Harriet Walter is a silver and small screen legend, that has appeared in a bevy of roles across multiple popular franchises. Such as Sense and Sensibility, Killing Eve, Doctor Who and the Star Wars Universe. Currently, she stars as Martha in the new Apple TV+ series, Silo, and we here at NTG had the distinct honor of sitting down with Harriet to discuss her new character and the show.

​John Betancourt: What attracted you to this project?

Harriet Walter: It was a combination of the character that was nothing like anything I'd ever played before. And the… the sort of… the amount that you could discuss through this story that would… that was kind of like, reminiscent of our lives now, but an extreme version? And what do we have in common with them? What we don't? I mean, it sets up a lot of questions, a lot of interesting questions. And it wasn't a police procedural, and it wasn't about a serial murderer. So, you know, all of that is sort of in its favor.

John Betancourt: Refreshing. There we go.

Harriet Walter: (Laughs) Refreshing!

John Betancourt: Now, what attracted you to Martha, as an actor.

Harriet Walter: I think the fact that I've… I had played quite recently, some characters who were like, sort of quite brittle, and, you know, sort of damaged and sort of not terribly, you know, I played a lot of bad mums. It was time for me to play a sort of good mum. And in a way Walker is a good mum, she's not a perfect mum, but she's a better mum than some of the people I've played. And I wanted to reveal that there is a generosity of spirit in older people sometimes. That we’re not always the sort of main enemy, that we can be the enablers and the empathizers. And, you know, I was attracted to that having just come from playing slightly the opposite sort of person.

John Betancourt: Now as an actor, how did you get into the mindset of playing a person that is quite literally trapped in every way imaginable?

Harriet Walter: It's extraordinary, I don't really know a straight answer to that. Except that that's what actors do. (Laughs) You know, we, you know, we have that kind of imagination that can link our own life history somewhere, or our own memories somewhere, to something that's unimaginable, and hasn't happened to us. And so you will probably sort of think of that time you got stuck in the bathroom, (Laughs) you know, and you couldn't reach anybody and, you know, whatever, it can be something very banal that you, or some, you know, I was talking earlier to somebody about how it was rather like, to me it was like being on the Eurostar, which is the train that links the UK to the mainland Europe. And, you know, the notion that above you, and this train, is just this tunnel, and above the tunnel, there is, you know, tons and tons and tons and mega tons of sea. And if you think about that, you can get very panicky in that train. But if you don't think about it, and you just get out your newspaper and carry on reading until you reach France, then it's fine. And I think in this story, we're all carrying on reading until we reach France. But in you know, sometimes you get this chink of ‘Oh, God, my God, this, the whole English channel is above my head, and what if there's a crack in the concrete!’, and you know.

John Betancourt: Now this is a story where everyone seems to be searching for something. What would you say Martha is searching for?

Harriet Walter: I think my character is searching for peace of mind. I think, you know, nothing… it's not going to happen very easily. I think she's just you know; she's lost a lot of… she's lost love. She's lost connections. She feels she's messed up. You know, she's not taken the opportunity she could have taken, she's playing everything out through Juliette, really. She's sort of saying, “You go for it, girl. You do the stuff I didn't do. I didn't have the guts, or I didn't have the smartness.” And so, what she wants is… she wants some kind of equilibrium because she's always in some kind of seesaw. But I think what you know, maybe she wants to break through her own terror, and I think that's how she'll get peace of mind by sort of saying, “Hey, I did it” And she breaks out of that room. And, and I think a lot happens. But coincidentally, that's when, you know, everything that she loves, is lost. So, it's, it's quite a difficult character to feel happy. But there you are. It's nice when I go home at night, and I realize I do live in the open air.

John Betancourt: Spend a little extra time on the balcony, that makes sense.
Harriet Walter: (Laughs) Yeah.

John Betancourt: Now there is definitely some deep messaging present in this story, what’s the big message that you hope the audience takes away from this show?

Harriet Walter: Well, that everybody has a reason for saying what they say. And you've got to not just listen to the words they say, but think what, what's in it for them? And why are they saying it? And the parallel with that is, you know, if you, if you hear about something on Fox News, you've got to know what their agenda is. And if you hear about something on MSNBC, you’ve got to know what their agenda is, so that you can steer your course, by being as equipped as possible with what you think you believe and know. Do you know what I mean? Keeping your eyes and ears open, not getting fixed in your, your sort of echo chamber, try to listen to other points of view, but always remember, you know, who's getting what out of it? You know, why would they want to tell me the world was destroyed? You know, why would they want me to be down here? You know, who is it that's making the rules? I don't know, I think we should all have a bit more healthy skepticism. But now I say that, but actually, there are other areas where I think we're losing trust, we're losing… well…. we're right not to believe people, you know, a lot of people have betrayed our trust. And so, we're right not to have faith in people but at the same time the world doesn't function if you don't have some kind of trust and faith you know. So maybe just go away and think and talk to one another and yeah, that's a good thing to do.

