It is tough, every time. The ensemble is great. I would always ask Andrew, "Is this how Hollywood is? Is this how every TV show and movie is?" And he was like, "No, dude. This is not. Do not get used to this. Be thankful that this is how your first gig is."
If you think what you see on TV is prejudiced, it is. Follow your instincts.
I was a novelist before I was a TV screenwriter. Actually, as a kid, I think I'd always wanted to be a writer, but never thought that I would be one.
I depend on good editors and a good director. It's up to the way they shoot it, the lighting and all that. I like how small you can be on TV.
I push to be in good films and good TV shows. I don't really pick and choose. I pick and choose what I will read for, and I've gotten to the point where I'm being offered stuff.
When I did TV shows and my other movies, I never try to do it for anybody. I just do what I think is good no matter what the genre is.
I think when you're live on TV in an unscripted environment a lot slips through the cracks of your real self. People can read my face, they know what I'm thinking.
People in movies and TV seem to be completely dumb to what's going on in the real world and relationships.
I think that the dramas that you find in TV are actually a lot more interesting, typically, than what you find in cinema.
It's really hard to find just a simple character-driven drama, outside of a genre, that was available to direct, except for on TV.
I do think sometimes when scrolling through the TV and there's something on and I look at it and I think oh, my god. I thought I was fat? What is my problem?
And then afterwards I worked in advertising for a year which taught me about writing even when you don't want to (laughter) because there's never a moment that you want to write about an Erickson cell phone but you have to. And that's really important you know obviously for the...like if you really want to write, you have to write every day no matter how you feel or you know. And then, yeah, and then I ended up working in TV and then from TV into movies and then directing, so.
Yeah, when you work with somebody that famous everybody wants to know what are they like or - but I know some of the movies that I know because they're more like NOBODY'S FOOL or like that, because I don't really watch the big R movies, I haven't really seen them so much. I loved him [Bruce Willis] from his TV show and some of the smaller movies he's done. The bigger movies I start to space out in, like, there just so, I don't really watch those kind of movies so much.
When you're working on a television show with actors, what you hope you're doing is playing jazz with them all the time. You see what they're giving you, so you try to write back to that, and then they play with that, and you get a sense of what is going on. That's just a natural way in which TV series usually work.
They put me in an office with the TV set up and said "Here's the tape. When you're finished writing your copy for the little trailer you're going to do, you'll come out and show it to us and we set you up to go edit it." I turned it on and it was just this hardcore film and I was like, "Oh my God, I've fallen down the rabbit hole."
Every action project you take, whether it be a movie or TV series, is always different and a lot of people don't really know how big a difference it is. It's a different style of fighting, a different tempo and all of that.
When I started in film, I was living and working in Asia, and when we did films there, it was so fast. It was much like TV.
Usually, when you talk about serialized TV, you're talking about one specific beat that you play, over and over again.
It's much, much harder working on a show than it is working on a movie. It really is. Even if you're in production, that production lasts for a set period of time. A TV show goes on for months and months and months.
One thing that is true in TV is that you do hire the directors. As the writer, it's very different than in features, where you feel like, "If I want this to be this way, I better direct it."
The amount of work that TV writers and executives do is incredibly hard. I'm shocked that these people will hand in three outlines and two scripts, and everybody has to read them and give notes on all of them, even the writers.
In some ways, TV is more regimented, but there is a level of professionalism that's very high, among the people that work in television.
Every area had their own superstar. The TV was not national, it was localized. So you could develop in one place, or the next place and be a better star, go to the next place and be a superstar.
I had seen "Force Majeure" and I just love that movie so much. And I really wanted to artistically give a little hello to the filmmakers, and that kind of back and forth dialogue between artists that say, "I loved your movie. I was influenced by your movie. If I didn't have this job, I wouldn't be thinking of that. Do my TV show and then one day I'll make a movie where I can play with some of the visual themes in "Force Majeure."
Anytime you test for a TV show, you have that bit of squeamishness entering into it because they lock you in for a number years.
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