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Interview with Chris Morgan, Scott
Rosenbaum, and Allen Hughes of "Gang Related" on
I had a hard time coming up with a good question for this
because I really don't like the show (it's way too violent
for me)...but read and you'll see what I asked, and what
they answered (they did a good job).
FBC PUBLICITY: Gang Related Conference Call
May 9, 2014/12:00 p.m. PDT
Michael Roach Ė Director, FBC Publicity
Chris Morgan Ė Creator and Executive Producer, Gang Related
Scott Rosenbaum Ė Executive Producer and Show Runner, Gang
Allen Hughes Ė Executive Producer and Director, Gang Related
Moderator: Ladies and gentlemen, thank you for standing by,
and welcome to the Gang Related call. As a reminder, there
conference is being recorded. I would now like to turn the
conference over to your Michael Roach for opening remarks.
Please go ahead.
Michael: Thanks, everyone, for joining us today on this
conference call on behalf of the new Fox drama, Gang
Related, from the writers of Fast and Furious and The
Shield, and the producer of 24. And as a reminder, this
series premieres Thursday, May 22nd at 9/8 central on Fox.
On the line with us today are Gang Related Creator and
Executive Producer Chris Morgan, Executive Producer and Show
Runner Scott Rosenbaum, and soon, weíll have Executive
Producer and Director Allen Hughes in a second, but we
should begin the call. Thanks, Marla.
Moderator: We do have a question from Jamie Ruby with SciFi
Vision. Your line is open.
Jamie: Hi, guys. Thanks for doing the call today. Can you
both talk about how you got started working on the show. And
then, Chris, how you came up with the idea and everything.
Chris: This is Chris. Iím happy to jump in on where the idea
came from and then, Scott, if you want to follow up about
the show, but basically I had seen Ė Iíll give you the very
short version Ė I saw a police video one time of a man Ė
they were responding to a man with a gun call, and the
police show up. It was a dash cam video and the guy with the
gun actually has an AK-47 and he begins to engage the
police, and additional police cars show up and they canít
touch this guy. The reason why is, breaking down the video
later, they realize this guy was a gang member and on top of
it, he was sent into the military to become a better soldier
to come back and fight on the streets.
Seeing that just made me think, wow, if the gangs have
become so sophisticated that they are actually now dividing
and making a hierarchy and specializing in certain things,
what else would they be into. That just started getting the
ball rolling on, well, what if there was a gang task force
and the guy whoís leading it is, unbeknown to the police, is
actually a member of the gang working to inform for them.
Thatís the genesis of where that came from.
Scott: I guess Iíll just jump in. Itís Scott. Chris had
written the pilot and it got picked up, and they were
looking for a show runner to work with Chris and so I got a
phone call from the studio, saying that they had the script
that they loved and have been picked up and gave me sort of
a description of it and said, would you read it and see if
it would be something youíd be interested in. Thatís how I
got introduced to the show when I read the script and I
really thought it was an amazing pilot script.
Oftentimes, I donít really Ė a pilot script is where the
series can go. So not only was it a great pilot script, but
I thought that the conflicts in the world that have been set
up in the pilot were ones that were really uniquely
interesting to me, specifically the Acosta family and the
desire to get out, and, obviously, Ryanís strong bonds with
this family who, as an orphan, brought him up and then
suddenly heís working for the police and sort of how his
moral compass us is being developed and maneuvered and what
thatís doing to him professionally and personally. I met
with Chris and we talked about a lot about the show. He,
actually, was a fan of The Shield, so we had a lot stuff
about that show that we could talk about and then that sort
of, we decided we would work together on it. Thatís how I
Jamie: Great. Thank you so much, both of you.
Chris: Thank you.
Moderator: And next, weíll go to the line of Suzanne Lanoue
with TV Megasite. Please go ahead. Please go ahead.
Suzanne: Hi. Good morning.
Chris: Hi, Suzanne.
Suzanne: Hi. Chris, I was wondering you have a show like
this that has a lot of violence of all different sorts, how
do you figure out where to draw the line where it becomes
too much for the audience?
Chris: Great question. Itís very interesting. I think my job
isnít so much, and frankly all of our jobs on this, isnít
exactly where to draw the line because there is a very
healthy S&P, standards and practices, that will draw that
line for you. Our job is to push it to the point where,
especially with a show like this, because I think the level
of the moral questions involved have to be a little bit
darker and a little bit deeper and the violence involved has
to hit home a little bit harder to underscore Ryanís dilemma
and just whatís at stake.
Our job is to push it and wait until we get a little bit of
pushback. I think we have generally an idea of what we can
do for network TV, but the goal really for this show is to
bring a cable, darker, little bit more edgy feel and kind of
to push the boundaries of network television a little bit.
