1
00:00:06,702 --> 00:00:08,747
Hey, everyone. I'm Clark Wolfe.

2
00:00:08,878 --> 00:00:10,706
And welcome to "Show Me More",
where we take

3
00:00:10,836 --> 00:00:13,317
a behind the scenes look at what
went into creating

4
00:00:13,448 --> 00:00:14,797
AMC's hit shows.

5
00:00:14,927 --> 00:00:16,755
Before we get into it,
I should warn you,

6
00:00:16,886 --> 00:00:19,106
there are
lots of spoilers ahead.

7
00:00:19,236 --> 00:00:22,065
Now, if you're all caught up,
let's get into part one

8
00:00:22,196 --> 00:00:26,635
of the final season
of "Fear The Walking Dead."

9
00:00:26,765 --> 00:00:28,767
Announcer:
Presented by T-Mobile.

10
00:00:30,030 --> 00:00:35,905
♪

11
00:00:36,036 --> 00:00:38,212
Padre was a mystery
for most of season seven.

12
00:00:38,342 --> 00:00:40,823
And what we did learn
about it at the end

13
00:00:40,953 --> 00:00:43,130
with Morgan and Madison
was hardly encouraging.

14
00:00:43,260 --> 00:00:44,914
Come on.
She sounds scared.

15
00:00:45,045 --> 00:00:46,872
Padre: Like all
the children here,

16
00:00:47,003 --> 00:00:49,083
she will learn to separate
herself from her emotions.

17
00:00:49,179 --> 00:00:51,007
Wolfe: Well, in season 8,
we sure learned

18
00:00:51,138 --> 00:00:53,401
a lot more about Padre.

19
00:00:53,531 --> 00:00:54,943
You're doing this
for the same reason

20
00:00:54,967 --> 00:00:56,665
we do everything. For Padre.

21
00:00:56,795 --> 00:00:58,319
Wolfe: Like who's in charge,

22
00:00:58,449 --> 00:01:00,625
how the community survived
for over seven years,

23
00:01:00,756 --> 00:01:05,587
and why you wouldn't exactly
call it a family friendly place.

24
00:01:05,717 --> 00:01:07,545
Not even close.

25
00:01:09,373 --> 00:01:11,288
Man: Who are we
learning this for?

26
00:01:11,419 --> 00:01:13,856
All: Padre!

27
00:01:13,986 --> 00:01:15,858
Man: Who sustains
our way of life?

28
00:01:15,988 --> 00:01:18,208
All: Padre.

29
00:01:18,339 --> 00:01:21,298
Goldberg: Padre is our
central settlement

30
00:01:21,429 --> 00:01:25,041
that is well fortified,
on the water,

31
00:01:25,172 --> 00:01:28,088
where we find our characters
in season 8.

32
00:01:28,218 --> 00:01:30,090
Man: Who is teaching us
to be strong?

33
00:01:30,220 --> 00:01:31,308
All: Padre.

34
00:01:31,439 --> 00:01:33,093
Goldberg: When Padre started,

35
00:01:33,223 --> 00:01:35,269
it was in this altruistic place.

36
00:01:35,399 --> 00:01:39,186
It really was created
to rebuild the world.

37
00:01:39,316 --> 00:01:40,815
Chambliss: Padre isn't just
a group of people.

38
00:01:40,839 --> 00:01:42,711
It isn't just a settlement.

39
00:01:42,841 --> 00:01:44,713
It really is a way of life.

40
00:01:44,843 --> 00:01:47,368
We kind of thought of this
as kind of like a modern day

41
00:01:47,497 --> 00:01:50,501
version of Sparta, where Padre
is collecting all these children

42
00:01:50,632 --> 00:01:53,156
from the apocalypse, and they're
kind of like this blank slate

43
00:01:53,287 --> 00:01:56,333
that Padre can teach
this new way of life to.

44
00:01:56,464 --> 00:01:59,640
Goldberg: They operate on this
philosophy of

45
00:01:59,771 --> 00:02:02,383
separating children
from their parents

46
00:02:02,513 --> 00:02:05,777
and raising them to not have
emotional connections.

47
00:02:05,908 --> 00:02:07,625
Chambliss: Individual
relationships, individual wants

48
00:02:07,649 --> 00:02:11,478
and needs are secondary
to the good of the community.

49
00:02:11,609 --> 00:02:12,804
You're doing this
for the same reason

50
00:02:12,828 --> 00:02:14,221
we do everything.

51
00:02:14,351 --> 00:02:15,744
For Padre.

52
00:02:15,874 --> 00:02:18,660
Goldberg: Children are being
raised to be strong,

53
00:02:18,790 --> 00:02:21,228
to be warriors,
to approach the world

54
00:02:21,358 --> 00:02:24,492
in a cold, brutal way.

55
00:02:24,622 --> 00:02:27,147
However, there's something
that they grow up

56
00:02:27,277 --> 00:02:30,106
fundamentally lacking,
which is connection.

57
00:02:30,237 --> 00:02:32,761
Every time I look out there.
I feel like something

58
00:02:32,891 --> 00:02:34,850
really big is missing
inside of me.

59
00:02:37,896 --> 00:02:41,030
Goldberg: Our characters
are separated from the people

60
00:02:41,161 --> 00:02:43,206
they care about,
and it's really redefined

61
00:02:43,337 --> 00:02:45,555
who they are as people
in the seven years

62
00:02:45,687 --> 00:02:46,905
since we last saw them.

63
00:02:48,777 --> 00:02:50,779
Who's that?

64
00:02:50,909 --> 00:02:52,476
Madison:
That's your dad.

65
00:02:52,607 --> 00:02:55,827
Are you really my father?

66
00:02:55,958 --> 00:02:57,567
I am Mo...

67
00:02:57,699 --> 00:03:00,267
Wren.
My name is Wren.

68
00:03:00,397 --> 00:03:02,704
Essentially, the kids
have been brainwashed.

69
00:03:04,314 --> 00:03:06,273
They believe
their parents abandoned them.

70
00:03:06,403 --> 00:03:09,798
They believe that Padre has
their best interests at heart.

71
00:03:09,928 --> 00:03:13,105
Padre. Can you hear me?
This is Wren.

72
00:03:13,236 --> 00:03:16,152
Man: Padre 1.
Wren, do you copy?

73
00:03:16,283 --> 00:03:18,850
Chambliss: Padre is run by
these two traumatized

74
00:03:18,981 --> 00:03:21,591
young adults who are doing
all of this because

75
00:03:21,723 --> 00:03:23,159
they lost their father.

76
00:03:23,290 --> 00:03:28,120
Don't let this die.
It's so important.

77
00:03:28,643 --> 00:03:31,602
Goldberg: They believe they are
protecting other kids

78
00:03:31,733 --> 00:03:35,084
from the pain that they felt.

79
00:03:35,215 --> 00:03:37,216
I know the pain Wren's in.

80
00:03:37,347 --> 00:03:40,524
The whole reason I am doing
what I'm doing

81
00:03:40,655 --> 00:03:44,398
is to prevent anyone else
from feeling that kind of pain.

82
00:03:44,528 --> 00:03:48,053
Chambliss: There are, in some
ways, good intentions behind

83
00:03:48,184 --> 00:03:50,447
Padre, but Shrike and Crane
have gone to this

84
00:03:50,578 --> 00:03:52,928
kind of very dark place.

85
00:03:55,278 --> 00:03:57,280
Woman: Wren, this is
to protect you,

86
00:03:57,411 --> 00:03:59,131
Eshet: Shrike and Crane,
they're extremists.

87
00:03:59,239 --> 00:04:03,634
They take very harsh actions
to keep their community safe.

88
00:04:03,765 --> 00:04:05,419
Stop, please!

89
00:04:05,549 --> 00:04:07,377
Eshet: And they really did
manage to keep

90
00:04:07,508 --> 00:04:08,813
this community going.

91
00:04:08,944 --> 00:04:10,467
Just so you know, Red Kite,

92
00:04:10,598 --> 00:04:13,601
no one's ever stolen a child
from Padre before.

93
00:04:13,731 --> 00:04:16,255
Padre's philosophy
has been quite effective.

94
00:04:16,386 --> 00:04:19,259
But there is a cost that comes
when you have to enforce

95
00:04:19,389 --> 00:04:22,436
your ideology
with such extreme measures.

