The wire was a great training ground for people.

You know, we were able to really mold a crew that came ready every day.

And I think that made a big difference.

And we had a culture where we didn't...

There wasn't a lot of indulgence of expenditures that didn't show up on the screen.

And that came from the producers, but also to the actors and everyone else working on the show.

If you were a chef, you're kind of creating a dish for the first time.

And nobody really knows what this dish is yet.

It's something really special about having something just being creative without a judgment yet.

But I think what made insecure feel that way, I think, was still having that feeling of being the most creative you can be,

was also understanding that as a lot of people making this kind of show with what it was kind of trying to do in this very specific way

that it's not supposed to succeed, makes it even more that way.

Honestly, I'm surprised we've operated this way as long as we have.

Call me the Wondering Jew, I got one suitcase packed.

And I've felt that way for a decade now.

And it's partly a function of not having an audience, at least not having an audience at the time of broadcast.

At any moment, I expect this dynamic, this sinecure that we have at HBO to be vulnerable.

Welcome back to Origins, HBO, Present, Past, and Future.

A presentation of C-13 Originals, a cadence 13 studio.

I'm Jim Miller, and this is Episode 3 on Location.

After hearing from HBO executive's Casey Blois, Carolyn Strauss, and Chris Alvarez in Episode 1,

and Amy Gravitt, Francesca Orsi, and Nina Rosenstein in Episode 2,

...