definitely delete if theres a post, i just couldn't find it


frankly i wasn't looking forward to it i just know they are going to get it wrong
but since Vinyl is coming (post going up shortly) i figure it'll be a compare and contrast type thing


if you still didn't know here is Baz telling you about it:

http://www.vulture.com/2015/02/baz-luhrmann-get-down.html

Baz Luhrmann Tells Us All About His New Netflix Show, The Get Down

Baz Luhrmann has started casting his new Netflix drama The Get Down — and he’s not just looking for established talent with agents. In an exclusive interview with Vulture, the director/producer says that while he’s “already looking at some great talent out there who are professionals,” he’s also determined to feature undiscovered performers on his first-ever TV series, which will explore the rise of hip-hop culture from the ashes of New York City’s 1970s malaise. To find that unknown talent, Luhrmann and his production team today are launching TheGetDownCasting.com, a site where performers will be able to submit video auditions. Their initial focus: finding African-American and Latino actors (male and female) between the ages of 18 and 21. “The thing is, the entire show is hung on bright young people,” Luhrmann explains. “There are many professional at that age. But I don’t want to miss some extraordinary young person who’s just months away from sending in a tape to some casting agent. You need to spread the net very broadly.”

In his first extensive interview since Netflix confirmed it was moving forward with The Get Down, Luhrmann revealed a few more details about the project, including his plans for using music on the show, the broad range of writers he’s hired, and exactly when the show will take place.

The idea for the show has been percolating inside Luhrmann’s head for close to a decade.
“I’ve been on this since before Gatsby,” he says. “Not constantly. But for about seven years, and maybe as long as ten … I’ve had this kind of passion to explore the big idea — a city that’s on its knees, and a borough that’s beyond on its knees. And out of it comes a cultural force that, 40 years later, it’s an all-pervasive culture, not just here but throughout the world. Look at what’s going on with Hamilton, the play on Broadway, or Empire.

Writing has already begun, with some well-known scribes attached.
“I’m hunkered down in my little white box around Chinatown, writing it … with a great team of writers.” Luhrmann says. Among those working on the show, he says, are some who “lived in the Bronx at the time” the show is set, including Seth Zvi Rosenfeld (The Writing on the Wall). Author and journalist Nelson George is also “on our writing team,” Luhrmann says, as are Brooklyn playwright Radha Blank, Aaron Rahsaan Thomas, Sam Bromell, Jacqueline Rivera, and, as previously reported, novelist/TV writer Thomas Kelly. “We’ve spent several years doing quiet but very in-depth research,” he adds. In addition to Luhrmann, other executive producers on the show include Kelly, Shawn Ryan, Catherine Martin, Paul Watters (Australia), Marney Hochman (The Shield), and Stephen Adly Guirgis (Motherfucker With the Hat), who is also a writer on the show.

The show will use music from the past, as well as original compositions …
Because Sony is producing The Get Down, “We’ll have lots of recognizable, classic cuts” on the soundtrack, Luhrmann says. “We will be using very authentic music from the time. But our young characters — and this is crucial: Their songs are from a mythological musical group. So we have to see them create their own music ... That’s important because we want to show an aspirational story. We’re going to use music as a way of allowing the world to be very authentic.”

… and Luhrmann hopes to have many collaborators help create that music.
While he’s got a good sense of the show’s plot and story lines, “I’m in the middle of the evolution for the music,” Luhrmann says. There’s been TV-industry buzz for some time now that the director might be looking to bring in a big-name musical partner for The Get Down, the way he recruited Jay Z for The Great Gatsby. Luhrmann’s response to that idea? “There’s not much to say on that now, except: yes,” he says. “I want to work with great veterans and new talent. I’m definitely down the road with several and different key collaborators.” But the director also describes himself and his partners as “serial collaborators,” hinting there might not just be one big musical partner on this show. “It’s one of the great joys of my life to work with all kinds of collaborators,” he says.

Luhrmann is also hoping some of the people he recruits through the open casting call could end up writing original music for the show. “If they have musical talents, I’d like to see them contribute,” he says. “I’d like to see them write with us in the musical language of the show.” And as with his feature films, it’s likely those musical components will exist outside the series itself. “The music life of the show will be huge,” he says. “There will be albums that come out of the show.”

