Larry David Profile and Discussion

Danny Diamond

Founder/Admin

Larry Gene David (born July 2, 1947) is an Americanactor, writer, producer, and film director born and raised in Brooklyn, New York. David is the co-creator and writer for the television series, Seinfeld. In addition, he created and stars in the HBO series, Curb Your Enthusiasm.
David, a former standup comedian, was a writer and cast member for ABC's Fridays television series from 1980 to 1982, and a writer for NBC's Saturday Night Live from 1984 to 1985. During his entire time at SNL, David only got one sketch included in the show � the last sketch of the night (where the weaker sketches are usually scheduled). David quit his writing job at SNL in the middle of that season, only to show up to work a few days later to act as if nothing had happened (and stayed through the rest of the season). This event ultimately inspired part of a plot on "Seinfeld".
David graduated from the University of Maryland, College Park with bachelor degrees in history (1970) and business (1971).
On March 31, 1993 David married Laurie Lennard; they have two children and live in Van Nuys, California. Like her counterpart in Curb Your Enthusiasm, she is also an environmental activist. Since May 2005 David and his wife have been contributing bloggers at The Huffington Post.

An interview conducted in 1994

Laugh Factory: I guess the first question should be why you granted us this
interview. You're not known as someone who enjoys talking to the press.

Larry David: You consider yourself the press?

LF: Well, I don't expect to attend any White House news conferences, but you
know what I mean. I'm honored that you've granted us this interview.

LD: You're an attractive man, why shouldn't I let you interview me.

LF: You're too kind.

LD: I'm well aware of that.

LF: Let me start by asking you the obvious questions.

LD: That sounds like an excellent strategy. Fire away.

LF: How has the huge success of "Seinfeld" affected your life?

LD: Huge success. Right, huge success. I'm a huge success, huh?

LF: By most conventional definitions, yes.

LD: The only change I can really see is that I don't have to shop for pants
in stores anymore. I can just call up and they'll bring the pants right
over to my house. That's no small thing. Trying on pants is one of the
most humiliating things a man can suffer that doesn't involve a woman.

LF: Speaking of women, you got married last year.

LD: Yeah.

LF: It's nice you don't wear your enthusiasm on your sleeve.

LD: What can I say. It's a good thing but it's not like I'm blazing any
new trails here. I mean, millions of people are married. I've never
picked up a paper and seen a headline that says, "Man Gets Married!"

LF: You got married in Las Vegas. That seems like an odd choice for the
creator of "Seinfeld."

LD: Why?

LF: Well, you've got this show which is so closely associated with N.Y. and
which defines hip for a lot of viewers...

LD: Where should I have gotten married -- Zabar's? We decided to get
married on the spur of the moment, so where can you go besides Vegas?

LF: Did you gamble while you were there?

LD: Oh yeah, Laurie and I went nuts. Like in that Albert Brooks movie
(Lost in America). We lost everything we had. That's the only reason
I'm still working on the show. It's gonna take years to pay off our
gambling debts.

LF: You're also expecting your first child soon.

LD: That's amazing, isn't it? I've led this empty life for over forty
years and now I can pass that heritage on and ensure that the misery will
continue for at least one more generation.

LF: That's a pretty bleak assessment, even coming from you. I mean
you're a newlywed, your first baby is on the way and you just moved into
a beautiful new house. Surely you must see a ray of light somewhere.

LD: Take it easy. When did you lose your sense of humor? I'm actually
pretty happy.

LF: My first scoop -- Larry David happy!

LD: I must point out however that this happiness only magnifies the utter
waste my life has been up until now. I'd also like to point out that my
new house was nearly destroyed by the Malibu fires the day before we
moved in.

LF: And that would have put you right back in your usual state of despair.

LD: Not really. I was actually kind of hoping it would burn down. I mean,
we hadn't moved anything in yet. Some TV news guy could have interviewed
me the next day going through the rubble and I would just be shrugging my
shoulders saying, "Actually, we had no memories here. I'm just trying to
find this phone number I think I might have dropped somewhere."

