Series Director and Executive Producer Tom Verica re-examines the series' characters, aesthetic, and scope through his unique perspective as a key creative contributor. We wrap up with casting director Kelly Valentine Hendry who introduces us to the cast’s new faces, and what special moments led her to finding the right fit.
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Speaker 3 (02:06):
Queen Charlotte the Official Podcast is a production of Shondaland
Audio in partnership with iHeartRadio. Well, well, if it isn't
all my Queen Charlotte fans out there, have you binged
(02:29):
the whole series? Uh huh, yeah, I know, I know
you're still reeling from the premiere of Queen Charlotte, a
Bridgeton Story on Netflix. It's a lot and it was great.
On Queen Charlotte the Official Podcast, we're going to talk
(02:50):
about what made it special for you. We will talk
through all of those feelings, all of the excitement of
the visuals. So here's what we're doing on this first episode.
We'll be diving into the latest edition of the Bridgerton
Universe Queen Charlotte or Bridgerton Story now streaming on Netflix.
And if you're reeling from the first episode and you
(03:13):
ran over here, well, first I say thank you for starters,
and yeah, I'm laughing with you because I know, I know,
right that was a lot, there's a lot to look at,
there's a lot to get lost in. I'm your host,
Gabby Collins, and on this episode, we'll start off with
(03:34):
a sit down with executive producer and director Tom Verica.
We love that Tom lets us get into his head.
There is no corner of his thinking that he doesn't
let us tap into, and the first episode of the
series leaves us with so many stones to turn. He'll
(03:54):
be right by our side. Also, casting director Kelly Valentine
Henry will pop in. She's going to introduce the brilliant
cast and we'll hear from her more throughout the podcast season.
But let's go. Let's just get all up into this
first episode. It is my absolute pleasure to introduce our
(04:16):
first guest of the season, the kind and accomplished executive
producer and director of Queen Charlotte A Bridgerton story, Tom Verica.
With a career spanning well over two decades, Tom has
been a driving force behind some of the most groundbreaking
and iconic television shows of our time. He was behind
(04:39):
the lens of Queen Charlotte, raising up young actors and
empowering creatives on set, and honestly, we are just more
than honored to have him with us today and share
his insights and let him walk us through the series
Lords and Ladies the BFD himself, Tom Verica, Welcome.
Speaker 7 (04:59):
Thank you very much.
Speaker 3 (05:00):
Tom. You have been on the Bridgerton Podcast before. This
is Queen Charlotte. It's a whole new thing. It's really
good to be talking with you. I just wanted to
jump right in and start off with the end of
episode one with Charlotte. Young Charlotte is sitting there on
her bed and she's saying to herself, should have gone
(05:23):
over the wall. I should have gone over the wall.
Speaker 8 (05:27):
She's probably regretting getting into the carriage in the first
place in Germany.
Speaker 3 (05:32):
And it all just makes me start thinking about starting
to tell her story in the first place.
Speaker 7 (05:37):
Yeah, she's quite a force.
Speaker 8 (05:39):
There is obviously a lot of history behind Queen Charlotte
as we know her.
Speaker 7 (05:44):
Where we jump in.
Speaker 8 (05:46):
We extracted sort of parts of our story to make
it fit into our Bridgitton world, a little bit of
reverse engineering from the character that Golda Raschavella has created.
So this is obviously some time before that how she
came into her power, and that was something that Shonda
discussed early on being very curious about how she becomes
(06:06):
the woman that she is today in the Bridgeton world.
As she started throwing that idea out there and we
started doing research and seeing what elements we want to take.
There's actually quite a few elements that are a lot
of fact, and there is a disclaimer you see at
the beginning that we bent it a little bit into
our world. Queen Charlotte's was not quite as accurate latter years,
(06:26):
but it was really important to capture the reality of
this confident young woman who was very strong and living
in her own world in Germany, quite successful. Many avenues
would be at art or science or working with the poor,
philanthropic in a lot of ways. She wasn't this broken
down nobody who married the king and became somebody. She
(06:47):
was in her own right. You talk about that opening scene,
it was very deliberate. I wanted to keep her a
little bit of a mystery as long as we could,
and that's why I started on the back of her,
starting on her dress, showing her barrel down this hallway.
Speaker 3 (07:01):
So sure put it too.
Speaker 8 (07:03):
Yeah, India, the actress is just extraordinary and she has
such poison presence about her, which immediately we all gravitated
to and decided to cast her in this. You see
the profile of her face and then you see her
through the crack of the door, and it really isn't
until she steps away and she turns around and reveals
about what her life is going to suddenly change, which
we don't know yet, that we get a glimpse of
(07:24):
full on who she is and the fear of the vulnerability.
Speaker 7 (07:27):
And everything that suddenly kicks in.
Speaker 8 (07:29):
So it was very deliberate to try to tell us
who this person is just in the way she walks,
and then we literally turned the table on her pretty quickly.
That was Shonda's clear nod to show the audience that
this is someone who's a fighter and she's not going
to go down easy, and that's something that was established
pretty early on. But still, as she steps into the carriage,
(07:52):
when she is going off, you get a sense that
this is someone who's still very confident in feeling very
sure of herself, and ready to tackle anything that she'll
come up against.
Speaker 3 (08:02):
Was the Queen's brother Adolphus, played beautifully by Tunji Cassim.
Was he in on the great experiment At this point
of the story.
Speaker 8 (08:11):
Adolphus was really her life. She really has a chance
to really make change for the great She's going to
be queen and what she can do in that position
is enormous, and that will go beyond the limitations of
the very lovely life that they had in Germany. But
there was real opportunity, So not only for his sister,
(08:31):
given the opportunity to have this power position his selfish reasons,
I'm sure, for being the broker between Germany and England
and elevating his status to his place in the world.
It probably wasn't so uncommon with a lot of people
who were married off, and particularly a young woman too,
that she's going to have to be married off with someone,
and why not the King of England. Yeah, so he
(08:53):
may have felt he was doing her a.
Speaker 3 (08:55):
Solid, So Anthony Bridgerton of him to see pre Anthony, pree, Anthony.
Speaker 5 (09:04):
You were chosen. This is a great honor.
Speaker 9 (09:07):
It is not an honor, and you could have told
them to choose someone else, someone stupid enough to want it.
Speaker 2 (09:12):
Doesn't want someone stupid.
Speaker 3 (09:13):
They wanted you, Adolphus, think why me? In this moment,
we're about to see that she's finding her power in
the midst of all of this.
Speaker 8 (09:22):
Yeah, she's about to step into not only the relationship
but royal institution.
Speaker 3 (09:26):
You're seeing her literally through your lens. It's a marriage
between India's performance and the way you frame her. Actually,
there's this moment when Princess Augusta is sizing up young
Charlotte and she's you know, she's checking her out. Even
the way India presents young Charlotte in that moment is
(09:47):
really interesting.
Speaker 8 (09:49):
When Augusta was first looking at Charlotte when she first
meets her, and we're extra close on Charlotte to see
what's going through her mind.
Speaker 7 (09:57):
It was a little bit closer so we can really
be in I had.
Speaker 8 (10:00):
Her world as opposed to being an observer from one
of the other members of the society there who were
watching her. That happens with each one of her characters.
We were very clear about whose perspective it was because
it was more personal journey.
Speaker 7 (10:13):
I think for this show.
Speaker 3 (10:18):
There are times too where I felt like I was
one of the portraits on the wall. I felt like
the institution looking down on Charlotte and you know, I'm
thinking about those long dining table scenes where she's always
let down.
Speaker 8 (10:35):
Yeah, and that was really about her loneliness and that
all eyes are on her. Like you said about the portraits,
it's about the institution looking at her as if somebody
did have her on surveillance.
Speaker 3 (10:47):
You also have shots throughout the series where you see
India in the same way we talked about seeing Golda
the last time we spoke. We talked about how Golda
a room, these tall, huge rooms with her energy and
her presence, and I felt like young Charlotte carried that
(11:11):
same kind of air.
Speaker 8 (11:13):
It's easy to get for any actor to be swallowed
up in these spaces because they are enormous, and when
any of us walk in, it's quite a lot to
bite off. When you're processing the history, the artwork, the
volume of these spaces, and with the symphony of every
department coming together, be it costumes or production design or
(11:34):
props to support that, it really becomes the actor's ability
to not have it dominate. Golda certainly commands wherever she's at.
India has that as well, but we had to find
those beginning steps and those vulnerabilities. So while she is
in these seemingly smaller person in these large spaces, she's
(11:54):
figuring it out. So it's her journey and foreign land
that she's literally stepped into, as any one of us
when we walk into a new environment, assessing what's before us.
The framing of that was very specific to help tell
that story of how she may have been a bit smaller,
she may have been a bit more behind that she
started to try to find her and then progressively as
(12:16):
she goes on, whether it's camera angles that is all
designed to sort of parallel her power, she discovers it
and she wears it.
Speaker 3 (12:24):
You also did quite a job on capturing young Charlotte
as ten and seven ten and seven years. There's this
moment where she's invited an entertainer in and by the way,
I also read that Queen Charlotte, the real one might
have invited Phyllis sweet Lee to read some poetry in
(12:47):
real life. I don't know if that's real. I gotta
do some research. But anyway, back to the show, she's
pressed up against the window Tom and she's just trying
to get a good one at her new husband out there.
Speaker 8 (12:59):
She's she's still a young woman, She's human, and I
think that is mark of Shonda's writing and the mark
of the actors we all have images, preconceptions of the
royal world and what that looks like and getting a
peek in that, but really finding those human elements how
one reacts to power, and that's quite intimidating. So it
(13:21):
was very important, very specific, help give little peaks and
windows as to they're just like anybody else and they
had the same feelings. In fact, sometimes tougher because they're
so sheltered from the rest of the world.
Speaker 3 (13:33):
Yeah, you guys unpack the real real Some of these
scenes and moments are pretty deep. I mean even just
the disappointment of the wedding night.
Speaker 7 (13:45):
Yeah, the wedding night.
Speaker 8 (13:46):
If you look back, this is certainly different from Ridgerton
than some of our other shows. There was so much
visual storytelling that we were given freedom to do.
Speaker 7 (13:57):
We'd put some music to it. We had Chris.
Speaker 8 (13:58):
Bauers, who's a master, just brilliant. We had a very
specific idea and images.
Speaker 7 (14:03):
That we drew upon.
Speaker 8 (14:04):
Jeff Juree and I in a look book of images
from films that inspired us. That glare that we had
throughout that wedding, amidst royalty pomp and circumstance of all
the lords and parliament and all the people of importance
who were there to really just escape into the world
of two people who were.
Speaker 7 (14:23):
Seeing falling in love.
