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But it was only on the set of Bloodline that she realised modern television drama came together with a freeness she hadn’t felt since making films in the Seventies – the same freeness that allowed Malick to send his cast and crew hurtling across the desert on a whim during the shooting of Badlands, on hare-brained quests to capture a scene, or even a single shot, while the light was right.There was no way for her to work out who Sally Rayburn was before filming began, for example, because Bloodline’s script wasn’t finished until shortly before the final scenes were shot.• How Robert Altman blew up the Hollywood rule book “It scared me and it thrilled me,” she says.“It’s like you’re always trying to find your trail.Husband Robert (Sam Shepard) helps her run their successful beachside resort; when the show opens, they’re about to have a local pier named in their honour.Their second son, John (Kyle Chandler), works with the local sheriff’s office, while Kevin (Norbert Leo Butz), their third, refurbishes boats at the harbour.“I remember looking at this water and thinking, ‘I know I’m not supposed to do this,’” she says, with a slowly broadening smile.
They were lighting a series of enormous bonfires Fisk had built earlier in the day: labour-intensive but virtually cost-free stand-ins for the oil refinery flares that Holly and Kit, Martin Sheen’s handsome young serial killer, would watch burning on the edge of the horizon.We don’t know what’s going to happen because I don’t even think they (series creators Todd A Kessler, Glenn Kessler and Daniel Zelman) know what’s going to happen.They watch what we’re doing and say, ‘Okay, let’s follow that.’ And creatively, I respect that so much. She’s leaning forward in her armchair as if she’s about to share a secret, speaking in a gently Texan-accented voice that’s as warm and soothing as sunlight.“My brother and I must have been six or seven years old. We went with my mother to an African-American lady’s home who did upholstery, and we stayed outside and played with her two children while our mothers were indoors, discussing this upholstery work.” This was East Texas in the mid-1950s: a time when whites and blacks lived in separate neighbourhoods, and churches and schools were still segregated.