Published: Monday, 21 October 2019 21:02 | Written by Christiane Elin
SciFi Vision was invited by Apple TV+ to a swank hotel in Hollywood to take part in a press conference and roundtable interviews for its epic new series, See. See is a visually stunning series starring Jason Momoa (Baba Voss) and Alfre Woodard (Paris). See takes place six hundred years in the future on Earth that has been devastated by a virus that has only left a couple of million survivors. The survivors have all emerged blind. See explores how the survivors live without sight and adapt to find new ways to live while the Earth heals from environmental challenges. The world of See is all encompassing from the unique characters, story lines, costumes, sets, and locations. It’s easy to go along on the ride with its fast-paced tempo and the non-stop journey of the Alkenny Tribe.
The See press conference included series star, Jason Momoa, and the world-building producers of See, writer and creator Steven Knight, director Francis Lawrence, executive producers Dan Shotz and Jenno Topping, and associate producer and blindness consultant Joe Strechay.
The conference, moderated by journalist Craig Tomashoff, dove right into the origin of See. Steven Knight has created a world from an idea which he envisioned and shared on a drive with Executive Producer Jenno Topping while the two were collaborating on a different project.
See was further explored with a think tank that included everything, from survivalists to people who have varying degrees of vision or who have none at all, to help to build the world of See. Every aspect of See was thought of when working in the constructs of a society that has no vision. Dan Shotz, See’s executive producer shared, “We had this responsibility to define this world in the right way, and these characters. And we didn't want these characters to be defined by their disability. We wanted these characters to be defined by their will to survive, their passion, their heroism. So, we just had to figure out how to tell the story, and it was tricky, but it was listening to people like Joe that made the difference.”
Jason Momoa leads the cast of See in the starring role as Baba Voss, the leader of the Alkenny Tribe. Momoa shared, “The first time I got the script, let's just say this has only happened twice in my life. Once was when I read Game of Thrones, and two was when I read this.
“...I just read it out loud. It's the first time I'd ever read it out loud, and my all my friends were riveted. I actually called Brandt [Joel] after about page five and was like, “Get me in; get me this. This is mine; no one's gonna beat me. This is my role. I got it.”
It might be said that Jason Momoa has been type cast, and although he is wearing fur and is quite the warrior in this role, we get to see other aspects that he hasn’t necessarily got to show in previous projects. The actor shared details as to why this role helped to expand the depth of his acting ability. “I played a lot of these. When you look at this on the page, it's like, here's Jason dressed up in fur with lots of weapons, and I've done that pretty much my whole career, and I've been trying to, you know, do things where I smile, and people like me, and I have relationships, and so this was perfect.
“Because, Drogo, you know, there was never a fight scene in Game of Thrones...I hate comparing things, but the thing is, I didn't get to exercise all the things that I'm capable of doing...But I really, really, really, really love this role, and because I got to exercise all these beautiful things inside of me as an actor that I've never dealt with before.”
The producers and directors made sure to point out that this series was an especially unique experience because of the blindness aspect. Not only were all of the sets made accessible for the low vision and blind cast members, even if it were on top of a waterfall, but all of the departments were bonded and cohesive on portraying the blind aspect respectfully and authentically.
See will premiere on Apple TV+ on November 1, 2019. Apple TV+ is available beginning November 1, 2019 for a free 7-day trial. Apple TV+ is a $4.99 monthly subscription with the ability to share between six different family members. If you buy an iPhone, iPad, Mac or Apple TV, you'll get one year's subscription free.
Apple TV+ Press Conference for See Steven Knight, Jenno Topping, Jason Momoa, Francis Lawrence, Dan Shotz, Joe Strechay Moderated by Craig Tomashoff October 20, 2019 CRAIG TOMASHOFF: I was up on the set back in like February, I think, and I had two thoughts when I was up there, one being it's pretty cold up here, which I assume you guys thought too, and the second thing of just how the hell did you do this? Because I've seen a lot of sets and a lot of shows, but I've never seen anything this immense before.
So, the place I thought I would start is with Steven, to ask you if you remember that first image that came to your head? Like what was the very first moment that you sort of had this, and the image that you had of it, because it's so kind of unlike anything?
STEVEN KNIGHT: It's difficult, because it's difficult to know where ideas come from. I think it's probably from the same place that dreams come from, you know, it's some part of your mind that suddenly throws something at you, and this was an idea that sort of came fully formed. And I examined it and thought about it and considered it.
