Elisabeth Moss survived an earthquake to present her new show

It turns out that Elisabeth Moss is one of the celebrities who overcame the first Los Angeles earthquake. I learned this in February, when she quietly told me that the hotel conference room where we were talking was shaking not because of a large truck passing by the window or a low-flying plane, but because of a sudden release of energy in the lithosphere, creating seismic waves.

In fact, what she said was, “Oh, this is an earthquake,” as she very quietly prepared herself on the velvet couch across from me, where she was sitting next to executive producer Dennis Di Nova of the new FX series The Veil. “I'm quite sure.”

As the ground beneath us shook violently, the walls shook, and the phalanx of agents and advertisers screamed in terror as they ducked – well, perhaps more realistically there was some light, though certainly noticeable, quivering – the Emmy winner felt what must have been a look of panic. Absolutely in my face.

She nodded at me knowingly. “Is this really happening?” I asked. “Oh, yes,” she said. “I thought it was a car or a garage or something. But it’s 100 percent an earthquake.” She explained that it was my first time. “Congratulations!” she said, while the room was still shaking and the serving glasses were making annoying noises. “It'll be fine. Don't worry.” We both started laughing, and she added, “This is a real accomplishment for you!”

De Nova and advertisers started pulling their earthquake apps to find out if it was an aftershock from somewhere else or if we were at the epicenter. “We've been through all kinds of earthquakes,” Di Nova said confidently. “I grew up in Los Angeles, so you're in good hands,” Moss added. “If things get worse, we might move you out from under the chandelier.” I looked up to see a massive spike of crystal daggers hanging and swaying above my head. “But you're fine for now.”

Moss and De Nova were at the Television Critics Association winter press conference to talk with reporters about the hijab. The series, which launched this week, stars Moss as Imogen, a British MI6 agent tasked with locating and detaining “the world’s most wanted woman,” an alleged ISIS leader named Adila (Youmna Marwan).

It's a spy thriller by Thelma & Louise, in which Imogen evades the American and French intelligence agencies who try to wrangle her and secure justice. The duo travels across Europe, from the frozen mountaintop refugee camp on the Syrian-Turkish border where Imogen and Adelia meet for the first time, through Istanbul, Paris and London. Along the way, they engage in a dizzyingly manipulative dance between attachment and deception, sharing personal stories as much as they lie about who they are and what they want from each other.

Having an earthquake interrupt our conversation about the globe-trotting series was entirely appropriate, given the myriad challenges that have rocked the ambitious production. The first episode was filmed on a mountain in Turkey where no crew had ever attempted before, and was greeted by a polar vortex and – yes – an earthquake. De Novi said the final days of filming in Paris were interrupted by “smoke bombs and protests.”

“Now that it's over, the main thing I would say is that it was worth it,” Di Novi told me.

With a brief interlude to talk about the seismic activity that can't be ignored, Moss and Di Novi spoke with The Daily Beast's Obsessed about the series' complex central dynamic, subverting the spy thriller genre, and how The Veil might be Moss's only production that lives up to the… Difficulty of The Handmaid's Tale.

A preview of The Veil published this week described it as “part spy thriller, part Thelma & Louise.”

Di Nova: People are following it!

MOSS: Oh, really? This is very funny. Really amazing.

How do you feel about this description and how does it fit the show?

Di Nova: What's not to like about it? It is one of the greatest films ever made.

The beginning of this show is interesting. The audience meets these two mysterious women and tries to figure out their identities at the same time as the characters themselves meet and become upset with each other. How do you pull that off?

Moss: That was also interesting to us while working on the show: not to get too far ahead of the audience. Stay with them. Each episode of the show gives you more. So what happens in Episode 4, you would never guess in Episode 1 or Episode 2. Each episode completely changes the game. So it was really important for us to keep tweaking that throughout the season and have the two characters discover those things about each other in parallel with the audience.

Di Nova: Regarding Lizzie [Moss]I hope people realize and appreciate the complexity of playing a character where you have to feel the reality of that character while playing someone playing a character. She's trying to trick the other person she's playing against, but also contact them and get them to call her. It's incredibly complicated, but she makes it look easy.

There are so many layers to it: being an actor playing a character pretending to be someone else. Can you talk more about this challenge?

