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And so when we settled on that format for the first season I became very enamored of it.
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If you’re talking about a full half-hour, I’d rather have a dense 28-, 30- than a padded 49-, 50-minute episode. So the format to me was just interesting. Soderbergh: When I think of the term cinema, I’m thinking of an approach, I’m thinking of a singular directorial vision, and I’ve seen commercials that have it and award-winning films that don’t. What is it you like about it? And do you think there is still a big distinction between storytelling for cinema versus storytelling for television? Steven, the half-hour drama is still an unusual format.
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The team behind ‘Run the World,’ premiering Sunday on Starz, explains why they’re embracing comparisons with the iconic HBO series. It’s OK to call this new comedy the Black ‘Sex and the City.’ On one condition Marquardt: Well, you should see my room right now. And every subplot scene, turning point and character have different colors, so I could print it out and look at it and play around with how the season would be structured. My biggest tool at some point was a giant spreadsheet with different rows and columns and colors. In terms of how I broke down 10 episodes and tackled the writing, that was pretty organic. And so I brought to the table pretty much everything that was interesting to me at the time, which was artificial intelligence, future-facing technology and how the hell we’re all navigating that as an issue.
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The cultural conversation about how to navigate a lot of things had radically changed. The first one was that I was coming to the world of “The Girlfriend Experience” at a time that #MeToo had happened.
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I’m going to try my best and honor that, build upon it, and also create something that hopefully is surprising and new and different and worthy of a next chapter.” And so I had sort of two impulses. Marquardt: I had a fairly good grasp on how to write for the given budget at hand and how to keep the bird’s-eye view to get it done within certain parameters. How was the learning process of how to write for television?
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So much happens even in just the last two episodes. What was it like for you to adapt to television storytelling? There’s a couple of very big story shifts that happen through the season. My adaptation of Allison’s novel had a dual timeline at its core. And the core of what Season 3 was going to be changed a bit once the network realized that what they really wanted to focus on was a more global approach set in London with a younger protagonist, one storyline that is chronological. For the second, Seimetz and Kerrigan separately wrote and directed two distinct stories, one starring Anna Friel and the other Carmen Ejogo.Īnja Marquardt: In some drawer there’s now 13 episodes of a version of the story that is very different in content and context, and based on a novel by Allison Leotta, who used to be a federal prosecutor in a former life and had written a very interesting foundation for a potential season. The first season, which starred Riley Keough, was written and directed in collaboration by independent filmmakers Amy Seimetz and Lodge Kerrigan.
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Once again, the series’ hallmark is as much a vibe as anything: tightly controlled emotions, stylish locations, discomfiting sensuality.īased on Steven Soderbergh’s 2009 film “The Girlfriend Experience,” starring Sasha Grey as a young woman who works as a high-end escort providing emotional intimacy along with sex, the series has pursued an unusual auteur-driven anthology structure. The new season, currently airing Sundays, stars Julia Goldani Telles (“The Affair,” “Bunheads”) as Iris, an American behavioral and neuroscientist who, while researching artificial intelligence at a tech start-up in London, begins to work for an elite escort service. until a new client rocks her world.Returning after some 3½ years, the third season of Starz’s “The Girlfriend Experience” continues the series’ atmosphere of icy remove as it explores the transactional nature of work and modern life, this time with an added layer of technology-induced uncertainty. Besides her beauty and sexual skill, Chelsea offers her clients companionship and conversation, or, as she dubs it, "the girlfriend experience." With her successful business and a devoted, live-in boyfriend, Chelsea thinks she has it made.
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Chelsea is an in-demand call girl whose $2,000 an hour price tag allows her to live in New York's lap of luxury.