Convention - SDCC 2020 : Lovecraft Country

By Mulder, 25 july 2020

Lovecraft Country is an upcoming American drama horror television series developed by Misha Green based on the 2016 novel of the same name by Matt Ruff. It is set to premiere on August 16, 2020, on HBO. The series is produced by Monkeypaw Productions, Bad Robot Productions, and Warner Bros. Television with executive producers including Jordan Peele, Green, J. J. Abrams, and Ben Stephenson.

From showrunner and executive producer Misha Green, the new drama series Lovecraft Country follows the thrilling journeys of Atticus Freeman (Jonathan Majors), his friend Letitia (Jurnee Smollett) and his Uncle George (Courtney B. Vance) across 1950s Jim Crow America as they overcome the racist terrors and terrifying monsters ripped from an H.P. Lovecraft novel. The cast members, Jurnee Smollett, Jonathan Majors, Michael Kenneth Williams, Aunjanue Ellis, Wunmi Mosaku, Abbey Lee, and Courtney B. Vance were present today at a SDCC virtual panel moderated by Sarah Rodman, executive editor of Entertainment Weekly.

Sarah Rodman : hey everybody out there i am so sad that we can't be together. uh all squeezed in in a room all sweaty and gross in san diego but this is the next best thing. We are so happy to bring you this san diego comic-con at home panel with the cast of a new hbo show that I know a lot of people are going to be talking about when it premieres august 16th. It is Lovecraft country and we are here with the cast today we have stars Jurnee Smollett, Jonathan Majors, Michael K Williams, Anjanu Ellis, Abby Lee, Wummy Mistako and Courtney B Vance thank you all so much for being here today i really really appreciate it. Thank you for having me. I would like to know who wants to volunteer to explain the premise of the show journey murphy would like me to try and do it journey smiley. It's time to do it. Jurnee go for it.

Jurnee Smollett : it is a new drama from HBO called Lovecraft country it's about a young man named Atticus who returns home after his father has gone missing and he goes on a quest to bring his father back home with his uncle George with his friend Letty Lewis i'm trying to remember the log line but really it's a show it's a a family drama. it taps into so many themes that we get to explore about who we are, who we were as a nation who we are now. We were in America in 1955. It's a show about family in search of family. Anybody else want to shine man how'd

Sarah Rodman : : that is something i wanted to talk to you all about but there's just one piece of business i want to get out of the way my very favorite thing perhaps in the pilot is you and Andrew at the very top of this pilot giving us grown-up black love that gives me so much joy .

Michel K Williams : oh yes. It was really good that was i didn't know that was fun that was a fun scene

Aunjanue Ellis : Yes that was a that was a fun sweaty Chicago summertime scene

Michel K Williams : i actually i bought that up um so. I bought that up last night with i called them journey and i said jenny you know there's really something special about the scene with with Courtney and Aajanu. I said it's the level of black love you know the spooning and when she when she looks over her shoulder with that smile and he's holding her man. There is something so beautiful about that and i agree it's just grown black love.

Jurnee Smollett : it was beautiful you guys. i literally just mentioned that last night to journey he did. it was so beautiful and both of you are.

Sarah Rodman : yes sexy and it's such a warm place to kind of it was hot Chicago. It was hot and it was hot but it's such a warm place to start the show from that goes into some pretty dark corners from there and i thought it was a really sort of good foundation to begin from and so i want to talk to Courtney journey and Jonathan for a moment about sort of the start of this journey that you were on to find Michael k's character and that Courtney and my am i right in thinking that your character is sort of writing a version of the green book essentially as theirs that is his business

Courtney B. Vance : He's a deck of all trades in that. We all have to back in the day back in the day we had to do several things to make ends meet and he does do that but it's a family affair that's part of what my wife and i are discussing in the in the midst of our black love is that uh miss Anjanu wants to go and it's an ongoing discussion that we hav about the dangers of the road but it is also you know that she is is if is as talented if not more so than i am in terms of writing these stories. It's a precursor to what is to come in terms of our relationship and also our daughter being a part of it as well so there's a whole rhythm in flow right engine. 4

Aunjanue Ellis : We maybe we should talk a little bit about what the green book was and is

