1 00:00:04,600 --> 00:00:08,080 Speaker 1: I'm really happy to be moderating this for your consideration 2 00:00:08,160 --> 00:00:11,680 Speaker 1: panel with some of the extraordinary people involved in The 3 00:00:11,760 --> 00:00:16,880 Speaker 1: Handmaid's Tale. I'm a ginormous fan of the show, and 4 00:00:17,239 --> 00:00:19,520 Speaker 1: so this is a real thrill for me, and I 5 00:00:19,520 --> 00:00:22,160 Speaker 1: thought we'd start this conversation sort of where the end 6 00:00:22,200 --> 00:00:26,080 Speaker 1: of season four ends up, where uh, you know, Fred 7 00:00:26,079 --> 00:00:30,200 Speaker 1: and Serena asked June for forgiveness and and Bruce, did 8 00:00:30,240 --> 00:00:35,040 Speaker 1: you imagine this turn of events when you were thinking 9 00:00:35,080 --> 00:00:39,279 Speaker 1: about the show, you know, and watching the evolution of 10 00:00:39,320 --> 00:00:44,120 Speaker 1: the storyline and these characters. Did did you kind of 11 00:00:44,159 --> 00:00:47,120 Speaker 1: predict that this would happen or how did how did 12 00:00:47,159 --> 00:00:51,159 Speaker 1: that work for you? Uh? Well, I think you know, 13 00:00:51,200 --> 00:00:57,960 Speaker 1: the show is based on how June feels genuinely versus 14 00:00:57,960 --> 00:01:02,360 Speaker 1: how she's allowed to express herself. Um. So we know 15 00:01:02,560 --> 00:01:05,759 Speaker 1: how she feels about these people. Um. And we know 16 00:01:05,920 --> 00:01:08,840 Speaker 1: if ever, given freedom to express herself, how she would 17 00:01:08,880 --> 00:01:13,640 Speaker 1: express herself. UM. So I think there's an inevitability about it. Um, 18 00:01:13,640 --> 00:01:16,400 Speaker 1: whether it's expressed or unexpressed. What this show is about 19 00:01:16,520 --> 00:01:20,440 Speaker 1: is her bringing these people to terms with what they've done. 20 00:01:20,760 --> 00:01:22,880 Speaker 1: Whether she gets the chance to do it or not 21 00:01:23,440 --> 00:01:27,840 Speaker 1: is the question. But that building up that argument in 22 00:01:27,920 --> 00:01:30,600 Speaker 1: your head saying this is why they're wrong and I'm right, 23 00:01:30,800 --> 00:01:33,160 Speaker 1: and is what the show is about. So I think 24 00:01:33,160 --> 00:01:36,440 Speaker 1: that whether or not we get their characterized or story wise, 25 00:01:36,520 --> 00:01:39,120 Speaker 1: it was always the clash that was, you know, the 26 00:01:39,440 --> 00:01:42,160 Speaker 1: clash of worldviews that the build show has been built 27 00:01:42,920 --> 00:01:46,960 Speaker 1: and Joe, where you were surprised that your character had 28 00:01:47,040 --> 00:01:52,440 Speaker 1: this redemptive arc um and and how did you feel 29 00:01:52,520 --> 00:02:01,280 Speaker 1: when you saw how how the commander evolved? Well, I um, 30 00:02:01,320 --> 00:02:06,040 Speaker 1: I love the idea that he goes through the journey 31 00:02:06,280 --> 00:02:10,840 Speaker 1: um and ends in a place of redemption seemingly um 32 00:02:10,919 --> 00:02:14,280 Speaker 1: and how paradoxical that he might get to that place 33 00:02:14,320 --> 00:02:17,960 Speaker 1: of clarity, even if it's momentarily, and have it snatched 34 00:02:17,960 --> 00:02:22,080 Speaker 1: away somewhat in the finale. But it was it was 35 00:02:22,160 --> 00:02:24,120 Speaker 1: lovely for him to come face to face and I 36 00:02:24,320 --> 00:02:28,960 Speaker 1: so enjoyed that scene with Lizzie where he he apologizes, 37 00:02:29,160 --> 00:02:31,760 Speaker 1: you know, and there are parts of that apology which 38 00:02:31,800 --> 00:02:36,280 Speaker 1: are genuine, and that's parts of Fred old Fred, but 39 00:02:36,320 --> 00:02:40,000 Speaker 1: there's still parts of the sort of predator inside all 40 00:02:40,000 --> 00:02:42,560 Speaker 1: of that apology as well, and sort of reclaiming the 41 00:02:42,639 --> 00:02:47,320 Speaker 1: narrative in his own predatory fashion. But it was lovely 42 00:02:47,400 --> 00:02:50,240 Speaker 1: to go on that journey, and the season is really 43 00:02:50,240 --> 00:02:55,359 Speaker 1: about that but relinquishing and reflecting. Um, but can can 44 00:02:55,440 --> 00:02:59,400 Speaker 1: this character really change his spots? I don't know, But 45 00:02:59,400 --> 00:03:01,480 Speaker 1: but he came close, which was really lovely to be 46 00:03:01,520 --> 00:03:05,560 Speaker 1: invited down that road. What about for you, Yvonne, did 47 00:03:05,600 --> 00:03:08,800 Speaker 1: you envision sort of what that moment would be like 48 00:03:08,960 --> 00:03:13,400 Speaker 1: for serena kind of? Although I don't just because she's, 49 00:03:13,480 --> 00:03:16,320 Speaker 1: you know, having this moment with June, I don't necessarily 50 00:03:16,360 --> 00:03:19,320 Speaker 1: believe that she has come full circle, you know. I 51 00:03:19,320 --> 00:03:22,560 Speaker 1: think she's just so like she just goes from moment 52 00:03:22,600 --> 00:03:25,040 Speaker 1: to moment kind of figuring out what's going to be 53 00:03:25,080 --> 00:03:28,160 Speaker 1: the most ideal situation for me right now. And her 54 00:03:28,200 --> 00:03:31,240 Speaker 1: ideal situation is that she doesn't want to have the 55 00:03:31,280 --> 00:03:34,400 Speaker 1: stress and the regrets or any kind of remorse of 56 00:03:34,440 --> 00:03:36,480 Speaker 1: what she's been doing with June this whole time, I 57 00:03:36,520 --> 00:03:39,320 Speaker 1: feel like, and so what's convenient for her is to 58 00:03:39,400 --> 00:03:43,600 Speaker 1: apologize and beg for forgiveness. And although I do think 59 00:03:43,600 --> 00:03:45,760 Speaker 1: there is like a huge element of truth in it, 60 00:03:45,840 --> 00:03:48,680 Speaker 1: I don't know that it comes from that genuine place 61 00:03:48,720 --> 00:03:52,080 Speaker 1: of I genuinely feel horrible for what I did. I 62 00:03:52,120 --> 00:03:55,040 Speaker 1: think it's more I just need you to forgive me 63 00:03:55,120 --> 00:03:59,080 Speaker 1: so I can have a comfortable pregnancy, you know what 64 00:03:59,120 --> 00:04:03,880 Speaker 1: I mean. So it's it's self serving. Yeah, I kind 65 00:04:03,880 --> 00:04:05,520 Speaker 1: of feel that way. I don't know i'd be interested 66 00:04:05,560 --> 00:04:08,160 Speaker 1: to hear um with some versus rand about that, but 67 00:04:08,240 --> 00:04:11,880 Speaker 1: that that's that's how I felt. Bruce, do you want 68 00:04:11,920 --> 00:04:15,920 Speaker 1: to chime in? Uh? Well, I think, um, people don't 69 00:04:15,960 --> 00:04:18,839 Speaker 1: change very much or very easily. And I think people 70 00:04:18,960 --> 00:04:22,880 Speaker 1: change quickly and easily on television. But what I says 71 00:04:22,960 --> 00:04:26,560 Speaker 1: is exactly right, you know. Uh, it's in the moment. 72 00:04:26,680 --> 00:04:29,120 Speaker 1: We make lots of decisions that we say lots of things, 73 00:04:29,160 --> 00:04:32,400 Speaker 1: but as humans, we don't change that quickly. And and 74 00:04:32,480 --> 00:04:34,599 Speaker 1: I think the show is frustrating in the same way 75 00:04:34,640 --> 00:04:36,599 Speaker 1: that people in our lives are frustrating that they don't 76 00:04:36,640 --> 00:04:39,080 Speaker 1: change quickly enough um, and that more people don't get 77 00:04:39,080 --> 00:04:42,000 Speaker 1: out of North Korea. But those things are complicated parts 78 00:04:42,040 --> 00:04:44,760 Speaker 1: of the real world. And as much as we'd like 79 00:04:45,600 --> 00:04:51,640 Speaker 1: Lawrence and and you know the characters that that seem 80 00:04:51,680 --> 00:04:55,279 Speaker 1: to be on an edge, Lawrence, Lydia and On or everybody, 81 00:04:55,320 --> 00:04:57,360 Speaker 1: I guess Joe, you want them to pick the good 82 00:04:57,400 --> 00:05:00,840 Speaker 1: side and get toss away the bad side, But there 83 00:05:00,960 --> 00:05:03,160 Speaker 1: is no such thing, and it doesn't happen, and they 84 00:05:03,200 --> 00:05:06,080 Speaker 1: are who they are. And and you know, I don't 85 00:05:06,080 --> 00:05:10,280 Speaker 1: know very many people who have, you know, truly had 86 00:05:10,440 --> 00:05:12,760 Speaker 1: the kind of regret in their life for the things 87 00:05:12,800 --> 00:05:14,920 Speaker 1: that these people have done. I don't know that there's 88 00:05:15,000 --> 00:05:20,279 Speaker 1: enough regret muster so and and Lizzie, I think, I 89 00:05:20,279 --> 00:05:22,320 Speaker 1: don't know. There was a scene I wish I had 90 00:05:22,320 --> 00:05:26,760 Speaker 1: written down what you said about what had been taken 91 00:05:26,760 --> 00:05:31,280 Speaker 1: away and the power of men and sort of systemic 92 00:05:31,800 --> 00:05:36,039 Speaker 1: issues with gender and sexism. I don't know that really 93 00:05:36,040 --> 00:05:38,880 Speaker 1: resonated with me. Did that? Are you in the middle 94 00:05:38,920 --> 00:05:42,760 Speaker 1: of sometimes saying your lines and thinking, yes, I I 95 00:05:42,960 --> 00:05:47,039 Speaker 1: feel what June feels about the state of the world. Yeah, 96 00:05:47,080 --> 00:05:50,160 Speaker 1: all the time, all the time, whether or even just 97 00:05:50,400 --> 00:05:54,200 Speaker 1: um you know, sometimes globally, but also sometimes just on 98 00:05:54,279 --> 00:05:56,960 Speaker 1: a on a personal level. You know, she's such a 99 00:05:56,960 --> 00:06:00,440 Speaker 1: personal character to me, Um, and I've put so much 100 00:06:00,440 --> 00:06:02,680 Speaker 1: of myself into her. And at this point, it is 101 00:06:02,720 --> 00:06:04,360 Speaker 1: a great thing that happens when you're on a show 102 00:06:04,400 --> 00:06:08,320 Speaker 1: for a while, which is the relationship between you and 103 00:06:08,360 --> 00:06:12,000 Speaker 1: the writers and the showrunner becomes very fluid, and you know, 104 00:06:12,040 --> 00:06:14,640 Speaker 1: at first you're doing what they're writing, and then they're 105 00:06:14,640 --> 00:06:16,600 Speaker 1: sort of writing to what you're doing, and it kind 106 00:06:16,600 --> 00:06:20,240 Speaker 1: of goes back and forth in this in this wonderful way. 107 00:06:20,400 --> 00:06:24,039 Speaker 1: Um all the time, all the time, And sometimes other 108 00:06:24,120 --> 00:06:28,000 Speaker 1: characters too, will say things that I, uh, that really 109 00:06:28,040 --> 00:06:31,400 Speaker 1: really resonate with me. Um, you know, Lawrence, often when 110 00:06:31,400 --> 00:06:34,880 Speaker 1: you're speaking about June, it resonates with me. I learned 111 00:06:34,880 --> 00:06:38,600 Speaker 1: a lot about June from the other characters, whether I'm 112 00:06:38,640 --> 00:06:41,800 Speaker 1: in the scene or not. Madeline, let me ask you 113 00:06:41,880 --> 00:06:47,760 Speaker 1: about Janine, because, um, she has quite an adventure in 114 00:06:47,800 --> 00:06:50,920 Speaker 1: this this season, and we learn a lot more about 115 00:06:50,920 --> 00:06:55,640 Speaker 1: her backstory, which I really appreciated and enjoyed, and I'm 116 00:06:55,680 --> 00:06:58,880 Speaker 1: curious if you did as well, and how it impacted 117 00:06:59,200 --> 00:07:02,800 Speaker 1: the way you aid her from that moment on, because 118 00:07:02,920 --> 00:07:06,440 Speaker 1: I who knew. Yeah, I mean, I tried for so 119 00:07:06,480 --> 00:07:09,080 Speaker 1: long for the first three seasons really to not make 120 00:07:09,120 --> 00:07:12,520 Speaker 1: any real decisions about who I thought Janine was, just 121 00:07:12,560 --> 00:07:16,119 Speaker 1: because I knew that eventually we would find out, and 122 00:07:16,280 --> 00:07:18,560 Speaker 1: I wanted to be able to just like soak up 123 00:07:18,560 --> 00:07:20,840 Speaker 1: anything that Bruce or you know, j C who who 124 00:07:20,840 --> 00:07:23,080 Speaker 1: had written the episode. I wanted to just kind of 125 00:07:23,680 --> 00:07:27,240 Speaker 1: fully embrace that. And Uh, I was really glad and 126 00:07:27,480 --> 00:07:29,720 Speaker 1: very very proud to be able to tell this kind 127 00:07:29,800 --> 00:07:33,680 Speaker 1: of story, the storyline for Janine, our relationship, the relationship 128 00:07:33,720 --> 00:07:38,120 Speaker 1: between June and Janine and just everything. It just colored 129 00:07:38,240 --> 00:07:42,120 Speaker 1: so many things for me, Um to get this backstory 130 00:07:42,160 --> 00:07:44,960 Speaker 1: and that, you know, the confrontation between June and Janine, 131 00:07:45,160 --> 00:07:48,000 Speaker 1: everything just kind of became a little brighter to me. 132 00:07:48,760 --> 00:07:51,280 Speaker 1: Um about Janine, She's always been like a big part 133 00:07:51,320 --> 00:07:53,120 Speaker 1: of my life and of my heart, and she just 134 00:07:53,240 --> 00:07:57,000 Speaker 1: like she's just a tattooed in there now really, especially 135 00:07:57,000 --> 00:08:01,280 Speaker 1: after this Um doing that episode and episode five as well. 136 00:08:01,800 --> 00:08:05,280 Speaker 1: It's interesting, Bruce, how you the writers and you and 137 00:08:05,400 --> 00:08:09,000 Speaker 1: everyone who's putting this together, how you figure out when 138 00:08:09,040 --> 00:08:11,360 Speaker 1: you tell a backstory of a character. I know, I 139 00:08:11,440 --> 00:08:14,920 Speaker 1: really enjoyed hearing more about Serena and what she was 140 00:08:15,000 --> 00:08:19,000 Speaker 1: like before Gill Lead became Gile Lead. And how do 141 00:08:19,040 --> 00:08:23,360 Speaker 1: you determine who's past or whose history you're going to mind? 142 00:08:24,160 --> 00:08:29,720 Speaker 1: And and and why I think we'd mind everybody's if 143 00:08:29,760 --> 00:08:33,520 Speaker 1: we had the time. I mean, you know, they're all extraordinary, 144 00:08:33,720 --> 00:08:37,240 Speaker 1: extraordinary actors, and we're curious about their backstories. Um, And 145 00:08:37,280 --> 00:08:40,559 Speaker 1: I think that Maddie as much as she was trying 146 00:08:40,600 --> 00:08:44,040 Speaker 1: not to decide. As Lizzie was saying, Maddie was telling 147 00:08:44,120 --> 00:08:46,920 Speaker 1: us that all the writers what Janine's backstory was over 148 00:08:46,960 --> 00:08:51,280 Speaker 1: the last three years slowly, um so she was making decisions. 149 00:08:51,840 --> 00:08:54,880 Speaker 1: But you know, I think all the back stories and 150 00:08:55,080 --> 00:08:59,720 Speaker 1: from the response from the audience are super appealing and satisfying. 151 00:09:00,520 --> 00:09:03,920 Speaker 1: I just wanted to say this year, in particular, under COVID, 152 00:09:05,280 --> 00:09:08,240 Speaker 1: Maddie talks about that that episode like it's a normal episode. 153 00:09:08,280 --> 00:09:13,360 Speaker 1: That episode was incredibly difficult under COVID, and the nine 154 00:09:14,080 --> 00:09:16,840 Speaker 1: scenes we had of her in the past ended up 155 00:09:16,880 --> 00:09:20,959 Speaker 1: being three scenes and everything changed all the time, and 156 00:09:21,040 --> 00:09:25,680 Speaker 1: she was an absolute professional and also managed to get 157 00:09:25,720 --> 00:09:27,600 Speaker 1: as much out of the story as we would have 158 00:09:27,640 --> 00:09:30,120 Speaker 1: gotten in the longer version in the shorter version. And 159 00:09:30,160 --> 00:09:33,120 Speaker 1: that's a testament to her and Christina the director and 160 00:09:33,760 --> 00:09:38,360 Speaker 1: everybody else. Uh it was. It's a remarkable performance under 161 00:09:39,120 --> 00:09:43,959 Speaker 1: under normal circumstances. It's a mark this year. It's breathtaking 162 00:09:44,000 --> 00:09:47,280 Speaker 1: what she was able to do. So in awe of that, 163 00:09:48,120 --> 00:09:58,760 Speaker 1: you're like, truth, my turn, hunt Well, and I want 164 00:09:58,800 --> 00:10:02,600 Speaker 1: to talk to you about aunt Lydia because there's a 165 00:10:02,640 --> 00:10:07,760 Speaker 1: little crack in Gilead for finally, for her, can you 166 00:10:07,880 --> 00:10:13,040 Speaker 1: talk about the evolution of her character? And uh, sort 167 00:10:13,080 --> 00:10:18,400 Speaker 1: of the the reason behind her increased humanity in this season, 168 00:10:18,520 --> 00:10:25,280 Speaker 1: if you could call it that, Well, love is love, 169 00:10:25,480 --> 00:10:33,240 Speaker 1: isn't it? And she loves Janine and she loves June. 170 00:10:33,880 --> 00:10:35,520 Speaker 1: And as much as she likes to put it in 171 00:10:35,559 --> 00:10:38,960 Speaker 1: any other fashion she possibly can, the truth of the 172 00:10:39,000 --> 00:10:45,360 Speaker 1: matter is relationships are profoundly important to her. So I 173 00:10:45,400 --> 00:10:49,240 Speaker 1: think if love creeps its way in walls will begin 174 00:10:49,320 --> 00:10:51,959 Speaker 1: to crumble, whether she would like them to or not. 175 00:10:53,080 --> 00:10:57,199 Speaker 1: And what to me was astonishing about the season for Lydia, 176 00:10:59,600 --> 00:11:03,040 Speaker 1: and I this to the writers, and I give this 177 00:11:03,120 --> 00:11:07,880 Speaker 1: to the other actors and to Elizabeth directing, is that 178 00:11:08,000 --> 00:11:12,880 Speaker 1: things that utterly surprised me, that took me totally off 179 00:11:12,960 --> 00:11:16,240 Speaker 1: card in the way they appeared in the scene, which 180 00:11:16,280 --> 00:11:19,040 Speaker 1: is to say from Lydia, which I didn't have my 181 00:11:19,120 --> 00:11:22,560 Speaker 1: hand on, because season four you can take your hand 182 00:11:22,640 --> 00:11:26,040 Speaker 1: off because by now you know her, she knows you, 183 00:11:26,679 --> 00:11:28,480 Speaker 1: and on the good day she's going to talk to 184 00:11:28,520 --> 00:11:30,640 Speaker 1: you and say, don't worry about it, I've got it. 185 00:11:31,280 --> 00:11:35,199 Speaker 1: And that's what happened season four for me and working 186 00:11:35,200 --> 00:11:41,080 Speaker 1: with Elizabeth who knows her well, and I know her 187 00:11:41,160 --> 00:11:45,480 Speaker 1: well and I love her and she loves me. Sorry 188 00:11:45,480 --> 00:11:47,720 Speaker 1: to turn this into it so proper, but the point 189 00:11:47,760 --> 00:11:52,600 Speaker 1: I'm making something happens there and that's trust and then 190 00:11:52,640 --> 00:11:55,960 Speaker 1: you know, okay, let's drop the barriers and get it done. 191 00:11:56,600 --> 00:12:01,000 Speaker 1: That's what thrilled me is to let her, let her 192 00:12:02,000 --> 00:12:04,160 Speaker 1: come up on her own and see where she goes. 193 00:12:05,000 --> 00:12:11,079 Speaker 1: So that just knocked me out, very grateful for Wow, Lizzy, 194 00:12:11,160 --> 00:12:16,040 Speaker 1: would you like to comment on that? Sorry, good, no pressure, 195 00:12:16,120 --> 00:12:19,400 Speaker 1: goll none of all. No. I mean, I had this 196 00:12:20,080 --> 00:12:26,800 Speaker 1: incredible gift with directing, which was working with these actors, 197 00:12:27,400 --> 00:12:30,000 Speaker 1: and it truly is a kind of extraordinary when you 198 00:12:30,000 --> 00:12:32,480 Speaker 1: work with people for three years and a certain amount 199 00:12:32,520 --> 00:12:34,960 Speaker 1: of episodes and then you put on a different hat 200 00:12:35,240 --> 00:12:38,000 Speaker 1: and all of a sudden, it was just I had 201 00:12:39,120 --> 00:12:45,640 Speaker 1: an entirely new appreciation for how incredibly gifted they all 202 00:12:45,720 --> 00:12:50,000 Speaker 1: are and the trust that they that they gave me 203 00:12:50,040 --> 00:12:52,560 Speaker 1: as a director, especially on my first time out in 204 00:12:52,600 --> 00:12:56,719 Speaker 1: episode three. I'll never forget um the support they gave me. 205 00:12:56,760 --> 00:13:00,360 Speaker 1: I'll never forget. And to tow End's point, you know, 206 00:13:01,040 --> 00:13:04,239 Speaker 1: I've seen not just what you see in the episode 207 00:13:04,400 --> 00:13:07,319 Speaker 1: on on Hulu. But I've seen all of the takes 208 00:13:07,800 --> 00:13:10,240 Speaker 1: that they do before that, I've seen all the other 209 00:13:10,280 --> 00:13:12,560 Speaker 1: things they've tried. I've seen all of the things that 210 00:13:12,600 --> 00:13:15,600 Speaker 1: worked and didn't work, and we've had all these conversations. 211 00:13:15,600 --> 00:13:18,720 Speaker 1: So I did feel like there was an element of 212 00:13:19,080 --> 00:13:22,080 Speaker 1: knowing them as not just their characters but as actors 213 00:13:22,360 --> 00:13:25,120 Speaker 1: that was helpful to us in our in our kind 214 00:13:25,120 --> 00:13:30,600 Speaker 1: of new relationship. Bradley, do you feel I mean, I'm 215 00:13:30,600 --> 00:13:34,959 Speaker 1: curious about You've done a lot of different shows, and 216 00:13:35,600 --> 00:13:39,240 Speaker 1: is there something unique about this project for you and 217 00:13:39,320 --> 00:13:43,920 Speaker 1: about this group of people? And um, I don't know 218 00:13:44,040 --> 00:13:48,600 Speaker 1: how uh serendipitous. Everything seems to have been with a 219 00:13:48,600 --> 00:13:51,320 Speaker 1: lot of hard work of course behind the scenes. But 220 00:13:51,640 --> 00:13:54,520 Speaker 1: I wonder if you could describe for me the specialness 221 00:13:54,679 --> 00:13:58,800 Speaker 1: of this this for you, Well, I feel like an 222 00:13:58,800 --> 00:14:06,800 Speaker 1: obnoxiously lucky actor who's had some wonderful experiences, But there 223 00:14:06,920 --> 00:14:12,240 Speaker 1: is absolutely something unique to me about you know, it's 224 00:14:12,280 --> 00:14:19,440 Speaker 1: always alchemy and the feeling on the set. Uh, it's 225 00:14:19,440 --> 00:14:27,400 Speaker 1: it's it's a weirdly uh loving, gentle, humorous uh set uh. 226 00:14:27,440 --> 00:14:31,440 Speaker 1: And I think that tone is set by Lizzie, who, 227 00:14:31,440 --> 00:14:35,520 Speaker 1: while she does Sophie's choice the series is maybe the 228 00:14:35,600 --> 00:14:44,280 Speaker 1: least pretentious actor I've ever worked with. There is you know, 229 00:14:44,840 --> 00:14:51,720 Speaker 1: we're aware, unfortunately that we're we're doing a show, um 230 00:14:51,800 --> 00:14:54,800 Speaker 1: about a worst case scenario, about something that is all 231 00:14:54,840 --> 00:14:58,400 Speaker 1: too familiar to us. Now. I keep this is another 232 00:14:58,440 --> 00:15:01,760 Speaker 1: one of those moments, um, where I think as a 233 00:15:01,840 --> 00:15:12,360 Speaker 1: country and all across the world, we're being reminded that uh, misogyny, racism, sexism, fascism. 234 00:15:12,400 --> 00:15:18,000 Speaker 1: They're always in the next room doing push ups and UM. 235 00:15:18,640 --> 00:15:20,400 Speaker 1: To be able to be part of a show that 236 00:15:20,560 --> 00:15:23,720 Speaker 1: is uh, that is saying something on top of it 237 00:15:23,760 --> 00:15:28,120 Speaker 1: being this kind of extraordinary for me, a very lucky 238 00:15:28,200 --> 00:15:34,400 Speaker 1: person creative uh experience. There there is uh I know 239 00:15:35,360 --> 00:15:40,000 Speaker 1: doing stuff with with Lizzie, which is an extraordinary thing, uh, 240 00:15:40,320 --> 00:15:42,040 Speaker 1: given the fact that I met her when when she 241 00:15:42,160 --> 00:15:48,240 Speaker 1: was seventeen. Um, there's on this show the takes that work. 242 00:15:49,000 --> 00:15:53,720 Speaker 1: Uh you you and I felt this with Anne too. 243 00:15:54,080 --> 00:15:57,960 Speaker 1: It's like you get surprised, you're you're you're surprised by 244 00:15:58,000 --> 00:16:01,240 Speaker 1: what's happening, and it's a it's a function of the writing. 