It’s safe to say that there’s truly nothing on television right now quite like Neighbors. The docuseries hailing from HBO and A24 could almost be described as a mash-up of How To with John Wilson meets Uncut Gems (and not simply because Josh Safdie serves as an executive producer), but even that shorthand fails to fully encapsulate what you’re in for after pressing play on any given episode. Creators, directors, and EPs Harrison Fishman and Dylan Redford spent two years filming Neighbors’ first season, which was originally inspired by the viral videos of real-life neighbor disputes they watched during the pandemic. The result is a six-episode snapshot of contemporary America through the lens of residential conflicts, from a property debacle over the smallest strip of grass in West Palm Beach, Florida, to an annual Halloween decoration competition in New Jersey that turns very personal.

Less than two months after the Season 1 finale, Collider can exclusively reveal that production on Neighbors Season 2 has officially begun. Below, Fishman and Redford took a pause from documenting more stories to discuss the response to the series’ first season (including the surprising reactions from those who participated), when fans can expect Season 2 to premiere, which pockets of America they’re hoping to explore next, and much more.

COLLIDER: You look like you’re working remotely right now. What are you in the middle of?

HARRISON FISHMAN: Yeah, we’re in the car right now because we’re filming our first story.

Obviously, we can get into what you guys are planning to focus on for Season 2, but I’d love to talk about the overall response to the show. Have you had friends and family reach out now that Season 1 is out in full?

REDFORD: Yeah. We’ve been working on this for many years. Harrison and I have both described this show, “Oh, yeah, we’re making a show about neighbor disputes,” to our friends and family, and, at a certain point, I don’t know if they believed that it would actually happen. I think they were sort of, like, “Okay, that’s a nice idea. Good luck with that.” We went and truly did it, and then, suddenly, the show was out and was very, very real. It was a very satisfying experience to be able to share the show with the world and also with all these people, friends and family who had seen us just so… It was a very all-consuming process.

Harrison and I, and Harrison’s brother Sam, and our producer, Andy [Ruse], were on the road for years trying to make this show happen, so it’s really great to be able to show everything that we had worked on and be able to share it with our friends and family, and then also the world. That was very, very, very surreal. I don’t think we really thought about that part so much.

FISHMAN: That it was actually going to come out.

REDFORD: That it was actually going to come out, yeah, that people all over the country were going to watch it.

**What has the response from Season 1’s participants been like? Did anyone reach out to you after their episode aired? Were there any particularly strong reactions to what ultimately premiered? **

FISHMAN: One of the most beautiful parts of releasing the show was the overwhelming, positive response from everybody who was in it to their episodes, and how they were all so excited about how they were portrayed and the story that we told. Because our crew is so small, I don’t think they realized that… I don’t think they maybe thought about the music that we were going to use or how cinematically we were shooting certain sequences, so I think, when they saw that, it was really exciting to them.

We stay in close contact with everybody that we filmed with. We were reaching out to them more than they were reaching out to us, asking them what they thought. And, yeah, it was very positive. Something else that we didn’t even consider is how they felt about other stories and other people on the show, and they were really engaging with the show in an exciting way. It just made us so happy that they all were just excited about how it turned out and proud to be part of it. It was awesome.

REDFORD: There’s a feeling, too, of relief in knowing that they’re not alone in dealing with these neighbor issues. I think that some of our participants have gotten in touch with each other from different stories, because there’s a camaraderie in having weathered or currently weathering a neighbor dispute, because it becomes so all-consuming. While the issue might be different, how it makes you feel and what you end up doing and dealing with it, there’s a lot of similarities, so that was also an unintended outcome that was nice.

**I’m sure this thought has crossed both of your minds as well: would you consider doing a “sequel” or a follow-up episode to any of the disputes from Season 1? A lot of those episodes have an open ending, or there’s an implication that some of this stuff can’t be resolved within the span of an episode. **

FISHMAN: I think what’s most important to us is that these people are actively engaging in these situations. So if any of the stories that we followed continued and the disputes escalated or changed in any way, and they were still happening, we’d definitely consider going back and filming a follow-up and see how these people’s stories continue. We’re excited to explore new territories and new situations and people and all of that in Season 2. We’re pretty open to anything. It just has to be really happening in this window that we’re going to be filming in.

What’s the timeframe that you’re aiming for in terms of production for Season 2?

REDFORD: Well, we’re basically in production through this summer and through the fall and then a little bit in the winter. We’re aiming to have the next season out at a similar time that we did this year. The timeline’s definitely compressed, but we have a bigger team, we have a lot of support, we have a great casting team that have already found some amazing stories, so we’re in really good shape. It’s also nice that we could get into a rhythm with the show, being able to deliver a season at a regular pace, so that we can really keep people excited and engaged.

**Is it going to be the same length as Season 1? **

FISHMAN: It’s going to be the same amount of episodes, and I think that it will roughly be the same amount of stories. Like with Season 1, the stories sort of determine the structure of the episodes, and we just are open to what stories we come across and what people we meet and how that informs the structure.

Do either of you have a creative takeaway from Season 1 that you’re using to inform how you approach Season 2?

