Faces Behind the Camera - Bryan Fuller

Bryan Fuller (source: IMDB)

You know “that guy”?  Yeah!  Him!  Everybody has that one actor in film and TV that just pops up everywhere but you never know his name or remember what you saw him in.  Now, what if “that guy” was not an actor but a television creator, writer and producer?  Now, imagine that the same individual was responsible for some of the best television shows of the last fifteen years.  Yeah.  That’s Bryan Fuller.

The closest point of comparison to Fuller I can make is a somewhat more whimsical version of Joss Whedon, the creator of TV’s Buffy the Vampire Slayer, Firefly and, most recently, the director of Marvel’s The Avengers movies.  Like Whedon, Fuller has a knack for writing captivating characters in unique situations and he excels at dialogue.  For a big-budget Hollywood movie, sometimes just dangling keys is enough to be entertaining, but having to operate on a limited budget for a TV show spanning a broader length in terms of story is much more difficult, especially when you are trying to sell an audience something so strange as to be occasionally unsettling.

A characteristic of Bryan Fuller’s series that I actually kind of like is his somewhat light approach to the dark topic of death.  Almost all of his shows have some darker undertone superimposed on bright or humorous backdrop.  This goes especially for his “big four” as I like to call them, but we’ll get to those in a moment.  First, it is important to know that Fuller does not have many credits to his name, and that is often a positive sign… No, really.  Granted, he has only been active in the industry since the late 90’s, so it stands to reason his career thus far would be barely impactful… right..?

Well, it really starts in 2000 with his work as a writer and producer on the spinoff series Star Trek Voyager.  I am not really a Star Trek fan, per se.  I have recently gotten into The Next Generation, watching episodes here and there, and liked what I’ve seen so far, but I have not watched Voyager, so I cannot really give any personal opinion on that one show, still, for an up-and-comer, landing such a position on such a storied franchise is very, very impressive.  The question is: Does he prove himself worthy of gaining such a credit early on in his career?

Dead Like Me (Showtime; source: Pintrest)

The first of the “Big Four” is 2001’s Dead Like Me, one of my favorite shows of all time and one of the most criminally short-lived shows in the history of television (both will be running themes here).  The series follows an apathetic teenager who died suddenly in an accident on her first day of work, only to be kicked back from the afterlife to the undead, tasked with becoming a Reaper.  She is then forced in with a crew of fellow veterans of the Reaper title who seemed to be trapped in limbo as she carries out her duties, ferrying souls to the afterlife.  It’s definitely a dark series but, in spite of its themes, it’s a comedy, and a damn-funny one at that.  It’s defined by its uniquely sardonic take on death, while still dealing honestly with the effects of loss, especially on the family and how they are unwittingly watched over by a daughter who only felt unappreciated before her passing.  It’s comically-grim, yet occasionally moving, and if you haven’t seen it, I give it my strongest recommendation.

Wonderfalls (2004; Fox)

Now, on that note, “Big Four” entry numero dos is Wonderfalls.  This is the first show that would really begin to highlight Fuller’s curse as a producer of hitting the right note but never maintaining a series beyond a few seasons.  This series ALSO followed an apathetic young lead, this time a worker at a gift shop for a Niagara Falls tourist trap.  The cyclical girl begins to have strange hallucinations of anthropomorphic objects (sculptures and the like) around her place of employment appearing to come to life, giving her one-word clues to… something.  When she discovers what that ‘something’ is, it becomes clear that as insignificant as she may have felt at first, she really does serve a greater purpose.  Wonderfalls is a strange show filled with many of the quirks that made Dead Like Me so damn enjoyable.  The writing is good, the characters are fleshed out naturally and never feel superfluous and the performances are all excellent.  Sadly, this great series lasted only a handful of episodes before its ultimate cancellation, and I have only the simplest explanation as to why it didn’t really last: bad timing.  It came up against the NBA games for the first third of its run, then Fox did what they do best, stopping the show dead in its tracks in favor of American Idol.  After only four episodes, the show was forced into a three month hiatus, followed by another Fall hiatus that same year.  The entire season (which was only 13 episodes) took ten-and-a-half months to complete.  It never stood a chance.

