WEBVTT - J. Miles Dale 0:00:34.520 --> 0:00:40.960 Miles. Hello, McNamara, hello, hello, how are you, Daric Sherwood? 0:00:41.000 --> 0:00:45.440 With this fake British accent, it's eventually the secret is 0:00:45.479 --> 0:00:47.239 going to come out and people are gonna be you know, 0:00:47.360 --> 0:00:49.559 we were at least two or three episodes into my 0:00:49.680 --> 0:00:52.199 tenure before I knew you were from England. That was 0:00:52.479 --> 0:00:55.320 the greatest acting of all. Yeah, because you stayed in 0:00:55.400 --> 0:00:58.040 character all day and you guys never invited me to 0:00:58.120 --> 0:01:00.800 socialize and party, so I never were found out, like 0:01:00.840 --> 0:01:05.240 the smoking, drinking, dumb with the with the with the literally, 0:01:05.280 --> 0:01:07.360 the first time you did it, I said you do 0:01:07.400 --> 0:01:10.600 a great British accent. Is it need? The Americans aren't 0:01:10.600 --> 0:01:12.760 as good on the British accent as the Brits are 0:01:12.840 --> 0:01:15.039 on the English and it turned out that that to 0:01:15.319 --> 0:01:17.680 what was true and I was the last to know. Yeah, 0:01:17.680 --> 0:01:22.319 I'm sorry, I'm very sorry. Well done, well done, I say, 0:01:22.360 --> 0:01:24.440 you're you're a true pro at least you were then. 0:01:26.160 --> 0:01:30.880 Since then it's a night. How are you, lady, look 0:01:30.880 --> 0:01:34.320 at you. Good last is for good news takes. Oh 0:01:34.360 --> 0:01:40.240 my God, the thank you. It's so good to see you. 0:01:40.400 --> 0:01:43.039 We you know, when we started this podcast, you were 0:01:43.120 --> 0:01:45.679 obviously right there at the top of our list. We 0:01:45.680 --> 0:01:47.960 couldn't have couldn't have done this without you. So thank 0:01:48.000 --> 0:01:51.480 you for Oh my goodness. Well, I pressure is on then, 0:01:51.520 --> 0:01:54.040 for I I need some new jokes, if that's the case, 0:01:54.160 --> 0:01:58.320 because you're gonna have to visit the other realm for 0:01:58.400 --> 0:02:02.120 some new material. The disagree. It was. It was like 0:02:02.360 --> 0:02:06.040 number one question on my list to be like, we're 0:02:06.080 --> 0:02:08.680 talking to an Oscar winner. That's that's what's happening right now. 0:02:08.680 --> 0:02:12.959 We're talking to an Oscar winner, your first award winning guest. Miles. 0:02:13.360 --> 0:02:17.680 All right, am I? Yeah, okay, well, I hope not 0:02:17.760 --> 0:02:23.280 the last. I hope the standard tie. Guys, there we go. Well, 0:02:23.280 --> 0:02:28.240 you've certainly raised our standards quite a bit. Unbelievable, unbelievable, miles. 0:02:28.400 --> 0:02:31.280 Why don't we start with your background, your history, how 0:02:31.280 --> 0:02:33.520 you got involved in the entertainment industry, and then we'll 0:02:33.560 --> 0:02:36.200 move on to some more shadow into stuff later on. 0:02:36.320 --> 0:02:38.240 But tell us a little about you, tell the audience 0:02:38.240 --> 0:02:41.760 about you. How did you dive in? Well, my name 0:02:41.840 --> 0:02:45.600 Miles Dale. I'm a producer and overnight sensation after thirty 0:02:45.639 --> 0:02:49.520 five years in the business. Um, I got my start 0:02:49.600 --> 0:02:53.400 as a production assistant. I live in Toronto, I've continued 0:02:53.400 --> 0:02:55.360 to mostly work in Toronto, but you know, we go 0:02:55.400 --> 0:02:58.919 other places and you know, for the last ten years 0:02:58.960 --> 0:03:01.840 I've been fortunate to of a great partner by the 0:03:01.880 --> 0:03:04.680 name of Germo del Toro, and we've made some what 0:03:04.760 --> 0:03:07.400 I considered to be a memoral thing, memorable things together 0:03:08.000 --> 0:03:11.280 and during that time period in you know, the summer 0:03:11.280 --> 0:03:13.320 of love, the summer of two thousand fifteen, I was 0:03:13.400 --> 0:03:15.680 fortunate enough to be able to hang with you guys 0:03:15.840 --> 0:03:18.240 and come and hopefully bring a resting