jessica every time you say nice things about me i explode


Originally posted by lodges-veronica

Pairing: Clay Jensen x Reader

Summary: Clay touring new foreign students at school, but he preferred to point out its flaws, being angry and whatnots. (Y/N) then was ready to cheer Clay up.

Word count: 995

Posted: 25th of April 2017

A/N: Hi there guys! I wanted to rewrite Clay’s scene with the foreign students. It was amazing and he’s got a point in there. Let’s admit that Dylan Minnette’s acting was fantastic too. OMG!

P.S.: Guys, I need other Alex Standall requests, because I am having some feels. Thank you.

- G. x

You’ve been waiting for Clay to get out from the counselor’s office, since he got a little bit angry while he was touring the new foreign students in Liberty High School.

You’ve never seen an angry Clay Jensen before and you were almost sure that you would never want the angry one anymore, because he scared you when he shouted absurd things in the middle of the hallway earlier that morning.

“Oh, oh…” He happily said as he remembered of something beautiful. “Before we go, I want to show you something super cool.” You knew that he was being sarcastic.

“Clay, cut that out.” Courtney whispered as she slightly pushed Clay away from the foreign students, so that they couldn’t hear him.

Clay didn’t listen and he headed to Hannah’s former locker. The people in the hallway seemed so confused and worried, but you perfectly knew what Clay wanted to do. He was not fine and you knew it, some of the students knew it.

“Look at these lockers,” He pointed all the lockers lined up in the hallway. “They all look alike, right?” He sarcastically smiled as he tapped one particular locker. “Not this one.”

“Clay!” Zach tried to calm clay down, but he just shrugged it off and Zach remained quiet.

“This one is special.” He nodded a few times. “This belonged to a girl who killed herself!” His voice kind of raised as he was thinking of what happened to Hannah.

“Clay, come on!” Courtney tried to stopped him once again, but he just shook his head.

“You see all these don’t kill yourself posters up on the wall?” The sarcastic tone can be heard in his voice as he pointed different posters stuck up on the wall. “They weren’t up before, they put them up because she killed herself and why did she do it?” His voice raised once again and you perfectly saw his raging eyes. “Because the kids here treated her like shit!” He emphasized his words so the foreign students could understand him well.

“Jensen, that’s enough!” Justin grabbed Clay’s forearm, but he just pulled it away and remained standing in the middle of the hall.

“But no one wants to admit it so they paint over the bathrooms and put up a memorial because that’s the kind of school this is!” He pointed different directions of the school, obviously where the bathrooms and Hannah’s memorial were located.

You understood Clay, because it’s been awhile since he’s telling you something about Hannah’s recorded tapes. He would cry on your shoulders at night and he would ask you to sleep beside him so he wouldn’t be tormented anymore.

You stood up by Clay’s side, because, in the end, we were all grenades and, every time, it took us series of things, one above the other, before we blow up. The only difference was that we could explode many times.

“Everyone is just so nice until they drive you to kill yourself and sooner or later the truth will come out!” He shouted so everybody could hear his thought. He was so angry that his neck veins could be seen while he was letting his chagrins. “It’s going to come out, right Tony?” He looked at Tony that just entered the school’s entrance.

The foreign students were terrified, so were the other students. Who could’ve thought that Clay Jensen would react like this? No one.

“Clay!” The students turned their head to Mr. Porter as he came out of the office. “I think you should come to me right now. Get to class everybody, get to class!”

“Welcome to Liberty High.” He said before he turn his back to follow Mr. Porter. In that exact moment, it was Clay’s turn to explode and let his thoughts out. He was calmer this time, but he said it in a sarcastic way.

He got some dirty looks from the students and some of them were murmuring, talking of Clay’s attitude. You just shook your head as you dragged some of the people standing up in front of their lockers. .

“In class, shitheads.” You grabbed Zach’s arms as the group followed the two of you.

“Let’s go!” Mr. Porter called him and dragged him to his office.

You suddenly felt someone shaking your shoulder and you saw a worried Clay in front of you.

“Let’s go, (Y/N)!” You shook your head to stop your brain from thinking of the happenings earlier.

“Sorry.” You bit your lip as you got up from your seat. “Let’s go.”

“What were you thinking of?” He curiously asked as he got your backpack and hung it on his empty shoulder.

