![]() Season one was all about Emily making it very clear that all she wants to do is write, and going through waves of wanting the world to see her work and not caring about anybody seeing anything except for Sue, or even no one. Are there things from the contemporary world that you get into in season 2? The show does a good job reflecting issues from the 19th century back to the present. Just thinking of the reality of what some, if not most or all, women had to have been feeling at that time. If that were the situation I was in as a woman today, I would very much have Emily’s point of view on it all! The amount of physical constraints alone, let alone mental and emotional ones, on women was absurd. Getting on set and being in period clothing. We knew it was different and interesting and funny and modern. It became a matter of, first of all, knowing that this was our version of Emily Dickinson’s story. I know Alena’s done a ton of historical research, but your job on the show is often to bring in those modern mannerisms and physicality. But it was fun to be able to sit down and think about how we connect with these characters in today’s day and age. And, you know, some actor-y conversations that had to do with research and the history. It got really personal between the two of us, sharing how we identify with these characters in certain situations. ![]() What are those conversations like? What do you talk about? ![]() It’s a really beautiful relationship that happens to be between two women who just see each other. A lot of people had all these opinions and preconceived notions about this person, and Sue saw through that. Sue was somebody that saw Emily for who she was. Ones where you set aside the time and sit down and discuss. Ella and I were able to have the time to have these conversations, and I don’t know if I’ve had conversations with actors as I’ve had with this project. I don’t know how to describe how the dynamic was different to me than making a film, but because each episode felt like making a film, it felt like we had dug so deep. How was it figuring out how to play that? They don’t even necessarily have the words to describe the love they feel for each other. The scene was rewritten a few times, and Alena was very particular with every word, and once we nailed it, that was definitely a moment.Įmily’s other defining relationship is with Sue Gilbert, played by Ella Hunt. That was a moment I had on set with Toby where I feel like we really locked. I had a few, and luckily the first one came in the first episode, with the scene where the whole family is sitting around the table and Emily decides to announce that her poem is being published and all hell breaks loose. Was there a moment where the relationship clicked for you? Toby and I had so many conversations that were fun to have and uncomfortable to have about that relationship, which is very loving and protective. Having all 10 scripts at the beginning, I loved that I was able to see this clear arc, but the discoveries as we filmed kept happening. That relationship was one of my favorites to figure out. In the first season, the scenes that really stood out are those fights between Emily and her father, with you and Toby Huss facing off, especially the one where he slaps her and she disassociates and “goes to the circus.” What was it like to film that? I have not, but you’ve given me something to do now. Have you done any bread-baking? The bread Emily makes on the show looks so good. But I’ve had conversations with castmates and Alena about how Emily would’ve had no problem with this whatsoever. Has playing her helped you get through all this? I feel like Emily Dickinson, known late-in-life shut-in, would handle quarantine pretty well.
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