I have discussed withfriends what the title,
Anyone But Me
,means to each of us, but what doesthe series title,
Anyone But Me
, mean to you?
To me, it’s “I can’t be anyonebut me.” All these people are whothey are and they can’t be anyone elsebut who they are. Even though Iwas the one who came upwith the title, Susan(Miller, the show’s otherproducer and writer) cameup with a good one - aboutit being both aboutinclusion and exclusion. Ithought that was a good wayto look at it too.
You’recredited with titles of producer, writer, director and editor.Of these, what was your ﬁrst love andwhich is your true love?
Directing and directing. Iwanted to be a director since I was a young kid and I really got into writing because I needed something to direct. Although Ireally do enjoy writing, Ithink I’m probably more a director atheart,but because I haven’t been ableto direct asmuch stuff as I would like.I think in terms of craft developmentI’m furtheralong as a writer.The show’sbeen great in that respectbecause I’vegotten to work (direct) somuch, but I’ve still written so muchmorethan I’ve directed. I’m hoping that I’ll start directing more stuff than I’ve written at some point.
When you aredirecting a scene such as that look between Vivian and Sophie - asVivian looked down from her newbedroom window in Season 1 - thatsaid everything ten minutes of exposition probably couldn’t - do youhave a feeling when this happens that just says “yes, that’s it” Or is it reallyin the editing process?
Sometimes it’s a bit of both.Sometimes you can see it when ithappens on set. Andthensometimes you do a couple of takes and you’re like, “well, I think Igot it.” And then you go look at it inedit and you look at it in post and you’re like, “oh yeah, totally got it.”
Why did you decideto reach out to Susan Miller as acreative partner?
I’ve always done ﬁlm butsomeone mentioned to me aboutdoing a web series. I had never reallythought about doing television, evenas a director. There’s been a couple of shows, like
Buffy the Vampire Slayer
, thatchanged my mind because I saw thatshow and was amazed. I thought,“wow, you can really make incredibletelevision.” But I didn’t reallyhave any background in it orany experience in doing anything episodic. When I had the episodeswritten out, I realized Ineeded kind of a veteran -somebody that knew abouthow to make a series and make itwork, to help out, because it was verynew to me.I said I might as well ﬁnd someonewho does have the experience andwho understands the gay and lesbiankind of themes and who isn’t afraidof them because it was such a big part of the show.I looked around on IMDB for peopleand I saw Susan and that she hadwritten for the L-Word andthirtysomething. Luckily, she also hadher email there, which isn’t usual.Most people are really hard to get intouch with.I emailed her and told her that I wasreally looking for more of asupervising producer to just guide mehere and there on certain things. We sat down and had a meeting andshe said she was interested but thatshe wanted to be something more -that she wanted to write for the series.I was over the moon and was like,wow, that’s ﬁne with me. Sign her up.So, it went from there and we did asubstantial re-write of the tenepisodes that I already had. She didwhat I had wanted her to do - to say you need to do this, that, and theother to make this better. So that wasgreat. And then we went on fromthere.
“...I realized I needed kind of aveteran - somebody that knewabout how to make a series andmake it work, to help out, becauseit was very new to me.” - Tina Cesa Ward, on reaching
outto playwright, Susan Miller
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