WEBVTT - Businessweek Extra - Andrew Hinderaker

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<v Speaker 1>This is Bloomberg Business Week with Carol Masser and Jason

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<v Speaker 1>Kelly from Bloomberg Radio. I'm Jason Kelly and I'm Carol Masser.

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<v Speaker 1>Welcome to the Bloomberg Business Week Extra. It's our weekly podcast,

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<v Speaker 1>bring you an in depth interview you will not hear

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<v Speaker 1>anywhere else. And man, this is a cool one. We

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<v Speaker 1>caught up with Andrew hinder Ocker. He's the writer and

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<v Speaker 1>creator of Netflix's new series Away. It's stars Hilary Swank.

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<v Speaker 1>It just dropped on September four. But it's a series

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<v Speaker 1>that centers on an International space crew as they head

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<v Speaker 1>to Mars. It was inspired by an Esquire article back

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<v Speaker 1>in seventeen about astronaut Scott Kelly's mission aboard the International

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<v Speaker 1>Space Station. I've got space in my roots. My dad

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<v Speaker 1>was very involved in the space program. This is so cool. Yeah,

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<v Speaker 1>I was so lucky in Seen. I was brought this

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<v Speaker 1>beautiful article that you mentioned by Chris Jones and Jason

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<v Speaker 1>Cadam's who had us know from Friday Night Lights and Parenthood.

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<v Speaker 1>He had optioned the article along with Matt Reeves, just

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<v Speaker 1>fabulous director of many of films, the upcoming Batman and um.

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<v Speaker 1>They were interested in doing a series and mission to Mars.

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<v Speaker 1>And I had worked for Jason previously and it brought

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<v Speaker 1>me this article UH and asked if I was interested,

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<v Speaker 1>and it was pretty immediate. Yes, I feel about space exploration.

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<v Speaker 1>Sounds amazing. But what I particularly responded to with this

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<v Speaker 1>article is that Chris went into death in UM. The

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<v Speaker 1>article itself is about Scott Kelly, the astronaut, Scott Kelly

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<v Speaker 1>and the mission aboard the International Space Station UH, and

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<v Speaker 1>Chris talks about the International Space Ship Station itself and

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<v Speaker 1>this improbable alliance of the then crumbling Soviet Union in

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<v Speaker 1>the United States UH, and that is an analog for

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<v Speaker 1>a mission to Mars. The idea that it would be

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<v Speaker 1>an international mission of countries that might not normally get along,

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<v Speaker 1>but would find a way to work together because that

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<v Speaker 1>was what was required for something this difficult and this expensive.

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<v Speaker 1>That was a really interesting and big idea to be

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<v Speaker 1>very hopeful UM. And then on a much more intimate level,

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<v Speaker 1>the article explores the moment in which Scott is up

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<v Speaker 1>in the space station and he finds out that his

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<v Speaker 1>sister and a Gaby difference has been shot and he

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<v Speaker 1>has to navigate what it is to be away from

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<v Speaker 1>his family when they need him the most. And my partner,

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<v Speaker 1>Eileen and I've been in a long distance relationship for

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<v Speaker 1>fifteen years and she lives with an illness that was

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<v Speaker 1>diagnosed when I was away opening up play as a play, right,

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<v Speaker 1>And so that moment really UM spoke to me very personally.

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<v Speaker 1>And so from that UM came the story of an

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<v Speaker 1>international crew going to Mars and as they're about to

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<v Speaker 1>launch UM something really catastrophic but falling Hillary's family and

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<v Speaker 1>her being forced with to face the idea of being

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<v Speaker 1>apart from them for three years at this impossible distance

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<v Speaker 1>when they need her the most. Well, and the answer

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<v Speaker 1>what you managed to capture with this show, and I

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<v Speaker 1>think you're alluding to, is this this notion of simultaneously

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<v Speaker 1>exploring one of the biggest ideas there is, one of

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<v Speaker 1>the most expansive ideas and notions that there is, and

