"A lot of the business people and creative people that I’m fascinated by all have something in common, which is a lot of failure—a lot of dramatic failure—and a lot of rejection." — Matthew Weiner
That’s a lot of hangovers! How much do the “Mad Men” really drink? Click here for the full infographic.
“There are definitely fictional families that I’ve almost felt like a part of,” says Kirk Demarais, the artist responsible for a series of portraits of fictitious families plucked from pop culture. “The Brady Bunch is first to come to mind. Thanks to endless repeats of those 117 episodes, my brain was practically fooled into thinking I was growing up alongside Greg Brady and the gang.”
Apatow brought a sense of structure and pacing, and, according to Dunham, “the most emotional, connected, what most people might think of as the most feminine content. You’ll watch it and go, ‘The hand-job joke was Judd’s; that crying girl was Lena’s.’ Well, flip it. I just brought my desire to share my shame with the world.” She also felt her sensibility addressed an underserved voice—confused New York women bridging the Gossip Girl teens and Sex in the City career women.
Are you watching the premiere of “Girls” tonight? Okay, maybe after ”Mad Men”?
To celebrate the return of Mad Men tonight, we look back at the original titans of advertising’s golden age and reflect on the forces that fostered so much creativity.
14 Great Ads By The Real Mad Men. See them all->
As “Mad Men” moves further into the 1960s, Jennifer Getzinger, who directed tonight’s two-hour season premiere, hints at changes—in characters, sets, and of course, costumes—to come this season.
"We put so much time and care and love into the design of these sets and the design of these clothes and the hair and these people that the frame is going to look full and rich. You don’t have to do some fancy camera move to try to add some excitement. So we try to really let things play in very classic ways. It is about finding these great graphic frames. There are so many amazing lines in the design of the sets. Especially the office. But a lot of [our] sets have that. We shoot a little lower [than most television shows] and so we always have ceilings—fantastic ceilings—so you can get these really beautiful, graphic shots. You’d be surprised how many sets don’t have ceilings."