“What happened earlier?” You raised your eyebrow as you looked at him. “I mean, I know what happened, it’s ju-” He cut you from saying something else.

“I needed to let everything out.” He simply said and he let out a long and heavy sigh as you both walked in the middle of the hallway, getting some dirty looks from students.

“Do you want to talk about the tapes again? Maybe you just need someone who listens.” You offered him your help and he slowly nodded.

“You’re the best.” He hugged you once you got out of the school department and you hugged him back.

“C'mon! Some freshly baked cookies and cold milk are waiting for us at home.” He broke the hug and gave you a big and happy smile.

You started to walk home and he started to talk about the tapes once again. As he went on and on, you saw him being relaxed and relieved and it made you happy to know that he was feeling better.

“Thank you and I am sorry.” He felt guilty because you’ve always been helping him and it seemed like he wasn’t helping you that much lately.

“Don’t be sorry.” You winked at him. “Every grenade has a soldier that knows how to handle it very well.”

CinemaVariety's Top Favorite Films of 2014

Well my fellow friends and film lovers - another year has passed. And that means it was another year filled with cinematic possibilities. Foreign films seemed to dominate the market this year (Goodbye to Language, Norte, Force Majeure, Mommy, Winter Sleep). It was refreshing to see so many films from other countries gaining widespread appeal in the U.S. I feel as if last year was a much stronger year for films, but after taking a poll it seems as if most of you disagree and found 2014 to be the better year. Either way, it was a great year. The following list is comprised of the my favorite 17 films that were released this year. I understand that a few titles on this list are classified as 2013 releases according to IMDb. However, they only went through some festivals last year. They didn’t get wide distribution until 2014.

Honorable Mentions:
Guardians of the Galaxy
The One I Love
Maps to the Stars
Force Majeure
The Sacrament
The Immigrant

** This list is in order. **

#17 - X-Men: Days of Future Past
Directed by Bryan Singer

Action is probably one of my least favorite genres. I don’t find entertainment in exploding buildings or all the other cliches that are found in most action films. However, Days of Future Past is an exception. I really enjoyed First Class and found it to be the best X-Men movie made (at that time). I was disappointed when I found out that Matthew Vaughn wouldn’t be directing this one. The man obviously knows how to direct a good action film (Kick-Ass). However Bryan Singer improved on the last film, making Days of Future Past the best X-Men movie ever made.

#16 - The Two Faces of January
Directed by Hossein Amini

I went into this one knowing that it was based on a book by author Patricia Highsmith, who also wrote The Talented Mr. Ripley which was a great film. This film was pretty divisive among viewers and critics but I found it to be a rewarding experience. Kirsten Dunst and Oscar Isaac are two of my favorite actors and their performances in this film brought it to life. Tensions rise as Dunst and Isaac’s characters grow close in the midst of tragedy while Mortensen’s character attemps to fix the mess they all have gotten themselves into. Filmed on location in Greece, the landscapes are beautiful and you cannot help but lose hope for these characters as their circumstances become more dire.

#15 - Whiplash
Directed by Damien Chazelle

Wow, was this film an electrifying experience! Who knew that a movie about jazz drumming could be so intense? Miles Teller kills it in his role that literally brings about blood, sweat, and tears. But the real talent here is J.K. Simmons as the conductor. I began to fear his character more than some of the most evil villains in film. His bursts of rage caused me to wince - however, he also has a real humanity to him that shines throughout. The last ten minutes of the film is the real reason why Whiplash made its way onto this list. I literally wanted to just get up and start dancing as the credits rolled.

#14 - A Most Violent Year
Directed by J.C. Chandor

This was the very last addition to this list. All I can say is is that I’m glad that I watched it before posting my final decisions. I had read many things about A Most Violent Year, ranging from countless praise to disappointed viewers who found the story to be a bore. The heart of this film is simply about people searching for the American dream. This is an essential theme explored in countless films. The setting is New York in 1981 - the year with the highest recorded amount of murders and rapes. The city is living in a paranoid fear and Oscar Isaac’s character must navigate through this panic in order to help his business flourish. Jessica Chastain, who is probably my favorite actress at the moment, brings a heated ferociousness to the screen like I’ve never seen in her before. She literally steals every scene, it’s just too bad she was underutilized. 