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<v Speaker 1>then one of the most intimate things. How do you

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<v Speaker 1>balance that as a writer and as a storyteller. Well,

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<v Speaker 1>there's to me, it's just nothing more thrilling than getting

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<v Speaker 1>to play in those two fields, right, the epic and

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<v Speaker 1>the intimate. And I think that you mentioned those conversations

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<v Speaker 1>that we were fortunate enough to have with all of

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<v Speaker 1>the extraordinary folks at NASA and at JPL. And it's

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<v Speaker 1>kind of the life of an astronaut, you know. I

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<v Speaker 1>I The very first conversation I had I was working

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<v Speaker 1>on this project UM was with the astronaut Don Pettit

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<v Speaker 1>and his wife, Mickey Pettit UM and Don told me

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<v Speaker 1>a story about being up on the space stations doing

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<v Speaker 1>a space walk. Uh, and they hit a part of

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<v Speaker 1>the orbital sunrise where's gonna be dark for about forty

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<v Speaker 1>five minutes, so there's nothing that he could really work

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<v Speaker 1>on until the light came. So he traversed to the

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<v Speaker 1>front of the space station and strapped himself to the

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<v Speaker 1>very front. There's nothing between him and space and this

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<v Speaker 1>magnificent list of Earth and watching the sunrise over the

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<v Speaker 1>planet right and and there's what could be more epic

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<v Speaker 1>and more stunning than that? And then isn't that? I mean,

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<v Speaker 1>it's just you know, watching how do you have an

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<v Speaker 1>experience as a human? After that, UM, and then the

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<v Speaker 1>very next conversation I had with Nicky, she described to

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<v Speaker 1>me what it felt like watching her husband watch and

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<v Speaker 1>knowing that in a few minutes he was either going

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<v Speaker 1>to break through the atmosphere block into a million pieces.

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<v Speaker 1>And and so to me, this story of space exploration

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<v Speaker 1>is the story of the epic and the intimate um

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<v Speaker 1>and as Uh as a television screenwriter who loves cinematic expanse,

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<v Speaker 1>but as somebody who I began my career as a

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<v Speaker 1>playwright working in thirty store on theaters in Chicago that

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<v Speaker 1>are the most intimate spaces you can imagine if there's

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<v Speaker 1>nothing we can be more thrilling than than trafficking and

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<v Speaker 1>those in both the epoch and the intiment. So I

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<v Speaker 1>do love that part of it, Uh, Andrew, that you

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<v Speaker 1>do have this wonderful diverse you know, space team, and

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<v Speaker 1>I feel like it's really something um moving and appropriate

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<v Speaker 1>considering the backdrop of our times. Oh thank you, Yeah,

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<v Speaker 1>it's It was incredibly hopeful to hear when I spoke

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<v Speaker 1>to so many folks that uh at NASA at GPL

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<v Speaker 1>that they believed it UM would be in their national

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<v Speaker 1>mission going. And I just feel like we are living

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<v Speaker 1>in a moment um that is a great example of

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<v Speaker 1>of why it's so important for the world to work together.

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<v Speaker 1>And I believe in science, you know, this is that's

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<v Speaker 1>especially important when you're living in a pandemic, and so

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<v Speaker 1>living in a pandemic writing in a pandemic. Obviously, the

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<v Speaker 1>writing part has always been solitary, Andrew, but the creation

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<v Speaker 1>of a show that's a little bit different. Talk to

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<v Speaker 1>us about, you know, how all this got put together?

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<v Speaker 1>Was it all sort of pre pandemic and it was

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<v Speaker 1>locked and loaded? And how has the pandemic changed the

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<v Speaker 1>rollout and all of these things. I mean, I guess

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<v Speaker 1>Netflix is a is a very good home for you

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<v Speaker 1>at this point because we're all a little bit more

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<v Speaker 1>captive than we were. We are extremely lucky in that regard.

