The Wheel of Time Season 2: Unveiling Epic Fights & Majestic Weaponry with Stunt Coordinator Jan Petrina

Summary

In The Wheel of Time season 2, stunt coordinator Jan Petrina delves into the intricacies of action and choreography. He shares insights on striking a delicate equilibrium between drawing inspiration from the series' books and scripts while ensuring practicality.

In season 2, the action becomes even more intense with intense battles, fresh adversaries, and refined combat techniques. The heightened intensity is a result of the characters' growth and development as well. The newly introduced factions are made even more unique and menacing through intricately designed costumes and weapons, including the powerful Aiel weapons. The safety and functionality of the design elements and the input from the cast are taken into careful consideration.

In The Wheel of Time season 2, Rand goes into hiding while Moiraine loses her connection to the One Power after their encounter with the Dark One. As a result, the young heroes from the Two Rivers are now scattered across the world, seeking their own sources of power in preparation for the upcoming Last Battle. Amidst familiar and unexpected threats, they will uncover their hidden potential.

Starring Rosamund Pike, Daniel Henney, Zoë Robins, Madeleine Madden, Josha Stradowski, and Marcus Rutherford, The Wheel of Time also features Dònal Finn in season 2, taking on the role of Mat Cauthon previously played by Barney Harris. Rafe Judkins is the creator of The Wheel of Time TV show, which is based on the book series of the same name by Robert Jordan, with contributions from Brandon Sanderson.

Stunt coordinator Jan Petrina recently had a conversation with Screen Rant discussing the second season of The Wheel of Time. He highlighted the advantages of having previous experience from working on the first season and emphasized the delicate equilibrium they maintain between drawing inspiration from the books, scripts, and maintaining feasibility. Additionally, Petrina proudly presented the wide array of weapons featured in The Wheel of Time.

Jan Petrina Talks The Wheel Of Time Season 2

Screen Rant: Can you tell us a little bit about where we're standing right now, and how this is used in the production?

Jan Petrina: Currently, we are stationed in the designated area, where we initiate the development of action sequences, choreography, wire work, and occasionally provide practice space for the actors to learn and rehearse the choreographies.

Given the vast array of distinctive combat styles within the Wheel of Time universe, how much preparation time does you and your team receive before the production begins?

Jan Petrina: Typically, we have around six to eight weeks before we begin shooting the production. However, since we worked on Season 1, we already have several years of experience on the show. This allows us to carry over knowledge from the previous season, build upon it, and establish stronger connections with the cast. Consequently, Season 2 is actually easier than Season 1.

Additionally, the styles have become more established. Nevertheless, we still need to push the boundaries and demand greater skill from the cast, considering the heavier action involved. This means there is a lot more work involved in Season 2.

Could you discuss how you increased the intensity of the action to match the new adversaries we will be facing, considering that the characters have more experience now?

Jan Petrina: After reviewing the script and referencing the book, we aim to find a suitable balance between what is written, what can be realistically portrayed on screen, the time we have, and the physical limits we can push the cast. Once we have a clear vision, we begin the pre-production process by creating initial stunt videos and consulting with Rafe and the directors. Tomas, Anna, and Mayon were also present during this phase, where we sought their feedback on the movement style we were developing.

We decided to make the army appear more synchronized and robotic, while maintaining the same style. This not only helps us in managing the battles with limited stunt opportunities, but also allows for one person to fight against three different actors in a single battle. By repositioning the camera and guiding the actors, we create the illusion of them fighting together. This unified style works well for the Seanchen army. As for the threat level, despite being more relatable and human-like, we aim to ensure they still pose a significant danger.

Jan Petrina: In my opinion, the terrifying appearance of the armor and helmets greatly contributes to their effectiveness. The darkened face underneath creates an ominous atmosphere during battles, as it conceals the fighters' identities. Additionally, the durability of the armor makes it particularly intimidating, as the adversaries are able to sustain significant blows without immediately perishing. This unyielding resilience adds to the fear factor. Furthermore, the sheer number of opponents constantly replenishing the battlefield creates a sense of endlessness, leaving one feeling overwhelmed and helpless against the relentless onslaught.

The costumes are truly impressive and large, as you mentioned. Are there ever instances where adjustments need to be made to the costumes in order to accommodate the necessary actions?

Jan Petrina: Later on, I can show you some of the costumes we have here so that you can experience their weight and see the helmet's limited visibility. It is undoubtedly challenging. Additionally, it's not just the stunt performers who wear these costumes, but the cast as well. Therefore, we occasionally approach Sharon and request a lighter version or increased flexibility, maybe even loosening certain straps. Remarkably, they are incredibly accommodating. Despite knowing that our actions may damage their creations, they still step in to assist us, ensuring that the action sequences flow smoothly. Therefore, achieving a balance between aesthetics and functionality becomes a collaborative effort.

For the returning cast members from Season 1, we encourage them to push their limits and expand their skills. Are they allowed to have a say in how they fight and what they prefer to do?

Jan Petrina: Absolutely, they have a say in it. Since they have already undergone training and have a better understanding of what works for them, we always consult with them. We want them to feel comfortable and natural in their actions. It's important that we don't push them in a direction that doesn't suit them, as it wouldn't result in a great performance.

We aim for their genuine expression to emerge naturally. Consequently, we engage in constant communication with them, fostering creativity and when we notice any shortcomings in what we produce, or observe their struggle, we make necessary adjustments to ensure smoothness and optimal functionality.

