TALKING TO TITANS OF TELEVISION
Variety celebrates the producers who made a big impact on the small-screen scripted industry in the past year
PAMELA ADLON
“Better Things”
What is the biggest misconception about your job?
That there is a formula. Don’t. Just don’t with a formula. You have to think outside the norms.
What is the most important criteria when staffing your writers’ room?
You have to treat it as if you are making tables at a wedding or a bar mitzvah: “Well. If we put Auntie So & So there she is going to destroy Cousin Whosie. So let’s not put them at the same table.” Also, you have to want to spend time with these people, take care of them; they are giving their blood to you (hopefully).
ROBERTO AGUIRRE-SACASA
“Riverdale”
What type of character do you want to write for next?
I’d love to have a deaf character on “Riverdale” or “Sabrina” or both. Long overdue and coming very soon.
What is one piece of advice for first-time showrunners?
Take care of everyone. Take care of your writers, your actors, your designers, your crew, your editors — take care of the assistants working on your show. Most likely, they’re working as hard as you are. Take care of yourself.
SALIM AKIL AND MARA BROCK AKIL
“Black Lightning,” “Love Is___”
Writers’ room criteria?
BROCK AKIL: Finding badass staff writers. They can shake up the whole room. It’s a risk because they can either expose weaknesses in your staff or, ideally, remind everyone of the joy and privilege it is that we get to do what we love for a living.
What steps are you taking to ensure a safe and comfortable work space?
BROCK AKIL: It starts by hiring the right people, having a balance of women and men, as well as diversity. ... I also start out by stating my zero tolerance for any sort of abusive working condition. And if something happens, it is dealt with immediately.
ISAAC APTAKER, ELIZABETH BERGER AND DAN FOGELMAN
“This Is Us”
Biggest misoconception?
FOGELMAN: That it’s glamorous. Because “television” has become so ubiquitous and fancy, the job of “showrunner” sounds like this dream job. And in many ways it is. But … you work 24/7, you’re perpetually stressed out, and the reward is watching internet trolls crap all over your hard work.
Advice?
FOGELMAN: You have to find time to “shut it off.” The phone, the emails, the job, all of it. Easier said than done [but] you need to find some time to preserve for other things ... or your work will suffer.
KENYA BARRIS
“Black-ish,” “Grown-ish”
Writers’ room criteria?
That it’s a sampling of what the real world looks like where everyone can have a different opinion, but are open enough to hear other people’s opinions too.
What inspires you to create?
Nike’s ever-evolving and rapidly increasing sneaker releases.
DAVID BENIOFF AND D.B. WEISS
“Game of Thrones”
EMILIA CLARKE ON
THEIR BEHALF:
What is the most important lesson you’ve learned from working with David and Dan?
I began my career with the show so I quite literally owe everything I’ve learned about making stories from them. Good writing is the key to good work, this is where they soar and their writing goes above and beyond the norm — every episode, every season, every time.
How do they ensure a safe/inclusive set?
Being friends, and I mean life outside work friends, with us all. The sets on our show were always filled with good vibes,
ALEC BERG AND BILL HADER
“Barry” (both), “Silicon Valley” (Berg)
Biggest misconception?
BERG: Probably the idea that it’s possible to get way ahead during the writing process so that everything’s ready when you start to shoot.
What is your favorite writers’ room snack?
BERG: My feelings.
GREG BERLANTI
“Arrow,” “Black Lightning,” “Blindspot,” “DC’S Legends of Tomorrow,” “The Flash,” “Riverdale,” “Supergirl”
What is the biggest challenge in your job?
Anything that doesn’t have to do with the creative on the show. Usually that means the percentage of the day that you’re focused on personalities over art.
Advice?
It can be a very lonely job at times, but you’re not alone doing it. And you need to learn how to rely on those around you for help and support.
RACHEL BLOOM AND ALINE BROSH MCKENNA
“Crazy Ex-girlfriend”
Potential future character?
BLOOM: I would like to do more to hire actors with disabilities.
Advice?
MCKENNA: When you start, ask everyone a million questions and listen. Ask people in every department what they think the best practices are. They
have expertise in their field, use that. … Also, name tags on the first day of prep and again on the first day of shooting.
ROBERT CARLOCK AND TINA FEY
“Unbreakable Kimmy Schmidt”
Biggest misconception?
CARLOCK: That I will be really funny if you sit next to me at a dinner party.
Steps for a safe/inclusive work space?
FEY: The more diversity the better, in every department. Also, Universal insists that we don’t shoot more than 13 hours a day, and it has vastly improved crew health, safety and morale.
