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But, in the last year or so, I've picked up the Twitter I've really been enjoying that, and I get a lot of feedback via Twitter. Q: How much of the online discussion do you tune in to?Ī: Not too much. Everything about this show's life has turned out to be about the commitment of the fans and how vocal they're willing to be. We'll see how fans respond to these episodes. Everything about this show has been kind of its own little unpredictable expedition. They're just laughing and enjoying it, and appreciative that there's more `Arrested Development' to do. It was a lot of fun and it was inspiring to see how much joy the actors were getting out of re-inhabiting these characters. I'd visit once in a while.īrian Grazer and I are actually going to show up in these episodes, in a few places.
So, I wasn't around much as they were shooting. So I literally, at lunchtime, went in there because it was the quietest space I could find at the track, and shut the doors and recorded the first episode.
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Like, I did the first bit of narration for these Netflix episodes from the trailer of a 1976 Ferrari Formula One car because I was still directing `Rush' in England - that's a movie about Formula 1 racers from the '70s. I do my narration from all over the place. Q: Was filming the new episodes different from working on the other three seasons?Ī: I was virtually never around much when we were filming.
Ron howard arrested development narrator tv#
It's a fantastic story construction that's hilarious and smart, and I think really unique to the way TV comedy has ever been presented before. There's an eye toward binge viewing, and the possibility that a lot of people are going to view these episodes more as a whole than as the single episodes.
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Q: Circling back to "Arrested Development," what are you most excited, of this new series of episodes, for fans to see?Ī: Because it's Netflix, that offered Mitch and company a little added measure of freedom. But, I've become my own brand as `Tower head' and don't want to let go of that dream. We've been staying a little bit below the radar because there was just so much noise about it, it was putting a lot of pressure on the process that I didn't think was necessarily healthy. The one thing I think I can say is `The Dark Tower' is something that I am far from letting go of, and I've continued to work on it. Q: I was interested to see you're in talks with Netflix about an adaptation of the Stephen King book series `The Dark Tower.'Ī: I can't really comment on that. Technology and the internet, and the access and the downloading, I think is what has kept the show vital and fresh in people's minds. Cable companies were interested in what a reboot might look like, but there was just a real passion for it at Netflix, and there was something bold about it, and experimental, which is just kind of consistent with what the show is, anyway. That was Ted Sarandos (chief content officer at Netflix). That's what coincided with Netflix reaching out to us and saying, if you have any interest in more anything, more `Arrested Development' in any way, shape or form, we'd love to talk to you about it, because our fans clearly love the show and we think there's an appetite for more based on the data that we've collected. They're a drumroll into what we still hope is a movie.
It became clear to both Mitch and I that it would make some great episodes. There was a lot of comedy there to ignore by approaching it that way. There was just so much material, it was really more than a movie could hold.
But, as the years passed, Mitch began developing story lines. We'd been angling toward a movie, and we still are. Q: Can you describe what went into getting the show back into production?Ī: It is complicated because it was experimental. I thought it was exciting and interesting. Now, it's much more a function of the business of getting it done, getting it rebooted, being a part of making the decisions along with Mitch, along with (producer) Brian Grazer and our other partners, as to what really can be done with the show and trying to be a catalyst in this sort of experimental approach. It was something we were experimenting with, but it stuck, and Mitch called me back one day when they tested the pilot and he said, `Well, the good news is that among the highest testing factors was the narration.' So, I was drafted into a full-time job there. I worked with Mitch a little bit on the style, but he really took it from there.
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