Moviefone Editorial

Tag: hollywood

Best Movies About the Entertainment Industry

Seth Rogen in ‘The Studio,’ premiering March 26, 2025 on Apple TV+.

Hollywood loves telling stories about itself!

Premiering on Apple TV+ March 26th is the new series ‘The Studio‘, which stars Seth Rogen as newly appointed studio head trying to navigate his way through Hollywood.
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And returning to Max for its fourth season on April 10th is the award winning series ‘Hacks‘, which stars Jean Smart as legendary stand-up comedian, Deborah Vance.
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In honor of the release of both series, Moviefone is counting down the 20 best movies about the entertainment industry.

NOTE: For this list, we are including any film that revolves around the movie, television, radio, or music industries.

Let’s begin!

20. ‘Entourage‘ (2015)

The cast of 2015’s ‘Entourage’ movie. Photo: Warner Bros. Pictures.

Movie star Vincent Chase (Adrian Grenier), together with his boys, Eric (Kevin Connolly), Turtle (Jerry Ferrara) and Johnny (Kevin Dillon), are back…and back in business with super agent-turned-studio head Ari Gold (Jeremy Piven). Some of their ambitions have changed, but the bond between them remains strong as they navigate the capricious and often cutthroat world of Hollywood.
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19. ‘The Artist‘ (2012)

(L to R) Jean Dujardin and Bérénice Bejo in ‘The Artist’. Photo: Warner Bros. Pictures.

Hollywood, 1927: As silent movie star George Valentin (Jean Dujardin) wonders if the arrival of talking pictures will cause him to fade into oblivion, he sparks with Peppy Miller (Bérénice Bejo), a young dancer set for a big break.
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18. ‘Babylon‘ (2022)

Margot Robbie plays Nellie LaRoy in ‘Babylon’ from Paramount Pictures.

A tale of outsized ambition and outrageous excess, it traces the rise and fall of multiple characters during an era of unbridled decadence and depravity in early Hollywood.
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17. ‘Better Man‘ (2025)

Jonno Davies as “Robbie Williams” in ‘Better Man’ from Paramount Pictures.

Follow Robbie Williams‘ journey from childhood, to being the youngest member of chart-topping boyband Take That, through to his unparalleled achievements as a record-breaking solo artist – all the while confronting the challenges that stratospheric fame and success can bring.
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16. ‘State and Main‘ (2001)

(L to R) Rebecca Pidgeon and Philip Seymour Hoffman in ‘State and Main’. Photo: Fine Line Features.

A movie crew invades a small town whose residents are all too ready to give up their values for showbiz glitz.
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15. ‘Hitchcock‘ (2012)

Anthony Hopkins in ‘Hitchcock’. Photo: Fox Searchlight Pictures.

Following his great success with ‘North by Northwest,’ director Alfred Hitchcock (Anthony Hopkins) makes a daring choice for his next project: an adaptation of Robert Bloch‘s novel ‘Psycho.’ When the studio refuses to back the picture, Hitchcock decides to pay for it himself in exchange for a percentage of the profits. His wife, Alma Reville (Helen Mirren), has serious reservations about the film but supports him nonetheless. Still, the production strains the couple’s marriage.
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14. ‘For Your Consideration‘ (2006)

The cast of 2006’s ‘For Your Consideration’. Photo: Warner Independent Pictures.

The possibility of Oscar gold holds the cast and crew of an independent film in its grip after the performance of its virtually unknown, veteran star generates awards buzz.
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13. ‘Ed Wood‘ (1994)

Johnny Depp in ‘Ed Wood’. Photo: Buena Vista Pictures Distribution.

The mostly true story of the legendary “worst director of all time”, who, with the help of his strange friends, filmed countless B-movies without ever becoming famous or successful.
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12. ‘The Disaster Artist‘ (2017)

James Franco in ‘The Disaster Artist’. Photo: A24.

An aspiring actor (Dave Franco) in Hollywood meets an enigmatic stranger by the name of Tommy Wiseau (James Franco), the meeting leads the actor down a path nobody could have predicted; creating the worst movie ever made.
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11. ‘Saturday Night‘ (2024)

(L to R) Gilda Radner (Ella Hunt), Jane Curtain (Kim Matula), Dick Ebersol (Cooper Hoffman), Rosie Shuster (Rachel Sennott), Garrett Morris (Lamorne Morris), Alan Zweibel (Josh Brener) and Lorne Michaels (Gabriel LaBelle) in ‘Saturday Night’. Photo: Sony Pictures.

At 11:30pm on October 11, 1975, a ferocious troupe of young comedians and writers changed television forever. This is the story of what happened behind the scenes in the 90 minutes leading up to the first broadcast of ‘Saturday Night Live‘.
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10. ‘My Favorite Year‘ (1982)

Peter O’Toole in ‘My Favorite Year’. Photo: MGM/UA Distribution Co.

Fledgling comic Benjy Stone (Mark Linn-Baker) can’t believe his luck when his childhood hero, the swashbuckling matinee idol Alan Swann (Peter O’Toole), gets booked to appear on the variety show he writes for. But when Swann arrives, he fails to live up to his silver screen image. Instead, he’s a drunken womanizer who suffers from stage fright. Benjy is assigned to look after him before the show, and it’s all he can do to keep his former idol from going completely off the rails.
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9. ‘Get Shorty‘ (1995)

(L to R) John Travolta and Gene Hackman in ‘Get Shorty’. Photo: MGM/UA Distribution Co.

Chili Palmer (John Travolta) is a Miami mobster who gets sent by his boss, the psychopathic “Bones” Barboni (Dennis Farina), to collect a bad debt from Harry Zimm (Gene Hackman), a Hollywood producer who specializes in cheesy horror films. When Chili meets Harry’s leading lady (Rene Russo), the romantic sparks fly. After pitching his own life story as a movie idea, Chili learns that being a mobster and being a Hollywood producer really aren’t all that different.
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8. ‘La La Land‘ (2016)

(L to R) Emma Stone and Ryan Gosling in ‘La La Land’. Photo: Lionsgate.

Mia (Emma Stone), an aspiring actress, serves lattes to movie stars in between auditions and Sebastian (Ryan Gosling), a jazz musician, scrapes by playing cocktail party gigs in dingy bars, but as success mounts they are faced with decisions that begin to fray the fragile fabric of their love affair, and the dreams they worked so hard to maintain in each other threaten to rip them apart.
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7. ‘Bowfinger‘ (1999)

(L to R) Steve Martin and Heather Graham in ‘Bowfinger’. Photo: Universal Pictures.

On the verge of bankruptcy and desperate for his big break, aspiring filmmaker Bobby Bowfinger (Steve Martin) concocts a crazy plan to make his ultimate dream movie. Rallying a ragtag team that includes a starry-eyed ingenue, a has-been diva and a film studio gofer, he sets out to shoot a blockbuster featuring the biggest star in Hollywood, Kit Ramsey (Eddie Murphy) — only without letting Ramsey know he’s in the picture.
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6. ‘Hail, Caesar!‘ (2016)

Josh Brolin in ‘Hail, Caesar!’ Photo: Universal Pictures.

