| Bryan Konietzko | Hey, this is Bryan Konietzko. |
|---|---|
| Michael Dante DiMartino | This is Mike DiMartino. |
| Janet Varney | And this is Janet Varney. And we're, [Laughs.] it sounded like we were introducing a band. |
| Mike | Right, yeah. We are starting a band, uh, wanna tell everybody. |
| Janet | That'd so great. |
| Mike | It's our ne-next project. [Janet affirms.] Uh, so here we are, a very uh, this was probably one of my favorite episodes we've, uh, produced, and one that I wr-wrote, and uh, it's very special to me, and to a lot of people, I think. Um, hopefully we did uh, Korra some justice, here, and her-her recovery, and um, you know, the situation after Book Three where she was very seriously injured, and her kind of long road back. I mean, it's always tricky to tell these kind of stories in a, uh, realistic way, especially in animation, just 'cause you don't have a lot of time, um, and it's animation, so-and especially with TV animation, there's a lotta subtle stuff, subtle acting, subtle emotional things we wanted to get across. Um, but between your acting, Janet... |
| Janet | [In the background; in an appreciative tone.] Oh. |
| Mike | ... and the direction, and, you know, animation, it uh, just all came together quite beautifully. |
| Janet | It's a re-it really is a beautiful episode. |
| Bryan | Yeah, I'm-I'm proud of it as well, and-and proud of Mike's writing; I mean, it's-it's incredible. [Refers to when the episode transitions away from Korra in the present to the past at varying points in her recovery.] Um, yeah, I remember the-the network was worried about all of this jumping around to different time periods without chyrons at the bottom telling you, you know, what year it was, and all this stuff, but we-I-I trusted in it. I-I thought it all flowed really beautifully, and-and made sense, and-and was clear, and, um, I mean, [Refers to Korra's short hair in the present and the chronologically later flashbacks.] for one thing, it helps that her hair is cut in most of the-the stuff, but we-we did some, like, [Refers to the cool grey color palette applied to Air Temple Island and the characters on it, as the scene transitions to three years prior when Korra's friends bade her farewell after she decided to leave and recover in the Southern Water Tribe.] here, you'll see we-we desaturated and kinda did a cooler [Janet affirmingly murmurs intermittently.] tone on some of the flashbacks, but as they got closer to the present, I-we did less and less of that. So, this one was the furthest back, so we did, like, the heaviest treatment on it, um, but I-I don't think we even needed to that; I mean, I think it's-it's all really clear, and uh, uh... |
| Janet | [Interjects.] I agree. I mean, I would say I think the-having faith in Mike's writing, and also having faith in the fans, 'cause they know. Like, they, [Mike and Bryan affirm; laughs.] they're smart people, and they-they are fine with, I think, jumping-jumping around the stories... |
| Bryan | [In the background.] That's... |
| Janet | ... make the... |
| Bryan | That was our defense. [Laughs.] |
| Janet | Oh, that's absolutely true. |
| Mike | Yeah, and I think nowadays, you know, people... |
| Janet | [Interjects.] Very common, yeah. |
| Mike | ... people are used to this kind of storytelling [Janet gives an affirming murmur.] more, you know, with... you know, shows like Lost did... |
| Bryan | [In the background.] Yeah, Lost helped out a lot. |
| Mike | ... stuff like this. Um, you know... |
| Janet | [Interjects.] Yeah, and Lost made perfect sense. |
| Bryan | Yeah. |
| Mike | Well... |
| Janet | [Interjects; singing in a playful show tune.] Yah dah-dah-dah, [Mike laughs.] yah dah-dah-dah. |
| Bryan | [Laughs; refers to when Korra gently refused Asami's offer to come with her to the South, the flashback happening after Korra in the present time nearly got hit by a moving vehicle and refused a bystander's offer of assistance.] But I also think it thematically works really well, that we keep-it's not just, like, flashbacks, like, "oh, here, we're telling you this story in different pieces." To me, it-it reflects Korra's emotional state, [Janet gives an affirming murmur.] her, like, psychological state, that these things from the past, she's still living with them in the present. And uh... |
| Janet | [Interjects.] Absolutely. |
