Hello everyone. Welcome to the official Outlander Podcast. I'm Matt Roberts,

executive producer and writer on the show.

Welcome to episode 706 where the waters meet.

A little bit about that.

The title was originally Ticonderoga and we, through our consultants found out that that best translation is where the

waters meet so we we mixed it up and called it that. Anyway, this episode, as you've, well, if you're on the podcast, then you've well if you're on the podcast then you've already seen it once

maybe maybe you watch for the first time and and view the

do it with the podcast. I don't know. That was an assumption on my part and please forgive. So this is one of those episodes that we found, as I said in the last podcast, we found a great fort not far from our studio in Scotland and we

enhance that with visual effects and just a massive amount of set deck, what we call the set decoration, so we call it the set deck.

And he built this fort out and it was just astonishing when you actually walk through the doors or the gates as William did.

So right now what you're looking at is that stone structure that he just

wrote by was a visual effects structure, but the wood is the actual fort. So we enhance here and there with actual practical building and so all the tents you see in the practical little buildings within the fort like this building back there.

Those are there and we just decorate so all right all the baskets and I guess that would be a

gazebo in the modern world we build those out but the stone structure is all visual effects. And so to integrate that

we spend months of course going through the process of concepts this is what it might look like this is what it might you know and we pick what we think is the best of course in keeping with what Tychondroga looked like what was described at the time and what people if you were to go to Fort Ticonderoga today what exists today.

So we thought since we couldn't build a whole stone structure,

nor could we create enough space for all our actors

to move around blue screens, which if we did with blue screens, that's where we would put, replace the

bruise screens with the stone structure. We felt like that would be a huge undertaking to accomplish.

And it also, I think, distracts from the performances, because when you put the actors in a real world, a real

setting, it gives them the ability to become that character, I think, in a much smoother transition rather than pretending to be, you know, someone against blue screen. It's a challenge and I know a lot of movies and

television shows go down that road but what we like to do is find the most practical

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