When Zap2it spoke with Moore on the carpet before “Outlander’s” 2015 Paleyfest panel, he offered an update on the Season 2 concepts.
“We’ll be building interiors in Scotland. We’re going to scout in the south of England, we’re going to scout in Eastern Europe; we’re looking for places that can be the streets of Paris. Where do we find Paris 1745 to shoot? Because Paris today doesn’t really look like that anymore,” he says.Author Diana Gabaldon is excited about what she’s seen so far of Season 2 plans. “The Parisian stuff is very good, and in fact I’m deeply impressed by the outlines I’ve seen of those scripts,” she says. “I think they’ve done a wonderful job of pulling out the most important plot elements and arranging them in a convincing way.”
Collider: What can you say about what fans can expect from the second half of the season, with both the romance and with how much darker things will get?
CAITRIONA BALFE: It really does get a lot darker, this season. It gets more intense. The action really ramps up. And we see Claire and Jamie’s relationship really getting tested, not only by outside forces, but internally. They really have to deal with this friction that’s caused by being two people from different times. Even though they may not be able to accept each other’s actions, it’s about them learning to be able to understand where they’re coming from. It’s all really exciting, as well.
Q: You have some difficult scenes coming up. How do you approach those scenes that are difficult for the fans to watch?
RM: I approach them in the same way I approach the sex scenes, the romantic scenes. Ok. Why are we showing this? And what’s the purpose of it? To find the truth within that scene. I’m going to take you down this harrowing journey and some of these dark things that are going to be horrifying. At what point am I showing you something that’s distracting you from the story. At a certain point, you’re watching it and you can’t watch anymore and you’re not even thinking about it anymore and you’re disconnected emotionally from the character’s dilemma, and that’s always the point. The only way that I can describe it is, I have to start using my own internal guide on it at the point where I check out is where I say okay we won’t go any farther, but I do want to take people up to a certain line. I want them to feel uncomfortable, I want them to feel the fear and terror and all that kind of stuff without moving them into the place where they go, I just can’t watch this.
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