Ben Stiller

Well, you just, you know, and I love that dissolve as he turns away, you know, there's outline of Mark's head and you see the hallway and elevator with Gemma in it.

Well, you just, you know, and I love that dissolve as he turns away, you know, there's outline of Mark's head and you see the hallway and elevator with Gemma in it.

Well, you just, you know, and I love that dissolve as he turns away, you know, there's outline of Mark's head and you see the hallway and elevator with Gemma in it.

That to me really, that really connected them. What you did was they're in different timelines, but the whole idea in the episode is is that you're watching Mark journeying and Gemma is having these moments and these flashes and thinking about Mark, but you're connecting them visually even though they're both separate. So it doesn't feel like a flashback per se.

That to me really, that really connected them. What you did was they're in different timelines, but the whole idea in the episode is is that you're watching Mark journeying and Gemma is having these moments and these flashes and thinking about Mark, but you're connecting them visually even though they're both separate. So it doesn't feel like a flashback per se.

That to me really, that really connected them. What you did was they're in different timelines, but the whole idea in the episode is is that you're watching Mark journeying and Gemma is having these moments and these flashes and thinking about Mark, but you're connecting them visually even though they're both separate. So it doesn't feel like a flashback per se.

It feels like we're connecting both of them as people emotionally.

It feels like we're connecting both of them as people emotionally.

It feels like we're connecting both of them as people emotionally.

Scott McGuire is one of our camera operators, a great camera operator.

Scott McGuire is one of our camera operators, a great camera operator.

Scott McGuire is one of our camera operators, a great camera operator.

But can I just say that I feel like it was very important for you on that shot to start off of Gemma and start to go down. which was a crazy shot.

But can I just say that I feel like it was very important for you on that shot to start off of Gemma and start to go down. which was a crazy shot.

But can I just say that I feel like it was very important for you on that shot to start off of Gemma and start to go down. which was a crazy shot.

Yeah. And so all of a sudden we're in this moment, but what you did visually was that, you know, you have the shower water coming down on her and Mark, and then we transitioned into Mark and MDR back from the scene from season one to sort of connect that, you know, those two thoughts. And, but what you did was you had the rain coming down or I call it the rain, the shower water.

Yeah. And so all of a sudden we're in this moment, but what you did visually was that, you know, you have the shower water coming down on her and Mark, and then we transitioned into Mark and MDR back from the scene from season one to sort of connect that, you know, those two thoughts. And, but what you did was you had the rain coming down or I call it the rain, the shower water.

Yeah. And so all of a sudden we're in this moment, but what you did visually was that, you know, you have the shower water coming down on her and Mark, and then we transitioned into Mark and MDR back from the scene from season one to sort of connect that, you know, those two thoughts. And, but what you did was you had the rain coming down or I call it the rain, the shower water.

And then you literally had a shower water set up in MDR because you and I think the show we've always been focused on not wanting to do CG when we don't have to do CG stuff. And you wanted to do the shot going down the center console for real. So that's a real shot. That's not like a CG, you know, wires and vortex, which was really crazy. But you had the film running backwards on Adam.

And then you literally had a shower water set up in MDR because you and I think the show we've always been focused on not wanting to do CG when we don't have to do CG stuff. And you wanted to do the shot going down the center console for real. So that's a real shot. That's not like a CG, you know, wires and vortex, which was really crazy. But you had the film running backwards on Adam.