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So to me, I just-- sort of going back to the toolkit thing, I just assumed that if you were a TV writer you just did whatever you wanted to do. The thing that I was so blown away by was how many people didn't know about the history that we were discussing. We were doing a superhero show but just went a little bit more grounded in reality than maybe others. Jo Reed: It's not as though the Greenwood Massacre in Tulsa happened in this self-contained box. I wasn't a celebrity or anything by any means, but I had carved out a pretty good career for myself and was enjoying it, and I think that the reason that I leapt at the opportunity to write for TV was when I decided to become a writer I wanted to be a writer in the broad sense of the word and that I was a writer who could do a lot of things. But I think that something that was interesting to me about the concept was that of course a person of color or a woman would be the first superhero. Can you just talk a little bit about what different tools you need from that toolkit to tackle both? Was it anxious? Cord Jefferson. By Cord Jefferson good.is — Update: Last week, a freelancer pitched us a 10-minute Q&A with Bono. I think that there was-- I believe, off the top of my head, at least 50 percent of the room was black and maybe a little less than 50 percent were women. He's an incredible showrunner, an incredible man, and I learned a lot from him. So you have these two shows where you come in for Season Two, so you have characters that are already kind of established versus "Watchmen" where you're there in the beginning and help in that development. Cord Jefferson: Yeah. Cord Jefferson is a writer living in Los Angeles. The recent series is set in present-day Tulsa, Oklahoma. Since that time, he has put together a jaw-dropping resume—writing for shows like, Duke Dang, GM of Works & Process at the Guggenheim, Violinist and Social Entrepreneur Aaron Dworkin. A lot, a lot, a lot, a lot of work into that show, and I believe it paid off, and I'm really proud of what we were able to make. You put the words on the page, and then there's a director who directs and an actor who acts. Cord Jefferson: I don't necessarily believe this, but I think some people will tell you that a Season Two of a television show is always better than a Season One, and that's because the writers understand who these characters are and what this world is, and so it just becomes easier to breathe in the world. I'm not a superhero person. You should definitely take this job, and then we'll figure out what your second job will be after that." Cord Jefferson: Yeah. Lebron James was the executive producer, and he'd read some of my journalism and seen some of the stuff that I'd done and liked it and asked me if I would come write for his show. Jo Reed: Maybe-- if you can just give us a brief history of the Greenwood Massacre in Tulsa? I had no idea that in the original "Watchmen" Hooded Justice had a noose around his neck as part of his superhero costume. Age : 30 College : Baylor (2009–2014) NBA Draft : 60th pick, San Antonio Spurs (2014) Current League / Team : Free Agent. So if I'm a writer, I could write novels or write articles or write screenplays or write stage plays or write ad copy. And I'm happy that we did because I think it really set the tone for the show. Music Credit: “NY” written and performed by Kosta, from the album Soul Sand. That was Cord Jefferson, a television writer whose series include "Watchmen," "The Good Place," "Succession," and now "Station Eleven." We read it two years ago at this point, but I think that that's the gist. I really love journalism, and I always will. I am not going to say all television, but the vast majority of television is written by committee, and so you all sit together and plan out what the season is going to look like and plan out what the story arc of each episode is going to look like. Posts about Michael Caine written by jeremyironsno1fan. Search for keywords including “Birthday Card,” “COVID-19,” or “Quarantine” to populate templates that fit your creative vision. And so one day in Tulsa, a black kid was accused of a crime, imprisoned, and the black residents of Greenwood were concerned that the lynch mob would come to the prison and take him to the jail and take the kid out and lynch him. Jo Reed: Okay. But it is just a lot harder to do that world building and to do that character creation from the ground up. You can subscribe to "Art Works" wherever you get your podcasts, so please do, and please leave us a rating on Apple. There's a lot more that I could get into, but those are the basic beats of the episode. Coming into a Season Two, I think, is going to be a little bit easier to write just because you understand these people