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One of the things that we
talked about for a while...
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"How do you start this show?"
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It was an enormous
undertaking for everyone.
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I wouldn't want it to deliver
CG pew-pew,
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but to deliver... reality.
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Two, one, action!
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Negative degree temperatures,
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with the wind machine
going like this...
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Yeah, so that was hard.
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And fun. It was so fun.
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The amount of detail
is incredible.
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The color schemes, the textures,
how things would flourish.
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There's everything on this show.
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From big scopes of airplanes
to smaller tendrils.
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You're immediately
just so immersed in
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The Last of Us world.
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Shooting in Canada,
we're not doing anything small.
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It was quite the endeavor.
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I remember
when the game came out,
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there were so many people saying,
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"This needs to be made into
a live action."
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I was in conflict with it at first because
I was like, "We've already done it.
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We've shot it, we've performed it,
we've edited it.
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Why do we need to go in
and do this again?"
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Neil said,
"At the end of the day,
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there are people out there that will
never pick up a controller,
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and they will never experience
this story.
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And I think our story is special enough
to bring it to them."
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The HBO series,
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uh, I don't remember
when I first heard about it,
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but when I did, I was like,
"Mommy want that."
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'Cause I knew it was gonna
be spectacular,
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especially when I heard that
it was a collaboration
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and that Neil would also
be involved.
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When you're casting
these iconic characters,
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these characters are iconic
in a cinematic way already.
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So now, it's like,
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we need to find someone
that can elevate it
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or make it their own
in a really interesting way
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so it doesn't feel like
they're just duplicating
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this other medium.
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I learned very quickly
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the massive fanbase
that I was stepping into.
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I called my sister
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to tell her about
the possibility of the job.
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And she was in the car
with my nephews.
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I didn't even get the S and T
out from the word "Last"
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when I said it.
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"There's this job,
it's based on a video game.
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It's called The La... "
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And they were like,
"The Last of Us?!"
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And I was like, okay,
I definitely have to do this.
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I was actually
advised not to play the game,
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so that I wouldn't try
and like copy
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Ashley Johnson's version
of Ellie, which is incredible.
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But I just watched
some of the gameplay though,
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secretly, on my own.
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When I met Bella
for the first time,
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I was so excited because, obviously,
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I'd seen her in Game of Thrones.
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And seeing her in person
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and even just seeing her on set
and doing scenes,
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she has the essence
of Ellie already in her.
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Seven, eight, fuck... you.
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What's incredible
about what they've done
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with these scripts,
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was to be able to explore
and nourish things that I think
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are very much a part
of the experience of the game.
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One of those things
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is the internal life
of these characters.
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And to really get into the flesh
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of what's happening
inside of them.
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You want to know what
the biggest surprise
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of adapting The Last of Us is?
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It's the Neil Druckmann,
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the genius who made the game
in the first place,
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who created this story,
these characters,
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the whole world,
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he was so generous
and flexible and smart
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about how to re-present
The Last of Us
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in a different format
to a whole new audience.
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The scientific vision
that the show presents to people
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is based absolutely in reality.
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That fungus is real,
it does those things to insects,
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and if it were to be able
to infect humans,
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it would go like that.
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It's terrifying.
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We want people to feel
the reality of the science here.
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Cordyceps, it's a fungus.
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And what that fungus does
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is it attaches to the brain stem
of an ant,
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takes motor control
of the ant's body,
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and then attacks the rest
of the ant colony,
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spreading the disease
and devouring the other ants.
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Fungus is a funny word,
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but there's so much more of it
than we realize.
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Pretty much anywhere
you see grass,
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there's fungus
right underneath it.
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They're connected.
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More than you know.
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One of the changes
that Neil and I felt
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we needed to make early on
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was the way the fungus
would spread.
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We loved the idea of biting.
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We thought that
that was primal and violent.
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But we started looking at
something called mycelium,
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which are these threads
that make up fungus.
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And those threads,
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if they get into an insect,
for instance,
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that's what starts
to worm its way
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towards the insect's brain.
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Barrie Gower and his team
did this beautiful work
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to mesh humans
and fungus together.
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Initially, we'd created various
practical tendrils,
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which was basically
like a dental plate
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that we had inside
the infected character's mouth,
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which had all these little
silicon cords joined to.
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As soon as you pulled away,
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everything started to...
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Practically, it looked great.
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I think the reality of it
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was going to be
the resettability on the day.
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Having huge, big fungal pieces
all over the head,
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as soon as you took
the eyebrows away,
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you started veering into
zombie territory.
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When it has
more of a human side,
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more of a beautiful side,
it makes it even scarier.
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As a person,
you can relate to it more.
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From an infected point of view,
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we had the first-stage infected.
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Very shortly after
they've been bitten,
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there's a lot of redness,
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a lot of tenderness
around the skin.
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Stage two, tiny little things
start breaking through the skin.
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They're a bit like the cordyceps
you actually see on ants
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or spiders when they've
taken over by the fungus.
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Stage three is a slightly bigger
version of that
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where you've got real mushrooms
that you can begin to see.
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Until you get to stage five,
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where the head shape
is distorting.
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Just basically
breaks through the cranium
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and just splits the skull
down the front,
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and you have these huge
sort of blooms,
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these sort of petals.
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No, I didn't want
to look at them.
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I didn't want that in my head
to go home and sleep,
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and then you have to be kind of,
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you're like, "Hi! How are you?"
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And it's not just kind of
what they look like,
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it's the physicality
and the way that they move
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is what makes them so creepy.
