Hey everybody out there! I am so sad that we can’t be together, all squeezed in in a room all sweaty and gross in San Diego. But, this is the next best thing, we are so happy to bring you the San Diego Comic Con at Home Panel, with the cast of the new HBO show that I know a lot of people are going to be talking about when it premiers August 16th It is Lovecraft Country! And we are here with the cast today, we have stars, Jurnee Smollett, Jonathan Majors, Michael K. Williams, Aunjanue Ellis, Abby Lee, Wunmi Mosaku and Courtney B. Vance Thank you all, so much for being here today, I really, really appreciate it Thank you for having me I would like to know, who wants to volunteer to explain the premise of the show? -Jurnee? -Or if you would like me to try to do it -Jurnee Smollett -Anybody? I– I want to do it Jurnee, go for it Um, it is a new drama from HBO called Lovecraft Country, it’s about a young man named Atticus, who returns home after his father’s gone missing And, he goes on a quest to bring his father back home with his Uncle George, with his friend Letti Lewis I’m trying to remember the logline. (LAUGHS) You’re doing great! -I don’t like being wasteful -ALL: (LAUGH) But really it’s a show it’s a– A family drama It taps into so many themes that we get to explore about who are– Who we were as a nation, who we are now, who we were in Jim Crow America in 1955 It’s a show about family in search of family Anybody else wanna chime in? How’d I do? And how the themes of what happened back then are still going on today And Courtney B. Vance, that’s an excellent tee up That is something I wanted to talk to you all about But, there’s just one piece of business I wanna get out of the way My very favorite thing perhaps in the pilot is you and Aunjanue, at the very top of this pilot, giving us grown-up Black love That brings me so much joy -Oh yes -(WUNMI MOSAKU LAUGHS) It truly does Aunjanue that was fun, that was a fun scene huh? Yes that was a fun, witty, Chicago, summertime… scene Hot fun in the summertime, huh? AUNJANUE: Yes, yes If I could concur in that I actually, I brought that up, so, I– I I brought that up last night with– I called Jurnee, and I said, “Jurnee you know there’s really something special about the scene, with um, with Courtney and Aunjanue I said, “It’s– The level of Black love, you know, the spooning, and when she– When she looks over her shoulder with that smile and he’s holding her man, it is– there is something so beautiful about that, and I agree, it’s just grown, Black love And it’s beautiful You guys have– Literally just mentioned that -last night to Jurnee -He did! He did, it was so beautiful And both of y’all, we’re hot, okay? Yes, sexy! And it’s such a warm place to start It was hot in Chicago, it was hot It was hot, and it was hot But it’s such a warm place to start the show from, that goes into some pretty dark corners from there And I thought it was a really sort of, good foundation to begin from And so, I wanna talk to Courtney, Jurnee and Jonathan for a moment about the start of this journey you were on to find Michael K.’s character, and that Courtney, am I right in thinking that your character is sort of writing a version of the Green Book, essentially, as their– That is his business? He’s a jack of all trades, in that we all had to back in the day– Black in the day we had to several things to make ends meet. And, he does do that but it’s a family affair That’s part of what my wife and I are discussing in the midst of our Black love, is that Ms. Aunjanue wants to go And it’s an ongoing discussion that we have, about the dangers of the road And, but it also, you know, that she is as talented if not more so than I am in terms of writing these stories And it’s just– It’s– It’s a precursor to what is to come in terms of our relationship and also our daughter being a part of it as well So, there’s a whole rhythm and flow, right Aunjanue? Yeah, maybe we should talk a little bit about what the Green Book was and is? You go ahead So, so the Green Book was this manual

