00:00What's up?
00:05For you Jason, obviously you're wearing many, many hats in this one. Does that make it easier in some way?
00:10It's certainly more time consuming, but how does it change your approach to the case?
00:15The character and the story.
00:17Knowing that I'm doing more than...
00:20And then just the acting on it, I'm...
00:23I'm sorry, just the acting?
00:25Easy stuff.
00:27He did say that.
00:28Yeah.
00:29Let me...
00:30We can roll that back, right?
00:32For sure.
00:33By doing more than...
00:35The acting in it allows me, I think, I hope to...
00:40Hit this tonal target that I wanted to when I...
00:45When I read the first two episodes, which were the ones that were written.
00:49It was a...
00:50A directing hope for me.
00:52I wanted to direct a 600 page movie, you know.
00:55And I said, well, I'll do it if they'd let me direct all the episodes.
00:58Because I just kind of love this world.
01:00I wanted to be able to, like, figure out what it looked like, what it sounded like, and all that stuff.
01:03And I knew that by playing the central character...
01:05Where I might, by having two hands on the wheel, you know, one in front of the camera and one behind...
01:08I might increase my...
01:10The odds of hitting that little target.
01:12Sir, there's no business opportunities that require...
01:15That much cash.
01:16Not legal ones.
01:17Well, I agree to disagree.
01:21Where's my money?
01:22As we told you, we can't cover that amount within 24 hours.
01:25Okay.
01:26There's two...
01:29There's two...
01:30Little agents here.
01:31Which means you wouldn't take the chance that there was a kidnapping and not...
01:35Have my money.
01:36So if you don't produce it immediately, I'm going to walk into that lobby and I'm going
01:39to tell these people that I can't...
01:40I'm going to get my money out.
01:41And we'll see how long that takes to go viral and you get a good old fashioned run on this bank.
01:45It changed the way in which I performed the character because I knew I would just be noting myself.
01:50I could be super subtle in this scene because I know I'll be in...
01:55In the editing room and I'll be able to kind of make sure I steal that look, which means I don't have to lean into that...
02:00Or I can cut that line and I'll play it with...
02:02Must be nice.
02:03Right?
02:04Must be nice.
02:05It's the editing room.
02:06Okay.
02:07Yeah.
02:08Geppetto and Pinocchio.
02:09Yeah.
02:10So that was kind of...
02:12That's the excitement of that project.
02:14I'm doing the song.
02:15So let me get this.
02:16You're in front of the camera editing.
02:18Yeah.
02:20I mean, but I think we all do that to a certain extent.
02:22I won't use that.
02:23You guys...
02:24Where he just looked away.
02:25I won't use that.
02:25You guys are all talented enough to know what I'm talking about where you're...
02:29You're...
02:30You're sort of playing with shading something or...
02:35You're juxtaposing a line with a look and you just hope that either the director or the editor...
02:40You're going to kind of see that and either use that or make sure that the music doesn't...
02:45Overdo it and now you look like you've overplayed the line.
02:47There's a lot of trust because there's so much more work.
02:50And there's...
02:51And...
02:52Yeah.
02:53And so that's the exciting part of this for me.
02:55We'll see you next time.
03:00When did you guys sort of gain the confidence to be able to say no?
03:04Was there a...
03:05Was there a point in your career where you felt comfortable being able to say...
03:10No, I don't need this one?
03:11The choices, or at least in my case, it's pretty easy.
03:14I mean, one's a clear, no way.
03:16And then the other one is, well, I think I can...
03:19Not embarrass myself with that or not be a pain in the ass on that set by trying to make it something that it...
03:24Clearly should be or wants to be.
03:27So that's where you set the bar.
03:28Yeah.
03:29Just don't want to be a pain in the ass and take the no-brainers out.
03:33Not embarrassing yourself.
03:34What are the obvious no's?
03:37And I don't mean specific projects, but what are the things you say?
03:39I'm not going to do that.
03:43Musicals.
03:43Yeah.
03:44Just jokes, just jokes.
03:49You know, stuff that is the real low-hanging fruit that...
03:54Seems like a big payday or...
03:59Or, you know, something that is...
04:01It's clearly just about...
04:03They're trying...
04:03It's like a...
04:04Sprinter project, right?
04:05They just want, like, a big splash, big opening, and they're not really too concerned about the...
04:09The merits of it, which would sort of lead to, like, multiple weeks of people going to go see it, you know?
04:14Mm-hmm.
04:14The...
04:14The things I'm drawn to say yes to are less about the role...
04:19You know, even the script as a whole, it's about the people who are doing it because...
04:24When I feel like I really want to work with somebody, it's usually pretty indicative...
04:29Of the quality of the projects, you know, the people that you associate yourself with.
04:33So I don't care whether I've got three lines...
04:34To say in it or 30, it's more about who's directing it, who are the other actors, what's...
04:39The studio and, like, where is it, you know, is it something that I would want to go see as a viewer?
04:44Just because of its quality or its ambition.
04:49That's a big...
04:49That's a big go-to now.
04:50Who's in it?
04:51Yeah.
04:52Who else is in it?
04:53Who are you looking at?
04:54Oh.
04:54Yeah.
04:55It's him?
04:56It's her?
04:57I'm in.
04:58Yeah, exactly.
04:59Oh, it's that?
05:00I don't like that.
04:59It defines what the tone of it is because you can read a script and there's 60...
05:04There's so many different ways you can do that script.
05:06And not all of them are bad, not all of them are good, but...
05:09Who they're going after says a lot about what their creative intention is for it.
05:14Not all of them.
05:15You are not able to read anything.
05:16You are a reasonable�� trust.
05:17You are not able to read anything around it.
05:18You are truly .
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