American - Producer | 1967 -
I've always been really attracted to playing with structure. To take the story of 'Fargo' and break it up in such a way that's it's not linear, per se.
Noah Hawley
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The thing with making your art your business is: It's a business. You can't sit around waiting for the muse, especially when you run a show, and you're in production, and an outline is due, a script is due, and a reshoot is due. No. You look at the calendar, and you go, 'OK. I can write from 4 to 6.' So you write.
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The prospect of being a father made me ask myself a question. How do you know what kind of adult your child will turn out to be? And how much can you control that?
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The idea was always going to be that each year is a stand-alone story, which did make it easier on some level. It also requires the network to have the creative imagination to say, 'This is also 'Fargo,' you know what I mean?
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There's the craft of acting, and then there's a quality. There's a quality that someone has.
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The great amount of fun that I have is I can cast dramatic actors to play comedic roles, and I can cast comedic actors to play dramatic roles because, really, there's no such thing. There's just actors.
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I'm attracted to ensembles: you get a lot of really good moving pieces. It's sort of like a horse race in a way, especially when you know that everyone is on this collision course. It's like, 'Who's going to make it?' And you can put people together in unexpected pairings.
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Tension is all about, 'Why is this taking so long?' The interesting thing about that is that it's also the tension of comedy. The tension of drama and comedy is similar, and that's why usually you can get a big laugh in a really tense moment because people need that release.
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'Fargo' becomes a metaphor for a type of true crime case where truth is stranger than fiction. So, there's no reason that there isn't another 10-hour true crime story that could be told in this region.
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Obviously, when you do something with drama and comedy in it - and by that, I mean a scene that has drama and comedy in it - you know the minute you introduce music, you're either scoring the drama or you're scoring the comedy, and therefore the scene becomes either dramatic or comedic.
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Having written for film and television, I had little interest in turning 'The Good Father' into a Hollywood thriller. I was writing a novel, and novels demand that the writer goes deeper, both emotionally and thematically.
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I think a writer's first job is to entertain, even in novels: to tell a compelling story that pulls the reader along toward an end. At the same time, the best stories are character-driven.
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