FISHMAN: Generally speaking, I felt like we had taken certain risks formally and structurally in Season 1. We hadn’t put out the show, and so we didn’t know how people would react. I feel like we’re more open to more things and more different types of stories and people and the way that an episode could unfold. That type of thing is exciting and feels less scary.

REFORD: I also think that there is something about the fact that our subjects really enjoyed the show, in Season 1, that just affirmed, in some ways, that we do really care about our subjects, and we really aspire to have the show be an honest representation of their lives. In some ways, I think it just gives us the confidence that Harrison and I have the ability to show and reflect the truth that people feel about themselves and their situation. One of the biggest risks for us was: how are our subjects going to feel?

With that in mind, there’s just a level of confidence that we have in ourselves and our project and the tone of the show that is very affirming. It’s not maybe a different approach, but it’s just this thing in the background where we know that the way that we make this show is generally in line with how our subjects see themselves and their situation, and I think that feels really nice.

Dive into a bizarre world where real-life disputes take center stage.

In terms of Season 2, were there any specific areas within America that the two of you wanted to go after, or is that less of a consideration than just where the interesting stories are?

REDFORD: It’s a little bit of a combo. Our casting team, led by Harleigh Shaw, set up both an outward, just trying to find what’s out there and what’s just happening naturally, and then we thought about what some interesting themes are. We call them a sort of reverse engineer, where we’ll think about a place where there might be a neighbor dispute, or we think, “We would love to find a dispute in this type of place or in this type of environment.” The country is massive, and this is a thing that so many people experience that it can be nice to have some parameters, and then we can set our team to trying to find the stories in that place or given that subject matter. We kind of do both.

Can you reveal where you’re going to be based for Season 2?

FISHMAN: We would love to do [an episode] that’s based in a city and an apartment-type story, like in New York City or some kind of big metro area. We would love to do a story that takes place within an HOA and really cover that type of thing. Small, tight-knit communities that are based around different ideas seem exciting to us. I’m trying to think about what else…

REDFORD: Yeah, we’ve talked about how it would be great to expand into different corners of the United States. Like Alaska or Hawaii would be very exciting. Part of the show is a bit about America, and so, the more we’re able to show the various textures and landscapes that feel very varied, it’s also a way of just showing how many people live so many different lives in this country. We’re always looking for extreme places that really push the limits of our general understanding of what it’s like to live in the U.S.

FISHMAN: Right, like unconventional living situations or anything that can broaden your idea of what the country is right now and how people are living and coexisting next to each other. The reason the show is so fun to make for us is we use these neighbor disputes and neighbor tensions as a lens and a portal into learning about America. It’s just a great gateway to learn about anything. It’s funny because there’s things that we’re, like, “Oh, it would be cool to see this,” but then there are times that our casting team will bring us a story, and we’ll be, like, “We never even could conceive that someone could live like that,” or “We didn’t know that there’s a job that consists of that,” and so that stuff is really exciting to us.

How did the show’s premiere on HBO ramp up the number of submissions that you got from people wanting to participate in Season 2? Was there a jump in the number of folks who contacted casting to get the word out about their own situations?

FISHMAN: A lot of people are contacting us based on that flyer that HBO was so gracious enough to let us put at the front of… I think it was Episode 6. The last episode had that. Part of what makes the show special is weeding through those and trying to find the ones that tell the stories that we want to show and people that we want to show.

REDFORD: It changed the dynamic of how we cast. Now, we have people coming to us who want to be on the show. We did some Facebook ads last year, but the whole incoming section of our casting was much more minimal. Season 1 was a lot more aggressive in terms of us going out into the world. Now, we have two sides that we’re having to manage. But it’s great. The more stories and the more people that come to us, the more people know about the show. I’ll run into anyone, and I say, “I’m working on a show about neighbor disputes,” and they start telling me about their neighbor issues. The more we can just be the place and culture where people go to when they have a neighbor problem, I think that would be amazing.

**Do you have an idea of how many total seasons you’re envisioning for Neighbors? I know this is such a long and involved process, and it involves a lot of energy and time, but I’m curious about what you see as the overall trajectory of the show, now that Season 2 is in the works. **

FISHMAN: I think we want the show to go forever. We want a hundred seasons of our show, hopefully, if they let us keep making it. The more that we make it, the more that we realize that it truly is so universal, and even more universal than we had even originally thought. No matter what class and demographic and place that you’re from in our country, everybody has a neighbor, and everybody is dealing with some type of problem or grappling with the way that they coexist. We love to make the show, and we made the first season with the smallest team you could imagine, and so, as the seasons progress, we hope that we can keep the ethos and the feeling alive, but scale it up.

REDFORD: Yeah. It’s a whole other part of creating a show, which is running almost this small business where you have to scale it to meet different needs. We came at this because we were artists and sculptors, and now we’re having to try to figure out how to scale this project and maintain its core vision and artistic integrity and all that. The great thing about working with HBO and A24 and Josh Safdie is that they want that, too. That’s not always the case, so it feels like **we’re all in it to try to figure out how we can make this thing last for as long as possible **and as sustainably as possible.

Neighbors Season 1 is available to stream on HBO Max, with Season 2 set to premiere at a date yet to be announced.

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