I think that, the... the kind of family, um,
ethos that we have down here
has been built through blood, sweat, and fears.
- You know what I mean? - Action!
[Girls screaming]
[Growling]
This show is not a typical show.
Speed up this way.
It's always a collaboration of visual effects,
and special effects, and the stunt crew.
[Grunting]
Everybody really loves this job,
and they work really hard to keep it going,
and try to make it as real as possible.
What the audience sees is the actors
and, occasionally, us getting to talk about it,
but the real heart and soul of "The Walking Dead" is our crew.
- Sculptor. - Stunt coordinator.
- I'm the location manager. - Costume designer.
- Production designer. - I play Daryl Dixon.
- I play Rick Grimes. - And I play Michonne.
[Zombies growling]
Hello, I'm Greg Nicotero.
I'm the executive producer, uh, frequent director,
and creature zombie designer for "The Walking Dead."
We're here at KNB EFX,
our 20,000 square foot facility in Chatsworth, California,
where we manufacture all of the make-up effects
for "The Walking Dead."
KNB is the funnest place in the world to go.
You know, you just walk in there
and you get to see all these incredible props
from all these amazing films,
and creatures that they've made,
and, you know, like, it's crazy!
Zombies are, like, the ultimate, you know?
I mean, it... it's kind of... with zombies, there's no limit.
Here we, uh, we're making a puppet,
uh, for the show, and, um, sort of like Dr. Frankenstein,
you build it from the bones up, you know?
So it has a skeletal, and then the muscle structure.
And then, we layer stuff on top of it,
so we can actually use this skeleton
for a variety of different puppets
by putting different skins on it.
When you start, like, missing pieces of your body,
it's gotta look right.
It can't just be, like, gore.
You know, and so,
everyone in this room is fascinated by anatomy.
Really try to make it as accurate as possible,
so that when people see it, it's just jarring.
You know, like, when we do a bite,
we'll put muscles and stuff in there,
so they can, like, yank on it
and you can see that stuff rip out.
You know, the guys at KNB, and all those guys, all...
You know, all of our people that work with the zombies
to make them as scary as possible,
you know, everybody's on their 'a' game at all times.
I mean, we really spend a lot of time
to make sure that the look of the zombies is unique.
Unique to "The Walking Dead."
Something a little different
than you usually see on television.
Having practical, beautiful, extraordinary make-up,
and the gags that they...
They're not just make-up artists.
They're scientists, as well.
They create mechanical gags.
They do it in, sort of, three or four days.
They can... they conjure up... they're conjurors.
They're extraordinary, creative human beings.
We've had five seasons of the fantastic art
that the people at this shop contribute to the show.
Fantastic sculptures, paint jobs, fabrication.
Just the outrageous ideas that we come up with for the show.
I always love our walkers that, you know,
part of the skin, the way it's decayed away.
You know, that it's just... you see kind of, like,
the ears falling off, or, like, part of the nose is missing.
You know, just the skin rotting away.
One of the most challenging was the well water.
Keep going!
That was a full size suit that we made out of silicone
to try and figure out how we're gonna make that skin fold
and move, and, you know, wrinkle and buckle,
and make it as nasty looking as possible.
So that was one of our most challenging,
but r... most rewarding in the end.
It was great... I loved it.
[Applause] One of my favorites...
Bicycle girl in season one.
That's where we set the bar, you know?
It's the first zombie we've ever...
We really ever see on the show close.
She just... was jarring.
I thought that her missing her bottom half
was just gnarly.
I flew out to LA to KNB's studios,
and they did a body cast.
Um, everything except for my legs, obviously.
Several months later, I came back
and they did all the color test, and appliance fittings,
and things like that.
The day that we actually filmed,
it took three and a half, four hours to put it on.
Um, but, of course, you see it,
and I had the blue tights on for the green screen effect.
Um, but then seeing it on TV afterwards,
even I was like, "Wow... that's pretty awesome!"
Greg, and all of the guys, and even, you know,
the other make-up artists they had,
it was almost like watching a bunch of geniuses come together
and create this masterpiece.
It was successful, and the most, uh,
just kind of gross.
Yeah, if it makes us gross out,
then it's, you know, a win.
Now go back towards your feet a little bit, Melissa.
This is beyond my wildest dreams
of what I had envisioned in my head.
Completely different... I mean, I'm blown away.
