The Boys Retrospective - Chapter 4 - Crafting The Magic | Prime Video

追加: 2026-05-31

[00:00:03]In season 1, we had The Boys and The Seven and another group. And we kind of delineated that The Boys Carl's side was punk rock. So, it was handheld documentary feel. Framing wasn't quite right at times and just kind of grittier and uglier, if you will.

[00:00:20]The Seven with the big money and the big boardroom was all very centered Kubrick style. And then, as the season starts to go, The Seven world starts to crumble.

[00:00:32]So, that becomes more like The Boys and goes more handheld. Homelander's world is changing. So, let's create that with him. So, it became a little less stable.

[00:00:44]Alexa, play Dave Matthews chill mix. My name's Christopher Lennertz. I'm the composer and songwriter for The Boys.

[00:00:50]Alexa, please don't. What the Adrienne? So, the score for The Boys in season 1, there was a big juxtaposition between what we would consider propaganda music, which also was superhero music. 100% Marvel on steroids, big orchestra, [music] and it was what Vought and their superheroes thought they were. Rousing music.

[00:01:15]Hans Zimmer.

[00:01:17]That is amazing.

[00:01:19]>> Thank you. And then there were The Boys.

[00:01:20]All of their music is made by broken instruments, broken amps, playing really sloppily, you know, detuning things, so things aren't even in tune. From season 3 on, we got Butcher and Hughie taking Tim B and the heroes from The Seven are now on our side. And so, everything gets mishmashed. I think the thing that makes the songs work so well, you know, I treat it as if Vought [music] is telling me what to do. And then I think the other thing that makes it successful is that Eric works it into the story. I I love them all, I really do.

[00:01:49]But put the Christ back in Christmas is definitely my favorite.

[00:01:52]>> to listen to God's only son. The war on [music] Christmas has begun.

[00:01:58]It was such an over-the-top production that led up to this massacre by Homelander.

[00:02:08]>> [screaming] >> That's what I love about The Boys. We're going towards this conclusion of pure insanity.

[00:02:17]All of the crazy that happened that's thank you to Koyi.

[00:02:24]I'm John Koyi Allan, I'm the supervising stunt coordinator on The Boys. I feel very lucky that my character got to do so many stunts. I've done, you know, the dildo fight was all practice with Kali stick. We did a lot of stunt training for that.

[00:02:42]Craig William John, stunt processes.

[00:02:46]There's been a lot of sequences.

[00:02:49]Constructing those type of sequences, you have to take everything into account. Some of our invisible, some of our bullet proof.

[00:02:55]Everybody has to get [music] involved with construction, art department. You build it, we break it.

[00:03:01]That's the motto here. The female cast, they wear the highest heel shoes you can make. At times [music] they had to perform stunts in those heels.

[00:03:10]I had the most fun. Everybody had to come together and just be able to roll with the punches.

[00:03:18]There were a lot of injuries.

[00:03:21]The finale fight sequence biggest by far we've ever done. 21 wire guys in this one fight. Along with the choreography and the breakaways, VFX gets involved.

[00:03:31]As the visual effects supervisor, we work very closely together. For example, when we blow up a head, special effects created the blood lollipop. They go 3-2-1 and it blows up blood and guts everywhere. I take [music] it in post and it looks more real than if you just did it in visual effects. Some instances, for example, in the mansion, >> [music] >> it was a very expensive mansion, so it's all visual effects. No.

[00:03:56]No.

[00:03:58]Visual effects and spectacle. Oftentimes during fights we will augment walls being broken, laser eyes, the Starlight flash, Soldier Boy vests.

[00:04:08]These are all just things we built over [music] the years. But then at the end of the day, you have to focus on character first, and then the world is built around it.