A Quote by Rachel Bloom
When a network passes, you really mourn the show. The official state of grief in Hollywood is saying you're taking around a dead pilot.
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You mourn, for it is proper to mourn. But your grief serves you; you do not become a slave to grief. You bid the dead farewell, and you continue.
I was playing this sort of asshole actor [in The Jenny McCarthy Show]. And we shot the pilot, and it was a guaranteed go. It was going to be 24 [episodes] on the air. No questions from NBC. And we shot the pilot, and I was in Toronto doing a movie, and I got a call saying they cut the character, that I was off the show.
Survivors do not mourn together. They each mourn alone, even when in the same place. Grief is the most solitary of all feelings. Grief isolates, and every ritual, every gesture, every embrace, is a hopeless effort to break through that isolation. None of it works. The forms crumble and dissolve. To face death is to stand alone.
New grief, when it came, you could feel filling the air. It took up all the room there was. The place itself, the whole place, became a reminder of the absence of the hurt or the dead or the missing one. I don't believe that grief passes away. It has its time and place forever. More time is added to it; it becomes a story within a story. But grief and griever alike endure.
It's always interesting for me to watch the pilot of an established show because you see how the writers and actors weren't really sure what the show was and what the dynamics were. If you look at the pilot for 'Seinfeld,' for example, it's practically unrecognizable.
Joys as winged dreams fly fast, / Why should sadness longer last? / Grief is but a wound to woe; / Gentlest fair, mourn, mourn no moe.
I realized there was a difference between a syndicated morning show and prime time. 'Regis saved the network!' I used to walk around saying that. I was a big man! I was a giant!
I respect the hell out of everyone who does a network show. That is a marathon. It's so many episodes, and it can be a meat grinder. Anyone making a network show, and on top of that making a very good network show, that's an insane feat of Herculean endurance and fortitude.
NBC's pilot season of 1994 is legendary in the business. In a world where failure is commonplace, we midwifed the birth of both 'Friends' and 'ER'. While 'ER' came essentially out of the blue, we'd been casting around for a 'Friends'-like show for some time at the network.
I think when you're on a network show, it's crazy how different it is... just being on a network show that reaches that many people. It's not like I'm very famous, but seemingly overnight, I would get recognized more, and it was really weird.
There was no doubt that there was a vast organization which was making fools of all the liberals in Hollywood and taking their money, that there was a police state among the Left element in Hollywood and Broadway.
What I do know is how difficult it is in this industry to get a show on the air. There's so many different stages: getting a script bought by the network, then getting a pilot made and having that pilot go to series, and then, when that series gets on the air, having people watch it.
Mourn not the dead that in the cool earth lie... But rather mourn the apathetic throng -
The cowed and the meek -
Who see the world's great anguish and its
wrong
And dare not speak!
I remember on the pilot of 'Will and Grace' some executives from NBC saying to me, 'There are too many gay jokes.' I said, 'If not on this show, then what show?'
I think you have to do certain things in the pilot to get your network's attention - to break through... So maybe you push a little further in the first show.
I don't mourn the dead. I mourn the living.
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