- Synced and corrected by chamallow - - www.addic7ed.com -
[soft piano music]
I didn't know it would last this long. I had no idea.
It's been so freeing to create this world
and to live in this world for this long.
♪
It's just a really special bond that we have.
We didn't have nearly as large of a cast back then,
so it was a much smaller ragtag group of people
who were there all the time.
It was just us in the woods
as a family just kicking butt.
I wasn't really 100% sure
how the general public would take it.
We never dreamed that there would be
this kind of response to this show.
[cheers and applause]
21 million people a week watching your show at the height of it.
I thought that I would be fine, prepared.
I fucking was not.
Because it was like jumping on a moving train.
You will not be able to talk about the history of television
without talking about AMC's "The Walking Dead."
I love that I get to be a part of something
that meant so much to people.
For all the skepticism
about whether a zombie show could work on TV,
it kind of blew everyone away
as to what could be done with the genre.
It felt very special from the beginning.
How do you bring a story like this
to a conclusion that is worth the legacy
of what this show is?
What do we want to give people?
Why have they been with us this long?
And how do we honor that?
The goal from the beginning was, make it as big
and make it as impressive as we possibly can.
It's just gonna be crazy, man.
Have I thought about the end? Yeah.
Kind of breaks my heart, to be honest.
We're gonna see
a bit of the OG "Walking Dead" return.
Get ready. It's gonna be bloody.
[laughs]
♪
So we ready to roll?
I'll have you introduce yourself,
uh, and kind of tell me what your job is on the show.
Hi. I'm Tom Luse.
I'm an executive producer on "The Walking Dead"
and part of the producing team.
I'm Denise Huth, and I'm one
of the executive producers on "The Walking Dead."
My name is Scott Gimple.
I am the chief content officer of "The Walking Dead" universe.
My name is Angela Kang,
and I am the showrunner of "The Walking Dead."
My name is Gregory Paul Nicotero,
March 15, 1963,
Pittsburgh, Pennsylvania.
Yeah, I've been here basically longer than anybody.
[laughing] So I know it all.
[dramatic music]
For any of us that started on the show early enough,
I don't know that there were very many people who were like,
"This could totally become a franchise."
We were just like, "Well, this is the show,
and we're gonna make the best version of this show
that we can for as long as we're allowed to."
"The Walking Dead" has always been
the greatest summer camp on Earth.
That aspect of it, of us being in Senoia,
this lovely little town,
just doing our thing away from the world,
there was a purity to that.
The expectations at the beginning
were not that we were gonna become what we have become.
It's been interesting.
I've done a lot of zombie movies.
I've never done a zombie school.
So I thought that it was really good for me
to be able to go through and kind of handpick
the people that I really liked.
For quite a while, we had talked
about the idea of doing some sort of genre zombie show.
And then, of course,
"The Walking Dead" comes along, the comic book.
We first got the rights to the comic book way back in 2005
and spent five years trying to get it made.
And so AMC finally said yes,
and we were able to shoot that first season in 2010.
Norman Reedus, take one.
There was so much care and thought
that went into that original casting.
You know, I remember being there
for when Andy came and did a screen test
and Bernthal and Sarah,
and it just felt very special from the beginning.
It felt like this little kernel of something
that could be amazing and we wanted to protect.
I won't do it.
We can't just leave.
Carol, the group is split.
We're scattered and weak.
What if she comes back and we're not here?
Could happen.
If Sophia found her way back and we were gone,
that would be awful.
I came to be a part of the show
having done a film called "The Mist."
And I think it was three years later
and totally unexpected.
Got a phone call they had a role for me in "The Walking Dead."
I had no idea what "The Walking Dead" was.
I remember going to the comic store
to find out what it was,
and I opened the book, just some random page.
And it was... [growls]
And I was like, "Oh, dear. Oh, dear. Well, I don't know.
What am I getting myself into?"
I read the pilot.
It seemed super honest.
I didn't really read zombies into the pilot.
I saw a man trying to find his family
and being confused and worried.
And it really struck with me.
♪
Dad!
Getting cast on the show was
pretty fast and really exciting.
They originally had said, "We're gonna bring you out
for a screen test with Steven Yeun."
And then, like, a day later, they said,
"Actually, we're gonna fly you to Georgia
and you're gonna start filming."
It was just sort of the perfect work atmosphere.
