Craig Mazin

There's something that the little girl says in episode three when she's hiding with her dad and she knows there's trouble coming. And she says, demons? And he says, wolves. Well, who are the demons? Oh, there's an infected problem in Seattle. Of course there is. Of course there is. In fact, we've now introduced the third army because there are three factions in Seattle all fighting for dominance.

There's something that the little girl says in episode three when she's hiding with her dad and she knows there's trouble coming. And she says, demons? And he says, wolves. Well, who are the demons? Oh, there's an infected problem in Seattle. Of course there is. Of course there is. In fact, we've now introduced the third army because there are three factions in Seattle all fighting for dominance.

And our poor characters are once again caught between a battle like that and what was a fun way for Dina and Ellie to interact with the minimal infected that they thought were in Jackson. The way that they'd become so casually confident in their abilities. You just count one, two, one-on-one. We can handle that. Well, the counting begins here again.

And our poor characters are once again caught between a battle like that and what was a fun way for Dina and Ellie to interact with the minimal infected that they thought were in Jackson. The way that they'd become so casually confident in their abilities. You just count one, two, one-on-one. We can handle that. Well, the counting begins here again.

And very quickly, Dina comes to understand there's no point in counting. It's a horde. And now the question is, how do you get through this? And... As always, why are we doing this? How does it change the relationship?

And very quickly, Dina comes to understand there's no point in counting. It's a horde. And now the question is, how do you get through this? And... As always, why are we doing this? How does it change the relationship?

Thinking up was fun. Executing was so hard. Let's start with Don McCauley, our production designer, who finds, along with Nicole Chartrand, our location manager, finds this unused former, I think it was a paper mill of some sort. And it had railroad tracks because they would bring big freight train cars in, load them up with this stuff, and then send them back out.

Thinking up was fun. Executing was so hard. Let's start with Don McCauley, our production designer, who finds, along with Nicole Chartrand, our location manager, finds this unused former, I think it was a paper mill of some sort. And it had railroad tracks because they would bring big freight train cars in, load them up with this stuff, and then send them back out.

So we have train tracks, we have this big open facility, and then Don goes and transforms it with his team into a metro tunnel and gets actual train cars to put in, derail, connect, redress, and then we all go in there for what seemed like nine years. Nine years of smelling the flare smoke and God knows how many extras and God knows how many prosthetics.

So we have train tracks, we have this big open facility, and then Don goes and transforms it with his team into a metro tunnel and gets actual train cars to put in, derail, connect, redress, and then we all go in there for what seemed like nine years. Nine years of smelling the flare smoke and God knows how many extras and God knows how many prosthetics.

And Joel Wist, our special effects wizard, had rigged the trains with his guys to rock back and forth with these little hydraulic levers. And we filled the train cars with skeletons. So it was an enormous undertaking to do. And it's one of those sequences where you begin it and you say to everybody, here we go. This is very exciting. Look how great the set is.

And Joel Wist, our special effects wizard, had rigged the trains with his guys to rock back and forth with these little hydraulic levers. And we filled the train cars with skeletons. So it was an enormous undertaking to do. And it's one of those sequences where you begin it and you say to everybody, here we go. This is very exciting. Look how great the set is.

And then when you finally leave it, you are... Torch it. Hollow. You are broken and hollow. Yeah.

And then when you finally leave it, you are... Torch it. Hollow. You are broken and hollow. Yeah.

Yeah, it is, like I said, a duck press. It takes so much time. People ask, why do these shows take so much time between seasons? Well, because we don't have the luxury of a workplace with a standing set. And... mostly talking and walking around. We are making movies.

Yeah, it is, like I said, a duck press. It takes so much time. People ask, why do these shows take so much time between seasons? Well, because we don't have the luxury of a workplace with a standing set. And... mostly talking and walking around. We are making movies.

No, no. I mean, listen. And everybody that has worked with me on the show, if they heard me just say what I said, they would start laughing because nobody complains more about meetings than I do. Nobody. I don't enjoy a meeting. But that meeting and the 4,000 other meetings is why no one gets hurt. Because we're doing a lot of dangerous work out there.

No, no. I mean, listen. And everybody that has worked with me on the show, if they heard me just say what I said, they would start laughing because nobody complains more about meetings than I do. Nobody. I don't enjoy a meeting. But that meeting and the 4,000 other meetings is why no one gets hurt. Because we're doing a lot of dangerous work out there.

Just the shot of Ellie and Dina running along the top of the train. When we're following them, we've got our cameraman suspended in a chair that's hanging by wires that is connected to rigging that the gaffers have put over all of this. So that he can sort of... It's like a ski lift behind them. I don't know how they do these things. I really don't.

Just the shot of Ellie and Dina running along the top of the train. When we're following them, we've got our cameraman suspended in a chair that's hanging by wires that is connected to rigging that the gaffers have put over all of this. So that he can sort of... It's like a ski lift behind them. I don't know how they do these things. I really don't.