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You’ve got a writers’ room at the moment for , don’t you? I don’t think I’ve written anything ever if it wasn’t for her and that collaboration in the first place. It says [holds up phone to screen], “Sat beside a pornographer.” [Laughs] I was invited to a dinner, and I asked, “What do you do? If [protagonist ‘s] subtext is always a mess — emotional mess, physical mess, f—ing all the time, eating in bed, all that — some would think the show needs to look grimy. Once, I wrote a whole episode of and it’s been years!
HORGAN: No, we sit side by side like a pair of weirdos. I’d always worked closely with Vicky Jones [who directed the play]. WALLER-BRIDGE: I have an incredible director and director of photography, and we all felt ambitious from the start. I always knew that an essential part of the character is that she is desperate to give the impression she’s in control. HORGAN: I give myself false deadlines, and I give other people false deadlines, too. But there was that one day when you did it in 25 minutes, so for the rest of your life you’re like: It takes 25 minutes!
Despite their busy schedules, they managed to squeeze in time to talk weird Hollywood parties, juggling projects, and deadlines.
We tried to get some questions in, but after EW asked about their first meeting, these two TV multitaskers were off to the races. SHARON HORGAN: It was very sad because we [at production company Merman] just missed the Phoebe boat.
It’s quite intimidating to go in a room with other people. HORGAN: When you wrote , did you have half a mind it would become a series? Or looked at something I’ve written and thought, “Done! I have never felt like that either, and I think that’s why you are so good at what you do. And I think that is so strong in everything you’ve made.