00:04So, did you play in the same man ever lead to moments where you surprised each other like realizing that
00:11you'd made the same artistic choice without planning it?
00:15Yeah, I think quite a bit.
00:19That happened when I would watch the show, the first season and having what I've seen of this season, that
00:26it gave me more confidence to know that it's just, it is sort of going to be there.
00:33It's, in the choices that are made, we both share similarities in sort of how we approach, I think, probably
00:46acting in general and looking at the process and share similarities in it.
00:51So, you're going to come to similar conclusions about things.
00:55I don't think we ever had a real major disagreement or difference on that and nothing like that.
01:01So, I wasn't surprised, but it's always nice to look at it and see that it did come through the
01:06way you planned it.
01:08It's a difficult thing, actually, to remain with the understanding that it's not a father and son.
01:16It's the same person.
01:18It's the same person.
01:19And I think that's what helps the audience connect to all the storylines, is that when you see Wyatt playing
01:27Lee in the earlier era and me playing Lee later on in more of the now era, that it really
01:37connects a lot of dots.
01:38And it makes you follow the story and say, oh, yeah, that's how that came about, or that's where that
01:44was learned, or that's where, especially when it comes to the relationship with Keiko and Billy, the character that Anders
01:52plays, that is all done with Wyatt.
01:55So, I get to watch that, and I got to watch Wyatt work early on when we were going to
02:01start the show.
02:02It helped a lot to watch how Wyatt was doing this character, because it was going to inform me greatly
02:09on what I was going to be doing.
02:10So, what's the first thing you do after receiving the script for Monarch?
02:15Do you study the script, trying to understand the character?
02:18You deal with anxiety, I don't know.
02:21Yeah, the first thing I do is panic.
02:26And think, why did they hire me?
02:29And then I read the script again and think, okay, maybe I can do this.
02:33And then eventually, I think I can do this?
02:37Yeah.
02:38But ultimately, I did it, so.
02:40I think we all go through a panic when we read it, but what do I do?
02:46I guess we have conversations, just talk about the scene with these guys, with the director, with the showrunner.
02:52Like, we're always having more conversations to better it, maybe.
02:56Mm-hmm.
02:57Yeah.
02:58The first thing I do on this season, I didn't do this the first season, but this season, I worked
03:03with my acting coach on every episode.
03:05Oh.
03:06Just honestly, as an experiment.
03:09It's the second season.
03:09And I think it's easy to get maybe a little comfortable, possibly.
03:14So, I just thought, why not put someone else through listening to me ramble about me for an hour?
03:21And then bring it to you guys.
03:22To listen to you ramble for another hour.
03:25And then it's all about me all the time.
03:26So, some of the most powerful moments in this show aren't necessarily loud or spectacular.
03:32So, how important is restraint in a story about monsters?
03:37Oh, that's a great question.
03:39I think, yeah, you're right.
03:42There are so many spectacles and, you know, reactions that match the spectacle, I think.
03:49And you really have to, like you were talking about in the beginning, like you read the script and you
03:56have to understand where to play what, how, because then it becomes too much, right?
04:01So, I think restraint is really powerful, especially when you're doing, like, a big spectacle show like this.
04:08Yeah.
04:08Yeah, it's like a roller coaster.
04:09Like, you can't just get on a roller coaster that goes down and then just keeps going down.
04:14Because at a certain point, you're like, this is terrifying and now I'm just kind of doing the same thing
04:19that was terrifying 10 seconds ago, but I'm still doing it.
04:22You got to flatten out.
04:24You got to dart left and right and then have another drop, you know, just keep spicing it up and
04:29have a balance.
04:30Yeah, and I think, like, in the monster show, like, we, in this show, I think the writers are really
04:35good at showing that, you know, in, in the lives of humans are so small.
04:41But, you know, the things that happen to us can have the same effect as, like, a monster, like, stampede,
04:48you know?
04:49So, yeah.
04:50How do you make Monarch feel essential within the monsterverse rather than just a side story, considering that the second
04:58season casts also an entirely new and arguably quite melancholic light on Jordan Vogt-Roberts' wonderful movie, Kong Skull Island?
05:08Well, we're so proud to be part of the legacy of the shows that have come before us.
05:13And, you know, we also, being a television show, we have 10 hours of storytelling to offer.
05:19And I think that we, you know, Sean Conrad, who's our incredible VFX supervisor, he really brings those monsters to
05:25life in a theatrical way, in a way that, you know, blows us away every time.
05:29And we don't often, we don't get to see the final VFX almost to the point where audiences are seeing
05:35it, too.
05:35And we're blown away each and every time by the majesty and the theatrical level of quality.
05:41But what we get to do in television is really mine these character stories and really sort of tell the
05:46story of what's going on with the humans on the ground.
05:48And, you know, we get to see that in the incredible movies that have come before us, but we get
05:53to do it and, you know, again, we have 10 hours of storytelling, so we're really able to mine and
05:57really look at the stories of who these people are, what is it like to live in a world where
06:02monsters are real, who are the monsters within us, who are these new monsters in, you know, season two and
06:07getting to know what that new mythology is.
06:10And so we're wanting to always expand and push and surprise audiences.
06:19Thank you.
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