WEBVTT - Interview with Blue Eye Samurai Creators Amber Noizumi and Michael Green

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<v Speaker 1>Warning, Today's episode contains kind of contains spoilers for Blue

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<v Speaker 1>Eyed Samurai. Hello, my name is Jason Exceptio and I'm

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<v Speaker 1>Rosy Night, and welcome back to x Ray Vision of

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<v Speaker 1>podcast where we dive deep to your favorite shows, movies,

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<v Speaker 1>comics and pop culture. Coming to you from my Heart podcast,

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<v Speaker 1>where we're bringing you two episodes week every Tuesday and Thursday.

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<v Speaker 2>In today's episode.

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<v Speaker 3>In the previously on, we're talking about that stunningly impressive

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<v Speaker 3>Alien Romulus box office in space. Everyone can hear you

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<v Speaker 3>make money apparently because it's making money. We're talking Archie

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<v Speaker 3>comics and a new superhero take that they're bringing out,

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<v Speaker 3>and the controversy and slowly unfolded revelations around X Men

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<v Speaker 3>ninety seven show runner Bodomeo. And in a wonderful interview,

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<v Speaker 3>Jason will be chatting to the Blue Eye Samurai create

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<v Speaker 3>as Amba Nazumi and Michael Green Up next.

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<v Speaker 1>Previously on, First Up on News. Alien Romulus box office

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<v Speaker 1>numbers are in Oh baby, folks, it is a hit.

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<v Speaker 1>Forty one and a half million domestically, sixty six point

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<v Speaker 1>seven million internationally, a total of one hundred and eight

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<v Speaker 1>million plus globally. Wows Part of the secret sauce, of course,

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<v Speaker 1>is does the movie open in China. It opened in

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<v Speaker 1>China twenty five point seven million in China, and folks,

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<v Speaker 1>big hit Alien Romulus.

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<v Speaker 2>This is just unbelievable.

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<v Speaker 3>Smash it full overseas debut on twentieth Century Studios. Slash

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<v Speaker 3>Disney's Alien Romulus is forty seven percent ahead of A

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<v Speaker 3>Quiet Place Day one Hello, which I feel like everyone

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<v Speaker 3>was like, this is.

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<v Speaker 2>A good hit.

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<v Speaker 3>Also seventeen percent above the controversial but now kind of

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<v Speaker 3>in hindsight, loved Prometheus in like for like markets, So

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<v Speaker 3>I'm just saying movie is great. Enjoyed the movie, love

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<v Speaker 3>to see the good box office numbers. I also have

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<v Speaker 3>to say, sure, it is also a Disney movie, so

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<v Speaker 3>you know, but Disney kind of went low on the

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<v Speaker 3>marketing with this one. I think there was not a

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<v Speaker 3>lot of promo in the same way there was for

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<v Speaker 3>like Deadpool, So I think it's kind of crazy that

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<v Speaker 3>this overtook Deadpool in just like a couple of weeks.

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<v Speaker 2>Yes, you know, but I like to see it. It's

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<v Speaker 2>like we said, you can always bet on horror.

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<v Speaker 1>Yes you can.

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<v Speaker 3>That's what we're finding at the box office, and we're

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<v Speaker 3>gonna be talking about a lot more horror as we get

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<v Speaker 3>into spooky season.

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<v Speaker 1>Next up, Archie Comics, the home to the Archie line

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<v Speaker 1>of comics, but also back in the day, way way

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<v Speaker 1>way back, a line of superhero comics and a variety

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<v Speaker 1>of other comic book stories, is getting back into the

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<v Speaker 1>superheroes with Rarioru miniseries. That quote blends a metaitextual examination

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<v Speaker 1>of Archie comics history with superheroes and the Golden Age

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<v Speaker 1>of comics with a new story of Archie himself coming

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<v Speaker 1>into Powers Unknown and becoming the world's mightiest hero. First

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<v Speaker 1>release is November twentieth.

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<v Speaker 2>Rosie series is called Archie Is Mister Justice. I feel

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<v Speaker 2>like the titles a little bit longer.

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<v Speaker 3>Yes, I think Mister Justice could have been cool, but

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<v Speaker 3>I'm sure that might be part of the metatextual nature

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<v Speaker 3>of it. And what I do like about this is

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<v Speaker 3>all the conversation around it is essentially Archie is like

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<v Speaker 3>a good guy. And Mike Norton, who's going to be

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<v Speaker 3>the artist on the first issue, he basically said that

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<v Speaker 3>is really what this is about, Like, what is it

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<v Speaker 3>like to be an incorruptible soul in like a corrupt world, Like,

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<v Speaker 3>what will we see Archie get into.

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<v Speaker 2>I'm interested. I'm a lover of the.

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<v Speaker 3>Weird Riverdale esque, you know, the horror Archie style stuff,

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<v Speaker 3>so this is very interesting to me.

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<v Speaker 2>They've definitely been trying a lot of stuff out.

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<v Speaker 3>There was recently an Archie one shot that was like

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<v Speaker 3>a take on basically Fist of the North Stop but

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<v Speaker 3>with Archie, and Yeah, they've been really getting out that

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<v Speaker 3>with some of these things. They did a horror anthology

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<v Speaker 3>called Pop's Chocolate Shop. So I think this is gonna

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<v Speaker 3>be interesting and definitely could be kind of like what

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<v Speaker 3>we saw pre Rivedell where that was kind of a

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<v Speaker 3>Boom and Archie comics. So we'll have to check it out.

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<v Speaker 1>And finally, former X Men ninety seven showrunner bo DeMeo

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<v Speaker 1>has surfaced. Last week, he posted that he had lost

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<v Speaker 1>his season two credits, which he had worked on season two,

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<v Speaker 1>because of a gay Pride post. It kind of like

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<v Speaker 1>very very team illustration of himself that he posted to

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<v Speaker 1>social media, and he said that that's the reason that

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<v Speaker 1>Disney took his season two credit, but in that post,

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<v Speaker 1>he did not grapple with why he was let go

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<v Speaker 1>in the first place. Disney then fired back, saying no,

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<v Speaker 1>it's actually because of a litany of serious allegations, including

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<v Speaker 1>unwanted nudes sent to staffers, including other unwant sexual harassment. Yeah,

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<v Speaker 1>other unwanted advances, and you hate to see it, and

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<v Speaker 1>I hate to see it. Certainly appears, Rosie. We've been

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<v Speaker 1>talking about this quite a bit on chat. The alleations

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<v Speaker 1>are serious and bad. It was also it also seems

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<v Speaker 1>as if Disney was going to let this go away quietly.

