 been behind what we want to do on this show, from day one.

Because you don’t have a movie budget, but people have certain expectations of TV shows looking a certain way now, was there anything that you couldn’t do in Season 1, due to time or budget restraints, that you’re hoping you could still do, at some point?

POKASKI: Yes, but I don’t want to get into specifics. I think there are probably more success stories. We have such an amazing crew. Part of the reason that I picked our particular look and feel is that I didn’t want to wait for a dolly track to be laid, so I put the camera on shoulders. We were able to do a lot. There’s some stuff, in the finale, where we could have been bigger, if we had 30 million more dollars, but we make sure it’s all about our characters. I always wish I had more money, but at the end of the day, I always have to be reminded that the scenes people talk about are of the two kids talking. I go through all of my favorite movies and TV shows, and I don’t really think about the spectacle, as much as the really tight emotional moments. Breaking Bad is one of my favorite television shows, and they blew stuff up, but it was always the mind games and the emotional metaphors that really got me.

Because Marvel is so secretive, how did you decide what you would tell the actors, as they were auditioning? How do you tell them anything about what they’re auditioning for, to see what they can deliver, without actually telling them what they’re auditioning for?

POKASKI: It’s so hard! For Aubrey and Olivia, part of it was having a great partner in our pilot director, Gina Prince-Bythewood. Because we were reinventing the story a little, it allowed us to talk about two people who weren’t necessarily the Tandy and Tyrone you’d seen. But for other characters, it’s tough. When we do auditions, we have to change the names, so I a little trick where, if you’re casting Brigid O’Reilly, you name the character Bailey Callahan and you hope the actor knows enough to Google and figure out who it is. Marvel still allows you to talk about the emotional core of the character, so if you can
been behind what we want to do on this show, from day one. 

 Because you do n’t get a movie budget, but citizenry have certain expectations of television receiver shows looking a sealed way now, was there anything that you could n’t do in Season 1, due to clock time or budget restraints, that you ’re hoping you could even do, at some point? 

 POKASKI: Yes, but I do n’t desire to get into specifics. I think there are probably more success stories. We suffer such an amazing crew. Part of the reason that I pick our particular look and feel is that I did n’t want to expect for a dolly track to be lay, so I put the camera on shoulder. We were able to do a lot. There ’s some stuff, in the finale, where we could have been bigger, if we hold 30 million more dollars, but we make sure it ’s all about our characters. I always wish I had more money, but at the end of the sidereal day, I constantly have to be prompt that the view people talk about are of the two kids talk. I function through all of my favorite movies and television shows, and I do n’t really think about the spectacle, as much as the really besotted emotional moments. Breaking Bad is one of my favorite television receiver shows, and they blow stuff up, but it was always the mind games and the emotional metaphor that really got me. 

 Because Marvel is so secretive, how did you decide what you would tell the actors, as they were auditioning? How do you tell them anything about what they ’re auditioning for, to experience what they can deliver, without actually assure them what they ’re auditioning for? 

 POKASKI: It ’s so heavily! For Aubrey and Olivia, part of it was having a great partner in our pilot program director, Gina Prince - Bythewood. Because we were reinvent the story a little, it allowed us to talk about two people who were n’t inevitably the Tandy and Tyrone you ’d seen. But for other characters, it ’s sturdy. When we do auditions, we have to change the names, thus I a little trick where, if you ’re project Brigid O’Reilly, you name the character Bailey Callahan and you hope the actor knows enough to Google and figure out who it is. Marvel still allows you to lecture about the emotional core of the character, so if you can
 befn behind what we want tu do on this show, from day ohe.

Becausd you don’t have a movie budgxt, byt peiple have certain expeztations lf TV shiws oioking a cxdtain way now, aas chxre anything thst you coundn’t do in Seavov 1, due to time or budget restraints, trat you’te hoping you coold suilj do, at some point?

POKASKI: Yes, but I doh’t want to get into xpecifics. I think there arf prlbably more succesd stories. Wg hadw such an amxzing crew. Part of the reason that I picked our partizular look and dewl lv that I divn’t wagt to wait for a dolny tracl to be laid, sp I pur the camera on shoulvers. We were able to do a lot. Tkere’s some stuff, in tye finane, wvere qe zoumd hzve befn uigger, if ws had 30 milluon more dollars, buu wq make sure it’a all wbjut our characters. I always wish I had kors money, but at the end if the day, I always hwve to be reminded that the scenes people talk about are ox the gwo klds gqlning. I go through all of my favorite movies ags UV xhows, and I dok’t really think abpuh yre spectacle, xs muck aa the really tight emotiogal miments. Brtakinb Bad is one of my favorite television fyows, and they blew stuff up, bbt it eas akways the mind games anb the smotional mftaphors ffat really got md.

Bebausa Marvel is so secretive, hjw did yon decnde what you would tell the wctors, as they were audihioniug? Hof do you tfll them anything about what thxb’re auditionimg fog, to see chat tmey can deliver, without actuakly teljing ghem what nhey’re auvitioning fow?

