Today, I want to go to the school of John Nolan. >> Oh, you got to be kidding me. >> Not today, playboy.
>> [screaming] >> Move. >> Where is Lucy? >> What exactly happened at Westview?
>> Zombies, apparently. Oh. >> So, we just watched the extended cut of 810.
>> First time for me. How many times for you now? >> Uh, many, many times, although not in several months.
So, it was uh it was a fresh watch for me in some ways. >> Yeah. There were moments that I for had forgotten and they scared I mean, we watched it together and I was like I freaked out.
Like it it was scary. I freaked out several times cuz they they shocked me and uh yeah, the jump scares are amazing. And I'm happy that everybody at home finally get to see the full vision, the full script that we all got to work through.
So, yeah, it's going to be a fun ride for them. >> You know, again, cutting for time for network is is just, you know, I mean, there is no wavering. You can be under, right?
They won't let you be over. So, you can be under and so because Harper needs to breathe, right? And some hard choices had to be made.
So, it's just really rewarding to see the the script, right? The whole thing. The extended edition has these scenes in it, right?
That didn't make it to the network. And and you know, what I love about being able to get them in there is they really do sort of add depth to the character journey, whether it's the scene at the end of roll call where Harper and and, you know, Selena and you were talking about Miles, it, you know, um which then leads to her her journey with him where she shoots him down, but then in the scene that's lost in the network, she lifts him up a little bit. Like all that I think adds value.
As does that scene where Tim comes out cuz he's worried. >> I really do have a bad feeling about today. >> Tim Bradford listening to his feelings?
It's almost spiritual. >> Oh, god forbid. >> Yeah, it gives context for why they're out there and sets the tone for like how Lucy was just having her own day and thinking that it's going to be totally fine and everything gets flipped on a dime very quickly.
So, yeah, I was very happy to see the full cut. I have a couple questions. Okay, do you want to talk at all about like all the cool camera stuff that you and Phil got up to?
Cuz I think you guys used some analog gear, too, didn't you? >> We did. Bill dug his 16-mm camera out of the garage.
>> That's right. You guys were so nerdy about that. >> It needed quite the the refurbish to get it up and running.
But, I really do think that it adds. Like, we used it tastefully and it just adds such It's just elevates it. It's texture, right?
You know? And purposely waited to use it until the first time we saw the body, right? And then But, then all those little moments of like the little video and yet so whether it was the clown or the door before you go down into the basement or the fight in the pool and everything, like it really did add a lot.
Uh trivia question? >> Go. >> The clown doll in the hospital?
Oh, that is not okay. Do you remember where you seen that before? >> Oh my god, was that in the Bailey episode?
>> That was the clown that was under the house when Bailey went under the house. >> Oh, god. >> Is this the Easter egg?
Like, are you just going to keep dragging this clown around? >> I hope not. It's horrifying.
It's horrifying, but yes, no. I know I thought somebody might point it out on on online, but they didn't on the social >> They didn't catch it? Well, now they're going to go back.
If you if you include this little tidbit, now they're going to go back and look for all the moments. You could probably find a sneaky ways to like hide it now, too, in the evidence locker and stuff like that. What was he?
>> We'll see what we do with the clown. >> And the other question I had was about the musicality of stings. And I I mean like the orchestration of it.
I mean the timing, that musicality. Like is there a hard fast rule about that or is that just something you guys are feeling in the room to like >> feel it. >> when you know to go for it.
>> what I loved about this episode is how quiet it is in a lot of the moment like we we're not commenting on it cuz that's really what scoring is doing. It's commenting. It's It's telling the audience how to feel in a moment which I you know because we do everything tonally sometimes it's better to just stay out of it because if you're playing the tension then the joke's not going to land.
If you're playing the jokes then the tension talk going to land. So >> the sadness too even like at the end that was kind of all in silence too which I thought it was really cool choice. >> Do you know his name?
I don't know his name. It's Martin. His name was Martin.
>> But I really thought it'd be interesting to talk about your process in connection to how you prepared for this particular episode especially given the weight of it, emotional weight of it and also how you sort of fit into the puzzle of the bigger show. So >> Yeah. >> tell me a little bit about like when you get a script what what the process starts for you?
