But I realized we didn’t need that, because we were adding Jeevan to Kirsten, so he didn’t need to be connected to Arthur and Miranda at all. We talked about it he was almost outside that party in episode three. And he’s very compelling in the beginning of that novel, but I didn’t want to do the Jeevan-as-paparazzi thing. I honestly can’t remember which came first. She knows exactly who she wants to be, and he doesn’t know anything! There was so much good stuff there, both for this episode and the whole story. It’s about a gang of crooks who kidnap a kid with a scheme to get rich, but he’s so annoying that it’s like they’ve been kidnapped. Henry story about the kidnapping? It’s probably an inappropriate title. So then, Kirsten and Jeevan: What if they don’t split up? What if it was kind of funny, their dynamic? What if you want to bolt on this kid? What’s that O. Hiro, and all the executives, were like, “That hug is true.” So that becomes a waypoint. This is how it always works: You hear a pitch and you hear its power before you understand it, and you have to follow the emotional reaction. But you know what’s more interesting? Two brothers and a little kid they don’t know.” And I was like, “Absolutely.” He was talking more about the episode-seven issue, because we were simultaneously trying to crack the question of, who is Kirsten in year 20? Nick was like, “Two brothers stuck in an apartment is interesting, sure. Right at the beginning, one of our writers, Nick Cuse, suggested it. He’s got a place to go he’s got early information. It’s very Adventures in Babysitting - there’s the Lake Point Tower that we just need to get to. It could’ve been Frank, Jeevan’s brother.īut Frank is the destination. In the novel, he talks to his friend Hua on the phone, but it’s largely in his head. We needed to make an episode about Jeevan in Chicago on the day it happened. We had already made the choice to put them in the apartment together. John Mandel’s original novel, because it means Kirsten and Jeevan spent time together. To start from that ending, though, already implies a significant adaptation from Emily St. You lost a person and you can’t find them again.” There’s something that speaks to everyone about that idea of losing someone and giving up on the idea of ever getting them back. My wife, who’s a psychotherapist, often helps me complete these reveries by saying, “It sounds a lot like death. It’s a feeling that’s archetypically true - that fear of losing someone - but it’s not something we experience in quite the same way now. How did you find someone? They were putting people’s faces on milk cartons and having special announcements at the end of Unsolved Mysteries. I was so fascinated by how, if you take Facebook and Twitter away, that’s me as a kid. I made a big deal about how hard it is to find a person without phones or the internet. There’s something about that idea emotionally - it felt so true and so satisfying, based on the setup that we had in episode one: finding one another. But it was really a question of how to get to that hug. We had the scripts for one and two, and we had the script for episode three, even though that one is mercurial and slippery. ![]() It was really the middle that wasn’t completely clear. Hiro Murai, who directed Station Eleven’s pilot and third episode, told me that very early in the process of creating this show, even before you had fully established the arc of the season, you had a clear idea of exactly what the finale’s last ten minutes should look like: Kirsten and Jeevan, reunited after a very long time apart. Many of those choices came out of Somerville’s own fascination with specific emotional experiences, especially the idea of losing someone and finding them again. This conversation with Somerville is mostly one about adaptation: how his Station Eleven came to be, what he wanted to keep from the original novel, and what he decided to change. It’s an approach to adaptation that is hard to pull off and potentially much more rewarding: The show feels like the novel, but at the same time, it is unmistakably its own thing. From early in the first episode, though, Station Eleven the series is also a markedly different project, diverging from the novel in ways that fundamentally change the story’s central preoccupations. John Mandel, and Somerville’s version retains many of the beats, characters, and qualities of her original work. The series is based on a much-loved novel by Emily St. Although its first and third episodes were shot in early 2020 before COVID-19, showrunner Patrick Somerville knew the series would need to be calibrated for an audience intimately familiar with the idea of a viral pandemic.īut Station Eleven’s most painstaking balancing act is one of adaptation. It is a series about a global pandemic, produced both before and during an actual pandemic. HBO Max’s Station Eleven threads a very small needle.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |