S1EP9: The We We Are (with Jon Stewart)

Summary

The Severance Podcast with Ben Stiller & Adam Scott

Episode: S1EP9: The We We Are (with Jon Stewart)

Release Date: January 16, 2025

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Introduction

In the season one finale of The Severance Podcast, hosts Ben Stiller and Adam Scott are joined by a special guest, Jon Stewart, to delve deep into the intricacies of the Emmy- and Peabody Award-winning TV show Severance. This episode provides an exclusive, behind-the-scenes look at the creation of the series, offering fans and newcomers alike a comprehensive understanding of the show's development, character dynamics, and thematic depth.

Guest Introduction: Jon Stewart

The episode kicks off with Ben Stiller introducing Jon Stewart, highlighting his status as a television legend and an avid fan of Severance. Stewart's enthusiasm is palpable as he shares his experiences visiting the set and interacting with the cast and crew.

Jon Stewart [04:56]: "I was able to come on the set while you were shooting the heli sequence for the last episode at Lumen at the Bell Labs building. It was incredible to see the magic happen firsthand."

Set Design and Location Insights

A significant portion of the discussion revolves around the show's primary filming location—the Bell Labs building. Stiller and Scott elaborate on the architectural choices and the meticulous design elements that contribute to the show's dystopian atmosphere.

Ben Stiller [10:00]: "Jeff Mann, our production designer, drew inspiration from a 1960s Expo in Montreal, incorporating black and white photography lit up on cubes to create a 'World of Tomorrow' vibe."

The team emphasizes the importance of selecting an undiscovered location to maintain the show's unique aesthetic, avoiding clichés commonly seen in other productions.

Adam Scott [07:12]: "The Bell Labs location is truly one-of-a-kind. Its vast atrium and retro-futuristic elements provide the perfect backdrop for Severance's narrative."

Acting Challenges and Creative Choices

Jon Stewart discusses the complexities actors face in portraying their characters' severed selves, highlighting the emotional and psychological depth required.

Adam Scott [20:03]: "Making strong creative choices over five years without immediate feedback was terrifying but essential for building the show's intricate world."

Stiller adds insights into directing actors to embody both their work selves and life selves, ensuring authenticity and depth in their performances.

Ben Stiller [20:13]: "It was challenging to direct scenes out of order, ensuring each episode maintained its narrative flow and emotional resonance."

Specific Scenes Analysis

The trio delves into pivotal moments from the season finale, dissecting character interactions and plot developments.

• Helly's Realization at the Gala: The discussion highlights Helly's transformative moment at the Lumen gala, where she confronts the reality of her severed existence.

  Adam Scott [44:15]: "When Helly walks through her severed story, it's overwhelming. The practical set design truly immerses the audience in her realization."

• Mark and Rickon's Meeting: The emotional juxtaposition between Mark's external disdain for Rickon and his internal idolization forms a critical point of analysis.

  Ben Stiller [33:12]: "The scene where Mark meets Rickon is a masterclass in character development, showcasing the complex layers of their relationship."

• Irving's Emotional Journey: The conversation touches on Irving's introspective moments, particularly his discovery of his father's photograph, symbolizing deeper narrative threads.

  Jon Stewart [55:31]: "Irving's realization upon finding his father's photograph adds a profound emotional layer to his character arc."

Behind-the-Scenes Insights

The hosts and Stewart share anecdotes about the production process, including the challenges of shooting complex scenes with innovative camera techniques.

Ben Stiller [29:19]: "Experimenting with Steadicam for episode nine was daunting, but it ultimately provided a more immersive point-of-view experience."

They also discuss the collaborative efforts with the production design team to ensure every visual element, from monitors to procedural books, aligns seamlessly with the show's universe.

Reflections on Creating the Podcast and Show

Ben Stiller and Adam Scott reflect on their journey crafting both the podcast and Severance. They express gratitude towards their team and audience, acknowledging the uncertainties and triumphs that come with such a creative endeavor.

Ben Stiller [24:25]: "Creating this podcast has been an enormous accomplishment, perhaps even more so than making the show itself."

Adam Scott [25:24]: "The uniqueness of Severance's universe makes it a comfort to know we're building something truly original."

Conclusion and Season Two Premiere

As the episode wraps up, the hosts and Jon Stewart express excitement for the upcoming season two, slated to premiere on January 17 on Apple TV+. They tease new podcast episodes that will continue to provide in-depth analyses alongside fresh content from the show.

Jon Stewart [64:30]: "I can't wait to dive into season two and explore more of what Severance has to offer."

Ben Stiller [65:26]: "Thank you to all our guests and listeners. We hope you enjoy season two as much as we enjoyed creating it."

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Key Takeaways:

• Unique Set Design: The Bell Labs location, inspired by 1960s Expos, plays a crucial role in establishing the show's dystopian feel.
• Character Depth: The portrayal of severed selves requires intricate emotional and psychological performances from the actors.
• Narrative Complexity: Season one finale effectively brings together various narrative threads, providing satisfying conclusions while setting the stage for future developments.
• Production Challenges: Shooting out of order and using innovative camera techniques posed significant challenges but ultimately enhanced the storytelling.
• Collaborative Effort: The success of Severance is attributed to the meticulous collaboration between directors, actors, and production designers.

Notable Quotes:

• Jon Stewart [04:27]: "Do you have a seatbelt on that chair?"
• Adam Scott [15:53]: "The opening credit sequence... I'll follow this anywhere."
• Ben Stiller [29:19]: "Experimenting with Steadicam for episode nine was daunting."
• Adam Scott [20:03]: "Making strong creative choices over five years without immediate feedback was terrifying."

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This episode serves as a treasure trove for fans seeking a deeper understanding of Severance, offering exclusive insights into its creation, character dynamics, and the creative minds behind the show. Whether you're a seasoned viewer or new to the series, this detailed breakdown enhances your appreciation of the intricate world-building and storytelling that defines Severance.

Transcript

[Ben Stiller]

This episode of the Severance Podcast with Ben Stiller and Adam Scott is brought to you by Confluence by Atlassian, the connected workspace where teams can create, organize and deliver work like never before. Set knowledge free with Confluence.

[Adam Scott]

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[Jon Stewart]

Do you have a seatbelt on that chair?

[Adam Scott]

Over the shoulder. Strapped in, boys.

[Jon Stewart]

Okay, great.

[Adam Scott]

Bring it.

[Ben Stiller]

Here we go. Hey, I'm Ben Stiller. I'm Adam Scott, and this is the Severance Podcast with Ben and Adam, where we break down every single episode of Severance and.

[Jon Stewart]

Wow, Ben, we're here at the finale, the season one finale. The we. We are written, of course, by Dan Erickson and directed, of course, by you, Ben Stiller.

[Ben Stiller]

Mm.

[Jon Stewart]

How you doing?

[Ben Stiller]

I feel. I mean, it's. First of all, we've gotten through all nine episodes of the first season. It feels like an accomplishment, kind of, I think, and it's been a lot easier than I think when we were making the episodes. It seems like it went a lot quicker, but it's been really fun, and I feel like you and I have kind of, you know, we're like, starting to get a little bit of a feeling of, like, what it is to be a podcasting team.

[Jon Stewart]

Yeah, it's been super fun. It's been really interesting going back and going through the episodes from the mindset of, I'm going to need to talk about this, rather than just cringing and hiding, watching through my fingers and being freaked out about watching it. But really after not having watched it for. Last time I watched it was before we started shooting season two. And then on set, we would go in and look at things to refer to if we needed information or whatever, but really, just sitting and watching full episodes. It had been a while.

[Ben Stiller]

Yeah. And it's interesting when you work on something, you know, you're editing it and just living with it so much, and then all of a sudden you have a break of like a year or two in this case. And I was saying the other day, like, sometimes you look at stuff and it's like, oh, all right, that was pretty good. And then there are other times you look at it and go, oh, I could have Done that a lot better or you remember the pain of that day of shooting that one thing or what you couldn't get right. But overall, it's a totally different experience watching it when you're disconnected from it, when you're severed from the experience of having actually just made it. And so it's been fun. It's been really fun.