Courtney B. Vance : you go ahead

Aunjanue Ellis : so the green book was this manual that was used by black folks black citizens that gave and outlined places that it was safe to go to eat safe to go vacation restaurants hotels, places that were open to them in segregationist America so our family was involved in and you know preparing that information that unfortunately black people had to have during that time so they would know where they would be safe when they would be traveling across the country so that's what the green book is

Courtney B. Vance : and that we are actually going out to help continue and to map out new areas; new territories

Sarah Rodman : and so journey your character essentially hitches a ride uh she is ready to get out of town uh for you and me maybe not the the best relationship this is the other family in the show can you talk about you all's relationship a little bit and why you decide to set up on this journey after seeing her in Chicago

Jurnee Smollett : right well lenny has just returned home after leaving home in search of her home she's traveled across the country documenting as a photographer the protest and being a part of this budding civil rights movement but you know she returns home and is very much so strange from her family didn't attend her mother's funeral and there is this animosity that this real resentment that exists between the sisters Ruby and Letty. You know Letty is very much so this disruptor this defiant woman who's trying to find her tribe and didn't find it in her home and Ruby kind of looks at me at levy as like you know and let he's tired of being looked up looked as and yet i need her. It's so hard for me to not talk in first person when i talk about it and yet Letty needs ruby um and has always looked to ruby as somewhat of a maternal figure because their mother wasn't able to be that stable maternal figure in either their lives and Ruby's not really having it when she comes back home you know she well won't let her stay with her i mean she's kind of ruthless ruby like she don't play and yet she loves lettie she is so loving and so giving and um it was a beautiful relationship to explore this sisterhood. You know one sister who's so stable and one sister who's so unstable yes so unstable but you have something great in common though

Sarah Rodman : you have this musical connection and i'm guessing that as actresses that was a wonderful sort of common area to have right

Wunmi Mosaku : our rehearsals were a lot of fun with me they were a lot of fun but it's funny because i don't think either of us really think of ourselves as musical we were both a little bit shy at the beginning but it definitely was a bonding experience it was fun I loved that.

Sarah Rodman : does anybody else believe that they were shy you guys are so wonderful in this scene where you're performing there's no residue of shyness anywhere.

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Wunmi Mosaku : i think for me it was like a different like vocal genre than i i was ever used to and like you know be you know being the kind of person who's free to improvise with a band that's not me i was like in a choir and you know one two three four not off the beat. You know had to sound like the other girls and like trying to find that vocal identity and individuality and then also as having to find that kind of vibing together or sisters like that you believe that they grew up together and did these dances together and you know it was fun and we needed those rehearsals to kind of establish that kind of physical vocal familiarity and the guitar as well the good child this bad boy

Sarah Rodman : i love it between the two of you and then she promptly abandoned you to go off with these gentlemen to run this adventure and i love that all three of these characters are sci-fi people um our Lovecraft people are are sort of oddly prepared for what they're about to see although no one's prepared to see real monsters right but they are people that are interested in this genre and there's something that i just love about in a genre where the black person is always the first person that gets killed that we have this black family that like is at the center of it that is like going to look after it and i'm curious for any of you horror people before or sci-fi people before uh taking on this project

Michel K Williams : i was a huge fan of the twilight zone uh which kind of uh reminds me of the Lovecraft world the um the socially charged mixed with the bazaar um so you know i liked things like that and I did i loved my Friday the 13th and Freddy Krueger's but this was um this is a great mixture this was a very good reminder of twilight zone and particularly for me

Sarah Rodman : and Jonathan i'm curious for your character who is um the most into that and is sort of we are going through your pov on this adventure and him talking about adventure at the beginning and this not normally being the way we see this adventure when you read the script for the first time i'm curious what your reaction was were you immediately hooked did it take you a while to get in

Jonathan Majors : my first read i think i read it twice back to back when i first got it because i was uh in many ways amazed that this was written you know i was like well how is and he's a black guy. Alex is black that's the that's the guy that's we're following and what has happened in the writing in the and then in the making of it without a kiss and with everybody you kind of get to explore not just the archetypical ideas of what we tend to play you know he's not just this soldier right that's pretty common right but he's also a bibliophile. He also gets to travel he's an adventurer he has all these ideas you know he's a strong body he's a strong mind he's a strong heart and so all that was very apparent to me in the reading of the script you know all the connections you know you look for the character who he's connected to you know the idea where fatherhood and what it is to be a son whether it's to be a black sun and what it is to grow up in a black community at a time where you know that was a very uh unexplored area you know we didn't have any stories about that you know when we first meet ali just we're you know he's reading a edgar hughes Edgar bureau's um book you know he's a Lovecraftian bibliophile. You know that's not commonplace so uh so no it didn't take me much to to know like yeah it's on to sign right on .

