The Walking Dead: Norman Reedus on Daryl and that shocking ending |

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The Walking Dead: Norman Reedus spills intel on Daryl and that shocking ending

(Gene Page/AMC )

Okay, the episode ends with Daryl getting shot and then a quick cut to black. Dude, what the hell? Are you trying to give viewers a heart attack?
Well, it’s exactly what you see. I mean, that’s Daryl’s blood that you see. That’s exactly what happens, exactly what you see. So that’s the world that we live in. The fight between Daryl and Dwight is very real — that sort of fight on who you are and who you’re becoming and what you’ve given up is very real right now, and I think Daryl’s making that as real as possible with him. He’s forcing him into that eyeball to eyeball right now.

The Dwight character, it’s almost like a Kylo Ren in The Force Awakens situation, in that he’s gone bad. There was good in him at one point, and he’s almost trying to push the good away so he’s taking it out on you. He seemed to almost relish last week’s episode where he took down Denise and he’s getting in your face. It’s like he almost feels like he has to do that to push out any good that was in him.
What’s interesting is Daryl’s the first person he addresses, and he addresses him in a way that it  almost feels like he feels bad for saying the things that he’s saying, but he’s still doing them. Daryl’s not that type of a guy. Daryl, he’s going to say exactly what’s on his mind. Those two characters, it’s interesting to watch them — to look in the mirror at each other in some weird way.

And it cuts to black right after you get shot, and then you just hear Dwight say, “You’ll be all right,” and I almost thought that was put in just so people didn’t riot and go burn down showrunner Scott Gimple’s house because we know the phrase,  “If Daryl dies, we riot.” So it’s like, yeah, he’s in bad shape, but he’s still alive.
Yeah, but can you trust him? You know what I mean? Who is that guy? You don’t even know who he’s saying that to, to be honest.

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That’s true. We don’t see it. We only hear it. How did Scott tell you about this all going down?
He straight up told me, and I thought, “Oh s—, here we go.” Yeah, he just told me, and we talked about it, and there was a long conversation, and you know, it happened.

You know social media is exploding right as people are reading this.
Good. Burn it down.

What’s also interesting about the way this episode ends is these guys are clearly very capable to outflank a great tracker like Daryl. That surprised me that he could get outmaneuvered in the woods like that.
You know, that part really surprised me as well. Sometimes you think with your heart rather than your mind, and you’re acting aggressively and you slip up when that happens. I think that was yet another moment Daryl slipped up. He paid the price.

Image Credit: Gene Page/AMC


It’s worth noting this episode was directed by your director of photography, Michael Satrazemis, who’s directed a lot of great episodes like “The Grove.” He also directed episode 15 last season, “Try,” which was a big one with you and Ross Marquand as Aaron. What’s it like working with a guy like Mike that’s been there with the show since the very beginning?
Well, he’s also a very good surfer, I found out. You know, Mike’s one of those people right from the get-go, from the beginning that automatically you trust. He gets the shots. He comes up with some good ideas that you don’t sometimes come up with. I remember back in the prison, there was a kill that I had where it was his idea to run up and Michael Jordan through the air and come down on this guy’s head. I was like, “Yeah, yeah, yeah, let’s do that!” And that ended up being one of my gnarliest kills ever.

He’s looking at you closer than anyone else is looking at you when he’s DP’ing. So he’s the guy looking through the monitor at your face close up and trying to find the truth, and he’s always trying to find the truth. So he’s one of the guys that you parallel with as you’re trying to make something realistic or make something happen, and so he’s in the inner circle when you’re filming. To have him come and direct is such a blessing because you have that trust with that director from the beginning, and he knows when you find it, when you don’t find it, or when you are trying something. And he knows where you’re headed so he lets you get there. So it’s a definite blessing when he’s directing.