As a filmmaker who’s been through the ringer more times than I can count, I wholeheartedly agree with the sentiment that our criminal system is deeply flawed, and shows like Ryan Murphy’s have certainly shined a light on that. It’s remarkable to see how much impact a TV show can have on society, even if it stirs up controversy.
Over the last three years, Max Winkler has strongly associated himself with the growing body of work by Ryan Murphy in television. As an independent filmmaker and director for TV, he has taken charge of episodes from six distinct productions by Murphy within this short span, most recently directing the majority of FX’s “Grotesquerie” series and a crucial episode for Netflix titled “Monsters: The Lyle And Erik Menendez Story.
Winkler has begun working on the next project within the Monster franchise, where he will assume roles as both director and executive producer for the unnamed third installment. This upcoming production delves into the chilling tale of 1950s serial killer Ed Gein, played by Charlie Hunnam. The collaboration isn’t just a reunion for Winkler, Murphy, and co-creator Ian Brennan; Winkler played a key role in recruiting another past partner for the series – its main star. Prior to this, Hunnam had acted in Winkler’s 2019 film, Jungleland. Winkler is already optimistic about how the production is shaping up.
He mentions that with so many films under his belt that have gone unnoticed, the joy of receiving an immediate response is something truly special. And if we manage to excel in our work, I’m confident that audiences will tune in to what we’ve created.” (paraphrased)
For Winkler, TV isn’t something new or exciting. Between consistently releasing independent films, he has also directed shows like “New Girl”, “Crazy Ex-Girlfriend”, “Brooklyn Nine-Nine” and “Minx”. However, directing five episodes of the visually unique series “Grotesquerie” might be his most creative freedom in the medium yet – this includes filming 15 minutes of one episode in a single take.
In a recent pause from his work in the industry, Henry Winkler’s son, Winkler, shared insights about his latest decisions, the struggles of modern independent filmmaking, and their upcoming plans for the next chapter of the “Monster” series.
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Given that you’re currently handling it, it would be appropriate for me to inquire about why Ed Gein is set to be featured in the upcoming season of Monster.
When Ryan first told Charlie and I about it, he said that everything stems for this guy. He was the first serial killer, he kind of helped coin the term. He evoked a very quiet character study about this guy, and Charlie and I were immediately into it. I’m really grateful to be throwing myself into this with Charlie, who is one of my favorite actors.
This change represents a significant shift for the franchise, encompassing not only a different era but also a topic less commonly known to the public.
In a movie directed by William Wyler titled “The Best Years of Our Lives“, we witness the profound impact of the atomic bomb on humanity’s psyche. The external world appeared normal, filled with advertisements for household items like vacuum cleaners and bologna that glimmered brightly. However, beneath this facade, there was a deep-seated mental health crisis unfolding, one that people struggled to understand or discuss.
In the past five to six years, it became quite frequent for a single director to handle each episode of a miniseries. However, we’ve noticed this practice decreasing lately. Aren’t you handling all of these episodes yourself?
Negative, and I’m utterly baffled by their method. It’s something I’ve never managed to accomplish myself. Even with the aid of “Grotesquerie”, I was only able to complete five out of ten tasks. I remain puzzled as to how individuals manage such feats so efficiently.
I recently had a chat with Gus Van Sant, and he expressed his strong desire to take charge of every episode in ‘Feud’. However, the task turned out to be excessively challenging for him, so you and Jennifer Lynch eventually took over the direction of two episodes instead.
Among all directors, Gus is one of my top favorites, to the point that whenever he’s directing, I find myself on set. It felt like I had triumphed in some contest. In the episode I was part of, which resembled an intense conversation similar to “My Dinner with Andre” between James Baldwin and Truman Capote, I was quite anxious. I was concerned that I might be imitating Gus excessively since I often emulate him as much as possible. He’s incredibly talented.
You’ve been marinating in a lot of dark material lately. How are you holding up?
It does not affect me. I am not method directing. (Laughs)
When you were at the helm for the premiere episode of Grotesquerie, it was clear that you played a significant role in setting the show’s visual style. However, you also directed episodes where, to prevent any spoilers, the storyline and visuals underwent changes. This allowed for some flexibility, even potential adjustments, to the overall appearance. Could you share your methodology when handling such transitions?
Delicately, we didn’t want viewers to become smitten with the aesthetic of the show during the first seven episodes only to find it drastically changed later on. Such a shift seemed too daring to me. To avoid losing anyone who was deeply engrossed in the visual aspect of the story, we made the changes subtly. However, the narrative structure had been designed to scatter hints that are now evident if you look back. Ryan had a clear vision for the entire season, and episode seven was no exception, which allowed us to plan accordingly. Our inspiration for the new look was a blend of David Lynch’s style and the film Chinatown – essentially, a very disturbing aesthetic.
Regarding the Monster series, I’m curious about your thoughts on the recent updates in the Menendez brothers’ case. It seems there is a possibility that their sentences might be reduced or commuted as early as a few months after this show’s release.
The show has had an extraordinary influence, and it’s quite clear that it’s shedding light on the deeply problematic nature of the American criminal system. Ryan’s impact on culture is undeniable in this context, as even those who may have criticized the show can’t deny its impact. It’s astounding to witness the current developments, which seem closely tied to the awareness raised by the series. It’s also worth noting that, after more than three decades, one should be able to pay their dues for mistakes made during their youth.
Besides the scripts and the consistent employment opportunities, what attracts you to be part of the Ryan Murphy repertory theater?
It’s truly fulfilling to create items that resonate within society, but I haven’t experienced this feeling with the films I’ve produced. The process of investing numerous years into these creations only to feel detached during their release or uncertain about who will view them is challenging. There’s a unique sense of accomplishment in dedicating equal time and effort to something, then engaging in genuine discussions about it with others – rather than clash heads with a marketing team over promotional materials like trailers.
Any particularly frustrating examples of that?
As a gamer, one of the most rewarding experiences I’ve had was working on the film “Jungleland” alongside Charlie Hunnam. Despite no one seeing it initially, and it leaving me feeling like giving up my career, it served as a harsh reminder of the unpredictable nature of the industry. The release of that movie coincided with the first wave of COVID-19, making it nearly impossible for audiences to watch. It was disheartening, as I felt an entire generation of movies were lost due to these circumstances. However, getting another chance to collaborate with Charlie and work with Ryan and the team on a new project has been incredibly gratifying. Knowing that our efforts will reach the audience, regardless of whether our work is deemed good or not, gives me a sense of fulfillment.
In today’s Hollywood, making an independent film is a challenging task due to financial constraints. Investors are reluctant to fund a movie without a confirmed cast, and agents often refuse to read scripts unless there’s already secured financing. This creates a catch-22 situation where it’s difficult to get funding without a cast, but it’s hard to secure a cast without funding. In essence, it feels like an impossible task that requires a divine intervention to get an independent movie made. Furthermore, due to lack of read scripts, one may be forced to cast actors who might not fit the role perfectly, which is unfair to those involved and can alter the intended feel of the film. This complex dance becomes overwhelming at times.
Are we really going to see the film adaptation of the fruitcake embezzlement scandal with Jennifer Garner and Paul Walter Hauser? I’m curious to know if it will actually come to fruition.
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2024-11-04 23:27