I know you can't tell me much about it, but what it is like working on that show in comparison to your previous collaborations with him?Ĭarla Gugino: Well, I just adore working with him, and I would say that what's interesting about this piece is that there's a lot of black humor. I love that you've been working with him since Gerald's Game and are now reuniting for The Fall of the House of Usher. Since you mentioned The Haunting of Bly Manor, I'm a huge Mike Flanagan fanatic. She doesn't even know what it means, but she does know that there's some part of her life that is opening to her that she wants to explore, and I think it's always interesting to go, "What would you do if someone told you they would do anything for you, and no one else was looking?" This certainly explores those elements. At this point, she removes herself from an outward gaze, and that's where this very unconventional power play, sexy sort of dynamic that ends up emerging in the show that she didn't expect. All of these things were also really helpful for me to realize Alba Fontana chose to live in a place that was that remote, and where there was, at this point in her life - she'd always been a documentarian, so she was the voyeur. Or the fact that we could walk to set barefoot, or go take a swim at lunch. Just the fact that where we were filming every day, the power would go out once a day, and we would have to stop filming and sit for a moment and just take in nature. But I don't think that I've ever been on something where it influenced it as much as this. ![]() I think that so often, always, location affects you, and it plays a character in the piece, and we speak about that a lot. What was wonderful is upon meeting Ana immediately, I was able to kind of just deeply connect with her, and I think there is something about both the fact that these characters have no intention of being victimized, and fight for their beliefs, and the fact that you have this sort of magic realism element to the show, this dreamlike quality, this sort of backwards and forwards in time, very much like the water, very much like our environment there. But all of us were eating together every night, we lived where we worked, there was nowhere else to go, we were just all together walking on the beach, or having a meal, or watching a movie. She taught Gaite and I, we did salsa lessons with her and stuff, we had such a blast. You absolutely cannot help but fall in love with Ana the moment you meet her. But I hadn't ever worked with Ana, and Ana is one of those people that is just a true light. Even though you've worked with a few of them before, what was it like developing that rapport and that chemistry with one during filming?Ĭarla Gugino: It was really cool, because in terms of those four women that you're speaking to, obviously, Gaite and Amelia and I had worked together. I really do love that they formed this unintentional sisterhood. Phillip Winchester, I think, is just so fantastic in the show, he just cracks me up. Jeffrey Dean Morgan and I did Watchmen together, so all of that promotes a place in which you have a bunch of storytellers, and then of course wonderful new people that we hadn't worked with before. So you know, Gaite Jansen, who plays Batty, is a brilliant actress, we'd worked together on Jett, so there was a lot of trust there, and Gentry White, obviously, we had also done Jett with.Īmelia Eve, I had done The Haunting of Bly Manor with, so it's been such a. What's nice about building a troupe to do that with is that you have a lot of trust. Because the material was so complex that it really did require all of us to really take a lot of risks with each other. You are your own harshest judges, so I think that, it would have been fun to be somewhere beautiful, shooting something less complex, the experience was incredibly profound. Like, "Look where we are, this is crazy." But what was interesting is that, I think when you work with people that you know well, it actually has to be even better to do that. We made it through testing every day, all of the things, and Sebastián thought, "Well, what if I could write something that we could do with a relatively small cast and crew, and be able to go to a place that we could live and film in and once we were there, and everyone tested negative and everyone was safe?" No one left the property, so we were able to actually have truly sort of a mirror image of the show in that kind of dreamlike, magic realism. Everyone was wearing masks all the time, covered in things, you're rehearsing where you can't see the other person's face. During the pandemic, all of us had gotten back to work, but for all the obvious reasons, it needed to be with all the safety precautions. Carla Gugino: Sebastián Gutiérrez is amazing that way, because he's one of the few people that has an idea, and it becomes a reality extremely quickly.
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