The first season of the True Detective , the American anthology television drama series created by Nic Pizzolatto, aired on January 12, 2014, on HBO's premium cable network. The main cast consists of Matthew McConaughey, Woody Harrelson, Michelle Monaghan, Michael Potts, and Tory Kittles. This season consists of eight episodes, and initial views are concluded on March 9, 2014. As an anthology, each season True Detective has its own story, following a series of different characters in various settings.
Built as a nonlinear narrative, the first season focuses on detectives of Louisiana State Police murder Rustin "Rust" Cohle (McConaughey) and Martin "Marty" Hart (Harrelson), who investigated the murder of prostitute Dora Lange in 1995. Seventeen years later, they should review re-investigation, along with some other unsolved crimes. During this time, Hart's disloyalty threatened her marriage with Maggie (Monaghan), and Cohle struggled to overcome her troubled past. True Detective 's first season explores the themes of philosophical pessimism, masculinity, and Christianity; critics have analyzed the portrayal of women events, auteuric sensibilities, and the effects of comics and strange horror fiction on his narratives.
Pizzolatto initially contained True Detective as a novel, but felt it was more suitable for television. The episode, directed by Cary Joji Fukunaga, was filmed in Louisiana for a period of three months. The series received positive reviews from critics and was cited as one of the strongest dramas of the 2014 television season. It is a candidate for numerous television awards, including a Primetime Emmy Award nomination for Extraordinary Drama Series and a Golden Globe Award for Best Miniseries or Television Movies, and won several other awards for writing, cinematography, direction, and acting.
Video True Detective (season 1)
Episode
Maps True Detective (season 1)
Cast
Starring
- Matthew McConaughey as Detective Rustin "Rust" Cohle
- Woody Harrelson as Detective Martin "Marty" Hart
- Michelle Monaghan as Maggie Hart
- Michael Potts as Detective Maynard Gilbough
- Tory Kittles as Detective Thomas Papania
Recurring cast
Production
Conception
Prior to making True Detective , Nic Pizzolatto taught at the University of North Carolina at Chapel Hill, DePauw University, and the University of Chicago. Inspired by the HBO series The Wire The Sopranos , and Deadwood , he started working on a collection of short stories that he later published as Between here and the Yellow Sea in 2006. He published a novel, Galveston , in 2010, and started trying to write for television. Previous attempts on television writing were unsuccessful due to lack of money. Pizzolatto's first major appearance in television writing came in 2011, as a screenwriter for the AMC series The Killing . He praised the show by giving him a glimpse of how it works in the television industry. Pizzolatto was increasingly dissatisfied with the series creative direction, and left two weeks into a staff writing session for his second season.
The True Detective is meant to be a novel, but once the project takes its exact shape, Pizzolatto thinks that the change of narrative in time and perspective makes it more suitable for television. He installed the Galveston adaptation, and from May to July 2010 he developed six scenarios, including an initial draft of 90 pages from the pilot True Detective script. Pizzolatto got a development agreement with HBO for a series of potential trials shortly after. He wrote the second True Detective script immediately after his departure from The Killing thanks to the support of the production company and Anonymous Content manager, which ultimately resulted in and developed an in-house project. In April 2012, after a hot offering period, HBO commissioned eight episodes of True Detective . Pizzolatto does not hire writing staff because he believes the collaborative approach will not work with his isolated novelist process, and that the group will not achieve the results it wants. After working alone for about three months, the final copy of the project script is 500 pages.