This was a big problem in the mid-2000’s.  The culture-killing Writers Strike of 2001 left many producers cold and bitter and what came out of that was an unfortunate and disastrous takeover of reality television.  Since these shows were cheap to produce, required zero support from the Writer’s Guild of America and proved to be quite successful, most shows that ran in the early 2000’s were just cut off in favor of the cheaper alternative.  This is why there was this massive sudden influx of dreadful reality TV that lasted for nearly a decade, with most networks only coming out of this Hellish slump in the last five-to-six years.  During this period, Fox’s American Idol was an audience-stealer and, as a result of this, the network would preempt entire series in favor of this one show, airing it as much as five nights a week in some periods, during which they rarely offered any show alternatives.  It was because of this decision that many cable networks began to rise up with their own original primetime programming, eventually taking over a majority of the prime time slots ever since.  I’m sure, at this point, in-spite of Idol’s success, Fox is sort of kicking themselves for driving out their audience.  Dead Like Me, Firefly and the excellent Freaks and Geeks were just a handful of shows killed by the WGA strike, the latter two of the three’s demise being helped along oh-so-handily by Fox executives..

Pushing Daisies (2007; ABC)

However, even after the unfortunate passing of Wonderfalls, Fuller was not deterred.  In 2007, Pushing Daisies premiered, this time on ABC.  This was a strange show.  It was honestly unlike anything else on television.  It had this whimsical tone, filled with wide-angle lenses, Douglas Adams-esque narration, odd undertones of death and sex and the occasional musical number, all set to a super-polished Americana theme peppered with very bright colors.  The series followed the Piemaker, Ned, who discovered as a boy that he had the power to bring the dead back to life with a touch, but only for a few seconds.  He learned tragically that if he did not touch the resurrected again, something (or someone) nearby will die in their stead.  So naturally, as an adult, an intrepid P.I. is there to exploit his powers to talk to the dead to solve mysteries.  Nope.  Not kidding.  They go on adventures and everything, and as funny as that sounds, there is a strong sense of tragedy surrounding the entire show.  His best friend, the love of his life, and one of his few true friends dies and his choice to raise her from the dead for good leads to more than a few complications.  Aside from someone else dying for her to live, there is the sad reality that he can never touch her.  There is a heartbreaking poetry in this idea, and it is presented nearly flawlessly in Pushing Daisies.  Also, like much of his work to this point, this series revolved heavily around death.  

Pushing Daisies is, by-far, Fuller’s most successful series.  It lasted two seasons but, unlike his previous shows that ended far too soon, I think it was enough.  It ran its course, plots were addressed and resolved and any more would have just been turning the wheels.  Instead of keeping this alive, Fuller and ABC did the right thing and touched it a second time, to put it down for good.  Yet, during its run, it won numerous awards and was nominated multiple times.  Lee Pace and Chi McBride were both great as always, but the show-stealer here was the then-mostly-unknown Kristin Chenoweth (unknown, at least, outside of the theatre scene).  At the time of the show’s production, Chenoweth was already a beloved Broadway star and it shows in her performance.  Her energy and vocal talents take over, especially in the second season, where she goes from being a supporting character to a more driving force in the overarching story.  Every show has the one character that people remember the most coming out, and for me, Chenoweth’s Olive WAS this show.

This brings us to today.  Bryan Fuller’s current notable project is the series Hannibal, a prequel to The Silence of the Lambs in which we see a younger Hannibal Lecter in his prime.  I’ve watched the first few episodes of the series myself and I… didn’t really like it.  Not to say that it was bad by any stretch.  It certainly stands out in terms of quality compared to most shows on network television today, but I think knowing it was Fuller’s work going in left me a little jarred.  It is so unlike his other efforts as to be sort of off-putting for me as a long-time fan.  I wanted there to be a hint of the charm found in his previous works, but what I saw of Hannibal is far too serious.  Now, I plan to go back and rewatch the first season, just so as not to dismiss it entirely because I may have missed something.  I want to like Hannibal, I really do, but I will require a lot of convincing.  