96
00:04:24,133 --> 00:04:25,700
Stop! Let her go!

97
00:04:25,830 --> 00:04:27,441
Get her out of here now.

98
00:04:27,571 --> 00:04:30,226
Padre really has to be careful

99
00:04:30,357 --> 00:04:32,968
about showing
any kind of weakness.

100
00:04:34,796 --> 00:04:36,493
Don't move.

101
00:04:36,624 --> 00:04:38,887
Shrike: Call the prefect.
Tell them to get more guards.

102
00:04:39,017 --> 00:04:41,977
She's the reason Finch got bit.

103
00:04:42,107 --> 00:04:43,674
Finch got bit?

104
00:04:43,805 --> 00:04:45,981
They don't want to have
a bunch of kids wondering,

105
00:04:46,111 --> 00:04:47,808
wait, is it better out there?

106
00:04:47,939 --> 00:04:51,116
Are the parents that we've been
told didn't care about us,

107
00:04:51,247 --> 00:04:53,249
were our enemies,
are they really our enemies?

108
00:04:53,380 --> 00:04:55,860
Those kind of questions
are the thing that Padre really

109
00:04:55,991 --> 00:04:57,514
has to try to snuff out.

110
00:04:57,645 --> 00:05:00,648
You wanted to ask Padre
for the truth?

111
00:05:00,778 --> 00:05:03,128
Go ahead, ask us.

112
00:05:03,259 --> 00:05:06,393
Walton: Dove finds these files,
and it holds all the information

113
00:05:06,523 --> 00:05:08,438
about who her parents were,
what her name is.

114
00:05:08,569 --> 00:05:12,137
And that's just one story
out of many of the kids.

115
00:05:13,269 --> 00:05:15,489
Eshet: They lied
to all of the children.

116
00:05:15,619 --> 00:05:18,579
And I think that is going
to be their downfall.

117
00:05:18,709 --> 00:05:19,797
Let her go.

118
00:05:19,928 --> 00:05:21,669
You don't understand.

119
00:05:21,799 --> 00:05:24,628
She's Padre's daughter.
You've been lied to.

120
00:05:24,759 --> 00:05:26,563
Chambliss: Ultimately,
in its effort to survive,

121
00:05:26,587 --> 00:05:29,111
Padre ended up creating
the very people

122
00:05:29,241 --> 00:05:31,069
who are going to end up
bringing it down.

123
00:05:31,200 --> 00:05:36,031
♪

124
00:05:38,642 --> 00:05:40,905
Season 8 took us
to a watery world

125
00:05:41,036 --> 00:05:42,558
full of muck and mud

126
00:05:42,690 --> 00:05:45,562
and sinking boats
and swamp walkers.

127
00:05:45,693 --> 00:05:48,348
To do this, the show went
to the wetlands of Georgia,

128
00:05:48,478 --> 00:05:51,481
where they built a swamp
in a swamp.

129
00:05:51,612 --> 00:05:59,612
♪

130
00:06:00,708 --> 00:06:03,972
I really like working
in the manmade swamp.

131
00:06:04,102 --> 00:06:06,322
It's such an impressive
production design,

132
00:06:06,453 --> 00:06:07,454
the set design.

133
00:06:07,584 --> 00:06:09,107
All the special effects team,

134
00:06:09,238 --> 00:06:11,762
everything they've done,
it's pretty remarkable.

135
00:06:14,809 --> 00:06:17,377
Goldberg: The swamp was
a whole new element

136
00:06:17,507 --> 00:06:20,684
that we got in season 8 with
the move to Savannah.

137
00:06:20,815 --> 00:06:23,774
Well, do the alligators,
and do the snakes,

138
00:06:23,905 --> 00:06:26,429
do they all know
that this is a manmade swamp?

139
00:06:26,560 --> 00:06:29,606
Goldberg: Our team went in
and excavated an area,

140
00:06:29,737 --> 00:06:33,610
put in our own swamp water
so that we could regulate

141
00:06:33,741 --> 00:06:35,675
and we could make sure
that there were no alligators

142
00:06:35,699 --> 00:06:37,440
or anything
that were getting in.

143
00:06:37,571 --> 00:06:39,411
We built this thing to control
the water levels

144
00:06:39,529 --> 00:06:42,010
and control
the critters and control...

145
00:06:42,140 --> 00:06:44,665
Just basically have control
over the environment.

146
00:06:46,275 --> 00:06:47,929
Goldberg: We got our
swamp walkers, which

147
00:06:48,058 --> 00:06:53,108
KNB just made them
so nightmarish and cool.

148
00:06:54,675 --> 00:06:56,522
Dickens: The first night
we worked in the swamp,

149
00:06:56,546 --> 00:06:58,808
it was really
moderate temperatures.

150
00:06:58,940 --> 00:07:01,290
And I remember us kind of
looking at each other like,

151
00:07:01,421 --> 00:07:03,771
"This is kind of fun, right?"

152
00:07:06,904 --> 00:07:09,951
James: Particularly the man
made swamp that we had,

153
00:07:10,081 --> 00:07:12,780
the water was constantly moving
and pumped fresh

154
00:07:12,910 --> 00:07:15,043
and all of that.

155
00:07:15,173 --> 00:07:20,788
And it was kind of nice,
I'm saying in inverted commas,

156
00:07:20,918 --> 00:07:23,225
when the weather was warm.

157
00:07:24,748 --> 00:07:27,403
When we were doing it later on
in the season

158
00:07:27,534 --> 00:07:31,712
and the weather had turned,
not so much.

159
00:07:34,236 --> 00:07:36,194
Dickens: It was a little bit
like a carnival ride

160
00:07:36,325 --> 00:07:38,283
to work on it because you're
working at an angle

161
00:07:38,414 --> 00:07:41,852
like this the whole time
and half wet the whole time.

162
00:07:41,983 --> 00:07:44,004
David: Looking at the set
with the houseboat in the water

163
00:07:44,028 --> 00:07:46,683
and Grace coming in on that raft
was so badass.

164
00:07:46,814 --> 00:07:50,557
I mean, I could not have asked
for a better entrance

165
00:07:50,687 --> 00:07:51,993
to start off the season.

166
00:07:52,123 --> 00:07:53,995
Who are you?

167
00:07:54,125 --> 00:07:56,258
I'm your mother.

168
00:07:56,388 --> 00:07:58,303
We've seen a lot
of horrible things

169
00:07:58,433 --> 00:08:00,305
on "Fear The Walking Dead"
over the years,

170
00:08:00,436 --> 00:08:02,438
but Shrike infecting Finch
with a walker bite

171
00:08:02,569 --> 00:08:06,268
on the train car
is about as dark as it gets.

172
00:08:06,398 --> 00:08:08,052
No, please!

173
00:08:08,183 --> 00:08:11,229
All in the name of finding
a cure that doesn't work.

174
00:08:11,360 --> 00:08:19,360
♪

175
00:08:19,890 --> 00:08:24,678
Goldberg: The train car was this
off site medical facility

176
00:08:24,808 --> 00:08:28,116
where Padre was doing
horrific experiments

177
00:08:28,246 --> 00:08:30,553
in the name of this cure.

178
00:08:32,033 --> 00:08:33,687
Hello, Blue Jay.

179
00:08:33,817 --> 00:08:37,038
Eshet: I infect Finch
to give June motivation

180
00:08:37,168 --> 00:08:39,519
to continue the research.

181
00:08:39,649 --> 00:08:41,496
Elfman: Padre started
these horrible experiments

182
00:08:41,520 --> 00:08:44,174
and held June at gunpoint
and made her do them.

183
00:08:44,306 --> 00:08:46,526
Why is Padre doing this?

184
00:08:46,656 --> 00:08:48,484
The same reason
he does everything...

185
00:08:48,615 --> 00:08:51,879
To ensure what
he's built endures.

186
00:08:52,009 --> 00:08:56,187
I sacrifice one individual
in order to find a vaccine

187
00:08:56,318 --> 00:08:59,190
and maybe solve this
for humanity.

188
00:09:03,238 --> 00:09:05,545
The set looked awesome.

189
00:09:05,675 --> 00:09:09,331
Goldberg: We wanted to create
this image of this

190
00:09:09,461 --> 00:09:11,021
house of horrors
where people who've had

191
00:09:11,115 --> 00:09:13,770
these terrible experiments
done to them for walker bites.

