{"id":90237,"date":"2019-06-07T20:25:27","date_gmt":"2019-06-08T00:25:27","guid":{"rendered":"https:\/\/www.gayfriendschat.com\/socialblog\/tales-of-the-citys-alan-poul-on-the-new-freedom-to-depict-sex-in-a-casual-way\/"},"modified":"2019-06-07T20:25:27","modified_gmt":"2019-06-08T00:25:27","slug":"tales-of-the-citys-alan-poul-on-the-new-freedom-to-depict-sex-in-a-casual-way","status":"publish","type":"post","link":"https:\/\/www.gayfriendschat.com\/socialblog\/tales-of-the-citys-alan-poul-on-the-new-freedom-to-depict-sex-in-a-casual-way\/","title":{"rendered":"\u2018Tales of the City\u2019s\u2019 Alan Poul on the new freedom to depict \u201csex in a casual way\u201d"},"content":{"rendered":"

\u2018Tales of the City\u2019s\u2019 Alan Poul on the new freedom to depict \u201csex<\/a> in a casual way\u201d<\/b><\/p>\n

\"\"
Alan Poul with Olympia Dukakis<\/em><\/figcaption><\/figure>\n

The seven-time Emmy nominee Alan Poul is a fearless producer.<\/p>\n

Having worked on low budget films like Candyman<\/em> <\/a>through the 1980s and early 90s, Poul took on a job that would earn him distinction in the annals of television: producer of the landmark, if controversial, miniseries Tales of the City<\/em><\/a> in 1993. Since then, Poul has produced other acclaimed, groundbreaking shows such as My So-Called Life,<\/a> Six Feet Under, The Newsroom<\/em> and\u00a0Westworld.<\/em><\/p>\n

Poul also returned to produce the Tales of the City<\/em> sequels, More Tales of the City<\/em> and\u00a0Further Tales of the City<\/em>. He resumes those duties this month when the much-anticipated Netflix revival of Tales<\/em> lands on the streaming platform. The revival marks a full-circle reunion of original cast members Laura Linney, Olympia Dukakis, Barbara Garrick, and Paul Gross, as well as behind-the-scenes talents like Poul and series author Armistead Maupin<\/a>.<\/p>\n

<\/div>\n

Queerty<\/em> scored a few minutes with Poul ahead of the\u00a0Tales of the City<\/em> premiere to chat<\/a> about his career and his duty as keeper of the keys to Barbary Lane.<\/p>\n

So let the record show we don\u2019t really interview a lot of producers, but you\u2019ve overseen the whole\u00a0Tales\u00a0<\/em>franchise from the very start.<\/strong> Initially, how did Tales of the City<\/i> come to you?<\/strong><\/p>\n

It was in the early \u201990s. The short version: I was working, at the time, with a company called Propaganda Films, which is a seminal production company of the early 90s. We started in music videos<\/a> but branched out into narrative. They were a sister organization of Working Title [production company behind Fargo, No Country For Old Men\u00a0<\/em>and\u00a0Les Miserables<\/em>] in the UK, which is still around today<\/p>\n

Working Title had the rights to the book, and because it needed to be shot in the US, they\u2019d asked Propaganda to carry the ball. I was the main in-house producer for narrative. They came to me not knowing that I was a huge Armistead and Tales<\/i> fan, because what young gay<\/a> man<\/a> in the 90s wasn\u2019t? They said, \u201cHave you heard of this Tales of the City<\/i>? Would you be interested in producing?\u201d<\/p>\n

<\/div>\n

So I met with Armistead, Richard Kramer who wrote the original adaptation, and that\u2019s how it happened. It was really just great serendipity.<\/p>\n

Flash forward 25 or so years since the original series, and you are one of the original talents returning. How were you able to convince the cast and Netflix, as well as Armistead, to do a new one?<\/strong><\/p>\n

