The Last of Us - Interview with Eben Bolter

1
00:00:13,100 --> 00:00:14,700
Hey, I'm Derek.
And I'm Noah.

2
00:00:14,700 --> 00:00:17,500
And you're listening to a bite
of where we take our current

3
00:00:17,500 --> 00:00:20,300
favorite pop, culture,
Obsession, and enjoy one nibble

4
00:00:20,300 --> 00:00:24,100
at a time.
Oh do we have a special episode

5
00:00:24,100 --> 00:00:27,000
for you today?
This isn't a nibble.

6
00:00:27,000 --> 00:00:29,700
This is a meal.
This is a full.

7
00:00:30,000 --> 00:00:35,700
Course, everything you possibly
could know about episodes, 3

8
00:00:35,700 --> 00:00:41,300
through 5 of The Last of Us from
somebody that worked on him.

9
00:00:41,400 --> 00:00:44,800
We are giving you behind the
scenes in front of the scenes.

10
00:00:44,800 --> 00:00:48,000
During the scenes, all the seen
how the scenes were done, who

11
00:00:48,000 --> 00:00:49,700
did, what?
When, and how.

12
00:00:49,700 --> 00:00:52,800
And where all the, who, what,
when, where why how?

13
00:00:52,900 --> 00:00:55,900
And you know, I these are the
most upsetting episodes, of

14
00:00:55,900 --> 00:01:00,600
course, but ebenbolter is here
to just Really lay the

15
00:01:00,600 --> 00:01:04,500
groundwork with how he really
shot these scenes and these

16
00:01:04,500 --> 00:01:07,700
episodes.
And it's just so good guys.

17
00:01:07,800 --> 00:01:11,700
Like we were just like we took a
back seat to this, he laid it

18
00:01:11,700 --> 00:01:14,900
all out there for us.
We loved every second of it.

19
00:01:15,100 --> 00:01:16,800
I can't wait for you guys to
hear this.

20
00:01:16,800 --> 00:01:20,200
Not only super talented but just
one of the nicest people on

21
00:01:20,200 --> 00:01:22,700
Earth.
Yeah, he's so nice.

22
00:01:22,700 --> 00:01:26,600
What you obviously here but hey,
minor, spoiler warning.

23
00:01:26,900 --> 00:01:30,500
If you have not watched episode
3 through 5 and Some of the

24
00:01:30,500 --> 00:01:33,500
other episodes prior you know,
the drill go watch them.

25
00:01:33,500 --> 00:01:36,000
But if you don't care, there's
this interview for you.

26
00:01:36,700 --> 00:01:40,000
As always, make sure you're
following us on all the socials

27
00:01:40,000 --> 00:01:42,600
at a bite of pod.
You like the show?

28
00:01:42,600 --> 00:01:45,100
If it's the first time you're
actually here, because you

29
00:01:45,100 --> 00:01:47,900
wanted to hear this interview
with ebenbolter, we have a

30
00:01:47,908 --> 00:01:50,400
patreon.
It's a bit, you know, a dollar a

31
00:01:50,400 --> 00:01:53,300
month, could get your bonus
episodes, videos, exclusive

32
00:01:53,300 --> 00:01:56,500
content, all that stuff, free
stuff as well, then last but not

33
00:01:56,500 --> 00:01:59,800
least, subscribe to the show if
you like the show subscriber.

34
00:02:00,300 --> 00:02:02,800
Throw some Stars, some nice
words.

35
00:02:03,100 --> 00:02:08,100
We love that stuff.
Evans career in film began at

36
00:02:08,100 --> 00:02:11,400
the age of 24.
When he shot his first short, he

37
00:02:11,400 --> 00:02:15,200
continued to hone his craft by
making about 50 more short films

38
00:02:15,200 --> 00:02:18,600
within the next year, talking
about his learning experience.

39
00:02:18,600 --> 00:02:21,800
He said, quote, you can go to
school and spend a year learning

40
00:02:21,800 --> 00:02:25,800
how to make a chair or you could
just make a thousand chairs.

41
00:02:26,100 --> 00:02:27,900
I'm thinking he did the ladder
there.

42
00:02:28,100 --> 00:02:32,100
Evan was named a bafta.
Ooh, Brit in 2016 for his work

43
00:02:32,100 --> 00:02:35,700
on the feature film chicken and
has been nominated for his work.

44
00:02:35,700 --> 00:02:39,100
At the Wild Rose, independent
film festival, rain dance, film

45
00:02:39,100 --> 00:02:43,800
festival, and the LA shorts Fest
in 2018, he won best

46
00:02:43,800 --> 00:02:47,200
cinematography for stealing
silver at the Los Angeles movie

47
00:02:47,200 --> 00:02:50,000
awards in 2020.
He was the Director of

48
00:02:50,008 --> 00:02:52,900
Photography for the first season
of Armando iannucci.

49
00:02:52,900 --> 00:02:57,300
He's space satire Avenue.
Five, most recently, he has

50
00:02:57,300 --> 00:03:01,200
brought his incredible talents
to episodes 34 in I've of HBO's

51
00:03:01,200 --> 00:03:06,000
mega-hit The Last of Us.
And without further Ado, here's

52
00:03:06,000 --> 00:03:09,900
Evan.
We are so excited that

53
00:03:09,900 --> 00:03:13,100
ebenbolter is here with us.
Eben, thank you so much for

54
00:03:13,100 --> 00:03:15,900
spending a piece of your Sunday
with a bite of.

55
00:03:16,600 --> 00:03:18,400
Thank you so much for having me
my pleasure.

56
00:03:18,800 --> 00:03:20,700
How's it going today?
It's going.

57
00:03:20,700 --> 00:03:23,800
Well, yeah, it's is Sunday
evening in the UK.

58
00:03:23,800 --> 00:03:27,500
I just had a bath with my kids,
and this is a very pleasant

59
00:03:27,500 --> 00:03:29,000
thing to do.
After that is great.

60
00:03:29,900 --> 00:03:32,600
And so you had a lovely evening
and I get to talk to strangers,

61
00:03:32,600 --> 00:03:34,500
which is always nice.
Right?

62
00:03:34,800 --> 00:03:36,100
Believe me.
It's my pleasure.

63
00:03:36,400 --> 00:03:41,700
I do have to ask the first thing
is, how does it feel to have

64
00:03:41,700 --> 00:03:46,700
been the DP on two of the most
heartbreaking episodes in TV

65
00:03:46,700 --> 00:03:52,100
history?
Yeah, it's a good question.

66
00:03:52,100 --> 00:03:54,900
I can see.
The thing is, it's been such

67
00:03:55,000 --> 00:03:59,500
like, everyone thinks the thing
they're working on is special at

68
00:03:59,500 --> 00:04:01,700
the time.
Everything I've ever done.

69
00:04:01,800 --> 00:04:04,700
I think, I went through a period
of going, this could be it, this

70
00:04:04,700 --> 00:04:07,300
could be the thing, this could
be special, you know, and you

71
00:04:07,300 --> 00:04:10,800
sort of have to always have that
hope you know that you have to

72
00:04:10,800 --> 00:04:13,900
go into a project with some
excitement with this of

73
00:04:13,900 --> 00:04:17,500
possibility that like this is
the one otherwise it's cynical

74
00:04:17,500 --> 00:04:19,899
and weird.
I try to always have a little

75
00:04:19,899 --> 00:04:23,600
bit of, you know, fire in the
oven to be like this is going to

76
00:04:23,600 --> 00:04:27,400
be great.
So many times in my life, I've

77
00:04:27,500 --> 00:04:29,100
said to people, you know, what
are you working on?

78
00:04:29,100 --> 00:04:31,200
I'm doing this thing.
Saying it could be really great.

79
00:04:31,200 --> 00:04:35,300
And, you know, you sort of
yourself, hope things up, but

80
00:04:35,300 --> 00:04:39,100
the hope for this because I was
a day one last of us, you know,

81
00:04:39,100 --> 00:04:43,200
2013, PlayStation 3 player.
And I've had about eight years

82
00:04:43,600 --> 00:04:45,900
before that the series came
along of telling people how

83
00:04:45,900 --> 00:04:49,100
great the game was and trying to
sort of, almost like a Salesman

84
00:04:49,100 --> 00:04:51,800
taking it on as my own, like,
you gotta try this thing, you

85
00:04:51,808 --> 00:04:54,500
know, how you get, so invested
in something, it becomes yours

86
00:04:54,500 --> 00:04:56,000
and it kind of does actually, in
a way.

87
00:04:57,600 --> 00:05:00,300
I was that I was like, you know,
Miss the last Us.

88
00:05:00,300 --> 00:05:04,600
And then separate to, that was
such a fan of what Craig did

89
00:05:04,600 --> 00:05:06,800
with Ginobili.
I was like, whatever he does.

90
00:05:06,800 --> 00:05:10,500
Next, I've just got to be there.
I don't do anything to have an

91
00:05:10,500 --> 00:05:12,900
interview for in the two things
collided.

92
00:05:13,800 --> 00:05:16,900
It was like a dream job and
everyone who knew me would was

93
00:05:16,900 --> 00:05:19,400
texting me saying, your dream
jobs just been announced.

94
00:05:19,400 --> 00:05:23,400
So I was genuinely like screen
grabbing my phone and forwarded

95
00:05:23,400 --> 00:05:26,400
that to my agent like this truly
is a dream job.

96
00:05:26,400 --> 00:05:29,400
So, you know, make this thing
happen and I won't go into the

97
00:05:29,400 --> 00:05:31,200
hole.
Story of how I got it but it was

98
00:05:31,200 --> 00:05:34,500
sort of miraculous how I got it
and then I read it and when I

99
00:05:34,508 --> 00:05:39,500
got 2 episode 3, the effect
reading it had on me is the

100
00:05:39,500 --> 00:05:41,600
effect.
I imagine it had on you guys

101
00:05:41,600 --> 00:05:45,400
watching it, you know different
experiences and it's a different

102
00:05:45,400 --> 00:05:49,300
format and then you know
whatever but I was so moved by

103
00:05:49,300 --> 00:05:52,700
it and the song was there in the
script and the performances were

104
00:05:52,700 --> 00:05:55,600
there in the script?
And it really was all there.

105
00:05:55,600 --> 00:05:59,200
So I just was sort of rocked by
this piece of paper I sort of

106
00:05:59,200 --> 00:06:03,900
sat there Like oh, like this is
unbelievably good.

107
00:06:05,300 --> 00:06:08,700
So that's about 9 years of
height.

108
00:06:08,700 --> 00:06:11,300
Then I've had two years of
living with that script and

109
00:06:11,300 --> 00:06:13,600
trying to live up to that script
and trying to deliver that

110
00:06:13,600 --> 00:06:17,300
script so everyone else can can
enjoy it in the same way so for

111
00:06:17,300 --> 00:06:19,800
it to kind of get you know,
you're always waiting for it to

112
00:06:19,800 --> 00:06:22,400
go wrong.
You're always thinking OK, one

113
00:06:22,400 --> 00:06:25,600
of the cast aren't quite gonna
be right or we're going to lose

114
00:06:25,600 --> 00:06:28,300
our location, the run out of
time, run out of money, HK is

115
00:06:28,300 --> 00:06:31,000
going to cancel us whatever it.
Is you just waiting for the

116
00:06:31,000 --> 00:06:34,000
thing to go wrong.
Even after you've wrapped I'm in

117
00:06:34,000 --> 00:06:36,000
post just sort of biting my
nails.

118
00:06:36,000 --> 00:06:38,800
Like what if HBO says, it has to
be 60 Minutes?

119
00:06:38,800 --> 00:06:42,100
Like what if they cut out the
whole beginning and end?

120
00:06:42,100 --> 00:06:43,800
Or I don't know, you just don't
know what's going to happen

121
00:06:43,800 --> 00:06:48,100
because you give it away.
So for it to come out and be I

122
00:06:48,100 --> 00:06:52,100
think the best version possible
of what that script was and then

123
00:06:52,100 --> 00:06:55,100
have the reception.
It's hard, is just, I can't

124
00:06:55,100 --> 00:06:57,200
even, it's mind-blowing.
I hope it's ridiculous.

125
00:06:57,200 --> 00:06:59,100
It's like a dream.
I feel like I've sort of won the

126
00:06:59,100 --> 00:07:02,900
lottery and I'm going to wake up
and I do it's just mad.

127
00:07:02,900 --> 00:07:05,000
I can't I don't know.
I've never been through this

128
00:07:05,000 --> 00:07:07,300
before.
It's been insane and just you

129
00:07:07,300 --> 00:07:11,200
know I first was made aware of
you guys because of your love

130
00:07:11,200 --> 00:07:14,100
for the show and Twitter has
been.

131
00:07:14,200 --> 00:07:17,500
Just I've never really used to
my delight this because I guess

132
00:07:17,500 --> 00:07:20,700
this is my, you know, five
minutes of Niche frame, which is

133
00:07:20,700 --> 00:07:25,400
fine but like I just being
online and experiencing it from

134
00:07:25,400 --> 00:07:27,100
all over the world.
I've had messages from, you

135
00:07:27,100 --> 00:07:30,200
know, every country in the world
from people just saying how How

136
00:07:30,200 --> 00:07:32,200
much it meant to them and how
much it moved?

137
00:07:32,200 --> 00:07:36,200
And so, that's a really long
answer to a simple question.

138
00:07:36,500 --> 00:07:40,100
Just to kind of go off of what
you're saying is that I was

139
00:07:40,100 --> 00:07:42,700
actually traveling for work when
the third episode came out.

140
00:07:42,700 --> 00:07:45,100
And so Noah watched it before me
and he was like, you have to

141
00:07:45,100 --> 00:07:48,000
watch this download for your
plane ride home and I ended up

142
00:07:48,000 --> 00:07:50,500
watching it in the lobby of my
hotel before going to the

143
00:07:50,500 --> 00:07:54,600
airport and I was like crying in
the lobby but in like the best

144
00:07:54,600 --> 00:07:57,200
like trying to hold it in like
while people were munching on

145
00:07:57,200 --> 00:08:00,600
burgers around me, but it really
was just a Such a beautiful

146
00:08:00,600 --> 00:08:04,400
episode and I've seen people
from all walks of all different

147
00:08:04,400 --> 00:08:07,100
sexualities saying.
Wow, this was incredible.

148
00:08:07,100 --> 00:08:10,800
Wow, it was done so well, while
this story was sort of a new

149
00:08:10,800 --> 00:08:13,900
story in these sort of
Apocalypse, line of things of

150
00:08:13,900 --> 00:08:16,500
this beautiful love story
between these two men.

151
00:08:17,000 --> 00:08:19,700
So it really does mean so much
to so many people.

152
00:08:19,700 --> 00:08:21,900
So I mean I know you've heard
this before and probably read it

153
00:08:21,900 --> 00:08:27,200
in eight thousand messages, but
I just wanted to share that as

154
00:08:27,200 --> 00:08:28,700
well.
It really is meant a lot to a

155
00:08:28,700 --> 00:08:31,600
lot of people Getting, it was so
beautifully.

156
00:08:32,299 --> 00:08:34,900
Thank you.
Well, yeah, I mean, I, you know,

157
00:08:34,900 --> 00:08:39,400
I think we felt the weight of
that importance, particularly it

158
00:08:39,400 --> 00:08:44,000
being two middle-aged men, a
romantic love story without

159
00:08:44,000 --> 00:08:46,700
cynicism.
And also, without any like heavy

160
00:08:46,700 --> 00:08:48,500
agenda.
What I, what I loved about it is

161
00:08:48,500 --> 00:08:51,600
it just was about truth.
It was about love these

162
00:08:51,600 --> 00:08:55,800
completely Universal.
You know, I'm not, I'm not a gay

163
00:08:55,800 --> 00:08:59,700
man myself.
I I'm absolutely in a lie, too.

164
00:08:59,800 --> 00:09:02,300
To, to any sexuality, any wake
of life?

165
00:09:02,300 --> 00:09:04,900
I'm a very sort of open and
liberal person.

166
00:09:05,300 --> 00:09:11,100
So I felt the responsibility for
for people who are going to who

167
00:09:11,100 --> 00:09:14,500
this story will mean to more
than me on the surface, but I

168
00:09:14,500 --> 00:09:17,500
could also approach it from my
own truth.

169
00:09:17,900 --> 00:09:21,700
I've just about, you know,
approaching middle age and love

170
00:09:21,700 --> 00:09:25,000
and I could easily, you know, to
me, it's just a love story

171
00:09:25,000 --> 00:09:28,500
between two people and for me,
you know, it could be man,

172
00:09:28,500 --> 00:09:31,400
woman, woman woman, man, man.
It doesn't, it doesn't really

173
00:09:31,400 --> 00:09:35,300
change anything for sort of my
approach it, but I was obviously

174
00:09:35,300 --> 00:09:37,800
aware of the fact.
It is Two Men.

175
00:09:37,900 --> 00:09:43,200
And so, there's an extra level
of listening of understanding

176
00:09:43,200 --> 00:09:46,300
that perspective.
And Peter, I director is a game

177
00:09:46,300 --> 00:09:50,300
and our editor, Tim the script.
So, you know, there are a lot of

178
00:09:50,300 --> 00:09:54,900
voices who who, you know, their
voice on anything coming up is

179
00:09:54,900 --> 00:09:57,900
heard even more when it's
something like that.

180
00:09:57,900 --> 00:10:01,000
But yeah, I do.
I felt the sort of the weight of

181
00:10:01,000 --> 00:10:04,700
the responsibility without
feeling, I don't know.

182
00:10:04,700 --> 00:10:06,500
It's just a very sort of open
honest.

183
00:10:06,500 --> 00:10:09,900
Lovely thing and I was very
lucky to be there.

184
00:10:10,600 --> 00:10:12,900
Well, it sounds like you did
approach it in the right way,

185
00:10:13,000 --> 00:10:14,100
right?
It's not.

186
00:10:14,100 --> 00:10:17,900
It's not a gay love story.
It just is a story of love.

187
00:10:18,500 --> 00:10:20,300
Yeah, totally.
Exactly.

188
00:10:20,600 --> 00:10:23,900
And I did see one rainbow flag
in that entire episode.

189
00:10:24,800 --> 00:10:27,400
There is one actually, there is
no on the blanket, right there.

190
00:10:30,800 --> 00:10:32,700
And that.
Yeah, and it's funny because I

191
00:10:32,700 --> 00:10:36,400
saw I was reminded of that or in
fact that, that Association was

192
00:10:36,400 --> 00:10:38,200
pointed out to me on Twitter by
somebody.

193
00:10:38,200 --> 00:10:41,200
And I actually can't.
I don't think I don't know if

194
00:10:41,200 --> 00:10:43,700
that ever was came up as like a
thing.

195
00:10:43,800 --> 00:10:46,900
I don't know, if I'm honest, I
don't like it was never like

196
00:10:46,900 --> 00:10:48,400
we've got to get a rainbow flag
in that.

197
00:10:48,400 --> 00:10:52,500
It wasn't that maybe when it was
like, is it this one?

198
00:10:52,500 --> 00:10:55,800
This one, this one, someone went
well that would be cool, maybe I

199
00:10:55,800 --> 00:11:00,600
wasn't there for that
conversation but Yeah, I think I

200
00:11:00,608 --> 00:11:03,100
don't know if that's a happy
accident or a nice little thing

201
00:11:03,100 --> 00:11:05,000
that Peter did and didn't tell
anyone, I don't know.

202
00:11:05,100 --> 00:11:07,800
So I want to just take a step
back for a minute because I was

203
00:11:07,800 --> 00:11:10,700
like, we're going to talk more
about episodes 3, 4 & 5.

204
00:11:11,100 --> 00:11:14,600
I kind of want for folks
listening who might not be

205
00:11:14,600 --> 00:11:16,800
familiar with, what a Director
of Photography does.

