The Art and Making of Hannibal the TV Series: The Television Series [Mti ed.] 9781783295753, 1783295759

Citation preview

THE ART AND MAKING OF

THE TELEVISION SERIES

•

JESSE McLEAN

he T

Art &

Making of Hannibal:

The Television

Series celebrates all aspects of this unique

show. A highly stylized look at the reimagining of a legendary character and the new world he inhabits. This volume is an exclusive behind­ the-scenes

look

at

the

production,

special

effects, food styling and direction of this visually stunning, critically lauded series.

Bryan Fuller leads the way into the FBI environs, through the medical lab and out into the woods of Wolf Trap. Hannibal's office and home are presented in minute detail, including floor plans, design inspirations and 3D renderings, allowing you an envious place on Hannibal's couch or at his dinner table. Featuring exclusive cast and crew interviews, never- before - seen photography and production notes,

The Art

&

Making of Hannibal:

The

Television Series will take you deep into the web

of secrets, lies, and intrigue of the world's most notorious doctor.

THANK YOU Titan Books would like to thank all the members of the cast and crew of Hannibal who gave up their time, supplied materials, and were amazingly generous and excited for this book to take shape. A special thank you must go to Bryan Fuller for creating such a stylized and beautiful show and for contributing his time and enthusiasm to this project. Huge thanks also to the people at NBC Universal, Gaumont and Evolution, who helped make this book happen. Extra thanks go to Kirsti Tichenor at Evolution and Hannibal producer Loretta Ramos whose unwavering dedication and love for the show shines through on every page.

THE ART & MAKING OF HANNIBAL: THE TELEVISION SERIES

ISBN: 9781783295753

Published by Titan Books A division of Titan Publishing Group Ltd.

144 Southwark St. London SEl OUP First edition: April 2015

10 9 8 7 6 5 4 3 2 1

©2015 NBCUniversal Media, LLC. Licensed by Universal Studios

Licensing LLC 2015. All Rights Reserved.

©2013 Chiswick Productions, LLC. All Rights Reserved. ©2014

Chiswick 2 Productions, LLC. All Rights Reserved.

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A CIP catalogue record for this title is available from the British Library.

Printed and bound in the USA.

'" '-

:Gaumont I' t \

�

International Television

THE ART AND MAKING OF

HANNIBAL THE TELEVISION SERI ES

JESSE MCLEAN

TITAN BOOKS

E

N T R E E

TV show," actor Hugh Dancy says. "There's certainly

Entertainment about the kind of show

enough there. But, at the same time, too many people

doing, Fuller said, "Th is is a h orro r show. This is abou t

know that story too w e ll."

a cannibal psychiatrist, and one of pop culture's mo st

a n executive p ro d u c er of the series and head of the

the horror elements of the s tory riske d alienating the

The remix angle was taken to M a rt ha De La ure ntiis,

they were

i conic villains." To do a n yt hin g but give service to

equally le gendaiy De Laurentiis Company, who also

core audience of such a show , be th ey fans of h o rro r

had a stake in the Hann i b al Lecter legac y .

in ge neral or Hannibal i n particular. An earl i er take

" They came ri ght away to s e e me a nd it was i ndeed

on the show would hav e kept Hannibal as a peripheral

and u s ing the mythology of Thomas Harris' writing

was way off base. "You don't use up a chara cter like

what perfectly fi t ... th e period right before Red Dragon

which is what sold me on it," De Laurentiis says.

" Bryan wanted to make s o me t h ing he w o uld want to

see. I know Bryan's taste is impeccable, and he's a very

classy w riter and if i t was something that he would

want to see, I knew that I could trust Bryan to del i ver something intriguing and different."

C erta in ly, Hannibal s t a nds alone in the television

figure, an idea that Martha De La ure nt iis rightly not es

Han ni ba l, who's going to eat up the screen, in the

background." Salke a gree d and vowed to allow Fuller to produce the show he envisioned. " And she k e pt her pr om is e ," says Fuller. That said, there are l im i t s to what can be shown on a network show as d i ctated by the network's Broadcast

land s cap e, notable not o n ly for the h igh calibre of

Standards a n d Practices department. This arm of the

performances and the finely-tuned aesthetic vision

b road caster is responsible for mon i t ori ng the content

but for the s h e er quantity of blood and gore. Jn

conversat ions

with

Jennifer

Salk e

at

NBC

of shows aire d with a part i cu la r eye on violence and s e xuality. One could easil y think that the relationship

E

between

this

department

and

the

team

N T R E E

making

Hanni ha/ might be contentious. Instead, Fuller a nd his team have forged a more

About that attention to the detail and the big picture, M a d s Mikkelsen is unequivocal.

