When “Veep” star Reid Scott was told, “Look you’re gonna get fired this week,” he tells Gold Derby that “I was like ‘oh shit, really?’” But he was quickly reassured with an “‘Oh no no, don’t worry, Dan gets fired, you’re sticking around.'” In the April 26 episode, “Data,” his character, Dan Egan, was shown the door as a scapegoat for a scandal involving the use of personal data.
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On his feelings about his character’s development, Scott says, “They sort of told me what they had in store for Dan down the line, and it’s just hilarious, it’s really funny, it’s a great opportunity to bring in a whole new facet of the DC world, and you’ll see what I mean next week, and it was a lot of fun to do.” He continues to think that “Dan is nothing if not getting used to crushing defeat, which is these huge and repeated blows to his ego,” but that perhaps in this case Dan may be able to spin it into something “he should probably be a little proud of … he was a big enough head to roll for this catastrophe.”
On the big scene where Kevin Dunn‘s character tells Dan about his fate, Scott says, “That day, it was kind of crazy because we’re at this beautiful mansion in Maryland … you’ve got kids running all over the place and the guy in the Easter Bunny costume bobbing around … to sort of tear into this cutting, vitriolic type of scene in front of all these kids, we got kind of a kick out of it.”
Gear shifts are nothing new for “Veep,” which has seen the entire show this season shift from being about the vice president to the president. Scott thinks “mixing it up is a welcomed challenge … We also employ a lot of improv so there’s already this spirit and nature to ‘Veep’ of mix it up, fly by the seat of your pants … One thing we’ve learned as a cast is never get too comfortable, because just when you think you know what your character is going to do, they throw you a nice curve ball.”
A curve ball approaching from behind the camera is the exit of creator and showrunner Armando Iannucci after this fourth season of the show. Scott says, “For us, he ushered in this real sense of camaraderie, of inclusion … we have this really unique rehearsal process and we’re allowed to be the custodians of our own character and improvise and suggest ideas … I’ve never worked with anyone quite like Armando, he will be missed for sure.”
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