Pay parity is a really hard one to talk about because truly I get paid great. Is that something you’ve advocated on for yourself on this show? Pay parity is increasingly an issue in Hollywood. Like, why don’t girls like math and science? How do we talk to girls versus boys? All of it is so tied up in my mind. And part of that has been starting to do some work about unconscious bias. And, at a certain point, I realized there’s information I’m missing if I’m not paying attention to what my gender is doing in the world. And I think, for a long time, it was easy to live in the world that way. Do you feel like your own journey as an actor in Hollywood is reflected in what Donna is saying?įor a long time, I really blithely walked around in the world imagining that gender didn’t matter any more and behaving like I was on equal footing with other people. The metatextual thing really comes to the fore, especially in that scene. I get to talk to Mackenzie and look in her face and tell her what a great partner she’s been, and it’s all just so true. I can look at the crew that I love and say how proud I am to be on this journey with you and mean it 100 percent. And there was so much about that speech that’s, like, completely, totally truthful and honest. We talked a little about all of the allegories between the content of this show and making a TV show. We’re wrapping up this four-and-a-half years of my life, and there’s so much about it. Like, a TV show, it doesn’t have to be that good. Tiny little baby steps, you know? So that part’s kind of sad.Īnd then the other part is what a beautiful thing to get to articulate how hard it is for working women and some of the conflicts they have. The women of the BBC just had to organize to try to get equal pay. You think about all the “Women in Hollywood” dinners and cocktail parties. My generation is those daughters, and we’re still having these gatherings and conversations. But I hope that when my daughters are my age, they don’t have to have gatherings like this to remind themselves they’re actually here.” And what’s hard about that is … that’s me. One of the lines in it that always gets me is when she’s like, “Hey, you know, I’ll hang out with you and eat good food whenever. And then I reread it later in my car and I wept. Mackenzie cried, and I was like, Yeah, it’s cool. And in the moment I was reading it, it didn’t totally register. So we decided to not read the last episode until we were all together and read it out loud together for the first time, which was really fun and weird. And usually we get the script in our email and we’ll all read it, and then we’ll find a time that we can all get together, and then we work on it - hash it out. The actors do these read-throughs, just on our own, which has been one of the most satisfying things about doing this job. When we first read it, we all got together and read it. What was your reaction when you first read the final script? Halt and Catch Fire Was the Most Quintessentially Gen-X Show on TV In this interview, Bishé looked back at the past four-and-a-half years on the show, and the final line Donna says to Cameron. Behind the scenes, gender equality was a part of the conversation: Bishé and her female co-star Mackenzie Davis got paid equally to their male co-stars Lee Pace and Scoot McNairy for the final season. You think about all the ‘Women in Hollywood’ dinners and cocktail parties. “My generation is those daughters, and we’re still having these gatherings and conversations. “What’s hard about that is … that’s me,” Bishé said to me on the penultimate day of shooting the series finale of Halt and Catch Fire. But the line that really got Bishé was when her character says, “I hope that when my daughters are my age, they don’t have to have gatherings like this to remind themselves they’re actually here.” In the finale episode, Donna, played by Kerry Bishé, delivered a Joe-like speech that looked back at what she had accomplished while looking ahead. She could envision where technology was going and be the one to get you there. Amid the bombastic charisma of Joe MacMillan, the frantic genius of Cameron Howe, and the fragile ego of her ex-husband, Gordon Clark, Donna Emerson emerged as the one who could see the future.
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