Ozark

There’s so much to love about the Netflix series “Ozark,” and like a gift that just keeps on giving, Season 2 saw Trevor Long’s role in the captivating storyline expanded. That was great news for the Rhode Island native who plays Langmore crime family patriarch Cade, but it was even better news for the viewers because everything he brought to the screen was 100 percent binge-worthy gold.

We recently sat down with Long to discuss the many “Ozark” surprises, how he breathed life into Cade, and why you won’t find him sitting down with a psychic for career advice.

TrunkSpace: “Ozark” took a lot of people by surprise and had them binging like they’ve never binged before. Was the success of the series a surprise for you or did you know that you were involved in something special even in the early going?
Long: It was definitely a surprise. That said, in the back of my mind there was this feeling that this could be great. Just knowing how good the writing was and, of course, the talent they had lined up, but I was pleasantly surprised how it took off.

TrunkSpace: What about in terms of your character Cade – did you know his role within the story would be expanded heading into Season 2 or did that come as a pleasant surprise?
Long: I really didn’t know too much. However, Jason Bateman graciously hinted at it when I saw him at the premiere after Season 1. He basically said, “Get ready to work, you’re getting out of prison.” So, from that I knew I would be at least in it a bit more than Season 1, but I had no idea that I would be in it to the extent I was until about a month out from shooting.

TrunkSpace: As Cade’s story has expanded, what have you been enjoying most about his path and how that has impacted your day to day on set?
Long: I really enjoyed the colors they brought in his story out of prison. It was a lot of fun to explore this sort of wildness and unpredictability that Cade expressed. The writers gave me a lot to play with for sure. Being on set was like being with family. It was always a lot of fun, even if the material was really dark. We just had to have that lightness when sitting around and waiting. It was a lot of heavy material to live out.

TrunkSpace: We read that you did a lot of research to bring Cade that “Ozark” authenticity that seeps throughout the entirety of the series. What was it about him that you felt needed the research to get right, and what was the most difficult aspect of that journey?
Long: I knew Cade was so different than who I am on so many levels – someone who was so destructive and abusive to his daughter was something I certainly had to face inwardly in my imagination and interior emotions. But the outward physical aspects of Cade were what really propelled me to research. His accent, for instance, and even how he moved physically. I knew I had to have his rhythms right, so I tackled this by watching a lot of documentaries and even movies such as “Winter’s Bone.” I also read a lot of books by southern writers that depicted low lives in order to catch their essence and to color my imagination. I love doing this kind of stuff as long as I don’t become too lost in it. I take what’s essential. I guess the difficult part was to truly embody Cade in a very truthful and honest way that brought me alive.

TrunkSpace: Many of the scenes in “Ozark” are very heavy, and we would assume, could be emotionally draining for the performers involved. Did you have days where you felt like you needed to do an emotional download after a particularly rough day of shooting?
Long: Oh, of course. I did that by hanging out with the Langmore’s off set. We were like a very happy, funny, and dysfunctional family. We became very close. Laughter was essential to keep from burning out.

TrunkSpace: What’s great about the series – and Cade in particular – is that there is a lot of gray area with the character for the audience to fill the gaps on backstory and internal motivations. Was that a conscious decision, to leave bread crumbs for the viewers to follow on their own?
Long: To be honest, yes, but that credit really goes toward the writers. They beautifully kept the audience guessing, and myself as well. It’s such a privilege when the writing is that good to just let it take you where it wants to. I just got to keep it as simple as possible and stay out of the way.

TrunkSpace: What can you tell us about your new film “Seeds,” which if we understand it, you also produced? There’s some freaky imagery in the trailer!
Long: I can say it seems to be a pretty uncomfortable film to watch, and that is something we tried to achieve. I did help produce, but that really entailed bringing together a lot of elements that I had access to from many years in the business, such as people I could call on and bring in to help the process.

TrunkSpace: Seeing you in “Seeds” reminded us of our own high school wrestling days. Did you have to suck some weight to play Marcus in the film? Was that something that the script called for or was it a physical trait that you brought to the character through your own journey of discovery?
Long: (Laughter) That’s funny. Yeah, I felt I had to lose some weight. It was not indicated in the script, but I instinctively came to know that Marcus should not look like this healthy, fairly strong guy. So, I dropped down to about 155 pounds. Normally, I am about 185 pounds, so the weight loss was pretty significant for me. It did take some time to get into a proper weight-loss routine, but I could handle it well. I know products like these Proplant Complete Shake ingredients work really well to help regulate appetite and fast metabolism. However, I felt that this guy had to look and feel weak from his emotional decay and the actual physical anguish he inhabited. So, taking plant protein wouldn’t have helped me look weak! All of these things affect me as an actor in how I express another’s life. It can be as subtle as just a very different pair of shoes. I live for that kind of stuff.

