Original subtitles

Lincoln: Rick and Michonne are perfect partners in an imperfect world.

Gurira: They first met as reluctant allies,

but over time, their bond grew.

Through so many hardships, so much loss and sacrifice,

they found each other.

Until one day when it all got taken away.

Michonne was fearful that she may have lost Rick forever.

And Rick never stopped thinking about his family

and never stopped trying to get back to them.

But when Michonne made a fateful discovery,

she knew she had to find him.

She had to make her family whole.

So how weird is this... after all this time?

Yes, and finishing telling the story

of Rick and Michonne, to be here where it all started.

The only thing to really do

is to start at the very beginning,

'cause it's a very good place to start.

This is approximately where Rick and Michonne first met.

Yeah.

How did you feel that day?

What do you mean, how do I feel?

How did you?

What? Meeting you, or...

Yeah. Do you remember it?

I think... I do remember. Of course I remember it.

'Cause I think he was going through

quite a defensive phase

where he was very distrustful, and seeing somebody

with a katana and two zombies with their...

Okay, you don't... you don't remember.

Oh. I have no idea.

I'm leaving, guys. Yeah.

Going down memory lane with someone with no memories.

W... but... How do I do this?

Did I... Come on.

Okay, so to help my colleague out here.

Listen, don't tell them the st...

How I came to the gate was...

I didn't have... I didn't have the two zombies.

I was covered in zombie gunk.

Okay, so you didn't have the two people on the chains? No.

They were long gone. I got rid of them long before I met you.

Oh, my God. There were a lot of walkers clinging onto this fence.

Yeah.

And you're standing there and...

And Carl's there as well. Should we help her?

'Cause he was the one that convinced me to go and get you.

And that's when Carl says, "We have to..."

Says, "We got to..." Yeah, that's right.

And pushes for her to be saved. No, I do remember that.

Guys, everybody calm down.

Carl.

That was a memorable way for the characters to meet.

It was a great way, yeah.

And also because they're so similar in temperament

and personality, there's a kind of

they're alpha, they're independent, they're stubborn.

It wasn't easy for them when they started. Yeah.

It was such a counter experience

for Michonne from the Governor. Yeah.

'Cause the Governor, he was trying to charm her

and sort of woo her into his little...

Yeah, and she was like, "Mnh-mnh."

And she does have respect for Rick

even before she meets him, because of Andrea.

And so she knows it's time to not be a loner anymore.

But the Governor was trying to treat her all good

and she's, like, flipping swords in them

and killing his zombie daughter.

But when she comes here, Rick is hostile,

but Michonne trusts that.

She trusts that, considering the world they're in,

considering the man she knows he is,

considering who he's protecting. Yeah.

And she has a lot of grace for Rick from the jump. Yeah, yeah.

So when you joined, Danai, we were in season three.

What did you feel joining this cast?

Were we a welcoming cast?

Yeah, everyone was amazing.

I remember I became immediately very close to Lauren

and of course to the awesome Steven Yeun

and of course to Laurie Holden.

You did a lot of stuff... And you were okay.

You were all right.

You were nice... you were nice enough.

You know? It was like, "Okay."

Yeah. No, I'm kidding. You were very sweet.

Apart from when I dropped you.

Well, yeah. I mean, that was a funny day.

You want to tell it?

No, you tell it 'cause it's always gonna end up going there.

If you tell it, then, you know, it'll... it'll lighten it up.

Okay, so we had a policy. In the sense that you lighten up for you.

We had a policy when we were filming

that we didn't throw marks down.

The crew were absolutely the heart and soul

of "The Walking Dead."

And we had this environment where everybody kept acting

at all times, and we didn't call "cut."

What does this have to do... I'm getting there.

This is... This is basically protecting myself.

The scene goes where... I see you drop.

I'm like, "I don't think she should come in here.

She's got a katana. She's dangerous. We need to..."

And Carl's going, "Get out. We have to save her."

So eventually I do. I concede we're gonna do that.

And it was supposed to cut when I pull you onto my back.

And I didn't do that.

And so I picked you up, got about three steps,

dropped you... And fell.

And then decided to fall on top of you as well,

which wasn't the ideal welcome.

I'm like, "What is this dude doing?

You're not supposed to do this."

I'm just lying there. I'm dead. I'm like, "I'm out. I can't..."

