August 20, 2024 • 29 mins
It’s a podcast of revenge and anger! Jason and Rosie chat with the creators of Blue Eye Samurai, Amber Noizumo and Michael Green, about telling an authentic story of a mixed-race character, the challenges of overcoming bias about animated shows, and why good TV takes time to make.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Warning, Today's episode contains kind of contains spoilers for Blue
Eyed Samurai. Hello, my name is Jason Exceptio and I'm
(00:25):
Rosy Night, and welcome back to x Ray Vision of
podcast where we dive deep to your favorite shows, movies,
comics and pop culture. Coming to you from my Heart podcast,
where we're bringing you two episodes week every Tuesday and Thursday.
Speaker 2 (00:38):
In today's episode.
Speaker 3 (00:40):
In the previously on, we're talking about that stunningly impressive
Alien Romulus box office in space. Everyone can hear you
make money apparently because it's making money. We're talking Archie
comics and a new superhero take that they're bringing out,
and the controversy and slowly unfolded revelations around X Men
(01:02):
ninety seven show runner Bodomeo. And in a wonderful interview,
Jason will be chatting to the Blue Eye Samurai create
as Amba Nazumi and Michael Green Up next.
Speaker 1 (01:14):
Previously on, First Up on News. Alien Romulus box office
numbers are in Oh baby, folks, it is a hit.
Forty one and a half million domestically, sixty six point
seven million internationally, a total of one hundred and eight
(01:35):
million plus globally. Wows Part of the secret sauce, of course,
is does the movie open in China. It opened in
China twenty five point seven million in China, and folks,
big hit Alien Romulus.
Speaker 2 (01:48):
This is just unbelievable.
Speaker 3 (01:51):
Smash it full overseas debut on twentieth Century Studios. Slash
Disney's Alien Romulus is forty seven percent ahead of A
Quiet Place Day one Hello, which I feel like everyone
was like, this is.
Speaker 2 (02:02):
A good hit.
Speaker 3 (02:03):
Also seventeen percent above the controversial but now kind of
in hindsight, loved Prometheus in like for like markets, So
I'm just saying movie is great. Enjoyed the movie, love
to see the good box office numbers. I also have
to say, sure, it is also a Disney movie, so
you know, but Disney kind of went low on the
marketing with this one. I think there was not a
(02:24):
lot of promo in the same way there was for
like Deadpool, So I think it's kind of crazy that
this overtook Deadpool in just like a couple of weeks.
Speaker 2 (02:33):
Yes, you know, but I like to see it. It's
like we said, you can always bet on horror.
Speaker 1 (02:38):
Yes you can.
Speaker 3 (02:38):
That's what we're finding at the box office, and we're
gonna be talking about a lot more horror as we get
into spooky season.
Speaker 1 (02:42):
Next up, Archie Comics, the home to the Archie line
of comics, but also back in the day, way way
way back, a line of superhero comics and a variety
of other comic book stories, is getting back into the
superheroes with Rarioru miniseries. That quote blends a metaitextual examination
(03:04):
of Archie comics history with superheroes and the Golden Age
of comics with a new story of Archie himself coming
into Powers Unknown and becoming the world's mightiest hero. First
release is November twentieth.
Speaker 2 (03:15):
Rosie series is called Archie Is Mister Justice. I feel
like the titles a little bit longer.
Speaker 3 (03:20):
Yes, I think Mister Justice could have been cool, but
I'm sure that might be part of the metatextual nature
of it. And what I do like about this is
all the conversation around it is essentially Archie is like
a good guy. And Mike Norton, who's going to be
the artist on the first issue, he basically said that
is really what this is about, Like, what is it
like to be an incorruptible soul in like a corrupt world, Like,
(03:42):
what will we see Archie get into.
Speaker 2 (03:44):
I'm interested. I'm a lover of the.
Speaker 3 (03:46):
Weird Riverdale esque, you know, the horror Archie style stuff,
so this is very interesting to me.
Speaker 2 (03:53):
They've definitely been trying a lot of stuff out.
Speaker 3 (03:55):
There was recently an Archie one shot that was like
a take on basically Fist of the North Stop but
with Archie, and Yeah, they've been really getting out that
with some of these things. They did a horror anthology
called Pop's Chocolate Shop. So I think this is gonna
be interesting and definitely could be kind of like what
we saw pre Rivedell where that was kind of a
Boom and Archie comics. So we'll have to check it out.
Speaker 1 (04:18):
And finally, former X Men ninety seven showrunner bo DeMeo
has surfaced. Last week, he posted that he had lost
his season two credits, which he had worked on season two,
because of a gay Pride post. It kind of like
very very team illustration of himself that he posted to
(04:43):
social media, and he said that that's the reason that
Disney took his season two credit, but in that post,
he did not grapple with why he was let go
in the first place. Disney then fired back, saying no,
it's actually because of a litany of serious allegations, including
unwanted nudes sent to staffers, including other unwant sexual harassment. Yeah,
(05:09):
other unwanted advances, and you hate to see it, and
I hate to see it. Certainly appears, Rosie. We've been
talking about this quite a bit on chat. The alleations
are serious and bad. It was also it also seems
as if Disney was going to let this go away quietly.
Speaker 2 (05:32):
If he didn't, if he didn't.
Speaker 1 (05:34):
Tweet about it and hear he is posting about it,
causing Disney to fire back. Just a sad situational.
Speaker 2 (05:42):
Definitely a sad situation.
Speaker 3 (05:44):
I'm feeling for the people who were impacted by this
worked on the show. I also feel for the cost
and crew because I feel like because of the nature
of whatever agreement Disney made with BO, it kind of
stayed on the radar, so he's been doing a lot
of events with them.
Speaker 2 (06:02):
It kind of looked like they were backing him.
Speaker 3 (06:05):
Like Disney did make some weird choices here, like Barad
Winderborm came out and said what good work BO had
done to make it look like it wasn't there wasn't
kind of any issues between the two of them after
he left. But yeah, it's it's not ideal. You hate
to see it, and it makes sense now why they
(06:28):
bought in new writers for season two to kind of
adapt it and to see what happens. So I hope
that everyone who's still working on the show is fine,
and I'm sure this will not be the last we
hear of this, because bo also has a very aggressive
lawyer who put out a statement after the Disney statement
that was it sounds on him.
Speaker 1 (06:50):
I'm not a legal person, but it felt a lot.
Speaker 3 (06:53):
It doesn't feel Yeah, it doesn't feel like a statement
a lawyer would make.
Speaker 2 (06:57):
So I'm sure this is not the last we've heard
of this.
