WEBVTT - John Rakich 0:00:35.159 --> 0:00:38.040 John, How are you buddy? Hello, I'm good. How are 0:00:38.080 --> 0:00:40.360 you go ahead? I'm doing well. Have you got a 0:00:40.440 --> 0:00:43.080 Captain America sheld in the back? I do? Look a 0:00:43.720 --> 0:00:47.560 look for the sword. Yes it is. I don't even 0:00:47.560 --> 0:00:50.800 have one of those. That's amazing. And what's the one 0:00:50.840 --> 0:00:53.159 that's all chipped up on the side. No way, it 0:00:53.240 --> 0:00:55.680 was an actual fighting one, huh. I bought it. I 0:00:55.720 --> 0:00:58.680 got a bunch of stuff from the auction sports which 0:00:58.680 --> 0:01:01.320 I gave one away to charity for charity auction. That 0:01:01.440 --> 0:01:03.120 a couple of Stellars that I gave to the writing 0:01:03.120 --> 0:01:08.839 staff that I know Taylor actually has yours cat. No way, Wow, 0:01:09.440 --> 0:01:11.720 that's so took mine away from me. We've talked about 0:01:11.720 --> 0:01:13.759 this on the podcast quite a bit because I wrote 0:01:13.760 --> 0:01:17.200 so many in season one, I just mystically didn't have 0:01:17.280 --> 0:01:20.640 one every season in season one was just a little fragile. Yeah, 0:01:23.240 --> 0:01:25.480 it turns out, John, it's such a pleasure to have 0:01:25.520 --> 0:01:27.880 you one. Thank you for taking the time to when 0:01:27.959 --> 0:01:29.759 Chats was happy to be a part of this all. 0:01:29.959 --> 0:01:32.800 Absolutely well. Welcome back, folks, to return to the Shadows. Today, 0:01:32.840 --> 0:01:36.080 we have a very special guest, one of the magical 0:01:36.120 --> 0:01:38.399 people behind the scenes of our show who We truly 0:01:38.440 --> 0:01:42.400 could not have done this without John Rackett, our location manager. Welcome, 0:01:42.640 --> 0:01:44.160 thank you. I'm glad to be a part of the show. 0:01:44.360 --> 0:01:46.520 Come on the podcast and be part of the show. 0:01:46.640 --> 0:01:52.440 Hopefully I have to correct something technically. I think I'm 0:01:52.480 --> 0:01:54.240 one of the three long people that have been on 0:01:54.280 --> 0:01:56.880 the show longer than anyone else. Yeah. So the show 0:01:56.920 --> 0:01:59.680 started filming in August. I started in March of that year. 0:02:00.400 --> 0:02:03.960 There you go. You were hired before us. Yeah, actually 0:02:04.000 --> 0:02:05.720 we were. I remember when they were trying to cast it. 0:02:07.480 --> 0:02:09.320 Can I make it even weirder? I was a location 0:02:09.360 --> 0:02:12.600 scout on the movie WHOA. Well I did know that. Yeah, 0:02:12.639 --> 0:02:14.280 I knew that you were the location scout on the 0:02:14.320 --> 0:02:16.560 movie because I feel like we've spoken about that at 0:02:16.560 --> 0:02:19.160 some point, because we doubled some of the locations, right, 0:02:19.160 --> 0:02:21.440 like we changed them, but we Yeah, there was a 0:02:21.480 --> 0:02:24.920 couple that we used in too many thankfully. Yeah. No, yeah, 0:02:25.160 --> 0:02:27.520 it's wow. There was a few things in season one. 0:02:27.520 --> 0:02:30.160 I remember that We're that we used in both that 0:02:30.240 --> 0:02:33.040 were very quickly in season two. Not locations, but like 0:02:33.160 --> 0:02:37.480 the swords. The swords were swords from the movie the swords, 0:02:37.760 --> 0:02:41.480 the props, the glass and the institute actually was recycled 0:02:41.520 --> 0:02:44.280 from another movie. No way, do you know what the 0:02:44.280 --> 0:02:50.960 movie was? Resident five? That makes sense because constantly, Yeah, 0:02:51.240 --> 0:02:53.400 all the there was a huge set we had where 0:02:53.720 --> 0:02:56.160 um Neiler runs through a tunnel of glass and they 0:02:56.280 --> 0:02:57.760 spent a lot of money on all this glass, so 0:02:58.000 --> 0:03:00.480 they put in storage and someone it came tyme to 0:03:00.480 --> 0:03:02.280 build this set. They went, we have this glass, and 0:03:02.320 --> 0:03:05.280 nobody thought that it wasn't the right glass. It