Harrison Ford once complimented his ‘Shrinking' co-star Jason Segel on his ‘great d–k'
It belongs in a museum!
Harrison Ford once complimented Jason Segel on his 'great d–k' after watching the 45-year-old actor go full frontal in 'Forgetting Sarah Marshall.'
Segel recalled the 'Indiana Jones' star's surprising words during Variety's 'Actors on Actors' series with Seth Rogen published on Thursday, June 5.
7 Harrison Ford once complimented Jason Segel's 'great d–k' after watching the younger actor go full frontal in 'Forgetting Sarah Marshall.'
AFP via Getty Images
7 Segel recalled Ford's surprising words during a recent episode of Variety's 'Actors on Actors' series with Seth Rogen.
Peggy Sirota for Variety
He began by explaining how the producers of 'Shrinking,' Brett Goldstein and Bill Lawrence, convinced Ford, 82, to sign on to the popular Apple TV+ series.
'We got Harrison Ford because Harrison Ford is the kind of person you make an offer to so that for three days you can say, 'We've made an offer to Harrison Ford,' and then you'll pick the real guy,' Segel said on Thursday.
'He read it, and he didn't know anything about me,' the 'How I Met Your Mother' star continued. 'Brett Goldstein met with him, and they had a really nice meeting, and they sent him 'The End of the Tour' and 'Forgetting Sarah Marshall.''
7 Segel began by telling Rogen how the producers of 'Shrinking' convinced Ford to sign on to the Apple TV+ show.
Peggy Sirota for Variety
'Then,' he added, 'Bill Lawrence got a text that said, 'I'm in. And tell the kid, great d–k.''
Rogen, 43, couldn't get over the fact that Ford once complimented Segel's manhood.
'Even if he was out, that would be great,' the 'Studio' star joked. 'I would take that.'
7 Ford and Segel as the therapists Paul Rhoades and Jimmy Laird in Season 2 of 'Shrinking.'
Apple TV+
The full-frontal scene in question occurs in the 2008 comedy when Segel's character, Peter Bretter, stands fully naked as his girlfriend, Sarah Marshall (Kristen Bell), breaks up with him.
Segel previously opened up about the surprising scene in 2015 and revealed that he was the one who came up with the idea.
'I thought that was hilarious,' he told Vulture at the time. 'I was actually not very uncomfortable doing it. I really felt free.'
7 'I'm in,' Segel recalled Ford saying. 'And tell the kid, great d–k.'
©Apple TV/Courtesy Everett Collection
'You have to put it in the context that this was 2006, 2007, and this hadn't been done before, in my recollection,' Segel added, 'where the main guy was going to be naked in the first five minutes of the movie.'
Even more surprising was Segel's admission that the full frontal idea was inspired by a similar incident that had actually happened to him in real life years before.
'She arrived at the house and I had decided that the way to really kick off this sex was that I was waiting on the couch totally naked, like posed,' he told Conan O'Brien during an episode of the comedian's podcast in 2023.
7 Ford and Segel seen at 'Shrinking' FYC Event at The Think Apple TV+ Emmy House on May 18, 2025, in Los Angeles
Apple TV+ via Getty Images
'So she walked in and there I am laying,' he continued, 'and I said, 'I've got a surprise for you,' and then she said, 'We need to talk.''
One person who didn't enjoy Segel's nude scene was his mother, who was blindsided when she watched it at the movie premiere.
'She said, 'Why didn't you tell me?'' the recalled last year. 'I said, 'I thought it would be a funny joke.' She said, 'This is not a funny joke.''
7 This wouldn't be the first time that the 'Indiana Jones' star complimented his 'Shrinking' co-star's manhood.
Getty Images
As for 'Shrinking,' the series stars Segel and Ford as therapists Jimmy Laird and Paul Rhoades, respectively.
The show, which premiered in January 2023 and concluded its second season in December, follows Segel's character in the wake of his wife's death. It also follows Ford's character as he battles Parkinson's disease.
