Tag Archives: Lisa Joy

Shades of grey

As season two of HBO’s Westworld draws to a close, co-creators and showrunners Lisa Joy and Jonathan Nolan discuss making the series, rebooting the Western genre and their fascination with the mind-bending themes at the heart of the drama.

With overlapping timelines, dozens of characters and a premise built on mysterious and complex technology, Westworld might seem a daunting proposition for the more casual TV viewer.

Set in a colossal Wild West-themed amusement park for the super-rich, where guests’ darkest desires are fulfilled by hyper-realistic android ‘hosts,’ the HBO series has demanded its audience’s full attention from the start, trusting viewers to keep track as the rug is constantly pulled from beneath their feet by a succession of twists and reveals.

Among the many surprises of season one, the most significant was perhaps the revelation that two main characters – William and the Man in Black – were in fact the same person, depicted at two different ages.

Season two, the finale of which aired on HBO in the US last night and hits UK screens on Sky Atlantic this evening, has kept the intrigue flowing, exploring the newly sentient hosts’ quest for freedom while simultaneously taking viewers deeper into the origins of the park and its key characters.

It has also revealed the existence of at least two more parks run by the shady Delos corporation, with a British India-based location referred to as The Raj and the previously-hinted-at Shogun World, set during the Edo period of feudal Japan.

Evan Rachel Wood and James Marsden play ‘hosts’ Dolores and Teddy

Lisa Joy, co-creator and co-showrunner of Westworld alongside husband Jonathan Nolan, admits there is “a lot of complexity” to the show’s “puzzle-like structure” but adds that, this time around, the show has “played the timeline stuff cards up.”

“Each season, the questions that we tee up, we do try to have an answer for all of them. We do intend to answer the questions we set up,” says Joy, whose previous TV credits include Pushing Daisies and Burn Notice.

Nolan, who has worked with his brother Christopher on blockbuster movies such as Interstellar and the Christian Bale-led Batman trilogy, adds: “We do this in part because it’s the kind of show we would like to watch, which is why it’s layered and complex.”

He compares Westworld’s weaving narrative to the film noir structure. “You start at the end and then figure out the way to the beginning. And you have the classic noir protagonist in Bernard [Jeffrey Wright], who has forgotten something important.”

It’s an approach that has at times made it necessary to withhold information from the cast – which includes big-name stars Sir Anthony Hopkins, Evan Rachel Wood, Ed Harris, Thandie Newton and James Marsden – to “keep the story as fresh and present for them as possible.”

Ahead of season one, even acting royalty like Hopkins, who plays Westworld co-founder and park director Robert Ford, reportedly had to battle to get access to complete scripts. Wood, meanwhile, was largely kept in the dark over revelations about her character Dolores, a host who exhibits different personalities throughout the show.

Ed Harris as William/the Man in Black

“We didn’t really tell Evan anything, as we wanted her to be sort of stranded in her character’s situation, guessing what the larger story was,” Nolan says.

For season two, however, the tables were turned, with Wood being given a clearer picture of the overall story while Wright – whose character, Bernard, discovers late in season one that he is not human but a host based on the park’s other co-founder – was tasked with reacting to developments along the way.

“This season we sat down with Evan and laid out the story; for Jeffrey, we explained we weren’t going to tell him anything,” Nolan reveals.

Joy adds: “We’re lucky enough to have this tremendous cast and crew who I think are as invested in protecting the story and their character arcs as we are. So it’s actually not that hard to keep things under wraps, as we have such wonderful collaborators.”

The Wild West-themed park in which much of the action plays out sees Westworld straddle the dual genres of Western and science fiction. And while it might seem a curious combination, it’s not without precedent, following in the footsteps of the short-lived but hugely popular series Firefly as well as movies Back to the Future Part III, Cowboys & Aliens and, of course, the 1973 Westworld film on which the show is based, written and directed by Jurassic Park novelist Michael Crichton.

“We were fascinated by the idea of this moribund genre,” Nolan says of the Western element. “The most terrifying part of launching the show was that half of it was this dead genre. Even when Crichton wrote the original film, the Western period was on its way out.

Westworld’s second season has introduced new locations, including Shogun World

“But I think for him and for us it’s a genre that is so consistent; its rules are so simple. There are some phenomenal movies and they all have this underlying structure, which is an investigation of good and evil, free will. It’s a fascinating genre.”

“The idea of good vs evil is really quite binary – the black hat and the white hat – and what we’re trying to do is delve deeper and deeper into character, and eventually you see that everything is shades of grey,” says Joy.

The Western setting also allows for some stunning cinematography. Much of the exterior shots in the show, produced by HBO Entertainment, Kilter Films, JJ Abrams’ Bad Robot Productions and Warner Bros Television, are filmed in Utah, making use of awe-inspiring locations such as Castle Valley to illustrate the enormous scale of the Westworld park.

