David Steinberg began his career in comedy with Chicago’s Second City, quickly gaining fame as a stand-up through his appearances on “The Tonight Show starring Johnny Carson” while also courting controversy by performing comedic “sermons” on “The Smothers Brothers Comedy Hour.” In 1981, Steinberg began to shift his focus from performing to directing, starting with the Burt Reynolds film “Paternity,” and has gone on to become one of the more prolific sitcom directors in the business, but he recently stepped back in front of the camera to host the new Showtime series, “Inside Comedy,” which airs Thursdays at 11 PM. Steinberg spoke with Bullz-Eye about his new gig, detailing the trials and tribulations of securing classic clips to accompany his interviews, while also discussing some of his past efforts as an actor, director, and stand-up comedian.

Bullz-Eye: This is certainly not your first time hosting a show where you interview comedians: you also brought us Sit Down Comedy with David Steinberg. Not that there isn’t still plenty of material yet to mine, but what inspired you to take another crack at it?

David Steinberg: I felt that I hadn’t really done it the way I wanted to. That’s why we first started this as a film. Starting it as a film was really good, because then you get so much material, and it’s sort of looser or whatever. And then I settled on this notion of putting two people together and how they connect, but not in any specific ways. They just go together by what they’re talking about. And once I arrived at that, I thought, “This is gonna be good!” [Laughs.] Of course, making it that good…it was time consuming, but it was great, great fun. I worked with some incredible editors, and there was a lot of archival stuff that we talk about that…well, they know that they’re talking to another comedian. That’s the bottom line. And then, archivally, I didn’t just do the clichéd version. I handpicked the clips that I wanted and then begged people to let me use them. [Laughs.] Archival stuff takes so long to get people to sign off on.

BE: Was there anything you wanted to use that, even with all of your pleading, you still couldn’t get?

DS: Yeah, for Jonathan Winters, I had a clip of him in an old Dean Martin roast where he’s roasting (Ronald) Reagan, and in it there’s a wide shot where you could see Dean Martin, Reagan, (Don) Rickles, Phyllis Diller, and… [Sighs.] You know, it’s generally not the original inheritors of the celebrity estates that are the problem. It’s the grandchildren, who don’t even know or understand what it means to be celebrating Jonathan Winters. They asked for so much money everywhere that we couldn’t use it. I ended up having to go with just a tight shot of Jonathan instead. So, y’know, just stuff like that drove me nuts. For the most part, though, I got everything I wanted. Some were just so exorbitant that I just couldn’t do it. But I’m happy with it.

BE: Speaking of Jonathan Winters on Showtime, he also appeared on The Green Room with Paul Provenza not so terribly long ago. It’s great to see people as yourself and Paul continuing to give him the props he deserves.

DS: That’s right, yeah. I will say that the younger comedians tend to look after the older ones. Richard Lewis goes out to Santa Barbara and spends time with him, and Sarah Silverman has done that with Phyllis Diller. It’s very interesting, the comedy community. It’s more surprising and tight-knit than you would imagine.

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High school: it’s a rite of passage we all must endure. Some of us weep when it’s over, others can’t wait to say goodbye forever, but for better or worse, it’s an experience that we’ll remember for the rest of our lives. The same goes for some of the many TV series that have been set in high school. Here at Bullz-Eye, we’ve polled our writers for their favorite shows within the genre, and the end result is, not unlike high school itself, a mixture of both comedy and drama.

12. Life As We Know It (ABC, 2004 – 2005): Lasting only 11 episodes before ABC unceremoniously yanked it from the air, “Life As We Know It” premiered during perhaps the most cancel-happy era in television. Developed by two of the producers of “Freaks and Geeks” (maybe the writing was already on the wall), the series may have ultimately been undone by poor ratings, but the Parents Television Council’s campaign against the show’s sexual themes certainly didn’t help. Then again, when you green light a series based on a controversial young-adult novel called “Doing It” that follows the exploits of a trio of best friends (Sean Faris, Jon Foster and Chris Lowell) navigating the highs and lows of adolescence, you can hardly pretend to be surprised when its characters discuss sex on a fairly regular basis.

Featuring a great cast of young up-and-comers that also included Missy Peregrym and Kelly Osbourne (yes, that Kelly Osbourne, who’s never been cuter than she was here), “Life As We Know It” certainly wasn’t perfect by any means, but it easily outshined similar shows like “Dawson’s Creek” and “The O.C.,” particularly in its handling of its adult characters. The series wasn’t without the usual high school clichés, but the writers never shied away from edgier material, either – like a student having a secret affair with his teacher or a star jock dealing with performance issues – resulting in a smart, sweet and incredibly honest look at how sex changes everything. – Jason Zingale

11. Welcome Back, Kotter (ABC, 1975 – 1979): Despite suffering through remedial classes and acting far more rebellious than was deemed socially acceptable, Gabe Kotter (played by the suspiciously similarly-named Gabe Kaplan) still somehow managed to graduate from James Buchanan High School, but who would have thought that the dreams that were his ticket out would lead him back there? (John Sebastian did, of course, but that’s not really relevant to this discussion.) With his teacher certification tucked into his back pocket, Kotter returns to his alma mater and takes on the challenge of trying to educate the new generation of remedial students. Oh, sure, their names have all changed since he hung around – now they’re called Vinnie Barbarino (John Travolta), Arnold Horshack (Ron Palillo), Freddie “Boom-Boom” Washington (Lawrence Hilton-Jacobs), and Juan Epstein (Robert Hegyes) – but they’re still “sweathogs” all the way.

Most would likely agree that “Welcome Back, Kotter” was at its best when it was still the original four Sweathogs, i.e. before Travolta slipped away from television, put on a white suit, and found big-screen success on the dance floor, but even at its funniest, few would probably describe it as the most realistic look into high school life.

“I don’t think anyone was trying to replicate the high school experience so much as they were trying to service those particular characters and write stories about them,” said Mark Evanier, who served as a story editor for the show. “If you could get a good joke out of it, great…though there were times I think we settled for a decent catch-phrase.”

While the words “up your nose with a rubber hose” lend credence to Evanier’s theory, the Marx-Brothers-inspired chemistry between the Sweathogs helps their slapstick shenanigans hold up nonetheless. And, besides, who needs realism when you’ve got Gabe Kaplan doing Groucho? – Will Harris

10. Glee (Fox, 2009 – present): Is it telling that one of the most popular current shows on TV came it at only the #10 spot? If nothing else, maybe it proves we here at Bullz-Eye aren’t prone to fads. Except that maybe we are, as “Glee” has made it onto our TV Power Rankings lists time and again since its debut. But this list isn’t about what entertains us in the broader sense; it’s about great high school shows. As entertaining as “Glee” can be, it has almost nothing real to say about the high school experience, and in fact most of the high school kids I know find it to be pretty nonsensical.

The one area that it seems to excel in as far as capturing the high school experience is in its ability to play romantic musical chairs with its cast of teenage characters. These kids are fickle, and the only guarantee that seems to come with a relationship on “Glee” is that sooner or later it’s going to end. Some props should probably also be given for their attempt to zero in on the bullying issue that so seems to afflict kids today, but “Glee” chose to unfortunately treat the topic with kid gloves rather than say something truly meaningful. None of this is to say that “Glee” isn’t one hell of an entertaining series, because it is, but anyone looking for something a little deeper would do best to dust off their old DVD of “The Breakfast Club.” – Ross Ruediger

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