We talk to the cast and crew of Dune: Prophecy about HBO’s terrific new sci-fi series

As a seasoned fan of the Dune saga, I must say that the recent interviews with the creators and cast of Dune: Prophecy have left me absolutely thrilled! The passion and dedication these artists have for bringing this epic tale to life is simply breathtaking.

This coming Sunday, HBO will broadcast the premiere of a new TV show titled Dune: Prophecy, which is set within the universe of Frank Herbert’s Dune. However, you won’t find Paul Atreides in this series; it takes place 10,000 years before the events portrayed in the initial book. Instead, it unfolds amidst the aftermath of the Machine Wars, a time when humans fought against intelligent machines and barely emerged victorious. In the wake of these wars, various institutions have arisen to teach humans skills that computers once possessed. One such institution is the Bene Gesserit sisterhood, where women are trained to become human lie detectors. These sisters then serve as advisors in the halls of power alongside the leaders of the great houses. Are they dedicated to truth, or do they secretly manipulate events to favor the Sisterhood?

The series delves profoundly into that subject matter, as well as the universe of ‘Dune’, in this production. Alongside other platforms, our team at WinterIsComing had opportunities to interview various cast and crew members regarding the show. You can find their insights below (some responses omitted to prevent spoilers for upcoming episodes; we’ll share those details later).

Here’s who all we talked to, in the order we present them in this article:

• Alison Schapker is the showrunner on Dune: Prophecy. She previously worked on shows like Westworld, Lost and Altered Carbon.
• Chloe Lea plays Lila (Foundation), a young acolyte training to become a Bene Gesserit sister.
• Jade Anouka (His Dark Materials) plays Sister Theodosia, a more experienced acolyte in the sisterhood.
• Emily Watson (Breaking the Waves, Punch Drunk Love) as Valya Harkonnen, the Mother Superior of the Bene Gesserit
• Olivia Williams (Dollhouse, The Nevers) as Tula Harkonnen, Valya’s sister and a Bene Gesserit sister high in the order
• Jodhi May (Game of Thrones, The Witcher) as Empress Natalya, wife of Emperor Javicco Corrino
• Sarah-Sofie Boussnina as Princess Ynez, the first daughter of the Imperium
• Josh Heuston as Constantine Corrino, Ynez’s illegitimate brother
• Chris Mason as Keiran Atreides, the swordmaster of House Corrino and the teacher to both Ynez and Constantine
• Jordan Goldberg is the executive producer on Dune: Prophecy. He previously worked on shows and movies like Westworld, Interstellar and Inception.
• Travis Fimmel (Vikings, Raised by Wolves) as Desmond Hart, a charismatic soldier who makes inroads in the Corrino court

Without further ado, let’s get to the interviews, starting with the showrunner!

Alison Schapker (showrunner)

Q: When working on a franchise that has a well-known visual aesthetic from the movies, how did it feel to adapt to someone else’s artistic style, and at the same time, find a way to incorporate your own unique touch?

Alison Schapker stated that they were significantly impacted by…the movies and Denis Villeneuve’s world which he created, and I believe he managed to make Dune accessible for many, maintaining it as a grand spectacle while also ensuring it felt authentic and character-driven.

In a different, yet relatable way, we consider ourselves as if living 10,000 years in the past, but similar to observing films from a distance. One aspect that truly sets us apart is our lack of fixation on Arrakis. Although Arrakis holds immense power within the Imperium, as portrayed in Dune stories, it remains distant and subtly influences events from afar. This allows us to establish our story on diverse planets, offering an exciting experience for fans who have enjoyed the movies and are eager to explore new worlds they haven’t visited before. Thus, we had a blast envisioning the unique characteristics of Salusa Secundus, Lankiveil, and other intriguing planets in our universe.

That was truly enjoyable, and whenever someone raises the bar for aesthetics, it’s motivating to strive to match one’s own standards.

Question: What was your preferred element of the production design? How did you envision the primary aesthetic that you developed for the setting, considering we were not previously acquainted with any visual elements prior to it?

