David dropped the name of his hometown, London, Ontario, in the "Fetal Position" episode of House. He told a London Free Press reporter that the script originally read "London" to indicate London, England, was an undesirable place for a layover. He explained this made the jab more House-like as well as giving a shout-out to his home.
On January 20, 2007, David Shore and Katie Jacobs won The Norman Felton Producer of the Year Award in Episodic Television - Drama, which is given by the Producers Guild of America.
In June 2006, David Shore received an Award of Excellence and the NBC Universal Canada Award of Distinction at the Banff World Television Festival.
David Shore was awarded a 2006 Humanitas Prize, which honors television and movie writing, for his Emmy-winning "Three Stories" episode. The $15,000 prize was in the 60-minute category. "Three Stories" was praised for saluted for 'its poignant probe into the pain and confusion that comes when someone we love disappoints us.'
At a May 2006 event to honor the late hiphop music producer J Dilla and to raise money for research through the Lupus Institute, billed as "An Evening of love, Light and Laughter," Omar Epps presented an award to David Shore for his contribution to Lupus Awareness.
According to reports published in the media (March 2006), David Shore signed to stay with the NBC Universal Television Studio-produced hit House for at least two more years.
David told reporter Linda Frum in an interview for Macleans.ca that when he left law to go to Hollywood, he did it to pursue a career in comedy.
When considering ideas for House storylines, David commented to reporters that the producers had resisted a lot of weird stories because they don't fit the show.
On April 5, 2006, House, as well as Shore Z Productions, was honored with a win at the 65th Annual Peabody Awards.
David Shore won the 2005 Emmy Award for Outstanding Writing for a Drama Series for the House episode "Three Stories."
In 1977, David was nominated for a Gemini Award: Best Writing in a Dramatic Series (Traders).
David Shore: (when asked about the status of the possible spin-off of House - August 5, 2008) That's a good question. If I had more of an answer, I would give you more of an answer. We brought in a character partway through the year, Michael Weston, as this private investigator House goes to. The spin-off would be less of a spin-off, it would be more us using House to launch it. It would be an independent world. A character out of the House mold, but definitely different.
David Shore: (Emmy Watch: Showrunner Roundtable, June 3, 2008) Can I say what I love about the Emmy broadcast as opposed to the Oscar broadcast? You watch the Oscars: Everybody takes the stage and thanks their director. Watch the Emmys: Everybody takes the stage and thanks the writer. As writers, it's nice that we're appreciated.
David Shore: (regarding the trend to spin off popular shows, Variety - May 22, 2008) It's a simple financial equation. Something is working, they want more of it. If you can figure out a way to split it in half, they're gonna go for it. It's really that simple, and I can't blame them. It's just a question of making it work.
David Shore: (when asked about his decision to shake-up House to create buzz and attract new viewers without alienating current fans) It didn't feel like it was necessary. The show was working very nicely. But I think it was a matter of staying ahead of the curve, of doing it before it felt necessary. Once the show starts to become tired, once we are doing the same situations over and over again, it's too late at that point.
David Shore: (explaining why the new direction was chosen for the fourth season of House to Los Angeles Times - September 23, 2007) Rather than, "Oh my God, oh my God, we've run out of stuff, it's starting to get boring, it's starting to get dull, we've got to change something, what are we going to change?," we changed it based on our own agenda. Let's try it now while the show is still working very well. We're just expanding the world. The show is not different. It's just growing a little bit.
David Shore: (discussing the Sopranos finale episode) Obviously he [David Chase] wants us to speculate on what it all means. Obviously that's what we're all doing.
(David Shore wasn't really sure what to think of the episode of Scrubs that aired on January 4, 2007, in which Dr. Cox uses a cane and limps about solving outlandish medical mysteries.)
David Shore: It was cool, but I got the feeling it came from a place they thought we were ripping them off. But I think Scrubs is a great show. I'm going to interpret it as paying homage to us.
David Shore: (on the House character) What's widely interpreted as being likable is caring and soft and fuzzy, and I just think that's boring. People don't want to watch a guy who's hateful. That's a tricky thing to make a guy interesting and difficult and troubled and flawed but not hateful.
David Shore: (regarding Hugh Laurie's comedic performance) It's great having somebody that can deliver the humor.
David Shore: (regarding the portrayal of nurses on House) I know nurses complain that our show ignores nurses. And they're right. But the concept of the show is that Dr. House trusts nobody. If another doctor decided something, House would ignore him. He's dismissive of everyone. I thought I had created a doctor so outrageous. But nurses tell me, 'He's not so outrageous.'