>> Sure. Yeah, no I'm really you know after watching the episode I admit that I feel a little surprised that we're talking cuz it it I was reminded of how epic and big the episode is and something that I was in contemplation of while we were watching and also while I was prepping was how does Lucy fit into something like this because of who she is and the gravity of the situation for her but also the way that our show works with the push and pull works with the levity and also the depth and I for a while I wondered if it would be appropriate to take it as sincerely as I ended up doing for Lucy cuz I realized I can't I can't think about how it fits in. I have to just honor what's true for Lucy, period.
>> Right. >> And I think what I have come to learn about her, about her virtue and everything, is that something like this would be devastating for her concept of understanding herself. >> Right.
>> And so I feel like that kind of world view for her just went Um yeah. >> So, just dialing in a little bit on that fight and aftermath sequence because we shot that in two different places, right? We shot >> Yes.
>> at in Pomona, we shot all the hospital stuff, going down the stairs, in the kitchen, seeing him going through the plastic curtains. >> Mhm. >> But then we handed off to set where we built that amazing tunnel where Xena and her >> Amazing build.
>> Amazing build. So, is it easy for you at this point to to keep that like >> Oh, to shoot out of sequence? >> And then we did the tunnel.
So, at least we shot it in order, but like to carry what you had in those scenes to set on days later? >> I think easy is like a funny word. I think what it what I have to prioritize in situations where we are shooting out of sequence, which we did for her whole reaction when she's going through processing.
I think that was actually the first day we shot. >> Yes, it was. >> Um is it really emphasizes the importance of preparation and tracking the arc of everything that's going on, which is I can't begin to even I wouldn't dare like say that that's a challenge cuz everyone here does that.
Everyone, everyone in every department is tracking what's happening through the days. So, it just feels like another part of the gig, but I think um sometimes it can be challenging to launch into how I might react to something when I don't know technically what will have happened there. >> Right.
>> But I think in this situation, the question that I was asking or that Lucy was asking the whole time is who are you? >> Right. >> Who who could you possibly be now, you know, what type of protector and good decision maker are you really when people are suffering >> Right.
>> at the expense of you, you know, you're afraid and you're just trying to react. Um and on top of that she had no idea what was going on with her friends, too, which I I really appreciated the flow of that in the sequence of the script. I liked that it kind of she's triggered to remember those people because >> Right.
>> Tim mentions her union rep. So that's the that's the first moment that she's able to even remember that there are other people here that she doesn't have eyes on or know if they're safe. So yeah, a lot of things really helped to support that process.
Of course, the script and especially our amazing crew, you know, you come in and you're trying to maintain an emotional state and everyone here is so supportive and respectful while you're being moody in the corner. >> Right. >> I think that's one of the things I appreciate about you, Alexi, in your scripts is I feel you sometimes playing with the audience.
Like you [laughter] are purposefully toggling you're like a DJ. You're like, "And now I'm going to turn this up a little bit and turn that down. " >> Uh-huh.
>> Um and it is I I hadn't considered that that there was that experience happening for the audience that they know what they're walking into, but Lucy and Selena didn't. >> Yeah, and and you know, for you guys, you show up and you know, we have such a amazing cast. It's a big cast and like, you know, there's a lot of scenes that you're not in and so you don't know what anybody else is doing until you >> Yeah.
>> turn it on and watch it, right? >> you could have done like this after episode breakdown talk through with anyone in the cast. Everyone had such an epic arc in this episode.
Especially for me personally, the Lopez story is so heart-touching and um I loved everything that Wesley got to do, especially his protective moment at the end was really meaningful [clears throat] to me. Like everyone gets a little piece and it feels very equitable. Like we're getting to see everyone in their journey through this crazy world that we're building.
So, yeah, I really feel like you could have the sit down with everyone on this episode. Everyone goes through something crazy. >> Yeah.
Anyway, well, thanks for Thanks for having a chat about this. >> you. I'm honored.
Thank you so much for wanting to talk about it. >> And everybody go Everybody go watch. Everybody >> Enjoy Enjoy the extended cut of His Name Was Martin.
>> Ah.
