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[S2E8] Good Intentions BEST

Broussard was sharing the "good" news about the death camp to his contacts, but it still didn't mean there was much information disseminated with regard to what it means to his group or how they'll try to connect with others to make their cause stronger.

[S2E8] Good Intentions


As they make off, ignoring stop signs and speed limits on their exit route, the entire encampment explodes in the backdrop. This was the news Helena got, and Snyder was wise to have sucked up to her before to get on her good side, apparently.

Despite following all the rules, Kim still believes, after a good lunch pitch which compares her new solo practice to a tailored suit. that she has won the client fair and square. That is, until Chuck, who is aghast to hear that Jimmy has convinced Kim to leave HHM, chooses to momentarily forget his electricity allergy and deliver a truly conniving bit of salesmanship that eventually wins Mesa Verde back to HHM.

Will helps investigate the case of a woman's body found inside of a horse; Alana worries about Will's intentions toward Hannibal; Will and Hannibal rush to protect a witness they believe to be in danger.

With the alleged Chesapeake Ripper, Fredrick Chilton, gunned down by Miriam Lass, it would seem Hannibal Lecter is in the clear. Will and Jack Crawford are doing what they can to keep up appearances. They even attend dinner at Hannibal's house, though they insist on providing the fish for him to cook themselves. Hannibal seems almost jolly. And why not? He's sleeping with the beautiful Alana Bloom; he's back in Will's good graces, and he's in his element cooking a meal for friends.

Hannibal had told Alana it was good for Will to be back in therapy. As Hannibal expounds on the current case and on Will's going back to consulting with the FBI, the profiler tells him to stop. He makes clear he still holds Hannibal responsible for what happened to him and that he still fantasizes about killing Hannibal. But it's only a fantasy. "I don't want to kill you anymore, Dr. Lecter," Will assures him. "Now that I finally find you interesting."

The sides of the dead horse bulge. Bloody fingers poke through the incision and pull it apart. Horse guts come spilling out, followed by a blood-and-gore-covered Clark Ingram. Hannibal turns from the sheep he is petting. "You might want to crawl back in there if you know what's good for you." Behind him, Will points a gun at Clark, who drops to his knees and says he's the victim. Will cocks the revolver and tells Clark to pick up the bloody hammer lying nearby. Hannibal tries to talk Will out of shooting the social worker. The tension builds. Hannibal, seeing he isn't getting through to Will, drops his thumb in between the hammer and the firing pin just as Will pulls the trigger. Then he takes the gun away. Hannibal is impressed and proud that for all his work to shape him, for all the seeds he has planted in the profiler's brain, Will's actions are ultimately directed by a violent unpredictability.

Chen Tang:Yes. Believe me. Believe me you don't need actors, right? Now that does take away from the amount of passion that I have for what I do and the love that I have to it. But I'd like to just lay that out there first. And I think it's important because at the end of the day, that leads me to the next thing that I wanted to say that was the second part of your question, what do you think that the world doesn't really understand about what we do? And I'm one of the first people to admit when I was a child, you would see the movies, you would see TV and stuff. And you'd be like, "Yeah, I can do that." Because it looks so easy and effortless. But that's the point. That is the point of if you're doing it very, very well, you're doing it at a high level, no matter what you're going to going through in this imaginary circumstance situation, you should look like you're not acting at all. And that's good acting.

Terri Trespicio:It's a grind. I mean, I can look at it in a second and go, "My God." It is a grind like any job. When you see someone on Broadway and you're like, "I just saw this amazing show." And it's like, yeah, that guy and that woman are coming back tomorrow to do it again. And they have to act like they've never done it before. That exhaustion, that's just different but it's also like, "Do you want that job?" It's no different than, "Well, I want to be a doctor because I want to have a white coat and people look up to me." It's like, "Okay, but that's not..." You have to get up at 3:00 in the morning sometimes to do that. So it's a choice and it's a job. And of course it's a very nice job. And if you can make a good living as an actor, I think obviously it's no, one's feeling bad that Chen has to work out really hard.