#13 - It Felt Like Love
Directed by Eliza Hittman

Eliza Hittman has made one of the most powerful coming-of-age stories of the year. I have a soft-spot for films about troubled/destructive youth and It Felt Like Love was all that and more. It was like watching a much more quiet and introspective Larry Clark film. The film focuses on the awkward stage of adolescence and the pains of puberty. What I loved most about it is how quiet it was. Not much dialogue is used. In place of talking we hear the crashing of waves, the rustling of foliage, and the whispers of breeze. This is some real poetic cinema. The director was able to make an important statement without endless dialogue. When the last shot appears on screen and the credits began, I felt like I just got punched in the gut - but it felt so good.

#12 - Starry Eyes
Directed by Kevin Kolsch & Dennis Widmyer

I’ve written about this film before, it earned the number one spot on my top horror films of the year list. It is so much more than a horror film. To be truthful, it probably wouldn’t even be classified under the horror genre if it wasn’t for the brutal last 25 minutes. I greatly enjoy films about the nightmares of Hollywood (Mulholland Drive, Inland Empire). There are some obvious style similarities to David Lynch, but it didn’t bother me a bit! Lynch doesn’t direct anymore so it was nice to see a film that resembled his work in some way. The score was brooding and the cinematography was impressive as well. Alex Essoe brought it all to the table as the main character. I even read that she actually put real bugs in her mouth for one of the stomach-churning sequences. That’s commitment right there.

- Birdman
Directed by Alejandro González Iñárritu

Birdman or The Unexpected Virtue of Ignorance was one of my top awaited films of 2014. I mean, the fact alone that Iñárritu was stepping away from making devastating films to tackle a comedy was enough to get my excited. With Lubezki on board to shoot it, and knowing that it was going to simulate one long take, I was brewing with excitement. I ended up loving it, maybe not quite as much as I anticipated, but all in all it was quite an experience. The camerawork alone caused me to actually see it twice in theatres. The constant tracking shots and not cutting away from the characters gave the audience the mad panic that was constantly running through Michael Keaton’s character. The incessant drumming gave the project this manic energy that shone through the entire film. One of my favorite parts was this surreal sequence near the end, we see: an empty theatre set with dust particles floating through the air and a neon glow coming in through the window, a lone lamp glowing bright in the dark room, and a beach at sunset with tons of dead jellyfish lying about. This is evoking a feeling, this is cinematic poetry at its finest.

#10 - Under the Skin
Directed by Jonathan Glazer

The trailer for Under the Skin is what really peaked my interest. I love psychedelic cinema (Beyond the Black Rainbow, Enter the Void, The Holy Mountain), so I knew that this was going to be a real treat. After seeing it my first time, I left the theatre puzzled and disappointed. Yet, I couldn’t stop thinking about it for months afterward and that’s when I realized the effect that the film had on me. I was under its spell and it required a rewatch - and I must say I fell in love with it after a second viewing. It’s a totally meditative and aesthetic film all about the human experience - viewed through an extraterrestrial’s eyes. I really appreciate Glazer for making this because you just don’t find films like this anymore. The fact that it even was made and got a widespread distribution is surprising enough. Glazer tells the story through striking images: waves crashing down on a family, a cyclone of mist rising from the ocean, motorcyles weaving their way through the fog, and human flesh gently undulating in a black abyss.

#9 - Beneath The Harvest Sky
Directed by Aron Gaudet & Gita Pullapilly

I can say with certainty that Beneath The Harvest Sky was one of the most underrated films of this year. How is no one talking about this? The movie was made by two documentarians and this is apparent by the realism in the film. It touches on deep and personal subject matter such as broken homes, drug addictions, insecure youth, and friendships that hold strong even when tested. Emory Cohen (who I recognize from Place Beyond The Pines) plays a character who can easily be detestable - but his earnest loyalty to his best friend makes him come across as just another human being suffering from an array of emotional trauma. The film really did warm my heart, even through all the darkness that is displayed. Check this movie out, it’s not one to be missed.

