James Le Gros Spent Two Figuring Out His Severance Character

by

Warning: This discussion contains plot details for the eighth episode of Season 2, titled “Sweet Vitrol,” from the series Severance, which debuted on Apple TV+ on March 7th.

In the standout episode “Sweet Vitriol” of Severance, focused mainly on Harmony Cobel, it might not be the shocking disclosure that she developed the severance process or that Lumon took credit for her innovation. Instead, a more intriguing twist could be the revelation that Patricia Arquette’s character has… a friend? The story unfolds as we trace Harmony’s journey to her bleak, abandoned childhood home in Salt’s Neck, once a bustling Lumon factory town. Clues about Harmony’s past abound, from the ether facility where she worked as a child to the house where she resided with her late mother, Charlotte. Recall the breathing mask and tube Harmony kept on her Lumon shrine and later carried in her car? Those belonged to Charlotte, whose passing has deepened the rift between Harmony and her aunt Sissy (Jane Alexander), a devout Lumon follower who questions Harmony’s estrangement from the Eagans. In this forsaken town, Hampton (played by James Le Gros) remains the sole individual still supporting Harmony, whom she refers to as her “chum”.

For several decades, Leroy Gros’ rugged handsomeness and distinctive accent have given authentic depth to numerous cult favorites (such as “Near Dark”, “Point Break”, “Drugstore Cowboy”), critically-acclaimed TV series (like “Ally McBeal”, “Mildred Pierce”, “Justified”), and independent films (including “Support the Girls”, “Showing Up”, “Good One”). In “Sweet Vitriol”, Gros portrays Hampton, a gravelly-voiced diner owner with a rich history with Harmony – they worked together in the factory, still share romantic sparks, and now share a mutual desire to rebel against Lumon. Harmony appears more human around Hampton than ever before, and Gros, who has known Arquette since 1989, notes that their dynamic was largely improvised under the guidance of director Ben Stiller, as well as due to a lengthy pause between filming scenes for the episode. “This character has been in my head for almost two years,” Gros says about Hampton. “It’s like traveling with a ghost. You always know that you will be called upon eventually.

How did the role of Hampton end up being offered to Rachel Tenner?

It all started when I auditioned for a part in ‘Escape at Dannemora’. Unfortunately, I didn’t get that role, but Ben, the director, sent me a heartfelt note saying he hoped we could work together in the future. Over the years, I’ve received similar notes like this, but no job offers followed. [Laughs.] So, when an offer came through my agents for a role, I was taken aback. Ben texted me saying, “We got this part, we thought of you. Give it a read. Not sure if you know about the series.” I’d heard of the series, but hadn’t watched it yet. After reading the script and becoming engrossed in the storyline, I decided to give it a try and agreed to be a part of it.

Hampton has a longstanding animosity towards Harmony that’s deeply rooted in their past experiences together. They first crossed paths back in 1989 when a mutual friend asked for help moving items from his girlfriend (Harmony) and her mother’s house. Despite Patricia’s warm and generous nature, as evidenced by the cookies she made, it seems their history has left a lasting impact on their relationship.

Was there a particular feature of Hampton that resonated with you the most? Perhaps it was the shared history as childhood sweethearts or factory workers, or maybe it was simply the length of time your characters had known each other. However, a 50-year friendship can be many things – it could be a thorny pear, or it might be a ripe, juicy peach. But no matter what, those who have been with you for so long tend to stand out and defy pretense.

Throughout my career, I’ve had the pleasure of collaborating with extraordinary actors such as Patricia, Julianne Moore, Kate Winslet, and Laura Dern. These individuals have an indelible impact on your performance. When working with someone possessing such prodigious talent, my approach is to allow their brilliance to unfold naturally, and I strive to keep pace. She’s consistently unpredictable. She’s always spontaneous. One can never anticipate her next move. Our collaboration was enriched by the luxury of time and the freedom to explore numerous possibilities. A significant portion of our work was completed well before the writers’ strike, which, ironically, may have contributed to its success. As I had to remain prepared for my resumption, I believe this readiness significantly enhanced the final product.

How did things unfold differently? Initially, we had planned to film in Canada due to its stunning landscapes. However, upon arriving there, it was decided that the interior scene in Harmony’s mother’s room would no longer be shot in Canada. Instead, they built a set in the Bronx, and we resumed shooting afterwards. Since then, I’ve worked on a couple of TV shows and about four movies. Yet, this particular scene holds significant importance within the narrative arc of that storyline. This delay allowed them to refine some dialogue and improvise other elements surrounding it. Incredibly, this character had been occupying my thoughts for nearly two years.

Have you noticed yourself frequently pondering on him? It’s as if he’s an uninvited guest who keeps popping up in your thoughts, a persistent echo in the back of your mind. He’s always there, waiting to be addressed, like a shadow that refuses to dissipate. Whether his presence was comforting or not in your relationship, it seems he’s become an integral part of your mental landscape.

As a film aficionado, let me share some behind-the-scenes anecdotes leading up to the climactic mother’s room scene. There were moments of spontaneity as we navigated past that formidable woman, [laughs heartily]. I’ve long admired Jane and her craft, and it was a delightful experience working with her. Ben, our director, would often suggest different approaches, asking for my thoughts on various ideas. For me, such a setting is perfect as it allows me to explore and discover without feeling the need to hit a specific mark. Instead, they encourage me to find something engaging. With a character in hand, I focus on the voice and physicality, but beyond that, I don’t have any preconceived notions of how I should portray the role. Truth be told, I was winging it just like always, making my way through the scene much like I navigate life itself.

The huffing of the vial of ether — was that always in the scene?
Oh, yeah.

How did you manage that situation? In my experience, having a director like Ben, who can say “Yes, this; no, that. Perhaps more of this. What if you tried something else?” He’s much like Fincher, firmly in control of the project. He knows each piece, how they function, and how to utilize them effectively. I leaned on him for guidance, as he would tell me “Go faster, slower, louder, quieter. Use more of this, less of that. Could you do it over there?” That’s what makes movies and TV so captivating – it’s a true team effort. Unfortunately, everyone doesn’t always work towards the same goal.

For most of the day, we filmed that particular scene. The only instance where I felt pressed for time during the entire project was when we were filming in Newfoundland. Much of the lighting used was blue, which is indifferent to our feelings. There were occasions when we needed to work quickly. We had two small trucks, one belonging to Hampton who was driving it, and unfortunately, one broke down. This led to a chaotic situation as Ben and other crew members had to physically push the truck out of the shot so we could use the other one. Despite some resources being available on this production, they could have found themselves in the same predicament as small-budget films I often work on. However, that aspect also adds a certain charm.

Occasionally, I collaborate with other performers and they voice concerns about feeling anxious. Frankly, it’s hard for me to feel that way now. It seems it was something I used to have, but the allure of anxiety lies in its intensity. You experience those butterflies, yet if you can guide them to move together harmoniously, you create something truly remarkable. And at times, with the hectic tempo like, “We need to capture this. The light is fading!”, you indeed produce some exceptional moments that shine brightly. Everyone needs to deliver their best.

The question isn’t, ‘Am I ready?’ The question is, ‘Are you ready for me?'” Perhaps that was the mindset of Hampton: “I’m here, there’s no place else I can be.” To him, the showdown he anticipated couldn’t come soon enough. If there was a fuse he could ignite to hasten the explosion, he would without hesitation.

Read More

2025-03-08 22:55