Casting and crew
Since this series is an anthology, each season has a stand-alone narrative, following a series of different characters in various settings. Pizzolatto began to ponder the leading role when he launched the series into the network in early 2012. True Detective anthology format only requires actors to commit to one season, so Pizzolatto is able to attract movie stars usually avoid the television series because of busy. Woody Harrelson and Matthew McConaughey are among the actors who played Pizzolatto for star billing. McConaughey, who just finished filming Killer Joe (2011), contracted well before HBO commissioned this season. Impressed by his performance at The Lincoln Lawyer (2011), Pizzolatto initially commissioned him to play Hart, but McConaughey convinced him to give him a part of Cohle. When asked in a Variety interview about his decision to change parts, the actor replied, "I want to get inside the man's head Obsession, the island of a man - I am always looking for a man who is a monologue. which is very important because I feel I will work better. "To prepare for his role, McConaughey made a 450 page analysis -" Four Stages of Rustin Cohle "- to study the evolution of his character during the season.
Harrelson is the next important casting choice of the season, brought to play Hart at the request of McConaughey. Harrelson stated that he joined the True Detective partly because he wanted to work with certain people involved in the project, with whom he previously collaborated in the 2012 HBO Game Change movie. Michelle Monaghan agreed to play the lead role of this season's lady, Maggie, because she felt pushed by the direction of the storyline and her character. Michael Potts and Tory Kittles complete the lead role, each playing detective Maynard Gilbough and Thomas Papania. Major support roles in the first season include Kevin Dunn as Major Ken Quesada, Alexandra Daddario as Lisa Tragnetti, and Brad Carter as Charlie Lange.
Pizzolatto narrows his search for a suitable director for Cary Joji Fukunaga, whom he knows from Anonymous Content, and Alejandro GonzÃÆ'¡lez IÃÆ' Â ± ÃÆ'¡rritu. Fukunaga was officially appointed as director after IÃÆ' Â ± ÃÆ'¡rritu out of the project due to film commitments. In preparation for his work on the series, Fukunaga spent time with homicide detectives from the Louisiana State Police Criminal Investigation Division to develop an accurate depiction of the work of the 1990s detective killer. Fukunaga recruited Adam Arkapaw, director of photography Top of the Lake, as the project's cinematographer. Arkapaw came to the director's attention for his work in the Animal Kingdom (2010) and Snowtown (2011), and was hired after the two negotiated an agreement at a meeting in San Francisco. Alex DiGerlando, whom Fukunaga had worked with Benh Zeitlin Glory at Sea in 2008, was designated as a production designer. Fukunaga said in an interview, "I know what Alex does in the swamps in Louisiana and gives some money, how much he can be great at building a device that will only be used for a day or two and left behind again.
Filming
Initially, the first season was due to filming in Arkansas, but Pizzolatto then chose to shoot in Louisiana to take advantage of state tax incentives and typical regional landscapes: "There is contrary to that place and the kind of horrible quality beneath it all... Ã, everything lives under a layer of concealment.The forest is thick and dark and impenetrable On the other hand you have the beauty of it all from a distance. " The main photography takes three months (between 100 and 110 days), from January to June 2013. Approximately five minutes of movie are taken per day. Production staff built various pieces, among them the charred chapel, Joel Theriot's tent, and the Louisiana Criminal Investigation Division office, the last one built inside the abandoned bulb store near Elmwood. For the scene Dora Lange, the crew filmed an exterior image on a remote sugarcane farm outside Erath which, partly burned, inspired what DiGerlando called "moody and atmospheric" background for the appropriate interior scene. The scene where Cohle, taking Ginger hostage, escaped from the residential compound in the middle of the shot, was captured in Bridge City as a six-minute tracking shot, the technique Fukunaga used at Sin Nombre (2009) and > Jane Eyre (2011). Shot in seven times, the preparation for the scene was broad and demanding: McConaughey trained with Mark Norby to master fighting styles for his character, and the nature of filming requires a team of action coordinators, makeup artists, and special effects of crew in hand during the entire course. Elsewhere, filming took place on the old Kenner High School campus and the nineteenth century Fort Macomb, located outside of New Orleans.