wasn't gimbaled, 0:03:05.320 --> 0:03:07.320 which is why we had all those reflection problems and 0:03:09.160 --> 0:03:14.840 the heat, and just let and put everyone inside it. 0:03:16.800 --> 0:03:19.360 Who knew? Who knew? This is just the things you 0:03:19.360 --> 0:03:21.000 figure out when you're on set. But it was the 0:03:21.040 --> 0:03:22.400 It was the hardest thing is when we saw these 0:03:22.440 --> 0:03:24.720 trailers come in that said are on them, like what 0:03:24.800 --> 0:03:27.080 it's And then the stuff from the mortal instruments they 0:03:27.120 --> 0:03:29.560 basically just recycled as much as they could because they 0:03:29.639 --> 0:03:32.560 kept it all as well, you know, it's already got 0:03:32.600 --> 0:03:34.720 all the rings on it. And then season until we've 0:03:34.720 --> 0:03:37.160 got rid of it all and fixed it. Yeah, before 0:03:37.320 --> 0:03:41.920 before we dive headlong into a reunion that we've all 0:03:41.960 --> 0:03:44.240 been longing to have. John, why don't you tell everyone 0:03:44.280 --> 0:03:47.080 at home, what your position was on on Shadow Hunters, 0:03:47.120 --> 0:03:49.600 what you did, what your day to day was. So 0:03:49.680 --> 0:03:53.520 I was hired as the location manager for pretty much 0:03:53.600 --> 0:03:56.440 almost all the show, which I can cover later. Um So, 0:03:56.480 --> 0:03:59.880 my the job location edge is we basically take this 0:04:00.000 --> 0:04:02.680 script and the concept and the ideas that the writers 0:04:02.720 --> 0:04:06.480 the producers have in the production designer and find practical 0:04:06.560 --> 0:04:09.000 real world locations to film this and to make it 0:04:09.040 --> 0:04:11.520 part of the story, part of the character. Um So 0:04:11.560 --> 0:04:13.320 that literally was my job was to get the script, 0:04:13.480 --> 0:04:16.480 to break it down and pitch ideas that we then 0:04:16.520 --> 0:04:19.040 see whether they work or not. And then being television, 0:04:19.480 --> 0:04:21.280 we then since we had most of the scripts, we 0:04:21.279 --> 0:04:23.640 could see what we would go to enough times to 0:04:23.680 --> 0:04:26.040 necessary to build what was going to be on location, 0:04:26.520 --> 0:04:29.240 and then literally with the creatives try to find things 0:04:29.240 --> 0:04:32.000 that work for the story, the look. And then once 0:04:32.000 --> 0:04:35.240 we secure all that, the location department job changes very 0:04:35.279 --> 0:04:38.640 much from creative to logistics. Were then responsible for permits, 0:04:38.640 --> 0:04:42.560 permissions where the unit goes, where that everyone eats, where 0:04:42.600 --> 0:04:45.000 the bathrooms go, all the unsexy parts of the actual 0:04:45.080 --> 0:04:49.840 making of a production. But so it's interesting we've had 0:04:49.839 --> 0:04:52.120 a few a few different crew members on over the 0:04:52.160 --> 0:04:55.800 course of and very often that same phrase kind of 0:04:55.839 --> 0:04:58.680 gets recycled with crew right. Very often it's that you know, 0:04:58.720 --> 0:05:00.599 this is the unsexy behind this means part. But what 0:05:00.640 --> 0:05:03.760 people need to realize is that TV shows aren't made 0:05:04.000 --> 0:05:07.359 without these unsexy parts, like they just don't function on 0:05:07.400 --> 0:05:10.520 a TV show. That will remain nameless and how long 0:05:10.560 --> 0:05:13.159 ago will remain nameless because otherwise you can backtrack and 0:05:13.200 --> 0:05:14.560 be like, oh, he did this six years ago. It 0:05:14.640 --> 0:05:16.200 is exactly what it was. It wasn't six years ago. 0:05:16.240 --> 0:05:18.640 That's not what I'm talking about. But they didn't put 0:05:18.640 --> 0:05:22.479 they didn't have crew bathrooms. We were shooting on on 0:05:22.520 --> 0:05:25.240 a New York street and we were we were filming 0:05:25.960 --> 0:05:28.279 somewhere quite far away from that, and it it brought 0:05:28.320 --> 0:05:30.320 everything kind of to a halt when we figured it 0:05:30.360 --> 0:05:32.440 out like this or you know, this needs to change, 0:05:32.440 --> 0:05:35.200 and a couple of their actors were very very stringent, 0:05:35.279 --> 0:05:37.000 like this is something that needs to change, but it 0:05:37.000 --> 0:05:38.920 doesn't grinds everything to a hold all of a sudden. 