A wide range of filmmakers gathered on the Universal lot on May 22 for IndieWire and USG University’s “Consider This” panel, an FYC event designed to showcase the art of storytelling on television from a variety of perspectives.
“A Man on the Inside” editor Sue Federman, “Fight Night: The Million Dollar Heist” writer/executive producer Shaye Ogbonna, and “Hacks” makeup department head Debra Schrey and hair department head Aubrey Marie joined “The Umbrella Academy” visual effects supervisor Everett Burrell and “The Four Seasons” art director Mailara Santana on stage to take a deep dive into their process. They spoke in front of an audience comprised of TV Academy and guild members as well as film students from Roybal Film and Television Magnet.
After beginning the conversation with a discussion of how they got their start in the business, the panel quickly moved to the topic of their role as cinematic storytellers. Ogbonna, who created “Fight Night,” said that the key to getting the most out of his collaborators was recognizing them as artists and utilizing their specific talents. “I was trained at AFI and [learned] from day one that everybody’s a storyteller,” Ogbonna said. “ Some of the best ideas you might get from an editor, you might get from a DP, you might get from a prop master.”
When it came time for Ogbonna to take charge of his first series as showrunner, he took that sensibility with him. “When it was time to hire all those people, I always saw them as partners in the story,” he said. “It’s, look, here’s what’s on the page, here are the parameters, but let’s have fun.” Ogbonna wanted to give his wardrobe, makeup, and hair departments the freedom and inspiration to recreate the early 1970s era in which the show takes place. “We’re talking about very specific cultural touchstones in a certain time. It was important that we got it right.”
On “The Four Seasons,” it was imperative that the art direction reveal something about character and give the actors tools to work with. In creating the rundown Puerto Rican resort where the vacationing middle-aged friends (played by the likes of Tina Fey and Will Forte) at the center of the series stay, Santana zeroed in on aspects that would make them uncomfortable. “The characters were not into going down and dirty,” Santana said. “They wanted to go to a nice hotel as usual. [Showrunner] Tina Fey was very explicit about not wanting it to be pristine.”
To that end, Santana worked on making the resort seem old and uncomfortable while contrasting it with a nicer resort close by that most of the characters wish they were staying at. “We had to do a lot of aging,” she said. “Once the actors got there, it was exactly what they were hoping for, because it helped them get in tune with their characters. It helps them feel like, ‘I don’t have to force it. I see it. It’s just my environment. This is not necessarily where I want to be.’”
Like “The Four Seasons,” “Hacks” is a character-driven comedy in which filmmaking craft goes a long way toward letting the audience know who these people are and what stage they’re at in their lives. “ I need to think about, ‘Does this person know how to do their hair?’” Marie said. “Do they spend any time on it? If you look at somebody and their hair is perfectly blown out, that tells you something different than if their hair is just air dried or dirty or in a ponytail.”
In the case of Ava, the young writer whose career has taken a big jump in the most recent season, Marie wanted to give a sense of the character’s elevated position. “She’s gotten this new job, she has new responsibility, new money, and she’s trying to put herself together,” Marie said. In previous seasons, Ava straightened her hair, but the back wouldn’t be done because she couldn’t see it; now she’s more polished, but as Marie noted, “She’s still a little misguided.”
That misguided quality extends to a hilarious episode in which Ava tries to give herself a makeover to impress an old flame who is coming on her show. She doesn’t quite pull it off. “That was really fun,” Schrey said. “Tragic and awkward and fun. She never wears makeup, so this was a big deal, and we got to have fun with her. We called it the Sephora look.”
Like “Hacks,” “A Man on the Inside” is a comedy series that goes to rather dramatic places; while the tone is generally quite sprightly as widower Ted Danson finds a new lease on life by becoming an undercover detective, there are also moments of genuine poignancy depicting his overwhelming sense of loss. “That’s the fun for me, to try to embrace the comedy but also the grief,” Federman said, noting that the opening of the series, in which the slow pace of Danson’s life is clearly established, was one of the biggest challenges.
”That was very tricky and it was a big swing, because if you start slow, the network is very scared,” Federman said. “They don’t want anybody turning it off in the first five minutes. But Jim Hemphill Mike [Schur] was just adamant, ‘This is this guy’s character,’ and we have to set it up because if you’re invested in this, then everything else will follow. It started much longer. My first cut of the first episode was 43 minutes, and we ended up at 27 minutes.”
Like Federman, Burrell feels that he’s responsible for helping to maintain a show’s tone through his work. “ There are a lot of in-depth talks about how to serve the story from a variety of angles,” Burrell said. “One of them is color, which is a really big deal on ‘The Umbrella Academy.’ We had a lot of discussions about palettes and tone. Part of my job is helping the new directors who come on board understand the tone from other seasons.”
Burrell said that the key to getting everyone on the same page is being a part of the process from beginning to end. “Being involved early on during prep and getting scripts early is a big deal,” he said. “If you don’t get the script, you don’t understand what the story is.”
IndieWire partnered with Universal Studio Group for USG University, a series of virtual panels celebrating the best in television art from the 2024-2025 TV season across NBC Universal’s portfolio of shows. USG University (a Universal Studio Group program) is presented in partnership with Roybal Film & TV Magnet and IndieWire’s Future of Filmmaking. Catch up on the latest USG University videos here.
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