Jenji Kohan
Jenji Kohan
Jenji Leslie Kohanis an American television writer and producer. She is best known as the creator of the Showtime comedy-drama series Weeds and the Netflix comedy-drama series Orange Is the New Black. She has received nine Emmy Award nominations, winning one as supervising producer of the comedy series Tracey Takes On......
NationalityAmerican
ProfessionScreenwriter
Date of Birth5 July 1969
CityLos Angeles, CA
CountryUnited States of America
I remember one of my writers on 'Weeds' got a new apartment and didn't get cable or a dish. He just hooked his computer up to the TV. I was like, 'This is it. This is how it's happening.'
A TV touchstone for me is 'The Days and Nights of Molly Dodd.' That series was whimsical and smart and had the mix of comedy and drama that I now trade in - but with a dash of magical realism. I wanted to be Molly Dodd, but more than that, I wanted to be Jay Tarses, who created the show.
I can shoot off my big mouth and write my shows and run my shows, and I can recognize how lucky I am because my position is rare and my position is privileged.
Mainly, I'm doing my thing, and I hope people like it. I don't say, 'I'm going to write something radical and hope it reverberates throughout society.' The goal is to write a solid, entertaining, engaging show.
'Be nice' is my family's basic rule but one that often goes unfollowed in Hollywood. There's always a moment when you can choose between being snarky and being kind. I opt for the latter - it's much less exhausting!
My ex-boyfriend said, 'You have a better chance of getting elected to Congress than getting on the staff of a television show.' Which was the perfect thing for him to say, because my entire career is, 'Well, screw you.' And we broke up.
By nature, I sit alone in a room and type... My goal was never celebrity.
What offends me more than something sexist is something poorly written or unfunny or cliched.
We dont vilify. We present them as is, and Im really proud to have remained neutral.
There's more to us than the moment we made a bad decision.
We fell in love with different people. Looking back, we might have done it in a different order, but we got invested. We really wanted to do the flashbacks because we wanted to explore who these women were on the outside versus the inside, and get a fuller picture of the masks we wear.
Also, this is our lives for a huge part of the year and we did not want to be in prison, 24/7. It was too oppressive. So, we were like, "How can we get out? Let's see their lives, a little bit." That was really fun.
To be able to be there first, I love the pioneer thing. It's exciting to me. And they pay full rate, they're really nice, they support the work, and they said yes. What could be bad? It's the Wild West. You can do what you want.
I think it would be exhausting and depressing, to write, to watch and to live, if it was just focused on drama. It's heavy. Also, I think the humor really highlights the pathos and the struggle. You can slam it up against drama, and it makes both shine.