That’s true. I don’t have to make this stuff up. On “The Big Bang Theory” we would be regularly talking to our astrophysicist consultant David Saltzberg at U.C.L.A. to make sure we got the math right or the science right. I didn’t need to have a consultant on this one. [Laughs.]

So much of the success of “Kominsky” hinged on the chemistry between Douglas and Arkin. What was it like bearing witness to their dynamic?

I really like the phrase “bear witness.” Because that’s what it felt like. I had a front-row seat to watch two masters of their craft. They approach the work very differently, but they both arrive at a performance that’s startling and every time surprising. When you write something, you have an image in your mind as to how it’s going to look, how it’s going to sound. And then you go to the stage and actors like Michael Douglas and Alan Arkin read it and have other ideas. And they spin it differently, and the syncopation is different, the tone is different. Inevitably, it’s better.

The most inspired moments involve little more than the two of them just exchanging barbs.

One of the things I learned in the first season is I could actually write less and do a better job. When we first started this I didn’t understand the kind of power that both of these men have over the camera. A gesture, a look, a raised eyebrow, even a pause on their part communicated more than words. And especially for comedic purposes. A bunch of clever words weren’t needed.

“Kominsky” is your first non-network show. Could this show have worked on network TV? Or was the plan always for this to go to a streaming platform like Netflix?