Eric Balfour: “I think that Jennifer is, certainly the first person that we’ve ever seen in the show, that Duke opened his heart to. And so the potential loss of her, it’s almost something he can’t handle.”
Lucas Bryant: “Nathan is feeling Duke’s pain. He knows what it’s like to lose someone you love, and as much as these guys have been enemies forever, they’re also kind of lovers. So he’s trying to be there for his buddy.”
Eric Balfour: “Shooting emotional scenes are challenging. Even more so; the day we shot that particular scene, it was freezing. We couldn’t barely talk. We kept running from the set back into the building that we were next to.
Lucas Bryant: “Nathan knows that Duke may have a tendency to self-destruct.”
Eric Balfour: “Finding a centre, when there’s all this chaos going on around you, and there’s people moving and cameras moving and things happening, you try to find a place that is sort of quiet and focused inside of you, and do the best you can.”
Lucas Bryant: “In real life, if Eric Balfour was dealing with a serious loss? I would give him a hug. A really long hug.
Balfour, just so you know, if this was real life I would be there for you.”
Jayne Eastwood; “I can remember Nathan coming up to me and saying; ‘You are not going to believe what you’re doing in the next episode. You are switching bodies. With Dwight.”
Adam Copeland: “I couldn’t wait. When I had heard rumblings that that was going to happen, and that it would be Dwight and Gloria switching.”
Jayne Eastwood: “The first time we were switched, I think we both covered our private parts.”
Adam Copeland: “I knew that that was our opportunity - our role in this was to be able to bring the laughs. There’s so many things to pull from with her, because she’s so expressive. Her inflections, the way she throws line out, her facials, her mannerisms, everything. I was like; I’m going to have field day here.”
Jayne Eastwood: “He was whipping purses over his shoulder and pursing his lips and very sort of sassy.”
Adam Copeland: “She had a much tougher job, because Dwight is fairly business, and stoic almost. And as an army ranger he, you know says his lines fairly fast. He gets the information out.”
Jayne Eastwood: “I had to be very stoic, you know because he’s like the stoic guy. But, I tried to walk like I had a set of cohonies, what can I say? You know; it makes sense, right? So I was sort of walking around like *mimes* that. It was so much fun.”
Eric Balfour: “Here was me on a daily basis during the gibberish episode. I’d do a scene, then I’d pull out my phone and email all the writers; ‘I’m telling you this doesn’t work. It’s ridiculous. I look like an idiot.”
Emily Rose: “It is really funny to watch Balfour, you know, trying to make sense of the nonsensical that’s coming out.”
Eric Balfour: “There’s all these words that you don’t know what they mean, and they have no correlation to reality. So you’re just saying words, just memorising words but there’s no thought or intention behind them. So I was constantly, you know; ‘flick a flamb bam ... What am I saying? Is it … mary’s moffit turpentine? What? Oh, dark horse dairy queen, got it.’”
Emily Rose: “It is really fun, as Mara. Because as Audrey if I really enjoyed something and thought something was kind of fun on the day, I wouldn’t really get to react to it or laugh at it at all. Mara, if I think something’s really hilarious, usually 9 times out of 10 I can crack up during the take, because Mara thinks things are repulsive, hilarious and deserve to be laughed at. That’s what so fun about her character, just the sheer delight of how much she enjoys the fascination of all of what’s occurring in front of her. She just finds so much joy in it, that it’s just the newest, funnest play thing for her. So that’s always a really cool angle to play with her.
“The only time I was really surprised by Mara’s evilness was when she says what she says to Dwight about watching his little girl die. That to me was probably the most evil thing she could have said, has said.”
[Mara to Dwight: “The one I wish I could have seen, was the look on your daughter’s face when she died.”]
Adam Copeland: “Emily and I had both talked about that and we had talked about the intensity of the scene and of the lines.”
[Mara to Dwight: “Were the bullets confused when they chose which one of you to kill?”]
Emily Rose: “That’s when I really came to grips with, wow, she’s serious here. She’s not just playing, she really has no regard for, anything.”
[Mara to Dwight: “Or did they just spatter, right into her little body?
Dwight to Mara as he grabs hold of her: “Shut your mouth!”]
Adam Copeland: “That scene I really enjoyed because it was kind of the most intensity from an anger stand point that I’ve got to play yet. Which in the old gig, that was the majority of what you did, but here no one had seen that. So it was nice to show that side and be able to dip into that.”