Alison Schapker: “When it comes to visual aesthetics, creating a show is truly a collaborative effort involving numerous talented individuals such as our production designers, directors, cinematographers, visual effects teams, and many others. I was particularly thrilled about the team we assembled for ‘Dune’ because they helped bring our unique vision to life. We were not only inspired by existing movies but also blazing our own trail on uncharted planets, depicting a time period never seen on screen before, and delving deeper into the Bene Gesserit in ways previous shows hadn’t dared. Our goal was to immerse audiences in a Dune universe they recognize, while also offering them new, unexplored territories.

I have a passion for creating worlds and making movies, and there’s nothing more satisfying than being able to work on something grand and ambitious, where I can let my imagination run wild. It’s both challenging and thrilling at the same time.

Question: Did you consider the ongoing discourse on generative AI during the planning, scripting, and filming of the show? Is there a message in your production that relates to this discussion we’re currently having about AI?

Alison Schapker: “Oh, [it was] absolutely something I was thinking about. And I had been working on Westworld prior to this, and that show is spinning its own tale about artificial intelligence. So I was very tapped into the current debates and keeping my eye on it and. And then to go from that world into a world on the other side of our conflict with artificial intelligence and to actually be dealing with fallout and ramifications and fear and suspicion and the banning of machines…and also just to know what’s in between that in the Dune universe, like a real great cost to humanity and giving up their agency like that.

Indeed, it’s quite intriguing and captivating because it seems so timely. Frank Herbert’s Dune couldn’t be more relevant as we find ourselves increasingly relying on machines, with unpredictable outcomes. It’s a thought-provoking time to ponder the consequences, and I believe Dune poses a variety of questions about our future. Thus, it was a delightful experience. My creative pursuits and daily life were in a healthy tension.

I’m curious to know more about the reason behind altering the title from “Dune: The Sisterhood” to “Dune: Prophecy.” This change could potentially indicate the future trajectory of the series.

Alison Schapker indicates that they are indeed staying true to the concept by narrating the origin story of the Bene Gesserit. Originally known as The Sisterhood, a significant source material for this endeavor is the novel “The Sisterhood of Dune” by Brian Herbert and Kevin J Anderson, along with their entire Schools trilogy. Therefore, the title “Dune: Sisterhood” seems particularly fitting.

As the series progresses, it’s not just about the Bene Gesseit, but also about this Imperium at a pivotal point, as it emerges from wars and rebuilds. We’re keen to root the story in the Bene Gesserit, but we’re also exploring the imperial family’s tale, as well as the history of Arrakis. If given the opportunity to tell more stories, we’d like to delve into other schools too.

“And I think ‘Prophecy’ is actually very much in keeping with the Sisterhood. We know that they’re going to put in motion the prophecy that leads to Paul Atreides. But I think the sort of danger of prophecy, the politicization of it, what happens when we believe in something, and what does it mean to spread ideas or have faith in ideas? So in some ways, I feel like it’s another way to say Dune: Sisterhood, but encompass a bigger part of the world in some ways.”

Could you share some insights about choosing Emily Watson and Olivia Williams, particularly regarding the concept of their on-screen sisterhood? What inspired this connection between them?

Alison Schapker: “Valya and Tula play a crucial role in our series, symbolizing its core essence. We intentionally aimed to delve into the concept of sisterhood – not just as an organization, but also as a unique familial bond. These are the Harkonnen sisters who’ve endured a harrowing past in relation to the Imperium. Our curiosity lies in understanding how they will assume control over this institution, and what transpires when an individual wields power – how does their character evolve under the sisterhood’s influence? In turn, how do they reshape it? Balancing loyalty towards the group they represent with loyalty to themselves and their family ties is another intriguing aspect we want to investigate.

Emily Watson and Olivia Williams are truly remarkable actresses who are captivating to watch. Despite never having worked together before, they have been connected for quite some time. It’s fascinating to hear them discuss their upcoming collaboration, a moment that fills me with excitement and gratitude, knowing it will undoubtedly enrich the show. I believe their unique chemistry is pure magic, as they bring these characters to life.

Chloe Lea (Lila) and Jade Anouka (Theodosia)

As for my experience, I was eager to learn about the Bene Gesserit training on set. Could you share some insights into the acting decisions and techniques we were guided towards, or any coaching strategies that were particularly helpful for us?