192
00:09:18,079 --> 00:09:20,647
But it's all coming
from this place of

193
00:09:20,777 --> 00:09:22,779
wanting to prevent loss,

194
00:09:22,910 --> 00:09:25,347
which is ultimately something
that you can't do.

195
00:09:27,828 --> 00:09:32,136
It was really brutal
to shoot that scene.

196
00:09:34,835 --> 00:09:37,402
It was awful.

197
00:09:37,533 --> 00:09:41,319
Dwight: No, no, no,
no, no, no, no.

198
00:09:41,450 --> 00:09:44,409
We're in this tight train car.

199
00:09:44,540 --> 00:09:47,064
Finch is a few feet
in front of us.

200
00:09:47,195 --> 00:09:49,327
We're tied to this pipe.

201
00:09:49,458 --> 00:09:53,854
To watch Dwight and Sherry's
reaction, as parents,

202
00:09:53,984 --> 00:09:56,726
helplessly watching
something happen to your child

203
00:09:56,857 --> 00:10:02,384
that you can't do anything
about is very emotional.

204
00:10:04,168 --> 00:10:06,083
Amelio: It was pretty
dark world, you know?

205
00:10:06,214 --> 00:10:10,914
So it's like you got to go there
in order for it to be truthful.

206
00:10:11,045 --> 00:10:15,223
I'm gonna kill you.
I'm gonna kill you!

207
00:10:15,353 --> 00:10:17,399
Elfman: I think we all went back
to the hotel

208
00:10:17,529 --> 00:10:19,227
and just, like, sat outside

209
00:10:19,357 --> 00:10:23,057
and, like, had to get some
fresh air after that day.

210
00:10:29,454 --> 00:10:33,154
Sure enough, one by one, our
characters turned on Padre.

211
00:10:33,284 --> 00:10:34,415
Where are you taking me?

212
00:10:34,546 --> 00:10:35,698
As far away from Padre
as possible.

213
00:10:35,722 --> 00:10:37,985
It started with Madison,
but Padre,

214
00:10:38,115 --> 00:10:39,290
led by Shrike and Crane,

215
00:10:39,421 --> 00:10:41,597
had a real knack
for making enemies.

216
00:10:41,728 --> 00:10:44,818
Just ask June
or Morgan, Grace, and Mo.

217
00:10:44,948 --> 00:10:45,949
What about everyone else?

218
00:10:46,080 --> 00:10:47,081
Or Dwight and Sherry.

219
00:10:47,211 --> 00:10:48,212
I'm gonna kill you.

220
00:10:48,343 --> 00:10:49,953
Or Daniel and his parent army.

221
00:10:50,084 --> 00:10:53,696
Padre, you pissed off
the wrong group of people.

222
00:10:53,827 --> 00:10:55,959
♪

223
00:10:56,090 --> 00:10:59,397
Hello?
Is anyone in there?

224
00:10:59,528 --> 00:11:01,051
Wait, wait.

225
00:11:01,182 --> 00:11:03,532
Please. I'm not going
to hurt you.

226
00:11:03,663 --> 00:11:06,883
Dickens: Madison is
really important to Padre

227
00:11:07,014 --> 00:11:11,105
because she's rebelling
against them.

228
00:11:11,235 --> 00:11:14,064
She was being controlled and
brainwashed and led to believe

229
00:11:14,195 --> 00:11:17,415
that she was going to
get access to her children.

230
00:11:17,546 --> 00:11:19,069
You lied to me.

231
00:11:19,200 --> 00:11:22,464
She's consumed with guilt
for participating with Padre

232
00:11:22,594 --> 00:11:24,727
and collecting all the children.

233
00:11:24,858 --> 00:11:27,121
Her obsession becomes,
"Let me help these kids

234
00:11:27,251 --> 00:11:28,688
reunite with their parents."

235
00:11:28,818 --> 00:11:29,819
What's your name?

236
00:11:29,950 --> 00:11:31,081
Wren.

237
00:11:31,212 --> 00:11:34,084
No, it's not. It's Mo.

238
00:11:34,215 --> 00:11:37,740
When Mo realized
maybe she wasn't being told

239
00:11:37,871 --> 00:11:41,265
everything about how she came
to the island,

240
00:11:41,396 --> 00:11:42,832
things start to change.

241
00:11:42,963 --> 00:11:45,356
Change of plans.
We're leaving.

242
00:11:45,487 --> 00:11:47,489
Chambliss: When Madison ends up
escaping with Mo,

243
00:11:47,619 --> 00:11:49,578
that is such a dangerous
thing for Padre.

244
00:11:49,709 --> 00:11:51,629
If word were to get out,
that would start to show

245
00:11:51,754 --> 00:11:53,887
kind of the fissures
in the foundation.

246
00:11:54,017 --> 00:11:55,279
Where are we going?

247
00:11:55,410 --> 00:11:57,238
To find your dad.

248
00:11:57,368 --> 00:11:59,022
On a personal level,

249
00:11:59,153 --> 00:12:03,810
the revolution started with
Morgan spending time with Mo.

250
00:12:03,940 --> 00:12:08,118
I think he knows he's never
going to let her go again.

251
00:12:08,249 --> 00:12:10,947
I think the initial
act of defiance is massive

252
00:12:11,078 --> 00:12:13,471
because he's
within Padre's reach.

253
00:12:14,951 --> 00:12:17,954
What are you doing here?
How'd you find me?

254
00:12:18,085 --> 00:12:19,845
Evangelista: Sherry and Dwight
are on their mission

255
00:12:19,869 --> 00:12:22,785
to bring him back so
they could save their son.

256
00:12:22,916 --> 00:12:25,701
When they see
what Morgan is going through,

257
00:12:25,832 --> 00:12:28,486
there's a lot of compassion.

258
00:12:28,617 --> 00:12:29,661
Duane?

259
00:12:29,792 --> 00:12:32,316
And you sort of see these two

260
00:12:32,447 --> 00:12:34,275
parents mirroring each other.

261
00:12:34,405 --> 00:12:36,407
Morgan is essentially
going through

262
00:12:36,538 --> 00:12:38,018
the same thing with his son.

263
00:12:39,715 --> 00:12:43,763
Elfman: For June, Padre is
the exact opposite

264
00:12:43,893 --> 00:12:46,591
of everything June stands for.

265
00:12:46,722 --> 00:12:49,943
Her whole purpose is to help,
and once she left Padre,

266
00:12:50,073 --> 00:12:52,554
the only way
she could still help

267
00:12:52,684 --> 00:12:56,165
is by somehow disabling
the collectors.

268
00:12:57,298 --> 00:13:00,518
And she did that by cutting off
their trigger fingers.

269
00:13:02,303 --> 00:13:06,786
Padre has survived for so long
because it was mostly

270
00:13:06,916 --> 00:13:09,005
young people that were
being controlled.

271
00:13:09,136 --> 00:13:13,183
Elfman: There's been no forces
for good that are strong enough

272
00:13:13,314 --> 00:13:14,881
to overtake Padre.

273
00:13:15,011 --> 00:13:16,447
And we're all separated.

274
00:13:16,578 --> 00:13:17,884
Woman: Hands up!

275
00:13:18,014 --> 00:13:20,582
Blades: The army that Daniel
has trained,

276
00:13:20,712 --> 00:13:24,586
this army of parents, it
has proven pretty effective.

277
00:13:24,716 --> 00:13:26,327
Padre has lied to all of us.

278
00:13:26,457 --> 00:13:28,938
Maybe we can find out
what else he's lied about.

279
00:13:29,069 --> 00:13:30,635
Together.

280
00:13:30,766 --> 00:13:32,028
We'll let the commander decide.

281
00:13:32,159 --> 00:13:33,160
Who's the commander?

282
00:13:33,290 --> 00:13:34,988
Daniel: Turn around.

283
00:13:35,118 --> 00:13:36,958
What Daniel has done
is to give them a purpose,

284
00:13:37,077 --> 00:13:39,993
an organization,
and a leadership.

285
00:13:40,123 --> 00:13:42,038
Madison?

286
00:13:42,169 --> 00:13:43,344
Daniel?

287
00:13:43,474 --> 00:13:44,736
You know these people?

288
00:13:44,867 --> 00:13:46,608
Give them back their weapons.