The expansion this season into Shogun World, meanwhile, saw Nolan and Joy draw inspiration from Akira Kurosawa, the celebrated Japanese filmmaker known for such titles as Seven Samurai. “We had a lot of conversations about what the look and feel of that should be,” Nolan says. “We were riffing on Kurosawa, so we went back and looked at all of his films to see if there was a signature film stock or a signature aspect ratio, anything we could play with. Kurosawa was restless; he moved back and forth between black and white and colour, he moved back and forth between different aspect ratios.”

This led to increased experimentation in filming methods, with parts of Westworld being shot on anamorphic film. “When you use anamorphic lenses, your bokeh and your focus roll off in a very beautiful way and it just has a totally different, very beautiful texture to it,” Nolan explains.

Jeffrey Wright’s Bernard has struggled to come to terms with the discovery he isn’t human

The showrunner adds that the different techniques are used to suggest to the audience that things aren’t quite what they seem. “By the finale, you realise that that’s our gentle way of putting you in a virtual space,” he notes.

What proved most attractive to Nolan and Joy, however, was the opportunity to explore the themes inherent in a show about androids gaining sentience, particularly free will and the implications of artificial intelligence.

After Abrams had come to them with the idea of remaking Westworld – initially as a film before later suggesting a TV series – Nolan says the pair realised it was “everything we’re interested in and everything we’re talking about right now, in terms of artificial realities and artificial intelligence and consciousness, and human nature, which I’ve always been fascinated by – memory and morality and all this stuff that we’re made of. Looking at it from the perspective of a set of creatures made in our image was just kind of irresistible.

“My point on artificial intelligence is I’m not really sure why anyone would be writing about anything other than artificial intelligence right now. [Star Trek creator] Gene Rodenberry would be very disappointed we’re not already there, but it does feel like we are stumbling into it a bit now. I think we’ve just got a few years left until AI shows up and tells us to stop writing about it!

“We were endlessly interested with exploring what it would be like to have an artificial consciousness – how you would perceive and understand time, how you would perceive memory. From the beginning, we said that this would be a show about the emergence of a new form of life on Earth – and that’s not a short story.”

Anthony Hopkins returned for season two despite his character being killed off in the first run’s finale

Westworld, distributed by Warner Bros Television Distribution, also examines free will from the point of view of both the hosts and the humans, with several episode titles referring to philosophical concepts relating to free will, and the question of whether it truly exists for anybody.

Season one finale The Bicameral Mind takes its name from a term coined by psychologist Julian Jaynes, who proffered the idea of two separate minds within every individual – one that gives instructions and another that performs them. Jaynes discussed how consciousness comes from breaking down the wall between the two by exposing the individual to new stimuli.

And tonight’s finale is called The Passenger, alluding to the notion that the conscious mind is just that: a passenger in a vehicle being driven by the subconscious, to which we are all slaves.

Nolan’s position is unequivocal. “As far as we can tell, free will is an illusion,” he says. “If you think about the beginning of The Simpsons, where Maggie has the little fake steering wheel, that’s consciousness. Marge is at the wheel; we don’t get to talk to her. We’re Maggie, looking out the window and imagining we’re making the decisions – and most of the empirical evidence suggests that we aren’t.”

Joy adds: “Humans can be reduced to some rather elementary building blocks. When you start to think about the drives that humans have, sometimes we find that we are maybe simpler than we thought, more manipulable.”

Profound stuff, and viewers can expect more in season three, which received the green light soon after the second run’s premiere. The ending of season two teases the prospect of major changes to come, with the show poised to spend more time outside its amusement parks.

“One of the things we’re excited about is the third season is our world, and we now have the fun-slash-terrifying challenge of building out what the real world looks like,” Nolan says.

Quashing any suggestion that the pair are making it up as they go along, Joy reveals that she has had an ending in mind since day one. “When we were writing the pilot, I pitched a scene to end the entire series on, and so far we have not deviated from liking that scene. As a writer, you never want to tempt a smiting from the TV gods, so I would never venture to guess how many seasons we will live for. But I do think there are tentpole moments we are trying to work towards, and hopefully we will reach our ending in the time we have.”

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Westworld and The Crown head Golden Globe noms

The Hollywood Foreign Press Association has revealed the nominations for its annual Golden Globe film and TV awards – the next edition of which will be held in February 2017.

Some TV shows on the shortlists seem to have become permanent fixtures, notably Game of Thrones, Transparent and Veep. But there will also be stiff competition from a range of excellent new shows.

Westworld’s viewing figures improved as the debut season reached its climax

A key contender in the Best Television Series – Drama category is HBO’s Westworld, which also picked up nominations in two other categories. Created by husband-and-wife team Jonathan Nolan and Lisa Joy, the show has just finished its first season with an average of 1.8 million (same-day viewing). However, the most encouraging thing about the show is that its audience has been rising since episode five, with the finale achieving the show’s best ratings to date (2.2 million). All of which bodes well for the second, which is likely to air in 2018.