And then coincidentally, I was working on a project with Jenno, and Jenno gave me a ride into Santa Monica. And I said, I had this idea, and she loved it.
So, the actual source of the idea is a mystery to me as much as it is to anyone. And these ideas do come, and most of them, you think, that's not going to work, but this was sort of such a big concept, and I thought I had to try and see this through.
CRAIG TOMASHOFF: Jenno, since you were part of it in the beginning, when he sort of described it, I'm assuming you had kind of an image in your head of what it was going to look like. How much does the finished product resemble what initially he was talking about and what you were kind of picturing?
JENNO TOPPING: Well, sadly, I'm not a visualist, and it took Francis to fully realize the vision for me. I mean, Steve might have had it in his head, but I just know that I started driving more and more slowly. [laughs] I was so worried that I was going to get to Santa Monica before he was at the end of the story, and he would get out of my car, and I would never get to hear the whole thing.
But, I mean, from the second he told it, it's very much the general story that we ended up with in terms of, you know, the group that's traveling and the kids. So, I just was stunned.
CRAIG TOMASHOFF: How about for everybody else, when you first heard about it, maybe starting with you, Jason, and when you first heard this idea, what did you picture, and did it end up being what you kind of expected as well?
JASON MOMOA: Well, the first time I got the script, let's just say this has only happened twice in my life. Once was when I read Game of Thrones, and two was when I read this. And I was on a train from Cornwall to London, just wrapping a show I was doing, and my agent sent it through. He said, “I want you to play this role. Check it out.”
I read it, and I was with all my best friends that I had hired on this other show, so I literally was with the best of the best in my life as actors, but I read it because we had a long train ride. I just read it out loud. It's the first time I'd ever read it out loud, and my all my friends were riveted. I actually called Brandt [Joel] after about page five and was like, “Get me in; get me this. This is mine; no one's gonna beat me. This is my role. I got it. So, just put me in the thing."
So, just really what it came down to, is they put me in a meeting with Peter Chernin and Jenno Topping, and it was my first meeting, and I really didn't know too much about. It's just that I read it, and I loved it. I walked up; I was just very passionate about it and said a bunch of ideas and became really, really close and had a great time with Peter and [Jenno]. And then they introduced me to Francis, and I just went in there, and it was just like, verbal diarrhea. I just went off in the room. I was just so excited. I think I came in with like props, and I’m like, “You gotta check out this bag.” I came in with like show and tell. I was so obsessed with this role.
FRANCIS LAWRENCE: Well, I think you actually acted out the fight scene at the end of episode three.
JASON MOMOA: That we ended up doing?
FRANCIS LAWRENCE: Yeah. That wasn't even real yet, but you were in there acting this thing out.
JASON MOMOA: But images kept flying in, and it was one of the most amazing - it was probably the best script that I've ever read. And all these images kept flying in, and it was just born. It was born in me.
And then I went to Steven, and I was like, “Thank you for writing this for me. No one else can do this.” I’m not normally this cocky, but I'm like, seriously, I'll take on anyone in this industry. Things could get out of hand, you know, fisticuffs.
FRANCIS LAWRENCE: Honestly, I don't think there was another choice. I don't know what we would have done if you couldn't do it.
JASON MOMOA: I was like, this was it. So, I mean, this is my favorite role as of today.
CRAIG TOMASHOFF: I’m glad there was nobody else, because you would have killed them. [laughs] So, you would make another show, but Francis, I guess, actually you know what, I had skipped you, and I know when I had talked to you before talking about the think tank that you had you seen and did sort of early on? I'm curious about the genesis of that and maybe some of the things like who was there and what you kind of learned from that think tank?
FRANCIS LAWRENCE: Well, I think we, you know, came up with this idea to hold a think tank in London and brought a bunch of people in, including some of the other writers for the show, to start to brainstorming ideas, just because the possibilities felt endless. And so, there were some people who were blind, some people who became blind later in life, and some people who were born blind. We had an evolutionary biologist; we had a survivalist. We had some other scientists just talking about what the world would look like with civilization greatly reduced, and honestly, coming up with at least the beginnings of a bunch of the ideas of how this world would be organized because of the blindness aspect of evolution. And what are the different ways that people can navigate? What are the different ways that people would build villages? What are the sort of different ways that people would build clothing and armor and weapons and the whatever the fighting style is going to be? So, it was sort of the beginning, for the thinking of all of that, but that thinking never stopped. It wasn't just the reports of those three days of the think tank. This was something that was carried on, and Joe was a huge influence on many of the choices.