LF: Do you ever worry that this new found sense of well-being will sap
your sense of humor out of you?

LD: Believe me, that's not a concern. I have no sense of well-being.
There's no chance the well will run dry. Are you going to ask a lot
more personal questions? I don't think anyone really is interested in
reading about my emotional state. It's not even interesting to me.
I thought you were going to ask me a lot of stuff about the show.

LF: We'll get to that. Your career is somewhat unusual by Hollywood
standards. You didn't come up through the ranks in the usual sense --
writer, producer, show runner. How do you explain your successes?

LD: What, you don't think I've earned it?

LF: Yeah, that's exactly what I meant -- you're a big phony. Look, you
didn't travel the prescribed route to get where you are. You "broke the
rules" to coin a phrase. How did that happen?

LD: Well obviously I was very fortunate to hook up with Jerry in the
first place. The network was already committed to doing something with
him, so I skipped a couple of hundred steps right there. Believe me, if
I had gone to NBC on my own, with an idea, say, about a blind deli man,
I don't think you'd be interviewing me.

LF: That's admirable modesty, but there's more to this than being in the
right place at the right time.

LD: To be honest with you, I think the only thing that really worked in my
favor, is that right from the beginning I really didn't give a (expletive)
whether or not the show was a success. That's not to say I didn't want to
do good work, but I wasn't about to let myself be judged by network
standards. When you're not concerned with succeeding, you can work with
complete freedom.

LF: Since success means so little to you, can we assume your Emmy is just
gathering dust in the basement?

LD: Actually I walk around with the Emmy wherever I go, but I'm very
casual about it. I also like to work it into the conversation whenever I
can like, "Oh, I remember that game, it was two days after the Emmys."
Or "I'm sorry I can't go out tonight. I dropped my Emmy on my foot."

LF: Like that old Jackie Vernon bit about him trying to impress girls at
the beach saying things like, "Excuse me, I seem to have lost my
Congressional Medal of Honor. That's alright. I have another one at home."

LD: (mock angry and bellowing) What are you saying? That I'm ripping off
Jackie Vernon? I don't have to take this. We're the number three rated
show in the whole country and when that syndication money comes rolling in,
I'll buy you and your lousy magazine. I'm Larry David!

LF: That's very impressive. If they ever do a remake of Citizen Kane, you
the man.

LD: As you know, acting is my true love. I have to make sure I keep my
instrument finely tuned.

LF: You're kidding, but you actually have acted in the past from "Fridays"
to "Saturday Night Live" to a couple of Woody Allen films ("Radio Days" and
"Another Woman").

LD: I think the sum total of all those performances is about 20 minutes.

LF: What was it like working with Woody Allen?

LD: Yeah, I was really working with Woody Allen. He was constantly
badgering me for advice. I couldn't be bothered.

LF: You didn't talk to him at all?

LD: What was there to talk about, the nuance of my performance? Like I'm
gonna go up to him while he's talking to Sven Nyquist and ask him which
hand to hold the coffee in.

LF: What about stand-up? Do you miss it at all?

LD: Well, as you know, I'm really only happy when I'm on stage. I just
feed off the energy of the audience. That's what I'm all about -- people
and laughter.

LF: I'll take that as a no.

LD: Yeah, I'd much rather be on stage talking to a couple of retards for
twenty bucks than sitting at my desk thinking up jokes for...well let's say
a few dollars more.

LF: You always had a reputation, deservedly so, of the ultimate comic's
comic. The one guy who all the other comedians would run into the room
to see.

LD: You're saying I sucked.

LF: No, if I had wanted to say that I would have said, "You had a
reputation as a guy who sucked." So you have no pleasant memories
at all from your stand-up days?

LD: Oh sure, in the old days...hanging out with the other comics
exchanging notes...late night bull sessions at the coffee shop...all the
drugs and women.

LF: Really? It's kind of hard for me to picture you as a druggie.

LD: But you have no problem picturing me with a lot of women.

LF: Well...

