... are there, are there design rules that you have? I mean, I know that you have, like, s- spatial and height limitations, but-

Well, there, there are some.

It's, like, three-quarter scale when it's just Muppets, right? And then seven-eighth scale when there's Muppets and people.

But, uh, but, you know, you can't...

E- even if you try to abide by that, every performer's a different height, every puppet is different sizes, and you really have to get the, you know, the people in there, the performers and stuff, and really have to talk about what their needs are, you know?

Yeah.

So I have, like, a, the most amazing greens person who I use on Pluribus, who is, like, he, uh, I mean, ooh, ooh, he's, he's a genius, and he works so hard, and he really has a good eye.

So we brought him in, and he kinda worked through everything and, you know, greened everything out, the moss, did the right kinda moss and everything.

What were you and Vince Gilligan aiming for in the design of that?

Well, he, he was very specific from the beginning.

Um, first he knew that we probably would have to build this, that we wouldn't be able to find a, you know, an, the perfect neighborhood and the location that would allow us to shoot there for hopefully multiple seasons.

[laughs] And, um, so he, uh, in the script, it, there were some requirements, and one of them was, like, uh, that Carol had a view of the New Mexico lights, you know, the city lights.

So when things go down and things go out, there's a darkness out there.

Um, also that she had views outside her, uh, front door and front windows where she could see every person's front door and every person's garage door.

So when, when the event happens, she can see everybody leaving.

So how did you kind of tackle her, and, uh, did you get any, you know, any kind of, uh, feedback from Rhea at all during this process?

Just be quiet.

So, you know, we had, like I said, we had to get the EPA involved and you know, structural engineers.

And so we, So there was a lot of that before we actually got the building permits.

And then we started building in July to the end of September.

And then we came back and we didn't finish till we started shooting, like probably the beginning of March because the landscaping, you know, was kind of a big deal too.

You know, it's all a big deal.

The dressing.

He would take Elvis's suite.

You want me to do what now?

Haven't you haven't you tortured me enough with the Air Force One? No, this was this was and it was so different.

And this was such a pleasure because what we did when we saw there was an ice hotel, we immediately started doing all kinds of research.

And these ice hotels are seasonal.

So they have different artists that come in and design these hotels.

So we kind of took that role on.

It's like, well, if we were asked to design an ice hotel, what would we do? And we had some things, you know, the way it read, they had to walk down a hall.

You know.

we could talk we'll never get to everything we have to talk about but we can't not talk about Air Force One let's talk about it so that was the real Air Force One and that was no trickery or building or visual effects involved at all right well

The art department, we started out with a door to Air Force One and then it grew a little bigger so we could have, well, we'll just have the sides of Air Force One and we'll have stairs going up.

And then it eventually ended up where we had a huge side of the plane, practical, built around the door, but you could go into the Air Force One.

We had to lay slab and we built this huge structure.

So we could take the stairs up to Air Force One and the cast could walk all the way up into this set that we built.

And then we built the whole interior of Air Force One on stage.

So it was a big deal.

Mm-hmm.