"Go sound." "Cut." "Action!" "Quick, open it!" "Action!" "Who's the judge of this trick?" "Put one of these from that to there." "It's ten past five and I'm about to be made into a 75 year old woman." "Very good." "Cut there a second." "Well, I think the most exciting part of shooting Hex in general... is how creative we're all ought to be." "You literally cross that frame." "All of our characters has developed, storylines develops, there are definitely lost of twists and turns within this series." "Alright, in haste and address." "25 25 take for pick up." "Oops!" "With the second series, one of the things we wanted to do... was introducing new characters, particularly non-human characters." "We've given ourselves some more fallen angels, some angels that haven't fallen, a fairy, who is an amazing character... played by Kathrine De Candole." "What we discovered is you can create a whole world... of supernatural and immortal characters around this, and get a lot of very good material from it." "The second series definitely has more characters in." " Lots of more people to play with and..." " Fresh meat!" "Ella's the new character in the second series, she joins Cassie and Thelma." "Really hot." "Great toughie." "Yoshi!" "Fancy a drink later?" " Well, at first they think she's crazy, right?" " Well, we think she's a baddie." " Yeah." " And maybe she is, maybe she isn't." "What are you doing?" " OK." "Cut, one more." " Cut, one more." "Sam Troughton plays Jez." "Sorry, we haven't me, have we?" "Jez Heriot." "Please, call me Jez." "And then there is the other Sam." "Yes, Sam Collins, as a friend of Leon's." "And the other Jemima." "They're both brilliant, beautiful and lovely." "And then of course Amber, who plays Roxanne." "Sexy as hell in it, really." "SP avenue!" "Sorry, sir." "I didn't see you down there." "Oops!" " Jamie Davis is back," " Yeah." "playing Leon." "Jamie, Jamie." "Loving Jamie this year." " Ella," " Yeah?" "Why can't we do something normal?" "It's not my first time being tied to a tree, so I was kind of OK with it generally." "I think my only problem with it was so late in the evening, it was about 4:00 AM when we shot it." "If it had been in the afternoon, then it would have been like regular Saturday, really." " Stephen." " Very good." " Stephen Wight." " Who plays Felix." " It's brilliant." " Brilliant." "Cassie!" "Supermarket foam." "Better than nothing." "Thanks." "The most difficult thing I've shot so far in the series... the monster in episode one, which is called Baraquel." "We made a conscious decision in this second series... to increase the amount of special effects we did, so in the Baraquel one where the nephelim is killed... we had 75 shots that we had to create." "Now, to make that look good, it's always a combination of things." "It's never just CGI, it's never just computer generated, we have prosthetics people working on it, we have stunt people working on it, and you have to make all that elements come together." "What is a nephelim?" "Well a nephelim is a sort expansion of what we had in series one." "It's a fallen angel." "In that first sequence there was part... in which the nephelim had to fly." "It's a question of mixing and matching... a real and visual effect with an animated effect." "With the kind of resources that we have on this shoot... we couldn't do any wild tricks, so we had to... get the Mail which is the three the co-busines visual effects company that we're using... to recreate the monster inside the computer." "The process we go through when creating a visual effect for a TV program... begins with meeting the director, the writer, the producer, in this case Julian and Brian." "And we sit down in the pre-production meeting and discuss who should be doing what in order to make it work." "And then we might decide, you know, the director Brian might say..." "I'd like it to do something impossible for a guy on a suit to do, so, this is naturally trying out it to be a computer generated effect." "Whenever you do visual effects, the trust between the director, what he wants to achieve, and the guys animating it on computers in rooms" "is a critical thing." "Getting that communication right, getting the trust right is very important." "In order to create Baraquel," "I've got a team of 5 people just working on Baraquel, so, Chris Pats, our senior modelling hip take the pictures, the photographs of the prosthetic suit." "And sit down and start to sculpt it, you know, as it was made of clay, on the computer, so you start with a ball or a cube, and you end up with Baraquel." "I've got one guy who is an expert... in texturing and painting and things like that, so he has created a complete model of what the skin looks like." "At the same time, the creature then comes back to Chris to be what we call rigged, when he puts on the skeleton and does things like muscles and all the facial movements." "So, you know, the prosthetic suit, the creature can snarl... and move his lips and things." "That sort of prove that the model is ready, we have to light and render... the animation so we can then send it to a different department to put the creature in the live action shot." "So it's quite involved." "It's going to take about 4 months just to create 12 off shots I think at the end of episode one with Baraquel in it." "It was a remote controlled face, which was very scary and there has slime as to sort of drip from his mouth, because he climbs up Cassie's body and goes