I remember Lennie James.

We were on the porch in Alexandria at one time

and we watched you, and you had your dreads and your katana,

and you were just sort of walking down the main street.

And he went, "Look at that." And I went, "I know."

And he went, "That's the coolest character."

We'd never seen anything quite like it.

It's so deeply, profoundly, apocalyptically cool.

You know what I mean? Mm-hmm.

I think we were just always a bit jealous.

That's probably why I dropped you.

Ha ha ha ha ha.

Speaking of jealous of great, cool characters,

your son, Chandler Riggs.

Yeah. Extraordinary young man.

Yeah. We just struck gold with that kid.

It's an extraordinary bond to see somebody grow up

in front of your eyes on screen

and spend so much time

with this incredibly impressive young man.

It's not the truth, but I spent more time with Chandler Riggs

than my own son for a lot of that decade.

That's not the truth, but it felt like that some days.

And you never know what you're gonna get with young actors

and what they're gonna turn into.

But I think he's a brilliant young man, you know,

and a very, very impressive actor.

And I always sign off "DTVS"... "Deceased TV Son"

is my sign-off with Chandler Riggs.

You know what I mean? It's a bit weird, but...

Yeah, a little... that's the way we roll here.

I couldn't speak more highly of him.

He's so incredible and really was that warm, welcoming heart

that was at the heart of this show.

It was exactly what he did for Michonne

was kind of what I felt he was towards me.

We just really clicked and got along.

I loved my scenes with him so much.

I-I just thought Judith should

should know what her mom looked like.

It was really with Carl

and the idea of this young man growing up in this world

that really warmed her heart and of course

aligned her with you very deeply

to want to keep... preserve him and save his life.

Well, we sort of had this family, didn't we?

It sort of established... before we even fell in love.

What are you doing?

Winning a bet.

In your dreams.

I'm still on.

You spoke too soon, wise guy.

This might go on a while. Maybe we can speed this up.

Yeah, you're right. Shouldn't be fooling around.

We should probably... Carl!

Lincoln: This is the one.

'Cause I know from all the scars.

Yeah.

It's so cool.

I remember doing an interview with a magazine

and they challenged me to a firing range,

and it's actually really well balanced, this thing.

And I did quite... I don't want to big myself up or anything,

but I got quite a lot. But you will.

But I will right now big myself up.

I got quite a lot of bull's-eyes with... with real things

in Atlanta.

We went to a shooting alley. Well...

He's the only one who remembers this, so...

Bit more coordinated than... than you were...

Just take his word for it. Hitting me on the head.

Just...

Why is there a rock here that says "Andy's rock"?

That's because I had a limp for a while

and I liked that rock in my boot.

And I get a little bit OCD about things.

No!

And this was the one that I had to have.

So... You?

Yeah, and so I would put that in my boot

because we didn't want to fake it.

I mean, it's absurd, but, yeah, that's what we did.

So that's why I was hobbling around

with that rock in my boot. Wow.

And we got it from outside the prison, actually.

Wow. Yeah.

I have to say, I am very moved by good prop making and design.

It really helps, doesn't it? Yeah. It does.

And we were so fortunate in the show

to have such an incredible design team in all areas.

And also, of course, Greg and KNB.

And it's just... I mean, we were so fortunate.

We would walk into environments. They weren't, sort of, sets.

No. It was an environment.

So, Danai, apart from you stealing your katana...

Does that make sense? Me stealing my katana.

Just break down that sentence for a second, everybody. Just...

Apart from stealing your katana... Does that make sense?

Was that the one that

wasn't in the Smithsonian

but it found its way into your apartment in New York.

Don't tell people where it is!

Apart from the katana... It's, um...

Apart from the katana that you decided to pilfer... I took it to

are there any other props

that you would have liked to have held on to?

Listen...

Don't be mad 'cause you don't have a katana.

Yeah, I am jealous. I know.

It's like Norman used to end each season on a motorbike.

Norman took... he took every crossbow.

He took one home at the end of every season.

Every season. In full costume.

Yeah. With a crossbow. Driving home.

Just going, "Thank you for another good season."

Yeah. On a bike that was probably designed by him.

I had to wait nine years to get my katana.

Um, so, yeah.

Is there another prop or thing I would like to have kept?

Maybe the Governor's eyeball.