0:05:39.000 --> 0:05:40.840 So without all of these, you know, I can't say 0:05:40.880 --> 0:05:43.480 it enough. Said again, I've said it before. I sound 0:05:43.520 --> 0:05:46.320 like a broken record. But without people like John, these 0:05:46.360 --> 0:05:49.640 shows don't get made. There's you know, the actors and 0:05:49.680 --> 0:05:52.360 the directors and the producers get so much credit for 0:05:52.640 --> 0:05:55.039 being on a TV show. But like John says, our 0:05:55.160 --> 0:05:58.560 job started months after his job started, you know what 0:05:58.600 --> 0:06:00.920 I mean? Like and he and you could say, because 0:06:00.960 --> 0:06:03.599 you recycled so much stuff, you're in a way still 0:06:03.640 --> 0:06:06.320 on that job, like it's still thinking about shadow Hunter 0:06:06.400 --> 0:06:07.840 is like, oh, I wonder if we have some stuff 0:06:07.880 --> 0:06:10.000 there that we could use on this next thing. Take 0:06:10.160 --> 0:06:13.839 this next Yeah, you're absolutely right. Again. The location manager 0:06:13.839 --> 0:06:15.839 in the department usually is one of the first ones hired, 0:06:16.640 --> 0:06:18.599 and usually then the last one is there. So I 0:06:19.160 --> 0:06:22.000 you know, from Cradle Degrave, we're involved in every aspect 0:06:22.279 --> 0:06:25.320 my department. The bathroom thing that that grinds to a halt, 0:06:25.320 --> 0:06:27.680 A hundred and fifty people need to go somewhere. And 0:06:27.680 --> 0:06:29.520 the funny thing is here where we're based out of 0:06:29.560 --> 0:06:32.320 there's actually law we have to follow. How many there's 0:06:32.360 --> 0:06:34.440 there's actually I have a mathematical table that I have 0:06:34.520 --> 0:06:36.560 to keep of how many people we have, how many 0:06:36.880 --> 0:06:40.080 actual holes as the referred to, we have to have 0:06:41.839 --> 0:06:44.400 how many holes? And I've been on some shows where 0:06:44.480 --> 0:06:46.960 that number got huge and you know, the last thing 0:06:46.960 --> 0:06:48.400 you need is all of a sudden, the line up 0:06:48.440 --> 0:06:50.280 of thirty people trying to get into a porta job, 0:06:50.640 --> 0:06:53.240 because then where's the you know, we're trying to shoot. 0:06:53.240 --> 0:06:55.560 Where is the director? Well he's waiting in line. That 0:06:55.600 --> 0:06:58.280 doesn't fly. Well, I mean the you know, the biggest 0:06:58.400 --> 0:07:00.920 detriment to production is the loss of time. Time. Yeah, well, 0:07:00.960 --> 0:07:03.720 and that's I mean, truly, it's so many aspects of production, 0:07:03.880 --> 0:07:06.440 from the creative to the logistic, is all problem solving, 0:07:06.839 --> 0:07:09.200 and it takes creativity, and it takes you know, a 0:07:09.279 --> 0:07:12.120 knowledge base and experience and everything that you know, you 0:07:12.200 --> 0:07:15.840 clearly have become so well versed in to to figure 0:07:15.840 --> 0:07:17.720 it out. So, whether it's you know, as dumb said, 0:07:17.760 --> 0:07:20.360 the you know, the the unsexy parts of filmmaking or not, 0:07:20.480 --> 0:07:24.680 it's all so necessary and so instrumental to you know, 0:07:25.040 --> 0:07:29.320 doing the flips and things that we all love. Just 0:07:29.480 --> 0:07:31.960 you know, our biggest challenge sometimes is where they want 0:07:31.960 --> 0:07:34.600 to put lights. Yeah, you know, a DP points because 0:07:34.640 --> 0:07:36.480 I want to let on that roof. Well, we don't 0:07:36.480 --> 0:07:39.760 know if we can get up there. That's not our roof. 0:07:39.840 --> 0:07:41.560 We just can't just walk I just can't walk up there. 