And everybody was very excited
'cause we were going into an unknown.
There wasn't a show quite like "The Walking Dead."
Nobody knew what was going to become of it.
We were aware that this would be a six-episode pilot.
We didn't know if we would have another season.
There was no expectation of a season two.
So it sort of felt like, do whatever we gotta do
and just get through those six episodes.
Our production budget and our crew size was modest.
We had very few resources to make the show.
What we had were an amazingly dedicated team
behind and in front of the camera.
A variety of different bloods.
This is, like, our zombie blood.
We have dark zombie blood, dressing blood,
pumping blood, dark pumping blood,
mouth blood, zombie mouth blood.
I think six different kinds of blood?
Something like that, yeah.
We shot on 16 millimeter film.
We did almost all of our effects in camera
and kind of embraced an old-school horror mentality
that got me very excited about new ways of filmmaking.
Ooh. There we go.
You know, it felt like a little feature, to be honest.
It felt like a movie.
Who are these people?
It was the first thing I'd done with a group of actors
that were 100% behind you.
Everybody was in it to win it,
and it was a family.
That whole ensemble feel
was really laid down
really nicely by Andy Lincoln.
He was like a superb leader.
I want to make this as real, as harrowing,
as raw, and as exciting as I can possibly do.
I'm gonna give it my all.
Everybody really bonded like that.
You know, we were away from Hollywood,
away from our families.
We were out here in the woods.
It was just kind of our little bubble.
It's sort of the lure of the show,
how the cast in those first few seasons...
you know, they never went to their trailers.
They never weren't on set.
It's just they came to set in the mornings,
and that's where they were.
This is a segment called Hugs for Free.
No, no, no.
It felt very... almost student-film-ish in a way,
but we had a better budget than that.
[all exclaim]
I mean, not great, but better.
- Episode two in the can. - Yay!
A lot of people initially were like,
"Oh, yeah, I don't really...
it's a zombie show. It's not really my thing."
And then word of mouth came out,
and people would say, "It's not a zombie show.
There are zombies in it,
but that's not what it's about.
This is a story about survival.
This is a story about people banding together
to fight against a greater common enemy.
And that's how we fell in love with Daryl,
you fell in love with Carol, you fell in love with Maggie,
you fell in love with Rick.
And that's when the show began to gain a lot of momentum.
It was pretty fascinating what we were able to do.
The fact that we were changing the rules of television
and changing the rules of genre storytelling.
I really do feel that "Walking Dead's" footprint
has been emulated in so many shows since then,
because up to that point,
we'd never seen anything like it on TV.
I remember early on thinking,
"This is absolutely phenomenal."
Suddenly, people know who I am.
And you realize this is kind of a big deal.
There was definitely a moment
when it felt a bit overwhelming that it had gotten so popular,
and I remember Steven and I talking about it
and kind of trying to find a way to process that...
That you were that interesting to people.
You know, the thing about the fandom
and the popularity of the show,
we didn't really feel it till, like, season three
or four because we were out here.
We were so deep in it that we didn't
really see the outside world.
It's pretty incredible to be a part
of something that becomes a worldwide phenomenon.
I feel so fortunate to have been
a part of putting something together
that resonated as much as this did.
[cheers and applause]
It wasn't like we went to those fan events
and there was, like, 10 people,
and then 100 people, and 1,000 people.
We just went to them and there was 10,000 people,
like, right off the bat.
And it was like that everywhere.
There were drones being flown around here,
people trying to spy.
There were people hiding in the woods.
I've never had an experience where I've gone somewhere
or somebody's noticed or said anything
when it hasn't been an emotional connection with a fan.
And... and I just thought, "Yeah,
because that's how we feel when we make it."
[dramatic music]
♪
The thing that's interesting right now
in terms of making people realize is,
is that, you know, we're officially in prep
for the last episode.
It's not just an episode.
Walkers, everybody... stunt walkers,
everybody's gotta be full performance every time.
No sleeping walkers.
Every time, it's gotta be spot on, right?
So am I looking into...
You look at me.
Look at you? Great.
Well, they're also prescription.
- [laughs] - Are they?
I can... I'll take them off at some point.
How about that?
So how much of me can you see?
Waist up?
My white socks.
So you can see my socks?
- White socks. - Hold on. Let's cut.
Yeah.
You should sit over there, because that way,
if I say something bad, I can see Brandy
over your shoulder going...
Yeah, I feel like I should be...
I should be here, though.
I should be like, "I can't believe it's over."
[dramatic music]
My name is Ross Marquand, and I play Aaron.
Hi, I'm Seth Gilliam, and I play Father Gabriel.
I'm Josh McDermitt. I play Eugene.
Hi. I'm Khary Payton. I play King Ezekiel.
My name is Cailey Fleming, and I play Judith Grimes.
Hi. I'm Lauren Ridloff.
I play Connie on "The Walking Dead."
♪
The experience getting cast on the show,
- for me, was life-changing. - It was pretty surreal.
Fans came up to me and said, "You should be Negan."
It was maybe the most exhilarating work
I think I'd ever done up to that point.
I was a bit intimidated coming here
with an ensemble cast who had been doing this
and had made such a name for themselves.
Very intimidating coming into a show that you love.
You don't want to be the one who screws it up.
It was kind of like, "Here's the script, dude.
Don't screw this up", you know?
But we'd all tell you the same thing.
We were welcomed right away.
You know, Andy gave me some shit initially.
But it was very good-natured.
[giggling]
My first day on set, I was just blown away
about how kind they were.
They were so welcoming and accepting of me.
- Hi. - I'm Andy. What's your name?
- Addie. - Addie.
Andy Lincoln came on a day off just to greet us.
Who's done that for me before in my career?
Nobody.
Before I even got on a plane to fly out to Georgia,
Steven Yeun was emailing me saying, "Hey, here's my number.
Let's hang out, let's..."
you know, "Welcome to the show.
I'm excited to be working with you."
That really set the tone.
When you're coming into such a crazy environment,
it's such a nice thing to do.
I want to do that for people in my career.
[indistinct chatter]
♪
This was a really tricky year.
It's been a really tricky two years for the entire world.
And our writers were already well at work
in the room in January, February, March of 2020.
Our usual schedule, we start the writers room in January.
And then, you know, we work for a certain number of weeks,
and then we pitch AMC the... our plans for the season,
and then we start writing, and then we start shooting
somewhere around the end of April, beginning of May.
We had actually just had a pitch,
what we thought was gonna be a traditional season 11 of 16 episodes.
And then the pandemic hit.
At that time, we were already in pre-prep.
Like, sets were being built,
department heads were getting ready to travel,
like, all of that kind of stuff.
It became apparent that this wasn't,
like, gonna be a four-week thing,
where we pause and then we got back up and running.
We were just starting to understand
it was going to be very hard to produce
the episodes that we initially had planned
for the start of season 11.
But we were one of the early shows
that started producing again.
Really, not very many people were able
to get up and running very quickly in 2020
because there were all these health protocols
that had to be figured out.
It was this huge learning curve.
- I got you. - Thank you so much.
♪
I honestly thought this show was gonna keep going for a while.
One, I think more than anything,
it was a shock.
I kind of had a wave of panic.
I was like, "Wait, wait, wait,
I'm never going back there again?
What are you talking about?"
I don't know. It's just... it's surreal.
I haven't really accepted that it's over,
I don't think, to be honest.
And then we got this phone call saying,
"Hey, so we're gonna do 24 episodes."
And of course, first thing I thought about is,
"Holy shit, like, shooting 16 episodes almost kills us.
How are we gonna shoot 24 episodes?"
I mean, this is not a courtroom drama.
This show is hardcore.
It's like every episode, we approach it
like it's its own little indie movie.
I think for everybody, just the idea
of how do we produce this in the time that we have
with the restrictions that we have?
How do you bring a story like this
to a conclusion that is worth the legacy of what this show is?
This is a very widespread story
with literally dozens of well-known characters
that we all have to... you have to pay off.
And that is... that's a very difficult,
very difficult thing to do.
People are getting used to it.
What I'll say is that, like,
I know that every person in this room
was like, "Oh, shit, we have to end the series.
- Like, let us not fuck this up." - Yeah. Yeah, yeah, yeah.
Angela Kang and the writers really had to,
you know, drop whole things that they had been working on
to shift gears to do more episodes
to get us into the 24 episodes of season 11.
Oh, and by the way, you also have to wrap up the whole show.
♪
This is the end of the series,
so we have to, like...
you've gotta raise those stakes in a way
that, like, elevates it to the point
where these are the rides we're gonna take you on.
