Issue link: https://digital.copcomm.com/i/1470106
9 6 P E R S P E C T I V E | M AY / J U N E 2 0 2 2 Starting a second season for The Witcher was a completely new and exciting experience. Having worked primarily on feature films for most of my career, television was still a very new genre for me. Season one of The Witcher had come off the back of season one of Warrior for Cinemax. Both projects had been about world building and discovering a palette that enhanced the storytelling. This new challenge of continuing a journey while having already established the beginnings of a visual language was truly an amazing and exciting opportunity. The company began season two of The Witcher perched on the shoulders of what had been a very well-received season one. But while we had that success to build on, we were also starting over in many ways. For season two, the production base was moved from Budapest to London. The immediate goal was to rebuild our infrastructure. A new core team consisted of Supervising Art Director Stuart Kearns, who I'd worked with previously on 1408, The Rite and Jack Ryan: Shadow Recruit, and set decorator ob ameron, who I knew by reputation from Game of Thrones and felt would bring an eye for detail and authenticity. We began as a small creative nucleus in temporary oces at Longcross Studios in une of 2019. We would then move to our season two home at Arborfield Studios in eading in the autumn. With season two, the production was also starting over with much of the Witcher world. In this next evolution of the story, we would find ourselves in almost entirely new environments and in a single timeline. One aspect of season two that had not changed was that I kept the Budapest-based concept team of Daniel Veres, Lszl Szabados, bor Szab and oltn Mnyi. This group had D e s i g n i n g S e a s o n T w o o f T h e W i t c h e r E X P A N D I N G A M E D I E VA L W O R L D B Y A N D R E W L AW S , P R O D U C T I O N D E S I G N E R A