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[theme music playing]
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[Chris Mundy] It's not very often
where you realize in real-time
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how lucky you are
to be getting to do something.
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This has stayed really true to what I
always hoped and dreamed that it would be.
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[Laura Linney] More than
any other show I've ever been on,
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it's been the most
collaborative environment.
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[Jason Bateman] It is a real team sport.
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[Linney] This has been
a glorious experience for everybody.
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It changed my life,
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not only professionally, but personally,
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I met my best friends on this show,
and it's been a ride.
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This is all very serendipitous,
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and we're quite lucky
to have landed on something
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that is so successful and so popular.
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I'm not letting go of anything
until I know it's impossible.
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If you loved me, you'd do the same.
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Bill Dubuque wrote the pilot,
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and, uh, Bill grew up
going to the Ozarks in the summers.
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But Bill is a feature writer
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that lives in St. Louis
and had never done TV,
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so they needed somebody
to kind of take the reins.
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So that's kind of where-- where I came in.
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[Patrick Markey] Chris was
instrumental in getting me in.
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It was a good story
about a family struggling
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under very desperate circumstances.
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And I liked that idea
of, um, the class struggle
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with the Byrdes coming
from the North Shore of Chicago,
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very comfortable, very safe life,
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and dealing with Langmores
and Snells and all the various people
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who ultimately turn out to be a lot wiser
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and a lot smarter than them
in a lot of cases.
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I remember very vividly it settling
into this incredibly rich world,
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which is something
I think you're always looking for
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when you're trying to imagine yourself
writing for especially an hour-long drama.
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You're looking for a world
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where you can project forward
all of these vivid characters.
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And I-I remember the dialogue
leaping off of the page
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and-- and seeing it as-- as
really exciting but also like a challenge,
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you know, as a writer being,
like, "Oh, how am I going to--
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to help contribute
to this really rich tapestry?"
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[Mundy] We hope that it's relatable
to people in their own life.
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It's just most people aren't, you know…
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[laughs] …laundering money
for a Mexican drug cartel.
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I'm really, really grateful
that we got to a finish line,
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the finish line we wanted to get to.
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That-- that we weren't kicked out
of the party
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before we could get to an ending
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that-- that hopefully is--
is satisfying for the audience.
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[Mundy] Jason,
they approached as an actor,
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and Jason basically said, "I'd be willing
to act in it if I direct it."
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Some of those earliest memories were
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getting some
of those initial first steps done,
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like talking Laura Linney into doing it,
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talking MRC into letting me
direct the whole first season,
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and then ultimately not being able
to do that because of time and schedule.
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Now we just have to pull off
opening a fucking casino.
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I wasn't looking to do a series. I wasn't.
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But it was really just wanting
to-- to see what Jason was gonna do,
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and then talking to Chris
and being like, "Oh, he's pretty great."
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I was like, "Well, okay."
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[Mundy] I remember saying,
"Laura Linney's gonna do our show."
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"Like, we cannot suck."
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"It's not okay for us to suck
if she's gonna be on our show."
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Obviously.
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I don't think any of us had any idea
where the sh-- the show was going
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or where it could go
or even if it would go.
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[Sofia Hublitz] You don't really perceive
what the show is on the outside,
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but it's been special
to see how many people love it
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and how many people choose
to make the show a part of their lives
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and love all of these characters.
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[Julia Garner] Everybody knew
that the scripts were amazing,
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and the people
that we had lined up were amazing.
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Everything just lined up, and it was
just, like, this magical moment in a way.
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That's right.
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And if Daddy were here, he would have
hung you out by your ball sack already.
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You want me to tell him
that you're disrespecting me?
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Didn't think so.
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Probably the biggest tells of a good--
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of a good story is the character creation.
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It's like creating characters that feel
really-- really authentic and natural.
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Morning.
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[Mundy] I mean,
we're spoiled in the writers' room
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because we have Jason and Laura,
I mean, honestly.
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If Jason himself wasn't
so incredibly likable,
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people might not have even
gone for the ride at all.
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So I-I think we just start
with a huge leg up because of that.
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[Martin Zimmerman]
Chris always talked about the idea
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that the show being
about the Byrdes and the Langmores
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and the idea that, obviously, you know,
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the-- the sort of the plot engine
of the show is-- is money laundering,
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but that that's not
the heartbeat of the show.
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It's a show about two families that
come from very different circumstances
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and seeing how they work with each other,
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how they're rivals of each other,
how they play off of each other.
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[Markey] The Langmore family,
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which would be the kind of low-rent
version of the Byrde family.
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And they end up always scrapping
to keep their family together,
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despite all the difficulty, the violence,
and the crime that's been in their life.
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[Garner] The first season of Ozark
was very hard for me
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because I'm not aggressive, you know.
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I don't have the confidence that Ruth has.
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-Very funny.
-Shut the fuck up!
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I'm working with Martin
so I can learn how to launder for us.
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I'm not super tough like that.
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Well, how about I pop those tits
and squeeze out the silicone?
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How'd you feel about that?
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But the thing about Ruth that's
interesting that I could connect with her
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is she's very sensitive.
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[Mundy] In some ways,
the Langmores are cursed.
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It's the, sort of, curse of capitalism.
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I think people see their families in there
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even though we all come from families,
not nearly that screwed-up, in some cases,
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but we see elements of people in there.
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Gimme some time, then bring 'em here.
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You were clear, and you have been patient.
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[Markey] Then you bring in the Snells,
which is another whole story
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about those people who were displaced.
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I think Darlene's normal
is probably different from all of ours.
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I would say, basically,
her life was kind of great
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until the Byrdes came to town.
