JENNIFER EUSTON, CASTING DIRECTOR It was 2010, and I’d done one or two network shows and did not have good experiences. Then Kathleen McCaffrey called and said: “I have this script. It’s Lena Dunham, and Judd’s attached.” I’d seen Tiny Furniture, and I’d worked with Judd, but I told her, “I’m not doing TV.” She kept hassling me; she had me sit down with Lena, and eventually she just wore me down.
APATOW We used a few people from Tiny Furniture. I was always a big proponent of Alex Karpovsky [the nebbishy Ray] as my personal way in, and Lena wanted to have [her childhood friend] Jemima Kirke play Jessa.
JEMIMA KIRKE (JESSA) I said no a couple of times. I was working as a painter at the time. Honestly, it was the money [that convinced me]. I was 24 and about to have a baby, so I was vulnerable, and the contract was very long. (Laughs.)
ALLISON WILLIAMS (MARNIE) I had just moved to L.A. from New York very dramatically after I graduated from college. I came in to audition, and we improvised a scene where I braided Lena’s hair, which was … dirty.
DUNHAM I called Allison before we cast her, and I asked her how she felt about nudity. She said, “I don’t want to do nudity.” I was like, “We have to get back to you. I’m gonna be naked, people are gonna be naked — that’s a big part of what this show is.” She told us she wasn’t scared of sex, she just didn’t want to show her vagina, her nipples or her butt — and she never did.
Lisa Belkin | Show Me a Hero, Little, Brown and Company | 1999 | 25 minutes (6,235 words)
Below is the first chapter of Lisa Belkin’s 1999 nonfiction bookShow Me a Hero, which was recently adapted by David Simon into a six-part HBO miniseries of the same title. Belkin’s book (and the miniseries) depict the fight to desegregate housing in Yonkers, New York during the late 1980s and early ’90s, and the story of a young politician named Nick Wasicsko. Read more…
What probably started with David Lynch and Twin Peaks, in the early 1990s, continued through a run of great shows—The Sopranos, The Wire, Deadwood, Mad Men. Pizzolatto is now attempting to take the next evolutionary step. Some part of the success of The Sopranos is attributed to James Gandolfini. As some part of the success of Mad Men is attributed to Jon Hamm. As some part of the success of True Detective is attributed to Matthew McConaughey. Credit and power are shared. But by tossing out that first season and beginning again, Nic has a chance to finally undo the early error of Fitzgerald and the rest. If he fails and the show tanks, he’ll be just another writer with one great big freakish hit. But if he succeeds, he will have generated a model in which the stars and the stories come and go but the writer remains as guru and king.
I think the look of the show is great. There was a bit of an adjustment for me. I had been living with these characters and this world since 1991, so I had close to twenty years of pictures in my head of what these characters looked like, and the banners and the castles, and of course it doesn’t look like that. But that’s fine. It does take a bit of adjustment on the writer’s part but I’m not one of these writers who go crazy and says, “I described six buttons on the jacket and you put eight buttons on the jacket, you Hollywood idiots!” I’ve seen too many writers like that when I was on the other side, in Hollywood. When you work in television or film, it is a collaborative medium, and you have to allow the other collaborators to bring their own creative impulse to it, too.