But impressive.
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Not just the prosthetic, obviously,
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but the inhabiting of it.
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Coming from visual effects,
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I think the clicker performances
can be quite challenging
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just 'cause
they're very specific.
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He just had this really
amazing performance
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and movement study to him.
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Those are the type of things
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that is quite difficult
to reproduce digitally.
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These are a lot of our
very early concept and busts.
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We're following real reference
and real nature
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of real fungus
and real mushrooms.
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And just down to the shapes
of the petals.
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Underneath, you've got all these slits
which are called "gills,"
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and we always had to make sure
that the orientation
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was as such that all the gills
were facing downwards.
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And occasionally,
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you'd have a piece which
looked really, really great,
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but the mushroom's
around the wrong way,
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so it's just like...
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Just move that over
a little bit.
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The sound of the clickers,
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we worked so hard to make sure
they sounded just like the game.
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Why don't we try some
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good, old-fashioned
clicking in the dark?
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Yeah.
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Let me just practice a few
so we can make sure...
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Yeah, sure.
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Misty was the originator
of the sound itself,
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and she did these amazing
like throat sounds,
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which were like, "That's it!"
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And they were like, "Now we gotta find
somebody who can do it too, like a guy."
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- Right.
- And then I was like, "I figured it out."
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Mr. and Mrs. Clicker.
The original.
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The Adam and Eve of clicking.
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- Yeah.
- It's also here, like...
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I think it's that first
little bit, right?
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It's just the initial...
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Which I think isn't bad here,
I just want the real thing.
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- Sure.
- Let's do some clicking.
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- That was good stuff. I like that.
- Thank you.
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I love sound, but it's like...
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I don't actually think
I've ever had anything like this
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where there was somebody
who knew
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how to do this
incredibly specific thing,
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and I have the incredibly
specific thing people
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doing the incredi...
Oh, this is so cool.
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All right, I think
it might be time
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to go to the bullpen
and bring in the ol' lefty.
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Oh, that was a good one.
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Yeah, that was a good one!
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- I was back here going, "Oh!"
- That felt juicy.
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When we made the game,
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we don't make any
physical things,
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it's all digital.
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It's all two-dimensional
on the screen.
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The first time I walked on set,
it was Joel's house.
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There's Sarah's room,
there's their living room,
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there's the sheets
that are just like the game.
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And you already got to see
the love this crew had
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00:10:04,020 --> 00:10:05,521
for the original material.
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00:10:05,771 --> 00:10:07,857
And I was like
emotionally moved by it.
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The sets have just
been so fucking incredible.
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I mean, you just
don't even appreciate it
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until you're in the space
that you can like,
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just fucking shoot things in 360
218
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because everything
is like magic.
219
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In the practical shooting of it,
220
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there was strangely little
left to the imagination
221
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because of the quality
of its production.
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The game is beautifully realized
223
00:10:32,673 --> 00:10:35,217
and has a beautiful tone
and story.
224
00:10:35,217 --> 00:10:37,303
The Last of Us
is about a journey,
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going across the United States.
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And so, having that variety
of landscape
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really helps make it feel
as authentic as possible.
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Fort Macleod was a good stand-in
for Austin, Texas.
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We really tried
to go to town there with neon.
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Colors you wouldn't see
once the infection starts.
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The QZ, that was a challenge
to make the wall.
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You know,
built it out of actual concrete
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and I could have people
walk on it.
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I think it really lended a lot
to the realism of things.
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Edmonton was a key
for the statehouse.
236
00:11:13,297 --> 00:11:15,216
The Fireflies' set was stunning.
237
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'Cause now we're outside the QZ,
it's way more run down.
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When we're going
through the tunnel,
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like the underground,
and up to the office,
240
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and we're standing behind,
about to get through the door,
241
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and I look down,
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and there's like
little sesame seeds
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00:11:29,897 --> 00:11:32,566
to look like mouse poo
on the ground.
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00:11:32,566 --> 00:11:36,153
The detail is, like,
from this to like...
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00:11:36,737 --> 00:11:38,447
That you put that there,
I just...
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It's... It's... It's just amazing!
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They created a village!
I mean...
248
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Bill's town, the way it was written
was very particular.
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00:11:48,165 --> 00:11:50,167
The action involved
and the look of the town
250
00:11:50,167 --> 00:11:51,502
and the feel of the town.
251
00:11:52,086 --> 00:11:53,879
And I kind of had
in the back of my mind
252
00:11:53,879 --> 00:11:55,339
that this location existed
253
00:11:55,339 --> 00:11:57,842
after the floods in High River
in 2013.
254
00:11:57,842 --> 00:11:59,635
It's on the... kind of
the wrong side of the berm,
255
00:11:59,635 --> 00:12:01,345
and they had to tear
all the homes down.
256
00:12:01,345 --> 00:12:02,888
And what was left was
all the streets
257
00:12:02,888 --> 00:12:05,057
and the sidewalks
and the infrastructure.
258
00:12:06,016 --> 00:12:07,601
There's a town here, Canmore,
259
00:12:07,601 --> 00:12:11,188
that stood in quite nicely
for Jackson Hole, Wyoming.
260
00:12:11,188 --> 00:12:14,024
This is a town
that's self-sufficient.
261
00:12:15,025 --> 00:12:15,985
My favorite part of that
262
00:12:16,360 --> 00:12:18,904
was building the paddock
and the stables and everything
263
00:12:18,904 --> 00:12:21,449
in the parking lot
right in the middle of town.