[Jon Stewart]

You brought it back full circle there.

[Ben Stiller]

Thank you. Yeah. I like to use the terminology whenever.

[Jon Stewart]

I can, but I think if I were to sum up our little chat here, A, it's an enormous accomplishment that we've made this podcast. Perhaps a bigger accomplishment than making the show.

[Ben Stiller]

And I think we could maybe. Yeah, like retire after doing this podcast.

[Jon Stewart]

Yeah, we've done it all now. B, it's much easier to make podcasts than the actual show.

[Ben Stiller]

It is. It is easier than, Than making the show. But it's. And it's as fun, though, because making the show is fun. It's just like, it's more like a long term fun project where you work at it for a long time and the work is fun.

[Jon Stewart]

Yes. I love making the show. And another component of rewatching it is it makes me want to get back and start shooting the show some more. To start shooting again.

[Ben Stiller]

Yeah, definitely. Definitely. The other exciting thing about today is for our finale episode of the first season recap podcast, is that we have a huge guest on the show.

[Jon Stewart]

Oh, my God. Do we?

[Ben Stiller]

Yeah. I mean, I have known this person for a long time, but he's become a television legend and I was honored to learn also is actually a Severin super fan, which just. I was. You know, it's so funny when you're working on this stuff and then all of a sudden somebody you really respect and know reaches out and says, hey, man, I love that thing. It's like, so I'm so into it. It's. It's such a great feeling. But the person we're talking about is Jon Stewart, ladies and gentlemen.

[Jon Stewart]

Oh, my God.

[Adam Scott]

Oh, my God. Guys, I thought you were about to introduce Letterman. I was listening to the intro and I was like, oh, my, I can't wait to meet this person.

[Ben Stiller]

But, John, you have graduated to those ranks.

[Adam Scott]

You.

[Ben Stiller]

You have. I mean, and I got the grace.

[Adam Scott]

To prove it, man.

[Ben Stiller]

We all do. We all do. You've. You've put the work in. You spent the time.

[Adam Scott]

Yes, I've. I've grinded.

[Ben Stiller]

You have. You've, you know, you've become someone that people I think look to, you know, for, for guidance and humor and relief. And sort of your. And you're just smart too, John.

[Adam Scott]

Or to. Or to angrily yell at. By the Holland Tunnel. That also happens.

[Jon Stewart]

I will say. I remember the moment you reached out to Ben about severance. Ben, you texted me that Jon Stewart likes severance. It was a huge deal.

[Adam Scott]

Doesn't even like severance. Obsessed. There was an. There was an obsession. And it's the same way that I found out, and Ben had told me this, that you were filming an episode down near where I live. And so I was able. Ben was kind enough to let me come on the set. And it was this episode, actually, I believe Ben. Is that correct?

[Ben Stiller]

That is correct. You came by while we were shooting the heli sequence for the last episode at Lumen at the Bell Labs building, which you're in the vicinity of. I guess I don't want to give away too much. And that might be what those drones.

[Adam Scott]

Central Jersey, yo. What's up?

[Jon Stewart]

We can put your address in the.

[Adam Scott]

Show notes, no problem. Yeah.

[Ben Stiller]

As we. As we speak, there's a drone issue over New Jersey, and I don't know if that has to do.

[Adam Scott]

Sorry about that, guys.

[Ben Stiller]

It's just.

[Adam Scott]

It's a new business I was starting of giant drone swarms. I just thought. I didn't realize people would get so freaked out about it.

[Jon Stewart]

Yeah, exactly.

[Ben Stiller]

Whenever I see a report about that on the news or like on my phone or something, I literally feel like I'm In a Roland Emmerich 90s, you know, independence Day movie or whatever.

[Adam Scott]

It's like, no question.

[Ben Stiller]

It feels like that's a scene from the movie where the reporters start talking about the, you know, these drones that nobody can identify. And people are told to relax.

[Adam Scott]

And they're told to relax, listen, everything's fine until they get lasers. And then the whole thing is.

[Ben Stiller]

Yeah, yeah.

[Adam Scott]

And they've just been hovering every night.

[Ben Stiller]

So you can't. Yeah, but you came by and it was really fun. Our cinematographer, Jessica Lee Gagne. I'm just gonna out her and say she's a big fan of yours. And was like. And she doesn't really get impressed by a lot of people. And she got very quiet and was sort of like, oh, my God, John Stewart's here. John Stewart's here.

[Adam Scott]

So, no, I made sure to stay really far away from her. I just sensed the vibe.

[Ben Stiller]

And you'll notice a lot of the shots are out of focus in that sequence.

[Adam Scott]

Completely out of focus.

[Ben Stiller]

Yeah.

[Adam Scott]

And I was just. So. Just first of all, that. That Bell Labs and I don't know where you guys found it. But it is notoriously, for us who live around here, this odd dystopian development sort of this. It was Bell Labs for a long time, and then it was bought by a guy who developed it and wanted to create like almost a. A village or a community around it. And it's the weirdest. It's like if Mussolini had decided to plan like a. Like a subdivision, a suburban sub. Like, it's the weirdest giant cement for.

[Ben Stiller]

And they actually have that on their brochure.

[Jon Stewart]

Yes, as if.

[Adam Scott]

But I don't know, like, perfect for what you would think is this kind of Luminesque dystopian and that you walk into it and it's like a full court basketball. Right.

[Ben Stiller]

Built.

[Adam Scott]

It's huge in there. And then like one coffee shop and Hasidic couples meeting each other. It's the oddest.

[Jon Stewart]

It's weird. We spend weeks there and it's like frozen yogurt coffee.

[Adam Scott]

Yes.

[Jon Stewart]

It's really crazy.

[Ben Stiller]

It's a mixed use space. They've been trying to. Yeah. And it really. The thing that really blew us away was that nobody had ever filmed anything. There'd been no movies or maybe some commercials. But, you know, that's one of the things when we're looking for locations. You want to find something that's not, you know, hasn't been in every Law and Order episode or, you know, New York. We shoot a lot. Right. So this place was undiscovered.

[Adam Scott]

And it's like in, you know, if you notice now in Atlanta, like any show that you watch, they're now using, like, Covington, Georgia. Like, it's all like. If you watch Stranger Things and then Walking Dead, you're like. I'm pretty sure that's the same high school, this place. And there's that great scene when Mrs. Selvig was driving up that long, because there's this really long, beautiful sort of drive into the Bell Labs offices. And you guys captured that so well. And there's that. What's that funny tower, Ben? That.

[Ben Stiller]

Yeah, that's the water tower there that they built in the shape of a transistor. Because I think that's. Yeah. Because that's where the transistor was developed by Bell Labs back in the day. Wow. Yeah.

[Adam Scott]

They've got to make everything shape. The water tower has to. Does it have to hold water? No, it has to look like a transition.

[Ben Stiller]

It's so interesting. And we've really made that one of the sort of iconic things in the show that we put the lumen logo on. But all of those houses, the Mussolini subdivision of houses that are built on the sides of that driveway, they built because we've been working on the show for five years. Right. And when we first scouted this place, those houses were just being built. They had just decided to do subdivision on either side of the driveway, which we erase in the show. So when you see the wide, wide scenes, Right.

[Adam Scott]

You don't see the house, you don't see them.

[Ben Stiller]

But they built them all around there as a way to, I guess, you know, create a community. And it's a. It's a very, very interesting place. And that design and architecture. It was IRO Saarinen, the architect, who designed it.

[Adam Scott]

Really?

[Ben Stiller]

Yeah. Who also did the TWA terminal at JFK and you know, these great mid century architects. So that's his design. They expanded on it in the 80s and built on the sides a little more. But those little specific sort of touches that he has on the inside are kind of what cued us for the rest of the design of the show. Because we found this as it was the first location we found.

[Adam Scott]

It's remarkable and it is. And people don't know, like there's an atrium there that's like nothing I've ever seen before. It's like these sides. And I guess when they were working in Bell Labs, all those sides were the offices. It's the least efficient use of space you could ever possibly imagine. It was just like, what if we just put like single file offices down what appears to be 3 acres and 10 stories high of just open space indoors.

