Issue link: https://digital.copcomm.com/i/1535796
6 4 P E R S P E C T I V E M AY / J U N E 2 0 2 5 This part of the production brought its own intensity. We were working with an Italian crew—getting to know their style, their workflow, their rhythm. Every country does things a little differently, and it takes time to build trust. The Mediterranean weather added an extra layer of unpredictability, particularly at the beach club in Forte dei Marmi. But as the days went on, we found a flow—us adapting to their ways, them understanding ours. A kind of creative harmony emerged. Venice was a whirlwind, just like the unpredictable Adriatic weather. The scout happened over a single weekend. No time to dwell, just boots on the ground. We scouted, shortlisted and approved as much as possible. As always, we were juggling story, light, access and schedule. No easy feat in a city that seems allergic to wheeled equipment and is prone to sudden fog. This production was a marathon—forty-four weeks of filming, across multiple countries, in the middle of a pandemic. There were bumps on the road. There always are. Not everyone gets along, and some crew didn't make it to the end. That's just the nature of a project this size. The series had a great team, all departments, not always the same crew that started the job, we quickly formed close bonds with new folks we hadn't worked with before. My utmost thanks and gratitude to all those souls who ventured into this project with me, whether completing it or not, I couldn't do any of this stuff without your professionalism, talent, friendship… Looking back now, with a little distance, it's hard not to feel a strange mix of exhaustion and pride. What started with a no-caller-ID phone call turned into nearly two years of creative problem-solving, relentless planning, rethinking, rebuilding—and a fair bit of soul-searching too. Working with Cuarón again tested every skill, I wouldn't have it any other way. He has that filmmaker's instinct to push everyone—not necessarily through the pressure, but vision. The idea that "this could be better" was never a criticism; it was a challenge, an invitation to reach higher. A. CATHERINE'S OFFICE. WHITE MODEL. B. & C. INTERIOR CATHERINE'S OFFICE. SET BUILD AT OMA X. SET PHOTOS. D. HOTEL AUGUSTUS. WHITE MODEL. E. HOTEL AUGUSTUS. SET PHOTO. F. HOTEL AUGUSTUS. WHITE MODEL. G. HOTEL AUGUSTUS. SET PHOTO. H. HOTEL AUGUSTUS. SET PHOTO. A B C