Daniel Knauf

Summary: Daniel Knauf is fifty nine years outdated and was once born on 02/21/1961. Right now, Daniel Knauf lives in Sun Prairie, WI. Daniel additionally answers to Daniel R Knauf, and in all probability a few different names. We know that Daniel's political association is unknown; ethnicity is Caucasian; and religious views are listed as Christian.There are 10+ execs named "Daniel Knauf", who use LinkedIn to replace data, concepts, and alternatives. View the profiles of execs named "Daniel Knauf" on LinkedIn. There are...Daniel Knauf has been the mastermind in the back of various tv shows and has at all times liked writing and creating. He earned his bachelor's degree in English at California State University Los...via Daniel Knauf Carnivále - Before the Beginning Before the Beginning, after the nice celestial war that rocked the very foundations of Heaven and Hell, God and Satan established an uneasy truce. Never once more would they face every other in direct war of words. So God created the Earth, inhabiting it with the crafty ape he called Man. AndOnline shopping from a perfect selection at Books Store.

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American television series that aired on HBO between 2003 and 2005. Created via Daniel Knauf, the show lines the disparate storylines of a young carnival worker named Ben Hawkins (played by means of Nick Stahl) and a preacher in California named Brother Justin Crowe (Clancy Brown) all the way through the United States Dust Bowl.Daniel Knauf, now and again credited underneath the pseudonyms Wilfred Schmidt and Chris Neal, is an American screenwriter, comedian guide creator, director and manufacturer perfect known for his introduction of the 2003 HBO sequence Carnivàle.My name is Daniel Knauf. I make stuff up for a residing. For the ones of you who do not know me or my produced paintings, I've integrated a bit of about each. But if you wish to skip all that stuff, there are handiest two amazing things you want to find out about me: 1.) I was a medical insurance dealer for 22 years till 2001, once I sold my first tv showView telephone numbers, addresses, public data, background take a look at reviews and imaginable arrest data for Daniel Knauf. Whitepages other people search is probably the most relied on listing. Background Checks


Producer and screenwriter Daniel Knauf discusses finding

Daniel Knauf is a American Screenwriter from California, United States. In this article, we check out Daniel Knauf's web price in 2021, total profits, salary, and biography.Daniel Knauf, 27, was once a discharged United States Marine and the toddler's father. The elder Knauf reportedly killed his wife and Jacob's mom, Bianca, 23, after which his personal mother, before turning the gun on himself. His mom was a special needs schoolteacher in New York, and was once California visiting for the holidays.From HBO to STARZ, primetime network tv sequence and MARVEL, award winning Writer, Producer, and Showrunner Daniel Knauf's title has change into synonymous with excellence within the extraordinary, iconic and unexpected. True to shape, Daniel takes his first foray into circle of relatives programming, serving as Creator, Executive Producer, Writer and Showrunner on...FREE Background Report. Check Reputation Score for Daniel Knauf in Gainesville, FL - View Criminal & Court Records | Photos | Address, Emails & Phone Number | Personal Review | $200 - $249,999 Income & Net WorthCarnivàle creator Daniel Knauf recently sat down with The A.V. Club to talk through the entire run of the cult HBO collection. Part one, which offers with season one, may also be found here. This section...

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Daniel Knauf tells us his plan for the end of Carnivàle

Photo: HBO

Carnivàle author Daniel Knauf not too long ago sat down with The A.V. Club to talk thru your entire run of the cult HBO series. Part one, which deals with season one, can be discovered right here. This part offers with season two and his plan for the 4 seasons of the display he never were given to make, because of its cancellation.


The A.V. Club: The show has rich interpersonal relationships, especially with Jonesy and Sofie, or Jonesy and the Dreifuss circle of relatives, which don't have anything to do with the genre content material. How did that come about?

Daniel Knauf: I’ll watch Lord Of The Rings, and he has to get the ring, he’s got to throw it into Mordor, however who provides a shit with out the connection with Sam? At the end of the day, all of that gigantic sweeping stuff is simply an excuse for interplay between characters. For me—particularly with TV, as a result of TV is a really immediate medium, and also you’re having these people for your front room—it’s no longer only their relationship with each other, but you’re vicariously having a dating with the characters through different characters. To me, storytelling is all concerning the interplay. It’s an excuse to vicariously reside through other characters. That’s simply always been my definition of storytelling. The rest is simply an excuse to throw these kinds of characters in combination.

