Screenwriters From The United States

"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?"

"Twenty minutes is not comedy. An hour, an hour and fifteen minutes: that's comedy, y'know? You learn how to open, how to sustain, how to pace."

"When you're crafting an act, you need to see how that material works in front of each different type of situation."

"The equivalent for a normal person would be to go in to work in your underwear... and try and do your job that you normally do. All of a sudden, you can't do anything. That's how a comedian feels when he's doing a new bit."

"I watch Sesame Street a lot [these days] because I have two little kids. And a lot of people ask me, y'know, would I ever consider doing another show, and... I sit there, and I watch this "Elmo" guy; and he is so likeable, and so funny, and so charming. And I sit there with my daughter, and I think "Let him bust his little red ass every week!""

"So feeble, the things we come up with to foil crooks: like the "wanted" posters at the post office? You're there, you got your package; you're tryin' to mail somethin'. This guy's wanted in twelve states. "Yeah? Now what? Okay?" Y'know, I check the guy standing in line behind me. If it's not him, that's pretty much all I can do. Why don't they just hold on to this guy when they're taking his picture?"

"It is amazing what people will believe. I mean, I've watched these infomercials late at night: if it gets late enough, the products start to look good to me. I have actually found myself sitting there thinking "Y'know... I don't think I have a knife that can cut through a shoe..." "I don't think any of my knives are good enough to cut through shoes!" "I'm gonna get this knife and cut my shoes up.""

"I think we should all wear the same exact clothes... because it seems to be what happens eventually, anyway. Any time you see a movie or a TV show where there's people from the future -- or another planet -- they're all wearin' the same outfit. I think the decision just gets made: "Alright, everyone, from now on, it's just gonna be the one-piece silver suit with the V-stripe and the boots. That's the outfit.""

"There are many things we can point to as proof that the human being is not smart. The helmet is my personal favorite: the fact that we had to invent the helmet. Now, why did we invent the helmet? Well, because we were participating in many activities that were crackin' our heads. We looked at the situation. We chose not to avoid these activities, but to just make little plastic hats so that we can continue our head-crackin' lifestyles. The only thing dumber than the helmet is the helmet law, the point of which is to protect a brain that is functioning so poorly, it's not even tryin' to stop the cracking of the head that it's in!"

"I saw a thing, actually-- a study that said: speaking in front of a crowd is considered the #1 fear of the average person. I found that amazing! #2 was death. Death is #2? This means, to the average person, if you have to be at a funeral, you would rather be in the casket than doing the eulogy."

"The luge is the only sport I've ever seen that you could have people competing in it against their will, and it would be exactly the same. Y'know, if they were just grabbin' people off the street: "Hey! Hey, hey! What is this? I don't want to be in the luge!" Y'know, you put the helmet on 'em, you wouldn't really hear 'em screaming; just: (whoosh) "You're in the luge, buddy!" (panicked screams) World record. Didn't even want to do it! I want to see that event next year: the involuntary luge."

"I think, if I was an Olympic athlete, I would rather come in last than win the silver... if you think about it. Y'know, you win the gold, you feel good; you win the bronze, you think "Well, at least I got something." But you win that silver, that's like: "Congratulations! You... almost won." "Of all the losers, you came in first... of that group." "You're the number one... loser." "No one lost... ahead of you.""

"To a man, sex is like a car accident, anyway, and determining a female orgasm is like being asked "What did you see after the car went out of control?" "Well, I remember I heard a lot of screeching noises, I was facing the wrong way at one point, and in the end, my body was thrown clear!""

"Dating is not easy. What is a date, really, but a job interview that lasts all night? The only difference between a date and a job interview is: not many job interviews is there a chance you'll end up naked at the end of it. "Well, Bill, the boss thinks you're the man for the position! Why don't you strip down, meet some of the people you'll be workin' with?""

"Men, as an organization, are getting more women than any other group working anywhere in the world today! Wherever women are, we have men looking into the situation right now. We explored the Earth looking for women... even went to the Moon just to see if there [were] any women there. That's why we brought that little car. Why would you bring a car, unless there's some chance of going on a date?"

"Men and women will never understand each other; we all know that. It's just not gonna happen; just forget it. I know I will not understand women. I know I will never be able to understand how a woman could take boiling hot wax, pour it on her upper thighs, rip the hair out by the root... and still be afraid of a spider."

"I was best man at a wedding one time; that was pretty good. Pretty good title, I thought: "best man". I thought it was a bit much! I thought we'd have the groom and a pretty good man. That's more than enough. If I'm the best man, why is she marrying him?"

"Nobody wants anything less than "extra strength". "Extra strength" is the absolute minimum. You can't even get "strength"; "strength" is out now. It's all "extra strength". Some people are not satisfied with "extra"; they want "maximum". "Give me the 'maximum strength'." "Give me the maximum allowable human dosage." "Figure out what will kill me and then back it off a little bit.""

"I'm very impressed with this seedless watermelon product that they have for us. They've done it! We now have seedless watermelon. Pretty amazing! What are they planting to grow the seedless watermelon, I wonder? The melons aren't humpin', are they? They must be plantin' somethin'!"

"The whole supermarket itself is designed to break down your sense of having any life outside the supermarket. It's like a casino: there's no clocks, no windows, no easily-accessible exits. You ever not buy anything in the supermarket and try to get out of there? It's impossible. There's no way out."

"When you're little, your life is up. The future is up. Everything you want is up. "Wait up! Hold up! Shut up!" "Mom, I'll clean up! Let me stay up!" For parents, of course, it's just the opposite: everything is down. "Just calm down!" "Slow down!" "Come down here!" "Sit down!" "Put that down!""

"You know how the old people drive? They drive slow, they sit low. That is their motto. The state flag of Florida should be just a steering wheel with a hat and two [sets of] knuckles on it. And then that left turn signal on from when they left the house that morning. That's a legal turn in Florida: it's known as an eventual left."

"Do the people that work in these little shops in the airport have any idea what the prices are every place else in the world? "Yeah, $14, tuna sandwich. We think that's fair.""

"[Death is] the last big move of your life. The hearse is like the van, the pallbearers are your close friends, the only ones you could really ask to help you with a big move like that. And the casket is that great, perfect box you've been looking for your whole life. The only problem is once you find it, you're in it."

"I'll tell you, you get into a hot tub with three or four really old men, this is not the cover of the Club Med brochure. They get out of the tub, it looks like an ad for gravity."

"When I was a kid, my favorite ride was the bumper cars. What a wonderful fantasy of the driving experience as it could be. All confrontation, no destination. [...] Driving as an act of pure hostility."