There's a lot of reinvention that goes on from the page to movies with Marvel stuff, particularly

with something like Ant-Man.

I think there are very few people out there who are like, don't screw with Ant-Man because

I got strong feelings about when I was a kid, the idea of having some device where I could

get in touch with George Lucas and say, hey, that's awesome, man.

But God, I could see the light bulb in the jaw-wise eye in that scene, man.

And you need to fix that.

I mean, having this sort of give and take, which doesn't hurt of.

I'm Sean Phenese, Editor-in-Chief of The Ringer, and this is the big picture, a conversation

show with some of the most interesting filmmakers in the world.

How do you make something small feel big?

It's a serious challenge for Peyton Reed, the director of Ant-Man and the new sequel

Ant-Man and The Wasp.

Reed turned the micro-sized superhero Ant-Man, a modest character in the Marvel canon,

into a mega star, bringing the box office for the zippy first film to more than $500

million.

The new movie finds more space for Evangelion Lilly's The Wasp alongside Star Paul Rudd,

and the result is a superhero movie that is modestly scaled, but rapid fire, the dialogue,

the pacing, the action move quickly.

Reed has been making movies for more than two decades, but Ant-Man represented an elevation

after his work on well-liked but cultish comedies like Down with Love and Bring It On.

I talked to Reed about working in the Marvel Machine, how to make an effective sequel,

...