"His universe, his brain, is wo r ki ng on a different

collaborative arrangement. Whenever there is a scene

level than anybody else I've ever met. It does not on ly

that pro mises to test the boundaries (and even the

go with t he creative pro ce ss o f cre at in g the characters,

strongest stomach), Fuller initiates a conversation in a dvance. "I reach out and say, 'This is so mething from the

b ook that we would like to do. It's fairly graphic...can you he l p us navigate so we can show as much as we possibly can"?''"

As it turns out, it is possible, provi ded certain rules

it's down to the smallest detail with the costumes, the

casti n g , how the hair should be on an extra. He's very

visual and for that reason he cannot keep his han ds

away from anything on this production a nd it's quite fantastic." Not only are people happy to work with a visionary like Bryan Fuller, they are also drawn to the creative

are followed.

freedom that work on a show like Hannibal presents.

"The red d e r the blood and the brighter the blood the

Frnnc;ois Dagenais of Mindwarp FX, the prosthetics

less y ou can show," F u ll e r elaborates. "So if you darken

wizard behind many of the most shocking moments

the blood and t h row it into s had ow , then you ran be

much more graphic than you normally would be able to." The elegant, if b lood y , mayhem inspires a great deal

of respect for the man in charge of the show , w hos e

gui ding hand is felt at every level of production.

in the series, fi nd s that the unique challenges paired

with punishing television d e adli nes are premium­ g rad e fuel.

'"Build a horse. Let's put s o mebody in it. Let ' s have

a b.ird flying out!' I l i ke to cre a te."

C h ri s top her Hargatlon, the costume de s igner on the

E N T R E E

show responsible for Hannibal's bespoke p l a i d suit s

"So the next day we'd arrive on set a n d there woul d

a s well as every other char acter's wa rdrobe, says that

be a new set of pages for those scenes that Brya n h a d

he has been wai ting h i s e n t i r e career to w o rk with a

written overnight, t h a t the actors h a d t o a d apt a n d we

person of Fuller's refined a nd d efi nitive t astes.

had t o a d a p t to for visu a l effects."

"The thing tha t's very enjoyable a n d easy about

Or as Produ c t i on De s igner Matthew Davies puts it,

B ryan is t h a t he's n ot wishy-washy," Hargadon s ays.

"Bryan grooms every scri pt, p o li s hes every line of

"He h as immediate r e a c t ions to thi n gs a n d he n ever

d i a logue, a n d I think t h a t is true of the d esi gn."

goes back

He doesn't vaci llate. I have

Davies notes that F u ller is jus t as exact i n g wh e n i t

had tha t goo d fortune previo u s ly, but he is at the

c o m e s t o t he dressi n g o f e a c h set, a ll in service of the

limit of it."

unique gothic hybrid of a show that he described from

Anthony

on

the m .

Patterson

o f Rocket

Science

VFX

(the

e ffects house respon s ible fo r the a rrest i n g CG effe c t s o f t he stag, a n d t he Wendi go), a l s o mentions Fu ller ' s full-th rottle e ighteen-hou r

day

d edi cati o n

to

the

sh ow, much of that t i m e spent refi n i n g script pages.

' the o n set as a very e l egan t h orror film'. As evide n ce,

Davi es p o i n t s to a $45,000 p i e c e requ i red for a rec overy

room in t he show's s e cond se ason.

"He w a n t e d a George Naka s h i m a bench [and] they're

not rea dily ava i l a ble," Davi es says. " Hi s geni u s is t h a t

As showr u n ner, no s cene is blocked without Fuller's

h e will ask for some t hing t h a t might seem beyond the

c o m plete a pproval at t he script sta ge. Th e c a ll she e t s

r e a l m of p o ssi bility b u t it i s o ften those grand ge s t ures

fo r t h e next d ay's shooti n g a r e issued by t h e ass i s tant

that i nform the s p i rit of the show and give it its r ich

d i rectors, who w r i te the initials 'BF' bes i d e scene

aest h et i c of Ha nnibal's rich cu l t ur a l appreciation."

numbers that Fuller has a p p roved. "There would be s e v eral empty ones," Patterson says.

[Below} Bryan Fuller (left) and cinematographer James Hawkinson (right) on set for the first episode of season one.