So, you have a talented young writer/producer who is notable for working on a few of the most criminally short-lived television series of all time.  This is a running theme, largely because TV executives are forced to look at short-term gain through ratings rather than long-term popularity.  It also doesn’t help that most of these shows were shoved into the fray against insurmountable odds.  Still, they have their fans; and justifiably-so.  Bryan Fuller is a tremendous talent and I as his career progresses on, I foresee him having a long string of successes and fan favorites.  His vision and style is just unlike anyone else in the industry today, despite a few imitators.  If you have not seen any of the series listed in this article, I strongly recommend checking them out, they are all good in their own distinct ways and have much wider appeal than their short runs might have you believe.

My 40 Favorite Films of the 90's - 13 - Being John Malkovich (1999)

Being John Malkovich; 1999, Gramercy Pictures

Director: Spike Jonze

Writers: Charlie Kaufman

Starring: John Malkovich, John Cusack, Cameron Diaz

I adore the occasional quirky, energetic and strangely eccentric film, and therefore I love Being John Malkovich.  It is directed by one of my favorite directors of the last twenty years, written by one of my favorite screenwriters of the last twenty years and co-stars John Malkovich, one of my favorite actors, period.  It’s a perfect collection of amazing performances, a strange and funny premise and a directorial style that fits perfectly.

The premise follows a lowly puppeteer named Craig (Cusack) who stumbles upon a hidden door in a strange office building that leads into the mind of another person.  He can see through their eyes and can even obtain a certain influence.  After a short time he discovers he is occupying the mind of none other than actor John Malkovich (as himself).  He introduces his wife to the experiment and they both become obsessed and rather rejuvenated by the power.

This movie is NOT for everybody.  It is very offbeat, written with that trademark “Kaufman” style and features the soft-spoken charm that is often associated with Jonze’s direction.  Many film fans like myself have been following Jonze very closely for years, and while many have HEARD of his movies, I don’t think he has really began capturing a mainstream audience until his recent film, the awesome Her, which he also wrote.  However, if you like strange, funny and somewhat twisted movies, this is an awesome find if you haven’t seen it.  

If I had to pick a favorite scene, those who saw it would remember the moment when Malkovich finds out that people are actually entering his mind (I will not disclose the explanation for this) and decides to take action.  The results are both hilarious and somewhat terrifying, especially if you put yourself in Malkovich’s shoes.  Check this one out as it really is a brilliantly-clever, albeit bizarre film creation.

My 40 Favorite Films of the 90's - 21 - Fargo (1996)

Fargo (1996; Polygram
Filmed Entertainment)

Directors: Joel and Ethan Coen

Writers: Joel and Ethan Coen

Starring: Frances McDormand, William H. Macy, Steve Buscemi, Peter Stormare

The Coen Brothers have been appeared on my list numerous times thus far and Fargo marks their final film featured in this series.  Fargo is a twisted black comedy from two filmmakers who know how to direct the most disturbing things in such a way that they are actually funny.  This is not uncommon, but what makes Fargo work so well is its tone.  The film itself seems rather condescending towards its own characters, which is strange and, for some, off-putting. However, I find it to simply add to the humor already on display.

The film centers on a small town family man named Jerry (Macy) who, motivated by a personal financial crisis, pays two thugs to kidnap his wife for a ransom he intends to collect.  However, when the hired guns (played by Buscemi and Stormare) botch the kidnapping significantly, resulting in a triple homicide, they are forced to push up the time frame and get the job over with so they can get out of town.  What they did not count on was a smart and unrelenting small town sheriff named Marge (McDormand) who, despite being very, very pregnant, is hot on their trail.  

Fargo is a film that can be interpreted in any number of ways.  Typically, in a film like this, the Keystone Cops trope takes hold, and things go haywire, but ultimately a mess is left.  I see the Coen brothers playing with expectations here.  The idea of the smart cop running a tight ship in a small town in North Dakota is not entirely unbelievable, however film cliches dictate that if you are not a big city cop in a trench coat, you are bad at your job.  Here we have a movie that could have easily played it safe, keeping things very simple and doing nothing fresh and it would have still been a funny romp of a crime flick.  Yet, the Coen brothers transform what would have been (in likely any other hands) a completely generic murder flick into something clever and unique.  

