Film Producers From The United States

"Really good bits go deep into your head and keep comin' back."

"All I had to do was do [stand-up] once, and I didn't-- Really, success wasn't my objective; it was just "I wanna be one of those guys!" If I can be one of those guys, I'm-- I win everything!"

"No one is more judged in civilized society than the stand-up comedian. Every twelve seconds, you're rated."

"When I go to see somebody work, I don't want to see your "new hour". I want to see the act!"

"All dads dress in the style of the last good year of their lives."

"Do you think if they only made one Hangover -- and didn't make the other two -- it would be considered a comedy classic? Do you think that you destroyed what would have been a comedy classic, by the cash grab of II and III?"

"Pain is knowledge rushing in to fill a gap. When you stub your toe on the foot of the bed, that was a gap in knowledge. And the pain is a lot of information really quick. That's what pain is."

"When the Beatles ended, it was so sudden, and it made what they did somehow more valuable. 'Cause it-- just suddenly, it was over, and that's it. That's the complete set. Y'know? Nine years, twelve albums, whatever it is: that's it. So, I kind of took from that "I want to try and do that"."

"You start to know, on stage, when to get off. There's just this feeling that you develop from years and years of doing it; you just feel that "We're getting-- Everyone's really having a good time... and I think, in another few minutes, this is going to start to get old... 'Good night, everybody!'" And everyone's happy! [...] It's just... proportions. Y'know? I guess it's a function of art and economy: that economy is essential to all good art. And I thought "Let's-- " Even though we had done a lot [of Seinfeld]: nine years, 180 episodes, I thought "We can't do one too many, or it's gonna taint the whole thing.""

"There's always this thing with "Well, he's no Richard Pryor!" Y'know? And I always, y'know, would apologize for not being raised by prostitutes in a whorehouse. It was just-- there was just very little I could do about it! And I try to overcome it as best I can."

"A stand-up act is like a tennis game: I mean, even if you're good, you gotta keep playing if you want to keep that game at a certain point."

"Stand-up is the only thing that I knew -- that I could be sure -- that I-- if I was doing it, and audiences were responding well, that I wasn't cheating. 'Cause there is no way to cheat, in stand-up! It's the naked-est, purest thing in the world."

"I always felt like I was very much a "hook"-less comedian, and that I would always be hook-less. And that-- I thought "Maybe that's my hook!" Y'know? That I just don't have anything that you latch onto as "He's the guy who does this" or "looks like this"."

"The trouble with [writing a screenplay] is: you have this story, which is such a nuisance! Y'know, in stand-up, you just tell the funny part. But in a movie, the audience demands that you tell them some sort of story that makes sense. And this was a tremendous handicap for me [on Bee Movie], because [the story] frankly doesn't interest me that much."

"That last [season], I really felt like-- was really a gift to the audience, 'cause I was really done after the eighth. But I decided to take a deep breath and try and do one last season, because the audience support that we enjoyed was just phenomenal."

"Larry had a great word for [Julia]: he said that she gives [Seinfeld] "luster". [...] And she did; she was like the pearl that smoothed over all this kind of rough, kind of low-minded behavior of the other three characters."

"The beautiful thing that Michael discovered-- and I don't know at what point it was; maybe it was the second year [of Seinfeld]: he was playing Kramer a little slower than the other three characters, a little dumber. And then, he got the idea that he should play it that everyone else is dumber than him. And that was the key to it. Once he got that: then, the character just took off!"

"I don't think there's another TV series that you could name where the list of absolutely outstanding characters is so long. You-- you can't even begin to just say "Well, it was a show about four people"; it wasn't. I mean, they would've-- [Seinfeld] wouldn't have lasted so long -- at the level that it was at -- if it was just the four of us every week."

"George never felt guilty that he was trying to cheat someone, because he had already been cheated, as far as he was concerned! He was just getting a small amount back from the casino that had already totally emptied out his bank account!"

"Whenever an idea would come out that was too crazy for me, it would always fit George perfectly. George was really a catch-all for a lot of ideas. He was a guy who you could "buy" doing any number of extreme problem-solving techniques."

