Hunter Doohan (00:00): There's always a romantic undertone to it.

Jenna Ortega as Wednesday  (00:04): I already take up enough space in your twisted head.

Hunter Doohan (00:06): Wednesday's the one person who wouldn't be afraid of him.

Caitlin Reilly (00:15): It's Caitlin Reilly, and welcome to the Wednesday Season 2 Official Woecast. There's a lot to unpack. So with the help of my producer buddy, Thing, and some amazing guests, I'm going to break it all down  for you. Hunter Doohan, AKA Tyler Galpin, is coming to talk about all that juicy Hyde drama. Victor Dorobantu, the magician/actor genius behind Thing is here, plus director Paco Cabezas is here to spill all the behind-the-scenes secrets from episode two. I am delighted to welcome to the studio everyone's  favorite villain. Well, would we call Tyler Galpin a villain? I'm not sure. Let's welcome Hunter Doohan. How are you, Hunter?

Hunter Doohan (01:06): I'm good. I'm excited to be here with you.

Caitlin Reilly (01:08): Oh my gosh.

Hunter Doohan (01:09): I'm also nervous because I've seen a lot of your content and you do a lot of making fun of things cringy actors say, and I don't want to be inspiration.

Caitlin Reilly (01:17): Well, it's going to be nothing but inspiration for me today, so you're going to be the next victim.

Hunter Doohan (01:22): Awesome.

Caitlin Reilly (01:22): No, you're not. You're fantastic. Last season, Tyler was working in a coffee shop.

Hunter Doohan (01:27): Yes.

Caitlin Reilly (01:28): But when we meet him at the top of [00:01:30] this season, he's in Willow Hill and he's fully Hyde-minded. He's dark Tyler now. Is there something beneath the surface or is he fully dark Tyler?

Hunter Doohan (01:40): Yeah, it was nice to not be full, nice coffee boyfriend this season. Episode eight was my favorite one from season one, and so to start there, it was really fun. So it's definitely a different vibe being chained up and sweaty instead of just behind the coffee counter.

Caitlin Reilly (01:59): So this season we see Tyler at his full Hyde capacity, but also we see him at his weakest. How did you approach playing his dual nature?

Hunter Doohan (02:09): I think that they're kind of intertwined because when he is at his weakest, all that pain that's kind of underneath all of the rage, and when he is at his most confident and trying to get under Wednesday's skin, but yeah, I think those are totally interconnected for me.

Caitlin Reilly (02:27): Now, Tyler is dangerous and despicable on one  hand, but on the other hand, he's a creature who becomes a servant to his master. Don't love that. When you're playing him, do you sympathize with his situation at all?

Hunter Doohan (02:40): Yeah, I think I have to. But, I mean, he's killed a few people.

Caitlin Reilly (02:46): I mean, it's not that big of a deal.

Hunter Doohan (02:47): Like, come on.

Caitlin Reilly (02:48): It's a few people.

Hunter Doohan (02:50): It's a fantasy show.

Caitlin Reilly (02:51): It's a few people.

Hunter Doohan (02:52): He was being mind controlled all of season one.

Caitlin Reilly (02:56): Exactly.

Hunter Doohan (02:57): Yeah. So I think you get it, you sympathize with them too.

Caitlin Reilly (02:59): Yeah, I get that.

Jenna Ortega as Wednesday (03:00): The only thing you're pillaging is an extra fruit cup at dinner.

Hunter Doohan as Tyler (03:09): You act like you're the smartest person in the room, but you're not.

Jenna Ortega as Wednesday (03:10): Then how come I ended up on this side of the bars?

Hunter Doohan as Tyler(03:11): Because you got lucky.

Caitlin Reilly (03:17): Now, the fans are so invested in the Tyler-Wednesday dynamic. How would you define their connection?

Hunter Doohan (03:21): I think for me there's always a romantic undertone to it. Maybe it's a little bit more one-sided, this season, from Tyler. Yeah, I think my kind of way in for Tyler was, Wednesday is the one person who wouldn't be afraid of him. For me, that totally painted how I saw their relationship and what I played for the rest of the season.

