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rebeccalouisaferguson · 10 months

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“Sometimes we get a bit niched,” says Swedish actor Rebecca Ferguson in her slightly lingua-divergent English, “and become the kick-ass woman or the sci-fi woman. I hope not to be that.” She has played a lot of different kinds of roles, she points out, starting with her year and a half in a Swedish soap opera while she was still at high school; more recent prominent roles that weren’t at all kick-ass include her Jenny Lind, the opera singer, in The Greatest Showman and a medieval English power-player in the BBC series The White Queen. It was playing a spy of dubious loyalty in Mission Impossible, however, that made her not only a star, but one of the very few women known as action stars.

Rappelling from a Viennese rooftop with her legs wrapped around Tom Cruise’s hips: that’s how we think of Rebecca Ferguson. “I don’t seek those roles,” she says. “When scripts come, I don’t look for the physicality and not take it if that’s not there. But for some reason those roles have come to me and I’ve done as well with it as I can.” Mission Impossible led on to Dune, the second part of which is due out soon. She loved that. ”I think we need to see women who are really great at fighting, in stories where the fighting is seen to be necessary to protect someone else. That’s what I like about Dune: everything is there for a reason.”

Silo is based on a series of fantasies – nine so far, with one-word titles like Wool, Shift and Dust – by American writer Hugh Howey. The idea of living in an authoritarian closed bunker is a familiar sci-fi trope: the most familiar reference point is probably Peter Weir’s The Truman Show (1998), but Silo has more in common with George Lucas’ debut THX1138 (1976) and the enduring cult favourite Logan’s Run (1971). What lured Ferguson into Silo’s grey, steampunk gloom? “I was drawn to the world,” she says. “Not to the sci-fi, post-apocalyptic fantasy world – that never interests me – but it was the fact that people were living underground in a claustrophobic environment, due to something they themselves had created. I liked the philosophy of that.”

She was also drawn to her character, a mechanic known for her genius at keeping the 140-year-old generator’s boiler running, whose promotion to sheriff comes as a shock to everyone. Juliette Nichols has a fierce yearning for truth and justice, but she is also cranky, unkempt, bitter, unsmiling and, through some strange alchemy of performance, decidedly plain. We don’t much like her; neither does the camera. “That’s what made me fall in love with her,” says Ferguson. “I find the forced likeability so uninteresting. Also, what she’s gone through wouldn’t make you likeable. Wouldn’t put you in the pocket of wanting to be touched, seen, loved. There is a reason why she’s good with mechanical things.”

Ferguson found international fame relatively late in life. She is 39, child of a Swedish father and eccentric English mother, now a mother herself to two children. On Zoom she is strikingly still, intense and has a translucent Nordic beauty that suggests a blameless life sustained by nothing but wild salmon and cloudberries. I wonder if there were any new skills she had to learn as the formidably capable Juliette. “I think what I found challenging and fun was not being good at certain things,” she says. Nobody in the silo can swim, for example; nobody has ever seen a sea or a river. “So in a situation where water is filling up, how do you activate a body that does know how to swim without looking cartoonish or silly? I’ve known how to swim since I was a little child, and those things are really difficult to relearn.”

The question that underlies any story like this one, of course, is how would we would cope living this way? They would chew that over on set, Ferguson remembers. “The tricky one, though, is that you can ask those questions: how would you react, what would you have done – but you can’t forget that they have lived there for 200 years. So you have to first think: ‘What is reality to them?’ They don’t know what ‘outside’ means. All they know is that there is something there. What’s fascinating is the philosophy of people who just follow the rules. You can compare it to the society of Big Brotheror the Second World War and Hitler, greed and power and banning books and taking things away from people and pushing them into a compact little environment to control them. It’s a bit like a religion as well. I’m scared of anything that tries to control our narrative.”

The higher purpose of dystopian fiction is, of course, to tell us about our own world. Were there parallels she spotted, even people she recognised? “I think it’s very difficult as a thinking human being to not see resemblances between what you do and the real world,” she says. “Some things happened after it was written – like we live in a silo and then COVID happened. But I think human beings when they create things will constantly pick from their environment, right?” Every now and then she would spot something in the script that made her think yes, that was smart, people will get that. “But I keep coming back to the idea that all the battles are the same, wherever we are.” In The White Queen, for example, where she played Elizabeth Woodville, wife of the deposed Edward IV, whose sons were murdered. “It’s the same battles there. It’s power and greed and needs, the same issues heightened and minimised. There’s always been chaos.”

