Posts Tagged ‘interviews’
Listen to me talk about the Golden Globes on On The Town with Michael Riedel this morning! My segment starts around the 44-minute mark.
I’ll be talking about the Golden Globes with theater critic Michael Riedel on his On the Town radio show tomorrow morning at 9am on 970AM in the New York area. The show will be posted here shortly thereafter. Enjoy!
“We can boil fascist ethics down to one word: Dominate,” says professor Stephen Olbrys Gencarella of the University of Massachusetts at Amherst, who has taught about the show as well as written about it for the academic journal Horror Studies. “It’s true that fascist aesthetics anchor many shows and films, especially in the sci-fi and fantasy genres. And of course violence is nothing new; it’s the norm in American media. Other shows out there are hitting similar themes, and that shouldn’t surprise us given the anxieties of our times. But so many of those other shows demonstrate the consequences for violence or debate the ethical complexities of living with others who are different, or show the moral turmoil of people who enact or suffer violence. The Walking Dead is the only show that actively courts, rather than critiques, fascist ethics, and suggest that it’s the only viable solution to perceived threat.”
What do those ethics entail? “In fascist mentalities, kindness, empathy, and sympathy are seen as weaknesses, critical self-reflection is seen as a danger to security, and discussion and negotiation is seen as failure,” Gencarella says. “Existence is a tragic struggle to be won or lost.” This mentality can be traced back to the fascist Ur-text, The Doctrine of Fascism, ghostwritten for Benito Mussolini by his Minister of Education Giovanni Gentile. “The Doctrine is clear that perpetual war is the preferred mode of existing with others who are different, and especially to crush the weak in order to demonstrate that one is strong,” Gencarella says. “Fascists want the apocalypse. And the history of actual fascist movements has always been cemented by the kind of storytelling that TWD valorizes and perpetuates.” It’s this perspective, and the political doctrines likely to be appealing to those who respond to it, that the Trump campaign seemingly recognized when targeting the show’s viewers. “Watching Trump and Negan on television at the same time makes perfect sense,” Gencarella says. “I don’t say that because I think all Trump supporters are fascists. But it’s also telling that the campaign thought The Walking Dead viewers would readily equate immigration with an apocalypse for which violence is the only solution.”
I wrote about the fascism of The Walking Dead for Vulture. This is a longstanding bugbear of mine as you know, and this is the first standalone piece I’ve written about it.
OBSERVER: How quickly did you find out that the show was gonna be renewed for a final season?
Chris Cantwell: We found out that afternoon, actually. The network called us and said, “Are you available for a conference call in four minutes?” They couldn’t find Chris, so I actually had to call Chris’s wife, which I try to never do for work. We got him on the phone, and they gave us they news, and they told us to call the cast, so we had to quickly call all the cast, and then they put the press release out like 45 minutes after that. They run a tight ship at AMC! They do it quickly.
This may be a stupid question, but how did that feel?
Chris Rogers: I mean, we were elated to get to do another season of the show. Somehow there’s gonna be 40 of these! You catch us on a nostalgic morning when we’re looking back on when we wrote this, and when it got picked up — when we thought it would never get picked up…To say there’s gonna be 40 episodes would’ve been beyond a dream at that time. You immediately register that, and the elation of getting to go back to Atlanta with this family we’ve built: the cast, the crew, the editors. We know their kids’ names, you know? So that is a thrill.
On another level, it’s bittersweet to see the end in sight. But it’s also kind of a creative gift, just to know that that’s what you’re writing to. We try to end each season like it could be the end of the series, but this year is gonna be different. Maybe it gives us the ammunition to top this third season, which frankly we kinda put everything we could into. So, a lot of emotions. We’re feeling all the feelings tonight.
Indeed, Halt seems to reboot itself with each new season. It began as a familiarly anti-heroic drama about Joe’s hostile takeover of a tiny Texas electronics company in a quixotic quest to design a next-generation personal computer, but by Season Two the focus was on Cameron and Donna’s joint venture Mutiny, a video game company turned early Internet service provider and proto-social network. From the new setting to the new showrunners (Jonathan Lisco, who was at the helm for the series’ first two seasons, departed for TNT’s Animal Kingdom), the leap from Season Two to Season Three is equally dramatic. “We almost err on the side of so much reinvention that it’s frustrating,” Cantwell says. “But the technology industry is like that. Having to keep up with that constant change allows us to reinvent characters, to do some really cool stuff.”