Hunter Doohan as Tyler (03:52): So, what do you think of the place? It was originally designed for a schizophrenic [00:04:00] werewolf, went on a full moon killing spree the summer of '92.

Jenna Ortega as Wednesday2 (04:09): Ironic, considering you were thrashed by a werewolf.

Hunter Doohan as Tyler (04:12): It was inevitable your morbid curiosity would bring you here. I knew you couldn't resist seeing me again.

Caitlin Reilly (04:19): When Wednesday and Tyler finally meet again face-to-face at Willow Hill Asylum, obviously you had the-

Hunter Doohan (04:25): You could cut the tension with a knife.

Caitlin Reilly (04:26): I know, like butter, but you know have your specific dynamic in season one and it's changing so much in season two, so what was working on that connection like?

Hunter Doohan (04:36): Tyler's been dreaming of this moment and playing it over and over in his head ever since he got put into the cell. And so when she shows up, I think he's trying to test the limits with her, trying to get under his skin, and hoping maybe that she's even going to provide a way out. And then I think when it really turns for him is when she says, she reveals [00:05:00] that his dad's been murdered and that she's really just there to get information out of him and she's not come to talk about them at all. And so then he freaks out, turns into a monster as he does.

Jenna Ortega as Wednesday (05:12): Who else would want him dead?

Hunter Doohan as Tyler (05:15): You're looking for my help. I'm flattered, but it's going to be so much more fun watching you grope around in the dark.

Caitlin Reilly (05:25): Coming off the wild success of last season, how has it felt reuniting with the entire cast and creative team? Was it clunky to start back up? How much time was between?

Hunter Doohan (05:35): There was two whole years in between wrapping season one and starting season two.

Caitlin Reilly (05:41): Wow.

Hunter Doohan (05:42): Yeah, so I mean, I think we were all just excited to get back together. And then we were in a new location this time too, in Dublin.

Caitlin Reilly (05:48): Yeah. What was it like filming in Ireland?

Hunter Doohan (05:50): Amazing. It was so fun.

Caitlin Reilly (05:52): Jealous.

Hunter Doohan (05:52): Yeah. I had my full European summer dream, just traveling all over. It was great.

Caitlin Reilly (05:59): Of course. So what are some of your favorite memories from filming this season? Give me the goss.

Hunter Doohan (06:03): The goss?

Caitlin Reilly (06:04): Yeah. Who was the worst? I'm kidding.

Hunter Doohan (06:05): Who was the worst? Owen Painter.

Caitlin Reilly (06:12): He's awful. He was the best. He was just in here.

Hunter Doohan (06:13): No, I love him. Honestly, this season was so fun for me. I felt like I was truly in the Tim Burton of it all this time because Tim directed the first four of season one. And I basically was like, can I get you a coffee, and flirting going to the school dance, and so this time it was getting to be the full Hyde Tyler with Tim. It was a lot more fun and I think he had more fun giving me ideas and stuff too.

Caitlin Reilly (06:40): Well, you were so, so great this season. I watched every single episode. Now get out of here.

Hunter Doohan (06:58): Okay. Bye.

Caitlin Reilly (06:58): Bye. See you. Get him off my set.

Catherine Zeta-Jones as Morticia Addams (06:59): waiting list is six months long. How did you get her up to Jericho in a moment's notice?

Luis Guzmán as Gomez Addams (07:04): She has a sore spot for disembodied appendages and I tripled her usual fee.

Catherine Zeta-Jones as Morticia Addams (07:11): I'm so mortified. We forgot things, birthdays, it's unforgivable. I've been so preoccupied with the children and chairing the fundraising...

Luis Guzmán as Gomez Addams (07:24): No, fret not, [foreign language. Another hour on the  touch, Thing will be a new hand.

Caitlin Reilly (07:30): Up. Next we have a guy who really lent a hand to the production of this series. You could say he's really an all right kind of dude. I am delighted to be joined by the rest of Thing, please put your hand together for Victor Dorobantu.

Victor Dorobantu (07:57): Thank you for having me.