- Enemy
Directed by Denis Villeneuve

Denis Villeneuve put out two great films in the course of a year - Prisoners and Enemy. I enjoyed them both, but my love lies with the latter. To tell you the truth, I would never guess that the same director made those two films. They are on opposite sides of the film spectrum but that goes to prove Villeneuve’s originality and diversity as a director. Don’t ask me what this movie was about, it cannot be explained. I love films that raise more questions then they answer. Artistic interpretation is needed for Enemy, and I have read various different explanations by viewers and they all are interesting. I can say that this is the far superior doppelganger story compared to The Double, which I found to be slightly mediocre. Jake Gyllenhaal’s performance, the eerie washed-out yellow look, and the spider symbolism made Enemy one of the best films released this year.

#7 - Kill Your Darlings
Directed by John Krokidas

I added Kill Your Darlings to my watch list after discovering that one of my favorite actors, Dane Dehaan, was cast in it. After watching it, not only was I impressed with his performance but I was almost equally impressed with Radcliffe’s. He proved that he has range as an actor in this project. I have a huge interest 1960s counter-culture such as the beat generation. Kill Your Darlings documents the rise of the beat poets. We have portrayals of Kerouac, Ginsberg, Carr, and Burroughs all on board here. The relentless drug use and loud jazz music brings the time period to life.

#6 - A Field in England
Directed by Ben Wheatley

I’ve already mentioned my love for psychedelic cinema - and A Field in England meets all the requirements. Nonsensical storyline? Check. Characters coming back from the dead? Check. Flashing mirrored images resulting in an epileptics worst nightmare? Check. Ultimately, insanity ensues throughout the run time of A Field in England. This marks British director Ben Wheatley’s most experimental and unconventional film yet. I absolutely adored his spine-tingling sophomore effort, Kill List, which struck a nerve in me. I consider it to be one of the scariest films ever made - what can I say, cults freak me out. A Field in England is shot gorgeously in black and white and the beautiful landscape offers some sinister surprises for the characters. This film is the epitome of psychedelic - let’s just hope you don’t have a bad trip.

#5 - The Signal
Directed by William Eubank

William Eubank released his second film this year, The Signal, and I found it to be the best science fiction film of 2014. The first time I laid eyes on the trailer I just knew that I needed to see this film. I read reviews comparing it to District 9 - all the more reason I needed to see it. I drove an hour away to watch the film and it was sure worth the gas money. I even ended up seeing it again a second time on the big screen when it eventually screened in my home town. The Signal is a complex and head-scratching journey. Every time you think you know what is happening - something disproves that and you are left stumbling to find other answers. The film doesn’t heavily rely on action - and most of the action sequences are shot using incredible slow motion FX. Some people said that this style was overused in the film. But after reading how little the budget was, it made sense that Eubank utilized slow motion to achieve these special effects. In fact - the visuals in this film are spectacular - and the ending left my jaw hanging open.

#4 - Noah
Directed by Darren Aronofsky

Let me start by stating that Darren Aronofsky is one of my favorite directors of all time. In fact, Requiem for a Dream is one of my top 5 favorite films. I was a little discouraged when I discovered that Aronofsky was going to cover a biblical epic. After reading that the budget with this film was more than all of his previous works combined - I questioned whether Darren would fall victim to the Hollywood system. Thankfully he didn’t, and his hypnotic style and vision carried through in Noah. The film was panned by both critics and audiences alike. It found more support by non-religious fans compared to the Christian community. The second half of the film is where all the power lies. The characters find themselves in ethical and moral dilemmas resulting in a much more dark and depressing environment than I ever imagined. Noahis depicted as a pretty miserable human being and by the time the flood arrives - all hell breaks loose. No pun intended.

#3 - I Origins
Directed by Mike Cahill

Mike Cahill took my breath away in his feature debut, Another Earth. The work was so profound and raised all these existential ponderings about humanity and identity. So I obviously had high hopes for his second film - I Origins. This time, Cahill focuses his efforts on bringing about ideas such as past lives, reincarnation, and the human eye. I find it fascinating that his films blend science with religious thought and spirituality. Why can’t the two co-exist? Cahill managed to touch my soul and bring tears to my eyes (just like Another Earth). The ending for this film is abrupt, and leaves viewers with so many questions that aren’t clearly explained. But hey, that’s life right? We don’t have all the answers. Instead, we only have parts of the puzzle and all we can do is try to piece them together to see the bigger picture. Let me just say, Brit Marling knows how to pick great roles!