This interview has been lightly edited and condensed for clarity.

Avi Nash is one of the hardest working actors in the business right now, and his quest to enjoy dynamic roles has allowed for him to appear in big time franchises such as The Walking Dead and Silicon Valley. Currently, Avi stars as Lukas in the upcoming Apple TV+ series, Silo, and we at NTG had the honor of sitting down with Avi to discuss his new show and his character.

John Betancourt: What attracted you to this project?
​
Avi Nash: You know, it's the script, it's the storytelling about humanity in its darkest times, still looking for hope, and still trying to ask big questions about truth and its role in society and whether or not, you know, we deserve to live in ignorance. And are we being manipulated, which I think are questions that are relevant for us, and it's the people. It's speaking to Graham Yost, who's a born and bred storyteller and falling in love with the story and falling in love with him and hearing about the cast that he'd assembled and, you know, the chance to work with Rebecca (Ferguson) and Tim (Robbins) and Common and Chinaza (Uche). And Harriet, you know, what is there not to love?

John Betancourt: What attracted you to Lukas?

Avi Nash: You know, I think, as an actor, I'm always attracted by a perspective that maybe I don't share, because I want to explore maybe that facet of my humanity. And I think there's an optimism and a hope that exists within Lukas that, you know, some days I just don't feel in my real life and to sort of, to have the grace that he has to sort of pursue his curiosity and, and be okay with, with always asking more questions and searching for those answers. I thought, “Gee, you know what? There's a real passion in that guy that I would like to explore.” And there's a real light footedness that… you know… I'm a little too hot blooded in my life, I get a little too angry sometimes. And it's nice to play someone. I think that… is not innocent, but he's still sort of wondering at the world. You know, I think we could all use a little bit more of that.

John Betancourt: Now from an actor’s perspective, this is a dark story in a bleak world, how did you get into the mindset of a person that is quite literally trapped beneath the earth?

Avi Nash: That's a good question. I think you always just have to play the truth of the circumstance, I think, you know, we do a lot of work, actors, and researching and understanding the psychology of the character and where he is, and where he's coming from, and where he's going. And those all are important, and they all feed into how you are. But then, at the end of the day, it's the truth of what that moment is. And so, I think for Lukas, that's what I tried to focus on, you know, I tried to focus on who it is that I'm speaking with, how I'm trying to connect. And can I connect? You know? Or am I being put into a position where I need to keep my mouth shut, and I need to watch and I need to try and survive, you know… what are the things that he's trying to do in those moments?

John Betancourt: In a story where people are rightfully looking for more, what ultimately is Lukas searching for?

Avi Nash: I think he's searching for an answer to what else might be out there. I think he is not satisfied with the status quo. And he, you know, I think he wonders about where they came from, and where they might be headed as a people? And so, I think, those questions really drive him, you know, and he's probably really tickled by the irony that, you know, they have all this technology, and yet, they don't know very much about the outside world.

John Betancourt: There is definitely some fascinating commentary and parallels to our world here, what do you hope audiences take away from that commentary?

Avi Nash: I hope, you know, first and foremost that they that they fall in love with these characters and the mystery, and it engages them to try and figure out you know, who and why and where and how come? And then you know, I think like all good sci-fi, I hope that it puts a mirror up to us and asks us these deeper philosophical questions about what our relationship to truth is, you know, and whether a society in which the few control the many is really where we want to be headed, or you know, the society in which maybe we live right now, where truth is up for grabs, and it's debated about what is true, you know, what are facts? Is that the world we want to live in? You know, what is our relationship to truth and how can we find the happy medium?

John Betancourt: What are you most looking forward to audiences experiencing when the show debuts? Without spoilers of course.

Avi Nash: Yeah, what can I say and not say? I hope that they are as awestruck as I am by the world that we've built, you know? I hope that they feel the immensity and the claustrophobia of it. And the humanity that exists amongst all these levels and the history that is in there, and also the mystery of why are they there? And why can't they go outside?

John Betancourt: What are you most proud of when it comes to your work on this show?

