But for that particular sequence, Sheila comes in and doesn’t know what’s going on. She’s such an integral part of the team and she’s really the other half of Sheila. Jennifer Hamilton is our choreographer on Physical.
In that scene, Sheila comes in, and Murray had been training with the dancers and his whole routine, obviously. Using it as an example, can you walk me through the prep and filming of something like that? Just of the physical-not to throw a pun in there-requirements of a role like this. Your scene in his class, in the episode of Sheila’s dad’s memorial, is pretty incredible and also wordless in terms of everywhere you have to go. Speaking of other actors in front of you, Murray Bartlett my God, in this show, he’s so great. You can’t make any decisions on anything until the other actor is in front of you.
Then of course you have to throw everything out the window anyway. And that for me is always the best way to center and start every beat. I do come in always armed with 1,500 questions for Annie about where we’re at, where we’ve been, where we’re going. That’s definitely part of the day-to-day experience, particularly when the narrative is so much centered around this protagonist and her kind of swimming through the ocean of her life. So every day, I come in and I can see Annie’s face, like, “Oh dear, here she comes.” And I’m like, “Annie, I just had a couple of questions…” and then I’m off. Well, I’m an actress of a thousand questions. How have the little details of the character built up for you as you’ve played her, and what involvement have you had in helping to shape that?** This season of Physical**, especially, you get some pretty intense, dramatic material to play, about Sheila’s father and continuing to dig into the hauntings of her past. I’m one of those weird actors that enjoy fixing their performance as much as you can in the end, in the edit, and in the dark. It’s something that we do really mainly in post-production, which I love. And also tracking where she’s at with the illness. It’s the final layer of the whole show, the last bit of texture that is constantly changing and tweaking, whether it’s Annie’s notes or Stephanie Laing’s notes, or mine or the studio’s, it’s just figuring out the different beats of it. And I have a fantastic girl I work with, Kelly, who’s doing the voiceovers for me whilst we’re doing the scenes, if we need. It’s something that’s always in the scenes as we’re shooting and we allow time for it. I imagine there was a lot of working out some kinks and the exact voice of that. You try as much as you can in this business to be intuitive about work, and the choices you have and the choices you don’t have, and for me, this was very easy.Ĭan you talk a little bit about getting the voiceover right? It’s such a fine line that the show walks from the very beginning. Obviously Sheila is suffering and she has an illness, which is dictating this horrendous kind of prison she’s in, in her thoughts.
And it’s just the human condition that we’re trying to condition and homogenize our thoughts, to an extent. I have never seen something like this represented on screen very stark and dark, and this humorous, internal dialogue that we were also exposed to, that everybody has. The show can be polarizing, like I think with anything that’s breaking new ground, and I say that in a humble way. And I do think that took some people aback a little bit.
ROSE BYRNE TV
I completely agree with what you said earlier, that the show explores a lot that really hasn’t been covered on TV in this way before. I’m just curious about your encounters with that kind of reception. In this case, it’s sort of baked into the show.
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