It's like a story of, like, the gut, the heart.
You're dealing with, like, almost, like, the bureaucracy
and the institution itself
as being the enemy of human progress
and, like, how people with good intentions
can still build something evil.
I don't think the Commonwealth thinks they're evil,
given what's happened all around them.
In all societies where there's, like, a figurehead
and they have all the power,
ultimately that power will corrupt.
So how do you still ground that down
in the visceral sort of thing
that makes it "The Walking Dead"?
We know that there's still a contingent
of our people in Commonwealth that are in imminent danger.
Well, the alternative is, you go out into the wasteland
and you eat worms. The alternative is literally hell.
Yeah.
It's teeing up what becomes a do-or-die kind of situation.
[soft music]
♪
There's a big statement being made this season.
It's not really what we're used to.
It's something we've fallen on.
And then the writers themselves are telling a story
of equality and social justice.
I feel like through the apocalypse,
we rediscover what is really important to us.
And then we have to reenter society.
And that is the Commonwealth.
And we face the threat
of losing ourselves once again.
So the battle is really about
[soft dramatic music]
You've fallen on hard times.
And that is where the Commonwealth
is more than willing to help.
If you remain, we can provide labor and materials
to help you build back all you've lost.
However,
if any are interested,
I do have another,
potentially more interesting choice to offer.
♪
This whole season feels like an escalation across the board.
Now we're at a place where we have multiple communities.
And we introduced Commonwealth this year,
which is by far the most advanced community
we've ever seen in the history of the show.
You know, it's a community of 50,000 people.
It's the closest thing to what the world used to look like
that we've ever seen.
And that was a huge undertaking for the production crew.
My name's Roger Scruggs.
I'm the construction coordinator.
Mike Sullivan, and I'm the scenic charge.
I'm Gia Grosso. I'm the set decorator.
I'm Vera Chow.
I'm the costume designer of this season of "The Walking Dead."
It's been huge.
We've had big builds
pretty much every episode this year.
It's been really ambitious.
Everything that's in there in the square,
the Commonwealth square, we built this year.
They'll design the set.
They'll come to me and say,
"This is the kind of look that I'd like."
And then we just have to run with it.
The first big set that we did was the Commonwealth.
We had no idea how large it was going to be.
The Commonwealth is the biggest community
that they've been in in the show,
and though it has a really dark underbelly to it,
it's a community that...
that is successful.
This place,
compared to any other place they've been,
is so shiny and nice and safe
that the place in and of itself
made our characters into aliens.
You kind of walk into it and you're like, what is this?
Yeah, people in the outfits walking around
eating cotton candy and stuff,
which is definitely different than what we're used to.
You're like, where are we?
You're like, are we being punked, like, you know?
And I think it plays on my face in all the scenes there.
What I do in my department, my crew, is,
we handle all the set dressing.
For instance, this sofa would be in our realm.
♪
We had a great time doing the Commonwealth town
because it's a mix of found things.
And the little bit that they do manufacture,
paper goods and you see a lot of fabrics,
it was really fun to make the shops
using all of those elements.
There's a lot of weird shit in those shops.
[laughs]
We've gone from "The Walking Dead"
back to the living people.
It's kind of like they're in a community
where they're not out in the wild all the time.
They have running water.
They clean their hands every day.
I was aware of the introduction
of the Commonwealth, like, brand-new villains.
So it was a chance to really change things up and elevate it.
So we started thinking about what kind of technology
would actually exist in the Commonwealth.
And there's, like, no rules
in terms of what decade we're in.
It's not our actual present day.
So how has fashion evolved?
How has clothing and sewing evolved
in this little town of 50,000 people?
It's entirely up to me. So that was fun.
It's been such a massive transition.
And there's not been a slow progression in that.
We really shove our characters
into quite drastic changes this season.
I think our group is too smart to be fooled by it,
to be honest.
And so we're kind of reluctantly pulled into it
because we want safety for our kids.
We want them to have a better life.
And then it sort of unravels around us.
There's a direct clash, I think,
for people on the outside and people on the inside.
And there's an unrest inside the Commonwealth as well,
and all of that is building up.
The leader is kind of a dictator,
and she's lying to everybody.
And they're just now opening their eyes to it, I guess.
