@LHissrich Pressure, no, not really. I was overjoyed to have a chance to tell more stories, reach more fans, improve certain things, and lean more into the family at the center of the show! #AskWitcher
@LHissrich I slept through most of December 2019, honestly. This show was the hardest thing I’d ever done, but the response made every late night worth it. It was a dream. Still is. #AskWitcher
@LHissrich The armor was a collaboration between our amazing costume designer, Lucinda Wright, and Henry Cavill. The primary goal this season was function — Henry needed to move, fast and unhindered. There is no wasted material, no excess. All streamlined. (And sexy!) #AskWitcher
@LHissrich I do. There are two specific sequences I have in mind: one involves two amazing guest actors and two fan favorites; the other one shows our favorite lion cub taking some biiiig swings. #AskWitcher
@LHissrich Yes! This season explores so many multi-generational stories, Tissaia and Yen being one of them. Look for a special scene at Aretuza, filled with lightning — written by our own @clareh_video — it’s one of my favorites. #AskWitcher
@LHissrich Hours. Kris was the BEST sport, and brought a new life to the short story. Nivellen’s eyes are Kris’s eyes — watch just how much story they tell in every shot. #AskWitcher
@LHissrich How to answer this without spoilers! What I will say is that this season plumbs completely new emotional depths for Geralt — as a lost love, as a father, as a son, as a brother, as a Witcher. It’s a delight to see. #AskWitcher
@LHissrich It’s a challenge when the views are disparate, yes. But there were some things that I heard loud and clear, and took to heart in S2 — deeper character relationships, for instance. And new armor. :) #AskWitcher
Ooh! I’d love to! Thanks for asking! When hiring writers for The Witcher, there were several factors I looked at to make sure we were getting the best possible team. In no particular order:
1.) A spectrum of writing experience: people who’d been at it for 20 years and those who were brand new. It’s part of my job to mentor the next generation of writers, just as I was once trained. But I also need people who know television structure and production inside and out.
2.) A spectrum of life experience. This is where diversity comes in. A POC has different experiences than a white person; men different than women; straight different than gay. Add in immigrants, adoptees, parents, the list goes on. Varied life experiences make the show richer.
Inspired by the wonderful thread by @ketomizu, I posted yesterday about the importance of hiring diverse voices in a writers room. The response to my post was largely "No. Hire the most qualified writer."
Intentional or not, that is a very problematic response. Here's why:
The insinuation contained in that response is that diverse writers aren't, in fact, the most qualified to begin with.
The insinuation is that white writers are getting pushed to the side for unqualified people of color.
The insinuation is that all writers have had a completely equal chance of being invited to the table, and now this is "unfair" favoritism of people of color.
The insinuation is that stories told from a majority's point of view are always the correct/best version of the stories.
I hear you. And we debated this intensely. Here's our rationale: to adapt the short stories that were important to world-building, and then to sequentially adapt Geralt and Ciri's multiple meetings in SoD meant that we wouldn't introduce Ciri until (at the earliest) season two.
Which makes sense, if you're a fan of the original books. That's how it's done, and it's beautiful! But for the purpose of television adaptation: if viewers are investing solely in Geralt for S1, and then get introduced to Yennefer, and several seasons later meet Ciri --
-- it's potentially confusing to say: forget monster-hunting. Take the last two-three years of what you've been watching, and tuck it away. Because that little girl you've only just met? SHE is the key to this whole universe, and will be the center of almost every story to come.
Any tv writer will tell you, it's the ONLY move. Before we begin, we have to know where we're going to end -- or else we risk the episodes dragging, meandering, fizzing out, or being too crowded as we rush to the finale.
Let's discuss how we craft a season arc on #Witcher.
On the first day, @declandebarra (tall, carries a yard stick) draws eight identical columns on the white boards, labeling them 101 through 108: that's the pilot (101 = Season One, Episode One) through the finale. Remember the picture I posted months ago? See the columns?
101 is the easiest; it's written. 102 is traditionally the hardest, because it's the first time the series has come OUT of my brain, and INTO the brains of six other writers (including @jennydelherpes, who kicked its ass) and we're collectively processing and asking: what's next?
It's Friday night in LA, and it's been a seriously great week here at #Witcher.
So.
Let's talk casting. Yes, I said the magic word! Casting is starting soon, and no, I can't tell you who our top picks are so don't ask. But. There is something very important you need to know.
Normally, when casting a show, the casting director pulls character-specific scenes from the pilot script for actors' auditions. However, because we're casting internationally (which means lots of emails and self-tapes) and because we know by now the internet keeps no secrets --
-- the writing staff has instead created entirely new scenes for our main characters. These are written to illustrate the precise tone, vibe, depth, and emotional resonance we need from Geralt and friends... but voila! They are spoiler-free, for us and for you. Which means --
You've heard how and why I hired them. (Lots more opinions.)
Now let's talk about what actually happens in a writers' room. (Bring it on.)
First things first, I welcome the writers. I explain that we're more than a team. We're a family. We're the foundation for hundreds of people who will make this tv show, and we're not only gonna be great storytellers, we're gonna be fucking great human beings along the way.
Then we get down to work. Before the room opens, the incredibly smart @clareh_video has put together documents that outline the stories, terms, characters, and themes I want to cover in season one. There are maps. There are pictures. There is a special font she chose just for us.