#2 - Frank
Directed by Lenny Abrahamson

Frank was everything I love about a movie. This marks my second Michael Fassbender film on this list. The man can do no wrong in my eyes. Fassbender is like some kind of shapeshifter. He has played a supervillain, an intelligent robot, a sex-addicted New Yorker, a slave owner, and now he graces us with his character Frank - a socially awkward and mentally ill musician who wears a giant plastic head. Frank is everything I love about a movie: eccentricity, madness, mentally disturbed characters, and avant-garde musicianship. I have a strange sense of humor, and this film made me laugh a lot. This is mostly due to Maggie Gyllenhaal’s absolutely bat-shit crazy performance. But above all, Frank is much more than just a comedy, it is just as dramatic as it is comical. Many people were letdown with the tonal shift that occurs halfway in the film. But I loved it. It’s not presenting mental illness as some sort of thing to laugh at. It shows the devastation that it causes these characters, while they also get to confront their inner demons. 

#1 - Interstellar
Directed by Christopher Nolan

I feel as if Interstellar was the film I have been waiting for my whole life. I am a big sucker for space dramas (Gravity made the number one spot on my top films of 2013 list). My anticipation grew after finally discovering the plot - mankind using a wormhole to access different galaxies to find a planet habitable for human life. Nolan is an ambition filmmaker, but even this seemed too good to be true! I have a fascination with the cosmos and I’m always looking up and questioning our place in the universe, what our significance is, and whether or not some entity is out there looking up and asking the same questions. I saw this film in an IMAX dome theatre, and the experience was a physical one. The seats were literally shaking when the rocket takes off. This was the perfect film to see in this setting because the curvature of the screen made it look like I was actually staring into space. The screen was so large that I had to move my head when objects traveled across screen. Nolan mounted IMAX cameras to the end of military fighter jets in order to capture some of these visuals - another awesome technique from a master who tries to use as little CGI as possible. The visual grandeur of Interstellar caused my jaw to drop and the hairs on my arms to rise. This is an intelligently made science fiction film which is always changing direction - never becoming predictable in any sense. The idea of relativity, and space-time being much different, definitely messed with my head. Above all, Interstellar touched me on a deeper level. Tears rolled down my face both times I saw this, and it proved to be a spiritual experience as well. After exiting the theatre, I was left with a renewed appreciation for my life and the Earth I inhabit.

Emmy Talk: ‘Jessica Jones’ Star David Tennant on Emotionally-Stunted Kilgrave and the ‘Dynamic Duo’

David Tennant in ‘Marvel’s Jessica Jones’ (Photos: Netflix)

As we enter Emmy season — nomination voting runs June 13 to 27 — Yahoo TV will be spotlighting performances, writing, and other contributions that we feel deserve recognition.

For many fans of Marvel’s Jessica Jones, the Netflix series’ most compelling hours are episodes 7, 8, and 9 — “AKA Top Shelf Perverts,” “AKA WWJD?” and “AKA Sin Bin” — because they’re when we start to learn more about David Tennant’s villainous Kilgrave. A man with mind-control capabilities, he’s back to, in his view, genuinely woo Krysten Ritter’s titular private eye, who’d spent a year of her life under his spell and in his bed before breaking free and leaving him for dead.

The arc finds Kilgrave proclaiming his love for Jessica (in a police station, where he has officers pointing guns at each other to ensure his safety, should superhero Jessica turn violent); inviting Jessica to live in separate bedrooms with him in her childhood home (which he has painstakingly decorated to look exactly as it had before her brother and parents died in a car crash); and pruning in a tank as Jessica tries to bait him into using his mind control on video (so she can prove a young woman killed her parents on his command).

Tennant — who infuses Kilgrave with layers of charm, pain, entitlement, and rage — took a break from filming the third and final season of Broadchurch to revisit those three episodes with Yahoo TV, and discuss Kilgrave’s reaction to hearing Jessica use the term “rape” and why that’s a conversation he hopes Broadchurch will continue, albeit in a different way.

Related: David Tennant Answers Our Burning Questions… Sort Of

You’ve talked before about how Kilgrave is a different kind of villain because his motivation isn’t to rule the world; it’s basically just to live his own best life, and that means having Jessica for himself. Let’s start with the police station scene in episode 7, where he makes that demented declaration of love. What was your reaction when you first read that scene? What excited you about it?
It’s quite shocking when he actually says, “I love you.” I don’t think you see that moment of honesty coming, or I didn’t anyway — that he should be so candid with her in that moment. I think it’s exciting because you realize the depth of his passion for her, but there’s also a wonderful naiveté to it, which I think takes you aback, and I think ends up being quite revealing about who he is. He’s a man who has never quite grown up because he’s never really had the journey that most of us would have, where we have to learn about compromise and about negotiating around other human beings. He’s never had to do that because of this extraordinary gift or curse that he’s been saddled with.