One thing I’ve by no means seen, and felt fortunate… My father had polio as a child, and he recovered from it, however he had post-polio syndrome. He was once 32 years previous, and he literally aroused from sleep and couldn’t walk. Never walked again. This is like, 1960. Back then, when you had been in a wheelchair it’s like, “Okay, you’ve been lower from the group. You don’t cross to work. You’re invisible now.” My dad didn’t know that. He simply opened up store in his sanatorium mattress. He was once an insurance man. He simply kept doing what he did. He put three of four youngsters through school and made a actually just right living. In the ones days, going out with my dad, he was once simply my dad, handiest in a wheelchair. He’d cross fishing and bowling, no matter he may do, he did. But we’d pass out, and other folks would at all times react, so there was at all times this… I keep in mind he took me to the track one time, to Hollywood Park, and Latinos have been walking up and combing up towards him, and I said to my parents, “What’s occurring, Dad? Why do those other people stay…” and he stated, “Well, I’ve been told it’s just right good fortune.” That in case you brush up against someone that’s unfortunate, it’s just right luck. Numerous people by no means noticed him, they saw the chair.

In this display, when I was writing Samson, I didn’t write just a little person. I wrote a guy. What I in point of fact wanted to do is have other people just like the bearded woman, like Lila—three or 4 episodes in, I all the time pictured some man having a look at Lila, finding himself getting a bit of bit of a hard-on, like going, “Oh my God, what am I considering! She’s were given a fucking beard!” [Laughs.] And that’s what Tod Browning did with Freaks, the place you just forestall seeing the diversities and start recognizing what all of us have in not unusual.

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TV is so stuffed with stunning other folks. People who seem like that are bigger freaks than my freaks have been, I think. I imply, how often do you spot a nine out of a bodily 10 in the course of an afternoon? I simply liked casting folks that gave the look of other folks. There used to be nobody on there that… even the cooch girls, I take note the very first thing out of my mouth once we had been casting was, “I don’t want to see any hardbodies. I don’t wish to see any silicone. I wish to see women that appear to be ladies which can be relaxed in their own skin.” Which, to me, is the sexiest thing on the earth. Sure enough, that’s what they did. And some of them have been big women. Dora used to be a big woman. But she used to be fabulous. You couldn’t take your eyes off her. It was once neat so as to do that.

AVC: When you’re balancing out an ensemble cast, positive characters get priority. There were quite a lot of characters from season person who didn’t carry over to season two. How did you make a decision who you had been going to focus on and who you have been going to chop?


DK: Numerous them were, it used to be just being instructed [by HBO], “Okay, we didn’t do as well in season one as we anticipated to do, and we’re going to pick out it up for season two, however you’re going to wish to reduce some characters.” I had plans for the Siamese twins. We most definitely would have been at an advantage casting them in seven out of 12. I had plans for Gecko [John Fleck]. It used to be just one of those things. We hadn’t written for the twins. We really hadn’t given John sufficient to do. John Fleck is a brilliant actor, and he used to be wasted in the first season. Every time he used to be on, he was terrific. But we have been simply form of handed it. And you simply form of move, “Okay,” and move on. But we had some pickups later in the season. The he/she persona, I fail to remember what we referred to as him [Bert/Bertha Hagenbeck, performed by way of Paul Hipp]. But the he/she personality, Marilyn Manson wanted to do it. That fell via because of a silly set of misunderstandings and miscommunications.

There are some characters that get away, and everyone desires to write down for them. Amy [Madigan] as Iris. I imply, here’s any person who wasn’t even in the pilot, and she or he was wonderful. These things simply occur at some stage in any more or less TV display. Some other people get away and work. Others, not as a lot.


AVC: What were your plans for a few of the ones characters who had to be cut?

