How ‘Severance’ Filmed the Outdoor Retreat Episode: ‘Nightmare’ Weather, Three Weeks of Scouting and CGI (Plus, Real!) Snow

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⚠️ Caution: The content of this article may reveal key details from the fourth episode of Season 2 of “Severance,” currently available on Apple TV+. Proceed with caution if you wish to avoid spoilers.

⚠️ Spoiler Warning: This text discloses plot points from the fourth episode of Season 2 of the show “Severance” on Apple TV+. Read at your own risk!

Both options convey the same message in an easy-to-understand way, while maintaining a friendly and approachable tone.

Fans of “Severance” are accustomed to the limited office spaces within Lumon being the exclusive world for the disconnected workers. However, the most recent episode of Season 2, titled “Woe’s Hollow,” drastically alters this setting entirely.

It becomes evident when Irving (John Turturro) stirs awake, completely isolated on a massive sheet of ice in the middle of a desolate landscape. Later, he encounters his colleagues Mark (Adam Scott), Dylan (Zach Cherry), and Helly (Britt Lower) – who turns out to be Helena disguised as her “outie” – as they navigate snow-covered and icy woodlands, on a baffling work expedition orchestrated by Mr. Milchick (Tramell Tillman).

Jeremy Hindle, the production designer, found “Woe’s Hollow” to be the most difficult episode of the season, as they filmed all exterior shots on location. For about 20 days, he traversed various elevations in upstate New York with scouts, eventually selecting picturesque spots like Awosting Falls for the dramatic waterfall finale and Minnewaska State Park Preserve for the tent and hiking sequences.

Hindle explained to EbMaster that the objective was to discover various locations which appeared dramatically distinct, as if a significant distance had been traversed. During the scouting process, we’d often spend entire days hiking because many of these places couldn’t be reached by car. In some instances, we had to walk for five miles before realizing that it wasn’t feasible to get there.

According to Hindle, the unpredictable weather was a real “headache” when it came to selecting suitable filming locations. He remembers that during the initial shooting phase, they received an incredible amount of snowfall, only for temperatures to skyrocket afterwards and melt all the snow, leaving them with no snow at all to work with. To simulate winter conditions, the team resorted to freezing trees with machines and scattering artificial snow on the ground so the actors could walk on it. Roughly 70% of the snow in the final edit required computer-generated imagery.

However, during the filming of Irving’s dream sequence, the team managed to prevail despite the challenging conditions. This scene was set in a Lumon office on a mountain peak, filmed during the day to mimic nighttime in a burnt forest near Sam’s Point. Fortunately, it snowed heavily that day, and they shot it in the afternoon with a striking desk amidst an unusual field setting. The result gives the impression of being underwater; they aimed to create something strikingly surreal.

In this episode, Irving’s dream sequence isn’t the only hint of Lumon’s influence. Instead, new employees are first encountered by a television screen displaying Milchick’s instructions for their roles at Woe’s Hallow. Moreover, the tents emit a soft blue glow, as if they were bathed in a touch of Lumon’s light. The implication seems to be that Lumon permeates everything, whether it’s within the building or outdoors.

Throughout the episode, expansive snowy vistas and towering trees dominate the visual landscape. However, when significant character relationships shift, the focus narrows dramatically – particularly as Irving becomes suspicious of Helena’s intentions. A standout moment is the intimate scene between Mark and Helena, which unfolds within a tent bathed in a striking red backlight.

Hindle desired the interiors of the tents to have a caged, almost organic feel, reminiscent of an animal’s ribcage. We constructed a stunning heater within the tent that primarily functioned as a light source, resembling the heaters from the ’60s and ’70s. The design aesthetic is consistent with Dieter Rams’ style. Red is scarcely used throughout the show, except when genuine affection is portrayed.

Remarkably, Episode 4 presents a unique scenario where several of the laid-off staff members get their initial glimpse and engagement with the external world. This aspect added to the complexity of the production design process.

Hindle explains that we don’t handle them as if they were kindergarten kids. Instead, these characters have never witnessed anything beyond their immediate surroundings – not even the sky, a tent, or fire. When they encounter fire for the first time, it’s fascinating to them, evoking an ‘Ooh!’ response. Therefore, every little detail in each of these revelatory moments must be meticulously crafted, as both the characters and the audience are experiencing these new sights together.

During filming, safety guidelines played a crucial role as well. Given that the forests are under the supervision of the US Forest Service, housing various insects and animals, we weren’t allowed to physically interact with the trees or alter their surroundings. For instance, the dramatic final scene where Irving submerges Helena to reveal her true identity necessitated the construction and placement of additional rocks that seamlessly integrated with the natural environment.

I take pride in crediting everyone for stepping up their performance significantly, which was crucial in delivering the episode under challenging and erratic weather circumstances. Reflecting upon “Woe’s Hollow,” I can’t help but admit that I nearly pushed everyone to the edge of the known world.

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2025-02-09 19:47