Do you read the books for inspiration, or do you like to come in totally clear-headed?
No, I think it’s important if you’ve got any source material that you use it. So yes, I will always read the books. I think it helps insert yourself into the world so you understand exactly what’s going on. It’s funny, there’s such a stigma around romance books, which is so bizarre to me considering how popular they are. It’s a genre that is so underused and even occasionally mocked. You’re like, “But look at the response!”
Oh, it’s ridiculous. The romance genre is a billion-dollar industry. For the publishing industry, but also Bridgerton is currently the number one show on Netflix.
Yeah, exactly. It’s breaking records every season. It’s clearly selling. So why aren’t people taking advantage of that? I think people are maybe afraid that it won’t do well or aren’t sure how to stage it or worry they’re going to fall into a cheesy version of it or something. I mean, you’re wiping out such a huge part of the population who are clearly down for this. Why would you not run with it? I hope we see so many more romance adaptations coming in because it’s clearly something people want. And with the representation that Bridgerton brings, people are starting to see themselves onscreen in roles they never thought they would, which is awesome.
Were there any scenes or moments you choreographed that didn’t make the cut this season?
Yeah, there’s always quite a few. It was the same in season one. There were loads of scenes that didn’t make it. We always do more than we need to so there are many options in the edit. I think that that’s a really important thing. I know people have been frustrated that there haven’t been more [sex scenes], but part of it is that we want to give our absolute best. There are loads of scenes that don’t make the final edit—that’s just the world of film. What we are really confident in is that the sex scenes that are in, we’re really proud of.
So what things or qualities differentiate a scene that makes it in versus one that is cut?
I don’t know if it’s a difference between the quality, but it’s probably more of what they’re looking for narratively. Making sure that the choices we are showing fit how the narrative is moving. And obviously in giving a wide range, you’ve got more to pick from. So it’s not necessarily that one might be much higher-quality than the other. It’s just that one might tell the story in the way they’re looking for.
Is there anything from last season you didn’t get to include or a lesson that you wanted to bring into this season?
They were two very different seasons, narratively. You’re dealing with a journey of discovery and then you’re dealing with a journey of absolute tension. We did see some buildup between Daphne and Simon in season one. So it was really cool to see how far we could take it in season two—just how much longing can we bring to the second season? I think they nailed it because two things are going on at the same time: You’ve got this building of tension, but you’ve also got so much character development going on. You not only get to see the relationship grow, but you get to see them grow as people. You know who they are, what they’re about, and what the stakes are. If there are two characters that you don’t really know, then the stakes in the intimacy scenes are so much lower. You’re invested in these two after you’ve watched them for six episodes. Finally, they’re doing it and you know them really well. You’re rooting for them. You wanted this all along, and now it happens. That’s a very cool payoff.
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