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Westworld' Bernard Twist Explained Hollywood Reporter[Warning: This story contains massive spoilers for the seventh episode of HBO's Westworld.]"Have you ever questioned the nature of your reality?"It's a question posed throughout Westworld, as technicians and scientists analyze and diagnose the hosts. Indeed, it's a question often posed by Bernard Lowe (Jeffrey Wright), the park's main scientific mind second only to founder Robert Ford (Anthony Hopkins). It's not a question he often asks himself, however — and based on the ending of the show's seventh episode, it's certainly one he'll be asking himself a lot moving forward. In the episode, "Trompe L'Oeil," one of the most prevailing fan theories receives a resounding answer: Bernard is indeed a host.

The reveal comes at the end of the hour, as Bernard and his colleague and former lover Theresa Cullen (Sidse Babett Knudsen) search Robert Ford's secret cottage, where he builds and houses his own off- the- grid hosts. They discover that Bernard is one such host, despite the fact that he has powerful personal memories and motivations, including grief over the loss of his young son Charlie.

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Making matters worse, Ford subsequently commands Bernard to murder Theresa, one of the biggest thorns in Ford's side. Bernard obliges, making this the show's first instance of a host killing a human being, at least as far as it's been presented thus far. For more on the massive moment, The Hollywood Reporter spoke with showrunners Jonathan Nolan and Lisa Joy about planning the Bernard reveal, the different kinds of horror at play in the scene, and their thoughts on telling a twisting- and- turning narrative in an age where online theorizing sometimes arrives at the answer before the show conveys the information.

When did you land on the idea that Bernard is a host? Jonathan Nolan: That was always the intention with his character. We knew that Ford … as you come to know Anthony Hopkins' character in the show, you start to realize the depth of his misanthropy. He plays as a cipher for much of the season, and that's intentional. There's no actor more capable of portraying ambiguous moral standing than Tony onscreen. The idea that he would create his own collaborators felt natural to us and was baked into the story from the beginning.

We only shared it with Jeffrey after the pilot. As with all of our actors, we only doled out information on a need- to- know basis. As much as possible, we tried to keep them in the present tense with the narrative.

But for Jeffrey, for a number of reasons, it was important he understood the exact kind of creature he's portraying onscreen. How did he react to the news? Nolan: (Laughs.) Well, he had his own theories. Lisa Joy: He did have his own theories. I remember he was sitting on the couch, and he kind of took a moment: "Oh … oh!" And he kind of sat back: "Oh, I'm going to need to think about that and process it all." For me, it was hilarious. I have long been a superfan of Jeffrey Wright's, and it's been a dream getting to work with him. I remember when he first came on board, I was like, "Jeffrey, hold on, man. I know what you're capable of and you're going to do it all." It was such a pleasure to get to see him play this incredibly multifaceted role.

What were your goals in crafting the reveal? The final scene of episode seven takes several twists and turns with multiple gut punches along the way. Nolan: The visual language of the show up to this point, and we established it in the pilot and onwards, has been for the most part neutral.

It's not a show that's overstylized. We wanted the way the show was photographed and presented to be quite neutral — but favoring the hosts. A lot of the ways the shots are constructed, you see it most often, to this point, with Maeve (Thandie Newton) and Dolores (Evan Rachel Wood) and Teddy (James Marsden), we position the frame to allow the camera to favor them. That was a request for the [directors of photography] and the [camera] operators.

What we wanted to explore is the idea in the series that … when you go back and look at the pilot, it's told almost exclusively from the perspective of the hosts. You imagine with Bernard that you're getting the [human perspective], but that pilot is really about hosts. Almost all of the major characters, most of the moments are glimpsed from their perspective. That's something that becomes very apparent in this episode. The perspective was something we talked about a lot. When Bernard walks into that room, when he walked into that cottage before in the previous episode, Ford appears seemingly from nowhere. Watch Buddha`S Little Finger Online Moviesdbz more.

When we come back, it's one shot that rakes across the room. Bernard walks into the room, there's no door, the camera pans back over, and Theresa brings up the door.

That's a moment we talked about an awful lot, in terms of the horror of realizing that your reality has been carefully curated. Your day- to- day life, you may be missing important aspects of your reality that are hiding in plain sight. For Bernard, it's this horrifying moment that slips past: "There's a door here, and I haven't seen it." He takes it in stride because he's programmed to do so. And indeed, he takes in stride — at least at first — seeing a schematic of himself. We loved the idea of him sort of stumbling upon the place in which he was brought into the world without realizing the significance of the place. You have this wonderful dynamic between Sidse Babett Knudsen and Jeffrey, and then of course you have the wonderful Tony Hopkins who gets to wade into this scene in the middle of it and lay out a bit more of his philosophy of consciousness and whether humans are privileged in that regard or not. One of the promises of Westworld is that the hosts are on a journey of self- discovery.

Certainly in the film, that idea manifests in the hosts physically harming the guests. It's felt that the show has been building to a similar moment, and now, here we are, albeit in an unexpected way: Bernard killing Theresa. Can you talk about using those two characters who were lovers up until very recently as the first figures involved in fulfilling the show's promise of a host killing a human? Joy: This example is one in which the host really didn't want to kill the human being. It's more proof of their subjugation.

Bernard, as he self- identifies as a human, is a gentle and contemplative and loving soul. That kind of act of violence, especially against someone he cares about as he cares about Theresa, would be anathema to his character. The scene is terrible and devastating on a couple of fronts. One, of course, because of Theresa's death. The other is because of what it means for Bernard, who did not want to do that.

