Issa Rae, the creator, star and executive producer of HBO’s Insecure, graced the cover of Adweek’s Young Influentials issue this week and spoke about her career trajectory and what she’d like to conquer next. (Spoiler alert: She wants to have her own empire.) But Rae covered so much more in our interview—discussing HBO’s commitment to the show, transitioning from creating on her own dime to working with a network, sex scenes, the current political climate and more. Here are some of the most interesting moments from our interview that didn’t make it into the feature:
Adweek: For Season 2, has HBO been more invested? Given you a bigger budget? More time?
Issa Rae: They recognized a lot of what held us back the first season and said, “Hey, we definitely understand the type of show you are this time around, so we want to give you an extra day of shooting.” Whereas last season we only had five days to shoot one episode, this season, we had six days to shoot an episode which is a huge difference.
Also, we’re a very location-heavy show, so they made sure the budget reflected that. The Staples Center was super expensive to shoot in, and it was going to be outside of our budget. We were coming up with alternatives with our producer to figure it out, and Amy (Amy Gravitt, our EP) was like, “If Silicon Valley can shoot at Staples, then Insecure should be able to shoot at the Staples Center. We’ll put the extra money towards it.” They’ve been really supportive. And then, of course, in putting us behind Game of Thrones—they’ve shown us that they believe in the show.
What’s the experience been like shifting from having no budget and doing your YouTube show to having HBO behind you?
A relief to be honest. I feel so lucky to be able to experience and to work with people I like and respect and I’m learning from constantly. The internet show felt fun for a while, but it was such a struggle. We would finish them minutes before and upload them. There were rarely times where we were ahead of the game. And it was just so many hats at the same time. There’s a novelty to that where it’s like, “Oh, the struggle is what made it appealing, but after a while, it gets exhausting. People have real jobs and then careers, and nobody can live off of this [internet show]. So [it’s a relief] to be working with people that are paid properly, so that part’s taken care of. So there’s no resentment or concern. You can just focus on being creative. It just makes everything more fun.
A lot of people don’t realize how much work goes into trying to create something on your own.
Not at all. It would be reflected in the comments if we uploaded an episode late. Actually, the finale for Season 1 of Awkward Black Girl was a day late, and we stayed up all night. We tried to—people threw watch parties to watch the finale, and they showed up at bars. They were livid that we didn’t get it up on time, and they acted like it was a choice. But we were trying. That would never happen now. HBO would be like the season finale airs tonight. Unless like a catastrophe happened, you know you’re guaranteed programming.
Do you actually have the creative control that you want at HBO?
I mean, all of it. It’s a very collaborative process. Obviously, [Insecure showrunner Prentice Penny] and I need to be on the same page, so we always take what we come up with in the writers’ room, shape it, and then I end up being the final force in terms of making sure that it’s through my lens and then all the verbiage. Then once we get it to HBO, it’s great because there are two executives that we deal with. And then [HBO president Casey Bloys] will weigh in, and Casey started out as a development executive. But he’s the one who brought me in.