Wednesday’s Owen Painter Felt the Weird Vibes with Francoise Too

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Spoilers ahead for season two of Wednesday.

In a manner reminiscent of Russian dolls, Owen Painter was progressively peeled back layer by layer in each episode of Wednesday season two. He was initially unveiled in an old ghost story called “The Tale of the Skull Tree,” which unfolded using Tim Burton’s distinctive stop-motion animation, and was shared by Pugsley Addams (Isaac Ordonez) and his dorm mates from their RA. This dark tale spoke of a gifted Nevermore student who was pushed to madness and death by his own ambition, serving as a cautionary tale. However, when Pugsley chose to investigate the Skull Tree to see if it were true, he inadvertently reawakened the dead boy. This marked our first glimpse of Painter: a mindless, almost skeletal zombie clambering out of his grave. Affectionately nicknamed Slurp by Pugsley, over the following eight episodes, Slurp devoured numerous “gnarly” brains, including that of Christopher Lloyd’s professor Orloff, in an attempt to restore himself to his original form.

The audition for Painter was quite challenging, primarily requiring him to spontaneously create movements that were not only physically demanding but also incredibly impressive. He explains, “I was asked to enact a scenario where I had been sitting for a thousand years without the ability to speak, and water would cure my inability to talk, so I should fetch a glass of water from across the room, but obstacles were in my path.” He admits he thoroughly enjoyed improvising physical humor and jokes around that situation.

In the second season’s second part, debuted on Netflix on September 3, Isaac reconnects with his ailing sister Francoise (Frances O’Connor) and her son, Tyler Galpin, whom Wednesday previously dated and nearly killed. This trio devises a scheme to restore Francoise’s health and seek vengeance against the Addams family. Interestingly, Morticia and Gomez were once classmates of the Night siblings. In an unexpected twist, Morticia killed Isaac to protect Gomez during his initial attempt to heal Francoise. As secondary antagonists for the season (apologies to Heather Matarazzo and Steve Buscemi), the number of adversaries dwindles. By the end, it’s only Isaac left, prompting the Addams family to gather at Nevermore’s Iago Tower to extract Pugsley’s spark powers from him. In this finale, we discover that Thing, a cherished companion of the Addams family, originates from Night’s right arm. Fittingly, the mad scientist meets his demise by his own hand.

What initial information did you receive regarding your character? To be honest, it was just blank slates and a code name. Given that my character’s code name was Karloff, I inferred that there might be some Frankenstein or Dracula-like elements, so I started rehearsing movements and character traits inspired by those stories. However, once we got to Dublin, we were essentially improvising, brainstorming fresh ideas together.

In simpler terms, during my first meeting with Alfred and Miles (the creators of Wednesday), I discovered that my character would turn out to be the strongest adversary for the Addams family. This revelation came several months after I initially started working on the show. They kept this information a secret from the entire cast, which led to a lot of confusion when trying to discuss it casually among ourselves.

The video we watched showed the making of a character, specifically the Isaac puppet in a movie directed by Tim Burton. He had very precise ideas about its appearance. Did these detailed instructions significantly influence your perception of the character?

When working with him on character design for Slurp, it was an extraordinary process. For months, we went through multiple sessions where new prosthetic ideas were applied to me, requiring hours of gluing and mirror work as I figured out how to control the jaw plate in the suit. Tim would then quickly sketch the next design detail, which would dramatically alter its appearance. At one point, we experimented with a cartoonish blue skin tone for another character, and it completely transformed the overall feel.

For Isaac, by that stage, I felt very accustomed to Tim’s style and tone, so I aimed to make choices that suited the world he had created. I was particularly interested in exploring the Dr. Frankenstein aspect of the character and emphasizing a heightened silent-movie acting style.

Were there any particular depictions of Frankenstein that influenced you in some way?” My interpretation is somewhat different, as I draw inspiration from Klaus Kinski, a German actor known for his work with Werner Herzog. He was famously energetic and unpredictable, which I tried to incorporate into my portrayal.

Can’t help but wonder, was it bizarrely extraordinary to consume the mind of Christopher Lloyd in your story? Unfortunately, he wasn’t around for the event, leaving me to entertain myself by teasing a robot throughout the day instead.

Was there a prop head and a robot controlled by the crew in your work?
Yes, there was indeed a prop head and a mechanical bot managed by the team. While it’s not extensively featured in the final episode, we had an amazing time maneuvering the robot around. It’s almost melancholic, as the wheels make this squeaky sound like a puppy dog. Yet, I admire Christopher Lloyd immensely, and just imagining working alongside him was surreal. Perhaps it’s for the better that we didn’t physically share the same space, as I might have been too starstruck.

What specific food are you consuming over there? It appears to be a mix of Jell-O resembling blood, and you’re submerging your face into the glass. The taste is predominantly sweet, although it seems somewhat peculiar.

