SPOILER ALERT: Read on only if you have already watched Sunday’s “What Comes After” episode of The Walking Dead.
Rick Grimes lives! Barely.
And his story will live on as well. While Andrew Lincoln has now officially moved off The Walking Dead TV series with the conclusion of Sunday’s “What Comes After” episode, the actor will return in a trilogy of Rick Grimes movies to air on AMC.
Rick’s last episode saw the former sheriff’s deputy going through a series of hallucinations as he sought to drive a herd of walkers away from his friends and family. After consulting with former faces like Shane (Jon Bernthal), Hershel (the last Scott Wilson), and Sasha (Sonequa Martin-Green), Rick repeatedly “woke up” and led the zombies to his precious bridge, which he then blew up. But while it appeared Rick had blown himself up with it, he was then found by Jadis/Anne by a riverbank and loaded onto a helicopter to who knows where.
We spoke to Lincoln to get his thoughts on his final episode, and the actor shared the story of when and how the plan was hatched to move Rick’s story over into a series of films. Read through both pages of the interview to get the entire scoop. (Also make sure to read our episode & movie interviews with EP Scott M. Gimple and showrunner Angela Kang.)
ENTERTAINMENT WEEKLY: Now that people have seen it, how do you feel about your last episode of The Walking Dead?
ANDREW LINCOLN: I’m so happy. That was one of the great joys. With very little real estate, I thought [showrunner Angela Kang] covered a lot of ground in those five episodes. And then the idea of the bridge, the metaphor for the bridge. I thought that was really smart. And initially, I was kind of cautious about the callback aspects of the hallucinations, and then as soon as the guys walked up, it all made complete sense. And it was a brilliant and beautiful way to finish my tenure on the show.
I find that fascinating that you said you were cautious and maybe a little concerned about those hallucinations. Why is that?
I think because I don’t necessarily like repeating. I thought we did it so beautifully for Tyreese in his episode. I really enjoyed it. I thought it was so elegantly done when Chad. Of course, I loved the idea of Scott Wilson, John, and Sonequa returning. I thought as long as it earned its keep. I don’t want it to be a callback to the first episode unless it really yields something. And fortunately, it did.
And I realized halfway through, I went, “It’s The Wizard of Oz! We’re shooting The Wizard of Oz!” Hershel’s the courage, Bernthal’s the heart, and Sonequa’s the wisdom of when you have the peace. And Michonne is home. And it’s that whole thing of being whisked away into the helicopter, and spinning away in the house. I said, “We’re in The Wizard of Oz!” And everybody was like, “Oh, yeah. Maybe we are.” That’s what I’m saying anyway. It all made sense with me. But it was thrilling to be able to work with those guys again, and going back into the hospital gown in my last ever shot is wild, and kind of a weird full circle.
I loved the full circle aspect of it. I mean, just going onto that set and seeing the hospital set gave me goosebumps. And the fact that that was the last thing you shot was there in the hospital room — with Norman Reedus tickling your feet, I guess, right?
That’s exactly right. He made me look like a clown on my last day. Well, he made me look like a clown every day, so I was particularly happy that he didn’t change anything up for my last shot. It was a fitting finish, and that was, as I said before, I think the most satisfying two-and-a-half weeks leading in. Episodes 4 and 5, I just loved it, and every single day was big, and sort of grungy, and messy. Just like he way we began it. We sort of finished the way we began it really, and that was incredibly satisfying.
How about getting to work with Scott Wilson one more time before his passing? That’s so nice that you two got to share one more scene together.
Oh, incredible. He’s one of my favorite people, and one of the greatest thrills of my career, in fact, was working in his 50th year as an actor. And I’ve learned so much from him, and he’s one of the greatest men I’ve ever had the pleasure of working with, and will ever have the pleasure of working with.
And what was it like being back in the cop car with your original partner in crime, Jon Bernthal, chowing down on fast food?
It was wild. It was like no time had lapsed in an eternity. It was very strange, and then very quickly he rolled up, because I got there really early, and we just hung in our trailer. He’s my brother, man. He set the tone. He and Sarah [Wayne Callies], and Jeff DeMunn, and Frank [Darabont], and everybody set the tone for my work ethic, and I’ve learned so much from working with him, and continue to.
I came to America to work with people like Sonequa, and Scott, and John Bernthal. And there’s a thousand more I could name, but that’s why I fell in love with film in America because of actors of that quality and that caliber. And so, yeah, to finish in that way, to be able to witness Norman and Danai and Melissa and everybody else, what they did in that episode was remarkable, I thought. And so I walked away happy, which is a rare signal.
I remember watching you on set before the scene where you were walking through the dead bodies, and you were listening to — and singing —Annie Lennox’s “No More I Love You’s” to get yourself in the emotional right place.
Yeah, that was a difficult scene. And always in our show, it’s so heightened, particularly when you do something that isn’t even in a real place, and it’s a figment of somebody’s imagination, you have to commit to it. I would imagine it’s like doing one of those crazy ski jumps. You have to lean into the jump. It’s counterintuitive. Your body is screaming, “Don’t lean towards the slope,” and I think it’s the same with that.
It’s very difficult to imagine what is happening because there’s so much blue screen, and I said to [director Greg Nicotero] many times, “I’m worried that you’re going to put a dragon behind me! Man, don’t f— with me with this blue screen! Or there’s going to be a boulder rolling behind me.” I said, “I’m trying to do some real stuff here, but don’t put dragons behind me!” It’s fun, though. The crew were amazing. It was strange for everybody, including me, because it was a farewell, but everybody just was all there, all in. It was great.
And after you finally wrapped on the series, everyone got together, and I understand that you asked everyone to put their phones away and to keep in the moment. What was the importance of that for you in terms of really just having a moment that was just for all of you.
Well, if I talk about it, then it defeats the purpose! [Laughs] There’s a certain sense, and it’s particularly unique with this show, is that I’m constantly asking the question of what’s ours and what’s theirs? Of course, the fans are everything to the show, and it’s the reason why I’m still doing it, but I’m a bit of a romantic. You’ve got to keep a little bit as a conjuring trick. I’m a bit of a Magic Circle aficionado. You have to keep a little bit hidden, and then it makes the magic all the more real. (Interview continues on next page.)
AMC’s zombie thriller, based on the classic comic book serial created by Robert Kirkman.
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