![]() You’re telling so many hours of a story, so it’s fun to get to see characters grow and change and shift. “I started this show being a human and now to play a robot,” she adds, “so I get to ask all fun questions like, do robots close their eyes when they sleep? Do they sleep? I sort of had to learn a whole new protocol in terms of performance - like, what does a tear mean to a host? Does it mean anything? I love that, especially when you’re doing long-format television. I’m an impartial person that’s suddenly in her life and having to reconcile all the choices that she made, good and bad, and that’s fascinating to play. But, of course, you get to see it through, and I’m kind of an impostor. ![]() You get to see her relationship to herself. She was kind of like, ‘I’m about the money.’ Then you get to see actually the cost of power. She didn’t really care much about hosts, about the emotionality of the sentient being. “I think in the past, Charlotte presented to me this idea of big business, what a corporation looks like, that there’s this idea that you put the bottom line before human emotions. “It’s like emotional espionage,” says Thompson. ![]() To get to do it as this sort of subhuman or superhuman was interesting.”įor Thompson, part of her performance within a performance involves discovering new layers of Charlotte, whose love for her young son was not a part of the character in the first two seasons, but is now an essential piece of her fabric - both for the late version of the character, as well as the robot imposter running around with Charlotte’s likeness. Then, the truth is I think we as human beings, we play all sorts of different parts depending on who we’re in front of that’s just a part of what we do as humans. “You have the chance to present something entirely new and that happened sort of midway through to the end of the last season, so it meant that I got to text Evan in the middle of the night and be like, ‘Hey, will you send me a voice memo of you saying this line?’ And trying to sort of infuse her voice into my performance or going to set and watching the way that she moves and I’m like, ‘Oh right, she doesn’t really move her hands that much when she walks,’ so fun nuances of performance. “It’s an immense challenge to sort of keep a handle on it, but it’s so fun,” she tells The Hollywood Reporter.
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