Kelly Jo Brick: The Write Path With BETTER CALL SAUL’s Gordon Smith

A series of interviews with hard-working writers – by another hard-working writer!

by Kelly Jo Brick

Photo by Arnold Wells

Aspiring writers often wonder how the pros got where they are. The truth is, everyone’s story is different, but there are some common elements: dedication, persistence, hard work and not giving up.

Emmy-nominated writer Gordon Smith credits much of his career success to luck. A friend got his resume to BREAKING BAD just as they were looking for a PA. After landing that job, Gordon’s career grew from working as a writers’ PA and assistant to Vince Gilligan, to landing a position as a staff writer on BETTER CALL SAUL. Now a producer on BETTER CALL SAUL, Gordon signed an overall deal with Sony Pictures TV earlier this year.

WHEN DID YOU KNOW YOU WANTED TO BE A WRITER?

I don’t often think of myself as a writer. I went to school for writing at Michigan and then I was in the production program at USC, but I primarily focused on writing and editing. It’s that weird thing in my head that I don’t necessarily think of myself that way, but it plays to my skills in the arts. I don’t think I would ever be particularly well suited for things outside of the arts. Within that discipline, I think writing suits me.

WHAT IS THE MOST COMMON QUESTION YOU GET FROM ASPIRING WRITERS?

Usually people want to know how I got my job, because everyone is wondering how you get your foot in the door. Unfortunately, my answer is usually luck, because it was luck. I started as a PA. I got my foot in the door. It’s luck, but I think it really can’t be overestimated how social the industry is, how many things happen because you know somebody and somebody else knows you and you can kinda say yeah, that person is okay, I know them and vice versa.

HOW DID YOU FIRST BREAK IN TO TV?

I was working at USC where I went to grad school. I wrote and edited a short film for a young woman, Nicole, who was a friend of mine and she went on and is very successful. Her first gig was as an intern, I think on MAD MEN, where Genny Hutchison was Matt Weiner’s assistant at the time. They became friends and I had been friends with her, so it happened that when I was looking for a job, she was J.J. Abrams assistant. So I was like, “Do you know of anything?” She told me, “No, but I know somebody on BREAKING BAD, maybe I can get your info there.”

My resume landed in their hands just at the right time when they happened to be looking for a PA. Towards that end, be somebody that other people are willing to say, I worked with this person, I like this person. I’m willing to recommend them. You want someone to be in your corner in that way. You can’t turn the switch, but it can happen if you’re ready and you’re in the right place for it.

WHAT TV SHOWS INSPIRED YOU WHEN YOU WERE YOUNGER?

In undergrad, I was mostly writing fiction and plays. Theater was especially something that I took seriously. It wasn’t until later that I started thinking about TV as a viable place to express myself. When I did, there were all these shows I loved or felt passionate about and followed. I was a huge X-FILES fan. I wrote a bunch of scalding papers about it at one point. I was and remain a TWIN PEAKS fan. ARRESTED DEVELOPMENT, I love that show.

My sister has a history of sitting me down and being like, “You have to watch blank.” BREAKING BAD was one of those shows. ARRESTED DEVELOPMENT was another one. She was like, “You have to watch this. You haven’t. You’re going to and you’ll like it.” She was right.

ANY ADVICE THAT YOU RECEIVED EARLY ON IN YOUR CAREER THAT REALLY STOOD OUT FOR YOU?

I think not being a jerk is a big piece of advice. Be somebody that other people want to be around for ten hours a day, every day for eight months, which seems intuitive, but I think people also learn a lesson that the thing to be is the person who fights for their vision, which is important, but you have to balance that against there’s a bunch of people around you who are also fighting for their vision and you’re all trying to be on the same team.

The other piece of advice that I’ve heard Genny Hutchison give many times, and she’s dead on, is to do the job you have. If you are an assistant, there’s a thinking that the way to go is to dress for the job that you want, not the job you have. You hear that, but there is something kind of misguided about it. It works for some, but you may also alienate some people. You’re likely to end up with people who are like, I needed you to do this job. I needed you to get coffee. I needed you to write the descriptions in a line that are going to go on VOD for the episodes, which are evocative enough that they tell you what the episode is, but they’re bland enough that they don’t have any spoilers in them.

Those kind of things, they can be boring or they can be tough. They are actually quite tough, which is why they are sometimes done badly, but doing them well makes people go, “Oh, you could handle that. Maybe you could handle more.”

