‘The Last of Us’ Director Reveals Secrets Behind Dina’s Bisexuality and Adapting The Sims Movie

ATTENTION: This narrative reveals events from “Day One,” the fourth episode of Season 2 in the series “The Last of Us,” currently available on Max. Proceed with caution if you wish to avoid spoilers.

Kate Herron, a devoted enthusiast of “The Last of Us,” both the video games and their HBO adaption, was so captivated that during her initial meeting with series creators Craig Mazin and Neil Druckmann to direct an episode for Season 2, she almost appeared on Zoom in cosplay as Ellie (Bella Ramsey). “I was completely smitten with it,” she admitted.

During the COVID-19 lockdown, Herron found that the games she played “drastically altered my perception of what a game could be,” she expresses. “They presented an ingenious examination of empathy and recurring patterns of violence. I believe the narrative was among the finest I’ve encountered in any artistic medium.

Without a doubt, Herron secured the job, and the episode she directed is quite remarkable. In “Day One”, Ellie and her close friend Dina (Isabela Merced) embark on a journey across Seattle to find the local militia group, referred to as Wolves, who murdered Ellie’s surrogate father, Joel (Pedro Pascal). As the day unfolds, they stumble upon a music store where Ellie enchants Dina with a beautiful, acoustic version of A-ha’s “Take On Me”. They encounter a group of Wolves who have been brutally killed by the extremist religious group, the Seraphites (also known as Scars). They are pursued into a subway station filled with infected, forcing them to navigate through a car under attack from both sides. Ellie gets bitten, causing her to disclose to Dina, who has her at gunpoint, that she is immune to the cordyceps infection. In a dramatic turn of events, Dina confesses her feelings for Ellie and reveals her pregnancy, and they express their emotions physically in an abandoned theater lobby.

Whew! Herron discussed with EbMaster the various storylines she managed, including the debut of Wolves commander Isaac (Jeffrey Wright), her appreciation for how Ramsey and Merced executed action-filled and intimate scenes, her feelings about representing Dina’s bisexuality as a bisexual woman, and the elements from “The Last of Us” she’s transferring to her forthcoming movie adaptation of another widely acclaimed video game, “The Sims.

What was your relationship to “The Last of Us” as a game and as a show before you got this job?

During the lockdown period, my fascination with a specific item grew so strong that I decided to purchase a PlayStation. Upon acquiring it, I reached out to friends for recommendations on what game I should start with. I began playing the initial game, and shortly after, the second installment was released. This game revolutionized my understanding of what a game could offer, even giving characters I interacted with names. It was an ingenious representation of empathy and the cycles of violence. The narrative struck me as some of the most impressive storytelling I had encountered in any artistic medium.

After experiencing the captivating TV series, I found myself utterly amazed and eagerly anticipating the release of its second season. When the opportunity arose for potential collaboration, I couldn’t help but think, “I simply must be part of this incredible journey.” In fact, I even considered donning an Ellie costume for my virtual meeting! As a devoted fan, I proudly displayed my vinyl collection featuring music from both the game and the show. The anticipation was so high that I arrived early for our call, giving me a brief chance to chat with Neil Druckmann before everyone else joined – a moment I cherished greatly. Regardless of whether or not I landed the job, just conversing with Neil Druckmann was an unforgettable experience in itself.

This task is quite distinct from what I’m accustomed to. Usually, I work on drama-comedies, so it was enjoyable for me as an opportunity to dive deep into something more serious and substantial.

Once you got the job, what were the central things you talked with Craig and Neil about?

In Episode 4, the crucial aspect to explore is the bond between Ellie and Dina. This episode lays the groundwork for their journey in Seattle. They are coming to terms with being thrust into the heart of this conflict and realizing that the people they encounter may be as dangerous, if not more so, than the infected. Furthermore, it becomes increasingly clear that Abby is involved in something much bigger, a fact that Ellie and Dina are completely unaware of at the beginning.

How did you want to approach Ellie and Dina finally acting on their feelings for each other?

In this scene, there’s not usually an opportunity to provide characters with pauses or moments of ease, but it’s crucial here – like in the music shop in Seattle. Haven’t we all fantasized about playing a song for someone we admire? The casual banter between them as they stroll through the city was essential for me to underscore the fact that, despite their difficult circumstances, these are two young individuals who are experiencing something terrible.

Furthermore, it mattered significantly that spectators wouldn’t immediately discern that Dina harbors feelings for Ellie. Although they share a strong connection in the music store, when Dina suspects Ellie is infected, she remains unaware of Ellie’s immunity. Thus, it was crucial to maintain suspense about Ellie’s safety until the very instant of their kiss.

What were you focused on for the sequence in the theater, from Dina holding Ellie at gunpoint to them having sex for the first time?

In that scene, we focused on expressing Ellie’s emotions – she should appear extremely fearful and anxious. This indicates that Ellie perceives a threat, as she’s unsure about Dina’s intentions towards her. Our discussions primarily revolved around the emotional development of the scenario.

As you said, the actors worked with an intimacy coordinator, and you’re familiar with on-screen intimacy given your experience directing “Sex Education.” But was there anything about shooting that particular scene that was a discovery for you?