"[George is] like the kind of guy that you hang around with in New York who's not in the [stand-up] business, but he's been your friend for a long time and you're just kind of-- In the important ways, you're too similar to ever not be friends. [...] Even though your lives are in completely different places, the friendship survives, 'cause in the important ways of shallowness and neurotic exploration of meaningless detail: that's where you bonded."

"We weren't really trying to gain more attention or-- We certainly weren't trying to be provocative in any way. We were just -- as any TV show is -- constantly struggling to come up with new ideas. And when you're struggling, bad ideas start to sound like good ideas. And crazy ideas start to sound like sane ideas! And that's what happened in Season 4, is a lot of crazy ideas started to make sense."

"My friend Larry Miller used to come by the set all the time. And I said to him "Y'know, for the life of me, I can't figure out why this show isn't really popular." He [said] "Oh, don't worry! It will be." Y'know? And I said "Come on! We've been here four years!" [...] And he kept sayin' to me "It's gonna catch on!" [I was] thinking "'Catch on'?" Y'know? You don't suddenly catch on, y'know, after you've been on TV for four years! And-- but sure enough, he was right!"

"This was really one of Larry's most brilliant ideas for the show, was these arcs; and this was one of the best ones, was George and Jerry tryin' to get this pilot on NBC."

"It was always heartbreaking. You could get [an idea] all the way to the edit... and it-- and it falls apart. You got it all that way and right before it's in the-- just as it goes in the show, you go "That's not the right angle... and it's not funny at all now." And even though you had it all that way, and then, just at the last moment, you just "Oh! You dropped the egg!" Splat."

"I used to say that each season was a transatlantic submarine voyage: that you would load up the sub with all the supplies -- y'know, you-- we would do pre-production: we would come up with outlines and story ideas, and get as much stuff as we could in advance -- but once that-- we shoved off and we were out into the ocean, you just-- you quickly went through your supplies about a third of the way, and then, you would just start at eating each other to get through the season."

"I was in every room: from the writing room to the stage, to the editing room, to the rewrite, and I knew what the original intent always was."

"That takes a lot of work: to set up six different scenes that are not on stage, plus do a stage show in front of an audience. It's a production issue that the average fan wasn't aware of, but I think they appreciated-- It gave the show a vitality and an expansiveness."

"[Larry and I] were all about writing. We didn't really want to hear from anybody, talk to anybody. It was just writing and-- and rehearsing. The casting was quick; editing was quick. Everything else we did very quickly, but we labored over the writing."

"Larry and I just had that great cross filter: if both of us kind of related to [an idea] in some way, it seemed to work."

"I remember somebody coming in and pitching me an idea one time, and I'm saying "No. No, I don't think so." And-- and the writer said to me "But we've done this so many times before!" And I went "That is not a point in its favor!""

"There was a tone we set with the writing staff -- that Larry set -- that it had to be original; it had to be unique. It-- it had to be something very funny and very fresh."

"[The writers] knew they were talking to odd guys, y'know? Larry and I were odd guys. So they wouldn't come in-- They-- Y'know, I mean, they would come in and pitch, and obviously, some things would hit, and some things would miss, but they never thought "This is too crazy for these guys." Nobody would think that... 'cause clearly, we were capable of just about anything!"

"The journey of someone coming in the room with an idea for something, and then saying "Yeah, that sounds good; let's do that", and then, the-- it going into an outline form, and then a script form, and then a read-through, and then a rewrite, and then a rehearsal, and then more rewrite, more rehearsal, then a shoot night, and then an editing process, and then finally going on the air, is essentially an off-road egg race where you carry the egg in a spoon."

"The idea that you have two guys who've never written a show being run by a network executive that had never had a show, leading to a show that has a unique and unusual feel: this is a model that all the networks subsequently ignored -- and never did again -- except for HBO! I think HBO-- I don't know if they really knew that that's how our show evolved, but that's a network that hires people that they like and says... that's the end of their job! "We like you; do what you think you should do." And it leads to much more distinctive programming!"