[Jon Stewart]

Yeah. Just a hollowed out like three football fields that could have been offices, but instead it's just open air. It's wild.

[Adam Scott]

And I just sat about one cafeteria space in the corner.

[Jon Stewart]

That's right.

[Adam Scott]

That was the end of it.

[Ben Stiller]

And it's. And I don't think even in seeing it on screen, you don't get the size of it, the scale of it when you're there. It's so much bigger.

[Jon Stewart]

Yeah.

[Adam Scott]

But during COVID So that space became, during COVID a place where people went to kind of avoid each other but still have that feeling of being around people. And then those giant parking lots, they started showing outdoor movies and they started doing really like music or comedy shows where people would sit in their cars because it's just this vast expanse.

[Ben Stiller]

Wow. Wow. Yeah, that makes sense. And I've been there when they've had like carnivals in the parking lot and all sorts of things.

[Adam Scott]

You could do any of those parking lot. It's the craziest thing.

[Jon Stewart]

In spring of 2021 when we were shooting there and the vaccinations were just starting, people lined up all in that lobby getting vaccine.

[Ben Stiller]

In fact, I remember a couple of people from the show got vaccinated there while we were doing the show.

[Adam Scott]

I I got to tell you, if the FEMA camps come that that's where they're going to set. That's where we're all going to be re educated for whatever's coming next.

[Ben Stiller]

That is the place that will be the place.

[Adam Scott]

That'll be the place where we all go to be re educated.

[Ben Stiller]

It'll be kind of ironic, you know. Okay, let's take a quick break.

[Jon Stewart]

At Lumen, things are not always what they seem. Mark, Dylan, Helly and Irving in MDR make a great team. But what else lies beyond the four white walls of their department? There seem to be more questions than answers as the secrets of Lumen are slowly revealed.

[Ben Stiller]

There's definitely a lot more going on than you see. It's a little bit creepy.

[Jon Stewart]

I agree. There are more Q's than A's in this place.

[Ben Stiller]

Yeah, for sure.

[Jon Stewart]

But luckily your workplace doesn't have to be so dysfunctional. Thanks to Confluence by Atlassian I feel.

[Ben Stiller]

Like something like Confluence could really help those severed workers. You know, they're kind of always organizing and trying to come up with group ideas and things that need organization and back and forth and a lot of creative interaction in the workspace.

[Jon Stewart]

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[Ben Stiller]

I think any boost in productivity, especially with a group like the Severed Group, imagine how many more files they could.

[Jon Stewart]

Complete if they had Confluence Set knowledge free with Confluence. Learn [e-mail] confluence that's a T L A S S I A N Conference C O N F L U E N C E I'm Anna Garcia with True Crime News. The podcast Every crime tells a story.

[Adam Scott]

Every story demands justice.

[Ben Stiller]

True Crime News the podcast covers breaking.

[Jon Stewart]

Crimes, investigating high profile and under the radar cases. Every week we dive beyond the headlines, exploring the effects of violent crimes on.

[Ben Stiller]

Victims and search for justice.

[Jon Stewart]

We hope you join us as your.

[Ben Stiller]

Weekly source for True Crime News. Listen to and follow True Crime News, the podcast on the Free Odyssey app.

[Adam Scott]

Or wherever you get your podcasts.

[Ben Stiller]

John, what was, like, the main thing that drew you about the show? What was the thing about it that was so.

[Adam Scott]

I follow Adam Scott everywhere. So whatever he does, I jump in. Whether he's married to Reese Witherspoon or whether he's heading off into a dystopian, I. I follow.

[Jon Stewart]

You know, that's why you were so. You were such a fan of Piranha 3D, I would imagine so.

[Adam Scott]

The 3D, obviously, for me, felt a little much, but, you know, I'm always. I'm an Adam Scott fan, but I prefer you two D. I prefer you. Got it. I prefer Lego, to be honest with you.

[Jon Stewart]

Okay. Keep that in mind.

[Adam Scott]

You know, Ben, I. Anything you're in directing or any of those stuff, I watch. But what. Originally, it had such a unique style, atmosphere, tone. You know it anymore. It's so hard to find something where even the. The rhythm of it feels so fresh and so you're really invested in the world that you guys built out. And it's done so meticulously and there's touches in it that just feels so unique. It reminds me of if you. If you remember in the movie her, where everyone's pants were just a little higher and you're like, is that. It's like, is that going to mean anything? Or is that just something where, like, in the future our pants are higher? Like, so in the beginning, that's what intrigues you about the show is are these little details salient? Are they merely. Is it a bit of window dressing? But you're so invested in the intentionality that you guys infuse into the show so much intention. And obviously the execution level is so high that you're immediately like you feel. Anytime you're on a show like that, where you're watching and you're leaning in a little bit, you feel yourself just drawn into this world that feels intentional, unique, but also utterly authentic to what it is. And so that for me, just even. I mean, that the opening credit sequence, like, even that, where I'm just like sim Adam Scott in bed. Okay. I'll follow this anywhere.

[Ben Stiller]

Yeah.

[Adam Scott]

You know, so I was just thrilled to find something that had built its own unique and intentional universe.

[Ben Stiller]

Yeah. Yeah. I mean, it's funny. I kind of get drawn in by things like that, too. Even making something, it's hard to describe, and sometimes it sounds a little bit sort of really, this is like what you want to do, but like, it's, for me, sometimes it's just like living in that world. Like, I, I. And that's. The music is a really important part of it for me too.

[Adam Scott]

Yes.

[Ben Stiller]

And we, we work with Teddy Shapiro, who I've worked with since back in the day. Like dodgeball. I go all the way back.

[Adam Scott]

I knew him when he was still Shapiro, you know, before he went with the.

[Ben Stiller]

Well, I've changed my name to Styler. Ben Styler.

[Adam Scott]

A long. I, I didn't, I didn't know why I said, give me the short eye, don't give me the long.

[Jon Stewart]

Yes.

[Ben Stiller]

Then he, then he moved out to LA and got affected. But what I was saying is this, like, for me, I get drawn in when working on something to wanting to, like, live in that world, you know, and like, as we're editing and putting it together, the feeling, the visuals, the sound and all that. And it is, it's something that has really, it has to do with the story and all that too. But there's just something about being in that world that you hopefully have created with all these different elements of the collaboration of everybody who works on it.

[Adam Scott]

I'm also curious, Ben and Adam. I don't know if you feel this way when you're making those kinds of acting choices, but, you know, on television, especially something like the Daily show, it's very ephemeral. And you sort of, you go on one day and you'll know immediately kind of what the response is and all that. Sort of like egg salad. You make it, and three days later, no matter how good it was, it's already gone. But you're ensconced in this world for so long and like you were saying, like five years.

[Jon Stewart]

Yeah.

[Adam Scott]

And you're making really strong creative choices.

[Jon Stewart]

Yeah.

[Adam Scott]

How scary is it to do that for so long without any sense of sort of, like, how do you know when you've gone down a rabbit hole that's going to bear fruit? How do you know when you've made. Cause now you're making choices that build upon other choices and it kind of, it goes out in these sort of concentric circles and unveiling. That must be terrifying.

[Jon Stewart]

Yes.

[Adam Scott]

I would think, yes.

[Jon Stewart]

Adam, do you want to go 100% sure? I mean, first of all, I totally agree, John. When you're watching something that feels like it has been wholly considered, like everything has been, it's comforting. It's something I appreciate. And honestly, as a fan, something I've always appreciated about what Ben does, whether it's Tropic Thunder or escape at Dannemora. You feel like every detail you are looking at on that screen has been mulled over and figured out and considered. Right. You are in very good hands.

[Adam Scott]

Right?

[Jon Stewart]

Yeah.

[Adam Scott]

Yeah.

