Unlocking the Intricate John Wick Universe: The Continental Director Charlotte Brändström Dives Deeper in Episode 2

Warning: SPOILERS for The Continental episode 2

Summary

Set in 1970s New York, "The Continental" serves as a prequel to John Wick, shedding light on the beginnings of Winston Scott. As he takes on the role of manager at The Continental Hotel's New York branch, the series explores his origins.

In the second episode, Winston embarks on an emotional journey triggered by the tragic loss of his brother, experiencing a transformative moment.

The episode also delves into the encounter between Charon and Winston, solidifying their iconic partnership within the John Wick universe, while seamlessly incorporating aspects of the franchise's mythology.

Set in 1970s New York, The Continental serves as a prequel to John Wick. Over the course of three parts, this special event delves into the beginnings of Winston Scott, who will ultimately become the manager of The Continental Hotel's New York branch and a valuable ally to John Wick. Not only does the series weave in real-world events from this era, but it also delves deeper into the intricacies of the John Wick universe.

The executive producer Albert Hughes directs the first and third episodes of The Continental, while Charlotte Brändström takes the helm for the second episode. The exceptional cast of The Continental includes Colin Woodell, Mel Gibson, Katie McGrath, Mishel Prada, Ben Robson, Hubert Point-Du Jour, and Nhung Kate. The franchise's veterans, Basil Iwanyk and Erica Lee, return as executive producers.

In an interview with Screen Rant, Charlotte Brändström shares insights into directing the second episode of The Continental. She describes it as a profound emotional journey for the series, focusing on the transformative moment when Winston faces the loss of his brother. Brändström also delves into the exploration of John Wick's world, incorporating Mazie and her community, and revealing the origins of the relationship between Charon and Winston. Please note that this interview was conducted during the 2023 WGA and SAG-AFTRA strikes, and acknowledges that the show's existence is indebted to the writers and actors from both unions.

Charlotte Brändström Talks The Continental Episode 2

Screen Rant: I thoroughly enjoyed the second episode. The seamless combination of thrilling action and the inclusion of significant elements from the extensive John Wick universe made it all the more captivating. Your exceptional work is highly appreciated.

Charlotte Brändström: I genuinely appreciate your kind words. It means a lot to me.

What aspect of the John Wick world were you most eager to delve into in this episode?

Charlotte Brändström: The most thrilling part for me was simply being a part of the John Wick franchise. When I received the call to take on this project, I couldn't help but think, "Wow, John Wick!" As a lover of cinema, I frequent the theaters and never miss a John Wick film. They are incredibly cinematic, offering a vast scale and featuring the talented Keanu Reeves, among other captivating elements.

I've never done anything like this before. After reading some interviews with Chad, I learned that he referred to John Wick as a contemporary Lord of the Rings, but set in a fantasy world that's more up-to-date. It had all the elements that I adored, so being involved in that world was incredibly thrilling to me.

I genuinely love it. Which thematic elements from the John Wick universe did you aim to emphasize in the TV show, and how did they influence the storyline and character progressions in this episode?

Charlotte Brändström highlighted the significant impact of the characters in the story. In my episode, I focus on the emotional journey experienced by Winston. This is the pivotal moment where Winston undergoes a transformation, evolving from his initial ruthless persona. Previously, he was the brother who took care of everything, a young boy who was protected and sent to London, pursuing a different career.

However, upon his return and witnessing the atrocities inflicted upon his brother, something within Winston changes drastically. The moment of decision occurs in the morgue, when he delicately covers his brother's lifeless body, and we glimpse the profound transformation on his face. From that point onward, he emerges as a relentless killer, morphing into an entirely different person. This shift is reminiscent of the transformation depicted in Steven Spielberg's movie, Munich.

Charlotte Brändström: Yes, when he resolves to seek vengeance, he undergoes a complete transformation. In the opening scene, he is seen lying in bed with his wife, but by the end, he is consumed with an uncontrollable desire to kill. Essentially, he becomes an entirely different individual.