264
00:12:22,283 --> 00:12:23,492
I was just like,
265
00:12:23,492 --> 00:12:26,162
"There's the bank!
There's a zoo! Lights!"
266
00:12:26,162 --> 00:12:29,039
I was like...
I was like... Everything was...
267
00:12:29,331 --> 00:12:30,708
I was like,
"They got everything!"
268
00:12:31,333 --> 00:12:34,503
I was really impressed
with our production design.
269
00:12:34,503 --> 00:12:38,841
Everything was just so faithful
to the game,
270
00:12:38,841 --> 00:12:42,178
and so detailed and specific.
271
00:12:43,179 --> 00:12:47,183
But the mall was, I think, one of the
most amazing sets there is.
272
00:12:47,183 --> 00:12:49,143
You know,
we had to get a carousel,
273
00:12:49,393 --> 00:12:51,103
we had to do a Halloween store,
274
00:12:51,353 --> 00:12:53,022
we had to do
a Victoria's Secret store.
275
00:12:53,022 --> 00:12:55,816
Even though this was
an abandoned mall before,
276
00:12:55,816 --> 00:12:59,737
the authenticity
of what the mall looks like,
277
00:12:59,737 --> 00:13:00,613
it's really cool.
278
00:13:01,030 --> 00:13:03,616
Plants growing
everywhere, there's algae.
279
00:13:04,074 --> 00:13:05,409
It's just a mess.
280
00:13:06,160 --> 00:13:08,412
This location has been perfect
to shoot in
281
00:13:08,662 --> 00:13:10,456
because they were gonna
tear down this mall anyway.
282
00:13:10,831 --> 00:13:13,334
So, that's given
the amazing art department
283
00:13:13,334 --> 00:13:16,253
like free reign
to completely destroy it
284
00:13:16,253 --> 00:13:17,588
and make it their own.
285
00:13:17,588 --> 00:13:19,757
So, as soon as we finish this,
like, this mall is gone.
286
00:13:20,799 --> 00:13:22,009
And let's cut.
287
00:13:24,637 --> 00:13:26,305
Okotoks, the challenge was
288
00:13:26,305 --> 00:13:28,766
that we needed
a cul-de-sac neighborhood
289
00:13:28,766 --> 00:13:30,476
to situate
this big action scene.
290
00:13:30,851 --> 00:13:34,063
And it's actually a bit freaky,
in terms of how perfect it fits
291
00:13:34,063 --> 00:13:35,689
within the visuals
within the game.
292
00:13:37,441 --> 00:13:39,401
When we scouted,
it was exactly what we wanted.
293
00:13:39,401 --> 00:13:41,362
We had extreme winds
where literally,
294
00:13:41,362 --> 00:13:42,863
you could almost...
you couldn't stand up.
295
00:13:43,280 --> 00:13:46,158
When Craig was there, I mean, it was
just like, "This is what I wrote."
296
00:13:46,158 --> 00:13:48,410
And that's the best compliment
you can get.
297
00:13:48,410 --> 00:13:51,622
We went to Waterton
because it was known to have
298
00:13:51,622 --> 00:13:53,749
a massive amount of snow.
299
00:13:54,208 --> 00:13:57,169
And what happened was,
there was no snow.
300
00:13:57,169 --> 00:13:59,922
There was drifts
up against some buildings,
301
00:13:59,922 --> 00:14:02,716
but all the roads,
all the grass,
302
00:14:02,716 --> 00:14:05,135
everywhere that you looked,
the snow was gone.
303
00:14:06,053 --> 00:14:08,847
You couldn't bring in snow
from outside the park.
304
00:14:08,847 --> 00:14:11,642
I had to use
whatever was in the town.
305
00:14:12,101 --> 00:14:17,398
So in three days,
we did 350 dump trucks of snow.
306
00:14:17,690 --> 00:14:21,944
Shoveling, brooming,
raking, snow blowers
307
00:14:21,944 --> 00:14:23,946
to cover ten city blocks.
308
00:14:24,321 --> 00:14:26,448
That night, it snowed.
309
00:14:28,951 --> 00:14:32,871
There was a day of shooting,
and we were out in the elements,
310
00:14:33,205 --> 00:14:34,915
and there was snow everywhere,
311
00:14:34,915 --> 00:14:36,834
and we were on the side
of a mountain,
312
00:14:36,834 --> 00:14:38,669
and it was really cold,
313
00:14:38,669 --> 00:14:41,714
and there was a trek
through the snow.
314
00:14:41,714 --> 00:14:45,926
And there were three or four
house-sized wind machines.
315
00:14:45,926 --> 00:14:48,262
I loved it. I love it.
I wanna go back.
316
00:15:02,484 --> 00:15:03,652
How do you want it?
317
00:15:03,944 --> 00:15:05,237
- For me.
- Sí, for you.
318
00:15:07,489 --> 00:15:10,451
Gustavo Santaolalla,
our composer,
319
00:15:10,451 --> 00:15:13,329
has such a different way
of working.
320
00:15:13,329 --> 00:15:15,122
The way I worked with Gustavo,
321
00:15:15,122 --> 00:15:16,040
starting with the game
322
00:15:16,040 --> 00:15:17,458
and now continuing
with the show,
323
00:15:17,458 --> 00:15:19,126
is pitch him the story.
324
00:15:19,418 --> 00:15:21,837
I think Gustavo as well
is very much about minimalism.