When a Hollywood star (George Clooney) mysteriously disappears in the middle of filming, the studio sends their fixer (Josh Brolin) to get him back.
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5. ‘Private Parts‘ (1997)

Howard Stern in ‘Private Parts’. Photo: Paramount Pictures.

The life and career of shock-jock superstar Howard Stern is recounted from his humble beginnings to his view from the top. Possessing a desire to be an on-air personality since childhood, Stern meanders through the radio world, always with his supportive wife, Alison (Mary McCormack), by his side. Landing a gig in Washington, D.C., Stern meets Robin Quivers, who will become his long-time partner in crime. When the two move to New York, they face the wrath of NBC executives.
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4. ‘Boogie Nights‘ (1997)

The cast of ‘Boogie Nights’. Photo: New Line Cinema.

Set in 1977, back when sex was safe, pleasure was a business and business was booming, idealistic porn producer Jack Horner (Burt Reynolds) aspires to elevate his craft to an art form. Horner discovers Eddie Adams (Mark Wahlberg), a hot young talent working as a busboy in a nightclub, and welcomes him into the extended family of movie-makers, misfits and hangers-on that are always around. Adams’ rise from nobody to a celebrity adult entertainer is meteoric, and soon the whole world seems to know his porn alter ego, “Dirk Diggler”. Now, when disco and drugs are in vogue, fashion is in flux and the party never seems to stop, Adams’ dreams of turning sex into stardom are about to collide with cold, hard reality.
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3. ‘A Star Is Born‘ (2018)

(L to R) Bradley Cooper and Lady Gaga in ‘A Star Is Born.’ Photo: Warner Bros.

Seasoned musician Jackson Maine (Bradley Cooper) discovers — and falls in love with — struggling artist Ally (Lady Gaga). She has just about given up on her dream to make it big as a singer — until Jack coaxes her into the spotlight. But even as Ally’s career takes off, the personal side of their relationship is breaking down, as Jack fights an ongoing battle with his own internal demons.
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2. ‘Once Upon a Time… in Hollywood‘ (2019)

(L to R) Leonardo DiCaprio and Brad Pitt star in ‘Once Upon a Time in Hollywood.’

Los Angeles, 1969. TV star Rick Dalton (Leonardo DiCaprio), a struggling actor specializing in westerns, and stuntman Cliff Booth (Brad Pitt), his best friend, try to survive in a constantly changing movie industry. Dalton is the neighbor of the young and promising actress and model Sharon Tate (Margot Robbie), who has just married the prestigious Polish director Roman Polanski (Rafał Zawierucha).
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1. ‘The Player‘ (1992)

Tim Robbins in ‘The Player’. Photo: Fine Line Features.

A Hollywood studio executive (Tim Robbins) is being sent death threats by a writer whose script he rejected – but which one?
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April 4, 2025
Ryan Murphy Sets ‘Hollywood’ as First Netflix Original

NBC

Ryan Murphy is writing “a love letter to the Golden Age of Tinseltown” for his first Netflix original series.

“Hollywood,” which Murphy co-created with Ian Brennan (“Glee,” “Scream Queens”), has received a straight-to-series order and will begin filming this summer.

Not much else is known about “Hollywood” — if it’s a comedy or drama, an anthology or serialized.

The project is Murphy’s third with Netflix, after “The Politican” and “Ratched” were picked up via his production deal with 20th Century Fox.

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A year ago, Murphy made waves by leaving 20th Century Fox for a massive $300 million deal with Netflix. It followed a similar deal the streaming service made with Shonda Rhimes, who left her longtime home at ABC.

Murphy still has ties to Fox (which was bought by Disney last year). He still serves as executive producer on FX’s “American Horror Story” and “Pose,” as well as Fox’s “911.” The futures of “American Crime Story” and “Feud” on FX are murkier.

“Hollywood” reunites Murphy and Brennan, who co-created “Glee” with Brad Falchuk. They also collaborated on Fox’s “Scream Queens,” which Murphy has been teasing could come up for revival.

February 22, 2019
Watch Diane Kruger Recall Walking out Mid-Audition on a Rude Director

By this point, we all know that working in Hollywood isn’t always glamorous, even for successful stars.

Diane Kruger recently offered further proof by sharing the story of her worst audition. The actress sat down with “Downsizing” star Hong Chau for Variety’s “Actors on Actors” series, and they swapped war stories. Both recounted their worst auditions, describing them as “disrespectful” and “terrible” experiences, respectively. In fact, Kruger was so put off by hers that she didn’t even make it all the way through before walking out.

Kruger recalled how she’d had to memorize some 15 pages of dialogue to prepare, but when she started showing what she could do, the director — whom she left unnamed — took a call. He then told her to start over, without even apologizing, she said. It got worse, though. Not only had he not turned off his phone, he took two more calls in the midst of her audition, finally angering Kruger to the point that she decided she was done.

“I didn’t even let him answer it,” she said of the final call. “I just, like, got my stuff and left. That’s so disrespectful, right?”

Chau shared a story of her own, remembering how her worst experiences came early in her career and left her with a “feeling of humiliation.” In particular, she recalled being at a commercial audition and asking a question, only to have the man running the audition scold her for not raising her hand before speaking. Eesh.

Watch below.

December 11, 2017
Actress Maureen O’Hara Was Calling Out Hollywood’s Sexual Harassment Problem Back in 1945

After news first broke last month about Hollywood heavyweight Harvey Weinstein’s decades-long campaign of alleged sexual harassment and assault, the floodgates have opened, with hundreds of women and men coming forward to tell similar tales of abuses they’ve suffered at the hands of powerful people in the entertainment industry. But as many have already said, this isn’t exactly a new story, as proven by more than 70-year-old remarks from a legendary star of Hollywood’s Golden Age.

The piece, featuring the late Irish actress Maureen O’Hara (“The Quiet Man,” “How Green Was My Valley”), was published in the New York Mirror back in 1945, and was recently unearthed on Twitter by pianist James Rhodes. The story detailed O’Hara’s grievances with inappropriate requests from her superiors on film sets, including directors and producers whom the actress alleged had essentially blacklisted her because she refused to provide them with sexual favors.

This was reported in 1945. What a woman ???????? pic.twitter.com/6cTFGgadNf

— James Rhodes (@JRhodesPianist) November 4, 2017

O’Hara, an Ireland native, said that she had been labeled “a cold potato without sex appeal” because of it.

“I am so upset with it that I am ready to quit Hollywood,” the actress told the Mirror. “It’s got so bad I hate to come to work in the morning.”

Her remarks continued:

“I’m a helpless victim of a Hollywood whispering campaign. Because I don’t let my producer and director kiss me every morning or let them paw me they have spread the word around town that I am not a woman — that I am a cold piece of marble statuary. I guess Hollywood won’t consider me as anything except a cold hunk of marble until I divorce my husband, give my baby away and get my name and photograph in all the newspapers. If that’s Hollywood’s idea of a woman I’m ready to quit now.”

