That leads nicely into the first scene I wanted to talk about: When she realizes Spector has broken into her hotel room and read her diary, which is the ultimate loss of control. Take me through filming that moment and how you got to that place. We see the tears building, and the realization that she’s lost something of herself to him, of all people.
I think in the actual scene, the audience hears Spector speaking [what he wrote in her diary]. I didn’t hear his voice, and they didn’t need to have somebody reading out loud, because I was reading the words on the page. What he writes is so blatantly provocative and potentially shaming and intuitive. And the fact that he’s quaffed that boundary, and stepped into not just the privacy of her room and the privacy of her diary but the privacy of her mind and her thoughts — it’s such a violation that it knocked the wind out of her. Literally, she’s so not used to anyone getting anywhere near even on the surface what she projects. She protects herself. So for that protection to have been bypassed, and for him to have found her soft spot completely out of the blue. … He really steps into an intimacy that she doesn’t share with anybody. It’s a huge, huge invasion of her mind — a mind that she keeps very closed.
The next scene I wanted to touch on is the lengthy interrogation scene, which became a great power play between Spector and Stella. How did you approach that crucial sequence?
I thought that it was exquisitely written. How did I prepare for it? I mean one always intends to be entirely off-book, but with something like this, it’s really important to know 100 percent that you are off-book and can follow the rhythm of the scene from beginning to end without interruption. When we did a rehearsal of it, it was clear that Jamie felt the same way because we were able to do the 11-and-a-half pages straight through. What was fascinating about the process was that because we haven’t sat face-to-face in scenes before, it was as much about the actors dancing as it was about the characters dancing and observing each other, sussing each other out. We both lightly got into…predatory is the wrong word, but it’s almost like two cobras facing off. A cobra and a mongoose or something. It was something about that, and because it’s such a quiet scene, and we end up very grounded in our bodies but also very much in each other’s space. It had that kind of heightened sense to it. It was so much fun to play, and also to see how good Jamie was and could be.
There will be a third season of The Fall, and Allan has confirmed, of course, that Spector will survive being shot. I found it so interesting that Stella ran to Spector first when he and DS Tom Anderson (Colin Morgan) both took bullets. In your mind, why was that?
I mean, it is really the right thing to do. She spent how long now tracking this guy? She knows that there’s medics around. She knows that Anderson’s likely going to be perfectly fine no matter where he’s hit. She doesn’t want this to end here. She’s fascinated by [Spector]. She is fascinated by what drives him. She also knows that he’s got a young daughter, even though that’s obviously going to be a complicated relationship. But I think she doesn’t feel like her business with him is done yet. It’s also an easy out for him after what he put people through.
Read the full interview HERE via @JamieDornan_BR
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