Ohh! That's cool.

I don't know if we really got it.

She just put it in, but I don't think

she yanked it out, you know?

But I think we should have a thing of the eyeball

with that piece of glass stuck in it.

That would be amazing. Yeah, I want that.

Speaking of that, I'll never forget Dave Morrissey,

who played the Governor... Yes.

Attacking in such a badass way

out on that field.

Go ahead!

Screaming, all the rest of it, and shooting at us

when the war was kicking off.

And then he got into his car

and he had, obviously, the patch on

and he started driving, and he just lifted his patch up...

'cause he couldn't

'cause he couldn't drive with one eye.

He was terrified.

I just remember going, "Um...

That's not that bada..."

They can cut around it. They can cut around it.

All right, okay. Why you calling him out?

We love you, David. You're amazing.

Love you, David. Incredible, incredible actor.

Amazing. What is that?

Judith and Carl.

Mm.

But where was that? What is that?

Is it the w...

The porch. Oh, the porch of the house.

Did you just cut it out of the porch

and leave a hole in the porch?

Are you sure about that?

Sure you didn't just leave a hole in the...

I'm gonna check later on when we go.

Look at that. There we go.

Had my arse out, as they say in Scotland

for the whole of the first episode right there.

Gurira: Okay, moving on.

Right. Right.

Now we're talking.

This was my first outfit that the fantastic Eulyn Hufkie,

who was our costume designer for many years,

and did a fantastic job.

Amazing job. Yeah.

I think she really enjoyed kind of stepping away

from certain things that the show had had,

like duller colours.

So Michonne kind of got more color...

That felt like a dig. I don't know about you... in her palette.

Duller color?

You brightened up the show.

No, I didn't say that.

I said Eulyn decided to give me colour.

And then we covered you in blood.

Oh, God. The boots.

I can't... I can't even believe all the stuff I did this.

But there came a time I had to graduate these

and put on some shoes

with a bit more... more heel support.

But, like, listen, sturdy as hell.

Like, nothing's gonna get past them or around them.

So you were being appropriate to the environment

is what you're saying.

We were... you know, we were down and out in the dirt,

eating dogs.

Yeah, that was a low point.

It was low. I have to admit.

And I think, at the end of it,

we meet Aaron after we,

and we're in the barn and you look at me,

and I'm like... nod.

And then you punch him. Yeah.

Like, I wasn't saying, "Punch him."

I thought... I thought that was the nod.

I was saying, "I believe what he's saying."

So we're clear, that look wasn't a "let's attack that man" look.

It was a "he seems like an okay guy to me" look.

She's like, "We've got to give this guy a shot,"

because her instincts are saying this could be a place,

as she says to you in that episode,

where Judith could grow up.

We can't just toss him aside and say he's lying.

Yeah. Yeah.

We don't need to find out.

We do.

You know what you know, and you're sure of it.

But I'm not.

Maggie: Me neither.

Your way's dangerous. Mine isn't.

Passing up someplace where we can live?

Where Judith can live?

That's pretty dangerous.

We need to find out what this is.

I'd call dibs on that one.

It's got more... curb appeal.

Lincoln: Because this hasn't changed that much

I feel this is like

more shocking to my system, seeing this now.

I mean, we've shot every single part of this place.

So, what did you feel like when you came here?

Were you just relieved to get a hot shower?

Gurira: It was about the idea of moving

into something structured and real that was safe and good

and the belief that that had still exist,

that Michonne was holding on to.

And she was the one who said, "Let's go towards D.C."

She was the one who said,

"We've got to give Aaron a chance." Yeah, yeah.

And she's the one who persuaded you to come here

and you didn't know whether or not you were gonna

be able to do it, and we have that conversation

that was about what you would hear when we got there.

And when we got to the doors, we hear children laughing.

I loved coming here because it was... it was

it was about coming together

in a place that was, yes, clean and beautiful

and we could not shoot on the side of a ditch road.

I hated it, actually. I really...

I know, that's perfect for our characters.

I hated it 'cause it was, like, clean.

I didn't feel real.

It just didn't feel like the show,

and I was really uncomfortable.

And also then I had to shave my beard off

and I was furious about that.

Which we all thought was great.

Yeah, it was... well, I'm glad you did.

He had this wretchedly massive beard.

It was like you could not see his face at all.

But I thought I was really rocking it,

and then my son, who likes to humiliate me,

showed me a photo of the beard, and I was like,

"Oh, man, that was like about four months too big.

"Why didn't anybody tell me?" It was a lot. It was a lot.

It was a bad look. And then it was like...

It was a real shock, like,

'cause all the men on set, in solidarity,

shaved their beards when he shaved his.

It was a really shocking day to come to work.

And all the girls were like, "Did you see Andy?! Oh, my God!"

So he was a little hottie on set for a few days.

And then it was like, "Eh, it's just Andy."

We did double takes. It was weird.

Like, "Oh, my God. That was under there?"

And then we had to wear that uniform,

which made me feel a bit weird as well.

What was your reaction to Deanna appointing us constables?

Well, I mean, the good thing about it

was that it allowed us to have authority.

There was a nervousness about, are they gonna try to eat us

like Terminus did or try to kill us?

Like, what is about to happen here?

And so I think the cool thing was the idea

that she was entrusting us.

It was really her reaching out and saying,

"I entrust you with the authority over this place."

I'd like you to be our constable.

That's what you were.

That's what you are.

And you too.

I sort of took the law into my own hands a little bit. Exactly.

He became the biggest outlaw in the whole doggone place.

He was a dick.

He was, but, I mean, I rewatched that

and I was like, "Oh, my God."

That was really some crazy vigilante stuff you went after,

and it was really just because you had a crush on his wife.

A little bit. Would you care if you didn't have a crush on his wife?

Yes, I was... I was entrusted as being a constable.

I was making... I was keeping the peace. That's not how a constable functions. Give me a break.

I was keeping the peace by breaking a few... I kept the peace, and I knocked your ass out.

That was keeping the peace.

But it made for great drama.

If you don't fight, you die.

I'm not gonna stand by...

Was it a conscious decision to actually hit me?

Uh, it was a conscious decision to make it work

and trust that you could take it, whatever it took.

Wow.

But no, I did not consciously want to actually make contact.

Okay. It just... Andy, come on.

I probably deserved it. I had it coming.

Probably. But it was just a little clip.

It was a tap. Yeah.

And I think it helped you...

Hit the deck... Enact your action.

Yeah, true. Yeah. Which you did pretty well.

Thank you.

Yeah, you looked pretty messed up.

I loved how it came out, quite honestly.

I thought it looked great.

Ha ha ha ha!

The punch did lead to a very tender moment

between Rick and Michonne,

which I think was definitely a hint at what was to come,

which was the scene where he's sort of admitting

that he lied to her...

Yeah... And was scared to tell the truth,

'cause she could talk him out of things,

and hands her his gun. Yeah.

And her response is to trust him

and to make him keep his gun...

Yeah... and to trust him to make the right move

and to let him know that she's still with him

even if things don't work out here.

I think that was a very telling moment

between them as future partners.

Yeah.

This is exactly where it happened.

Mm-hmm.

When did Scott actually... Scott Gimple

when did he tell you?

He told me at the beginning of the season. Ah.

He told me in a way that was very like

he was almost too afraid to mention it in full sentences.

But he basically told me.

You know, we had had conversations

about why I was grouped with you so much.

And one of the writers said to me one time, they're like,

"Well, we just keep writing to Rick and Michonne

because those scenes just work so well.

We just keep writing them."

And so he'd been talking about things like that to me,

and then he just said, "That thing that keeps happening

over this year, it'll..."

And he couldn't bring his

he couldn't bring the words out of his mouth.

Like he was scared. That's so Gimple.

Like the walls were listening, you know?

And I was like, "You mean Rick and Michonne get together?"

He's like, "Well, we don't want to say out loud! But yeah."

So he... he had always... but it really did freak me out

to see it on the page.

Oh, God, yeah. I was freaked out.

I was like, "Holy shit."

But then it made absolute sense as soon as we did the scene.

Yeah, I will give Rick this...

It looked like he was making the move

and she was responding in shock to the realisation

that this is exactly what she's wanted,

but not dared to truly bring to full consciousness.

And now it was just dead clear.

Well, and I think it was also, for the group dynamic,

it was already established that there was a sort of

father and mother of the rest of the group.

Certainly the biggest baby in the group, Daryl Dixon,

you know, felt that much earlier on.