206
00:11:16,800 --> 00:11:19,000
Can you give us like a one or
two minute?

207
00:11:19,000 --> 00:11:22,300
Sort of line about what your
main job is on the set of a

208
00:11:22,308 --> 00:11:24,200
show?
Absolutely.

209
00:11:24,300 --> 00:11:26,000
I don't think my parents know
what I do.

210
00:11:26,100 --> 00:11:31,700
So it's a very, very common.
I mean I'm actually part of it

211
00:11:31,700 --> 00:11:34,000
is the truth is my job changes a
lot.

212
00:11:34,400 --> 00:11:37,200
I do honestly, I don't know what
it is but there are jobs where

213
00:11:37,200 --> 00:11:41,800
my, you know, on a commercial.
For example, my job is to do

214
00:11:41,800 --> 00:11:44,700
exactly what I'm told.
It's this thing's been through

215
00:11:44,700 --> 00:11:48,900
all of the agency creatives and
they want me to to light the

216
00:11:48,900 --> 00:11:52,600
Coke can or whatever it is and
do this exact shot that's on a

217
00:11:52,608 --> 00:11:55,900
storyboard and I've just got to
technically deliver.

218
00:11:55,900 --> 00:11:59,300
The image that has been
requested and that's about it on

219
00:11:59,300 --> 00:12:00,100
others.
Stuff.

220
00:12:00,100 --> 00:12:04,000
Or maybe if I'm working on a
film or a short film with

221
00:12:04,200 --> 00:12:07,900
director, who's a first-timer or
with an actor turned director,

222
00:12:07,900 --> 00:12:11,600
which is quite a common one.
They may approach a scene and

223
00:12:11,600 --> 00:12:14,700
say, help me.
How do I do this?

224
00:12:15,300 --> 00:12:19,800
And my job then becomes
absolutely be the right-hand

225
00:12:19,800 --> 00:12:23,200
person to the director.
I've got to be with the

226
00:12:23,200 --> 00:12:25,000
director.
I had an expression someone else

227
00:12:25,000 --> 00:12:28,400
said about like the director
quite often is an island on

228
00:12:28,400 --> 00:12:31,200
their own and everyone.
Trying to sort of attack them

229
00:12:31,200 --> 00:12:34,700
and take their peace and they
can feel incredibly isolated and

230
00:12:34,700 --> 00:12:36,900
the job of the cinematographer
it to be on the island with

231
00:12:36,900 --> 00:12:39,000
them.
You've just got you spend every

232
00:12:39,000 --> 00:12:41,200
second with them.
You're texting them, when you're

233
00:12:41,200 --> 00:12:44,200
not together, you're you're
constantly talking about scenes

234
00:12:44,200 --> 00:12:49,600
about ideas about references and
yeah when it comes to being on

235
00:12:49,600 --> 00:12:52,900
set a director like that really
does look to the cinematographer

236
00:12:52,900 --> 00:12:55,600
to talk about the blocking to
talk about the shots to talk

237
00:12:55,600 --> 00:12:59,600
about everything.
So I kind of take on the mantle

238
00:12:59,700 --> 00:13:03,600
It'll of visual Storyteller.
I think it's my job to deliver

239
00:13:03,600 --> 00:13:10,000
visual storytelling the degree
to which I add.

240
00:13:10,000 --> 00:13:13,000
My own ideas versus deliver
other people's ideas.

241
00:13:13,000 --> 00:13:16,300
Just depends on the director.
So on something like the last of

242
00:13:16,300 --> 00:13:21,400
us, we've got an incredibly
detailed script and Craig knows

243
00:13:21,400 --> 00:13:25,000
what he wants and we've got a
world that we know from the

244
00:13:25,000 --> 00:13:26,600
video game.
So, there's a lot of things that

245
00:13:26,600 --> 00:13:30,400
are already kind of in place.
So, the job then is, How do you

246
00:13:30,400 --> 00:13:32,200
make this the best version
possible?

247
00:13:32,200 --> 00:13:35,600
So in prep, that's working with
the art Department, to talk

248
00:13:35,600 --> 00:13:39,700
about locations to talk about
building sets to talk about high

249
00:13:39,700 --> 00:13:43,100
Concepts, about lighting.
What are the Torches look like,

250
00:13:43,600 --> 00:13:46,100
you know, how we going to make
bills Town?

251
00:13:46,100 --> 00:13:48,800
Feel like a real town because we
built that Outdoors.

252
00:13:49,100 --> 00:13:51,400
Where's his house?
What orientation to the sun is

253
00:13:51,400 --> 00:13:54,500
the house.
When we get into the Interiors,

254
00:13:54,500 --> 00:13:56,300
we're going to build those on a
soundstage.

255
00:13:56,300 --> 00:13:58,500
How do I make those feel like
real locations?

256
00:13:58,500 --> 00:14:00,900
And not like a soundstage.
Blue screen Through the Windows

257
00:14:01,900 --> 00:14:02,500
and so.
Yeah.

258
00:14:02,500 --> 00:14:04,900
I work with my lighting
department to design all the

259
00:14:04,900 --> 00:14:09,700
lighting and you know this the
whole train just keeps moving

260
00:14:09,700 --> 00:14:12,400
and every day we're talking
about how we're going to shoot

261
00:14:12,400 --> 00:14:13,700
it.
What's it going to look like?

262
00:14:13,700 --> 00:14:16,400
What are the shots going to be
what's, you know, there any

263
00:14:16,500 --> 00:14:19,300
special shots are there any all
of those things?

264
00:14:19,700 --> 00:14:21,900
So sometimes it's really big
broad stroke.

265
00:14:21,900 --> 00:14:26,600
Sometimes it's the minutiae of I
need the tablecloth to be white

266
00:14:26,600 --> 00:14:30,000
but not too white, things like
that, you know, that's Job.

267
00:14:30,000 --> 00:14:35,600
So in the end, I think if
someone says let's The Last of

268
00:14:35,600 --> 00:14:39,400
Us looks pretty, then great.
In a way, I've done my job but

269
00:14:39,400 --> 00:14:41,900
also sometimes it's not about
that, it's about.

270
00:14:41,900 --> 00:14:45,900
If someone says that performance
was great, I can actually sort

271
00:14:45,900 --> 00:14:49,500
of to myself, feel like I've had
a part to play in that.

272
00:14:49,500 --> 00:14:53,000
Because as part of the sort of
filmmaking machine, we're really

273
00:14:53,000 --> 00:14:56,600
involved in everything.
And I think particularly me as a

274
00:14:56,608 --> 00:14:59,400
cinematographer, I tried to be
incredibly empathetic to what's

275
00:14:59,700 --> 00:15:03,100
meaning for the greater good.
It's not just I want every shot

276
00:15:03,100 --> 00:15:05,800
to be perfect.
It's I want this to be great.

277
00:15:06,000 --> 00:15:08,800
So sometimes the performance is
everything.

278
00:15:08,800 --> 00:15:13,600
So Bill and Frank at the piano
that was all about performance.

279
00:15:13,600 --> 00:15:16,400
That was all about sensitivity
that was all about giving them

280
00:15:16,400 --> 00:15:18,400
Freedom.
We cross shot that.

281
00:15:18,400 --> 00:15:21,000
So it's bills shot and Frank
shot at the same time.

282
00:15:21,000 --> 00:15:23,400
We did it two shots.
We got three cameras covering

283
00:15:23,400 --> 00:15:27,300
that all at the same time and
that gave them the space to just

284
00:15:27,300 --> 00:15:31,200
do their thing rather than if I
said okay now I need the perfect

285
00:15:31,200 --> 00:15:33,600
lighting on Marie.
I'm just going to shoot marine

286
00:15:33,700 --> 00:15:36,000
and then Nick off camera is
doing something incredible and

287
00:15:36,000 --> 00:15:38,000
we haven't seen it.
The audience had ever going to

288
00:15:38,000 --> 00:15:40,600
see it and that seemed takes on
a whole new.

289
00:15:40,600 --> 00:15:44,500
Maybe my shot on Murray was 10%
nicer but the scene overall is

290
00:15:44,500 --> 00:15:47,500
worse.
So you know the people kind of

291
00:15:47,500 --> 00:15:50,600
simplify what cinematographer is
a lot of the time into is it

292
00:15:50,600 --> 00:15:54,900
pretty or not and in some ways
that is our responsibility, but

293
00:15:55,100 --> 00:15:58,000
I guess what I'm saying is
sometimes we make things look

294
00:15:58,000 --> 00:15:59,500
worse.
So too.

295
00:15:59,600 --> 00:16:03,000
The overall benefit of the piece
thank you for taking their time

296
00:16:03,000 --> 00:16:05,700
because you know in getting
ready to talk to you we were

297
00:16:05,700 --> 00:16:08,000
watching.
We were trying to find just the

298
00:16:08,000 --> 00:16:11,000
best YouTube video to tell us
exactly what we needed to know

299
00:16:11,000 --> 00:16:14,200
about cinematography more like
this sounds too complicated,

300
00:16:14,200 --> 00:16:16,300
like this doesn't make sense,
but you did it perfectly.

301
00:16:16,900 --> 00:16:18,700
Thank you.
And I do want to say, that, that

302
00:16:18,700 --> 00:16:21,500
scene at the piano is one of my
favorite scenes of the epidemics

303
00:16:21,500 --> 00:16:25,000
it because like you said,
there's something about Nick's

304
00:16:25,000 --> 00:16:27,900
sort of tentative performance.
And that and Marie trying to

305
00:16:27,900 --> 00:16:33,200
welcome him over and Create that
relationship and wow, that

306
00:16:33,200 --> 00:16:34,900
decision that you just
explained.

307
00:16:34,900 --> 00:16:38,300
It just makes so much sense and
it really created that seen it

308
00:16:38,300 --> 00:16:41,000
made it exists as it does in the
way it should.

309
00:16:41,200 --> 00:16:43,700
Well, you know, there's no
point.

310
00:16:44,600 --> 00:16:47,500
She's like a beautiful image.
That doesn't mean anything is

311
00:16:47,500 --> 00:16:49,700
pointless.
You know, and I've learned that

312
00:16:49,700 --> 00:16:52,800
the hard way doing lots of
films, Nobody seen and sometimes

313
00:16:52,800 --> 00:16:55,500
pouring my heart and soul into
this thing and me and

314
00:16:55,500 --> 00:16:57,900
aesthetically.
I've gone that some of my best

315
00:16:57,900 --> 00:17:00,900
work but you take a step.
Back from that and you realize

316
00:17:00,900 --> 00:17:04,599
it's in a piece of work that
either hasn't been seen or isn't

317
00:17:04,599 --> 00:17:09,200
very good and it is pointless.
So more than ever, now, I just

318
00:17:09,200 --> 00:17:12,300
want the overall piece to be
great and be a part of the

319
00:17:12,300 --> 00:17:16,200
machine that helps that happen.
And so sometimes it's the

320
00:17:16,200 --> 00:17:19,900
cul-de-sac and it's a I've got
to do all this technical stuff

321
00:17:19,900 --> 00:17:22,400
to make it feel like Moonlight
and do all this action.

322
00:17:23,300 --> 00:17:26,300
You can't just rock up and turn
the camera on and press go.

323
00:17:26,300 --> 00:17:29,500
That's you know, there's a lot
of work required but sometimes

324
00:17:29,700 --> 00:17:34,000
The piano sing and you just have
to take a backseat and let magic

325
00:17:34,000 --> 00:17:35,900
happen.
And I agree.

326
00:17:35,900 --> 00:17:38,200
It's probably my favorites.
That all the strawberries

327
00:17:38,200 --> 00:17:40,200
putting my favorite scenes in
the episode.

328
00:17:41,200 --> 00:17:44,600
And there the scenes where I was
the most restrained and

329
00:17:44,600 --> 00:17:47,400
performances first.
And I think that was the correct

330
00:17:47,400 --> 00:17:51,900
approach that was a Derek and I
had made sure to write down some

331
00:17:51,900 --> 00:17:53,600
scenes.
We specifically wanted to hear

332
00:17:53,600 --> 00:17:55,500
you talk about.
Those were the two scenes?

333
00:17:55,500 --> 00:17:57,800
Like those are both of our
favorite ones.

334
00:17:57,900 --> 00:18:01,300
Well, something like that.
So beautiful on the page.

335
00:18:01,300 --> 00:18:05,900
Exactly as written.
And we realized that really it's

336
00:18:05,900 --> 00:18:09,500
a two-minute scene with the two
of them and it's quite simple.

337
00:18:09,900 --> 00:18:13,900
So we in the, in the sort of
overall, you know, Arc of their

338
00:18:13,900 --> 00:18:16,200
relationship and this and the
story.

339
00:18:16,200 --> 00:18:20,000
We were careful not to get to
visually romantic too often

340
00:18:20,000 --> 00:18:22,400
because you can kind of overdo
it, you need, you need all the

341
00:18:22,400 --> 00:18:24,300
sort of seasons and weather you
know.

342
00:18:25,000 --> 00:18:27,700
But that really felt like an
opportunity to kind of lean into

343
00:18:27,700 --> 00:18:29,500
Terrence Malick and to be a
little bit more.

344
00:18:29,700 --> 00:18:33,800
Chicawa and let's, let's sort of
embrace nature and make it warm

345
00:18:33,800 --> 00:18:38,100
and loving as written.
So we actually plot it out where

346
00:18:38,100 --> 00:18:40,900
the stories would be relative to
where the sun would be in the

347
00:18:40,900 --> 00:18:44,200
sky just before it sets.
So we set this whole thing up so

348
00:18:44,200 --> 00:18:48,100
that we have a 15 minute window
to shoot it multi-cameras again,

349
00:18:48,400 --> 00:18:52,000
but maybe two, maybe three takes
before we'd lose the Sun and

350
00:18:52,000 --> 00:18:53,800
it's the real Sun.
So when it's gone, it's gone.

351
00:18:55,200 --> 00:18:59,400
And so that's that is as another
version of the same thing.

352
00:18:59,600 --> 00:19:03,200
We're setting up the situation
in a way that makes sense to

353
00:19:03,200 --> 00:19:07,300
make it sort of look the best it
can but also bright for the

354
00:19:07,300 --> 00:19:10,500
scene and there is a flexibility
for the actors.

355
00:19:10,500 --> 00:19:13,500
But also we've only got three
takes so we've really got to be

356
00:19:13,500 --> 00:19:15,200
on it.
We've got to have rehearsed IT.

357
00:19:15,500 --> 00:19:18,500
Cameras have to reset quickly.
It isn't a okay.

358
00:19:18,500 --> 00:19:19,800
I'm going to go for a bathroom
break.

359
00:19:19,800 --> 00:19:22,000
I'll be back in 10 minutes, it's
gone.

360
00:19:23,200 --> 00:19:26,600
So yeah, we were all I was
relying on was we would get it

361
00:19:26,600 --> 00:19:29,500
in three takes performance-wise,
which was I think we got it in.

362
00:19:29,600 --> 00:19:33,300
Take frankly, they're so good
and I needed the some.

363
00:19:33,300 --> 00:19:36,200
So if a big cloud of come along
that could have been a problem

364
00:19:36,800 --> 00:19:38,600
and we had these feathers in the
air.

365
00:19:38,600 --> 00:19:42,200
I wanted to kind of, you know, I
really did lean into nature and

366
00:19:42,200 --> 00:19:45,400
magic and stuff, and we had I
wanted this idea of pollen in

367
00:19:45,400 --> 00:19:48,400
the air.
So the sfx team, cut up all

368
00:19:48,400 --> 00:19:51,700
these tiny little feathers.
They really cut feathers up into

369
00:19:51,700 --> 00:19:55,200
tiny little pieces, glue them
into the air with massive fans

370
00:19:55,200 --> 00:19:57,700
and they sort of rain down on
waste like snow and just kind of

371
00:19:57,700 --> 00:19:59,900
catch the wind.
And if you watch the I've seen

372
00:19:59,900 --> 00:20:03,100
again, you can see it's kind of
catching pollen in the air and

373
00:20:03,100 --> 00:20:05,800
that's another thing that's a
committee gamble because, you

374
00:20:05,800 --> 00:20:09,500
know, the wind and you don't
want something like that to stop

375
00:20:09,500 --> 00:20:14,100
halfway through a scene, but the
sfx team were brilliant and it

376
00:20:14,100 --> 00:20:16,000
it all came together.
So you're saying that Nick

377
00:20:16,000 --> 00:20:19,400
Offerman didn't have to do his
giggle more than once.

378
00:20:19,400 --> 00:20:20,700
It was a perfect giggle for
that.

379
00:20:20,700 --> 00:20:24,300
See my, my side and excite to
that giggle is.

380
00:20:24,300 --> 00:20:29,100
I'd heard it once before.
When we first met Nick, it was a

381
00:20:29,100 --> 00:20:31,300
lovely thing.
The crate did for every episode

382
00:20:31,300 --> 00:20:33,600
where just before we started
shooting every episode, we go

383
00:20:33,600 --> 00:20:36,500
out for dinner with the sort of
main heads of departments and

384
00:20:36,500 --> 00:20:39,800
the cast, and the new director
to have all these lovely dinners

385
00:20:39,800 --> 00:20:41,600
of like bonding.
Kind of like you do on a movie

386
00:20:41,600 --> 00:20:44,300
before you start the film, they
just created lovely like

387
00:20:44,500 --> 00:20:47,800
camaraderie.
And I sat next to Nick and we

388
00:20:47,800 --> 00:20:51,000
were in this Japanese restaurant
and he was this like incredible

389
00:20:51,000 --> 00:20:54,300
piece of rare beef and he took
one bite, and he did that

390
00:20:54,300 --> 00:20:58,300
giggle.
It was a very different emotion

391
00:20:58,300 --> 00:21:02,800
but it I remember Eating like
that's so awesome but hit like

392
00:21:03,400 --> 00:21:06,200
so I don't know that it came out
again with the strawberries but

393
00:21:06,200 --> 00:21:10,200
it's a very authentic thing.
He does just visually aside from

394
00:21:10,200 --> 00:21:13,800
the performances alone but I
want to watch it again and look

395
00:21:13,800 --> 00:21:17,000
out for those little those
feathers because it did give

396
00:21:17,000 --> 00:21:21,100
that magical feeling it gave
that feeling of just them being

397
00:21:21,100 --> 00:21:23,300
there and they're the only
people in the world.

398
00:21:23,400 --> 00:21:27,000
Yeah, it was so good, so good.
You know, I feel like with that

399
00:21:27,000 --> 00:21:29,100
seen it like no said, that was a
word.

400
00:21:29,100 --> 00:21:30,000
I was there.
Magic.

401
00:21:30,000 --> 00:21:32,400
It felt ethereal write that
scene in it felt like almost

402
00:21:32,400 --> 00:21:35,200
like a break for all of us
including the characters.

403
00:21:35,200 --> 00:21:38,800
We can kind of just sit in that
beautiful like almost dusk

404
00:21:38,800 --> 00:21:41,900
moment, right?
And just enjoy this with them.

405
00:21:42,000 --> 00:21:43,500
Yeah, absolutely.
Thank you.

406
00:21:43,600 --> 00:21:46,300
We don't know what's to come and
what we already know it happens

407
00:21:47,300 --> 00:21:51,400
because I mean, overall there
are ups and downs in their

408
00:21:51,400 --> 00:21:53,700
lives.
But you know, they are winners.

409
00:21:53,700 --> 00:21:56,900
Like the, what happens in The
Last of Us world?

410
00:21:56,900 --> 00:21:59,400
I want their story.
I want their end.

411
00:21:59,500 --> 00:22:02,400
Ding, like they win.
That's best case scenario for

412
00:22:02,400 --> 00:22:04,400
what's happened in the outer
world.

413
00:22:04,400 --> 00:22:08,300
And so we did just want to sort
of celebrate this happy moments.

