Jamie Bamber is an accomplished actor that has appeared in a bevy of movies and shows on the silver and small screen, and he’s even been part of some iconic franchises, such as Battlestar Galactica. Currently Jamie stars as Adam Haines in the Acorn TV series Signora Volpe, and we here at NTG had the opportunity to speak with Jamie about acting and his new role.
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John Betancourt: Let’s talk a little bit about what it was that got you into acting in the first place?

Jamie Bamber: Well, I guess when you get right down to it, it's my mom's fault. Because she had been an actor herself, trained, married my dad who was an American and had already had a family. So, she put her acting career on hold to raise his kids and then have her own. But what she did do is when we were in Paris, we lived in Paris for about five years from when I was two to seven, she started a theater group at the American cathedral for the ex-pat American community in Paris, and she directed, wrote adapted, plays, one of which was The Wizard of Oz. And for some reason, she thought it was a good idea to cast me as the Wicked Witch of the West. I greened up and cackled and the rest, as they say, is kind of history. It's really strange, because I'm not sure… had it not been for that little sort of, you know, intervention in my life at that early stage, that acting would had been something that really would have occurred to me. So, who knows? I don't know if that's true or not. But that's certainly where the spark started. She, she started it, and, and then it just was something I did as a hobby through school and enjoyed it very much. And turned into more than a hobby eventually.

John Betancourt: What was it that attracted you to the role of Adam?

Jamie Bamber: Several different things like happens on many jobs. One was the chance to work with Emilia Fox, again. I worked with her years ago when I was just starting out. And I guess she had a bit more experience than I had with her part in The Scarlet Pimpernel together with Richard E. Grant, way back in 1998, I want to say. We got on really well. I guess we kind of lost touch over the years. So, it was a chance to catch up with her. And then I am a massive Italo-phile. I studied French and Italian at University. I'd never done a day's filming in Italy, although I've taught theater productions there as a student. And, yes, it was a chance to go to Rome and Umbria. You know, it was right after lockdown. So, it was a release really from all of the pent up, life that we've been living to get a chance to go over there. And then I really enjoyed what the character Adam, had in the stories, in the sense this, this sort of you know, he's the only one that really sees her, the whole of her, they've had this relationship, they've been married, they know each other really well. And yet, they're still in a relationship. So, there was that twisted element to exes who are still sort of somewhat together in some capacity and working together and the betrayal, through work that he… he pulls. So, each scene that they had together has got this real bite to it. And yet there's some charm and some flirtation as well. So, it was the mix of all those things, it was a chance to catch up with many, a chance to work in Italy and a chance to play this, this character in these scenes with the Sylvia Fox character.

John Betancourt: Those are good reasons and judging from what the show showcases… I’m sure it was very difficult to go to work every single day in that gorgeous environment.

Jamie Bamber: I’ve never been to Rome without any tourists before. It was quite something to see the Trevi Fountain empty at 10 o'clock in the morning.

John Betancourt: Oh wow, that is amazing. Now… something I noticed that I really appreciated, was how well fleshed out and connected your character is to Sylvia at the start of the series. I’m wondering how you as an actor, brought that to life? Because it was so impactful.

Jamie Bamber: Well, I haven't actually seen the show yet. So you know, there's always I have to sort of wade in generally because you don't quite know what makes the final cut and what doesn't but on the page and what we shot, it's kind of in the deep end you know, you see this couple, they’re intimate and then he shows up at work and you don’t expect that and then you find out that they're not actually married anymore. And they're kind of dating as exes. So, there was a lot to get, get your teeth into. Plus, you know, I've got to commend Emilia, you know, she's great to work with, and we hadn't seen each other in a decade, you know, we were good friends, when we were starting out as actors, and then our paths took different journeys, I spent a lot of time in US and Canada, and then in France, I've been abroad a lot. So, we hadn't seen each other, but there was a little bit of, you know, there's a rapport there that we were able to, sort of tap into. So, that's all part of the fun, but really, I’ve got to thank the writers. They've created this character that's got a relationship with this woman on so many different levels, and they're so conflicted on so many different levels. And that stuff, you know, there's texture there, right on the page, and you just have to, meet those words in the situation head on. And yeah, it's, it's what we do, it's fun when it's that layered.

John Betancourt: Now speaking of Adam, he is an incredibly complex and layered character. One that can be so loving toward Sylvia one minute, and so focused on business the next. How did you as an actor slip into the mindset of playing someone that can just… flip the switch the way that he does?

Jamie Bamber: Well, what they do for a living, you know, they're in the world of intelligence, it's about getting what you need, out of any situation. And you use social means, you use professional means or sometimes you use whatever is at hand to enable you to extract what you need from any particular relationship or any particular situation. And I guess what you see with Adam, and to some extent, Sylvia, is that, you know, they have a certain ease , on the surface, what seems to be a charm, and an ability to connect with people. And yet, there's also something else going on, underneath, they can be quite ruthless with the skills that they have, and the way that they interact with people. And, you know, they both go into every conversation they have with each other with their eyes wide open as there's the full range of tricks that they can use on each other, which is why they don't need to hide from each other so much, you know, they can reveal those things. And it's not such a shock.

John Betancourt: Out of curiosity, how much research did you do regarding the spy business to prepare for this role?

Jamie Bamber: I don't think I did much particular reading or research and it's by business, I suppose. I've been researching this all my life. And I really enjoy, you know, John le Carré, I really enjoy by literature, by movies, I love the, you know, the political, with a small p, the intrigue of the Cold War. And, you know, all those Len Deighton stories, The Ipcress File, all the stuff that I've grown up with, Tinker Tailor Soldier Spy, and you know, that kind of very soft… there’s James Bond on one end of the scale, which is all the all the bangs and all the fireworks. And then on the other end is the very sort of banal work of espionage that really fascinates me. Just the holding your ear to the ground, keeping relationships open. And they're much more sort of civil servant’s sort of aspects of it. So, I guess, my sort of extracurricular reading and my movie going and my binge watching does tend to focus on spy stuff. So, whilst I don’t… no… I know a few people who work in that sort of world, they would never tell me if they were spies. But you know, I know they work for the government. I know they work abroad. And so, you know, you generally have conversations over dinner with people that I was at university with, but I wouldn't say that any of its overt research. It's kind of passive research.

John Betancourt: Now this is definitely one of the more unique spy dramas out there, what did you personally find to be unique about this series?

Jamie Bamber: Well, it's not really a spy drama. It's a hybrid of what happens, I guess, when someone who has been a spy, embarks on a different avenue in life and finds they can't quite slough off the carapace of their former existence. And there's obviously something that Sylvia has become that she may not altogether like, and she finds herself being a kind of… sort of spy for hire in the Umbrian hills, despite, you know, leaving that world behind. And then of course her ex-husband descends on the scene and makes it very difficult for her to entirely shuffle off the stage of international intelligence. So yeah, it was for me that what made it unique was the kind of very mellow Italian, I guess, sort of everydayness of it. You know, this isn't the usual backdrop for spy films, you know, the great bridge crossings and soft meetings in parks with newspapers and handing over of information. This is all very sunny blue sky, Umbrian hills and Roman streets and people's families just trying to get by in a local community, where Sylvia’s sister, played by Tara Fitzgerald, wonderfully, has been living for years, and she's just going there for a break and can't leave her skills at home, you know, she has to apply them to even the local pig that's gone missing. So, you know, there's a sense of humor to it. And that's really what I responded to is the humor that's involved in the whole thing.

