Pioneers of Television (2008–…): Season 4, Episode 1 - Standup to Sitcom - full transcript
From PBS: This star-packed episode features fresh interviews with Jerry Seinfeld, Roseanne Barr, Tim Allen, Ray Romano and Bob Newhart. The program reveals how America's top standup comics made the transition to the sitcom format and includes dozens of clips from "Seinfeld," "Home Improvement," "Everybody Loves Raymond," "Roseanne" and more.
In comedy, we try to get laughs
because that's how we survive.
You get paid to be
a certain guy.
They don't want to see me
doing Othello.
My wife says when I put this bad
boy on, I turn into a wild,
hairy, disgusting ape. Wuh!
Comedians, we tend to talk about
our failures, not our successes.
I wish I could walk in there
and tell my boss off and quit.
You're self-employed,
Mr. Carlin.
I know.
I was a trailblazer, too.
I made the trail wider.
I'm going on a diet, Dan,
I'm startin' right now.
Go. I'll be here when you
get back.
Every morning I get clean
clothes and an apple.
And I'm happy.
"Pioneers of Television"
was made possible by
contributions to
your PBS station
from viewers like you.
They paid their dues
by taking a chance.
When I first stepped on stage
as a comedian,
I really had no idea if I was
funny or not, I mean none.
You know, sometimes audiences
don't laugh, did you know that?
I know that.
In the beginning of standup,
it's the hardest thing
in the world,
because you are not good.
It takes thirty years to make
a great standup comic; it does.
Are you a housewife, too?
I hate that word and I hate
the word "homemaker," too.
I wanna be
called "domestic goddess."
They brought their characters
to life
in our favorite sitcoms.
The character is about 85% me,
the other 15% being
an extremely sick mind.
Emily, this may come as a shock
to you, but...
in high school I was considered
great looking.
You're kidding!
I cannot tell you and describe
it beautifully,
the camaraderie we had.
♪ I want you by my side ♪
♪ And I want you to keep,
oh, keep me satisfied ♪
Through drive, intelligence
and creativity,
they've kept us laughing
decade after decade.
Because funny is smart,
for the most part.
It's pretty hard to be funny
and a complete moron.
Nothing matches better than
vanilla and chocolate.
And yet, still somehow,
racial harmony eludes us.
I got a goal in mind.
I want to do Johnny Carson.
I want to sit
there on that desk.
I want him to do this
and invite me over to his desk.
In my core, I felt like this is
what I was kind of meant to do.
This is what I do the best.
- Oh, now I don't love you.
- You don't say it.
- I do.
- No, you don't.
- I do.
- When do you say it?
With my eyes!
What people think of me is often
not what I am.
Together, these standup comics
redefined the American sitcom.
They are the pioneers
of television.
In the spring of 19 7 6,
Jerry Seinfeld
told a joke on stage
for the very first time.
I really had no idea if I was
funny or not, I mean none.
A shower is the only break
you get, isn't it?
When you're asleep, people
can bother you.
In the shower, they can't
get to you.
They call up,
"I'm sorry we can't reach him.
He's in the shower.
There's nothing anyone can do.
He's five feet away,
we can't talk to him,
we can't get a message,
we can't do anything."
You come out, "I can't
talk now, I just got out."
This got a huge laugh.
And I was so shocked,
I was just shocked.
I was shocked.
I heard this laugh just hit me
like a bucket of water
in the face.
That's what it felt like.
From that moment forward,
Jerry Seinfeld's singular focus
was standup comedy.
I go, "I want to be in
this life."
And this is really the key
aspect of a comedian...
Is that you want to be this
and you
don't care about anything else.
Five years later,
Seinfeld reached
the holy grail for standups...
A shot on Johnny Carson's
"Tonight Show."
To get asked to be on that show
was like,
"Do you want to play
in the World Series?"
Have you ever seen the guy who's
got the record
for fattest man in the world?
It's an amazing thing...
Bob Hughes, 1400 pounds.
Ladies and gentleman,
the man has let himself go.
I used to feel bad talking about
him on stage,
'cause somebody... but you could
weigh a thousand pounds
and go, "He's not talking
about me!
This is a man with a serious
weight problem."
It went well.
It went well.
I had a different image of it
in my mind.
I had never been in front
of 500 people before
and that was the biggest
audience I had ever seen
at that time.
So, I was nervous for
a million reasons,
but that was very
overwhelming to me.
You're so in shock at the time.
Jerry Seinfeld.
Thank you, Jerry.
Take a bow.
He was saying,
"Great job, Jerry," as I left.
And he gives you
the big "OK" sign,
which was a very
valuable thing...
We'll be back in a moment.
That I realized,
oh, he liked me.
He liked what I was doing.
The success of Seinfeld's
talk show appearances led
to a meeting at NBC
to discuss a potential sitcom.
They called me in and they said,
"What is it that you have
in mind?"
And I said, "Nothing.
I don't have anything.
I didn't have anything in mind."
I actually believed maybe they
had something in mind
since they had the big building
with the logo on it...
I thought, "Maybe that's
what they do here.
Maybe they come up with TV shows
and they take talented people
and say, "We have a show for
you," but they don't do that.
They don't do that.
Jerry may not have had an idea
for a sitcom,
but his friend Larry David did.
Before long, the two comics
had worked up a premise.
The whole show came from
the way Larry and I related
and that's why I asked him
to work with me on it.
Because I liked
the sound of the conversations
that he and I would have.
And he had a lot more
ideas than I had
about what we should do
and shouldn't do.
So he really helped structure
the whole thing.
The first decision was to
create a scenario
that wasn't too far from
Jerry's own life,
a New York standup comedian
who hung out with his friends.
There's nothing, pretty much,
that TV Jerry would do
that I wouldn't do
and vice versa.
But "TV Jerry" wasn't as
successful or smart
as real Jerry, and that
was the source
of much of the series' humor.
What happened Tuesday night?
I saw your act.
My act? What does that
have to do with anything?
Well, to be honest, it just
didn't make it for me.
It was just so much fluff.
I can't believe this.
So what are you saying?
You didn't like my act,
so that's it?
I can't be with someone if
I don't respect what they do.
You're a cashier!
For Jerry Seinfeld,
the cluelessness
of the sitcom characters
is what made them funny.
Go talk to her.
Elaine, bald men with no jobs
and no money
who live with their parents
don't approach strange women.
Well, here's your chance
to try the opposite.
Instead of tuna salad and being
intimidated by women,
chicken salad and going
right up to them.
That is one of my favorite lines
of the show,
when I say to George,
"If everything you do is wrong,
then the opposite would
have to be right."
I should do the opposite.
If every instinct you
have is wrong,
then the opposite would
have to be right.
It's just completely stupid,
you know.
But he's stupid
so he believes it.
Yes, I will do the opposite.
I used to sit here and do
nothing
and regret it for
the rest of the day.
So now I will do the opposite.
It sounded good, you know,
but it doesn't make any sense.
My name is George.
I'm unemployed and I live
with my parents.
I'm Victoria. Hi.
What I love about that is that
that's an eternal comedic
device.
Two idiots trying to work
something out.
It can't be done, huh?
The switch?
The switch.
Can't be done.
I wonder.
That is an ancient comedic
device.
Do you realize,
in the entire history
of western civilization, no one
has successfully accomplished
the roommate switch?
In the middle ages you could get
locked up
for even suggesting it.
They didn't have roommates
in the middle ages.
If two guys are stupid,
watching them try and be smart
is going to be funny.
If you haven't
got the stomach for this,
let's get it out right now
and I'll go on my own.
If not, you can get on board
and we can get to work.
Now what's it gonna be?
Alright, dammit, I'm in.
I couldn't do it without you.
The Seinfeld sitcom was known
for its seemingly unconnected
storylines
that merged at the end.
When Kramer was hitting
golf balls on the beach,
George was pretending to be
a marine biologist.
What's going on over here?
There's a beached whale.
She's dying.
Is anyone here
a marine biologist?
We were doing those stories
before we saw
that there was a connection
between them.
That, what if the distress
of the whale
was caused
by Kramer's golf ball?
A huge tidal wave lifted me,
tossed me like a cork,
and I found myself right on top
of him,
face to face with the blow hole.
I could barely see
from the waves
crashing down upon me but I knew
something was there.
So I reached my hand in,
felt around
and pulled out the obstruction.
We were way, way deep into
making that show.
We might not have even
noticed it.
Just, somebody went,
"Wait a minute.
What if that's what the whale's
problem was?"
What is that?
A Titleist?
A hole in one, huh?
We wrote that the night before
and just laughed ourselves silly
writing that.
But that's about
my most favorite thing
that we ever stumbled upon.
No show of the era produced
more water cooler talk
than Seinfeld, knitting
countless catchphrases
into the American fabric.
You mean shrinkage?
Yes.
Significant shrinkage.
He recycled this gift.
He's a re-gifter.
So you're still
master of your domain?
Yes, yes I am master
of my domain.
I met this lawyer, we went out
to dinner,
I had the lobster bisque,
we went back to my place,
yadda, yadda, yadda... I never
heard from him again.
But you "yadda yadda'd"
over the best part.
No, I mentioned the bisque.
Coming up with a half-hour
of memorable comedy
each week isn't easy,
especially for a standup comic
who isn't used to
managing people.
The difference between
the stand-up and a sitcom
is you're going from the least
collaborative medium there is
to the most collaborative.
The reason you become
a comedian is
you're not a good collaborator.
You're not good with people.
You're not good in social
situations
or professional situations.
You're not really good at
anything but that.
When Seinfeld ended
its network run,
Jerry was content to leave
behind the team environment
and return to his first love,
standup.
I just can't drive around there.
You know how
the old people drive,
they drive slow, they sit low.
That is their motto.
The state flag of Florida
should be just a steering wheel
with a hat and two knuckles
on it.
