Capture a voice that already exists and fictionalize it the way that makes it palatable and makes it part of an ensemble. It kind of gives you a little bit of a leg up in a way ’cause you’re starting with a voice in your head.
And the other way to go is what we had with , which was also a wonderful experience and feel the false starts and miscues and attempts by [co-creator/writer/EP] Bill [Prady] and I to find these characters and that’s a journey into darkness because you really don’t know – you’re hit by lighting one afternoon when you’re sitting in a casting room and Jim Parsons walks in.
But we could have slunk off and called it a show after eight and a half years.
But it didn’t seem like there was any down side to trying to keep the show alive or what people might think of it.
LORRE: I think when I first met with Ashton [Kutcher] I got a sense he was a remarkable young man and a remarkable actor who had a tremendous amount of charisma and skill as well.
I’d never obviously experienced it because we were ending a series and starting one in 22 minutes. Do you feel like the love increased after the debacle? I actually feel what an idiot I was to even say that. If I could eat those words — please." data-reactid="42"AWARDSLINE: You’ve often said that you didn’t feel that the show got the respect it deserved in Emmy season and from critics, even though Jon Cryer won the Emmy a couple of years ago. AWARDSLINE: I wonder, is it better to create shows around established stars like Charlie [Sheen] and Cybill Shepherd or come up with a great concept like LORRE: Well, they’re both valid approaches to development, to try and find the essence of an established star.And, you know, then there’s that casting moment that is a wonderful experience where it’s literally like feeling your hair is blowing back because you’re really okay, you’re in the presence of someone remarkable and can we be this lucky?It was a great experience when that comes together when Jim and Simon [Helberg]walked in the door and Kunal [Nyyar] walked in the door and we were fortunate enough to get Kaley [Cuoco] and Johnny [Galecki], who I’d worked with when he was 12 years old on Roseanne. AWARDSLINE: Well, you talk about a discovery like Melissa Mc Carthy, who might be the most gifted physical comedian to come along in I can’t even remember how long. She has her own comic voice and her own distinctive rhythms.And you want to know if maybe he’s making some of this up. If doubts remain on this score, King Kaufman points out the following in an article posted to (you’ll find it in the archive): (a) in 1993 Barris published another memoir, , in which he says nothing about the CIA or, for that matter, his previous book, and (b) over the years Barris has given varying accounts concerning his age, the manner in which he proposed to one of his wives, and so on.You want to know, to be precise, if I think Chuck Barris is a fraud for claiming, inter alia (I have always wanted to write that his nom de guerre — the name he used to order airline tickets — was Sunny Sixkiller; that in 1953 he took his 75-year-old grandmother on a camping trip to the Poconos, where they spent a wonderful day, but unfortunately when he woke up the next morning she was dead, so he zipped her body into a sleeping bag, tied it to the roof of his Volkswagen, and drove to a police station, but even more unfortunately while he was inside making a report someone stole the car; that at 16 he persuaded a 13-year-old friend of his sister’s to lick his “wee-wee” by telling her it tasted like a strawberry lollipop; that having been hired by the CIA after answering a want ad, he aced his training and was soon infiltrating a civil rights march in Selma, Alabama; that when ABC decided to air a spy; that he kept dodging assignments until his CIA boss said, come with me to Mexico City, it’ll be fun, and during the plane ride casually told Chuck they were going to kill a communist revolutionary, which they did; that after he got back he had three ex-cons destroy the Cadillac of a jerk who was in the habit of pretending to be a talent scout and raping would-be contestants; that the CIA then assigned him to meet a courier in London, where he exchanged an envelope of money for a roll of microfilm, then jammed his silencer-equipped automatic into the courier’s mouth and pulled the trigger three times, whereupon “the man’s eyes remained surprised while the back of his head splattered against the wall of the church”; that he then “greased the bullet-shaped vial [of microfilm] with [Vaseline], dropped my pants, and slid the vial up my ass”; that he then sold ABC ; that he spent ,000 on abortions for various girlfriends; that he killed a bunch of other people (the details blur); but then a lot of his friends started getting killed because there was a mole in the CIA, but Barris got the last laugh by killing the mole, who turned out to be none other than . Of the CIA yarn, Barris coyly says in interviews, “I can’t really confirm or deny it” — about as close as he’ll come to admitting he cooked the whole thing up as a rebuttal to critics who thought his shows were atrocities.We sat in a room and said ‘OK let’s figure out how to do this.’ Going into the ninth season of something and being frightened — that’s a remarkable place to be.I’d never obviously experienced it because we were ending a series and starting one in 22 minutes. There were a lot of false starts." data-reactid="41" LORRE: It was just this hope that we could write something that we could believe in and have fun building and it was actually pretty exciting last June sitting in a room with [series co-creator and EP] Lee Aronsohn and [writers/producers] Eddie Gorodetsky and Jim Patterson and Don Reo.If he deserves at least a humanitarian Emmy for surviving the ordeal of CHUCK LORRE: It wasn’t simply my decision. But by and large there was a family of people that had worked together for eight years and a lot of people were counting on the show continuing for a number of reasons. who had a great deal with it, economically, at stake.One was it was a livelihood for a lot of people and we had a great time on it and had a lot of fun doing the show all the time." data-reactid="37" CHUCK LORRE: It wasn’t simply my decision. But by and large there was a family of people that had worked together for eight years and a lot of people were counting on the show continuing for a number of reasons.If he deserves at least a humanitarian Emmy for surviving the ordeal of .It doesn’t sound like it’s gone according to any kind of plan, and in fact that’s the case, as the sometimes fiery, always funny, veteran showrunner makes clear. who had a great deal with it, economically, at stake.