[VIDEO] Jimmy Kimmel Show: Jon Hamm Suggests Alternate Mad Men Ending

As Jon Hamm explained to Jimmy Kimmel last night, Mad Men creator Matthew Weiner had been thinking about ending the show with that iconic Coca-Cola commercial for years before the company cleared the way for him to use it. If things had gone a different way, the ending might have had a slightly different impact…(read more)

Mediaite

BONUS CLIP: Lizzy Caplan reveals why she’s “better” than her friend, actor Jon Hamm. Jon then decides to join Lizzy on our stage and plead his case.


[VIDEO] Sesame Street: Lucky Elmo Gets His Little Mind Blown with Christina Hendricks

Technology is a tool that makes something easier for you to do. Christina Hendricks loves technology. She uses a laptop computer to read up on bugs; she uses her cell phone to video chat with her Nanna and Pop-pop, and she takes pictures of flowers with her camera. What is your favorite piece of technology?


In Perfect Harmony: Mad Men Finale

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The Real Story Behind ‘Mad Men’s’ ‘I’d Like to Buy the World a Coke’ Ad

(Warning: spoilers) John Jurgensen writes: For Don Draper, enlightenment apparently came in the form of the perfect advertising pitch. After sinking to the depths of anguish, loss and emptiness in the series finale of Mad Men,” Don ended up in lotus position, bathed in sunshine on a hillside, with a sphinx-like smile on his face. Cut to a grainy 1971 commercial for Coca-Cola, one of the most famous TV spots in advertising history.

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The implication (which sharp viewers predicted, after so many Coke allusions in recent episodes) was that Don would return to McCann Erickson with a brilliant idea in hand for a commercial featuring a multiracial cast singing about a world living in “perfect harmony,” thanks to a particular soda.

In fact, the real-life person behind the idea was a creative director at McCann Erickson named Bill Backer…(read more)

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[PHOTOS] ‘Don Draper Staring Blankly’

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[Via Tumblr site Don Draper Staring Blankly]


‘Mad Men’: The Ending Doesn’t Really Matter

January Jones as Betty Francis, Jon Hamm as Don Draper, Elisabeth Moss as Peggy Olson, Vincent Kartheiser as Pete Campbell, Elisabeth Moss as Peggy Olson and John Slattery as Roger Sterling - Mad Men _ Season 7B, Gallery - Photo Credit: Frank Ockenfels 3/AMC

The “Mad Men” finale will be analyzed and rated, debated and recapped. Meaning will be ascribed to it that the writers likely never intended, and much of fans’ pleasure and disappointment will be expressed in real time…(read more)

Variety


Eliza Berman: The Mad Men Title Sequence Is Eerily Similar to This LIFE Magazine Cover

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The falling men on a 1967 LIFE cover seem to presage the falling man in the AMC show’s opening credits

Eliza Berman writes: Analyzing the title sequence to Mad Men has become something of a sport for the show’s fans. Does the suited man hurtling toward earth foreshadow protagonist/anti-hero Don Draper’s literal death or his figurative demise? Does it echo the chilling photograph of a man who jumped from a burning World Trade Center tower? (Showrunner Matthew Weiner has said emphatically that it does not.) Whatever it represents, where did Imaginary Forces, the agency that produced the sequence, get the idea?

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Here’s another idea: it’s now been pointed out that the design has many similarities to a 1967 LIFE Magazine cover, the first in a four-part series on “The Struggle To Be an Individual.” The cover, like Mad Men’s credits, features silhouetted men against the backdrop of a 1960s-era skyscraper. Both suggest a sense of helplessness, of ceding control to powerful forces beyond one’s self.

“The cover, like Mad Men’s credits, features silhouetted men against the backdrop of a 1960s-era skyscraper. Both suggest a sense of helplessness, of ceding control to powerful forces beyond one’s self.”

The Imaginary Forces team that produced the credits has spoken about some of the inspiration behind the design. Weiner initially approached them with the skeleton of an idea — a man walks into an office building, takes the elevator to the top and jumps — and they began developing storyboards. Those boards included a Volkswagen ad, movie stills and, as designer Steve Fuller told Print, “the design stew that’s been swirling around in our head over the last 15 years since we left college.”