People always say, "Why don't
you do another sitcom?"
I think, "If I could do another
sitcom that good,
yeah, sure I'd do it."
You can't.
I mean, I can't.
Often forgotten
in the Seinfeld saga
is the story of the series'
first years,
when it was almost cancelled,
crushed in its time slot
by the other
'90s powerhouse sitcom,
which also starred
a standup comic who had brought
his act to television.
Fall of 1984.
At the Goodyear Tire Company
in Akron, Ohio,
a local comic has been hired
to tell a few jokes
at a sales dinner,
but no one's laughing.
No one's even listening
to a guy named Tim Allen.
No one was listening.
All these guys were just eating
their steaks
and talking and smoking
at the time and it was,
"Arr, arr, arr..."
Don't think your old man grunts,
give him a steak.
"Honey, you like that?"
"Mm, uh, mm, uh, mm, uh...
Arr, arr, arr, arr, arr!
Eh, eh, eh, eh!"
"You want the butter
or the salt?"
"Arr, arr, arr!"
I decided, perhaps,
that would be
the only way to get
their attention, if I talked
like men talk when they're
grumbling, they're,
"roa, grr, arr, arr"...
And I started doing that,
and it was clear that that was
a very big deal,
'cause I got drunk salesmen,
smoking, going, "Arr?"
Tim Allen recognized that
success in comedy
would mean expanding beyond
his Midwestern base.
So he transitioned
to Los Angeles,
where his career accelerated,
including a Showtime special
and packed houses
at bigger and bigger venues.
Men like doing things women
don't like.
Go to a guy's house and say,
"Did you build that table?"
"Yeah."
Go to a woman's house and say,
"Did you make that dress?"
She'll knife you right
in the heart.
By 1990, Tim Allen was offered
his own sitcom,
by the head of Disney...
Jeffrey Katzenberg.
Allen said no.
Katzenberg offered
a different sitcom.
Allen said no again.
I had had a career touring.
I was making great money,
and really doing what
I wanted to do,
so I didn't need the gig.
So when Jeffrey called, he said,
"We want to offer you this,"
I said, "Well, I don't
think so."
And if you don't know
Jeffrey Katzenberg,
I'll tell you, he doesn't like
being said no to,
especially when he's being nice
and sweet like he is.
And he said... he called me
at home, he said,
"Maybe you didn't hear me."
I said, "Yeah, I heard you."
What Tim Allen wanted was
to create
his own show from scratch,
based on his standup persona.
Katzenberg agreed, and Allen's
sitcom began to take shape.
I like "This Old House"
a lot, so start with that.
But make me just a jerk,
always screwing up his work,
and then I want a neighbor
that you can't see.
Somehow, I had neighbors in
my life that were like,
on acre plots in Michigan,
I never even...
I still don't know what
he looks like.
- Wilson?
- Howdy, neighbor.
Always, from his car
to his house, "Hey, Paul."
And he'd have groceries
by his... I never saw him.
Still, to this day,
he's still there,
I still own that same house.
I wanted that and three boys.
Sunday! Sunday! Sunday!
Truckenstein vs. Fordzilla
at the Silver Dome!
The biggest monster truck rally
in Detroit history!
Sunday, Sunday, Sunday!
What will I wear?
I didn't get you a ticket,
honey.
House to myself
on Sunday, Sunday, Sunday!
ABC still wasn't sure Allen
could translate
his standup persona
to a sitcom character,
so they sent him
to an acting coach.
We went through all these,
"Oh, please,"
all this Shakespeare, and I had
to beg and cry and emote,
and it was like,
"What are we doing?"
He said, "To be honest with you,
they're wondering if you can
memorize.
That's all they want to know is,
are you a person that can't
memorize?"
Which means it's a problem,
because it's 40 new pages
every day.
Tim Allen soon proved
he could memorize
and he could act.
But like all standups, he knew
he'd get his best performance
in front of a live audience.
In a television show,
you got the audience,
but it's manipulated.
You only get one try.
As soon as you give the audience
where the joke lands,
then you do the second take,
it's phony,
because they know, "Oh, this is
where we're supposed to laugh."
"Home Improvement" was a success
from the first episode
and grew to become
one of the most popular
television shows of the 1990s.
But Tim Allen had one goal left
unfulfilled.
Like all comics of the era,
he wanted to do standup
on Johnny Carson's
"Tonight Show."
Now, he'd finally get
his chance.
I bombed.
I went on there and didn't have
my glasses, which I wear.
He said, "Do you see
where you're standing?"
He just quickly opened
the curtain,
and I lied because I wanted
to be a pro.
I said, "Yeah"... I had no
idea where he was pointing.
So when they opened the curtain,
I walked out and stopped.
There's booms moving and cameras
adjusting, because I didn't...
And that took me, I go,
"Whoa, what's happening?"
This is his first appearance
with us on the "Tonight Show."
Would you welcome Tim Allen.
Tim Allen!
Oh! Hi, there. Thank you for
having me, nice to be here.
And had to start my act,
I got off on the wrong foot,
and I just died,
it was just death.
Why do you listen to shop
teachers?
Half of them are missing
fingers, am I wrong?
Hey, boys, watch that sabre saw.
It'll kick back on you,
I'm not kiddin' ya.
I'm not kiddin' around,
I'll tell you that right now!
Let me pass out those
test papers, there you go.
Thank you all very much.
I'm Tim Allen.
Then Johnny, he sits down,
and in between the break,
he said,
"You got to be funnier
than that."
Tim Allen recovered from
the "Tonight Show" misstep,
and by November 1994
he had the number-one TV show,
number-one book,
and number-one movie,
simultaneously...
An unprecedented accomplishment.
Tim, do you ever listen to me?
It was the last thing I said
to you in bed last night.
No, I believe, if you recall,
the last thing
you said to me in bed
last night was, "No!"
You're thinking of tonight.
Throughout the series'
eight year run,
Allen fought for good stories,
believing comedy would flow
from the situation,
not the other way around.
It's called a situation comedy.
It's not a comedy situation.
So it can't be bit to bit
to bit.
Yellow, see... the sun is yellow
and heats the ground.
That's how they name stuff.
Is that car running?
Tim Allen's role as one of
America's favorite dads
led to movie roles playing
Santa Claus,
and other "good guys"
and father figures.
But he came to learn that
it was hard to escape
the goofy dad persona he
had so carefully developed
on "Home Improvement."
Even when parts were offered,
he thought twice about
venturing too far.
You get paid to be
a certain guy.
They don't want to see me
doing Othello.
Tim Allen built a career
drawing humor
from his take on
the American dad.
At the same time,
another breakthrough comic
was doing the same thing
for the American mom.
Growing up in Salt Lake City,
young Roseanne Barr
didn't spend much time
with her father,
but they did watch TV together,
whenever a comic was on.
My father wanted to be
a standup comic himself.
He understood comedy like almost
nobody else I've ever met since.
By her mid 20s, Roseanne found
herself working
as a waitress at
Bennigan's in Denver,
married, with three children,
and very little money.
One night, she signed up for
an open mike at a local club
and suddenly everything changed.
The first time I got
a laugh from an audience,
I was totally hooked
and had to continue.
It's hard to be married
a long time
and everything like that,
you know.
It's really hard and everything
but they do bug you.
This is what gets me,
is that they always think
that you're going to be the one
that cleans everything, huh?
Like they think that's
your destiny to clean.
And I guess their destiny is
to have a couch
surgically
implanted on their behind.
It energizes you to go,
"They're going to love this,"
and it's like, boom,
you're giving them a gift.
You may marry the man of
your dreams, ladies,
but 14 years later, you're
married to a couch that burps.
And they give you a gift back
by laughing at it.
So it's like you want to give.
And it's a cool
give and take thing,
an exchange of energy.
Roseanne spent the next few
years honing her act,
perfecting her standup
character.
It's really fun to do that,
and to be inside your brain when
it's working like that,
you're going to feel very alive.
In 1985, Roseanne moved
to Los Angeles
and her career accelerated like
no one's before.
It was like, wow.
It was instantaneous.
My first time on stage,
I did five minutes for
Mitzi Shore at the Comedy Store
on Sunset Boulevard
and that night she took me
into the main room
and told me to do 20.
Within weeks, Roseanne Barr was
booked on the "Tonight Show."
Have you ever noticed that
fat people
don't think like skinny people?
We have our own way of thinking.
Like, did you ever ask
a fat person for directions?
'Cause that is when
the difference in thinking
really shows, you know.
'Cause you go up to them
on the street and ask 'em
where something is and they tell
you like this.
"Well, go down here
to Arby's..."
My first time
on the "Tonight Show"...
That was just a dream come true,
and it went almost exactly
the way
I hoped and dreamed it would.
It was just a life-changing,
exciting, fantastic night.
But it's good that I'm fat,
though, because I'm a mom,
and fat moms are better than
skinny moms.
'Cause what do you want when
you're depressed?
Some skinny mom, "Well,
why don't you jog around awhile
and that'll release adrenaline
in your blood
and you'll better cope
with stress?"
Or some fat mom, "Well,
let's have pudding,
Oreos and marshmallows."
He asked me,
"Do you write
your own material?"
And I said, "Yeah," and he said,
"Well, it's very good
and I'm telling you
you're going to be the biggest
woman ever in standup comedy
and you have my personal
guarantee for that."
I was like, "Duh!"
I was agog.
It wasn't long before Roseanne
had a deal to do a sitcom,
but she was determined to
create something different,
to make a statement,
to influence the culture.
When I used to watch all those
television shows and sitcoms
myself in my home and just go,
"You've got to be..."
I don't want to swear,
but you've got to be
me with this crap.
And it made me angry.
From day one, Roseanne had
to fight hard
for her vision of TV's
Roseanne Connor.
It came from here,
and I didn't want to turn it
over to anybody
who had no idea
what it was about.
