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Justified - Season 4 - Timothy Olyphant & Walton Goggins - Tuesdays on FX

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NotTheGuyYouKill

Member
Cornballer said:
S1 Ava:

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Ah, once upon a time. What was that, twenty years ago in show time?

Oh, she's just aging horribly.
 
R

RatskyWatsky

Hunky Nostradamus
Solo said:
She looked great back then. She's looking old these days.
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She does look a bit older, I'll give you that, but I think a lot of it has to do with the way Joelle plays her. Season 1 Ava is more perky and even sort of bubbly compared to the more war worn Ava of season 4.
 
C

Cornballer

Member
- Justified Quick Shot, Ep 11 (youtube of Boyd & Raylan negotiating at the school from last episode)


RatskyWatsky said:
She does look a bit older, I'll give you that, but I think a lot of it has to do with the way Joelle plays her. Season 1 Ava is more perky and even sort of bubbly compared to the more war worn Ava of season 4.
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Wardrobe/make up/hair styling, as well. It's much more matronly at this point. Joelle Carter is 40 and has at least one child. She looks great, imo.
 
C

Cornballer

Member
- Justified Blog: Q&A with “Decoy” Co-Writer Chris Provenzano
–Did you and the writers spend time at the beginning of the season coming up with themes that would be interesting to explore? Or do the themes arise naturally from the storylines?

A little bit of both. In one sense, [showrunner/executive producer] Graham [Yost] comes in and relates to us some of the things that have been on his mind, things he wants to try to do differently or things he wants to do again but better or in an interesting new way. I don’t know that themes necessarily come up. I think ideas are there first. And as you discuss the ideas and build upon them and burnish them then you start to find outputs for them in the story. I think themes develop the deeper and deeper you get into the process. It feels like themes develop when you start seeing the idea represented over and over again in different places and different ways and different characters. Then you start saying, “Ah, so I guess our theme is starting to be this.” At least that’s how it is on this show.


–Has it been like that since season one?

I think so. To my recollection, we never really sat down and said, “This is the season that is about X.” In some ways the first season was a lot about fathers and sons but that didn’t really develop entirely until midway through that first season when we realized how important we wanted Arlo to be to Raylan’s life. And the second season, Graham knew that he wanted a strong matriarch but the deeper themes of the bond of community and the connection to the land developed [later on]. I think it’s particular to this show that we have notions and ideas that we chase down and as it all congeals, it starts to have thematic resonance throughout different aspects of the season.


–How did the story of “Decoy” come about?

Partly just because we are doing perhaps our most serialized season. The story came about because of where we were in that particular portion of the story. We had left the previous episode with the bad guys raiding against our heroes and our heroes needing to get from point A to point B. It was pretty clear right away that this was going to have to be a run-the-gauntlet kind of episode. And Graham had pretty strong feelings about it and had a very clear idea about how he wanted to do it. He was really excited to tackle a convoy/escape/shoot-em-up, so that was pretty much right there from the beginning and all we really knew in terms of the other half of the story, which was Raylan and Shelby and Rachel and Boyd, was that there was going to be a certain amount of down time and waiting. The trick was always to figure out how to make scenes of people waiting dramatic and interesting and about character. We knew we were going to have to balance an action-heavy big story with a quieter, more introspective side story.


–It was cool to see Tim and Colt try to outwit each other. When did the idea occur to have them face off using their war experiences in that way?

As soon as [Graham] decided that there was going to be a convoy that was looking to get Drew – you know, sort of a one-road-in-one-road-out kind of idea – Graham very quickly hit upon the idea of IEDs and how that situation might apply to the two characters in the show who are recent Iraq vets. It was pretty clear from the beginning that that was going to be a big way to get Tim and Colt to rachet up the animosity that’s been simmering throughout the season.


–What’s the origin of the astronaut story?

