Issue link: http://digital.copcomm.com/i/1177962
G O L I A T H | P E R S P E C T I V E 9 3 Though none of the crew knew whether or not Goliath was going to come back for a third season, five scripts had been written and a warehouse in Santa Clarita rented, ready for production to begin. I walked into the empty building, hired before the show had officially been greenlit. Sometimes you have to dive in before you know how deep the water is, or in this case, if there is even any water at all. This new season would be the most ambitious yet, and I needed as much preproduction time as I could get. The new story took Billy McBride out of Los Angeles and over the Grapevine to the Central Valley, where he was to go up against big farms and their water rights. An entirely fictional county would need to be created to tell this story, not just creatively but also legally, as the root of this season's case was based in reality. It was also a departure from the show's normal production workflow. Showrunner Lawrence Trilling would be directing all eight episodes. Having one director gave a consistent creative voice throughout the show, which benefited the production team immensely in creating the look and feel, but with that came logistical challenges. We knew it would be necessary to plan the locations and builds for several of the scripts in preproduction before A. RISING SUN HOTEL AND CASINO, HIGH LIMIT ROOM. BUILT ON STAGE. PRODUCTION STILL.