Director Max Winkler discusses the moment he realized that the dynamic between JFK Jr. and Carolyn Bessette was effective in his film, Love Story.

      Max Winkler and the team behind Love Story debated for months about whether the series should begin with John F. Kennedy Jr. and Carolyn Bessette at the airfield, moments before their final flight.

      Opening the series with the couple arguing and then reconciling was intended to tackle various aspects of the Kennedy-Bessette relationship, including sacrifice, unwanted fame, and tragedy. It also highlights the genuine love between two individuals who faced numerous challenges to be together, creating a sense of vitality and spontaneity, despite revisiting a distant era.

      Winkler faced challenges in capturing this scene, which was filmed at a Westchester, New York airport with strict limitations on production locations. Winkler, alongside cinematographer Jason McCormick, cast, and crew, had to patiently await the perfect lighting, shooting quickly once it arrived.

      “We rehearsed extensively and then had a few moments to capture it, and I’m really thankful we took the time to get it right,” Winkler reflects. “I’m less concerned about the visual aspects and more focused on the essence of the scene. In that kiss, there's this brief connection, and it’s a stunning moment. The sunlight hits her hair perfectly, and you really grasp the significance of the series right there.”

      Sarah Pidgeon portrays Carolyn Bessette and Paul Anthony Kelly plays John F. Kennedy Jr. in Love Story, FX

      That connection was unintentional, but it's one of many genuine details that ground the narrative of these two icons. Amid the logistical and storytelling hurdles of the series, Winkler ensured it felt like “a love story about John and Carolyn, who come from vastly different backgrounds, and while many believe they shouldn’t be together, they know they belong together.”

      The scene begins with the couple arguing over Carolyn's tardiness; she rushes in from a manicure appointment, dodging throngs of people eager to see her. Their apparent differences seem insurmountable until he kneels down to apologize.

      “She’s searching for cigarettes when he kisses her. I thought, this is it — this is the show,” Winkler says. “I want audiences to root for these characters, and by that stage, we had filmed for a couple of months, so there was a genuine rapport and chemistry between them. Seeing that moment made me confident this would resonate.”

      Although Winkler is the son of Henry Winkler, he dismisses the idea that his relationship with JFK Jr. was influenced by their famous fathers. He attributes Kennedy’s relatability in the show to the writing and research by Love Story creator Connor Hines, and the dynamic between stars Kelly and Pidgeon.

      When praised, Winkler is inclined to credit the cast, crew, or even the setting of Love Story. He acknowledges that audiences have a natural fascination with 1990s New York City, the Kennedy legacy, and Bessette's work with Calvin Klein.

      However, as the director of the first episode of the nine-part FX series, Winkler played an essential role in making Love Story come to life and turning it into a cultural phenomenon. He frequently collaborates with executive producer Ryan Murphy, who approached Winkler about Love Story while Winkler was in post-production on their other project, Netflix’s Monster: The Ed Gein Story.

      We spoke with Winkler, who is also an executive producer on Love Story, about his early memories of the ‘90s, silent takes, and capturing scenes in “God’s Time.”

      Max Winkler on Shooting the Pilot for Love Story

      Max Winkler on the set of Love Story. Photo by Eric Liebowitz/FX

      MovieMaker: Recently, I was in Central Park and saw a jogger who looked just like JFK Jr.—shirtless, wearing a backward cap and sunglasses. Plus, Carolyn Bessette's fashion has received renewed appreciation. Were you surprised by how your vision has resonated with popular culture?

      Max Winkler: I was always aware of John F. Kennedy Jr. and Carolyn Bessette’s unique style and how wonderfully they dressed, and just how stunning they appeared.

      The Indian restaurant we filmed in, Panna, is now always packed. I've never experienced a project with such an immediate impact. I was in Italy when the show premiered, and every Thursday or Friday morning, my phone would be flooded with emails. Because it aired weekly on FX, it allowed for an extended engagement; viewers revisited the series from the beginning and discovered it later.

      MovieMaker: These characters are iconic. How do you humanize them and make us genuinely care about them?

      Max Winkler: It all comes down to casting — we selected two inherently good people who naturally exude warmth and kindness and treated each other with respect. Our goal was to peel away the glamour and the brand image to reveal the story of two individuals who fall in love, making it relatable.

      I felt confident in our casting, as I believed the writing was outstanding. Love stories