To the show's early writers,
a feminist character was
intrinsically anti-male,
but Roseanne's take
on the women's movement
was very different.
They thought that
saying something feminist
or something pro-woman
was the opposite of saying
something pro man and it isn't.
It isn't at all; in fact,
it's almost the opposite.
The issue nearly came to blows
when shooting this scene
in the first season.
Tell me, miss.
Will you still respect me
in the morning?
The writers wanted
the Roseanne Connor character
to make a disparaging remark
about her husband.
Roseanne Barr refused.
They wanted me to say
those lines, but I was like,
"That isn't how women talk.
I don't even know any men that
talk that way
besides Archie Bunker."
After stopping production
for a time, Roseanne won
and the scene was softened.
I'll respect you in the morning,
in the afternoon
and especially at night.
These people went to Yale
and Harvard.
A lot of them didn't even know
what lunchmeat was.
And I remember them saying,
"What is that?
What is lunchmeat?"
And I say, "It's that
square meat that's pressed."
They'd be like...
So there was a lot of class
issues like that.
Why don't you stack them
sandwiches on a plate for me?
I've got to go to Andy J.
And get some chips and soda
and all kinds of other stuff.
I see flat meat and I see bread
but I don't see no sandwiches.
Oh, boing!
Did you want me to make them
sandwiches?
Oh, could you?
Oh, are you kidding?
I've been standing behind
a counter
preparing food for people all
day and I will say right now
there is nothing more
I'd rather do than
make sandwiches for you, Dan.
Why then, we're both in heaven.
By the thirteenth episode,
Roseanne had won control
of her show,
a new vision of working-
class women and their families.
The thing that was different
about the show was that it dealt
with class in America,
class issues and women
and class,
and women in their families
and working class families.
None of that was ever on TV
before, really.
Okay, tell Dwight to tell
Dad that...
You're not writing this down
at all, are you?
- Yes I am.
- Becky!
All right.
Okay, tell Dwight
to tell dad that I got overtime
tonight
so he has to pick up dinner
for you kids.
Great! Can we get
Chipper Chicken?
You can get Happy Hamster
for all I care.
The series tackled
a range of issues
television had largely
neglected...
Unemployment, alcoholism,
domestic violence,
teen pregnancy, and gay rights.
One of the best ones that I like
the most
for breaking through things was
where Darlene got her period.
What are you throwing
all your stuff away for?
These are girls' things,
Darlene.
As long as a girl uses 'em.
You love all this stuff.
That's reason enough to keep it.
I'm probably going
to start throwing
like a girl now anyway.
Definitely. And,
since you got your period,
you're going to be throwing
a lot farther.
Roseanne topped the ratings
in its first year,
and stayed popular
for all nine seasons,
offering a unique perspective
on American life.
You mean you don't want to spend
a delightful Sunday
with mumsy and popsy?
The two most boring people
on the face of the earth?
Sunday around here is death.
Will Dad have a third
cup of coffee?
Will mom get off the sofa
by noon?
Will you get the hell out
of my house?
I did what I came to do.
I accomplished everything that
I wanted to accomplish
with my comedy.
I wanted to tear down some walls
and make some roads bigger
and move the center left,
and I did.
In Roseanne's final years,
another landmark family comedy
was making its premiere,
but the center of this
show wasn't a strong woman,
it was a rather needy man...
The lovable
but helpless Ray Barone.
Live from New York,
it's Saturday night!
In 19 7 5, "Saturday Night Live"
premiered
and that gave one
young teenager an idea.
In the basement
of his local church,
he and a few friends put on
their own sketch comedy show.
The leader of this troupe
was Ray Romano.
We wrote our own sketches, did
our own props, our own makeup.
It was a success for us.
We heard laughs.
That was really where
I got the bug.
In his early 20s, Romano took
the next step,
trying standup at audition night
at the Improv in New York.
In the beginning of standup,
it's the hardest thing
in the world
because you are not good.
His second attempt at standup
went so poorly,
Ray Romano quit comedy entirely.
He studied accounting,
worked odd jobs,
and watched sports,
while still living
in his parents' basement.
It's Italian mother and all
of that.
They're fine with you
living home.
They're not trying
to push you away.
Finally, two years after
bombing on stage,
he worked up the nerve
to try it again.
I was so depressed,
I got off the stage
and I went home.
To show you how
devastating it was to me,
I went upstairs and I woke up
my mother and father and said,
"Why'd you leave?"
When you're new,
it's just flop, sweat
and you speed up
and you forget things.
Eventually, Ray Romano started
getting consistent laughs,
but it took time to develop
his comic persona.
I was doing material that I
would never do now.
I was doing impressions,
weird, goofy impressions.
I was putting hats on
and glasses.
They were getting crazy laughs,
but as I grew, those things,
I evolved and I found my voice.
After six years
of honing his act,
Ray Romano began landing spots
on comedy specials.
I have a three year-old daughter
and twin one year-old boys.
That's the correct response.
Good, I'm glad.
Normally, single people clap.
"Oh, twins. Yay."
Parents are, "Oh, that could
have been us, oh, my god!"
Standup comics who break
through on the marquee shows
often land sitcoms,
but Ray Romano wasn't
getting any calls.
The weeks and months ticked by.
Four years later,
still no sitcom.
Then Ray made an appearance
on the David Letterman show.
And no one really wants to talk
to you on the phone
when you've
got kids running around.
Every business call I try to
make, I screw up eventually.
"Oh, yeah, the 15th is fine.
I just need to know...
Where do you think you're going
with that cookie?!
Put the cookie down!
Not you. Sorry.
Sorry. I didn't mean
to scare you.
Oh, I didn't know you were
eating a cookie.
Take it easy."
Click.
I had a really good set
on Letterman.
And, afterwards,
I just thought, "Well, here's
the next thing."
Letterman's... there it is,
producers, anybody.
You know, I don't know what else
I can do.
If people aren't going
to bite now, that's all right.
The next week, the call came in.
My wife came out
in the backyard,
I was in the backyard, and said,
"It's the Letterman people."
I pulled up my pants...
Because it's in Queens,
it's an alley way, I'm relaxing.
David Letterman's production
company offered a TV deal.
Ray Romano
was about to make the transition
from standup to sitcom.
We shuffle 'em here,
twist him like this,
give him a flippity floo,
and over here.
We put him back over here.
Keeping your eye on him?
Okay. Where's Gregory?
Aha!
C'mon, it's easy.
Which one's Gregory?
Okay, don't tell your mother
about this.
Ray's sitcom character
wasn't too far
from his standup persona.
But co-creator Phil Rosenthal
added one extra dimension...
Hovering parents, played by
Peter Boyle and Doris Roberts.
Had I not met Phil, I don't
think the show
is as "parent heavy."
And if that happens,
maybe we're not here.
You're talking
to George Lopez for an hour,
which is not a bad thing.
Do you know that the fruit keeps
coming month after month?
He's got us in some kind
of a cult.
It's not a cult, Ma,
it's a club.
What do you mean,
month after month?
For how long?
A year.
My God, are you out of
your mind?
Sorry, I'm so sorry, Dad.
They got me an acting coach
actually in the beginning.
It was funny because they
told me,
"Do you want an acting coach?"
I went, "Well, I guess,"
you know.
They were like, "Because people
are going to be
talking back to you now.
You're not just on stage waiting
for the laughs to die down."
Because Ray Romano was largely
unknown,
the first episodes faced
an unusual challenge...
Finding willing viewers
for the studio audience.
They would get the audience
by paying them.
They would go
to the elderly homes
and they would...
I'm not kidding...
And rehab centers,
and that was our audience.
Yes.
For Romano,
the biggest challenge
of a sitcom was
letting someone else
write his lines.
It was hard for me to accept
that somebody else
was going to write stuff
for me to say.
It was hard for me...
like, saying
somebody else's words
and getting a laugh from it,
didn't feel like I earned it.
"Everybody Loves Raymond"
was a ratings success
from the start,
but it wasn't until
the fourth episode
that Ray Romano felt the show
started to gel.
It was a show about IQ,
and how I was really hoping
I had a higher IQ than my wife.
And my brother was giving an IQ
test to the parents and to us.
I need you to take an IQ test.
What?
An IQ test.
I'm taking
a criminal psychology class
to make lieutenant and I have
to learn how to give an IQ test.
Ah, I think he wants me to
steal third.
It was just, I thought, at that
time, our funniest episode.
I want you to know I think
I might have
made a mistake
with your test result.
Jumbled 'em.
What do you mean?
Well, actually, Raymond,
you were the one who scored
one standard deviation higher
than Debra.
What?
Good night!
And we just hit things and we
hit our stride.
And it was at that moment
where I just thought,
this might work.
Well, now it's a happy marriage.
There was another one where Phil
wanted me to kiss Peter Boyle
on the head
and I had a hard time with it.
I go, "I don't
think he would do that."
To his credit, he made me do it
and it was a great moment.
Romano played Ray Barone
for nine seasons.
When the series wrapped, he was
ready for a new challenge.
Under every comedian
there's a lot of angst in there.
There's a lot of stuff he's
working out.
So why not work it out through
drama also?
Get to kiss a few women.
You go around all mopey, talking
about getting back with Sonya.
Look, if you want any chance
of saving your marriage...
There is no chance.
There's no chance, okay?
I talked to her today and asked
if we should see other people,
she said, "Yes," okay?
You guys, you know, you guys are
always telling me to move on.
I'm moving on, so there's
nothing you can do.
We're seeing other people,
so I can do whatever
the hell I want.
Ray Romano has won accolades
for his dramatic roles,
but like his peers, he can't
resist the opportunity
to return to his roots,
to stand alone
in front of an audience
and make them laugh.
There is a rush to it
that is fulfilling
and a little bit addictive.
And...
for me, it's either that
or hookers.