DK: With the twins, I wanted them to kind of be like Radar O’Reilly was once in M*A*S*H, type of the harbingers of what’s arising subsequent. We by no means really got to play them that means. Their usefulness become much less apparent. There was once one thing creepy about Siamese twins. Well, even twins, like in The Shining and shit.


Gecko, I always idea he’d be our Mr. Spock. That he’d get away. He form of did, somewhat bit, and most likely could have if we’d written to it a little more. But we by no means did. I never considered him as big within the context of Ben’s arc, or hyper-arc, or meta-arc. [Laughs.] [Aside.] That’s actually Hollywood. But you want the ones characters which might be a bit of off. A bit of oddball. A little bit ordinary. They have this relationship, he and Dora were highest buddies, and as soon as Dora dies, I feel it truly roughly sucked just a little bit out of the Gecko character. And it’s funny, as a result of I needed to battle in point of fact not easy to stay him in the beginning.

There was one persona I had, his name was once Shoton, who ran the drugs display, and he used to be a full-blood Indian, lived in a teepee. There are these characters that didn’t even make it out of the lounge. [Laughs.]


AVC: One of the interesting issues in regards to the sequence arc is that Ben is so reluctant to do what he ultimately has to do. It’s very difficult to put in writing a character resisting the sequence’ premise. How did you way that as writers?

DK: You simply need to turn on him in other ways. You can also be actively reluctant. That’s methods to do it and play it—he’s by no means passive. He’s actively turning clear of his future. You’re his target market. You’re going, “No, no, no! Just snatch the day. Be what you can be!” and he’s announcing, “I don’t want that. I will be able to’t have that. I will’t toughen it. It’ll kill me.” To me, it’s section writing and a large section appearing, performance. And Brother Justin is a reluctant Antichrist. He doesn’t want that. “Take this cup away. I don’t need to be the satan.” And Clancy [Brown] did the similar thing. He just actively said, “No, no. I don’t want it.” So when you actively attempt to deny your faith, you do such things as Ben does in the pilot. “Okay, I’m out of right here,” and strolling away to search out yourself walking right again into it. Eventually, you succeed in a point: “Okay. Fine. What the hell. Let’s do this.” Once you start riding the horse within the path it’s going, that’s where you in finding your energy.


I didn’t realize I was a TV creator till I used to be writing TV, and it was like, “Oh!” With films, you’re writing it, and 3 years later, it comes out, and you have no connection to it. With TV, you’re writing stuff in the morning, and within the afternoon, they may be able to in reality be shooting, so it’s like heroin for somebody like me. “There it's! I just wrote that the day past!” I didn’t realize that as a TV creator till I ended up there. But in the meantime, people have been like “What about TV?” And I’d be, “I don’t want to write TV, I’m a film creator.” Things like that. You’re actively no longer doing one thing. That’s mainly methods to write it and easy methods to act it.

AVC: What were different ways you made budgetary sacrifices for season two?

DK: I think between the two things I recounted before, which used to be chopping some of the characters and then streamlining production and getting rid of corporate strikes and maximizing the choice of days we’d be inside as opposed to out of doors, that pretty much fixed the problems. A large number of folks say, “Oh, it was the finances that killed the display.” And I believe what killed the show is just the ratings. Really. Because they anticipated us to do much better.


One thing that did give them pause within the first season, not after they after all cancelled it, was once the Internet job, because they’d never observed the rest remotely find it irresistible. The Internet process on Carnivàle was once just like a tsunami, and they didn’t know what it intended. They had no means of quantifying it, to these days. I feel we had 4,000 fans on the Yahoo board when the display went off the air. I think it’s up to 7,500 or one thing now. So the fan base has in truth grown since we went off the air. When you pass off the air, the fan base usually doesn’t grow. Genre displays tend to do this extra steadily as it’s a cult display. But I was on Wolf Lake, and it feels like we had a bigger fan base then than we did after we went off the air.

It’s a show no longer everybody got to look, they usually kind of became each and every other directly to it. That’s another side of pay cable. I’m slightly stunned that no one has picked it up on basic cable or somewhere else. More than just a little pissed off that I will’t get a Blu-ray model of it. Sometimes I feel like we’re the redheaded stepchild of HBO, that they want to forget they went to the carnival and move directly to different things. But then I'm going to HBO, and I see people in their places of work, and they still have their Carnivàle blankets, and they’re enthusiasts, large lovers inside the next technology of people who went to work for HBO, in order that’s probably no longer so true.


