Black Mirror` Sequel Was Initially a Series

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Warning: The following narrative includes plot twists from the Black Mirror season seven continuation “USS Callister: Beyond the Stars.”

Following the premiere of “USS Callister” in Black Mirror’s fourth season towards the end of 2017, director Toby Haynes expressed to creator Charlie Brooker that they had just produced the finest space series pilot. At first, Brooker was reluctant to entertain thoughts about a spinoff for the extended 90-minute tale (which eventually garnered four Emmys), but it didn’t take long before the prospects of “Callister” started looking promising.

Haynes recalls that discussions about reviving ‘Callister’ began while he was working on Andor, as reported to The Hollywood Reporter. Charlie Brooker had been brainstorming ideas for a ‘Callister’ series and shared them with Haynes, but the 2023 Hollywood strikes halted production plans. Eventually, they adjusted their strategy and turned the follow-up into a standalone 90-minute film instead of a series. The result was ‘USS Callister: Into Infinity,’ which is now streaming as part of season seven, marking the first ever sequel for ‘Black Mirror.’

Haynes expresses that they’ve been challenged by the legacy of their past, which led to this Emmy-winning TV movie, and now they strive to create something even more outstanding. He describes the outcome as an enhanced version – bigger, better, more thrilling, funnier, and more emotional. This production is part of what Haynes hopes will form a trilogy he refers to as their “Callister” series. He views this sequel as an opportunity for them to produce their equivalent of “The Empire Strikes Back”, “Aliens”, or “Terminator 2”. According to him, by crafting it as a single film, they’re transforming the entire piece into a movie series, which is where he believes exceptional science fiction belongs.

In an interview with THR, the director of Andor and the upcoming Star Trek prequel, who had previously directed season seven’s “Bête Noire,” discusses the transition of Callister’s story from series to film sequel, expresses awe at the cast reuniting after being apart for so long, particularly watching Cristin Milioti perform alongside her own self, and reveals the numerous discussions that led to the ambiguous ending, leaving this space adventure ripe for further exploration.

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In our conversation following the premiere of “USS Callister” back in 2018, we were already discussing its potential for spin-offs. Later on, Charlie Brooker mentioned that they had been planning this sequel for quite some time. So, when exactly did you initiate serious discussions about this sequel?

As soon as we wrapped up our initial project, I brought up the idea again. I turned to Charlie and said, “We’ve crafted an exceptional sci-fi pilot for a nonexistent show. Why don’t we leap straight into a series instead of spinning off episodes?” He initially seemed hesitant, mentioning that he’s been approached about this before without any interest. However, my ideas and those of Louise Sutton kept bubbling up, and we wouldn’t let it rest. Charlie typically prefers coming up with his own concepts, but I believe our persistence helped him envision the potential. It was around the time I was working on Andor that they first discussed creating a season of “Callister” with me. That’s when things started feeling real.

When was that?

2020’s closing chapter. Indeed, it had been quite a lengthy endeavor! A wonderful opportunity came my way. With my hands full on the Star Wars project, I agreed to keep in touch once things materialized. It took some time before we spoke again. There were frequent discussions about moving forward, and upon wrapping up Andor, I teamed up with Charlie once more to direct “Demon 79,” an episode for Black Mirror’s sixth season. Working together on that exceptional script was a true delight, and I felt immensely proud of the resulting film. Our conversations often centered around the Callister series.

When he began collaborating with Jessica (Rhoades, season seven executive producer), things really took off and gained momentum rapidly. She was an exceptional producer who not only spurred the writers but also inspired the actors. It seemed like this project would be the next big thing, and that was incredibly thrilling. However, just as we were about to embark on a “Callister” series, the actors’ strike [in 2023] occurred, causing everything to unravel. We had almost started production when the strike happened! I believe she utilized the time during the strikes, taking into account everyone’s limited availability, to strategize on how we could bring this project back to life in a way that worked for everyone. Ultimately, it evolved into a single film.

Things really picked up for me at that point. One movie is a follow-up, not part of a series, and it raises the entire concept to an ideal setup for a science fiction journey. We could potentially create our own legendary sci-fi trilogy within the realm of Black Mirror, which sounds incredible. If we manage another one, I’d like to complete the trilogy in a satisfying manner.