TrunkSpace: The film takes place on the New England coast. We know you’re a New England boy. What is it about New England that makes such a great setting for horror films/thrillers? It just seems like a regional staple for genre projects.
Long: That’s an interesting question. I’ve never really thought about that, but now that you mention it I will start to. Maybe it’s that it has all those puritan roots, and there are certainly a lot of woods, and New England, as you know, in the winter can look and feel pretty downright depressing… spooky even.

TrunkSpace: Time machine question. If you could jump ahead 10 years to see what your future/career held, would you take the trip, and if not, why?
Long: Really? That’s tough. I would have to say no. I’m very impressionable. If a psychic tells me I won’t work as an actor for the next three years, I would spiral into depression. I’m also a firm believer that everything unfolds in the only way it can at that particular moment, no matter how much we think we are steering the ship. It will be whatever so-called destiny has mapped out for my career 10 years down the road. I’m always in favor of being surprised.

Seasons 1 and 2 of “Ozark” are available for streaming on Netflix.

*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.

Regardless of the genre, Michael Mosley owns every scene he’s in. The Iowa native can deliver laughs with ease, as made apparent in shows like “Sirens” and “Scrubs,” or he can drop a major dramatic anvil on the heads of viewers, which he’s doing with his latest string of projects, including “Ozark” and “Seven Seconds,” a pair of high-profile Netflix shows. He is versatile, relatable, and in the opinion of this publication, one of the most underrated actors working in the business today.

We recently sat down with Mosley to discuss the emotional heaviness of his recent roles, his approach towards comedic performance, and how his 12-year-old self would have been super psyched about getting to kiss Margot Robbie.

TrunkSpace: We have some unrealistic expectations for this interview because you’re one of our favorite people to watch onscreen, so we’re expecting nothing but insightful responses and wittiness. (Laughter)
Mosley:: (Laughter) Okay. Well here we go. Just throw a pitch and I’ll knock it out of the park.

TrunkSpace: Your new Netflix series “Ozark” is some dark storytelling and your character has gone through some heavy life stuff. When you’re performing in a character-driven, emotionally drenched project like this, does the material trickle into your own headspace? Does it become a heavier job when the material itself is heavier?
Mosley: Yeah, it definitely does. And the world is heavier, so it all kind of feeds into itself. The last couple of years… I was on “Sirens” and I was telling dick jokes in an ambulance, so to come to this and have everything be so heavy and weighted, I was really very nervous about it. I haven’t done heavy shit like that in awhile. When I was on “Castle” playing this killer, that stuff would get a little thick at times, but this guy was a victim. He’s often kind of high on his horse about where he saw himself spiritually and where he saw others spiritually and stuff like that, but he was not a bad guy or anything. This is happening to him and he was just kind of navigating through it.

TrunkSpace: You mentioned how you haven’t done this type of heavy work for awhile. Did you put yourself in a position to step away from comedy after “Sirens” in order to distance yourself from being seen in that light?
Mosley:: Not at all. When I first started out, I was kind of the serious actor. One of the first gigs I got was for a drama on NBC where it was this really heavy show, and then I started getting these comedies. Bill Lawrence picked me up to do a pilot for him and then he put me in his last season of “Scrubs” and then all of a sudden I was this funny guy, which is great. It’s so much fun. It’s a fun way to make a living because you’re just on set with your friends busting each others’ balls all day and they roll the cameras and you try to crack each other up. I don’t know what happened. I shot a comedy pilot last year that didn’t go, and then I got in this movie with Rob Reiner coming out called “LBJ” with Woody Harrelson, and that was heavy. Then I don’t know… this year has been a heavy year. I don’t know why. With “Ozark,” and then the next thing I’m doing “Seven Seconds,” which is on Netflix and we already shot… that thing’s fucking dark, man.

TrunkSpace: Not only dark, but it’s also very politically and socially timely, right?
Mosley:: Absolutely. I guess that’s the darkness of that conversation in our lives right now is that it is very real, very poignant, and yes, it’s definitely the backdrop of what we’re doing on “Seven Seconds” in Jersey City.

TrunkSpace: You said you started out as the “serious actor” and then things veered into the comedy lane. From our standpoint, comedy is either a “get it” or you “don’t get it” situation because those beats and the timing can be difficult. Did you find that it just came natural to you?
Mosley:: I think with anything, you’re as good as the guy in front of you or the girl in front of you. With “Sirens,” me, Kevin Daniels, and Kevin Bigley were a little rock band. We all had our instruments and we knew how to play, and by the second season, they were just letting us rip and go to town and go crazy. Timing to me is with another person. It’s like the timing that the two people or three people or four people have is kind of unique to them. That’s as far as I can speak to it because I don’t really know why some of that stuff works. I’ll go in for something and they’re not laughing at me at all as I’m auditioning. Sometimes I’m flat, and then sometimes somebody gets it.

