First appeared in the Boston Globe.
http://www.boston.com/news/globe/ideas/articles/2006/04/30/qa_with_david_milch/
By Harvey Blume
Few people credit heroin, rather than, say, Jesus, for giving
them a new lease on life. But when award-winning television writer David Milch
("Hill Street Blues," "NYPD Blue," "Deadwood")
spoke at MIT earlier this month, he avowed that exchanging the various
"experiments in psychopharmacology" he had been conducting on himself
for a heroin habit was nothing less than life-saving.
Now in his early 60s--relaxed and drug free--Milch cycled
through a gamut of personae when he spoke at MIT: first in the casual setting
of a class on media taught by professor David Thorburn, a friend from Yale, and
then, to the public, at Bartos Theater. Between these venues, he yielded
glimpses, intentional or not, of a hilarious drunk, a California acid head, and
a charismatic Yale don who could quote tellingly from the likes of St. Paul,
William James, and Robert Penn Warren. (Warren, in fact, was Milch's revered
mentor at Yale, and a friend thereafter.)
Other, rougher, personae emerge in Milch's television
scripts. "NYPD Blue"'s Andy Sipowicz, for example, opened up network
tube to less idealized portrayals of police by being, at the outset, racist,
alcoholic, and all too ready to lay hands on suspects (as Sipowicz's legion of
fans knows, he changes). Milch goes far beyond Sipowicz in his current HBO
series, "Deadwood," based on a scrupulously researched Old West town,
circa 1876, where law had not yet arrived, morality was negotiable, and
eloquent vulgarity was the norm. Milch's ability to imagine the characters in
this show--varying blends, most always, of savagery and compassion--certainly
owes something to the fact that his father, a respected physician in Buffalo,
N.Y., was also doctor to the mob.
After his appearance at MIT, Milch flew back to California,
where I reached him by phone.
IDEAS: You talked at MIT about humility being essential for
a writer. Why?
MILCH: Humility has to do with trying to be a vessel of
purposes you're content to understand as not your own.
IDEAS: How did you personally come by it?
MILCH: By protracted exposure to miracle. As life went on,
everything I believed about it turned out not only to be wrong, but comically,
ineffably wrong.
IDEAS: As in your experiments with psychopharmacology?
MILCH: Those were more the effort to deal with my
misapprehensions than the cause. I had the erroneous conviction that all of
history tended toward my birth and would diminish into chaos or inconsequence
after I was gone. When you realize that's not so, the proper humility is to
defer.
IDEAS: Your father operated on mob guys so they wouldn't
have to testify at the Kefauver Hearings in the 1950s. He straddled morality
and amorality. Isn't that what you, or at least your characters, do?
MILCH: As a writer, I don't have a sense of my own position.
I try to disappear, and not to think of myself at all when I'm working.
I've been beaten. I know what that's like. They say, who has
been a nail, can learn to be a hammer. So I know what it is to beat people.
Those associations filter in, but I would not expect them to be the
associations viewers have when I portray the likes of Sipowicz.
IDEAS: How close were you to the mob guys?
MILCH: [Laughing] When I was 5 years old I was running
phones in one Brooklyn operation.
I had one great-uncle we had to visit outside territorial
waters on a boat off Florida. There were certain members of the family who
would never be seen in public with my dad--not because he objected, but because
they didn't want to screw him up.
IDEAS: You were on easy terms with these characters.
MILCH: Which is why I say, they were in the house whether
they were in the house or not.
IDEAS: When you handed in your first "Hill Street"
script while still teaching at Yale, did you watch much television?
MILCH: Sports.
IDEAS: You didn't know the medium well?
MILCH: "The Honeymooners," Milton Berle.
IDEAS: How was it to go from Robert Penn Warren, say, to a
television script?
MILCH: I didn't know how to write a script. I've been
associated with different institutions, but I've always generated my own
connection to them. My connection to Yale was almost exactly the same as my
connection to "Hill Street Blues" and Steven Bochco.
IDEAS: You weren't troubled by any change in atmosphere?
MILCH: I kind of generate my own atmosphere.
IDEAS: What about movies? As American movies decrease in
originality, doesn't creativity shift to cable?
MILCH: It's not that cable is populated by visionaries. The
revenue model of a medium is what drives it. Movies, because they try to
attract people to a special place to watch them, aren't supposed to sustain
coherent imaginative engagement. They're more like a series of electrical
jolts.
IDEAS: Do you want to write for film?
MILCH: I used to fix movies--in exchange for big bags of
money. I can't anymore, just can't. It's too stupid.
IDEAS: Energies wane, don't they, even in the best
television series, and the shows becomes formulaic.
MILCH: There's a time when creative and commercial
intentions coincide. Then they diverge. If a series is successful, the
commercial interest is in keeping it on, even after the creative interest is in
ending it. With "Deadwood," my intention is to end at the end of the
fourth season. I can't speak for anyone else, but that's where I'm getting off
the bus.
IDEAS: At MIT, you urged aspiring writers not to turn their
backs on mass media, because, as you see it, the infantilization of the
American mind by the media was more responsible than your Yale fraternity
brother George W. Bush--you genially call him a moron--for the catastrophe of
Iraq. Please say more.
MILCH: We've begun to evolve inorganically as a species,
through our technology, and, especially, our media. We'll hit an evolutionary
dead end if the media model is wholly economic rather than spiritual. We won't
be able to control our technology and will wind up killing ourselves.
I'm doing a new show that has to do with all that. It's
about surfers and interplanetary visitation. The challenge is to let the
spirituality be the effect, rather than the premise.
Harvey Blume is a writer based in Cambridge.
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