- 6/10/2025
Variety Artisans Exchange will feature two exclusive conversations with this year's standout artisans behind hit shows. Moderated by Jazz Tangcay, Variety Senior Artisans Editor, this discussion will explore how innovation and collaboration among artisans lead to award-winning series.
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00:00Hi, I'm Jaz Tenke, Senior Artisans Editor at Variety, and welcome to Artisans Exchange
00:11Creative Collaborators. Please welcome Margot Reddy, Production Designer of Yellow Jackets,
00:17Cave Quinn, Production Designer of Bridget Jones' Mad About the Boy,
00:21and Ksenia Sereda, Cinematographer of The Last of Us. Hello and welcome to you all.
00:26Hello.
00:27Hello.
00:28Hello.
00:28Hi. I'm so excited to be here today, and I love your work, and this is going to be really
00:35fascinating because we've got two production designers and a cinematographer, and the title
00:41of this panel is called Creative Collaborators, and we all know collaboration is really important.
00:47So I'd love to hear from each of you, where does it begin, and who is your, this is the first person
00:54I need to speak to in when I get a script or when I sign on. Cave, I'm going to start with you.
01:00So basically, when I first read a script, you know, you obviously, it's normally that you're
01:06doing a presentation to a director to try and pitch for the job, and I, whenever I read a script and
01:13break it down, I just, I literally draw as many images as I can. I spend days doing it. Some might get
01:20a researcher to do, but a lot of them are my own images, which kind of reflects the kind of emotional
01:28feeling that this particular script has given to me. And then I mash it all together for the
01:35presentation for the director, and then we go forward from there. But it does take quite a long
01:40time to really kind of think about the script. And this is even before I've even really had a discussion
01:46with it, unless it's a director I know. And then obviously I've had discussions about it. But then, yeah,
01:53then we go and discuss whether these ideas are working for them. And then we go forward from that. But
01:58with something like Bridget Jones, obviously, this was a story about somebody whose character, you know,
02:06was established. So it's a different kind of set of circumstances for her, for her and that tale.
02:13Yeah. Love that. And we're going to dive into that a bit more. Margot, what about for you? This is your
02:20third season now on Yellow Jacket. So when you get the scripts for season three, who are you speaking
02:26with? Yeah, actually, it's my second season. I didn't do season one. Sorry, second season. Yes. And I think it's
02:32really interesting what Cave said, because it's a little different depending on the type of project. So for
02:36TV, there's a few voices in the room. Because the directors, we can have a producing director who'll
02:43be there the whole season. But the directors tend to kind of come for one episode. Often they repeat
02:47over seasons. But really, our first point of contact would be the showrunners. We always go
02:52back to the showrunner. So similar process. If it's a new show that I'm pitching for, and I haven't got
02:57the project yet, I'll put together a pitch packages of images, sometimes my own, sometimes reference,
03:03I'll do some illustrations sometimes, to try to sort of see if it's a good fit for the project,
03:07and if I get the project. And then that package will kind of serve as a template on going through
03:13the show. You know, this is what we liked in your package. This is what we want to change.
03:16Very much the showrunners steer the ship for the season. And if it's a repeating season,
03:23like season three of Yellow Jackets, where we got to do really a lot of distinct world building in the
03:27wilderness, that was a long and complicated conversation where, in addition to pitch
03:33materials that were visuals, we also had to build models. Like we had to go and snap some trees and
03:38make some little models of different types of huts and so on. So we had like a sort of 3D
03:42representation of what we were doing and for scale. And one of our showrunners, Bart,
03:47came and looked at it and sort of, you know, surveyed the 3D vision of it. So it got quite
03:52sculptural, in a way, that season. Yeah. I love it. And we, as I said, you know,
03:58we're going to dive back into it. What about you, Ksenia? As the cinematographer
04:02on a show like The Last of Us, where do you begin? Who are you talking to?
