We knew you should probably not go out on that ice. But once you’re on the frozen lake, he knows he’s probably going to fall through it unless he crawls, right? You always get funneled onto the frozen lake, for instance. There are some circumstances where both options work. So then we’d say, “Okay, that worked, so this moves us on to the next obstacle.” Or, “Shoot, that really screwed up. What I meant by the improvisation was, whether Bear fell off the log or not, or whether he made it across on the vine, we didn’t know which way was going to be right and which was going to be wrong until after he did it. We were straddling the unscripted and scripted worlds in a way I’ve never done before.
He’d do both, and then once he would do one, we had a change of clothes if he needed for continuity. What are two ways you could do that?” And he’d be like, “I could try to swing across on this vine, or I could try to balance on the log and get across.” He’d know in his mind which was the better bet, the safer bet, but we’d let the viewer play with him a little bit, almost like he was their action figure. So there’s a sandbox, but then you also have to intervene to do multiple versions, right? How did you decide when to intervene?īasically we’d be like, “All right, Bear, you’ve got to get across this river. The way this show works, Bear has to do different versions of the same thing. You give him a sandbox and then launch him. I’ve worked with Bear for five years now, and that’s his thing.
We’ve got a talent who shows up in a sandbox we’ve prepared, and he improvises his way through everything. The thing I would say it’s most akin to is Curb Your Enthusiasm. There’s a couple two-parters in there, but they were each five days per part. And then we shot for about five days per episode. Basically, Bear would send us to places he thought would be interesting for adventures. It was months and months of pre-production. How long did it take to shoot these eight episodes?
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