Immersive Media Has Moved To Substack
It was designing many sounds using outboard gear, sort of taking things out of the computer, doing it with modular synths, and just having a blast creating these textural things that played with music. We had Daniel Pemberton’s excellent score, and for the whole episode, we were making sounds harmonized with what he was doing tonally.
I think the bank episode was particularly challenging because of its location. It sits in the middle of Wall Street, and the entire episode takes place there. And because of the logistics of Wall Street, we could not put a lot of lights outside. We only had, like, one day to shoot outside. We were able to close the street, but we needed three. So we had to shoot with the exterior streets with open traffic, which is not ideal. Technically, the lobby of the bank is also very, very dark. You have these very narrow streets with very tall buildings.
I made many quiet clothes that fit well, like trousers and flares. Sometimes, I found a blouse, piece of jewelry, or something that felt right, and we built around it. I wanted to be tethered to real finds and tie everything to reality. If you start using too many theatrical devices, you’re just taking steps further away from keeping that sort of visceral feeling that it needed. I had to go from the script.
Meghann Fahey: I wanna repeat something that Molly shared with us. This idea is that sirens, as we know them, are sort of monsters who make sailors crash their boats, so what we know about sirens is from the male perspective. Molly said, “I thought maybe we should focus on what the song is, and maybe they’re crying for help. You know, what is it? What are they saying?” I think that is the entry point for our characters. By the end, they’ve all sort of put their relationship to power under a microscope in one way or another. I think it’s a very cool unfolding theme to watch happen throughout the series.
There are so many characters and so many relationships. And times two, because you have the young and adult versions. So it’s this kind of exponential and crazy. Initially, working with the producers, we made distinctions between adult and teenage versions of characters. Now that we’re in season three, the breadth and depth of the trauma and horror are revealing.
This season was supposed to be a complete juxtaposition to the end of season two. We wanted to open up and were in a beautiful, idyllic witchy village; they’ve already gone through the worst of survival, and now the summer’s coming, and things are looking up. A summer solstice ceremony happens in the first episode, putting leaves on their costumes.
It was designing many sounds using outboard gear, sort of taking things out of the computer, doing it with modular synths, and just having a blast creating these textural things that played with music. We had Daniel Pemberton’s excellent score, and for the whole episode, we were making sounds harmonized with what he was doing tonally.
I think the bank episode was particularly challenging because of its location. It sits in the middle of Wall Street, and the entire episode takes place there. And because of the logistics of Wall Street, we could not put a lot of lights outside. We only had, like, one day to shoot outside. We were able to close the street, but we needed three. So we had to shoot with the exterior streets with open traffic, which is not ideal. Technically, the lobby of the bank is also very, very dark. You have these very narrow streets with very tall buildings.
Immersive Media Has Moved To Substack
This weekend the Emmy Edition of Spotlight Live! returns with contenders from Production Design, Costumes, Locations, Music, Sound, Make-up &…
The Cannes Film Festival made its initial lineup announcement today, and it is full of the kinds of films that…
On Thursday, April 17, PMG will celebrate the highly anticipated launch of PROP CULTURE magazine, the Guild’s flagship publication, offering an exclusive insider perspective into the making of props for film and television. The launch event promises to bring together industry professionals, creatives and tastemakers to commemorate this exciting milestone.
After a thoughtful and thorough process to identify the future location of the Sundance Film Festival, today the nonprofit Sundance Institute’s Board of Trustees is proud to announce that Boulder, Colorado, will become the Festival’s home beginning in 2027. Boulder offers small-town charm with an engaged community, distinctive natural beauty, and a vibrant arts scene, making it the ideal location for the Festival to grow.
Lucasfilm’s Emmy®-nominated thriller “Andor,” returns for its long-awaited conclusion on April 22. The second season takes place as the horizon…