a tv series can have a “theme” but more importantly, it needs what i call the “operational theme”: the thematic desire of the protagonist that fuels season after season.
in a procedural this is cut and dry - the protagonists are dedicated to - literally “law & order”.
in more modern…
Lev and Svetlana are science students at Moscow University.
They fall in love. World War II happens. Lev goes to war and is captured
by the Germans. After the war, denounced by fellow Russians
who heard him speaking German, Lev is sentenced to death for treason,
his sentence commuted to ten years…
“You likely heard everyone talking about it already, and no doubt, the episode’s climactic, six-minute single take shot of the raid on a stash house is a phenomenal feat of filmmaking. Showy? Sure, but it was also a brilliant tool in terms of storytelling. The narrative in the show jumps back and forth through time, with cops Martin and Rust telling their tale in the present, that we see in flashback. And so, the decision to immerse the viewer in that moment, with the cops going ‘off book’ and breaking every rule along the way, brings an immediacy to one of the most defining and dangerous moments in their investigation (so far). But it was also a highly complex shot, with the action following McConaughey’s Rust through two homes, and through the streets of the ghetto, all as action takes place all around him, in the foreground and background, as the detective tries to find safety and bring his contact with him, after a robbery gone wrong. And to hear director Cary Joji Fukunaga describe it, the shot was pure choreography on a grand scale.
‘We had ADs [assistant directors] all over the neighborhood because we had to release extras, crowd running background, police cars, stunt drivers. There were actual gun shots and stones being thrown through windows. There were a lot of things to put together,’ he told MTV. ‘Even the action, the stunt sequences were complicated. We’re working on a television schedule. It isn’t like a film where you can spend a lot of time working the stunts out with the actors. We only had a day and a half to get Matthew and everyone else on the same page.’
The crew ran through the sequence a full seven times, and once it was in the can, Fukunaga completed a few different versions of the scene, with edit points in case he wanted to cut away to something else. But wisely, he kept the entire shot intact, but only because it worked so well. ‘The best ones, you don’t even realize that they’re oners,’ Fukunaga explained. ‘They’re the most first-person experience you can get in a film.’” —Kevin Jagernauth, The Playlist
- A conversation with ‘True Detective’ director Cary Joji Fukunaga
- Cary Fukunaga talks ‘True Detective’
- Making True Detective (HBO)
- Art of the Title: True Detective (2014)
- Inside the obsessive, strange mind of True Detective’s Nic Pizzolatto
- 'True Detective' creator Nic Pizzolatto: How did a novelist with only two screen credits get to create and run such an ambitious series?
- T Bone Burnett on how he chooses music for ‘True Detective’
Here’s the teleplay of the pilot episode written by Nic Pizzolatto [pdf]. (NOTE: For educational purposes only). Needless to say, it’s a damn good writing.
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That second trick.
Someone put a Phantom on a Mövi, and then rode that rig up a ski jump to shoot Nick Goepper talking about how he does his tricks. It’s absolutely incredible.