Speaker 8 (14:24):
And that's really what we set out to do with
Corey and India. We talked a lot about kind of
what they were saying, and I had them say certain things,
and sometimes I had them don't speak at all, just
play it all with the eyes and with a look
and find a little laughter in this moment, to really
break down the formality that has put upon all of
us as we watched that, but to really draw the
(14:46):
audience into those little subtle moments that those who've been
through marriage or in a relationship when they're falling in love,
those moments that step out from the environment, whether you're
at a nice restaurant or at an altar of a church,
where something happens and you look to that person and
you're looking at one another.
Speaker 7 (15:05):
Holy crap, we're doing this. We're doing to really.
Speaker 8 (15:07):
Kind of get to that yeah, yeah, And it really
gets into who she is as a person, coming into
this position of power and the pressures that she has
to perform a certain way, but finding those little elements
in how she approaches her friendships, how she approaches her relationship,
how she navigates her mother in law with each of
those moments, So there was oftentimes we would have a
(15:29):
take where we grow out convention a little bit and
explore the unpredictable, and these actors really enjoyed that, and
having the freedom to do that allowed us to really
discover some truly connective moments that may not be on
the page.
Speaker 3 (15:43):
I definitely noticed those moments Tom and I wondered if
these were moments in the stage direction.
Speaker 8 (15:49):
Yeah, Sean gos very clear about each of those moments
how we first meet the dan Barrys. She is very
specific in her stage directions about how that's going to
look and how she wants that to feel. Times it's
as specific as a particular visual or it is a feeling.
And I think that's the partnership that Shanda and I
have for over the years, is that there's a shorthand
(16:10):
that we have with one another, and I know if
it's a look or what she's feeling just by what
she writes on the script of what she's looking for
her script that is the blueprint that creates the ability for.
Speaker 7 (16:20):
All that to happen.
Speaker 3 (16:25):
You mentioned the dan Berrys. I have to say Lady
Danburry was my favorite character before. She's only become my
favorite tourist character again with her backstory.
Speaker 7 (16:40):
I mean, yes, wow.
Speaker 3 (16:43):
And I thought it was so funny how we meet
the dan Burriys. I really did. Later on, you get
to the most fortunate conversation. You know, Violet had the
opportunity to have a love and an intimacy that she yes, enjoyed.
Lady Danbury not so much. So. You know, I have
(17:03):
to go back and watch it.
Speaker 8 (17:05):
And that will be controversial. It was controversial as we
were writing it as people read it. There's certainly no
glorification of it. But I think we do a deeper
dive into the complexities of this relationship and with that
there's an edge and there's a rawness to it that
is really excited to play it. Danberry's marriage was fairly
(17:26):
common of the time. I'm sure there were some true
love stories, but a lot of them were arranged and
they went with it because that's what everyone.
Speaker 7 (17:31):
Did and doing the deed.
Speaker 8 (17:34):
We had numerous discussions about how to carve out the
different time of when these moments happened and levels of repulsion.
Speaker 3 (17:43):
I have your bath waiting mom, you gave me no waning.
Speaker 1 (17:46):
I had no warning.
Speaker 3 (17:46):
You always have a warning, not this time spontaneous.
Speaker 5 (17:50):
Is it not enough?
Speaker 3 (17:51):
Then I must end you with that. Now I must
end you that without warning.
Speaker 8 (17:55):
Arson and I talked about when the camera is capturing
one's face and what they're going through, it might read
as something different. So we really experimented with different tasks.
The act is happening, but she's multitasking that moment.
Speaker 3 (18:11):
Young Agatha says, I was able to work out some correspondence.
Speaker 5 (18:15):
Yes, I'm like, oh.
Speaker 3 (18:16):
Wait, she's talking about during sex.
Speaker 7 (18:19):
There you go. You caught that.
Speaker 3 (18:20):
Yep, Okay, she just had that.
Speaker 7 (18:21):
That's exactly right. Yep.
Speaker 3 (18:23):
She was staring out. She wasn't looking stern or angry.
She just was fixated on her task. She was writing
a list.
Speaker 7 (18:32):
Yep.
Speaker 3 (18:33):
Oh, maybe I'll get some special stationary.
Speaker 8 (18:35):
To write exactly she was a trooper. She was a
trooper because people laughed out loud the table reader when
they first read it. So in the execution of that,
we again very specific about how we see the headboard
first and then discover her face and wondering what the
hell's going on?
Speaker 7 (18:54):
I still laugh out loud.
Speaker 3 (19:00):
Tom, let's talk about Brimsley. Mister, five steps behind your Hynes,
walk with me.
Speaker 10 (19:08):
I have a question that is not how it's done,
Your highness. What do you mean you walk there and
I walk back here?
Speaker 3 (19:14):
You cannot talk with me.
Speaker 10 (19:15):
I'm always with your highness? Five paces behind, five paces behind,
five paces behind, always, you highness, what is your name, Brimsley, Your.
Speaker 5 (19:22):
Highness, Brimsley, tell me about the king.
Speaker 10 (19:26):
He is the king, your highness, yes, And he is
the ruler of Great Britain and Ireland and the colonies.
Your highness, yes, he has been mony Rimsley.
Speaker 3 (19:33):
You have told me he is the king, He is
the ruler, and he is the monarch.
Speaker 4 (19:37):
Those are all the same things, are they not?
Speaker 10 (19:39):
They are all facts, Your highness.
Speaker 3 (19:41):
The first time walking five paces behind Charlotte, can you
talk about what that space is? That location and how
you accomplished that shot?
Speaker 7 (19:49):
Sure?
Speaker 8 (19:49):
That is Saint James Palace is the location in the story.
Saint James Palace really consists of a couple of different locations,
primarily Hampton Palace, which is where we shoot here in London.
That's where we film a lot of the What doubles
is our Saint James Palace, But the church itself was
in Oxford. We also shoot down in Wilton as a
(20:11):
piece of Saint James, So there's numerous different places, but
that particular stairwell is in Saint James Palace and definitely
is of the period, and we use that when you
really think about the scene right before, when Augusta is
getting her, it's a completely different it's two hours away
where that next scene takes place. But this was initially
(20:33):
written as a hallway and I pitched it to Shanda.
I said, I think we have a number of hallways.
What I would love is that if she's going up
to get her wedding dress on and go up to
her suite where she's being dressed, it would have been
on an upper floor. So I showed her pictures that
sent Shonda pictures of this location and I thought this
(20:53):
stairwell was very visual and she was completely She says, yeah,
that as long as it works, and I said it
might actually really highlight the five up behind on the stairs,
to which she completely agreed. So it went along three
walls that went up and we had this crane that
kind of just panned as we boomed up with it
with them as they moved, and I wanted them when
(21:14):
they finally had their conversation to be on that little
landing that was between that final stretch of stairwell, and
I wanted servants coming down behind them. And I know
there's two servants that come down and give about to
slightly start to introduce the world that people need to
bow to her, and she's completely a knowing of that's
(21:34):
happening around her.
Speaker 7 (21:36):
But his the scene.
Speaker 8 (21:38):
That was one of the first rehearsals we had with
these two actors, with India and Sam, and we just
rehearsed it in this rehearsal room, which was in a circle.
So I told them what I was thinking about doing
and be much clearer and much easier once we get
into the space. But they worked out what those moments were.
Speaker 3 (21:54):
Okay, in a circle.
Speaker 8 (21:57):
Yeah, in a circle, that's what it was initially because
it just needed to move five steps and then stopped.
Speaker 3 (22:01):
That's not maddening at all, No, not at all.
Speaker 8 (22:05):
It was a little bit like musical chairs. It's like
we're going around these chairs. But it really what we
were really tapping into is the dynamic of him Brimsley
Young Brimsley protecting the King and not wanting to reveal
too much, but really having his duty. He's been raised,
and we came up with he's finally got the assignment
(22:25):
and the detail of the queen, so this is a
big deal that he doesn't want to mess up. So
at all costs, he wants to give her whatever she
needs and be the perfect, the perfect wingman for her.
So he was quite nervous about making sure that he
was has done everything that he's been brought to for
this moment to handle the queen. So that you have
(22:51):
two people who are really figuring out their roles and
trying to understand what that is, and his nervousness of
wanting to stay by the book and be not try
to be friends, not try to show much, but really
just deliver what is expected of him, and he gets clustered,
which is really wonderful when she tries to get him
to get a little dirt. We were talking about the
(23:12):
show and the Brimsley character and how hughe sacks. Oftentimes
in the Bridgington world. He's often can be perceived as
set dressing, just always being there for the queen. But
I choose to really look deeper and look at those
layers and I will do a close up of him
because his point of view of judgment on this whole
(23:33):
of what's happening before the Queen really comes alive when
you give focus or give lens to that bystander.
Speaker 3 (23:43):
I think collectively viewers saw Brimsley in the first season
where the Queen would always tell him to scoot away
when they had business, whistle down business to discuss, and
I'm like, Okay, he talks too much, but I see
him on a whole different light now.
Speaker 7 (23:57):
Those where all the bodies are buried. Yes.
Speaker 3 (23:58):
Yeah, his progression and the way this entire series leaves
so much for us to fill in was incredible. I'm
so happy to because Shondaland does a good flashback. Just
in my own viewing experience, some of my favorite TV
flashbacks and flash forwards are from and I know I'm
(24:21):
not alone, but my favorites are from from Scandal. I
am not the only one that freaks out over Olivia's
bangs in a flashback, but I was wondering if there
is something in the secret sauce or in the creative
huddles that you all have because Shonda crafted flash forwards
(24:43):
like a delicacy that.
Speaker 7 (24:45):
Is really Shonda. She has a touch and a feel.
Speaker 8 (24:47):
So that was all clearly scripted and almost exactly as
it was scripted. This is probably the closest we stayed
to what the final product was and what the script was.
And I think that's because Shonda wrote just about all
of it that she had.
Speaker 7 (25:02):
In her head.
Speaker 8 (25:03):
So a lot of it is really kind of a
taste for what she feels might be overdone or gratuitous,
or when the time to transition.
Speaker 7 (25:12):
That that really becomes the.
Speaker 8 (25:13):
Crafting about when to pop out. You have quite a
blank canvas to paint when you've only gotten to know
Queen Charlotte and the Bridgeston world just through that prison,
but when you start diving into her personal world when
it comes back, we had the guidelines of what history was.
Really the crafting of the story of what Shanda created
(25:35):
really allowed her to play with the timeline. She is
a master at doing them. I think she writes them
brilliantly and her storytelling is just one point.
Speaker 3 (25:47):
All right, I've got to ask you about working with
the Queen's children. Talk about the tone. This is a
much darker tone than we're used to in the Bridge reverse.
