I rewrite everything, almost idiotically. I rewrite and work and work, and rewrite and rewrite some more.
My writing process is very feedback-based. When I do stand-up, I listen to the audience. I try to understand what's connecting, what's not connecting, and then rewrite, rewrite and rewrite.
Where I thrive is with my hands on the keyboard or my pen on the paper. One of the things I get to do is I get to rewrite. I rewrite, and I work hard on my scripts. You can rewrite until you're 'perfect,' and that's something that's safe for me.
We can't let extremists on any side hijack or rewrite history because those who don't study history are doomed to repeat it.
Rewrite, rewrite, rewrite, don't be precious about your first draft, it's an architectural blueprint to a whole building, be your own worst critic, confront your weakness and remember it's a craft.
There were guys in 'The State' who would take one script and rewrite it and rewrite it and rewrite it and fight for it for a whole season, and after a couple of seasons, you realized that doesn't work. You have to just be willing to throw something away, no matter how good it is, and write a better joke.
I think sometimes I guess you see records, say you want to get there and use that as motivation. In a way, it's kind of cool if there is a possibility to rewrite history and be up there with the greats of Olympic history.
I don't want to rewrite history.
The one duty we owe to history is to rewrite it.
The curves of your lips rewrite history.
I do not rewrite unless I am absolutely sure that I can express the material better if I do rewrite it.
You can't rewrite the history books; you can't eliminate the impact of my work and my characters.
My writing process is very feedback based - I listen to the audience. I try to understand what's connecting, what's not connecting... and then rewrite, and rewrite, and rewrite. Chris Gethard and I have been on the road a lot together. When we get on the bus at night, we talk about the jokes that didn't work and the joke possibilities that could work. I think this is a little different from other writers.
Every new generation must rewrite history in its own way.
If any era should be aware of the temptations to rewrite history, it is our own.
In the TV business, you've got to write fast, and someone will tell you, 'Can you rewrite this episode before... 6 P.M.?' So that's when you rewrite it. You can't wait for the muse to show up.