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[Markey] They would still be growing
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whatever those subsistence crops
are someplace else
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had they not been uprooted.
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So the Snells are another family,
screwed-up.
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-[Wendy] Hi. Here, come in.
-Hey, Maya.
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Charlotte, please, uh,
settle Maya in for me, and, um…
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It's not how I saw
my maternity leave panning out.
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Maya is a workaholic,
but only because she cares so much.
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So she's not just doing a job
that is a clock-in and clock-out.
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I think that she is on a mission.
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Eat something.
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Omar Navarro is the head
of the Mexican drug cartel
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that Marty and Wendy Byrde
get involved with.
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And so Maya Miller was somebody
who Navarro realizes,
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"Could this potentially be
someone else who can become an asset?"
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And one of the reasons why he's able
to do that is because he trusts Marty.
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And when Marty mentions to him
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that there's a possibility
for this FBI agent to be an asset to us,
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then he starts to become
more curious about her.
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Season three really started
as Marty versus Wendy.
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And by the end of the season,
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it was pretty clear
that nothing could happen
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if they weren't completely
on the same page.
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You really wanna do this?
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You come anywhere near me,
my family, or Ruth again,
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the next time you see your son,
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he's gonna be hanging
from a bridge in Juarez. You got that?
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The whole Byrde family has had
to get a little bit more creative
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in the things that
they're able to justify for the ends.
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Marty's changed a bit
in that he's a bit more ethically limber.
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He's able to justify many more things
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that, uh,
perhaps the purer version of Marty
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would not in season one.
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If Marty was as allergic to breaking
the law now as he was in season one,
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he would've turned himself in,
and we wouldn't have had a show.
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Love you.
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Love you too.
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[Linney] I have a very hard time
talking about characters
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in an objectified way
when I'm still doing them.
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Maybe in a few years I'll be able
to look back at it and have a better idea.
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Wendy, she's complicated. She's loving.
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She's angry. She's hungry.
She's scared. She's frustrated.
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[laughing] She's all of those things
that I think many people are.
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[Hublitz] I started shooting
when I was 16, and now I'm 21,
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so I think Charlotte and I
have shared a lot of experiences
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growing up somewhat together,
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but I think
she's stayed consistently herself.
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[Mundy] Jonah,
the family member who was kind of
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most on board starts having problems
with the family.
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This business ends up defining their life,
whether they like it or not.
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And that's just what he was good at.
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[Mundy] In some strange way,
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because they've been
through this insanity,
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they're the only people
that can understand it.
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[Marty] The important thing is,
if all goes well,
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we have a promise that we're free
of our obligation to him, okay?
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Six months, we could be
completely out from under this, okay?
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One of the things that I think is--
is most fascinating about the show
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and what draws people to it
is the fact that nothing is predictable.
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Oh, Jesus!
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Ozark is a murder and mayhem show.
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And what more do you want
in a murder and mayhem show
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-besides chaos and excitement?
-[sparking]
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[man] What the fuck is that?
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[Skylar Gaertner]
There's always something to shock you
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and to talk about with your family
and-- and everyone else on the set.
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Today's no day to fall apart.
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[Linney] I really miss Buddy.
I still miss Buddy.
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I miss the character,
and I miss the actor.
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I miss-- I miss Harris Yulin,
and I miss that character.
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[Lisa Emery] A big turning point
was killing my dear Peter Mullan,
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who played Jacob, my first husband.
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I love you, Jacob. You just rest. [sobs]
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[Tom Pelphrey] Ben comes to town,
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and it's kind of either save Ben
and we all die,
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or get rid of Ben
and everybody else has a chance.
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Chris called me a few weeks
before we started filming anything
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and told me, basically,
Ben's arc through the show, you know.
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He's, like, coming into town,
stop taking the meds,
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really start to lose control,
and eventually, you're gonna die.
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So I knew it while it was happening.
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So I really got-- I feel like I got
to really savor it, you know, in a way.
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[man] What beautiful human feeling.
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Beautiful. What a beautiful day.
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As far as who had it coming, I think
that's gotta-- that's gotta be Helen.
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She was just playing
every single party in the Ozarks.
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Just completely playing them.
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[inhales] I never
saw you as the Ozark type.
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We adapt or die.
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I loved playing Helen.
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People really liked Helen as a character.
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The audiences really liked Helen
as a character,
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and I think part of that
was because she was a woman.
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I really do think that,
because it's more surprising somehow.
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And part of that
because the writing is so fantastic
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and she had such incredible lines.
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Let's not pretend we both don't know
how badly they fucked you over.
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I knew I was doing one season.
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Then they asked if I'd do one more season.
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So, as an actor, you know
if you're doing one more season,
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you're gonna die.
I mean, what else is gonna happen?
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-[Omar] I hope you had a pleasant journey.
-[Wendy shouts]
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I cannot tell you how many times
we rehearsed getting out the camera moves,
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the this, the dry runs, as it were.
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Endless amounts of times.
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And then we did it in one take.
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It was crushing to learn
that I was gonna be killed,
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and yet, I could smell it coming.
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I mean, you can't keep someone
like Darlene kicking around forever.
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She's gotta get her comeuppance.
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I think maybe if we--
232
00:12:00,262 --> 00:12:03,182
And then killing Wyatt.
Oh, break my heart.
233
00:12:03,265 --> 00:12:04,224
In a way, he's innocent.
234
00:12:04,308 --> 00:12:07,853
He, um-- I don't wanna say he's
in the wrong place at the wrong time,
235
00:12:07,936 --> 00:12:11,857
but he wasn't posing a threat
to-- to the cartel's business,
236
00:12:11,940 --> 00:12:14,401
but he kind of gets
caught in the crossfire.
