Brad inglesby a better place
I never expected she would respond, my God, she's iconic, but I think we just got to her at the right time. She was interested in doing something new; she wanted to take on a role that she hadn't ever played before. She told me she'd never held a gun in any role she'd ever had, which shocked me given how many roles she's played over the years.
I think the appeal was, "this character is not like me at all. And that's appealing to me. I think about all the therapy scenes and what she's able to do emotionally in the context of one scene is pretty incredible. And it's Kate Winslet, and she's a small-town cop, and you completely buy her as this person, which is a disappearing act as far as I'm concerned. That's not easy to pull off, and she does it effortlessly.
Craig gets all the genre elements, but he also knew that this was a show that had to appeal emotionally and had to be about these relationships. He just understood that inherently and we had such a great cast. We just got fortunate. I can write all the crappy dialogue in the world, but when they say it, it makes sense, you know? Did you guys talk sympathetic characters at all? Because what I love about Kate and her performance is, it's grumpy, it's dowdy, she's highly unvarnished, she's incredibly cynical and bitter, and the show and the performance are very unapologetic about that.
However, even though you don't seem to make any concessions about making her "more likable," we still totally empathize with her. That's one of the unique magic tricks of the show in my mind because most shows would make that concession. Well, I'm happy to hear you say that because Kate really embraced all that too. Mare is someone that is at her worst with the people that are closest to her. She doesn't know how to be nice to her family members. But yet with Beth in the opening episode, a woman who's going through this thing where her brother's a chronic drug addict, she's incredibly empathetic.
And that's something we played with: Mare can be empathetic to people who aren't close to her, and that's a really interesting thing, right? Advertisement When it comes to her own clan, she's incredibly harsh. And it's because all these things are simmering there—all these old hurts, resentments, wounds, and some things that just haven't been resolved. And you're right; she does some awful things, and yet you're always on her side, which I think is a testament to Kate's ability that you can still root for her, and you want to see her get up all the time.
That's just a great actress doing great work. Another refreshing element of the show is the humor. A prestige show like this—look, we've seen versions of this that are just too damn dour and oppressive. The humor here feels like ballast to the dark stuff and really human because many people often use humor to cope. The character evolved as Kate took ownership of it. It's one thing when it's on the page, but it started to shift once we gave it to Kate.
She would be like, "I have this backstory I've created about what Mare was like as a kid and how she would stand up to bullies, and she would protect her friends. Because it was there, but not like it is in the final product. And it helped because it gets heavy at times, goes to dark places, and talks about some heavy things, but it never feels too heavy.
There's a balancing act. Part of that is Kate's interactions with Jean Smart; there's a lot of inherent humor there. There's always a bit of lightness, and obviously, Evan Peters is really good at this too, because he has excellent experience with comedy. Tell me about the mix of plot and genre, balanced with character and character story. Because it almost veers back and forth in a way that almost makes you think one will fade to the background, but they're both wonderfully weaved together.
I imagine this is the luxury of a movie-like genre story that still has the time to breathe in television. That was the tight rope walk of the show. I wrote it as a drama that had a procedural element. So, I never wanted the procedural to swallow the show. And there are times in the last two episodes where we have to ramp up the tension as the clues start to come in, and it becomes more of a beast to deal with, but I don't think we ever lose the drama.
Advertisement Because it always started with the idea of a woman who has to confront grief. That's what the show is about. This is a woman who's deferred grief. She won't confront the thing that's haunted her. And the way she's postponed that confrontation is by throwing herself into these cases. So, you can't lose sight of that.
In the midst of that, she has to deal with her mother. She has to deal with her daughter, who has terrible resentments. It's not just about solving the case. It's like, "I have to deal with all these people in my life that I've been able to hold at arm's length, but now, I have to face them. When you get to the end, it's still about a broken family that has to come together in their own way.
Is it going to be perfect? Hell no, but maybe they'll be okay. What I want the audience to leave with is that there is light at the end of the tunnel. Mare is the nucleus of the world, but I could go off with Dawn and Lori and Siobhan. Mare might act grumpy or annoyed, but she likes the applause. The only way to get rid of them is to write them. I had to embrace that part of the show.
I had to always be strategic about the balance of drama and mystery. It was a tricky thing. If I did the mystery and the drama right and found the balance, when I got to Episode 7 and put the cards out on the table, it would be a gut punch surprise. And if I ran the parallel tracks right, the audience would be invested in the characters and feel it was devastating.
He had rarely shown up before shooting on his movies, only occasionally during, and never in post-production. I was on set every day. The look will say it all. I was naive. Craig was strategic about what essential scenes we needed. He knew the format. During the hiatus, with about 60 percent of the material the editors needed, they got started on the edit and examined what was left to do.
BETTING LIMIT B WING
Some might say Villanova owns that block. It's an exciting time in Pittsburgh. Villanova and Delaware get together Friday. One school is a powerhouse. The other is looking to someday become one. University of Delaware head coach Martin Ingelsby is not a household name, although he was a heck of a player at Archbishop Carroll. His dad, Tom, was a star at Villanova in the s. His brother, however, is a different kind of star.
Brad Ingelsby is the younger brother of head coach Martin. But he's also responsible for the creation of a character near and dear to our hearts. Brad Ingelsby wrote and produced "Mare of Easttown. Then we get to be here, it's against Villanova. So there's a lot of excitement and pride at the same time," Brad Ingelsby said. Q: You're a Villanova guy, your dad was a star there. I couldn't ask for a lot more than that. It was really important to the screenwriter and producer to shoot the show about Pennsylvania in the state itself.
The accent is incredibly specific and Ingelsby was blown away by how the actor perfectly nailed it. It's a very specific place and even within Delaware County there are people with a really strong accent and then there's people with a less strong accent," said Ingelsby. I wanted to tell a story about where I grew up and how I grew up.
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Q: You're a Villanova guy, your dad was a star there. You have strong ties to the university. Is there a little bit of a pull back and forth here? But this day we've gotta cheer on Mart. That's just family. That's what you do," Ingelsby said. Q: Who's the better player — your brother or Mare Sheehan? I'd say Mart is probably more talented.
Mare, I wouldn't underestimate Mare. We've all seen what happens to people who underestimate Mare," he said. Q: The game is Friday. What's the plan for the family before then? I think we'll all be trying to solve our nervousness but we'll be together. We're all here to witness the game.
The show was shot in Chester County and Delaware County and Ingeslby wanted to give the nation a snapshot of the area that he called home for so many years. I got to go home and shoot something at home, which I never had the chance to do before," said Ingelsby. I couldn't ask for a lot more than that. It was really important to the screenwriter and producer to shoot the show about Pennsylvania in the state itself.
The accent is incredibly specific and Ingelsby was blown away by how the actor perfectly nailed it.