The multi-talented Darlene Hunt is not only the creator of the critically acclaimed hit Showtime series “The Big C”, but a formidale actress and writer in her own right. The Kentucky born and bred theatre student first gained notoriety as a comedian, touring comedy clubs across the country and featuring at the Chicago Comedy Festival and the U.S. Comedy Arts Festival in Aspen . Hunt starred with Sean Hayes (from TV ‘ s “Will & Grace”) in ”Platonically Incorrect”, a play which she also wrote. It played in Los Angel es and New York and was later developed into a pilot by ABC. After writing nine more pilots for various networks, her series ”The Big C”, starring Laura Linney, debuted on Showtime in August 2010 to much acclaim. Ashley Hillard caught up with Ms Hunt for this frank, enlightening chat.
You have talked about the show being about living, not dying. Has writing the show inspired you to do things differently in your life?
Yes! When we were at the mid-point of shooting the first season, I suddenly panicked feeling like I wasn’t learning anything from Cathy. Instead of living more in the moment, I felt like I kept saying “Someday we should…someday I will…” So I told my husband we should go ahead with the remodel on our house that we had said we’d do in about a year. We live in a tiny bungalow and we dreamed of a second bathroom. So we hired an architect and I just hoped the money would follow. And indeed, by the time the plans were drawn up, we got our second season pickup for THE BIG C.
What kind of research is involved in creating a show about cancer?
While I was writing the pilot, I posted on my Facebook page that I needed to do some cancer research, and a friend of mine from college who had become a radiologist, Juliet Howard, said she might be able to help. So the e-mails started to fly and I asked her all of my cancer questions: How do certain cancers progress? What would this or that cancer look like? What is the definition of Stage 4, etc. I did other online research, met with a cancer survivor, and talked to a family friend who was a career nurse. All of this informed my decision to give Cathy Melanoma specifically, and to have her forego traditional treatment, and to have her keep it a secret from her family. Once we started the first season, we had a doctor come in and talk to the writer’s room, and we regularly consult him as questions come up.
In preparation for season two, we are reading books on uplifting subjects like death and dying, and we are scheduling meetings with doctors and a melanoma survivor. We’re trying to stay on top of current research. We want to stay true to the science and Cathy’s condition.
Laura Linney’s character, Cathy Jamison, decides not to tell her family. What made you decide to have her withhold the information?
As I said, that came out in the research. I discovered it wasn’t terribly uncommon for patients to not tell some people in their lives about their diagnosis right away. A survivor I met with said he was overcome with a feeling of shame and embarrassment when he was diagnosed and didn’t want to tell anyone at first. While that’s not everybody’s story, it seemed like an interesting choice to have Cathy make. She does it for a lot of reasons, one of them being that she’s someone who feels like she’s given a lot of herself away, and she wants to keep this to herself for a while.
The story could have worked as a film. What made you decide to write it as a television show?
TV is my preferred medium. I grew up on it and I love it. I love the brevity of it and the challenge of telling stories in small chunks over a period of years (hopefully). Frankly, I also had a deal with Sony to write a pilot about something. No one was waiting for me to write a movie. And thank goodness because there have been films about cancer, but a not a series with cancer at the center.
With a background in acting, are you planning on writing a part for yourself in the show?
I would love to do that when it sounds fun, but right now it just sounds stressful. I stay so busy during production and writing as many episodes as I can, and trying to see my two kids once in a while, that the idea of also being an actor feels like too much too take on. I’m afraid I’d be on set worrying about the lines I was supposed to be writing instead of the lines I was supposed to be saying. But never say never. I might find the time down the road.
How did you approach Gabourey Sidibe for the role of Andrea?
She just came in and auditioned. PRECIOUS was at festivals, but I don’t think it had been released yet. She later told me her audition for THE BIG C was her second audition ever. We even made her come back and read a second time. We were definitely lucky to get her though. When we tested the pilot, whenever she came on screen, the test audience would all turn the dials way up. People just love her.
Did you worry about crossing any lines with Cathy’s comments to Andrea about her weight?
Nope. I learned doing stand up comedy, to not self edit too much. Take risks. And Cathy is certainly taking risks as she finally starts saying what’s on her mind not worrying about whether is politically correct or not. When we shot the scene though, I admit I did a cringe a little. But it helps the Gabby is so confident and good humored.
How do you balance the humor with the serious subject matter in the show?
Our goal is to try to make our audience laugh and cry in every episode. If a storyline is particularly dramatic, we make sure there’s comedy in the dialogue or character quirks. Other times, the situation itself is more humorous. But centuries before I created this show, people have been using humor to get through dark times, so it’s not really that hard. It’s real.
Can you talk about the process of working with the other writers on the show and how the ideas are developed for each episode?
There are six of us in the writers room. Most days are just fun brainstorming sessions with food – lots of food. And we take every opportunity to order a cake and celebrate something. Early in the season, after brainstorming with the other writers, Jenny Bicks (the showrunner) and I will put on our tap shoes and head to Showtime where we pitch them the season arc. Showtime is really supportive of us, but they will make a tweak here and there. Then we go back to the room and start “breaking story” for each episode. Then each writer will go off and write their episode. That’s the nuts and bolts of it. There are multiple rounds of notes in between, however. And like I said, there’s cake. And dark chocolate, a writer’s room favorite. Lots of dark chocolate.
A lot of women are writers and executives on ”THE BIG C”. Do you feel doors are opening for women writers?
I know it feels terrific to have so many women on our team, and I’m constantly surprised when I read numbers that reflect how few women are writing for TV in comparison to men. I hope that evens out someday. Showtime certainly has employed a lot of women writing on female driven shows. But I always tell writers, men and women, to just write anything and everything….short stories, plays, a novel, whatever. Make your own opportunities wherever you can.
What can viewers expect to see next season?
This season Cathy kept her diagnosis a secret. So next season we’ll be able to discuss the disease more directly and she may discover new options for treating her condition. We’ll see how her family’s behavior changes in light of this news. And hopefully, you can expect lots more laughs and cathartic tears.
