- 11 months ago
"I was in it to win it." Timothy Olyphant takes a walk down memory lane as he rewatches scenes from his classic works including 'Deadwood,' 'Justified,' 'Go,' 'Once Upon a TIme in Hollywood,' 'Santa Clarita Diet,' 'The Office,' 'The Crazies,' 'Alien: Earth' and more.
Watch FX's Alien: Earth on Hulu and FX
Director: Jameer Pond
Director of Photography: AJ Young
Editor: Matthew Colby
Talent: Timothy Olyphant
Producer: Emebeit Beyene
Creative Producer: Funmi Sunmonu
Line Producer: Natasha Soto-Albors
Production Manager: Andressa Pelachi
Associate Production Manager: Elizabeth Hymes
Talent Booker: Mica Medoff; Paige Garbarini
Camera Operator: Brooke Mueller
Audio Engineer: Gloria Marie
Production Assistant: Hollie Ortiz; Spencer Mathesen
Post Production Supervisor: Christian Olguin
Supervising Editor: Eduardo Araujo
Additional Editor: Samantha DiVito
Assistant Editor: Justin Symonds
Watch FX's Alien: Earth on Hulu and FX
Director: Jameer Pond
Director of Photography: AJ Young
Editor: Matthew Colby
Talent: Timothy Olyphant
Producer: Emebeit Beyene
Creative Producer: Funmi Sunmonu
Line Producer: Natasha Soto-Albors
Production Manager: Andressa Pelachi
Associate Production Manager: Elizabeth Hymes
Talent Booker: Mica Medoff; Paige Garbarini
Camera Operator: Brooke Mueller
Audio Engineer: Gloria Marie
Production Assistant: Hollie Ortiz; Spencer Mathesen
Post Production Supervisor: Christian Olguin
Supervising Editor: Eduardo Araujo
Additional Editor: Samantha DiVito
Assistant Editor: Justin Symonds
Category
🛠️
LifestyleTranscript
00:00We bleached my hair.
00:01I thought that was a strong creative choice right off the bat.
00:04So I was in it to win it.
00:05And then Noah Hawley said, if you do the hair, you got to do the eyebrows.
00:09That I didn't appreciate.
00:10Scene selection with Timothy Olyphant.
00:13Marker.
00:14Couldn't have that just been my introduction right there.
00:16Did we not get that on camera?
00:17My name is Timothy Olyphant and today I'm going to watch some scenes throughout my career.
00:21It's a little thing we call scene selection.
00:30You warned me of Mrs. Ellsworth return, Charlie.
00:39How the fuck when I was surprising myself?
00:41Very least not to posit her in my goddamn hotel.
00:44Oh, this is the wonderful Dayton Cali.
00:47This is a guy you just can't wait to show up and be able to shoot a scene with.
00:51Hearst wants to buy my land.
00:54Dangling big paydays through third parties.
00:57He's coming today itself.
01:00Are you disposed?
01:02There's something wild about revisiting a role that you did 10 years prior.
01:07Because two things kind of happen.
01:09One is you kind of get to settle back into something that's very familiar.
01:13And then there's this other thing where you're trying to like, see if you can do it any better than you did before.
01:18So in a way, someone's offering you another swing at it.
01:21Before negotiations commence, would I be out of place calling on Hurst myself?
01:25I wonder too, might you procure me an infant's linen?
01:29And you don't make a friend a stranger, Charlie.
01:32Decline and walk in beside you.
01:34Oh, what a lovely line.
01:36Did you hear the words coming out of my mouth?
01:38Oh my God, those are beautiful.
01:40What a writer.
01:42Working for David Milch, it's a no brainer.
01:45I don't care if he's putting up, you know, school plays.
01:48I'd show up, you know.
01:50When someone handed me the Deadwood pilot script.
01:53I mean, within a page and a half my jaws on the floor.
01:58It's just breathtaking.
02:00It was incredible at Hello.
02:02I just never read anything like it.
02:04I don't think many people had seen anything like it.
02:06It was really special.
02:08I can't believe I got to do that.
02:10They paid me for that.
02:19Ah, Walton Goggins.
02:21Now this is an actor.
