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 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, we've been big, a energy if you liked this episode check out all our other episodes on whatever you're using to listen right now. If you're listening on Apple we'd really appreciate it. If you left us a review, no matter how brief it helps us get into apples algorithm to reach a
wider audience. Please feel free to reach out to us. We would love to hear from you about everything and anything you can find us on all the social medias at big Energy pod or email us at Big Gay energy pot at gmail.com. If you'd like to make friends with other queer media, loving people, reach out to us to join our Discord server. If you'd like to support us. Check out our merch store or join our patreon for Early Access to episodes. Exclusive content and so much
more until next time. Stay safe and hydrate for a lesbian Jesus.