Behind the Scenes of The Last Season of Supernatural with Director Richard Speight, Jr.

Richard Speight, Jr. has a birthday coming up, and that has me thinking about a) how long I’ve known him and b) the incredible impact he has had on Supernatural and on the SPNFamily. In our very first conversation, close to 12 years ago, I was impressed with how smart and thoughtful he was. It wasn’t long before he talked about wanting to direct in addition to acting, and I was not a bit surprised when he added that to his repertoire – and kicked ass at it. He’s come a long way from 2014, when producer Jim Michaels posted a photo of Richard shadowing director Tom Wright on the set of Supernatural, going on to direct eleven episodes and to shape the show in significant ways.

I also knew early on that Richard was an excellent writer, because he wrote a chapter for one of my first books, Fan Phenomena Supernatural. When it came time to write my last book on the show that captured my heart as it went into its very last season, I knew I wanted Richard’s voice in that book too. His chapter in There’ll Be Peace When You Are Done is, fittingly enough, a conversation between me and him. Like countless other conversations we’ve had over the past twelve years, in hotel restaurants or convention green rooms or in a taxi so he could show me where he’d filmed in San Francisco, his chapter is brimming with insights and a little bit of his trademark humor. In There’ll Be Peace When You Are Done, Richard also gets serious about this little show that has changed so many lives. The way he describes Supernatural’s legacy, and what makes it so special, makes me tear up a little every time I read it. He gets it. From Richard’s chapter in There’ll Be Peace When You Are Done:

The “Supernatural” take on family ain’t the Lifetime version. It’s dark, it’s rough, it’s painful, it’s broken. It may not be a perfect family, but it’s our family. It may not be a perfect world, but it’s our world. And I think the way Sam and Dean and Castiel choose to navigate that world and how they deal with each other along the way is inspirational to a lot of people and will continue to be an inspiration for a very long time.

Richard understands why the SPNFamily is so important, and why the show and its iconic characters will always be with us, which is what that book is all about. He also gets the show itself. That’s why I couldn’t wait to talk to him about the episodes of the show he directed for Season 15, three of which have already aired. In part 2 of my conversation with Richard, he takes us behind the scenes of those three episodes with so many fascinating insights. And maybe makes me a little emotional again as he talks about the upcoming end of this incredible show.

Part 1 of my epic interview with Richard shared insights into his new film Driven, his hilarious podcast with Rob Benedict, and some behind the scenes stories of directing his first episode of Season 15, Proverbs 17:3. I had a few more questions about that episode, because so much about it was SO good, so we pick up there…

L: Switching gears again, another scene I really liked in that episode was with the actress who played Lilith, who was so good – things very quickly go from all serious and horrifying to this poor traumatized girl falling on some antlers and being impaled, to her just getting up and brushing herself off! How challenging was that kind of split second progression?

R: Let me tell you, first off, Steve Yockey wrote a great script. So clever, the miscues were great. It was like my third or fourth Steve Yockey script, so we work together well. We connect on the material, he likes what I do, I like what he does. As we go through and adjust, we’re always on the same page. But I really really think, to pull that moment off, I give massive credit to Anna Grace Barlow. Finding her was finding Nate Torrence for Sully. I cast her off tape, I never met her. She turned in an audition that she shot in the garage during a short film she was doing that was so fantastic. And she came up and just knocked the leather off the walls. She was so good at every scene, from day one. Day one, her first day of shooting, she was confronting Sam and Dean in a parking lot as Lilith and taking the gun. She was already doing heavy hitting stuff right out of the gate. I thought she was incredibly talented. And she got the character. We discussed the character, she got the beats, and she played all that drama for real. Because you don’t get the joke, you don’t enjoy that moment, if you didn’t buy into everything that has happened before that.

L: Yes, and you really did.

R: You believed that she was in distress, you believed that she was a victim in this scenario, that she was in peril and incapable of doing anything to defend herself. And she’s completely distraught by what she’s witnessed and probably damaged for life, and then she stumbles and dies on those antlers and it’s a WTF moment of massive proportion.

L: Massive! She did a great job there and Jared and Jensen did too, with Sam and Dean’s WTF just happened expressions.

R: They did, they played it like the audience should have been too. But Anna Grace did such a good job and when she makes that turn, she’s Lilith the rest of the time. We had such fun crafting that character. To really go into this episode, I started talking to Jerry Wanek about the episode two weeks before we went up there because he read it and he called me and said “Wes Anderson”.

L: Ohhhhh

R: And I said, you had me at Wes. Because he’s like, I’m trying to figure it out, tonally I don’t want you to hang your hat on the set here but if you’re into it, I’ll lean into it and let’s create that vibe of symmetrical sets and straight on angles. And I said, oh absolutely. Then Carrie at the costume center got on board and that’s why Anna Grace Barlow looks like she’s from Moonrise Kingdom.

L: Yesssss

R:  If you go back to the campsite scene, we used plaids and all these things ala that heightened style. I loved that episode so much, and every set was a meal. It was all stylized. The sheriff’s office, very stylized. We used angles that reflected that kind of style – I don’t wanna say an homage because every shot is an homage because you picked it up from somebody at some point – but nonetheless it was a consistent style thing through the whole episode and it was so fun to do. Anna Grace in her little beret and kerchief being super evil was just so phenomenal.

L: That really added to the character being memorable and full of personality.

R: Everything she does previous to that scene – when she did that hospital scene and expressed her fear to Dean and in the hotel room telling him she doesn’t know what she’ll do now because her friends are all dead? That scene rips your heart out.