325
00:15:21,837 --> 00:15:24,173
Like what's the least
we need to do
326
00:15:24,173 --> 00:15:25,090
to achieve this moment?
327
00:15:25,591 --> 00:15:28,427
Which is very much mine
and Craig's philosophy as well.
328
00:15:28,677 --> 00:15:32,514
The whole thing in the music
of The Last of Us from what I do
329
00:15:32,514 --> 00:15:36,560
is to preserve
this organic element.
330
00:15:36,560 --> 00:15:39,980
Kind of minimalism
because I have to play less.
331
00:15:40,230 --> 00:15:44,943
The pipes, the cans, all that
has a little bit to do with
332
00:15:44,943 --> 00:15:49,907
the reality of
a post-disaster world
333
00:15:49,907 --> 00:15:52,826
of found objects, broken things.
334
00:15:52,826 --> 00:15:54,078
But it's very organic.
335
00:15:54,078 --> 00:15:57,331
It's almost like
in primitive folk instrument.
336
00:15:57,331 --> 00:15:59,291
Like a modern primitive folk.
337
00:16:02,378 --> 00:16:04,421
The beginning, you know,
was trying to find
338
00:16:04,421 --> 00:16:08,884
how do we translate the language
from the game to the series,
339
00:16:08,884 --> 00:16:13,263
but I think we have found now
something that kind of flows.
340
00:16:15,015 --> 00:16:16,016
He would go off,
341
00:16:16,350 --> 00:16:19,561
and he's come back with
an hour or more of music.
342
00:16:19,561 --> 00:16:21,105
And we'd just
sit here listening.
343
00:16:21,355 --> 00:16:24,274
And he's just like, "Here's this moment
that you talked about
344
00:16:24,274 --> 00:16:25,693
that has inspired this theme.
345
00:16:25,693 --> 00:16:27,653
And that's very much what
it's like working with Gustavo.
346
00:16:27,653 --> 00:16:29,154
It's like starting with a lot
347
00:16:29,154 --> 00:16:31,115
and then continuing
to trim it down, trim it down,
348
00:16:31,115 --> 00:16:34,118
and find the right elements
and how they fit.
349
00:16:37,287 --> 00:16:38,706
There's stuff that was created
for the game
350
00:16:38,706 --> 00:16:40,499
that you can just take it
and put it,
351
00:16:40,499 --> 00:16:42,209
and it works fantastic.
352
00:16:42,209 --> 00:16:45,879
Which, for me, says a lot also
about what they have done
353
00:16:46,171 --> 00:16:48,549
'cause it means
that there is a connection
354
00:16:48,549 --> 00:16:53,011
between the game
and what the series is.
355
00:17:04,314 --> 00:17:07,192
Visual effects
is a big part of this show.
356
00:17:08,944 --> 00:17:10,446
Every shot that we shoot
357
00:17:10,696 --> 00:17:13,198
needs to be touched in some way
by visual effects.
358
00:17:14,366 --> 00:17:18,495
There's such an effort
to really push the boundaries
359
00:17:18,495 --> 00:17:22,416
on both what is practical
and what is a visual effect.
360
00:17:22,833 --> 00:17:24,126
Right from the get-go,
361
00:17:24,126 --> 00:17:28,672
the impetus was to try and do
as much practical as possible.
362
00:17:29,381 --> 00:17:32,092
Alex understands
that the dovetail
363
00:17:32,092 --> 00:17:34,386
between practical
and visual effects,
364
00:17:34,803 --> 00:17:38,640
when you make it seamless,
that's the magic.
365
00:17:42,936 --> 00:17:46,106
It is very interesting working
with Alex and the VFX team.
366
00:17:46,106 --> 00:17:48,192
The visual effects department
is probably the one department
367
00:17:48,192 --> 00:17:49,610
we work probably
the closest with
368
00:17:49,610 --> 00:17:51,111
on any given show or film.
369
00:17:51,570 --> 00:17:54,531
They benefit a lot more from having
something there on the day,
370
00:17:54,531 --> 00:17:57,201
which they can either manipulate
or augment in post
371
00:17:57,201 --> 00:17:59,161
or they've got something there
that needs a touch.
372
00:18:00,120 --> 00:18:01,288
There's everything on this show,
373
00:18:01,288 --> 00:18:03,499
from airplane crashes,
374
00:18:05,167 --> 00:18:07,002
to big environments,
375
00:18:07,920 --> 00:18:11,465
to war-torn destruction
in a big city,
376
00:18:12,424 --> 00:18:14,384
to smaller tendrils.
377
00:18:14,384 --> 00:18:17,221
So, there's a lot
for visual effects to work on.
378
00:18:17,596 --> 00:18:19,264
Because there's
a lot of environments,
379
00:18:19,264 --> 00:18:21,850
we've actually used
a lot of drone scanning,
380
00:18:21,850 --> 00:18:24,603
so that we're able
to recreate it digitally.
381
00:18:25,270 --> 00:18:28,315
On this show, we used a combination
of drones and LiDAR.
382
00:18:28,315 --> 00:18:32,486
LiDAR scanning is
light imaging distance ranging.
383
00:18:32,486 --> 00:18:36,657
And it basically gives you a 3D model
of what you're scanning.
384
00:18:36,657 --> 00:18:39,535
We knew that there would be
a lot of environment work,
385
00:18:39,535 --> 00:18:40,577
in line with the game.
386
00:18:41,078 --> 00:18:44,456
There's a lot of overgrowth,
and everything's deteriorated.
