posted on: October 19, 2020
She was previously married to Ben Sinclair. I almost did. this link is to an external site that may or may not meet accessibility guidelines. © Copyright 2020 Meredith Corporation. Heightened as its concept may seem, High Maintenance was a rather personal venture for the couple. Click here to read our Summer 2020 issue, featuring Time’s Garrett Bradley, our annual film school guide, a spotlight on television and more... You are reading a post from 25 New Faces of 2013. “We long had this dream to create something — a film or a short, or a Web series — to get out all these weird stories that have happened to us over the years,” Blichfeld says. Katja wrote the outline for the very last story, which was the Guy getting locked out of his apartment and going down the hall to his ex-wife’s new girlfriend’s space and waiting to get in. “But every week, the true question was, ‘How are they going to die?’” they echo in unison. What was the biggest challenge to having the Guy’s story reflect your own? “If something felt false to us, if we hadn’t experienced something ourselves, or didn’t have a first hand account for experiencing something, we didn’t feel comfortable portraying it.”, Of course, the premise also presented an interesting opportunity to explore one of New York City’s most widely practiced contradictions. For a moment there, I was like, “Oh, nothing’s broken. SINCLAIR: I think sometimes when people break up and they’re absent from each other’s lives, there are all sorts of these mental machinations that happen afterward, where they’re wondering if they’re happy or what they’re doing, or “oh they’re probably happier than I am.” We didn’t have to do any of that. I mean, it felt very serendipitous and spooky all the time, as we would be mourning the way our life used to be together while the rest of the country was mourning the way life used to be. Critics have noticed High Maintenance‘s new vibe: The New Yorker pointed out the second season’s “willingness to dwell on more uncomfortable aspects of its subject matter,” while The Cut praised a “better, richer version of the show” thanks to episodes centering around “escape, with all its attendant thrills and responsibilities.”. High Maintenance returns Friday, Jan. 19, at 11 p.m. A need, Sinclair is quick to point out, that manifests itself beyond the obvious desire for drugs. TV Show For Ben Sinclair and Katja Blichfeld, co-creators of the anthology series High Maintenance, making season 2 was a joint (sorry) effort with quite a catch: Sinclair and Blichfeld … Like [laughs] I mean, I don’t know. Not everyone, but there was a lot of, like, “No, this show is not about the Guy.” And so we and a lot of our writers’ room and our producers wrestled with how much to put in. We just needed separate living quarters on the boat. It was a real back-and-forth because I had a temptation to live out my pain through my character, and everyone told me not to. Even when it feels painful, ultimately it’s okay, and it’s one of those realities of life and, you know… [laughs] It’s okay! I just wish that when we’re covered for this season, people aren’t tiptoeing, like [lowers his voice] “Oh wow, they couldn’t figure it out.” No. If you could have another season, how would you like this show to evolve? And then there’s an episode that delves into the Guy’s life — one that oddly mirrors Sinclair and Blichfeld’s own story. But then my manhood helped me. Did it make it even harder to work on the show together?SINCLAIR: It was a very hard year. “Not all of them are stoners. We have so many stories left to tell.”—S.S. Entertainment Weekly may receive compensation for some links to products and services on this website. We had other directors — like Shaka King and Eliza Hittman, who were directors we respected a lot before this and even more now — and the writers’ room. The Guy’s life — the whole mythology around the Guy — gets explored much more this season. Sure, the season’s packed with vignettes about New Yorkers/Brooklyn-ites/out-of-town-AirBNBers, but this time, life off-camera, both personally and politically, bleeds into the new batch of episodes. We won’t necessarily be a directing team anymore, but that will be the new development, I guess, for next time. Entertainment Weekly is a registered trademark of Meredith Corporation All Rights Reserved. For a debut effort, Sinclair and Blichfeld have assembled a particularly impressive rotating cast from their legions of actor friends. I think that what Katja and I did in the midst of working together so closely post-separation and on into our divorce was an unexpected kind of exposure therapy in which we were able to watch each other go through painful moments and moments of relief. SINCLAIR: I think it would be a shame if we just were