'Thunderbolts*' Q&A: Meet the New Crew
Redemption arcs, emotional wreckage, and one death-defying rooftop jump!
The Marvel Cinematic Universe continues to evolve, and with Thunderbolts* it takes one of its boldest swings yet. Centered on a ragtag team of anti-heroes, misfits, and morally gray operatives, the film shows us a darker, more grounded take on the traditional superhero ensemble, without losing the action or heart fans expect from Marvel.
On April 27, 2025, I joined other media journalists for a Q&A with the cast and creators of Thunderbolts*. The conversation featured cast members Florence Pugh (Yelena Belova), Sebastian Stan (Bucky Barnes/The Winter Soldier), Wyatt Russell (U.S. Agent), David Harbour (Red Guardian), Hannah John-Kamen (Ghost), Lewis Pullman (Robert “Bob” Reynolds), Julia Louis-Dreyfus (Valentina Allegra de Fontaine), Geraldine Viswanathan (Mel), as well as director Jake Schreier and executive producer Kevin Feige.
Over the course of the session, the cast and crew reflected on the emotional weight of the story, the film’s themes of mental health and redemption, and what it means to be a part of a Marvel story that breaks the superhero mold.
Here is the Q&A:
Q (for Florence Pugh): What did the opening rooftop jump scene mean for Yelena, and how did you approach it?
FLORENCE PUGH: When you're reading it on the page, it did feel like she was stepping off a building alongside the voiceover, as if she was taking her own life. When I read it, I just remember thinking how powerful it was to start a movie like that — and the trust that everybody clearly had, putting a potential stunt like that in the script months before we started shooting.
I was just so impressed by it. And I was also so impressed that, as an audience member, we immediately know what she's feeling. And it's only because she's obviously an assassin that she can land it.
But for someone to jump off a building like that, with the voiceover — it's harrowing. It's not a nice image to have, which is why when she actually steps off, everybody’s stomachs flip. It's an image we only associate with something really, really bad. So I loved being a part of that.
Coming at it from Yelena’s point of view, the way I always thought about her in that opening sequence is that she’s at such a loss. She doesn’t have any reason to be there anymore. She’s lost her sister. She’s lost her family. The relationship with her father has dwindled to nothing.
She’s in such a state and a frame of mind that she’s happy to put herself at risk. And that’s why, for example, in early fittings, I was supposed to be in my super suit, and I was like, no, no, no. If she’s actually asking to be put in situations where she could be killed, she needs to be in something that doesn’t protect her.
So we opened up the discussion of her being in a tracksuit. If she’s going to do all these missions and fight, let’s take away the added layer of protection — her super suit, with all the buttons and gadgets.
So even though she’s still doing all of these cool things and stunts, realistically, she’s going into a mission completely bare. And that adds texture to how desperate she is for someone to end it for her. So yeah, there were all of those things. And then, of course, you have to act on top of the tallest building and pretend as if it’s not scary, and pretend as if you want to jump off it. So just mad. So many different layers.
JAKE SCHREIER: What's really so impressive about that stunt, beyond the fact that she did it, is that the shot is a one-er, and it starts on her face. You're starting the movie in a real moment of character.
I just knew that Florence—because she's so committed to character—could be fully in that moment and perform it so beautifully on a character level. Then the camera pulls out, and she has to pull off the most death-defying thing, just as a person. And knowing that when she's in that character, that's going to happen — I never had any doubt she would do it.
To me, it's not the stunt itself that's so impressive — it's the acting within it. It was like an acting stunt in a way.
Q (for David Harbour): How does playing someone like Alexei, with his childlike enthusiasm and larger-than-life personality, affect you? And where has he been since Black Widow?
DAVID HARBOUR: You could argue that his obsession with rekindling his glory comes from some derangement or failure and all these dark places. And yet, he just loves being a superhero.
I think there's a part of me, as I act, that has a very detailed backstory — some dark stuff in there. And then there's also just me as a kid, putting on a super suit, in a Marvel movie, sitting there with all these amazing, incredible actors I adore, and being like, "Guys, we get to hang out today." There's a puppy quality to him.
And I really do love that the film lets me play that.
Q (for Julia Louis-Dreyfus): How did this film expand your understanding of Valentina, and how does returning to the same character in film compare to doing so in television?
JULIA LOUIS-DREYFUS: Actually, I would say it's different from playing a character week to week on an episodic television show. On television, of course, as you get into the rhythm of playing a character, you get to know them more. But in this case, it was a toe dip, and then a little bit more, and a little bit more. And in this particular film, you really get to know who this person is.
But this was a lot to chew on and a lot to explore. I’m referring to her as sort of an anti-villain, the way these guys are anti-heroes. Because I think you get an opportunity to understand maybe why she is the way she is. It doesn’t necessarily excuse things, but it’s about understanding.
And frankly, it’s the way you approach a character under all circumstances — whether they’re a so-called good guy or bad guy — without judgment. That was a really exciting way to approach Valentina and her drive.