John Betancourt: You bring up a good point there regarding Adam and his desire to reconnect and ask more of Sylvia, which speaks a bit to him searching for something. What would you say Adam is searching for ultimately?

Jamie Bamber: Well, he wants, he wants everything. He's been married to Sylvia, that marriage for whatever reason, we never really discuss it hasn't worked. And yet they've fallen back into a relationship. And then he out maneuvers her at work and doesn't keep her abreast of a certain situation in which she's very connected to, she's got assets in a particular country. And he, he's sort of maneuvered such that she can't even warn these assets that their situation is about to change. So, he has done something that he knows is going to harm their relationship. But I guess he's ambitious, career minded. And he's sort of willing to make that sacrifice to cut her out of the loop. I suppose he doesn't quite realize the way she's going to spiral out and go to Italy and, you know, move off the grid as it were, but you don't really know what Adam’s motivation is. But she's still useful to him. So, when something turns up in Rome, he uses her. And she can't help herself. There's that sense that, you know, it takes one to know one, he knows her better than anybody else. And that that gives them a connection that despite her, her newfound contentment in the Umbrian hills, she can't quite shake off this influence that he has and what he has over her and who knows, you know, where that takes her from that?

John Betancourt: Last question I have for you today, what is it you are most proud of when it comes to your time on this series?

Jamie Bamber: Oh, what am I most proud of? Well, I made some, some great friendships with the two directors involved, Dudi and Mark, and we had some great times off-set, it was lovely to have that time, you know, in Italy. And, you know, you take two things away from jobs. And those things can be personal relationships with other fellow professionals that you've collaborated with, or they can be, you know, the work. I haven't actually seen the show yet. So, it's sort of a bit rich for me to say that I'm really proud of it. But the bits that I've seen in posts and ADR and stuff, it's the relationship with Emilia’s character that that really is the be all and end all of this character for me. And there was a scene at the end in the third episode, which I did see a little bit of, where she's confronted with her Carabinieri bow made by Giovanni Crifiera, who I met just that day, and her ex-husband and there's a little triangle of, shall we say, wry enjoyment on Adam's part, and I was sort of proud of that. There was a bit of improvisation thrown in there. And I got the director to laugh and, you know, I look forward to seeing that scene in there. But you know, and I look forward, hopefully maybe to you know, exploring these characters going forward. That would be fun, because I feel that they that there's an interesting little push and pull that has been established between those three.

This interview has been lightly edited and condensed for clarity.

Emilia Fox is an accomplished actor of the silver and small screen, and has appeared in some iconic stories, such as The Pianist, and currently Emilia stars as MI6 agent Sylvia Fox in the new Acorn TV series, Signora Volpe, and we here at NTG were able to sit down with Emilia to discuss her career and her new show.
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John Betancourt: Let’s talk a little bit about what got you into acting.

Emilia Fox: Well, the truth is that I was a very, very bad waitress. And I got the opportunity at university to play a part in Pride and Prejudice, which was a television series. I mean, 20 plus years ago. And so, I thought, “Oh, that's a great holiday job that will be more fun than waitressing.” Which was not going so well. And so, I did it. And then the series went on to be successful. I was a tiny, tiny part in it. But the series was successful. So, I got an agent. And then when I was doing the final, my final exam at university, my agent put me up for work. And I thought, “Oh, this is way better than doing exams. At least I can have another focus.” And then I got the job. So, the minute I finished my finals exam, I walked onto a set. And then that was that and I never looked back. And I've been lucky enough to be doing it for 20 something years. That's the history of that story.

John Betancourt: Well, that’s a great story. Now, what was it, that attracted you to the role of Sylvia Fox?

Emilia Fox: Well, there's so much isn't there? I mean, she's a great part, in that, you know, you're meeting a woman at a crossroads in her life with this job that you know, which is endlessly fascinating to research and explore as an MI6 agent that, you know, she's been passionate about, she's cared about the, you know, people that she's worked with in the field. But now the job has changed. And she's been slightly done over by her ex-husband, who still works for MI6 and who she's still sleeping with. And so, life is complicated at work, but also work has dominated her life to the detriment of her relationship with her family. Which is why it's so important for her to get to her niece's wedding in Italy. So, what I loved about it was… this is a woman at this time in her life in her 40s. And looking as so many of us do at, you know, how we might change our lives? What's the second half of our life? She's cared so much about the job in the first half, what's the second half going to be? Could she improve on it? And when she gets out to Italy, and feels the warmth of her family, should she stay there? Or should she go back to life in London? You can see why she's attracted to stay, so is this for me as an actress… to play the MI6 agent and the spy bit but also to then create this character life with family and the complications of family, the fun, and then also the, the elements of romance in it, but all sort of embedded around these mysteries. Because she can't give up on her natural inquisitiveness that she had as a spy for solving mysteries and I think then she gets asked to be involved in a very unconventional mystery once she's staying in Italy.

So, there was so much about it but also you know, being in Italy getting to work in Italy getting to live in Italy for three months was exceptional. We were in the most beautiful places; we were filming in the West. Just beautiful locations and there’s the amazing skills of the crew you know, I think actually Sylvia’s style is quite a noticeable thing. We had an amazing costume designer who designed the most beautiful clothes for her and for everyone, and the actors out there were utterly extraordinary they come with you know, they come wanting to play the characters and you know, bring them to life with histories and they're dedicated actors and that was really exciting for me, and we had an amazing crew. We were coming out of COVID times and all these crews, they're coming off of these big Italian films. They're coming to work on Signora Volpe. So, we had the best of the best we were very, very lucky. And so, I can't think of a single thing that there wasn't to love about being part of Signora Volpe. -laughs-

John Betancourt: To expand a little bit upon what you said though, because you bring up some great points there, such as Sylvia’s complexity and I was really curious as to how you as an actor, got into the mindset of playing someone with so many layers and so much on her mind.

Emilia Fox: Well, I was very lucky, they gave me someone to work with on the research for espionage skills. So, he taught me through that and showed me the back of his van, which had all sorts of equipment. And so that was really fascinating, and just, you know, the things that he would be aware of in day-to-day life and looked for. And then we had a movement coach who sort of talked me through like, where she might, you know, place herself in the room and things like that. And so, the physical side of it was something I really enjoyed, you know, it's great in your 40s being asked to do something, which is physically challenging, so I love that. And then, you know, in contrast to that, you've got the, you know, like the relationships with Tara Fitzgerald playing Sylvia’s sister. I'd always wanted to work with Tara, and I imagined her playing Isabel. And so, working on those, that side of things was the sort of, you know, the sort of opposite to the actual spy stuff. But creating those relationships as a family on screen is just as important because I think that's at the heart of Signora Volpe as well.

John Betancourt: I fully agree, that’s a huge deal. Now there is so much good messaging present within this show. What was the underlying message in this series that stuck out to you the most?

