Bosch: Legacy, a continuation of the series Bosch, recently premiered on Amazon Freevee with all-new episodes for season two. The series follows Harry Bosch (Titus Welliver), a retired homicide detective now working as a private investigator, as well as his daughter, Maddie (Madison Lintz), a rookie patrol officer, and attorney Honey “Money” Chandler (Mimi Rodgers). At the end of the first season, Maddie was kidnapped by a masked assailant, and in the start of the season, her father pushes to find her before it’s too late. Meanwhile, events from Bosch and Chandler’s past come back to haunt them.

Recently, executive producers Tom Bernardo and Henrik Bastin spoke with SciFi Vision about what fans can expect in season two, including new character this season, how they balance pulling from the books versus adding story, filming a claustrophobic scene this season, and more.

Watch the full interview and read the transcript below. Watch the first four episodes now on Amazon Freevee.



***The following interview contains spoilers for the premiere episode of season two***

SCIFI VISION:   Can you start by just sort of teasing, for fans of the show, what can they expect this season for the characters?

TOM BERNARDO:   Yeah, we go up in season one with a major cliffhanger that we hope was frustrating, in the best sense, for our audience, because we love when you're really invested in the show, and they leave you hanging. You're like, “Oh my gosh, what's going to happen now?” And it's kind of fun that in a world where things are so accessible, virtually and digitally at our fingertips, I think, dramatically it's kind of fun when someone's invested in a story to make them wait for something. But we wanted to honor and pay off that faith by immediately tackling and going after that dramatic question. So, that cliffhanger gets answered in the first two episodes in, I think, a really satisfying way and that the fans can expect to be dropped right back into it and to see how it all unfolds.

SCIFI VISION:   Anything else you want to add Erik?

HENRIK BASTIN:   Those first two hours is the conclusion of, you know, a year plus wait. And I do think that once you get through that, without spoiling how it actually ends, you will be satisfied, that that was okay for us to leave you guys hanging. Then, we go on the journey of the season with, and not to spoil anything, but old stories from the past come back and haunt Harry and Money Chandler. You know, they poke the bear that is the federal government, and that's going to have some real repercussions for them, and how [it] pushes them together to work, and to a certain extent, for Money Chandler, to see what she has been criticizing Harry Bosch for in the past, like, you know, being in the gray zone and maybe bending certain things she did as well. She has to trust Harry to do some moves, and they have to work together. So that's a very, very fascinating story. And we have other storylines that are specifically unique for for this season, that [don’t] go back. So, without spoiling, I think you will feel satisfied that we concluded what happened previously. Then, we start up some new, really exciting storylines. We have some great actors. [Anthony Michael] Hall comes in and just runs circle around us and [is] pleasure to have on set. We have Max Martini, who's another very, very great character this season, who's an antagonist in another storyline, so to speak. So, it's eight episodes after that first movie that hopefully will leave you in the same place as you were after season one. It's like, “Okay, when does season three drop?” That's our intention.

SCIFI VISION:   And that was going to be sort of my next question. You've obviously mentioned a few, but there's a lot of new characters in this season that we haven't had before that play an important role, especially a couple of them…Is there any other ones that you're allowed to talk about and how their characters play a part?

TOM BERNARDO:   …Jessica Camacho is is terrific as Jade Quinn. That's an important character to track. That character had to have certain qualities in terms of being both intriguing and intelligent, and to pull us in in the same way that Moe is kind of pulled into her. We're excited about our audience going with Mo and being able to see more of him, because he's a new creature of Legacy, and a really interesting character, and Stephen Chang is terrific. But seeing where that relationship goes with Jade Quinn was one of the more sort of gratifying stories to build and see how it all landed in the end.

SCIFI VISION:   The other thing I wanted to ask, is, obviously, even now, this is still based on the book series. How do you decide not only what to pull, but it sounds like some of them were pulled from different books even for the same season, so how do you decide that against what you add of your own? How do you make that balance?

