Rooster Runs Wild: Director Zach Braff Breaks Down Greg's Night Out In Episode 4 — And Working With John C. McGinley Across Two Shows

If the first few episodes of HBO's "Rooster" were about world-building, Episode 4 is where the show finally lets loose — as evidenced, among other things, by the 40s eventually duct-taped to Greg's hands.

With Zach Braff — a frequent collaborator of series creators Bill Lawrence and Matt Tarses — behind the camera, Greg's night out with Tommy and his friends delivers some of the series' biggest laughs to date, while Steve Carell leans into the kind of cringe comedy that made him a household name on "The Office."

Meanwhile, Braff's "Scrubs" co-star John C. McGinley continues to flip expectations with a surprisingly warm turn as Ludlow College president Walt — a man who'd like nothing more than to be Greg's best friend. (Eat your heart out, John Dorian!)

In the Q&A below, Braff breaks down the episode's turning-point feel, directing Carell at his most unhinged, and what it's like reuniting with McGinley across two shows.

TVLINE | This feels like the first episode where the show really settles in — the characters are established, and you can just have fun with them. Did it feel different directing this one compared to the previous episode?
Yeah, that's a great question. It did. I think with a lot of Bill's shows, there's so much world-building in Episodes 1, 2, and 3 — not as a rule, but usually there's a lot of world-building to do in those episodes. Then by Episode 4 — with "Scrubs," it was "My Old Lady" — something sort of major happens.

I was so honored to get this script because I read it and thought, "Oh, now I see the show." And I think there was a lot of that vibe on the set of Episode 4 — people who are so invested in the show watching certain scenes and going, "Oh, this is the show.
" The frat party scene is a perfect example. When Greg's wasted and getting advice from the kid that he too can reinvent himself in college just like anyone, that exchange is the show. That's what the whole show is about in that moment. And in classic Bill Lawrence form, it's so heartwarming... but Steve's got 40s duct-taped to his hands. [Laughs]

TVLINE | You get to direct Steve Carell playing one of my favorite versions of a Steve Carell character: tapping into an unexpected confidence. It reminded me a bit of Cal in "Crazy, Stupid, Love.," when he embraces his inner ladies' man. Here, Greg is also exploring what it'd be like to live a bit more like Rooster as he spends a night out with Tommy and his friends. What was most fun about helping him unlock that on screen?
With Steve, it's sort of like just get out of his way. I create an environment where everyone knows there's no wrong answer. This is something I do on all the shows I direct — create an environment where everyone knows there's no wrong answer. It doesn't matter if you're Steve Carell or a day player. Try something. If it's too broad or weird, we won't use it.

When you create that sort of safety net, people are way more willing to try stuff. And I think in that frat party, you've got Steve Carell, one of the greatest comedians working today, alongside kids whose first show this is. The kid with the penis drawn on his forehead is 18 years old. I think this is his first job. So you've got such a mix of experience and ability, and then like 100 background players.

It was a lot. It was a big thing for a new show to take on. But I think Steve was just incredible. And I think it all builds to that sweet conversation between him and Tommy. I kept steering him toward having an epiphany — when he assumes he's going to be the one giving advice, and he's still trying to find his footing as a teacher and mentor. He doesn't really know yet. Then here's this kid who works in the local diner giving him the advice that — like, "hey, why can't you start over in college, too?" I just think it's so sweet.

TVLINE | In Episodes 3 and 4, Steve also gets to tap into that cringe comedy audiences loved on "The Office" — whether it's tripping over his feet and seamlessly transitioning into the "Walk Like an Egyptian" dance, or that moment when he insults Walt's wife and the music suddenly cuts out. As a director, how do you calibrate those beats so they're funny without tipping too far into discomfort?
Well, you could cut them so they would be painful. You just let the actors sit in the discomfort. And the cringe, obviously, people love that. They love Steve's character in "The Office." This man has his life a bit more together than Michael Scott on "The Office." But with those moments, you just let them sit, and then we find in the edit room — like, "how long is the appropriate amount of time for the audience to sit with this cringey, embarrassing moment?" 

I think he riffed the "Domo arigato, Mr. Roboto" thing himself, which was so funny. In that scene, there was a lot of riffing [with Annie Mumolo]. Him at the bar hitting on Cristle... there are so many versions of those two flirting with each other at the bar. I wish we could give the audience the outtakes because how funny they are, and all the different things they said to each other. That's what's so fun about working with people like that — there are six different versions. It's a high-class problem.

TVLINE | We spoke, around the "Scrubs" revival, about John C. McGinley's performance — and I love how Walt feels like the inverse of Cox. He's still intimidating, but much warmer, and embracing Greg more than Greg would like. I also love how you shot that "old-fashioned stand-off" between them. What's it been like getting such a different performance out of someone you've worked with for so long?
Listen, the luxury I have with John is he's brilliant, but he intimidates a lot of directors because he's an intimidating guy. He kind of is Dr. Cox, but instead of being a jerk, he's the nicest person in the world... but still intimidating. Unless you know John really well, you wouldn't push him. But we're so close, and I know he's a big softy underneath that hard, alpha-male exterior.

That's what's fun. We have so many years of history, so I can say, "Remember when we did that thing in Season 6? Think of it like that, but this." He's such an actor's actor. He loves performing. He works so hard. He takes it so seriously. He rehearses. He often has big monologues — particularly on "Scrubs" — and he works them and he works them. I don't know an actor who puts more into his prep than John C. McGinley. And he really trusts me. I can say, "That was great, John, but let's do one straighter," or "Let's lean in more." He really lets me direct him, which is an honor.

Walt is such a funny character. It reminds me a little of his character in "Office Space." He's so geeked to be around Greg — enamored by him — and Greg is so off-put by it. They have such funny stuff together.

TVLINE | There are so many former Bill Lawrence collaborators here, including yourself. When you're directing actors like Alan Ruck ("Spin City"), Rick Glassman ("Undateable"), or Rory Scovel ("Ground Floor") — even if you haven't worked together as much before — is there a creative shorthand you all share from having worked with Bill on other shows?
Yeah, and Phil Dunster is another big one. I directed Episode 2 of "Ted Lasso," so no one knew who Phil Dunster was then. And now they're global superstars.

There's definitely a shorthand. If you work in the Bill Lawrence universe, there are certain rules. You get it as written. Once you have it good as written, then you can play around and improvise.

He wants levels. You can lean into the joke, but don't get too broad. It always has to stay grounded in reality. Then there are exceptions. Rory losing his gun is a classic Bill thing — dipping a toe over the line. If everyone else is grounded, then you can have one character do insane stuff.

If you know how he likes to work, then he's happy when he gets to the edit room and has all the options he wants. He just gets p—ed if you only did it big or didn't get it as written. That's a big no-no.

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