{"id":2796,"date":"2013-09-20T15:16:19","date_gmt":"2013-09-20T15:16:19","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2796"},"modified":"2014-06-05T19:22:25","modified_gmt":"2014-06-05T19:22:25","slug":"exposure-ann-biderman","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/exposure-ann-biderman\/","title":{"rendered":"Ann Biderman \u2013 Ray Donovan"},"content":{"rendered":"

With a career replete with hard-hitting stories, from television, beginning with NYPD Blue<\/i> to the creation of the cult cop drama Southland<\/i>, to features like Copycat<\/i>, Primal Fear<\/i>, and Public Enemies<\/i>, it\u2019s easy to think the Oz behind the r\u00e9sum\u00e9\u2019s curtain is a macho John Milius type. But, in fact, writer\/producer Ann Biderman is mainly about interesting<\/i> screen creations, having said in past interviews she never felt the need to focus on feminine subject matter. Biderman\u2019s world is filled with flawed characters struggling in stress-filled and hazardous situations. Her latest creation, Ray Donovan<\/i>, starring Liev Schreiber and Jon Voight, is about a professional fixer whose job \u2013 and father \u2013 clash with his beloved family. It debuted in June on Showtime to huge ratings. Ted Elrick spoke with Biderman about TV past and present, and how the best part of her job is when the writing\u2019s done.<\/p>\n

You started writing episodes of NYPD Blue<\/em> in 1994?<\/b> Yes. I had written Copycat<\/i>, and my agent called and asked if I had any interest in television; Steven Bochco and David Milch needed an episode of this new show written. The show had just come on the air and I thought it was quite good. I felt if I\u2019m going to do this I might as well learn from the best. I wrote a few episodes but didn\u2019t revisit that world again until Southland<\/i> [2009], which was a huge gap. I had offers over the years but I was busy trying to get films made. I\u2019m actually sorry I waited so long.<\/p>\n

Recent comments from people like Steven Spielberg and George Lucas indicate that quality dramatic features have become almost too difficult to get made.<\/b> You know, I really started to get tired of the whole thing. I found myself going for jobs that I really didn\u2019t want. The rules have changed so much. The kinds of films that I am interested in are now being done almost exclusively on television.<\/p>\n

Does that account for the lull between <\/b>Smilla\u2019s Sense of Snow<\/i><\/b> (1997) and then a roaring return in 2009, writing <\/b>Public Enemies<\/i><\/b> and creating <\/b>Southland<\/i><\/b>?<\/b> I had spent a long time writing a script about Georgia O\u2019Keeffe and Alfred Stieglitz that had come close so many times with different filmmakers. In between, I did a lot of rewriting, where you just come in and punch up scripts, without credit. It was lucrative and helped finance other things I wanted to invest in. Then I spent two years with Michael Mann. I was originally hired to write a script about the world of sports that never got made. As we were coming to the end of that he kind of passed the first draft of Public Enemies <\/i>across the desk and said, \u201cDo you have any interest in this?\u201d<\/p>\n

TNT recently cancelled <\/b>Southland<\/i><\/b> after five seasons, calling it \u201cone of the best police dramas ever made.\u201d It enjoyed great reviews and a loyal fan base. How did it come about?<\/b> John Wells and Chris Chulack were interested in doing a cop show, and they called and asked if I would be interested in creating it. Honestly, I wasn\u2019t sure that I had anything new to say about the cops. I had spent time with police officers in a lot of different cities, but I hadn\u2019t spent any time with L.A. cops since I had done Copycat<\/i>, which was 15 years prior. I didn\u2019t know if I would be interested in doing this, so before I took the job, I went and spent, literally, six months going out with cops all over the city, and at the end of that I felt that, indeed, things had changed so much, this was something I really wanted to do.<\/p>\n

Ray Donovan<\/i><\/b>, like many of your characters, is a morally questionable protagonist. He\u2019s reminiscent of Marlowe, and John D. MacDonald\u2019s Travis McGee.<\/b> And MacDonald\u2019s been on my [reading] list for almost twenty years! But that\u2019s part of the character of a private detective. There are different iterations. I love Elmore Leonard\u2019s LaBrava<\/i>, one of my favorite books of his. I love Hammett and Chandler. They\u2019re all morally questionable characters. If they\u2019re not morally questionable, they\u2019re not P.I.s. [Laughs.]<\/p>\n

One uncomfortable example in the pilot episode, shot by Jonathan Freeman and directed by Allen Coulter, is a dead girl in a star athlete\u2019s bedroom.<\/b> It is, but at the same time, she did the drugs, not the athlete. He was with her and she did her thing, and he wakes up and finds her dead. He didn\u2019t kill her, which is really clear. I think what comes across is Ray\u2019s empathy for these people; he cares for them. Also, the pilot is a unique animal because there\u2019s so much exposition to get across, you risk being tedious. You really can\u2019t get going until the second episode, so you have to find a balance.<\/p>\n

How do you, as the creator and showrunner, assemble a writing team for the series?<\/b> I thought long and hard about the writers\u2019 room, and from the moment we got picked up I started to cast it. I was looking for original voices. It\u2019s also a tough job because you are asking someone to mimic your voice, and at the same time you want people who are great writers. You also want team players because you\u2019re really married to these other writers for a year. You are living every day together so you want people you can get along with.<\/p>\n