one-trick ponies, like some sort of formulaic Two and Half Men sitcom. The boat — there’s nothing wrong with the boat. With the release of the third season, Blichfeld and Sinclair are only looking for more opportunities to showcase their ensemble storytelling. Watching her move on with her new girlfriend was hard for me at first, but now I’m quite happy for them in a way that makes me feel really good, because it’s like a true kind of love where you want the person that you love to just be happy, whether you’re involved or not. … I think that we went through difficult feelings post-election and post-marriage, and we have kind of a moody season as a result, but I think it’s helpful to others to know that other people are going through something just as you are going through something. What we created together is there always.” It’s because it’s been created, and if you just choose love instead of feeling hurt, everything’s going to be okay. That meant making some changes to how they write the stories that make up their thoughtful, inventive anthology series. The show began as a web series on Vimeo in 2012, telling short stories about the customers of a weed dealer known only as The Guy (Sinclair), before being picked up by HBO in 2016 and subsequently launching a season on the premium network. Click here to read our Summer 2020 issue, featuring. All we have to be good at is keep steering the course and give each other a break and trust each other to be captain when it’s our turn to be captain. There’s a different energy out there. BLICHFELD: [Laughs] I do think [turns to Sinclair] what you said about choosing love, you know, I think our finale episode is a manifestation of the “change is inevitable” and “choosing love” sentiments. This might be the first interview I’ve ever done where at the end I want to cry.SINCLAIR: I almost did! For High Maintenance, that source of intrigue was adapted into “How is this character going to meet the weed dealer?” Sinclair explains. So really, in a cool way, I think at the end of the day it sort of pushed us to be our best selves. Like, there were a lot of days where it was great and easy and like, “Wow, nothing’s really changed,” but then a lot of the time there was a sense of, like, pain because of memories or baggage or triggers [laughs] or what have you, and I think, had we not had this show and this contractual obligation to complete it, we may have fallen victim to childish emotions or childish behaviors. Oh man. BLICHFELD: I think the show and working on the show through these circumstances really kept us accountable to our higher selves, you know what I mean? Let’s talk more about how meta this season becomes. “New Yorkers are so private and protective of their personal spaces,” notes Blichfeld. So what can viewers expect from these new episodes? BLICHFELD: And we’ve also set ourselves up as a show that does change things up all the time, so it didn’t feel weird to break course. What was the drive behind doing so?SINCLAIR: It just ended up that way at the end of last season. It’s interesting you mention this season being moody, because to me it just felt… bigger. I think the way the Guy interacts with some people this [season], he doesn’t seem to take anything personally. SINCLAIR: A part of me was like, “Oh, I just wish I told seven-minute short stories forever, and we never delved into his life,” and I’m sure some audience members would like it if we just kept on doing what we’d been doing, but I want our show to evolve. And though making the leap to TV added some constraints thanks to airtime, Sinclair and Blichfeld used the opportunity to toy with framing (think the episode titled “Grandpa,” told through the eyes of a dog) and expand the stories of some characters they’d previously spotlighted on the web series. He doesn’t hold a grudge against feeling like things aren’t working out the way he wants them to. The second episode chronicles a married couple visiting their daughter before pivoting to a women’s group gathering for poster-making and wine-fueled discussions about the state of the feminist movement. SINCLAIR: It’s only secured my faith in the structure and community that I have around me, that I’m just surrounded by wonderful people who can really roll with anything in such a respectful and lovely way. “We loved Six Feet Under ,” Sinclair says of Alan Ball’s venerable treatise on death and the ties that bind, “but we really loved the first five minutes of it. We talked a lot about how things feel very pre-election and post-election, and I don’t think we were necessarily wanting to write anything particularly political, but we also couldn’t ignore how this is a different time, people are feeling differently than they did a year ago.
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