245 00:16:01,320 --> 00:16:06,320 Speaker 1: I also love what what Anne was saying, combined with 246 00:16:06,320 --> 00:16:09,640 Speaker 1: with what what Bruce is saying in a lesser show, 247 00:16:09,800 --> 00:16:14,560 Speaker 1: people have epiphanies and become heroes. Uh, that's an insult 248 00:16:14,960 --> 00:16:20,880 Speaker 1: to what a character like June is up against. And 249 00:16:20,960 --> 00:16:24,040 Speaker 1: what Anne just said I think is really true is 250 00:16:24,160 --> 00:16:29,640 Speaker 1: that I start feeling this this, this this kind of love, uh, 251 00:16:29,760 --> 00:16:33,320 Speaker 1: you know, for for for aunt Lydia, who I begin 252 00:16:33,360 --> 00:16:38,560 Speaker 1: to feel to understand absolutely for June in a way 253 00:16:38,880 --> 00:16:44,960 Speaker 1: that mirrors what I feel. Um about working with Lizzie 254 00:16:44,960 --> 00:16:49,400 Speaker 1: again after all these years. Um. Some reporters said, you know, 255 00:16:49,480 --> 00:16:52,560 Speaker 1: what does Lawrence feel about her? And I'm like, he 256 00:16:52,640 --> 00:16:56,720 Speaker 1: loves her, he doesn't know, but she's leading him. He 257 00:16:56,760 --> 00:17:01,000 Speaker 1: doesn't even know it. Um, But I realized I feel 258 00:17:01,040 --> 00:17:04,800 Speaker 1: about June. H Lawrence feels about June the way I 259 00:17:04,840 --> 00:17:08,080 Speaker 1: feel about Lizzie. It's it's like it's it's the way 260 00:17:08,119 --> 00:17:10,120 Speaker 1: I feel about my grown up children. It's like, oh 261 00:17:10,160 --> 00:17:13,400 Speaker 1: my god, I can't believe what you became. And and 262 00:17:14,600 --> 00:17:18,640 Speaker 1: you know you're I watched that episode. I was. I 263 00:17:18,720 --> 00:17:21,720 Speaker 1: texted Lizzie. I said, okay, so you can direct to 264 00:17:22,119 --> 00:17:26,480 Speaker 1: like what's next the fucking cello? I mean, it was, 265 00:17:26,800 --> 00:17:30,359 Speaker 1: it was, it was incredible. So that but there's something 266 00:17:30,400 --> 00:17:33,480 Speaker 1: about this show that I love that Anne was talking about, 267 00:17:33,560 --> 00:17:39,560 Speaker 1: which is uh, somewhere in the solution to these intractable problems, 268 00:17:39,920 --> 00:17:44,040 Speaker 1: humanity and love in the darkest of circumstances can shine through. 269 00:17:47,880 --> 00:18:02,720 Speaker 1: We'll be right back, McKenna. I mean, first of all, 270 00:18:02,800 --> 00:18:07,160 Speaker 1: high here you are with this extraordinary group of actors, 271 00:18:07,240 --> 00:18:10,639 Speaker 1: and um, how old are you McKenna? Um, I'll be 272 00:18:10,680 --> 00:18:15,919 Speaker 1: fifteen in June? Holy cow? Okay, So what can you 273 00:18:16,000 --> 00:18:18,880 Speaker 1: describe what it was like for you? First of all, 274 00:18:18,920 --> 00:18:23,119 Speaker 1: your character is so fascinating to me, but just the 275 00:18:23,280 --> 00:18:27,320 Speaker 1: very idea of coming into this group of professionals as 276 00:18:27,560 --> 00:18:31,520 Speaker 1: of almost fifteen year old, right, can you can you 277 00:18:31,600 --> 00:18:35,199 Speaker 1: share with us, uh, just what this experience has been 278 00:18:35,280 --> 00:18:39,960 Speaker 1: like for you? Well, I am new here. It's it's interesting. 279 00:18:40,000 --> 00:18:42,680 Speaker 1: I haven't really had a chance to talk to most 280 00:18:42,680 --> 00:18:47,240 Speaker 1: of the people here yet, so it's it's definitely a 281 00:18:47,240 --> 00:18:50,120 Speaker 1: little bit scary because in preparing for the role, I've 282 00:18:50,200 --> 00:18:55,680 Speaker 1: I've bench watched Handmaids and there's not one bad actor 283 00:18:55,760 --> 00:18:57,639 Speaker 1: on the show. So I did not want to be 284 00:18:57,680 --> 00:19:02,800 Speaker 1: the person to break that perfect track record. It's just 285 00:19:03,720 --> 00:19:06,119 Speaker 1: it's really been a great experience to be able to 286 00:19:06,119 --> 00:19:08,439 Speaker 1: be part of a show that speaks out about so 287 00:19:08,440 --> 00:19:12,240 Speaker 1: many topics and something that reaches such a wide audience, 288 00:19:14,200 --> 00:19:17,680 Speaker 1: especially getting able being able to work with Ms Lizzie 289 00:19:17,680 --> 00:19:23,040 Speaker 1: as a director. That was an incredible experience. She's I 290 00:19:24,119 --> 00:19:28,200 Speaker 1: can I put it into wards. It was absolutely magnificent. 291 00:19:28,920 --> 00:19:33,600 Speaker 1: But it's been something that I really hope that I 292 00:19:33,640 --> 00:19:38,439 Speaker 1: get to come back to and it's I've loved it. 293 00:19:39,520 --> 00:19:41,800 Speaker 1: And when you when you when you set it, you 294 00:19:41,800 --> 00:19:46,960 Speaker 1: know your character is interesting because she's braddy and brave 295 00:19:47,119 --> 00:19:52,560 Speaker 1: at the same time. And um, I how did you 296 00:19:52,600 --> 00:19:56,760 Speaker 1: wrap your head around kind of showing the many sides 297 00:19:56,840 --> 00:20:00,920 Speaker 1: of her? Well, like you said, she is really fascinating, 298 00:20:01,200 --> 00:20:05,520 Speaker 1: And I think it's less um bratty. It's just more 299 00:20:05,600 --> 00:20:11,800 Speaker 1: of this. It's figuring out how to mix uh, how 300 00:20:12,040 --> 00:20:14,440 Speaker 1: mature and like she is the mistress of this household, 301 00:20:14,440 --> 00:20:15,879 Speaker 1: but at the end of the day, she is still 302 00:20:16,280 --> 00:20:21,320 Speaker 1: unabused young lady. It's it's trying to figure out how 303 00:20:21,400 --> 00:20:26,200 Speaker 1: to mix together her immaturity and her being the brave 304 00:20:26,400 --> 00:20:31,879 Speaker 1: young gillyandsa briber that she is, um it and prepare. 305 00:20:31,960 --> 00:20:35,600 Speaker 1: I did watch a lot of um interviews with young 306 00:20:35,640 --> 00:20:39,639 Speaker 1: women who had been abused or had gone through situations 307 00:20:39,800 --> 00:20:44,320 Speaker 1: like Um, she did, so I I wanted to make 308 00:20:44,359 --> 00:20:46,720 Speaker 1: sure that I accurately betrayed her because there is no 309 00:20:46,920 --> 00:20:54,160 Speaker 1: one way to play um Mrs Keith to play her abuse, 310 00:20:54,400 --> 00:20:57,680 Speaker 1: and I just wanted to make sure that I definitely 311 00:20:57,840 --> 00:21:02,439 Speaker 1: did it right, so to say at fifteen, I'm pretty 312 00:21:02,440 --> 00:21:06,280 Speaker 1: blown away by you right now, and Bruce, you need 313 00:21:06,320 --> 00:21:09,639 Speaker 1: to keep her around. And I think regardless, you have 314 00:21:09,680 --> 00:21:12,879 Speaker 1: an incredible future ahead of you. Maybe you could like 315 00:21:13,040 --> 00:21:18,080 Speaker 1: anchor a newscast. I don't know, but you're acting was 316 00:21:18,160 --> 00:21:21,960 Speaker 1: phenomenal and you were obviously wise beyond your years. Max. 317 00:21:22,000 --> 00:21:26,560 Speaker 1: I haven't forgotten about you, Kai Max. You know, I 318 00:21:26,600 --> 00:21:31,040 Speaker 1: think probably with with your character, that again must have 319 00:21:31,080 --> 00:21:34,880 Speaker 1: been a real challenge because you had to incorporate almost 320 00:21:34,920 --> 00:21:38,760 Speaker 1: two different people, um in in your role, staying in 321 00:21:38,880 --> 00:21:42,560 Speaker 1: Giliad and yet wanting the best for June and also 322 00:21:42,800 --> 00:21:47,600 Speaker 1: having this streak of humanity. Um well, I love doing 323 00:21:47,600 --> 00:21:51,040 Speaker 1: the season. I think we we all did. Um. There 324 00:21:51,119 --> 00:21:55,040 Speaker 1: was so much more to explore with all these characters. 325 00:21:55,119 --> 00:22:00,159 Speaker 1: And Nick can be very opaque, right, Um he's so 326 00:22:00,280 --> 00:22:03,440 Speaker 1: spy on a spy on spy and at the same 327 00:22:03,480 --> 00:22:06,680 Speaker 1: time I see him through rose tinted lenses and have 328 00:22:06,800 --> 00:22:11,040 Speaker 1: always been quietly hoping that his moral compasses in the 329 00:22:11,160 --> 00:22:17,199 Speaker 1: right place, and I was very relieved this year. The 330 00:22:17,240 --> 00:22:19,680 Speaker 1: True North seems to be heading in the right direction. 331 00:22:19,920 --> 00:22:23,520 Speaker 1: And just to echo what everyone's been saying, I think, 332 00:22:23,840 --> 00:22:26,360 Speaker 1: you know, getting to work with Lizzie as a filmmaker 333 00:22:27,160 --> 00:22:30,600 Speaker 1: pushed all of us, you know, I think it's the 334 00:22:30,640 --> 00:22:32,040 Speaker 1: best work I've done on the show, with a lot 335 00:22:32,040 --> 00:22:34,520 Speaker 1: of people's best work's done on the show. She she 336 00:22:34,640 --> 00:22:36,960 Speaker 1: had a way of sort of extracting something from us 337 00:22:36,960 --> 00:22:39,879 Speaker 1: that was really exciting and it was a joy to 338 00:22:39,920 --> 00:22:43,640 Speaker 1: do it. Joe, I, I want to have you talk 339 00:22:43,720 --> 00:22:47,359 Speaker 1: a little bit about playing someone and maybe Van you 340 00:22:47,440 --> 00:22:52,240 Speaker 1: could chine in on someone who was just so awful 341 00:22:53,200 --> 00:22:57,359 Speaker 1: and so evil. And I'm sure are we talking about 342 00:22:57,359 --> 00:23:03,040 Speaker 1: the same character. I'm not sure, And I don't know. 343 00:23:03,240 --> 00:23:07,120 Speaker 1: Does that start to kind of permeate your your psyche 344 00:23:07,119 --> 00:23:11,919 Speaker 1: a little bit? And um, you know, just compared to 345 00:23:12,080 --> 00:23:14,680 Speaker 1: many of your other roles that you've you know, you're 346 00:23:14,880 --> 00:23:19,240 Speaker 1: such a distinguished actor. What has been like too to 347 00:23:19,440 --> 00:23:26,280 Speaker 1: play someone, um, someone like this who completely has lost 348 00:23:27,200 --> 00:23:33,360 Speaker 1: his humanity along the way. Well, I feel sometimes I've 349 00:23:33,359 --> 00:23:38,840 Speaker 1: been cast this sort of dashing, um leading guy, and 350 00:23:38,880 --> 00:23:41,720 Speaker 1: I feel in some ways I feel like, um, a 351 00:23:41,840 --> 00:23:45,119 Speaker 1: character actor trapped in a leading man's body. And so 352 00:23:45,280 --> 00:23:48,720 Speaker 1: this this character allows me to sort of get into 353 00:23:48,760 --> 00:23:51,639 Speaker 1: an area I wouldn't normally be cast in. UM. So 354 00:23:51,720 --> 00:23:55,879 Speaker 1: i've I've relished that, UM, but I don't. I haven't 355 00:23:55,880 --> 00:24:00,199 Speaker 1: relished as people might relish playing nasty people. I haven't 356 00:24:00,200 --> 00:24:03,200 Speaker 1: relished actually that part of his psyche because it's something 357 00:24:03,240 --> 00:24:06,320 Speaker 1: that I'm reminded of when I come offset, I read 358 00:24:06,440 --> 00:24:10,080 Speaker 1: an article, I hear something has happened along the lines 359 00:24:10,160 --> 00:24:14,119 Speaker 1: that Fred Waterford might do. And so I just feel 360 00:24:14,160 --> 00:24:21,320 Speaker 1: like in the world of Outward and Bruce and Dystopia, UM, 361 00:24:21,800 --> 00:24:24,200 Speaker 1: I don't feel and I've ever really escaped it, and 362 00:24:24,480 --> 00:24:28,000 Speaker 1: especially as I have two young daughters and an amazing wife, 363 00:24:28,080 --> 00:24:32,520 Speaker 1: and the show has definitely refocused and recalibrated my appreciation 364 00:24:32,640 --> 00:24:35,399 Speaker 1: of the psyche of women and how important they are 365 00:24:35,400 --> 00:24:38,719 Speaker 1: in my life, and so playing someone like Fred, you know, 366 00:24:38,760 --> 00:24:42,240 Speaker 1: I feel, I feel there's a big part of me 367 00:24:42,359 --> 00:24:47,119 Speaker 1: feels kind of a shame that this is what I 368 00:24:47,200 --> 00:24:50,119 Speaker 1: might have to show my daughters one day because it 369 00:24:50,240 --> 00:24:52,320 Speaker 1: is their dad, but he's and it's not their dad, 370 00:24:52,359 --> 00:24:56,200 Speaker 1: but but there are themes that are so pervasive, sadly 371 00:24:56,240 --> 00:25:01,520 Speaker 1: within our society and continue to be so. And so 372 00:25:01,560 --> 00:25:04,760 Speaker 1: I found I found that actually