PRODUCTION


BIG PICTURE THE POWER


“We basically ended up shooting most


of North America in London, which, I don’t need to tell you, doesn’t look that much like North America,” says Featherstone. No small ask “especially at a time when no


one really wanted a film crew running around their houses and offices. It was very tricky to negotiate locations in that time,” says Bricknell. “We scouted as much as we could, without


being allowed to travel very much or even go into buildings,” says Bricknell. Canary Wharf took on the role of downtown Seattle, “it actually worked pretty well,” says Bricknell “but finding the domestic environment was really difficult. We ended up in in a place in Gloucestershire, a new build place around a lake which did kind of look like the Pacific Northwest.” So far, so good. “But due to everything delaying and delaying we ended up filming there in February 2021. We’d got through every single problem and, on the first day


of shooting, it was so cold we couldn’t drive out of the unit base to the set due to snow and ice.” As the show went into the edit, it was felt that the


North American strand of the story wasn’t quite up to scratch in terms of the locations used. By that time,


“WE ENDED UP SHOOTING MOST OF NORTH AMERICA IN LONDON, WHICH DOESN’T LOOK THAT MUCH LIKE NORTH AMERICA”


Vancouver was open for shooting again and the offer came from Amazon to reshoot many scenes. Raelle Tucker came on board as showrunner but the original Margot, Leslie Mann, was no longer available, neither was Tim Robbins, who originally played Governor Daniel Dandon. The pair were replaced with Toni Collette and Josh Charles respectively.


“We went back and reshot a lot of what had


been shot in London, to make it exist as a real North American city,” says Featherstone. “We just had an opportunity to make the production values better” and gaps were filled “that we just simply weren’t ever able to film” due to restrictions. A complicated picture but, says de Pear,


“in a way our scale was partly our saving grace because, in having different strands, if something goes wrong in one you can shoot another one for a bit. That was weirdly quite handy.” “We only lost maybe three days over


the whole period where we really ran out of things to film,” says Bricknell. “We didn’t really have some of the horrors you heard about from other productions of just literally having nothing to film and not being able to film.” And that’s because “it is an industry of problem


solvers,” says de Pear. “You get problems on every shoot so it was like a massive version of that.”


F U L L POS T P ROD U C T ION


‘The best thing you can say about any company is that they genuinely care about the show and take pride in its success.


That’s what we have with Core and Brassic.


They are inextricably woven into the fabric of the show.’


- DAVID LIVINGSTONE, Executive Producer 4 K H D R G R A D I N G DOL B Y A TMOS A D R E D I T ON L I N E 24 televisual.com Spring 2023


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