How did that work for <\/b>Ray Donovan<\/i><\/b>? <\/b>I must have read 150 or 200 scripts. It seemed like everybody was in the CIA and good-looking. It was really annoying. The minute I saw CIA\/good looking I just kind of threw it across the room [laughs], and then my assistant would deliver the next box. Ron Nyswaner was nominated for an Academy Award for Philadelphia<\/i>, and I loved a piece he wrote called Soldier\u2019s Girl<\/i>. When I heard from Showtime he was interested, I met with him and he said, \u201cI don\u2019t want to be alone in a room anymore. I\u2019m looking for a different kind of experience.\u201d I really understood that, having been a screenwriter alone in a room. As for the others: David Hollander had been a showrunner on The Guardian<\/i>. Then I got a call from Matt Weiner about a writer on Mad Men<\/i>, Brett Johnson, who was looking for a change. Then I hired a writer out of England named Sean Conway who had a great series on the BBC called Hit & Miss<\/i> about a transgender hitman. I read the first script and couldn\u2019t stop reading them. It was like eating bonbons, they were so poetic and dark, strange and intense, and Sean was ready to come abroad for a while.<\/p>\n

How involved were you with the casting, such as Liev Schreiber?<\/b> There isn\u2019t a part in this show I didn\u2019t cast. I worked with a great casting director, John Papsidera. Liev\u2019s name was floated very early and I thought how fortuitous it would be if we could get him. I think it\u2019s the timing. More and more serious actors are realizing that there\u2019s really good work being done on television. He liked the writing and responded to the pilot.<\/p>\n

One of the most disturbing moments in the pilot is Jon Voight\u2019s leering at a woman while she is breast-feeding her baby.<\/b> When David Nevins read the pilot he said that was one of the iconic moments of the script. It was appalling, and it made him laugh, which set the tone for Jon\u2019s character. I think the show is very funny. He\u2019s so appalling, your jaw drops, and he\u2019s also charismatic: that\u2019s Mickey. But it is so disgusting and objectionable.<\/p>\n

And the actors who play Ray\u2019s kids are terrific. Was casting kids for this type of show difficult? <\/b>[Laughs.] Well, there are all these little moppets that come in and shake your hand. They\u2019ve been instructed to look you in the eye, and they\u2019re just, I don\u2019t know how to say this, but they\u2019re kind of frightening. They\u2019re like overly trained Disney moppets, without natural instincts. I must sound horrible!<\/p>\n

[Laughs.] That\u2019s why people cast non-professionals, like in <\/b>Beasts of the Southern Wild<\/i><\/b>.<\/b> Well, it\u2019s scary because they are so programmed. You want a kid<\/i>. This was Devon Bagby\u2019s first part and he just had something. He hadn\u2019t been instructed to be cute and winning. He was real and awkward and fabulous. Kerris Dorsey has been on Brothers & Sisters<\/i>, and was in Moneyball<\/i>, so I was already her fan. I think she\u2019s an amazing actress.<\/p>\n

Tell us about the decision to have Allen Coulter direct the pilot.<\/b> Like many people, I was a huge fan of The Sopranos<\/i>. He also did a number of pilots that I thought were interesting \u2013 Nurse Jackie<\/i>, Sons of Anarchy<\/i>, Damages<\/i> \u2013 and I spoke to the showrunners of all of those shows to understand their experiences. I also admired his features, particularly Hollywoodland<\/i>.<\/p>\n

What is your favorite part of the process \u2013 from creation to series?<\/b> Writers always say this: You love the writing, but it\u2019s even better when you\u2019re done (laughs). It\u2019s a tremendous sense of relief. The pace of TV is relentless, and I like every part about that. I love being on the set, in the casting sessions, and in the writers\u2019 room. Writing, the set and editing are critical, but there isn\u2019t a mix that I don\u2019t go to; there isn\u2019t an edit I am not part of. I work on every musical choice with our composer, Marcelo Zarvos. There are showrunners who just run the room, but I didn\u2019t want to be that kind of showrunner. That\u2019s not to say you don\u2019t get out of the way. For example, I don\u2019t tell Matt Jensen which lenses to use!<\/p>\n

Having been on a groundbreaking network show like <\/b>NYPD Blue<\/i><\/b>, and now having the creative freedoms of cable, you\u2019ve seen the full arc of television programming. <\/b>Without question. It holds up a mirror to society that is real. There\u2019s a huge shadow side to our culture. I don\u2019t want to sound like [noted psychologist] Jung, but if you can\u2019t express any of that, except in cartoonish ways, I don\u2019t think you\u2019re doing it justice. Television is like dramatic cinema of the 1970s right now, and I would not want to be anywhere else. I don\u2019t want to make films about superheroes, and I\u2019m not an indie sort of girl. I like linear storytelling. To me, this is where it\u2019s at.<\/p>\n

Interview with Ted Elrick. Photo by Joseph Viles\/Showtime.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

With a career replete with hard-hitting stories, from television, beginning with NYPD Blue to the creation of the cult cop drama Southland, to features like Copycat, Primal Fear, and Public Enemies, it\u2019s easy to think the Oz behind the r\u00e9sum\u00e9\u2019s curtain is a macho John Milius type. But, in fact, writer\/producer Ann Biderman is mainly about interesting screen creations, having said in past interviews she never felt the need to focus on feminine subject matter. Biderman\u2019s world is filled with […]<\/p>\n","protected":false},"author":1,"featured_media":3646,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[6],"tags":[170,37,310],"class_list":["post-2796","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exposure","tag-ann-biderman","tag-icg-magazine","tag-ray-donovan"],"acf":[],"yoast_head":"\nAnn Biderman \u2013 Ray Donovan - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/exposure-ann-biderman\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ann Biderman \u2013 Ray Donovan - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"With a career replete with hard-hitting stories, from television, beginning with NYPD Blue to the creation of the cult cop drama Southland, to features like Copycat, Primal Fear, and Public Enemies, it\u2019s easy to think the Oz behind the r\u00e9sum\u00e9\u2019s curtain is a macho John Milius type. 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