LD: Because let me tell you something, I've had more than my share. Even
back then, I exuded self-confidence, and that drives women crazy.
Especially in a bald man. Women love a self-confident bald man. Anyone
can be confident with a full head of hair. But a confident bald man --
there's your diamond in the rough.

LF: In your acceptance speech at the Emmys you said, "This is all well and
good, but I'm still bald." Was that just a flip remark or does your lack
of hair really weigh that heavily on you?

LD: It was a flip remark.

LF: Would you ever consider transplants?

LD: No, but you did.

LF: Let's move on. You won your Emmy for your story about masturbation,
"The Contest." That's not a topic usually dealt with on TV, much less in
a sitcom. Why did you decide it would be appropriate for "Seinfeld?"

LD: You write about what you know.

LF: The show has come under some criticism for relying too heavily on sex
and bodily functions. How do you respond to that?

LD: You write about what you know.

LF: Since you're now married and starting a family, should we look for any
changes in the show's content? I've often heard it said that you should
write about what you know.

LD: Yes, we're already planning some major changes along those lines for
next season. Elaine will have twins and be forced to deal with the issues
confronting a working mother in the nineties. Kramer's parents will move
in with him. Jerry will be torn between two women but will end up marrying
the black one so we can really examine racism in an urban environment.

LF: What about George?

LD: George will screw one of his mother's friends. Sometimes you have to
rely on sex and bodily functions.

LF: What are your plans when the show is over?

LD: Hey, I just play 'em one at a time, you know. I don't want to get
caught looking ahead.

LF: Thanks coach. I take it you don't care to discuss your future?

[At this point, for no discernible reason, Larry breaks into a few bars of
"Proud Mary."]

LF: Was that the Credence or the Tina Turner version?

LD: I don't like to analyze my music too much. It just comes welling up
out of the depths of my soul.

LF: There are so many undiscovered layers to you.

LD: It's pretty amazing isn't it? I'm a walking, talking enigma. We're a
dying breed.

LF: What else does the public not know about Larry David?

LD: I'm devoutly religious.

LF: No you're not.

LD: But the public doesn't know that. I think this interview is going
really well.

LF: I guess we've gotten a little sideways here. I blame myself.

LD: That's good because I have no room to blame myself for anything. The
only way I could blame myself for this would be to absolve myself of guilt
for something else and I could never live with myself if I did that. Not
that I was ever really comfortable living with myself in the first place.

LF: I hate to say this, but that sounds a little...

LD: Seinfeldian! See, that's the genius of the show. We're so real!

LF: I thought the genius was that it was a show about nothing.

LD: C'mon baby, get hip. That was last year.

LF: Touche.

LD: Damn! I wanted to say touche. It's a great way to make someone think
they said something clever even if you don't mean it. If someone says to
you, "Why don't you go (expletive) yourself," you simply respond, "Touche,"
and you're out of there.

LF: I get the feeling I'm wearing out my welcome.

LD: Touche.

Miakal

I didn't know Larry David was in any Woody Allen movies. I actually thought of that earlier today for some reason though, how great it would be. They are very much alike (as a lot of Jewish comedians are, the neurotic humor).

This is an interview from The Onion (.com) with Larry David. I read it a few months ago and really thought it was great. Read it!

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Interviewed by Stephen Thompson
April 22nd, 1998

Seinfeld's co-creator talks about the show, his background, and his feature-film debut, the black comedy Sour Grapes.

As a director, writer, and co-creator of the NBC sitcom Seinfeld, Larry David has quickly become one of television's most influential figures. But he walked away from the show two years ago, opting to take time to write screenplays and get some rest. The first result of that decision is his screenwriting and directorial debut Sour Grapes, a black comedy starring Steven Weber and Craig Bierko that contains many of David's hallmarks: the characters who never learn from their mistakes, the observational asides, the seemingly benign situations that bring about outrageous circumstances both tragic and comic. David recently spoke to The Onion about Seinfeld (he recently returned to the show to work on its series finale), his troubled year at Saturday Night Live, and TV shows full of hugging and learning.

The Onion: How tired are you of talking about Seinfeld?