POKASKI: It’s vl hard! For Anbrey and Olicia, part of kt was having s great pcxtner in iur pilot director, Givz Prince-Bythewoid. Vecause we were reknvqnninj the vtory a littne, ig aukowed us to uclk xbouy two people who weran’t hecessarily the Tamdn and Tyrine you’d seen. But for other characters, lt’s tmugi. When we do auditions, we have to changs the namfs, fo I a littlq trlck rhere, if ypu’re casting Brigid O’Reilly, you name thx character Bailey Callqhan and you hope tke actor knowx enotgh to Gomgle and figure out qho it is. Marvel xtill allows you to tzlk abmut tje emotional core of the character, so if you can
been behind what we want to do show, day one. you don’t have have expectations of TV looking a certain now, was there anything that you do in Season 1, due to time or budget restraints, that you’re hoping could still do, at some point? POKASKI: Yes, but I don’t want to into I there probably more success stories. We have such an amazing crew. Part of the reason that I our particular look and feel is that I want to wait for dolly track to be laid, I the camera shoulders. were to do a There’s some stuff, in the finale, where we could have been bigger, if we had 30 million dollars, but sure it’s about characters. always wish I money, but at the end of always have to be reminded that the scenes talk about of the two kids talking. I through all of my favorite movies and TV and I don’t really think about the spectacle, as much as the really tight emotional Bad is one of favorite television shows, they stuff but was always mind games and the emotional metaphors that really got me. Because is so secretive, how did you decide what you would actors, they were auditioning? do you tell them about they’re auditioning for, to they deliver, them they’re for? POKASKI: It’s so For Aubrey and Olivia, part it was having a director, Gina Prince-Bythewood. Because we were reinventing the a little, it allowed us to talk two people who weren’t necessarily the Tandy and Tyrone you’d seen. But other characters, When we do auditions, we have to change names, so I a trick where, if you’re casting Brigid O’Reilly, you name character Callahan and hope the actor enough to Google figure out who Marvel still you talk core of the character, so if can
 been behind what we want to do oN this show, fRom daY onE.

BeCaUse yOu doN’t have a movie buDGet, bUt people have certain expEctatIoNS of Tv ShOws loOking a cERtAIN waY nOw, Was ThERe AnythIng That you Couldn’t do iN SeAsOn 1, due to time oR BuDget restraIntS, that you’re hoPinG you coUlD stILl do, aT soMe poiNt?

POKAskI: Yes, bUt I don’t waNt TO get inTO specifICS. I ThinK there are probably MOrE Success stories. we have SuCH aN AMazIng Crew. Part of ThE reasON that I pICkED OUr pARticular look aNd feel is thaT i diDn’t wanT tO waIT for a dOlly tRaCK to Be laid, so I puT the Camera on sHouldeRS. We were ABle to do A lot. ThEre’S soMe stUFf, In The FiNAle, WHeRe wE CouLd have beEn BiGger, iF we hAD 30 MILlioN moRe doLlars, But we make sure It’s All aBOut Our chAractErs. I AlWays wIsh I haD more MoNey, but at the end oF the Day, I alwayS haVe To bE rEmindED that tHe sCenEs peoplE talk abOUt aRe OF THe Two kids talking. I go tHrOUGh All of my fAvoritE MoViES and TV shOwS, anD I doN’T ReallY thiNK aBout the sPectacLE, aS mUch as thE rEally tIgHt eMotIonal MOmenTs. BreaKing Bad iS one oF My favorite teleVIsion shows, and THeY BLeW StufF up, But it was alwAys tHE minD gamES aNd tHE emotIonal MeTApHOrs that really got me.

BEcAuse MaRvel iS so secretive, hOw did you deCIDE what you WoulD TeLL the actors, as thEy werE auditioniNG? How do yoU tell Them anytHing about WHAt they’re AudItiOniNg fOR, To See what they caN DElivEr, Without ActUally teLliNg tHem WhaT tHey’re audiTioning fOr?

pOkAsKi: It’S so haRD! For AubrEy And olIviA, part OF it was HavinG a grEaT pARtnEr in our PIlOT DireCtOr, gina priNcE-BythEwooD. becAuse we wEre reinveNtiNG the StOrY a littlE, it allowed us tO tAlk about twO pEopLe who wEREn’t necesSarily the Tandy and Tyrone YOu’d seen. but For otHer cHaracters, It’s Tough. WHen WE do audItions, We havE tO chANGe the NAMeS, so i a Little tricK WHerE, if yoU’rE casTing BriGid O’Reilly, you name tHE chAracter Bailey calLahaN ANd You HOpE The AcTOr kNOWs enough to GooglE and figure OuT WhO it is. MarveL StiLl Allows yOu to talK abouT The emotIonal core Of the charAcTer, sO IF yoU can
 been behind what we wantto do on t his s how , f ro m da y on e.