Suzanne: Great. When a show comes this late in the season, I
guess they call it a mid-season show, itís kind of late, do
you think there are more or fewer expectations in terms of
whether Fox is going to pick it up for more episodes?
Chris: My gut on that is, I think the landscape of TV is
changing, particularly at Fox. Iím most concerned about the
time of it, especially nowadays, since we live in a world of
Ė ití s not as much appointment television as it is to set
your DVR to be able to watch when you like. I think whether
you get picked up, or whether you donít has less to do with
the time of year and more to do with the content, so all I
can do is control the contents, and I think we have a great,
kind of edge of your seat, like twisty, turny show with some
really good character moments and character changes. So I
would rather play all off offensive on story, and the fact
of the matter is, we have excellent direction and excellent
actors. The stories are incredible. We are just going to
swing for the fences and hope the audience responds.
Suzanne: Thank you.
Chris: Thank you.
Moderator: Next weíll go to the line of David Martindale with
Fort Worth Star-Telegram. Please go ahead.
David: Thank you. I saw the pilot. I enjoyed it. Is it barely
possible Ė my dog, Iím sorry.
Chris: What kind of dog is that, by the way?
Scott: I have two dogs, too. What kind of dog is it?
David: Itís a little Chihuahua and he is my office buddy.
Chris: I have a 19-year-old Chihuahua, just so you know.
David: Good for you. They last forever. I had a 17-year-old.
We lost him recently.
Chris: Iím sorry to hear that.
David: After 17 years, thereís a little love in there.
Chris: Pretty good.
David: Anyway, sheís through with her question Ė is it barely
possible that any of the main actors on the show have been
in this kind of gang world, or even near it, and maybe got
out somehow that maybe somebody in the cast might have a
level of expertise and experience beyond just doing a
ride-along and that kind of level of research?
Chris: We actually have several. Emilio Rivera, who plays our
Tio Gordo character, he was involved in his youth, and he
brings the very real credibility and honesty to the role and
to the world. He is a great resource to us. Heíll always
step up and say, ďThis doesnít sound like someone would say
it. I donít think someone would do this kind of move,Ē so
heís someone we really used and treasure for that.
Frankly, Jay Hernandez grew up in that neighborhood, and he
has siblings who would go a different path than him, so I
think all of them, in their way, and, frankly, Ramon has
friends Ė all of them brought a familiarity from the world
that they grew up in. I think thatís what also resonates
about the show, by the way, is the fact that we really do
try to get into why gangs exist and why you would join a
gang. Thereís all the negative, too, which is the violence
and all that as well, but, also, if you look at the history
of gangs, the truth of the matter is Ė typically gangs
started when people would come over. They were
disenfranchised. They couldnít get a legitimate start. They
would bond together in these clicks, and, frankly, the only
way you could feed your kid was to Ė sometimes it was
violence and sometimes it was other things.
But the truth of the matter is, when those groups were
together, they were family. And so what we want to do is
present this world where not only is it the negative and the
dark side, which is completely true, but also why would our
lead, who is Ė when you pick up our lead in this show, weíre
picking him up at a very specific time in his life which is
his entire life heís been raised by this gang. Theyíve acted
as a family to him. Itís the only family heís ever known. He
loves the people involved there, even though they do bad
things. But now heís a cop as well, and when we pick him up
in the pilot, an event occurs and now heís torn for the
first time in his life. He likes being a cop. He likes being
someone who goes out and does good things in the world, but
he also loves his family and wants to take care of them as
well, so thatís really what this show is is kind of are you
who you have been your whole life or are you who you want to
Frankly, the truth of the matter is, we really want to get
under the skin of everybody and really exploit the fact that
in every hero, thereís a darkness. And in every villain,
there is something heroic as well. People are less than just
black and white. They are grey and they are messy. Thatís
kind of the gauntlet we want to run all our characters
David: Cool. Thank you very much.
Chris: Thank you.
Moderator: Next weíll go to the line of Sabienna Bowman with
TV Equal. Your line is open.
Sabienna: Hi, guys. My question was for Chris. I was
wondering Ė you wrote several of the Fast and Furious movies
and they have this kind of gritty edge but theyíre also
really fun, too. Can we expect a similar tone from Gang
Chris: Definitely. I think Ė what I love about Fast more than
anything, besides the action and the cars, it really is how
these characters bond. Whether theyíre good guys or bad
guys, they have a code and thereís a brotherhood to
everybody. I think just a natural part of that is guys
busting on each other and women busting on each other. Itís
how this group fits together and works like a family. Itís
siblings that fight and I think thatís where a lot of the
fun that the Fast franchise comes from.
Thatís exactly what weíll be doing with our cast on this.