Season one will take place over three years.
“We start right in ’77, and we finish on the dawn of the ’80s,” Luhrmann says. And, yes, because of that time frame, The Get Down will tackle the disco era. “A lot of people think disco happened and then hip-hop came along,” he says. “But there was a very, very potent crossover period, and we’re really exploring that. Disco gets written off because it went through a dumbing-down period toward the end. But there was a very rich period of disco, of dance music that was very underground.”

The start of production is just around the corner.
Even though no big casting has been announced and the new audition website has just launched, cameras will be rolling in a matter of months in advance of the 2016 release date. “We want to be shooting by no later than the end of May,” he says. And then, with a laugh, Luhrmann adds: “So please send your videos to TheGetDownCasting.com — as soon as possible!”
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

http://www.lovebscott.com/news/first-look-jaden-smith-sports-afro-wig-while-filming-new-netflix-series-the-get-down-in-new-york-photos


~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

The musical director carousel is a good approach to getting all of the trends of the period down. ?uest would be a great consultant because of his knowledge of the time period and the level of detail he went to when he was the music director on Chris Rock's sitcom.

Hopefully there will be alot of people of color behind the scenes and in front of the camera. If nothing else shows like the ones Shonda produces and Empire and others are getting people of color more experience in TV which will get them in the pipeline for other projects down the line.

https://www.youtube.com/watch?v=zejyzr5vW3A

I'm in.

Really looking forward to this.

http://variety.com/2016/tv/features/the-get-down-netflix-baz-luhrmann-production-troubles-1201822679/

An inside joke on the set of Baz Luhrmann’s “The Get Down” proposed an alternate title for the new Netflix series. Because the troubled production had started, stopped, and stalled so many times as scripts were written, tossed, and rewritten, some writers had taken to calling the show “The Shut Down.”

Over the two-and-a-half years since the hip-hop-focused project was set up at Netflix, Luhrmann went through two showrunners, numerous writers, and no small amount of strain with producer Sony Pictures Television. Production of the 12-episode season, the first half of which premieres Aug. 12, went well over the original budget of about $7.5 million per episode and wound up costing at least $120 million overall, with New York state tax incentives factored in, according to sources.

That makes “The Get Down,” Luhrmann’s first TV series, among the most expensive in history. It’s a huge bet even for Netflix, which has disrupted Hollywood with a seemingly limitless budget for original programming.

In an interview with Variety, Luhrmann revealed that he was so overwhelmed by the process that he briefly considered abandoning “The Get Down.” The iconoclastic director of music-driven films such as “Moulin Rouge” went into the project expecting only a light level of involvement after getting “Get Down” on its feet.

(Article continues; didn't swipe the whole thing.)

all the talk of musical numbers makes me nervous. To be expected with Luhrmann, however.

I'm infatuated b.

Anyways this shit is really good. Three episodes in so far.

I'm infatuated b.

Anyways this shit is really good. Three episodes in so far.

it took me a hot minute to get the flow of it, but once i realized (partway through the 1st episode) that: "oh, this is actually a 'musical! Kinda like a west side story of that late 70s era in NYC" then i really relaxed and really enjoyed it!

like i said, only 1 ep in so far, but yeah, i'm having fun and digging it!

loving the nostalgia and the mythos and facts mixed in there together.

Herizen is ridiculous.

Those kids trying to figure out the crayon killed me.

I feel like I knew the basic story already but some minor details were interesting. for instance I had no idea what an OJ was.

definitely interested in seeing more. feels like it was just getting started when they had to stop.

nm

Shao with the Naruto arms running around was hilarious to me. I was really worried I was going to be cringing or swinging my corny gavel but this show is awesome, I'm just mad I smashed through in one weekend because I would have had something great to watch for the rest of the week.

and Kool Herc reminded me of Bushido Brown.

Yes you are right he deserves to be in there on skill alone.

#4 Vincent Vega, "Pulp Fiction" #5- ????


But I agree, Cadillac has to be #1.