LEE DANIELS AND DANNY STRONG
“Empire” (both), “Star” (Daniels)
Biggest challenge?
STRONG: Continually creating story and content that feels fresh and original. Particularly in a soap opera when you need to keep turning the story.
Inspiration?
DANIELS: The current political climate and society we live in.
MATT DUFFER, ROSS DUFFER AND SHAWN LEVY
“Stranger Things”
Biggest challenge?
DUFFERS: The scripts, the scripts, the scripts — specifically, getting an eighthour story to work and build just right under intense deadlines.
Advice?
DUFFERS: Don’t be afraid to veer from the plan and take inspiration from your actors. So many of our favorite moments from the show were not in the original season outlines. If we had followed those outlines, Steve Harrington wouldn’t be Dad Steve — he would have been the Demogorgon’s dessert!
AVA DUVERNAY
“Queen Sugar”
Writers’ room criteria?
To invite an array of voices and perspectives into our family as we build these stories. It’s our criteria across all departments, not just the writers’ room.
Inspiration?
The idea of absence inspires me to create, to assert my presence, to be fully seen, to be represented and to represent others.
KERRY EHRIN
Overall deal at Apple
Biggest challenge?
Balancing one’s soft, vulnerable, creative side with being what is essentially a manager of a large business entity. ... It’s a very strange combo plate of abilities.
Advice?
It’s like a video game where objects will fly at you and you have to shoot them down one by one. If you really know in your gut who your characters are and what the emotional world is you are trying to create, you can get through most of it and do it well.
BRAD FALCHUK AND RYAN MURPHY
“9-1-1,” “American Crime Story,” “American Horror Story,” “Pose”
BILLY PORTER ON THEIR BEHALF
How do they ensure a safe/ inclusive set?
They have surrounded our set with authenticity and love. They listen to us. They have set up the Half initiative to make sure that our community is taken care of beyond “Pose.” They put their money where their mouths are. They use their powers for good. That’s a rarity in Hollywood. Trust!
JOEL FIELDS AND JOE WEISBERG
“The Americans”
Steps for safe/inclusive work space?
BOTH: If people are treated respectfully, and if the clear expectation is that everyone else will treat everyone respectfully, then anything and everything that the characters might be feeling can be safely expressed.
Writers’ room snack?
BOTH: Joe eats everything, constantly; Joel eats salad, occasionally.
DAVID FINCHER
“Mindhunter”
HOLT MCCALLANY ON HIS BEHALF:
What would people be surprised to know about David?
David promotes people constantly from within his organization. He’s very observant, and if he thinks you have what it takes he’ll risk giving you an opportunity that no one else would. It inspires loyalty.
LIZ FLAHIVE AND CARLY MENSCH
“GLOW”
Biggest misconception?
BOTH: That it’s one job rather than 20 jobs in one.
Inspiration?
BOTH: We’re both drawn to unexpected stories. Tales that surprise you. Worlds you’ve never seen. Twists on tropes. We’re also inspired by discomfort. If we’re both made uncomfortable by something, it’s probably ripe territory for us to explore.
ALEX GANSA
“Homeland”
MANDY PATINKIN ON HIS BEHALF:
How does he ensure safe/ inclusive set?
By having the wisdom to take the time to remind us that no matter who the individual is — actor, director, technical person — joining our team for any given episode, they are our guests, and it is our job to take care of them, welcome them, make them feel comfortable and let them know we are very grateful for their presence, their contribution and their help, which will hopefully create an atmosphere for our guests to do their very best and feel safe. We can never be reminded of that too often.
SARA GILBERT
“Roseanne”
Biggest challenge?
Fear. Wanting to get it right.
Inspiration?
Having something to say. I have always wanted people to watch content and feel like they see a piece of themselves in a way they haven’t before. I want people to watch and say, “Yeah that’s me.”
VINCE GILLIGAN AND PETER GOULD
“Better Call Saul”
Biggest challenge?
GOULD: Truly understanding our characters. Everything we do comes out of the people in our story and getting into their heads is our greatest challenge. Having said that, the day we know everything about our characters is the day the show is over.
Advice?
GOULD: Treat people as you would like to be treated. Being a jerk won’t make your show better and running a television show does not absolve you from behaving like a decent human being. Also, try to eat right.
SCOTT M. GIMPLE AND ANGELA KANG
“The Walking Dead” (both) and “Fear the Walking Dead” (Gimple)
Inspiration?
GIMPLE: Since I was a little kid, it’s been the best way to leave the real world for a little while.
Writers’ room snack?
KANG: Popcorn. It never hurts to channel the feeling of being a kid at the movies again when it seems like everything is impossible and nothing makes sense on a hard room day.