F u l ler's des i re to t ra nsform the world of Thomas

Harris into a u nique exp e r i ence does no t s top at ju st

E N

the creation of the te l evi s i on series, although he i s

TREE

i s what i s at the root of, at l e a s t my f a s c ination w ith,

quick to p a y tribute t o the power o f t hat theme i n the

p sychology is not just about how it works but how it

exis t i ng n ove ls.

can chan ge."

"I feel that the theme of tr a nsform a tio n is very llarrisian at i ts core," F u ll er says,

"

bec a u se if you look

at all of the vill a i n s i n Thoma s Harri s' work ... these

are a l l men who are on some arc of transformation,

In fact, Fu l ler hope s to a l ter how people see Hannibal Lecter and the universe tha t w hi rl s around him.

"I wou l d l ove for this to b e t he definitive Hann i b a l

Lecter story."

whether it is p hysical tra nsformation, psychological

Given the ico n ic performances alre a dy offered i n

tra n sformati o n or j u s t the f i re of reve n ge burn i n g off

Han n i bal's n ame, this is n o m e e k aspira t ion . And

any last semblance of your humanity so you ca n be a

Ful ler's Hannib a l wouldn't w a n t it any other way.

higher p ower. That is just part of how Thomas Harris

"I would be a little d i sappointed if he wasn't trying

writes his vill ains , so we very much w a nted t o ma k e

to," Mikkelsen say s .

sure that we were te ll ing a transformation story, and

tha t you do not have doing films. He's got hour after

co ntinue to tell a trans formati o n story. I think that

hour to explore it and dig into t h i s character a n d

"

Mea nin g t h at he has a chance

into t h i s universe. S o o b vious ly our goa l is to give a p o r trait of a m an that is as e l aborat e as we c a n do in

this m e d i um."

E N T R E E

DAV I D

I

S LADE

t isn't surprising to he ar David S lade refer to his

existential vampiric terrors of 30

approach to making Hannibal in cinematic terms,

seem like the logical choice.

especially when relating his Thousand

Post-It

"At a certain point of complexity you can't hold the

film in your head so you start pu ttin g down Post-lt notes and you very quickly get to a thousa nd ."

cinematic

the

bountiful

references

it

doesn't

hurt

to

live

in

the

same

neighbourhood as the creator of the show, especially

Notes theory of filmmaking.

Considering

Also,

Days of Night would

an early stage. "Really early. The first script was fi nish ed six months

artistic

and

before we shot it," Slade says. "It turns out that Bryan

throughout

literary,

peppered

if you are involved in the development of the series at

the

and I live quite close to each other and there is a

series, you can't help but wonder if one thousand Post­

coffee shop very l oca l to both of us. We met there . . .

Its are enough.

and at that point they had Hugh Dancy and Bryan said

The responsibility of directing the pilot ep is ode of a series is immense. Not only is there an inordinate

to me, 'What do you thin k of Mads Mikkelsen?' And I said, 'Oh my God ... he'd be amazing."'

amount of level-setting for the dramatic universe of

Other than having input on the casting of principals,

the show, the visual language of that episod e has to be

Slade also had the luck of working with a writer like

rich and accessible enough to see an audience through

Bryan Fuller, who possesses not only a broad vision

many chapters. And choosing that director is no easy task either,

for the show but a manner of writing that appeals to a visually-inclined filmmaker. Often, TV writing can

especially for a show that has such a distinct aesthetic

become bogged down in exposition-heavy scenes

styl e matched with a Giallo-style flair for bloody

loaded with blocks of dialogue, but the pilot scr ip t for

mayhem. It is easy to see how the man behind the

Ha1111ihal was something quite different.

punishing psychological thrills of Hard Candy and the

"Bryan has a very visual way of thinking and I value

E

N

T

R E E

that be ca u se God knows it's hard enough to do a really,

course, we have to see the blood.' That ' s part of the

really good job but if somebody actually w r i t e s clown

process .. .it's horrible and you have to feel it."

word s that equate to grea t images, it ' s a gre at start."

As

Preparation for shooting the pi l ot "Aperitif" was sure

S l ad e

points

out, the

standard

handling

of

violence on television is antiseptic and without much

to include a great deal of thinking and dec id ing on the

in th e way of consequence ("You fire a gun and people

v i sual tone of the show, but did present Slade with a

fall on the g ro und and that's it , we go off to the next

scene"). While steeped in g ru e s o m e effects,

great opportunity for research.