289
00:13:46,738 --> 00:13:49,611
Blades: Daniel's family is gone,
but now he's going to try to get

290
00:13:49,741 --> 00:13:51,874
these people
their families back.

291
00:13:52,005 --> 00:13:55,835
And Padre is a place
where he can make that possible.

292
00:13:55,965 --> 00:13:58,663
Daniel: All these people lost
their children to Padre.

293
00:13:58,794 --> 00:14:01,971
And there are more of them.
Maybe your own parents.

294
00:14:02,102 --> 00:14:03,538
Madison.

295
00:14:03,668 --> 00:14:05,279
We'll hold them off. Go.

296
00:14:05,409 --> 00:14:08,891
When Madison and June
and Dove storm into Padre

297
00:14:09,022 --> 00:14:13,983
to have him show himself,
Madison smashes the mirror.

298
00:14:19,162 --> 00:14:22,252
We discover that it's
a very young man in there,

299
00:14:22,383 --> 00:14:23,427
Shrike's brother.

300
00:14:23,558 --> 00:14:24,776
Eshet: The secret revealed,

301
00:14:24,907 --> 00:14:28,128
is a huge danger
for the entire operation.

302
00:14:28,258 --> 00:14:30,782
What they're risking is that all
of the members of the community

303
00:14:30,913 --> 00:14:32,393
are going to turn against them,

304
00:14:32,523 --> 00:14:34,308
and then everything
could collapse.

305
00:14:34,438 --> 00:14:37,920
Do you know the truth
about Padre?

306
00:14:38,051 --> 00:14:41,489
There is no Padre.
He's been dead for a long time.

307
00:14:41,619 --> 00:14:45,841
Given the fact that Padre was
all built on just a series of

308
00:14:45,972 --> 00:14:48,235
lies, a series of playing people
off each other...

309
00:14:48,365 --> 00:14:50,193
Guns up!

310
00:14:50,324 --> 00:14:52,171
And because Shrike and Crane
were trying to prevent

311
00:14:52,195 --> 00:14:54,719
anyone else
from feeling any kind of loss,

312
00:14:54,850 --> 00:14:58,288
that kind of absolute I think
is just what ultimately made it

313
00:14:58,419 --> 00:15:00,638
inevitable that it would fall.

314
00:15:04,729 --> 00:15:07,210
You were just given an order!

315
00:15:07,341 --> 00:15:09,473
Fire.

316
00:15:10,561 --> 00:15:11,954
They won't do it.

317
00:15:12,085 --> 00:15:14,696
I think ultimately people
do need connection.

318
00:15:14,826 --> 00:15:19,179
People need family
and to build a community.

319
00:15:21,050 --> 00:15:23,923
Goldberg: More and more people
start to kind of tear down this

320
00:15:24,053 --> 00:15:27,883
wall of what Padre has built
and what was behind it.

321
00:15:28,014 --> 00:15:31,104
And even though it hurts
more to connect with people

322
00:15:31,234 --> 00:15:33,193
that you might lose,
it's still better

323
00:15:33,323 --> 00:15:36,674
than walling yourself off
from that connection.

324
00:15:39,547 --> 00:15:42,115
Morgan didn't just
fight Padre this season.

325
00:15:42,245 --> 00:15:45,031
He fought some serious
inner demons, as well.

326
00:15:45,161 --> 00:15:48,121
There was no telling when
he went into his red fugue state

327
00:15:48,251 --> 00:15:51,994
whether he might kill anyone
and anything around him.

328
00:15:52,125 --> 00:15:53,778
No!

329
00:15:53,909 --> 00:15:56,259
Lennie James talks about how
and why this happened,

330
00:15:56,390 --> 00:15:59,132
and cast and crew take us
through how they created

331
00:15:59,262 --> 00:16:02,483
the action on a sinking
houseboat full of walkers

332
00:16:02,613 --> 00:16:04,964
with Morgan seeing red.

333
00:16:12,275 --> 00:16:14,190
Morgan: I can't!

334
00:16:14,321 --> 00:16:18,325
This is Morgan's version
of post traumatic stress.

335
00:16:18,455 --> 00:16:19,587
Easy!
Madison!

336
00:16:19,717 --> 00:16:21,763
Easy there.
What happened?

337
00:16:21,893 --> 00:16:25,027
He doesn't remember
when he's in the red state.

338
00:16:25,158 --> 00:16:28,161
The audience actually
get a vision of Morgan

339
00:16:28,291 --> 00:16:29,553
that he never sees.

340
00:16:29,684 --> 00:16:32,165
My ax! Where is my ax?!

341
00:16:32,295 --> 00:16:35,385
He's trying to document
this version of himself.

342
00:16:35,516 --> 00:16:38,301
He's trying to write down
"Morgan was here,"

343
00:16:38,432 --> 00:16:43,263
and it just comes out
in broken, disjointed graffiti.

344
00:16:44,351 --> 00:16:47,528
The reason why this
has all woken up in him

345
00:16:47,658 --> 00:16:52,315
is because Morgan has taken
on the responsibility of Mo.

346
00:16:52,446 --> 00:16:54,056
What does clear mean?

347
00:16:54,187 --> 00:16:59,148
Clear? It's when I was
killing anything and anyone.

348
00:16:59,279 --> 00:17:01,194
If I can't look after her now,

349
00:17:01,324 --> 00:17:03,674
I might not be able
to do it in the future.

350
00:17:03,805 --> 00:17:05,720
I might not be able
to keep this child alive.

351
00:17:05,849 --> 00:17:07,374
Dad, help me!

352
00:17:07,503 --> 00:17:08,983
That is what blacks him out.

353
00:17:09,115 --> 00:17:12,378
That is what sends him
into the red.

354
00:17:15,904 --> 00:17:17,775
Before the take,
I'd try and hold my breath

355
00:17:17,906 --> 00:17:19,346
for as long as
it's humanly possible.

356
00:17:19,429 --> 00:17:21,692
It's like he's coming out
from being underwater.

357
00:17:21,823 --> 00:17:24,304
And he just needs
to get to the surface.

358
00:17:24,434 --> 00:17:28,395
And when he gets out of it,
he's gasping that air in.

359
00:17:28,525 --> 00:17:30,223
Woman: Morgan!

360
00:17:32,007 --> 00:17:35,097
James: We kept reminding
everybody who was around Morgan

361
00:17:35,228 --> 00:17:38,013
in those episodes
that what they had seen

362
00:17:38,144 --> 00:17:40,233
was someone to be frightened of.

363
00:17:40,363 --> 00:17:41,973
Did I hurt you?

364
00:17:42,104 --> 00:17:43,671
Managed to stay out of your way.

365
00:17:43,801 --> 00:17:46,587
There's a reason why Morgan
has lasted this long.

366
00:17:46,717 --> 00:17:48,067
When he's in the fugue state,

367
00:17:48,197 --> 00:17:51,244
he is capable
of serious destruction.

368
00:17:53,289 --> 00:17:55,117
McLean: We worked with
the show runner

369
00:17:55,248 --> 00:17:58,686
to develop a very interesting
effect for the Red Fugue states.

370
00:17:58,816 --> 00:18:00,557
We wanted a texture to it.

371
00:18:00,688 --> 00:18:03,647
Some of the things I used was
like melting paint inside of oil

372
00:18:03,778 --> 00:18:05,519
so that it swirled.

373
00:18:05,649 --> 00:18:08,130
And then we had to figure out
what is the best type of shot.

374
00:18:08,261 --> 00:18:10,132
You want it to be close
on his face so that

375
00:18:10,263 --> 00:18:11,936
he can shift, and the
background, just shoom.

376
00:18:11,960 --> 00:18:13,875
And then speed.

377
00:18:14,005 --> 00:18:16,051
A lot of it has
to do with timing.

378
00:18:16,182 --> 00:18:17,922
One of the last pieces
was an overlay.

379
00:18:18,053 --> 00:18:21,056
What is something that floats
on top of the screen?

380
00:18:21,187 --> 00:18:23,319
We sourced medical images
of eyeballs,

381
00:18:23,450 --> 00:18:27,106
so he's kind of
in his mind's eye, literally.

382
00:18:31,849 --> 00:18:33,851
I think it's going to be
a really cool effect.

383
00:18:35,201 --> 00:18:36,637
Sorry!

384
00:18:36,767 --> 00:18:38,943
You started killing,
and then it was like

385
00:18:39,074 --> 00:18:40,095
you thought I was one of them.

