![]() What did you most enjoy about the journey that you took with this character, over the course of the first season, as you learned about her, and then how did that change, or did it feel any different, walking into this season, now that you had that season behind you? To be able to deliver such sensuality in the simple moments, and yet to tell the story of the porn, whether it’s prostitutes having sex in a way that is slightly removed and really gives us a sense of what it was like for them, which was not sexy, or attractive, or a turn on, was just extraordinary. I knew, before then, that I was a part of something special, but that was one of those moments where I felt like, “Wow, I’m really a part of something special.” To do that, to me, is extraordinary. To me, there was such a deep awareness that I had just witnessed several full-on sex scenes with nudity, and yet those two moments were the ones that felt the most sensual. This one guy comes over to dance with him and just lightly brushes his lips on his neck. And there was another moment where Paul is in a gay club, for the first time, and is just experiencing that high of being amongst his people and dancing. One moment was where Darlene goes to kiss Larry Brown on the cheek, when she’s sitting in the car. LEVIEVA: Absolutely! I remember, with the first season, watching an episode where there were several simulated sex scenes for porn, and within that episode there were two moments. So, when it comes to that aspect of the story, were you surprised at how not exploitative it actually is, in that sense? It still always seems to be driven by the characters, and the characters really drive the drama of the story. They’re building this world and really presenting to the audience this entire world, which involves so much more than that.īecause of the subject matter and the time period, it’s not surprising that the show does have a certain amount of nudity, but for a show that details the lives of sex workers and the rise of porn, that nudity doesn’t ever feel like it’s exploitative. When I tell people, “Oh, I’m doing a show about the beginning of the porn industry and the sex industry,” it sounds worse than it is because actually reading the script, and then working on it, you see the genius of their work. It’s interesting, I think what’s so beautiful about the show is knowing that it’s about the beginning of the porn industry, it’s about Times Square, and it’s about that aspect of New York, at that time, and yet, it never felt like it was only about that, to me. I had originally auditioned for Candy and while I was working on the material, I was like, “Wow, she’s only in a few scenes in the pilot episode,” and that opened up my imagination and gave me inspiration, and I was like, “I would love to work on something like this.” And then, they asked me to come back in for Abby, and that scared me, playing a 20-year-old when I wasn’t anywhere close to 20. And then, I read the script and what I loved about the pilot and what fascinated me the most was that, even though it’s such an ensemble piece, and some of the characters only had a few scenes, and it was hard to tell who was gonna go where or how they were gonna develop, but I was still able to see, within those first few scenes, just how rich the material was and how much room they gave for development. So, I think hearing that they were involved and that this would be their next thing, of course, got me initially interested. I’ve been a fan for a long time, and I had, just before that, watched Show Me A Hero, which I loved. MARGARITA LEVIEVA: Certainly, the people involved was the first what caught my eye, initially, hearing that it was David Simon and George Pelecanos. Collider: When The Deuce first came your way, what was it about the project that got you most interested, and what made you most nervous about it, especially since you didn’t know exactly what it would turn out to be?
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