WEBVTT 1 00:00:01.466 --> 00:00:03.000 Welcome to the Colour Timer podcast. 2 00:00:03.600 --> 00:00:04.866 I am your host, Vincent Taylor. 3 00:00:05.766 --> 00:00:07.966 This is the podcast where we speak with professionals 4 00:00:08.199 --> 00:00:08.866 who work with colour. 5 00:00:10.033 --> 00:00:12.599 Today, I'm chatting with production designer, Merje Weske, 6 00:00:13.099 --> 00:00:14.566 and art director, Lisa Korpin 7 00:00:14.733 --> 00:00:16.633 from the Emmy nominated series, "The Bear". 8 00:00:17.533 --> 00:00:18.666 You might've heard of that show, right? 9 00:00:20.199 --> 00:00:22.633 With the 2024 Emmys just around the corner, 10 00:00:23.233 --> 00:00:26.133 "The Bear" has a record breaking 23 nominations 11 00:00:26.366 --> 00:00:27.033 in the comedy series, 12 00:00:27.366 --> 00:00:28.899 and that includes the nomination 13 00:00:29.133 --> 00:00:31.066 for Outstanding Production Design. 14 00:00:32.366 --> 00:00:33.966 I'm a teeny bit obsessed 15 00:00:34.200 --> 00:00:35.433 with the design and colour of "The Bear". 16 00:00:36.033 --> 00:00:39.733 And when I started to look into Merje and Lisa's careers, 17 00:00:40.433 --> 00:00:41.466 and I saw their credits, 18 00:00:42.299 --> 00:00:45.133 and saw the shows that they've worked on over the years, 19 00:00:45.366 --> 00:00:46.666 it quickly kind of made sense to me 20 00:00:46.733 --> 00:00:49.600 why I'm so taken by the aesthetic of this incredible show. 21 00:00:50.899 --> 00:00:52.166 So get comfy. 22 00:00:52.633 --> 00:00:53.133 Let's go. 23 00:00:55.299 --> 00:00:59.466 Take your seats because the hourglass is about to turn. 24 00:01:00.266 --> 00:01:03.733 We are entering the world of the micro podcast. 25 00:01:04.700 --> 00:01:06.799 Explore the craft, creativity, 26 00:01:07.433 --> 00:01:09.133 and science of professionals 27 00:01:09.133 --> 00:01:12.033 who use colour to tell stories. 28 00:01:12.833 --> 00:01:16.033 Welcome to "The Colour Timer" with Vincent Taylor. 29 00:01:16.066 --> 00:01:18.233 (upbeat music) 30 00:01:26.400 --> 00:01:27.799 Hey guys, thank you for joining me. 31 00:01:28.033 --> 00:01:28.233 Hi. 32 00:01:29.666 --> 00:01:29.966 Hi. 33 00:01:30.466 --> 00:01:30.633 Hi. 34 00:01:33.133 --> 00:01:35.866 Merje and Lisa, before we do anything else, 35 00:01:35.866 --> 00:01:39.799 congratulations, Emmy nominations coming out 36 00:01:39.799 --> 00:01:40.866 from every direction, 37 00:01:41.099 --> 00:01:41.900 and especially that it's 38 00:01:41.900 --> 00:01:43.766 including production design as well. 39 00:01:43.833 --> 00:01:46.033 So huge congrats, that's fantastic. 40 00:01:47.566 --> 00:01:48.033 Thank you. 41 00:01:48.366 --> 00:01:50.666 It's very, to be honored. 42 00:01:51.099 --> 00:01:52.133 Yeah, it's pretty awesome. 43 00:01:52.733 --> 00:01:55.233 I wanna get into talking about the show specifically, 44 00:01:56.666 --> 00:01:58.299 but before we even go there, 45 00:01:58.533 --> 00:02:02.266 I kinda wanna talk about what you both do 46 00:02:02.633 --> 00:02:04.833 and how that kind of coincides 47 00:02:05.166 --> 00:02:07.099 and sort of backing up quite a lot 48 00:02:07.633 --> 00:02:10.633 and finding out what got you 49 00:02:11.133 --> 00:02:12.633 to the place you are now with your careers. 50 00:02:14.800 --> 00:02:18.500 So Merje, your production designer on "The Bear" 51 00:02:19.333 --> 00:02:21.233 and Lisa, your art director. 52 00:02:21.566 --> 00:02:24.000 So those are the roles in inverted commas. 53 00:02:24.366 --> 00:02:27.633 I mean, your backgrounds are really immense. 54 00:02:27.933 --> 00:02:29.266 So do you wanna just talk a little bit about 55 00:02:29.366 --> 00:02:31.533 how you got to where you are now? 56 00:02:32.033 --> 00:02:34.533 Well, for me, I've been in the business over 20 years. 57 00:02:35.266 --> 00:02:37.966 And started, I have a fine arts backyard. 58 00:02:38.633 --> 00:02:42.833 I did start out like most of the people in the business 59 00:02:43.133 --> 00:02:46.933 starting PA and then you work your way up as a set dresser 60 00:02:47.033 --> 00:02:50.199 and you do props and a little bit of art department 61 00:02:50.533 --> 00:02:53.333 and with experience and knowledge. 62 00:02:53.866 --> 00:02:56.900 And one day you get the opportunity to be a designer. 63 00:02:58.966 --> 00:03:00.099 And I think I was lucky 64 00:03:00.099 --> 00:03:02.900 and hopefully I had talented enough to be here. 65 00:03:04.733 --> 00:03:09.833 Yes, I have sort of the opposite experience. 66 00:03:10.033 --> 00:03:12.466 I had a little bit more of a long and winding road. 67 00:03:12.466 --> 00:03:14.533 And if you would have told me 26 years ago 68 00:03:14.533 --> 00:03:16.933 that I'd be here, I would have said, what is that? 69 00:03:17.466 --> 00:03:21.233 So I think I just sort of kept following different threads. 