That's what you're losing if you don't get to be here anymore. What's the point? And the point is art and community, and laughter and joy. JESSICA RHOADES: We also were making a show about why you'd want to survive, why you'd want to be in this world. I find myself losing interest in any story that can't do both.
And so to me, just an emotionally true tone owes always two things: storytelling that is not naive, that can imagine as bad of a thing as can be, and storytelling that can wink and be wry about the world. And likewise, I have a real problem buying any kind of larger theme about suffering or the inherent problems of the human condition without jokes, because, to me, humor is literally the only way to be able to look at the truth of our situation for any period of time. No one's going to buy joy if it wasn't hard along the way. SOMERVILLE: Well, to me, they go hand in hand, I think. How did you find the balance between the weight of the story and allowing for those little emotional breathers that we get? The show always comes back to moments of levity that never keep the plot from getting too bleak, but also simultaneously never undercut the drama of what we're seeing. What was the biggest challenge in terms of adapting the book for the show? They also talk about the impact of Episode 7, "Goodbye My Damaged Home" and how it was the first one production returned to after COVID began, the resolution of Tyler's storyline and how it diverges from the book, and whether they'd be willing to return to the world of Station Eleven for a follow-up season.Ĭollider: The translation from book to screen, or taking anything that's a print medium and trying to translate it for a different format, can always be a little tricky. John Mandel's book, finding the right combination of drama and humor, and the visual identity of the series. In the extensive interview, which you can read below, they discuss the process of making a pandemic show during a pandemic, the biggest challenge of adapting St. The sprawling ensemble cast includes both Mackenzie Davis and Matilda Lawler as Kirsten Raymonde at different ages, as well as Himesh Patel as Jeevan Chaudhary, David Wilmot as Clark Thompson, Nabhaan Rizwan as Frank Chaudhary, Daniel Zovatto and Julian Obradors as Tyler Leander, Philippine Velge as Alex, Lori Petty as Sarah, Gael García Bernal as Arthur Leander, Danielle Deadwyler as Miranda Carroll, Caitlin FitzGerald as Elizabeth, and more.Īhead of the Station Eleven finale, Collider had the opportunity to speak with Somerville alongside Jessica Rhoades, both of whom serve as executive producers, about the HBO Max series.
Technology is mostly a relic of the past, but forms of art - including music and theater - have managed to thrive, and one Shakespearean acting troupe known as the Traveling Symphony ventures from town to town performing for their fellow survivors, but the rise of a cult could also present complications for the group. The series, which is created by Patrick Somerville ( The Leftovers, Maniac) alternates between past and present timelines to showcase both the pivotal hours leading up to the crisis, the immediate aftermath, and those who have adapted to the new circumstances of their world twenty years later. John Mandel, follows the lives of those who have survived a devastating event: a flu epidemic that directly contributes to the collapse of civilization as they know it. The HBO Max miniseries Station Eleven, adapted from the book by Emily St.
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