It’s scary how much of what O’Hara writes is relevant to the stories coming out today, and just proves that Hollywood has a long, long way to go to right its decades-long (and in O’Hara’s case, almost century-long) wrongs. Here’s hoping her newly unearthed remarks don’t fall on deaf ears again.

November 6, 2017
Alec Baldwin Cops to Past Sexist Behavior While Calling for Change

A wave of recent sexual misconduct allegations against powerful men in Hollywood has forced the film industry to take a long hard look at itself.

Alec Baldwin is among those who has done some reflecting, and he recently admitted that he hasn’t always treated women as well as he should have. The actor was honored Thursday by the Paley Center for Media, and he took the opportunity to own up to some past sexist behavior while highlighting the need for change.

“I certainly have treated women in a very sexist way,” Baldwin said, according to THR. “I’ve bullied women. I’ve overlooked women. I’ve underestimated women.”

He clarified that he hasn’t behaved that way “as a rule” but has done such things “from time to time.” As Baldwin explained it, treating women differently than men is a holdover of his generation — one that he now plans to fight.

“I’d like that to change,” he said. “I really would like that to change.”

Baldwin went on to admit that he had heard rumors of some inappropriate incidents in the past, but that he had not realized what a widespread problem existed in Hollywood. The experience, he said, was “eye-opening.”

“We’ve got to be vigilant in a new way to make sure that everybody is comfortable and that we get the job done together that we’re there to do,” he said.

Baldwin’s comments come after numerous troubling allegations have come to light, including against Harvey Weinstein (who denies any allegations of non-consensual sex) and Brett Ratner (who denies all allegations). In light of the scandals, industry heavy hitters have been speaking in support of the men and women who have come forward with their stories, and calling for change. Hopefully, those calls will now be followed up with action.

[via: THR]

November 2, 2017
Exclusive: ‘Gotham’ Star Erin Richards Promises a ‘Big Change’ for Barbara

“Gotham” may be filled with prototype takes on some of the most notorious criminals to one day face down Batman, but it’s the series original creation, Barbara Kean, that’s swiping a lion’s share of scenes. And actress Erin Richards wouldn’t have it any other way.

Three seasons into the run of the Fox series — set in the era when a young Bruce Wayne finds his path to eventually becoming the Dark Knight and incorruptible cop Jim Gordon battles the city’s decline on his own — Richards has seen Barbara through what is likely the show’s most extreme evolution, going from Jim’s cheating but conflicted fiancée to a patricide-committing psychotic imprisoned in Arkham Asylum to a brazen nightclub owner and aspiring crime boss in a bisexual relationship with the whip-wielding Tabitha Galavan.

When Barbara was last seen in the winter finale, she was on the brink of deposing the Penguin to become Gotham’s chief underworld leader, and for months the Internet has been filled with speculation that she’s going to transform into the show’s take on longstanding Batman villainess Harley Quinn.

And while she stops short of confirming that particular metamorphosis, in a chat with Moviefone the Welsh actress — who’s been doing some standout work alongside the series’ stellar cast of baddies — hints at yet another major and likely supervillainous change ahead for Barbara, as well her own evolution into a creative force behind the camera.

Moviefone: Unlike some of the characters on “Gotham,” who have elaborate comic book mythology to draw from, Barbara’s more of a blank slate. She doesn’t come with a lot of history. What’s been the fun for you of filling her in?

Erin Richards: Yeah, I get to paint her in whatever colors I want. Paint by numbers! I am so grateful for that, and I think that in some ways it can be scary. If you have, like, a prototype for your character, there’s something to sort of start with, and base yourself off, and relate back to. With Barbara, it’s a completely different experience. It’s like I just got to make her up with the writers and the creators, however we wanted.

That, I think, has led to her being able to have a huge arc, and a big development, because she obviously started as this not quite pure, but at least removed character from Gotham. Pure in a Gotham way, I guess, which is very different to like regular pure. Even though she had these dark layers, we saw her as being a bit of a beacon of light for Jim, and then by now, she’s obviously just completely the opposite, where she’s just on a mission to be the queen of the underworld, getting completely out of control, to be honest.

That kind of progression in any of the other characters I think probably wouldn’t be possible, because it’s a little bit more binary, who the other ones are. But with her, we’ve got this blank slate, like you say, for her to be anything – therefore, we have made her everything.

How soon into playing the character did the ideas for her roll around, from first being Gordon’s “Fatal Attraction“-y ex to now, like, full-on crime boss? When did those things get presented to you? Were those early notions, like “We might go here…”? Or was it like, down the road, all of a sudden, “Let’s do this,” and you’re like, “Great”?

A bit of a mix of both, actually. The initial auditions that I was doing for her had pieces that were written that involved the darkness of her, so it definitely didn’t come out of nowhere, but I think that the way that she evolved, and the speed which she evolved, was probably different to how they first imagined it.

A testament to the writers, as always, just being able to create that incredible development, without really knowing that that was what it was in the beginning, and being able to make it so seamless, and being able to get something like the Ogre to come in and torture her in order to make that change, I think was really brilliant.

Given the direction she’s gone so far, it seems the next step would be full supervillain. Is that something that sounds fun to play?

Absolutely. I think it’s sort of the next natural progression for her. We may or may not see something like that happening in the final episode [of the season].

Do you hope it’s a classic?

I know what you’re going for here. I know what it is, and it’s great.

What I love about the character — and your performance, too — is through all of the nasty, mean, crazy stuff she may do, there are moments when we see her heart. And as crazy as she gets, her heart does tell her what to do. Tell me about finding that side of her, especially with Jim Gordon and with Tabitha, she does have emotional attachments to these characters that motivate her.

Absolutely. Jim is a massive motivator for her. I think that he’s like the light that is very, very deep in her heart, as sort of a potential get-out from this crazy. It’s completely unconscious. It’s buried very, very deep down inside her. But I think if anyone was ever going to save her, or if she could be saved — not in a kind of like man-saving-a-woman way, but just a soul being saved — it would be Jim, because he is the only thing in Gotham that is actually not dark, even though he has become darker, he’s still the beacon of light. So I think if she could ever be redeemed, it would be somehow through that.

Then Tabitha, I would agree, yeah, that’s her only other person that she actually feels a connection with, because everybody else she sort of uses. But Tabitha she really needs, and I think needs on several levels, like emotionally and physically, she needs to be protected by Tabitha because Tabitha can fight, and she can’t fight.

Yeah, I think that connection between them is something that she cherishes, even though she might not admit it. And, unfortunately, in this part of the season, we’re going to see that very strained because of what’s happening with them now.

How does that split with Tabitha affect Barbara?

Oh, quite a lot! It’s the culmination of the last episode. It leads to a big change in her.

You’ve gotten away with so many great, crazy, over-the-top moments with this character. What’s your favorite?

There was the time that I beat up the guy with the underside of my shoe, like a stiletto. That was pretty incredible. Then there’s a brilliant line coming up in Episode 16, when she answers the phone and she goes, “Barbara Queen,” which I think is great, because she’s become “The Queen of Gotham.” There’s so many. Then the fights that she gets to have are fabulous, and there’s a great fight in the final episode. We just filmed that, and that was great to play.