#rebecca ferguson #interview #silo interview #dune interview #mi5 interview #dune part two interview

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drsilverfish · 1 year

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Hello Everyone I am so late to The Winchesters! Pilot 1x01

“They fuck you up, your mum and dad. They may not mean to, but they do. They fill you with the faults they had And add some extra, just for you. But they were fucked up in their turn By fools in old-style hats and coats, Who half the time were soppy-stern And half at one another’s throats. Man hands on misery to man. It deepens like a coastal shelf. Get out as early as you can, And don’t have any kids yourself”

Philip Larkin (1971)

I had some VPN issues, here on Normal Island... Yes, British sarcasm - at this point only our humour sustains us, as we descend yet further into a mixture of political farce and fascism.

Anyway, that means I am super late to the zombie long-tail of Supernatural and have only just watched episodes 1-4 of The Winchesters, which, it turns out, is Scooby-Doo meets Stranger Things?!?!

Probably like a lot of you, the SPN ending broke my heart so much I wasn’t sure I could get back in, but Robbie Thompson deserves a hearing, right? So here goes...

There is a place for alien insect invasions... Doctor Who, Starship Troopers, District 9... On the other hand, despite their somewhat chittering ridiculousness, the presence of the Akrida (that’s actually the word for “crickets” in Greek) as a sign of Chuck’s multiverse, tell us implicitly what Voice-Over Dean tells us explicitly:

“Now I know this story might sound familiar, but I’m going to put the pieces together in a way that just might surprise you”...

Are this John and Mary our John and Mary, or, from a slightly sideways universe, where some things are similar and some different? There were no drawings of cricket-aliens in John’s diary in Universe One...

Of course, what that means (thanks Robbie) is that the SPN ending is just one (shitty) universe ending, and here is Narrator-Dean, alive and well, in a universe where MASSIVE CRICKETS drown out 15x20 Carry On ....

Mary and John bump into each other outside a movie theatre (this is how John told his sons they met, in Universe One Supernatural). But, although they share take-out coffee, a little later, which tracks with Universe One, there is no conversation about a shared love for Led Zep... (not yet, anyway).

The movies showing at the time of the Mary-John encounter are:

Deliverance (1972)

THX1138 (1971)

Klute (1971)

These films are concerned with: 1) survivalism, brutality, male rape, secrets; 2) a dystopian future where the populace is mind-controlled; 3) Crime, prostitution, sexual abuse, avoidance of intimacy

And Robbie T has made sure to include a Vonnegut reference for us too - this sign appears as John and Mary are about to discover the Men of Letters bunker together:

Slaughterhouse 5 is about someone, Billy, who is (like John) suffering from war-induced PTSD. Billy is an unreliable narrator, and the story is told in non-linear fashion. So, this is a neon sign (literally) to go deeper than the Scooby-Doo surface of The Winchesters.

Slaughterhouse 5 of course, also contains aliens, the Tralfamadorians, who experience time in four dimensions, meaning past, present and future are not linear for them.

So, let’s say a prayer that the Mary, John, Carlos and Lata Scooby gang takes us on a story journey worth following...

#Supernatural #The Winchesters #The Winchesters 1x01 #1x01 Pilot #SPN meta #Meta #The Winchesters meta

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sinisterexaggerator · 2 years

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Okay, so how about Shriv and his s/o are able to take some leave and have a vacation on Glee Anselm? And maybe they start talking more seriously about their future together? I feel like vacation adventure Shriv would be so heartwarming and adorable 🥰

I’m deep in summer vibes right now and would love to read some of your headcanons (or anything else that you feel like writing) for this idea! However if this ask doesn’t vibe with you, no worries at all.

Ooh, I love it! I foresee FLUFF! I threw together some headcanons and a fic because I could not resist:

Warnings: None! Fluff, kissing, love confessions, and one sweet, sweet Duros

Word count: 1.7+

If Shriv took you on a vacation to Glee Anselm, he would pay for everything.

He would try his best to make it special since you rarely get any time together as is.

He’s a bit of a romantic, but he doesn’t show that side of himself as often as he might like because ultimately he is afraid of rejection.

I headcanon he wouldn’t be the one to make a love confession; he would wait on you, but I am going to break my own HC for fun here.