414
00:22:08,300 --> 00:22:11,700
You know, it doesn't always have
to be you know, so sort of heavy

415
00:22:11,700 --> 00:22:15,300
and sad and so yeah it was a
case of visually picking the

416
00:22:15,300 --> 00:22:19,200
moment to kind of go a bit
bigger and express the sort of

417
00:22:19,200 --> 00:22:22,400
visual love.
So it was I'd say that their

418
00:22:22,400 --> 00:22:28,400
spec seen the strawberries and
the wedding at the three times.

419
00:22:28,400 --> 00:22:32,700
When I kind of was like, Let's
let's enjoy this visually and

420
00:22:32,700 --> 00:22:37,400
get warm and romantic.
And I mean, having 20 years of

421
00:22:37,400 --> 00:22:41,500
your own Eden just aside from
one night with a Raiders.

422
00:22:41,500 --> 00:22:43,100
But yeah, you know.
Yeah.

423
00:22:43,100 --> 00:22:45,800
Having that is, what better
thing could you ask for?

424
00:22:46,000 --> 00:22:47,900
Yeah, in a post-apocalyptic
World.

425
00:22:48,000 --> 00:22:49,600
Exactly.
And like, you know, Marie

426
00:22:49,700 --> 00:22:52,500
Marie's this sadness, obviously,
what happens to Mary's

427
00:22:52,500 --> 00:22:56,300
character, Frank is sad, but
also, you know, the life ends

428
00:22:56,300 --> 00:23:00,200
eventually and I think they,
they have Like he says, I'm

429
00:23:00,200 --> 00:23:03,800
satisfied and they've had a good
run and you know, like it I

430
00:23:03,800 --> 00:23:06,900
don't know that they're in
control at the end, they both

431
00:23:07,000 --> 00:23:10,000
choose how they go out.
Ultimately and maybe they could

432
00:23:10,000 --> 00:23:11,700
have survived another year or
something.

433
00:23:11,700 --> 00:23:14,900
But you know, what point with
the relationship and we'll all

434
00:23:15,200 --> 00:23:18,300
life, not be as beautiful as it
once was.

435
00:23:18,300 --> 00:23:21,300
So I think they're the winners
and he was coherent enough to

436
00:23:21,300 --> 00:23:26,200
make that choice because I think
that as far as queer people in

437
00:23:26,300 --> 00:23:30,000
media goes so many times, this
is something that Every time I

438
00:23:30,000 --> 00:23:33,200
talk about this episode, I'm
like, yes, the queer people did

439
00:23:33,200 --> 00:23:35,800
die in this, but it was on their
terms.

440
00:23:35,900 --> 00:23:38,400
Yeah, they decided and that's
huge.

441
00:23:38,400 --> 00:23:41,900
Yeah.
And I think, I mean, Nick bill

442
00:23:42,000 --> 00:23:46,000
says, this isn't the, the sad,
you know, suicide at the end of

443
00:23:46,008 --> 00:23:49,500
the play or whatever, I think he
really spells out.

444
00:23:49,500 --> 00:23:52,300
This is different to that
they're going out on their terms

445
00:23:52,300 --> 00:23:55,000
and the right way, happy
satisfied, you know, as we're

446
00:23:55,000 --> 00:23:56,800
saying, there's sort of this,
like, beautiful bubble that

447
00:23:56,800 --> 00:23:59,700
they're living in this Eden
where they spend these 20, Years

448
00:23:59,700 --> 00:24:02,400
together.
But the backdrop still is this

449
00:24:02,400 --> 00:24:05,500
apocalypse, you know.
So how when you're when you're

450
00:24:05,500 --> 00:24:09,900
creating their you know home
their homes through this town

451
00:24:09,900 --> 00:24:12,300
that they live in?
How did you go about creating

452
00:24:12,300 --> 00:24:15,500
that intimacy?
But also with this backdrop of

453
00:24:15,500 --> 00:24:18,600
infected maybe coming in or the
fact that there is sort of the

454
00:24:18,600 --> 00:24:20,100
end of the world happening
around them?

455
00:24:20,700 --> 00:24:23,000
Yeah, yeah.
So I think that's why it's

456
00:24:23,000 --> 00:24:26,000
important to pick out the
moments of pure happiness and

457
00:24:26,000 --> 00:24:27,500
love, and joy and lean into
them.

458
00:24:27,500 --> 00:24:31,500
But then also, You know, you
have to sort of keep reminding

459
00:24:31,500 --> 00:24:37,200
the audience that there's a big
scary gate there and traps for a

460
00:24:37,200 --> 00:24:39,600
reason.
And there's infected out there

461
00:24:39,600 --> 00:24:43,700
and there're even worse, human
beings out there who are gonna,

462
00:24:45,200 --> 00:24:49,500
you know, get desperate and a
capable of all manner of things.

463
00:24:49,500 --> 00:24:54,100
So, yeah, it's just I I would
credit the script mostly for

464
00:24:54,400 --> 00:24:55,700
boy.
Yeah, absolutely.

465
00:24:55,700 --> 00:25:00,100
I credit the script for for
balancing all of those things

466
00:25:00,100 --> 00:25:04,700
and then my job is just to
visually to represent that I

467
00:25:04,708 --> 00:25:08,100
think and like I said to pick
out moments of warmth and and

468
00:25:08,100 --> 00:25:11,500
loveliness but then also allow
things to feel different.

469
00:25:11,500 --> 00:25:15,900
I mean, the final Montage before
they have their final meal.

470
00:25:16,400 --> 00:25:19,300
We decided to do a kind of late
Autumn feel.

471
00:25:19,300 --> 00:25:24,100
So we put all of these leaves
everywhere and massive fans,

472
00:25:24,100 --> 00:25:29,000
like a wind machine, and it just
felt sort of like, like, you

473
00:25:29,000 --> 00:25:32,400
know, this Happiness and it's
like there's an end-of-life feel

474
00:25:32,400 --> 00:25:35,800
to that, but it's also kind of
like a beauty in it, you know,

475
00:25:35,800 --> 00:25:38,200
in those leaves blowing around
their hair blowing around.

476
00:25:38,200 --> 00:25:40,800
There's something sort of
dramatically interesting about

477
00:25:40,800 --> 00:25:43,200
that.
And obviously the Raiders

478
00:25:43,200 --> 00:25:46,200
attack, we wanted the Raiders
attack to feel incredibly

479
00:25:46,200 --> 00:25:50,500
nightmare it and dark and scary
and real.

480
00:25:51,700 --> 00:25:55,700
And yeah it was just always
making sure there was a variety

481
00:25:55,700 --> 00:26:00,300
of feelings to their world and
not always just Just lovely

482
00:26:00,800 --> 00:26:02,700
bubble of Happiness.
Yeah.

483
00:26:02,700 --> 00:26:04,300
More like real life.
Yeah.

484
00:26:04,400 --> 00:26:06,300
Almost a reminder like, hey, by
the way.

485
00:26:06,400 --> 00:26:08,200
Yeah, yeah there's stuff out
there.

486
00:26:08,300 --> 00:26:10,200
Yeah, exactly.
Yeah.

487
00:26:10,500 --> 00:26:14,700
One of the questions I do have
to ask about episode 3 is, can

488
00:26:14,700 --> 00:26:17,300
you just tell me what went into
that?

489
00:26:17,300 --> 00:26:20,800
Final shot of the window.
You kind of alluded to it on

490
00:26:20,800 --> 00:26:25,500
Twitter with our episode 3
discussion, but I just hands

491
00:26:25,500 --> 00:26:26,900
down.
That's probably my favorite

492
00:26:26,900 --> 00:26:29,200
favorite shot.
It's just so beautiful.

493
00:26:29,800 --> 00:26:31,400
But I just need to know
anything.

494
00:26:31,400 --> 00:26:33,200
You want to share about that
one.

495
00:26:33,400 --> 00:26:38,500
Yes, I Kraig and Neil had
initially decided.

496
00:26:38,600 --> 00:26:42,500
We were going to have a window
shop to begin every episode.

497
00:26:42,600 --> 00:26:47,500
So when you click on episode 1,
on HBO, Max, it would bring up a

498
00:26:47,500 --> 00:26:52,800
window and you would press, you
know, play like in the game and

499
00:26:52,800 --> 00:26:54,400
then it would begin.
But each window would be

500
00:26:54,400 --> 00:26:58,400
different and which somehow
represent what the episode was

501
00:26:58,400 --> 00:27:02,100
so epic.
I said three as it is, we

502
00:27:02,100 --> 00:27:06,600
actually shot s.
So episode 1 was shot, then we

503
00:27:06,600 --> 00:27:08,700
did episode 3.
So this was the second thing

504
00:27:08,700 --> 00:27:11,800
done on production so they'd
only done one window shot before

505
00:27:11,800 --> 00:27:15,200
at the beginning of episode 1.
I can't even remember what it

506
00:27:15,200 --> 00:27:16,000
was.
It doesn't matter.

507
00:27:16,000 --> 00:27:18,500
They're done a window shop.
It was probably this probably

508
00:27:18,500 --> 00:27:24,300
Sarah's bedroom window actually
think then we had a window shot

509
00:27:24,300 --> 00:27:27,400
to do so Peter and I that we
just knew there was this like

510
00:27:27,400 --> 00:27:31,500
assignment of a window shot and
it In the script and it wasn't a

511
00:27:31,500 --> 00:27:33,800
thing other than Craig wanted
window starts.

512
00:27:33,800 --> 00:27:35,200
We're like what?
It's got to be built in Frank's

513
00:27:35,200 --> 00:27:37,800
house somehow.
So what could it be?

514
00:27:38,400 --> 00:27:41,600
And I think it was.
Yeah.

515
00:27:41,600 --> 00:27:45,200
And so basically, I was thinking
about that and I was thinking,

516
00:27:45,200 --> 00:27:47,700
well, if it's going to be at the
beginning, it's going to be

517
00:27:47,700 --> 00:27:50,900
better parents house, but I'm
not sure like what that means.

518
00:27:50,900 --> 00:27:54,600
I'm not sure like what it is
because we don't know them yet.

519
00:27:54,600 --> 00:27:57,700
And like I guess if you watch it
twice you'll be like oh that's

520
00:27:57,700 --> 00:27:58,900
sweet, it's been in Frank's
house.

521
00:27:59,500 --> 00:28:02,900
So then I came up the idea of
book ending it.

522
00:28:03,000 --> 00:28:05,700
So for our episode, as an
exception, we were going to do

523
00:28:05,700 --> 00:28:09,800
the opening window shop, but
also do that final shot.

524
00:28:09,900 --> 00:28:13,500
And we're going to start the
episode with the kind of zoomed

525
00:28:13,500 --> 00:28:16,900
out end of the shop.
Then you got the whole episode

526
00:28:16,900 --> 00:28:20,300
and then you would end exactly
as we did, and that all came

527
00:28:20,300 --> 00:28:24,500
together by in the script.
The final shot was Joel and

528
00:28:24,500 --> 00:28:28,700
Ellie, drove off into the sunset
and the song plays cut to Black

529
00:28:29,000 --> 00:28:30,800
and Sir.
And I was sort of saying well

530
00:28:30,800 --> 00:28:34,500
how do we like it feels like we
just want to tag it back to Bill

531
00:28:34,500 --> 00:28:37,700
and Frank story because that is
the heart of this episode.

532
00:28:37,700 --> 00:28:40,400
So we talked about the driving
into the sunset and maybe the

533
00:28:40,400 --> 00:28:43,300
camera pans over and then we see
better things town in the

534
00:28:43,308 --> 00:28:46,000
distance.
Then we sort of I think I had

535
00:28:46,000 --> 00:28:49,300
the idea of what if we see them
driving away.

536
00:28:49,300 --> 00:28:52,100
And then we reveal that we're
looking through the window and

537
00:28:52,100 --> 00:28:56,500
the window is, you know, their
window and I did a video in my

538
00:28:56,600 --> 00:28:59,200
hotel and sent that to Craig is
like a pitch.

539
00:28:59,400 --> 00:29:02,600
Basically and he was like, yeah,
let's shoot it and let's see if

540
00:29:02,600 --> 00:29:07,900
it fits.
So we did it with enthusiasm and

541
00:29:07,900 --> 00:29:11,200
thought, this is really clever,
really great but we were worried

542
00:29:11,200 --> 00:29:15,700
that it would get cut because
only our episode would have the

543
00:29:15,700 --> 00:29:17,700
book ending of the beginning and
the end.

544
00:29:17,700 --> 00:29:20,600
We thought maybe, I don't know
that it's like, I don't know,

545
00:29:20,600 --> 00:29:23,100
that just feels like the sort of
thing that's going to get cut.

546
00:29:23,200 --> 00:29:25,900
So in a way, luckily for us,
they cut all of the beginning

547
00:29:25,900 --> 00:29:27,900
ones and our ending one
remained.

548
00:29:27,900 --> 00:29:31,600
So it was sort of one of those
Things that it just kind of all

549
00:29:31,600 --> 00:29:33,500
came together.
I guess we were lucky, to be

550
00:29:33,500 --> 00:29:38,700
honest, but it did take.
I've said, online, I had to

551
00:29:38,700 --> 00:29:42,000
fight for it and the reason that
I put it like that, isn't that

552
00:29:42,000 --> 00:29:45,100
there were people saying, no, we
don't want to do it, but it

553
00:29:45,100 --> 00:29:49,700
wasn't an easy shot because we
didn't have upstairs rooms.

554
00:29:49,800 --> 00:29:53,600
We built that house out on
location and we didn't build a

555
00:29:53,608 --> 00:29:55,900
roof.
Nothing was dressed.

556
00:29:55,900 --> 00:29:58,400
And the inside, will the insides
were on a soundstage.

557
00:29:58,600 --> 00:30:01,100
So then it becomes Um, Zoe
zooming through the we tracking

558
00:30:01,100 --> 00:30:03,000
back through a window and
everything.

559
00:30:03,000 --> 00:30:06,700
Outside is a blue screen.
It's VFX that doesn't seem

560
00:30:06,700 --> 00:30:08,200
smart.
So what we ended up actually

561
00:30:08,200 --> 00:30:12,600
doing was picking where we
wanted the car to drive off and

562
00:30:12,600 --> 00:30:17,200
then building a corner of a room
up in the air like floating in

563
00:30:17,208 --> 00:30:18,700
the middle of in the middle of
nowhere.

564
00:30:20,200 --> 00:30:24,400
So all of this is quite
elaborate and the implementation

565
00:30:24,400 --> 00:30:28,400
of the shot was actually second
unit so we it didn't fit into

566
00:30:28,400 --> 00:30:30,800
our schedule.
So Peter and I were on set

567
00:30:30,800 --> 00:30:33,800
shooting something else and we
had like a video feed of them

568
00:30:33,800 --> 00:30:35,500
doing that shot time and time
again.

569
00:30:35,500 --> 00:30:38,300
And we'd give give them notes
long-distance, but we won't even

570
00:30:38,500 --> 00:30:41,100
we were 100 miles away from them
when they were doing well.

571
00:30:41,900 --> 00:30:45,400
And they had to do it, I can't
remember it's two times or three

572
00:30:45,400 --> 00:30:48,800
separate times because the first
time the sun wasn't very good.

573
00:30:48,800 --> 00:30:52,600
Like it's really cloudy
sad-looking day and maybe the

574
00:30:52,600 --> 00:30:54,800
second time, there's a technical
problem or something.

575
00:30:54,800 --> 00:30:58,900
But, you know, Peter.
And I really had to keep on like

576
00:30:58,900 --> 00:31:00,200
this show It's going to be
awesome.

577
00:31:00,200 --> 00:31:02,500
We've got to keep trying.
We can't give up on it.

578
00:31:03,000 --> 00:31:06,800
So it was a it was a yeah.
Everyone was very supportive but

579
00:31:06,800 --> 00:31:09,700
there was a lot of.
Do you really need it?

580
00:31:10,000 --> 00:31:12,500
Yes, we do.
Okay, fine, then we'll do it.

581
00:31:13,300 --> 00:31:14,400
Yes.
Yes you did.

582
00:31:14,500 --> 00:31:15,800
Yes.
And in the end.

583
00:31:15,800 --> 00:31:17,800
Yeah, I agree.
I mean I don't think I'd really

584
00:31:17,800 --> 00:31:19,400
appreciated the impact it would
have.

585
00:31:19,400 --> 00:31:22,800
So I was obviously very much
involved in that shot but

586
00:31:22,800 --> 00:31:26,100
watching it for the first time
myself, it really sort of hit me

587
00:31:26,100 --> 00:31:29,900
how it worked in a way that, you
know, you just Pick out.

588
00:31:29,900 --> 00:31:32,900
Yeah, talk it out.
The idea of the air as an idea

589
00:31:32,900 --> 00:31:35,900
at the time and you don't really
know if it's going to work until

590
00:31:35,900 --> 00:31:37,600
you see it and hear it and feel
it.

591
00:31:37,700 --> 00:31:40,600
I like the idea of you just
shooting some windows in your

592
00:31:40,600 --> 00:31:43,000
hotel being like I'm telling
you, this is gonna work, I've

593
00:31:43,000 --> 00:31:45,500
got the video.
I'm not going to post it online,

594
00:31:45,500 --> 00:31:48,700
but I did send it to Peter is
like a reminder, of the initial

595
00:31:48,700 --> 00:31:49,800
Inception.
It's baked.

596
00:31:49,800 --> 00:31:51,800
You can hear my kid, like,
crying in the background and

597
00:31:51,800 --> 00:31:53,600
it's me just walking back and
kick.

598
00:31:54,800 --> 00:31:57,900
Peter had the idea for the
picture of Frank.

599
00:31:57,900 --> 00:32:00,700
I love Bill.
Sorry, and And of the dying

600
00:32:00,700 --> 00:32:05,700
flowers than his like and I
think they're lovely touch.

601
00:32:06,600 --> 00:32:09,800
So yeah, it all came together.
What about those scenes?

602
00:32:09,800 --> 00:32:11,400
Like, when it's sort of like a
montage, right?

603
00:32:11,400 --> 00:32:14,100
Of Bill.
We're watching Bill, take care

604
00:32:14,100 --> 00:32:16,500
of the land, he's feeding the
chickens and he's checking the

605
00:32:16,500 --> 00:32:18,600
gate.
And like, how much time is spent

606
00:32:18,600 --> 00:32:22,500
on sort of like these very
smaller scenes in a montage.

607
00:32:23,300 --> 00:32:25,200
Yes.
So anything with the actors in

608
00:32:25,200 --> 00:32:28,400
it would be mainly in it.
So so yeah, I show all of that

609
00:32:28,400 --> 00:32:31,800
stuff.
Office tidy bethan.

610
00:32:31,800 --> 00:32:37,400
She scheduled it and just really
smart ways where we would know.

611
00:32:37,400 --> 00:32:40,800
Okay, we've got this scene in
the morning and it's chunky.

612
00:32:41,000 --> 00:32:43,600
And we've got this scene in the
evening and that's pretty

613
00:32:43,600 --> 00:32:46,500
chunky.
We may get a two-hour Gap in the

614
00:32:46,508 --> 00:32:49,100
middle of the day and we may get
an hour at the end of the day to

615
00:32:49,100 --> 00:32:51,400
do something else.
So what can what do we want to

616
00:32:51,400 --> 00:32:53,100
do?
And it would be a case of okay,

617
00:32:53,100 --> 00:32:57,100
we want to do chickens, you know
that he's got a hot chickens and

618
00:32:57,100 --> 00:32:59,200
easily feeding the chickens and
we'll just shoot that.