DONALD GLOVER AND STEPHEN GLOVER
“Atlanta”
Writers’ room criteria?
STEPHEN GLOVER: Perspective. Writers that have unique/different perspectives can all talk about the same topic in different ways and from different angles. That’s how you get interesting ideas.
Writers’ room snack?
STEPHEN GLOVER: Goldfish crackers. They remind me of my childhood.
NOAH HAWLEY
“Fargo,” “Legion”
DAN STEVENS ON HIS BEHALF:
Most important lesson?
Noah has really fostered a presence of mind and a playfulness of spirit in me that infuses all of our work together, earning magical moments with a strong root in reality.
LISA JOY AND JONATHAN NOLAN
“Westworld”
Biggest challenge?
BOTH: Finding enough whiteboard space to plot the season.
Steps for safe/inclusive work space?
BOTH: It all starts with representation behind the scenes and in front of the camera. The more different voices there are, the more positive the culture is.
HEATHER KADIN AND ALEX KURTZMAN
“Instinct,” “Salvation,” “Scorpion,” “Star Trek: Discovery”
Potential future character?
KURTZMAN: I’d like to explore what “differently-abled” means in a future where medical science has taken massive evolutionary leaps forward. What will that term mean in 300 years? I’d love to write a character that lets us explore that.
Inspiration?
KADIN: Nothing excites me more than helping a writer crack a story and bring it to life. Sitting in a room and having that creative, collaborative exchange is by far my most favorite part of the job.
MARTA KAUFFMAN
“Grace and Frankie”
Writers’ room criteria?
Balance. And I mean that in every way. Not only do the skills of the writers have to complement each other, but the personalities do as well. But I must add: you have to like the people you hire. You spend a lot of time in a room together and the last thing you need is someone who makes you want to tear your
teeth out. Advice?
Be kind. We all work too hard and too many hours for the atmosphere to be harsh or unpleasant. And ... hire people you respect whom you can rely on to tell you the truth.
GLORIA CALDERON KELLETT, NORMAN LEAR AND MIKE ROYCE
“One Day at a Time”
Biggest misconception?
KELLETT:
That I just write one character. People often ask, “Oh, which character do you write.” I’m like, “All of them!”
Biggest challenge?
ROYCE: Anxiety management. And the best way to counter anxiety is to stay ahead. Life on a show can quickly become a huge drag if you’re behind schedule, not to mention a fun, creative workplace that produces quality work is one in which your co-workers have lives to go home to, not where they’re at the office 24/7.
DAVID E. KELLEY
“Big Little Lies,” “Goliath,” “Mr. Mercedes”
Writers’ room criteria?
I look for gifted writers. Beyond that, I look for emotional intelligence. My series tend to be very character-driven, and the best writers I’ve worked with could moonlight as psychologists.
Inspiration?
Sometimes it’s the intoxication of an idea, other times it’s a song. Caffeine has been known to work. I find lift off more times than not when I truly connect with a character — one who speaks to me and allows for me to speak back. Most days I just wake up and hope the idea machine isn’t broke.
COURTNEY A. KEMP
“Power”
Steps for safe/ inclusive work space?
Our writers’ room is founded on the principle of fun. It’s a heavy show with dark themes so we keep it fun and over the top. But we all stay teachable and approachable — and we know the limits.
Advice?
Make a deal for merchandising and keep your spiritual life together.
MICHELLE KING AND ROBERT KING
“The Good Fight”
Biggest challenge?
BOTH: Deadlines. They’re constant and frightening and exhilarating. They’re complicated by the fact that there are three overlapping series of deadlines. ... You might be writing episode 5, but editing episode 3, and delivering episode 1. It makes the hair stand up on the back of our neck just thinking about it.
Writers’ room criteria?
BOTH: In this order: Intelligence, story sense, writing ability, verbal communication skills, an ability to listen to others. We also try to fill out the bench with people we’re missing. Sometimes that means finding a writer-lawyer or a more conservative voice.
JENJI KOHAN
“GLOW,” “Orange Is the New Black”
Biggest misconception?
That it’s glamorous. It’s a lot of stretchy pants, uncombed hair and dark under-eye circles.
Steps for safe/inclusive work space?
We bought a bunch of those pillows shaped like animals that people can hug when they’re having a hard time.
DAN LAGANA, DAN PERRAULT AND TONY YACENDA
“American Vandal” Biggest challenge?
PERRAULT: Putting together a compelling mystery is the most challenging and important part of our job. It’s the only way anyone is going to care to watch a penis joke for more than two minutes. Writers’ room criteria?