[Jon Stewart]

I. As a viewer, that's all I'm looking for. Like, that is it. So to be in that world. And it was the same with Walter Mitty, too, where you are, everything is there and ready. So you can trust completely in the world and in your director and what Ben's doing. But, yeah, that was. I think it hit me later than it hit Ben. But at a certain point, when it was time for the season one to come out, yeah, it was terrifying. And for me, it was when the billboards went up and I saw my face huge around town. And that was the first time I had. I had experienced that. That's when I freaked out, because it's just like, we really took a big swing here. Yeah, we really like it.

[Adam Scott]

The top of your head is gone.

[Jon Stewart]

Yeah, but, like, our people say, like.

[Adam Scott]

I like this Adam Scott fella, but. But not crazy about his whole head.

[Jon Stewart]

We gotta take. Give me the top pass.

[Adam Scott]

Scott's head.

[Jon Stewart]

That's right.

[Ben Stiller]

That was the one where we go. That's the one. That's the one.

[Jon Stewart]

It was just like. Are people just gonna make fun of. Like, is this silly? You had the same kind of moment too, right?

[Ben Stiller]

Well, for me, it's yes, for sure. But what happens is I go into sort of. When I'm working on something, it's different because I'm not. It's not like what you're doing on television, where you're getting immediate feedback. You just make a commitment. If you're making a movie, it's the same thing. You make a commitment to it and you go and you work on it, and then you show your first cut eventually, and that's when you're like, oh, shit, I hope this works. And you try. But on this thing, it's different because it's, you know, nine. Nine or 10 episodes. So it's a much longer period of time. And we were doing it during COVID the first season, and it was literally in a bubble. You know, the whole thing was so insulated, and it was a great creative experience that for me, I kind of, like, fool myself somehow. When I'm working on something, I'm just in it. Like, when I do a take in a movie, I'm like, well, maybe it won't be that take. Maybe it'll be the other take, so I don't have to worry about that. Now. And so that frees me up, I guess, just to try stuff. It wasn't until we finished the last cut of the last episode. I remember one night being at home. Cause I was editing remotely with Jeff Richmond, our editor. And we finished. And I remember just having this thought of, like, oh, wait a minute. Like, we've been doing this thing for, like, two years. I think it's good. I like it. I really like it. But like, this thing could totally just fail. It could just be like. Or nobody could watch it, or people could think it's not. It doesn't work. And that. But that. I kind of, like, put that off until I have to think about it. And then it is incredibly. Yeah. This moment in time right now when we're about to release the new season. Adam and I commiserate on it all the time. It's that feeling of like, oh, shit, I hope.

[Adam Scott]

Right?

[Ben Stiller]

You know, and it's different the second time around, because the first time we had our. You had no expectations, just. It was like, I hope we're not embarrassed. You know what I mean? It's like, I hope people.

[Adam Scott]

Because it's so novel. I mean, part of it is, you know, sometimes when you're creating something, you have all these analogs. I mean, I don't know if you. You know, whenever I'm in a position to be able to build out a world, you're always sort of. You've got your Pinterest board of all the different influences and things, and you're pulling them from. From different places. But what you guys had made was so novel that it's really hard to find analogs. You can find inspirations, but, you know, if you're thinking about that, you know, everything in. In television and film and all that is sort of boiled down to that. It's like Gone with the Wind, with the Muppets. You know, you're always trying to tie those two things together. Together. This had such a. There was such oxygen in it, such inspiration, such different things that it's hard to find that I imagine for you guys as a comfort. Hard to be like, well, it'll be like this. Yeah.

[Ben Stiller]

Yeah. I mean, it's funny. We made the first three episodes, and I. I directed the first three in the last three. And I remember thinking after I made the first three, okay, I think these are good. I like these. And then I was like, oh, no. But the last three. I don't know if the last three are going to live up to the first three, because I didn't have as much prep time. And it got more. You know, it's tougher as you go along, you're shooting.

[Adam Scott]

Right.

[Ben Stiller]

And then it was kind of like people. A lot of people had this opposite reaction. Like, oh, I think it starts out kind of people. Some people are like, it starts out kind of slow, and then. Then I. You get into it. But I was thinking the opposite. Like, oh, I thought, like, we nailed it in the first few episodes. I hope they'll. And especially because the last episode, which we're talking about today, we shot the whole show like a movie where you'd go to, like, one location and shoot scenes from episode three, six, and nine at Devin Ricken's house, you know.

[Adam Scott]

Yeah.

[Ben Stiller]

And then we're gonna go to Lulu.

[Adam Scott]

And that's hard for the actors, too, I would imagine, because they're at different levels of investment in their characters. I imagine that's difficult.

[Ben Stiller]

Yeah. And it's tough also, just in terms of when you're thinking of a whole season, because I never really. I did that with Escape at Dannemora, I guess. But this was like. I don't know, it was bigger. And when we got to Devin and Rickon's house to shoot, which is one of the first places we shot for the season, we shot all the scenes from episode one and whatever other episodes were there. And then we had to go and shoot the scenes for episode nine there. And this was, like, a month into the shoot.

[Adam Scott]

Wow.

[Ben Stiller]

Or something like that. And all of a sudden, Adam is doing, you know, his she's alive moment. It was, like, so out of context.

[Adam Scott]

Wow.

[Ben Stiller]

And I remember the whole. And the way it was for episode nine was we would have to catch scenes for this episode every time we were. Like, when we were at Lumen when you came, you know, we would just catch scenes. We sometimes would go back and reshoot too. But overall, we were piecing this episode together piecemeal over the course of, like, nine months. So every once in a while, I'd check in with Jeff, our editor, and say, like, how's nine coming along? It's like, well, we have this piece and that piece. And I remember being very insecure about 9, thinking. Because also, I'd always imagined it, it's gonna be totally different visually than the rest of the show because the show is very. Everything's kind of very set and ordered. Not a lot of handheld, if any, unless there's a specific thing. But for episode nine, we're like, we're gonna use Steadicam the whole time. And it's gonna be flowing because we wanna be in the point of view of these characters. And so that felt weird every time we'd pull out the Steadicam to shoot, because I'm like, it should be in their point of view the whole time, but you can't be in their point of view the whole time. Cause then you'll never see them. So how do you do that? And so I was constantly feeling like I hadn't quite figured it out and was just sort of, like, doing whatever we could to try to tell the story. Making this choice. We knew that it was going to be very subjective.

[Adam Scott]

And, yeah, I remember doing that. The choices that you made that early on. Because what I love about nine is that it's different from, you know, so much of it is kind of not an office comedy, but. But that sense of. You have this sense of place and you can have a distance from it, you know, and. But those party scenes are so claustrophobic and suspenseful and almost Hitchcockian. But to make that choice so far in advance. And even Adam, for you, the acting is so different. That sense of when you come out and you say, how's our baby? Like, it's such a great. Like, I don't know where the fuck I am.

[Jon Stewart]

Right.

[Adam Scott]

But. But clearly I have a baby.

[Jon Stewart]

Right?

[Adam Scott]

Like, yeah, it's such. And the speed at which you have to come up to knowledge as you're any is taking it in. Like, the idea that you guys did that week one blows my mind.

[Jon Stewart]

I remember doing quite a bit of experimentation at those party scenes. Like, remember that rig? I almost was going to wear for some of it, but it just ended up being too cumbersome.

[Ben Stiller]

Yeah. We had this sort of helmet cam type thing we used in, I think in the first episode for Heli's point of view when she's trying to get out the emergency exit. That's right. Where, like, the helmet would have a camera on it so you could actually see your hands and everything.

[Jon Stewart]

That's right.

[Adam Scott]

Oh, wow.

[Ben Stiller]

And we tried GoPro. Yeah. Yeah. And so the person's walking around like, kind of like a camera, you know, robot or something. And that didn't work. And it was. I remember. That's what I'm saying. Like, I remember us sort of improvising and going, okay, let's just do. We'll do, like, handheld here. We'll do Steadicam here. And I mean, talking about that. That part of the episode. Um, I agree. Adam is like, having to. Every second, he's having to kind of take in this.

[Adam Scott]

He's recalibrating his relationships.

