Bill Hader on Barry | Interview

The Big Picture


Double sized episode of the big picture. This is a conversation show with filmmakers, and we're talking to a few of them today. The first of which you may have heard of his name is Bill hater he is. Of course, the creator the writer producer, and sometime director of a little show called Barry show on HBO that we love here at the wringer. I talked to Bill about making Barry, but more specifically just about movies because men this guy knows a lot about film, and he's really fun to talk to you. He put me on to a bunch of movies. I think if you're interested in the wider world of movies in the history of the medium, you'll enjoy this chat. And then right after that, we're going to have another interview with two people. I really admire the actress Mary Kay place who you may recall from things like the big chill. She was an EMMY winner in the seventies. She's been steadily working as an actress for the last forty years and the critic turned filmmaker and documentarian Ken Jones. Kent's first film as a narrative film maker is called Diane and Mary Kay. The star of that movie, and it's a really beautiful intimate complex portrait of a person nearing the end of their life. And how things change around them as they approach that stage. So please stick around after Bill to listen to that one. But before that, let's go right to Bill Hader. Joined by actor writer, director producer all kinds of stuff ill hater, hey, buddy. How are you? I'm doing good. So bill. This is a show where we talk about movies, and you made a TV show, but you are like the all-time movie buff. Yeah. And so I wanna talk about berry as kind of a filmmaking property. What do you think? Yeah. It'd be great now. Most people kind of friends who were like, it's kinda just, you know, a four hour movie that we've broken up into eight is that how you can send it as like. Well, the way we write it. I had never written in a in a traditional TD writing room writer's room before the only one had really been in outside of Santa live of south park. And finally kind of knew what those guys did. And it was kind of like their their shows have, you know, a three acts, and so you were kind kinda just it was never really written in order. It was kind of. We know this needs to happen. Then at some point this happens, and then towards the end, maybe this happens, and then you're kind of finding scenes at connect these things, and then it all starts changing. So I kind of did that. But with with eight episodes, I would just put one two to four one through eight up on the bore whiteboard. I would just start plotting, and you know, season one it was like, okay. So, you know, end of episode to be really good. If you know, they had this thing for rhyme Addison embarrassed starting to realize, you know, e- seizes father speak in rhyme. Adam's, father speaking, he realizes. Oh, gosh. You know, he didn't you've never seen that side of it before, you know. And then maybe it's good if you know Vaujour's following them that'd be good. You know in the in the, you know, the the way call it his his friends from Chris in those guys military guys they come in around episode. Owed four or five. So question Mark, you know, more friends years, your puzzle PC, and you're just kind of laying it out, but you laid out as a full things. So, you know, by eight it's like, I just know eight forever just had moss versus berry at the end. And we had no idea where that took place or what happened. But I I've felt and we all kind of felt like they should have she should figure it out. You know? So we knew that was at the end of eight at the end of the last episode, but we didn't know how that would happen is that more similar to the way you'd read a movie, I mean, I don't know. I I mean, I everyone has a different way of doing it some people the idea out of outlining is for bowdoin in people. I think because screen play unlike a novel novel can be as long as you want screenplay should be about under twenty pages. And when you're structuring a story for film or. Television. There has to be like structure to it. You know, now that doesn't mean in asked to be kind of like what we do or you know, that kind of Billy wilder thing. Or I, you know, where it was every everything is set a payoff, everything is super clean, and you know, that what by I love that. It's really hard to pull off in. That's why I enjoy that kind of writing. But you know, I mean, I mean, some of the best movies of Hollywood specially in the seventies were really during didn't know where it was going, but they have a structure there. You know, be too great how Ashby movies being there and last detail fron tense purposely last details just kind of a a road movie quest movie quest movie in about these two guys finding their humanity in in and trying to show this guy a good time before he goes to jail in. Kind of forgetting their jobs is in what they've learned military men and all this and an in kind of shedding their the humanity that they have to repress when I put the uniform on and all that, and it's all very emotional. But when you look at it, it's got a really great structure, you know, has a really tight structure now, I don't know if Robert towne took that book, and you know, outlined it in figured it out. But if feels that way, and so sometimes the first draft is like an outline you're kinda like you're writing I've done it both ways we write a draft to something with no outline in it. It's got a lot inspired stuff in it. But it's kind of cranky, you know. Yeah. So then you kind of go over it you show it to a friend in the gonna will head of it there. You know, this would go here what you know in the new you'd try to because you want it to feel kinda we're Ganic. But when you're doing TD showing you got thirty minutes. It's it's kinda hard to do that. Because you have to keep a tight inside frame. It really tight. Yeah. And I'm also just someone I don't like wasting people's time. And so when we got the TV show actually went back and watch TV. But I would I would read short stories was really good. I would want. I would read like Tobias Wolff for Flannery O'Connor any these people and kind of see just pay attention to the structure, you know, in in not that far off the tone of those writers. I feel like to. Yeah. Yeah. Give me and hard to find. As like totally an incredible berry template as far as gets on this incredibly funding in very disturbing at the same time. But you know, trying to understand where the emotions coming from. I think we're Alec Berg, and I worked so well together as I'm kind of all emotion, and he's all logic. And my strong suit is as weak suit in my weeks at his strong suit. Not that he's not. National is he's he's comes up. I think some

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