The Last of Us’s Young Mazino Unpacks Jesse’s ‘Burden of Responsibility.’

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Caution! This discussion contains plot details from the final episode of The Last of Us’s second season, titled “Convergence,” which aired on HBO on May 25th.

Following “Through the Valley,” it might have seemed like The Last of Us had exhausted its supply of killing off its decent characters. However, this is far from the truth! Jesse’s sudden death in the finale, “Convergence,” is just another instance of senseless violence in a season saturated with it. Jesse was trained to one day lead Jackson, eagerly expecting a baby, and without hesitation, he plunged into an uncertain situation to rescue his mentor, Tommy (Gabriel Luna). Regardless of all this, none of it saved him from Abby (Kaitlyn Dever) shooting him in the head, thus ending his life prematurely and cutting short a promising future.

In Young Mazino’s perspective, if he were in Jesse’s situation, he would be fleeing to Mexico without looking back. However, Jesse embodies the concept of self-sacrifice and acting for the greater good. When Dina questions Ellie about Jesse potentially being sad, I believe it’s not sadness but a profound melancholy that Jesse feels, recognizing that his burden of responsibility comes with personal costs.

In the first season of “Beef”, Mazino displayed a comparable somberness as the aimless gamer Paul, a role that earned him his initial Emmy nomination and had him reminiscing about Jesse whose presence is heavily felt in the final moments. With Jackson losing one of its staunch defenders, Ellie’s group of caregivers has become even more compact. Mazino notes the intricacy of how Ellie navigates love while pursuing murder and vengeance, a journey that exhausts her so much by the end of the season, causing her to reach her breaking point upon Jesse’s departure.

Did you complete The Last of Us Part II up to Jesse’s demise prior to your meeting with creators Craig Mazin and Neil Druckmann? Were you already aware of his fate at that point?
I had progressed through the game until Jesse met his end. I chose to stop playing, preparing myself for potential references. However, Craig expressed a preference for me not to play the game, which I understand. It’s not about mimicking or copying; it’s about infusing my own authenticity into the character within the framework they’ve established. Despite his advice, I revisited the game and rewatched Jesse’s scenes. Stephen Chang’s portrayal of Jesse was impressive. Many players have a strong affinity for that character, so I wanted to understand what specifically resonated with them – he was cool, composed, and a reliable ally in tough situations.

In a slightly different phrasing, let me convey my thoughts: I was planning to mention an acquaintance of mine, a Korean-American individual with a remarkable penchant for extreme outdoor activities. He served in the military, performs daring feats such as helicopter jumps and scaling ice mountains. He’s an impressive figure, a reliable survivalist, yet surprisingly laid-back, a free spirit, often referred to as Captain Wyoming.

The intriguing aspect is that his toughness stems from duty rather than insecurity – he has been shaped by the responsibility bestowed upon him by Maria and Tommy. This characterization is distinct from that of Paul in “Beef”, where muscle-building was a means to hide his inner insecurities. For Jesse, physical strength serves as a tool for protection and leadership, while for Paul, it was more about self-protection. Despite having impressive physiques, the motivations behind their physical preparedness differ significantly.

It’s fascinating how your journey in gaming has progressed, from being a gamer in Beef, to playing a video game character in The Last of Us. Doesn’t it seem like an unusual but captivating coincidence? For me, The Last of Us as a game is incredibly immersive. I’ve played various games, but the shooting aspect in titles like Call of Duty is usually filled with endless ammo. However, in The Last of Us, you’re searching for bullets. This was surprising because I would exhaust my ammunition within the first couple of minutes and then find myself battling hordes of Clickers with a brick, often fleeing for safety instead.

In the final scene, Jesse shares with Ellie his belief that prioritizing others is essential for their safety, which led him to forego a trip to Mexico with a woman he was involved with. This moment reveals Jesse’s internal struggle about bearing so much responsibility. When addressing this scene, I found it necessary to delve into the complexities of Jesse’s character, showing how his selfless actions stem from both a genuine concern for others and an unconscious need to justify himself. In a moment of vulnerability, Jesse confesses his inner turmoil, acknowledging that he might die at any moment and decides it’s time to reveal this hidden part of himself. Balancing the irrational and the rational within oneself is challenging, but Jesse manages it, acting as the binding force that holds everything together. However, there may not always be a reward; sometimes, the result is simply an end.

What techniques did you employ to portray Jesse’s melancholy? I observed that Jesse often sports a subtle, unconscious tight-lipped smirk, which I believe hints at his inner reservations. This is why Dina teases him when they prepare for patrol; she recognizes his facade of being a rule-abiding, strong character. Prior to this, it’s suggested that Jesse may have shared a casual moment smoking weed with her.

From episode three to five, there’s a noticeable shift in Jesse’s demeanor, as he transitions from joking to being visibly angry. I utilized the script and circumstances to emphasize my lines during this period, particularly when I disclosed my suspicion that Dina was pregnant while we were walking through Seattle with Ellie. In such a situation, I would feel overwhelming dread and fear. However, the performance we ultimately selected was more restrained, capturing Jesse’s intense desire to resolve the situation and escape.

