As I mention at the end of this interview, the portion of it that I used for my Parade piece on Paul Scheer was a tiny part of what turned out to be an hour-long discussion. We started by talking about Scheer’s talk with AFT editor Will Harris about Running Scared and then veered into details about why he loves working for FX and Adult Swim, his many, many projects, and all the hats he wears as Andre on The League. We’ll jump in, though, with the pilot idea that he and Will Gluck just sold to ABC, which he currently won’t act in, but will be furiously busy writing the pilot for the next couple of months.
Joel Keller: How did the topic of the pilot come about and how was the whole process compared to selling a show to a cable network?
Paul Scheer: Well, for me, it kind of was an interesting exercise in a way. I sold a pilot – like, a network television show – a long time ago when I first moved out to LA. Then I just had this idea. Then I thought it could be a network show. I think I normally have more cable-specific ideas. I kind of just got excited about this one idea. I was talking to Will about it over breakfast; he was, like, “I love that idea. That should be a TV show.” So, he got really behind it and we just kind of moved forward. It was not as thought out as it probably should have been, but it was really fun to be working on it.
You know, network television is such a crapshoot. I’m just kind of enjoying the process of creating it, which is something I’ve always been wary of only because I feel like I’m very lucky to work with people like FX and Adult Swim and MTV, where you come up with something and you’re able to make it. Network seems like there’s a lot more hoops to jump through. I’m having fun nonetheless.
JK: If it gets picked up, you’d be shooting it for the normal pilot season that they look for all the different pilots, next spring I guess?
PS: Right. If I was so lucky to get it to work, we’d probably shoot it in January or February. Then you go up every other show. If you get past that, then you’re trotted out in May as a new show. Then you’ve got to survive what everyone’s going through right now, which is, like, “Four people watched the show.” Network television is… you know, it’s crazy.
JK: Can you give me an idea of what it’s about?
PS: The basic idea is it’s like that movie Four Christmases but all year round. Just having to navigate divorced parents, their children, their families, and then your spouse’s family, and kind of keeping everybody happy, but you have double the amount of family that you’re supposed to have. The traditional modern family is you have a mother and father on the man’s side, a mother and father on the wife’s side. I think my friends and I all experience this. It’s, like, now you’re at your mom and their family, your dad, their family, then you have on the other side the same thing. You basically have to do four families for everything. Every birthday has got to be celebrated by four families. Every Christmas has got to be celebrated by four families. You do everything four times. It’s like having very bad OCD.
JK: How did Dirty Sexy Teen$ come about?
PS: It’s really fun. I’m just getting more and more invested in the world of Pretty Little Liars and Gossip Girl and stuff. These shows are amazing.
JK: Yeah. Because they’re teenagers, but they’re doing stuff that you wouldn’t even see on an adult show.
PS: It’s crazy. It’s sex, it’s money, it’s killing. Everything that we watched at roughly the same age is so white bread – like, milquetoast – by comparison. I mean, these kids are fucking, killing and doing crazy stuff. We were really lucky with that show, because it was something that John, Curtis and I… Curtis Gwinn is now on The Walking Dead and John Stern produces Children’s Hospital and Garfunkel and Oates and NTSF and a ton of stuff. But it’s something that we all really wanted to do.
We got great people. We got Casey Wilson from Happy Endings to play a mom in the show, but she’s not much older than our lead girl in the show. We thought that would be… some of these shows, the parents are the same age as their 18-year-old kids. But we have Steven Yeun from The Walking Dead, who is, like, this kid who is straight, but everyone thinks he’s gay and he doesn’t want the rumor to get out that he’s actually straight.
JK: That’s pretty fun. Casey works with your wife too, like they sold a show too?
JK: So the connections are all there. It’s all one comedic organism, it feels like.
PS: I don’t know how interesting this is, but I think there’s also an ability… I’ve been really lucky to kind of maneuver in the cable world to have that flexibility. I think a lot of people, when you’re on a network show, there’s a lot of restrictions on what you can do, even with being on guest stars and stuff like that. I’ve been very lucky that I can create and I can do different things and I started a lot of loopholes, which I’m very thankful for.
JK: On the ArScheerio Paul videos, I noticed that you guys did do a true to the transcript reenactment and then you do an improvised one.
PS: Yeah. You know, I thought it was always really funny just to do the transcript one, but then we would shoot every interview three times. At the end of every interview, I was asking people to improvise in character. People were, like, “Yeah, let’s do it.” We’d just let the cameras roll. We thought maybe we could always drop something in. I thought they were pretty funny, but I didn’t want to dilute from the actual recreation. So, we found a way to do a “choose your own adventure” at the beginning of all the videos. You get like the crazy one and then the actual one. The actual ones, in my opinion, are equally as crazy.
