Jessie Gabe took a bit of a circuitous route to writing for television. Initially interested in acting, she moved from Montreal to Toronto where she performed and wrote sketch comedy. But it was on a train where her professional writing career took off.
“I met a guy on a train and I very luckily wound up, through him, meeting his cousin, who is now my agent and who got me my first job as a writer on Being Erica,” Gabe says. A stint on Being Erica was followed by co-creating Agnes & Harold (which she also starred in), penning the film Cas & Dylan, and a writing and executive producer gig on Mr. D and Frankie Drake Mysteries.
She also was part of the writing staff and co-executive producer on Season 1 of Hudson & Rex. In this week’s episode, the team moves quickly when Donovan’s ex wakes up with blood on her hands and a dead roommate. We caught up with Gabe, who is freelance writing scripts for Season 2 of Hudson & Rex and co-writing a feature film on the life of Canadian Phil Hartman.
Had you ever considered writing before?
JG: I had written, but I actually had never considered being a professional screenwriter. I don’t think it had occurred to me. I was in my 20s, and I had written sketch and by a total fluke, I had written a couple of spec scripts quite a bit before that, just because a friend of mine was considering being a writer and it was an activity that I did with him. I had them on file, but it was like a game at the time. And I was working on a feature, that again, with really no knowledge of anything, no outline, just Page 1, fade in, because my roommate was a filmmaker and thought, ‘We don’t anything, and you’ll write it, and you’ll star in it, and I’ll film it.’ We were both struggling artists. Luckily, it didn’t get made, thank god. It turned into Cas & Dylan, and it got made with, thank god, not myself in the lead role.
You were on Mr. D, then you were on Frankie Drake Mysteries. And once you were in the Shaftesbury door, I’m assuming that’s part of the reason you ended up on Hudson & Rex, is that true?
JG: Yeah, they just moved me over. I was winding down on Frankie, and they were like, ‘Hey, we need writers on Rex.’ Initially, I was hired to just do one script and four weeks on the show, and I really thought it was just a short little stint, because they initially had, what was it, 8, or 10 episodes?
And then I suddenly got a call saying, ‘They’ve just expanded it, can you do another script?’ And I was like, ‘Great!’ And then a few weeks later, they’re like, ‘We just found out now that the order is 16. Would you do another script?’ And it kept expanding, so I kept getting a few more weeks, and then another script, and a few more. And now, I’m freelancing on Season 2, writing another script.
What were your first thoughts when it came to writing Hudson & Rex?
JG: I think the initial challenge was what is the tone of the show? Probably everybody assumed going in that it was going to be extremely lighthearted and comedic. And that’s my wheelhouse anyway, so I figured that’s what I’m going to bring also. Comedy is more my thing really. And then I get into the room, and the storylines are pretty heavy and dark. And I thought, ‘What is happening here?’ But it’s interesting, it’s just not what I initially expected, and I think maybe I wasn’t alone to think that, so we started to adapt. Making the dog the star of the show and trying to tell a mystery that would be impossible to solve without the dog—the dog is supposedly Charlie’s superpower—that is the goal that we always strive for anyway. It can be challenging, but it’s interesting that the show itself is more like just a cop procedural. So it doesn’t have that childlike, or younger, tone that maybe we initially expected going on.
Even though the writers’ room is so collaborative, when it comes to writing, do you go off on your own, do you have a soundtrack that you listen to while you write, do you need to be in a Starbucks or something with some background noise, how does it work for you?
JG: I don’t like listening to music, because I’ll start singing along, or even humming to a tune. I’m not hearing the words and the dialogue, so I like being quiet. But at the same time, I’m happy to work in a coffee shop, so background noise doesn’t bother me. But I tend to work at home. I’m flexible. I don’t have only one way that I can do it. I have a four-year-old and sometimes it’s wherever.
Is there anything that you’re working on that you talk about at this point, or is it all just about focusing on Hudson & Rex?
JG: A feature that I’ve been working on, it’s a biopic about Phil Hartman. I have a co-writing credit with Jonas Chernick. He wrote the initial script that I was brought on to rewrite, but we’re co-writers on it. So yes, story biopic about Phil Hartman, and we’ll see where it goes. It’s being produced by Tyler Levine at Carousel Pictures. Phil Hartman’s daughter has been very supportive and got the creators of The Simpsons on board with us.
Hudson & Rex airs Thursdays at 8 p.m. ET/PT on Citytv.
Images courtesy of Rogers Media.
Dutch wakes up and realizes that The Lady has put Westerley under a collective delusion. With no memory comes a new reality. Dutch struggles to find a way to wake up her gang before it’s too late. But before she can, a new Killjoy comes into town looking for Jaq.