386
00:18:40,119 --> 00:18:41,207
It's okay.

387
00:18:41,337 --> 00:18:44,340
Man: Ready.
Three, two, one. Action.

388
00:18:44,471 --> 00:18:48,083
Today, the scenes that I'm
shooting are where Morgan and Mo

389
00:18:48,214 --> 00:18:50,694
are stuck in the houseboat
fighting the walkers

390
00:18:50,825 --> 00:18:53,088
while the water is rising.

391
00:18:55,569 --> 00:18:59,007
It does feel like I am
in a sinking boat

392
00:18:59,138 --> 00:19:01,749
because it happened so quickly.

393
00:19:01,879 --> 00:19:04,075
Armstrong: There's a progression
in terms of the sinking.

394
00:19:04,099 --> 00:19:06,319
We started on two different
set pieces we had.

395
00:19:06,449 --> 00:19:09,104
One was on airbags
that we could control

396
00:19:09,235 --> 00:19:12,368
a small, slight descent
into the swamp,

397
00:19:12,499 --> 00:19:16,851
and then we transitioned
to our full dunk tank.

398
00:19:18,244 --> 00:19:20,202
Iudica: And we have
a 120-ton crane

399
00:19:20,333 --> 00:19:23,336
to gently lower
this set piece underwater.

400
00:19:23,466 --> 00:19:25,251
When we sink the boat,
we'll sink it level,

401
00:19:25,381 --> 00:19:27,818
but it'll look like
it's at an angle.

402
00:19:27,949 --> 00:19:29,994
Platform weighs
about 15,000 pounds,

403
00:19:30,125 --> 00:19:34,434
so it gives us room for about
20 or so people on board.

404
00:19:34,564 --> 00:19:37,915
We control the speed, we control
the stops and the starts.

405
00:19:38,046 --> 00:19:41,223
There's always a safe exit.

406
00:19:41,354 --> 00:19:44,444
We have water pumps that will
create a lot of wake

407
00:19:44,574 --> 00:19:47,969
and agitation so you can get
water on the surface to ripple

408
00:19:48,099 --> 00:19:50,319
towards them or you can bounce
water off the wall,

409
00:19:50,450 --> 00:19:53,409
and then also compressed air
to add bubbles

410
00:19:53,540 --> 00:19:58,153
as if all of the air pockets
in the boat are releasing.

411
00:20:01,852 --> 00:20:03,419
Mo, give me my ax!

412
00:20:03,550 --> 00:20:06,030
McLean: When we're in
the swamps, VFX is here to help

413
00:20:06,161 --> 00:20:08,250
make things that are
safe seem dangerous.

414
00:20:08,381 --> 00:20:11,079
So any time there's
a safety wire or a rig

415
00:20:11,210 --> 00:20:14,561
or if there's hoses to keep the
water level in the right place,

416
00:20:14,691 --> 00:20:17,738
if we see that in the shot,
we can paint that out later.

417
00:20:19,305 --> 00:20:21,307
Come on.
I can help you.

418
00:20:21,437 --> 00:20:22,743
I've got it.

419
00:20:22,873 --> 00:20:24,199
You know, we have zombies
stuck in the mud.

420
00:20:24,223 --> 00:20:25,591
We have people fighting
on the houseboat.

421
00:20:25,615 --> 00:20:27,617
The houseboat is sinking.
It's a wild scene.

422
00:20:31,186 --> 00:20:32,816
McLean: We make it super
controlled and super safe

423
00:20:32,840 --> 00:20:34,774
on set, and with a little help
from our stunt department

424
00:20:34,798 --> 00:20:35,878
and a little help from VFX,

425
00:20:35,973 --> 00:20:37,453
we make it look
really dangerous.

426
00:20:39,150 --> 00:20:40,978
Morgan: You're gonna make it
out of here, Mo.

427
00:20:42,850 --> 00:20:45,331
A big part of Morgan's story
this season was his need

428
00:20:45,461 --> 00:20:46,897
to deal with his trauma.

429
00:20:47,028 --> 00:20:49,030
That's why he returned
to his home in King County

430
00:20:49,160 --> 00:20:52,816
to put his wife Jenny and son
Duane to rest after so long.

431
00:20:52,947 --> 00:20:54,862
Sorry it took me so long.

432
00:20:54,992 --> 00:20:56,559
Wolfe: Over 10 years later,

433
00:20:56,690 --> 00:20:59,127
this iconic place we know
from "The Walking Dead" pilot

434
00:20:59,258 --> 00:21:02,086
was recreated thanks
to show runners Ian Goldberg

435
00:21:02,217 --> 00:21:05,699
and Andrew Chambliss, along with
the design and FX teams.

436
00:21:05,829 --> 00:21:07,831
It was a powerful
journey for Morgan,

437
00:21:07,962 --> 00:21:11,270
and it ends in devastation
when his moment of peace

438
00:21:11,400 --> 00:21:14,011
is shattered by Grace
getting bitten.

439
00:21:20,104 --> 00:21:22,629
Man: We just add
a puff of smoke.

440
00:21:22,759 --> 00:21:24,892
Two cameras.

441
00:21:25,022 --> 00:21:27,938
We knew as soon as we started
talking about season 8

442
00:21:28,069 --> 00:21:32,334
that this was going to be
a crucial episode for Morgan,

443
00:21:32,465 --> 00:21:35,511
and his journey, was taking him
back to King County,

444
00:21:35,642 --> 00:21:38,471
which is where his journey
began as a character,

445
00:21:38,601 --> 00:21:41,256
way back on the pilot
of "The Walking Dead."

446
00:21:41,387 --> 00:21:42,518
He say something?

447
00:21:42,649 --> 00:21:44,128
Thought I heard
him say something.

448
00:21:44,259 --> 00:21:46,348
He called me Carl. Son,
you know they don't talk.

449
00:21:46,479 --> 00:21:49,264
But it was kind of a tall order.
To say to ourselves like,

450
00:21:49,395 --> 00:21:51,832
"Okay, if we're going to go back
to this location,

451
00:21:51,962 --> 00:21:56,140
these sets, where the entire
kind of Walking Dead universe

452
00:21:56,271 --> 00:21:58,273
began, you know,
we had to have a story

453
00:21:58,404 --> 00:21:59,796
that really justified it.

454
00:21:59,927 --> 00:22:02,669
Over here. Come on.

455
00:22:02,799 --> 00:22:07,848
And I have to give just huge,
huge props to our entire team

456
00:22:07,978 --> 00:22:11,330
and our production designer,
Russell and his team,

457
00:22:11,460 --> 00:22:14,942
who rebuilt the house
with painstaking detail

458
00:22:15,072 --> 00:22:17,510
to match exactly what was there,

459
00:22:17,640 --> 00:22:19,642
which was no easy feat,
considering the last time

460
00:22:19,773 --> 00:22:22,471
we saw that house
was over 10 years ago,

461
00:22:22,602 --> 00:22:25,256
and it felt like
stepping into the past.

462
00:22:25,387 --> 00:22:26,519
Daddy.

463
00:22:26,649 --> 00:22:27,781
Bless him.

464
00:22:27,911 --> 00:22:29,435
The work that they did
on their own

465
00:22:29,565 --> 00:22:31,872
recreating that place
was fantastic.

466
00:22:32,002 --> 00:22:33,850
Jaeger: Obviously, we had to do
a tremendous amount of research

467
00:22:33,874 --> 00:22:36,964
to create what is
just an iconic space

468
00:22:37,094 --> 00:22:39,793
and then take that space
to its ultimate demise

469
00:22:39,923 --> 00:22:43,884
of destroying this iconic
piece of Walking Dead history.

470
00:22:44,014 --> 00:22:46,365
Mo: Dad, I'm upstairs.
I can't get out.

471
00:22:46,495 --> 00:22:49,368
Get to the attic, Mo.
I'm on my way to you.

472
00:22:49,933 --> 00:22:52,893
When my agent sent me
the e-mail,

473
00:22:53,023 --> 00:22:55,417
I literally asked him,
was he serious?

474
00:22:55,548 --> 00:22:57,854
And then I said, "Well, I guess
you are."

475
00:22:57,985 --> 00:22:59,900
And then I said yes.

476
00:23:02,424 --> 00:23:04,818
It was so exciting
to bring Jenny back.

