“We were always having discussions about having the prosthetics as thin as humanly possible so the emotions can come out and Walton’s movements can translate appropriately through the piece.”
“There is a mental aspect of it, because I think any normal person doesn’t think it’s a good idea to get hit by a car, right?”
“The songs have an interesting dual meaning that fits the show, especially if you’re a vault dweller and you have a romantic version of what the world is and it connects back to the tragedy of why they’re in the vault in the first place.”
“I’ve done a lot of Victorian work. It has the same queen and Victorian house with lots of ornate stuff in there. It has nothing over those vaults. The vaults are insane.”
Fallout editor, Ali Comperchio, introduces the vast world with remarkable ease with the pilot, aptly titled “The End.”
“Cut from Cooper Howard to the Ghoul where everything gets dismantled with broken instruments and rattling things and scratching.”
Mr. & Mrs. Smith composer David Fleming didn’t want a familiar score for the spy thriller. He wanted to write the arthouse version of one.
The Gen V finale director Sanaa Hamri (Wheel of Time) is no stranger to creating large-scale episodes of television.
“I hope people watch this and not only want to rewind it much again, because it was fun, but also that they have a story that maybe they connect with on a personal level.”
“You would not think that that scene would be difficult because it’s all one shot. For an editor, you would think, oh, she could just put her feet up for half a day. It didn’t work like that. Here’s what happened…”