The husband and wife duo
at the core
of "Everybody Loves Raymond"
was an echo of the very first
TV sitcom
based on a standup act,
the husband and wife team
of George Burns
and Gracie Allen.
I wouldn't let this get out
of the house
because you're gonna
be laughed at.
Aah, let 'em laugh.
They laugh at all
intelligent women.
They even
laughed at Joan of Arc,
but she went right ahead
and built it.
Built, built what?
The Ark.
The Ark was built by a man.
The person who built the Ark
was a woman.
Noah.
How could I know her?
She's been dead for years.
Like George Burns, Jack Benny
translated his standup routine
to television in the 1950s.
He would just go, "Well..."
and we'd be screaming.
Well, on the page,
that's not a joke.
But it was a way he delivered
everything and his timing.
Well, while you're thinking,
do you mind
if I look over the clauses
in the contract?
Let's see, well, here.
Thank you.
There it is, right there.
Hmm.
Hmm.
Jack Benny was
a standup comedian.
George Burns was a standup
comedian.
But their television shows
became
just extensions of
their radio shows.
Standups were largely absent
from TV sitcoms in the 1960s,
but in the 1970s,
the idea got a reboot
when an established comic was
offered his own TV sitcom,
a comedian who first stepped
on stage
more than a decade earlier
in Chicago.
In the 1950s,
a Chicago accountant
began to dream of
something more.
Next to his adding machine
and ledger book,
he kept a notebook, where he'd
jot down funny thoughts.
The accountant's name
was Bob Newhart.
I wasn't thinking of stand-up
or anything,
I'd just get these ideas
and write them down.
Bob quit accounting
to pursue comedy,
but things weren't happening.
Years passed.
I was thinking to myself,
"You have really screwed up,
you really have,
you've screwed up your life."
Eventually a record company
agreed
to record some of Bob's
routines,
but even that was a challenge.
They said, "Okay, we'll record
you at your next night club."
And I said, "Well,
see, we have a problem there.
I've never played
in a night club."
When "The Button-Down Mind
of Bob Newhart" was released,
it instantly shot to the top
of the charts,
knocking Elvis Presley out
of the number one position.
"Now, what's the first
thing we're going to do
before we pull out into traffic?
What did Mr. Adams do before he
let you pull out into traffic?
Well, I mean besides praying,
let's say."
It was thrust upon me and I
wasn't really ready for it.
So I had to learn my craft as I
was appearing
in front of 3,000, 4,000,
5,000 people.
Uh, looking back
on the Mutiny...
I think a lot of
the trouble there stemmed
from the fact that you men
weren't coming to me
with your problems.
Uh, as I explained to you before
we started out,
the door to my office
is always open.
Uh, I think you know why it's
always open.
Uh, that was stolen...
When Newhart was offered
a sitcom in 19 7 2,
the producers wanted a setting
that would maximize Bob's
ability to "listen funny."
The first idea... make him
a psychiatrist.
And I felt, well, I don't know,
psychiatrists kind of deal
with seriously disturbed people,
and much as I would
personally like
to get humor out of it,
I didn't think it was right
for television.
So the character was made
a psychologist,
which still gave Bob plenty
of room
to react to unusual characters.
One time,
Jack Riley created that
great character Mr. Carlin,
and I was having a conversation
with him.
I said, "How did last week go?"
I only had one problem
this week.
Well, why don't you tell
me about it?
He said, "Saturday, I was
possessed by the devil."
Yesterday morning,
I was possessed by the devil.
And of course, being
a psychologist, I would say,
"Well, do you want to go
with that, Mr. Carlin?"
I'm glad we wrestled that
exorcism thing
out for you, Mr. Carlin.
It was cold in there.
From the beginning,
Newhart was insistent
his sitcom character not have
any children,
but the producers pushed back,
creating a script
where Bob becomes a father.
And I said, "I read the script,"
and he said,
"Oh, how did you like it?"
And I said, "It's very funny."
He said, "Oh, we weren't sure
you were going to like it."
I said, "No, there are
a lot of good jokes."
I said, "Who are you going to
get to play Bob?"
He said, "Okay."
Newhart was equally strident
in protecting
his unique speaking cadence,
when producer Lorenzo Music
asked Bob
to pick up
the pace of his dialogue.
He said,
"Bob, could you run some
of the speeches together?
Because
the show is running long."
And I said, "Lorenzo, this
stammer has gotten me a home
in Beverly Hills, and I'm not
about to change it."
W-What can I do for you?
Uh, M-Mr. Johnson, smiling
and whistling while you work
doesn't seem to be a problem
you should
see a psychologist about.
You drive a hearse?
That's the way I talk.
It's not like an affectation.
It isn't something I created
for the character.
That's the way I talk.
"The Bob Newhart Show" ended
in 19 7 8,
but four years later,
Bob returned with a new sitcom.
The setting was different,
but the formula was the same:
Bob reacting to a range of
oddball characters.
What are you confused about?
Love and lust.
See if I have a dictionary.
He was funniest when he was
reacting.
Whatever you did was
funnier if Bob was in the scene.
Do you know what it's like
to feel wild desire?
Boiling passion?
To want carnal knowledge
of a total stranger?
S-Sort, sort of, sort of.
For Newhart, the studio audience
was key to each episode's
success,
a partner of sorts in making
decisions about what's funny.
The writing was better
and the actors were better
because of the live audience.
And the first time we used
Larry, Darryl, and Darryl...
Hi, I'm Larry.
This is my brother, Darryl.
That's my other brother, Darryl.
How ya doin'?
"I threw my back out last week
crawling under houses."
I throw'd my back out last week
crawlin' under a house.
Sounds like a tough job.
He said, "It wasn't work,
I enjoy crawling under houses."
So...
It wasn't a job, I just like
crawling under houses.
And then when they leave,
they get another 20 seconds.
I wish there was some way of
making this up to you.
Dick, there was that dead
possum out by the well.
We'll take it!
Darryl! Darryl!
Without a live audience,
we wouldn't have known that.
Because immediately after
the show,
I went to the writers and said,
"You know, let's write another
script with these guys in it.
The audience loved them."
The most prominent standup
of the television era
also created the most popular
sitcom
of TV's first half-century...
Bill Cosby.
He had comedic power and energy
and skill
in such huge quantities
that he kind of blew
everybody else away.
Cosby started in standup
in the 1960s,
but his breakthrough came
when his first comedy album
was released.
It just struck a nerve.
It was observational,
relatable humor.
It was about family.
There is no pain in
the world greater
than the pain a man gets when he
goes out on a date,
plants his date down in the seat
in the movie,
puts his arm around the chair
in the movie and leaves it there
for two and a half hours.
The blood from his fingertips
drains to the center
of his chest.
"What are you doing?"
"I'm trying to save my wrist,
what do you think?"
It was kind of an epiphany
of, "Wow!
This is so..."
I connected with something
so much,
and it made me laugh so much.
I remember we would just listen
to it all the time.
Yeah, he was kind of, I guess,
if I had to pick a person
who inspired me to do stand-up,
it would be him and listening
to that album.
Bill Cosby's first try at
a sitcom lasted just two years.
More than a decade later,
he'd try again,
this time creating one of
the biggest hits of all time,
"The Cosby Show."
Now, get your utensils, alright?
Alright...
you see, what we've got...
Dad!
Carve, not hack.
Cosby changed, he changed
everything to me.
Number one, he
was a really funny guy
that I'd seen... "I Spy" on up
in his career...
All of the sudden,
he played a great dad.
Vanessa, come here.
Come here!
Here! Here! Here!
See, there is there.
This is here.
Come here.
Dad, Denise pushed us
out of the bathroom
and so the shampoo's
in Rudy's eyes
and she won't let me rinse it
off like Mom said to
and now Rudy might
be blinded for life.
If she is, can we get a dog?
Number one, he was funny,
he was subtle,
and if you noticed, I think
Cosby was
giving everybody else
the comedy.
Boys come by the house
and I bark.
Pretty soon, boys
come by and they say,
"Old Yeller lives up there."
All I'm saying is that some
good ones come by
and some bad ones come by.
That's who I am, Old Yeller.
That's my job.
Cliff, you know at
the end of that movie...
they shot Old Yeller.
As with all of his work,
Cosby was trying to do more
than just entertain,
he wanted his sitcom
to make a difference.
To make a TV series
and make stories
from your monologues,
but these things would...
The adjustment would be to
consciously
raise the awareness
of the viewer.
In other words, what you're
writing, what you're writing,
and what you're saying.
Cosby's decision to present
an affluent black family
was criticized by some who
wanted to see
a more typical setting.
But the critics were vastly
outnumbered by the audience,
who made the show
number one for years.
Do you know what I think
a zerbut is?
I just remembered.
A zerbut is this.
That's a zerbut! Yeah!
Right! I zerbut you.
I zerbut you!
Standup comedy isn't a job,
it's a life.
While many comics are most
famous for their sitcoms,
in the end they always return
to the place they started,
in front of an audience, alone,
in search of one more laugh.
You don't really think about,
"why do I do this?"
It's just, this is what I do.
It's like fish,
I'm going to swim, you know.
It's literally working
without a wire,
that's what I feel like.
You're up on the high wire
and this and that.
You don't have a band to cut to,
you don't have any other...
No one else to help you out.
So it's a very independent art.
That's why I say, that one night
at the Sands,
I became a stand-up comic,
because I said to myself,
"It doesn't matter
what happens, I'll handle it."
The thing that's most gratifying
or touching, whatever,
is a lot of people do come up
to me and say,
"You were my mom,
you raised me."
I thank God for standup comedy
because it kind of set me
on my path, you know?
Actually, I found something
that I was passionate about.
They are the pioneers
of television.
It's not hard to get a laugh.
It's hard to get a laugh
at 8:00 on Tuesday
'cause that's when the show is.
That's what's hard.
A lot of people say funny things
all the time
and get big laughs.
