3 Body Problem | Inside the End of Judgment Day | Netflix

The Judgment Day sequence was one of those ones that we talked about before, where you just think, "Oh, man. I really wanna see that on screen. See it done right." I've read the episode countless times, trying to fathom, "How am I going to visually pull this off?" I don't think we've ever seen something like this on TV. There's so much going on. It's a crazy frenzy. So I think this will be epic television. We found him. Panamax oil tanker. Could be 1,000 people living on there. For something as

epic as the Judgment Day, it began with months of prep. And it started with the science. Auggie is a genius, and I employ her to use those skills in a very questionable way. Which do you think is more important to the human race, a canal or defeating an enemy coming to our world to take it for themselves? When we were trying to design the nanofiber cutter in Auggie's lab, something I realized was that, if I was really doing this experiment, I would want to be observing the property of these fibe

rs. So you would probably want to avoid moving the fibers. You would want to keep the fibers static and move the block through the fibers. Why isn't it working? It is. And if we believe that what the diamond cutter can do is possible, then the outcome of Judgment Day is believable. You want it to work. Of course I want it to work. Even though you don't know how many we're going to kill? What do you think is happening? I think we're at war. Everyone in the show is grappling all the time with the

question of, in a wartime situation, how far will you go? One of the corridor sequences where everything gets destroyed, everyone just expects that you're just gonna alter it in post, but I wanted to keep quite a bit of it in camera as well. For us creating that, it's very important to make it very organic. So we want to pull off something which looks hyperreal but to a point of realism that is really quite interesting and propelling. The other epic moment is the wreckage. And Keith, head of con

struction, genius, came up with using this idea of neoprene. And that was rigged onto a very simple rig, but whereby those strips could be pushed and pulled and angled up or down. And it made these strips look like they had been mangled. What's important for me was to make sure that we fed the appetite for spectacle and scale but with characters we care about. They're telling us to kill people we don't know for reasons that we don't know, and you're just like, "Yeah, cool"? You have to focus on

character and relationships, where it can be brought down to the human. When you're dealing with a drama that affects all of humanity, things may not be as black-and-white. So we really see Auggie just trying to grab onto life as hard as possible. It creates an interesting moral dynamic for the viewer that the most violent, horrific thing that we do was done by, ostensibly, the good guys. I mean, it's terrifying. It's utterly terrifying. And that's the feeling I wanted to create. That you've bee

n literally blindsided with this massacre.