Pre-production
Coogler was confirmed as director in January 2016, and said that the film was his "most personal movie to date" in part because he grew up reading comics, adding, "I feel really fortunate to be able to work on something I'm this passionate about again." After being "wooed" by Feige for months, Coogler agreed to direct the film if he could bring collaborators from his previous films to differentiate the film from other MCU films that are often "shot, composed, and edited by the same in-house people". This included Fruitvale Station (2013) cinematographer Rachel Morrison, as well as production designer Hannah Beachler and composer Ludwig Göransson, who both worked with Coogler on Fruitvale Station and Creed. Coogler felt Black Panther would be unique while still fitting within the MCU's overall narrative.
In April 2016, Feige said that Coogler was working on the script with Cole, and that filming would begin at the beginning of 2017. He added that the film would be the first Marvel Studios production to feature a "primarily African-American cast": Lupita Nyong'o soon entered negotiations to star as T'Challa's love interest, and Michael B. Jordan joined in an undisclosed role, after previously working with Coogler on Fruitvale Station and Creed. Nate Moore, serving as a producer on the film by the end of May, stated that filming would occur in Atlanta, Georgia, with Marvel "definitely investigating shooting in Africa" as well.
At San Diego Comic-Con 2016, Nyong'o was confirmed for the film, in the role of Nakia, while Jordan's role was revealed to be Erik Killmonger. Also announced was Danai Gurira as Okoye. Coogler confirmed that filming would begin in January 2017. Additional casting occurred from September 2016 until the start of filming, with Winston Duke cast as M'Baku, a role that Yahya Abdul-Mateen II had also tested for as well as Michael James Shaw, who was later cast as Corvus Glaive in Avengers: Infinity War (2018) and Avengers: Endgame (2019), out of interest of visiting Africa before passing on the role; Forest Whitaker as Zuri; Daniel Kaluuya as W'Kabi; Angela Bassett as T'Challa's mother, Ramonda; Sterling K. Brown as N'Jobu; and Letitia Wright in an unspecified role, later to be revealed as Shuri. Dominique Thorne, who would go on to play Riri Williams / Ironheart in the sequel Black Panther: Wakanda Forever (2022), also auditioned to play Shuri. Florence Kasumba was revealed to be reprising her role as Ayo from Captain America: Civil War. Amandla Stenberg, who is biracial and light skinned, was considered for a role in the film but was not comfortable taking the place of a dark-skinned actor, and described her decision to pass on the role as "really challenging". By January 2017, Marvel received permission from the Oakland, California–based public transit agency AC Transit to use their logo in the film for the opening flashback sequence. The setting was chosen due to Coogler growing up in that area.
The production team was inspired by Ta-Nehisi Coates's run on Black Panther, who was writing the comic at the same time as they were working on the film. Of particular inspiration was Coates's poetic dialogue, Brian Stelfreeze's art, and "some of the questions that it's asking". The film was also inspired by the comic runs of Jack Kirby, Christopher Priest (which Coogler felt most influenced the film), Jonathan Hickman, and Hudlin. Characters for the film were picked from throughout the comics based on what worked for the film's story. The ceremonial betrothal aspect of the Dora Milaje was not adapted from the comics for the film. Coogler had hoped to include Spider-Man villain Kraven the Hunter early in the process because of a scene in Priest's run that had T'Challa fighting Kraven, but the rights to the character were not available due to Sony Pictures owning all rights to Spider-Man characters. Donald Glover and his brother Stephen made some minor contributions to an early draft of the script, developing the relationship between T'Challa and his younger sister Shuri. Moore noted that an early script had more scenes outside of Wakanda to explore "what it means to be African and African-American in the world a bit more", and hoped these could be revisited in a later film, particularly a "super cool" sequence that was storyboarded before being cut. Coogler and Robert Cole had considered including the Golden Age black hero Eli Bradley / Patriot for a while, but they ultimately excluded him to focus on Wakanda. Eli Bradley was eventually featured in the Disney+ miniseries The Falcon and the Winter Soldier (2021), portrayed by Elijah Richardson.