playing it and stepping 373 00:25:04,760 --> 00:25:08,040 Speaker 1: back into the real world and sort of seeing Fred 374 00:25:08,119 --> 00:25:11,520 Speaker 1: on the front pages of a news article or something 375 00:25:11,560 --> 00:25:14,600 Speaker 1: in some way, shape or form in some industry and 376 00:25:14,680 --> 00:25:19,160 Speaker 1: some business elsewhere, that there's sort of the awfulness of patriarchy, 377 00:25:19,240 --> 00:25:24,240 Speaker 1: the awfulness of the pathetic nous of of um, of 378 00:25:25,280 --> 00:25:30,719 Speaker 1: patriarchy really at its words, the michot misogyny and and um. 379 00:25:30,760 --> 00:25:32,720 Speaker 1: So it's been difficult, yeah, and I can't wait to 380 00:25:32,760 --> 00:25:35,960 Speaker 1: shake off that itchy beard because he's that's a synonymous 381 00:25:36,000 --> 00:25:39,600 Speaker 1: with Fred and so um. Yeah, it is weird and 382 00:25:40,040 --> 00:25:43,800 Speaker 1: tough and um and ugly and the tentacles of the 383 00:25:43,920 --> 00:25:48,240 Speaker 1: man are pervasive. But it sounds like it's changed your 384 00:25:48,760 --> 00:25:51,199 Speaker 1: not not changed your personal behavior. I think that's a 385 00:25:51,200 --> 00:25:55,159 Speaker 1: little extreme, but it's made to recognize things that have 386 00:25:56,359 --> 00:26:01,440 Speaker 1: resulted in a deeper, more meaningful, and more enlightened relationship 387 00:26:02,040 --> 00:26:06,440 Speaker 1: with the women in your life. Absolutely, I mean it's 388 00:26:06,520 --> 00:26:11,640 Speaker 1: pulped me um and and it's it's the narrative has 389 00:26:11,680 --> 00:26:15,840 Speaker 1: kept me suspended in a way where I'm deeply reflective. UM. Yeah, 390 00:26:16,000 --> 00:26:20,879 Speaker 1: daily and Evan. I you know, Serena is so fascinating 391 00:26:20,920 --> 00:26:26,880 Speaker 1: to me because she does seem to um vacilate. I mean, 392 00:26:27,280 --> 00:26:30,320 Speaker 1: not not a ton, but you do see these glimmers 393 00:26:30,320 --> 00:26:35,280 Speaker 1: of hope. And I'm always thinking, Uh, you know, Serena, 394 00:26:36,080 --> 00:26:38,760 Speaker 1: You've got it in you. And I'm curious what it 395 00:26:38,880 --> 00:26:42,199 Speaker 1: what it's been like for you to play someone who's 396 00:26:42,240 --> 00:26:49,040 Speaker 1: so complicated and misguided and honestly so lost at certain 397 00:26:49,040 --> 00:26:54,160 Speaker 1: moments in her life. Yeah, I think UM I somewhat 398 00:26:54,160 --> 00:26:57,480 Speaker 1: echo what Joe was saying that it I think at 399 00:26:57,520 --> 00:27:04,160 Speaker 1: first it was really confronting UM to play someone so 400 00:27:04,240 --> 00:27:07,159 Speaker 1: awful and and I think especially as an actress, as 401 00:27:07,240 --> 00:27:10,919 Speaker 1: a as a female, UM, I don't know that you 402 00:27:11,000 --> 00:27:16,440 Speaker 1: ever really expect to play UM the role of the rapist, 403 00:27:16,480 --> 00:27:20,040 Speaker 1: and not that I'm I am the actual physical rapist. Certainly, 404 00:27:20,200 --> 00:27:24,680 Speaker 1: you know the characters is there and perpetuating the situation obviously, 405 00:27:24,800 --> 00:27:27,840 Speaker 1: So it is that part of it is really kind 406 00:27:27,880 --> 00:27:32,639 Speaker 1: of confronting, and and I think for the first season 407 00:27:32,680 --> 00:27:35,720 Speaker 1: it was very it took a little while to sort 408 00:27:35,720 --> 00:27:39,600 Speaker 1: of get used to UM, you know, like screaming at 409 00:27:39,640 --> 00:27:44,680 Speaker 1: Lizzie and scenes or UM just being awful in general 410 00:27:44,760 --> 00:27:49,520 Speaker 1: in scenes. But but now that I'm used to it, um, 411 00:27:49,680 --> 00:27:54,240 Speaker 1: I just love getting into it. I mean, this is 412 00:27:54,280 --> 00:27:58,840 Speaker 1: a role, uh that is one of my most favorite 413 00:27:58,840 --> 00:28:03,560 Speaker 1: things that I've ever done. It is so intricate and complex, 414 00:28:03,560 --> 00:28:06,200 Speaker 1: and I'm so grateful to be the person that gets 415 00:28:06,200 --> 00:28:10,639 Speaker 1: to play Serena. It is just it is just an 416 00:28:11,160 --> 00:28:15,520 Speaker 1: endless amount of possibilities on set and when we get 417 00:28:15,520 --> 00:28:19,359 Speaker 1: to play these characters, and I know everyone feels the 418 00:28:19,359 --> 00:28:21,320 Speaker 1: same way with the words that we get to speak 419 00:28:21,320 --> 00:28:24,520 Speaker 1: and the writing and um, and the and the actors 420 00:28:24,560 --> 00:28:26,119 Speaker 1: and all of all of the people we get to 421 00:28:26,160 --> 00:28:30,199 Speaker 1: work with. The possibilities are just endless, and it's just 422 00:28:30,600 --> 00:28:34,399 Speaker 1: so great to be able to sink my teeth into 423 00:28:34,440 --> 00:28:37,280 Speaker 1: this role that I mean can really only be described 424 00:28:37,280 --> 00:28:41,640 Speaker 1: as epically juicy, you know, as a performer, as an actor. 425 00:28:42,520 --> 00:28:48,680 Speaker 1: And there's something fascinating about exploring female misogyny too, isn't there? Yeah, 426 00:28:48,760 --> 00:28:51,280 Speaker 1: and and and people don't want to talk about, but 427 00:28:51,360 --> 00:28:55,240 Speaker 1: it very much exists in the culture one thousand percent 428 00:28:55,360 --> 00:28:59,160 Speaker 1: and what we've been conditioned to as as women, Um, 429 00:28:59,200 --> 00:29:01,360 Speaker 1: you know, even in day life, even as a mother, 430 00:29:01,440 --> 00:29:05,520 Speaker 1: in my postal life, I experienced sort of social misogynistic 431 00:29:05,560 --> 00:29:09,120 Speaker 1: conditioning that that I've noticed in women that they don't 432 00:29:09,160 --> 00:29:12,719 Speaker 1: necessarily know that they're they're doing, but they're doing it. 433 00:29:12,960 --> 00:29:33,560 Speaker 1: And yeah, it's it's really fascinating to explore. You know, 434 00:29:33,880 --> 00:29:39,920 Speaker 1: everyone was waiting, including myself, with bated breath for this season, 435 00:29:40,320 --> 00:29:44,840 Speaker 1: and I'm curious to Warren about the challenges that were 436 00:29:44,920 --> 00:29:49,360 Speaker 1: posed by the pandemic when it came to actually bringing 437 00:29:49,400 --> 00:29:53,560 Speaker 1: this to Fruition. Well, there are a lot of challenges. Um. 438 00:29:53,600 --> 00:29:56,920 Speaker 1: First and foremost, we needed to create a safe environment 439 00:29:57,160 --> 00:30:02,360 Speaker 1: for this cast and our crew. Otherwise we knew they'd leave, 440 00:30:02,760 --> 00:30:05,760 Speaker 1: they wouldn't stay and work if the environment wasn't safe. 441 00:30:05,880 --> 00:30:13,320 Speaker 1: So six months of planning, hundreds of zooms, medical consultants 442 00:30:13,360 --> 00:30:17,800 Speaker 1: that we're taking us through all of the precautions. We 443 00:30:17,840 --> 00:30:23,680 Speaker 1: needed to follow a forty page protocol document that we 444 00:30:23,760 --> 00:30:29,680 Speaker 1: needed to execute millions of dollars um and um, and 445 00:30:30,040 --> 00:30:35,280 Speaker 1: I think uniquely year four of Handmade's Tale, we were 446 00:30:35,560 --> 00:30:41,040 Speaker 1: nomadic in our storytelling, so we couldn't go to one stage, 447 00:30:41,600 --> 00:30:44,959 Speaker 1: create a bubble and just say that's it, that's how 448 00:30:45,000 --> 00:30:48,760 Speaker 1: we're going to function, because literally it's a road show. 449 00:30:48,840 --> 00:30:52,120 Speaker 1: This year, there is no home base. We're out there, 450 00:30:52,600 --> 00:30:56,960 Speaker 1: um telling this story, and so that was particularly demanding. 451 00:30:57,840 --> 00:31:01,440 Speaker 1: When it's all said and done, UM, year four over 452 00:31:01,560 --> 00:31:07,480 Speaker 1: twenty seven thousand COVID tests, eleven positives and none of 453 00:31:07,520 --> 00:31:12,280 Speaker 1: those were connected. Those were all individual. So what Bruce 454 00:31:12,320 --> 00:31:15,800 Speaker 1: and I like to say is last year, where was 455 00:31:15,840 --> 00:31:18,560 Speaker 1: the safest place on the planet if you were working 456 00:31:18,560 --> 00:31:22,360 Speaker 1: on the handmade style? Bruce, did you have to alter 457 00:31:22,520 --> 00:31:26,520 Speaker 1: any of the storylines given sort of the restrictions that 458 00:31:26,640 --> 00:31:28,920 Speaker 1: you were dealing with in the protocols that you had 459 00:31:28,960 --> 00:31:33,880 Speaker 1: to follow? Oh? Absolutely, I think we Um, there was 460 00:31:33,920 --> 00:31:37,840 Speaker 1: just the practical aspect. The first practical aspect was creating 461 00:31:37,880 --> 00:31:41,040 Speaker 1: a safe environment, and that really required us to make 462 00:31:41,080 --> 00:31:43,520 Speaker 1: some choices right at the beginning. I mean, it's a 463 00:31:43,600 --> 00:31:45,480 Speaker 1: question of how many people you have, how many people 464 00:31:45,520 --> 00:31:47,600 Speaker 1: you are, you know, the normal amount of people a 465 00:31:47,720 --> 00:31:51,560 Speaker 1: camera versus reduced number. But uh, you know, all of 466 00:31:51,600 --> 00:31:56,320 Speaker 1: these people on this panel went to herculean efforts to 467 00:31:56,600 --> 00:31:59,600 Speaker 1: just to get there. Um. You know, for Sam to 468 00:31:59,720 --> 00:32:04,360 Speaker 1: work one day, it's two weeks of quarantine on either side. Um, 469 00:32:04,400 --> 00:32:06,480 Speaker 1: So he gave us a month to work for four 470 00:32:06,520 --> 00:32:11,320 Speaker 1: hours and everybody did so. Yes, the story changed, and 471 00:32:11,680 --> 00:32:13,920 Speaker 1: these guys took on a lot more they had. They 472 00:32:13,920 --> 00:32:17,480 Speaker 1: had to fill in scenes that we didn't exist emotionally 473 00:32:17,880 --> 00:32:20,840 Speaker 1: because we were we didn't have Zallye Ashton to film 474 00:32:20,880 --> 00:32:23,480 Speaker 1: the scenes we needed with Samira to lead up to 475 00:32:23,600 --> 00:32:26,440 Speaker 1: the other scenes because the math just didn't work out. 476 00:32:26,480 --> 00:32:30,520 Speaker 1: She couldn't come, So we rewrote a lot um and 477 00:32:30,600 --> 00:32:34,480 Speaker 1: these all of these people were so flexible and found 478 00:32:34,480 --> 00:32:37,880 Speaker 1: ways to make the story points work even when we 479 00:32:38,640 --> 00:32:42,280 Speaker 1: you know, really didn't have the location or humans beings 480 00:32:42,320 --> 00:32:44,920 Speaker 1: around that we could use in the set. They really 481 00:32:45,760 --> 00:32:48,480 Speaker 1: made it come alive. So it was a remarkable year 482 00:32:48,480 --> 00:32:52,280 Speaker 1: in terms of flexibility. But me being flexible is easy. 483 00:32:52,360 --> 00:32:55,840 Speaker 1: These guys being flexible is much much much harder. So 484 00:32:55,960 --> 00:33:00,200 Speaker 1: they were amazing. Elizabeth, I wanted to ask you, um 485 00:33:00,240 --> 00:33:03,560 Speaker 1: and of course everyone here who had to get in 486 00:33:03,600 --> 00:33:07,360 Speaker 1: front of the camera, how um I mean, you all 487 00:33:07,640 --> 00:33:11,680 Speaker 1: render such extraordinary performances, each and every one of you, 488 00:33:12,080 --> 00:33:14,840 Speaker 1: But to be able to do it and to summon 489 00:33:14,920 --> 00:33:19,640 Speaker 1: the emotion uh without in a less than linear way, 490 00:33:19,840 --> 00:33:22,640 Speaker 1: given the kinds of things that you had to do 491 00:33:22,640 --> 00:33:26,000 Speaker 1: to accommodate, how difficult was that for you all to 492 00:33:26,160 --> 00:33:30,000 Speaker 1: kind of have to do things herky jerky uh and 493 00:33:30,080 --> 00:33:34,600 Speaker 1: accommodate sort of all the restrictions that came with this pandemic. UM. 494 00:33:34,640 --> 00:33:36,760 Speaker 1: I think I kind of echo what Bruce said in 495 00:33:37,000 --> 