LISA JOY: Westworld
but I like to think when we're looking at the characters,
especially the women,
we are naturalistic and real and trying to deal with topics
that women face to overcome forces that oppress you.
How do you get past what has been done to you,
and yet, not be defined by it?
JONATHAN NOLAN:
Dolores has unfinished business with them.
The only way she's gonna survive is to build herself an army.
Quite the welcome.
And you are?
Call me Wyatt.
You're Wyatt?
JOY:
having to present yourself in a certain way,
in order to be construed as a leader,
there's a certain level of persona
that you have to craft for that.
Especially as a woman. And Dolores has to do that.
EVAN RACHEL WOOD:
playing this character that had this
soul of a man, this maniac of a man.
And then I realized that Wyatt could also be a girl's name.
(LAUGHS)
And it completely changed my perspective on the character.
Just promise me your men.
I need them if we're ever to survive this threat.
WOOD:
character-wise because I've never been given a role
where I'm commanding an army or talking like a general.
Who is he?
ROBERTO PATINO:
who is a war general and a vengeful goddess.
Suddenly, she sees her father,
and she becomes a daughter again.
(SOFTLY) I'm here.
JOY:
with vulnerabilities,
with feelings, with insecurities, with doubts.
-Dolores? -Daddy.
You can't express all the things you are at every given moment.
But the totality of those moments,
if you string them together,
is what creates a true portrait of who you really are.
-Ready! Aim! Fire! -(GUNSHOTS)
NOLAN:
these soldiers carry on the mythos
of the post-Civil War moment in which some of these soldiers
fled south of the border and elected to keep fighting.
So, we knew that their environment had to be a fort.
The challenge was to feel
the power and history of the place.
Howard Cummings built an amazing set.
HOWARD CUMMINGS:
So, I pushed it into that Adobe fort style.
It's not the Alamo, it's not Western,
it's actually sort of more Midwestern.
The place had to look bombed out,
and totally dis-repaired, there's sections of it missing.
We built ramparts with cannons and barricades,
these big, spiky barricades that they used,
and bunker kind of things.
I wanted evidence of their people being amputees,
so, there's a big infirmary...
JULIE OCHIPINTI:
it's a massive set for us.
LOUIS HERTHUM:
it's so much easier to...
let yourself go and become the character.
Sir! Sir. We saw 'em.
They're coming up from the ground.
MICHAEL LANTIERI:
on season two was the big battle at Fort Forlorn.
We fight this battle head on, we lose.
We fight my way, we all win in the end.
DAVE PAHOA:
It involved a weeks-worth of prep.
We had a couple hundred extras and stunt people and horses.
To your posts!
LANTIERI:
stunt-effects-sequence that
had to be timed and planned and executed perfectly.
PAHOA:
the people in the fort from the marauding horde.
ALAN ROBERTS:
is that she's shooting the ammo and explosive depot,
which is all buried underground.
PAHOA:
We wanted to create explosions,
almost cylindrical in shape, taller, and then,
in between layouts,
some more that was more of a cloud, but violent.
LANTIERI:
having all the stunt people
and all the people in the middle of this battle,
and sorting out how we're gonna do things safely.
There's a lot of different ways to do shootouts.
On our show, we just rehearse it filming it
as many times as possible,
and then we only have the squibs on our actors
or our stunt performers once.
We then blow the squib, and then move on.
We rehearsed the battle sequences for about a day,
prior to shooting.
(GUNFIRE)
Fire away!
(GRUNTS)
LANTIERI:
We're always looking to push the envelope
and use the most effective, startling effects.
ROBERTS:
we simulated that the bullet got in there,
and it took out two Confederados.
LANTIERI:
you know, the blood hits that we used,
we fire the charges by radio timed to the guns going off...
ANGELA SARAFYAN:
The production value was enormous.
WOOD:
the perfect image for the show.
-Do it. -(COCKS GUN)
It was like the past and the present just--
(EXPLOSIONS)