He had very mixed feelings about our coupling.

He was so... oh, my God, he still does.

He was like, "I'm mad. Don't touch me. I'm mad."

Yeah. I was like, "What are you mad about?"

He's like, "Michonne's supposed to be with Daryl." Yeah.

But then at the same time, he was like,

"Rick's supposed to be with Daryl."

Yeah. So he was just in a bit of a conundrum.

Yeah, he just didn't know where to turn.

He was very confused.

It was a very difficult season for Normski, bless him.

Bless him.

Son...

What?

Go! Go!

Lincoln: So, Danai, this spot in particular, does it haunt you?

Yeah, this was the Negan lineup place

where it felt like we spent about 200 days

shooting on our knees.

It was... It was awful.

And it was... like, the saddest part was to see,

like, how defenceless we were.

Like, we had no way out of that situation.

Eeny...

Meeny

miny

moe.

And we lost two spectacularly brilliant actors.

Yeah. Yeah.

It was just here, wasn't it? I mean, it was...

And they had that horrible whistle, didn't they?

With that...

That

Yeah. That.

And he was such a saunterer, you know?

Mr. JDM.

We had to just spent hours and hours just watching him

just masquerade, you know? Yeah.

Well, bless him.

I mean, he did have to come and... Oh, no, no, no.

He was brilliant, I mean.

And do 14 pages of dialogue.

I know, taking that role, like, just dropping in

and just blanching us, that's no small task.

It took a titan like JDM to do what he did. Yeah, he was brilliant.

It was, I mean, from an audience perspective,

he was extremely entertaining

but utterly horrifying, diabolical.

I still think that that... the reconciliation was,

you know, so difficult with with the Saviours, wasn't it?

It was such a... an amazing sort of ambitious idea

for the writers to try and rehabilitate him.

Yeah. And they did it.

They kind of did it. Yeah.

I mean, I think by the time I leave the show,

he's still locked up in a cage.

Yeah. Good.

Oh, but also, you know, losing Steven,

I fought so hard to try and save Stephen. Did you?

Yeah, because, you know,

he was such a great friend and he'd been there.

He was a pillar of the show.

Yeah. Big-time, big-time.

But the death dinner was a tradition

that kind of kicked in very early.

I think it was Sarah Wayne Callies that just went,

"Well, let's do a death dinner."

Great. It was a great idea.

And what it did is that it made sort of more sense

for the person leaving, hopefully, but also helped

everybody recover from the change in the dynamic.

Yeah. You know, which I thought was really inspired.

And everyone could express love to the person.

Yeah, it was great. It was just...

Yeah, it was. It was like having your funeral and being alive.

Yeah.

With Steven's, I had this idea.

I was like, Steven was such, like, a performer.

He could dance, he could sing like none of us could.

And he would just be always just singing

like a lot of Justin Timberlake

and like, you know, the boy-band stuff.

So we did "I Want It That Way" as a lip sync.

We were all in white pants, and we were all being like the guy.

Oh, I do you remember that? Yeah, yeah.

And then Cudlitz as well. Lovely Michael Cudlitz.

Yes, who then came and directed and directed some... Brilliant.

Astounding moments I've been able to do with him as an actor.

I know there's a moment in there you don't like

and I won't talk about it, but...

Yeah, let's talk about it. Why...

'Cause why would you just bring it up and then just move on?

It was just a moment where Ezekiel was about to

possibly take his own life, and Michonne stops him,

and in his gratitude... With your lips.

No. No. You stopped him with your lips.

In his gratitude, he then... we hug.

And then, surprisingly to Michonne, he does kiss her.

Oh, he kisses her. Yeah, of course he kisses her!

She didn't kiss him. Was it reciprocated?

How long was it? No, not really.

It couldn't have been more than three...

Okay, that's reciprocated. Two, three seconds.

Anything past a second... That is not reciprocated.

How? How is that reciprocation? ...Is reciprocated.

She pulls back like this. If someone kisses, you move away.

But you're never gonna watch it, so this isn't a problem.

That's not even a second. It's like half a second.

It's weird. It's weird. Oh, my God.

And then she proceeds to only talk about Rick, like, so...

That's even weirder.

You might not know about this, but in my final episode, I

it was like a "Sliding Doors" thing.

You kiss someone else?

I didn't kiss anybody. Okay, good.