| Bryan | Yeah, talking to a friend of mine, who had some, you know, some-I won't get into specifics, but, like, some sort of like, uh, kinda emotional problems, and he finally got on some medication, and he told me, it was the first time in his li-you know, he was an adult, and it was the first time in his entire life that he'd been dealing with this that he was medicated for it, and he said it was the first time he re-he realized time didn't all happen at once. [Janet gives an affirming murmur.] Like, all these things in the past were in the past; [Mike gives an affirming murmur.] like, he had kinda been living in this emotional state where everything was all stacked on top of each other, you know? All of these events, all this-this trauma from his youth, and stuff. So, I don't know, to me, it-it-it feels like this is a similar thing, like she's got the past stacked in the present, and she can't really sift through it. [Mike affirms.] So... |
| Janet | I-I don't have anything to add f-to that other than that I think that was a co-completely profound way of explaining it, and I loved it. |
| Mike | Yeah, I was-I was, you know, pleased to see that lo-lotta the response I saw from people, um, online was-was very complimentary toward, like, that it-it seemed to capture, like, people dealing with um, you know, whether it's emotional trauma, or physical trauma, or... |
| Janet | [Interjects.] Or both. |
| Mike | ... you know, all tho-all those things that we struggle with, like, that people uh, s-said that it-it captured that well, which I'm-I'm glad I could uh, [Bryan affirms.] you know, and it... |
| Bryan | [In the background.] It's... |
| Mike | ... it wasn't just me. I'm not saying I... |
| Bryan | [Interjects.] It's a goo-no, these... |
| Mike | ... I had the answers here, 'cause I don't. [Laughs.] |
| Bryan | You know, artwork, like, artfor-you know, artforms like these, um, you know, a TV show, it's like, obviously, it's just a sh-at the end of the day, it's just a show, but these things do end up being sort of, uh, tools, uh, for kinda healing and coping for people if-if they're done well, or if there's something in it that people can connect to. And, you-you know, they're-they're obviously polished versions, and they're not as gritty as real life, and stuff, but in some ways, I think that can help people, especially young people, because they can, like, I think they can look at a-a serious challenge they have in their lives, and uh, see it reflected in this sorta little microcosm where it's a little safer, and a little more easy to wrap your head around, and [Mike affirms.] I think that can help people. I know um, I'm a big Peter Gabriel fan, and his song with Kate Bush, "Don't Give Up", [Janet gives an affirming murmur.] he has got through, you know, the decades, he's just gotten all of these letters from people, some very famous people, who were suicidal, and that song pulled them out of it. And, you know, Peter Gabriel didn't write it as a tool to prevent suicide, but it became that, it-for a lotta people, it-it, you know, became this thing that they used, and um, that's the kinda thing, you can't really-you don't really know, like, the effect, how people are gonna interact with this stuff when you make it. |
| Mike | Yeah, and I-the, I mean, I was thinking a lot of, I mean, we've met, you know, fans over the years, of, and to this day, you know, people who s-say, like, ho-you know, how the show, the original series or Korra, like, got them through, like, an illness, or a death of a loved one, or... |
| Bryan | [Interjects.] Or suicidal periods. |
| Mike | Yeah, li-like, all these very intense things that people go through in life, and, like, so I really-I really had that in mind when I was writing this, and, like, making sure to, like, honor those-those stories we'd heard, and-and, you know, hope-hopefully this can add to that, you know, history of Avatar episodes helping, [Bryan affirms.] helping people through some tough times. |
| Bryan | I'm also just proud because, you-you know, like, there're a lotta great animated shows out there, but, like, there just aren't many that-that can delve into something like this so seriously, [Janet affirms.] and, like, take it, like, with a straight, you know, like, depict this kinda thing, story, with a straight face. I mean, I think people joke about the Eighties sitcoms, and the live action sitcoms, like, "A Very Special Episode", like, that's become a joke because, [Mike affirms.] like, "oh, they, you know, they're-well, they're gonna deal with addiction or an eating disorder," but they're gonna do it in this, like, totally saccharine... |
| Janet | [Interjects.] Twenty-two minutes. [Laughs.] |
