Bob Odenkirk
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Yes, I have actually stayed at Airbnbs from time to time. And truth be told, I do really like them. I'm being totally honest right now that I've had great experiences with them. Yeah. I mean, you can have your look at you go get your own place, get your own pool, your own living room. You're not going to walk in an elevator. You're not going to see people when you're walking around in your undergarments. Yeah.

Yes. And if you don't understand what we're talking about, you should go online. What we're saying is you have a house with a kitchen and a bathroom and it's just for you, tailored for you. You liked your Airbnb over a hotel. Yes. And I do think I've had relatives stay nearby and sometimes it's very nice for them to do an Airbnb and have a little house and they're not underfoot. The last thing you want is your house guest to say, excuse me, um,

Where would I find a towel? That's a toughie when it's... Because they're naked? Well, it's like the 1800th time you say, on the towel rack. Yeah. Thank you. Oh, I was going to look there. People don't even think hotels sometimes just go, hey, I'll go there, I'll get an Airbnb. So you won't regret it? Aw, David. Do you ever notice how women... We're going to talk about Bob Odenkirk. Women have this gear, this empathetic gear of going...

You know, it goes up at the end. A man might see a puppy and go, ah, but a woman goes, ah, and that's the woman you want when you have erectile dysfunction. Ah, that's all I got. Sometimes when it doesn't work, I go, what did you say? What did you say to it when I wasn't looking? You blame her. Yeah, of course. I go, well, you got to give me a heads up at least 48 to 72 hours.

And then I'll start prepping things and I'll start coaching. There's medication. Well, that would be one of our sponsors. See Alice. They'll figure it out. Okay, let's get to Bob Odenkirk. Bob Odenkirk, so funny. We were there. He was a writer when I was there, when Dana was there. Wrote in some of the hugest sketches. I mean, obviously, motivational speaker is the big monster.

arguably one of the best of all time brilliant writer and very he was because he was writing there and he wasn't really performing much and then of course later on he does you know he's a better call Saul bring it back and now nobody becomes this movie star later in life but he was very enthusiastic he'd be like oh Dana it's so funny oh and I wrote a movie with him called Tucson

Which was a comedy western for me and John Lovitz. John Lovitz was a western sheriff. Maldonash. Well, I was an innocent Irish guy coming to town to be the new sheriff. And he was the mayor. And he was on a hangman's noose. He loves it. And he's yelling at the crowd.

And there's a sign. His campaign to be reelected was, if I don't clean up the town, you can hang me. So it was very Bob. Anyway, you can cut that part out. Bob is great. And we had a great time there talking to him. Also, yeah, he's done all this stuff. And he's such a good laugher. And he's very, he's a cheerleader. He really helps when you're writing. He helped me a lot with Hollywood Minute. Yeah.

And he's a great guy. I'm excited. I'm always excited to see him when I see him out. I always light up around a dude like that. He just, he's one of those, he does really cool stuff. Like the Bob and David show was just very...

Mr. Show? Mr. Show. Commonly known as? I saw it twice. I don't remember the name of it. The Show Show? I thought it was the Bob and David Show. That was more of a literal thing that it was literally their show. So I was halfway there. But Mr. Show was great. Very low budget, but so esoteric. That was huge before Breaking Bad. I mean, that was a huge, another...

Feather in his cap Do you have any feathers In your cap? Um There's so many feathers I don't know how to count them

Oh, too many fellas. No, but then he was kind of struggling a little bit, his words. And then Breaking Bad and then Better Call Saul. So, and then now he's an action star. I think he's the new- Nobody is a movie we're talking about. And nobody's really cool. And I saw it. Did you guys see it? I don't know if people get when you say nobody, but yeah. Nobody is really cool. And so he's great in that. So we will deep dive on our friend Bob Odenkirk. Is that Bob? Mm-hmm.

Which one's Bob, Dana? Tell me when he comes on. Odin Clark. How do you spell your name? Okendorf. How do you spell it? O-K-E-N-D-O-R-F. Okendorf. Odindorf. Dana Carkeys. Odinkirk. Bob, did they, when you were in grade school, did they do something with your name and make fun of you? Because I had Dana Carkeys drove me nuts. Oh.

