As a seasoned storyteller with a knack for unraveling mysteries that keep audiences guessing, I find myself often treading a fine line between truth and deception. It’s like being a magician who never reveals the secret behind the trick – always leaving room for intrigue and wonder. In my journey, I’ve learned that the best way to throw people off the trail without being dishonest is by mastering the art of subtlety.
In a surprise move for modern TV shows, the opening title sequence of “The Perfect Couple” stands out. Netflix’s six-part series, based on Elin Hilderbrand’s Nantucket novel, begins with a mysterious death just before a wedding, creating suspicion around everyone associated with the deceased. However, instead of diving straight into the murder mystery, each episode starts with a 45-second dance sequence featuring all main characters, including Nicole Kidman and the victim, grooving to Meghan Trainor’s “Criminals.” This quirky choreography sets the tone for the series before it delves into the intriguing plot.
If you haven’t watched it yet (and I assure you this isn’t a spoiler), picture a scene from a 1960s beach movie starring Annette Funicello and Frankie Avalon, but with characters who seem to be members of an exclusive, questionable country club. Alternatively, you can watch the video below for reference. The decision to portray it this way was deliberate. Susanne Bier, a director who has won both Oscars and Emmys for shows like The Night Manager and The Undoing , directed each episode. She aimed to signal to viewers that the show would offer a comedic twist on the genre, rather than just another depressing whodunit like many other anthologies.
She shared that she communicated her desire for a fun spin in the show to Netflix and its creators. The script’s tone could’ve leaned towards the somberness of death or taken a lighter approach, which she believes adds depth. Although she acknowledges the importance of projects with different objectives, this one was intentionally crafted for audience enjoyment.
At present, Bier holds the top position in the U.S. streamer rankings, indicating a captivated audience. Bier delves into the process of creating the opening titles, revealing who jumped on board eagerly, those who attempted to thwart their efforts, and why persistence was key for her as she refused to accept ‘no’ as an answer.
Could it be that this is the sole murder mystery to feature an orchestrated dance number in its title sequence? What sparked the concept behind this unique introduction?
In the script, at one stage, a dance sequence transformed into a distressing scene, which wasn’t part of my original plan. However, there was an allure to the dancing aspect that lingered in my mind. When I removed it from the episode, it continued to resonate with me. I felt that the opening credits should hint at the audience being able to enjoy this series freely. There’s a sense of joy when many people dance together, and with these characters, who may not be particularly likable, having that moment, seemed fitting. Our music supervisor, Sue Jacobs, provided some songs, and I was drawn to Meghan Trainor’s “Criminals”.
Isn’t she from Nantucket?
Absolutely! I chose that particular song, which then inspired Charm La’Donna to create the dance routine. There was some back-and-forth discussion about it initially. When we shared it with the cast, everyone except Liev Schreiber expressed their reluctance, saying “No, I won’t do that. No, no, no.” After a break due to strikes, we returned to filming under tight constraints. We had to squeeze six weeks worth of work into just three weeks.
How did you get them to come around?
During our rehearsal dinner similar to the one depicted in the premiere episode, everyone continued to voice their objections. The producers, along with others, kept questioning if we truly wished to invest time in an activity that the cast appeared reluctant about. Nicole expressed her discomfort due to the tightness of her dress and the inability to dance in it. In fact, they created a WhatsApp group to skip the dance altogether. However, I found myself saying, “Why not give it a go?” Surprisingly, everyone became enthusiastic! We managed to complete everything within an hour and a half. Towards the end of episode six, did you happen to notice…?
Oh, I noticed.
I made my presence known on the dance floor! What I really desired from the cast was retribution. Then, it dawned on me. That dance was quite challenging.
And Liev was the only one on board?
Absolutely, he’s quite an accomplished dancer. What made it intriguing was his reluctance to participate in a game of Tag. It took quite a bit of persuasion, as we had around 20 phone conversations before he finally agreed. Once on board, however, he showed remarkable enthusiasm and even looked forward to dancing.
“As a seasoned gamer myself, let me tell you that the ending of this game took me by surprise. For any creators out there who craft similar mysteries, how do you keep players guessing without resorting to deceit?”
Editing this piece is quite challenging as you want to engage the viewers authentically without deceiving them. It’s frustrating when content strays from reality. Yet, there are aspects you can choose not to reveal. This isn’t just about facts; it’s also subtle actions like depicting characters holding hands. These seemingly small gestures often carry significant meaning. Sam Williams, the editor, and I enjoyed experimenting with every detail, shifting things around structurally, moving scenes between episodes, and so on. I believe it makes for a rewarding second viewing because of these intricacies.
The series frequently features flashbacks and scenes set during interrogations, particularly in the first episode. What benefits and drawbacks come with such a narrative approach?
Well, the pitfall is the frustration of being pulled out of the storyline and put into another world — into other characters or time. I’ve watched shows that cut back and forth and been very frustrated. The perk is that you can add to the present by very sparse means. Cutting back in time can add to the present timeline in a more light-hearted way, which was the notion with this show. But it’s a very delicate balance.
What is a trope from murder mysteries that you can’t stand?
Police dialogue can sometimes slip into familiar clichés, making explanations of potential plots seem overly elegant. When police conversations become overly expository, as is often the case in murder mysteries, it can create a trap. The characters are meant to be human, but they lose their authenticity when they’re merely conveying information to the audience. This trope, while common, can be particularly hazardous.
Given that I’ve invested quite a bit of my time in Cape Cod, which served as your main filming location, I find it hard to believe that the residents welcomed this wholeheartedly. Could you share some insights about the location aspects of the production process?
To put it simply, they had a complex reaction towards the scenario. (Smiles.) I suspect their views were clear-cut when it came to the trucks and the commotion caused by 400 individuals. Despite our efforts to maintain neighborhood etiquette, early morning filming with cranes, trucks, and lights is not typically welcomed in such residential areas. It wasn’t a warm and inviting, “please return” welcome. While some were intrigued and welcoming, there were others who clearly disliked our presence.
“You stated that one is truly proficient at a task when they aren’t entirely certain about how to perform it. Can you explain this concept in the context of our discussion?
Achieving the correct tone was like scaling a steep mountain, as it required balancing both the mystery and the character development. The appropriate tone was a delicate balance that could have easily tipped over. There are numerous aspects I haven’t tackled yet. There are many things that make me apprehensive. I enjoy adding more humor, but it demands exceptional skill.
Before we end this conversation, I understand that you’re not directly involved with the sequel to “The Night Manager”, but since you’re one of the executive producers, I was wondering if you could share some updates on the project. It seems like it’s deviating from the John le Carré source material, correct?
Indeed, he has focused on writing just a single book as a foundation. Consequently, you might say it’s an expansion or development of that original content. I had the opportunity to read early drafts of the screenplays, and they were impressive. My anticipation is high for the final product. The director is exceptionally talented. The cast promises to deliver an intriguing performance.
Read More
Sorry. No data so far.
2024-09-07 01:25