Christian Camargo on See Season 2 and Why He Loves Playing the Witch Hunter Tamacti Jun - VRGyani News and Media


Saturday, September 4, 2021

Christian Camargo on See Season 2 and Why He Loves Playing the Witch Hunter Tamacti Jun

With See Season 2 now streaming on Apple TV+, I recently spoke with Christian Camargo about the making of the fantastic post-apocalyptic drama series. During the interview, Camargo talks about why he loves playing the bad-ass witch hunter Tamacti Jun, when he found out he’d be back for Season 2, what they learned making the first season that they incorporated into Season 2, what people would be surprised to learn about the making of See, what it’s really like filming on location, and more. In addition, he talks about directing the western The Last Manhunt which also stars Jason Momoa and how the project came about.

If you haven’t watched See, the series takes place in the distant future after a deadly virus decimated humankind. Those who survived emerged blind, and the few that have sight are considered witches and are hunted down and killed. Season 2 picks up 30 days after the events of the Season 1 finale and follows Baba Voss (Momoa) as he searches for his daughter in the city of Trivantes. See also stars Hera Hilmar, Sylvia Hoeks, Dave Bautista, Alfre Woodard, Nesta Cooper, Archie Madekwe, Eden Epstein, Tom Mison, Hoon Lee, Olivia Cheng, David Hewlett and Tamara Tunie.

The second season of See is executive produced by Steven Knight, Francis Lawrence, Peter Chernin, Jenno Topping, Jim Rowe and Jonathan Tropper, who also serves as showrunner.

Check out what Christian Camargo had to say below.

COLLIDER: You've done a lot of work on the stage. I'm curious if you have a favorite theater to perform in and a favorite theater to watch something at?

CHRISTIAN CAMARGO: Ooh. Wow. That's a pretty cool question. I hate to say this, but they're both in England, so no offense to my New York peeps. The Globe Theater in London was definitely my favorite to play. That was a crazy place to play. And the Royal Court was, I think, is the best, most fun place to see. I'm going to give one to Brooklyn. I have to give three, sorry. Theatre for a New Audience in Brooklyn. That is a great place to see a play.

How much fun do you have playing a bad-ass witch hunter on See?

CAMARGO: It is so much fun. It's so much fun to play that. I love playing bad characters. You might know that I have a bit of a penchant for that. I love complicated dark individuals, but yeah, so that was fun.

When did you actually find out that you'd be coming back for season two, and have an arc, because you never really know with a series like this and also with the first few episodes they've clearly made some changes.

CAMARGO: Yeah. It's feels almost like it's a different, it's a whole new show, but I didn't know until after we shot the first season. So it was a little bit of time. I had only signed on for one year, so, that was a bit of a shock to me, too. And then how it's come back. It was a really... I think Tamacti is probably one of the, just starting from season one, probably one of the characters with the largest arc, because he really goes from dark, dark, dark to a kind of soul-searching, is life even worth living? This is a weird, very strong up and down for him.

One of the things about See is that it's, especially season two, it's very fast moving and doesn't slow down. What can you tease fans overall about season two?

CAMARGO: Well, I think that this season... The first season was almost expansive. It was out. And when I say out, I mean, it was introducing the audience to the world, to the circumstances, the backstories, we had very clear antagonists and protagonists. In this newer season, it's actually expanded as far as characters, and as far as environment it's actually even larger. However, the circumstances are more nuanced. It's more about these characters go through ups and downs, and doubts and fears. It's a bit more a humanizing, if that's a word. I don't even know if that's a word. It definitely pulls characters in many different directions. So people have many more arcs, and dips, and rises. So that's really fun. For Tamacti, I think that we'll see a tremendous downward spiral, and whether he is able to get out of it and help, or whether he succumbs to is really what we're going to see.

One of the things, when you're making the first season of any series, you're learning how to make the show, what can you accomplish each week? Just the infrastructure of making the series. How did making the first season help you guys with the second season?

CAMARGO: Well, I think with Joe Strechay, the blind consultant, who helped us work with no sight, that really, we had sort of worked that muscle a bit in the first season. It was not as intimidating in the second season. We sort of were used to it. So we can sort of skip that huge hurdle because that was a big hurdle to figure out. Then in the second season to sort of work on the emotional journey as opposed to the external, like I've just got to get these children, really it became an internal struggle now. So that was actually, to be honest, more personal. It's more relatable. I think we all go through in some form, shape, or the other.

I love learning about the behind the scenes of the making of stuff. So what do you think might surprise people to learn about the making of See?

CAMARGO: Well, how much attention does go into the world of blind? You know, this is a TV show. It is a visual medium and so people are going to see a lot of things. However, when we're looking at sets, when we're looking at interior spaces, or villages, and things like that, everything had a purpose. There's guide wire's to help people walking through. There's identification markers everywhere to feel, to touch. That was really given a lot of thoughts. The production design was heavy into that world, very tactile. To see that come to life in a visual way is sort of fascinating. And that goes down to even scars on the face, and the patterning that was put into that. There is a language there in some form or the other. So it's exciting. Exciting to see.

The locations that you guys film at, they look so beautiful on screen, and they also look so cold. Can you talk about just filming on location?

CAMARGO: It's mainly that, and you're absolutely right, it was so cold. Yeah, especially when you have prosthetics on your head and you can't really wear hats. So the thing about this show is, it is the real deal. This is not a studio thing that's all made up, and blue, green screen or whatever. I mean, we go out to the locations. So, I remember in season one no one believed that I was actually on a dam. So I actually posted on social media this picture of the dam to show that it was actually real, because everyone thinks, they just painted that in. They just made that up. No, this is all real, and it helps. It helps so much, too, to play it. But you don't shiver when you're a bad-ass. So that was hard. That was probably the hardest thing.

I'm curious if you can tell me about, you directed The Last Manhunt and Jason Mamoa, I guess, helped with the story. What's the story with this thing?

CAMARGO: It was literally a kind of collaborative event. Jason asked me to be in his movie that he was going to make over the summer called The Last Manhunt. But because his schedule was absolutely so ridiculous, at the very last minute he asked me to take it over and direct, because his schedule just got too limiting for him to do it. So it was like an improvised experiment. I wouldn't even call it really directing. It was sort of like a co-formulation of something that was already there. But it was fun. It was a Western. It was one of the oldest, the last great manhunt of the west. True story that happened in Joshua Tree, California, which is actually where Jason has property and I have property, so we have that kismet there. So it was just a load of fun to do. I mean, come on, it's a Western. You get shootouts, you've got horses. Yeah. It's basically See without guns.

What's the plan for release?

CAMARGO: I think it's just sort of, because of COVID and everything, it's been a real challenge to get them to do finishing. So small movies, to get actors to come in and do ADR and everything else, it's really expensive. So I think the producers are waiting for things to calm down before they can actually finish it. So it's sort of making, it's making a little bit of a festival kind of, to just kept coming out there and then once COVID passes, I think they can get back into ADR and everything else. It's just a time of, little movies, it's really hard. It's really hard for little movies to actually make a go of it now because of all the COVID restrictions and everything else, you know?

from Collider - Feed

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