your show of shows with imo gen coca and sid caesar. which was not a sitcom, it was a variety show. it s supposed to be tent. the writers room abounded in talent. it just imbued carl with that s a place, that s a gold mine. a writers room is a gold mine. i remember talking to myself on the way home and i said what piece of ground do i stand on that nobody else stands on? so i ll write about the life of a writer. writers are lazy. people write what they know. we got a sketch. there is nothing to worry about, kids. i have got an idea. alan will play the part of a talking bowling pin. i thought it was the greatest idea because in most sitcoms, you didn t know what the husband did for a living. the second dance number should come before the big sketch. gee, i don t know. i like it. now i like it. yeah, me too. i like it, too. what do you know? look at the tie you re wearing. i love the fact it was a
you know, people become dent sxifts they also become improv artists. ? with sketch comedy it s the immediacy of it. it s the daringness of it. going back to sid caesar on the beach with imo gen coca and getting buckets of water thrown in his face. or you think saturday night live and julia child bleeding to death or the dead parrot sketch on monty python. paulie! it is very ephemeral, it s over quickly, but if it s great and it really worked you get this nice little memory, maybe a piece of videotape. it s the most exhilarating feeling because oh, my god, this sketch worked. when improvised comedy s going well, it has all of the sort of excitement of sports. when it s going badly, it s like watching a beating, a slow motion beating. it s much better to be on stage doing bad improv than be forced to sit in the audience watching it. sitting in that audience is