Jennifer Morrison

I guess it's more like looking at it like music.

It's like you have to know if you're playing jazz, you're playing jazz.

You have to know if you're playing classical music, you're playing classical music.

Or if you're singing a pop song, you're singing a pop song.

You can't go to the ballet and sing a pop song.

Totally.

You know what I mean?

It's just... Doesn't work.

Yeah.

You have to...

Unless that's the tone, which is a whole other story.

So it's really about kind of figuring out how to execute this thing that already exists very, very well.

Whereas when you're setting up a pilot, you're putting all of that in motion.

So I think the trickiest part of a pilot is...

trying to get inside the showrunner's heads and trying to guess exactly the tone that they had in their being when they were writing it.

And that's hard because you can't fully get inside of someone's head.

You can ask a million questions and you can assess based on the decisions that they're making and the information that they're giving you.

it's always a lot of trial and error of like, what is the energy?

What is the vibe?

You know, even the show that we were just shooting, it's like very serious things are going on, but we also want the audience to know we're taking care of them.