70 00:03:21.233 --> 00:03:24.233 And at some point I realized that they are related 71 00:03:24.233 --> 00:03:26.666 and they kind of layered on top of each other 72 00:03:26.833 --> 00:03:30.099 and tried to get into the business, 73 00:03:30.099 --> 00:03:31.400 kept trying to get into the business. 74 00:03:31.766 --> 00:03:35.233 This was 2016 when I actually, 75 00:03:35.533 --> 00:03:36.766 I'd been in the design business 76 00:03:36.766 --> 00:03:38.166 and I've been studying photography 77 00:03:38.866 --> 00:03:41.166 but didn't actually get into film and TV 78 00:03:41.400 --> 00:03:42.766 until 2016. 79 00:03:43.666 --> 00:03:45.766 So working with Marie has been amazing 80 00:03:45.866 --> 00:03:48.433 because obviously I can benefit with her, 81 00:03:49.733 --> 00:03:51.966 not just the length of your experience Marie, 82 00:03:51.966 --> 00:03:55.166 but like you said, you've done so many different roles, 83 00:03:56.266 --> 00:04:00.633 which is so amazing to benefit from. 84 00:04:01.400 --> 00:04:04.233 Yeah, and then like the roles 85 00:04:04.366 --> 00:04:06.966 like of a production designer, as an art director, 86 00:04:07.000 --> 00:04:13.133 I mean, do you kind of define those roles specifically 87 00:04:13.533 --> 00:04:15.833 or do they kind of get blurry between the two 88 00:04:16.566 --> 00:04:17.866 and how do they work together? 89 00:04:19.366 --> 00:04:21.766 Well, we definitely, we work together a lot 90 00:04:21.766 --> 00:04:24.733 but I think for more, my role is more like working 91 00:04:25.233 --> 00:04:28.933 with creatives like a director and a D.P. 92 00:04:29.166 --> 00:04:33.766 and then finding the look together 93 00:04:34.166 --> 00:04:37.333 and finding the style and the colors, 94 00:04:37.966 --> 00:04:40.666 all this what we want this film to look like 95 00:04:40.766 --> 00:04:44.600 and what the time periods and all the things. 96 00:04:44.600 --> 00:04:47.466 Like I work with a script very, very closely 97 00:04:48.166 --> 00:04:51.766 but then once the creative part to figure out 98 00:04:51.766 --> 00:04:53.266 what we're gonna be doing, 99 00:04:53.333 --> 00:04:56.566 then Lisa is the one who makes the machine to work. 100 00:04:57.066 --> 00:05:00.033 She will run the construction crew and set designers 101 00:05:00.866 --> 00:05:03.566 and all the people actually will make this. 102 00:05:04.633 --> 00:05:08.666 Also Lisa is hands on helping to design, 103 00:05:09.866 --> 00:05:13.366 many times like, oh my God, like I can't come up with idea 104 00:05:13.366 --> 00:05:16.433 and Lisa will throw like four or five ideas my way 105 00:05:16.433 --> 00:05:18.066 what she works out with her team 106 00:05:18.633 --> 00:05:20.566 and then we can pick and choose from there. 107 00:05:21.000 --> 00:05:22.766 Oh yeah, this could be the final thing. 108 00:05:23.066 --> 00:05:26.333 Like this entire making a TV show, a movie 109 00:05:26.333 --> 00:05:29.566 or anything like this, I feel it's a huge teamwork. 110 00:05:30.733 --> 00:05:35.166 It's not one, it's not a one or two egos 111 00:05:35.233 --> 00:05:36.966 it's everybody is doing the part 112 00:05:36.966 --> 00:05:40.866 and everybody makes it look as good as it comes, yeah. 113 00:05:42.266 --> 00:05:45.199 That thing, sorry, I'll just jump in real quick. 114 00:05:45.533 --> 00:05:46.833 That little thing you said then about, 115 00:05:47.833 --> 00:05:49.433 with Lisa like just throwing out ideas, 116 00:05:50.466 --> 00:05:51.833 is it always a kind of, 117 00:05:52.333 --> 00:05:54.800 and I'm guessing it would vary from project to project 118 00:05:55.199 --> 00:05:56.666 but is it always a safe space 119 00:05:56.666 --> 00:05:58.966 that you can just throw your ideas out? 120 00:05:59.633 --> 00:06:05.166 With Marie it is but with any designer, not necessarily. 121 00:06:06.666 --> 00:06:11.633 It depends and I think it's not just whether a designer 122 00:06:11.833 --> 00:06:14.033 is open to other ideas. 123 00:06:15.533 --> 00:06:18.933 They may get a rapport with someone specific on the team 124 00:06:19.000 --> 00:06:21.433 and really communicate well with them 125 00:06:21.433 --> 00:06:26.500 or it's just sort of design relationships happen. 126 00:06:26.500 --> 00:06:28.333 But even when I'm throwing out ideas, 127 00:06:28.533 --> 00:06:31.166 I'm just not sitting there by myself throwing out ideas. 128 00:06:32.133 --> 00:06:34.000 I'm working with the people on our team 129 00:06:34.199 --> 00:06:37.333 and one idea leads to another idea often. 