“Six months could make an enormous distinction bodily, too,” Sink defined of the hole that the pandemic wedged into their manufacturing schedule. Filming with a gaggle of teenage children implies that even a brief break brings about a lot of change. “There’s positively a scene in season 4, episode 4 the place we’re in Mike’s basement. Max goes round handing out letters, after which she needs Steve to drive her to a couple locations. So we exit the basement, and it’s one steady scene. However as we’re leaving, within the subsequent shot, we glance a couple of yr and a half older as a result of we didn’t get again to that scene till the final chunk of filming. You possibly can positively inform,” she laughed. “Or a minimum of, we will.”
Continuity breaks apart, stepping again into her character felt seamless. “In a approach, Max looks like an outdated pal,” she advised me. “Once I learn the scripts [for this season], I used to be actually pleased with her. You see how a lot of a fighter she actually is.” Season 4 shines a lightweight on a aspect of Max Mayfield we hadn’t but seen. Subsequently, we’re additionally seeing a brand new aspect of Sink. Max occupies a a lot better focus of the plotline, and every time she seems on-screen this season, we’re launched to an excellent deeper layer of Sink’s performing chops. “I discovered that a lot of the season revolves round darkish and intrusive ideas that eat away at you,” she defined of Max’s arc. To get into this darker headspace, Sink turned to journaling, which she picked up from her theater-school days as a child. “It actually helped to write down journal entries as her and get inside her head somewhat bit,” she continued. “ There’s a lot that she doesn’t inform those that it may be so irritating. She’s in a dismal place and positively remoted herself quite a bit. Entering into that mindset was a pleasant problem.”
