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    I can't have reasons. We just find that sail from reality is the most material. Yeah, well, I couldn't find any couples, so it was either this or gift-bag-of-old-knitting-stuff. In the pilot, you ask Ben Falcone about word his real-life up Gloria McCarthy to star in a promotion you wrote called Mr. You product, I wanted to do you already but I bound, ya know.

    We certainly had no qualms about making fun of ourselves and using Dorf on dating as the butt of the joke. The reality of this business is you do come up with ideas a lot of the time, and for some reason if no one cares about you or someone else is doing a competing project, these ideas fall by the wayside. We just find that pulling from reality is the funniest material. How many of those details do you think were pulled from real life? We never had an executive go crazy, and we never bald-faced lied and said Melissa was participating in the movie, those were creative things just for the show.

    Larry, your character on the show is often doing things that do sabotage or hurt certain opportunities early on. Do you think you have been that guy in the past?

    I always kind of feel like I need more balls in the air than Hugh and Rachel. I just feel that most of them are not gonna pan out so I need to have stuff going on. So I think there is a desperation there Dorf on dating lent itself to a lot of good storylines. How was it to have an on-screen relationship? Was it weird or did it feel natural? So there is a comfort factor. And TV Land is really encouraging of exploring the relationships on the show and not just have Hollywood as the drive of the show. I think that ended up being the part of the show we loved the most, the Hugh-Rachel relationship, and later on in the season Leslie Bibb comes in and creates some pressure there when she starts dating Hugh, and then Larry and his wife.

    We started having a lot of fun exploring all the dynamics of all of those people. We got the opportunity to write about 52 episodes of The Looney Tunes Show with very little input from the network or the producers, and we basically learned how to write a sitcom and we learned how to find our voice as writers. And Mike Tyson Mysteries is one of the most fun gigs in the world. How was it to write for The Looney Tunes Show and for iconic characters like that? At first it was a bit of a challenge. I still think Daffy Duck is one of the funniest characters in the world and we loved writing for him in that show.

    We broke down the characters, took away all of their typical aspects. I think one of the best things in the world is getting to watch Norm Macdonald, Jim Rash, and Rachel do voice records together. I think just the voice record sessions have been worth everything. To be around Norm Macdonald is just amazing. And Norm is just a genius, it is thrilling. We pinch ourselves every time we are around him. For me, when we got our Looney Tunes job and I got car insurance. So that felt pretty good. I was very fortunate early on, maybe some years ago, I landed a Writers Guild job on the Cedric the Entertainer Presents variety show.

    I mean, is that woman capable of talking about anything else but sex? Well ya know, earlier she was talking about geography. Joey, she was listing the countries she's done it in. Well, I think we all learned something. I'm never gonna find a boyfriend again. I'm gonna die an old maid. You're not gonna die an old maid.

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