David Marchese

You know, there were a couple news stories that came out about Severance being a difficult production with delays and creative differences. Was it a particularly difficult production? And do you find that there is any link between how difficult something is to make and the uniqueness of that thing? Because Severance is sort of a...

unique show and I wonder if it just is going to be trickier than if you're doing like a traditional sitcom or something.

unique show and I wonder if it just is going to be trickier than if you're doing like a traditional sitcom or something.

Do you know how the series ends? Do you have the arc all plotted out?

Do you know how the series ends? Do you have the arc all plotted out?

Would it be a spoiler to tell me the ending?

Would it be a spoiler to tell me the ending?

Do you know what you're working towards?

Do you know what you're working towards?

Can you say something enigmatic that seems like it reveals a clue to the ending?

Can you say something enigmatic that seems like it reveals a clue to the ending?

I knew it. Yeah. So what you were saying a beat before about people being at work and on some level sort of mystified about the fact that, you know, things seem opaque. You don't really feel like you have control. You don't know who's really making the decisions. I was thinking that maybe Hollywood is like that in some ways. It's not clear who's calling the shots or where the power really lies.

I knew it. Yeah. So what you were saying a beat before about people being at work and on some level sort of mystified about the fact that, you know, things seem opaque. You don't really feel like you have control. You don't know who's really making the decisions. I was thinking that maybe Hollywood is like that in some ways. It's not clear who's calling the shots or where the power really lies.

Did your work experience inform the show in any way?

Did your work experience inform the show in any way?

Hearing you say that brings to mind sort of in the late 90s into the 2000s, sort of the your bread and butter were these big Hollywood comedies. And in a lot of those films you played, it was kind of a type, you know, like you were sort of a well-meaning, often outsider in some sense, who is made to suffer a bunch of indignities, but ultimately kind of comes out on top at the end.

Hearing you say that brings to mind sort of in the late 90s into the 2000s, sort of the your bread and butter were these big Hollywood comedies. And in a lot of those films you played, it was kind of a type, you know, like you were sort of a well-meaning, often outsider in some sense, who is made to suffer a bunch of indignities, but ultimately kind of comes out on top at the end.

Was there any part of you that... felt like you understood why audiences responded to you in that role in particular? Like, was there any part where you're like, why do they want to see me again?

Was there any part of you that... felt like you understood why audiences responded to you in that role in particular? Like, was there any part where you're like, why do they want to see me again?

You know, you did have this real string of big movies from like something about Mary sort of like through the night at the museum. Did you feel like because those movies were hitting, you kind of got swept up in something that was sort of out of your control a little bit? Like, what was your thinking about the work in that period?