still need to watch part 1 but
Campbell's season is back
Pete's hairline don't dance, it just pulls up its' pants to do the Rockaway....
lmaoPete's hairline don't dance, it just pulls up its' pants to do the Rockaway....
Weiner There were famous people who came in to read. The guys from That '70s Show came in — not Ashton, but the other guys. I'm still impressed by Danny Masterson. But at a certain point, it was working against them. My theory was that The Sopranos casting was great because you didn't know who any of those people were.
John Slattery (Roger Sterling) I went in to read for Don; they wanted me to play Roger. Matt Weiner claims I was in a bad mood the whole [pilot]. I had a couple of scenes, but I wasn't as emotionally invested as some of the people because there wasn't that much of Roger in evidence yet. Being a selfish actor, I didn't necessarily see the full potential in the beginning.
January Jones (Betty Draper) I came in for Peggy twice. Matt said, "Well, there's another role, but I don't really know what's going to happen with her." He didn't have any scenes for me, so he quickly wrote a couple.
Weiner Alison Brie was a big lesson because we couldn’t afford to make her a series regular. And we gambled [Community] wouldn’t happen. We were wrong.
Sorcher Matt had an extremely clear vision for the show. We had only one or two notes that were key.
Wayne We said to Matt, "OK, this is a great show about advertising, but what are people going to talk about week in, week out? What's the bigger story for Don?" He went off, and a few months later he came back and pitched the entire dikk Whitman/Don Draper story. We were mesmerized.
Weiner So I told [AMC] I had this 85-page screenplay that was Don Draper's backstory. It was called The Horseshoe, and I abandoned it five years before I wrote Mad Men. The last scene is this character taking Don's name and leaving his [dead] body at a train station.
Wayne My biggest argument with Matt was on the ending of season one: Don coming home and telling Betty he couldn't go to Thanksgiving. He'd written it that Don comes home, hugs Betty, and they drive off into the sunset. But that ties the show up with a bow, and we had to do season two. He got so mad he hung up, but he called back and said: "You're right. I just love my characters so much, I wanted them to be happy."
Weiner AMC had waited a very, very long time [to renew the show for a second season]. I remember seeing them at the [2007] Emmys and, with an Emmy in my hand from The Sopranos, yelling at everybody from AMC, "You don't want Mad Men? Let it go." I knew there was a really good chance the show could end up on HBO. After season four — and our fourth Emmy in a row — my contract expired again [in late 2010]. Nobody from AMC or Lionsgate would talk to me.Bryan Lourd [at CAA] got involved. He said, "Don't worry about it." Cut to six months later, and it's, "I've never seen anything like this in my life." They came in with a very low offer and stipulations about cutting time and adding commercials, getting rid of 30 percent of the cast. I was like, "No to all that." They kept offering me more money to take those things, and I kept saying, "No, this is not about money."
Stern When we first started negotiating with AMC, one of the things they wanted was a spinoff. We talked about doing a contemporary one. Given the fact that [Mad Men] ends nearly 50 years ago, most of the characters would be dead. Sally was the one character young enough that you could see her 30 or 40 years later. There was a time we wanted a Peggy spinoff, too, and, a la Better Call Saul, a minor character going off to L.A. Matt wasn't comfortable committing to a spinoff.
Jared Harris (Lane Pryce) There was talk about cast changes, so we were all looking around, wondering who it might be. When you start going through the list, it's obvious they're not going to get rid of Jon, Slattery, Christina, January. … You start figuring out that it really comes down to a couple of people. But I didn't know [that my character was about to hang himself].
Stern Matt and I were sitting at the table read for the last episode of season four. Don Draper had started dating a psychologist named Faye, an equal. Then, in the last episode, he runs off and he marries his young secretary. I was a little surprised, and I said to Matt, "I'm sad — I thought Don had finally pulled it together." And Matt said, "Yeah, me too. I really thought he could do it this time, but he couldn't."
Hamm Obviously it's no fun to play a person who only makes the right decisions all the time, but it can be difficult to watch somebody, time and time again, who just continually makes [the same] mistakes. I think it got progressively more difficult for me. As Don’s downward spiral continued, it became kind of relentless, and that takes its toll on your psyche.
Robert Morse (Bertram Cooper) Matt came to me and said, "Bobby, I got some news for you. You're gonna die." I just hoped I wasn't being hung like Jared the year before. He said, "No, no, no! We're going to do a whole show about the moon landing. You're at home, and you just pass away quietly as they land. That's your exit." Then Matt tells me, "I've always wanted you to sing, so you're going to come back as a ghost and sing to Jon Hamm, 'The Best Things in Life Are Free.' "