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@ourflagmeansbts
Welcome to the blog!
An archive of Our Flag Means Death behind the scenes pictures, videos and podcasts!
Looking for something specific? I might just be able to help you find it! I'll still check in on this blog every now and then.
Not an updates account! For updates and news I would recommend @queeraspirates on tumblr and twitter
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Via Lindsey Cantrell's instagram story (Season 2 - December 3rd 2024)
Via Lindsey Cantrell's instagram story (Season 2 - December 3rd 2024)
Via Lindsey Cantrell's instagram story (Season 2 - December 4th 2024)
Via Lindsey Cantrell's instagram story (Season 2 - September 20th 2024)
Via Lindsey Cantrell's instagram story (Season 2 - November 29th 2024)
Via Lindsey Cantrell's instagram story (Season 2 - November 29th 2024)
Via Lindsey Cantrell's instagram story (Season 2 - November 29th 2024)
Via Lindsey Cantrell's instagram story (Season 2 - November 29th 2024)
Via Lindsey Cantrell's instagram story (Season 2 - November 29th 2024)
Via Lindsey Cantrell's instagram story (Season 2 - November 29th 2024)
Via Lindsey Cantrell's instagram story (Season 2 - December 4th 2024)
Source (Season 2 - December 24th 2024)
tinycrewbigraffle: As promised, I'm posting the amazing #ofmd #bts pictures (with permission!) @linds_cantrell sent us to go with some of our #TinyCrewBigRaffle interview questions and her answers. Amy: Speaking of the tiny boats, we’d be remiss if we didn’t ask about them too - how did you make them and how long did it take you? I can testify from making repairs to our broken ones that they’re fiddly little things! Linds: Yes they are! The strain on my eyes that week! The bases of these tiny ships are custom lead molds created in the Propmakers Workshop. Next, painted and aged brown. Then, one by one I stabilized them and carefully drilled one tiny hole in the semi-center of each ship's base. Hoping each time that I didn't push too hard or for too long, potentially breaking through to the bottom. So I held my breath and got through all of that step. Off to the side, I had the makings for the tiny flags. I painted and aged what felt like a million toothpicks to start. Trimming off the bottoms of one end so they would sit flat inside my pre-drilled hole. I cut the different pieces of construction paper in a tiny triangle with one flat end, and put a line of glue on that side to place underneath a toothpick and rolled it over to hold. Some bits of my fingertips are definitely attached to the glue inside those tricky little flags. When my deadline was getting closer, I started to just begin placing the dried flags inside the bases the next day. Until I found some of them falling over by the time I came back from lunch. So then I realized I needed to add one tiny drop of super glue into the hole first. The final precise measure was making sure when I held the flag down to attach, that I was holding it straight up & down. Sounds easy enough, but if you're only looking at one side, you may be pushing the flag down and away. So if you check your other angles afterward, you'd notice it's leaning to that opposite side, as if the tiny ship is in a storm, someone told me. [...] Read the full interview on our Substack
Source (Season 2 - December 24th 2024)
tinycrewbigraffle: As promised, I'm posting the amazing #ofmd #bts pictures (with permission!) @linds_cantrell sent us to go with some of our #TinyCrewBigRaffle interview questions and her answers. Amy: What set or scene would you say showcased your work the best? Linds: Ah, another hard one. It's a toss up, but I'm going to say Zheng's headquarters. The main difference in working this position in New Zealand verses Los Angeles is the fact that NZ has no union. There isn't one set job you're meant to do with your title; you can, in theory, work within your whole department if you wanted, and even on set assist other departments if you wanted. Not the case in LA. Also the amount of "order" that a set has. If you work in LA long enough, you start to understand that a lot of your bosses don't like seeing cables to lamps or TVs, and want the picture car to have a clean windshield. I quickly found in NZ it's more about "what's natural". Which I'll say, I do enjoy a lot more. Those things are real life. However, in Zheng's headquarters, it was custom in that culture to have order. I tried to make sure when the camera was entering straight through the main entryway, her desk was centered on the staircase behind her. Her book centered on the table. As well as, the side tables were exactly evenly spaced beside her. I love that level of OCD when it calls for it. Each candle was placed specifically, each tiny ship on the map, each roll of paper and book in her shelves and baskets, were placed in a way of always thinking "organized". Organized chaos. Read the full interview on our Substack.