The cops have their own Ė
Allen: Iím sorry. [Indiscernible] They just dropped me in. Go
ahead. Iím sorry.
Chris: Oh, no problem. The cops will certainly have their fun
and the gang side will have their own version of that as
well, but, frankly, these are characters youíre going to
want to spend time with. That means you have to have moments
of levity and fun. Anything you want to add to that, Scott?
Scott: No. I think you covered it really well. Itís great.
Allen: Hey, Scott. Hey, Chris.
Chris: Hi Allen, my man. How are you my man?
Allen: Iím good. I just had to poach myself but Iím good now.
Allen: Iím sorry about the tardiness.
Chris: No worries. The amazing Allen Hughes has joined the
Allen: Who are we on with?
Michael: Well, I think we can move onto another question,
Marla. Letís go ahead, Marla.
Moderator: We do have a question from the line of Monica
Gleberman with Cable TV. Your line is open.
Monica: Hi, guys. How are you?
Chris: Great. Thanks.
Monica: Thanks so much for taking time out to speak with us
today. Iím kind of curious Ė I saw the pilot episode and I
was kind of curious Ė I know you that guys discussed it a
little bit, but where the idea came from and how you can
piece together and what fans can expect for the rest of the
season as the rest of the episodes start airing Ė like where
youíre going to go from there because it seems like thereís
so many open-ending angles just within the pilot episode.
Scott: Chris, do you want to answer that to start with where
the idea came from?
Chris: No, you jump in.
Scott: Well, do you want to answer the part about where the
idea came from?
Chris: You heard that answer but itís basically the idea Ė I
donít want to cover old ground for you, but basically the
idea came from a police dash cam video and Ė I mean, I guess
Iíll just run through it really quick.
Basically it came from a police dash cam video of police
officers responding to a man with a gun call. So the cops
show up and theyíre confronted by a guy with an AK-47, and
the cops, as good as they are and even though they vastly
outnumbered him, they could not get in to stop this guy. And
when they reviewed the video later, this guy ended up Ė they
looked and he was using a military technique called slicing
the pie, which is he barely exposes himself and he opens a
wider field of fire and he becomes a really hard target.
What they deduced from that was this was gang member who was
sent by his gang into the military to become a real fighter
for the street Ė an enforcer.
That made me start thinking if theyíre sending people into
the military, where else would gangs be sending people. The
world has changed, and they are becoming very sophisticated
organizations Ė what else are they sending people into. The
idea was that Los Angeles has a gang task force. What if the
guy who is one of the super stars in the task force,
unbeknownst to his teammates, is actually a gang member who
is informing for his gang?
When we pick him up, heís at this moment in his life where
heís conflicted for the first time about what heís doing.
Just speaking to the world and all that Ė can I just tell
you what I love about the show? I think thereís a great,
large world here. In fact, our show does something that no
other show Iíve seen, or at least that I can think of right
now, does. We have one episode coming up in mid-season where
we have four huge dramatic scenes Ė very long dramatic
sequences between characters, back, to back, to back, to
back. The first one is in English. The second one is in
Spanish. The third oneís in Korean and the fourth oneís in
Russian. Our world is being able to take Los Angeles, and I
think Allen did an incredible job with this, like showing
L.A. as people who live here know it and all these
communities that are certain sections of town that we now
get to go into and get separate avenues of story from that
no other TV show is able to do. On some level, that reminds
me a lot of one of my very favorite shows, which is Game
with Thrones. You have these different kingdoms that have
different rules and different leaders, and our guys are the
one group that have to travel between it to understand those
rules. And each kingdom has its own goals but the turf is
limited. Itís called Los Angeles.
So I think there are Ė and not only that, not only do you
have the element of the police, but the fact of the matter
is, you have our personal stories with each of these task
force members, as well as the gang members, and when we get
to start getting it and showing how they came up where they
came from, each of our characters has a dark secret,
something shocking that we get to reveal over the course of
the season, thatís where you get to really expand the story
and get that delicious dark, cabley, fun story telling.
Allen: I want to see that show.
Monica: Just to elaborate, when I was watching the first
episode, every second of it, I go, oh, all right, so heís
totally on this side. And then Iím like, oh wait, maybe not.
Oh wait, whatís going on. And you guys did this great job of
bouncing out between like what was going to happen and what
you thought was going to happen didnít happen. There were so
many twists and turns in it. Is that whatís going to
continue throughout the season? Was that difficult to try to
come up with ideas to keep that going where you never really
know what to expect as the episodes go on?
Chris: Thatís exactly the goal.
Monica: My mind was blown by the end of the pilot. I feel
like I went up and down the entire time. I had no idea Ė
like so many things as they were happening. So Iím like how
are they going to do this all season.
Allen: I could comment on that because that one is a trip for
me. This is Allen talking. And Scott and Chris, whatís up
Chris: How are you doing, man?