Sarah Rodman : and Michael so you are central in the sense that you are the person that these guys are seeking. They are coming after you so we don't see you at first so there's a sense of mystery to your character because you are an idea that they talk about but not a physical presence right away and i'm curious if that kind of thing sort of knowing a little bit of backstory of how you're perceived by the other characters informs the way you play the character that you have to make a certain kind of entrance

Michel K Williams : there was so many things that um i was focused on that i how Montrose is going to make his entrance that that didn't uh occur to me however it was in the um his response turning around and seeing his family that was interesting to me for him to take that note that made me want to explore who he was in that moment why right that

Sarah Rodman : they have come for him and yet but that's part of the mystery right. These are the things that we don't know speaking of history i mean you don't see you are another person that we don't see a lot of right at the beginning and i don't want to spoil anything about your character so is there what do you feel comfortable sharing with the audience out there and sort of describing how your character fits into the story

Abbey Lee : yeah um so she's the um the only daughter of a leader of an a secret order called the sons of Adam who a natural philosopher's alchemist she's the the ultimate provocateur you know the agent of chaos. I'm the white antagonist. I think that she represents on a larger scale sort of the oppressed 1950s woman sort of liberating herself from the patriarchal society and family that she's been brought up in and all the while doing it with her her white privilege you know so she's the karen the karen type character that we hear about today you know.

Sarah Rodman : yeah sorry but she also has a war with herself too it's not i mean it is not a simple thing your character

Abbey Lee : no and that's and i think that was what was the most challenging part about christina is that if she was just a violent manipulative nasty woman it would have been in a lot of ways an easier role to approach but the challenge and the conflict came in that she was so deeply human and relatable universally relatable in that she was herself oppressed damaged abused neglected lonely just trying to get her needs met in very questionable ways pretty awful ways but she still was just a woman trying to get her needs met she was essentially looking for the same thing that all the other characters looking for a family liberation justice revenge independence love so yeah it was a very it was a very confronting sort of role to be taking on it was um it was disturbing well

Sarah Rodman : and i want to follow up on that a little bit and ask you all and about the one of the really interesting things to me about what i've seen this so far is there certainly is a heaviness to some of this that you are dealing with human monsters you were dealing with scary monsters in the woods but there are also moments and again not to spoil anything but there's one moment in particular i'm thinking of where there's great joy there's humor and there's something again to go back to the black love thing to me that is so enriching to me that in a story like this that does involve black pain that there is also black joy which is not something we always see in a story like this and i'm curious about how you balance those vibes. On the set i guess there's a way because i'm sure there were some days that were probably kind of heavy

Jonathan Majors : well i think it's innate to human beings and it's very particular to the african-american experience i mean you. We wouldn't be here now if we couldn't find the levity in the humor in humanity you know in black folks we just have a way of you know we're full we're full human beings without sorrow there's joy you know and i think i mean just this cast we're tight all of us extremely tight I mean we have made a family you know there were days where we go crazy on set and it'd be crazy and then it'd be fun and then we'd be you know crying about this and this and then crying about this and this and then shooting the shot you know and so it's um not to speak for the cast but for me it felt extremely natural you know it's felt like we was at home. You know i still have a hard time calling Courtney Vance quoting me Vance he's up with George okay where's pop you know letting et cetera auntie you know Ruby actually i never i never really said this because i don't say your name much but you know Christina you know that's who they are to us we were such a family so the ecosystem was that of you know culture up down you know whatever it takes you can't make art you know.