AVC: When you began season two, the network wanted a confrontation between Ben and Justin. What have been every other directives you had been having a look at for that season, both self-imposed or network-imposed?

DK: They indisputably wanted Brother Justin in the combine, and we were for the reason that from the highest. “Brother Justin and Ben are going to head face to face in the finale.” It was like, “Yeah, I know. Of path.”


AVC: Had that always been your plan?

DK: Oh yeah. We couldn’t tease that out any more than we had. They didn’t need to pace it out a bit bit more, however that was once extra, we wanted to do more of what we had been doing on the tail end of season one. We had a lot of inventive freedom at the entrance aspect, but at the again side, every now and then we’d shoot issues, they usually’d move, “Oh, this must be reshot,” or “We’re going to chop those scenes.” When I am getting into the horror facets, they were in reality queasy about… I had to combat like hell for the masks episode, and it was a large battle. I consider announcing, “This is a horror display. This is in the horror genre,” and so they’re going, “That’s not the way we see it. It’s drama.” “No. Come on!”


They would at all times pull again on things like that scene where Brother Justin had that fit in front of Balthus [Ralph Waite] and Iris the place he’s on the flooring, he’s were given the black eyes and shit. And I’d actually written in, I sought after to offer him baboon teeth. I sought after in reality to have him open his mouth and feature this mouth full of fucking baboon tooth. Like big, yellow, ugh, utterly George Romero, and it was like, “No, we’re not doing that. No, it’s now not going to occur.” Again, I will’t say whether or not that would had been over the top. Maybe it will were. It more than likely would have been. But at the time, hi there, I'd always be pushing the ones horror, those genre things. We were writing about demons and angels right here, let’s show some flash, ? The crying Jesus with the blood, and we had, like, maggots popping out. The producer’s lower was a lot more horrific than what they minimize it back to. Most of the inventive keep an eye on or compromises came about when we shot.

AVC: Were there any choices that the community imposed that you simply think if truth be told harm the display? Because the belongings you’re speaking about at this time are issues of stage. Was there the rest—


DK: That in point of fact fucked us? [Pause.] No. I’d like to get a hold of something, because we all love to color the networks as dangerous guys, but I will’t bring to mind a single thing. I in reality can’t. Given how demanding and challenging the material was, they gave us a surprising amount of inventive latitude on this show. Much more, most probably, than we deserved, especially given our scores. So HBO in reality used to be what we call to mind HBO. At least at the moment, and even today. They function the ultimate bastion for creative freedom, to some degree. But rather than the truth that we had to minimize a couple of characters out, and that harm, it indubitably wasn’t crippling to the display. It possibly even streamlined it. Maybe made it slightly bit higher. It without a doubt snapped issues into focal point. So no, not really. The best factor they did that was horrible was once cancel it. [Laughs.]

And I bear in mind writing to [HBO exec] Chris [Albrecht]. I wrote him a long letter. I mentioned, “Please rethink this, because I think the next season goes to be the season.” Because our numbers were trending upward. I think we beat Deadwood in our finale. It felt love it used to be poised to… having been an old insurance man, I was pretty just right with trends. I in point of fact was sad to not have it move forward. It’s still unhappy.


I wrote a letter to the enthusiasts after we were given cancelled, and I take into accout writing, “I know numerous you are going to write indignant letters to HBO, however remember the fact that nobody else would have done this display.” So it’s truly hard to be, “Oh, the ones bastards. What a bunch of fuckers.” There’s no manner anyone else would have accomplished this. With somebody who had never written a TV show ahead of? To make me an government manufacturer and give me the kind of ingenious regulate I had, even supposing I needed to kind of earn it and stay it, the truth that they did that used to be so nice. And the cash! Fuck, this was the most costly show at the air on the time, I believe by some distance. I believe they had been spending someplace in the community of .7 million in keeping with episode, which nowadays is not anything… Well, now not not anything. That could be a lot now. But then, it was insane. It used to be almost irresponsible of them. [Laughs.] If I was a stockholder at HBO, I’d be calling to get their head examined. It’s challenging to truly resent people who took that a lot of a bounce for in spite of everything waking up in the morning and understanding, “Oh, who did I drunk-dial closing night?” [Laughs.] I can’t get mad at them for coming to their senses.

