10 Questions with ... Dan Blank

BRIEF CAREER SYNOPSIS:

Graduating from NYU’s Tisch School of the Arts in 2001, Blank received a Student Academy Award for his stop-motion film Shadowplay. For many years, Blank worked in both animation and visual effects for film and television (Watchmen, Chronicles of Narnia, Avatar). His proof-of-concept short "Monster Roll” was a viral hit, gaining him attention as a creator. He has written and developed features in both animation and live action, with projects at Cartoon Network and 20th Century Fox. He has also consulted for Google’s virtual reality projects, exploring creative potential with emerging technologies.

1. Your background was in visual arts, but here you are creating hit scripted podcasts. First, what drew you to the podcast medium? What was it about the podcast and audio medium that lent itself to what you wanted to accomplish?

I had always been a huge fan of radio dramas and sketch comedy albums. Growing up near New York City, my parents would often take us to the Museum of Broadcasting (now the Paley Center for Media), where you could not only listen to old radio programs, but as kids, you could perform in one as either an actor or foley artist. While I had early introductions to Lux Radio Theater, Suspense! and BBC radio, I was also obsessively listening to comedy albums from Monty Python, National Lampoon, Adam Sandler, etc. There were sketches that experimented with the medium and were funnier than anything that could be pulled off visually, because they forced the audience to engage and use their imagination (If you are twelve, “Are You Embarrassed Easily?” is exceptionally crude and hilarious).

I’m also close friends with Micah Bloomberg, one of the creators of “Homecoming,” which began as a podcast drama. We both went to NYU, where the freshmen curriculum includes “Sound Image,” a course where you create an audio drama before you are allowed anywhere near a crew or the rest of the film equipment. It forced you to think about what you really need to tell a story, and how much value sound can have (good audio can save bad video, but never the other way around). When Micah told me about Homecoming, it seemed obvious that this could still be a liberating way to tell stories without some of the other financial and practical obstacles that come with film production. Plus, my own experiences with binaural audio made me feel it was a format with a lot of potential to experiment in and push boundaries.

2. Given the obvious differences in visual vs. aural media, when you're developing concepts, how do you determine which is the best medium for an idea? Do you, in your mind, see ideas as audio or video or some mix thereof? Do you have a visual (TV or movie) adaptation in mind, or are you purely looking at these as audio material?

“Carrier” was actually conceived as a micro budget feature film. As I was designing the story, I was trying to keep it a contained location with a small cast, and therefore, a feasible production. Fortunately, the timing worked out with Rob Herting, who was launching Qcode around the same time I was about to begin the feature script. “Carrier" seemed to lend itself well to the audio medium, since so much of the story is set in the cab of the truck with Raylene interacting on a phone or CB radio. It was only when I began developing the story as a podcast that I started expanding the scope a little more, since I didn’t have to be as restrained as I would if this was a small indie film.

In terms of other stories, I'm not interested in using podcasts simply as a development tool. I’d hope the stories and characters would be compelling in any format, but in terms of execution, I’d like to continue taking full advantage of what each format can offer that the other ones can’t.

3. Following up on that, what's different about writing for podcasts as opposed to other media?

As a fan of economic storytelling, the mantra had always been “Show, don’t tell.” Since film is a visual medium, you often look for places to cut dialogue if you can make the same point using a camera move, a reaction from an actor, etc. With podcasts, one would assume all of that would be irrelevant, but the concept is the same, with sound effects instead of images. What sounds can you use to convey the story and help the audience visualize the world, before relying on expository dialogue?

The scripts to “Carrier" read like any other screenplays, but the sound design is almost always included in the scene direction. Everything from the way Ray exhales, to the sound of her gripping a steering wheel, to the crunch of gravel beneath her feet was conceived before production, rather than as an afterthought in post.

4. What kind of research or preparation did you have to do to create this podcast? Or did it come entirely from your imagination?

“Carrier" is an original concept. I arrived at the idea a few years ago, but it wasn’t until I found the right character to be the truck driver that I became really excited about the project. I love films like “Sorcerer," “Duel," and “Wages of Fear,” as well as classic trucking music and B-movies. But a lot of that is a nostalgia for the 1970’s heyday of independent truckers as mythic cowboys. Raylene felt like a good way to explore where the trucking industry is today, and the modern problems drivers are facing.

