Julie Plec is one of the busiest women in Hollywood.
“In the last six or seven years, I have had anywhere from two to three shows on at any given time,” Plec, 47, tells The Post. “It’s been a wild ride.”
The writer/director/producer currently has three shows on television: supernatural drama “Legacies” (Thursdays at 9 p.m. on The CW), “Roswell, New Mexico” (also on the CW, returning for its second season March 16) and the upcoming Netflix drama “The Girls on the Bus” about female political journalists.
“I should have a chart, but I don’t,” says Plec about balancing her various projects. “I have spent so long juggling in my own mind that it’s become a strange perverted art form. What it really comes down to is [that] if I’m taking on multiple things, I can’t be singularly involved as the day-to-day showrunner on more than one series.
“There’s just not enough time in the day, she says, “so I align myself with really tremendous partners.”
For instance, “Roswell” reboot “Roswell, New Mexico” is helmed by Carina Adly MacKenzie. Plec, who executive produces the drama and directed two episodes, calls herself its “fairy godmother.” And when “The Girls on the Bus” began production, she stepped back from co-showrunning “Legacies” (with Brett Matthews) on a daily basis.
“The minute ‘The Girls on the Bus’ started heating up, I shifted most of my attention to that, but was available to Brett for story breaking and script notes,” she says. “It really is about being available to make sure the quality of each show is unwavering, but also being able to count on the people I’ve put in place — that they can do the work to the best of their abilities, and often they do it better than I do.
“It works out for all of us.”
Plec, who cut her teeth working with horrormeister Wes Craven (the “Scream” franchise), first rose to prominence with the “Vampire Diaries” franchise, comprising the parent show (2009-2017), “The Originals (2013-2018) and now “Legacies,” which follows teens at a supernatural school. That show is currently in its second season and has been renewed for a third. Combined, the franchise has over 300 episodes of TV.
“The joke [‘Vampire Diaries’ co-creator Kevin Williamson] and I like to tell is that we truly believed that we’d be the ones to rejuvenate the vampire genre or put the final nail in its coffin, so to speak,” she says. “Because the market was so saturated … it was exciting to see the show find an audience in spite of [the movie] ‘Twilight’ and [HBO’s] ‘True Blood’ competing for attention during that time. What’s been more exciting is that every three years, I meet a new generation of 12-year-olds who have just started watching the show on Netflix.
“It’s been thrilling to see the show have timeless legs. It keeps finding new fans.”
And that “Vampire Diaries” universe might not stop at three shows, she says. “Brett [Matthews] and I have a pitch for at least one more [series] that we really love,” she says. “We don’t wake up every morning and say, ‘How can we continue to monetize this franchise?’ We just love the world.”
Plec also has other shows in nascent stages (under a four-year deal she recently inked with Universal TV) that, she says, will likely stay in the realm of teen dramas.
“The older I get, the younger I feel, and the more I enjoy writing the [teen] stuff, because I’m trapped emotionally probably as a 17-year-old in my soul,” she says. “I like writing about love, and I like writing about loss and grief.
“I like writing about powerful and intense and epic emotional relationships.”
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