There’s something kind of wonderful and childlike and naive and rather touching almost about the fact that he can make such an ill-judged confession to her, because I think in that moment, you see how at sea he is in the world of human emotion and how far from empathy he really is. It’s shocking for Jessica to see him reveal himself that way, and it comes in the midst of him being rather cruel and rather vindictive, and the fact that this character can switch from that callousness and that rather breathtaking open-heartedness on a dime makes it wonderful to play. Quite difficult to play, I suppose, but it’s a wonderful challenge to try and find that capriciousness in that scene.

He ricochets from one thing to another, and it’s an extraordinary bit of writing, I think, because we haven’t really gotten to know him yet: He’s just existed as this shadowy boogeyman, really, through the whole show to that point. It’s the first time he reveals anything about himself and when we really get to see him for any length of time, certainly when we get to see him looking Jessica in the eye. And it’s the first time we get to see their bizarre, co-dependent relationship. For Jessica, it’s that, too, although in a very different way.

When you stand close to her and say it’s the first time Kilgrave’s felt yearning — it almost feels like a teenage way of expressing it, because the word “yearning” is one-sided. It takes into no account what the other person is feeling, at all.
Absolutely, and that’s been his Achilles heel. That is why he’s so fascinated by Jessica, because she’s managed to wriggle out of his control. [She’s] become the one thing he can’t have, which is, of course, the one thing he desires more than anything else — which is very human. We all want what we can’t quite get sometimes, especially as teenagers perhaps. Emotionally, he’s a teenager at best still. From an acting point of view, it’s delicious. It’s such a lovely character to get to play with.

When you’re filming that kind of scene, is it long takes, or are you breaking it up and having to calibrate each and every second where he’s at emotionally?
There’s a bit of breaking it up, but the filming of that particular scene we did tend to do in long, swooping takes. It was interesting. That was actually our production office converted into a police precinct. There were so many people in the scene, it felt like something of a theater performance with a bit of an audience, which of course made you deal with more anxiety. It was quite useful for Kilgrave because he is performing for the room as well as for Jessica. I quite enjoyed the sense of theater performance that that gave it, but that’s my background. That’s where I started, so I think I responded to that.

It really feels like the precinct is his stage and he wants to direct the scene. Like when he starts yelling about the fluorescent lights, the cockroaches…
Yes, absolutely. That’s exactly what he does. Having all the cops pointing guns at each other, the fury when somebody’s phone goes off because that wasn’t in his script. Again, the infantile rage that everyone’s not dancing to his tune, which always undercuts any moment where he tries to make himself vulnerable. And then you see his vulnerability is not to do with his inability to get a girlfriend.

And Kilgrave swinging the severed head in the bag on his way out — nice touch.
When you’re given a prop as delicious as that, it’s hard to not try to make the most of it. There’s not many scenes where you get given a severed head in a plastic bag. One of the many uniquenesses of playing a character like that.

Related: ‘Jessica Jones’: Inside Episode 8 With Creator Melissa Rosenberg and Writer Scott Reynolds

Moving on to episode 8, it was one of Yahoo TV’s Best of 2015 picks. I talked with Scott Reynolds, who wrote it, and he said when he realized he’d gotten the episode that was essentially two people in a house, which would play largely like a play, he was both excited and scared.
It’s one of the things that really impressed me with what Melissa [Rosenberg, the showrunner] and Scott and the whole team attempted with this, that halfway through a superhero show, you’re suddenly right next to the Odd Couple. It’s quite a bold thing to do, and yet it just allows those characters to suddenly blossom. You get to understand all their contradictions. It’s an extraordinary challenge to set yourselves as writers, and I think as performers, that you suddenly take it all down, you make it all a chamber piece, really. There’s very few stunts. Nothing much explodes until the very end, and it’s certainly a different type of a show, and yet, because you’ve got to know those characters and you’ve got to suspect what they might be, hopefully we’ve earned the chance to just move into a completely different gear by that stage.