'There's no intention to make it into a joke,' Ford said of his character's startling diagnosis during an interview late last year.
'But there are people that absorb these kinds of experiences with grace and courage and a little bit of wisdom,' he added. 'And that is not to say that some people do not.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
New York Post
3 hours ago
- New York Post
‘Miami Vice' star Don Johnson admits to smoking weed in White House during Carter administration
Don Johnson pulled the curtain back on some wild visits to the White House. Johnson, 75, claimed he once smoked a joint at the White House, and got former President George H.W. Bush to gamble on a game of golf. During an appearance on 'Jimmy Kimmel Live!,' host Jimmy Kimmel showed the actor a photo from 1975 featuring Johnson with President Jimmy Carter and musicians Chuck Leavell and Dickey Betts taken at an Allman Brothers concert. 'I don't remember that photo, but we were all stoned,' Johnson admitted. He clarified that Carter was likely not stoned. 'Well, I don't know about him,' Johnson said. 'I don't want to cast any aspersions on the former president. God rest his soul.' Johnson landed his invite to the White House after working with the Allman Brothers on a concert for Carter's presidential campaign in 1976. 'Then the fun began,' he told Kimmel. 4 Don Johnson appears on 'Jimmy Kimmel Live!' on June 4, 2025. The late-night show host questioned what kind of fun they had at the White House. 'Nobody has fun at the White House,' Kimmel said before adding, 'I have heard Willie Nelson had fun there.' 'Is that the kind of fun you had there?' he asked Johnson. 'Did you smoke at the White House?' The 'Miami Vice' star seemingly struggled to answer. 'I don't know how to answer this. Well, yes… I guess I did,' admitted Johnson. According to the veteran actor, he's visited the White House during each president's administration since Carter. Johnson continued to tell Kimmel about his escapades, including a time he played a round of golf with Bush. 'He wanted to gamble when we played golf out at Camp David,' Johnson said. 'And so I took his money,' he recalled to laughter and applause from the audience. 4 A photo from 1975 featuring Johnson with President Jimmy Carter and musicians Chuck Leavell and Dickey Betts taken at an Allman Brothers concert. 4 Don Johnson and Patti D'Arbanville attend a state dinner at the White House in Washington, DC, on Sept. 10, 1985. Penske Media via Getty Images 'I'll tell you something else: He's a trash talker, and he ran into a buzzsaw, because so am I.' When questioned about how much Bush bet, Johnson said 'it wasn't that much.' 'Eighteen or 20 bucks,' he told Kimmel, adding, 'But that's the best 18 or 20 bucks you'll ever get.' Johnson isn't the first celebrity to share wild stories from the White House. Country legend Willie Nelson originally claimed he smoked weed with someone in Carter's administration during his infamous trip to the White House. However, Carter later clarified that Nelson actually smoked with his son, James Earl 'Chip' Carter III. 4 According to the veteran actor, he's visited the White House during each president's administration since Carter. 'When Willie Nelson wrote his autobiography, he confessed that he smoked pot in the White House one night when he was spending the night with me,' Carter said in the 2020 documentary, 'Jimmy Carter: Rock & Roll President.' 'And he says that his companion that shared the pot with him was one of the servants in the White House. 'That is not exactly true — it actually was one of my sons, which he didn't want to categorize as a pot-smoker like him.'
