Oh, okay.

So what we ended up ...

The compromise ended up being a park at night.

It was actually Queen Elizabeth with a path.

It had a real path kinda looking like it's coming down, like she came down into this spot, um, with trees that we then all we had to do was do blue screen for back toward the bridge and a couple coverage things, and that was it.

So we're in the elements, it's a night exterior, and it's just supplementing blue where we had to.

And it was lit in such a way that I didn't have to really like light the blue screen a crazy amount like you would on a stage with like a ton of units.

Tell, tell me about that.

know,

approve and figure out but of course you know that is the case with any movie like it becomes what it becomes you lose locations you have to pivot you have to you know make compromises and kind of figure out get really creative and like problem solve so we were no stranger to that to that aspect so yeah it was a couple months of prep We shot mostly in Vancouver, but the story took place in Austin and San Francisco.

Um, we shot a few days in San Francisco.

So early on in Vancouver, we went down to San Francisco to scout and allow SF to, uh, kind of educate us in terms of, you know, where scenes would take place and what we wanted things to look like, what we could shoot in San Francisco or what we had to do in San Francisco versus what we could get away with in Vancouver.

Location wise, like what were the landmarks we wanted to see? There was this, there was a huge bus tour bus scene in the movie.

So that obviously had to be San Francisco and all the landmarks that they pass and the dates they go on, like that stuff we knew we were going to do in SF.

Yeah.

But could you talk about how you plan, like, how do you, you know, deal with Different characters, different locations, trying to include so much information without feeling like you're just dumping a bunch of knowledge and stuff on people where they feel like they're connected to it.

[laughs]

I had a top, I tr- I had so much fun on this set, but there is a scene I had so much fun.

It's so hard to pinpoint one moment, but there is a scene where there is a stage performance and we had hundreds of extras and we took over Queen Elizabeth Park.

We had one camera on a 50-foot crane.

The other one was like steady cam floating around, and we had live music.

It was just like...

And that was a huge set piece in the movie.

So again, zooming out even more, what is your day-to-day like when you're not in production or prep for a project?

And of course, that just logistically was not possible with the money that we had, but sort of how you landed on what you landed on.

Yeah.

We talked about like height because another, another way to make it look not as lit is to be in control of the ambient levels.

So I knew I needed to put something in the ceiling because I couldn't, if you're going to pump everything through windows, then it's going to look lit because the amount of power you need to bring up that room.

Now you're going to not have a balance of what's coming through the window and what's inside the hut.

So we knew, I knew I needed to do some sort of really soft ambience that we could dim up and down depending on the scene.

And that way in the night interiors, you could, you know, see the walls and stuff.

Yeah.