With 75-plus years of Batman in the culture, what was your entry point with Batman, and how do you feel about that franchise and mythology now that you’ve been a part of it for three seasons?

Quite early, actually. The films, for me. I was always a fan of the Tim Burton films, and then I used to do little dress-up plays where I’d play Batman when I was a kid. He was always my favorite superhero, because I felt like anybody could be Batman — he didn’t have any superpowers. You just had to have a load of money and a Batcave.

You’ve got a little money now — have you built a Batcave yet?

Not yet, no. That’s the next step.

There’s another Gotham Barbara that does exist pretty prominently in the comic books: Barbara’s daughter, who becomes Batgirl. Do you hope that that becomes part of her story somewhere down the line in this? Would that be fun to play?

Wow, yeah. A pregnant crazy Barbara would be quite brilliant. There’s one world where you could tell a very interesting story, because you don’t see a lot of pregnancy in superheroes. So that would be interesting. Especially, you could tell lots of stories. You could tell a postnatal depression kind of story, which would be very interesting.

Another part of me thinks like, “A baby in Gotham? I don’t know how that works.” So maybe, like, if there is a baby, that’s kind of the end for Barbara. You sort of see that, and then she goes, maybe.

One of the nice things about the show is that it’s an ensemble, so you’re not always in front of the camera. Have you gotten to do some fun side projects?

Oh my gosh, yes. So many. I’ve just recently written and directed my own short film. I wrote it over Christmas. I just woke up one morning with the idea in my head, sort of fully formulated. I also want to go on to direct and write a lot more things. So I, yeah, put it together and filmed it at the end of January.

So I put it together in about a month, which was really quite hard to get it done. We did it over two days. It’s about a woman who is an actress. She has a very repetitive lifestyle, which is quite painful and depressing for her. Then, she discovers that she has superpowers. Then something happens at the end.

Would you like to direct an episode of “Gotham”? It’s such a stylized show. Is that the way you would want to go with your own personal directing style? It’s a very specific look and feel.

Absolutely. Yes. I think it’s a great place to start learning, that style, obviously. I’m not sure if I would continue with that particular style for the rest of my career. Obviously, it’s a style that’s been set up by Danny Cannon and the incredible directors that we have on the show. So I would probably want to find my own style, but I’m very happy to be able to try and emulate that style for “Gotham.”

It’s such a great time for women. We’ve been waiting long enough. It’s time for women storytellers behind the camera. In the big picture, what got you motivated and excited to make that a part of your creative wheelhouse?

I would say that exact thing, in that I feel like women’s stories need to be told more often, and more diversely. We need to show that women have so many more layers. To be honest, I’m a little bit bored of watching men’s stories. I don’t need to see a man make up with his father anymore. We’re done.

Hollywood is lacking in stories. The movies that we’re watching are becoming quite repetitive. So in order to change that, we have to get women up, all different kinds of women, from all different backgrounds, to tell their stories, so that we can see ourselves up there. I think that one of the most important jobs as an actor, or a director, or writer, or storyteller, is that people in this day and age don’t get to emote. They don’t get to show their feelings, or feel their feelings, because we’re so busy on our phones, or …

Instagramming our images.

Yeah. We’re getting to quite a dangerous place. Because in cultures past, people used to sit down in circles and talk about their day and problems. They’d sit with their whole family or their extended friends, and they would communicate by seeing each other, feeling each other, and emoting. And now, we think that just being on your phone is enough. We don’t call our friends anymore because we know what they’ve done. So it’s like, we’re becoming a society of people who can’t release their emotions.

So the only way we release our emotions is by going to the movies and watching a film. Now if those films aren’t showing you your story as a woman, or as a man, in all different kinds of people, then you can’t release those emotions that get trapped inside, and then we destroy the world, because we’re robots and we’re suppressed animals. So that’s why I want to be a director, that’s really intense.

We’re also in a great time in genre entertainment in particular, embracing female characters — even if they’re batsh*t crazy. What’s been nice about having a Barbara Gordon fan club that’s out there that loves her and what she’s up to, even when she’s a nasty woman?

What I really like about that is that most people say to me, “I really hated your character in the first season, but when she went crazy, I loved her.” I just think that’s such a wonderful thing that people are able to feel. They always sort of apologize about it, or they think, “Am I weird for liking a crazy person?” It’s like, “No.”

It’s kind of a release to watch someone be so crazy, because I think “crazy” is a really dangerous word, because it has so many bad connotations, that you could say “free,” or “true.” I think there’s a part of us that — I definitely do this: I hold back truth because I don’t want to hurt people, I don’t want to seem crazy sometimes.

So I think if society was allowed to be truer, like if they were allowed to let rip a little bit more with what they really feel, again, this idea of holding everything in, not emoting, not being true to ourselves and our actual feelings, is again, dangerous to society. So if they get to watch Barbara be crazy and feel a little release in that, feel like, “Yeah, I’d love to be crazy myself,” it’s like, go for it. Don’t kill anyone, but let your crazy out a little bit.

Have you seen Barbara cosplayers at one of these? Have you seen anyone dressed up as her?

The hard thing about Barbara is she’s not a look. We are trying to channel it a little bit so she has a look. Yeah, it’s difficult for people. There are a couple of great outfits that I’ve had. All have been great, but there’s a couple of ones that are quite easy to cosplay. But I feel people need just that one look that they can [identify]…

Season 4.

Season 4!

“Gotham” Season 3 returns April 24th on FOX.

April 11, 2017
Shirley MacLaine and Amanda Seyfried on ‘The Last Word,’ Legacy, and That ‘Terms of Endearment’ Remake

“The Last Word” brings together two different generations of Hollywood “it” girls turned “it” women: Amanda Seyfried, who’s continuing to come into her own as an actress, and Shirley MacLaine, who seemed to arrive fully and formed and, sixty-plus years after her film debut, still has plenty of “it” to spare.

The two women recently sat down at a press conference to promote their co-venture, in which MacLaine plays a glass-ceiling-breaking businesswoman whose hard-driving ambitions and penchant for speaking her mind has left her with more than her share of detractors, prompting her to seek out local obituary writer and risk-averse aspiring poet Seyfried to craft an obit the uncompromising subject can approve of.

Together, the two actresses sound off on topics ranging from motherhood (Seyfried’s about to have a baby with co-star Thomas Sadoski), legacy, risk-taking ageism, and MacLaine’s priceless response to the prospect of a remake of one of her most beloved films.

Shirley, have you thought about your own legacy and what you want people to remember you for? What do you consider to be your greatest accomplishment?

Shirley MacLaine: I don’t know, but I just figured out what I want my obituary to say is, “You think I’m dead, but I’m not.” What do you do about legacy? You leave it alone, you try to be the best. Right now you’re hoping to get financing [for films] and you get slipped great scripts, in terms of working.

