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QUESTION #17
Will we get to see an episode of the fictional show edited together?
Michael Patrick King
The finale of season one.
QUESTION #18
Are we supposed to be viewing each episode as "The Comeback" (which would really add to the humor of all the moments of Valerie trying to get the camera to back off or calling a time out in an effort to not let any unflattering footage be used)? Or are we seeing bits of Valerie's life from an omnipresent vantage point? Or are the writers going to leave it entirely up to the audience to imagine it how we'd like, and never imply one way or the other for certain?
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No network would allow this to be the reality show because the pace is slow and erratic and you are seeing the cracks, i.e.: the crew and mistakes. |
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Michael Patrick King
We never plan on explaining it, the clue is in the opening card that says: Comeback raw footage. Our conceit is this: You are viewing the unedited raw footage that a reality crew is shooting of Valerie's life for a network reality show. No network would allow this to be the reality show because the pace is slow and erratic and you are seeing the cracks, i.e.: the crew and mistakes. The actual reality show would be edited and cleaned up and slick and have a different POV. We are showing you Valerie. They would be showing you their version of Valerie.
QUESTION #19
How real is this show? Is this what actors' act like?
Michael Patrick King
This show reflects a slightly heightened version of my experiences and the other writer's experiences of working on a network sitcom.
QUESTION #20
Did the show from the 70's "Mary Hartman, Mary Hartman" have any influence on the making of "The Comeback"?
Michael Patrick King
No, but it is a huge compliment.
QUESTION #21
I've noticed that, on "The Comeback," you are working again with some of your collaborators from "Sex and the City," (i.e. John Melfi and Amy B. Harris). How is the collaborative dynamic different working with the same people? Does the content of this show (because, in fact, it's a hybrid) make it more challenging?
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I am working with John Melfi again because he is a genius at creating a creative environment and product. Amy B. Harris is a wonderful writer, stylish, funny and smart, smart, smart. |
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Michael Patrick King
This show was incredible challenging because it was a hybrid. A new form. I am working with John Melfi again because he is a genius at creating a creative environment and product. Amy B. Harris is a wonderful writer, stylish, funny and smart, smart, smart. I wanted to bring some "Sex" with me... as it was a happy experience for all of us involved.
QUESTION #22
Why do you think it has been harder for the show to capture an audience, and why do you think that some viewers just don't get the humor?
Michael Patrick King
It's an entirely new form, rhythm and character. Anything that breaks through as an original expression ( music, art, fashion, architecture, yes even TV) takes time to take in. I've heard that people are fascinated trying to figure out what it is and where it's going. The worst thing I could have heard from a viewer would have been... "Oh, I saw your new show, it's just like..."
QUESTION #23
I have noticed a gradual lightening of the show's tone as the episodes progress. Was this always planned, or do you feel pressure from viewers to change the tone of your show? And how do you plan to sustain your novel concept over several seasons?
Michael Patrick King
The show's season arc was decided at the beginning of the series and we've chosen to enhance it as we went along based on our tastes in the writing and editing rooms.
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Video
Watch the promos, trailers and interviews for the show.
 Watch preview
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