A Quote by Joe Rogan
What people like are things to laugh at. Funny shows. It's all in the execution, the writing and the characters, not the setting. And the writing and the execution and the characters are GREAT on (Everybody Loves Raymond).
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I'm not writing great literature. I'm writing commercial fiction for people to enjoy the stories and to like the characters.
I loved 'Everybody Loves Raymond' because I like Ray and I thought it was beautifully cast, I thought it was great writing. I thought Patricia Heaton was wonderful.
In older science fiction stories, they had to rely on storytelling as opposed to spectacle. The old run of the 'Twilight Zone,' the star was the writing and the storytelling, and the characters and the twists and the cleverness in the setup and payoff and execution.
I like shows where the female characters are as funny as the male characters, not just commenting on how funny the male characters are.
I approach writing female characters the same why I approach writing male characters. I never think I'm writing about women, I think I'm writing about one woman, one person. And I try to imagine what she is like, and endow her with a lot of my own thoughts and history.
Outlining is not writing. Coming up with ideas is not writing. Researching is not writing. Creating characters is not writing. Only writing is writing.
I'd say that any character or setting can be given a bit of an otherworldly sheen and be the better for it. The one thing I insist on with my own writing is that I won't let magic solve my characters' real world problems. The solutions have to come from the characters themselves.
The reader has information about the characters that the characters themselves don't have. We all have our secret sides. Even I come to understand things about the characters only through the writing process, as I am going along.
So the fact that there's someone who's planning what happens to the characters, writing it down, means that the characters always have a fate. And when we think about fate, we tend think of it as the thing we would have if we were literary characters, that is, if there were somebody out there, writing us.
One of the things when you write, well the way I write, is that you are writing your scenario and there are different roads that become available that the characters could go down. Screenwriters will have a habit of putting road blocks up against some of those roads because basically they can't afford to have their characters go down there because they think they are writing a movie or trying to sell a script or something like that. I have never put that kind of imposition on my characters. Wherever they go I follow.
Doing the right thing is important, which is where strategy comes in. But doing that thing well—execution—is what sets companies apart. After all, every football play is designed to go for a huge gain. The reason it doesn’t is because of execution—people drop balls, miss blocks, go to the wrong place, and so forth. So, success depends on execution—on the ability to get things done.
Of one thing, however, I am certain. Just as an execution without adequate safeguards is unacceptable, so too is an execution when the condemned prisoner can prove that he is innocent. The execution of a person who can show that he is innocent comes perilously close to simple murder.
I don't make fun of my characters. I just like to laugh and I think people are funny and the world is funny.
I always love that phrase, 'Oh, this is a good idea, but it's execution dependent.' As if anything in life is not execution dependent. Breathing is execution-dependent.
I watch the comedy shows like 'Married With Children,' 'Friends,' 'Family Guy,' and 'Everybody Loves Raymond.'
'The L-Word' was such a great show because of the amazing writing and characters, but maybe because it was such a new concept, people couldn't pick up on it, but I think it was down to the dynamic characters and how well done it was.
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