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The Treatment

Daniel Goor and Michael Schur: Brooklyn Nine-Nine

The Treatment

KCRW

Arts

4.6639 Ratings

🗓️ 5 February 2014

⏱️ 29 minutes

🧾️ Download transcript

Summary

"Brooklyn Nine-Nine" co-creators and comedy veterans Daniel Goor and Michael Schur on "MASH," Stephen Merchant and "Hill Street Blues."

Transcript

Click on a timestamp to play from that location

0:00.0

From KCRW, Santa Monica and KCRW.com, this is The Treatment.

0:14.7

Welcome to The Treatment. I'm Elvis Mitchell. If you saw this year's Golden Globe, you were probably as surprised as the creators of the new Fox Comedy, Brooklyn Nine, and they have a great comedy history working together on Parks and Rec.

0:27.7

Going back to, I guess, the American office, my guest of Michael Scher and Ann Gorth.

0:31.7

Guys, thanks so much for being here.

0:33.1

Thank you so much for having us.

0:34.0

Thank you.

0:34.4

This is really exciting.

0:35.3

Because one of the things that you have both been kind of on the ground floor for is the

0:39.3

recreation of comedy in the 21st century, the idea of comedy being on one camera

0:44.3

straight to camera, the documentary style, which I think has been the one revolutionary thing

0:50.3

that's happened in television in the last 10 years.

0:52.3

Let's talk about that a little bit. Yeah, I mean the real credit should probably go to Ricky Jervais and Stephen Merchant

0:58.0

because the Office UK was massively influential over here.

1:03.4

But the thing that you guys do, the American TV, we didn't get so much in the British office,

1:07.8

is the rack focus that really signals that it's documentary.

1:11.8

I mean, there was documentary style there, but there was a spin that made it feel much more like

1:16.5

documentary.

1:17.8

Yeah, though when Greg started the office, he wanted to write it like a documentary, shoot it like a documentary.

1:24.8

His idea was the episodes would be like 45 minutes long, literally. The first

1:29.9

cuts of episodes would be incredibly long. And then like a documentary filmmaker, he would boil it

1:34.4

down and edit it down and kind of distill it. It was very, very strict in terms of the rules of

1:38.9

the documentary at first. It was very, you couldn't put a camera where a camera wouldn't actually

...

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