AS A WRITER, WHO INSPIRES YOU?

Lots of people. I’m inspired by a lot of the people I work with. I’ve been lucky. They’re a great group of people, because they’re very giving with their time. Tom, Genny, Peter, Vince and the people I’ve worked with a long time now have been very supportive and good mentors. I think they’re all really great writers. So I’m very happy and proud to be part of the team.

WHAT OTHER ADVICE DO YOU HAVE FOR WRITERS IN THE EARLY STAGES OF THEIR CAREERS?

Yes opens a lot of doors. It’s hard to sort of look and say, well, I don’t know if this is worth my time, because your time’s precious. But for a good while, saying yes is going to be way better than saying no. It’s going to open more doors.

I took gigs for a long time that I’m like well, I don’t really love this or don’t know about this. Some web writing gigs, even some projects that weren’t perfectly in tune with my sensibilities with BREAKING BAD or things that I wanted to do, but doing them opened up opportunities. That would be my advice. Say yes to opportunities when they come, because eventually you’ll be able to say no. You’ll get to that point.

Also, keep writing. Keep polishing your stuff. It’s hard to find the time. It’s nearly impossible sometimes, but the more you can keep your head in that, the more you can stay engaged with what you’re passionate about.


Kelly Jo Brick is a TVWriter™ Contributing Editor. She’s a television and documentary writer and producer, as well as a winner of Scriptapalooza TV and a Sundance Fellow. Read more about her HERE.

Chris Carter Talks About Himself

…Also about THE X-FILES and the projects he’s been working on since. (You know, the ones that haven’t gotten very far but still manage to pay him well because that’s the difference between how an entry-level writer and a respected old pro fail. Well, that and the fact that the old pros have to go to a lot of meetings to get their checks while we entry-level types just sit in our bathrobes and play with our iPhones.)

Chris Carter Talks The Legacy of ‘The X-Files,’ Returning to TV and Why You Have to Read The Comments – by Daniel Carlson

Chris Carter is responsible for the nightmares of a generation.

As the creator of “The X-Files” and “Millennium,” he shepherded in a new wave of horror and suspense on television, and his legacy can be seen in the success of everything from “Fringe” to “The Walking Dead.” For his contributions to the medium, Carter received the Outstanding Television Writer award from the Austin Film Festival, where he appeared on several panels and presented a pair of episodes from his best-known series. Indiewire got a chance to sit down with him in Austin to talk about everything from the rise of cable to the future of content distribution.

Let’s start with why you chose to screen these specific episodes of “The X-Files” (“Clyde Bruckman’s Final Repose”) and “Millennium” (“Pilot”).

First of all, it’s nice to be here. I’ve never been to Austin, so this is a big thrill. It was an amazing honor today to be among my other honorees, Frank Darabont and Eric Roth. Amazing.

Frank Darabont, Eric Roth, Carter at AFFJACK PLUNKETT The episodes I chose were for two reasons: I didn’t want to focus just on “The X-Files.” I thought that “Millennium” pilot stands the test of time. I think it’s a really good, scary episode of television, and I was very proud of it. I still am. It was very nice to see it again today myself.

The other episode I chose [“Final Repose”] was, for me, a high point during [the show’s early years], and I thought it was still one of the funniest things I’ve ever seen on television. It’s completely original; it was taking “The X-Files” and turning it on its head. The performances were wonderful, the direction was wonderful, the writing was wonderful. I thought it was just an excellent episode in every way.

“The X-Files,” in a lot of ways, paved the way for network genre shows, especially horror. I can’t imagine it was easy to get a show with so many straight-ahead scares off the ground in the early 1990s. Was that a fight with Fox? Was there ever any feedback from them about the content’s grimness?

The good thing and the bad thing about was that there was nothing scary on television then, so when I came in and said, “There’s nothing scary on television, and this is something that we should be doing,” they got that idea. But they didn’t get the idea of two FBI agents investigating the paranormal. That was weird to them, and they didn’t want to do it at first.

‘The X-Files’: ‘Squeeze’ I had to pitch the idea twice to the network, and they finally bought it maybe just to make me go away. I was at 20th Century Fox Television, pitching it to 20th Century Fox network; it was kind of a no-brainer for them, because it’s one hand feeding the other. That was a fortunate thing in the beginning, not so much in the end.

Read it all

Hmm, Carter sounds like a good guy. Maybe he’ll read our spec pilot that the landlord said was too much like FRINGE. Hmm…