It's awesome.
Every season, we augment specific shows with puppets.
And even in... in terms of just our zombie kills,
we've sort of refined what we call our... our "Crush Heads."
That was good... keep going!
Just keep doing it.
Boom... boom...
So, in season two, we started realizing
that these zombies that are walking around,
that have been around for a while,
they kind of have the sort of consistency of, like,
a pumpkin or a cantaloupe.
That if you kind of stomp on it pretty... pretty vigorously,
that you're gonna crush the skull,
and all the brains and everything
are gonna splatter everywhere.
And the... the fans of the show really love that stuff.
[Zombies growling]
Well, I think I'm pretty much wearing the same pants
I wore in season one.
My boots are essential to me.
Uh, they've been re-sold about eight times,
the same pair of boots.
It's the same pair of boots I... I put on in episode one.
I've been told there's five of this outfit here.
They don't always use them, but they have five.
Hi, my name is Eulyn Womble,
and I'm the costume designer on "The Walking Dead."
On a daily basis, I get to dress this amazing cast,
come up with new looks, and make them dirty.
- It looks real. - I know.
The wardrobe department's a huge part of this show.
I mean, from dressing the zombies, to dressing us,
and just the evolution of these characters.
So, this was kinda, like, uh, under the belt.
Yeah, I remember that.
And then, this was all black and red.
Yeah, it was bloody.
You put these clothes on, and the detail,
just how... how distressed and how... how filthy everything is.
I mean, it's very easy to just, kind of,
slip right into this world.
I was amazed by the wardrobe department
really stepping in to how they helped me find Michonne.
Like, putting on those boots, and putting on that vest,
and those little half gloves.
I was like, "Oh.
"Oh, here she is."
Right now, I'm just gonna do a quick zombie outfit for you.
So I'm gonna use my big knife.
It's serrated, so it can do a lot of damage fast.
You move the fabric... Not the knife.
And that's beautiful, right?
We added a little mold.
We also add sweat stains.
We do a little light dusting of all this,
because it's supposed to be coming from the inside.
It's like an art class.
Maybe the person vomited a little as they were dying.
A little bit of dirt around the cuffs.
I like to dress the outfit together
while it's hanging up here,
so I can get a really good idea
of what it's gonna look like on the person.
And then, after we hand the costume to them,
they come out dressed like this.
Alles, you look great... Are you ready?
I've been waiting to do this to you since we've met.
- Yay. - This guy's lucky.
He's eaten, so we put some fresh blood on him.
Mmm, blood on his hands 'cause he's been eating.
This is a fresh kill.
The zombie blood that we use is a little darker.
Really, really dark.
And this would be his own blood,
and it would be from a long time ago.
So that's... that's what you see on a lot of the costumes.
The reason, um, we came up with the splatter,
it mimics the comic.
All those drawings,
you see how it looks splattery in the book?
Well, that's where that... that idea came from.
When I rode into Atlanta
and they'd shut down four blocks of downtown Atlanta,
and they turn over Humvees, and, you know,
and we had a tank, and a helicopter.
It blew my mind.
The most amazing thing, I think, on "The Walking Dead"
is the fact that we have found so many astonishing locations,
and have built so many great sets.
I'm Mike Riley.
I'm the location manager on "The Walking Dead."
What I really do is try to find the best locations
that match the vision of the writers,
and I collaborate with the production designer.
Grace walker and myself have a good collaborative
working relationship.
Hi, I'm Graham "Grace" walker from "The Walking Dead."
The production designer.
It kinda looks like rock up there,
but it's still just styrofoam, like everything else.
We're good.
I think one of the advantages of working here in Georgia,
is that we've been able to find so many great locations.
You know, we're in our own little private world,
down here in... in Sanoy,
and I think that actually really helps the show.
It's a part of it... It's really hot here.
We have a lot of bugs,
but it's all part of what makes the show great,
and real, and grounded,
and doesn't feel like a television show about zombies.
It... it feels like we're really with these characters,
in this world.
I'm gonna ride you back into the woods here a little bit.
We got about 60 to 70 acres of woods behind us here that,
I'd say, 80% of all the shots we shoot
when they're walking into the woods,
or camping in the woods and what not,
we shoot 'em back here.
The Governor, when he was burying...
Threw some folks in the lake, we use this dock down here,
where we shot the scene of him looking down in the water.
