‘Silo’ Creator Graham Yost On His Futuristic Apple Series: “It’s Not Science Heavy. The Key Is To Make It Feel Real”

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It seems to be tickling Graham Yost When people apply Silo Like a science fiction drama.

Although the concept of Apple’s series is high – the adaptation of Hugh Howe’s novels is about a futuristic society that lives in a huge underground warehouse with 144 floors – there are no spaceships. Silo. And definitely no lasers.

“Science isn’t hard,” says Yost, the brilliant mind behind FX. Confirmedwho created it Rebecca Ferguson Astrologer for the stream. “To me, it’s a nightmare, whatever. It’s an alternate reality, all that stuff. But the key is to make it feel real and live with it. Frankly, if you pick too much science, it will fall apart.

Several studios have tried to identify Hawaiian toms in the past. Silo It finally became a small-screen reality. After Howie published himself WoolIn the year In 2011, 20th Century Fox snapped up the rights to the first book in the dystopian series with Ridley Scott and Steven Zalian. But the project was shelved when Disney bought the studio, so AMC Studios stepped in to snag a new version for its sister cable network.

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Apple eventually became the right home and picked up 10 episodes, recruiting other stars like David Oyelowo, Rashida Jones, Tim Robbins, Common and Will Patton. (The drama has already been renewed for a second season) “What made me say, wait a second, what happened? Why are they there? When can you leave? ” Yost, another of EPs experiencing Apple’s sleep, Slow horses. “As a reader of the books, I kept turning the pages. I wanted to know, and I felt that Hugh had produced an incredible and clever version that satisfactorily answered those questions. So that was our guiding star in the writers room. Let us never forget that this is a puzzle.

Here, Yost talks about his journey of adapting the popular books and how that milestone became a reality.

Deadline: Are the books an easy read for those who haven’t read them, or are they too dense?

Graham Yost: What I recommend to everyone is that Hugh and I are friends, so when we were interviewed before the premiere, I told him in front of him that you should absolutely read the books after you’ve seen the entire TV series. We want to be the ones to reveal the secret. and then Read Hugh’s version of what we’re getting closer to in some ways and changing in others. But it is still a big hole in the ground. Is it easy to adapt? No, but I really don’t know anything when you get right down to it.

Deadline: You haven’t made any high-concept or apocalyptic promises in the past, have you?

Yost: My brother and I wrote a pilot for NBC that never went forward. It had a big science fiction element to it, a world takeover kind of thing, an invasion of body snatchers kind of thing. But no, I’ve never worked on anything that went into production. As a kid, I got into sci-fi as a Lord of the Rings fanatic. I mean, I’ve read it five times in the last year. From Gate of the Ring to general fantasy and then to science fiction and all the classics – Asimov and Heinlein, all these people.

Deadline: Why don’t you call the series. WoolWhat is the name of the first book?

Yost: I will use this as an example. When we tell Rebecca, she’s about to call. Silo“Oh, thank you,” she said. She said that whenever she told people what it was called, they would immediately pull on her shirt. Wool is a hard word to hear, and a hard word to say correctly. It looks fantastic graphically. Wool is a great word because the way the two in the middle, OS and W and L, balance out looks cool. About a year and a half ago, I was talking to Jamie Ehrlicht and everyone at Apple, and I said, “Look, in the writers’ room, we think the show should be called Silo because it’s hard and difficult to say wool. Hearing” Jamie, “No, the first book is called. Wool. Then a new head of marketing came in, and said, “It has to be. SiloHe said. So it happened Silo.

Deadline: You said it was a secret in his heart. Have you already decided when to reveal that secret?

Yost: Approximately? We plan on certain periods. The audience’s tolerance for a big mystery is a certain number of seasons. Not eight, not six. You should wrap it up in a relatively up-to-date way. So we are trying to be as realistic as we can.

Deadline: Was it all up to you to define the silo in the script or were you able to leave a lot to the designers?

Yost: Our production designer, Gavin Bockett, didn’t want to see the graphic novel version that I saw in the first season. The prototype starts to come alive, which I thought was pretty cool to be honest. There are ways for those artists to imagine silos, cleaning clothes and things like that. Gavin didn’t want to see that, but in the end, there were a few things where he said, “Okay, show me what you have.” [Tyldum, director] He was designing the look of big things like the central staircase. I mentally thought that the sidewalks to the side of the stairs would be covered. He came up with these open bridges, a very beautiful and beautiful idea. He came up with the idea that it’s basically three spokes, so when you look down there are alternating walkways, but they’re all the same three directions. He also proposed the whole idea that there is a circular plan to everything. The cafeteria is circular. The Sheriff’s Office is round in Marketplace, the IT bullpen, everything is round because it’s a round area. He and Morton and I proposed that the living standards would almost have the feel of an old European town. It’s been our feeling for centuries that if you’re designing something that people need to live with, you should have that. They can’t just be straight lines.

Deadline: I know it was important to kill two people in the first episode, but did it have to be main stars like David Oyelowo and Rashida Jones?

Yost: That was the biggest and hardest decision of the whole deal. I wanted to repeat the experience I had when I read, and Hugh wrote the first book, which was about a sheriff and his wife. He wrote it like a story. That was it. It was a standalone story on the Amazon side, and it just started. It just became a viral sensation. People said they wanted more. Well, kill the two main characters! So he brought in a character called Juliet and let her take over the story. We knew it was a risk to make the first episode a prequel to Juliet’s story, but it ended up being the theme of the whole thing. There were a lot of fans who hadn’t read the books who were still waiting for the sheriff to show up, but he confirmed that anyone could die, which I think added to the tension and the element of suspense. I think people who have seen Mission Impossibles, seen Dune and seen Rebekah’s face are going to go, “Okay, I’m looking forward to seeing what happens to her.” Also, she is the face on the poster. I understand why the previous speculations didn’t want to start with a story that killed the two main characters, but I felt like that was part of the experience of the whole thing, and part of it was fan service and part of it felt right. The thing is, I’m serving why I’m happy. Because I was going, “Wait a second, now what?”

Deadline: You left the apocalypse drama during the outbreak. Do you think people want to watch this because of the hell they’ve already been through?

Yost: all the time. But our feeling is, if we’re really locked in and do the work we can, we’ve got a shot at doing something that connects anyway, and maybe surprisingly, people will recognize that. When you’ve been stuck inside for so long, you wonder, “What’s it like out there?” You start thinking. So we hope for more. But that was part of it, that is Let’s not make this a dystopia. Let’s not make life miserable in a silo. Their lives are safe, everyone has a job. They have food, they have family, they have friends, they have things to do. They don’t have TV, they don’t have books, but they have people to love and children to raise, and they are all working together to survive what they believe to be the last people. On earth, no matter what. So we want to make sure it’s not too frustrating. And at the same time, we wanted to be honest to that kind of pervasive claustrophobia. And that’s why Gavin’s design is so important to the central axis, because at least when you go into the central axis, there’s a sense of space and openness and grandeur. We think that the central part of that cello was a kind of cathedral of the place.

Deadline: Did you complete these steps yourself?

Yost: I will say this. When we write a scene where people run up the stairs, we now feel bad because it’s okay to do it once. It’s okay to do it twice, but when you have to do it 10 times, it’s tiring. It’s all well and good when you’re imagining it. And then it’s like, “Oh my God, this is a lot of work.” But here’s the thing, it’s a home show. We started at eight o’clock at night and finished at five or six. No worries about the weather. You are protected and can get the job done. That said, you come to work when it’s dark outside and then it’s dark again when you leave. People start thinking, “So I’m a mole now.”

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