In Abbott Elementary SchoolIn the third season of The 4000, series creator Quinta Brunson and her writing team faced a challenge: tell a thorough, compelling story in eight fewer episodes than usual. The ABC comedy, which normally spans 22 half-hour blocks, was cut short due to writers’ and actors’ strikes (the February premiere date also clashed with the show’s tradition of following the school year in real time). “I knew right away that I didn’t want to hold anything back for the fourth season and that I wanted to keep the finale that I had planned,” Brunson says. She took the opportunity to try a time jump for the first time — among other creative twists — and the results reaped Abbott nine Emmy nominations, including outstanding comedy series. “The season had a different feel than it might have otherwise, but I’m really glad we gave Janine (Brunson’s character) and Gregory (Tyler James Williams) that satisfying moment,” Brunson adds, referring to their kiss at the end of the finale. “One thing I don’t like is dissatisfied people.”
This season, the show was nominated for an Emmy for Best Director. Do you follow a particular strategy when selecting directors?
We always like to start the season with a director the cast already knows so we can really get into the swing of things – like Randall Einhorn, who was just nominated. Towards the middle of the season, we like to make room for first-time directors or people we haven’t had the chance to work with before. Two seasons ago, one of our writers, Justin Tan, directed his first episode, and he’ll be directing again this season. At 22 episodes, we’ll have room for some of the other writers, and we’ll have a surprise directing turn from one of our cast mates, so I’m excited about that.
Do you think the continued success at the awards shows makes the show’s future more secure?
I don’t think anyone feels comfortable these days. I don’t think anyone thinks their show is going to be on forever. You don’t know if the damn station you’re on is going to be around in a year. But I think part of producing a network television show is building a good engine, and Abbott has, and that gives me more confidence that we can continue as long as we need to.
How much pressure do you feel to listen to the audience’s – or the internet’s – opinion on various elements of the show?
First of all, I want to say that every creator is different and every show is different. There are shows that need to move with the times, like The morning show. Our world is not reliant on what is happening in the outside world, and that makes it a little easier to just focus on ourselves. I take a lot of cues from authors, because they write an entire novel before it gets out to the public. I think that’s the right way to go about writing the show – to think of it like a great novel. I also think that the relationship between artist and audience is specific and sacred, and I don’t want it to ever become convoluted. When I take on a good book or a good film or a good painting, I like to be a consumer, not part of the process. I want the audience to feel like this show is their entertainment, not their job. It’s My Work.
Do you find it difficult to consume things you love?
I was on New Girl last season, and I was really the biggest fan of the show. And then I got a role in it, and I wasn’t just a fan anymore. I realized I didn’t want to know that Nick and Jess’ apartment wasn’t real. I didn’t want to see the set, I didn’t want to have any thoughts on the script. It was one of the best opportunities I’ve ever had, but it took the magic out of the show. I don’t want the magic to be taken away from my audience.
How often do people present themselves to you as Abbott Guest stars?
People mention that they really love the show, which is nice, but they don’t usually tell me directly if they want to be on it. I’ve heard a few things in interviews, which is really nice and cool, but when someone says something to me, it’s usually a joke or it’s from a friend who’s way too famous to be on the show. Donald Glover was once like, “Let me be on it.” I said, “Literally no, I can’t.” I assume he’s kidding.
Maybe he’s joking when you say “no,” but he’s serious when you say “yes.”
Exactly. That’s fun! I’ve shot my shot like that before. I’ve definitely been to some of the star Wars People say, “Hey, I’m free, throw me in there.” They say, “Really?” And I say, “Nah, I’m busy. Unless you need someone!”
What moment from last season are you most proud of?
I am really proud of the smoking episode. Since we had this shortened season, I decided to use it as an opportunity to Abbott‘s boundaries so that we can go through more in the future. I sometimes felt like Abbott got pigeonholed as soft comedy. That it’s OK. And I think it is, but we have the opportunity to talk about whatever we want as long as it’s done in a certain way. The scene where you find out the teachers are doing drugs is one I’m really proud of. When we first performed it at the table read, it was like, “Holy shit, Janine is doing what?” And it says, yes, Janine smokes weed, like a lot of teachers do. Or they take edibles, they microdose. It’s a reminder to the audience that these are adult people in an adult world who happen to work in a school.
Friends made “The One Where Ross Got High” 25 years ago, so it only feels fair.
Oh, yeah. And the one where they gave free porn so they wouldn’t turn off the TV. That was quite a nuisance for network TV. These little nudges enable us all to go a little further. I’m talking about Ghosts all the time, my whole writing team thinks I’m crazy about it, but it’s on CBS and they use the language of “getting blown” all the time. Like a ghost just got blown (meaning it leaves the earth). On CBS! I love watching shows where that happens.
This story first appeared in an August single issue of The Hollywood Reporter magazine. To receive the magazine and subscribe, click here.