CRAIG TOMASHOFF: I think you mentioned this to me, the ideas like the creaky floor for the queen, things like that, where, ordinarily, you would never think of something like that, but it sort of came out of that group.
FRANCIS LAWRENCE: It did. Yeah, but that was weirdly just when you start talking about all these different kinds of things. That idea for the - we call it the Nightingale - came from a trip that I had to Kyoto years ago before, where I went to Shogun palace, and this was a Shogun that was very afraid of being assassinated. So, this palace was built where you cannot take a step without making a sound. So, they've used brass tacks on all the floors, and the way they're connected. And this is hundreds of years ago, and it's a pretty amazing place.
But suddenly, when you're thinking about the building of this world, you go, this completely makes sense. So, if you have a character who's a bit paranoid, as Queen Kane is, she could build a floor, or have a floor built in her chamber, that makes a sound, so she always knows where somebody is at any given time.
CRAIG TOMASHOFF: You know, Dan, one thing that we talked about a little bit that day too, but one thing that I guess you have to pay attention to, is this is a world where nobody could see, so how do they make tools? How do they make clothes? How hard was that? Was that much of a challenge to create something that would be believable within this particular world that you've created?
DAN SHOTZ: Yeah, I mean, it took a lot of time and a lot of amazing people, and Francis assembled a pretty incredible group of costume designers and production designers and an entire team to help us investigate get this and talk about it. But when we started this process, we realized that the first thing we needed to do was listen, and we listened to Joe who was like our guidepost for this whole thing and also is the greatest human being we've ever met in our lives. (To Joe) And you don't want to hear that.
And also, we had a lot of cast that were blind and low vision, and just the way we built this story and the way we talked about it, we just listened at first. And then the impact that they had on the story and how we wanted to tell it, how we wanted to build this world, how we wanted to open it up, was so crucial, because we had this responsibility. We had this responsibility to define this world in the right way, and these characters. We didn't want these characters to be defined by their disability. We wanted these characters to be defined by their will to survive, their passion, their heroism. So, we just had to figure out how to tell the story, and it was tricky, but it was listening to people like Joe that made the difference.
CRAIG TOMASHOFF: Joe, actually, my first question for you, I guess, would be, “Are you indeed the greatest human being they’ve ever met?”
JOE STRECHAY: The jury's still out.
JENNO TOPPING: You'd think the greatest human being would say, “Yes I am the greatest human being.” [laughs]
CRAIG TOMASHOFF: That's why I’m testing him. I just tested you with that question, and you passed, so congratulations.
You know, I know one thing that you did, it's been talked about a little bit, but the boot camp or the training camp that you kind of helped with for the cast. I wondered if you could maybe describe that little bit and what you taught them, but maybe what you learned back from them as well?
JOE STRECHAY: Yeah. So, in the process, all the people who worked on the show, whether they were cast or crew or producers or directors, all met with myself and others. And the first conversation we had was about blindness and disability, and that this show has an opportunity. There have been so many comical portrayals of blindness in the past, and Apple and our production is committed to make sure that this is a respectful production and shows blindness in a positive manner. And I spoke about the language around blindness and disability and putting the person before the disability when we speak about a person who is blind, a person with low vision, and that we're gonna have actors who are blind or low vision on the show, and they're just like everyone else, except that, you know, maybe they prepare differently. Everyone prepares differently, whether you're a cast [member] with blindness or not.
And so, it was a conversation and bringing up people I know, who are mountain climbers and adventurers, who are totally blind. My friend summited Mount Everest and the highest peak on each continent without vision. You know, people like that, mechanics, carpenters, who are totally blind out there in the world making things happen. So, this is not so far off, really.
CRAIG TOMASHOFF: I’m curious, for you and Francis, and actually, Jason a little bit too, in the process of filming, it sounded like things came up all the time where there were the big scenes of people moving down a mountain or walking by water, that it sounds like there was a lot of inventiveness kind of going on throughout the shoot.
And I'm curious, maybe a few examples or things you remember of how in the moment somebody might say, “You know what, it really wouldn't work this way. You’ve got to get lower to the ground,” or “You have to kick the water.” Were there a lot of examples of that kind of [thing] as you went along?
