The Gilded Age’s Taissa Farmiga Wanted a Gladys-Bertha Wedding-Day Showdown

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It’s not accidental that the potential finest season of “The Gilded Age” so far heavily features Taissa Farmiga as Gladys Russell. In the initial season, she was a shy teenager, resenting the limitations imposed on her by her mother Bertha (Carrie Coon), one of the less vocal characters in this series’ expansive and multifaceted cast. Following her thwarted affair, season three’s “Marriage Is a Gamble” sees Gladys being forced into an unwanted marriage with the Duke of Buckingham (Ben Lamb), and Farmiga skillfully portrays her tumultuous emotions, her large brown eyes conveying fear, annoyance, smoldering anger, intelligence, and acceptance as the camera zeroes in on her gripping a pearl collar or, in this episode, trudging down the aisle. We spoke to Farmiga about her character’s dismal wedding, which she likens to “a small horror film for Gladys, being compelled into an arranged marriage with someone she didn’t care for.” As someone who has had experience with horror in her acting career, Farmiga was eager to delve deeper into her character’s suffering: “Discussing Gladys’ emotional turmoil is always enjoyable for me!

As I portray Gladys, I find myself connecting with my younger self, raised under the watchful eye of a domineering mother who valued tradition. However, as she begins to explore her newfound independence, she gains courage, asserting that she’s no longer just a girl. Yet, she is still merely 18 years old in a time when women had limited freedoms and opportunities for self-discovery. So, while she takes on the role of an adult, emotionally she is still grappling with her youth – navigating her complex feelings about love, autonomy, and her sheltered upbringing. Bertha’s strict control over Gladys’s social standing prevents her from experiencing the world outside, making it challenging for her to reconcile being a young girl who yearns to be a woman and a young woman who feels trapped in childhood.

Essentially, the success of this project lies mainly in the writing and the talented cast members, including Carrie Coon and Morgan Specter. I’m always thrilled when discussing them because they are not only amazingly gifted actors, but also truly exceptional individuals. When I embody Gladys, it becomes effortless to delve into intense emotional scenes as they are so immersed in their roles, and they instinctively sense and respond to my emotions. It feels like we’re on a shared wave of emotion, making the work feel almost effortless. I may be undervaluing myself, but it seems that the collaboration with these brilliant artists makes my job easier.

How did it feel to shoot all the private scenes between Gladys and various characters as the wedding approached? This season, I found those intimate bedroom conversations particularly engaging. It was heartwarming to delve deeper into Larry’s relationship with his sister. Harry Richardson is fantastic, and our chemistry feels natural. I also cherish the bonding moments between them. The scene with Marian was especially poignant. I believe it’s the first time Louisa Jacobson and I had a meaningful dialogue in the series, not just exchanging polite smiles at balls or operas. I found it rewarding to allow Gladys to express her feelings and emotions in these two-character scenes.

In the episode, many shots are focused tightly on your face as Gladys contemplates her choices. Did you play out various emotions like fear, resistance, or defiance in different takes for these scenes? Indeed, due to the extensive shooting days, we don’t have an endless number of chances, but working with the director, it’s crucial that the story is conveyed accurately. There were indeed multiple alternatives portrayed in the levels of resistance and fear and anger throughout all the scenes, including one-on-one scenes in her room with her father, as well as when she walks down the aisle. We even filmed overly emotional takes where Gladys is crying profusely, and a more restrained take that made it to the final cut. I think they struck an excellent balance for episode four, showcasing the distress and inner turmoil of Gladys without being overly dramatic. It’s hard to watch Gladys and conclude she’s just acting out as a typical teenager.

Did you find yourself wishing for a private scene between Gladys and Bertha in this episode? Indeed, I would have been overjoyed to witness that, as I really enjoy collaborating with Carrie on set. However, from a narrative standpoint, it seems effective. While Taissa yearns for more interactions between them, the story may not require additional scenes between these two characters because their perspectives are already well-established. Bertha is there to assert her authority and make decisions that she believes will benefit Gladys in the long run. Despite our frustrations with Bertha’s methods, it’s important to remember that she is ultimately acting in her daughter’s best interest for the future, while Gladys prioritizes her present-day happiness.

I find it intriguing that we frequently encounter George in various scenes. She had Billy Carlton, a man she deeply cared for and believed was going to be her husband, but he failed her expectations by not standing up for her. He went against his words. Instead, she has George, another man in her life who also let her down. In one scene, George is on the bed with Gladys, telling her, “You could have married for love, and I would have supported you no matter what.” However, he was indecisive, wavering back and forth, leading to deception and disappointment on Gladys’ part. It’s surprising when we witness this scene between George and Gladys, as George says, “I would have supported you if you had spoken up sooner.” This comes as a shock for Gladys, who has been expressing her feelings but also grappling with heartbreak from Billy Carlton. This young woman seems lost and perhaps unable to express herself more than she already has. The additional guilt from George’s words just adds to her struggles. In essence, it’s a situation where she finds herself burdened with guilt on top of everything else.

When I’m immersed in the process, surrounded by talented actors working together to create this show, this work of art, I inevitably draw on my own experiences of heartache and disappointment. However, when I look into Harry Richardson’s eyes, Morgan Spector’s eyes, Ben Lamb’s eyes – men who play significant roles in Gladys’s life – I find myself living it all over again. As someone who tends to be quite emotional, I find this intense immersion not only challenging but also incredibly rewarding.

To clarify, the experience was incredibly draining. Upon returning home, I found myself utterly spent, barely able to move. I ended up lying in bed, fixed on the wall before me. Strangely, this helped ready me for another round the following day, as I seem to derive a peculiar pleasure from it. I can’t help but question whether I might be a tad eccentric, but I find solace and passion in venting those feelings. It’s ironic since I am usually an upbeat individual. However, when it comes to my job, I yearn for the chance to delve into the depths of despair and misery, even though on regular days, I’m as bubbly as a schoolgirl.

Could you share your recollections about the church wedding scene with all those actors? To be honest, I tend to push those memories aside. Instead, I dwell on that heavy sense of heartache and feeling utterly lost. Typically, when we perform group scenes, it’s a joyous moment because we look forward to being together. The separation during filming is intense: the Russell house upstairs, the downstairs, the Brook house, the Scott house in Brooklyn, the black elite families in Newport – everything feels so disconnected. But when we can reunite, it’s like summer camp. Those are some of the best days on set. However, during the wedding scene, I was quite isolated due to being in a different emotional state compared to most actors there, and because my dress was heavy and voluminous, I couldn’t move around freely. They instructed me to stay put. This restriction, I believe, also helped with my performance as both Taissa and Gladys felt confined. When they said “action,” I would tell myself that I feel terrible, and we went on with the scene.

Could you share some insights on the challenging process of filming the climactic wedding scene with the Duke character? The circumstances were rather delicate, as it involved two individuals whose union was not entirely voluntary. Add to that the societal expectations of the time and the lack of open discussions about consent, making it a complicated situation to portray authentically yet delicately. Despite the discomfort, I believe we managed the scene effectively, thanks largely to the director’s receptiveness to dialogue and Ben’s exceptional performance. I have immense respect for Ben, and our rapport is excellent. However, the scene involves Gladys being coerced into an unwanted experience, which is emotionally taxing, and there’s also the physical discomfort she must endure. It was a demanding day, yet it seemed to proceed smoothly.

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2025-07-15 20:54