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<v Speaker 2>If he didn't, if he didn't.

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<v Speaker 1>Tweet about it and hear he is posting about it,

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<v Speaker 1>causing Disney to fire back. Just a sad situational.

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<v Speaker 2>Definitely a sad situation.

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<v Speaker 3>I'm feeling for the people who were impacted by this

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<v Speaker 3>worked on the show. I also feel for the cost

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<v Speaker 3>and crew because I feel like because of the nature

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<v Speaker 3>of whatever agreement Disney made with BO, it kind of

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<v Speaker 3>stayed on the radar, so he's been doing a lot

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<v Speaker 3>of events with them.

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<v Speaker 2>It kind of looked like they were backing him.

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<v Speaker 3>Like Disney did make some weird choices here, like Barad

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<v Speaker 3>Winderborm came out and said what good work BO had

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<v Speaker 3>done to make it look like it wasn't there wasn't

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<v Speaker 3>kind of any issues between the two of them after

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<v Speaker 3>he left. But yeah, it's it's not ideal. You hate

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<v Speaker 3>to see it, and it makes sense now why they

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<v Speaker 3>bought in new writers for season two to kind of

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<v Speaker 3>adapt it and to see what happens. So I hope

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<v Speaker 3>that everyone who's still working on the show is fine,

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<v Speaker 3>and I'm sure this will not be the last we

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<v Speaker 3>hear of this, because bo also has a very aggressive

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<v Speaker 3>lawyer who put out a statement after the Disney statement

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<v Speaker 3>that was it sounds on him.

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<v Speaker 1>I'm not a legal person, but it felt a lot.

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<v Speaker 3>It doesn't feel Yeah, it doesn't feel like a statement

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<v Speaker 3>a lawyer would make.

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<v Speaker 2>So I'm sure this is not the last we've heard

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<v Speaker 2>of this.

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<v Speaker 1>That's right. Well, coming up next, we're stepping out of

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<v Speaker 1>their lock and talking to Blue Eyed Samurai creators Amber

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<v Speaker 1>Noi Zuomi and Michael Green. We're so delighted to welcome

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<v Speaker 1>Amber Noi Zuomi and Michael Green, the co creators of

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<v Speaker 1>Blue Eyed Samurai on Netflix. Welcome to the show, and

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<v Speaker 1>thank you so much for joining.

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<v Speaker 4>Us, Thank you for having me, Thank you.

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<v Speaker 1>Let's start with the latest news first. So season two

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<v Speaker 1>expected not until twenty twenty six. I am of the

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<v Speaker 1>opinion that good things are worth waiting for, and that

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<v Speaker 1>excellent things, which truly, truly, truly Bloyd Samurai is so good,

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<v Speaker 1>so excellent, excellent things are really worth waiting for. Explain

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<v Speaker 1>to our audience, who I'm sure are ravenous for the

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<v Speaker 1>new season. Why making something as good as this takes time?

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<v Speaker 5>Sort of like ordering the souflet. It says on the menu, Yeah,

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<v Speaker 5>to take forty minutes, So if you want it, order

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<v Speaker 5>it early. Yeah. But right now we're on schedule. Because

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<v Speaker 5>there was some some uh, there was different information going up.

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<v Speaker 5>We can confirm November twenty twenty six is when we

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<v Speaker 5>are on the Netflix schedule.

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<v Speaker 6>We're we are on track to deliver it then. And

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<v Speaker 6>I mean, look, we could you know, we could do

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<v Speaker 6>really rinkaging animation and get it phone these scripts in

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<v Speaker 6>get it, get it yeah, in six months.

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<v Speaker 7>But you know, these things take time.

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<v Speaker 6>We have our artists who diligently, you know, research everything

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<v Speaker 6>to make it, you know, really come to life. And

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<v Speaker 6>you know, we're we're trying our best to write scripts

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<v Speaker 6>that are worthy of our audience.

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<v Speaker 5>And you know, but you know, the whole show, it

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<v Speaker 5>really just goes back to how we made it in

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<v Speaker 5>the first place. That teak nature to this show. We

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<v Speaker 5>you know, our animation studio is Blue Spirit. They're wonderful,

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<v Speaker 5>they are talented, and it's outside the sort of run

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<v Speaker 5>and gun smash it out as quickly as you can.

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<v Speaker 5>And there are plenty of shows that are amazing. I'm

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<v Speaker 5>not denigrating to anyone's pipeline, but we chose something that

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<v Speaker 5>just takes a bit more time. So first season was

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<v Speaker 5>definitely a fluffy sou flet. And right now we are

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<v Speaker 5>beating the egg whites and a little pinch of tartar,

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<v Speaker 5>cream of tartar, and uh maybe truffles, little truffles, truffle

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<v Speaker 5>season truffle pig. We literally just confirmed with our team

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<v Speaker 5>that we're going to have a pig in an episode forward.

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<v Speaker 6>To the.

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<v Speaker 1>You've spoken about in previous interviews. The genesis of the

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<v Speaker 1>idea of this, this kind of long gest stating project

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<v Speaker 1>that has become Blue Eid. Samurai is wondering if you

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<v Speaker 1>could expound on that for our audience. This is inspired

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<v Speaker 1>by your multi racial daughter, and then how do you

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<v Speaker 1>get from there to the show that we've all watched.

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<v Speaker 7>That's that's a good question.

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<v Speaker 6>I mean, yeah, I mean it started out as actually

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<v Speaker 6>the icky feelings that I had about my views of

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<v Speaker 6>my daughter who looked more white than Asian, and being like, ooh,

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<v Speaker 6>she's got blue ass, it's so pretty. She's got you know,

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<v Speaker 6>blondish hair, and being excited and why am I excited

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<v Speaker 6>about that? And those conflicting feelings I think so many

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<v Speaker 6>mixed race people have, like wanting to appear more like

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<v Speaker 6>one culture than the other, or and then the feelings

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<v Speaker 6>of shame about maybe wanting to reject one side and

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<v Speaker 6>just and sometimes it goes back and forth your whole life.