We had the opportunity to create a movie as captivating as “Empire Strikes Back”, “Aliens” or “Terminator 2”. If we were planning to return, how could we improve? Many sci-fi sequels fall short, but there are some that truly excel. How can we produce a sequel that’s worthy by making it more impressive, engaging, amusing, emotional, with enhanced special effects? Everything was under immense pressure to deliver something extraordinary.

Let me clarify something for a moment. Can you tell me more about the extent to which you considered turning “Callister” into a series?

Originally, the project was planned as a miniseries with multiple episodes. However, during the development process, it evolved to become a standalone film due to the writers’ strike at that time. Yet, as we progressed with this movie, I came to believe that it could be something more significant and impressive. So, we decided to reimagine it as a sequel rather than a series. My concern with turning it into a series was whether it would dilute the impact of what was essentially a compact, engaging story. By transforming it into a single film, we’re elevating the entire production to the level of a movie series – a place where truly great science fiction belongs, don’t you agree?

What alterations were made to the original story when it transformed from a series into the sequel titled “USS Callister: Into Infinity,” which is also a separate 90-minute production?

I didn’t participate in that particular stage; instead, I was anticipating a draft to be sent to me. It’s known that Jessica was putting in a lot of effort to organize numerous concepts that Charlie had in mind. Following our work on “Demon 79,” we spent some time at a pub, where Charlie presented his ideas for the “Callister” series to me, which were impressive. I expressed my full support for these ideas. All the brilliant thoughts he shared with me during that conversation are evidently present in this film. Therefore, I don’t feel like anything significant was missed from the series.

As a dedicated gamer, I can’t help but appreciate the masterful craftsmanship in every scene of Charlie’s single-film project. Every element shines with top-notch quality, from the witty dialogue to the meticulously placed details. What stands out most is Charlie’s exceptional eye for detail and discipline – there’s not a single dull moment or misplaced joke, ensuring that every line and piece of information serves a purpose. Working alongside him feels like creating a game where every level, every character, and every interaction is finely tuned to deliver an exceptional experience.

How expansive did you aim for this sequel, given that Charlie compared it to Star Trek being the first one and Star Wars for this one? With your background in these universes (having worked on Andor and a Star Trek prequel film), how grandiose did you want to make it?

The first film is like a captivating pop mystery wrapped in sci-fi, while the second one takes on an epic scale. When you consider Star Wars and Empire Strikes Back, you get a sense of the darker, emotionally charged evolution this film presents. It’s grand in scope, and when viewed together, the first film perfectly sets up the second. I must say, Cristin’s performance as she reprises her character is outstanding. She seems to have effortlessly slipped back into the role of Captain of the USS Callister ship, and it’s hard to believe seven years have passed since we last saw her. Jimmi, too, appears unchanged, maintaining his humor yet injecting new energy and enthusiasm to his portrayal. Watching their reunion was nothing short of exhilarating.

The news about Jesse Plemons rejoining the cast was kept under wraps – since his character perished in the original, you’ll need to watch the sequel to find out how he makes a comeback. Was there any persuasion needed to get Jesse back for playing Robert Daily, and why did we decide not to reveal that twist?

The initial query is beyond my level of expertise, yet his entrance midway through is a delightful surprise. He’s an extraordinary actor, and his physical transformation – shedding a significant amount of weight and appearing nearly a decade younger – is remarkable. I believe he had always aspired to return in the right manner. I can only speculate about the extent of persuasion involved.

Jessica Rhoades successfully managed to reunite a multitude of men, an incredibly challenging feat which she carried out flawlessly. I believe in order to win Robert Daly back, we needed to present him with a fresh perspective. Returning to his old ways wouldn’t suffice. What makes Charlie’s writing exceptional is how he delves deeper into Robert’s character while also recapturing the apprehension and terror that Nanette (Cristin Milioti) previously experienced.

The week we shot Cristin and Jesse’s scenes was truly remarkable. The narrative arc portrayed here is powerful; it depicts a woman confronting her abuser once more, and Cristin’s performance was nothing short of exceptional. She hasn’t crossed paths with him since the initial encounter, where he had the ability to obliterate her visage and choke her at his whim with a simple snap of his fingers. The contrast between his portrayal as an open, youthful character untouched by life’s disappointments and pain, and the monster he gradually transforms into was astounding. Jesse’s interpretation of this character’s evolution through these scenes was masterful, while Cristin beautifully conveyed the raw emotion in her eyes. It was a privilege to work with these seasoned actors, especially after Jesse had been working with Robert De Niro and Martin Scorsese, and Cristin had just wrapped up The Penguin. With seven years of experience under their belts, they brought a new level of maturity and skill to their performances, making it a truly rewarding collaboration.

