A Quote by Nell Scovell
I fantasize about the networks making a rule that each show's writing staff needs to reflect the gender and racial makeup of its audience.
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White, older showrunners told me, 'Why do you want to hire an all-Latinx writers room? Hire who's best for the show - don't get caught up in that.' And I was like, 'No.' For such an intimate show about the details of a culture? You can't fake that. The room needs to reflect the makeup of the show.
Making a show is also economics. Because the irony is, or the shame of it is, you cannot create a show instantaneously. It needs to be massaged. You need to see who is relating to who. How is it working with the audience? You need to give it a chance for the audience to find it, because there are so many outlets. And the audience doesn't know where to go.
When I do makeup, it's performative. I don't really wear makeup, but I use it as a tool to talk about gender and sexuality.
There’s a need to perfect things in a writers’ room, and that can take a lot of fun out of a show sometimes. It’s a struggle. It depends on your personality. Some people love working with a writing staff. I had a great writing staff on Lucky Louie, but it sometimes felt like Congress or something.
The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.
If you can't get your core audience to watch the show, it's very hard to then pull in enough people outside of your fan base to your network. The networks are just so branded now; USA can't really do a dark despairing drama and FX can't do a blue-sky show. People watch the networks they watch.
When I create a TV show, it's so that I can write it. I'm not an empire builder; my writing staff is usually a combination of two kinds of people - experts in the world the show is set in, and young writers who will not be unhappy if they're not writing scripts.
The cool thing about 'Transparent' is that the show is funny but not like a sitcom is funny. It all comes down to the writing... The writers on that show are so good that you don't have to worry about anything. There are so many things that can go wrong making a TV show or a movie, but if the writing's good, that's, like, 95 percent of it.
I think we're at a really rich and fertile time in the zeitgeist about paying attention to diversity of all kinds - racial diversity, gender diversity, making room for a continuum that is more inclusive.
Perhaps MacKinnon should reflect on these suggestions that the censorship issue is not so simple-minded, so transparently gender-against-gender, as she insists. She should stop calling names long enough to ask whether personal sensationalism, hyperbole, and bad arguments are really what the cause of sexual equality now needs.
We owe it to the audience to put more characters onscreen that reflect them and that speak to issues of race and gender as well as to a character's sexual preference.
I love to fantasize still, as I did as a little boy. If I see a movie, I want to fantasize about what it's all about.
Drag for me is costume, and what I'm trying to do is, sometimes I'll go around and wear makeup in the streets, turn up to the gig, take the makeup off, do the show, and then put the makeup back on. It's the inverse of drag. It's not about artifice. It's about me just expressing myself. So when I'm campaigning in London for politics, I campaign with makeup on and the nails. It's just what I have on, like any woman.
Ailes built a Kingdom of Yes. That was his genius. He understood the id of many white conservatives - their sense of constant persecution and victimization; and their existential fears of an America whose racial makeup, sexual mores and gender roles were careening in the opposite direction of the country of their childhood.
My family and I took visits to each and every school and listened to each coaching staff. I felt the most comfortable with and really excited about playing at SC. Being close to home in one of the best offensive systems is paying off now as I'm making the jump to the pros.
I'm just focused on getting to the end of each show and feeling like we've done a good job when we walk off stage. And a perfect show isn't necessarily about making the audience feel good. I know I've done my job well if I've made people feel... interesting. I like to leave them a little stunned.
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