Other elements that are open to subjective opinion are the details of what exactly Jerry is really trying to pull.  We know he pitches to his boss (who is also his father-in-law) that he wants money for a “lot”, possibly intending to start his own auto dealership, but there is also a running subplot involving him being unable to verify a list of serial numbers for some merchandise.  The widely-accepted opinion regarding this is that he was, in some way, involved in fraud, and is possibly responsible for embezzlement.   This is never clearly fleshed out, however.  Many of the details of whatever he is involved in are provided, but there is no overt exposition, and it as a result, the audience is never entirely sure what Jerry wants the money for, and why he was willing to go to such lengths to get it.

My 40 Favorite Films of the 90's - 23 - Barton Fink (1991)

Director: Joel Coen

Writers: Joel and Ethan Coen

Starring: John Turturro, John Goodman

The fourth film from the acclaimed Coen Brothers is a masterfully-complex, harrowing, slow burn (literally) of a black comedy.  The movie centers on the titular upstart playwright who is commissioned to write a screenplay for a B-grade Hollywood picture.  Despite being somewhat uncomfortable with the proposition, he travels from New York to Hollywood and checks into a dreary hotel.  The room is hot, dank, grim and he is unable to sleep due to the endless racket from his neighboring tenants.  As he struggles to even begin writing an outline, Fink is befriended by his neighbor Charlie, a noisy but friendly man whom he takes an immediately liking to.  As he continues to overcome the crippling frustration of writers’ block, Fink runs into conflict with an agent and a producer as well as a writer he looks up to, who is constantly protected by his seemingly-imprisoned wife.  Things eventually go haywire, however, as a shocking series of events unravels Finks idea of what Hollywood really is.

As the movie goes on, the film seems somewhat disjointed, and this is the problem I have with Barton Fink: It is damn hard to write about.  Anyone can write a short synopsis, but the film is a very detailed and intricate series of visual ideas and queues and, probably most essential, sounds.  Every sound in the movie reflects an image shown then or in a different scene, and much of it is so subtle as to be subconscious, as the sounds we hear trigger memories of moments we may or may not even really remember.  Every sound in the film helps paint a picture and while this is always the case with movies, Barton Fink’s sound, mixed with its eerie production design (the sets, setting, scene layout, ect.) create a moody tone that is intensified by the very dark contrast and saturation used in the hotel scenes.

One thing that makes this one difficult to really summarize is it is hard for me to really convey the plot without spoiling anything.  I used the word “disjointed”, and I mean that as a positive.  Barton Fink arrives in Hollywood an outsider.  He is intimidated by seemingly everyone, from the fast-talking, energetic Bellhop named “Chet!”, to the imposing figures of the film industry, who have sudden bipolar changes from excitement to anger in what seems like a single, jarring second.  We explore this strange world through Fink’s own experiences, and everything seems insurmountable.  Therefore, the events that dominate the third act of the film cannot be truly discussed without ruining the movie.  It would be like visiting a fortune teller to find out every detail of your next day.  Nothing would be a surprise.

Barton Fink is a “put yourself in his shoes” sort of film and that can only work if the direction and acting is just right.  The Coen Brothers have a long history of masterful films, from the chilling Blood Simple, to the cult classic The Big Lebowski, to the tense and powerful No Country For Old Men.  So, even though I only listed a few of their titles, it is easy to see why these two filmmakers are considered to some of the best (of not the best) filmmakers of their generation.  In their more-than-capable hands, John Turturro gives one of his best performances in his storied career.  He is an actor who dominated in some of the best films of the 90’s, but has, in recent years, fallen victim to dreadful blockbusters and moronic comedies, which has caused somewhat of a slump, despite steady work.  John Goodman, like Turturro, has a strong career spanning the last twenty-five years or so.  Starting in the 80’s as a bit and character actor before moving on to the super-hit TV series Roseanne (which lasted nearly a decade, a lifetime in sitcom-years).  Goodman became a household name by the early 90’s and during his time on the Award-winning show, he appeared in number of successes, and some of his performances stand out significantly, in-particular those he did with the Brothers Coen.  These are just three people involved in this complex movie which also features supporting performances from the likes of character actor Michael Lerner, Judy Davis, Steven Buscemi and Tony Shalhoub, just to name a few.  Ultimately, Barton Fink has the names, the brains, and the mood that makes for one hell of a climax.  If you have not see this movie, do yourself a favor: Watch it.