Speaker 1 (06:59):
That's right. Well, coming up next, we're stepping out of
their lock and talking to Blue Eyed Samurai creators Amber
Noi Zuomi and Michael Green. We're so delighted to welcome
(07:25):
Amber Noi Zuomi and Michael Green, the co creators of
Blue Eyed Samurai on Netflix. Welcome to the show, and
thank you so much for joining.
Speaker 4 (07:33):
Us, Thank you for having me, Thank you.
Speaker 1 (07:36):
Let's start with the latest news first. So season two
expected not until twenty twenty six. I am of the
opinion that good things are worth waiting for, and that
excellent things, which truly, truly, truly Bloyd Samurai is so good,
so excellent, excellent things are really worth waiting for. Explain
(07:56):
to our audience, who I'm sure are ravenous for the
new season. Why making something as good as this takes time?
Speaker 5 (08:04):
Sort of like ordering the souflet. It says on the menu, Yeah,
to take forty minutes, So if you want it, order
it early. Yeah. But right now we're on schedule. Because
there was some some uh, there was different information going up.
We can confirm November twenty twenty six is when we
are on the Netflix schedule.
Speaker 6 (08:23):
We're we are on track to deliver it then. And
I mean, look, we could you know, we could do
really rinkaging animation and get it phone these scripts in
get it, get it yeah, in six months.
Speaker 7 (08:38):
But you know, these things take time.
Speaker 6 (08:39):
We have our artists who diligently, you know, research everything
to make it, you know, really come to life. And
you know, we're we're trying our best to write scripts
that are worthy of our audience.
Speaker 5 (08:54):
And you know, but you know, the whole show, it
really just goes back to how we made it in
the first place. That teak nature to this show. We
you know, our animation studio is Blue Spirit. They're wonderful,
they are talented, and it's outside the sort of run
and gun smash it out as quickly as you can.
And there are plenty of shows that are amazing. I'm
not denigrating to anyone's pipeline, but we chose something that
(09:19):
just takes a bit more time. So first season was
definitely a fluffy sou flet. And right now we are
beating the egg whites and a little pinch of tartar,
cream of tartar, and uh maybe truffles, little truffles, truffle
season truffle pig. We literally just confirmed with our team
(09:40):
that we're going to have a pig in an episode forward.
Speaker 6 (09:42):
To the.
Speaker 1 (09:44):
You've spoken about in previous interviews. The genesis of the
idea of this, this kind of long gest stating project
that has become Blue Eid. Samurai is wondering if you
could expound on that for our audience. This is inspired
by your multi racial daughter, and then how do you
get from there to the show that we've all watched.
Speaker 7 (10:05):
That's that's a good question.
Speaker 6 (10:08):
I mean, yeah, I mean it started out as actually
the icky feelings that I had about my views of
my daughter who looked more white than Asian, and being like, ooh,
she's got blue ass, it's so pretty. She's got you know,
blondish hair, and being excited and why am I excited
(10:30):
about that? And those conflicting feelings I think so many
mixed race people have, like wanting to appear more like
one culture than the other, or and then the feelings
of shame about maybe wanting to reject one side and
(10:51):
just and sometimes it goes back and forth your whole life.
Speaker 7 (10:53):
Where you want to be more of this or more that.
Speaker 6 (10:55):
And yeah, I mean, look, we turned that into a
care character who really just loathes this part of her,
and you know, we're hoping to, you know, really complicate
those emotions where I don't want to give anything away.
But maybe she you know, starts to embrace parts of
her that she wouldn't have before and embraces new people
(11:18):
in her life when she's able to accept some things
about herself, which I think is a journey for all
of us.
Speaker 1 (11:24):
Yeah, I think I was workshopping this feeling I had
about the show with the production team. I think one
of the things I really it hits me so hard
about the show is that that's to your point, you know,
as an Asian in media and entertainment, I think one
of the things that can feel wearying is like the
(11:45):
whole conversation around diversity. It feels like sometimes like you're
shoving like medicine down people's throats. And this show is
it's so authentic to its characters and their journey and
everything else is there, all the themes, the very real
(12:06):
experiences of being a multi racial slash agent character that
feels out of place. It's all right there if you
want to engage with it. But it's also just like
a ripping story that's wonderfully told and looks so good.
Speaker 7 (12:22):
How do you.
Speaker 1 (12:22):
Balance How did you balance all of that stuff, that
the themes, the things you want to say, and also
just create a great engaging story that I feel like
anybody could watch and feel like, wow, that was awesome.
Speaker 6 (12:38):
I mean, I think with our story, it just you know,
it was just something that had been as you called it,
gest dating for so long that we weren't trying to
check any boxes or fulfill an assignment, and you know,
that's no, that's no shade to any other show out there,
(12:59):
who of course pasts somebody diverse. Diversity is wonderful all
the way around. But this, this just is a story
about a mixed race person.
Speaker 7 (13:12):
We're not shoehorning in any themes.
Speaker 6 (13:14):
And it takes place in Japan, so all of the
culture is innate to the story.
Speaker 5 (13:21):
So all story flowed from a character in a predicament.
Speaker 4 (13:26):
It's an intention.
Speaker 5 (13:28):
So that was just you know, someone wants revenge of
a certain type in a certain place, and she looks
like this, So everything just flowed from there. And I
won't say the storytelling was easy, but it was natural.
We always knew if something wasn't right very quickly, so
I don't think we went down many wrong roads. It
(13:50):
was always about how to get things right and then
just conversation. We kept layering it, you know, like we
had it tenth draft. Wasn't good enough for us by
the time we shared it with anyone else. It was,
you know, just the stories we felt we had to tell.
Speaker 6 (14:05):
Yeah, I mean, and I think we just we need
more stories out there where the main character is a
person of color, and sometimes people try to put in
a character just to check the box and it feels
forced or it can feel forced sometimes, so you know,
just more stories about different kinds of people.
Speaker 1 (14:29):
Let's talk about the cast, because I think one of
the cast is so stacked and amazing, and I think
one of the indications that y'all did get it right
with your script was, you know, I've read various interviews
from the cast where they're asking, oh, yeah, what was
the casting process like, and you're like, well, we sent
it out and people just said yes immediately, so what
was You don't.
Speaker 5 (14:49):
Always get that lucky, but I was remembering that, like
George d Kay was our first yes.
Speaker 4 (14:53):
I think we're like really like.
Speaker 5 (14:57):
Okay, like okay, that was you know, we thought that
would be a one like that, and people were you know,
they they read it and they liked it.
Speaker 4 (15:05):
It was COVID, so there's some people.
Speaker 5 (15:08):
You know, people had time to read it if if
they weren't going crazy in their own homes. It was
a remote show that people could work on.