In simpler terms, how did you manage to play multiple versions of the character throughout the series seamlessly? I didn’t fully contemplate this until near the end of filming. During a particularly challenging scene with Frances O’Connor, she pointed out that I had several aspects of the character to handle simultaneously. She articulated it more gracefully, but in essence, she encouraged me to focus on those physical elements. Additionally, the costume department played a significant role. I established a specific hand position for the season and then used a wrist brace to maintain that position during filming. After several months of performing with this setup, it became second nature.

Do you find yourself still holding that position?
Yeah, in my nightmares.

As the actor who brings Thing to life within the Addams Family, I’ve certainly felt a significant responsibility. During my initial days, I conversed with Victor about how Thing’s hand should be portrayed. I demonstrated a scene where Thing was interacting with me, and he promptly corrected my approach, saying it wasn’t quite right. His suggestions were nothing short of brilliant, and his expertise is truly remarkable. It was a delight to have that secret revelation all to myself. In the preparation for episode 8, I found myself walking around Dublin, pretending to give myself punishments like mock beatings or playing pranks on myself, just to get into character.

How did you learn the fight choreography between Isaac and Thing? Initially, I brainstormed some humorous jokes that I thought could be part of the choreography. Then, I worked with the stunt team who are experts in physical performance. I presented my creative ideas to them, and they helped refine the movements. We transformed the list of jokes into a sequence of fight moves, but Tim suggested improvising and adding something fresh. Many parts were spontaneous and exciting. One day, I even operated a GoPro camera while punching myself, making it an unforgettable work experience!

Inquire about the bond between Isaac and Francoise. Their connection appears exceptionally strong, raising some eyebrows. Did you two create any background details to explain this affinity?

Were you two intentionally enhancing that dynamic without discussing it? If my assumptions are correct, our relationship seemed to fit perfectly – despite its flaws. I enjoyed collaborating with her immensely. She appeared to be really enjoying her character. Those days spent working with her and Hunter, the master of improvisation, were among my most cherished moments.

As a cinephile, I found myself constantly forgetting about the character’s funny teeth, creating a juxtaposition between the tender moments and the hilarity that ensued. Each time my eyes met Hunter’s, I saw his struggle not to burst into laughter, making me wonder if he was seeing the same goofy-toothed creature that I was.

I enjoy watching Isaac grow irritated when Tyler’s around, and Frances is included. It’s been quite entertaining to stir up rivalry between siblings. Their familial dynamics have become intriguing because they’re a complex mix of their unique bond and the show’s tone. I could switch between playing the role of Tyler’s stepfather, scolding him gently, and acting like his younger brother, squabbling playfully. Both roles seem accurate in relation to them, and Frances is no exception.

This concept can be interpreted as follows: While Wednesday may seem appealing to kids due to its intrigue, it also has elements reminiscent of gothic literature where things become odd or mysterious. I prefer not to oversimplify content for children, but rather create layers that cater to their understanding. It’s important to note that while this isn’t suitable for a 9-year-old as an example like “Game of Thrones”, there is ample room for nuance in its execution for a younger audience.

1. Wednesday carries an allure for children, but it also draws on gothic influences that make things feel strange or eerie. I don’t believe in talking down to kids, so instead of dumbing down the content, let’s create a rich, multifaceted experience. It’s not appropriate to show something like “Game of Thrones” to a 9-year-old, but with this type of material, there’s plenty of opportunity for adding depth.

2. Wednesday holds kid-friendly appeal, but it also taps into gothic tropes that can make things seem mysterious or unsettling. I don’t think children should be spoken to in a condescending manner, so instead of watering down the content, let’s develop multiple layers of meaning. It wouldn’t be suitable to present something like “Game of Thrones” to a 9-year-old, but this material offers an excellent chance for adding complexity and intrigue.

3. Wednesday appeals to children, but it also has elements from gothic literature that make things seem eerie or bizarre. I believe in creating content that caters to kids without talking down to them, so let’s add layers instead of oversimplifying. Presenting something like “Game of Thrones” to a 9-year-old isn’t appropriate, but there’s plenty of room for depth and nuance with this kind of material.

4. Wednesday is interesting to kids, but it also reflects gothic narratives where things get mysterious or odd. I don’t agree with talking down to children; instead, let’s craft content that speaks to them on multiple levels. “Game of Thrones” wouldn’t be suitable for a 9-year-old, but this material opens up possibilities for creating something intricate and engaging for a younger audience.

5. Wednesday attracts kids, but it also echoes gothic stories where things become mysterious or unusual. I don’t think children should be underestimated; rather, let’s build layers of meaning. “Game of Thrones” is not suitable for a 9-year-old, but there’s potential for complexity and excitement with this kind of subject matter.

Even though I don’t have any information about whether your character will return for season three, and since you’re no longer alive, anything is possible on Wednesday. Given the numerous roles you’ve played here, would you like to use this chance to share that your character is also Ophelia?

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2025-09-08 20:56