Introduction: An Inside Look at the Making of Season 2
Warning: Full spoilers for The Last of Us Season 2 ahead. During a recent IGN Live event, co-creator and executive producer Craig Mazin was joined by key members of the show’s creative team—including cinematographer Ksenia Sereda, costume designer Ann Foley, production designer Don Macaulay, VFX supervisor Alex Wang, editor Timothy Good, and co-composer David Fleming. Together, they shared fascinating details about the extensive work involved in bringing the second season of the HBO series to life.
Recognizing the Team’s Efforts
At the start of the panel, Mazin emphasized the collective effort behind the show’s success. “Neil [Druckmann] and I are heavily credited, but the truth is, these talented individuals are the ones who truly make it happen,” he said. “All of their work is essential to shaping what you see on screen.”
Favorite Episodes and Their Highlights
When asked about their favorite episodes from Season 2, most panelists pointed to episode two, titled “Through the Valley,” and episode six, called “The Price.” These episodes stood out for their impactful storytelling and unforgettable scenes, leading the moderator, Amelia Emberwing, to focus discussions on them.
Episode Two: The Intensity of the Jackson Attack
This episode features two major events, including a massive horde of infected attacking Jackson, and a pivotal moment we’ll revisit later. As footage of the attack played, Mazin highlighted the heavy use of visual effects, noting, “Alex likely touched almost every shot here.”
Rewatching the scene, Macaulay joked about the countless meetings involved. “I think we had about ten meetings just on how to launch barrels from the town gates into the horde,” he said. Despite the extensive planning—“almost every shot took 10-15 meetings”—there was still on-set retrofit work, including rooftops that weren’t initially planned.
Challenges in Costume Design
Ann Foley explained that episode two was the most challenging for her in terms of costume design. The episode involved a large cast of actors and extras working across multiple filming units. “We had about 65 people in three different areas,” she said, coordinating the costumes while also preparing for future episodes with Seraphite costumes.
The Visual Effects of the Infected Horde
Alex Wang stressed the importance of previs (pre-visualization) and the extensive coordination required. The infected horde, in particular, posed a significant challenge because each infected was a unique individual before transformation—varying in size, age, and clothing. Wang explained, “We wanted to show that these are all different human beings, not just a mass of identical creatures,” which nearly overwhelmed the visual effects team, especially Wētā FX.
The Art of Editing and Soundtrack
Timothy Good shared insights into the editing process, which begins before the final visual effects are complete. “Early footage often shows a Bloater as just a green dot,” he explained. Once the effects are added, scenes often need re-editing due to changes in motion and pacing.
David Fleming discussed the scoring of “Through the Valley,” describing the challenge of building tension. “We wanted the music to start at level 11 and keep escalating throughout the episode,” he said. The crescendo leads to a pivotal scene involving Joel, which Fleming described as an emotional climax. Originally, the music was busier, but Mazin requested a minimal approach—“less is more”—to heighten the scene’s impact.
The Significance of Joel’s Death Scene
Fleming revealed he edited Joel’s death scene five times before feeling satisfied. “Getting this moment right was incredibly important,” he said. During the scene, the panel reflected on Pedro Pascal’s powerful performance, with Good noting the intense effort required to capture the right tone. Mazin lightened the mood by joking about the choice of golf clubs used as weapons, revealing there was even a lengthy debate over which club Abby would wield to kill Joel.
Flashbacks and Visual Details in Episode Six
The discussion then shifted to episode six, which features flashbacks between Joel and Ellie, set between the events of Season 1 and 2. The scene where Ellie climbs a dinosaur was showcased, and Mazin expressed his enthusiasm. “I love that scene from the game, and I’m thrilled we could include it,” he said.
Originally, the dinosaur was wobbling too much, so Alex stopped the movement. But then it looked fake, requiring a compromise to make it wobble slightly again for realism. Foley added that they tried to match the characters’ outfits to the game, with minor adjustments for storytelling purposes, such as changing Ellie’s tank top to a t-shirt in the museum scene to emphasize her younger, more innocent appearance.
Lighting and Practical Effects
Ksenia Sereda shared her excitement and nerves about filming the space capsule scene, which required precise lighting to mimic the game’s visuals. “The sequence is lit through a tiny window, and achieving that look with practical effects was incredibly challenging,” she explained. This scene held personal significance for Mazin, as it was the first sequence Neil Druckmann shared from the game, inspiring their commitment to doing justice to the story.
The Future of The Last of Us
Mazin expressed enthusiasm for upcoming seasons, eagerly anticipating returning to the project with his talented team. “I can’t wait to dive back into this world,” he said, jokingly asking, “Don, are we going to have more meetings?” His excitement underscores the collaborative effort needed to bring this story to the screen, promising more compelling storytelling ahead.
Alex Hunter
Alex is a passionate gamer with over a decade of experience exploring everything from AAA blockbusters to indie gems. He specializes in uncovering hidden secrets, mastering complex mechanics, and creating in-depth walkthroughs. Whether it’s a challenging boss fight or a puzzling questline, Alex breaks it all down in a way that’s fun, clear, and engaging for readers of all levels.