237
00:12:14,485 --> 00:12:19,448
When I first learned that Wyatt
and I were-- were gonna become an item…
238
00:12:20,032 --> 00:12:21,909
That was awesome.
239
00:12:21,992 --> 00:12:25,954
I thought it was very daring,
a daring thing for them to do.
240
00:12:26,038 --> 00:12:28,499
I've been around long enough
to know what I'm doing.
241
00:12:28,582 --> 00:12:29,416
[laughs]
242
00:12:29,500 --> 00:12:30,709
[Mundy] I called Charlie,
243
00:12:30,793 --> 00:12:33,420
and Charlie laughed
for a solid two minutes
244
00:12:33,504 --> 00:12:34,838
before he said anything.
245
00:12:34,922 --> 00:12:37,674
It just-- he just--
just laughed his ass off.
246
00:12:38,258 --> 00:12:40,719
Chris Mundy called me and-- and told me,
247
00:12:40,803 --> 00:12:43,263
um, a couple months
before we started shooting,
248
00:12:43,347 --> 00:12:44,723
and we were just cracking up.
249
00:12:44,807 --> 00:12:48,977
I think he mentioned it started as kind of
an inside joke in the writers' room,
250
00:12:49,061 --> 00:12:51,814
and they were like,
"What if Darlene and Wyatt went together?"
251
00:12:51,897 --> 00:12:53,899
[baby crying]
252
00:13:01,365 --> 00:13:02,241
[inaudible]
253
00:13:02,324 --> 00:13:06,411
Chris called me,
and he said, "Hey, I need to talk to you."
254
00:13:06,495 --> 00:13:07,704
And I said, "What?"
255
00:13:07,788 --> 00:13:09,248
And he said, "Uh…"
256
00:13:09,331 --> 00:13:12,209
And I said, "Wait, let me guess."
I said, "Am I dying?"
257
00:13:13,794 --> 00:13:15,420
And he said, "Yeah. How'd you know?"
258
00:13:15,504 --> 00:13:18,465
I said, "It is like a Greek tragedy."
259
00:13:19,508 --> 00:13:25,013
She really wanted to get out
of that place that she was in.
260
00:13:25,097 --> 00:13:26,431
And she felt stuck,
261
00:13:26,515 --> 00:13:29,810
and she felt like she was gonna be here
for the rest of her life.
262
00:13:29,893 --> 00:13:33,272
So I think
she always wanted something better,
263
00:13:33,355 --> 00:13:35,065
but didn't know how to get it.
264
00:13:35,148 --> 00:13:37,276
[Mundy] The decision
to kill Ruth was by far
265
00:13:37,359 --> 00:13:40,779
the hardest thing
in the entire course of the show.
266
00:13:40,863 --> 00:13:44,867
There was a point where, all of a sudden,
it's where the story was going.
267
00:13:44,950 --> 00:13:48,036
There couldn't be no consequences.
268
00:13:48,120 --> 00:13:50,956
And in some ways,
the Byrdes had been this invasive species.
269
00:13:51,039 --> 00:13:54,585
They came in, and they wiped out--
They-- all the Langmores are gone.
270
00:13:54,668 --> 00:13:57,963
I think it would have been untrue
if-- if Ruth didn't go.
271
00:14:05,178 --> 00:14:08,765
In our world, it's--
it's good to be one of the smart ones.
272
00:14:10,142 --> 00:14:11,393
Remember that.
273
00:14:16,356 --> 00:14:19,151
[Linney] The reason our show
is so successful is three people.
274
00:14:19,234 --> 00:14:21,153
There's Jason Bateman.
There's Patrick Markey.
275
00:14:21,236 --> 00:14:22,321
And there's Chris Mundy.
276
00:14:22,404 --> 00:14:27,284
And the three of them working together
have really been a remarkable trio.
277
00:14:27,367 --> 00:14:31,914
I think the most important thing
in any show, to me, it's the writing.
278
00:14:31,997 --> 00:14:36,460
I've seen how everybody works,
and I watch how hard they work,
279
00:14:36,543 --> 00:14:39,087
and it-- it starts at the top.
280
00:14:39,171 --> 00:14:42,716
[Garner] Chris Mundy,
not only is he insanely talented,
281
00:14:42,799 --> 00:14:44,343
and everybody knows that,
282
00:14:44,426 --> 00:14:49,056
but he is the nicest person,
and that sets the tone for everything.
283
00:14:49,139 --> 00:14:51,058
He is an actor's dream writer,
284
00:14:51,141 --> 00:14:55,771
which is someone who is open to responses,
285
00:14:55,854 --> 00:14:57,856
is open to suggestion.
286
00:14:57,940 --> 00:15:01,193
[Janet McTeer] He's so clear
about the-- the themes of the piece
287
00:15:01,276 --> 00:15:02,152
and where this goes
288
00:15:02,235 --> 00:15:05,364
and how you mislead this and do this.
It's all so clever.
289
00:15:05,447 --> 00:15:10,494
He really has been the architect
of this sense of community
290
00:15:10,577 --> 00:15:12,704
that we've had here on-- on Ozark.
291
00:15:12,788 --> 00:15:15,624
[Emery] I'm just gonna be that cliche
that just says it's like a family,
292
00:15:15,707 --> 00:15:17,167
and it is like a family.
293
00:15:17,250 --> 00:15:22,756
There's just not a person in the crew,
in the cast, the van drivers,
294
00:15:22,839 --> 00:15:26,051
who isn't really a great person.
295
00:15:26,134 --> 00:15:27,511
And, you know, it trickles down.
296
00:15:27,594 --> 00:15:30,514
[Hublitz] I can't reiterate enough
how close we all are,
297
00:15:30,597 --> 00:15:32,224
from the top to the bottom.