Yahoo
4 hours ago
- Yahoo
WWE SmackDown results, highlights (June 6): John Cena hit with R-Truth chants
John Cena finally went out with the last word on one of his final WWE TV appearances. (Photo by Georgiana Dallas/WWE via Getty Images) WWE returned to Bakersfield, California, for "WWE SmackDown" before the big weekend of action in Los Angeles. The time for talk about the Money In the Bank briefcases is over, and beatings to get the upper hand were dealt. Those were mostly delivered by the faces trying to run the place over on "WWE Raw." ⚔️ Crossover of the Night An appearance from the "Sethriders" wasn't expected to open "WWE SmackDown," but that's exactly what happened, and they ran roughshod throughout the night. Advertisement It instantly became a turf war when Seth Rollins, Paul Heyman, Bronson Reed and Bron Breakker were interrupted by Solo Sikoa, Jacob Fatu and JC Mateo. That was an unexpected cherry on top of what was already transpiring. Rollins' promo beforehand was nothing special other than your typical pre-Money In the Bank "I'm going to win the briefcase" claims. This was all a fresh, pleasant surprise, though. Sikoa and Rollins' sides did an incredible job of creating tension without ending the segment in a brawl. Well done, Triple H. I'll give you your flowers for avoiding the implosion between two heel stables — something rare enough in its own right. That's the beauty of matches like the Money In the Bank ladder match. Sikoa shined in this interaction, saying Rollins had his own version of The Bloodline, and questioned which roles his henchmen were. He specifically called back to Reed's history, teaming together at War Games. That only further added to how silly and nonsensical Reed being with Rollins was, but there clearly won't be a reasonable explanation too soon. Advertisement Ultimately, this whole opener made me want Fatu vs. Breakker as soon as possible, and preferably on a PLE so that it doesn't end in a bogus DQ finish. WWE teased that match heavily, so fingers crossed that it happens one day. Another feud I never knew I needed was LA Knight vs. Rollins. 🙄 DQ of the Night Not that a reminder was needed of how good he is when speaking, but Knight received some solid mic time before his match with Aleister Black to cut a fantastic promo for Money In the Bank. He targeted all the participants and highlighted how he and Rollins haven't interacted much, which added to the intrigue of that pairing. Advertisement Then there was the surprise that shouldn't have been a surprise, which was Rollins giving Knight the win over Black with a DQ when he attacked him. Every. Single. Show. It's so damn annoying, man. Any match between decently pushed talent can't end cleanly on TV anymore. It takes the wind out of everything beforehand. 🫠 Miss of the Night WWE had the opportunity to keep all this Rollins momentum going after his trio took out Penta and Andrade. Heyman jumped on the mic to cut a promo and get cut off by Cody Rhodes, which led to the final segment between him, Uso, John Cena and Logan Paul. Advertisement You know what Rollins and crew did? They hit the bricks and just left the ring. What? They attack numerous wrestlers throughout the night, then decide not to be a part of the "biggest" angle in the company. In kayfabe, that couldn't have made less sense. Once Cena arrived, the crowd erupted with the loudest cheers of the night. Some heel champion, huh? Outside of Cena and Paul coming out on top for a change, hitting finishers on Uso and Rhodes, it was another nothing interaction, with Cena repeating everything he has already said in recent weeks. He's going to ruin wrestling, they're humble, blah, blah, blah. Fittingly, it was all capped off with "We want Truth" chants. Cena then appeared to riff off the cuff, saying, "You can't handle the truth." That was the best part of all of this, but still, the absence of Rollins was absurd. Somehow, the closing segment wasn't the... 😂 Joke of the Night WWE has to have some inside rib going on with the attempts to make as many Zelina Vega vs. The Secret Hervice matches as possible. This time, it was Vega vs. Piper Niven in a "Bakersfield Brawl." It's absolutely stunning to see the level of repetition that there's been in this women's U.S. title scene. Thankfully, this has to be the end. Advertisement Vega won with the help of Giulia, powerbombing Niven through a table. Then she attacked the champion. Overall, it was whatever. Before the match, the teasing between her and Giulia continued, which was enough evidence that Giulia won't win her ladder match tomorrow night. Regarding Giulia, she had one hell of a night overall. 