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<v Speaker 7>Where you want to be more of this or more that.

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<v Speaker 6>And yeah, I mean, look, we turned that into a

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<v Speaker 6>care character who really just loathes this part of her,

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<v Speaker 6>and you know, we're hoping to, you know, really complicate

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<v Speaker 6>those emotions where I don't want to give anything away.

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<v Speaker 6>But maybe she you know, starts to embrace parts of

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<v Speaker 6>her that she wouldn't have before and embraces new people

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<v Speaker 6>in her life when she's able to accept some things

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<v Speaker 6>about herself, which I think is a journey for all

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<v Speaker 6>of us.

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<v Speaker 1>Yeah, I think I was workshopping this feeling I had

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<v Speaker 1>about the show with the production team. I think one

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<v Speaker 1>of the things I really it hits me so hard

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<v Speaker 1>about the show is that that's to your point, you know,

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<v Speaker 1>as an Asian in media and entertainment, I think one

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<v Speaker 1>of the things that can feel wearying is like the

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<v Speaker 1>whole conversation around diversity. It feels like sometimes like you're

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<v Speaker 1>shoving like medicine down people's throats. And this show is

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<v Speaker 1>it's so authentic to its characters and their journey and

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<v Speaker 1>everything else is there, all the themes, the very real

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<v Speaker 1>experiences of being a multi racial slash agent character that

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<v Speaker 1>feels out of place. It's all right there if you

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<v Speaker 1>want to engage with it. But it's also just like

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<v Speaker 1>a ripping story that's wonderfully told and looks so good.

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<v Speaker 7>How do you.

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<v Speaker 1>Balance How did you balance all of that stuff, that

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<v Speaker 1>the themes, the things you want to say, and also

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<v Speaker 1>just create a great engaging story that I feel like

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<v Speaker 1>anybody could watch and feel like, wow, that was awesome.

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<v Speaker 6>I mean, I think with our story, it just you know,

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<v Speaker 6>it was just something that had been as you called it,

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<v Speaker 6>gest dating for so long that we weren't trying to

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<v Speaker 6>check any boxes or fulfill an assignment, and you know,

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<v Speaker 6>that's no, that's no shade to any other show out there,

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<v Speaker 6>who of course pasts somebody diverse. Diversity is wonderful all

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<v Speaker 6>the way around. But this, this just is a story

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<v Speaker 6>about a mixed race person.

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<v Speaker 7>We're not shoehorning in any themes.

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<v Speaker 6>And it takes place in Japan, so all of the

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<v Speaker 6>culture is innate to the story.

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<v Speaker 5>So all story flowed from a character in a predicament.

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<v Speaker 4>It's an intention.

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<v Speaker 5>So that was just you know, someone wants revenge of

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<v Speaker 5>a certain type in a certain place, and she looks

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<v Speaker 5>like this, So everything just flowed from there. And I

0:13:39.520 --> 0:13:42.840
<v Speaker 5>won't say the storytelling was easy, but it was natural.

0:13:42.880 --> 0:13:46.320
<v Speaker 5>We always knew if something wasn't right very quickly, so

0:13:46.480 --> 0:13:49.960
<v Speaker 5>I don't think we went down many wrong roads. It

0:13:50.000 --> 0:13:52.079
<v Speaker 5>was always about how to get things right and then

0:13:52.160 --> 0:13:55.200
<v Speaker 5>just conversation. We kept layering it, you know, like we

0:13:55.280 --> 0:13:58.560
<v Speaker 5>had it tenth draft. Wasn't good enough for us by

0:13:58.559 --> 0:14:01.200
<v Speaker 5>the time we shared it with anyone else. It was,

0:14:01.720 --> 0:14:04.839
<v Speaker 5>you know, just the stories we felt we had to tell.

0:14:05.320 --> 0:14:06.959
<v Speaker 6>Yeah, I mean, and I think we just we need

0:14:07.000 --> 0:14:11.959
<v Speaker 6>more stories out there where the main character is a

0:14:12.200 --> 0:14:16.840
<v Speaker 6>person of color, and sometimes people try to put in

0:14:16.880 --> 0:14:20.560
<v Speaker 6>a character just to check the box and it feels

0:14:20.560 --> 0:14:24.720
<v Speaker 6>forced or it can feel forced sometimes, so you know,

0:14:25.040 --> 0:14:29.200
<v Speaker 6>just more stories about different kinds of people.

0:14:29.600 --> 0:14:32.320
<v Speaker 1>Let's talk about the cast, because I think one of

0:14:32.360 --> 0:14:35.840
<v Speaker 1>the cast is so stacked and amazing, and I think

0:14:35.880 --> 0:14:39.320
<v Speaker 1>one of the indications that y'all did get it right

0:14:39.400 --> 0:14:43.120
<v Speaker 1>with your script was, you know, I've read various interviews

0:14:43.120 --> 0:14:45.080
<v Speaker 1>from the cast where they're asking, oh, yeah, what was

0:14:45.120 --> 0:14:46.680
<v Speaker 1>the casting process like, and you're like, well, we sent

0:14:46.760 --> 0:14:49.280
<v Speaker 1>it out and people just said yes immediately, so what

0:14:49.440 --> 0:14:50.120
<v Speaker 1>was You don't.

0:14:49.920 --> 0:14:52.160
<v Speaker 5>Always get that lucky, but I was remembering that, like

0:14:52.200 --> 0:14:53.640
<v Speaker 5>George d Kay was our first yes.

0:14:53.720 --> 0:14:55.800
<v Speaker 4>I think we're like really like.

0:14:57.440 --> 0:14:59.560
<v Speaker 5>Okay, like okay, that was you know, we thought that

0:14:59.560 --> 0:15:02.480
<v Speaker 5>would be a one like that, and people were you know,

0:15:02.560 --> 0:15:05.400
<v Speaker 5>they they read it and they liked it.