| Bryan | ... yeah, way. And-and, like, so that even became a joke, and most animation is just spoofing stuff, or it's sar-you know, it's sarcastic, and-and um, you know, it's nice to have a show that-that's this earnest, and-and can try to actually tackle this stuff, you know, seriously. |
| Janet | Well, that... |
| Bryan | [Interjects.] I'm proud of it, [Janet gives an affirming murmur.] anyway. |
| Janet | No, I-listen, I-I've said it a million times in interviews, and I say it every time I go to a convention, and a-as a lot of people maybe listening to this know, I go to as many conventions as my schedule permit because just seeing the, you know, knowing that the inception of that comes from your imagination, and your respect and understanding not just for storytelling, but for the people watching it, for me to have the opportunity to interact with those guys face-to-face, and connect with that on a personal level, is-it's, you know, it-it's emotionally draining. I think it's draining for the fans, and it's draining for me, but it's-it's a-it's a kind of draining that I welcome because it just cements how beautiful and important this storytelling is to people, and I feel like I wanna honor that by seeing that closeup, and being able to-sometimes, you guys are so busy, I-I feel like such an emissary, where I'm li-where someone says, "thank you for this story, and thank you for Korra," and I say, "well, I can only accept your thanks on behalf of Mike and Bryan, and the amazing crew behind it." But seeing that, face-to-face, makes it real on a totally different level, and-and it's so-it's been so meaningful to me. I never could've expected as an actor that I would've had the opportunity to be on a show that impacts people this way, instead of just, you know, going to a convention and someone saying, like, "say your funny catchphrase!" [Bryan chuckles.] |
| Mike | Right. [Laughs.] |
| Janet | Which would get, frankly, old, [Mike and Bryan affirm.] you know, in a different way, and nothing ever gets old about this because people are bringing in their personal experiences, and their own lessons that they've taken away from the show, and stuff, and-and that keeps it fresh for me, you know? |
| Bryan | [Brief pause.] Well, we are very lucky to have you, Janet, as such an amazing emissary for the show. I mean, we said the same [Mike affirms.] at uh, New York Comic-Con, where we actually got to watch this episode with the fans, uh... |
| Janet | [In the background.] Oh yeah, that was rough. |
| Bryan | ... the premiere of it, which was re-uh, [Janet and Mike laugh.] always, always fun to do. We always say we wish we could watch every episode... |
| Janet | [In the background.] Oh my gosh. |
| Bryan | ... with the fans in a theatre; it would be so much fun. |
| Janet | Oh, yeah, that first, that-the New York Comic-Con was so emotional because we knew it was probably gonna be our last big con together, and then to show arguably the most emotional episode of Korra on top of that, I feel like I was sitting in the crowd 'cause we all went out and sat with-with the fans to watch it, and there was a point at which I, like, pulled away from myself and my experience of watching this episode just long enough to think, "are they screwing with me? [Bryan laughs.] Like, they already know I'm gonna be emotional [Bryan and Mike laugh.] about this con." [Imitates Mike and Bryan.] "Janet, it's not always about you." But, [Mike chuckles.] uh, but yeah, it was-it was-but it was really-it-the first-the first time I ever watched anything with the fans at that very first San Diego Comic-Con I went to with you guys, and-and the swell of-of support and cheering, and the booing and the hissing, and the-how engaged everyone was, and how vocal everyone was-about it was, like, it rocks you, [Bryan affirms.] you know? Physically and emotionally, it's just very stirring, and so exciting. |
| Bryan | Especially when, you know, we've seen these [Laughs.] episodes, by that point, so many times, [Mike affirms.] that we're a little numb to them, [Janet gives an affirming murmur.] you know? I mean, we-we're excited, and we know when we've got one we're really pleased with, but the-the full, like, impact of each moment is a little lost on us because we're-we've just-we're-we've just worn it down, we've just seen it so many times. [Janet affirms.] But it reinvigorates it when you see it with a-a f-a new audience, and, you know, and they're seeing it for the first time, and, uh, very, very exciting. So, yeah, what I-I wanted to also add, totally, it is very emotionally, uh, draining going through those awesome interactions with the fans, but, I mean, I'm-I'm always just wiped-out a-after conventions, but it-it's also reinvigorating, you know? |