How many hours did your shoot last, and when exactly was it filmed, given that Cristin Milioti wrapped up The Penguin (a project that started in early 2023 but wasn’t completed until early 2024 due to the strikes)?

She likely didn’t have much time to rest between the two filming sessions, leaving her almost drained yet eager. The production spanned over 26 days, making it an incredibly intense shoot, particularly for her. She was practically present on set each day. After such a lengthy shoot on The Penguin, one might expect some signs of fatigue, but she concealed it admirably. Her energy, humor, and emotional intelligence are truly remarkable and significantly contribute to many scenes and aspects of the project.

Our goal was to create something extraordinary for everyone involved. She played a crucial role in planning and ensuring the scenes would shine. We had a trial run beforehand. This time, it was a collective effort with the actors. Previously, they were relatively inexperienced, and no one knew exactly what the project would become. In contrast, our main obstacles this time are ourselves, which is ironic given that she encounters her own doppelganger in the movie. I believe we’re all feeling a bit of pressure from our past selves who produced an Emmy-winning TV film, and now we’re striving to create something worthy of that legacy. It was a formidable task.

Given that you shot this footage quite some time back, did you have to recreate all the sets anew? If so, was it a completely fresh start for you?

Indeed, our production designer, Miranda Jones, was nothing short of remarkable. She managed to obtain the blueprints from Phil Sims, who designed the original set, which proved quite a challenge. Fortunately, we were able to assemble the original construction team for that particular set. However, constructing everything else, including the planets, fell on her shoulders and she delivered exceptionally well. Her creative touch is evident in the props, such as Cristin’s large pink gun, which subtly echoes a hint of Ellen Ripley’s character from the Alien franchise in terms of style and attitude.

In the game, Nanette’s character transformation resembles Ellen Ripley’s evolution from “Alien” to “Aliens”. We aimed to reflect this in her costume design, and incorporating a gun was a fun way to achieve that, along with all the gaming references. The original setting, “Callister”, had a charming 1960s sci-fi vibe reminiscent of “Star Trek”. Our challenge was to blend sci-fi and computer game elements in the props, visual effects, and action sequences. We didn’t want to mimic “Star Wars”; instead, we aimed for a unique gamer aesthetic. This isn’t a simple “Star Wars” parody or “Spaceballs” imitation; it has its own distinctive gaming flavor.

Did you have a bigger budget this time?

Absolutely! I’m relieved that my role in the budget isn’t extensive on a regular basis, except when there’s a pressing need, but let me tell you, it was indeed a substantial budget. The project is vast in scope. There are numerous visual effects, multiple planets, and many sets to construct. It seems like an upgrade, doesn’t it? “Callister” has certainly leveled up!

And the whole cast is back except for Michaela Coel.

Indeed, that’s accurate, and the reason was due to complications with scheduling. With her rise to stardom, it’s no surprise they all face such issues! It would have been delightful to reunite everyone, but luck just doesn’t always favor us. Initially, she was set to be part of it, but at the last moment, we had to rework her storyline. Her character has a line in the start when Nanette discusses Shania’s [Coel] demise and the lingering scent of her blood. We utilized this absence as a plot device, adding depth and demonstrating why the tension was so intense. This trauma is what makes them all edgy because they understand that if they meet their end in the game, it could be permanent. Consequently, it allowed room for some remarkable performances from other characters, such as Milanka Brooks, Paul G. Raymond, and Osy Ikhile, who are simply exceptional.

There is someone who also doesn’t make it out this time: Billy Magnussen’s Karl.

Billy is an exceptional actor, yet he often doesn’t get the recognition he deserves. He has the ability to portray both comical characters like a bungling fool or a brutish tough guy, but when it comes to those poignant moments where his character meets its end, it feels incredibly authentic and moving. I truly enjoy collaborating with him.

When the original “Callister” was released, it tackled issues similar to the #MeToo movement before it became a widespread movement. The powerful conclusion of Nanette (played by Milioti) bringing down a misogynistic character portrayed by Plemons’ Daly was well-received for its timeliness and rarity in Black Mirror’s usually dark universe. At the time, executive producer Annabelle Jones expressed that it seemed like the world needed some uplifting. With the sequel, were you all aware that you had to deliver another impactful ending?