130 00:06:37.933 --> 00:06:39.633 And sometimes you stick with the first one 131 00:06:39.633 --> 00:06:43.133 and sometimes you end up like 10 ideas down the line 132 00:06:43.133 --> 00:06:47.833 or some sort of hybrid of all of it. 133 00:06:48.300 --> 00:06:53.300 What I try to do is as an art director 134 00:06:54.033 --> 00:06:58.333 what I think I'm hoping to do is that Marie needs space 135 00:06:58.966 --> 00:07:02.533 and time to work out the vision as she was saying 136 00:07:03.633 --> 00:07:07.000 with the directors, the DP, the producers. 137 00:07:07.733 --> 00:07:10.699 And the more that I can help to filter out 138 00:07:10.699 --> 00:07:13.300 some of the noise and the logistical clutter, 139 00:07:14.466 --> 00:07:16.733 of course Marie needs to know what's going on 140 00:07:16.866 --> 00:07:19.533 but as much as I can filter out 141 00:07:19.899 --> 00:07:24.666 so that she can kind of be not so weighed down by that, 142 00:07:24.666 --> 00:07:26.033 that's what my goal is. 143 00:07:26.266 --> 00:07:29.066 Now I do need to come to Marie and ask her for advice 144 00:07:29.199 --> 00:07:30.766 sometimes with sticky situations 145 00:07:30.966 --> 00:07:32.733 and that's just how it is. 146 00:07:32.733 --> 00:07:38.333 But yeah, so that's the goal is to kind of, 147 00:07:38.433 --> 00:07:39.633 it's sort of like the frontline. 148 00:07:40.100 --> 00:07:40.966 You know? 149 00:07:42.533 --> 00:07:46.166 When a project, such an amazing show 150 00:07:46.166 --> 00:07:47.266 and I just adore it. 151 00:07:47.266 --> 00:07:49.500 And actually I should say the 152 00:07:49.500 --> 00:07:50.666 number of times I'm watching it 153 00:07:50.666 --> 00:07:52.433 and this is one of the reasons I really, really, 154 00:07:52.433 --> 00:07:53.933 this is my wife's fault. 155 00:07:53.933 --> 00:07:55.733 Cause she said, you should speak to them 156 00:07:55.800 --> 00:07:58.233 because I'm watching it and all of a sudden I'm going, 157 00:07:58.566 --> 00:08:00.166 what, how, how? 158 00:08:00.166 --> 00:08:02.233 And she's there going, shush, would you shush? 159 00:08:02.533 --> 00:08:04.066 You know, cause there's so many beautiful things 160 00:08:04.166 --> 00:08:05.233 to look at. 161 00:08:05.233 --> 00:08:06.233 But what I want to ask you was 162 00:08:06.800 --> 00:08:10.733 when a project like this or a project of any sort 163 00:08:11.566 --> 00:08:14.866 comes to you, how do you decide that, yeah 164 00:08:14.866 --> 00:08:16.666 this is a project I would like to work on? 165 00:08:17.233 --> 00:08:21.300 For me, it's the most important is the project itself 166 00:08:21.633 --> 00:08:24.166 and then the story, what is this about? 167 00:08:25.333 --> 00:08:28.699 And the script or novel it's based to 168 00:08:29.266 --> 00:08:32.766 then and of course, secondary is people, you know? 169 00:08:33.200 --> 00:08:35.066 Because now I've been in a business long enough 170 00:08:35.066 --> 00:08:36.866 that there are a number of talented people 171 00:08:36.866 --> 00:08:38.633 I would like to work again and again. 172 00:08:39.766 --> 00:08:41.833 But usually it's a project and the meaning of it 173 00:08:41.833 --> 00:08:43.066 and all of that outcome. 174 00:08:43.366 --> 00:08:45.166 Yeah, I'd say the same for me. 175 00:08:45.200 --> 00:08:48.533 You know, I don't, I haven't had the opportunity yet 176 00:08:48.533 --> 00:08:50.466 to work on something where I actually got to read 177 00:08:50.466 --> 00:08:53.833 the script first, but usually I'm talking to, you know 178 00:08:54.600 --> 00:08:56.833 supervising art director or a production designer 179 00:08:56.833 --> 00:08:59.100 who has read parts of it and 180 00:08:59.100 --> 00:09:01.933 sort of respecting their opinion 181 00:09:02.566 --> 00:09:04.366 that it seems like a strong project. 182 00:09:05.366 --> 00:09:08.166 Also does it seem like I'm going to get to make 183 00:09:09.033 --> 00:09:10.433 some cool stuff, you know? 184 00:09:11.700 --> 00:09:11.733 (laughs) 185 00:09:11.799 --> 00:09:14.833 Like I actually, if I were ever to go back 186 00:09:14.966 --> 00:09:16.966 to being in interior architecture, 187 00:09:16.966 --> 00:09:19.666 I think I would really want to be a hospitality designer 188 00:09:19.666 --> 00:09:22.866 but I've never gotten to work on hospitality. 189 00:09:23.233 --> 00:09:26.166 So like for me to do a restaurant was like a dream, 190 00:09:26.399 --> 00:09:28.566 you know, actually. 191 00:09:30.700 --> 00:09:33.566 Do you both know, I know some projects 192 00:09:33.833 --> 00:09:37.066 I've worked on as a colorist and I'm kind of, 193 00:09:37.666 --> 00:09:39.266 I mean, my projects is so much shorter, 194 00:09:39.766 --> 00:09:42.433 but I'm right in there and 195 00:09:42.433 --> 00:09:44.033 sometimes it's not till I see it. 196 00:09:44.133 --> 00:09:46.266 I go, oh, this is really good. 197 00:09:46.266 --> 00:09:47.066 This is really lovely. 