Larry David: It's okay, I don't mind. I can do it.

O: How much have people been bugging you about it?

LD: Um, the maximum. [Laughs.] Maximum bugging is going on.

O: Are you looking forward to that being over?

LD: Yeah, I'm actually looking forward to just getting back to writing the new movie that I'm working on. Because I haven't been able to work on it in a while: I've been writing the show and filming the show, and now I'm going to be editing the show. That's taking up a big chunk of time. You'll like the last episode, I think.

O: How is the process of promoting the movie going?

LD: Um, you know, it's okay. It all depends. If I think somebody liked it, then the interview goes a lot better than if I think they didn't like it. If they liked it, I can tell immediately. Just the way they're talking to me: They'll say something, and then I'll... I used to say in my act, if [Nazi war criminal Josef] Mengele gave me a compliment, we could've been friends. "Larry, your hair looks very good today." "Oh, really? Thank you, Dr. Mengele!" So, if anybody has a little compliment or praise about the movie, we're good pals. But on the other hand, I see some people, and they don't mention it at all, and I get a little tighter.

O: Well, some people in our office liked it, and others didn't.

LD: Well, that's okay, you know? Not everybody is supposed to like it. First of all, a lot of people go and think they're going to see Seinfeld. And it's not Seinfeld; it's different. The writing style is the same, obviously. How could it not be? But it's a completely different story; the story works on its own. It's different characters, you know? Come on, give me a break. You're not going to like it because you're expecting Seinfeld? It's not Seinfeld. He's not there. Jason [Alexander] isn't there. Julia [Louis-Dreyfus] isn't there. Kramer (Michael Richards) is not there. Kramer isn't gonna be in the movie. I don't know what people want. I mean, what's not to like? It's a good story. It's funny. What's the big deal?

O: Sour Grapes is being rolled out pretty slowly, opening in just a few cities to start. How do you feel about that?

LD: Oh, I'm fine with that. I don't care. It doesn't matter. I don't like to make a big splash anyway. I like to be quiet, and let people find me rather than having to shout at them. It has a good chance to do well; it's only starting off in four cities, but they'll put it in a lot more.

O: What kind of budget were you working with?

LD: I think it was $13 million.

O: It seemed like a fairly modest production. The locations were pretty simple.

LD: Yeah, yeah. I don't even know why it cost that much. It seems like it should have cost like five.

O: What are you working on right now?

LD: I'm working on another script. Another black comedy.

O: What's that one about?

LD: I'm right in the middle of it. It's too early to talk about, really.

O: So you're sticking with movies right now? Not a whole lot of TV stuff?

LD: Yeah, I doubt I'll go back to TV for a while, if ever. It doesn't seem like it. I think I'm pretty much done with it.

O: Seinfeld has been successful in spite of being removed from the mainstream of people hugging and loving one another and learning a lesson at the end of the day...

LD: Yeah, yeah. [Laughs.] I was always sort of struck by that garbage, you know? How they thought they had to impart some sort of lesson at the end of these shows, where we can all take something from it and incorporate it into our daily lives, as if we were going to go out and emulate those characters the next day. I don't know. That was certainly something I didn't want to do, obviously.

O: How did you feel about working within those confines? Not that you followed those rules, but is that why you wouldn't want to go back?

LD: No, I had pretty much total freedom. Except for some obscenities, I could pretty much do whatever I want—although I couldn't have done any of the stuff I did in this movie on the show. I didn't feel confined at all. We pretty much did whatever we wanted to do. After we did "The Contest," we were open to do anything. Yeah, TV worked out... The thing is, it wasn't my ambition to go into television. The whole thing was a fluke.

O: You were a comic at the time the series was conceived, right?

LD: I was a comic, yeah. I was having fun doing that. I was in New York; I was okay. And then everything took a right turn, and I'm sitting here.

O: So why wouldn't you ever want to do television again?

LD: The grind is too much. If you're really a perfectionist about what you're doing, it's just too much. It's seven days a week once you start production, and I get very involved in every aspect of it. I just don't think I want to commit myself to that kind of workload again.

