Thanks to pop culture, nowadays, when you think about archiving immortality, it's as simple as taking a vampire bite to the neck, however, Intruders takes a very different approach to living forever. The upcoming BBC America show features a secret society that tries to continue on "by seeking refuge in the bodies of others."
While at San Diego Comic-Con to premiere the show's pilot episode, writer and executive producer Glen Morgan and executive producer Julie Gardner hit the BBC America press line to talk about what you can expect from the show, what it takes to achieve a convincing on-screen body swap and more. Catch it all in our interview below.
Can you breakdown the supernatural component of the show for me? Are there any rules you can share?
Glen Morgan: There's a lot of rules.
Had a feeling they'd unfold as the season went on.
Morgan: And they do. It's not a show where, 'Oh, yeah, we're gonna get to that.' I mean, we do, but we have the answers so we're very careful to not have a show that is gonna make people crazy that we didn't have an answer.
Are we going to actually see someone possess someone else's body?
Morgan: [Snaps] Three minutes into it or something.
Is that a visual effects thing?
Morgan: There's a visual effect component, but we have a really good cast who can – I mean, that was like really tricky and pretty much all of them from some of our actors we had for a day in Vancouver to nine-year-old Millie Brown, to have a physical transformation that you can tell, 'Oh, the other person's in them now.'
Julie Gardner: That's the thing, we've got a really small VFX component. It's really all in the performance and in the character. It's a very grounded piece. It's a very spooky, psychological, paranormal thriller, so we've tried to keep it as real as possible.
How human is it? Is this an idea that people just came up with and figured out how to do?
Gardner: I think it's very human. I think it's the most human thing.
Morgan: Well, it's the thing everybody wants. The group in the show – the origin goes back to Egypt, so it's been like for 3,000 years they keep honing it in and they still don't have it kind of perfected.
So what happens when people make mistakes?
Morgan: Then you've got a show! [Laughs]
Gardner: Yeah! Exactly!
Morgan: That's what the show is!
Is there a middle ground you can get caught in?
Gardner: There's a lot of risk to this, isn't there? There's a lot of danger. There are no guarantees in life and there are certainly no guarantees in multiple lives.
How would you describe the tone of the show? Does it have a horror component to it?
Gardner: Oh, it's creepy.
Morgan: It has a definite horror, creepy component, but we drew from those movies in the 70s, The Paranoid, The Parallax View and Clue and they have that tone, they're dark and you can't see people's eyes, Gordon Willis photography.
Gardner: I think too, as soon as you hear Bear McCreay's theme music, the tone is totally – isn't it? It's extraordinary. It's really dark and spooky and unsettling.
How about the color palette? Are there certain colors you're sticking to?
Gardner: Very much so, very much so. It's quite muted. It's very organic as a color palette.
Morgan: Yeah, you know, the novel is set in the Pacific Northwest so we went with that. You have a very green, brown, black and as they get more and more into trouble, it gets darker through shows five through eight.
Garden: Yeah, the DP definitely turned the lights off episode by episode. It's true to say! [Laughs]