477
00:23:04,948 --> 00:23:07,603
And the image of Jenny
as a walker

478
00:23:07,734 --> 00:23:09,605
standing outside that house,

479
00:23:09,736 --> 00:23:13,130
it's just so kind of rooted
in The Walking Dead's history.

480
00:23:13,261 --> 00:23:16,395
It was like we were right back
in "The Walking Dead" pilot.

481
00:23:16,525 --> 00:23:19,572
It was great to see her, and I
think it's a real testament

482
00:23:19,702 --> 00:23:22,531
to this particular universe
that such things can happen.

483
00:23:27,014 --> 00:23:28,581
I'm on my way!

484
00:23:28,711 --> 00:23:30,733
Chambliss: Through a combination
of some makeup effects

485
00:23:30,757 --> 00:23:33,803
and then some visual effects,
we were able to recreate

486
00:23:33,934 --> 00:23:35,334
walker Duane
in those final moments,

487
00:23:35,457 --> 00:23:37,807
when we finally saw him up
in that attic.

488
00:23:37,938 --> 00:23:39,156
Seeing the walker...

489
00:23:39,287 --> 00:23:40,288
Please!

490
00:23:40,419 --> 00:23:43,944
Duane as alive Duane,

491
00:23:44,074 --> 00:23:46,294
it's about that battle that...

492
00:23:46,425 --> 00:23:47,905
Help!...Morgan's having with himself.

493
00:23:48,035 --> 00:23:50,124
Daddy! Daddy.

494
00:23:54,694 --> 00:23:56,435
♪

495
00:23:56,565 --> 00:23:58,654
McLean: They tore down the house
that was built

496
00:23:58,785 --> 00:24:00,874
and then made it look like
it had been burnt down.

497
00:24:01,004 --> 00:24:03,311
And it's super weird to see
something that you were just

498
00:24:03,442 --> 00:24:05,835
here for the night before
be completely transformed

499
00:24:05,966 --> 00:24:09,317
into something different
for the next scene.

500
00:24:09,448 --> 00:24:11,319
David: It's a home
full of memories,

501
00:24:11,450 --> 00:24:13,974
a home full of history,
a home full of love,

502
00:24:14,104 --> 00:24:16,672
a home full of heartache.

503
00:24:16,803 --> 00:24:21,416
And to see that all be
obliterated so quickly,

504
00:24:21,547 --> 00:24:24,288
like even me as Karen,
I was just watching this.

505
00:24:24,419 --> 00:24:27,161
I was so heartbroken
in that moment.

506
00:24:28,554 --> 00:24:31,426
James: When he buries
Duane and Jenny,

507
00:24:31,557 --> 00:24:34,603
I think he thinks he's at peace.

508
00:24:34,734 --> 00:24:37,040
We do what we said
we were gonna.

509
00:24:37,171 --> 00:24:40,130
Spend as much time
together as we can.

510
00:24:41,436 --> 00:24:43,656
Goldberg: I think Morgan does
have a moment of peace

511
00:24:43,786 --> 00:24:46,006
when he's burying
Jenny and Duane.

512
00:24:46,136 --> 00:24:49,749
And the tragic part of it
is that just as that happens...

513
00:24:49,879 --> 00:24:52,055
Dad!

514
00:24:52,186 --> 00:24:53,796
Grace gets bit.

515
00:24:53,927 --> 00:24:55,450
Come on.

516
00:24:55,581 --> 00:24:57,626
Morgan's love story
was one of the things

517
00:24:57,757 --> 00:25:00,499
that was hardest
for us to achieve,

518
00:25:00,629 --> 00:25:03,458
and I don't think
we could have done that

519
00:25:03,589 --> 00:25:06,766
without an actress
of Karen's caliber, really.

520
00:25:06,896 --> 00:25:09,595
Man: And cut.

521
00:25:10,073 --> 00:25:13,512
Kenneth Requa did such
a beautiful job directing it.

522
00:25:13,642 --> 00:25:16,210
We're really happy
with how it turned out.

523
00:25:17,733 --> 00:25:20,127
And cut. Great. Let's move on.

524
00:25:21,650 --> 00:25:24,697
Not so easy to move on
from an episode like this.

525
00:25:24,827 --> 00:25:28,918
And seeing that walker bite
on Grace, it hurts.

526
00:25:29,049 --> 00:25:32,182
The end of the first half of
this final season

527
00:25:32,313 --> 00:25:35,708
sadly takes us to the end of
our time with Grace and Morgan

528
00:25:35,838 --> 00:25:38,580
and with Karen David
and Lennie James,

529
00:25:38,711 --> 00:25:40,713
who talk about
the Grace/Morgan love story,

530
00:25:40,843 --> 00:25:43,542
saying goodbye to these
powerful characters,

531
00:25:43,672 --> 00:25:46,196
and what the show
has meant to them.

532
00:25:46,327 --> 00:25:47,937
We also hear
from their fellow cast

533
00:25:48,068 --> 00:25:51,724
and the show runners as they pay
tribute to this beloved duo.

534
00:26:01,908 --> 00:26:04,954
James: When Morgan
walked in on "Fear",

535
00:26:05,085 --> 00:26:06,739
he had holes in his shoes,

536
00:26:06,869 --> 00:26:10,307
his boots were held together
by tape, he was alone,

537
00:26:10,438 --> 00:26:13,136
he was friendless, frightened.

538
00:26:13,267 --> 00:26:14,964
He wanted to avoid people.

539
00:26:15,095 --> 00:26:16,463
Man: Are you sure
you're going to be

540
00:26:16,487 --> 00:26:17,595
all right out there on your own?

541
00:26:17,619 --> 00:26:20,927
This world, we're always alone.

542
00:26:22,711 --> 00:26:27,673
Grace: Take off your clothes.
All of them.

543
00:26:27,803 --> 00:26:30,893
Grace is such a vital character
toward Morgan's journey.

544
00:26:31,024 --> 00:26:33,766
I've always been
a kind of serious guy.

545
00:26:33,896 --> 00:26:35,463
Really?

546
00:26:35,594 --> 00:26:37,702
The journey that this love story
has to go on has to go on

547
00:26:37,726 --> 00:26:39,249
the fact that this is a man

548
00:26:39,380 --> 00:26:42,470
who is not in any way aware
of the possibility

549
00:26:42,601 --> 00:26:44,559
of loving anybody apart
from his dead wife.

550
00:26:44,690 --> 00:26:47,780
So this has to take him
by surprise.

551
00:26:47,910 --> 00:26:49,346
And that's a hell
of a job to do.

552
00:26:49,477 --> 00:26:51,740
And Karen did it.

553
00:26:53,829 --> 00:26:56,440
David: When Morgan lay,
Duane and Jenny to rest,

554
00:26:56,571 --> 00:26:59,487
there was this sense
of finality, closure,

555
00:26:59,618 --> 00:27:01,358
this beautiful sense of peace.

556
00:27:01,489 --> 00:27:04,710
It was sort of a 1-2 punch
of wanting to feel like right

557
00:27:04,840 --> 00:27:08,931
at that moment of maximum hope,

558
00:27:09,062 --> 00:27:12,456
a walker punches
through a rubble.

559
00:27:12,587 --> 00:27:14,347
David: What a parent will do
for their child,

560
00:27:14,371 --> 00:27:15,522
they will die for their child.

561
00:27:15,546 --> 00:27:17,679
And she saw her daughter
in danger,

562
00:27:17,810 --> 00:27:20,639
and she just acted
like any parent would have.

563
00:27:20,769 --> 00:27:22,423
It's just heartbreaking
in that moment

564
00:27:22,553 --> 00:27:24,120
because whatever happiness
and lightness

565
00:27:24,251 --> 00:27:26,819
that this family, you know,
the three of them could have,

566
00:27:26,949 --> 00:27:29,430
you want that so much for them,
and that's now been robbed.

567
00:27:29,560 --> 00:27:30,840
Grace, I don't think
I'm going to

568
00:27:30,910 --> 00:27:32,520
make it to you before...

569
00:27:32,651 --> 00:27:34,783
I tell you, filming my last
moments with Lenny

570
00:27:34,914 --> 00:27:36,045
was really tough.

571
00:27:36,176 --> 00:27:37,830
I'm so sorry, Morgan.

572
00:27:37,960 --> 00:27:40,615
David: Being on the walkie
and doing that scene

573
00:27:40,746 --> 00:27:42,922
was just
so incredibly heartbreaking.

