David E. Kelley Reflects on Disney Collaborations While Accepting the First ATX TV Festival Showrunner Award

The ATX TV Festival kicked off its first-ever Showrunner Award presentation by honoring one of television’s most celebrated and prolific creators: David E. Kelley. With over a dozen Emmys and credits that span nearly every genre, Kelley sat down for a wide-ranging conversation following a screening of the first episode of his latest series, Presumed Innocent, now streaming on Apple TV+. While Presumed Innocent dominated the night’s screening slot, much of the conversation with moderator Debra Birnbaum (Gold Derby) looked back on the legacy of Kelley’s groundbreaking series, including several that remain fan favorites under the Disney umbrella.

Though he didn’t dwell on studio affiliations, Kelley’s work for Disney-owned entities was central to the discussion. Ally McBeal and The Practice, both produced by 20th Television, were highlighted as character-driven shows where Kelley’s legal expertise blended with emotional complexity and unconventional storytelling structure. “The Practice was something you could outline on paper," Kelley explained, “but Ally McBeal, that was soup. It started with emotion and spun out from there."

Casting for both series, which ran concurrently in the late '90s, benefited from Kelley’s partnership with casting director Judith Wiener. “She found Calista [Flockhart], she found Dylan [McDermott]," Kelley recalled, crediting her tenacity for shaping both ensembles.

More recently, Kelley teamed with Hulu for Nine Perfect Strangers, a limited series adaptation that has since debuted its second season. He praised the format for allowing “more emotionally complicated stories" that didn’t have to stretch across years. The project also marked one of many collaborations with Nicole Kidman, with Kelley noting the benefits of developing a creative shorthand with recurring talent.

Kelley described his writing process as deeply character-first, even if that means writing longhand with calloused fingers. “I feel the brain fires better when I’m handwriting," he said. His method often involves “listening" to the characters until they dictate the story’s direction. That personal immersion, he said, made shows like Ally McBeal and Picket Fences feel like “living with family." Asked how he found his way into characters so different from himself, like a single working woman in Ally McBeal, Kelley admitted, “That’s probably the schizophrenic part. You just listen."

Kelley shared anecdotes about working with everyone from Mandy Patinkin on Chicago Hope to Jean-Marc Vallée on Big Little Lies, praising Vallée’s visual storytelling instincts. He also recalled early lessons from mentor Steven Bochco, who told him, “Don’t ever assume you’re smarter than the audience."

Though known for writing in solitude, Kelley acknowledged his appreciation for talented collaborators, especially directors and actors who bring unexpected nuance. One recent standout was actor O-T Fagbenle in Presumed Innocent, whose off-script delivery inspired Kelley to rewrite to match his unique tone. “I didn’t know what he was doing at first, but it worked."

As for the future? Kelley is open to returning to long-running series, citing the “community" that came with shows like The Practice and Boston Public. While he’s no fan of rebooting his work, he’s happy for others to revisit past projects if they bring a fresh perspective. “I want to go forward, not backward." And yes, he’ll be back for a second season of Presumed Innocent, this time as an anthology with new characters and a new case.

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