Speaker 7 (26:00):
Which says sorrow as prayers.
Speaker 8 (26:01):
Her ability to flip flop between comedy and drama is amazing.
Our actor who played young George, it was a terrific
and gifted and we wanted to keep levity wherever we
can and bring that through, and he certainly brought it.
Speaker 7 (26:14):
He and as evidence in some of the later episodes.
Speaker 8 (26:18):
Jeff Jure and I are director of photography. We had
images oftentimes and we pulled from where it was one
of those sort of Vegas like moments in a painting
where there were so many little things happening. So I
had a very visual thing in mind when we come
into that room with Queen Charlotte to see your kids
for the first time. The introduction the pockets part of
(26:40):
the story is I need to loosen them up and
have them smoking. Some of them had their jackets off,
so I really wanted to muss them up a bit
and in a fun way. I really kind of wanted
to create this mess of the royal kids.
Speaker 3 (26:55):
It's so funny. Hugh Sachs as he plays Brimsley, the
way he reacts to the Queen's children, the Queen's adult children,
they know it's dead on and It is so funny.
Speaker 8 (27:06):
A lot of people wouldn't cover that character normally or
just feel him there. But I wanted very much his
judgment of this, so even moments like I remember at
the end of one she says, make me a baby.
She storms out of the room and he follows her,
and I said, Hugh, throw a look back. I want
you to throw a look back. Get your shit together
you And he did it, and he did it beautifully,
(27:28):
did it perfectly.
Speaker 7 (27:29):
It was so good.
Speaker 3 (27:30):
The way he throws his head over his shoulder, Oh
my goodness. I love it so much. I don't know
what to call that relationship.
Speaker 8 (27:37):
Between dependency, and they take care of each other enormously
on and off.
Speaker 3 (27:42):
Shoo, and that that definitely reads on camera. The scene,
the scene where the queen tells Brimsley, you know stand
over there.
Speaker 7 (27:52):
Yeah, yeah, that was three.
Speaker 3 (27:53):
I really like what he said.
Speaker 8 (27:54):
He hit her with some truth and caught her in
a way that she wasn't expected. But he knows her
better than anyone, He's seen how she does. He resisted,
he didn't want to hurt her feelings, he wanted to
protect her. But that little truth and that little shared
moment of vulnerability and reality. She didn't want him to
see her kind of get choked up. So yes, she
just resorts to what their positions are. Stand over there,
(28:15):
face the other way, Oh so good, now so good?
Speaker 3 (28:18):
Right in that moment too, it sounded very shondalind to me,
do you think that the cast came in knowing already
familiar with the style.
Speaker 8 (28:28):
There is a style and a language that we bring
to it that most of these actors do not know.
And I've had conversations with them because they're classically trained.
They're trained in a certain type of behavior and a
way in which to carry herself, so in cadence, in
(28:49):
how sharp the tongue might be is just different with
Shonda's writing and whether we work it with pace. But
stylistically they're used to it now, certain actors who've been
doing for a while in the Bridgeston world. But we
definitely have to work them into getting that rhythm that
is different from the classical rhythm. I like to try
to shake up those rhythms anyhow.
Speaker 3 (29:10):
Yeah, there is a style. There is definitely a style
that people who know shondaland can they can pick up
on it. And that rhythm is just it's just very familiar.
Speaker 8 (29:19):
I'll say that we had a rehearsal period with this
because it was essential, particularly because a lot of these
characters were brand new and they were just getting to
know each other. So that was invaluable the time that
we had for the two weeks before we were filming to.
Speaker 7 (29:35):
Answer a lot of questions.
Speaker 8 (29:37):
What was their character in the Bridgeton world, what are
we portraying here? How much are we playing with the accent?
Is it mimicking that? So there was a lot of
discussions about pace and rhythm and shaking it up, keeping
it very spontaneous.
Speaker 3 (29:53):
We'll be right back with Tom and Moore on Queen
Charlotte the official podcast.
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Speaker 3 (34:20):
The way the footman, servants and even the portraits along
the dining walls were like all peering down over on Charlotte.
What I was wondering though, and maybe this is in
the script and maybe this was in discussion, but are
they looking at Charlotte like she's an oddity? Or are
they looking at her like does she know there's something
(34:44):
that's not quite right, that there's something more to the
fact that the king is not with her. How are
they actually perceiving her in that moment?
Speaker 7 (34:52):
Our footmen are not knowing.
Speaker 8 (34:55):
It's probably all through perceptions, because it's really from her
point of view that she's seeing that. But what we
instructed them to do is they are by the book.
She's the queen, and they serve the queen as they do,
there's no judgment. The only time we had them break
is when they weren't quite sure what to do, like
when they started to get busy on a dining room table,
(35:17):
or or they start to look at one another. I
love that moment, but oftentimes they're really they're eager to please,
So if she's not, if something is slightly off as
the build happens, I think they look to one another
as to how do we correct this, how do we
get this right? What are we doing wrong.
Speaker 3 (35:33):
It's interesting because I felt almost in the way you
can feel secondhand embarrassment. I felt like this second hand
curiosity because we're fresh off of how Princess Augusta smudged
her cheek, just wondering if that's a thread for everything.
Speaker 8 (35:48):
I think that's probably real. I mean, there was certainly discussions,
so I think that in a moment when you show
a close up of someone like that, you can't help
but project onto that.
Speaker 3 (35:57):
Are there any locations that presented easy challenges?
Speaker 7 (36:01):
There's so many.
Speaker 8 (36:01):
The biggest challenge there were scenes where actors were never
in that scene with the other two actors, and we
put them against the green screen and filmed them a
month and a half later and dropped them into that scene,
the one that comes most of mine, and it was
with the Alledgers when we first meet young Violet and
her mother and she's talking to her father who's sitting
(36:22):
on the chair and he's reading the paper and she's
daddy questioning him all about society, and the mother is
kind of judging who Agatha is and everything, and they
were never in that scene together. We had one day
at this location. The night before we found out one
of our actors had tested positive, but we couldn't lose
his location. And I remember sitting in a bar with
Jeff Jure and Anna, our producer, and we're deciding do
(36:45):
we cut bait, lose this location and put this on
the edge of the schedule and try to get it
when we had the actors together. Nope, we're going to
go through it.
Speaker 7 (36:53):
We're gonna do it.
Speaker 8 (36:54):
And they thought I was crazy, but I talked him
through exactly said, here's what we.
Speaker 7 (36:58):
Can do each of those scenes.
Speaker 8 (36:59):
There's probably about three or four scenes where our care Charles,
our actor who plays Lord Ledger, was not in those scenes,
and we filmed him on a green screen later. These
are the things that challenges the reality of production, challenges
that we have.
Speaker 7 (37:13):
I'll give you one more.
Speaker 8 (37:14):
The scene in episode three where Charlotte and George when
she comes in and they're having dinner at the table,
and she says, will you stop that breathing? You annoy me.
Everything you do annoys me. He gets up, he comes
over to her, and then they start having sex on
the big table. Everyone's looking around and all the servants
are one of them.
Speaker 3 (37:34):
So funny, so funny.
Speaker 8 (37:36):
Our young Brimsley was never in that scene.
Speaker 3 (37:38):
How did you do that?
Speaker 7 (37:39):
I shot him against a green screen.
Speaker 8 (37:41):
He was supposed to be in the scene, but he
couldn't work that day and so we shot him against
the green sea. So all his looks to Reynolds when
he looks to Reynolds and he's ushering people out of
the room. That's the magic of filmmaking and the challenges
that we have to do, And it is amazing how it.
Speaker 3 (37:58):
Looks seamless, and that's one of the biggest lol moments.
Speaker 7 (38:05):
So hard. When I saw the first cut of that,
I laughed out loud. I laughed out loud.
Speaker 3 (38:11):
It's so funny.
Speaker 8 (38:12):
These are the elements of the puzzle that I love
as a director, trying to figure out, how do we
pull this off, how do.
Speaker 7 (38:18):
We do this?
Speaker 8 (38:19):
Working with Jeff Juror, he and I have a shorthand
He's just brilliant at lighting in the visuals of what
we had. The spontaneity that we constantly stay committed to.
Lynn Pollow and her work on costumes was just extraordinary,
very clear decisions about George's ring, and there were so
many elements the jewelry of the royals, and there's so
many specifics that are in there that you can see
(38:41):
that probably can get lost, but again upon rewatch, you
can see a lot of layers as to what we did.
I loved one of our sequences was the funeral procession
and the VFX that we talked about because again, we
can only have so many background actors, so we did
tiling and created kind of streets of people just lined
up when we didn't really have that. Those are very
(39:01):
specific visuals that we storyboarded and knew exactly shot for
shot what we were going to do with that, ending
with a close up of Golda through the glass as
she peered out and saw the whole crowd and that
what she was going through, the work of this crew.
I'm just incredibly grateful, appreciative of when and everyone brought
to this, and I'm very proud of what we did.
Speaker 3 (39:20):
It was a pleasure watching the series several times, and
it's really an honor and a privilege to be speaking
with you.
Speaker 7 (39:26):
Thank you, Gabrielle. I love speaking with you. I love
your questions.
Speaker 8 (39:29):
I love your investment and thoughtful and introspective, and I
really appreciate talking with you and appreciate your insight.
Speaker 3 (39:37):
After the break, casting director Kelly Valentine Hendry drops in,
She's going to introduce us to more of the Queen
Charlotte cast.
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Everyone's saying that twenty twenty four Samsung Neo, QLED and
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And they're not just talking.
Speaker 4 (41:07):
About how you get a sixty five inch TV.
Speaker 5 (41:09):
On the house. When you pre order a twenty twenty
four Samsung TV. So why are these TVs such a
big deal?
Speaker 4 (41:15):
Is it the AI processor that upscales your favorite content
to CRISP four K and AK resolution. Could it be
watching your favorite shows and movies with over a billion
shades of unwavering color, or possibly the stunning real depth
and answer making on screen content look.
Speaker 7 (41:29):
Like real life.
Speaker 4 (41:30):
These TVs do sound like a big deal on but
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That's right. Pre Order a twenty twenty four.
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Speaker 16 (43:01):
Hello, I'm Stacy Wilson Hunt, your host for Inventing Anna,
the official podcast from Shonda Rhymes and the creators at Shondaland.
Inventing Anna tells the story of a young woman who
charmed her way into the pocketbooks of New York's elite.
Speaker 12 (43:15):
Was she gonna take off with that twenty million dollars
from the banks or was she going to pour it
into this foundation?
Speaker 3 (43:20):
You know, people look at Anna and see what they
want to see.
Speaker 16 (43:23):
On this podcast, you'll get VIP access to the real
people who inspired the television series and to the actors
and creatives like showrunner Shonda Rhymes who brought them to life.
