I've written about 15 screenplays and they all sold - they were all sold on pitches.

It's the biggest party in the world, and you have to keep the whole thing percolating, which is difficult because a lot of awards most people don't care about.

I mean, when I started out I was billing per hour, like a shrink because you would sit with somebody and work. But most of it, if it's for a live show it's usually a buy-out. A flat fee.

I think probably the best example was the year Jack Palance dropped down and gave us push-ups when he accepted his award for supporting actor. Then we got to throw away a lot of the script because we just did Jack Palance jokes, because it was just too delicious, watching this old man carry on like that.

I've written about 15 screenplays and they all sold - they were all sold on pitches.

I like that we don't have to come out the first 10 minutes and score, you know, with joke, joke, joke. We can open it in a more novel way and keep playing different pranks as we go through the thing.

I write screenplays that don't get made and pilots that don't get picked up, and I re-write other people's movies, and those are all different kinds of fees.