If you rile him up, he might chase you down the beach and tackle you ( gently ) into the sand dunes so you can make out under the warm rays of the sun.

He probably wears a goofy hat to shade his sensitive eyes. I can see him with a streak of sunscreen down his rostrum.

He’ll definitely have a splash fight with you once he gets you in the ocean.

If he feels something, anything, brush up against his leg unexpectantly he’s getting out ASAP.

The first time he sees you in your bathing suit he goes bluescreen for a good ten seconds.

Cuddling with him on a hot summer’s day is actually quite pleasant. His microscales are cold, thus cooling you down.

Shriv has broad shoulders and muscular arms, and he looks AMAZING without a shirt on. His pecs are firm, but he has the tiniest hint of a pooch and it’s the cutest thing when he’s only wearing his swim trunks.

Shriv can actually catch fish with his BARE HANDS. He does this to impress you. His expert eyesight and quick predatory reflexes enables him to do so, as Duros were avid hunters back in the day and Duro was a subtropical planet with beautiful oceans. Too bad its gone to snot.

He’ll watch the sunset with you and pretend to yawn so he can wrap his arm around you. Not that he hasn’t held you before – maybe he just feels like being silly.

Expect a purr or a rumble out of him at this point because the day has gone perfect, and he is one content Duros.

Shriv just couldn’t take it anymore; the stress was killing him, and the fact you two hadn’t been able to find any time together. He had begged General Merrick for a few days off and his request was granted; the Alliance favored Shriv enough to give him what he wanted on this occasion. Besides, the Death Star had been destroyed; the fleet had all fled from Yavin 4. They were safe for now; the Empire had lost your scent once you left the surface to make your way towards Hoth.

Now was as good a time as any, besides, Leia had struck out on her own adventures against the wishes of the leadership. Neither of you wanted to be there for the drama that would undoubtedly unfold. Sure, you had left your cohort in a lurch, but you’d be gone less than a week! You both might have felt guilty, but this was a necessary evil for your sanity; the show would go on, as the saying goes.

Glee Anselm was an oceanic planet, speckled with sparse Islands that was home to one of its native species, the other living beneath the waves; Nautolans, who were a rather peaceful bunch.

Shriv had shelled out the credits and you had hitched a ride off planet. You had flown to the Fath sector, found your way to the THX1138 Spaceport, then boarded a StarSpeeder 3000 to begin your vacation hosted via the Space Tours Travel Agency. It was aptly named the “Getaway package” and you both were thrilled to do just that. This vacation was well-deserved, and you were already beside yourself in happiness.

You had both taken a dip beneath the waves; you had splashed each other, and you found yourself giggling all the while. As it turns out, Duros were excellent swimmers; faster than you could ever be - you felt that you learned something new about Shriv everyday; you wouldn’t have it any other way.

He was just so … fascinating; captivating, but there was more to it than that. You loved him; he had a good heart and he filled yours. You were nervous, but you had questions, ideas, and you weren’t trying to rush him, but there were some things you had to know.

He had chased you through the sand, declaring he was going to catch you; you did your best to escape his clutches, but you had wanted to be apprehended; to be encased in Suurgav’s big strong arms.

He had tackled you in the sand dunes; the moisture of the sea still clinging to your warm, soft skin. The tiny granules stuck to you, but in that moment you didn’t care.

He had playfully nipped at you, but he caught thin air instead. He was very aware of his reptilian-like teeth and would never dream of hurting you.

You had a picnic; foodstuffs picked up from a local market stall. It was something light, as he said he had dinner plans for you…

You felt so relaxed as you sat beside him, more so than you had in years. Your eyes briefly focused on something else as you watched an elegant avian flying out above the sparkling blue of this planet’s ocean.

You glanced to him and smiled; he was wearing nothing but his swimming trunks and a goofy bucket hat to shade his eyes, overly large to accommodate his head - he had picked it up at the local gift shop.

The sun was bright here; his vision was sensitive, especially after residing most days in the darkness of deep space. He was caught off guard by your sudden appraisal of him, though he cracked a joke – he knew you well enough.

“There’s more interesting things to look at here than me, sweetheart. We paid good money for this view! Don’t let it go to waste! Who knows if we’ll get another chaance.” He was being honest; the truth was harsh, though he broke through the sad reality by masking it with his sense of humor.

Being part of a rebellion meant that you could die at any time, maybe you wouldn’t have a future, but it would be nice to contemplate it; to lead a full life with Shriv at your side would be sublime.