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Though AMC could not confirm, as of publication time, whether this particular LIFE cover ever made it onto those storyboards, the photo essay the cover advertises in many ways articulates the existential crises Draper faces in Mad Men. As an ad man, Draper sells access to an American dream he himself hasn’t entirely bought into. Even as he accumulates successes in the boardroom and the bedroom, the satisfaction never lasts longer than a few drags of a cigarette that might kill him anyway.

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The ethos of the 1960s is, of course, omnipresent in Mad Men — and not just in its fastidious commitment to the furniture and fashions of the time. In post-WWII America, many Americans had settled into the comfort of corporate jobs that afforded them the same white picket fence and station wagon their neighbors boasted. Responding to that phenomenon, books like William H. Whyte’s The Organization Man, published in the mid-1950s, lamented how modern workers’ collectivist group-think ran in opposition to creativity and innovation. Read the rest of this entry »


‘Mad Men’ Retrospective

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Mad Men Retrospective on Google Play Includes Free Episode

 writes: “Mad Men,” as it nears the finish line after eight years on TV, is getting a virtual retrospective on Google Play that will allow fans to relive the show’s run — a promo that includes free streaming access to the series’ very first episode.

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Under a pact with LionsgateGoogle Play is debuting “The Mad Men Experience,” at madmen.withgoogle.com. The website is billed as an interactive, art-exhibit-style destination set in the world of 1960s Madison Avenue with more than 300 pieces of content released for the first time in a digital environment. Those include rarely seen artwork interviews with cast audio commentaries and other features.

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The deal is Google Play’s first digital fan experience for a TV show, and it’s aimed at driving viewers to purchase episodes and full seasons of “Mad Men” from the online store. In addition, for a limited time Google Play will stream season one, episode one (“Smoke Gets in Your Eyes”) for free on Google Play, available to users in the U.S., Canada, the U.K. and Australia. All prior seasons of “Mad Men” also are available for streaming on Netflix, and for purchase on Apple’s iTunes and Amazon’s Instant Video services. Read the rest of this entry »


‘Mad Men’ Sets Finale Night Q&As and ‘Live Read’ Event

LOS ANGELES, CA - MARCH 26:  Jon Hamm and Matthew Weiner attend the Film Independent at LACMA presents A Tribute To Mad Men: Part One at Bing Theatre At LACMA on March 26, 2015 in Los Angeles, California.  (Photo by Araya Diaz/WireImage)

LOS ANGELES, CA – MARCH 26: Jon Hamm and Matthew Weiner attend the Film Independent at LACMA presents A Tribute To Mad Men: Part One at Bing Theatre At LACMA on March 26, 2015 in Los Angeles, California. (Photo by Araya Diaz/WireImage)

“Mad Men” is going out with a bang, setting a series of events for the evening of the show’s May 17 finale, including Television Academy panel sessions moderated by Variety‘s Debra Birnbaum.

“The Television Academy Presents a Farewell to Mad Men” at the Montalban Theater in Hollywood will feature Birnbaum moderating a Q&A with creator Matthew Weiner and star Jon Hamm. That conversation will be followed by a panel with cast members January Jones, Elisabeth Moss, Christina Hendricks, Vincent Kartheiser, John Slattery, Kiernan Shipka and Jessica Pare, as well as key production staffers including costume designer Janie Bryant and production designer Dan Bishop and d.p. Christopher Manley.

The 5 p.m. PT event will stream live at TelevisionAcademy.com…(read more)

Variety


Mad Men’ Q & A with ‘Lost Horizon‘ Episode Cinematographer Phil Abraham

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 writes: Next to Matt Weiner, nobody knows the look and feel of “Mad Men” better than Phil Abraham. He was the cinematographer on the pilot, and he made an auspicious debut as a director for the series with 2007’s “The Hobo Code.” Abraham took a break from helming an episode of AMC’s “Halt and Catch Fire” in Atlanta on Monday evening to talk about directing his final “Mad Men” episode, the May 3 installment “Lost Horizon,” from a razor-sharp script by Semi Chellas and Weiner.

This episode had so many pause-worthy moments for Joan, Don, Peggy and Roger. Did you know that going in or did it evolve as you were shooting? 

Mad Men” is different than any other show because the objective is to create those moments on camera and define them in a precise way. They are so special and so carefully crafted by the writers. As a director you’ve got to make sure they play visually and performance-wise and that everyone who is watching is aware of them….That’s what makes “Mad Men” such a different show than any other I’ve worked on. There is a precision to everything.