👑 Uncrowned Gem of the Night 👑 The women's Money In the Bank ladder match is the better of the two on tap for the event, and with that much talent packed into one match, that should be no surprise. Put each half of the match against each other in a trio match, and you're destined for a banger. That's what we got as a little appetizer before Saturday. Advertisement The babyface squad of Rhea Ripley, Alexa Bliss and Stephanie Vaquer got the win over Roxanne Perez, Giulia and Naomi when the latter let Perez get hit with the Riptide. It was a smart move, honestly, and the commentary team pointed it out. There was essentially no point to that match other than for one team to weaken some of the competition, which was what Naomi did despite it being her partner. It was just a great match from start to finish, with everyone getting their hits in, mixing some together for fun spots. Circling back to Giulia, however there was a reference from Wade Barrett on commentary to Giulia possibly cashing in on Vega if she wins the ladder match after what she did earlier. With Vega as one of the weakest champions in recent memory, I don't know if a stupider and more unnecessary booking decision could possibly come to mind. 👍 FRIDAY NIGHT FIRE 👍 1. Interferences and dirty finishes are almost mandatory in WWE now, so if they're done even somewhat creatively, it's a plus. And that's what happened when Jimmy Uso defeated Mateo with a roll-up after Sikoa and Fatu's failed distraction attempt. Advertisement Mateo clocked Fatu off the apron, furthering the dissension in the group. That's all the match was good for. 2. To springboard off that latter highlight, Sikoa talking smack behind Fatu's back was too good not to give a separate bullet. When this guy gets really into character, it's hilarious, man. 3. The King and Queen of the Ring tournaments are back starting next week. WWE appeared to give us a possible tease for the Queen of the Ring finals between Jade Cargill and Charlotte Flair. I know the fans certainly won't like that with Flair's side, but that's a great match and rivalry we need to see, especially with Cargill going over. 4. All of the top tag teams on "WWE SmackDown" gathered around backstage with general manager Nick Aldis to try and solve the Wyatt Sicks problem. This was pretty clever and cool to see, actually. It ended with Fraxiom being the ones to call for a match first. Nothing was made official, but I'm very curious to see how this whole overbooked tag team scene is handled. 🤷 IT HAPPENED 🤷 1. Penta and Andrade defeated American Made. This was a great match and showed how awesome of a team Penta and Andrade can be together. Why isn't this an overall positive, though? Because they're not a real tag team like the Creed Brothers are. So, the Creeds were just used at the expense of Chad Gable and his story. It's fine and to be expected at this point, but it would be better to see them secure wins for the division, as "WWE Raw" is currently lacking. Advertisement To make it even worse, and more hilarious, considering what happened to Knight, Rollins and crew attacked Penta and Andrade afterward. Poor American Made isn't even worth enough of a damn to Triple H to lose via his beloved DQ. 👎 DOWN & OUT 👎 1. Regarding the Wyatt Sicks, a cryptic and non-explanatory vignette preceded the tag team meeting with Aldis. All Bo Dallas said was that he and his crew were now family, and would take what they're owed. OK. Honestly, Dallas resembling a young Jack Black was more distracting than anything. 2. Jey Uso legitimately felt like nothing more than a meme, catchphrase wrestler next to Rhodes. 👑 This "WWE SmackDown" was really weird, and you felt the three hours. As usual, a lot of mixed feelings. I give this show a Crown score of: 6/10. 👑
Los Angeles Times
6 hours ago
- Los Angeles Times
‘Somebody hug me!' 7 Emmy hopefuls on staying calm, hitting their marks and more
The Emmys' limited series/TV movie acting categories have come to represent some of the best and most-talked-about shows on television, and this year's crop of contenders is no exception. The seven actors who joined the 2025 Envelope Roundtable were Javier Bardem, who plays father, victim and alleged molester Jose Menendez in Netflix's 'Monsters: The Lyle and Erik Menendez Story'; Renée Zellweger, who reprises her role as the British romantic heroine in 'Bridget Jones: Mad About the Boy'; Stephen Graham, who co-created and stars in 'Adolescence' as the father of a teenage boy who commits a heinous murder; Jenny Slate, who plays the best friend of a terminally ill woman in FX's 'Dying for Sex'; Brian Tyree Henry, who portrays a man posing as a federal agent in order to rip off drug dealers in Apple TV+'s 'Dope Thief'; Elizabeth Banks, who takes on the role of an estranged sibling and recovering alcoholic in Prime Video's 'The Better Sister'; and Sacha Baron Cohen, who appears as the deceived husband of a successful filmmaker in Apple TV+'s 'Disclaimer.' The Times' news and culture critic Lorraine Ali spoke to the group about the emotional fallout of a heavy scene, the art of defying expectations and more. Read highlights from their conversation below and watch video of the roundtable