Caitlin Reilly (07:58): Thank you so much for being here. I found out something about you recently.

Victor Dorobantu (08:02): Oh.

Caitlin Reilly (08:02): You just got engaged.

Victor Dorobantu (08:03): Yes. Thing put a ring on it.

Caitlin Reilly (08:03): How did you propose?

Victor Dorobantu (08:07): I was in Amsterdam with her. We were in the dam square and that's her favorite place in that city. It was morning, the sun was up in the sky, completely empty, and I was like, "Yeah, this is the moment." It was delightful. I'm so proud that I did that. We are so blessed.

Caitlin Reilly (08:21): That is an amazing proposal.

Victor Dorobantu (08:23): Yes, thank you.

Caitlin Reilly (08:24): I got proposed to while doing the dishes, so.

Victor Dorobantu (08:27): What? Why? How?

Caitlin Reilly (08:30):  Let's go to the first question. This season, Thing is struggling with his place in life.

Victor Dorobantu (08:37): Yes.

Caitlin Reilly (08:37): Who he is, how he fits into the Addams Clan, how do we see him navigating that journey?

Victor Dorobantu (08:43): I think Thing needed this kind of attention because in the first season everybody was attached to this emotional side of Thing, and you have to be honest, nobody expected that. Nobody expected people to get attached to this character. I got attached to this character even  though I was not expecting it, as well. The fact that we saw that in many fans, I think, woke up this desire for the writers to create this mood in this season. The fact that they forgot about his birthday, for example, I didn't read the script before that scene and I just found out that morning that I'm shooting this and it was very easy to get into that mood because I felt the need for Thing to get more attention in that area. So Thing being  sad and drunk, Thing being grumpy with everybody because they forgot about his birthday. That was a very nice touch to this season that I hope that everybody enjoyed.

Caitlin Reilly (09:42): How was Wednesday and Thing's dynamic changing since last season? And what is it like bringing that dynamic to life with Jenna?

Victor Dorobantu (09:51): Well, I think that Wednesday this season got a little bit more involved in Thing's personal life. So I [00:10:00] think if you say it this way, is like she cares more about Thing now. She accepted that she has to treat him as part of the family. As for Jenna, she helps me a lot with Thing, even with my performance, she gives me advice, she guides me into the work. When we were on set, sometimes I had really bad days and I was grumpy and stuff, and Jenna always makes me laugh and just her presence is doing that to everybody on set.

Caitlin Reilly (10:26): That's amazing.

Jenna Ortega as Wednesday Addams (10:27): I don't know what's been happening with my psychic  ability lately. There must be an answer in Goody's book. In my last vision, Enid dies and it's all my fault. Somehow it's connected to those birds. No one else can know about this, especially Enid. She's far too fragile to face her own impending doom.

Caitlin Reilly (10:52): So Enid and Thing also have a strong bond. Enid builds this house for Thing, creates this little space  for him. Why do you think they're drawn to each other? What's this connection that they have?

Victor Dorobantu (11:05): When Wednesday is angry, Thing has to have a best friend. So when Enid is around, Thing is like her best friend, low-key, not even with Wednesday knowing that. So I think that the fact that she felt bad for Thing's experiences in the first season, now she's trying to be more there for him. So that dollhouse  was, I think in Thing's opinion, because he's talking to me recently, it was something that gave him room to, I don't know, to spend time with himself and getting into his life and have his personal space because he needed to.

Emma Myers as Enid 6 (11:49): You know what you need? A place you can call your own, and I've got the perfect spot.  Home sweet home, Thing. Welcome to the pack.

Caitlin Reilly (12:15): This is obviously a very physical role for you.

Victor Dorobantu (12:18): Yes.

Caitlin Reilly (12:18): Coming into this season, how did you prepare to get back into Thing's headspace? What's your process?

Victor Dorobantu (12:26): Well, if you go in the day of shooting, it's not a big process,  it's more like prosthetic makeup. That part is the huge process in shooting Thing. Then when you get on set, it's a lot of work, I think, in my opinion, for the lights because they have to place the lights in some way so they avoid me casting a shadow over the floor of the room or other castmates because we're shooting it together. And the process of filming it is very complicated for all the crew members because you have to adapt of having [00:13:00] a huge guy in the middle of the room next to the other actors and cut him out of the frame without cutting something else also.

