'That was a little breakthrough moment': Emmy winner DanaGonzales looks back on the pivotal moments that established prestige TV’s definitive aesthetic.
. Season one was paying homage, of course, to them. But then this is also an original story so you want to work towards that too, and service that story. The first things I shot, I had to kind of go off the reservation a bit because of what that day’s work was. I remember everybody was like, “Whoa, what are you doing?” But it worked and maybe that was a little breakthrough moment.
Yeah, scary. Now, if you told me that [Hawley] was going to write a snowstorm episode, I wouldn’t even think twice about it. But it was like, what do we do? Season one was very low budget; it was shot in Calgary, it was very modest. I want to say it was like [less than] $2 million an episode. We had a very low-tech visual effects approach. That is about $60-70,000 of fake snow and visual effects. It was up to me and the visual effects guy to figure how we were going to do this.
Yeah, well that’s the key. You have this unreliable narrator. There are memories within memories and flashbacks. Again, I’m very interested in getting the audience to that place really quickly. Within a cut or two cuts, not, “Oh, I get it, we’re in a flashback.” You want to get them there. We played with aspect ratios and spherical and anamorphic lenses. Season one was about memories and David’s mind; going in and out, creating some sort of organic aesthetic that would support those.
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