02:22See this guy?
02:23He is a thespian.
02:24You didn't wear your suit.
02:25Well, you say that as if I've only got the one and not a whole closet full.
02:29I'm sorry.
02:30You didn't wear your black suit.
02:32Well, I can see by the hitch in your step, you're still not 100%.
02:35Yeah.
02:36These are all great days on the set of Justified.
02:39Showing up, getting to work with him.
02:41You just know it's going to be just playtime.
02:45The characters are sparring, but we're sparring.
02:48You know, he's throwing curveballs.
02:50I'm trying to throw, you know, he's catching everything.
02:53It's just a ball.
02:55And, you know, we're a pain in the at this point.
02:57This is like season three.
02:58You know, there's this whole thing about TV shows where they saying about,
03:02in the first season, the actors are all working for the showrunners.
03:06But by the second or third, they think the showrunners are working for them.
03:10No, see, at this point, you know, we show up thinking everyone's working for us.
03:14Mag's bank accounts have been seized along with her property,
03:17but there's still a sizable amount of money missing.
03:19How sizable, Raylan?
03:20Well over $10.
03:23Well, now, if I found that kind of money, I'd be in Mexico by now.
03:26Boy, I've been to Mexico. I don't think you'd like it.
03:29How so?
03:30There's a lot of Mexicans.
03:32See, there's one of those lines where I know, like, we're just with each other.
03:37It's too much fun.
03:38I have a feeling that line where well over $10, which is really funny.
03:43And him then saying, if I had that kind of money, I'd be down in Mexico.
03:48I know that's the writers.
03:49The thing about the, you wouldn't like it.
03:51There's a lot of Mexicans down there was something I added just to with Walt.
03:56You know, because I know that he personally, like, hates that his character had this racist past.
04:02And I knew that I personally kind of liked jab, you know, jab, you know, poking at it.
04:08I am a deputy U.S. marshal, Boyd.
04:10You're a given trailer.
04:11And you think I'm going to hand a man over to you to be murdered like he is, what, some pig I borrowed from you?
04:16You gave me your word.
04:17I got half a mind to kick off.
04:19I mean, come on.
04:24It's literally a punchline.
04:26Like, all good drama.
04:27This may have been David Milch inspired.
04:30Because the season two of Deadwood, the first scene is Swearengen and Bullock getting a fight, like, right at hello.
04:38And I think that was a conversation we may have had in the writer's room.
04:43I was in the writer's room all the time.
04:46I was in there months before we'd shoot.
04:48Not because I think I was necessarily adding a lot, but because Graham Yost was like,
04:53I'd rather have you come in the writer's room than call me at one in the morning asking me to rewrite.
05:08Hey, Ronna.
05:10How are sales?
05:12Whenever I was hanging out with Sarah Polley, on set or otherwise, I always thought,
05:16well, I'm certainly not the coolest person in the room.
05:19And I didn't even know what she was going to do with her life and career at the time.
05:23She's like a world-class director.
05:25She's also an incredible writer.
05:28The book is amazing.
05:29Such an interesting woman.
05:31It's not like I'm in, like, a highly ethical industry.
05:34But goddamn, Ronna, you fucked me over 20 lousy hits.
05:39This is a cool movie.
05:40John August wrote it, and Doug Wyman directed it.
05:43These gentlemen are no slouches.
05:45And they just gave me all this cool stuff to say.
05:48I almost didn't get to be in this thing, too.
05:50I'm so lucky.
05:51I actually got fired from a job.
05:53My agent, God bless him, had the wherewithal to immediately call the people from this movie, go.
06:00They were about to put out an offer to somebody else,
06:03because I had passed to do this movie.
06:05And then they said, well, hold up.
06:07It might be available.
06:09And I didn't even check out of my hotel.
06:15I was out here in L.A.
06:16I stayed and I shot this movie instead.
06:18It's not what it looks like, okay?
06:20I mean, it sort of is actually, but it's complicated.
06:23Not really.
06:24I know I fucked up.
06:27Okay, please.
06:28I can make it up to you.
06:29I can make it up to you.
06:30I'm the last fucking person you should be expecting a favor from.