Caitlin Reilly (13:07): Right, I was going to ask, what are the physical aspects of this? Because it's your body, you're essentially shrouded in a color that they're going to take out and delete.

Victor Dorobantu (13:18): Exactly, yeah.

Caitlin Reilly (13:19): And the focus is your hand, so I mean long days of filming and filming all those scenes, is that-

Victor Dorobantu (13:24): It's painful, that's the short part of it. It's very painful, because I'm not a very athletic guy. I'm trying to be, but I can manage stopping eating, but that's a thing that I should be prepared to do before shooting. But the positions I have to do, trying to avoid the casting shadows, trying to hide my body behind the objects so I can make the work of VFX easier, for the people that are working there. So that part inquires to do mostly flexibility and stuff like that. I should require a therapist on set every day, right?

Caitlin Reilly (14:00): I was going to say a masseuse.

Victor Dorobantu (14:00): Chiropractor or something.

Caitlin Reilly (14:00): Get Victor a masseuse.

Victor Dorobantu (14:00): Yes, I did ask as for that.

Caitlin Reilly (14:05): He deserves that. He's engaged now. Get the man a masseuse.

Victor Dorobantu (14:08): Thank you. Thank you. Appreciate it.

Caitlin Reilly (14:10): He's planning a wedding. Now you get into some really physical fight sequences this season.

Victor Dorobantu (14:16): Yes. I loved that.

Caitlin Reilly (14:17): You beat up a serial killer.

Victor Dorobantu (14:19): Yes.

Caitlin Reilly (14:19): Please tell me about filming that.

Victor Dorobantu (14:21): Well, that part was a new thing even for stunt people because we had to prepare a month before. If you remember, we had a doll where Thing was hiding and he crashed the doll's face and jumped on his face, that part was a whole rigging for weeks to do that doll and that breaking and I had a hydraulic arm pushing my arm for doing that. And each part of that scene, each jump, each hit, each movement on his body with Thing was a different shot that we planned ahead and we rehearsed it. So it would have been cool to have a continuous shot, but in that specific thing it was pretty complicated because I had to move my body around. So you see Thing in real life, but behind the scenes it was me trying to dance around him, so it doesn't look bad.

Caitlin Reilly (15:24): I want to talk about drunk hand acting, and obviously the logistics of a hand getting drunk makes no sense. But-

Victor Dorobantu (15:33): Everybody was asking, "How is he drinking?" And I was like, "He's absorbing it."

Caitlin Reilly (15:37): How is he drinking? He's absorbing it, exactly. But I could tell just from your hand performance, what a brilliant performance it was, because I was like, "No, that's a drunk hand."

Victor Dorobantu (15:49): Well, honestly, I had an idea before doing this. I wanted to get drunk to do it, but they were like, "No, Victor, you're not getting drunk."

Caitlin Reilly (15:57): No Victor, you cannot get drunk at work.

Victor Dorobantu (15:58): I honestly tried to drink because it was like a rum  bottle on set and I was like, "Okay, that's rum. I'll drink it." Big lesson guys, don't drink prop drinks. That's why I was asking about this water right here.

Caitlin Reilly (16:08): What was it?

Victor Dorobantu (16:10): It was something like food coloring or stuff, it was not rum, for sure. So we did that scene basically, I think we shot for three or four hours. We tried to do it without laughing our asses off, everybody on set was ruining the scene by laughing and stuff. We stopped many times.

Caitlin Reilly (16:31): That's so funny.

Victor Dorobantu (16:31): But yeah, we basically improvised. Most of Thing's scenes are improvised. Even if we have a script, it's not always the same as other actors do because we have to improvise on set. We have to adapt his position and his interaction with other characters. So yeah, that scene specifically, I remember that Paco, the director that we shot with, he was literally throwing bottles and we had Miles on set saying, "Okay, you can put more bottles of rum there." We had a lot of fun shooting that one, I remember. Yeah.