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Does that precision make it harder or easier for you as the director? 

The rigor with which these episodes are crafted is something special. The only way you can have moments like the one where Don is sitting in the conference room hearing the research thrown out and seeing the disembodied hands open up their portfolios and all take their pens out at the same time — that’s all scripted. But it has to be visualized to resonate. When you have Jon Hamm it’s not hard to make those things resonate. … It’s this amazing dance of performance and staging and everything that makes “Mad Men” the unique series that it is.

[Read the full interview here at Variety]

Christina Hendricks steals the episode with Joan’s showdown with McCann’s Jim Hobart.

She’s so strong-willed and I thought such a worthy adversary to (Hobart). I remember going through those scenes with her. Those are long scenes, there’s a lot of words. We talked about the emotion and the lack of emotion she would need to go toe to toe with the big boss. It was great. (Actor H. Richard Greene) was fantastic as well. The two of them played off each other so well. That scene stole the show for me. The dance they dance. It’s been a year since we shot it so it was great to watch it.

Roger and Peggy had a long and entertaining ‘moment’ together. How is Elisabeth Moss’ roller skating?

Peggy says to Roger ‘I don’t think you’ve ever paid this much attention to me.’ I don’t think they’ve ever had such a big scene. Read the rest of this entry »


[VIDEO] Mad Men: Don Draper Says ‘What?’

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[PHOTO] Don Draper with Camera

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Imaginary Playboy Magazine Cover: Joan Holloway, ‘The Ladies of Madison Avenue’

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[VIDEO] Mad Men: ‘Zou Bisou Bisou’

Megan Draper (Jessica Paré) sings Zou Bisou Bisou during Don’s (Jon Hamm) ‘surprise’ birthday party and somehow thought he’d be fine with it.


Mad Men Moment: Decisions, Decisions

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Fictional Mad Men Character Roger Sterling To Be A Regular Guest On Spiegel/Goff Show

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We’re pleased to announce that fictional character on AMC’s “Mad Men” Roger Sterling will be a regular guest on the Spiegel and Goff Show. Sterling will appear every Tuesday at Noon during the baseball season to talk, make clever wisecracks, and enjoy a refreshing cocktail or two.

“Roger Sterling is one of the more interesting guys from the world of fictional advertising agencies,” said Jason Goff. “He’s got a renewed energy for Mad Men fans, who have been waiting for that pop, for that next big thing.”

Known for witty, zen-like sayings, skirt-chasing, and drinking on the job, Roger Sterling is as unique among fictional 1960s-era TV characters, and should bring great perspective to the show. Read the rest of this entry »


Speakeasy: ‘Mad Men’ Season Premiere, ‘Severance’: A Conversation

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Read it here, at SpeakeasyWSJ


Eric Thurm: Mad Men Is Back—And With it, the End of Great Navel-Gazing TV Dramas

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Eric Thurm writes: TV is an odd mishmash of a medium. It shares enough qualities with film that we can use the word “cinematic” as a blanket compliment, yet its traditional broadcast model more closely resembles radio. In fact, with the advent of original programming from online-only platforms, it’s increasingly difficult to tell what, exactly, TV is.

“At its core, that self-reflexivity is rooted in anxiety for the future—as well it should be. Because as it turns out, the end of Mad Men is not the end of TV, but rather the end of a particular era for the medium, one that has been repeatedly canonized in books like Brett Martin’s ‘Difficult Men’ and Alan Sepinwall’s ‘The Revolution was Televised’.”

Maybe that’s why, dating back to  The Mary Tyler Moore Show, TV is so often about itself. There’s a long history of scripted TV that’s about making TV. Yet, for all the literal Difficult-Menexamples of it—Sports Night, 30 Rock—Mad Men, which returns for its final seven episodes on Sunday, is the most self-reflexive series of them all.

[Order Brett Martin’s book “Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad from Amazon.com]

Mad Men‘s ad firm Sterling Cooper & Partners (né Sterling Cooper Draper Pryce, né the Sterling Cooper Advertising Agency) is itself a representation of the process of making television. The writers’ room pitches, the long nights, the fights with executives over the creative integrity of material that, with varying degrees of explicitness, is ultimately about selling products. Many of the show’s most triumphant moments come not from interpersonal dynamics, but the act of intellectual conception—being struck by writerly inspiration, often in a room full of people trying to come up with their own perfect idea.