O: Did you stop doing stand-up when the show hit?

LD: Yeah. I stopped, and you could hear that big sigh of relief all over the country.

O: Did you tour comedy clubs, or...

LD: No, I never really did the road too much. I had a taste of it, and I hated it. I didn't like being away from my house. [Laughs.] When I cried at night, I wasn't in my own bed. I didn't do the road too much—just New York, mostly.

O: Do you have any thoughts of going back to that?

LD: Yeah, I'm having some thoughts. I gave a funny speech at my wife's birthday party, and I'm thinking, "Hey, I've still got it." So maybe I'll go back and torture the people some more.

O: You worked on Saturday Night Live for a year [1982-83]; I have to ask for the obligatory SNL failure story, the worst nightmare you encountered there.

LD: My nightmare is that when I worked on the show, nobody talked to me. I had an office that faced the elevator, and hordes of people would go out to lunch, and my door would be open, and I would be sitting there looking at them, and I'm waiting for the wave of, "Come on, Lar, we're going to lunch! Come on with us! You want to have lunch with us?" No. It was the only place I ever worked where I really, truly did not make a friend. I couldn't believe it.

O: Is it true that you worked there for a year and only got one sketch on the air?

LD: One sketch. It was the last sketch of the night, the one that's on at, like, five to one in the morning. I had a lot of them cut after dress rehearsal. I hated the executive producer, Dick Ebersol. In fact, one time, he had cut my sketch, and I went into his office. He was sitting in his director's chair with his name on the back, and he had his headphones on, waiting for the show to begin; it was 11:25, five minutes from showtime. I walked up to him, and I said, "That's it, I quit! The fuckin' show stinks! I've had it! I'm gone! I'm out of here! Goodbye!" And I walked home, and on the way home, I'm adding up all the money that I'm going to be losing. And I'm going, "Holy cow, this thing could cost me like $50,000. What am I, nuts? I could live for another two years on that." And then I got home, and I said, "Shit, what the hell am I going to do?" And I decided that I was going to go in Monday morning and pretend it never happened. And, of course, I wrote about it on a Seinfeld show.

O: So, what happened?

LD: Well, I came back in, and nobody said a word. The writers looked at me kind of funny, like, "What are you doing here?" But [Ebersol] never said a word to me. I just went into the meeting like George did, but George got caught.

O: You lasted the whole year?

LD: I lasted the whole year, yes.

O: What was the sketch?

LD: It was... I actually used an element of that sketch in one of the shows. It was a sketch about an architect who was showing his plans to a developer. The developer is looking at the plans; Harry Shearer is playing the developer, and looking at the plans, going, "Yeah, everything looks good. What's this?" And the architect looks over his shoulder and says, "Oh, that's the elevator." And the developer goes, "No, no, this thing here." He goes, "Oh, that's a stool for the elevator man. It pulls out of the wall." And he goes, "A stool? I don't want my elevator man sitting on a stool!" And they get into a big fist-fight, and that's the end of the building. I did a [Seinfeld episode] where they had George feeling sorry for this security guard, that he wasn't sitting. He had to stand all day in the store, and George finally bought him a chair. I remember the conversation in the coffee shop between George and Jerry, with George deciding what chair he should bring in. [Laughs.] They're going over the different kinds of chairs that the guy could sit on. I really love that scene. So I got to incorporate an element of that sketch into the show.

O: And then, of course, the security guard falls asleep in the chair...

LD: And the store gets robbed. That was the perfect ending to that, if I do say so myself. That was the Maestro episode.

O: Was that the one that introduced the Maestro character?

LD: Yeah, the guy wanted to be called Maestro. See, that's the thing about writing for Seinfeld: You're watching an interview on TV, and they're calling the guy Maestro. And it's just funny. Where else are you going to be able to write about that?

O: Do you miss it?

LD: I know I'm going to miss writing it. I'll miss working with Jerry. I'll miss the people and everything, but I've been gone for two years. I'm obviously more adjusted to it than the others. But I think they'll be fine. I think that what people imagine they're going through is much worse than what they are going through.