Jade Anouka shared that our team underwent extensive physical training for the fight scenes. A fascinating aspect for me was mastering the prana-bindu, which resembles the meditative movements depicted on the cliff and in the rain. It was a rewarding experience to learn this technique, as it brought us closer together since we all had to dedicate time to perfecting it. This felt like life mirroring art, as though we were students in a school environment.

Chloe Lea: “Additionally, there were instances where we were literally being taught a lesson, which involved truth-telling and other educational content. I found myself learning an incredible amount just from the script and Emily’s teaching in class…It seemed like we were constantly learning something new each day on set, particularly during classroom scenes.

Jade: “Every day’s a school day.”

A: I’m curious to hear about your experiences portraying the anti-technology aspect in the story, as we’re approaching the world of Dune from a significantly different perspective compared to the movies. This technology seems to be quite novel and alien to the inhabitants of this world. Could you share what it was like for you to engage with that?

Chloe: “I believe the Machine Wars occurred not long ago, as they’re connected to our characters being part of the sisterhood. Therefore, the fear of technology remains relatively new.

The Sisterhood emphasizes the importance of our inner abilities and the power they hold. Instead of relying on external sources, it encourages us to harness the potential within ourselves, particularly our bodies. By learning to control our bodies at a molecular level, we can develop the ability to read people effectively. This approach leverages biology as a source of power, helping us understand human behavior and function more deeply, rather than relying on external forces.

A: I must admit, it was quite an honor to work alongside the talented Olivia Williams and Emily Watson. When we found out that we would be acting with them, there was a mix of excitement and nerves. To elevate our performance to their level, scene by scene, we focused on preparation, understanding our characters deeply, and learning from their professionalism.

Jade expressed her excitement about collaborating with Emily Watson, stating it was fortunate that both actresses were generous and willing to work closely together. Instead of maintaining formal distances, they treated each scene as a joint effort to tell their story effectively, fostering a genuine relationship on set. Jade had an amazing time working with Emily, who is simply incredible.

Chloe: “Working with Olivia made me feel more capable as an actor afterwards. You seem to need to step up your performance, and it’s those subtleties you can’t easily put into words. They come from the connection when acting together that is deeply personal. I believe I learned a lot of these nuances from Olivia, so I’m truly thankful we had the opportunity to act alongside such legends.

Jade: “I feel like we’re really lucky that we get to do lots of our scenes with these guys.”

I’ve been told that during the New York Comic Con, it was mentioned that underneath the Bene Gesserit robes, people were sporting Nike sneakers.

Chloe: “This isn’t true…We were in the most uncomfortable shoes.”

Jade: “Proper Sisterhood stuff.”

Chloe: “Flat like rock hard on the bottom.”

Jade: “Sisterhood above all. You don’t need the arches in your feet.”

Chloe: “No, you can molecularly change the shape of your feet.”

30 years back, their shoes might have been distinctly different. However, during our visit, they mostly resembled plain black cardboards, adorned with stunning and elaborate patterns at the top.

Chloe: “Yeah, they looked great. The feel side? You know, I wish we were in Nikes.”

Q: What was your favorite bit of production design?

As a movie enthusiast, I can’t help but marvel at the sets when I’m on set, even if they aren’t part of my scenes. They offer a glimpse into the grand scale of the world we’re creating. The visual effects only amplify this, providing us with an abundance of props. It’s truly amazing how the set designers and visual artists enrich our production, making it appear even more expansive than it seems in person. I believe this is a remarkable aspect that simplifies our work and certainly adds depth for me. It also invites the audience to appreciate just how vast this world really is.

A: Indeed, Chloe, it seems like you’re referring to my relatively new status as an actor, and that this might be my second significant science fiction production. I was wondering if there were any similarities or differences between my experience on Foundation and Dune: Prophecy, given our shared genre. Could you please elaborate more on what specific aspects from Foundation you believe could have carried over to Dune: Prophecy?