JK: Is it because Arsenio was so sincere during these interviews, even though the interviews were kind of crazy?
PS: The thing about Arsenio is… we live in a time now where if you say anything, maybe it’s on Twitter, it’s recapped, somebody’s put together a compilation of it or a mix of it online the next morning. Back then, when he was doing his show, no one was the arbiter of that. You would say it and it would disappear. No one was writing about what Halle Berry said or what they did. I think there was this loose ability to kind of talk.
Arsenio doesn’t use cards. He’s not asking questions that are in front of him, so the conversation would naturally veer off into these really crazy, weird moments where you have Tupac Shakur advocating the use of marijuana. You have Halle Berry saying, “I’m so glad that the woman who beat me in my beauty pageant when I was a 20-year-old is now living in a trailer park and is divorced.” You’ve got these amazing things like Gary Coleman talking about AIDS. Sometimes Arsenio would go after people. He went after Vanilla Ice for not being a good enough rapper like MC Hammer, which I think history has dictated that neither were the highest level of rap.
JK: Do you find it amazing that he more or less is going back to, “Let’s just do the old show 20 some odd years later”?
PS: Now that I’ve had some time to think about it, I think it’s ingenious. It’s sort of like… instead of reinventing the wheel he’s, like, “I’m doing the same show. How about that? Everyone is so quick to be, like, ‘It’s different because on this show we have a futon and not a desk and on this show we do this.’ It’s, like, ‘No, it worked back then. The only reason I was fired was because I had Farrakhan on for an hour. I am going to just do the same show.’” Like I said, if you woke up out of a coma, you would never have thought that he was off the air for 20 years.
JK: I don’t remember the show’s end being about Farrakhan. I remember it being about Carson was gone, Letterman was in. Letterman was kicking Jay’s ass. Letterman had taken over a bunch of time slots from Arsenio because he was on a bunch of CBS channels. His ratings were going down. I don’t know if he got fired, though, but I don’t remember it being about Farrakhan necessarily.
PS: His ratings were going down, but what happened was – and it’s actually pretty amazing – he was going to have Farrakhan on and the network or whatever syndicated thing, whatever he was on, is, like, “No. You cannot have Farrakhan on for an hour.” He had Farrakhan on for an hour, and then the next day he was canceled. So, I think that the guise was his ratings.
If you watch the final episode, the final episode he only has black guests. Whoopi Goldberg comes out, Wesley Snipes is in the audience. Basically, it is like the underlying root of what they’re saying there is… it’s very much like “You are being persecuted because you did this thing that supported black culture.” You’ve got, like, Whoopi Goldberg reading this thing from Paramount. It was, like, “We salute Arsenio Hall for seven great years of an excellent talk show.” She was, like, “This is bullshit. If they wanted to salute you, they should have kept you on the air.” It was a very charged ending. But I think you’re right. His ratings were going down, but I think he could have existed longer if he played by the rules a little bit.
JK: This time around, the the expectations are pretty low. I don’t think he’s making the show for very much money, so as long as he gets some sort of minimal rating, he could just kind of build it for a while.
PS: The joke of the whole thing is if they kept him on at the rating that he had, it makes everything look comical, because his rating was huge until Letterman and Leno were stealing his thunder. But you’re right. Everyone’s fighting over a very small share, so it’s really just, “Who do you want to watch every night? Do you want to watch Conan, do you want to watch Arsenio, do you want to watch Leno or Letterman?” It’s crazy.
JK: Let’s talk about The League. I just saw the spinoff episode, let’s just call it, with Rafi and Dirty Randy.
PS: It was a very divisive-like episode. I think it was the only time I’ve ever experienced a love or hate reaction. Some people are, like, “This is the best episode,” some people are, like, “This is the worst episode.” We’ve done this show for five years now, and I think it was a fun experiment to say, “Let’s now take these characters that you like and these side characters that you like in the show and see what their actual world is.” Rafi is so ultra-violent and insane. I think it was kind of a fun experiment to see what is a day with Rafi like. I think you saw it.
JK: What do you think is different about the show now than what it was when you first started it?