"NBC -- when we suggested that we wanted to do this one-set idea where the gang just waits for a table the entire show and never gets it -- they thought that was very static and not appealing. And they didn't like-- want us to write it, they didn't want us to film it; and after we filmed it, they held it back and didn't run it until towards the end of the season, 'cause they were so sure that this was going to really be one of the real bombs of the season."

"You almost kind of knew you were on the right track, when people at the network didn't like it. I mean, I wanted them to like it, but we weren't going to, y'know, really change the tone of the show. I couldn't have done a show any other-- I couldn't have done any other show than that show; I just wouldn't have-- wouldn't know how to do it!"

"Once we got [Julia], I was absolutely convinced, from then on, that nothing could really hurt the show. That it really-- It just felt like a balanced team."

"I don't remember when I saw the testing results, but it's really one of everyone's favorite things about [Seinfeld], is how poorly it was received by the network people. [...] My favorite thing in the testing is that the show was considered "contemporary, unusual, humorous, and appealing to young adults: therefore, not something that we would want". (laughs)"

"[Larry and I] had a lot of fun writing then. We always had fun writing; it was never a struggle. I don't remember us ever really racking our brains too much in writing. We had a great chemistry."

"[Seinfeld] was gonna be a 90-minute special that was gonna fill in for Saturday Night Live one weekend-- one Saturday night when they were off. [...] And I just didn't think that you could sustain that for 90 minutes. I thought maybe you could do it for 30 minutes. And that's how it became a TV series. It was gonna be a special all the way, but I just didn't think we could last 90 minutes. So, instead, we ended up makin' 90 hours."

"I've already done something, and [Bill] reminded me of that. And now, this-- I really just want to do what I love to do... and I want to go where he's gone. Y'know? I want to be able to explore this [comedy] thing and maybe find some-- That's what I keep thinking: that maybe there's something else out there! I just feel like I can go somewhere with it. I don't know where."

"I used to sit in my room at... let's see: how old-- I was ten years old... playing [Bill Cosby's] albums and just crying laughing, and just in wonderment at what he was doing, and just-- that I had never heard somebody be so funny before."

"The question is this: "What have I been doing?" Everybody says to me "Hey, you don't do the show anymore! What do you do?" I'll tell you what I do. Nothin'! [pause for applause] Yeah, I know what you're thinkin': "That sounds pretty good!" You're thinkin' "I might like to do nothing myself!" Well, let me tell you: doing nothing is not as easy as it looks. You have to be careful... because the idea of doin' anything, which could easily lead to doin' somethin'... that would cut into your nothin'... and that would force [you] to have to drop everything."

"I'm supposed to get the colonoscopy test. When you get into your forties, I think-- I have heard -- from the healthcare professionals -- that you-- it's very important to get the camera up your ass. I have resisted this... because I feel the press has invaded my life enough. [pause for laughter] I feel that I will draw the line here, and say "no" to the pooparazzi."

"Any new technology: it just gets translated into a sexual form. Home video? "Sex video!" Phone? "Phone sex!" Internet? "Porno website!" Copy machine? "Put your ass on it!""

"When I was starting out, I used to sit down and write a couple times a week. And then, one day, I was watching these construction workers go back to work; I was watchin' 'em kind of trudgin' down the street... and I was just-- It was like a revelation to me, and I realized "These guys don't want to go back to work after lunch, but they're goin... 'cause that's their job!" And I [thought] "If they can exhibit that level of dedication for that job, I should be able to do the same." "Just trudge your ass in!""

"I have this image in my mind of what a comedian's supposed to be... that I'm always trying to live up to, and that I always fall short of. [...] I'm the show for the night. I have to make that evening work for those people."

"I always say your number of years in comedy is about your maturity level. When you're doing it ten years, you're like a 10-year-old. Fifteen, you're like a 15-year-old; you're start-- a slight bit of maturity. Twenty years, you're like-- kind of a grown-up, but still completely infantile."

"What is this urge to get information we already have? Whenever I'm in a car, and I drive by a mirrored office building, I look in the reflection to see if I'm in the car. This is information I already have! What am I looking for? Why am I checking? And what would I do if I looked and I saw that there was a small Korean woman driving my car?"