The filming schedule is not set in the order of episodes, which makes logistics management much more challenging. The whole season was shot on 35 mm film, selected by production staff to achieve a certain texture, as well as "nostalgic" quality. The season was filmed using the Panavision Millennium XL2 camera, and the lens options corresponded to the period when the scene took place. Scenes made in 1995 and 2002 were captured with Panavision PVintage lenses, resulting in softer images as they are made of recycled glass, low contrast. When these scenes are written as a reflection of Cohle and Hart's memory, the production seeks to make it cinematic as possible, to reflect what Arkapaw refers to as "fragmentation of their clear imagination back through their past." To achieve this, they rely on a wider lens to exaggerate the composition. The 2012 scene is taken with the Panavision Primo lens: the visual palette in comparison is sharper and more contrasting, borrowing a "modern, fresh impression" on the image, and, according to Arkapaw, draws "characters out of their surroundings to hopefully help the audience get into the head them. "
Art design
Joshua Walsh is responsible for creating True Detective 's artwork. His work for the show consists of over 100 individual "devil's nests" - twigs made by killers - along with frescoes and miniature male statues made of beer cans, among others. According to DiGerlando, Walsh's interest in hunting and taxidermy made him "the perfect person for the job". The blueprint for the devil's lair is not in the script, other than the specification that the structure can stand on its own and display a spiral motif. DiGerlando and Walsh go with a tripod design that shows a spiral when viewed from the base, and contains a crossing element such as a ladder that symbolizes the killer's desire to board a dark spiritual plane. Each design has subtle differences to each other. DiGerlando cites the work of Henry Darger and James Charles Castle as a powerful stylistic influence and seeks a primitive look for the statues, revealing the workings of a man with "some deep inner impulse to express himself". To reflect this, Walsh built a devil's nest using mud, clothing of used children, reeds, roots, and other materials he felt that the killer would use.
The sequence of season titles is a collaboration between director Patrick Clair, Elastic's Santa Monica studios, his Sydney-based studio, Antibody, and Brisbane-based company Breeder. The design team emphasized the industrial landscape in southern Louisiana because it reflects the character and personal character, the inner struggle. Clair stated that from the beginning he had a "very clear" vision of the opening sequence of True Detective . Using the photographic book Richard Misrach Petrochemical America (2012) as a template, the production team initially photographed the local scene, and the resulting image was woven together to form the core of the title sequence. By the time production begins to animate, they face some problems: stills photography is too rough and the tape is too jagged. As a result, many shots were digitally altered and slowed to about one-tenth of their original speed, which, according to Clair, "evokes a real and floating mood that perfectly captures what we are looking for."
The creation of 3D effects required the design team to use a variety of low-poly mesh, or 3D geometric models. Using a variety of animation techniques and special effects, these images are then superimposed "with careful care" to avoid the digital, sterile look. Clair said, "The most important thing for me is that it does not feel digital, so we strive to include as many organic images as possible." For some still images, the design team created digital doubles to develop more textures. The final cut of the sequence is polished using optical glitching and motion distortion techniques. The Sydney Morning Herald entered the opening sequence in the list of the top ten title titles on television.
Music
The season-opening theme is "Away from Any Road", an alternative country song originally composed by The Handsome Family for their 2003 album Singing Bones. The True Detective soundtrack features a compilation of gospel and blues music, selected by Pizzolatto and T Bone Burnett. The couple is opposed to the use of Cajun music and the blue swamp for musical score this season because they feel it is overkill. Burnett said the score was intended to be character-driven, not inspired by other criminal fictional dramas. Songs by Bo Diddley, Melvins, Primus, The Staple Singers, Grinderman, Vashti Bunyan, Townes Van Zandt, and Captain Beefheart appeared in season one. Burnett also composed the original pieces with Rhiannon Giddens, who used the Swarmatron synthesizer, and Cassandra Wilson. HBO released the soundtracked album, featuring 14 songs from the first two seasons, on August 14, 2015, via physical media and iTunes.