0:07:41.560 --> 0:07:43.880 With a cord. It takes time. And you know, yeah, 0:07:43.880 --> 0:07:45.600 as you said, it's it's a lot of little Yeah, 0:07:45.680 --> 0:07:47.720 it's a lot of little moving pieces for what everyone 0:07:47.840 --> 0:07:50.000 ends up watching on screen that they don't see behind stage. 0:07:50.000 --> 0:07:51.840 And my department is one of the ones that actually 0:07:51.840 --> 0:07:54.840 interacts with everyone's. Yeah, there's not an aspect of production 0:07:54.880 --> 0:07:56.800 that somehow doesn't cross like even where the hair and 0:07:56.840 --> 0:07:59.160 makeup decides to sit put their chair down. It has 0:07:59.160 --> 0:08:01.080 to be location that can end up being you know, 0:08:01.160 --> 0:08:02.920 something to do well. So that sort of leads into 0:08:02.960 --> 0:08:05.240 my first question. We we get these cheat sheets, we 0:08:05.240 --> 0:08:06.880 get these brilliant cheat sheets and it's called all this 0:08:06.920 --> 0:08:10.160 information and like, um, you know, stuff that we should 0:08:10.320 --> 0:08:12.040 ask and whatever. And I listen, I look at that 0:08:12.240 --> 0:08:14.560 zero and I just I think of questions and that's 0:08:14.560 --> 0:08:16.400 what I do. It's very similar to how I work 0:08:16.440 --> 0:08:19.920 on set. John, Um, but so question nuber one. So 0:08:20.000 --> 0:08:22.080 the and this is always fascinated me. And I've never 0:08:22.120 --> 0:08:24.240 really found the time to ask the question because when 0:08:24.240 --> 0:08:26.960 we're shooting on like a busy street, like you know 0:08:27.000 --> 0:08:29.720 in Toronto, Young, I think we had shut down for 0:08:29.760 --> 0:08:33.280 a second there. What what's what does that entail? Because 0:08:33.280 --> 0:08:37.200 that's you know, we're shutting down a huge section of 0:08:37.480 --> 0:08:40.920 the metropolitan area of Toronto, And for anyone who's been 0:08:40.920 --> 0:08:43.040 to or lives in Toronto, they have sort of a 0:08:43.320 --> 0:08:45.800 semi one way system, so every other street kind of 0:08:45.840 --> 0:08:48.600 goes one way throughout the metropolitan So shutting down one 0:08:48.640 --> 0:08:52.000 of those really does make a huge fucking issue. It's 0:08:52.040 --> 0:08:55.520 a real problem in Toronto. So tell me tell me 0:08:55.720 --> 0:08:58.280 a little about that, sure. I mean, the greatest thing 0:08:58.360 --> 0:09:01.640 is that we're based is a city where the actual 0:09:01.640 --> 0:09:03.719 city is a good partner with us in production. We 0:09:03.720 --> 0:09:05.320 we tell them what we want to do and they 0:09:05.440 --> 0:09:07.840 kind of help us figure out the best way to 0:09:07.840 --> 0:09:10.240 do it. So when we did shut down the section 0:09:10.280 --> 0:09:12.040 of Young Street, which is a main artill year road, 0:09:12.320 --> 0:09:14.160 we always knew from the beginning that's going to have 0:09:14.200 --> 0:09:16.679 to be on a weekend. We the only the only 0:09:16.679 --> 0:09:18.280 way they let us do it is on a Saturday 0:09:18.360 --> 0:09:20.319 or a Sunday when there's less traffic or you're less 0:09:20.320 --> 0:09:24.040 impediment to business. So it then just literally becomes us 0:09:24.080 --> 0:09:27.440 working with the city, the fire department, transit everyone to 0:09:27.480 --> 0:09:30.400 make sure that we're not impacting our schedule works for their's. 0:09:31.200 --> 0:09:33.719 The neighbors and residents all known got on board and 0:09:33.800 --> 0:09:35.680 let us do what we did, which is basically shut 0:09:35.720 --> 0:09:38.839 down a block and a half of a major street 0:09:38.840 --> 0:09:41.839 and rewrote traffic. The funny thing was, that's actually one 0:09:41.840 --> 0:09:44.400 of the few locations where that was Matt Hastings episode. 0:09:44.440 --> 0:09:46.480 He and I got into a disagreement over that one, 0:09:46.600 --> 0:09:49.320 and I'm glad I want Early on in that season, 0:09:49.400 --> 0:09:52.480 he walked into my office and said finale Avengers Battle 0:09:52.480 --> 0:09:54.480 on the streets and he walked away. But you would 0:09:54.480 --> 0:09:56.560 do routinely, would just throw things to give us ahead. 