What's exciting is, Mercer has finally come around
and was able to rescue Eugene.
And now we're gonna see what comes of that.
After having had Hershel kidnapped by Pamela,
[indistinct chatter]
The scale of what we're trying to accomplish
for this finale and building up to the finale
is remarkable.
And I think the scale of everything
is going to be a bit bigger, a bit bolder,
and a bit more surprising.
All right, here we go, team.
Ready?
All right, let's see what happens.
We owe it to our fans
and the legacy of this show
to have a... lack of a better way to say it,
a thrilling conclusion to "The Walking Dead."
And we're gonna do that.
Mark.
I've never been on a show
that has this many enormous sets.
And just trying to get sets done
with the time frame of a episodic TV show,
the challenge is what I really like.
[dramatic music]
When I read a script, I do get really excited
when there is maybe a new scenario
we haven't done before.
I'd say one of the first ones that interested me
was our subway tunnels.
To create an apocalyptic subway tunnel
was really a challenge that we all really welcomed.
We just knew it was going to be so fantastic.
One of the big highlights this season,
they built a 50,000-gallon water tank,
and we filmed in it, and it was the flooded basement of Aaron's house.
We have... Judith and Gracie are trapped down there
being attacked by walkers who are in the water.
Aaron's jumping in and smashing their heads in with his mace hand.
And it's just... it is wild to shoot in those conditions.
I'd never been able to do anything like that.
Thank you.
We've had quite a few sequences like that this year,
and they've kind of, you know, taken up the scale of things
just a bit, those writers have.
Episode nine, we had the hwacha,
which just fires rocket arrows out
as, like, a ballistic missile.
And they're firing into a herd,
and they're exploding and blowing up,
and the rockets hit the walker,
shooting out sparks,
and then they explode into a million pieces.
And there were so many elements
we had to come up with.
I built a couple prototypes.
Effects built the working model,
because mine would have caught on fire.
[phone vibrating]
Excuse me.
I have to take this. Sorry.
Hello?
Everybody is at the top of their game
and experts in their field in each and every department.
I'm talking greens.
I'm talking art department, crafty.
And sometimes when I don't necessarily have to be on set,
I'll come on set just to watch them
because it's so impressive.
Just tell me your name and what you do on the show.
Taylor Knight. I'm the hair department head.
Brad Carey, and I'm the key greens person.
Geoffrey January.
First assistant director.
I'm Jody Winslette. I'm the transpo captain.
Bryan Carey. I'm the greens foreman.
Vincent Gideon. I am the key hair department for "The Walking Dead."
[intense music]
♪
It's been a challenging season, without a doubt.
But the only way that it has survived
is because the passion of the crew and the cast.
- A couple more times. - Is that good?
I need to see four more tests before I'm comfortable with it.
Shooting "The Walking Dead" is like playing chess.
It's a very complicated show to make.
We have visual effects and special effects and stunts.
[screaming]
The glamour of "The Walking Dead"?
There is no glamour of "The Walking Dead"
while you're shooting "The Walking Dead", you know?
It's like go, go, go!
Oh, it's hot? Well, yeah, it's hot.
Oh, there are mosquitoes? There are ticks?
Yeah, there are mosquitoes and ticks.
Bug spray on the tracks.
And honestly, when I'm away, I feel guilty
because I know that my crew is out here busting their ass.
And I want to be out here,
you know, feeling it with them.
The truth is, we make magic in eight days.
And if you do it with people you love,
it's actually worth it.
[dramatic music]
♪
This show makes you uncomfortable.
But I think it helps for what you guys see on the screen.
You feel that uncomfortableness,
and that plays because we're in the middle of an apocalypse.
Those of us that have been here longer than a year are insane.
I've been in awe of the people
that I've collaborated with over the last 12 years
of making something that's been amazing.
And we continue that dedication
and that passion all the way through to the last ring.
We are gonna work our asses off until then,
and then we're gonna have a lot of tequila.
[laughs]
[dramatic music]
Anything that happens from the moment we shoot it,
we'll take in 40, 50, 60 hours worth of material sometimes.
Once we take that footage in,
our assistant editors digitize that footage for the editors,
put it into the machines, kind of put it into order,
and get it ready to be worked on.
I'm Megan. I'm the VFX coordinator.
I'm Mike, the VFX editor.
I'm Alan Cody, and I'm the editor.
