Reflecting on the making of this timely thriller, Clement and Greg delve into the intricacies of the Director/1st AD relationship, jumping back into production after the dual strikes of 2023, and why it’s important to work with a team you trust. From navigating complex production logistics to fostering a creatively empowering set, learn more about how Clement and Greg helped bring this ambitious project to life.
“I hope that people are both intrigued and entertained by The Madness. When I got the job, one of the things I really loved about the show was how it managed to slip in these big, interesting ideas, all wrapped up in a thrilling package. I love art that sticks with you. You watch something, grab a sandwich later, and suddenly, something about the story clicks.”
Director Clement Virgo
Director Clement Virgo:
In 2022, I made a film, Brother, here in Toronto. Somebody from Peter Chernin’s company Chernin Entertainment – it might have been TV lead Kaitlin Dahill herself – saw my film. They were looking for Directors, so my agent sent me the script for the pilot of The Madness. I loved the script – I thought it was very timely, and it reminded me of classic political thrillers from the 70s. It also made me think about Hitchcock and how he would present this kind of character who suddenly gets caught up in a circumstance and a conspiracy and has no idea why.
We started shooting in January of 2023, but then in April, the Writer’s Strike started while we were on the last two episodes. Then, the actors’ strike happened in July, and we were shut down until January of this year. By that time, I knew the script quite well, and I bonded with Colman Domingo and got to know his instrument as an actor. I got on the project in November of 2022, and now it’s November 2024, so it’s almost two years to the day. It was a full journey, but it felt great to be back on the floor and working again.
One of the things I’m proud of is that most of the crew came back after the strike, including Greg Edmunds, my 1st AD. We had both previously worked on a Netflix show called Grand Army – I didn’t work with Greg directly on that show, but I remember liking him. Our energies are very similar; he’s very quiet and soft-spoken, kind of introverted, but very confident on the floor and very smart. That partnership between the first AD and the Director is an invaluable collaboration, and when I show up in the morning, it’s always great just to walk through the set or with Greg and talk about the day. In some ways, he’s so experienced, and he’s seen it all, and so big locations or big situations don’t scare him. Sometimes I get nervous, like, “Man, how are we going to pull this one off”? But he never gets like that. I show up on set and think, “Okay, how are we going to do this?” and Greg has already thought about it. He’s already figured it out, and he’s exquisite at logistics.
Sometimes, as a Director, you can’t see the forest from the trees because you’re so in the thick of it. You’re trying to block a scene, you’re trying to work with the actors, you’re so focused on your work. Someone like Greg, even though he has his own job to do, could see things that I didn’t. He would come up to me and say, “Look over there, look at that shot,” or “What do you think of this?” It was so nice to have a partner on set who’s an artist and always looking for ways to make the show better, make the scene better, or make the moment stronger. I think our chemistry is very good because we have a similar temperament. He’s also just, on the side, very fashionable. My first job was in fashion for Harry Rosen, and I used to buy men’s clothes. Greg would bring these coats to set, and I’m like, “I want that one,” so we have that in common.
“Our energies are very similar; Greg’s very quiet and soft-spoken, kind of introverted, but very confident on the floor and very smart. That partnership between the first AD and the Director is an invaluable collaboration.”
Director Clement Virgo
Working with Colman Domingo was interesting because he became this big star in the time we were filming, but he hasn’t changed. As a Director, you always pray and hope for a great number one on the call sheet because it’s more than just being the lead actor – it’s a leadership role, and Colman is a great leader on set. He sets a tone, and he was in every single scene for the first four or five episodes. Everyone was always conscious of taking care of him and his energy because he was working every single day, all day. Over these past two years, I could say that we’ve become friends, and I look forward to working with him again.
I hope that people are both intrigued and entertained by The Madness. When I got the job, one of the things I really loved about the show was how it managed to slip in these big, interesting ideas, all wrapped up in a thrilling package. I love art that sticks with you. You watch something, grab a sandwich later, and suddenly, something about the story clicks.
For a big Netflix project, it was great to see so many talented Canadians involved. All the department heads were DGC Members, and I’m so proud of my crew. We screened an episode at the Lightbox recently, and I told the crew something really true for me: I work for more than just the paycheck. Sure, getting paid matters, but when you’re putting in 12-hour days, eating cold pizza, and spending time away from your family, you want to feel like the work means something. You want to feel like it’s contributing to the world in some way. That’s why I’m so proud of this project – not just because it’s good, but because it matters.
No matter your role on a project, you want to feel like what you do is important and you’ve contributed something meaningful. As a Director and Executive Producer, I see it as my job to create that space for people and let them collaborate, express themselves, and add something to the process.
“When you’re putting in 12-hour days, eating cold pizza, and spending time away from your family, you want to feel like the work means something. You want to feel like it’s contributing to the world in some way. That’s why I’m so proud of this project – not just because it’s good, but because it matters.”