O: People have seen a lot of tearful finales, where the cast of Cheers takes 20 minutes to take bows and hug and cry, and they do a special commemorating 11 years of laughter... Maybe they think Jerry Seinfeld is somehow going through the same emotional upheaval.

LD: Well, he did get a little emotional, but I think he's fine.

O: There have always been discussions about the show being based on your experiences. How much is that actually the case? How much is George Costanza really you?

LD: He's very much like me. [Laughs.] And I'm not ashamed to admit that. He's very much like me; there's no doubt about it. I can't think of too many things that he does or thinks that aren't things that I have thought of or wanted to do, or have done. And I'm not ashamed of that. I sort of bristle when I hear people, like, "Oh, he's a putz, he's an idiot." "Well, what are you saying that for?" But there are elements of me in the other characters, too; there's just a little bit more in George. He is sort of like me.

O: You said you don't like Sour Grapes being thought of as like a Seinfeld episode...

LD: I just don't want people to go in expecting a Seinfeld episode.

O: Because Craig Bierko's character has certain elements of George Costanza, and even Kramer.

LD: Well, any character I write is going to have part of George Costanza, and part of Larry David. You know, that's just the way it is. There are parts of me in the other characters, too. There's just no getting around that. Now, if I chose to be in the movie, people wouldn't be saying, "It's George Costanza." They'd be saying, "It's Larry David acting in the movie." And it's possible that I might, at some point, do that.

O: Well, you've done acting work. You're in Sour Grapes, for that matter.

LD: I was. You saw that incredible performance. In a way, I am writing myself a lot of the times. I'm just not in it.

O: In the movie, you've got a sitcom called Guys & Gals, which is, of course, a pretty straight-ahead jab at Friends. What do you think of Friends?

LD: Somebody just asked me this before, and I told him, off the record, that it's extremely derivative. You can put it on the record; I don't care. It is extremely derivative, isn't it? Is that just me, or am I crazy? Without Seinfeld, would there be a Friends? Would that show have ever been done without Seinfeld? That format, what they're doing? No.

O: And it's funny that when all these other shows popped up, people called them Friends clones.

LD: Yeah. I really take issue with that. I'm glad you noticed that. That really annoys me. Friends clones. Like that's not a clone.

O: What TV shows do you like right now?

LD: Um... The only TV show I watch with any regularity, believe it or not, is Party Of Five. My wife got me into it. It's all hugging and learning, and I can't get enough of it. That's the only one I watch with any regularity. The others... I can't really say I watch anything. I catch little snippets and pieces of things from time to time, but I never really sit down, like, "Oh, this is on, and I should watch this or watch that." I don't really watch anything.

O: Seinfeld has had these sort of milestone episodes that weren't just milestone episodes for the show, but for television. Like "The Contest" and Susan Ross [George Costanza's fiancée, played by Heidi Swedberg] dying of envelope-glue poisoning. I had read somewhere that that episode was a sort of "Fuck you" to the network. Is that true?

LD: Yeah, I read that, too. And why would I say "Fuck you" to the network? All they did was put this show on the air and let me do whatever I wanted to do for seven years, without any censorship at all. Why would I possibly say "Fuck you" to them? It's insane. I wanted George to be happy. [Laughs.] It all came out of my desire for George to be happy, and I thought the irony of him being too cheap... She's so thrilled about the wedding invitations. You know what people are like when they make out wedding invitations. And she was flying so high from that, but George didn't want to do it. He didn't want to spend that much money on the envelopes; he's always been a little tight with the dollar, so he got the cheapest envelopes he could get. And the irony of her licking these envelopes, and getting toxic poisoning from it... How could you pass that up? You know? I mean, come on! It was the perfect way to end that season. Perfect! No, I don't regret a moment of that. My mother hated that episode when it came on, as did a lot of people; we got a lot of letters about that. But my mother later saw it syndication. She called me up, and said, "You know, I have to say, I really laughed a lot. It's really funny." Now she loves the episode. So, ha ha.