaway here about race in America? Showrunner Malcolm Spellman talked to us before the show about how its core was race in America, but it ended up taking in so many other topics along the way. So I think he comes to believe that community, and serving community, is his duty. ![]() She wanted him to kill her at some level. I felt like she was trying to get suicide by cop, to become a martyr. He refused to fight her in the end scene. And so even as she became more radicalized, he tried to harness the energy she had. She just couldn’t get good with the way she was doing things. And he never stopped having that counselor-head, of believing in the person, and believing Karli was actually a good person. He was questioning what a hero of the future needed to be. So I think the discussion of being a hero, and what a hero is, was always his through line. I think it all started with him putting shield away, because that shield carried by that guy was now no longer as relevant to the community as it had been. What do you think of as his ethos when the story ends, in terms of what’s important, or who he is? All of that night imagery was very much designed to to take us to the place where he was going to talk to the GRC.Ī lot of the viewer questions coming out of the series have been about what Sam ultimately believes now, in terms of all the ethical challenges Karli handed him. He really gleams as a first responder, honestly. And a spotlight passes over him and his suit. When Sam lands, carrying the dead Karli, he’s lit up by the red, white, and blue lights of the emergency vehicles. I really wanted to capture the moodiness of what night brings, and suggest the night before the dawn, to some degree. But we always knew that shooting in New York, using the lights of the city, and the lights of the cars, and the lights down in the tunnels when they go underground, would give it a much richer mood. ![]() So people on the producing side tend to prefer shooting during the day, because you don’t have to light the world. Kari Skogland: Typically, working at night means bigger lights and more complicated lighting, which takes time. What went into the decision to set the finale at night, and what kind of complications did that bring to your shooting? So much of the finale was shot at night, which is surprisingly rare for an MCU project. When Polygon first talked to The Falcon and the Winter Soldier series director Kari Skogland at the beginning of the series, we focused on directing: How she used camera placement to communicate the mental states of series stars Sam Wilson (Anthony Mackie) and Bucky Barnes (Sebastian Stan), how Sam’s fight sequences were designed and shot, and why she found inspiration in a French drama about disability and friendship.īut with the series wrapped, we went back to Skogland to talk bigger-picture issues about the finale, the show’s moral messaging, that controversial new Captain America costume, and the little detail she’s proudest of, and thinks everyone missed. ![]()
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