The American Crime Story episode Matt made his directorial debut, Creator/Destroyer, aired last March 13. FX released a video with some behind-the-scenes look of Matt on set, which you can watch below:
Matt also gave several interviews about his work behind the cameras.
TVLine – “I wanted the producers to know I was taking this seriously, that they weren’t just putting the camera in the hands of somebody who was just hoping to cruise by,” he says. “I called my representatives who were talking about acting jobs, and I told them, ‘Put everything on hold. This is what I’m doing, this is it.’”
Bomer’s episode chronicles Gianni Versace and Andrew Cunanan’s radically different upbringings, showing how “success brought out the worst in Andrew and the best in Gianni.”
“We want to see [Andrew] as a three-dimensional human being,” Bomer says, “but the real challenge of this episode is: Can we sympathize with a monster and see that he was also a victim? We’re all ultimately responsible for the decisions we make and the actions we take, but this is someone who was near to violence at a very young age, who was treated like a spouse by both his mother and his father. The central question of this episode is: What makes one person a creator and one person a killer?”
Variety – What was the biggest thing you learned about directing by working on “Versace”?
I think I learned my process — or at least the beginnings of my process, which is a huge thing. Now I know I can do it. The first cut was 90 minutes, which we shot in 12 days, which is a lot — a lot! We had to cut it down to 60 minutes. But I think a huge part of it is just getting it done that first time, and I’m so lucky that I was able to rely on the DGA, to rely on professionals in the industry who were generous enough to say, “Here’s how to do it.” I read all of these books, and I kind of created my own way to approach a scene. A lot of it is the script you’re given, and you have to develop a technique, and this was a safe environment in which to do [that] because I had worked with so many of these people before, and I knew the talent they had.
With a 90-minute director’s cut of the episode, was there anything you wish you could have left in?
There was a scene with older Gianni and his mother, and it was really beautiful, but it kind of came in toward the end after we hadn’t seen him for two or three acts. All of a sudden he was there, and it sort of took us out of the story we were so invested in with Andrew getting to Manila and getting to his father. And at a certain point you have to whittle down to what serves the theme the most.
He also talked about his other projects with USA Today while promoting Versace:
USA Today – Q: In April, you’ll be on Broadway for a 50th-anniversary presentation of The Boys in the Band, a 1968 play about a group of gay men produced by Murphy and also starring Zachary Quinto, Jim Parsons and Andrew Rannells.
Bomer: This is an important piece of our history. A lot of my LGBT history started with the AIDS movement, ACT UP and Torch Song Trilogy. I didn’t know about pre-Stonewall (1969) gay life because so much was in the shadows. (Boys) isn’t about all gay people in the 1960s, but a specific group on this night. You have to understand there was an incredible amount of turmoil, frustration, anger and self-loathing built up because they were told by society they were not equals. They could not even dance together in public without being arrested. … It’s important to remember how far we’ve come, the fact that it’s an entirely openly gay cast of actors telling the story now, which would have been unimaginable 50 years ago.
Q: You squeezed in two film roles in recent months, too?
Bomer: Vulture Club is about a woman (Susan Sarandon) whose (journalist) son is taken hostage by the Taliban. She discovers a group called the Vulture Club that is there to help her find different avenues to bring him home. I play a foreign correspondent who is close to her son and spearheads the campaign. … Papi Chulo is about loneliness. I play a Los Angeles weatherman who has a nervous breakdown on camera and then ends up forming an unlikely friendship with a migrant worker. It’s a dark comedy, moments of real pathos and moments of just comedy.
Some promotionals, screen captures and on set images has been added to the gallery: