fall : a mix of humor and violence
From April 11, Prime Video subscribers can discover the apocalyptic universe of fall. The series, based on the video game franchise of the same name, is set in the same world, but imagines an original story with new characters. A story we owe to Geneva Robertson-Dworet (Captain Marvel) and Graham Wagner (Silicon Valley), the co-creators, but also to the duo behind it Westworld, Jonathan Nolan and Lisa Joy. Both are in production while Jonathan Nolan himself was responsible for directing the first three episodes.
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A way for him to lay the foundations of a universe that he discovered years ago while playing Fallout 3. That is to say a post-apocalyptic future, two centuries after a nuclear war exploded in the 1950s. We then find humans who have taken refuge in fallout shelters all this time, other survivors outside, but also mutants and terrifying creatures. It is not easy to survive in such a situation world full of violence. This is what Lucy will discover, who has lived her whole life far from all this, in a luxurious refuge. But after her father is kidnapped by strangers, she will have to face a harsh reality.
We discover this violence from the first episode with a wedding that turns into a bloody massacre. However, a certain irony and tone emerges fall, faithful to the games, amuses more than scares. However, the show would have it could have been even more violent than what it already is, as Graham Wagner and Jonathan Nolan revealed to us when the series arrived on Prime Video.
Meeting with Jonathan Nolan and Graham Wagner
CinéSérie: Adapts the video game franchise fall with an original story. In this way, did you have a theme or message that you wanted to convey as a priority?
Jonathan Nolan: I’m not very comfortable with the idea of having a vision to offer about the world. Especially when it comes to dramatic topics like the end of the world and we deal with it with black humor. But I like to ask questions. When we started working on this project four or five years ago, I felt that some of the concerns and themes of the games were almost retro. And unfortunately, every year since then, it’s become a little more relevant. I would have preferred the series to be less current actually.
Graham Wagner: The creative process lasted three years, during which many ideas crossed our minds. But one of the elements that we wanted to integrate with Geneva Robertson-Dworet is what we were able to experience during Covid. We were each at home, as if in similar shelters fall. People congratulated themselves on this, seeing themselves as heroes who had saved America, while people braver or less fortunate than us had to go out and work to provide essential services to the entire world. So we started to lean into that, to kind of satirize our experience during Covid. Because it seemed a little grotesque to stay at home and do nothing.
We feel this grotesque side of your characters, especially Lucy and Maximus, who have no control over events.
GW: Yes, it was really interesting to highlight the characters’ flaws and put them in trouble in action situations, because shakes up conventions. I think today there are many series, but very often, given that there are big economic issues, some are a little afraid to take risks and prefer seriousness. I felt there was room here to put on a big show, but otherwise less serious.
Like in the way you represent violence. There is a contrast between the horror that is happening and the feeling you get when looking at the images with the shifted editing.
GW: In fact, there was all kinds of violence in the early versions. But while editing, we removed many violent scenes who was more down to earth. Because we’ve found that the crazy, over-the-top violence has become, for lack of a better term, a little Brechtian. And it’s as if its falseness puts a space between the viewer and the desired experience. So we had to add a little more joy to the horror. But it also serves as a reminder that we can play with reality and that the public must therefore remain on its guard.
JN: I think we still feel an element of horror. In that wedding scene where Lucy is fighting for her life, it’s horrible and scary for her. And the viewer should accompany him in his panic and fear of her. But there’s this unique tone that comes from the games. An almost gonzo tone, with dark moments, followed by moments of comedy, then spectacular violence which also has a social subtext. Furthermore, this cocktail of violence, darkness, emotion, politics, satire and humor is something I have never experienced before.
It’s true that this tone of Fallout can be surprising when we look at your work, Jonathan. Why this change?
JN: Dark humor is something I’ve always been drawn to, but I was a little nervous about trying it. I am not an author of this style, I have not written comedies. But the creative team of myself, Geneva and Graham were complementary. I’ve done comic book adaptations for film, action and adventure shows. While Graham comes from comedy, with Portlandia, The office AND Silicon Valley. We wanted to bring together these different sensibilities which are once again the essence of fall, both funny and strange.
There is still some continuity with your previous series Westworldwhich also mixed science fiction and western genre.
I have always loved science fiction. And I like films and series that have a sense of naturalism and that are looking for beauty and emotion. I think the current world is a bit boring, and I’ve always been attracted to projects where you can escape from reality, where there’s a hidden universe. That’s what I like about science fiction. After, Westworld AND fall constantly playing with genres. But I think that’s how video games, series and films can communicate together. Constantly appropriating different genres.
The mix of genres also involves music, with the use of old songs. Stick to the games on this one too.
GW: Yes, it’s something we took from video games that used this type of music to accompany the imagery of the apocalypse. I think that’s really what makes it the essence of fall, so we wanted to capture that for the series. It was also a good way to make sure the show wasn’t there not sad and miserable in his way of talking about the apocalypse. This keeps the fun side of the show.
Jonathan, in addition to being a producer of fall, you directed the first three episodes. Why so much?
JN: For Westworld, I made the first episode to help introduce the universe. A universe that I literally built. And it was the same approach with fall. When you try to adapt something as ambitious and complicated as these games, there’s a responsibility. We have to find the best way to do it. And the best way to do that is to get your hands a little dirty, then take on the role of director. But if I did three episodes it is also for a question of balance. We needed at least these three episodes present the entire universe, including some creatures. Furthermore, for the representation of monsters, it was a problem that I had never faced. Fortunately, we have incredibly talented visual effects and special effects departments.
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fall is currently available on Prime Video.
Source: Cine Serie
Ray Ortiz is a journalist at Gossipify, known for his coverage of trending news and current events. He is committed to providing readers with accurate and unbiased reporting, and is respected for his ability to keep readers informed on the latest news and issues.
