Interview With Jason Gedrick (Jerry Boyle) Part 2

  • In episode 105, Jerry learns that Marcus read his journal, but he somewhat contains his anger.

  • I think there's a bit of a pass because Marcus is in the wheel chair, but in that moment, there's a decision to be made. I can run you into a wall so you never, ever touch anything of mine again... or I can get the hell out. Because Jerry knows what he's been capable of in the past-whatever that past has been-he tries to limit, in some self-therapeutic way, the possibility of some regrettable action.

  • On his way out, Jerry makes sure Lonnie and Renzo take Marcus to the hospital, and then returns to check on him. That's when Marcus, on valium, confides his concern that he's "queer for" Jerry.  It's a touching scene.

  • It's one of the most amazing scenes I've ever read and was lucky enough to be part of. It's the anti-love, brotherly love scene - because it's too painful to admit that you actually care about something or that someone cares about you. It's also about the great need to have family, or love, or a connection. To be so riddled in your past with disappointment that it's painful to realize you actually care about something. I just love the fact that it takes Marcus being on valium to even touch the surface of this. That's the closest he'll ever get to saying, "OK, we're friends." Jerry's got to actually give Marcus an overview of his own background -- of the trauma that started when he was a kid and had this accident that the scene hints at, the details of which we don't know. And then living with that trauma your whole life and somehow connecting with people that set up a lion's lair, some kind of home, in this flea bag motel.  It's the most sense of home that each of these guys have probably felt in years.  And it's uncomfortable and nasty and secular enough that it's tolerable for now.

  • Did anyone provide any backstory on how you four ended up together at the Oasis?

  • It really only takes a singular visit to the track to understand. It's an overwhelming current of hope that you get to experience every day at the track. Regardless of your social class or background, it's that chase that brings these guys together. There's an unspoken love of that world that includes the gambling, the kismet factor of life. It's that dream that this may be the day that the chemistry of a jockey, a horse, the numbers, the wind, the rain, the turf -all those things have to come together in this moment to make your longshot come true. The track pretty much explains that to you when you visit it and you sit at Clocker's Corners and you watch how intently the real rail birds commit themselves to it daily.


  • What other research have you done for the role?

  • I've talked to a lot of longtimers. And my research is ongoing. The one thing that makes Jerry gifted at handicapping is almost more intuitive. He's got a sense of numbers, he's got a sense of trainers, but his real gift is his understanding of a special horse. There are some people and some animals and some individual living creatures that just want more out of life than the rest of the pack of creatures. Jerry is able to pick up on that - the beauty and the grace of a champion horse. This is Jerry's meditation. He can check out and connect with the natural instinct of these horses to just want to run and the majesty that is them. That's something you can't really do research on. It's reading short stories or poems about horses and connecting with other people's love of the horse.

  • Do you think the Degenerates will stay together?

  • What keeps them together is almost a belief that it's only temporary, even if it's not. As long as in their mind this is just temporary because they won this money and they're trying to keep a low profile, they can use it as an excuse to stay together. But if we were to ever mention that we're better if we hang out as a pack, we'd probably be too uncomfortable with that and then dissolve into our own directions. The scene is a lot about that. The primal need for family, and the shame that some people have that they a) need it, b) receive it and c) want it.


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