Note for spoilers: read only if you watched the Sunday episode The Walking Dead, "Stradivarius."
He is baaaaaack! The fans mourned when Abraham's head was on the receiving baseball bat during the 7th season premiere The Walking Dead. The epic machine for quoting the spectacle has been silenced forever. But the next best thing for Abraham's comeback was this week when actor Michael Cudlitz became the first Walking Dead cast member returns as a director. (Fear the Death EatersThis year Colman Domingo has also directed a episode of this program, and Andrew Lincoln plans to direct TWD episode in season 10.)
How was it when Cudlitz returned to his former patting grounds? In which scenes was the most excited – and nervous – directing? What are we talking about, and he and Norman Reedus came up with the story of Daryl? And what would happen if Abraham survived? We asked for it Cudlitz and more. (Read both pages for the entire interview, as well as check out our episode of Q & A with Angela Kang's showrunner.)
ENTERTAINMENT EVERY DAY: What's it like to be back, my man?
MICHAŁ CUDLITZ: It was amazing that I came back. The crew greeted me with open arms. I think in a strange way that it was part of healing the loss of Andy & # 39; ego. It was a comforting feeling, at least I felt that way, and what I received from the cast and crew was what they needed. People who come back to the show, which has such a big loss, is something that I think has value. It was just energy that accompanies it when someone knows the program, knows the cast, knows the stories, knows characters that can not be denied.
It was a really great script, a scenario based on the character. I really liked that I have many characters that we know really well. Then, the middle of the episode is also devoted to the characters we are now learning. I was very excited about being a part of it. He has pretty cool action sequences, but in the depths of his soul it was a song based on characters. That's how I wanted to sink my teeth because I think that the action stuff, because I'm doing more of it, I'll be better at it. I am very pleased with how things have gone, but I know that it was something that gave me some pauses when we joined it. We certainly published the whole story, so I knew what would happen, but I think that a more experienced director is looking at what they are doing, a little less discouraging than it is for me.
Although again I had a great team around me. It was definitely supported by a team of cameras, making sure that I do not do anything stupid, also during the preparatory period, through a huge amount of attendance and just letting me know that I'm not alone. I used all the talent that we had there. I am really very proud of this episode.
What were your first reactions when you looked at the script and saw what you would deal with?
I knew that the series also started a new direction with a more western quality of the episode. I did some research, watching really great westerns. I watched Raiders and shaneand a couple others. I stole a little visualization of these things, just like stories told. There were some really great framed shots that are outside when Tara comes out of the garden at first, checking everyone. It was a kind of iconic shot I stole shane, with an opening framed in the door.
It was interesting to me that I understood when I was reading the screenplay and I was working on the fact that parts of the script jumped out to me, like when I read something and immediately knew how I wanted to do it. One of these things was the battle between Aaron and Jesus. In combat, I knew what I wanted to do right away. Sequence with Tara and Jesus at home, I knew how I wanted to use the stairs and this large empty space. There were a few scenes that really jumped out to me, where I was "I know how I want to do it".
Then there were the action sequences I read, I was like, "Oh my God, how do you start?" My script writer said: "You just start from the beginning." We went through every shot of what I wanted to see, and he began to revive him. The more he brought to life, the more I saw what I wanted to do, going further. Then I'll come back and pick up some of the work that we've done to say, "No, actually, let's do it this way, let's shoot this direction."
We've built the scene literally with the shot. I was very excited to work with Melissa and Norman. I think their scenes were beautiful. I think the scene where I cut my hair is one of the things I'm most proud of in this episode. Combining these two characters, without taking overboard, I'm just very proud of this. It's beautifully filmed and I think they just made hell on this scene.
What was the dynamics when you give direction to your ex-roommates? You are talking about this scene with Norman and Melissa, or evidently Danai is in this episode. Was it a bit strange when you gave them directions for the first time?
I was lucky to know their history by watching the program and being in the program and by working with these people. I know these characters, generally. I felt very good having these discussions with them. I felt very comfortable in some of the reactions that I encountered some things and I could push away from my end and lead really great creative conversations, and then I had the third thing that none of us thought about, but ultimately it was right.
There were a lot of things that we changed, actually, from Norman's story from the initial scenario we got, because Norman had some very specific things he wanted, and [writer Vivian Tse] I had some specific things that she wanted, and I had some specific things that I wanted. Ultimately, we were able to come up with this amazing story that happened when he was separated from everyone else and how he came back to this world – you know what his camp looked like, what he was doing at the time. downtime.
It was a lot of great building these characters, because we are really just two episodes in which we cleaned the board and started again. So I think it is important that these discussions take place. It is important that this character development takes place in front of the audience so that they know where everyone is at the moment, because these people have changed in the last few years.
Some of these things that we know why have changed and some of the things we're discovering. We will discover where the Xowie come from. It's a really complex story. This is a great, really tense thing that happened during this break. At some point, we'll find out. You will finally find out what it is. It was bad. (The interview is continued on the next page)