-30- is up first.
"You're not writing for you; you're writing for them."
That raises the question--Can you write comedy that you don't think is funny? Is it possible because you're trying to please the audience, your showrunner, get or keep your job? Can writers serve an audience by writing to a formula and turn out jokes to fit a template? Is "hold your nose and type" really possible, no matter how the bills are piling up?
When you start out you’ll take any job. I would have written on any sitcom that would hire me. And I’d do my best to give them the type of material they wanted. Yes, I would not feel comfortable, but I’d still be way more comfortable than holding out and waiting tables and writing spec scripts for shows I admired.
At this point in my career, no. I would have no interest writing a show I didn’t think was funny, no matter how popular it was.
But I think it’s less about the quality of the humor and more about the sensibility and characters of the show. I could not write not a show about today’s high school students. I don’t really know them, I don’t know their voice, I don’t know what they’re thinking.
What’s somewhat ironic is when my partner, David Isaacs and I were young we got approached to write a movie about comics during the Borscht Belt Era and turned it down because the characters were too old and we had no handle on them. I wonder if that assignment is still out there.
Anthony Strand asks:
Cheers season 9 has several cold openers that take place outside of Cheers on the street. Did the cast actually go to Boston to shoot those scenes? Were they all shot at once?
Yes. They spent about a week there and filmed a bunch of scenes for multiple episodes. I don’t think I was on that trip. And if I were I skipped the shooting, probably to get lobster.
Here are two from Anonymous. Please leave your name.
Mr Levine, how much of your writing that was filmed/broadcast no longer survives?
Quite a bit. Let me know if you ever see JOE AND SONS (pictured: above), THE TONY RANDALL SHOW, AFTERMASH, THE TORTELLI’S, BRAM & ALICE, THE MARSHALL CHRONICLES, IT’S ALL RELATIVE, and the pilots of SNOBS and CHARACTERS. Same is true with shows I directed. KRISTIN, LATELINE, ASK HARRIET, BROTHER'S KEEPER, ENCORE ENCORE, STARK RAVING MAD, FIRED UP, CONRAD BLOOM.
None of the three series we created (MARY, BIG WAVE DAVE’S, and ALMOST PERFECT) are currently in syndication although ALMOST PERFECT was for about ten years and you can still see episodes of all three series on YouTube.
How many of your appearances on radio or TV, including your work as sportscaster or DJ, survives ?
Very little. I have a few airchecks of my DJ work, and a few of my baseball play-by-play games. But considering I was doing it every day for years, only a very small percentage remains.
From time to time I play portions of my radio work on my podcast.
On the one hand, I wish I had more. On the other — when would I listen to it all?
But I do have the Dodger game I broadcast with Vin Scully. That baby is a keeper.
And a Mariner game I did with Dave Niehaus is an exhibit in the Baseball Hall of Fame (because of him, not me). And fortunately, I happened to be good that night.
And finally, from Phil:
David Isaacs was listed as the sole writer for Frasier’s season 6 finale, “Shutout in Seattle”. How come you weren’t involved with those episodes?
He did WHAT?
No, actually, I was off directing in New York during that period. Those are two really good episodes. Turns out he’s a pretty great writer without me.
What’s your Friday Question?
from By Ken Levine
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