Emergency medicine requires you to wear a lot of hats. And no one knows that more than Jack Abbot (Shawn Hatosy). The Emmy winner makes a surprisingly early appearance on Season 2 of the hit HBO Max medical drama, as it turns out the night shift attending also spends his time as a SWAT physician. And, when a bank robbery goes south, his worlds collide, as he shows up in the Pittsburgh Trauma Medical Center as a simultaneous SWAT team member, doctor, and patient.And, perhaps with art being an imitation of life, the man behind Abbot is also becoming a multi-hyphenate in The Pitt Season 2. Hatosy stepped behind the camera, directing his first episode of the series this week. It's a heck of a time to step up, considering how much systems going offline have crippled and changed the PTMC. But there's still plenty of tense character drama fans know and love to fill out the runtime. And that includes a particularly charged exchange between Abbot and Robby (Noah Wyle), as the latter says goodbye to his good friend in preparation for his sojourn to Canada. One, we're starting to believe, he may never come back from.Hatosy talks with Parade about his favorite sequence he directed on The Pitt, why Robby's behavior could lead to a dark ending for the lead character, and whether he would be game to do a highly-requested "Night Shift" spinoff.
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What was it like getting to step behind the camera on The Pitt, considering how different the filming process is from anything on TV?This show is it's not like any other show I've worked on. We're in pretty much one location, and we shoot an order, and the style of shooting is very much follow the action. And it just it creates this energy, this immersive feeling, both for the audience and the performers. So as a director, being able to kind of choreograph, that madness and really key into performance and things like that, was something that I was very prepared and excited to do.Let's talk about that prep. Because you're getting thrown into the middle of a season, with all of these stories and patients being juggled. John and Scott have shown me their map before of all the different rooms of the hospital at any point in time. How did it compare to the work you had done on shows like Animal Kingdom?It's so different than a show like Animal Kingdom, because it is that one location. So your prep on a regular episodic that it isn't on a set, you're discovering what location makes sense and what time to shoot. All of those decisions you're not wasting your time with. And during Episode 8, that's my pre-production. I was there shooting. So I really have a leg up on other directors, because they only get the lunch period to sort of walk the set. I'm in it 10 hours a day for the nine days that we shot Episode 8. That's a unique thing. This preparation is really just reading the script over and over again, understanding it, taking that map and saying, "Well, this scene connects to this. We need to put them here." How can we sort of pass off one scene to the next in a way that has movement to it, but that doesn't feel planned? That's the challenge of the show. You don't want it to seem too choreographed. It's got to seem a little messy. So it's a lot of sitting there on the set, just saying, "Well, this is where I think Robby stands." Noah will be one to have an opinion about where he wants to stand, but you try to guess. And then one big challenge too, was because of the way 8 ends and 9 picks up. I don't know what that looks like. And those are the most challenging scenes to shoot as a director, the ones where you have about 20 people in the hub. So my first scene literally jumps off of the end of 8, and I don't know what that is, until they shoot 8, which is the very last scene they shot before I start 9. So I went there, I watched and I had my iPhone. And I was photographing, "Okay, so Joy's here. Ogilvie is here..."What was the sequence you were most proud of when directing Episode 9?There's a scene where — I believe Noah's starting in the hub. He sees that Javadi is distracted by the X-ray tech. And so then him and Dana kind of moved to the top of the hub have a little conversation. And they she decides that we don't need him. Noah figures out he doesn't even need to be there. They send him off. And then Donahue comes in because Javadi screwed up that patient. And then he walks all the way down, has a conversation with Dana kind of through the hub, but it's blocked by the board. And then we pick him up near Central, in front of the board. It was the chaos of that scene. I was really proud of the camerawork. And, look, I don't design camera moves on the show. It's really our director of photography, JoJo [Coelho], who is responsible for that. I mean, her and John came up with a very specific visual language for this show. And so it is our job as a director to kind of live in that world. But that would have been the scene that I was most proud of.What's also interesting is you're directing at the point where the systems have gone down and the ED is working in "analog." So now, on top of all the chaotic elements you're dealing with, there's also all of these old-school devices and methods being incorporated.Yeah, talking to the production design team, I was just saying, "What can we do to make it messy in many ways?" This board which now appears can seem like it's in the way, but in the way is great when you're trying to make something feel cluttered. And sticking that big portable X-ray in the middle of Dana's space was something that I wanted it right in her stuff, so she could feel it. Just figuring out where the papers were, and just the messiness of it. And I talked to a lot of the actors when we're in the rooms, not that it always paid off or ended up in the episode. But now they're writing so much. They're so used to just clicking in and then typing, and now it's like, "Oh, my hand's tired." That kind of exhaustion. And there was another scene with Perlah and Emma, where they're sort of trying to figureout the fax machine. The Kelly clamp in there trying to unwedge things. Even Dana gets in it, because fax machines are pretty hard to run. So it's the joy of that.
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You do get some on-camera work in this episode as well. Abbot decides to go home after getting patched up, and he says goodbye to Robby before the latter takes off on his sabbatical. Abbot tells him, "If it gets dark, you call me." And I thought it was such an interesting moment, considering the number of interactions we've seen the two of them on the roof both in the Season 1 premiere and finale. What's your perspective on his comment to Robby?I think much of Abbot's Season 2 arc is kind of coming back to how things ended in Season 1, and him revealing to Robby, "I do see a therapist. And I do find comfort in the darkness. But I'm working on myself, and you should too." He's checking in and noticing that maybe he's not doing the things that he should be doing, and he understands where that ends up if you don't kind of do the self-care. Noah very astutely recognized as we were blocking that scene that this is coming at the end of 3:00 p.m. So we're near 4:00. He's supposed to finish at 6:00. And. Abbot's really saying goodbye, because Abbot doesn't think he's coming back, because Robby's supposed to leave. This is sort of the first real goodbye that Robby has. So we did spend a little more time covering this scene in a way that highlights the importance and the weight of it. And even just as Abbot is listening and Robby does that thing where he can't look at him and kind of walks away, it's that moment of Abbot processing it. And the other thing that I really like about it is that it is the beginning of his goodbyes. And it goes right into the Whitaker scene, which sends Robby in another direction. He starts out by being the mentor who's very proud of Whitaker for becoming a doctor. And then it turns into this teaching moment of "you have to have boundaries." And then kind of sort of moves into this area where we notice that Robby is saying things that reveal that he might not be coming back. And it sort of leaks out in a — I don't want to say unhinged way. But there's a glimmer in his eye that makes you think, "What is really going on here?"I know Dana has said she doesn't think Robby will actually end up leaving on his sabbatical, or that he'll only last three days. What do you think Abbot's prediction is?I think Abbot, at first, isn't totally aware of how dangerous this is. I think he suspects it. And I think this is also the beginning of Abbot's discovery. Because later on, we're going to see a little bit more information that makes Abbot go into a more protective mode.Speaking of what's to come, I know in Season 1 when characters like Abbot, Shen and Ellis showed up, fans were jonesing to get a "The Pitt: Night Shift" spinoff. What are the chances of something like that actually getting off the ground?I mean, anything's possible. I would enjoy that. I think there's a whole world to to unlock. There's these characters which we've all really started to know, Ellis and Shen and some of the others with Abbot. It requires a certain type of person. Abbot has decided to work nights. And so you get those personalities, plus the types of cases that come in at night, it's wild, man! You get a lot of different stuff. So, yeah, I'm for sure open to it. I wouldn't want to try to get in the way of what's happening in The Pitt, of course. But if that opportunity came up, I would, for sure, love to be a part of it.
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