We use (narration) as he's just telling us a story. He could be in a bar somewhere telling the story to somebody. We just happen to be seeing it.

236

We take the perspective that the episode has already happened to him and he's sitting back reflecting on it, ... he understands the stuff he's done is wrong.

202

It should be quite a (messed)-up shoot.

195

You can't ignore that the stakes are high for NBC for this show. They're excited because they need something to work.

188

I still felt it was a series, so I woke up every morning at 4:30 before I went to my other job and I wrote. (Eventually) I kind of thought it was over. And then I had lunch with some people at NBC who complimented me on the script and I said, 'Well, let's do it' and to their credit they decided to do it. It was nice that it came back to life.

132

It's exciting that the network feels we're strong enough and the show is quality enough to be put in a slot that has housed a lot of great comedy. [But] as far as affecting our work, I wake up every morning and go to bed every night absolutely terrified that I won't do a good episode of TV, and I'm going to feel that way whether we're on Tuesdays, Thursdays or Sundays at 10 am. It doesn't matter.

130

We try to find big, funny moments that are going to make people laugh and talk about the next day, but if we can get people emotionally invested in these characters as well, (they're) going to want to come back week after week.

85

He would wait until the second half of the high school football game so he could go in for free.

72

If you can walk away from a comedy thinking it was funny yet also feeling good about the people you watched and the journey they went on, then all the better.

39