Hi everyone, Baruch with Young Hollywood. Matt Dylan is making the big move to television, and he's giving us the inside scoop right here in New York City. So, Matt, how did you decide to live in New York versus LA? We're here in your hometown now.

You know, I I think it's my family is here. I've always been in New York. I've never given up my New York place.

When you're not working, what's your favorite thing to do here in the city?

I mean, the city's great. I mean, it's it's uh, there's a diversity of life that's undeniably great in New York. Central Park, it's a great place to exercise, meet friends, you know, do stuff.

Do you find yourself getting stopped by fans on the way?

No, you know, when you're a jogger, you're like the pigeons, you know? You know, people don't pay attention to you. You're just a jogger, you know.

So, what brings you to Wayward Pines, anyway?

Business.

What kind of business?

I'm in the Secret Service.

What's it like now making the transition into television?

It was just I'll tell you, it was interesting for me from a creative standpoint. I liked it. I liked the schedule of tell television. In a way, I liked the work. I liked that I was I'd never done this. I'd never worked on something for such a long stretch of time. That was different for me. I think though there are real important differences, you know. For one thing, this is a limited series. So it's it's long-form television. However, it's just it's not an ongoing like TV series. And it's also serialized, which means it's a story told over a longer period of time as opposed to solving the crime each week, you know. I like to think of it a little bit like the way you read a book. You're getting to create a character over a longer period of time. It can tell a story in a more patient way. And I think that's where the creative potential of television is at its at its greatest, you know. It's like that rich experience you get when you finish a book, you know. Take these cuffs off me. Take them off. What is it? What is it? You're going to get yourself in a bad shape here. All right, look, I don't want it. Hold still. I don't want it. Hold still, Mr. Burke. I'll chain this bad boy straight to the bone.

What are you watching on TV right now?

I I watch some Boardwalk Empire. I liked uh, you know, uh listen, I'm a sucker for old movies, you know. And I like documentaries.

Do you ever find yourself binge-watching TV shows?

I I don't do that. I haven't done that yet.

Will this show be binge-friendly?

I think it's going to be totally binge-friendly because uh, Wayward Pines is like a it's like a whole world in and of itself that I think people will get sucked into, you know. Like what the hell is happening? Do you live here? Yes. For how long? 12 years. That's impossible. You were with me five weeks ago. When I was making the show, the the word that I learned that became my new favorite word was verisimilitude. Verisimilitude translates to the appearance of truth. It's not the truth, it's the appearance of truth. And it's what we do. It's what we do as storytellers, actors, writers, directors. That's what we do. We create something that appears to be real. And that's a very powerful thing. So when Ethan comes to after having this head injury in this hospital, the place, the town, as he explores, appears to be this normal town. Right off the bat, he's got this crazy nurse Pam. This kind of creepy woman. See this little black button? I'm just one click away. You know, very very kind but there's something off about her. Ethan picks up on that.

It's very meta. You're pretending, you're making something seem real in a place that is pretending to be something it isn't.

It's an yeah, really. I mean, look, this profession is crazy because I've found myself getting into heated arguments with people about fictional characters.

Right. They're very real. But isn't that when fiction is at its best when it sucks you in and you think it's real?

Verisimilitude. Verisimilitude. The appearance of truth. They're watching us. Oh, shit. They're listening.

And what was it like to work with M. Night Shyamalan? It was also his first venture into television.

Well, Night is a natural leader. More than Night just being a a masterful, talented storyteller and creator of this kind of macabre, these dark atmospheres. He's also a really fine actor's director. And he really has a natural instinct for for character, you know. I need to make some calls, uh, put out the phone. Of course. Just as soon as you finish your story about the decomposing body.

You were also reunited with Terrence Howard on the show. Yeah. What was it like to work with him again?

Well, except now Terrence, when we first worked together, I was throwing him against the police car. And now when we worked on this one, he's throwing me against.

Did he throw you extra hard to get back at you?

He he really was tough with the handcuffs, I'll tell you. I love Terrence, you know. He plays my adversary in this, the sheriff. I love doing the scenes together. And I think that's one of the was one of the highlights for me of doing the doing the show. Was every day I was working with Terrence or Carla Gugino or Toby Jones, Melissa Leo. It was just like an incredible ensemble.

Thank you so much.

You got it.