Another overdue link from my ‘longreads’ bookmarks, The Hollywood Reporter talks to the cast and crew of Mad Men about the early days of the show now that it is about to come an end:
Christina Wayne (former senior vp scripted programming, AMC) Years earlier, I’d wanted to option Revolutionary Road [Richard Yates’ novel about suburbia in the 1960s]. But I was a nobody screenwriter, and [Yates’ estate] held out for bigger fish, which they got with Sam Mendes. So when I read [the Mad Men script], it resonated with me. This was a way to do Revolutionary Road, week in, week out. When we had lunch with Matt for the first time, I gave him the book. He called me after and said, “Thank God I’d never read this because I never would have written Mad Men.”
Perhaps more interesting, however, is James Meek’s lengthy article for the London Review of Books on the show’s superficiality, and its curious relationship with advertising:
Sterling Cooper, the fictional advertising agency around which Mad Men is built, is a caricature of the commercial TV system that produced the series: a pool of creative people in bitter thrall to the accountants and deal-makers they rely on for money. Although we learn in parenthesis that the agency gets most of its income from commission on the ads it places, for dramatic purposes the agency is divided into two departments: Creative, which comes up with campaign slogans, artwork and copy for ads, and Accounts, which persuades, charms, fawns, bribes and pimps its way to getting and keeping corporate clients. Mad Men is a show about writers dependent on advertising, written by writers dependent on advertising, the difference being that the fictional writers of Creative write the ads on which they depend.