“I was at the stock market today, I did a business.” — Vincent Adultman
BoJack is half-man, half-horse, and all washed up. He’s also the star of Netflix’s first animated show, BoJack Horseman, a dark comedy about an equine sitcom has-been trying to reclaim his relevance in the Hollywood Hills.
The show is the product of comedy writer Raphael Bob-Waksberg’s heartfelt humour and cartoonist Lisa Hanawalt’s lifelong obsession with drawing goofy animals. The opening sequence directed by Mike Roberts and with music by Patrick and Ralph Carney features BoJack floating through the spaces of his life, disconnected from everyone and everything, staring bleakly into the eyes of the viewer. The sequence is colourful and intricate, the details inviting close inspection – particularly as they evolve over the course of the series.
The title sequence, and the ensuing show, is powered by BoJack and his ennui, and the screwy cast of characters in his orbit. Hot on the heels of the release of its second season, we chat with the show’s creators and main titles director about how to entice an audience into watching a cartoon about a depressed talking horse.
A discussion with Creator RAPHAEL BOB-WAKSBERG, Production and Character Designer LISA HANAWALT, and Main Titles Director MIKE ROBERTS
Give us a little background on yourselves, and how you got to where you are today.
Raphael: Well, I’m a comedy writer! I was a play-writer in college. Bard College, which is a small liberal arts college in New York, and that’s where I met the other Old English guys. Most of my experience comes from them, working with them, being in the writing room with them and collaborating. Once we all graduated, I moved out to LA and I got a…
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