(In an interview published September 2, 2006, David was asked why a no-nonsense character like House is hooked on a soap opera.)
David Shore: You know what? I'm not sure. It just seemed to fit. I wrote that into the pilot and somehow it just seemed right. Because it's actually General Hospital that he's watching in the pilot, which is such a... glib view of medicine juxtaposed against his intense view of life. It just seemed like something he would do.
David Shore: (on hearing House had received an Emmy nomination for best drama) Of course, it's really exciting and wonderful to be nominated, but TV awards are really a bit silly. I mean, who can say whether our series is better than West Wing or any of the other shows? We're not involved in a 100-metre race here. We're supposed to be in a creative and artistic business.
(David's first paid gig was a freelance episode of The Untouchables, which he said he barely recognized when he saw the shooting script.).
David Shore: What you come to grips with is you've got a lot to learn. Now I'm rewriting other people... but hopefully not quite that dramatically.
David Shore: (when asked about the possibility of running out of weird diseases for House) That was a concern. I really thought that was going to be a huge problem, but somehow we've managed to do it. I guess we've learned medicine is less than an exact science, which has been a blessing for us.
David Shore: (at the June 2006 Banff World Television Festival discussing Dr. House) I think in TV that rather than have characters evolve, you want to peel more of the onion away. It's still the same onion, but you show surprising aspects of it. You want to raise as many questions as you answer.
(David Shore both wrote and directed the second season finale episode of House titled "No Reason" that aired on May 23, 2006. When he heard some people were theorizing that the opening scenes, with House taking a patient history himself and an unusually giddy Foreman deciding to go to the movies, were part of the dream sequence, he insisted this actually happened. His explanation revealed he could make jokes about himself. According to Shore:)
David Shore: If people thought it was strange, that was probably just because the guy directing didn't have a lot of experience.
David Shore: (when asked if he was thinking about his next series) Yes, and the people who employ me are thinking about it too. Everything has a creative life. The greatest show on TV eventually becomes a bit tired. And what I'm saying is: I'm going to get tired of this at some point.
David Shore: (regarding the intense pressure as the second season of House ended) All this attention means we're doing something right. But there's also some added pressure to maintain that level and even top it. I'm not complaining though, because that's a pretty good problem to have.
David Shore: (on how quickly he knew Hugh Laurie was the man for House) It was one of those stories that you read about that sound so incredible. Obviously, I did not write the character with him in mind. But as soon as he read for it, it was: 'Yes!' He wasn't even the way I had pictured the character. But it was: 'Oh God, this works!'
David Shore: (regarding the original concept for House) It evolved over a few months. The series was sold to Fox without the House character as part of the initial sales pitch. The show was sold as a crime/police procedural, but instead of bad guys, the germs were the suspects. So it was more of a CSI kind of idea. I was partnered with Paul Attanasio and Katie Jacobs, who are also executive producers on the show. They knew that all the networks were looking for a medical procedural. It was sold that cynically. Paul had the original idea. I thought it was a terrible idea. Obviously, I was completely wrong.
David Shore: (In his acceptance speech for his Emmy win in 2005 for House) I want to thank Hugh Laurie for making me look like a better writer than I am... and my parents for making me happy and well-adjusted enough to enjoy this. But I also want to thank all the other people who have come into my life and made me miserable, cynical and angry because this character wouldn't be the same without them.
(Dr. Gregory House was originally created as wheelchair-bound).
David Shore: FOX, to their credit, changed it. I will never again thank a network for changing a character.
David Shore: (regarding House and the character Dr. House) The show is not about his personal life... but you get curious about that, so we wanted to get a greater glimpse into who this guy was. It's really tricky to find someone to play opposite him, to stand up to him, somebody that you would believe this sort of character would be interested in, and would be interested in this character.
(The Socratic method was more a part of Mr. Shore's law school training than might exist in medical education.)
David Shore: It's certainly a very effective tool to tear people apart, to rip them down, to build them up, ... That's what House is all about.
David Shore: (regarding the Stacy Warner character in House) We want to play with the fact that she's still in love with him, but she knows it's a disaster and he's still in love with her and isn't quite so aware of the disaster nature of it.
David Shore: (regarding his personal insight on the House character) I do think there is a 15-year-old boy in that character, but with the power of an adult.
David Shore: (on the direction House would take in the future) We're not closing any doors. What we've found is everybody's so fallen in love with these characters that we have to explore it, but we cannot simply throw out the essence of the show, which is the procedural element.