Trace Adkins Is Such A Great Guy.

Breakfast Club Was Great Because We Had A Real Rehearsal, And We Shot Primarily In Sequence. I Thought That Was Going To Be How Movies Were Done. I Didn't Really Know How Lucky We All Were. We Had A Director That Liked Actors. I Didn't Know That Was Going To Be Rare.

I Worked With The Late Leonard Frey. I Did A Play, And I Would Have These Ideas And He Would Say, "i Don't Know. Try It." And I Would Try It And It Would Be Awful, And He Would Go, "what Do You Think?" And I Would Go, "it Was Awful." And He Goes, "okay, We'll Try Something Else." And That's Great Because It Really Makes You Feel Less Working-for And More Working-with. There's Nothing Better Than To Feel A Part Of The Team.

Part Of The Reason I Thought That I Might Do A Series Is, My Dad Has Pretty Much Been On The Same Road To Work For Years And Years. And It's Like, "could I Do Something Like That? Am I So Independent That I Can't Punch The Clock At The Same Place?" So Part Of It Was A Kind Of Exercise. "can I Be Responsible In This Way?" And Lo And Behold, I Could. Luckily. It'd Be Bad If I Couldn't.

It's Strange, 'cause A Play, You Start At The Beginning And You Go All The Way Through To The End. So It's Naturally Very Well Rehearsed And You Get A Rhythm And A Flow. In Film, You Can Shoot The Ending Before The Beginning. It's Very Odd. And It's Like A Craft You Have To Learn.

[kevin] Costner Said, "you Don't Have To Do That... This Is A Wide Shot, So You Can Calm Down."