Spoiler alert! Spoiler alert!
Some main issues went down throughout Energy E-book IV: Drive Season 2 Episode 5, and issues in Chicago won’t ever be the identical.
With a number of deaths, loyalties have been examined and ripped aside from the seams on this hour that leads us into the again half of this super season.
This game-changing hour was directed by Lisa Demaine, who additionally serves as a Supervising Producer on Energy E-book IV: Drive, and we have been thrilled to speak together with her about her preparation for this episode and dealing alongside this proficient solid.
Lisa broke down so many key scenes and supplied nice perception into all the pieces that goes into making such an enormous episode come to life.
What sort of prep goes into an episode like this for you?
It is a huge episode. We had three fairly main deaths and moments of sequence regulars getting killed off the present. And so, actually taking the time to consider how we do this and the way every dying is informed in storytelling and who will get what sort of sendoff.
So, Walter’s dying, simply by way of completely ensuring that it is huge and epic, matching who Walter is to this world, that he goes out in that blaze of glory, so to talk.
Paul was the empathetic character. He is kind of the ethical compass of this household. And so I wished Paulie’s dying, when he falls into that water, that pool of water, and the blood sprays out, gradual movement, fingers unfold out, to be nearly Christ-like on the cross. He sacrificed himself for the world, for this household.
After which Doyle’s dying was a shock, proper? You didn’t see that coming. Claudia, within the break up second, comes to a decision to tug her gun and shoot him within the head, and I wished it to be quick and soiled and simply to shock individuals. And so these three have been sort of huge to verify these deaths have been portrayed in these methods.
To tackle one thing like Walter and Paulie’s dying all being finished in a single huge night time, you storyboard it, meet with the stunt coordinators, meet along with your cinematographer, and discuss all of it via upfront. And we really rehearsed with all of the stuntmen the day earlier than for all of the beats with Paulie, and the actor, Man, was there as properly.
He acquired to rehearse all the pieces, even falling into the pool the day earlier than, in order that after I had Walter and Vic on the set the subsequent night time, I might actually give attention to what they wanted to do and never get misplaced within the nuisances of speaking about all of the stunts as a result of there’s a lot to be finished.
And it was quite a lot of work to be sure that we had that dialed in tight so I might give attention to the actors.
Yeah, and that was really my subsequent query, and also you answered it for me. I wished you to stroll me via that complete shootout scene. As you mentioned, Walter Flynn’s an OG, so you will need to just be sure you actually get his dying the way you suppose it needs to be framed on display. So, thanks a lot for that clarification.
Yeah, it is sort of enjoyable. Only a enjoyable truth: that final shot, when Vic turns to stroll away, and we do the drone shot, and once more, flying as a result of you could have so little time. And the solar is my clock, proper? The solar’s going to come back up on me. I am outdoors.
And our drone operator, Joe, we had talked about what I wished, and it often takes just a few takes to determine the gap from the actor, when to tug away, what to see, and what have you ever. And he nailed it in a single take.
Wow.
Yeah. I am like, that was perfection. And so, I like that we acquired most of that shot in, too, and simply on the very finish, displaying the span going up, up, up, up. And also you see Walter’s world, and there they’re, and all of the deaths and Vic strolling away.
What’s it like capturing with this solid, which has so many veteran actors, and having Joseph Sikora on the high of the decision sheet? What’s that like for you as a director?
Oh, it is an absolute dream. For steering, it is about discovering language and belief between the actor and your self and discovering an settlement as to what the scene is and what the intention is, proper?
However working with actors like Joseph and Isaac and Kris and Lili and Shane, and Tommy Flanagan, has been an actual pleasure as a result of they’re all so expert at their craft and so collaborative, so prepared to attempt issues and take notes and to play.
And that is one thing I love to do. We’ll do a pair, it will be this, that, after which I prefer to go in, and I am going to say to them, “Let’s play. We have got that now. What if we do that? What if we attempt that?” And we begin placing some coloration on it and giving the actor permission to say, “You may’t break it. You have acquired it. It is within the can.
Now let’s play to see what else can come.” And you’ll solely do this with actors, like what we now have in our solid, tremendous skilled, assured, prepared to be directed, and prepared to be like, yeah, let’s attempt issues. That is the enjoyable.