Hannibal

"My homework was to read th i s great literature," he

is ve r y much about the cost of violence, seen most

says of Harris' novels. "And to have fun with it. And

clearly in the arc of Will Graham's cha r acter. From

to figure out if there ' s an image to take to Bryan .. .

his (necessary) murder of G a rre t facob Hobbs to the

'There's this image on page forty-seven. It's a great

toll of his e m pathy with serial killers, Graham suffers

metaphor for w hat we're d oi n g ."'

incredib l y from vicious acts.

Other r e ad ing included Hunting Humans:

of

The Rise

"It's a show about the horror and the danger of looking

the Modem Multiple Murderer by Elliott Leyton, a

at viol e nce in detail,'' Slade says. "And having to look at

Canadian social-anthropologist and world-renowned

it over and over again and what that does to a character."

Slade found that his ap p ro ach with the two lead

consultant on t he topic of serial murder. Among the pages that d etail ed the grisly m ethod s of horrific

actors was as different as th e characters they we re

killers, Slade found an i ntensel y moral book and one

playing. For Hugh Dancy's p ortrayal of Will Gra ha m ,

that informed how he thought v i o l e n c e should be

he took a gently interrogative angle.

handled on the show.

"My process with

Hugh

at the very beginning of the

"Every page is t e ll ing you how horrible the se people

first e p i so de was to ask him questions, over and ov e r

are and how this can never be about celebrating the

as king him questions to answer as Will...to get to a

cra z y things that they do. So when it gets to a p oi nt

point where we had consistency."

where someone gives you a not e saying, 'Well, it would

,

They also spent ti me hon i ng in on the physical

be b e t t e r if we didn't see the blood,' you think, 'Of

inhabitation of Graham.

As well as a filmmaker, David Slade (far right), is an accomplished photographer. All images on these four pages, save the one of himself, were taken by Slade during production.

I 5

E

N T

R E E

is the s m art e s t p e r so n i n t h e roo m . And if y o u s t a r t

"A lot of i t was roo te d i n h i s a nx i ety and h i s ten s i o n and figuring out

wh ere

and when to d ro p

The approach w i t h

or

fro m t h a t p o s i t i on , t h e c h a ra c te r fa l l s b e a ut i fu l l y

increase that."

toge t h e r . . . M a d s i s g o i n g to b e c o m e the defi n ing fac e

Mads M i k k e l s e n t o o k a more

of this character."

theo ret i c a l b e n t .

" W i th

Ma d s ,

it's

i n c re d i b l y

concept u a l , "

Likely i t d.i d n ' t take o n e thou sa nd Post I t No tes for

Slade

D av i d S l a d e t o arrive a t t h a t c o n c l u s i o n .

r e p o r t s . " [Hann iba l ] i s the D e vi l , he i s o m n i s c i ent, h e

1 6

E

N

T

1 7

R

E

E

M

A

I

N

C

C LOT H E S

T

he a pp roa c h Mads Mikke l s e n takes i n p l u y i n g

in his c l o t h i ng, i s cert;i i n ly h e l ped by

a

U

R

S

E

& STY L E There is stil l t h e issue o f co nfl i c t i ng prior i t i e s - l ike

Lecter, wh i le not excl u s i v e ly roo t ed

Hannibal

O

H a n n ibal's

home,

what

works

thematically

ve rsus

sort of

b e l i evab i l i ty. " O ur l'ye h a s been t rai n e d over time to l eave

"! am a l w ;i y s w ea r i n g Ad idv I lR

-S vAz::.tL

i s m a d e o f fru i t s

F o r oth e r e ngageme n t s , t h e fl o ra l s were m a d e o f

ru� f\ov1lE Ct-t1ef)

:Sl\l�E'Dl.) �ei4:p p I f; tp40 1,..! S f( � ...SO LI.l-S I/ t>1 ,1.11Jc,,..12- ·f

(711 1'-1"�1'-l

Further sketches from Janice Poon {left] and the finished products {below]

35

M

A

I

N

C

O

U R S

E

"There's a coup l e of pyram i d - l ike struct ures that s i t o n

is fas c i n at i ng. He's s u c h an i n t r i gu i n g and c o m p l ex

top of the s ideboard a nd th e trol ley," Davies s ay s . " Th ey

chara c ter, a n d h i s b i g, theatri c a l p e r formances have

were made u p of b i rd ' s fe athers and sku l l s a n d b e e t l e s

a l ways reson ated with m e . "

a n d butterfl i e s . . . t h i s r i c h me na g e r i e of a n i ma l s ."