0:15:05.400 --> 0:15:07.840
<v Speaker 4>It was COVID, so there's some people.

0:15:08.040 --> 0:15:10.600
<v Speaker 5>You know, people had time to read it if if

0:15:10.640 --> 0:15:13.360
<v Speaker 5>they weren't going crazy in their own homes. It was

0:15:13.400 --> 0:15:15.000
<v Speaker 5>a remote show that people could work on.

0:15:15.120 --> 0:15:18.440
<v Speaker 6>But I mean at the time, there hadn't been many

0:15:19.280 --> 0:15:24.920
<v Speaker 6>adult animated shows like this, and we we were worried

0:15:24.960 --> 0:15:26.520
<v Speaker 6>people be like, what they want us to do?

0:15:26.560 --> 0:15:28.760
<v Speaker 7>A cartoon? Like I'm not doing a cartoon.

0:15:30.200 --> 0:15:33.720
<v Speaker 6>But I think I think the pandemic allowed people to

0:15:33.760 --> 0:15:35.200
<v Speaker 6>just be like, all right, I'll try anything.

0:15:35.400 --> 0:15:36.320
<v Speaker 7>I just want to work.

0:15:36.880 --> 0:15:38.440
<v Speaker 5>And it was it was so much because like you know,

0:15:38.480 --> 0:15:40.320
<v Speaker 5>they they kind of did it on spec I mean

0:15:40.320 --> 0:15:42.840
<v Speaker 5>obviously they were they were higher, but like creatively, we

0:15:42.880 --> 0:15:44.800
<v Speaker 5>would be telling them what it would be, but we

0:15:44.840 --> 0:15:47.160
<v Speaker 5>had nothing to point to. And then you know, maybe

0:15:47.160 --> 0:15:49.320
<v Speaker 5>a few months down the line after they'd recorded, we're like, hey,

0:15:49.320 --> 0:15:51.320
<v Speaker 5>here's a picture of your character, and they're like, oh,

0:15:51.360 --> 0:15:53.520
<v Speaker 5>it's going to look like this, and then we'd show that.

0:15:53.600 --> 0:15:57.080
<v Speaker 4>You know, they'd come back for the rare bit of adr.

0:15:56.920 --> 0:15:59.040
<v Speaker 5>And you know, they would see like scenes and they'd

0:15:59.080 --> 0:16:02.200
<v Speaker 5>be like what you know, and it was really touching,

0:16:02.320 --> 0:16:04.560
<v Speaker 5>like the reactions we got. I mean, speaking of George

0:16:04.640 --> 0:16:06.960
<v Speaker 5>k one of the nicest things anyone said early on

0:16:07.000 --> 0:16:08.520
<v Speaker 5>when he was doing some medir he saw it and

0:16:08.520 --> 0:16:11.280
<v Speaker 5>he said, you need to get this out sooner. People need,

0:16:11.320 --> 0:16:13.320
<v Speaker 5>you know, we need this kind of thing out there.

0:16:13.480 --> 0:16:15.800
<v Speaker 5>And we said, George, we are drawing it as fast

0:16:15.840 --> 0:16:16.760
<v Speaker 5>as we fucking can.

0:16:18.600 --> 0:16:19.720
<v Speaker 4>We are the.

0:16:19.560 --> 0:16:23.359
<v Speaker 5>Animators in Montreal and in France are you know, blistering

0:16:23.400 --> 0:16:24.040
<v Speaker 5>their fingers?

0:16:24.640 --> 0:16:27.320
<v Speaker 1>I think there can be for people who aren't steeped

0:16:27.360 --> 0:16:31.040
<v Speaker 1>in animation, there can be kind of like a preconceived

0:16:31.040 --> 0:16:34.480
<v Speaker 1>notion about what animation is. It's for kids. Did you

0:16:34.480 --> 0:16:36.040
<v Speaker 1>need to overcome that at all?

0:16:36.520 --> 0:16:38.920
<v Speaker 7>I think we're still trying to overcome that. I think

0:16:38.960 --> 0:16:39.920
<v Speaker 7>people do.

0:16:40.120 --> 0:16:41.920
<v Speaker 6>I think the audio, I mean the audience, I mean

0:16:42.120 --> 0:16:46.440
<v Speaker 6>the audience has a definitely has a preconceived idea of

0:16:46.880 --> 0:16:51.040
<v Speaker 6>you know, adult animation is comedy, right like The Symptoms

0:16:51.080 --> 0:16:54.880
<v Speaker 6>and Big Mouth Family Guy, which are great shows. But

0:16:56.120 --> 0:16:59.480
<v Speaker 6>or there's anime, and anime is for a specific type

0:16:59.480 --> 0:17:03.800
<v Speaker 6>of person. So we wanted we wanted to show somebody,

0:17:03.840 --> 0:17:07.800
<v Speaker 6>you know, show people that, I mean, animation is just storytelling,

0:17:08.240 --> 0:17:09.160
<v Speaker 6>and you know there's.

0:17:09.000 --> 0:17:11.600
<v Speaker 5>Some of it out there, like Undone on Amazon, wonderful

0:17:11.600 --> 0:17:14.240
<v Speaker 5>show half an Hour took a lot of people by surprise, like, wow,

0:17:14.280 --> 0:17:16.560
<v Speaker 5>this is a grown up show happens to be animated

0:17:16.800 --> 0:17:19.560
<v Speaker 5>because it fell so neatly and with its themes. And

0:17:19.600 --> 0:17:22.159
<v Speaker 5>then you have a show like Invincible, which is super

0:17:22.200 --> 0:17:25.040
<v Speaker 5>fun but definitely feels more like what people expect from

0:17:25.040 --> 0:17:28.159
<v Speaker 5>adult animation, saying with Harlee and Ivy and now Kiteman all.

0:17:28.040 --> 0:17:29.080
<v Speaker 4>Great shows we enjoy.