387
00:18:44,456 --> 00:18:47,000
And we knew that
we would have to pretty much
388
00:18:47,000 --> 00:18:49,878
help out in every episode
in that respect.
389
00:18:54,925 --> 00:18:58,178
So, there's a couple of different types of
scanning that we're doing on the show.
390
00:18:58,178 --> 00:19:00,389
One of them is cyber scanning.
391
00:19:00,389 --> 00:19:02,975
It's a circle of cameras
and lights
392
00:19:02,975 --> 00:19:04,810
that flash simultaneously.
393
00:19:05,144 --> 00:19:06,979
We scan every character
that's on a show,
394
00:19:06,979 --> 00:19:09,857
in case we need to build
a digital version of them.
395
00:19:12,860 --> 00:19:14,236
For all the gamers,
396
00:19:14,236 --> 00:19:17,656
I know everyone knows the scene
when they're escaping.
397
00:19:17,656 --> 00:19:19,658
And they're in the car,
398
00:19:19,658 --> 00:19:21,493
and you can watch everything,
399
00:19:21,493 --> 00:19:24,204
what's happening
from Sarah's perspective.
400
00:19:24,204 --> 00:19:26,039
The amazing thing
with that scene
401
00:19:26,039 --> 00:19:28,500
is that it's very true
to the game.
402
00:19:28,876 --> 00:19:32,254
We feel like we're with Sarah
and Joel
403
00:19:32,254 --> 00:19:34,256
in Tommy's truck
the entire time.
404
00:19:34,715 --> 00:19:37,801
And because of our desire
working 360,
405
00:19:37,801 --> 00:19:40,137
it was a big challenge
how should we do that.
406
00:19:40,387 --> 00:19:44,057
So, the car was built
with a stunt pod on top.
407
00:19:44,808 --> 00:19:48,604
So, the stunt drivers were sitting on
the rooftop driving a car
408
00:19:48,604 --> 00:19:50,731
while actors
could do their thing.
409
00:19:50,731 --> 00:19:53,275
Tilt up.
410
00:19:57,988 --> 00:19:58,780
Run!
411
00:19:59,156 --> 00:20:00,282
The cul-de-sac
sequence was certainly
412
00:20:00,282 --> 00:20:03,076
the toughest sequence
that we had to do.
413
00:20:03,076 --> 00:20:06,246
The combination of VFX,
the choreography,
414
00:20:06,246 --> 00:20:08,165
and the explosions.
415
00:20:08,540 --> 00:20:11,084
Just the kind of craziness
of it all, really.
416
00:20:11,501 --> 00:20:13,211
And this used to
just be a field.
417
00:20:13,211 --> 00:20:15,422
This was nothing but grass.
418
00:20:15,422 --> 00:20:17,299
Craig wrote
this amazing sequence
419
00:20:17,299 --> 00:20:18,884
where our cast,
420
00:20:18,884 --> 00:20:23,305
they walk their way onto this
seemingly innocent cul-de-sac
421
00:20:23,305 --> 00:20:24,431
and come under attack.
422
00:20:25,557 --> 00:20:29,353
And then behind them,
a whole convoy of rebels
423
00:20:29,353 --> 00:20:30,520
come up behind them.
424
00:20:30,520 --> 00:20:32,981
So at that point,
we actually opened this up
425
00:20:32,981 --> 00:20:34,775
into the main road behind,
426
00:20:34,775 --> 00:20:37,110
and that gave us
all that extra distance
427
00:20:37,110 --> 00:20:39,446
out there in the real world,
on a real road
428
00:20:39,446 --> 00:20:41,281
for the convoy
to get up to speed
429
00:20:41,281 --> 00:20:42,282
and start chasing them.
430
00:20:42,574 --> 00:20:44,368
These trucks come through,
there's a "run" truck
431
00:20:44,368 --> 00:20:46,787
that just plows through
all these vehicles,
432
00:20:46,787 --> 00:20:48,330
knocking them
all over the place.
433
00:20:48,330 --> 00:20:49,748
Yeah, it was a big deal
434
00:20:49,748 --> 00:20:52,459
plowing through all these cars,
making it look realistic.
435
00:20:52,459 --> 00:20:54,836
We had to reinforce the plow
436
00:20:54,836 --> 00:20:56,463
because the first night,
it broke.
437
00:20:59,299 --> 00:21:01,927
And then it was the driving
into the house
438
00:21:02,844 --> 00:21:05,013
without destroying the building
439
00:21:05,013 --> 00:21:07,975
because the building
was prepped for fire.
440
00:21:07,975 --> 00:21:11,019
Meaning that post-crash,
we would pull the truck out
441
00:21:11,019 --> 00:21:14,856
and put another truck in there
that would then explode.
442
00:21:15,482 --> 00:21:17,484
Special effects did
an amazing job
443
00:21:17,484 --> 00:21:20,487
piping those houses and vehicles
with propane,
444
00:21:20,487 --> 00:21:23,782
but we'll go in there and
just add the finishing touches.
445
00:21:26,827 --> 00:21:28,453
In the big,
climactic battle scene,
446
00:21:28,453 --> 00:21:30,998
most of that
was done practically
447
00:21:30,998 --> 00:21:32,332
with real performers.
448
00:21:33,083 --> 00:21:36,336
However, we felt like we needed
to triple that amount.
449
00:21:36,336 --> 00:21:40,173
So, everything in addition
was visual effects.