heart rate to 0:03:18.639 --> 0:03:22.560 Um the first season of the show, which was it 0:03:22.639 --> 0:03:24.520 was a great summer. I gotta say. I had a 0:03:24.520 --> 0:03:26.320 great time. It was a lot of fun. We were 0:03:26.320 --> 0:03:28.160 so lucky to have you. I think we yeah, I 0:03:28.200 --> 0:03:30.960 was going to say we were very lucky to have 0:03:31.080 --> 0:03:35.120 experienced that the way we did, but you came on 0:03:35.560 --> 0:03:38.040 right at a point where we were getting into kind 0:03:38.080 --> 0:03:40.720 of the thick of a lot of pivotal episodes of 0:03:40.920 --> 0:03:46.360 shadow hunters and directed three of the most iconic episodes 0:03:46.400 --> 0:03:49.280 of season one. Well, it's funny because, yeah, I didn't 0:03:49.280 --> 0:03:51.000 know a whole lot about the show and I got 0:03:51.000 --> 0:03:53.560 a call to say, Hey, you know, would you be 0:03:53.600 --> 0:03:56.000 interested in doing this coming on as the producing director. 0:03:56.040 --> 0:03:59.000 And you know, I had always been a producer and 0:03:59.160 --> 0:04:02.280 at some point in my life, pretty early, I was 0:04:02.320 --> 0:04:05.080 like a baby line producer. I was maybe thirty. On 0:04:05.120 --> 0:04:07.400 Friday the thirteenth then one of the directors said to me, 0:04:07.760 --> 0:04:10.800 you know, you should really direct and I said to him, 0:04:10.840 --> 0:04:13.280 you know, that is so nice of you to say that. 0:04:13.360 --> 0:04:15.560 You think that I have like the tools and the 0:04:15.560 --> 0:04:18.279 skill set to to be a director. He said no, no, no, 0:04:18.680 --> 0:04:22.200 you need director empathy, like you need to know what 0:04:22.240 --> 0:04:24.760 we're talking about instead of just looking at your watch 0:04:24.800 --> 0:04:26.799 and saying it's time to go home and not knowing 0:04:26.880 --> 0:04:29.400 the coverage and all that. And so I kind of 0:04:29.440 --> 0:04:32.800 took that to heart because other producers had said to 0:04:32.839 --> 0:04:34.760 me even earlier in my twenties and I was just 0:04:34.800 --> 0:04:38.359 sort of breaking in that it's important for Um, you know, 0:04:38.440 --> 0:04:42.520 any producer, to sort of not necessarily to do every job, 0:04:42.680 --> 0:04:45.640 although it's helpful, but to understand every job so you 0:04:45.720 --> 0:04:47.800 understand the value of things like if you spend time 0:04:47.800 --> 0:04:49.960 in the editing room, you know how editing works. If 0:04:50.000 --> 0:04:52.600 you spend time in wardrobe, you know what's important about 0:04:52.600 --> 0:04:55.240 costumes or hair or makeup or or props. or or 0:04:55.279 --> 0:04:57.440 production design. So you know, I asked a lot of 0:04:57.520 --> 0:05:00.000 questions of those people and, of course, working with directors, 0:05:00.120 --> 0:05:02.920 I said, okay, I'm gonna go direct something. And so 0:05:03.680 --> 0:05:05.440 I think the first show I was about thirtyes show 0:05:05.440 --> 0:05:07.960 called top cops, and I convinced this guy, Sonny Grosso, 0:05:08.000 --> 0:05:09.800 who was the show runner of the French connection cop. 0:05:09.880 --> 0:05:12.080 I was producing the show, line producing the show, and 0:05:12.120 --> 0:05:13.919 I said you gotta let me direct to One, and 0:05:14.000 --> 0:05:16.039 I did and it was fun and great and I 0:05:16.120 --> 0:05:18.120 learned a lot. And then I just kept directing, mostly 0:05:18.120 --> 0:05:21.640 the episodes of my own shows, like on, you know, Robocop, 0:05:21.720 --> 0:05:23.279 and then there was a show called F x and 0:05:23.320 --> 0:05:25.600 some other shows, and then did some other people's shows 0:05:25.720 --> 0:05:28.240 and then we came to the strain that we started 0:05:28.320 --> 0:05:32.520 in Um and I did I started doing, you know, 0:05:32.560 --> 0:05:36.280 episodes of that. You know, as you guys know, sometimes 0:05:36.360 --> 0:05:40.800 with a with a familiar face who knows what's happening, 