A Quote by Mitchell Hurwitz

There were a couple times when we started working out the stories - and I was doing this with Jim Vallely and our friend Dean Lorey, who was on the show originally - and we were working on a movie. There would be some fan fiction things that would scoop us. It happened a couple times, where I thought, "Well, we can't do that!"
When I would work freelance in production in Chicago, there were a lot of times when I was working for cheap, bad people, and I was working for slave wages anyway, so there were some times when I might have filled out a couple of blank taxi receipts and kept some petty cash. But like I say, I was very selective. It was only people that I thought were assholes. The people that I liked I went far and above saving them money, much less taking it. But that's it. I'm pretty moral. I don't even like stealing jokes.
There were a couple of times where I shot things, or started off in one mode and thought, "Well, I really didn't want to do that." I would just change my mind. And frankly, I don't think anybody really cared. I didn't have some producer that had given me $10 million, demanding results. I could just kind of do whatever I thought was right, and move in that way.
Sometimes, when I talk to someone who has just been diagnosed with cancer or some other illness, I'll remind them: "If you were honest with yourself, you were depressed before this happened. And if this were over you would be happy for a couple of weeks, a couple of months, and then something else would come along."
I've had a couple of times where things were so extraordinary wonderful that it changed my world. One of them was when I met Ira Gershwin and started working with him. That was a game-changer for me. It changed the entire course and direction of my life.
I would love to see Carl Reiner working in the arena today. He did some marvelous things on our show in the early '60s when it was a little edgy. We did shows about blacks, a couple, three of those. Some thought-provoking stuff.
I love working together with Dean McDermott. We love - we actually are a couple that do everything together even when we're not working. So for us, this is the best venue for our relationship because we get to spend all our time together. And I think for other couples, you know, perhaps they didn't spend all their time together and then all of a sudden they were stuck together all the time, and they couldn't make it work. But for us it works.
A couple of times, I could have turned a trick. But I didn't want to start. I knew how it would play. When you started thinking it was easy, you were forgetting what it cost.
One of the things I loved about Black Sabbath was, when we were on the road, there were times we had been on the road for so long and we were tired and we were exhausted. We would show up at gigs and we were so tired that we would be fast asleep in the dressing room. Our road manager would come in and say, '20 minutes, guys.'
When you screen it the first couple times, you're just trying to get the movie to work, trying to get the story to flow, trying to find out where your areas are where you have enough breath to laugh a little bit. So you're doing that the first two or three screenings, and then finally, you dial the movie in and it's working, and at that point, it's 50/50 as far as what's funny and what's working. Sometimes you'll put something in and it will just die so hard that it'll almost kill the movie.
When we were doing a scene, lots of times we would collapse giggling because it seemed so silly because it felt like we were doing a home movie at times.
When we were doing a scene, lots of times we would collapse giggling, because it seemed so silly because it felt like we were doing a home movie at times.
I think I deliberately sold out a couple of times. I picked the songs that I thought would do well in the marketplace, even though I didn't really love the song.
I went to the brink many times. A couple of times I thought "I'm gone, This is it." But then you would just keep working. I think if you're close to the brink and just make sure that you work twice as hard and put twice as much effort into everything and the people around you and everything, you should come through.
One of the things that I found very confronting in my early working life was that people thought I was some sensitive doe-eyed lovelorn boy, because they'd seen me do that a couple of times. What tends to happen is you get a run of similar roles.
Pretty much from 1979 through 1988, the backbone of my career was the theater. Working on Broadway a couple of times, working off-Broadway, and also doing a lot of regional theater. Make no mistake, I lived very frugally. I had an apartment that was real cheap. I would get two or three jobs per season, and in between I'd be on unemployment.
There are times when you're working with film people when you have to say, 'If the camera were on you, what you're doing would be perfect'.
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