that was used by Black folks, Black citizens, that gave an outline of places that it was safe, safe to go to eat, safe to go vacation Restaurants, hotels, places that were open to them in segregationist America So, our family was involved in preparing that information that unfortunately Black people had to have during that time so they would know where they would be safe when they would be travelling across the country So, that’s what the Green Book is And that we are actually going out to help continue to map out new areas, new territories -Yes? -Right, right yeah And so, Jurnee your character essentially hitches a ride, she is ready to get out of town, for you and Wunmi, maybe not that the– The best relationship, this is the other family in the show Can you talk about you all’s relationship a little bit, and why you decided to set off on this journey after seeing her in Chicago? Right, well Letti has just returned home, after leaving home in search of her home She’s travelled across the country, documenting as a photographer the protests and being a part of this budding civil rights movement But, you know, she returns home and is very much still estranged from her family Didn’t attend her mother’s funeral, and there is this animosity that– This real resentment that exists between the sisters Ruby and Letti You know, Letti is very much so this disruptor, this defiant woman, who’s trying to find her tribe, and didn’t find it in her home And Ruby, kind of looks at Letti as like a (CENSORED). Letti is tired of being looked at as a (CENSORED) And, yet I need her It’s so for me to not talk in first person when I talk about her. (LAUGHS) And yet Letti needs Ruby, and has always looked to Ruby as somewhat of a maternal figure, because their mother wasn’t able to be that stable, maternal figure in either of their lives And, Ruby’s not really having it when she comes back home, you know. She won’t let her stay with her– -WUNMI MOSAKU: (LAUGHS) -I mean she’s kind of ruthless! Ruby, I mean she don’t play And yet she loves Letti! She’s so loving and so giving and, it is a beautiful relationship to explore, this sisterhood You know, one sister who’s so stable -and one sister who’s so– -COURTNEY: Unstable Yes, so unstable But you have something great in common though, you have this musical connection and I’m– I’m guessing that as actresses that was a wonderful sort of common area to have, right? Our rehearsals were a lot of fun when we– They were a lot of fun But it’s funny ’cause I don’t think either of us think of ourselves as musical, we were both a little bit shy at the beginning But it definitely was a bonding experience It was fun I loved it Does anybody else believe that they were shy? You guys are so wonderful in this scene where you’re performing, there’s no residue of shyness anywhere -It was fun -I think for me it was like a different– like vocal genre than I– I was every used to And, like, you know be– you know, being the kind of person who’s free to improvise with a band, that’s not me, I was like in choir and, you know, one, two, three, not off the beat You know? Had to sound like the other girls And like trying to find that vocal identity and individuality, and then also having to find that kind of, um, vibing together as sisters Like– Like you– Like you believe that they grew up together and did these dances together, and, you know, it was fun And we needed those rehearsals to kind of establish that kind of physical, vocal familiarity And the guitar as well Oh, the guitar This bad boy -(ALL CHUCKLING) -Never there I love it, though, because you have such a connection between the two of you, and then she promptly abandons you to go off with these gentleman, to have this adventure And I love that all three of these characters are sci-fi people, um, are Lovecraft people Are– Are sort of oddly prepared for what they’re about to see Although no one’s prepared to see real monsters, right?

But they are people that are interested in this genre, and there’s something that I love just about in a genre where the Black person is always the first person to get killed, that we have this Black family that, like, is at the center of it That is like going to look after it And I’m curious where any of you horror people, or sci-fi people before, uh, taking on this project I was a huge fan of the Twilight Zone, uh, which kind of, uh, reminds me of the Lovecraft world The, um, the socially charged mixed with the bizarre Um, so, you know, I like things like that And I did– I loved my, uh, Friday the Thirteenth, the Freddy Kruegers, but, um, uh This is, um, this is a great mixture This is a very good reminder of Twilight Zone, in particular And Jonathan, I’m curious for your character who is, um, the most into that, and is, sort of, we are going through your POV on this adventure, and him talking about adventure at the beginning And this not normally being the way we see this adventure When you read the script for the first time, I’m curious what your reaction was Were you immediately hooked? Did it take you a while to get in? My first read I think I read it twice, back-to-back, when I first got it Because I was, uh, in many ways, amazed that this was written, you know? It’s like well how was– and it’s a Black guy Atticus is Black? That’s the– That’s the guy? That’s who we’re following? Um, and what has happened in the writing and the– and in the making of it, with Atticus and with everybody, you kind of get to explore not just the archetypical ideas of, uh, what we tend to play You know, he’s not just this soldier, right? That’s pretty common, right? But he’s also a bibliophile Um, he also gets to travel He’s an adventurer, he has all these ideas You know, he’s a strong body, a strong body and a strong heart And so all of that was very apparent to me in, uh, in the reading of the script You know all the connections You know you look for the character of who he’s connected to You know the idea– Where his– fatherhood, and what it means to be a son, what it is to be a Black son, and what it is to grow up in a Black community At a time where, you know, that was a very, uh, unexplored area You know, we didn’t have any stories about that You know, we first meet Atticus just where– You know he’s reading a, uh, Edgar Hughes– uh, Edgar Burroughs, Um… uh, book, you know, he’s a Lovecraftian bibliophile You know, that’s not commonplace So, uh– So, no, it didn’t take me much to know I could get to him To sign right on, and Michael, so you are central in the sense that you are the person that these guys are seeking They are coming after you, so we don’t see you at first There is a– There’s a sense of mystery to your character, because you are an idea that they talk about, but not a physical presence right away And I’m curious if that kind of thing sort of knowing a little bit of backstory of how you’re perceived by the other characters, informs the way you play the character That you have to make a certain kind of entrance There was so many things that, um, I was focused on that I– um, how Montrose is– um, going to make his entrance, uh, that didn’t occur to me However, it was in the, um, his response to turning around and seeing his family that was interesting to me For him to take that note, that made me want to explore who he was in that moment, why Right, that they have come for him, and yet– But that’s part of the mystery, right? That, I mean, these are the things that we don’t know Speaking of mystery, Abbey, we don’t see– You are another person that we do not see a lot of right at the beginning And I don’t want to spoil anything about your character, so is there– What do you feel comfortable sharing with the audience out there, and sort of, describing how your character fits into this story Yeah, um, so she’s the– the only daughter of a, um, a leader of a secret order called the Sons of Adam, who, uh, are natural philosophers, alchemists She’s the– The ultimate provocateur, you know, the agent of chaos, and the white antagonist Um, I think that she represents on a larger scale sort of the oppressed 1950’s woman, sort of liberating herself from the patriarchal society And, um, the family that she’s been brought up in, and all the while doing it with her– her white privilege, you know? So she’s the, uh– She’s the Karen, the Karen-type character that we hear about today, you know? -The rich white woman -But she has a war -Yeah, sorry, go -But she also has a war

with herself, too It’s not– I mean it is not a simple thing, your character No, and that’s– And I think that was what was the most challenging part about Christina, is that if she was just a violent, manipulative, um nasty, uh, woman, it would have been, in a lot of ways an easier role to approach But the challenge and the conflict came that she was so deeply human And– And relatable Universally relatable in that she was, herself, oppressed, damaged, abused, um, neglected, lonely Just trying to get her needs met, um, in very questionable ways Um, pretty awful ways But she still was just a woman trying to get her needs met She was essentially looking for the same thing that all the other characters are looking for, a family, um, liberation, justice, revenge Um… Uh, independence, love So, yeah, it was a very– It was a very confronting sort of role to be taking on It was, um, it was disturbing And I want to follow up on that a little bit and ask you all about– One of the really interesting things to me about what I’ve seen so far is there certainly is a heaviness to some of this That you are dealing with human monsters, you are dealing with scary monsters in the woods But there are also moments– And again not to spoil anything, but there’s one moment, in particular, I’m thinking of where there’s great joy, there’s humor and there’s something, again to go back to the Black love thing, to me that is so enriching to me that in a story like this that does involve Black pain that there is there also Black joy which is– That’s something we always see in a story like this And I’m curious about how you balance those vibes on the set, I guess Because I’m sure there were some days that were kinda heavy Well, I think it’s innate to human beings and it’s very particular to the African American experience I mean, we wouldn’t be here now if we couldn’t find the levity in the humor in humanity You know, and Black folks, we just have a way of– We’re full human beings Where there’s sorrow, there’s joy, you know? And I think– I mean, just this cast We’re tight. All of us Extremely tight I mean, we have made a family There were days when **** would go crazy on set And it be crazy and then it’d be fun and then we’d be crying about this and this and then crying about this, this and this and then shooting the shot, you know? So, it’s– not to speak for the cast, but for me it felt extremely natural It felt like we was at home You know, I still have a hard time calling Courtney B. Vance, Courtney B. Vance He’s Uncle George Michael K. Williams is Pop Letty, et cetera Auntie, you know, Ruby Christina– Actually, I never really said Christina because I already say her name so much But Christina. You know, that’s who they are to us We’re such a family, so the ecosystem was that of culture. Up, down You know, whatever it takes You can’t make art with a sad face on I think that has a lot to do and a lot to say about the person who’s not here which is Misha Green The world that she set up with us from the pilot and all the way through the shooting of it Surrounding us with those people that can make us, help us, become a family And we become family on every set for for good reasons and for not so good reasons When things don’t go well, we don’t have appropriate leadership or behavior, we become tighter or the opposite can happen We can just– The cast can fracture, but, you know, there were challenges on our set, as in all sets, and we became tighter So, I’m– I’m always so wonderfully impressed about the organized chaos of a set I mean… It’s just how– how the family happens when you don’t know nobody and you gotta do an intimate scene on the first day. You know? How does Michael K. and I, you know– we met each other maybe two, three months– I don’t know Was it a year before, Michael K.? In New Jersey? -That was a couple of months -A couple months before And all of a sudden we’re doing this scene and we’re like in this scene and it’s the most beautiful thing The two of us are like, “Where did this come–?”

You know, that’s the beauty I always say actors are the most courageous people because we gotta jump in You know, a jazz musician’s gotta jump in It’s the same stuff I’m kind of amazed that you two didn’t know each other before this You guys never even met? We know of each other I’m a huge fan of Michael K’s Courtney and I– we had met, like, a couple of months But we had met a long time ago in LA at one of the parties The award parties I walked– I think I freaked him out ’cause– I think, maybe– so I explained to him, but I quoted almost every line from the The People Vs. OJ with him as Cochran, and then we were being honored at an event in Jersey like about a month or two before we had to film And, you know, the first day of work was, we can’t give it away, but it was– Needless to say, it was a very emotional– very emotional scene and I think that was the first day for me that the family started to bond That thing started to happen for me It was Jurnee, Jonathan, George and I Very difficult scene emotionally A lot of heavy lifting And when the cameras– When the directors yelled cut, we couldn’t stop It just… All this emotion It was just so much energy on the set and that was– That day, I knew that I was around family That is so great. And Jurnee, I wanted to ask you, specifically, and Jonathan too, about– There is a scene in the pilot that is very tense and involves the police and sort of trying to get out of a Sundown town essentially, which I think that there are going to be people who watch this that don’t know what Sundown towns are which is sort of amazing to me, but I think it’s true And so, just for people that might not know what it is, a Sundown town was a town where Black people needed to get out of town before sundown or they were fair game essentially to be killed And so there is this scene where that is a threat and that’s the kind of thing I’m thinking of when you shoot that scene, sort of, is there an exhaustion after something like that? Is there an exhilaration from getting through it? What is, sort of, the feeling of shooting something like that? I think, you know, um It is tough because there, without going into any spoilers, there are so many themes that we explore in this show that resonate with us as being Black Americans in 2020, right? And unfortunately, as we’re seeing, you know, sometimes our police departments are, what Angela Davis calls, one of the most dramatic examples of structural racism And You know, um, tapping into that energy’s a very dark place to go to Um Just in general, tapping into systemic racism that our nation’s been built on It is, of course, a dark place to go to, but it’s necessary You know, this story is, one of my teachers refers to it as, a blood memory That it’s something that reverberates through our DNA This visceral connection to the oppression of our people, and that’s why these stories– We’re still telling them And so, yes, when you tap into those stories, like we are tapping into in Lovecraft, whether it’s this scene or, like I said without giving away spoilers, there’s a familiar emotion that it brings up, for sure But again, having family We had each other And that’s the thing about the show I do not know how I would’ve survived this show Hand to God, I do not know how I would’ve survived it without having my brothers and sisters in arms, you know Having– Doing scenes like that and I’m looking and it’s Atticus or it’s Uncle George Or in scenes when it’s Montrose or, you know, my sisters It– It helps you have the strength to tackle these stories, you know Yeah. And they are important stories to tackle, too and it’s such an interesting time for this to be happening Um, you bring up a point that I feel like it’s something that a lot of people that we’re talking about, now we’re talking about generational trauma And the idea that you can go back to a time and yet feel that even though we are looking backwards,

