Marvel’s ‘Wolverine: The Lost Trail’ Podcast Behind The Scenes

Marvel’s ‘Wolverine: The Lost Trail’ Podcast Behind The Scenes


– Wolverine has been my favorite character since I was a kid. It was an incredible experience
to follow the footprints in the mud of all the
creators who came before me and then to channel the beast. As somebody who is, you know, a short, muscular, grumpy, cigar-chomping, whiskey-swilling loner, it doesn’t feel like too
much of a leap for me to jump into the mindset of Wolverine. With Wolverine, I’m thinking, like, what are some essential
components of the character? His ruined memory, his
history of violence, his interest in atonement,
the wildness inside of him, like, it’s about man in the
wild and the wild in man. The first season is told
in interrogative format. These agents are interviewing
different subjects who are, every one of them, unreliable. And in that way, it sort
of drew from procedurals like “S-Town” and “Serial,” right? Podcasts that people were familiar with, in order to get them on board. Then we could do more
straight-line storytelling in the second season. The second season, though,
and what you see in his, Wolverine’s relationship
with Marcus Baptiste and his relationship with Gambit is that he’s moving towards the empathy. And you especially see
that in the final episode in the decision that he makes there. – He draws some of it out of Gambit, too. – Yeah, absolutely, right? Because Gambit is kind of like a Han Solo character. – You put your unique mark
on that slick son of a *b*tch*. – One of the things that I
love about comic books is how wide the world is and
how interested people are in interpretations of various
characters and stories. To sort of dip
into the variety of that was a real pleasure. – The true nerds will be able to notice these Easter eggs within the series. But we’re also telling our own story that, hopefully, is true to the character while taking him towards a new horizon. Comics are such a visual medium. Vision is our primary sense. I tend to write visually, even when I’m not paneling things out. And when you, instead, have
to, like, envision a soundscape that’s gonna make your
audience feel anchored and create dialogue that’s also gonna carry some
expository information with it, like, that broke my brain
in a really good way. It is groundbreaking, to
some degree, in the way that people have been truly consumed by the audio experience. Sometimes, you’d be, like, you’re in the present
in one sound environment, maybe listening to cicadas or a boat paddling along in the bayou. But then somebody starts to tell the story in that other sound environment. The sound environment of the
past bleeds into the present and they converge, coming
together in this storm of noise. (men laughing) – Whoa!
– Oh! (Wolverine growling)
– Oh, oh! (Gambit laughs), Well, well, well, as I live and breath. – What the hell were you doing
at her apartment, Gambit? – I’m sorry. I don’t know
anyone who goes by that name. – What happened to Maureen? – I’m afraid I’m busy right now. In fact, we were just
about to play another hand. Weren’t we, gentlemen?
– That’s right, that’s right. Let’s go then. I’m dealing. – You wanna play? I’ll join you. – If only there was an open seat (laughs). Hey, what the–
(impact thudding) What are you doing? – What?
– Oh, come on. – Oh, look, found one. – The way this was recorded
was with a directional mic, a 3D microphone. You’ll notice, if you listen to it, that you get a sense of space
and direction and distance. Then we have another scene on a boat and we sat on, like, a folding table and pretended to row, you know. We really treated the microphone, it’s like this sphere
just hanging, this orb, this magic orb that’s catching everything, and you treat it like a camera. It’s kind of like making
a movie, in an odd way. – If you think about
the way a novel works, where you’re feeding the
audience information, but they’re conjuring the
characters on their own, it requires a major leap
on the audience’s behalf. If you look at a movie or a TV show, everything’s being supplied to them. They can enjoy the entertainment in a more passive way, as a result of that. But it’s interesting with podcasts because they occupy a kind
of gray zone in between, like these shadowlands where, you know, you’re
giving them just enough with that drippy faucet in the corner or that air conditioner wheezing or the grunts of Bill doing capoeira (Bill laughing)
in his pajamas or whatever else that the
audience feels like, I’m there. But the audience is almost
like a co-author in the process because they have to take
that leap themselves.

3 thoughts on “Marvel’s ‘Wolverine: The Lost Trail’ Podcast Behind The Scenes

  1. I saw wolverine and I clicked. I saw the title here and looked this up on IMDB. This came up: https://www.imdb.com/title/tt7715722/

    Does anybody know if this is related? Unique idea for a podcast on this!

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