INTERVJU / INTERVIEW
what they were doing and rarely showed weakness. Today’s audiences want au- thenticity. People want to see some- one who can be brave, but also scared. I think that’s a healthier image of mascu- linity than the old one. Don Hart isn’t a man who resolves everything with fists or great speeches. He sometimes re- mains silent; sometimes makes mis- takes; sometimes doesn’t know what to do. And that’s precisely what makes him real. The shows deals with family relations a lot. How important to you was that aspect? - I think that’s the heart of the whole story. Disasters and action attract attention, but what remains are the re- lationships between people. Don tries to be a good father, husband and leader, but those things often come into con- flict. And that’s very realistic. No one manages to keep everything under con- trol. I’m particularly interested in the way the show portrays family as some- thing complicated, but worth fighting for. That was very close to me. How does transitioning from the world of secret agents to that of firefighters and rescuers look? - Surprisingly emotional. A certain distance exists with secret agents. They are trained to hide their emotions. Fire- fighters and rescue workers are differ- ent. They work directly with people dur- ing the worst moments of their lives. There is much more empathy and imme- diacy. That changes a character’s ener- gy. Don isn’t a man who saves the world in secret. He’s someone who steps into chaos every day to help others. And that carries a special weight. The series unfolds in the city that’s the home of country music. How important is music to the atmosphere? - Hugely. The music is practical- ly part of the show’s identity. Nashville has a soul that comes from the music. Even when you don’t hear a song, you feel that rhythm of the city. I think that gives the series a warmth that sets it apart from other procedural dramas. It’s not all darkness and danger. There’s also life between the disasters.
from the world of secret agents to the world of firefighters and rescue workers. After NCIS: Los Angeles, you are back in a series that combines action and emotion. What drew you to 911: Nashville? - I was attracted by his humanity. Naturally, the series has major action scenes, disasters and intense energy, but underneath all that are interper- sonal relations. That interested me the most. I think today’s audiences are no longer looking for perfect heroes. Peo- ple want characters who make mistakes, doubt themselves and strive to strike a balance between work and their person- al lives. Don Hart is just such a man. He is strong when he needs to be, but has many internal conflicts. And I think it’s that combination that makes him inter- esting. Your new character is a former rodeo rider and the leader of a rescue squad. How important was it for you to understand that mentality of the American South? - Nashville has a specific energy. It isn’t Los Angeles. People talk differ- ently and have a different view of fam- ily, honour and responsibility. I wanted
to understand that world before I start- ed playing it. Rodeo culture, in particu- lar, has something very American with- in it, the idea of tenacity and pride, but also a certain loneliness. Don belongs to that generation of men who weren’t taught to talk about emotions lightly. And that’s why he often seems closed. But beneath that tough exterior lies a lot of insecurity. Was it tough for you to separate yourself from the world of NCIS: Los Angeles after all these years? - Yes, because you spend so long with one character that he becomes part of you. Callen was a very intense char- acter. He lived constantly between dan- ger and paranoia. But I think every actor wants to move away from their comfort zone at some point. I didn’t want to re- peat the same thing. And 9-1-1: Nash- ville gave me the opportunity to explore a different kind of hero. Less of a secret agent, more of a man trying to protect his community and family. And that was refreshing for me. Do you think television heroes have changed in recent years? - Absolutely. Heroes used to be al- most untouchable. They always knew
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