298
00:15:32,307 --> 00:15:34,351
The showrunners, the producers, the cast,
299
00:15:34,434 --> 00:15:37,562
all the way to grip and electric,
the art department, everyone.
300
00:15:37,646 --> 00:15:41,108
We all just love each other so much,
and we get along so great.
301
00:15:41,608 --> 00:15:43,568
-[woman] Nice!
-[Garner] Yay!
302
00:15:43,652 --> 00:15:44,528
[woman] Very nice!
303
00:15:47,280 --> 00:15:49,741
What I always tell
the directors before they come in
304
00:15:49,825 --> 00:15:51,410
is that this is a director's set.
305
00:15:51,493 --> 00:15:56,373
Shoot just the things that you want to see
in your cut, much like a film set runs.
306
00:15:56,456 --> 00:16:00,252
We've had some great directors.
A lot of them I'd worked with in the past.
307
00:16:00,335 --> 00:16:02,796
There are people
we brought in the first couple years,
308
00:16:02,879 --> 00:16:05,048
you kind of try to figure out
what the story's about
309
00:16:05,132 --> 00:16:06,717
by bringing in different directors.
310
00:16:06,800 --> 00:16:08,885
[Hublitz] Love working
with all the directors
311
00:16:08,969 --> 00:16:10,679
and getting to meet all of them
312
00:16:10,762 --> 00:16:14,016
and-- and learn their styles
and their critiques on different scenes.
313
00:16:14,099 --> 00:16:16,852
It's-- it's really special
because you learn so much.
314
00:16:16,935 --> 00:16:20,647
I feel very bad for directors,
guest directors, who come into a show
315
00:16:20,731 --> 00:16:23,191
with a community of people
who all know each other well
316
00:16:23,275 --> 00:16:25,193
and know the stories
and have a common history,
317
00:16:25,277 --> 00:16:26,987
and then you're
the new person on the block.
318
00:16:27,070 --> 00:16:29,322
[Bateman] It prompts much more preparation
319
00:16:29,406 --> 00:16:32,409
and-- and much, sort of, finer execution
320
00:16:32,492 --> 00:16:35,078
from behind the camera
and in front of the camera.
321
00:16:35,162 --> 00:16:37,748
And-- and everyone gets
really excited about that, I think.
322
00:16:37,831 --> 00:16:41,752
I knew going into this,
you have to do your homework.
323
00:16:41,835 --> 00:16:45,505
I watched seasons one through three,
I think, 47 million times. [laughs]
324
00:16:45,589 --> 00:16:51,344
See the different director styles
and see where you can fit your vision in,
325
00:16:51,428 --> 00:16:55,515
while still adhering to what
Jason Bateman and the others created,
326
00:16:55,599 --> 00:16:59,644
the visual aesthetic for the show,
as well as the tone.
327
00:16:59,728 --> 00:17:03,398
The producers of the show
take great care of me as a director.
328
00:17:03,482 --> 00:17:06,735
They take great care of their cast.
They take great care of their crew.
329
00:17:06,818 --> 00:17:10,989
And that just makes my job easier
and more pleasant.
330
00:17:11,073 --> 00:17:15,327
Everybody was just fantastic to work with,
but what an incredible crew.
331
00:17:15,410 --> 00:17:18,705
You feel like your foundation is so thick
332
00:17:18,789 --> 00:17:21,333
to have that many
experienced crew members.
333
00:17:21,416 --> 00:17:24,419
[Markey] We've been blessed here
in the last year with Robin Wright
334
00:17:24,503 --> 00:17:27,089
and, uh, getting Amanda to come back.
335
00:17:27,172 --> 00:17:28,840
The difference
between acting and directing
336
00:17:28,924 --> 00:17:30,926
on the show here
is nothing more than the obvious.
337
00:17:31,009 --> 00:17:34,513
You know, as a director,
you need to understand all four corners
338
00:17:34,596 --> 00:17:37,099
of-- of every episode
and every scene and every shot,
339
00:17:37,182 --> 00:17:40,227
every character,
all their arcs and their motivations
340
00:17:40,310 --> 00:17:44,189
and all of the stuff that you might
get presented with a question about.
341
00:17:44,272 --> 00:17:47,317
I love working with Jason as a director.
He's the best.
342
00:17:47,400 --> 00:17:49,361
I mean, they're all great,
but I love Jason.
343
00:17:49,444 --> 00:17:51,238
[Frank Jr.] I should fucking kill you.
344
00:17:53,240 --> 00:17:54,616
Come get you some.
345
00:17:54,699 --> 00:17:56,034
[Garner] He knows what he wants.
346
00:17:56,118 --> 00:17:56,952
Sit tight.
347
00:17:57,035 --> 00:18:00,997
And he's hilarious,
and humor goes a long way. [chuckles]
348
00:18:01,081 --> 00:18:02,582
-[grunts]
-[groans]
349
00:18:02,666 --> 00:18:06,336
-Stupid bitch! Come on.
-[groaning]
350
00:18:06,419 --> 00:18:08,505
-[both shout]
-[crowd clamoring]
351
00:18:11,299 --> 00:18:12,717
[Garner] And he's very kind,
352
00:18:12,801 --> 00:18:15,971
and he wants
the best always for his actors.
353
00:18:16,054 --> 00:18:18,807
One of the things that made
working on this show really exciting
354
00:18:18,890 --> 00:18:21,059
is knowing
that he would trust the writing,
355
00:18:21,143 --> 00:18:22,978
and-- and we would trust the directing.
356
00:18:23,061 --> 00:18:25,355
He's incredibly meticulous.