0:05:40.920 --> 0:05:43.280 what you know, every line of what every character has 0:05:43.320 --> 0:05:46.000 said and your character and your character as opposed to 0:05:46.040 --> 0:05:47.920 the guy or the lady or the person who comes 0:05:47.960 --> 0:05:51.080 in for three weeks and is like not necessarily a 0:05:51.160 --> 0:05:53.560 journeyman director, but somebody who may not have the full 0:05:53.560 --> 0:05:56.640 context of of of the show. So I always felt 0:05:56.640 --> 0:05:58.960 directing on my own shows. It was it was fun 0:05:59.000 --> 0:06:02.320 and I thought the cast of appreciated it. Um and 0:06:02.320 --> 0:06:04.520 and it just kind of made me better. So we 0:06:04.560 --> 0:06:06.920 had finished the I think it was the second season 0:06:06.920 --> 0:06:09.160 of the strain and I got this call to come 0:06:09.240 --> 0:06:11.880 up with you guys and I quickly familiarized I think 0:06:11.920 --> 0:06:14.120 you were on show five at the time, and then 0:06:14.200 --> 0:06:18.120 I directed seven, ten and then thirteen, which was the 0:06:19.080 --> 0:06:23.039 season finale, where, as we all now know, Um Jay's 0:06:23.120 --> 0:06:26.200 takes a potential turn to the dark side and hops 0:06:26.240 --> 0:06:30.880 on that that boat, that crazy boat, that's drone that 0:06:30.920 --> 0:06:34.880 I had to talk John Carmody intogether after promising my firstborn. Um. 0:06:34.920 --> 0:06:37.680 But so I got up to speed pretty quickly and 0:06:37.960 --> 0:06:39.440 you know, I hadn't read the book, so I got 0:06:39.520 --> 0:06:42.520 the mythology going and really, you know, the first season 0:06:42.640 --> 0:06:48.599 is always a discovery process. And Yeah, and and you know, 0:06:48.640 --> 0:06:51.600 you're finding levels, you're finding character, you're finding chemistry, you're 0:06:51.640 --> 0:06:55.200 finding the look of the show, Um and and it's 0:06:55.240 --> 0:06:58.680 the first season is seldom the best because you're really, 0:06:58.800 --> 0:07:01.320 you know, finding what works and what doesn't. And and 0:07:01.640 --> 0:07:03.520 so I really enjoyed that part of it and I 0:07:03.560 --> 0:07:06.919 have to say, having normally, you know, producing shows that 0:07:06.960 --> 0:07:09.440 I might also be a producing director on. I love 0:07:09.560 --> 0:07:12.600 not having all those other responsibilities and not even though 0:07:12.640 --> 0:07:15.000 I was cognizant of the money and the time and everything, 0:07:15.640 --> 0:07:17.400 I didn't have to worry about it. You know, all 0:07:17.440 --> 0:07:19.600 I had to worry about was was, you know, the 0:07:20.480 --> 0:07:22.880 you know, the script and the shots and the and 0:07:22.920 --> 0:07:24.560 all that, and it was a really kind of a 0:07:24.640 --> 0:07:28.040 wonderful it was a fun summer. It is, it was 0:07:28.320 --> 0:07:31.160 it really well. People should understand, I think about especially 0:07:31.200 --> 0:07:34.240 line producing is a is a big one. Like I 0:07:34.280 --> 0:07:37.920 have learned that as soon as the line producer walks on, 0:07:38.000 --> 0:07:42.000 set ships up like something's up, like something. Yeah, it's 0:07:42.040 --> 0:07:43.880 like we're running out of time or we're running out 0:07:43.880 --> 0:07:46.760 of money and we gotta, we gotta Stop Moving, and 0:07:46.800 --> 0:07:49.640 it just like yeah, you see them coming from a 0:07:49.680 --> 0:07:54.160 distance and like Oh, remember, Greg would be rolling in 0:07:54.240 --> 0:07:56.880 and I'm like Greg, Savior Bread, like you're saying my 0:07:57.000 --> 0:08:00.040 song brother. I know, I know where you live, of 0:08:01.240 --> 0:08:02.840 but but you know, I we got it. All the 0:08:02.880 --> 0:08:05.440 reason we don't have to say you guys were so great, though, 0:08:05.480 --> 0:08:09.960 because you know, you were you were really eager, you know, 0:08:10.160 --> 0:08:12.640 and you you had great chemistry and you were friendly 0:08:12.680 --> 0:08:15.200 with each other and you committed to the material and 0:08:15.200 --> 0:08:17.280 you knew your lines and you knew the physical stuff. 