Laura, Blanche, Disney discussed on The Watch

The Watch


All over the place. I mean, they're they're available. So we had the the art department and production designer recreated as as meticulously as possible with a few kind of creative adjustments. Yeah. And and the way, you know. I don't wanna get too technical. But. We built the neighborhood the all the neighbors houses as well, including facades, or did you actually do like interiors for the neighbor's house to we did the interiors we when we go into. Yeah. Which is close in on a severe Rob's house. So for that, we built the anterior, the others are simpler. But then we we also built the interior of the Blanche's house on stage but twenty thirty percent bigger. So that you can move walls. You could you can move the camera around. So the bathroom, for example, they go into you know, she doesn't make up if you actually stepped into persons huge, right? But it doesn't feel that way on screen because we shot Anamour Fiqh and everything's wise. So we we had to build the house in several different ways. And then kind of show it's it's Evelyn. Yeah. Now, you're saying that you don't have time to watch stuff while you're making the show did you and the creative team over some of the things maybe that we're like reference points or touchstones going into it because I think one of my favorite things we can chat briefly about this Chelsea is like a complete. Miracle show, and I was always just blown away by the visual coherence to the seasons. While also each season feeling completely different. And a lot of credit to that goes to there's one director proceed over the seasons and Stephen Piat who did no end house was the producer and he did to upset as well. So are you guys operating? I mean, when you have something that's like you've got a lot of physical documentary evidence for what something is supposed to look like in reality. But like you're changing reality a little bit. You have like a collective viewpoint on reality. Check of one you guys watching anything was there stuff that you were drawing from that. People might find surprising or interesting. Yeah. I mean, will we watched a lot of Disney movies? Oh, we watched we watch badlands. Yeah. We watched grey gardens. And when I say, we I mean, yes often may Michelle we put it on kind of a syllabus for the writers. Boys don't cry Horace, which which I really think visually has a a beautiful style. Where it feels kind of poetic and a little bit kind of heightened and simplified as if it's a fairytale, and somehow that lake enhances or emphasizes the humanity of it, honestly. And so for the acts in the first episode, we heightened it a little rights because it is just like a, you know, it's a little house, but to them it's a castle. It's it's candy colored. And the light is lovely, and and it almost has like Edward Scissorhands timber vibe. Yeah. Not to that extreme at all. But but like the world looks like candy, and and it's it's the fantasy that DeeDee is creating for gypsy. Yeah. And then that evolves. The visual style the production design evolves. Over the. Eight episodes almost like the story itself kind of corrodes a little bit rate. Yeah. And Laura I mean, she's also a, you know, a co executive produce on the shell. So you know, she had a huge part in even though she like she did the first two episodes in that six. She was a big part of envisioning what the kind of aesthetic arc of the entire thing would be..

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