Emilia Fox: I think that it is that it's about the decisions we make in our life. And that, you know, many of them are dominated by our work and what we chose to do in our 20s. And is there a moment in life where we should reflect about what we would like the second half of our life to be and is that a choice very often, you don't make that choice, because it's too scary. And it’s too challenging to change what you know. But I really liked the fact that Sylvia makes that decision. And although she can't quite let go of her past, and you know what she's done as an MI6 agent, she does make the decision to put family first and to try and rebuild those relationships, and prioritize that over what has been, yes, a job that she's loved, but to the detriment of family and herself and her marriage. And she gives herself a second chance. And I think that's exciting. And that excites me, as you know, in real life as well.

John Betancourt: It really is funny how one day we just realize how much family matters to us. Now, I do want to circle back on something else you mentioned, specifically research. Was there anything else you did to learn more about your role from spy/espionage standpoint?

Emilia Fox: I talked to my dad who played in The Day of the Jackal and I asked him, he played the spy, the Jackal. And so, I talked to my dad about what it was like and about his firearms skills and movement actually and what it was like playing that character. He was a very good person to go to.

John Betancourt: And I was also curious… as to how much stunt work you did on the show?

Emilia Fox: I did whatever they asked me to do. And was very much involved in all of those scenes that you see. So, I did yeah, I did a lot of the physical stuff and then they've got… for anything which is obviously dangerous, or they're worried that you'll get hurt then they use incredible stunt men and women.

John Betancourt: Well now I have to go back and watch and see if I can spot the differences. It all looks so good! -laughs-

Emilia Fox: -laughs- Hopefully you can’t see the joy.

John Betancourt: Now, to dig back into Sylvia a little more, I was wondering if you could tell us ultimately what she is searching for in this series?

Emilia Fox: I think she's searching to know herself from what she wants. And I think that her job has covered a lot of that. I think being a spy, particularly being a spy… you're, you're someone else all the time. And I guess that's not dissimilar to acting, you're always playing someone else. -laughs- And I think she's searching to know what she wants in life.

John Betancourt: What does it mean to you, to be a part of a series that is so refreshing and original?

Emilia Fox: I just feel so incredibly lucky to and fortunate to have been asked to play such a great character that is so rich, and complex. And I think, you know, as you have rightly said, there are so many elements to her and she's complicated and playing complicated characters is always the most interesting as an actor. Because you're constantly looking at her from different angles and trying to you know, I love the fact that there is this, you know, there's a serious side to it. And, you know, I think the tone of it, that was talked a lot about at the beginning as to what tone to give it and I think that there is a darkness to it. As you feel in Italy, there, there can be a darkness, but it's flooded with this beautiful light. And I think that's the tone of the series. So. for me, I just, I really loved her complication, her light and her dark as well.

John Betancourt: What would you say you’re most proud of when it comes to this series?

Emilia Fox: I am proud of I think, like, the relationships that we built out there with cast and crew to sustain you know, a long shoot and being you know… it's a privilege when you're an actor to be part of the every day. So, you know, often actors, you know, they drift in do their scene, they drift off, you don't see them for another two or three days or a week or whatever. But I was there from beginning to end of every day. And I felt very, very part of the whole production and also doing a bit of exec work seeing it from the very, very beginning and how that project has grown. So, I just feel proud of being a part of it with everyone who was involved in it, really.

John Betancourt: Last question for you today, what are you hoping audiences take away from this series when season one has come to an end?

Emilia Fox: I hope that they enjoy the different elements of it, the mystery elements, the family elements, the romance elements a bit, the humor in it, as well as the darker more serious sides to it as well. And that it's about humanity. It's about family. It's about love and things that we can relate to. But with a background of mysteries to solve.

This interview has been lightly edited and condensed for clarity.

Silka Luisa is a talented writer that continues to make waves in Hollywood with her excellent scripts that challenge audiences like never before and currently, she is serving as the showrunner/lead writer of the new Apple TV+ series, Shining Girls, and we here at NTG had the chance to sit down with Silka to discuss this dynamic new show.

John Betancourt: This is one of the rare shows out there, that actually examines the lasting power of trauma, and it features so many messages and themes surrounding that. What is the number one message that you hope audiences take away from that?

Silka Luisa: Well, all of the mythology was designed to discuss the aftermath of trauma. So, Kirby's, that's the new piece that I added to the show from the book, all of her shifting reality was built to discuss that metaphor, you know, all these years later, after a violent attack, that violence still can up end your world from one day to the next out of nowhere, and you have no idea why, no one will believe you, you feel incredibly isolated, like you can't restart your life.

Hopefully, that even though this is playing, you know, as a science fiction element, that experience and you know, watching Elisabeth’s Moss’ incredible performance in that, really connects with viewers and feels real and feels authentic. Because as you watch her, you know, reclaim agency of her own life over the season, the hope is that you know, watching her resilience, watching her reclaim her narrative… that viewers feel emboldened by her character.

John Betancourt: As a writer, what are you most proud of when it comes to the body of work you’ve put together here?

Silka Luisa: I think as… I had so much respect for Lauren's book. And even though there's certain elements that have changed, structure, mythology, I feel like in the end, the show is really true to the ideas and the themes that really spoke to me as a reader, which is Kirby's resilience. Which is the importance of, you know, reclaiming your narrative and finding and taking some sense of agency. So, in the end, I think being able to articulate all of that over eight hours is what I'm most proud of.

John Betancourt: What does it mean to you on a personal level, to have written a show that is show timely and so progressive when it comes to what it has to say about mental health and trauma?

Silka Luisa: I can only speak to you know, what I set out to do for myself and you know, I hope other people connect with it. But I think being able to articulate and be authentic to what I wanted to say in the end. I'm very proud of.

This interview has been lightly edited and condensed for clarity.

​Join John as he sits down with one of the acclaimed directors of the new Apple TV+ series, Shining Girls, Michelle MacLaren!

Hilde Kate Lysiak is a fifteen-year-old journalist and founder of the wildly popular and successful, Orange Street News and now Hilde has written a memoir entitled, Hilde on the Record: Memoir of a Kid Crime Reporter, and we here at NTG were lucky enough to sit down with Hilde to talk about her new book and so much more.
 
NTG: Let’s talk a little bit, about what got you into writing?
 
Hilde Kate Lysiak: When I growing up my Dad traveled around the country as crime reporter for the New York Daily News and I was his sidekick. I traveled everywhere with him, from door knocks in Harlem to Trayvon Martin in Florida. I was also intense I quickly became addicted to the rush. When he quit his job as a reporter to write books I didn't want to stop. That is how I created the Orange Street News. My first several issues were written by crayon, but by the time I was eight I had a print copy.
 
NTG: What motivated you to start your paper The Orange Street News?
 
Hilde Kate Lysiak: I had been reporting for as long as I could remember and when my Dad moved us to a small town I couldn't imagine stopping.
 
NTG: What are you most excited for readers to discover in your memoir?
 
Hilde Kate Lysiak: I learned some valuable lessons during my eight years of reporting and being thrust into the national spotlight at such a young age.  One of the lessons I learned was about how our self-perceptions, how the way we view ourselves, can be shaped by those around us if we aren’t steadfast in our authentic selves.
 
