I've often wondered what it would be like to create the Number One sitcom on television. Well, after talking to My Name Is Earl creator Greg Garcia, I learned that it's pretty darn good! Luckily Garcias karma is balanced by the fact that he also co-created Yes, Dear.
My Name is Earl stars the moustache attached to Jason Lee. Lee plays Earl Hickey, a very small-time thief who has won the lottery and set out to make good with everyone hes wronged in his past. Next month Shout Factory will release My Name Is Earl - The Album collecting many of the songs used on the sitcom and a few new tracks by artists such as Matthew Sweet and Uncle Kracker.
Buy My Name Is Earl - The Album
Daniel Robert Epstein: How are you doing?
Greg Garcia: Im doing pretty good. Im not doing great. Ive got a little bit of a cold, but other than that Im doing good.
DRE: Well, youve got a cold and a hit TV show. I think youve got to balance the scales.
Greg: It evens out.
DRE: First of all I want to thank you just because its so hard to get mainstream TV people to talk to SuicideGirls.
Greg: Why is that?
DRE: Well, its got naked boobies.
Greg: Yeah. I didnt even know that until about five minutes ago. But I just looked at the website and it certainly looks like a party Id like to go to. So I dont have a problem with it. Our shows writers assistant, Sara [Huffman], was like, Oh my god. Yeah. That website is very cool.
DRE: Have you guys started shooting yet?
Greg: We started our first episode on Monday. Weve been writing scripts and stuff for a couple months and trying to get a head start on that stuff.
DRE: I suppose youre shooting the first episode of the second season.
Greg: Yeah. This week and next week were shooting the first and the third episode. Unlike last year there are some surprises along the way story-wise because before our stories would all start and finish in one episode. So you wouldnt really miss too much if you missed an episode or two. This year a lot of the Earl stories are still going to resolve themselves in one episode as he crosses things off the list, but were also going to have a lot of serialized B stories with Jaime Presley, Nadine [Velazquez], Ethan [Suplee], who are the people around Earl. Theres going to be some pretty big things happening in their lives that were tracking from the beginning to the end of the season. So its a little different from last year where we just had a bunch of different ideas for episodes. This year we know where were starting and ending with all the characters throughout the season.
DRE: Is this happening because the show is a hit and you know youre going to be around for a few years?
Greg: Yeah thats part of it. Last year I really wanted to focus on the list and sink our teeth into that. We found a lot of different and cool ways to tell that story, which I was happy about. Were certainly not going to shy away from the list at this point, but I stepped back and I could see that people could miss an episode and Id like people not to want to miss an episode. Also weve got all these other great characters besides Jason, so lets have fun with them and go into their lives a little bit more too.
DRE: Are you adding any new cast members?
Greg: No new permanent cast members, but we add new side characters all the time, which is fun. Weve been compared a little bit in that sense to The Simpsons where we keep populating this town. We keep discovering new people and we try to bring back our favorites like Patty the daytime hooker and whatnot. Weve got Giovanni Ribisi coming back to do an episode this year, so we're excited about that.
DRE: Are you directing any more episodes?
Greg: I directed the season finale last year, which I had never done before. I dont know if Im going to direct again. I was directing but I had our other executive producers, like Marc Buckland who directs a lot of our episodes, sitting right next to me the whole time. You know those driving schools where the instructor has their own steering wheel? So if you pull hard into traffic, they can just calmly steer the wheel back to the right but to everyone on the road it looks like youre driving. That was me directing. He was just making sure I didnt screw up. I dont know if Im going to do it again or not. Its a lot of work. I also compared it to owning your own baseball team. You can put yourself in as pitcher if you really want to, but at a certain point you think, I should have just got a pitcher for this.
DRE: Do you feel a lot of pressure being promoted as NBCs number one comedy?
Greg: Not so much. Around here were always terrified were not going to do a good show so I dont think I could put anymore pressure on myself.
DRE: Are you the showrunner as well?
Greg: Yeah.
DRE: Did you showrun Yes, Dear?
Greg: I did with Alan Kirschenbaum who I co-created it with. Then I wrote My Name is Earl while I was on Yes, Dear.
DRE: What was it like going from Yes, Dear, which is a traditional four-camera sitcom and then going into a one camera sitcom like Earl?