In terms of my life, I just want to share whatever I’ve learned, which is to know yourself, look for yourself, know what to look for, share it, be honest, be authentic — and even if it hurts your feelings. [Laughs]

In this film, Shirley’s character, Harriet, is proud of the risks she took in her life. What are the biggest risks you have taken in your lives?

Amanda Seyfried: OK, I know this one: for me, I used to not consider myself a risk-taker at all. I’m a very fearful person. I wasted some time being fearful, then one day I had an artistic opportunity that scared the living daylights out of me. Instead of saying no, I said yes and the course of my entire life has gone on a different path and I will never be the same person I was before that.

I’ve gotten more than I can even say out of that; that one risk that I took. I don’t look at things as risks anymore. I look at them as opportunities that fail spectacularly. We’re too afraid to fail and that we’re not going to get anywhere and that’s another thing I love about this movie.

MacLaine: I want to know what that risk was.

Seyfried: It was a play off Broadway. It was a two-person play with [Thomas Sadoski]. It was terrifying. It was terrifying because I’m terrified of audiences. I’m terrified of being alone and I hide on film sets. I’ve never truly had the challenge of acting naked like that. I just learned everything. I learned a lot. It definitely made a giant impact.

MacLaine: Fabulous! The biggest risk I always take is going in front of a live audience. I agree with her. There’s nothing more risky to do. You really have to leave yourself open to your own authenticity and you find that out pretty quick.

In terms of a life or death risk, don’t have an answer, and I can’t think of it. I went to Broadway when I was 16 and I didn’t consider it a risk. I thought it was probably what I should do. I think that I think like a dancer: nothing is a risk — it’s more that it’s what I think I should do. Therefore, I don’t define it as a risk. I still don’t consider anything that I do a risk. Jumping out of an airplane, I wouldn’t do so, therefore I’m not going to risk it.

Another point of view about risk-taking is that I’m naïve. I’m very aware, but I’m very naïve. So when you are very naïve and expecting safety and the best, you don’t feel you’re taking risks. You can get smacked a little, but usually it works pretty well. As much as you can instill your open-minded naivety, basically open-minded to damn near anything, nothing will be a risk. You’ll be safer. [Chuckles] Not bad.

This film has big themes about motherhood. Amanda what did you take away from the film now that you’re about to be a mother?

Seyfried: I want to make it very clear to my child that they are safe and loved. I don’t want to ever lie to them. There’s a huge responsibility to being a mother and I feel like this experience, especially with Shirley, it’s all about honesty in your life, in your acting, and in your relationships. There’s nothing more powerful and direct. There’s nothing to be confused about.

Whether you like it or not, the answer is just how you feel. Feelings aren’t facts, but certainly the way you feel about things is worthwhile. It was instilled in me even further that I just need to continue being honest and trusting myself and the journey of getting to know myself. I want to instill that so desperately into my child because you are all you have and you have this chance to really experience things to the fullest with all the self-knowledge you can ever have … This message and this movie is really powerful and I’m taking it straight to this fetus.

There’s a mentoring theme as well. Shirley, was there anyone who gave you advice, or someone that you still remember taking you under their wing in the beginning of your career?

MacLaine: My God, the first person that comes to mind is Joan Crawford, and I didn’t listen to a thing she said, thank God. Really! She really … Oh my God, what can I say? [She zips her lips discreetly] Wrong, nope!

OK, wait a minute, another person. I was in love with Alan Ladd and I went to a party at Romanoff’s. I’m 5’7″ and in heels I’m 5’9″ or 10″. My friends said, “Hey Shirley, it’s your favorite actor, come and meet him.” I turned around, and he was there, and I went, [looks down] “Oh, hi, Mr. Ladd.” [Laughs] He’s about 4’9″ and all my adoration disappeared in the dust.

Shirley, what are your thoughts on ageism in Hollywood? And did you think that the initial reaction to your brother Warren Beatty‘s Oscar night incident, suggesting he’d erred because of his age, was ageist?

MacLaine: I don’t know what happened at the Oscars that warrants it to be ageist — I don’t want to talk about [Oscar night], it was awful. But I do think that aging people are underserved in this culture big time. I want to stay healthy and serve that community and be a voice. Yes, I want to be queen of AARP and say what they feel and it’s awful that they seem to be made invisible. Maybe that’s one reason why I did this great movie. I didn’t want an older person to be invisible in any longer. That’s what I want to do with it.

If you could write your own life story, what would you title it?

MacLaine: I would write “So Far I Like This Lifetime the Best.”

Seyfried: “I Promise I’m Not Stupid.” Because I’m not stupid, but I’ve been going around in my life thinking I was not as intelligent. And you know what? Intelligence is all different. You can be intelligent in all different ways, and I’m intelligent in a lot of different ways and I’m just still trying to empower myself with that. So that’s what my book would be called — today.

The music in the movie, as played by Shirley’s character — whose deep-dive knowledge of The Kinks and more gets her that DJ job — is eclectic and very effective. What’s on your playlist?

MacLaine: Me, I’ve never heard of The Kinks, just so you know. You know, what really moves me is the Pas de Deux in “The Nutcracker Suite.” I love classical music, and I love the times and Dean [Martin] and Frank [Sinatra], with the lyrics and wonderful rhythms and how they blend the music into the heart. I’m old fashioned.

Seyfried: There is a time and place for every genre, for me. I’d like to be listening to Bruce Springsteen when I’m giving birth. “Tougher Than the Rest.” He’s got a great collection, but yeah, I also like Patty Griffin.

What is your favorite quote from the movie, and why?

Seyfried: “Fail spectacularly” and “I am who I am” — those are the two I keep thinking about. “Fail spectacularly” because if you’re afraid to fail what can you do in your life? And, also, something always comes of that. You’ll always learn something. And “I am who I am” — I just love it. It’s just so … It’s true!

Have you heard about this potential “Terms of Endearment” remake that’s been talked about, with Oprah Winfrey and Lee Daniels?

MacLaine: [Makes a skeptical noise]. I don’t know anything about it. Is she going to play my part? [Mimes getting on the phone] “Hello, Oprah?”

“The Last Word” is in theaters now.

March 10, 2017
6 Things You Need to Know Before You See ‘Kong: Skull Island’

King Kong roars and punches his way back into theaters with “Kong: Skull Island.” But don’t expect the same old story of “Girl meets Ape” this time around. The new and improved Kong is a very different beast, with lots of monsters that will become very acquainted with his fists.

So sit back and allow us to break down everything you need to know before watching “Skull Island.”

1. It’s a Reboot
King Kong is one of the oldest characters in Hollywood, and he’s been rebooted quite a few times over the years. “Skull Island” is just his latest freshening-up. This new movie isn’t directly connected to any of the past Kongs, whether it’s the original 1933 “King Kong” or the 2005 remake. It’s a fresh start for both moviegoers and the giant ape himself.

