As a longtime fan of both The Wire and Breaking Bad, it’s fascinating to see how the creative team behind The Penguin effortlessly weaves elements from these iconic series into their narrative without explicitly intending to do so. It’s like they’ve tapped into our collective pop culture consciousness, creating a rich tapestry that resonates deeply with viewers who share this cultural background.
In March 2022, after watching Matt Reeves’ movie “The Batman” during its premiere weekend, Craig Zobel, who is known for his work on shows like “Mare of Easttown” and films such as the 2020 horror satire “The Hunt”, wrote an email to express his admiration for the superhero crime drama. Interestingly, Zobel hadn’t previously met Reeves, but this kind of gesture is quite typical in the entertainment industry. For instance, Cillian Murphy once emailed John Krasinski to praise “A Quiet Place,” and later starred alongside Emily Blunt in the sequel “A Quiet Place Part II.
As a die-hard fan, I can’t help but imagine myself in the shoes of Matt Reeves and Lauren LeFranc when it came time to choose a director for their highly anticipated spinoff series, “The Penguin,” featuring Colin Farrell as Oz Cobb. I like to believe that perhaps my enthusiastic email about Zobel’s work caught their attention, ultimately leading to his selection as the director and executive producer of this exciting project. What a thrill it would be to know that my appreciation for Zobel’s talent might have played a small role in this fantastic opportunity!
As a die-hard fan, I stumbled upon his email address and decided to share my thoughts. I wrote, “Hey there, just wanted to say that The Batman was the superhero film I’ve been eagerly waiting for, and you absolutely nailed it!” It was my first time ever reaching out or speaking with Matt. (This is a paraphrase of what Zobel told The Hollywood Reporter.)
As the director for LeFranc’s series debut, as well as episodes two and three penned by Erika L. Johnson and Noelle Valdivia respectively, Zobel faced a unique challenge. Normally, the director of a series premiere sets the visual style that subsequent in-house or guest directors follow. However, since The Penguin was linked to Reeves’ blockbuster film, Zobel had to adjust to this pre-existing color scheme, much like he did when directing for HBO’s The Leftovers and Westworld as a guest director. Luckily, Reeves and his cinematographer Greig Fraser were available to assist in maintaining visual consistency. Interestingly enough, Zobel’s style from Mare of Easttown was later imitated by writer-director Jac Schaeffer and Kathryn Hahn during an extended segment of Agatha All Along’s series premiere.
As a passionate fan, I had an engaging chat with Matt and cinematographer Greig Fraser prior to the show’s start. We delved into the technical aspects of their work, and they graciously answered our questions. To ensure authenticity, we utilized identical camera equipment and lenses as seen in the film. Furthermore, our lighting styles mirrored those from the movie, though the specific scenarios were slightly altered.
These situations often feature Gotham City during the day, encompassing its less affluent inner areas as well as the wealthier suburban districts that encircle the city.
Farrell, who plays the character Oz Cobb in the series, once shared his feelings after completing season one, claiming he thought he was finished with the role due to the heavy use of prosthetics and body suit. However, he later retracted this statement. Now, Zobel has given some insight into why Farrell has such a complex affection for portraying Cobb.
In the winter, we were filming, yet surprisingly, he’d overheat due to carrying a pound of plastic on his face and wearing a full bodysuit. As a result, we activated the air conditioning in the studio and had to don scarves and earmuffs since we reduced the temperature as much as possible to keep him comfortable. Additionally, there was constant concern that if he became too warm, he’d start sweating, causing the prosthetics to come off. Thankfully, this never happened, but it was always a worry in the back of our minds.
In a recent chat with THR, Zobel expresses his eagerness to carry on in James Gunn and Peter Safran’s revamped DC Universe, hinting at a specific DC Comics label that he’d be keen to work with. He also clarifies that any similarities between The Penguin and critically-acclaimed shows like The Sopranos, The Wire, and Breaking Bad are entirely accidental.
Typically, as the director of a series premiere or pilot, you are responsible for setting the tone and creating the visual style. However, in this instance, you had to follow the lead established by Matt Reeves’ “The Batman” initially. Did it feel odd to start a new show with a pre-existing aesthetic already defined?
I found it fitting to begin the performance with a familiar starting point since I adored the film that served as its basis so much. I thought Matt crafted such an intriguing atmosphere, and his approach to Batman was refreshing, which made me eager to explore more. When Matt’s movie premiered, I made sure to catch it on opening weekend. Though we weren’t acquainted, by chance, I had his email address. So I took the opportunity to express my appreciation for his work, saying, “Hey, just wanted to let you know this was exactly the superhero film I was hoping for right now. You nailed it. It was fantastic and innovative.” This was my initial communication with Matt.
