Intervju / Interview
that were staying there, and at the end of a day’s shooting we could go up on the roof and have dinner. Do you think that Water- gate eroded trust in poli- tics in the U.S.? JT: I think so. It does feel like that was an invisible line that got crossed that we haven’t really been able to step back over since. We can applaud the Washington Post for following the story through. That’s because the way things are reported today, and then immedi- ately forgotten, is one of the prob- lems. Things used to be different. When you see an important news- flash that interrupts a broadcast, everything goes quiet in the room, sort of like – wait a minute, some- thing is happening... And now you are shocked by the latest news every ten minutes. There are so many unbe- lievable moments that are portrayed in the show. How much of it is histori- cally accurate? WH: Well, all the broad strokes are accurate. Obviously, with some of the conversations we couldn’t possibly know what they actually said, they are going to take liberty with that, but the things that are historical are all accurate. JT: It’s all pulled from testi- mony and what happened is very well documented. Making five episodes for television is a long process. Sum up what it was like to make White House Plumb- ers…. WH: It was really pleasant and JT: It was kind of like one of those dream scenarios, where dur- ing the day we get to make the show and at night we get to have dinners together and laugh. And it’s a real- ly funny script with extremely fun- ny people involved. WH: And everyone had won- a lot of fun. derful stories. And when you think about it, in life we all simply love hearing the stories of other peo- ple, and here there was really a lot of that.
same way about Hunt? WH: That’s interesting because I did! But I don’t like Howard Hunt as a human, as a historical figure, I feel like there were so many ter- rible things that he was a part of and yet, eventually, I particularly connected to the relationship to his family and the things that were go- ing on with them, all the circus of that. That’s where I started feel- ing for the guy. But, in the end, I stopped caring about him (laughs). He’s not a good guy. would have said that they were patriots and acting in what they believed were the best interests of their country, right? JT: Yes, patriotism circumvents It’s fair to assume that both Hunt and Liddy a lot of moral decisions, when you just say, ‘well, the patriotic thing to do is this and that...’ Because an- yone can say that you just do as you’re instructed, and what feels like it’s in the best interests of the country. But there is also breaking laws and circumventing the political process and the will of the people. So, yes, it’s a slippery slope when you become too patriotic. WH: I agree 100 percent! We’ve talked about the comedy that’s part of this story, but we simply must mention the wigs that your
characters wear as part of their disguise when do- ing one of their black ops. What was it like when you first saw each other in the wigs? WH: Oh, I laughed…. JT: It was hilarious. WH: Even after we’d been do- ing it a while and had been wearing the wigs for two, three, four days, it still struck me as funny. I loved his disguise – the glasses, the wig, it was so good (laughs). You filmed at the Water- gate building. What did that mean actually being in the place where it all happened? JT: Yes, we stayed there the whole time when we were shoot- ing in Washington. It was great. Apart from the convenience of being able to leave a hotel room and be at work, we had a fantas- tic art department and decorators that made it look very good. And there’s something about being in the building where the thing hap- pened. It was great. WH: It was kind of cool. It re- ally does add something when you are in the real place. I liked that place – and it has a great bar on the roof (laughs). JT: And you know there was a family atmosphere on this and the crew and cast were a great bunch
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