00:33:40,160 Speaker 1: UM that it's my job. I mean, it's our job 496 00:33:40,520 --> 00:33:43,320 Speaker 1: to figure out how to tell a story UM in 497 00:33:43,360 --> 00:33:48,400 Speaker 1: the way that production is asking us to tell it. UM. 498 00:33:48,440 --> 00:33:50,600 Speaker 1: And we did, have, of course, more challenges and more 499 00:33:50,600 --> 00:33:54,080 Speaker 1: restrictions and more things to to think about. But once 500 00:33:54,160 --> 00:33:58,959 Speaker 1: we established, I think, as as a production and as producers, 501 00:33:58,960 --> 00:34:01,880 Speaker 1: that we were going to be an safe environment, we 502 00:34:01,880 --> 00:34:04,280 Speaker 1: were able to communicate that to everybody, to the cast 503 00:34:04,360 --> 00:34:10,080 Speaker 1: and crew, and it honestly felt like we came together 504 00:34:10,719 --> 00:34:14,000 Speaker 1: in a closer and stronger and more collaborative way than ever. 505 00:34:14,520 --> 00:34:17,840 Speaker 1: I think the time apart the time at home, the 506 00:34:17,920 --> 00:34:20,880 Speaker 1: time not working and not acting and not getting to 507 00:34:20,920 --> 00:34:23,120 Speaker 1: do what we love for six months, I know, I know, 508 00:34:23,160 --> 00:34:25,319 Speaker 1: at least I can speak for myself, it made me 509 00:34:25,360 --> 00:34:27,279 Speaker 1: miss it and it made me appreciate it all the 510 00:34:27,400 --> 00:34:31,800 Speaker 1: much more and appreciate the familial aspects as well of 511 00:34:31,960 --> 00:34:35,080 Speaker 1: just being on a set. And I think we as 512 00:34:35,120 --> 00:34:39,520 Speaker 1: actors actually all kind of became closer friends this year. Uh. 513 00:34:39,560 --> 00:34:40,960 Speaker 1: You know, I got to work with actors that I 514 00:34:40,960 --> 00:34:43,919 Speaker 1: don't usually get to work with and spend time with them, 515 00:34:43,920 --> 00:34:46,640 Speaker 1: and and I think we just, you know, the crew 516 00:34:46,800 --> 00:34:49,279 Speaker 1: just kind of banded around us, and everyone wanted to 517 00:34:49,280 --> 00:34:51,439 Speaker 1: be there, and everyone was so grateful to be able 518 00:34:51,440 --> 00:34:53,600 Speaker 1: to be back at work and back at work on 519 00:34:53,680 --> 00:34:56,520 Speaker 1: something that we're so proud of. UM. So, I guess 520 00:34:56,600 --> 00:34:59,840 Speaker 1: it didn't feel as much of um as a challenger 521 00:35:00,080 --> 00:35:04,520 Speaker 1: or something negative. It felt like a very positive experience. Lizzie, 522 00:35:04,560 --> 00:35:08,400 Speaker 1: what about finally getting out of Gillyad? Of course June 523 00:35:08,480 --> 00:35:12,400 Speaker 1: does against her wishes, but as a viewer, I was 524 00:35:12,480 --> 00:35:14,479 Speaker 1: grateful because I don't think I would have been able 525 00:35:14,520 --> 00:35:19,320 Speaker 1: to handle that if you hadn't finally been able to escape, 526 00:35:19,800 --> 00:35:22,960 Speaker 1: but it did. It was so interesting how you all 527 00:35:23,320 --> 00:35:28,920 Speaker 1: were able to I think deal with June's trauma, and 528 00:35:29,000 --> 00:35:35,399 Speaker 1: trauma is such an important, I think theme of this season. Yeah, 529 00:35:35,440 --> 00:35:37,640 Speaker 1: I think it was. It was really important to us. 530 00:35:38,040 --> 00:35:39,920 Speaker 1: I'm glad you are talking about it because it was 531 00:35:39,920 --> 00:35:43,400 Speaker 1: really important to us to hold on to that pretty tightly. Um. 532 00:35:43,440 --> 00:35:46,080 Speaker 1: You know, I think there's a version that a show 533 00:35:46,120 --> 00:35:48,279 Speaker 1: could do that would be very different from from what 534 00:35:48,320 --> 00:35:52,320 Speaker 1: we did, and in uh, particularly seven eight nine and ten. 535 00:35:52,800 --> 00:35:56,200 Speaker 1: And it was really really important for me too to 536 00:35:56,400 --> 00:36:01,400 Speaker 1: be able to accurately portray what that experience would be 537 00:36:01,440 --> 00:36:04,719 Speaker 1: like for her coming out of what she comes out 538 00:36:04,760 --> 00:36:07,520 Speaker 1: of that, She's not going to have a perfect relationship 539 00:36:07,960 --> 00:36:11,479 Speaker 1: with her husband, with her friends, you know, with people 540 00:36:11,480 --> 00:36:13,759 Speaker 1: who are trying to help her. It's not going to 541 00:36:13,840 --> 00:36:16,279 Speaker 1: be easy and um, and she's never going to be 542 00:36:16,320 --> 00:36:18,640 Speaker 1: the same. And and that story was told beautifully in 543 00:36:18,640 --> 00:36:20,920 Speaker 1: the writing as well. You know, we always just you know, 544 00:36:21,160 --> 00:36:23,880 Speaker 1: we end up following these beautiful maps. Um. But it 545 00:36:23,960 --> 00:36:26,040 Speaker 1: was it was very very important to us and and 546 00:36:26,080 --> 00:36:29,040 Speaker 1: for me personally, it was the back half of the 547 00:36:29,080 --> 00:36:31,600 Speaker 1: season was was so cool because I got to work 548 00:36:31,600 --> 00:36:34,719 Speaker 1: with these actors that are that are all here, uh 549 00:36:34,760 --> 00:36:36,680 Speaker 1: you know, I got to work with sam I got 550 00:36:36,680 --> 00:36:39,319 Speaker 1: to I got to reunite with with Luke and and 551 00:36:39,360 --> 00:36:41,799 Speaker 1: have all of this incredible material that we had. I 552 00:36:41,840 --> 00:36:44,640 Speaker 1: had scenes with Samara and Alexis and Amanda, and it 553 00:36:44,719 --> 00:36:46,880 Speaker 1: was like it was it was like I had all 554 00:36:46,920 --> 00:36:49,040 Speaker 1: this new material to play to speak to your point 555 00:36:49,080 --> 00:36:51,560 Speaker 1: about is there more story to tell? I had all 556 00:36:51,600 --> 00:36:53,800 Speaker 1: this new this new stuff. I had all these new scenes, 557 00:36:53,840 --> 00:36:58,320 Speaker 1: these new relationships to explore. Um, it was fantastic and 558 00:36:58,480 --> 00:37:01,759 Speaker 1: O T I think that, you know, I think that 559 00:37:01,840 --> 00:37:06,360 Speaker 1: people watching really really felt for you, because I think 560 00:37:06,560 --> 00:37:10,960 Speaker 1: that trauma affects not only the person who's endured trauma, 561 00:37:11,440 --> 00:37:16,080 Speaker 1: but of course the people around that individual, and the 562 00:37:16,120 --> 00:37:22,640 Speaker 1: feeling of helplessness and confusion and having your partner lose 563 00:37:22,680 --> 00:37:26,680 Speaker 1: a piece of herself. Talk to us about some of 564 00:37:26,719 --> 00:37:30,480 Speaker 1: the challenges a plane Luke this season, you know, and 565 00:37:30,560 --> 00:37:36,799 Speaker 1: all the anticipation and then all the expectations that aren't met. Yeah, 566 00:37:36,840 --> 00:37:40,320 Speaker 1: I mean, to be honest, it wasn't really that challenging 567 00:37:40,480 --> 00:37:43,719 Speaker 1: to the extent to which and the writing is so good, 568 00:37:43,760 --> 00:37:46,520 Speaker 1: it's so there, and of course Lizzie is always just 569 00:37:46,560 --> 00:37:49,000 Speaker 1: so genius that you just kind of like stand opposite 570 00:37:49,040 --> 00:37:50,920 Speaker 1: her and like trying to reflect back some on what 571 00:37:50,960 --> 00:37:53,680 Speaker 1: you're getting. So so so like on an artistic level, 572 00:37:53,680 --> 00:37:56,200 Speaker 1: that's just like the fun of it, you know, but 573 00:37:56,360 --> 00:37:58,719 Speaker 1: I think from a character level, you know, Luke for 574 00:37:58,840 --> 00:38:01,880 Speaker 1: three years has had this pentop need to be connected 575 00:38:01,920 --> 00:38:04,440 Speaker 1: to his daughter, connected to his wife, and has been separated. 576 00:38:04,440 --> 00:38:06,040 Speaker 1: Like I say, it happens to a lot of refugee 577 00:38:06,040 --> 00:38:09,600 Speaker 1: people that separated from their families, and so it's really 578 00:38:09,640 --> 00:38:13,439 Speaker 1: challenging for him to get this reunion but yet they're 579 00:38:13,480 --> 00:38:16,640 Speaker 1: not yet still connected and for him to try and 580 00:38:16,800 --> 00:38:19,680 Speaker 1: bridge that gap and and the ways that they fail. 581 00:38:19,800 --> 00:38:23,320 Speaker 1: I think it was really well written, and so yeah, 582 00:38:23,360 --> 00:38:25,240 Speaker 1: it was. It was exciting to do as an actor, 583 00:38:25,280 --> 00:38:27,719 Speaker 1: but I guess tough for Paul. Look, I'm a little 584 00:38:27,760 --> 00:38:30,920 Speaker 1: freaked out to hear you speak ot. I'm not gonna why. 585 00:38:35,400 --> 00:38:37,879 Speaker 1: I love it. Every time I'm like, oh, yeah, that's right. 586 00:38:39,960 --> 00:38:42,200 Speaker 1: And in Pruce when when you you know, I do. 587 00:38:42,320 --> 00:38:44,439 Speaker 1: I wish that we had some of the writers because 588 00:38:44,480 --> 00:38:47,479 Speaker 1: the writing is I mean, every aspect of the show 589 00:38:47,600 --> 00:38:52,080 Speaker 1: is phenomenal, the cinematography, the the acting, of course, but 590 00:38:52,200 --> 00:38:55,600 Speaker 1: the writing. And did you consult people who are experts 591 00:38:55,640 --> 00:39:00,000 Speaker 1: on trauma and on kind of what this experience might 592 00:39:00,120 --> 00:39:03,200 Speaker 1: be like or did the writer's room to talk to 593 00:39:03,239 --> 00:39:07,239 Speaker 1: some of those folks. Absolutely, I mean we rely on 594 00:39:07,320 --> 00:39:11,399 Speaker 1: experts a lot, so uh. We certainly brought a ton 595 00:39:11,440 --> 00:39:13,520 Speaker 1: of people in from the u n They've been very helpful. 596 00:39:13,560 --> 00:39:15,319 Speaker 1: The u n h c R has been helpful, the 597 00:39:15,320 --> 00:39:19,120 Speaker 1: Criminal Court, International Criminal Court has been helpful. But yeah, 598 00:39:19,160 --> 00:39:21,360 Speaker 1: I mean I think that the whole point of the show, 599 00:39:21,760 --> 00:39:23,480 Speaker 1: the whole point of this if is if you're going 600 00:39:23,520 --> 00:39:26,839 Speaker 1: to show trauma, you want to show a specific experience 601 00:39:26,880 --> 00:39:30,000 Speaker 1: of trauma and recovery from trauma, not a generalized one. 602 00:39:30,680 --> 00:39:35,360 Speaker 1: And what these guys have done Samira, Alexis, Amanda and 603 00:39:35,480 --> 00:39:37,920 Speaker 1: O T. They've shown you what it's like to recover 604 00:39:38,040 --> 00:39:42,120 Speaker 1: from trauma in Gilead adam Gilead into Toronto. They've all 605 00:39:42,160 --> 00:39:45,920 Speaker 1: had very very different experiences. And so we've built this 606 00:39:46,040 --> 00:39:49,480 Speaker 1: skeleton of possible routes and then you dropped June into 607 00:39:49,520 --> 00:39:52,040 Speaker 1: it and she has her own specific experience. And I 608 00:39:52,040 --> 00:39:54,319 Speaker 1: think what we're trying to say is there is no 609 00:39:55,160 --> 00:39:57,960 Speaker 1: trauma throws a bomb into your life and it explodes 610 00:39:58,000 --> 00:40:00,719 Speaker 1: and it changes everything, and there's no road map that 611 00:40:00,880 --> 00:40:04,040 Speaker 1: everybody is following. And on our show, we have this 612 00:40:04,120 --> 00:40:07,160 Speaker 1: extraordinary collection of actors and we've seen them all go 613 00:40:07,320 --> 00:40:11,120 Speaker 1: through it and the messages. Everybody's journey through this is 614 00:40:11,440 --> 00:40:14,759 Speaker 1: absolutely different, and some are health some seem healthier from 615 00:40:14,760 --> 00:40:17,360 Speaker 1: the outside, and some seemless healthy from the outside. But 616 00:40:17,480 --> 00:40:21,680 Speaker 1: everybody has an individual journey through trauma. And and not 617 00:40:21,800 --> 00:40:25,600 Speaker 1: only does Luke and does O T. S character Luke 618 00:40:25,719 --> 00:40:28,920 Speaker 1: have to kind of navigate that but Alexis you do 619 00:40:29,080 --> 00:40:32,480 Speaker 1: as well, not only personally, but in terms of your 620 00:40:32,520 --> 00:40:36,800 Speaker 1: relationship with June. And and of course you know the 621 00:40:36,960 --> 00:40:40,560 Speaker 1: Moura and Emily are both i think kind of conflicted 622 00:40:40,760 --> 00:40:45,839 Speaker 1: about their relationship with June, and I'm curious to Alexis, how, 623 00:40:46,560 --> 00:40:50,879 Speaker 1: how why that was so important to show this interplay 624 00:40:51,040 --> 00:40:56,440 Speaker 1: to be problematic in many ways, and and for your 625 00:40:56,520 --> 00:41:01,799 Speaker 1: character to show how how June had been damaged as 626 00:41:01,840 --> 00:41:04,759 Speaker 1: well and the impact it had on her friendships, not 627 00:41:05,000 --> 00:41:10,680 Speaker 1: simply her marriage. Yeah. I think in the scene where 628 00:41:10,719 --> 00:41:16,239 Speaker 1: Moira and Um Emily talk about June's rescuing all the 629 00:41:16,320 --> 00:41:18,719 Speaker 1: children and how it left you know, so much to 630 00:41:18,760 --> 00:41:22,200 Speaker 1: figure out, and how they both individually had a little 631 00:41:22,200 --> 00:41:24,480 Speaker 1: bit of anger toward her, it's not really what you 632 00:41:24,520 --> 00:41:27,439 Speaker 1: expect them to reveal in that moment. They're essentially trying 633 00:41:27,440 --> 00:41:31,239 Speaker 1: to fill out her UM see her plan through what 634 00:41:31,400 --> 00:41:33,480 Speaker 1: kind of do the next step of what she of 635 00:41:33,560 --> 00:41:36,280 Speaker 1: what she did um placing all the children in homes. 