They definitely have their moments where one of them will piss the other one off but they always come back together before the end of the episode. I don’t think they could ever be ripped apart for too long otherwise they would be incomplete. GREG: Would you call Mordecai and Rigby “co-dude-dependent?” You always have to make sure that you keep them engaged and they “get” the story. Even though it is animation and you can do almost anything, you can lose the audience if all of a sudden it doesn’t make sense. It gets written into an outline with a classic three act structure. We read them all out loud and any of them that make us laugh and sounds like something that is worth moving forward on, we build around it. You set a timer for two minutes while you try to write as much of a complete episode as you can.
You throw those into a hat and pull one out at a time. We play this game I played in college where you all sit at a table and come up with fake titles for episodes that sound cool. J.G.: We have several teams of storyboard artists but in the writer’s room where we come up with the concepts. GREG: What is the story process for Regular Show? I couldn’t even get a quarter of the way through. The episode we won the Emmy for, “Eggscellent” is based on a real restaurant in San Diego that gives you a hat if you eat a twelve egg omelet. Instead of telling anybody they just covered it up with a bookshelf. They were wrestling and they slammed their backs into the wall and popped a hole into it.
That literally happened with two guys at work. “The Power” is a good example, Mordecai and Rigby are just screwing around, they bust a hole in the wall and have to fix it. J.G.: Some of the stories that have happened to us. GREG: Are some of the stories inspired by real life things? What we always try to do-and it’s really hard-is to make something that you think would have held up for you as a kid, would hold up for kids today and that grownups can find entertaining, hopefully for a long time to come. That in turn makes it more fun to see them go though it. Everybody has those kinds of feelings and they can relate to it. There is something emotional at stake, beyond something hollow. They somehow have to care about this thing that they want. We’ve found that it’s much stronger to have an emotional element threaded through. J.G: It is very easy to write a romp, going from “a” to “b” They want something and they’re going to get it so then a car chase and something crazy happens. Sometimes contemporary TV, especially aimed at kids and daytime audiences, seem to have a mandate to “keep up the energy,” which translates often into a constant level of cacophony, rather than the more impactful peaks and valleys of storytelling. GREG: You say on one of the audio commentaries that you wanted the show to “sound good” to adults as well as kids, so it wouldn’t grate. It’s nice to revisit the original shows that started it all and add to the backstory. He has some really awesome freak-outs in Seasons One and Two. Seeing it from the very, very beginning, it feels as if they “just got here.” Benson is more of the classic boss, really on their case all the time. He used to more of a rival of Mordecai and Rigby. In Season Two, we started experimenting with Muscle Man. They aren’t the same characters they are now. J.G.: You can see how Mordecai and Rigby started out. What’s cool about watching the original first and second seasons now? GREG: You and your team have done over 100 episodes and are headed into the fifth season, so the show and characters have evolved. It’s as if you’re searching through the channels and when you find Regular Show, that’s when you stop.
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J.G.: That is supposed to be the sound of a TV changing channels. GREG EHRBAR: What’s that sound we hear over the titles in each episode? The title was going to be Regular Show, “Normal Show” or “Weird Show.” “Normal Show” was not quite right and ‘Weird Show” was too on the nose. QUINTEL: Even though it looks completely bizarre, it is just a “regular show.” Once you get past the way it looks, it is a sitcom you are watching. Quintel, the title indeed teeters between irony and accuracy. Even dramatized biographies now flow in and out of flashbacks and side steps. Since Seinfeld and its contemporaries, there are usually several plot threads that unfold until they converge at the end. That’s really what makes it “anything but regular” on today’s animation landscape, because most modern shows (and films) tell multiple stories rather than linear ones.