A Quote by Harry Elfont
The original pilot script [ of "Mary and Jane"], we literally just wrote for fun. It was, let's just do this.
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It is just fun to play with [in "Mary and Jane"]. I think our sense of humor tends to go that way.
The one thing that we wanted to make sure in the pilot [of "Mary and Jane"] is that we could go everywhere. Part of the fun of them being a delivery service is that they go to different areas episode to episode. We do have an episode in the beach and there is an episode in the luxury rehab. It's all different kinds of things we are making fun of in LA.
My take on 'Lucifer' was pretty much laid down by Tom Kapinos when he wrote the original pilot script for it. I remember reading it for the first time, and I was about four or five pages in, thinking this is so funny, and I know how I would want to do this if I was going to do it.
I'm in love with mary jane. she's my main thing. she makes me feel alright. she makes my heart sing. and when I'm feeling low, she comes as no suprise. turns me on with her love, takes me to paradiiiiise do you love me mary jane, yeah now do you think you love me mary jane don't you play no game.
Our whole intention was to make a record of songs that we grew up with and change them up a little bit, but we kind of stumbled on writing "Joseph's Lullaby." The irony is when I originally wrote the song, it was called "Mary's Lullaby." I wrote it from Mary's standpoint and it was in a higher key, a real falsetto, and it just wasn't right. One day, the producer's wife said, "Well, it's kind of odd that you're singing from Mary's perspective, being the guy. Why don't you do Joseph?
I don't think we had a hard time with ["Mary and Jane"]. It is just, it was the constant management of it.
I'd never properly done pilot season in America. I did it for just a couple of weeks, a couple of years ago. Usually, you get pilot scripts and the initial script quality isn't there.
I went to journalism school, so sometimes writing the script of 'Being Mary Jane' is me putting my journalism hat on.
'The House Of Tomorrow' offered such a fantastic script. I couldn't believe that script - it was just so original and unique.
I did play a dentist in Waiting for Guffman. I wrote the speech at the conference. In the original script, when it got to that scene, it was, 'Thank you very much. Good night.' Literally. I just thought, 'He keeps talking about this speech. The keynote address is the big thing in his life and this is too important to say, "Thank you. Good night." I think we have to see and hear him doing what he does.' So I got together with my dentist and we worked through a few things.
Jane Austen wrote six of the most beloved novels in the English language, we are informed at the end of Becoming Jane, and so she did. The key word is beloved. Her admirers do not analyze her books so much as they just plain love them to pieces.
Totally whatever we want to put in there. Then it was really "Now we are going to make it. We really need to find a consistent tone."I think the pilot ["Mary and Jane"] actually got it. It was more about the other episodes making sure everything else.
I wrote a script - a script about a guy working on the automobile assembly line; I never could get money for that. I did a pilot about minimum wage workers for HBO that didn't get picked up; they thought it was depressing, even though it was a comedy.
For me, I need to fully immerse myself in a script to the point where I'm literally locking myself away for weeks at a time and I just write it. So I can write twelve to fifteen hours in a day, with breaks in between, obviously, but I need to just sort of live within the world of the script.
Mary doesn't want to be treated as Mary J. Blige: she just wants to be Mary.
One of the things I love best about Marvel is the 'What If?' factor; being able to just say, 'Today we're going to explore a world where Magneto and Emma never gave back the X-Men. Or a world where Mary Jane shares Peter's powers.' So being able to do that is just super exciting.
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