all over her face and... it's really gross." "Some of the things that have been interesting to work out for us are the bolter bolts." "This sort of ancient stuff that Ella has, which is one of the ways you can destroy a nephelim" "You have to put it together and it squeezes a shot, but then, how does it fire a bolt?" "as described in the script." "Getting there the effect of the bolter was particularly difficult, because I just didn't want it to look like something you've seen before." "Literally this morning I've just sent over a DVD for Brian and for Julian... which has got 4 or 5 different versions of how a bolter fires." "The Mail came up with lots of ideas and finally we set up this thing... and it came from the idea of there being a central burst of energy from the centre of the machine." "Put it down." "You don't know what you're dealing with." "I bet that makes your ice water." "First position." "We're going to get straight before we these all go to the cellar." "OK, can we do a rehearse?" "White for the screen," "Give us a B and then you don't need to really go rock it when he goes "roar!"" "Just start easy when we pick up the pace and come back." "The character of Azazeal was one of the most striking things from the first series, so what we've planned for him in this series is... often very surprising and one of the key things is we traded on the fact that he's been around for thousand of years" "and we've taken him back in time on at least two occasions, two different bits of history." "The development of Azazeal in series two is quite interesting actually, because after 500 years of trying to sire a son, he finally does so, and... gets to explore parenthood." "What are you doing?" "It's him." "He won't stop crying." "It's good." "Very good." "Cut there for a second." "Christina," "Christina just go back to number where is the second mark." "There's definitely lots of twists and turns within this series for Cassie." "It becomes sexual again with Azazeal." "It has to in order for her to... she has to seduce him to get the child back again." "With having to... go back to Azazeal in order to get the child, everything she goes through there, oh, there's, you know, she totally loves Azazeal, but at the same time, you know, she hates him for what he's done." "I mean, you've got to go back to sit with him, for what could be some years." " I imagine you" " I'll come down over, yeah." "If we could engineer a mood of some sorts," "That's the kissing in the back and is just dissolving, and it's a part break, so it's a really good hook." "Do I deserve my chance too?" "Quick, open it!" "Cut!" "One of the great strengths of the series... is being able to travel backwards and forwards in time, because it's about Cassie's ancestry, because the immortal characters and the angels... have been around for thousands of years," "we have the chance to go back to different periods, which is always great fun." "We go to Victorian England, where we see one of Cassie's ancestors and Azazeal as a Victorian gentleman." "We go to the Weimar Republic, to Berlin in 1928." "To a sort of sleazy brothel come club, where all sort of strange things happen." "I think one of the things that attracted us to set a sequence in Berlin, was Hex has always been quite a sexy show, it's always been quite risky in its material, and obviously that period of history was incredibly liberal... and incredibly sexually bold and experimental," "so it seemed perfectly natural to take our characters back there." "We go to 1666, to puritan England, where Azazeal plays a big role as a witch finder." "The accused enchanted words you did not understand." "I never heard them like said." "Not in these parts." "OK, rehearse, please." "Michael, draw your chin back a little bit." "There you go." "Most of the program has been shot on Kodak." "We changed for Fuji stock, which were... affecting in the laboratory because we're over-exposing it quite a lot and force developing it, so it takes smoother, more creamy look to it, which is..." "The results so far have been great." "That this boy survived is a miracle." "You were a sacrifice for a demon, my boy." "You were, I submit, bewitched." "Certainly one of the most complicated episodes we've made... in terms of storytelling, because of the way the story is interweaved." "So literally you cross that frame to the end, in the opposite direction." " For which line?" " For..." " 'A diabolical parasite.'" " OK." "This way, you cross it." "As you cross," "I go back to Roxanne in the other room." "A diabolical parasite." "And you're quite sure that no one was there?" "I'm sure." "It's very laid and complicated story... which we're trying to tell in which there are two timelines running in parallel with each other." "Ella is reliving something that happened to her in 1666." "You are a friend of Ella's?" "Yes, sir." "I am." "There is no malice in your deposition." "Thee wish her no harm." "I only wish that she would be herself again." "Roxanne in period was just as devious as she is in reality... and plus you have this incredible kind of puritan dress." "I loved it." "It was brilliant." "I look like a milkmaid." "And not only that, nor lip-gloss." "Joy." "When something is genuinely interesting and exciting, you know at the time, and you feel it, and I think there was that atmosphere on set that day." "Jeff and I sat and decided and were thinking about how we'd like the witch trial." "We went back to the classic