Eric Dane is gearing up for a new mission.
The actor — perhaps best known for playing Jacob Elordi’s complicated dad on “Euphoria” — steps into the role of Nathan Blythe on Amazon Prime’s “Countdown,” launching June 25. On the series, an act of violence against a Department of Homeland Security officer spurs the creation of a task force across law enforcement agencies; their objective is to thwart a catastrophic plot against the city of Los Angeles. Dane’s a special agent who has to manage the various officers working together.
The role capitalizes on a certain authoritative quality in the straight-backed, iron-jawed actor, who’s played an Army ranger in 2024’s “Bad Boys: Ride or Die” and a captain in the 2010s series “The Last Ship.” Dane’s career has otherwise been defined by the roles of sexy surgeon “McSteamy” (also known as Dr. Mark Sloan) on “Grey’s Anatomy” from 2006 to 2012 and as “Euphoria”’s Cal Jacobs, whose conflicted sexuality and coiled rage make the case that problems don’t go away when you graduate high school.
In April, Dane announced that he was diagnosed with ALS; he remains in production on “Euphoria.” Dane spoke to Variety in a Zoom interview in late May.
What made you say yes to this role?
It’s always based on the material, and I thought the writing had an effortless pace to it — the show had a personality. But also, it’s shot in Los Angeles — logistically, it was something I couldn’t say no to.
You’re often cast as authority figures. Did it take time to gain the gravitas and authority to do roles like these?
I’m not like that in real life. It’s not something I carry around with me. It’s just something I play. But that role seems to come pretty naturally to me. I try to play against the beats that 100 other actors might take. There should be an attempt at some humor. Every leader that I’ve respected has a great sense of humor.
Dane, with Jensen Ackles, in ‘Countdown.’
Elizabeth Morris/Prime
“Countdown” was shot in the hiatus between Seasons 2 and 3 of “Euphoria,” as production on the newest season was continually pushed back. Is it nerve-racking to find work in the time between seasons?
It’s frustrating because HBO has exclusivity. So it’s tough to go out and find another job — a show that they expect to have some legs to it. HBO is probably not going to allow that, because it’ll interfere with the “Euphoria” schedule, obviously. So it was tough being put on ice for a little, but I did find some other interesting things to do. And you learn how to just wait.
“Countdown” plays like a network drama, and the show’s creator has obviously worked in network TV with the “Chicago” franchise of shows. Having worked for several years on “Grey’s Anatomy,” is that pace familiar to you? Do you enjoy it?
It’s familiar. I wish we had another day per episode; that’s something we need to discuss with Amazon. But I do enjoy that pace, and I am used to that pace.
However, “Euphoria” has gotten me used to a whole different kind of pace. We take 20 to 30 days to shoot an episode of “Euphoria.” And that is an absolute luxury. When I shot “Bad Boys,” we didn’t shoot more than three pages a day; that was a big day if we shot three pages. And that pace, for an artist, is a lot more ideal. I learned very early what the rhythm was on an eight- to 10-day shoot to complete an episode. It comes naturally to me, but I have to tell you, it’s fucking exhausting sometimes.
Do those 20- to 30-day “Euphoria” shoots sometimes get tiresome too, though? Are you still finding new things in Cal over multiple weeks?
I try to make different choices. There’s many moments of discovery that you don’t necessarily get when you’re shooting eight days to complete an episode — when there’s not a lot of takes, so there’s not a lot of moments for character-building.
It’s probably on you to find the character moments in the script, if you can.
You have to find them in little moments — entrances and exits.
Has working with Sam Levinson on “Euphoria” changed you as an actor?
I’ve always had a profound respect for the craft of acting, but I never considered myself an artist. I could never admit it, until I started making “Euphoria.” That’s when I gave myself the allowance to feel like I was an artist.
I was pleased to hear you were returning to “Euphoria,” after Cal’s degradation by the end stages of Season 2, as he confronts his family and is so haunted by his past and his desires. I’m curious if there’s the possibility for Cal to be redeemed in Season 3.
Listen, I don’t know anything. I haven’t seen a script. We get pages maybe a day or two before, but it’s all kept on the D.L.
I just have so much trust in Sam Levinson that I don’t really need to know what’s happening. On the day, he can just tell me what to do and where to go, and I’m good with it.
Dan Doperalski for Variety
Is it strange to think about how “Grey’s Anatomy” still goes on, and that you were a big part of the show’s earlier success?
It’s pretty funny. I loved making that show. I loved the excitement around that show when we were working on it. And the original cast and myself, we gave it a good foundation for it to live as long as it has — and that’s a testament to Ellen Pompeo and to Shonda Rhimes and her writing team.
Did it feel like history repeating, to be a part of “Euphoria” as it dominated culture?
It is mind-bending that I have been a part of two of the shows that have been very zeitgeisty — I guess that’s a word. I love making shows that you know people are going to show up to watch. It’s rare, and it’s not lost on me.
Given that most of your castmates on “Euphoria” were younger actors, all of whom have experienced major career rises since the show began, were you worried that they might not be able to deal with it?
I was just hoping that none of them had an attitude. That’s very easy to get when your Instagram following goes from 30,000 to 30 million overnight. But I’m happy to report that everybody’s got a good head on their shoulders. They were professional, and still are. I love Jacob, I love Z.
Dane, with Jacob Elordi, in ‘Euphoria.’
I work with Jacob a lot; we have profound conversations when we’re not shooting. He’s a smart, bright, intuitive actor. You can apply that across the board with this cast. Sam had a very specific idea of what he wanted, and he went out and got it. I’ve got a pretty good radar when it comes to people that are going to turn into absolute assholes. I just knew with [Jacob] that he was going to be a straight-shooter, level-headed. He’s maintained that.
Given your radar for it in others, do you think you managed to avoid becoming an asshole, as you say, despite success?
I have my moments. For the most part, I’m a pretty good guy. Professionalism is very important to me. How you conduct yourself on a set, and off a set, is very important to me. I have my moments; we all do. But I don’t think I’m capable of being a terrible person.
All we know about the future of “Euphoria” is that you’re shooting Season 3 right now. Do you wish the show could go on beyond that?
I will ride that show until the wheels fall off. I don’t know what the fate of the show is. I do know that it takes a heroic effort to put it together. If all the elements are going to be there to keep going, I would work on it as long as they’ll have me.
I wanted to address the way you announced your ALS diagnosis recently. A lot of people care deeply about your well-being, and I’m curious how it felt to share this news with them.
With real respect, I really don’t want to talk about it. I made the announcement. That’s what’s going on with me; it’s very personal to me. And I just want to keep talking about “Countdown.”
Dan Doperalski for Variety
On that note: What kind of work do you hope to be able to do going forward?
That’s a good question, because it dovetails into the question you asked me before. I am ready and willing to do just about anything, but I have limitations that I understand will preclude me from playing certain roles. I’m working on “Euphoria.” I finished “Countdown.” As far as that goes, I’m pretty capable.
“Countdown” strikes me as an interesting contrast to “Euphoria” because it’s such a big-tent show — like the kind of procedurals my family watched when I was a kid.
You need a cast of characters with some chemistry, and they have to be people that you can identify with. And then you have to have a storyline that is going to allow people to want to show up the following week. Those elements are all there with “Countdown.” Look, we take eight days to shoot an episode. We’re not making “Lawrence of Arabia,” but it’s really good.
This interview has been edited and condensed.
