But before we do, we need to talk about Geralt. It’s been well covered by the press that we wanted to delve into a deeper side of Geralt this season, unpeeling the layers of his intelligence and vulnerability and — most important — how he was formed by the family who raised him.
In the books, Geralt struggled with what it meant to be not just physically responsible for Ciri, but emotionally; however, in the show, in both writing and performance, Geralt had already learned a lot about loving and being loved from his brothers and from Vesemir.
The conflict for our Geralt wasn’t about how to be a father… but the lengths he would go to protect his child of surprise.
Articulating Geralt’s journey on screen had one other big challenge for us: namely, that in BoE, his time is mostly spent watching and taking in Cirilla --
-- and her powers so that he could understand the breadth of what he had promised Calanthe, and how best to protect the girl from future threats that hadn’t yet presented themselves. In print, it’s a gorgeous unfurling of listening and learning, a slow and steady beautiful --
-- journey of how a Witcher becomes a father. Of course, because of the above, Geralt's journey needed adjusting. But more than that, after writing several drafts of episodes, we faced an undeniable truth: that most tv audiences don’t want to watch 8 episodes of any character --
-- watching and waiting and reacting, much less the titular character with whom swords and adventure and bathtubs have become synonymous.
Book fans may feel differently. I understand that.
But we had a handful of scripts that felt too staid and slow to engage viewers again after what we knew (by then) would be a 2 year hiatus. So how could we take the growth that we need to see in Geralt, but have it have all the appropriate ups and downs and cliffhangers and --
-- devastation and action that modern audiences expect? Enter the idea of a mystery Geralt needs to solve in order to learn about Ciri and her powers. And enter the idea that the mystery should unfold in the place where Geralt should have felt most protected and safe: his home.
With his family. With the people he knows best.
Except what happens when one of those people comes back home, and is acting completely differently than what Geralt expects? One of my favorite moments on screen is when Geralt first hugs Eskel. The concern and confusion on his face says it all: “Are you okay?” And Eskel’s not.
He’s been infected by a monster that we don’t know yet, who is connected to Ciri in a way we don’t understand yet (and won’t for a while). But from the get-go Geralt knows this person so well, and can’t understand why he’s acting out of character: mean, and coarse --
-- and flagrantly disobeying Kaer Morhen rules by bringing women there, disrespecting the other brothers with whom he shares a deep history. The story unfolds, of course, as you’ve seen. Eskel admits he came home to seek help from Vesemir and his brothers;
but the monstrous infection has taken over so deeply that he’s lost himself. Geralt makes a choice that breaks his heart: he sacrifices Eskel to save Vesemir.
And now we have a mystery for Geralt to solve: what happened to Eskel? And how does it involve Ciri?
And further to that, we’ve got a dilemma that will play out through the whole season: just how far will Geralt go to protect the girl that is his destiny? What wins out: being a witcher, or being a father? Can he save both? And how?
We had several more flashbacks with Eskel laid out, to demonstrate further to the audience how close Geralt and Eskel were in the past: to reinforce just how far Geralt had had to go in his heart in order to make that sacrifice. I hope to return to them in the future.
All of that said: fans miss Eskel. I understand that. I also understand that we made the choice we needed to make in our storytelling, in order to activate Geralt. Is there a right and wrong? For fans, maybe. And maybe time will tell, for us too.
Off to watch House of Gucci. Our family will fare better than theirs -- because having survived heartbreak in S2, ours comes together in S3. And having set out how much they inform Geralt's familial relationships, I don’t think we’re done with the Witcher brothers of Kaer Morhen.
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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.
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?