All of a sudden Mindy [Kaling] was writing on The Office and had sold a TV show. When we'd try to write shows, we'd jokingly call the word documents "Hit Show." We just couldn't crack the code.
Now, there is no business like show business, and there is no publicity like word of mouth. What is word of mouth, you may ask? Well, word of mouth is gold to Hollywood bigwigs, and it equates to box office bonanzas and hit TV shows.
I played some shows, but I'm disappointed it didn't do better. I wish all my shows sold out, I wish I had sold more copies, I wish that a song was picked up to be in a TV show - whatever these little benchmarks are. You always want something more.
When Mindy Kaling asks, I try my best to say yes.
You become a victim of your own success. It's what happens in TV when Fox has a big hit with the X-Files. And they start chasing and the rest of their shows suffer. Because the experimentation that made the X-Files a show is all of the sudden lost.
To those many millions of you unfamiliar with my work, I play a caddish British doctor in practice with Mindy Kaling on her excellent sitcom 'The Mindy Project.'
When I create a TV show, it's so that I can write it. I'm not an empire builder; my writing staff is usually a combination of two kinds of people - experts in the world the show is set in, and young writers who will not be unhappy if they're not writing scripts.
Rebuilding a network is a slow, brick-by-brick process. It's not just creating a hit show - it's building shows to back up that hit show; it's creating an identity of success so that people want their shows on your network.
Mindy Kaling gets her own line in the acknowledgments, as previously negotiated by her representatives. Thanks, Mindy. I love you and you're the best.
If I'm caught off guard or I'm not in a great mood, or if I'm feeling down or if I'm in my head and somebody comes up to me and I can't match the energy, I just have to think, 'Well, I did my job, which was to do the show or release the album or be in the TV show or write the joke. Beyond that, it's kind of a hit or miss what happens between us.'
The first role as "Fashion Show Guy" should not be on my IMDb anymore. That's the sort of thing you put on your IMDb when you have no credits and you really just want to have a line on your résumé. I had just gotten to New York and there was a massive open call for extras for Sex and the City. One of my college roommates' buddies - there was some connection - she worked in the office and saw my name in the massive stack of randoms just trying to be on the show, which was a big hit. She's like, "I know this dude. Let's throw him in there."
Typically on a TV series, the writers on a show are writing for their life almost every episode. When someone sits down to write a Netflix show, they know there's going to be a 13th hour.
The first two, three, four weeks are wasted. I just show up in front of the computer. Show up, show up, show up, and after a while the muse shows up, too. If she doesn't show up invited, eventually she just shows up.
'The Comeback' is my favorite TV show of all-time because it's just brill. It's Lisa Kudrow's show about what it's like to be an actor on a TV show. She's so amazing on it.
I always just try to remind myself, like, at the end of the day, no matter how much pressure it is to be a TV show host, you still get to be a TV show host.
I was able to make the jump to theaters without having a TV show. My passion for getting a TV show just plummeted. It was like I had already achieved what I wanted to achieve.
My dream of course, as a writer and a person who's an entertainer, is: Grow up to be Mindy Kaling, don't grow up to be Mindy Lahiri.