I think we could talk forever about the number of people in scenes, because you could only have a certain number of people in rooms for instance. It was a show shot during a global pandemic.
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That is probably the thing that I’m proudest of our creative teams really knocked it out of the park and went the extra mile to make sure that it doesn’t look like a show that was shot during a global pandemic. I love that you say that you can’t notice it. You can’t tell any of it in watching the show, but how challenging was that for you when you were putting the show together? I wanted to ask, I know the production was impacted by COVID and Henry’s injury. And this season we just got to actually play a little bit more in stories. We had made sure that everyone knew who the players were, what a Witcher was, what a mage was, where the kingdoms were, what the politics were, what the different races were. We really delved deeper into characters, I think, which sounds a little cliche, like that’s what we should be doing, but I think it was because the chess board was really set at the end of Season 1. So that just changed everything in terms of writing. They’re all living and existing at the same time. It was obviously much, much easier because everyone was on the same timeline. I think one of the things that we had the luxury of doing in Season 2 that we didn’t in Season 1 is seeing all eight episodes as one giant story split over eight hours, as opposed to Season 1 felt a lot more like small adventures that we had to then thread together with a narrative through line. Were there any practical lessons you learned in the making of Season 1 or even the writing that you applied to constructing Season 2? The other thing that I knew that we wanted to do was go to Kaer Morhen, obviously. They each had to have a want from that partnership, that of course isn’t going to quite work out the way that they expected.
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I also wanted to make sure that when they got together, they were each coming in with slightly separate agendas. It’s really the promise of family that I’ve talked about since the beginning of the series. We had spent all of Season 1 getting to know Geralt, Ciri and Yen in their own spheres, in their own jobs, intersecting them occasionally, but never having it last. Lauren Schmidt Hissrich: So we started Season 2 obviously looking at “Blood of Elves,” which is the book that this season is based on, but knowing that we wanted to end up with our family being in the same place. Going back to beginning of the writers room for Season 2, what were the goal posts that you wanted to hit in this season? ‘The Witcher’: Freya Allan on Finally Working With Henry Cavill in Season 2, More Fighting in Season 3 (Video)