450
00:21:40,507 --> 00:21:42,718
When we need to make
these creatures in CG,
451
00:21:42,718 --> 00:21:44,636
it's always good to have
a reference
452
00:21:44,636 --> 00:21:47,055
from the actual performers themselves,
453
00:21:47,055 --> 00:21:49,474
so an animator doesn't have to
do it frame-by-frame.
454
00:21:49,474 --> 00:21:54,813
Mocap is a methodology of capturing
movement of characters.
455
00:21:54,813 --> 00:21:56,398
We did a mocap session,
456
00:21:56,398 --> 00:21:59,192
tried to record as many
different movements
457
00:21:59,192 --> 00:22:01,445
from the stuntmen
as we possibly could.
458
00:22:01,445 --> 00:22:03,947
We had multiple cameras set up.
459
00:22:04,281 --> 00:22:07,576
So much of what we do
in post with animation
460
00:22:07,576 --> 00:22:09,202
depends on the performances.
461
00:22:09,202 --> 00:22:11,580
We shot a library
of their movements,
462
00:22:11,580 --> 00:22:14,082
and we selected the best ones
that we could have.
463
00:22:21,256 --> 00:22:24,551
Of course, we try to do
as much practically as possible.
464
00:22:24,551 --> 00:22:27,220
The makeup people were awesome.
465
00:22:29,306 --> 00:22:32,559
The design work from Barrie Gower's
team was complete.
466
00:22:33,101 --> 00:22:35,062
We took these designs
and we scanned them,
467
00:22:35,062 --> 00:22:38,273
and this helped create
visual assets for us in post.
468
00:22:41,151 --> 00:22:42,486
With the infected,
469
00:22:42,486 --> 00:22:44,946
we started exploring all these
other paint schemes.
470
00:22:45,530 --> 00:22:47,240
Once we knew
what the colors were,
471
00:22:47,240 --> 00:22:49,743
then we would paint a suit
to match.
472
00:22:49,743 --> 00:22:52,037
We would glue all the mushrooms
and everything onto the suits,
473
00:22:52,037 --> 00:22:54,831
and then the suits would
go over to Sage and her team,
474
00:22:54,831 --> 00:22:56,291
and they would cut the costumes
475
00:22:56,291 --> 00:22:58,919
for the mushrooms
to be growing through
476
00:22:58,919 --> 00:23:01,004
and sort of dripping stains
477
00:23:01,004 --> 00:23:02,756
as they kind of came through
the skin
478
00:23:02,756 --> 00:23:04,132
and the flesh broke down.
479
00:23:04,132 --> 00:23:07,594
Each clicker is designed individually.
480
00:23:07,594 --> 00:23:08,970
And the costume
had to be durable enough
481
00:23:08,970 --> 00:23:14,017
to go through all of the crazy
contortionist sort of moves
482
00:23:14,017 --> 00:23:16,269
that the clickers have
in the fight scenes.
483
00:23:17,479 --> 00:23:18,980
Then they run through
the breakdown department,
484
00:23:18,980 --> 00:23:21,108
so it looks like they've been
rotting and molding
485
00:23:21,108 --> 00:23:22,275
for months or years.
486
00:23:22,275 --> 00:23:24,111
And so, when you see
the whole thing together,
487
00:23:24,111 --> 00:23:25,153
with the prosthetics
488
00:23:25,529 --> 00:23:28,406
and the sort of muddy, drippy
costume that's coming off them,
489
00:23:28,406 --> 00:23:30,158
it just looks so amazing.
490
00:23:30,408 --> 00:23:32,452
You never
go into battle with one costume,
491
00:23:32,452 --> 00:23:33,537
but these guys did.
492
00:23:33,537 --> 00:23:35,497
So, you know, makeup, effects,
and costumes
493
00:23:35,497 --> 00:23:37,707
would be sitting on set,
biting their nails,
494
00:23:37,707 --> 00:23:39,543
just hoping that everything
stays together.
495
00:23:39,543 --> 00:23:41,586
So, one thing we did
for a lot of our shots
496
00:23:41,586 --> 00:23:43,630
was we actually had
a little area
497
00:23:43,630 --> 00:23:45,757
that we could remove
from the crown
498
00:23:45,757 --> 00:23:47,259
of the clicker's appliance.
499
00:23:47,259 --> 00:23:49,719
We would either have
complete vision for the actors
500
00:23:49,719 --> 00:23:51,555
and you'd see their eyes
looking through,
501
00:23:51,555 --> 00:23:53,390
which would then be
replaced in post,
502
00:23:53,390 --> 00:23:55,725
or we'd be able to do
some more close up stuff
503
00:23:55,725 --> 00:23:56,977
and put that plug back in.
504
00:23:56,977 --> 00:23:58,603
The amount of work
they had to do
505
00:23:58,603 --> 00:24:00,981
just to get the 200
we had in there,
506
00:24:00,981 --> 00:24:02,357
it was amazing.
507
00:24:10,031 --> 00:24:11,658
There are several creatures
508
00:24:11,658 --> 00:24:13,702
that we had to make the decision
fairly early on
509
00:24:13,702 --> 00:24:16,746
whether they'd be done
practically with prosthetics,
510
00:24:16,746 --> 00:24:18,123
in visual effects entirely,
511
00:24:18,540 --> 00:24:20,584
or if it might be a hybrid
approach of the both.
512
00:24:20,876 --> 00:24:23,044
In the case of
the bloater itself,
513
00:24:23,044 --> 00:24:25,547
because it's
an enormous creature,
514
00:24:25,547 --> 00:24:27,674
it's meant to stand about
seven feet tall,
515
00:24:27,674 --> 00:24:30,051
you can get a man and put him
in a prosthetic suit,
516
00:24:30,051 --> 00:24:31,052
which they did.