357
00:18:25,438 --> 00:18:29,651
Obviously, he is someone who has been
on set, you know, his whole life.
358
00:18:29,734 --> 00:18:32,445
He has absorbed.
He has soaked up everything.
359
00:18:32,529 --> 00:18:34,990
And he has a great passion for it,
and he obviously brings that
360
00:18:35,073 --> 00:18:38,577
to the directing of Ozark too
in terms of the visual style.
361
00:18:38,660 --> 00:18:40,829
[Markey] He set the look of it.
He set the feel of it
362
00:18:40,912 --> 00:18:44,416
and then continued
to keep that going throughout the seasons.
363
00:18:44,499 --> 00:18:46,418
Like, there's a break in the lyrics there.
364
00:18:46,501 --> 00:18:48,753
Playing the guitar on that cut,
365
00:18:48,837 --> 00:18:51,590
that'll be an easier thing
sound-wise to blend.
366
00:18:51,673 --> 00:18:53,258
[Linney] Did you have a good time?
367
00:18:53,341 --> 00:18:56,261
From season one, both Jason
and our producer Patrick Markey
368
00:18:56,344 --> 00:18:57,929
had been pushing me to direct.
369
00:18:58,013 --> 00:19:01,975
There were enough of us pushing
and pushing, but she's so prepared.
370
00:19:02,058 --> 00:19:03,810
Actually, it comes out
of theater training.
371
00:19:03,894 --> 00:19:07,564
She's so-- like, there's nothing
she's not prepared for as an actor.
372
00:19:07,647 --> 00:19:10,150
And then she was
exactly the same as a director.
373
00:19:10,233 --> 00:19:12,068
[Bateman] Her taste is undeniable.
374
00:19:12,152 --> 00:19:16,823
And an hour into the first day,
everybody saw that it's just been,
375
00:19:16,907 --> 00:19:20,327
you know, like she's been doing it
for as long as she's been acting.
376
00:19:20,410 --> 00:19:22,871
I did it,
and I'm very, very glad I did it.
377
00:19:22,954 --> 00:19:24,122
I had a wonderful time.
378
00:19:24,206 --> 00:19:26,791
-What?
-Hey, talk to her like that one more time.
379
00:19:26,875 --> 00:19:29,085
I make a single phone call
and have you killed.
380
00:19:29,169 --> 00:19:31,880
[chuckles] What the fuck did you just say?
381
00:19:31,963 --> 00:19:34,883
-You heard me. Want me to repeat it?
-Just get back in your fucking car.
382
00:19:34,966 --> 00:19:38,220
-[driver] Fuck you, bitch!
-Oh, suck my cock, asshole!
383
00:19:38,303 --> 00:19:41,139
-I blame them completely. I blame them.
-[man laughs]
384
00:19:44,559 --> 00:19:48,521
[Mundy] I think the show's really
efficient in the way it tells its stories,
385
00:19:48,605 --> 00:19:50,065
and I think it finds its beauty.
386
00:19:50,148 --> 00:19:52,442
[Hublitz] The visual cues
of the show are so important
387
00:19:52,525 --> 00:19:57,322
because what you're getting visually
sets the tone for the audience.
388
00:19:57,405 --> 00:19:59,950
[Bateman] You're meant to be unsettled
when you're watching
389
00:20:00,033 --> 00:20:03,954
because this family's dealing with stuff
that is not altogether predictable.
390
00:20:04,037 --> 00:20:06,581
[Mundy] We're not a super busy show.
We don't cut a lot.
391
00:20:06,665 --> 00:20:09,376
The tones, especially at the beginning,
were a little cooler.
392
00:20:09,459 --> 00:20:10,502
We always wanted people
393
00:20:10,585 --> 00:20:13,338
to have to lean into the show
just the littlest bit,
394
00:20:13,421 --> 00:20:15,131
and hopefully, it would be worth it.
395
00:20:15,215 --> 00:20:19,552
[Bateman] The low level of light
or the use of a fill side and a key side
396
00:20:19,636 --> 00:20:23,139
and the color timing
and the desaturation and--
397
00:20:23,223 --> 00:20:25,392
all of this stuff comes together,
398
00:20:25,475 --> 00:20:29,104
along with the-- with the score
and the editorial pace of things,
399
00:20:29,187 --> 00:20:33,149
is to create, hopefully,
a little bit of an atmosphere.
400
00:20:33,233 --> 00:20:35,860
[David Bomba] My job is
to create a space for the actors
401
00:20:35,944 --> 00:20:38,905
and to create
a space for the-- for the script.
402
00:20:38,989 --> 00:20:41,616
And this show is so well written,
403
00:20:41,700 --> 00:20:46,037
so I'm given so much information
from the story and from the script.
404
00:20:46,121 --> 00:20:47,580
[Zimmerman] The lake is right there.
405
00:20:47,664 --> 00:20:50,208
Right? So it's-- it's
always present in the background.
406
00:20:50,292 --> 00:20:53,295
So you always feel the world,
even in these private family moments.
407
00:20:53,378 --> 00:20:55,922
And I think that that does
an incredible service to the series.
408
00:20:56,881 --> 00:20:57,716
[tires screech]
409
00:21:03,013 --> 00:21:05,640
[Bateman] George has been
giving us great, great things
410
00:21:05,724 --> 00:21:07,559
to point the camera at all these years,
411
00:21:07,642 --> 00:21:10,061
and our locations department's
been great in providing
412
00:21:10,145 --> 00:21:14,024
all kinds of tasty,
kind of gritty environments.
413
00:21:14,107 --> 00:21:16,443
[Felix Solis] Another testament
to this crew, the people
414
00:21:16,526 --> 00:21:18,611
who are able
to put together these sets and everything,
415
00:21:18,695 --> 00:21:22,407
I've never not felt like
I was in a hacienda in Mexico, you know.