No, they called me Odie. Oh, yeah. Odie. I think I called you Odie. It makes sense. Spudly, Spudly, Oldie. You know what? It took me weeks to come up with that, but I went over your name back and forth. You ran it by a couple seven-year-olds. I called him Captain Kirk back in the day. Oh, that's not bad. Captain Kirk, because he was. He was Odenkirk.

See, that's all we got. Thanks for coming on, Bob. I wasn't the captain of anything. You guys, I love your podcast. Thank you. I can't tell. Podcasts are the place I go to to hang out with my friends now. That's why I did this, because I don't get to have dinner with friends. I'm kind of an introverted person, and I stay inside a lot. So I'm in my room right now. Even though you're broadcasting from the CNN headquarters?

This is leftover from the Drew Barrymore show yesterday.

And we thought, should we keep it? I go, Bob will smile like he is now so I can get rid of it. Let's see. You had Drew on? Yeah, and then we went on her show and she does a weekend update type segment. We were zoomed in and this was the background. So look how happy Bob is. He's really thinking. Do you have any questions for Drew, Bob? No. No? We have to do some housekeeping. Okay.

Oh wait, I have a great beginning. Ready? Here we go. Robert John Odenkirk was born in Benron, Illinois to Barbara and John. Then you got SNL. Wikipedia alert. That's really all there is to it. That's really a big jump. Well, that's all that matters, right? A little birdie told me this morning at a given point, he said everybody knew Bob Odenkirk was the funniest guy in Chicago. Someone told me that today.

when I was doing my research at some point in time, his initials are R.S. Oh, geez. Robert. Robert. Robert thought that. Robert thought that, but I don't think anyone else thought that. Did Chicago vote on that? I don't know. They didn't know. It was common knowledge.

No, they would have picked someone else. Yeah. Larry, oh, what's his name? He's a stand-up in Chicago. Larry Farley. Oh, shit. No, he was actually a really funny club comic who did zanies all the time. Oh. Doctor, I'm sorry.

I should know this. Chicago guy. And it never left the Chicago circuit. You know who's really funny is a guy named Mike Toomey, also a Chicago club comic. Who just stayed there. We had Will Durst. Yeah, yeah. We had San Francisco. Yeah. They like it.

Yeah. Some people don't want to branch out. They just, they do well there. They make money there and they just stay. That's right. That's right. And it's okay. They like the town. They get plenty of work. They get married and have kids and they... And they don't go crazy like the rest of us. And they're local stars, right? They go on the top radio show. Yeah.

Anyway, Bob, how are you? How are you? This is what I would ask you if we were at a restaurant. I'd say, Bob, how are you? Just generalize. I'm so good because I'm talking to you guys. God, that's the best answer I've ever gotten. Thank you. I really love that you asked me to do this and that I get to hang out with you because it's true. It's like...

I listen to podcasts to listen to my friends talk, to hear their voices. And because we don't get to do anything either because we're working or COVID fucked us up for two years or, you know, or, you know, just lives you get separated by having families and stuff. And it's just a really wonderful thing to get to just hang out with people and

I've been listening a lot to the Gilbert Gottfried podcast, which has been so entertaining, even though I didn't know Gilbert very well. But a lot of people I do know are on that, you know? He just was. Yeah. You know, Gilbert, when I worked with the Funny Boys, do you remember that? Yeah. The comedy team in the old days? Yes, yes. Jim Vallely and Jonathan Schmock, both funny on their own, and they wrote together and performed. And so they were the guys that got me excited.

In the improv. Louie got me in the comedy store and I didn't make it. I was 20. And the funny boys got me in the improv and I did make it. And I stayed on Jim Valli's couch. And then he goes, I'm leaving for a week, but someone's going to stay here. And I go in and it's like, hello. It was Gilbert Gottfried in his underpants. And he just sat eating Cocoa Puffs. And I had a roommate for a week. And I was like, who's this man? I didn't...

You know, it's very weird to live with someone you don't know. And so I don't know him well like you, Bob, but I did get to spend a week just hearing him. Then I'd see him out and about. And he was so, you know, I just say what everyone else said. Very, very interesting brain. And it sounds like an interesting guy. Very funny. Gilbert would share some certain sensibilities, Bob, you know, the way he deconstruct. I mean, his, his androdized clay bit.

his bad impression, they were just so funny. He was just... Yeah, I mean, I certainly appreciated the hell out of him. You know, he was, I only would see him around in New York, actually, and you probably did too at clubs. You know, when I did SNL,

You guys probably don't know this, but I would go because you probably didn't even know I did some stand up once in a while. But I would do Sunday night at the improv, which is not, you know, it's kind of a sad club. But for me, for me, it was like I just get a couple laughs and it just was like.