The narrative the media created about me painted this picture of this prodigy child with a perfect life. But the reality was far different.
 
On the outside my life seemed perfect. I had a four-book deal with Scholastic. I was being flown around the country to give speeches and a television show was made about my life.
 
But on the inside, I could feel something changing inside me. Something unfamiliar and dark. At first the thought that I could be depressed struck me as stupid. But when I began to research, I was shocked to learn that not only was I not alone, but I was dealing with a growing problem that was literally killing my generation - especially teenage girls between the ages of 12 and 17 - who last year saw a fifty percent increase in suicide attempts. And that number is probably low, considering the shame attached to suicide.
 
My hope is that in telling my story I can help open up a conversation and maybe even inspire some who might have been going through what I went through to get help.
 
 
NTG: You really were a pioneer of citizen journalism when your murder mystery story broke and went viral all over the world! How do you think this type of news coverage has developed since your experience, and what do you think are a few of the biggest advantages / disadvantages of this type of media?
 
Hilde Kate Lysiak: I have a lot of optimism about the future. I believe the media of tomorrow will be better than the media of today. But one thing that does concern me is the growing acceptance of the censorship we are seeing in people who have different points of view. Reporting news is ultimately about the truth and giving the press freedom to find it.

​Fear the Walking Dead returns to the airwaves on Sunday, April 17, 2022, and in anticipation of its return… we had the opportunity to sit down with cast members: Alycia Debnam-Carey, Alexa Nisenson, Omid Abtahi, Jenna Elfman, and Keith Carradine… to discuss Season 7B and their thoughts on their character’s respective journeys.

John Betancourt: Since The Walking Dead Universe is big on messaging, I was wondering what message each of you are hoping resonates with the audience this season.

Alycia Debnam-Carey: I feel like you know, we had, there's a big theme of redemption, in this second half of the season. And then, you know, leading up to that, in the last couple of episodes too… you know, following Alicia’s journey… she's carrying a massive amount of guilt with her for not being able to stop, you know, what sort of, she believes Teddy and then Strand have sort of put in place. And I think she's feeling like since she's been bitten and what's happened to her and having to cut off her arm and become this, you know, new and improved but also even more damaged, somehow, Apocalyptic, leader warrior of sorts. She's sort of decided to take it into her own hands, and now she's able to take that burden of it all.

It's almost as a selflessness in comparison to Strand selfishness. And she's always been a character that wanted to put others first and there is a humanity in her and there is, you know, a stronger belief in humanity's good traits, and she's always sort of leant into that I feel, and I think that's a really important characteristic of hers. And then we see, you know, now this I think, guilt and this need for redemption, you know, propel her to this new place of like, wanting to lead a group of people somewhere, that she believes is there that she's, hell bent on finding, that she will do whatever it takes to make sure that the greater good is taken care of. And so, I think that was a really interesting message to follow through her journey to this back half.

Omid Abtahi: Yeah, I mean, I just have to echo what Alicia said, and she, articulated it wonderfully, it is, it is the redemption parts of some of these character stories that I was drawn to even you know, as, not as just as an actor, but as a fan. And it's just that it's never too late to, in a sense, redeem yourself. From the scripts that I was able to be a part of, that’s what stood out for me.

Alexa Nisenson: Me and Charlie, I'd say a theme that I really love, and I hope resonates with the fans as well would be love. And I think we especially in 710 really get to see that for Charlie. And I love the message that even though in the midst of so much sadness and chaos and tough times and you know, Charlie's grown up in this crazy world and nothing is really normal and there's always crazy stuff going on around her. She's always you know, dealing with a lot and I think in the midst of all that she gets to experience something beautiful and I think that message is really special that you know, even in chaos and sadness, there can still be love and it's not too late and it can never be too hard to possibly experience that, and I hope the fans appreciate that as much as I did playing Charlie and just yeah, as a fan as well. I think it's really beautiful and special.

John Betancourt: I would also like to know, without spoilers of course, what you’re most excited for fans to experience in the back half of season seven.

Alycia Debnam-Carey: There's a lot of cool stuff coming up. Well, selfishly, I'm excited for episode 11. Because I directed episode 11. And that's a really, you know, big milestone for me, it was a really huge moment. As you know, being a part of a show for so long getting that opportunity and, you know, a personal development, a extraordinary opportunity. So that was… I'm really excited for fans to see episode 11. Because that's something that's very personal to me, and very new and something I've always wanted to do for a really, really long time. I've wanted to direct for a really long time. So, I can't wait to share that with everyone. And I hope people like it. And then, on top of that, I'll say there's a really huge arc coming for Alicia that is, is very intense, very, very dense. There's a lot in it. There's a lot to come. And we're going to see really dynamic stuff from her. Right through the end of the season. So, I think fans will be excited for that.

Alexa Nisenson: For me, definitely, I'm excited for the fans to see 710. That's the Charlie-centric episode. And I absolutely love it. It is so, so special to me. And I just cannot wait for the fans to see it. Yeah, I feel like I've waited a while for everyone to see it. And I'm just excited for it to come out. And I'm incredibly proud of it and proud of everyone in it. It's very special to me.

Omid Abtahi: I don't know if excited is the right word, but I am excited to for everyone to see 710. And, and I, I hope there's a backlash against Howard. Because he just… uh…
Alexa Nisenson: You’re so amazing in it!

Omid Abtahi: Thank you. But I want that. I want the fans to be upset about it, because they should be upset about it, and I don't think the last time I played a character like this, there was any social media so there was no way you know, if people didn’t like me, they wouldn't let me know. So, I'm curious and excited to see what happens.

John Betancourt: It is definitely safe to say that John and June’s journey this season has been almost inspirational during a very dark time on the show. What do you hope audiences take away from their journey?
​
Keith Carradine: Well, perseverance furthers. You know, I think that the idea of there always being another chance to do the right thing. And I certainly think that that is John Dorie. He's says: “it's never too late.” And I think that's sort of a predominant theme in his life and the choices he makes and his constant striving for some kind of redemption. And the fact that one never, never ultimately… just don't give up. Don't ever give up.

Jenna Elfman: I love that so much. I love that sense of hope and it's never too late. It's such a great theme. I just love that theme. And I think that directly feeds into, you know, something that helps June keep going, you know, through all these different things is she can, she's always like found herself back on her feet, though changed. But that never giving up or losing hope, I think is something that's just been a beautiful, beautiful gift from the Dorie family as it were.

John Betancourt: Now both of you immediately came onto this show and made a huge impact with the story with your performances and I am curious… as to what you’re most proud of when it comes to your time on Fear the Walking Dead.

Jenna Elfman: I think the transformation of where she started and where she is now, I'm loving, portraying and you know, if a character is not changing like why are we all tuning in? You know what I mean? Like characters must change based on their experiences and how they change is what determines the nature of their character and who they are. And so, I really feel like the change that they've built in for June to go through has just been really fun to play. And I think it's been fun for the fans to watch and get behind and track all of her turns and stuff. I've loved that. Like I think the most I just, oh my God, I just live for it.

Keith Carradine: Well, to do the old psalm, “Pride goeth before a fall”, doesn't it? And so, I hesitate to actually express any pride. I suppose that if in the end, there is not a moment that I have given to this character where anyone doesn't actually believe who I am. Then if I've done that, then in that I will, I will take pride.

