The highly acclaimed film and television director and producer, Jeremy Podeswa, delivered a masterclass as part of the Agora Series at the 64th Thessaloniki Film Festival, titled "From six feet under, to the top: the evolution of contemporary television" on Saturday, November 4th, at Pavlos Zannas theater. The Canadian-American filmmaker, recently announced as the main director of the Blade Runner 2099 mini-series set to be released on Amazon, spoke to the audience about the future of storytelling. Jeremy Podeswa, having received nominations and awards for his work in several renowned series - Six Feet Under, Game of Thrones, Boardwalk Empire, The Pacific, True Detective, Station Eleven, among others - shared personal experiences from his journey. The director and President of the Hellenic Film Academy, Lefteris Charitos, was in charge of moderating the discussion.
Τhe event was introduced by Yorgos Krassakopoulos, head of the Festival's International Program, who thanked the audience for filling Pavlos Zannas on such a rainy day. "Today, I'm not the head of the Festival’s program, but just like everyone here, I'm nothing more than a devoted fan of television series — something for which Jeremy Podeswa is responsible. It all began in 2001 when we met the family managing the funeral home in Six Feet Under. If there's a series you loved and followed, it's highly likely Jeremy was involved, either as a writer or director. We're delighted to welcome him here at the Festival; it's been a long time since he visited: specifically since 1994 and the premiere of his first film, Eclipse, a fantastic film that you absolutely must see," he stated before referring to Lefteris Charitos, "a friend of the Festival who kept us glued to our TVs with Agries Melisses (Wild Bees) and Magissa (The Witch)." "The two of them both started in the world of cinema and made a leap into television. They are old friends and have worked together before, when Jeremy filmed Fugitive Pieces in Greece. I'm sure the discussion will be interesting and enlightening," he concluded, giving the floor to Lefteris Charitos.
Lefteris Charitos began by recounting his introduction to Jeremy Podeswa. “It was the first day of shooting in Hydra, and we had work starting at 7:00. In Greece, that means 7:15 after you've had a coffee. I arrived on set at 7:05, thinking I was early. However, the film crew from Canada had already begun rehearsals, and they very seriously told me never to be late again. That was my first encounter with Jeremy,” he said with a laugh, then passed the floor to Jeremy Podeswa, whom the audience warmly welcomed with a round of applause. "I intended to create my own, very personal stories. I never considered television as a medium I wanted to explore. But, two changes occurred; one in my professional life and one in the world of television in general, which in a way advocated for my transition to the television industry. Regarding the change in my professional life, after making my first two films (Eclipse & Five Senses), and especially after the second one, which was also more "commercial," if you will, industry people began to take notice of me. As for the change in television, I'll refer you to the founding of HBO, which has a motto that is indicative of the change it brought – ‘it's not TV, it's HBO.’ This signifies a kind of cinema-type television that stands between the two worlds. They tried complex narratives, they started developing film-like characters: they were the new voice of television, with shows like The Wire, Sex and the City and Six Feet Under. I don't think anyone can call it a movement, but it was interesting to witness first-hand the moment of its birth," he said.
He went on to talk about how he became involved in the HBO television universe when a producer from Six Feet Under approached him to direct some episodes. "At that time, I was living in Toronto and I didn't have Hollywood or that career in my sights. Six Feet Under had only done a pilot with the amazing Alan Ball (American Beauty). I watched it and I was mesmerized. I was very interested in that work. I thought if I were to write my own series, I would want it to be somewhat like that. So, I went to Los Angeles, and it was a fantastic experience; the closest thing television has to offer in creating a film. Moreover, collaborating with HBO was fantastic because they don't work with many directors. This means they choose you to direct a lot of different things, which helped me expand my vision. I worked on huge productions (Carnivale, Rome, Boardwalk Empire) and saw things I wouldn't have been able to see while working in the film industry," he concluded.
At this point, when asked by Lefteris Charitos about the difference between being a film director and a TV director, Jeremy Podeswa answered, "In television, you are a guest. Someone else has made all the decisions for you. You must speak the existing language of the series, respect the rhythm that has been orchestrated, but also bring something new, something fresh. That's your job as a visiting director. You can return in the future, direct another episode, and become part of this television family. If you wish and if you're offered, you can become the series' main director. It's a significant commitment that requires a substantial amount of time. You really have to want it. Also, you'll be working very hard on something that, essentially, isn't your creation," he emphasized.