2. You’ve Never Seen a Monster Movie Like This Before While “Skull Island” is rebooting the franchise again, it’s not simply recycling the same plot. Rather than culminating with Kong being dragged to New York and making his fateful skyscraper climb, this movie looks to be set almost exclusively on Skull Island. Fans will get a much closer look at the deadly Skull Island ecosystem and the various beasts Kong must battle to maintain his throne. So, if you like your fights of the ape-vs.-evil lizard thing variety, then Christmas comes early for you this year.

3. Think “Apocalypse Kong”See that poster above? The one that should be hanging on your wall right now? It’s a Kong-ified version of the iconic poster from the classic Vietnam film, “Apocalypse Now.” And that’s a hint to the level of action and direction of story on display here.

“Skull Island” shares one thing in common with 1976’s “King Kong” in that it takes place in the 1970’s Hopefully that’s all the two share in common…

The 1973 setting is crucial. It gives the main characters a leg-up in terms of the weapons and technology they’re able to bring to bear against Skull Island’s vicious inhabitants, but it’s not so far in the future that it’s impossible to believe there could still be a hidden island full of dinosaurs and giant apes. Plus, “Skull Island” is said to have (at times) a kind of psychedelic, very “Apocalypse Now”-inspired vibe.

4. It Stars Loki and Captain MarvelThe would-be blockbuster wisely upgrades the cast of human characters, too. Most of them are soldiers or scientists, rather than hapless tourists in search of fame and fortune.

Tom Hiddleston stars as James Conrad, a disillusioned Vietnam War vet who’s hired on as a hunter-tracker for the expedition. Samuel L. Jackson plays Preston Packard, the leader of a helicopter squadron known as the Black Devils. Brie Larson plays Mason Weaver, a war-time photographer, who ends up literally in Kong’s clutches — after developing a sort of respect for the beast.

The cast also includes John Goodman, as the member of shady agency MONARCH responsible for the expedition to Scary Monster Death Island, and John C. Reilly.

5. Kong Is Not a Bad Guy
He may be a giant ape, but Kong has always been treated as more of a tragic, misunderstood hero than a true monster. That approach doesn’t appear to be changing here.

He’s being presented as the last survivor of a race of giant apes who were wiped out by Skull Island’s more bloodthirsty inhabitants. Over the course of the film, our heroes will come to learn that Kong is their ally, not a beast to be exploited.

6. Yes, it Shares a Universe With Godzilla Thanks to Marvel Studios, shared movie universes are all the rage. “Skull island” is not only rebooting the King Kong franchise, it’s also a crucial building block in Warner Bros. and Legendary Entertainment’s “MonsterVerse.” It’s basically a big-budget commercial paving the way for Kong and the Big Guy (above) to share the screen. (There’s even an end-credits tag ensuring that.)

This shared universe was born with 2014’s “Godzilla.” Following the release of “Skull Island” and 2019’s “Godzilla: King of the Monsters,” the MonsterVerse will culminate with 2020’s “Godzilla vs. King Kong.”

We don’t know what will cause these two titans to clash, but we fear for anyone caught in the middle of that brawl.

“Kong: Skull Island” hits theaters Friday. Get your tickets now.

March 10, 2017
Judd Apatow on ‘Crashing,’ the End of ‘Girls,’ and Comedy in Trump’s America

On the scripted page, behind the camera, and as the chief decision maker at his own production company, Judd Apatow has undoubtedly shaped the comedic sensibility of a generation — but there was a time when he did it from the microphone of a stage in a standup club.

That’s clearly part of the reason what Apatow has such a sharp eye for comedy talent: not only has he helped elevate writer/performers like Seth Rogen, Lena Dunham, Jason Segel, Amy Schumer, and Paul Rust, helping them translate the best, funniest, and most emotionally effective aspects of their comedy personas into big-screen and small-screen successes.

Now, he’s turning to a world he knows well, having long ago done his tour of duty in the standup comedy scene and mentored by standup legend Garry Shandling, to explore that early period in a comic’s career where they’re all raw talent and ambition before honing and shaping their specific sensibility.

For HBO’s “Crashing,” Apatow teamed with real-life standup Pete Holmes to build a sitcom inspired by Holmes’s own unique backstory: a decent, rule-following evangelical Christian making his first foray into the chaotic, cutthroat world of the New York comedy club scene just as his probably-wedded-too-young marriage is collapsing.

Apatow joined a small group or reporters to sound off on “Crashing” as well as a myriad of subjects including his own early standup memories, how the current political climate will affect comedy and saying goodbye to “Girls.”

That particular ground in standup comedy — being good but not yet great — must’ve felt like very fertile ground to explore.

Judd Apatow: I think we all have gone through that period where we’re not good yet. That’s the thing about comedy is you’re trying to get work and get people to pay you before you’ve learned how to do it well. So that’s one of the funny things about it, because you have good nights and bad nights, and then slowly you have more and more good nights. But you’re getting paid to do something that you’re still weak at for a while.

Did you experience having a relationship where your partner didn’t understand that it’s part of the process to not get paid, which Pete experiences on the show?

When I did standup, from the time I was 17 to 24, I wasn’t really in that many relationships that lasted long enough for them to get irritated with me about me working.

When you see a comedy talent like Pete or Amy Schumer or Lena Dunham, what resonates with you that makes you say, “I want to get in that business with them? I want to bring them to a bigger audience?”

There’s nothing common about it. I like people who have an interesting point of view, and I like when they’re covering terrain which I feel hasn’t been done to death. So the fact that Pete has a unique point of view, and a unique story, is what attracts me to it.

I like that there’s an undercurrent of the discussion of religion in the show. I’m very interested in comedy, but I haven’t explored religion in my own work. So it’s fun for me to talk about all those issues with him.

Is it easy to get the comedians you work with to get to those emotional truths? They’ve got great comedy material, but the stuff you’ve worked on tends to be really honest and a little bit autobiographical.

Most comedians are pretty honest and want to open up. The great ones are excited to go there. When we sat with Artie Lange and say, “Let’s do a discussion where you tell Pete how hard it is to be a comedian, and how difficult your life has been.” He sat for hours and improvised stories, and he held nothing back. It was very brave, and really, really creative and funny.

What did you love about those early standup years?

I love that we were all young and had no doubt that we would make it somehow. So you’re diluted. You’re crazy and young, and we would goof around all day long. Basically you were trying to kill the day because you had nothing to do.

Then at night, we would all go to the improv and do sets, and then hope the veteran comedians will talk to us. So if by the end of the night if you could sit at Budd Friedman’s table with Jerry Seinfeld and George Wallace, it was heaven.

If you look at a 20-something-year-old now entering, what’s the biggest challenge for them?

To be a comedian? I don’t think it’s really any different. I think that if you’re true to yourself, and you’re willing to work hard, and if you’re talented, people will like you. Not everybody makes it, but in comedy, if you’re good, you will make it. That’s the weird part about it. It’s so obvious if you’re great. Some people go to other heights. But if you’re really strong, you’re going to do well. It’s just that simple.

I think you can learn more about how to be a comedian now, because when I was a kid, I had to go find comedians and interview them to ask them how to do it. Now you can just put on Pete’s podcast, or Marc Maron’s podcast, and everyone will just tell you exactly how they made it and what it took. Or buy my book, which is still on sale — for charity! So I think people have a little bit of a head start.