Speaker 6 (15:15):
But I mean at the time, there hadn't been many
adult animated shows like this, and we we were worried
people be like, what they want us to do?
Speaker 7 (15:26):
A cartoon? Like I'm not doing a cartoon.
Speaker 6 (15:30):
But I think I think the pandemic allowed people to
just be like, all right, I'll try anything.
Speaker 7 (15:35):
I just want to work.
Speaker 5 (15:36):
And it was it was so much because like you know,
they they kind of did it on spec I mean
obviously they were they were higher, but like creatively, we
would be telling them what it would be, but we
had nothing to point to. And then you know, maybe
a few months down the line after they'd recorded, we're like, hey,
here's a picture of your character, and they're like, oh,
it's going to look like this, and then we'd show that.
Speaker 4 (15:53):
You know, they'd come back for the rare bit of adr.
Speaker 5 (15:56):
And you know, they would see like scenes and they'd
be like what you know, and it was really touching,
like the reactions we got. I mean, speaking of George
k one of the nicest things anyone said early on
when he was doing some medir he saw it and
he said, you need to get this out sooner. People need,
you know, we need this kind of thing out there.
And we said, George, we are drawing it as fast
as we fucking can.
Speaker 4 (16:18):
We are the.
Speaker 5 (16:19):
Animators in Montreal and in France are you know, blistering
their fingers?
Speaker 1 (16:24):
I think there can be for people who aren't steeped
in animation, there can be kind of like a preconceived
notion about what animation is. It's for kids. Did you
need to overcome that at all?
Speaker 7 (16:36):
I think we're still trying to overcome that. I think
people do.
Speaker 6 (16:40):
I think the audio, I mean the audience, I mean
the audience has a definitely has a preconceived idea of
you know, adult animation is comedy, right like The Symptoms
and Big Mouth Family Guy, which are great shows. But
or there's anime, and anime is for a specific type
of person. So we wanted we wanted to show somebody,
(17:03):
you know, show people that, I mean, animation is just storytelling,
and you know there's.
Speaker 5 (17:09):
Some of it out there, like Undone on Amazon, wonderful
show half an Hour took a lot of people by surprise, like, wow,
this is a grown up show happens to be animated
because it fell so neatly and with its themes. And
then you have a show like Invincible, which is super
fun but definitely feels more like what people expect from
adult animation, saying with Harlee and Ivy and now Kiteman all.
Speaker 4 (17:28):
Great shows we enjoy.
Speaker 5 (17:29):
Yeah, you know when we kept saying, but like our
emotions are grounded, our storytelling is grounded, and you know,
it was a lot of like people kind of getting
it intellectually or kind of going okay, But performance wise,
when when we were working with the actors, it was
a very it's very I mean, records were fun and easy,
(17:49):
like we would just talk about it. They would read
the scenes and they're like, okay, so we're playing the
straight yep, and everyone kind of keyed in really quickly
and well, so that way, when we went to our
storyboard process, they were boarding off of those performances. So
you know, internally everyone got it. Netflix got it. They
We never had to do anything any backflips to explain
(18:12):
to them what we were after. It's more that since
the show was you know, since a trailer went to
the world, people were kind of like even my friends
I'd been telling the show about for years saw the trailer.
First time, I went, oh, that's what you meant. We
thought you were nuts because for two and a half
three years we've been saying, you know, Amber and I
are doing this thing, and they're like, oh no, they would.
Speaker 4 (18:34):
Like one of my best friends said, this is really
good like.
Speaker 5 (18:37):
You you really like, yeah, you know, you're finally doing
cartoons like you always want to, and you know, and
it's great that a lot of audience members were surprisedly,
I didn't know animation could do this, But it's more
fun when people are like, finally more animation like we.
Speaker 4 (18:54):
Were hoping for.
Speaker 1 (19:11):
The show has so many unexpected turns, and I think
one of my favorite ones is the relationship between that
Meets You and Tigan, which starts out as antagonistic and
then develops into something that I think I've never really
seen before, which is, you know, there's still foils who
(19:31):
are working together. What was it like developing that storyline.
It's so fun because it's respected again.
Speaker 5 (19:37):
They grudgingly start to respect each you know, game game
the Yeah.
Speaker 6 (19:41):
I mean I think we're still we're still definitely exploring it.
Speaker 7 (19:44):
But yeah.
Speaker 6 (19:45):
That was always our intention, was that Mitsu only understood
one thing, and that was revenge and sword play. And
so even as much as she hated Tigan's guts, he
gets that, like they have they have this shared hyper
focus of you know, swordsmanships, and so he's he's the
(20:06):
closest she has to somebody who gets her.
Speaker 1 (20:09):
I mean when he draws up a contract. Yes, and
it was it was wonderful.
Speaker 5 (20:16):
Yeah, he's he's trying to make it formal because at
the time you could have formal like okay, we're going
to do all right, And they put him up as
a placard in the center of town like this was
a public, formalized thing you could do, and mesas like,
you know, fuck that. If you want to, if you
want to kill someone, you just take a knife and
you kill him. Why why being so fancy? And he's
because he wants to get his honor back. He's you know,
(20:36):
he's trying to reclaim a title and a and a
man bun that was got you know, she got his hair.
That was a big loss of stature. So it was
definitely a fun It was a relationship that surprised us.
And you know, you make assumptions about people, uh, you know,
based on share childhood, Jason, just do you think they are?
And then she she begrudgingly starts to respect him. The
(20:58):
part that always got me is that when he was
being tortured for information about Mesu, he doesn't give it up.
Speaker 4 (21:03):
Yeah, because it's like.
Speaker 5 (21:04):
It would have been you know, it would have been nicer.
But like there's a there's an innate sense of honor.
Speaker 1 (21:10):
This is clearly such a deeply researched piece of work.
What was that process like And how do you not
get lost in the rear It.
Speaker 7 (21:19):
Is very easy to get lost in the research.
Speaker 5 (21:21):
It's it was fun research. I have a few I
don't have a rule about it. You just as a writer,
you have to at some point say I am done
researching now, or I will never And I talked to you,
you know, young writers all the time who are like,
you know, and I'm still reading this and this. I'm like,
you're done, put the book down, do your work, because
someone's already written the book that you're reading, Like.
Speaker 4 (21:41):
You know, I don't know. It was it was a
lot of fun. We got to read books.