Since there’s 5 years between season two and season 3, I secretly more or less wonder, “You know, we could pick out the story up. All our actors could be older.” Even if Ben was, because Ben will get actually hurt. We start out season three, Ben is in reality residing in that area of interest the place Management used to be residing, and he’s more or less fucked that up. Brother Justin is in a similar fashion fucked up. It was once demanding dwelling, too. You appeared older. So I’m pondering, “We in truth may pick out it up.”


AVC: How a lot did you tell the actors about their ultimate arc, in particular Clea DuVall?

DK: Generally, actors don't seem to be as desirous about the place the nature is going in the longer term. They’re more curious about the place the nature has been, because that’s the principle factor of their performance. I suppose you can behave very in a different way if you happen to knew what your long run was, and that without a doubt can be inexplicable to the target market. “Why’s he averting air shuttle? What imaginable reason may just he have?” So actors, I believe, are targeted more on “Where has my persona been?”


I don’t take into accout talking to any of the actors about the place they’re in the end going to end up, as a result of that didn’t interest them. They didn’t want that. What they actually wanted was once, “Okay, what’s my courting with my mom? When did this happen?” All those issues. And all that stuff was in the [series] bible. I’d given them all very detailed persona descriptions in their pasts, and they'd fill in the blanks and write their own personality descriptions, and do what they do as part of their process.


AVC: Season two strikes at a miles quicker clip. You mentioned a few of that was once since you condensed sixteen episodes of story into 12. What were probably the most alternatives you had to make alongside the right way to make it transfer more temporarily?


DK: We had this incredible runner the place they find Lodz’s frame, and no person is aware of the situation with Ben. And Tracy Tormé [a writer at the show], this was once kind of his dream. And it turns out [Lodz’s] body has been… They still catch up with that different carnival, they usually’re saying he’s, like, the body of some archduke. It’s a type of issues they used to do in carnivals, where they say it’s the body of John Wilkes Booth, but it’s fucking Lodz, and it’s a pitcher coffin. [Laughs.] And they’re like “Oh my God, he’s lifeless!” And Lila is going, “Oh, someone killed him!” So they get into this entire factor, and Ben becomes, clearly, a suspect. I don’t consider a lot of the details, but the finishing to it used to be just so best. They have the carnival for a funeral. They have one among their little birthday celebration funerals, and Samson, as I recall, is suffering to determine what great thing he may say about Lodz, and he can’t think of a thing. He’s at this glass coffin, they usually throw the dirt on him to bury him, and Ben and Samson are status there having this dialog, and right at the finish of the conversation, you hear this crack, and the filth goes “Thwoomp!” [Laughs.]

I needless to say as being a form of runner. We were going to play that complete thing of Lila seeking to end up they'd murdered Lodz, and convey them to justice on the wagon. So we needed to abandon that entire factor.


AVC: What were your plans for Lodz?

DK: Honestly, it wouldn’t have labored. The plan I had for Lodz is that he would proceed all along to be serving the improper master. I at all times had an idea that on the very finish, he has this kind of Alec Guinness on the end of Bridge On The River Kwai second where he realizes for the first time, “Oh God, what have I accomplished?” and is instrumental in saving Ben. But that will be six seasons down the road, and we wanted to keep him alive as an device of evil throughout the carnival, and maybe moving over to Brother Justin’s aspect and feeding Brother Justin intelligence and so forth. Back to just about a secret agent. But it wasn’t to be. We simply used his ghost.


AVC: When did you first begin to get the sense that season two could be the top of the street?

