David Steinberg Quotes

All of the writing on '30 Rock' is a joy to go into. It's pretty hot stuff.

I'll always love movies. But there's something I love very much about TV, when you shoot episodes while other episodes are still being written.

'Nathan for You' was my first time being in a writer's room, really.

I did a series called Ned and Stacey for two years for Fox back in the 90s. I was writer on it as well as a producer, and it was very important to me that there were no contemporary references.

The yeshiva where I studied considers itself modern Orthodox, not ultra-Orthodox. We followed a rigorous secular curriculum alongside traditional Talmud and Bible study.

The same issue is happening on a show like Everybody Loves Raymond now, which is in its eighth year and struggling to come up with good stories. It'll be interesting to see how they do. The bottom line is, it starts with the writers and ends with the writers.

The director in TV and the writer and the creator are working very much hand in hand.

I have a pretty big TV background, and I have clocked so many hours in so many writers' rooms over the years.

I write 'Broad City,' so I connect it to me.

The strangest thing about writing a sitcom, is never knowing if it will become anything but words on a page.

The whole thing of doing a TV series, I find it very daunting not knowing where the story's going.

I really like writing television, and I like the collaborative writers room feeling. It's ten people, and you're together every day laughing your heads off.

I'd love to do another television series. I really love the writing process, and as an actor I really like how much you get to examine in television.

Lots of shows are written completely in the writer's room. And I wouldn't say 'The Walking Dead' is that way. There are three levels to it. There's us in the room. The writers going off by themselves. And me working with the writers on a finished script.

And Seinfeld is so quick: we crank out one show a week, and the hours are very reasonable.

I never really wanted to be an actor. And that was the beginning of it, I began to write things down and eventually became a writer on a television show.

I've started a company, called Tall Girl Productions, and we've got our first project that is purely producing, not writing, with a writer named Evan Daugherty. It's for NBC, it's called 'Afterthought,' and it's science fiction-ish. That's fun.

In ten episodes, we were able to do our writers' room first. We did that all summer and wrote for 15 weeks and got everything in really good shape.

When we are in pre-production, this is the best job in the world. Working 10 to 7, sitting around and brainstorming with the other writers, making things funnier and writing and rewriting scenes - that's as fun as it gets.

It was a joy to be a part of the team that created Round The Horne. I was involved with the show at a time of my life when I was very happy., and that happiness overflowed into the scripts.

If you're doing an hour-long show, you're working movie hours, doing a 12-15-hour day. We work three or four hours a day, and get every third or fourth week off to give the writers time to write. It's the cushiest job in Hollywood.

Together with script writers Syd green and Dick Hills, we worked on the comedy ideas for this series.

I use a method approach to all my sitcom work.

Sometimes in theater, they'll talk about your character a lot before you enter, but that rarely happens in television.

I really enjoy working in television and the evolution of a character over time.