Courtney B. Vance : i think that has a lot to do and not to say about the person who's not here which is the Misha green. The world that uh she set up with us uh from the pilot and all the way through the shooting of it and surrounding us with those people that can that can make us help us become a family and we become family on on every set for you know for uh good reasons and for not so good reasons when things don't go well um when we don't have appropriate uh leadership or behavior. We become tighter you know or the opposite can happen we can just the cast can fracture but you know there were challenges on our set as in on all sets and we became tighter um you know so i was i'm always so wonderfully uh impressed about the organized chaos of a set i mean That it's just you know how this how the family happens when you don't know nobody you know and you got to do an intimate scene on the first day you know how does how does Michael k and i you know we met each other you know maybe two three months i don't know was it a year before Michael k in New Jersey and that was a couple of months before and all of a sudden we're doing the scene and we're like in the scene and it's the most beautiful thing you know with the two of us are like where did this come you know that's the beauty I always say that actors are the most courageous people because we got to jump in you know jazz musicians gotta jump in you know it's the same stuff

Sarah Rodman : i'm kind of amazed that you two didn't know each other before this you had never even met you know of each other

Courtney B. Vance : i'm a huge fan of Michael

Michael K. Williams : we have met like a couple of months but we had met a long time ago in l.A at a one of the parties the award parties and you know i i walked i think i freaked them out because maybe it's why it's blanketed but I quoted almost every line from um the people versus i with him as a Cochran and you know and then we were on we were being honored at an event in jersey uh like about a month or two before we had to film and you know the first day of work was. We can't give it away but it was a needless to say it was a very emotional or very emotional um scene and i think that was the first day for me that the family started to bond so that that thing started to happen for me it was a journey Jonathan George and I, very difficult seeing emotionally a lot of heavy lifting and when the cameras when the directors yell cut we couldn't stop we it just it just all this emotion it was just so much energy on the set and that was the that day i knew that i was around family

Sarah Rodman : that is so great and journey i wanted to ask you specifically and Jonathan too about uh there is a scene in the pilot that is very tense that involves the police and sort of trying to get out of a sun downtown uh essentially which i think that there are going to be people who watch this that don't know what's on downtown's car which is sort of amazing to me but I think is true and so just for people that might not know what it is the sun downtown was a town where black people needed to get out of town before sundown or that they were fair game essentially to be killed um and so there is this scene where that is a threat and that's the kind of thing. I'm thinking of when you shoot that scene sort of is there an exhaustion after something like that is there an exhilaration from getting through it what is sort of the feeling of shooting something like that

Jurnee Smollett : i think you know it is tough because they're without going into any spoilers there are so many themes that we explore in this show that resonate with us as being black americans in 2020 right you know and unfortunately as we're seeing you know sometimes our police departments are what Angeles Davis calls one of the most dramatic examples of structural racism and you know um tapping into that energy is it's a very dark place to go to just in general tapping into the systemic racism that our nation's been built upon. It is of course a dark place to go to but it's necessary you know this story is one of my teachers refers to it as a blood memory you know that it's something that reverberates through our DNA. This visceral connection to the oppression of our people and these that's why these stories we're still telling them um and so yes when you tap into those stories like we are tapping into in Lovecraft whether it's this scene or like i say without giving away spoilers there's a familiar um emotion that it brings up for sure um and but again having family you know we had each other right and that's the thing about the show i do not know how i would have survived this show and I hands a guy do not know how i would have survived it without having my brothers and my sisters in arms you know having you know doing scenes like that and i'm looking and it's iAtticus and it's uncle George or in scenes when it's Montrose or you know my sisters it helps you have the strength to tackle these stories you know and they are important stories to tackle too

Sarah Rodman : and it's such an interesting time for this to be happening. You bring up a point that i feel like it's something that a lot of people that we're talking about now that we're talking about generational trauma and the idea that you can go back to a time and yet feel that even though we are looking backwards. We are not as far from that moment as we might hope we'd be as a country and there was no way for anyone involved with this to know that it would be coming out in this moment that this is happening and there's a part of me that believes that this is very useful and i i don't want to put anybody in the position of saying what you're doing is important because I understand this is television and it is not policy but i personally believe that this is important in terms of the conversation and i'm curious how you all feel about a show at least being a conversation starter

Jonathan Majors : so i grew up in texas you know and literally on the top of my script i wrote worst day in Texas this is the worst thing that could possibly happen to you as a young black man in Texas you're in the car with your girl and your dad or your girl and your uncle you know you're driving around and the cops pull you over now the interesting thing when i was growing up i mean i'm still growing up but when I was when i was a boy down in Texas driving couldn't nobody watch that could nobody see that no the white folks would drive on by even though the brothers and sisters would drive on by and say hey you know hope you hope you know yes or no so your way out of it you know what i mean and so to take this story to take that moment and for you to even mention it now it lets me know lets us know that it resonated with you know it is something that is ancient you know that systematic racism that bullying you know his journey so beautifully stated but now it's on tv you know and you notice in that scene it's just people you understand the demonic spirit that's entering in is that of you know racism etc. You know that's what we're talking about that's what we're showing you know in tech of color you know and so many folks don't see that so many people keep driving by you know so they see that they connect to these three characters in this moment they now understand to a certain degree what it is it feels like you know the unfairness of it yes so you can say it's not policy but it is important you know it's also entertainment