There is blood on his hands that he would never want there now, and he realizes that he's a pawn in a game he can't control. There are two great victims in that scene, and for me, that really enhances the tragedy of it. Bernard feels so much distress and conflict as he starts piecing together the nature of his reality. And then it's a sudden shift into stone- cold robot mode. What were your conversations like with Jeffrey about how to play Bernard's reactions to this reveal? Nolan: We talked a lot about it. As Lisa said, Jeffrey is one of our all- time favorite actors.

We were so excited when he said yes to this role. It's a slow burn with the role. As we said, he's a very gentle, thoughtful and pensive guy. And then, seven episodes in, there's this sudden flood of emotion, and then it's turned off again. It's a moment we've seen before.

In interviews and to us, Evan has referred to it as the "acting Olympics," being asked to [turn it on and off]. The story we're telling, and what the actors have to do with their own process, is kind of a fascinating intersection. It's a presentation of emotion and the ability of the actor to turn it off.

Josh Becker: Q & AName:             Nikolay Yeriomin. E- mail:            nikolayyeriomin@gmail. Date. 6/5/1. 6Dear Josh : Loved previous q& a's with Keith and Tim because it is quite an interesting "food for thoughts".

If it is okay, I have a few comments and questions regarding what they were writing, so this message may be a little bit long (I hope that it may be separated if that will be more comfortable for you and/or webmasters). Firstly, regarding Alfred Hitchcock (by the way, my all- time favorite director) - it should be noted that "Hitchock/Truffault", even though it is one of the greatest books on Hitchcock and movie- making in general is quite flawed by one thing in nearly any translation, that thing being the fact that all of the Hitchcock statements were translated in French and then book was again translated in English from that translation, so at times what Hitchcock actually said was somewhat paraphrased and may have affected the sense of a few statements. Secondly, a little thought on Hitchcock's movies - last summer I've discovered that I've actually haven't seen that much of his directorial works, mainly because in cases of one of the favorite directors dying or working rarely I usually postpone some movies in advance, just to have a few if I'll have some specific mood. In case of Hitchcock, though, I understood it was quite pointless, because if counting his TV episodes and some other things he has quite a big filmography. So, I've started a tradition of sorts that I hope to continue this year - to pick five Hitchcock directorial works (from each decade of his career excluding the 7. I've seen everything) mostly at random and watch them on and around his birthday. What I've picked in 2.

The Pleasure Garden", "Jamaica Inn", "Spellbound", "The Trouble with Harry" and an episode of "Startime" named "Incident at a Corner". I can highly recommend each one of them (though "Spellbound" is probably the better one of them), but "Incident at a Corner" is especially recommended because it is mostly overlooked and forgotten, despite this little gem is actually pretty impressive. Thirdly, while I can understand your and Tim's concern of culture being "rotted", I have some optimism for it and I just believe that we're living in a period of quite a big shift and it's hard to judge the society which is in a constant stress and undergoes a process of certain social and cultural mutations. I'm quite concerned about culture as well because, well - mainstream culture seems less and less appealing to me. Especially since younger people (of which I am, to some unfortunate extent) seem less and less tolerant to more individual and "unconventional" tastes and will try to force you to watch what they like, massively overreacting if you dislike their choice, forgetting that anyone has right to choose what he or she wants to watch.

I'm quite tired of people shaming me for my dislike of "Game of Thrones" and "The Walking Dead" - while both series are very popular and acclaimed I just can't find anything of strong interest in both of them (not to mention that people fail to notice how much "Game of Thrones" is derivative to works of William Shakespeare) so I don't have a point to watch them. But I hope that such "Age of Overreacting" will eventually pass and we'll have some kind of renaissance.

I don't lose that hope because, well, even my dorm roommate (1. I'm of the same age gap and yet I can easily watch anything regardless of time period) loved "Lawrence of Arabia" and is amazed by Buster Keaton stunts (despite him being a parkour practitioner he just can't understand how some of them were executed) and another one of the same age is reading a lot and tries quite thoughtfully to compare and balance mainstream, independent and classic art. One of my best friends who is essentially of my age disliked "The Hateful Eight", by the way and while I was okay with that movie I can totally see why and approve both his and yours concerns about it. Fourthly as you've asked for someone to pick ten greatest movies and albums of the past ten years (that should be the period of 2. I guess?) I might as well try to name at least movies. But I should warn you that I'm casually watching some movies two or three years after the initial release, so I'm quite surely missed at least a few great titles. I'm also subjective, of course and will try to balance those movies which both I've found great and at least some significant amount of people enjoyed a lot as well, trying hard to limit it for one- two movies per year.

My picks are (in chronological order): 1."Shaun of the Dead" (2. Dir. Edgar Wright (UK); 2."Takeshis'" (2. Dir. Takeshi Kitano (Japan); 3."A Scanner Darkly" (2. Dir. Richard Linklater (USA); 4."Reign Over Me" (2.

Dir. Mike Binder (USA); 5."Serce na dloni" (2. US as "And a Warm Heart" though the translation is "Heart in the Hand") Dir. Krzysztof Zanussi (Poland); 6."Drive" (2. Dir. Nicolas Winding Refn (USA); 7."Fire.

Crosser" (Toy. Khto. Proyshov. Kriz. Vohon) (2. Dir. Mykhailo Illienko (Ukraine); 8."L'écume des jours" (2. US as "Mood Indigo", though the translation is "The Foam of Days") Dir. Michel Gondry (France); 9."The Guest" (2. Dir. Adam Wingard (USA); 1. Mad Max: Fury Road" (2.

Dir. George Miller, (Australia and USA). The problem is - great rarely equals life- changing personal favorites - if you'd asked to put a list of ten personal favorites a fewer of those will move from one list to another. Watch Little Monsters Online Hulu on this page. Yours sincerely,Nikolay Yeriomin.