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鈥淲e鈥檙e casting week to week, which is almost laying down track as the train is moving forward,鈥� he explains.

The benefit? 鈥淚t ends up letting us get people we wouldn鈥檛 be able to get if we booked them eight months (earlier). Because of that, we don鈥檛 know who we鈥檙e going to get.鈥�

Fred Armison, Nick Kroll and John Mulaney, for example, might have said no if they hadn鈥檛 been asked at the last minute. Touring gigs, family obligations and other work often put a wrench in long-range plans.

鈥淲hen we finally get the final sort of thing that鈥檚 going to lock, we鈥檙e doing these high fives and backflips that we just can鈥檛 believe we鈥檝e pulled off,鈥� says star and Executive Producer Natasha Lyonne. 鈥淚 just feel very moved and grateful that people show up.鈥�

That 鈥渓et鈥檚 call friends鈥� philosophy harkens back to 鈥淐olumbo,鈥� a show that inspired 鈥淧oker Face.鈥�

Star Peter Falk, for example, would bring friends like Ben Gazzara, Gena Rowlands and John Cassavetes on his show. That upped the quality and allowed him toy with the conventions of television. So, too, 鈥淧oker Face.鈥�

Growing up, Johnson says, he used to watch reruns of 鈥淨uantum Leap,鈥� 鈥淭he A-Team鈥� and 鈥淢agnum, P.I.鈥� Even though the episodes weren鈥檛 connected, 鈥淚 didn鈥檛 feel like the characters were static or repeating themselves. The characters were constantly growing.鈥�

In 鈥淧oker Face,鈥� Lyonne鈥檚 Charlie Cale is on the run, finding herself entangled in a series of murders that just happen to occur wherever she goes. Lyonne says she crafts a backstory that doesn鈥檛 necessarily figure into the plot but it helps her square what transpires. Both Lyonne and Johnson see Elliott Gould鈥檚 performance in 鈥淭he Long Goodbye鈥� as a reference point. Similarly, Jeff Bridges in 鈥淭he Big Lebowski.鈥�

鈥淚t鈥檚 somebody who has lost interest in themselves and gained interest in their fellows聽鈥斅爐hey moved from being on their own case into being interested in other people鈥檚 cases,鈥� Lyonne says. 鈥淭hat鈥檚 a real gift.鈥�

Simple situations 鈥� a car repair, a barbecue, a job selling merchandise at a concert 鈥� get Lyonne鈥檚 character involved in other people鈥檚 lives and, ultimately, their not-so-legal situations.

In the second season, the goal has been to avoid repetition, Johnson says. 鈥淏ecause each episode is so much its own tone, I want each director to come in, look at the script as their own little movie and shoot it however it鈥檚 appropriate, style-wise. A style does kind of emerge.鈥�

In the early days of 鈥淐olumbo,鈥� Johnson adds, Steven Spielberg directed an episode. 鈥淗e was incredibly young, but the shooting style, you can see 鈥楧uel鈥� in it. You can see 鈥楽ugarland Express.鈥� But you can also see 鈥楯aws.鈥� You can see his early style.鈥�

That kind of signature approach is what Lyonne and Johnson want 鈥淧oker Face鈥� to have.

鈥淚 do kind of subscribe to Hitchcock鈥檚 view of suspense being a stronger engine to build something around than surprise,鈥� Johnson says. 鈥淎nd a whodunit is surprise. It鈥檚 鈥極h, that person did it.鈥� You need a stronger engine in the car if you鈥檙e going to keep an audience interested for a whole episode or a whole movie.

鈥淚t鈥檚 like the bumblebee that, according to physics, shouldn鈥檛 be able to fly but does. I find it endlessly interesting. Working with it and feeling it work every episode is like doing a little magic trick every time.鈥�

鈥淧oker Face鈥� begins its second season this week on Peacock.