517
00:24:31,052 --> 00:24:32,179
At the end of the day,
518
00:24:32,179 --> 00:24:33,597
there's only a certain amount
of mobility
519
00:24:33,597 --> 00:24:34,931
in this prosthetic suit.
520
00:24:34,931 --> 00:24:37,475
As good as it looked,
he just couldn't do the things
521
00:24:37,475 --> 00:24:39,895
that he needed to do
as the bloater.
522
00:24:40,353 --> 00:24:43,190
Very early on, we kind of
planned for doing it
523
00:24:43,190 --> 00:24:44,232
practically on set,
524
00:24:44,232 --> 00:24:46,693
in a prosthetic suit
that Barrie Gower made.
525
00:24:46,693 --> 00:24:49,654
But we reserved the option
and shot a lot of clean plates,
526
00:24:49,654 --> 00:24:52,490
which means we took the bloater,
the physical bloater,
527
00:24:52,490 --> 00:24:55,911
out of the shot so that we had
a clean background to use
528
00:24:55,911 --> 00:24:58,330
in case we wanted to go
the CG route
529
00:24:58,330 --> 00:25:00,290
in some or in all cases.
530
00:25:00,290 --> 00:25:02,709
Barrie Gower
and his team did a fantastic job
531
00:25:02,709 --> 00:25:05,337
creating the bloater suit
with so much detail.
532
00:25:05,670 --> 00:25:08,006
However, we found that
what we needed
533
00:25:08,006 --> 00:25:10,091
was the bloater to be
a little bit bigger.
534
00:25:10,091 --> 00:25:12,469
And it needed to move
a little faster, as well.
535
00:25:12,469 --> 00:25:15,764
This CG creature is doing
some very fantastical things.
536
00:25:15,764 --> 00:25:18,099
Things that a normal human
couldn't do.
537
00:25:18,099 --> 00:25:21,770
We ended up just feeling like
it was necessary to create
538
00:25:21,770 --> 00:25:23,271
a full digital version
of the bloater.
539
00:25:31,404 --> 00:25:33,031
In the case of
the child clicker,
540
00:25:33,031 --> 00:25:34,699
very much like
the bloater early on,
541
00:25:34,699 --> 00:25:37,744
what we did was we sussed out
542
00:25:37,744 --> 00:25:38,995
a person that could
play the role.
543
00:25:38,995 --> 00:25:40,330
And in this case,
it happened to be
544
00:25:40,580 --> 00:25:44,209
a girl from Toronto called Skye,
who was also a contortionist.
545
00:25:44,209 --> 00:25:47,921
So she could move her body
very, very effectively
546
00:25:47,921 --> 00:25:51,675
and do all sorts of clicker-y,
kind of stutter-y motions.
547
00:25:52,926 --> 00:25:55,971
What we did was we shot Skye
on set, like the bloater.
548
00:25:55,971 --> 00:25:59,599
And then we also decided
to sort of change the design
549
00:25:59,599 --> 00:26:03,353
just ever so slightly, in terms
of the prosthetic makeup.
550
00:26:03,353 --> 00:26:06,231
We wanted to feel frightened
by her character,
551
00:26:06,231 --> 00:26:08,900
but also have a sense
of sympathy for her.
552
00:26:09,484 --> 00:26:12,112
We had more of her face exposed,
553
00:26:12,362 --> 00:26:15,448
we could see her long hair,
her pigtails.
554
00:26:15,448 --> 00:26:18,451
These were all the aspects that
were important to Craig and Neil.
555
00:26:19,744 --> 00:26:24,291
What started out as just replacing
Skye's head as a CG element,
556
00:26:24,291 --> 00:26:27,711
we realized we might as well
go a full CG body on it.
557
00:26:27,711 --> 00:26:29,921
And then we can get
this child clicker to do
558
00:26:29,921 --> 00:26:31,840
exactly what we want it to do.
559
00:26:31,840 --> 00:26:35,510
So, now she's able to do that
in a much more fantastical way
560
00:26:35,510 --> 00:26:37,345
because we went CG with it.
561
00:26:39,973 --> 00:26:43,184
The fight
at the Silver Lake Steakhouse,
562
00:26:43,184 --> 00:26:45,186
special effects did
an excellent job
563
00:26:45,186 --> 00:26:48,398
of essentially piping
the entire set.
564
00:26:48,398 --> 00:26:50,358
Of course, we can see
some of this piping,
565
00:26:50,358 --> 00:26:52,652
which, this is where
visual effects will come in
566
00:26:52,652 --> 00:26:57,574
and remove the piping
and also blend in more flames.
567
00:26:58,074 --> 00:27:01,244
At one point, we were not
going to do any practical fire
568
00:27:01,244 --> 00:27:04,205
because the discussion was
that it was too much money,
569
00:27:04,581 --> 00:27:06,291
and we couldn't do it
in the time we had.
570
00:27:06,291 --> 00:27:08,918
That's where I come in to say,
"No, we can do it."
571
00:27:08,918 --> 00:27:10,545
Basically, I said,
"You can have...
572
00:27:10,545 --> 00:27:14,174
Of this size set, you can have
a quarter of it on fire."
573
00:27:14,924 --> 00:27:17,635
Joel Whist,
our special effects supervisor,
574
00:27:18,053 --> 00:27:19,304
is amazing,
575
00:27:19,304 --> 00:27:21,639
and he designed that entire set
576
00:27:21,639 --> 00:27:25,060
to be fireproof in the areas
that we needed it to be.