Feige described Black Panther as "a big geopolitical action adventure" that focuses on family and T'Challa learning to be king, with Civil War laying the groundwork for T'Challa's morality and establishing the geopolitical landscape that he would have to deal with on returning to Wakanda. Moore compared the politics and humor of the film to Captain America: The Winter Soldier (2014), saying that the former would be inherent but not "preachy", and that the latter would avoid the tones of Guardians of the Galaxy (2014) and Ant-Man (2015). He also said the film would be a cross between The Godfather (1972) and the James Bond films as a "big, operatic family drama centered around a world of international espionage". Coogler was influenced by 1970s films such as the works of Francis Ford Coppola in that decade, as well as crime fiction. He also watched the film A Prophet (2009) for inspiration. Feige called the film's story "rich in culturally relevant ideas", with Boseman indicating there were parallels to "pull from" in the film in relation to Donald Trump becoming President of the United States after Barack Obama, though Feige added that "these are conversations we were having two years ago because that is inherently the story within the comics." Moore said the film does not depend on the plots of any other MCU films, but it does affect the wider MCU moving forward, with Feige stating the film was "a very important" link to Avengers: Infinity War (2018) and Avengers: Endgame (2019). Civil War did introduce the Wakandan language, based on the Xhosa language, which Boseman was taught by John Kani, who portrays T'Challa's father, King T'Chaka. Additional actors portraying Wakandans in Black Panther learned the language, with Coogler making the use of the language "a priority... as much as possible". Coogler tried to incorporate Xhosa "in natural and authentic situations", such as when multiple Wakandans were speaking in the presence of nonnatives and wanted to say something they would not understand. John Kani's son Atandwa served as a dialect coach on the film along with his father.
Cole called the film an historic opportunity to depict a Black superhero "at a time when African-Americans are affirming their identities while dealing with vilification and dehumanization". It was important to root the film in the actual cultures of Africa, with the filmmakers consulting with experts on the region of Africa that Wakanda is supposed to be located in, rooting the film "in reality first and then build[ing] out from there". Coogler's vision for Wakanda was inspired by the southern African country Lesotho, a country which has historically been "an enclave, able to protect its independence because of its terrain" and was only lightly colonized by the British; the country's traditional blankets are also featured in the film. Coogler compared the rarity of vibranium existing only in Wakanda to the real-life mineral coltan that can almost only be found in Congo. He wanted Wakanda to feel like a full country with multiple distinct tribes, and created a project bible that detailed each Wakandan tribe to guide the design process. Special care was taken to create a futuristic look that was not alien, as some of Jack Kirby's original comic designs appeared.
Beachler wanted to honor the comic designs, but fill in the gaps with research concentrated on Sub-Saharan Africa, pulling inspiration from Uganda, Rwanda, Burundi, Congo-Kinshasa, Ethiopia, as well as the designs of Zaha Hadid, and the pre-colonization architecture of the historic Mali Empire and the city of Timbuktu. Moore described this approach of taking inspiration from many different sources as a love letter to Africa. Beachler looked at the architecture of existing tribes, and then tried to advance the technology naturally rather than if Wakanda had been colonized. Circular motifs, signifying the transmission of energy, were an important theme throughout the film. Older locations depicted in the film, such as Warrior Falls, the City of the Dead, and the Hall of Kings, were juxtaposed with the more modern Afro-punk style of the Golden City, the capital. Rondavels were incorporated into the tops of Wakanda's skyscrapers, inspired by the appearance of mountains at Blyde River Canyon in South Africa.