PS:The thing that I personally like is I have come up with things in the show like… the episode that I wrote this year with Steve was based on a one line improv. As an aside last year, I made a joke that I was taking a standup comedy class again because I failed it the first time. It was in the show. And then this year when Jeff and Jackie asked me, like, “What do you want to write for your episode?” I was, like, “I want to kind of explore that standup comedy class.” So, the year before that it was sort of, like, Nick and I really loved Ike Barinholtz. We were, like, “How can we bring Ike back?” We were, like, “Let’s bring him into the tailgating party.” The year before that, it was sort of Nick and I going, “Let’s do a thing where I’m on the stand and you have to cross examine me.”
To me, I feel like the biggest change has been what do we want to do? How can we make it fun for ourselves? How can we keep on pushing each other and finding new things? Whenever I think, “This is a quickie, we’re not going to do too much out of here,” we find something so funny. I just did a scene with [Jason] Mantzoukas today, this very straightedge scene. It was nothing big. We just developed this whole bit that was so funny, it was totally improvised, it came up in the moment about the differences between winking and blinking. Will it make the show? Who knows? But that’s what makes the show really fun: the freedom to exhaust a discussion about winking and blinking for five minutes. And no other show really has that, I think, besides Curb.
JK: Is it also because the characters are basically friends but friends who bust on each other all the time? Does having that friendship kind of help that part about it? Obviously, especially male friends… I mean, busting balls is like what we do. How does that help it out?
PS: I think of all shows the first season is about feeling everybody out, finding the strengths and the weaknesses of everybody and playing into it. So, I think the fact that we’re all friends… I mean, Nick [Kroll] and I came into it as friends. I think we see each other a lot more now because of it. I’m going back and forth. I just think any show camaraderie does help. I mean, if we hated each other, this show would be really difficult.
JK: As the years go on, have you been hearing more about the show from the people you’re around, friends, family, etc., than you did when it started?
PS: Well, you know, it’s really funny. When the show first started it was crazy because it was on FX, no one really… I don’t know. It didn’t seem like anyone was watching it. Then we got on Netflix and the difference that Netflix made with this show was enormous. It was crazy. It was, like, all of a sudden we weren’t even on the air and people were, like, “I love this show. I love this show.” It’s one of those weird shows that just continues to grow. Every time I think we’ve reached some sort of point of, like, “That’s it, the show has reached its climax, that’s how many people are going to watch it,” it just keeps on kind of growing and getting bigger.
It’s been kind of crazy to watch each year, so much so that this season we moved to a network that essentially is in roughly 25 million houses less than FX and yet our ratings didn’t drop drastically at all, which is pretty amazing. Our fans really followed the show. I’m so impressed. I thought for sure this was a really terrible move to move this new channel. And yeah, they followed us.
JK: Always Sunny was the same way. Not a lot of viewers and it just kept building and building. Why does [FX president] John Landgraf seem to have the patience with shows that maybe other people in his position might not have?
PS: I’ve got to say, I think that John Landgraf is an absolute genius. I got a chance to talk to him at ComicCon one time, like one on one. It wasn’t him on a stage and everything like that. He gets TV. I think the reason why he gets TV is because he was a guy who was making TV. He worked with Danny DeVito and I want to say he was working with the Reno 911 guys. Is that right? I think that that’s the difference.
You know, TV is a tricky kind of thing. I think he does this really smart thing. I’ve been lucky that I’ve had this with a lot of networks, which is he goes, “I trust you. You make the show you want to make. We’re not here to tell you what to do. You make the show, we think you’re funny. Now, if it succeeds I’m going to look like a genius because it’s on my network. If it fails, I can say we let them do their thing and it didn’t work out and we’re moving on.” I think that’s a very cool thing to have if you have a head of a network. I don’t think he has an ego in it. I think he just finds people that are talented, that he likes and he doesn’t get in their way.
I mean even for the casting of our show, I don’t think it’s dictated who got cast. Meanwhile, if you go to a network show you have to have rounds of auditions and you have to sit in rooms in very unnatural situations. I think the whole thing is Landgraf trusts the creators and he actually loves television. He’s a guy who can put on a show like The Bridge or American Horror Story and enjoy that equally as much as he enjoys a show like The League. I think that’s a cool thing. It’s just like he has a passion for it. Like listening to him talk I’m like he’s great, he gets it. And he wants to figure it out.
Again, like I said to my point, I thought that this FXX channel was a dumb idea. [But] it’s been doing very well. He knows what he’s doing. He definitely has it. The only other person that I’ve kind of met like that is Mike Lazzo who works over at Adult Swim. He has a very similar thing. Mike is like if he likes it, fuck everybody else.