I was just joking but Tyrone from Chappelle's Show is definitely #5

midway through and loving it.

there are some really EXCEPTIONAL acting performances all over the place in this show!

i'll come back and list some specifics (gotta go to work now so don't have time) but there are some actors & actresses doing some amazing work here....

this show has charmed me...

That was a brilliant summary. This show is so awesome on so many levels

^
^
^
yep, thats a really great description!

journalists and bloggers, feel free to use it.

Is this true?

(I'm sure I could confirm by looking online, but just wondering.)

Haven't started this yet but I'll probably check it out soon...

show is awesome

Billy Porter was hilarious. Love the intersection of politics and music. Love the old footage. Acting is a little over the top at times (especially Zeke lol) but love love love it.

In ep 6 was that supposed to be Run at the battle? Mustache in a bucket hat. Or am I reaching?

I would have FLOURISHED in the disco era

Ended up in a decent spot
I'll give it another season if there is one
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

It's an enjoyable series, and anything that gives us more Herizen G is a good thing.

Baz was saying in an interview I read that he and Netflix want a 2nd season, they just need to find a new showrunner.

could've wrapped up a bit more of the storylines at the end though.

I don't want to speak too much on it cause "spoilers" but overall i enjoyed it. It had a heavier tone than what i remember from season 1.

I didnt care for the cartoon cut scenes but I bet they were there to fill in for them being over budget. All and all great show.

they filled in some gaps. the only ones i wasn't feeling were the random hallucinations by Jaden.

I didn't know they had budget issues. Was this all shot as one season then split into two? I was surprised none of the kids aged at all. The budget thing would explain not revealing old Zeke or giving any of the character updates i was expecting it to end with.

nm

>random hallucinations by Jaden

Dude is seemingly struggling with who he is. So, I took the hallucinations as the imagery of his thoughts and feelings. I actually understood him a little better afterwards.

overall, I still think the show falls flat. The writing is suspect, but the acting is good. Books and Shao are definitely my two favorite characters. I fuxwit Cadillac too.

The anachronisms and suspension of disbelief stuff is KILLING me though. I can't stand how they weave in real life people, but then have characters who are clearly supposed to represent that person.

The Village People and Donna Summer a part of the story, but Marrakech Star Records is supposed to be Casablanca Records. To whom Donna Summer was signed. HUH??!?

they decided to go all in and once it became apparent its a fairytale type deal
it was good
=)
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

I enjoyed the first season but felt kind of exhausted of the whole enterprise when it was done. That's pretty much where Baz Lurhmann always leaves me.

But if people like this season, then I'm back in. What the hell else am I doing with my time?

http://deadline.com/2017/05/the-get-down-canceled-netflix-one-season-1202102024/

‘The Get Down’ Canceled By Netflix After One Season

By Nellie Andreeva 15 mins ago


Netflix
I’ve learned that Netflix has opted not to proceed with a second season of Baz Luhrmann’s ambitious musical drama The Get Down. The decision comes after the second six-episode part of Season 1 was released last month. It is a rare Netflix original series not to get a second season.

The hip-hop-themed drama, set in the South Bronx section of New York City in the late 1970s, was among Netflix’s most expensive shows, with the 12-episode first season costing about $120 million.

The Get Down, which marked Luhrmann’s first TV series, went through a lengthy and difficult pre-production and production process, with showrunner and writer changes. The production delays led to the decision to air the first season in two batches, with the first one debuting last August.

While the first season carried Luhrmann’s creative stamp, with him serving as hands-on showrunner, he had said that his involvement in a potential second season of the Sony TV-produced series would be more limited.

In an interview with Vulture earlier this spring, Luhrmann had indicated that a second season is in the works. “To be honest, we have already developed the opening of the next season,” he said. “Sony and Netflix have been very driven about having a second season. There has been no question about that. They really want it.”

Netflix's Vinyl.

It's a musical workplace comedy about working in a gym and dealing with the crazies that come there. It's like Cheers but in a Planet Fitness! With song and dance!

Honestly, that could probably sell.

>Netflix's Vinyl.

~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

Loved the music, loved the representation, loved (most of) tha actors.