Born i n S p a i n , A n d r e s i s o ft e n c i te d as t h e m a n

The a n i ma l imagery c on tinu e s i n t o h i s l i v i n g ro o m .

re s po n s i b l e

fo r

bringi n g tap a s

O u ts i d e

ra refi e d aesthet i c s e n s i b i l i t i e s . A l l the better for the

H a rvard , h e a l s o has restaurants i n Wa s h i ngton D . C . ,

production team when s c r i p t s for the s h ow c a ll

fo r

Beverly

o f t e ac h i n g a

d i n i n g to Ameri c a .

S h ow creator B ryan Fu l l e r s h a re s H a n n i b a l Lect er's

cu l i n a ry

L a s Ve ga s ,

Hi l l s,

phys i c s

Miami

Be;1 c h ,

c o ur s e

at

Be t he s da ,

u n u s u ally s pe c i fi c furnish i ngs.

Arl i n gt o n , a n d t h e Puerto Ri c a n town of D or a d o . As t o

l ivi n g room c h a i rs were o bt a i n e d from F u l l e r ' s own

t o do w i t h l oc a t i o n a s h i s i m p e c c a b l e c o o k e ry s k i l l s .

" Brya n loves h o r s e i m a ge ry, " Davies says. Han n i b a l ' s

shop. " They h ave carved horse's hooves fo r feet."

h o w h e be c a m e i n volved w i t h Hann ibal, i t h a s a s m u c h

"Whe n you 're runn i n g a r e s ta u ra n t i n Los A n g e l e s ,

U F ul l e r s h a res an a e s th e ti c k i n s hip with Lec t e r, then

you n e v e r k n ow who's go i n g to walk through the d o o r.

worl d - famous c h e f and Han n ibal c u li n a r y c o n s u l t a n t ,

O n e n i gh t , B ryan Fu l l e r c a m e in a n d t o l d me about h i s

J o s e A n d r e s , enj oy s a gas t ro n o m ical affi n i t y w i t h h i m ­

project. I d i d n ' t h e s i t a te t o j u m p a t th e c h a n c e t o w o rk

th a t i s , in s p i r i t i f n o t in a c t u a l i n gred i e n ts .

w i th h i m . "

s ays . " I re a l l y b e l i eve th at t h e r e i s so m e th i n g i nn a t e

c a n n i b a l i s m a l o n e i s s h o rt - s i gh t e d .

a b l e to e x a m i n e th a t d e s i re t h ro u gh H a n n i b a l ' s m i n d

h u m a n evo l ut i o n ; i t ' s about ge t t i n g i n s i d e t h e b ra i n

" I 've a l w a ys fe l t a c o n n e c t i o n to Hanni b a l ," A n d re s

i n our h u m a n D NA th a t a t t ra c t s us to b l oo d . To b e

For

A n d re s

,

the

notion

"It's so m u c h deeper t h an

that that.

Ha n n i ba l

eq u a l s

It ' s a l o o k i n t o

M A

A

c

{Above & right} 30 rendered layouts of Honnibols home, including kitchen and dining area as well as a garden which is rarely seen on screen. Below. /vfads M ikkelsen and the crew shooting a scene in the season two premiere.

I

N

C

O

U R S E

M A I

N

C O U

R S

E

M

A

I

N

C

O

U R S E

o f a p e r s o n a n d fi g u r i ng o u t how foo d i s g o i ng t o h e l p u s u n d e r s t a n d w h o t h a t person i s . H e ' s a R e n a i s s a n c e m a n b u t h e a l s o embra c e s s c i e n c e a n d t e c h n o l o gy." Creating d i s h e s t h a t all ow us a w i nd ow into the b ra i n o f Han n i b a l Lecter i s very m u ch a c o ll aborative proc e s s , a n d one t h a t begi ns i n the s c r i p t p h a s e . " S o m e t i m e s , B ry a n w i ll e m a i l m e i n t h e m i d d le o f the n i gh t , a t l i k e 4am, a n d say ' J o s e , wh a t a r e s om e t h i n gs t h a t m a k e us a s h u m a n s t a s t i e r? ' "

W h i l e a m e s s a ge l i k e that wo u l d r e s u l t i n a c a ll to the p o l i c e fo r most peo p l e , it i s s t a n d a r d procedure on

[Above} A n interior sketch by Patti Podesta laying out Hannibal "s dining room and the final set [left}. 39

M

A

I

N

C O U

I lt 1 1 1 1 1 1 /w l . An d yet it i s b rac ing a l l th e s a m e . "I

mu

R S

E

In " F u tam o n o " ( s e a s o n t w o , e p i s o d e s ix ) , the s t o ry a s

wri t t e n c a l l e d fo r Ha n n i b a l t o e n j o y

Id be sleeping i n b e d or w al k i ng t h e s t r e e ts o f

1 n l y o , h u t I ' m a lwa y s ready to j u m p i n , " An d r e s says.

