I really like writing television, and I like the collaborative writers room feeling. It's ten people, and you're together every day laughing your heads off.
I was running the show on 'United States of Tara' and 'How To Make It In America' where I could say, 'Okay, I'm in charge of everything now.' But it still wasn't my show.
I always wanted to find my voice and claim my tone, but I was doing it through the steps of being a TV writer. I had the executive producer title. I was running the room.
I like to create a community where people want to come and have a good time and do their best work.
As much as possible, I put my family first.
You just have to say over and over again: 'I am a director.' Nobody gives it to you. Nobody anoints you.
A lot of the people I know connect through working. We're all so ambitious. Sometimes my friends will say, 'I want to hang out with you.' And I just go, 'Well, let's do a project together.' That's the only way I can.
It's hard enough to be a lady writer. Doubly hard to be a funny lady writer.
I'm a minimalist Jew, but on Friday night, I celebrate Shabbat. At sundown, we light candles, say the blessing, and I don't turn on my computer for 24 hours.
I love the Army-Navy surplus store Surplus Value Center. They have really good long underwear and multicolored bandanas, cool camo jackets, and really, really scary-looking knives. If you're into that sort of thing.
If you can laugh with your friends over something, you own it.
Years of my life were lived knowing that I'd get a book out of them one day.
I don't think it's a contradiction to find painfulness funny.
