*This feature originally ran on 7/17/2017
Great performances happen all of the time, especially in this day and age when so much quality content is just a click away. What’s more difficult to achieve is a great career with a body of work that not only improves upon itself with each new role, but that collectively elevates the projects contained within it. Jason Butler Harner has managed to achieve this career potency, seemingly without trying. His natural on-screen magnetism draws you in and never lets go. He is an actor who can say more with a look than a full page of a dialogue, a skill he has put to use in “Ray Donovan,” “Homeland,” and most recently, Netflix’s “Ozark” opposite Jason Bateman and Laura Linney.
We recently sat down with Harner to discuss the complexities of his “Ozark” character, the comfort (and discomfort) of lying in a pool of blood, and the best stages he has ever performed on.
TrunkSpace: In “Ozark” you’re playing rogue FBI agent Roy Petty. What did Roy offer in terms of interesting character elements that felt different from what we’ve seen before from other representations of FBI agents on screen?
Harner: That’s such a good question actually because I’ve seen and certainly played a lot of Feds. Every character in the series is human and conflicted in surprising ways. That’s a testament to what Bill Dubuque created and certainly what Chris Mundy and our staff of writers kept alive throughout the 10 episodes.
With Roy… his name is Roy Petty, which that tells you something… but with Roy, he has a very hard edge. Within Petty’s drive and his expertise as this focused, seasoned FBI agent (albeit complete with some dangerous, unpredictable blinders) is the fact that he has no shame. And I mean that in a good way. He doesn’t give a fuck. Okay, he may have a dash of it, but it doesn’t control him. He is unapologetic about his laser sharp intent to bring down the cartel, no matter how. He’s not interested in the protocol within an agency that is mired in bureaucracy. And, perhaps most importantly, he has ZERO shame about being a gay man, and particularly a gay man in this typically homogeneous, predominantly straight male profession. That was a revelation to me. Huge. It gets no airtime. It’s a non-entity and that is incredible. It surprised me how it exactly evolved as I got more information about him, and of course how I got to reveal more of him. Listen, I’m not an idiot, he’s definitely shutdown, particularly emotionally, in certain areas rooted in guilt and pain. And he may ultimately unlock some levels of regret that could lead to capital letter shame after this first season is over. (You’ll see why in Episodes 9 and 10.) But, for now, his primary motivation comes from so many other places, and shame is just not one of them. That was profound to witness and then make manifest.
They gave me the benefit of a backstory that would unfold much later in the series, and they told me what that story was early on.
TrunkSpace: So as a viewer we’re presented with him, but we don’t yet learn what makes him tick?
Harner: We don’t know what’s going on yet, and listen, a lot of times, and I’ve played some of them, you’re given characters that are very two-dimensional. They’re a mood. They’re very by the book, they’re very eager for a fight. They’re angry, they’re dangerous, psychotic, crazy, for example, and we don’t really explore why, so fortunately for me and for the viewers of “Ozark,” Roy is humanized. That’s my job as an actor, to create my own backstory, find reasons why, try to fill something out, flesh something out so that the producers and editors can decide whether or not they’re interested in that. Fortunately in this case, especially Chris Mundy was like, “Listen here’s what’s going on…” and it gave me something to go from.
I basically have one of those sleeper characters where he’s in it a little bit, a little bit, a little bit, and understandably anybody could think that this character is just going to be in this episode, and then he just keeps coming around and you’re like, “Oh shit, what’s going on?”
TrunkSpace: The series as a whole seems different tonally from a lot of what’s on the air today where, even in the darkest of stories, there’s some sort of comedy woven throughout. But with “Ozark” it strikes that serious tone throughout, and in the process, feels a bit like a throwback in that regard.
Harner: Yeah, especially in that first episode, it’s maintained throughout the whole thing. The color palette of the series is very specific and that was exciting. It definitely was Pepe (Avila del Pino) and Ben (Kutchins), the DPs, and Jason (Bateman) establishing the world of that tone. It was really very clear about what it was.
TrunkSpace: It felt very reminiscent of early Coen Brothers, like “Miller’s Crossing.”
Harner: I love that movie so much. Marcia Gay Harden before anybody knew Marcia Gay Harden.
TrunkSpace: One of the other cool things about the show that is sort of reminiscent of TV in general these days is that creators are showing interesting segments of the country that haven’t been spotlighted before. “Justified” in Appalachia, “True Blood” in the bayou, “Longmire” in Wyoming, and then the Ozarks here, which as far as we could recall, is a picture we’ve never seen painted in television.