Speaker 5 (21:46):
We always want, you know, watch during COVID, we watched
all the movies, you know, we read all the comics,
but some academic texts were really essential. Working with researchers
and of course our art team uh Are production signer
Toby Wilson. These are all people who love getting it
right and making it beautiful, so they would just you know,
(22:06):
we would put things in there and they would come
back and go like, oh, if it isn't this type
of candle, could we use this type of brazier that
we found? And we're like, we always joke about how
much our our team overperforms. We'd say, give us a
simple zakaya and they're like, right, simple, And then suddenly
it would be like the most beautiful thing, like you know, okay,
we're gonna put a little decoration on the wall, and
it wouldn't suddenly be these like yeah, it would.
Speaker 6 (22:29):
Call it a lantern and they're like, here are seventeen
types of lanterns.
Speaker 7 (22:32):
That they had.
Speaker 5 (22:36):
So you know, there was a lot of intensity and
enthusiasm from our team for like they finally got to
do the kind of stuff. I mean, all of them
have worked on incredible things, but there was the specific,
specific hyper focuses and sub passions all came to bear.
Speaker 1 (22:53):
How long did it take to nail down the character designs?
That must have been such a fun process.
Speaker 6 (22:59):
Oh goodness, I don't remember.
Speaker 5 (23:03):
No, no, I mean you remember timeline. It was very
much a part of figuring out how to animate the show.
So we started with, you know, just design of what
they would look like, and we had a wonderful uh
character designer at the time was really thinking about it
in three D terms, and then we realized, we.
Speaker 4 (23:20):
Need to look at this in two D terms. And
even though we're going to be doing a three D
two D process.
Speaker 6 (23:24):
There's some very cool, uh, you know, three D images
of early, early, early design.
Speaker 5 (23:31):
But when working with our supervising director Jane Wu and
her character lead Brian Kessinger, it was it was like
taking those and then finding the animatable essence of them
until you like find, you know, and we really have
these very detailed conversations about how feminine should Mezo look
(23:52):
when we first meet her, you know, because how much
are we trying to hide the ball? Will the trailer
give it away anyway? So why are we you know,
how arc the circles under her eyes, like how pink
the edge of her nose because we know she's been
out in the cold wardrobe? How it came into play
and always our team very conscious of how it'll be
animated over time so that it's they to the integrity
(24:14):
of its day. But we have a lot of characters
and all the love went into all of them. We're
now designing characters for season two a lot of new
a lot of new people to meet. It's a really
fun part of the process. But it helps when you're
working with such a strong team.
Speaker 1 (24:28):
Yeah, the art style is magnificent. It's so immersive and
so fluid, you know, the the from the action scenes
to the cooking scenes, everything moves in this really like liquid,
wonderfully inspiring style. You know, what was how do you
(24:51):
design stuff like that? Like the action scenes I'm thinking
in particular, are so stylized and graphic and edible. How
long does it take to kind of pin down that?
Speaker 5 (25:04):
I mean we've talked about it the action and other interviews.
Speaker 4 (25:07):
We haven't talked as much about like the food stuff.
Speaker 1 (25:09):
The food stuff is so good.
Speaker 5 (25:12):
Starving for so but no, I mean we wrote it
into the drafts that there were slow mo close ups
of Soba making process, like in the opening episode, and
you know, something that had to be cultivated and we
all worked at but took getting right and it is
one of those things that shakes out very easily, similarly
like language shots of walking through nature. I mean, you
(25:35):
know there's a shot that we scripted that was animated
beautifully about like the frozen leaves. You know, just slowly
swishing and sounding like wind chimes when the ice tinkles in,
and you know, you just you have to make sure
you save the resources to get that because it's very
easy to want to cut it because it's not story,
but it's feeling right, So you know, it comes from
(25:57):
having it in script, having a team that gets that
stuff and values it too, and then just making making
space for Michael and I went.
Speaker 6 (26:06):
And took a soba making class in Japan, so we
really had that feeling. Our biggest regret was that we
couldn't take our whole team to Japan for a research trip.
Speaker 5 (26:19):
But maybe one day, maybe COVID, but yeah, you know,
just just we wanted the pace of the show to
allow moments of breath, moments of just experiential feeling. And
that also came down to, like, you know, the way
it's colored, the way the effects come in, little dust
(26:39):
motes or little bits of flower floating through the air.
And then sound, our sound team led by you know,
they're up for an Emmy for a reason, Like they
really created the soundscape where it was experiential and hopefully transportive.
Speaker 1 (26:56):
The show comes out and becomes a word of mouth hit,
a critical hit, obviously multiple Immy nominations. What's what's that been? Like?
Speaker 7 (27:06):
I mean, very very exciting.
Speaker 6 (27:08):
I mean it's I feel like we didn't know we
were exactly a hit. Like it's kind of a it's
not like you get the big numbers like I think,
like you used to get these, you know, it's.
Speaker 5 (27:23):
Not like you know Wednesday where it's like one trillion
people for more.
Speaker 6 (27:28):
So I think we would just slowly start to hear
from people and like, oh you watch that, and I
think people are still discovering it, which was just exciting.
Speaker 5 (27:38):
But it's you know, so many people trusted us in
making the show and gave their talent and time.
Speaker 4 (27:44):
For so long. It's so great to just be able
to say, like it was you know that it was
worth it.
Speaker 5 (27:50):
You know that Netflix trusted us with with resources, with
making an original. Uh you know, hopefully it means that
they'll now keep betting on originals. So for us, there
was a lot of relief of like, after a lot
of trust.
Speaker 4 (28:03):
To be able to go, okay, you aren't.
Speaker 5 (28:05):
That's good, Thank goodness, because you know, on paper the
idea is nuts.
Speaker 1 (28:09):
Agreed. I think from a from a certain from a
certain executive position. Certainly it feels nuts. I will say,
you know, as a person who watches too much TV
and too many movies, no such thing, no such something
something like this that comes, you know, I'd read a
couple of trade pieces about it, but that comes it
(28:31):
basically out of nowhere and is so good that you
can't believe it is. It's really a joy. So congratulations
to both you and really what is a magnificent season
of television. We eagerly await season two. Amber Noiszumi and
Michael Green. Thank you so much for joining us. Thank you.
Speaker 4 (28:51):
I really appreciate talking to you.
Speaker 1 (28:52):
On the next episode of X ray Vision, we're diving
into reactions to an alien Romulus, including a very special
interview with a wo who plays Novarro. That's it for
this episode. Thanks for listening. X ray Vision is hosted
by Jason kenspcion and Rosie Knight and is a production
(29:14):
of iHeart Podcasts. Our executive producers are Joelle Smith and
Aaron Kaufman. Our supervising producer is a Boo Zafar. Our
producers are Carmen Laurent and Mia Taylor. Our theme song
is by Brian Basquez.
