Interview: Team Bondi’s Brendan McNamara on “L.A. Noire,” Part 1

Interview: Team Bondi’s Brendan McNamara on “L.A. Noire,” Part 1 (photo)

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After re-envisioning the Western with last year’s hit “Red Dead Redemption,” Rockstar Games’ next game takes on a new archetype of 20th Century cinema. “L.A. Noire” put players in postwar Hollywood in the shoes of a young police detective, working to quell crime on multiple desks in one of the precinct houses. Austrailian dev outfit Team Bondi’s been developing the game for several years, but will finally see release on May 17th. Now that the game’s in the home stretch, studio head Brendan McNamara can talk about what’s gone into making the

Brendan, can you give a quick rundown of Team Bondi history. How the studio came together and how long you guys have been in business for?

We’ve been in business since 2004 basically when six of us came out from London to Sydney to start Team Bondi. And previous to that, we worked at Sony, where we had our own label within Sony called Team Soho. We made the Getaway for Playstation 2 and, when that did very well for us, we came out here.

We wanted to do this thing called “L.A. Noire,” so we came out here and set up. And that was for selfish reasons, as I had little kids and I just wanted them to grow up in Australia because I think it’s a fun place to grow up. We started with six people and we’ve been up to about 120 at some places in the project. We’re about 80 people at the moment. And it will wind down some more as we come to the close.

So, “L.A. Noire” has been pretty much the all consuming passion of the studio since its inception, right?

Yeah, yeah, No, I think there’s other people who can do more than one thing at once but it’s probably not me. This title’s been pretty all consuming in terms of what it’s asked of you, and what’s been asked of the team. And I’m probably just not capable of doing more than one thing at once.

A big part of the story with L.A. Noire is the MotionScan technology, and what it allows you guys to do in terms of facial animation. Which came first, was it the idea for the technology or the idea to have a game mechanic of a detective reading faces?

When we initially set out to do this way back in 2004, we thought about why crime fiction is so popular, throughout cinema, and on TV. There’s something attractive
about the whole whodunit thing and sitting there and trying to work it out for yourself, whether that’s in a novel or whether that’s in TV. People obviously like the whole idea of trying to get to the bottom of a whodunit and trying to be able to make up their minds up for themselves. We were wondering how we could do that in a game.


Obviously, some of it was, can you just runaround and pick up clues, and decide for yourself whether that thing is important? Even that sort of stuff was difficult. Because most things in a game, if you just go pick them up, they’re just going to submerge into your hand.

So we wanted to be able to pick them up, and look at them, and examine them, and turn them over, and do all that kind of stuff. Then we started talking about what’s the key scenario in this kind of game beyond the clue-finding? Once you’ve done the crime scene and you’ve found your evidence, you’d get a list of suspects. And you whittle all those suspects down to whoever you think is the person who actually perpetrated the crime.

You get them in a room, and you try to break them down, and get them to say they did it or why they did it or all that kind of stuff. That part was obviously the key to that kind of TV show detective experience. We were thinking for a long time about how we could do that and we knew when w we needed to try and pull that off. I’ve been working in motion-capture for the last 12 years or so, and I’ve never been convinced that facial motion capture could actually pull off that “what you see is what you get” believability.

What was it about the current methods of motion capture that you felt was lacking?

The previous ways of recording a performance have focused on capturing bone structure and animating around that. I’ve been doing research for a long time to try and do something where it was more about the outside of the face rather than the inside. It’s the muscles on top of the cheekbones and what have you that do all the emoting, after all. We pitched that to Sam and Dan, and some of the other guys at Rockstar, and they were saying that level of fidelity would be what was key to pull off the kinds of things we had in mind.

Having said that, I don’t think it was actually working in a really good way until probably even 18 months, two years ago. What we had in previous iterations was this giant text adventure that you’d play with all these characters on screen who weren’t saying any of the dialogue.

It was all just text on the bottom of the screen and we could just foresee that everyone was going to go, “Wow, what’s this all about?” Thankfully, there was a bit of hooray moment when the MotionScan began to work as we wanted. Faces started to go in the builds of the game and people could actually see what it was like, and sort of capture what the game was all about. We were really lucky, in a sense, that the guys hung in there for so long to let it blossom into what it was going to become.

It definitely sounds like you guys came at it first from the idea of wanting to create this kind of fiction, rather than wanting to create some new technology first.

Oh, yeah. That’s definitely true. I look at film noir and even things before that, like “Metropolis” and Fritz Lang. The thing that I really liked was how, with the use of two or three lights in a scene, you can get so much drama. I think that’s pretty amazing in the older cinema.

When we first went over to a new generation of console, I knew we could do fancy simulated lighting on the Xbox 360 and PS3. The question then became how do we want to express ourselves with lighting? Then it dawned on us: well, why don’t we do film noir? But, as familiar a concept as a cop show is to most people, we wanted to do a fresh kind of game. The core game mechanic isn’t shooting people; the core game mechanic is asking people questions.

And do you feel there’s some confusion about that? Because you guys are working with Rockstar, people expect an action-heavy chaotic experience. When I sat down in front of the game a couple of weeks ago, I was actually pleasantly surprised by how much different it was in tone compared to some of Rockstar’s other titles.

When people first sit down with it, they generally seem to be kind of shocked, that A) Rockstar would do this kind of game, and B) how the audience would react to it. But we’ve found that most people who have seen it think that Rockstar are the only people who would do this kind of thing. They’re the only people who are brave enough to try and go out and try and create a new genre. They kind of did that back in the day with “GTA,” and created that kind of sandbox mayhem. Now they’re saying, there’s an older audience out there. It’s a potentially much broader clutch of people, who’ll be wanting different kinds of game experiences.

What we’ve seen throughout development is a lot of people sitting on the sofa playing “L.A. Noire” with their girlfriends and friends and passing the controller around, and almost playing it like a TV show. It’s kind of an interesting phenomenon. We like to imagine three or four people sitting there at home watching an episode of “CSI” or playing a case in “L.A. Noire,” and all being equally entertained. It’s different from the normal game experience, I think.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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