FRANCIS LAWRENCE: Yeah, I mean, I would say on in almost every shot of every scene there's a lot of thinking. So, I think it all started with the boot camp. And, you know, basically every actor had the sort of opportunity to spend as much time as he or she wanted in boot camp leading up to the shoot. And we sort of related a little bit to learn the language, right?
And so, we all sort of got a foundation in this boot camp, and then you go out, and you start applying it, but we kept learning. And the sort of dictionary of that language for us just kept building and building and building, because very quickly, somebody sort of reaches out for something, and, you know, if the other character can't see, you don't know that the hand’s out in the air and reaching for something, and you quickly have to realize you need to make sound. So, are you going to snap your fingers, or are you going to jingle your rings and things like that.
So, it was constantly discovering those kinds of moments for any given situation. And Joe was always there listening in on rehearsals, and someone would describe what the behavior is going to be, and he was always sort of full of ideas to help everybody along.
CRAIG TOMASHOFF: Jason, was there one that kind of surprised you that you learned? I think I remember hearing about walking with your axe, like trying to figure it out, or using your jacket in a different way.
JASON MOMOA: Yeah, I mean, like Francis said, every day was kind of a new thing.
And, you know, for one instance, we were walking on a river, and then I just kind of realized while we were shooting, that the way that I walk is kind of like a one foot forward, the other one’s kind of crossed, and I was just kicking the water, and I could just hear it, and they can hit things. And so, I went back to Joe. I was like, “I found something.” I was really excited. Oh, your training paid off, thank you, Padawan, sensei, Jedi Master.
So, you know, you train really hard, and then you find it in the field. And so, I mean, that's kind of the thing, that you learn the basics, and then you can add a little flair when you want to.
But one of the really interesting things, because I'm not a big fan of school or learning, and so I was forced - well, first of all, Francis, like, you got a boot camp. I know you came with your ideas, and you have plenty of them, and, you know, like it's been very supportive. "Just check it out. You don't have to do it." You know, you really know how to talk me going, “You know, it's not your ideas, you got yours,” and so he just like let me go, “Hey, cool, I’ll check it out.”
And obviously I'm gonna be with Joe, because he's experienced, but we had some other stuff that we would do with another trainer that was just challenging for me. But what I found, is that we would just talk, about for instance, me and my wife, and just using her sense. And so, since we have no vision, I don't know what she looks like. There's just a beautiful moment where we sat there, and it was just like literally going off of sense, you know, the smell, and it became a very beautiful, sensitive, I don’t think sexy, but it's a good - it's a very intimate scene. It's probably the most intimate I've had without you know, you don't have to take your clothes off or any of that stuff. It's just like down to the touch and the smells of your woman.
FRANCIS LAWRENCE: And I remember you talking about hearing her breathing -
JASON MOMOA: Yeah.
FRANCIS LAWRENCE: - because it was so quiet.
JASON MOMOA: It was so quiet, and it was just amazing what I learned when I just turned off my eyes, and that was one of the many things that I learned.
CRAIG TOMASHOFF: We're going to get to questions in one minute.
I curious, just for everybody to go down the line. How do you think you'd actually fare if you had to live in this world? In the world of See, do you think you could survive, or would it just be, “Where's my phone?”
JENNO TOPPING: Well, I wouldn't survive in Francis's world of shooting outdoors. Crazy locations. Definitely not.
CRAIG TOMASHOFF: If you existed 600 years from now, Steven, could you have done it?
STEVEN KNIGHT: Probably, definitely not. I’m at my best in a warm room with a keyboard.
CRAIG TOMASHOFF: Aren't we all?
All right, well, I guess we can go to the questions, starting in the front.
QUESTION: Jason, the eyes are a major tool an actor uses in their performances. So, when you're playing a character who’s blind in a world that's lived with blindness for as long as they can remember, do you use that tool in a different way?
JASON MOMOA: Do I use my eyes in a different way?
QUESTION: Yeah, as a tool.
