Seinfeld Reference: The Complete Encyclopedia (7 page)

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WRITERS & DIRECTORS

Script Ideas

"Seinfeld" is notorious for its ability to incorporate current events into the scripts on the spur of the moment.  The flexibility to allow last-second script changes made the sitcom more real-to-life and conceptually avant-garde.  For example, the writers incorporated current events: the O.J.  Simpson slow-speed highway chase in a white Ford Bronco; bloody glove exhibit at the criminal trial; Nancy Kerrigan/Tonya Harding fiasco; McDonald's lawsuit for serving excessively hot coffee; and Sotheby's auction of John F. Kennedy and Jackie Onassis memorabilia.

One timely event was the 1993 New York City mayoral election.  With the election results coming in on Wednesday morning, November 3, 1993, in a narrow margin of victory for Rudolph Giuliani, the "Seinfeld" cameras were at both election headquarters to tape a victory speech where the mayor vowed to fully investigate the non-fat yogurt scandal.  The episode, appropriately titled "The Non-Fat Yogurt," was edited and aired the following night.

Many of the zany script ideas, whether plots or subplots, indispensable parts of the story line or a nugget of humor, were real-life experiences of the creators or staff writers.  In the hilarious episode involving a game of Trivial Pursuit, George denies the Bubble Boy a victory because the answer card has a misprint of "Moops" instead of "Moors."  This inspirational, and uproarious incident, actually occurred to a writer while playing the "Jeopardy!" board game (9th Edition, 1972).

When penning scripts, the writers usually searched for life's embarrassing moments and then sought ways to resolve the trouble through lying and scheming.  However, the characters have complete honesty and reality, so the writers explored the darker side of their personality, such as the conniving and self-centered objectives.  Moreover, the writers search for annoying situations everyone has experienced--finding a parking space, locating a car in the parking garage, waiting for a table at a restaurant, etc.--and transforming this annoyance into an entire show.  This is an entirely novel concept in situation comedies.

When compared to other sitcoms, "Seinfeld" writers created an art form out of finding parallels between story lines and feature films.  For instance, a few of the silver screen adaptations include
Midnight Cowboy
, Jerry comforts an ailing and nose-bleeding Kramer on a bus ride to another town;
JFK
, Roger McDowell's magic loogie from the gravelly road hits Kramer and Newman; Oliver Stone's
Nixon
, the impeachment of condo association president Morty Seinfeld;
A Room With a View
, Elaine dating the Maestro;
Basic Instinct
, Newman interrogating Jerry on a mail fraud allegation;
Apocalypse Now
, Elaine's travails in Burma searching for J. Peterman;
The Godfather
, dialogue about being pulled back in;
Thelma & Louise
, Kramer and a car salesman test the limits of an empty fuel tank; and
Cape Fear
, nightmare scene of Uncle Leo's vengeance on Jerry.

Similarly, the writers' obsession with movies included references to legitimate films and fictional silver screen gems.  In reality, the episodes paid homage to
Plan 9 From Outer Space
,
The English Patient
,
Beaches
,
Schindler's List
,
A Few Good Men
,
Scent of a Woman
, and
The Net
.  In contrast, the list of fictional movies is far greater:
Chow Fun
,
Chunnel
,
Mountain High
(with Kevin Bacon and Susan Sarandon),
The Muted Heart
(with Glenn Close and Sally Field),
Ponce de León
,
Prognosis Negative
,
Rochelle, Rochelle
, and
Sack Lunch
.

One of the show's most original aspects is the intricate plot weaves of the earlier episodes.  Typically, there were three or four separate story lines, yet somehow the writers found a way to tie them together at the end of each show, e.g., "The Subway," "The Red Dot," "The Opera," or "The Alternate Side."  In contrast, when the scripts became broader, it became increasingly difficult to interweave the plots, e.g., "The Maestro," "The Secret Code," "The Checks," or "The Chicken Roaster."

The creators used their lifetime of personal experiences to formulate plot ideas and characters. For instance, Jerry Seinfeld went through the same experience with his real-life sister regarding the subject of a nose job. She ultimately underwent the surgery, and it became a great plot in “The Nose Job” (episode 26).  Larry David remembered a real-life encounter with an intimidating writer, Richard Yates (
Revolutionary Road
(1961)), and used this persona to craft Elaine’s cantankerous father, Alton Benes (episode 8).

