Off Camera with Sam Jones

If you haven’t seen Andrea Savage’s comedy series I’m Sorry, you should…just be prepared to laugh your butt off. As the creator, writer, and star of the series, Andrea does it all—which makes sense since the show is based on her own experiences being a comedian, wife and mom. But it is also a show about us. Andrea has found the universal truths of being a parent while being a working artist, and her observational powers reveal the absurdity and pathos in our own lives.For years, Andrea was stuck in development hell. She had a stable acting career with roles in Step Brothers, Episodes, and Veep, but true to her improv and Groundlings background, Andrea wanted to write and create as well. She was pumping out pilot scripts and selling them, but they weren’t getting made. As she says, “It was heartbreak after heartbreak of putting your all into a project, getting good notes, and then nothing. It was always the bridesmaid, never the bride.” When Andrea turned 40, the self-described “successful failure” decided to change her approach with I’m Sorry. She put together a crew with some help from her talented friends Judy Greer and Jason Mantzoukas, and she filmed her own pilot presentation.Andrea figured out that she needed to show her vision, because her story was nuanced and personal, not full of big jokes that jumped off the page. The approach worked like gangbusters. Her presentation became the first episode of the show and established her as a creator, showrunner, director, and a force to be reckoned with. As she says, “I literally just willed it to happen.”Andrea joins Off Camera to talk about why her writer’s room is better than therapy, why her lack of darkness makes her question her comedy bonafides, and her dedication to being a “joke shepherd.”

Before she became a household name from her work in projects like Fresh Off the Boat and Crazy Rich Asians, Constance Wu was a full-time waitress in credit card debt who was trying to break into the TV and film industry.Despite her BFA in acting, Constance struggled to get steady acting work for nearly a decade. Her love of the craft never wavered—no matter how tough it was to deal with the rejection. But times got so tough she finally had to ask herself, “Are you okay if you’re still waiting tables at 50 in order to supplement your income so you can do one or two plays a year?” Wholeheartedly, her answer was, “Yes.”Finally, when the creditors were stalking her, she got her big break. In 2015, she was cast opposite Randall Park in the groundbreaking and popular ABC sitcom Fresh Off the Boat, a hilarious look at life as an Asian immigrant in America. Another historic role followed with the film Crazy Rich Asians, which featured an entirely Asian cast. Most recently, she’s acting opposite J-Lo in the film Hustlers, a true story about a group of strip club employees who drugged and robbed their rich Wall Street clientele.Constance joins Off Camera to talk about how privileged she feels to have a voice in the discussion about racial diversity in Hollywood, why she still loves going to acting class, and she also reveals the joys of sucking at guitar.

Wyatt Russell was born into the film business as the son of Kurt Russell and Goldie Hawn, which can be a difficult way to grow up. But despite their massive success, Wyatt’s parents were a grounding presence who emphasized hard work. “They did a really good job of making us understand that what you get is earned, not given, and that there’s reward in earning it,” Wyatt told me. In light of that lesson and after an eye-opening trip to a hockey rink, Wyatt decided to deviate from the family way and forge his own path—he was going to be a professional hockey player.As Wyatt grew up, his NHL dream seemed more and more like a distinct possibility. He was a talented goalie, and his parents moved to Vancouver so Wyatt could compete with Canada’s best. Unfortunately, being born into a famous family brings its own unique challenges. “People were like, ‘Here comes this circus act from California. Kurt Russell and Goldie Hawn’s kid wants to be a hockey player in British Columbia.’ I had to prove myself by putting my head down, not talking, and doing the work to become the best goalie in the league.” His promising hockey career lasted into his early 20s, but a spate of injuries led to the end of his dream and the end of his identity as a hockey player. Sitting on a hospital bed after a particularly brutal hip injury, Wyatt asked himself: ““What do I do now? I have no idea what I am.”Wyatt reflected on his love of film, and despite the perilous nature of the business, he decided to pursue an acting career. But in typical headstrong fashion, he wasn’t going to ask his parents or siblings for advice. He was going to do it his own way. After getting work in a number of films such as Cowboys & Aliens, We Are What We Are, Folk Hero & Funny Guy, and more, Wyatt discovered that he not only has the chops for the business, but that he actually loves it. Wyatt’s recently made the transition to television. He’s the lead in AMC’s Lodge 49, a weird and whimsical show about an ex-surfer named Dud, who finds himself on a vision quest after the death of his father.Wyatt joins Off Camera to talk about the uncomfortable reality of fame, the mentor who helped him discover his independence, and why the locker room is the best place to learn about male vulnerability.