JASON MOMOA: For these scenes, is that what you’re saying? It was very challenging, because day one, we shot this where lenses are very wide, large format, so the camera can be literally right here. When the camera’s right here, you’ve got nowhere to look. So, you really, really have to - it's tough, because you cannot lock in on something. It's extremely challenging. And obviously Joe trained us to, you know, see everything around us. But the hard thing - I'm straying off, because I'm like that. I’m like, “Look, squirrel.” [laughs]
I'm not sure if I'm answering your question, but the hard thing is like right now, having a conversation with someone. I come back home, and I'm like, “Hey, honey,” and you don't actually look at them, because you're just hearing like, it’s not this way. I'm looking at you by listening this way. And so, whenever I have a conversation with someone, you just come back to life, and you're not actually making eye contact anymore, because you've been, you know, seven months on a show trying to get rid of this. So, how I use my tool? You want to like stop it. You need to keep them open and not see.
FRANCIS LAWRENCE: It was actually really fun for me, I will say, because it offered up different opportunities for blocking, because typically, if people can see, you know, I'm looking at you. When you look up, you look at me, but in this world, you don't have to do it. And so, a lot of the storytelling becomes about body language and behavior, as opposed to where people are looking. So, it completely changed the way scenes can be blocked.
JASON MOMOA: That was the beautiful part about it, like we’d do a scene, and he’d be like, “Are you going to do it that way?” I'm like, “Yeah...” He’s like, “I love it.” I’m like, “Good, because it feels good.” It’s like it’s awesome that you are shooting for my hearing and only seeing half of my face. We know what I look like, let's see this - It's all physical. It's all physicality of how we posture our body, but yet you were totally supportive and that set the tone for the three episodes. So, it was kind of like, “Is it, can I do that?” “Yes, you’re doing good.” [laughs]
CRAIG TOMASHOFF: Who’s next? Over there.
QUESTION: Jason, I love the way you fought - [laughs]
JASON MOMOA: Are you guys picking on me? [laughs]
QUESTION: You fought for this role, and I just wanted to know, why particularly Baba Voss? Why did you want to play this role? Why is it perfect for you? What do you relate to?
JASON MOMOA: It's a great question, sir.
QUESTION: Thank you.
JASON MOMOA: You know, I played a lot of these. When you look at this on the page, it's like, here's Jason dressed up in fur with lots of weapons, and I've done that pretty much my whole career, and I've been trying to, you know, do things where I smile, and people like me, and I have relationships, and so this was perfect.
Because, with Drogo, you know, there was never a fight scene in Game of Thrones. And, you know, it was great writing, but there was never that moment where you're like, “Oh, I want to see what he goes into, but then I also want to see when he has a kid. What's he going to be like?” You saw him with Daenerys for a second. I hate comparing things, but the thing is, I didn't get to exercise all the things that I'm capable of doing. I'm a father and my two children are almost teenagers. So, I'm like, [I’ve been] married for 14 years, so I'm like, what it's like to be a father? And I never get have that experience. And then, what it’s like to lose everything? He can't keep his family together. Obviously, he’s impaired, and he's crumbling inside trying to keep his family together and survive this gnarly world, and that's just beautiful. And, so all my characters have never gone to that. It seems like his family was murdered, and now these are the repercussions, and he's just pissed. Now it's like, this is it. This is it; this is everything. So, now I'm like, I'm done until the next one. But I really, really, really, really love this role, and because I got to exercise all these beautiful things inside of me as an actor that I've never dealt with before.
JENNO TOPPING: I just want to correct the narrative that you fought so hard for this role, because the three of us literally had no other person. [laughs] It really wasn't much of a fight.
CRAIG TOMASHOFF: I still wanted to see the seat deathmatch, but, you know, season two.
All right, let’s start here in the front, then we’ll go in the back.
QUESTION: Question for Joe, what are some of the biggest things that you have to correct about the way seeing actors or low vision actors approach these roles?
JOE STRECHAY: So, definitely what Jason was talking about, one thing is eye contact, making sure - and especially in a world where there hasn't been vision for 600 years, eye contact is a social norm, as well as evolutionary, like cultures have built it in. There are cultures that don't believe in direct eye contact, and in a world where there hasn’t been vision for many centuries, whatever number of centuries, that eye contact norm will disappear. So, that was definitely one of them.
And anticipating objects, like when you're going to grab an object, whether you hear it, or in how you approach that object to grab that object. So, the little details. But our actors were tremendous, whether they are blind, low vision, or with sight, and they were really caring and respectful and really worked hard to make the portrayals complete.
QUESTION: That is so amazing, thank you.