Chloe: “Both Foundation and Dune: Prophecy share a similarity as they are fundamental elements in the science fiction genre, often recognized for their significant contributions to the field. Consequently, my method for Foundation was to embrace the enormity of its world without being overwhelmed, trusting that those around me knew their roles, and seeking help when necessary. As a relatively inexperienced actor, I found myself learning something new every day on Dune: Prophecy’s set, feeling fortunate to be surrounded by knowledgeable individuals both about the Dune universe and the art of acting. In essence, while there were many differences between the two productions, there were also several transferable skills, and I made wonderful friends on both projects, which was a pleasant experience.

As a movie reviewer, I found the atmosphere on the set of this remarkable production to be distinctively invigorating. Given the significant number of women involved, it created an environment that was not only diverse but also fostered a unique energy. This dynamic deviated somewhat from what I might typically encounter on other projects, offering a refreshing and enlightening perspective throughout filming.

“This experience was entirely new for me, as I found myself surrounded by an unusually high number of women both in front of and behind the camera. The leading roles were filled by women, and even the supporting artists were exclusively female. It felt like there was a palpable surge of feminine energy on set, making it an incredibly enjoyable atmosphere. We had a blast, truly we did!

Chloe: “I found that people often react with the typical assumption,’But you didn’t get along, right?’ But I adored every moment of it, particularly working with female cast members during filming. It was truly an extraordinary experience. Sadly, it’s not common to have so many women in a show like this, and to be led by two women on such a large scale. Yes, it felt like a fantastic and fortunate opportunity.

As a fellow movie enthusiast, let me tell you, the experience was nothing short of fantastic! We kept a keen eye on one another, ensuring everyone was well taken care of. Being foreigners filming in a new country, we had an extra bond that strengthened our camaraderie. To top it off, the atmosphere on set was downright enjoyable.

Olivia Williams (Tula Harkonnen) and Emily Watson (Valya Harkonnen)

How has the experience been for you, delving into science fiction when this genre often lacks relatable representations for your group?

As a seasoned movie critic, I must say, this show is nothing short of exhilarating! It’s an absolute pleasure to be part of it. You see, Olivia and I go way back, to our days at the Royal Shakespeare Company in our twenties. And now, if we had met each other in our thirties, perhaps we would have looked at each other squarely and said, “This is a game that’s losing its charm; let’s make the most of it while we still can.” Well, here we are in our fifties, not just starring in a TV series, but leading a sci-fi one. And trust me, that’s more than thrilling!

Olivia Williams: “And a company of women.”

Emily: “We’re not portraying these women as role models for feminism. Instead, it’s more like, ‘Please, kids, don’t try this at home.’ This world is intricate and morally murky, with many questionable actions taking place.

Olivia: “While I don’t necessarily think these characters should be praised for their moral code, it’s fantastic that this sci-fi show centers around women. That much is certain. However, there are intricate and problematic aspects related to the patriarchy. To be powerful, these women seem to be separated from men, portrayed as enigmatic figures with a sense of purity, similar to nuns. They’re referred to as Reverend Mothers, which raises questions like, ‘How can we demonstrate our wisdom and power when we must hide ourselves? How can we prove our ability to wield power while distancing ourselves from men, and making them believe we can discern their lies?’

I might express it as follows: “That appears to be an effective approach for control. It’s intriguing to imagine a series depicting women wielding power within everyday society.

“I have spoken.”

One aspect of this series that particularly intrigued me is the exploration of truth. Typically, we perceive the Atreides as heroes and the Harkonnens as villains. However, in this show, we are presented with a new perspective. How did this theme resonate with you, and how did it impact your portrayal?

Emily: “Indeed, the entire narrative revolves around what appears to be a deceit, namely, the belief that our forefather was traitorously betrayed by his comrades during the Machine Wars. This falsehood, spread by the Atreides, led to our exile and disgrace. Valya’s motivation is fueled by revenge and the need to correct this lie. The Sisterhood serves as a sanctuary for her wrath and power.

Olivia: “I wonder if there’s a power that lets you declare something as the truth and those who disagree with it are silenced. It seems like truth is being used as a tool of control, especially during your election. The trouble is, the absolute truth appears to be unclear right now.

