A Quote by Scott Raab
I remember when I had my show [The Chris Rock Show on HBO], I used to run my show. It was so hard to get people to bring sketches to me. No one had ever worked for a black person before. Even the black people hadn't worked for a black person. It literally took a month or two for everybody to know: I'm really running the show.
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I felt like it was a courageous show [Black-ish] from the beginning. We are a black family - we're not a family that happens to be black. But the show is not even about us being black. The show is about us being a family. That is groundbreaking - on TV, the black characters either happen to be black or they're the "black character," where everything they say is about being black. I think that's the genius.
Our respect for the dead, when they are just dead, is something wonderful, and the way we show it more wonderful still. We show it with black feathers and black horses; we show it with black dresses and black heraldries; we show it with costly obelisks and sculptures of sorrow, which spoil half of our beautiful cathedrals. We show it with frightful gratings and vaults, and lids of dismal stone, in the midst of the quiet grass; and last, and not least, we show it by permitting ourselves to tell any number of falsehoods we think amiable or credible in the epitaph.
The black characters on TV are the sidekicks, or they're insignificant. You could put all the black sidekicks on one show, and it would be the most boring, one-dimensional show ever. Even look at the black women on 'Community' and 'Parks and Recreation' - they are the archetype of the large black women on television. Snide and sassy.
White people scare the crap out of me. I have never been attacked by a black person, never been evicted by a black person, never had my security deposit ripped off by a black landlord, never had a black landlord, never been pulled over by a black cop, never been sold a lemon by a black car salesman, never seen a black car salesman, never had a black person deny me a bank loan, never had a black person bury my movie, and I've never heard a black person say, 'We're going to eliminate ten thousand jobs here - have a nice day!'
My comedy has no color, it's for everybody, black, white, Latino, Asian. It's not a pro-black show, not a def jam show; it's just straight, wholesome type of humor.
As the lone black host at two different all-sports stations, black callers and listeners dominated my show. Black advertisers did not. The show was financially supported primarily by white businesses, and the largest demographic for listener growth was white males.
Basically we learned not ever to do a show like that [ Gigi Does It] again. That took me to a limit that I didn't know I had. First off, I show-ran the show and was the head writer. I had never done anything like that before. It was an immense responsibility.
The Monica Lewinsky scandal was happening at the very time I was writing the West Wing pilot and it was hard, at least for Americans, to look at the White House and think of anything but a punch line. Plus a show about politics, a show that took place in Washington, had just never worked before in American television. So the show was delayed for a year.
I never watched the Oscars. Come on, it's a fashion show . . . What straight black man sits there and watches the Oscars? Show me one. And they don't recognize comedy, and you don't see a lot of black people nominated, so why should I watch it?
When 'The Cosby Show' came out, and everyone was up in arms about 'The Cosby Show' and that it was reflecting a world that didn't exist - but I knew black doctors. And I knew black lawyers. And I knew families that, you know, had a mother and a father and kids that were well-behaved.
You know, when you've idolized something, you put it on a shelf, lift it up, and when King Day comes out, you pull it out and show it. Or when Black History Month comes out, you show it, or when April 4th or other times, you show it. But, you see, Dad wouldn't want us to idolize.
We did a different show every night. We'd open a show, and then two weeks later we'd open the next show. And two weeks later we'd open the third show until we had all eight running. And it was just one of the richest experiences I'd ever had in my theatrical life.
Each week we usually have one person who's never done the show before. Last year we had close to 60 who'd never done the show before. We're constantly booking new people, sometimes to the consternation of people who live here who do the show regularly.
I had seen Orange Is The New Black show on Netflix and the first thing that came to my mind was, "Why am I not on this show? It's just irritating me right now." So I made some phone calls and told them, "I want to be on your show." And they found a spot for me.
'The Cosby Show' was a show about black people that was fundamentally and unequivocally friendly to whiteness and to white people. The Huxtables had white friends.
I'm proud of the work that we did, and my hope is that everyone who worked on 'Kroll Show,' it will be a credit that people will be like, 'Oh, you worked on that show? The word on that show was that it was good.'
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