Of course, some script ideas were forced upon the creators. NBC Executive Warren Littlefield urged the creator to reunite Jerry and Elaine to create romance, much like the success of Sam and Diane in “Cheers.” Littlefield should have been more specific because the result was “The Deal” (episode 14), where Jerry and Elaine implement a sexual element to their friendship without romantic entanglements. After this episode the concept of a romantic relationship was never revisited.

Continuity Errors

Although the "Seinfeld" production team made great strides to ensure consistency in character and story line development, background histories, and set details, inevitably there were a few mistakes, which are known as continuity errors.  The most notable continuity error was the apartment layout and design, and the building tenants' apartment numbers.  Jerry's apartment transformed from a studio to a one-bedroom, and his apartment number changed three times.  Moreover, Kramer's apartment was not originally across the hall, and Newman's apartment number was frequently mislabeled.  On the set, despite a watchful eye for detail, there were also flaws, such as placing Dumpsters behind buildings and liquor stores selling beer (neither of which occur in New York City).

Script Writing

Unlike most sitcoms written by committee, "Seinfeld" relied upon the writers to generate ideas and the creators to fine-tune scripts.  Prior to writing, the staff writers had to pitch their ideas to Larry David.  Each scene had to be inherently funny in its description, with emphasis on situational humor, more than words.  After the script was turned in, the creators would often engage in massive rewrites until it was comedically perfect.

Although there was considerable input by staff writers and cast members prior to filming, the final script and editing rested firmly on the shoulders of the creators.  Unfortunately, this often resulted in discontent among staff writers who witnessed co-creator David usurp control and monopolize the entire process.  Frequently, the originating writer became merely a cog in the "Seinfeld" comedy machine.  It is undeniable that David immersed himself into every aspect of the show, from rehashing lines to positioning camera angles.  He was considered the only irreplaceable element due to his invaluable behind-the-scenes input and artful staging and direction.

The omnipotent co-creator also penned 60 episodes and rewrote numerous other scripts.  David could not live with a bad show, despite equating the writing and editing process to natural childbirth because of its turmoil and painfulness.  Through an artful pen, he is credited for making the series more mainstream and palatable, yet conceptually divergent and quasi-controversial.

David is a perfectionist, from broad concepts to the smallest details, but a pleasant authoritarian.  As the heart-and-soul of the series, he became the filtering system of all dialogue and activity, yet remained reliant upon Jerry Seinfeld to interpret the ideas and provide comedic rhythm and delivery.  They became the sole measure of quality control to prevent the ideas from becoming homogenized by a repertoire of staff writers and network executives.  Much like David, Seinfeld was also a stickler for details, and would not approve the script until all the kinks were ironed out.

During rehearsals, a stone-faced Larry David scurried about the set like a mole avoiding the sunlight to observe, critique, and offer constructive criticism.  Each script was written and rewritten until every line fit, even moments before filming.  For example, in "The Junior Mint," where Jerry forgets his girlfriend's name, the original script had it rhyming with a car or a poet.  It was subsequently changed to rhyme with a part of the female anatomy, and the name was changed to Cloris.  After filming the episode, however, the writers followed an audience member's more humorous suggestion of Delores.  When the final scene was re-shot, the new name was incorporated into the episode.

In some instances, the script had no definitive ending, even after taping commenced.  In once instance, "The Parking Garage," the writers decided late into the taping to have the characters drive around the parking garage unable to find the exit.  After filming into the early morning hours, the cast prepared to shoot the final scene.  When they entered the vehicle, the battery was dead and the car would not start.  The creators loved the modified ending and left it in the show.  By watching closely, one can observe the bobbing heads of Jason Alexander and Julia Louis-Dreyfus as they laugh uncontrollably at the unexpected resolution to the show.

There is an unwritten understanding on the set--the writers do not act, and the actors do not write.  In other words, if the script is not inherently humorous on paper, the writers rely upon the actors to make the situation funny.  As a team, everyone assists each other in discerning ways to improve the scene or search for a more humorous way to express the line.  Everyone wants the best possible episode so individual egos are subdued toward this ultimate goal.  And since the cast share a common sense of humor, they unselfishly share it with each other.