Everyone has gotten a laugh.
Almost.
You know, and...
Socially, wherever.
The hard part is doing it
at a time and place
of someone else's choosing.
That's the profession,
and that takes many,
many, many years.
For more insider features
about your favorite TV stars,
stories you won't hear
anywhere else,
because that's how we survive.
You get paid to be
a certain guy.
They don't want to see me
doing Othello.
My wife says when I put this bad
boy on, I turn into a wild,
hairy, disgusting ape. Wuh!
Comedians, we tend to talk about
our failures, not our successes.
I wish I could walk in there
and tell my boss off and quit.
You're self-employed,
Mr. Carlin.
I know.
I was a trailblazer, too.
I made the trail wider.
I'm going on a diet, Dan,
I'm startin' right now.
Go. I'll be here when you
get back.
Every morning I get clean
clothes and an apple.
And I'm happy.
"Pioneers of Television"
was made possible by
contributions to
your PBS station
from viewers like you.
They paid their dues
by taking a chance.
When I first stepped on stage
as a comedian,
I really had no idea if I was
funny or not, I mean none.
You know, sometimes audiences
don't laugh, did you know that?
I know that.
In the beginning of standup,
it's the hardest thing
in the world,
because you are not good.
It takes thirty years to make
a great standup comic; it does.
Are you a housewife, too?
I hate that word and I hate
the word "homemaker," too.
I wanna be
called "domestic goddess."
They brought their characters
to life
in our favorite sitcoms.
The character is about 85% me,
the other 15% being
an extremely sick mind.
Emily, this may come as a shock
to you, but...
in high school I was considered
great looking.
You're kidding!
I cannot tell you and describe
it beautifully,
the camaraderie we had.
♪ I want you by my side ♪
♪ And I want you to keep,
oh, keep me satisfied ♪
Through drive, intelligence
and creativity,
they've kept us laughing
decade after decade.
Because funny is smart,
for the most part.
It's pretty hard to be funny
and a complete moron.
Nothing matches better than
vanilla and chocolate.
And yet, still somehow,
racial harmony eludes us.
I got a goal in mind.
I want to do Johnny Carson.
I want to sit
there on that desk.
I want him to do this
and invite me over to his desk.
In my core, I felt like this is
what I was kind of meant to do.
This is what I do the best.
- Oh, now I don't love you.
- You don't say it.
- I do.
- No, you don't.
- I do.
- When do you say it?
With my eyes!
What people think of me is often
not what I am.
Together, these standup comics
redefined the American sitcom.
They are the pioneers
of television.
In the spring of 19 7 6,
Jerry Seinfeld
told a joke on stage
for the very first time.
I really had no idea if I was
funny or not, I mean none.
A shower is the only break
you get, isn't it?
When you're asleep, people
can bother you.
In the shower, they can't
get to you.
They call up,
"I'm sorry we can't reach him.
He's in the shower.
There's nothing anyone can do.
He's five feet away,
we can't talk to him,
we can't get a message,
we can't do anything."
You come out, "I can't
talk now, I just got out."
This got a huge laugh.
And I was so shocked,
I was just shocked.
I was shocked.
I heard this laugh just hit me
like a bucket of water
in the face.
That's what it felt like.
From that moment forward,
Jerry Seinfeld's singular focus
was standup comedy.
I go, "I want to be in
this life."
And this is really the key
aspect of a comedian...
Is that you want to be this
and you
don't care about anything else.
Five years later,
Seinfeld reached
the holy grail for standups...
A shot on Johnny Carson's
"Tonight Show."
To get asked to be on that show
was like,
"Do you want to play
in the World Series?"
Have you ever seen the guy who's
got the record
for fattest man in the world?
It's an amazing thing...
Bob Hughes, 1400 pounds.
Ladies and gentleman,
the man has let himself go.
I used to feel bad talking about
him on stage,
'cause somebody... but you could
weigh a thousand pounds
and go, "He's not talking
about me!
This is a man with a serious
weight problem."
It went well.
It went well.
I had a different image of it
in my mind.
I had never been in front
of 500 people before
and that was the biggest
audience I had ever seen
at that time.
So, I was nervous for
a million reasons,
but that was very
overwhelming to me.
You're so in shock at the time.
Jerry Seinfeld.
Thank you, Jerry.
Take a bow.
He was saying,
"Great job, Jerry," as I left.
And he gives you
the big "OK" sign,
which was a very
valuable thing...
We'll be back in a moment.
That I realized,
oh, he liked me.
He liked what I was doing.
The success of Seinfeld's
talk show appearances led
to a meeting at NBC
to discuss a potential sitcom.
They called me in and they said,
"What is it that you have
in mind?"
And I said, "Nothing.
I don't have anything.
I didn't have anything in mind."
I actually believed maybe they
had something in mind
since they had the big building
with the logo on it...
I thought, "Maybe that's
what they do here.
Maybe they come up with TV shows
and they take talented people
and say, "We have a show for
you," but they don't do that.
They don't do that.
Jerry may not have had an idea
for a sitcom,
but his friend Larry David did.
Before long, the two comics
had worked up a premise.
The whole show came from
the way Larry and I related
and that's why I asked him
to work with me on it.
Because I liked
the sound of the conversations
that he and I would have.
And he had a lot more
ideas than I had
about what we should do
and shouldn't do.
So he really helped structure
the whole thing.
The first decision was to
create a scenario
that wasn't too far from
Jerry's own life,
a New York standup comedian
who hung out with his friends.
There's nothing, pretty much,
that TV Jerry would do
that I wouldn't do
and vice versa.
But "TV Jerry" wasn't as
successful or smart
as real Jerry, and that
was the source
of much of the series' humor.
What happened Tuesday night?
I saw your act.
My act? What does that
have to do with anything?
Well, to be honest, it just
didn't make it for me.
It was just so much fluff.
I can't believe this.
So what are you saying?
You didn't like my act,
so that's it?
I can't be with someone if
I don't respect what they do.
You're a cashier!
For Jerry Seinfeld,
the cluelessness
of the sitcom characters
is what made them funny.
Go talk to her.
Elaine, bald men with no jobs
and no money
who live with their parents
don't approach strange women.
Well, here's your chance
to try the opposite.
Instead of tuna salad and being
intimidated by women,
chicken salad and going
right up to them.
That is one of my favorite lines
of the show,
when I say to George,
"If everything you do is wrong,
then the opposite would
have to be right."
I should do the opposite.
If every instinct you
have is wrong,
then the opposite would
have to be right.
It's just completely stupid,
you know.
But he's stupid
so he believes it.
Yes, I will do the opposite.
I used to sit here and do
nothing
and regret it for
the rest of the day.
So now I will do the opposite.
It sounded good, you know,
but it doesn't make any sense.
My name is George.
I'm unemployed and I live
with my parents.
I'm Victoria. Hi.
What I love about that is that
that's an eternal comedic
device.
Two idiots trying to work
something out.
It can't be done, huh?
The switch?
The switch.
Can't be done.
I wonder.
That is an ancient comedic
device.
Do you realize,
in the entire history
of western civilization, no one
has successfully accomplished
the roommate switch?
In the middle ages you could get
locked up
for even suggesting it.
They didn't have roommates
in the middle ages.
If two guys are stupid,
watching them try and be smart
is going to be funny.
If you haven't
got the stomach for this,
let's get it out right now
and I'll go on my own.
If not, you can get on board
and we can get to work.
Now what's it gonna be?
Alright, dammit, I'm in.
I couldn't do it without you.
The Seinfeld sitcom was known
for its seemingly unconnected
storylines
that merged at the end.
When Kramer was hitting
golf balls on the beach,
George was pretending to be
a marine biologist.
What's going on over here?
There's a beached whale.
She's dying.
Is anyone here
a marine biologist?
We were doing those stories
before we saw
that there was a connection
between them.
That, what if the distress
of the whale
was caused
by Kramer's golf ball?
A huge tidal wave lifted me,
tossed me like a cork,
and I found myself right on top
of him,
face to face with the blow hole.
I could barely see
from the waves
crashing down upon me but I knew
something was there.
So I reached my hand in,
felt around
and pulled out the obstruction.
We were way, way deep into
making that show.
We might not have even
noticed it.
Just, somebody went,
"Wait a minute.
What if that's what the whale's
problem was?"
What is that?
A Titleist?
A hole in one, huh?
We wrote that the night before
and just laughed ourselves silly
writing that.
But that's about
my most favorite thing
that we ever stumbled upon.
No show of the era produced
more water cooler talk
than Seinfeld, knitting
countless catchphrases
into the American fabric.
You mean shrinkage?
Yes.
Significant shrinkage.
He recycled this gift.
He's a re-gifter.
So you're still
master of your domain?
Yes, yes I am master
of my domain.
I met this lawyer, we went out
to dinner,
I had the lobster bisque,
we went back to my place,
yadda, yadda, yadda... I never
heard from him again.
But you "yadda yadda'd"
over the best part.
No, I mentioned the bisque.
Coming up with a half-hour
of memorable comedy
each week isn't easy,
especially for a standup comic
who isn't used to
managing people.
The difference between
the stand-up and a sitcom
is you're going from the least
collaborative medium there is
to the most collaborative.
The reason you become
a comedian is
you're not a good collaborator.
You're not good with people.
You're not good in social
situations
or professional situations.
You're not really good at
anything but that.
When Seinfeld ended
its network run,
Jerry was content to leave
behind the team environment
and return to his first love,
standup.
I just can't drive around there.
You know how
the old people drive,
they drive slow, they sit low.
That is their motto.
The state flag of Florida
should be just a steering wheel
with a hat and two knuckles
on it.
People always say, "Why don't
you do another sitcom?"
I think, "If I could do another
sitcom that good,
yeah, sure I'd do it."
You can't.
I mean, I can't.
