‘Severance’ Stars John Turturro and Christopher Walken on That ‘Dinner From Hell’ and Why Irving Visits Burt’s House: ‘Curiosity, Insecurity, Jealousy’

Warning: Spoiler Ahead! As a dedicated fan of “Severance,” I recently binged through Season 2, Episode 6, now available on Apple TV+. Here’s my take on the latest twist:

In this tale filled with intrigue and suspense, I found myself engrossed by the events unfolding in Episode 6 of “Severance.” The shocking revelation about Mark’s past and the implications for his future had me on the edge of my seat. This episode left me eagerly anticipating what happens next!

In the realm of “Severance”, it’s often challenging to distinguish between one’s two personas – the moral self and the immoral, the inner and outer self – as the divide may seem almost nonexistent.

In the fourth episode, it was a thoughtless remark about Burt and Irving’s relationship that exposed Britt Lower’s character as Helena Eagan. “What you said to me last night was harsh,” Irving says to Helena the following morning, prior to attempting to drown her. “Helly has never been harsh.

In a conversation with EbMaster prior to the airing of the sixth episode, Turturro notes that someone can appear charming but later reveal themselves as monstrous. This episode reveals that after being permanently fired from Lumon, Irving finally gets a peek into Burt’s personal life as a married man. At an uncomfortable dinner with his love interest and husband Fields (played by John Noble), Irving starts to uncover the true nature of Burt.

Turturro explains that Irving appears to be someone who can accurately follow specific details. He suggests a possible military background hinted at during the first season might explain his keen insight. “If he’s unsure about something,” Turturro continues, “he doesn’t hesitate to investigate it. He has a methodical approach, analyzing situations by asking ‘Well, this doesn’t add up to that, so it could be something harmless or something potentially dangerous.’

Irving politely smiles and takes a leisurely sip of his wine as Fields brings up the ominous nickname “Attila” for Burt, hinting that this name references the powerful leader of the Hun empire. In passing, Fields also reveals that Burt has been employed at Lumon for a considerable time, even before the first office division was established.

Burt appears happy to be with Irving, yet there’s a hint of discomfort due to his spouse being seated at the same table, as Walken confides in EbMaster. Burt’s husband is aware of aspects about him that others might not, suggesting that Burt may not be as kind-hearted as people perceive.

Walken goes on to say, “It’s similar to a frustrating holiday family gathering where someone brings up politics, and another person asks them not to. This leads to a dinner that feels like it’s straight out of a horror movie.

The duration we spend with Irving and Burt’s outer selves during dinner is the most extended period. Walken describes his approach to portraying Burt as similar to encountering someone you’ve seen in movies numerous times, but finding them distinct from their on-screen roles. “It was like meeting a familiar face at a party in someone else’s home, and I thought this person is really quite different from the characters they play,” Walken says. In his view, when Burt appears externally, he remains Burt, yet he bears an additional burden. He is both Burt and Attila.

In the discussion below, Turturro describes his collaboration with old friend Walken during the intense “three-way” dinner scene, his unconventional methods for achieving the appropriate emotional state, and his partnership with Lower on the passionate drowning sequence featured in Episode 4.

What was your first reaction when you learned that Irving was going to be permanently dismissed from Lumon — that his innie would essentially die — at the end of Episode 4?

During our discussions, Ben Stiller brainstormed numerous ideas with Dan Erickson, tossing them my way and then envisioning what would follow. I was delighted with how things eventually unfolded because it kept me engaged. In a collective performance, having engaging tasks is crucial to avoid frequent entrances and exits, which I feel, given my experience, are less suitable for me.

What did your input or collaboration look like with Ben and Dan for that scene?

Ultimately, they carried out their intended action, but I pointed out, “It’s crucial to consider Irving’s history. Regardless of whether you accept it or not, his past influences him.” Clearly, Irving has a knack for observing specific details – a skill honed through his training. If he’s unsure about something, he delves deeper, using a methodical approach, reasoning, “If this doesn’t match up with that, then it could be harmless or potentially dangerous.

