before launching on Max on July 13. It’s a morally complex story about a botched kidnapping that causes several characters’ lives to intersect in surprising ways. It’s also a fascinating portrait of modern-day New York City, one that showcases a privileged Manhattan family , as well as a pair of Guyanese kidnappers who are deployed by CCH Pounder’s shadowy business woman to exact revenge.
The good news was that while I was shooting, I was editing. I’d cut scenes for everyone every day. As we started to accumulate footage we made real-time calibrations to adjust things. If there was a storyline or a certain performer who was really working, we could figure out how to expand their storyline and that character as we’re shooting. I showed “Full Circle” to a lot of people during post-production to get feedback and to make sure that the structure of the piece was working.
You mean privileged people making privilege porn? It’s weird for sure. Now the problem is if Ed and I want to make a show about this subject at this scale, there is no place to go except one of these giant conglomerates. And they’re happy to write the check as long as a lot of people watch it. So getting people to do that is our job.
There are a lot of people in this show like CCH Pounder, Zazie Beetz and Claire Danes that you’ve never collaborated with before. Do you keep a list of actors you’d like to work with? I may be the Neville Chamberlain of this subject, but I am not afraid of A.I. in this specific context. It has no life experience. It’s never been hungover. It’s never made a meal for anybody it loved. It’s never been scared walking home late at night. It’s never felt insecure because somebody that it went to high school with 20 years ago has become incredibly successful. I’m not afraid of it. It’s just another tool. If it helps you finish a first draft of a script, great.
That’s possible. “No Sudden Move” and “Kimi” were greenlit as pure streaming films. Now that Warner Bros is no longer doing that, you would have to look at both of those films as commercial theatrical prospects. How are they going to do? You might be able to do okay with “Kimi” going out as a wide release thriller, but it’s risky. I think it’s questionable that those two movies get greenlit if going in you knew they had to be in theaters.
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