A Quote by Jay Harrington

With comedy, I think it's so important, especially in TV, to know and trust what the writers are writing and just have it down. — © Jay Harrington
With comedy, I think it's so important, especially in TV, to know and trust what the writers are writing and just have it down.
I think its important to remember where I began. I know that when I talk to other writers, say, writers from the South or writers from abroad, its where they begin as children that is important to them.
I think it's important to remember where I began. I know that when I talk to other writers, say, writers from the South or writers from abroad, it's where they begin as children that is important to them.
I think it's dangerous to think you know what you're writing. I usually don't know, and usually I just discover it in the course of writing. I envy those writers who can outline a beginning, a middle, and end. Fitzgerald supposedly did it. John Irving does. Bret Easton Ellis does. But for me, the writing itself is the process of discovery. I can't see all that far ahead.
I think all writers are mainly writing for themselves because I believe that most writers are writing based on a need to write. But at the same time, I feel that writers are, of course, writing for their readers, too.
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 Lampoon was definitely quite formative. You know there's a crazy like kind of network of comedy writers from The Lampoon that are, that kind of you know like Seinfeld and The Simpsons and a lot of shows kind of had a lot of kind of Lampoon writers and so that was very formative. I mean, to me I got interested in comedy writing at an early like reading like Dave Barry.
I'm a big believer in comedy writers. I've always defended the honor of all comedy writers. It's extremely difficult, but I've always felt that comedy writers far more easily can move toward drama than vice versa.
I think writing in a group, even though it can be a challenge - you have to be on your toes all the time - is the way the best comedy gets written. It's very, very collaborative. A lot of comedy writers are definitely introverted nerds.
I feel like the writers that I'm drawn to, the writers that I really cling to, are the writers who seem to be writing out of a desperate act. It's like their writing is part of a survival kit. Those are the writers that I just absolutely cherish and carry with me everywhere I go.
I think one of the coolest things about the job is the level of trust we have for each other. The actors fully trust that the writers will write amazing episodes, and the writers trust that the actors will follow their instincts with the characters.
I think one of the coolest things about the job is the level of trust we have for each other. The actors fully trust that the writers will write amazing episodes, and the writers trust that the actors will follow their instincts with the characters
[Robert Smigel] is one of the greatest comedy writers in the last 50 years. "TV Funhouse" and Triumph and all those sketches.He's really unique, and he has an amazing comedy mind.
Writers who sit down and write might judge what they're putting down, but I always just try to barf it out. I'm writing crap, but I'll put it down.
I'm a comedian, for God's sake. Viewers shouldn't trust me. And you know what? They're hip enough to know they shouldn't trust me. I'm just doing stand-up comedy.
I didn't know if I was going to go into acting more, or kind of lean into TV writing or comedy.
I think there are a lot more writers who are actors than you know; they just don't have roles on famous TV shows that you recognize.
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