It made me feel so much better after my week of getting the shit kicked out of me. And just to even get a few laughs on that stage meant a lot to me. It like charged me up for the week ahead. And so I would see him and Larry David and those guys around that club. Yeah. Yeah.

It was interesting. Well, those are hard-earned laughs. I mean, when you're by yourself and you walk up and just get a couple laughs, that means a lot. Yeah, yeah. But it gave me a little boost that I needed. And when stand-up is giving you a boost, you know you're in a hole. Yeah.

I remember going to that improv. That's true. Dana, this is stupid, but, and we'll get to Bob in about 40 minutes, but what I did is I used to, I would come from Arizona and they said, I was a standup and my buddy said, he knows this guy, Gary Grant, that can book you gigs. So I'd fly the crummiest airline. I'd stay at Columbia with my friend.

I would take my suitcase with props. Oh yeah. And I would get my New York coat in quotes, which is my heavy, like, you know, like winter coat. I would never wear in Arizona. It looked like a dust. I look like young guns.

So then I'd walk to the subway, take the subway to 44th, walk to the improv, wait until they assigned me some comedian. I remember this guy was 36 and he had a Nova. And I go, if I'm still doing this at age 36, please kill me. Because I was 20. And then we drove to like BF Packies or somewhere in Jersey. This is how you did it. I do a set bomb. I would get maybe 60 bucks.

come home, maybe spring for a cab fare because it's too late and scary to do the subway and do that for two weeks and I'd clear 500. And it was great. But I got to see the improv and I thought the improv, I'd always meet at the improv was the point. But I, it was so, I always heard about it and I go in there and the stage is like four inches high. It's like not that big of a deal.

Not in New York. Yeah. You know, what was interesting about that when I first went there was they had that wall of photographs, uh, when you came out of the, the showroom into the bar and in those photographs were stuff from the sixties and seventies. Uh, and there's Andy Kaufman and there's, you know, um,

Probably Jerry Seinfeld's up there. Richard Balsam. But then there's a guy juggling, and there's a singer. And I asked... I don't know. I don't think I asked Silver, who ran that club at the time, but I asked probably the bartender or somebody, what's with the singer? And what is this juggler doing? And they said...

Well, that's what the club used to be. That's what all clubs used to be is specialty act, singer or music, and then a comic. And Sullivan, yeah.

And then it became and then the stand up comedy boom hit and it was like, everybody get the fuck out of here. It's just stand ups. It's just... Then you had like Peter Potofsky, there was like guys that were juggler comedians, magic comedians, and they kept the comedy part and it was probably easier to get on stage. You know, I think it probably, there's some value to it in that, you know, if it's just one comic after another, it's like...

If there's just something between the comics that can kind of clean, clear the palette a little bit, it's kind of a, I don't know. To me, the issue I had, and I write about it in my book, which is why we're talking, right? Comedy, comedy, comedy, drama. I'm halfway through it. It's great. Fascinating. I hope you like it, Dana.

I just got to the comedy comedy part so far. I have my own lane of this life we've shared together. And then where we intersected was so cool. I just have great memories of you. And we wrote a movie together, which you primarily wrote, but called Tucson. And we had a lot of fun. Oh, I remember Tucson. That still is a great, really funny script.

Oh, yeah. Thanks, Dana. I think so, too. I think it's a great scenario that you cooked up, which is that little guy in the West and he's...

Irishman with good with his guns but just sweet as hell and so the opposite of Clint Eastwood just the very polar opposite of a Clint Eastwood character and so what was I saying just that you remember the first scene that must have been it's so you oh what well I think I come to town I'm from Ireland we were hanging in the

Yeah. And Lovitz is, is got a hangman's noose around him and there's posters. He was running for mayor and the posters said, if I don't clean up the town, you can hang me. And then Lovitz was the conniving. Oh, hello. Well, I put it in my gun. So anyway, but that was, but, um, there was a joke in there, Dana, that somebody else did in a movie. Very, very,

In the last few years, it was one of the characters was named like Clint Eastwood. Yeah. And there's some, his name was Clint Eastwood. And there was so much great stuff. And he did that joke recently. Yeah. That's or Jon Hamm. Sometimes when Jon Hamm is in a show, they call him Jon Hamm. Just as Larry David is funny. But yeah.