| Janet | Totally. No, you're so right. |
| Bryan | Yeah, you-you... |
| Janet | [In the background.] It's the ci-there's a circle. |
| Bryan | ... get the energy, yeah. |
| Janet | You're, like, and you're-you're, yeah, absolutely. You're replenished as you're depleted, and-and-and this-and it's perfect, it's perfect, you're absolutely right. |
| Bryan | 'Cause it-it's like, I mean, I don't wanna sound selfish, but the-the-the main reason Mike and I make this stuff is for us, you know, we-our-we always say our test [Laughs.] audience is the two of us, and we just want to always make sure we're happy with it, and that's the-really the best way we can do. If we project too far beyond that, uh, you kinda lose your center, and um, so we just try to make a show that we believe in, and make the episodes and the stories and the characters, like, adhere to our own, you know, kinda standards for, you know, like, I just try to make Mike happy, he tries to make, [Laughs.] you know, [Mike chuckles.] me happy, we try to make each other happy, and ourselves, and that's it. Um, but, it is nice to see what it's doing out there in the world, what your artwork is doing out there, and how people are connecting with it, and you kinda realize, like, "wow, this is pretty important stuff for a lotta people," and... |
| Mike | [Interjects.] Especially nowadays when, I mean, I feel like with the internet, everything, there is a sort of cynicism, and there, yeah, obviously can be some negativity going around, and stuff. Um, but when you meet the people in real life, like, it's just uh, it's-it's a totally different thing, you know? It's a-it's one thing to read a few comments online, but totally something else to actually meet, see a face and meet these people who, you know, for whom the-the show has had a big impact on their-on their lives. |
| Janet | Absolutely. And to go back to what you were saying about, you know, really making it for you, and being true to who you are, I think that everyone knows and respects that, and I think you can-I do believe that you can sniff out when something is insincere because it's coming from external [Mike and Bryan affirm.] sources rather than internal sources, and, um, it's such a great lesson, and I feel like I also talk about that a lot at cons when people ask about making new stuff, and, you know, "how did Mike and Bryan make this happen?" and all that. It feels so good to be able to say, "you know what? Make what you like, don't make it for someone else, don't make what you think the market wants... |
| Bryan | [In the background.] Yeah, definitely don't do that. |
| Janet | ... you know, you can-you really won't be able to stand behind your own work if you're not passionate about it from the beginning," for the exact reason that you guys were just talking about. You end up watching this over and over... |
| Mike | [In the background.] Yeah. [Laughs.] |
| Janet | ... and over again; imagine if you had to do that, and you already, like, didn't really like or care about [Bryan affirms.] what you were making. [Mike affirms.] It just seems like self-torture. |
| Bryan | Yeah. It just takes so much time and energy, and time away from loved ones, and [Laughs.] outside interests, and sleep, and stuff like that, that, like, if you don't love it, you know, then it's like, "why are you sacrificing all that stuff," you know? So, we-we just, yeah, we-we-we didn't make Avatar based on any "market" anything; we were just, like, we just made a show that was full of stuff that we loved, and that we would wanna work on and watch. This... |
| Janet | [Interjects.] And sometimes, I mean, not to be "this person", but sometimes, you-you know, for those of you who really are listening to this because you're interested in the process, which I bet a lot of you are because you're taking the time to listen to the commentary, [Mike chuckles.] um, it doesn't mean that you're gonna make your first thing, and Nickelodeon's gonna buy it, or somebody's just gonna buy it. It doesn't mean, like, "well, if you do it from the heart, the very first thing you do will be a huge success." That might happen; it might not, it probably won't, and that's not a reflection of whether or not what you're doing is honest or valuable, it just means keep at it, and keep doing it. |
