At the London Disclosure Day premiere, Wyatt Russell told Deadline, "We have finished most of the filming, and all the stuff is done," and added a quick burst of enthusiasm about the finished work: "It's looking awesome from what I've been able to glean. [I] haven't seen much, but I've seen some of the trailers and stuff. Just doing it was a blast." The Thunderbolts actor used the carpet to deliver what amounts to a fresh on-set progress report on one of Marvel's biggest crossovers.
Russell pushed beyond logistics and toward appraisal. "I can tell you Sebastian is amazing in it. I know David [Harbour]'s going to be great in it," he said, praising co-stars he spent time with during the shoot and underscoring that the energy on set translated into performances that impressed him. "We worked a lot on set with everybody, and Florence [Pugh], being on set with them, and all the other people that you got to be on set [with]. It was just a cool place to be," he added, describing a collaborative environment amid a sprawling production.
The immediate takeaway is twofold: principal photography is now largely behind the filmmakers, and an actor involved in the work has early confidence in how a few key performances landed. All of the Thunderbolts are returning for Avengers: Doomsday, which also pulls in Chris Hemsworth's Thor, Anthony Mackie's Captain America, the Fantastic Four, the Fox-era X-Men and a host of other franchise figures. With most shooting complete, the project is moving into the phase—editing, scoring and visual effects—where those pieces will be assembled into the version audiences finally see.
Russell's praise comes with a candid caveat that matters: he openly admitted he "haven't seen much" of the finished film beyond trailers and snippets. A participant's enthusiasm is meaningful—actors feel whether a scene landed on set—but it is not the same as the finished edit. The question that remains is how the film's editors and effects teams will balance the returning Thunderbolts with the larger slate of returning heroes and teams when they stitch the footage together.
On the carpet, Russell kept returning to the simple pleasures of working on the picture. "I have had a blast and I'm happy to get to be able to see it," he said, offering a personal note that highlighted both the scale of the production and the day-to-day experience of making it. Family was present in the crowd: his mother, Goldie Hawn, flew to London to support him at the premiere (see FilmoGaz coverage: a reminder that even tentpole filmmaking still contains small, human moments.
What follows now is technical and decisive. With principal photography reportedly finished, the film will live or die in post-production choices—how editors prioritize storylines, how visual-effects teams finish key sequences and how the score and sound design shape momentum. Those steps will determine whether the ensemble room Russell enjoyed on set can be felt in the final cut, and whether Sebastian Stan and David Harbour's turns read as powerfully on screen as Russell experienced them in rehearsal and filming.
The final measure arrives on December 18, when Avengers: Doomsday opens in theaters. Russell's on-set optimism gives fans and colleagues an early reason for excitement; the ultimate verdict will rest with the version of the film that reaches audiences on that date.