DK: Not until neatly after we finished it. Let me put it this fashion: We felt doomed from episode 3 on, for the reason that numbers weren't arising. The numbers were taking place. We had this superb, set [rankings] information, opening episode. Then it went [makes declining noise], so we felt doomed on a daily basis. Whereas other presentations, two or three episodes in, HBO would have these huge bulletins: “We’re simplest 3 episodes in, and we’ve already ordered some other season.” We didn’t get that. So we finished the primary season, and we had been waiting and ready and waiting. It wasn’t until actually nearly the last conceivable minute that they could contractually do it, we were given that order for season two.


Then once we completed season two, I had hopes, however it truly wasn’t till they called. They referred to as and stated, “Look, we want to do a two-hour film to wrap up all of the stuff that hasn’t been wrapped up,” and I stated, “I will’t compress 48 hours of tale right into a two-hour wrap-up.” And that’s not why people watch the finale anyway. I imply, no person gives a shit about how the tale ends. They give a shit about what the characters do, the interactions. I simply felt like, “Why don’t we simply write a synopsis and post it? It would be as fulfilling.”

[The movie] was on the table for a short while, and I took a large old go on it. It wasn’t because I used to be retaining out or the rest. It made no sense to me. It still doesn’t. I don’t even understand how I might do it. That came and went real quick. Then they have been moving on to different things, however within the interim, shit, they were getting death threats. The enthusiasts went apeshit. Thousands of letters. They crashed their servers more than one times. When they made the announcement, people went totally out of their minds. Our enthusiasts have been simply ardent. It was shitty. You’re sitting there, and also you’re in the course of a e-book, and any individual comes and takes the guide away. That made them loopy. But what are you going to do?


AVC: In season two, you have got more references to such things as Rennes-le-Château and the royal bloodline of Christ. Did you could have plans to incorporate Jesus into your overall mythology?

DK: Jesus was once an Avatar, so no. I mean, yes, he’s a part of the bloodline, however he’s not… The way I figure, Avatars are like anybody. You can have a truly just right agent; you can have a truly shitty agent. There are actually just right Avatars, and there are more or less shitty Avatars. Scudder was once a truly shitty, half-ass Avatar. Jesus had it happening. Caligula used to be a really perfect Avatar of darkness. He had his shit in combination. Other than that, no.


Where I was going with that was within the 3rd season, we had been going to finally end up in World War II, with a seek for knowledge to carry down Brother Justin at the carnival aspect, so the carnival would in reality return to its roots. Then [Ben and Samson] have to drag everyone in combination. Sort of a easy, “Avengers bring together!” In the third season, we were type of reassembling, and then the next season, the carnival would pass on tour. That excursion would take them thru puts where they’re gathering things they need in an effort to pass to fight. Brother Justin is supporting the Bund. He is up towards [the U.S. struggle effort]. He’s kind of just like the voice of Father Coughlin, actually. Then I feel the overall episode really used to be about them seeking to stay the bomb from going off. Just looking to forestall this thing from happening. And you'll’t.

AVC: In different interviews, you’ve mentioned loose will does exist in this universe, however the characters appear to get jerked down the path they’re intended to head down anyway.


DK: Personally, I think we now have the appearance of unfastened will. It’s like, say I select this ebook up, and I read to here. I don’t know the rest past right here. Well, that doesn’t mean all this doesn’t exist. The manner the universe is sensible to me is that I will be able to’t consider the universe turning on a dime, like there’s two complete, separate futures because I determined to have donuts this morning instead of an Egg McMuffin. That universe is unnecessary to me. How are you able to have precognition in there? How can you have an instinct of what’s going to happen next, if the entire thing adjustments as a result of a butterfly got squashed on a windshield or some bullshit like that? I feel the whole thing is just written out lovely similar to a e-book. But the item is, just like a e book, you could have the illusion of moving via time, despite the fact that time exists. Even if it’s already been written, we now have the illusion of loose will. And you’re in charge of it. I mean, simply because technically it’s all written, you choose to do issues. You don’t know you don’t have a choice. If you select to do unhealthy things, possibly you’re going to be held in control of them if there’s an afterlife. You’re still liable for being dangerous. To take a seat there and pass [deadpan] “Yes, neatly, it’s my future to be a prick,” [Laughs.] that doesn’t lower any ice.

