Ray Yamagata, the production designer who gave me a set tour at Cine Magic East River Studios in Greenpoint, Brooklyn, took me through the sets for the current season, the cramped, grimy studios, the swanky lofts. Still, when I asked how long he wanted to keep living with the character, he responded by asking someone in the car, “What’s the language I should use to keep me out of trouble?” So place your bets.īut for now, Ray is here, and in a place “that has darker hues and far more energy and simultaneity of places and events,” Hollander said. In spite of that, he said he wanted to stick with Ray, for practical reasons - the checks pay his kids’ tuition, he feels responsible for the crew members, he worries that he’ll never work again - and for sentimental ones. “Everything is exhausting, you just want to get in bed with a pint of ice cream at the end of the day.” He said the work made it harder to engage with the people around him and though he doesn’t think it led to his 2016 separation from Watts (sorry, I pried), he said that the end of that relationship had created more sadness, more disconnect.
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“The darkness and what I’ve done I’ve blamed on it,” he said last month at the Tribeca TV Festival. Hollander confirmed that while this was one reason for the show to move, it was introduced as part of a broader conversation, not as a demand from his star.ĭoes a move to New York provide enough relief? Schreiber has said that the character of Ray - the violence he suffers, the violence he inflicts - weighs on him. (He shares custody with their mother, the actress Naomi Watts, his former partner.) “It relieves a tremendous pressure on me, letting me be closer to my kids,” Schreiber said. Schreiber’s two school-age sons live in New York. The other impetus for the move was more personal. “Everybody felt that after five seasons the show needed some new energy and a reboot,” Schreiber said. (“Ray Donovan” switched coasts with another prestige Showtime show, “The Affair,” which moved to Southern California from Brooklyn last season.) Last season’s fractured timeline and death of Abby was one way to reroute. One is about trying to keep this long-running but still successful show from falling into familiar, brutal ruts. What’s a not-so-nice guy like Ray doing in a not-so-nice place like this? There are two answers.
“The obstacles are kind of exciting,” Hollander said optimistically. Episodes take longer to film and they are costing more, Hollander said, although the incentives New York offers to film and television projects walk back most of that overage. “Just getting people to let you in their homes or restaurants or businesses, it takes a little talking into,” Tom Ross, the locations manager, said by phone. The Staten Island scenes are shot in Nyack and Yonkers - Yonkers plays Long Island, too. The competition for locations is so fierce and the availability so limited that “Ray Donovan” has to rely on television magic and a lot of E-ZPasses. The decibels are higher here, the weather is worse, the interiors are narrower, the paperwork is heftier and the props-rental houses - don’t even start. Moving to New York has meant competing for bodies and places, retooling scripts dreamed up in a California writers room to match major metropolitan realities. It had its crew, its spaces, its blinding sun and yawning shadows style. In Los Angeles, the “Ray Donovan” production team was a known quantity. It was a tidy illustration of a messier problem: Shooting in New York isn’t easy.
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When Abby died, Ray took a free dive into the East River, risking death or at least an enterococcus infection. But the fifth season drew several of the characters to New York, where Ray’s wife, Abby (Paula Malcomson), was undergoing cancer treatments. Since “Ray Donovan” had its premiere on Showtime in 2013, Schreiber, who stars as a bruised Hollywood fixer, has been a poster boy - sometimes literally - for California noir. Schreiber was filming in the light-drenched penthouse of a loft building that overlooked rusting water towers, regal high rises, the Hudson’s frayed ribbon. “I was just covered in gore,” he said.īut that day something was different. The makeup team lives for contusions.Īs he passed by, Schreiber told me that I should have seen him last week. There was blood on his hairline, bruises wreathed his nose. When Liev Schreiber arrived on set last month to shoot a late-season episode of “Ray Donovan,” his shirt was a blazing white, his jeans were neatly creased and his face was just a mess.
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