Harner: It’s so true. I’m from a small town in America, raised in the suburbs of DC, and then lived in New York City for 23 years and now I live in LA, so I have a great affinity and appreciation for small town America and the fullness of America. I was just at dinner last night with some friends and they introduced us to this friend from Norway, and of course they had no idea what the Ozarks were. I was like, “Well…”
I didn’t know this when the series started and I could be getting this wrong, but the waterfront, the shoreline… there’s more shoreline of the Ozarks than in the state of California. The lakes are so big and what’s around them is so amazing. We have this last shot in the first episode, which is unbelievably beautiful and is not CGI’d at all. That’s shot from a helicopter that’s pulling away and is 100 percent the Ozarks and for real. I think it’s so amazing. (Laughter)
Jason Bateman is just the most amazing person in the world. He is the kindest and the smartest. About halfway through production he rented out a movie theater and shared with the cast and crew the first episode just to sort of be like, “Hey, just so you know this is what we’re making here in case you had any doubt. And thank you.” Which nobody else does on any other show I’ve worked on. Nobody else does that. When that last shot came on, and only a skeleton crew had been there in the Ozarks when they filmed that so only the skeleton crew knew about it, everybody just started hooting and hollering and cheering. It was really great.
TrunkSpace: You mentioned how the first season is 10 episodes in length. From a performance standpoint, does that shorter episode order benefit you as an actor because you know that the story is not going to be stretched out and that each episode will have as much character bang for the buck as possible?
Harner: Yeah, I mean, no offense to procedurals, but you’re not stuck in that format. When they say it’s going to be character-driven, in this case, they really mean it. Obviously there’s a lot of plot that happens in each episode. I remember sitting in the editing room after the second episode and I looked at Jason and said, “I cannot believe how much content we have in one hour!”
The benefit of being on a platform like Netflix and in a series like this is that you also have scenes where you can uncharacteristically sit down with a character or a couple of characters and have what would seem like a long amount of time. I have a monologue coming up, I don’t think they kept all of it, but I have this scene coming up where I’m fly fishing with a character that you’re going to meet and we were really shooting at 5 a.m. on a river in Atlanta with the fog coming up. It was so beautiful, and when you get those opportunities in your life as an actor, you think, “This is why I’m doing this. I’m in waders in the middle of a fucking river fly fishing, which I have been studying for over a month to look like I know what I’m doing, and I’m just going to tell this story and we’re going to sit here for a period of time.” Magical. For everyone too, including the viewer.
TrunkSpace: And what’s beautiful about things right now is that audiences not only expect that, they crave it. They want to see their storytelling play out in that way.
Harner: One of the things I really appreciated was that they really were not interested in the more sensationalist aspects, although there are some colorful characters and situations that happen in the series. It was, “How do we get into the nitty gritty of this family having to survive and adapt to living and completely changing their lives.” But also, be as interested in the nuance of that translation as in the larger concept of everything else happening. I always appreciate that. Jason Bateman’s attention to detail on seemingly mundane things is so good. Just silly things like, if you pick up a phone that’s not yours but you have to access it, Jason makes sure that those details are built in in some way. Those small little details, they credit the whole thing. It makes you go along with the story a little bit more and not have to add your own sort of magical realism that can happen a lot in the things that we see.
TrunkSpace: Could those little details exist in another platform? Could Jason have been able to do that on a major network?
Harner: I don’t know actually. The highest compliment that I can say in terms of my experience, and I’ve been really lucky because I’ve had some wonderful experiences on a variety of platforms, but I have never had the kind of leadership and involvement the way that I have witnessed on this production. Patrick Markey is a great creative producer. Mundy is a diplomatic showrunner. Laura is a Godsend. And Jason is a confident leader. He’s been doing this since he was 10 years old. He understands not only how every department works and how the camera works, but how the productions works. I’m sure there were tons of conversations and meetings with Netflix and MRC as it was going, everything from budget and tone and all that, but it didn’t have the micromanagement feel that a lot of other things that I’ve worked on have had, which is a road to hell paved with good intentions. A road to mediocrity. It takes the vitality out of it.
TrunkSpace: We know you have a theater background and it sounds like as far as that community experience of theater goes, “Ozark” seems to have had that vibe based on the way you speak of it.
Harner: Yeah. I also recognize I’m a series regular so I have a lot more agency. When you’re a guest star, there is a certain amount where, more often than not, you sort of get in and get out, do your thing and hopefully don’t offend anyone. Our set was very inviting to everyone.
I have a joke with a couple of friends of mine who are far more successful than I am. We always talk about the “first day of school” regardless of the project. It’s always slightly nerve-wracking. I’m confident in my abilities and I’m also self-effacing, but when you have the ability to not be intimidated and to ask a question that you know you’re going to get an answer to or, even better than an answer, you might get an, “I don’t know,” that’s assuring. When you’re a guest star and you’re just there for a little bit, it’s very rare that you have the luxury of being able to ask that question.
TrunkSpace: From a performance side, is there any character from a previous series or film that you wish you had more time to spend with just because of the interesting nature of the character itself?