Emily: “The Sisterhood appear to be the ones who discern truth from falsehood, but in reality, they’re not always honest themselves. They manipulate their power, treating truth as a commodity and deciding who stays in power or not. The tension between rebellion and rulers is under their influence…So although they’re supposed to speak the truth, they are incredibly cunning.

Did you draw any inspiration for your character portrayals from actual individuals or political figures in the real world who may have impacted the way you acted out these roles?

Emily: “Upon being selected for our roles, we visited the National Portrait Gallery in London and took our seats before a portrait of Queen Elizabeth I and her family members involved in the bloody power struggles depicted in English history. This era was marked by a strict police state where every move was monitored. The one who controlled the story was the victor, and this sense of overwhelming power is palpable yet subtly conveyed in these portraits.

Olivia: “You’ll notice in Dune: Prophecy, the sisters are veiled yet their true emotions run deep, almost at a cellular level. Reminiscent of the Tudor court, one sister could sign both ‘I love you’ and a death sentence with the same pen. This could be your sister, cousin, enemy, or even your spouse.

I’d like to discuss with you what Chloe and Jade shared about their onset shoe experiences while wearing their Bene Gesserit costumes. It was intriguing, and it got me thinking about more than just the shoes – I’m interested in hearing your insights regarding the production design, costuming, and even the coaching and training you received as a Bene Gesserit. Additionally, I’d love to know what aspects of your performances you were aiming to portray with that character.

Emily: “Talking of shoes…”

Olivia: “Indeed, we had an early start, but unfortunately, it seems the others have the least comfortable shoes known to footwear. Remarkably, Emily succeeded in persuading us to get the most comfortable shoes ever made instead.

Emily: “They’re kind of like properly orthopedic trainers disguised as Bene Gesserit shoes.”

Olivia shared an experience where anticipation built as they prepared to put on their shoes, but a powerful teaching session from skilled fight directors stood out. A dancer and martial arts expert guided them in the prana-bindu sequence. The scene became chaotic, reminiscent of a less than perfect performance of A Chorus Line. However, there was a transformative moment when everyone moved synchronously, creating an almost subconscious energy in the room as they began to perform the prana-bindu together, both as a cast and individually. This was followed by awe as their characters watched from the sidelines while enduring heavy rain, wind, and hailstorm. It was a moment of unity for them, and we were all captivated by the dedication and perseverance of those who braved the elements to perfect this sequence.

Jodhi May (Empress Natalya Arat)

A: How did you find your way to Dune? Had you encountered this franchise before, or was this an entirely fresh experience for you?

Jodhi May shared that she watched a David Lynch film when she was quite young, leaving a deep impact on her. Naturally, she admired his recent works, finding them truly remarkable. Consequently, she felt elated and eager to join the Dune universe.

Q: What was your favorite bit of production design?

Me: I’m utterly captivated by the sets we had to work with! They are grand, cinematic masterpieces that filled me with joy every day just stepping into them. There’s a theatrical quality to them that makes acting in spaces like the throne room feel as if you’re performing for an audience. It gives us actors a chance to truly utilize the space and bring our performances to life, which I found absolutely incredible. The design was nothing short of inspiring; it reminded me of Ken Adams’ work on films like “Doctor Strangelove” and “The Last Emperor.” Those movies had set designs equally as intricate and epic as what we had here.

As a cinema enthusiast, I found the costumes in this film to be remarkably clever. They artfully explored the concept of jewelry – not just as decoration, but also as something restrictive, encasing the characters. A standout piece was the intricate birdcage-like adornment Natalia wore during her engagement ceremony, which beautifully symbolized both beauty and constraint. The exceptional craftsmanship showcased in these designs greatly contributed to my understanding of her character as an actor, making it all the more captivating on screen.

A: When acting as a character representing actual nobility, have you ever been influenced by historical figures or prefer sci-fi characters instead? And how do you mentally prepare for portraying someone who governs an entire galaxy?

Jodhi explains, “Indeed, it’s an insightful question. When considering commanding a galaxy, it can get quite abstract and hard to personalize for an actor. Our role is always to base things on reality, even when set in a science fiction universe. Emily excels at this. To make Natalya more relatable, I studied medieval queens who often held significant power behind the throne. They had to navigate a world where men were kings, but frequently it was the queens or wives who raised armies by selling their jewels, collected taxes, or expanded territories. This research helped me ground Natalya in reality.