04:10Yeah, you know, it's pretty, it's on The Last of Us, it's a pretty interesting experience because
04:14it is based, as you know, on the video game, which is an incredible visual reference and story
04:22reference. And, you know, our showrunners, Craig Mason and Neil Druckmann. Neil Druckmann created
04:27the game, like he and his company, Naughty Dog. So it's kind of like together with them, that's the
04:33first stage of collaboration. And, you know, it's very interesting because, you know, in any
04:40production, there are so many people involved, but we have a very tight, you know, creative
04:45relationship with our production designer, who's absolutely amazing, Don. And, you know,
04:51like kind of, it starts with a smaller group usually, right, when you go on the location
04:55scout. And, you know, also like with the new season, it's also interesting because there
05:02are so many new things to establish. And for season two, there were a lot of new colors
05:07and new storylines and new characters. But overall, you know, pretty much, pretty much what
05:12Cave and Margot said before. It starts with a creative collaboration with the showrunners,
05:18especially in our case that both of the showrunners are directing too. So it kind of like gets
05:24it more, brings you more close to the source for sure.
05:30Yeah. Well, speaking of new things, you know, this season that, yeah, there's a lot of, there's
05:35a new infection. How does your, how is your camera moving to create this tension, especially,
05:46yeah, with, yeah, with that behavior being so different than what we've seen in the previous
05:52season? We can go full spoilers here, by the way, on all the shows, and we will do. But
05:55yeah, talk a little bit about how you wanted your camera to move.
06:00I think overall, we wanted to preserve the handheld look of the show, you know, bringing it from
06:06season one into season two. The only, like, big difference in general was that the camera
06:13kind of becomes a bit more grounded in a way Ali becomes different. But specifically talking about
06:21the sequence with new type of infected, we're establishing this season, stalkers. It's very
06:28interesting because the show is such an interesting thing, even though it is about this post-apocalyptic
06:36world and infected, it's still pretty much very attached to the characters. And we're so close to
06:42them. We're really character-focused and character-centered. We're following them very
06:47tight. But here, with stalkers, it kind of gives us the opportunity to be from, like, you know,
06:53this third-person perspective. Because you never know. Like, previously, like, this thing just,
06:58like, charges at you. But now we have this kind of, like, cat and mouse situation. Which gives,
07:05like, you know, it's interesting because it for sure helps us, like, the camera placement inside of the
07:10big locations. Like, in episode one and episode five with stalker sequences. It gives us the
07:17opportunity to be, like, you know, far away watching our characters kind of, like, you know,
07:22being surrounded by this creature.
07:24Yeah. I love that. Cave, talk about Bridget's, building Bridget's home. You know, she's, you know,
07:35she's her mother. And as I was saying earlier, like, I love her kitchen. It is a typical English
07:40kitchen. But what did you want that to say? Like, what colors were you using? What?
07:45Yeah. I mean, basically, I just wanted to feel that as the evolution of Bridget, obviously,
07:52everybody knows the past films. So it had to feel like her world. But also, she'd lived there with
07:58Mark. But nobody's experienced her living there with Mark. Because in the last film, she, you know,
08:06that was them getting married. So suddenly, she's in this new film. She's been living in this house for
08:12some time on her own with her children, because he suddenly died. So it had to have elements of him,
08:21a lot of her, because she's kind of taken over, obviously, because she's been there longer. And
08:28just an element of fun and color. So the house that we chose for the main locations, like a sort of
08:35early Victorian house in Hampstead Heath. And those houses actually quite narrow, it's a Georgian,
08:43so I live Victorian to the late Georgian house. And the actual real sort of footprint of the house
08:49is quite small, which was pretty unworkable, if you were to take that as, you know, your footprint.
