The Last of Us season two finale was not last time viewers will see Bella Ramsey.
Following the suspenseful end of the May 25 episode “Convergence”, where Ellie’s destiny was left unresolved as the show focused on Kaitlyn Dever‘s Abby in the days preceding their significant encounter, the 21-year-old actress clarified whether her character would reappear for the HBO series’ third season.
In a recent conversation with Variety, I shared my anticipation without having a glance at any scripts yet. I believe I’ll be part of the project, but not necessarily in a major role.
As a lifestyle enthusiast, I’m hinting at a probable change in Ellie’s screen time to allow for a more focused narrative on Abby. While I have a general sense of what’s coming up, I’m afraid I can’t reveal the specifics just yet.
Co-creators Craig Mazin and Neil Druckmann have indeed affirmed that the character of Ramsey will reappear, but they haven’t disclosed yet in what role he might be appearing.
Mazin expressed at a May 23 press conference, as reported by the outlet, that “We’re not done with Kaitlyn Dever yet,” and similarly, “We won’t see the end of Bella Ramsey.
Indeed, the creator hinted that audiences might not have bid farewell to Dina (portrayed by Isabela Merced) completely, along with other characters who are presently deceased in the narrative.
Druckmann, a co-creator of the “The Last of Us” video games that serve as the basis for this show, commented, “Whether they’ll appear on screen or not, their influence will be felt all through.
Indeed, it could involve Pedro Pascal’s character, Joel, who met his demise at the hands of Abby during the second episode of season two. This tragic event set Ellie on a relentless path seeking vengeance, marked by bloodshed.
Druckmann mentioned that he wouldn’t have anticipated including a story about Joel’s father in the current season beforehand. As it turns out, this is exactly what happened, and it was featured in the sixth episode. It just goes to show how unpredictable creative processes can be.
For more secrets about the making of The Last of Us, read on…
According to production designer John Paino, speaking to TopMob News, the game served as the inspiration, specifically the 2013 PlayStation title that HBO’s The Last of Us is based on. He mentioned that the concept art for the game had a cinematic feel, with an emphasis on setting, lighting, and realism.
Although the scene appeared movie-like, it was indeed a game. Paul Healy, the set decorator known as Paino, along with hundreds of other craftspeople, were tasked with constructing tangible depictions of the game’s battlegrounds: The slightly futuristic yet nostalgic 2003, and a time-frozen rendition of that same year, two decades after life as we knew it disintegrated.
Paino clarified, “The main hurdle was adapting to working in an authentic, real-world setting. We’re creating a period drama set against a backdrop of a post-apocalyptic world, which adds another layer of complexity as it’s not just about the storyline, but also the people involved.
The production in Calgary began in July 2021, and according to him, the city was “put to good use” for various purposes. However, he added that “no location was immune to the attention of the art department or renovations.” Additionally, he mentioned that “nearly everything has been overlooked for two decades,” so even if an area looked suitable for filming, they would need to alter anything that appeared too modern, such as electronic parking meters.
The first time Paino interacted with the producers, he displayed collages that, as he put it, “symbolized the game for me.” A specific group of pictures stood out: Chairs from a Hong Kong eatery, broken and abandoned yet still in use due to DIY repairs like traffic cones supporting them or wooden replacements for missing legs.
After two decades without anything, Piano pondered, “How do people manage to live?” He mused. “How do they make ends meet? I will display this image to convey the concept of desolation and ingenuity – that blend of despair and hope.
According to Paino, series co-creator Craig Mazin found those images to be exceptional, and from that moment, they were all set to proceed with enthusiasm.
Credit goes to the visual effects team, led by Alex Wang, for creating those breathtaking, lifelike cityscapes that underscore the severity of the destruction. However, in reality, everything the actors interacted with at a closer range was actually present.
He explained, “As they exit the QZ, everything around them appears constructed, all sculpted.” Walking through this, we then pull back to reveal it’s a computer-generated environment. Our general approach was to elevate our set design by 20 feet above ground level and dress everything surrounding them. Unlike what you might think, they weren’t simply walking through green screen stages.
