![]() ![]() I mention that only because of the similarity of creating worlds. I mean, I did Rome for HBO and that was a huge world that we were creating there. James Purefoy: I mean when you’re trying to create a world, I think that’s a big deal for me. ![]() And so this really is a bit of a grand experiment, because it’s like filming a giant budget film, but we’re doing a ten to 13 day episode of television. I knew that this was going to be one of Netflix’s biggest budget shows, and we’ve all done enough television to know how that looks when you’re filming, what a two million dollar budget feels like, what the pace of a television show feels like when you need to be efficient and lean. And to know the players that were involved, it meant that, yes, they were gonna really put their money where their mouth was. Kristin Lehman: The thing for me that’s very interesting is, yes, I did, because the property itself that they’re basing this on is extremely successful, so from a business perspective it makes sense that they’ve invested in something that is a money maker and is an excellent property. And then when I saw it, like I said before, lit with all the extras, all the background players, and it felt like you’re in the world in a way that I’ve not really experienced in my life. The first time I walked on set when I first got here and I saw the street, I couldn’t believe it. ![]() I mean I knew they had to spend some money, but then I don’t even know the figures, I can’t count that high. What’s the point otherwise?Īto Essandoh: I just didn’t realize how much money. If you’re gonna do it, you’re gonna green light something like this, do it properly. What are you talking about? If you try and do this on the cheap, it’s just going to look like shit. James Purefoy: I don’t really do cheap shows. ![]()
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