![]() ![]() ![]() But that’s a part of his warped psychology that just happened to have a window, and the window happened to be when he met Tony Hughes. He wasn’t able to actually smash the pills and put them in the drinks a couple of times with Tony. This was a time when some of his impulses were under control. How did you feel about the ethical challenges of that? On the other hand, this episode does humanize Jeffrey Dahmer more than any up to this point. Doing that is a major service, because it not only humanizes it, but it says, “Let’s shift our focus to the people we’ve lost, and not to the people who killed them.” Tony’s family reverberates with me and makes it specific and more painful. I look at a murder of a young man by the police, I look at a school shooting and I wonder what that child was like as a baby and what their family is like. Now, after working on this episode, I look at crime differently. I am interested in telling a story of the love that was there, that was destroyed. But I am interested in telling a story of a family’s loss. I’m really, really not interested in the psychology of Jeffrey Dahmer and why he is as warped as he is. What is the opportunity there beyond just detailing a murder? That episode is the first time we get to know a victim. My whole experience, through the making of the “Silenced” episode, was trying to quell his instincts to act and to convince him just to be Rodney and do this as Rodney would, saying these particular lines, in this particular time and these particular clothes, without trying to do anything other than what Rodney would do. When I met Rodney Burford, I realized why he was right, because he does have a really kind, open spirit. In what way?įor one, I wasn’t expecting that the part of Tony Hughes would be played by someone who had never done professional acting before, who was also deaf. You mentioned it challenged you in ways you weren’t expecting. ![]() That’s what they’re keenly interested in, and that’s what I’m interested in, too. I think they made the story about something bigger and something relevant to today, which is: What are the police doing? Why don’t they believe a Black woman when she is calling, over and over again? What status does she have in this society? Those are big questions that reverberate today. If they’re going to take the story of Jeffrey Dahmer, they’re going to tell it in a way that matters. I can count on them giving me projects and scripts that are going to take me in directions that I’m not always comfortable going, while, at the same time, doing it for a purpose. What is unique about your working relationship? You have worked with Ryan and Ian before on The Watcher, Glee and American Horror Story. “I didn’t expect it would challenge me this much,” admits Barclay, who spoke to THR about making a show dramatizing a series of horrific events while trying not to glorify a monster. In this case, the accolade serves to highlight the difficulty of his work. Emmy-nominated director Paris Barclay Dominik Bindl/Getty ImagesĪs a result of his contribution, Barclay makes history as the first Black director to be Emmy-nominated for directing in the limited series category, having already been nominated for comedy ( Glee) and drama ( The West Wing). ![]()
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