Dan Fogelman
speaker
160 appearances
2 recordings
1 series
first heard Dec 2024
last heard Mar 2025
Dan Fogelman’s voice in public audio — every appearance, attributed to the second.
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Appearances
it was a play i feel overwhelmed directing because i don't always have the lingo and i don't know camera lenses and i don't know i still get confused about a long lens you know what i mean and i i never felt intimidated in edit bay somehow um because i just was like putting a puzzle together it's something i really i think i like yeah so you've been involved
in the editing of your projects from the beginning. From the beginning. Not my films, although I've directed now two films, but earlier in my career, I got to make a bunch of TV shows that didn't really cut through, but I was making 22 episodes and you just start learning.
And a lot of people, when they get their one chance to make a TV show, don't have that experience, you know, so then they aren't ready for it maybe when it comes. So it took, you know, I started making stuff when I was 25, 26. Even the animated films, I was heavily involved in sitting with the directors and the edit bays and everything. And so I think you start learning.
And it's just, it really isn't, editorial just requires like kind of like knowing what you like and what you don't, pacing. It doesn't need, you don't, if you have editors you trust, which I do, you don't need to know the lingo or be able to, that's always the thing that holds me back is not having a formal film or television education, but it never held me back there.
Like I was just watching the opening of this episode that we're talking about. And I was watching the scene where Milo and Mandy are in the hospital room after the fire. I can't remember what happens in every episode, but I can remember every edit almost. It's a weird thing. And I don't watch the show often.
Decisions. And I was going, oh, what's there? I was watching something and something bumped me. And I go, oh, I know what it is. It was the littlest thing, but they're sitting in the hospital room. It's the last time they'll ever talk. And it was such an important scene. Yeah. And I remember like Mandy compliments Milo like three times in it, how super human he is.
And there's a rhythm where she's like, where you go, you're the best. And he says, I try. And the scripted line response was, no, you don't. Like meaning try, no, you don't even try. And that's what makes you. But it was like the third time you had complimented him in the scene. And I remember thinking, it's getting too much.
It's getting like, we're saying out loud that Jack's a superhero like four times in a four minute span, right before he's going to die. And so I just left it at, I try and just took a look from you where you shook your head with a cute smile. And it was like, it's like 80 billion of those little decisions of what makes a TV show.
But I noticed it when I was rewatching going, something's a little odd about that rhythm. I'm like, oh, I'm missing a scripted line that I'm still somehow... Like, vestigially remembering. Wow. Yeah. But so it's like, but then you make 20 of those decisions. You go, when is it too much? Like, Sterling's very light in this episode. And like, when does it get too silly? You know what I mean?
Like, when do you want to, like, it's, and that's what editorial is for me.
Well, we have great editors who now know what I like and we're simpatico in terms of like that rhythm. And it's all of it. It's the show feels that way because Yasu shot it that way. John and Glenn directed it that way. The performances feel like that. The dialogue feels rhythmic. It's not just me. It's like a lot of people like making the same thing, you know?
Excellent, excellent montage.
Build a home. To build a home. To build a home, yeah.
That was Vera, our writer. She found that song? No, at the very beginning of the show, I said, have you heard this song? And as soon as I heard it, I go, that's going to be what's playing as the house burns down. And then after I fell in love with it and after I edited it, someone said, you know, they use that very famously in Grey's Anatomy. And I was like, shit, I'm too attached.
We're just going with it. Did they?
Yeah. In all honesty, I probably would just because I don't, the 60 years I'd have remaining living with my wife when I let that dog burn would just not be worth it.
No.
In my mind's eye, I also always justified it. It's never said in the show, was like, if you were inside Jack's brain that night, it was the dog's barking. I'm looking at my little girl. She's begging me basically silently to get the dog. I can't let her down. But then as his brain starts thinking, can I make it downstairs? He goes, if I get down there, I can get the tapes.
And like, I, in my mind's eye, that's, it wasn't, it was like that, it got him thinking I could get down there and get the stuff. Like he's a vet, he's seen some shit as we'll learn. And he's like, I can get down there and get the tapes out of the house. And that was like, that was how I always justified it in my mind.
Also, I should say that lest anybody give us too much credit for having every single detail of the show mapped out, we did hit a point where we got up to the fire. And one of my writers came to me and was like, Dan, how did the whole family have childhood pictures all over the place? And we had a lot. And I was like, shit.
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