Greg: It was pretty wild because I wrote Earl because I had the idea for it so I didnt write it for a particular network or anything like that. Then it was a year and half before anybody decided to do it. But it was very different because I had never done that before. The closest I had done to single camera was when I worked on Family Guy, which was animation so it had a different way of looking at the world than a regular sitcom. But the biggest adjustment for me was when we started to figure out what the second episode was, because I found myself writing stories that would lend themselves more to be a four camera show than a single camera show. I really had to go back and read the pilot a couple times and say, All right. What did I do here? How did I tell this story? Because I didnt pay much attention to how I did it when I wrote it, but the whole process is different. Theres certain things you miss about four camera because first of all the hours are a lot better, but also you get that live audience in there so you get the instant gratification of a joke working or not. But with a single camera show there are all kinds of subtle and fun camera things you can do that you cant do in four camera.
DRE: Ive interviewed Shawn Ryan who used to work on more traditional cop shows like Nash Bridges and then he went and created The Shield. It seems like a lot of creators that work on something more traditional will all of the sudden come out with this nutty, edgy show. Does every television creator have that quirky project in their back pocket?
Greg: I guess everybody would like to have something in there. Part of it has to do with not writing it for a particular network. When I pitched Yes, Dear, I couldve written a very off the wall, single camera, domestic comedy about raising kids. But I pitched it to CBS and CBS has Monday night comedies that look a certain way and the job is to get the show to survive on the network that youre putting it on. If he was writing The Shield for NBC or ABC, he wouldnt have come up with that or it wouldve never got on the air. So I think by taking some of the restraints off as a writer, you are free to just go ahead and just go nuts. I think if you go into any writers room, I dont care if its Full House or Lucky Louie, the writers all pitch things that are crazy, weird and filthy. The only difference is if youre on Full House, you laugh and go, Okay. Seriously. What can we do? If youre on Lucky Louie then those kinds of things will fly.
DRE: Have you had any censorship issues with Earl?
Greg: Yeah, we have a discussion every week. I get notes every week from the standards and practices people. There have been a few things that we havent been able to put in. I usually dont fight too hard and theyre pretty good about it. My rule is that since the TV rating is TV-14, I take that to heart and I assume that parents wont let their kids under 14 watch the show. So if we do something racy, I try to at least word it in a way that if a younger kid were to watch it, it would go over their head but an adult would catch it. There have been a few things Ive fought for. There was one line which is one of my favorite jokes in the script where this guy had broken up with his girlfriend and he wanted to know if she had had sex with another guy since they had been broken up. She goes, Well I used my hand on a guy a little. They didnt want us to say that, but it turned out that was a favorite line of somebody at the network as well. So they fought for it and it got on. I was thrilled.
DRE: Is it in Jasons contract that he cant shave that mustache?
Greg: Hes not allowed to shave it until hiatus. We did a little video of him shaving at the end of last season. Then he grows this big, giant, burly beard that looks like a lumberjack. He came in the other day looking like a lumberjack. Then he shaved it off and gets back to that mustache. But it was weird man. When he shaved that mustache off and was walking around set, he looks like a completely different person. Thats great for him because when he goes out with the moustache, people yell Earl at him. Now he can disguise himself a little bit. But it was weird. After spending like 17 months with somebody and then you stand next to him without the moustache, you feel like hes a different person.
DRE: Is the show in any way autobiographical?
Greg: No, this one just popped out of my head. Ive always liked shows that are about people having a reawakening thing in the middle of their lives. Ive always believed in karma and Ive always loved the trailer park motif. Once in awhile well try to bring a story about something bad that Ive done and cross it off the list. Sometimes writers will pitch horrible things theyve done to people and we try to use that in there, but really it just came out of thin air.
DRE: I just interviewed Paul Lieberstein who is one of the producers and writers of the American version of The Office. I said to him that the shows doing really well, but isnt it weird that his show is considered a hit when only 10 million people watch it?
Greg: It is weird. Id like to have better ratings. Im glad that were getting the ratings we are, but I certainly would like to be a much more dominant force. Hopefully the momentum of the show builds. If it stays at this number, then thats fine, but it is weird because Yes, Dear was never considered a huge hit by the press. Im pretty sure we got better ratings on that than we do on Earl. I guess a lot of times your definition of being a hit is possibly the network youre on and how theyre doing currently.
DRE: Whats it take to get 25 million people to watch your show now?