574
00:27:44,445 --> 00:27:45,838
David: When Grace is a walker,

575
00:27:45,968 --> 00:27:48,275
it was hard to watch
even on the playback.

576
00:27:48,405 --> 00:27:51,452
There's so much love in how

577
00:27:51,582 --> 00:27:54,934
Morgan just gently
laid her down.

578
00:27:55,064 --> 00:27:57,676
When we lose characters
on this show or characters die,

579
00:27:57,806 --> 00:27:59,199
we want it to mean something,

580
00:27:59,329 --> 00:28:01,767
we want it to leave
an emotional ripple.

581
00:28:01,897 --> 00:28:04,073
And Karen definitely did that.

582
00:28:04,204 --> 00:28:06,815
James: The way we finished with
Grace is a real testament

583
00:28:06,946 --> 00:28:09,209
to the job that
Karen's done, really.

584
00:28:09,339 --> 00:28:10,514
It's supposed to hurt.

585
00:28:10,645 --> 00:28:12,125
It's supposed
to break your heart.

586
00:28:12,255 --> 00:28:14,083
You're supposed to be angry.

587
00:28:14,214 --> 00:28:18,261
All of those things come into
play because we're losing Karen.

588
00:28:18,392 --> 00:28:22,396
She is like a bright light.
She's just sunshine.

589
00:28:22,526 --> 00:28:24,311
I'm proud to have
worked with her.

590
00:28:24,441 --> 00:28:27,967
I feel blessed that
we had this journey together.

591
00:28:29,620 --> 00:28:31,971
Both women, both Grace
and Karen,

592
00:28:32,101 --> 00:28:38,281
are just these lovely
sort of self-sacrificial women.

593
00:28:38,412 --> 00:28:39,718
It's always hard to say goodbye.

594
00:28:39,848 --> 00:28:43,591
Saying goodbye to Karen David
is not easy

595
00:28:43,722 --> 00:28:45,288
because she's truly one
of the loveliest

596
00:28:45,419 --> 00:28:47,290
human beings to work with.

597
00:28:47,421 --> 00:28:50,380
When I think of her, I think
of her as a bouquet of flowers.

598
00:28:55,908 --> 00:28:59,172
David: The family that we've
created with our crew,

599
00:28:59,302 --> 00:29:01,087
our creatives, our cast,

600
00:29:01,217 --> 00:29:03,698
the beautiful thing
about this whole experience

601
00:29:03,829 --> 00:29:08,355
of being part of this universe
is that you take the people

602
00:29:08,485 --> 00:29:13,403
in your hearts and you take them
on your journey wherever you go.

603
00:29:13,534 --> 00:29:15,928
They are a part of who I am now.

604
00:29:18,104 --> 00:29:22,195
Morgan: The way out is opening
the door to people,

605
00:29:22,325 --> 00:29:26,155
to possibility, to the hurt
that will happen.

606
00:29:26,286 --> 00:29:28,418
I've found the way,
and I opened the door,

607
00:29:28,549 --> 00:29:30,986
and then my life
started all over again.

608
00:29:31,117 --> 00:29:33,075
Chambliss: Lenny has been
such a fixture

609
00:29:33,206 --> 00:29:35,121
since Ian and I started
in season 4,

610
00:29:35,251 --> 00:29:38,254
and he's been such a fixture
of The Walking Dead universe

611
00:29:38,385 --> 00:29:42,998
that it's really hard to imagine
making this show without him.

612
00:29:43,129 --> 00:29:45,784
I'm a bit in denial
that Lenny's gone, to be honest.

613
00:29:45,914 --> 00:29:48,047
He's been such a vital part
of the journey.

614
00:29:48,177 --> 00:29:51,528
I think he's an inspiration.
Truly, he's one of a kind.

615
00:29:51,659 --> 00:29:55,663
We'll be forever grateful to
Lenny for his time with us.

616
00:29:55,794 --> 00:29:59,101
Lenny has been such
a tremendous part of it

617
00:29:59,232 --> 00:30:00,407
once he joined the show.

618
00:30:00,537 --> 00:30:01,974
It's been great
to play adversaries.

619
00:30:02,104 --> 00:30:03,845
I truly hope
that I get the chance

620
00:30:03,976 --> 00:30:06,805
to create with him
other characters in the future.

621
00:30:06,935 --> 00:30:09,068
But for now, I know I have
a brother and a friend.

622
00:30:09,198 --> 00:30:12,201
Dickens: Lenny James could not
have been more open to me

623
00:30:12,332 --> 00:30:15,683
and gracious
in welcoming me back.

624
00:30:15,814 --> 00:30:18,251
He's been an incredible
inspiration to watch

625
00:30:18,381 --> 00:30:21,820
and to work with,
and he lives in our hearts.

626
00:30:21,950 --> 00:30:24,648
Elfman: I really look up
to Lenny James as an actor.

627
00:30:24,779 --> 00:30:28,348
Every chapter of Morgan
has that essence to him,

628
00:30:28,478 --> 00:30:32,439
just that benevolent heart
that he gets to walk away with.

629
00:30:32,569 --> 00:30:34,963
Mo, I think, is super beautiful.

630
00:30:35,094 --> 00:30:38,271
To recognize for himself
that he has found love,

631
00:30:38,401 --> 00:30:41,143
that he's capable of love, that
he's capable of giving again.

632
00:30:41,274 --> 00:30:44,538
And so he leaves
with the cup so full.

633
00:30:46,018 --> 00:30:49,021
James: When Morgan
walks away from "Fear",

634
00:30:49,151 --> 00:30:51,893
he has a child,
he has made friends,

635
00:30:52,024 --> 00:30:55,070
he's lost friends,
and he's had an effect on them.

636
00:30:55,201 --> 00:30:58,682
And he leaves them better
than he found them.

637
00:30:58,813 --> 00:31:02,034
You can't really ask
for much more than that.

638
00:31:02,164 --> 00:31:05,428
Morgan: This message
is for Rick Grimes.

639
00:31:05,559 --> 00:31:07,822
It's Morgan Jones.

640
00:31:07,953 --> 00:31:10,303
Man, I'm going to come
and look for you.

641
00:31:10,433 --> 00:31:15,221
Who knows? Maybe you might
even be listening.

642
00:31:27,624 --> 00:31:29,409
Goodbyes are never easy,

643
00:31:29,539 --> 00:31:32,325
and neither is finding love
in the apocalypse.

644
00:31:32,455 --> 00:31:33,630
But Grace and Morgan did it.

645
00:31:35,197 --> 00:31:37,721
AMC has partnered
with the organization

646
00:31:37,852 --> 00:31:39,680
See Her to celebrate
the women of

647
00:31:39,810 --> 00:31:40,986
"Fear The Walking Dead."

648
00:31:41,116 --> 00:31:42,335
I'm not gonna hurt you.

649
00:31:42,465 --> 00:31:44,076
We put that spotlight
on Kim Dickens,

650
00:31:44,206 --> 00:31:46,513
who talked about her portrayal
of Madison Clark

651
00:31:46,643 --> 00:31:48,645
and her fight against Padre.

652
00:31:48,776 --> 00:31:49,884
Mo ended up
at Padre because of me.

653
00:31:49,908 --> 00:31:51,257
Let me try to make this right.

654
00:31:51,387 --> 00:31:52,987
With a formidable
performance like Kim's,

655
00:31:53,041 --> 00:31:56,697
it's no wonder Padre
was so scared of Madison.

656
00:32:00,875 --> 00:32:03,312
Padre: Do you
really want to do this?

657
00:32:03,443 --> 00:32:04,923
There's nothing you
could do to me

658
00:32:05,053 --> 00:32:06,750
that's worse than what
I'm already living.

659
00:32:06,881 --> 00:32:08,032
Dickens: Madison has said
it over and over.

660
00:32:08,056 --> 00:32:09,753
She's got nothing left to lose.

661
00:32:09,884 --> 00:32:13,366
Once she's able to break free
from Padre's imprisonment

662
00:32:13,496 --> 00:32:15,324
and starts the rescue mission,

663
00:32:15,455 --> 00:32:18,240
that's the only thing that
gives Madison a will to live,

664
00:32:18,371 --> 00:32:20,503
is to make up
for the wrongs she's done

665
00:32:20,634 --> 00:32:23,245
by reuniting these families.

