Mindy, Simpson, Greg discussed on Scriptnotes Podcast
So we had this just as small rim into then after the second week of talking kind of blue sky about the characters, then it was like, oh, here we have these six episodes. Let's go. We one of them's already written. We have five episodes. What would be like? What would be great or funny things. I mean I had that was all like, well, above my pay grade that was kind of Greg deciding what he wanted to do in pitching jokes on how that could be funnier twists and turns in the story, what's happening in the room. Are you pitching jokes, actual dialogue jokes, or you pitching. You know, conflicts little bits of would work like this, like how much to dialogue or you get into in the room in the rim goes off script. I think at the office, the first season a would be like, if Greg or polyurethane who are like the Kelly PEP's on the show is they had like a turn of phrase or piece of dialogue that they thought Michael could say or Dwight would say, then that would go into the script. I mean, I don't really know how many even like usable bits of dialogue or jokes. I even contributed, but not that much late in later shows like what we did at the Mindy project, which has a completely different rhythm. And because what happened, Mindy was it was a couple office writers, but not that many because they are all still working on the office because I had done my first season of Mindy was the last season of the office. So those guys are still employed. I had actually, I don't know if I had any office writers. My first season. I don't think I did it was I had a couple. Thirty rock writers. A couple Simpson writers in the other writers, one Simpson writing and everyone else was late night TV from Jimmy Fallon and in Colbert. So the style of that show was very different from the office for a lot of a lot of reasons in a monkey memory. But the joke rhythm was became a little bit more. The office has tons of jokes, but it was like it was more of like a hybrid ahead like real like more thirty rock Simpson's like joke, dense type of show. And that became the a show where there's a lot of dialogue in the outline. That was because I was in the room and I was the lead. So it's felt like, okay, if I said something and it made people offer, I liked it. It would just stay in the final script. So Richard bloom, Chris girlfriend. She's a similar situation where you have on on mini project where she's in the room for breaking stories in sort of figuring out, but then is ultimately the star of the show has to go often be the star of the show. Mindy project. How did you split your time between, you know, I am the person. I'm the Showrunner and I'm also the star of the show. How are you splitting back north between those roles incredibly time consumptive, particularly when we are at FOX, it was just a real seven day week job. So I would. Good work at like my culture maybe like five or five thirty. We do these lakes that first season thing, we're on a show you like thirteen hour days and why the first season, what's different because una first season scripture longer because you're not sure what's going to work and what's not gonna work. So you need to shoot longer things. You don't know yet the characters, you don't know who they are yet. So things are a little bit over written. And by the end of Mindy were doing leg, I think eleven hour days which was great. But the beginning was like thirteen fourteen hour days and then I would come. And then once if there's a lighting set up at universal writer's room was really it was just like across the ways of really close. There's a leading Senate for like forty, five minutes. I would go to the regimen see check in see what they were working on, and then I would go back over and just setting than when I rapped at night six or seven, I would like edit till about like ten than go home. So it was having on the weekends. I would just go over my lines for the next week, but then also on Saturday, probably going to post..