Speaker 3 (29:30):
Special thanks to Soul Rubin and Chris Lord, Kenny Goodman
and Heidi A disco moderata
Warning, Today's episode contains kind of contains spoilers for Blue
Eyed Samurai. Hello, my name is Jason Exceptio and I'm
(00:25):
Rosy Night, and welcome back to x Ray Vision of
podcast where we dive deep to your favorite shows, movies,
comics and pop culture. Coming to you from my Heart podcast,
where we're bringing you two episodes week every Tuesday and Thursday.
Speaker 2 (00:38):
In today's episode.
Speaker 3 (00:40):
In the previously on, we're talking about that stunningly impressive
Alien Romulus box office in space. Everyone can hear you
make money apparently because it's making money. We're talking Archie
comics and a new superhero take that they're bringing out,
and the controversy and slowly unfolded revelations around X Men
(01:02):
ninety seven show runner Bodomeo. And in a wonderful interview,
Jason will be chatting to the Blue Eye Samurai create
as Amba Nazumi and Michael Green Up next.
Speaker 1 (01:14):
Previously on, First Up on News. Alien Romulus box office
numbers are in Oh baby, folks, it is a hit.
Forty one and a half million domestically, sixty six point
seven million internationally, a total of one hundred and eight
(01:35):
million plus globally. Wows Part of the secret sauce, of course,
is does the movie open in China. It opened in
China twenty five point seven million in China, and folks,
big hit Alien Romulus.
Speaker 2 (01:48):
This is just unbelievable.
Speaker 3 (01:51):
Smash it full overseas debut on twentieth Century Studios. Slash
Disney's Alien Romulus is forty seven percent ahead of A
Quiet Place Day one Hello, which I feel like everyone
was like, this is.
Speaker 2 (02:02):
A good hit.
Speaker 3 (02:03):
Also seventeen percent above the controversial but now kind of
in hindsight, loved Prometheus in like for like markets, So
I'm just saying movie is great. Enjoyed the movie, love
to see the good box office numbers. I also have
to say, sure, it is also a Disney movie, so
you know, but Disney kind of went low on the
marketing with this one. I think there was not a
(02:24):
lot of promo in the same way there was for
like Deadpool, So I think it's kind of crazy that
this overtook Deadpool in just like a couple of weeks.
Speaker 2 (02:33):
Yes, you know, but I like to see it. It's
like we said, you can always bet on horror.
Speaker 1 (02:38):
Yes you can.
Speaker 3 (02:38):
That's what we're finding at the box office, and we're
gonna be talking about a lot more horror as we get
into spooky season.
Speaker 1 (02:42):
Next up, Archie Comics, the home to the Archie line
of comics, but also back in the day, way way
way back, a line of superhero comics and a variety
of other comic book stories, is getting back into the
superheroes with Rarioru miniseries. That quote blends a metaitextual examination
(03:04):
of Archie comics history with superheroes and the Golden Age
of comics with a new story of Archie himself coming
into Powers Unknown and becoming the world's mightiest hero. First
release is November twentieth.
Speaker 2 (03:15):
Rosie series is called Archie Is Mister Justice. I feel
like the titles a little bit longer.
Speaker 3 (03:20):
Yes, I think Mister Justice could have been cool, but
I'm sure that might be part of the metatextual nature
of it. And what I do like about this is
all the conversation around it is essentially Archie is like
a good guy. And Mike Norton, who's going to be
the artist on the first issue, he basically said that
is really what this is about, Like, what is it
like to be an incorruptible soul in like a corrupt world, Like,
(03:42):
what will we see Archie get into.
Speaker 2 (03:44):
I'm interested. I'm a lover of the.
Speaker 3 (03:46):
Weird Riverdale esque, you know, the horror Archie style stuff,
so this is very interesting to me.
Speaker 2 (03:53):
They've definitely been trying a lot of stuff out.
Speaker 3 (03:55):
There was recently an Archie one shot that was like
a take on basically Fist of the North Stop but
with Archie, and Yeah, they've been really getting out that
with some of these things. They did a horror anthology
called Pop's Chocolate Shop. So I think this is gonna
be interesting and definitely could be kind of like what
we saw pre Rivedell where that was kind of a
Boom and Archie comics. So we'll have to check it out.
Speaker 1 (04:18):
And finally, former X Men ninety seven showrunner bo DeMeo
has surfaced. Last week, he posted that he had lost
his season two credits, which he had worked on season two,
because of a gay Pride post. It kind of like
very very team illustration of himself that he posted to
(04:43):
social media, and he said that that's the reason that
Disney took his season two credit, but in that post,
he did not grapple with why he was let go
in the first place. Disney then fired back, saying no,
it's actually because of a litany of serious allegations, including
unwanted nudes sent to staffers, including other unwant sexual harassment. Yeah,
(05:09):
other unwanted advances, and you hate to see it, and
I hate to see it. Certainly appears, Rosie. We've been
talking about this quite a bit on chat. The alleations
are serious and bad. It was also it also seems
as if Disney was going to let this go away quietly.
Speaker 2 (05:32):
If he didn't, if he didn't.
Speaker 1 (05:34):
Tweet about it and hear he is posting about it,
causing Disney to fire back. Just a sad situational.
Speaker 2 (05:42):
Definitely a sad situation.
Speaker 3 (05:44):
I'm feeling for the people who were impacted by this
worked on the show. I also feel for the cost
and crew because I feel like because of the nature
of whatever agreement Disney made with BO, it kind of
stayed on the radar, so he's been doing a lot
of events with them.
Speaker 2 (06:02):
It kind of looked like they were backing him.
Speaker 3 (06:05):
Like Disney did make some weird choices here, like Barad
Winderborm came out and said what good work BO had
done to make it look like it wasn't there wasn't
kind of any issues between the two of them after
he left. But yeah, it's it's not ideal. You hate
to see it, and it makes sense now why they
(06:28):
bought in new writers for season two to kind of
adapt it and to see what happens. So I hope
that everyone who's still working on the show is fine,
and I'm sure this will not be the last we
hear of this, because bo also has a very aggressive
lawyer who put out a statement after the Disney statement
that was it sounds on him.
Speaker 1 (06:50):
I'm not a legal person, but it felt a lot.
Speaker 3 (06:53):
It doesn't feel Yeah, it doesn't feel like a statement
a lawyer would make.
Speaker 2 (06:57):
So I'm sure this is not the last we've heard
of this.
Speaker 1 (06:59):
That's right. Well, coming up next, we're stepping out of
their lock and talking to Blue Eyed Samurai creators Amber
Noi Zuomi and Michael Green. We're so delighted to welcome
(07:25):
Amber Noi Zuomi and Michael Green, the co creators of
Blue Eyed Samurai on Netflix. Welcome to the show, and
thank you so much for joining.