Often forgotten
in the Seinfeld saga
is the story of the series'
first years,
when it was almost cancelled,
crushed in its time slot
by the other
'90s powerhouse sitcom,
which also starred
a standup comic who had brought
his act to television.
Fall of 1984.
At the Goodyear Tire Company
in Akron, Ohio,
a local comic has been hired
to tell a few jokes
at a sales dinner,
but no one's laughing.
No one's even listening
to a guy named Tim Allen.
No one was listening.
All these guys were just eating
their steaks
and talking and smoking
at the time and it was,
"Arr, arr, arr..."
Don't think your old man grunts,
give him a steak.
"Honey, you like that?"
"Mm, uh, mm, uh, mm, uh...
Arr, arr, arr, arr, arr!
Eh, eh, eh, eh!"
"You want the butter
or the salt?"
"Arr, arr, arr!"
I decided, perhaps,
that would be
the only way to get
their attention, if I talked
like men talk when they're
grumbling, they're,
"roa, grr, arr, arr"...
And I started doing that,
and it was clear that that was
a very big deal,
'cause I got drunk salesmen,
smoking, going, "Arr?"
Tim Allen recognized that
success in comedy
would mean expanding beyond
his Midwestern base.
So he transitioned
to Los Angeles,
where his career accelerated,
including a Showtime special
and packed houses
at bigger and bigger venues.
Men like doing things women
don't like.
Go to a guy's house and say,
"Did you build that table?"
"Yeah."
Go to a woman's house and say,
"Did you make that dress?"
She'll knife you right
in the heart.
By 1990, Tim Allen was offered
his own sitcom,
by the head of Disney...
Jeffrey Katzenberg.
Allen said no.
Katzenberg offered
a different sitcom.
Allen said no again.
I had had a career touring.
I was making great money,
and really doing what
I wanted to do,
so I didn't need the gig.
So when Jeffrey called, he said,
"We want to offer you this,"
I said, "Well, I don't
think so."
And if you don't know
Jeffrey Katzenberg,
I'll tell you, he doesn't like
being said no to,
especially when he's being nice
and sweet like he is.
And he said... he called me
at home, he said,
"Maybe you didn't hear me."
I said, "Yeah, I heard you."
What Tim Allen wanted was
to create
his own show from scratch,
based on his standup persona.
Katzenberg agreed, and Allen's
sitcom began to take shape.
I like "This Old House"
a lot, so start with that.
But make me just a jerk,
always screwing up his work,
and then I want a neighbor
that you can't see.
Somehow, I had neighbors in
my life that were like,
on acre plots in Michigan,
I never even...
I still don't know what
he looks like.
- Wilson?
- Howdy, neighbor.
Always, from his car
to his house, "Hey, Paul."
And he'd have groceries
by his... I never saw him.
Still, to this day,
he's still there,
I still own that same house.
I wanted that and three boys.
Sunday! Sunday! Sunday!
Truckenstein vs. Fordzilla
at the Silver Dome!
The biggest monster truck rally
in Detroit history!
Sunday, Sunday, Sunday!
What will I wear?
I didn't get you a ticket,
honey.
House to myself
on Sunday, Sunday, Sunday!
ABC still wasn't sure Allen
could translate
his standup persona
to a sitcom character,
so they sent him
to an acting coach.
We went through all these,
"Oh, please,"
all this Shakespeare, and I had
to beg and cry and emote,
and it was like,
"What are we doing?"
He said, "To be honest with you,
they're wondering if you can
memorize.
That's all they want to know is,
are you a person that can't
memorize?"
Which means it's a problem,
because it's 40 new pages
every day.
Tim Allen soon proved
he could memorize
and he could act.
But like all standups, he knew
he'd get his best performance
in front of a live audience.
In a television show,
you got the audience,
but it's manipulated.
You only get one try.
As soon as you give the audience
where the joke lands,
then you do the second take,
it's phony,
because they know, "Oh, this is
where we're supposed to laugh."
"Home Improvement" was a success
from the first episode
and grew to become
one of the most popular
television shows of the 1990s.
But Tim Allen had one goal left
unfulfilled.
Like all comics of the era,
he wanted to do standup
on Johnny Carson's
"Tonight Show."
Now, he'd finally get
his chance.
I bombed.
I went on there and didn't have
my glasses, which I wear.
He said, "Do you see
where you're standing?"
He just quickly opened
the curtain,
and I lied because I wanted
to be a pro.
I said, "Yeah"... I had no
idea where he was pointing.
So when they opened the curtain,
I walked out and stopped.
There's booms moving and cameras
adjusting, because I didn't...
And that took me, I go,
"Whoa, what's happening?"
This is his first appearance
with us on the "Tonight Show."
Would you welcome Tim Allen.
Tim Allen!
Oh! Hi, there. Thank you for
having me, nice to be here.
And had to start my act,
I got off on the wrong foot,
and I just died,
it was just death.
Why do you listen to shop
teachers?
Half of them are missing
fingers, am I wrong?
Hey, boys, watch that sabre saw.
It'll kick back on you,
I'm not kiddin' ya.
I'm not kiddin' around,
I'll tell you that right now!
Let me pass out those
test papers, there you go.
Thank you all very much.
I'm Tim Allen.
Then Johnny, he sits down,
and in between the break,
he said,
"You got to be funnier
than that."
Tim Allen recovered from
the "Tonight Show" misstep,
and by November 1994
he had the number-one TV show,
number-one book,
and number-one movie,
simultaneously...
An unprecedented accomplishment.
Tim, do you ever listen to me?
It was the last thing I said
to you in bed last night.
No, I believe, if you recall,
the last thing
you said to me in bed
last night was, "No!"
You're thinking of tonight.
Throughout the series'
eight year run,
Allen fought for good stories,
believing comedy would flow
from the situation,
not the other way around.
It's called a situation comedy.
It's not a comedy situation.
So it can't be bit to bit
to bit.
Yellow, see... the sun is yellow
and heats the ground.
That's how they name stuff.
Is that car running?
Tim Allen's role as one of
America's favorite dads
led to movie roles playing
Santa Claus,
and other "good guys"
and father figures.
But he came to learn that
it was hard to escape
the goofy dad persona he
had so carefully developed
on "Home Improvement."
Even when parts were offered,
he thought twice about
venturing too far.
You get paid to be
a certain guy.
They don't want to see me
doing Othello.
Tim Allen built a career
drawing humor
from his take on
the American dad.
At the same time,
another breakthrough comic
was doing the same thing
for the American mom.
Growing up in Salt Lake City,
young Roseanne Barr
didn't spend much time
with her father,
but they did watch TV together,
whenever a comic was on.
My father wanted to be
a standup comic himself.
He understood comedy like almost
nobody else I've ever met since.
By her mid 20s, Roseanne found
herself working
as a waitress at
Bennigan's in Denver,
married, with three children,
and very little money.
One night, she signed up for
an open mike at a local club
and suddenly everything changed.
The first time I got
a laugh from an audience,
I was totally hooked
and had to continue.
It's hard to be married
a long time
and everything like that,
you know.
It's really hard and everything
but they do bug you.
This is what gets me,
is that they always think
that you're going to be the one
that cleans everything, huh?
Like they think that's
your destiny to clean.
And I guess their destiny is
to have a couch
surgically
implanted on their behind.
It energizes you to go,
"They're going to love this,"
and it's like, boom,
you're giving them a gift.
You may marry the man of
your dreams, ladies,
but 14 years later, you're
married to a couch that burps.
And they give you a gift back
by laughing at it.
So it's like you want to give.
And it's a cool
give and take thing,
an exchange of energy.
Roseanne spent the next few
years honing her act,
perfecting her standup
character.
It's really fun to do that,
and to be inside your brain when
it's working like that,
you're going to feel very alive.
In 1985, Roseanne moved
to Los Angeles
and her career accelerated like
no one's before.
It was like, wow.
It was instantaneous.
My first time on stage,
I did five minutes for
Mitzi Shore at the Comedy Store
on Sunset Boulevard
and that night she took me
into the main room
and told me to do 20.
Within weeks, Roseanne Barr was
booked on the "Tonight Show."
Have you ever noticed that
fat people
don't think like skinny people?
We have our own way of thinking.
Like, did you ever ask
a fat person for directions?
'Cause that is when
the difference in thinking
really shows, you know.
'Cause you go up to them
on the street and ask 'em
where something is and they tell
you like this.
"Well, go down here
to Arby's..."
My first time
on the "Tonight Show"...
That was just a dream come true,
and it went almost exactly
the way
I hoped and dreamed it would.
It was just a life-changing,
exciting, fantastic night.
But it's good that I'm fat,
though, because I'm a mom,
and fat moms are better than
skinny moms.
'Cause what do you want when
you're depressed?
Some skinny mom, "Well,
why don't you jog around awhile
and that'll release adrenaline
in your blood
and you'll better cope
with stress?"
Or some fat mom, "Well,
let's have pudding,
Oreos and marshmallows."
He asked me,
"Do you write
your own material?"
And I said, "Yeah," and he said,
"Well, it's very good
and I'm telling you
you're going to be the biggest
woman ever in standup comedy
and you have my personal
guarantee for that."
I was like, "Duh!"
I was agog.
It wasn't long before Roseanne
had a deal to do a sitcom,
but she was determined to
create something different,
to make a statement,
to influence the culture.
When I used to watch all those
television shows and sitcoms
myself in my home and just go,
"You've got to be..."
I don't want to swear,
but you've got to be
me with this crap.
And it made me angry.
From day one, Roseanne had
to fight hard
for her vision of TV's
Roseanne Connor.
It came from here,
and I didn't want to turn it
over to anybody
who had no idea
what it was about.
To the show's early writers,
a feminist character was
intrinsically anti-male,
but Roseanne's take
on the women's movement
was very different.
They thought that
saying something feminist
or something pro-woman
was the opposite of saying
something pro man and it isn't.
