A Quote by Harry Treadaway
I think it's amazing to have one writer write every episode of a series. It's very rare, I think. You get a voice that continues.
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I got into the business because I love writing. When it came down to finding my voice, which every writer has to take time to do, I think I realized I write black people very well. I write us in a very honest way, and I want to hear the way we really talk.
There's this message to comedians in particular, that you shouldn't write it, and a television writer should write it. And that's a prevailing conventional wisdom that I think is really wrong. That's not to say that television writers aren't great, but I think that the belief that some comedy writer's going to be able to capture your voice is naive.
I wrote Steve Carell's last episode. I think it was a really good episode, but there's always a tension between what's good for the series and what's good for an episode, because the more closure you put on an episode, the more significant feeling it is.
I think as of right now, we're not hiring an individual to be a series regular and be in every episode to replace her. We're dealing with what we have, and some of it has to do with, as shows get older - I'm learning this as a new to a long lasting series - you start to have maybe some budgetary pressures over time, as people's salaries go up.
I think Labrinth is an amazing writer and an amazing singer. His voice is just so magnetic. There are so many people that I would work with inside and outside of pop.
As someone who grew up in Europe, I don't look at TV and automatically think of a primetime network series, created by a staff of writers. I think of 90-minute movies that can break talents out or a three 90-minutes-an-episode mini series that can introduce a fantastic new series like 'The Blechtley Circle.'
I think most of us, as writers, have had experiences where you get edited and it doesn't feel like your voice at all. And so it's been nice to go through the experience of having a lot wind up on the cutting-room floor, and yet still feel that your voice is being - not purified, but made more yourself. I think that's a very rare thing.
I think it's hard to make a living as a writer, but I think it's hard to work at McDonald's too.... I think the commitment is to get up everyday and say, "I'm a writer, therefore what I'm supposed to do today is write." And to do that, and to do that and to do that.
It's not possible to advise a young writer because every young writer is so different. You might say, "Read," but a writer can read too much and be paralyzed. Or, "Don't read, don't think, just write," and the result could be a mountain of drivel. If you're going to be a writer you'll probably take a lot of wrong turns and then one day just end up writing something you have to write, then getting it better and better just because you want it to be better, and even when you get old and think, "There must be something else people do," you won't be able to quit.
I think writing is a very political act. I think that any writer who says it's not, is simply a writer who is disavowing the political connotations of what they write.
Today I said to the calculus students, "I know, you're looking at this series and you don't see what I'm warning you about. You look and it and you think, 'I trust this series. I would take candy from this series. I would get in a car with this series.' But I'm going to warn you, this series is out to get you. Always remember: The harmonic series diverges. Never forget it."
A writer has an inescapable voice. I think it's inherent in the nature, and I think that we don't control it anymore than we control what we want to write about.
I think I was probably able to flip characters in my head as if I was playing different roles in order to write the different people because you kind of have to be one person, and inhabit him and write from his voice and be her and write her voice. So I think that helped.
What is absolutely true is that any good [Television] series has a specific voice. And I think that voice is almost exclusively the domain of the executive producer. . . . As a staff writer you're not being called upon to be the great creative person. You're sort of called upon to understand the characters and their voices and put them through certain paces.
Fortunately, I have an amazing partner that allows us to do these different things, who will be directing an episode himself soon, I'm sure. But, it's amazing. I love directing and I think that it allowed me to get closer to the actors and actually work with them on a level that I haven't before, and really get down there with them. I would jump at the chance to do it, anytime I could.
Although I write screenplays, I don't think I'm a very good writer. I'm very interested in studying cultures and social issues, but as an academic I don't think I would have been too successful.
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