You got, like I said, 60 or 80 acres back here,
with trails cut all through it that we can access,
and get our crew back in there,
and shoot all the woods stuff we need.
If you stood here, last year,
we could do 360 degrees,
uh, which was really nice for... for everybody.
Down this way was a wall running right through there.
We had the entrance to 'a' block.
And then... A tower down that end.
The main gate, down near the bus that's rolled over.
And another tower.
And a fence that ran right along the lake.
And down to the corner, over here,
with a fence that ran right back up again
to the, uh, to the other building.
It was a cool set.
The prison was mind-blowing.
To have something that large that really looks like a prison,
and to be able to shoot it from any angle, at all times,
and never see a movie set, never feel a movie set,
was the most fun for me.
Especially as the director of photography.
Sound speed!
The prison, was definitely not real,
but we worked very hard to make it seem as real as possible,
and that really helps the actors.
For us to feel completely immersed,
and I think, uh, we've rarely been
in a green screen type of situation, if ever.
So it's been really nice.
Those spikes were real.
You really had to avoid those spikes.
I was like, "Whoa."
Sometimes, like, my eye almost got real close to one of them.
So it was a very real, living set.
Uh, as you can see, this is top of the line rooms.
They built a prison,
and a practical prison that you could walk through.
It was magnificent.
- Wanted me to stumble? - Yeah, go ahead.
And it looked so much like a prison
that a guy from the department of corrections
came down here one day.
He said, "They keep telling us
"there's a prison down here somewhere,
"and I don't see it on our list."
You know, he didn't know...
He said, "We don't have a prison here."
[Zombies growling]
It's funny that, a lot of times, people say,
when we have to blow up something,
burn it, destroy it,
"Gee, you must be so sad that your set's getting destroyed."
And... and, to me, I... I don't care.
I mean, it's part of the show.
In fact, I love a good explosion.
[Explosions]
Well, it certainly helps us
if you've got real explosions happening.
Practical gags give the show
probably a bit more authenticity.
My name is Darrell Pritchett.
I'm a special effects supervisor.
Three, two, one.
What my department does is,
we take care of all the effects of nature,
which would be any wind, rain, snow,
fires, explosions.
Go!
Anything that moves on the set,
anything that has any action, that's not a person.
To include blood spurts, different things like that.
It covers a lot of areas.
Go bang, bang, bang!
There have been so many moments in the show
where I first read it, and I think,
"How in the hell are we gonna do that?
"You know how is this possibly going to work?"
You're on channel one!
The end of the second season,
when we're burning the barn at Hershell's,
it was 19 degrees out.
There was frost on the ground.
And if the barn had gone up too fast in flames,
we wouldn't have been able to shoot the sequence.
[Cheering]
The barn was kind of fun,
'cause once we got to the point where we're gonna let it burn,
we just kinda got to watch it burn,
and that was kinda neat.
Every episode of "The Walking Dead,"
we really like challenges.
We are at a pecan grove,
where Lizzy and Mica come upon a bunch of burned walkers.
Rehearsing!
[Girls screaming]
Help, Darryl!
I thought the well walker
was probably the greatest walker ever,
and they were never gonna top that,
but these walkers absolutely are the coolest walkers.
They're crispy, they're... you can see part of their skin.
All right, girls, here we go!
We came up with a way to have patches
that we could actually velcro on to them,
underneath their wardrobe.
So, the smoldering was us.
That's something that we came up with, too.
Here we go!
But if you look at the footage,
it looked pretty good.
Get behind us!
We're getting ready to shoot a scene
where our actors are running away from gunfire,
and we're gonna lay down some dust and some sparks
while they travel through this courtyard.
[Indistinct]
[Indistinct chatter]
So this is an acrylic ball.
It fits together and gets glued,
but inside of it, is dust.
Instead of having to go and try to bury a squib,
you can simulate bullet hits.
So when it hits something hard...
[Gunshots]
Then it does that.
We'll so some that are sparking balls.
These are made up with a little gravel,
a little, uh, zirconium.
[Gunshots]
Darrell Pritchett, he's been working all of,
you know, 50 years doing this.
Practical explosions, incredible burnings.
The master of disaster, as we call him.
Just another day at "The Walking Dead."
What I love about, uh, visual effects
is that you know they'll take care of you,
and they'll take care of you in ways that
you didn't even think possible.
If I go like this...