0:09:56.800 --> 0:09:59.400 So we started pitching stuff, and we took them downtown 0:09:59.440 --> 0:10:01.520 and went where there's this corner, there's this block, there's 0:10:01.559 --> 0:10:04.240 this block. And they didn't want to work on a 0:10:04.240 --> 0:10:08.079 Saturday because it required shifting schedule. And then the idea 0:10:08.160 --> 0:10:10.120 was would just build it in the parking lot with 0:10:10.240 --> 0:10:13.040 green screen, just green screen, which to me is like 0:10:13.080 --> 0:10:15.440 a knife in the heart because it's never gonna look right. 0:10:15.480 --> 0:10:18.160 You're never gonna have these effects. Can do the world, 0:10:18.200 --> 0:10:20.480 but you can't get that sense of scale um as 0:10:20.559 --> 0:10:22.880 much as you want to try. And what happened was 0:10:22.960 --> 0:10:24.880 this cat you had to you had a conflict that 0:10:24.920 --> 0:10:26.920 meant you had to work with you had a Saturday 0:10:26.920 --> 0:10:29.120 available because we had to get you off something faster. 0:10:29.200 --> 0:10:31.319 At that point, Oh, that's what I was going to 0:10:31.320 --> 0:10:34.480 a maze runner. Yeah, and that's literally why all of 0:10:34.520 --> 0:10:36.920 a sudden, no one was fighting about being on a Saturday. 0:10:37.000 --> 0:10:39.200 And that was like the back of parking lot. And 0:10:39.240 --> 0:10:41.800 I literally politely argued and said, it was the dumbest 0:10:41.800 --> 0:10:44.480 idea you're gonna have. We can do it now, we 0:10:44.520 --> 0:10:46.320 should just do so we did, and it was really 0:10:46.440 --> 0:10:50.079 it looked phenomenal, and we staged the traffic. We staged 0:10:50.120 --> 0:10:54.040 the traffic jam, which was even smarter because parking lots 0:10:54.040 --> 0:10:57.319 are expensive downtown, so that traffic jam was pretty much 0:10:57.320 --> 0:10:59.319 most of the cruise cars parked down the middle of 0:10:59.320 --> 0:11:03.720 the street. That's right. I didn't know the buses, most 0:11:03.760 --> 0:11:06.920 of the cars there because although if you think about it, 0:11:07.000 --> 0:11:09.960 that scene, it's just two minutes long traffic jam New 0:11:10.000 --> 0:11:11.880 York City, although a lot happens in it, so the 0:11:11.920 --> 0:11:14.520 cars never have to move. So we just basically stacked 0:11:14.559 --> 0:11:17.080 crew cars, put in picture cars, because if you watch 0:11:17.160 --> 0:11:19.720 the scene, no vehicles ever moved through it. No, that's true, 0:11:20.720 --> 0:11:24.640 that was right, you know, it was free the day, 0:11:24.840 --> 0:11:27.080 the scene looked brilliant. It did. Oh yeah, it's one 0:11:27.120 --> 0:11:28.760 of it's one of the best scenes and it gets 0:11:28.800 --> 0:11:31.200 you know, replayed and re edited over and over again. 0:11:31.400 --> 0:11:33.520 That's in my personal reel. I got footage from from 0:11:33.559 --> 0:11:35.760 them for it. Yeah, that's amazing. Well because it has 0:11:35.840 --> 0:11:38.800 that scale and because you feel the city and you 0:11:38.840 --> 0:11:42.160 feel that kind of open expanse of space, and then 0:11:42.160 --> 0:11:44.280 we got the drone to go around the buildings that 0:11:44.400 --> 0:11:48.000 just look brilliant. So again in that case, much like 0:11:48.040 --> 0:11:50.240 any world closure, the city really was helpful with us 0:11:50.240 --> 0:11:51.800 when we explained what we wanted to do and they 0:11:51.800 --> 0:11:54.960 gave us the permission and the storefronts all you know 0:11:55.000 --> 0:11:57.080 that we covered up. We're all happy that was really 0:11:57.080 --> 0:11:59.720 put out. Canadians are nice as well. That it's a 0:11:59.760 --> 0:12:02.280 big part of experience, you know what I mean. Like 0:12:02.320 --> 0:12:05.559 we we we did. We filmed the most recent show 0:12:05.600 --> 0:12:07.240 I just finished was