It’s all in the writing. That had to be done very deftly, and indeed it was, but for Krysten and myself, it was such a gift to get to play these really complicated, psychological odd scenes between these two characters who should never really sit down and talk to each other. To paint them both into this corner where they’re forced to live together as a weirdly dysfunctional couple, it’s a masterstroke really of the writers, and that just gives you such lovely stuff to play with as actors.

The episode has one of the show’s most talked about scenes: when Jessica explains to Kilgrave that what he’d done to her was rape. As Kilgrave, you to have to convey that he never saw it like that.
That’s exactly it. I remember reading that for the first time and being quite shocked. It’s a very charged word, quite rightly, and it’s a word that isn’t used, and must never be used, lightly. We’ve got to understand the reality of this, and the different perspectives these characters have has to be understood by the audience. Indeed, that’s what Jessica suffered. You’ve got to understand the power of that, and the depth of the horror of that for Jessica, to understand how far away Kilgrave is from reality that he sees it in a completely different light.

What’s been very pleasing is that I think the writers handled that sensitively enough that people have responded to that in such a profound way. All sorts of things have been written about sexual violence on the back of that. Again, I’m just so in awe of how Melissa and Scott and the rest of the writing team managed to nuance that within the context of a superhero show. It went to somewhere more profound than you would expect, and we got to talk about some real issues about consent and about sexual violence. I’m very proud of that.

I feel like one of the great things about casting you in this role is that you’re so innately likable that the audience is waiting for Kilgrave to give us a tiny opening to think he’s not completely horrible. In this episode, after Jessica shows him how he could use his power for good and they peacefully end a nearby domestic disturbance, a part of us — as viewers who’ve enjoyed this Odd Couple hour — wants to see Jessica stay with Kilgrave to “even the scales” some more as a “dynamic duo.” You feel guilty about it, but even Scott said the writers briefly contemplated whether they had another episode in them and that his wife was like, “Hon, I wish she would have done it, kind of.” It’s a great compliment to you, that you could bring this character to that place. And as Scott said, “It was important that [Kilgrave]’s so likable in this moment — because a lot of times, the predator is that way. It’s an important discussion for society today.” How did you navigate that line for Kilgrave?
I just play the script, and they wrote it beautifully. It’s just recognizing that for Kilgrave, that’s something genuine — he’s never really considered that way of living his life, and for a moment he’s thrilled. He’s thrilled because he and Jessica are working together. They are, as you say, the dynamic duo, and for him that’s all he wants. At the same time, he manages to do something rather extraordinary and he makes someone’s life better. Again, it’s that childish naiveté that he has. He has never considered that as a possibility. He’s got a psychopathic streak in him, which really doesn’t understand empathy, so it could’ve never been in his capacity to understand that he could make things better.

In a way, that is the same selfish bubble that means that he never really appreciates that he could rule the world or he could take over America or whatever else a super villain might do. For him, it’s just about his selfish little bubble of acquiescence that he lives within. For a moment, Jessica wrenches him out of that, and he rather enjoys the fact that people are grateful, that people think he’s rather wonderful. That tickles him and excites him, and it’s a new experience. He can have every experience the second he expresses a desire for it. So to have something new, to experience the thrill of being a duo, is wonderful for him in that moment. I think he gets intoxicated with the possibility. I just tried to play that sense of his thrill at the possibilities.

Is there any part of you that wishes there would’ve been time for another episode where we actually saw them as a dynamic duo?
Oh, sure. He would’ve loved it. He would’ve had such a good time. Jessica would’ve become a sort of Jedi, teaching him how to be good, teaching him how to use his powers for the sake of humanity. It would’ve been a very steep and unusual learning curve for him. It would’ve been fascinating to see how he would’ve coped with that. I don’t know how long he realistically could’ve kept it going either. [Laughs] He would rather quickly have gotten bored with helping people out. It would’ve been interesting to play it out perhaps a little further and see how far that particular elastic might stretch.

Kilgrave’s backstory with his parents is revealed in episodes 8 and 9, and our level of sympathy changes as we learn the whole truth. Did you know the full story as you were filming episode 8?
I had some notions of the overall arc, but I was learning a lot of that along with everyone else when the scripts were issued. The fact that he was called Kevin was a bit of news to me and to everyone: In the comics, he’s called Zebediah Killgrave. I was listed as Zebediah Killgrave on the call sheet. I was Zeb K on the door of my trailer. So I think it took most of production by surprise, the detail of his backstory.