Greg: I dont know. A talent contest maybe. Simon Cowell. You cant think about those things too much. You just hope that momentum will get you to that place. A show like Desperate Housewives comes out very strong right out of the box. Then you have other shows like Seinfeld that started off a lot slower than weve started off and built to this huge thing. The first three years of Everybody Loves Raymond started very slow. I look at it as if weve got a huge headstart. Hopefully we just keep building.
DRE: How did you get these never before released tracks by Matthew Sweet and Cracker on the My Name is Earl soundtrack?
Greg: We use a lot of great music on the show. Weve been really lucky that the network and studio give us a really nice music budget because after the pilot, they realized that music was an important part of the show. Weve got these great people who find these great tunes so we thought it seems right to do a soundtrack. But we wanted to put some original stuff on there so instead of trying to look into the future of songs we might use, we did some cover versions of songs that weve used before. We had the song The Weight in the episode, so then we had Uncle Kracker do a version of that. Jon Hiatt did a version of Instant Karma. Matthew Sweet did Livin Thing. We were fans of those artists and we went out to them and gave them a list of songs weve used before and said, What would you like to cover? Those were the ones they picked and they came out pretty good.
DRE: How important is music to the actual show itself?
Greg: Its huge. Weve got this montage at the end of this episode were shooting now and we have this Cat Stevens song in there. Its a combination of stuff youve heard a million times, but it just feels perfect in this moment. Also our staff will find songs that Ive never heard before that I just love. A lot of people comment on the music. A lot of other TV producers get mad and always say to me, How the hell do you afford all that music?
DRE: So tell me about the genesis of this My Name is Earl comic book.
Greg: I have to tell you that Im not particularly familiar with the whole comic book thing right now. I think theyre still trying to figure out what thats going to be.
DRE: Are you going to get involved with it very much?
Greg: Ill just say that there are a lot of ongoing discussions about what the comic book is going to be. What has been reported in the news of what it may be may not be what its going to be.
DRE: You dont sound very happy about it.
Greg: Im not unhappy with anything having to do with it, I just wish there wasnt all this press out there because I dont think its really been decided yet whats going on. I think they jumped the gun a little bit on that, but hopefully itll all work out.
DRE: Howd you get the gig on Family Guy years ago?
Greg: [laughs] I was on a deal at 20th Century Fox and I was told that I needed to report to work immediately. I needed to go work on a show because they were paying me and I was just developing. I had just had a kid and I didnt want to work on Family Guy because at the time the hours were horrible and it was the last thing I wanted to do even though I loved the show. So I went and worked there for a year. The hours were terrible, but I had a great time and met some really fantastic writers and many of which I worked with since then. One guy, Bobby Bowman, I brought with me to Yes, Dear and hes executive producer on My Name is Earl with me.
DRE: With these extended storylines youre doing for this season of Earl, do you have an overall plan for the show now?
Greg: Yeah but I cant sit here and go, I know whats going to happen the next six years. But by us pitching out whats going to happen in season two, weve found a really cool place to end season two and a really fun, interesting way to start season three. It really shakes things up and gives us more places to go with this. I think its going to be a lot of fun for the fans. In fact when I pitched to the network how I was going to start season three, they were like, Youve got to do that sooner. Youve got to do that sooner. Im like Hey. Pace yourself. If I do it sooner, then Ive got to think of something else for later. Lets just pace ourselves. Theres plenty of story to tell here. So we know whats on the horizon and were excited about it.
DRE: Whered you grow up?
Greg: I grew up in Arlington, Virginia outside D.C.
DRE: Did you always want to be a writer?
Greg: I worked in radio actually during college and then right out of college I worked in radio for a brief period. But when I was 23, I packed up my car and drove out to LA. I knew one guy who worked at a Foot Locker. I slept on his couch in Orange County. I got a job as a PA on a sitcom and then in one year I got my first writing job.
DRE: What sitcom was it you got the PA job on?
Greg: It was called Step by Step with Suzanne Somers and Patrick Duffy.
DRE: Sure. Its a classicsort of.
Greg: Then the following year I was very lucky. I landed my first job on a sitcom and Ive been doing it ever since.
DRE: Was it spec scripts that got you in?