0:17:29.320 --> 0:17:33.119
<v Speaker 5>Yeah, you know when we kept saying, but like our

0:17:33.119 --> 0:17:36.879
<v Speaker 5>emotions are grounded, our storytelling is grounded, and you know,

0:17:36.920 --> 0:17:39.560
<v Speaker 5>it was a lot of like people kind of getting

0:17:39.560 --> 0:17:42.840
<v Speaker 5>it intellectually or kind of going okay, But performance wise,

0:17:42.840 --> 0:17:45.600
<v Speaker 5>when when we were working with the actors, it was

0:17:45.640 --> 0:17:49.480
<v Speaker 5>a very it's very I mean, records were fun and easy,

0:17:49.560 --> 0:17:51.800
<v Speaker 5>like we would just talk about it. They would read

0:17:51.840 --> 0:17:53.359
<v Speaker 5>the scenes and they're like, okay, so we're playing the

0:17:53.359 --> 0:17:58.000
<v Speaker 5>straight yep, and everyone kind of keyed in really quickly

0:17:58.040 --> 0:18:00.239
<v Speaker 5>and well, so that way, when we went to our

0:18:00.240 --> 0:18:05.199
<v Speaker 5>storyboard process, they were boarding off of those performances. So

0:18:05.520 --> 0:18:08.240
<v Speaker 5>you know, internally everyone got it. Netflix got it. They

0:18:08.880 --> 0:18:12.160
<v Speaker 5>We never had to do anything any backflips to explain

0:18:12.200 --> 0:18:15.320
<v Speaker 5>to them what we were after. It's more that since

0:18:15.600 --> 0:18:17.600
<v Speaker 5>the show was you know, since a trailer went to

0:18:17.640 --> 0:18:20.119
<v Speaker 5>the world, people were kind of like even my friends

0:18:20.160 --> 0:18:22.560
<v Speaker 5>I'd been telling the show about for years saw the trailer.

0:18:22.600 --> 0:18:25.679
<v Speaker 5>First time, I went, oh, that's what you meant. We

0:18:25.720 --> 0:18:29.560
<v Speaker 5>thought you were nuts because for two and a half

0:18:29.560 --> 0:18:31.199
<v Speaker 5>three years we've been saying, you know, Amber and I

0:18:31.200 --> 0:18:34.800
<v Speaker 5>are doing this thing, and they're like, oh no, they would.

0:18:34.840 --> 0:18:36.800
<v Speaker 4>Like one of my best friends said, this is really

0:18:36.840 --> 0:18:37.720
<v Speaker 4>good like.

0:18:37.760 --> 0:18:44.120
<v Speaker 5>You you really like, yeah, you know, you're finally doing

0:18:44.160 --> 0:18:46.639
<v Speaker 5>cartoons like you always want to, and you know, and

0:18:47.840 --> 0:18:50.080
<v Speaker 5>it's great that a lot of audience members were surprisedly,

0:18:50.200 --> 0:18:52.480
<v Speaker 5>I didn't know animation could do this, But it's more

0:18:52.480 --> 0:18:54.600
<v Speaker 5>fun when people are like, finally more animation like we.

0:18:54.480 --> 0:18:54.960
<v Speaker 4>Were hoping for.

0:19:11.359 --> 0:19:14.600
<v Speaker 1>The show has so many unexpected turns, and I think

0:19:14.600 --> 0:19:17.680
<v Speaker 1>one of my favorite ones is the relationship between that

0:19:17.840 --> 0:19:23.320
<v Speaker 1>Meets You and Tigan, which starts out as antagonistic and

0:19:23.320 --> 0:19:26.919
<v Speaker 1>then develops into something that I think I've never really

0:19:26.920 --> 0:19:31.520
<v Speaker 1>seen before, which is, you know, there's still foils who

0:19:31.560 --> 0:19:35.040
<v Speaker 1>are working together. What was it like developing that storyline.

0:19:35.040 --> 0:19:37.679
<v Speaker 1>It's so fun because it's respected again.

0:19:37.520 --> 0:19:40.720
<v Speaker 5>They grudgingly start to respect each you know, game game

0:19:40.480 --> 0:19:41.680
<v Speaker 5>the Yeah.

0:19:41.480 --> 0:19:43.959
<v Speaker 6>I mean I think we're still we're still definitely exploring it.

0:19:44.640 --> 0:19:45.000
<v Speaker 7>But yeah.

0:19:45.040 --> 0:19:51.000
<v Speaker 6>That was always our intention, was that Mitsu only understood

0:19:51.080 --> 0:19:54.159
<v Speaker 6>one thing, and that was revenge and sword play. And

0:19:54.200 --> 0:19:58.119
<v Speaker 6>so even as much as she hated Tigan's guts, he

0:19:58.200 --> 0:20:01.639
<v Speaker 6>gets that, like they have they have this shared hyper

0:20:01.640 --> 0:20:05.720
<v Speaker 6>focus of you know, swordsmanships, and so he's he's the

0:20:06.119 --> 0:20:09.160
<v Speaker 6>closest she has to somebody who gets her.

0:20:09.680 --> 0:20:14.000
<v Speaker 1>I mean when he draws up a contract. Yes, and

0:20:14.080 --> 0:20:15.879
<v Speaker 1>it was it was wonderful.

0:20:16.320 --> 0:20:18.359
<v Speaker 5>Yeah, he's he's trying to make it formal because at

0:20:18.359 --> 0:20:20.199
<v Speaker 5>the time you could have formal like okay, we're going

0:20:20.240 --> 0:20:22.000
<v Speaker 5>to do all right, And they put him up as

0:20:22.000 --> 0:20:24.359
<v Speaker 5>a placard in the center of town like this was

0:20:24.400 --> 0:20:27.959
<v Speaker 5>a public, formalized thing you could do, and mesas like,

0:20:28.359 --> 0:20:29.920
<v Speaker 5>you know, fuck that. If you want to, if you

0:20:29.960 --> 0:20:31.600
<v Speaker 5>want to kill someone, you just take a knife and

0:20:31.640 --> 0:20:35.080
<v Speaker 5>you kill him. Why why being so fancy? And he's

0:20:35.200 --> 0:20:36.840
<v Speaker 5>because he wants to get his honor back. He's you know,

0:20:36.920 --> 0:20:39.520
<v Speaker 5>he's trying to reclaim a title and a and a

0:20:39.560 --> 0:20:42.000
<v Speaker 5>man bun that was got you know, she got his hair.