0:08:17.320 --> 0:08:19.840 So I gotta tell you, that makes it so much easier, 0:08:20.160 --> 0:08:22.840 you know, for me, because those were kind of challenging days, 0:08:22.880 --> 0:08:24.640 like a lot of what we were doing with you know, 0:08:24.680 --> 0:08:27.480 whether it's out in the seely forest with those crazy 0:08:27.680 --> 0:08:30.600 candles and lightning storm or whatever. It's just it's just 0:08:30.640 --> 0:08:33.960 helpful to be able to say, guys, this is what 0:08:34.000 --> 0:08:35.840 we're gonna do, this is how we're going to approach it, 0:08:35.920 --> 0:08:39.920 and you're always just so Um uh, you know, willing 0:08:39.960 --> 0:08:42.800 to to take that journey. So it was fun for me. Look, 0:08:43.040 --> 0:08:46.280 the whole crazy thing was it's like how many times, 0:08:46.440 --> 0:08:49.560 and I got lucky because I got your first kiss, 0:08:50.360 --> 0:08:52.440 which is pretty awesome, which I looked at it again 0:08:52.520 --> 0:08:54.840 and it's so funny with the way this rock video 0:08:55.000 --> 0:08:58.640 music crashes in on the kiss and and Matt and 0:08:58.720 --> 0:09:03.000 Emerald just had for hallway right. It was so funny 0:09:03.160 --> 0:09:08.440 and the circling canvras moments after you had stabbed, you know, Jason, 0:09:08.480 --> 0:09:10.880 the Gut and then, you know, he really the monster 0:09:11.000 --> 0:09:13.240 was looking like he was getting going for a kiss too, 0:09:14.080 --> 0:09:18.439 you know, but that was pretty hilarious. And then, of course, 0:09:18.559 --> 0:09:22.200 in the next episode, number ten, uh, you know, Major Arcanada, 0:09:22.960 --> 0:09:25.000 we get to go to the other world where you 0:09:25.000 --> 0:09:28.720 guys get to kiss again, but not in you know 0:09:28.760 --> 0:09:30.800 where where clary is like, what's going on here? And 0:09:30.800 --> 0:09:33.240 I think I'm liking it, but the Seeley guy warned 0:09:33.240 --> 0:09:36.280 me that things could get carried away. The tingling that 0:09:36.360 --> 0:09:39.040 I'm feeling is me getting carried away. I'm sorry, is 0:09:39.080 --> 0:09:46.480 this PG or Pek adult talk? There was tingling. So, anyway, 0:09:46.559 --> 0:09:49.600 that was that was pretty funny, that whole going into 0:09:49.679 --> 0:09:52.560 that world and and you know Alice in Wonderland, which 0:09:52.600 --> 0:09:54.840 was like a nice kind of Disney thing. Remember, we 0:09:54.880 --> 0:09:57.800 had this crazy machine at that party. Yeah, the photo 0:09:57.840 --> 0:10:00.760 both the photo booth. Yeah, would have that at the 0:10:00.840 --> 0:10:04.000 rap party, not just on set. I thought that that 0:10:04.120 --> 0:10:09.280 was a real mistake on behalf of production. Anyway, uh, 0:10:09.320 --> 0:10:11.360 we needed for reshoots at the end of the season, 0:10:11.559 --> 0:10:14.640 which there was real world kissing and then there was 0:10:14.760 --> 0:10:18.360 fake world kissing and then there was de materializing in 0:10:18.360 --> 0:10:22.320 the closet face to face with that whole thing. And 0:10:22.679 --> 0:10:25.120 so I just remember all that fun kind of sexual 0:10:25.160 --> 0:10:29.559 tension between your two characters, which was great, you know, 0:10:29.920 --> 0:10:32.480 and then and then the end, like the big sacrifice 0:10:32.559 --> 0:10:34.679 that that that Jason makes at the end to go 0:10:34.720 --> 0:10:37.040 off with that time. So I I really thought I 0:10:37.080 --> 0:10:41.240 got some juicy shows. Yeah, yeah, and and I you know, 0:10:41.280 --> 0:10:43.200 I hope we made the most of them well. So 0:10:43.240 --> 0:10:45.200 that's what I was gonna say. You know what's interesting 0:10:45.720 --> 0:10:48.839 about about when you get something that you're like, oh, 0:10:48.880 --> 0:10:52.760 we have three episodes that are actually quite prominent in 0:10:52.800 --> 0:10:56.040 the story on paper, is then it's sort of then 0:10:56.280 --> 0:10:58.640 there is a gauntlet laid down on the director, and 0:10:58.640 --> 0:11:01.040 I think a lot of audience members don't necessarily see 0:11:01.080 --> 0:11:04.120 that unless you're in the sort of you know, even 0:11:04.440 --> 0:11:07.840 the Guilliamo or or the Tarantino level, where like well, 0:11:07.840 --> 0:11:09.880 this is this is a Tarantino movie or this is 0:11:09.920 --> 0:11:12.520 a Guilliamo movie, and you're like we are expecting a 0:11:12.600 --> 0:11:16.440 very specific type of thing from this. But that responsibility 0:11:16.480 --> 0:11:18.880 always comes to the director, no matter who you are 0:11:19.120 --> 0:11:21.040 or what, whether it's a show or a movie or 0:11:21.040 --> 0:11:23.559 whatever it is, a lot of that responsibility comes down 0:11:23.600 --> 0:11:26.840 to the director. Um and we have to tip our 0:11:26.840 --> 0:11:28.920 caps to you because you did an amazing job. I 0:11:28.960 --> 0:11:32.199 will tell you a funny story. So I don't think 0:11:32.200 --> 0:11:34.120 I even never told you this. So when we're filming 0:11:34.160 --> 0:11:37.000 episode thirteen, there's a point in Jason gets that he's 0:11:37.000 --> 0:11:38.760 trying to get hold of clary and her phone is 0:11:38.760 --> 0:11:41.640 like off or in a dead zone for whatever reason, Um, 0:11:41.640 --> 0:11:51.240 and you can't do it. So it just takes because Um. So, anyway, 0:11:51.320 --> 0:11:53.600 he takes off running and one of my best friends 0:11:53.679 --> 0:11:57.160 in the world is there on set that day, Alex Kinsey, 0:11:57.240 --> 0:11:58.640 and we do a couple of takes of it and 0:11:58.679 --> 0:12:00.199 I come over and we say yeah, we're done with 0:12:00.240 --> 0:12:02.120 that scene. We're gonna move on. Think Great. I come 0:12:02.120 --> 0:12:03.920 over and Kinsey Goes Hey, man, you're sure you're done 0:12:03.920 --> 0:12:05.480 with that scene, and I'm like yeah, they just said 0:12:05.480 --> 0:12:07.000 we're done with that. When to move on to the 0:12:07.000 --> 0:12:09.280 next thing? He's like are you sure, and I'm like yeah, why? 0:12:09.280 --> 0:12:10.679 And he goes no, that's not think it's not a 0:12:10.679 --> 0:12:12.520 big deal. You just make a funny face when you run, 0:12:12.840 --> 0:12:15.079 and I'm like, who do you mean? Don't make a 0:12:15.120 --> 0:12:16.640 funny face when I run. He's like yeah, you just 0:12:16.640 --> 0:12:17.920 make like a kind of a face. My big deal, 0:12:17.920 --> 0:12:20.280 because it's done. Now. You make a funny face and literally, 0:12:20.320 --> 0:12:23.280 as he's saying, the last face, it was either you 0:12:23.400 --> 0:12:26.000 or Pierre Goes, Hey, don we need one more, and 0:12:26.040 --> 0:12:28.440 I was like wow, I don't know how I'm gonna 0:12:28.480 --> 0:12:32.640 do this now, like what do I do? So paranoid. 0:12:32.880 --> 0:12:35.280 Either way, neither the funny face nor the face I 0:12:35.360 --> 0:12:38.160 tried to control. Is this like the Tom Cruise Big 0:12:38.240 --> 0:12:41.440 grimace face? I don't know. I don't know what it was. 0:12:41.640 --> 0:12:43.559 Either way, it didn't end up in the show because 0:12:43.600 --> 0:12:47.000 this when you were running in the studio, right, yeah, 0:12:47.080 --> 0:12:49.880 back of the studio. Yeah, I remember. Your face was 0:12:49.960 --> 0:12:53.920 really yeah, I think we had to fix out with 0:12:54.040 --> 0:12:59.719 visual effects as well. By the way, that's obviously a 0:13:00.000 --> 0:13:03.080 good friend or a guy who likes franking you right there. 