above. Many of you move between drama and comedy. People often think, 'Drama's very serious and difficult, comedy's light and easy.' Is that true? Banks: I think the degree of difficulty with comedy is much higher. It's really hard to sustainably make people laugh over time, whereas [with] drama, everyone relates to loss and pining for love that's unrequited. Not everybody has great timing or is funny or gets satire. Henry: There's something fun about how closely intertwined they are. In my series, I'm playing a heroin addict running for my life, and I have this codependency with this friend … There's a scene where I've been looking for him, and I'm high out of my mind, and I find him in my attic, and all he's talking about is how he has to take a s—. And I'm like, 'But they're trying to kill us.' You just see him wincing and going through all these [groans]. It is so funny, but at the same time, you're just terrified for both. There's always humor somewhere in the drama. Banks: There's a reason why the theater [symbol] is a happy face/sad face. They're very intertwined. Renée, with Bridget Jones — how has she changed over the last 25 years and where is she now with 'Mad About the Boy'? Zellweger: Nobody's the same from one moment to the next, one chapter to the next and certainly not from one year to the next. It's been a really interesting sort of experiment to revisit a character in the different phases of her life. What I'm really grateful for is that the timing runs in parallel to the sort of experiences that you have in your early 20s, 30s and so on. With each iteration, I don't have to pretend that I'm less than I am, because I don't want to be the character that I was, or played, when she was 29, 35. I don't want to do that, and I certainly don't want to do that now. So it was really nice to meet her again in this place of what she's experiencing in the moment, which is bereavement and the loss of her great love, and being a mom, and trying to be responsible, and reevaluating what she values, and how she comports herself, and what's important and all of that, because, of course, I relate to that in this moment. Stephen, 'Adolescence' follows a family dealing with the fallout of their 13-year-old son being accused of a brutal murder. You direct and star in the series. What was it like being immersed in such heavy subject matter? Did it come home with you? Graham: We did that first episode, the end of it was quite heavy and quite emotional. When we said, 'Cut,' all of us older actors and the crew were very emotional. There were hugs and a bit of applause. And then everyone would be like, 'Where's Owen?' [Cooper, the teenage actor who plays Graham's character's son]. 'Is Owen OK? Is he with his child psychologist?' No, Owen's upstairs playing swing ball with his tutor. It was like OK, that's the way to do this — not to take myself too seriously when we say, 'Cut,' but when I am there, immerse myself in it. Let's be honest, we can all be slightly self-obsessed. My missus, she's the best for me because I'd phone her and say, 'I had a really tough day. I had to cry all day. My wife's died of cancer, and it was a really tough one.' She goes, 'The dog s— all over the living room. I had to go shopping and the f— bag split when I got to Tesco. There was a flat tire. They've let the kids out of school early because there's been a flood. And you've had a hard day pretending to be sad?' Bardem: I totally agree with what Stephen says. You have a life with your family and your children that you have to really pay attention to. This is a job, and you just do the job as good as you can with your own limitations. You put everything into it when they say, 'Action,' and when you're out, you just leave it behind. Otherwise, it's too much. Certain scenes, certain moments stay with you because we work with what we are. But I think it doesn't make you a better actor to really stay in character, as they say, for 24 hours. That doesn't work for me. It actually makes me feel very confused if I do that. On the show 'Monsters' I tried to protect Cooper [Koch] and Nicholas [Alexander Chavez], the actors who play the children, because they were carrying the heavy weight on the show every day. I was trying to make them feel protected and loved and accompanied by us, the adults, and let them know that we are there for them and that this is fiction. Because they were going really deep into it, and they did an amazing job. Elizabeth, in 'The Better Sister,' you portray Nicky, a sister estranged from her sibling who's been through quite a bit of her own trauma. Banks: I play a drunk who's lost her child and her husband, basically, to her little sister, played by Jessica Biel. She is grappling with trauma from her childhood, which she's trying not to bring forward. She's been working [with] Alcoholics Anonymous, an incredible program, to get through her stuff. But she's also a fish out of