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We got to be older, but it never really moved out of that genre. We were talking about it when you were thinking about taking the job—that it was Jonas and you had met him. It just seems like a good fit and you don’t even question it. And Jonas too, it was such a collaborative, team effort. There have been some changes behind the scenes as far as what the network wants and trying to find the right tone.
Among the characters the Lefevers meet along the way are local oil magnate Hap Briggs (Johnson), his beautiful wife Carla (Amber Valletta), and prodigal son Wick (Scott Michael Foster). CRAWFORD: Oh man, I’m taking him to a Cowboys’ game in Atlanta—the third game. KITSCH: You’re shooting in the off-season now, so it’s even more peaceful. It’s been so nice, the thought of that coming in a being a bit of a circus…KITSCH: It’s like Austin, man. KITSCH: When people come into Austin, even though I’m a transplant, I’m like, “Get the fuck out of here. Leave the city alone.”CRAWFORD: You’re a Texan now, bro. Music is a huge part of developing and getting into a certain mindset. CRAWFORD: And just the rambling qualities of his songs. That’s a lot of what you’re dealing with in the beginning—that struggle to find work and find your place in the new town. KITSCH: Are you throwing little points over to the writers about what’s clicking and what’s not? KITSCH: It makes you more accountable—everyone more accountable. You know that character, at this point, hopefully better than anyone else would. KITSCH: What about other actors that you admire, or guys that are making certain choices where you’re like, “Fuck, yeah, man. I have a buddy from Austin coming up to do it with me. With this [show], having a wife, being married and having that relationship, I always thought it was very important to keep it grounded in some form of reality. Tell me about how you guys have got along and that process. People were talking about Sundance yesterday—I’d rather not be here for Sundance. It’s not quite as big and they don’t have the barbecue. I heard one song on a film, and I started listening to that one song and it reignited a little Bruce Springsteen. It was never, he was trying to make his mark on this so we had to do it this way. KITSCH: Even just the working there and the blue collar [in Springsteen’s songs], that’s kind of how you started out—just going in there, nose-to-the-grindstone, so it really does kind of fit. Because we had a lot of that collaborative process on : “What if we throw Riggins something like this? But they said they want us to connect and make those calls. ” and I was like, “Uh…Utah,” you were like, “That’s awesome! Good writing is more subversive I think—or good scenes. CRAWFORD: When people asked, “Where’s the show shooting? I think a lot of what we’re missing is those types of guys. Sometimes with certain writing, they really underestimate—you feel like you’ve got to be literal, hit it hard on the nose, just to get the point across. Our characters are sort of back-and-forth; one minute he’s taking me under his wing and the next he’s just totally screwing me over. He’s a dreamer—he’s like a gambler when you take that first big win, he just wants more of it.