0:13:03.280 --> 0:13:06.320 He's a good friend, for sure. That's both. That's Alex Kinsey, 0:13:06.360 --> 0:13:08.920 who wrote the music for our podcast. Good, a great 0:13:08.960 --> 0:13:11.280 friend would have told me off to take one. That's 0:13:11.320 --> 0:13:12.599 what he would have done. He would have told me 0:13:15.080 --> 0:13:19.040 pulling you along here. Yeah, well, well, thank you for 0:13:19.120 --> 0:13:21.600 not sharing that, but I'm sure that we, I'm sure 0:13:21.640 --> 0:13:23.679 that for us it was focused or something trivial and 0:13:23.760 --> 0:13:26.840 had nothing to do with your otherwise impeccable performance. Well, 0:13:28.640 --> 0:13:35.920 you're just so committed. I'm going. I'm going, yeah, yeah, really, 0:13:35.960 --> 0:13:40.520 go for it. Whatever's happening? The Tom Cruise run too? Right? Yeah, 0:13:40.640 --> 0:13:44.240 got the Tom Cruise, that thing. Yeah, I now like 0:13:44.360 --> 0:13:46.400 I'm now like super paranoid about it. I'm at the 0:13:46.440 --> 0:13:48.320 gym today on the treadmoon and I'm like, what's my 0:13:48.400 --> 0:13:50.480 face looked like? I have no idea. I need to 0:13:50.600 --> 0:13:53.440 take this out. I think you should tell your trainer 0:13:53.480 --> 0:13:55.319 I want to do. Running in front of a mirror 0:13:55.720 --> 0:13:58.520 from my right has to be in front of America 0:13:58.880 --> 0:14:02.439 and recording like like with your golf swing. Get Him 0:14:02.440 --> 0:14:05.840 never and that's gonna get me a great reputation as 0:14:05.880 --> 0:14:07.320 an active by the way, every time I go to 0:14:07.360 --> 0:14:09.920 a trainer, I'm like recording from mirror here. That's what 0:14:10.040 --> 0:14:14.760 I need, my running face. That what I'm working out 0:14:14.840 --> 0:14:19.200 in the gym with all the lights around him. We 0:14:19.280 --> 0:14:21.960 ignore him, we just let him do it, mugged and running, 0:14:22.040 --> 0:14:28.160 mugged and running surrenders. Yeah, but that was that was 0:14:28.200 --> 0:14:30.080 a fun show. And you know what was fun about 0:14:30.080 --> 0:14:31.960 every one of those shows was that they were all 0:14:32.040 --> 0:14:34.560 kind of, you know, different, you know, when we went 0:14:34.560 --> 0:14:36.600 into that. I loved the second one where we went 0:14:36.640 --> 0:14:39.280 into that other world through the portal and it was 0:14:39.320 --> 0:14:41.800 a whole different thing and and whole you know, it 0:14:41.880 --> 0:14:44.520 gave you guys a chance to stretch out in these 0:14:44.560 --> 0:14:47.840 sort of other, you know, personas that that that might 0:14:47.840 --> 0:14:49.440 have been used. So I thought that that was, you know, 0:14:49.840 --> 0:14:52.600 imaginatively written. And I will say back to your comment, 0:14:52.640 --> 0:14:54.360 Tom about it all being in hand to the director. 0:14:54.720 --> 0:14:57.240 I felt lucky, you know Ed, you know who was 0:14:57.280 --> 0:15:00.680 the show runner in the first season, pretty much, you know, 0:15:01.120 --> 0:15:04.120 I wouldn't say he left us alone, but more than 0:15:04.240 --> 0:15:06.880 usual because having been on the other side of all 0:15:06.960 --> 0:15:10.960 kinds of serious television, oftentimes the show runners and and 0:15:11.160 --> 0:15:13.440 the writers are on top of you a lot more, 0:15:13.520 --> 0:15:16.200 as you guys know, and there isn't that same level 0:15:16.200 --> 0:15:18.440 of freedom and and sometimes you're in a box and 0:15:18.520 --> 0:15:22.440 sometimes you're not. But I certainly felt having having been, 0:15:22.960 --> 0:15:24.240 you know, on the other side of it, and we 0:15:24.280 --> 0:15:26.520 always try to run our shows, you know, whether it 0:15:26.600 --> 0:15:30.040 was the the strain or certainly this recent show that 0:15:30.080 --> 0:15:33.480 we did in Anthology, as as really director friendly and 0:15:33.520 --> 0:15:36.200 giving giving a bit more leeway to the directors to 0:15:36.280 --> 0:15:38.920 see what you can find and if someone goes off piece, 0:15:39.080 --> 0:15:42.160 as happens from time to time, you correct, but at 0:15:42.200 --> 0:15:44.280 least you have a chance to see what they've got 0:15:44.320 --> 0:15:47.520 in mind and what they can bring. You know, you know. 0:15:47.640 --> 0:15:50.880 So yes, it'll be within the the general