So in a sense, I feel the whole thing is about destiny, but the characters in the context of that are still making possible choices based on who they're, what the cases are, who’s to learn, who’s to be hurt. You do just the most productive you'll with what you’ve got at a given time. It’s basically a tapestry, and we’re all status with our noses against it, and what we see are a bunch of threads. We can’t make out this giant looking scene that if we step 30 yards back, we’d be capable to see. I believe each considered one of us will get so close to what’s occurring that we will be able to’t see it. I feel everything is pre-written. You can attempt to escape your destiny, but sooner or later, you’re going to finally end up doing what you’re destined to do. And that carries thru. You see it repeatedly right through Carnivàle. But that’s just this writer’s worldview.


AVC: What have been your plans for what would have come in the 4 unmade seasons?

DK: Like I stated, I’m no longer going to assert I knew the minute detail. Season 3 is five years later. We to find Jonesy—he survived his gunshot wound and is pitching for a professional baseball workforce. His spouse [Libby] is an ordinary baseball wife back in ’39. The carnival is completely break up up; everybody’s long past their separate ways. The most effective vestige of the carnival as it was is Ben and Samson, they usually’re running at another carnival, nonetheless on Management’s trail.


Then on the Brother Justin aspect, we discover he’s turn out to be this incredibly politically influential radio preacher. And there’s Iris and Sofie, and so they’re each on this battle. He’s a shell, virtually, and these two women are in an influence combat over who’s controlling Brother Justin. Sofie is Brother Justin’s wife. Of route, she’s his daughter, however he doesn’t know that. She knows that. She may convey him down beautiful easily, but she’s petrified of herself now, too.

Then we introduce, in the very first episode, you notice this 4-year-old child come working up and hugging Brother Justin, pronouncing “Daddy.” Is this Brother Justin’s child, or is this Ben’s child, because they each had family members with Sofie? That would kind of tee us off to the second one. That would take us during the war. And then the primary 1/2 of that might be, “Avengers bring together,” winds of conflict calling them in combination, gotta get this staff again in combination once more. Ben’s like, “This isn’t with regards to me. This is ready us.” And pulling everyone out of their lives and answering this name, and moving into going to Europe to try to obtain these paperwork or… I knew they had been going to be talismans. What they’re going to want once they’re engaged in this warfare. Then there’d be a disagreement of some kind at the finish of season 4.


Then taking us to the top, it’s all concerning the [atomic] bomb. It’s all concerning the Manhattan Project and being concerned about it, studying what it is. The Germans have a competing assignment, and trying to stop it. Trying to stop the bomb from happening, because in Ben’s mind, detonation of the atom bomb is the tip of the arena. What he doesn’t notice is that it’s just the end of his world. To him, it’s an end to Avatars; it’s an end to everything. But he’s misinterpreted it. He’s interpreted it as the top of the world. He thinks he’s saving the arena, however what he learns earlier than the top is that, “I've to let this occur, because if I don’t let this occur, mankind will remain in a state of youth.” He learns that’s in point of fact why Sofie is known as the Omega. She is the one female, the remaining Avatar. What it’s all leading as much as is two Avatars, she and Ben having this child. They if truth be told have to sacrifice this kid in the blast. That used to be my crazy perception.

Now I have to kill you as a result of I advised you. [Laughs.]

AVC: Have you ever considered trying to do it as a novel or a comic e book?

DK: Constantly. Yeah. Marvel, we had all of it set up. At one level, they wanted to move ahead and do a chain of graphic novels, and so they simply couldn’t turn the corner with HBO. Since then, yeah, I’ve regarded as it. But probably the most issues that makes me slightly loopy about Hollywood is, they’re idiots in terms of their contractual stuff. If I write a singular, it’s like Random House publishes the unconventional, copyrights it, but whilst you do trade in Hollywood, they say, “Everything in this thing, in all paperwork, in all possible forms invented and uninvented…” The language is draconian! “…during the universe. We own the whole thing in your head. We own the entirety.” And it’s like, “If you own the whole lot, at least exploit those rights, please. Could you please exploit the rights? And when you’re now not going to milk the rights, can I a minimum of have them back, so I can exploit them?” It’s only a foolish manner of doing business. They do it as a result of they are able to, and that’s all.


