By Alison Willmore | Indiewire March 28, 2014 at 12:25PM
Before he was an animator, before he created "Beavis and Butt-head" and "King of the Hill," before he directed cult comedy classics "Office Space" and "Idiocracy," Mike Judge was an engineer working in the Bay Area. So his new HBO series "Silicon Valley" finds him coming full circle in a idiosyncratic and impressive career, even as he takes on the very contemporary world of tech startups.
Judge has always had a keen eye for everyday absurdities, and "Silicon Valley" finds plenty of hilarity in an industry dominated by awkward, hoodie-wearing coders who suddenly have a shot at being billionaires. The series, which premieres on April 6th at 10pm in a prime spot between the returns of "Game of Thrones" and "Veep," is Judge's first for premium cable, and he seems a little bemused by the creative freedom he's received -- "HBO doesn’t focus test anything," he noted. "They just put it out there." Indiewire caught up with Judge on the phone to talk about the new series and why TV's gotten so good.
You've had shows on basic cable and on some of the big networks. What has the experience at HBO been like?
There's this direction that TV seems to be going that I think started with HBO. A smaller number of episodes -- like this first season is eight -- and having a series arc. There's something really nice about it. There are no restrictions except for having it be under 30 minutes, which, TV has gotten down to 21 minutes with more commercials. TV's getting better.
We're seeing so many more ambitious series in terms of comedies and dramas, in part because, as you said, of HBO. Do you see there being any more openness at networks to these ideas?
Yeah -- Louis CK's show is on FX. That's a pretty groundbreaking show. It's a real good time to be at HBO, though. I think it was a year and a half ago, my manager called and said HBO would like to meet with me. Sometimes I don't go after things as much as a lot of Hollywood people do, but I'm at a place where my younger daughter graduated high school and I've got more flexibility to be out in LA working. Just landed in a great place here.
Can you tell me about the decision to do a live action series?
Yeah, this is the first live action television I’ve done. There was never a moment I would have thought about making this animated. I've only done live action movies. I've wanted to do live action TV for a long time, I really like it. I did a pilot for Fox in 2001 and had such a horrible experience, I said I was never going to do it again.
In fact, I didn't even do television again except for "King of the Hill" until I had an animated show ["The Goode Family"] that didn't go very long. At one point before "The Office" had come on, they talked about doing "Office Space" as a TV show, and I'd had such a bad experience I just said no.
What were some of the things that were bad about that experience?
Executives coming in and saying, "No, we hate that music cue, take it out. We hate that." There was an executive on the set who I don't think had ever been on the set of a live action shoot... you usually shoot your first set-up wide, and then go in for a close-up, and in every single set-up, she would come up behind me and say, "Are you gonna get a close-up?" And I'd say, "Yes."
It was like someone coming up behind me and saying, "Are you going to put your shoes on today?" "Yeah." "Okay, good." It felt like, "Okay, you guys direct it. Why do you want me here?" I know another director around the same time did a pilot at Fox with the same group of people, and had a major anxiety attacks, wanted to quit the business. So it's not just me.
How much has shooting "Silicon Valley" been living a movie for you? You've already got your season order, so you know how long you're running and where you're going, what your endpoint is. Is it really that different in terms of production?
We shot them all in a row, so it was like making one long movie, but from a writing standpoint, it's different. It does have that feel of being able to feel like you can really develop the characters.
It's hard to explain. I always think of classic TV that I grew up on, and "Beverly Hillbillies" or "The Bob Newhart Show," you just want to check in with those characters, and it doesn't have to be an epic story. With this, we are making it more of a series arc, so it kind of feels like a hybrid of a movie and a TV show.
You have a background working in Silicon Valley. What sparked your interest in Silicon Valley culture now?
These type of people, had they been born 200 years ago, would not be the wealthiest people in the world. You look at whoever the richest person in television is today, and they probably spent 20 or 30 years just working their asses, off, staying up until three in the morning, writing episodes, and then you look at the Tumblr guy, who's a billionaire.
There are these guys in college who were smart but introverted people who suddenly have a billion dollars, and they're still socially awkward. That’s just really great for comedy.
And that money often comes from concept that can seem very frivolous.
They're ideas that aren't even making people any money. They're all just on spec. It's the prospect that maybe it'll make some money. Very simple apps get funded, and people get rich. To me, when I've met these people, they just remind me of engineers I knew when I did it, and people I knew in college in computer science. The type of people who'd get rich 100 years ago -- Rockefeller, Carnegie-- are very different personality types than Mark Zuckerberg.