Right. And I don’t think anybody wanted to take that role. I think they liked me, so they asked me if I would just come back and act in this season. And I said, sure. They wanted to respect the fact that I didn’t want to be there all the time anymore. So they were like, “We figured out how to not have you in like four episodes. Will you do six?”
At that point, I’d already had some time off. And I think the thing that wore me out more than anything was the writing and editing, just having to be there so many months out of the year when I had other ambitions, other things that I wanted to do.
It’s not anything to do with the show or anyone in it, it’s just doing something for 12 years, it takes its toll no matter what it is, no matter how much you like it, no matter how much you care about it. It was just about wanting to have more time outside of the show. I think if there was a world in which I can write, produce, act in, and edit the show in three months, and have nine months to do whatever I wanted outside of that, instead of the other way round, I would still do that.
I’m sure one advantage you have that you didn’t have a few years ago is writers who know the voice and the tone of the show so well. I think Megan Ganz improves everything she works on.
I can’t begin to describe the degree to which she has added to the show. I think we needed her. You start to lose a little bit of objectivity, potentially. Charlie had just starred in, written and directed his first feature film, called The Tonto, Rob was still in post-production on the show that he had Charlie made for Apple. And I was coming off of A.P. Bio and working on The Hunt—God knows when that’ll ever see the light of day—so we really need somebody like Megan.
I think with writing, the hardest thing to do is break a story. You know, to have an A-story, the B-story, the C-story, and find how they all weave together in a cohesive way. I don’t know why, but that’s the most difficult thing. And somebody that can do that is just, you know, dime a dozen. And she is one of the best at that we’ve ever had. We can leave her in the room with the writers, and she can break a story. She’s the rare writer we can send her off on her own to do a draft that we don’t have to rewrite the shit of.
Actually, can I throw in one more thing? The last thing I want to do though is to devalue the input of the other writers. David Hornsby has never gotten enough credit for making the show what it is. He was there for the original home movies. He helped us shoot them. He’s been a touchstone for us. He’s such a smart, fucking hilarious guy. And he was the first person who ever wrote a script that wasn’t me, Rob, or Charlie. So I just want to throw that in there.
So with all these other projects, like last year, I’m sure you’ve talked now and again about ending the show for good.
We talked about it. At a certain point, we might look at this and go “Yeah, we did it and it’s time to move on,” and all that kind of stuff. But I think at the same time the way I see it, we’re more like a band than a show now, where we all go off into our side projects, but like, this is the band, and if we feel like putting out another album, we’ll put out another album. At this point, it doesn’t really make sense to end the show in any official capacity. It’s possible that moving forward we move to sort of like a Curb Your Enthusiasm model if we can get away with it. Larry David actually pulled Rob aside at some kind of a function and told him “One piece of advice I’ll give you guys: Don’t ever end the show. Just don’t end it!” I think he figured that out after Seinfeld. I think he was really burned out. But with Curb he knows he might want to come back to it years down the line.