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Hugh Grant and David E. Kelley discuss cancellation finale

Hugh Grant and David E. Kelley discuss cancellation finale

 


This interview includes spoilers for The Undoing’s Sunday finale.

HBOs’s Sunday Night finale The Undoing has finally concluded its modest mystery (Who Murdered Elena Alves?), Tickled Us one last time with Nicole Kidmans’ fabulous winter coats, and caught the internet’s attention. (Based on Twitter, I deduced that a fancy coat played by Hugh Grant killed a baby, a writer joked about Twitter.)

Grant himself was planning to avoid social media after the shows ended, he said Monday morning, but I took a quick peek and two hours later I’m still scrolling. .

There are a lot of people who tell me my age, and they are not mistaken, he added. But the fact that they liked the finale is huge.

If Undoing hasn’t quite reached the Who Shot JR? or who killed Laura Palmer? Feverish level of fascination, the six-week limited series has been dubbed event television in the era of the pandemic, something obsessed with while the world was on hiatus. Socially distant viewers with time to kill have gathered around the social media water fountain to covet the resplendent clothes and turn increasingly implausible the theories.

Grants Dr. Jonathan Fraser was the prime suspect, but was that too simple an answer? And the son, Henri (Noah Jupe)? Or the father, Franklin (Donald Sutherland)? Not even the police inspector (Edgar Ramrez) was completely above suspicion. Celebrity fans love Kerry Washington, Ava DuVernay, Kourtney kardashian and Carole radziwill joined the de facto national jury, while Kidman and Row encouraged guesswork.

But after a buffet of red herring, the final twist served the person initially positioned as the obvious suspect; Jonathan Fraser turned out to be yes a killer. Jonathan murdered his mistress, Elena, partly because she wanted to befriend his wife, Grace (Kidman), and partly because he was just a narcissistic sociopath who had a hammer-sculpting at hand. Could it really be that simple?

One of our goals was to get audiences to experience it the way Grace did, said showrunner David E. Kelley. Our starting point was to give you the truth about Jonathan, and then challenge you to reject that truth along the way.

The timing of the show, he added, matches the national mood. The ferocity and willingness of people to believe a story when the facts tell you otherwise? Kelley said. Were all a little too familiar with it.

In separate phone interviews, Grant (from England) and Kelley (from California) discussed how they shaped the finale, including the flashback to the murder scene. These are edited excerpts from the conversations.

Part of the series plays with our long-held perception of Hugh Grant and what we might consider typical Hugh Grant roles. The Undoing is wielding that charm against us.

HUGH GRANT Honestly, I wanted to get away from these characters. I am more comfortable playing a character who is far from me than a version of myself. This was debated because I could tell that [the director Susanne Bier] I wanted me to do exactly what you said and bring in some old Hugh. I think that was pretty smart of him. She thought: What a pleasure to have this guy. People will say, not the guy from Notting Hill! Not the guy from Love Actually! He can’t swing a hammer 14 times in someone’s face.

DAVID E. KELLEY We put this wonderful, charming man in front of you, and the show pointed the finger at him, and it’s a testament to Hughs ‘ability and Susanne Biers’ leadership that audiences held on to the what if? of it all: Maybe he’s innocent.

GRANT I think Jonathan is one of those narcissists who just can’t believe anything negative could happen to them. It can’t have happened because bad things don’t happen to the great Jonathan Fraser. I mean, some might say that Trump intellectually knows he lost the election, but when he argues that it’s been fixed, he believes every word of it. It was the character’s pleasure.

I read the differences between a narcissistic personality disorder, psychopaths and sociopaths, and I can’t even remember the differences now. You may feel completely confused by it all, and you’ve got five and a half episodes of trying not to give the game up. You can’t do a little bit of silent anxiety on her face. In the margins of my screenplay, I called him two characters. One that I called JB, who was John Boy, which is the name I made up for that spoiled man, and then there was IJ, Innocent Jonathan, who was an act.

Jonathan’s mask falls off when his wife testifies against him, in an interesting twist to bypass spousal privilege.