TOM BERNARDO:   It's a really good question. I think it's just something we feel out as storytellers, especially those of us who have been involved in this story world for almost a decade now. You know which books you've done. And the one thing that we try to honor, is like, what are the consequences for these characters in their dramatic action? So, sometimes there'll be things to your point that happened several seasons ago that then kind of present themselves in a different way in this new world. The books are primarily with Bosch as he's a homicide detective. So, we've had to invent a lot of what his life is like now in contemporary Los Angeles as a private eye, especially teamed up with a character who only appears in one book, nevermind putting on its feet this whole other world with Maddie Bosch as a patrol cop, because that's new to [the show], that's an invention as well. So, it's sometimes, “Okay, what books feel right that we haven't done that lend themselves to the given sort of story circumstances with this new iteration [and] what has organically come from our story world that we can pursue that's interesting?” And then just sort of feeling our way through it in landing on things that feel interesting to us and satisfying to us, and, we hope, satisfying to the audience.

HENRIK BASTIN:   Yeah, and also, adding to that, I think, with having done all of that, and then taking a look around in the real world, what has happened in between season[s] and what is happening, I think, you know, without too much detail, Money Chandler makes a big announcement and is going to pursue a political career in this upcoming season. And of course, we look around in the Los Angeles we live in, and the world in general, what's going on. Then, that becomes - not always but often - becomes a part of the storytelling. If you're going to tell [of] someone running for District Attorney in LA, you actually have to look around and see what's going on in the city. So, the people who live in LA, and I think this is true for any major city in the US, but also around the world, like, what are the problems we have? It's homelessness, it's poverty, it is policing in general, like all these bigger questions, that goes into this conversation, and hopefully [comes out] a story that both feels riveting and interesting, but also timely, and something that you can relate to.

SCIFI VISION:   Yeah, and I think you can catch on to even if you haven't seen all the other stories, because I mean, like I said, I've watched all of season two, but I obviously got it [without the rest]. So, the other thing I want to ask, and I know you probably can't tell me specifics, because otherwise it would be more of a director type question, but you have, scenes of like, chasing criminals around the city that are kind of very expansive, and then you have some very claustrophobic things. I was just curious, is one a lot harder to create than the other, just overall?

TOM BERNARDO:   Oh, wow, that's a good one.

HENRIK BASTIN:   I think, as complicating as shooting a car chase is, from a production standpoint, putting Madison Lintz, as an actress in a box for an extended time, that's the real challenge, I think for everyone. Because, literally, you're working with a fantastic actress that's going to be in a pine box, and it's hot, and we have real insects that were dropping into this box, and there's dust. I think, for a director who's there on set, and for her as an actress, you don't have a lot to do. She's literally in a box, like all that she conveys is with her breathing, her eyes, and, you know, because she's a woman of urgency, she's [just] not laying there. She's not going to die. She takes power and agency of the situation. And how do you convey that? It's easy. It's like, “Hey, let's run a car over a cliff; that will look cool.” It’s really complicated for us as producers to put that together, but the challenges of putting Madison in that box and executing what Tom and the other writers have put on page, that's the real challenge, in my book.

TOM BERNARDO:   And the thing about that, is with respect to the box, is all of our different departments rise to the occasion. So, we have a great director in Sharat Raju, who works with our DP and storyboards exactly how we're going to cover, what angles, what kind of close ups. What do we want it to feel like? And you collaborate with your production design and your art department, and you talk with your costume people and your makeup, so that there's a progression of her look as the story unfolds. There are all these meetings and time that goes into it. So, to watch each of these departments, each of these really creative people, deliver at such a high level for our story, is a tremendous honor. Then, to watch something like what Madison does with it, we couldn't have asked for anything more, because she's terrific. But it's all of these things kind of coming together to execute that and to make it feel real, and we hope, satisfying to the audience.