JK: I was going to say with Adult Swim, I mean because of the format, because it’s the film 11 or 12 minute format they can experiment all they want because it’s such a short format.
PS: Yeah. It’s super crazy. We went to London this year for NTSF.
JK: Yeah, I was going to ask you about that.
PS: In last week’s episode we got a 1.5 in the demo, which is crazy. That’s better than most network primetime numbers, especially NBC. But I mean they’ve kind of cornered this market, Adult Swim. People tune in for their shows. They’re the number one network for men between 18 to 34. They kind of figured it out. I think FX is also experiencing that kind of surge in popularity because they are just doing shows that are unfiltered. I don’t want it to sound like propaganda. But they’re just the best. Even if I wasn’t on that network I’d be watching the shows like I already did before I got on it. But it’s like “let Louie do whatever he wants.” That show wouldn’t work anywhere else or it would be noted to death. I think the best thing about a network executive is knowing how to give notes, knowing what’s the right note to give.
JK: Why do you think those executives are on cable and not on network? What makes a Bob Greenblatt a genius at Showtime but at NBC he’s struggling?
PS: You know what I think it is, I think it’s about answering to too many different masters. Again, I’m not a network executive. I’m going to tell you my theory on it, which is I think when you run a network that’s a cable network you make the decisions and then that’s it. When you run a major network you’ve got to go to sponsors. You’ve got to go to the production houses because most shows are not produced by the network. You’ve got to go through those notes. But there’s so many different hoops to jump through, so many people to please, so many levels before it gets to you.
I think the big difference to me, and this is what I’ve noticed and this actually happened with us at MTV when we were doing Human Giant is we answered to one person. When you write a script for The League, [FX executive] Nick Grad reads it, gives it up to John Landgraf and we’re done. At Adult Swim, I write a script, Mike Lazzo reads it and we’re done. It doesn’t go through a round of people, another round of people, another round of people. It’s like you’re hands-on creative.
I think when you get to a network president level of a major network you don’t have that kind of…you can’t just push stuff though. You have to worry about everything. I remember even pitching my ideas for a network. I had one idea that kind of dealt with the idea of Heaven and Hell and I feel like I can’t do anything like that. It’s not religion. They’re like, “No. But you can’t even talk about the Devil. You can’t even talk about God.” It’s like oh wow. But meanwhile on cable networks you would never get that kind of note.
JK: When you see Kate Mulgrew get all this praise for Orange is the New Black do you sit there and go “Wait a minute, we had her first? She’s been on my show for three years?”
PS: Well, there’s something really funny. If I was to really bitch about something my only complaint about Adult Swim is it’s sort of like this weird thing where they’re producing a really good product but I feel like mainstream media has never picked up on it. To Adult Swim’s credit they’re like, “We don’t care. We got it.” I think that some people in the know, know that Kate was on both shows but it’s sort of like our ratings are never talked about. Our ratings are really good and they’re really strong. But Adult Swim is kind of like, and I know it’s an overused term, the punk rock network. They’re like “Ffuck it, we’re number one. We don’t care. We don’t advertise. We don’t kind of go into a corporate world.” They’re happy with the product.
So, I do feel like every now and then it’s sort of like, “Hey, we’re doing cool stuff over here. Look at this. We have these insane guest stars on our show doing really funny stuff. We went to London.” It’s kind of fun. It feels almost in many ways like UCB all over again. You’re just doing something cool that hopefully people that like your stuff are watching and they are and that’s it. I don’t know. It’s a weird thing that people never talk about Adult Swim. But they are doing really great comedy with amazing guest stars and huge ratings but it’s just never talked about. When you look at the cast of NTSF and Children’s Hospital together you’re like whoa. This is an insane cast of talented people that are working. Then you look at the guest stars and you’re like this is better than most rosters on any show.
JK: I mean the thing that you and Adam Scott do, The Greatest Event in the History of Television, I mean the fact that he can get Jon Hamm to recreate Simon & Simon with him, and Amy Poehler to do Hart to Hart is pretty good.
PS: We have two more coming out of those. Believe me, the last one is going to blow your mind with some of the guest stars that we have. We have a very strict secrecy policy on the last two. But the last one, I wasn’t on set for one of the days. Adam just sent me a picture from set and I’m like “Holy shit!” I can’t believe that this is actually going on, we can get this level of people to be involved. That’s the cool thing about the people that we work with. People are down. Jon Hamm obviously is down. He’s a big, he’s a funny guy and he gets comedy, he likes comedy but then we got Ray Liotta to be on NTSF last year. I had Eliza Dushku and…
JK: Well Robert Forester just showed up, too …
PS: Yeah, Robert Forester. Like, that was crazy to me to have Robert Forester. I asked him, “Why did you say yes?” He was like, “Oh, my daughter said it was a cool network. I really liked the script so I figured I’d do it for her.” He had a great time and he was so fun. I think he was just down to do it. It’s just fun to see people like that. I mean to me, it’s like a highlight of everything to get people that I love on TV or in films and get to work with them.
