![]() ![]() That's a tribute to Steve and the writers. It's like doing little plays within the show. You have these great relationship scenes that all have a beginning, middle, and end. It's not just a family of dysfunctional superheroes, it's just this incredible writing and storytelling within the context of superpowers. But just to get in the context of a superhero show, to have scenes that are three or four pages and really about relationships, I think that's part of what makes The Umbrella Academy so special. Like I said, one of the great things about the show is you get these longer scenes that are really filmic in nature that you just don't get on television a lot, even on streaming. The biggest challenge during those scenes is you want more takes, but because the show is so heavy on digital effects, you have to make time for those. I was just like, please make it not look super-dirty! The funnest part was leading up to it, looking in that fishbowl, taking him out, and jamming it in there. So it worked? That was the hardest thing to shoot because I had to pretend I'm swallowing the fish. The challenge for me this season was to keep her still grounded, within her growing sociopathy and madness, plus her hyperbolic way of talking. There were so many images and personas to play with, and personas in that way. ![]() It was great to explore both timelines: Commission Handler, past Handler, and '60s Handler. Obviously I had a good arc to play as well, coming back from being demoted and then ruling, that was really fun. So Christopher Hargadon, who's the costume director, and Sarah Craig, the makeup department head, and Theresa Bucconi, our amazing wig master this season, I just have to shine a light on those three because we worked in unison, plus the myriad assistants and the milliner who did all the fabulous hats, to create the archetype of the Handler. Steve Blackman was so supportive, and gave me a lot of leeway. That was part of the appeal, creating this image, especially since the show came from a graphic novel, but the Handler's not in the novel. It is always about wardrobe with the Handler. But I didn't really see everyone we'd pass like ships in the night in hair and makeup trailer, until the end when we were all together and it was like, "Oh, hey, guys. That's like a three-and-a-half page scene, it's like theater in a way, so as an actor it's delightful because you're really playing story arcs and there's a beginning, middle, and end to each scene. But you have these great scenes, like when the Handler first comes back and she's sitting there with A.J. Even in streaming shows, you'll often have two-page scenes that are just cut, cut, cut. You get to do these scenes which are four-page scenes, and that's just not common in television. For me, I love shooting because it is like shooting a big-budget tentpole movie, but with writing like a play. The Handler's always been kind of isolated in her own weird private Idaho with a lot of greenscreen and effects. The scope of the show this season, everybody's kind of in their own movie, in a way. ![]()
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