06:33We shot at the Santa Monica airport.
06:36And memorable because it was the first time I met a bunch of the other cast members.
06:42Because it's a point in the movie where everyone kind of shows up at that spot.
06:45I remember really enjoying being able to meet a lot of that incredible cast, like Taye Diggs and Scott Wolf.
06:53I felt like that's where we all finally met after having shot for weeks.
06:57I have the money.
06:59I have more than I owe you.
07:01So now you're an entrepreneur.
07:03I'm going to let you in on a little something.
07:04I don't do a lot of preparation.
07:06I mean, that's not entirely true.
07:08I work very, very hard.
07:10Everybody knows that.
07:11I think that sometimes you read something and have a tone, you know, that you think about.
07:17Or a suggestion of how it kind of wants to feel tonally.
07:21Along the way you commit to some mannerisms.
07:24It's all just funny voices after that.
07:26The writing, this character is like, you don't have to do a lot.
07:31It's really well written.
07:32Line, go fetch her and tell her what.
07:41Go fetch her and tell her I'll give her a fat $5 gold piece.
07:44Right, right.
07:45Go fetch her and tell her I'll give her a fat $5 gold piece.
07:48She'd play her little chili pepper heart out, right?
07:50Right.
07:51Do you realize how good he is?
07:53That's Leonardo DiCaprio.
07:55So here's, I recall, I needed the money.
07:58I think that's why I said yes to this one.
08:00Anyway, let's continue.
08:01Got it.
08:09I ain't gonna hurt her.
08:10The spit take got a lot, just like it was, come on.
08:13Here's the deal, guys.
08:14That's a movie star doing crazy good acting.
08:18These things don't often come together.
08:20I just want her to play the fiddle.
08:22Now go fetch her and tell her I'll give her a fat $5 gold piece.
08:26She'd play her little chili pepper heart out.
08:28Here's what the guy on the right's thinking.
08:30He's right there.
08:31He's like, yeah, that's Leonardo DiCaprio doing this Leonardo DiCaprio thing.
08:35I mean, I watched this scene all day.
08:37I haven't seen this in a while, but it's a good movie.
08:39What else you heard?
08:40I heard you're pushing Lancer pretty hard, but Lancer's got money.
08:48At some point, he's gonna hire some guns.
08:53You see what's happening here?
08:54And push.
08:55A little something called Quentin Tarantino doing his directing.
08:59And there's no coverage.
09:01That's the other thing.
09:02This guy, like, this is the shot.
09:05There is no, like, oh, we have it from over here.
09:07We have it from over here.
09:08He's a director, not a selector.
09:11We just go back, please.
09:12Can we just cut?
09:13Can we just cut?
09:14No, really.
09:15Just say it.
09:16Really, Sam.
09:17Please.
09:18Maybe he already has.
09:19Maybe he already has.
09:20God damn it.
09:21All right.
09:22All right.
09:23All right.
09:24Woo!
09:25This whole thing is magic.
09:26I don't know how long I was on that set.
09:28Like, two weeks or something.
09:30It was the first couple weeks.
09:31Just chatting with Quentin about it from the start.
09:34That was lovely.
09:35Even if it didn't go past that, I would have been like,
09:37that was a good day.
09:38We did a read through.
09:40Talk about a table.
09:42And that was crazy.
09:43Ask me who was to my right.
09:45Puccino.
09:46Ask me, like, who's to the left.
09:48Margot Robbie.
09:49Oh.
09:50Pit.
09:51It was just the coolest table.
09:53And working with Quentin, you're working just for one guy.
09:57You know, there's no monitors on the set.
09:59There's no phones allowed on the set.
10:01There's no chairs on the set.
10:03Everyone, by the nature of the world that he creates,
10:07we're just all hanging out tight, close.
10:10Hair and makeup people, everybody's got to be in tight
10:13because they can't have phones.
10:15They can't take pictures.
10:16They just have to watch.
10:17There's no monitors, so they're just nearby.
10:20Everyone's just hanging out.
10:21There's no villages.
10:22There's no, like, you know, oh, they're over there and over there.
10:25Everyone's just in it.