A: Were you influenced in your performance by Villeneuve’s films, or did you draw inspiration solely from the books themselves?

In Jodhi’s words: “The books and Villeneuve’s films have a remarkable feeling of magic, mysticism, and mystery. Alison and I often discussed this, and she believed that Natalia’s world was deeply rooted in these elements. This understanding influenced her reliance on intuition, something very human or perhaps even rudimentary, to express it directly. Additionally, she harbored a strong suspicion towards thinking machines, which might be likened to the modern-day fear of AI. Indeed, I drew significant inspiration from the films. Some of my favorite scenes are those set in the desert, where there’s an almost spiritual and instinctive return, making the film feel enchanting for me.

In my view, Frank Herbert profoundly conveys a deep trust in nature, something he consistently encourages us to remember. Essentially, his work invites us to embrace this natural trust. He’s urging us to cease exploiting and damaging our environment, and I believe Natalya embodies that very message.

Q: What do you think about the way the show’s themes dovetail with our current discussion of AI?

Jodhi: “I truly appreciate how this concept is being delved into. It’s quite relevant to our current times, almost prophetic. Philip K. Dick touched upon similar ideas, but the resonance it has with our modern social upheaval and its daily implications make it feel strikingly contemporary. It doesn’t feel distant or abstract; it feels immediate. I share Natalya’s perspective on this, and I believe the books were exceptionally forward-thinking. He was discussing issues about artificial intelligence and the loss of human autonomy long before they became mainstream concerns.

In the beginning episodes, it seems like the royal family is facing difficulties. Since your characters possess immense power yet struggle, how do you and the cast collaborate to portray these roles effectively?

In response to your question, “When I considered the show, it reminded me of the Romanov dynasty in Russia, a family with an influential figure like Rasputin who took control, despite being problematic. This family, although perhaps dysfunctional or struggling to survive, offers an intriguing perspective on power dynamics. To put it simply, I drew parallels between the show’s royal family and pre-revolutionary Russia’s Romanovs, finding them utterly captivating. I believe there are hints of this historical parallel in the show that make it so compelling.

Sarah-Sofie Boussnina (Princess Ynez), Josh Heuston (Constantine Corrino) and Chris Mason (Keiran Atreides)

A: By creating our characters, we were able to reveal an unexplored corner of the Dune universe in the film – a place called the club, which I believe has never been depicted on screen before. What was it like delving into this uncharted territory within this universe?

“Regarding the spice den set, it’s incredibly immersive because it replicates the atmosphere of a bustling bar or nightclub. Every detail, from the intricate designs on the seats and walls to the well-stocked bar and props, pulls you in. It’s challenging to envision this setting when you only read about it in a script, but our set designers and creatives truly excelled themselves. They managed to capture the desired ambiance in some scenes, making it feel like an authentic experience. When you walked through, it felt as if you were really there.

Absolutely correct! Plus, I must add that the music made it even more fantastic. We’re all eagerly longing for a chance to visit there in reality.

“I believe this place is like a hidden sanctuary where the characters can truly be themselves. My characters share several significant scenes here, and it seems that Constantine visits whenever possible.

Chris: “Let your hair down, isn’t it? You know, there’s the rich mixing with the poor…”

Sarah-Sofie: “It seems almost like a secret hideout where you can freely enjoy yourself without others gossiping or revealing your presence.

Chris: “There’s no social media there.”

Sarah-Sofie: “Yeah, it’s just whatever happens in the club stays in the club.”

Could you explain how the objectives and paths of your characters might collide or align with Valya and the Sisterhood’s stories?

Sarah-Sofie: “Is there something I can hint at? I prefer to keep secrets for now. However, it’s clear they share some future plans, so let’s stay tuned and find out later.

Is there anyone from Earth’s history, whether from the past or the present, whom you can think of that has inspired you to imagine what it would be like to hold a position of power similar to mine?

Sarah-Sofie: “Yes, I delved into the experience of being born into royal families, living a restricted life, and handling all that comes along with it. I also explored how tradition significantly influences every royal family. Furthermore, I focused on particular royals specifically.

