Hello and welcome to Big Gay energy.
I'm Bree. I'm Fiora and I'm Caitlin come
along with us while we dive into the fun and nuances of queer
media representation matters. And we're here to talk about it.
Hello everyone. Today we have a very cool
interview if you are into the visual aspects of media or if
you just like a certain show about nuns ikey Towing people
into submission, so please welcome Barbara Perez narrow
production, designer for your none.
Hi, thank you very much. Nice to meet you all.
It's so nice to meet you, too. We've actually, we've never
talked to a production designer before.
So could you give our audience like a brief, like a summary of
like what you do on a typical day as production designer?
Yes. Well, on a typical day is not
typical day. Yes.
Every single day is really different from the other.
It depends if you are in pre-pro, if you are designing,
if you are on prep, if you're shooting, it depends.
It can be really different days from one thing to another.
But but well what the everyone needs.
Is to know is what is what we do the production designers that a
lot of people doesn't know and basically what we do is to
handle the whole visual part of the of what you see in the
screen. So everything that you see in
the screen that is not the actors with whatever they have
on them, that means her costumes makeup.
That's not us. But the rest That's part of my
department, the picture Vehicles, the construction, the
sets, the props, the decoration everything that you see that is
not the actors that that's part of our department.
And basically, the production designer is the head of that
department that can be from very, very short in some very
independent films with very few people to a very huge Huge large
crew base in in sometimes, in many different countries even
and the basically what we do is to world, we are the head of the
department. So that means that all the
responsibility from all the cover, all of these Duties are
in our, our shoulders share, with all our crew, which is
impossible to to to to I mean, you You cannot do this job
without the crew so it's very I don't think at all.
It's very individual job. I think it's I'm nothing without
my crew, absolutely nothing and you have to understand even if I
have the best ideas of the world, if I don't have a proper
crew to to go with my to go with me, it will be You will be
nothing. It's a really big job, huh?
So we know, it takes a lot to make the show visually stunning,
but what would you call the overall theme of design for
warrior none? Well, worry.
And then for me was really, really special, really special.
I think it's a special show. And I think you can tell you can
tell that it's a special show. It's a I had a very, very good
connection with Simon with Simon Barry the showrunner and it's
case extremely respectful with my job.
So he really, really understand what I do and Carrie.
We appreciate it and he doesn't, he is really always willing to
listen. So, what in any was from the
beginning? Very, very special.
We had to create this wall that didn't exist and we didn't was,
depending I don't know how to explain it was, we walk into a
path and we arrived to some conclusions.
And that's how you do it now and that's with because of the
locations. And then you We thought that we
had something something clear that that maybe wouldn't we
didn't want to do something. We wanted something base based
on tradition, very tradition, in one way and very historical.
And very, I like very much to be accurate and to do proper
research, I always use, I come from a Catholic country with a
very, very cute. Knowledge about art and and we
have a lot of art religious out, there is incredible beautiful
and anything and doesn't have to, to be that doesn't have to
be a con with but it has for me was a pro.
So I took that part but also you have to give it.
We wanted to give it like a mother, a modern twist and so
how to combine you know these things and that looks visually
visually nice. Good for the young people that
doesn't say, hey this is a, you know, so so well, it was, it was
so that that there was he, the words have been a bit of with
the mix. I really, I really like that.
That because to me, you know, the Dakota me of the 22 walls.
Know, the ancient world, the modern world, the glass, and
did, and their Steely, and the technology world.
And then the, the church that the stone Paintings and then the
murals and and all these statues and all this icon, I considered
then we have and I like very much the combination that was
pretty much the base of what a nun.
Yeah, I love that. It's like history and like the
future like coming together. That's why he's so interesting
for me was such an interesting job.
It was very, very nice to be able to combine both worlds.
It came out beautifully. So, thank you for taking the
time to really like, Mel, dummies, beautifully, and I
pleasure, because those two things can be contrasting ideas,
but I don't know. You said it was just a special
the way they came together was really special.
So, So it really also, we had we had a worry, none is a special
also because the crew, the whole crew was was really closed one
to each other. And that doesn't happen very
much in most of the jobs now. And it was really like we were
working together really, really together.
All of them, you know, the with there be peace with the
directors of Photography which is for me, it's really Important
but also, you know we did stand people that is all about the
stands and is with Coco, you know, it's and then weirdly.