Well, I mean, if we're gonna do it, let's do it now.

No, no. While we're recapping.

Nobody...

It was just a moment where... you're so silly.

You kind of go through a journey with her

of how it could have gone if she hadn't made the choice,

through her humanity, to save her.

And so you see this really gruesome sequence

where she just leaves Andrea to get killed. Wow.

So that's like her other reality

and she becomes a Saviour.

What?

So this is all a "Sliding Door"

sort of thing that's going on in her mind.

She's hallucinating because she's been made high

by some tea that causes hallucinations.

Long story. It's how she finds your boots, though. Long story.

So then she's walking down the line, and it's really freaky.

I have an incident with you guys where I'm the person saying,

"Help me," and then you guys drive past me in the car

when I have the orange backpack from episode 12...

Oh, wow, wild... But I'm that person.

How wild. So then I have beef with you guys.

Something else happens and I... oh, yeah,

you go and shoot all the people in the thing that we do.

Yeah, yeah, yeah. And so I have personal beef with you guys

'cause I'm in one of the beds

and I shoot a couple people and get away.

This is... who wrote this?

It's crazy. This is a great episode.

He comes down the line... I kind of wish I watched the show now.

I kind of wish you did too sometimes.

It sounds like a really good episode.

He comes down the line, he sees everybody.

Then he says, "Now I'm gonna let my girl

who's been doing such great work make her decision."

Oh, and you kill the person in the lineup?

Yeah, but it ends up being I kill myself.

What happens next...

It's your fault.

Welcome to the new world.

Hagh!

I wonder how many scenes we've done on this porch.

You know what I mean? It's so bizarre. Mm-hmm.

This isn't the right porch, but it's just brought to mind,

you know, Scott Wilson and his porch scene,

which is after Carl's been shot and we go to the farm.

And I just want to shout out Scott Wilson just because...

Yes, the great Scott Wilson.

Just because it was such a privilege.

He was just one of those extraordinary mentors,

wasn't he, that we all loved.

Your exit from the show...

Yeah.

I thought they did such a beautiful job.

Particularly, I loved our scene on the bridge.

You're my family.

I found you.

You did.

Lincoln: We were able to say so much in that episode

because of bringing extraordinary actors back,

like Jon Bernthal and... and Scott.

And I think that that was the brilliance of the writing

was really, really proper genre writing

that you could sort of break apart the form

and try different things and fail sometimes,

but sometimes it works.

I thought they did a magnificent job with that exit.

I found them.

I have a B.

Not an A. I never had an A.

He's hurt, but he's strong. Can you help him?

I'm trying to save a friend.

A friend who saved me.

I have something for you now.

We have a deal?

You're still here.

You're gonna be okay.

They're gonna save you.

It was hard leaving the show. It was really hard.

I knew what I was doing.

I knew what I was... the hole that I was leaving.

And there was that draw of wanting to stay

and be with my family here, but knowing that my real family

was needing me back home, you know?

And it... And it was... and, you know, the truth was,

I could have gone a year earlier, and I wasn't ready to.

I remember we were at Comic-Con and I went, "I can't do it."

And I said... I saw everybody, and I was just like,

"I'm gonna have to stay a bit longer.

I said to Scott, I said, "Scott, I don't think I can do it yet.

I haven't made peace with it."

You know, it was a big deal.

This is gonna sound wrong, but...

You preferred your experience after I'd left the show. No.

No, I don't mean it like that. I don't, I swear.

I don't. "But..."

But there was an interesting... There was a "but" coming.

There was a navigation she had to make. You can't...

Okay, that's it. You have to go your...

It was like we had to jump six years forward.

And then she has a son now.

She has a five-year-old that looks just like him.

And then she has this very precocious 12-year-old daughter

who walks around with her little katana on her back.

It was just so riveting and amazing to work with her.

Incredible. It was just new beginnings so quick.

It was super smart.

This little katana on her back, which I just loved.

Yeah. I already mentioned it.

I loved that little thing on her back.

Now she's kind of outgrown it, hasn't she?

Did you steal that as well?

Who exactly is supposed to have that katana except me?

Who, Andy? Who?

Was it difficult for you?

Because you went the following year.

Well, when you said you were leaving,

I think I knew it was my time as well coming.

And I didn't know exactly how or when,

but I knew I had to start thinking like that.

