Ни один эпизод не должен быть мультяшнее любого эпизода «Все любят Рэймонда» более чем на 30% — одно из правил авторской комнаты «Короче говоря».

Осязаемая точка отсчёта была осознанно выбрана для противовеса безумию других проектов, над которыми работал Рафаэль Боб-Ваксберг.

I felt like by placing this show in a more realistic milieu, it allowed me to zoom in on some character relationships, family moments and other stuff that felt very relatable and honest. Also, things that were maybe too small for some of the other shows that I’ve worked on that would get swallowed up by the large operatic drama of BoJack or the hyper-real world of Tuca & Bertie.

Как и в случае с национальным акцентом истории, решение продиктовано стремлением создателя БоДжека «сделать то, чего он ещё не делал».

Прицепом — желание смешить, вместо того чтобы заставлять накручивать себя, поэтому каждая сцена проходила «проверку на развлекательность». Хотя, разумеется, основным инструментом проверки был другой вопрос.

So, we are constantly looking at it scene by scene. Is this funny enough? Is this interesting enough? Is this entertaining enough? But we also talk about like, what are the emotions that we’re examining in this episode? What is the story really about? That’s a question that I started asking early on BoJack and it’s carried with me to all my shows. As we are crafting an episode, I will often ask my writer, what is this episode about? And just clarifying that one sentence, that theme, that idea really allows everything else to fall into place because then if a scene isn’t working, you can ask yourself, well, is it in service of what we have said this episode is about or is it just something else? And if it’s just something else, that might be why it doesn’t quite feel right.

Закрывая интервью рассказом о нелинейном повествовании шоу, Боб-Ваксберг также признаётся, что часто подбирает содержание под форму, а не наоборот.

This is maybe getting a little too process-based, but a lot of my work comes from finding a box and then figuring out how I’m going to fill it. Like for example, I want to do an episode of BoJack where it’s just BoJack talking for the whole episode, what would justify that kind of format? What kind of story would lend itself to an episode with no dialogue? What are some different ways of telling stories, and how do I want to tackle that? So often the form comes first and then the challenge for me is making sure I have a story that justifies that telling so it doesn’t just feel like a gimmick or a device.

#tv | #long_story_short