When he started writing the third season of Barry, Bill Hader knew where the story would start and where it would end. He spoke with JesseDavidFox about the journey to the season's final frame
Bill Hader directing the third season of Barry. Photo: HBO When he started writing the third season of Barry, Bill Hader knew where the story would start and where it would end. In episode one, Gene Cousineau would find himself in Barry’s trunk. In the finale, Cousineau would assist in Barry’s arrest. What happened in the middle was the question, and it soon became apparent to Hader and his writers that the journey would be hard-fought for both characters.
The episode is titled “Starting Now” which is a callback to the first season. It is also what Albert says to Barry. I want to talk about those last few scenes: Albert says to Barry, “Starting now you’re going to stop doing this,” which seems to absolve Barry. Then he has a call with Sally where he expresses his love. But then he gets the call from Jim Moss and he goes to Cousineau, and now he’s back in that killing mindset.
That moment especially reminded me of Flannery O’Connor’s short story “A Good Man is Hard to Find,” which you’ve alluded to as an inspiration for this season. Essentially the idea that Barry would be a good person if at all moments someone was holding a gun pointed at him. Usually we shoot with very wide lenses, so we shot on a longer lens to give it a different feeling. I told Henry, “You just have to look at him like, ‘I got you.’” That’s the feeling. “Honestly, you don’t have to do much. Just stare at me.” And he did it. And then I did my look and then we went to lunch. [Laughs.]
In episode two we have Barry saying, “You’re a bad actor Mr. Cousineau,” and then it’s paid off later. He actually is going to fool you. He does it flawlessly. So that look and that moment is Cousineau getting final forgiveness in an episode that is incredibly dire and very rough. It was important to end it on a moment of someone having a real emotional, spiritual win. And that’s Cousineau.
As a show, people go, “Oh, it’s a comedy.” It’s a comedy because it’s 30 minutes. Everybody’s trying to put it in this thing. I just view it as a story. The show, and this season very much, was about trauma and victims of trauma. In a lot of these stories, Janice Moss would’ve been killed and then you’re on to something else. It’s like, “No, the woman who died at the end of season one, that permeates and destroys. It hurts this guy. It affects a lot of people.” And it doesn’t just go away.
I asked Sarah Goldberg about it. I go, “What do you think?” And she’s like, “Oh, I’m killing that guy. There’s no way I’m not killing that guy.” The door closing and the silence is a feeling. She’s being cut off. A part of her has been silenced by murdering somebody. It’s a transcendent moment. And it fits to Barry saying, “No, no, no, let me take it, I started all this, let me own it.” And you just can’t do that.When you cut from each of these — the garage, Sally killing the guy, Hank in the basement, all that to Albert at the tree — it was a marathon. It’s just getting punched in the face, one after another. In editing, I said, “Why don’t we own it? Want to try putting some dissolves in to make it feel like one piece?” Ali was able to time those perfectly.
Once you decided NoHo Hank and Cristobal were in a Romeo and Juliet-type relationship, how did you get to this ending? You often talk about how you try not to judge these characters. However, you said “the chickens come home to roost” in this episode, and there is a Judgement Day quality to it, as well Judeo-Christian allusions to heaven- and hell-type stuff. What does it mean to you to punish these people without judgment? How do you think about these characters now facing consequences?
There’s only one funny part in episode eight in my mind, and that’s Gary Kraus in the background saying, “I haven’t seen Albert since he cocked his gun in front of us and angrily laughed.” That was the only joke in the whole episode.
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