Based on Martha Wells’ The Murderbot Diaries, Apple TV’s Murderbot centers on a security construct (Alexander Skarsgård) that secretly hacks its governor module, giving it the freedom to make its own choices. Murderbot keeps this newfound independence hidden, partly because it would rather spend its time watching entertainment than deal with humans. However, when it is assigned to protect a group of scientists on a remote planet, a series of increasingly dangerous incidents forces it to become more involved with the people it is supposed to be guarding.

As Murderbot works to uncover what is behind the threats facing the team, it also struggles to understand the humans around it and the relationships they begin forming with it. Although it insists it doesn’t care about them, protecting the group becomes increasingly personal, complicating Murderbot’s efforts to keep both its emotions and the truth about its free will hidden.

Recently, the Elastic Creative Directors Hazel Baird and Robert Cawdery spoke with SciFi Vision about creating the Murderbot main title sequence, including how they were brought them into the process, how the team shaped the sequence around autonomy and connection, and why Murderbot’s toy-like beginning evolves into something freer and more emotional. They also discussed working in Cinema 4D, the neon outer-space section, the group-hug imagery, Amanda Jones’s music, the Emmy nomination, the possibility of changes to the sequence in season two, and more.

Watch the full interview below. Season one of Murderbot is currently streaming on Apple TV.