Josh: “Absolutely, Prince Harry and the book ‘Despair.’ I often refer to him as Prince Hal due to his seemingly rowdy personality…I suppose royal families in general have a tendency to present one face in public while we see another side, perhaps captured by paparazzi when they’re not on their best behavior.

Sarah-Sofie: “It’s quite intricate, as since childhood, they’ve been taught etiquette and traditions, and expected to maintain a professional demeanor in public and at formal functions. However, there’s much more to it than that. There’s also a less appealing aspect – the isolation, having few or no genuine friends. Constantine and Ynez only have each other due to their unique lifestyle, which holds significance for strangers. This makes it difficult for them to trust those around them, as they might seek advantage because of their status. Moreover, I imagine it must be incredibly lonely, so their mutual reliance on each other makes them extremely protective.

Chris: “In my capacity as a sword master, I delved into samurai teachings and even attended some lessons in Japanese Hapkido to observe the coaching style and the Sensei’s approach, which provided me with a solid grasp of the required discipline for this type of work. However, I didn’t focus much on the royal aspect, I presume.

A: Could you share with me the part of the set design that stood out most to you during production, or perhaps a small detail that might not have been noticeable on-screen but was significant to you personally?

Chris: “Have you ever noticed the Solaris banknotes? They are small rectangles with intricate detail on both sides and a noticeable weight. The props team did an excellent job, creating items that not only look authentic but can also be used practically. I found that one particularly interesting.

Sarah-Sofie: “The space car we take to the club is something I adore. I found it pretty awesome. Additionally, I recently checked out Princess Inez’s bedroom. It has a tiny spice bar…It makes me imagine conversations between Inez and Constantine, perhaps while they’re tipsy…I believe that room is my favorite.

Josh: “The baliset was mine, and it was my most cherished composition. It even featured a sliding mechanism that allowed for varied tones.

Sarah-Sofie: “It’s so cool, you learned how to play it.”

Josh: “Which was fun, learning how to play that. We did a few lessons.”

Chris: “And he’s gonna play for you all right now. All right, Josh.”

Josh: “Give me one second.”

Sophie: “Yeah, that’s so cool.”

Travis Fimmel (Desmond Hart) and Jordan Goldberg (showrunner)

A: Hey Travis, you’ve portrayed both heroes and villains in the past, and you’re known for being so friendly. How do you manage to play characters who are unlikeable despite their charm and charisma?

Travis Fimmel: “It’s entertaining. He has numerous mental struggles. He’s a deeply troubled individual, and he believes his actions are justified…he doesn’t yearn for robbing a bank or engaging in high-speed chases with police officers. I enjoy portraying the villain.

A: I’m happy to discuss the future aspects of the series. How developed is this show? Is it intended to run over multiple seasons? And as for Travis, do you have any idea about how long his role might continue in the show?

Travis: “I wonder if they’ll be patient with me. I’m crossing my fingers that we’ll film season 3 in Australia. I don’t know what the plans are for the series.

In Episode 6, you’ll discover some truths that have a lot of room for further exploration. The world created by Frank Herbert, and subsequently Brian Herbert and Kevin J Anderson in their new books, is vast and intricate. Our characters are richly layered, offering numerous opportunities to delve deeper into their choices, histories, and motivations. I’m hoping we can continue this journey as long as possible, given that our series is titled Dune: Prophecy, suggesting there’s much more to come about the events 10,000 years later involving Paul Atreides.

Travis: “This really is a period pace, isn’t it?”

Jordan: “It’s a futuristic period piece.”

Could you share what element of the production design stood out most to you, whether it was a prominent feature or a subtle detail that particularly caught your eye?

Travis exclaimed: “Jordan will comment on the dresses. The CGI, in particular, left me astounded. Upon watching the trailer, I was captivated by the world that was brought to life from the book and the numerous visuals being crafted, along with the intricate details. There are these enormous sets alongside tiny details that the camera catches. Our team was exceptional, ranging from makeup artists to wardrobe stylists to set designers to carpenters. I’d say catering was my personal favorite.