Caitlin Reilly (17:04): That must've been a lot of fun to shoot.

Victor Dorobantu (17:06): Yeah.

Speaker 6 (17:12): Anyone home? Thing, have you been drinking? How is that even... It doesn't matter. Oh, could you just give us a second? Thank you. Thing, you've got a package, but I don't know if maybe it's for or maybe it's from Wednesday's stalker. It's your mug shot from the Normal Illinois police department. There's a town called Normal? Who's Fernando Fingertips? Your first alias? Yeah, it is very catchy. I found this while cleaning out an old safe house. Happy birthday to my buddy from another body. Snickers and wet willies, your partner in crime, Fester. Thing, is it your birthday? No, Wednesday didn't tell me. Did the entire Addams family forget it was your birthday?

Caitlin Reilly (18:08): Is there anything that you can tease or tell us about what the future holds for thing?

Victor Dorobantu (18:13): No.

Caitlin Reilly (18:13): Are you sure?

Victor Dorobantu (18:14): Yes. My fingers are tied.

Caitlin Reilly (18:16): Come on.

Victor Dorobantu (18:16): No.

Caitlin Reilly (18:16): Come on.

Victor Dorobantu (18:17): Never.

Caitlin Reilly (18:17): Come on.

Victor Dorobantu (18:18): Never, never.

Caitlin Reilly (18:18): Please?

Victor Dorobantu (18:19): Never, never, never.

Caitlin Reilly (18:19): Please?

Victor Dorobantu (18:20): No.

Caitlin Reilly (18:20): Come on. I'll give you my ring.

Victor Dorobantu (18:22): No.

Caitlin Reilly (18:22): Okay.

Victor Dorobantu (18:22): I have one.

Caitlin Reilly (18:25): Okay, get out.

Victor Dorobantu (18:26): Bye.

Caitlin Reilly (18:29): Right now, I am joined by director, Paco Cabezas. Okay, let me just connect my crystal ball to the studio. It's not working. Hello? Thing, can we just... Let's just connect to a video call. It is an honor to welcome into the studio the director  of episode two, the one, the only, Paco Cabezas. How are you today, Paco?

Paco Cabezas (19:07): I'm doing great, thank you.

Caitlin Reilly (19:08): Thank you so much for joining me today.

Paco Cabezas (19:10): Thank you. I'm so glad. I'm so excited that the show is finally on.

Caitlin Reilly (19:13): I wanted you to talk me through your collaboration with Al and Miles on the script, and how the collaboration was on set. How hands-on are they during filming?

Paco Cabezas (19:22): Well, I know them very well because we worked together before in Into the Badlands, so we know each other. And in that show they were already asking me for crazy things because it was an insane kung fu show. And then when they called me for Wednesday, it was like, is this going to be bigger? And then it was bigger, so it was like, it's going to be even more insane. It was more insane. So first of all, I got to say that I love the way they write. The dialogues are so smart and the action, and everything's connected so well together and everything that happens in the episodes, it's really amazing.And I was already a fan of season one, but in season two, everything got bigger in so many ways, and better, in my humble opinion. So the collaboration was great. I mean, we were there most of the time on set and like me, they're excited about what they do.

Paco Cabezas (20:18): I'm like a little child when I'm directing and I get very excited. And again, I'm very passionate and energetic all the time, and I'm moving my hands a lot because I'm Spanish, I assume.  And Miles and Al, they're also like that because they love the show. So normally when we have an idea on set, I remember, we have Wednesday holding this eyeball that she gets from a jar, and I was like, "Wouldn't it be great if the eyeball is right in front of her eye socket?" And so we can make that very specific shot. And those little things or little details that, I'm very detail oriented and they are too. So we can get very, very specific when we're shooting shots and sometimes we drive the actors a little crazy, but that is what it is.

Speaker 4 (21:09): You never believe the rules apply to you. And I applaud that, but you cannot bend your psychic ability to your will.