[Mara to Dwight, his hand around her throat: “Make me, Dwight. I want to feel your hand on my throat. Cut me open with a knife. Think of everything that I’ve done. Think of your daughter and hurt me.”]
Emily Rose: “I think the only time I had a visceral reaction to how evil she was, was when I had to say that to Dwight. I think other than that I’ve always had some motive or reason for what I was doing, or what Mara was doing.”
Adam Copeland: “I remember after we finished, that was one of those instances where I was like; ‘Wow, man, I think we killed that. I think we really got something there.’ And we both felt that way.”
Emilly Rose: “The first two episodes for me were really the discovery and the enjoyment of playing such a forceful, vibrant, exciting character. To be able to interact with Nathan, and Duke, and all these other townspeople through a different character’s eyes is always an exciting place to start the season. What’s unique about this show is the aspect that I get to play a lot of different characters, a lot of different women.
Mara is, I think underneath it all very bitter, but very powerful, demanding and above it all. And out for a revenge in some sort of a way, but enjoying every minute of her freedom. She was just really fun because I got to play her for extended scenes. Mara was in full control of all of her senses and knew exactly what was happening - knew more than everybody else.”
Lucas Bryant: “One of the terrible acts that Mara - well you’ve seen it if you’ve seen the show, happens at the end of the first episode. She shoots me. Right in the …
... [points to his shoulder] … right in the, body. And it hurts. But Nathan doesn’t feel it. It hurts him emotionally though. He believes perpetually that he can win Audrey back. So he’s not really going to take it personally.”
Emily Rose: “We kind of chuckled and called this our homeland episodes because it was like Brody and Claire Danes character holed up in the cabin. It was sort of the beginning of my handcuffing, I guess you could say. There were just endless episodes of being cuffed to something.”
Lucas Bryant: “It has been one of my greatest honours to work with the lovely and talent Emily Rose through these last five and a half seasons of Haven. And I mean that.”
Emily Rose: “It was fun to spar with the guys again, especially with Lucas. He’s such an incredible actor. I learned so much from watching him, just the subtlety in what he does.”
Lucas Bryant: “It has truly been a joy to experience and watch. She’s letting out all of this sadistic sort of rage, humour and weirdness.”
Emily Rose: “I was chained to the chair again, and he was sitting in the rocking chair across the room in a very specific position. I, working on the lines at home, wouldn’t have thought of that in a million years. But just to mirror exactly what he was doing, just to get under his skin as Nathan - it was just one of those things, it’s like; we don’t talk about it, we just kind of show up on the day and are present with each other and try to see what, you know, comes about.”
Emily Rose: “I also really enjoyed the side of Nathan that the cabin brought out. Nathan doesn’t really have a home; he has an office, he has a truck, but he doesn’t really have digs or a place to lay his head, so to speak. So to see him in the morning making pancakes and trying his new tactic was really cool.
The other challenge that occurred in the cabin episodes was trying to picture Audrey coming to the surface out of Mara. We talked a lot, before the season began, with the showrunners about how it was sort of like Audrey felt like she was drowning. So a lot of the imagery that I used with her coming forward through Mara was really like the *takes a big breath in* the gasping for air and really getting pushed to the front of Mara so that that switch happens really clearly and the audience knows, this isn’t Mara you’re looking at any more, this is Audrey.”
Eric Balfour: “Emily got jealous, of mine and Lucas’s love affair.
Emily Rose: “I was pretty surprised when I found out she was going to be split and then be naked. I was like; I’m sorry what? What is happening? Why does she not have any clothes on when she’s split?”
Eric Balfour: “You know, the episode where Mara and Audrey split was, it was very much like gaaahhhh aaccckkk blurghhhh ahhhh! [a selection of impossible to transcribe sounds]. That’s pretty much how I would describe it.”
[Duke to Mara/Audrey: “Remember that night, in the hotel in Colorado *flashback to the kiss with Audrey*]
Eric Balfour: “One kiss, has never gotten, so much distance for one guy.”
Eric Balfour: “I think there’s always going to be some residual connection for Duke to Audrey. He is resigned to the sort of idea that Nathan and Audrey are really meant to be together. So I think he’s accepted that. But it is a strange, macabre kind of satisfaction, I suppose, in fulfilling some of these desires he may have had at one time for Audrey, with this evil maniacal Mara character. It’s the genius of good writing, is you always want to leave people wanting more. And that’s kind of the beauty of the dynamic between Audrey and Duke is that it’s really never been fulfilled. It’s never been realised.”
