I was excited to get back to doing the thing that became a part of pop culture. And I was like, “What’s up?” And he was like, “I get to do the thing today!” And that put a giant smile on my face because I felt the same way. call time, and he bounced onto the stage like it was his birthday. The day we were going to shoot the kill room, it was a 5 a.m. For me, it’s the journey that we take them right to see, “How do we get back to the Dexter everybody wants to see?” Michael was like a little kid. And I think audiences don’t want a different Dexter. But it was, strangely, very comfortable and easy just to fall back into. We catch up to him in Episode 1 and it starts to fall apart again.
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He’s settled, he’s figured out how to to abstain, and he’s comfortable with it - and he knows how to avoid the trappings. It was an instant, “This is what we’re making” and now it’s just in the details. When I do a pilot and you’re world building, there’s this thing where you do a dance with an actor - where both actor and director are feeling it out, like, “What is this supposed to be like? “What is it supposed to feel like?” We didn’t have that problem. The fascinating part for both of us was how comfortable it felt. How did you work with Michael on that first kill scene and the return of the voiceover? Did you want this to be where the old Dexter finally returned? Here, Siega talks to Variety about returning Dexter to his killer roots but making him rustyat murder, building a relationship with his son and how that will shift his relationship with Deb, and working with a digital deer. “Those little ideas really were the foundations of, ‘How do I make this feel different?'” So, I felt that was an opportunity to actually lean into that with the audience and shoot this in a way that was different in terms of point of view, so that you’re constantly like, ‘When is he going to say something? When am I going to hear his inner monologue?'” Siega says. It doesn’t come until he kills Matt, and I was craving it. “When I read the first script, it struck me that there’s no voiceover here. Following his point of view is more fleshed out by Siega’s choices, including using 35mm lenses on his closeups. And there is only one brief moment where the show plays out a wish fulfillment moment for Dexter.
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The voiceover that the original series used to let the audience in on Dexter’s true feelings is forgone in the majority of the premiere episode, choosing instead to sit in the quiet Siega mentioned with the eponymous character. His conversations with Debra are the biggest peeks inside Dexter’s mind (as she only exists as an extension of him now) “Dexter: New Blood” offers. Now-teenage Harrison (Jack Alcott) doesn’t pop up in his life until the end of the episode. When the new episodes begin, the only tie he has to his old life is through his deceased sister Debra (Jennifer Carpenter), who acts as his conscience and with whom he has conversations, the way he used to talk to his adoptive father Harry (James Remar) in the original series. He has even entered into a romantic relationship with the chief of police, Angela (Julia Jones).īut, although Siega says that Dexter truly does “yearn for family,” he has kept himself away from his remaining blood relation, his son Harrison. He works in a hunting gear store in town and is on a first-name basis with everyone from high school kids to neighboring shop owners and workers. Although he lives in a small cabin in the woods, he has not been completely reclusive during the past eight years.
Siega, who directed many episodes of the original series in the first four seasons, had to set up Dexter’s new world when helming the premiere of “Dexter: New Blood.” This not only included setting the visual style for the show, but also creating the tone of Dexter’s new and evolving relationships.
But it was an opportunity for me to let the series evolve.” Dexter is the comfort food Michael is the guy, for the original fans. “I really wanted the feeling of the show, when you watched it, to be different from what it was before.
Everything was very deliberate, and I hope that there’s a pace to it that feels a little lonelier, a little quieter,” he says. “I didn’t throw a bunch of cameras at a scene and do a lot of crazy camera moves. The original series, Siega reminds Variety, was shot like a graphic novel with “crazy angles, wide lenses we’d get all up in his grill.” Returning to the character in such a different place and time now, Siega wanted to “make sure that I didn’t step on that style,” which meant approaching it in “a much more classic, cinematic way.” where, at least during winter months, the cold and dreary surroundings seem to better fit the mental state of someone doing, as Hall puts it, “ protracted penance.” Over the last eight years, Dexter made a new home in the small town of Iron Lake, N.Y.