| Bryan | [Refers to Korra's dejected expression when she sailed into Yue Bay.] I just wanna point out that it's interesting that Korra's expression, [Refers to Korra seeing an apparition of herself in the Avatar State atop one of the rocks near Air Temple Island, staring back at her.] even before she sees the scary Avatar vision, is-she does not look excited [Janet laughs.] that she's in Republic City... |
| Mike | [In the background.] Oh yeah, I think... |
| Bryan | ... you know? |
| Janet | Yeah. |
| Mike | Yeah, I think she's definitely, like... |
| Bryan | [Interjects.] She was already apprehensive. |
| Mike | ... hesi-yeah. [Bryan affirms intermittently.] I think when she's traveling there, she's like, "yeah," you know, it's the re-when the reality hits you, of, like, "oh, I'm actually gonna go back to the world, here, and uh..." |
| Bryan | [Interjects.] I think that's a nice touch. That was some good directing, there. |
| Mike | Yeah. [Refers to when Korra sails away from Republic City, mooring her boat at a river dock somewhere in the mainland.] And then uh, so she takes a little detour, and [Bryan chuckles.] here's the... |
| Bryan | [Interjects; refers to Korra throwing her patterned armband into the river.] I regret that she just-that we-she just littered with this thing. [Mike and Janet laugh.] I wish she-I wish she burn... |
| Mike | [Interjects.] It's biodegradable. |
| Janet | That's right. [Mike chuckles.] |
| Bryan | She should've burned it, though. |
| Janet | That's right. |
| Bryan | She should've, like, like, set it on fire as she kinda threw it. |
| Janet | But she threw it into water, guys. |
| Bryan | She-but... |
| Janet | [Interjects.] And it is a Water Tribe... [Mike chuckles.] |
| Bryan | [Interjects; in a discontented tone.] Ehh. |
| Janet | Okay. [Laughs.] |
| Mike | [Brief pause.] Um, so, because this-this episode was, uh, you know, some serious stuff going on, uh, you know, I tried to find some moments of lighter s-stuff where we could do some-some cuter, lighter stuff. [Refers to when Korra, in the present time, met a small white dog that wags its tail at her.] And so, like, the-the dog earlier, [Refers to when Korra met a fishmonger while traveling to Republic City, the vendor enthusiastically asking if he could take her picture for his "Wall of Avatars".] the f-fi-the fishmonger guy that she meets was kinda goofy, [Refers to when Korra encounters several friendly spirits, including a small yellow light spirit with leaves growing out of its head, while meditating in the Tree of Time.] and then uh, this little spirit, spirit guys. Um, we really liked how in uh, the Avatar Wan episode, we had a couple kids do some spirit voices. |
| Janet | [Refers to the light spirit enthusiastically calling out to its friends, telling them it sees the Avatar.] Oh man, so cute! [Bryan affirms.] |
| Mike | Yeah, yeah, and they were super cute, so we-we got a couple other kids to do-voice these little guys. |
| Bryan | [Refers to the light spirit's friend, resembling a quadrupedal snail, questioning if Korra really is the Avatar.] Love these voices. [Mike affirms.] |
| Janet | I love them, too! |
| Bryan | Something about spirits with kid voices is just, [Janet affirmingly sighs.] it's just, like, [Mike affirms.] instant gold. |
| Janet | I mean, I was in love with the spirits even when you just showed me an image of them before they were animated, and that did nothing but make me love them all the more. |
| Bryan | Yeah. [Refers to when the light spirit asks Korra if there's anything they can do to help with her recovery.] I love this-this little one. It's so, like, so sweet, [Janet laughs.] and just wants to help, you know? |
| Mike | Yeah. |
| Janet | Ahh. |
| Bryan | [Brief pause.] Uh... |
| Mike | [Interjects; refers to when Korra explains to the spirits how she was hurt in the past and lost her connection to her Avatar Spirit as a result.] And it kind of hel-I mean, having them be kind of like kids worked for, like, Korra explaining, like, [Janet affirms.] like, kind of explaining to a kid, like, why she's not feeling good, [Janet and Bryan affirm.] and what's been going on, and stuff. |
| Janet | [Refers to the light spirit climbing onto Korra's lap.] Oh, so cute. |
| Bryan | That little, like, climbing up her leg. |
| Janet | Oh no. |
| Bryan | And the... |
| Janet | [Interjects.] Why can't I snuggle with you, right now? [Mike chuckles.] |
| Bryan | I know, [Refers to Korra picking up the light spirit, its legs dangling in the air as she gently sets it back down on the ground.] and then the way she sets it down, right here, and its little legs are drooping. |