If you're going up at an angle... yeah, that'll work.
So maybe it is going up at that angle.
Visual effects are a huge part of the show.
We try to make them very subtle and seamless
so that you don't always catch them.
You know, you wanna swing, and keep in mind...
Victor Scalise is amazing.
He's on set with us here in Georgia,
and works with the directors, and the cast, and the zombies,
with all the particular kills
and everything that needs to happen.
And then he transitions back to the team in LA,
at Stargate, and they're the ones
who actually create these amazing shots.
We do everything from, you know, CG walkers,
to a lot of the kills,
where you have big, exploding heads.
We deal with a lot of digital swords,
digital extensions in knives.
So, a lot of the walker kills that you see
end up being visual effects.
One of our signature weapons is Michonne's sword.
Astounding, like, just really picking up that thing
and... and... and feeling out that sheath on my back,
it was all such a part of creating her.
I'm the prop master for the show.
That means I handle all the props, the hand props,
which are anything the actors touch.
The Katana sword, one of my favorites.
I helped design this.
It is absolutely one of my favorites.
This happens to be a sharp one,
so you can't really do anything with it.
So we keep it in here, actually.
But, just like that,
we have an aluminum version that is for hitting.
We have... A rubber version
that's for actually making contact with people,
and then we have digital versions,
again, for Victor.
It's a half rubber sword
that we then have tracking points on,
that we put a digital blade to replace.
But we also have a retractable one,
which helps keep the sword straight
when it stabs something.
John, in props, you know, we have a great relationship,
and, you know, it's pretty much always the default,
he'll make three of everything.
Perfect example of what I do is,
we pick a knife out that we like,
and then we take these things and we make them
into multitudes of different types of things.
So, as you're swinging at somebody, it's rubber.
Then it becomes digital as it attacks somebody.
Then it becomes plastic that's painted with blood,
as she has in her hand to talk about.
And then as we go back in time,
it'll go back to the original knife
so it can go back in the sheath.
In and out of him.
What if I come in like this, and stick him in the stom...
Stick him in the chest with it, right?
Okay, now slam him back.
Lose the crossbow.
Daryl's crossbow... everybody loves to see this thing.
One of the ways we've made this very, very, very safe,
is we replaced the main line with a rubber band.
And turn.
The crossbow, in particular,
you can't shoot a live arrow on camera.
So what you have to do is, you have to pull the bow,
show it, go out of frame, load it,
bring it back up when you got it loaded,
and then it's a... it's a dry fire from there,
and a digital arrow will go through.
So, if I have to kill all of you,
I have to pull one, show it, put it in, dry fire that one,
pull a knife, stab this one,
go over here and pull the arrow out of this one,
stick another one with the arrow, pull another one,
show it... it's like this crazy math problem.
And, action.
I love this job.
I remember season three,
Glen has that kill after they do that phalanx,
he swipes a walker's head right across with a blade.
They could have just merely, you know, had me...
His head fall off in frame and then just fall,
but they went as far as to make the incision here,
and then had the head spin and rotate off
with blood spewing as it fell.
I didn't do that.
That was special effects.
So, I mean, thank you, Victor,
for making me look more competent
than I even could possibly be.
[Indistinct chatter]
Today, we have Norman and Beth kind of
walking up in front of the blue screen,
and what you see out there is gonna be the cemetery.
This is where, um, Daryl and Beth came up out of the woods,
and kind of traversed, piggy-back style,
all the way up to the funeral home.
So the blue screen that you just saw,
this is what's gonna be behind it.
You know, we'll use, um,
some matte painting and photographs
to kind of blend in and build an environment
that'll basically make the, um, funeral home and the cemetery
feel like they're right next to each other.
In the pilot, when Rick is riding into Atlanta on a horse,
that shot is completely a visual effect shot.
We shot him on a horse in an alleyway,
in downtown Atlanta.
And everything else, Victor put in.
Some of the visual effects everybody will recognize and know,
"That's a cool visual effects shot" and,
and there's a lot of shots in there that are visual effects that you would never know.
What we're looking at here
is one of Michonne's decapitations.
You know, this was a fun one where Dylan, the artist,
she's like, "Well, what if I made the head
"Bounce off the top of the car?"
And she showed it to me, and I was like,
"That is awesome."
Make the first one a little stronger move.
- Okay? - Yeah, okay.