636 00:41:36,320 --> 00:41:38,600 Speaker 1: But it shows that, you know, it's a very complicated 637 00:41:39,360 --> 00:41:42,920 Speaker 1: UM experience, Even like supporting one another through their recovery 638 00:41:42,960 --> 00:41:46,200 Speaker 1: from trauma, it's so multilayered and different for each person. 639 00:41:46,320 --> 00:41:50,000 Speaker 1: So as those women interact and try to support each other, 640 00:41:50,400 --> 00:41:52,680 Speaker 1: all kinds of emotions come up and it's really messy 641 00:41:52,800 --> 00:41:56,279 Speaker 1: and um and as Moira says, even though you know 642 00:41:56,360 --> 00:41:59,080 Speaker 1: she feels angry towards June, she loves her, you know, 643 00:41:59,160 --> 00:42:02,040 Speaker 1: and she she supports her and she wants to see 644 00:42:02,040 --> 00:42:04,239 Speaker 1: her back. And then and then they do get her back, 645 00:42:04,320 --> 00:42:08,480 Speaker 1: and um, and that's everything because it brings up everything 646 00:42:08,480 --> 00:42:12,439 Speaker 1: and all these women, um that to have her back, 647 00:42:12,520 --> 00:42:16,000 Speaker 1: because um, each one has triggered in a different way, 648 00:42:16,040 --> 00:42:19,960 Speaker 1: and it just brings the story to this incredible culmination. 649 00:42:20,840 --> 00:42:25,120 Speaker 1: And in fact, these reunion scenes are so so moving 650 00:42:25,280 --> 00:42:29,080 Speaker 1: and gratifying for someone who's been watching this from the 651 00:42:29,239 --> 00:42:33,719 Speaker 1: very beginning. You know, you're so invested in these characters 652 00:42:33,800 --> 00:42:37,719 Speaker 1: and you're so hoping that they will have these reunions. 653 00:42:37,760 --> 00:42:41,640 Speaker 1: And Samir, was it, uh? You know, it's just pack 654 00:42:41,800 --> 00:42:44,920 Speaker 1: such an emotional punch And what was that for you 655 00:42:45,120 --> 00:42:49,040 Speaker 1: to to come back to the character of June, someone 656 00:42:49,440 --> 00:42:52,480 Speaker 1: that you haven't seen for so long? And did you 657 00:42:52,520 --> 00:42:56,080 Speaker 1: all have to get back into an acting groove? Uh? 658 00:42:56,120 --> 00:42:59,759 Speaker 1: Because as as Lizzie just said, you all really didn't 659 00:42:59,760 --> 00:43:05,120 Speaker 1: do much work together for for quite a while between seasons. 660 00:43:06,239 --> 00:43:08,120 Speaker 1: It was interesting to me, I think this season to 661 00:43:08,200 --> 00:43:16,160 Speaker 1: see the parallels between relationship and Samira and Lizzie's relationship. Uh, June, 662 00:43:17,160 --> 00:43:20,040 Speaker 1: I mean like June is so I was so Samia 663 00:43:20,160 --> 00:43:23,680 Speaker 1: was excited to read that this was going to happen. 664 00:43:24,000 --> 00:43:26,839 Speaker 1: And I was so excited, number one, to as even 665 00:43:26,880 --> 00:43:29,600 Speaker 1: as a fan, even to think about fans watching the 666 00:43:29,600 --> 00:43:32,440 Speaker 1: show to finally see this, this thing that we have 667 00:43:32,520 --> 00:43:36,400 Speaker 1: been waiting for for so long. But also I Samara 668 00:43:36,920 --> 00:43:39,760 Speaker 1: was so excited to be back on screen with Lizzie. 669 00:43:39,840 --> 00:43:44,160 Speaker 1: I not wait. I remember those very that very first 670 00:43:44,160 --> 00:43:47,440 Speaker 1: season and then those very first episode had with Lizzie 671 00:43:47,840 --> 00:43:52,239 Speaker 1: and how electric it felt for me and how fulfilled 672 00:43:52,360 --> 00:43:55,160 Speaker 1: I felt as an actor to be on screen with 673 00:43:55,239 --> 00:43:58,320 Speaker 1: someone like Lizzie and like the things that she brings 674 00:43:58,440 --> 00:44:01,960 Speaker 1: out I feel like in me as an actor. Um, 675 00:44:02,000 --> 00:44:05,080 Speaker 1: it's really really really exciting to be on screen and 676 00:44:05,200 --> 00:44:08,239 Speaker 1: to have that that sort of sort of feels like 677 00:44:08,280 --> 00:44:09,840 Speaker 1: I feel like Lizzie has said this before, like a 678 00:44:09,880 --> 00:44:13,399 Speaker 1: tennis match almost that um that I feel like I'm 679 00:44:13,440 --> 00:44:15,520 Speaker 1: just trying to give her the ball back as strong 680 00:44:15,560 --> 00:44:18,040 Speaker 1: as she gives it to me. But yeah, I just 681 00:44:18,160 --> 00:44:21,600 Speaker 1: I'm I'm very, very very happy that we finally got 682 00:44:21,600 --> 00:44:26,640 Speaker 1: It's so satisfying, Um, to finally touch her, to not 683 00:44:26,880 --> 00:44:29,520 Speaker 1: talk about June so much, but to actually have her 684 00:44:29,560 --> 00:44:34,719 Speaker 1: in front of me was indescribable. Damn. I'm just curious 685 00:44:34,800 --> 00:44:37,799 Speaker 1: that you know, here you you you you become a 686 00:44:37,880 --> 00:44:41,719 Speaker 1: part of the show that is so established, and you're 687 00:44:41,840 --> 00:44:45,360 Speaker 1: this brand new character is kind of a psychological mediator 688 00:44:46,200 --> 00:44:48,880 Speaker 1: taking it all in. You're you're a bit of an enigma. 689 00:44:49,200 --> 00:44:53,480 Speaker 1: I think throughout you've become less so I think as 690 00:44:53,520 --> 00:44:56,480 Speaker 1: the season goes on. But what was it like just 691 00:44:56,680 --> 00:45:01,360 Speaker 1: jumping into this group and and being part of what 692 00:45:01,440 --> 00:45:04,560 Speaker 1: I'm sure felt like a family and what just what 693 00:45:04,640 --> 00:45:06,319 Speaker 1: was it like for you to be a part of 694 00:45:06,320 --> 00:45:10,919 Speaker 1: this show? Well, my first job is, you know, as 695 00:45:10,920 --> 00:45:13,960 Speaker 1: a new cog, is to not break the machine because 696 00:45:14,000 --> 00:45:18,279 Speaker 1: it's so well oiled. And you know, these actors in 697 00:45:18,320 --> 00:45:23,160 Speaker 1: the writing, Um, you know, it was such an honor 698 00:45:23,239 --> 00:45:26,360 Speaker 1: this year to be outside of just being with the 699 00:45:26,400 --> 00:45:32,480 Speaker 1: Waterford's all the time, who are have some problems, um, 700 00:45:33,080 --> 00:45:40,840 Speaker 1: you see, and you know it's such it I Um, 701 00:45:40,920 --> 00:45:45,359 Speaker 1: I enjoy watching these actors in every facet as a 702 00:45:45,400 --> 00:45:48,000 Speaker 1: fan and to work with them you know, you just 703 00:45:49,520 --> 00:45:51,440 Speaker 1: you know, if I'm going to be I was telling 704 00:45:51,560 --> 00:45:55,200 Speaker 1: Warren and Amanda, if I'm gonna be quarantined anywhere. Um, 705 00:45:55,520 --> 00:45:57,799 Speaker 1: it's good to be quarantined and to come out of 706 00:45:57,800 --> 00:46:01,560 Speaker 1: it with a show like a handmade's Tale and feel like, well, 707 00:46:01,560 --> 00:46:04,239 Speaker 1: that was time well spent. You know. Always, if I'm 708 00:46:04,239 --> 00:46:07,040 Speaker 1: going to be away from my family, I'm glad it's 709 00:46:07,080 --> 00:46:10,960 Speaker 1: with people as talented as this. So talk a little 710 00:46:10,960 --> 00:46:15,200 Speaker 1: bit about the requirements for playing Mark. He had to 711 00:46:15,280 --> 00:46:19,400 Speaker 1: kind of not reveal very much of himself and you 712 00:46:19,480 --> 00:46:22,080 Speaker 1: have a very you guys are all actors, so I 713 00:46:22,080 --> 00:46:25,200 Speaker 1: don't really have eaten the terminology for this, but a 714 00:46:25,360 --> 00:46:33,160 Speaker 1: very lying It's called okay, come on now, internalized or 715 00:46:33,239 --> 00:46:39,440 Speaker 1: internal character and um. And I'm just curious about what 716 00:46:39,560 --> 00:46:43,520 Speaker 1: it was like playing this character who you can tell 717 00:46:43,560 --> 00:46:46,360 Speaker 1: Serena is getting under his skin a little bit, but 718 00:46:46,600 --> 00:46:49,680 Speaker 1: you can't really read him totally, at least in many 719 00:46:49,719 --> 00:46:53,000 Speaker 1: of the episodes. Yeah, I think one of the mysteries 720 00:46:53,040 --> 00:46:55,400 Speaker 1: watching the show is, you know, trying to figure out 721 00:46:55,480 --> 00:46:58,160 Speaker 1: where he stands. And I think where he stands is 722 00:46:58,200 --> 00:47:04,160 Speaker 1: he's just trying to do what's best for um, for America. 723 00:47:04,400 --> 00:47:08,000 Speaker 1: For what's left of America, and so unfortunately that makes 724 00:47:08,040 --> 00:47:11,400 Speaker 1: him extremely diplomatic, so you can't really quite tell what 725 00:47:11,480 --> 00:47:16,120 Speaker 1: he's He's hard to read. Yeah, he's hard to read. Um. 726 00:47:16,160 --> 00:47:19,120 Speaker 1: But you know, if anybody can break somebody down, it's uh, 727 00:47:19,160 --> 00:47:22,880 Speaker 1: it's it's Junas. So thankfully we get by the end 728 00:47:22,920 --> 00:47:25,760 Speaker 1: of the season there's someone who's going to get under 729 00:47:25,840 --> 00:47:28,680 Speaker 1: his skin. I think you swear for the first time, 730 00:47:28,800 --> 00:47:31,279 Speaker 1: don't you swear? That's right, Mark swear from the very 731 00:47:31,280 --> 00:47:45,319 Speaker 1: first time, that's right. Yeah, he gets very aggressive and Amanda, 732 00:47:45,440 --> 00:47:50,000 Speaker 1: of course Rita. You we learn more about Rita. Um. 733 00:47:50,040 --> 00:47:54,880 Speaker 1: I think she reveals herself throughout the series, but I 734 00:47:54,920 --> 00:47:58,160 Speaker 1: think we see Rita in a whole new light in 735 00:47:58,200 --> 00:48:04,880 Speaker 1: this season and her struggles and her her having to 736 00:48:05,000 --> 00:48:09,040 Speaker 1: straddle these two worlds. She's a woman of few words, 737 00:48:09,080 --> 00:48:11,040 Speaker 1: as we've seen, and this is really the first season 738 00:48:11,040 --> 00:48:14,440 Speaker 1: where she because there's a substantial amount of dialogue for her. 739 00:48:14,920 --> 00:48:18,800 Speaker 1: And I've always leaned on her physicality to convey emotion, 740 00:48:18,920 --> 00:48:23,120 Speaker 1: to convey where I where she is in any scene, 741 00:48:23,520 --> 00:48:27,759 Speaker 1: and it was really important bringing that physicality still to Gilead. 