|EVAN RACHEL WOODSPEECHLESSCATS|
SPOILER ALERT: This interview contains details about tonight's Westworld season 3, episode 4 “The Mother of Exiles” on HBO.
Dolores took over tonight - in more ways than one. In the jaw-dropping final moments, we witnessed her having complete sway over Tessa Thompson’s Charlotte Hale turns out, we don’t know her that well, even after last Sunday’s deep episode as ‘Halores’ the combined version of Dolores and Charlotte. Halores seized the reigns of Delos by throwing the Man in Black in an insane asylum. His support was needed in order to block Serac Vincent Cassel from taking over Delos. With the Man out of the picture, we’ll see how that all plays out soon. As Dolores was beginning to wage her kickass revolution with the support of Caleb Aaron Paul tonight, we got to learn a lot more about the hosts hanging around in the real world, i.e. Martin Connells and former Shogun World master Musashi, who leads Thandie Newton’s Maeve to a bloody fate. Dolores herself, Evan Rachel Wood, is here tonight to make sense of it all for us.HBO
We saw a lot of Dolores tonight - inside her own body and Charlotte Hale’s to say the least. Given how Westworld is known to have two timelines going on at the same time, all of the moments in tonight’s episode - did they occur in two different timelines? Halores and Man in Black in one and then Dolores and Caleb in another?
No. I think a lot of this happened simultaneously. I think we did jump a bit at the beginning of episode 3, kind of going back to when Dolores first sort of rebuilt Hale, probably months before Caleb, but no, I think, as far as I know, for now, and what the audience should feel is that they’re all in the same timeline.
So, Dolores can coexist in different bodies at the same time?
Yes. I believe what we’re going to be playing with this season is showing the audience that, you know, they are code, and their bodies are not who they are. And we explore that a lot also with Hale’s character and the feeling like you’re in the wrong skin, and there’s a lot of metaphors floating around, but yes, I think she can exist in multiple ways.HBO
There’s that ongoing gesture-motif –the caressing of the face–we continually see in Westworld. We saw it here tonight when Dolores caresses the Man in Black’s face at the end of the episode. Going back to season one, we saw Bernard caressing Dolores’ face. Expound on that significance of that recurring gesture in Westworld-speak.
It’s a bit of a trademark of Dolores, which started with Arnold, and it’s something that I grew into the character, like she has certain...
A rumor cropped up online recently that Cats, Tom Hooper‘s huge flop featuring horny cat people introducing themselves for 110 minutes, originally had CGI buttholes on all the feline behinds. And even though Cats is already a fever-dream to begin with, we weren’t entirely sure how much credence to lend that story. Now, an intrepid journalist has done the legwork, and turned up the true story of the Cats butthole cut.
It’s official: the Cats butthole cut did, indeed, exist. The Daily Beast has the scoop, and let’s just say the true story is even wilder than we could’ve predicted. Per their report, Cats was halfway complete when someone finally noticed the buttholes. “We paused it,” a source who worked on the film’s visual effects said. “We went to call our supervisor, and we’re like, ‘There’s a fucking asshole in there! There’s buttholes!’ It wasn’t prominent but you saw it… And you [were] just like, ‘What the hell is that?… There’s a fucking butthole in there.’ It wasn’t in your face—but at the same time, too, if you’re looking, you’ll see it.”
What the hell is that, indeed. The source goes on to state that no one flat-out ordered buttholes added to the digital cat people – it just sort of happened. They materialized organically – as buttholes do sometimes. Unfortunately, when the buttholes started to be noticed, it fell upon one visual effects artist to go through and erase every sphincter.
Beyond the story of the butthole cut, The Daily Beast story paints a portrait of a terrible behind-the-scenes process for the visual effects folks working on the film. One source even goes so far as to compare it to “slavery.” And director Tom Hooper only made things worse, primarily because he didn’t seem to understand how VFX even worked:
Before visual effects artists fully render sequences for animated films, they normally show directors playblasts—preview renderings that feature characters without color or texture. That allows the director to evaluate the motion before hours of work are done to flesh out things like color, texture, and lighting. Hooper, however, did not seem to grasp that process. Any time the visual effects team wanted to show the director any animatics, the source said, they had to fully render it. Otherwise, he’d say things like, “What’s this garbage?” and “I don’t understand— where’s the fur?”
Sources describe Hooper as “disrespectful,” “demeaning,” “condescending,” and “horrible,” and add that he talked to everyone like “garbage.” In short, the experience of working with Hooper does not seem like it was the cat’s pajamas. It wasn’t even the cat’s meow.