08:56So we kind of stretched it slightly by about 20%, I guess, and to make it work for the camera. And also,
09:04I wanted to make it work as a piece of like a staging post for her and her children to interact
09:12and all the other characters to come in. And the main kind of area was her kitchen area and her
09:19dining area and her living room area. And the other thing, I wanted to feel really real. And a lot of
09:25people, when they came on the set, they said, like some of Michael, who's the director's children,
09:31came on the set, and they said, oh, we thought this was a real house, and you've just taken it and put
09:36it here, which is the biggest compliment, because it felt really real, all the layering, or just
09:43everything about it. We tried to make it feel totally real, you know, from the subsidence,
09:49the natural subsidence the house would have, where the mouldings have been painted over and over again,
09:55just to have the real character, real floorboards, you know, just everything had to have a reality to it,
10:02because you're in it so much. And then also including the garden at the back. And actually,
10:07the DOP, Susie, lighting really, really sort of helped with the kind of the actual, making it feel
10:16really real. And she really wanted to shoot on film, it's Susie Lavelle, who's the DOP. But unfortunately,
10:23we couldn't, we weren't able to. So she devised, you know, digital way of trying to make it look like it was on
10:30film to give it that kind of, they wanted her and Michael, the director really wanted it to feel like
10:36the first Bridget Jones, the kind of the charm of the, of that particular film, the way it was shot
10:43and everything. So they really drew on that a lot. So we tried to employ that in the in the colours in
10:50the set, as well. So the idea was with the yellow kitchen, was it fun, it was vibrant, it kind of
10:59reflected her personality. And then, you know, upstairs in her bedroom, Bridget's sort of got a
11:07grown up wallpaper in her bedroom, which is kind of something that she would have chosen with her and
11:12Mark. And then in the children's bedroom, Mabel's got her version of Bridget's wallpaper in her bedroom,
11:21and then, sorry, Billy's got his kind of serious side of his bedroom. So yeah, it was a, it was a,
11:29it was very good fun. It was a great fun doing that set. And I, I got three now grown up children. And I,
11:38I drew on a lot of my own personal experience with the, the things that were put in the set, the way
11:45the set was dressed. Just little, little kind of little nods to them. In fact, some of the things
11:51my children have made for me, were in the set, like Mother's Day cards and things like that,
11:56which you can't really get made, unless they're made by a child, you know. And you can't always get
12:02the actors to make things for you, or you can't employ children to. So I have boxes of art that my
12:09children have done for many years ago. So I used a lot of that in the set. Yeah.
12:13Oh, we love an Easter egg story. You know, that's my, you know, it touches me. Margo,
12:20speaking of yellow on yellow jackets and kitchens, let's, let's just stick to the theme here.
12:26Um, Melissa, Hillary Swank joins the season as adult Melissa. Um, and what I loved about it,
12:34and it's an Easter egg, I guess, um, is the sign that says the kitchen is the heart of the family.
12:39Talk about Melissa's kitchen and that sign. And as I said, go full spoiler because this,
12:44obviously the kitchen is a scene, uh, becomes the scene of a important moment between Shauna and
12:50Melissa. Yeah. I mean, first of all, Cave, I absolutely loved the kitchen in Bridget Jones,
12:55and I ate it up all the details. I remember it's constantly stopping the film to look at it.
13:00Oh, thank you. And the children's drawings and the realism and so on, you mentioned.
13:03Yeah. And it felt so real. That's always the best compliment when someone's like,
13:07is it a set or, or not? Um, I think it's a great spring point too, to talk about Melissa's kitchen,
13:13because it in many ways is the exact opposite counterpoint to that approach, which is in
13:21yellow jackets. A lot of it is, uh, the design reflects the character's state of mind and the
13:26character's state of mind is in relation to the trauma they experienced in the wilderness,
13:31needing to become cannibals to survive, needing to become something they probably never wanted to be,
13:35to survive. So Melissa's reaction to that is to become a false person. She's the, the,
13:42of all the yellow jackets, she's the one that has the most created a false persona about herself.