[Ben Stiller]

Yeah. And I remember just we'd have that discussion for every scene. Like, even when you. You know, when you first see Rickon reading, and then you go outside with him, and we realize, oh, wait, you've never been outside before. But are we gonna play that or not? No.

[Jon Stewart]

Well, I remember. I remember trying a take where I was, like, reacting to the scene, and it was like, we can't. Like, we just have to stay on this one track because it became about, like, six things, and it was just too much. And it was also about, like, reacting to the surroundings, but he also can't be found out until he says the wrong name to Cobel, so it can't be.

[Adam Scott]

But even that. What a great throwaway, though. Like, everything else is so intentional with your character, Right?

[Jon Stewart]

Yeah.

[Adam Scott]

And then all of a sudden, you're just like, all right, Ms. Gobell. And that's why I was just like, what?

[Jon Stewart]

No. Why did you. He doesn't know her by any other name, so just assumes that suit. But I feel like I've said this on the podcast already a couple of times, but that was the moment where, when we were shooting it, I went to Ben and Patricia and just kind of thought out loud about if the architecture has gotten us to the right place. This moment is gonna be the moment where things start to fall. This is gonna be so fun for the audience when I call her Cobell. And not knowing the percentage of whether they'll be with us or not, but knowing, like, this will be so much fun.

[Adam Scott]

Right? And it's such an estimation of where the investment is. But it all delivered on that investment. I mean, that whole episode is such a wonderful delivery on all the investment that the audience had put in as a member of that audience. It really was such a satisfying ride. Even Turturro being like, car.

[Jon Stewart]

Yeah, that's so fun to watch. Oh, my God.

[Adam Scott]

Like, all that was just. You're just like, oh, this is so awesome to watch. The Innies just try and figure this shit out.

[Ben Stiller]

Yeah. Yeah. I also always look forward to the meeting of Mark and Rickon, eni, Mark and Rickon, because this, you know, idea that Mark on the outside really doesn't like Rick, and Mark on the inside idolizes him. I just loved that juxtaposition. I thought that was such a really smart idea by Dan as a storyline. And so looking forward to this meeting that finally, any Mark will meet Rickon. And how will Rickon, not knowing it's any Mark, react to this? Version of Mark that likes him. And so that scene for me, and also, I just. I'm a Michael Chernis fan who plays Rickon. There's so much humor in what he's doing. Yeah.

[Adam Scott]

I mean, to me, the best part of the entire scene, honestly, is that his Man Friday's name is Balf.

[Jon Stewart]

Oh, I know.

[Adam Scott]

That's not even a name.

[Jon Stewart]

I wrote Balf down this morning while watching the episode. It's my favorite too.

[Ben Stiller]

Yeah. Oh, man.

[Adam Scott]

The name Balf is just. Is that like. Was it Ralph? And then he just.

[Ben Stiller]

It's B.

[Adam Scott]

Okay.

[Ben Stiller]

But that's a Dan. Dan Erickson. And names is just. It's just a thing. He's.

[Jon Stewart]

He's great.

[Ben Stiller]

I mean, also, he says, prepare the netty pot because his throat. He just like does this thing after he's finished his reading that it's taken a lot out of him and he has to regroup. But then he's outside and then he confides in. In Mark that he's, you know, insecure about it. You know, I'm like, so sad. Hamburger waiter.

[Jon Stewart]

That's the interesting. Really interesting is that suddenly we see that Rickon is self aware and aware of his relationship with Mark and where it is and how he sees him.

[Adam Scott]

Right.

[Ben Stiller]

Yeah. So that. I think you're right, though, that it was the writing of this episode that brings together all these threads that makes it satisfying. I mean, honestly. Cause when I watch it, I just watch. Watched it last night and I was like, all right. It flows and it works and it builds. And there are places where it builds to crescendos and then kind of resets and then builds again, tension wise. But really what I think is the thing about the episode that people like is that it's bringing together all these stories. You know what I mean? If you looked at it, if you said to somebody, hey, this is a great episode of tv, watch this out of context. It would really be like, okay, there's a guy driving, there's a guy talking, you know. But I think what it is for the fans of the show, it seems, is that it's very satisfying to see all these things come together. And of course, what Mark learns, what any Mark learns. And again, when we were shooting it, it was a little bit of a shot in the dark in terms of how much we could actually get away with in terms of stopping the tension or slowing down to have the scene with Devin where you have to talk about who you are, where she's telling you who you are.

[Adam Scott]

Sure. And you're also editing it together before you have a sense of what the audience's investment will ultimately be. In other words, television in sort of the sense that it happened before streaming. Like when you think about Seinfeld or those kinds of episodes, it's all sort of happening in real time. And so you're getting a sense of, you know, it's how Urkel becomes the centerpiece of family Matter. Like you're understanding what the audience is responding to and you're adjusting not necessarily in deference to that, but accordingly to what people are responding to. You did that in a vacuum and did it like.

[Ben Stiller]

Yeah, and I mean, there's not, believe.

[Adam Scott]

Me, it's not perfect. I do have some bones to pick.

[Ben Stiller]

Okay, let's take a quick reflection break and when we come back, we'll get John's notes on the rest of the season. Severing from your work self for your life self is scary. But you know what's even more frightening? Getting severed from your parents insurance policy. State Farm wants to help. State Farm serves you, not Kier. Your agent is here to help support you when it's time to get your own policy. With so much to learn about insurance, you may start asking what do they actually do there? But when you work with a State Farm agent to get off your parents policy, someone is there to help explain the insurance process and help you choose what fits for you. And if things get complicated, State Farm gives you lots of ways to get help too. Whether you prefer in person, over the phone, on statefarm.com or through the app, it's your policy. So State Farm has options for the you are. It's time to get off your parents insurance and into your own. Find out how State Farm can [e-mail] severance that's statefarm.com severance to get started like a good neighbor. State Farm is there.

[Jon Stewart]

Okay, we're back. And John, do you have some notes for us for season one?

[Adam Scott]

I mean, it's not really the. These are not foundational necessarily. It's really just one note and it's really not the whole season. It's really, it's focused more on episode nine. And the whole season is so considered in each character when it comes to giving the innies time. Why would you pick the character with the shortest wingspan?

[Jon Stewart]

That's a great question.

[Adam Scott]

You got Turturro there who's lanky as hell. I mean, he's got, he's a half pterodactyl. Yeah, he could have stood there like wembenyama dunking, you know, and you're in the meeting and you say, let me. Let me grab the guy clearly is going to have the hardest time bridging this gap.

[Jon Stewart]

100%.

[Adam Scott]

Poor Dylan.

[Jon Stewart]

100%.

[Adam Scott]

Dylan is the only. It's the only note. And listen, I do have a substack dedicated to this. I appreciate it if you guys would at least subscribe.

[Ben Stiller]

Honestly, I never even thought about that other than Dylan was so. He really wanted to do it. He really felt like he was the man.

[Jon Stewart]

He's super confident.

[Ben Stiller]

And I'll tell you something, when we designed that set, we literally had Zach Cherry go into that room, you know, to stretch his arms out so we could get the exact length for his arms.

[Adam Scott]

Wow, that's so smart.

[Ben Stiller]

Because he had to. He had to do that.

[Adam Scott]

And I love that they were at disparate heights. You know, you would almost think, like, when someone goes in there to build those switches, that they would have that there'd be a sort of symmetry to it. But the idea that he had to go one up and then one down, I was just like, that's so fucking perfect.

[Jon Stewart]

It looks painful. I mean, painful. Horrible.

[Ben Stiller]

Yeah. Jeff Mann, who is a production designer who came on for the later part of the season, came in, and he's a guy I've worked with over the years a lot, and he. That was his brainchild, and he just really got that full kind of weird, retro, 80s ish vibe in that room, too.

[Jon Stewart]

Ben, you're saying Jeff Mann kind of design the control room. Was there any Star Trek influence in the. In the control room?

[Ben Stiller]

Well, I mean, there's no, like, literal Star Trek influence, but for me, I think everything comes back to Star Trek. It's like, weirdly just like, it's such a huge thing in my life that I'm so obsessed with the original series.

[Adam Scott]

Yeah.

