‘The Handmaid’s Tale’: The Visual Effects Are Imperative To Create Gilead

In Hulu’s The Handmaid’s Tale people are forced to navigate the dark cruelties of a new America called Gilead. Its desolate streets, masked faces and empty grocery store shelves were once a fascinating what-if scenario and certainly made for compelling entertainment. In the current pandemic, however, these things have become a reality.

In the Republic of Gilead, it’s not a deadly virus they’re fighting but a fundamentalist-Christian theocratic military dictatorship. In the midst of one of the most divisive presidential elections, many would argue that we, too, are facing threats to our democracy.

Due to its terrifying correlations to the real world, The Handmaid’s Tale may not be an easy show to watch but it’s one of the most important on television. Equally fascinating is what goes on behind the scenes to create this world.

The series, based on the 1985 dystopian novel by Margaret Atwood, has received a plethora of awards nominations and wins its first three seasons. Over the years, show creator Bruce Miller, who executive produces and writes the show, has explained each season’s theme to me. The 10-episode first season was about surviving versus living and the 13-episode second season was about motherhood and asked the question as to what motherhood means. The third season, also 13 episodes, was about Gilead facing terrorists, resistance and revolution.

The Emmy and Golden Globe-winning drama series blew fans and critics out of the water with season one, which garnered 13 Emmy nominations and eight wins. And, the show made history when it scored the Emmy for Best Drama Series, which is the first time a streaming series ever won this award. In addition, the show was nominated for three Golden Globes, with two wins.

The third season recently received 10 Emmy nominations, including outstanding drama series. Several of the nominations are for those working behind-the-scenes, including Natalie Bronfman (Costume Designer), Elisabeth Williams (Production Designer), Burton LeBlanc (Department Head Makeup Artist), Paul Elliot (Department Head Hairstylist), Stephen Lebed (VFX Producer) and Sharon Bialy (Casting).

The entire series pivots around Elisabeth Moss’ Handmaid June Osborne and season three was all about her resistance to Gilead’s extremely cruel dystopian regime. Viewers finally got to see her fight back and win, though the win may not have come in the form fans wanted. Yes, we wanted to see June finally escape Gilead but her goal was to hurt her prison more than to escape its horrors, explained Miller post-finale.

One element of the show’s world-building, which is actually not supposed to be noticed by the viewer, are the visual effects. Below is a breakdown of one particularly pivotal scene from last season in the episode entitled “Household” wherein Washington, D.C. was completely transformed. In this scene, June and the Handmaids were brought to D.C. where they witnessed the terrifying transformation of the city, including the destruction of many beloved national monuments.

The Emmy-nominated team behind Gilead’s nightmare version of Washington D.C. is Mavericks VFX and theirs is an especially challenging task. With this show, their work is to be felt, rather than seen.

VFX Supervisors Brendan Taylor and Leo Bovell were tasked with turning the Washington Monument into a Gilead cross and destroying the Lincoln statue. They also worked to paint out bystanders and added digital Handmaids to many shots. Their work can also be seen in previous seasons, including the incredible Fenway Park and the burning of the Waterford’s home. And, they’ve received Emmy attention every season.

Taylor explains how this show is different than others they work on. “We’re there to support the story and every single time, it’s been VFX for things they’d love to shoot for real but can’t. Whether it’s logistics or finances or sheer scope, they come to us after exhausting all practical shooting and say we need your help.” But, he adds, their work cannot ever be used in a way that shows off. “The minute you sense a VFX shot it takes you out of the story. It’s got to be perfect.”

Miller concurs that unlike other shows, such as Game of Thrones, where the VFX is meant to stand-out, it’s imperative in this case that it’s seamless. “On our show, the VFX has to be invisible. Our world has to feel like a real, grounded place or it won’t be scary. The VFX is so good because you don’t notice it. The better it’s done, the less you notice. VFX is used here to make the world we are creating more real, to add elements to the story and as a vehicle to help tell the story. This is one of the biggest changes to filmmaking that’s not really being talked about. You can really use VFX to manipulate a scene to make it look real. It also affords us more leeway as far as where to shoot.”

Moss explains how she feels after filming a scene, knowing the reality of what was shot, and then seeing the finished version. “I am always happy to see the finished version of the show with visual effects. Most times, they have added the finishing touches on our work, but sometimes there are surprises because decisions were made in the editing room. Either way, they always make the visuals better! It is a great collaboration.”

Moss adds how VFX is an integral part of the believability of the show. “It lives hand-and-hand with the art, make up, MFX and locations departments and serves to enhance the practical visuals, taking them to a level which is physically impossible given the time and budgetary constraints of television production.”

There were several discussions as to how to do the D.C. scene, says Taylor. “It was interesting how the decision was made to do it and how we ended up doing it. When deciding to go to Washington it was in the middle of the government shutdown so everything was closed.” VFX often becomes a necessity when filming in a public place; in this case, they shot at the mall between the Lincoln Memorial and the Washington Monument.

“We had a brief conversation about building a set and shooting against a green screen,” Taylor adds. “We hoped we wouldn’t need to do that and wanted to shoot it for real but there would have been about 1,000 extras.”

That’s a lot of costumes and expense so they went the digital route. “It was an extremely collaborative effort to pull off.” There was wind that day, which added to the challenge. “Every single detail must be just right and in sync.”

When the pandemic hit, Miller says they were just two weeks into block shooting the first three episodes of the highly-anticipated fourth season. When asked the theme for season four, which Miller says is completely written, his answer is a hopeful one. “The theme is one of freedom. What does freedom mean? There are all different kinds of freedom. There is freedom of the heart, soul and mind. Freedom is a thing of degrees as opposed to something absolute.”

Will June finally escape the horrors of Gilead with her eldest daughter? If she does, we know it won’t be an easy journey for her and her fellow Handmaids and Marthas.

When it’s safe to do so, Moss alongside Joseph Fiennes, Yvonne Strahovski, Samira Wiley, Alexis Bledel, Ann Dowd, Max Minghella, Madeline Brewer, O-T Fagbenle, Amanda Brugel and Bradley Whitford will return to film the new season. The fans are waiting.