Moss: It was one of the first things that attracted me to the show and the reason I wanted to do it. It was just an idea, like you usually approach a character and only play one character. That can be challenging enough, we hope. But that required getting close to a character playing a character, who then plays a character, and then it changes and then goes in this different direction.

By episode 4, 5, or 6, she might be in a completely different place that she didn't know she would be in. That was like gold. I wasn't really going to do a TV show while I was on hiatus from a TV show [Handmaid’s Tale]. But when I got these scripts, I said, This is the best material I've ever seen. This is the best I see now. Like, why don't I do this role?

I wanted to ask you what it's like to take time off from work, go to a place that looks really cold on screen, learn different accents, and then dive into a really difficult part. How do you wrap your head around that?

MOSS: It's crazy, because the job of a maid is so challenging for different reasons. It's a longer distance. [Executive producer] Warren Littlefield always calls it a marathon, not a sprint. It's a long journey, maid, but it's in one place. This was a fast race. I believed [Handmaid’s] It was the most challenging work I usually do. right?

Di Nova: It's a sprint for her. To me, it felt like three movies.

MOSS: That's because he was in three different countries. And many different cities within those countries. As I said, this was going from the mountain, which was legally frozen – a mountain that people don't normally climb, and certainly not a film crew – to Paris. But then three different cities across the UK in a very short space of time, including London. So it was very busy and difficult. The fighting, the exciting training, the accent, with a few different languages ​​here and there? It was definitely a lot. I didn't think we could beat the maid, and I thought we might have.

I read that things were a bit disastrous: there was a polar vortex, and there were threats in Paris. In hindsight, given how important filming in these places was to you, how do you feel about what you had to overcome to make it happen?

Di Nova: Now that I'm done, the main thing I would say is that it was worth it. Because I feel like this show has an epic scope. And I think the world is global now – not just our businesses, but people really look at the world in a global way now, for many obvious reasons. But I think it's great that this show takes you to these places, and not in a touristy way. You see what these places really look like. You see the posh side of them and then you see the down side of them. I think it was worth it, because it gives him reality and grounding.

I can't imagine it any other way. Because it was very easy to do the show mostly on stage for five days in Paris and five days in Istanbul. There really was a [simpler] way to do it. And I credit FX for really allowing us to do it this way. People will see places that have never been shown on TV before.

I think espionage games are a popular genre because sometimes, to us normal people, they can seem very romantic and almost intangible. But this show brings that back to reality through the relationship between these two women. Did you see that relationship as a subversion of the genre?

MOSS: That's a good term, sabotage. I love that. I'm going to steal that. What [show creator Steven Knight] Was that so wonderful to take something that was so exciting to watch and so interesting, like the genre of spy thrillers and the relationships between international spy agencies, and then weave this believable, character-driven, human story of these two women and their relationship. And I thought it would be a lot of fun to do a spy thriller that was just a spy thriller. I think it would be a lot of fun to just do Thelma & Louise. But the idea of ​​being able to do both, which is much more difficult, is what got us here and we know what brought me here.

What, Denise, in Elisabeth Moss's past work makes you think that she was right about this…

[At this point, all hell breaks loose—as in I freak out—as an earthquake begins. Once everything is settled, Moss tells a publicist, who is now concerned about time after the delay, “We’re going to continue.”]

MOSS: What were you saying?

Denise was about to say nice things about you

Moss: Well, please, keep going! [Laughs]

Di Nova: I think sometimes there are roles where the credibility of the actor in the role is crucial. Sometimes you want an actor who's going to be surprising in a role, or go against the grain, or believable as that kind of person and you find that out. This is the kind of role you should buy into where an actor can be an international spy, do all the action, and be great. It has to be somewhat ingrained in the actor. Lizzie had all those qualities.

I was so excited to see her do something like this. I knew she could do it. But I thought it would be fun for the audience, and it was fun for me to see her playing these kind of characters, hitting up guys, doing action stuff, and playing three different people. It's like watching a great violinist play pieces he hasn't played yet, but you know he can. you know what i mean? It's kind of a virtuoso performance. Yes.

MOSS: Wow. Thank you. [Looks at me] Congratulations on your first earthquake. You are a survivor!

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