![]() ![]() He regularly covers the Oscars and the Emmys, goes to Comic-Con and Coachella, reviews pop music, and conducts interviews with authors and actors, musicians and directors, a little of this and a whole lot of that. Peter Larsen has been the Pop Culture Reporter for the Orange County Register since 2004, finally achieving the neat trick of getting paid to report and write about the stuff he's obsessed about pretty much all his life. “Actually, it’s the individual whistleblower, the individual reporter, sticking to their guns that get stories told.” Related Articles “You realize that institutions and corporations, even ones that are set up to protect us like the police or the justice system, they all are subject to inertia,” he says. Instead, it’s other people - the women who were assaulted the NBC producer who worked with Farrow, and later resigned after the story was killed the Weinstein investigator who later became a Farrow ally - that the show shines its brightest spotlights on. “It’s such a singular narrative in terms of being the story about Harvey Weinstein, we wanted to keep that focus,” Bailey says. While the HBO series closely follows the structure of six of the 10 episodes of the podcast, several that focused on other alleged predators who also used power and money to kill stories about them are not represented. At the end of the day, it was all about supporting the voices.” 1 priority was to complement the voices and the storytelling and not to overwhelm it. “I do think a lot of it was trial and error, because like Fenton said, the No. ![]() “I love that ink because it speaks to the way the clarity of truth gets clouded by one little drop, and it just spreads,” Bailey says. One recurring image through the six 30-minute episodes shows black ink slowly swirling through clear liquid, for instance. “It’s the story of the story,” Bailey says. “We felt it was like a thriller with twists and turns.” The statement said that NBC did not believe Farrow’s story was ready for broadcast because no women had gone on the record to accuse Weinstein of misconduct, and only did so after he went to the New Yorker.īailey says the story of how the reporting moved outlets is part of the narrative. The spokeswoman provided a statement the network issued in 2018, saying the network did not try to kill the Weinstein story during Farrow’s tenure at the network or after he left. The New Yorker, after Farrow brought it to them, chose to publish roughly two months later.Īn NBC spokeswoman, responding to the new HBO series, disputed Farrow’s version of events. NBC News, where Farrow initially developed the story, ultimately told Farrow they would not air it. “We just didn’t want to step on that or get in the way or overwhelm that.”Īs they worked with the tapes, Bailey says their sense of the narrative always included not just the stories of Weinstein’s victims, but the way in which he and the lawyers and private investigators working for him tried to kill the story before it went public. “I think Randy and I, in thinking about how to augment that, we were really careful,” he says. And that sense of connection with the victims was so important. “When you can actually see that person speaking you get a whole other layer. “Having the interviews filmed was the most amazing thing to have,” Bailey says. Transforming the podcast tapes into a TV series was straightforward in one respect - all of the subjects had sat for extensive interviews with Farrow - but difficult in the sense that the production then needed to shape those tapes and place them in an engaging visual backdrop. So any opportunity to amplify it seemed worthwhile to us.” “And obviously, the story is so important. “We’re huge fans of the book and the podcast and thought that this would be an incredible creative challenge,” he says. When longtime collaborators at the cable network asked them if they were interested in making “Catch and Kill: The Podcast Tapes,” Barbato says the duo immediately said yes. While World of Wonder’s most commercial productions include TV franchises such as “RuPaul’s Drag Race” and “Million Dollar Listing,” they also created acclaimed documentary films including the Emmy-nominated Carrie Fisher theatrical show “Wishful Drinking” for HBO. ![]()
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