As all those things got revealed to me, it just makes him more and more interesting and more and more fascinating. I think as an actor, you’ve always got to be a little bit in love with the character you’re playing, however monstrous they are. Of course, that kind of backstory certainly allowed me to indulge that fantasy that Kilgrave was misunderstood and not really a bad person after all, which is quite hard objectively to realize. From the day to day reality of inhabiting someone, you’ve got to find the empathy, however scant it might be.

In episode 9, Jessica holds Kilgrave hostage in a tank, in a foot of water so she can electrocute him to knock him out when needed. He says his feet are pruning, which made me wonder what it was like for you to actually film in there?
Oh, they were very much pruning. Unlike the house, which was a real suburban house, we built that sealed tank in the middle of a sound stage and filled it with water. You can’t easily get a lot of electrical equipment in and out, so I was often sealed away in there for long periods of time. At worst, there were flashes of seeing what it would be like to be in solitary confinement, because you couldn’t get in or out very easily. If you shot from inside the cell, you had to drain it and dry it before they brought in all the various cable-age. I don’t want to overstate it, but there was something quite isolating about being shut in there a lot of the time. You couldn’t really hear what was going on outside. You couldn’t really tell what they were setting up next, or where they were going next. That certainly helped the atmosphere for shooting it.

Again, what a fantastic setup. What an extraordinary set of given circumstances from an acting point of view, to be locked into that scenario. There’s kind of a reboot at the start of each of those episodes that we’re talking about. They’re so extreme that you couldn’t really have predicted it. That’s great, within the arc of one story, to get to have all those different power dynamics between these two characters.

Another credit to your acting is, I was wondering if some of his apology to his mother for making her burn her own face with an iron when he was young might’ve actually been genuine — before she, of course, tried to stab him and he turned on her. In your mind, was any second of that genuine, or was that all just him again playing for the camera?
I think he manages to be all things to all people at all times. I think it’s both. I think clearly his parents have f–ked him up very deeply. Clearly, he’s going to have a myriad of emotional responses to seeing them again. On one level, I’m sure he does want to apologize to his mother, and at the same time, he wants her to cut her own heart out with a knife, or with a pair of scissors, which is exactly what she ends up doing.

I think all those things can coexist in the sanest of us, so for someone who is as troubled and as psychopathic as Kilgrave clearly is, I think those apparently contradictory sensations can work together very comfortably. I think he’s deeply conflicted. Perhaps I should’ve found it more difficult, but I had no problem in setting all those things side by side at the same time. [Laughs] I think that makes perfect sense in Kilgrave’s world.

Related: 'Broadchurch’ Third & Final Season Adds Cast; New Case To Tie Up Trilogy

I know that the crime your Alec Hardy and Olivia Colman’s Ellie Miller are investigating in Season 3 of Broadchurch is a sexual assault. Did any of the conversations you had around Jessica Jones inform how you’re approaching this season of Broadchurch?
The two characters are obviously coming from very different standpoints: Alec Hardy is a much more empathetic character than Kevin Kilgrave. They are on different sides of the argument, although we’re still in the very early days with Broadchurch. What’s really interesting on that is so far, Hardy is trying to come to terms with the psychology of someone who would commit a crime like that. Kilgrave can’t really understand what he’s done wrong. I think it’s interesting that this is an area that we want to tell stories about at the moment. I think it’s something that society is having a war with itself about. As a society, we are being a bit more honest about how we’ve not really dealt with these issues in the past, and how a bit of redressing needs to be done in terms of how we deal with gender politics and sexual politics as well. I think Jessica Jones inspired some very interesting arguments and debates, and I hope that Broadchurch will do the same, but from a very different type of storytelling, I think.

Anything else you’d like to add in closing?
It’s great to talk about Jessica Jones again. It continues to surprise me, the breadth of people who have been caught up in its story. It’s wonderful. Even as I talk about it again now, it makes me keep questioning and wondering, and that’s what the best drama does. I’m just very proud to be part of that.

Related: Emmy Talk: Krysten Ritter’s Scene to Remember

‘Marvel’s Jessica Jones’ is streaming on Netflix.

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