David Bernad

I wonder. Well, it's funny because if you spend enough time with Mike, you're going to end up as a character in one of his movies or shows because he's always paying attention and he's really good at picking up on funny moments you don't even realize he's paying attention. So... There's a lot of me, I think, in the show. That or I'm a narcissist and I'm just projecting.

I wonder. Well, it's funny because if you spend enough time with Mike, you're going to end up as a character in one of his movies or shows because he's always paying attention and he's really good at picking up on funny moments you don't even realize he's paying attention. So... There's a lot of me, I think, in the show. That or I'm a narcissist and I'm just projecting.

You're distributed amongst. Yeah. There is definitely one line in there that I told him as an anecdote. When we were in Bangkok, I had gone out for drinks with someone and she told me that the women in Bangkok call these bald men LBHs, losers back home. So I went back and told Mike the next day, which I was really excited when that ended up in the script.

You're distributed amongst. Yeah. There is definitely one line in there that I told him as an anecdote. When we were in Bangkok, I had gone out for drinks with someone and she told me that the women in Bangkok call these bald men LBHs, losers back home. So I went back and told Mike the next day, which I was really excited when that ended up in the script.

Yeah. I mean, you know, it's interesting when we're making the show. HBO picked the show up very quickly. in July of 2020 and said, can you get a show shot this year that can be out in 21? And Mike and I had sold and thought about multiple versions of a travel show that examined upstairs, downstairs life and the resort culture and colonialism.

Yeah. I mean, you know, it's interesting when we're making the show. HBO picked the show up very quickly. in July of 2020 and said, can you get a show shot this year that can be out in 21? And Mike and I had sold and thought about multiple versions of a travel show that examined upstairs, downstairs life and the resort culture and colonialism.

and you know mike started writing really quickly and then the idea of this of the murder plot was something that came later that was never the idea of the show was always kind of these really specific characters kind of interacting with each other and examining more existential ideas so this idea of like a plotty show was never something that we set out to make and even when we were cutting season one

and you know mike started writing really quickly and then the idea of this of the murder plot was something that came later that was never the idea of the show was always kind of these really specific characters kind of interacting with each other and examining more existential ideas so this idea of like a plotty show was never something that we set out to make and even when we were cutting season one

I remember we got this note about the end of the pilot returning to the dead body to remind people that there's a dead body. I remember talking with Mike about it and he was like, I don't think people are really going to care about that. They're going to forget that the dead body exists. Let's not really focus on the show.

I remember we got this note about the end of the pilot returning to the dead body to remind people that there's a dead body. I remember talking with Mike about it and he was like, I don't think people are really going to care about that. They're going to forget that the dead body exists. Let's not really focus on the show.

Obviously, for some people, that's a big part of the show and they're hooked into that. Season one is really just like, as you said, a lot of people sitting around a table talking. Part of that was because we had to shoot that in a bubble. We couldn't leave the hotel. And that was partly why the show was so contained. Season two is really a bedroom farce.

Obviously, for some people, that's a big part of the show and they're hooked into that. Season one is really just like, as you said, a lot of people sitting around a table talking. Part of that was because we had to shoot that in a bubble. We couldn't leave the hotel. And that was partly why the show was so contained. Season two is really a bedroom farce.

And I think Mike, who's brilliant at plotting and brilliant at writing soap, and I mean that as a compliment, he's like, how do I escalate this and make this a really fun bedroom farce? And And I think after the success of season two, it's like, how do I make this even bigger? That's what led us to that and the nebulizer is what led us to season three.

And I think Mike, who's brilliant at plotting and brilliant at writing soap, and I mean that as a compliment, he's like, how do I escalate this and make this a really fun bedroom farce? And And I think after the success of season two, it's like, how do I make this even bigger? That's what led us to that and the nebulizer is what led us to season three.

It's also funny, like in even season two, when we started shooting, we were still in the throes of COVID. So we were slightly contained. And this is the first time we've made the show with kind of nothing holding us back. This was a massive production. We were in so many six cities or something and constantly moving and so many hotels.

It's also funny, like in even season two, when we started shooting, we were still in the throes of COVID. So we were slightly contained. And this is the first time we've made the show with kind of nothing holding us back. This was a massive production. We were in so many six cities or something and constantly moving and so many hotels.

And I think he kind of wanted to challenge us to kind of go bigger.

And I think he kind of wanted to challenge us to kind of go bigger.

I know.

I know.