Speaker 3 (43:32):
We were working on the show while the trial was
going on. I remember doing a dramatic reading of Todd's
opening statement for the Writer's Room.
Speaker 16 (43:43):
Who is the fake Heiress? Anna Delby Join us as
we unravel the stories behind the story.
Speaker 9 (43:49):
Everything's true until it's not, basically in Anna's world.
Speaker 16 (43:53):
Listen to Inventing Anna, the official podcast every Wednesday on
the iHeartRadio app, Apple Podcasts, or wherever you get your podcast.
Speaker 3 (44:06):
Kelly Valentine Hendry, casting director of Queen Charlotte, A Bridgerton Story.
We're so thrilled to have you as a special guest,
and you're responsible for bringing together this amazing cast and
helping bring this story to life. So let's just start
with discussing your overall thoughts. What's been going on with you.
(44:28):
Since being in the throes of casting.
Speaker 9 (44:31):
Since the last time we spoke, it's gone rather well,
hasn't it. Bridgitton has continued to become a global phenomenon
with the most beautiful, kindest cast and the showrunners and shoemakers.
It's just one big, happy family which I'm just so
honored and proud to be part of. And then when
you get a chance to have their little children, which
is what I consider Queen Charlotte. This byproduct of an
(44:54):
already incredible piece of work. For it to have completely
its own identity within something that is got its own
identity anyway, it's quite special that it's been able to
do that. So yeah, I've just been really busy. I've
been very lucky. I think everyone have watched this by now,
so I'm excited to see what the world thinks of
what we've been doing. And we've made some new stars
as we've gone along, which is great.
Speaker 3 (45:15):
When did your process begin?
Speaker 9 (45:17):
So I remember we started out early quite rightly, and
I work with another cast and director on the show
called Cole Edwards who used to be my associate, who
also helped cast the last season of bridges In so
this shot late January February twenty twenty two, and the
two of us started in November time in twenty twenty one.
(45:39):
We were out of lockdown, but it was still very
much not in person, certainly not in the UK. And
I remember very clearly standing in my kitchen and having
a call with Betsy and Shonda and we had our
first discussion about what Queen Charlotte was going to be
about and what were the expectations for a young Queen Shark.
(46:00):
And at that time we were very much focusing in on
young Queen Charlotte and young Lady Danbury and how we
would go about approaching I think I'm not wrong in
saying iconic figures now with two very specific actresses, you know, Yeah,
Golda and Adua are not at your every day finds.
They are so unique in who they are as actors,
(46:22):
they're incredible and who they are as people as well.
And that's one thing that Cole and I always love
to do is we always tend to find people are
quite close to the personalities of the character, so that
a lot of that reality is based already in that
person's soul. So we're being told to cast a young
Golda and a young Adua. Let's just say the challenge
(46:43):
was a big one. So we started the process. And
the truth is, at that point scripts were still being written,
but we had the beauty of having these two very
well drawn out characters already with two wonderful actresses playing them.
So we knew that we had an essence to go.
So Cole and I felt very confident being able to
go out and start the casting process with if I'm honest,
(47:06):
fake sites, the audition pages and all them sites. Yes,
so we went out and it was a long time ago,
and I'm pretty sure we use sides from the original show,
so there was an essence of the character. I double
checked through our breakdowns actually recently, and there was no information.
They knew that it was part of the Bridgeton world,
but we were genuinely looking for an actress of this
(47:29):
age with this type of accent, and that was it,
and who was free obviously key to the process that
is actually available, And so we went off and we
started with our massive search, as we do with Bridgeton
in general, and we start with the self tapes. And
I'm not just saying this, it's when the tapes of
(47:49):
the people that were eventually cast. The very second, three
seconds into their reads, we knew that who would end
up casting because they were perfect.
Speaker 3 (48:00):
How many had you seen?
Speaker 9 (48:02):
Oh that'd be telling, wouldn't it. We always see a
good couple of hundred at least. But when India's tape landed,
that was one of I'll never forget that. She is
young Queen Charlotte. She is young, golder. And here's the thing.
India had a body of work already. She had done
some excellent shows in the past, and she'd cut her teeth,
(48:24):
and she'd done line of duty just like Claudia had.
She'd so she wasn't new to us. But when Arsama's
tape hit, that's someone I'd never seen before. And ARSA's
quite an extraordinary young woman, as you can tell. American also,
which kind of threw me. I was like, Oh, gosh,
are we going to cast an American accident in person
(48:45):
to play Lady Danbury, who's got the most English accent
I've ever heard. So yes, So that was the timeline
you were going to say.
Speaker 3 (48:52):
Something was a blessing? What was a blessing? Finished that thought.
Speaker 9 (48:57):
We've been living Bridgeton for a long, long time, and
we care so much about it and we invest so
much in these young actors. And that's one of the
things I'm most proud about the casting on Bridgeton in general,
is that there are a lot of young actors there
and older actors too, who I really feel have worked
(49:17):
their entire lives and not been recognized for it. And
I think the global appeal of Bridgeton has thrown these
people into the limelight and I've seen people's careers change
in front of us. Every single person that is on
the set of Bridgeton is an incredible actor, and we're
blessed before we even start because we know the material
(49:37):
is going to be excellent. We know the directing is
going to be the best that we ever can be.
So when we are inviting these young people to tape,
we know that they're going to be put into the
best possible space. This comforting and intelligent, and we can
put young, fresh talent in there and we know they're
(49:58):
going to be looked after, they're going to be guided
in the right way, and I think that is really special,
and I don't say that about many shows.
Speaker 3 (50:05):
That's amazing to hear, and I'm wondering if that is
something that for you, being a casting director and being
in this industry for so long, gives you a special
sense of pride or gives you an opportunity to look
back on your career at this opportunity to do just that.
Speaker 9 (50:24):
The respect that is given to casting as a head
of department on this show is incredible, and I really
feel like everybody trusts what Cole and I thought and
did they take our advice. When I say to them, guys,
we're not done yet here, we need to keep on looking,
they don't question it. We're given the space and the
respect to do the best job that we can do,
(50:47):
and I think that comes across in the casting on
the show. But Bridgeton and Queen Charlotte as a Bridgeton story,
there's a rhythm in the dialogue. It's difficult, it's a
lot of words, and it takes an excellent actor to
just make it feel so light and airy. It's an
amalgamation of strong writing, of course, and actors that have
(51:11):
the ability I always call it in Bridgington, they dance
with the text. And when we're asking for self tapes,
I actually can see quite a lot of people that
can get through a lot of people as a result,
because people can either do it or they can't, and
when they do it, like India or Arsenma, you can't
ignore it. You know that actor is going to get
really far in the process.
Speaker 3 (51:32):
I do agree. You could literally see them dancing with
their words like a kitten with a ball of yarn.
Speaker 9 (51:39):
Ball of cashmere.
Speaker 3 (51:45):
Yeah, no yarn here, catch gold dusted, catch me quite.
Speaker 9 (51:53):
I'm really excited to hear what everyone has to say
about this show. It exists so much by itself, but
so beautifully alongside. I'm so excited.
Speaker 3 (52:04):
I have to say.
Speaker 9 (52:05):
This group of young actors are so extraordinarily humble, and
I just cannot wait to see what's going to happen
to them for the rest of their careers.
Speaker 12 (52:15):
Now.
Speaker 9 (52:16):
They deserve all of it. They're so hard working, they're
so kind, they're so patient, they're so talented and good
to each other, and it's a lesson to be learned
for so many young actors that this is exactly how
they need to behave. They're beautiful, so I applaud them.
Speaker 3 (52:35):
I think you're right to be excited, and we applaud you. Kelly.
Thank you so much for your time today.
Speaker 9 (52:40):
You're so welcome. You are so welcome, all right.
Speaker 3 (52:47):
So I just want to thank Kelly, Valentine, Henry and
Tom Erica again for joining us. We'll hear more from
them throughout the podcast season. They are full of insight
from the early stages of development, and you Tom touches
pretty much every aspect of production. So make sure you
grab your favorite snacks. May I suggest some cakes and
(53:07):
teas and just find us here every Thursday after you
watch an episode, we can settle in and explore everything
from character development to behind the scenes secrets with our
brilliant cast and the creative teams. And of course we
couldn't talk about Queen Charlotte without speaking with Shonda Rhymes,
(53:28):
the mastermind behind this captivating world. And again, some of
the casts are stopping by to take us on a
journey through their characters and personal stories, which truly come
together to make this series as enchanting as it is.
This is like that extra sliver of cake that you
went back to the kitchen for. Don't worry, I'm in
(53:49):
the kitchen too. It's okay. We are here for our
sugary confection. No servants or footmen to stop us or
pick it for us and we're just We're just going
to enjoy this together.
Speaker 17 (54:02):
People found it slightly ridiculous that I was on a horse.
I Freddie was on a horse. Everyone was watching, so
I had to try and play it as cool as
I could, But I boy was I sweating.
Speaker 10 (54:15):
You smashed it though it went very well?
Speaker 7 (54:18):
Yeah I did.
Speaker 17 (54:19):
I'm glad I wasn't wearing a heart rate thing.
Speaker 3 (54:22):
Next week, actors Sam Clement and Freddie Dennis dig into
the Brimsley and Reynolds of it all and they share
tales from their auditions. Queen Charlotte is full of love
and loss. It's also full of laughter. So this will
be a really fun kickoff to some of our episode
recaps with the cast, and I really can't wait to
(54:45):
share Sam and Freddie's story with you. Queen Charlotte. The
official podcast is executive produced by Sandy Bailey, Lauren Homan,
alex Alcea, Tyler Klang, and me Gabrielle Collins. Our producer
and editor is Tarry Harrison. To the podcast anywhere you
get your favorite shows, get the book, I'm a Crispy
(55:05):
turned the page, smell the binding kind of Queen, But
you can download it and you can find Queen Charlotte,
a Bridgeton story on Netflix. We'll see you next week.
Queen Charlotte. The Official podcast is a production of Shondaland
Audio in partnership with iHeartRadio. For more podcasts, visit the
(55:28):
iHeartRadio app, Apple Podcasts, or wherever you listen to your
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Queen Charlotte the Official Podcast is a production of Shondaland
Audio in partnership with iHeartRadio. Well, well, if it isn't
all my Queen Charlotte fans out there, have you binged
(02:29):
the whole series? Uh huh, yeah, I know, I know
you're still reeling from the premiere of Queen Charlotte, a
Bridgeton Story on Netflix. It's a lot and it was great.
On Queen Charlotte the Official Podcast, we're going to talk
(02:50):
about what made it special for you. We will talk
through all of those feelings, all of the excitement of
the visuals. So here's what we're doing on this first episode.
