The Business

Before he co-created the FX comedy series “Reservation Dogs,” Sterlin Harjo directed three micro-budget films in his home state of Oklahoma. He had knocked on Hollywood’s door but somehow he never could find financing. "I even heard, like, this film’s just a little too Indian," Harjo says. "Or, this film’s not Indian enough. So, it was very confusing." Now, FX is preparing to release a second season of “Reservation Dogs" and the series is looking to nab Emmy nominations this year.

Natasha Rothwell played Kelli on HBO’s “Insecure,” and the  beleaguered spa manager in “The White Lotus.” Now, she’s in the hit sequel “Sonic The Hedgehog 2.” With her own production company and an overall deal at ABC Signature, she plans to create movies and TV that skip the tired tropes and feature diverse casts. "I think so many scripts use page real estate in Act One just to justify someone's Blackness, or fatness or womanness, and then the story can start," Rothwell says. "We have to acclimate the audience to our otherness before we can tell a story, and I think that's bullshit." Natasha Rothwell talks about blossoming in the "Insecure" writers room, and says that she has big plans for her company, Big Hattie Productions.

The longest-running original series on Netflix is coming to an end. Jane Fonda and Lily Tomlin have played “Grace and Frankie” for seven seasons, telling raunchy and honest stories of older women. After co-creating “Friends,” Marta Kauffman thought up the Netflix hit “Grace and Frankie,” which made it to an unheard-of 94 episodes. While Netflix has been offering a high volume of shows, only to drop many scripted series after a couple of seasons,  Kauffman is not surprised that the big-volume approach has led to problems. “We’re going to do a little bit of everything in the hopes they’ll be a niche audience for every show,” Kauffman says. “And there isn’t a niche audience for every single show.”

In 1970, a 21-year-old heir to a margarine fortune became a nationwide sensation when he vowed to give away his money to anyone who needed it. Michael Brody was deluged with thousands of letters, most of which sat unopened for decades, until documentarian Keith Maitland and his team decided to read them. “We started researching people, and we started tracking them down,” Maitland says. “And over and over, we kept discovering that almost nobody remembered having written these letters.” Director Keith Maitland and Executive Producer Ed Pressman talk about exploring a strange, poignant, and all but forgotten story with the film “Dear Mr. Brody.” 

Talent agent-turned-producer Theresa Kang Lowe had a pretty good idea of the challenges she’d face in adapting the novel “Pachinko” for television. A series almost entirely subtitled, largely set 100 years ago in Korea, with a huge budget — it wasn’t an obvious greenlight. “At the time when I was an agent and I came across a book, my job was to think about strategy. How are we gonna sell this?” Kang Lowe says. “So the immediate no’s were: period piece. The budget has to be significant for it to have scope and scale from a cinematic point of view. It also had to be an all Asian-led cast. And it had to be told in Korean, Japanese and English.” Kang Lowe was able to use her decades of experience to land the budget and support she needed at Apple. Kang Lowe discusses her career—including an interesting time as Ari Emanuel’s assistant, her rise to partner at William Morris Endeavor, and her move to become executive producer of the new Apple TV+ series “Pachinko.”

“CODA” won three Oscars this year: Best Picture, Best Actor in a Supporting Role, and Writing (Adapted Screenplay). When making “CODA,” Marlee Matlin, who won an Oscar in 1987 for “Children of a Lesser God,” realized she was usually the only Deaf person on a set. She told KCRW in January: “I’m the one typically going to my trailer by myself, and it’s just me and my interpreter. But in all honesty, I never thought of it until I got on the set of ‘CODA’ and realized there’s a whole different world out there I’ve been missing all this time. Realizing that here I am, on the set of ‘CODA,’ in my element at lunch time, because everybody is signing. The hearing crew — they’re signing, there’s Deaf cast members, and most importantly, our director learned sign language.” KCRW reairs its conversation with director Siân Heder and Matlin. Also in a new Banter, Matt Belloni talks to Lucas Shaw about what happens now as the WarnerMedia Discovery merger is imminent. 

Writer Ellen Rapoport’s workplace comedy “Minx,” about a Playgirl-style magazine, was hard to sell. Set in 1972, the series follows an idealistic young Vassar graduate who teams up with with a pornographer to create a magazine featuring feminist articles alongside photos of naked men. With “Bridesmaids” director Paul Feig as a producer, Rapoport was pretty sure the show was a slam dunk. “We took it to everyone. Every buyer. Buyers I didn’t even know existed. Networks I’ve never heard of. And everyone said no,” Rapoport says. Ellen Rapoport describes how “Minx” eventually found a home on HBO Max, and how she made her way from Harvard Law to Hollywood.   

The downfall of Theranos founder Elizabeth Holmes has inspired books, podcasts, and now the hit limited series “The Dropout.” Showrunner Liz Meriwether (“New Girl”) admits she was surprised when Hulu asked her to pitch her vision for the project. “I was a playwright before I was a screenwriter, and maybe they had some belief in my ability to do something besides write sitcoms. I really don’t know why they came to me. And in fact, when they called me, I was like, ‘really?’”

Bringing Frank Herbert's sci-fi novel “Dune” to the big screen was considered a daunting proposition. But Mary Parent, a top Legendary Entertainment executive, gave filmmaker Denis Villeneuve the biggest budget of his career to realize his vision. Still, it wasn’t Marvel-sized funding and Villeneuve says he’s actually grateful for that. “It’s good to have restrictions, it brings discipline. And I needed that discipline. I’m serious about that. I don’t think I would be comfortable to make a movie without limits,” says Villeneuve. “Dune” was a success, and it’s now up for 10 Oscars, including Best Picture.

Hollywood has dominated in making global blockbusters for years, whereas China isn’t making those hits yet, but it’s now the biggest generator of box office revenue worldwide. The book “Red Carpet: Hollywood, China and the Global Battle for Cultural Supremacy” explains that China is playing a long game. Plus, director Jessica Kingdon talks about her Oscar-nominated documentary, “Ascension,” which focuses on social class and consumption in modern China.