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SFX - - Reviews -

How close is Hu­mans to its Swedish in­spi­ra­tion Äkta Män­niskor?

We changed the look of the synths be­cause we felt the Swedish se­ries went too far into the “near fu­ture” idea. From about episode two, it’s gen­er­ally the same con­cept but then the sto­ries go off into dif­fer­ent di­rec­tions. I think the main dif­fer­ence, though, is that the fam­ily are more at the heart of it. They’re the cen­tral story. There are a few lit­tle nods to the orig­i­nal, though; one be­ing that their synths were called hubots and one of the user­names that Mat­tie uses for her blog is “hubot”. How did you go about cast­ing the ac­tors play­ing the synths?

They had to be a cer­tain frame and size – no dyed hair, no tat­toos, no pierc­ings. We found ex­tras that ticked all the right boxes and then we brought them to “Synth School”. We have a move­ment di­rec­tor [ Dan O’Neill] who de­vel­oped the ways of mov­ing, and it’s all about econ­omy of move­ment. They don’t ges­tic­u­late, the pos­ture’s dif­fer­ent... Re­ally sub­tle stuff. It’s just not as easy as say­ing, “Stand still, do noth­ing.” They have to have that dis­ci­pline, to be able to move el­e­gantly, to take di­rec­tion. There were some good ones and some not- so- good ones!

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