Speaker 4 (07:33):
Us, Thank you for having me, Thank you.
Speaker 1 (07:36):
Let's start with the latest news first. So season two
expected not until twenty twenty six. I am of the
opinion that good things are worth waiting for, and that
excellent things, which truly, truly, truly Bloyd Samurai is so good,
so excellent, excellent things are really worth waiting for. Explain
(07:56):
to our audience, who I'm sure are ravenous for the
new season. Why making something as good as this takes time?
Speaker 5 (08:04):
Sort of like ordering the souflet. It says on the menu, Yeah,
to take forty minutes, So if you want it, order
it early. Yeah. But right now we're on schedule. Because
there was some some uh, there was different information going up.
We can confirm November twenty twenty six is when we
are on the Netflix schedule.
Speaker 6 (08:23):
We're we are on track to deliver it then. And
I mean, look, we could you know, we could do
really rinkaging animation and get it phone these scripts in
get it, get it yeah, in six months.
Speaker 7 (08:38):
But you know, these things take time.
Speaker 6 (08:39):
We have our artists who diligently, you know, research everything
to make it, you know, really come to life. And
you know, we're we're trying our best to write scripts
that are worthy of our audience.
Speaker 5 (08:54):
And you know, but you know, the whole show, it
really just goes back to how we made it in
the first place. That teak nature to this show. We
you know, our animation studio is Blue Spirit. They're wonderful,
they are talented, and it's outside the sort of run
and gun smash it out as quickly as you can.
And there are plenty of shows that are amazing. I'm
not denigrating to anyone's pipeline, but we chose something that
(09:19):
just takes a bit more time. So first season was
definitely a fluffy sou flet. And right now we are
beating the egg whites and a little pinch of tartar,
cream of tartar, and uh maybe truffles, little truffles, truffle
season truffle pig. We literally just confirmed with our team
(09:40):
that we're going to have a pig in an episode forward.
Speaker 6 (09:42):
To the.
Speaker 1 (09:44):
You've spoken about in previous interviews. The genesis of the
idea of this, this kind of long gest stating project
that has become Blue Eid. Samurai is wondering if you
could expound on that for our audience. This is inspired
by your multi racial daughter, and then how do you
get from there to the show that we've all watched.
Speaker 7 (10:05):
That's that's a good question.
Speaker 6 (10:08):
I mean, yeah, I mean it started out as actually
the icky feelings that I had about my views of
my daughter who looked more white than Asian, and being like, ooh,
she's got blue ass, it's so pretty. She's got you know,
blondish hair, and being excited and why am I excited
(10:30):
about that? And those conflicting feelings I think so many
mixed race people have, like wanting to appear more like
one culture than the other, or and then the feelings
of shame about maybe wanting to reject one side and
(10:51):
just and sometimes it goes back and forth your whole life.
Speaker 7 (10:53):
Where you want to be more of this or more that.
Speaker 6 (10:55):
And yeah, I mean, look, we turned that into a
care character who really just loathes this part of her,
and you know, we're hoping to, you know, really complicate
those emotions where I don't want to give anything away.
But maybe she you know, starts to embrace parts of
her that she wouldn't have before and embraces new people
(11:18):
in her life when she's able to accept some things
about herself, which I think is a journey for all
of us.
Speaker 1 (11:24):
Yeah, I think I was workshopping this feeling I had
about the show with the production team. I think one
of the things I really it hits me so hard
about the show is that that's to your point, you know,
as an Asian in media and entertainment, I think one
of the things that can feel wearying is like the
(11:45):
whole conversation around diversity. It feels like sometimes like you're
shoving like medicine down people's throats. And this show is
it's so authentic to its characters and their journey and
everything else is there, all the themes, the very real
(12:06):
experiences of being a multi racial slash agent character that
feels out of place. It's all right there if you
want to engage with it. But it's also just like
a ripping story that's wonderfully told and looks so good.
Speaker 7 (12:22):
How do you.
Speaker 1 (12:22):
Balance How did you balance all of that stuff, that
the themes, the things you want to say, and also
just create a great engaging story that I feel like
anybody could watch and feel like, wow, that was awesome.
Speaker 6 (12:38):
I mean, I think with our story, it just you know,
it was just something that had been as you called it,
gest dating for so long that we weren't trying to
check any boxes or fulfill an assignment, and you know,
that's no, that's no shade to any other show out there,
(12:59):
who of course pasts somebody diverse. Diversity is wonderful all
the way around. But this, this just is a story
about a mixed race person.
Speaker 7 (13:12):
We're not shoehorning in any themes.
Speaker 6 (13:14):
And it takes place in Japan, so all of the
culture is innate to the story.
Speaker 5 (13:21):
So all story flowed from a character in a predicament.
Speaker 4 (13:26):
It's an intention.
Speaker 5 (13:28):
So that was just you know, someone wants revenge of
a certain type in a certain place, and she looks
like this, So everything just flowed from there. And I
won't say the storytelling was easy, but it was natural.
We always knew if something wasn't right very quickly, so
I don't think we went down many wrong roads. It
(13:50):
was always about how to get things right and then
just conversation. We kept layering it, you know, like we
had it tenth draft. Wasn't good enough for us by
the time we shared it with anyone else. It was,
you know, just the stories we felt we had to tell.
Speaker 6 (14:05):
Yeah, I mean, and I think we just we need
more stories out there where the main character is a
person of color, and sometimes people try to put in
a character just to check the box and it feels
forced or it can feel forced sometimes, so you know,
just more stories about different kinds of people.
Speaker 1 (14:29):
Let's talk about the cast, because I think one of
the cast is so stacked and amazing, and I think
one of the indications that y'all did get it right
with your script was, you know, I've read various interviews
from the cast where they're asking, oh, yeah, what was
the casting process like, and you're like, well, we sent
it out and people just said yes immediately, so what
was You don't.
Speaker 5 (14:49):
Always get that lucky, but I was remembering that, like
George d Kay was our first yes.
Speaker 4 (14:53):
I think we're like really like.
Speaker 5 (14:57):
Okay, like okay, that was you know, we thought that
would be a one like that, and people were you know,
they they read it and they liked it.
Speaker 4 (15:05):
It was COVID, so there's some people.
Speaker 5 (15:08):
You know, people had time to read it if if
they weren't going crazy in their own homes. It was
a remote show that people could work on.
Speaker 6 (15:15):
But I mean at the time, there hadn't been many
adult animated shows like this, and we we were worried
people be like, what they want us to do?
