The joy and the pain for me is about tightroping between being a cynic and being a romantic - the tug between barely believing in anything and hoping for everything.
After the play of 'Fleabag,' we had conversations with different channels and with film companies about whether 'Fleabag' should be a half-hour sitcom, an hourlong, serialized drama, or a film. And I knew that it couldn't be a drama because I wanted to hide the drama - that had to be the surprise. I knew it had to be comedy.
Sausages are just funny. I don't know why. I can't explain it.
I change my mind every five minutes. I'm very brutal with my own process. I throw everything away very quickly, and then I have to go out and rummage through the rubbish in the middle of the night to try to find a bit I'd written a week ago.
The #MeToo and Time's Up movements have been a roar on behalf of women, and the voices are genuinely empowered now. I really feel that.
The element of surprise is the most important thing and what keeps me interested in writing. I can feel it if I've written that predictable or boring line, and I will carry that around with me all day.
