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And Mark was just like, ‘Keep it simple. Arturo Castro, in Brice’s “Itchy,” somehow manages to reinvigorate the eeriness of the first-person found footage format. Of the new episodes already shot, Duplass would only say they’re “taking some much wilder swings,” and Season 3 is “more experimental.” He also said Duplass Brothers Productions is “developing many more shows” this way — fast and cheap — trying to fill HBO’s growing demand for noteworthy TV. I kind of just go directly to people, and then we end up looping in agents much later.”Duplass said that’s why the crew shot 24 episodes in a row; now the first 12 have aired, it’s up to HBO as to when the next set drops. However, neither of them can control nature. Mary Mouser, along with director So Yong Kim and offscreen scene partner Macon Blair (who also writes and directs the aforementioned “The Plot”), walks an impossibly thin tightrope to bring home a story about a specific kind of control.This season’s Luke Wilson-starring opening episode “The Plot” is the closest the show has gotten to outright self-mythologizing — at this point, something that the show has earned if it wants to go further — and other chapters that make it even trickier to put together a canonical timeline for when some of these stays might be taking place. Directed by Sarah Adina Smith. Directed by Patrick Brice. This isn’t ready yet.’ [But] we put it up, and we shoot it fast and furious and with that demo-like energy, and then we do a lot of our cleaning and curating and streamlining in post.”So Decker, along with writing and acting partner Onur Tukel, wrote “The Man and the Baby and the Man,” which would eventually become the seventh episode of Season 2. The Origin Story. 0:40 Room 104: Season 1 Episode 5 Preview. '”“I have to say that they have really figured something out,” Decker said. Stream Season 3 episodes of Room 104: Official Website for the Series | HBO online and access extras such as interviews, previews and episode guides. Duplass writes or co-writes many of the episodes himself — he’s credited on eight of the 12 entries in Season 2 — but those drafts are usually just a starting point.Listen to these IndieWire podcasts.Mark Duplass pitched Josephine Decker after he got a glimpse of her 2017 Tribeca Film Festival documentary, “Flames.” Made with her ex-boyfriend Zefrey Throwell, the film tracks their romance as it slowly falls apart over the course of five years, and Duplass wanted Decker to revisit the concept as a written narrative for “Room 104.”“I think we only got maybe one or two rounds of notes,” Decker said. Fellow producers Jay Duplass, Mel Eslyn, Tyler Romary, and showrunner/E.P. I think sometimes when you make things quickly and use yourself as your muse, then you make something that’s really honest and authentic in a different way.”Michael Shannon in “Room 104”Duplass’ notes also proved helpful to Johnson’s episode — she appreciated his understanding of the 30-minute structure and how to fit her bigger ideas into it — as did the show’s other production limitations. Though Duplass said how much time a director spends in the editing room is up to them — anything from delivering a rough first cut to staying to the end of the editing process is common — directors don’t have final cut.Instead of dealing with those questions, Johnson moved from having the idea in July to writing in August to shooting in November. “Because they have this existing infrastructure, it was much, much faster and easier than the process for getting a film together,” she said.Citing his roots as a musician, Duplass said he often liked the “shaggy” quality of his demo recordings more than the final cut.