Courtney B. Vance : and that's i think what you're talking about is that at what point do you because we've seen these scenes Jonathan Journey and Michael and everyone we've seen these scenes where the black men of black women then you think you can you hope you can yes sir yes ma'am your way out of the situation and we all see them the question is what at what point is that going to be enough of that that that kind of behavior that kind of bullying is not appropriate anymore and we shouldn't see it anymore. It shouldn't be oh here comes that scene. It shouldn't be we shouldn't see that anymore it should be like an outdated that's an old movie the police are coming up to the black man and and the black woman and bullying them at what point and that's why i think where we are as a society we're We're at that point where we could go either way that we're going to say those kinds of scenes are not going to happen anymore those kinds of situations where the headlock and i can't breathe all those kind of situations where the bullying happens being the Karen situation all those kind of situations i'm sick of it and i know we're all sick of seeing it and i'm sick of seeing it and then and we all have to go oh well that's just the way it goes i know come on daddy that's not right i know baby I know but we gonna get through this together come on daddy didn't that just happen last week or or two weeks ago we saw Trayvon and then we said i know baby i know but we gonna get that kind of white folks don't have to do that with their children they don't have to do that and at what point do we even white folks go that's they shouldn't have to say those having kind of conversations with i was i'm in this white area and where we live and somebody that i came out my door at midnight and i heard a noise i came out and there was police all around my this white area police in my front yard talking about come out the house with your hands up i'm in my midnight my children three years old sleep in the house and i get put on my knees on the ground because they got a call to somebody now if it was a white person that that opened the door. They would assume the person lived there but i'm a black person and i get and i've seen enough law and orders to know don't you say a word Courtney come out the house with your hands up in the air and get on your knees and i said i live here man quietly i live here she was shouting the top of her lungs midnight in this quiet little white air because I said yes ma'am i'm i'm just letting you know i'm live here my wallet's inside if you want to you want me to go and get it or you want to go in and get it my children sleep they're three okay and finally there was a sister police officer there was seven of them out there she said oh lord oh lord oh look mr Vance i'm so sorry here's my badge number if you need my number here's my i basically she said i got nothing to do with this i'm just letting you know so at what point do that's that's enough that you don't that there's a different rule for white people and black people there's a different law there's a different way of that and there's an unwritten rule for police that if it's a if it's a black person you treat them differently than if it was a white person you kid glover and it's so clear and at what point are we all going to say that's enough now you everybody's got to be treated the same when until they get reprogrammed the police

Sarah Rodman : well and i'm hoping that that is what this moment is i mean i had an interaction with the cop two weeks ago that was not great and i'm sure everybody on here has had multiple interactions that have been less than good but um but hopefully that's what this moment's about right and so i'm curious i feel like there's a through line here between showing this in this moment that you all are depicting and what is happening now and actually it helping to change things that like good lord how long are we putting up with this

Michael K. Williams : if i can add to that too um and aside from just leaving the responsibility to change in the hands of our law enforcement officers i would like to get back to the aspect of what Abby said earlier the Karen aspect.I remember last year my brother and a few of my friends and we had went to go eat dinner um at a little chicken spot on on 14th street and first avenue and um next thing we know halfway through our dinner about four or five police officers come into the restaurant and apparently a white woman had misplaced her phone or lost it and when she painted it. It got pinned to this restaurant this is a little you know walk in sit and grab your chicken and you sit down and you do your thing it's not a you know it's not five star. You know the there is something wrong with the fact that she did not feel safe to come into that restaurant and just ask us have you seen my phone the fear the white fear. You know it's real she she was enabled because of what she has been conditioned to see when she see black skin to come and just ask us for her phone did we see her phone. She thought the only way to deal with that was to call the police on us and just like Courtney talked about you know um i went into beast mode, instructed everyone at the table to not say one word and I was the only one to do talking and you know they do this thing where they start to pry while they're talking nice to you and um it was this whole thing so where were you at before you got here and i said well go do respect over some that's none of your business. We're here now having dinner can i help you and um you know that was this that was the narrative and the conversation and it was frightening but i i knew to not i i didn't want any of my family members or my friends getting emotional so i knew to take the lead and to speak and to speak with a calm but um a firm hand and once they started to recognize me that's when the ocean happened and they realized and then the whole tone changed and that was insult to injury so you mean because i went up it was. i would rather have i would have rather than it would have been better to say okay we know who you are but we still need to search you for her phone but because now you recognize me from my job that everything goes away what would have happened to my brother and my friends had i not been there so when we talk about the karen as the aspect of it i i feel, it hurts you know i feel the i am having. I try to have empathy for white fear. I don't know what it is that make people frightened of the color of our of skin and then that's part of the problem we you know we need to also acknowledge that it's not just. t's all it's all part of the problem