JK: And three weeks later he pops up on Breaking Bad in the next to the last episode.
PS: I know. That was another great… he must have shot that already and he didn’t even talk about it. We talked about everything because I was talking to him about a million things. I’m kind of glad that he didn’t tell me about it. When they revealed the vacuum cleaner man I was like what? That’s crazy.
Then a guy like Lance Reddick, who’s just a guy I’ve been a big fan of from The Wire and from Fringe and stuff like that. That’s a guy who hasn’t shown off that he is super funny. I think he was one of my favorite people on the show just because he committed in an insanely funny way. He just cracks me up. And Karen Gillan, having her on the show from Doctor Who, just doing big comedy stuff after that show. She’s in Guardians of the Galaxy and she’s just kind of coming to us. Somebody coined this term, it’s not mine but I’ll take credit for it. It’s like a comedy summer camp. Everyone just is like “let’s do it.” It’s like kind of do it under the radar, no one will know and let’s just have fun.
JK: And the time commitment to do a 12-minute episode is probably a little bit less than even to do a half hour single-camera.
PS: Yeah. It’s funny, we shoot our entire season, which was this year 14 episodes. We shot 14 episodes in 24 days. Pretty crazy. We don’t shoot episodes like you would shoot… it’s kind of the same way we shoot The League. We block shoot, so it’s sort of like when we shoot all the headquarters stuff it’s for every episode. We shoot the headquarters in one week. Every episode is done in that one week. Day one may have five different episodes in it. We try to keep it as much as we can together but we’re shooting the whole show simultaneously, which is really fun.
JK: Right. Because you’re just veering from one to the other. But part of it is you always know that your character is going to do the puns.
PS: Exactly. I mean with all these shows, even with The League, it’s like we’ll bop around from three different episodes in one day. It’s like I’m just the same character. It’s just a different situation. It’s fun, it keeps it fresh, keeps it more alive. To me, I love the 22 days structure. Even on The League we shoot 13 or 14 episodes in 50 days. I mean 50 days is nothing when you think about people who go to work in August and work until March on network shows for a bunch of episodes. So, I think that that is also a really cool thing about these shows. We’re not taking up the whole year. When we come to the show we’re like excited to come to it and not like beaten down by it.
Then with Adult Swim it’s so short, if you can give me two weeks, I’ll work around your schedule. Kate Mulgrew only had two weeks this year. It was like great, we’ll work around your schedule. June [Diane Raphael] was shooting a pilot and I was like we’ll work around your schedule. Karen [Gillan] was doing reshoots of a movie. I was like we’ll slot everybody in and the shows work in such a fluid way that we have it so you pop in, pop out, pop in, pop out.
JK: Then you look at the show and you’re like, “How’d they manage that great cast?”
PS: We don’t get wrapped up. Adult Swim, to their credit too, doesn’t sign people to contracts. They’re not like “You need to be here next season.” Like Rebecca Romijn booked that show…
JK: King and Maxwell I think it’s called.
PS: Right. Her show was starting to tape at the same time ours was. It’s like that sucks, we won’t have Rebecca. She’s awesome and we love her. So, we couldn’t get her but she can have the freedom to do both shows if she did have the time to come back and do it. We would have put her in. We actually had written her into some stuff. Now that that show is not coming back, if she’s available we would bring her back. We just want to keep the door open to everybody. Most networks would never let you do that.
JK: By the way, just a real silly one about playing Andre. How many more dumb looking hats can they come up with for him?
PS: Oh my God. I have to say, our costume designer is absolutely amazing. Today I was wearing a Breaking Bad style porkpie hat, which I had not worn one of those yet. Look, as long as they can keep on making hats I will keep on wearing them. That is my promise to the hat makers of America.
JK: What’s next for both NTSF and The League?
