![]() ![]() “I Googled how to write a series,” Coel replied bluntly. Michaela Coel at the 68th Berlinale International Film Festival Berlin in 2018 | Vittorio Zunino Celotto/Getty Images “How did you learn how to write a series?” Gross wondered. How did Coel know how to create a TV show? And you were, you know, the writer and the star, the creator.” “… when you started to write Chewing Gum,” the Fresh Air host noted. “… you had no experience with a TV series. Coel spoke about the themes behind the new HBO series I May Destroy You - but also admitted how inexperienced she was when writing the Netflix show Chewing Gum. The Chewing Gum creator also recently spoke to Terry Gross on the NPR radio show Fresh Air. ‘I May Destroy You’ creator Coel didn’t know how to write a TV series before her Netflix show When Coel was 26 years old, a Fremantle Media executive offered to “adapt Chewing Gum Dreams for television.”Ĭoel’s response: “Holy sh*t, yes, of course.” However, the writer had absolutely no experience in TV writing.Ĭoel’s “first scripts were rangy and, well, like scenes from a play,” Vulture acknowledged. From there, the poem “grew into a 45-minute one-woman show in which she inhabited 11 different characters over a series of vignettes.” That’s where the creative journey began for Chewing Gum. Vulture‘s recent profile of Coel revealed that Chewing Gum Dreams - Coel’s original title for the project - “came from a poem Coel wrote during drama school.” Michaela Coel’s series ‘Chewing Gum’ Season 1 originated from the writer’s poem Paapa Essiedu, Michaela Coel, and Weruche Opia in I May Destroy You | Natalie Seery/HBO She admitted recently that without any TV experience, the television creator originally had to “Google” how to write a series. However, her previous Netflix show Chewing Gum really put Coel on the map. You do not need to stay limited to just the facts.Michaela Coel is known for her 2020 HBO series I May Destroy You, which recently closed out its 1st season. But writers should keep in mind that when the moment is right they can bring the audience inside their character’s experience. Form, function, and theme, perfectly aligned.Īs with everything, not every narrative calls for such technique. Arabella can’t be sure precisely what’s real or what happened, and neither can we. Nothing separates the audience from Arabella.Ĭole does this because the narrative hinges on a subjective experience. We, like Arabella, get caught in a wave of sensory overload. The camera, editing, and narrative all become elliptical. In the aftermath of the assault, as she begins to enter shock, the show itself starts to dissolve. I May Destroy You does a great job of utilizing this device to bring us inside Arabella’s experience. In reality, film and television can be as subjective in execution and presentation as any medium. ![]() “The camera cannot lie,” as the pre-Photoshop saying went. You place the camera and then film the events. ![]() It’s easy to default to thinking of cinematic storytelling as an objective process. Part of what makes I May Destroy You work so well is how deeply it takes us into Arabella’s POV. Despite the heavy material, Michaela Cole brings a sharp and darkly funny perspective to the material, unsurprising for anyone who’s had the pleasure of watching her previous show Chewing Gum. I May Destroy You follows a London-based writer who struggles in the wake of having her drink spiked and coming to suspect she was assaulted. ![]()
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