Greg: Yeah, I got into this Warner Bros writers program when I was a PA and I wrote a Seinfeld spec. That got me my first job with Miller/Boyett Productions which had shows like Family Matters. I worked on a show called On Our Own, which lasted a season and then I worked on Family Matters with Urkel for two years.
by Daniel Robert Epstein
SG Username: AndersWolleck
My Name is Earl stars the moustache attached to Jason Lee. Lee plays Earl Hickey, a very small-time thief who has won the lottery and set out to make good with everyone hes wronged in his past. Next month Shout Factory will release My Name Is Earl - The Album collecting many of the songs used on the sitcom and a few new tracks by artists such as Matthew Sweet and Uncle Kracker.
Buy My Name Is Earl - The Album
Daniel Robert Epstein: How are you doing?
Greg Garcia: Im doing pretty good. Im not doing great. Ive got a little bit of a cold, but other than that Im doing good.
DRE: Well, youve got a cold and a hit TV show. I think youve got to balance the scales.
Greg: It evens out.
DRE: First of all I want to thank you just because its so hard to get mainstream TV people to talk to SuicideGirls.
Greg: Why is that?
DRE: Well, its got naked boobies.
Greg: Yeah. I didnt even know that until about five minutes ago. But I just looked at the website and it certainly looks like a party Id like to go to. So I dont have a problem with it. Our shows writers assistant, Sara [Huffman], was like, Oh my god. Yeah. That website is very cool.
DRE: Have you guys started shooting yet?
Greg: We started our first episode on Monday. Weve been writing scripts and stuff for a couple months and trying to get a head start on that stuff.
DRE: I suppose youre shooting the first episode of the second season.
Greg: Yeah. This week and next week were shooting the first and the third episode. Unlike last year there are some surprises along the way story-wise because before our stories would all start and finish in one episode. So you wouldnt really miss too much if you missed an episode or two. This year a lot of the Earl stories are still going to resolve themselves in one episode as he crosses things off the list, but were also going to have a lot of serialized B stories with Jaime Presley, Nadine [Velazquez], Ethan [Suplee], who are the people around Earl. Theres going to be some pretty big things happening in their lives that were tracking from the beginning to the end of the season. So its a little different from last year where we just had a bunch of different ideas for episodes. This year we know where were starting and ending with all the characters throughout the season.
DRE: Is this happening because the show is a hit and you know youre going to be around for a few years?
Greg: Yeah thats part of it. Last year I really wanted to focus on the list and sink our teeth into that. We found a lot of different and cool ways to tell that story, which I was happy about. Were certainly not going to shy away from the list at this point, but I stepped back and I could see that people could miss an episode and Id like people not to want to miss an episode. Also weve got all these other great characters besides Jason, so lets have fun with them and go into their lives a little bit more too.
DRE: Are you adding any new cast members?
Greg: No new permanent cast members, but we add new side characters all the time, which is fun. Weve been compared a little bit in that sense to The Simpsons where we keep populating this town. We keep discovering new people and we try to bring back our favorites like Patty the daytime hooker and whatnot. Weve got Giovanni Ribisi coming back to do an episode this year, so we're excited about that.
DRE: Are you directing any more episodes?
Greg: I directed the season finale last year, which I had never done before. I dont know if Im going to direct again. I was directing but I had our other executive producers, like Marc Buckland who directs a lot of our episodes, sitting right next to me the whole time. You know those driving schools where the instructor has their own steering wheel? So if you pull hard into traffic, they can just calmly steer the wheel back to the right but to everyone on the road it looks like youre driving. That was me directing. He was just making sure I didnt screw up. I dont know if Im going to do it again or not. Its a lot of work. I also compared it to owning your own baseball team. You can put yourself in as pitcher if you really want to, but at a certain point you think, I should have just got a pitcher for this.
DRE: Do you feel a lot of pressure being promoted as NBCs number one comedy?
Greg: Not so much. Around here were always terrified were not going to do a good show so I dont think I could put anymore pressure on myself.
DRE: Are you the showrunner as well?
Greg: Yeah.
DRE: Did you showrun Yes, Dear?
Greg: I did with Alan Kirschenbaum who I co-created it with. Then I wrote My Name is Earl while I was on Yes, Dear.
DRE: What was it like going from Yes, Dear, which is a traditional four-camera sitcom and then going into a one camera sitcom like Earl?