I was utterly impressed by Bella and Izzy, particularly their captivating performances on set. I must say, Bella is among the most talented actors I’ve had the pleasure to work with. They possess an incredible reservoir of energy. As for Izzy, even if we were shooting at 3 am, they would manage to make everyone laugh and boost morale. Both of them demonstrate a remarkable level of determination and focus. I had them working intensely in the shoot, as they appeared in almost every scene. Despite this, I asked them to run through subway tunnels and perform in the rain regularly. It may seem like a brief moment when you watch it on an episode, but those scenes were filmed for an entire month each day.

The next morning, Dina talks about how she’d told her mother when she was younger that she likes boys and girls, and her mom told her she just liked boys. There still aren’t that many examples of bisexuality expressed so matter of factly. Was that part of your attraction to this particular episode?

To be honest, I was already excited about the project, and they informed me which episode I’d be featuring. I really believe that Dina’s story will resonate with many viewers. That’s what makes this game and TV show special – it’s not common to see queer narratives presented on such a grand scale. Typically, these stories are found in more specialized media. However, “The Last of Us” breaks the mold and stands as one of those exceptions.

The sequence of events from the TV station through the subway tunnels is roughly the same in the game, but it’s so different visually. In the game, the station is in the bright sunlight, and the subway tunnel experience takes a lot longer, and isn’t quite as intense. How did you approach adapting the visuals from the game to the show for those sequences?

In the script, the transition from day to night was a planned element, but I found it exceptionally brilliant and eerie. What matters most in any adaptation for me is capturing the feelings evoked by the original, and I remember being petrified and on edge while watching the TV station and the subway scenes. During this time, I was brainstorming that sequence when everyone else was filming Episode 2, leaving me alone in the office. I’m thrilled we were able to elevate it to such a terrifying level and make it a genuine nightmare. It needs to be intense because by the time we reach the theater, we need to escalate to a point where Dina is pointing a gun at Ellie.

Isabela told EbMaster that the subway cars were really rocking when the infected were attacking it. How difficult is that to shoot, when you’re in something moving around so much like that?

In a genuinely exhilarating moment, I found myself enjoying every second while clinging to a subway car. Being a London native, it felt reminiscent of my Underground days or an erratic bus ride. As long as everyone involved is secure, including the actors and crew, such authenticity could only enhance the overall production. Our show boasts top-notch stunt performers who were skillfully executing their scenes by leaping through windows and attempting to grab the onlookers.

Let’s talk about Isaac. Jeffrey Wright also played that character in the video game. Did that shift how you approached directing him?

I deeply appreciate Jeffrey’s acting abilities. Admittedly, I admire any actor, but what sets Jeffrey apart is the unique connection I felt when working with him in our scenes together. It was crucial to be fully present with him, as it seemed to add an emotional authenticity to our performances. To ensure a genuine experience, let’s consider various approaches and select the one that resonates most.

Even for people who have played the game, the opening scene with the FEDRA soldiers is disorienting, since there’s no one who’s familiar on screen at first. What kind of challenge is that for you as a director to ensure that the audience isn’t totally thrown off?

The main focus lies on a newcomer character played by Ben Ahlers, who possesses some knowledge beyond what the viewers know. However, he’s not completely at ease, struggling to understand his place in this world. The narrative emphasizes perspective, keeping the audience alongside the rookie from the start, as it aligns with the overarching theme of the show, which is centered around choice. It’s fine if viewers are left wondering about the identities of certain characters, such as Isaac, because we intend to reveal more and more information gradually.

Isaac torturing the naked Seraphite (Ryan Masson) is such an intense sequence to watch — what was it like for work on? How do you direct somebody who is so exposed and vulnerable and beaten down?

In my recent film review, I must commend the thoughtful approach taken during the production of this powerful piece. An intimacy coordinator was present on set to ensure the comfort and well-being of all cast members, particularly our leading actor, who was required to perform a delicate and emotionally charged scene in the nude.

This aspect was already scripted, and it was an essential part of the casting process to discuss this with potential actors, ensuring that they were comfortable taking on such a role. Our chosen actor handled the challenging scene with great sensitivity, making it all the more impactful. The scene is heavy, as it depicts a moment of immense betrayal by the character Isaac. However, it’s crucial for viewers to witness this moment to fully grasp the gravity of his actions towards the other character. Directing such a scene requires empathy and understanding, which our director handled admirably.

Finally, how far along are you with making a feature film adaptation of “The Sims”?

I’m just writing away, but we’re all feeling very good about it.

That game could scarcely be more different than “The Last of Us,” but have you taken anything from your experience on this show that you’re that you’re bringing to the movie?

As a film enthusiast, I can’t help but express my deep gratitude towards Craig and Neil for providing me with an unparalleled opportunity to direct. This chance felt like checking off a lifelong dream from my bucket list. However, I must admit that I aim to continually improve in my role.

To clarify further, Craig possesses a unique talent of writing characters’ thoughts within the script. I am utterly captivated by this approach and have shamelessly adopted it in my own work. It is such an innovative idea!

This interview has been edited and condensed.

2025-05-05 17:18