10:27Plays Aretha Franklin's chain of fools when he wants the crew to come in.
10:31I mean, it's just a great set.
10:41And now for something completely different.
10:43As long as we're together, I can handle whatever comes my way.
10:47Ah, not a spider guy.
10:55Oh, my God.
10:56Mama.
11:00No, no.
11:02Drew Barrymore.
11:03These are the things when you're in high school, you don't see coming.
11:06I wasn't hanging out with my buddies at the canal, drinking Mickey's Big Mouth,
11:11saying, you know, one day, Drew Barrymore, right here.
11:16In a little TV show with creatures.
11:20And once again, they're going to pay me for all that.
11:24I had a ball.
11:33This was a show created by my dear friend, Victor Fresco.
11:37When Netflix said, hey, I think we're going to this will be at season three.
11:41You guys are done.
11:42We said, oh, yeah, we're going to ride a cliffhanger and then we'll see who's done.
11:47Turns out we're done.
11:48They were like, yeah, go ahead.
11:50You guys want to go out on a cliffhanger?
11:52Go out on a cliffhanger.
11:53We're Netflix.
11:54We got something else coming out.
11:56The very minute this thing ends.
11:58In fact, we've got many things coming out from countries all over the world.
12:02So you guys write your little show and thank you very much.
12:10Joel?
12:11I don't see any difference between drama and comedy.
12:20There is a difference.
12:21I haven't figured it out.
12:22And by the way, I may not be doing it very well.
12:24People might be listening and going, oh, that explains it.
12:27When I was doing Justified, I was given what I thought was a comedic performance.
12:31I'm looking for the joke.
12:33Always looking for the joke.
12:35And then the key is just, you know, what's the tone?
12:38I don't know.
12:39My favorite dramatic performances are funny.
12:41I kind of came up thinking, well, I was going to try to, you know, emulate those performances.
12:45Pacino was always funny.
12:46Meryl Streep's funny.
12:48Those performances where they won Oscars for very dramatic roles, I thought they always
12:53had a timing.
13:00You know, what is with this desk keeping us so far apart?
13:03I've never been a desk man.
13:05Always traveling on the road.
13:07Come on.
13:08Why not?
13:10Huh?
13:11Now, my understanding, popular show.
13:14Uh, continue.
13:16You know what?
13:17I may have parked my car in a compact space and I hate when I see others do that.
13:20Danny, I feel a real connection to you and I gotta get real.
13:23No, no, no, no, no, no, no, no, no, I'm going in.
13:26I'm going in.
13:27No.
13:28Stop.
13:29Stop.
13:30Stop.
13:31Stop.
13:32Stop.
13:33Stop.
13:34Stop.
13:35I remember that show.
13:36Those guys have it made.
13:37I don't, I, they were just showing up in this incredible comedy and, uh, smart writers.
13:38I remember doing a scene with Carell, which was very memorable.
13:42Embarrassed to say I'm frustrated to this day that I didn't get through it as better because what he was doing was such comedy gold.
13:52Most sincere and humble apology.
13:54We were trying to watch you to see your sales technique so we could stop losing so many clients to you.
13:59Watch from where?
14:00A surveillance room next to this one.
14:02Okay, so you.
14:03I don't think Steve Carell thinks he's doing comedy.
14:05I think he's, he's doing drama when you watch, when you're working with him.
14:08And it's so beautiful to watch.
14:10So that you could copy my sales technique.
14:12Yes.
14:13And it's the sincerest form of flattery.
14:15Or crazy.
14:16Well, I'm going to go.
14:17Okay.
14:18And that's what makes it so funny.
14:20It was a pleasure to, uh, to work with him.
14:23I enjoyed myself.
14:24He had it down pat.
14:25They all seem to still be getting along.
14:27It was good to see.
14:28I had known Rainn Wilson, like back in the nineties.
14:31I did a play off Broadway and he was my understudy.
14:34And now here I am showing up to his set.
14:37And I know that he could, he could buy all of my house and my whole family.
14:41You know what I mean?
14:42He could just take them from me.
14:43He's become rich and powerful.
14:45I was like, it's understudy.
14:50I know this is hard.