Greg: It was pretty wild because I wrote Earl because I had the idea for it so I didnt write it for a particular network or anything like that. Then it was a year and half before anybody decided to do it. But it was very different because I had never done that before. The closest I had done to single camera was when I worked on Family Guy, which was animation so it had a different way of looking at the world than a regular sitcom. But the biggest adjustment for me was when we started to figure out what the second episode was, because I found myself writing stories that would lend themselves more to be a four camera show than a single camera show. I really had to go back and read the pilot a couple times and say, All right. What did I do here? How did I tell this story? Because I didnt pay much attention to how I did it when I wrote it, but the whole process is different. Theres certain things you miss about four camera because first of all the hours are a lot better, but also you get that live audience in there so you get the instant gratification of a joke working or not. But with a single camera show there are all kinds of subtle and fun camera things you can do that you cant do in four camera.
DRE: Ive interviewed Shawn Ryan who used to work on more traditional cop shows like Nash Bridges and then he went and created The Shield. It seems like a lot of creators that work on something more traditional will all of the sudden come out with this nutty, edgy show. Does every television creator have that quirky project in their back pocket?
Greg: I guess everybody would like to have something in there. Part of it has to do with not writing it for a particular network. When I pitched Yes, Dear, I couldve written a very off the wall, single camera, domestic comedy about raising kids. But I pitched it to CBS and CBS has Monday night comedies that look a certain way and the job is to get the show to survive on the network that youre putting it on. If he was writing The Shield for NBC or ABC, he wouldnt have come up with that or it wouldve never got on the air. So I think by taking some of the restraints off as a writer, you are free to just go ahead and just go nuts. I think if you go into any writers room, I dont care if its Full House or Lucky Louie, the writers all pitch things that are crazy, weird and filthy. The only difference is if youre on Full House, you laugh and go, Okay. Seriously. What can we do? If youre on Lucky Louie then those kinds of things will fly.
DRE: Have you had any censorship issues with Earl?
Greg: Yeah, we have a discussion every week. I get notes every week from the standards and practices people. There have been a few things that we havent been able to put in. I usually dont fight too hard and theyre pretty good about it. My rule is that since the TV rating is TV-14, I take that to heart and I assume that parents wont let their kids under 14 watch the show. So if we do something racy, I try to at least word it in a way that if a younger kid were to watch it, it would go over their head but an adult would catch it. There have been a few things Ive fought for. There was one line which is one of my favorite jokes in the script where this guy had broken up with his girlfriend and he wanted to know if she had had sex with another guy since they had been broken up. She goes, Well I used my hand on a guy a little. They didnt want us to say that, but it turned out that was a favorite line of somebody at the network as well. So they fought for it and it got on. I was thrilled.
DRE: Is it in Jasons contract that he cant shave that mustache?
Greg: Hes not allowed to shave it until hiatus. We did a little video of him shaving at the end of last season. Then he grows this big, giant, burly beard that looks like a lumberjack. He came in the other day looking like a lumberjack. Then he shaved it off and gets back to that mustache. But it was weird man. When he shaved that mustache off and was walking around set, he looks like a completely different person. Thats great for him because when he goes out with the moustache, people yell Earl at him. Now he can disguise himself a little bit. But it was weird. After spending like 17 months with somebody and then you stand next to him without the moustache, you feel like hes a different person.
DRE: Is the show in any way autobiographical?
Greg: No, this one just popped out of my head. Ive always liked shows that are about people having a reawakening thing in the middle of their lives. Ive always believed in karma and Ive always loved the trailer park motif. Once in awhile well try to bring a story about something bad that Ive done and cross it off the list. Sometimes writers will pitch horrible things theyve done to people and we try to use that in there, but really it just came out of thin air.
DRE: I just interviewed Paul Lieberstein who is one of the producers and writers of the American version of The Office. I said to him that the shows doing really well, but isnt it weird that his show is considered a hit when only 10 million people watch it?
Greg: It is weird. Id like to have better ratings. Im glad that were getting the ratings we are, but I certainly would like to be a much more dominant force. Hopefully the momentum of the show builds. If it stays at this number, then thats fine, but it is weird because Yes, Dear was never considered a huge hit by the press. Im pretty sure we got better ratings on that than we do on Earl. I guess a lot of times your definition of being a hit is possibly the network youre on and how theyre doing currently.
DRE: Whats it take to get 25 million people to watch your show now?
Greg: I dont know. A talent contest maybe. Simon Cowell. You cant think about those things too much. You just hope that momentum will get you to that place. A show like Desperate Housewives comes out very strong right out of the box. Then you have other shows like Seinfeld that started off a lot slower than weve started off and built to this huge thing. The first three years of Everybody Loves Raymond started very slow. I look at it as if weve got a huge headstart. Hopefully we just keep building.