Beachler created different sigils and architecture for each of the Wakandan tribes, with the Border Tribe inspired by Lesotho, the Merchant Tribe having a sigil based on Nigerian writing, and the Golden Tribe using a sun symbol found throughout Africa. Gorilla City, home to the Jabari Tribe, was originally set in a rain forest, but Coogler suggested that it be found up a mountain in snow. Beachler based the written form of the Wakandan language on an old Nigerian language. She consulted with mining and metallurgy experts for the vibranium technology, including for the vibranium mine where the substance is depicted as glowing blue rocks before it is refined into the stainless steel look previously seen in the MCU. The film also adapts the kimoyo bead technology from the comics, and features sand-based technology. Beachler wanted futuristic elements of the film to be consistent with projections of what real world technology may be like in 25 or 30 years, such as the maglev and hovercraft technology used in vehicles. The Wakandan vehicles include a maglev train for carrying vibranium; the king's Royal Talon Fighter, which looks like a mask from the top and bottom; and the Dragon Flyer, inspired by the Congo peafowl.
The majority of Beachler's sets were constructed on sound stages in Atlanta, including the Tribal Council, Shuri's design space, and the Hall of Kings. The Tribal Council set was built with a glass floor through which an old ruin can be seen. The exterior set for Warrior Falls was built on a backlot north of Atlanta, and was inspired by the Oribi Gorge. The set was 36 feet (11 m), made up of a six-foot-high (1.8 m) pool, and then 30-foot-high (9.1 m) cliff faces that were designed to be extended to 100 feet (30 m) with visual effects. A framework for the cliffs was hand-sculpted from industrial styrofoam, with a system of tunnels built-in to the design to allow extras to climb up to different areas of the cliffs. The framework was then covered with 25,000 cubic feet (710 m3) of foam that was sculptured to match rocks found at Oribi Gorge. The pool was filled using six large pumps, so as to create a waterfall above the ledge at the bottom. The base of the pool was made from padding so stunts could safely be carried out on the set, but designed to look like rocks and to have enough grip that the actors would not fall over in the water. The set was completed in four months, and was used for two weeks of filming.
Costume designer Ruth E. Carter referenced the Maasai, Himba, Dogon, Basotho, Tuareg, Turkana, Xhosa, Zulu, Suri and Dinka people in her designs. She also examined appropriate works by Japanese fashion designer Issey Miyake, French fashion designer Yves Saint Laurent, and American fashion designer Donna Karan. Winnie Mandela provided inspiration to Carter for Angela Bassett's costumes.
The Dora Milaje costumes primarily used red to reflect different African cultures, and included beaded tabards that feature talismans that would be passed down from mother to daughter. Carter wanted to avoid the "girls in the bathing suits" look, and instead have the Dora Milaje wear full armor that they would practically need for battle. She also had to take actors' stunt work into consideration. Anthony Francisco, the Senior Visual Development Illustrator, noted the Dora Milaje costumes were based 80 percent on the Maasai, five percent on samurai, five percent on ninjas, and five percent on the Ifugao people from the Philippines. The arm band and neck rings were a reference to the Southern Ndebele people and denote stature. As such, General Okoye has gold bands and rings while the other Dora Milaje wear silver.
The costumes for T'Challa combined his role as king and as the head of the military, including combining a kente cloth cloak with military boots. Carter also used distinct colors and patterns for each of Wakanda's tribes, such as green with shells for the River Tribe based on the Suri; blue with wood for the Border Tribe; black with royal purple for the Black Panther and the Royal Palace; plums and purples for the Merchant Tribe in reference to the Tuareg; and ochre for the Mining Tribe inspired by the Himba. Three out of every five people in Wakanda go barefoot. The Wakandans wear "normal" clothes outside of the country, with the colors of their costumes kept consistent. Overall, Carter created 700 costumes for the film, working with "an army" of illustrators, designers, mold makers, fabric dyers, jewelry makers and more.
Hair department head Camille Friend referenced traditional African art, fabrics, hair, and textures, and the current-day natural hair movement in her designs. Friend strived to keep the actors' hair natural, using "braids, locs and twists", and when necessary, extensions and wigs. As with Carter, Friend designed each tribe to have their own identifiable aesthetic, such as the Jabari Tribe having hair styled with "very straight, clean lines" and war-paint detail, inspired by Senegalese warriors.
