At just 19, Steven Conrad embarked on a remarkable career by selling his first screenplay for Wrestling Ernest Hemingway. Almost four decades later, the Florida native boasts a portfolio that includes Oscar-nominated films like The Pursuit of Happyness and critically acclaimed television series such as Patriot. However, it’s his latest project, DTF St. Louis, that marks a significant milestone in his career. The series offers a nuanced exploration of middle-aged friendship and sexuality among its main characters: Floyd (David Harbour), his wife Carol (Linda Cardellini), and his new friend Clark (Jason Bateman). “I don’t think I’d been nominated for anything before,” Conrad reflects, celebrating the show’s 13 Emmy nominations. “I haven’t made anything that had this kind of attachment…I’m happy that people are watching the show. That means a lot to me.”
Exploring Modern Male Friendships
In an interview with THR, Conrad delves into how he approaches the theme of modern male friendship in the series. He acknowledges that meaningful friendships can often slip away unnoticed as adults, leaving many feeling isolated. “When you’re a kid, maybe it just happens a little more regularly,” he notes. “But when you grow up, it can really vanish without you even knowing that it did.”
Conrad reveals that the central murder case initially serves as a plot device, or a MacGuffin, to organize the friendship between Clark and Floyd. “It had more to do with stimulating their friendship than stimulating their sexual lives,” he adds, drawing parallels between the show’s storyline and a broader societal realization among men about the loneliness that can pervade adulthood.
Diverse Perspectives on Sexuality
Conrad also emphasizes the varied explorations of sexuality among the three main characters. “Carol’s sexuality is very different from Clark’s, which is very different from Floyd’s,” he explains. He reflects on the importance of portraying diverse sexual appetites genuinely, particularly through Clark’s character, who struggles with the courage to explore his desires within his marriage. “I felt confident when there was more than one [character]… and that this could be a set of deliverable themes.”
Creative Balance in Storytelling
As the series progresses, it moves away from familiar crime tropes to deliver a layered narrative. “The launching points I have for a story deepening are different from other writers — for me, they’re images,” Conrad shares, highlighting a pivotal moment when Clark faces a simple childhood desire to install a swing set, symbolizing a deeper emotional connection with a friend. This unique approach allows Conrad to take creative control, as he now also directs the series. “It’s allowed me to discover stuff like that.”
The Shift to Television
After a successful film career, Conrad has shifted his focus primarily to television, finding the long-form format appealing. “If you’re good at making serialized TV, one of the things you then will be good at is delivering episodes and then delivering seasons,” he explains. This formula necessitates a different storytelling approach, and he is dedicated to creating episodes that arc independently yet contribute to a broader narrative. “Caring to try to be good at doing that… leaves you feeling proud about the feat.”
As he reflects on his recent projects, he expresses little interest in returning to filmmaking. “I don’t have any plans to do it. It just seems it’s kind of gone from my future,” he admits, emphasizing his excitement for the extended engagement that television provides.
Engagement with Audiences
Conrad points out how the week-to-week release schedule enhances audience engagement. “We got lucky that we were on Sunday night because that’s an important night at HBO,” he explains, noting how viewers often look forward to winding down their weekends with new episodes. This weekly ritual contributes to the collective experience of audience anticipation and connection to the characters. “It’s an important night,” he concludes, validating the emotional ties that series like DTF St. Louis cultivate with viewers over time.
This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