we are not as far from that moment as we might hope we’d be, um, as a country And there was no way for anyone involved with this to know that it would be coming out in this moment, that this is happening, and there is a part of me that believes that this is very useful and I don’t want to put anybody in the position of saying what you’re doing isn’t important because I understand this is television and it is not policy, but I personally believe that this is important in terms of the conversation, and I’m curious how you all feel about a show at least being a conversation starter? So, I grew up in Texas You know, and literally on the top of my script, I wrote, “Worst day in Texas.” It’s the worst thing that could possibly happen to you as a young Black man in Texas You’re in the car with your girl and your dad, or your girl and your uncle, you know, you’re driving around and the cops pull you over Now, the interesting thing when I was growing up, you know, still growing up, but when I was a boy down in Texas, driving, couldn’t nobody watch that, couldn’t nobody see that So, the white folks would drive on by, even other brothers and sisters would drive on by and say, “Hey, you know, hope you ‘yes, sir’ and ‘no, sir’ your way out of it.” You know what I mean? And so, to take this story, to take that moment, and for you to even mention it now, let me know, lets us know that it resonated with you You know? It is something that is ancient, you know, that systematic racism, that– that bullying, you know, as Jurnee so beautifully stated But now it’s on TV, you know? And you notice in that scene, it’s just people You understand? The demonic spirit that’s entering in is that of, you know, racism, etc You know, that’s what we’re talking about, that’s what we’re showing, you know, in Technicolor You know, and so many folks don’t see that So many people keep driving by, you know? So they can see that, they connect to these characters in that moment and now understand to a certain degree what it is it feels like, -you know, the unfairness of it -Yes So, you can say it’s not policy, but it is important, you know, that’s entertainment And that’s– that’s, I think, what you’re talking about is that at what point do you– ‘Cause we’ve seen these scenes, Jonathan, Jurnee and Michael and everyone, we’ve seen these scenes where the Black man or Black women that you think you can, you hope you can “yes, sir” or “yes, ma’am” your way out of the situation, and you– you– we’ve all seen them The question is at what point is that going to be enough, enough of that, that that kind of behavior, that that kind of bullying is not appropriate anymore and we shouldn’t see it anymore It shouldn’t be, “Oh, here comes that scene.” It shouldn’t be, “We shouldn’t see that anymore.” It should be like an outdated, “That’s an old movie.” The police are coming up to the Black man and the Black woman and bullying them At what point, and that’s where I think we are as a society, we’re– we’re at that point where we could go either way, that we’re going to say those kinds of scenes are not going to happen anymore Those kinds of situations where the– the headlock, and I can’t breathe, all those kinds of situations where the bullying happens, the Karen situation, all those kinds of situations, I’m sick of it. I’m– And I know we’re all sick of seeing it and and I’m sick of seeing it and then we all have to go, “Oh, well, that’s just the way it goes I know, come on.” “Daddy, that’s not right.” “I know, baby. I know But we gonna get through this together. Come on.” “Daddy, didn’t that just happen last week? Or two weeks ago? We saw, uh, Trayvon, and didn’t we–” “I know, baby, I know, but we gonna get–” That kind of– White folks don’t have to do that with their children -They don’t have to do that -They don’t have to And at what point do even white folks go, “That’s– They shouldn’t even have to have those kinds of conversations with–” I was– I’m in this white area where we live, and somebody said– I came by my door at midnight and I heard a noise and I came out and it was police all around this white area Police in my front yard talking about, “Come out the house with your hands up.” I’m in my– Midnight, my children three years old, asleep in the house, and I get put on my knees on the ground, ’cause they got a call that somebody– Now, if it was a white person that opened the door, they would assume the person lived there But I’m a Black person, and I get– and I’ve seen enough Law & Orders to know, don’t you say a word, Courtney, come out the house with your hands up in the air and get on your knees, and I said, “I live here, man,” quietly, “I live here.” “Get him!” She was shouting at the top of her lungs, midnight, in this quiet little white area, just, I say, “Yes, ma’am, I’m just letting you know, I live here, my– my wallet’s inside, if you wanna– you want me to go and get it or you want to go in and get it?