It’s not hard for me at all to get into that mindset. As an actor, you have to come in from a non-judgmental space. And it’s interesting to consider what fuels her insatiable thirst for power. It was a really exciting opportunity to almost reinvent her, to a certain extent.
Q (for Geraldine Viswanathan): What was your most memorable theatrical experience as an MCU fan, and how did it feel to join the franchise with this film?
GERALDINE VISWANATHAN: It's funny — in this movie, I have the line, "I was in high school when the Avengers came.” And I really was in high school when I watched that movie with my friends at the theater at the mall. So it's very surreal and full circle to now be in one of these movies.
And I just feel so fortunate to enter the universe in this particular movie, which feels like such a breath of fresh air. It has that classic Marvel feeling, but with emotional nuance and depth. When I first watched this movie, I got to experience it almost like an audience member, since there's a lot of it I'm not in.
And honestly, I cried a bunch. It really landed on me. So I'm excited for people to have that experience in theaters too, and maybe hug their loved ones afterwards.
Q (for Lewis Pullman): What MCU film left a strong impression on you, and how did playing a character shaped by mental health struggles resonate with you personally?
LEWIS PULLMAN: I remember each one pretty vividly. But Guardians of the Galaxy kind of shattered my world of what was possible. I walked out of that feeling like I had a bunch of new friends. I wanted to go watch it again because that was the only way to keep hanging out with them. That’s such a powerful effect. That’s what Marvel’s been doing from day one — placing extraordinary circumstances around very grounded human truths. It’s a hard line to walk, and they do it so well.
I had so many conversations with Jake and Kevin about how to approach some of these less-discussed topics — like depression and trauma — in a way that didn’t feel like a PSA, but still felt grounded and honest. That was always the goal: to bring as much truth to it as possible.
I relate to it. I grew up anxious, and I’ve dealt with depression. It’s not a fun thing to talk about — it even feels strange to say out loud right now — but that was part of the purpose here. To push past that awkwardness, that “quaky” feeling, and just talk about it. That’s what this movie is about. That when you do talk about it, when you open up — you might just get caught before you fall. If you have people around you. Because it’s in the silence where the suffering really happens.
Q (for Hannah John-Kamen): How has Ghost changed since Ant-Man and the Wasp, and how did this film’s themes resonate with you as an actor?
HANNAH JOHN-KAMEN: There’s always a connection as an actor with your character. And with Ghost, originally she’s battling through Ant-Man and the Wasp with imminent pain and death — this volatile, almost volcanic disruption in her physicality. She made very immature, desperate survival decisions to stay alive.
Where we find her in Thunderbolts* is very different. She’s grown up. There’s maturity, control, and a dangerous kind of power that comes with that. I think she’s scarier in this movie. Not having the constant distraction of pain or death gives her space to build what’s essentially a Fort Knox around herself. No one can get in.
What I love about her journey in this film is that she starts to realize it’s okay to need someone. It’s okay to rely on others, to be relied on. You don’t have to go through life alone. And finding a family — realizing you deserve that — you deserve to be loved. As an actor, I really connected with that part of her.
Q (for Wyatt Russell): How has John Walker evolved since The Falcon and the Winter Soldier, and what part of his journey resonates with you?
WYATT RUSSELL: John's an interesting guy because he really believes in who he is and what he does. What I felt was so important in The Falcon and the Winter Soldier was portraying this new version of an American hero. Steve Rogers was born out of World War II. He was the guy who jumped on the grenade for selfless reasons.
John Walker will also jump on the grenade, but he wants someone to film it and put it on Instagram to make him a national hero. So, his reasons aren’t completely selfless. I think that reflects society today, where nobody’s doing anything purely selflessly — we’re all hoping a camera’s on us and we’ll get famous on TikTok or Instagram. It’s a sad truth, but I think it’s real.
I like playing that version of the American hero who has to be torn down to a very basic point in life. You have to hit rock bottom before you can start your journey back to being the person you want to be.
As far as who I am, I don’t think I’m much like John. But in a prior life, I knew a lot of people who were like him. Playing sports professionally, you have to be that way. You put on armor, push your vulnerabilities aside. You don’t admit when you’re feeling bad, because the second you do, that little crack of vulnerability can destroy you.
It’s fun to turn that on its head with a character that guys like that might identify with and realize that vulnerability actually makes you stronger. Admitting you're not as good as you think you are can actually make you better. I've really enjoyed playing John, and he’s a fun character to explore in this movie.
Q (for Sebastian Stan): After playing Bucky for over a decade, how did returning to him in this film feel different and how has the character shaped you?
SEBASTIAN STAN: I've always talked about him like having a sibling I never had. I think we’ve both been learning from each other for 15 years, in a way. What’s been amazing about coming back to him is bringing something I’ve gained along the way in my own life. There’s a familiarity now — it feels like I can just jump in there — but this film felt special for a number of reasons. The connection felt very real.
That’s what I think is at the heart of this film, and what people are going to connect with in a different way. All these characters wear their hearts on their sleeves. They’re trying to do the right thing, and they’re not sure if they have the tools. My character has always walked that line between hero and villain, trying to figure it out without losing himself, or maybe trying to regain himself. And that’s kind of what we all do in life.
