The show’s large cast is led by two-time Oscar winner Dustin Hoffman and the thrice-nominated Nick Nolte. (Nolte is currently in contention for the best supporting actor trophy for his work in “Warrior.’’) It is Hoffman’s first major ongoing TV role, and Nolte’s first since the acclaimed 1976 miniseries “Rich Man, Poor Man.’’
Onstage in front of a roomful of reporters at the recent Television Critics Association press tour, Nolte understates it just a smidge when he says, “These are big personality guys, you know?’’ Although the actor is referring only to Milch and Mann, this could be said of them all, as Hoffman easily jokes about his reputation for being, well, difficult, and Nolte admits that he’s sometimes been hard to communicate with when, in his words, he looks like the man in his infamous mug shot.
But today those big personalities are reined in, meshing comfortably with mutual admiration as the four discuss bringing to life the long-held vision of Milch, who grew up going to the races. Mann, who says he knows nothing about gambling, jokes that “David has probably spent so much money over his lifetime at Santa Anita, the carpet was rolled out.’’
The collaborators wanted to capture as much of the feel of the place as possible, which is why the series simply plunges viewers into the environment from the start - from the stables to the betting windows - wasting little time explaining the racing lingo, which is generously peppered through the dialogue.
“It’s an act of faith,’’ says Milch of the immersive approach. “I think your fundamental responsibility is to stay true to the deepest nature and intention of the materials. And that’s what we did. And I have to say that Michael’s work in creating an atmosphere . . .took a tremendous amount of the burden off of the demystifying of the world.’’
That world encompasses owners, jockeys, trainers, and gamblers.
