John Riggi may well be the most successful sitcom writer you’ve never heard of. Well, you’re hearing about him now, gang, so we suggest you do what we did – read and learn. Read and learn:
by Matt Siegal
John Riggi has written for, among many other shows, The Larry Sanders Show, 30 Rock,and the first and second seasons—nine years separated—of HBO’s The Comeback. He spoke with us about his two decades in the industry: about how TV writing has changed; about how TV writers have changed; about working in the industry while gay, then and now; and about coming back, again, to HBO.
My way into television writing was so atypical, because I started out as a standup and that’s what took me out of Ohio to Chicago. I started working a lot at the Improv in Chicago, and I met a lot of L.A.-based comedians there and one of the main ones, strangely—I say because of our different political leanings—is Dennis Miller. We worked together for a week and really kind of keyed into each other, and he was very interested in me and he just kept saying you’ve got to move to L.A., you’ve got to move to L.A., and so I did. He had said he was potentially going to get this talk show, and would I be interested in writing on it, and I said sure.
I wasn’t really interested in political humor, so I kind of pushed through the idea of doing these desk pieces that became longer and longer and more complicated and became little narrative pieces. And then that show got canceled after eight months. I had read for a part on a show that Garry Shandling was doing called The Larry Sanders Show, and I got the part, and then through a very long story that isn’t important, I ultimately didn’t get the part. The Larry Sanders Show was just about to start up at the same time that The Dennis Miller Show was canceled, so I wrote a script, and I didn’t know what I was doing; I had never written a script before in my life. My script got to Garry and I went in and had a meeting, and then heard nothing, and was kind of giving it up. And then I met him at Campanile [a Los Angeles restaurant] where HBO was having a party for the Cable Ace Awards. My One Night Stand for HBO (a now-defunct stand-up comedy series) was nominated for an award, and my husband David said, “Put your tux on and go down to Campanile and find Garry and talk to him about this job.” So I did, and I finally got to Garry, and he said, “I’m just really worried; I’m not sure you’ll be happy being a writer on The Larry Sanders Showbecause you wanted to be an actor,” and I said, “I just want to work on it—I don’t care.” And that was on a Sunday and then that following Wednesday I got hired.
What was your brand of humor?
It was very long form, like I didn’t really have jokes. One time I got this gig where I got to open up for two weeks for Diana Ross in Las Vegas and I was so excited. The first night I did it I bombed terribly, and I realized that the Las Vegas audience didn’t want to get to know me, they just wanted me to do some jokes and get off, and so I went back to my room that night and thought, “What setup punchline jokes do I have?” So I just extracted everything else that wasn’t a joke and just went out and told jokes for ten minutes and it went much better.
Your first writers’ room was Dennis Miller. Was that a boys’ club?
Yes, the only woman was Leah Krinsky, but it was an amazing writing staff. It was Max Mutchnick and David Kohan (creators and Executive Producers of Will & Grace), it was Eddie Feldman, it was Kevin Rooney, it was Drake Sather, it was Ed Driscoll, Steve Rudnick and Leo Benvenuti—people who went on to do a bunch of different things.
Was gay okay in that writers’ room?
It was okay—I don’t think it was necessarily prized in any way. I don’t think it was like, “What’s the gay perspective on this joke?” I don’t think that ever happened. I don’t think that’s ever happened to me quite frankly…maybe on The Comeback.
Writers’ rooms, to me, don’t necessarily seem like a “safe space,” so where was your comfort level during Dennis Miller?
Oh my god, I’m just realizing that I don’t think I was out yet. I wasn’t out. So my comfort level was really bad. Like I remember one time—I don’t know why he did this, I can’t remember the circumstance—but we were looking to move to this guesthouse in Silver Lake—me and my boyfriend at the time. And for some reason Dennis [Miller] came with me to look at this place, and I remember that I went to work wearing black bicycle pants and Doc Martens and some kind of weird t-shirt, and I remember we were walking up the steps to look at this place, and I remember Dennis going, “Reej, what’s going on with the outfit? What, are you going gay on me?” I remember him saying that and I was like “No, no, what are you talking about?” So my comfort level was not great as far as that goes. Like I was very much a part of that [writers’] room and I was appreciated for what I was bringing to the table comedically, but I was not at all talking about my personal life.
So you flew under the radar in terms of passing as straight.
But, could one be a big ol’ queen in a writers’ room in 1991?
I don’t think—not on that show. I don’t think so. I think it was too—I don’t think it would be overt, but I just don’t think it would work. I don’t think it would work.
So, you went from Dennis Miller directly into writing for The Larry Sanders Show. Did you feel more secure as a writer at that point?
No, I felt like I jumped in the deep end of a swimming pool—I knew what that show was. I mean, almost immediately I realized that I was working in an environment where the bar, writing-wise, was so high that it was a little bit intimidating. Garry taught me the kind of writing that I like the best, which is writing about human behavior that’s funny as opposed to writing jokes. I can write jokes, and I do it for a living, but, like, Garry used to say to us all the time, “Write the behavior and then figure out what’s funny about the behavior.” I’ve never forgotten that and I think it’s really good advice, but it’s also really hard—that’s why people write jokes.
Even then, as green as I was, I remember watching us shoot stuff, and I remember thinking, “Oh my god, I’m seeing something that is above the level of what most shows are.” Just the level of those guys like Rip [Torn] and Jeffrey [Tambor]. They were such good actors.