0:20:42.080 --> 0:20:45.439
<v Speaker 5>That was a big loss of stature. So it was

0:20:45.480 --> 0:20:47.680
<v Speaker 5>definitely a fun It was a relationship that surprised us.

0:20:47.680 --> 0:20:51.040
<v Speaker 5>And you know, you make assumptions about people, uh, you know,

0:20:51.160 --> 0:20:53.640
<v Speaker 5>based on share childhood, Jason, just do you think they are?

0:20:53.960 --> 0:20:58.399
<v Speaker 5>And then she she begrudgingly starts to respect him. The

0:20:58.480 --> 0:21:00.439
<v Speaker 5>part that always got me is that when he was

0:21:00.480 --> 0:21:02.800
<v Speaker 5>being tortured for information about Mesu, he doesn't give it up.

0:21:03.560 --> 0:21:04.359
<v Speaker 4>Yeah, because it's like.

0:21:04.640 --> 0:21:06.359
<v Speaker 5>It would have been you know, it would have been nicer.

0:21:06.480 --> 0:21:09.600
<v Speaker 5>But like there's a there's an innate sense of honor.

0:21:10.040 --> 0:21:14.040
<v Speaker 1>This is clearly such a deeply researched piece of work.

0:21:14.880 --> 0:21:17.439
<v Speaker 1>What was that process like And how do you not

0:21:17.480 --> 0:21:19.160
<v Speaker 1>get lost in the rear It.

0:21:19.160 --> 0:21:21.040
<v Speaker 7>Is very easy to get lost in the research.

0:21:21.840 --> 0:21:24.159
<v Speaker 5>It's it was fun research. I have a few I

0:21:24.160 --> 0:21:26.560
<v Speaker 5>don't have a rule about it. You just as a writer,

0:21:26.640 --> 0:21:28.880
<v Speaker 5>you have to at some point say I am done

0:21:28.960 --> 0:21:32.000
<v Speaker 5>researching now, or I will never And I talked to you,

0:21:32.000 --> 0:21:34.000
<v Speaker 5>you know, young writers all the time who are like,

0:21:34.160 --> 0:21:35.720
<v Speaker 5>you know, and I'm still reading this and this. I'm like,

0:21:35.880 --> 0:21:38.359
<v Speaker 5>you're done, put the book down, do your work, because

0:21:38.359 --> 0:21:41.200
<v Speaker 5>someone's already written the book that you're reading, Like.

0:21:41.920 --> 0:21:44.600
<v Speaker 4>You know, I don't know. It was it was a

0:21:44.640 --> 0:21:46.240
<v Speaker 4>lot of fun. We got to read books.

0:21:46.280 --> 0:21:49.159
<v Speaker 5>We always want, you know, watch during COVID, we watched

0:21:49.160 --> 0:21:51.880
<v Speaker 5>all the movies, you know, we read all the comics,

0:21:52.160 --> 0:21:57.280
<v Speaker 5>but some academic texts were really essential. Working with researchers

0:21:57.280 --> 0:22:00.720
<v Speaker 5>and of course our art team uh Are production signer

0:22:00.720 --> 0:22:03.800
<v Speaker 5>Toby Wilson. These are all people who love getting it

0:22:03.880 --> 0:22:06.359
<v Speaker 5>right and making it beautiful, so they would just you know,

0:22:06.720 --> 0:22:08.520
<v Speaker 5>we would put things in there and they would come

0:22:08.560 --> 0:22:10.280
<v Speaker 5>back and go like, oh, if it isn't this type

0:22:10.280 --> 0:22:12.280
<v Speaker 5>of candle, could we use this type of brazier that

0:22:12.320 --> 0:22:15.800
<v Speaker 5>we found? And we're like, we always joke about how

0:22:15.920 --> 0:22:18.760
<v Speaker 5>much our our team overperforms. We'd say, give us a

0:22:18.800 --> 0:22:21.840
<v Speaker 5>simple zakaya and they're like, right, simple, And then suddenly

0:22:21.880 --> 0:22:24.840
<v Speaker 5>it would be like the most beautiful thing, like you know, okay,

0:22:24.840 --> 0:22:26.359
<v Speaker 5>we're gonna put a little decoration on the wall, and

0:22:26.400 --> 0:22:29.400
<v Speaker 5>it wouldn't suddenly be these like yeah, it would.

0:22:29.200 --> 0:22:31.440
<v Speaker 6>Call it a lantern and they're like, here are seventeen

0:22:31.600 --> 0:22:33.280
<v Speaker 6>types of lanterns.

0:22:32.720 --> 0:22:33.400
<v Speaker 7>That they had.

0:22:36.080 --> 0:22:40.320
<v Speaker 5>So you know, there was a lot of intensity and

0:22:40.440 --> 0:22:42.840
<v Speaker 5>enthusiasm from our team for like they finally got to

0:22:42.880 --> 0:22:44.800
<v Speaker 5>do the kind of stuff. I mean, all of them

0:22:44.800 --> 0:22:48.480
<v Speaker 5>have worked on incredible things, but there was the specific,

0:22:49.920 --> 0:22:53.240
<v Speaker 5>specific hyper focuses and sub passions all came to bear.

0:22:53.560 --> 0:22:57.240
<v Speaker 1>How long did it take to nail down the character designs?

0:22:57.280 --> 0:22:58.840
<v Speaker 1>That must have been such a fun process.

0:22:59.200 --> 0:23:01.320
<v Speaker 6>Oh goodness, I don't remember.

0:23:03.680 --> 0:23:05.959
<v Speaker 5>No, no, I mean you remember timeline. It was very

0:23:06.040 --> 0:23:09.160
<v Speaker 5>much a part of figuring out how to animate the show.

0:23:09.440 --> 0:23:11.280
<v Speaker 5>So we started with, you know, just design of what

0:23:11.320 --> 0:23:14.560
<v Speaker 5>they would look like, and we had a wonderful uh

0:23:14.800 --> 0:23:17.040
<v Speaker 5>character designer at the time was really thinking about it

0:23:17.080 --> 0:23:20.480
<v Speaker 5>in three D terms, and then we realized, we.