198 00:09:47.366 --> 00:09:50.466 And do you know at the time that you're working 199 00:09:50.466 --> 00:09:52.666 on something really, really amazing? 200 00:09:55.166 --> 00:10:00.633 Most of the time I don't, but I'm always 201 00:10:01.333 --> 00:10:03.233 what drives me is the story. 202 00:10:04.600 --> 00:10:09.566 And I usually would 110% into getting it right visually 203 00:10:10.600 --> 00:10:18.433 and doing my research and doing the, yeah, 204 00:10:18.833 --> 00:10:20.833 backgrounds and everything and knowledge 205 00:10:21.133 --> 00:10:22.766 and to get everything right. 206 00:10:22.766 --> 00:10:23.500 So yeah. 207 00:10:23.966 --> 00:10:26.666 I think sometimes when I'm reading it, you know, 208 00:10:26.666 --> 00:10:29.133 I'm like, wow, this could be amazing. 209 00:10:29.133 --> 00:10:32.333 And then sometimes I'm, you know, even surprised further 210 00:10:32.466 --> 00:10:35.633 by what they do visually with it 211 00:10:35.633 --> 00:10:37.966 because I don't know necessarily the frames 212 00:10:38.233 --> 00:10:40.966 or how it's going to be shot and the music 213 00:10:41.333 --> 00:10:42.966 that's going to be with it in the bear. 214 00:10:43.233 --> 00:10:45.766 The music has been huge as well. 215 00:10:46.733 --> 00:10:48.133 This is such a big question. 216 00:10:48.333 --> 00:10:50.233 And when I was thinking about this next question, 217 00:10:50.566 --> 00:10:52.500 I was thinking about a series, 218 00:10:52.500 --> 00:10:54.533 but it's too overwhelming for me. 219 00:10:55.066 --> 00:10:56.466 So just bringing it right back 220 00:10:56.566 --> 00:10:58.399 and just talking about an episode, 221 00:10:59.033 --> 00:11:00.266 where the heck do you start? 222 00:11:00.933 --> 00:11:02.799 Oh, well, I think if it's a TV show 223 00:11:02.799 --> 00:11:04.366 because it's already rolling, 224 00:11:04.366 --> 00:11:06.299 this is a little snowball going down the hill. 225 00:11:06.333 --> 00:11:08.766 So there is already a pre-story 226 00:11:09.066 --> 00:11:10.766 and you know there's going to be after story. 227 00:11:11.066 --> 00:11:14.933 So, but yeah, you start with the script 228 00:11:14.933 --> 00:11:16.666 and you start with the story 229 00:11:16.666 --> 00:11:19.433 and then what the vision director has. 230 00:11:19.633 --> 00:11:22.233 And sometimes I do my mood boards 231 00:11:22.233 --> 00:11:25.833 and then I go to his office and he has his mood boards 232 00:11:25.833 --> 00:11:28.233 and oh, you saw the story this way, 233 00:11:28.633 --> 00:11:30.133 but I saw it that way. 234 00:11:30.133 --> 00:11:32.899 And so we combine it or we talk about it 235 00:11:33.133 --> 00:11:34.766 and things like that. 236 00:11:35.299 --> 00:11:36.933 But we start with a big picture 237 00:11:36.933 --> 00:11:39.933 and then we work down into the tiniest little detail. 238 00:11:40.500 --> 00:11:43.566 Should we have this little blue candle on the set 239 00:11:43.766 --> 00:11:45.266 or yellow candle on the set? 240 00:11:45.600 --> 00:11:47.899 And that's how it, I think, rolls, yeah. 241 00:11:49.033 --> 00:11:49.666 Dream big. 242 00:11:51.566 --> 00:11:52.799 Well, two things. 243 00:11:53.133 --> 00:11:54.766 Yes, I'm breaking down the script 244 00:11:54.933 --> 00:11:57.899 probably in a slightly more pragmatic way than Marie. 245 00:11:58.266 --> 00:12:02.266 Our team is looking for things about the space 246 00:12:02.500 --> 00:12:05.633 that need to be as scripted or objects 247 00:12:05.833 --> 00:12:07.733 or other things that we're gonna need. 248 00:12:08.566 --> 00:12:10.133 But then we're also waiting for Marie 249 00:12:10.799 --> 00:12:12.866 to come and give us those directions 250 00:12:12.866 --> 00:12:14.266 when she has sort of started 251 00:12:15.133 --> 00:12:17.266 to at least get initial direction with the director 252 00:12:17.466 --> 00:12:20.299 so that we can kind of start to 253 00:12:21.433 --> 00:12:23.633 make different design proposals. 254 00:12:24.666 --> 00:12:28.066 Whether, but I try to sort it more in my head by location. 255 00:12:29.133 --> 00:12:31.133 I could see as a designer where you would start 256 00:12:31.333 --> 00:12:33.233 also like by character or like, 257 00:12:33.933 --> 00:12:38.700 what are the spaces or the look and feel of the character? 258 00:12:38.700 --> 00:12:39.500 What are they wearing? 259 00:12:39.500 --> 00:12:40.866 What kind of objects would they have? 260 00:12:40.866 --> 00:12:41.533 And things like that. 261 00:12:42.366 --> 00:12:46.733 But usually we're more like getting scripted directions, 262 00:12:46.799 --> 00:12:47.933 starting our lists and then 263 00:12:47.933 --> 00:12:51.366 waiting for more info from Marie. 