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Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad

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Audible Audiobook

Listening Length: 10 hours and 18 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Blackstone Audio, Inc.

Audible.com Release Date: July 3, 2013

Whispersync for Voice: Ready

Language: English

ASIN: B00DP4YAYA

Amazon Best Sellers Rank:

This book is an incisive assessment of the latest major evolution in television -- the "Third Golden Age" -- and a penetrating look at some of the behind-the-scenes creators, writers and executives who made it happen. It analyzes the role of the changing business model of TV, including premium cable and basic cable.Where it fails, though, is in its focus on just two shows: The Sopranos and The Wire. They occupy more than half of the book. The Shield, Mad Men and Breaking Bad each get a chapter, while everything else -- Sons of Anarchy, Damages, Justified and so on -- are relegated to just a passing mention or two.It's a good read, but it could have been more varied in its detailed examinations. Many other shows were well into their runs during the period the book covers and are neglected.

Chances are, if you have any tolerance at all for television, you've watched at least one of the signature dramatic shows that have cropped up on cable during the past decade. I certainly have. I'm a sucker for this stuff, and I didn't fully understand why until I read Brett Martin's Difficult Men, a superbly constructed tribute to these programs and their creators.Martin argues that The Sopranos, The Wire, Mad Men, Breaking Bad and a few other high-quality TV shows are "the signature American art form of the first decade of the twenty-first century, the equivalent of what the films of Scorsese, Altman, Coppola, and others had been to the 1970s or the novels of Updike, Roth, and Mailer to the 1960s." His thesis is hard to argue with, and I say that having devoured much of the output of those filmmakers and writers.Difficult Men dwells largely on the creators of those four celebrated dramas--David Chase (The Sopranos), David Simon (The Wire), Matthew Weiner (Mad Men), and Vince Gilligan (Breaking Bad)--plus a few others, especially Alan Ball (Six Feet Under) and David Milch (Deadwood). If you've watched any of these programs, you will easily agree with Martin's assertion that their protagonists "belonged to a species you might call Man Beset or Man Harried--badgered and bothered and thwarted by the modern world." As Tony Soprano said, encapsulating the meaning of life for all these men, "'Every day is a gift. It's just . . . does it have to be a pair of socks?'"The conceit in Martin's title derives from the indisputable fact that Chase, Simon, Weiner, Gilligan, Ball, and Milch collectively possessed enough neuroses, inner conflicts, self-doubts, disappointments, psychological wounds, and personality quirks to match the six leading men of the dramas they brought to the screen. In short, Tony Soprano and Don Draper have nothing on these guys--and Martin amply demonstrates that by recounting the sometimes colorful but excruciatingly frustrating paths most of them followed to sell their shows to HBO, FX, and AMC.At least one of the six, David Milch, would qualify for the Neurotics' Hall of Fame. Martin describes the time when a writer on one of his shows arrived for his first day of work "to see a man in the second-floor window peeing on the flowers below. `Oh, must be Milch,' the receptionist told him." Milch had (and presumably still has) a reputation as a genius, but he tended to drive everyone working with him around the bend. "At some point," Martin reports, "Milch stopped committing scripts to paper at all, preferring to come to set and extemporaneously dictate lines to the actors." Can you imagine being one of those actors?Martin draws an interesting parallel between these contemporary serialized television dramas and the work of the Victorian writers--Charles Dickens, Anthony Trollope, George Eliot, and others--who gained the 19th century equivalent of superstardom on the strength of their serialized novels. In both cases, format enabled artistry, allowing the creators to develop complex, fully fleshed characters and story arcs that weren't limited by the 42-minute stricture of today's network-TV "one-hour" dramas.To my mind, the most fascinating chapter in Difficult Men is the last one before the epilogue. Martin describes sitting for days on end in the writers' room for the show Breaking Bad along with creator (called "showrunner") Vince Gilligan and his crew of very gifted and extravagantly paid screenwriters. That chapter alone is worth the price of the book. You'll never look at TV drama again the same way if you read it.Difficult Men is a well organized, skillfully crafted, and insightful look at one of the most-watched cultural phenomena of our time.According to his website, Brett Martin is a correspondent for GQ. His work has appeared in Vanity Fair, The New Yorker, The New York Times, Bon Appétit, Food & Wine, and many others, as well as on public radio's This American Life.

I hoped for more. There are stories about how some talented people met -- lots of those -- and how some people are more difficult than others, which is what I expected. What I wanted to see, and didn't get it, are some blow-by-blow exchanges in the Creation Room, however they call it these days. Some explosions of genius would be nice. How some idea morph into the game-saver, etc. I would have thought that some eccentric wierdo produced some spark, built on by someone else, marketed by someone else… much less of that. Often I see one guy (or girl) come up with the riff (in a music documentary) and I didn't enjoy much of it in the narrative world. Too bad.

Should I be embarrassed in admitting these are my favorite artists? I asked my artist-friend this question and he said: "NOOOO".This realization occurred to me while reading Brett Martin's book, 'Difficult Men'. These artists are the driving creative forces behind the best artwork of my lifetime. They should be celebrated. My affection should not be closeted.Martin hones-in on the showrunners that I love: David Chase, David Simon, David Milch, Mathew Weiner and Vince Gilligan. I'm not sure I've ever devoured a book as I did 'DM'. I couldn't get enough information on these fascinating men and their processes.Like most artists, they're damaged and reflexive. While they differ in technique, they share a passion and a focus. The expression 'too many cooks spoil the broth' has never been more fitting. These men were able to communicate their single vision and we learn how the TV writing process is both an individual and a group effortIt's not for everyone, but this is certainly a book for writers. If you love one or two of these shows, you'll love this book. This book is not a love-letter; Martin is both a reporter and analyst. He presents deeply flawed, brilliant men, engaged in a high-pressure writing process. These television shows, and the artists that formed them, will be studied a century from now. I'm very confident in offering that prediction.

While reading this I had to go back and re-watch The Wire. The brilliance of that show really is enhanced by knowing the process. Having context helps, it explains why The Wire watches like five separate series. The contrast between the showrunners on all of the series discussed is fascinating. It explains why Breaking Bad just felt right from the first episode, the healthy writers' room vibe translated into a flow that we were ready for after getting spoiled by The Sopranos and Mad Men.

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Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad PDF

Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad PDF

Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad PDF

Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad PDF