We spoke w/ Ayo Edebiri & Ebon Moss-Bachrach about 'The Bear' and having their expectations subverted.
[Editor’s note: The following contains spoilers for The Bear.]With the strength of its scripts, the beauty of its direction, and the exemplary work of its cast, it’s easy to see how and why FX’s The Bear became a hit. The half-hour, eight-episode series follows Carmen “Carmy” Berzatto , a young chef whose time in the fine-dining world almost broke him and who’s now returned home to Chicago after a death in the family, to transform his family sandwich shop.
EBON MOSS-BACHRACH: Before we made the pilot, I read maybe three scripts, and I thought that they were really funny. And then, when we went to make the pilot in July in Chicago, what I was most surprised by was that it definitely had an energy. The scripts even have a certain level of energy that needs to be met. Chris [Storer] went well beyond that, in terms of the pace, and how fast he wanted people to talk, and how quickly he wanted people talking over each other. I like that, personally.
What was the reality of doing that episode like, for you guys? When you got to episode seven, did you have actual preparation? Did you need mental preparation for that, especially with the whole stabbing incident that happens between your characters? What was it like to go into that and just go for it, from start to finish?
MOSS-BACHRACH: They were so smart with that Wilco song building. What I liked about it being one shot is that it’s really motivated by story. It’s not a flashy, “Look at me,” directorial choice. I love that some people didn’t realize that it was one shot. EDEBIRI: As a writer, I also go to a dark place. My fear is that, when people receive something well, then they’re very excited to tear it down. I’m like, “Can we have the spirit of goodwill, please? We all love this show, and we love and respect each other.”EDEBIRI: Yeah. But all that negativity and gorgeous anxiety aside, I remember reading the first few episodes [of Season 1] that we got and just being so excited by the fact that I didn’t know where things were going.
EDEBIRI: That’s the fun of it, I think. Yeah, I know, absolutely, but also, so do the writers who have been writing for six months, with each other, in a stinky room, talking about this thing, over and over and over again. Chris is very good at curating people who all know, and we all wanna get on the same page of knowing. That’s the fun of it and the challenge of it.
EDEBIRI: I remember talking about it with Chris and he was he was like, “It’s so funny, it’s the most ridiculous thing, where it seems like a salve, but it’s actually the opposite.” That’s exciting. I had a friend once who said, “Sometimes the hardest thing is getting what you want,” and I feel like that’s gonna be a potential journey for everybody.
MOSS-BACHRACH: Yeah, I think so. I really hope we have some time to rehearse. You can’t go from sitting to sprinting like that. It definitely will take me some time to get that Chicago back in me. Unfortunately, I don’t walk around with that. I have to be a responsible member of my family. I can’t be a lunatic like that. So, hopefully, we’ll get out to Chicago sometime before and be in the space. I imagine we will.
EDEBIRI: I also think there are different ways to do it. A lot of Sydney’s journey, and what I would talk a lot about with Coco, Courtney Storer, Chris’ sister who worked on the show, and other female chefs when I was stodging and studying, was that, when you’re not the guy with tattoos who’s six feet tall, or whatever, and you’re a woman in this space, people have their own preconceptions of how you should command energy and how you organize people and how you move in that space.
EDEBIRI: With Sydney and Carmy, everybody else in the kitchen, I feel like, views them as, “You’re coming from like this different world and you’re trying to inject that into this space. This is our sacred space. It’s a little grimy, but it’s ours. It’s what we do. You’re trying to change it and inject it with this different thing. But between them, there’s a lot of differences. They have similar aspirations and similar backgrounds, in a lot of ways, but in a lot of ways, they don’t.
MOSS-BACHRACH: So much is revealed in what Carmy makes for himself when he’s home, which he just smears peanut butter on a piece of white bread and has some chips, and then passes out on the couch. I’ve seen articles about chefs’ refrigerators and there’s never any food. There will be sauces and booze.MOSS-BACHRACH: It’s probably not even in the fridge. It’s probably just getting funky in the basement or the garage, or something.
When you guys have conversations with the creative team, do they tell you that they know where your characters end up? Do they have a sense of where all of this is headed?
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