Terri Trespicio:You really have a craftsman's mindset. And in fact,. You mentioned in another interview, you did Cal Newport's book, So Good They Can't Ignore You. And I was like, "Wait, I know that book. And I just looked for it and I found it." I have bought it years ago and it is so good.

Terri Trespicio:And it's in the title, so good is. But the point of this is this, this is why I bring it up. There's an idea that we are called to do things that I have to figure out what my passion is so then I can go do that thing. And some people do that. They start playing the cello at six years old, they play it for the rest of their lives. That's their thing. But most people don't live that way. And there's a danger as Newport points out and plenty of people do that there's a danger in feeling that you're meant to do something and that you're going to wander the earth trying to find that thing.

Chen Tang:I would agree to an extent and I'll explain why, because in that book, his theory is there's two ways about it, yes. Some people really do. They really find their passion and that's wonderful. But the other side of it is a huge part of the reason we love something and have a passion for something is because we end up being honestly, pretty good at it.

Chen Tang:It has nothing to do with the craft actually because the idea of saying something like, you know what, if... I'll put it as an example. If I said, I want to be famous and I'm going to pursue fame, I might get fame but you can't actually logically look at that and say, "That will make me a good actor."

Terri Trespicio:Yes. I mean, look. Some of it is luck. Some of it is opportunity. Some of it is talent and talent is a slippery fish because there are people who work really hard and are skilled enough and something opens up whereas there are as you know plenty of talented, hardworking actors who no one will know that they make their living doing it or maybe they don't. So this is what's tricky with any career. We're talking about acting because you're an actor but it could be anything with anyone. When we look at our careers and how we measure success and how we measure whether we should or shouldn't be doing a thing, we automatically look at, what am I good at? But also, am I talented enough? Am I good enough? Now, you have said in every interview I've seen with you, it was not your intention to be a famous actor, it was not even a dream at first to be an actor. You thought you wanted to be a soldier.

Chen Tang:Yes. I am scared of it. After you finish it, it's like trying to climb a very high mountain. You're like, while at the top of the mountain, you feel great. But climbing the mountain, you might not feel so great. But at least you're climbing it. And even though that does feel good, to me finish climbing the mountain feels even better. So that's the honest answer to your question.

Terri Trespicio:It's a long uphill climb. It's just that it feels good if it's what you should be doing. Okay. So now I have a question. If you thought those were hard, I feel this is going to be equally tricky but I'm going to ask it because it was the one thing I was really...

Terri Trespicio:You are an Asian American actor who's enjoying some fabulous success. And we're all about this explosion, Asian American acting and Asian American writing. Like, yes, we want diversity. Yes, this is good. This is good for everyone. But let's be honest. Does it get tired to always be representing? Yeah. We love the result of having lots of different kinds of people and ethnic backgrounds and all that. But I feel for the person who is representing a community and ethnicity, whatever, it feels unfair to make a person bear that burden all the time. Because let's be honest again, Brad Pitt doesn't have to represent anything nor does Leo or Toby Maguire. Anyway. But you're like, okay, well, he's the... Then they have to put into context. Why can't you just be an actor? Does that get annoying?

Chen Tang:And the good thing is I combat that by, and also naturally the way I look at a role or the way I look at my work and what I do whenever I try to play a character, you get to see this character on a piece of paper and see how it hits me. And I try to see the humanity of a person because that's universal to me. And that's actually what fascinates me as an artist, as a human being, as an actor rather than just only a slice of that, which is their culture or their outside package. Does this all make sense?

Terri Trespicio:Yes. No, I mean, I really appreciate the honest answer because of course you're going to be interviewed and lauded and celebrated not just because you're you and you're good at what you do, but because the people who are Asian-American actors and want to be, are going to say, "Great, you represent us." And that's good. I'm not talking about you not wanting to be connected with the people whom you represent, but by putting that on you from the other direction saying, "You're this actor." It's like, "No, you're an actor." 041b061a72


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