water when she visits her sister, who [lives in a] very rarefied New York, literary, fancy rich world. My character basically lives in a trailer park in Ohio. There's a lot going on. And there's a murder mystery. I loved the complication … but it brought up all of those things for me. I do think you absolutely leave most of that [heaviness] on set. You are mining it all for the character work, so you've got to find it, but I don't need to then infect my own children with it. Sacha, you have played and created these really gregarious characters like Ali G or Borat. Your character in 'Disclaimer,' he's not a character you created, but he is very understated. Was that a challenge? Cohen: It took me a long time to work out who the character was. I said to [director] Alfonso [Cuarón], 'I don't understand why this guy goes on that journey from where we see him in Act 1.' For me it was, how do you make this person unique? We worked a lot through the specificity of what words he uses and what he actually says to explain and give hints for me as an actor. A lot of that was Alfonso Cuarón saying, 'Take it down.' And there was a lot of rewriting and loads of drafts before I even understood how this guy reacts to the news and information that he believes about his wife. Jenny, 'Dying for Sex' is based on a true story about two friends. One has terminal cancer, and the other — your character — supports her right up until the end. Talk about what it was like to play that role in a series that alternates between biting humor and deep grief. Slate: Michelle Williams, who does a brilliant job in this show, her energy is extending outward and [her character] is trying to experiment before she does the greatest experiment of all, which is to cross over into the other side. My character is really out there, not out there willy-nilly, but she will yell at people if they are being rude, wasteful or if she feels it's unjust. [And she's] going from blasting to taking all that energy and making it this tight laser, and pointing it right into care, and knowing more about herself at the end. I am a peppy person, and I felt so excited to have the job that a lot of my day started with calming myself down. I'm at work with Michelle Williams and Sissy Spacek and Liz Meriwether and Shannon Murphy and being, like, 'Siri, set a meditation timer for 10 minutes,' and making myself do alternate nostril breathing [exercises]. Brian, many people came to know you from your role as Paper Boi in 'Atlanta.' The series was groundbreaking and like nothing else on television. What was it like moving out of that world and onto other projects? Henry: People really thought that I was this rapper that they pulled off the street from Atlanta. To me, that's the greatest compliment … When I did 'Bullet Train,' I was shocked at how many people thought I was British. I was like, 'Oh, right. Now I've twisted your mind this way.' I was [the voice of] Megatron at one point, and now I've twisted your mind that way. My path in is always going to be stretching people's imaginations, because they get so attached to characters that I've played that they really believe that I'm that person. People feel like they have an ownership of who you are. I love the challenge of having to force the imaginations of the viewers and myself to see me in a departure [from] what they saw me [as] previously. Because I realize that when I walk in a room, before I even open my mouth, there's 90 different things that are put on me or taken away from me because of how I look and how I carry myself. Javier, since doing the series are you now frequently asked about your own opinions on the Menendez case? The brothers claim their father molested them, and that is in part what led to them murdering their parents. Bardem: I don't think anybody knows. That's the point. That was the great thing about playing that character, is you have to play it in a way that it's not obvious that he did those things that he was accused of, because nobody knows, but at the same time you have to make people believe that he was capable. I did say to Ryan [Murphy] that I can't do a scene with a kid. Because in the beginning, they do drafts, and there were certain moments where I said, 'I can't. It's not needed.' The only moment that I had a hard time was when [Jose] has to face [his] young kid. It was only a moment where Jose was mean to him. That's not in my nature. Henry: I discovered, while doing my series, 'My body doesn't know this isn't real.' There's an episode where I'm shot in the leg, and I'm bleeding out and I'm on all this different morphine and drugs and all this stuff, and I'm literally lying on this ground, take after take, having to mime this. To go through the delusion of this pain ... in the middle of the takes, it was just so crazy. I would literally look at the crew and say, 'Somebody hug me! Somebody!' Stephen, that scene where you confront the