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‘Better Call Saul’ Season 4: Rhea Seehorn teases how the show ‘ups the ante’

Rhea Seehorn as Kim Wexler and Bob Odenkirk as Jimmy McGill on 'Better Call Saul.'. Nicole Wilder/AMC/Sony Pictures Television

Better Call Saul fans, buckle up.

The fourth season of the impeccably shot Breaking Bad prequel is returning on Aug. 6, and series star Rhea Seehorn is teasing that it’s a doozy. Last we saw Jimmy McGill (Bob Odenkirk) and Seehorn’s character Kim, they were coming face-to-face with their own realities — Kim recuperating from a car crash that could’ve killed her and Jimmy’s relentless war with his older brother, Chuck (Michael McKean).

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Now things are coming to a head with (SPOILER ALERT) Chuck’s death, and both Kim and Jimmy need to adapt to their new normals.

Global News spoke with Seehorn over the phone, and she let us know how intense Season 4 will be, and how much she’s learned from playing Kim.

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Global News: This show is astounding — cast, crew, directors, producers — and you should all be very proud of what you’ve made, especially following up something as massive as Breaking Bad. Every episode goes by in a blink.
Rhea Seehorn: I feel the same way! I watch it and I ask, “Was that really an hour?” It’s such dense storytelling, and as you know, they are not wont to rush pace, yet I finish and it feels like it was 30 minutes!

If you think that and you’re in it, then…
When you’re shooting it, you’re never quite sure you can actually get it all into one hour. It’s the opposite experience watching. [Laughs]

I don’t know how you all pull it together. There are so many layers, imagery, the shots…
The crew is an astonishing machine, and not in the way … some shows that’ve been on for a while, people talk about well-oiled machines, but there’s a bit of a perfunctory aspect sometimes. With this show — and there’s tons of crossover from the Breaking Bad crew — these people believe in the storytelling. And I’m talking every department, from props to makeup to lighting, and then all their assistants, and then the interns to those assistants. It goes on and on. Three 17-hour days and they’re still going strong.

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Every episode is like theatre. Particularly that court episode in Season 3.
It could easily be [theatre]. It was one episode, but we didn’t leave that courtroom for six days of shooting. It’s an incredible episode. It felt like a play because there were so many unusual camera angles, and also actors who had long monologues they had to perform. We did the majority of those scenes in their entirety, every take. Michael McKean did his entire testimony from the beginning (cockiness, smug) to the confusion all the way to the ultimate breakdown at the end.
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People are fully engaging with each other in every take, like a play. I’m not surprised it feels that way when you’re watching. I think there’s no release for the audience, and in that way, it feels like live theatre too. When I watch scenes I wasn’t in, as a spectator, there’s a heart-racing to it. I feel in it, I feel like I’m in their world with them; I hold my breath when no one’s speaking.

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You’ve had three long, intense seasons of playing Kim. How much is she a part of you now?
She’s one of my all-time favourite characters. It’s such a gift that I get to play her and keep exploring more and more of who she is with the writers and directors.

She’s sort of a mystery. We don’t really know who Kim is.
She’s far cooler than I am. She’s way more mysterious than I am, too. She’s able to sit in silence, which I am not. [Laughs] But I have learned some things playing her for four years.

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Like what?
I’ve gotten marginally better at not filling silence for no other reason but to fill silence. [Laughs] Often I do that because I’m uncomfortable, or I’m trying to make somebody else feel more comfortable. What I’ve gotten out of Kim is giving people the space to shine or the space to hang themselves. [Laughs]
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The first thing I do to get back into character as Kim is become very, very still. I took clues from her economy of language from the first couple of episodes in Season 1 and decided to go with that. You start with jigsaw pieces from Vince [Gilligan] and Peter [Gould], and they didn’t know exactly who she was or who she was going to be. I thought if someone has almost no fat on their language, then they probably have almost no fat on their gestures.

I don’t think Kim likes people to know what she’s thinking.

What can you tell me about Season 4?
This season, they up the ante in all the storylines and all the characters. It was so much fun! There are so many scenes this season that I felt the weight of the audience, but for Kim it would be internal reflection. At many times, the audience is my biggest confidante in the scene. They’re the only person who knows that Kim is experiencing something more than what she’s letting on.

The fan theories about Kim are really fun to read about. I can tell you that I don’t know [what will happen to Kim], and I also don’t think the writers ultimately know what will happen to her. For every three answers, they raise four questions about what will happen to Kim. What I did find out this season is that there’s a deep dive into grief and being rudderless that many characters are going through.
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Nicole Wilder/AMC/Sony Pictures Television
It’s grief, but it’s also guilt. For Kim and Jimmy, it’s the loss of a career that you were defining yourself by. Kim can still practice law, obviously, but she got in the car accident and realized she can’t do everything by herself … which is a huge bummer for Kim. [Laughs] She’s hobbled for the majority of the season in a cast, and they went very deep with her, as far as psychologically … What does one do when they can’t define themselves the way they used to?
Jimmy’s grief is causing him to be a distant person at times. Their relationship becomes very, very cold this season. There were times when it was more honest, which is so interesting in a show like this because it felt scary for two people to sit down and not wear a mask anymore. [Laughs] They matured a lot and got very close, but there are other scenes when they’re distant planets sending out light signals. It’s just tragic. It was beautiful, hard and challenging.
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[This interview has been edited and condensed.]

‘Better Call Saul’ premieres on Aug. 6 at 10 p.m. ET on AMC.

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