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Tuesday, August 09, 2011

HALFWAY


It was brought to my attention the other day that if we get the luxury of playing out our seven season arc, we are halfway to completing that task.  Like all midpoints of a journey, it's often a good time to restock, refuel and reflect.  Sons of Anarchy has been an amazing trip for me, as an artist but even more so, as a man.  I'm a highly flawed individual.  Recovering drug addict and alcoholic, ex-400 pound fat kid, loner and just a generally angry fuck.  I don't present that backstory as an excuse for bad behavior, just as insight into my daily struggle to be a decent human being.  There's a lot of noise in my head and a lot weight in my bags.  Most people I work with are genuinely afraid of me.  Not because I'm abusive or harsh, but because I appear to be a guy who is desperately struggling not to be those things.  When your psyche is in a constant state of effort, no matter what that effort is, one appears unapproachable.  On this show, that is my waking persona.  

I am guilty of embracing that effect.  I don't particularly like people.  And by people I don't mean individuals, I mean a collective body of human beings who might require me to make inane small talk.  I don't do small talk.  I do heartfelt connection or silence.  I'm not a very good first date.  I bring up these defects of character because they clearly are what's in my face as I reach the 50 yard line of my MC saga.  

The greatest gift god has given me is the ability to learn.  When I stop being teachable, I'm dead -- creatively and personally.  Running a television show requires a level of authority and control unlike any other job in Hollywood.  You are king of your little television realm.  All decisions big and small pass your desk.  From the words on the page, to the color of a porn set, to the montage music, I make or sign off on every decision.  That vision and that authority is needed for a show to run smoothly and to be successful.  A singular vision is key.  Shows fail when that vision is lost.  That's why so many big network shows tank, because executives refuse to empower their creatives.  So how does one be a teachable king?  How do you instill confidence in your cast and crew that you have a sure hand on the rudder while still being vulnerable enough to learn from your mistakes?  There's the big fucking rub.

The bigger question is how does one grow as an artist?  In my opinion, the same way any other human being does, by pushing past fear.  I'm terrified of failure.  I'm terrified of change.  I'm terrified of being unloved.  These are the things that usually kick in my default defenses -- isolation, arrogance, denial.  Sometimes I'm neck-deep in them before I realize there's even a problem.  On a show like Sons, strong leadership is crucial to initiate and maintain the intense work schedule.  Seven day shoots, one week of prep, one week of post.  It's not a lot of time to make a 42 minute independent movie.  In that movie, every line, every action has a purpose.  I'm able to cram an incredible amount of story into those episodes because I've learned how to craft these scripts in such a way to utilize every minute of screen time to advance the narrative.  I have extensive tone meetings with my director to ensure that he or she is aware of my intentions in all these scenes.  Then my writer-producer on set is expected to protect those intentions.  What's recently been brought to my intention is that sometimes the specificity of my crafting is leaving key members of my team feeling like they don't contribute enough.  The run and gun nature of our show isn't allowing talent to have their process of discovery.  And yes, our schedule leaves little time for discovery, but that's probably all that's required -- a little time to make shit their own.  Some space to allow other creatives to take what I've done and make it better.  People just want to do a good job.  They truly want to make me happy and proud.  When I ask why didn't anyone tell me this was going on, I get the sheepish reply, "Because they were afraid to."  It's in those moments I really wish I was a different a different individual.  I also wish I still drank. 

But I'm not and I won't.  What I've learned is that leadership requires a strong hand and a good ear.  My credo has always been -- never compromise vision, but be willing to change the execution of that vision.  I can't control how people perceive me.  I lead with my intensity and that's never going to change.  What I can change are my actions.  I am not what I say or write, I am what I do.  And today, as much as it fucking irks me, I choose to do better.  

See what happens when you stop for gas.

Sunday, July 24, 2011

ADDITIONAL CONTENT SCENES


As we gear up the release of these MC appetizers, I just wanted to give you some more information as to what they are and how it will all work.  The biggest gripe I get from fans is the fact that we only do 13 episodes and that you have to wait so long between seasons.  I will point out that we pack more story and chaos into 13 episodes than most shows do in 24.  That being said, I understand the frustration with the long down time.  I hate waiting for my favorite shows to come back on the air. Right now I'm already lamenting the fact that Louie is almost halfway through his season.  Man, I fucking love that show.

We played with the ideas of doing mini-episodes or webisodes to bridge the gap, but we could never come up with an efficient production model.  Pulling in cast and crew off season is incredibly difficult and expensive.  So I thought what if we did the opposite of "deleted scenes" - scenes that were shot and produced during the regular season, but didn't fit into a cut because of time.  Meaning, we'd shoot and produce scenes within the framework of the season, but release them before the season aired rather than after.  

With most of the club in prison for 14 months, there was an opportunity to share some story about what happened while they were in Stockton.  We looked at the arc of the season and asked ourselves what scenes would be cool to show the audience.  Which moments have the most emotional and narrative punch?  So we wrote four scenes and built them into the schedule of the first two episodes.  Three of these scenes will preview before the premier, one will be exclusive to the season 3 DVD.  We will be releasing the additional content first on the SOA iPhone and Android app, then after a set period of time (still not sure how long) it will be uploaded to the FX website and hopefully this blog and YouTube.  If you purchased the app already, you'll get a free update that will allow you to stream video.  If you haven't purchased the app, it'll be $.99.  Obviously this is the first time we're doing one for Android so that will need to be purchased.  We are charging a buck quite honestly to help us defer costs.  This is all sort of an experiment and FX and Fox Mobile have been supportive but we're still doing it on a shoestring.  DEFY and my post producer, Craig Yahata have been a godsend in making this all happen. 

Both the Android app and updated iPhone app will be available when the first additional content scene is released next week.  The first scene is called PAYPHONE.  Directed by our own, Ryan Hurst.  It's a simple minute and change scene, but it sets sets up a lot of Jax's emotional and plot points for the new season.  I think you'll dig it.