KELLEY We wanted the audience to believe that when Grace spoke up, she could still be corrupted by her own biases. Part of the title of The Undoing refers to the loss of his marriage, family, and life, but ultimately it also refers to his salvation. Her husband’s lawyer had set up a masterful defense, and she was going to orchestrate the cancellation of that defense. There is no rule that wives and husbands cannot testify against each other, but spousal privilege can be waived if the defense calls it to the bar. And nothing she testified was devoted to privileged communications. We wanted to be precise, to be able to justify the mechanisms, but we did not want to explain them all.

Do you see the show as a commentary on how the wealthy navigate the legal system?

KELLEY We really wanted to suggest the power that comes with Franklins influence. Power and money produce results that are not accessible to ordinary people. And it gave us a great helicopter scene!

Have lines been added in the finale?

GRANT When I blackmail Henry, it’s a song my family sang in the car on vacation by the sea. Actually, it’s an improvisation.

Not the odd bit about clams?

GRANT Clams is very David E. Kelley. There is a fish theme in all of his series. He lives somewhere in Northern California with Michelle Pfeiffer and spends all day on a boat catching, petting and loving fish. I occasionally emailed David about lines, but he’s never in the office. He was still fishing and he had to admit his habit of fishing.

KELLEY Does Hugh suggest I was playing a workaholic role? [Laughs.] I wouldn’t say I have a fish theme! Fishing is just happening, but not thematically dominant. It’s probably an unconscious wishful thinking on my part that sometimes when I’m at my desk, I secretly wish I was on a riverbank.

How did the murder, ultimately revealed in flashback, change in the narrative?

GRANT It was rather ambiguous at first.

KELLEY According to the original concept, Jonathan was still guilty. It hasn’t changed. But the gravity of the guilt did. Originally, Jonathan broke a swing and suddenly she was dead. And Hugh really didn’t want it to be gray. He wanted Jonathan to be a monster. I looked him in the eye and said: Really? Because we can take this path. Most of the actors want to push you the other way: I’m ready to behead seven people, but can I at least be nice? Hugh had no such qualms. He really wanted to go. He urged us to make him a monster.

GRANT It’s more fun if he’s really a killer. And then Susanne Bier wanted to flesh out the scene of the murder. It was never in the script. When we broke up the murder, it was something that she and I put in place because David was fishing.

KELLEY Murder itself has always been a part of architecture. It was scripted, but not in a lot of detail. It was up to Susanne and Hugh to figure it out. It can be crazy to marry the scripted words because it’s such a fiery moment.

GRANT I can’t stress enough, this is Davids script. I’m just throwing a few currants over it. We had a long email exchange then had to do Matilda [the actress Matilda De Angelis, who plays Elena] comfortable with the garbage ID written. We were just trying to find out what made Jonathan tip over the edge. We found one thing where she says Henry and Miguel could be friends, she and Grace could be friends, they could all meet and have hot chocolate or something. And that’s what made Jonathan crack, like a dog in a car when someone approaches. I wrote in my notes that this was not his first violent episode. There had been a few that had been suffocated, I think.

We went into a rehearsal room with a hammer, and we just experimented. It couldn’t have been more embarrassing because it was the first week of filming, and this poor actress, the first thing she has to do in America is kiss an old man and then be beaten to death: Kiss -me. Crush my head with a mallet. I felt really bad for her. And I just didn’t know how the car ride with my son interspersed with rough sex and murder was going to turn out. It was biting!

Solves a few problems. What did Jonathan do with the $ 500,000 loan? A small portion was used to pay Miguels tuition fees, but what about the rest?

GRANT I think he was perhaps very in debt. I wonder if Fernando [Ismael Cruz Crdova], once he found out that I was having an affair with his wife and the baby was mine, if the loan was used as silent money.

Jonathan is a doctor, but he never seems to use condoms. Shouldn’t he know better?

KELLEY I do not know! [Laughs]

GRANT I asked myself this question too. Why do Grace and I only have Henry? I wondered if there had been a problem. And I think in a draft of the script there was a mention of a drug that helps you conceive, and you would see it in the medicine cabinet. One of Elena’s attractions was that she was sort of fertile in a way that maybe Grace was not.

Why didn’t Jonathan throw the murder weapon into a body of water? Why leave him on his family’s property?

GRANT Do you remember a moment on the beach where Grace looks up and sees a figure in the distance? I figured the shed had seen Jonathan, so he quickly got rid of the hammer in the fireplace instead of doing something better with it. What a moron.



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