we filmed in New York and 0:12:07.280 --> 0:12:08.920 we did a lot of stuff on the streets and 0:12:08.960 --> 0:12:12.400 there was there's a lot of like so we we 0:12:12.480 --> 0:12:14.400 do things and John obviously Cat you guys all know 0:12:14.440 --> 0:12:17.040 about this, but for the listeners at home who may 0:12:17.040 --> 0:12:18.520 not know about this, It's called a lock off, which 0:12:18.600 --> 0:12:21.400 John mentioned briefly, and you literally lock off for both 0:12:21.440 --> 0:12:25.720 traffic cars and traffic walking walking traffic. You lock off 0:12:25.720 --> 0:12:27.920 two sections of the street, the top and the end, 0:12:28.400 --> 0:12:32.560 and people can't travel through those. But correctly, if I'm wrong, legally, 0:12:32.600 --> 0:12:36.960 we're not allowed to stop pedestrians from walking right correct 0:12:37.000 --> 0:12:39.680 A police officer can or a barricade, but you can 0:12:39.840 --> 0:12:42.160 ask someone to start, but they get to you. I 0:12:42.200 --> 0:12:43.920 know New York like the back of my hand. No 0:12:44.040 --> 0:12:46.920 New Yorker is gonna starting to go right through. Yeah. 0:12:47.080 --> 0:12:50.240 It was very colorful morning scenes. Yeah, no kidding. We 0:12:50.280 --> 0:12:52.120 had a couple like we had a great steady cam 0:12:52.200 --> 0:12:54.760 operator Patrick, and there are a couple of moments where 0:12:54.800 --> 0:12:56.520 someone said something a little colorful to me on the 0:12:56.520 --> 0:12:58.600 way and camera just go straight up to the sky 0:12:58.800 --> 0:13:00.440 like we're not seeing any of that. This is a 0:13:00.480 --> 0:13:03.840 Netflix show. We got now would bring it back down 0:13:03.840 --> 0:13:06.320 when when we're ready to go. But yeah, New York 0:13:06.440 --> 0:13:08.960 is a less now with the opposite though, with you 0:13:09.080 --> 0:13:11.439 Cat when we did the when Matt wanted to get 0:13:11.440 --> 0:13:14.680 a scene of you walking through a crowded streets literally, 0:13:14.679 --> 0:13:16.439 remember that I was there that day. There was three 0:13:16.480 --> 0:13:19.360 of It was a camera operator, a grip Matt, myself 0:13:19.400 --> 0:13:22.080 and a costume person and we just threw you in 0:13:22.480 --> 0:13:25.880 morning traffic, morning rush hour, pedestrian traffic, but mostly them 0:13:25.880 --> 0:13:27.960 all going the other way so that they were looking 0:13:27.960 --> 0:13:29.400 at the camera and it worked. It was like the 0:13:29.440 --> 0:13:31.360 opposite work and nobody cared because they were just going 0:13:31.440 --> 0:13:32.959 to rush to get to work. Yeah, because there's you know, 0:13:33.000 --> 0:13:34.920 you put up a little sandwich placard on the street. 0:13:34.960 --> 0:13:37.080 That didn't do that? You didn't, I thought. I thought. 0:13:37.480 --> 0:13:40.440 We literally, we literally created a wedge behind the camera 0:13:40.480 --> 0:13:42.640 of our body so people would have to go around it. 0:13:42.880 --> 0:13:46.199 Oh my god. So for the listeners at home, this 0:13:46.240 --> 0:13:48.959 was the scene where and I think it's season two, 0:13:49.040 --> 0:13:52.839 episode one, when Clary has decided to run away from 0:13:53.559 --> 0:13:55.760 the Shadow World because she feels like she doesn't belong 0:13:55.760 --> 0:13:58.360 anywhere and run them back to the Bigland Academy of Art. 0:13:58.400 --> 0:14:01.600 I know she loves to run away various times. Um. 0:14:01.640 --> 0:14:05.079 But it was by Union station in Toronto downtown, which, 0:14:05.200 --> 0:14:07.320 as you know, if anyone has ever been to Toronto 0:14:07.480 --> 0:14:09.560 or has ever been near a Union station in any 0:14:09.600 --> 0:14:13.000 city in the morning, it's so the streets are packed 0:14:13.440 --> 0:14:16.760 and you know, you can't you can't get between people's shoulders, 0:14:16.800 --> 0:14:19.080 and it made for such an amazing scene because you 0:14:19.160 --> 0:14:21.840 just had this sea of coats and people