0:23:20.440 --> 0:23:21.720
<v Speaker 4>Need to look at this in two D terms. And

0:23:21.840 --> 0:23:23.119
<v Speaker 4>even though we're going to be doing a three D

0:23:23.160 --> 0:23:24.400
<v Speaker 4>two D process.

0:23:24.119 --> 0:23:29.200
<v Speaker 6>There's some very cool, uh, you know, three D images

0:23:29.240 --> 0:23:31.760
<v Speaker 6>of early, early, early design.

0:23:31.960 --> 0:23:35.040
<v Speaker 5>But when working with our supervising director Jane Wu and

0:23:35.080 --> 0:23:39.520
<v Speaker 5>her character lead Brian Kessinger, it was it was like

0:23:39.600 --> 0:23:44.959
<v Speaker 5>taking those and then finding the animatable essence of them

0:23:45.160 --> 0:23:47.280
<v Speaker 5>until you like find, you know, and we really have

0:23:47.320 --> 0:23:52.280
<v Speaker 5>these very detailed conversations about how feminine should Mezo look

0:23:52.320 --> 0:23:55.040
<v Speaker 5>when we first meet her, you know, because how much

0:23:55.080 --> 0:23:57.200
<v Speaker 5>are we trying to hide the ball? Will the trailer

0:23:57.240 --> 0:23:59.679
<v Speaker 5>give it away anyway? So why are we you know,

0:23:59.720 --> 0:24:02.120
<v Speaker 5>how arc the circles under her eyes, like how pink

0:24:02.200 --> 0:24:04.199
<v Speaker 5>the edge of her nose because we know she's been

0:24:04.240 --> 0:24:07.119
<v Speaker 5>out in the cold wardrobe? How it came into play

0:24:07.480 --> 0:24:11.119
<v Speaker 5>and always our team very conscious of how it'll be

0:24:11.280 --> 0:24:14.240
<v Speaker 5>animated over time so that it's they to the integrity

0:24:14.280 --> 0:24:16.320
<v Speaker 5>of its day. But we have a lot of characters

0:24:16.320 --> 0:24:18.800
<v Speaker 5>and all the love went into all of them. We're

0:24:18.840 --> 0:24:21.440
<v Speaker 5>now designing characters for season two a lot of new

0:24:21.680 --> 0:24:24.639
<v Speaker 5>a lot of new people to meet. It's a really

0:24:24.680 --> 0:24:26.800
<v Speaker 5>fun part of the process. But it helps when you're

0:24:26.800 --> 0:24:28.360
<v Speaker 5>working with such a strong team.

0:24:28.520 --> 0:24:33.960
<v Speaker 1>Yeah, the art style is magnificent. It's so immersive and

0:24:34.840 --> 0:24:38.680
<v Speaker 1>so fluid, you know, the the from the action scenes

0:24:38.760 --> 0:24:45.920
<v Speaker 1>to the cooking scenes, everything moves in this really like liquid,

0:24:47.359 --> 0:24:51.520
<v Speaker 1>wonderfully inspiring style. You know, what was how do you

0:24:51.520 --> 0:24:54.160
<v Speaker 1>design stuff like that? Like the action scenes I'm thinking

0:24:54.200 --> 0:25:01.200
<v Speaker 1>in particular, are so stylized and graphic and edible. How

0:25:01.240 --> 0:25:03.919
<v Speaker 1>long does it take to kind of pin down that?

0:25:04.920 --> 0:25:07.399
<v Speaker 5>I mean we've talked about it the action and other interviews.

0:25:07.400 --> 0:25:09.400
<v Speaker 4>We haven't talked as much about like the food stuff.

0:25:09.880 --> 0:25:11.280
<v Speaker 1>The food stuff is so good.

0:25:12.560 --> 0:25:14.760
<v Speaker 5>Starving for so but no, I mean we wrote it

0:25:14.840 --> 0:25:18.200
<v Speaker 5>into the drafts that there were slow mo close ups

0:25:18.240 --> 0:25:21.880
<v Speaker 5>of Soba making process, like in the opening episode, and

0:25:22.720 --> 0:25:26.000
<v Speaker 5>you know, something that had to be cultivated and we

0:25:26.080 --> 0:25:29.040
<v Speaker 5>all worked at but took getting right and it is

0:25:29.040 --> 0:25:31.800
<v Speaker 5>one of those things that shakes out very easily, similarly

0:25:31.880 --> 0:25:35.280
<v Speaker 5>like language shots of walking through nature. I mean, you

0:25:35.320 --> 0:25:37.280
<v Speaker 5>know there's a shot that we scripted that was animated

0:25:37.280 --> 0:25:41.200
<v Speaker 5>beautifully about like the frozen leaves. You know, just slowly

0:25:41.320 --> 0:25:45.119
<v Speaker 5>swishing and sounding like wind chimes when the ice tinkles in,

0:25:45.960 --> 0:25:49.320
<v Speaker 5>and you know, you just you have to make sure

0:25:49.359 --> 0:25:51.800
<v Speaker 5>you save the resources to get that because it's very

0:25:51.800 --> 0:25:53.479
<v Speaker 5>easy to want to cut it because it's not story,

0:25:53.680 --> 0:25:57.240
<v Speaker 5>but it's feeling right, So you know, it comes from

0:25:57.640 --> 0:26:00.240
<v Speaker 5>having it in script, having a team that gets that

0:26:00.320 --> 0:26:05.200
<v Speaker 5>stuff and values it too, and then just making making

0:26:05.240 --> 0:26:06.639
<v Speaker 5>space for Michael and I went.

0:26:06.520 --> 0:26:11.320
<v Speaker 6>And took a soba making class in Japan, so we

0:26:11.400 --> 0:26:15.119
<v Speaker 6>really had that feeling. Our biggest regret was that we

0:26:15.119 --> 0:26:19.280
<v Speaker 6>couldn't take our whole team to Japan for a research trip.