I had done lots of research about the industry, but between development and script phase, I needed to be sure I wasn’t just making everything up. As soon as I figured out Raylene’s route to get home, I went out to the midwest and drove between Chicago and Kansas City, stopping at truck stops along the way, interviewing drivers, recording sound effects and dash cam videos for reference, etc. Since I drove alone, I also gained some sense memories before writing. I have so much respect for long-haul drivers. After three days in my rental car, I was struggling. I can’t imagine being on those roads for up to three weeks at a time.

5. In a similar vein, to what do you turn for inspiration when writing?

I didn't listen to many other podcasts for inspiration on Carrier, but I did listen to movies. It’s surprising how much a good movie still holds up with just audio.

If I’m writing, and not in research mode, I’ll typically watch or read something that is not related to what I’m working on. That tends to spark fresh ideas or help examine a story problem from a different angle.

But if I’m desperate for inspiration, "The Twilight Zone" usually gets the wheels turning.

6. You've made a career turning to innovative media for storytelling. Recently, we've seen more experiments like the "Black Mirror: Bandersnatch" interactive episode/movie, and some podcasters are playing with the form as well. As someone who's worked with VR, for one thing, do you see the mainstream audience appetite for interactive entertainment -- not necessarily gaming, but the choose-your-own-adventure category or something like it -- growing, or will it be too much work for the mainstream listener/viewer?

Absolutely. Video games, escape rooms, immersive theatrical experiences, and virtual reality all require the audience to be active rather than passive, and there should be a place for both styles of narrative. There is so much content out there right now, and only so many hours the human body can sit on a couch, so I’d love to enjoy stories of all kinds, wherever I go, both socially or alone.

My wife and I travel a lot, and we listen to site-specific walking tour apps whenever we visit landmarks. The BBC has also been experimenting with “Pod Plays," which recommend a type of location to be in (a park, a pub, etc.) to enhance the experience as you listen to the audio drama.

I’ve been fascinated by the potential of virtual reality, but a current challenge is that it requires a lot of gear and space. Something like “Carrier" only requires a set of headphones to fully experience the story. I’d love to create something location-based in the future, and can’t wait to experience other stories that way.

7. How does directing for audio differ from directing for video, if at all? How do you get the best out of voice actors, especially those more accustomed to acting for the camera or on stage?

There are certainly differences in directing approach, but a lot of the core elements remain the same. Casting well, making sure both you and your actors understand the material, being willing to both collaborate and be challenged, etc.

But recording audio in a studio is closer to shooting green screen or performing in a black box theater than a typical film shoot. It requires a lot of imagination on the part of the actor. We wanted the studio to feel casual and comfortable, where the actors didn’t have to feel pressure and could really focus on their craft.

We did whatever we could to inspire them and give them a sense of the locations. We would even feed some ambient sounds through their headphones, which made them a lot more comfortable and helped keep the performances grounded.

I did have to be very conscious of looking away and listening to the voices rather than watching their faces, which was a real challenge when you’re working with actors of this caliber!

8. What in your career would you like to do that you haven't done yet?

That seems to be a constant goal for me — Doing something I haven’t done yet. I find creative work satisfying no matter the medium, so I’d like to continue exploring and staying curious as new formats for storytelling take shape.

9. Of what are you most proud?

I’m really proud of the work this entire cast and crew has achieved. From Cynthia Erivo and the rest of the actors, to Noah Gersh & Jamie Scheffman (engineering, mixing, and score), and Sam Plattner (sound designer), to the production team at Qcode.

It’s rare to work on a project where everyone involved is passionate about the content, and I feel extremely grateful and proud that I could conceive a story that remained a positive, exciting collaboration with so many people as it took its course through production.

10. What do you think is the ultimate appeal of audio drama like "Carrier"? Why do you think scripted drama is experiencing such a renaissance in podcasting?

I think the popularity of podcasts in general has proven that there are times and places where people desire content but can’t stop to look at screens. Audio dramas also require the audience to engage mentally, even if their hands are busy. So, even if you’re stuck at a desk or in a car, an audio drama can be an active, emotional experience that can still transport you.