We'll be diving into the latest edition of the Bridgerton
Universe Queen Charlotte or Bridgerton Story now streaming on Netflix.
And if you're reeling from the first episode and you
(03:13):
ran over here, well, first I say thank you for starters,
and yeah, I'm laughing with you because I know, I know,
right that was a lot, there's a lot to look at,
there's a lot to get lost in. I'm your host,
Gabby Collins, and on this episode, we'll start off with
(03:34):
a sit down with executive producer and director Tom Verica.
We love that Tom lets us get into his head.
There is no corner of his thinking that he doesn't
let us tap into, and the first episode of the
series leaves us with so many stones to turn. He'll
(03:54):
be right by our side. Also, casting director Kelly Valentine
Henry will pop in. She's going to introduce the brilliant
cast and we'll hear from her more throughout the podcast season.
But let's go. Let's just get all up into this
first episode. It is my absolute pleasure to introduce our
(04:16):
first guest of the season, the kind and accomplished executive
producer and director of Queen Charlotte A Bridgerton story, Tom Verica.
With a career spanning well over two decades, Tom has
been a driving force behind some of the most groundbreaking
and iconic television shows of our time. He was behind
(04:39):
the lens of Queen Charlotte, raising up young actors and
empowering creatives on set, and honestly, we are just more
than honored to have him with us today and share
his insights and let him walk us through the series
Lords and Ladies the BFD himself, Tom Verica, Welcome.
Speaker 7 (04:59):
Thank you very much.
Speaker 3 (05:00):
Tom. You have been on the Bridgerton Podcast before. This
is Queen Charlotte. It's a whole new thing. It's really
good to be talking with you. I just wanted to
jump right in and start off with the end of
episode one with Charlotte. Young Charlotte is sitting there on
her bed and she's saying to herself, should have gone
(05:23):
over the wall. I should have gone over the wall.
Speaker 8 (05:27):
She's probably regretting getting into the carriage in the first
place in Germany.
Speaker 3 (05:32):
And it all just makes me start thinking about starting
to tell her story in the first place.
Speaker 7 (05:37):
Yeah, she's quite a force.
Speaker 8 (05:39):
There is obviously a lot of history behind Queen Charlotte
as we know her.
Speaker 7 (05:44):
Where we jump in.
Speaker 8 (05:46):
We extracted sort of parts of our story to make
it fit into our Bridgitton world, a little bit of
reverse engineering from the character that Golda Raschavella has created.
So this is obviously some time before that how she
came into her power, and that was something that Shonda
discussed early on being very curious about how she becomes
(06:06):
the woman that she is today in the Bridgeton world.
As she started throwing that idea out there and we
started doing research and seeing what elements we want to take.
There's actually quite a few elements that are a lot
of fact, and there is a disclaimer you see at
the beginning that we bent it a little bit into
our world. Queen Charlotte's was not quite as accurate latter years,
(06:26):
but it was really important to capture the reality of
this confident young woman who was very strong and living
in her own world in Germany, quite successful. Many avenues
would be at art or science or working with the poor,
philanthropic in a lot of ways. She wasn't this broken
down nobody who married the king and became somebody. She
(06:47):
was in her own right. You talk about that opening scene,
it was very deliberate. I wanted to keep her a
little bit of a mystery as long as we could,
and that's why I started on the back of her,
starting on her dress, showing her barrel down this hallway.
Speaker 3 (07:01):
So sure put it too.
Speaker 8 (07:03):
Yeah, India, the actress is just extraordinary and she has
such poison presence about her, which immediately we all gravitated
to and decided to cast her in this. You see
the profile of her face and then you see her
through the crack of the door, and it really isn't
until she steps away and she turns around and reveals
about what her life is going to suddenly change, which
we don't know yet, that we get a glimpse of
(07:24):
full on who she is and the fear of the vulnerability.
Speaker 7 (07:27):
And everything that suddenly kicks in.
Speaker 8 (07:29):
So it was very deliberate to try to tell us
who this person is just in the way she walks,
and then we literally turned the table on her pretty quickly.
That was Shonda's clear nod to show the audience that
this is someone who's a fighter and she's not going
to go down easy, and that's something that was established
pretty early on. But still, as she steps into the carriage,
(07:52):
when she is going off, you get a sense that
this is someone who's still very confident in feeling very
sure of herself, and ready to tackle anything that she'll
come up against.
Speaker 3 (08:02):
Was the Queen's brother Adolphus, played beautifully by Tunji Cassim.
Was he in on the great experiment At this point
of the story.
Speaker 8 (08:11):
Adolphus was really her life. She really has a chance
to really make change for the great She's going to
be queen and what she can do in that position
is enormous, and that will go beyond the limitations of
the very lovely life that they had in Germany. But
there was real opportunity, So not only for his sister,
(08:31):
given the opportunity to have this power position his selfish reasons,
I'm sure, for being the broker between Germany and England
and elevating his status to his place in the world.
It probably wasn't so uncommon with a lot of people
who were married off, and particularly a young woman too,
that she's going to have to be married off with someone,
and why not the King of England. Yeah, so he
(08:53):
may have felt he was doing her a.
Speaker 3 (08:55):
Solid, So Anthony Bridgerton of him to see pre Anthony, pree, Anthony.
Speaker 5 (09:04):
You were chosen. This is a great honor.
Speaker 9 (09:07):
It is not an honor, and you could have told
them to choose someone else, someone stupid enough to want it.
Speaker 2 (09:12):
Doesn't want someone stupid.
Speaker 3 (09:13):
They wanted you, Adolphus, think why me? In this moment,
we're about to see that she's finding her power in
the midst of all of this.
Speaker 8 (09:22):
Yeah, she's about to step into not only the relationship
but royal institution.
Speaker 3 (09:26):
You're seeing her literally through your lens. It's a marriage
between India's performance and the way you frame her. Actually,
there's this moment when Princess Augusta is sizing up young
Charlotte and she's you know, she's checking her out. Even
the way India presents young Charlotte in that moment is
(09:47):
really interesting.
Speaker 8 (09:49):
When Augusta was first looking at Charlotte when she first
meets her, and we're extra close on Charlotte to see
what's going through her mind.
Speaker 7 (09:57):
It was a little bit closer so we can really
be in I had.
Speaker 8 (10:00):
Her world as opposed to being an observer from one
of the other members of the society there who were
watching her. That happens with each one of her characters.
We were very clear about whose perspective it was because
it was more personal journey.
Speaker 7 (10:13):
I think for this show.
Speaker 3 (10:18):
There are times too where I felt like I was
one of the portraits on the wall. I felt like
the institution looking down on Charlotte and you know, I'm
thinking about those long dining table scenes where she's always
let down.
Speaker 8 (10:35):
Yeah, and that was really about her loneliness and that
all eyes are on her. Like you said about the portraits,
it's about the institution looking at her as if somebody
did have her on surveillance.
Speaker 3 (10:47):
You also have shots throughout the series where you see
India in the same way we talked about seeing Golda
the last time we spoke. We talked about how Golda
a room, these tall, huge rooms with her energy and
her presence, and I felt like young Charlotte carried that
(11:11):
same kind of air.
Speaker 8 (11:13):
It's easy to get for any actor to be swallowed
up in these spaces because they are enormous, and when
any of us walk in, it's quite a lot to
bite off. When you're processing the history, the artwork, the
volume of these spaces, and with the symphony of every
department coming together, be it costumes or production design or
(11:34):
props to support that, it really becomes the actor's ability
to not have it dominate. Golda certainly commands wherever she's at.
India has that as well, but we had to find
those beginning steps and those vulnerabilities. So while she is
in these seemingly smaller person in these large spaces, she's
(11:54):
figuring it out. So it's her journey and foreign land
that she's literally stepped into, as any one of us
when we walk into a new environment, assessing what's before us.
The framing of that was very specific to help tell
that story of how she may have been a bit smaller,
she may have been a bit more behind that she
started to try to find her and then progressively as
(12:16):
she goes on, whether it's camera angles that is all
designed to sort of parallel her power, she discovers it
and she wears it.
Speaker 3 (12:24):
You also did quite a job on capturing young Charlotte
as ten and seven ten and seven years. There's this
moment where she's invited an entertainer in and by the way,
I also read that Queen Charlotte, the real one might
have invited Phyllis sweet Lee to read some poetry in
(12:47):
real life. I don't know if that's real. I gotta
do some research. But anyway, back to the show, she's
pressed up against the window Tom and she's just trying
to get a good one at her new husband out there.
Speaker 8 (12:59):
She's she's still a young woman, She's human, and I
think that is mark of Shonda's writing and the mark
of the actors we all have images, preconceptions of the
royal world and what that looks like and getting a
peek in that, but really finding those human elements how
one reacts to power, and that's quite intimidating. So it
(13:21):
was very important, very specific, help give little peaks and
windows as to they're just like anybody else and they
had the same feelings. In fact, sometimes tougher because they're
so sheltered from the rest of the world.
Speaker 3 (13:33):
Yeah, you guys unpack the real real Some of these
scenes and moments are pretty deep. I mean even just
the disappointment of the wedding night.
Speaker 7 (13:45):
Yeah, the wedding night.
Speaker 8 (13:46):
If you look back, this is certainly different from Ridgerton
than some of our other shows. There was so much
visual storytelling that we were given freedom to do.
Speaker 7 (13:57):
We'd put some music to it. We had Chris.
Speaker 8 (13:58):
Bauers, who's a master, just brilliant. We had a very
specific idea and images.
Speaker 7 (14:03):
That we drew upon.
Speaker 8 (14:04):
Jeff Juree and I in a look book of images
from films that inspired us. That glare that we had
throughout that wedding, amidst royalty pomp and circumstance of all
the lords and parliament and all the people of importance
who were there to really just escape into the world
of two people who were.
Speaker 7 (14:23):
Seeing falling in love.
Speaker 8 (14:24):
And that's really what we set out to do with
Corey and India. We talked a lot about kind of
what they were saying, and I had them say certain things,
and sometimes I had them don't speak at all, just
play it all with the eyes and with a look
and find a little laughter in this moment, to really
break down the formality that has put upon all of
us as we watched that, but to really draw the
(14:46):
audience into those little subtle moments that those who've been
through marriage or in a relationship when they're falling in love,
those moments that step out from the environment, whether you're
at a nice restaurant or at an altar of a church,
where something happens and you look to that person and
you're looking at one another.
Speaker 7 (15:05):
Holy crap, we're doing this. We're doing to really.
