If you’ve ever wondered what it’s like to work on the most in-demand series worldwide, look no further. In an exclusive interview with WinterIsComing, director Louise Hooper walks us through the making of The Witcher and what sparked her interest in filmmaking. She helmed the sixth and seventh episodes of season 2, which gifted us with memorable fight scenes, hilarious friendships with mice, and even momentous heart to hearts; she arguably had the lucky draw of scenes.
“They had very rich pickings for me, definitely,” Hooper says. Taking on the project was a no-brainer as, “It’s epic in scale. I love the characters and I love the production team. Lauren Schmidt, the showrunner, is a real dynamo, full of energy and excitement about her project. was irresistible.”
The Witcher marks a new direction for Hooper in terms of genre; she previously worked on the critically acclaimed series Flesh and Blood and Cheat. “I’ve done documentaries for years, which I loved,” she said. “Then I’ve done psychological thrillers and comedies.” Now she is turning her attention to fantasy: “You’re using different parts of your imagination. What I love about it is – the sky’s the limit.”
As the fantasy genre relies on worldbuilding to tell stories, the director must consult with everyone from the set designer to the armorer. “You’re creating this world along with all these wonderful people – you’re working with the most creative minds.”
"It’s very exciting to film on such enormous sets with wonderful visual and special effects. I was like a kid in a toy shop! All the planning and preparation before you film is thrilling too, where you discuss with all the Heads of Department how you will film each sequence. For example, you have VFX meetings where you’re talking about the color and wingspan of the Chernobog, the size of its eyes and teeth! Or design meetings about how a metal door is going to burn down in stages, or how to make a magical orb for Ciri float effortlessly in the air."
Even the costumes (made by Lucinda Wright this season) factored into the planning stages, as garments affect how viewers interpret a scene later shot by the directors.
To make the season cohesive, Lauren Schmidt’s vision filters down into every aspect of production. But this doesn’t mean everyone else can’t put their own stamp on the series. Hooper is “proud of everything” and points out that her episodes represent her lively personality. “It’s got my energy and my love of life and color but it’s also got everybody else’s vision and ideas and passion too. It’s not a question of hierarchy. It’s a question of collaboration.”
“Dear Friend…” and “Voleth Meir”
It’s clear why Episode 6, “Dear Friend…,” was the ideal installment for Hooper to tackle. The locations at Melitele allowed her to explore a more vibrant side of the series after the primarily cool, low light settings from earlier in the season.
“Dear Friends” finally reunites Geralt and Yennefer. Then, in “Voleth Meir,” we see Geralt and Jaskier cross paths. Hooper’s episodes contain crucial character moments as everyone adapts to new circumstances.
Since Hooper is new to the series, working with the cast on their characters was invaluable. “Freya and Anya and Henry all really love their characters and really understand their series arc,” she said, “It’s always a collaboration with the director. You suggest choreography, describe what you feel about the scene, then the joy is hearing what the actors feel and think too. And they’re going ‘Yes, I agree with that. Or what about this?’ You workshop the scene together. Everyone’s coming to the table with their thoughts and ideas.”
The Witcher director previews her work on The Sandman
So what was the highlight of filming? “The honest truth is, I just love what I do. It’s very difficult for me to have a bad day!” Hooper said. She fondly recalls filming the cinematic scenes “in the north of England, stunning landscapes, ancient woods, and where we shot Geralt and Jaskier at the beautiful cave with all the reflections of water.” She also called the scene where Jaskier is in the cell with the mice a highlight, as “it is really funny.” Then there’s “the epic fight in the library” and “seeing Simon Callow as Codringher.” Hooper recites this list automatically in a rush, as though it’s impossible to pick a favorite scene.
Hooper’s passion for her work is obvious in our conversation. For her, it all began very early in her childhood. “My father is a director of photography and my mum was also in the industry. So I did grow up thinking, wow, this is such a wonderful world, I’d love to be part of it.” Hooper says that her work is “very rewarding” as “every single job gives you a completely different perspective on the world…and on the industry.”
We can’t wait to see more of Hooper’s work as she takes on Netflix’s The Sandman, which premieres later in the year. The director gave us an early teaser by comparing the show to The Witcher: “They’re totally different in terms of story. But in terms of scale, and in terms of fantasy, there is obviously a connection. My appetite was stimulated by The Witcher and I wanted to continue it into The Sandman. It’s such a great project.”
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