It's such a complicated reveal, because it's not just Bernard discovering that he's based on Arnold, but there's also Dolores traveling through at least two different versions of this town, and discovering Arnold as she descends deeper down the rabbit hole. Was it challenging to figure out how to bring this sequence to life, with these two intersecting narratives building toward the reveal?
It's challenging in that you're jumping through her memory and you're making those transitions, and you're trying to make sure people can follow and understand as she's realizing where she is, what's going on, who she is, and who can see what in that moment. There's a moment in the scene when a young Robert Ford walks past Dolores. He doesn't acknowledge her, because for him, she's not there. There are these little things that transpire that we needed to transitionally make sure people could follow along at any given moment. We used the wardrobe and the change in scenery and people in order to express that story. Also the lighting. [Cinematographer] Jeffrey Jury did a fantastic job transitionally, especially in the lab underground, to change the lighting as she was remembering things. A lot of this was done practically, when she's walking through the lab, and she transitions from the pant and shirt to the dress. That was all done practically. We used a piece of the set a beam between the walls in the room on the set and we had them take out a piece of the wall so the camera could dolly all the way down that hall. So those are just done through wipes in the wall as she transitions from one wardrobe to the other. If you notice, there's a hint on one end of the light. She sees the light start to change, and that's what starts her memory into that transition. It was all done practically.