After two months of preparation and groundwork in
Los Angeles, the Art Department moved en masse to
Boston in early April, and set up shop for the duration.
At this point, the department numbered more than
twenty assorted artists, and as I saw the group gather in
Boston and dig into their various assignments, I knew
I had done at least one thing right: I had hired a very
talented and seasoned team.
A fundamental question that presented itself early on
was how to go about rebooting a much-loved and
much-quoted comedy from thirty years ago. Finding
the balance between honoring the earlier material, and
letting the new story breathe its own air, was crucial.
The script mostly solved these questions by interweaving
new back stories, cues and jokes with concepts and