You’ve worked with so many young great comics. How about some older ones that you have yet to work with and are still dying to get a shot?

I always want to work with everybody. The truth is that there’s almost no one you would mention that I wouldn’t dream of working with. But I wouldn’t want to do it unless I had a great piece of material and I thought I could do something that I was proud of with that. The idea has to create the situation. When I was writing “This Is 40,” I thought, “If I could get Albert Brooks to do this, it would be perfect.” So that worked out, but it has to follow the idea.

Have you gotten an early look at Showtime’s “I’m Dying Up Here,” which is a fictionalized take on the first big standup comedy explosion in the ’70s and ’80s in Los Angeles?

I haven’t. Yes, yes, Jim Carrey is the producer. I used to watch Jim Carrey at The Comedy Store in the late ’80s and early ’90s. He would do these mythic, brilliant improvisational sets, so it’s really exciting that he’s doing that.

Do you have a longing for that historical moment in comedy?

Oh, sure! I’m an uber-comedy nerd. So if someone’s doing a show about life and the Hollywood comedy scene in the ’70s, I’m the first person who will be addicted.

The pairing of Pete and Artie Lange is really potent. They come from very different comedy places.

I guess so. I think those types of things happen naturally, where Pete is like this guy who’s trying to hold on to his soul, and in a way, Artie is too. He’s a sweetheart of a guy who has his own specific sets of personal obstacles, who’s trying to keep it together and thrive.

They’re funny together because Pete’s been through so little, and Artie has been through so much. So you’re rooting for both of them, and you do want some of what Pete’s talking about to rub off on Artie.

But Artie was so funny, and really is great as anyone I ever worked with. All of his scenes were workshopped with him and improvised. So much of it came from Artie. He said he hadn’t acted in 14 years. I just couldn’t believe it. I thought, “This is a real gem.” We’re so lucky to have the opportunity to showcase him and have him be a part of this.

We’ve been talking to a lot of people here about how material that was written before the election might land differently with the audience after. Do you have a sense in your own work about how that might play out?

Oh sure. I think the mood of the country affects how people experience art and culture. We made a movie called “The Big Sick” with Kumail Nanjiani that premiered at Sundance on Inauguration Day. It’s about … Kumail is from Pakistan acclimating to being in America and falling in love in America.

There’s a lot of issues about immigrants in it. We worked on it for five years. We didn’t think it would come out in an environment where people were deciding these major issues with how we feel about immigration and having a president that has some new ideas about it. So I do think it changes how you watch.

In terms of that film, I think it reminds you that it’s very easy to dehumanize people. So when you see people in their lives, and they looking happy and are exactly the same as you, it’s an important statement. It’s very easy going, don’t let anybody in, without thinking, what does that mean? Who are these people? What are we scared of?

In what way do you think a Trump presidency changes comedy?

It changes everything, because we don’t know what’s going to happen. We don’t know how the government’s going to be run. Larger concerns and investigations … I always want to think comedy’s important because it lets us all blow off steam, and depressurize, and laugh, and it just makes us happy when we’re stressed about what’s happening in the world. I’m really not sure what role it will play in a pretty scary, chaotic moment.

Do you think comedians as a whole will tread lighter? Heavier? What’s your sense?

Comedians will say whatever they want to say. It depends on who’s going to broadcast what they want to say. If somebody said, “I want to go on a talk show and do a very, very political routine,” I’m sure there are limitations on where they could do that and who would be comfortable with what they were saying, and how they would vet it.

But we don’t know. We’re going to find out. I think there’s amazing comedy happening. I was just watching Seth Meyers talk about a lot of these issues. He’s so brilliant and funny. I think it’s very helpful for someone to organize some of this information. I think they’re all working very hard to be accurate, a lot of these talk show hosts — people like Samantha Bee and John Oliver.

You mentioned that dehumanization quality that’s happening in stereotyping different groups. Some people may also want to do that to people with Pete’s background, who build a great deal of their lives around their faith.

I think the show also is showing the humanity of religious people. It’s a world that isn’t examined in comedy very often, so it really does feel fresh. And any time you’re showing a community and try to be thoughtful about it, I think it’s a really positive thing.

So that’s one of the main things I love about this show, is that we get to talk about religion from a lot of different perspectives, from very religious people to hardcore atheist comedians, and we’re going to continue to see what we can talk about there.

Do you need the creative freedoms that Netflix or HBO affords you to do your best work? Would you want to do another broadcast network-type show?

I’m not interested in the broadcast networks because I feel like the shows are too short. I don’t like the commercial interruptions. I don’t like the waiting on ratings to determine if you’re going to survive. I feel like the streaming services have created a world where there’s a financial incentive to do amazing original work. I don’t think that the networks, for all sorts of reasons, couldn’t do it in the way that some of the other networks and streaming services can do.

There’s limitations on content, and I hated the idea that they’re waiting to get the ratings the next day, and if they’re bad, they might pull the plug. I like that, at least at places like HBO, you get your season, and then at the end you might say, “Let’s do some more.” But you get your season. I’ve been cancelled many times mid-season, three times. I’ve had enough of it.

You get asked about reviving various shows and characters you’ve worked on. What about “Girls”? Would you like to revisit those characters at some further point in their lives?

I don’t know. I’ve never talked to Lena about her thoughts about things like that. Which I think we’re all adjusting to the fact that it’s ending. For six years, we would talk all the time. “What might Hannah do in this this situation? What might Marnie do in this situation?” So it’s really weird for us that that conversation has ended. So we’re all traumatized. That was fun. It affected all of us.

One thing “Crashing” has [in common] with “Girls” is the awkward sex scene. Is that something you enjoy producing?

I feel like all sex scenes need to be awkward, or they’re just pornographic. Once they’re not awkward, we’re not even in comedy. You can’t have a comedy with this great sex scene where it all goes well.

February 24, 2017
David E. Kelley Has a Romantic Reason for Setting ‘Goliath’ in Santa Monica

Few people have had the kind of revolutionary impact on television — and the legal drama genre in particular — than Goliath.”

Since launching his Hollywood career, the one-time attorney has been at the center of some of the most genre-bending courtroom dramas of the past 30 years, including “L.A. Law,” “Picket Fences,” “The Practice,” “Ally McBeal,” and “Boston Legal.” Now, he’s bringing his trademark touches — unique and often byzantine legal conundrums and quirky characters with complicated personal lives — to Amazon Studios for his first streaming series, which focuses on Billy McBride (Billy Bob Thornton), a former hotshot attorney brought low by his own demons who finds himself the unlikely David figure facing down a mammoth corporate Goliath known for its deep pockets and penchant for down-and-dirty legal pummeling.

Ahead of the eight-episode series’ debut today (Oct. 14th), Kelley joined Moviefone for a revealing conversation about reinventing and refreshing his own long-established approach to creating content, as well as the enduring appeal of TV series set in a court of law.