“The only view I care about is you.”

The Duros had drawn a canteen to his lips; he sputtered, nearly gagging on his water. You never failed to make him blush, despite having been a couple for a year now.

His cheeks had turned a darker shade of blue. He set his canteen down. He motioned for you with both hands. “Come here, you.”

You crawled forward across your beach towel to sit closer to him. He used the muscles of his broad shoulders and his well-toned biceps to sit you on his lap point blank. He drew you in; he placed his forehead against yours the best he could while still adorned in that silly hat, then he gently pressed the smooth plane of his uniquely Durosian features across your human nose.

“You’re too nice to me. I’d ask what the end game is, but sometimes I think you actually like me.”

“I know you’re just kidding, Shriv.”

He was quiet then; the silence bothered you. “You are, aren’t you?”

“Yeah …” The single word trailed off; your heart was aching. He thought so lowly of himself sometimes. It made you sad, and you were empathetic. You shed a single tear, though Shriv had felt it. It wetted his bare chest as it rolled off and down your face.

He shifted, pulling you away from his naturally cold embrace, though in the heat of the noonday sun it had felt so good. “Did I – are you - I’m s-sorry…It’s just …”

You were frowning at him; pouting, and it only made him match your expression. He suddenly felt terrible, though he had to get it out.

“It’s just I really, really, like you and… well, I’m lying. I don’t like you.”

You mildly gasped – was he breaking up with you?”

“Wait, no! - What I mean is…” Suurgav bit his lip, the tips of his pointed fangs appearing. “Fierfek, I’m no good at thiss…”

You lightly touched his cheek; you guided him to look into your eyes. He felt choked up, though he finally managed to say his piece.

“I-I sort of … love you…I … hope t-that’s OK.”

He saw the look of shock across your face; you had waited weeks; months to hear this. What felt like ages. You had loved him from day one, though you had kept your mouth shut – Shriv took it the opposite, his brow ridge knitting as he looked down and away; suddenly ashamed.

“Ah hells, I’m s-sorry.. I didn’t mean to make you feel awkward. Of course, it’s totally fine if you don’t feel the saame. I just… daydream sometimes, about the future, and-”

“Shriv…” You took his chin up and made him look at you; you were crying fully now, yet it was out of happiness.

“I love you too, you laserbrain.”

He mildly gasped, his eyes averting for a moment as he was overcome. He slumped his shoulders as he unexpectantly felt shy, though his crimson gaze rose to meet your eyes.

“Oh …” he trailed off, seemingly embarrassed; lost for words; incapable of coherent thought as it finally registered.

“Hey, don’t cry …” He wiped your tears away with his spindly thumb, mustering a smile though he felt like crying, too.

“Look at us, a couple of sappy dweezers.”

You couldn’t help yourself; you lurched forward and encapsulated his cheeks between your hands. You kissed him with such force you knocked him backwards. His hat fell off; he blinked in surprise before he closed his eyelids. He melted into it and sighed.

You pulled away to tease. “Come on Shriv, let’s go get a room.”

“But Fullua, we already have a-” he caught himself, catching on rather quickly for once. He smirked at you, shaking his head an iota in a façade of disapproval.

“You’re trouble, aren’t you?”

“The best kind.” you replied.

-----

Masterlist

#Shriv Suurgav #Shriv #Shriv Suurgav x Reader #Shriv Suurgav x You #headcanons #Star Wars #Fluff #Star Wars Fluff #Duros #Star Wars Battlefront 2 #alliance to restore the republic

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omorales81 · 11 months

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Silo is exactly my kind of dystopian #SciFi! It’s part THX 1138, part Matrix, part Tales from the Loop, and an indie called The Signal. 🌀 #Silo #AppleTV #Dystopian #Matrix #THX1138 @AppleTV

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meandmyechoes · 1 year

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youtube

There's more on production design than costumes but all in all a very enlightening and informative talk on inspirations and the design process!

timestamps below

00:22 How do you work with the story group to make sure fans of the lore are served without excluding the newer fans?

LH: we don't start from the basis of it being fanservice

crew includes a mix of passionate fans and people with no context. we are all filmmakers and focus on character work first, then look at what from sw can be put in there.

