from the show host Ska Luisa and according to the novel Lauren BakersApple TV+ series shiny girl Following Kirby Mazraqi (Elisabeth Moss, who is also the project’s executive producer and director), a survivor of a traumatic assault until the recent murder was too close to her own experience for her to be able to discover the attacker’s identity. Kirby’s once nebulous reality becomes clearer when she discovers the connection between a series of unsolved cases and realizes that while she is the only surviving victim, she can still regain control of her life, not just be led by fear.
In a one-on-one interview with Collider, which you can watch and read, Moss talks about how she always enjoys playing the characters she plays, even when the material is dark, the most satisfying of this particular experience Aspects, what makes this project different from her typical approach to the process, tracking the subtle changes they make in an ever-changing reality, what it’s like to direct the episode, why she thinks audiences should know Kirby solves problems on his own, and choices The project comes from her inner connection to the character.
Collider: The work on this is excellent. I’m so impressed with what you’ve done, I can’t stop watching this story, so thank you.
ELISABETH MOSS: Thank you for saying that.I appreciate it
When we used to talk, you told me that even if you were telling a dark story and your characters were tortured, you were actually having fun. What did you enjoy most about this experience? What’s the most satisfying aspect of taking on all of this?
Moss: I think the most satisfying aspect of this special, because you’re right, I’ve always loved part of it, working with these actors and the two directors Michelle McLaren and Dana Reed. It’s the three of us directing the show, and we’re very collaborative and very connected. We had to collaborate a lot on episodes because what a director would do affects what I’m doing, four episodes later. There’s a lot of back-channeling and a lot of overall conversation between us about how we’re going to build this show, which is really interesting.
And then, with the actors, not just acting with them, but directing them, Wagner [Moura], [Phillipa Soo]Chris Chuck and Jamie [Bell], talented people, probably the most valuable thing. I think each of them put on one of the best performances they’ve ever done, and in this show, they all did something different that they’ve never really done before. It was really fun to see them explore and challenge themselves.
You’ve also said that when you’re playing a character, you’re always trying to draw inspiration from your own life, even if you don’t have a direct parallel to draw from. What made you connect with Kirby for the first time? What was the first thing you found out about yourself and how did that help you build your character from there?
Moss: That’s actually the hard part of this question, because in my own life, I really don’t have anything to draw from it. I have never experienced or know anyone who has experienced the change of their entire world. Someone who’s been through trauma, I’ve played it, but I’ve never been through it, so it’s a new challenge for me, which I really, really enjoy. It’s about, how do I play someone whose world is changing around them, and they’re kind of used to it? They know what happened, but they don’t know why. There is no reference point. I can’t talk to anyone about this. In my own life, nothing can equate to it. I like this actually because I can’t do that. I have to actually invent it.
Every time your character’s present changes, her hair changes, sometimes in small ways, sometimes in big ways. How did you deal with the changes you wanted to make to the character every time her world changed?
MOSS: Yeah, it’s a tough one because we want to make sure things are believable. We need to make sure things are choices the character will make, so she can’t suddenly have crazy prongs or anything like that. It has to be within the world of the character and it has to be grounded as well. We’re also trying to find out how she might change her outfit, so not just her hair, but also how she’s changing her makeup. Hair is the most striking. This is the first thing you see. But we’re also trying to make sure it’s not just the hair that will change. This is definitely something I’ve never done before. I think I have five different looks in this show.There must have been a point when we got to the end of the show, the last time I looked at it, and we were like, “We’re done, right?” I remember talking to Silica [Luisa]the show host, was like, “No one else, right? I don’t know what I can do with my hair. No other shift, right?” And she was like, “That’s it. We’re done. There’s nothing else left. .”
I think it’s awesome because it does make things feel a little different and you don’t have to explain it every time.
Moss: Yes, that’s right. This is a very recognizable thing for the audience.
you’re still directing episodes now The Handmaid’s Tale. Which episode was harder to direct? Did one experience influence another?
Moss: Absolutely shiny girl Because this is a new show. You’re building a new show, you’re building a new thing, you’re building a new story, you’re building a character. The first season is always like that. The first season is the hardest because you’re building a world. You are doing this world building. You are asking all these questions for the first time. When you go into seasons 4 and 5, it’s already a living, breathing thing.So, absolutely shiny girl. But I also had great support from fellow directors Michelle and Dana. I never felt like I was alone in directing this show. It felt like a very, very collaborative experience. In a way, the three of us felt like we were working together on all the episodes.
I don’t think it’s too much of a spoiler to say that, by the end of these episodes Kirby was able to fill in some of the gaps and holes in her life and get a better idea of what reality is. Is the ending we see always the ending of the show? Has that changed, or has it always felt like the most satisfying way to end the season?
Moss: That’s always the end. This ending was proposed to me long before we started filming the show. Of course, I was like, “I need to know where it ends because I need to know where I’m going.” So, it’s always the end. Some of the shenanigans about how we got there changed, but the specific actual end of the show was always what it was. I don’t want to spoil anything, but I can say that because I think the audience should know this, she did figure it out in the end. She did eventually fill some holes. She did end up being able to answer some of her questions, as well as some of the audience’s. The answers can be surprises and twists, do they solve all problems?
It’s a good way of saying it. How to find the next character? Your character is so charming. How do you know when you’ve found what you just need to do?
Moss: I don’t know. I really do not know. It’s an instinctive thing and I can’t point fingers. For me, I feel an inner connection to a character that I cannot put into words. I know a few things about her. I can understand some things about her. And then another part of it is just things I want to watch, like shows I want to see and stories I want to see. I’ve been thinking that if I wanted to watch it, there might be several other people who wanted to watch it too. That’s it. A lot of times, I approach things as a viewer.
shiny girl Available to stream on Apple TV+.
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