And the show’s behind-the-scenes dynamics become manifest in its characters. Critic Todd VanDerWerff has described episodes as “fan fiction Matt Weiner is writing about his own writers’ room,” something that’s especially apparent in the relationship between Don Draper and his protege-turned-peer, Peggy Olson.

“The writers’ room pitches, the long nights, the fights with executives over the creative integrity of material that, with varying degrees of explicitness, is ultimately about selling products.”

Their tempestuous creative partnership prompts fights over the ownership of everything from ad campaigns to each other’s careers, culminating in the infamous “That’s what the money is for!” scene from “The Suitcase”—an episode in which they argue over what you can and cannot do on TV.

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In later seasons of the show, even that layer of metaphor has fallen away; the show has become much more explicit in enacting its own struggle to surpass the limitations of TV storytelling. In particular, the merger between Sterling Cooper Draper Pryce and onetime rival agency Cutler, Gleason, and Chaough is a self-conscious solution to the problem of keeping Peggy on the show once she had naturally grown past the point of needing Don as a mentor and professional champion.

“Many of the show’s most triumphant moments come not from interpersonal dynamics, but the act of intellectual conception—being struck by writerly inspiration, often in a room full of people trying to come up with their own perfect idea.”

Don and Betty may have gotten divorced, but their relationship is effectively unchanged from what it was in Season 1—because to send her offstage is to deny Don his true moral foil. Will any of these characters ever change?

[Read the full text here, at WIRED]

Maybe not, but they’ll certainly keep trying, and stay painfully aware of their failures. Matthew Weiner and his staff threaten change, but it’s never real; they’re just daring us to confront what would happen if the status quo ever seriously shifted. And it’s all so artfully done that Mad Men more than justifies the level of Talmudic recap coverage it has historically received.

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“Indeed, many of today’s prestige shows feel like the creative efforts of people who watched ‘Mad Men’, ‘The Sopranos’, and ‘Breaking Bad’ and then tried to replicate them without understanding what actually made them so good.”

But at its core, that self-reflexivity is rooted in anxiety for the future—as well it should be. Because as it turns out, the end of Mad Men is not the end of TV, but rather the end of a particular era for the medium, one that has been repeatedly canonized in books like Brett Martin’s Difficult Men and Alan Sepinwall’s The Revolution was Televised. The Difficult Men narrative of “visionary” showrunners provides a picture of what Good TV is supposed to look like, and how it’s supposed to be made: by exacting geniuses like Don Draper. Read the rest of this entry »


Review of ‘Matthew Weiner’s Mad Men’ at the Museum of the Moving Image

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Marc Myers writes: When “Mad Men” returns to AMC on Sunday with the first of its final seven episodes, viewers will be wondering how ad-agency executive Don Draper ends the series—emotionally awakened or drifting down from his office window, as hinted by a falling silhouette in the show’s opening credits. For fans of the series’ 1960s wardrobe and sets, the more pressing question is how the show’s fashion and furnishings will evolve as its timeline inches past the moon landing and enters the shaggy, burnt-orange decay of 1970.

“Through the lens of series creator, producer and writer Matthew Weiner, the adult world of the 1960s is much more jaded and complex than the rosy, adolescent one recalled by many baby boomers who grew up then.”

The runaway popularity of “Mad Men” owes much to its dark story lines of personal demons, office power struggles and noirish character interactions with historical events. But from the start, in 2007, the series’ appeal has also been rooted in its richly detailed look that transports viewers back to an age of sleek office furniture, space-age design, meticulous grooming and colorful clothes. All are represented in “Matthew Weiner’s Mad Men” at the Museum of the Moving Image, an exhibit that celebrates both the show’s vision and visuals.

“The show is not a history lesson or intellectual exploration. It is entertainment based on tension, irony and storytelling that is closely related to today’s life.”

— Matthew Weiner, summarizing the show’s guiding principle

Through the lens of series creator, producer and writer Matthew Weiner, the adult world of the 1960s is much more jaded and complex than the rosy, adolescent one recalled by many baby boomers who grew up then. As the decade unfolds beginning in 1960, the show’s characters find themselves caught in a cultural riptide, with rock, civil rights and feminism changing the balance of power faster than they can adapt. Many turn to alcohol, drugs and serial affairs to ease the stress and hold on to the world they once knew.