I\u2019d like to take full credit, but I can\u2019t. One of the great things that emerged from the original series for my life was my friendships with Armistead and Laura, which continue. So going back to Working Title, Andrew Stern who was running the TV department at the time, and who is one of our executive producers, discovered that Working Title still had the rights to the book. He\u2019d be a huge fan of the original series too. So he called me and said, \u201cWould you be interested in doing this again?\u201d And I immediately felt that the time was really right given where we are now as a culture, in terms of two different angles.<\/p>\n

<\/div>\n

Which were?<\/strong><\/p>\n

One is how we have changed and diversified with the passing of the generations: an entirely new iteration of queerness and sexual fluidity. And then the second being the state of our nation, and the world, where the all-embracing message of Armistead\u2019s world, I felt, this would be an ideal time to re-inject that into the public conversation. So I called Armistead, and he was aboard. And I called Laura, and she was immediately on board. We weren\u2019t sure how to go about doing a new chapter, it was revisiting an earlier chapter or a new one. Once we knew Laura was on board\u2014the one and only Mary Ann\u2014Mary Ann is middle aged. Laura is middle aged. Let\u2019s just do it today and move on into the future. So that\u2019s how the premise of the current iteration came together. After that, it was just a question of putting together the creative team.<\/p>\n

\"\"
Murray Bartlett and Laura Linney<\/em><\/figcaption><\/figure>\n

I talked to Lauren Morelli<\/a> already, who is remarkable.<\/strong><\/p>\n

<\/div>\n

The next big turning point was Lauren coming onto the project. She incredibly aware of and respectful of Armistead\u2019s world, his style, and the entire Tales<\/i> canon, but at the same time, being part of the younger generation who was determined to tell the new generation\u2019s stories with authenticity. So that was the key element in the creative team. We put together an all-queer writer\u2019s room that we made sure spanned several generations so we could honor the world from which these stories sprang, while also pushing them forward to address everything that\u2019s happening right now and present a generation of young characters that would be as revelatory and comforting to young queer people today as it was for me, an older gay<\/a> man<\/a>, to see myself on screen in the original Tales<\/i>.<\/p>\n

One thing I\u2019m curious about: Armistead wrote a whole series of books. Why did you decide to create all new storylines, rather than rely on those of the existing stories? Obviously, the new series takes seeds from the novels, but it relies more heavily on new stories, albeit with Armistead\u2019s input.<\/strong><\/p>\n

That was fairly early on. We wanted to springboard off of the later books but we had to create stories that were more immediate for the younger generation. I love the books\u2014but the focus of the final three books is really on the older characters settling into middle age or old age. There\u2019s a beautiful elegiac feeling to those books, but we needed to expand the world of the younger people, and make them as much of a focus as returning characters.<\/p>\n

<\/div>\n

Related:\u00a0WATCH: Queer San Franciscans talk about their own tales of the city<\/a><\/strong><\/p>\n

You know, episode eight was very personal for me.<\/p>\n

That\u2019s the big flashback episode?<\/strong><\/p>\n

<\/div>\n

Yeah, and I directed that. Having had the chance to work with Jen Richards and Daniela Vega<\/a> to create a world and a situation for what it was like for trans<\/a> women<\/a> in that era which has never<\/i> been shown was a great thrill. We broke ground there in a very original way.<\/p>\n

And Jen and Daniella are both very good in the episode. I believe this was the first time Daniela has taken an English language role\u2026<\/strong><\/p>\n

It\u2019s the first time she has acted in English, yes.<\/p>\n

\"\"
Jen Richards & Daniela Vega<\/em><\/figcaption><\/figure>\n

She\u2019s great. And that also speaks to the diversity equation.<\/strong><\/p>\n

Also\u2014and this was something Armistead was really, whole-heartedly on board with\u2014as well as making the show reflect the reality of present-day San Francisco with all its diversity. And that means diversity of ethnicity, and age, and specifically gender.<\/p>\n

And that was something\u2014I was at Outfest<\/a>, in the room when Armistead announced the new series. And somebody there immediately attacked him for ignoring diversity. And he immediately said, \u201cWe\u2019re addressing that.\u201d<\/strong><\/p>\n