Luthen's collection works together to tell the story of lost culture

Never are we led by [that = fanservice], but things that enrich the environment should be there

02:03 Coruscant

Q: three main settings:

Syril's home, ISB, Mon Mothma

aotc: bright, saturated neon colours - a welcoming environment

andor: brutalist, minimal modernism, some art deco in MM -

an "anti-coruscant"

LH: the hardest to do

avoid CGI because we want a place that exist.

the core principle of Coruscant is height (upper, middle, lower) then it become character led

ref vertical cities like Tokyo and NY, what is their language, what makes them interesting?

the goal is not to make (RM's) it should smell like that, have that nostalgia and fit in SW, but shouldn't feel futuristic or scifi.

I want to understand it as a place that can really exists, not always leading away from it but a place we can inhabit.

first decide on the materials: hard, monochromatic, concrete, steel, glass -> inhumane, total lack of organic materials, and you build it up to realize what works or not

Eddy's: i reckon she bought that apartment 20 years ago, she had a view of Coruscant and then the whole city grew up around her and it got lost like she did.

Baker-like cream vs. clinical sterility of the ISB vs. Mon's… values of her Chandrilan culture but also lack of comfort (the embassy is given to her)

MW: want to build real societies. thought about the texture, culture, materials, technology of each planet -> stratified? diverse? levels of society?

every background player has a story and a reason to be on screen

06:57 Happy accidents on costuming?

less of accidents and more endless discussion and thinking about things

everything needs to have a logic and reason to be onscreen because they are under so much scrutiny

08:14 How did you design Narkina 5? What does the design of oppression look like to you?

LH: prison to a me like a cross between an abattoir and a laboratory, like a labour camp, you can't escape from it, like Alcatraz if it was a lab.

the Panopticon logic of turning the organic people be the fuel of the machine, the disposable element

makies it more interesting, more THX1138 than the obvious grungy prison

love making white sets: photograph beautifully, things pop more, have a sinister nature.

earthiness of Ferrix vs. organics of highlands vs. trapped sterility of prison

MW: Luke and I talked about How do those wielding the power use the environment to oppress, intimidate and disorientate?

The part of white on white: there's nowhere to hide, it's horrific, you lose your sense of depth -> disempowered by this soul-destroying environment.

we also spend lots of time on developing this fabric that's utilitarian, disposable, feels like they just peel them off at the end of the day. they are treated like cattle, "host down", sterilized and they are given a fresh one for the next day.

all of these details eat away at you psychologically.

11:38 Visual style of Andor

How close did you want to get to what we've already seen?

What motifs do you know you want to work in when creating the world of Andor?

LH: we don't start that way around. when i met tony it was like, 'we're gonna make a star wars show but it's not gonna be like any star wars show you've watched.'

it was challenging when you figure out it means going into people's apartment and bathrooms to work with them.

keep the tangibility of the OT, then looking at R1's grittiness, and a sense of modernity that could compete with other shows, and make work the drama/chc but maintaining the nostalgia of SW without having it becoming as if 'selecting things from a catalogue just for it to feel SW'

It was about enhancing what was there and fleshing it out to feel like you could walk and live with these people, and hopefully forget about it at times, forget that you're watching SW, and be reminded of it.

13:35 Costuming

MW: knew as soon as we had the script we knew we had to create a new look to go with the layers and complexity of the characters.

the established costume language of SW was there.

Use the established uniform to ground us firmly into the SW world.

15:06 There is an abundance of personal rooms/belongings, how do you approach setting those space versus a public one? What were you trying to communicate about their lives?

LH:

Maarva: the home used to be function when Cassian was younger, but with him drifting and her husband's death, and the shop closing, her world gets smaller till it centralized around her chair

Eedy: she bought it box-fresh, you can get upgrades and plug-ins to the apartment and over time, it aged and (BAY-ta-lye)

a home salon you never see in S1, things that you feel relatable but in the SW language. It always start with the chc.

MW: Luke design spaces like the character designed them. He thinks about who they are and what they want to project in their interior. I try to do the same with the costumes.

It's the difference b/w wearing something in terms of structure and how it makes you feel compared to something like layers that you can disappear in.

e.g. Cass was hiding, disappearing in his clothes, then his arc is to become closer to the hero we know from R1, little bit he reveals himself more, the coat becomes more tailored, longer lines, shoulders are squared out, a very subtle, subliminal transformation he goes through.