As a lifestyle connoisseur, I must commend the creators of “The Last of Us” for their unique approach to visual storytelling in a post-apocalyptic setting. Despite the series being set in a world devastated by a cordyceps plague, transforming its inhabitants into terrifying clickers with onion-like heads, the color palette they’ve chosen is far from gloomy or dreary. Instead, it’s a testament to the human spirit’s resilience and the beauty that can still be found amidst adversity.
Inside the Boston quarantine area, a sea of red brick is interspersed with bursts of blue and yellow, whereas beyond the QZ, nature has been actively reclaiming its territory. It’s covered the structures in vines (artistically crafted by hand) and various lush, vibrant greenery.
“I never wanted it to feel like a Dutch painting, where everything was brown,” Paino quipped.
For Ellie, a girl who had never ventured beyond the Quarantine Zone until she embarked on her journey with Joel (Pedro Pascal) and Tess (Anna Torv), everything seemed a bit more vibrant to her due to her new perspective. The eerie clickers provided splashes of color, and even “harmless fungus” became part of the landscape, giving some walls a leathery, plant-like appearance.
Intricate white card models proved to be incredibly useful, according to the production designer. (Indeed, this entire universe is replicated on a smaller scale as well.)
According to Paino, we had an extraordinary individual skilled in creating models. Among all his works, the one that stood out for him was the large-scale model from episode five titled “Endure and Survive,” particularly the part where the clickers emerged from the ground. He mentioned that the entire sequence involved a significant amount of coordination for stunts.
Movements specialist Terry Notary organized a training session aimed at preparing the extras to convincingly depict a swarm of infected individuals.
In the role of Jackson, Wyoming, the town of Canmore served as a stand-in for where Joel’s brother Tommy (played by Gabriel Luna) resided comfortably within a secure, luxurious commune, complete with modern conveniences like electricity and movie nights, surrounded by protective walls.
Paino mentioned that we constructed part of the walls and significantly renovated many facades. However, what truly delighted him about that project was the creation of a paddock right in the heart of a parking area.
He exclaimed, “It was absolutely delightful to spend time in that spacious area with animals!” They had a couple of cows, some sheep, and even horses. The team responsible for the scene’s design did an outstanding job.
In episode seven, titled “Left Behind,” Paino particularly enjoyed the setting where Ellie and her best friend Riley (Storm Reid) initially had an exceptional evening. However, the unsettling reality that no place is completely secure made a disturbing appearance.
According to the designer, the Northland Village Mall in Calgary was “fated to become,” as he put it. Originally slated for demolition, we were fortunate to discover it. Every facade within it was rebuilt from scratch. All signage, unwanted items, vines, and even a merry-go-round were carefully brought in.
The decorators hunted down various items that might have been displayed in a Victoria’s Secret window back in 2003, costumes suitable for a Halloween shop, the limited assortment of American Girl dolls sold at their specialty store during that time, and so forth.
In the narrative, Paino pointed out that every brand name, whether it was a storefront in the mall, an old Arby’s in Kansas City with “Matchstick Men” and “Underworld” on its marquee, or a restaurant sign stating “We accept Mastercard,” were distinctly part of the story. Interestingly, the video game lacked any licensed products.
At Northland Village, the rental company transported and reconstructed the carousel with a western motif, which Ellie and Riley enjoyed a ride on, which was originally situated at the Spruce Meadows amusement park in Calgary.
They added reflective panels to the center of the ride to add to the surreality of the experience.
Regarding Raja’s Arcade, which is inspired by a game, Paino remarked, “Growing up in the ’70s, I spent plenty of time in an arcade at the mall, so it was quite natural for me.
I had a blast setting up those vibrant neon lights,” I shared, “and we managed to score an authentic ’70s carpet adorned with that iconic Zippy satellite design. To top it off, we dug out some timeless classics – Tetris, Frogger, and even Mortal Kombat – for the games section.