Jordan: “In my opinion, the two most striking aspects were the library within the Sisterhood and the throne room within the palace. The dimensions on screen are nearly identical in reality, they’re enormous! Our production designer, Tom Meyer, filled them with intricate details that make you feel like you’ve stepped right into the scene. When you’re inside these rooms, it’s as if you’ve been transported to another time.

Travis: “I need all the help I can get.”

Have you ever considered altering the visual aesthetic to convey that it takes place 10,000 years prior to Dune, or was your intention always to maintain a similar appearance as the Dune we are familiar with?

In a playful manner, Jordan poses an intriguing question: “Imagine if we were discussing the possibility that technology might look like today in 10,000 years. For us, the Holtzman technology serves as a fascinating example. This tech, popularized in films and books, is simply captivating, and we’ve found it exciting to incorporate it into our world. We’ve expanded its applications beyond just the shields, using it to power our hovercrafts, a prison system where people are levitated with Holtzman belts, and even wheelchairs that are levitated by this technology. It’s all about exploring how these key technologies could spread throughout our universe.

How did it feel to delve deeper into the computer-averse aspect of Dune, where characters are still struggling with their reliance on thinking devices?

Travis: “We discussed this in our previous interview: if everyone’s phone suddenly disappeared today, it would create such chaos worldwide. Our society has become so reliant on phones and thinking machines. [To Jordan] I’m giving you a setup for your response.

“One intriguing aspect of our series explores what happens when people are disconnected from technology. It leads to a pause in progress, and it’s fascinating to observe how humanity responds. Various groups, such as the Sisterhood, step forward during this turmoil to shape the future direction of human evolution. Simultaneously, there arises a demand for power, a realization that humanity requires a roadmap. The question of who is setting this course forms a significant part of our narrative. If we’ve been under technological control for thousands of years and suddenly lose it, this could be one potential future.

Travis: “Yeah, you gotta think for yourself. You can’t just Google it.”

As a devoted cinephile, I found crafting Desmond Hart to be an intriguing and captivating process. To answer your question, Desmond Hart is a unique character within the Dune universe who embodies an enigmatic, otherworldly presence.

Travis:“I believe that for someone to inflict such cruelty and cause great suffering, they must carry a tremendous amount of personal pain. They were deeply wronged and harbor intense self-hatred. Essentially, they’re seeking retribution from those they think have wronged them.

“Jordan seems to suggest that Desmond Hart embodies a figure reminiscent of a messiah in Dune. It appears there’s strong indication that he encountered a potentially deadly situation on Arrakis, and if he did survive, it would be quite remarkable. However, the question remains: can we trust this survival? Furthermore, where does Desmond stand morally? The appeal of Dune lies in its moral complexity. Desmond is portrayed as an adversary, but could there be a protagonist hidden within him? Is what he says about the Bene Gesserit or the Sisterhood accurate? These questions make it intriguing, just like Paul Atreides was. When Jordan first read the original Dune book, he found it captivating that Frank Herbert essentially flipped the hero’s journey on its head. And now, we have the opportunity to do the same with Desmond Hart.

Q: Jordan, did you apply any lesson from your previous genre projects to Dune: Prophecy?

As a film enthusiast, I realized that when creating a show that includes grand spectacle, it can lose its charm if the characters lack depth and goals we can connect with. When my team and I began crafting the stories for our project, we decided to delve deeply into character development. Our aim was to create a multi-layered character study, exploring various characters from diverse angles. By doing so, I believe we’ve managed to keep the show engaging and dynamic, offering different viewpoints and perspectives that keep the narrative fresh and captivating.

“Case in point: The story is about our Harkonnen family. You know, everyone has this notion about why the Harkonnens are so evil, or just that they’re evil. But we’re telling a story of ‘it’s not what it seems to be.’ Valya Harkonnen seems hardcore and Desmond Hart thinks that she’s out there to control the universe, but [we] show her as a younger person too and about the ambitions and where those came from and how her grief factors into all that stuff. The key to making those things work is that they could be epic, but they gotta be intimate, and they gotta be deep. And I think that we’ve done that with the show as well.”

Dune: Prophecy premieres on HBO and Max on Sunday, November 17.

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2024-11-11 18:44