[Ben Stiller]

And so even when we were making the hallways, and, you know, I'm such a Trekkie, I have like, you know, the plans of what they had on Stage nine at Paramount, where they had the bridge and the hallway and sickbay and all of it, you know, like, that's awesome. Fascinating to me how they. There was only just one little hallway section. So Jeremy Hindle, our production designer, and I talked about that a lot when we were creating all the hallways, saying, okay, we're have to reuse these a lot and we'll have to figure out ways to do that. And so anyway, yeah, the room was really Jeff coming in, and he had a real sense for that. And I Think we wanted to make sure that the monitors were CRT monitors. And we don't know. We just don't know what. What this room is really about.

[Adam Scott]

We know it's the dichotomy of, you know, it's such a futuristic technology and sort of this dystopian. And then you go into that control room, and you're like, is this where Alan Turing did the code breaking? Like, there is a certain 1940s, 1950s kind of switchboard vibe. Like, yeah. Oh, I'll just take out this one fuse and put it over here and flip that down. You're just like, that's. Wait, in the future, they've gone, you know, analog.

[Jon Stewart]

Yeah. And being in there, every little switch and button did feel. It felt like we were walking into, like, 1973 or something. And also, all those books we would pull out and flip through, those were completely just filled with specific instructions and procedures and stuff.

[Ben Stiller]

There actually was a real procedure that he did. All of those steps were real in terms of, like, the, you know, what he had to do.

[Adam Scott]

Oh, those aren't, like. Those books aren't Lorem Ipsum. Like, no, no, because Latin nonsense.

[Ben Stiller]

They're not. Because we also know, even with the trailer that's out for season two now, right. People freeze the frame, like, on the. There's, like, a newspaper in the trailer, and they freeze frame, and they read, like, all the. What's written there. So we knew that the handbooks and all that. Stu. I didn't know that it would happen, but I assumed it might happen if people liked the show. And Cat Miller, our props person, would work with Dan Erickson to make sure that all of the writing in every page of anything you read is real. So. Yeah, and we wanted to also give Zach something to actually do, because when you're shooting something like that, it's like, you have to get all the little pieces. Right? So if you have an actual series of things that he has to do, it makes it easier to shoot it also, because you know that you're covering each bit of action.

[Adam Scott]

Right.

[Ben Stiller]

And so we did that with him. And then I would be lying, though, if I said that I did. Not many times over the course of making the show. As we were getting ready to put it out in the world, I was nervous that people would buy that whole thing, honestly.

[Adam Scott]

Oh, you buy it 1,000%.

[Ben Stiller]

I know, but I was really like, the things you're saying about, hey, it looks like it could be Alan Turing or that. On the flip side, if somebody didn't Buy the show. Be like, what the hell it looks like, you know?

[Adam Scott]

Right. That's what makes it so great.

[Ben Stiller]

So that's what was a relief when people were bought into the reality of the show, that when they get to this crazy control room, that it really. They believe.

[Adam Scott]

Listen, we buy into the whole, like, I still don't understand what they do.

[Ben Stiller]

Right.

[Adam Scott]

What, cleaning. I don't know what any of this is.

[Ben Stiller]

Right. And that's important.

[Adam Scott]

You're still invested in it.

[Ben Stiller]

Yeah. And that's important because we also, you know, want the audience to feel that even though you don't know what this stuff is about, there's a reason for it and it's going somewhere. I mean, that's the sort of the bigger picture of what is it all about, right?

[Jon Stewart]

Yeah. Yeah, totally. So this is really interesting because in this next scene, we get to see Helly's Audi sort of in her natural environment. She's in a formal dress. She has an updo. She's talking to Natalie, the woman who's been the liaison between Cobell and the board all along. And it quickly becomes clear that Heli is at the Lumen gala. And actually, not only is she at the gala, she is actually Helena Egan. And the gala is dedicated to her contributions to the technology of severance.

[Ben Stiller]

What was your impression on the set when you came and visited?

[Adam Scott]

I was there. So in that scene, when Heliar comes in and she's sort of walking through the gallery of her severed story, it's so overwhelming because it's practical. You know, so many times you go into those sets and they are. I don't want to say shortcuts, but they don't have to create the fullness of experience. So when I walked in and I saw the severance story for Heliar, and it's all laid out across and it's. It's vast. I mean, it's not. A lot of times you walk on a set too, and you'll be like, I had no idea that the set of the Price is Right is so tiny, like. Or. Oh, that wheel. It looked gigantic. It's. It's like a. So I was impressed by the scale. And then even like that little. The scene where the one I was watching was when Patricia first interrupts Heliar and as she's about to walk out.

[Jon Stewart]

Oh, yeah, let's. Let's take a listen to that scene.

[Adam Scott]

Is it you?

[Ben Stiller]

What are you talking about? It is you, isn't it? I'm gonna kill your company. Your company. Who the hell do you think you are?

[Adam Scott]

No.

[Ben Stiller]

Your friends are gonna suffer. Mark will suffer.

[Adam Scott]

You'll be long gone.

[Ben Stiller]

But we will keep them alive in pain.

[Adam Scott]

Your arm decided that we could do better. He may never have seen us. She's walking out and she does that one look back, and you're just like, what a great moment of, like, she's about to burn this fucking place down. And she just does this quick look back, like, okay, I guess we're good. Just like, boom. It just. So I was really excited when I walked around it because of the feel of. It was so evocative as you're walking it.

[Ben Stiller]

Yeah, those cubes were really cool. And that was also Jeff Mann. I think he was inspired by some. There was like, some Expo in Montreal in the late 60s where he showed me these pictures of, like, black and white photography that was lit up on cubes. And so that was his inspiration for that.

[Adam Scott]

Oh, yeah. You know, I didn't even think of that. But now that you. You said it does. It's got that, like, 60s the world of the Future presentation. It's got, like a real Expo vibe to it.

[Ben Stiller]

Yeah. And also those pictures. We haven't talked about this, but the black and white pictures that Milchick has been taking all season. So if you remember in episode two, right, when she's getting the severance procedure, Milchick takes a picture of her in the operating room, and you see that on one of the cubes. So the idea was every time we'd shoot one of those scenes across the season, we would shoot the shots with our still photographers, who are amazing. And then Jeff Mann, who was doing production design at this point on the show, created these cubes and it really had this feeling. Yeah, like you were saying, John, of this sort of World of Tomorrow.

[Adam Scott]

Yeah, yeah.

[Ben Stiller]

And, yeah, it was fun to also figure out how to tell that story and how Helly would basically come to the realization in that moment when she sees heli. A severed story, that, oh, my God, this is what her whole life has been.

[Adam Scott]

Right.

[Jon Stewart]

Yeah. And sort of the crass commercialization of her entire life so far. And that she's just this prop.

[Ben Stiller]

Yeah, essentially. And that Jon Stewart was at the gala, walking around in the back.

[Adam Scott]

I was just walking around. I was checking out the Expo, trying to see if that was something I want. I was interested in trying this severance experience. I thought it was interesting when her father was talking to her. You know, you have this relationship between the Innies and the Audis and the people that are experiencing it. But the way that he spoke of her innie as a separate entity that had nothing to do with her. You know, I think he was talking about when that woman tried to hurt you, you know, when you're talking about the suicide attempt.

[Ben Stiller]

Yeah. Oh, you know what? I would like to listen to that scene. She's in here, sir. Hell no. You look so nice.

[Jon Stewart]

Like a film.

[Adam Scott]

Thank you.

[Ben Stiller]

Are you. Are you still in? No, not anymore. I cried in my bed when they told me what she tried to do to you. What that innie tried to do.

[Jon Stewart]

I.

[Ben Stiller]

Thank you for going through with it. The grandfather would cherish what you've done. And one. One day you will sit with me at my revolving.

[Adam Scott]

I thought that was such an interesting way for him to relate to this technology that I'm assuming he has a hand in, you know, that he has such disdain.

[Jon Stewart]

Yeah.

[Adam Scott]

For this creature.