It isn't at all; in fact,
it's almost the opposite.
The issue nearly came to blows
when shooting this scene
in the first season.
Tell me, miss.
Will you still respect me
in the morning?
The writers wanted
the Roseanne Connor character
to make a disparaging remark
about her husband.
Roseanne Barr refused.
They wanted me to say
those lines, but I was like,
"That isn't how women talk.
I don't even know any men that
talk that way
besides Archie Bunker."
After stopping production
for a time, Roseanne won
and the scene was softened.
I'll respect you in the morning,
in the afternoon
and especially at night.
These people went to Yale
and Harvard.
A lot of them didn't even know
what lunchmeat was.
And I remember them saying,
"What is that?
What is lunchmeat?"
And I say, "It's that
square meat that's pressed."
They'd be like...
So there was a lot of class
issues like that.
Why don't you stack them
sandwiches on a plate for me?
I've got to go to Andy J.
And get some chips and soda
and all kinds of other stuff.
I see flat meat and I see bread
but I don't see no sandwiches.
Oh, boing!
Did you want me to make them
sandwiches?
Oh, could you?
Oh, are you kidding?
I've been standing behind
a counter
preparing food for people all
day and I will say right now
there is nothing more
I'd rather do than
make sandwiches for you, Dan.
Why then, we're both in heaven.
By the thirteenth episode,
Roseanne had won control
of her show,
a new vision of working-
class women and their families.
The thing that was different
about the show was that it dealt
with class in America,
class issues and women
and class,
and women in their families
and working class families.
None of that was ever on TV
before, really.
Okay, tell Dwight to tell
Dad that...
You're not writing this down
at all, are you?
- Yes I am.
- Becky!
All right.
Okay, tell Dwight
to tell dad that I got overtime
tonight
so he has to pick up dinner
for you kids.
Great! Can we get
Chipper Chicken?
You can get Happy Hamster
for all I care.
The series tackled
a range of issues
television had largely
neglected...
Unemployment, alcoholism,
domestic violence,
teen pregnancy, and gay rights.
One of the best ones that I like
the most
for breaking through things was
where Darlene got her period.
What are you throwing
all your stuff away for?
These are girls' things,
Darlene.
As long as a girl uses 'em.
You love all this stuff.
That's reason enough to keep it.
I'm probably going
to start throwing
like a girl now anyway.
Definitely. And,
since you got your period,
you're going to be throwing
a lot farther.
Roseanne topped the ratings
in its first year,
and stayed popular
for all nine seasons,
offering a unique perspective
on American life.
You mean you don't want to spend
a delightful Sunday
with mumsy and popsy?
The two most boring people
on the face of the earth?
Sunday around here is death.
Will Dad have a third
cup of coffee?
Will mom get off the sofa
by noon?
Will you get the hell out
of my house?
I did what I came to do.
I accomplished everything that
I wanted to accomplish
with my comedy.
I wanted to tear down some walls
and make some roads bigger
and move the center left,
and I did.
In Roseanne's final years,
another landmark family comedy
was making its premiere,
but the center of this
show wasn't a strong woman,
it was a rather needy man...
The lovable
but helpless Ray Barone.
Live from New York,
it's Saturday night!
In 19 7 5, "Saturday Night Live"
premiered
and that gave one
young teenager an idea.
In the basement
of his local church,
he and a few friends put on
their own sketch comedy show.
The leader of this troupe
was Ray Romano.
We wrote our own sketches, did
our own props, our own makeup.
It was a success for us.
We heard laughs.
That was really where
I got the bug.
In his early 20s, Romano took
the next step,
trying standup at audition night
at the Improv in New York.
In the beginning of standup,
it's the hardest thing
in the world
because you are not good.
His second attempt at standup
went so poorly,
Ray Romano quit comedy entirely.
He studied accounting,
worked odd jobs,
and watched sports,
while still living
in his parents' basement.
It's Italian mother and all
of that.
They're fine with you
living home.
They're not trying
to push you away.
Finally, two years after
bombing on stage,
he worked up the nerve
to try it again.
I was so depressed,
I got off the stage
and I went home.
To show you how
devastating it was to me,
I went upstairs and I woke up
my mother and father and said,
"Why'd you leave?"
When you're new,
it's just flop, sweat
and you speed up
and you forget things.
Eventually, Ray Romano started
getting consistent laughs,
but it took time to develop
his comic persona.
I was doing material that I
would never do now.
I was doing impressions,
weird, goofy impressions.
I was putting hats on
and glasses.
They were getting crazy laughs,
but as I grew, those things,
I evolved and I found my voice.
After six years
of honing his act,
Ray Romano began landing spots
on comedy specials.
I have a three year-old daughter
and twin one year-old boys.
That's the correct response.
Good, I'm glad.
Normally, single people clap.
"Oh, twins. Yay."
Parents are, "Oh, that could
have been us, oh, my god!"
Standup comics who break
through on the marquee shows
often land sitcoms,
but Ray Romano wasn't
getting any calls.
The weeks and months ticked by.
Four years later,
still no sitcom.
Then Ray made an appearance
on the David Letterman show.
And no one really wants to talk
to you on the phone
when you've
got kids running around.
Every business call I try to
make, I screw up eventually.
"Oh, yeah, the 15th is fine.
I just need to know...
Where do you think you're going
with that cookie?!
Put the cookie down!
Not you. Sorry.
Sorry. I didn't mean
to scare you.
Oh, I didn't know you were
eating a cookie.
Take it easy."
Click.
I had a really good set
on Letterman.
And, afterwards,
I just thought, "Well, here's
the next thing."
Letterman's... there it is,
producers, anybody.
You know, I don't know what else
I can do.
If people aren't going
to bite now, that's all right.
The next week, the call came in.
My wife came out
in the backyard,
I was in the backyard, and said,
"It's the Letterman people."
I pulled up my pants...
Because it's in Queens,
it's an alley way, I'm relaxing.
David Letterman's production
company offered a TV deal.
Ray Romano
was about to make the transition
from standup to sitcom.
We shuffle 'em here,
twist him like this,
give him a flippity floo,
and over here.
We put him back over here.
Keeping your eye on him?
Okay. Where's Gregory?
Aha!
C'mon, it's easy.
Which one's Gregory?
Okay, don't tell your mother
about this.
Ray's sitcom character
wasn't too far
from his standup persona.
But co-creator Phil Rosenthal
added one extra dimension...
Hovering parents, played by
Peter Boyle and Doris Roberts.
Had I not met Phil, I don't
think the show
is as "parent heavy."
And if that happens,
maybe we're not here.
You're talking
to George Lopez for an hour,
which is not a bad thing.
Do you know that the fruit keeps
coming month after month?
He's got us in some kind
of a cult.
It's not a cult, Ma,
it's a club.
What do you mean,
month after month?
For how long?
A year.
My God, are you out of
your mind?
Sorry, I'm so sorry, Dad.
They got me an acting coach
actually in the beginning.
It was funny because they
told me,
"Do you want an acting coach?"
I went, "Well, I guess,"
you know.
They were like, "Because people
are going to be
talking back to you now.
You're not just on stage waiting
for the laughs to die down."
Because Ray Romano was largely
unknown,
the first episodes faced
an unusual challenge...
Finding willing viewers
for the studio audience.
They would get the audience
by paying them.
They would go
to the elderly homes
and they would...
I'm not kidding...
And rehab centers,
and that was our audience.
Yes.
For Romano,
the biggest challenge
of a sitcom was
letting someone else
write his lines.
It was hard for me to accept
that somebody else
was going to write stuff
for me to say.
It was hard for me...
like, saying
somebody else's words
and getting a laugh from it,
didn't feel like I earned it.
"Everybody Loves Raymond"
was a ratings success
from the start,
but it wasn't until
the fourth episode
that Ray Romano felt the show
started to gel.
It was a show about IQ,
and how I was really hoping
I had a higher IQ than my wife.
And my brother was giving an IQ
test to the parents and to us.
I need you to take an IQ test.
What?
An IQ test.
I'm taking
a criminal psychology class
to make lieutenant and I have
to learn how to give an IQ test.
Ah, I think he wants me to
steal third.
It was just, I thought, at that
time, our funniest episode.
I want you to know I think
I might have
made a mistake
with your test result.
Jumbled 'em.
What do you mean?
Well, actually, Raymond,
you were the one who scored
one standard deviation higher
than Debra.
What?
Good night!
And we just hit things and we
hit our stride.
And it was at that moment
where I just thought,
this might work.
Well, now it's a happy marriage.
There was another one where Phil
wanted me to kiss Peter Boyle
on the head
and I had a hard time with it.
I go, "I don't
think he would do that."
To his credit, he made me do it
and it was a great moment.
Romano played Ray Barone
for nine seasons.
When the series wrapped, he was
ready for a new challenge.
Under every comedian
there's a lot of angst in there.
There's a lot of stuff he's
working out.
So why not work it out through
drama also?
Get to kiss a few women.
You go around all mopey, talking
about getting back with Sonya.
Look, if you want any chance
of saving your marriage...
There is no chance.
There's no chance, okay?
I talked to her today and asked
if we should see other people,
she said, "Yes," okay?
You guys, you know, you guys are
always telling me to move on.
I'm moving on, so there's
nothing you can do.
We're seeing other people,
so I can do whatever
the hell I want.
Ray Romano has won accolades
for his dramatic roles,
but like his peers, he can't
resist the opportunity
to return to his roots,
to stand alone
in front of an audience
and make them laugh.
There is a rush to it
that is fulfilling
and a little bit addictive.
And...
for me, it's either that
or hookers.
The husband and wife duo
at the core
of "Everybody Loves Raymond"
was an echo of the very first
TV sitcom
based on a standup act,
the husband and wife team
of George Burns
and Gracie Allen.
I wouldn't let this get out
of the house
because you're gonna
be laughed at.
