Being a good television screenwriter requires an understanding of the way film accelerates the communication of words.

Cop shows are by definition melodramatic; they're larger than life. They create very stark contrasts and conflicts emotionally. They're provocative, assuming they grapple with - to the extent that cop shows are mirrors of the culture.

When it is perceived that a show has gone awry, the pressure is staggering, and as a writer caught in that storm, it feels like you are being attacked by jackals.

Television and film are such streamlined story mediums. You can't really meander about, whereas a novel is an interior experience.

There's a charm, there's a rhythm, there's a soul to Jewish humor. When I first saw Richard Pryor perform, I told him, 'You're doing a Jewish act.'

I was raised watching sitcoms, and I love long-form comedy.

Something Borrowed' is looking like a romantic comedy, but it's a comedy. It shines as a comedy; it's definitely not just about the romance. It's an honest depiction of the struggle between the characters. The comedy aspect will make it shine.

People say the comedy is so shocking, but if you read newspapers or look around generally - I mean, obviously I'm not writing about all the lovely things that there are, which I do see as well - but there is a lot of outrageousness around, slightly covered up. And obviously, it's fun to take that a little bit further.