14:51You're crazy.
14:52My dear friend, Breck Eisner directed this.
14:53Breck's incredible.
14:54He made this film look like it's so much bigger and, and bigger budget than anything that
15:08we were playing with.
15:09I was playing another lawman.
15:10So it was a stretch for me.
15:13Uh, but I just said, you know what?
15:15I think I can do it.
15:16I like this film.
15:21It was a great little movie.
15:23We shot this in, um, in lovely Iowa.
15:26A good portion of it was a little town.
15:28I think it was Lennox, Iowa.
15:30Lovely little town.
15:31We were ran this little lovely farmhouse outside of town.
15:34And then, uh, one night there was like, uh, I was watching NBA finals.
15:38And the thing came up about a tornado warning family is upstairs sleeping.
15:43And me being from California, I was like, should I be doing something here?
15:48And I don't want to call the ADs like an actor in the middle of the night saying, Hey,
15:53what do I do?
15:54So instead I called the local motel.
15:57There was a little motel in town and I called the lady at the front desk.
16:01And I say, listen, uh, I'm outstanding.
16:04I've rented this farm.
16:05And she's like, Oh yeah, you're, you're out there at the Smith farm.
16:08And I said, yeah.
16:09And there's this tornado warning there.
16:11I was like, is this, this probably just normal for you guys.
16:14It's not a big deal.
16:15And she says, Oh no, no, you're that's a new barn.
16:18You got out there.
16:19I was like, as in the old one got taken out by a tornado.
16:23She says, I tell you what, if the alarm goes off for a tornado, I'll call you.
16:28And she said, if the sirens go off that I knew that lady at the front desk would give me a shout.
16:32And I was like, you know, small town living.
16:35This is not bad.
16:36Sidney Chandler.
16:47Lovely.
16:48Wonderful.
16:49Professional.
16:50Used to be food, you know.
16:55Me.
16:56Humanity.
16:58It's a nice opening line.
17:00It's just strong.
17:01He shot that in Bangkok.
17:03Here was my impression of Bangkok.
17:06Hot.
17:07We bleached my hair.
17:08I thought that was a strong creative choice right off the bat.
17:11So I was in it to win it.
17:13And then Noah Hawley said, if you do the hair, you got to do the eyebrows.
17:16That I didn't appreciate.
17:17But as my acting teacher, the late great Bill Esper once said to me, you got to commit.
17:23Your lives were short and filled with fear.
17:28Then your brains grew.
17:30You built tools and used them to conquer nature.
17:34You built impossible machines.
17:36It's a nice speech written by Noah Hawley.
17:39And, um, you stopped being food.
17:43It looks important.
17:44Or, I should say, you told yourself you weren't food anymore.
17:53I was quite fortunate to just, um, get a call from Noah Hawley.
17:57He said he might have something for me.
17:59And I was like, great.
18:00I'll be there.
18:01And then he told me what it was.
18:02You know?
18:03I was like, oh, that sounds extra fun.
18:05At one point I was like, you know what?
18:06I'm going to maybe do a Michael Barbaro impression from the New York Times The Daily.
18:11But that almost seemed too weird.
18:13That was literally the starting point.
18:14I didn't feel pressure to the franchise in any shape or form.
18:18I felt inspired by the franchise.
18:21I'm a big fan of especially those first two movies.
18:23And I'm a big fan of the performances in those movies.
18:26When you take a job like this, you feel like, well, you want to respect the work that they did.
18:32In your own way, you want to try to have a little dialogue with them.
18:35Are there pressures?
18:36Yeah.
18:37They're going to put it on TV.
18:39You know, sometimes when you take a job and you do the work, you think, don't worry about it.
18:44No one's going to see it.
18:45But I get the impression a lot of people are going to watch this one.
18:47So I was like, you know, you should make a little extra effort.
18:51One of my favorite things to say on a set when people, when they call cut is to say, don't worry about it.
18:57That's not going to be on TV.
18:58My other favorite thing is when it feels like it's going really well and they call cut, I say, that is going to be on TV.
19:04How fun is that?
19:05See what you did there?
19:11Hey, thanks for watching.
19:15It's like a performance.
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