13:47She's faked her own death. She's pretending to be not there. And her there-ness instead is quite
13:52tenuous because she's living a lie with her wife. She's not who she says she is. And her house
13:57intentionally is very sort of a combination of blank and artificially over decorated. So we have
14:05fabulous DPs that are not afraid of the color white, which I love because frequently, um, you'll
14:11have people that just like, oh, you know, it's, it's, it's too pale. It's, it's too blank. Um, it doesn't
14:15give enough texture. Our DPs, uh, enjoyed working with it as a kind of template for this kind of
14:21nothingness in which she's placed her curated her personality very carefully. So we found a house
14:26that had great bones, a suburban house. Sometimes these would be sets, but in this case, because it
14:31was only in three episodes, we went for a location, very nice, modern, very simple house that had no
14:36decor whatsoever, but was perfect for the conversation of, Hey, what is this blank slate and how will we
14:41decorate it? So we decided to use very neutral colors because, you know, obviously like you were
14:47saying Kate color is such a choice, a personality choice. So instead we stayed in tones. We very
14:53carefully curated everything to be incredibly impossibly tidy. You know, like how does someone
14:59who has a child have a house this tidy? She's clearly spending her time, even her children's
15:04drawings that you see when you come in are, you know, very carefully drawing is like precisely taped to
15:11the wall in a way that would not necessarily be the common way when you have a child running around.
15:16And, um, Shauna, we didn't see it much, but Shauna is hiding in a perfect pantry with everything,
15:22all the jars lined up and labeled. So we feel this is Melissa's response to her trauma. And we had this
15:27blank wall in the location and we were looking at it going, you know, we need to put something up
15:32there. That's going to be center frame with the important fight where, uh, Melissa and Shauna are
15:36fighting it out. They're both fighting their lives effectively. So I was thinking of those kind of, um,
15:41um, sort of rustic hand painted sort of signs people sometimes put in their kitchen that are,
15:47that just would lean into that almost like falsely perfect homemaker feel. So we decided to do kitchen
15:53is the heart of the family, which is something I came across when I was Googling these signs. This is
15:57the intense Easter egg irony being, of course, that this, there is no heart to this family because
16:02she is actually living a lot, but also of course, a nod to, um, their consumption of each other and their
16:07consumptions of their hearts. And, you know, the story being that really a lot of these people are
16:11very broken and their hearts are broken because of their experience. So it's always fun to find an
16:16opportunity for something like that in a set as well. Um, in yellow jackets, we enjoy Easter eggs.
16:24Yeah, we, yeah, we always, we always love an Easter eggs. And cause any, I want to come back to,
16:30you know, the way you light, you know, the series and something, you know, it's that we've talked about
16:36the action, but also there's a visual shift whenever we see, uh, Dina and Ellie together,
16:44um, and this warm lighting talk. And you mentioned, you know, working with the productions
16:49designer, talk about working with John, um, and the conversations you would have about how you were
16:54gonna light their world whenever, whenever they were together and just bring this, this warmth, um, to
17:03the show. You know, it's, um, first John was a production designer on season one and Don is a
17:10production designer on season two, but you know, the, the approach all together, like as a visual
17:17language is pretty much the same. And it might be the best approach for this show because we're treating
17:26the scenes just like first, some technical things, just like a very, very big question. So overall,
17:33uh, what's amazing on the show that you get to work in the environment. So all the sets we have,
17:40they're dressed 360. So when you get in the set, you can not only shoot like in any given corner,
17:48it's not only actors have, you know, like the freedom of like going anywhere, but also
17:54while you're working in the scene, you're really in the scene. And that's what like,
17:59it's, it's really incredible every single time, like, you know, especially this season working
18:05with Don, when you walk for the first time in the set, you just cannot believe that it's all,
18:09you know, like starting from the set of Jackson, the exterior set we see through episode one, two,
18:15two, um, three and a bit of six, uh, overall, because it was all practically built. And like
18:23the fact that you can walk and look in any corner and yeah, you like always have these, you know,
18:28turn around is absolutely amazing. And lighting, um, with lighting, similar to season one and season
18:35two, we're trying to create the same environment for the actors. So we're trying to light from the
18:40outside. We're trying always to find together with Don, like these opportunities, like, you know,
18:46for openings for lighting. A lot of times we get to work in these sort of like abandoned places when
18:51we don't have electricity, or we use a lot of practicals as the lighting source, for example,
18:57like, you know, hospital and episode five, when we're using this work lights, which are like,
19:02you know, it's part of the set deck, but they need to be strategically pleased to help the scene,
19:07you know, to have like these lighting points and like the key light throughout the scene.