(AP Photo/AMC Frank Ockenfels)

Staged in a winding series of rooms, the new exhibit sheds light on how ”Mad Men” was developed by Mr. Weiner and his writers and designers. The exhibit begins with a glass case of books that most influenced Mr. Weiner’s approach, including Helen Gurley Brown’s “Sex and the Single Girl,” the “Journals of John Cheever” and David Ogilvy’s “Ogilvy on Advertising.” The book display is followed by a full-blown re-creation of the room used by the “Mad Men” writing team, complete with their 1960s Danish modern teak conference table, 10 black leather executive chairs, and character-development cards on a wall board. Read the rest of this entry »


STEALTH MODE: Kiernan Shipka Says Keeping ‘Mad Men’ Secrets Has ‘Become Habit’

 writes: When you have a starring role on one of the biggest television shows in the world, people are going to try all kinds of dirty tricks to get you to drop hints about the new season.

[Mad Men returns to finish up its final season on April 5 at 10/9c on AMC]

Unfortunately for Mad Men fans everywhere, Kiernan Shipka is very good at keeping secrets. After spending seven years working on the show, keeping plot details tightly under wraps has become second nature to the super-stylish actress.

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Still, when we got the chance to catch up with Shipka before the final few episodes of Mad Men’s run premiere on April 5, we couldn’t help but try our luck at getting a few secrets out of her.

“Everyone kind of knows we can’t give anything away,” Shipka said apologetically. Read the rest of this entry »


‘Mad Men': The Uncensored, Epic, Never-Told Story Behind AMC’s Critical Darling

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In 2001, Matthew Weiner writes his first Mad Men script, which goes nowhere until 2005, when AMC decides to shop for its first original scripted series.

Matthew Weiner (creator) I finished the script and sent it to my agents. They didn’t read it for three or four months. (They’re not my agents anymore.) I was advised not to send it anywhere because that was at a time when there were big overall deals for comedy writers. People would pay for the anticipation of what your project would be, and actually having one was going to hurt you. I kept trying to get into HBO, but I never got a meeting. And I met with FX, which Kevin Reilly was running at that time. He talked to me about making it into a half‑hour. Then people started talking to me about a feature. It was my manager’s assistant who gave AMC the script. That’s who they were pawned off on.

Rob Sorcher (former executive vp programming and production, AMC) I’d relocated to the East Coast, and I’m working at this network, AMC, that has a collection of shit-ass movies. It’s like the lesser TCM, and I’m supposed to turn it into something. [What the network needed was] a show for cable operator retention. You want something that can’t be replicated elsewhere — like a Sopranos — because if you have a signature show, then you won’t be dropped [by cable operators]. So your strategy becomes: Let’s go for quality. But we have no money. So I hire Christina Wayne, who’s never done a thing in her life in terms of an executive.

Christina Wayne (former senior vp scripted programming, AMC) Years earlier, I’d wanted to option Revolutionary Road [Richard Yates‘ novel about suburbia in the 1960s]. But I was a nobody screenwriter, and [Yates’ estate] held out for bigger fish, which they got with Sam Mendes. So when I read [the Mad Men script], it resonated with me. This was a way to do Revolutionary Road, week in, week out. When we had lunch with Matt for the first time, I gave him the book. He called me after and said, “Thank God I’d never read this because I never would have written Mad Men.”

Weiner [My agents] were like, “You’re going to be coming off The Sopranos. I know you love this project, but don’t go [to AMC]. It’s really low status, no money, and even if they do it, they’ve never made a show before, and you don’t want to be their first one.”

Sorcher Every possible reason on paper why this should not work was cited: It’s super slow, it’s [about] advertising, everybody smokes, everybody’s unlikable and it’s period. We couldn’t sell it.

Jeremy Elice (former vp original programming, AMC) We sent it out looking for potential partners and got some nice responses, but generally speaking it was, “Yeah, not for us,” and “Who the f— is AMC?”

Wayne So we self-financed the whole thing ourselves. The pilot cost $3.3 million, and we did it in New York in the downtime when Sopranos was [on hiatus]. We used all of their crew.

JANUARY JONES AS … PEGGY?
Casting for the pilot begins in 2006. Weiner and AMC agree on hiring unknown actors.

