00:00I know you directed episode two. There's the bear attack, which happens in the middle, which is quite shocking.
00:18What was it like filming that, knowing that you'd have this like action sequence, if you will?
00:22Yeah, we don't we don't have bears in the UK. The funny thing about that was up until four or
00:27five
00:28days before shooting, it was a cougar because we thought we did have a cougar. And we were, you
00:35know, our production team were, you know, trying to organize. You have to get all special licenses
00:41and special permits and all of this stuff. And so I had planned out this whole sequence
00:47that was to do with a cougar and the way a cougar stalks and attacks is so different to the
00:52way a
00:53bear does. And then at the 11th hour, it was, you know, we found out we weren't going to be
01:00able to
01:00have it. And so we were starting shooting, you know, on a Monday, that scene was happening on
01:06Wednesday, but I was in every single day shooting, either directing or acting up to that. So, you know,
01:13it was sort of one of those things of like, oh, I have a day and a half to fix
01:17this. And so you and
01:20it was kind of exciting, like in a way, you know, when you get thrown these curveballs,
01:23like that's where the fun is. You're kind of like, okay, let's everybody put our heads together.
01:27How can we fix this? You know, you're doing as much research as you can on how bears attack,
01:32why they would attack. And, you know, they would pick somebody off who's like away. They don't
01:37really go into groups. So, um, and then, you know, we worked with our amazing special effects team,
01:44but it was the camera crew that I was like, okay, can we have this? Can we have a camera
01:49that
01:49will do this for us and give us that kind of POV? And it was, it was honestly so exciting
01:54and it was
01:55great fun. And working with the prosthetics team who were amazing, Mark Collier, who's like done
02:00incredible things on various different projects before. I was just having the best time. I was having
02:07so much fun. I was loving every second of it. So yeah, it was really good.
02:11And how much, um, sort of, I guess, input do you have for the opening titles? Because
02:15I know when like, you know, they tell you the episodes queued up, there is a bear with berries,
02:20you know, after the opening credits, kind of thematically tied to the show. Do you have any
02:24say in that as a director of the series, or I'm just always so curious how those are put together?
02:29Um, you know, you film different things. So for my episode, I filmed a certain title card,
02:35um, which was really fun, but then didn't end up getting used. Um, so you, you know,
02:41every director who comes onto our show, we, we very much film under American system where
02:46it is the showrunner who has the final say with everything. Um, and every director that comes in,
02:53we get to direct our episode. We get to choose all of our things. We get to give in our
02:58director's
02:59edits, and then you sort of say goodbye to it. And you know, that our showrunner will then take it
03:05and,
03:06um, re-edit whichever way they want and stuff. So, and that's always been the system. Um,
03:12um, so I did not do the bear with the berries, but it's cool. I liked it.
03:17It is cool.
03:18You
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