Speaker 8 (15:07):
Kind of get to that yeah, yeah, And it really
gets into who she is as a person, coming into
this position of power and the pressures that she has
to perform a certain way, but finding those little elements
in how she approaches her friendships, how she approaches her relationship,
how she navigates her mother in law with each of
those moments, So there was oftentimes we would have a
(15:29):
take where we grow out convention a little bit and
explore the unpredictable, and these actors really enjoyed that, and
having the freedom to do that allowed us to really
discover some truly connective moments that may not be on
the page.
Speaker 3 (15:43):
I definitely noticed those moments Tom and I wondered if
these were moments in the stage direction.
Speaker 8 (15:49):
Yeah, Sean gos very clear about each of those moments
how we first meet the dan Barrys. She is very
specific in her stage directions about how that's going to
look and how she wants that to feel. Times it's
as specific as a particular visual or it is a feeling.
And I think that's the partnership that Shanda and I
have for over the years, is that there's a shorthand
(16:10):
that we have with one another, and I know if
it's a look or what she's feeling just by what
she writes on the script of what she's looking for
her script that is the blueprint that creates the ability for.
Speaker 7 (16:20):
All that to happen.
Speaker 3 (16:25):
You mentioned the dan Berrys. I have to say Lady
Danburry was my favorite character before. She's only become my
favorite tourist character again with her backstory.
Speaker 7 (16:40):
I mean, yes, wow.
Speaker 3 (16:43):
And I thought it was so funny how we meet
the dan Burriys. I really did. Later on, you get
to the most fortunate conversation. You know, Violet had the
opportunity to have a love and an intimacy that she yes, enjoyed.
Lady Danbury not so much. So. You know, I have
(17:03):
to go back and watch it.
Speaker 8 (17:05):
And that will be controversial. It was controversial as we
were writing it as people read it. There's certainly no
glorification of it. But I think we do a deeper
dive into the complexities of this relationship and with that
there's an edge and there's a rawness to it that
is really excited to play it. Danberry's marriage was fairly
(17:26):
common of the time. I'm sure there were some true
love stories, but a lot of them were arranged and
they went with it because that's what everyone.
Speaker 7 (17:31):
Did and doing the deed.
Speaker 8 (17:34):
We had numerous discussions about how to carve out the
different time of when these moments happened and levels of repulsion.
Speaker 3 (17:43):
I have your bath waiting mom, you gave me no waning.
Speaker 1 (17:46):
I had no warning.
Speaker 3 (17:46):
You always have a warning, not this time spontaneous.
Speaker 5 (17:50):
Is it not enough?
Speaker 3 (17:51):
Then I must end you with that. Now I must
end you that without warning.
Speaker 8 (17:55):
Arson and I talked about when the camera is capturing
one's face and what they're going through, it might read
as something different. So we really experimented with different tasks.
The act is happening, but she's multitasking that moment.
Speaker 3 (18:11):
Young Agatha says, I was able to work out some correspondence.
Speaker 5 (18:15):
Yes, I'm like, oh.
Speaker 3 (18:16):
Wait, she's talking about during sex.
Speaker 7 (18:19):
There you go. You caught that.
Speaker 3 (18:20):
Yep, Okay, she just had that.
Speaker 7 (18:21):
That's exactly right. Yep.
Speaker 3 (18:23):
She was staring out. She wasn't looking stern or angry.
She just was fixated on her task. She was writing
a list.
Speaker 7 (18:32):
Yep.
Speaker 3 (18:33):
Oh, maybe I'll get some special stationary.
Speaker 8 (18:35):
To write exactly she was a trooper. She was a
trooper because people laughed out loud the table reader when
they first read it. So in the execution of that,
we again very specific about how we see the headboard
first and then discover her face and wondering what the
hell's going on?
Speaker 7 (18:54):
I still laugh out loud.
Speaker 3 (19:00):
Tom, let's talk about Brimsley. Mister, five steps behind your Hynes,
walk with me.
Speaker 10 (19:08):
I have a question that is not how it's done,
Your highness. What do you mean you walk there and
I walk back here?
Speaker 3 (19:14):
You cannot talk with me.
Speaker 10 (19:15):
I'm always with your highness? Five paces behind, five paces behind,
five paces behind, always, you highness, what is your name, Brimsley, Your.
Speaker 5 (19:22):
Highness, Brimsley, tell me about the king.
Speaker 10 (19:26):
He is the king, your highness, yes, And he is
the ruler of Great Britain and Ireland and the colonies.
Your highness, yes, he has been mony Rimsley.
Speaker 3 (19:33):
You have told me he is the king, He is
the ruler, and he is the monarch.
Speaker 4 (19:37):
Those are all the same things, are they not?
Speaker 10 (19:39):
They are all facts, Your highness.
Speaker 3 (19:41):
The first time walking five paces behind Charlotte, can you
talk about what that space is? That location and how
you accomplished that shot?
Speaker 7 (19:49):
Sure?
Speaker 8 (19:49):
That is Saint James Palace is the location in the story.
Saint James Palace really consists of a couple of different locations,
primarily Hampton Palace, which is where we shoot here in London.
That's where we film a lot of the What doubles
is our Saint James Palace, But the church itself was
in Oxford. We also shoot down in Wilton as a
(20:11):
piece of Saint James, So there's numerous different places, but
that particular stairwell is in Saint James Palace and definitely
is of the period, and we use that when you
really think about the scene right before, when Augusta is
getting her, it's a completely different it's two hours away
where that next scene takes place. But this was initially
(20:33):
written as a hallway and I pitched it to Shanda.
I said, I think we have a number of hallways.
What I would love is that if she's going up
to get her wedding dress on and go up to
her suite where she's being dressed, it would have been
on an upper floor. So I showed her pictures that
sent Shonda pictures of this location and I thought this
(20:53):
stairwell was very visual and she was completely She says, yeah,
that as long as it works, and I said it
might actually really highlight the five up behind on the stairs,
to which she completely agreed. So it went along three
walls that went up and we had this crane that
kind of just panned as we boomed up with it
with them as they moved, and I wanted them when
(21:14):
they finally had their conversation to be on that little
landing that was between that final stretch of stairwell, and
I wanted servants coming down behind them. And I know
there's two servants that come down and give about to
slightly start to introduce the world that people need to
bow to her, and she's completely a knowing of that's
(21:34):
happening around her.
Speaker 7 (21:36):
But his the scene.
Speaker 8 (21:38):
That was one of the first rehearsals we had with
these two actors, with India and Sam, and we just
rehearsed it in this rehearsal room, which was in a circle.
So I told them what I was thinking about doing
and be much clearer and much easier once we get
into the space. But they worked out what those moments were.
Speaker 3 (21:54):
Okay, in a circle.
Speaker 8 (21:57):
Yeah, in a circle, that's what it was initially because
it just needed to move five steps and then stopped.
Speaker 3 (22:01):
That's not maddening at all, No, not at all.
Speaker 8 (22:05):
It was a little bit like musical chairs. It's like
we're going around these chairs. But it really what we
were really tapping into is the dynamic of him Brimsley
Young Brimsley protecting the King and not wanting to reveal
too much, but really having his duty. He's been raised,
and we came up with he's finally got the assignment
(22:25):
and the detail of the queen, so this is a
big deal that he doesn't want to mess up. So
at all costs, he wants to give her whatever she
needs and be the perfect, the perfect wingman for her.
So he was quite nervous about making sure that he
was has done everything that he's been brought to for
this moment to handle the queen. So that you have
(22:51):
two people who are really figuring out their roles and
trying to understand what that is, and his nervousness of
wanting to stay by the book and be not try
to be friends, not try to show much, but really
just deliver what is expected of him, and he gets clustered,
which is really wonderful when she tries to get him
to get a little dirt. We were talking about the
(23:12):
show and the Brimsley character and how hughe sacks. Oftentimes
in the Bridgington world. He's often can be perceived as
set dressing, just always being there for the queen. But
I choose to really look deeper and look at those
layers and I will do a close up of him
because his point of view of judgment on this whole
(23:33):
of what's happening before the Queen really comes alive when
you give focus or give lens to that bystander.
Speaker 3 (23:43):
I think collectively viewers saw Brimsley in the first season
where the Queen would always tell him to scoot away
when they had business, whistle down business to discuss, and
I'm like, Okay, he talks too much, but I see
him on a whole different light now.
Speaker 7 (23:57):
Those where all the bodies are buried. Yes.
Speaker 3 (23:58):
Yeah, his progression and the way this entire series leaves
so much for us to fill in was incredible. I'm
so happy to because Shondaland does a good flashback. Just
in my own viewing experience, some of my favorite TV
flashbacks and flash forwards are from and I know I'm
(24:21):
not alone, but my favorites are from from Scandal. I
am not the only one that freaks out over Olivia's
bangs in a flashback, but I was wondering if there
is something in the secret sauce or in the creative
huddles that you all have because Shonda crafted flash forwards
(24:43):
like a delicacy that.
Speaker 7 (24:45):
Is really Shonda. She has a touch and a feel.
Speaker 8 (24:47):
So that was all clearly scripted and almost exactly as
it was scripted. This is probably the closest we stayed
to what the final product was and what the script was.
And I think that's because Shonda wrote just about all
of it that she had.
Speaker 7 (25:02):
In her head.
Speaker 8 (25:03):
So a lot of it is really kind of a
taste for what she feels might be overdone or gratuitous,
or when the time to transition.
Speaker 7 (25:12):
That that really becomes the.
Speaker 8 (25:13):
Crafting about when to pop out. You have quite a
blank canvas to paint when you've only gotten to know
Queen Charlotte and the Bridgeston world just through that prison,
but when you start diving into her personal world when
it comes back, we had the guidelines of what history was.
Really the crafting of the story of what Shanda created
(25:35):
really allowed her to play with the timeline. She is
a master at doing them. I think she writes them
brilliantly and her storytelling is just one point.
Speaker 3 (25:47):
All right, I've got to ask you about working with
the Queen's children. Talk about the tone. This is a
much darker tone than we're used to in the Bridge reverse.
Speaker 7 (26:00):
Which says sorrow as prayers.
Speaker 8 (26:01):
Her ability to flip flop between comedy and drama is amazing.
Our actor who played young George, it was a terrific
and gifted and we wanted to keep levity wherever we
can and bring that through, and he certainly brought it.
Speaker 7 (26:14):
He and as evidence in some of the later episodes.
Speaker 8 (26:18):
Jeff Jure and I are director of photography. We had
images oftentimes and we pulled from where it was one
of those sort of Vegas like moments in a painting
where there were so many little things happening. So I
had a very visual thing in mind when we come
into that room with Queen Charlotte to see your kids
for the first time. The introduction the pockets part of
(26:40):
the story is I need to loosen them up and
have them smoking. Some of them had their jackets off,
so I really wanted to muss them up a bit
and in a fun way. I really kind of wanted
to create this mess of the royal kids.
