Issue link: https://digital.copcomm.com/i/1544392
cisions that dictate the tenor of the show. I think Mickey and Konrad, along with the executives at BadWolf, recognized I really connected with the style of the show, and they were kind enough to trust me to help implement that style throughout all of post production." In Episode 2, you had to navigate the introduction of a supernatural element into an extremely grounded show. "Yeah, that was quite a shock when I read it in the script. Mickey and Konrad always write such rich characters, and this episode is almost exclusively a deep dive into the mind of Kit Harrington's character, Henry Muck. We had never really done anything like that in the series and had to be extremely cautious to avoid anything that felt forced or trite. "One thing we discussed early on was that this entire episode needed to feel different. We knew we wanted to play the reveal of the Commander fairly straight, so we had to tip the audience off ever so slightly throughout the epi- sode that something was 'off.' This was done through a mixture of things. We hold on shots a little longer in several places, utilizing the zooms that were set up in Episode 1 even more. The music for the episodes deviates from our very contemporary synth score that our composer, Nathan Micay, usually does for the show. We needed to start tilting the world of Industry ever so slightly to let you know something is coming. "For the reveal of the Commander, it was always scripted that the majority of the information you would gain about this would be after they were gone. We could have made a version where, as he pulls down his turtleneck to reveal his bloodied neck, we as viewers see shots of Henry as a child and the Commander looking very much as we have seen him all episode. "Instead, we don't fully explain what's happening. There is a clue as we tilt down to the Commander wearing the same watch that Henry receives at the beginning of the episode, but beyond that, the viewer is left in a kind of 'WTF' moment. Then we stay with Henry's emotion as he stumbles back to the manor, into the garage, to take his own life. It's only in this section that we get more information on the Commander. Henry is running back his last memories of his father, and we are revealing char- acter information as Henry is feeling it. "The 'gotcha' of the scene isn't so much that the Commander isn't real, it's that Henry is being tortured by his past and falling into the very same steps that caused his father to take his own life. I think, overall, it makes for a much more effective sequence and hopefully keeps this from feeling less like a ghost story and more like the story of a man who is struggling with depression." What other scenes would you point to as interesting from an editorial perspective? "I really enjoyed cutting the boardroom scene at the end of Episode 1, where Whitney double-crosses Jonah. They pretty much had a full day to shoot that scene, which is right in the middle of the Tender offices, so I had lots of coverage. What was important when entering that scene was that we were with Jonah. He doesn't know what's about to hit him. "I used one of our zoom cameras to bring him and Whitney into the room, and it pulls back slowly to reveal the entire board waiting for him. The frame shows an assembled team in the fore- ground and Jonah isolated, small in the back of the frame. After that, it was a really fun interplay of who to be on for which set of lines. I found myself staying with Whitney more as the scene goes on. Watching how Whiteny handles the moment of his best friend being de- stroyed by his very hand is much more interesting. There is a tiny beat where one of the board members is reading out the various complaints against Jonah and describing his 'odor' and lack of cleanliness. I found a great shot where Whitney wipes his pants as if to clean himself of this decision. Little touches like that, combined with the wonderful use of our zooms, made that scene really fun to work on. "Another fun one was near the end of Episode 2. We've been in high drama mode for almost 10 minutes as Henry meets his dead father, relives the worst moment of his childhood and is inches from killing himself. Mickey and Konrad write the next scene to punctuate that entire sequence by having Henry drive around the front of the manor, screaming for Yasmin. She comes running out and the two of them make love on the hood of the very same car he almost killed himself in. The majority of the scene is cut for pace and emotion, but as they start to make love, we move into a very high-angle POV push looking down on the car. "Then, with one of my favorite cuts this season, we cut back to reveal it's Lord Norton looking down on the two of them making love. The Andy Williams track 'Can't Take My Eyes Off of You' kicks in, and we are forced to sit in the horri- bly-awkward moment where Yasmin is trapped between these two powerful men. I use pushes on each of their POVs and hold the comedy/horror as long as I can before the tension breaks. It's just such a wildly-unserious moment in what has been a roller coaster of an episode. It really sums up the feel of Industry, and I laugh every time I watch it." www.postmagazine.com 31 POST MAR/APR 2026 Production and post takes place at BadWolf Studios in the UK.