It’s also helped the show itself catch fire—critically, if not commercially. After early growing pains driven by antihero fatigue (not helped by AMC’s decision to plop Joe and company right into the time slot recently vacated by the network’s previous period piece Mad Men), the show slowly evolved into a story about its passionate core quartet of tech whizzes struggling to work together, rather than to tear each other apart. By the time the women took center stage in the second season, critics were fully on board, making Halt one of 2015’s most acclaimed shows. Audiences, however, had yet to follow suit, and the series’ low ratings made its renewal an iffy proposition for months before the network finally gave the go-ahead.
“What I was told was that the journalists were the one who championed this thing,” McNairy confides during a break in shooting. “Like, ‘Please come back, please come back, please come back.’ I think the network was like, ‘Well, they definitely liked the show.'”
So does the network itself. “The guys from New York talk about it like fans,” Cantwell says. “Yes, they factor in all of the analytics and data in determining our future, but so far a big portion of [their decision-making process] has been, ‘Do we like this show? Yes, we like it a lot. Just go do your thing.’” Like the saga of the Internet upstarts it chronicles, Halt itself is, as cast and crew frequently call it, an underdog story—albeit one with an unusual amount of leeway to do things its own way.
Hence the series’ latest reinvention, and its third chance to snag an audience commensurate with the show’s quality: Halt and Catch Fire Season Three, which begins tonight. That fact alone makes Halt something of a success story—or what passes for one in the era of Peak TV, in which hundreds of scripted shows struggle for a share of the public’s attention, an uphill battle for any series without dragons or zombies in its arsenal. Getting that third season is a rare case of a show being rewarded simply for being well made rather than pulling in ratings or tapping the Twitter-trend zeitgeist. It’s a struggle that’d feel familiar to the characters themselves.
“There’s an intrinsic metaphor to what we’re doing here,” Kerry Bishé tells me before shooting that afternoon. “We’re making a TV show and the characters are making their technology, but the big goal is making a beautiful, perfect product that can go to market and succeed. It’d be nice if more people watched our show, but I’m doing work I love and value. We define ourselves so much by success in our jobs that I think it’s worth investigating what success is. What counts. What matters.”
I visited the set of Halt and Catch Fire and interviewed actors Lee Pace, Mackenzie Davis, Scoot McNairy, Kerry Bishé, Toby Huss, and Matthew Lillard, as well as co-creators and co-showrunners Chris Cantwell and Chris C. Rogers, for Esquire. Here’s my report on the long road to Halt Season Three. The show starts again tonight at 9pm on AMC, and it’s one of the best on TV. Don’t miss it!
My partner is a cartoonist, and she once said that Meat Cake was hugely important to all the weird girls she knew in her teens and early 20s, but the male comic nerds she met afterwards had no clue what she was talking about. Have you noticed this disparity as well? To what would you attribute it?
That statement brings a tear to my eye, knowing my life’s goal was not in vain. Thank you.
As a kid I hated that even on Sesame Street, everyone was a boy. Actually, I thought Big Bird was a girl, but in the end he was gay and I was mistaken. The only time girls showed up in things was as sex objects — except for Pippi Longstocking and Wonder Woman — and they rarely ever got any good dialogue. Meat Cake set out to change all that, and make something weird and thinking girls could relate to. I felt so alone for so long, and I made a beacon like a lighthouse to shine through the darkness and attract the bats of other like-minded souls.
It is my life’s goal and pleasure to encourage other girls, ladies, anyone to be who they are, to find their true passion and pursue their hearts desire with freedom in their soul despite all odds. In Oz and Cinderella, I always identified as Glinda and the Fairy Godmother, even as a kid. I like how Glinda doesn’t just wave her wand and whisk Dorothy home, even though she could. She gives her glamorous shoes and Dorothy uses them to find her own way. And through magic glamour and DIY elbow grease, Cinderella’s Fairy Godmother turns the normal pumpkin into a couture carriage vehicle to empower the young lady to change her life. If my artwork can be this for someone else, then my will here in this mortal plane is done.
I appeared on my favorite music podcast (and my favorite podcast period), Chris Ott’s Shallow Rewards, to discuss how the critical narrative of the 1990s has distorted the reality of how the era’s music, “alternative” and otherwise, functioned, flourished, and failed. There are substantial digressions about the overall state of arts criticism and journalism in there, too. Nobody does a better job than Chris of editing a podcast for maximum impact — honestly, it’s not even close. Moreover his work has been a huge inspiration and influence for me, and it was an honor to be a guest. Please listen!
