I Genuinely Cannot Watch "Agatha All Along" The Same Way After Learning These 21 Fascinating Behind-The-Scenes Facts And Details

"No matter what character or what world, there was always, you know, 'And then, in Episode 104, Agatha comes in...' and [President of Marvel Studios] Kevin [Feige] said, 'Should we be doing a show based on Agatha?' And then it became, 'Why aren't we doing a show based on Agatha?'" she said in Marvel Studios’ Assembled: The Making of Agatha All Along.

"When I got the call, it was the summer after we aired; I was in shock," Kathryn said in a Capital FM interview. "We were shooting Glass Onion, and we were on a break, and I couldn't tell anybody, but I did tell Leslie Odom Jr. — I love him so much. And to his credit, he never told a soul. So it felt really good to be able to blurt it to somebody because I was like, 'I have to tell somebody this!'"

"Marvel is very thorough. They want to make sure they cast the right person. It was a long, old slug. I did a lot of auditions. I think Marvel is such a big thing; it's not just one person you have to say yes. So many people need to agree to cast you, which is good. You always want the right person to get the right part," he said in an interview with BuzzFeed UK.

"And maybe they could; maybe it’s a vibe I’m giving off that I didn’t realize. But I’m so glad that they saw whatever they saw and decided to let me join the team," she told the Hollywood Reporter.

For instance, when Billy blasted Lilia and Jen off the Witches' Road, the movement was to emulate one of Wanda's arm gestures from Avengers: Age of Ultron.

"In the script, it was written as 'with a familiar-looking hand gesture, Teen swipes Agatha off the Road,'" he recalls.

For instance, head of streaming, television and animation for Marvel Studios, Brad Winderbaum also told the Verge, "There wasn’t a single green screen in sight on [the Witches' Road] set."

“We had to make sure we understood the story linearly and be able to track all the sword falls,” Jac told Variety. “The camera had to cross at the exact right time in the exact right place where a sword could fall in the foreground and make the shot. So it was an incredible amount of planning and hard work.”

“Every time a sword drops, it gives the person who sees the sword a heart attack, like you’re jolted every time, and that is what happens to Lilia. She’s jolted over and over again, and it makes her unravel emotionally," she told Variety.

"I hired two people because I knew it would be so hard. The writers are Cam Squires from WandaVision, and then our writers’ assistant, Gia King, was such a superstar in the room that I paired her with Cam. They wrote pieces separately and kind of stitched them together, and then we backfilled," Jac told Variety.

"I remember earmarking, 'This is going to be a Lilia bop moment,' and then the actual things that she said changed as we moved through [writing them]. There was only one that we changed on the day. It caused me to have such a sweaty panic because I was like, 'Will this fit?' It was the 'I love you guys' [from Episode 3]. We realized whatever it was wasn’t going to sync. It’s a little fudge-y in the emotional turn of it, but I think we pulled it out," she continued.

"The art department generates a set of blueprints of what the house would be if it were built full scale. We take that blueprint, we enter everything into a computer, and we scale everything down to the scale where we're working. And then, we dissect all the parts and start assembling them. So we basically hand-cut the pieces that have to be hand cut — like all of the shingles that are covering the house are all cut out of cedar, cut to scale size, and they're cut by hand," SFX Supervisor Dan Sudick said in Assembled.

According to an interview with Variety, Brad said, “I can tell you it’s our least expensive show, and I think that was by design. We are looking to make these shows for a responsible cost. Frankly, it gives us a little bit more freedom creatively when we can bring them in at a reasonable budget. Like [Agatha All Along], for example, the show has minimal CG, way less than we’ve ever done before. It’s mostly practical effects, and I think you can feel it in the show.”

They also wrote Frozen’s "Let it Go" and "Remember Me" from Coco as well as "It was Agatha All Along" for WandaVision.

Another music fact: Jack Antonoff produced the pop version of the ballad that was covered by Japanese Breakfast. 