264 00:12:52.066 --> 00:12:55.200 Now, obviously one of the really big characters 265 00:12:55.566 --> 00:12:56.866 in the bear is the food, 266 00:12:58.133 --> 00:13:00.166 which is one of my constant like, 267 00:13:00.399 --> 00:13:01.533 oh my God, oh my God. 268 00:13:01.966 --> 00:13:05.166 I just, every time I see a new plate come on and, 269 00:13:05.666 --> 00:13:09.766 but can you talk to me about how that works 270 00:13:10.166 --> 00:13:12.399 with your roles in the show, 271 00:13:12.399 --> 00:13:13.833 with how the food comes into 272 00:13:13.833 --> 00:13:16.233 as a designer and art director? 273 00:13:17.866 --> 00:13:20.000 Actually on this show, I'm also like, 274 00:13:20.000 --> 00:13:22.866 I go and see the food and I'm like, oh my God. 275 00:13:23.299 --> 00:13:27.166 Because we have a just food designer. 276 00:13:27.700 --> 00:13:28.033 Right. 277 00:13:29.533 --> 00:13:32.933 The producer chef who designs all the dishes 278 00:13:33.600 --> 00:13:37.633 and with her and she's with her team is doing research 279 00:13:38.200 --> 00:13:40.466 and finding reference and then finding pictures. 280 00:13:40.833 --> 00:13:42.500 She has like hundreds of cookbooks. 281 00:13:43.066 --> 00:13:44.833 And then we have to draw, 282 00:13:44.833 --> 00:13:47.466 everything is thrown out what this dish would look like. 283 00:13:47.933 --> 00:13:51.666 And then she makes one and then presents that to director. 284 00:13:52.066 --> 00:13:55.566 And then if he likes it, or if that's the way we're going, 285 00:13:55.733 --> 00:13:56.866 then it's gonna be made. 286 00:13:57.433 --> 00:13:59.966 It's also a process pretty much like entire art department. 287 00:14:00.066 --> 00:14:01.966 I think like also that whole department 288 00:14:03.666 --> 00:14:05.233 has grown over the seasons. 289 00:14:05.500 --> 00:14:06.600 And I think this like, 290 00:14:06.666 --> 00:14:10.266 it's finally the size that it needs to be to take on, 291 00:14:10.466 --> 00:14:16.466 you know, the food because it's a whole animal. 292 00:14:18.066 --> 00:14:20.200 They've done a great job and we worked with them 293 00:14:20.200 --> 00:14:21.533 too. I know you had mentioned 294 00:14:21.533 --> 00:14:23.899 interest in the drawings. We worked with them 295 00:14:25.133 --> 00:14:28.366 direction for the drawings. So Marie was talking about 296 00:14:28.366 --> 00:14:30.833 those reference images. So they would give 297 00:14:30.899 --> 00:14:36.666 us those reference images for scripted dishes. And then we 298 00:14:36.666 --> 00:14:38.799 had two people working mostly on 299 00:14:38.966 --> 00:14:44.166 the notebooks. One person was a local artist, Denise Dietz 300 00:14:44.166 --> 00:14:46.266 for the scripted dishes, and then 301 00:14:46.600 --> 00:14:49.500 our in-house art department illustration 302 00:14:49.500 --> 00:14:53.966 star, Abacuc Rodriguez kind of filled in 303 00:14:54.666 --> 00:14:58.666 all the other pages and jotting down ideas 304 00:14:58.666 --> 00:15:00.866 and working with culinary to like, you know, 305 00:15:00.866 --> 00:15:02.566 they went and they threw food all over the 306 00:15:02.566 --> 00:15:06.200 books. And, you know, they had a lot of fun 307 00:15:06.200 --> 00:15:11.200 making those notebooks. So. Yeah, the notebooks are 308 00:15:11.200 --> 00:15:13.533 fantastic. And I kind of at one stage, 309 00:15:13.566 --> 00:15:16.000 I remember thinking, I wonder who decided 310 00:15:16.000 --> 00:15:17.799 that Carmy was actually going to be really, 311 00:15:18.166 --> 00:15:20.933 really great artist, you know, because whenever you see 312 00:15:20.933 --> 00:15:22.333 them and you see some of the other 313 00:15:22.333 --> 00:15:25.233 characters looking at them going, wow, you know, like 314 00:15:25.233 --> 00:15:26.533 they're, they're really, really impressive. 315 00:15:28.200 --> 00:15:31.233 Yeah, I think Carmy was not as good drawer in the season 316 00:15:31.233 --> 00:15:34.233 one. Right. This kind of has developed over 317 00:15:34.333 --> 00:15:37.433 because he used to just have a simple sketches he will too. 318 00:15:37.433 --> 00:15:38.633 And now they are like beautiful. 319 00:15:38.899 --> 00:15:42.899 So beautiful. Yeah. Yes. And also in season three, you see 320 00:15:42.899 --> 00:15:44.466 more him sitting with the sketchbook, 321 00:15:45.033 --> 00:15:47.633 even when he's in the Copenhagen, like he's just throwing 322 00:15:47.633 --> 00:15:51.299 his ideas or pastries and dishes and 323 00:15:51.299 --> 00:15:54.066 things. So it's, it's been the evolving process for him 324 00:15:54.066 --> 00:15:57.166 too. With, with the food, you know, there's, 325 00:15:57.166 --> 00:15:59.966 there's, there's a number of times where he's, he's looking 326 00:15:59.966 --> 00:16:01.566 at a plate and he's just mesmerized 327 00:16:01.566 --> 00:16:04.200 by that plate, deciding whether it's right, whether it's 328 00:16:04.200 --> 00:16:06.633 