LAGANA: Strong, original samples are king. We read hundreds of samples every year, and make less than six hires. ... We really only take meetings with writers who blow us away on the page. Potential future character?
YACENDA: A character that Jeff Goldblum would be willing to play.
SPIKE LEE
“She’s Gotta Have It”
ANTHONY RAMOS ON HIS BEHALF:
Most important lesson?
Be 100% authentic, put in the work and to trust my instincts. I learn from just watching him navigate in the world around him. Spike has shown me to be the first and the last. Arrive early, leave late. Put in that work!
STEVE LEVITAN AND CHRISTOPHER LLOYD
“Modern Family”
Steps for safe/inclusive environment?
LLOYD: We’ve never had an unsafe environment, and it’s
pretty easy to avoid one: don’t hire idiots.
Writers’ room snack?
LEVITAN: Anything but dinner.
WARREN LITTLEFIELD AND BRUCE MILLER
“The Handmaid’s Tale”
Biggest misconception?
LITTLEFIELD: That you can pull a rabbit out of a hat. Producing takes time and preparation.
Advice?
MILLER: Before you start, decide what parts of your life you are not going to sacrifice to your work.
CHUCK LORRE
“The Big Bang Theory,” “Mom,” “Young Sheldon”
Biggest misconception?
The word “producer.” People tend to imagine a fat, bald guy sucking on a cigar, sitting behind a desk and yelling at people. In actuality, TV writers are given the various producer titles in lieu of cash. And I’m not fat and bald... yet.
Biggest challenge?
Never settling. Trying to make every moment of every episode work.
SETH MACFARLANE
“American Dad,” “Family Guy,” “The Orville”
Biggest misconception?
That, because so much of my work is in comedy, I must be laughing all day. I am not laughing all day.
Writers’ room snack?
I have been gnawing on the same Slim Jim continuously since I first became a professional writer in 1996.
DAVID MANDEL
“Veep”
Potential future character?
I would love to have a character that collects things the way I do — original comic art, toys and movie props. It’s a really interesting world, and it might allow me to write-off some of the things I buy as a business expense.
Inspiration?
I think about what would make my closest friends and college roommates really laugh.
STEVEN MOLARO
“The Big Bang Theory,” “Young Sheldon”
Inspiration?
When parents tell me things like “My son is a lot like Sheldon. Thank you so much for helping make kids like him a little bit cooler” — that’s the greatest feeling in the world.
Advice?
Everyone wants to help, but the room can’t read your mind. Be as transparent with the writers about what you’re looking for as you can. … And if you’re not sure what you’re looking for, it’s OK to say that too.
RONALD D. MOORE
“Outlander,” “Philip K. Dick’s Electric Dreams”
Biggest misconception?
That I’m on the set every day. I don’t see my primary job as minding the set — rather it’s to oversee the entire production from the writers’ room to the final delivery of the show.
Writers’ room criteria?
The ability to write a good first draft, generate stories and characters in the room and be part of a team.
PETER MORGAN
“The Crown”
Inspiration?
It’s like asking “what inspires you to breathe?” or “what inspires you to put on trousers in the morning?” It’s just something you do. You’d feel suffocated, or at the very least rather odd, if you didn’t.
Advice?
First I’d ask them a question: why do you want to do it? If it’s to write, there are other ways to spend more time writing. If it’s for the money, there are definitely easier ways to make money. If it’s for the fame, go talk to your shrink/priest/rabbi/imam/ guru/bartender. But if you want to tell longform stories on the screen, batten down the hatches, toughen up your hide, get a great team around you and above all remain focused on the writing.
MARTI NOXON
“Dietland,” “Girlfriends’ Guide to Divorce,” “Sharp Objects”
Steps for a safe/inclusive environment?
Lots of open, honest communication. And a clear chain of command if anything happens that makes anyone feel uncomfortable. But it starts at the top, the senior staff has to lead by example and treat everyone the way they would like to be treated. It’s not that hard, you know? Golden fucking rule.
Writers’ room snack?
Somebody else’s birthday cake.
DAN PALLADINO AND AMY SHERMANPALLADINO
“The Marvelous Mrs. Maisel”
Biggest challenge?
BOTH: Remembering why we fell in love with a story, especially after the 500th question about the minutiae of execution.
Advice?
BOTH: Don’t be afraid to be fired.
JORDAN PEELE
“The Last OG”
Writers’ room criteria?
It’s a combination of diversity and harmony. You want a spectrum of voices with complementary skill sets.
Advice?
Have a clear vision, and when things go wrong be ready to adapt your strategy in executing that vision.