| Janet | [In a fawning tone.] Ooh. |
| Bryan | So cute. |
| Mike | [Refers to the small glowing mushroom spirit behind Korra.] That mushroom guy's pretty cool, [Bryan affirms.] too. [Janet laughs.] |
| Bryan | [Refers to the profile shot of Korra, framed in front of the Spirit World's vividly red and yellow colored sky.] This-this drawing, this shot right here of Korra, that's one of my favorite ones [Mike affirms.] from this season. |
| Janet | Oh, it's so beautiful. |
| Bryan | Always loved that particular background. It was, like, the color the sky changed after Harmonic Convergence. [Refers to the iceberg-filled ocean that Korra sails along during her six months away from her friends and family.] These are awesome paintings by Emily Tetri... |
| Janet | [In the background.] So, so stunning. |
| Bryan | ... one of our great background painters. Emily, uh, and I, like, would always, [Refers to the barren wasteland of flowing and fountaining lava that Korra passes through.] oh, she did this one, too. [Refers to the sequence transitioning between the locations Korra travels through as she narrates a letter to her parents off-screen.] Really cool st-I gave her all these cool, like, ones from the traveling montage. Um, she and I are always sharing, like, cool landscape photography shots with each other, so when I was like, "I got some-I got a cool assignment for you, and some crazy ice." |
| Mike | [Refers to when Korra told the spirits she needed to figure out how to get better on her own.] Yeah, and this is, like, the part of her journey where it's-I-I guess I always feel like whenever you're trying to get over whatever it is, like recovery or a breakup, or whatever, there's that period where you're just like, "I'm-forget everybody else, I'm-I'm going alone. [Janet and Bryan affirm.] Going out on my own." |
| Bryan | [Refers to when Korra rushed up the sand dune where she saw Raava, her pace slow and halting as she fell to her knees on the slope, hastily crawling forward before righting herself.] That, by the way, that animation of her scrambling up the sand in profile is so incredible; [Mike affirms.] I mean, that's, like, feature-level stuff. If-if it had been animated on one, s-that's the only difference of the... |
| Mike | [Interjects; refers to Korra repeatedly seeing an apparition of herself, eyes glowing white, hair disheveled, garbed in her Water Tribe clothes, and manacled with a chain wrapped around its right arm.] Oh, and then we sh-we should probably talk about the-the Dark Avatar Korra vision that she's seeing, 'cause um, I mean, the idea was, like, since this is such a psychological episode, how do you depict this very internal, um, struggle in a external way. [Janet gives an affirming murmur.] So, um, so, if you see, she has the chain around her hand, and stuff, so it's basically like, you know, the-the version of herself when she was fighting Zaheer at the end of Book Three, like that kind of out of control, uh, version of herself. |
| Bryan | It's interesting that it's not, like, Zaheer that she keeps seeing, [Mike affirms intermittently.] you know? That it's actually herself, and I-I-I think that's really cool. [Refers to the point of view shot of Korra's vision blurring, seeing double after having been knocked down by her cage match opponent, with her opponent going out of focus and coming back into detail as Korra's apparition.] I love this transition, that-I remember re-seeing some comments after 401, you know, the end, where you see Korra in this little cage match, and, like, people were like, "oh, why did Korra throw the fight?" Like, they didn't believe [Janet laughs.] that she could lose, and I love that you... |
| Mike | [In the background.] Yeah, was... |
| Bryan | ... see-see, like, [Refers to the shot panning by Korra and her apparition, with the apparition changing back to Korra's cage match opponent after Korra's arm temporarily obscures it during the pan.] this transition, here, [Refers to when the onlookers standing above the arena disappeared as the stands darkened during Korra's hallucination.] how the background went black, and [Mike affirms; refers to Korra fighting her apparition in the cage match, the apparition whipping about the chain around its arm to attack her.] like, you see, like, she wa-she wasn't even fighting that woman. [Janet affirms intermittently; refers to the montage sequence cutting to various moments Korra had in the present storyline after the cage match, including healing herself in a bathroom, looking back toward the approaching