I mean it was it was great. And we had all these very, very
good relation and very we were able to do many things because
of the communication, sometimes it's just that doesn't happen in
many other projects and that it makes it very, very much.
A very hard for us and for and you can see it on the project
and I think here you can see that that every one of us was
was a team, you know, was a and with Simon in their head because
that's always pyramid. You know, if the top of the head
is cold, the rest is going to be.
Absolutely. You mentioned that you like to
do research. So, how much research did you do
for? For this project.
And did you have like mood boards for how you want things
to look? Yes, absolutely.
I mean we do, I do a lot, I do a lot, a lot of research.
Being my, my set decorator also. She's great and and she's, she
also comes from the artistic world finance, and so, we are
very much based. I base my work a lot on finance
and visual effects. Rafi architecture, not so much.
I'm not so much based on all the films but based in more other, I
mean, other disciplines, you know, or part like then the
sculptor and and photography and architecture and so yes, we do a
lot, a lot of research, we work with we work.
Basically what I do is what I did in what an anniversary.
Very, very beginning in the pre pro, I was doing an AMOLED bar
with a very general mood board with the general.
This, what? I was talking to you telling you
later before, so I it was that means the general aspect of the
whole, a general view of the whole show know, and that, that
was these two worlds that you could see in their overall, the
first season and in the second to it, Was this this ancient
world against this other technology world and also what
that Dakota me that is also also part of the, of the blood of
the, of the of the show. No.
Absolutely. So I did this mood board general
motor. And then from that on, you,
start scouting. And then we depend depending of
the of the, of the sets you have to build, or you have to read
new report assure, you have to revamp, it depends.
So then you start drawing more, precisely everything, you know.
So you mentioned that this was very collaborative project and
you worked with many people when you're when you're creating like
the feel of the visuals for the show who do you work the most
with when you're putting that together?
Well that I work basically with two people which is my my set
equator and by crappiest Have a graphic designer that he is
absolutely stunning and that I don't I don't think I can make a
film without him. Is he's been with me for years
and years and and key said he also helped me a lot with all
the you know, all the design of the very beginnings of the
designs of The Sword and the cross, you know, is key and me
which we start developing with starts he starts Drawing and I'm
saying no these let's go this wall down the list, go more this
path or less change these or least rabies or less.
And that's, that's the two people that that are really,
really important for the beginning.
That's great. So like a lot happens in the
beginning. How much of the look is decided
in the very beginning and since there's like, different
directors for each episode like how much Collaborative with
sorry. How much like do the directors
get to help visually in their episodes, right, I mean, that's
hot. I must say that's hard because
it's we don't have the time to. I wish I had the time to give
each director, you know, their own, but it's difficult.
So for me, the main decision is Simon and me.
That's it. The main main decision and Then
we try to give the director something to say of course.
And but you know, sometimes it's very quite short time that they
have prep. So and many times you don't
have, you have to had, you have to make the decision before
that, you know, because it's not physical time to do it.
So we try as much as we can and sometimes he works well because,
you know, suddenly you go To Scout, and then you Scout
something and, you know, you can scout with them and, and that
means a lot. And but some of the basic basic
stuff is is done, you know, that, and they have to live with
that, the, the second or third block director, for he has to
be. That's the exit, that's the
house. The white, can you move the exit
20 feet up? Yeah, you know, he's like a
sorry, you know, we've seen thousand times all the exits and
you can achieve that, you know, but normally not normally, they
they are very cooperative and very good.
I mean, very good. I wish I can, sometimes I
understand the frustration because sometimes they get very
frustrated because they Yeah, they are not allowed to take
make decisions. No, but it's not really it's
hard when you're not on it every single episode.
Like you're not there the whole time.
Totally totally. Is that the same for like every
show for most of the ones I've done?
I've done quite a lot. Yes, always was for directors.
Now, maybe I may start one. Show and that one made made may
have just one director and 1 DP which is very extraordinary.
Wow. Well yes, because we are going
to shoot it as a feature like as it has a very, very long
feature. But yeah, it does.
Speaking of feature. Oh sorry.
