The Last of Us had a legacy to uphold before it hit our screens back in season one – and it was up to the producers and creators to make sure it was the best it could be.
But that’s easier said than done, with thousands of moving parts and team members behind bringing this post-apocalyptic world to life. This included finding real-world locations to replicate the game and making sure emotional beats are hit to bring the game’s emotional story justice as a TV series.
Speaking ahead of season two Jacqueline Lesko (JL) and Cecil O’Connor (COC) open up about their experience of the games, working behind the scenes, and the importance of finding humanity at the end of the world.
Can you describe your roles as producers on the show and how you became part of the team?
JL: I have been working with Craig [Mazin] for about 11 years now. I started out even before that as his assistant. We kept in touch and I became part of his ...I don't wanna say writing process, but I'm the first person who reads his pages. We go through the outline, we talk about what he plans to do. And each time he writes a scene we talk: Did he accomplish what he wanted? And we talk about feelings a lot, and how did I feel reading it?
That progressed through Chernobyl, and then it automatically progressed through The Last of Us to season two. And as the years have gone by, my role expanded a little bit in terms of helping to produce on the creative side. And then the last season with Cecil—we've been the best team ever. He's teaching me his end of things. I'm bringing him into my end. And it's just been fantastic.
COC: In season one, I was brought in as a line producer and I was very excited. It was my first time working with HBO and with Craig, Jacq and the team. And it was an incredible experience and one that was fruitful. I was very happy with how the season was received.
And this was in Alberta, right?
COC: Yes, all over the province of Alberta. For season two, I was invited back and Craig and Jacq asked me – as well as did HBO – to come in as an executive producer overseeing the production team and our line producer. That's what Jacq was alluding to; that she, I and Craig have worked very closely in season two. It’s been very challenging, but incredibly fulfilling.
Were both or either of you players of the game before this?
JL: Craig made me. (Laughs) I was not a gamer and I was not interested. So my Joel walked sideways. I got it by the end. But yeah, they made me [play].
What surprised you about your experience of playing the game?
JL: How emotionally involved I got. I was shocked, I did not expect that at all, and Craig warned me! I was like, ‘It's a game, it's not real people.’ But I was really shocked that I had emotions through it all and really put myself in the character's headspace.
COC: Also not a gamer at all. When I first got the call for season one, I got home – I hadn't had the chance to look it up— and I spoke to my husband. He bolted upright. He's like, ‘You know when you come in and I'm playing that game? The game you always watch me play and tell me how beautiful it is and you can't stop watching me play? That's the game!” I didn't try to play and do the crab walk, but I watched it. I sat with my husband, Jeff, and watched him play for several hours. That was my introduction. I don't know if I've ever told Craig that story. He and Jeff get along very well. They talk about gaming all the time.
What were your biggest challenges in not only moving season two to a new location geographically, but also maintaining the level of engagement emotionally?
JL: I was there when Neil and Craig were outlining everything. I'd be in the room taking notes while they were talking, or they would be in the other room. And I would always have a reaction. They loved that I was their emotional temperature. And then anytime I was crying on set, Craig would point at me because I was just in it with them.
COC: I'm from Vancouver B.C. originally and feel very fortunate and happy to have been back home for season two. One of the biggest challenges I felt in season two was similar to season one, which is: reading the scripts and having a need to do them justice.They are so good and the story is so strong, there's an incredible pressure on all of us to execute at a certain level; not only to do the scripts justice, but in season two, also to make the audience proud. To give them what they're looking for in these characters and these stories.
I think that creating the town of Jackson specifically was an opportunity for us to create a canvas of sorts. We didn't have to work within the confines of an existing city, an existing town, existing rules and infrastructure.
One of the things that we talked a lot about— led of course by Craig— was the evolution of Jackson from one season to the next. What's happened over the past five years? How has it changed? And why has it changed? So, seeing that conversation happen, being part of the conversation, and then watching the departments execute – whether from a set-deck standpoint, a construction standpoint, special effects standpoint – was quite special, and a lot of responsibility, too.
It has to make sense. It has to work for the story, it has to work for everything. So there were hundreds of hours dedicated to determining how we executed, when we executed. It was an incredible challenge, but a fulfilling one.
Let’s talk about the romance at the heart of this season – between Dina and Ellie, played by Isabela and Bella – and what it means to the larger story? It feels to the viewer like a precious thing in the midst of terrible horror that you just want to protect.
JL: Very much exactly that. It’s this precious thing that you want to protect, keep pure, beautiful and sweet, but also in danger sometimes. It was about creating a bubble, this cocoon around the characters; also, around the actors on set. Everyone was very mindful about keepings things light-hearted and enjoying it with them. So it's about preserving the relationship. And the actors made it look so effortless and relaxed. Isabela has such a free-spirit nature and it worked so well. It was beautiful to watch unfold.
COC: Craig works very hard to ensure that the environment the actors are working in is supportive and inclusive. Hats off to the actors for their work, but it's no surprise that they were able to get there because of that desire to create that environment for them, and it makes everything worthwhile.
At any given point we had somewhere between 1,200 and 1,800 people working on the show; multiple units running’ eight or nine different stages and three different backlots. It’s a huge machine. And in those intimate moments, you're in the tent watching and you begin to understand how people are going to receive the work— it’s definitely arresting, and feels quite special.