Off Camera is back after a short summer break with all new episodes, and we’re kicking off the new season with a game of musical chairs. Writer, actor, and Saturday Night Live alum Jason Sudeikis takes over as host, and I take the hot seat for a change.The idea came to Jason while he was running on the treadmill a couple of months ago. Mid-exercise, he texted me to see if I was interested in celebrating 200 episodes of Off Camera by allowing him to interview me. I was incredibly flattered by the offer, but I’ve always gone off the assumption, “Who wants to hear about me?” As a director and photographer, I’ve spent most of my career behind the camera, trying to peel back the layers of the creative person in front of the lens. But as I thought about it, one thing occurred to me—I could for once see what it feels like in the other chair. And after seeing Jason make the rounds as guest host on talk shows like Ellen, it was clear I’m in good hands. Maybe too good, as it turned out. Jason surprised me with his thoughtfulness, deep research, and by connecting some dots in my own history that I had never thought about before. Dare I say I liked it?Jason and I sit down to talk about the similarities between multi-hyphenates and superheroes, how the smallest act of encouragement and praise can be the greatest gift for an aspiring artist, why we film Off Camera in a vast, white room, and more.

Good old Robert Downey Jr. is back for a second time, and his career has gone quite well since his last appearance, on episode 5 of Off Camera. It is now our 200th episode, and Robert is here to remind us that great conversations should be unconventional, surprising, and sometimes just downright weird. Check, check, and check.Since the last time he was here, Robert’s Iron Man legend has grown exponentially—thanks to the massive success of Marvel’s Avengers franchise and the recent release of the final installment, Avengers: Endgame.  But if we rewind the tape, Robert’s journey on the project, like director Jon Favreau’s, started at a low point. “We were two people who had a film we were passionate about come out on the same weekend and bomb. His was Zathura, and mine was Kiss Kiss Bang Bang.” Their mutual comeuppance led to a creative bond, a big brother relationship. As Robert explains, “If that kind of synergy happens when you’re doing a movie, it’s going to be great. End of story.”Finding people who encourage and legitimize his creativity has been a theme for Robert, who despite moments of personal turmoil, possesses a deep-seated work ethic. Growing up, he was “Bob Downey’s kid,” the son of a groundbreaking, counterculture filmmaker, whose view of the industry was the following: “Anybody can act. Few can direct, and nobody can write.” Talk about humble beginnings.Robert joins Off Camera to talk about quitting (not getting fired from) Saturday Night Live after a year, why he thought (and still thinks) he could write a better script than William Goldman, and the great life advice he got from Figueroa Slim in jail.

If Scoot McNairy hadn’t found acting, it’s possible he’d be mowing lawns for a living. Scoot grew up relishing the outdoors of his native Texas, and started his own landscaping company at age 13 to make some spending money. Towards the end of high school, he had some thinking to do about his future. Since he was dyslexic, college seemed out of the question, so one day, his father asked, “What is the one thing that you could do every single day, that would get you up and out of bed, that would make you want to go to work?” Scoot’s answer: being on a movie set.Aside from being outdoors, Scoot’s other great passion was watching movies. He was fascinated by the magic of it all. And as a kid who loved to take things apart, he wanted to know how everything worked. He decided to move to Los Angeles for film school but got relatively little out of it, and felt like he needed hands-on experience on a movie set. Scoot’s fastest way in was getting work as a background actor, also known as an extra. “I swear I learned more in two weeks as a background actor on The Practice than I did in the entire year I went to film school.”Background work turned to commercial work which eventually turned to acting in television and film—thanks to an acting teacher who politely kicked him out of class so he’d start auditioning for roles instead of compulsively going to class. Because of his unconventional education, he approaches his job from a unique angle, creating very real and emotional performances in projects like Halt and Catch Fire, True Detective, Narcos, and the upcoming Quentin Tarantino film Once Upon a Time in Hollywood.Scoot joins Off Camera to talk about the dark place he had to live in to embody his True Detective character, how growing up with a learning disability helped him embrace failure, and why the only time his heart beats at a normal rate is on a motorcycle.