577
00:27:25,060 --> 00:27:27,645
And that helped immeasurably
for us.
578
00:27:35,111 --> 00:27:37,238
Shooting with Nabo the giraffe
579
00:27:37,238 --> 00:27:40,450
will certainly be
one of my favorite experiences.
580
00:27:40,825 --> 00:27:44,496
What I quickly learned after
doing the research on the game
581
00:27:44,496 --> 00:27:47,248
was just how
critically important
582
00:27:47,248 --> 00:27:50,960
this one moment is
to the whole story of the game.
583
00:27:51,669 --> 00:27:53,463
Giraffes are pretty massive.
584
00:27:54,756 --> 00:27:58,051
It's like a spiritual experience almost,
585
00:27:58,301 --> 00:28:02,013
being so close
to such a magnificent animal.
586
00:28:02,514 --> 00:28:04,974
Yes, you can create a giraffe
in visual effects,
587
00:28:04,974 --> 00:28:06,434
but it's just not the same.
588
00:28:07,769 --> 00:28:11,398
Fortunately, the one thing Alberta
does have is a zoo with giraffes.
589
00:28:11,398 --> 00:28:15,944
And we spent quite a while
putting things in the enclosure,
590
00:28:15,944 --> 00:28:19,072
so that we could shoot it
and getting the giraffes acclimated.
591
00:28:19,072 --> 00:28:21,574
Like panels with blue screen,
592
00:28:21,825 --> 00:28:25,078
so that we could go in there
and just shoot the giraffe
593
00:28:25,078 --> 00:28:26,830
and have Ellie feed the giraffe.
594
00:28:27,205 --> 00:28:30,959
And then, visual effects in
all the other pieces around it.
595
00:28:32,877 --> 00:28:33,878
Something that was
so fascinating
596
00:28:33,878 --> 00:28:35,380
about this experience was that
597
00:28:35,380 --> 00:28:37,632
the visual effects
and the special effects
598
00:28:37,632 --> 00:28:39,300
and all of the departments
working together,
599
00:28:39,300 --> 00:28:41,302
building all of these
practical elements.
600
00:28:41,302 --> 00:28:45,723
To be able to actually see it
in front of you was everything
601
00:28:46,015 --> 00:28:48,143
in terms of the playing
of these characters
602
00:28:48,143 --> 00:28:51,229
and the being in
this fungus apocalypse
603
00:28:51,646 --> 00:28:52,772
20 years in.
604
00:29:01,948 --> 00:29:04,534
I don't know how to describe
this feeling of pride.
605
00:29:04,534 --> 00:29:06,619
And I can't wait for everybody
at Naughty Dog
606
00:29:06,619 --> 00:29:08,163
that worked so hard on the game
607
00:29:08,163 --> 00:29:11,291
and realize that the first time
to see this version
608
00:29:11,291 --> 00:29:12,792
does all their work justice.
609
00:29:13,084 --> 00:29:15,670
There's something really
beautiful and moving about that.
610
00:29:16,838 --> 00:29:18,923
When people talk to me
about the game,
611
00:29:18,923 --> 00:29:20,008
we are the same.
612
00:29:20,008 --> 00:29:21,926
We understand each other.
613
00:29:21,926 --> 00:29:23,845
We have a shared language.
614
00:29:24,554 --> 00:29:25,472
Arts are so important
615
00:29:25,805 --> 00:29:27,640
because it holds a mirror
to our social condition,
616
00:29:28,016 --> 00:29:30,643
and it helps us
have better understanding
617
00:29:30,643 --> 00:29:33,688
for someone who doesn't look
or act like us,
618
00:29:33,688 --> 00:29:35,440
who might come from
a different culture,
619
00:29:35,440 --> 00:29:38,943
and I think that we'll be able
to jump over some of these
620
00:29:38,943 --> 00:29:40,904
skyscraper-high hurdles
621
00:29:40,904 --> 00:29:43,573
that we have in the things
that divide us.
622
00:29:43,990 --> 00:29:46,826
And that will never end.
623
00:29:46,826 --> 00:29:50,872
That right there is the crux
of The Last of Us.
624
00:29:51,998 --> 00:29:54,918
One of the most
exciting experiences of my life
625
00:29:54,918 --> 00:29:57,128
was getting this job.
626
00:29:57,128 --> 00:30:01,549
To come back to HBO,
which basically raised me,
627
00:30:01,549 --> 00:30:06,221
to meet Craig, to meet Bella,
all of our different actors,
628
00:30:06,221 --> 00:30:09,474
there was something of where
I knew this was going to be
629
00:30:09,474 --> 00:30:14,562
the hardest and the best
experience of my life.
630
00:30:14,562 --> 00:30:16,147
And weirdly, there was something
631
00:30:16,147 --> 00:30:19,817
that I knew was special
and terrifying.
632
00:30:19,817 --> 00:30:22,111
And it all came true.
633
00:30:23,905 --> 00:30:28,368
On the first day,
I set a fairly reasonable goal
634
00:30:28,368 --> 00:30:30,828
to make the best
television show ever.
635
00:30:30,828 --> 00:30:32,413
That was our reasonable goal.
636
00:30:33,164 --> 00:30:37,502
I just want to say thank you.
I love you guys. Thank you.
637
00:31:05,572 --> 00:31:07,490
And that's the end
of this story.