Um, here, she has the half sword,
so we put a digital sword on to replace the half sword.
Um, we have a walker who, obviously, had a full head,
that, um, Dylan's painted out the full top half of the head,
and she's made a little 3D cap of the head
that then goes flying and bouncing,
and goes over the car.
Most people are gonna be looking at Michonne's face
and not what her sword's doing.
So, unfortunately,
most of the audience is maybe gonna perceive it,
but not actually see it.
But, you know, the guys who step through it
catch that extra little bit of, "Ooh, whoa,
"The head went flying that way."
You know, so it's kind of a fun, little thing.
You know, a lot of what you see is
a combination of Greg's team and the visual effects team
brainstorming together and knowing the end goal,
and everybody participating, and, you know,
giving what their department can give best
to give it a realistic look.
Sometimes, I just really wanna cut a head off.
You know, sometimes, I just really wanna do it.
I can't cut heads off, literally.
So, that's a bummer.
And that's cut!
Good work, guys.
We're at a farm house and we have some burning zombies
that have previously been on fire,
so they are smoldering.
[Girls screaming]
Darryl!
Darryl, help!
So we have four stunt guys.
Then we have one of them catches the little girl.
The next one falls over the fence
and gets caught up in the barbed wire.
[Indistinct]
All walkers don't have any human tendencies left,
so they don't brace themselves.
It makes all of the stunt work on our show
a little bit unique
because you have to find a very, very tricky way
to bury your falls and brace yourself.
Both of us are just struggling, struggling,
and then, eventually, [Indistinct].
As a stunt coordinator,
we are responsible for hiring the stunt personnel,
setting up the stunts that are scripted
to make sure that they not only sell,
but are as safe as possible.
Stunt work is stunt work, and sometimes things do happen,
but we try to make 'em as safe as possible.
Yeah.
[Groaning]
[Laughter]
[Indistinct chatter]
What do you think?
The range of stunts that we do on "The Walking Dead"
is a pretty wide swath.
We'll do everything from fire burns, to high falls,
to cars crashing.
Every single day I come to work and I'm thinking,
"Okay, we're gonna kill a walker with a rock,
"A bat, a sword, and two gunshots."
Most of our actors do their own stunts
because you see their faces, and then you go with it.
You go with their stories.
That sequence,
when Michonne's in that field with all those zombies,
was... was very special to me in many ways,
because I wanted it to be something
where you really see her break through her own demons.
Well, the stunts are really fun.
I have generally done all my own stunts.
Yeah, you're trying to get control of him.
I still have the head of an 18-year-old,
but the body of a 40-year-old now,
and I'm starting to fall apart.
I think I'm pretty coordinated, but then,
me and Norman keep looking at each other, going,
"We're the oldest here, dude.
"We're aching."
One guy down, two... Three come in.
There's a lot of... a lot of kills right there.
It's literally, like, stick this one,
stick that one, eat this one.
I mean, it... it was, literally, just overflowing.
[Indistinct chatter]
That was an exhausting scene to shoot.
Now, Professor Walker's gonna come in,
and you're gonna kill him.
[Zombies growling]
[Indistinct]
When you guys hear "Bang," you go down... clear?
You should be right on 'em, right on 'em.
So, today, we have a... a number of people firing weapons.
We have three nine millimeters and two shotguns.
We have zombies that you see right in the background,
coming out of the barn and coming at them,
and they kind of set up a firing squad
and execute the zombies as they come out of the barn.
I got Darryl, I got Darryl.
Follow me!
These are two glocks.
This is Shane's glock... This is a glock 17.
This is T-Dog's glock... A glock 19.
They both shoot nine millimeter rounds.
Uh, kill a lot of zombies today with these.
Boom.
There you go... That's it.
Zombies... Big gun.
You gotta take a zombie out with a lot of power.
Focus.
Yeah, that's right on it.
Forward, you guys... Keep coming forward.
Today, we shot lots and lots and lots of zombies.
[Indistinct chatter]
A lot of what Greg's team and the visual effects team does,
it's very hand-in-hand.
Every walker that they build, we usually end up killing.
What we're doing today
is taking the arms off of one of our... our zombies,
and then crushing its teeth on a rock,
so that now it becomes incapacitated,
but we still can use it as a... as a diversion.
In terms of timing, Russell, the stunt coordinator, and I,
before the scene, will try to figure out the best action
and the timings that are all right.
