Zap2it has recently sat down with Clive Owen to discuss about his newest TV series, ‘The Knick’. Though the interview is short, but it’s worth the read.
Zap2it: What was the rationale for having an actual play-by-play board, like that used in football, as you filmed the first season of “The Knick”?
Clive Owen: I play someone who’s struggling with various kinds of addictions, so it behooves me to plot where I’m at at any particular point. If we go to a location and I’m shooting scenes for five different episodes, I need to know where I am [as the character]. Am I flying? Am I really struggling? To have a visual graphic worked fine for me.
Zap2it: The writing seems to work fine for you, too. Did you want assurances of that before you signed up for the series?
Clive Owen: That’s obviously a concern for me. I was being asked to commit on the basis of reading only one script, but once I spoke to Steven [Soderbergh], he knew how smart the writers were … and I have to say they’ve sustained the journey of the character, and the stories down the line were even better than that original one, which I was pretty blown away by.
Zap2it: How is it to have Oscar and Emmy winner Steven Soderbergh directing all the episodes while he also serves as an executive producer?
Clive Owen: The reality is that [being the star of the series] was a huge thing to carry, but when you’re working with someone of his quality, the real joy is that you’re left to worry about just the things you’re supposed to — which is your acting. You know that everything else has been taken care of.
One of the things that makes The Knick feel so alive — and remarkably different from previous period pieces — is its very modern score. (You can get a sense of it in the first few minutes of the first episode, which is free to stream here).
Cliff Martinez has worked with The Knick’s showrunner, Steven Soderbergh, on eight films, including sex, lies, videotape and Contagion. He was also a drummer for The Red Hot Chili Peppers, created the distinctive score for Drive, and collaborated with Skrillex for the indelible sound of Spring Breakers. He is, in short, incredibly talented — which is why I was so excited to talk with him about his work on The Knick, and the creation of a soundtrack to which I can’t stop listening. That’s what I mean when I say it’s “hypnotic”: There’s a pulse to this music that I can’t wrest myself away from. It has that effect on its own — perhaps more so — but it also has the effect on the show itself: It inscribes its rhythms on the narrative, to the point that I can’t think of the plot without also thinking of the way that the score shapes it.
According to Martinez, he received the packet of all 10 scripts — the equivalent of a 10-hour movie — shortly after Soderbergh received the greenlight from Cinemax to film The Knick. “It was like ‘here’s the Rocky Mountains, kid,’” said Martinez, “‘whattya think?’” Martinez read through a few of the scripts, and Soderbergh began to send him rough cuts for the first few episodes — each of them scored with swatches of Martinez’s own (very modern) scores for Only God Forgives, Spring Breakers, Drive, and Contagion. [Read more…] about How “The Knick” Became The Most Hypnotic Show On Television