confines of 0:15:50.920 --> 0:15:53.240 the visual style. But, like with our show, and again 0:15:53.320 --> 0:15:56.240 talk talk about episode ten, like that show called for 0:15:56.280 --> 0:15:58.680 a very different visual style. So I remember we shot 0:15:58.680 --> 0:16:01.840 it differently, we did the color differently, Um, some of 0:16:01.840 --> 0:16:05.120 the transitions were different, uh, you know, where it wanted 0:16:05.160 --> 0:16:08.200 to feel like a different Um, you know, world. So 0:16:08.520 --> 0:16:10.320 it's nice to be able to have that freedom and 0:16:10.560 --> 0:16:13.320 certainly I felt that when we were doing shows well 0:16:13.320 --> 0:16:15.920 as in to your point, miles, to a lot of that. 0:16:15.920 --> 0:16:19.200 That is part of the magic of shadow hunters and 0:16:19.400 --> 0:16:21.680 of how that production was run, and and a lot 0:16:21.720 --> 0:16:24.280 of that's stud to folks like you. You let every 0:16:24.320 --> 0:16:28.320 department do their job and have their own creative space 0:16:28.480 --> 0:16:32.520 and it became such a collaborative set because everyone there 0:16:32.560 --> 0:16:35.280 was a clear vision, but everyone was allowed freedom within 0:16:35.320 --> 0:16:38.520 that vision to bring their interpretation of it and work 0:16:38.600 --> 0:16:42.000 together to do so, and it created from the actors 0:16:42.000 --> 0:16:44.440 to the script to the production design and the costumes 0:16:44.480 --> 0:16:47.680 and everything this world where when we have an episode 0:16:47.720 --> 0:16:50.480 and go okay, we know our world, now let's turn 0:16:50.520 --> 0:16:53.480 it on its head and do everything different, everyone gets 0:16:53.480 --> 0:16:56.520 excited all over again because you get to have that 0:16:56.560 --> 0:16:59.000 sort of creative impetus all over and and you know. 0:16:59.120 --> 0:17:02.520 So that's credit to you to allowing us all to 0:17:02.560 --> 0:17:05.280 kind of do that. Well, it starts on the page. 0:17:05.320 --> 0:17:08.360 It always starts on the page. But but the good 0:17:08.359 --> 0:17:12.160 news is the source material was great. Um the writers, 0:17:12.200 --> 0:17:14.480 I think, adapted it really well and it and it 0:17:14.560 --> 0:17:17.439 gave us a great kind of springboard to say, okay, 0:17:17.480 --> 0:17:19.840 what can we do visually? Well, there's a lot of opportunity, 0:17:20.600 --> 0:17:22.520 you know, for visuals, you know, in terms of some 0:17:22.560 --> 0:17:24.679 of the creatures, like I was looking at again, the 0:17:24.720 --> 0:17:28.119 little spider guys that were chasing you through the tunnels. 0:17:29.240 --> 0:17:33.000 Call but remember that, because it was a shock school. 0:17:33.040 --> 0:17:35.080 It was enough bool, do you remember? That's what we 0:17:35.119 --> 0:17:37.840 had on the day, was enough Bo and that was 0:17:37.880 --> 0:17:43.480 my first experience that h having to I've had experiences 0:17:43.520 --> 0:17:46.080 before I have to imagine something that isn't there. Is there, 0:17:46.359 --> 0:17:48.760 but I've never had to imagine something that is there 0:17:49.200 --> 0:17:53.080 is something else there. Had that before. I was watching 0:17:53.119 --> 0:17:55.000 again too. I don't know if you remember the seely 0:17:55.119 --> 0:18:00.080 dude where he's doing his little yeah, yeah, he he 0:18:00.200 --> 0:18:01.920 was doing that old thing and I just remember we're 0:18:01.960 --> 0:18:03.720 standing there in the woods and if everyone look and 0:18:03.760 --> 0:18:08.040 saw this guy going like, you know, like like like somebody, 0:18:08.119 --> 0:18:11.959 like the mushrooms are kicking in. You know. It was 0:18:12.000 --> 0:18:13.560 one of those things where, you know, you look at 0:18:13.560 --> 0:18:15.840 it with all the swirly twinkle and it looks pretty good, 0:18:15.840 --> 0:18:18.800 but it was I think I probably said him. Look, 0:18:18.840 --> 0:18:21.480 I know this feels ridiculous at this moment, but you'll 0:18:21.520 --> 0:18:25.600 thank US later. Yeahs a common occurrence on shadow hunters. 