and faces 0:14:22.400 --> 0:14:26.400 and yeah, I remember it was such kind of guerrilla filmmaking, 0:14:26.480 --> 0:14:30.280 but in the best west that was it. We love that. 0:14:30.320 --> 0:14:32.720 Though we've again we've said on this podcast we're sort 0:14:32.720 --> 0:14:34.800 of approaching the end of this season now, so we've 0:14:34.960 --> 0:14:38.000 we've talked extensively about the show. So if I'm repeating 0:14:38.040 --> 0:14:41.840 myself listeners, I apologize, But we've spoken quite extensively about 0:14:42.400 --> 0:14:45.440 the difference between shooting, for example, on a green screen, 0:14:45.520 --> 0:14:48.360 especially the three sixty green screen, which is quite hard 0:14:48.360 --> 0:14:51.320 work because on a show like ours is very hard 0:14:51.360 --> 0:14:55.040 work because we're imagining these things that we haven't even seen. 0:14:55.080 --> 0:14:58.280 It's not like a dragon, it's like a mythical beast, 0:14:58.320 --> 0:14:59.520 and we don't know what the fun that thing is 0:14:59.560 --> 0:15:03.080 gonna look So you're imagining this thing or this world 0:15:03.240 --> 0:15:05.080 or whatever you know, eden whatever it is. We have 0:15:05.120 --> 0:15:08.120 no concept of what that's going to look like, which 0:15:08.160 --> 0:15:10.160 is really hard work. And at least for me, the 0:15:10.200 --> 0:15:12.880 most exciting days are out on the street there because 0:15:12.920 --> 0:15:15.160 I can see everything, I can visualize everything, and it 0:15:15.200 --> 0:15:18.200 takes that this little element of difficulty out of my 0:15:18.280 --> 0:15:21.600 work day. Um, it adds difficulty to your work day. 0:15:22.240 --> 0:15:25.400 It takes a little out of it keeps you employed. Yeah, 0:15:25.440 --> 0:15:28.160 but the true the location becomes a character in the store. 0:15:28.200 --> 0:15:30.320 It does. If you think of like iconic movies, of 0:15:30.440 --> 0:15:34.040 iconic scenes where they take place, even if it's fictitiously, 0:15:34.920 --> 0:15:37.400 you know, created like Toronto became New York, It's still 0:15:37.440 --> 0:15:40.240 a character and everything. Absolutely. And you know, if for 0:15:40.240 --> 0:15:42.240 anyone who's read the books, and for anyone who you 0:15:42.240 --> 0:15:44.680 know has watched the show, the city of New York 0:15:44.720 --> 0:15:47.360 in in any piece of media becomes such a huge 0:15:47.440 --> 0:15:49.480 character in it and and takes on kind of a 0:15:49.520 --> 0:15:52.720 life of its own and is a you know, mythical 0:15:52.800 --> 0:15:56.120 being in and of itself. But it felt as though, 0:15:56.160 --> 0:15:58.240 and I'm sure this is largely due to you, we 0:15:58.320 --> 0:16:00.880 found such a great rhythm on the show of having 0:16:01.320 --> 0:16:03.600 most of the time in studio and on stages when 0:16:03.600 --> 0:16:05.800 we had our own space and our own stuff, and 0:16:05.800 --> 0:16:08.000 then having being able to use the rest of our 0:16:08.040 --> 0:16:12.160 resources to go out and do some really major, huge locations. 0:16:12.880 --> 0:16:15.560 And you know, I didn't know this when I moved 0:16:15.600 --> 0:16:17.760 to Toronto, but even some of the locations we used 0:16:17.760 --> 0:16:21.240 in the pilot, like the Distillery District and that nightclub 0:16:21.320 --> 0:16:25.360 and all those things. Those are pretty prominent and usually 0:16:25.440 --> 0:16:30.560 very busy Toronto locations. And say when when the the 0:16:31.400 --> 0:16:34.320 when the Distillery District was pitched by McGee, a lot 0:16:34.360 --> 0:16:36.560 of us just kind of hung our heads, going, Okay, 0:16:36.600 --> 0:16:40.480 it's a real pain to go there, but fine, because 0:16:40.480 --> 0:16:42.000 the those who don't know what it was an old 0:16:42.080 --> 0:16:45.240 distillery that got gentrified and surrounded by condeminiums and shops 0:16:45.280 --> 0:16:48.920 and restaurants. It's the residents that's always an issue. But 0:16:49.600 --> 0:16:50.920 