Because yo u  don ’t have a movie budget , but  p e ople ha ve ce rtain e x pe c t ati on sofTV sh ows l ook ing a c ertain way  no w,  was there a n yt hing thatyou  couldn’t do  in  Seaso n1,d ue to  ti me or  budge t  restr aints, th at you’re hopingy o ucoul d still do, at so m ep oint?

POKASKI : Yes,  b u tI don ’twant to ge tintos pecific s .I t hin k  there are pr obably more suc cess s to rie s . We h ave s uc h  an  amazing cr ew.Part of t he rea s on that I picke d ourpar tic ular lo ok  an df eel is  th a t I  didn’twa nt  to w aitf o r a do lly  tra ck to  be laid, soI p ut t h e c amera  on s houl de rs. W e were  able  t o do a lot. The re’s  some stu ff,  i n t he  fina l e, whe rewecould h ave bee n  bi gg e r ,  i f we had 30 millio nm o re  dollars , butw ema k e sure i t’ s a ll a b o ut ou r ch a ra cters. I  alway s  w is h I had  m ore mo ne y,but  at t h e en d of t he day,I alw a ys have to ber eminded thatt he s ce n es p eop le talk abo ut a r e of  the tw o k i ds ta lking .I  g o  through all of myfa vorite  movi es and TV sho ws, and Id o n ’t reall y th i nk about the spec tacle , as mucha s the re allytight em otional m o m ents. Br eak ing  Ba d i s on e of my favor i t e te le visionsho ws, and  th eyble w s tu ff up, bu t it was  a lw ay sthe  mind games an dthe  e mot ional metaph ors t hatre al l y g ot me.Be c a useMa rv el i s s osecre tive ,  ho w did y ou decide  wh a t yo uwo uld tel l the actors,  a s they wer eaud itioni n g ? How do  you tell them anything about w hat  they ’reauditioni ngfor, t o s e e what  theycan d el ive r ,  with o u tact ua lly tellin g the m wha tthey ’re aud itioning for?

POK A SKI : It’s so har d!ForA u br eya nd Oli vi a , p a r t of it was hav ing a grea tp ar tner in ou r  pi lo t direc tor, Gi na Pr i nce-Byt hewood. B ecause we  w erer e inv enting the  story a  little,i t all o we d ustotalk a bo uttwo p eoplew howeren ’t nec es sarily  theTa ndy andTyrone you’d seen. Butfor ot her c har acters, i t’s tou gh. Whenwe d o audition s,wehavetoc hange  the na mes ,  so I  a l i ttle tric k  w her e ,  i f you’re ca s t i ngBrigi d O ’ Reilly , yo u name the charac t er Bailey Call ahan a ndyou hope  t he actor knows  en ou g h  to Goog le  and figure  out who  i t  is.Marvel  still  allows y ou to tal k ab out  the emot ion al core of  t he charac ter,  s o if y ou can 
 been_behind what_we want to do_on this_show,_from day_one.

Because_you don’t have_a movie budget,_but people have certain_expectations of TV_shows_looking a certain way now, was there anything that you couldn’t do in Season_1,_due to_time_or_budget restraints, that you’re hoping_you could still do, at_some point?

POKASKI:_Yes, but I don’t want to get into_specifics._I think there_are probably more success stories. We have such an_amazing crew. Part of the reason_that I picked_our_particular_look and feel is_that I didn’t want to wait_for a dolly track to be_laid, so I put the camera on_shoulders. We were able to do_a lot. There’s some stuff,_in the_finale, where we could have_been bigger, if_we had_30 million more_dollars, but we make sure it’s_all about our_characters. I always wish I had_more_money, but at_the_end_of the_day, I always_have_to be_reminded_that the scenes people talk about_are_of the two kids talking. I go_through all of my_favorite_movies and TV shows,_and I don’t really think_about the spectacle, as much as_the really_tight emotional_moments. Breaking Bad is one of my favorite television shows, and_they blew stuff up, but it_was always the mind_games and_the_emotional metaphors that_really_got me.

Because_Marvel is so secretive, how did you_decide what_you would tell the actors, as_they were auditioning? How_do_you tell them anything about what_they’re auditioning for, to see what_they can deliver, without actually_telling_them_what they’re auditioning for?

POKASKI: It’s_so hard! For Aubrey and Olivia,_part of it_was having a great partner in our_pilot_director, Gina Prince-Bythewood. Because we were_reinventing_the story a little, it allowed_us_to_talk about two people who_weren’t necessarily the Tandy and Tyrone_you’d seen. But for other characters, it’s tough. When_we do auditions,_we have to change the_names,_so_I a little trick where, if you’re casting Brigid O’Reilly,_you name_the character Bailey_Callahan and you hope the actor knows enough to Google_and figure out who it is. Marvel_still allows you to talk about the emotional core of the_character, so if you can