wrong. And then the number of times 329 00:16:06.733 --> 00:16:11.566 he decides it's wrong and he throws it out. I'm curious, do 330 00:16:11.566 --> 00:16:14.500 you guys have what is a perfect plate 331 00:16:14.899 --> 00:16:18.666 and then you do something to fuck it up so it is wrong or 332 00:16:18.666 --> 00:16:20.333 is that just something internal with him? 333 00:16:22.266 --> 00:16:26.366 I think it's always him. Yeah. Right. Okay. Damn 334 00:16:26.366 --> 00:16:30.533 perfectionism. Yeah. I wanted to, I wanted to 335 00:16:30.533 --> 00:16:32.966 ask you about that though, but about that idea about being 336 00:16:32.966 --> 00:16:35.633 a perfectionist and about what drives 337 00:16:35.866 --> 00:16:40.333 an artist and, and, and there's a lot of messages in the 338 00:16:40.333 --> 00:16:42.933 bear for me at least. And that's one of the 339 00:16:42.933 --> 00:16:45.966 messages about that, that thing about just driving yourself 340 00:16:45.966 --> 00:16:48.233 to a point of perfection or, or striving 341 00:16:48.233 --> 00:16:51.466 to be a better artist. And I'm wondering if that is 342 00:16:51.466 --> 00:16:54.833 something that either of you relate to as artists. 343 00:16:58.033 --> 00:16:59.866 I think it's, I think everybody could relate. 344 00:17:01.366 --> 00:17:04.066 like everybody has their own struggle with something 345 00:17:04.066 --> 00:17:06.966 or wanting to be better or wanting to be perfect 346 00:17:06.966 --> 00:17:08.866 at something, it's the drive. 347 00:17:10.233 --> 00:17:12.133 And yeah, think about these things. 348 00:17:12.200 --> 00:17:15.866 And I think like sometimes you think you're done 349 00:17:16.000 --> 00:17:19.099 and then like another idea comes in and you're like, 350 00:17:19.099 --> 00:17:19.799 "Oh crap." 351 00:17:20.366 --> 00:17:24.966 Like, and for me, like I think it's season three, 352 00:17:24.966 --> 00:17:28.599 we also see Carmy like, he's a little bit like, to me, 353 00:17:28.799 --> 00:17:30.866 anyway, he's a little lonely and he's like working 354 00:17:31.033 --> 00:17:33.400 on these dishes and he's like, he doesn't look happy 355 00:17:33.400 --> 00:17:35.200 and he's kind of like obsessed, you know? 356 00:17:35.933 --> 00:17:39.933 And I get like that if I'm designing like alone 357 00:17:40.299 --> 00:17:44.666 and I think that having a team really helps me not. 358 00:17:45.533 --> 00:17:48.900 Like it's okay to like sort of abuse myself, right? 359 00:17:48.900 --> 00:17:53.266 To like, too long, but like, you know, these are people, 360 00:17:53.500 --> 00:17:56.166 I have a team, like I can't, like, you know, 361 00:17:56.166 --> 00:17:58.299 you want to inspire them, you don't want to be like, 362 00:17:59.066 --> 00:18:00.900 you don't want them to be exhausted. 363 00:18:02.000 --> 00:18:04.900 So you need to know when to stop and Marie is very good. 364 00:18:05.366 --> 00:18:08.666 She always comes out and will say, "Everybody go home." 365 00:18:10.700 --> 00:18:10.900 (laughs) 366 00:18:11.299 --> 00:18:12.833 You have a life people, you know. 367 00:18:14.799 --> 00:18:15.966 (laughs) 368 00:18:19.033 --> 00:18:26.299 The look for the bear is, I mean, it's such a beautiful 369 00:18:26.299 --> 00:18:29.866 look and there's some things that are a little more obvious 370 00:18:29.866 --> 00:18:32.299 like, you know, the coldness of the kitchen 371 00:18:32.299 --> 00:18:34.233 to the warmth of the restaurant, 372 00:18:34.233 --> 00:18:35.766 especially when you get those split screens. 373 00:18:37.033 --> 00:18:40.700 But is there a look book or is there a kind of a Bible 374 00:18:40.700 --> 00:18:43.833 of design that you guys have for the bear? 375 00:18:46.166 --> 00:18:48.866 No, it was a combination of several ideas and so, 376 00:18:49.299 --> 00:18:56.766 Maddie, one of our characters as well, you know, 377 00:18:56.766 --> 00:18:58.500 he is also real life, he's a 378 00:18:58.500 --> 00:19:00.299 chef and we were talking to him 379 00:19:00.299 --> 00:19:03.799 and we were like, what can, and also like characters, 380 00:19:04.066 --> 00:19:07.400 what can those people do who has no design experience, 381 00:19:07.400 --> 00:19:09.633 That finds this little bit of money and they want to do a, 382 00:19:09.633 --> 00:19:12.200 you know, Michelin star style of restaurant, 383 00:19:12.400 --> 00:19:14.299 what can they possibly do with this? 384 00:19:15.266 --> 00:19:19.799 And then it's simplicity is always, 385 00:19:19.799 --> 00:19:23.066 but makes simple, simple and beautiful and just, 386 00:19:23.533 --> 00:19:25.766 that was one of the big parts of the design, 387 00:19:27.299 --> 00:19:30.466 Scandinavian looks and stuff using a raw materials, 388 00:19:30.466 --> 00:19:33.433 like the back wall is just a stained plywood. 