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<v Speaker 1>And I should say at the top, right, even the

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<v Speaker 1>writing was collaborative. We had an incredible staff, fantastic Showlen

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<v Speaker 1>and Injustice Olberg, the writing staff that was as diverse

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<v Speaker 1>and international as ours our cast. Um. And then we

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<v Speaker 1>were very lucky because we finished filming in February, and

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<v Speaker 1>so we had finished filming, and then we did all

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<v Speaker 1>of our post production remotely, and um, like you said,

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<v Speaker 1>we have, we did not anticipate, um that our audience

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<v Speaker 1>would be as captive or the show would be as

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<v Speaker 1>as strikingly relevant. And I would say, you know, I

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<v Speaker 1>even I wouldn't have even wished for this kind of relevance,

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<v Speaker 1>But we certainly feel fortunate that we were able to

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<v Speaker 1>get the show film didn't and get it out there

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<v Speaker 1>for folks and see. So I do wonder too, you know,

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<v Speaker 1>what do you think the future looks like in terms

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<v Speaker 1>of content production? Well, we are in a really interesting

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<v Speaker 1>time UM for our industry, particularly because we're negotiating what

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<v Speaker 1>is what is UM television production look like? While we're

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<v Speaker 1>living through COVID, we're as we're hopeful for a season

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<v Speaker 1>two UM. We don't know for sure what will happen.

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<v Speaker 1>We are very lucky in the writer's rooms can be remote,

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<v Speaker 1>you know. We're like like many UM industries, adjusting to

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<v Speaker 1>embracing a zoom platform and work remotely where we can.

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<v Speaker 1>I know that there are a lot of UM there's

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<v Speaker 1>there's folks who are looking at stories that are a

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<v Speaker 1>little bit more intimate in nature and a little more

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<v Speaker 1>socially distanced in nature. But I think that what we're

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<v Speaker 1>also understanding is that there's a real appeal UM to

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<v Speaker 1>folks to be able to watch UM even cinematic experiences

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<v Speaker 1>like away in the comfort of your own home. I mean,

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<v Speaker 1>it's you know this is a this is like uh,

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<v Speaker 1>colleague was saying, there's a lot of special effects. It's

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<v Speaker 1>sort of cinematic and expanse um. But we're fortunate enough

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<v Speaker 1>here that we've got our big screen TV here and

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<v Speaker 1>it looks pretty stunning. And I think that that is

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<v Speaker 1>a direction we're headed in, and so Andrew, I do

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<v Speaker 1>wonder from a creator's perspective as well. You know, we've

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<v Speaker 1>had all these streaming services you know, come out. Netflix

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<v Speaker 1>obviously remains sort of the big daddy, UM, but you

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<v Speaker 1>know a lot of people in that their heels, Disney

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<v Speaker 1>Plus especially, UM. It feels like a great time to

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<v Speaker 1>be a creator on the one hand, because there are

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<v Speaker 1>so many opportunities out there, and yet there's all this

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<v Speaker 1>content being produced as well. So how do you ensure

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<v Speaker 1>as a creator that you know, you really can separate

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<v Speaker 1>the signal from the noise, make the right choices, and

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<v Speaker 1>also make sure that people actually see your work. It's

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<v Speaker 1>a fantastic question, and if I'm completely candid, I don't

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<v Speaker 1>think it's one that anybody has a perfect answer for

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<v Speaker 1>you because you named it. I mean, there's uh, the

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<v Speaker 1>tremendous advantage of today's landscape is there are more opportunities

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<v Speaker 1>for creators UM, and that also means UM more diverse

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<v Speaker 1>work and oftentimes more interesting work because the target audience

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<v Speaker 1>might not be if you back when there were four

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<v Speaker 1>networks and you need twenty million viewers, UM that the

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<v Speaker 1>work is. It's called broadcast for a reason, it might

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<v Speaker 1>need to be more broad UM. But here if if

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<v Speaker 1>a success might be two million viewers, you can be

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<v Speaker 1>incredibly specific with your content and tell UM a greater

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<v Speaker 1>range of stories. So I think that's incredibly exciting. But