DRE: How did you get these never before released tracks by Matthew Sweet and Cracker on the My Name is Earl soundtrack?
Greg: We use a lot of great music on the show. Weve been really lucky that the network and studio give us a really nice music budget because after the pilot, they realized that music was an important part of the show. Weve got these great people who find these great tunes so we thought it seems right to do a soundtrack. But we wanted to put some original stuff on there so instead of trying to look into the future of songs we might use, we did some cover versions of songs that weve used before. We had the song The Weight in the episode, so then we had Uncle Kracker do a version of that. Jon Hiatt did a version of Instant Karma. Matthew Sweet did Livin Thing. We were fans of those artists and we went out to them and gave them a list of songs weve used before and said, What would you like to cover? Those were the ones they picked and they came out pretty good.
DRE: How important is music to the actual show itself?
Greg: Its huge. Weve got this montage at the end of this episode were shooting now and we have this Cat Stevens song in there. Its a combination of stuff youve heard a million times, but it just feels perfect in this moment. Also our staff will find songs that Ive never heard before that I just love. A lot of people comment on the music. A lot of other TV producers get mad and always say to me, How the hell do you afford all that music?
DRE: So tell me about the genesis of this My Name is Earl comic book.
Greg: I have to tell you that Im not particularly familiar with the whole comic book thing right now. I think theyre still trying to figure out what thats going to be.
DRE: Are you going to get involved with it very much?
Greg: Ill just say that there are a lot of ongoing discussions about what the comic book is going to be. What has been reported in the news of what it may be may not be what its going to be.
DRE: You dont sound very happy about it.
Greg: Im not unhappy with anything having to do with it, I just wish there wasnt all this press out there because I dont think its really been decided yet whats going on. I think they jumped the gun a little bit on that, but hopefully itll all work out.
DRE: Howd you get the gig on Family Guy years ago?
Greg: [laughs] I was on a deal at 20th Century Fox and I was told that I needed to report to work immediately. I needed to go work on a show because they were paying me and I was just developing. I had just had a kid and I didnt want to work on Family Guy because at the time the hours were horrible and it was the last thing I wanted to do even though I loved the show. So I went and worked there for a year. The hours were terrible, but I had a great time and met some really fantastic writers and many of which I worked with since then. One guy, Bobby Bowman, I brought with me to Yes, Dear and hes executive producer on My Name is Earl with me.
DRE: With these extended storylines youre doing for this season of Earl, do you have an overall plan for the show now?
Greg: Yeah but I cant sit here and go, I know whats going to happen the next six years. But by us pitching out whats going to happen in season two, weve found a really cool place to end season two and a really fun, interesting way to start season three. It really shakes things up and gives us more places to go with this. I think its going to be a lot of fun for the fans. In fact when I pitched to the network how I was going to start season three, they were like, Youve got to do that sooner. Youve got to do that sooner. Im like Hey. Pace yourself. If I do it sooner, then Ive got to think of something else for later. Lets just pace ourselves. Theres plenty of story to tell here. So we know whats on the horizon and were excited about it.
DRE: Whered you grow up?
Greg: I grew up in Arlington, Virginia outside D.C.
DRE: Did you always want to be a writer?
Greg: I worked in radio actually during college and then right out of college I worked in radio for a brief period. But when I was 23, I packed up my car and drove out to LA. I knew one guy who worked at a Foot Locker. I slept on his couch in Orange County. I got a job as a PA on a sitcom and then in one year I got my first writing job.
DRE: What sitcom was it you got the PA job on?
Greg: It was called Step by Step with Suzanne Somers and Patrick Duffy.
DRE: Sure. Its a classicsort of.
Greg: Then the following year I was very lucky. I landed my first job on a sitcom and Ive been doing it ever since.
DRE: Was it spec scripts that got you in?
Greg: Yeah, I got into this Warner Bros writers program when I was a PA and I wrote a Seinfeld spec. That got me my first job with Miller/Boyett Productions which had shows like Family Matters. I worked on a show called On Our Own, which lasted a season and then I worked on Family Matters with Urkel for two years.
by Daniel Robert Epstein
SG Username: AndersWolleck
VIEW 6 of 6 COMMENTS
I just watched season 1+2...
and I HOPE they make 3.