"One thing that is quite clear is that Connie has changed, also," Ridloff told Decider via an American Sign Language interpreter when asked if her return might reignite "sparks" between Connie and Daryl, who has changed since she saw him last. "She's in a different place mentally, as opposed to before the cave. And now when she actually, finally reunites with part of her group, her sister specifically."
"So I do think that Connie now has some PTSD that she's dealing with, and she needs to deal with that first and how that actually affects her and her relationships," added Ridloff, "whether it be with Daryl or her reentering into that community again. So only time will tell."
"Right now of course they have the Donnie shippers and the Caryl shippers, the wars with the fans. But I think it was just a moment to show everybody that Connie and Carol are two very mature women who have a relationship and a rapport outside of this man, that he doesn't even have to be involved," Ridloff said last year on Talking Dead, referring to a tender moment between Connie and a claustrophobic Carol. "And the fact that Connie was able to do something that involved just the simple touch of the hand, and to have that moment of humanness, it's almost like holding her hand. Holding her hand would have been babying Carol, and it wasn't anything like that. I think it was a creative way for Connie to give Carol that support."
In an excellent interview with Winter Is Coming, executive producer, special effects legend, and “On the Inside” episode director Greg Nicotero discussed everything that happened behind-the-scenes to make these new antagonists scary:
“Well, it’s interesting that they have the same goal the walkers have, which is to consume you. For whatever reason. So I knew number one, they had to be different. We didn’t want the audience to think that they’re just zombies moving fast. So we went with the hair, we did some little tabs under the eyes so that the skin would pull down under the eyes. We had eyebrow blocks and some prosthetic pieces on them just to make them look just a little weirder, a little angular. We paled them out and used more blues on them instead of the brownish greys that we use on the zombies.
“But for me it was really important to have the movement. So the first thing I did was I collaborated with the stunt coordinator and said, ‘Look, I want you to film people on all fours running as fast as they can. And that’s using the set, using the set by climbing up the side of the wall, or leaping off a piece of furniture ... I knew that the movement was going to be absolutely critical and I loved the idea that they can come out of a corner or they can be perched on top of a piece of furniture and that they could be there the entire time.”
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