Speaker 7 (15:26):
A cartoon? Like I'm not doing a cartoon.
Speaker 6 (15:30):
But I think I think the pandemic allowed people to
just be like, all right, I'll try anything.
Speaker 7 (15:35):
I just want to work.
Speaker 5 (15:36):
And it was it was so much because like you know,
they they kind of did it on spec I mean
obviously they were they were higher, but like creatively, we
would be telling them what it would be, but we
had nothing to point to. And then you know, maybe
a few months down the line after they'd recorded, we're like, hey,
here's a picture of your character, and they're like, oh,
it's going to look like this, and then we'd show that.
Speaker 4 (15:53):
You know, they'd come back for the rare bit of adr.
Speaker 5 (15:56):
And you know, they would see like scenes and they'd
be like what you know, and it was really touching,
like the reactions we got. I mean, speaking of George
k one of the nicest things anyone said early on
when he was doing some medir he saw it and
he said, you need to get this out sooner. People need,
you know, we need this kind of thing out there.
And we said, George, we are drawing it as fast
as we fucking can.
Speaker 4 (16:18):
We are the.
Speaker 5 (16:19):
Animators in Montreal and in France are you know, blistering
their fingers?
Speaker 1 (16:24):
I think there can be for people who aren't steeped
in animation, there can be kind of like a preconceived
notion about what animation is. It's for kids. Did you
need to overcome that at all?
Speaker 7 (16:36):
I think we're still trying to overcome that. I think
people do.
Speaker 6 (16:40):
I think the audio, I mean the audience, I mean
the audience has a definitely has a preconceived idea of
you know, adult animation is comedy, right like The Symptoms
and Big Mouth Family Guy, which are great shows. But
or there's anime, and anime is for a specific type
of person. So we wanted we wanted to show somebody,
(17:03):
you know, show people that, I mean, animation is just storytelling,
and you know there's.
Speaker 5 (17:09):
Some of it out there, like Undone on Amazon, wonderful
show half an Hour took a lot of people by surprise, like, wow,
this is a grown up show happens to be animated
because it fell so neatly and with its themes. And
then you have a show like Invincible, which is super
fun but definitely feels more like what people expect from
adult animation, saying with Harlee and Ivy and now Kiteman all.
Speaker 4 (17:28):
Great shows we enjoy.
Speaker 5 (17:29):
Yeah, you know when we kept saying, but like our
emotions are grounded, our storytelling is grounded, and you know,
it was a lot of like people kind of getting
it intellectually or kind of going okay, But performance wise,
when when we were working with the actors, it was
a very it's very I mean, records were fun and easy,
(17:49):
like we would just talk about it. They would read
the scenes and they're like, okay, so we're playing the
straight yep, and everyone kind of keyed in really quickly
and well, so that way, when we went to our
storyboard process, they were boarding off of those performances. So
you know, internally everyone got it. Netflix got it. They
We never had to do anything any backflips to explain
(18:12):
to them what we were after. It's more that since
the show was you know, since a trailer went to
the world, people were kind of like even my friends
I'd been telling the show about for years saw the trailer.
First time, I went, oh, that's what you meant. We
thought you were nuts because for two and a half
three years we've been saying, you know, Amber and I
are doing this thing, and they're like, oh no, they would.
Speaker 4 (18:34):
Like one of my best friends said, this is really
good like.
Speaker 5 (18:37):
You you really like, yeah, you know, you're finally doing
cartoons like you always want to, and you know, and
it's great that a lot of audience members were surprisedly,
I didn't know animation could do this, But it's more
fun when people are like, finally more animation like we.
Speaker 4 (18:54):
Were hoping for.
Speaker 1 (19:11):
The show has so many unexpected turns, and I think
one of my favorite ones is the relationship between that
Meets You and Tigan, which starts out as antagonistic and
then develops into something that I think I've never really
seen before, which is, you know, there's still foils who
(19:31):
are working together. What was it like developing that storyline.
It's so fun because it's respected again.
Speaker 5 (19:37):
They grudgingly start to respect each you know, game game
the Yeah.
Speaker 6 (19:41):
I mean I think we're still we're still definitely exploring it.
Speaker 7 (19:44):
But yeah.
Speaker 6 (19:45):
That was always our intention, was that Mitsu only understood
one thing, and that was revenge and sword play. And
so even as much as she hated Tigan's guts, he
gets that, like they have they have this shared hyper
focus of you know, swordsmanships, and so he's he's the
(20:06):
closest she has to somebody who gets her.
Speaker 1 (20:09):
I mean when he draws up a contract. Yes, and
it was it was wonderful.
Speaker 5 (20:16):
Yeah, he's he's trying to make it formal because at
the time you could have formal like okay, we're going
to do all right, And they put him up as
a placard in the center of town like this was
a public, formalized thing you could do, and mesas like,
you know, fuck that. If you want to, if you
want to kill someone, you just take a knife and
you kill him. Why why being so fancy? And he's
because he wants to get his honor back. He's you know,
(20:36):
he's trying to reclaim a title and a and a
man bun that was got you know, she got his hair.
That was a big loss of stature. So it was
definitely a fun It was a relationship that surprised us.
And you know, you make assumptions about people, uh, you know,
based on share childhood, Jason, just do you think they are?
And then she she begrudgingly starts to respect him. The
(20:58):
part that always got me is that when he was
being tortured for information about Mesu, he doesn't give it up.
Speaker 4 (21:03):
Yeah, because it's like.
Speaker 5 (21:04):
It would have been you know, it would have been nicer.
But like there's a there's an innate sense of honor.
Speaker 1 (21:10):
This is clearly such a deeply researched piece of work.
What was that process like And how do you not
get lost in the rear It.
Speaker 7 (21:19):
Is very easy to get lost in the research.
Speaker 5 (21:21):
It's it was fun research. I have a few I
don't have a rule about it. You just as a writer,
you have to at some point say I am done
researching now, or I will never And I talked to you,
you know, young writers all the time who are like,
you know, and I'm still reading this and this. I'm like,
you're done, put the book down, do your work, because
someone's already written the book that you're reading, Like.
Speaker 4 (21:41):
You know, I don't know. It was it was a
lot of fun. We got to read books.
Speaker 5 (21:46):
We always want, you know, watch during COVID, we watched
all the movies, you know, we read all the comics,
but some academic texts were really essential. Working with researchers
and of course our art team uh Are production signer
Toby Wilson. These are all people who love getting it
right and making it beautiful, so they would just you know,
(22:06):
we would put things in there and they would come
back and go like, oh, if it isn't this type
of candle, could we use this type of brazier that
we found? And we're like, we always joke about how
much our our team overperforms. We'd say, give us a
simple zakaya and they're like, right, simple, And then suddenly
it would be like the most beautiful thing, like you know, okay,
we're gonna put a little decoration on the wall, and
it wouldn't suddenly be these like yeah, it would.
