How does one get into that? Who are these people? Where do you find them? How did they learn how to do these things? So I think I wasn’t seeing people that looked like me in those roles, necessarily, but I also just wasn’t hearing much about them in general. I had the same sort of relationship with understanding below-the-line as well, like editors and costume designers. I know there’s a writer, but how does that happen?” You know what I mean? But to me, it was like, “Well, I understand what a director is. When you’re a kid and you’re watching TV or watching a movie, you know that someone had to have directed it or written it. how I grew up in the industry, and my relationship with understanding Hollywood as a middle schooler or high schooler, if you take the racial and the gender aspect out of it-there was still to me, where I was growing up, a shroud of mystery as to how films got written or made. Being able to speak to people like you and to be able to do the kinds of shows that I do, I hope that maybe there’s someone who looks like me, or identifies with me-or even doesn’t identify with me-and there’s some part of them that feels like, “Oh cool. That is a big question, because you stop and just think about that. It’s one of those things that maybe could, but I will never really know. This is a big question, but-do you feel like young people are seeing you, and you’re making things possible for the current generation of kids? And you were talking about how, when you were growing up, you didn’t see a lot of Black women doing what you wanted to do. It takes the power away from it.ĪVC: I was reading an interview you did a few years ago, about your Emmy nomination for Atlanta. It’s a shame, but there’s something nice about knowing that you’re not alone in a feeling. I am so alone in this feeling.” And then you start talking to more people-and not even people in your industry-you start talking to people everywhere in your life and you start realizing, “Oh my God, this is something that so many people deal with.” And it’s unfortunate. It sounds like a stupid thing to say out loud now, but when I was younger and I did feel that way, it was like, “I must be the only person in the world that feels like this. I feel like I could wake up any morning, and it’ll be like, “Ha, ha! Surprise! None of this is real!” “This is awesome-oh my God! It’s running out!”ĪVC: I feel that way too. All of my dreams have come true.” And then there’s that part of you, that crazy animalistic brain, that’s just like, “It’s actually bad that it’s going well, because that just means terror and horror are right around the corner! You’ve peaked! Get out of here!” So yeah, there’s a lot of that. SR: I think so! It’s a weird pendulum, right? You get to a certain point, and it’s exactly what you’re saying. Are there ever times where you look around and you’re like, “Oh shit, I’ve gotten this far! Cool!” But mostly, she’s been writing, working on a third season of What We Do In The Shadows as well as Chevalier de Saint-Georges, a biopic of the 18th-century composer known as “The Black Mozart” that Robinson recently sold to Searchlight Pictures.ĪVC: When we were talking before the interview, you said you hoped that Chevalier de Saint-George was good, and that insecurity never goes away. It’s an overwhelming thing to think about, and Robinson hopes she’s showing younger generations that it is possible for them to break into the industry as well. This is Robinson’s second pair of Emmy nominations her first was in 2018, when she made history as the first Black woman to be nominated both in the Outstanding Comedy Series and the Outstanding Writing for a Comedy Series categories for her work on Atlanta. And so it was a surprise-first a shocking one, then a delightful one-when she got a phone call from her dad congratulating her on her Outstanding Writing for a Comedy Series nomination for the Shadows season two episode “ On The Run” (which you may know as the adventures of Jackie Daytona, Regular Human Bartender), as well as Shadows’ nomination for Outstanding Comedy Series-an honor she shares as an executive producer on the show. Stefani Robinson has a bad case of what she’s been calling “pandemic brain”-so much so, she kind of forgot that FX was running an Emmys FYC campaign for What We Do In The Shadows.
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