and you understand what's going on and that you have storylines to carry over from the first season whereas starting at square one on a show-- particularly a show as complex as "Watchmen" was-- it was an undertaking. Cord Jefferson: Oh, thank you, and I really appreciate it. Damon has told me-- he's told all of us that this is the most diverse writers' room he's ever hired. Using the ideas that the group had collaborated on, I went and wrote the draft and then brought it back to Damon, and he punched it up how he saw fit, and then that's what went to air. Cord Jefferson wrote the episode in which the main character goes back in time and to relive the trauma of the 1921 Tulsa Massacre. View 5 Cord Jefferson and Marc Evan Jackson Photos » Show Marc Evan Jackson With: D'Arcy Carden, Manny Jacinto, William Jackson Harper, Kristen Bell, Jameela Jamil It does help people to find us. I think that that-- I guess I would say every writers' room that I've ever been in, respect for diversity of opinion and diversity of lived experience has been at the forefront. Since that time, he has put together a jaw-dropping resume—writing for shows like Succession, Master of None, The Good Place (for which he just received an NAACP Image Award) and the ground-breaking series Watchmen. And then his grandmother reiterates that he is angry, and then the camera swings around and you realize that it's Angela sitting there, and Angela says, "I'm not angry," and you realize that Angela is dealing with the same issues that her grandfather was dealing with a couple generations before. And I don't think anybody's agreed upon who fired the first shot, but somebody fired the first shot, and then it was just mayhem, and the white residents of Tulsa basically stormed Greenwood and burned it to the ground and murdered around 300 to 400 black residents and jailed many more and looted and robbed their homes and their businesses and basically left Greenwood just in ashes. A lot of people thought that we had invented that for the show. And so yeah, there was a lot of history books in the room. Yeah. Did Lindelof have that idea from the beginning, that Hooded Justice would be black? This was a bold way to begin what is a superhero series. I think that what it means to be a writer means a lot of different things, and I think that a lot of writers tend to hem themselves in and have a myopic view of what they can do with their career, and I think that more writers should be willing to expand their horizons and understand that you have this toolkit of writing and you can use it for a lot of different things. It gave viewers an immediate reaction, an immediate understanding of the themes that we were going to discuss. And so he ends up becoming the first superhero ever, the first costumed adventurer named Hooded Justice, and then from there he joins a group of other costumed adventurers who are inspired by him called the Minute Men, and then he uncovers this grand plot put together by this white supremacist organization called Cyclops. That's something that I think just speaks to how different people view different things. Discover (and save!) I think that a friend sent me an image of a Google graph that showed the spike from the Sunday night after the pilot to the Monday morning that showed how many people were frantically googling "Tulsa Massacre," because a lot of people thought that it was fake. There were certainly heated discussions. I thought that was something that you created for the series. So next week I'm starting on a show called "Moonfall," and so I think that that may be out in 2020. Thanks for listening. You went to comedies, dramas, late-night shows-- you just bounced around. I think working with Mike Schur was at the top of the list. Its Raila Odinga Birthday. I'm Josephine Reed. I think that as a black person in America, there's no way that I look at a noose and don't immediately think of America's history of lynching, but at the same time I think a white reader might look at that and think that he's just an executioner-- he's wearing an executioner's mask. In this podcast, Jefferson takes us inside the writers’ room of Watchmen; we talk about Lindelof’s vision for the series and how the writers worked together to bring it to fruition. Jo Reed: Interesting. We started that show in September 2017, and I think there was still writing going on in early 2019-- I think March/April of 2019. Cord Jefferson: Yeah. Directed by Bob Lally. Jo Reed: Was there anything in particular that appealed to you about "The Good Place" that made you say yes to that job? I had been such a fan of his work, going back to "The Office" and then onward to "Parks and Rec" and "Brooklyn Nine-Nine" and "Master of None." Cord Jefferson, who recently won an Emmy for his work on HBO’s Watchmen, has struck