Speaker 3 (26:55):
It's so funny. Hugh Sachs as he plays Brimsley, the
way he reacts to the Queen's children, the Queen's adult children,
they know it's dead on and It is so funny.
Speaker 8 (27:06):
A lot of people wouldn't cover that character normally or
just feel him there. But I wanted very much his
judgment of this, so even moments like I remember at
the end of one she says, make me a baby.
She storms out of the room and he follows her,
and I said, Hugh, throw a look back. I want
you to throw a look back. Get your shit together
you And he did it, and he did it beautifully,
(27:28):
did it perfectly.
Speaker 7 (27:29):
It was so good.
Speaker 3 (27:30):
The way he throws his head over his shoulder, Oh
my goodness. I love it so much. I don't know
what to call that relationship.
Speaker 8 (27:37):
Between dependency, and they take care of each other enormously
on and off.
Speaker 3 (27:42):
Shoo, and that that definitely reads on camera. The scene,
the scene where the queen tells Brimsley, you know stand
over there.
Speaker 7 (27:52):
Yeah, yeah, that was three.
Speaker 3 (27:53):
I really like what he said.
Speaker 8 (27:54):
He hit her with some truth and caught her in
a way that she wasn't expected. But he knows her
better than anyone, He's seen how she does. He resisted,
he didn't want to hurt her feelings, he wanted to
protect her. But that little truth and that little shared
moment of vulnerability and reality. She didn't want him to
see her kind of get choked up. So yes, she
just resorts to what their positions are. Stand over there,
(28:15):
face the other way, Oh so good, now so good?
Speaker 3 (28:18):
Right in that moment too, it sounded very shondalind to me,
do you think that the cast came in knowing already
familiar with the style.
Speaker 8 (28:28):
There is a style and a language that we bring
to it that most of these actors do not know.
And I've had conversations with them because they're classically trained.
They're trained in a certain type of behavior and a
way in which to carry herself, so in cadence, in
(28:49):
how sharp the tongue might be is just different with
Shonda's writing and whether we work it with pace. But
stylistically they're used to it now, certain actors who've been
doing for a while in the Bridgeston world. But we
definitely have to work them into getting that rhythm that
is different from the classical rhythm. I like to try
to shake up those rhythms anyhow.
Speaker 3 (29:10):
Yeah, there is a style. There is definitely a style
that people who know shondaland can they can pick up
on it. And that rhythm is just it's just very familiar.
Speaker 8 (29:19):
I'll say that we had a rehearsal period with this
because it was essential, particularly because a lot of these
characters were brand new and they were just getting to
know each other. So that was invaluable the time that
we had for the two weeks before we were filming to.
Speaker 7 (29:35):
Answer a lot of questions.
Speaker 8 (29:37):
What was their character in the Bridgeton world, what are
we portraying here? How much are we playing with the accent?
Is it mimicking that? So there was a lot of
discussions about pace and rhythm and shaking it up, keeping
it very spontaneous.
Speaker 3 (29:53):
We'll be right back with Tom and Moore on Queen
Charlotte the official podcast.
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Speaker 3 (34:20):
The way the footman, servants and even the portraits along
the dining walls were like all peering down over on Charlotte.
What I was wondering though, and maybe this is in
the script and maybe this was in discussion, but are
they looking at Charlotte like she's an oddity? Or are
they looking at her like does she know there's something
(34:44):
that's not quite right, that there's something more to the
fact that the king is not with her. How are
they actually perceiving her in that moment?
Speaker 7 (34:52):
Our footmen are not knowing.
Speaker 8 (34:55):
It's probably all through perceptions, because it's really from her
point of view that she's seeing that. But what we
instructed them to do is they are by the book.
She's the queen, and they serve the queen as they do,
there's no judgment. The only time we had them break
is when they weren't quite sure what to do, like
when they started to get busy on a dining room table,
(35:17):
or or they start to look at one another. I
love that moment, but oftentimes they're really they're eager to please,
So if she's not, if something is slightly off as
the build happens, I think they look to one another
as to how do we correct this, how do we
get this right? What are we doing wrong.
Speaker 3 (35:33):
It's interesting because I felt almost in the way you
can feel secondhand embarrassment. I felt like this second hand
curiosity because we're fresh off of how Princess Augusta smudged
her cheek, just wondering if that's a thread for everything.
Speaker 8 (35:48):
I think that's probably real. I mean, there was certainly discussions,
so I think that in a moment when you show
a close up of someone like that, you can't help
but project onto that.
Speaker 3 (35:57):
Are there any locations that presented easy challenges?
Speaker 7 (36:01):
There's so many.
Speaker 8 (36:01):
The biggest challenge there were scenes where actors were never
in that scene with the other two actors, and we
put them against the green screen and filmed them a
month and a half later and dropped them into that scene,
the one that comes most of mine, and it was
with the Alledgers when we first meet young Violet and
her mother and she's talking to her father who's sitting
(36:22):
on the chair and he's reading the paper and she's
daddy questioning him all about society, and the mother is
kind of judging who Agatha is and everything, and they
were never in that scene together. We had one day
at this location. The night before we found out one
of our actors had tested positive, but we couldn't lose
his location. And I remember sitting in a bar with
Jeff Jure and Anna, our producer, and we're deciding do
(36:45):
we cut bait, lose this location and put this on
the edge of the schedule and try to get it
when we had the actors together. Nope, we're going to
go through it.
Speaker 7 (36:53):
We're gonna do it.
Speaker 8 (36:54):
And they thought I was crazy, but I talked him
through exactly said, here's what we.
Speaker 7 (36:58):
Can do each of those scenes.
Speaker 8 (36:59):
There's probably about three or four scenes where our care Charles,
our actor who plays Lord Ledger, was not in those scenes,
and we filmed him on a green screen later. These
are the things that challenges the reality of production, challenges
that we have.
Speaker 7 (37:13):
I'll give you one more.
Speaker 8 (37:14):
The scene in episode three where Charlotte and George when
she comes in and they're having dinner at the table,
and she says, will you stop that breathing? You annoy me.
Everything you do annoys me. He gets up, he comes
over to her, and then they start having sex on
the big table. Everyone's looking around and all the servants
are one of them.
Speaker 3 (37:34):
So funny, so funny.
Speaker 8 (37:36):
Our young Brimsley was never in that scene.
Speaker 3 (37:38):
How did you do that?
Speaker 7 (37:39):
I shot him against a green screen.
Speaker 8 (37:41):
He was supposed to be in the scene, but he
couldn't work that day and so we shot him against
the green sea. So all his looks to Reynolds when
he looks to Reynolds and he's ushering people out of
the room. That's the magic of filmmaking and the challenges
that we have to do, And it is amazing how it.
Speaker 3 (37:58):
Looks seamless, and that's one of the biggest lol moments.
Speaker 7 (38:05):
So hard. When I saw the first cut of that,
I laughed out loud. I laughed out loud.
Speaker 3 (38:11):
It's so funny.
Speaker 8 (38:12):
These are the elements of the puzzle that I love
as a director, trying to figure out, how do we
pull this off, how do.
Speaker 7 (38:18):
We do this?
Speaker 8 (38:19):
Working with Jeff Juror, he and I have a shorthand
He's just brilliant at lighting in the visuals of what
we had. The spontaneity that we constantly stay committed to.
Lynn Pollow and her work on costumes was just extraordinary,
very clear decisions about George's ring, and there were so
many elements the jewelry of the royals, and there's so
many specifics that are in there that you can see
(38:41):
that probably can get lost, but again upon rewatch, you
can see a lot of layers as to what we did.
I loved one of our sequences was the funeral procession
and the VFX that we talked about because again, we
can only have so many background actors, so we did
tiling and created kind of streets of people just lined
up when we didn't really have that. Those are very
(39:01):
specific visuals that we storyboarded and knew exactly shot for
shot what we were going to do with that, ending
with a close up of Golda through the glass as
she peered out and saw the whole crowd and that
what she was going through, the work of this crew.
I'm just incredibly grateful, appreciative of when and everyone brought
to this, and I'm very proud of what we did.
Speaker 3 (39:20):
It was a pleasure watching the series several times, and
it's really an honor and a privilege to be speaking
with you.
Speaker 7 (39:26):
Thank you, Gabrielle. I love speaking with you. I love
your questions.
Speaker 8 (39:29):
I love your investment and thoughtful and introspective, and I
really appreciate talking with you and appreciate your insight.
Speaker 3 (39:37):
After the break, casting director Kelly Valentine Hendry drops in,
She's going to introduce us to more of the Queen
Charlotte cast.
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so it feels like it's barely there and it is
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Everyone's saying that twenty twenty four Samsung Neo, QLED and
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About how you get a sixty five inch TV.
Speaker 5 (41:09):
On the house. When you pre order a twenty twenty
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Is it the AI processor that upscales your favorite content
to CRISP four K and AK resolution. Could it be
watching your favorite shows and movies with over a billion
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and answer making on screen content look.
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These TVs do sound like a big deal on but
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Speaker 16 (43:01):
Hello, I'm Stacy Wilson Hunt, your host for Inventing Anna,
the official podcast from Shonda Rhymes and the creators at Shondaland.
Inventing Anna tells the story of a young woman who
charmed her way into the pocketbooks of New York's elite.
Speaker 12 (43:15):
Was she gonna take off with that twenty million dollars
from the banks or was she going to pour it
into this foundation?
Speaker 3 (43:20):
You know, people look at Anna and see what they
want to see.
Speaker 16 (43:23):
On this podcast, you'll get VIP access to the real
people who inspired the television series and to the actors
and creatives like showrunner Shonda Rhymes who brought them to life.
Speaker 3 (43:32):
We were working on the show while the trial was
going on. I remember doing a dramatic reading of Todd's
opening statement for the Writer's Room.
Speaker 16 (43:43):
Who is the fake Heiress? Anna Delby Join us as
we unravel the stories behind the story.
Speaker 9 (43:49):
Everything's true until it's not, basically in Anna's world.
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Listen to Inventing Anna, the official podcast every Wednesday on
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Speaker 3 (44:06):
Kelly Valentine Hendry, casting director of Queen Charlotte, A Bridgerton Story.
We're so thrilled to have you as a special guest,
and you're responsible for bringing together this amazing cast and
helping bring this story to life. So let's just start
with discussing your overall thoughts. What's been going on with you.
(44:28):
Since being in the throes of casting.
Speaker 9 (44:31):
Since the last time we spoke, it's gone rather well,
hasn't it. Bridgitton has continued to become a global phenomenon
with the most beautiful, kindest cast and the showrunners and shoemakers.
It's just one big, happy family which I'm just so
honored and proud to be part of. And then when
you get a chance to have their little children, which
is what I consider Queen Charlotte. This byproduct of an
(44:54):
already incredible piece of work. For it to have completely
its own identity within something that is got its own
identity anyway, it's quite special that it's been able to
do that. So yeah, I've just been really busy. I've
been very lucky. I think everyone have watched this by now,
so I'm excited to see what the world thinks of
what we've been doing. And we've made some new stars
as we've gone along, which is great.
Speaker 3 (45:15):
When did your process begin?
Speaker 9 (45:17):
So I remember we started out early quite rightly, and
I work with another cast and director on the show
called Cole Edwards who used to be my associate, who
also helped cast the last season of bridges In so
this shot late January February twenty twenty two, and the
two of us started in November time in twenty twenty one.
(45:39):
We were out of lockdown, but it was still very
much not in person, certainly not in the UK. And
I remember very clearly standing in my kitchen and having
a call with Betsy and Shonda and we had our
first discussion about what Queen Charlotte was going to be
about and what were the expectations for a young Queen Shark.
(46:00):
And at that time we were very much focusing in on
young Queen Charlotte and young Lady Danbury and how we
would go about approaching I think I'm not wrong in
saying iconic figures now with two very specific actresses, you know, Yeah,
Golda and Adua are not at your every day finds.
They are so unique in who they are as actors,
(46:22):
they're incredible and who they are as people as well.
And that's one thing that Cole and I always love
to do is we always tend to find people are
quite close to the personalities of the character, so that
a lot of that reality is based already in that
person's soul. So we're being told to cast a young
Golda and a young Adua. Let's just say the challenge
(46:43):
was a big one. So we started the process. And
the truth is, at that point scripts were still being written,
but we had the beauty of having these two very
well drawn out characters already with two wonderful actresses playing them.
So we knew that we had an essence to go.
So Cole and I felt very confident being able to
go out and start the casting process with if I'm honest,
(47:06):
fake sites, the audition pages and all them sites. Yes,
so we went out and it was a long time ago,
and I'm pretty sure we use sides from the original show,
so there was an essence of the character. I double
checked through our breakdowns actually recently, and there was no information.
They knew that it was part of the Bridgeton world,
but we were genuinely looking for an actress of this
(47:29):
age with this type of accent, and that was it,
and who was free obviously key to the process that
is actually available, And so we went off and we
started with our massive search, as we do with Bridgeton
in general, and we start with the self tapes. And
I'm not just saying this, it's when the tapes of
(47:49):
the people that were eventually cast. The very second, three
seconds into their reads, we knew that who would end
up casting because they were perfect.
Speaker 3 (48:00):
How many had you seen?
Speaker 9 (48:02):
Oh that'd be telling, wouldn't it. We always see a
good couple of hundred at least. But when India's tape landed,
that was one of I'll never forget that. She is
young Queen Charlotte. She is young, golder. And here's the thing.
India had a body of work already. She had done
some excellent shows in the past, and she'd cut her teeth,
(48:24):
and she'd done line of duty just like Claudia had.
She'd so she wasn't new to us. But when Arsama's
tape hit, that's someone I'd never seen before. And ARSA's
quite an extraordinary young woman, as you can tell. American also,
which kind of threw me. I was like, Oh, gosh,
are we going to cast an American accident in person
(48:45):
to play Lady Danbury, who's got the most English accent
I've ever heard. So yes, So that was the timeline
you were going to say.
Speaker 3 (48:52):
Something was a blessing? What was a blessing? Finished that thought.
Speaker 9 (48:57):
We've been living Bridgeton for a long, long time, and
we care so much about it and we invest so
much in these young actors. And that's one of the
things I'm most proud about the casting on Bridgeton in general,
is that there are a lot of young actors there
and older actors too, who I really feel have worked
(49:17):
their entire lives and not been recognized for it. And
I think the global appeal of Bridgeton has thrown these
people into the limelight and I've seen people's careers change
in front of us. Every single person that is on
the set of Bridgeton is an incredible actor, and we're
blessed before we even start because we know the material
(49:37):
is going to be excellent. We know the directing is
going to be the best that we ever can be.
So when we are inviting these young people to tape,
we know that they're going to be put into the
best possible space. This comforting and intelligent, and we can
put young, fresh talent in there and we know they're
(49:58):
going to be looked after, they're going to be guided
in the right way, and I think that is really special,
and I don't say that about many shows.
Speaker 3 (50:05):
That's amazing to hear, and I'm wondering if that is
something that for you, being a casting director and being
in this industry for so long, gives you a special
sense of pride or gives you an opportunity to look
back on your career at this opportunity to do just that.
Speaker 9 (50:24):
The respect that is given to casting as a head
of department on this show is incredible, and I really
feel like everybody trusts what Cole and I thought and
did they take our advice. When I say to them, guys,
we're not done yet here, we need to keep on looking,
they don't question it. We're given the space and the
respect to do the best job that we can do,
(50:47):
and I think that comes across in the casting on
the show. But Bridgeton and Queen Charlotte as a Bridgeton story,
there's a rhythm in the dialogue. It's difficult, it's a
lot of words, and it takes an excellent actor to
just make it feel so light and airy. It's an
amalgamation of strong writing, of course, and actors that have
(51:11):
the ability I always call it in Bridgington, they dance
with the text. And when we're asking for self tapes,
I actually can see quite a lot of people that
can get through a lot of people as a result,
because people can either do it or they can't, and
when they do it, like India or Arsenma, you can't
ignore it. You know that actor is going to get
really far in the process.
Speaker 3 (51:32):
I do agree. You could literally see them dancing with
their words like a kitten with a ball of yarn.
Speaker 9 (51:39):
Ball of cashmere.
Speaker 3 (51:45):
Yeah, no yarn here, catch gold dusted, catch me quite.
Speaker 9 (51:53):
I'm really excited to hear what everyone has to say
about this show. It exists so much by itself, but
so beautifully alongside. I'm so excited.
Speaker 3 (52:04):
I have to say.
Speaker 9 (52:05):
This group of young actors are so extraordinarily humble, and
I just cannot wait to see what's going to happen
to them for the rest of their careers.
Speaker 12 (52:15):
Now.
Speaker 9 (52:16):
They deserve all of it. They're so hard working, they're
so kind, they're so patient, they're so talented and good
to each other, and it's a lesson to be learned
for so many young actors that this is exactly how
they need to behave. They're beautiful, so I applaud them.
Speaker 3 (52:35):
I think you're right to be excited, and we applaud you. Kelly.
Thank you so much for your time today.
Speaker 9 (52:40):
You're so welcome. You are so welcome, all right.
Speaker 3 (52:47):
So I just want to thank Kelly, Valentine, Henry and
Tom Erica again for joining us. We'll hear more from
them throughout the podcast season. They are full of insight
from the early stages of development, and you Tom touches
pretty much every aspect of production. So make sure you
grab your favorite snacks. May I suggest some cakes and
(53:07):
teas and just find us here every Thursday after you
watch an episode, we can settle in and explore everything
from character development to behind the scenes secrets with our
brilliant cast and the creative teams. And of course we
couldn't talk about Queen Charlotte without speaking with Shonda Rhymes,
(53:28):
the mastermind behind this captivating world. And again, some of
the casts are stopping by to take us on a
journey through their characters and personal stories, which truly come
together to make this series as enchanting as it is.
This is like that extra sliver of cake that you
went back to the kitchen for. Don't worry, I'm in
(53:49):
the kitchen too. It's okay. We are here for our
sugary confection. No servants or footmen to stop us or
pick it for us and we're just We're just going
to enjoy this together.
Speaker 17 (54:02):
People found it slightly ridiculous that I was on a horse.
I Freddie was on a horse. Everyone was watching, so
I had to try and play it as cool as
I could, But I boy was I sweating.
Speaker 10 (54:15):
You smashed it though it went very well?
Speaker 7 (54:18):
Yeah I did.
Speaker 17 (54:19):
I'm glad I wasn't wearing a heart rate thing.
Speaker 3 (54:22):
Next week, actors Sam Clement and Freddie Dennis dig into
the Brimsley and Reynolds of it all and they share
tales from their auditions. Queen Charlotte is full of love
and loss. It's also full of laughter. So this will
be a really fun kickoff to some of our episode
recaps with the cast, and I really can't wait to
(54:45):
share Sam and Freddie's story with you. Queen Charlotte. The
official podcast is executive produced by Sandy Bailey, Lauren Homan,
alex Alcea, Tyler Klang, and me Gabrielle Collins. Our producer
and editor is Tarry Harrison. To the podcast anywhere you
get your favorite shows, get the book, I'm a Crispy
(55:05):
turned the page, smell the binding kind of Queen, But
you can download it and you can find Queen Charlotte,
a Bridgeton story on Netflix. We'll see you next week.
Queen Charlotte. The Official podcast is a production of Shondaland
Audio in partnership with iHeartRadio. For more podcasts, visit the
(55:28):
iHeartRadio app, Apple Podcasts, or wherever you listen to your
favorite shows.
Speaker 1 (55:32):
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Speaker 18 (56:09):
Does your inner monologue ever sound like, Oh, I'm never
gonna be good enough or thin enough, or I'm too
old to start something new. I'm Jess Wiener, cultural expert
and the host of Dominant Stories.
Speaker 15 (56:21):
Those are all lies designed by culture and negative forces
to keep you small.
Speaker 18 (56:28):
Listen to Dominant Stories with me Jess Wiener on the
iHeartRadio app, Apple Podcasts or wherever you listen to podcasts.
Speaker 16 (56:38):
Who is the fake Heiress Anna Delvey And what does
the story of this Instagram legend say about us? On
Inventing Anna the Official Podcast, you'll get exclusive access to
the people who inspired the TV series and to the
actors like Anna Klemsky who brought them to life.
Speaker 3 (56:53):
This is backstory stuff for myself, but like she was
driven by the idea that well, if I just crack
the code, they'll let me in.
Speaker 16 (57:01):
Listen to all of Inventing Anna the Official Podcast on
the iHeartRadio app, Apple Podcasts, or wherever you listen to podcasts.
Speaker 19 (57:09):
Hi, this is Ali went Worth, host of Go Ask Gali.
My listeners want more, so we are digging in. Comedian
Amy Schumer.
Speaker 11 (57:17):
As far as cancel culture goes, I think that the
people who are the most afraid and complaining about cancel
culture are the ones who are in danger of being canceled,
and they need to take a look at themselves. I
agree with you, you know, I'm not worried about it
because I know my intentions and I know that I'm
like open to evolving.
Speaker 19 (57:32):
Listen to go Ask Gali every Thursday on the iHeartRadio app,
Apple Podcasts, or wherever you get your podcasts.
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