He mentioned that some of those could be rented, but he and his team constructed many of them, and they proved effective. However, the old CRT monitors used in video games from two decades ago appeared pixelated on camera, so they decided to swap them out for clearer flat LED screens for better visual representation of the action.
“That was a lot of fun,” he reflected. “I loved that set.”
In second place among Paino’s preferred locations was the town where Nick Offerman (Bill) was contentedly residing all by himself, until Murray Bartlett (Frank) arrived in 2007 and turned things upside down. Even though Frank had only been mentioned in passing, the heartrending love story that was crafted for the series added a unique kind of sorrow to the narrative as it veered away from Joel and Ellie’s adventure.
They had limited time to prepare everything, from arranging the vegetation to shaping the Civil War statue, as Paino explained. I believe we worked right up until very late the night prior to filming.
According to Paino, Bill’s house had a strong resemblance to his mother’s, as it was more like a place she owned, being wealthy and maintaining it almost like an untouched museum. This describes the vintage aesthetic that characterizes the interior design when we are initially introduced to the gruff survivalist.
Upon arriving, Frank pondered, “Alright, so what’s the plan now?” He thought to himself. “I’ll head to Target to buy some paint.
Though the quaint village might empty out swiftly, it’s got a Home Depot standing tall. Paino suggested, “Pop over to Michaels, do some painting, hang those pictures up, inject some vitality and flowers!” He found that quite a charming touch in the storytelling.
After sixteen years as one, Frank’s artwork adorns every wall in what is now our shared home, leaving us in tears.
In episode 5, some of Sam’s sketches were actually created by actor Keivonn Montreal Woodard, who portrays the tragic character, while the majority of them were produced by the art department, following the game as their blueprint.
In their tale, while the dismal conclusion persisted, the heartwarming moment when big brother Henry (Lamar Johnson) adorned Sam’s face with a bit of paint in a heroic fashion to lift his spirits was a fresh addition to their narrative.
Mazin possibly called episode 8 (“When We Are in Need”) their “frigid episode,” however, the crew experienced numerous frigid episodes while filming at Waterton Lakes National Park. During winter, as Paino pointed out, “there’s hardly anyone there,” and the snow can reach an astonishing nine feet deep.
During their exploration in Waterton, the location where Ellie encountered David’s (Scott Shepherd) cannibal cult, Paino recollected, “We ascended a hill and everyone was sent tumbling.” He had been on site for 16 months. “No special effects were necessary to knock us down; we simply flew,” he said. “But it’s an incredibly breathtaking spot.
In the season finale of “Look for the Light,” just as the sheep and horses seen in a former playground were authentic, so too were the giraffes seemingly grazing. However, instead of transporting the set to them, the production team had to travel to their location.
Paino remarked, “The setup was masterfully done.” As Joel and Ellie traverse a construction site, which had been modified in downtown Calgary, they ascend a set of stairs constructed on stage. The giraffes’ enclosure at the zoo boasted a balcony where keepers would feed them. Over approximately a month and a half, we gradually integrated real-world elements and green screen to match the famous scene of them scaling the dilapidated building and observing Colorado from the top.
Paino remarked with a hint of sarcasm, “It seemed like around four minutes of the episode, but it was truly mesmerizing.
Despite its grandeur, the show was also filmed quite closely, as Paino pointed out. It’s a tale centered around individuals rather than showcasing wide-scale events excessively. There aren’t many instances where we say, “” in it.
In the end, he clarified that their intention wasn’t to create sensationalism from disasters. Instead, they aimed for a more profound impact, like when Ellie searches through an empty home and discovers a sewing kit, reminding us that “this was someone’s home, this was someone’s bar.
On occasion, Paino pointed out, the intricate aspects that give The Last of Us its chilling atmosphere were scripted, while at other times they weren’t. He explained that their aim was consistently to explore that bittersweet paradox.
20 years ago, I snuck in a musty old “Be Back in 5 Minutes” sign, and amazingly enough, it’s still hanging there!
“If I ever have a screensaver,” Paino said, “I think it’ll be that.”
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2025-05-28 05:48