And when you left, you said, "Now go lead."

And I was like, "What?" Oh, yeah.

I was like, "That's scary." Yeah.

And I was like, "How?"

And you were like, "Just do what you... Do you. Be you."

And I was like, "What the F does that mean?"

And I was like... you walked away like fucking Yoda.

And I'm just left like... "What?"

I think I might have meant that for Norman, that...

No, you didn't.

No, I'm joking.

Though, yeah, I mean, I was surprised

that you said it to me, but you did.

You... You asked me the question, you know, earlier...

What has it been like to return to him?

And I said, well, it's... it's so easy and so effortless

but also deeply important to do it as well.

And I'm thankful for you because you were the one that said,

"We have to. We should.

You know, there's a story to be told

and we need to finish this thing."

And... And I thank you for that.

And, you know, it's been such a special experience.

You can't... no matter how many of these we do

and how much information we give you on film or... or in books

or whatever, or at Comic-Cons, you know, we lived it.

It's like, I was thinking as I was driving here, going,

I used to drive back listening to Johnny Cash

when we'd done a day that was great,

like when you knocked me out

and we had one of those big days,

and there was nothing better than seeing

a sort of Georgia sunset,

listening to a bit of Johnny Cash and going,

"We had a good day at the office."

And only we sort of shared that.

And it was... and it's a very, very special,

you know, thing that we'll always have.

Yeah.

Hey, Rick.

Come here.

Look at this.

This place.

It's beautiful.

Man on P.A.: Consignee Grimes, you've been located

and are instructed to surrender.

Remain in place with your hands up.

Come on, Rick.

It's like he told you.

There's no escape from the living.

Michonne: Remember what I said.

It's what he said. Hold it to your heart.

It's true.

Forever.

We are the ones who live.

Rick: We're the ones who live.

What was it like, Danai, to reprise the role of Michonne

in the six-part miniseries for AMC?

It was incredible. I mean, it was very intense.

I mean, we started off, it was the three of us,

you know, creating this thing,

and we got a lot done in a short amount of time

in terms of figuring out what this was supposed to be.

It was an epic love story

is kind of the heart of it, wasn't it?

These two incredibly similar types of people

that love one another have disappeared

from the mother ship, and we just wanted

to sort of fill in the blanks, really, didn't we?

Well, yeah, it was it was definitely a story

that needed to be completed.

And I do think that these characters are so beloved,

you know, by us as well.

You know, we were... so to be part of that creative process

and to have a bit more input from the sort of the genesis

was really exciting because, you know,

and I think a lot of it was, "What would I want to see?"

Mm-hmm. You know, you wrote an episode

and starred in it and produced an episode

as you were filming... Yeah.

As well, and I was so impressed.

I was so kind of shocked at your capacity

to be able to wear all of these hats at the same time.

I don't think I would be able to do that,

you know what I mean?

Were you able to kind of navigate that?

Yeah, I mean, it was... it was intense.

It was intense, but it was just like

once I'd started to write it

and I was getting more and more invested in getting it as rich

as it needed to be for the characters and for the journey,

there was just no letting go of it.

It was like, it's your kid. Now it's just your kid.

You just take care of your kid.

But anyway, the long and short of it was

it was extremely intense and extremely hard

and also extremely rewarding. Yeah.

Everybody was just incredible with enacting the vision I had.

As were you. As were you, Andy.

Bless you. No, but we were...

Sometimes I was a little... bossy. No, no, but...

You... no. "Bossy" is not the right word.

Is it not the right word? No.

Good! What was it? I think "specific."

Okay! I love that word! Yay.

But I think.

The fact that we're trying to explore a new world,

we're sort of world-building.

We're not "sort of." We are world building.

And what I've always loved in the show

is when we meet people or strangers

and you hear their story.

So what I want to hear is the bigger story

of what's been happening in the

you know, in America, in the continent,

while we've been scrabbling around in the dirt.

But also, for me, it was always about the reason that we do this

is to get these two lovers together, to tell a love story.

Because after all, when you're on your deathbed,

what else is worth talking about?

You know what I mean? Right, right.

It's love, man. Right.

And I think that the story began with a man

looking for his family,

and it finishes, potentially, with these two lovers,

hopefully finding one another and completing the circle.

Yeah. Yeah, yeah.