My children asleep, they’re three, okay?” And finally, there was a sister police officer, there was seven of ’em out there, she said, “Oh, Lord Oh, Lord. Oh, Lord Mr. Vance, I’m so sorry Here’s my badge number, if you need my number, here’s my–” And basically, she said, “I ain’t got nothing to do with this, I’m just letting you know.” So, at what point do– That’s enough? That you don’t– That there’s a different rule for white people and Black people There’s a different law, there a different way of– and that there’s an unwritten rule for police that if it’s a– if it’s a Black person, you– you treat ’em differently than if it was a white person, you kid glove ’em, and it’s so clear, and at what point are we all gonna say, “That’s enough now. You– Everybody’s gotta be treated the same when– And you gotta reprogram the– the police.” Well, and I’m hoping that that is what this moment is, I mean, I had an interaction with a cop two weeks ago that was not great And I’m sure everybody on here has had multiple interactions that have been less than good But, uh, hopefully that’s what this moment’s about Right? And so, I’m curious I feel like there’s a through line here between showing this in this moment that you all are depicting, and what is happening now and actually, it helping to change things That, like, good lord, how long are we putting up with this? If I could add to that, too Um, and aside from just leaving the responsibility to change in the hands of law enforcement officers, I would like to get back to the aspect of what Abby said earlier, that the Karen aspect Um, I remember last year, my brother and a few of my friends and I, we had went to go eat dinner, um, at a little chicken spot on 14th Street and 1st Avenue, and, um, next thing we know, halfway through our dinner, uh, about four or five police officers come into the restaurant, and apparently, um, a white woman had misplaced her phone, or lost it, and when she pinged it, it got pinged to this restaurant and this is a little, you know, walk in, grab your chicken and you sit down and you do your thing, it’s not a, you know, it’s not five star You know, the– There is something wrong with the fact that she did not feel safe to come into that restaurant and ask us, “Have you seen my phone?” The fear, the white fear– You know, it’s real She– She was unable because of what she has been conditioned to see when she sees Black skin, to come and just ask us for her phone, did we see her phone She thought the only way to deal with that was to call the police on us, and just like Courtney talked about, you know, um I– I went into beast mode, I instructed everyone at the table -to not say one word -Mm-hmm And I was the only one to do talking, and, um, you know, they do this thing where they start to pry while they’re talking nice to you and, um, it was this whole thing, so, “Where were you at before you got here?” And I say, “With all due respect, officer, that’s none of your business, we’re here now, having dinner Can I help you?” And, um, you know, that was the– That was the narrative and the conversation, and it was frightening But I– I knew I should not– I– I didn’t want any of my family members or my friends getting emotional, so I knew to take the lead and to speak and to speak with a calm, but– but, um, a firm hand And once they started to recognize me, that’s when the “Oh (CENSORED) ” happened, and they realized And then, the whole tone changed. And That was insult to injury Yep So, you mean because I– what I– it was– I would rather have– I would’ve rather them– It would have been better to say, “Okay, we know who you are, but we need to search you for her phone.” But because now you recognize me from my job, everything goes away What would have happened to my brother and my friends -had I not been there? -Yeah -Yeah- -So, when talk about the Karen aspect of it, I– I feel– I– It hurts, you know I feel the– I am having– I try to have empathy for white fear I don’t know what it is that make people frightened of the color of our– of skin And, um, that’s part of the problem. We– you know, we need to also acknowledge that it’s not just– it’s– it’s– it’s all part of the problem Well, and that’s the thing, it is– and that is where sort of representation and the work that you do in Hollywood, going back to the earlier point, is useful That people can see this, people can have conversations

