Michael Brandt, the creative mind behind the 'Chicago Fire' series, reflects on over two decades of experience in screenwriting, revealing the lessons he's learned in the industry. Throughout our conversation, his openness about both triumphs and setbacks provided a rich exploration of how a career can progress in Hollywood, highlighting the journey of a dedicated artist.

Brandt’s partnership with writer Derek Haas proved highly successful, with credits on several films between 2003 and 2008, including 2 Fast Too Furious and Wanted. He transitioned to directing with The Double in 2011, and in 2012, they launched the acclaimed series Chicago Fire, which has since extended into two spin-offs. Their work has achieved remarkable longevity, with multiple seasons renewed.

Recently, Brandt and Haas decided to part ways, prompting Brandt to pursue more personal narratives in his projects. His latest film, Arthur the King, featuring Mark Wahlberg, showcases his evolution as a storyteller. It appears that after years of steady growth, the most creatively fulfilling chapters of Brandt's career may still lie ahead.

Aspiring writers can glean valuable insights from Brandt's experiences, including the realities of becoming a professional writer, coping with creative disappointments, and the importance of evolving one's craft. During our discussion, we delved into the concept of "commercial storytelling," a topic that resonates with anyone looking to create meaningful art.

COLE HADDON: When you start writing today, what are your hopes for that blank page? What drives you beyond financial necessity?

MICHAEL BRANDT: My goal is to express thoughts and feelings that I often keep internalized. I enjoy storytelling, particularly those that convey a message, whether it's humorous or absurd. Most of my stories center around relationships, often between fathers and sons, emphasizing themes of faith and trust.

Despite the challenges of writing, I remain optimistic. The struggle of facing a blank page is real, but I push myself to draft something, knowing I can refine it later. My background as a film editor shapes my approach; I view writing as sculpting—removing the unnecessary to reveal something great. Editors sift through hours of footage to create a cohesive film, and I apply that mindset to writing, telling myself to keep going until I reach the end.

CH: Your analogy to editing is intimidating. Not every writer excels at uncovering a story's essence. How do you approach outlining and treatments? Do you gather raw material before diving in?

MB: My approach has changed over time. Initially, I saw detailed outlines as a way to avoid the daunting task of writing. However, working in network television forced me to adopt a structured approach, considering episode frameworks and deadlines.

Now, I appreciate the development stage before writing, which often feels more collaborative. I discuss story ideas with trusted colleagues and then craft an outline. Yet, I must be wary of simply writing to the next bullet point, as that can lead to uninspired scenes. Still, this method helps me overcome the challenge of the first draft.

CH: I started in features too, resisting television. But my experiences in writers' rooms transformed my process. It taught me to ask "what if?" constantly, fostering a more organic evolution of ideas compared to solitary writing.

MB: The writers' room felt like an extension of my previous collaboration with Derek. I was already accustomed to bouncing ideas around, which eased the fear of presenting less-than-perfect concepts. Often, what begins as a "bad" idea can lead to something innovative, and I enjoy exploring the opposite of our initial thoughts for deeper discussions.

CH: The "what if your character did the opposite?" exercise is invaluable. I realize now that incorporating that question into every scene could have significantly enhanced my earlier work.

As our discussion deepens, we touch upon the influence of writers' rooms on dialogue quality. Recently, filmmaker Denis Villeneuve expressed concerns about dialogue in contemporary features, suggesting that the rise of television writing has affected audience expectations. I wonder if your extensive experience in television has impacted your feature writing, and if so, how you have navigated that shift?

MB: I have a fondness for dialogue, particularly witty exchanges. While visual storytelling is compelling, I find that conversations excite my creativity. My time in television never prompted me to minimize visuals; budget constraints exist in both mediums. I believe I can always navigate around production limitations when necessary. However, directing network television can limit visual storytelling, focusing too much on easily marketable elements.

CH: That’s an intriguing perspective.

CH: Let's take a moment to reflect on your journey. You mentioned starting as an editor. What drew you to that role as a filmmaker and storyteller?

MB: On my first day of film school, a professor asked my aspirations. I said I wanted to write and direct, and he suggested that learning editing would provide valuable tools and connections. My education at Baylor equipped me with technical skills that helped me work with notable filmmakers early in my career. Editing is crucial yet often underappreciated in the industry. Good editing can elevate a project, while poor editing is often blamed on other factors.

CH: What prompted your transition to screenwriting with Derek?

MB: We shared similar aspirations and tastes. Once I moved to Los Angeles, we began collaborating on scripts, which eventually caught the attention of industry professionals, leading to our breakthrough.

CH: [Laughter] The entertainment industry is rarely straightforward, so I understand.

Having created successful television series and films, I'd like to discuss the challenges you've faced. Can you share three instances of setbacks in your career and how they impacted you emotionally?

MB: It's easier to move on from missed job opportunities than from projects that never materialized. One notable instance was when Derek and I were considered for a rewrite on War of the Worlds. Ultimately, David Koepp was chosen, which made sense given his established relationship with Spielberg. While it could have been a turning point for us, I accept that the right projects often lead to new opportunities.

Conversely, there are projects that haunt me, such as the Joe Namath script and Billionaire’s Vinegar. These scripts hold immense personal significance but didn't align with market demands.

CH: That’s completely understandable.

MB: The project that stings the most is Wanted 2. Given the success of the first film, it was a clear candidate for a sequel, yet it fell apart due to shifting priorities within the studio.

CH: It’s hard to fathom that happening today.

MB: Lastly, leaving the Chicago shows was a tough decision. The camaraderie and creative atmosphere were invaluable, and transitioning to solo writing was a significant adjustment. However, this experience ultimately led me to discover my own voice and the importance of personal expression in writing.

CH: Artistic endeavors can be likened to muscle development; without exercise or support, they may atrophy. How did stepping away from your partnership with Derek shape your understanding of your own writing abilities?

Read the rest of this interview at my arts Substack — 5AM STORYTALK. 5AM STORYTALK is a platform for discussing stories in all forms, the craft behind them, and the significance of art in our lives.

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