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“All those physicalities, and personalities, and dialogue, and quiet. Little things that like just kind of developed as we were blocking it,” Eisner said. And then Bobbie comes over later and he stops her from taking a bite. But things like Amos coming over to check on Clarissa and she stops him from taking a bite.
#If you like the expanse books how to#
“We obviously rehearsed that scene quite a bit because it’s important how to hit all those beats. The first one comes in the calm before the storm at the Ring Station, with Holden (Steven Strait), Naomi (Dominique Tipper), Bobbie, Amos, and Clarissa all enjoying one last guaranteed meal together. True to form for a show where diplomacy and interpersonal history played just as big a role as faster-than-light travel or mysterious protomolecule forces, the true goodbye moments of “The Expanse” finale are built around people talking.
Maybe the most memorable part of “Babylon’s Ashes” is that the battle sequence doesn’t end up being the climactic moment. She did a really good job getting out of that seat to sell that moment,” Eisner said. So all that was her acting and a little bit of camera movement. But the Roci bridge has absolutely no movement. When we do set pieces with little sets we’ll build motion bases or they’ll be on bags or things that we can shake the set with. “That was a complicated piece because the bridge of the ship doesn’t move. In a textbook example of a logistical consideration that few other shows apart from “The Expanse” would make room for: Clarissa has to battle gravity just to walk over to and down a staircase. During the Ring Station attack sequence, Clarissa (Nadine Nicole) has to make her way down from the bridge of the Rocinante, where the rest of the ship’s main crew still on board is situated. That attention to detail also shows itself in sequences that are based more in practical environments. To me, the most important part of these set pieces is that you’re connected with the humans that are in the midst of it and that their decisions have an impact on the success or failure.” “Then Naren is the storytelling guy and together we make sure I try and bring those two pieces together in the execution.
Ty’s the tech kind of guy who also knows the logic and has the reason for everything,” Eisner said. “The first and most important thing is to talk in detail with Ty about every kind of piece of physics and ship technology, and every intense movement to make sure you have it. Much like the show’s many ship-on-ship dogfights over six seasons, Eisner’s first step was to look to science, with some help from Franck, who co-wrote the original novels with Daniel Abraham. In that tracking shot - one that mirrors the logistical composite challenge of last season’s Earth escape - Amos suddenly finds himself drifting through space, ducking aerial fire raining down all around him. There was a motion control camera and we had a crane that Wes was on and we could move him up and the camera down to get around it. It was a really technical piece to shoot. “The idea that I wanted to hang this setpiece on was this idea of starting an absolute claustrophobia, not being able to see or really know what’s going on from the point of view of Amos and Bobbie and then to blow the sides and put them in the middle of this World War II parachuting moment. “ Ty or Naren described them as Porta Potties dropped out of space,” Eisner said. Bobbie (Frankie Adams), Amos (Wes Chatham), and some other assembled crew find themselves hurtling toward their ground target with nothing but cargo containers as their makeshift transit pods.
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In the show’s farewell episode of Season 6, a series finale directed by Eisner, there’s no better example of that cramped feeling than the tactical team’s unconventional path down to the Ring Station.
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