Here's proof that they were really friends. Photo: Copyright © Bruza Brother Productions, LLC Every writer knew the sinking feeling in the pit of their stomach. David Crane would enter the room, toting a script full of notes scribbled in the margins. He would sit down in his chair and begin drumming his fingers on the table before announcing, "All right, we've got a lot of really good stuff here." The assembled writers would silently groan, knowing that this was Crane-ian code for a full script rewrite. Everything was out, and it was time to start again. "Good enough" was not a concept Crane, or Marta Kauffman, understood or accepted. One day during the first season, writer Jeff Astrof approached Crane with a proposal. "Look," he told Crane, "right now we work one hundred percent of the allotted time and we have a show that's one hundred. I believe that if we worked fifty percent of the time we'd have a show that's seventy-five, so maybe we work seventy-five percent of the time and have a show that's like a ninety." Crane instantly rejected the proposal: "Absolutely not. The show has to be one hundred." There might have been a… Read full this story
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