Joshua Brand on writing the pilot for Northern Exposure, and on his writing process with writing partner John Falsey
Joshua Brand on his writing process
Joshua Brand on dealing with writers block and on the general process of writing
Joshua Brand on what he loves about writing
Joshua Brand on advice to an aspiring television writer, and on dealing with studio politics
Joshua Brand on dealing with writers block and on the general process of writing
Chris Carter on the characters' motivation in the first season of The X-Files
Chris Carter on keeping track of the story arc on The X-Files
Chris Carter on the process of collaborating with other writers and producers on The X-Files
Chris Carter on how they handled Gillian Anderson's pregnancy on season 2 of The X-Files, which led the the "Scully abducted" storyline
Chris Carter on the decision to move The X-Files from Canada to Los Angeles starting with season 6
Chris Carter on advice to aspiring television writers and show creators
David Crane and Marta Kauffman on how they worked with the actors on Friends
David Crane and Marta Kauffman on what they looked for when hiring writers on Friends
David Crane and Marta Kauffman on how they worked with the actors on Friends
David Crane and Marta Kauffman on what they looked for when hiring writers on Friends
Norman Lear on the rigorous schedule writers had in the Golden Age of Television and on his personal life at the time
Norman Lear on starting a production company with Bud Yorkin
Norman Lear on casting being critical to a show's success, and on the "magical" casting of Carroll O'Connor, Jean Stapleton, Rob Reiner, and Sally Struthers on All in the Family
Norman Lear on the business aspects of All in the Family and Tandem Productions
Norman Lear on juggling so many successful shows in the '70s
Norman Lear on making his audience laugh
Norman Lear on starting TAT Productions
Ron Cowen and Daniel Lipman on their responsibilities as executive producers and showrunners on Sisters
Ron Cowen and Daniel Lipman on their push to have as many female directors and writers on Sisters as they could
Ron Cowen and Daniel Lipman on what they look for when hiring writers on their series
Ron Cowen and Daniel Lipman on their responsibilities as executive producers and showrunners on Sisters
Ron Cowen and Daniel Lipman on their push to have as many female directors and writers on Sisters as they could
Ron Cowen and Daniel Lipman on what they look for when hiring writers on their series
Matthew Weiner on his ability to remember dialogue and moments vividly, which he later used in writing for television shows like Mad Men
Matthew Weiner on how he had difficulty differentiating between fantasy and reality with his childhood exposure to TV and film; on how that translates to his writing being "dreamlike"
Matthew Weiner on why it's easier to hustle your work than actually write and finish a product
Matthew Weiner on his first job punching up scripts for TV shows
Matthew Weiner on how invaluable it is to be funny as a writer
Matthew Weiner on his design choices for Mad Men; on the attention to detail for the period
Matthew Weiner on the emotional toll of writing
Matthew Weiner on his writing process and how much he reveals to others
Matthew Weiner on using The Beatles' song "Tomorrow Never Knows" on the Mad Men episode "Lady Lazarus"
Matthew Weiner on plotting out stories and themes for Mad Men, the suicide of "Lane Pryce" (Jared Harris), and other elements of season five
Matthew Weiner on making viewers cry at Mad Men and confounding viewers' expectations
Matthew Weiner on the time lapse between seasons 7a and 7b on Mad Men and updating the styles and fashions
Matthew Weiner on dealing with writing and directing the final scenes of Mad Men
Matthew Weiner on Mark Moses as "Herman 'Duck' Phillips" on Mad Men and stories they never got around to doing
Hugh Wilson on the atmosphere in the writers' room on WKRP in Cincinnati and what he looked for in a writer
Hugh Wilson on his writing process and the then-current state of writing for features and for television
Hugh Wilson on the cancellation of Frank's Place and the difference between writing for television and writing for film
Hugh Wilson on advice to an aspiring writer and an aspiring director
