When I received my copy, it was labeled with a fake title and author name.The Testaments is a modern masterpiece, a powerful novel that can be read on its own or as a companion to Margaret Atwood’s classic, The Handmaid’s Tale. The content of the book has been such a tightly guarded secret. I guess you and I are allowed to talk about it because we’ve read it. It would be thrilling to watch Lydia get the job done. Would you hope to see The Testaments story as a season of The Handmaid’s Tale in the future? In the end of the last season, you know we’re in trouble, because how many of those young girls got out? That is a massive, massive catastrophe, and the fact that Lydia was not onto it in a meaningful way - she’s got some work to do.
She’s always thinking, always planning, always assessing. She’s very savvy, very much a player and knows the politics. And that affects the approach in terms of where her mind is going. Because it gives a clear indication from the creator of this story of where she will end up and what will happen. She kind of slaps her a little, and then Lizzie said, “Well, you can really go at it.” So she gave her a good slap.ĭo you feel like this reading of Lydia will impact the way you approach the character as the show continues? She was supposed to slap Elisabeth (Moss, as Offred). Seeing her as an Aunt was so brilliant - she looked the part. You just think, Is this going to be what she hoped it would be? At some point you just jump in and say, Well, this is what I have. Because I knew Lydia had a lot to do that day and that Margaret would be present. She’s a Canadian treasure - well, she’s a world treasure, but she is from Canada. Margaret came to set during our shooting of the pilot. She’s got wit and humor and subtlety, in her writing and in person. She did very generously say that I had something to do with it. Because then you let go of the concerns, you let go of the worry and you let the novel take you.Ītwood told TIME that she was thinking of you while she writing the Lydia chapters. When you finally land in a rhythm without interruption, it’s a thrill. Because the director and the producer, their ears are trained to pick up any words you miss. It goes to the brilliance of the writer, that everything makes complete sense. Did I just read that? Is that real? Yes it is. You don’t wonder, Hey, what’s the writer doing here? You just think, Oh my God, pay attention. No, because Margaret Atwood takes such a clear, significant path.
0 kommentar(er)
