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I think that there’s just more layers to features than to TV, which gives me a little more freedom, creatively.Having worked across the spectrum in television, is there a tangible difference, working with a premium cabler like HBO? As we all know, regardless of the budget, it’s almost never enough, because everyone’s pushing the boundaries so much.Everybody always thinks it’s a bigger budget than it is.For Emmys, you submitted the Season 1 finale, “The Bicameral Mind.” Why was that the one?We still have some matte paintings and some other things, but it really highlighted all the different categories.Can you take me into the process of realizing the look of your robots through visual effects?Even in Episode 3, with the young Ford sequence and the gentleman who had robot legs, we had been working on some design for that, and for the robot boy—we had a template as we were moving into it.
Throughout Season 1, young Ford was only on screen three times, but it was still very impactful, in terms of what we were able to accomplish with that for a full-CG character—well, a full-CG face, at least.
When we started playing with all the ideas—the timelines and what not—we realized, You know what? We just kept building on it, the entrance to Shogun World and all the stuff with special effects, because that’s the other part of the Emmy category, is the special video effect—the special effect visual effect.
We have the stuff that I was able to work with, with [special effects supervisor] Michael Lantieri and the art department, with the map and the dip tanks, all those different things, which really highlighted all the cool parts of the show.
It’s always a challenge when you’re figuring out what episode to put in.
Each episode throughout the season has such unique things.