416
00:21:22,490 --> 00:21:24,451
[Linney] The Byrde house
means the most to me.
417
00:21:24,534 --> 00:21:26,494
It became a character unto itself.
418
00:21:26,578 --> 00:21:28,330
We were all so happy when we were there.
419
00:21:28,413 --> 00:21:30,123
It's stunningly beautiful.
420
00:21:30,206 --> 00:21:32,917
[Bateman] This house is everything
that was described in the script.
421
00:21:33,001 --> 00:21:34,753
We were really,
really fortunate to get this.
422
00:21:34,836 --> 00:21:36,963
And our production designer, David Bomba,
423
00:21:37,047 --> 00:21:39,883
has done an incredible job
in maintaining it.
424
00:21:39,966 --> 00:21:41,801
[Hublitz] Charlotte's bedroom
we do on stage
425
00:21:41,885 --> 00:21:45,305
and when I go in and look at it
and I'm working on that set,
426
00:21:45,388 --> 00:21:47,932
I'm just reminded
of the first time that I ever saw it.
427
00:21:48,016 --> 00:21:50,685
For some reason, it really
has stuck with me all these years.
428
00:21:50,769 --> 00:21:53,313
[Mundy] I'll miss the Langmore trailers
more than anything else.
429
00:21:53,396 --> 00:21:54,272
It's just peaceful.
430
00:21:54,356 --> 00:21:58,568
You could just go and spend the day
out there, sit by the water, hang out.
431
00:21:58,651 --> 00:22:01,613
And, like, the most unpeaceful things
happen there in the show. [chuckles]
432
00:22:01,696 --> 00:22:04,157
[Charlie Tahan] And especially season one,
there were a lot more
433
00:22:04,240 --> 00:22:08,578
of the Langmore family members around,
and it always kind of felt like a party.
434
00:22:08,661 --> 00:22:12,499
There was lots of fireworks and fishing,
435
00:22:12,582 --> 00:22:16,753
and I have lots of fond memories
from-- from the Langmore trailers.
436
00:22:16,836 --> 00:22:19,172
The Snell property just kills me.
437
00:22:19,255 --> 00:22:21,841
It was just my favorite place to shoot.
438
00:22:21,925 --> 00:22:23,218
I love the house.
439
00:22:23,301 --> 00:22:24,719
[Markey] The look is very specific.
440
00:22:24,803 --> 00:22:28,056
Ozark has been able to establish
a signature from the beginning.
441
00:22:29,349 --> 00:22:31,601
The Emmy for supporting actress
in a drama series…
442
00:22:31,684 --> 00:22:32,977
You know I have an Oscar.
443
00:22:33,061 --> 00:22:34,687
…goes to
444
00:22:35,563 --> 00:22:37,107
Julia Garner!
445
00:22:37,190 --> 00:22:39,192
[cheering]
446
00:22:40,860 --> 00:22:45,031
I feel so lucky and fortunate
that I got cast in this.
447
00:22:46,074 --> 00:22:47,575
And I just love Ruth.
448
00:22:48,326 --> 00:22:52,038
It's always nice to be recognized
by your peers for work that you're doing,
449
00:22:52,122 --> 00:22:55,333
and a lot of those awards come
from people that we know and work with.
450
00:22:55,417 --> 00:22:56,960
I love playing Ruth so much,
451
00:22:57,043 --> 00:23:00,755
and every single day,
I-I just feel so lucky to be doing this.
452
00:23:00,839 --> 00:23:04,968
And, um, yeah, this is-- this is--
this is special, so thank you so much.
453
00:23:05,051 --> 00:23:07,637
I'll remember this forever.
Thank you so much!
454
00:23:07,720 --> 00:23:09,222
-[chuckles] Thank you!
-[crowd cheering]
455
00:23:11,224 --> 00:23:13,518
[Bateman] The response
and the-- the support,
456
00:23:13,601 --> 00:23:15,937
the encouragement of the critics
457
00:23:16,020 --> 00:23:20,150
is obviously something
that everybody appreciates.
458
00:23:20,233 --> 00:23:22,235
The acknowledgment
for directing on this show was,
459
00:23:22,318 --> 00:23:24,779
you know, very humbling and surprising.
460
00:23:24,863 --> 00:23:27,824
And the Emmy
for directing in a drama series goes to…
461
00:23:28,408 --> 00:23:30,660
-Jason Bateman!
-…Jason Bateman, Ozark!
462
00:23:30,743 --> 00:23:32,203
[cheering]
463
00:23:32,287 --> 00:23:35,957
[Bateman] I can't be holding this
without a whole lot of people
464
00:23:36,040 --> 00:23:40,378
that make this show
I'm so lucky to be a part of, uh, work,
465
00:23:40,462 --> 00:23:43,590
uh, especially as a director.
So, thank you, guys.
466
00:23:44,382 --> 00:23:45,633
That was big for me
467
00:23:45,717 --> 00:23:49,762
because that was what I was
originally attracted to with this job.
468
00:23:50,346 --> 00:23:53,808
-Jason Bateman, Ozark.
-[cheering]
469
00:23:53,892 --> 00:23:57,812
Thank you to, uh, the writers of Ozark,
470
00:23:57,896 --> 00:24:01,107
the cast, the crew, who I'm gonna be able
to thank in person tomorrow.
471
00:24:01,191 --> 00:24:02,484
Thank you.
472
00:24:02,567 --> 00:24:06,529
The fact that people actually like
watching it as much as we like making it,
473
00:24:06,613 --> 00:24:08,865
you know, is-- is satisfying, and--
474
00:24:09,616 --> 00:24:11,409
and just feels good. It just feels right.
