99% of the time, David and I agreed on what should go on, and why, and what was good. That's one reason the show was so great. I never just wrote off a sketch and thought "You don't like it, but I do..we'll put it on." However, the sketch about the waiter dropping food in the guy's lap and offering to pay for half the dry-cleaning never really worked and everyone agreed "Date With the Queen" was a huge clusterfuck of incomplete thinking. Those two sketches were real stinkers. Some writers hated "Hunger Strike," which i loved. http://www.youtube.com/watch?v=FTdyMBtuDYI . I'm not sure everyone liked "The Story of Everest." That's a sketch that divides people. It's probably my favorite, though....
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Netflix gave 8 alt comics the chance to do whatever we want for 30 min, and it really was so wide open. They didn't give many notes during the process and were very cool with us sticking to our guns if we preferred something a specific way. Almost all of the characters in my special are from my podcast or CBB.
I had very strong opinions about Andy's wardrobe! I felt it needed to be a combination of Northeastern, yacht-club preppy and Southern District Attorney showing up for the Kentucky Derby. I loved Michael Scott's description in one episode where he said Andy "dresses like an Easter egg."
We had a writer's summit where for 2 weeks we had Weird Al, Emo Phillips, Maja Da Oust, Jason Louv, Johnny Pemberton, Brendon Walsh (Gawd I hope i'm not forgetting someone), come up with ways the world could end. Then we broke the apocalypses we liked best into beats and "hung" the podcast dialogue on that framework. It was REALLY challenging because too much animated plot distracts from the conversation but if a GIANT ZOMBIE is eating the white house you can't just keep talking about weed so we had to figure out ways to pin the dialogue to the animation using VO we recorded after we had pieced together the animatics enough to know where it needed it.
I think he liked it. Steinbrenner was unfamiliar with the show. His grandchildren watched it, and his grandchildren talked him into letting us use his name. The last episode I think of the '96 season, we came up with the idea to actually fly him in and put him on the show because up to that point, we'd only been seeing the back of his head, and I was doing his voice. And then we thought it would be fun if he was - if he actually made a real appearance.
So we called him up, and he said, yeah, he would do it. So we flew out to do it. He did the show. We started editing the show. And as I watched it, I'm going, oh, my god, this is not good. And we thought it's so much better to just see the ba...
Intuition mostly. I trust the writers I work with and my own instincts. If we all feel like something is hilarious or fresh, I have to assume it is. And those are the things that tend to be well received.
In the pilot when Bill is up in the tree and the big kids are throwing stuff at him. That happened to me and my best friend, minus the fireworks. We were hanging on and crying. That was just such a regular day back then. No supervision, no cameras, didn't even dawn on me to tell my mom what happened. There's also a scene when Kevin sneaks out of the house w/ his amp and guitar, and he falls on his face to save his gear. That was my friend Dave Kushner, it happened to him. He does all the music for F is for Family. He was the rhythm guitarist for Velvet Revolver, I can't believe I even know the guy! He landed face first and knocked all his teeth out. The next morning he drank a 40 through a s...
The first time we did it, Fred just starting doing that voice ("Whaaaaaat are you doing here?!") and Kristen and I were like "What?" It was so funny. I hadn't heard him do it before. Man o man it made me laugh. Then it became a game of who could stretch out the vowels in their sentences the most. It got crazy.
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It's been a priceless experience with the people I've met in the writer's room, and that I learned how to write a script. It's just great to finally have something where I can actually write the lines. As you work your way up, you think to yourself (or lie to yourself) that you could write it better. And now I get to do that. It's been great.
When I got my first writing job I couldn’t talk in the writing room. I was working on a sitcom and I could not talk. It wasn’t like I chose not to talk, or I didn’t talk, I couldn’t open my mouth. No words would come out. And that went on for six weeks. I thought I was going to get fired, and I probably should have been but they didn’t. But I was so terrified in this room of six guys, you know? That’s who I was.
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The first time we did it, Fred just starting doing that voice ("Whaaaaaat are you doing here?!") and Kristen and I were like "What?" It was so funny. I hadn't heard him do it before. Man o man it made me laugh. Then it became a game of who could stretch out the vowels in their sentences the most. It got crazy.
Well, here's what I did, Victoria. Any sketch I would write, I would call my character "Stan Hooper" and he didn't really do anything, you know? And I would be very careful to name him Stan Hooper, and then have someone in the sketch say "Hey Stan Hooper" and one time I read a list of recurring characters and Stan Hooper was way up there. And of all the characters he had no real qualities of any kind. Just a bland empty vessel of a man.
I will say that off the top of my head, the two favorite sketches that I was a part of had to have been the Harry Caray space show with Jeff Goldblum and, of course the cowbell sketch with Christopher Walken.
My favorite cast member to work with was Julia Louis-Dreyfus.
It was the first sketch I ever did. I got confused with stage direction, and literally did not know what color I was on the cue cards, so I just froze! Hey people, it's live TV, and the experience has made me a better performer. AND took away the fear of being in sketches!
The sketch I was the most proud of was probably one called Do You Go Runnin Round Re Ro and it was a take on British Gangster movies and how we Americans can't understand what the actors are saying with those thick Yorkshire accents and all.
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