‘Bupkis’ Director Jason Orley Discusses How the X-Rated Opening Scene Was Inspired By ‘Happy Gilmore’ and ‘Fast Times at Ridgemont High’
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“‘Fast Times at Ridgemont High’ and ‘Happy [Gilmore]’ have probably seeped their way into Pete Davidson’s head, and ‘Bupkis’ is what’s come out,” is how the show’s director, Jason Orley recently described the new Peacock comedy series to Variety.
Written, produced and starring Davidson, “Bupkis” immerses audiences into a “surrealist” adaptation of Davidson’s life with the help of a star-studded call sheet, including Joe Pesci, Brad Garrett, John Mulaney, Sebastian Stan, Ray Romano and more.
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“Bupkis” opens with a caricature of the celebrity as he takes a moment to “unwind” in the basement of his family home. Davidson throws on a pair of VR goggles, presses play on an immersive pornographic video and in a moment of pleasure — and soon-to-be distress — his mother, played by Edie Falco, walks in as he reaches his climax.
Orley acknowledges how the opening sequence tests the audience to see if they’re ready for whatever Davidson is about to throw their way. “You would want to get the audience situated before that and make sure they’re comfortable before you start doing that. But we’re like ‘Nope, if you’re still with us? Then you’re with us for anything.’”
Orley wanted that sequence to become “[‘Bupkis”] most matter-of-fact moment,” with the intention of creating a joke that thrives within the series’ “most boring and quiet moment.”
While the comedic tone aligned with Davidson’s reputation, Orley was slightly apprehensive to throw these acclaimed actors into the season’s raunchiest moments; yet Orley notes, it was their prestigious personas that elevated the absurdity of each situation.
Given Peacock initially bought “Bupkis” with the X-rated scene attached, Orley knew he needed to embrace Davidson’s X-rated idea, and soon enough Orley and the production team created the storyboards. Orley disclosed that the, “very storyboarded,” scene required the team to create three separate sequences, from establishing Pete’s basement to his mother making dinner upstairs and creating the immersive pornographic video.
“We had to figure it out because we didn’t want him to be in a little bedroom. We wanted to show the big, full basement,” said Orley. “There were a lot of logistical things we had to ask ourselves.”
“We built the set based on the blocking of this scene, [mapping out] the walk to the couch from the front, the back, the staircase to the middle of the basement. Everything started with knowing we were going to integrate the space.”
Orley added that another equally raunchy moment from the pilot was also difficult to block, explaining how the scene when Davidson “assists” Roy (Brad Garrett) in having sex with a prostitute.
After blocking the final scene, Orley confessed that the slow-motion gag and finding the perfect song were improvised finishing touches. “Joe Pesci was improvising and playing piano on set. Then he started playing ‘This Magic Moment,’ and I was like ‘Fuck, get the camera! Guys shoot this!’ That’s why the scene isn’t really a scene, it kind of plays into the sequence.”
As a result of Pesci’s impromptu serenade, The Drifters’ 1960 single became the musical accompaniment to the slow-motion sequence and the pilot’s closing moment. “We were like, ‘Oh shit, now we have to get this song,’” said Orley, who credits a “Bupkis” editor for originally mixing the song within the scene.
“There was a lot of begging [to get the song],” joked Orley. “The scene that we’re asking to put the song over [first came] from Joe Pesci playing piano on a lovely night, to… this.”
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