The Continental director talks episode 2.
SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT Summary The Continental is a prequel to John Wick, set in 1970s New York. The three-part event explores the origins of Winston Scott, who will eventually become the manager of the New York branch of The Continental Hotel and an ally of John Wick. The series incorporates real-world events from this era while also delving deeper into the lore of the John Wick world.
So I've never done anything that looks like this. And then I had read some interviews with Chad, and he was always quoting John Wick as a modern Lord of the Rings, but more modern in a fantasy world. So they had all the elements that I love in it. So I thought it was just extremely exciting to be part of that world.
Oh, that's such a great comparison. I love that. We also have the first meeting between Charon and Winston, who become this kind of iconic duo in the John Wick universe. What did it feel like to set up that relationship and did you want the actors to tap into any of the mannerisms from the movie? And I feel a feature is a feature, you can do a lot of action. But a TV series that goes over and that people need to come back to, you have to do a character piece, you have to dig into the characters, you have to tell a character story. And that's always where I come from. When I read the scene, I always think perspective, from whose point of view is this scene, and how am I going direct this scene so it becomes person to the person.
And I said, "This doesn't make sense at all because they know what she's going through." They feel terrible about what they did to her, burning Frankie's body without her being there and not without telling her. And she's shocked. So I said, "They would not want to fight back. They would try to hold off and let her go crazy. And they only need to defend themselves if she becomes too dangerous, but that's all." So fighting is a lot of the story as well.
Charlotte Brändström: Yeah, but it's completely ours creation. She was really set up in night one, and I continued something and Katie was just a great person to work with. And I think they did a very interesting choice casting her because she's beautiful eyes and obviously with a mask on, it's hard to act. So the eyes need to express a lot. And I did that long dining scene with her and Mel together, and that was...
I read the script, and it clicks and you see the scenes. And then you start to do research, you start to look at movies you love from that period, and you look for references. So that's how style comes. So there are lot of different stages in the creative process. So we was really started off with Albert giving me the style and the music. And the music and all the media jobs is something that I would not have thought of to do as much as Albert didn't.
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