Jan Petrina presents a variety of weapons, including both real time weapons and training weapons. Among them are Aiel weapons, which are remarkably lightweight. These weapons allow individuals to engage in combat for extended periods without straining their muscles and joints. It is particularly important for the cast members, as some of the Aiels are petite females. It is crucial to prevent any injuries that could impede their ability to perform throughout the entire season. Since the intensity of the fights increases with each episode, it is essential for them to stay in good shape until the end.

When you're designing fights, you have a variety of weapons here. Is it very clear from the beginning, based on the scripts, who has what type of weapons?

Jan Petrina: Prior to pitching weapon ideas, we aim to develop concepts that we believe will be suitable for the character. We then consult with Rafe, the directors, and inquire if they find the chosen weapon satisfactory. We also ensure that the weapon aligns with the original concept in the book and meets the expectations of the fans. Their response typically involves approving the idea or requesting adjustments, such as increasing or decreasing its size, or exploring alternative designs. Have you ever suggested unconventional weapons, like, "You ought to consider utilizing this particular weapon"?

Jan Petrina: Occasionally, we provide weapons when the actors request something unique or non-traditional, something more fantastical. In those cases, we collaborate with the Art Department to develop a design. Once they create a drawing, we assess its feasibility as a functioning weapon, making necessary adjustments in terms of size and balance. We then work in conjunction with the Props team to bring the design to life.

Is there a discrepancy between the weapons used during rehearsals and the ones utilized on set?

Jan Petrina: Typically, we acquire foam weapons from martial arts stores and similar places. These weapons are lightweight and designed for safety. They have a soft exterior, so if someone is struck in the head, there is no harm done. We start with these foam weapons during training, ensuring the performers have the necessary skills and can memorize the choreography. Once they demonstrate proficiency, we gradually introduce the actual weapons they will use during filming. These weapons have soft tips and are not sharp.

Additionally, you can see bamboo swords here. They are lightweight and may still have traces of "blood" from previous battle scenes. Depending on the performer, we provide swords of different lengths to achieve balance and realism. For instance, smaller performers or even female actors may play soldiers in the episode. We aim for a visually appealing and proportional representation, avoiding situations where a smaller performer wields an oversized sword. Ultimately, there is a wide range of weapon variety to accommodate the various characters and their roles.

Jan Petrina mentioned that the Aiel fight, particularly Tigraine's fight in Season 1, was the most challenging and enjoyable sequence for them to design, as they strived to make it unique.

Later on, we acquire various types of axes that provide the flexibility to hit, cut, hook, and perform other impressive actions, which is undeniably exciting. Moreover, these axes are slightly heavier, specifically designed for individuals like Perrin or those with a larger build.

Additionally, there are exceptionally heavy hammers that immediately make you think, "This would be perfect for Perrin or someone as physically massive as the Trollocs or perhaps even Loial."

In addition to the action, the powers themselves play a significant role. After watching the initial three episodes, it is evident that the visuals, intricacy of the storyline, and the power capabilities of the characters are all progressing. How challenging is it to create sequences that involve explosive events and characters soaring through the air?

Jan Petrina: Working with special effects, the construction team, and the Art Department allows us to create impressive scenes. For example, we design the set for a breakaway moment where we can incorporate an explosion behind a wall, causing debris to fly around. The special effects team provides options for safe explosions and soft debris, determining how far we can go with the cast and when we need to use stand-ins. We thoroughly test everything during the preparation stage. Additionally, I can show you the equipment we use for flying stunts.

To achieve realistic flying scenes, we utilize hidden harnesses that are worn underneath the costumes. Sometimes, these harnesses are accompanied by stunt protection like padding, which adds extra layers to the costume and restricts movement.

Do the cast members also use some of these items?

Jan Petrina: Yes, some of them are used by the cast. We encourage them to practice with these items. Additionally, we have smaller options so that the costumes do not appear too cumbersome. Sometimes the girls express concern, saying, "Do they really need to wear this? It doesn't enhance our costumes." In response, we find a compromise by opting for smaller, slightly less comfortable items, striking a balance between comfort and appearance.

What are you most looking forward to fans witnessing in terms of the action stunts in season 2?

Jan Petrina: Well, I'm eagerly anticipating the variations they discover in the characters, as well as in the renowned cast and thrilling action. With everything on a grander scale, it will be intriguing to hear their thoughts. Additionally, as the season progresses, I'm looking forward to witnessing the return of some of the Aiels. And ultimately, seeing how they perceive the epic showdown at the end.

About Wheel Of Time Season 2

As Season 2 unfolds, both fresh and ancient threats emerge, targeting the close-knit group of friends from the Two Rivers who are now dispersed across the globe. With the woman who originally discovered and guided them rendered powerless, they are compelled to discover alternative wellsprings of resilience. Whether it be within their interdependence, their inner selves, the benevolent forces of Light, or the malevolent forces of Darkness.

Check out our other Wheel of Time season 2 interviews:

Sharon Gilham

Davina Lamont

Ondrej Nekvasil & Ondrej Nierostek

Holger Reibiger, Marigo Kehoe & Mike Weber

Sanaa Hamri & Thomas Napper

The first three episodes of Wheel of Time season 2 are available on Prime Video now, with new episodes dropping on Fridays.

Source: Screen Rant Plus