Speaker 2 (21:17): And you can't expect me to bend to yours. You cannot tell me to blaze my own trail and then put up all these roadblocks.

Speaker 4 (21:24): I'm not your enemy, I'm your mother. Your ability is not a weapon to be deployed. It's a gift to be respected.

Caitlin Reilly (21:32): Now following on from Wednesday waking up from her vision, she has this argument scene with Morticia about abusing her powers. I want to talk about filming that interaction with those two actresses. They're very much at odds this season. What was it like filming that scene?

Paco Cabezas (21:47): I mean, first of all, they're great professionals and they're so focused every time that we're shooting. I love them both, I'm the biggest fan of Catherine and Jenna, and they're very different from each other. The funny thing is, Jenna, she's very detail oriented and every time she comes into the set, most of the time she's in character. And I love that, that she's always thinking about what Wednesday would do, and sometimes in between takes, she stays in character, and I love that. Sometimes I'm talking to Jenna and I notice when she's being Wednesday and when she's being Jenna, and I love that duplicity, in a way.

(22:29): While on the other hand, Catherine, I love her so much. She's very passionate. And sometimes, I think for her, Morticia is all about the little movements, and it's all about how she tilts her head left and right, and she's a dancer, so she has to be very aware of her own body and how she moves. So every scene with them, it's all about the little details. And it's very interesting how you have to make a scene alive and at the same  time it has to feel like a Tim Burton film or TV show. So it's kind of a challenge for the actors and actresses, and it's a big challenge for me as director.

Speaker 4 (23:14): I admit, perhaps there may have been times when we overstepped. I'm so sorry we depend on your steady hand so much. Don't take my poor relationship with Wednesday out on you. It's not poor, it's rot.

Caitlin Reilly (23:36): You worked with Thing.

Paco Cabezas (23:38): Oh yeah.

Caitlin Reilly (23:39): I wanted to talk about what it was working with Victor.

Paco Cabezas (23:42): It was so much fun. I hit up Victor, and it's really-

Caitlin Reilly (23:45): He's the best.

Paco Cabezas (23:48): Yeah, yeah, it's a really funny guy. The thing is, it's such a complex show to shoot, it's such a challenge because, on top of everything that I've said already, and almost, I would say, like  70% or 80% of the scenes, Thing was there. So you have to think, what is happening with Thing? What is he doing exactly? In what moment is he moving? Is he doing this thing or that thing? So I saw myself, most of the time, because normally I come one hour before the actors arrive to set, and I just think about what scene's going to be and how would I shoot that and what's my proposal for the actors because I want them to feel like they're part of the creative team. So I don't want to go and into a scene and go like, "Do this, stand there." I want it  to feel like we're creating this together, but you have to always come with a proposal. And I find myself on my own doing this thing all the time with my own hand, like saying, "Thing could be here, and then he could be doing that."

Caitlin Reilly (24:41): So you're mapping out Thing's movements course before Victor gets there.

Paco Cabezas (24:45): Yeah, of course.

Caitlin Reilly (24:45): That's incredible.

Paco Cabezas (24:46): And then Victor gets there and I go like, "Do you think this is correct?" And he was like, "Yeah, that's not right because in order to do this movement, I have to back up this way and that doesn't make sense." I'm like, "Oh, of course." So we have to kind of together build up the whole emotional arc of Thing through the episodes and also through each scene. So it has to make sense. And in this episode, he sometimes is a little drunk, it's really funny.  with the emotional littles.

Speaker 2 (25:14): I forgot your birthday, and that's inexcusable. I hope this makes up for my memory lapse. It's an antique thumbscrew, Napoleonic era, designed by Anatole Deibler, France's  most notorious torturer. I'm willing to be your first victim.

Caitlin Reilly (25:35): Now, Wednesday is all over the Galpins in this episode, and she stumbles across Donovan Galpin's body. I want to talk through setting up that scene.