The scene involving the child being dragged through the streets for lynching evokes a powerful response from Jesse, who yearns to confront and eliminate those responsible. Yet, he maintains his composure due to his innate compartmentalization. When Ellie criticizes him for allowing a child to die, it gnaws at him, but he understands the consequences of their actions. His bloodthirsty response is rooted in his hope that Ellie will survive, which I portrayed sincerely.

In our conversation about Beef, you shared insights into the strong emphasis on family within the Korean American community. Was it your intention to incorporate this cultural nuance into Jesse’s character as well? Absolutely, I did. Many Koreans who moved to America faced a hostile environment and found solace in church communities. Growing up myself, I struggled to find my own community despite being an artist in the suburbs. For a character like Jesse, having a community in the post-apocalyptic world, which is so dangerous and desolate, is crucial. It helps me understand why he makes difficult choices that I wouldn’t be able to make. In my experience, there’s a strong link between finding a community or family and the tough decisions one might have to make.

I observed you perform the guitar so gracefully during your appearance on The Tonight Show. Beyond the violin and piano, you’ve also mastered those instruments, right? Have you ever considered showcasing your guitar skills on camera as Jesse?

However, that’s not something I’m inclined towards. Music for me is a private sanctuary where I express feelings I rarely discuss. Even playing the guitar on The Tonight Show gave me pause. I remember telling my team, “I don’t think I’ll do it.” That song is beautiful, but I still find it hard to perform. Yet, I believe Jesse, Ellie, Dina, and Tommy would make an exceptional band. We all share a musical talent. Occasionally, when with Bella and Isabela, I would strum some chords or a tune, and they would join in with their harmonies. On one occasion at the theater we were filming at, there was a collection of musical instruments on stage, and a good portion of our crew knew how to play them. Our first AD, Paul C. Domick, was really tearing it up on the guitar. It was amazing to witness such a spontaneous performance.

Talk to me about filming Jesse’s death scene. Was it all filmed on the same day or was it split into different days for the conversation between Ellie and Jesse and the actual death scene?

The answer is that both parts were filmed on separate days, but they were in the same location. The part where Ellie sits down at the edge of the stage and we have our conversation was particularly emotional for me because we were nearing the end of the season, and a lot had transpired. The specific moment when Jesse gets shot and falls to the ground was filmed on a different day.

During that scene with Ellie, it’s fascinating how there’s a duality in Jesse’s character – the thing I love most about you is also what leads to his downfall in certain situations, such as this suicide mission. There’s even a fleeting moment where there’s almost a smile, like an “Oh my fucking God, whatever.” [Laughs] But it’s quickly cut short, and the next thing you know, he’s gone.

This ties into the second episode when Ellie and Jesse discuss Eugene’s death. Jesse says, “What are you gonna do? Couldn’t be saved.” When I was shooting that specific scene, I was contemplating my own death because I knew it was coming up. I was mentally preparing for it, and as I pondered the nature of their lives, I realized that me and Eugene were in a similar predicament – “What are you gonna do? Couldn’t be saved.” Sometimes, life can be so fleeting – one moment you’re there, and the next, you’re gone.

In the rehearsals, I mastered the art of falling gracefully, landing flat on my back like a ragdoll. However, I needed to perfect the free-fall, ensuring both my head and the gun landed simultaneously in a specific manner. This was necessary for consistency. Unfortunately, due to an accident during one of our action scenes, Bella sustained an injury to her lip. As a result, we had to reshoot that particular scene. It wasn’t mandatory for me to return, they could have used a stunt double. However, I insisted on being present because when Ellie encounters the lifeless Jesse, she was just starting to heal from their past. His sudden disappearance would be a devastating blow, a critical moment in the storyline.

Is it possible that Ellie’s friendship towards Jesse wasn’t as strong as his towards her?

No, not at all. But that’s the essence of friendship – it doesn’t always require reciprocation in equal measure. Friendship transcends those expectations. It’s less about what you gain and more about what you give. The anger and revenge exhibited by Abby serve as a powerful message: Death leads to more death, creating a snowballing effect of collateral damage. This is evident not only among the people in Jackson, but also the Wolves and the Scars. Ellie isn’t immune to this cycle. In episode three, she exits the hospital with a smile, but her joy quickly fades as darkness clouds her spirit. Life can offer moments of love and joy, yet it always carries a shadow – a persistent, inner darkness that occasionally flares up. The complexity of Ellie’s feelings towards love, murder, and vengeance is profoundly portrayed in the series. By the season finale, the pursuit of justice wears her down significantly, and Jesse’s departure pushes her to her breaking point. This development was masterfully executed.

In the stories I’ve come across about individuals who have taken lives, the first one is often the most challenging. However, once it’s done, subsequent acts seem to become easier. As for Jesse, it seems he had no choice but to unleash his inner savagery to reach Jackson. I’ve found myself in situations where I felt the need to fight or flee unexpectedly. In those moments, instinct takes over, and you find yourself on autopilot, your primal brain taking control. You don’t feel pain, just shockwaves, and later, you shake from excess adrenaline. It seems Jesse, Tommy, Dina, Ellie – they all have this in common. It appears Jesse has been carrying this survival instinct for quite some time now. We are more than our impulses and survival instincts, but that doesn’t mean they aren’t there.

So, my question is: Did you perceive Jesse as having this “survival instinct” too? And if so, what do you think could have led to him developing it in his backstory?

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2025-05-26 06:57