619
00:32:59,300 --> 00:33:02,600
At and you just set up a few
scenarios that basically knit

620
00:33:02,600 --> 00:33:07,100
could just wander into and start
chopping wood or start hanging

621
00:33:07,100 --> 00:33:11,300
up, you know, an animal or
whatever it is and we shot tons

622
00:33:11,300 --> 00:33:14,900
of that stuff, loads of it
didn't make the cut actually, I

623
00:33:14,900 --> 00:33:16,600
don't think the chickens made
the cut, actually.

624
00:33:18,000 --> 00:33:21,300
Yeah, I'm pretty sure that you
only want Rizzoli one scene with

625
00:33:21,300 --> 00:33:25,600
him, feeding chickens, okay?
That was my did that scene, it

626
00:33:25,600 --> 00:33:29,500
10 times.
And I still remember the And

627
00:33:29,500 --> 00:33:30,300
seen.
Yeah.

628
00:33:30,800 --> 00:33:34,000
Well sometimes it's funny how
sometimes the experience of

629
00:33:34,000 --> 00:33:36,800
shooting something you think
it's in it and people go?

630
00:33:36,800 --> 00:33:38,000
What are you talking about?
That's not in it.

631
00:33:38,000 --> 00:33:40,500
And it's like, really, I even
had that with Peter, the

632
00:33:40,500 --> 00:33:43,600
director of the episode we were
talking about a scene and I was

633
00:33:43,600 --> 00:33:47,300
like, it's not in it anymore and
he's like it's gone.

634
00:33:48,500 --> 00:33:52,200
We had a fireflies seeing we had
the scene, it's in the game.

635
00:33:52,200 --> 00:33:56,200
We're actually walking through a
forest and she finds some

636
00:33:56,200 --> 00:33:58,900
fireflies and she's like, huh
fireflies, like real ones.

637
00:33:58,900 --> 00:34:02,200
And We actually shot that but it
got cut and it was it was very

638
00:34:02,200 --> 00:34:05,900
pretty little moment, but you
know, it was already a long

639
00:34:05,900 --> 00:34:11,300
episode and in the end, yeah,
the version you have seen a

640
00:34:11,300 --> 00:34:13,500
promise.
You is the only and the best

641
00:34:13,500 --> 00:34:14,900
fashion.
There was all this stuff about a

642
00:34:14,908 --> 00:34:18,100
director's cut, but that's not
actually how it works.

643
00:34:18,100 --> 00:34:20,699
And the director Peter would not
would he would not want you to

644
00:34:20,699 --> 00:34:25,300
see that version, there's always
a long cut and that's like,

645
00:34:25,500 --> 00:34:30,400
usually awful actually, you
know, It's not the best

646
00:34:30,400 --> 00:34:33,400
question, it's funny how there's
this idea sometimes with the

647
00:34:33,400 --> 00:34:36,400
director's cut and that's like
in your head, like all that's

648
00:34:36,400 --> 00:34:40,000
the direct but it's so often
actually not the better car.

649
00:34:40,400 --> 00:34:44,400
And the director himself would
say that because it's more to do

650
00:34:44,400 --> 00:34:49,300
with the logistics of a big TV
series that he hands in his cup

651
00:34:49,900 --> 00:34:52,500
but he hasn't got really any
time at all to work on it.

652
00:34:52,500 --> 00:34:55,699
It's a very short process.
He hands it in then the whole

653
00:34:55,699 --> 00:34:59,400
rest of the show happens and
then when it comes to Really

654
00:34:59,400 --> 00:35:02,000
locking the episodes down.
You've got to look at the show.

655
00:35:02,000 --> 00:35:05,600
Overall, you can't just be sort
of tunnel vision, 21 episodes.

656
00:35:05,600 --> 00:35:11,000
So, so many things change along
the way and score and the

657
00:35:11,000 --> 00:35:15,100
editors have more time with it.
And I mean, I've been with Peter

658
00:35:15,100 --> 00:35:18,200
in a Q&A where he said, this is
the best question of it, and he

659
00:35:18,207 --> 00:35:21,800
wouldn't want anyone to see the
director's cut because it's not

660
00:35:21,800 --> 00:35:25,100
really a director's cut.
It's just a, an early draft.

661
00:35:25,100 --> 00:35:28,700
If you like, it's just more
chickens, that's an even small

662
00:35:28,700 --> 00:35:31,900
chicken.
Just there's nothing.

663
00:35:31,900 --> 00:35:33,500
That's really nothing.
Cut.

664
00:35:33,500 --> 00:35:36,800
That means anything.
There's a lot more texture.

665
00:35:37,000 --> 00:35:40,800
We you hang out with Bill a bit
more but there's nothing.

666
00:35:41,000 --> 00:35:44,600
Yeah, nothing if story is lost.
Yeah there is no picking out

667
00:35:44,600 --> 00:35:48,800
clothes Montage at the boutique
in the town and what that there

668
00:35:48,800 --> 00:35:51,200
wasn't a boutique actually that
was just an exhibit that was

669
00:35:51,200 --> 00:35:55,300
just a facade so it would it
would have been lovely but no,

670
00:35:57,200 --> 00:36:00,000
it is interesting that you're
when you're explaining In how,

671
00:36:01,200 --> 00:36:03,900
you know, the multiple deep.
He's on a show, how you guys

672
00:36:03,900 --> 00:36:05,900
kind of got hired and you had
free reign.

673
00:36:06,600 --> 00:36:11,400
But it's interesting that the
story itself almost encourages

674
00:36:11,400 --> 00:36:14,800
that, with job, different
settings and different times.

675
00:36:14,800 --> 00:36:16,500
So that's that's actually pretty
cool.

676
00:36:16,500 --> 00:36:19,300
That it all looks the same but
you can still feel it being

677
00:36:19,300 --> 00:36:20,700
different.
Yeah.

678
00:36:20,700 --> 00:36:23,600
Well, have you seen episode 5?
Yeah, yeah, just come out.

679
00:36:23,600 --> 00:36:26,700
But yeah.
So I shot episode 3 and Aisha,

680
00:36:26,700 --> 00:36:30,100
episode 5 and I think they feel
Very different.

681
00:36:30,200 --> 00:36:32,600
It's still me.
It's still the show.

682
00:36:32,600 --> 00:36:35,300
They don't feel so different
when you're like, whoa, this is

683
00:36:35,500 --> 00:36:38,200
another thing.
It's still the same thing but

684
00:36:38,300 --> 00:36:42,100
that's the things you can
Approach episode 3 like a love

685
00:36:42,100 --> 00:36:47,600
story and and early days for
Joel and Ellie, another thing

686
00:36:47,600 --> 00:36:50,000
actually just out of Interest
trivia on episode 3 is because

687
00:36:50,000 --> 00:36:52,200
we shot it s.
When you think about what

688
00:36:52,200 --> 00:36:56,500
happens in episode 1, Joel and
Ellie don't have any alone time

689
00:36:57,400 --> 00:37:00,400
episode 2 is we're testing S
dies, right?

690
00:37:00,800 --> 00:37:04,700
And so they step out of that
into episode 3 but we hadn't

691
00:37:04,700 --> 00:37:08,900
even show episode 2 so we've
we've, you know, ended at the

692
00:37:08,900 --> 00:37:13,200
sewed one with them, leaving the
qz walking off towards the The

693
00:37:13,200 --> 00:37:16,300
Two Towers, right?
And then boom were on the set

694
00:37:16,300 --> 00:37:18,900
with me and pizza and they're
walking talking about the

695
00:37:18,900 --> 00:37:22,000
cordyceps outbreak.
So we actually have to jump

696
00:37:22,000 --> 00:37:25,300
forward in their relationship
and for everyone involved, it

697
00:37:25,300 --> 00:37:27,600
was like, oh well this is this
is Joel and Ellie.

698
00:37:27,700 --> 00:37:31,100
And with we are Establishing,
Joel, and Ellie and their

699
00:37:31,100 --> 00:37:34,200
relationship.
So, really, that's just to give

700
00:37:34,200 --> 00:37:38,600
so much credit to Bella and
Pedro, who are just so across

701
00:37:38,600 --> 00:37:42,400
their characters, that you would
never think that.

702
00:37:42,500 --> 00:37:44,300
And you could never tell in a
million years.

703
00:37:44,300 --> 00:37:48,000
But I'm pretty sure the first
scene they did together on their

704
00:37:48,000 --> 00:37:52,900
own, was the big walk and talk
talking about cordyceps and and

705
00:37:52,900 --> 00:37:56,000
outbreak day and seeing their a
plane that conversation as well.

706
00:37:56,300 --> 00:37:59,300
We all remember the the airplane
scene was one of the or that it

707
00:37:59,300 --> 00:38:02,600
still was one of the first
things that I think most people

708
00:38:02,600 --> 00:38:08,200
Saul from the in the show.
Yeah, well that was the that I'm

709
00:38:08,200 --> 00:38:09,800
19.
No, that was day two.

710
00:38:09,900 --> 00:38:11,600
In fact, that was day to day
one.

711
00:38:12,000 --> 00:38:14,300
Sorry day.
One with Peter of our episode

712
00:38:14,300 --> 00:38:18,700
was down by the water with Joel,
the very beginning and then the

713
00:38:18,700 --> 00:38:23,000
conversation of the two of them
breakfast where they talk about

714
00:38:23,000 --> 00:38:25,200
you.
Hey it wasn't my decision, blah

715
00:38:25,200 --> 00:38:27,800
blah blah and they listen that
was the first day and that was

716
00:38:27,800 --> 00:38:30,900
what we did first date.
With the airplane and the walk

717
00:38:30,900 --> 00:38:32,800
and talk.
So yeah, it's very early.

718
00:38:33,500 --> 00:38:36,300
So speaking about, you know,
saying because you were saying

719
00:38:36,300 --> 00:38:39,800
like you, of course, did three
four and five, and they do feel

720
00:38:39,800 --> 00:38:42,700
so different.
And so kind of moving towards

721
00:38:42,700 --> 00:38:46,200
episodes. 4 and 5, we had
episode 3, which felt very

722
00:38:46,200 --> 00:38:47,500
intimate.
It was really about two

723
00:38:47,500 --> 00:38:49,700
characters, and, of course, Joel
and Ellie are there.

724
00:38:49,700 --> 00:38:54,100
But then you move into this,
large Place Kansas City, where

725
00:38:54,100 --> 00:38:57,000
there's tons of people.
So what's it like going from

726
00:38:57,000 --> 00:38:59,000
this sort of so smaller,
intimate Cass.

727
00:38:59,200 --> 00:39:04,900
Just to this now, huge Place.
Yeah, we knew the show very

728
00:39:04,900 --> 00:39:08,100
well, a lot of stuff already
been done so then it was a case

729
00:39:08,100 --> 00:39:11,600
of how do we give Kansas City?
Well, we've got the road trip,

730
00:39:11,600 --> 00:39:14,400
that was one part of it.
So let's say Do America.

731
00:39:14,400 --> 00:39:18,100
Let's show the American road
trip in this world and let's

732
00:39:18,100 --> 00:39:21,100
show what's been lost.
What's been left behind?

733
00:39:22,100 --> 00:39:24,900
Which was really interesting.
Just conceptually the sort of

734
00:39:24,900 --> 00:39:28,300
things that Craig was interested
in showing a lot of sort of

735
00:39:29,200 --> 00:39:33,200
Calamity, which is great.
Then when we get to Kansas what,

736
00:39:33,200 --> 00:39:35,800
what is Kansas feel like?
So, a lot of research, a lot of

737
00:39:35,800 --> 00:39:38,000
art department.
And then for me, it was how do

738
00:39:38,000 --> 00:39:41,000
I, how do I lean into something
different here?

739
00:39:41,000 --> 00:39:42,500
How do I give it a different
flavor?

740
00:39:43,400 --> 00:39:46,300
And there's a lot of red brick
buildings, you know, the

741
00:39:46,300 --> 00:39:49,400
architecture feels a little bit
different and for the street

742
00:39:49,400 --> 00:39:52,600
lighting and you've got a qz or
and some electricity.

743
00:39:52,600 --> 00:39:56,300
So I knew I wanted to basically
just tiny little thing, no one

744
00:39:56,300 --> 00:40:00,000
would ever notice, but I used
the kind of Orange Sodium Street

745
00:40:00,000 --> 00:40:03,400
Lighting in sort of episode 1 &
2.

746
00:40:03,700 --> 00:40:07,500
I went a lot more yellow little
bit of green in the sodium

747
00:40:07,500 --> 00:40:10,300
Street lighting.
So it's a tiny little nothing.

748
00:40:10,300 --> 00:40:13,800
No one would ever know that, but
I just, it just then gives us a,

749
00:40:13,900 --> 00:40:17,900
that's the qz street Lighting in
Kansas City, and it's just

750
00:40:17,900 --> 00:40:20,500
somehow different.
So it's all those little things,

751
00:40:21,800 --> 00:40:24,800
and then, yeah, there was a lot
of, a lot of planning for the

752
00:40:24,800 --> 00:40:30,100
action sequences, you know, our
department build a Toy sets may

753
00:40:30,100 --> 00:40:32,200
have little models and we figure
out.

754
00:40:32,200 --> 00:40:33,800
This is how the car needs to
crash.

755
00:40:33,800 --> 00:40:36,000
So, this is where they hide.
This is where the hole needs to

756
00:40:36,000 --> 00:40:37,600
be.
This is where the guy needs to

757
00:40:37,600 --> 00:40:39,800
come in, because everything's
built everything on the show's

758
00:40:39,800 --> 00:40:41,900
Bill, we don't really use real
locations.

759
00:40:41,900 --> 00:40:46,800
So, so, they were tiny little
like, models of, yeah, did you

760
00:40:46,800 --> 00:40:49,600
get to keep any of them?
I would've loved save it.

761
00:40:49,600 --> 00:40:53,500
Nice, that beat that beautiful.
They'll be in an HBO Museum or

762
00:40:53,508 --> 00:40:56,200
something.
One day, they're truly.

763
00:40:56,200 --> 00:40:58,200
I mean the cul-de-sac I actually
posted a picture of the

764
00:40:58,200 --> 00:41:01,600
cul-de-sac one.
Today on Twitter, they, you

765
00:41:01,600 --> 00:41:04,100
know, they're scale models of
what they're going to build.

766
00:41:04,600 --> 00:41:09,400
And they usually they'll do a
huge one for sort of global

767
00:41:09,400 --> 00:41:11,100
geography.
And then they'll do each

768
00:41:11,100 --> 00:41:14,500
individual room, and it is just
like the Sims or whatever you

769
00:41:14,500 --> 00:41:16,800
just really just play with it,
you know?

770
00:41:17,700 --> 00:41:20,500
And and yeah, don't jump ahead
to the coldest up on the

771
00:41:20,508 --> 00:41:22,600
cul-de-sac.
We were just playing toy cars

772
00:41:22,600 --> 00:41:24,900
and characters and it'd be like
it's nice there.

773
00:41:24,900 --> 00:41:29,000
This, you know, and you that's
how you map it all out because

774
00:41:29,200 --> 00:41:32,000
Just got to do that work.
Because if you don't, then you

775
00:41:32,000 --> 00:41:35,100
start laying foundations and a
road and then someone goes, oh,

776
00:41:35,100 --> 00:41:38,800
wait a minute.
If you're in trouble, so saves a

777
00:41:38,808 --> 00:41:42,000
lot of money and also a lot more
brainstorm, it get that.

778
00:41:42,000 --> 00:41:43,400
But yeah.
Yeah.

779
00:41:43,400 --> 00:41:47,400
Prep is prep is everything like
if you've really done the work

780
00:41:47,400 --> 00:41:51,800
and prep the shoot, just kind of
happens and and these problems

781
00:41:51,800 --> 00:41:56,600
have already been confronted, if
prep isn't great, you figure it

782
00:41:56,600 --> 00:41:59,000
out on the day and that costs in
that cost you time.

783
00:41:59,100 --> 00:42:00,500
I'm usually more than anything
else.

784
00:42:00,500 --> 00:42:04,600
Yeah, speaking of the of the
road trip in episode 4, one of

785
00:42:04,600 --> 00:42:07,900
my favorite parts of that is
actually, you know, such a sort

786
00:42:07,900 --> 00:42:12,600
of teenager moment, when Ellie
wakes up on the forest floor and

787
00:42:12,600 --> 00:42:16,700
she rolls over in her sleeping
bag to the percolating coffee.

788
00:42:17,100 --> 00:42:20,200
I just love that shot being solo
being on the ground with her

789
00:42:20,200 --> 00:42:22,300
watching the coffee.
Spit up at her.

790
00:42:22,500 --> 00:42:24,000
I thought that was such a great
moment.

791
00:42:24,300 --> 00:42:25,800
Yeah, that's Bella.
Yeah.

792
00:42:25,900 --> 00:42:29,000
I mean, yes, you know.
Yeah, Cameron is spin the right.

793
00:42:29,200 --> 00:42:32,700
It's the stuff like that, but
it's just a sort of human fun

794
00:42:32,800 --> 00:42:35,900
thing, right?
Yeah, yeah, yeah.

795
00:42:35,900 --> 00:42:39,200
I mean, it's so often seems like
that.

796
00:42:39,200 --> 00:42:42,400
And seeing sometimes out in
nature, when it's going to be.

797
00:42:42,500 --> 00:42:44,100
Yeah.
Like there are scenes where you

798
00:42:44,100 --> 00:42:47,300
plan meticulously.
And sometimes there are scenes,

799
00:42:47,300 --> 00:42:50,300
we go, they're just going to be
in the wood and they're going to

800
00:42:50,308 --> 00:42:52,800
wake up.
And this is the scene, and let's

801
00:42:52,800 --> 00:42:56,000
see what they do because you
need to give the actors, you

802
00:42:56,000 --> 00:42:58,500
know, for all of this planning
and everything I said before.

803
00:42:59,400 --> 00:43:02,400
Sometimes it's action and stunts
the technical and safety and

804
00:43:02,400 --> 00:43:05,100
they've got to do what they're
told but when it's a seem like

805
00:43:05,100 --> 00:43:08,200
that you want to give them
freedom and actually, then my

806
00:43:08,200 --> 00:43:14,000
job morphs into looking for the
shops and seeing, oh, that's

807
00:43:14,000 --> 00:43:16,200
cool.
You know, Pedro does this cool

808
00:43:16,200 --> 00:43:19,300
thing and we can use that and
blah blah blah, you sort of see

809
00:43:19,300 --> 00:43:21,800
it happen in front of you and
figure out the shots in real

810
00:43:21,800 --> 00:43:23,200
time.
On a more, I guess.

811
00:43:23,200 --> 00:43:27,300
Technical note with the shots,
the Ambush scene, starting in

812
00:43:27,300 --> 00:43:30,700
the car, all the the pier, These
and everything like that.

813
00:43:31,000 --> 00:43:35,100
I mean how how hard is it to
capture something like that?

814
00:43:35,100 --> 00:43:37,900
Because it did seem like there
was a bunch of different camera

815
00:43:37,900 --> 00:43:40,100
work going on and just that one
scene.

816
00:43:41,000 --> 00:43:45,500
Yeah, so that is a big
collaboration with stunts

817
00:43:45,500 --> 00:43:49,200
locations, art Department
picture cars, everyone has to

818
00:43:49,200 --> 00:43:51,000
come together.
So that is the sort of sequence

819
00:43:51,000 --> 00:43:53,600
that you storyboard and I think
we even previous that.

820
00:43:53,600 --> 00:43:55,700
So you do a little video you
know, previous thing.

821
00:43:57,200 --> 00:44:02,300
And I mean, one of the Best
things we use now is a podcast

822
00:44:02,300 --> 00:44:06,300
so you have the truck but
there's a pod that gets bolted

823
00:44:06,300 --> 00:44:08,900
to the roof of the truck.
Stop me.

824
00:44:08,900 --> 00:44:14,300
I mean I don't sorry if this is
okay this podcast sometimes.