Allen: The script, obviously, was just already amazing and
the team was amazing. Scott was amazing. We all were on set
as well as Francie Calfo from Imagine Entertainment, and I
found what was most difficult, and I never had this
challenge in my career was Ramonís job of doing what you
just said Ė itís on the page. But just because itís on the
page Ė how do you play that?
Allen: He has to do several things. He has to be this way
with his family and this way with this family, and heís got
to be revealing to the audience something within that, too.
So thereís several layers for an actor where heís constantly
got to be appearing or disappearing or reappearing Ė heís an
allusion at all times. And for an actor, for Ramon, I
remember, it took all of our eyes Ė and it was on the page.
It was written on the page, but once you get three
dimensions Ė itís really flesh. Youíre dealing with real
people and talent and youíre shooting. I think Ramon did a
remarkable job. Thereís a beauty and an edge and a pain in
him innately, anyway, and an intellect thatís profound. I
think that even with all his gifts, it took us all to watch
every Michael moment to make sure that what youíre talking
about was pulled off, and that was the most difficult
challenge I thought.
Scott: You bring up a really good point, Allen, which is Ė
weíve said it to Ramon a lot, which is he has the most
difficult acting job if you really drill down on it.
Because, youíre absolutely right Ė in every scene heís only
revealing to the audience what heís really feeling, but
everybody else thereís a veneer thatís on top of it that he
has to deliver. Itís really, really difficult. I think you
did an excellent job getting him Ė helping him out with it.
That was awesome.
Allen: Iím not a smoke-blower Ė but it took us all, and so to
your questions, itís like it took a village to pull that
off. From the season and with the guys who went on with
Ramon, and I heard stories Ė you donít see this on
television. You donít see that on television, not even on
Monica: Thatís like [indiscernible]. Iím sure there are other
people with questions, but just, Allen, I know that you
directed the pilot episode, and, to me, when I first watched
it Ė I remember hearing about it. You know, you read about
it and youíre like, all right, letís see. The way it was
filmed was like amazing. I was like this guy has to be a
filmmaker because it was very cinematic and I felt like I
was watching a movie. It was like, oh my God, whatís next as
it was going on. I remember looking you up and researching
and seeing all the stuff and that you have a filmmaking
background. So how did that influence you for putting it on
a smaller screen? Does it make a difference or is it the
Allen: Thereís no sense in doing it if weíre not doing
cinema. Scott made that clear. Chris made that clear to me
when they hired me. They said weíre not trying to make any
regular television show. One, we want to do something
different. We want to elevate it. We want it to be
cinematic, and we want it to have Ė be visceral, have
energy, have a sound on the field. These are mandates before
I even came on to the project.
To tell you the truth, Iíve done several features, and Iíve
never been auditioned and had more meetings to get a job
[indiscernible]. They were very clear about what they were
looking for and that made it easy for me because Iím just a
cinema guy and you guys want me to do cinema on television,
oh, thatís just 1-2-3, letís do it.
Monica: Okay, great.
Allen: But there are lenses. There are special lenses and I
wonder why Ė when I say lenses for the laymen Ė just like
literally lenses that you put on the camera and you go, why
donít they use these lenses in television. These are the
same lenses that Tony Scott shoots with. These are the same
lenses that David Fincher shoots with. These are the same
lenses that David Lean shot with, and they just donít shoot
television with those lenses.
Now in series, Iíve seen a lot of stuff Ė there are far more
talented shooters on the show in the following 12 episodes
who are what we would call shooters and they come up with
better shots. Theyíre just far more gifted to me in that
Scott: What are you talking about? Youíre being very humble.
Allen: Iíve seen it. Mineís a little more elementary and itís
an old-school just analogue of old-school lenses.
Monica: I disagree with that, by the way. The pilot episode
kind of sets Ė I mean, I havenít seen the next episode,
obviously, yet, but it kind of sets the tone, so I disagree
with you, but go ahead.
Allen: Iíll let you win that one. Itís that elementary, I
Monica: Well, I just want to tell you guys thank you Ė I
donít want to hog it up if other people have questions, but
thank you guys and I think you have an amazing show that
fans are going to be super excited about because I was
excited when I watched the pilot, so congratulations.
Moderator: There are no questions in queue. Please continue.
Michael: Thank you very much. Thanks, everyone, for joining
us today on this call. As a reminder, Gang Related premiers
Thursday, May 22nd at 9/8 central on Fox and thank you guys
for taking the time out today to do this call.
Chris: Thank you, guys.
Scott: Thanks, everyone.
Allen: Thank you so much.
Moderator: That does conclude our conference for today. Thank
you for your participation and for using AT&T Executive
Teleconference. You may now disconnect.
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