My college years are a blur.
In cop shows, the police don't get to rag on each other and rag on their commander and rag on the person they just pulled over. That was all 'Reno' was, and I think that's all cops do 90 percent of their day.
You hear a lot of writers talk like writing is therapy or some kind of magic art, but it's a business.
You'll be in the checkout line at the supermarket, and there will be one of our movies in between the Certs and 'The National Enquirer.' That's where some of ours end up.
'Reno' was originally going to be a sketch show, with the cops as a transitional element.
There's a studio formula of making a movie that Betty White fans and Ice Cube fans are going to love, so it's a really broad brush.
I don't think people realize how many scripts you write that go nowhere.
L.A. is like an oil rig. It's not pretty. It's awful. The air is bad, the view is bad, the people are bad.
I write manically.
We joke a lot about how, in Hollywood, the writer is one step below the doormat. That's not self-loathing. That's true!
People fight in New Orleans about what's the best po'boy, and Domilise's always comes up. It's the best one I've ever had.
Sometimes, when people don't like our movies, we're like, 'I'm with you.'
Paul Rudd's a really weird, silly, silly man. He gets on 'Friends,' and he gets to show, like, one tiny little window of how truly berserk he can be.
We had a great run on 'Reno' - 87 episodes and a movie. Not too shabby.
Movies are very, very good to me; What do I need TV for?
The good thing about being a writer is that you don't need anything except for a laptop. You can really do your own work, and if you're not manically compelled to write all the time before you do it professionally, it's probably not a business for you, anyway.
I never really saw 'The Kids in the Hall' until after we started 'The State.'
I would say, A, you can't really teach anyone how to write good characters, because it's something you have to teach yourself or already have innately in you as a storyteller, and, B, coming up with a good screenplay is a very, very small fraction of what it takes to be a good screenwriter.
When I walk out of a movie that's actually good, I write emails to anybody I know who was involved with it.
If a movie has three decent scenes and a decent character, I think, 'OK, at least they got that guy right.'