PS: NTSF, basically we are done for our regular season right now. We finished up last night and we’re going to have our special Christmas episode. We do a Christmas episode every year that airs in December. I believe it’s like early December we will have our Christmas episode that’s heavily influenced by Die Hard and Jingle All the Way with Tom Lennon as the bad guy in the mall. So, that’ll be really fun. On The League, like I said, we get to see Andre’s standup class, which I’m really excited about. Taco’s came up with a truck, like a food truck. That truck becomes almost like a character this year. A lot of stuff starts happening in that truck after the food truck.
JK: All right. With the list there, what else are we going to see you in? Have I missed any shows?
PS: I mean I feel bad listing them. You can tell me what you’d like to stop at. I do have a podcast that’s fairly successful. We do a bunch of different stuff with that, hosted with Jason Mantzoukas, who plays Rafi on the show and my wife, June Diane Raphael. That’s like crazy how popular that has been getting. It’s called How Did This Get Made? I have the fourth and final episode of my… I did a comic book miniseries for Boom. Boom just signed that big deal with 20th Century Fox yesterday. Boom is this cool little comic book company that I pitched them my idea for a movie I had because the movie I had was way too expensive and then I got to make it in comic book form. So, we did four issues of that and it’s called Aliens Versus Parker and that comes out on newsstands in about two weeks.
Then Hell Baby is on VOD right now, which is a movie I did with Tom Lennon, Ben Grant and Rob Huebel. Kind of all the people that you just talked about. Riki Lindhome, Kumail Nanjiani, Rob Corddry and Leslie Bibb. That’s kind of like a funny version of The Conjuring. Then also my wife’s movie, Ass Backwards, which just came out on VOD this week with her and Casey Wilson. They wrote it and they star in it and I have a small little thing in that. Then I’m doing a new series for Paramount and Hulu kind of based on The Real Housewives, which I am not in. I’m just producing. Then Rob Huebel and I are working on something with Paramount that’s based on a live stage show that we do.
JK: Yeah. Just nothing really going on, just little stuff, right?
PS: I work in cable and the Internet. You’ve got to work a million jobs just to pay rent.
JK: Just to add up to one network job or even half of a network job.
PS: Exactly. But my eight shows add up to one really poorly-rated network show’s budget.
JK: But it makes it look like you’ve got an empire going so that helps.
PS: Exactly. I remember when I did the show Make My Day, it was like a positive prank show on the WB. I met the guys who run it and these guys are great. They produced like four shows that were translated to America. They were just super successful guys. I was like “You guys don’t ever need to work again.” They were like, “No, we’re in London. If I don’t work by December,” it was like September. It was like, “If I don’t work by December I’m broke. I need to do it again.”
I feel like the benefit of this world is we get to make a lot of stuff but it’s not like the old scale. Remember when you’d read about when Will & Grace got picked up and the entire cast got Porches. It’s not that world anymore. I’m actually happy about that because it allows me this amazing ability to work with awesome people and in many different ways. I get to work sometimes as an actor, I get to work as a creator, I get to work as a director, I get to work as a producer, just a writer. It’s fun. It’s fun to be able to do a lot of different things. I don’t get too bored with anything. I’m not itching to be…
JK: I’d imagine even though the network pilot is a big opportunity, if it doesn’t go I imagine all the other work cushions that blow a lot because you’re busy.
PS: Yeah, a hundred percent. I think if you were to really kind of get down to the root of it it’s like it’s just sort of like you’ve got to keep a bunch of pots on the fire because you don’t know what will hit. I’ve never been a believer of only one thing only because… especially I think when I started out doing stuff it was like you have to do a bunch of things and hopefully one of the things goes.
Yeah, it would be great if that network show went. To me, the only thing that kind of dictates you, and I hope this doesn’t sound too douchey but it’s like I just want to do good work. I just want to try to do good work. If someone decides I want to write a good script that would be good for network and that goes forward, great. If it doesn’t, well at least I had a good script that was written for network. That’s the only prerequisite I have. Also, I want to work with good people that I really like because I feel like I’ve had a couple of experiences where I’ve worked with some awful people and I’m like never again do I want to be in that situation. If you get to make more stuff you get to control who you work with and then you actually have a happier time going to work.
JK: Yeah. That’s not a bad way to be douchey if you’re going to be douchey in a certain way. Not a bad direction to go.
PS: I’m so longwinded. I feel terrible for you having to looking over everything that we just talked about. Are you unclear about anything?
JK: No, I don’t think so.
PS: I can be more succinct.
JK: First of all, I think what’s going to end up happening is probably like five percent of this is going to end up at Parade and then I’ll probably parcel this out. You’ll see me doing “Paul Scheer said this” three years from now. But that’s okay.
PS: I’ll take it. That’s perfect.
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