0:26:19.320 --> 0:26:25.159
<v Speaker 5>But maybe one day, maybe COVID, but yeah, you know,

0:26:25.320 --> 0:26:28.399
<v Speaker 5>just just we wanted the pace of the show to

0:26:29.480 --> 0:26:34.840
<v Speaker 5>allow moments of breath, moments of just experiential feeling. And

0:26:34.880 --> 0:26:36.960
<v Speaker 5>that also came down to, like, you know, the way

0:26:37.080 --> 0:26:39.840
<v Speaker 5>it's colored, the way the effects come in, little dust

0:26:39.960 --> 0:26:42.959
<v Speaker 5>motes or little bits of flower floating through the air.

0:26:43.200 --> 0:26:48.240
<v Speaker 5>And then sound, our sound team led by you know,

0:26:49.040 --> 0:26:50.520
<v Speaker 5>they're up for an Emmy for a reason, Like they

0:26:50.560 --> 0:26:56.360
<v Speaker 5>really created the soundscape where it was experiential and hopefully transportive.

0:26:56.960 --> 0:27:00.640
<v Speaker 1>The show comes out and becomes a word of mouth hit,

0:27:00.720 --> 0:27:06.119
<v Speaker 1>a critical hit, obviously multiple Immy nominations. What's what's that been? Like?

0:27:06.680 --> 0:27:08.600
<v Speaker 7>I mean, very very exciting.

0:27:08.760 --> 0:27:14.680
<v Speaker 6>I mean it's I feel like we didn't know we

0:27:14.680 --> 0:27:18.360
<v Speaker 6>were exactly a hit. Like it's kind of a it's

0:27:18.359 --> 0:27:20.240
<v Speaker 6>not like you get the big numbers like I think,

0:27:20.960 --> 0:27:23.200
<v Speaker 6>like you used to get these, you know, it's.

0:27:23.040 --> 0:27:25.840
<v Speaker 5>Not like you know Wednesday where it's like one trillion

0:27:25.920 --> 0:27:27.720
<v Speaker 5>people for more.

0:27:28.720 --> 0:27:31.560
<v Speaker 6>So I think we would just slowly start to hear

0:27:31.600 --> 0:27:34.720
<v Speaker 6>from people and like, oh you watch that, and I

0:27:34.800 --> 0:27:38.200
<v Speaker 6>think people are still discovering it, which was just exciting.

0:27:38.720 --> 0:27:40.960
<v Speaker 5>But it's you know, so many people trusted us in

0:27:41.040 --> 0:27:44.320
<v Speaker 5>making the show and gave their talent and time.

0:27:44.320 --> 0:27:47.160
<v Speaker 4>For so long. It's so great to just be able

0:27:47.160 --> 0:27:49.480
<v Speaker 4>to say, like it was you know that it was

0:27:49.520 --> 0:27:49.920
<v Speaker 4>worth it.

0:27:50.040 --> 0:27:53.480
<v Speaker 5>You know that Netflix trusted us with with resources, with

0:27:53.680 --> 0:27:56.600
<v Speaker 5>making an original. Uh you know, hopefully it means that

0:27:57.080 --> 0:28:00.959
<v Speaker 5>they'll now keep betting on originals. So for us, there

0:28:01.000 --> 0:28:02.560
<v Speaker 5>was a lot of relief of like, after a lot

0:28:02.600 --> 0:28:03.440
<v Speaker 5>of trust.

0:28:03.480 --> 0:28:05.040
<v Speaker 4>To be able to go, okay, you aren't.

0:28:05.280 --> 0:28:08.200
<v Speaker 5>That's good, Thank goodness, because you know, on paper the

0:28:08.440 --> 0:28:09.240
<v Speaker 5>idea is nuts.

0:28:09.760 --> 0:28:12.840
<v Speaker 1>Agreed. I think from a from a certain from a

0:28:12.840 --> 0:28:16.560
<v Speaker 1>certain executive position. Certainly it feels nuts. I will say,

0:28:16.800 --> 0:28:20.960
<v Speaker 1>you know, as a person who watches too much TV

0:28:21.320 --> 0:28:24.560
<v Speaker 1>and too many movies, no such thing, no such something

0:28:24.880 --> 0:28:28.000
<v Speaker 1>something like this that comes, you know, I'd read a

0:28:28.040 --> 0:28:31.119
<v Speaker 1>couple of trade pieces about it, but that comes it

0:28:31.320 --> 0:28:34.119
<v Speaker 1>basically out of nowhere and is so good that you

0:28:34.200 --> 0:28:38.360
<v Speaker 1>can't believe it is. It's really a joy. So congratulations

0:28:38.400 --> 0:28:43.000
<v Speaker 1>to both you and really what is a magnificent season

0:28:43.040 --> 0:28:47.480
<v Speaker 1>of television. We eagerly await season two. Amber Noiszumi and

0:28:47.560 --> 0:28:51.440
<v Speaker 1>Michael Green. Thank you so much for joining us. Thank you.

0:28:51.560 --> 0:28:52.840
<v Speaker 4>I really appreciate talking to you.

0:28:52.920 --> 0:28:55.040
<v Speaker 1>On the next episode of X ray Vision, we're diving

0:28:55.040 --> 0:28:59.200
<v Speaker 1>into reactions to an alien Romulus, including a very special

0:28:59.240 --> 0:29:02.680
<v Speaker 1>interview with a wo who plays Novarro. That's it for

0:29:02.720 --> 0:29:10.600
<v Speaker 1>this episode. Thanks for listening. X ray Vision is hosted

0:29:10.600 --> 0:29:14.480
<v Speaker 1>by Jason kenspcion and Rosie Knight and is a production

0:29:14.560 --> 0:29:18.680
<v Speaker 1>of iHeart Podcasts. Our executive producers are Joelle Smith and

0:29:18.800 --> 0:29:24.040
<v Speaker 1>Aaron Kaufman. Our supervising producer is a Boo Zafar. Our

0:29:24.080 --> 0:29:28.560
<v Speaker 1>producers are Carmen Laurent and Mia Taylor. Our theme song

0:29:28.680 --> 0:29:29.959
<v Speaker 1>is by Brian Basquez.

0:29:30.440 --> 0:29:34.719
<v Speaker 3>Special thanks to Soul Rubin and Chris Lord, Kenny Goodman

0:29:35.120 --> 0:29:37.160
<v Speaker 3>and Heidi A disco moderata