Summary of “Bill Hader Kills”

In the aughts, when Hader was establishing himself as an actor, he gave a series of bravura performances: a yes-man studio executive in “Tropic Thunder,” a melancholy cop in “Superbad,” an Army private who smokes some experimental weed and loses all his inhibitions in “Pineapple Express.” Judd Apatow, who produced a number of films in which Hader appeared, recalls that, after Seth Rogen acted with him in the 2006 film “You, Me and Dupree,” he said, “I have found the guy who we all are going to want to work with forever.”
When Hader enthused about a cinematic detail-like how the flame in “Schindler’s List” is in color, but as it dies out the film becomes black-and-white-he’d say, “I love that you notice those things!” When Hader was seventeen, his grandfather died of pancreatic cancer.
John Mulaney, Hader’s writing partner on the show, said, “People flailing always made Bill laugh, and we both find many forms of masculinity very stupid.” He and Hader often exchange lionhearted Germanic nonsense in the voice of Werner Herzog, the “Grizzly Man” director.
Hader told me, “No matter what I do from now on, my obituary is going to say, ‘”Saturday Night Live” star Bill Hader is dead.’ ” When he left, in 2013, after eight seasons, Hollywood saw him not as an actor but as a performer.
“It’s one of those jobs, like dogcatcher, that exist in fiction but not in real life. Bill said, ‘It wouldn’t be a cool hit man-it’d be me.’ I added something I’m interested in: what if you have a gift, but you hate it? Bill was like that at ‘S.N.L.,’ so suddenly the story was personal. And that immediately got us into ‘What does he really want to do?’ I said, ‘What if he wanted to be an actor?'” As they wrote the pilot, in 2015, Berg realized that Hader, unlike Barry, didn’t aspire to present himself as an actor.
As Berg was driving home, the network called to ask whether Hader was up to the task, and he loyally replied, “It’s not an issue.” Hader wound up directing the first three episodes.
Hader noted, “But something in Barry has to hold on to this dream. Because the only other version is he kills himself.” In “Barry” ‘s first season, a legendary Chechen hit man named Stovka, faced with the prospect of killing yet more people, dully declares, “There is only one true way out,” and shoots himself.
Hader acknowledges, “We always saw Stovka as the ghost of Barry future.” In a sense, Hader is slowly rubbing out, onscreen, the actor part of himself.

The orginal article.