It was a great comparison, and I really loved it. We also introduced the first meeting between Charon and Winston, who later become this iconic duo in the John Wick universe. I wanted to explore their relationship and see if the actors could tap into any of the mannerisms from the movies. However, since they are much younger here, I didn't want to fully replicate everything from the movies. I have watched all the movies, so I may have unconsciously directed it in a similar way. But it's important to remember that they are different individuals. I believe Winston only fully becomes the Winston from the movies towards the end of the third night.

Despite his youth, he still has a long way to go. Currently, he is portrayed as a ruthless, hardened killer, while Sharon is depicted as a gentle and kind-hearted individual. Lance Reddick, who plays Sharon, embodies this soft-spoken nature, always maintaining politeness and good manners.

I found our Charon, portrayed by Ayomide, to be very similar to the Sharon character from the movies. He was a pleasure to work with, despite his lack of experience. Simultaneously, he possessed an amazing intuition. This project was one of his first major films or series, and yet his authenticity, enthusiasm, and realism were unparalleled. He would always ask the right questions and seek to understand his character before diving into a scene. As actors, we all want to fully comprehend our characters, and with this franchise, we were fortunate enough to explore their depths in greater detail.

A feature is simply a feature, allowing for various actions. However, when it comes to a TV series that captivates viewers and keeps them coming back, it is essential to focus on the characters and their stories. This means delving deep into their personalities and creating a meaningful character-driven narrative. This is always my approach when analyzing a scene, considering the perspective it should be presented from and how to make it a personal interaction between individuals. Quite fascinating.

Charlotte Brändström: I always strive for uniqueness in my approach. What unconventional elements can I incorporate into the scene to defy expectations?

I appreciate your work in capturing the action in this episode as well, particularly the impressive fight scenes featuring Lou in Chinatown and Yen in the movie theater. They were truly remarkable. Could you share the thought process behind designing those sequences?

Charlotte Brändström praised the contribution of Larnell Stovall, our exceptional second unit director, who skillfully crafted numerous scenes. Stovall meticulously choreographed these scenes, working closely with the script as his guide. Collaborating extensively with Kirk Ward, they collectively refined the choreography and subsequently reimagined the scenes.

The harmonious partnership between Stovall and Ward yielded refreshing scenes that were inspired by the intricacies of the fights. As a director, my responsibility was to ensure that these well-designed and expertly choreographed fight scenes were portrayed from the most appropriate perspective, aligned with the characters' intentions and motivations.

An exemplary example of this was when Yen encounters Frankie's urn and displays intense shock. This powerful moment originated from a pivotal fight scene, originally choreographed as a grand, intense battle.

"I don't understand this at all because they are aware of what she is going through," I expressed. The fact that they burned Frankie's body without her presence and failed to inform her is outrageous. Naturally, she is stunned by this revelation. "They wouldn't want to engage in a physical confrontation with her. Their intention would be to restrain her and allow her to lose control. Only if she poses a significant threat would they need to defend themselves," I stated. Thus, the concept of fighting plays a crucial role in the narrative. In previous episodes, it has been present, but what sets Larnel's design apart is the inclusion of intermittent pauses for character development, allowing the audience to absorb the story before continuing. This approach is crucial in effectively conveying the narrative through the action.

Absolutely, I wholeheartedly agree. This alteration is unquestionably brilliant, as it enhances the overall flow by omitting the need for combat. Furthermore, delving into the lore surrounding the Bowery King and Mazie added a captivating layer to the John Wick universe. Could you discuss your exploration of this element in more detail?

Charlotte Brändström: The film was predominantly inspired by the John Wick universe, even incorporating a pigeon in the background. During production, we made efforts to match the color of the pigeons in Hungary to those in the John Wick world, although it was challenging as the desired color was not always available.

Additionally, I particularly enjoyed the portrayal of The Adjudicator in this film. Could you elaborate on how you ensured their distinctiveness compared to the character introduced in the previous movies?

Charlotte Brändström: Yes, but our creation is completely unique. She was already well-established in the first night, and I expanded on that. Working with Katie was a pleasure, she was an excellent partner. Casting her was a particularly interesting decision because her beautiful eyes had to convey a lot of emotions despite the mask. In the long dining scene with her and Mel, I had to find a way to show her removing the mask without actually filming it, and capturing his reaction. But I believe it was successful.