389 00:19:34.033 --> 00:19:36.266 There's something like we take and probably handle that, 390 00:19:36.599 --> 00:19:39.333 you know, or simple stripes and simple colors 391 00:19:39.333 --> 00:19:41.766 and just stark and white and not to overthink it. 392 00:19:42.000 --> 00:19:47.299 But then, yeah, in a big back corner, 393 00:19:47.299 --> 00:19:50.700 we have this fun bathroom with absolutely crazy wallpaper, 394 00:19:51.533 --> 00:19:53.000 you know, something different. 395 00:19:54.366 --> 00:19:56.200 But it was a combination again, 396 00:19:56.533 --> 00:19:59.233 with looking at the pictures and the resources 397 00:19:59.233 --> 00:20:02.566 and what people have done with all the restaurants 398 00:20:02.566 --> 00:20:07.000 and what's in and what's out and that was a long, 399 00:20:07.000 --> 00:20:09.633 long like kind of a designing process 400 00:20:09.633 --> 00:20:12.766 with many many hats involved. 401 00:20:14.400 --> 00:20:18.166 Yeah, it's, I get so excited. 402 00:20:18.400 --> 00:20:20.900 I mean, every episode I watch, I could watch, 403 00:20:20.900 --> 00:20:24.299 I could watch and don't let any of the writers hear this. 404 00:20:24.566 --> 00:20:27.066 I could watch the show without any sound 405 00:20:27.533 --> 00:20:29.766 because I just dive into it. 406 00:20:29.766 --> 00:20:31.166 But then of course you get the layer of the sound 407 00:20:31.166 --> 00:20:33.333 on top of that, that kind of brings it all together. 408 00:20:33.866 --> 00:20:36.633 But you may have noticed that my time 409 00:20:36.633 --> 00:20:37.900 has stopped ages ago, but I just, 410 00:20:38.133 --> 00:20:40.000 I'm sneaking a few extra minutes out of it 411 00:20:40.033 --> 00:20:42.700 because there's so much I wanted to ask you. 412 00:20:42.700 --> 00:20:43.099 I saw it. Yeah, no, 413 00:20:43.099 --> 00:20:43.799 it's just a bit cheeky. 414 00:20:45.833 --> 00:20:50.200 I was wondering, I guess to wind up and to finish off, 415 00:20:53.133 --> 00:20:56.466 if there's something as, you know, in your roles 416 00:20:56.933 --> 00:21:00.900 that you kind of wish someone would ask you about the, 417 00:21:01.566 --> 00:21:03.866 and I'm stealing this technique off Rachel Maddow actually, 418 00:21:03.866 --> 00:21:04.766 because she does this all the time. 419 00:21:04.766 --> 00:21:05.833 Is there something I should have asked you? 420 00:21:06.066 --> 00:21:06.900 But it's a really good, 421 00:21:06.900 --> 00:21:07.733 I think it's a really good 422 00:21:07.733 --> 00:21:09.200 question to ask people, you know, 423 00:21:10.000 --> 00:21:11.099 if there's something that you think 424 00:21:12.133 --> 00:21:13.700 is a really interesting fact, 425 00:21:13.933 --> 00:21:16.233 especially to do with the design of the color of the show 426 00:21:16.333 --> 00:21:18.666 that you'd love to mention. 427 00:21:21.400 --> 00:21:24.066 Lisa, do you have anything? 428 00:21:24.799 --> 00:21:26.000 I'm gonna think a little bit. 429 00:21:26.366 --> 00:21:27.700 Yeah, put you on the spot a bit as well. 430 00:21:27.700 --> 00:21:28.299 So sorry about that. 431 00:21:29.099 --> 00:21:31.633 Well, I don't know if it's directly about color, 432 00:21:31.633 --> 00:21:36.866 but I do, I, like, I've become pretty obsessed 433 00:21:36.866 --> 00:21:39.166 with like the kitchen lighting, the linear lighting 434 00:21:39.766 --> 00:21:41.799 because there's not a lot of color in the kitchen. 435 00:21:41.799 --> 00:21:43.466 I know we have these blue elements, 436 00:21:43.466 --> 00:21:46.033 but it is really a cool white kitchen, right? 437 00:21:46.700 --> 00:21:50.666 I wish people would ask more like, 438 00:21:50.933 --> 00:21:53.333 hey, tell me about those lighting ideas. 439 00:21:53.633 --> 00:21:57.033 Because I think, and they've shot it so beautifully, 440 00:21:57.533 --> 00:22:00.400 like they really frame. 441 00:22:01.666 --> 00:22:04.566 that was sort of architectural lighting moves really well. 442 00:22:06.366 --> 00:22:10.966 But, you know, like we had custom shelves over the island 443 00:22:10.966 --> 00:22:14.666 and over the bakery that have light panels below 444 00:22:14.933 --> 00:22:18.266 and, you know, and all of that, 445 00:22:18.833 --> 00:22:21.366 the back wall has a custom spice shelf. 446 00:22:21.766 --> 00:22:25.866 Like all of that work was very 447 00:22:25.866 --> 00:22:27.066 much at the end, right Marie? 448 00:22:27.366 --> 00:22:29.066 But like you said, it was like, 449 00:22:29.099 --> 00:22:30.700 at the end of a long process. 450 00:22:33.333 --> 00:22:37.766 I'm always impressed actually with that, with the kitchen 451 00:22:37.766 --> 00:22:40.666 because of it is, for me, it's 452 00:22:40.666 --> 00:22:42.000 quite a strong look in there. 