People love that it’s not a typical ‘Ted Lasso.’”Īrches aside, Hunt has been pleased with the results. “I was worried people wouldn’t accept it and say they wanted more Jason and storyline, but just the opposite. “It was a big load for one person,” allows Jones. “My orthotics were falling apart, and they had me run everywhere. Yet it wasn’t a painless shoot, particularly for Hunt, who took a beating from all the running he had to do, a challenge for a man with “really high arches,” he says. That shot was done for “Lasso” by the son of the camera operator who’d worked on 1971’s “Orange,” says Jones. Then there’s the “Clockwork Orange”-style slow-mo stroll down the street Beard and the fans take while wearing new duds. Jones says he used Wes Anderson for inspiration when it came to directing a show with no commercial breaks or B-story to provide natural cutaways he notes that Anderson is deft at staying with one character for an extended period. The episode is full of subtle call-backs starting with the title, an homage to Martin Scorsese’s 1985 film “After Hours,” itself an all-night journey into New York’s weird underworld. “Greek mythology, music, dancing, signs, threat, films, self-destruction, redemption and love.” “We threw in everything,” says Goldstein. They were going to put me through, but not f- with me.” “They didn’t come back to me until it was close to production, but by that time, I thought it was all above board. “ really wanted to have a different feeling with this.”Īnother difference to the episode was that Hunt didn’t get to see the script until it was nearly time to film. “We didn’t want to use any of the normal locations or most of the cast,” says Jones. (Jones had worked with Sudeikis on the 2013 music video for Mumford & Sons’ “Hopeless Wanderer,” where Sudeikis, Will Forte, Ed Helms and Jason Bateman played members of the band.) What ensues is a mix of philosophy, romance, derring-do, a beating, lots of drinking and ripped trousers, sometimes with fans of the team, sometimes with strangers.įirst-time “Lasso” director Sam Jones came on board for the stand-alone episode, and he says he was given “free rein” to make it look exactly as he wanted. In the episode, Beard stoically takes the subway home from the crushing defeat, imagines the announcers on TV are chastising him directly and heads out into the night. But it gave the show a chance to prove that not every story had to use Lasso (Jason Sudeikis) as its hub, and present as more of an ensemble. Beard has always been an enigma: quiet where Lasso is loquacious, an introvert when his coaching partner is all extrovert. “Beard After Hours” is an episode many fans didn’t know they wanted until they got it.
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