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3 Body Problem | (Spoilers) Inside the End of Judgment Day - Netflix
80PoundMedia
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3/27/2024
WARNING: SPOILERS AHEAD
Executive Producers/Showrunners are joined by Eiza González and director Minkie Spiro to discuss all that went into this mind-blowing scene from Episode 5 of 3 Body Problem.
Category
📺
TV
Transcript
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00:00
[MUSIC PLAYING]
00:02
The Judgment Day sequence was one of those ones
00:04
that we talked about before, where you just think, oh, man,
00:07
I really want to see that on screen, see it done right.
00:09
[MUSIC PLAYING]
00:12
I've read the episode countless times,
00:22
trying to fathom how am I going to visually pull this off.
00:27
I don't think we've ever seen something like this on TV.
00:30
There's so much going on.
00:32
It's a crazy frenzy.
00:34
So I think this should be epic television.
00:37
[MUSIC PLAYING]
00:40
We found him.
00:42
Panamax oil tanker.
00:44
Could be 1,000 people living on there.
00:48
For something as epic as The Judgment Day,
00:50
it began with months of prep.
00:53
And it started with the science.
00:55
Oggy is a genius, and I employ her to use those skills
00:59
in a very questionable way.
01:01
What do you think is more important to the human race,
01:04
a canal, or defeating an enemy coming to our world
01:06
to take it for themselves?
01:09
When we were trying to design the nanofiber cutter
01:13
in Oggy's lab, something I realized quite quickly
01:16
was that if I was really doing this experiment,
01:18
I would want to be observing the property of these fibers.
01:21
So you would probably want to avoid moving the fibers.
01:23
You would want to keep the fibers static
01:25
and move the block through the fibers.
01:28
Why isn't it working?
01:29
It is.
01:34
And if we believe that what the diamond cutter can do
01:37
is possible, then the outcome of Judgment Day is believable.
01:40
You wanted to work.
01:45
Of course I wanted to work.
01:47
Even though you don't know how many people we're going to kill,
01:49
what do you think is happening?
01:52
I think we're at war.
01:55
Everyone in the show is grappling all the time
01:58
with the question of, in a wartime situation,
02:01
how far will you go?
02:05
One of the corridor sequences where everything gets destroyed,
02:09
everyone just expects that you're just
02:10
going to all do it in post.
02:12
But I wanted to keep quite a bit of it in camera as well.
02:16
For us creating that, it's very important
02:19
to make it very organic.
02:20
So we want to pull off something which looks hyper real,
02:24
but to a point of realism that is really quite
02:27
interesting and propelling.
02:30
The other epic moment is the wreckage.
02:34
And Keith, head of construction, genius,
02:37
came up with using this idea of neoprene.
02:40
And that was rigged onto a very simple rig,
02:42
but whereby those strips could be pushed and pulled
02:46
and angled up or down.
02:48
And it made these strips look like they had been mangled.
02:50
What's important for me was to make sure
02:58
that we fed the appetite for spectacle and scale,
03:02
but with characters that we care about.
03:04
You're telling us to kill people we don't know for reasons
03:06
that we don't know.
03:07
And you're just like, yeah, cool.
03:11
You have to focus on character and relationships
03:13
where it can be brought down to the human.
03:16
When you're dealing with a drama that
03:18
affects all of humanity, things may not be as black and white.
03:23
So we really see Auggie just trying to grab onto life
03:28
as hard as possible.
03:31
It creates an interesting moral dynamic for the viewer,
03:34
but the most violent, horrific thing that we do
03:37
is done by ostensibly the good guys.
03:41
I mean, it's terrifying.
03:42
It's utterly terrifying.
03:45
And that's the feeling I wanted to create,
03:48
that you've been literally blindsided with this massacre.
03:54
[MUSIC PLAYING]
03:57
[MUSIC PLAYING]
04:01
[MUSIC PLAYING]
04:05
[MUSIC PLAYING]
04:08
[MUSIC PLAYING]
04:12
[MUSIC PLAYING]
04:15
[MUSIC PLAYING]
04:18
[BLANK_AUDIO]
Recommended
3:52
|
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