Noah Hawley
Noah Hawley
Noah Hawleyis an American film and television producer, screenwriter, composer, and bestselling author, known for creating and writing the FX anthology television series Fargo. Hawley was a writer and producer on the first three seasons of the television series Bones and also created The Unusualsand My Generation. He wrote the screenplay for the film The Alibi...
NationalityAmerican
ProfessionProducer
CountryUnited States of America
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I think the age of the modern media campaign has created a new icon, the celebrity-in-chief. Political elections have become wars fought by candidates with opposing values.
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I was part of a writers' collective with 21 writers and filmmakers called the San Francisco Writers' Grotto. We had our own office space in this old converted dog and cat hospital, and we had a basketball hoop outside. I'd bring my dog to work every day and write.
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I think people used to read 'War and Peace,' and now they don't; now they sit around with their tablets and watch 'Downton Abbey' and 'Breaking Bad' or whatever, and they want the things that they watch to be better so that they can feel better about themselves for watching it.
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I think for really good-hearted people, that idea of putting yourself in the shoes of a monster to figure out why they acted that way, that's a really frightening idea.
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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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I pitched the idea to FX that there's this larger 'Fargo' universe where there's true crime in the upper Midwest, and I can tell stories from any era of that. Maybe they connect to the first season or the movie, or maybe they don't. It's just a style of storytelling. We're under the auspices of being a true story that isn't true.
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I love the idea that the editing room is the final time you write. You should still be creatively solving problems even at that point. It's not really until you're locked that you can call it quits.
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I drove around New York when we did the upfronts and when we premiered 'Fargo,' and they crocheted a sweater for a double-decker bus and drove it around.
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I did some feature work, then tried TV. I was always very aware that the only power that you have is the power of options. If the film industry dries up, then you focus on the TV or the books. For me, it was always about what story do I want to tell next?
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I come from a family of writers. My mom had been a writer, nonfiction books, and her mother was a playwright in the 1930s and '40s. And my twin brother, Alexi, is a writer on 'The Following.'
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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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Greatness and fiasco is the same. You're reaching for something just out of your grasp, and if you get it, it's great, and if you don't, it's a disaster.
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'Fargo' is a tragedy with a happy ending. So you need to have that tragic underpinning, that all of this could be avoidable, and that's what makes it tragic. It's about the use of violence, and the fact that the tension in anticipation of violence and the tension in anticipation of a laugh are sort of the same.
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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.