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<v Speaker 1>then you named UM the exact challenge, which is how

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<v Speaker 1>do you rise above the noise? For me, I was

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<v Speaker 1>drawn to this project in part because I thought the

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<v Speaker 1>story was As a storyteller, it was the kind of

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<v Speaker 1>story you get once or twice in your career. It's

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<v Speaker 1>just such an extraordinary story. And if I feel that

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<v Speaker 1>way as a storyteller, I think there's a a great

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<v Speaker 1>opportunity that audiences are going to feel similarly if we

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<v Speaker 1>execute that story. And thus far, it's been overwhelming that

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<v Speaker 1>there has been such a global response to the show,

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<v Speaker 1>and I think that's a testament to UH create a

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<v Speaker 1>team the actors, but also just the story itself. That

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<v Speaker 1>we were lucky enough to tell I love what you

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<v Speaker 1>said about, you know, space exploration being the story of

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<v Speaker 1>the epic of the intimate. I have to say, I'm

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<v Speaker 1>a space kid. My dad was very involved in UM,

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<v Speaker 1>the early early space program. So I love to see

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<v Speaker 1>that you guys created content around this. I think it's important.

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<v Speaker 1>I think it got lost for a while on kind

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<v Speaker 1>of the public space, and I'm glad to see more

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<v Speaker 1>time and attention being put towards it. Andrew, thank you.

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<v Speaker 1>We're thrilled to be a part of a part of

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<v Speaker 1>a tremendous tradition of some of those those great iconic films.

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<v Speaker 1>So we can only aspire to be a part of

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<v Speaker 1>that tradition of the right of apolit thir team grabbing

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<v Speaker 1>the Marshan. That's that's great, great film. Ahead, Well, I

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<v Speaker 1>was gonna go ahead, Jason, we get Andrew. We we

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<v Speaker 1>want to just talk to you for now. Was there

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<v Speaker 1>anything quirky that you heard from the astronauts though? And

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<v Speaker 1>just got about a minute left, like I just can

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<v Speaker 1>imagine the stories. Well, I know that the first thing

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<v Speaker 1>in the Kingdom I when you said quirky is UM

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<v Speaker 1>when we were looking to speaking of Mike Massimino, who

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<v Speaker 1>was a mast and I've worked on the Hubble telescope. Uh.

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<v Speaker 1>He told Hillary Swank that he wore literally astronaut spaces

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<v Speaker 1>and the show on the station. And so you'll see

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<v Speaker 1>in the show she is wearing the same socks. And

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<v Speaker 1>that is a little tribute to um Mike in a

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<v Speaker 1>in a quirky detail that I love that little least, right,

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<v Speaker 1>that's great. That's Andrew Hinderocker. He's the writer and creator

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<v Speaker 1>of the new Netflix series Oh Way, check it out.

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<v Speaker 1>It is streaming as we speak. I love getting a

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<v Speaker 1>new recommendation. I feel like all of us out there

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<v Speaker 1>has been plowing through our cueues on all the streaming services.

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<v Speaker 1>But this guy, as you said as we were prepping

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<v Speaker 1>for this interview, he's the real deal. And so you

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<v Speaker 1>want to pay attention to these very successful showrunners when

0:12:40.040 --> 0:12:42.400
<v Speaker 1>they put something else out. It's hard to break through

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<v Speaker 1>these days with all the content that's out there, but

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<v Speaker 1>this is a good one. You've been listening to Bloomberg

0:12:47.080 --> 0:12:49.680
<v Speaker 1>Business Week Extra, be sure to tune into Bloomberg Business

0:12:49.720 --> 0:12:52.000
<v Speaker 1>Week Radio Live Monday through Friday at two pm Wall

0:12:52.000 --> 0:12:54.720
<v Speaker 1>Street Time on Bloomberg Radio. I'm Charle Masser and I'm

0:12:54.800 --> 0:12:56.160
<v Speaker 1>Jason Kelly. This is Bloomberg