the success of season one was really crazy. Uh, we made this small little show. We didn't expect any of it. Hello again. Yes, I'm talking to you this time. We're just so happy that audiences have responded the way they have, and our fan base has grown the way that it has. We're thrilled. Romney's performance just really pulls people in. It's also certainly a subject matter that has become more and more relevant as the year has gone on. The FBI has three million of you innocent citizens under surveillance for no reason. The show really says a lot of things that people think but don't say out loud or that no one is really saying in this kind of a platform. It is really opening people's minds and speaking to them. I think it was Halloween, and people were dressing up like Darlene and Elliot, and I thought, Okay, we're having an effect on people. Sam really captured something special and unique and so cinematic. The way the stories are told are complex and sometimes a little difficult. They don't spoon-feed

the audience, and that makes it really a compelling show to watch. We're on the other side of something we never signed up for. Very quiet, please. Ready, and action. Maxine, my dog, just got pretty frail pretty quick, fell over a few times. [Music] For the first time, she realized that she continued to breathe because someone else allowed it, that she had a master. Going into the second season, I felt quite a bit of pressure, but having Sam Esmail there every day, directing every episode, just leading us down his path, it fills you with a sense of calm, and that's someone you can trust. What's the prognosis? Block shooting the way we have to shoot in order for him to do that has been challenging, but having Sam there makes up for it because I know he has the whole picture in his mind. All right, I'll shoot. Block shooting is actually more used in features because typically in feature filmmaking, when you shoot a location, for example, an office, if you have 10 scenes across the whole script, you would just go to that office, you would shoot

all 10 scenes, and then you'd move on to the next location of scenes in television. It doesn't really work that way because of the episodic nature, and traditionally you have a different director for every episode. But because I directed all of the episodes, we sort of had the liberty to say, you know what, when we're at this one location, whether it's from episode nine, you know, three, four, let's just shoot the whole location out because I'm so specific about the vision of the show. For me, it feels a lot more streamlined. I think hand first whip them out of bed. The biggest hurdle is the actors have to sort of understand their whole arc from the beginning of the season to the end because we could be shooting a scene from the season finale in the first week. On day one, we were handed a script that, you know, was this thick, so it contained all the episodes. And we'll come in on a Monday and shoot a scene from episode 202, 207, uh, 203. I've so far shot from four different episodes.

in one day, and that number might grow. And I would not want to do that with anybody but Sam, sure. I mean, is it better if they're both on this side so they can just go straight out? Sure, I'm fine with that too. We're kind of looking at this as one big ten-hour movie, so it requires one guy to sort of put all of that together, cut, checking the gate. Nice guys. [Music] You.

Why Season 2 of Mr Robot Doesn't Spoon-Feed You - Behind The Mask | Mr. Robot

Why Season 2 of Mr Robot Doesn't Spoon-Feed You - Behind The Mask | Mr. Robot