These interviews have been lightly edited and condensed for clarity.

Eleanor Tomlinson is a highly accomplished actor that has been featured in a variety of silver and small screen projects, and currently she plays Lady Gabriella Penrose-Howe in The Outlaws on Prime Video, and we here at Nerds That Geek were able to speak to Eleanor about Gabby and the show.
 
John Betancourt: What was it that got you into acting in the first place?
 
Eleanor Tomlinson: Oh, wow, goodness. Um, so my family, I come from a family of actors. So, my mum is a singer. My dad is an actor, and my brother is an actor. So, it's something I've grown up around, I always loved it. And for ages, it was just a dream. You know, my parents would say, “it's so competitive,” you know, “don't do it.” It's, you know, it's so hard to make a living doing it. So, I wasn't going to listen to them. I just decided that was where my heart was. And I got very lucky when I was younger playing the young Jessica Biel in a film called The Illusionist, and that was that just set the fire in my belly. I just… there was nothing else that I wanted to do.
 
John Betancourt: Now what was it that attracted you to the role of Gabby?
 
Eleanor Tomlinson: Well, I think it was a mixture of incredible scripts that I laughed out loud when I was reading this character that was so flawed, but fabulously unaware, and outrageous. And this, this journey that I could take her on, I've not done a lot of comedy before but the opportunity to work with someone like Stephen Merchant who I've admired for so long. And then obviously, when Christopher Walken came on board as well, that was just an extraordinary, extraordinary thing to happen. And I just thought, “Wow, I can't quite believe my luck.” I still pinch myself.
 
John Betancourt: Now you mentioned that Gabby has flaws, and I was wondering how as an actor, you get into the mindset of playing someone who is at times so messy and at other times, so bubbily?
 
Eleanor Tomlinson: I think it's all on the page, to be honest with you. You know, there's so many layers, there's so many reasons as to why she behaves the way that she does, which we then discover in the series as you realize her relationship with her father, and you know how that has created her anxieties, but also this need for attention and need to feel loved, which I think she hasn't for so long. Because they've had… on what we know what appears to have, you know, everything that anything that money can buy, but it hasn't bought her any happiness. So, I think to get into the mindset of something like that, it's just a question of reading the scripts and making sure that you play every level of the character, so you know exactly why she's responding to something in a certain way. And obviously, with Gabby, she's, she's quite mad at times, and she'll just fly off the handle.
 
But that was just so fun to be able to create, because I think there's a part of us all, that just wants to be as honest as she is and fly off the handle like that. But obviously we don't because we're not, you know, we're not completely bonkers, like she is, but it was just, it was just fabulous to have the opportunity to be able to play a character that has these different, you know, core emotions running through her all the time, and you're just never quite sure which version of her you're going to get. And, and this unawareness as well, you know, she's come from a life that for most of us is just completely, you know, unheard of, you know, it's the kind of thing we see in magazines, but it was just it was fascinating to be able to create my idea of that and what I think it is, she is like, because of that. So, it was yeah, it was it was incredibly fun to play her.
 
John Betancourt: Now you bring up a couple of good points about Gabby there that lead me to my next question. Because you mentioned she’s searching for happiness and love, ideally at her core, what do you think Gabby is searching for?
 
Eleanor Tomlinson: I think she's looking to feel wanted and needed and loved. I think that she has basically been handed around to her father's staff and raised by them more than by him because she lost her mother at a young age. And so, I think she's actually looking for validation. You know, she's always trying to be noticed, because she feels like that's missing. And she feels like that's lacking and so she's trying so hard, but actually at the center of her is someone who's very lonely and very tortured, and she's turned to alcohol and drugs to fill that void.
 
John Betancourt: Now I was taken aback by the fact that this series has so much messaging layered beneath the comedy, and I was just curious as to what message stood out to you the most when you were reading the scripts.
 
Eleanor Tomlinson: I think it's about a group of very unlikely people coming together and creating this unlikely friendship. And I think that's, that in and of itself is very powerful. You know, they, they're all from such different walks of life with such different experiences. And somehow, they become embroiled in this already unpleasant situation of community service. But then as well, on top of that, they find this enormous bag of money, and what do they do with it? Do they use it for their own ends to save themselves and the things they care about, and they're passionate about, or do they do the right thing? And so, it's very interesting. But I think that's what that's what stood out to me about it is it's about community and it's about, it's about friendship.
 
John Betancourt: What has it meant to you personally, to be a part of a series that features that kind of poignant message?
 
Eleanor Tomlinson: It's amazing. It's fantastic. I think, you know, obviously, that's, that's an incredibly important message. I think that it's very, yeah, very important to have close friends by you but also, to get out there and meet different people from different walks of life, never judge a book by its cover, and, you know, to, to take different experiences and to learn from different people as I did on this job. You know, we were all so different. And I learned so much by working with, with everybody involved in the project.
 
John Betancourt: If you could elaborate on that a little further, what would you say you learned personally from working on this show?
 
Eleanor Tomlinson: Well, it was just wonderful. I've not done a lot of comedy before. So, to get the opportunity to work with someone like Stephen Merchant was fantastic. You know, not only has he written it, so you can ask him any question you want, you know, I just wanted to learn. I was like a sponge, and I was around him just trying to absorb everything from the way that he is on set, how he handles things, how he directs how he produces at the same time, how he writes and adapts the characters once he's written and once, he's cast, the actors. And, you know, adapts the scripts to fit the people in scenarios. And also, he was so open to us, adding little bits or making suggestions, which was just fascinating and brilliant to be able to do. So, it was yeah, to have the opportunity to work with him. And then to have the opportunity to work with Christopher Walken as well. And the rest of the cast, it was just, it was extraordinary, it was a real gift of a job.
 
John Betancourt: Now you bring up another good point that I absolutely need to follow up on. You mentioned adding your own “little bits” to the series, and since comedy shows and movies are renowned for featuring improvisation… how much improve actually happened on set?
 
Eleanor Tomlinson: Quite a lot, right or not, I would say that they had probably a lot more footage than was initially scripted. And then they would have to cut it down to create what we saw. But that was what's so great about Stehen is that he was open to suggestions and open to, you know, he loves rehearsals, he loves everybody getting together and, and going through it. And then you can go away and create the final version of the scene to make it as funny as possible. So, it was just a fantastic opportunity to, you know, to learn from such a comedy genius as well. You know, it was just really fascinating. So, there was a lot of improv even in probably my audition with him. And I think that's kind of what bonded us. We were good friends by the end of it. And, you know, it's, it's a really nice thing to be able to say, I think you've just got to have the bravery to do it. But I knew that that was, you know, the best way of serving this character and that's what is the most important thing.
 
John Betancourt: What would you say you’re most proud of when it comes to your time on this show?
 
Eleanor Tomlinson: I think the series that we've created, I think that it's very funny. I think the comedy, and the humor is something we don't see an awful lot of anymore. I think it's very refreshing. But I think yeah, I think we've created something that is escapism for lots of people. And I think that's, that's a really great thing for people to be able to tune into and enjoy. And their response to the show has been absolutely terrific. So… I'm so proud of everybody involved in it.
 