boys in the parking lot with the bike, I was just like, 'Oh, my God, how many times did he have to do that?' This kid gets in your face, and I was like, 'Punch the kid!' My heart went out to you, man, not just as the character but as you being in there. Graham: Because we did it all in one take, we had that unique quality. You're using the best of two mediums. You've got that beauty and that spontaneity and that reality of the theater, and then you have the naturalism and the truth that we have with film and television. So by the time I get to that final bit, we've been through all those emotions. When I open the door and go into [Jamie's] room, everything's shaken. But it's not you. It's an out-of-body experience and just comes from somewhere else. Bardem: Listen, we don't do brain surgery, but let's give ourselves some credit. We are generous in what we do because we are putting our bodies into an experience. We are doing this for something bigger than us, and that is the story that we're telling. What have been some of the more challenging or difficult moments for you, either in your career or your recent series? Zellweger: Trying not to do what you're feeling in the moment sometimes, because it's not appropriate to what you're telling. That happens in most shows, most things that you do. I think everybody experiences it where you're bringing something from home and it doesn't belong on the set. It's impossible to leave it behind when you walk in because it's bigger than you are in that moment. Banks: I would say that the thing that I worked on the most for 'The Better Sister' was [understanding] sobriety. I'm not sober. I love a bubbly rosé. So it really did bring up how much I think about drinking and how social it is and what that ritual is for me, and how this character is thinking about it every day and deciding every day to stay sober or not. I am also a huge fan of AA and sobriety programs. I think they're incredible tools for everybody who works those programs. I was grateful for the access to all of that as I was making the series. But that's what you get to do in TV. You get to explore episode by episode. You get to play out a lot more than just three acts. Stephen, about the continuous single shot. It seems like it's an incredibly difficult and complex way to shoot a series. Why do it? Graham: It's exceptionally difficult, I'm not going to lie. It's like a swan glides across the water beautifully, but the legs are going rapidly underneath. A lot of it is done in preparation. We spend a whole week learning the script, and then the second week is just with the camera crew and the rest of the crew. It's a choreography that you work out, getting an idea of where they want the camera to go, and the opportunity to embody the space ourselves. Cohen: That reminds me of a bit of doing the undercover movies that I do because you have one take. ... I did a scene where I'm wearing a bulletproof vest. There were a lot of the people in the audience who'd gone to this rally, a lot of them had machine guns. We knew they were going to get angry, but you've got to do the scene. You've got one time to get the scene right. But you also go, 'OK, those guys have got guns. They're trying to storm the stage. I haven't quite finished the scene. When do I leave?' But you've got to get the scene. I could get shot, but that's not important. Henry: There's a certain level of sociopathy. Slate: I feel like I'm never on my mark, and it was always a very kind camera operator being like, 'Hey, Jenny, you weren't in the shot shoulder-wise.' I feel like such an idiot. Part of it is working through lifelong, longstanding feelings of 'I'm a fool and my foolishness is going to make people incredibly angry with me.' And then really still wanting to participate and having no real certainty that I'm going to be able to do anything but just make all of my fears real. Part of the thing that I love about performance is I just want to experience the version of myself that does not collapse into useless fragments when I face the thing that scares me the most. I do that, and then I feel the appetite for performance again. Do you see yourself in roles when you're watching other people's films or TV show? Graham: At the end of the day, we're all big fans of acting. That's why we do it. Because when we were young, we were inspired by people on the screen, or we were inspired by places where we could put ourselves and lose our imaginations. We have a lot of t— in this industry. But I think if we fight hard enough, we can come through. Do you know what I mean? It's people that are here for the right reasons. It's a collective. Acting is not a game of golf. It's a team. It's in front and it's behind the camera. I think it's important that we nourish that. Henry: And remember that none of us are t—. Bardem: What is a t—? I may be one of them and I don't know it. Graham: I'll explain it to you later.
