Have any of your thoughts about writing changed over the past four seasons? There’s a ton! Everything from David Cronenberg’s A History of Violence to Quentin Tarantino, from the Coen Brothers to all the B-action movies of the 90s, like those straight-to-video movies with Dolph Lundgren or Jean-Claude Van Damme. We had writers who had done a lot of procedural work and we had police consultants, but beyond that, we kind of made it up.Įliza Dushku as Veronica Dawson in Banshee © 2016 Cinemax Aside from Monte Cristo, are there other literary or cinematic influences involved within the series? We set a tone where the story wasn’t quite grounded, so we could play with that. We established a tone from the first episode where we could play fast and loose and pull off some stuff that you wouldn’t in the real world. Not that much, as we had the luxury of making it somewhat of a fantastical world in a fictional town. What kind of research has been involved within the series? Then you move into plot and recalibrate everyone’s journey to make sure you can give each character their own journey and their own individual arc over the course of the season. We sit down and decide what each character’s journey over the season is going to be. What’s it like evolving a character over four seasons? As a character, he became a criminal who posed as a cop to further his own agenda, and it was something that evolved over a long period of time. As I became more sophisticated and the TV-landscape began to change, the idea became much different. For most of my life he was a hero, rather than an antihero, where he used his criminal skills to solve crime. I had this idea of a guy with a long prison sentence, who reinvents himself as a cop. It was an idea that I’ve had, in some form or another, since high school, when I read The Count of Monte Cristo. When working on a screenplay, you have a lot of masters to please to get it to a point where everyone is willing to take it forward.Īntony Starr as Lucas Hood and Ryan Shane as Deva Hopewell in Banshee © 2016 Cinemax How did the idea for Banshee come about? When writing a book, I’m the lord and master-the only guy in charge.
That isn’t to say that you don’t spend time editing, but the idea of screenwriting is to get in late and get out early.Įach has their own pros and cons. I can spend days on an idea or a particular moment, but when I’m writing a screenplay, things tend to move along a lot quicker. When I’m writing prose, I need a lot of time and I can sink into it.
It breeds a different economy of words and the process of conveying ideas through dialogue and image, as opposed to exposition.
#Banshee tv movie#
There’s something…I don’t want to say formulaic, but there’s certainly something more structured about writing a movie because it has to all play it so quickly.
In screenwriting, you have to fill between 90 and 110 pages, and you have to build up to your climax at the right time. You can really decide to slow down or speed up your pacing at will, without having to worry about the framework of it all. You can explore everything and you can write pages and pages on a single thought or a single moment. Do you find that you need a different mindset writing novels, when compared to writing film and television? For me, I didn’t take them out because they were darker, but I took certain elements out because they were not necessary for the major plot of the story. When you sell something to a studio, they are expecting a good 90-minute movie and you have to find the more streamlined, satisfying story within those moments. You would love to make a six-hour movie that conveys everything that you put into the book, but at this point, our entertainment is not quite there. How difficult is it to write your own adaptation? Tina Fey as Wendy and Jason Bateman as Judd in This Is Where I Leave You The adaptation of This is Where I Leave You left out some of the book’s darker chapters.
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