L: Yes, you have no idea at the time.

R:  She was shaggin’ flies with every take. Everything was a great take by her, so she gave so many options and choices. And when she went dark, she went dark so well. She was a fantastic villainess. In many ways, I wish it was Season 5 instead of Season 15, because I think we would have seen her many more times.

L: My favorite moment was when she asks them to give her the gun, and Dean says, “the Equalizer?” and she just deadpans “I’m not gonna call it that.” I laughed out loud.

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It’s The Last Mid Season Hiatus for Supernatural!

 

Last week’s Supernatural episode was the mid season finale, though only the 8th in this 20 episode season. However, it ushered in the month long holiday hiatus, so it still felt like the big mid season cliffhanger. Luckily, this episode fell to Richard Speight Jr. to direct, so although the episode’s writers don’t always tend to be my favorites, I knew I’d enjoy the way Speight brought the story to life at least. He didn’t let me down – and neither did the amazing cast.

My perspective on the show this season is different than any other, because every episode that airs brings us closer to the last. Fans and cast are acutely aware that we only have a limited amount of time with these beloved characters, so emotions are heightened about what we’re all hoping for from these last moments with them. In previous seasons, if there’s a part of a season that doesn’t really work for me, it’s been relatively easy to shrug it off and say oh well, it will get better. After all, there are always things I love and moments that are profoundly satisfying when it comes to Supernatural. This season, though, it’s harder to shrug.  So I was really happy to enjoy this episode. It was a solid episode that moved the story along and took us to a sort of tipping point. And the acting performances – every single one of them – were magnificent.  Maybe it didn’t make me jump up and down and scream OMG I love my Show (which is what I always hope for when watching Supernatural) but my mantra has been cherish the things you do love while you still have them, so that’s the lens I watched with. And there was a lot to cherish in this one.

The first scene was pure Speight, a visual example of why I like his directing: a decadent casino, the floor littered with dead bodies. A terrified cocktail waitress carefully steps over her former colleagues and customers, balancing a drink – which she serves up to Chuck (of course). I loved the way the scene was filmed, full of dark humor and an undercurrent of genuine fear because it’s clear that Chuck could snap at any time.  God is bored, engineering constant wins but without any surprises, and that’s making him cranky.

Chuck to terrified waitress: And you don’t want me cranky.

It’s still hard to look at Rob Benedict’s adorable face and be scared of him, but somehow Rob pulls it off.

I haven’t been to many casinos, so this one reminded me of the Rio, where the Supernatural convention in Vegas is held every year. The Rio always seems surreal to me with its smoke and decadence and pervasive sense of desperation mixed with boredom, and it almost seemed like Speight and Rob Benedict amplified all that a thousand fold.  It gave the whole scene a feeling of emptiness and sadness. (Sorry, Rio, but I haven’t entirely forgiven you for that time our toilet spontaneously combusted in the middle of the night while we were all asleep and gushed something putrid and horrible that escaped the bathroom like a brown plague and sent us running out of the room in our PJ’s.) Anyway…

Flash to the next scene, Eileen hunting – and doing a bang up job of it. She’s badass and kickass and doesn’t need any help, taking out the bad guys alone, and I’m here for it! I’m also relieved that she’s not only still alive, but still a hunter in every sense of the word – even dying on the job couldn’t change that.

As she goes after the last one, she nearly stabs Sam Winchester instead, not expecting him to be there. Once the monster is dispatched (by Eileen who literally did not need any help), she turns to Sam.

Eileen: Were you tailing me?

Sam: You could’ve left a note… You think I’m being over protective?

Eileen: Little bit.

Shoshannah Stern is so good, just that little line was priceless. But seriously, she’s right – Sam is maybe being a tad over protective. The Winchesters were used to their mother hunting on her own and letting them know when she needed backup, and they’ve known and respected many other kickass female hunters, so I don’t think they treat female hunters any different than male hunters. Sam knows she’s a hunter; it’s who she is and what she does and what we love her for. So why was Sam tailing Eileen and not even letting her know? That seems a) dangerous, as in he almost got himself killed and interfered with her hunt, and b) not entirely in character.  I’m assuming we’re supposed to believe it’s because he’s romantically involved with her and that’s affecting his judgment. But damn it, Eileen was doing A-okay on her own and I love her independence and her mad hunting skills.

Back at the bunker, Dean – whose newly found sense of motivation has stayed intact from last episode – excitedly tells Sam and Eileen that he’s found a way to maybe get to Chuck. He unwraps the demon tablet, they share some exposition about what it means and why it was created, and then get to the bottom line – maybe Chuck isn’t untouchable after all.

Dean is so cute when he’s hopeful – it’s like he becomes twenty years younger.

Sam: So he has an Achilles’ heel.

Dean: No, I’m saying he has a weak spot.

Sam: (looks frustrated)

Me: (looks positively murderous)

Seriously? You want me to believe that Dean Winchester doesn’t know what an Achilles’ heel means??

I know some people decided to head canon that Dean was just faking not knowing in order to mess with Sam, but I’ve rewatched it several times and that is not how either of them played it. There’s no comic tell from Ackles at all, and I think there would be.

It wouldn’t be so egregious if Dean hadn’t said such an iconic line himself using that exact expression.

Dean: The point is, maybe we are each other’s Achilles’ heel. Maybe they’ll find a way to use us against each other, I don’t know. I just know we’re all we’ve got. And more than that, we keep each other human.

He knew what it meant then!

It’s a small thing, but it threw me out of the moment.

Castiel goes off in search of someone who can read the tablet – the soulless prophet Donatello.

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