But we were also in the process of finding a different kind of visual language. “I think what you see there is a combination of circumstances,” says Rév, “in that we were not able to shoot on, like, hundreds of locations, and unable to have a lot of actors and extras around. In what is essentially a two-hander, the former finds a relapsed Rue having a tête-à-tête with her grave, not-before-seen sponsor Ali (Colman Domingo), who gives the 17-year-old firm lessons in tough love and responsibility. (Jules, the trans girlfriend of Rue, is the focus of the second, though she is briefly seen in the opening of “Trouble”). The first one, entitled “Trouble Don’t Always Last”, represents a concise, (mostly) chamber piece prominently featuring only two actors spilling their guts in a diner, perfect for a small crew and containing the ability to social distance and keep everyone safe. And I got more confident, and a lot of what we did informed our work after it.”Īnd what resulted were a pair of self-contained episodes featuring Zendaya’s Rue and Hunter Schafer’s Jules, two of the show’s central characters. “ Sam Levinson then decided to write something that we might be able to do actually do. “We didn’t really have a choice, so we had to regroup and come up with something,” says Marcell Rév, who has served as cinematographer of “Euphoria” for several episodes, including its pilot.
#EUPHORIA SPECIAL EPISODE 2 TV#
And then just as the makers of the HBO drama were in the process of beginning their awaited sophomore year, they were completely shut down by a little pandemic virus that we’ve all learned makes TV production awfully difficult. Coming off a whoosh of buzz for its first season (plus a history-making Emmy win for lead actress Zendaya), “Euphoria” seemed primed to become one of the chief watercooler players going into a second season due to its provocative and frank look at teenage life.
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