Adapting Taylor Jenkins Reid’s novel, “Daisy Jones & The Six,” into a television series presented a challenge for showrunner Scott Neustadter. The book tells the story of a fictional band comprised of singer-songwriter Daisy Jones and the group fronted by addict and rocker Billy. Neustadter’s biggest obstacle was finding a way to marry these two components and give them as much screen time together as possible. The source material, however, kept them apart for nearly three episodes. To overcome this, Amazon decided on a staggered release format, dropping two or three episodes at a time, to captivate viewers and catch the attention of TV Academy voters.
Neustadter explains that they wanted the show to unfold like classical music, with distinct movements. It starts with a beginning, where the audience witnesses the rise that leads to Daisy and Billy meeting each other, which kicks the story into a new gear. Then, in the middle episodes, the audience is engaged in the band’s creative process as they record and face uncertainty. The tour and its accompanying drama follow, leading to the final show and the aftermath. Neustadter and his team felt that this unconventional release strategy made sense for the story they were telling.
When asked about how people watched the show, Neustadter acknowledges that everyone has different viewing preferences, whether it’s binge-watching or waiting for weekly episodes. The staggered release was a hybrid approach that allowed for some episodes to have a pause for a breather, while others were best enjoyed in a row. Moving forward, Neustadter plans to assess each project individually to determine the best consumption format for the material.
In terms of what was left out of the show, Neustadter mentions a few scenes that weren’t filmed due to time constraints, but they were mostly for added color. However, an entire episode was cut from the script. Initially, they had planned for 11 episodes, but they ultimately decided to condense it to 10 due to budget and COVID-19 limitations. Neustadter is glad that the loss of an episode wasn’t noticeable to viewers.
Related Post
The missing episode was in the middle, which posed an interesting experience for someone like Neustadter, who had never worked on a project like this before. After reading the novel, they planned for 13 episodes, but upon closer examination, they realized that certain parts of the story were similar and could be combined. This creative decision-making process led them to condense the episodes to 11 and a half, with the last one being slightly longer and featuring a coda. Although they initially considered extrapolating that content into a full episode, they concluded that it would be too much information for the viewers.
The most challenging part of the adaptation process was figuring out how to handle the beginning of the story. Neustadter explains that the show truly hits another level when Billy and Daisy finally come together. However, there was tension in the need to bring them together as early as possible while still taking into account the extensive backstory that needed to be covered. They wanted those two characters to meet early on, but it had to be impactful. Negotiating these two needs was a major focus during the writing process, and they ultimately couldn’t find a way for it to happen before episode three.
Several cast members have expressed their interest in performing music from the show, and Neustadter confirms that everyone involved wants it to happen. The challenge lies in finding a time when all the cast members can be in the same place simultaneously. However, they have continued practicing on their own, just in case the opportunity arises. Neustadter believes it would be a fantastic experience for both the performers and the audience.
Neustadter expresses his admiration for Taylor Jenkins Reid’s work and states that he would love to take on another adaptation of her novels. He appreciates her ability to build unique worlds and create compelling characters. As an adaptation writer, Neustadter’s main goal is to replicate the novel’s experience for the viewer. He mentions that he is currently working on other adaptations and hopes to continue doing so in the future.
When asked about the ongoing writers strike, Neustadter admits that it feels strange and awkward. He typically participates in picketing at Paramount, although he finds it challenging as an introvert. However, he hopes that cooler heads will prevail, and the writers can return to the bargaining table.
Regarding the sticking points of the strike, such as artificial intelligence, Neustadter compares it to climate change. He believes that people were hoping for a few more years of normalcy before facing the impending challenges. Entertainment seems to be leading the charge, and if the industry can figure out how to monitor and police artificial intelligence, other industries may follow suit. Neustadter acknowledges the terrifying and potentially job-altering effects of this technology.
In conclusion, Neustadter’s adaptation of “Daisy Jones & The Six” presented its fair share of challenges. However, the staggered release format and creative decision-making allowed the story to unfold in a compelling way. Neustadter is hopeful for the opportunity to work on more adaptations in the future, particularly those penned by Taylor Jenkins Reid. He is also keeping a close eye on the writers strike and hopes for a resolution that benefits all parties involved.
