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LH: On the filming day, you take that previs and you basically shoot it like a storyboard. OG: Do you follow the whole previs sequence exactly? We then show it to Henry Cavill and he’ll say ‘I love it or can I do another bit of action here’, and we’ll keep revising it until the previs is signed off.
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Let’s make the table out of whatever material, that means we can actually see it break. We’ll then talk to the set designers and say, Ok, look at this point, it’d be great if he could smash through a table. We’ll then look at it and say, can we have it longer or shorter or more action or less action. He and his team make a previs and shows it to us. Adam Horton, the stunt supervisor, who is incredibly talented and really lovely to work with, then workshops the fight in the studio with all the different characters and all the different weapons. And again, you have to think about where the location is because it everything affects everything. LH: You first look at the script and visualize it. How are they integrated into the choreography before filming? OG: There are many stunt elements and props like furniture and weapons used during the fights. By the time you get there, it’s as you expected. So there’s no surprise when you get to the final day when you’re filming. But could we add on this? Or could we put a window here? It means that from when you read the script until when you’re actually filming, it could be weeks, it could be months of preparation. You think about what are the emotional beats in the scene that I want to express? You then go and find out what the sets are going to look like. So when you read the script, you imagine the characters and you kind of get a feeling. Louise Hooper: Well, the thing is, it’s quite a long process. What is the starting point for setting the scene and does the original vision ever change when you’re on set? Olivia Gacka: The fights scenes are very atmospheric, offering various perspectives even on what is happening in the background. We spoke to the director about how those scenes are filmed and the surprising ways some effects are achieved. Louise Hooper, who directed two of the episodes this season, shot two of them: the attack on Geralt in the library in Episode 6, “Dear Friend…,” and the scene where Nilfagrdian guards attack Ciri and Yennefer in Episode 7, “Voleth Meir.”īoth scenes involve intricate choreography, which is discussed with the actors in advance and brought to life in cooperation with the stunt team. The Witcher season 2 delivered some unforgettable fight scenes. By Olivia Gacka 6 months ago Follow Tweet