What was it like to have Connie Britton, as a partner in all of this?īANA: It was fantastic! She’s really smart, and she’s got incredibly great instincts, as an actress. Ultimately, we had faith in her and the writers. The outline was very detailed, and she went into great detail, on each of the eight. For it to happen, we all needed to jump in, and that meant jumping in before there were finalized scripts.
Connie and I are also executive producers, so there was some level of comfort in that, in terms of the whole process, but ultimately it was a leap of faith for all of us. How many scripts were you given to read before shooting this? Did you have all of them, or were they still being written, as you were shooting it?īANA: They were still being written, so I met with Alexandra, the head writer, Jeff, Connie and Richard Suckle, the producer, and then I just jumped on board. But there were plenty of times where Jeff and I would sit on set and he’d say, “Why is he doing this?” And the answer would always come back to, “Because this is what he does.” I felt like that was a more interesting pathway. I just really concentrated on trying to make him as believable as possible, in the doing all of those things. That was my job, rather than trying to diagnose his condition. I just want to be convincing in getting people to feel like I’m believable as that kind of person. The reasons for that are way too complicated for even a therapist to unpack. I came to the conclusion that a large part of it was just to do with always having a plate spinning, and always having the need to wreak havoc and lie, and the need to keep shifting and pivoting. We came to a place, early on, where we realized that it was a bit of a waste of time to try to come up with answers and motivations. I think it’s a natural instinct, as an actor, writer or director, to try to come up with some of those answers. Did you look for answers or reasons, with someone like him? Do you feel like you have to find a way to come to an understanding for the character that you’re playing, or do you not worry about doing that?īANA: It’s a bit of everything. Things get even scarier when you get some of John’s history and realize just how long he’s been doing all of this for. And (showrunner) Alexandra, Jeff, the director, and I, really enjoyed that part of it, just that notion of how much of John are we showing for the characters that are in the scene, and how much of John are we showing to the audience to pick up on things inside of the moments.
So, once we got out of that block of three episodes, it became a lot easier to track and regulate some of that behavior, for Episodes 4, 5, 6, 7 and 8.
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We filmed most of the series in chronological order, except for the first three episodes We shot those in a block. It was very interesting to do because there were also plenty of things that we were tracking, as we were doing it. We culminate at around Episode 7, in terms of revealing exactly what is and has been going on, in the background of the stuff that we’ve already experienced, in present tense, in other episodes. From that perspective of feeling uncomfortable, it just gets worse and worse, as we go. With John, it’s so creepy and unsettling because he just seems like this totally normal, nice guy, until he’s not.īANA: Right.
It’s the extremeness that’s compelling and disturbing. I’m sure a lot of people find themselves doing versions of that behavior. I’m sure that shape-shifting sociopathic behavior expresses itself in everything from very low levels to its extreme and most dangerous form. Do you think that guys like this, who represent themselves as something they’re not or try to become whatever fits in the moment, are more common than we realize they are?īANA: I guess it depends on to what degree. There’s a show on Lifetime, called You, that’s about a guy who stalks a woman, in person and online, to make himself into her perfect boyfriend, and now we have this show, Dirty John, about a guy that’s clearly not who he represents himself to be.
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Collider: It’s interesting that TV seems to really be playing with this idea of the great love story.
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