The Last of Us is one of the most popular and acclaimed series of the past 10 years. It is based on a beloved and iconic video game franchise. Craig Mazin and Neil Druckmann developed the project for HBO; after a successful first season, the show was renewed for a second season, which is currently running and is so popular it has already been renewed for season three. It is the story of a fungal infection that turns people into zombie-like creatures. We follow the lives of Joel (Pedro Pascal) and Ellie (Bella Ramsey), and new characters come into the fray, especially in the current season. The very talented Cinematographer Ksenia Sereda, who shot three episodes previously, returns with four impeccably shot episodes. Sereda recently spoke to Immersive via Zoom.
[This conversation has been edited for clarity and length]
What’s it like returning to this world?
It is extremely exciting, and I am so lucky to be part of such a big and visually outstanding show. Second seasons are always interesting to return to because you want to preserve all the elements people love while pushing the story forward. It is interesting how the storytelling evolves and how characters get older. You want to support that with visual language and cinematography to help develop those characters.
There is a time jump, so talk briefly about how that is represented cinematically.
It is interesting because I cannot say that visually, we are creating a vast separation between season one and where we find Ellie in season two. I think Bella Ramsey gives such an incredible performance that feels more grounded and adult—it feels like something has changed. That being said, the cinematic language does change and grow with the characters.
Talk about working again with Craig Mazin and Neil Druckmann.
I’m super lucky to work with Craig and Neil. Craig is not only an excellent scriptwriter but also a fantastic director. Both of them know what they want and know this material well. They are absolutely in love with it and so passionate about it.
How visual and in-depth are the scripts?
The script itself is incredible. You get so many visual ideas from it when you read it, but it’s not telling you how to shoot it. It gives you an understanding of where the action is, how close you are to the characters, and how you should follow them.
This season has more stunts, but it is still a very character-based show. This is extremely special for me because what I appreciate most as a cinematographer is creating a connection to the characters that viewers can understand. So they can live together with the characters and the journey they’re going through.
What kind of camera did you use, and what kind of lenses?
In season one, we used Alexa 35 with custom-made Cooke lenses. I’m obsessed with the Cooke Look, but I don’t find it especially warm. I think what Cooke gives me as acinematographer is this flexibility of painting with lighting through the lens and camera. The way the lens sculpts the face and aligns with lighting, there is something so special about it. I’m operating myself.
ARRI Rental helped me this season. They supported all my crazy ideas, and they felt like family. They created these lenses for this season. They are based on Cooke 4 lenses with an exchanged iris element. It gives a softer look, which was needed for some vital scenes in the series, like the church scene.
Any favorite moments?
The first episode is always interesting because it brings viewers back into the story and the characters’ lives. The whole church sequence is stunning. It’s like falling in love, so dramatic and heartbreaking at the same time. There are so many new characters you need to introduce and establish their relationships.
In the sequence with Ellie and Dina, there are many bulbs underneath the ceiling. In the opening shot of Ellie, on the back of her hat, you see all these bulbs surrounding her, which look very beautiful, almost like eerie circles.
It was so awesome. You still have this soft and beautiful look paired with the Cooke Look. The closeups let me be far and close in the same shot and still have excellent visual plasticity. I really like talking about that aspect. You need warmth in a show like this because it is this epic apocalyptic thing. What draws the audience in is the warmth of the characters.
How much of an inspiration is the game for your work on the show?
As you can imagine, the game is a massive inspiration for the whole thing, and storytelling is based on the game too. This game is an absolute visual masterpiece on its own. We aren’t copying shots but are certainly inspired by what they achieved. We kept some iconic shots but in a different form, of course.
Are there any other film influences that come to mind?
In episode one, we used references from different films and shows for various scenes. In the first big scene where we meet Catherine O’Hara’s character, Joel comes to her, and it’s a therapy session. We used the language of closeups, and the scene develops from wider to tighter, bringing you inside Joel’s. This was inspired by The Silence of the Lambs.
What’s it like to be on the other end of this now? The season is currently airing weekly on HBO.
It is such a special experience, and it is mind-blowing for me how many people love the show and how many people will watch it. It is a very unique opportunity to work on this material, be part of that, and help Craig and Neil create this. This season has much more scope and a lot of new storylines developing. I’m very curious how the audience will react to each reveal.
It was such a great experience working with such a great cast, especially Bella. They are absolutely incredible, such talent, and working with them is one of the best experiences I’ve had working with an actor. Especially when I’m operating, and I’m inside the scene, their performance is like nothing else. They always make me so emotional inside the scene. It was absolutely amazing to watch them work and create this character.
The Last Of Us Season 2 is currently airing every Sunday on HBO and streaming on MAX.