It wasn't even the arm chop... It was the teeth.
Putting the walker's head on the rock
and cracking it to knock its teeth out.
It's the only scene in "Walking Dead" history
I had to walk away from and I couldn't watch film.
It just... ugh.
Just don't move the head at all.
I'm not doing it.
No, it was awful.
It was... and, I mean, like, the rock, it's styrofoam.
Like, there was nothing real.
I should have been able to completely go,
"Okay, this is like everything.
"We're not really hurting it."
It... it didn't even have the sound in yet.
It was horrible.
Awful.
Rolling!
When anybody on the show dies,
any actors die on the show,
or come back as zombies, or whatever,
you... you wanna give them the best send off possible,
because they are your brothers in real life.
I'd like to just say, on a personal note,
I had the very fine pleasure of working
with Scott Wilson, many years ago,
on a beautiful film about the South called "June Bug."
[Applause] And I'm, uh...
Very proud to be here with him again,
working on a similarly beautiful project about the South.
[Laughter]
Um, I... I'm gonna cry.
Um, I'm gonna really miss Scott
'cause he's so much a part of our family,
and it seems like our little green family
just keeps getting smaller and smaller.
When a character, one of our main characters,
gets killed off, the cast and the producers all get together
and have a dinner to kind of send them off on their way.
[Indistinct]
[Cheering]
Teddy, Teddy, Teddy!
We brought this from comic con.
This has been signed by almost every member of the crew.
Oh, wow!
[Applause]
That is a wrap on T-Dog!
[Indistinct]
[Cheers and applause]
I can't even talk about it.
I can't even talk about it without losing it.
I'm sorry.
Here we go.
I remember when we had the death of Shane.
That was hard, saying goodbye to jon,
because jon was my brother, and is my brother.
It's the only bad thing about the show,
that you get to forge these incredible relationships
with these amazing actors, and invariably,
I have to kill them or stab them.
When Norman has to kill zombie merle,
yeah, that was tough.
Still gives me chills.
Yeah, when I saw Rooker, Merle, as the walker,
I instantly just crushed.
Wasn't just like a sadness.
It was a sadness that turned into a rage,
and it wasn't a, you know, stabbing him in the face
over and over again.
It's not that I hate him,
and it's not that I want to kill him.
It... it's like I'm mad at the world,
and these are the card... cards I've been dealt,
and it's just not fair, you know.
I mean, I think those were real tears
Norman was... was shedding.
Not just Daryl tears.
How do you feel about Michael Rooker?
I feel he's an awesome man.
It was a drag, you know?
I don't know... It's just like real life.
You think you have more time with people.
You know what I mean?
[Indistinct]
Great... let's get, um...
Let's get um, uh...
I just wanna rehearse all this stuff,
so let's get Maggie here. Yep.
When they kill you on this show, man,
they kill you good.
They kill you good, [Indistinct].
You're gonna cut her open, and you're gonna, like,
"Okay, I need help.
"I need to do this, and this is in the way."
It's... it's overwhelming, honestly.
It... it's mind-blowing, it's... it's disgusting,
it's heartbreaking, um, seeing the way she goes.
The situation that she's in.
[Indistinct]
Don't show that... Don't show that.
That we can do.
You leave with as much gratitude and grace
as you can possibly muster,
but I don't know anyone who's walked off this show,
who hasn't just kind of spent a few days going...
[Exhaling] That's gonna hurt.
That's gonna hurt.
[Cheering]
But the flip side of that is that...
Is that I had it, you know?
I get to say I was here, and I did this,
and, uh, and I think we did the hell out of it.
This is my home.
And we built it into a home, and you don't usually do that.
Usually, you build a job.
You could work 40 years in this business
and not have this experience.
To take these kind of risks with these kind of warriors,
it's amazing.
When one of our regular actors leaves,
the rest of the cast,
even if they're not in their last scene,
will come and watch the filming of the scene.
The character, Dale, Jeffery Demunn,
flew in from upstate New York.
He was already off the show.
He flew back to be there for Jon Bernthal.
That's the kind of strength of comradery and loyalty
that he showed,
and the rest of the cast have shown on this amazing show.
I've simply never seen that, in my 35 years in the business.
Without further ado, picture's up.
- Picture's up! - Picture's up!
Picture's up, picture's up.
All right, here we go... Clear now.
