From 2007: How a former Baltimore Sun reporter named David Simon created “The Wire,” which he later described as “a novel for television.” NewYorkerArchive
The show’s departure from Hollywood formulas may be nowhere more palpable than in its routine use of non-actors to fill the minor roles. No other television drama, it seems safe to say, features an actor whom one of the show’s lead writers helped put in prison with a thirty-four-year sentence. That is Melvin Williams, a Baltimore drug kingpin whom Ed Burns nabbed in a wiretap investigation in 1984; Simon reported on the case for the.
Filming on city streets in marginal neighborhoods carries its peculiar risks and rewards. On one occasion, a car involved in a high-speed chase smashed into one of the actors’ cars, and everybody had to dive out of the way. Another time, a man got shot yards away, staggered onto the set trailing blood, and was treated by the show’s medic.
“You’re right,” McCarthy said. “You’re right.” With a mixture of admiration and irritation, he added, “Gee, it’s great to have you on the set!” The show’s title referred to the wiretap that a unit of the Baltimore police force was using to keep a local drug organization under surveillance. Ultimately, the term suggested more—the way that the show allowed viewers to eavesdrop on various recondite power plays, and the way that poverty, politics, and policing were interconnected in a struggling post-industrial city. In Simon’s view, “The Wire” was never “a cop show.
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