I was there too. And even when the original Tales<\/i> was published he came into criticism. As far back as the 70s. So Armistead has been very eager to diversify the population of Barbary Lane as much as possible.<\/p>\n

PBS almost got shut down over the content of the original 1993 series. How did being associated with that affect your career? Did you encounter blowback?<\/strong><\/p>\n

No. But the controversy, and the extent that it got traction in the media was because of some very obnoxious noise making on the religious right, specifically Donald Wildman and the American Family Association<\/a>. The show was a gigantic rating hit for PBS. It set records for PBS original dramas. So there was no question that the controversy was all ginned up. It took us by surprise because we thought we were making a love letter to San Francisco. And by the way, it\u2019s also worth noting that the original series was made by Channel 4 in the UK, along with PBS. When it aired in the UK there was no controversy at all. It\u2019s very telling.<\/p>\n

That it is.<\/strong><\/p>\n

So there was no damage done to me, as anybody who was going to be in the position to collaborate with me or offer me future employment\u2014they appreciated and loved the series. Where we got caught in the political crosshairs was the fact that PBS uses public funds. It was at a time when the Republicans in Congress were gunning for the National Endowment of the Arts, with this mantra that public money shouldn\u2019t be spent on unwholesome art. There was some movement among some members of the House of Representatives about pulling back funding for the Corporation for Public Broadcasting. So because of that, there was a new head of the CPB who then backed down and reneged on the promise PBS had made to finance the second series. That\u2019s because of the noise the religious right made, and it took us three years to find a new home at Showtime. But that didn\u2019t hurt me personally.<\/p>\n

You have worked on some groundbreaking shows and films, particularly when it comes to depictions of queer life, and intelligent, independent women<\/a>. <\/strong><\/p>\n

My guiding motive is to make stories that I love. So I tend to love stories that have complicated and fallible characters. I\u2019m still very committed to telling queer stories, but at the time I started on Tales of the City<\/i>, there were a dearth of images\u2014certainly positive images\u2014where people my age could see images of themselves reflected in a non-judgmental and interesting way from the point of view of a character. In part, because I did Tales, <\/i>was in a position to do that. And I\u2019ve also been a part of shows that aren\u2019t very queer at all, like The Newsroom<\/i>.<\/p>\n

\"\"
Laura Linney & Barbara Garrick<\/em><\/figcaption><\/figure>\n

Sure.<\/strong><\/p>\n

It\u2019s so hard to make a show or a film. What people don\u2019t often recognize is that it takes just as much effort to make a bad<\/i> show as a good show. Either way, it\u2019s going to kill you\u2026<\/p>\n

[Laughter]<\/i><\/p>\n

So you better make sure it\u2019s something you really believe in.<\/p>\n

The beauty of streaming services like Netflix, HBO and Showtime is that they are not restricting images or depictions of sex<\/a>. I\u2019m curious: what is it in America that we can show ridiculous violence on network TV, but not sexuality?<\/strong><\/p>\n

I mean, I hesitate to use a broad brush, and I haven\u2019t worked on network shows for a couple<\/a> of years. But I think that\u2014because this isn\u2019t just television, this has always been a huge bone with the MPAA for movies as well\u2014you can chop off as many heads as you want but if you show a penis<\/a>, it\u2019s an R-rating. I think it comes from a certain prudishness in the American DNA. In addition, that kind of censorship doesn\u2019t happen in a vacuum. It happens because of response to public opinion, or in the case of networks, an anticipated response by advertisers who are trying to sell commodities to the public. So it\u2019s the segment of the American public most likely to get upset about sexual depiction. That segment of the public is much less concerned with depictions of violence. I\u2019m not going to extrapolate more from that, but I think you get what I\u2019m saying.<\/p>\n

Yeah.<\/strong><\/p>\n

So everything comes down to public opinion that affects what a network will want to show.<\/p>\n

Do you think that has something to do with the temptation for directors, executives, producers to film scenes to titillate the audience, rather than just show sex<\/a> in a frank way?<\/strong><\/p>\n

