I recently sat down with Trey to discuss our latest four-part series, created in collaboration with The Wall Street Journal and the Cabinet Office for WSJ Custom Content as part of the Great Britain and Northern Ireland campaign. Across this ambitious series, we explore cutting-edge topics ranging from the abstract world of quantum innovation to the high-octane realm of Formula 1.
In our conversation, Trey shared insights into the creative challenges, technical pivots, and standout moments that shaped the films, revealing how the team brought complex ideas and global stories to life on screen. I’ll be catching up with Trey again after the next two episodes are released, where we’ll dive into all things space and theatre.
Phoebe: At the start of the project, what was the hardest concept to portray from the world of Quantum innovation?
Trey: I think when we found out that episode two was going to be quantum, I was very nervous. Quantum theory is complex, and representing it both visually and in a way that communicates simply and succinctly was a challenge. Part of that was because I initially knew nothing about quantum technology.
After digging into quantum theory and gaining some understanding, and by asking the right questions from the experts, I realized that letting the contributors do their job was the way to go. The challenge with anything super science-based or theory-based is how to visually explore it in an exciting way, and also how to depict future scenes that don’t exist yet.
We thought about using AI to generate visuals, but we wanted to stay away from it. Instead, we created what I call “little mind scenes” 3–5 second visual snapshots representing what your mind might see when someone says a certain phrase or word. Doing that in the film helped us visualise these complex quantum ideas.
Phoebe: What narrative or visuals were important to tell the story?
Trey: One key visual that stays with you after watching is understanding what a quantum computer is. A lot of the documentary features the “quantum cooling chandelier,” which is actually the cooling system for a quantum computer — not the computer itself. Quantum computers need extremely low temperatures, and these gold chandeliers handle that. It was important to show them because they give a tangible face to the idea of quantum.
We also needed to visualise ideas from experts, like quantum in Los Angeles. One expert talked about using magnetic fields from phones to potentially heal the human body. We tried to show what that might look and feel like, because when you talk about these amazing ideas, you want the audience to see them, not just hear about them.
Phoebe: If you could choose one moment from the project that you’re proud of, what would it be and why?
Trey: There were so many great moments, but one that stands out is how well the contributors, interviews, and locations tied together. We filmed all over the world — Dallas, LA, Oxford — and the way we set up the shoots added gravitas to the film. Filming at Oxford, particularly at the quantum research college, looked incredible and really grounded the film in knowledge.
Phoebe: Were there any moments where you had to pivot creatively or technically, and how did that shape the final film?
Trey: Absolutely. There were many narrative strands we could have pursued, and production moved quickly. Opportunities popped up to film in different locations worldwide, so our team had to adapt rapidly — logistically and creatively.
We were zigzagging a lot because of the nature of F1 companies — some are private, so if one filming opportunity fell through, we had to adjust and shoot with another. This flexibility shaped the narrative and logistics, and it was a real test for the team.
Phoebe: What do you think made the project memorable for the audience?
Trey: I think it was the way we split the audience into two groups: those familiar with F1 and those less knowledgeable. For the F1 fans, covering Ford entering F1 after 20 years and constructing engines for Red Bull was a big story. For those less versed in F1 or innovation, it was impressive to show that so many parts for F1 cars and motorsport are made in England, particularly Oxford. It gave a sense of pride and relevance for all viewers.
Phoebe: That’s the last of my questions unless there’s anything else you want to discuss.
Trey: Quantum was my most nerve-wracking episode because it’s abstract and challenging to make exciting. But it turned out to be one of my favourite episodes because it allowed us to approach the visual language creatively, in ways you can’t always do with F1, theatre, or space. It was amazing to experiment and see the ideas come to life.