Our special interview series returns at last! This episode, Sean & Stefan are pleased to welcome Jason DeMarco, Senior Vice President/Creative Director for Adult Swim On-Air. Jason’s worn many hats at the venerable nighttime animation/live-action/surrealist powerhouse: He’s the co-creator of its anime/action block Toonami, the person responsible for the network’s distinctive promos, and the unofficial “musical director” for both Adult Swim’s on-air sound and the albums and singles it’s released from a variety of hip-hop, electronic, and rock acts. He’s also a longtime fan of both A Song of Ice and Fire and Game of Thrones. Jason joined us for a wide-ranging discussion of the books, the show, the network, the seismic changes television has seen during his 20-year career, the connections between animation and comics, how those fields are viewed in America, Japan, and Europe respectively, the difference between European-American fantasy and its Japanese-genre counterpart, and much more. Cue up your Run the Jewels records and listen in!
On the overcast May morning when I meet Esmail at a Bed-Stuy basketball court where Mr. Robot is shooting, he seems very real indeed. At 6’ 4″, Esmail stands a head higher than star Rami Malek or cinematographer Tod Campbell. Until the basketball-playing extras show up, he’s the tallest person in the playground — his black-rimmed glasses and air of stubbly, slightly artsy dishevelment make him look like an overgrown film student. He wears a Canada Goose coat far bulkier than anything else being sported on the temperate late-spring morning, which adds to his imposing figure as he buzzes around the location. “He’s a presence,” says a network rep watching him work in the same awestruck tone I’d heard from the cast.
When he speaks loudly, his voice turns into a booming baritone. “LET’S DO THAT ONE MORE TIME,” he bellows from the director’s chair halfway across the playground, as Malek, Christian Slater, and newcomer Craig Robinson — plus a canine co-star who’s proving somewhat difficult to wrangle — run their lines. “GREAT!” Esmail says after the take is completed, before he grins and adds “I’M TALKING TO THE DOG.”
“He’ll definitely yell at us all the time,” Doubleday tells me. “You’ll hear a resounding ‘CARLY!’ or ‘PORTIA!’ or ‘NO, RAMI!’” But the actor insists he’s neither a dictator nor a disciplinarian. “He just knows us so well,” says Doubleday. “He’s said so many times, ‘You guys know these characters better than I do. I don’t know if you’ll have a better idea than me, so bring it to the table and we’ll see if it works.’ If he likes it, it sticks. If he doesn’t, then I trust that it wasn’t right for the moment, because he’s seeing the entire world.”
I profiled Sam Esmail and his show Mr. Robot for my debut at The Verge. A lot of work went into this one on all sides and really I hope you enjoy it.
I had the impression going in that this is “Lisa Hanawalt’s Food Book,” but having read it’s like your real subject is how it feels to inhabit a physical body. The food angle is just there to whet your appetite. So to speak.
You totally found me out. This book is an edible Trojan horse? But yes, it could have been called Here’s a Pile of Stuff Lisa Felt Like Making Over the Last Few Years and Most of It Is Related to Food, but people tend to want a tighter concept before committing to reading an entire book.
One aspect of physicality it doesn’t address much is sex. There are a couple of allusions, and a lot of sex-adjacent body parts, but it’s much more about eating, shitting, peeing, menstruating, traveling, riding, feeling full, getting sick…
That’s a good point, because I haven’t been one to shy away from sex in the past. Maybe it’s a subconscious attempt at making something sliiiightly less creepy, and to let people dig for my hornier work if they’re true fans? Maybe I’m just going through a bowel phase, the way Picasso had a blue period? I’m also a little grossed out when food and sex are combined, honestly.
“I wouldn’t be interested in the work of an artist if they didn’t suffer from debilitating anxiety,” Daniel Clowes says. “It’s part of the process.”
Home is where the horror is. That’s the underlying logic of This House Has People In It, which debuted with little fanfare at 4am Tuesday morning as part of Adult Swim’s elusive “Infomercials” initiative. The network, a ratings powerhouse which nonetheless airs some of the most ferociously experimental stuff on TV, used this horror-comedy-parody umbrella project to launch a genuine viral hit with last year’s smash sitcom satire Too Many Cooks. But its successor, Unedited Footage of a Bear, was the best and most brutal of the bunch—a send-up of medication commercials that rapidly devolved into one of the most frightening works of doppelgänger horror this side of Mulholland Drive, as well as an emotionally upsetting vision of how severe mental illness can hold entire families at its mercy.