Theme and analysis
Masculinity and female depictions
Commentators have recorded masculinity as a theme in True Detective . Christopher Lirette of Southern Spaces said the show was about "men who live in a very masculine world" and thus, women are described as "things to keep and erotic barriers" ÃÆ' la Double Indemnity (1944) and Chinatown (1974). Slate Willa Paskin said her female character description - as a sex worker, deceased, and "a nagging wife" - seems to express intent to reflect the chaotic worldview of the "protagonists" and the highly masculine southern police culture they live in. "Some commentators see Hart's characterization as a manifestation of this idea, evident from his conventional view of women as virgins and prostitutes, as well as his treatment of Maggie and Audrey.For example, when Hart confronts two men who have sex with Audrey, he basically" another to break the daughter he saw, in a chaotic way, as both deserve protection and are in dire need of supervision.. "
In his work for Salon, Janet Turley says that women "become a reflection of men", remembering that the True Detective universe is seen through the eyes of male performance leaders.. Sam Adams of Indyeire believes that the central story of the season focuses on "the terrible things men do against women", many of which have never been reported or investigated by the authorities. Adams wrote, "No one missed Dora Lange, Marie Fontenot disappeared, and the police let the rumors stop them from following up." Furthermore, he said the role of women is deeper because Cohle suffered through his ex-wife and his deceased daughter, and Hart could not "handle the woman who was there appropriately". According to Scott Wilson, professor of cultural studies at Kingston University, women are divided into three groups - what he calls "superegoic, obscene and sacred". Maggie, in Wilson's interpretation, is described as a superegoist's wife who "constantly makes demands on her husband or her guilty partner tying him down and diverting him from his symbolic role as a cop."
The philosopher Erin K. Stapleton adheres to the theory that Dora Lange's corpse serves to "provide the initial territory or orientation in which the True Detective community is formed." Through Dora's body, the partnership of Cohle and Hart is clearly articulated; and in addition to their own bonds, the "profound knowledge" of their bodies is the basis of all other relationships in their own lives. Such narratives, by proxy, affect the development of male characters as they go deeper into their investigations.
Religion
True Detective explores Christianity and the dichotomy between religion and rationality. Born in a devout Catholic household, Pizzolatto said that as a child he saw religion as a story acting "as an escape from the truth". According to Andrew Romano in The Daily Beast, this season alludes to Pizzolatto's childhood and creates a parallel between Christianity and supernatural theology "Carcosa": "Both are stories." Stories people tell themselves to escape from facts.The stories that 'violate every law of the universe.' Romano believes that this message is not critical of religion per se, but rather shows how "storytelling power" and religious spirit "can wind [you] in some pretty sick places." Jeff Jensen of Entertainment Weekly believes that the event is becoming more self-conscious through Cohle's critique of religion, which he sees as a vehicle for commentary on the escape of pop culture. Stapleton observes that the crime on the True Detective - through its victims and the implications of sacrifice and sexual violence - "responds to the conservative Christianity from which they originate, and seeks to exploit opportunities for pleasure violations such as structural bidding.
Theorist Edia Connole looks at connections to Philip Marlowe and Le Morte d'Arthur Lancelot at True Detective Cohle presentation, all "knights whose duty to their liege master is forged with devotion to God." Another aspect of the True Detective evokes a Christian image, including the opening scene, which Connole feels to reflect the crucifixion of Jesus. Writer and philosopher Finn Janning argues that Cohle's evolution illustrates the affinity between Buddhism and philosophical pessimism. A self-proclaimed pessimist, Cohle, however, is transformed by the near-death experience at the end of the season, where he has an epiphany, seeing death as "pure love": it echoes the Buddhist concept of rigpa.