headlights of a vehicle as it horn sounds in warning, and the white dog she met barking at her apparition.] I love this; this I really fought for, uh, the-the network was worried about that, like, jumping around the different times, and I was like, "no, that's perfect." Like, I love the dog barking, and the car honking. [Refers to the establishing shot of the Foggy Swamp, tall trees poking out of the dense foliage.] So, some cool paintings by uh, Lauren Zurcher; [Refers to the wide shot of the swamp at ground level, the shot tracking with Korra and the dog as they run through the forest, the dog transforming into the light spirit as it passes behind a tree in the foreground.] I worked on that wide shot myself, as well. But yeah, Lauren did some great stuff with the swamp. [Refers to when the light spirit tells Korra she won't find a "what" in the swamp, but a "who".] So, my favorite line in the whole season [Mike chuckles.] is coming up, right here. [Imitates the spirit's putting emphasis "a who".] "A who." That is the best read. So cute. [Brief pause; refers to Korra fighting her apparition in the swamp.] Yeah, this was a cool fight, you know? [Refers to when the apparition's form blurs and goes out of focus as it swiftly moves out of the way of Korra's waterbending.] It's-it's like, you know, kinda calling back to when Korra would fight the spirits, and they would blur around, and stuff, but this time, it's her. It was kinda cool. |
| Janet | [Brief pause.] I love-I love it. And you guys can tell me if I'm wrong, but I-I feel like because, you know, the fan frustration that I am privy to, for better or for worse, about Korra versus Aang is, you know, just how frustrated they get with choices that she makes, [Mike affirms intermittently.] and so I couldn't have been more pleased, and in a way, unsurprised, that, as you said, it's her she's fighting and not Zaheer, because in so many cases, she kind of was her own worst enemy in a-in an unintentional way. And so, this feels like the right way to combat all of those choices, is to kind of be responsible to them, and fight them. [Bryan affirms.] |
| Mike | Yeah, I mean, this whole season is about Korra dealing with her-her kind of inner psychological state; I mean, also the fact that Kuvira's kind of a mirror, you know, [Bryan and Janet affirm.] image of her, too, and fighting this version of herself, like... |
| Janet | [Interjects.] You guys are so good at layers. [Bryan chuckles.] |
| Mike | [Laughs.] Uh, yeah, for me, like, I mean, Book Three was awesome, I-every Book has its, like, moments for me, and stuff, but for me, for Book Four, like, this-this kinda storyline is-what I love about it is the-the kind of psychological struggle that [Janet gives an affirming murmur.] she has to overcome. [Refers to when Korra, having woken up to see an old woman stirring a cooking pot, recognizes that the woman is Toph Beifong.] And then we get to bring back one of our favorites. |
| Bryan | Yoda. [Mike laughs.] |
| Janet | [Laughs.] That is... |
| Bryan | [Interjects.] On... |
| Mike | [Interjects.] Yeah. |
| Bryan | ... [Refers to the Toph's home, being built inside a large, hollow tree in the swamp.] Dagobah. |
| Janet | ... the number one comment. |
| Bryan | Yeah. It... |
| Janet | [Interjects.] Always positive. |
| Bryan | ... it's very Yoda-like. |
| Janet | But... |
| Mike | [Brief pause.] Yeah, it is interesting how there's times when people get upset, where you're like, "oh, you copied this movie, or that movie," and then there's times where people are like, it's cool 'cause it's like an homage, or something. And it's-and we were aware of it, but it wasn't, like, we were trying to, like, [Bryan affirms.] do our... |
| Bryan | [In the background.] I actually... |
| Mike | ... homage to Star Wars, or something. |
| Bryan | I didn't even think about it 'til it was animated. I... |
| Mike | [Interjects.] Yeah, it was more about, yeah, 'cause the s-the swamp was an a-uh, you know, a location in the old series, and... |
| Bryan | [Interjects.] And it tied into Toph. I mean, Aang... |
| Mike | [In the background.] Yeah, Aang... |
| Bryan | ... saw the vision of her there, and this-there was definitely this cool, [Mike affirms.] like, spiritual connection to Toph, there. |
| Mike | I think there's just those kind of mythological archetypes and tropes that [Bryan affirms.] pop up when you're telling these kind of stories. |
| Bryan | But, she has a very similar pad to Yoda. [Bryan and Janet laugh.] |
| Mike | She's more cranky, though. [Bryan chuckles.] |