Source (Season 2 - December 24th 2024)
tinycrewbigraffle: As promised, I'm posting the amazing #ofmd #bts pictures (with permission!) @linds_cantrell sent us to go with some of our #TinyCrewBigRaffle interview questions and her answers. Amy: What was your favourite set to dress? Linds: What a hard question. The favorite that first comes to mind is John Bartholomew's Captain's Quarters. The scene where Zheng Yi Sao leads a raid on Bartholomew's ship, and then convinces him to join her crew. The day we were going to shoot this scene was pulled up in the schedule, so during a few lunches and a few private rehearsals, I was brought over to the unfinished set to get my opinion on the status of its dress. What to add, where to move items, take away, etc. And it needed to get done quickly. We were pulling dressing from all over. Production Designer Ra and Art Director Troy really wanted it to be layered. They were discussing someone who'd lived in that space for ages. Our Set Dec team left the bones of it in a good place, but on the day we went to shoot it, we still scrambled a bit throwing items together for more chaos (some good ideas, some bad- ie: a stool ended up on top of a dresser?) I still love the way the lighting was shot through those windows and how it all came together. Plus, didn't that charcuterie look delicious? Read the full interview on our Substack.
Source (Season 2 - December 24th 2024)
tinycrewbigraffle: As promised, I'm posting the amazing #ofmd #bts pictures (with permission!) @linds_cantrell sent us to go with some of our #TinyCrewBigRaffle interview questions and her answers. Amy: What was the most challenging or difficult set up you had to work on? Linds: Oh that's an easy one- 100% the destruction of The Revenge. Is there any other option? Beyond the obvious, the reason this was more challenging than it needed to be was also due to scheduling. We shot it, everything was great, moved on, cleaned the ship for the next few days of work, and then guess what- we had pickup shots we found out they still needed to shoot from the mess. So we had printed out my photos and somehow did it all over again to match. We all took more showers than necessary that week. But I still loved that they used an overhead shot to capture it all, plus all of the other different angles onboard to see "through" some of the destruction objects etc. ...I also need to shout out my own sanity for keeping up with the lighting and re-lighting adventure that was Spanish Jackie's. Read the full interview on our Substack.
Source (Season 2 - December 1st 2024)
megsetdec: An affectionate look back on the crazed & cluttered living room set of Anne and Mary’s living room from #ofmd s2. The characters in the show are loosely based on real life characters Mary Read and Anne Bonny, who in real life were close friends and kindred spirits who met aboard Captain Rackham’s ship. They both spent much of their youth dressed as boys and had abandoned societal expectations to become pirates. Some historians believe they were lovers. In our story Anne (Minnie Driver) has set up shop as an antique dealer and after an unexpected reunion between Mary (Rachael House) & Blackbeard (aka Taika), we find these three & Stede (Rhys Darby) all thrown together into the living room behind the antique shop where a bit of sensual stabbing goes down and the boys are invited to stay for uncooked rabbits liver dinner. The set was a large room in a historic house so our location was incredibly sensitive with the restrictions of not being able to screw or stick anything down. We built the set with layers & depth, cable ties & scaff tube and smoke & mirrors. The set needed to convey the psychological madness of the relationship between Anne & Mary which we did through a lens of 18th C hoarders and by engaging an uncomfortable colour palette of salmon and chartreuse green. Also using double layers of poofy silk drapes created by @stitchninja & team. Once the crew arrived you can imagine the cluster with techs having to carefully navigate their gear in a sensitive historic home amongst psycho collections of hired antiques & furniture. Much fun was had by all!! 2nd to last pic shows the location before we started our dress. Super fun set on a super great show. More lady pirates please!! 🙏🏽🏴☠️🖤