It starts in the writers room. 20 weeks of book-reading, story-spinning, imagination-bending, head-bashing, vodka-slurping and cake-eating. S2 of @witchernetflix is all thanks to the passion of Mike, Sneha, Declan, Beau, Haily, Matt, Clare, Rae, Michael, and ever-brilliant Tera.
But the creative process is just beginning. Enter the mad directing team of Stephen, Sarah, Ed, and Louise, who embraced every conversation and confession, every fight and "fuck," with enthusiasm and aplomb, crafting a visual and cinematic scope beyond anything we had imagined.
Their extravagant visions were brought to life by cinematographers Romain, JP, and Terry -- and colored by Jet -- who pushed boundaries of light and magic to capture the wonder and warmth of this world, alongside DIT Mardon and fantastic camera ops James, Pete, Adam, and Eric.
Speaking of, none of this world would exist without the brilliance of our production and creature concept designer Andrew, who is not only an inexhaustible genius, but the deeply sensitive fount of inspiration behind myriapods, medallion trees, witcher keeps, and the Wild Hunt.
Truly, we're just beginning. Our stages and sets rest on the inimitable shoulders of Dom and Nicky construction, set decorator Rob, propmaster Roy, propmaker Craig, gaffers Wayne and Jason, key grip Paolo, greensperson Jon, sound recordist James, and SFX supervisor Stefano.
And who runs those sets? Not me. The care and love for this crew -- not to mention the schedule that keeps trains on time -- stems from hearts of assistant directors Sean, Tom, and Stewart, and script supervisor Karen. They are the most tireless and dedicated people I know.
Costume designer Lucinda and hair/make up designer Deb bring not only the beauty, but the grit, the glamor, the earthiness, the very essence of the show to life -- not to mention the monstrous work (and thousands of elf ears) of prosthetics designers Barrie and Sarah.
Of course, the Witcher would be nothing without our epic fights, courtesy of stunt coordinator Adam, encyclopedic armourer Nick and horsemaster Charlotte, and our even more insanely epic monsters and magic, thanks to VFX heroes, supervisor Dadi, producer Gavin, and editor Keith.
Which brings us to post-production! The final layer of storytelling, which only exists thanks to editing masterminds Nick, Mike, JD, and Oral (and shout-out to permanent fixture, James!), in an office run seamlessly by Jess, Ami, and Priya. Did I mention Friday night cocktails?
And then the icing on the cake with sound design and mixing by Danny, Matt, Rob, and Tom, gorgeous new musical compositions by Joe, aided by his editor Arabella. Matias, Caitlin, Rebecca, Mark, Patryk, Dan, Ben, all the teams at Goldcrest... so many people gave their all.
And HEAPS of gratitude to the team that brought them together: the very soul of this show, casting director Sophie, as well as Finnian, Faye, and Frankie. Not enough words can be said about the boldness and strength of this group, the passion, the dedication. They blow me away.
And the behind-the-scenes brilliance of the office team: unflappable producer and all-around-miracle-worker Matt, line producer Mark, UPM Ella, and Sam and Jason who ran the whole damn thing, as well as Kate who kept it in order and Dave who made sure we could pay for it all!
Which brings me to the core of the family. The creative geniuses/smart cookies/smart asses who covered set, rewrote lines, managed debates and averted debacles, who helped every single step and held me up all the way: producers Steve, Tomek, Haily, and Tera. I love you all.
And finally to Kelly, my brilliant partner in crime, the show's biggest cheerleader and proponent, with an eye to perfection and also critique, the person always at the top of my WhatsApp list, without whom I would not be here, and this show would not exist. You are everything.
I'm signing off from here for a little bit, so I can rest, be with my family, and enjoy the holidays. But before I do: the biggest thank you goes to the fans, whose excitement brought us here, the eve of Season Two. I hope you love and enjoy @witchernetflix as much as we do.
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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 --