Westworld's aaronpaul_8 and executive producer Alison Schapker talk the Caleb/Maeve dynamic in Season 4, shooting that gut-wrenching moment, and more.
From show creators Lisa Joy and Jonah Nolan, the fourth season of the HBO series Westworld has jumped seven years forward in time and presents a disorienting new world that continues to lead its audience down a path of questioning anything and everything that presents itself as reality. Everything feels unsettling, as you wonder who’s a host and who’s a human.
ALISON SCHAPKER: I’m comfortable with a complicated story and a careful, structural construction. Alias was a spy/adventure show, and Fringe was more of a scientific/sci-fi show, and then there’s Lost. Westworld loves genre. Jonah [Nolan] and Lisa [Joy] expect you to come well-versed in the tropes of stories because it’s all about stories, how they define us and how we can upend these cultural stories that we’re telling and retelling. So much of that comes down to genres.
What’s it like, as an actor, to work on a show like this, where not only do you not have all the pieces of the puzzle, but there can be really major shifts in your character going on, and you have no clue that that’s where things are headed? SCHAPKER: It’s a good question. The way Lisa and Jonah designed it, Season 1 was inside the park and coming to sentience. And then, Season 2 was the struggle inside the park to get out. And then, Season 3 was the discovery that artificial intelligence is already defining the world in very complicated ways, and humans are not just the oppressors, but they’re also subjugated by the artificial intelligence and how to make sense of that.
Your character has that moment that’s just so gut-wrenching, every time one of the characters has it, when they realize that they are not who they think they are anymore. How did you find out about that moment? What was your reaction to reading that? What was it like to shoot that? Did you finally feel like you’d fully arrived in Westworld?
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