Also in the running is Netflix’s royal epic The Crown, which we discussed last week. Written by Peter Morgan, the show is up for Best Television Series – Drama as well as two acting gongs. It’s 10 years since Morgan received an Oscar nomination for The Queen, so perhaps now would be a fitting time for him to win a top award for his royal endeavours. With an IMDb score of 9.0 and superb reviews, it’s another incredibly strong contender.

Arguably the surprise package of the year has been another Netflix show, Stranger Things, which also finished its first season with an IMDb score of 9. Up for awards in two categories (including Best TV Drama), the show follows the disappearance of a young boy at the same time as the appearance of a girl with telekinetic powers.

The Duffer Brothers’ Stranger Things was one of the hits of the year

The show was created by the Duffer Brothers, who featured in this DQ feature on 1980s-inspired TV. Commenting on the Netflix relationship, Ross Duffer said: “They have been incredibly supportive of our vision from the very beginning, and they’ve placed so much trust in us. We also just love Netflix as a platform, because it allows people to watch the show at their own pace. This story is not necessarily intended to be watched over eight weeks. The hope is that people will get hooked and the crescendo will feel even more impactful when it’s watched over a relatively short period of time. We want the audience to feel like they’re watching an epic summer movie.”

The Best TV Drama category is rounded out by the much feted Game of Thrones (David Benioff and DB Weiss) and This Is Us, the only one of the five shows that airs on a free-to-air network in the US (NBC). The latter has been one of the strongest-performing new shows of the 2016/2017 season and is very likely to be renewed for a second season.

It was created by Dan Fogelman, whose credits include Tangled, Cars and Crazy, Stupid, Love. Fogelman also wrote Fox’s new drama Pitch and is waiting to see if that show has done well enough to secure a renewal.

Dan Fogelman’s This Is Us

Battling it out for Best Television Limited Series or Motion Picture Made for Television are American Crime, The Dresser, The Night Manager, The Night Of and The People v OJ Simpson: American Crime Story.

ABC’s American Crime, recently commissioned for a third season, is the creation of John Ridley, the Oscar-winning screenwriter of 12 Years a Slave. It is pretty well regarded by critics but is unlikely to come out ahead of some of the other shows in this category.

FX’s American Crime Story: The People v OJ Simpson, winner of five Emmys, is probably the one to beat. Created by Scott Alexander and Larry Karaszewski, it has been nominated in three categories at this year’s Globes.

That said, the Golden Globes isn’t shy of choosing outsiders – as it did last year when it gave Mr Robot, Mozart in the Jungle and Wolf Hall the top drama awards. Wolf Hall’s success in this category last year provides encouragement for the British nominees – The Night Manager, written by David Farr based on the John Le Carre novel; and The Dresser, the latest adaptation of Ronald Harwood’s acclaimed 1980 play of the same name (written for screen and adapted by Richard Eyre).

David Farr

However, both of them will have to go some way to beat HBO’s The Night Of, created by Richard Price and Steven Zaillian. Of course, if The Night Of does win it will owe a debt to the Brits, because it is based on Peter Moffat’s excellent series Criminal Justice (BBC, 2008/2009).

As referenced above, Mozart in the Jungle was the surprise winner of Best Television Series – Musical or Comedy category at last year’s Golden Globes. So it’s hard to predict which show will come out on top this time out. Mozart, created by Alex Timbers, Roman Coppola, Jason Schwartzman and Paul Weitz, is in the running again, as are Jill Soloway’s Transparent and Armando Iannucci’s Veep, both of which are strong contenders.

This is, however, a category where the Globes could make a positive statement in favour of diversity, with both Atlanta and Black-ish on its shortlist.

Donald Glover’s Atlanta has been a success for FX this year, generating an 8.7 rating on IMDb and bedding in with a respectable 880,000 average audience for season one. ABC’s Black-ish is now in season three and hovers around the five million mark. Created by Kenya Barris, the show has been a solid performer but would be a surprising winner.

Donald Glover

The five dramas that received nominations in Best Performance by an Actor in a Television Series – Drama were Mr Robot, Better Call Saul, The Americans, Ray Donovan and Goliath. In other words, a completely different line-up to the overall best drama category. This contrasts with Best Performance by an Actor in a Television Series – Musical or Comedy, where the only divergence from the overall category was a nomination for Graves instead of Veep. This is explained by the fact that the heartbeat of Veep is Julia Louis-Dreyfus, nominated in the actress category. If there’s a conclusion to be drawn out here, it’s that there is generally closer alignment between creator and cast in comedy series.

In terms of shows that have been overlooked this year, the Globes didn’t pay much attention to Fox’s Empire and Netflix’s much-feted Orange is the New Black. The mood also seems to have moved away from Shondaland dramas for the time being.

In fact, viewed from the perspective of writers, it’s been a pretty poor year for women, with Lisa Joy and Jill Soloway the only two high-profile female figures to be involved in the headline categories. It’s a reminder that supporting diversity has many dimensions.

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