"Dissonance Theory" gave you two big shootout moments to direct.
Natali: It did! Unfortunately, they cut a big chunk out of one of my shootouts [the one at the watering hole]. I really love Sam Peckinpah's stuff, and that was very, very, very consciously aping him.
How tied down were you to the Sweetwater shootout that Jonathan staged in the first episode? Technically the two are very similar.
Natali: The Sweetwater one was interesting because, yeah, I got to revisit it. I saw Jonathan's pilot, which was amazing, and then we are re-entering that same scenario from a slightly different perspective and with a few additional ingredients. There's actually a meta thing about this whole show, but there was a meta aspect to directing it, too, because I was having to recreate something that had already been shot. It was fun mixing and matching my footage with what had already been shot. Because of time reasons, I tried to limit the amount of footage I was shooting. I reused a lot of Jonathan's stuff, which was great, too. It was actually fun trying to gently caress my own shots into something he had established.