This is a big thing for me: I really believe in trying to depict sex<\/a> in a casual way. All of those things are part of our daily lives. But in terms of depiction, or what directors will be tempted to do, that\u2019s exactly the same for sex<\/a> and violence. Film is innately a sensational medium. From the time of the silent pictures pushing sensations is one thing that film has always done. So the natural tendency to sensationalize sex<\/a> and violence is as old as the medium.<\/p>\n

\"\"
Ellen Page and Paul Gross<\/em><\/figcaption><\/figure>\n

So with all of this\u2014all these reunions\u2014what was the most emotional moment you had when all this was happening?<\/strong><\/p>\n

The first big emotional trigger was walking onto the set. The set, of course, went up in stages, but there was a certain point where the facade was on the house and the gate was on the fence, and the path was there, and the stairs were on the side of the house. But there was a certain point where the gate was open and you could walk through the gate and see the house. That drove it home in a visceral, emotional way.<\/p>\n

You\u2019ve had a long, prestigious career. Orson Welles used to say that every artist should have that one work<\/i>, that when he dies and meets God for the first time, he can say \u201cI did this. Let me in.\u201d For you, is that the Tales of the City<\/i> series?<\/strong><\/p>\n

Oh boy<\/a>\u2026<\/p>\n

[Laughter]<\/p>\n

Is that too big a question?<\/strong><\/p>\n

That\u2019s a really hard question. I\u2019m not a big St. Peter at the gate guy<\/a>.<\/p>\n

Fair enough.<\/strong><\/p>\n

But in terms of what you\u2019re driving at\u2014it\u2019s the issue of legacy. Then yes, I think more than anything, Tales <\/i>is my legacy. Particularly, the opportunity to come back 25 years later, and pick up something that you buried 25 years before, is just something that doesn\u2019t happen in a lifetime. It doesn\u2019t happen. You can\u2019t make it happen. But in this case, it happened, and I feel incredibly blessed by that. That gives it a significance that overshadows anything else.<\/p>\n

Any chance for more?<\/strong><\/p>\n

We\u2019re all very committed to this as a limited series. But if there is demand, there\u2019s always a way to figure it out. But right now we\u2019re just at a place where we\u2019re really satisfied that we made this happen.<\/p>\n

Tales of the City streams on Netflix June 7.<\/em><\/p>\n<\/p>\n

\n<\/a> <\/a>\n<\/div>\n

\nwww.queerty.com\/tales-citys-alan-poul-new-freedom-depict-sex-casual-way-20190607?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+queerty2+%28Queerty%29<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u2018Tales of the City\u2019s\u2019 Alan Poul on the new freedom to depict \u201csex<\/a> in a casual way\u201d Alan Poul with Olympia Dukakis The seven-time Emmy nominee Alan Poul is a fearless producer. Having worked on low budget films like Candyman through the 1980s and early 90s, Poul took on a job that would earn him … Continue reading \u2018Tales of the City\u2019s\u2019 Alan Poul on the new freedom to depict \u201csex in a casual way\u201d<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":2466,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-90237","post","type-post","status-publish","format-standard","hentry","category-misc"],"yoast_head":"\n\u2018Tales of the City\u2019s\u2019 Alan Poul on the new freedom to depict \u201csex in a casual way\u201d - GAYFRIENDSCHAT.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.gayfriendschat.com\/socialblog\/tales-of-the-citys-alan-poul-on-the-new-freedom-to-depict-sex-in-a-casual-way\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Tales of the City\u2019s\u2019 Alan Poul on the new freedom to depict \u201csex in a casual way\u201d - GAYFRIENDSCHAT.com\" \/>\n<meta property=\"og:description\" content=\"\u2018Tales of the City\u2019s\u2019 Alan Poul on the new freedom to depict \u201csex in a casual way\u201d Alan Poul with Olympia Dukakis The seven-time Emmy nominee Alan Poul is a fearless producer. 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