Paco Cabezas (25:47): I come from independent horror, and Jenna, herself, I don't know if you know this, but she loves horror movies. So many times on set, we were discussing horror films and she was recommending  me some films, I was recommending her some films. So when every time we had to approach a horror, I mean I wouldn't call it horror per se, but it is in a way. Within the world of Wednesday, there's this horror element. And in the scene we were thinking about The Birds and Hitchcock and how to sell this story, and how to reveal the character with the hollow eyes and the expression, and all of that, and she loves that.  So when I explained to her the references that I had, normally I have a book that I build up through the shooting. It's like I get all the pages of the scripts and I cut them and I put them, and I glue them in this book. And I do drawings and I take pictures from different movies, and it becomes this little piece of art, I guess.

(26:49): But then I have this ritual, which is every time that I shoot something, I rip it from the book and then I destroy it, and the books become smaller, and smaller, and smaller, and smaller. At first it's like this big,  and then I carry it in my backpack, and then at the beginning of the show it's super heavy and then it becomes less, and less, and less. It's kind of this ritual that I have. So in the scene with Galpin, I have all these references from The Birds and how Hitchcock shot that. And then there's another scene in episode three that there was a big reference to The Shining, so I enjoyed the hell out of it.

Caitlin Reilly (27:30): Afterwards, Wednesday goes to visit Tyler in Willow Hill. I wanted to talk through the staging of that scene and how you wanted to portray Tyler, and how you wanted to portray Wednesday, and sort of the beginning stages of their relationship this season.

Paco Cabezas (27:53): Yeah, I mean, talking about references, that scene is a big reference to The Silence of the Lambs. It's one of my favorite films, ever.

Caitlin Reilly (27:59): Oh, absolutely, yeah.

Paco Cabezas (28:00): I was talking to Hunter and talking to Jenna on that scene and how we decided to have those chains, and in the end, if you think about it, there's a lot of teen angst running through the show, and they hate each other, and they're attracted to each other. So we are playing around with a lot of that, so having Hunter without his shirt, and he looks right, you know?

Caitlin Reilly (28:27): He looks great.

Paco Cabezas (28:28): It looks great. So having  him in that cell and having that wall glass in the middle of them, in a way, again with the sad piece, you're telling the story, and how they approach each other. He goes super closer to her and they're super, super close to each other, but there's a wall in between them. In the end, it's all about the little movements and the little details. And I think, Hunter, he's such a great actor, it's like, all of them there, all of them are. But when  they were playing the scene... And the words, the dialogues that Al and Miles wrote, they're so good. It was probably my favorite scene of the episode one.

Speaker 5 (29:11): Say hi to Enid for me. Tell her I'm going to kill her the next time I see her. Make her pay for sticking her snout in my business. I want her screams to haunt you for the rest of your life.

Speaker 2 (29:27): You're right, I couldn't resist seeing you. Witnessing you chained and caged up makes my dark heart grin. Thornhill chose you to be her murderous marionette, not just because she saw some Hyde hibernating inside of you, but because she saw the real you, an expendable nobody.

Caitlin Reilly (29:49): The final set piece in Iago Tower. I mean, this is some edge-of-your-seat stuff, you know what I mean? I wanted to talk about that scene, how it was developed and how it was executed.

Paco Cabezas (30:02): Well, first of all, again, there was the references of Edgar Allan Poe, and even in Sherlock, I remember watching the young Sherlock Holmes when I was like 10, and I love that idea of having a big mechanism that is going to kill you, and there's something so beautiful about that thing. And so the design of it was very complex, because although you don't see it, although you tend to think that's not heavy, it was very heavy.  And we were all about safety, of course, and we had a lot of safety devices to make sure that when that thing moved, it moved within all the safety standards. But at the same time, it was like a shitload of knives and this very heavy structure, so we have to be super careful on how we shot it. Of course, what we did is that we shot up, although the audience doesn't notice that, when we were moving the structure, we were shooting with a lot of split screens.

