The ‘Deadwood’ Cast Chats for a 10th Anniversary Oral History of the HBO Drama

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David Milch’s original vision was to create a TV drama about cops in Rome, during the time of Nero. “What had interested me was the idea of order without law,” Milch said. “I wanted to focus on that idea of how order is generated in the absence of law.” HBO already had “Rome” on the way, though, so when the network’s executives asked if he could explore his idea in a different setting, “Deadwood” was born.

The series debuted ten years ago this year, and much has changed in the last decade of TV, in large measure because of the influence of “Deadwood.” Both Alan Sepinwall in his book “The Revolution Was Televised” and Brett Martin in his “Difficult Men” include Milch’s Western as one of the key shows that have helped usher in this new Golden Age of Television, which has left our viewing cup so runneth over we have to schedule binge-watching sessions just to keep up with all the great TV drama available to us.

In honor of the “Deadwood”-iversary, several of the beloved series’ cast members — including actor/”Deadwood” writing staff member W. Earl Brown — shared with Yahoo TV their colorful tales of being cast on the show, their experiences working with the “mad genius” that is David Milch, what it was like to work on the “Deadwood” set (including the surprise set wedding that featured Milch as best man), how they felt about the show’s use of profanity and the art of a Milchian monologue, and what made “Deadwood” such a special entry on their acting résumés.

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How to Shoot a Love Scene – by Stacie Passon

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HOW TO SHOOT A LOVE SCENE

Concussion

In honor of the lusty Saint Valentine, we asked director Stacie Passon to write a blog sharing her advice for shooting love (and/or sex) scenes—whichever the case may be. Her Film Independent Spirit Award nominated film happens to be jam packed with them. Concussion is about Abby, a lesbian mom whose mid-life crisis leads her to a double life as a high-end escort. Here’s what Passon wrote.

I guess it all depends on the sex scene.  But I’ll tell you how the Concussion sex scenes went.

First, I guess, have a plan.

I approached the sex scenes as one might approach an orgasm. Stop laughing, I’m serious. The shots start very wide, very presentational. As time goes on, our lens gets longer and shots get tighter. Again, stop snickering.

Philosophically, I am all about seeing the woman as a subject. That means as little objectification as possible. So framing wider helped me establish the characters, the stage and what was going to happen. Then later, as we approached the most emotionally intimate sex scene between Robin [Weigert, who plays Abby] and Maggie [Siff, as a neighborhood mom who utilizes Abby’s services] we framed just their faces using a very long lens to shut out the world around them.

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