ENTERTAINMENT WEEKLY: You finally paid off the UFO teases with, yes, a massive hovering UFO. What are you prepared to tell us about this?
Noah Hawley: I haven’t prepared anything. There are going to be people who will smack the TV and go, “Come on!” and that’s a great reaction. Everybody is entitled to their reaction. I like to say that everything in there is because it actually happened in the world of our “true story,” and in this case there was a UFO. I haven’t seen or heard any of the responses yet, so I’d be responding to phantoms.
In addition to Fargo being “based on a true story,” can you say what was your inspiration for including the UFO in the first place?
The Coen Bros. sometimes put something in because it’s funny, but that doesn’t mean it’s meant to be comic. … There’s a couple things that felt right about it. One is that it plays very well into the conspiracy-minded 1979 era where it’s post-Watergate, you had
Close Encounters and
Star Wars. There was a
Minnesota UFO encounter [in 1979] involving a state trooper. It was certainly in the air at the time. Alternately in the Coens’
The Man Who Wasn’t There they had a [running UFO thread]; certainly it was more ’50s inspired, but it was part of the cinematic language of their movie. So it felt like it worked for the time period and worked for the filmmakers, and is a way of saying “accept the mystery” — which is a staple of the Coen Bros. philosophy in their films. And I thought it was funny. But obviously it affects the story in a very real way. It’s not just a background element.
I’m just picturing you in the writers room at some point going: “You know what? I’m going to put a UFO in this season, and just see if I can pull that off.” Because I know you like to challenge yourself and see how far you can push it, and you had to think that if you could creatively pull it off, it would be pretty impressive.
An executive from MGM came to take us all to lunch before the season and they said, “Can you tell us anything about this season?” and I said, “Yeah, we’re going to make three fictional Ronald Reagan movies and there’s a UFO.” There was a long beat and they said, “So can you tell us anything about this season?” Nobody expected
Fargo to be about any of those things in the second year. Ultimately what I think is exciting about a fake true crime story is that in actual history there’s a lot that we understand and there’s a lot of it we’ll never understand. The Zapruder film captured the JFK assassination, and we still don’t know what happened. It’s not just that truth is stranger than fiction, it’s that what we call truth is a small part of the historic picture. There are so many elements that usually get weeded out of the story so you can have a simpler narrative.
What was FX’s reaction?
Nobody said, “Don’t do it.” Look, there was a lot of conversation as we were prepping to shoot. “Can we see some pre-visualization? What’s really going on with the UFO? Is it
really a UFO or is it a weather balloon?” So going into that, they find that balloon in the second hour. There were some people [at the network] who wanted the UFO to be shot in a way so that it could have actually been a balloon. My feeling was always, “No, it’s a UFO. It is what it is.” We put a lot of references to it, maybe too many references. But it pays off, obviously.
I was impressed that in the moments leading up to that, you managed to generate so much suspense over the fate of the only character that we know is going to survive, Lou Solverson (Patrick Wilson; a character that was also in the first season set in 2006). I worried about him, and then this happened. Then afterward you have Peggy (Kirsten Dunst) with that great dismissive line. It’s almost like you don’t know how to feel and need to process it.
At the end of the day, Peggy’s line sums it up — “It’s just a flying saucer Ed, we need to go.” I like your “I don’t know, I need to think about it” reaction. So much storytelling, especially on television, is a spoon-fed experience with clarity of all things. You’re going to have to see the end of the story and look back at it and ask how you feel about the deus ex machina of a UFO saving Lou Sovlerson’s life and what would happen if it hadn’t. I think those elements in a story are really exciting because we’re so unused to having them. We usually separate our genres more neatly. To suddenly have a genre element come into a dramatic story is exciting.