As a passionate fan, I found myself eagerly diving into crafting a unique take on Batman, and as we began weaving our tale, it felt like unearthing something utterly distinct. This wasn’t the perspective of the billionaire playboy Bruce Wayne or the dark knight patrolling the city at night after sundown. Instead, we needed to grapple with the everyday realities, such as how this character navigates his life during the day. The Penguin portrayed in our story was far from the familiar – he’s flashy, flamboyant, and even owns a striking purple car. This version of Oswald Cobblepot was a street-smart guy who worked his way up from humble beginnings. So, we had to consider what that journey looked like and how it differed from the path Matt Reeves had set for this universe. It was an exciting challenge, indeed!
Let me just pause for a moment. Could it be that Matt kept your email saved, only to bring it up again when he was ready to select directors?
I don’t know. I hope so. I think so, yeah. He certainly already knew that I liked it.
In Matt’s film production, numerous scenes were shot at night, utilized rain simulators, had an amber lighting effect, and featured gothic settings in Liverpool. Additionally, there were many cityscape shots captured through the camera. Given all these elements in a fresh medium, how challenging was it to preserve visual consistency?
In our preparations, we engaged in thorough discussions with Matt and cinematographer Greig Fraser prior to filming. We sought their expertise on a technical level, ensuring we used identical camera equipment, lenses, lighting styles, and so forth from the movie. Although our scenes varied slightly, we aimed to incorporate some of the techniques they utilized into our work. Given that it’s a TV show, there are more scenarios to tackle, but we strove to maintain visual consistency within the boundaries of our schedule. The Penguin character falls within this continuity yet may be somewhat distinct. We also had to work at a quicker pace compared to Matt, as a TV series typically doesn’t have the same luxury of time that movies do. However, it was an enjoyable challenge to identify and replicate the essence of The Batman within our time constraints.
Additionally, there are snippets of footage recycled from “The Batman” movie. For instance, the opening shot of Oz in a window at dawn during the series premiere is a reused shot. Similarly, news footage featuring The Penguin includes a shot of Gotham Square Garden’s stage being damaged by a flood, which was originally directed by Reeves. Furthermore, an overhead shot of the arena after settling and a different angle of Bella Reál’s press conference also originate from the same source. To sum it up, how much unused or repurposed footage did you end up working with?
In essence, we only introduced that particular element towards the opening segment of the debut episode, and we hadn’t initially planned to include it. As pre-production progressed, we understood it was necessary to bring everyone up to speed. Our aim was to create something enjoyable for those who haven’t watched the film yet but also engaging for viewers who recently finished the movie. Could you summarize the key points that we can convey?
What adjustments need to be made when working with an actor who has extensive prosthetics? For example, do you have to speed up the process for their comfort or convenience? Are there specific movements they are able or unable to perform?
It’s interesting to note that a multitude of aspects need to be considered when it comes to filming him. (Laughs.) The logistics are quite intricate, taking up about four hours of his day. Three-and-a-half hours are devoted to applying makeup, and removing it is not as simple as peeling it off; doing so could cause damage to the skin. This added complexity was a unique challenge that I found appealing, thinking, “Well, if it’s too difficult, let’s give it a try.” However, another factor emerged: it was quite warm for him. Despite filming in winter, he would overheat due to wearing a pound of plastic on his face, a bodysuit, and various other gear. To alleviate this, we had to turn on the air conditioning in the studio, and we all needed scarves and earmuffs because we had to lower the temperature as much as possible for his comfort. There was also the constant worry that if he got too hot, he might start sweating, causing the prosthetics to come loose. Although this never happened, it was a concern that lingered throughout the process. I kept my fingers crossed the entire time.
Towards the end of the initial episode, I found myself staring at a startling sight – Oz, completely bare, bound to a chair. I couldn’t help but wonder if the creation of the full-body prosthetic added additional hours to an already extensive production process, given my admiration for the detail and realism it provided.
It required nearly an entire day to create the full-body prosthetic you see there. The process from crafting the face to the body took around six and a half hours, roughly.
Goodness gracious.
(Laughs.) Indeed, it was quite a challenge. Not only was he immobile, but he was fixed in specific postures as well. Running around with the whole-body contraption wasn’t an option since it wasn’t designed for that purpose. Therefore, it was quite an ordeal.
It seems like you completed blocking for all three of your episodes. Was the total number of episodes a result of you being the director for both “Mare of Easttown” and “One Dollar”? Were you looking to avoid taking on such a demanding role again?
I’d gladly repeat that action, yet for this specific instance, it seemed fitting to go with three episodes instead. In my perspective, these initial installments set the stage for the narrative, and I was eager to dive into them. To clarify, I haven’t solely completed a first episode or pilot yet, but this was my debut attempt at crafting the first three episodes. All in all, I appreciate both scenarios equally. Producing three episodes remains three episodes; it’s still a substantial endeavor. With each television project, I gather more knowledge and feel increasingly confident about tackling an entire series in the future.
After you took on the director role, James Gunn and Peter Safran were brought in to manage DC Studios and supervise Matt’s “Elseworlds” label, along with their own DCU. Did you ever receive input from them, or were you primarily working with [showrunner] Lauren LeFranc, Reeves, and [producer] Dylan Clark?