Let’s say I take a new-project concept to Sony, and so they give me that language. I go, “You know, this entire copyright-influential-property thing, I’m now not so scorching on that. I’ll take less cash if I will be able to retain the copyright or the ancillary rights,” they’d say, “Take a fucking hike.” If I go, “Well then, I’ll take a hike. I’m going to go to Warner Bros.” And Warner Bros. has the very same contractual language. It’s basically an illegal trust. It’s just like the mob. Artists are first to surrender highbrow rights to do trade with Hollywood. But they’re now not rights you give up in any other medium. It’s BS.

Carnivàle is one thing. I hate telling folks I will be able to’t… I did a Kickstarter marketing campaign for BlackBxx, and I had an individual who donated 1,500, a truly generous donation, and I had one thing in there, the Kickstarter-type stuff, “I’ll take you out for dinner.” And I did, I took him out for dinner. It used to be his spouse’s birthday, and he said, “Would you thoughts sending my spouse an email? She’d get a big kick out of it.” And I sat down, and I thought, “I’m going to get this man so laid.” He was once going to provide it for her birthday or Christmas or one thing, and he sought after me to jot down a word. I sat down, and I just wrote a scene with Jonesy and Samson at Christmastime, and it was once like placing on the maximum at ease pair of trainers I’ve ever had in my life. It was like, [exhales] “I will be able to’t believe how just right it feels to be strolling round in these shoes.” The dialogue just spilled out, and they have been alive and three-dimensional. The characters are still alive, and they've so much to mention, and it was once blissful writing it, and then sending this to someone else who got immense excitement from it. And I’m going, [disbelieving pause] “What the fuck? Okay. It didn’t make sense to spend .five million an episode. So let’s do a graphic novel. Let’s tell the story!” But they’re on to different toys now. It’s like doing trade with that kid down the road whose folks give him really bitchin’ toys, and he’d just depart them damaged within the yard. It makes me crazy, Hollywood.


AVC: What do you suppose it would take to cause them to interested?

DK: I think anyone who used to be a super Carnivàle fan who went to paintings for HBO going, “I’m so excited to work for the network that did Carnivàle,” and just being a vp or president and championing the speculation of it. It’d almost definitely jump back in. There’s also the possibility, too, that I could possibly move and means them with some other task they in reality wish to do, and I may be able to say, “Look, as a condition to the deal, I’d such as you to promote me the novelization rights.” There’s always horse-trading that can occur in the future. You just by no means know. Maybe in a couple of years, somebody will approach them and say, “Hey, let’s move forward.” It’s terrible no longer having it to your personal fingers. To be dependent on destiny. Whim. Whatever.


AVC: Is there a undeniable factor you had actually sought after to show in those remaining 4 seasons that you’re sad you by no means got to do?

DK: It’s the total scope of the speculation, the large concept. The giant concept that we had been youngsters until we detonated these two bombs out in the wasteland. We at all times say, “Oh, isn’t it a terrible thing? Oh, it’s the nuclear age. Now we wrestle with destroying ourselves as a species,” and it’s seemed upon as an absolutely damaging thing. But in some way, I take a look at it as when we had been ready to place away infantile things. That’s when we were given our first apartment. That’s, folks began to go, “Hey, wait a 2nd.” I believe right up until that second, the concept shall we destroy ourselves was absurd. Now we take it for granted. We get started to have a look at it, “Well shit, we were given the holes within the ozone layer.” We turn into conscious that we’re capable of existential destruction, and I believe that’s a part of rising up as a species.


I imply, homo sapiens rock. When you notice a number of folks trying to push a whale off a beach, I am going, “Okay, what other fucking species does that?” That just makes me really feel like we are different. We aren’t a part of the animal kingdom. We’ve got one thing occurring. Yeah, we’re capable of horrible things. We’re able to holocausts. But we’re additionally able to such amazing issues. To me, the exploding of the nuclear bombs was once in some way a declaration of independence from nature. In a way, to just about have fun it. But it’s a cautious party. It would be great to have got that idea all of the way available in the market. It didn’t make it.

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