All language subtitles for The First Kill

Through reading all the books
and seeing so many pictures...

...from that time period, the most influential
people and wealthiest people...

...had some form of facial hair.
It's a very cool look.

You know, I get yelled "Wolverine"
all the time.

Old bikers come up to me with compliments,
"Hey, nice chops, kid."

You're thinking Ethel Every ain't our killer.

In the episode, I had to eat pigs' feet.

The props guy, Jim, had given me very nice
cheese and bread and these pigs' feet.

At the end of the day, he's like, "ll heard you ate
10 pigs' feet. Why would you do that?

There's cheese and bread there."

And I said, "Dude, it's the Five Points, man.
I'm not gonna let the audience see me...

...eating bread and cheese
when I've got these pigs' feet there.

That would've been the most expensive
and best part of my meal back then."

Andrew O'Brien in 1864,
I mean, he was a pigs' feet man.

I'm John Blacking, production designer
with Copper.

I love doing period pictures because
the challenges are just that much greater.

The strength and the grandness of these sets
are totally because of the people that built them.

This is an excellent building to describe
constructing and getting a building set.

John Blacking will design the building,
we have a crew that will draft it...

...and do blueprints for it.

At that point, we send it
to the construction shop, they build it.

The Scenic Department then gets their
hands on it, do paint job and all the aging.

Finally, we have our Graphics crew
that designs the signs.

They get installed by set dressers, then we
have the set decorating team that goes in...

...and does all the final layer
of dressing on top of the set.

We used three-dimensional
modeling in the design...

...So that we could actually get down in
and see the building.

So if you go back and look at our drawings,
you can almost overlay them...

...exactly to the way they look on set now.

We knew that we were going to have
some kind of action in a bank.

Part of our issue in designing this was
trying to keep the New York-style feel alive...

...because it's a period where
everything can look like a Western...

...and it's not a Western. So we wanted to try
and have some of these strong sandstone...

...brownstone buildings.

So right now, we're standing
in front of Eva's Paradise.

She's one of our main characters.

We needed this to be sort of the hub
of activity of the Five Points...

...So we decided the best thing would be
the saloon and brothel all combined into one.

This is Paradise Square where the gangs
would meet, conduct their political campaigns.

If you think Lincoln cares about our city
any more than he does that town in Vermont...

...1 got a bar of soap to sell you.

It really becomes the town square.

I think the cobblestone's my favorite part.
To build the cobblestone streets...

...we laid down a bed of gravel,
and then stacked bricks on top.

We had special bricks made
that have little divots on top of them...

...So that when we wet down the streets,
they become wet in tiny little pockets...

...not in big ponds of water.
The cobblestone takes you to that period...

...faster than almost anything.

If you can count the number of bricks
in Five Points, you win a prize.

What we've built here is Five Points
and it looks very real.

Incredible craftsmanship has gone into it.

The set for this show is extraordinary
because it really allows the actors...

...to feel like they're in a real place,
as opposed to on a set.