People– it’s a jumping off point And it’s interesting because in this show, you have– again, human monsters, but then you have sort of real monsters and it’s interesting that– that we need to have metaphorical monsters in this situation And I’m curious about sort of tho– those monsters that are the fantastical, sci-fi monsters Do they sort of represent something else to any of you all in the context of this show? As opposed to the sort of humanity monstrousness that we see Well, it did for me. When I– (STAMMERS) As Montrose is not in the pilot, but I was– I was, you know, able to read it, grateful, and um That was, you know, that was the first thing that– that spoke to me. The monsters represented everything as a dark and vile society That’s what the monsters represented to me, um, in the first reading of the pilot And just for you all that actually had to interact with the monsters, I’m curious that– on much, much lighter note, the sort of green screen -and horror face and all of that stuff -(CHUCKLING) Is that stuff fun or is it just, like, a technical, logistical, like, marks you gotta hit? -That’s silly. That’s silly -‘Cause you’re not seeing anything To me, it’s silly It’s really silly, and we’re all, “Ah! Ah!” You know? -(CHUCKLING) -We just being silly I just enjoy my time with, um, my brothers and my sisters being silly ’cause, you know, what we’re– we have to– “Now, where the monster at? The monster’s over there? Where are you lookin’, Jonathan? -Journee, where you lookin’? -(LAUGHS) Are you lookin’ down or you lookin’– Are you lookin’ at that tree?” (LAUGHS) You know, we just being silly and trying to keep the bugs off of us -And just tryin to– -It’s also– It’s also a different muscle to exercise because it just requires so much imagination You know, it requires you to really just play. Um But unlike anything I’ve ever done before, it was– it was definitely a different experience ’cause there’s the technical stuff, the technical side as Courtney is saying, you know, the wind blowing or the– What was the stuff, the spit Misha really wanted to blow on us? They couldn’t get it right, Jonathan Viscous or something like the (GROWLS) -Yeah -(LAUGHS) You guys spent like– wasted a good hour trying to get that right -Yeah -It sounds sticky and maybe not that pleasant But, uh, but if there’s a lot going on here, and I think people are really gonna enjoy it I mean, this combination of, like, storytelling is so great. So if somebody had to pitch people, so we’re at a place where we’re talking to folks out there, what’s your pitch? Watch Lovecraft Country because? -Come on, y’all. You’re actors Give me a pitch -(LAUGHTER) -Jonathan! -Uncle George? Because– Watch Lovecraft Country because it is so different and so engaging and it’ll– especially during this time period we’re living in now It is, uh, it is You know, you thought you had something going on with– with Game of Thrones, but watch out We got something on Game of Thrones and Work of Thrones and (CHUCKLES) We working our throne This is gonna something that you ain’t never seen before That’s what I like to hear All right, we are actually, I can’t believe it, already out of time So, I can’t thank you all enough for being here and being part of this conversation today Thank you to everybody who is out there watching and listening And we are going to show you a little more sneak peek of Lovecraft Country, which is premiering on HBO on August 16th. Thanks y’all ALL: Thank you ATTICUS BLACK: This is definitely a door Spread out. See if you can find a way to open it Turn off your flashlights LETITIA DANDRIDGE: Huh? I said turn ’em off, dammit! (LIGHT RINGS) (DOOR SCRATCHES) Hmm

(GRUNTING) This is some Journey to the Center of the Earth type (CENSORED) -You see Titus’ pages? -ATTICUS: I see three tunnels MAN: “Beware all ye who tread the path.” Ever the tide shall rise.”

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