But, man... The ride of a lifetime,
and I'm real grateful.
- Checking the gate. - Seriously?
You rock.
Anyone have a kleenex?
[Cheers and applause]
If they kill me on the show, I'll probably, like,
set my trailer on fire.
They'll probably have to call in a bunch of cops
to escort me off the property, 'cause I'll be so pissed.
"The Walking Dead" is the best show.
We've watched the show ever since it started,
and we've just been in love with it.
We love "The Walking Dead!"
We certainly hoped that we'd have avid fans,
but I have never experienced anything like this.
[Both] My favorite character is...
- Daryl Dixon. - Norman Reedus.
[Laughing]
My favorite character of "The Walking Dead" is Michonne,
because I love how she's like a samurai.
She carries a sword around with her,
and she knows how to chop and slice.
And, you know, I even got my hair like her.
We always have fans outside of basecamp,
and our cast will go out there after wrap
and sign autographs for an hour.
One, two, three.
To make something that we're extremely proud of,
and then to see the fans get excited about it,
and just to... to want more,
and they're just, like, crazy about it.
Like, that right there is just what's incredible.
You know, when we work really hard,
and we go out there and we see that,
it just fuels us to keep doing this better.
That's what you want out of a job,
is... is to create something that you're extremely proud of.
[Indistinct chatter]
All right, guys... Guys, let's go.
I've been lucky in my career
that I've... I've been in some movies that have been big,
and TV shows that have been great,
and theater that's been big hits,
but there's nothing that's come
anywhere near close to this.
It feels like we have just a responsibility to this fan-base
to tell the best story we can.
It's true, I've been an actor for over 50 years.
Now I'm Hershel.
So it's... Thank you for doing that.
This leg will be here.
- With the shoe on, of course. - No, this is all...
and Rick will be on this edge.
When it's 14 hours of shooting,
and everyone is tired and struggling,
it's the passion of the fans that keeps us going,
because we want it to be perfect for them.
We never wanna let them down,
and it really is all for them.
[Zombies growling]
Yeah, I think so.
One of the things that we all feel on "The Walking Dead"
is that we're part of a big family,
and on Twitter, we call it "The TWD Family."
"The Walking Dead family" is a real thing.
It's not just a hashtag... It's amazing.
We love each other, and we love this crazy show.
Everyone there is really awesome and funny,
and they're just really amazing.
It's not all everyone's working, working, working.
It's every awesome thing you could imagine.
You get that one?
We're all friends here,
and there's not a weak link in our chain anywhere.
And everybody really does their best,
and we're all buddies,
and we give each other a lot of crap.
We wrote a little song.
- You wanna hear our song? - Let me hear that song again.
Carol is Daryl and Daryl is feral
a match made in hell
okay, and then, the scene after that,
- you get shot in the head. - I shoot myself.
I've never worked on something
where this kind of feeling of family,
that we're all in it together,
that we have each other's back,
to the level that we've achieved
on "The Walking Dead."
We come on the set
and everybody gives everything they've got.
You leave here really knowing you've emptied yourself out.
Every department's really just top notch, you know,
and it's kind of a dream job, and it's fun,
and it's a lot work, but you're part of this.
This is an awesome show
when you get to put awesome parts together of a show,
and it comes out perfect.
I mean, what else could you ask for?
It feels like the most collaborative
work experience I've ever been involved in.
I think everybody is at the top of their game,
and they're all very, very mindful and respectful
that each person contributes to the success of this show.
You can't create brilliance or genius upon command,
or at will.
You... you can't do it.
The one thing you can create
is the atmosphere you think it's most likely to occur in,
and it takes a lot of filmmakers
and a lot of really talented people
to create that atmosphere, and it... we found it here.
This has been our job for five years,
and our lives for five years.
It's a gift, and we wanna keep delivering that back
to the people who watch.
Do I love my job?
Are you kidding me?
This is the greatest gig on the planet.
It's amazing.
I feel very, very, very lucky.
Don't kill me, please.
Guys.
Don't kill me.
Cut it!
[Cheering]
This guy loses it, and the other guy...
[Laughter]
Photo bomb!
[Indistinct chatter]
This is not how zombies are supposed to act.
[Cell phone ringtone] - I was really intrigued by...
should we stop for that?
Can you hear that?
I think it's my phone... I'm sorry.
Mmm.
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