an overall deal with Warner Bros. Television Group. Cord Jefferson: Oh. Cord Jefferson: I was a journalist, and a guy called me-- a guy named Mike O'Malley called me and asked me if I would come write for television, and--. And so if he wanted to do an update of that, he needed to focus on the problem at the center of American life for 2020, and I think that he believes-- and I agree-- that there's no way to look at modern America and not think that one of the main issues that we struggle with, if not the main issue that we struggle with-- what our nation is still hampered by is race and racism in the country and fear of the Other. Best Of: NPR's Nina Totenberg / 'Watchmen' Writer Cord Jefferson : Fresh Air Nina Totenberg is widely regarded as the dean of legal journalists. 5,881 Followers, 1,216 Following, 195 Posts - See Instagram photos and videos from Cord Jefferson (@cordjefferson) What was the gender and racial makeup? And so there's a moment in the episode when her grandfather, speaking to her grandmother, is being accused of being angry, and he says, "I'm not angry." For the National Endowment for the Arts, I'm Josephine Reed. Cord Jefferson is a writer and producer, known for, ‘Watchmen’ Writer Cord Jefferson Launches TV Fellowship for Journalists, Apple TV+ Scraps Gawker Series After Email From ‘Surprised’ CEO Tim Cook (Report), ‘Watchmen’ Writer Cord Jefferson Strikes Overall Deal With Warner Bros. Television Group, New Fall 2016-17 Broadcast Network Television Series, Golden Globes 2020 — Best TV Series Drama, Emmys 2020 — Original Dramatic Score Nominees, Fall 2017 Returning TV Premieres: Sept. 1-26, Brussels Attack & Donald Trump vs. Ted Cruz, Donald Trump's AIPAC Speech & Social Media, Obama's Cuba Visit & Hulk Hogan's Legal Win, Food Deserts & Hillary Clinton Faces Sexism. And it made perfect sense to me when I looked at that character that this is a black man, so the more that we started talking about it the more obvious it became to me. I thought meant the literal temperature. In fact, the episode Jefferson wrote with showrunner Damon Lindelof has a character living out her grandfather’s memories of vicious racism in the 1930s. It is George's 50th birthday and he thinks that none of his friends want to celebrate with him. El próximo mes de febrero llega #VocesQueCuentan, una antología coral de relatos cortos sobre las vivencias personales de grandes autoras, periodistas, actrices o cantantes, acompañados por los dibujos de maravillosas ilustradoras. For my money, "Watchmen" is one of the smartest and most profound examination of African American history in popular culture, and the fact that this history is embedded in a superhero series just adds to its textures. And so at the time, my friend who's now my manager named Jermaine, I called him and asked him if he thought that I should do this, and he responded immediately and said, "Nobody ever gets cold-called to come write on a TV show. And so we wanted to incorporate Angela entering the world the Nostalgia pills have put her in at specific moments to show that Angela is a person who's suffering with a lot of anger and rage in her life. I have several friends who told me that they thought it was just all a fabrication that we came up with for the show and were blown away to discover that it actually was a real gory part of American history. Adobe Spark Post features thousands of professionally designed templates so you’re never starting from a blank canvas. But the more that I thought about it, the more it really excited me because I think that the superhero genre is one that does not have a lot of diversity in it. You've established the rules, you've established the boundaries. Cord Jefferson: Not until 2021. But as we learn about Will's journey to becoming Hooded Justice, America's very real racial history comes into sharp focus, and the crimes of yesterday are linked inextricably to the world today. The first time that you see how wonderful a costume designer can execute this weird idea that you had and make it something that you had never even considered before when you were talking about a costume, or the way that you could write a line that you're not really sure is very good but in the mouth of a wonderful actor just turns out to be so much better than you ever thought it could be. Cord Jefferson: You know -- very, very different tones and moods and themes and stories altogether. But Episode 6, "This Extraordinary Being," the one that you wrote, it is one of the most compelling hours of television I've ever seen. But I think that for now I'm going to stay in TV and film stuff. Talks about creating covid-free artist bubbles in the Hudson Valley, Working for inclusion, diversity and excellence in classical music, Cord Jefferson began his career as a journalist, but six