Now AB Video Solutions and Wham City Comedy, the overlapping Baltimore art, music, and performance collectives who unleashed Unedited Footage, have returned with This House—an even more ambitious stab at the horror genre. Constructed as an assembled collection of surveillance-camera recordings of a seemingly ordinary blended family, the 11-minute movie takes place on the day of their son’s birthday, when his older sister’s…condition, let’s say, threatens to shatter the suburban tranquility forever. But the story spills beyond the confines of the video, into a website for “AB Surveillance Solutions” that’s packed with hidden links, videos, text files, images, and audio recordings that further flesh out the family’s plight. We don’t want to spoil the sick surprises, but they involve a mysterious ailment called Lynks Disease, a kids’ cartoon character named Boomy the Cat, an amateur sculptor with a hankering for clay and a dark secret, a whole lot of screaming, and a very special houseguest who’ll keep you from feeling comfortable in basements, bedrooms, and backyards for a long, long time. Sure enough, Reddit sleuths have been working round the clock to unearth every hidden horror.
We spoke with This House co-writers and executive producers Robby Rackleff, Alan Resnick, and Dina Kelberman—all of whom played multiple roles in its creation alongside fellow ABV members Ben O’Brien and Cricket Arrison, with Resnick making a cameo and serving as director, cinematographer, co-editor, and effects supervisor, Rackleff co-editing and co-starring as the family’s father, and Kelberman providing web design—about the video(s), the site(s), the superfans, and the reason suburban families provide such fertile territory for terror.
VICE: If I didn’t know any better I’d read this book as a warning to kids about the dangers of online. Not that it’s preachy, but the constant connectedness goes hand-in-hand with surveillance, and with the spread of destructive ideas.
Brian Chippendale: People are definitely reading a heavy warning about online activity in the book, and I think that’s one regret I have. I love the Internet. [Laughs] I’ve gotten so much practical use out of it: Selling prints, booking tours, saying hey to old friends—all that. But I do feel that even though I have an overt need for and warmth toward some social media, there is an undercurrent of energy on there that corrodes the soul.
What do you mean by “corrodes the soul”?
I think it’s the feeling that you’re not alone anymore. That should be a positive thing, right? But I think aloneness is important. It’s very important to get lost in your own head, not just get lost in the hive mind. As an artist, I need to venture inside to get at deeper meaning. Maybe new muscles for that are forming in younger people, new ways to go deep. I don’t necessarily think we are going to lose a generation to the internet. It’s an amazing tool. Pizza delivery drones, on the other hand? I’ll definitely be throwing rocks at them… and ordering pizzas.
Longtime friend of the blog Elana Levin and her cohost Brett Schenker invited me on their Graphic Policy Radio podcast to discuss the season finale of Jessica Jones, as well as the whole season itself. It was contentious and fun. (Spoiler Alert: I’m Officer Simpson’s Bad Fan.) Give it a listen!
Fallon doesn’t want to offend. I am sure he is the nicest guy, and would be super fun to hang out with, but his show appears to be this platform where anyone can come on and paint themselves however they want to appear. My annoyance with him started with Chris Christie constantly being on there, dancing around and doing his dumb skits about how much he loves Springsteen. Christie is such a gross and horrible person. I worked for a decade for the state of New Jersey and can truthfully say he’s done way, way more harm for the state than he’s done good. And the whole shutting down of the bridge bullshit? He denies it all, and then the next thing you see is him on Fallon making light of it and singing a song about it or whatever. Fallon lets these terrible people saywhatever they want. Not that the host of The Tonight Show needs to be a hard-hitting journalist getting to the bottom of things—it’s just that if he’s going to have these people on, at least have some point of view. Don’t just laugh nervously about it. I mean, one of his questions to Christie was, “Heard you hung out with the Romneys! So how are the Romneys? They’re all awesome.”
The other thing about Fallon that drives me crazy is how he will have a guest on and then bring out an iPad and try out some app with them. It’s unbelievable. There are segments where there’s like 30 seconds of him staring silently at an iPad wearing earphones. I’ve made a few Vines using those moments.
Over at Vice I interviewed the brilliant, brutally funny video editor Vic Berger IV, Vine’s strangest political satirist, about his five muses: Jeb Bush, Donald Trump, Chubby Checker, Jimmy Fallon, and Jim Baker.
Given the cover of Romantic Story this is a weird thing to say, but this seems less sexually explicit than your past books.