Oh, it certainly was. Could you discuss the collaborative process with Albert a bit? Since he directed episodes one and three, how did you two collaborate and ensure that your own style was incorporated into episode two?

Charlotte Brändström: In truth, the style was predominantly Albert's as he provided me with an early style book, consisting of images and desired looks for the series. This is a standard practice for the lead director, establishing the show's visual aesthetic. However, each script is distinct, so it's necessary to develop a unique approach to storytelling. I'm confident that had any other director helmed my episode, they would have shot the scenes differently, perhaps incorporating alternate close-up shots. Every director brings their own personal touch to their work, whether it's a personal project or an episodic assignment; ultimately, we reshape the story based on the script we are given. When people inquire about my style, I explain that it primarily hinges on the specific script I receive as it serves as my guiding influence.

After reading the script, I immediately grasped the essence of the scenes. This prompted me to conduct thorough research by delving into movies from that particular era, looking for references. This research phase played a major role in shaping the style of the project. The creative process comprises several distinct stages. Initially, Albert provided me with the style and music, which served as the solid foundation of our work. The music and other aspects of the production were elements that I hadn't initially considered, just like Albert.

In my own episode, I followed a similar process, and the outcome was fantastic. Working extensively with music was a new experience for me. Fortunately, I had an excellent editor who had a keen ear for music, and his assistance proved valuable. This approach to storytelling, incorporating numerous songs, was vastly different from my usual collaborations with composers towards the end of a project. Nevertheless, I found it to be an intriguing and enriching process. It added a delightful flavor and, hopefully, makes the show truly distinctive. Additionally, it evokes a sense of nostalgia for those familiar with the tunes from the seventies.

I really enjoyed it. Would you be interested in continuing to play in the world of John Wick? Is there a particular aspect you would like to delve into more?

Charlotte Brändström: It's difficult to determine at the moment. It largely depends on the direction it takes and what opportunities arise, but yes, definitely. I believe it is an amazing franchise. It offers numerous stories to tell, much like Rings of Power, providing ample potential for spin-offs.

Definitely. One aspect that I really find fascinating about the show is the stark contrast between manager Cormac and Winston. Could you discuss your experience working with Mel Gibson to establish Cormac as a completely distinct character from what we have seen before?

Charlotte Brändström: Cormac's portrayal was laid out clearly from the beginning, especially in his collaboration with Albert, who was cast as Cormac by the producers. Mel possesses a remarkable and formidable presence that is both captivating and unparalleled. The producers envisioned him to bring forth that powerful aura and have a keen vigilance over the hotel. They believed that he would be truly convincing in this role, and I believe he certainly is, adding a dangerous edge to the character.

I believe that it isn't really... From my experience working with Mel on set, I can confidently say that he was exceptional. Not only is he a talented actor, but being a director as well, he fully understands the difficulties of the job.

What impressed me the most was his generosity towards the younger actors, particularly Ayomide. I had a significant scene with Ayomide, which concluded night two. The two of them collaborated beautifully. Mel, being an experienced actor, always knew where to position himself, how to stand, and how to work with the lighting, while Ayomide was still learning these aspects.

However, a seasoned actor, regardless of age, has the ability to position themselves in a way that highlights the younger actor in the room, if they choose to. On the other hand, they also have the power to deliberately place themselves unfavorably, displaying negative behavior. Nevertheless, Mel was consistently incredibly generous, showing utmost care in how I captured Ayomide on film. It's truly impressive.

Charlotte Brändström: And in order to ensure that Ayomide's position... we consistently showcased his best qualities. Thus, he proved to be incredibly cooperative. Moreover, it is always intimidating for young actors to perform alongside more seasoned ones. However, he excelled in his role and established a strong rapport with his co-star.

About The Continental

Delving into the roots of the legendary hotel-for-assassins at the heart of the John Wick universe, The Continental delves into the past of a youthful Winston Scott. Transporting him back to the gripping underworld of 1970s New York City, he confronts a history he believed he had successfully evaded.

Check out our interview with The Continental sound designer Luke Gibleon.

The first 2 episodes of The Continental are available now on Peacock with episode 3 debuting on October 6.