(30:57): So we didn't put the actors below that thing, just for safety. In fact, it was super safe, but it was like, I will never put an actor in any shape or form that could be in any danger. So we were shooting it with a lot of split screens, and then when you get a shot of Emma's eyes and you have a knife super tight, then of course what you are using is a very small platform and it's super close to her, so it's not like the big one. So every time, what I've learned through the  years, is like, what's on camera and what's off camera, what's off camera is even more important than what's on camera, so you can control the sensations of what the audience is feeling. It's like having Wednesday going down and then playing with the whole mechanism and the books and the structures were lowering, it's a dream job for a director to be able to pace it up and playing with the music and the rhythm and the tension. I love that. It was a great scene to shoot.

Evie Templeton (32:00): I'm Agnes Demille, your number one superfan.

Emma Myers (32:03): You don't seriously expect me to believe that you pulled off this elaborate prank solo.

Evie Templeton (32:07): I had a little help from some Da Vincis, after I blackmailed them with incriminating Snapchat pics, perks of being invisible. I just asked myself, WWWD, what would Wednesday do?

Speaker 6 (32:23): That's my line, you little psycho.

Speaker 10 (32:25): I knew that if I came up with the most twisted game I'd get your attention. I hope it's lived up to your exacting standards.

Caitlin Reilly (32:33): Evie.

Paco Cabezas (32:33): Oh my God.

Caitlin Reilly (32:35): She is so fabulous as Wednesday's stalker. She's such a brilliant young talent. What was it like working with her? I'm obsessed with her.

Paco Cabezas (32:44): Yeah. I mean, the scene where we reveal her at the end of episode two, again, we played a lot with the mirror idea and the other geometry. If you think about the set, how it's built, it's across. So it's like these two paths are intersecting in the center. So when I brought Wednesday into the scene, I thought, okay, I'm going to get her right in front of her, and every steps that Evie takes, it has to mean something, and she gets closer, and Wednesday gets closer to her. And oh my God, those eyes, it's like every time that she... I can't do it, but she just raises her chin and does this whole movement with her eyes. You're like, "Oh my God, she's so young, but she's so talented."

Caitlin Reilly (33:33): So talented.

Paco Cabezas (33:34): And she's like the perfect, kind of like arch enemy, sort of companion to Wednesday, in a way. She's great, and I told her, sometimes when I work with young actors, sometimes it can be very sensitive and sometimes it can be insecure, and since I've been doing this thing for 20 years now, when I see a young actor or actress  and I see how great they are, sometimes I find the place in the right moment to tell them, "You are great. Keep doing this thing that you're doing because you are absolutely great. Please do this, please. You're going to do great things." I remember telling this to Evie, and she was so happy.

Caitlin Reilly (34:17): Yeah. Well, my gosh. I mean, this was so informative. It was so incredible to talk to you, Paco.

Paco Cabezas (34:23): Oh, thank you.

Caitlin Reilly (34:24): Thank you so much for joining me, and I think you're pretty great.

Paco Cabezas (34:32): Oh, thank you, you're pretty great yourself, too.

Caitlin Reilly (34:34): Thank you. I just called you great because I wanted you to tell me that I was great.

Paco Cabezas (34:38): I Know.

Caitlin Reilly (34:39): And you did, so that's good that that worked out. In the next episode, I'll be joined by Isaac Ordonez, AKA Pugsley, who will spill the tea on Slurp and Pugsley's new powers.

Isaac Ordonez (34:55): Just seeing him as a normal dude.

Caitlin Reilly (34:56): Yeah.

Hunter Doohan (34:57): That was what was weird.

Caitlin Reilly (34:59): Oh, it's Slurp.

Hunter Doohan (35:00): To see both your eyes.

Caitlin Reilly (35:00): Right. Mark Sutherland costume designer extraordinaire on developing all the looks for season two.

Mark Sutherland (35:07): The essence of the character always has to be there, trying not to lose that iconic Wednesday look.

Caitlin Reilly (35:14): Plus I'll be joined by Tristan Versluis, the genius behind all of the crazy and slightly gross prosthetics.

Tristan Versluis (35:23): From the beginning, Slurp was a big character for us to do. Everyone really wanted to create a very striking, iconic character.

Caitlin Reilly (35:30): That's all coming up on the next Wednesday Season 2 Official Woecast. I'm Caitlin Reilly. See you next time, my vicious piranhas.