Go ahead, please. I was just going to say speaking
of like, features Warrior, no was originally supposed to be a
film. Did that play into how the TV
show looks at all? I saw in the very, very
beginning when I got engage him on whether or not and yes, I saw
that the Polish the Polish. I think they were polish.
They did I like a trailer or something I saw.
Yeah. But that's the only thing I saw,
I don't know. I don't know much about it.
Yeah. So we've talked a little bit
about this, so obviously the Catholic church is featured.
Very heavily in the show given like that's part of the whole
world and the plot of how is it getting to work with?
Like the visuals, like the historical and like, all the
ancient visuals from like the Catholic World when building,
this is what I want. I'm telling you for it, and then
I reckon he's completely different.
But from I'm, from I'm from Spain, and it was, it was not
now, but it was a very, very Catholic country.
I've, I went to That's Hollywood school.
Of course of French nuns. So you're saying, yes and you
know, and so we're very used. We have it.
We have it Incorporated to our life but it seems weird child.
So, for us, it's not those icons that for the people, maybe they
are very attractive or not or the other way around, they are
very present. They're like very part of our
lives. Very, you know, very normal and
very yeah, I mean we know what, since we are babies.
You know, we've seen the crosses the Christ that Christ crying.
We seen it so many times, you know, for another child maybe
get trauma but here you know you kids think you're a baby
Caitlyn. It to a Catholic School to.
Yeah. Until I cannot like school.
I had nuns for teachers, and they just they traumatized us
with movies, because my menswear.
Okay, my men's were sort of a cake.
Yes, for the period. So, but no worry or nuns.
Exactly, exactly. So there's a lot of amazing
locations in Warrior. None.
Do you have a favorite location? That's a very difficult question
because I have a lot of favorite locations.
You can have more than one Well, for the first season, the the
church, the church, our church. The water and church.
I mean, it was them. That was a, that was really was,
it was something very special because when I went, when I,
when I engage the show, I mean, when I was hired, I start doing
the scouting and that church already was the Simon and the
producer Spanish producer. They already saw it.
Like before I was I was in. So any was is very difficult to
church? So probably you know, to shoot
in church churches because they have to be desacralized so you
can shoot on it in every now this is a, it's horrible because
you have to go through the church the proper to this poem.
I mean the church and, and it's very difficult.
You have to give them scrape that they like.
And then for / me permissions, everything is very, very
difficult. So that was very Nice church
because he was the sacralized. So that means they was used for
other things. That's not have a cult, so it
was very good but when I when I arrived there it was all white
Eugene men's white. Wow, I was and I said no, no,
no, I have to do. No, I have to paint it and they
were looking at me like this woman is craziness.
Yes. Because, you know, If not, we
are going to have the whole show, a white wall behind and
it's right behind wrong. So wrong.
And and so I said, okay, I'm going to do all these frescoes
in the wall and then and then paint the whole church and and I
said, well I do seven meters on real and then I do in
post-production a CGI happened. The rest of the church painting
the rest of church, but that my painters were so amazing that
the, you know, once they started seeing a now we do ever.
So that's awesome. I'm sure post appreciated that
yes. Oh yes.
How long did that take them to paint the whole church though?
No, not really. I mean was amazing but this this
guy is retired. Now, he retired and keys he's
he's just genius, genius. Genius.
I mean, he did it. I don't know.
Maybe one week. I mean he was he was seventeen
meters high. So we did.
We did all these frescoes on the bottom, and we paint the rest.
And while that was a very special location and very
special set for sure. And then What else and then?
Well. I mean, Julian and and and and
technology and I'll take of course also liked it and
completely that was that was the one thing that really I, the
rear engine. That's why I'd really enjoy
doing whirring man. Because and then you go to this
wall and you have to vent this ring and this other one that you
don't know what it is. And you know, and and and to
play with totally different materials and with the iron and
there, you know, nice shine and And all these Partners very,
very different from the others. And then in the second season,
well, for me, that was a really big deal.
The cathedral was really, really and it was that that's a
building. That is it's a from a very, very
well-known. Architect the Spanish architect
and and it was called we call it, since always the crown, the
crown of thorns. And so when I got these these
second season and I start reading the crown of thorns and
they, you know, the cathedral was described like a Gothic
typical, you know, typical from the scripts and I got the the
gothic cathedral was thinking. I think, I mean, I don't want to
do Gothic but he's wrong. I said no, no, no, let's go to
brutalism. And I was thinking, um, this guy
and the crime of terms that is the Deen this building.
