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Another actress came in to read the Trent Cresswell scenes. When she left, Weiner looked transported. “That’s exactly how it sounded in my head,” he said, as Audino and Schiff chimed in support. Just as suddenly, Weiner changed tacks. “She’s been altered,” he said with a tone of doom. “She looks very contemporary to me.” She certainly had the phoniest looking breasts on the block, though given the costumes, that wouldn’t matter. Was it her nose? They queued up her audition on the laptop and Weiner zeroed in. “It’s her lips,” he said. He was right. In 1961, no one got collagen shots.
— Alex Witchel, New York Times, 22 June 2008
(photographs by Brad Pitt)
an interview with a television showrunner
- Diane Haithman: What is male-oriented?
- Ed Bernero: For example, almost all dramas are families, they are work families – ER is a good example, Criminal Minds is a good example. We have a character who is the mother, a character who is the father, a brother and a sister, we have the younger brother that everybody protects, we have the cute cousin…it’s very much a family, and I think that very much appeals to women. You don’t see loners anymore, you don’t see a Mannix or a Rockford Files or something where it’s a tough guy standing against the world. It doesn’t appeal to women ...
- DH: And women are very interested in character, as opposed to what you’re saying -- that sometimes men just like a straight-on hero who does it right.
- EB: Yes, I think it’s extremely difficult to get a male-themed show on television.
- DH: The people who are running the networks are men, but the so-called creative executives, that whole level is mostly female.
- EB: If you say this, make sure that you say that I’m not necessarily saying that’s bad…
- DH: Just that it’s true.
- EB: What gets made that’s considered for men – it’s really just T&A stuff. It’s not stuff that any guy I know really wants to watch, you know, the stuff with jiggling boobs and all that. Something with real sort of male themes and male strength and things I want to watch in a drama….
- DH: The things men want to be respected for…
- EB: Yeah, sort of the things that appeal to us, the things we compete for. Macho in a different sense, the kind of things that we think makes us a man. It doesn’t really exist right now. I really don’t want it to seem that I think it’s a problem that women are in development, I don’t think it’s a problem at all, I just think it’s an interesting time that we’re in. And maybe long overdue – maybe television for a long time was made for men and it’s long overdue.
- DH: I’m hearing the hero thing, how important that is to men, it’s not just about being understood in a touchy-feely way.
- EB: No, not at all, it’s more about being misunderstood, but doing right anyway -- it’s Rockford and Mannix and all that kind of thing. Those kinds of icons don’t exist anymore.
and zen what happened
- New York Times: So can we talk about that moment?
- Lolita McAuley: My self-potato?
- New York Times: Yes. What happened there?
- Lolita McAuley: The first toss-up round they had, I knew it and pushed my buzzer, but Pat didn’t call on me. O.K., no big deal. So the next one, I remember pushing the buzzer but not really believing that he would call on me. And once he called on me, my mind went completely blank. Because I did know the puzzle. Self-portrait. And when he called me, my mind went completely blank. And I looked up there, and I said, “Self-potato.”
- New York Times: Have you given any more thought to what a self-potato might be?
- Lolita McAuley: No. Not at all. It just seems like a really good joke right now.