John Betancourt: What would say your favorite memory is from your time on set?
 
Eleanor Tomlinson: Oh, my goodness. There's so many to be honest, I loved working with Jess Gunning. I think she's got to be one of the funniest people on the planet. She loves to play Diane. And she just she used to make me cry laughing, and it would just take it would take so long to do scenes with her because literally I couldn’t keep a straight face. So, it was fantastic. So yeah, I don't know if I've got a particularly favorite moment and such but there have been there have been so many because it was it was just such a joy to be to be working and to be with you know, such talented and funny and extremely brilliant people.
 
John Betancourt: Last question for you today, what are you hoping audiences take away from this series?
 
Eleanor Tomlinson: Oh, wow. I hope they've just enjoyed it. I hope they've got you know, an hour or two of depending on how many episodes they watched, of escapism and just I hope they've laughed I hope they really laughed and enjoyed it and come away you know, smiling, but also, I hope that they you know, have gone on the journey with the characters and learnt their flaws learnt their, you know, mannerisms. So, I hope they've completely absorbed the characters to be able to recognize exactly how a certain scenario will make a certain character feel. I hope that they get really invested in the characters and want to see more of them.
 
Season One of ‘The Outlaws’ is available to stream on Prime Video right now. This interview has been lightly edited and condensed for clarity.

Jay Cheel is an accomplished documentarian that has turned his attention to chronicling some of the most fascinating stories and rumors surrounding famous films by way of his latest project, Cursed Films, on Shudder and we here at Nerds That Geek had the chance to sit down with Jay to learn more about this fascinating documentary series.
 
John Betancourt: What inspired Cursed Films in the first place?
 
Jay Cheel: Well, it was it was brought to me actually by a friend of mine, Owen Shiflett, who was at Shudder at the time. And they had this concept that they were internally developing, and we're taking it out to some filmmakers to pitch to them how they would approach this series. So, I had just finished a short film called Twisted, which was a doc about a local drive-in theater that was hit by a tornado, supposedly, during a screening of the movie Twister. So, it was an exploration of that urban legend. And I just talked to a lot of people who claimed they saw it happen, when it didn't really happen. And that kind of worked as like a prototype for what we ended up doing with Cursed Films. So, I knew it was right up my alley, because I'm a big film fan and horror film fan. So, it was kind of a perfect match.
 
John Betancourt: Now what’s impressed me, is the diverse makeup of films that this series covers. How do you go about selecting them?
 
Jay Cheel: We have like a long list that we, you know, discuss and narrow down to five films… based mainly on access to interview subjects, the strength of the stories connected to the films, and whether or not there's, I guess, potential to take it like elevate it beyond just like the bullet point list of things, weird things that happen that you might find on YouTube, or BuzzFeed or whatever. So, it really comes down to the characters, the interview subjects and the stories.
 
John Betancourt: Now, the amount of detail and research that goes into this series is just phenomenal. Could you by chance, walk us through what the research process looks like?
 
Jay Cheel: Sure. I mean, we so we start with the list of films. And we do use a researcher. So, we had someone named John Semley, who was great at kind of helping us sort of dig into the backstories of some of these movies. And then we'll kind of, you know, combine a bunch of details that might be of interest, and maybe little things that aren't as talked about that we could then dip into and explore. And then we just start reaching out to people and my producer, Brian Robertson, handles a lot of that. And he's great with kind of making contacts and then setting up these interviews. But the most exciting part of it, is when we have our schedule, and we go out and start filming, and then you interview someone and they say at the end of the interview, “Oh, you should talk to this person.” And then they'll give us their email address. And then as we're on the road, we email them and say, “Do you have any time this Tuesday?” And then we meet with them, and then they say, “Oh, this is great, you should talk with...” So, it kind of like organically expands and becomes a little investigation where we start following a trail in the moment, and that's the most fun part of the series. I think.
 
John Betancourt: Now something I find fascinating is how many ‘cursed legends’ surround the movies you discuss and to gain a little perspective on this, since you’ve been in the thick of it, how do you think these legends and myths surrounding these movies come to pass in the first place?
 
Jay Cheel: I mean, I think more often than not, it is. I think it's often used as a marketing thing or talking point. You know, like, thinking of the first season, The Omen episode, there are just so many crazy things connected to the making of that film. And I had the chance to talk with Richard Donner about it. Who passed away recently, unfortunately, I love Richard Donner. He's, and you know, obviously a master storyteller, in terms of popular cinema. So, sitting down with him and hearing him confirm a lot of these things that I thought were ridiculous, blew me away. But then afterwards, I also think like, well, he is a master storyteller. He knows a good story. So, of course, he's gonna lean into some of this stuff. And he's been telling these stories for, you know, close to 50 years at that point. So, he's got it down. And as these stories are told, there's, there's things added to them to make them more interesting. And then they just start to change and, and something that is like a little bit of a weird coincidence could expand into something that's like a mind blowing… confirmation of, you know, the supernatural. So, I think more often than not, that is the case. But then there are just some things that are unexplainable. And those are the weirder ones that you know, leave you really questioning. How did that happen?
 
John Betancourt: That makes total sense and that definitely ties into the season two premiere and the whole story revolving around the cast member from The Wizard of Oz that supposedly hung himself in the background for all to see. And that’s note just because I couldn’t believe how many people pour over that and look to prove it true and well… I’m wondering what you think motivates the public to dive into moments like that and try to solve the mystery?
 
Jay Cheel: I mean, I think at the core of it, you know, Steve Rash, I interviewed Steve Rash, who directed the film Under the Rainbow. And he claimed, unexpectedly that he saw a piece of film, like literal piece of cellular from Wizard of Oz, that someone showed him with a little blob on it that he said they claimed to be this Munchkin that hung themselves. And he said, you know, he says, “I believed it, it was a great story.” And I think that's what it comes down to is it's a great story, you know, the idea of the contrast of someone, a suicidal little person performer, playing the role of a munchkin in this, you know, joyful, fantastic film, being so overcome by, you know, supposedly being rejected by Judy Garland, when asking her to go on a date, that they hang themselves in the background, the contrast there is just so insane, you know, that, within this this film that families have watched for, you know, 90 years, 80 years now? Has this dark element buried within it? Which, you know, I'm not claiming it does, but some people think it does. That's just a really tempting contrast, that sort of, it's kind of the inverse of what we explored, often in the first season, which was a dark film, with dark subject matter attracting a dark energy. It's the inverse of that. It's a light film that has all this dark energy surrounding it. And that that contrast is the thing that I think draws people's attention and captures their imagination.
 
John Betancourt: Now another element about this series that impresses me, is the sheer respect that the mythos and rumors receive. How have you managed to maintain that over the past two seasons?
 
Jay Cheel: I think it's just keeping in mind, the fact, that I and the show are not claiming that in any of these films are cursed. We are talking to people who think that these films are cursed. And that's what we're interested in and in discovering, not only the stories that they claim happened, and sometimes did happen on these sets, but why they think that it can be explained by something bigger than just coincidence, and why in some cases, these stories have actually surpassed the legacy of the films, you know, that in which these events took place. So, it's really, it's not an investigative sort of like we're going to get to the heart of this and is this real or isn't this real? It's working to talk to people who are interested in getting at the heart of this and figure out why they're so interested.
 