Weiner There were famous people who came in to read. The guys from That ’70s Show came in — not Ashton, but the other guys. I’m still impressed by Danny Masterson. But at a certain point, it was working against them. My theory was that The Sopranos casting was great because you didn’t know who any of those people were.

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Jon Hamm (Don Draper) Some people went in once and got cast; there was a little more reticence with me. I was on the bottom of everyone’s list. The one person who was an early champion of mine was Matthew.

Weiner Back in [2006], there were no handsome leading men. It was not the style. Not that Jim Gandolfini‘s not handsome, but he’s not Jon Hamm. There are moments in time when it’s Dustin Hoffman and moments in time when it’s Robert Redford. It was a Dustin Hoffman era. People like me or Seth Rogen got the girl, and people likeBradley Cooper were standing on the side of the street being like, “Come on!”

Wayne Matt sent us two actors: Jon Hamm and Mariska Hargitay‘s husband,Peter Hermann. The quality of the that we were using sucked, and you couldn’t see how good-looking Jon Hamm was. We were like, “Really, this is who you think?” And Matt said, “Absolutely.” He’d been in the room, and he felt something with Jon. We had him come in again. We had to be sold, so we flew Jon to New York and took him for a drink at the Gansevoort hotel. He was nervous, but I knew that he had star potential. I whispered in his ear before he left, “You got the job.”

Elisabeth Moss (Peggy Olson) I was the first person to audition for Peggy. Matt showed us all our audition tapes at a gathering, and it’s hilarious because I don’t look anything like Peggy [in the tape]. I’m 23, blond, tan. I look like I just walked off of the beach.

John Slattery (Roger Sterling) I went in to read for Don; they wanted me to play Roger. Matt Weiner claims I was in a bad mood the whole [pilot]. I had a couple of scenes, but I wasn’t as emotionally invested as some of the people because there wasn’t that much of Roger in evidence yet. Being a selfish actor, I didn’t necessarily see the full potential in the beginning.

Christina Hendricks (Joan Holloway) I was up for another pilot, and I chose Mad Men. The [agency I was with] was like, “It’s on AMC, it’s a period piece, it’s never going to go. Are you crazy? You’re not going to make money for us …” I thought it was a little impatient of them. So I moved on.

January Jones (Betty Draper) I came in for Peggy twice. Matt said, “Well, there’s another role, but I don’t really know what’s going to happen with her.” He didn’t have any scenes for me, so he quickly wrote a couple.

Weiner It had been years since I wrote anything in the pilot. And all of sudden, I need a scene by tomorrow for a character who only has three lines.

Vincent Kartheiser (Pete Campbell) I only auditioned for Pete. My agents aren’t delusional enough to think that I’m a Don Draper.

Alison Brie (Trudy Campbell) I looked up a picture of Vincent Kartheiser and was like, “Oh my God. We kind of look like brother and sister. I could totally be his 1960s wife.” Couples kind of looked alike then.

Weiner Alison Brie was a big lesson because we couldn’t afford to make her a series regular. And we gambled [Community] wouldn’t happen. We were wrong.

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HOW DICK BECAME DON
Weiner shoots the pilot on location in New York in 2006, but AMC struggles initially to line up financing.

Sorcher Matt had an extremely clear vision for the show. We had only one or two notes that were key.

Wayne We said to Matt, “OK, this is a great show about advertising, but what are people going to talk about week in, week out? What’s the bigger story for Don?” He went off, and a few months later he came back and pitched the entire Dick Whitman/Don Draper story. We were mesmerized. Read the rest of this entry »


Don Draper on Creativity

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Jon Hamm Breaks Silence on Rehab: ‘Life Throws a Lot at You Sometimes’

Originally posted on TIME:

The last 24 hours haven’t been easy for Jon Hamm.

As the cast of Mad Men promotes the final season of their hit show (set to premiere April 5), the star has been forced to take his private struggle with alcohol addiction public after news broke Tuesday he recently completed a 30-day treatment program.

“Life throws a lot at you sometimes, and you have to deal with it as much as you can,” Hamm told Australia’s TV Week on Wednesday. “I’ve been very fortunate that throughout the most recent 24-hour period, I’ve had a lot of family and friends support me.”

And though it’s easy to draw parallels between Hamm and his troubled character Don Draper, the actor, 44, demurred to make a concrete connection between his personal life and onscreen work.

“Obviously there can be a lot of discussion about how much of this is related to…

View original 59 more words


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