The writer, creator and star explains the thinking behind his beautifully bizarre new TV show—and why it’s the 40-year-old’s equivalent of a full-frontal nude scene
This is exactly the space that the show’s 40-year-old creator wants you, the viewer, to be in: confused, curious, and more than a little off-balance. Segel wants you to have no idea what’s going to happen next, whether it’s the sudden appearance of a Sasquatch ready to bust a move, or a painting that starts talking back to a gallery worker, or a-style cartoon that details a possible hate crime in progress.
A friend of mine once said, “Art is an act of self-exploration that you do in front of an audience.” And something like Fis that exact thing for, y’know a 24-year-old. It was as sophisticated as I was capable of being at that age. You know: “Break-ups hurt.” [] I wanted to be as literal as possible in terms of baring it all, so I figured I’d do full-frontal nudity as well. Luckily, it turned out great.
Yeah, but I kept butting up against a few things. One was the missing girl — that’s fictional, and if you put all your chips on that as a narrative, you’re going to end with a whimper. You see it in the documentary as well. But it’s not about the story the Institute has set up as the backbone for what they’re doing, it’s aboutis participating in the thing itself.
The other thing was that I kept wondering why you’d turn a three-dimensional living work of art — which is what these people in the Bay Area created — into something two-dimensional. That was an interactive experience. A movie is something you watch. I was never sure how to get past that. But the moment I hit upon using the TV model to tell the story, I felt like I’d overcome that a bit.Well, there will be ways that someone can interact with the show which…reveal themselves a bit more later on.
You know what it is? It’s influenced by a number of directors who, when I watched their work, I thought, “Oh, I didn’t realize you were allowed to do that.” Do you know what I mean? This collection of people who weren’t necessarily working with a sense of strategy or a need to stay inside the lines. That was something I wanted to get back to.and I go, here’s a 24-year-old guy that ended a studio-sponsored romantic comedy with a lavish puppet musical about Dracula.
I can remember writing it and thinking, “I know what a romantic comedy is, and I know what usually happens. Everyone does. No one is expecting this to open with the male star being completely nude, standing there, totally vulnerable. As an audience member, you’re immediate response is probably: I don’t know what the fuck is going to happen in this movie now.
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