742 00:48:28,120 --> 00:48:31,440 Speaker 1: I did a lot of research on Syrian refugees and uh, 743 00:48:31,880 --> 00:48:34,800 Speaker 1: particularly Syrian refugees who have come to Canada, who have 744 00:48:34,840 --> 00:48:38,319 Speaker 1: fled horrific conditions but still desperately miss a lot of 745 00:48:38,360 --> 00:48:41,160 Speaker 1: things about home and still want to dress similarly to home, 746 00:48:41,600 --> 00:48:45,799 Speaker 1: who want to bring food and senses and smells from home, 747 00:48:46,520 --> 00:48:49,600 Speaker 1: And so I was really trying to weave that in 748 00:48:49,640 --> 00:48:53,000 Speaker 1: to this season as well. Still, class Cans had bowed 749 00:48:53,040 --> 00:48:56,880 Speaker 1: forward just her general physicality, simply because just because she 750 00:48:56,960 --> 00:48:59,120 Speaker 1: was moved from Giliad doesn't mean that Gilead has been 751 00:48:59,120 --> 00:49:02,960 Speaker 1: moved from her. And only uh we see a scene 752 00:49:03,160 --> 00:49:07,919 Speaker 1: with Rita eating sushi purposefully did I shared to sort 753 00:49:07,960 --> 00:49:11,680 Speaker 1: of change her physicality because I do think that um, 754 00:49:11,719 --> 00:49:14,719 Speaker 1: a lot of people who have fled circumstances, who have 755 00:49:14,760 --> 00:49:18,160 Speaker 1: fled the horrific conditions, still carry it with them for 756 00:49:18,239 --> 00:49:20,839 Speaker 1: quite some time. And I felt it important to pay 757 00:49:20,840 --> 00:49:23,400 Speaker 1: homage the writing to the vision of the story, but 758 00:49:23,440 --> 00:49:27,279 Speaker 1: also to audience members who may have had similar situations 759 00:49:27,360 --> 00:49:33,200 Speaker 1: or or or experiences to uh sort of uh try 760 00:49:33,239 --> 00:49:35,480 Speaker 1: to nod to them and tell their truth as much 761 00:49:35,480 --> 00:49:39,560 Speaker 1: as I could. I wanted to ask Lizzie about directing, 762 00:49:39,680 --> 00:49:46,080 Speaker 1: because um, this season you direct how many episodes three, three, 763 00:49:46,440 --> 00:49:52,440 Speaker 1: and and I'm curious about I've always been fascinated about 764 00:49:53,200 --> 00:49:57,560 Speaker 1: an actor who is able to direct herself himself themselves, 765 00:49:57,800 --> 00:50:02,279 Speaker 1: And I'm wondering about that, challenges of that and what 766 00:50:02,400 --> 00:50:06,600 Speaker 1: you learned in the process. Um, you know, I mean, 767 00:50:06,680 --> 00:50:13,720 Speaker 1: I've always been an actor who's very aware of the visuals. 768 00:50:13,760 --> 00:50:15,960 Speaker 1: I've always been actors likes to be very aware of 769 00:50:15,960 --> 00:50:19,520 Speaker 1: what's happening on set. I didn't realize this until I 770 00:50:19,560 --> 00:50:25,200 Speaker 1: started directing that I I've actually been kind of more 771 00:50:25,239 --> 00:50:28,399 Speaker 1: of a director than I thought for a long time. UM. 772 00:50:28,440 --> 00:50:30,160 Speaker 1: I like to know about the other characters. I like 773 00:50:30,239 --> 00:50:32,120 Speaker 1: to know what they're thinking. I like to know what 774 00:50:32,239 --> 00:50:35,480 Speaker 1: the actor's thought processes have been. I like to, you know, 775 00:50:35,480 --> 00:50:37,760 Speaker 1: know about the costumes and the sets. So I've always 776 00:50:37,840 --> 00:50:42,040 Speaker 1: kind of been like that. Um. The biggest challenge for 777 00:50:42,120 --> 00:50:46,719 Speaker 1: me was, I suppose not having that sounding board of 778 00:50:46,719 --> 00:50:50,319 Speaker 1: a director to to bounce off of. UM. But I 779 00:50:50,360 --> 00:50:54,800 Speaker 1: did have so many incredible, beautiful, talented sounding boards, um, 780 00:50:54,840 --> 00:50:58,480 Speaker 1: you know, with with with Bruce, and with with our 781 00:50:58,480 --> 00:51:02,000 Speaker 1: writers and my deep piece Stuart Biddlecomb and production design 782 00:51:02,000 --> 00:51:05,880 Speaker 1: Elizabeth Williams, and then all of these actors. Uh, you know, 783 00:51:05,960 --> 00:51:10,960 Speaker 1: I didn't. I never felt alone or or unsupported at all. UM, 784 00:51:11,000 --> 00:51:13,680 Speaker 1: and all the actors that aren't here in in this panel, UM, 785 00:51:13,920 --> 00:51:17,399 Speaker 1: so I it wasn't as much of UM, it wasn't. I. 786 00:51:17,520 --> 00:51:19,399 Speaker 1: It was difficult. It was the hardest thing I've ever done, 787 00:51:19,440 --> 00:51:23,120 Speaker 1: for sure, but it wasn't again like a negative challenge. 788 00:51:23,160 --> 00:51:26,800 Speaker 1: It was a very positive challenge, and I felt very supported. 789 00:51:26,840 --> 00:51:28,680 Speaker 1: It's just not a one man job. I mean, they're 790 00:51:28,800 --> 00:51:32,319 Speaker 1: you know, it's just something you you you just don't 791 00:51:32,360 --> 00:51:35,840 Speaker 1: do alone. And whether you're an actor or a producer 792 00:51:35,960 --> 00:51:38,239 Speaker 1: or whatever you do on this in this industry and 793 00:51:38,280 --> 00:51:40,799 Speaker 1: this in filmmaking, it's just it's not a it's not 794 00:51:40,840 --> 00:51:44,000 Speaker 1: a one man band. So UM, it was hard in 795 00:51:44,080 --> 00:51:45,600 Speaker 1: a lot of hours and a lot of thinking and 796 00:51:45,640 --> 00:51:47,000 Speaker 1: a lot of you know, all of that, a lot 797 00:51:47,000 --> 00:51:49,240 Speaker 1: of work. But at the same time it was also 798 00:51:49,560 --> 00:51:53,440 Speaker 1: the probably the most fulfilling thing I've ever done. And 799 00:51:53,480 --> 00:51:56,000 Speaker 1: I mean, look at these guys. I mean the chance 800 00:51:56,040 --> 00:51:59,080 Speaker 1: to get to to talk to them as a director 801 00:51:59,160 --> 00:52:03,240 Speaker 1: and to um offer them a thought and then send 802 00:52:03,239 --> 00:52:05,160 Speaker 1: them and sit at the monitor and see what they 803 00:52:05,200 --> 00:52:08,319 Speaker 1: do with that thought is the most extraordinary thing I've 804 00:52:08,360 --> 00:52:13,680 Speaker 1: ever seen. I had a whole new appreciation for for 805 00:52:13,719 --> 00:52:17,040 Speaker 1: what they do. UM, even though I'm an actor, so 806 00:52:17,160 --> 00:52:19,960 Speaker 1: it was it was incredibly fulfilling. I'm just going to 807 00:52:20,080 --> 00:52:24,000 Speaker 1: go around and ask what for you, as both actors 808 00:52:24,120 --> 00:52:28,200 Speaker 1: and people who watch this show. If you do watch yourselves, 809 00:52:28,200 --> 00:52:30,359 Speaker 1: I don't know, some people are weird like that. But 810 00:52:30,560 --> 00:52:33,440 Speaker 1: what you what is it that you think makes it 811 00:52:33,480 --> 00:52:37,080 Speaker 1: work so well? And Alexis I'll start with you, UM 812 00:52:37,360 --> 00:52:43,560 Speaker 1: big fan by the way, yes, thank you. UM. What 813 00:52:43,680 --> 00:52:47,120 Speaker 1: I mean so many things. I think everybody really brings 814 00:52:47,160 --> 00:52:51,600 Speaker 1: their best, UM, so many intelligent, creative and hard working 815 00:52:52,360 --> 00:52:56,720 Speaker 1: UM professionals. Every every cog in the wheel is firing 816 00:52:56,760 --> 00:52:59,359 Speaker 1: a full blast when they when they come to set 817 00:52:59,480 --> 00:53:01,919 Speaker 1: or when they prepare to shoot this. So I think, 818 00:53:02,040 --> 00:53:05,480 Speaker 1: I mean that's it's the team that Bruce and Warren 819 00:53:05,520 --> 00:53:08,640 Speaker 1: and Lezzie have assembled. And UM, the creative tone that 820 00:53:08,680 --> 00:53:11,200 Speaker 1: you talked about, the beautiful filters and all the colors. 821 00:53:11,200 --> 00:53:13,040 Speaker 1: I mean, that was a vision right from the start, 822 00:53:13,960 --> 00:53:17,440 Speaker 1: UM that they all established with Read Morano, UM our 823 00:53:17,520 --> 00:53:20,720 Speaker 1: director of the first three episodes, and and they've carried 824 00:53:20,760 --> 00:53:23,719 Speaker 1: that through so beautifully. These amazing shots. I mean, yeah, 825 00:53:23,840 --> 00:53:27,960 Speaker 1: I love the visuals that that also I love them 826 00:53:28,000 --> 00:53:32,160 Speaker 1: so much. And then the incredible, incredible writing. Of course, um, 827 00:53:32,200 --> 00:53:35,799 Speaker 1: that's our our map. As what we said, Amanda, what 828 00:53:35,840 --> 00:53:38,440 Speaker 1: would you say when you think about the success of 829 00:53:38,440 --> 00:53:43,799 Speaker 1: the show. I, Uh, it's it's it's the thing that 830 00:53:43,840 --> 00:53:46,839 Speaker 1: I've been the most proud to be a part of. Uh. 831 00:53:46,920 --> 00:53:49,120 Speaker 1: Not not just because of my my love for the 832 00:53:49,160 --> 00:53:52,640 Speaker 1: book and and because I I I'm a huge fan 833 00:53:52,719 --> 00:53:57,399 Speaker 1: of the show, because just to experience being a part 834 00:53:57,440 --> 00:54:01,480 Speaker 1: of a team, and I mean across the board of service, costumes, 835 00:54:01,480 --> 00:54:07,440 Speaker 1: writing through uh everyone wants to up their game every season. 836 00:54:07,480 --> 00:54:09,360 Speaker 1: And I don't know if it's something that's been contagious. 837 00:54:09,360 --> 00:54:10,759 Speaker 1: I don't know if it starts from the top down 838 00:54:10,760 --> 00:54:13,560 Speaker 1: with Lizzy wo and Bruce that I find. That's the 839 00:54:13,640 --> 00:54:17,120 Speaker 1: one singular experience I've had where everyone is competing with 840 00:54:17,200 --> 00:54:21,160 Speaker 1: themselves to be better every season, and usually by season 841 00:54:21,200 --> 00:54:24,040 Speaker 1: four has can sort of rest on their laurels and 842 00:54:24,600 --> 00:54:27,200 Speaker 1: board or sort of phone it in. But it's something 843 00:54:27,360 --> 00:54:29,960 Speaker 1: Oti does this a lot. In a scene. He always 844 00:54:30,000 --> 00:54:34,040 Speaker 1: asked the director like five questions all of the time. 845 00:54:34,560 --> 00:54:40,279 Speaker 1: It's lovely, but it's always wanting to be better and 846 00:54:40,480 --> 00:54:43,160 Speaker 1: keep asking questions, and it's so inspiring as an actor 847 00:54:43,200 --> 00:54:46,160 Speaker 1: that everyone is pushing themselves and then for myself, I 848 00:54:46,200 --> 00:54:48,520 Speaker 1: feel in order to be able to run with these people, 849 00:54:48,560 --> 00:54:51,400 Speaker 1: I'll i'll also have to push myself. So it's affected 850 00:54:51,440 --> 00:54:54,080 Speaker 1: my work outside of the show, which I love and appreciate. 851 00:54:55,640 --> 00:55:03,280 Speaker 1: How like you, Lauren well I, our storytelling journey shows 852 00:55:03,440 --> 00:55:06,600 Speaker 1: us where the strength of this series is um And 853 00:55:06,719 --> 00:55:11,000 Speaker 1: as you started this discussion earlier, Katie, it's a journey 854 00:55:11,080 --> 00:55:14,879 Speaker 1: that's not done UM and so I think we as 855 00:55:15,000 --> 00:55:19,720 Speaker 1: artists and the audience are absolutely attached to that journey. 