Sarah Rodman : well and that's the thing it is it and that is where sort of representation and the work that you do in Hollywood going back to the earlier point is useful that people can see this people can have conversations people it's a jumping off point and it's interesting because in this show you have again human monsters but then you have sort of real monsters and it's interesting that that we need to have metaphorical monsters in this situation and i'm curious about sort of those monsters that are the fantastical sci-fi monsters do they sort of represent something else to any of your of you all in the context of this show as opposed to the sort of humanity monstrousness that we see

Michael K. Williams : well it did for me when i uh out the Montrose is not in the pilot but I was you know able to read it grateful and that was you know that was the first thing that that that spoke to me the monsters represented everything as dark and vile in society that's what the monsters represented to me um in the first reading of the pilot

Sarah Rodman : and just for you all that actually had to interact with the monsters i'm curious that though on a much lighter note the sort of green screen and the horror face and all of that stuff is that stuff fun or is it just like a technical logistical like marks you gotta hit that's silly because you're not seeing anything

Courtney B. Vance : to me it's silly it's real silly and we're all ah you know we just it's silly i just enjoy my time with my brothers and my sisters being silly because that's you know what we're we have to we're now where's the monster at the monsters over there where are you looking john journey where are you looking are you looking down are you looking are you looking at that tree look you know we just being silly and trying to keep the bugs off of us and just trying it .

Jurnee Smollett : it's also a different muscle to exercise because it just requires so much imagination you know it requires you to really just play but unlike anything i've ever done before it was it was definitely a different experience because there's the technical stuff the technical side as Courtney is saying you know the wind blowing or the what was the stuff the spit that Misha really wanted to blow on us they couldn't get it right Jonathan

Jonathan Majors : or something like that yeah

Sarah Rodman : it sounds sticky and maybe not that pleasant but there's a lot going on her and i think people are really gonna enjoy it. i mean this combination of like storytelling is so great so if somebody had to pitch people so we're at a place where we're talking to folks out there what's your pitch watch Lovecraft country because come on y'all you're actors give me a pinch

Courtney B. Vance : Because watch Lovecraft country because it is so different and so engaging and it'll especially during this time period we're living in now it is you know you thought you had something going on with with Game of Thrones but watch out we got something on Game of Thrones and work of thrones and we work in our throne this is going to be something that you ain't never seen before that's what i like to hear all right we are actually

Sarah Rodman : i can't believe it already out of time so i can't thank you all enough for being here and being part of this conversation today and thank you to everybody who's out there watching and listening and we are going to show you a little more sneak peek of Lovecraft country which is premiering on hbo on august 16th thanks y'all thank you thank you.

Synopsis :
Lovecraft Country follows Atticus Black as he joins up with his friend Letitia and his Uncle George to embark on a road trip across 1950s Jim Crow America in search of his missing father. This begins a struggle to survive and overcome both the racist terrors of white America and the terrifying monsters that could be ripped from a Lovecraft paperback.

Lovecraft Country
Based on Lovecraft Country by Matt Ruff
Developed by Misha Green
Starring Jurnee Smollett-Bell, Jonathan Majors, Aunjanue Ellis, Abbey Lee, Jada Harris, Wunmi Mosaku, Michael Kenneth Williams
Executive producers : Jordan Peele, Misha Green, J. J. Abrams, Ben Stephenson, Bill Carraro, Yann Demange (pilot), David Knoller (pilot)
Production companies : Monkeypaw Production, Bad Robot Productions, Warner Bros. Television
Original network : HBO

Transcription : Boris Colletier