Avi Nash: Oh, that's such a such a hard question. I think… I’m… such a critic of myself. I think that I'm quite proud of the different things that Rebecca and I were able to tease out in the song and dance of Lukas and Juliette, and not making that relationship too easy. And trying to find a way to both ground it, but also make it hard for them, you know, and make it hard for these characters. Because I think sometimes on TV, it's all a little too easy. And I think, giving characters flaws, and giving them a journey is important. So, it's hard for me to say I'm proud of that. But I hope that we've achieved that.

This interview has been lightly edited and condensed for clarity.

It is definitely safe to say, that Tim Robbins is nothing short of a screen legend. One that has starred in some of our favorite movies and shows, and currently, Tim stars as Bernard in upcoming Apple TV+ series, Silo, and we here at NTG had the absolute honor of sitting down with Tim to talk about his new show and his mysterious new character.
​
John Betancourt: What was it that attracted you to this particular project?

Tim Robbins: The overall world that Hugh (Howey) created and how relevant it was to what we've just experienced. I… I think the book is more relevant now than it was when he wrote it. The themes that run through it about truth, what is truth? How much of a society can be maintained? If at its core, there is a lie. How sustainable is that? And how and what kind of actions do people in power have to take in order to sustain that lie?

John Betancourt: You are spot on when it comes to relevancy for sure. Now, Bernard is a very intriguing character to say the least. What was it that attracted you to him as an actor?

Tim Robbins: Well, I've always been curious about what is that thing that happens with people in power, where they can rationalize behavior, that if it were to live out in the open air would not be acceptable, but that they must justify, in their minds as necessary for the survival of society? What are the compromises to the soul that happen with that, and always, these people throughout history seem to be operating from this position of virtue. That, they're taking this burden on for others, other people and, and for the survival of the human race. How much of that is true? And how much of that might be related to the tendency in people in power to lean towards autocracy. Does autocracy and, and totalitarianism make their job easier?

And also running concurrently with that is the character of Juliette who comes from a position… of a different position in society of the lowest, the down deep, the mechanicals, and how she pursues truth, based on what is in her heart, her need to find out what happened to the one that she loved, and why he died. And as she seeks this truth, she starts peeling away layers, that reveal a different truth about the silo itself. And it's always going to be the personal quest for truth that will let the human spirit survive, it will never be the compliant person that will carry on the flame of the human spirit. It will always be the rebel; it will always be the critical thinker. It will always be the one that is pursuing something out of a sense of love instead of a sense of fear or, or anger. And her journey, in contrast to my journey, for me is what makes the story resonate.

John Betancourt: Now what’s interesting about this story and your character, is that everyone in the Silo is in a dark place and searching for something more. Whereas Bernard, seems very content with where he is at. What would you say he’s ultimately searching for as a character?

Tim Robbins: Good liquor. (Laughter from Tim and John)

John Betancourt: That’s fair. That’s very fair.

Tim Robbins: It’s good to be the head of IT. No, I don't think there's a lot of introspection in the character, I don't think he's really searching for anything, I think he has a certain knowledge that no one else has. And the burden that comes with that is his challenge. Whenever I approach a character, I try not to judge them into whether they're good or bad. And I'm not sure I even understand now whether Bernard is a good person or a bad person. I think he is a result of the circumstances that led him to this and is in an unenviable position of having to make difficult decisions for the good of others.

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

Tim Robbins: I'm actually proud of everybody involved with this show. Everyone on the crew, who were lovely, and professional, and talented, the designers that created this amazing world. The cinematographers that lit it, that created cinematic dynamics that make the story exciting. The cast that is so talented, and such a great sense of diversity of a society. And the crew that worked their butts off to make this. And we did it in a very human way. I think that's something I'm very proud of, that we worked on this show for quite a few months, but we kept it to ten-hour days, at the most, and sometimes less. Meaning that everyone on the crew got to see their kids at night and got to have dinner out with friends. Oftentimes, in this business, we work these insane hours, fourteen, fifteen-hour days. You know, somehow this is possible in the 21st century, with workers that are protected by unions.

That for me is insane. I've worked on a few shows that have been very human and mindful of the fact that we have a bunch of professionals, that are going to create great work. But we're not going to overwork them and push them to a point where their spirits break. I think this show coming from the top, from the producers, from Graham Yost, from the directors, from the people that pulled the strings. Always were mindful of this. And that's super important. Because it allows people to work hard to go home and have their lives and to come back the next day, having experienced their other life. That's so important. When you overwork people, all they can do is go home and sleep. And that doesn't allow enough of the richness of life to permeate their existence. And you start to feel in the months as they progress on situations like that, a depressing and oppressive kind of pallor that manifests, and that's not fun. And we had fun on this for the whole show.

This interview has been lightly edited and condensed for clarity.