John Turturro on the Moment It All Made Sense for Irving B.

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What’s for dinner? Oh, a fucking mole.

In my opinion, you’d find it hard to believe that Severance could become even more twisted with its Outdoor Retreat Team Building Incident, but Irv (John Turturro) managed to add a touch of water torture as the grand finale. This is how “Woe’s Hollow” ended, supporting a theory that has been circulating since the show’s debut: Lumon heiress Helena Eagan (Britt Lower) was indeed impersonating her Innie, Helly, all along, spying on her coworkers in the process. Irv had his suspicions about his colleague and friend not being who she claimed to be. And, much like a Traitor, Helena revealed her true identity at the evening’s campfire, essentially sealing Irv’s fate.

In a confrontation in the woods, Irv tells her that what he heard from her the previous night was harsh and unkind, something Helly never was. If she’s not actually Helly, then who are you, and who has the power to send their Outie to a place like the severed floor? As Mark, Dylan, and Miss Huang watch in shock, Irv threatens to drown Helena near a waterfall, prompting Mr. Milchick to change her back into Helly again. With his ORTBO plans foiled, Milchick responds by firing Irv, an act that appears to kill his Innie. There’s no getting away with threatening someone’s life at the pond in Woe’s Hollow without facing consequences.

Turturro felt that the episode was like a film within a film and admired director Ben Stiller’s vision (whom he jokingly refers to as “Young Stanley,” reminiscent of Kubrick). He estimates that it took roughly one and a half months to complete filming due to the unpredictable nature of the elements mirroring the show’s unexpected plot twists. As he says, “We were often soaked most of the time,” but it was worth it for his character’s validation. Turturro describes this character as someone who is not just observing the room, but reading the entire building.

Let me give you a bit of background: For approximately five to six weeks, we filmed in the rugged “Woe’s Hollow” area. Due to the difficulty of reaching each location, our stay was extended. We found ourselves on ropes, using them to pull ourselves up to reach that small cave. By the end of our activities, the daylight had faded. Our coats were large and impressive, but they weighed a hefty 20 pounds each.

Was there a specific event or series of events that caused Irv to become certain about Helena’s true nature, between the “night gardener” incident and her “Helly was never cruel” declaration? Or was it perhaps those cruel comments that served as the turning point? Irv seems to have picked up on something subtle, waiting for Helena to elaborate or contradict herself. When she doesn’t, he has a dream that confirms his suspicions. It appears to him gradually because he keeps asking her to explain herself, hoping to alleviate his feelings. In my experience as a director, casting decisions are often made based on small, unconscious moments that an actor might exhibit. These moments can reveal more than words and bring out both happiness and the unconscious.

In our preparation for that intense torture scene, Britt Lower and I rehearsed some parts before a stuntperson took over. Later, there was a large tank filled with freezing cold water which was quite hazardous. All the crew members were in the water, equipped with cameras and wet suits. We had to move in sync. I explained, “I want to proceed step by step. I take a step. You go that way. I follow you, but I’ll hold onto you at the same time. If you fall, I will catch you.” My primary focus was on ensuring her safety and preventing her from falling. We were cautious as we could potentially hit our heads against the rocks. When in the water, I instructed her to tap me as soon as she needed to resurface. The water was so cold that she almost fainted. I believe actors should undergo temperature-based acting classes – experiencing extreme heat and cold. This way, they can truly understand and portray the feelings of discomfort or hypothermia.

I’m really interested in understanding exactly how “Yes, do it, Sethhhhh” was calibrated for delivery. It’s a fantastic line that really showcases his theatricality. I experimented with different readings, but they went with this one. When you have a great line, it’s like extracting all its juice – you want to make every word count and hit the key point. I felt it was like hurling a spear at someone. Lines can be like that. Sometimes actors mumble their lines in movies, but people here didn’t do that. Instead, they aimed for a somewhat artificial naturalism, which can be hard to understand. My goal is always to give justice to the writer and the script.

Are you implying that Irv’s actions can be considered as the greatest sacrifice made for his friends? The storyline is still unfolding, but it seems he has assumed a significant role. He understands the risks involved if there’s a mole among them; Mark and Dylan could be in danger. It appears he’s acting according to what was planned by Dan.

What was your immediate response when you received the script for “Woe’s Hollow,” with Irv standing alone on a frozen lake as the opening scene, deviating from the usual visual style of Severance? My initial feeling was delight at being outside, and I found it to be an exceptionally well-written episode. There are several aspects I can’t disclose, but before the show began, Dan Erickson provided me with a detailed backstory – where my character originated and his motivations. Regardless of whether you’re portraying your Innie or Outie, there are elements that seep through because one’s inherent nature and habitual approach remain consistent. I conducted extensive research based on this information to help build an entirely new world.

Could you share some insights about the studies you undertook and their background? I’m curious to learn more about your past and what led you to this point. Given the context, it seems like you’ve had a structured life, but the impact of these experiences varies depending on where one is in life when the episode occurs. When younger, there may be more energy, yet less wisdom to draw upon. On the other hand, if one has endured hardships, it can be therapeutic to engage in activities that allow for constructive expression of those feelings. Sometimes, people are particularly sensitive, deeply moved, or struggling with sleep.

It was intriguing at times to be the odd one out, yet it’s not a sensation anyone particularly enjoys. Even if it was only for the script, it still felt unusual. I believe the dynamic between me and Britt Lower in the show was strong because we share a genuine friendship, which allows us to explore deeper connections. I took great care of her since I felt we needed that freedom to accomplish what was required without anyone getting hurt. When you’re comfortable with each other, you can venture into more daring territories. I’ve learned how to navigate those extremes because I’ve been hurt before, and many have caused me pain over the years.

It appears Irv’s Outie has been meticulously probing Lumon and gathering as much intel as possible regarding the company’s activities. What seems to be driving his desire to become a former employee? One possibility is that some unfortunate event involving someone close to him occurred, leading him to suspect that people are vanishing within the company. He’s working tirelessly to uncover the truth about these disappearances and discover their fate. The hallway filled with paintings might symbolize hidden lives; individuals who lead double lives at Lumon before being “severed.” Historically, people have often concealed aspects of their personal lives or sexuality for various reasons.

I’ve always found the complexities of human sexuality and its fluidity fascinating, as they are inherent aspects of our nature as humans. Often, these themes are glossed over or simplified in media, with only the youthful, idealized versions being portrayed. This show, however, offers an opportunity to delve deeper into these topics, especially since I’m working alongside Christopher Walken, whom I have a preexisting friendship with. This shared history brings a unique dynamic to our on-screen relationship, allowing us to explore imaginary situations that are enriched by our real-life connection.

Do you think Irving and Burt had a connection outside their lives, and if so, did this influence your portrayal of scenes with Christopher? I’m not sure about that. There’s no clear indication either way. However, I believe there are moments when people connect, particularly in specific situations where they share common interests or simply get along well. In the scene on the bloody floor with everyone isolated and famished, the audience can fill in the blanks. This is one of the strengths of the show – viewers can interpret their own version of events. I don’t use social media, but people have reached out to me with theories about our characters being clones. Sometimes, it makes you wonder, “Perhaps that interpretation could be possible.

Given that you’ve shared before your discomfort with filming within the MDR office due to the lights and feeling like you had a satisfying experience after season two, how does your intuition feel about coming back for a third season?
How do you feel about returning for a third season, considering that you’ve mentioned disliking the office lighting and having a fulfilling experience after season two?

What will you be eating for your evening meal tonight?” or simply “What’s for dinner tonight?

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2025-02-14 00:02