The exterior building that you see in the second season.
So we went to see this and to see that building is Heritage,
is Spanish Heritage, is there the office?
So we said, please can we show it here?
And they were very, but the, the CEO her daughter was have fun.
Yes. Lucky so she she was very bro
and so she were injured and everything and said okay.
Let's Do they still use the exterior on the crown on the
crown of thorns? And then I had to build the
interior because it was a lot of action.
It was many things happen and, you know, every a lot of action.
So I had to build the interior and so that was another very
special occasion and then the tunnel the tunnel with them.
Then, you know, then therefore of the of the second season with
that amazing tunnel and I love this, the cross, like the scene
where it with the scene where they kiss with that cross in the
background. That was long that's killer for
me. Yeah, I cannot get that visual
out of my head because it was so beautiful.
You know, my Edwards based again, it was based, there is
Han architecture, he said this this, that is called the
brutalism and they did all those architect.
They did a lot of churches in cement and so, so I was base all
my design were based on real churches that They had these
beautiful way of leading letting the life, I don't throw and it
was so beautiful and and you know, and I said I was so
certain that we had to go to that to onto that the road now,
but what goes into this to you deciding if something is shot on
a set or on location. Well, it's depending of many,
many, many things money. One of the most important ones,
depends of what is what is happening on the, on the, on
the, the action of the sequence. If it's for example things with
a lot of action is very difficult to shoot that on
unreal places. You know?
Because there is blood and because there is Rushing things.
Even if if you you add as much in things, then they are not
from the location, is there, they don't like it because you
can damage you know, a lot of things.
So also the action also makes you many times to build, you
know but other other decisions maybe the directors are some
directors. They prefer much more to
shooting in stage which is now in studio which Now is now the
young people doesn't like that likes more and to shoot on
location. But in the other hand, some
young people younger than the youngs that they are coming back
again because now everything retro, you know, so very soon,
we will be shooting on 35. Mm again, you're not wrong.
You know, three weeks is very hard to rent something for three
weeks, so it depends of many reasons.
I mean. Absolutely.
So, so how do you when you're designing like a this the visual
Aesthetics of the show? How do you think that impacts
how the audience, kind of perceives, what they're looking
at? Just like we got, I wish I knew
Ladies your thank you. It was beautiful and you did a
phenomenal job of creating a new world and blending the old world
together. So like hear from us to you.
It was phenomenal, you did an amazing job.
Thank you for that. I really really enjoy.
Thank you very much but I really, I mean, it's a very
special is really a very special project in my Career as air
water and land and sea. Now, some people said Orion and
what is that? It's like freaks Freaks and
innocent but you have to watch it.
You're beautiful, they tried, that's the that's the important
thing. Their Warrior does.
Like what else you need to know. That's cool.
Just watch it and you'll see. Yes, I know we had a we had
really I think everyone, everyone participating.
We had a very nice, very nice time recognize them.
It's always nice to hear that. Yeah, yeah, he's not, it doesn't
happen very often. No, it's very difficult.
That happens in some, you know. I've done a lot of projects in
my life and it doesn't happen very often but it was it was
something special. I don't know.
Yeah, maybe worse please divine blessing over.
Yes, one of the sets that we talked a lot about on our
podcast is, I think the oars favorite one the Beatrice and
Ava's apartment. The question is, did you
purposely one you have a season two?
Yeah. Did you purposely purposefully
make their apartment look as gay as possible?
Nailed. It was
how to describe it. I remember.
It we were just discussing how how it should be and is should
be is supposed to be in Suite in Switzerland.
So you know, so we try to go as neutral but retro because he was
an apartment from students and so but I'd never thought about
this for scale. Yeah but well.
Yes. Yes.
Right. Right.
Yes, I remember. Now I remember, yes.
That was a assignments. Yes, Simon, because I sense.
Yeah, he was just like, just give him one bed.
They'll make all the inferences from there.
The tiny apartment and share, what's that?
As we did with the split, the exterior and the interior which
are dead somewhere close to to another another.
Another church, when the one where the big fight with the
church they was and refurbish without this plastic.
And I'll, you know, when they were baptizing they would shoot
at their in some interior that we build rebuild, you know?