825
00:44:14,300 --> 00:44:16,500
Yeah sometimes with our job you
don't know what's kind of

826
00:44:16,700 --> 00:44:19,400
crossed over into popular
culture and what people know

827
00:44:19,400 --> 00:44:21,300
about and or not.
And I don't know about podcasts

828
00:44:21,300 --> 00:44:25,300
but so Aquatica is it's a pod
that stuck on the roof of a car

829
00:44:25,300 --> 00:44:29,000
and has a driver, a stunt driver
on the roof with his own.

830
00:44:29,100 --> 00:44:32,700
Will and he is driving the car
to the ACT is there in the car,

831
00:44:32,900 --> 00:44:34,400
but the steering wheel doesn't
do anything.

832
00:44:34,400 --> 00:44:37,900
The brakes don't do anything
driving from the roof.

833
00:44:37,900 --> 00:44:42,100
So a lot of that scene, use the
podcast, so, Pedro and Bella, I

834
00:44:42,107 --> 00:44:44,600
just passengers, essentially,
and the guy on the roof does all

835
00:44:44,600 --> 00:44:46,400
the driving.
So that means you can swerve.

836
00:44:46,400 --> 00:44:49,700
You can, you know, you can drive
a bit more confidently because,

837
00:44:49,700 --> 00:44:50,900
you know, having to worry about
acting.

838
00:44:50,900 --> 00:44:53,300
It's a cool thing.
We used it quite a lot on the

839
00:44:53,308 --> 00:44:55,200
last to us.
So yeah, that sequence.

840
00:44:55,200 --> 00:44:57,800
It was a case of the K.
This is a podcast shot because

841
00:44:57,800 --> 00:45:03,100
we need to see Bella.
Joel, Pedro and Bella in the

842
00:45:03,100 --> 00:45:05,900
car, moving this all were behind
them or whatever.

843
00:45:05,900 --> 00:45:08,100
You know this is a shot with the
real actors.

844
00:45:08,400 --> 00:45:09,500
Then it's identifying.
Okay.

845
00:45:09,500 --> 00:45:12,400
This is outside of the car where
leading the car we're on a kind

846
00:45:12,400 --> 00:45:14,400
of go-kart almost in kind of
car.

847
00:45:14,400 --> 00:45:16,600
This can be the stunt drivers
because we can't really see with

848
00:45:16,600 --> 00:45:20,800
the reflection, you know, the
crash and stuntpeople.

849
00:45:21,700 --> 00:45:24,900
So you're sort of everyone is
having their input on.

850
00:45:24,900 --> 00:45:28,600
This is what's needed to do this
shot and sometimes it's the

851
00:45:28,600 --> 00:45:30,400
case.
Of, we need you to move the

852
00:45:30,400 --> 00:45:32,500
camera so that we can't see
that.

853
00:45:32,500 --> 00:45:35,000
It's not actually.
Pedro is the Stunt Driver, it's

854
00:45:35,000 --> 00:45:38,400
all those kind of conversations
and things like throwing is a

855
00:45:38,408 --> 00:45:41,300
breeze.
Block gets thrown from above and

856
00:45:41,300 --> 00:45:45,200
it hits the windscreen.
So that's a huge one for sfx

857
00:45:45,200 --> 00:45:48,600
because we wanted to physically
see the thing and it really be

858
00:45:48,600 --> 00:45:51,800
thrown and it's like a piece of
polystyrene, it's like a foam

859
00:45:51,800 --> 00:45:55,700
thing and then they have a thing
to break the wind screen

860
00:45:55,700 --> 00:45:58,800
basically actually from memory.
Remember how we did it?

861
00:45:58,800 --> 00:46:01,800
We Let's it a few different ways
at one point, you've got one

862
00:46:01,800 --> 00:46:05,400
that gets thrown and then you've
got one that's like on an arm

863
00:46:05,500 --> 00:46:08,500
attached to the car, and just
gets dropped from a closed tight

864
00:46:08,500 --> 00:46:11,500
and causes us to remember
exactly how we did it in the

865
00:46:11,500 --> 00:46:13,800
end, but sfx lead that they
really say.

866
00:46:13,800 --> 00:46:16,000
This is the safest best way to
get it.

867
00:46:16,100 --> 00:46:19,900
And then we just get the shot
was that scene because I know in

868
00:46:19,900 --> 00:46:24,400
episode 5, we see Henry sees
that scene, but from a different

869
00:46:24,400 --> 00:46:27,700
vantage point was that the same
shot?

870
00:46:27,700 --> 00:46:29,700
Or was it two?
Shots.

871
00:46:30,500 --> 00:46:33,400
We did Racine's those shots.
Yeah.

872
00:46:33,400 --> 00:46:35,600
Yeah.
So we so we knew that those

873
00:46:35,600 --> 00:46:38,400
shots were on the list to get
for the next episode, but we

874
00:46:38,400 --> 00:46:41,900
covered them separately.
So when we had the guy going

875
00:46:41,900 --> 00:46:47,000
across and getting shot, we shot
all we needed for episode 4.

876
00:46:47,200 --> 00:46:50,500
Yes.
Then we would jump back to

877
00:46:50,500 --> 00:46:54,800
Henry's perspective, episode 5
and run it again basically and

878
00:46:54,900 --> 00:46:58,300
it's things like, you know,
Joel's position in in the

879
00:46:58,300 --> 00:47:01,500
laundromat.
Where he shoots from the reality

880
00:47:01,600 --> 00:47:05,200
of where Henry's position was
meant, you couldn't quite see

881
00:47:05,200 --> 00:47:08,800
Joel, so you've got a cheap girl
forwards enough to see him, but

882
00:47:08,800 --> 00:47:11,100
it not feel like too much which
eat that, it doesn't feel like

883
00:47:11,100 --> 00:47:14,100
the same position.
So you kind of couldn't do those

884
00:47:14,100 --> 00:47:16,200
two of the same time.
You can bring him in front of

885
00:47:16,200 --> 00:47:18,000
the car when he was behind the
car.

886
00:47:18,000 --> 00:47:20,400
Shoot, exactly.
Those are the conversations you

887
00:47:20,400 --> 00:47:22,400
have.
I mean, you would be amazed

888
00:47:22,400 --> 00:47:24,900
sometimes.
Yeah, the whole thing is always

889
00:47:24,900 --> 00:47:28,300
about what are the audience can
notice, you know?

890
00:47:28,300 --> 00:47:31,900
And it's And that isn't like, we
feel like we're getting one off

891
00:47:32,200 --> 00:47:34,900
on the audience.
It's just where the audience to

892
00:47:35,100 --> 00:47:38,700
and is it going to bump and
actually a classic one?

893
00:47:39,700 --> 00:47:42,700
Is the beginning of episode 3
that Stephen King didn't like

894
00:47:42,700 --> 00:47:45,900
because it was not 10 miles,
west of Boston, Red.

895
00:47:46,000 --> 00:47:49,900
The beginning of episode 3 with
the with the view and that was

896
00:47:49,900 --> 00:47:52,000
that we all talked about that on
set.

897
00:47:52,000 --> 00:47:53,900
It's one of those things where
it's like we this is the

898
00:47:53,900 --> 00:47:55,900
location we have, it looks
incredible.

899
00:47:56,000 --> 00:47:58,600
If we let the other direction
there was a waterfall I mean it

900
00:47:58,600 --> 00:48:00,900
was actually A bigger mountain
and a waterfall.

901
00:48:00,900 --> 00:48:04,000
So, in terms of just pure
Aesthetics it would have looked

902
00:48:04,000 --> 00:48:05,600
a lot nicer looking the other
way.

903
00:48:05,800 --> 00:48:08,400
We thought we were being
restrained to looking that way.

904
00:48:09,000 --> 00:48:12,200
And, you know, we had references
of conceivably.

905
00:48:12,200 --> 00:48:15,200
There are places similar to this
10, Mile 10 miles, west of

906
00:48:15,207 --> 00:48:19,100
Boston, or whatever.
But anyway, yeah, it's one of

907
00:48:19,100 --> 00:48:21,000
those things where you think you
got away with it and sometimes

908
00:48:21,000 --> 00:48:26,200
you don't, because the reality
is, you can't go to Boston, just

909
00:48:26,200 --> 00:48:30,800
empty out everything you can.
Always go to the real spot.

910
00:48:30,800 --> 00:48:33,100
That's so much cheating, that
happens.

911
00:48:33,700 --> 00:48:35,700
I mean Kansas City.
That's Calgary.

912
00:48:36,000 --> 00:48:38,300
We shot everything in Calgary
and we just had to be smart

913
00:48:38,300 --> 00:48:41,100
with.
Let's use these two blocks for

914
00:48:41,100 --> 00:48:44,900
back streets, Kansas City.
And we can't use those book two

915
00:48:44,900 --> 00:48:47,200
streets over because we use them
for Boston.

916
00:48:47,300 --> 00:48:50,500
You know, it's that kind of way
up and you're just trying to

917
00:48:50,500 --> 00:48:53,600
pick locations, this is all our
department really, but it's

918
00:48:53,600 --> 00:48:57,000
picking architecture that
conceivably could be where

919
00:48:57,000 --> 00:48:58,900
you're supposed to be and you
just hope.

920
00:48:59,000 --> 00:49:01,600
You get away with it.
How early are you in these

921
00:49:01,600 --> 00:49:03,600
locations before?
You're actually starting to

922
00:49:03,600 --> 00:49:04,900
shoot.
So you could see what the art

923
00:49:04,900 --> 00:49:07,800
department has sort of picked
out and chosen for these areas.

924
00:49:08,200 --> 00:49:10,100
Yes.
Oh, so when we start prepping

925
00:49:10,100 --> 00:49:15,900
the episode, usually about two
months before the episode begins

926
00:49:15,900 --> 00:49:18,200
shooting, we'll look at
locations.

927
00:49:18,200 --> 00:49:22,400
So typically will be shown three
for every one.

928
00:49:23,600 --> 00:49:27,900
So, you know, the beginning of
episode or where are we have so

929
00:49:27,900 --> 00:49:28,900
far?
Let's say up so cool.

930
00:49:29,500 --> 00:49:31,000
Yeah, we talked about for so
Kansas City.

931
00:49:31,000 --> 00:49:33,600
Let's say there's the tunnel
that are trying to get through

932
00:49:33,600 --> 00:49:37,500
and it's the roadblock we get
shown three places where we can

933
00:49:37,500 --> 00:49:40,900
get enough control to dress, all
the cars we need in and block

934
00:49:40,900 --> 00:49:43,700
the road.
And then we approach each one on

935
00:49:43,700 --> 00:49:45,000
the location scout.
As if.

936
00:49:45,000 --> 00:49:46,900
Okay, if we had to shoot here
what would we do?

937
00:49:47,000 --> 00:49:49,600
And you figure out the shots,
you figure out our departments.

938
00:49:49,600 --> 00:49:53,200
Say they will put a big lorry
here, will do all this stuff and

939
00:49:53,200 --> 00:49:54,600
you just kind of walk away
going.

940
00:49:54,600 --> 00:49:58,200
This is the one we want and you
usually get your first choice

941
00:49:58,200 --> 00:49:59,900
but you don't always.
Ways, sometimes you get your

942
00:49:59,900 --> 00:50:03,400
third choice and then you just
got to make it work and then

943
00:50:03,800 --> 00:50:05,400
that process.
So, once you've got your

944
00:50:05,400 --> 00:50:08,500
location, then the art
department will start concept

945
00:50:08,500 --> 00:50:09,800
saying it.
So, they'll off their

946
00:50:09,800 --> 00:50:12,400
photographs, they'll start
painting over the photograph

947
00:50:12,400 --> 00:50:15,300
what they're going to design,
and then we all approve it, you

948
00:50:15,300 --> 00:50:17,500
know, crack crave.
Craig, ultimately approves

949
00:50:17,500 --> 00:50:21,900
everything, but we will, we will
pitch into art Department.

950
00:50:21,900 --> 00:50:25,200
I may say that's great, but can
you change the wall color, to

951
00:50:25,200 --> 00:50:27,100
something darker?
And can you give me a hole in

952
00:50:27,100 --> 00:50:28,900
the ceiling?
Because I just know I'm going.

953
00:50:28,900 --> 00:50:32,500
I need it and I want to get that
in before Craig sees it and

954
00:50:32,500 --> 00:50:36,200
says, yes, because I, you know,
I have to have my say to make

955
00:50:36,200 --> 00:50:39,000
sure it's going to work for my
department and what I'm

956
00:50:39,000 --> 00:50:43,100
thinking, and then they start
building it and then the day

957
00:50:43,100 --> 00:50:44,700
comes around and you shoot it.
Yeah.

958
00:50:44,700 --> 00:50:47,300
It's it's a wild processing.
It comes together.

959
00:50:47,300 --> 00:50:51,500
Yeah, it's crazy how many moving
Parts there are and how so many

960
00:50:51,700 --> 00:50:54,500
different departments and people
have to really be on the same

961
00:50:54,500 --> 00:50:55,900
Journey.
Even though they're far apart

962
00:50:55,900 --> 00:50:58,800
from each other, you all have to
be working towards that same.

963
00:50:58,900 --> 00:51:01,600
Um, goal, and it seems like you
as the DP really have to have

964
00:51:01,600 --> 00:51:04,200
tabs on a lot of those different
departments for what you're

965
00:51:04,200 --> 00:51:06,500
creating.
You're just like a walking Excel

966
00:51:06,500 --> 00:51:11,000
sheet basically just with you,
just going to be and I said

967
00:51:11,000 --> 00:51:12,800
everything.
I mean a little bit less on the

968
00:51:12,808 --> 00:51:14,800
last of us but costumes, big one
as well.

969
00:51:14,800 --> 00:51:20,500
Because ultimately, if you
stand, you know, a person in a

970
00:51:20,508 --> 00:51:24,800
room that's got that's very well
dressed and their clothing

971
00:51:24,800 --> 00:51:27,100
contrast beautifully with the
wall.

972
00:51:27,300 --> 00:51:28,900
You can pretty much hold a
camera up.

973
00:51:28,900 --> 00:51:33,400
Look how it looks great together
to get to that point.

974
00:51:33,400 --> 00:51:36,600
You have to make sure that the
costume and the wall and

975
00:51:36,600 --> 00:51:38,600
whatever I'm gonna work, you
know.

976
00:51:38,600 --> 00:51:42,800
So you really have to kind of
get good at figuring out how to

977
00:51:42,800 --> 00:51:45,600
talk to costume, how to talk to
our department so that they're

978
00:51:45,600 --> 00:51:48,500
doing what they want to do and
bringing all their expertise.

979
00:51:48,500 --> 00:51:51,800
But in the end when it all comes
together on the lens, I need

980
00:51:51,800 --> 00:51:55,500
everything to work in the
camera, not just the specifics

981
00:51:55,500 --> 00:51:58,900
of what I'm doing, but what
they've done to put in front of

982
00:51:58,900 --> 00:52:03,500
two of us.
So things like the color white,

983
00:52:03,600 --> 00:52:07,000
like the true color white like,
you know, like our pods or

984
00:52:07,008 --> 00:52:10,600
something is pretty much band
onset you.

985
00:52:10,900 --> 00:52:13,800
You could almost play a game of,
find something white in the

986
00:52:13,800 --> 00:52:18,300
shot, and you'll struggle
because on a film camera, the

987
00:52:18,300 --> 00:52:20,800
way it works with light, it's
just going to explode.

988
00:52:20,800 --> 00:52:22,700
It's going to Ping.
It's going to be too bright and

989
00:52:22,700 --> 00:52:27,000
then I'm fighting against it.
So if art department or costume,

990
00:52:27,000 --> 00:52:31,100
want something white, I have to
Explore all the Alternatives and

991
00:52:31,100 --> 00:52:33,600
then if it really has to be
white, if it's a wedding dress,

992
00:52:33,600 --> 00:52:38,000
for example, you just usually
they die it with like grade.

993
00:52:38,000 --> 00:52:41,300
I to take that edge of whites
off because if it's if it's

994
00:52:41,300 --> 00:52:42,900
truly brilliant.
Right?

995
00:52:42,900 --> 00:52:44,900
White.
It just looks bad on camera.

996
00:52:46,100 --> 00:52:49,600
So yeah, but but I've got to be
the police.

997
00:52:49,900 --> 00:52:53,600
I can't, you can't, you know,
it's easy for things to just

998
00:52:53,600 --> 00:52:55,500
happen.
Like white pieces of paper in an

999
00:52:55,500 --> 00:52:58,400
office is a classic one, right?
And I'm like, put them in a

1000
00:52:58,400 --> 00:52:59,900
folder.
Them in a folder, get them in

1001
00:52:59,900 --> 00:53:02,800
red folders or whatever.
But I don't I you know, I just

1002
00:53:02,800 --> 00:53:05,000
don't want pieces of paper
everywhere because suddenly I'm

1003
00:53:05,000 --> 00:53:07,400
going to be going.
Whoa, that's really bright.

1004
00:53:07,500 --> 00:53:11,000
It's a good thing that in the
last of us I don't think any of

1005
00:53:11,000 --> 00:53:19,400
their clothes could be white
apocalypse on it.

1006
00:53:22,400 --> 00:53:25,500
Yes, too shy.
It's true in this show.

1007
00:53:25,500 --> 00:53:26,800
That's pretty easy actually,
isn't it?

1008
00:53:26,808 --> 00:53:29,600
You got 20 years of dirt over
everything but Did a Marvel

1009
00:53:29,600 --> 00:53:33,700
series off to this and that was
a lot more glossy so that was a

1010
00:53:33,700 --> 00:53:36,700
bigger Factor on that.
We're leaning into you saying

1011
00:53:36,700 --> 00:53:38,700
Marvel.
So hmm.

1012
00:53:40,200 --> 00:53:41,900
And you say what?
Marvel series worked on it.

1013
00:53:42,400 --> 00:53:44,800
Yeah, yeah.
But well yeah, I can I'm not

1014
00:53:44,800 --> 00:53:47,800
officially credited yet.
But yes, I did a, I did a thing

1015
00:53:47,800 --> 00:53:51,900
called secret Invasion with
Samuel Jackson his Nick Fury

1016
00:53:51,900 --> 00:53:56,100
series which was great.
So officially I came in and I

1017
00:53:56,107 --> 00:53:58,700
did the additional photography
which was so for months.

1018
00:53:58,900 --> 00:54:02,600
Of shooting and re shooting
stuff, which often happens in

1019
00:54:02,600 --> 00:54:05,200
Marvel stuff.
So, I don't know. 100, you, I

1020
00:54:05,200 --> 00:54:08,100
don't even 100% know what my
credit is yet, but yes, it was,

1021
00:54:08,200 --> 00:54:10,600
it was like four months of, very
enjoyable.

1022
00:54:11,400 --> 00:54:14,900
MCU was great.
And well, well, that's also

1023
00:54:14,900 --> 00:54:17,600
we're big Marvel fans.
Like, I think most people are so

1024
00:54:17,600 --> 00:54:19,700
cool.
That's a top of our list for

1025
00:54:20,200 --> 00:54:22,600
watching that's going to be
coming out in parts of the

1026
00:54:22,600 --> 00:54:24,500
phase.
Part of a phase.

1027
00:54:25,500 --> 00:54:27,000
Yeah, the end of, for, I guess,
what?

1028
00:54:27,200 --> 00:54:30,200
Righto name are we five?
I know she'll announce to that.

1029
00:54:30,300 --> 00:54:31,800
I don't know.
I think we're if I squint

1030
00:54:31,800 --> 00:54:35,200
Romania is five now so I guess
which I didn't even know that.

1031
00:54:36,100 --> 00:54:38,400
Yeah, wow, yeah.
I don't know.

1032
00:54:38,400 --> 00:54:41,100
I with Marvel, I very much get a
bit like, oh God.

1033
00:54:41,200 --> 00:54:42,800
Are they listening like the
police?

