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I've always tended to write comedy, but I'd hate to just write some kind of sitcom or a lighthearted series of jokes and slapstick. I wanted to talk about some deeper things within the comedy.
I don't think I could ever do a network sitcom because the humor is often based on some trite circumstance. I don't want to be a part of a show where it's mostly about coming up with the jokes.
So many of these comics are just frustrated singers or actors - they want to get a gig doing a sitcom. It's paint-by-the-numbers comedy, lame joke-telling. They're drawn to it as a career move.
I feel like one thing that messed me up was living in a homophobic and transphobic society, and just being the object of mockery and disgust in your average sitcom or movie or person at school.
I wanted to do a comedy. I'd been actively looking for a comedy. I wanted to do one that was different. Nothing against them, but I wasn't interested in just your normal sitcom, boy meets girl.
When I came out to Hollywood in 1985, I thought that I would be sitcom star. I'm a tall, skinny, goofy guy. I thought that I would make a great funny neighbor, or wacky office mate, in a sitcom.
I don't know, on a sitcom, and in theatre especially, you have to really be listening to an audience. And if you're losing them, you can hear the sniffs, and the playbills shuffling and whatnot.
You have to ask yourself if you want to be the kind of actress who's interesting, or the kind of actress who's meant to play the pretty-but-uninteresting wife of a chubby guy on a network sitcom.
I don't like the idea of being a human being, existing, talking to my friends, and having these real human conversations, and then getting to work on a sitcom and turning that part of my brain off.
Even before I got on 'SNL' I assumed I would do some type of sitcom; I kind of thought that was how I would start. I don't mean to sound arrogant - I just thought I would be best suited to the form.
My favorite thing to do as a kid was pretend I was in the opening credits of a sitcom. As the theme song would play, I'd look up at the imaginary camera and smile as my name would flash on the screen.
Well, usually, when you're doing a sitcom, you get a script and every word or for the most part, is written. So, you know, if it's a 30-minute sitcom, then it's a 35-page script or something like that.
Comedy comes out of everyone's worst day. No one writes a sitcom episode about everyone having a good day. It's always about someone being locked out of their house or someone being dumped or whatever.
Basically, after an ABC sitcom I did, I ended up with a holding deal with 20th Century Fox. Absolutely cool. It pays you to be unemployed. And the bigger the entity that gives you the deal, the better.
I went from a sitcom to a hospital drama, feature films. I've kind of been living the actor's dream. I'm not associated with one role or one medium. You're lucky if you're associated with one hit show.
I'd like to explore the more abstract side of people's minds, as opposed to the usual sitcom stuff. I don't want to do the typical sitcom-type humor. I'd want to do stuff like go bowling with pineapples.
Like most comics, I tried to come up with a sitcom idea that was based around my life. And it didn't work out. But maybe because it didn't work out, that's why I ended up on 'Breaking Bad;' I don't know.
I had not met Tina Fey before I auditioned for '30 Rock'. Some people think we're old friends from 'Second City' days. I had always been a fan of Tina's. But I actually never planned on being in a sitcom.
It was Christopher's brilliant concept that he did not want this to become like every other sitcom where you do one take, and the audience gets bored with seeing it ten times, you know, over and over again.
Sitcom writing is difficult because it's not just about writing jokes - there's a very fine balance between characters, plot, and comedy, that if you get one thing wrong, the whole castle comes falling down.
In 1977, at age ten, I was cast on the TV sitcom 'Good Times.' My character was Penny, an abused child in desperate need of love. I really didn't want to do the show. I didn't want to be away from my family.
I watched a lot of 'I Love Lucy.' Then I went to college, and I didn't watch TV, really. I don't know: something happened after 'Friends' went off the air. I think something dipped in the whole sitcom world.
Comedy is my favorite genre. I think it often doesn't get the respect it deserves, and I think one of the reasons is there was a tradition in the past of comedy looking kind of brightly lit and like a sitcom.
I hope we can see African American characters as the diva, as the villain, and also as the praying mother. We are all of those things. We tended to only be the best friend or the neighbor in everybody's sitcom.
Sitcoms are incredibly limiting. When you do a sitcom and it becomes a signature part for you, it's harder to do something else; but if you do a drama, you can get lost in it and have a role to do other things.
I think a challenge with every sitcom is, how do you maintain things that people are attached to without becoming so reiterative that it just feels like you're sort of watching a reenactment of previous episodes?