Yeah. Yes.
Well, I never thought about it. You see?
Interesting, are you gonna have to go back and look and see?
Check out every lane tonight. Well then I guess I'm going to
see it again. You don't even have to consult
anybody. Like if you ever need any gay
room advice, we're here is this good?
So, is there anything that you would go back and change that
you design for warrior? None God.
That's a difficult question. I mean, always, when I see my,
my work, always always think that if there is something that
I can improve, I will improve and improve and improve and
probably never ending in Providence.
So nothing that I said, I will radically do a different No.
No. But that's good because I'm
happy. I mean, I'm happy with what they
saw. Yes, we were thrilled.
So yes, we're glad you're happy. Thank you very much, really?
I really, really appreciate this.
So, you mentioned earlier that there's two people in
particular. That you worked very closely
with when designing, is that your entire crew?
Or did you have more people? I got big, is your team?
I mean, I had a big team. We were like 50 people.
Wow. I mean in in designing in our
department, I mean, our department is, is a department
and design then set the grating and then is props and then is
Victor vehicles and all that is the pan department.
But so for me, they said decorator is very important and
then this guy that is this graphic designer, but I have my
art. Directors, that are very
important tool that they are developing, all the designs.
And this, you know, they said design, so I had like to set
designers, I have like to our directors.
I had then in construction, have I had a construction team and,
you know, made with like, I don't know, like five Carpenters
to iron blacksmiths do three painters and and then you That
was also with us all the time. Then I had like a cynic painter
and then you have like a prop man, prop Master, brought men,
dressing prague's, stand by prop.
You have to have a lot of people and it is a very big team.
That's all those people break. I mean it's yes you do you have
to have at least because he's a lot of locations.
So you have to be be dressing and and striking locations at
the same time, you know, same day because normally you don't
have the money to stay, you know.
So you have to have a lot of people to cover it being doing.
Doing a lot of things in different, different, different
places and you have your main, you know, the base there were
house were what all that happened.
You have a warehouse for construction.
You have a warehouse for said deck and for props and and you
know you that that's You know, all these the books, the
Bible's, everything that we draw, you know, and all that,
you know, has to be has to be made, and has to be in, you
know, and that requires a lot of lot of people.
Yeah, so many little pieces to put together, absolutely.
Yeah. Literally lots of people doesn't
know that we do all these things, right?
That's why we'd like doing these interviews, so people can find
out more about how their favorite TV shows are made
because we feel like you guys need, or we want to give you
guys the credit you deserve. And I want to see you.
Yeah. And have people see you.
I just I was just thinking about all the things that the crew has
to do. It is just yeah you guys deserve
so much recognition. Yeah because the you know that
people doesn't understand and one scene one dinner you know
the dinner while the dinner in makes I mean it's a lot of work
at dinner because it's with the actors because some actors are
And they have allergies because the other that's a need because
they are the one that's one too small because the other, I mean,
it's it's a lot of things, little things, as you said,
little things that make the Machinery.
But that is a lot a lot that is in our department, you know,
shoulders a lot. I mean always in them in the in
the making of of the victims you always see the camera and the
makeup and you know, of course. But you never see us.
Never we're never there. I mean unsung heroes buddy plays
such an important part but like you wouldn't be able to look at
anything with everything. It's just a person and a camera.
And one Department more important than the other for
sure. I mean, without the sound, you
know, what is a building without the sound or what, but every
single one is important, but I must say that we are the
creators of the, I mean, we're the first ones that we are
interpreted the last one that we abandoned the project.
And yes, so we are, we have a view that is as I say, A bigger
a bigger view than than some other departments know what.
It turns out that we are. Yes, sorry, what attracted you
to the art Department. Well, I did, I did identify not,
I wasn't going to I mean I wasn't going to do precisely
filming, but then I went to a short And I totally love this.
Absolutely loved it. And then I have a, I love the
storytelling. I love telling stories through
the visual, but and I think you can say so much from from what
you do visual, you know, from a set.
You can say you can tell a whole story with just with the setna.
So I ended up designing for film and it's been 30 years now.
Now and it's as every single day of my life.
I said that I am so thankful that I really that I able and
they're able to do something that I love so much.
My job. That's very important in life in
general. Yes totally absolutely agree is
very difficult though. Very for many.