That story is true. That actually happened to me in grade school, almost exactly as vague as that, because I really don’t remember anything about what happened other than one day we had an astronaut come speak at the school. The way he came was by landing a helicopter in the middle of the baseball field. I don’t remember who the guy was, I don’t have any idea what he said, but I remember that it was about the coolest thing I’d ever seen. [Graham] loved it, and it gave him an opportunity to riff a little bit on Dave Scott. I think [Graham] was interested in hinting that it was [Dave Scott] but it was left purposely ambiguous. Alan Sepinwall was the astute critic who hazarded to guess that that’s who Graham was referring to. But the original story was from yours truly.


–Several reviews of the episode have mentioned a Tarantino influence, particularly in some of the dialogue and during Bob’s beatdown, when the song “Love Train” is playing. Were you and the writers consciously thinking about Tarantino when you planned and wrote this episode?

Definitely. Tim Olyphant pretty early on lobbied for a scene where Bob proves his mettle by getting beaten to a pulp. As a frame of reference he spoke about the scene in “True Romance,” where James Gandolfini’s character beats up Patricia Arquette’s character so we pretty nakedly modeled that scene on “True Romance,” which Tarantino wrote. There was nothing in the script that suggested a music cue but when Graham and I saw the director’s cut – I don’t know if it was Michael Watkins, the director, or the editor or who did it – but somebody put in “Love Train,” and it was amazing. It was like, “Well, if you’re going to do an homage, you might as well do it all the way.” For me personally it was scary, because I was like, “Oh, for sure you’re going to see Bob die.” When they play happy music and somebody’s getting beaten up, it’s not going to go well. I remember talking to Graham afterwards and saying, “Wow. That’s amazing but do we really want to go that far?” And he basically said, “Yeah!” So it stayed but we were very conscious that it was a tip of the hat to Tarantino. It was shot to be very brutal and I really think that [with] the addition of that song, you’re expecting the worst. For whatever reason it sets the mood that this is just going to be awful.


–Constable Bob has evolved from comic relief to, as Raylan says, “a tough son of a bitch.” Was revealing that side of him always on the writers’ minds or did that come about from the strength of Patton’s performance?

If memory serves, we knew that the character of Constable Bob was a potential place for comic relief. When we cast Patton in that first episode [“Hole in the Wall”] he was just so great and we all loved him that we immediately knew that we needed to have him back in some way or another. And we’re a fairly jocular writing room so we were always thinking of funny stuff for him to do. At a certain point – and Tim [Olyphant] certainly weighed in on this as well – we didn’t want him to be a punchline, or a one-note character, so it was always in the air to figure out a way to show another side of him, to toughen him up. Tim was the one who ultimately came up with what we shot, which was to just beat the shit out of this character and really show what [he’s] made of. So I think it’s a combination of all those things: the character, the casting, the performance, our affection for Patton but also for the character, and just what it was able to say about Raylan because Raylan has very few warm and fuzzy friends in Harlan anymore.
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F

Funky Papa

FUNK-Y-PPA-4
Tim has the best ideas. I don't think I've ever heard of a TV actor being so involved and so good at touching up/helping with the scripts.

All hail the Olyphant.
 
C

Cornballer

Member
New episode tonight. Just two more to go this season:
Peace of Mind

The Drew Thompson case becomes a fiasco that Raylan can only fix by besting Boyd in a hunt for an unwitting woman caught in the middle.
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I'm going to be out tonight and won't have a chance to watch until later. I'll post reviews and other stuff when I get back if no one gets to it first.
 
C

Cornballer

Member
- AssignmentX: Joelle Carter interview part 2
In Part 2 of our exclusive interview with actress Joelle Carter, we talk more about her character Ava Crowder on JUSTIFIED, the series adapted by show runner Graham Yost from Elmore Leonard’s works, now in its fourth season on FX, Tuesdays at 10 PM. Carter also discusses her upcoming feature film projects.
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Here's part 1 from a few weeks ago.
 
F

Freyjadour

Member
Tonight will be the first live (DVR anyway) episode I've seen after catching up. Haven't enjoyed S3/4 as much as 2, but they've had their moments. Mostly irritation over a lack of focus on Raylan and Boyd for periods of time.
 
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