In that scene, you make a sharp turn from aggression toward Helena to an immediate gentleness once she switches back to Helly. How did you find the moment to flip that switch, and how did you approach it?

I believe we incorporated safety measures during our performance because Britt and I share a close bond, and I wanted to ensure her well-being while we worked together. We didn’t use stunt performers for most of it – only in the water when it was too cold, or in certain situations inside a pool. However, we had to exercise caution. So, our actions became like a choreographed dance. I instructed her, “We’ll move step 1, step 2, then I go left, and you go right.” With practice, and by keeping each other’s safety in mind, we were able to build the performance. Some people may try to execute everything on their own without considering the other person, but they’re mistaken. They’re wrong in every aspect because working together allows us to push boundaries emotionally while also avoiding hurting one another. Since we plan to repeat our performance multiple times, it’s crucial that we don’t cause harm to each other.

In simpler terms, Irving perceives that one individual poses no threat, while another does. His goal is to be with the former and avoid the latter. This dynamic is implied in the writing, but it requires a mental switch to fully grasp. As you delve deeper into the character, the shift becomes more pronounced, making for engaging acting.

How do you prepare yourself to get in the mindset for such emotionally complex scenes?

Experiencing art is much like listening to music. If the music lacks variety, it becomes monotonous. That’s why I enjoy music of all kinds, even popular tunes. It doesn’t necessarily need to be classical music. As long as it has a unique melody and shifts in rhythm, you can listen to it repeatedly without getting tired. For instance, Joni Mitchell’s album “Blue” could be listened to a million times, and its appeal remains just as strong. It’s like receiving a gift – each time you listen, there’s something new to discover, and the complexity only adds to its beauty. This is an excellent example of someone using their own experiences to create art. They are a poet, and the music they produce is stunningly beautiful. Yet, when you see them perform live, it’s always surprising – it’s as if they’re opening themselves up completely. And that, for me, serves as inspiration to become a vessel, in a sense.

Why does Irving go to Burt’s house?

There are numerous emotions swirling within him: curiosity, a sense of identity, insecurity, and even envy. It’s an entirely different experience when individuals expose themselves publicly at a certain stage in life. At my age, the challenges become more intense as the clock ticks and the future seems less expansive, with only a few decades left ahead. Delving into such complexities is intriguing, which was one of the reasons I chose to participate in the show. The character’s relationship aspect was particularly captivating because it presents an intriguing perspective.

Observing that vitality in [elderly] individuals often leaves one in awe, thinking “Amazing, they’ve managed to retain this spark of life.” It seems young people appreciate this sight as well, realizing “It’s not all about the rush. I don’t have to accomplish everything immediately. There’s a space for me to be a person.” Even though the zest might not be as intense or chaotic, it’s the human connection that truly matters – it’s essential, like air and music, and when experienced, it’s a beautiful thing.

As a movie reviewer, I found it captivating to collaborate with Chris on this project, primarily because our chemistry requires minimal acting effort. Don’t get me wrong; we still need to emote within the scripted scenarios. However, the bond between us feels like that of two carefree children, which makes portraying imagined love a seamless process.

Chris called that scene a “dinner from hell.” The loving scenes are probably more natural for you and Chris given your guys’ familiarity. How was it switching to being in a more tense scene with him?

Indeed, another individual has joined our trio on set, and that’s none other than the talented John Noble. This fresh dynamic was indeed intricate and complex. I must admit, I’m grateful for the simplicity of my everyday life compared to this scenario. Navigating such a situation with Chris was quite peculiar given the newcomer. As expected, they initially felt like an outsider, yet we made efforts to make them feel more comfortable. However, no matter how welcoming we were, they remained an outsider due to the bond that Chris and I have built over time. You see, when you share experiences and develop a liking for someone, it creates a unique connection that’s difficult to replicate. There are some colleagues with whom you work once and feel contented, while there are others you truly enjoy being around.

Are we supposed to know who Irving is calling in that phone booth?

Absolutely, not just now, but it’s coming up. It appears to be related to his pursuit. You remember he’s been searching for something, don’t you? He seems to be looking for something or someone. He has some information.

This interview has been edited and condensed.

2025-02-22 19:48