[MUSIC PLAYING]
NATASHA LYONNE: OK.
So as far as my prison wife goes,
I think that basically Nicky is so sort of, like, cynical,
and kind of like been there, seen that, you know,
gotten high, seen the world, comes
from sort of like this rich background
that she's kind of pretending she doesn't
in order to play the tough guy in prison and not get shanked.
And I think that in Lorna, she finds-- like, Lorna is
so sweet and pure and racist.
And--
HUDSON YANG: I mean, I don't really
think about the expectations like people
have on me or something, or how, like, Asians
think if this messes up.
They're going to have to wait another 20 years
till the next one or something.
[LAUGHTER]
This is just an experience that I
want to go through, have fun with, and just make it
last as long as I can.
CHRIS PRATT: Mike and all the writers
make it a point to surprise the audience,
and that oftentimes surprises us.
I remember I was surprised in the wedding episode, where,
when Andy was, like, the smallest sibling among all
of these brothers.
Like, he'd been picked on and pushed around like a little
twerp his whole life by these dudes who are, like,
6'8" and 6'10".
That was surprising.
AMY POEHLER: That was a really-- that was a great detail.
Didn't really make the show--
a lot got cut out.
But when you were getting married to April,
your brothers were there.
And the whole time, they were just pushing you.
And, like, punching you in the balls
while you were getting married.
CHRIS PRATT: Yeah, yeah.
MORGAN FREEMAN: And Dustin Hoffman
had told me, listen, you want to get your own stuff done,
form a film company.
You'd think that's easy to do.
You can just form a film company,
call it a film company, and it's just a name on a piece of paper
that you register somewhere.
And I did, because then you can acquire and store properties.
So in this conversation with Lori,
she said, what I really want to do is run my own film company.
You know, you get one of those ding things going on.
And it's like, well, guess what?
I have one, and I need somebody to run it.
DAN LEVY: We have always approached the show
from a slightly more emotional standpoint.
So the sort of surface idea of, "will they
stay or will they go" was sort of the last thing
we thought about.
And what we really sat down with when
we started to brainstorm the trajectory
of this last season was, what do these characters need?
What will make them happy?
What will make the audience happy?
What will ultimately be satisfying,
for both the audience's expectations
and our characters?
CHRISTIAN SLATER: Yeah, that was the first scene that we shot.
I mean, it wasn't even on a shooting day, was it?
SAM ESMAIL: No, it was like a pre-shoot.
CHRISTIAN SLATER: Sort of like a pre-shoot day.
SAM ESMAIL: But it was a great--
CHRISTIAN SLATER: But it was perfect--
SAM ESMAIL: It was a smallish-- yeah.
CHRISTIAN SLATER: And it was nice
that we were, first of all, contained
in a very small sample space.
And I mean, it was Coney Island.
So it was beautiful.
And it was easy.
And working with Rami was great.
And I think it was the right way to sort of start off.
It felt really, really good.
And I was certainly happy to like get it behind us, too.
MADISON BAILEY: Yeah, I think the most surprising thing
that I found is, like, how many like-minded people there are.
Because I spent a good chunk of my life having no community
and having nobody that thought like me
or processed things like me.
To then get into this industry and everyone's like, no,
I feel very similar about a lot of things,
and so that was a very surprising thing to me.
BILL HADER: My favorite stuff doesn't have
any sort of classification.
It's kind of just, it's a story, you know.
And there's elements of all those things, you know.
And-- but we did have a very conscious--
Alec Berg, who I created this, with we
had a very conscious-- the very first shot of the pilot
be something that was more disturbing,
which is Barry in a room and a man's been killed,
and he's just getting his gun and leaving.
That almost was there for a purpose, not only
to say this is what he does, but also to give you a sense of,
here's a tone.
This isn't-- I think you hear Alec and I are doing a show
about a hitman who wants to be an actor,
you kind of think this kind of glib kind of comedy thing.
So we were like, no, we want to make it very real,
lead with the drama, lead with his kind of existential crisis
and the emotion, and then have the comedy be behind that.
And that'll work.
THOMAS MIDDLEDITCH: Up until this point, as the group,
they've sort of seen obstacles come at them from the exterior.
But I think after the first episode,
you kind of gather that the group
dynamic is being challenged.
And as a result, I would say, over the season
there's kind of like a little bit more emotional anchor
points to kind of latch onto.
Not to say that the show is going to become, like,
"Girls" or anything like that.
It still is, you know, Mike Judge's sentimentality
level, which is small.
CANDACE CAMERON-BURE: Yeah, the pilot episode really
is an ode to all the fans.
It's saying, here we are, we're back together,
and we're giving you everything we think you're hoping for.
And it's setting up the premise for what the new show is about,
which is really about us three women raising these four kids.
So if you haven't heard already, the original cast
is together for the first episode.
And then the other characters, Danny, Jesse, Joey, Aunt Becky,
they pop in and out for some episodes.
JEFF PROBST: I don't come in with an agenda
to cause problems.
I come in with an agenda to get the story.
And I do notice people-- it's amazing how many people still
roll their eyes.
They can't stop it.
Because you hear something that's annoying,
and they're like--
and I'm like, what's wrong?
Uh, that's just-- It's just the dumbest thing
that you just said.
And then I'm like, oh, now, now we're going.
JESSICA BIEL: I actually I haven't
watched this show with many big audiences before, you know.
SPEAKER 1: Really?
JESSICA BIEL: Well, it's rare, I think,
to have a television show that you get to screen like this.
It's new.
You know, I just went to the Tribeca Film Fest last year.
But that's a new thing.
You usually are bringing films there.
You're not usually bringing shows there.
So I haven't seen this more than a few times
with a larger crowd.
But, yes, it's always a bit of a cringe moment,
because it comes out of nowhere, which is the idea,
is the idea that this person is just
kind of blacking out and having this sort of attack, almost.
JUSTIN WILLMAN: I have an amazing team
of really great comedy writers and great magicians.
We kind of all collab.
And I try to find people who I think are really funny
but know nothing about magic, so they're not--
like, their brainstorming-- their brainstorming
isn't restrained by what they think they can do or not.
So people, they'll pitch ridiculous things, you know.
How about you levitate over a Santa's sack,
and you change his beard color a bunch of times.
And it's like, OK, all right, tone it in.
But a magician would never pitch random stuff
like that, because they're kind of thinking,
how would I do this?
JUDD APATOW: I was just looking around at the production design
here.
They didn't even bother to put a Google logo up behind us.
PETE HOLMES: Zero-- give it up for almost no effort,
everybody.
[LAUGHTER]
JUDD APATOW: They wouldn't even drag something in
to make it look a little prettier.
This is like a--
looks like a cable access tech show.
[LAUGHTER]
What's happening here?
PETE HOLMES: Welcome to the black towel.
[LAUGHTER]
TOM SELLECK: It had this great family dinner
scene, which we have a scene where
the family, this family of cops, gets together once a show,
or once a week in screen time, and has a family dinner.
And all these colliding arcs come together.
And I said, but it's eight pages long.
The network isn't going to go for that.
You're going to cut it, aren't you, down?
I said, because I wish you wouldn't.
And Leonard said, well, no, we're not cutting that scene.
In fact, that's going to be a set piece of the show.
ALAN CUMMING: In a way, that's the biggest challenge,
because most sort of television things,
there's this one sort of sentence hook
to what your character, or even the whole show
is about, actually.
And so to have so many seemingly disparate characteristics
in one person was both challenging but also attractive
to me.
Because potentially, I could be doing this for a long time.
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