![]() I wanted Claire’s driving scenes to look natural, not contrived or designed, which would contrast with the hazy look of the scenes from the future coming up. In the show, Nate had just died a month or so ago and she realizes she’s leaving him behind, too, and that’s when she really starts to cry. I think we shot Nate running separately, then shot Claire’s POV of the mirror but covered it in green screen, so we could really control the rate at which he disappeared. At the same time, I wanted to see her hands on the wheel because she’s the one driving-it’s her choice to leave-but I don’t think you have to sledgehammer those things with a close-up on hands or anything. So I wanted to see on her face how upsetting that is to really leave everything you know behind. When I left home, I knew I was never coming back and I cried in the car. What was important to me was that it was very emotional for her to leave but she knows she has to. So I decided to build the sequence around her driving off to her new life, into the unknown, because that’s what death is anyway.”Įver since the pilot, I had used the vantage point of looking down the road as a symbol of life, so I decided to use a lot of that in the finale as well. “I felt that Claire leaving home presented one of those big life transitions that feels like a little death. “I didn’t want to just go from one death to another to another,” Ball says. ![]() And there’s an upward drift of the camera that plays throughout the sequence as it continues, a feeling of floating up, of rising. ![]() Once Claire says her goodbyes and starts driving out of Los Angeles and through the desert, Ball cuts between her emotional state in the car and moments in the near and distant future: birthdays, weddings, and, eventually, death. PHOTOS: David Chase on The Sopranos Final Shot “When the show started, Nate was our way into this world, and Claire became our way out of it,” says Ball. The final sequence starts with Claire (Lauren Ambrose), the youngest sibling of the Fisher clan, as she sets out for a new job and a new life in New York. ![]() The solution, seemingly inevitable and obvious, presented itself in the writers’ room one day when somebody jokingly said they should just kill everyone off.īall, who directed six episodes, including the pilot and finale, realized that going forward in time to be with the characters when they die was a perfect way to conclude the show. How to end Six Feet Under, which delved deeply and intimately into the lives of a family of morticians and their loved ones for five seasons from 2001 to 2005, presented a challenge for series creator Alan Ball. He explains why it was the perfect ending-and how he pulled it off. For the daring finale of Six Feet Under, director Alan Ball killed off the beloved characters he’d spent five years creating. ![]()
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