"The relationship between the screenwriter and the director is often a challenging one," Mr. Charitos remarked. "I like to involve myself as a playwright. I always meet the screenwriters, and we have what's called a 'tone meeting,' where we set the tone for our collaboration," he explained. He also spoke about the TV directors’ ability to manage a specific budget and then went on to dissect the casting process: "I look for the essence of a person. It's not about the actor's appearance but about what emanates from deep within, what happens between the eyes. Sometimes the camera sees things that I don't; it's the camera's magical quality. Also, I'm not concerned about what language an actor speaks. What the actors communicate goes beyond the narrow confines of language. It's fleeting, but when it happens, you understand it," he stressed. "I remember distinctly that when we were looking for a child for the role in Fugitive Pieces, we literally saw thousands of tapes, but when we found the right child, I just knew. I disagree with the idea that there are 100 right actors for the role; there is only one, and you have to find him," he asserted.
Immediately after, he mentioned that he enjoys meeting both actors and screenwriters to make them feel at ease in the limited time they have available: "Television is like a compressed cinema," he commented on the matter. At this point, he shared a story from the time he directed an episode of Boardwalk Empire, a few episodes after Martin Scorsese's iconic pilot. "It was a series I had never seen before, and I was going to direct an episode after Scorsese and Timothy Van Patten. The shoot was coming up and I had to see the pilot, but Scorsese hadn't finished the episode. So, I went and visited Scorsese's screening room in New York with Timothy. It was a sort of pilgrimage: a small, beautiful, cold room; cold to keep him from falling asleep, with blankets on the chairs. We watch the episode and it's fantastic; it’s also time-consuming and very expensive. He had 33 days and 35 million dollars at his disposal. In contrast, I had 10 days and 10 million dollars, which is a lot of money, but certainly less. Also, it's directed by Scorsese, a true genius. So, leaving Scorsese's office, we get into the elevator, the doors close, we look at each other and Timothy says to me, 'We're f***ed,'" Jeremy Podeswa said with a laugh.
"We had to find a way to do a good job. I can't be Martin Scorsese, but somehow the TV series must look as if it's the same, maintaining the same ambiance and style," he stated. He went on to talk about his involvement with Game of Thrones, which was a great experience that ultimately resulted in him directing six episodes over the course of three seasons. "We're at a turning point of vast expansion in the industry due to streaming. The subscription model is transforming the TV experience into something refined, something that is positioned between television and film. Previously, every new series was a world-historical event. People would sit at home on Sunday nights to watch the new episode. Now, with 1,000 series across 100 different platforms, the experience isn't as special. Too many options is never a good thing. The last time the entire planet watched the same TV content at the same time (although I really hate the concept of content) was in the Game of Thrones era. Now, there are compelling shows available, it's just harder to find them. Soon, the streaming industry will reach a threshold where they'll realize they can't continue producing content at this rate, throwing so much money into new productions, simply because it's not sustainable," he noted.
He then referred to the emergence of global producers. "Subtitles were never favored by Americans. Unfortunately, it was ingrained in their culture. However, this has shifted, and now you can observe Americans showing interest in series from all corners of the world. The primary matter at hand is creativity: if you have a fantastic idea, there will always be space for it." In response to Mr. Charitos’ question regarding his personal favorite creations, he singled out Six Feet Under and Station Eleven. He also cited Michelangelo Antonioni as a significant source of inspiration. One of Antonioni's films, L'Eclisse, lent its name to the first feature-length film he directed, in 1994.
In response to a question from the audience on what should be the first steps of a new filmmaker, he replied that "success doesn't come quickly. When I was young, I had an idea for a very ambitious screenplay that ultimately never got filmed because it was too ambitious. Start simple; make a humble, straightforward film. Also, build a strong network of people. Find your team. You can't do it by yourself." Concluding, he commented that television and cinema have followed opposite paths, with television initially being conservative and risk-averse, but evolving, through subscriptions, into a platform targeting smaller audiences, capable of creating innovative and interesting content.