19:11Another, um, big part you mentioned overall, what's amazing about The Last of Us, it's not,
19:18and you know, possible, post-apocalyptic shows overall, they are very beautiful,
19:23even though you're watching, like, you know, when you watch any post-apocalyptic show,
19:27it's very, you know, the colors, the visual experience you're getting is very, very special.
19:34But with The Last of Us, it kind of like brings it on the next level, because when we're talking
19:40originally about establishing the look, and with season two, where we're trying to push it even
19:44further, it has a lot of warm tones, it has a lot of like, you know, a small touch of pink in the
19:50shadows. It has like this very, very beautiful, sad, warm texture to everything, which is kind of like
19:57unusual, because it doesn't have these, you know, green tint and shadows, which are also like,
20:01you know, it's very beautiful. But The Last of Us has like a very different palette from what you
20:07expect to see from post-apocalyptic show. And this warm tone through the season is very important,
20:15because it works for very, you know, beautiful things. Like, you know, this scene in episode one,
20:22when we're in the church, and they're dancing, and they kiss this very beautiful moment. And after that,
20:27it breaks with this drama with Joel. And, you know, similar to scene like that, that the warm light
20:33kind of serves as both sadness and kind of like romance and happiness. So we're trying not to push
20:40for, you know, cold to get like into the sadness and stuff like that.
20:44Yeah, I love that. Margot, I know Yellowjacket's also shot on location too. What are the challenges
20:52of shooting on location for you? I mean, I think, was it last season, you took up all the fake snow
20:58in British Columbia? But yeah, what were some challenges for you?
21:03You know, I think all the challenges, the location in some ways were welcome.
21:08In season three, season two had its own challenges of creating, recreating the season one cabin on stage,
21:13and we built a really large forest on stage with some real trees and so on, and a lot of artificial
21:18snow. And that, that was technically challenging. But I also think some ways a challenging environment
21:23to work in. So season three, I think we embraced all the challenges of okay, we have to build, you
21:28know, a village outside and a pit and all those things. So we, we ended up embracing it and enjoying
21:33it. It's definitely a very big green show full kudos to the greens department, because we basically
21:38created, I'm sure they did in The Last of Us as well, and probably to a much larger scale,
21:43but we did create a fairly large exterior village, landscaping, tree removal, replacement,
21:50you know, cut our pit into the ground. A lot of technical considerations for season three,
21:57but we really enjoyed it. We were extremely lucky with the weather over that summer,
22:01and we had a fantastic greens department as well. So in many ways, I think we rolled up our sleeves
22:06and decided to really enjoy the challenges of it.
22:09Yeah. Cave, I'm curious for Bridget. Did you, were there colors that you were like,
22:13I'm not going to use this color in her house or on the set?
22:18Yeah. I mean, it's basically Renee's skin coloring. We did lots of tests. And then because of the
22:26process to get the, the film look on camera, it was stripping out a lot of color. So we did a,
22:34a lot of tests just to see that what, what worked for Renee. And so the certain colors,
22:43I wouldn't really, you know, like a, I don't know, strong red or something like that. I just wouldn't,
22:48I wouldn't use that. It's quite a difficult color anyway. But the green, yellow, pink,
22:55funny enough, she suits pink. Those colors were good. Yeah. So yeah, there were certain colors we
23:02just wouldn't have entertained. Maybe some blue as well, actually strong blue. Yeah, we did a lot of
23:10extensive color tests just to make sure that she looked her best, really. It's about making her look
23:16beautiful and, um, and not distracting from her personality. Her, her Bridget character is really
23:26critical. So I just wanted to embrace it and not, not kind of, I think, um, I found some of the, the
23:33previous film, some of the colors are very, very strong and kind of angry to me. And I, we didn't want to
23:40do that. We wanted to soften it up the, the film look, which was really lovely in the first film. So
23:47yeah. Yeah. We did a lot of color tests. Yeah. What, what are the challenges of shooting around London?