I am Ryan DeGard. I am the post producer.
There's some fun stuff in post.
And I think a lot of times, people think,
like, "Oh, like, it's done shooting."
Like, you must all be on a break."
And I'm like, "No, production is on a break."
[walkers snarling]
There's an entire post-production process
that's happening that goes on for months
and months and months.
I think that's one of the misconceptions
of, you know... just in general with television and movies.
It's like, as soon as you've shot it,
why isn't it ready for us to watch it?
So it's like, you have to go through these processes,
and they take a lot of time.
And the post process consists of editing,
sound, visual effects, mixing.
And we kind of put that whole thing together
in the post process and, you know, condense that down
into something that we put out to the public.
I'm Jamie. I'm the VFX producer.
Our show has a lot of killing, especially of zombies.
And each actor has kind of their own, like, hero weapon.
And if we see that green end when we're watching,
we know, "Okay, we're gonna need
to extend the length of it."
And then we'll kind of take
that second half that we're building
and be able to swing it through the actor's head
and add the blood and all of the fun stuff.
So all of those things happen.
There's an entire mix process.
And our post producer does an incredible amount of work
with the people that do ADR and loop group
and add all the background noises.
Let's do these three right here,
and then we'll move them in there.
Get down!
[grunting]
As far as sound goes, this show is,
you know, built on sound, really.
I mean, there's just a lot of layers to what we do.
It is a zombie show.
We take a lot of pride in the artistry
that goes into the zombies.
We work really hard to think about the zombies.
- Here we go. - [all snarling]
There's just some incredible work
that they all do that's on screen.
The last music spot on "The Walking Dead."
I know!
God, shed a tear, and here we go.
I love working with our composers.
Bear and Sam are just...
they are the best.
They are so story-driven.
They really, like, are thinking it through
in terms of, like, what is the story we're trying to tell?
Coming out of the previous episode,
it will have been emotional, I think.
To some degree, we can just, like, carry that over.
I agree, but it's like...
I think what you're suggesting is what I wanted,
which is to start that more noticeably
the instant [... ] passes out...
- Yeah. - Right.
So that that's all part of the piece.
We talk about every scene
and we talk about the episode as a whole
and we talk about, like, what are themes
that we're trying to get across?
Like, what are the emotions of this scene?
And once we have that conversation,
they go off and they play with it.
They imagine.
They come up with themes.
It really just adds to the experience.
Are we still planning on recording
the main title theme with the live orchestra as well?
I would love to do that.
I mean, let me put it this way.
- That'd be rad. - It doesn't need it.
It doesn't want it.
But we'll do it because it will look awesome.
[laughter]
This idea of having Bear and Sam use a live orchestra
had been kind of percolating for a while for me.
And I'd been kind of thinking about it in the background.
It's a big moment for the show.
And when you have a live orchestra, it's big, right? It's epic.
So, like, the idea that Bear and Sam are gonna deliver
this music in a way that we've never experienced
really on this show, it's exciting.
Some of the stuff they're composing
that hasn't aired yet, it's just... it's epic.
It's amazing.
Like, I think people will really, really enjoy
the soundscape of these episodes.
- [flute playing] - Welcome.
This particular episode, we wanted to send out the show
on an even bigger note.
So everybody on the show is excited
to bring in the winds and the brass
and just do something even bigger than normal.
So just really want to say thank you to them
for letting us do this tonight.
And thank you all for being here.
Okay, bows up. Bar two.
["The Walking Dead" theme playing]
It's truly, truly a process
that hundreds of people from start to finish are working on.
It's so fun to get to be part of all of that.
But just the amount of work that people put in
to, like, really craft every episode
I'm trying to get your kit pretty much
in the same direction of the lens.
So you're like...
All right, here we go. Let's try one.
Here we go. Let's roll, please.
The nature of the show
and being an actor on this show,
you always sort of feel like the axe is about to drop on you
at any second.
Shoot yourself back just a tiny bit.
- By, like... - Like that?
Yeah, perfect. Thank you.
I always answer the phone to Angela the same way,
which is, "Is it... am I dead?
Is it now?" I don't even say hello.
All right, that's a series wrap on Michael, guys.
[all cheering]
You know, on our show, we have wrap-outs
as people have their final series wraps.
And the final episode of somebody
who's been on the show for a while is always
really emotional, you know.
