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I mean, it was the way it was written. I mean, it's in there. It's in the script. And we'd always done a lot of stuff as writers where we were trying to mix tones like Dan does really well. So that's why we wanted to do Crazy Stupid Love when he wrote it, because we're like, this is basically the style that we do.

I played a little more with levity than later because I think the storylines just had to get heavier just to keep you invested. So like, you know, cause like Justin. It's hysterical. So funny. It's just hysterical in those first four seasons. And he has this tragic thing and he still has his moments, but it's, that's just the nature of series.

I played a little more with levity than later because I think the storylines just had to get heavier just to keep you invested. So like, you know, cause like Justin. It's hysterical. So funny. It's just hysterical in those first four seasons. And he has this tragic thing and he still has his moments, but it's, that's just the nature of series.

I played a little more with levity than later because I think the storylines just had to get heavier just to keep you invested. So like, you know, cause like Justin. It's hysterical. So funny. It's just hysterical in those first four seasons. And he has this tragic thing and he still has his moments, but it's, that's just the nature of series.

Yeah, somewhere out there.

Yeah, somewhere out there.

Yeah, somewhere out there.

If you keep it on too long, it'll burn. But they were managing that.

If you keep it on too long, it'll burn. But they were managing that.

If you keep it on too long, it'll burn. But they were managing that.

It was hot. And then it also had, oh, it was really hot. You know, these kind of portable flame bars that you put them in front of the camera. And then since we were on sort of longer lenses, kind of compress everything so it looks like Milo's right in it.

It was hot. And then it also had, oh, it was really hot. You know, these kind of portable flame bars that you put them in front of the camera. And then since we were on sort of longer lenses, kind of compress everything so it looks like Milo's right in it.

It was hot. And then it also had, oh, it was really hot. You know, these kind of portable flame bars that you put them in front of the camera. And then since we were on sort of longer lenses, kind of compress everything so it looks like Milo's right in it.

That's the great thing about shooting on long lenses is it makes... How much planning?

That's the great thing about shooting on long lenses is it makes... How much planning?

That's the great thing about shooting on long lenses is it makes... How much planning?

We had to board that whole sequence just to know what we could get away with and not get away with. We were running out of time.

We had to board that whole sequence just to know what we could get away with and not get away with. We were running out of time.

We had to board that whole sequence just to know what we could get away with and not get away with. We were running out of time.

Yeah, off the roof. We built a roof set. You know, it was elevated, but it wasn't real high. It wasn't as high as an actual roof would be. We had a, was it a cherry picker or something? We had a thing that they, it was a cherry picker, that came up to meet the roof line, and then the actors climbed in.