I can confidently say they were a vital presence, always backing my project wholeheartedly. Their enthusiasm for it was palpable and infectious. To be honest, I can’t recall specific interactions or suggestions, but they were undeniably part of the team, always around.
I think you should write an email to James like the one you sent to Matt.
(Laughs.) Yeah, you’re right.
Is there one particular DC character that you’d love to tackle?
In terms of the fictional world, it’s the Vertigo universe and the darker aspects of DC Comics that I know best. Therefore, when thinking about this couple, those realms are often what come to mind first.
James Gunn is a really good filmmaker, and I can’t wait to see what this new [Superman] movie is going to be. I’m sure it’s going to be awesome. If he makes a whole world out of what The Suicide Squad and Peacemaker are, I’m in. That sounds awesome.
As I delved deeper into my creative journey, I discovered that what I thought was just another Max series wasn’t so simple. It turned out to be my fourth HBO production, which included ‘The Leftovers’, ‘Westworld’, and the critically acclaimed ‘Mare of Easttown’. Given the remarkable luck I’ve had with HBO, this unexpected twist was indeed a warm and exciting change in my professional path.
During the process of creating a show, I hardly ever ponder over which logo should be displayed upfront; at least, that was my case. However, I’m thrilled that HBO finds the show appealing and wishes to endorse it by using their logo. That’s simply fantastic!
Previously, we discussed how you incorporated Matt and Greig’s Batman aesthetic into your work. However, I had a chat with Kathryn Hahn and others about their new show, Agatha All Along, which seems to honor your creative contributions to Mare of Easttown. In the series premiere, Kathryn’s character attempts her own interpretation of Kate Winslet’s Mare Sheehan and envisions herself in a similar series titled Agnes of Westview. Does it feel gratifying to be referenced now?
100% confirmation, and what a delightful surprise, particularly from the talented Kathryn Hahn! It’s always a pleasure to be recognized by her. Indeed, it’s quite an honor. I hadn’t known this before, but it’s truly heartening to find out now.
The character even has a deceased son that weighs on her.
Amazing.
Among some past team members, there’s a split opinion regarding another installment of the show ‘Mare’. While some are open to it, others believe it’s better to let things rest as they are. Where do you personally stand on this issue?
In my brain, there’s definitely a possibility for that to happen at some point. It’s tricky. When you make a show, you define what a character’s big emotional wound is, and hopefully, there’s some amount of catharsis in the character at the end of the show. And so the question then becomes, “Well, how do you keep that going in a way?” But I can totally see that happening at some point, and I would be excited to see it.
Speaking of The Penguin, was it your expectation that Oz’s initial monologue regarding Rex Calabrese would take a prominent role in the trailer during filming?
Absolutely! Following the scene where we filmed it, I couldn’t help but think, “That was rather impressive. Colin truly excelled there. It was truly something unique.” In most TV episodes, a monologue as long as that is unusual, but in our case, we started our series with it, which added an exciting twist. Notably, it was the first scene we filmed, making it even more enjoyable for us.
Is the opening title card strategically placed in the debut episode intentional, or was it discovered during editing? Was it planned in advance, or found later on?
In the screenplay, there was a cue such as “Ah, SHHH … cut,” indicating the scene would conclude. The exact placement of the title card wasn’t clear, but we knew for certain that the scene would end at this point. Interestingly, in the actual premiere, Oz exclaimed “Ahh, FUU!” before the screen abruptly transitioned to the title card.
As someone who hates cilantro, I really appreciate what you did for my community in episode two.
(Laughs.) Yeah, we did closeups of cilantro, and I remember those closeups.
Does the character portrayed by Victor (Rhenzy Feliz) remind you of a specific character from The Wire, although you’re not mentioning it? Have the creators ever made such a comparison?
Indirectly, I get your point. It seems that could have been a reference in our work, as one might say. While discussing our project and shows like “The Sopranos,” we didn’t explicitly discuss that aspect. We weren’t aiming to replicate it. Instead, I often thought, “That’s just going to develop naturally.” So, it wasn’t a deliberate choice; it was more of an implicit understanding. For example, we never pondered, “What did the characters on The Sopranos do in this or that situation?” Rather, I would say, “It will resemble The Sopranos at the end simply because that’s what we are familiar with.” However, we weren’t pursuing that similarity consciously.
In a similar vein, the ending of episode three seems to echo a well-known scene from “Breaking Bad”, albeit with a twist on character interactions. It’s quite intriguing how personal experiences and references to popular culture can shape our perceptions in such ways, even if it wasn’t your intention.
Absolutely! It’s enjoyable to realize that some situations will likely turn out well due to their similarities with previous favorable experiences, and it’s intriguing to ponder on them in this light.
The first episode of the Penguin’s series can now be streamed on HBO and Max, with new episodes airing each Sunday.
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2024-09-20 16:26