Heather: I don’t think that’s weird at all! I view this work as way less sexually explicit, too—which is funny, because there are still gaping vaginas everywhere. I guess I’m just desensitized to that. But there’s not really any penetration or actual sexual acts going on, which is unlike my older work. It has to do with what I was saying before, actually, how my work tends to mirror what’s going on in my personal life. Honestly, at the time when I was making work like Sad Sex, I was mirroring exactly what I was feeling, what I was going through in my life: dealing with different partners, different people, trust tissues, the different dynamics of being single and feeling very alone and isolated and messy regardless of whether I was getting some or not. It’s hard to put it into words; I guess that’s why I don’t too often, and why I was making work about it instead. It sounds dumb to me when I try to explain it, but when I was making work that included fucking, it’s because in my life I was dealing with emotions and complications as a result of fucking.
Now I’m making less explicit, less fully pornographic work, because it’s not the dynamics of fucking that I’m grappling with on a daily basis. I’m less interested in how other people made me feel as a result of being involved with them—unlike in Sad Sex, when I was using text in some pieces, like “you make me feel special” or “I masturbate thinking about your boyfriend,” making really blatant statements about how relations between myself and various people affected my self-perception and my experience. I’m now more interested in my own singular experiences with, and within, myself, not those that are explicitly being generated by other people in the present. It’s more introspective and nostalgic, and less about depicting something generating panic and emotion in the moment. This obviously still has a lot to do with sexuality and physicality, but less to do with sexual acts, unless they’re being performed on oneself, or are being looked back on in reflection and anxiety.
I’m the guest on this week’s episode of Chase Thomas’s Cut to the Chase podcast on writers and critics! Chase and I discuss my origin story as a writer, Game of Thrones, Lost, The Affair, Empire, True Detective, Gotham, Daredevil, cartoons, comics, and much more. I hope you enjoy!
Fitting for a show about those occupying society’s technological substrata,Mr. Robot’s characters are often placed at the very bottom of the frame. This leaves massive amounts of headroom that suggests a great weight hanging over their heads, and echoes their isolation: When they’re talking right to each other, they seem alone. In more conventional filmmaking, conversations are cut with the characters looking at each other from opposite ends of the frame, leaving what’s known as “leading room” between their faces that helps convey the physical space they occupy. Mr. Robot inverses the norm by “shortsighting” the characters, positioning their faces at the edge of the frame closest toward the person to whom they’re speaking.
“Shortsighting is unnerving,” Campbell explains. “It further accentuates how fucked-up Elliot’s world is. The idea was to convey the loneliness. That’s the internal dialogue I had with myself: How do we tell that story? How do you get Elliot across?”
The effect goes a long way in selling audiences on the mounting paranoia and dissociation of the show’s main character, hacker Elliot Alderson (Malek). Without the usual pattern to help us intuit spatial relationships, these scenes create the sense that the characters don’t know where they stand in relation to one another. They also remind us of the picture-in-picture, face-against-flat-surface nature of video chatting, which can’t be overlooked on a show this attuned to the alienating effects of technology.
I spoke with Mr. Robot’s director of photography, Tod Campbell, about the show’s gorgeous shot compositions for Vulture. It felt great to write an article about television that focused on pure form. Woo!
It was funny: I haven’t talked to the real person that [Monroe] was based on in a long, long time, but then I saw he was on Facebook. I wrote to him and I asked him if he’d read the book, and he hadn’t, so I sent him a copy. He said he read five pages and couldn’t read any more because it was “too intense.” Then he kept saying he’s going to read it, but he can’t. But when he found out there was a movie, I sent him the trailer, and he was really excited. He showed the trailer to some friend at a bar—I don’t think he’d said that it was supposed to be based on him—and that person said, “Wow, that relationship is really screwed up. Why are you showing me this?” The guy said “What do you mean, ‘screwed up’? That’s a real man!” You know? “He’s a real man! He’s going for it!” You can see that that particular person, that character…I mean, if I treated him correctly, he’s not the type of person who’s able to reflect on any of that. Which contributes to Minnie’s loneliness. It takes her a while to realize that, because she’s thinking she’s in love with him. What do you do when you’re “raped,” in quotes, by someone who’s thoughtless and unaware? There’s no way to have a discussion about that with him because he’s not on the ball enough to even grasp the situation. I don’t know what people think. You could argue rape or not—I mean, I don’t fucking know. It’s a complicated situation.
For my A.V. Club debut, I interviewed Phoebe Gloeckner, my hero, about The Diary Of A Teenage Girl. I first interviewed Phoebe 12 years ago, and she’s been my hero ever since.