It sounds like No. Very different thing to find to
find the things that you love. Ya like a job you love okay.
Yes. I understand and to be able to
do it because you know ah yes so are there any Giant, like genre
design, kind of tropes that you avoid, or that you really like,
things that just pop up all the time.
No, I mean, it's nothing. I love everything.
I love period.
I've done quite a lot of period, And I love period.
And because of what we were talking about before because of
my roots and because of the research and because I am very
picky with that and we'd be precise and with and, and I like
very much period, but I mean, I'm very open for any anything,
any story. Any story that is good.
The story can be in the moon, or can be in the ancient Egypt or
both at the same time all about I need is the the portal to go
through, time to go. Well, we are it's too bad.
Really the third, the third season really, who are looking
very looking forward to do it. Did you see the billboard?
They just put up an amazing amazing, I tried in Instagram,
that's amazing, but who did it? It's a group of fans that
organize it and fun and Did a fundraiser and all got together
and they're doing a lot of stuff.
I'm in there, Discord change their Discord communication.
Thing, and they have this like plans upon plans, upon plans,
and they're not stopping. So, that's so amazing.
I mean, they have like this graphic designers, and people
composing music, they're doing poetry nights, their poetry
things, and stuff of that like that.
That's so amazing. Amazing.
No, no, I have them in. I don't remember her name, I
should remember her name, but Was that a girl?
I mean, a woman a girl, I don't know her age, she sent she sent,
she put together some some of the cinematography award in them
beautifully. I mean, I said you're so
talented you, but you don't and, you know, she was in, she was so
kind and she, you know, I and I asked her, I said, can I use
that? You know, can I put it in my, my
in my web page because it's so If Eleni was all these sets
together, you know, put it together and beautifully, they
edit editing, everything was great.
And I said, you know, you have a lot of talent.
I mean really, and, and it's amazing what they were there.
They are doing the fun. I mean, so talented people
drawing and so the drawings everything, I mean incredible
really, really impressed, very impressed.
They're not stopping there. They want to get you a third
season. So it's also a reflection of the
what you guys created with the show because they we wouldn't be
as into it or we wouldn't love it so much if it wasn't as
beautiful. And it's inspirational.
Inspirational is it? Yeah, you know, because I think
also because that was again time when I mean, you know, say money
and well and all the characters, how they are how they are, you
know, how they build them, you know, and the girls and the
girls Those were fantastic. The girls were so amazing.
All of them, they were incredible, you know.
And they also, you know, it was that, that's what I mean before.
He was just not, it was everything, you know, it was the
girls and it was a cruel and it works that technique everything,
everything went together, blend so well that it's not normal and
and and he stood at the oldies, this care how they did.
You know, it was worth Done with very, with a lot of taste and
everything was and it was elegant because Simon is an
elegant men. And, you know, and so everything
was elegant and is true everything in the show, how the
relations were elegant, you know, everything it was, and you
beautiful, you know? And and, and it was the beauty
everywhere and you could see it. No, yeah, absolutely.
He can feel it, it trento that translated, very E nicely into
the final product. So, not speaking of warrior done
for a second. We noticed that you have worked
in 15 countries across four continents.
Just does that influence your work, just like having a having
been all over the world. Basically what a I think it
gives you a. Yes it helped you to have a
look, you know. This is an open look and and you
can use also a lot of influences from here and there and there
from countries that you've, you've been that, I don't know
Japanese color that you like or things from China from from,
from friends or from every every country now.
And these two data from Barack all the job in Morocco.
All the colors. Yes, of course, of course, it
gives you Another look in your work and helps you absolutely
helps you to open. You know your your your mind
always. Yes.
Traveling is. Is a Wonder.
Absolutely very, very important. I love it.
It has been so great getting to know more about your job and you
as well. Is there anything You want to
say to our listeners before we wrap up?
Nothing. Just very very grateful and
thank you very much for this. I really appreciate it.
I really appreciate that. You appreciate what we do and
and and I think all these these people that is following Warrior
Nana and all these fans are amazing as I said and nothing.
And I mean, I'm here for you anytime.
Thank you. Thank you to everyone at home
listening. Make sure to check out Warrior,
none streaming on Netflix will see you next time.
Okay. Okay, bye-bye and with that,
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