475
00:24:11,493 --> 00:24:13,161
And the Actor goes to…
476
00:24:13,244 --> 00:24:15,413
-Jason Bateman!
-…Jason Bateman!
477
00:24:15,497 --> 00:24:17,499
[cheering]
478
00:24:22,837 --> 00:24:27,467
I think we're all realizing
that the end's gonna be tough.
479
00:24:27,550 --> 00:24:30,553
I'm really glad Jason's directing it.
That's where we started.
480
00:24:30,637 --> 00:24:32,430
-…coming off her even works better.
-Exactly.
481
00:24:32,514 --> 00:24:33,890
[Bateman] It is a real team sport,
482
00:24:33,973 --> 00:24:37,227
and there's so many moments along
the process where it can go off the rails.
483
00:24:37,310 --> 00:24:39,854
This is like a family
that we've been with for five years,
484
00:24:39,938 --> 00:24:41,189
so there's great memories.
485
00:24:41,272 --> 00:24:45,276
When I first showed up, I thought
the set was gonna be the tone of the show.
486
00:24:46,277 --> 00:24:49,948
[laughs] And it's the complete opposite.
We're a bunch of knuckleheads.
487
00:24:50,031 --> 00:24:51,491
We made a lot of jokes.
488
00:24:51,574 --> 00:24:54,619
Peter and I were at the craft table
489
00:24:54,702 --> 00:24:58,748
trying to pick out really gassy things
to eat before we shot the scene. [laughs]
490
00:24:59,791 --> 00:25:03,503
We keep people fed. We keep 'em happy.
Nobody likes to be hangry.
491
00:25:03,586 --> 00:25:08,132
I always like "Shut your fuck-nugget mouth
and get the hell out."
492
00:25:08,216 --> 00:25:11,302
I always thought that line
was really funny, and I remember doing it.
493
00:25:11,386 --> 00:25:13,805
It was a tongue twister,
so I was like, "I have to get it right
494
00:25:13,888 --> 00:25:16,849
because it's too funny
to, like, not get it right."
495
00:25:16,933 --> 00:25:19,936
Shut your fuck-nugget mouth
and get the hell out!
496
00:25:21,104 --> 00:25:24,440
[Gaertner] All the way back in season one,
it was, like, incredibly hot,
497
00:25:24,524 --> 00:25:27,944
and so flies were coming in
to escape the heat
498
00:25:28,027 --> 00:25:30,238
and were kind of disrupting all the shots.
499
00:25:30,321 --> 00:25:35,535
So Jason offered to pay anybody
who got a fly 20 bucks per fly.
500
00:25:35,618 --> 00:25:39,080
So everyone immediately got to work,
and Jason was like, "Yeah, I'll give you--
501
00:25:39,163 --> 00:25:41,958
I'll give you 100 bucks
if you can catch one completely unharmed."
502
00:25:42,041 --> 00:25:44,836
I just snatched one
right off the top of the syrup bottle.
503
00:25:44,919 --> 00:25:47,630
And I've-- I've yet to see,
like, the 200 or so bucks
504
00:25:47,714 --> 00:25:49,465
that I-I should--
should have earned there,
505
00:25:49,549 --> 00:25:51,050
so, you know, Jason, if you're…
506
00:25:51,134 --> 00:25:54,470
[laughs] …if you're seeing this,
pay up, buddy.
507
00:25:54,554 --> 00:26:00,101
The $200 number that I owe Skylar
sounds vaguely familiar.
508
00:26:00,184 --> 00:26:03,646
I'm not saying it didn't happen,
but we'll probably end up settling.
509
00:26:03,730 --> 00:26:05,189
I'm not gonna pay the full 200.
510
00:26:05,273 --> 00:26:07,275
-Lake of the Ozarks?
-Yeah, Lake of the Ozarks.
511
00:26:07,358 --> 00:26:10,278
Southern Missouri,
the redneck Riviera, baby. [chuckles]
512
00:26:10,361 --> 00:26:11,487
[Mundy] So to me,
513
00:26:11,571 --> 00:26:15,033
everything we do in the finale is
in the DNA of the show from the beginning.
514
00:26:15,116 --> 00:26:19,203
It's funny. The first thing we shot
day one of the pilot
515
00:26:19,287 --> 00:26:20,788
was this little piece of him
516
00:26:20,872 --> 00:26:22,957
in the backyard
of the Byrdes' house in Chicago,
517
00:26:23,041 --> 00:26:27,086
leaving a message for his partner Bruce,
and we never used it. We cut it.
518
00:26:27,170 --> 00:26:30,673
And we ended up using it
as a memory in this season.
519
00:26:30,757 --> 00:26:33,468
So it's old footage
that no one's ever seen.
520
00:26:33,551 --> 00:26:37,305
-[line beeps]
-Hey, Bruce. Marty.
521
00:26:37,388 --> 00:26:40,767
Buddy, let's-- let's pull the trigger
on that office, okay?
522
00:26:40,850 --> 00:26:42,977
Let's-- let's-- let's lock that down.
523
00:26:43,061 --> 00:26:45,897
It's actually been a real thrill
for me to be involved in it
524
00:26:45,980 --> 00:26:47,523
and have it be so successful.
525
00:26:47,607 --> 00:26:49,817
And this caught the zeitgeist,
for some reason.
526
00:26:49,901 --> 00:26:53,488
And Laura, obviously, and JB
and little Ruth coming out of nowhere.
527
00:26:53,571 --> 00:26:56,366
Julia Garner kind of blew up on us.
528
00:26:56,449 --> 00:26:58,493
We've been very, very blessed
is what I would say.