23:57Um, well, particularly with Bridget, um, because the film is so popular, um, and Renee is just so
24:05massive. It's really tricky with paparazzi. Um, and that, you know, that actually was a real challenge
24:14is trying to, but they couldn't, you know, they were there all the time. Somehow they knew where we
24:20were all the time. So we had to go along with it, but it was a challenge. Um, and, and, and it is
24:26challenging filming in a small village. It could like Hampstead because it is a very small, you know,
24:34the small street, um, and we're a big unit. So it, it, it was a real challenge at times. And, um,
24:41we had to really reduce, you know, our, our unit down and, and displace our unit, you know, the main
24:47kind of body of our unit somewhere else, kind of just keep a cool kind of team on set, which just,
24:54it was, yeah, it was, it was difficult, but, um, but because people love, uh, Bridget Jones so much,
25:00they're a lot more accepting, um, of the inconvenience, you know, caused to them by
25:05us rocking up into their, um, their lovely street that they lived in, but it was tricky at times.
25:11Yeah. And I think London is getting a bit, I think it's because of all the small streets and every,
25:17everything in London. And, uh, there's a lot of film activity in London. Some people are not
25:23really that enamored with it, but with Bridget Jones, it was a little bit different.
25:26We, we always love it. We always love a Bridget Jones movie. Um, I'm curious, I'm going to come
25:33back to something that I started with you earlier. Um, you know, there are so many emotional moments in,
25:40in the, uh, season and there are also, there's also a lot of action, like edge of your seat moments.
25:46What is more challenging for you to shoot?
25:50Good question. I'd say for sure, more responsibility to shoot more dramatic things,
25:58uh, in a way that, you know, action stuff for sure is a lot of fun. And what's amazing about
26:04The Last of Us, it is always still kind of like in characters perspective. So rarely, it's only like
26:11a very special occasion when you're showing scale for scale. Um, so it's always kind of like through,
26:18you know, the character you're following in any given moment, but for sure with dramatic pieces,
26:24I am trying to pay more attention, you know, to stay connected to the characters or like with lighting
26:31to be more like visual storyteller for those moments. And especially, you know, The Last of Us,
26:36again, even though it is about infected and all this exciting stuff, it is very, very, very dramatic.
26:42And, you know, just being so, you know, it's very important to be connected to these characters.
26:48As you know, like, season one did such an amazing job of, you know, making everybody fall in love
26:56with these characters and how dramatic it is to lose them later. And for sure, those scenes are very special.
27:03And in the end, that's what people remember. And that's what people like, that is why we're watching the show
27:08to get this very special, you know, emotional experience. For sure, I admire all the actors we have,
27:16like such an amazing performance. So I operate myself. And for me, it's always such a big thing to be inside of the scene.
27:24It's so impactful to be on that close up and like looking straight into the eyes with the lens, you know,
27:31through the lens. It's very, it's very, it's very, it's a lot of pressure. It's sometimes challenging,
27:37but at the same time, the, I think the biggest goal, of course, you know, to create like a very
27:43suitable visual environment to support the storytelling, but also to create a safe and free
27:51environment for the actors too, in this moment, because a lot of those scenes are very challenging
27:55for them. And for sure, you want to give them the best experience you can to give their best performance.
