I think the wedding as such in her mind was completely justified. So in a way, in the beginning, in a very pragmatic way, I think that was something that was absolutely on her mind and it was justified. And having a possibility to make it maybe quicker back to Frank. It was to escape Black Jack Randall and in a funny way as well to have an opportunity to walk as a freer woman now not being constantly watched by Dougal and everything. What was the driving force behind that? Was that something that you decided, was that Ron Moore or is that something that you both decided in conjunction together?ĪF: Well I think Frank was, in the beginning quite present, because the decision she made to marry Jamie was very pragmatic. OC: Concerning “The Wedding,” one of the things that I really loved about that episode, is the non-linear storytelling device that you guys used. So it’s kind of something that I’ve experienced before that moment you’re actually working on it and you’re on the set that pressure from outside or that expectation kind of vanishes. How you make it the best at the moment when you’re working. You’re all kind of worried about what’s happening on the set, in the moment. But once we were on the set and we were actually shooting, this is the amazing thing that always happens in a way that all of the pressure from outside kind of falls away, and it’s all coming from within. It was more so in pre-production and getting ready with everything deciding on the sets, dressing, the costume and all those things. I think it started out mostly in pre-production that everybody was very aware about how important that episode is, and how anticipated it is.
#Outlander season 1 episode 16 series#
Not only did you get to direct a series that you, a book that you like, but you got two really of the very important things that you’re talking about.ĪF: You know it’s funny. So I was actually really excited that I ended up with both of those really exciting, but as well challenging things to do. But the funny thing is as well that all the-as I was reading it-I thought, “OK there are like three things in the book, and I won’t spoil anything now, but they’re three things in the book that I think are really, really challenging and exciting from a directing point of view.” And one of them was the wedding, and then the other thing was the end of the book obviously which is now the season finale. And, eventually actually, I ended up doing the season finale as well. And we discussed what they were up to, and I was really, really excited that I was-that they asked me to do “The Wedding” and the mid-season finale. And then I went into the meetings, and I met with Ron Moore. And I was really excited what they started doing with this. But on the other hand, they didn’t go and say we are slaves to the book and we make exactly everything as it is in the book.
And then I read the scripts, the four first scripts, and I thought that it was just amazing what they did with it-because not only they had, they took the book as a blueprint, and then they said ok we make an episode in the essence of Outlander. So I was reading and listening and reading like for the next few days, and I got completely hooked on this.
So I kind of, I ordered the book and, as you know it’s like super thick, and I tried to read as quick as I could, and I got the audio as well. So I decided before I wanted to read the scripts, that I have to read the books. And you should read it.” And I had heard about Outlander, but I haven’t read the books. And they would like to meet, and I have four scripts for you to read. They are interested-they are looking for directors. AF: Well it was almost way over a year ago actually, my agent called me and said, “Hey I have this really interesting project that landed on my table.
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