0:18:25.640 --> 0:18:28.040 I mean a few episodes prior to you coming on, 0:18:28.119 --> 0:18:30.399 we had that our first big wear. We'll fight in 0:18:30.440 --> 0:18:33.160 all the shipping containers, and that was Pierre running around 0:18:33.160 --> 0:18:35.720 with the tennis ball and a stick, going another over here, 0:18:36.000 --> 0:18:38.800 another down here and there's another one over here and 0:18:38.840 --> 0:18:42.919 we're all trying to, you know, keep straight face. Come in. 0:18:43.280 --> 0:18:44.960 He does love his sensibles. We had a couple of 0:18:44.960 --> 0:18:49.000 demons come in that were just very in shape stunt 0:18:49.040 --> 0:18:52.720 people in head to Toe Green Morph suits with sort 0:18:52.720 --> 0:18:56.160 of sticks again for like eyeline and whatever, and I'm 0:18:56.200 --> 0:18:59.200 just sort of jealously looking at ABS through this like 0:18:59.720 --> 0:19:02.600 this skin tight suit, like it's this is actually making 0:19:02.640 --> 0:19:05.080 this very difficult to focus for me. Actually, if you 0:19:05.080 --> 0:19:07.040 could have had someone who was in medium shape, that 0:19:07.040 --> 0:19:10.400 would have been great, but you you felt. You can 0:19:10.440 --> 0:19:34.760 imagine how I felt. I'll get your next buddy. So, 0:19:34.920 --> 0:19:38.840 but you do, do, you do do. It's nine o'clock 0:19:38.880 --> 0:19:41.600 here and I'm childish and I'm going to let that 0:19:41.840 --> 0:19:46.760 joke slide. I appreciate that. Thanks very much. Um, you 0:19:46.960 --> 0:19:52.359 do a lot of supernatural work, or or other worldly work, 0:19:52.400 --> 0:19:57.640 I guess, with obviously the shape of water. Congratulations again. Um, 0:19:57.760 --> 0:19:59.280 what do you think it is that draws you to 0:19:59.400 --> 0:20:03.200 that sort of I mean, it's obviously your partnership with GM, 0:20:03.440 --> 0:20:05.320 but like what? What is it that you find so 0:20:05.480 --> 0:20:08.679 entrancing about things like shadow hunters, things like the shape 0:20:08.680 --> 0:20:13.560 of water, where there is this fantastical feel to them? Well, 0:20:13.600 --> 0:20:16.800 I think it just takes you to to other worlds 0:20:16.880 --> 0:20:21.440 and certainly Um, you know you can deal with things, 0:20:21.480 --> 0:20:25.480 you know, metaphorically and Algoric Ley, which sometimes is Um, 0:20:25.520 --> 0:20:29.040 more interesting than straight up the Middle Um. I mean, 0:20:29.080 --> 0:20:33.399 I'm just generally attracted to good material, even though you 0:20:33.400 --> 0:20:35.360 know a lot of the stuff that I've done with guerremo, 0:20:35.520 --> 0:20:38.919 from Mama to the strain to shape, Um, I'm just 0:20:39.000 --> 0:20:42.399 drawn to good material, good story and good storytelling. But 0:20:42.520 --> 0:20:45.399 I think it gives you that kind of material, just 0:20:45.440 --> 0:20:47.919 gives you the ability to come at it from a 0:20:47.960 --> 0:20:51.919 different angle, say some things in a different way. I mean, ultimately, 0:20:52.560 --> 0:20:55.360 you know, a lot of these things are thematically similar, 0:20:55.520 --> 0:20:58.480 you know, in terms of their their good versus evil. 0:20:59.160 --> 0:21:01.920 Um Uh. You know, the things that they're they're trying 0:21:01.960 --> 0:21:05.520 to say things, you know, right from wrong, all those things, 0:21:06.080 --> 0:21:09.200 human relationships and how we see them. And you know, 0:21:09.240 --> 0:21:11.800 for shadow hunters it was just it was a different 0:21:11.880 --> 0:21:16.320 kind of challenge. You guys as young adults growing up, 0:21:16.760 --> 0:21:20.960 and it was not really dissimilar to the kinds of 0:21:20.960 --> 0:21:25.159 of challenges that you know, teens and young adults face today. 0:21:25.280 --> 0:21:28.600 It's just a different venue, you know. So so we 0:21:29.000 --> 0:21:32.480