“Showrunners are all about control so it’s very hard for a showrunner to let someone else write their lines, so we checked in with each other.” “Each show’s team wrote their episode but Matt and I were on the phone a lot in the initial plotting stages,” explains Leight. “I knew what I was going to hand off to him at the end of Fire and he told me what he was going to hand back to over to me at PD and then we fine-tuned and figured out the logistics.”īreaking down the actual writing duties initially fell along show lines, but those lines blurred a bit as the process progressed. “What Warren and I did was jump in,” says Olmstead. “There’s a great quote that says, ‘If you don’t have butterflies before you go on the stage then you should get out of the business.’ To that end, you can get into a routine and while it’s nice to get into a groove or a rhythm, but then you’re throw a curve ball and in creative endeavors, often times that’s when you do your best work because you’re pushed outside your comfort zone.”Īfter Wolf laid out what he was envisioning, the two EPs immediately got started breaking down the elements needed to make the project succeed. Olmstead agrees but adds that there’s a certain amount of excitement that comes with tackling such a large-scale production. “I know the fans will like it, but I know how much extra work is involved and also, legitimately these are two different kinds of police shows and I wasn’t sure how the cross-pollination would work.” “I think my first reaction was anxiety,” admits Leight. But that doesn’t mean that Leight and Chicago Fire/Chicago PD Executive Producer Matt Olmstead didn’t have their reservations about the endeavor.
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