Friday Questions

Direct from Dallas, here they are, y'all. 

rockfish has a couple. The first involves Col. Flagg from MASH.

I'm wondering if there was a discussion about turning a smaller part into a more major, recurring role from someone who was essentially a guest star – i.e Col. Flagg, who seemed to be a bolt of energy whenever plugged on the show. Sidney the psychiatrist was used almost twice as much -- obviously a completely different character who brought a different tone -- but to me added little to the 'comedy' aspect of the show.

We loved writing Col. Flagg (the hilarious Ed Winter) but always felt there was a danger in going to that well too often. So we tried to use him sparingly (once a season or every other season). He was incredibly funny but that character was very broad and we didn’t want him to wear out his welcome. Sidney Freedman, the shrink was more real and therefore we felt we could use him more often. We weren’t looking at him to carry the comedy burden. What we loved about the character (played beautifully by Allan Arbus) was how low-key he was, especially in the midst of all the madness. It was a great counter-point.

Were there other characters you wrote who you felt could have had a bigger life in the show or their own show? Thanks -- and loved your work with the M's this year!

Thanks much. You’re welcome to let the Mariners know. I won’t stop you. As to your question – no one that we felt could carry a show of their own. But there were a few characters that I wish we had used more. On MASH – Curly, the Korean scam artist, and Rosie who owned the bar outside of camp.

On CHEERS I was a big fan of Andy Andy. And Diane’s school chum, Rebecca (Julia Duffy) who we used in one episode in season one.

Also Leah Remini playing one of Carla’s kids always scored. You’d think I’d say Nick and Loretta but those characters always felt one-note to me.

On FRASIER, the last season we introduced a ditzy party girl played by Jennifer Tilly and she was hysterical. Wish we had created that character earlier.

Irwin Handleman wonders:

Was there some kind of rule amongst the writers that Sam Malone and later Frasier (in FRASIER) were not allowed to get laid?

I’m not sure what shows you were watching. They both got laid a lot. Way more than the writers.

From Chris:

Why would a writer get a consulting producer and a written by credit in the same episode of a show?

A consulting producer is essentially a script doctor. He generally works one or two days a week, helping the staff to fix the show that’s currently in production.

He would only get a “written by” credit if he wrote the script for the episode.

And finally, from Michael in Vancouver, who pulls no punches:

Why for the grace of God did you write Mannequin 2?! The first Mannequin must have been the most moronic movie ever conceived. It arrived DOA into the theatres. Then you get assigned to write the sequel to this unbelievably turgid floater. No matter how good your script may have been, it was still going to be Mannequin 2. Did you really expect it wouldn't flop?

Well, first off, I think there are those who would disagree that the first MANNEQUIN was such a disaster. In fact, it was a big hit. I’m guessing there will be a few commenters taking exception with your assessment. Be that as it may, why did we take the assignment to rewrite MANNEQUIN 2? The money of course! Why else?

What's your question?