" I 1 1 1 a g i n e h ow u n i q ue it is t o r e c e ive an e m a i l with a

s r 1 i p t , t h i s li v i n g t h i n g tha t ' s c h a n gi ng a n d evo l vi ng

with Al a n a

Bloom.

day

s ho o t i ng

b e fore

An

em a il

was

a

d i sh o f la s a gna

m i dnight

a ft e r

h a u nt i ng l y

titled :

the

"Hi

Everyo n e ! W e wou l d l i ke t o d o a b ra i s e d ro a s t of E d d i e

1 1 gil t b e fore your eye s . "

l z z a rd ' s t h i g h . "

i s s t i ll in th e writer's room, a nd both An d re s a n d foo d

i n c l ay s o t h a t i t might be t t e r re s o n a t e w i t h B i b l i ca l

s t y l i st J a n i c e P o o n are o n th e r e c e ivi n g end o f t h o s e e e rie

gra v i t a s ( ' W h e reas y o u s a w t h e fe e t a n d t o e s , p a r t l y o f

l ate - n i ght message s . All t h r e e engage i n c o nve r s a t i o n s

µ o t t e r ' s c l a y and p a r t l y o f i ro n , l h e k i ng d o m s h a ll b e

A n d re s s u gg e s t e d t h a t t h e roa s t s h o u l d be c o o k e d

T h e i n i t i al collabora t i o n w i ll o ft e n start w h i l e F u ll e r

d i vi d e d . " Danie l 2 :4 1 ) .

t h a t can take m a n y e ma i l s , a n d la st a nywh e re from

O n c e P o o n m a d e the d e c i s i o n on h ow to b e s t rep l i c a t e

seve ral hours, to a few d ays, to even a few w e e k s , a l l i n a n effort to br i n g a d i s h t o l i fe a n d m a ke i t perfe c t .

a h u m a n t h i gh (two d o u b l e pork l o i n s i n v i s i b l y s e w n

" We a l l share rol e s a n d p o s i t i ons t h r o u ghout t h e

t o ge t h e r ) , t h e r e w a s t h e m a t t e r o f c r e a t i n g e n o ugh

process," Andres s a y s . " T h e o n ly t h i n g t h a t v a r i e s i s the

of th e m fo r repeated t a k e s a n d p r e p a r i ng them i n the c l ay s o t h e y w e r e c a m e ra - r e a d y .

e p i s o d e itself. Each d i sh is based on what's goi n g o n in that e p i s o d e , s o our p r o c e s s is a l w a y s d i ffe re n t ."

" I t wa s c r a z y - m a k i n g, " P o o n s a y s . "Aft e r a wh i l e , t h e

m e a t w i l l d ry o u t . A n d t h e d i re c t o r w a n t e d to s h o w

J a n i c e Poon e c h o e s the s e n t i ment, e s p ec i a l l y i n h e r

b rea k i n g [ t h e m o l d J a n d t h e fi r s t c u t a n d t h ey wanted

praise of F u l ler's e n d of t h e p ro c e s s . "I c a n ' t t a l k a b o u t

to d o i t a l l i n o n e c o n t i nu o u s s h o t . "

h i s geni u s e n o ugh ," she says. " He's tha t k i n d of ge n i u s

where i t ' s su rp r i s i n g eve ry t i m e . You t h i nk y o u ' ve h e a rd

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c r e a t i n g e i gh t ro a s t s b u t o n e b u rs t i n

t h e ove n , s o s e ve n were d e l i v e r e d l o l h e s e t . Evl'ryo n e

of ev e ryth i n g and t h e n h e c o m e s up w i t h an i d e a . . . A n d

a greed t h a t t h e m e a t s h o u l d o o z e j u i c e o n t h e fi r s l c u t ,

h e d o e s i t every b l o o d y time."

Tha t ' s not to s a y t h a t her work i s w i t h o u t t r i a l s o r

which w o u l d n o t p r e s e n t

a

p rob l e m w i t h a s t a n d a r d

ro a s t . Po o n k n e w fro m h e r y e a r s a s a food s t y l i s t i n

l a s t - m i n ute c h a nge s t o t h e s c r i p t .

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