529
00:26:58,576 --> 00:27:00,370
We're grateful for the success of it.
530
00:27:00,453 --> 00:27:03,581
After so many seasons
of death and destruction…
531
00:27:03,665 --> 00:27:05,124
[chuckling] …we should be pretty good
532
00:27:05,208 --> 00:27:07,293
at saying goodbye to cast members
at this point,
533
00:27:07,377 --> 00:27:09,462
but I know
it's still gonna be in-- incredibly sad.
534
00:27:09,545 --> 00:27:13,383
[Hublitz] I feel like I've grown up
on this show in so many ways.
535
00:27:13,466 --> 00:27:16,052
I feel like I've been raised
by the best in the business.
536
00:27:16,135 --> 00:27:19,013
I've learned so much from these people,
537
00:27:19,097 --> 00:27:22,100
and I'm so lucky
that it was on this job, on Ozark.
538
00:27:22,183 --> 00:27:23,643
[Linney] It's been wonderful
539
00:27:23,726 --> 00:27:27,814
to be a part of someone's early years
and to give them an example of,
540
00:27:27,897 --> 00:27:31,025
"This is how you should work.
This is how prepared you should be."
541
00:27:31,109 --> 00:27:33,569
You know, you don't wanna shove it down
a young person's throat,
542
00:27:33,653 --> 00:27:36,280
but you hope that
you're able to give them some tools
543
00:27:36,364 --> 00:27:39,701
that they can then take on,
you know, to the next job.
544
00:27:39,784 --> 00:27:41,494
[Mundy] It's been a great group of people.
545
00:27:41,577 --> 00:27:43,538
It's been
a really talented group of people.
546
00:27:43,621 --> 00:27:45,540
The writers have all been talented.
547
00:27:45,623 --> 00:27:46,999
Our crew is amazing.
548
00:27:47,083 --> 00:27:51,045
The actors, from all of the main actors
to everybody we've brought in
549
00:27:51,129 --> 00:27:53,381
and new people each season,
have been amazing.
550
00:27:53,464 --> 00:27:55,425
[McTeer] It can be very hard as an actor,
551
00:27:55,508 --> 00:27:58,010
if you're coming into
a really established bunch of people.
552
00:27:58,094 --> 00:28:00,805
And so to always kind of,
"Hello, I'm so-and-so"
553
00:28:00,888 --> 00:28:02,140
and "Hey, welcome to the crew."
554
00:28:02,223 --> 00:28:04,892
It doesn't cost a lot, but a lot
of people don't do it, and they did.
555
00:28:04,976 --> 00:28:06,352
It made everyone feel important
556
00:28:06,436 --> 00:28:08,354
and everyone feel wanted and loved.
557
00:28:08,438 --> 00:28:11,149
I've been doing this 22 years.
558
00:28:11,232 --> 00:28:16,237
I have never worked
with a better crew in my entire career.
559
00:28:16,320 --> 00:28:19,490
Everybody's just… They're brilliant.
560
00:28:19,574 --> 00:28:23,327
And they take their time to make one
of the best shows that is on right now.
561
00:28:23,411 --> 00:28:25,079
So it's a blessing to watch.
562
00:28:25,580 --> 00:28:28,833
These shows end, and people scatter.
563
00:28:28,916 --> 00:28:31,919
It's like feathers in the wind.
We just all go.
564
00:28:32,003 --> 00:28:35,590
But there is always,
I really believe this, in shows like this,
565
00:28:35,673 --> 00:28:39,510
there's an invisible string
that sort of connects all of us.
566
00:28:39,594 --> 00:28:42,722
[Bruno Bichir] Everyone is
so nice and committed.
567
00:28:42,805 --> 00:28:45,349
And it's a wonderful show.
568
00:28:45,433 --> 00:28:47,602
Um, I really love the people.
They're very friendly.
569
00:28:47,685 --> 00:28:49,312
Uh, they make you feel like family.
570
00:28:49,395 --> 00:28:50,897
They treat us nice. They treat us good.
571
00:28:50,980 --> 00:28:53,524
It's been a really,
really good show to work on.
572
00:28:53,608 --> 00:28:56,819
The atmosphere with cast and crew
is very close-knit.
573
00:28:57,570 --> 00:28:59,864
[Linney] There's something sad
when something like this ends
574
00:28:59,947 --> 00:29:02,200
'cause, you know,
there's some people who you'll see again,
575
00:29:02,283 --> 00:29:03,993
and there are others
who you probably won't.
576
00:29:04,076 --> 00:29:07,538
So you're trying to lock in memories.
You're trying to burn in memories
577
00:29:07,622 --> 00:29:10,625
as-- as deep as they'll go
while you still have the time.
578
00:29:10,708 --> 00:29:13,419
[Mundy] Jason and I talk about,
"Let's recognize it in the moment."
579
00:29:13,503 --> 00:29:16,088
You know what I mean?
"Let's, like, actually enjoy it now."
580
00:29:16,172 --> 00:29:18,257
"Let's not realize it ten years from now."
581
00:29:18,341 --> 00:29:20,259
That's been the best thing,
like, honestly.
582
00:29:20,343 --> 00:29:23,679
If no one was watching, we all
would've been home four years ago.
583
00:29:23,763 --> 00:29:27,266
So everybody is very,
very grateful for all of that support.
584
00:29:27,350 --> 00:29:31,854
And I'm really just
so proud of everybody and their ability
585
00:29:31,938 --> 00:29:34,857
to have gotten pretty close to the target.
586
00:29:36,859 --> 00:29:39,654
[group panting]
587
00:29:46,244 --> 00:29:47,119
[Marty exhales]