painters." "I particularly like Caravaggio and so does Jeffrey, so we... we looked at all of his paintings... and decided to use that as the beginning of the style." "You were stripped naked." "A Caravaggio's show that it happened to be on it's a perfect reference for this because... the light was used by him in his paintings... is exactly the same as the sort of light we had been trying... to these people in their houses." "It's window light and candles." "There are 4 scenes in this sequence where we are going to do what we call block shooting, which means we cover everything in one direction for 4 scenes... and move to another direction and cover everything in that direction," "and the move to the third direction and cover all 4 scenes and so on." "In this way, it makes much more efficient." "One, two, three, four." "Action!" "And if it be proof that be thy desire, proof there be." "See the mark!" "That's the old scar." "400 year old." "Yeah." "And I'm going to do one of a couple of days old." "So basically that was like a convex scar." "This one is going to be a concave." "That's an old..." "it's from a piece of silicon," "Silicon mould." "And it's got that with gelatine inter-piece." "So I've got to put glue on her and glue on the piece... and wait for it to dry and then by contact they stick down." " The frame is there." " Yeah." "I think the think is that tells you more of the period than in the church." "Yeah." "OK, and then when we do Laura as an actual, one come right next, close to this fire and the other one probably should be on a close up going through the church." "Exactly." "Being burn at the stake is one of my favourite scenes." "It was loads of fun." "I actually really enjoyed it, in a very weird way." "No, I can't see through." " You OK?" " Yep." "This is the scene where I burn Ella... as a witch as part of the history of the flashback in episode 4." "Lights on." "Once more!" "Raise her, now!" "The trick with this really is that we use a little technique where the ladder which would be lowed down into the flames very slowly, it's actually not, if you look at it squarely, would not actually touch the flames." "It's off set." "But by putting the camera in a certain angle, it would give the illusion that the girl tied to the ladder would be lowed and would appear to fall into the flames." "Thelma is a little busy bee in series two of Hex." "I have a lot more people to interact with, which is really nice." "Have you seen the new girl?" "Eyes of steel and nipples to match." "Some little ways that Thelma is able to communicate with people that normally wouldn't be able to see her." "And it's all very exciting." "Hi!" "Remember me?" "Thelma!" "Charming!" "Hold on." "You're dead." "So?" "Doesn't stop you from being a nice person." "My favourite part to shoot so far has been... probably, for reasons that I'll keep to myself, the part where I play nurse Leon, and I dress up as a woman." "A few reasons." "One is that it was so funny to read... and then to... when we start to get on the set and on the floor actually we pushed it ever further... and try to find more and more comic rhythm in it." "And also just a kind of... the dress up nature of doing it every day... and putting the whole thing on." "And then the reaction of the crew I got every time I went down." "The sexist jokes never ended." "And never stopped being funny either." "No!" "Stop!" "I had about kind of 4 or 5 weeks of that, so, that probably, and also it gave me the insight on how long it takes the girls... to get ready and made every day." "I know you." " You're not a proper nurse." " No s**t!" "Jez gets stabbed in the neck with a pair of scissors... when he goes to Max's flat." "This is done with a plate around this side thing." "A plate in the neck... and a false neck and then it was stuck in and it also turned, 'cause Azazeal has to turn it." "My favourite bit is probably all the mad stuff." "I find that really liberating." "I went running around and screaming." "Yeah, I loved all that." "It was very challenging for me, and I like to be pushed, so that was definitely my favourite bit." "One scene I think it comes in episode 5 or 6 where I do a stunt." "That was really fun." "I really enjoyed that I had to put on a big leather thing." "It was very erotic." "And get thrown in the air by the big strong stunt man." "Any closer with that and we'll see who is the dead person." "To come back to something that works so well in the first place... and to be able to kind of hit it with new vigour and really go at it, it was brilliant." "Action in series two I think it gets better." "It's kind of pacer and pacer." "Oh, my god, Felix!" "A lot of more monsters and special effects... and I think it's sleeker." "We think we've created a little formula here that can have a long show life." "At the beginning of this series... it was really kind of phobic... 'cause the scripts were really punchy and really new... and there was so much going on... and the story line really started to carry on a pace." "When you get the new scripts coming through... then you never know what to expect." "Long term plans of effects, you know, we hope that it has a long life." "We will make it as long as Julian, myself and Johny feel creatively driven to make it," "And as long as we can constantly come up with the ideas." "When it's really at its peak is when we'll stop making it, but that hopefully won't be for a long time." "Transcript and synch by Aimee and blade2"