TrunkSpace: Regardless of how a project is ultimately received by viewers, do you view each one as a success based on the experience you had working on it and what you learned about yourself as an actor?
Mosley:: Yeah, for sure. “Ozark” was fun. And it was weird as hell and unique. We’re down in Atlanta out in the woods floating around in lakes and shit. It was really great. I didn’t really know what was going on in the show very much. Watching the show, there’s 20 storylines going on all the time… different people and different things. There were so many trailers on set and Mason, my character, never knew what was going on outside of it. We all had our own worlds and Bateman was kind of stringing it all together.

Working with Bateman was a blast. He’s really good in the show because he’s such a good actor, and I don’t think we’ve seen him like this… when he’s pleading for his life in the pilot, it’s unreal. He also has this kind of natural likeness about him as we’ve always known him to have. So it was really wild getting to act with him and doing this really intense, epic stuff, and then they call “cut” and he’d be cracking jokes and busting balls with the crew. The more I’m in this business, you kind of run into these people who are effortlessly in control of themselves… folks that have an ease and you trust them. They’re like a good quarterback.

TrunkSpace: “Seven Seconds” is based on a Russian movie. It seems like a bad time to be involved in anything Russian.
Mosley:: (Laughter) Yeah, right?

TrunkSpace: In all seriousness, the show is very topical as we previously mentioned. Did that put extra pressure on everybody involved to make sure the show hits the right tone and point of view knowing that it’s meant to say something specific about what is going on in our society today?
Mosley:: Absolutely. We were so careful, and I hope we did it. With something like “Seven Seconds,” we just want to make sure at every point we’re not taking anything for granted… not making any assumptions and that nobody’s opinion is coming out in a way that’s not there to encourage discussion and discourse and to protect those that aren’t being currently protected right now.

TrunkSpace: Both “Ozark” and “Seven Seconds” are Netflix shows, which means they’re rolled out, per season, all at once. For an actor, how does that experience differ for you than something like “Sirens,” which took a more traditional approach?
Mosley:: Well, a couple of things. When you’re doing a network broadcast, you kind of have to beg people to show up to the party. You’re on Twitter saying, “Hey, please watch my show. It’s on Tuesday at 8:00.” With the streaming, you don’t have to do that. It just kind of lands. I haven’t been on any social media begging anybody to watch “Ozark” or anything. It’s just there.

Also it’s a premium subscription, so their pedigree is just a little bit different. They’re not afraid of anything over there that I can see, so that’s great. You get to do kind of crazy stuff.

TrunkSpace: Well, and like you mentioned previously with “Ozark,” there are so many storylines going on at once that being able to stream it all at once helps keep everything tight for the viewer.
Mosley:: Yeah, there’s that too. Also, with network broadcast TV, they’ll change the show as it’s airing based on how well it’s doing or how well the show next to it is doing. So as you’re shooting episode 6 on a broadcast network television show, episode 1 is airing and if episode 2’s numbers drop, they’re going to go into the writers’ room and episode 8 is going to be completely different and now the show’s completely different. They have to get in there and tinker with it, whereas on Netflix, there’s none of that. They let creators take the ball and run with it.

It’s great because it allows creators to find their sea legs and figure things out and it lets the cast get comfortable with themselves, lets the crew get tight, and everybody becomes completely cohesive by the end of the process. The real vision gets to be honored, which is kind of difficult in broadcast television.

TrunkSpace: What aspect of your career would 15-year-old you be most impressed with? Is there a particular project or somebody that you worked with that young Michael would be super psyched about?
Mosley: I don’t know. Getting to kiss Margot Robbie on “Pan Am” was pretty cool. (Laughter)

You know, you play cops and robbers and you get to fly an airplane… you get to do all this crazy shit that you never expect to do. That stuff is just super crazy, like going out to Jersey City and spending a week hanging out with the homicide detectives and having dinner with them, talking to them, listening to their stories, and cracking jokes with them. And meeting the homicide detectives and vice detectives and cops in Manhattan and having dinner with them. These are crazy, wild things that you never would expect that you get to do. Or when I was in “Pan Am,” we went to a flight simulator and I was flying a plane with Mike Vogel. Not a real plane, but a computer plane that moved and stuff. Or going to Mozambique, shaving my head, and hanging out with a bunch of marines. This is the stuff that’s just kind of crazy and wild and fun about the job. Hitting your mark and saying your lines is one thing, but where the plane takes you is bizarre.

“Ozark” is available now on Netflix.