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No, it’s not as simple as that. I don’t think he’s doing everything for the right reasons for him. He’s justifying things, I think, based on what he believes, which is outside of modern culture or contemporary culture. He’s also just trying to stay alive and making sure that whatever happens that his daughter and extended members of his family is protected.
And that his strategy, which is much more complicated and goes much deeper—it can’t really be discussed in public. He needs someone to support him on that. It seems that he’s been a little bit isolated, so the only person that can support him is himself and then you go back into the rationalization of things, which can lead to all sorts of problems in the human mind.
Are we talking that he fears a little bit of a Salem witch burning trial type stuff?
Well, on the very surface level, of course. If that is where we were to find ourselves as being identified or described as by culture at large. You look at the history and how they were dealt with in the past, I think that would be something you would be quite worried about. It would be a great relief as well being burned at the stake—what I’ve done to Cassie’s mother, right?
In last week’s episode, you handed over the crystal that gave you powers again to Dawn. Is that something sort of like the ring in “Lord of the Rings” that sort of made him go a little off the rails?
I think from just the narrative of myths, and of the story of what is on the surface of the people that you see walking down the street and look at possibility behind all that, whether it’s magic or supernatural powers or however you want to describe it. I think there are echoes of that. That’s an ongoing eternal trope of everything that we deal with: Where does the human stop and where do the things within and without take over? The crystal, obviously, represents a bridge to that and therefore it’s very valuable. So it’s something that you could lose your mind over very quickly and then start doing the sort of things that you can’t really cover up any more.
Speaking of him losing his cool, it seems like whenever he gets around Ethan he does lose control. There’s obviously some sort of long history between the two of them. Will Charles be able to keep himself in control?
There’s a history between Ethan and Charles in terms of what’s happened in the past, but also he’s a drunk. He’s just an X-factor and you can’t really allow that to roam around free. And if I’m not going to murder the guy, then he’s got to know that everything he does has consequences.
Do you like playing this kind of character? This seeming villain, but family man, I guess?
Yeah, I think whatever the specifics of the character you play are, it’s always good to have a built-in conflict. And tying what you can sort of simply refer to as your double, whoever or whatever that is, is always better than just being someone who is on a fixed trajectory.
I read that you have said in the past, that you have to like your character or no one else will. So you like this guy? You like Charles?
I do like Charles. And to put a finer point on that, you have to like your character; it doesn’t necessarily to me mean that you have to like this person. I think what you have to like is his ability or her ability to communicate how confused they are or how possessed they are or how seemingly good they are while absolutely, realistically having the potential to do bad things. If you don’t like that, it’s basically just something that keeps your interest. So, if there’s a bit of that going on, but it’s also, yeah, you want the viewer to like the person and go with your own belief that his problems are real and not just surface. If you don’t have any feeling for the person, then you’re not going to care what happens to them.
If you could cast a spell, what would it be?
If I could cast a spell, it would be for everyone to always understand what I’m trying to say in exactly the way that I want them to understand it. [I would make sure] that my point is made and their minds are influenced to take my side to the point that I can change it on a dime, like it’s always my choice.
All right. I think I kind of want that same thing.
Good.
And that his strategy, which is much more complicated and goes much deeper—it can’t really be discussed in public. He needs someone to support him on that. It seems that he’s been a little bit isolated, so the only person that can support him is himself and then you go back into the rationalization of things, which can lead to all sorts of problems in the human mind.
Well, on the very surface level, of course. If that is where we were to find ourselves as being identified or described as by culture at large. You look at the history and how they were dealt with in the past, I think that would be something you would be quite worried about. It would be a great relief as well being burned at the stake—what I’ve done to Cassie’s mother, right?
In last week’s episode, you handed over the crystal that gave you powers again to Dawn. Is that something sort of like the ring in “Lord of the Rings” that sort of made him go a little off the rails?
I think from just the narrative of myths, and of the story of what is on the surface of the people that you see walking down the street and look at possibility behind all that, whether it’s magic or supernatural powers or however you want to describe it. I think there are echoes of that. That’s an ongoing eternal trope of everything that we deal with: Where does the human stop and where do the things within and without take over? The crystal, obviously, represents a bridge to that and therefore it’s very valuable. So it’s something that you could lose your mind over very quickly and then start doing the sort of things that you can’t really cover up any more.
Speaking of him losing his cool, it seems like whenever he gets around Ethan he does lose control. There’s obviously some sort of long history between the two of them. Will Charles be able to keep himself in control?
There’s a history between Ethan and Charles in terms of what’s happened in the past, but also he’s a drunk. He’s just an X-factor and you can’t really allow that to roam around free. And if I’m not going to murder the guy, then he’s got to know that everything he does has consequences.
Do you like playing this kind of character? This seeming villain, but family man, I guess?
Yeah, I think whatever the specifics of the character you play are, it’s always good to have a built-in conflict. And tying what you can sort of simply refer to as your double, whoever or whatever that is, is always better than just being someone who is on a fixed trajectory.
I read that you have said in the past, that you have to like your character or no one else will. So you like this guy? You like Charles?
I do like Charles. And to put a finer point on that, you have to like your character; it doesn’t necessarily to me mean that you have to like this person. I think what you have to like is his ability or her ability to communicate how confused they are or how possessed they are or how seemingly good they are while absolutely, realistically having the potential to do bad things. If you don’t like that, it’s basically just something that keeps your interest. So, if there’s a bit of that going on, but it’s also, yeah, you want the viewer to like the person and go with your own belief that his problems are real and not just surface. If you don’t have any feeling for the person, then you’re not going to care what happens to them.
If you could cast a spell, what would it be?
If I could cast a spell, it would be for everyone to always understand what I’m trying to say in exactly the way that I want them to understand it. [I would make sure] that my point is made and their minds are influenced to take my side to the point that I can change it on a dime, like it’s always my choice.
All right. I think I kind of want that same thing.
Good.