Moviefone: One of the things I really liked about “Goliath” was, along with the legal drama side of it, it was a little noir-ish, but set under the SoCal sun in Santa Monica. What was the fun of using that locale so specifically for this story? Places like the real-life bar and restaurant Chez Jay, your lead character Billy McBride’s main hang, which I love.

David E. Kelley: Well, Chez Jay, it’s kind of a small microcosm of the theme of the show. As Chez Jay exists now — the whole area has been bought and developed around it, and it’s hung in there, but it’s this little, little fledgling, sort of decrepit, down-and-out establishment, with all this big stuff going on around them.

And I love Chez Jay, too. I met my wife [Michelle Pfeiffer] at Chez Jay. Our first date — so you can see I’m a big spender. The idea: a little ocean lodge right next to it, I thought, man, if someone worked in that lodge, and Chez Jay was kind of his “office” and where he hung out, what kind of beast would that be? Started crafting the character, it just seemed particularly organic to Billy McBride.

And it’s commensurate with the theme of the series: of this little, tiny spec of a gnat against this big behemoth, big data, big law firm. What chance does he have in today’s world? So that’s kind of where we started with it. It’s a great vista. To look at Chez Jay, you kind of get old Santa Monica — beautiful sun, but this squalor mixed in. It just captures a lot of the elements of the series.

I also thought that, while very contemporary, the show also felt a little like one of those great classic shows, like “The Rockford Files.” It had kind of a flavor of that down-and-out guy that you’re constantly rooting for, and he’s finding his way. Was that in your head at all?

Not “The Rockford Files.” I was probably inspired a little bit — and so was Jonathan [Shapiro], the co-creator — by “The Verdict,” because we both loved that movie. Loved that sort of a little guy tilting at the windmills. But certainly separate — distinctive of both “The Verdict” and maybe “The Rockford Files,” our hero is not always a hero. There are going to be some episodes, I think, where you don’t even like him. By the end of the eight hours, I think one of the verdicts, which will not be delivered by the jury in the case, but by our audience, is whether Billy McBride is more good than bad.

We wrote the character with love because we believe that flawed people are very human, and there are qualities about them to admire and love. But the math on him is 50/50. I think it’s really going to be on the eye of the beholder. I think there’ll be people in their living rooms taking issue [as to] whether they think he’s more good than bad. That’s certainly different from any protagonist that I’ve had in my shows. Historically, I’ve always kind of declared who the good guys are and who the bad guys are. This one, the audience I think will be the final arbiter.

William Hurt’s character certainly introduces a monster, and I think that he stays true to a lot of his demonic qualities. But he’s revealed to be a lot more human and fragile as we go on. So there may be some debate. I wouldn’t be surprised, after some episodes, some people are feeling more compassion for Cooper than they are with McBride.

Given that you wanted to tackle this story of an underdog against a corporate giant, what did the process shake out of you as far as your feelings about that kind of conflict, and what you wanted to say about it?

Well, I have to say, the more we dug into it, the more demoralizing the truth, trying to be authentic — and I won’t give away the ending of the series, but it’s kind of a “Rocky“-esque theme, where this guy who’s barely a contender anymore is going up against this behemoth big law firm. And the idea that such a solo practitioner could win, the more we dug into the reality of it, the more and more remote and far-fetched it seemed. That was kind of demoralizing.

I’m a great lover of the law and the judicial system, and I want to believe that the justice has at least an even shot, as does truth. The more research we did, the more it became clear that this is a system that turns on resources, not truth. And we certainly mine that, but it’s tough medicine.

Legal dramas have been the bedrock of television since practically the medium started. Why do you think they remain so popular, and why do you think creators like yourself are always able to find a new way into it to keep it fresh?

I would just be guessing as to why they remain popular with the public at large. I know what speaks to me, and I’ve always been fascinated with this machine, which is our legal or judicial system, as this imperfect and very flawed mechanism for legislating human behavior and morality.

It’s the best thing we got. It doesn’t work all the time, but it’s the best thing that we got for righting wrongs, and sort of resetting or setting boundaries of morality. It’s also winning and losing, so there’s a competitive aspect to it. For me, it’s still fascination with the law. It’s also using the law as a device to explore characters has always worked for me and what I’ve enjoyed about the genre.

Where it’s gotten more challenging, I think, is the filmmaking business of television has so grown, and the technological advances that have been made allow television shows now to do what only features could do in the past. As a result, traditional courtroom scenes can be very static, and not terribly filmic. So camera movement, some of that’s challenging. As we go about crafting legal shows in the future, you’ve got to pay attention to how you tell your stories filmically to keep pace with the technological advances that have been made in the medium.

With all of your history with the traditional broadcast way of viewing things, what was the big surprise — perhaps a refreshing element or something you didn’t expect — in doing a project with Amazon that was designed to be streamed?

We don’t know the backend of it, the streaming, and what I supposed was the most daunting for me still is how we deliver our product to the audience. I’m kind of an old dinosaur: picks up the remote, tunes into a particular channel.

Amazon, as you know, you get a device or a subscription, and you align it with your hardware on the screen, and a television show will pop up. It’s not as easy as Netflix, for example, where the Netflix icon is right up there and you scroll to it and hit select. It’s getting easier and getting more user friendly. So the aspect of selling a show with Amazon is still unchartered territory, and I’m a little nervous about that.

But the creative process of being able to make the show was pretty great. Because, first of all, they said, “Just go. Make all eight episodes.” So that allowed us to really tweak, and retool, and go back and fix things in [episodes] 1 and 2. We weren’t putting all our eggs into that pilot basket without ability to adjust and fix. That was great.

I think, because we’re not battling commercials, we can be more patient with our storytelling. When you have actors like William Hurt and Billy Bob Thornton, who are very, very subtle, and very, very nuanced, and sometimes slow in their delivery, but riveting, it’s so great to be able to hold on them, and to watch them exercise their craft. When you’ve got six minute acts in broadcast television, I’m sure some of those scenes would have had to have been truncated and cut down. So there’s a patience that came with this form that was fun.

You’re one of the vanguard of adding serialization to traditional TV shows, and storylines that made the shows themselves feel bigger and a little more epic. So, in this case, how did telling a full story, essentially, in eight episodes — knowing where you were going — how did that affect the way you approached the material?

There was no real scientific difference in approach. It was probably more like writing chapters than it was episodes, because we knew where we were going. Certainly, we had to adjust and reconfigure along the way. We actually could have gone longer. We thought eight episodes would be plenty of time to tell the story we wanted to tell, and it was. We did. But we had a lot of scenes and ideas for avenues and directions that we were not able to mine, that we could have if we had more time.

One of the burdens of broadcast television is some of the storytelling is not the most efficient because you can’t rely on your viewer to have seen prior episodes. So you’ve got to kind of bring them up to speed, contain a little exposition that is necessary to keep them afloat of plot development. Here now, you kind of operate under the assumption that the viewer is in for the whole thing, and they’re watching every minute, and you don’t have to take time out to bring them up to speed. As a result, I think you can probe a little deeper.

October 14, 2016