John Betancourt: Now obviously, this is some dark material and there are a lot of dark things you have to examine. Are there any difficulties that come from that?
 
Jay Cheel: Yeah, I mean, I think it's really, I try to approach each episode, in a way where the tone is dictated by the subjects. So, if there's an interview subject that, that talks in a lighthearted manner about some dark element of a story, because maybe they don't think it actually happened, then they will dictate the tone of the episode. And I think that's just… it's my preferred approach. And I think it's the appropriate approach. I never want to put spooky music on something that someone didn't intend to be weird or, or scary. So yeah, I mean, like, it affects me, in times when I empathize with the subjects who are affected by it. Not so much that I, you know, am lingering on these dark, weird images and, you know, film clips and like the Manson story. We in the Rosemary's Baby episode, obviously, we cover the Manson family story, and there's some really dark stuff connected to that. But there's also just a weird fascination connected to it. And that element, that fascination, is the thing that we kind of, you know, latch on to in that episode, and I think that helps a little bit with not just getting completely, like overcome by the grotesque images connected to that event. And everything that came from that event. It's, yeah, it can be it can be heavy, for sure. Especially season one. More so than season two.
 
John Betancourt: Now, on a lighter note, what does it mean to you on a personal level, to be able to do this?
 
Jay Cheel: Yeah, I mean, it's great. I, you know, I've been making documentaries for… I should mention my first documentary Beauty Day, my first feature documentary is actually coming out on Blu ray. In this month, I don't know the exact date, but it was announced, so head to Vinegar Syndrome’s site and check out the posts for that. But I've been doing Doc's for a while. But this is the first one where it's really like sitting down with filmmakers. And often people who were connected to movies that I grew up watching and I love. So, to get to hear stories about the making of these movies directly from the people who were there, and often after we're finished with our interview, hearing other stories about other films, is amazing. I mean, and it's one of my favorite things about being a documentary filmmaker is it allows me the permission to enter someone's home who has a fascinating life and a fascinating story and force them to talk to me about it for you know, a couple of hours. And it's often… we leave those experiences with great connection with someone and sometimes it can extend beyond the production of the show, which is always a pleasure.
 
John Betancourt: To follow up on that, what does it mean to you… to have the fans respond and embrace this series in the manner that they have?
 
Jay Cheel: I love it. I mean, my hope is that film fans will appreciate the show, you know that people who want to hear about these stories that they may have heard about already, but hear directly from people who were there and get the full context of these stories, but also maybe learn some stuff about you know, these films and other films surrounding these productions that, you know, maybe they didn't know about. For example, this season, we have an episode on Stalker, the Andre Tarkovsky film, and that's kind of our outlier. It's like a Russian art house science fiction movie that I think a lot of people will not have seen. But it's an AMAZING film. And I think I'm hoping once they watch the episode, and we talked to Roger Deakins for that episode, and it's one of his favorite movies, so I'm hoping that people will see that and then maybe seek out that film. And then maybe that will lead them to checking out other Russian films of the era. And it's just a great way to kind of celebrate cinema, but also the people who were responsible for making some of these things. And it's not always the people that the very top we’re talking to, you know, it's often the craftsmen and craftswomen, the, the people who are responsible for getting that image on the screen as a team. And I love that aspect of it. It's awesome.
 
John Betancourt: What would you say you’re most proud of when it comes to this series?
 
Jay Cheel: I think… well, I'm proud of being able to come at these stories from an angle that is hopefully valuable, it's not just regurgitating these, these, you know, anecdotes on the screen, for the sake of just creating a show surrounding them. I hope that it's giving us the jumping off point to be able to explore things that maybe are a little more valuable than just those talking points. And to give some people that worked on these projects, and maybe haven't had a voice, the ability to get on camera, and express their feelings about some things that happened on these movies that they were a part of that were in some cases, traumatic and affected their lives in some positive ways, but also some very negative ways. So, I feel like there's, there's an ability to have them speak without them being worried that we are going to push them towards making it spooky, you know, like, they can say whatever they want. We just want the context that they're going to provide. And we will portray that, honestly, we're not looking to apply anything to their story that isn't honest, for the sake of creating a show that fits in with like a horror, sort of, you know, programming. It's… it's a true documentary series.
 
John Betancourt: Last question for you today, what are you most excited for fans to experience in season two, without spoiling anything of course.
 
Jay Cheel: I am looking forward to people learning about Stalker and experiencing the strange things connected to that film. But we shot in Chernobyl for that episode. So, there's a lot of interesting stuff connected to that. Serpent and the Rainbow, you know, getting to hear Bill Pullman talk about his experience on that. And Kathy Tyson talks about her experience. And I think there's an interesting sort of, under lying story with that episode about how a film crew bonds and can kind of come together in times that are challenging and, and work through it, and come out the other end maybe having learned a good lesson. So, I think that episode is a lot of fun as well and, and the Rosemary's Baby episode, to be honest, I rarely, you know, I will say if something I think something's sucks, I think all of the episodes this season, we’re really happy with everything. And I think film fans will appreciate the way in which each one hopefully feels like a kind of definitive documentary about this aspect of the production of those films. So, I'm proud of that. And just the variety of voices that we got to talk about these things.

This interview has been lightly edited and condensed for clarity. Season two of 'Cursed Films' premieres on Shudder, today, April 7, 2022. 

Douglas Booth is an accomplished actor with a bevy of film credits to his name, and now Douglas is starting to branch out into meaty television roles and is currently playing Red Bill on the AMC+ series, That Dirty Black Bag and we here at Nerds That Geek were fortunate enough to sit down with Douglas to discuss acting and the challenges and thrills of being part of a modern spaghetti western.
 
John Betancourt: What was it that got you into acting?
 
Douglas Booth: I'm dyslexic. So, I struggled academically. At school, with reading and writing. And I found that initially, I wanted to be a musician. I played trumpet from a very young age, and I wanted to be a jazz musician. But I always learned classical, and I kind of wanted to be in this jazz band. And that never happened. I kind of felt a bit limited and I was also playing guitars and wanting to be in rock bands and then I tried out for a school play and got the part. And I think when I was on stage, I finally found that actually, this was a really amazing way of expressing yourself. I fell in love with it. And I just kind of, you know, I used to, I used to love movies like Lord of the Rings and Gladiator as a kid. And the idea of just going on these quests and dispatches, these journeys, was something that I dreamed of. Or having a horse, which is great, and just having a horse and going off. And you know, that was just, I wanted to, you know, live 1000 lives within my own and, and this was a way to do it, I guess.
 
John Betancourt: And speaking of a horse, you’re on a western!
 
Douglas Booth: -laughs- Yeah!
 
John Betancourt: Which is great and that leads me to my next question, in that… what was it that attracted you to the character of Red Bill?
 
Douglas Booth: Well, I think it was unlike any character I'd played before. That was a huge draw. I found the scripts interesting. And I kept reading and reading and reading I wanted to know what happened. And Dominic Cooper is a friend of mine, and I always wanted to work with him. And we get on very well and have a fun banter between us. And I thought I could see that coming out in you know, coming out between our characters, you know, as the story goes on, so, yeah, I mean, who wouldn't want to be to be a cowboy, really, and ride a horse in the west? So, it was it was, you know, a no brainer for me.
 