My daughter recommended Chris O'Dowd to me after seeing him in 'Bridesmaids,' so I watched that and his sitcom, 'The IT Crowd.' When I was over in London, we met up, and I knew immediately he was the right person.
When you're doing a single-camera show, it's more buying into a level of reality. I think a sitcom, a four-camera show, doesn't require that so much. I think with a film show, you just need the characters to grow.
I've always liked the idea of writing a workplace sitcom that was set somewhere where the stakes were really huge and yet you would still have those normal, everyday office moments that everyone can associate with.
I'd never done a sitcom until the 'Michael J. Fox Show.' I'd never even guest starred in one until then. So it was definitely a learning curve, which is what I wanted. I wanted to do something new, to challenge myself.
Nothing is set up like a comedy bit. I did sitcoms for 10 years. Literally from 1989 to 1999. That's almost all I did. Whenever I got away from television I was like, "Phew, thank God that's over. I am never going back."
The family sitcom has been around forever, since the advent of television. I don't need to reinvent it. But if you take something and you do it in a way that you haven't necessarily seen before, that's right where I live.
It would be interesting if this sitcom works, so I could be doing one thing all the time instead of going back and forth between all this different media which I sort of thrive on, I'm a bit of a moving target in that way.
The difference between doing a live show and a sitcom is that a sitcom can live on. If you do it well, it can leave a legacy, whereas most of our live work never gets repeated because it's final, it's done, you start again.
I grew up with television. I love television and to be working in it is awesome. I think where I do well at television is because I grew up watching the great sitcom actors Jackie Gleason, I love Rob Reiner, also John Ritter.
You simply cannot do a sitcom by committee. It will not work. You've got to have one or two clean, creative voices in charge, and there's got to be some faith by the studio and network in those people to make the right choices.
But I was ready for it and I knew I could do it. I've just turned 40, I have a son and I feel more settled and driven than ever. I think my 40s will be my most prolific time. It's a very rare life you get to lead as a sitcom guy.
I think the longer a sitcom is on the air, by necessity, the dumber the characters have to get: otherwise, they would be learning and growing, and they won't be funny, so they have to get more and more extremely whatever they are.
I always thought, as a kid, if you - and the reason that I sort of stayed away from doing one character on a sitcom is - if you're doing one thing all the time, the audience is going to come up to you and say the one thing all the time.
People don't realize that doing a horror movie is hard work. You're out there all day screaming your lungs out, breathing in toxic make-up fumes, rolling around in the dirt, getting your eyebrows burned off - it's not like doing a sitcom.
I've always felt a bit of an outsider. It used to worry me that, in terms of TV, I did not look like 'the girlfriend' or 'the daughter'. That pushed me to write my own stuff, as I thought no one else was going to write me a lead in the sitcom.
Sadly, marriage has become a punchline in today's society. From referring to the wife as 'the old ball and chain' to nearly every poorly written sitcom that we watch, the message we're sending to today's generation is clear... Marriage = no fun.
A lot of times I would go into a room and audition for whatever sitcom it was and they would expect me to do sort of what my dad was doing and I am not him so they would be disappointed and I would feel nervous and not know exactly how to do it.
I'm ridiculously fortunate to get a chance to experience the sitcom world. The schedule is extremely easy, and you get fed as an artist because you're not only working on a project, but you get to work with cameras, and you get the audience there.
I think of everything as comedy, but I don't think of it in terms of sitcom comedy, I think of it in terms of Chekhov comedy. Chekhov called his plays comedies. There's always a mixture of a laugh with sadness. So the plie to the laugh is sadness.
I did this TV show, which was my first job ever. It wasn't a real acting part. It was like this promo for this sitcom and the main actress was meeting three different real people and then she was going to decide who was going to be on the episode.
If you look at any sitcom that you watch, if it takes place in, say, a small town in Massachusetts, and it's about the dynamics of the people in that town, the showrunner probably grew up in a town like that, witnessed things, and created content.
I had kind of an attitude, which was not uncommon in New York. Theater people who went to Hollywood to do sitcoms were selling out. That was the attitude. And I didn't really relish the idea of being cast in a sitcom, because I shared that attitude.
It's nice to go and be a guest on a television sitcom. It pays well; it's easy because generally it's a supporting role, so you go, you do two or three things, you're in touch with people there. They're widely popular, so they're seen by many people.
The humor is essentially dark for a cartoon and sophisticated. But at the same time, being a cartoon gives the writers more freedom than in a normal sitcom. It always pushes the line that, despite human failings, the Simpsons are really decent people.