Speaker 6 (22:29):
Call it a lantern and they're like, here are seventeen
types of lanterns.
Speaker 7 (22:32):
That they had.
Speaker 5 (22:36):
So you know, there was a lot of intensity and
enthusiasm from our team for like they finally got to
do the kind of stuff. I mean, all of them
have worked on incredible things, but there was the specific,
specific hyper focuses and sub passions all came to bear.
Speaker 1 (22:53):
How long did it take to nail down the character designs?
That must have been such a fun process.
Speaker 6 (22:59):
Oh goodness, I don't remember.
Speaker 5 (23:03):
No, no, I mean you remember timeline. It was very
much a part of figuring out how to animate the show.
So we started with, you know, just design of what
they would look like, and we had a wonderful uh
character designer at the time was really thinking about it
in three D terms, and then we realized, we.
Speaker 4 (23:20):
Need to look at this in two D terms. And
even though we're going to be doing a three D
two D process.
Speaker 6 (23:24):
There's some very cool, uh, you know, three D images
of early, early, early design.
Speaker 5 (23:31):
But when working with our supervising director Jane Wu and
her character lead Brian Kessinger, it was it was like
taking those and then finding the animatable essence of them
until you like find, you know, and we really have
these very detailed conversations about how feminine should Mezo look
(23:52):
when we first meet her, you know, because how much
are we trying to hide the ball? Will the trailer
give it away anyway? So why are we you know,
how arc the circles under her eyes, like how pink
the edge of her nose because we know she's been
out in the cold wardrobe? How it came into play
and always our team very conscious of how it'll be
animated over time so that it's they to the integrity
(24:14):
of its day. But we have a lot of characters
and all the love went into all of them. We're
now designing characters for season two a lot of new
a lot of new people to meet. It's a really
fun part of the process. But it helps when you're
working with such a strong team.
Speaker 1 (24:28):
Yeah, the art style is magnificent. It's so immersive and
so fluid, you know, the the from the action scenes
to the cooking scenes, everything moves in this really like liquid,
wonderfully inspiring style. You know, what was how do you
(24:51):
design stuff like that? Like the action scenes I'm thinking
in particular, are so stylized and graphic and edible. How
long does it take to kind of pin down that?
Speaker 5 (25:04):
I mean we've talked about it the action and other interviews.
Speaker 4 (25:07):
We haven't talked as much about like the food stuff.
Speaker 1 (25:09):
The food stuff is so good.
Speaker 5 (25:12):
Starving for so but no, I mean we wrote it
into the drafts that there were slow mo close ups
of Soba making process, like in the opening episode, and
you know, something that had to be cultivated and we
all worked at but took getting right and it is
one of those things that shakes out very easily, similarly
like language shots of walking through nature. I mean, you
(25:35):
know there's a shot that we scripted that was animated
beautifully about like the frozen leaves. You know, just slowly
swishing and sounding like wind chimes when the ice tinkles in,
and you know, you just you have to make sure
you save the resources to get that because it's very
easy to want to cut it because it's not story,
but it's feeling right, So you know, it comes from
(25:57):
having it in script, having a team that gets that
stuff and values it too, and then just making making
space for Michael and I went.
Speaker 6 (26:06):
And took a soba making class in Japan, so we
really had that feeling. Our biggest regret was that we
couldn't take our whole team to Japan for a research trip.
Speaker 5 (26:19):
But maybe one day, maybe COVID, but yeah, you know,
just just we wanted the pace of the show to
allow moments of breath, moments of just experiential feeling. And
that also came down to, like, you know, the way
it's colored, the way the effects come in, little dust
(26:39):
motes or little bits of flower floating through the air.
And then sound, our sound team led by you know,
they're up for an Emmy for a reason, Like they
really created the soundscape where it was experiential and hopefully transportive.
Speaker 1 (26:56):
The show comes out and becomes a word of mouth hit,
a critical hit, obviously multiple Immy nominations. What's what's that been? Like?
Speaker 7 (27:06):
I mean, very very exciting.
Speaker 6 (27:08):
I mean it's I feel like we didn't know we
were exactly a hit. Like it's kind of a it's
not like you get the big numbers like I think,
like you used to get these, you know, it's.
Speaker 5 (27:23):
Not like you know Wednesday where it's like one trillion
people for more.
Speaker 6 (27:28):
So I think we would just slowly start to hear
from people and like, oh you watch that, and I
think people are still discovering it, which was just exciting.
Speaker 5 (27:38):
But it's you know, so many people trusted us in
making the show and gave their talent and time.
Speaker 4 (27:44):
For so long. It's so great to just be able
to say, like it was you know that it was
worth it.
Speaker 5 (27:50):
You know that Netflix trusted us with with resources, with
making an original. Uh you know, hopefully it means that
they'll now keep betting on originals. So for us, there
was a lot of relief of like, after a lot
of trust.
Speaker 4 (28:03):
To be able to go, okay, you aren't.
Speaker 5 (28:05):
That's good, Thank goodness, because you know, on paper the
idea is nuts.
Speaker 1 (28:09):
Agreed. I think from a from a certain from a
certain executive position. Certainly it feels nuts. I will say,
you know, as a person who watches too much TV
and too many movies, no such thing, no such something
something like this that comes, you know, I'd read a
couple of trade pieces about it, but that comes it
(28:31):
basically out of nowhere and is so good that you
can't believe it is. It's really a joy. So congratulations
to both you and really what is a magnificent season
of television. We eagerly await season two. Amber Noiszumi and
Michael Green. Thank you so much for joining us. Thank you.
Speaker 4 (28:51):
I really appreciate talking to you.
Speaker 1 (28:52):
On the next episode of X ray Vision, we're diving
into reactions to an alien Romulus, including a very special
interview with a wo who plays Novarro. That's it for
this episode. Thanks for listening. X ray Vision is hosted
by Jason kenspcion and Rosie Knight and is a production
(29:14):
of iHeart Podcasts. Our executive producers are Joelle Smith and
Aaron Kaufman. Our supervising producer is a Boo Zafar. Our
producers are Carmen Laurent and Mia Taylor. Our theme song
is by Brian Basquez.
Speaker 3 (29:30):
Special thanks to Soul Rubin and Chris Lord, Kenny Goodman
and Heidi A disco moderata
Hosts And Creators
Jason Concepcion
Rosie Knight
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