John Betancourt: Now this is definitely a bleak western, one that really goes to some dark places, and I was curious… as to how you as an actor got into the mindset of playing a character that is so angry and filled with notions of revenge?
 
Douglas Booth: So, a place I had to start was, I guess my mother, I think. I’m very close to my mother. She’s very much still alive, and I was a bit of a, you know, mommy's boy. -chuckles- I remember I when I was a kid, I used to have recurring nightmares of losing her and it was horrible. And so that's a place I started, I guess, where it's a very simple, yet horrible place to start. And I think, you know, that's the foundation of who this person is. He was a young boy who at the age of eight, lost his mother in a very violent way in front of him and some people can deal with trauma. Well, and some people can't. And I think he probably hasn't dealt with it. I mean, you see in episode four that he had a second chance at life, had a second chance at having a family, having a mother figure and he seemed happy there. But he couldn't. He couldn't get over the trauma, he couldn't set himself free, which is very sad for him. But interesting for me as an actor, because it means that I get to play this person that is so utterly damaged. And I feel that he's kind of in Purgatory, or he's on his way to Hell. And he doesn't know how to rid himself of one, the guilt for not being able to save her, two, the trauma of losing her. And also, just kind of just feeling completely lost and feeling that revenge is the only way to salvation. I mean, I would even, at beginning of the story, I'd question what he would do if he ever found Bronson. And if he ever killed him, I don't know whether he whether he would want anything else after that. But I think as the story comes up, moves on, I think he begins to thaw his heart, and he begins to remember who he once was. And I find that very interesting to play to.
 
John Betancourt: On the flip side of that, what kind of physical preparations did you have to take part in for this?
 
Douglas Booth: Yeah, I mean, I'm obviously the riding, but I rode as a kid so that was just a complete pleasure. I think for me, I came from a movie where the character’s quite all over the place and I’d been shooting it a couple of months, like a month before, so I had to focus on centering Bill, I felt like he was, you know, he was almost like a fox, you know, it was very still and then move very quick. So, I think it was kind of the physicality… was actually just slowing, slowing myself down. I’m a bit of a fidgeter and worked on that side of my physicality. But yeah, apart from that, yeah, the writing and then obviously, we spent time with the armor. And yeah, that was it and kind of just getting used to working in that heat and those conditions and that we worked in the mountains a lot. So, when you're in those cowboy boots on the hill on uneven ground, you're always walking. It was exhausting. Yeah, and being hung upside down. That was… I had to practice being upside down.
 
John Betancourt: Now I have to ask, how long were you upside down during the filming of Episode Two?
 
Douglas Booth: We realized it was safe for about two minutes, two and a half minutes. But sometimes it went a bit longer than that. But after that, you feel like your eyes are going to pop out of your head. So, God knows how Bill long lasted that long.
 
John Betancourt: Now I want to circle back on something you mentioned about Bill, and how you pondered upon what he would do if he got the revenge he wanted. But since he’s such a layered character, I was curious as to what else you think he’s searching for in life.
 
Douglas Booth: Well, I think I think at the beginning of the story, he purely wants revenge. He's got to a point where he's so hollow. He can't see anything else. I think as the character as the story develops, he begins to want to know, why? What are the circumstances? You know, I think for him, he's been so blinded by this. This happened. My mother, I think, it's, it's the idea, I think, as the story will go on, it's the idea of who did this to my mother and why did this happen? And what are the circumstances around it? And I think he begins to get in touch more with the person that that he once was. And you're going to see a lot more of that in five, six and seven, and you can see a lot more of that side of him. There'll be way more layers coming out.
 
John Betancourt: Now I think… that this is a western that features some messages as well. In part, that it is a cautionary tale about revenge and how it can consume us. What would you say is the big takeaway from this series and what the characters go through?
 
Douglas Booth: Um, see for me as an actor, I never approach it from that point of view. You know, I'm so one character centric. But I think you're right, I think it's definitely a cautionary tale. But I think what I find interesting, and what makes it interesting to me and rather than just straight up Western is, it's about it's about how every character is in contempt, you know? Every character is struggling against or towards something. And I find that interesting to have, you know, you have this western backdrop with the beautiful cinematography and the rest, but it's, you know, it's a real look at a really hard time in the past, where, you know, that the frontier was, it was a terrible place. And it sent people crazy and, and I just, I think it's just this really interesting kind of place to, to magnify, you know, like, put a magnifying glass up to up to the human condition in those scenarios and see how people survive. And I think one of the most interesting storylines or most interesting dilemmas in the whole, whole show is that Steve's, you know? He has everything, he has nothing, it's like, he's got a lot on his shoulders there. So, I'm really intrigued to see how that develops.
 
John Betancourt: Overall, were there any challenges you ran into as an actor from dealing with such a physical and mentally taxing role? Courtesy of the darkness that Red Bill resides within?
 
Douglas Booth: I mean, we were working six days a week for six months, so it was just it was physically exhausting and, and there were times where it took it took its toll on our bodies, but I see these roles as rather than a burden, they're, they're a gift to play. You know, this is my job and it's enjoyable to be able to play these complex characters and I think I have a good enough support system. And we had, we had a very close-knit group of friends on set, and we had a lot of fun shooting in Italy, Spain and Morocco. So, I wasn't going home at the end of the day and crying into my pillow. -laughter- I was enjoying wine and having a good time. So, you don’t have to worry about me.
 
John Betancourt: What would you say you’re most proud of when it comes to your time on this show?
 
Douglas Booth: Um, I think I'm most proud of the fact that it’s a character that I've never played before. I've been you know; I've wanted to play lots of characters like this. I'm proud of my physicality. I, you know, I'm 29. I think for ages you kind of… you play boys, and then kind of not a boy and not a man. And I think, for me, this signifies the first role, really where I feel like… a man. And I feel ready to take on a lot of the roles that hopefully I will get the opportunity to play in my 30s. I think I found a solidity in this role, and then an assuredness. Yeah, I'm proud. I'm proud of the character I created. And I think it's… yeah, I think he's solid. And he’s unlike me in real life, and I'm very different. So, I don't see myself when I look at him on screen, which is good.
 
John Betancourt: Last question for you today, what are you most looking forward to the audience experiencing in the back half of the season, without spoiling anything of course.
 
Douglas Booth: I think… you meet Bill in the beginning, and he makes an impression, and then you kind of learn some more about him. And like, a lot happens to Bill in the next couple of episodes. So I'm really looking forward to seeing what happens with him, to try and figure out how he's going to get himself out of this predicament he's in, if he's going to get out of it, how he is going to take his next step towards his super objective of revenge, how he's going to do it, who he needs to enlist to help him if he can, if he can even get out of the situation he's in. And I think, on the fun side, you get to see Bill unleash some of his talents. You know, he's been tied up for a lot of it. Apart from the first episode, you haven't seen him dispatch any souls recently. So, you're gonna see that he's very good at doing what he does, which I think is quite fun.
 
This interview has been lightly condensed and edited for clarity.
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