FRANCIS LAWRENCE: One of the interesting things that was one of the trickiest things to get rid of in that world, is not it, because a lot of people, when you speak to one another, like you just, you're nodding as I'm talking. It wouldn't happen, but it's all built in. And you’re nodding and shaking your head as you're listening. It just wouldn't happen. And, so it's something that we were really super vigilant about. It's a really tough one to leave.
CRAIG TOMASHOFF: We’ve got time for at least one more, right behind you.
QUESTION: So, you spoke about the importance of family in the show earlier, and what I thought was really interesting, is that it's not just “blood is thicker than water,” but like Baba Voss is taking care of two kids, and he knows who their biological father is, but he's still their real father. So, how important was it that that be the central dynamic?
JASON MOMOA: I mean, that's amazing, you know, because it's a king and a chief that can’t actually have babies, and to be the strongest and be this testeron - test (testosterone) - You know what I'm trying to say. [laughs] Balls. That’s a strike.
That guy, not being able to have babies, is like, “Wow, what an interesting thing, genius.” And then to be able to die for something that isn't his and be able to know that truth, and someday that may come out. I mean, that's just amazing writing, which causes another great question.
CRAIG TOMASHOFF: Can we do one more? We still have time. Nobody's telling me no. Let's try and do one. Oh, actually, you had your hand up, you go.
QUESTION: Quick question of Francis, can you please? Thank you so much. Can you talk with us a little bit about the significance of the opening credits?
FRANCIS LAWRENCE: You mean the kyronics [unintelligible]?
QUESTION: No, no, with the blast of the light in the strings.
FRANCIS LAWRENCE: Yeah, well, we worked with a title company managing resources; they're very creative people. And we had a bunch of brainstorming, and, you know, it's tricky, because you want to come up with something, and what we were aiming for was to come up with something that was about a lot of the other senses. So, telling sort of an audio story, in terms of sort of nature and kind of the the idea of family and the babies and animals, and then sort of a building tension that kind of mirrors and reflects the story that we're about to enter.
And then we got this idea that we could sort of almost have, almost as if it's echolocation, these sort of glimpses of shape and depth that could give you a sense of something, an object, that could be in front of you, and that matches the sound, which is why you get these little glimpses.
And then we decided it would be fun to sort of build it out of the rope, since the rope and the rope language and rope is used for navigation in our show. So, weirdly, that's kind of the title sequences filled with a bunch of Easter eggs from elements of the show.
CRAIG TOMASHOFF: Do we have time for one more? I’ll keep going until somebody yanks me off, I guess.
You know, actually, one thing that I was just going to throw in quickly, was that when I was up there and hearing everybody talk and knowing the nature of the show itself, it seems like there's a sense of community that comes with this particular production of this show that maybe you guys haven't really experienced in a lot of other things that you've all worked on. And, I don't know, for anybody who wants to answer, if you kind of felt that, that there was something about the nature of this project of what it is, that really created a sense of community, unlike things you maybe experienced in other projects.
FRANCIS LAWRENCE: Yeah, I mean, I think there definitely was a very strong sense of community on this. I mean, a huge part of that is the group that you put together. So, it's the people themselves. I think there's sort of a sense of team spirit for the project and a love of the project that everybody had. I think there's also the sort of shared trauma of being out in the wilderness and in the cold and blizzards and floods and fires and bears, and, you know, all that nonsense that also kind of bonds. And then there was also a unification that happened because of the blindness element -
CRAIG TOMASHOFF: I was gonna say that seems like -
FRANCIS LAWRENCE: - of the show. And weirdly, because often on shows or movies, departments can sort of exist in their own little bubble. And in this one, they just couldn't do it, because everybody had to share, because costumes were designed specifically because of the blindness in the show, and the props were, and they had the sort of cross. And that matched up to the production design. And the stunt team has to know all about that. And the animal people have to know all about that. So, just the communication between every department was the best I've ever seen on any project I've ever worked on.
DAN SHOTZ: And there was also a responsibility for everyone for accessibility, because we were in some of the most dangerous places you could imagine. And pretty much every single person who was in the cast, Joe, anybody working on the show, we made sure no matter what that they could get to every single set, even if we were on the top of a waterfall. Francis had the team build - how long was that staircase that went all the way from the top of the path all the way down? I mean, it was so many flights, just to make sure our cast that are low vision or blind could get to. So, just kind of everybody was working towards the same goals at all times. And I think that's what really bonded us.
***Be sure to check out the round table interviews when they become available!***