Alert the spoiler! This post contains details from the Thursday night episode of ghosts.
ghosts She directed the internal mafia mentality with a Thursday night episode, where Jay finds the same in some hot water after he got a new recipe from his restaurant from the house (Richie Moraiti).
Although Ricci provides the recipe without taking into account, the thing that he does not realize is that Carroll (Caroline Haroun), which she learned, was sharing a recipe by her family members of Maviusu-who are not so happy when they discover that small B&B game and the restaurant He stole it.
The Rose Mciver series star played a new role for this episode, as she first went, after years of aspirations to reach the camera, as well as her role on the screen as a permanent, toxic voice.
In the interview below, I talked with the pluscinemaz.comof her experience in the episode and hit what will come next week, when the audience will finally learn why Isaac (Brandon Scott Jones) carries a grudge against Alexander Hamilton.
The deadline: The last time we talked, told me a little about your aspirations to guide, but what are the conversations that you go to direct this episode, specifically?
Rose McVer: I wanted to direct for a long time. I have been working in movies and television since I was a child, and I always loved spinning panels for how to make a collection. I did not have great ambitions to direct my content … and I did not have aspirations to be a kind of author. Set is this distribution of the settlement and trying to know how everyone can feel somewhat hearing and creating a vision together. I really like this aspect of things. I always knew that I wanted to direct on TV. When I worked IsombeThe Warner Brothers Workshop did, and we were renewed for another season, I was going there, but we were not renewed. So when I came to ghostsI knew that this was something I was really looking for. This was the year that became available. I was very grateful for Joes [showrunners Port and Wiseman] And to CBS to allow me to multiple tasks and be a pioneer in the show and direct at the same time. It was clear that it was a new challenge for me. At that time, I had a six -month -old daughter, so I felt that I was fully aware of the yarn, and if there was anything, in fact, that was more useful. But it was definitely two whole weeks.
The deadline: You are very special in this episode, taking into account that you are also directed. Did this show any challenges for you?
McVer: Certainly, I mean, often watch my amazing carrier, whose name is also Sam, which is confusing. I was watching her line for me. Another person reads my lines. Then after photographing the main shot, I would like to go out and review it. But often, to be honest, I will review my material on the screen if I feel something I couldn't imagine how I translated it, but I was running from inside the scene most of the time. There is a lot of that thanks to an incredible trust relationship with Dubai ports, Michel, and our first advertisement, Matt, who were very generous in their job cooperation.
I think the most difficult part is to identify the ability to keep the mental review menu in your head that you have when you are directed. Instead of being able to focus the pieces on a text while going, I just do everything mentally while trying to reconcile the saying at the same time. So it was definitely dense. I was going to the house and my mind would feel it was a short rotation. But I found that this is a very stimulus and exciting, and it became easier and easier whenever we go, thanks to my great actresses around me. We all know each other well. We know how to do each other. We have a short hand of communication, making it easier and easier. I carried and supported a crew crew and crew. Everyone has a lot of great ideas, and you, as a director, sponsor these ideas and work as valuable at this moment. So regardless of the amount of support you provide, you should keep this sharp eye, I think.
The deadline: How was your experience with Warner Bros.? Did you take anything you learned in this role?
McVer: Technically, because I had no episode to guide, I reviewed it. But I participated in 13 weeks [course]. Every Saturday, we used to go to Warner Brothers Studios, and that was incredibly valuable for me. It was very useful in the first place to have experience in stages, and bypass the scenes with the mentors who were there, and my favorite side was that they would throw you a curved ball every week. Like, “Well, wonderful. One of the actors needs to leave at 6 pm. How will you suddenly change your plan that you reached and rescued to facilitate this, while making sure that you get everything you need in the scene?” This type of practical training is the things that Speak all the time, and I don't think people are necessarily ready for that. There will be someone with a style on one eye so that you cannot shoot them from one side. Or the group that you hoped to be ready were not ready. All of these types of challenges of the eleventh hour. So the course gave you an experience in how to move on these matters, and I was tested on that. I love it, because this is the challenges in the real world in TV guidance. It is not a luxurious schedule as you have everything planned in advance, and instead, you can prepare as you can, a day, be flexible and operate ten cents.
It falls a little when you are separating, and this is the ideal environment to do this, so you have greater confidence and you have more flexibility and understanding by the time when you already reach a group. I thought the chapter was incredibly valuable. I have been literally since I was two years old. I have a lot of specified experience. It is a very different set of challenges that come when you are the person who calls the shots, literally. So I think even for someone who spent a huge time in the group, or someone who studied the movie, I think there was such a value in sharpening your improvised skills.
The deadline: How do you think that being in your entire life also puts you in a strong position to direct it? Did you give you any visions you think you may not have otherwise?
McVer: The most valuable thing for me, and if I have the opportunity to guide in the projects of others, if I can go and watch an early week to see the dynamics between the actors and the crew – see how people interact, see where we fall short in terms of time, know where things are hung, see How people like to talk to and direct them specifically, because certainly different from each member of the actors' team to another, and I know from each member of The crew to another as well. So I think anything you can do to get to know the specific environment in which you were about to be directed, only when all the inevitable surprises appear, you know who may be able to think about flying sometimes the way, or who may need more time With materials. I think the guidance side is the most valuable thing that I learned from spending a lot of time on groups. I heard one of them telling me that he is thinking about directing it as a choice on TV, and I really agree. I think a lot of people offer you a lot of things all the time, and that the ability to selective is the main skill group that you should.
The deadline: I mentioned the guidance in the projects of others. Do you have any specific types or projects you want to try after that?
McVer: I grew up, I did a lot of drama, and I really miss some aspects of the drama, especially the drama that weaves in the comedy. I would like Kexplore a little more. I think this will be interesting. But I definitely know that in the past ten years, I feel well equipped to move in comedy for half an hour now. There is a really fun thing happening in the group when the crew can really enjoy the material and do not constantly treat the tragedy. So there is definitely a value in building my confidence, I think, in comic environments. But in the long run, I definitely have an interest in emptying some other things as well.
The deadline: What is your favorite part of this episode, specifically, for guidance?
McVer: I really enjoyed filming the flashback sequence with Richie in the travel agency. Upon guidance, you get an opportunity to speak with all these different departments about the huge work of the scenes to create the production value that you see – I really liked to work with our production designer Zoe, who was able to withdraw from the delicate air this wonderful travel agency from the eighties, The Fashion, makeup section and everyone. We feel that we missed the opportunity not to do the eighties of the last century of the crew on the day we depicted there. But this travel agency was working in a commercial center, and I felt that this was just incredible residues for a different era. Watching the magic of everyone who brought this to life was something I could not necessarily try it as an actor.
The deadline: Next week is the large Alexander Hamilton episode. What can we upset about it?
McVer: Alexander Hamilton episode is very enormous. I mean, Brandon Scott Jones, that is, a episode focused on Brandon, is scheduled to be great, and the ball does not fall. I think the episodes are that, for me, I read the funniest on the page of any episode we have ever read in a table. So I think people will be very happy with how to translate it on the screen as well. We have some wonderful guest stars. Our Nat Faxon plays Alexander Hamilton. It is definitely not the story that people will expect in terms of why Isaac Hamilton hates as he does.