Harner: Yeah, there’s a number of them. Whenever my character is not killed off, I’m really excited. (Laughter) I’m personally excited from a logistics standpoint that I’m not going to be lying in a pool of blood for a period of hours, and I’m also excited for the possibility of returning to that work, of course. (Laughter)
The character on “Homeland” was such an anomaly. All of a sudden he does this violent act and then disappears, so you think, “Well, that person is still around somewhere. Could he come back?”
On “Scandal” it was a wonderful Shonda Rhimes sort of teaser where it was an episode where Kerry got kidnapped and we were in a jail and you didn’t know where we were, but you thought we were in another country. It was great. Kerry was so generous. I got killed, but I thought he was really interesting. I thought that his duplicity was particularly interesting, but then he got shot in the back of the head two episodes later and that was it. (Laughter)
TrunkSpace: And there’s that pool of blood again!
Harner: There’s that pool of blood. (Laughter) It’s funny, there’s such respect in terms of the different ways that different sets deal with that… the way they shoot it. Some are very kind so you’re not actually physically in that pool of blood for a long period of time, and some don’t care. “Scandal” was very kind. “Ray Donovan” was very kind. I won’t mention the ones that maybe weren’t so kind. (Laughter)
TrunkSpace: We were looking over your theater credits and saw that you have stood on so many great stages. It had us thinking, what is the best stage you’ve ever performed on?
Harner: Wow, that’s a great question. I need to really think about that. So many come to mind for different reasons so I’ll try to compartmentalize them.
I’ll tell you a personal story, and then I’ll tell you some stages that really moved me.
When I got out of grad school and I started really performing, I went to A.C.T. in San Francisco. I did a play up in Seattle called “The Beauty Queen of Leenane” by Martin McDonagh. Great play. While I was up there, I got hired to do “Long Day’s Journey Into Night” because Garret Dillahunt pulled out, I think to do “Deadwood.” He’s a good friend of mine now, but Garret pulled out and I got short notice to go do “Long Day’s Journey Into Night” at A.C.T. in San Francisco. The Geary Theater. So “Long Day’s Journey Into Night” is obviously a classic, iconic, huge American play to have to climb. It was everything that I had been trained to do, that kind of big play, so I walked into the theater because I wanted to see The Geary. I was curious about this intimate play in a big space. I don’t know what the seat number is, but it’s got to be like 1000, and it’s three tiers and I walked in and I looked up and I just started crying because I thought, “Whoa. How am I going to do this?” And then, “I’m ready to do this.”
The other two theaters that come to mind… I did a play in the West End by Lanford Wilson, which I think is a beautiful play called “Serenading Louis.” Lanford Wilson wrote “Burn This,” which is the major play of his that people remember, but “Serenading Louis” is a tremendous play that gets shortchanged. People call it sentimental in that modern, misappropriated redefinition of melodramatic. And that’s not true. Anyway, the Donmar Warehouse is an incredibly intimate space, audience on three sides and a balcony, but the balcony is maybe at 12 feet so it’s very… it’s like an old-fashioned observing laboratory.
The last theater that I’m going to mention is one that was built and it was incredible. I did this Mike Bartlett play. I do a lot of American premieres of English and Irish plays for some reason, which I love. So it was this Mike Bartlett play called “Cock” after a cock fight, and interestingly enough, in America, the New York Times wouldn’t even print the title “Cock.” We had to call it “The Cock Fight Play.” But anyway, the set designer built a raw plywood stage in the round… a fully immersive experience for the audience. It was incredible.
What I love the most about live theater is every night is its own organism and dialogue, so you have to be incredibly alive and you are hopefully fed by the audience’s reaction, and if not, you’re working towards making them conscious and communal.
TrunkSpace: And it’s something that is only shared with those in attendance. It can’t be tweeted or forwarded or passed on.
Harner: Yeah, not to get too arty-farty about it, but I do think on some cellular level as human beings, we crave a communal experience. I love all of my devices and I love watching various storytelling through various mediums, but sometimes now you have to get tricked into having that communal experience because it’s not a part of our routine. Then when you get there, you appreciate it. Sometimes it’s like going to a wedding, a family commitment, or a church service or whatever where you think, “Oh God, I have to go…” and some of it is just about navigating how to deal with it and lots of people you don’t know. And then inevitably when you get there you have some type of experience with people around you where you are collectively witnessing or processing something. I don’t know what happens, I just know that something happens, and I appreciate that. Somehow it’s reassuring. There’s a sense of humanity, which right now, just as a side note, I am so interested in any storytelling that we can offer or create that’s encouraging humanity and compassion. It can be messy, it can be bloody, it can be a lot of things, but ultimately I feel like we have a slight responsibility in storytelling towards flexing those muscles, reminding those muscles that humanity and compassion exist right now because I feel things are getting a little disparate, you know?
“Ozark” premieres July 21 on Netflix.
