David Stassen: A Natural Fit for Running Point
David Stassen appears to be uniquely destined to be involved with Running Point, a basketball-themed comedy he co-produces and writes alongside esteemed colleagues Ike Barinholtz and Mindy Kaling. During a February Zoom interview, Stassen, an avid Chicago basketball supporter, mentioned a cherished artifact in his workspace—a boxed, unopened Wheaties from the iconic 1991 Bulls era. “I grew up in Chicago with Ike,”Stassen remarked, underscoring his deep-rooted connection to the sport.
A Track Record of Triumphs
Stassen’s association with the recently renewed Netflix series, which stars Kate Hudson, is bolstered by a strong history of collaborations with Barinholtz. Their bond, which dates back to summer camp and high school, has been fruitful. After a brief stint at ESPN’s Washington D.C. studio, they gained their first significant opportunity in the writers’ room of The Mindy Project. This partnership led to co-writing the film Central Intelligence, as well as Stassen producing Barinholtz’s projects such as Blockers and The Oath. Remarkably, they even persuaded Mel Brooks to revive his classic 1981 film, History of the World, Part I, for a limited TV series.
Building Momentum with Running Point
Now, with Running Point, Stassen is optimistic about the show’s future. He expressed his eagerness to produce as many episodes as Netflix might request, highlighting the potential for a successful, ongoing series.
Insight on Team Dynamics
You and Ike have collaborated with Mindy several times. Can you identify the strengths and weaknesses within your team?
Humorously sidestepping the notion of weaknesses, Stassen illustrated that, unlike their previous rushed writing endeavors, this project allowed the team ample time to contemplate character development and narrative arcs. “We share a common appreciation for both comedy and drama, which influences our creative process,”he noted.
Filming in Los Angeles: A Privilege
The choice to film in Los Angeles seems rather unusual these days. What drove that decision?
For Stassen, shooting in L.A. was a non-negotiable aspect of the show. He remarked, “It’s funny that you call it a novelty. Filming in L.A. has become more of a privilege. The essence of our show revolves around a privileged Los Angeles family with access to exclusive venues. It’s crucial that more productions occur in this city, and I hope that trend continues.”
The Challenges of Casting
Regarding casting Chet Hanks, there must have been some reservations given his outspoken internet presence. How did you approach that?
Stassen admitted that Hanks’ casting required extra consideration due to his notoriety for non-acting roles. Ultimately, he expressed confidence in Hanks’ audition, which stood out as the best. “His enthusiasm for basketball and genuine commitment to the role were evident,”he stated, emphasizing the importance of professional behavior in the industry.
Reflections on the Current State of Hollywood
Hollywood appears to be facing significant challenges right now. What’s your perspective on the current production landscape?
Stassen acknowledged the difficulties within the industry, mentioning that the post-strike environment has led to a noticeable decline in development activity. “You can feel the difference—it’s not a ghost town, but there’s certainly less action compared to when we produced The Mindy Project at full capacity. I believe the right project will spark renewed interest, similar to hits like Friends or The Big Bang Theory,”he shared.
Future Projects and Aspirations
Do you see yourself working on multicam projects in the future?
Interestingly, despite Seinfeld being a significant influence on Stassen’s career choice, he admitted to never having written for a multicam production. “Although I grew up with classics like Cheers and Friends, I have yet to venture into that format,”he explained.
Is there a specific project that you’re passionate about, even if it hasn’t been picked up?
Stassen reflected on his past experiences with projects that didn’t initially take off, stating, “In my history, seemingly stalled projects often get resurrected. For instance, we sold Central Intelligence in 2009, but it wasn’t produced until 2016. Something we wrote fifteen years ago is ironically now in development at Netflix, proving that timing is everything in this industry.”He humorously noted that their ability to produce a large volume of content remains intact.
In closing, Stassen confirmed their capacity for extensive production, stating, “With the right opportunity, we could easily create 10 to 20 episodes annually. We proved that during our time on The Mindy Project, and we’re ready for more.”