PRENTICE PENNY AND ISSA RAE
“Insecure”
Steps for safe/inclusive work space?
RAE: By keeping my hands to myself and maintaining a safe space for people to call others out.
Potential future character?
PENNY: I hope to include someone next season whom
you despise, but can’t help pull for. I always love characters I hate, but love.
TYLER PERRY
“The Haves and Have Nots,” “Love Thy Neighbor,” “The Paynes”
Inspiration?
People, human experiences and the opportunity to bring entertainment laughter and escapism to a world that needs it now more than ever.
Advice?
There are things that you won’t be able to control in this job, but have faith, believe and keep going — just keep going, no matter what.
JULIE PLEC
“The Originals”
Inspiration?
I get inspired by the powerful work of others. By a story that makes me cry. By the passionate hunger of fans who consume our stories.
Advice?
You don’t know what you don’t know, and you won’t know it until you learn it [usually the hard way] by doing. Ask for help. Find good partners. Don’t be an asshole.
SHONDA RHIMES
“For the People,” “Grey’s Anatomy,” “How to Get Away With Murder,” “Scandal,” “Station 19”
Writers’ room criteria?
I always want writers whose voices and opinions are different than mine and who are willing to argue.
Advice?
Making a show is a team sport. Respect your crew. And also buy lots of food trucks.
MELISSA ROSENBERG
“Marvel’s Jessica Jones”
Biggest misconception?
That any one person can do it alone.
Writers’ room snack?
Champagne.
MICHAEL SCHUR
“Brooklyn Nine-nine,” “The Good Place”
KRISTEN BELL ON HIS BEHALF:
Most important lesson?
Mike has always taught by example that humor doesn’t have to be cynical or offensive or shocking to be funny — that there’s hilarity in joy and simple absurdity.
FRANKIE SHAW
“SMILF”
Steps for safe/inclusive environment?
Hiring people who have largely been marginalized and putting them in positions of power.
Advice?
Hire a great support staff. You’re only as good as your assistant!
DAVID SHORE
“The Good Doctor”
Inspiration?
The opportunity to say something and have millions of people listen is kind of nice,
Advice?
Don’t listen to the network too much. Even they don’t want you to; they want to know you have a vision.
JUSTIN SIMIEN
“Dear White People”
Biggest challenge?
Operating on timeframes that seem totally arbitrary and not at all tailored to the creative process.
Inspiration?
Questions about human nature that I don’t yet have answers to. Fantastic writing and filmmaking that illuminates the human condition. Occasionally a piece of music.
JENNIE SNYDER URMAN
“Jane the Virgin”
Biggest challenge?
Time! You always need more of it, and the reality of producing network TV is that there isn’t enough .. .ever. I am constantly wishing for more hours in the day, more days in the week, and more weeks in pre-production.
Writers’ room criteria?
Different strengths, different perspectives and different backgrounds. And kindness. Above all, kindness.
LENA WAITHE
“The Chi”
Steps for safe/inclusive work space?
Making sure women are in charge. Women are usually better about diversifying. They also tend to be more open-minded.
Potential future character?
I really want to include a character that’s asexual. It’s something no one likes to discuss, but that’s a group of people that exists. They shouldn’t be ignored.
PHOEBE WALLER-BRIDGE
“Fleabag,” “Killing Eve”
Writers’ room criteria?
Absolutely trust your gut about a person and don’t exclusively pick experience over talent. You can hone talent. Make sure you have a good story producer who can help structure the whole thing.
Advice?
Make sure you are surrounded by people with a sense of humor. It’s going to get stressful — it’s going to feel like everything is falling apart — but if you can look at a problem and laugh nonetheless, you’ll be OK.
JOHN WELLS
“American Woman,” “Animal Kingdom,” “Shameless”
Biggest misconception?
That any one person can make all of the decisions. Showrunning isn’t a position for auteurs, it’s a collaboration between dozens of artists and craftspeople. You have to hire well and delegate.
Steps for safe/ inclusive work space?
Communication. We discuss what is acceptable and unacceptable in the workplace and make certain everyone not only understands what’s expected of them, but feels a personal responsibility to insure a safe work environment for all. It’s a community; we have to look out of each other.
DICK WOLF
“Chicago Fire,” “Chicago Med,” “Chicago PD,” “Law & Order: SVU,” “Law & Order True Crime: The Menendez Murders”
Biggest challenge?
Convincing people that I don’t do everything myself. There are approximately 175 people on each of the New York- and Chicago-based shows, and they wouldn’t be what they are if people didn’t perform with maximum output.
Writers’ room criteria?
Intelligence.