Aah, let 'em laugh.
They laugh at all
intelligent women.
They even
laughed at Joan of Arc,
but she went right ahead
and built it.
Built, built what?
The Ark.
The Ark was built by a man.
The person who built the Ark
was a woman.
Noah.
How could I know her?
She's been dead for years.
Like George Burns, Jack Benny
translated his standup routine
to television in the 1950s.
He would just go, "Well..."
and we'd be screaming.
Well, on the page,
that's not a joke.
But it was a way he delivered
everything and his timing.
Well, while you're thinking,
do you mind
if I look over the clauses
in the contract?
Let's see, well, here.
Thank you.
There it is, right there.
Hmm.
Hmm.
Jack Benny was
a standup comedian.
George Burns was a standup
comedian.
But their television shows
became
just extensions of
their radio shows.
Standups were largely absent
from TV sitcoms in the 1960s,
but in the 1970s,
the idea got a reboot
when an established comic was
offered his own TV sitcom,
a comedian who first stepped
on stage
more than a decade earlier
in Chicago.
In the 1950s,
a Chicago accountant
began to dream of
something more.
Next to his adding machine
and ledger book,
he kept a notebook, where he'd
jot down funny thoughts.
The accountant's name
was Bob Newhart.
I wasn't thinking of stand-up
or anything,
I'd just get these ideas
and write them down.
Bob quit accounting
to pursue comedy,
but things weren't happening.
Years passed.
I was thinking to myself,
"You have really screwed up,
you really have,
you've screwed up your life."
Eventually a record company
agreed
to record some of Bob's
routines,
but even that was a challenge.
They said, "Okay, we'll record
you at your next night club."
And I said, "Well,
see, we have a problem there.
I've never played
in a night club."
When "The Button-Down Mind
of Bob Newhart" was released,
it instantly shot to the top
of the charts,
knocking Elvis Presley out
of the number one position.
"Now, what's the first
thing we're going to do
before we pull out into traffic?
What did Mr. Adams do before he
let you pull out into traffic?
Well, I mean besides praying,
let's say."
It was thrust upon me and I
wasn't really ready for it.
So I had to learn my craft as I
was appearing
in front of 3,000, 4,000,
5,000 people.
Uh, looking back
on the Mutiny...
I think a lot of
the trouble there stemmed
from the fact that you men
weren't coming to me
with your problems.
Uh, as I explained to you before
we started out,
the door to my office
is always open.
Uh, I think you know why it's
always open.
Uh, that was stolen...
When Newhart was offered
a sitcom in 19 7 2,
the producers wanted a setting
that would maximize Bob's
ability to "listen funny."
The first idea... make him
a psychiatrist.
And I felt, well, I don't know,
psychiatrists kind of deal
with seriously disturbed people,
and much as I would
personally like
to get humor out of it,
I didn't think it was right
for television.
So the character was made
a psychologist,
which still gave Bob plenty
of room
to react to unusual characters.
One time,
Jack Riley created that
great character Mr. Carlin,
and I was having a conversation
with him.
I said, "How did last week go?"
I only had one problem
this week.
Well, why don't you tell
me about it?
He said, "Saturday, I was
possessed by the devil."
Yesterday morning,
I was possessed by the devil.
And of course, being
a psychologist, I would say,
"Well, do you want to go
with that, Mr. Carlin?"
I'm glad we wrestled that
exorcism thing
out for you, Mr. Carlin.
It was cold in there.
From the beginning,
Newhart was insistent
his sitcom character not have
any children,
but the producers pushed back,
creating a script
where Bob becomes a father.
And I said, "I read the script,"
and he said,
"Oh, how did you like it?"
And I said, "It's very funny."
He said, "Oh, we weren't sure
you were going to like it."
I said, "No, there are
a lot of good jokes."
I said, "Who are you going to
get to play Bob?"
He said, "Okay."
Newhart was equally strident
in protecting
his unique speaking cadence,
when producer Lorenzo Music
asked Bob
to pick up
the pace of his dialogue.
He said,
"Bob, could you run some
of the speeches together?
Because
the show is running long."
And I said, "Lorenzo, this
stammer has gotten me a home
in Beverly Hills, and I'm not
about to change it."
W-What can I do for you?
Uh, M-Mr. Johnson, smiling
and whistling while you work
doesn't seem to be a problem
you should
see a psychologist about.
You drive a hearse?
That's the way I talk.
It's not like an affectation.
It isn't something I created
for the character.
That's the way I talk.
"The Bob Newhart Show" ended
in 19 7 8,
but four years later,
Bob returned with a new sitcom.
The setting was different,
but the formula was the same:
Bob reacting to a range of
oddball characters.
What are you confused about?
Love and lust.
See if I have a dictionary.
He was funniest when he was
reacting.
Whatever you did was
funnier if Bob was in the scene.
Do you know what it's like
to feel wild desire?
Boiling passion?
To want carnal knowledge
of a total stranger?
S-Sort, sort of, sort of.
For Newhart, the studio audience
was key to each episode's
success,
a partner of sorts in making
decisions about what's funny.
The writing was better
and the actors were better
because of the live audience.
And the first time we used
Larry, Darryl, and Darryl...
Hi, I'm Larry.
This is my brother, Darryl.
That's my other brother, Darryl.
How ya doin'?
"I threw my back out last week
crawling under houses."
I throw'd my back out last week
crawlin' under a house.
Sounds like a tough job.
He said, "It wasn't work,
I enjoy crawling under houses."
So...
It wasn't a job, I just like
crawling under houses.
And then when they leave,
they get another 20 seconds.
I wish there was some way of
making this up to you.
Dick, there was that dead
possum out by the well.
We'll take it!
Darryl! Darryl!
Without a live audience,
we wouldn't have known that.
Because immediately after
the show,
I went to the writers and said,
"You know, let's write another
script with these guys in it.
The audience loved them."
The most prominent standup
of the television era
also created the most popular
sitcom
of TV's first half-century...
Bill Cosby.
He had comedic power and energy
and skill
in such huge quantities
that he kind of blew
everybody else away.
Cosby started in standup
in the 1960s,
but his breakthrough came
when his first comedy album
was released.
It just struck a nerve.
It was observational,
relatable humor.
It was about family.
There is no pain in
the world greater
than the pain a man gets when he
goes out on a date,
plants his date down in the seat
in the movie,
puts his arm around the chair
in the movie and leaves it there
for two and a half hours.
The blood from his fingertips
drains to the center
of his chest.
"What are you doing?"
"I'm trying to save my wrist,
what do you think?"
It was kind of an epiphany
of, "Wow!
This is so..."
I connected with something
so much,
and it made me laugh so much.
I remember we would just listen
to it all the time.
Yeah, he was kind of, I guess,
if I had to pick a person
who inspired me to do stand-up,
it would be him and listening
to that album.
Bill Cosby's first try at
a sitcom lasted just two years.
More than a decade later,
he'd try again,
this time creating one of
the biggest hits of all time,
"The Cosby Show."
Now, get your utensils, alright?
Alright...
you see, what we've got...
Dad!
Carve, not hack.
Cosby changed, he changed
everything to me.
Number one, he
was a really funny guy
that I'd seen... "I Spy" on up
in his career...
All of the sudden,
he played a great dad.
Vanessa, come here.
Come here!
Here! Here! Here!
See, there is there.
This is here.
Come here.
Dad, Denise pushed us
out of the bathroom
and so the shampoo's
in Rudy's eyes
and she won't let me rinse it
off like Mom said to
and now Rudy might
be blinded for life.
If she is, can we get a dog?
Number one, he was funny,
he was subtle,
and if you noticed, I think
Cosby was
giving everybody else
the comedy.
Boys come by the house
and I bark.
Pretty soon, boys
come by and they say,
"Old Yeller lives up there."
All I'm saying is that some
good ones come by
and some bad ones come by.
That's who I am, Old Yeller.
That's my job.
Cliff, you know at
the end of that movie...
they shot Old Yeller.
As with all of his work,
Cosby was trying to do more
than just entertain,
he wanted his sitcom
to make a difference.
To make a TV series
and make stories
from your monologues,
but these things would...
The adjustment would be to
consciously
raise the awareness
of the viewer.
In other words, what you're
writing, what you're writing,
and what you're saying.
Cosby's decision to present
an affluent black family
was criticized by some who
wanted to see
a more typical setting.
But the critics were vastly
outnumbered by the audience,
who made the show
number one for years.
Do you know what I think
a zerbut is?
I just remembered.
A zerbut is this.
That's a zerbut! Yeah!
Right! I zerbut you.
I zerbut you!
Standup comedy isn't a job,
it's a life.
While many comics are most
famous for their sitcoms,
in the end they always return
to the place they started,
in front of an audience, alone,
in search of one more laugh.
You don't really think about,
"why do I do this?"
It's just, this is what I do.
It's like fish,
I'm going to swim, you know.
It's literally working
without a wire,
that's what I feel like.
You're up on the high wire
and this and that.
You don't have a band to cut to,
you don't have any other...
No one else to help you out.
So it's a very independent art.
That's why I say, that one night
at the Sands,
I became a stand-up comic,
because I said to myself,
"It doesn't matter
what happens, I'll handle it."
The thing that's most gratifying
or touching, whatever,
is a lot of people do come up
to me and say,
"You were my mom,
you raised me."
I thank God for standup comedy
because it kind of set me
on my path, you know?
Actually, I found something
that I was passionate about.
They are the pioneers
of television.
It's not hard to get a laugh.
It's hard to get a laugh
at 8:00 on Tuesday
'cause that's when the show is.
That's what's hard.
A lot of people say funny things
all the time
and get big laughs.
Everyone has gotten a laugh.
Almost.
You know, and...
Socially, wherever.
The hard part is doing it
at a time and place
of someone else's choosing.
That's the profession,
and that takes many,
many, many years.
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