666
00:32:23,376 --> 00:32:24,638
Seriously?

667
00:32:24,768 --> 00:32:27,119
Coming back to the show
was very interesting

668
00:32:27,249 --> 00:32:30,339
because I'd never worked
with Lenny.

669
00:32:30,470 --> 00:32:33,952
I'd never worked
with Morgan Jones.

670
00:32:34,082 --> 00:32:36,084
Back on that beach,
I said I was going

671
00:32:36,215 --> 00:32:37,346
to save your daughter.

672
00:32:37,477 --> 00:32:38,877
I also said
I was going to save you.

673
00:32:38,913 --> 00:32:40,064
I guess that's what
I'm going to have to do.

674
00:32:40,088 --> 00:32:41,133
We don't need saved.

675
00:32:41,263 --> 00:32:44,179
Those two unlikely
travel partners,

676
00:32:44,310 --> 00:32:47,617
Morgan and Madison, or as I like
to call them, M&M,

677
00:32:47,748 --> 00:32:52,709
they have an amazing knowledge
and insight into each other.

678
00:32:52,840 --> 00:32:54,929
Go. I'll draw
them away.

679
00:32:55,060 --> 00:32:56,626
We fell right into step
with each other.

680
00:32:56,757 --> 00:32:59,194
I spent seven years in a cell
so you could be with her.

681
00:32:59,325 --> 00:33:02,371
This isn't about you.
I'm doing this for her.

682
00:33:02,502 --> 00:33:04,112
I got to fight him.

683
00:33:04,243 --> 00:33:05,853
We were fighting
like our day one

684
00:33:05,984 --> 00:33:07,333
of getting to know each other.

685
00:33:09,204 --> 00:33:12,294
I think she spots very early
on that Morgan needs to do

686
00:33:12,425 --> 00:33:13,904
what Morgan needs to do.

687
00:33:14,035 --> 00:33:15,776
It's happening again.

688
00:33:15,906 --> 00:33:18,735
Dickens: As far as Madison's arc
goes, I think you finally see

689
00:33:18,866 --> 00:33:20,563
a glimmer of the old Madison,

690
00:33:20,694 --> 00:33:24,350
the warrior and the person who's
going to make things right.

691
00:33:24,480 --> 00:33:27,092
And for me,
I thought that was astounding.

692
00:33:27,222 --> 00:33:29,398
Goldberg: Kim Dickens
is such a force.

693
00:33:29,529 --> 00:33:33,446
That role is such an iconic role
in not just

694
00:33:33,576 --> 00:33:36,318
"Fear The Walking Dead," but in
the Walking Dead universe.

695
00:33:36,449 --> 00:33:38,973
And this season, Madison
realizes that she's got

696
00:33:39,104 --> 00:33:40,322
a decision to make.

697
00:33:40,453 --> 00:33:41,889
Who is she going to be,

698
00:33:42,020 --> 00:33:44,457
and how is she going
to protect the settlement?

699
00:33:48,113 --> 00:33:51,072
So with Morgan passing
the leadership torch to Madison

700
00:33:51,203 --> 00:33:54,423
and Padre's leaders going down,
there are some big questions

701
00:33:54,554 --> 00:33:56,860
to be answered
before the series concludes.

702
00:33:56,991 --> 00:33:59,341
Can Madison make Padre
into something good?

703
00:33:59,472 --> 00:34:01,430
Will Dwight and Sherry
be able to help?

704
00:34:01,561 --> 00:34:04,085
Will they even be around?
Will June?

705
00:34:04,216 --> 00:34:06,000
And of course,
there are a bunch of folks

706
00:34:06,131 --> 00:34:07,523
we haven't seen in a while.

707
00:34:07,654 --> 00:34:10,178
Like, say, Victor Strand.

708
00:34:10,309 --> 00:34:18,309
♪

709
00:34:21,014 --> 00:34:23,190
Now, why was he
calling you Anton?

710
00:34:23,322 --> 00:34:26,237
It's such a gigantic task
to think about bringing

711
00:34:26,368 --> 00:34:28,978
all these stories,
all these character journeys,

712
00:34:29,110 --> 00:34:30,416
not just to a conclusion,

713
00:34:30,545 --> 00:34:32,592
but also kind of
bringing them full circle.

714
00:34:32,722 --> 00:34:33,810
Come here.

715
00:34:33,940 --> 00:34:35,899
When we started to think about

716
00:34:36,030 --> 00:34:37,750
where do we want
these characters to end up,

717
00:34:37,813 --> 00:34:40,860
it actually led to the question
of, well, where did they start?

718
00:34:44,429 --> 00:34:46,867
Chambliss: We wanted to look
back at these characters

719
00:34:46,996 --> 00:34:48,956
from their very beginnings
on the show

720
00:34:49,087 --> 00:34:53,873
and look at who they were back
then and who they were now,

721
00:34:54,004 --> 00:34:57,356
and we could see
how far they've come.

722
00:34:57,486 --> 00:35:00,054
Goldberg: With each of the
characters, to a certain degree,

723
00:35:00,185 --> 00:35:01,969
in the back half of this season,

724
00:35:02,100 --> 00:35:04,493
they have to look back
in order to look forward.

725
00:35:04,624 --> 00:35:07,279
I drew that when we were
both living here.

726
00:35:07,409 --> 00:35:09,933
And the theme that kept
coming to the front

727
00:35:10,064 --> 00:35:13,676
of our minds
was just this idea of family.

728
00:35:13,807 --> 00:35:18,638
If I just did it differently,
they both might be here.

729
00:35:18,768 --> 00:35:20,509
And it all started
with Madison Clark.

730
00:35:20,640 --> 00:35:24,426
She was this matriarch at
the beginning of the apocalypse

731
00:35:24,557 --> 00:35:27,386
who always wanted
to protect her kids,

732
00:35:27,516 --> 00:35:29,692
who wanted to create a world
where they could be safe,

733
00:35:29,823 --> 00:35:31,303
who wanted to give them
something that

734
00:35:31,433 --> 00:35:33,131
really didn't exist anymore.

735
00:35:33,261 --> 00:35:34,349
You missed breakfast.

736
00:35:34,480 --> 00:35:35,760
The kid needs
a place of her own.

737
00:35:35,872 --> 00:35:37,154
I was thinking about
putting the bed over here.

738
00:35:37,178 --> 00:35:39,485
It all kind of boils
down to the story

739
00:35:39,615 --> 00:35:41,530
and the story you want to tell,

740
00:35:41,661 --> 00:35:45,491
the story that we think will
bring together all the themes,

741
00:35:45,621 --> 00:35:48,233
all the characters,
everyone's stories in a way

742
00:35:48,363 --> 00:35:50,539
that will feel satisfying

743
00:35:50,670 --> 00:35:54,152
and also feel like it
has some real finality to it.

744
00:35:57,807 --> 00:35:59,679
I'm going to help you.

745
00:35:59,809 --> 00:36:01,594
You're going to help me.

746
00:36:01,724 --> 00:36:03,639
Help you do what?

747
00:36:04,988 --> 00:36:06,773
Save Padre.

748
00:36:07,774 --> 00:36:09,863
I can't wait to see
how it all turns out

749
00:36:09,993 --> 00:36:12,213
in the final episodes.

750
00:36:12,344 --> 00:36:14,128
And for fans of
The Walking Dead universe,

751
00:36:14,259 --> 00:36:17,349
there is so much
to look forward to on AMC.

752
00:36:17,479 --> 00:36:19,699
We're going to make Padre
what it was meant to be

753
00:36:19,829 --> 00:36:21,048
in the first place.

754
00:36:21,179 --> 00:36:22,539
Thanks for watching
"Show Me More",

755
00:36:22,615 --> 00:36:24,573
and thanks for watching
"Fear The Walking Dead."

756
00:36:24,704 --> 00:36:27,794
Remember, you can catch episodes
of "Fear The Walking Dead"

757
00:36:27,924 --> 00:36:31,928
on AMC Plus, the AMC site
and apps, and on demand.

758
00:36:32,059 --> 00:36:34,888
Until next time,
I'm Clark Wolfe.

759
00:36:36,498 --> 00:36:44,498
♪

760
00:36:45,246 --> 00:36:53,246
♪

761
00:36:54,473 --> 00:37:02,473
♪