On the Set of The Walking Dead: There’s No Place Like Home
Photo by Gene PageThis Sunday, Oct. 16, The Walking Dead returns for a second season with a 90-minute premiere. AMC may be known for its quality drama—Mad Men, Breaking Bad, The Killing—but none of those shows could match the zombie apocalypse series’ ratings. Six million tuned into last season’s finale, which ended with a group of survivors driving away in convoy from the burning CDC (Center for Disease Control) in Atlanta. ?
Season 2, which picks up minutes after the end of the first season, is concerned with a search for home and defending it. Last season’s premiere saw Deputy Sheriff Rick Grimes (Andrew Lincoln) waking up from a coma in a hospital bed to find a city in chaos from a sudden outbreak which causes the living dead to rise. Stunned, he searches for his wife Lori (Sarah Wayne Callies) and son. ?
Jon Bernthal, who plays Shane Walsh, Rick Grimes’s former colleague and best-friend-turned-rival, describes the desperate times the survivors face in the show’s second season. He’s taking a break from shooting the ninth of 13 new episodes on set in Sharpsburg, Ga., just south of Atlanta. It’s mid September, and the small town has been overtaken by cast and crew for most of the summer. “We’ll see very quickly in this season that when these characters are on the run, when they don’t have a home they’ll lose people. It’s dangerous. I think the scariest thing that can happen to you in this kind of situation where there’s nowhere to run, nowhere to hide is also being without a base, without a home.”
??In nearby Senoia, an imposing, isolated Southern Gothic house doubles as the new base for the group. Yards away from the main house owned by new character Hershel Greene (Scott Wilson), under a canopy of trees, the survivors make camp this season and park their now iconic Winnebago. In a rare set up, the real owners of the large farmhouse have migrated to the upstairs floors for six months as production continues sporadically down below, zombies and all.
??“The farm represents this unbelievable safe haven,” explains Bernthal, “but just like everything else in the zombie apocalypse, things are never exactly what they appear. We see time and time again on this show, the second these people start to let their guard down in any way, it just brings on more and more danger. And when the zombies don’t become an immediate threat, I think it gives an opportunity for the characters to get way, way more dangerous towards each other.”?
?Taking a seat in a Walking Dead director’s chair and grabbing a pair of headphones, I watch the monitors in front of me and see Lincoln, Scott Wilson and other cast members in a scene filled with tension and suspicion. Two strangers try to discover where the other survivors are hiding out. The scene is set in a saloon bar complete with swinging doors in a re-dressed building that’s usually an antiques store in Sharspburg.?? Clark Johnson, who played City Editor Gus Haynes in The Wire, is directing this particular episode, which he feels has the mood of a classic American genre. Appropriately, he’s wearing a Stetson. “This to me is a Western,” he says. “I was just whistling The Good, the Bad and the Ugly theme… I don’t have that many zombies in my episode. I was kind of bummed out. I got here and said, where the hell are my zombies? They whacked them all in the episode before. Sort of,” he backtracks, trying to not reveal any spoilers about upcoming episodes.??
“What’s cool about this show is that every once in a while they explore the interpersonal between humans,” he continues. “This episode, I’m setting up conflict between the living characters. One scene I’m shooting here, it’s almost Once Upon a Time in the West with [Charles] Bronson and [Henry] Fonda, so stylized and so distinct the way they set up reaching for the weapon, the draw out in the dusty streets with the fake facades of the Western town. It’s that thing. He comes into the bar, the bar doors swing open with a creak, it’s all that.”??
Later on, British actor Lincoln, dressed all in black and maintaining his Georgia accent whilst on set, hands me a firearm straight out of a Western. I weigh it up and hand it back. “Think you’ll be needing this to kill zombies.”
??But there’s an absence of zombies on set today which brings relief to those trying to eat lunch in the canteen when shooting breaks. “Sitting right across the zombies at lunch, I can’t do it,” says a production assistant holding her throat and grimacing.
??On some days between 120 and 150 zombie extras are on set at the same time, for want of a better term, limbering up. Zombies are grouped into three categories headed up by “hero zombies”—extras who really know how to shuffle lifeless limbs and who can truly horrify in close-ups. Hero zombies are usually in make-up as early as 3 a.m. on a “zombie day.”
Greg Nicotero, an industry leader fresh from an Emmy win for make-up effects, holds zombie school where he grades extras in a little book according to their looks and movements.?