To put it simply, I find the ending quite reminiscent of a melancholic “Black Mirror” episode. There was much debate about how to conclude it appropriately. Interestingly, Charlie preferred a bright, optimistic finish, but we felt it didn’t quite resonate. Instead, it needed a delicate blend of sweet and bitter, a bittersweet note. We wanted them to escape, yet in my view, there should be some predicament that shows their new life isn’t perfect.

They managed to break free from their original situation, but the place they’ve found themselves isn’t much better [since they are now trapped within Nanette’s mind]. This is precisely what the first one does: it flees into the game only to be pursued by players who can eliminate it. They leaped out of the frying pan and right into the fire, and we aimed to convey a hint of this predicament in our narrative, which Charlie brilliantly transformed with his unique Black Mirror twist. Being ensnared within her mind, that would be a living nightmare. He was genuinely concerned about leaving them trapped in such a place. My response was, “Well, in one way they’re still alive, and in another sense it’s a nightmare. But I don’t think that’s necessarily a bad thing.” And then he wrote the script, and as soon as he did, it all came together beautifully. Watching Cristin bring those characters to life within Nanette’s mind was an absolute delight. She really excelled at portraying her subtle Men in Black reference, where she has a spaceship in her head.

Perhaps it’s uncertain if we can gather the same cast together to create another movie, which would truly be disheartening. However, should fortune favor us… It required great effort to bring everything into place this time, and I have unwavering confidence in Jessica and Charlie that they will make it happen once more. If the stars align, we’ll have an excellent foundation for a new project. I’m keeping my fingers crossed that they manage to coordinate their schedules and present me with a script soon, be it in a year or two. I’m ready and waiting for another chance on “Callister.” It’s been a joy working on this project once more, and the opportunity to collaborate with them again would be simply wonderful.

In the last scene, Nanette is pondering ways to resolve their predicament, yet she’s taking her time and not particularly pressured to discover a solution immediately.

It seems you need to discuss the matter with Cristin. Now, isn’t it true that all drama stems from conflict? What intrigues me is that they seem eager to escape her thoughts, yet she appears in no rush to oblige. To my mind, your analysis hits the nail on the head.

In the initial release, there were some secret appearances (by Kirsten Dunst and Aaron Paul). What hidden gems or references can we find in this new one?

Speaking of sci-fi movies that resonate deeply with me, Ellen Ripley’s character and her interaction with Cristin hold a special significance. The design team always incorporates Easter eggs related to Charlie, and if you examine the space suits carefully in the game, you might notice some logos from various episodes hidden there. Keep a keen eye!

In a different episode this season titled “Bête Noire,” which featured Siena Kelly and Rosy McEwen in lead roles, you also took charge of the direction. During my conversation with Charlie about this season, he emphasized how last year people were labeling Black Mirror as the “bad tech show.” He wanted to clarify that the narrative of the series is that it’s not technology that’s bad, but rather humans. The conclusion of “Bête Noire” serves as a testament to this idea. In just two seconds, Kelly’s character wields power and the destructive actions she takes highlight this point. What prompted you to take on directing that episode?

It was refreshing for me to work on an episode that blended the sci-fi genre with something more grounded in reality, and another that delved into psychological horror. I don’t always want to stick to one genre, and this particular episode was a delightful blend of suspense and humor – it was truly a classic Charlie blend of the strange and funny. I aim to include humor in all my episodes because I can’t go for overly grim content like ‘Black Mirror’. My character appreciates my ability to explore a wide range of emotions, and humor is an essential part of that. I found the manipulative aspect of the episode intriguing, as well as the themes it explored. The way we could play with people’s perceptions was fascinating.

What can you say about what you are working on next with the Star Trek prequel?

I’m extremely fortunate to be involved in these projects, as I get to collaborate with some truly exceptional individuals within the industry, particularly in these specific genres. Frankly, I couldn’t have imagined a more ideal trajectory for my career. When I was just 6 years old, I saw Star Wars, which ignited my passion for filmmaking. To think that I am now creating such content is simply astounding. Working on the Star Wars project associated with Andor was a unique experience compared to most other Star Wars productions. Similarly, working on Black Mirror stood out among contemporary television. I anticipate that working on Star Trek will be just as distinctive and exhilarating for its audience.

Any timing on when we’ll see it?

I don’t know. Honestly, I don’t. But look, like a lot of my work, it’s in the future!

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2025-04-14 19:28