I first met Ryan Murphy on location in Hollywood in July. The set was a nightclub, filled with background actors staged as glistening go-go dancers, shirtless revelers, and twirling drag queens. They were all basking under the glow of a spinning disco ball — a fitting setting for my first Hollywood job interview.
I was flown in from New York City to meet with television’s most prolific showrunner, who was directing the pilot of “American Crime Story: The Assassination of Gianni Versace.” The day’s shoot concentrated on reconstructing a moment when the late Italian designer meets the man who will ultimately end his life. Our own meet-cute began (less tragically) between takes. Murphy greeted me with a double from Starbucks in one hand and his other extended. “I am working on a new show which will tell the story of 1980s New York City through characters in two worlds...
I was flown in from New York City to meet with television’s most prolific showrunner, who was directing the pilot of “American Crime Story: The Assassination of Gianni Versace.” The day’s shoot concentrated on reconstructing a moment when the late Italian designer meets the man who will ultimately end his life. Our own meet-cute began (less tragically) between takes. Murphy greeted me with a double from Starbucks in one hand and his other extended. “I am working on a new show which will tell the story of 1980s New York City through characters in two worlds...
- 5/16/2018
- by Janet Mock
- Variety Film + TV
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