There was also considerable input by the cast, recurring regulars, and guest performers.  Some of the funniest lines or outrageous physical comedy originated from actors brainstorming ideas.  For instance, when discussing arguments between George Costanza and his father, Jason Alexander suggested a slap to the forehead.  When the physical assault was implemented, it received hysterical laughter from the audience.  Similarly, the same improvisation changed the way Kramer enters Jerry's apartment.  When Michael Richards inadvertently added the routine during rehearsals, the producers loved the physical comedy pizzaz and incorporated it into the script.  The trademark "Kramer Slide" became a fan favorite and another distinguishing characteristic of the show's popularity.

In "The Contest" episode, a scene has George's mother complaining about being hungry but George does not want to miss a patient's sponge bath on the adjacent hospital bed.  Instinctively, Jason Alexander tossed a box of Tic Tacs that he had in his pocket, and the scene brought uproarious laughter.  It was subtle comedic nuances that made the show hilarious.  The entire production team was not above listening to constructive criticism and incorporating suggestions for improvement.

The end result was a script that the cast found funnier than the audience, and the riotous rehearsals illustrate their mutual cohesiveness and synchronized comedic sensibilities.  In "The Junior Mint" Louis-Dreyfus is unable to keep a straight face, and audience members can observe her back to the camera and body gyrating from laughter.  Numerous other episodes have the cast smiling profusely or laughing to themselves because the scene is too humorous to keep a straight face, e.g., "The Boyfriend," and "The Raincoats."

Although the writing is solid and craftily prepared, it does not fit the traditional definition of writing excellence.  Since the scripts are dialogue-driven, the limited number of bona fide one-liners disqualifies it from serious consideration as a writing classic.  Moreover, the scripts are unorthodox in configuration.  A typical episode has a single story line, plot development, dramatic tension and amicable solution.  In contrast, "Seinfeld" often unleashes four story lines in a 22-minute episode with each plot evolving simultaneously yet intricately interwoven to intersect in the end, often accentuated with an ironic twist.

Writers

When "Seinfeld" was finally signed to a 22-episode commitment, the creators hired three staff writers to share the burden of creating plots and writing scripts.  The first three, Peter Mehlman, Tom Leopold and Elaine Pope ("Fridays"), never had career aspirations to write sitcom scripts, but possessed the angst of New Yorkers and intrigued the creators with their cynical, sarcastic attitudes.  During these teething years of "Seinfeld," the production team was basically newcomers to the television comedy arena.

The creators used to review unsolicited scripts (and even consulted with struggling writers for suggestions) but as the show's popularity burgeoned and the volume became thousands per month, they changed the policy.  "Seinfeld" only allowed solicited scripts by writers with agents, and by series end declined all submissions.  The creators restricted writing to an inner circle of talent with fresh minds and creative instincts.  Eventually, most of the writers were Harvard graduates under 30 years of age with prior comedy writing experience for such shows as "The Simpsons," "The Tonight Show with David Letterman," or "Late Night with Conan O'Brien."

Peter Mehlman.
  Peter Mehlman (b. 1957) earned the distinction of penning the first freelance "Seinfeld" episode, "The Apartment," en route to 21 others.  The eventual writer/producer of "Seinfeld" was a free-lance magazine writer and journalist who worked for the
Washington Post
and ABC Sports.  At the time, his only credentials were authoring a sardonic
New York Times
article on star spotting.  Despite lacking any experience writing dialogue, Jerry Seinfeld hired the fledgling writer to the staff.  His biggest challenge was writing for Kramer.  Many episode plots came from actual experience, but the most notorious, "The Implant," incorporated three of Mehlman's experiences–double-dipping a chip, Salman Rushdie look-alike, and personally requesting a death-in-the-family airline fare.  Mehlman became a key player after Larry David's departure, but quit the following year to become a writer/executive producer of the pilot "It's Like, You Know..." for Dreamworks SKG and ABC.  His favorite episodes are "The Hamptons" and "The Yada Yada."