You learn from your past, keep moving forward, and try to retain some sense of self. That’s where I found him this time, and it was a great place to jump back in, especially with this group.
Q (for Kevin Feige): What theatrical experiences shaped your love of cinema, and how do you feel about what the moviegoing experience means today?
KEVIN FEIGE: The teams on all of our films, I think, are united. And you’ve heard it in the answers today. This means a lot. These stories come from comic books, which also mean a lot to many people.
The first movie I went to in theaters was Pete’s Dragon. We missed the first show, so my mom made us a tuna fish sandwich in tin foil, and we went back for the next one. I don’t remember anyone cheering like at Endgame, but it was still incredible. I couldn’t wait to go back. I saw the Herbie movies, then eventually the re-releases of Star Wars and Empire. It was magical.
We need that. As humans, we need that kind of communal experience. And that’s what we’re trying to keep alive.
The weekend we’re doing this Q&A, four different movies each made over $20 million at the box office. That’s excellent — and heartwarming — because they’re all very different films. That kind of variety hasn’t happened in a while, and it shows people are coming back.
Q (for Jake Schreier): How did you approach working with Son Lux, given that their score feels like a character in the film?
JAKE SCHREIER: They're such intelligent guys, and they're so connected to emotion. One thing we did, which I love doing on projects like this, is we started working on the score before we even shot the movie.
A lot of films are made with temp scores. You shoot the film, edit it with other music, and then bring in the composer. It’s hard to break away from that. But in this case, Son Lux was creating music from the very beginning. At our first table read, I played a full suite of their early work — and a lot of those themes ended up in the final film.
Lewis might remember this: we’d be on set and hear a new piece they’d made. By the time we wrapped, we had 40 different sketches, all with stems. So when we got to post, we were already editing with our original score, and they could keep building from there.
That gave the film a sense of originality that’s hard to achieve if you start later in the process. But it only works if your composers are fully invested — and they were. They committed to the story, to the tone, to the whole journey. They did a wonderful job.
Q (for Florence Pugh): Yelena has always balanced vulnerability and strength — how did you approach her evolution in this film, and did you discover new sides of her while filming?
FLORENCE PUGH: I was very grateful that the intention of this was to actually show the truth of the character.
It's always very scary, obviously, when you're playing someone that has a story over years, that maybe it might not be respected in the right way, and they might skip a few beats of her healing. And I was just so grateful that we had a script that really represented what maybe someone is feeling after all of the trauma that happened to her. Yeah, she's incredibly strong. She's also just so desperate to have a sense of community. That’s where we met her in Black Widow. She was just so desperate to let everybody know what it meant to her to have a family, whether it was real or not.
And that's what she argues. So, I think picking up where we left off, being able to actually have an argument between a dad and a daughter where they both get to say to each other, “You messed up.” “Well, you messed up too.” Being able to grow with the character in a real way — I was just very impressed that we were allowed to do it. We were also allowed to show someone who isn’t well, who doesn’t know how to cope. She says plenty of times in the movie, like when she goes to see Alexei, she’s asking him whether she should stay or not.
She doesn't really get the answer she wants. And I think it’s just a very impressive thing to see in a Marvel movie — one that’s going to be seen by so many people — a message that we all need to constantly learn from. We all need to be there for each other. And essentially, that’s how she gets saved. She gets saved by this new family. So yeah, I was hugely grateful to have something to really sink my teeth into.
DAVID HARBOUR: I mean, I do want to say that Florence came in with such strong ideas and such strong ownership of the character and of this arc. She's such a brilliant actress — universally acknowledged.
To have a big studio movie like this allow her that freedom… Like, we even talked about the initial idea — you're supposed to put her in the suit all the time, especially when she jumps off the building. And Florence came in and was like, “I want to be in a weird sweatsuit and look terrible and just say something's wrong with me.”
And that allowance — to have ownership — meant we kept rewriting scenes. Some of them are in the movie, some of them definitely are not. There's a nice draft that Wyatt and I have of a certain scene we can release to you that is absolutely terrible writing. And yet we sat down all day and went for that.
Jake graciously said, “Please, no one's saying these words.” But I will say, the desire to have input from us — and the desire to have the input of our experience and our talent — you don’t often get that on big movie sets. And there is such a frothing-at-the-mouth quality, I think, in good actors to tell good stories, to reach for the deeper parts of themselves, and to want to play those things. It truly is a boon.
Q (for Kevin Feige): With Avengers: Doomsday on the horizon, and the events of this film setting up the future of the MCU, can you share anything about where Marvel Studios is headed?
KEVIN FEIGE: What's exciting is that audiences get to meet this team when the movie comes out. Then in July, they’ll meet another team — the Fantastic Four. The Avengers movies have always been about incredible actors coming together on screen for the first time and interacting in new ways. That’s my favorite part of those films. We’ve already had a little taste of that with some of the cast here. That’s what’s next, and it’s very exciting.
Review: 'Thunderbolts*'
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