As the child of first-generation Muslim immigrants, Ramy Youssef grew up with a sense of practicality about his future. He was drawn to comedy and performing, but he saw no one who looked like him on TV. Add to that the fact that acting isn’t exactly a pragmatic career path in the first place. “I had parents who gave up everything to move to America, and I’m supposed to call them and say, ‘Hey, can you pay a bunch of money for me to study the Meisner technique?’ I didn’t have the balls to ask that question.”While in college, Ramy developed his stand-up and sketch comedy skills at UCB in his free time while studying political science and economics. He auditioned for a small role in the Nick at Nite series See Dad Run, and got the part, and decided to drop out of college and move to Los Angeles. That gig lasted for three seasons, and then Ramy got stuck in acting purgatory. According to audition feedback, he wasn’t good looking enough to be the lead; he wasn’t nerdy enough to play the nerd; and he wasn’t “ethnic” enough to play the ethnic guy. That’s when Ramy realized, “You never know where people are going to put you. It’s nice when you get to put yourself where you want to be.”Ramy took charge of his own destiny. He had writing skills, plenty of personal experience, and a unique cultural point of view. What he came up with was Ramy, his Hulu series based on his experience growing up in New Jersey and coming to terms with his Muslim faith. It’s being hailed as the first American television show to feature a Muslim family, but more importantly, it throws away Muslim caricatures and depicts rich and complex human storylines about family, faith, and cultural differences.Ramy joins Off Camera to talk about the moment his parents finally acknowledged he had “made it,” how puberty will be forever linked with global terrorism in his mind, and why stand up comedy makes everything else seem easy.

When David Tennant was a child in Scotland, he spent his free time running around the back garden pretending to be characters from the TV shows he loved. In honor of his favorite show, Doctor Who, his grandmother knit him a multi-colored scarf to wear, just like his favorite Doctor, as he let his imagination run wild.During that time, David realized he wanted to become an actor—he just happened to live in a place devoid of actors. His parents were pushing him towards a more practical, stable career, but David was having none of it. “Becoming an actor was something I was very set on, and it was an idea that grew up alongside me as I began to understand more of what being an actor was. I never wavered from it.” At 17, David got into drama school, and the world opened up for him as he met like-minded people. His dream slowly became a reality.Between his work with the Royal Shakespeare Company, his work in shows like Broadchurch, and most recently, Good Omens, David has amassed a large body of work on stage and on screen. Of course, his biggest claim to fame in the U.K. was his role as the tenth iteration of the Doctor in Doctor Who. If fate didn’t get him that role, then perhaps it’s because he’d been preparing for it his entire life.David joins Off Camera to talk about the self-critic that always seeks to undermine him, why losing your anonymity feels a bit like being flayed, and the retirement speech he prepares as a backup in case he forgets his lines on stage.

When Sienna Miller got her first big acting job on the short-lived FOX television show Keen Eddie, she had no grand plans for her career. Surrounded by a bustling crew and a shiny, big-budget production, she was simply happy to be there, and as a 19-year-old with zero drama school experience, she had no idea about the competitive side of the industry, which instilled in her a naïve confidence in auditions that led to early success.Although Keen Eddie was abruptly cancelled, Sienna’s film career was taking off. Within the span of a few years, she made her mark in films like Layer Cake, Alfie, and Factory Girl. Of course, she learned relatively quickly that success and fame in her profession meant the loss of her cherished private life, and in the eyes of the prying, often aggressive paparazzi, she was perfect tabloid fodder. “When I was at work, I was completely immersed and serious, but I just didn’t understand why I couldn’t be very serious at work and very frivolous outside of it.”Despite her challenges with the media, Sienna’s love for her work never wavered. In recent years, she’s taken on new, exciting acting challenges. Despite being initially terrified by the immensity of the role, she turns in a heart-wrenching, tour de force performance in Jake Scott’s new film American Woman.Sienna joins Off Camera to talk about the self-torture inherent in the profession, getting bribed with a pony and a rabbit to go to boarding school, and what it was like to spend an hour in the shoes of Tippi Hedren, getting pelted with flying birds.

It’s been four years since Olivia Wilde last visited Off Camera, and a lot has changed—she’s had another child, taken a step back from acting, and embarked on a completely different career path as a director. “I almost feel like someone who’s come out of the closet. There’s this feeling of honesty about what I really want to do, and it's a level of comfort that comes from being true to yourself that I haven’t felt in a long time.” Booksmart, her first feature film, offers a unique perspective on friendship and identity during one of the most tumultuous times in life: the high school years.Being an actress for so many years allowed Olivia to see behind the curtain into the directing process, whether it was Martin Scorsese on set of Vinyl, Ron Howard on the set of Rush, or Reed Morano on Meadowland. But learning what not to do from her less positive experiences was equally important. “Knowing that my actors were walking onto a set that was the exact environment that I would want for myself felt really great. I used all my bad experiences for something good.” A perfect example of that was shooting a sex scene on a truly closed set on Booksmart.At times, acting in TV and film was an isolating experience for Olivia, who would often be brought in to shoot a scene and then promptly whisked away to her trailer. She felt more like a caged circus animal than a creative human being, and she longed for a more collaborative environment.Olivia joins Off Camera to talk about the importance of zooming out on your life every once in a while, why cell phones are the enemy of storytelling (and our souls), and how Converse high tops can double as chastity belts.