1034
00:54:42,800 --> 00:54:46,800
You know, like I've got a very
NDA obviously.

1035
00:54:46,800 --> 00:54:49,600
So absolutely.
I've got to be careful, but it

1036
00:54:49,600 --> 00:54:52,900
was really fun and great.
And I'm hopefully working with

1037
00:54:52,900 --> 00:54:56,100
it again, at some point.
So I'll talk about it more when

1038
00:54:56,100 --> 00:54:58,700
I can, but it was great.
Yeah, we're looking forward to

1039
00:54:58,700 --> 00:54:59,400
that.
That for sure.

1040
00:54:59,400 --> 00:55:03,600
So instead of Phase 5, let's
talk about episode 5 of great

1041
00:55:05,200 --> 00:55:07,600
segue.
Yeah, thank you.

1042
00:55:07,700 --> 00:55:08,900
Thank you.
Just came up with that.

1043
00:55:08,900 --> 00:55:12,000
I mean, the magic and that's
what happens.

1044
00:55:13,900 --> 00:55:16,900
One of the things I wanted to
talk about in episode 5.

1045
00:55:16,900 --> 00:55:20,100
And and first of all, of course,
we have just two more amazing

1046
00:55:20,100 --> 00:55:24,400
characters of our of our caste
here who give us that emotional

1047
00:55:24,400 --> 00:55:27,900
gut punch at the end of this.
But one of the things I was most

1048
00:55:27,900 --> 00:55:30,500
interested hearing about Was
when they're traveling in the

1049
00:55:30,500 --> 00:55:32,400
tunnels, trying to get to the
other side.

1050
00:55:32,400 --> 00:55:36,300
They kind of come across this
bunker, which almost looks like

1051
00:55:36,300 --> 00:55:39,500
it could have been some sort of
children's school or just the

1052
00:55:39,500 --> 00:55:44,200
play Young and we see these
cheerful paintings on the wall

1053
00:55:44,200 --> 00:55:46,600
but it's still so dark and so
scary.

1054
00:55:46,600 --> 00:55:49,700
So when you're shooting a scene
like that that's underground but

1055
00:55:49,700 --> 00:55:53,200
has Port holes in the ceiling
for light, there's

1056
00:55:53,200 --> 00:55:55,900
disintegrating children's, you
know, drawings how do you

1057
00:55:56,100 --> 00:56:00,200
balance those those feelings and
Of the emotion of them walking

1058
00:56:00,200 --> 00:56:03,800
into this room.
Yeah, I've forgotten about how

1059
00:56:03,800 --> 00:56:07,400
hot that one was actually.
So, it's a good question, it was

1060
00:56:07,400 --> 00:56:14,000
hard because the brief was they
need to, you know, it's a, it's

1061
00:56:14,000 --> 00:56:16,600
a horror film.
It's a lien on the way there,

1062
00:56:16,600 --> 00:56:19,700
but when they get there, once
they're inside, you need to sort

1063
00:56:19,700 --> 00:56:24,400
of relief of this used to be a
safe place and probably is still

1064
00:56:24,400 --> 00:56:28,100
a safe place now, not 100%.
But you know, there's warmth

1065
00:56:28,100 --> 00:56:31,400
here.
And it's you know you need to be

1066
00:56:31,400 --> 00:56:33,100
with Ellie.
I think it's Ellie when she

1067
00:56:33,100 --> 00:56:35,900
says, you know, can't we just
you know, there's stuff to do

1068
00:56:35,900 --> 00:56:37,700
here, can we just hang out for a
minute?

1069
00:56:39,000 --> 00:56:42,600
So the thing that made it
difficult was, I had quite a low

1070
00:56:42,600 --> 00:56:47,100
ceiling and we were like, six.
Floors underground in a real

1071
00:56:47,100 --> 00:56:49,200
location.
This is one of the few real

1072
00:56:49,200 --> 00:56:52,300
locations that we did use.
Can't remember why?

1073
00:56:52,400 --> 00:56:56,400
But we did.
And so, I had to suffer find a

1074
00:56:56,400 --> 00:56:59,300
way to justify some daylight In
there.

1075
00:56:59,700 --> 00:57:03,900
So we came up with this idea for
like a kind of.

1076
00:57:04,800 --> 00:57:07,300
What do you use to good word,
but what did you say word whole

1077
00:57:07,300 --> 00:57:09,200
like, oh, I think I'm Ventus
something.

1078
00:57:09,200 --> 00:57:10,600
Yeah, exactly.
Like event.

1079
00:57:10,600 --> 00:57:13,900
Yeah, we came up with something
that conceivably would allow

1080
00:57:13,900 --> 00:57:16,000
some light from up above to come
in.

1081
00:57:16,800 --> 00:57:21,400
But in reality, it was you build
the vent and I've got like that

1082
00:57:21,400 --> 00:57:24,000
much room for a light.
So I'm putting a light.

1083
00:57:24,100 --> 00:57:27,800
They're very, very bright, very
low-profile light, that gives

1084
00:57:27,800 --> 00:57:31,600
the feeling of a Daylight up
there really stressful because

1085
00:57:31,600 --> 00:57:35,200
that's a difficult one because
it's completely counter organic.

1086
00:57:35,200 --> 00:57:39,800
It's not, you know, it's not
what is available in Nez.

1087
00:57:39,900 --> 00:57:43,000
So, yeah, that was a hard one.
They had we built it.

1088
00:57:43,000 --> 00:57:45,300
We would have had higher
ceilings and we would have had

1089
00:57:45,500 --> 00:57:47,600
big events.
And I've had bigger lights

1090
00:57:47,600 --> 00:57:50,600
further away and blasted it.
And put lots of smoke in there

1091
00:57:50,600 --> 00:57:52,600
and it would've been great.
But I still.

1092
00:57:52,600 --> 00:57:54,100
Yeah, I'm proud of what we did
there.

1093
00:57:54,100 --> 00:57:55,600
Think it was still good.
It's still.

1094
00:57:56,000 --> 00:57:58,400
It had to feel like you said,
like there's like a still a

1095
00:57:58,400 --> 00:58:01,400
little A bit of threat there.
It's not like this Wonderland,

1096
00:58:02,200 --> 00:58:06,300
it's still been left to rot for
quite a long time and using

1097
00:58:06,300 --> 00:58:09,500
light and shade, but we did try
to lean into a bit of warmth and

1098
00:58:09,500 --> 00:58:12,200
safety.
Yeah, even felt just, you know,

1099
00:58:12,400 --> 00:58:15,200
you're there surrounded by these
sort of cheerful images, but

1100
00:58:15,200 --> 00:58:17,900
even as they're playing in
finally getting to be kids,

1101
00:58:18,200 --> 00:58:20,000
you're scared.
They're making too much noise.

1102
00:58:20,000 --> 00:58:23,800
What are they doing?
Yeah, so I feel like that really

1103
00:58:23,800 --> 00:58:27,200
captured that sort of intensity.
It seems like in a lot of the

1104
00:58:27,207 --> 00:58:29,700
show as I'm watching it there's
like These chances where you

1105
00:58:29,700 --> 00:58:32,700
really do want to relax and lean
back but you know that the

1106
00:58:32,700 --> 00:58:34,900
tension is still there.
I mean I think it's a classic

1107
00:58:34,900 --> 00:58:37,700
laughs first thing to any time.
Things are too good.

1108
00:58:38,000 --> 00:58:42,500
You kind of get your guard up
but it's like all God's Naughty

1109
00:58:42,500 --> 00:58:43,500
Dog.
You're going to break my heart

1110
00:58:43,500 --> 00:58:46,900
again and actually that's what
was so great about the billowed.

1111
00:58:46,900 --> 00:58:49,800
Frank one in the end is that
they didn't really play that

1112
00:58:49,900 --> 00:58:53,500
trick if you like you know there
were moments with the Raiders

1113
00:58:53,500 --> 00:58:55,000
with those like oh God is
building it.

1114
00:58:55,000 --> 00:58:58,900
You know where you think that is
what's happening but that That

1115
00:58:58,900 --> 00:59:01,700
was interesting that it
subverted that expectation.

1116
00:59:02,000 --> 00:59:04,800
But yeah, agreed.
And even, you know, it with

1117
00:59:05,100 --> 00:59:11,100
Ellie and Sam in the hotel room
before he reveals that he has

1118
00:59:11,100 --> 00:59:14,400
been bitten.
It's such a sweet scene and, you

1119
00:59:14,400 --> 00:59:18,200
know, the the older guys have
just bonded as well and

1120
00:59:18,200 --> 00:59:21,500
everything.
So hopeful and positive and

1121
00:59:21,500 --> 00:59:24,300
it's, you know, watching it with
people who don't know, the game

1122
00:59:24,600 --> 00:59:28,600
is, finally, what's coming?
I don't know if you guys did but

1123
00:59:29,600 --> 00:59:32,400
You have your guard up for?
Yeah, I know what's happening?

1124
00:59:32,400 --> 00:59:36,900
Next Noah is the game player.
I'm the game Watcher.

1125
00:59:37,700 --> 00:59:41,500
So as he plays II watch, but I
wasn't familiar with that part,

1126
00:59:41,500 --> 00:59:43,000
I'd only seen like the
beginning.

1127
00:59:43,600 --> 00:59:45,600
Some of the beginning parts of
the first game.

1128
00:59:45,600 --> 00:59:49,400
So no one knew and I was the one
clutching my head going.

1129
00:59:49,400 --> 00:59:51,900
No, no, no, no, when it's
amazing.

1130
00:59:52,000 --> 00:59:54,000
What a great experience when you
watch it together.

1131
00:59:54,000 --> 00:59:56,700
So you don't know how the series
ends there are.

1132
00:59:56,700 --> 00:59:59,500
No, I do know how this Cereal
grains.

1133
00:59:59,600 --> 01:00:02,000
Yeah yeah.
Unfortunately I have been

1134
01:00:02,000 --> 01:00:05,300
spoiled by the world because
that's the most.

1135
01:00:06,000 --> 01:00:09,100
They did a really good job with
going into that bill and Frank

1136
01:00:09,100 --> 01:00:14,200
episode that made me more
excited for the series because

1137
01:00:14,200 --> 01:00:16,200
I'm like low.
They're gonna pick and choose

1138
01:00:16,200 --> 01:00:19,100
where they deviate and they
just, you know they really

1139
01:00:19,100 --> 01:00:22,700
deviated on that one to a
benefit of the whole thing.

1140
01:00:22,700 --> 01:00:27,600
But I'm just really excited to
see how Everything else pans

1141
01:00:27,600 --> 01:00:29,000
out.
I was trying to tell Derek

1142
01:00:29,000 --> 01:00:32,800
because he doesn't know too much
about the next couple parts that

1143
01:00:32,800 --> 01:00:35,800
are going to happen and I'm
like, oh no, that salmon Henry,

1144
01:00:35,800 --> 01:00:37,900
the were the last really
heartbreaking thing that should

1145
01:00:37,900 --> 01:00:40,300
be in episode 1?
I was like, oh wait, no no, no,

1146
01:00:40,300 --> 01:00:43,100
never mind.
Yeah but I'm also excited.

1147
01:00:44,000 --> 01:00:49,100
I'm also excited to see how they
change that so that it's just,

1148
01:00:49,600 --> 01:00:51,500
you know, episode 3 really
changed the game.

1149
01:00:51,500 --> 01:00:54,500
I think for longtime fans.
Yeah good.

1150
01:00:54,600 --> 01:00:55,800
Yeah.
I mean I don't think I should

1151
01:00:56,000 --> 01:00:58,900
Anything because I don't want
to, I don't want to wear

1152
01:00:58,900 --> 01:01:01,200
anything, I say will influence
your expectations.

1153
01:01:01,200 --> 01:01:05,800
I personally am incredibly happy
with all of the decisions and I

1154
01:01:05,800 --> 01:01:11,700
think I don't think I think 3 &
5 are special episodes for me

1155
01:01:11,700 --> 01:01:14,500
and I love them.
I actually think episode 6 is

1156
01:01:14,500 --> 01:01:19,000
that's next week is one of my
favorite episodes again but but

1157
01:01:19,000 --> 01:01:21,000
it's all good.
I think.

1158
01:01:21,800 --> 01:01:24,500
I don't think there's going to
be any particularly anyway.

1159
01:01:24,500 --> 01:01:26,400
I can't say anything.
Can I say Anything I say

1160
01:01:26,500 --> 01:01:30,800
anything, I say, yeah, yeah,
yeah, yeah, it's great.

1161
01:01:30,800 --> 01:01:33,500
That's all I'm going to say hi.
I think it's great.

1162
01:01:33,500 --> 01:01:38,200
I'm very happy with all of it.
Yeah, one scene that we have to

1163
01:01:38,200 --> 01:01:43,000
talk about with five is the
cul-de-sac holds a sex scene.

1164
01:01:43,000 --> 01:01:46,500
The standoff between Kathleen
Joel, Ellie Henry Sam.

1165
01:01:46,600 --> 01:01:52,200
How were you able to create the
balance between Joel in the

1166
01:01:52,207 --> 01:01:56,900
window at the top of that the
house you want, our Them down on

1167
01:01:56,900 --> 01:02:01,300
the ground and then literally a
swarm of infected that that's it

1168
01:02:01,308 --> 01:02:04,900
was amazing to having the aerial
view and then the close-ups.

1169
01:02:04,900 --> 01:02:07,000
But like how did that come
together?

1170
01:02:07,000 --> 01:02:09,700
Yeah.
Well, so this is one where we

1171
01:02:09,700 --> 01:02:12,600
didn't look at the game at all.
Me, and Jeremy.

1172
01:02:12,600 --> 01:02:15,900
That me and the director we were
like, let's just let's approach

1173
01:02:15,900 --> 01:02:19,600
this fresh because let's not
get, you know, we, I know the

1174
01:02:19,600 --> 01:02:23,100
game kind of inherently, but but
I can't, I couldn't remember the

1175
01:02:23,100 --> 01:02:25,800
exact geography of how that
played out and then the action,

1176
01:02:26,000 --> 01:02:27,400
As different as well from
memory.

1177
01:02:27,400 --> 01:02:29,500
But anyway, we were like, let's
not look in the game.

1178
01:02:29,600 --> 01:02:33,800
Let's just see what we need and
and what happens and let's

1179
01:02:33,800 --> 01:02:37,400
figure out how that will make
sense because on a large-scale

1180
01:02:37,400 --> 01:02:39,000
action sequence like that
geography.

1181
01:02:39,000 --> 01:02:43,900
Is everything the audience need
to know like you say, Jones up

1182
01:02:43,900 --> 01:02:45,700
here, the army of come from
here.

1183
01:02:45,700 --> 01:02:47,800
The infected would come from
here and you've kind of got

1184
01:02:47,800 --> 01:02:52,100
three pretty clear directions
there and so you need to you

1185
01:02:52,100 --> 01:02:55,900
know, be loyal to that and it
all has to work logistically.

1186
01:02:56,000 --> 01:02:59,000
He said that that's always going
to make sense and we're not

1187
01:02:59,000 --> 01:03:01,400
going to get ourselves in
trouble and I usually when

1188
01:03:01,400 --> 01:03:04,400
talking about this scene and
seems like this in general,

1189
01:03:04,400 --> 01:03:08,100
think about sports and in
sports, you know, Super Bowl

1190
01:03:08,100 --> 01:03:11,100
tonight, you've got one team are
going that way at once him a

1191
01:03:11,100 --> 01:03:14,500
going that way.
And that makes sense, if a

1192
01:03:14,500 --> 01:03:18,000
camera jumps to the other side
of the stadium and the teams of

1193
01:03:18,000 --> 01:03:21,500
swap sides, but it's not the end
of a quarter, it's confusing.

1194
01:03:21,800 --> 01:03:24,300
You know, if you see a replay
from the other side it's like

1195
01:03:24,300 --> 01:03:27,400
wait what, you know, And it's
the same for drama.

1196
01:03:27,400 --> 01:03:30,100
It's the same for the audience
you so that kind of crossing the

1197
01:03:30,100 --> 01:03:33,000
line thing on a scale that big
is so important.

1198
01:03:33,800 --> 01:03:37,100
You know, I know that anytime
Kathleen's going to look up a

1199
01:03:37,107 --> 01:03:39,200
Joel, I want her to let camera,
right?

1200
01:03:39,200 --> 01:03:42,100
And anytime Joel was looking
down at Kathleen, I want him

1201
01:03:42,100 --> 01:03:46,800
looking camera left so fast just
that law has to always be true.

1202
01:03:47,900 --> 01:03:51,600
And so, yeah, we've got our
model village with from art

1203
01:03:51,600 --> 01:03:54,500
department, and we've got toy
cars, and we've got toy models

1204
01:03:54,500 --> 01:03:57,500
and we just go through because
Bi bi bi, bi of.

1205
01:03:57,700 --> 01:04:00,900
Where are they?
How does Joel get to the house

1206
01:04:01,000 --> 01:04:03,200
where, which house does the
truck here?

1207
01:04:03,400 --> 01:04:06,200
How far can the kids run?
All of these things?

1208
01:04:06,200 --> 01:04:09,800
And we just had meeting after
meeting after meeting and it

1209
01:04:09,808 --> 01:04:15,100
would be usually, it would be me
and Jeremy on our own like a

1210
01:04:15,100 --> 01:04:19,300
mad, the coming up with, you
know, we think this but then

1211
01:04:19,300 --> 01:04:21,200
you've got to go to Art
department and say, can you

1212
01:04:21,200 --> 01:04:24,200
build this, does this make
sense, then we've got to go to

1213
01:04:24,500 --> 01:04:29,300
stunts and say, This we think
we've got 100 meters for them to

1214
01:04:29,300 --> 01:04:31,500
run.
How far away does the truck

1215
01:04:31,500 --> 01:04:34,200
needs to be what speeds it needs
to be going to go through the

1216
01:04:34,200 --> 01:04:36,100
cars.
How safe does it have to be?

1217
01:04:36,300 --> 01:04:40,500
So everyone has their input to
everything and it just keeps

1218
01:04:40,500 --> 01:04:42,200
pushing and pulling and more
thin.

1219
01:04:43,600 --> 01:04:47,800
And then you do a previous, you
do all the shots and then that

1220
01:04:47,800 --> 01:04:52,500
stage as well, we knew that the
house the sniper's nest had to

1221
01:04:52,500 --> 01:04:54,200
be.
We couldn't build that on a

1222
01:04:54,200 --> 01:04:58,000
soundstage and cheat the Window
because it would have just

1223
01:04:58,000 --> 01:05:00,600
disconnected so much.
We knew that we wanted to be

1224
01:05:00,600 --> 01:05:05,000
able to see what the horde, the
fight, everything and have Joel

1225
01:05:05,000 --> 01:05:08,500
in the same shot up there so
that had to all be real.

1226
01:05:08,500 --> 01:05:10,200
So that's a much more expensive
way.

1227
01:05:10,200 --> 01:05:13,200
Suddenly art Department have
just built a real house, that's

1228
01:05:14,000 --> 01:05:16,600
complete.
Structural Integrity, climb up

1229
01:05:16,600 --> 01:05:21,700
to the third story with a crew
with all the cares and ton of

1230
01:05:21,700 --> 01:05:24,600
weight up there and it's just a
real house and you're just

1231
01:05:24,600 --> 01:05:27,400
shooting out the window.
And it all exists.

1232
01:05:28,400 --> 01:05:33,500
It's now listed on Zillow.
Yeah, well they they pulled it

1233
01:05:33,500 --> 01:05:35,500
off in can obviously in
collaboration with the art

1234
01:05:35,500 --> 01:05:38,400
department but that's how it was
made because I think they made

1235
01:05:38,400 --> 01:05:44,700
16 houses and and we shot this.
So yeah, I mean I've talked

1236
01:05:44,700 --> 01:05:50,000
about this elsewhere but the
story is there in outer Kansas

1237
01:05:50,000 --> 01:05:53,500
City now about to escape, but
they're not using their torches

1238
01:05:53,500 --> 01:05:55,200
because they want to keep a low
profile.