28:03So that would be my answer. Like dramatic scenes are harder for sure. Every, every episode would have
28:09something so impactful emotionally. And just, you know, sometimes outside of like all the scale and
28:17everything, you just want to sit with a closeup. And especially, you know, with the level of performance
28:23you can experience on this show, it's just unbelievable. Like, you know, for example, episode three, when we see
28:28Ali for the first time, after Joel died, it's kind of like, you know, it just, it's so strong. And after that,
28:36when she gets to his house, and that whole sequence, when she comes in to Joel's house, that's actually for the viewers,
28:42the first time seeing Joel's house inside. So the sequence is built the way that you start further
28:48from her, and you build up closer and closer as she gets to this hero moment when she sees his jacket.
28:55And, you know, it kind of like makes it, it makes this connection, the connection to this dramatic
29:01moment much stronger, for sure. But yeah, it's, it's very, it's amazing how much you can see, like,
29:10this lock into the closeup, for sure, is very impactful. Yeah. Okay, Margo and Cave, Easter eggs.
29:19What's your favorite? What was your favorite Easter egg this season?
29:24I'll jump in. I think one big question this season was, of course, the building of the village
29:30and how did the yellow jackets, how do they move into being able to be self sufficient and take
29:35care of themselves. So we had a lot of conversations about that fine line between being realistic and
29:41believable. Everything needs to be made either from the forest, from the airplane or burned remnants of
29:46the cabin. So technically, it was quite a complicated decision, really. We started with kind of more
29:53simple structure that was basically a tree fort that, that Travis lived in, and then moved into more
29:59complex structures. So we were discussing this, and I was thinking about this little book lending
30:05library that I wanted to put some things in the village for people to do and a little bit of
30:08humanity. So the idea is that Akilah and Mari had this little library composed of books that they all
30:14had in their own personal, either taken from the cabin or from the plane. So in the book lending library,
30:19we decided to put an architecture book. That's my background originally. And I did a lot of research on sort of
30:24early human structures and how, you know, how could you build a structure out of basically twigs and
30:28leaves and mud. And we came up with this idea of these circular structures that could be both practical,
30:34but also slightly eerie at night with kind of spiky, a spiky profile. So we ended up putting
30:39this book in there. I sort of suggested as a way of kind of saying that, you know, this is how they learned
30:43how to do it. Someone's taking an 11th or 12th grade architecture course, and they've been using this
30:46book as a textbook. And then it was really fun. The showrunners really loved the idea. Then it turned out that
30:51Bart actually, to my surprise, the gratification had actually shot it and it stayed in the shot,
30:56which is wonderful because it's a really good way of saying, you know, addressing the,
31:00we want to build a fun set. That's visually interesting. That gives us lots of opportunities
31:04and scale. We also want to believe that they, that they did this themselves. They're strong,
31:08adventuresome, capable people, but it really helped with that conversation. And it was so much
31:12fun to see that it actually stayed in the cut as well. Yeah. Cassie, what about you? Do you have
31:19like an Easter egg that you captures that the showrunners like? Yeah, I mean, they're like,
31:25a few very funny. Outside, like, you know, it's very interesting. On The Last of Us, there are so
31:32many Easter eggs, which are, you know, so beloved by people who play the game. There you go. Going back
31:41to my Easter egg thing. I mean, because it's Bridget Jones, there's lots of props, obviously, that we had
31:46from the original film. So for example, in her cupboard, she had clothing that she used to, you
31:53know, from the original film, the outfit that she went out with Hugh Grant from the beginning, which
31:59she shows, you know, thinking of wearing it for her date with Rockstar. You know, it's lots of little
32:05things like that, which we added into the set, you know, from the previous Bridget Jones films. So,
32:12yeah, there's, yeah, it's not very good. But there's, that's my Easter egg moment. Her,
32:18her old clothing in the cupboard, which was used in the film.
32:23There you go. We love it. Well, I want to say thank you so much to all of you for sharing insight
32:28into your incredible work and your process. And thank you for joining us on Varieties Artisan
32:35Exchange Creative Collaborators today.
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