we we did. We made it work. It was just 0:16:50.960 --> 0:16:54.440 it wasn't our favorite place to pitch. Truthfully. The hardest day, 0:16:54.440 --> 0:16:56.360 and on the first episode is the pre shoot day. 0:16:56.520 --> 0:17:00.000 The park we are in was just I don't even 0:17:00.000 --> 0:17:01.480 and I even I don't even know remeter, I haven't 0:17:01.480 --> 0:17:03.120 even made it. But that was like we had a 0:17:03.120 --> 0:17:06.000 pre shoot day of a Clary flashback with a demon 0:17:06.040 --> 0:17:08.640 coming out of water. That was the fountain didn't work. 0:17:08.720 --> 0:17:10.720 We had to we had to bring in We had 0:17:10.760 --> 0:17:13.240 to literally crack a fire hydrant to put water in 0:17:13.240 --> 0:17:16.800 this thing. Yeah. Yeah, the the actual mechanics of the 0:17:16.800 --> 0:17:20.159 Parks fountain didn't work. They couldn't get water to it, 0:17:20.200 --> 0:17:23.200 so we actually got to crack a hydrant with permission 0:17:23.200 --> 0:17:27.040 and run this thing up. Um. But the nightclub, you 0:17:27.040 --> 0:17:29.080 mean the nightclub with the incessant fire alarm. They kept 0:17:29.080 --> 0:17:33.000 going off. Forgotten about that right three times that one 0:17:33.080 --> 0:17:35.520 night because every time they opened the doors, the smoke 0:17:35.600 --> 0:17:38.720 would uh below the atmosphereic smoke that we used to 0:17:38.760 --> 0:17:41.040 make everything look pretty and sexy. When you go, you 0:17:41.400 --> 0:17:43.199 fill the room so it's like a pressure room. And 0:17:43.200 --> 0:17:46.760 we opened the doors, that smoke would fly out and 0:17:46.800 --> 0:17:49.000 go two floors up, and then in the same building, 0:17:49.080 --> 0:17:51.200 go into the intake and set off the fire alarm 0:17:51.400 --> 0:17:53.280 because the owner of the building didn't want to disable 0:17:53.320 --> 0:17:55.679 the system until the third call from the fire department 0:17:55.680 --> 0:17:59.960 and then he flicked the switch. But that was you know, 0:18:00.080 --> 0:18:03.520 Finding the club was interesting because we tried to avoid 0:18:03.600 --> 0:18:05.280 certain things from the from the movie, so it's a 0:18:05.280 --> 0:18:06.919 different we found about the club. We don't have had 0:18:06.920 --> 0:18:08.639 the little alley way and stuff. And I'm going to 0:18:08.760 --> 0:18:12.800 jump ahead to the last episode. I really fought I 0:18:12.840 --> 0:18:14.880 wasn't on the last two. I was kind of there 0:18:14.920 --> 0:18:17.240 for you. I was doing another show waiting for season 0:18:17.280 --> 0:18:19.560 four to get Greenland, and it didn't. I was in 0:18:19.600 --> 0:18:22.400 the same building doing this horrible Christmas movie for free Form. 0:18:22.720 --> 0:18:25.200 I couldn't leave, so I was still kind of involved. 0:18:25.240 --> 0:18:27.000 And when I saw the last two scripts, I kept 0:18:27.080 --> 0:18:29.639 arguing that the very very last scene of the show 0:18:30.080 --> 0:18:32.560 should have been in the same alley from the first 0:18:32.560 --> 0:18:36.040 episode of the Nightclub, saying it's this, It's that, the end, 0:18:36.119 --> 0:18:38.320 is the beginning, is the end. It just never ended 0:18:38.359 --> 0:18:40.560 up happening because of their schedule, and I kept arguing, 0:18:40.600 --> 0:18:43.080 what I'm going it makes more. Even Todd agreed, but 0:18:43.119 --> 0:18:45.840 it just wouldn't work. Just couldn't figure it out. Yeah, 0:18:45.920 --> 0:18:47.800 that happens a lot. There's stuff that we really think 0:18:47.880 --> 0:18:50.480 might work and pitch and it gets being creative and 0:18:50.760 --> 0:18:54.840 it's other people's inputs. Other things end up being decided voices. 0:18:55.119 --> 0:18:58.800 It's nuts, Like it's you know, auditioning for us is 0:18:58.800 --> 0:19:01.159 is it's sort of a similar process, Like you impress 0:19:01.240 --> 0:19:03.919 one person who's normally the first person who meets, like 0:19:03.920 --> 0:19:06.640