Pessimism and philosophical influences
Critics have offered many fictional and horror fictional readings on the narrative, often examining the influence of the collection of short stories Robert W. Chambers The King in Yellow (1895) and Thomas Ligotti. Allusions to The King in Yellow can be observed in the dark philosophy of performances, the repetitive use of "Carcosa" and "The Yellow King" as motifs throughout the series, and their symbolic use of yellow as thematic signatures that signify insanity and decadence. Pizzolatto was accused of plagiarizing Ligotti because of the close similarity between the lines in the True Detective and the text of the Ligotti non-conspiracy book The Conspiracy Against the Human Race (2010) - Pizzolatto's allegations were rejected, Ligotti.
Other philosophers and authors identified as influences include Arthur Schopenhauer, Friedrich Nietzsche, Gilles Deleuze, Ray Brassier, Emil Cioran, and Eugene Thacker. Mathijs Peters, in a piece for the International Film , argues that True Detective investigates the Schopenhauerian philosophy through its approach to individuality, self-denial, the fight between darkness and light, and so on. etc. Ben Woodard notes the development of the philosophy of the event, which examines the setting in which culture, religion, and society are a direct byproduct of biological weakness. Woodward writes, "Biological programming gets recycled and socially disseminated vision, beliefs, and acerbic personalities take control of the uncertain ends of creating a world where 'people go'." Even the arrangement, Fintan Neylan argues, emphasizes the world "where the separation of the human order can not be hidden." He stated, "This is not the place where hope fled, it is a place where hope can never take root, it is with people and the environment that the true horror is sourced." But Neylan observes that Cohle's actions are not motivated by bad behavior, more as an incentive to challenge "those who try to disguise or manipulate these human weaknesses for their own benefit." And in doing so, Cohle finally faces "an entire philosophical history that has taken on such a task as the loss of weakness." Christopher Orr at The Atlantic says True Detective is "Fincherian in the best sense," Se7en (1995) and Zodiac (2007), because the subject, cinematography is slim, and the aura "alive, not calm".
Some commentators noted the further influence of comic book literature. Adams likened Cohle to the protagonist of Alan Moore's The Courtyard and drew parallels with Grant Morrison
Auteurisme
Another main topic of discussion among critics is the True Detective auteurist sensibility. Auteurisme (from French auteur ) is a critical framework that judges film or other artwork as a reflection of the personal vision of each author, usually a director or writer. At the helm of every season episode is Pizzolatto and Fukunaga - the only writer and director - a partnership that gives the show a unique place in traditional collaborative media where the broad set of writers and directors work together. Colin Robertson at The List sees Twin Peaks as the most famous artistic predecessor for the first season of True Detective , sees that both show the cliché challenge of criminal drama and "use the whodunnit style mystery genre convention as a subversive subversive stepping board, and jump from there to tell a wider story."
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Reception
Views Count
True Detective debuted with 2.3 million US viewers, becoming the hottest premiere of the HBO series since the premiere of Boardwalk Empire . Ratings remained stable and peaked in the final, which attracted 3.5 million viewers. Overall, the one-averaged season averaged 2.33 million viewers, and the average gross audience (which includes DVR recordings, reruns and streaming HBO Go) amounted to 11.9 million viewers per episode, making it HBO's highest ranked student event since the first season of Six Feet Under 13 years earlier.
Reviews
The American press regards the True Detective as one of the best television shows of 2014. Many critics praise the work of the two main actors, often choosing McConaughey for further compliments, with his work described as "jaw droppingly great" and " quite magnetic ". Some reviewers choose a simple conversation scene, often in a cramped interior, as some of the best acting in the series. Characterization received mixed reviews: Cohle's speech, described by HuffPost as a "fascinating monologue", and by Vanity Fair as compact and interesting material, criticized by the New York Post as the '' psycho-babbling era of the '70s' that slows down the story. Some critics view women's depictions as stereotypes: "either angry or aroused," though Michele Monaghan is praised for her performance in "unconditional roles".