Director Clement Virgo
(L-R) Colman Domingo and Clement Virgo attend Netflix’s “The Madness” Special Screening at Netflix Roma Theater on November 21, 2024 in Los Angeles, California. (Photo by Presley Ann/Getty Images for Netflix)
THE MADNESS. Cr. Courtesy of Netflix © 2024
“As a 1st AD, I aim to create a supportive environment. I’m naturally laid-back, which is a bit unconventional for my role. Some old-school ADs told me they wouldn’t have hired me based on how soft-spoken I am. But I’ve learned to balance that with stepping up when I need to. My motto is: ‘Don’t shoot a schedule; shoot the show.’ It’s about understanding the creative flow and supporting people to do their best work.“
1st Assistant Director Greg Edmunds
1st Assistant Director Greg Edmunds:
Clement and I had been in talks to work together on another project that never got greenlit. When that fell through, this opportunity came up, and it worked out perfectly. I had previously worked with Producer Chris Hatcher on Grand Army. We hadn’t worked together directly on that show, but we had a shared connection. My buddy Boris Mojsovski, who was the DP, also came on board, as did Matthew Davies, the Production Designer. I’ve worked with Matthew a lot over the years, so it felt like a reunion of familiar faces.
The strike had paused production just as most locations were locked, so we didn’t have to start from scratch. The main challenge was adjusting to the winter conditions because we had started shooting the show in the summertime. Thankfully, from a weather perspective, it didn’t snow much last year. When we finished up here, we put together a plan for Philly and New York and executed that. Shooting was so long that it felt like we had developed a little family within that single season, so there was a bit of an extra little Three Musketeers feeling on set.
I don’t know if I’m a typical 1st AD, but I try to give people their space. My focus isn’t just on sticking to a schedule but on making the show the best it can be. Clement has very clear ideas, and I work with him to incorporate my input as part of a collaborative process. It felt like he understood right away that I wasn’t just the “schedule guy,” which made the experience very rewarding. As far as Clement goes, he’s someone with a unique and cool vision but also totally understands the production side. Because he’s got quite a breadth of experience in all budget levels and genres, he can really dig into that knowledge when he needs to. As an AD, it’s incredibly beneficial when you find yourself brainstorming unique ways to do something. Clement also has amazing style, and we’d sometimes compare outfits. Boris and Colman were also really into fashion, so it became a running joke on set. Clement even has one of my jackets.
“Clement has very clear ideas, and I work with him to incorporate my input as part of a collaborative process. It felt like he understood right away that I wasn’t just the “schedule guy,” which made the experience very rewarding. He’s someone with a unique and cool vision but also totally understands the production side.”
1st Assistant Director Greg Edmunds
Working with Colman was great. He was really part of the group, doing little huddles with the four of us on set while we figured stuff out. The big challenge was navigating Colman’s schedule because when we were filming, he was basically up for every award in the world. His career went to a whole new level while we were shooting, which we all were very supportive of, but it was also tricky to make work because he was in 98% of the scenes. There was one time that Barack Obama called Colman up and invited him to give the Juneteenth speech at the White House. Chris, the producer, came to me and said, “Is there any way we can get him on a plane Wednesday night and back on set by Thursday morning?” It was such a last-minute scramble, but of course, we made it work. You don’t say no to Barack.
As a 1st AD, I aim to create a supportive environment. I’m naturally laid-back, which is a bit unconventional for my role. Some old-school ADs told me they wouldn’t have hired me based on how soft-spoken I am. But I’ve learned to balance that with stepping up when I need to. My motto is: “Don’t shoot a schedule; shoot the show.” It’s about understanding the creative flow and supporting people to do their best work. Nobody in this industry wants to do a bad job, so my role is to make sure they have everything they need to succeed. I never yell or embarrass people. That’s not leadership. Instead, I focus on building trust and giving clear information.
“There were some tricky elements to this show, but overall, it was a great experience, and we became this really tight-knit team. It felt so easy to go for a beer with Clement, Boris and Colman at the end of the day. Every show is different, but when you have a team you trust, it makes all the difference.”
1st Assistant Director Greg Edmunds
One thing I’ve carried from project to project is doing a “joke of the day” during safety meetings. It started on Five Days at Memorial, which was such a heavy show we were looking for any way to inject a little levity. By the end of that shoot, almost every crew member had told a joke. It even boosted attendance at the meetings. We’d have this full house; drivers and craft services would show up just for the jokes. I’ve kept the tradition going since then. It’s a reminder that while we take the work seriously, we can still have fun.
There were some tricky elements to this show, but overall, it was a great experience, and we became this really tight-knit team. It felt so easy to go for a beer with Clement, Boris and Colman at the end of the day. Every show is different, but when you have a team you trust, it makes all the difference. I also have to shout out the other Director I worked with, Quyen Tran, who was so amazing and baked the entire crew bread daily, and my 2nd AD, Ani Baravyan. She’s been with me for six years, and she’s phenomenal. She handles the details and double-checks everything, which is a huge help. Gino Sandoval, my 3rd AD, has since moved up to second, but I always try to get him on my shows. At the end of the day, the success of a project comes down to the people you work with, and I’ve been lucky to work with some of the best.
Watch all eight episodes of The Madness on Netflix beginning November 28.