453 00:22:42.000 --> 00:22:43.700 It's quite a harsh look and yet 454 00:22:43.700 --> 00:22:46.500 skin tones are still popping through. 455 00:22:48.099 --> 00:22:49.833 The food colors are still popping 456 00:22:49.833 --> 00:22:52.133 through, which I think is really clever. 457 00:22:53.833 --> 00:22:56.366 Yeah, but yeah, Lisa, I agree with you. 458 00:22:58.200 --> 00:23:00.366 The kitchen was designed with lighting the 459 00:23:00.366 --> 00:23:02.133 way that the lighting crew actually never 460 00:23:02.133 --> 00:23:03.233 had to lit it. 461 00:23:04.133 --> 00:23:06.833 They would walk on and just film because 462 00:23:06.833 --> 00:23:09.933 it was already lit with practical lighting. 463 00:23:10.766 --> 00:23:14.433 In the end, we worked with the lighting designer, our TP, 464 00:23:15.366 --> 00:23:18.066 very closely where to put exactly 465 00:23:18.200 --> 00:23:20.233 what lights and light temperature. 466 00:23:21.033 --> 00:23:23.733 So everything will be ready to shoot. 467 00:23:24.599 --> 00:23:27.266 And I mean, they can dial it up and 468 00:23:27.466 --> 00:23:29.866 down and all that, but they're not adding, 469 00:23:30.266 --> 00:23:32.066 they're not, yeah, they're not like hanging any lights 470 00:23:32.066 --> 00:23:33.666 or adding thing on stands really. 471 00:23:34.799 --> 00:23:35.400 It's all practical. 472 00:23:36.333 --> 00:23:38.433 And I just, yeah, I think it turned out really great. 473 00:23:38.966 --> 00:23:40.733 And, you know, I think of it like, 474 00:23:40.733 --> 00:23:42.566 it's kind of like an art gallery, you know, 475 00:23:42.566 --> 00:23:44.666 like you want the food to pop like artwork, 476 00:23:44.666 --> 00:23:47.933 so you wouldn't want too much noisy colored kitchen. 477 00:23:49.099 --> 00:23:53.799 So it's sort of, and I think that real kitchens 478 00:23:54.366 --> 00:23:55.733 maybe are kind of like that too. 479 00:23:55.766 --> 00:23:57.266 Like you want it to be more neutral. 480 00:23:57.433 --> 00:24:00.099 So like you can see what you're making, right? 481 00:24:00.400 --> 00:24:05.766 Like you don't want all that visual clutter around you. 482 00:24:08.233 --> 00:24:09.233 Which is interesting, isn't it? 483 00:24:09.233 --> 00:24:12.900 Because when it was The Beef, it was so good. 484 00:24:13.566 --> 00:24:16.333 And the food kind of did, the food did kind of get lost 485 00:24:16.333 --> 00:24:18.366 in there and cause of that chaos. 486 00:24:19.333 --> 00:24:21.799 And I want to thank you sincerely. 487 00:24:22.066 --> 00:24:24.166 Thank you both for taking time out to chat to me 488 00:24:24.266 --> 00:24:27.666 and I'm such a fan. 489 00:24:27.900 --> 00:24:30.233 And once again, huge congratulations on all the nominations 490 00:24:30.666 --> 00:24:32.500 to the both of you and to everyone on the show. 491 00:24:33.033 --> 00:24:35.366 And I'm looking forward to seeing you. 492 00:24:36.733 --> 00:24:36.900 Yeah. 493 00:24:39.099 --> 00:24:41.433 Merje, Lisa, thank you so much for joining me 494 00:24:41.433 --> 00:24:42.500 on the podcast. 495 00:24:43.866 --> 00:24:45.500 Fantastic and huge congratulations again. 496 00:24:47.200 --> 00:24:49.966 Thank you to my executive producer MixingLight.com. 497 00:24:51.266 --> 00:24:53.366 Chances are if you're seeing this through their website, 498 00:24:53.599 --> 00:24:54.400 you already know what they do. 499 00:24:54.400 --> 00:24:56.766 But if you don't check them out MixingLight.com. 500 00:24:56.766 --> 00:24:58.000 They can help you with all things color. 501 00:24:59.166 --> 00:25:03.733 Thank you listeners for joining me again 502 00:25:03.833 --> 00:25:06.099 and thanks for buying some t-shirts. 503 00:25:06.400 --> 00:25:07.366 Some people actually bought 504 00:25:07.366 --> 00:25:08.866 some t-shirts, which is so cool. 505 00:25:09.466 --> 00:25:11.033 I did it kind of as a half joke 506 00:25:11.033 --> 00:25:12.966 because somebody said you should get some merch. 507 00:25:13.266 --> 00:25:16.000 And yeah, so people have actually bought t-shirts. 508 00:25:16.400 --> 00:25:21.200 If you want to buy a t-shirt, you can see in the show notes 509 00:25:22.000 --> 00:25:23.866 or maybe I'll, you know how people do that thing? 510 00:25:23.866 --> 00:25:25.099 They point and there's a link. 511 00:25:25.099 --> 00:25:25.900 I'll see if I can do that. 512 00:25:27.166 --> 00:25:28.166 I'm not making any promises. 513 00:25:29.400 --> 00:25:31.166 But look, until next time, thank you so much. 514 00:25:31.166 --> 00:25:32.000 Thanks for joining me. 515 00:25:32.000 --> 00:25:32.766 Keep the comments coming 516 00:25:32.966 --> 00:25:34.500 and like, subscribe to all that jazz. 517 00:25:34.833 --> 00:25:35.599 All right, see ya. 518 00:25:36.799 --> 00:25:40.400 The Color Timer, a micro podcast experience.