[Ben Stiller]

Yeah. I mean, definitely. You get the sense that the Innies are looked on as less than human.

[Adam Scott]

Right, right.

[Ben Stiller]

You know, they're looked on as these creations, and yet he's created them. You're right. So.

[Adam Scott]

That's right. I was so like, huh?

[Ben Stiller]

Yeah. And so like, what is this guy up to? What is that about? And I think that in this bathroom scene there's this sort of connection he's having with her. You can see he's obviously a strange guy, but he has this sort of real connection with Heli, who he would think is Helena, but is Helly. And I think that's something that's there and interesting because, you know, you don't know what kind of relationship he has with his daughter. You get the sense it's not a very. I mean, the fact that his daughter's in the. In the ladies room and the assistant opens the door and says, she's in here. And he just comes in.

[Adam Scott]

Right. In the ladies room.

[Ben Stiller]

Yeah, why not?

[Adam Scott]

I'm just excited to find out if we are going to see him at his revolving.

[Jon Stewart]

When he goes.

[Adam Scott]

When he goes, well, you'll be there at my revolving. And I'm like, what is this now? Wait, what?

[Ben Stiller]

John, I hope you'll come to my revolving when I haven't.

[Adam Scott]

I'm going to come to all of your revolvings. I really, you know, a life well lived is one with a fully attended revolving. That's what I'm talking about. Those little moments of where you really do lay out the. It's the absurdity of our rituals. The absurdity sometimes of. Of how we go through these performances at different points in our careers and our lives.

[Jon Stewart]

Yeah.

[Adam Scott]

That are meant to be infused with all this meaning. And when you really strip them away, you're like, oh, yeah, it's a revolving.

[Jon Stewart]

It's a revolving. To someone else, it's just a revolving.

[Adam Scott]

Yeah, it's a revolving.

[Jon Stewart]

Yeah.

[Ben Stiller]

Well, to me, that's like, the basic idea of the show that I always was drawn to is that you meet these people and it is kind of like a workplace, kind of workaday comedy vibe in the beginning of the banter and everything. But these people don't know who they are, what they're doing, why they're there. That's kind of a metaphor for life, you know, no question. And I think that, to me, is always what's sort of resonated.

[Jon Stewart]

Also, we should take note of how great Britt is in these scenes. And with her father coming in the bathroom and seeing Helly, just trying to fucking figure out what's going. Who this guy is, first of all, and what the fuck he's talking about. Just everything.

[Adam Scott]

She's just doing stellar work that you guys do in episode nine is just beautifully rendered with how small those little realizations have to be. You're basically undercover spies that are working this party as agents and watching you negotiate that and figuring out who to trust. But the different relationships, how to be reserved but still carry on. That kind of human bargain we make in terms of conversation of the right nonverbal agreement.

[Ben Stiller]

And also, Turturro in the episode, he doesn't have a single line except for Bert at the end. So the whole episode is just John Turturro.

[Adam Scott]

You know, that was a heartbreaking one, to be honest. Like the Turturro arc in that heli r is surrounded by community. Mark, as cut off as he is after his wife's death, is surrounded by community. John has a dog. Yeah. It's nice, but he's alone.

[Jon Stewart]

Yeah.

[Adam Scott]

And he's got a box of memories and a dog and a love that he can't have. And you just. It just, like. It just breaks your heart. And then to know that his love is so fun to imitate.

[Jon Stewart]

Worldwide.

[Adam Scott]

Worldwide. But how many times on set you. Mark, how can you not do the Christopher walk? But. But that really, to me was so stark, is to see his light and his paintings are dark. And that. Like that hallway where you see the light and you just felt, like, so badly for his loneliness.

[Ben Stiller]

Yeah, yeah. And he has such an inner life as an actor. It's just. You just put the camera on his face and there's so much depth there. You Know.

[Adam Scott]

Yeah.

[Jon Stewart]

John is unbelievable. And watching John figure out how to.

[Adam Scott]

Drive the car, it's the best.

[Ben Stiller]

It's the best.

[Adam Scott]

Even the power windows, at one point, I think he figured out, like, the power windows.

[Ben Stiller]

And it's also the question of, like, what does a severed person know intuitively? Right. He obviously has some intuitive muscle memory of doing this because he's driven. Yeah.

[Adam Scott]

Has driven. Yeah.

[Ben Stiller]

Yeah. And. And that's always an interesting question for the actors, I think, in every scene is that they get to choose sort of, like, how much comes through or how much doesn't. Sometimes it's more in the forefront.

[Jon Stewart]

Yeah. And, you know, it's really interesting because we talked to John Turturro about this when we had him on for the last episode, but we didn't want to spoil 109 at that time. So why don't we listen to that right now?

[Ben Stiller]

When you finally come to consciousness in Irving's apartment and you find that trunk.

[D]

Right, right.

[Ben Stiller]

And we find all of this information that Irving has been amassing, and we find some little clues to Irving's past somehow. And one of the things we see is a photograph. Do you want to talk about that?

[D]

That's the photograph of my father.

[Ben Stiller]

It's the father of your father? Yeah.

[D]

Right. Yeah. In the Navy. And I brought his, actually uniform from World War II to the set. That's the first time and the only time I will use that.

[Ben Stiller]

I mean, I thought that was so special that you did that. And that moment of, okay, what does this mean? What is this history? Who is that person? It's probably Irving's father. That it's actually your father just kind of adds another layer to it. And where we leave Irving at the end of episode nine is it's such a big part of the end of the season, besides the cliffhanger that Adam has of, you know, what he says is you pounding on that door.

[D]

I think it's kind of symbolic of the whole show. Everybody's sort of pounding on that door. You know, everyone's in this raw state, you know, in a way. And so you are connected to the other people at the same time. We're all going through that in different ways. I mean, Dylan is allowing us, you know, to do that. And so it was just an interesting challenge, I think, for all of us as actors to be embodying this other part of ourselves, you know, and not knowing exactly how to do that, like, drive a car, you know, find a place.

[Ben Stiller]

Look at that. You had to drive a car instinctually, and you had to figure it out, right?

[D]

Yeah, you came in good direction. You were like, just try that. You know, and. And that was kind of fun, you know, in a way, it was great.

[Ben Stiller]

To watch you do that. And then that raw emotion at the end. I mean, anybody who has ever felt anything in their life for a real love for somebody else and the pain of a relationship that doesn't go well, who's ever been there, knows what that is. And you just. You did that and you did it out of context. Shooting it was not easy because we shoot the show so out of order and in such bits and pieces. You just had to show up one night and do that. Totally disconnected from the rest of that episode.

[D]

Yeah, well, that's, you know, sometimes it's piecemeal work. That's why it's good when you've thought through the whole thing, you know, before, you know, and you have someone helping guide you there.

[Ben Stiller]

But should we go back at the very end? Just quickly, the very end. Is Dylan there? You know, as Milchick is trying to. And you were talking about, like, the perks that Milchick is offering him as he's trying to get into the security room. Should we play that maybe just to play one bit of that?

[Adam Scott]

Sure.

[Ben Stiller]

I bet the tempers were disappointed. I can still get you back in there. I can get you any perk you want. Dylan. Hey, there's stuff you don't even know about. There's paintball, there's coffee cozies. Dylan, come on. Just say the word and I'll get you a coffee cozy, literally right now. Dylan, come on, man.

[Adam Scott]

I want to remember my fucking kid being bored.

[Ben Stiller]

You have two others. I can tell you about them. Just open the door and I'll tell you their names. Come on. Dylan. Dylan.

[Jon Stewart]

That's so fucked up.

[Adam Scott]

It again speaks to Imagine. You think you're dealing with idiots. You think you're dealing with idiot children that a coffee cozy would be enough. This person has risked everything to open up the floodgates, to open up the innie. And he's like, I got a coffee cozy. He's like, I want to know my fucking children.

[Jon Stewart]

Yeah.

[Adam Scott]

And he didn't know what I almost thought there was going to be. He was going to be like, I can get your children coffee cozies like that. He wasn't going to understand. But you realize, oh, Milchick understands. He just thinks the enies aren't capable of that level of emotional life.