Pizzolatto and Fukunaga, as writers and sole directors of the entire series, were able to exercise stronger control over the show than usual for the TV series, which let the event take risks: pacing, dialogue, and cinematography all set off in time from the hopes for a television drama. Pizzolatto scripts sometimes invite criticism as "self-conscious literature" and are overwritten, and some journalists associate mistakes in the script with a lack of experience in the TV drama by Pizzolatto. Despite the criticisms, Daily Telegraph and Uproxx describes the season as "ambitious" and "dense with events and meanings". The flashback structure also shares criticism: it is described as "impressively seamless", and "main asset", but a fragmented approach to storytelling is deemed flawed by others. Uproxx praised the atmospheric cinematography and Fukamiaga's "beautiful haunting", and The Boston Globe complemented the "reserve, hollow, percussive" soundtrack, with Uproxx crediting the creative control that two people made to the quality of the results.
The story of two harmonic detectives working on a case is described by some critics as a cliche, although many reviewers feel this is made up of strength: The Daily Beast, for example, describes the narrative as having the "Potential to be revolutionary", and the observer Grantland feels that "the shape is really radical and forward-thinking", although they add that "it's nothing else". Emily Nussbaum, writing for The New Yorker, is also important, remembering the true story to be "a simpler story: one about the heroic and closeup outline of a female donkey"; he describes a philosophical monologue as "talk in a dorm room" and argues that the show "falls for its own sale". The other reviewers are more positive: comments range from "being very nervous and angry in his delivery and his intentions as David Lynch's prime", becoming "one of the most riveting and provocative series I've ever seen".
Accolades
As the nomination for the 66th PrimeTime Awards was approached, an initial media report was named True Detective among some potential miniseries candidates, due to a revision made by the Academy of Television Arts & amp; Science that recognizes movie content and miniseries as different categories. In March 2014, HBO has awarded the True Detective as a challenger to the drama series, an unconventional move given the anthology format and fierce competition of the likes of Breaking Bad and House of Cards . HBO's decision was condemned by FX president John Landgraf, who told reporters at a press event: "My own personal point of view is that the miniseries are the ending story, the series is a continuing story.To tell the truth, I think that's actually unfair to HBO to place the True Detective in the drama series category because basically you can get certain actors to do a closed series - a Billy Bob Thornton on Fargo or Matthew McConaughey and Woody Harrelson on True Detective - which you can not sign for a seven-year contract [regular drama series]. "However, True Detective emerged as a pioneer to the Emmy Primetime season, and in July 2014, was nominated for twelve awards; his closest rival, Breaking Bad, received sixteen nominations. The series eventually won five Emmy awards: Outstanding Directing (Fukunaga), Extraordinary Casting, Exceptional Main Title Design, Exceptional Makeup, and Exceptional Cinematography.
True Detective is a candidate for numerous awards, most of which are recognized for outstanding achievements in direction, cinematography, writing, and acting. It received four Golden Globe nominations, among them for Best Miniseries or Film Television, and TCA Award for Program of the Year. Among event wins include the British Academy of Television Awards (BAFTA) for Best International Program, Guild of America Writers Award in the Drama Series category, and Television Award Critics Award for Best Actor in Serial Drama (McConaughey).
Home media
On June 10, 2014, HBO Home Entertainment released its first season of True Detective on DVD and Blu-ray Disc formats. In addition to eight episodes, both formats contain bonus content including interviews with McConaughey and Harrelson, Pizzolatto, and Burnett composers on the progression of the show, "Inside the Episode" featurettes, two audio comments, and a scene removed from the season. During its first week of sales in the United States, True Detective was the number two TV show on DVD and Blu-ray Disc, selling 65,208 copies.
References
Bibliografi
- Shipley, Gary J. (2014). Connole, Edia; Ennis, Paul J.; Masciandaro, Nicola, eds. True Detection . Schism Press. ISBN: 0692277374.
Foot Records
External links
- Official website
- List of episodes of True Detective on IMDb
- List of seasonal episodes of True Detective on TV.com
Source of the article : Wikipedia
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