David Kreisman

You need to have a little romance and friends and, you know, different dynamics.

Yeah.

And then trying to make a family who's different.

You know, Solomon is a lot more stoic than Colin, obviously, and he's a different kind of a dad.

And, you know, trying to come up with these other characters was fun and how they would play off of who we have.

Yes.

They came in knowing that they would interact with the Robinsons.

And it's kind of the reason that they brought their kids, too, to sort of put the Robinsons at ease.

Yeah.

It's very jealous.

Yeah.

don't know if it's a rule but it's certainly something we talk about a lot one of the things I like to do is introduce a villain and then have the the bigger badder villain get rid of the original villain so you realize how scary you know some Marie seems pretty scary until coral wipes are off the map yeah now we know just how dangerous coral is mm-hmm

We don't do storyboarding, but there's definitely in the script, where is our POV?

And that's something so that the sound designers and Chris and his team get in there.

They have a sense generally in those places where we're cutting to them, how we're hearing people from offstage and all that kind of stuff.

What I did do for this one was because, as you said, with the comings and goings, I had to keep track of who was down, you know, on the motorcycle or who was down in the computer.

So we had to figure that part out and decide the scenes of the play based on that.

You know, for this part, we have to have Colin on stage.

For this part, Colin needs to be offstage, those kinds of things.

So that part had to be worked out pretty specifically, even before the script was written.