Richard Burton and Jack Elam offered the same part

It's Friday Question time:

From Chris Andelman:

My question is about writing episodes for guest actors. Do you ever sign them first and then write with them in mind?

Yes, but not always. The CHEERS staff had an idea for a character they thought would be great for John Cleese. He liked the idea and agreed to played it. Peter Casey & David Lee then wrote a brilliant script.

When my partner, David Isaacs and I wrote the Tonight Show episode of CHEERS we had Johnny Carson going in. We kind of insisted on it.

A hot show will attract hotter guest stars. The Zeitgeist Factor is huge. Britney Spears did a HOW I MET YOUR MOTHER. I doubt they could have gotten her for ACCORDING TO JIM. Julia Roberts did FRIENDS. We couldn’t get Iron Eyes Cody for AfterMASH.

It always helps to hear the actor’s voice in your head as you write but most times you’re not afforded that luxury. You write a character and hope it will attract a big name.

In the first year of CHEERS David Lloyd wrote a wonderful episode called “The Spy Who Came In For a Cold One”. It’s about a larger-than-life figure who comes into the bar. Richard Burton had just done an episode of SIX MILLION DOLLAR MAN (I think he and Lee Majors were friends) so we thought, “Let’s get him.” Burton passed. I forget who came up with this brainstorm but we then offered the part to Jack Elam. He was that terrific character actor with the wandering eye who always played scruffy characters, usually killers in westerns. I’m sure it’s the first time the same role had ever been offered to Richard Burton and Jack Elam. Elam passed. And we wound up with Ellis Raab, a rather flamboyant theatrical actor – who couldn’t have been more dissimilar to either Burton or Elam.













For the “Hot Rocks” episode of CHEERS, David and I thought we had Celtics’ star, Larry Bird. So we concocted a story where Rebecca thought he stole her earrings. Bird then dropped out. So we went with the next logical choice -- Admiral William J. Crowe, the Chairman of the Joint Chiefs of Staff.

But if I had to break it down I'd guess you go to the guest star before you write the script 70% of the time. Maybe 71%

From Adrian:

Was hit with a question and wasn't sure how to answer it when they asked "sure it sounds funny, but what's the comic depth of the sitcom?" I'd love to answer that but I keep getting different takes on what exactly "comic depth" means. Can you help define it?

First off, I hate it when people say “Sure, it sounds funny”, or “Yeah, it’s funny but…” Do they have any idea how hard it is to MAKE something funny? “Yeah, you replaced six of his vital organs but…” So right away I want to smack those people. “Comic depth” sounds like one of those actor terms like “emotional center” or “total being”. There’s no such thing. It's bullshit. A better question might be where’s the reality of the joke? The best jokes come from relatable behavior that could plausibly happen.

That’s not to say the behavior can’t be extreme. Just justify it. Characters who are desperate or under tremendous pressure or are love sick (just to name a few examples) will do wacky things, irrational things, unpredictable things. But you buy it if you know exactly what has driven them to such extremes.

My other explanation is that “comic depth” is 2 feet 6 inches.

What’s your question?