In the latest edition of Interview, Last Resort Films president sits down with writer Chad Taylor (Orchid, Buried Child) to discuss Booster Gold: Lost in Time, Billy Magnussen and Last Resort Television...
PD: After Booster Gold: Lost in Time, you don't have any DC Comics Universe on the release schedule. Are the adventures of Booster Gold, Blue Beetle and Martian Manhunter at an end?
CT: First off, I’ll get Martian Manhunter out of the way. With that film, I wanted to make a smaller, more intimate superhero film and give some insight into him after his more prominent roles in BG2 and JLI. I’d imagine you’ll see him pop up again if the heroes ever unite again, plus not only is his brother still alive but the credits teased another future character so I’d imagine they’ll interact one day, as well. I will say that if the studio wants to make a Manhunter sequel and someone is up for the job, I’d be happy to hand it off.
With Booster Gold, it’s funny because, as I was writing Lost in Time, I thought I was closing this chapter of my LRF career. As you know, Booster was one of my first films at the studio, so he’s really been with me since the beginning. And, as enjoyable as his stories were to write, I didn’t want him to be meandering with no clear direction and I wanted to give him consequences to his actions. But then as I wrote it, I got a little gun-shy and realized there’s no way I can say goodbye to this character for forever.
So then I decided to leave the ending a little open-ended, on a sentimental joke rather than a definitive end because it is the Booster Gold series, after all. Did he go through with making amends and letting Ted die or was like me and a little gun-shy? I do think Ted Kord’s Blue Beetle is officially done, something APJ and I discussed and figured would be best for both Booster and Jamie Reyes (wherever he pops up next). With Booster, there is obviously an open door for a story involving him and Rip being Time Masters but I’ve never seriously considered making a fourth film at this point. But...I’ve found in the time that I wrote this story that is hard to just give him up for good.
PD: Aside from John Malone and Alden Ehrenreich, you and Billy Magnussen are probably the next most associated writer-star duo. Can you talk about your working relationship with Magnussen?
CT: I feel like over the years, our working relationship has grown naturally. I mentioned that Booster Gold was one of my first films but I’d actually worked with Billy before that with An Honest Mistake. I’ve seen him in supporting parts over the years (Ingrid Goes West, Game Night) and always been impressed by the energy he brings with him on-screen. So I figured he would fit perfectly with the small part I needed him for and that turned out to be a real highlight of the film for most.
But again, that was a supporting part - as most of his have been throughout his career. So when we cast him as Booster Gold, it was a bit of a gamble as he had never really led a film before - especially not a big-budget superhero adventure. But then we all know what happened next: the film was an unexpected massive hit and his casting was a key in making it work. So I wouldn’t say that I discovered him by any means, just that I believed in him and I’m so glad I’ve been able to make him as rich as he is.
We talk about it often and he is getting a little burnt out on the superhero gig as much as I have so naturally he’s looking to parlay his LRF fame into more leading parts outside of the blue and gold suit. I thought The Mutation proved that he was certainly ready. And when we needed a flamboyant asshole for Doctor Love, there was no doubt who I was going to call. And I’ve also talked with him informally about taking the lead role of the film I am currently writing which, as a property, is very different from BG. But I think he will be able to utilize many of his same strengths that he displayed in those films.
PD: Like a handful of other writers, you recently made the transition to writing for LRTV as well. Has working in a different format changed how you go about telling a story on screen?
CT: What’s interesting is that I just faced a dilemma that I think is relevant to this conversation. I was on a walk and had an idea spark into my head. I won’t give it away here as it will manifest somewhere down the line but I had a clear logline in my head. But unlike in the past, when I would move straight to writing and send it over to you guys. No, this time I had another question I had to answer first: Is this more suited for television or film? Some stories are just naturally more episodic like She-Hulk, for example, and so the answer is easy. But sometimes it is a little more challenging than that.
I am glad that LRTV exists so this dilemma can even exist. There are pluses that come with writing for TV. Your canvas is much bigger without a set time restraint. It’s easier to have multiple protagonists than on film. And one of my favorite parts of it: you can tell stories in layers. You are preparing food in bite-sized pieces (episodes), complete meals (the season as a whole), and, if you want to think ahead and lay the groundwork for future seasons, you’re running a whole damn restaurant at this point. While you may be worrying about “how does this episode fit into the season as a whole?”, you must also be thinking “does this episode work on its own in keeping the viewer’s interest?”. Sorry for the metaphor overload but it’s like film is writing the hit single but TV is making the whole album.
But that also means a whole lot of work! Writing for two hours is a breeze in comparison to ten hours. Plus you have to make conceits that you won’t be able to get as recognizable of a cast because of the amount of filming that TV requires. So now when I’m writing a film, I try to borrow the things I have learned from TV and scale them down to fit the typical screenplay. I’ve learned to more efficiently plant seeds for things that come up later in the film. On TV, you know that you’ll have episode 8 to pay-off that plotline you set up in episode 3, whereas in film a sequel is never guaranteed. So being more efficient with the space you have is imperative and I think that LRTV has helped me realize that.
PD: Speaking of LRTV, what were some of your favorite moments from the historic first season?
CT: Well let’s see...the Battle of White Bird Canyon is the first thing that comes to mind. I’ve said it before but I love the way that Rolling Stone reveals that Brady’s first assignment is Altamont. One of those “if you know, you know” moments. The final three episode stretch of Hitman, with the flashback episode in between, was thrilling and smart. Captain Miami. I was genuinely surprised that Gauntlet ended before the playoffs, but that has me eager to see how the story resumes when it returns. The general brilliance in Call My Agent’s premise that utilizes LRF history for comedy.
So a lot, basically, and with the amount of new shows entering the fold in Season 2, I’m sure there will be a lot more to come!
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