Soap Opera Digest: We have so much to discuss! First off, what did you think of Anna and Finn’s breakup scenes?
Finola Hughes: I haven’t seen them, but they felt good when we did them — for a breakup! I love him, I love working with Michael [Easton, Finn], so I’m glad they wrote them the way they did. There were lots of nuances to go into.
Digest: You’ve been working closely with Kirsten Storms (Maxie) lately. She’s told me how happy that makes her; how do you feel about it?
Hughes: Oh, I love it. She just grounds everybody in the scene. She’s just one of those kinds of actors. She’s just fabulous! I think we have a real shorthand now, which is wonderful, as we’ve been working together more and more. You know, it’s a hard story right now. A lot of the time I feel ... at sea, a little bit, with what goes on in the storyline, so it’s really great to be able to have someone like Kirsten to kind of be a touchstone and a grounding feeling in the storyline. We’re talking about toxins and poison and this and that, and you need to really work with people that you can find that realness within the storyline. And it’s the same for her; she has a lot to grapple with, too, in her baby storyline. But we have an understanding, and I really enjoy working with her a lot. It’s a pleasure.
Digest: How has knowing she let Maxie down affected Anna?
Hughes: Well, she’s my goddaughter, and the last thing you ever want to do is hurt or exploit someone’s feelings like that, because everybody is so vulnerable in the story. You’re dealing with [heavy] emotions. For me, I could breeze over it; I could figure out a way to not allow things to penetrate my character, but then I wonder where that would take the character. So, I’ve toyed with that; every time I’m reading it, I’m like, “Well, I’ve got to play the ‘I’m sorry’ card again; do I really want to?” There is a part of me that has been kind of like, “I’m going to see where the natural point of ‘enough’ comes, as opposed to trying to impose it.” So, I’m going to wait and see where Anna has had enough rather than impose it in order to save the character, which isn’t my job. My job is to portray the character. I want to see where the natural, “Okay, we’re done” comes. And I think when that starts to emerge, then I feel like it will feel more authentic, rather than trying to manipulate the story.
Digest: It does seem like these two women could get to the other side of this conflict, that Maxie could come to understand Anna’s point of view well enough to move past her feelings of betrayal.
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