The creators of docuseries Last Call use a true crime frame to uncover the cycle of hate and violence that stalked queer communities in ’90s New York.
use a true-crime frame to uncover the cycle of hate and violence that stalked queer communities in ’90s New York., the four-part HBO docuseries based on the book of the same name by Elon Green, where a police officer being interviewed in a talking-head format starts to question the framing of the documentary. It’s a now-familiar device designed as a display of authenticity, sneaking behind a participant’s on-camera persona to unearth another kernel of truth.
What was the process of finessing that pitch deck? It sounds like a lot of the conceptual work happened in that development period.Elon was very generous to give us all of his audio recordings, all of his research for the book, so a lot of the investigation work was already there.The pitch deck was the first time I’d seen a visual representation of the book. It was in embryonic form, but that was the first time I saw what it could look like.
Howard and I came to it from the lived experience of being a queer person. I’d been to Town House so many times, and I wanted to show the intimacy that’s there, the closeness of those spaces. It was so important to me to see not just queer joy, but also the intimacy that happens in these tiny queer bars when no one is watching.Please don’t do any re-creations and don’t do any drone shots
Were there other big moments of surprise during the production, things that caused you to reconsider your original plans?There were things at the beginning I knew I wanted. The conversation about how political rhetoric can turn into violence — the whole time, I was like,. But we knew less about Marrero when we started. I had known Cayenne, who speaks about knowing Tony in the docuseries, for years and years.
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