Noah Hawley

And I went through a couple of other things.

And then at a certain point they realized, oh, the segue is the pitch, right?

Because it is an anti-hero story about a crime, you know, and- Yeah.

Oh, that's cool.

So-

My feeling is always when you're asking someone to interact with the show in any way, whether it's an outline or a pitch, it's got to feel like the show.

And so I do these hair and makeup tests when we get on set where it's grown to this thing where I'll have like a crane on my hair and makeup because I'll get the characters in.

I'm like, let's not waste an opportunity just by looking at people in clothes, right?

We have an opportunity to like...

Let's get David Thewlis and Michael Stuhlbarg and Ewan McGregor in a room and feel like what that dynamic is between them.

And so I end up cutting these things together with music.

And when I show it to them, this is what the show is going to feel like.

But it's great for the actors because they get to put the skin on without any pressure, right?

For a day or two.

And then it wakes the crew up, right?

They're like, oh, we're pushing a dolly in the hair and makeup test.

Like I'm laying track and we're doing this for real.

Right.

Yeah, it is, it is.

I find it, you know, and it becomes a sales document for them internally of like, look what...