And usually, in any given year,
you might have, like, a handful of those.
Maggie nods her head.
And Duncan closes his eyes.
And she gently slides her blade up into the back of his skull.
End of act three.
We have our traditions.
We always try to celebrate when one of us, you know,
goes off into the world again.
- We love you. - [chuckles]
We all had a sense that, you know,
time was very precious.
- I'm Michael Cudlitz. - I'm Michael Cudlitz.
All: I'm Michael Cudlitz.
And we should invest as much in each other
because you never knew when you were gonna lose somebody.
This is great.
As time goes on, you get used to people dying.
But we just find ways to make it
ridiculously celebratory and fun.
- Thank you. - European.
Yeah, he's European.
It's special.
Take as many of these traditions with us as we can, I think.
[soft music]
It's a beautiful way, actually, to say goodbye
to somebody who's been a part of the show for a long time.
♪
You know, everybody comes here to die.
When I meet somebody, that's what I say to them.
Everybody comes here to die.
And some people would be, like, horrified.
But that's what our show is about.
♪
The big departures, it's always like,
everybody's, like, a little, like, choked up,
and it's touching.
But this time, we had to wrap the entire cast,
because for everybody, this was their last episode.
How are the cast and you preparing for the end?
[laughs]
Um...
taking a lot of photos, I think.
It's going to be a mammoth sea of emotion when it happens.
It's just crazy. Yeah.
But we've done something great here,
and we've got something to be so proud of.
And...
dang, this has been...
it's one in a million.
♪
I went to the IMDb and just scrolled
on and on and on and on,
and there is almost 100 pages here
of cast and crew over these seasons
that have come through these doors
to help make this show come to life.
It's amazing to me to think
that this is what I'm a part of.
[clears throat]
And...
we're a part of something pretty darn incredible.
And I'm grateful.
♪
I know the product that we put on screen is one thing,
and that's what connects so much of the world
to "The Walking Dead", but for us,
it's these relationships that we share.
Pan over there. Over there.
- [engine revving] - [laughs]
It's been a huge, massive part of our everyday life.
And that will never happen again, ever.
That's what I'll miss.
I'm in denial. I'll be really honest.
You know, I'll look at Norman, and he'll be like,
"It's gonna get sad."
It's very, um...
surreal to think that it's all ending now.
I've definitely had moments where I'm like, "Oh, wow,
this is the last time this and that is gonna happen."
I'm nervous about saying goodbye.
I'm not gonna lie.
♪
I think I'm just gonna make an Irish exit.
I haven't said goodbye yet, and I don't plan to.
I'll just dip out.
It'll be too hard.
So I'm just gonna kind of walk away,
and then I know I'll see everybody again,
and we'll just leave it at that.
Personally, I'm trying to get as many moments
individually with people as I can.
I'm trying to not be fearful about sharing
just how much I love them.
I hope it's not goodbye. [laughs]
These are my best friends.
That's a series wrap on Mr. JDM.
[cheers and applause]
That is a wrap on Khary.
[cheers and applause]
Series wrap on Josh.
[cheers and applause]
- Series wrap on Christian. - [cheers and applause]
- Mr. Norman Reedus, Daryl. - [cheers and applause]
Series wrap on Melissa.
[cheers and applause]
Love you guys a lot.
It was truly an honor being here with you.
Thank you. It's really been
one of the best experiences of my life.
The one thing we have is that
we were all in the trenches together.
No one can ever take that away from us.
And I won't forget you. I appreciate you.
We could lose our friends, people we love.
It's not about us anymore.
It's about a future.
Do I want the fans to be happy with the show? Yeah, of course.
The fans and the cast and the crew
and everybody else
has a real relationship with the outside world
through the show.
You know, the number of families that have come to me,
thanked me for playing the character,
how I play the character, and...
Daryl's tough, so it's helped me get through stuff.
You know, things like that have meant the world to me.
It just means so much to us
that people are able to have that escape.
There are fans who tell our actors,
like, this show gave me
something to talk to my dad about
or it allowed me to come out to my family.
I know for me, I am eternally grateful
to have been a part of it.
That being said, there are new things on the horizon.
We loved being on the show.
We loved making the show.
It's been us against the world down here.
But outside of here, it's just one big happy family.
♪
- Synced and corrected by chamallow - - www.addic7ed.com -
♪