But once you pitch the idea - and of course, I pitched it to our writers, I pitched it to our producers, pitched it to our visual-effects team - everybody was on board. There was some visual effects involved in how I wanted to do it, so I sort of made everybody's plate a little bit fuller. We got together on the weekends, we tried different versions six ways from Sunday until we landed on how I wanted to do it. They committed 1,000 percent, they knew what a big moment it was for both of them. I'm really proud of what the actors brought to the table. I'm really proud of the way it turned out. I think it's unique, and the way we reintroduce the two to each other is something that I'm very proud of. I approach it from the angle where, "What if I didn't have any dialogue? If this was a silent film, how would I convey what's going on between these two with the camera and the actors alone?" And that's how I came up with how to shoot that scene. This is the big moment where Naomi finally gets to reconnect with her kid." So I knew that that was going to be a big moment, and I worked long and hard on how to shoot it. When people sat me down, they'd say, "Listen, you're doing and it's on your shoulders. What was it like to direct that emotionally charged scene? This is also the episode Naomi finally makes contact with her son after years away. RELATED: The Expanse Releases Its Own Take on the Yule Log Video So it's just a wonderful way for me to dive into the other side of the camera. And I get to take my experience on The Expanse and move that out into the world, start directing other things. We had some special pair of high-tech goggles that our character is wearing, and so figuring out, "Do we shoot it without the lenses or with the lenses in?" And even now, the visual-effects guys are sometimes scratching their heads and going, "Why don't we shoot it both ways?" Stuff like that.īut those kind of challenges are really fun for me, and it's always a learning experience. And that's where you got to turn it over to the visual-effects boys and say, "Okay, fellas, what do you need to make this work?" And there's a lot of niggly stuff, like reflections in helmets and glasses. How did you conceive of these big, scary special-effects heavy moments on Earth? The scale of them is amazing. Like you said, this is an extremely pivotal episode that you directed. If it's not on the board, we're not going to shoot it. So if there was a problem or people were wondering what to do next, we'd all walk over to the storyboards and I'd say, "Pick a shot, fellas. I storyboarded all of the action sequences and some of the other scenes too, just so that I could give everybody a visual roadmap. But because I had such a great crew behind me, it all went very smoothly. This stuff is very technical and stuff that I don't have the experience in. I was nervous about some of the visual-effects stuff that was required. I was nervous about the action sequences. People trust me, and they had no problem putting me into the helm.Īnd of course I was nervous. And so sitting in the production meetings is sort of like a party. I know how it all works, I'm like a mechanic walking through the hull of the ship for quite a long time and just having relationships with the heads of departments. So it was easier to take the helm because you knew the show from the inside?Ībsolutely. RELATED: The Expanse: What Is the Ring Gate? And they trusted me with an episode that is emotional, it relies heavily on the actors and their performances, so they were smart about which episode they gave me. And me dropping into the role of director was actually surprisingly smooth. So our crew has been together as a tight-knit group for five years. It's the only show that I've ever been on where the crew members will drop whatever show they're doing to come work with us when they announce that we're making another season. pop my cherry is to direct an episode that I have been with for five years. Producing and directing have always been a passion of mine, but you got to get to a certain age and a certain level of experience where people decide that they might want to take you seriously. So I've always been moving in this direction. We just produced our third film and we've got a big TV show coming out that I'm going to shoot in Australia for one of the major streamers. I started a production company called Renegade. I went to Alcon, and I went to these guys. I bugged them until they finally relented.
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