"It was really fun that I got to paint her fingertips black, which was not mentioned [in the script],” he explained to Marvel.com. “It was something that I came up with, and everybody seemed to love. Considering that she always works with the Darkhold, it’s so evil that by touching it, your hands turn black as pitch. That was a really nice detail, and I’m very honored that it was adopted into her look.” 

“She is kind of a woman on the edge,” hair department head Cindy Welles told Marvel.com. “She’s constantly evolving and trying to assimilate with what’s around her, yet she’s kind of undone. It was a great collaboration with Kathryn using her own hair, with a few pieces or wigs here and there for some of the styles that were longer or shorter. But it was like, ‘Okay, this character is going one way mentally, so we have to take her there with her hair.’"

Daniel also said he wanted to approach each character's costume from the inside out. For example, Agatha wore strong-shouldered, tailored garments. “There is sort of like a presentational quality to her that she’s always like playing a character. She’s kind of giving attitude, and she isn’t necessarily telling the truth, or it seems like she’s not telling the truth. So she’s always hiding something," he said.

As for Lilia, it was all about the color yellow. “I always wanted her to be in this sort of yellow color palette, which is air and divination and intuition and this sort of magic,” Daniel said. “[It was a] callback to her roots, which was just revealed in Episode 7. We see her as a young girl in 1540s Italy, and that some of the shapes and the color and the details in her costume from that time when she was a little girl have carried all the way through to present-day Lilia. So we always see that there’s something embroidered on her costume, no matter which costume it is, and that there’s similar neckline, and that we keep her tarot card pendant that she had from being a very little girl.”

“With Aubrey’s character, it was sort of about introducing things like green growing life, giving things like plants and leaves and flowers and what happens to those when they die. And so you sort of get this full life cycle of things that are on the costume. The silhouette is the same, but everything is alive and green and growing. And, when she becomes Death, all those things have died and decayed and calcified and become sort of like lava rock and hardened and dark and permanent,” Daniel said.

"I think Maleficent was early. We need to see Joe Locke with all of that drama," Jac told Variety. "Also, in this episode, he is feeling himself, and we wanted that on screen. We wanted to see him swanning around in a gown, with the gorgeous headpiece and the full makeup. That is the moment he is at on his arc. He’s got a little nastiness — he’s not taking any of Agatha's crap. We are running so hard at that. And then Agatha as the classic evil green witch, that suited her, and, of course, our primary cultural allusion of The Wizard of Oz, the book."

"We decided Lilia would be the classic good witch because, first, Lilia is the hero of the episode. She saves the coven; she solves the trial. But also, she has this contentious relationship with witch stereotypes," she continued. "We knew she would be appalled at her outfit but that it would ultimately be the most accurate representation of her soul. The reverse was true for Jen. Her hero color is pink. She sees herself as this very femme, very beautiful creature, and she dresses herself as such and behaves as a princess. So, to put her in the crone look, it also felt accurate for where she is in her arc."

"The 'poke the bear' stuff, and the pen clicks were improv, but the rest was all incredible, incredible writing," Joe told the Wrap. "I was fully breaking; I wasn’t even fighting for my life. I bite my cheeks so much because she’s such a comedy pro. She gives, like, nothing away. And I was just wetting myself."

Even though you clearly see Joe breaking in the scene, Agatha All Along writer Jason Rostovsky told BuzzFeed that it worked. "It works great in the world as well. I couldn't imagine watching somebody acting that out and not laughing," he said.

Jac Schaeffer directed Episodes 1, 2, 7.

Rachel Goldberg directed Episodes 3, 4, 5.

Gandja Monteiro directed Episodes 6, 8, 9.

Jac had to step in for Episode 7, "Death's Hand in Mine," after scheduling conflicts opened the spot back up. “I was thrilled,” Jac told Variety. “It was a script that was really close to my heart.”

"I wrote a number of post-credit scenes, as I've done on every Marvel project I've ever worked on, because it's the thing that changes the most and goes the longest as a question mark until you're finally confronted with it," Jac told Entertainment Weekly. "Ultimately, it was a Marvel decision not to have a tag [end credit] on this show."