The most important scene in Captain America: Civil War was cut considerably by Marvel Studios. Much material was left out.
The directors Joe and Anthony Russo they talked to the gq magazine about one of his most ambitious films in Marvel Studios. They were responsible for the massive success of Avengers: Infinity War Y Avengers: Endgame. However, before they shook the foundations of the UCM in Captain America: Civil War. Both filmmakers have spoken of that film, precisely.
Joe Russo admitted that there were “a lot of things” that were left out of the most important scene of Captain America: Civil War. We are obviously talking about the airport scene. He recalled that they used a trial and error system to get the sequence to play correctly. He also praised Marvel Studios for the resources he was able to work with, recalling those long days in the cutting room and how filming focused on telling the best story possible.
“There’s a lot of stuff that was actually cut from the airport scene in Civil War. When you’re working on a sequence of that scale, with so many characters, it’s usually iterative. There’s usually a trial and error process where you shoot things, see how it cuts, they don’t work, and then try again. Or maybe we have a better idea, so we run it. The great thing about working with Marvel Studios is that you have a lot of resources at your disposal. So you can go back to filming. My brother and I are relentless and thorough in our quest to tell the best story possible. When we’re making a movie like that, we probably shoot 12 or 13 hours a day. And then we spend another 4 or 5 hours editing at night. We slept very, very little.”
The Russo Brothers Filming Process
The Russo brothers generally analyze filmed material in parts. So they see if they can improve something or if there are narrative elements that appear in the film and overlap others. They also used the writers of Marvel Studios, Stephen Marcus Y Christopher McFeely in the assembly room. they let Captain America: Civil War would develop organically with each new element that came into play.
“Our process involves going through the material piecemeal as we shoot it and seeing if we can improve it. Or maybe we see if a certain story element appears on top of another narrative element, and then we accentuate that. We called Stephen Markus and Christopher McFeely and said, ‘Come to the cutting room, let’s watch this part together and discuss what else we can do to improve the storytelling.’ That’s why something like this takes about 50 days. If we had had a clear plan from the beginning, maybe it would have been 25 days, but our process is more organic than that. There are too many elements that we work with at the same time. Previews are coming in, there are storyboard artists, ideas are coming in from everywhere… My brother and I lead the ship and try to find what we think are the most interesting ideas. And sometimes those ideas have to be tied into a new narrative.”