All Barry wanted to do was bring some beignets to a dinner party.

What Barry doesn’t know is that he’s about to hit some killer traffic.

And all the while, Barry never lets go of that bag of beignets.

BILL HADER:I think that chase sequence was actually in my mind when we were doing season 2.

And he was like, “Uh, okay.”

That’s a lot of work."

I find merging on the freeway to be very stressful.

And the moment Barry merges onto the freeway issostressful.

The way his bike wobbles yikes!

So this was partly rooted in your personal fear of merging?

That moment was one of the reasons to do it.

I just don’t know what would compel someone to do that.

Oh yeah, and they start crying and everything?

I remember seeing that in Tulsa, Oklahoma, and I’d never been to Los Angeles before.

And then coming to LA and going like, “Oh gosh, this is just likeClueless.”

Duffy Boudreau and I worked on that script.

The motorcycle chase, I had it in my head and didn’t really share with anybody.

It was still during the time of COVID where people weren’t meeting in person.

And he went, “Okay.

Let’s figure this out.”

You never sat on a motorcycle in this entire sequence, right?

No, that’s a guy named Dave Castillo.

Wade Allen at one point wanted me to.

“We gotta get you on the bike.”

And I said, “Oh, not if Barry has a helmet.”

[Laughs] “That sucks, now you won’t be able to see my face.

Oh man, I guess it just needs to be the stunt guy the whole time.

I was so looking forward to taking my life in my own hands.”

What interests you about shooting action scenes in this very distinct way?

I grew up loving movies.

I still love movies, and I loved action movies.

I don’t really love violence and I don’t really love what Barry’s doing.

You want to give it that feeling as opposed to, “Look how badass this is!”

It was like, “Oh, look how fun this is!”

That gun’s massive."

So you’ve got to create that moment and then underscore it with how dumb it is.

That’s the idea withBarry there’s this inherent violence in people and inherent violence and culture and action.

That somehow merges in my mind the brutality of it and the stupidity of it.

What gave you the idea to do it without music?

There’s something really dynamic about when something actually like that unfolds.

It doesn’t turn into, like, Hans Zimmer music.

Where did that come from?

I just did that on one of the takes when I was driving at the beginning.

It was like 106 degrees outside.

To be honest, we did two takes of that driving shot, because it was so hot.

I was directing it, and I was like, “That’s great!”

And then of course our producer Aida ran up to me.

“Is that song from something?

Do we have to pay someone for that?”

“No, I just made it up.”

She’s like, “Thank God.”

Mr. Kleintop, the used car salesman played by Bob Turton, is so great.

He’s having an affair, he’s aggressively ready to confront an intruder.

What was your goal with him?

He’s feeling guilty about his affair and he’s just dumping that on everybody.

I love it when he says, “Not today!”

Barry doesn’t save the day.

Like, “Shouldn’t Barry be the one that kills the person?”

Because sometimes those rules are right, but they can also make things predictable.

That’s always fun.

We kind of do that through the show a lot.

There’s the couple in the house who are breaking up while Henry Winkler is being attacked by dogs.

I can’t tell you why we did it.

It just felt right to single out these people.

Duffy Boudreau and Liz Sarnoff are writers on our show.

And Duffy and Liz will be the ones that go, “What does this character want?

What would they actuallydo?”

And it’s like, “Thenthat’swhat should happen.”

And then everybody’s like, “That’s f—ed up.”

But that’s what would happen!