856 00:55:19,880 --> 00:55:24,240 Speaker 1: And then the way we execute that is with exquisite, 857 00:55:24,719 --> 00:55:33,759 Speaker 1: exquisite beauty, UM covering harsh ugliness, and that's fascinating to 858 00:55:34,000 --> 00:55:38,560 Speaker 1: peel back the beauty of our images to understand how 859 00:55:38,880 --> 00:55:42,960 Speaker 1: how flawed this world of Gilead is. And of course 860 00:55:43,680 --> 00:55:46,640 Speaker 1: you know in the world that we live in, particularly 861 00:55:46,640 --> 00:55:49,080 Speaker 1: over the last four years and it's not over, we 862 00:55:49,680 --> 00:55:54,640 Speaker 1: know that it mirrors UM the real world through the 863 00:55:54,640 --> 00:55:59,160 Speaker 1: themes that that Bruce's is putting on the pages for 864 00:55:59,239 --> 00:56:02,279 Speaker 1: these characters in their journey, and so I think that 865 00:56:03,000 --> 00:56:10,000 Speaker 1: really really resonates Um visually and uh An emotionally. I 866 00:56:10,080 --> 00:56:12,040 Speaker 1: have to say I don't get quite the pit of 867 00:56:12,080 --> 00:56:17,600 Speaker 1: my stomach I did before November. Uh that I used 868 00:56:17,640 --> 00:56:21,960 Speaker 1: to watching a sleeping better Katie. We all we all 869 00:56:22,000 --> 00:56:25,160 Speaker 1: sleep better at night. No really, I was always like 870 00:56:26,680 --> 00:56:30,200 Speaker 1: and I don't quite feel that level of intensity any more. 871 00:56:30,400 --> 00:56:35,000 Speaker 1: So I'm happy for that. But I think in many ways, uh, 872 00:56:35,120 --> 00:56:39,920 Speaker 1: the intersection of real life and vision and the rancor 873 00:56:40,000 --> 00:56:43,480 Speaker 1: that was happening in this country did create the perfect 874 00:56:43,840 --> 00:56:46,880 Speaker 1: I think backdrop for this story, which would have been 875 00:56:46,920 --> 00:56:49,440 Speaker 1: compelling on its own, but I think it just it 876 00:56:49,640 --> 00:56:54,680 Speaker 1: heightened everything you felt watching this story and fold Samira, 877 00:56:55,000 --> 00:56:58,319 Speaker 1: how about you when you think about, like, damn, this 878 00:56:58,400 --> 00:57:00,319 Speaker 1: is a good show and this is why Hey, what 879 00:57:00,400 --> 00:57:04,200 Speaker 1: do you think? Um, I'm not you know, I guess 880 00:57:04,200 --> 00:57:08,600 Speaker 1: I can speak to what I respond to. And um, 881 00:57:09,600 --> 00:57:14,600 Speaker 1: there's something about the camera being so close on an 882 00:57:14,640 --> 00:57:19,720 Speaker 1: actor's face show that really almost I feel like I'm 883 00:57:19,720 --> 00:57:24,200 Speaker 1: peering into some of these people's souls. Um, things that 884 00:57:24,760 --> 00:57:29,560 Speaker 1: Lizzie or Amanda or Alexis subtle things with their eyes, 885 00:57:29,960 --> 00:57:33,560 Speaker 1: a twitch of the upper lip, things like that. Have 886 00:57:33,800 --> 00:57:37,800 Speaker 1: you see? I feel like deeper into their story and 887 00:57:37,840 --> 00:57:40,520 Speaker 1: what is going on with that character that I think 888 00:57:40,520 --> 00:57:43,200 Speaker 1: that I think You're right, Like, sometimes I watch you 889 00:57:43,280 --> 00:57:48,880 Speaker 1: all and it's so subtle, and yet it tells me 890 00:57:49,040 --> 00:57:51,760 Speaker 1: so much about what you're feeling. And I guess that's 891 00:57:51,760 --> 00:57:57,760 Speaker 1: the sign of of truly great acting. So Sam, let's 892 00:57:57,760 --> 00:58:01,320 Speaker 1: go to you. Well, I think Katie, you're hitting on something. 893 00:58:01,520 --> 00:58:06,680 Speaker 1: It's the specificity of the show that is so moral less. 894 00:58:06,720 --> 00:58:11,200 Speaker 1: And I was struck. Here we are ten episodes into 895 00:58:11,240 --> 00:58:14,720 Speaker 1: this fourth season and I had I was having a 896 00:58:14,760 --> 00:58:19,120 Speaker 1: conversation with our costume designer, and I that conversation carried 897 00:58:19,160 --> 00:58:22,880 Speaker 1: over to Joe and the conversation was about not only 898 00:58:23,600 --> 00:58:27,160 Speaker 1: what we're doing in the scenes, but how does what 899 00:58:28,000 --> 00:58:31,840 Speaker 1: how does what we're the story we're telling with Joe's 900 00:58:31,880 --> 00:58:35,320 Speaker 1: are how is that to be received by our audience? 901 00:58:36,240 --> 00:58:39,400 Speaker 1: Are we telling the right message? And that the actors 902 00:58:39,440 --> 00:58:42,960 Speaker 1: and the costume designers and the writers of course, that 903 00:58:43,000 --> 00:58:47,680 Speaker 1: we're all still tuned into that after four seasons. Um, 904 00:58:47,800 --> 00:58:51,400 Speaker 1: you know, that's the thing I'm I'm most impressed and 905 00:58:51,480 --> 00:58:54,080 Speaker 1: moved by on our show is that we're still trying 906 00:58:54,120 --> 00:58:57,400 Speaker 1: to figure out how do we do good? I mean, 907 00:58:58,400 --> 00:59:01,200 Speaker 1: is what we're doing the right thing? So it's sort 908 00:59:01,200 --> 00:59:07,160 Speaker 1: of like the integrity of the story really important to you. 909 00:59:07,640 --> 00:59:12,360 Speaker 1: Ot how about you? Is there anything left? I'm well, 910 00:59:12,360 --> 00:59:14,960 Speaker 1: do you know what for me is like I feel 911 00:59:15,000 --> 00:59:17,640 Speaker 1: like what what Bruce has managed to do and the 912 00:59:17,800 --> 00:59:19,920 Speaker 1: writing team is just great something where I like, on 913 00:59:19,960 --> 00:59:22,680 Speaker 1: an interpersonal level, a lot of people relate to the trauma, 914 00:59:22,760 --> 00:59:26,240 Speaker 1: the relationships, unequal relationships between one and one's boss and 915 00:59:26,240 --> 00:59:29,520 Speaker 1: one and one's partner, one one's um personal who assault 916 00:59:29,560 --> 00:59:31,880 Speaker 1: to you. But then on a on a larger level, 917 00:59:31,960 --> 00:59:34,680 Speaker 1: secding what warm was saying that you know, the themes 918 00:59:34,720 --> 00:59:38,760 Speaker 1: of what's going on in the world and and patriarchy, inequality, 919 00:59:39,160 --> 00:59:42,720 Speaker 1: and you know, regimes which are based on populism and fear. 920 00:59:43,200 --> 00:59:46,360 Speaker 1: I think I think a lot of the audience see 921 00:59:46,640 --> 00:59:49,320 Speaker 1: what's going on in their lives, both in their own 922 00:59:49,320 --> 00:59:51,320 Speaker 1: homes were also out in the world. And I think 923 00:59:51,360 --> 00:59:54,680 Speaker 1: that's what great art does. You know, reflects back to 924 00:59:54,840 --> 01:00:02,640 Speaker 1: your experience. Bruce, I think the right is great. I 925 01:00:02,720 --> 01:00:07,360 Speaker 1: knew you were going to that. Um. I think uh, 926 01:00:08,600 --> 01:00:12,320 Speaker 1: for me, the best thing, especially this season is to 927 01:00:12,520 --> 01:00:17,400 Speaker 1: see to see what a lot of what we do 928 01:00:17,440 --> 01:00:19,600 Speaker 1: is to try to create space for these people to 929 01:00:19,640 --> 01:00:22,880 Speaker 1: do their jobs, to do their jobs without worrying about 930 01:00:23,400 --> 01:00:25,440 Speaker 1: so they're not worrying about. Is someone thinking about the 931 01:00:25,480 --> 01:00:28,520 Speaker 1: story they're not worried about as someone making sure that 932 01:00:28,600 --> 01:00:31,880 Speaker 1: we're not, you know, making a horrible moral choice, all 933 01:00:31,880 --> 01:00:36,320 Speaker 1: those kind of things. And so this season, by creating 934 01:00:36,360 --> 01:00:39,520 Speaker 1: a bubble, hopefully allowed them to not be in a 935 01:00:39,600 --> 01:00:42,640 Speaker 1: COVID world, to exist that way and expands to the 936 01:00:42,680 --> 01:00:45,520 Speaker 1: whole cast and crews. As these guys were saying, I 937 01:00:45,600 --> 01:00:48,680 Speaker 1: think we're a collection of storytellers. And the more we 938 01:00:48,760 --> 01:00:51,200 Speaker 1: are that, and the more everybody is encouraged to do that, 939 01:00:51,400 --> 01:00:54,480 Speaker 1: better off we are. Um. But when I watched the show, 940 01:00:55,720 --> 01:01:02,240 Speaker 1: I I like that it's made with ker and respect 941 01:01:02,440 --> 01:01:06,880 Speaker 1: that you know, it's made carefully and respects the abilities 942 01:01:06,920 --> 01:01:09,840 Speaker 1: of all the people involved and tries to bring those 943 01:01:09,880 --> 01:01:13,080 Speaker 1: abilities to the floor. So that that's what I like 944 01:01:13,160 --> 01:01:14,920 Speaker 1: about it is is that you can tell that the 945 01:01:14,960 --> 01:01:19,160 Speaker 1: craft service people care when you watch the episode. Let's 946 01:01:19,240 --> 01:01:22,320 Speaker 1: end with you, Lizzie, I told I told Lizzie before 947 01:01:22,320 --> 01:01:25,760 Speaker 1: we started that there's been a lot of Elizabeth Moss 948 01:01:25,840 --> 01:01:29,040 Speaker 1: in our home because my husband had never seen mad Men, 949 01:01:29,480 --> 01:01:31,880 Speaker 1: so we've been watching all of mad Men and all 950 01:01:31,960 --> 01:01:36,560 Speaker 1: of Handmade's tales, so we I feel very comfortable, you know, 951 01:01:36,680 --> 01:01:40,720 Speaker 1: looking at you right now, you're in our bedroom every night. 952 01:01:42,320 --> 01:01:46,120 Speaker 1: So but when you think about what makes what makes 953 01:01:46,120 --> 01:01:50,080 Speaker 1: this series work so beautifully, and you've been so fortunate 954 01:01:50,160 --> 01:01:52,439 Speaker 1: to be a part of it, what comes to mind 955 01:01:52,480 --> 01:01:55,400 Speaker 1: for you? Um, it's kind of what Aman it was. 956 01:01:55,480 --> 01:01:59,480 Speaker 1: And Bruce was saying, I feel like, you know what, 957 01:01:59,480 --> 01:02:01,440 Speaker 1: what you see when you end up seeing in the 958 01:02:01,520 --> 01:02:05,960 Speaker 1: episodes looks you know, polished, and we've made decisions and 959 01:02:05,960 --> 01:02:08,920 Speaker 1: it's specific, and and that's it. You see that hour 960 01:02:09,000 --> 01:02:11,919 Speaker 1: of television, and I think what what people obviously don't 961 01:02:11,920 --> 01:02:17,720 Speaker 1: see and shouldn't see are the nine million emails and 962 01:02:17,840 --> 01:02:21,920 Speaker 1: calls and late night calls and early morning calls, conversations 963 01:02:21,960 --> 01:02:27,280 Speaker 1: and all of the work that goes into creating these episodes. 964 01:02:27,840 --> 01:02:33,680 Speaker 1: And everyone cares so much, every department, every actor, every 965 01:02:33,720 --> 01:02:36,640 Speaker 1: person cares so much. And we've all been in this 966 01:02:36,720 --> 01:02:39,040 Speaker 1: business long enough to know that it's not always like that. 967 01:02:39,480 --> 01:02:41,480 Speaker 1: And some people can just come to work and clock 968 01:02:41,520 --> 01:02:45,200 Speaker 1: in and clock out, and that's also fine, but um, 969 01:02:45,280 --> 01:02:48,040 Speaker 1: we somehow have assembled a group of people who that's 970 01:02:48,040 --> 01:02:54,480 Speaker 1: not fine. And everyone gives so much of themselves to 971 01:02:55,320 --> 01:02:58,320 Speaker 1: their role, whether it's an acting role or another role 972 01:02:58,320 --> 01:03:01,120 Speaker 1: on the show, and I I personally think you can 973 01:03:01,160 --> 01:03:03,520 Speaker 1: feel that, and I think you can you can see it. 974 01:03:04,280 --> 01:03:08,040 Speaker 1: I definitely can. And I just want to say congratulations 975 01:03:08,080 --> 01:03:13,280 Speaker 1: for another extraordinary season of The Handmaid's Tale, and I 976 01:03:13,360 --> 01:03:16,520 Speaker 1: can't wait to see what comes next, even though I'm 977 01:03:16,560 --> 01:03:21,880 Speaker 1: a little nervous. But thank you all so much, and 978 01:03:21,880 --> 01:03:30,320 Speaker 1: and thanks for spending this time with me. Next Question 979 01:03:30,320 --> 01:03:32,680 Speaker 1: with Katie Kurik is a production of I Heart Media 980 01:03:32,800 --> 01:03:36,800 Speaker 1: and Katie Kurk Media. The executive producers are me, Katie Curic, 981 01:03:36,960 --> 01:03:41,560 Speaker 1: and Courtney Litz. The supervising producer is Lauren Hansen. Associate 982 01:03:41,600 --> 01:03:46,640 Speaker 1: producers Derek Clements, Adriana Fasio, and Emily Pinto. The show 983 01:03:46,720 --> 01:03:50,360 Speaker 1: is edited and mixed by Derrick Clements. For more information 984 01:03:50,440 --> 01:03:53,640 Speaker 1: about today's episode, or to sign up for my morning newsletter, 985 01:03:53,680 --> 01:03:56,520 Speaker 1: wake Up Call, go to Katie correct dot com. You 986 01:03:56,560 --> 01:03:59,200 Speaker 1: can also find me at Katie Curic on Instagram and 987 01:03:59,400 --> 01:04:02,760 Speaker 1: all my social media channels. For more podcasts from I 988 01:04:02,880 --> 01:04:06,640 Speaker 1: Heart Radio, visit the I Heart Radio app, Apple Podcast, 989 01:04:07,000 --> 01:04:11,200 Speaker 1: or wherever you listen to your favorite shows. H