18:45 Syril's costuming and his own customization

within the constricts (blurring of individual) of the uniform, people can still find ways to express themselves.

on one end, guys working in the ball pen and jaded office workers, not at all engaged, their costumes are enzyme-wash to fade out, unironed, no pride in their appearance. On the other end of the spectrum is Syril who tailors and tweaks and personalize it to express who he wants to project and who he wants to be. We made his costume subtly more rigid, more sculpted, freshly pressed, slightly brighter colour.

21:00 how do you go from Chernobyl (a raw story) to the SW show (pre-established lore)?

LH: the process is the same for whatever project it is. the similarity between the two projects is there are a lot of research. with Cbyl you don't want to lost and become a documentarian. Cbyl had finished scripts but on Tony was taking on it when I started, so we were building it the same time he was writing.

It's about character, and environment and storytelling, and it was mood and tone.

we wanted this to have sort of a journalistic logic. you approach it like you're dealing with building up every character's reality and atst we're making fiction/drama. The material is a bit lighter on Star Wars and the world is much greater varied. From a design pov, they are both rabbit holes. the only similarity is you run out of time, I'd love to create bigger set but at some point you'd have to shoot it.

24:11 filming real-world location/what's the consideration for location scouting?

LH: I'd love to do more on location. But it was hard to have a large crew on site and in a pandemic, so we ended up building a lot more [sets] than we initially intended.

I don't want to do a desert, but I want somewhere where the landscape spoke for itself. What if we have a planet that looks like the Scottish highlands? Then we were looking at dams and there's this one that always feels like a blight on the landscape. It just felt very imperal. The whole Aldahni sequence was then based around that idea. It was an imperial stronghold there and so on.

Barbican has both the weight and texture that felt right for a megacity like Coruscant but also felt right for a certain level - the middle.

We don't approach a location on the basis of pure concpet, it was always about enhancing the real place and how we can put it in the wider world of Coruscant, how we can do shots that you'd do in a real city and not in a CGI environment.

I always said the best place to do Coruscant would be Paris becaus you got the scale and style of certain aspects of Corsucant. (it's [slimpickins] in London ???? can't understand this part)

[audience talks about how turning a corner you see a structure featured in the show] yeah with Barbican you are a little more limitied, a little more, targeted, i suppose. What I'm always looking for when piecing together Coruscant was Journeys. So again it wasn't like 'Oh, let's stand here and have a conversation with the city in the background' or sth like that. Barbican actually gives you a lot in terms of Joruenys: Syril going home is one of my favourite. This place in London I don't remeber the name of, it's like a bridgeless estate, we made it go much further down and give it that elevation and that sense of depression.

It's really hard, I want to shoot more on location but more often we pull back and use the real world location as an inspiration.

28:45 What are some under-discussed innovation in the your fields that help you create Andor?

MW: leaning heavily into the DNA of established SW costume language. It was quite an analog costume approach. A mixture, in fact. There are things that would've been groundbreaking 1977, that seem not so much now. But we would like to have that as a starting point, we had a similar approach with this one. There was a lot of handmade, old-school analog creative costumes, but we also have a fantastic costume props dept that use new tech and material to create mostly armour elements and small sculpted elements on costuming. Lots of 3D Printing happening, scanning, adapting, trying urethanes and other materials that can make more comfortable armour. A problem of the original stormtrooper armour is discolouration/yellowing. It was also quite rigid and difficult for stunts. We import new materials for the armour to stay white forever and allow room for the stunt people.

LH: It was an active choice NOT to use the Volume. It doesn't suit our goal, what Tony is writing. The idea is to be on the ground and moving around with the characters as much as possible, and not creating spaces for scenes to happen, if that makes sense.

It's something you can do with longer, multi-ep drama like this, is to build bigger sets and connect them up. Ferrix comprise of almost 30 sets. They are largest out on the back lot one large composite set so you can walk in around the streets and into the homes. All the complexes are enjoyable.

With any sets I'd start by designing the whole thing. Design the city, design the prison infold, then start to break it down and what we want to use and how, what, who we want to build lest we understand the full geography.

I think that filters through even if you don't see it all. You hopefully doesn't jar at any point. The technology part is we first build it in 3D and previs. We don't follow a pipeline like the Volume shows. The analog feeds into what we want to achieve, a bit more like the OT, more tangible.

It wasn't anything groundbreaking we do as much as trying to put more on screen but make it feels like it's less (intentional/artificial)

#andor #yuki watches andor #it's full of typo and short hand read if you will #sw bts #star wars #the writer one on the same channel is interesting too

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