years ago he began writing for television. It was the past and the present just morphing together and really being inseparable. Thank you so much, and thank you for just the wonderful work that you do. Used courtesy of the Free Music Archive. I never saw the film. I mean, it does throughout the series, obviously, in the first episode beginning with the Tulsa Massacre. But at the same time I think that a thread that carries through from every show that I'm on, despite the fact that they may seem different on their face, is that I'm working with very, very talented, smart people who have great visions for great shows. I believe Damon may have been the strongest opponent to makeup around the eyes, but we finally convinced him to do it, and I think that I'm really, really happy that we did because I think that it speaks to the character of Will Reeves himself and that this is a guy who's hiding something from everyone. Cord Jefferson: That was-- . "Watchmen" lays this out right from the beginning, starting the series with 1921's Greenwood Massacre in Tulsa, Oklahoma, where whites rioted and razed Greenwood-- a prosperous black part of town-- to the ground, killing hundreds of African Americans. Yeah, Damon came in saying that he wanted Hooded Justice to be black, and I had only read "Watchmen" once before working on the show, and even then I'd only read it in the couple weeks before the room started. Started Season Two of "Succession.". That just doesn't happen. There's the mask over his face, but then he wears white makeup around his eyes so people don't realize he's black. There's not a lot of people of color. Yeah, I think that a huge theme of the show is inherited trauma and how the wounds of the past are given down through the generations. Her grandfather turns out to be Hooded Justice, a crucial figure in the original graphic novel who inspired two generations of costumed crime fighters. But even so, I wanted to do that, and I still want to do that. Cord Jefferson: Backstory to the backstory is that there was this place in Tulsa, Oklahoma called Greenwood that a lot of people called it "Black Wall Street." Jo Reed: That's writer Cord Jefferson talking about the series "Watchmen," developed for HBO by Damon Lindelof, and this is "Art Works," the weekly podcast produced at the National Endowment for the Arts. Jo Reed: Not at all. your own Pins on Pinterest Cord Jefferson: Damon's thinking was that the original "Watchmen" text was built around Cold War fears and the fear of the Soviets and the nuclear arsenal and nuclear holocaust. So he was basically the motivator. Thank you for having me on. Jo Reed: Okay . Jo Reed: Oh! And so that had always been my goal and my mentality, and so when I was offered this opportunity to use that toolkit and apply it to something else, I leapt at it. And so I took it. Can you walk us through that episode? And it is something that I found to be very beautiful and moving when it works. I think at first we started talking about maybe including it somewhere in Episode Two or Three, and then we decided that we should include it in the pilot somewhere. your own Pins on Pinterest And so he came in with some ideas of his own, like I said, about wanting to set this in Tulsa and wanting the Tulsa Massacre to be a part of it and wanting Hooded Justice to be black, but then we just worked as a team to build everything out. "Station Eleven" is an NEA Big Read Book. Cord Jefferson: I'll try. Jo Reed: You went from "Watchmen" back to writing for "The Good Place.". Cord Jefferson: Thank you. First, it's mostly in black and white, and then Will Reeves is played by both Jovan Adepo and Regina King because Angela is literally reliving Will's memories. However, Louise have secretly invited all of his friends to he apartment building for a surprise party. That's a novel that came out in 2015, and so I started that in August. And so I think that you can't tell a show like that without utilizing history, and we wanted to utilize American history in order for this telling. Basically, how does this work? And so the rest of Episode 6, "This Extraordinary Being," is Angela going through her grandfather's memories from the 1930s when he first became a police officer in New York City but then soon understands that the police force is not going to afford him the justice that he's looking for. My memory is a little fuzzy. Were you there from the beginning with--, Cord Jefferson: Season Two. When you see those moments, when you see what collaboration does, and when you see how effective it can be, and when you see how a team can come together and just make something incredible, I think that you just have a lot more respect and admiration for the process when you're actually in the world.

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