[Jon Stewart]

Yeah.

[Ben Stiller]

I think also the coffee cozies probably worked and would have Worked before he had seen his kid in real life.

[Adam Scott]

Right.

[Ben Stiller]

And then he's been right, yeah.

[Jon Stewart]

Milchick letting him see his kid or getting him in a situation where he could potentially meet his kid is an irreversible up. And the thing really is kind of that when each of the MDR people, all four of them, kind of get exposed to love and affection of some sort, that is when they all kind of start turning a little bit. When they get a taste of this human experience, that's when they start pulling away from Lumen in one way or another.

[Adam Scott]

And I hate to say this, but there are times at the Daily show when we reward the staff similarly to how Milchick does, and that we have had waffle parties for the staff. And when I. Dancing, well, I can't tell you how. When I saw that, my heart sank. I thought, well, geez, we got that waffle. There's that, like. I don't know if you guys have ever seen it. It's like Dingles and waffles truck.

[Ben Stiller]

Yes.

[Jon Stewart]

Right.

[Adam Scott]

You know, after, like, a particularly long run, we'll bring in the dingles and waffle trucks.

[Jon Stewart]

Sure.

[Adam Scott]

And then as I'm watching, you know, Milchick promising, like, I can get you all the waffles you need, I'm like, oh, dear God, am I Milchick? Is that what this is?

[Jon Stewart]

If you think we didn't get the waffle truck brought over to the Severn Set, you would be wrong.

[Adam Scott]

The day I was there, Ben had gotten you guys ice cream.

[Ben Stiller]

That's right. We went and got some ice cream.

[Adam Scott]

There was an ice cream truck. I got to partake in the ice. I got the reward. You got the reward of ever having to go through the trials and tribulations.

[Ben Stiller]

Yeah. Yeah. What did you feel when Adam at the end says, she's alive and that moment happened?

[Adam Scott]

I mean, it's just hard. It's heartbreaking because it all, like. It's one thing to want to struggle to figure out what's happening, but then to think that involved in that is the greatest betrayal that a human could maybe undergo. It's one thing to think, like, hey, these guys are fucking with us. Like, waffle party. That's not so great. I don't like how that moves it from dystopian experiment to true malevolence, like, true evil. Now. Now you're like, oh, this is. This is an evil that's beyond something we can even comprehend.

[Jon Stewart]

Yeah. Because we've seen Mark kind of gradually become disillusioned with the company. But I think that he figured he had hit the ceiling of the depravity of this place when he decided when they all did the overtime contingency and came out there stumbling across this photo. I don't think the furthest reaches of his imagination ever imagined that someone could do something this horrifying or a company could do something this terrible.

[Adam Scott]

You know what struck me? And I don't know if you guys have.

[Jon Stewart]

Have.

[Adam Scott]

If this is in the lore or however you do it, but it was the first time that I thought, oh, Lumen is setting people up for severance because your. His wife dying is the event that drove him to sever. So now you're thinking, oh, wait, are they conducting experiments and doing shit to people to drive them to sever? Like, is that also being manipulated? Come on, tell.

[Ben Stiller]

No, no.

[Adam Scott]

These are not rhetorical questions. You answer me.

[Ben Stiller]

We're not on your show, John. We don't have to.

[Jon Stewart]

That's right. This is our show, bro.

[Adam Scott]

Tracy said all she said to me. I said I was doing this today. Tracy, my wife, she goes, I want every episode, and I want it in bulk. I want to binge it. I don't want to sit through week to week. You will get those episodes, and you will get them in full.

[Ben Stiller]

John, this has been so much fun. Thank you for doing this.

[Jon Stewart]

Yeah, thanks, man.

[Adam Scott]

Guys, it's my. My absolute pleasure.

[Ben Stiller]

I know we're friends and everything, but I continue to be impressed and just sort of grateful for. For what you do.

[Adam Scott]

Thank you, friend. Much, much appreciated. And I can't wait to. To do this again. Season two brothers.

[Ben Stiller]

Definitely.

[Jon Stewart]

Truly an honor.

[Ben Stiller]

Bye, John.

[Jon Stewart]

All right, take it easy.

[Ben Stiller]

All right. All right, well, that's it for season one of the podcast.

[Jon Stewart]

Wow.

[Ben Stiller]

Congratulations.

[Jon Stewart]

Yeah, congrats.

[Ben Stiller]

And if you're listening to this on the day it dropped, the premiere of season two is tomorrow. Tomorrow, January 17th on Apple TV.

[Jon Stewart]

Plus, holy cow, it's finally here.

[Ben Stiller]

Yes. It's just. I mean, it seemed like it never would come.

[Jon Stewart]

Yeah. And we're dropping a new podcast episode about the premiere right after it airs. And we'll continue to drop new podcast episodes every week with some incredible new guests.

[Ben Stiller]

That's right. They come out right after the show, so you can listen right away. And I. I just want to thank all the guests who joined us for the recap of season one, and thank everybody for listening.

[Jon Stewart]

Yeah.

[Ben Stiller]

And I hope you guys enjoy season two.

[Jon Stewart]

The Severance Podcast with Ben Stiller and Adam Scott is a presentation of Odyssey, Pineapple Street Studios, Red Hour Productions, and Great Scott Productions.

[Ben Stiller]

If you like the show, be sure to rate and review this podcast on Apple Podcasts, the Odyssey app or your other podcast platform of choice. Our executive producers are Bari Finkel, Henry Malofsky, Jenna Weiss Berman and Leah Rhys Dennis. The show is produced by Zandra, Ellen and Naomi Scott. This episode was mixed and mastered by Chris Basel. We have additional engineering from Javi Cruces and Davy Sumner.

[Jon Stewart]

Show clips are courtesy of fifth season music by Theodore Shapiro. Special thanks to the team at Odyssey, Maura Curran, Eric Donnelly, Michael Lavey, Melissa Wester, Matt Casey, Kate Rose, Kurt Courtney and Hilary Schuff and the team at.

[Ben Stiller]

Red John Lesher, Carolina Pesakov, Gian Pablo Antonetti, Martin Valderruten, Ashwin Ramesh, Maria Noto, John Baker and Oliver Agar and at.

[Jon Stewart]

Great Scott, Kevin Cotter, Josh Martin and Christy Smith. At Rise Management.

[Ben Stiller]

We also had additional production help from Gabrielle Lewis, Ben Goldberg, Stephen Key, Kristen Torres, Emmanuel Hapsis, marielexa Kavanaugh, and Melissa Slaughter.

[Jon Stewart]

I'm Adam Scott. I'm Ben Stiller and we will see you next time.

[Ben Stiller]

Hey Adam.

[Jon Stewart]

Yeah?

[Ben Stiller]

Is your experience at work a bit dysfunctional lately?

[Jon Stewart]

I. I don't know. I think it' okay, I'll take that as a yes.

[Ben Stiller]

Your team could undergo a highly controversial surgical procedure that would mercifully sever any and all memories of that work experience from your home lives. Or you could try Confluence by Atlassian.

[Jon Stewart]

Oh my God. Well, if it's a choice between those two things, I think I would 100% choose confluence by Atlassian.

[Ben Stiller]

Confluence is the connected workspace where teams can collaborate and create like never before, where teams have easy access to the relevant pages and resources their projects call for while discovering important context they didn't even know they needed a space where AI streamlines the things that normally eat up their time, letting teams generate, organize and deliver work faster. In fact, with Confluence, teams can see a 5.2% average boost in productivity in one year.

[Jon Stewart]

So that would equal out like, if we're playing with like, let's just say 100%, 5.2 of those percentage points. Yeah, that's the improvement.

[Ben Stiller]

I mean, I'm not great at math, but that sounds very close.

[Jon Stewart]

Well, I'm doing the math in my head right now as we speak, and I think that's great.

[Ben Stiller]

So why not keep your team unsevered in Confluence, the connected workspace where teams can do it all set, knowledge free with Confluence? Learn more at atlassian.com confluence that's a T L A-S-S s I-a n.com c o n F L U E N C E.