1239
01:05:55,500 --> 01:05:59,100
So, Amazing cinematographer.
It says nights on the page.

1240
01:05:59,100 --> 01:06:00,600
It's Moonlight.
That's all I've got.

1241
01:06:00,600 --> 01:06:02,400
There's no there's no
electricity out there.

1242
01:06:02,400 --> 01:06:06,300
They haven't got torches.
So I've got to do Moonlight on a

1243
01:06:06,300 --> 01:06:10,300
naturalistic Last of Us feeling.
It can't be werewolf movie

1244
01:06:10,300 --> 01:06:13,300
moonlight which is a thing,
right?

1245
01:06:13,300 --> 01:06:19,400
And it has to be over a huge
expanse to ask me naturalistic

1246
01:06:19,400 --> 01:06:23,700
moonlight over a huge expense
and also we're shooting nights

1247
01:06:23,700 --> 01:06:27,000
in Calgary where the wind can
get up to 70 miles per hour.

1248
01:06:27,200 --> 01:06:30,400
So I can't use big balloons,
which is a what we do.

1249
01:06:30,400 --> 01:06:32,600
Use a lot of the time, big
helium balloons because when the

1250
01:06:32,600 --> 01:06:35,500
wind gets up, they swing around,
they've gotta come down, we

1251
01:06:35,500 --> 01:06:38,100
can't shoot.
So we actually had to kind of

1252
01:06:38,100 --> 01:06:43,800
invent or come up with a
lighting system that covered at

1253
01:06:43,800 --> 01:06:48,200
that huge expanse and was
essentially 400 really small

1254
01:06:48,200 --> 01:06:53,000
skinny lights strung together.
So the wind just passed through

1255
01:06:53,000 --> 01:06:55,300
it.
So there's no hungry emits

1256
01:06:55,300 --> 01:06:57,400
hanging from.
Crying, but if the wind comes

1257
01:06:57,400 --> 01:06:58,900
along, it just passes through
it.

1258
01:07:00,300 --> 01:07:03,400
Yeah, that's what we did.
I basically took the concept of,

1259
01:07:03,400 --> 01:07:06,900
if I was lighting a really small
moonlit set naturalistically,

1260
01:07:06,900 --> 01:07:10,000
and then times it by ten, and
that's what we did.

1261
01:07:10,000 --> 01:07:13,000
And then, yeah, then you've got
the fire, you got the explosion

1262
01:07:13,000 --> 01:07:17,200
which was practical did it once.
Then you dig out the hole and

1263
01:07:17,200 --> 01:07:20,600
then income, the infect it.
And that was again a heat, a

1264
01:07:20,600 --> 01:07:23,800
huge.
During the day, every day, the

1265
01:07:23,800 --> 01:07:29,000
stunt team were working with our
And guy and rehearsing the day

1266
01:07:29,000 --> 01:07:31,500
stunts.
And really, you know, we had, we

1267
01:07:31,500 --> 01:07:34,700
knew the big pieces that we
wanted, but we also wanted all

1268
01:07:34,700 --> 01:07:39,100
these little vignettes of just
horrible things happening and

1269
01:07:39,100 --> 01:07:42,200
Craig's brief to them was he
just want didn't want to see

1270
01:07:42,200 --> 01:07:45,500
anything he'd seen before.
So he was they were always just

1271
01:07:45,500 --> 01:07:49,100
trying to come up with something
interesting and so there's one

1272
01:07:49,100 --> 01:07:52,100
that I really like where a
soldier is getting at.

1273
01:07:52,200 --> 01:07:55,000
He knows he's done and he grabs
his own shotgun and shoots

1274
01:07:55,000 --> 01:07:58,500
himself.
Before they get him and it's

1275
01:07:58,500 --> 01:08:01,400
just horrible and horrific, but
Henry seen that before, you

1276
01:08:01,400 --> 01:08:04,800
know, and something else we've
never seen before is little tiny

1277
01:08:04,800 --> 01:08:07,700
gymnast, clicker, come into
play.

1278
01:08:08,300 --> 01:08:13,400
Yeah, kick kid.
Clicker was a big like secret

1279
01:08:13,400 --> 01:08:16,200
because no one knew about that
and it was just one of those

1280
01:08:16,200 --> 01:08:19,600
things that talking about the
world of the last of us and

1281
01:08:19,600 --> 01:08:22,500
being like why the no kids you
know, was a thing came up and

1282
01:08:22,500 --> 01:08:26,100
then it was like, wouldn't it be
cool if she found Refuge Huge

1283
01:08:26,100 --> 01:08:29,399
and small space because she's so
small but then kind of meets her

1284
01:08:29,399 --> 01:08:31,399
match because there's also a
small.

1285
01:08:31,399 --> 01:08:35,600
I mean, it's such a great craic
invention and then he, he wanted

1286
01:08:35,600 --> 01:08:38,100
like a Blue's Clues t-shirt on
her.

1287
01:08:38,100 --> 01:08:44,000
And it really was just a dark
messed-up, and she was a

1288
01:08:44,008 --> 01:08:45,899
contortionist.
She was like, I think she's 12

1289
01:08:45,899 --> 01:08:50,500
years old, a contortionist
gymnast and did all this freaky,

1290
01:08:50,500 --> 01:08:53,100
weird, crazy stuff.
Who's awesome?

1291
01:08:53,399 --> 01:08:56,899
The second she tumbled over.
That backseat.

1292
01:08:56,899 --> 01:09:00,100
I was thought the same exact
thing as early as I get out.

1293
01:09:00,100 --> 01:09:02,500
Get out.
No way.

1294
01:09:02,600 --> 01:09:06,399
Yeah, it's like it's like you're
in the middle of this giant, you

1295
01:09:06,399 --> 01:09:09,000
know, scene of all these
infected everywhere.

1296
01:09:09,000 --> 01:09:12,500
But then this little kid clicker
is like the creepiest thing you

1297
01:09:12,500 --> 01:09:15,500
seem.
You just like no it's happening.

1298
01:09:16,100 --> 01:09:17,700
Oh man.
I love that.

1299
01:09:17,700 --> 01:09:22,000
I want to say that's the first
kid infected we've seen, right?

1300
01:09:22,000 --> 01:09:24,500
Because I don't believe there
was any in the game.

1301
01:09:25,300 --> 01:09:29,100
I think say yeah and I think I
don't want to speak for Neil

1302
01:09:29,100 --> 01:09:30,800
Neil.
Neil would have thought about

1303
01:09:30,800 --> 01:09:33,800
this.
I'm sure I can't remember why I

1304
01:09:33,800 --> 01:09:36,100
don't remember.
So I'm sure Neil would have an

1305
01:09:36,100 --> 01:09:38,399
answer as to why there weren't
or maybe there were and we

1306
01:09:38,399 --> 01:09:39,500
didn't see them.
I don't know.

1307
01:09:40,899 --> 01:09:44,000
It's like he I'm certain he
loved the idea.

1308
01:09:44,000 --> 01:09:46,800
I mean genuinely this may be one
of those things where Neil maybe

1309
01:09:46,800 --> 01:09:49,399
said I've always wanted to do a
kick liquor, let's do it with

1310
01:09:49,399 --> 01:09:52,399
meals idea.
Either don't know or can't

1311
01:09:52,399 --> 01:09:55,800
remember towards the wrapping up
of Episode 5.

1312
01:09:56,100 --> 01:09:58,300
Hmm.
The the scene in the hotel room,

1313
01:09:58,300 --> 01:10:00,100
you did to kind of touch on that
a little bit.

1314
01:10:01,500 --> 01:10:07,400
I really liked how that scene
was shot mostly with Ellie and

1315
01:10:07,400 --> 01:10:09,900
Sam specifically.
So you hadn't just the light

1316
01:10:09,900 --> 01:10:14,600
coming from the lamp.
I gave it such a closed in

1317
01:10:14,600 --> 01:10:17,200
Intimate, feeling for them to
really be able to talk about

1318
01:10:17,200 --> 01:10:19,600
whatever they want even though
their Guardians are right

1319
01:10:19,600 --> 01:10:22,300
outside the other door.
Yeah, it's just I mean

1320
01:10:22,300 --> 01:10:25,200
beautifully shot and then
obviously pinky or Thing that

1321
01:10:25,200 --> 01:10:29,200
happens, the decision to stay on
Ellie.

1322
01:10:29,400 --> 01:10:32,300
Mmm.
After Henry, unfortunately

1323
01:10:32,300 --> 01:10:34,000
killed himself because he had to
kill Sam.

1324
01:10:34,500 --> 01:10:38,500
And then showing the pole.
Blood go bigger was so much more

1325
01:10:38,500 --> 01:10:42,000
effective than the game because
it just cuts to Black.

1326
01:10:42,400 --> 01:10:46,600
Yes, I'm seeing having the
camera just beyond LA to work

1327
01:10:46,600 --> 01:10:49,400
like that.
How was, how did that come

1328
01:10:49,400 --> 01:10:51,100
about?
Like, how long did you guys want

1329
01:10:51,100 --> 01:10:54,700
to stay with that?
Or I think for that reason.

1330
01:10:54,800 --> 01:10:59,100
Room daytime.
So the whole morning sequence we

1331
01:10:59,100 --> 01:11:02,700
had a whole day to shoot that
because we knew it was very

1332
01:11:02,700 --> 01:11:06,100
important to get that, right?
And there's big performances

1333
01:11:06,100 --> 01:11:09,900
there from everyone every single
one of them you know, we've got

1334
01:11:09,900 --> 01:11:14,200
Kevon who plays Sam being a
monster and doing all of that

1335
01:11:14,200 --> 01:11:16,600
stuff.
This is his first ever screen

1336
01:11:16,600 --> 01:11:19,300
performance.
He was a miracle.

1337
01:11:19,300 --> 01:11:21,800
I have no idea how we got so
lucky with him.

1338
01:11:21,800 --> 01:11:27,500
Like because working with kids
under And onset is always a

1339
01:11:27,500 --> 01:11:31,300
gamble.
Anyway, let alone death and

1340
01:11:31,300 --> 01:11:35,100
having never done it before so
he was remarkable but we had to

1341
01:11:35,100 --> 01:11:39,500
make sure we had all the time in
the world for him to get it

1342
01:11:39,500 --> 01:11:42,400
wrong if he did.
And I was trying to figure out

1343
01:11:42,500 --> 01:11:45,700
to get all that right, but he
was incredible and then we've

1344
01:11:45,700 --> 01:11:50,400
got Lamar who plays Henry just
doing incredible.

1345
01:11:50,400 --> 01:11:54,900
I think wonderfully subtle work
like you know, he's doing In

1346
01:11:54,900 --> 01:11:58,000
such big stuff with.
So, such little movement, some

1347
01:11:58,000 --> 01:12:01,200
words, I just he was incredible
and Bella.

1348
01:12:01,400 --> 01:12:03,800
Do you know they're all just so
good in that scene.

1349
01:12:04,700 --> 01:12:08,600
So it was about blocking.
It was about making sure that

1350
01:12:08,600 --> 01:12:09,900
they're getting the geography
made sense.

1351
01:12:09,900 --> 01:12:12,200
There's a lot of action
geography there because how they

1352
01:12:12,200 --> 01:12:15,500
come through the door, we needed
enough distance and then it was

1353
01:12:15,500 --> 01:12:17,800
okay.
Where did Joel and Henry fall

1354
01:12:17,800 --> 01:12:19,200
asleep?
And where was the gun?

1355
01:12:19,200 --> 01:12:21,800
Because all of that stuff, has
to make physical sense.

1356
01:12:23,400 --> 01:12:26,900
So you've got to figure out all
those Logistics to then let all

1357
01:12:26,900 --> 01:12:31,000
the emotion live, you know.
So yeah.

1358
01:12:31,000 --> 01:12:34,500
Just a lot of time and planning
and since your questions but

1359
01:12:34,500 --> 01:12:38,600
your question specifically about
how we covered it, we knew the

1360
01:12:38,600 --> 01:12:41,300
whole kind of philosophy for
this really is less is more with

1361
01:12:41,300 --> 01:12:44,200
violence and so often reactions
are more interesting than

1362
01:12:44,200 --> 01:12:50,100
gratuitous violence and and
really it was we were alive to

1363
01:12:50,100 --> 01:12:53,600
possibilities that happened.
And when we had done the

1364
01:12:53,600 --> 01:12:58,500
gunshot, For him.
There was some blood on the wall

1365
01:12:58,700 --> 01:13:01,500
and this pool started to happen
and we shot both.

1366
01:13:01,500 --> 01:13:04,400
So we shot one where blood was
dripping from the wall or from

1367
01:13:04,400 --> 01:13:07,400
the curtain and we shot one of
the pool and we just knew that

1368
01:13:07,400 --> 01:13:12,000
that might be useful as a way to
really, you know, tell that

1369
01:13:12,000 --> 01:13:17,800
story without showing exactly
what happened and I would credit

1370
01:13:17,800 --> 01:13:24,600
Tim and Kraig for their the edit
their restraints for choosing

1371
01:13:24,900 --> 01:13:27,900
The story is vote for being with
Bella.

1372
01:13:27,900 --> 01:13:33,100
I just think it's cut so well, I
mean it was very moving to shoot

1373
01:13:33,100 --> 01:13:36,300
it but I saw a rough cut of it
on Jeremy.

1374
01:13:36,300 --> 01:13:39,300
The directors iPhone like a week
later and it made me cry.

1375
01:13:39,900 --> 01:13:42,200
Just the of the rough cut on an
iPhone.

1376
01:13:42,600 --> 01:13:44,600
It's like, fuck.
And that was early days, you

1377
01:13:44,608 --> 01:13:47,100
know, so they had even more time
to fine-tune it.

1378
01:13:47,100 --> 01:13:51,700
But Tim, our editor, who I can't
really wear on Twitter that we

1379
01:13:51,700 --> 01:13:54,700
just love each other because
like, I just think he's so good.

1380
01:13:54,800 --> 01:13:57,500
Because I've never really seen
edits.

1381
01:13:58,100 --> 01:14:03,400
So painfully that the, the one
sort of like comparison.

1382
01:14:03,400 --> 01:14:05,700
I put to him is like the
Beatles.

1383
01:14:05,800 --> 01:14:11,500
Big praise in a beetle beetle
song, sounds like it's always

1384
01:14:11,500 --> 01:14:15,400
existed like that, like, it's
just it came that way, like it.

1385
01:14:15,400 --> 01:14:17,500
You don't really feel the
process of writing.

1386
01:14:17,500 --> 01:14:20,400
It's like, that's the song and
it's been plucked out of it was

1387
01:14:20,400 --> 01:14:24,700
always there.
That composition is so sort of

1388
01:14:24,800 --> 01:14:28,100
It's like, he could not be any
other way and Tim's edits feel

1389
01:14:28,100 --> 01:14:30,400
like that.
Like, they're so sort of,

1390
01:14:31,600 --> 01:14:33,400
there's an inevitability to
them.

1391
01:14:33,400 --> 01:14:36,300
They just feel so uneasy.
It's like, you don't feel that

1392
01:14:36,300 --> 01:14:39,100
every editors heavy hand you
just sort of go.

1393
01:14:39,400 --> 01:14:41,600
Well yeah that's it.
And that's how I felt the first

1394
01:14:41,600 --> 01:14:46,800
time I watched episode 3, I was
expecting great scenes and

1395
01:14:46,800 --> 01:14:50,300
things a bit rough and things a
bit experimental.

1396
01:14:50,300 --> 01:14:52,900
And there's always, rough cuts
are usually rough, you know.

1397
01:14:53,800 --> 01:14:56,400
But when I first saw Saw it,
which was later in the process.

1398
01:14:56,400 --> 01:14:58,400
It was just like it's
impeccable.

1399
01:14:58,800 --> 01:15:01,700
I couldn't fault it.
There wasn't one usually as well

1400
01:15:01,700 --> 01:15:03,700
in my head.
I'm thinking I wish they'd use

1401
01:15:03,700 --> 01:15:07,200
that take or I wish they'd use
that shot or the way they've cut

1402
01:15:07,200 --> 01:15:09,200
it.
I think there's a better

1403
01:15:09,200 --> 01:15:11,700
version, you know.
Usually, I am thinking those

1404
01:15:11,700 --> 01:15:13,700
things I never once.
Thought that with him it was

1405
01:15:13,700 --> 01:15:17,400
just like yeah, fuck that shot.
You can't because it's so much

1406
01:15:17,400 --> 01:15:20,700
better and this was one of
those.

1407
01:15:20,700 --> 01:15:23,400
Yes.
So so effective I think then the

1408
01:15:23,400 --> 01:15:26,100
the amount of Emotion.
That people are feeling with

1409
01:15:26,100 --> 01:15:30,600
this show and the amount of
violence that it's not showing.

1410
01:15:31,000 --> 01:15:35,000
Yeah, with some shows that we've
seen before, it's so effective.

1411
01:15:35,000 --> 01:15:37,400
And it all comes down to all of
those things because I don't

1412
01:15:37,400 --> 01:15:39,700
think I've cried this much in a
show before.

1413
01:15:40,200 --> 01:15:43,300
Yeah, I'm not seeing much of the
actual thing happening.

1414
01:15:43,400 --> 01:15:48,100
I just know this happened.
It's just it's so good saying.

1415
01:15:48,200 --> 01:15:51,900
Yeah, so much about it is really
Humanity, right?

1416
01:15:51,900 --> 01:15:55,100
Yeah.
Because while the infected Adar

1417
01:15:55,100 --> 01:15:57,600
scary.
It's the humans that were afraid

1418
01:15:57,600 --> 01:16:00,400
of, but it's also humans that
were morning and we're seeing

1419
01:16:00,400 --> 01:16:04,700
that emotion just blaring on the
screen that you can't help but

1420
01:16:04,700 --> 01:16:06,900
like, be swept over by it and a
great.

1421
01:16:06,900 --> 01:16:09,300
And I also think there's a piece
of it where, you know, when

1422
01:16:09,300 --> 01:16:14,400
we're watching Ellie, who's 14?
See so much violence and see, so

1423
01:16:14,400 --> 01:16:19,100
much bad in the world and we see
how it's affecting her and how,

1424
01:16:19,500 --> 01:16:23,500
but she still needs to continue
on right in that final scene of

1425
01:16:23,500 --> 01:16:27,900
episode 5 when there By the
graves and she she puts the, was

1426
01:16:27,900 --> 01:16:30,200
it a magic?
What is that thing called?

1427
01:16:30,200 --> 01:16:32,300
Yeah.
The the price he paid thing

1428
01:16:32,300 --> 01:16:35,200
writing the yeah.
You know, she's going through

1429
01:16:35,200 --> 01:16:39,700
some really huge things and I
think those emotions are

1430
01:16:39,700 --> 01:16:42,600
Universal, no matter, there's an
apocalypse or not.

1431
01:16:42,700 --> 01:16:46,900
Hmm, But it's one thing I love
with Bella and Ellie is her

1432
01:16:46,900 --> 01:16:50,900
strength as well.
Like she's a girl, she's 14 and

1433
01:16:51,000 --> 01:16:54,600
she says, you know, obviously
she's everything you just said.

1434
01:16:54,700 --> 01:16:57,500
Said, but he also is like, which
way is west, you know?

1435
01:16:57,500 --> 01:17:00,300
Yeah.
Like like we've got a job to do

1436
01:17:00,300 --> 01:17:05,500
and we, let's fucking carry on
and I love in episode 4 after

1437
01:17:05,500 --> 01:17:07,600
she's just killed someone for
the first time.