Chicago is a giant piece of Energy E-book IV: Drive. So, for you, how necessary is it to have the ability to seize the town if you’re capturing the episodes?
That was a giant dialog that Gary and I had to start with as a result of I am the supervising producer on the present as properly, is that Season Two actually wants to point out the world that Tommy resides in and that we’re transferring in, but additionally the world Tommy’s making an attempt to dominate.
And it is actually necessary to choose places that aren’t simply Michigan Avenue, not simply the glitzy downtown of Chicago, however let’s present Chicago, proper? Let’s present the world. Let’s present Garfield Park. Let’s present the South Facet, the West Facet. Let’s present the Regal Theater.
And so selecting places that present the flavour of this metropolis and that it is completely different than New York. That was necessary to us, too. The unique Energy is ready in New York, and within the sequence there, Tommy’s constructing a brand new coalition in a brand new world, in his previous world.
And we wished it to really feel completely different from New York by way of the costuming and the way we shot it and lensed it and the colour palette and all of that.
Was there a scene or one thing particularly on this episode that was difficult so that you can shoot or determine the way you wished to deliver to life?
Positively, Walter’s dying was as huge because it was. The problem is you by no means have sufficient time. It is so good to work on this world of Energy as a result of it is premium cable, so you could have extra days and more cash, versus capturing a community TV, which you are clearly rather more restricted, however ambition is huge.
I all the time need extra. So, that scene was difficult. After which the diner scene was difficult solely as a result of we had a lightning storm hit, and we needed to shut down for 2 hours, and we could not work. The crews all needed to go in safely as a result of there was lightning within the space.
And so actually sitting within the diner, not having the ability to shoot for 2 hours with the genny down, and nonetheless having to complete that scene was difficult.
And you’ve got one other episode coming in the direction of the tip of the season. So, with none spoilers, how do you suppose this episode, this midseason level, helps arrange the remainder of the season?
Yeah, that is such a giant episode of the turns, the twists, the deaths that occurred, the story. I feel what’s organising in episode 5, which I like, is that nobody is secure on this world, completely nobody. And so if you recognize that leaving episode 5, the viewers is aware of that none of their characters actually are secure, who is aware of?
It is a drug-dealing world. It is soiled, it is lethal. Folks die. Folks get harm. And given the place Gary has taken Drive for this episode, i.e., taking out Walter and Paulie, it is open. You do not know what is going on to occur. The viewers needs to be sitting on the sting of their seat, worrying about who and what character is subsequent.
The Energy Universe is likely one of the largest TV franchises. What does it imply to you to be part of that?
Oh my God, I am so thrilled to be part of it. I am so grateful to inform tales on this world and get to know Joseph. He’s the connection again to the unique Energy world.
And I steeped myself within the lore of constructing certain I rewatched all of Energy and Ghost and Elevating Kanan to know the world and to know the lore of the tales and to honor it. I feel the storyline with Kate and bringing her again into Tommy’s world right here in Chicago is knowing the historical past between them and what which means.
And so, I am thrilled to be taking part in on this world. I feel creatively, we’re attending to do issues that I do not usually get to do in a community present. So, it has been nice. I am completely thrilled to be right here.
Only one final fast query for me. Versus essentially the most difficult factor to shoot, what was one thing that you simply loved capturing and are proud to see on the display from this hour?
It is each. It is the Walter dying scene, proper? It was difficult, however I feel it is epic. I feel it actually got here to taste. There’s additionally a shot I like. It is a bit scene, but it surely’s the second when Vic is sitting outdoors the bar ready for Claudia, and he or she does not present.
And we do that dolly shot, a very gradual dolly shot round him coming round as he turns his head and has a realization that she stood him up and that she really did attempt to kill him. It wasn’t a mistake that they confirmed up at 8:30.
Simply these little moments of getting these sort of performances, and clearly the stuff with Jenard, with him within the automobile capturing up. I’ve so many favourite moments from this episode. It was an actual artistic bonanza for me to direct.
***This interview has been edited for size and readability.***
Whitney Evans is a workers author for TV Fanatic. Follow her on X.
