Matthew Weiner, John, Hitchcock discussed on The Watch

The Watch


There's these nascent elements of paranoia and thriller and things like that. And what he brought to that is like the signifier. Of that. So that the audience knows the John r- that they're in. They're not getting the beats necessarily that they're expecting. Yeah. But they're so unsettled because they're being cute and these John raise like something is happening. You've seen this before. And then I think it creates a sort of strange taste him the first time Sam walks in starts talking about Hitchcock, and depalma, and parallel view, you guys like, yeah. For sure. And that was always there or are you like, oh, okay. Well, first it was just something to talk about her. You know loves talking about seventies paranoid thrillers. It's become just sort of this exalted form. But yet, but we I think we had no idea. How far he would take it. How literally he meant those reference. Yes, we talk about TV, especially on this podcast so much in this. I mean, I kind of almost like a a fallback, but we always seem to just describe like these tourist theories to to TV where it was. Well, this is Matthew Weiner show shore. This is amnesty Bill show. But this seems like such an interesting. In collision of ideas that actually went up all fitting together. And if you looked at it just on paper, you would kind of like, okay? I don't know. If you guys know there's this whole joke on the on sort of film Twitter area. Would it's basically director bullshit at its when a director way before movies, really even out yet. It's like, well, you know, I've been credibly influenced by Apocalypse Now. And then it comes out and it's like Kong Land island. Sure, I can see if you're also just like you're kind of buying yourself, like six blog posts just by saying that. But then when the movie comes out, it looks like Michael bay movie just like everything else does in the jungle. This isn't director bullshit like he found something inside this material. And you guys made this thing that it doesn't one of the things I think is crucial as even though there are these signifier like you're saying these past thrillers. It feels very contemporary to me, and the paranoia, and that feeling like I've Medicated something out of my mind is like very I think prescient for right now. I mean, did you guys think about those things in terms of making sure it wasn't a museum piece and not in a gallery where like check out my cool, you know, Omar career window here. You know? It's right. Well, I think that gets back to the collaborative element that you were talking about because. The way I all the way Mike was talking about the way he and I work together. I think is really important that there are two brains, and if one person tried to do both sides of that they would kind of infect each other too much, and that tension is I think really helpful and it was the same. When Sam came aboard in some ways, he was working with the material in some ways that was contrasting those attention between that style, and these sort of naturalistic very human scenes, which is, you know, not necessarily something you go to the palm for short. Right. So it was because that had to be integrated with the scripts at sort of Dayton sort of didn't fit with that. Hopefully makes it all feel like something strange, but functional rather than kind of genre exercise or just people talking room or just this Richard series of beats life to it for the material obviously coming from the podcast, and I found that each person that I've talked to about home in the podcast has completely different readings on different interactions or feels differently about. Colin than the next person feels differently about David Schwimmer than the next person in terms of his performance. There's something that once you commit it to film. I think it gets a little bit more fixed for as much as you can have a variety of opinions or takes on something you're committing to an understanding of the material. What was that like as you're putting together this collage of phone conversations and tape recordings and all these little things that are in the podcast, and then they become basically, well, this is historical record of this story..

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