Development
Hot off his departure from SNL, the popular Carvey appeared in some films throughout the early 1990s. He also worked on two of his own comedy films that ultimately went undeveloped. Carvey soon became disillusioned with the film industry due to the lack of control he previously had in sketch comedy. He was advised to work in television and by 1996 was preparing his own program for ABC.
"We kind of did reductionist bits where we’d just get away from beginning-middle-end, where the wacky character would walk into a scene and frustrate a straight man for six minutes. Instead, we just said "And now, here are skinheads from Maine," and then we just did 10 jokes." |
—Robert Smigel |
Robert Smigel turned down an offer to rejoin SNL as a producer, favoring the challenge of working with Carvey on primetime. Smigel and Carvey were given SNL's audition tapes which led them to hire Bill Chott and Jon Glaser. They were also joined by Louis C.K. who worked with Smigel on Late Night with Conan O'Brien. Steve Carell was hired through Smigel and Carvey's auditions in which Smigel recalls seeing future SNL alumni Tracy Morgan, Jimmy Fallon and Ana Gasteyer; however, The Dana Carvey Show had but a small cast to fill. Smigel himself cast Stephen Colbert, whom he had met years prior, and had tried to use on Late Night. Colbert sent them a homemade audition tape in which he used his newborn daughter as a puppet. He later noted, "I was completely desperate."
Carvey also saw the new show as an opportunity to move his family away from Los Angeles and raise his two young sons in New York. His family moved to Greenwich, Connecticut, however, causing Carvey to commute several hours to the studio during a brutal winter. He regarded Smigel as the true writer and "creative force" behind the show while Carvey considered himself "kind of a zombie." This was due to his tiring schedule of balancing work and fatherhood which he later considered a mistake.
During the show's development, Smigel and Carvey focused on being different from SNL. The sketches would often be "reductionist bits" in attempt to feel more "presentational" like Monty Python. This would sometimes frustrate writers whose ideas, while creative, were sometimes rejected because they didn't fit the show's approach. Smigel has expressed satisfaction, however, in the outcome of working under such restrictions and believes the show would have found a greater balance had it been given more time on the air. This experimental approach also allowed the show to include short films and cartoons, starting with The Ambiguously Gay Duo. Smigel later considered the cartoons his favorite aspect of the program and noted, "My whole career came out of the impulse to do cartoons on The Dana Carvey Show." In the summer following the show's cancellation, Smigel continued to develop more cartoon ideas which would be used on SNL's TV Funhouse.
Smigel noted that the show had many options in terms of networks. Cable was present, and due to its lackluster status, CBS would have guaranteed several more episodes than the series eventually received. However, the duo was "overly tempted" by the reigning profile of ABC and its primetime offer. The network originally planned in airing 10 episodes and did not interfere with the show's creativity, simply wanting a good lead-in to NYPD Blue.
The Dana Carvey Show also attempted to put The Onion on television with Stephen Colbert reporting as an anchor in deadpan style. This material long predated his time on The Daily Show and The Colbert Report. However, the sketches went unaired and have since been subject to rights issues.
Read more about this topic: The Dana Carvey Show
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