TVLINE | What did you think of how Breck approached that scene as director, with the fixed extreme close-up?
You can’t actually use a book as a shooting script. There were some differences in staging how that rescue went, but that’s just the game. There were some differences because we had to lose a bit of “The adventures of Alex and Bobbie” along the way. We managed to do a lot of the stuff from the books in the Naomi arc this year. TVLINE | Going back to Naomi’s float, that character had an incredible journey this season. But the battle scene is great, the emotional catharsis when Drummer identifies herself to the Roci… There are a lot of good bits in this one. Ty, Naran and Breck are the ones who put that together the way that it is, and I get to just marvel at it.
Admittedly, battles are not my personal strong suit this is why we have a team. TVLINE | What other moments from the finale were especially visceral to see on-screen? The space battle was pretty intricate for the show. When things like that happen, I can’t maintain my creative distance. When they get around to her “If something goes wrong…” message? Yeah, then I’m just watching. When Naomi jumps out of the Chetzemoka that last time? All I’m doing is watching. It’s weird because my experience as a viewer of the show is so influenced and informed by all the times I’ve spent putting “2x4s under it” and negotiating, like, “Should it be three feet to the left…?” It’s easy for me to get caught up in the minutia and the technical stuff, but every now and again, as I am still in my “editor’s brain” looking at it, you hit a scene that just pops and you’re pulled into the story again.
#Expanse season 5 episode 10 series
TVLINE | What was it like to see such a seminal series of events be brought to life in the finale? Or is it almost “old hat” for you at this point? Plus, did possibly survive that final scene?! TVLine hopped on a Zoom with Daniel Abraham, series EP and co-author of the novels on which the Syfy-turned-Amazon Prime series is based, to get his unique perspective on Naomi’s nail-biting float and the “brilliant” way it was directed.
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