1438
01:17:08,100 --> 01:17:10,700
She's the one who's like, I'm
I'm fine.

1439
01:17:10,900 --> 01:17:14,900
Don't worry about it, you know,
and obviously, she isn't 100%

1440
01:17:14,900 --> 01:17:20,700
fine, but she actually is sort
of wiser than Joel in some ways.

1441
01:17:21,200 --> 01:17:25,600
And it's sort of showing the,
you know, He's doing a lot of

1442
01:17:25,600 --> 01:17:28,900
the adulting in that scene which
is really interesting.

1443
01:17:28,900 --> 01:17:33,000
I think that how well she can
compose herself and she's a 14

1444
01:17:33,000 --> 01:17:35,300
year old girl.
And I heard actually Craig in

1445
01:17:35,300 --> 01:17:40,300
the podcast, talk about this
expression, that's that sums up.

1446
01:17:40,300 --> 01:17:42,800
Ellie, that's fuck you, tuck me
in.

1447
01:17:43,100 --> 01:17:46,600
And I just love that it's like
perfect.

1448
01:17:48,200 --> 01:17:52,100
It's between being a full adult,
and being a child.

1449
01:17:52,100 --> 01:17:53,700
There's this period.
That's fuck you.

1450
01:17:53,700 --> 01:17:57,500
Tuck me in and I see.
Yeah, I love I love that fella

1451
01:17:57,500 --> 01:18:01,800
place that I love that phrase.
I guess I got is amazing.

1452
01:18:02,100 --> 01:18:06,700
I think, you know, when you're
writing for characters, you

1453
01:18:06,700 --> 01:18:09,400
write for tricky, right?
Children characters and you

1454
01:18:09,400 --> 01:18:12,300
write teenagers or adults, but
you kind of miss that period,

1455
01:18:12,300 --> 01:18:14,600
and it was another writer.
I think came up with the fuck

1456
01:18:14,600 --> 01:18:16,500
you tuck me in.
And he was like, that's Ellie

1457
01:18:16,600 --> 01:18:18,400
and it makes perfect sense.
I love it.

1458
01:18:18,400 --> 01:18:23,600
It's great, it's so perfect.
So, speaking of Bella and just

1459
01:18:23,600 --> 01:18:28,200
like her greatness, Do you have
any favorite memories from the

1460
01:18:28,200 --> 01:18:31,700
set and being with the cast?
Of course, other than Nick's

1461
01:18:32,100 --> 01:18:36,800
giggle at a good piece of beef.
That was a very good option,

1462
01:18:36,800 --> 01:18:40,500
like honestly, such a wonderful
experience of so many.

1463
01:18:40,900 --> 01:18:43,800
There's a real camaraderie, it
felt like we were making

1464
01:18:43,800 --> 01:18:49,100
something good and important and
there weren't any assholes, you

1465
01:18:49,100 --> 01:18:52,700
know, it was all very positive.
Bella is extraordinary.

1466
01:18:52,700 --> 01:18:55,700
I mean, she turned 18.
During the shoot.

1467
01:18:55,900 --> 01:18:59,900
And she's one of those actors
who just makes it look so easy

1468
01:18:59,900 --> 01:19:04,700
just like so I do.
Yeah, it's very rare that you

1469
01:19:04,700 --> 01:19:08,800
see that level of performance
made to look so easy.

1470
01:19:08,800 --> 01:19:11,000
Like we haven't found her
performance in the edit this

1471
01:19:11,000 --> 01:19:13,400
isn't which we're not coaching
her to that stuff.

1472
01:19:13,800 --> 01:19:17,100
She just Nails it.
I mean, she's English, her

1473
01:19:17,100 --> 01:19:20,800
accent, everything.
It's an incredible and Kraig,

1474
01:19:20,800 --> 01:19:24,400
you know, and again, she is wise
Beyond her years.

1475
01:19:24,800 --> 01:19:29,900
You know, not in a patronizing
way like she but she takes notes

1476
01:19:30,800 --> 01:19:33,100
like, you know, you're just
giving notes, like you're giving

1477
01:19:33,100 --> 01:19:36,600
them to Meryl Streep, it's
stuffed complicated, adult

1478
01:19:36,600 --> 01:19:40,000
Concepts and she's like got it
and she does it and it's just

1479
01:19:40,000 --> 01:19:45,600
amazing, that's not normal.
So I really yeah Bella was very

1480
01:19:45,600 --> 01:19:49,700
special, the whole experience
with Sam and Henry was very

1481
01:19:49,700 --> 01:19:52,200
special because of the deaf
element, it wasn't something I'd

1482
01:19:52,200 --> 01:19:55,100
done before.
So we had to two separate

1483
01:19:55,100 --> 01:19:58,400
translators.
We had CJ, who is a actor

1484
01:19:58,400 --> 01:20:01,300
himself?
Who's a deaf man, who worked as

1485
01:20:01,300 --> 01:20:07,200
a kind of onset acting coach /,
interpreter and a true.

1486
01:20:07,200 --> 01:20:11,100
Deaf interpreter, who you know,
who could just go from sign

1487
01:20:11,100 --> 01:20:13,300
language to English very, very
quickly and smoothly.

1488
01:20:13,300 --> 01:20:18,800
So seeing Jeremy direct.
So you're looking at Kevon and

1489
01:20:18,800 --> 01:20:22,300
you're looking at CJ and you're
looking at The Interpreter who

1490
01:20:22,300 --> 01:20:27,200
had a few of those that Whole
thing was really interesting and

1491
01:20:27,200 --> 01:20:30,200
really kind of beautiful and
worked incredibly well.

1492
01:20:30,900 --> 01:20:34,100
And it was, yeah, you know,
fascinating to watch that really

1493
01:20:34,100 --> 01:20:36,400
fascinating.
I kind of hope more making of

1494
01:20:36,400 --> 01:20:39,100
comes out because they haven't
really shown that yet.

1495
01:20:39,100 --> 01:20:42,700
But I witnessed some really
amazing stuff happening with

1496
01:20:42,700 --> 01:20:44,700
that.
So I lot of fun memories there.

1497
01:20:44,900 --> 01:20:48,200
One of the final questions.
What do you want people to take

1498
01:20:48,200 --> 01:20:50,500
away from watching The Last of
Us?

1499
01:20:50,500 --> 01:20:54,000
Like what is your your hope that
they get this or, you know,

1500
01:20:54,800 --> 01:20:58,700
Well, yeah, I mean, I hope and I
think it has done this.

1501
01:20:58,700 --> 01:21:02,800
I think I just hope people are
surprised and that it

1502
01:21:02,800 --> 01:21:05,000
transcends.
The genre, they thought it was,

1503
01:21:05,000 --> 01:21:06,700
it's not really a zombie thing
at all.

1504
01:21:07,800 --> 01:21:12,900
It's a story about love, good
and bad, you know, it's, it's

1505
01:21:12,900 --> 01:21:15,300
romantic love.
And it's ugly love, and it's

1506
01:21:15,300 --> 01:21:18,200
everything in between it's about
the relativity of evil.

1507
01:21:18,800 --> 01:21:21,400
And that's a big thing in the
last of us that one person's

1508
01:21:21,400 --> 01:21:24,500
hero, is another person's enemy.
Yeah.

1509
01:21:24,600 --> 01:21:27,600
I just hope people continue to
enjoy it and talk about it as

1510
01:21:27,600 --> 01:21:30,000
they have.
It's a real it feels to me like

1511
01:21:30,000 --> 01:21:34,700
a real thing and people are very
happy and excited about it.

1512
01:21:34,700 --> 01:21:38,300
And watching the reaction videos
has been a bit of an addiction

1513
01:21:38,300 --> 01:21:41,200
for me, because it's a new thing
for me.

1514
01:21:41,200 --> 01:21:45,100
I didn't really know they
existed and as a filmmaker to be

1515
01:21:45,100 --> 01:21:50,000
able to firsthand live watch.
Someone react, you really all

1516
01:21:50,000 --> 01:21:53,400
the conversations we have about.
Are people going to get this?

1517
01:21:53,500 --> 01:21:55,900
Does this make sense?
Since this is going to move

1518
01:21:55,900 --> 01:22:00,800
people, you just see it,
unfiltered happen and work.

1519
01:22:00,800 --> 01:22:04,800
And that's incredibly gratifying
and and it's actually really

1520
01:22:04,800 --> 01:22:08,400
been impressive.
How thoughtful, so many of the

1521
01:22:08,400 --> 01:22:12,400
audience are and you just see
people on these reaction videos,

1522
01:22:12,400 --> 01:22:14,700
putting it together and gar,
they're setting that up.

1523
01:22:14,700 --> 01:22:17,500
And, you know, it's all it's all
coming across.

1524
01:22:18,700 --> 01:22:21,700
So, you know, that sort of
answers our question, I just

1525
01:22:21,700 --> 01:22:24,400
hope it carries on going as well
as it has and people.

1526
01:22:24,800 --> 01:22:29,700
Find it as as moving and
important as I do so far five

1527
01:22:29,700 --> 01:22:34,200
episode then and not a single
one has not been good, so I'm

1528
01:22:34,200 --> 01:22:40,100
very pretty sure it's going to
do well and so not to step away

1529
01:22:40,100 --> 01:22:42,600
from the last of us but we do
want to know, I know you

1530
01:22:42,600 --> 01:22:45,400
mentioned secret Invasion but
what's on the horizon for you?

1531
01:22:45,500 --> 01:22:47,100
You know where do you?
What are you going to be working

1532
01:22:47,100 --> 01:22:49,200
on next?
I don't know.

1533
01:22:49,400 --> 01:22:53,400
Yeah, I need a job.
Basically, The Last of Us is

1534
01:22:53,400 --> 01:22:56,200
like ruin me.
Because how do you move on from

1535
01:22:56,200 --> 01:22:58,000
this?
How do you get another job?

1536
01:22:58,000 --> 01:23:01,500
How do you like my whole career?
I've been fortunate at least for

1537
01:23:01,500 --> 01:23:03,400
the last, like, 7 years or
something.

1538
01:23:03,400 --> 01:23:06,200
I've always gone up.
Every job is gone up.

1539
01:23:06,200 --> 01:23:09,200
I've I've stepped up a budget.
I've stepped up quality, it's

1540
01:23:09,200 --> 01:23:13,000
always got better.
And with the last of us, I sort

1541
01:23:13,000 --> 01:23:16,400
of am like, I had to get better
than that.

1542
01:23:16,400 --> 01:23:18,900
This is impossible.
All right, it's incredible.

1543
01:23:18,900 --> 01:23:24,100
So after that I did the Marvel
series again, hard to be really

1544
01:23:24,700 --> 01:23:28,900
So I'm in this weird, you know,
incredible position where I'm

1545
01:23:28,900 --> 01:23:32,700
just figuring out what I can do
next and I sort of hope I do a

1546
01:23:32,700 --> 01:23:34,800
movie, I just sides, then do a
movie.

1547
01:23:34,800 --> 01:23:36,600
I haven't done it.
I've done one movie a couple

1548
01:23:36,600 --> 01:23:40,100
years ago but and 15 movies
before then, but that was just

1549
01:23:40,100 --> 01:23:42,600
my journey into the industry a
lot of low-budget movies.

1550
01:23:42,900 --> 01:23:45,800
So I've really got my eye out
for a good movie.

1551
01:23:46,200 --> 01:23:49,600
That all becomes about timing
and luck, frankly.

1552
01:23:50,400 --> 01:23:54,500
And like long-term my goal is to
ludus.

1553
01:23:54,600 --> 01:23:58,500
Really ambitious.
I do want to shoot big budget,

1554
01:23:58,500 --> 01:24:01,800
good movies.
I think things like Blade

1555
01:24:01,800 --> 01:24:07,100
Runner, 2049 Dune, the Batman,
even I think it's possible.

1556
01:24:07,100 --> 01:24:12,500
Now this year 200 million movie
and treat it like a proper movie

1557
01:24:12,500 --> 01:24:16,400
for grown-ups, even if it's
genre and that's where I really

1558
01:24:16,400 --> 01:24:19,400
would love to operate.
I mean, you know, obviously

1559
01:24:19,500 --> 01:24:24,500
everyone wants to do that but I
I'm still on that path.

1560
01:24:25,400 --> 01:24:27,700
That I'd love to do that kind of
thing.

1561
01:24:27,900 --> 01:24:30,100
I've let the more I've worked in
TV.

1562
01:24:30,100 --> 01:24:32,000
The more, I realize how
important it is to me that

1563
01:24:32,000 --> 01:24:35,300
people watch what I do.
I've done a lot of films that no

1564
01:24:35,300 --> 01:24:38,800
one saw, and you sort of feel
like, do they even exist?

1565
01:24:38,800 --> 01:24:41,200
If no one watches it, it doesn't
really count.

1566
01:24:41,200 --> 01:24:44,800
So, I think it's about getting
the biggest audience, possible,

1567
01:24:44,900 --> 01:24:48,400
and giving them really good work
and I think the last of us has

1568
01:24:48,400 --> 01:24:51,000
been that.
So, I think it's possible and

1569
01:24:51,000 --> 01:24:53,500
now, I'm just trying to look for
that on the movie side.

1570
01:24:54,000 --> 01:24:59,100
So, Give me a job somebody.
I know the last of us got

1571
01:24:59,100 --> 01:25:01,100
renewed for season 2, so maybe,
yeah.

1572
01:25:01,700 --> 01:25:04,200
Maybe you can pick the the most
heartbreaking episodes out of

1573
01:25:04,200 --> 01:25:06,700
that one.
And wow, there's a few.

1574
01:25:06,700 --> 01:25:07,900
All right.
I mean ghost.

1575
01:25:08,900 --> 01:25:10,700
Yeah, I mean I season to the
hospice.

1576
01:25:10,700 --> 01:25:12,900
I'd love to come back for.
I think it's all just going to

1577
01:25:12,907 --> 01:25:15,400
depend on timing who the
directors are.

1578
01:25:15,400 --> 01:25:18,200
Who knows, who knows?
I'm still chatting to Craig

1579
01:25:18,200 --> 01:25:20,900
every week, just about the
release and what's going on and

1580
01:25:20,900 --> 01:25:24,400
how exciting it all is, and and
I don't really know anything.

1581
01:25:24,700 --> 01:25:28,500
About season 2.
There isn't already in the

1582
01:25:28,500 --> 01:25:31,400
public.
And yeah, I don't know.

1583
01:25:31,400 --> 01:25:34,600
I am fascinated as to who they
cast as Abby.

1584
01:25:35,500 --> 01:25:37,800
I'm fascinated.
How many flashback scenes?

1585
01:25:37,800 --> 01:25:41,000
They are because we're going to
have to bridge older Ellie and

1586
01:25:41,000 --> 01:25:43,800
younger Ellie.
Presumably, and the game did.

1587
01:25:44,300 --> 01:25:47,200
That's a logistical thing.
So crabill Beavis, think he'll

1588
01:25:47,200 --> 01:25:49,300
figure it out.
He'll he'll come up with some

1589
01:25:49,300 --> 01:25:54,100
great twists and tweaks and I
and yeah, I hope I hope, you

1590
01:25:54,100 --> 01:25:59,800
know, it comes my way again, but
I am definitely at peace with if

1591
01:25:59,800 --> 01:26:03,500
I don't go back, if I can't go
back, I'm very, very happy with

1592
01:26:03,500 --> 01:26:05,400
what we did.
We see someone definitely left

1593
01:26:05,400 --> 01:26:08,200
your mark, but if you do get
onto, you know, we're rooting

1594
01:26:08,200 --> 01:26:11,400
for you.
If you get season to hope, I'm

1595
01:26:11,400 --> 01:26:15,400
obviously, I hope I did.
Let's see, who knows, who knows?

1596
01:26:15,500 --> 01:26:18,800
Who knows when where, how long I
had to move my family.

1597
01:26:18,800 --> 01:26:22,900
I've got tickets to Canada for a
year to be lost to us, which has

1598
01:26:22,900 --> 01:26:26,300
a big, like, life thing.
Say it depends how quickly they

1599
01:26:26,300 --> 01:26:29,200
can get it all together.
Like my, my kids Scott start

1600
01:26:29,200 --> 01:26:30,900
school.
I can't really great Canada for

1601
01:26:30,900 --> 01:26:31,900
a year.
I don't know.

1602
01:26:31,900 --> 01:26:35,900
All these things will be a
thing, so I'm just gonna yeah,

1603
01:26:35,900 --> 01:26:39,000
it won't be the next thing I do.
Because the time it takes to get

1604
01:26:39,000 --> 01:26:41,200
these things going, it'll take a
bit longer than that.

1605
01:26:41,200 --> 01:26:44,800
So I definitely need a job
before season 2 if I do, didn't

1606
01:26:44,800 --> 01:26:47,200
do.
So yeah, reading scripts.

1607
01:26:47,500 --> 01:26:48,100
If.
Yeah.

1608
01:26:48,100 --> 01:26:50,600
Well, we're will definitely be
keeping our fingers crossed for

1609
01:26:50,600 --> 01:26:54,100
you to get that big budget film,
because we know that you're

1610
01:26:54,100 --> 01:26:56,700
going to bring Such amazing work
to whatever it is.

1611
01:26:57,100 --> 01:26:58,500
Thank you.
It's exciting.

1612
01:26:58,500 --> 01:27:01,300
It's been really a joy to get to
talk to you.

1613
01:27:01,300 --> 01:27:03,800
Likewise thank you you gave us
your Sunday evening.

1614
01:27:04,200 --> 01:27:06,700
So we're grateful my pleasure.
Thank you.

1615
01:27:06,700 --> 01:27:10,200
And I took away your Sunday
morning scheduling

1616
01:27:10,400 --> 01:27:14,300
misunderstandings, that were all
my own fault, so apologies, but

1617
01:27:14,500 --> 01:27:17,900
it's been really great and I
love what you guys did I do.

1618
01:27:17,900 --> 01:27:21,900
Obviously it was the I think the
episode 3 review is the first

1619
01:27:21,900 --> 01:27:23,200
one I listen to you.
That's where I was, and I

1620
01:27:23,208 --> 01:27:26,200
thought it was and that wasn't
Both of you, I wasn't even

1621
01:27:26,200 --> 01:27:29,200
there.
No, I know, but I did listen to

1622
01:27:29,200 --> 01:27:31,500
episode 4 as well.
So I heard you talk about how

1623
01:27:31,500 --> 01:27:33,900
you watched and everything.
And I think what you guys do is

1624
01:27:33,900 --> 01:27:36,200
great.
So yeah, keep doing it pretty

1625
01:27:36,400 --> 01:27:38,600
much.
Well, sending you all the well.

1626
01:27:38,600 --> 01:27:40,700
Wishes and all the best things.
And again, just thank you so

1627
01:27:40,700 --> 01:27:43,800
much for being here with us.
This has been fantastic.

1628
01:27:44,000 --> 01:27:45,800
And thank you.
Hopefully, we can talk again.

1629
01:27:46,300 --> 01:27:48,500
Likewise, I'm always around.
Hit me up.

1630
01:27:50,400 --> 01:27:53,900
Thanks for listening to a bite
of artwork and editing by our

1631
01:27:53,900 --> 01:27:56,400
own.
Noah, be sure to follow us on

1632
01:27:56,400 --> 01:28:00,900
Instagram and Twitter at a bite
of pod and on Facebook at a bite

1633
01:28:00,900 --> 01:28:02,300
of.
If you have any questions

1634
01:28:02,300 --> 01:28:06,100
recommendations or just want to
say hi, you can contact us on a

1635
01:28:06,100 --> 01:28:10,600
bite of pod.com, please be sure
to subscribe rate and review to

1636
01:28:10,600 --> 01:28:13,500
spread the word.
See you next time on a bite of

1637
01:28:13,800 --> 01:28:14,200
bye.