My 40 Favorite Films of the 90's - 27 - Fight Club (1999)

Fight Club (1999; 20th Century Fox Pictures)

Director: David Fincher

Writer: Jim Uhls

Starring: Edward Norton, Brad Pitt, Helena Bonham Carter

Fight Club is the 1999 film adaptation of the novel of the same name from writer Chuck Palahniuk.  It is a funny indictment of unbridled consumerism, drawing comparisons to shopping from Ikea with enslavement and disease.  It is certainly an anti-establishment message shoved into a strange series of parallels and metaphors.  So, who better to put together a plot puzzle like this than the man who directed The Game and Seven?

Edward Norton plays a (sort of) unnamed narrator who is tormented by his endless fight with daily life and his sudden urge to buy increasingly-useless crap from the consumer catalog du jour.  Depressed and struggling with crippling insomnia, our narrator begins to attend various support groups for disease and addiction for things he does not even suffer from, only to feel… something.  This therapy works, until a woman named Marla (Carter) begins showing up for the same groups, becoming a plaguing distraction.  During a business trip, he meets an outgoing, fast-talking man named Tyler Durden (Pitt), who seems to have none of the same fears and worries he suffers from.  Essentially, he is the narrator’s polar opposite.  A freak disaster leads the narrator to contact Tyler and they meet up, becoming friends, and eventually, this leads to them fighting in an alley.  Over time, this one fight evolves into hundreds, all over the country, from multiple groups of Fight Clubs, and replaces any need for support groups and shoulders to cry on.  Things grow and grow, becoming even more desperate, and Marla is dragged back in with Tyler, with whom she begins a very, very loud sexual relationship.  With the narrator's own vision of what Fight Club becoming distorted into a movement that has grown far out of his control, the film’s tone becomes extremely dark and more than a little threatening, all leading to a climax that is surprising and kind of terrifying..

Fight Club is a brutal rejection of casual consumerism.  It mocks marketing, and even has the Club members use that marketing as a weapon against the system they feel has enslaved them.  The mood shifts from comic to thriller steadily throughout the film, but from the very beginning there is a sense of unease.  We are told early in the film that “With insomnia nothing’s real.  Everything’s far away.  Everything’s a copy of a copy of a copy…”, and that is exactly what much of the first act feels like.  Scenes are very dreamlike, full of strange imagery of floating catalog price information and CGI penguins.  There are subliminal images that flicker and disappear, almost like hallucinations, and the whole production has this very cold, artificial feel to its benefit.  The surrealist elements of the film never feel too out of place since we are meant to be seeing this world through the eyes of a troubled man.  

David Fincher was the perfect choice to direct this movie.  He is able to weave incredibly complex and layered narratives into a cohesive and captivating story.  He is probably better at this than just about any other director working in Hollywood today, with successes like Zodiac and The Social Network telling stories that span several years with a great deal of coherence, something that is very difficult to do without losing your audience.  Fight Club just may be one of the most ambitious film adaptations of all time.  Not because of thousands of fighting soldiers and castles that need to be modeled and CGI’d, but because it is a story told in first person, from the perspective of an individual who sees the world very differently from the way most people do.  Fincher’s ability to put you in the eyes of this one broken and desperate man is simply astounding.  

Now, I am trying to stay vague with this article because if you have not seen this movie yet, it is a must-watch.  It is violent, gritty, and even a little convicting.  You could have been doing something great, and you did nothing productive.  In a shocking and brutal, but funny scene, Tyler holds a young man at gunpoint for “wasting his life” and not pursuing his dream career, for which he lets the man live with the promise that he will pursue a better life.  It is mean, but it is also honest.  Fight Club certainly has a little bit of preachiness to it, which is usually a turn-off, but I never got the feeling that this was based on some schizophrenic’s insane ramblings like I did with tripe like The Day After Tomorrow or overwrought, heavy-handed ripoff material like Avatar.  I was entranced by the film’s fun visuals and darkly humorous tone.  The screenplay is freaking outstanding and every performance is damn good.  Brad Pitt gives what is probably my favorite performance of his career as Tyler Durden and Edward Norton is bringing his A-Game as an awkward, nerdy doormat who is transformed into a tough-as-nails, takes-no-crap badass over the course of the movie.