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Should we go back to and then make our way to SNL? I just, I'm sort of curious because I didn't see it, but what was the stuff that got you where you're at? I talk a lot about the trauma of SNL. SNL is pretty easy to write about because it was so hard and difficult for me personally. But that's true for a lot of people and the story's been told many times, but I just told my version of it.

But it's such a crucible right of pressure and desire and and discovering yourself and and it just leads to a lot of Interior trauma and then that's something to write about whereas, you know when I got to the later parts of the book and I'm writing about Breaking Bad where well, I mean there was a journey there and

to become a better actor, but also the journey of the show becoming famous. But the show itself was a well-oiled machine with nothing but pros in every direction and nobody having any emotional issues, just working really hard and supporting each other and pulling together. Yeah. And so there's not much to say. We,

you know, isn't it great? The writers did a great job and then we all worked really hard and it turned out well and there's nothing to say. It's not like if someone has a good scene and everyone goes, that guy's the best one. He's the best one in that scene and then the rest of the day you feel like shit. Yeah, that's different. You know you're getting it day to day, I assume.

When you're doing Better Call Saul, and that was a great day, it's going to be great, right? Yeah. I mean, especially over time, the more you do it and you get to know the values of the show, what's good about the show, and you see it coming across in the writing and you know what you captured that day and think, well, that's going to play really well or be fun to watch. And

Yeah, it's just not the it's there's not as much to say as there is to say about Saturday Night Live, where there's so many books and so many and they're all fascinating. I love them all, by the way. One of the reasons I wrote my book is I love to read showbiz memoirs. I just love them. Yeah. And usually when somebody gets into something that works and or they're talking about their hit show.

There's not much to say. It's all about the struggle and the failure and the loss. And that's where there's juicy stories. You know, Dana, when I got there, Dana was Bob was there. I believe viewers. Yeah. Bob was there and Dana was there and I came in.

And Bob is always, I saw Bob more than Dana just because Bob was a writer with me and we were in there all the time. But Bob's always sort of in a good mood, shockingly, when I look back because it's hard to be in a good mood at that place. But always laughing, always took a second for me.

uh so did conan uh but you guys at least would explain a little bit of what was going on because i was really a rube just right i was a middle act i didn't know how to write i didn't know how to use i didn't know how to use a yellow pad i didn't know i had a square wooden desk and they just down he goes here's your room bye and i'm like i don't know what's going on what am i doing and uh

And so I would... Everyone has so much to do on their own plate. You do, Bob. Dana does. And it's hard to take a second to tell someone, hey, because it's someone that not ultimately might take your job, but just one more person kind of in your way, in a weird way, and you have to put that aside for a second and be a human being. And you did that. It was very nice. And now whenever I see you at a party, if it's a showbiz thing, I don't see Dana out as much unless we have dinner, but I run into Bob places and then I just...

beeline over to him because we always just start laughing within seconds. And that's fun to have. And we got through the craziness and we're both sort of sane. Absolutely, buddy. That's how I feel. I never told you this, but that party at Gaio Series where I met McCartney and got to sit with him for 15, 20 minutes. As Naomi and I were walking in, my wife and I, I'm dreading going to this party because I'm

you know, 59 or at the time 54 or whatever and thinking, fuck it, I don't want to go out anymore at all ever. And I'm thinking it's just going to be intimidating. There's going to be famous people here and I don't know what to say to them. And I turned to Naomi and I go, you know what? David Spade will be here. And buddy, we walk in the front door and we look

We looked down the hall and there you are. It fucking blew our minds. He's a man about town. There was one time I went to guys. I went to guys. I didn't even go there. I obviously don't go to the Oscars, but I didn't go to vanity fair or anything. I just went straight over to guys. Cause rock was over there and I get there. And before you get in, there's a line for the bathroom. So I just stand in line for a second. And then McCartney comes behind me and then he has a little chitter chatter. And then I'm floored. And then Bono comes out.

So I knew I was like, again, like you, I don't think anyone knows what to say to anyone. So I do a few jokes that, you know, sort of strike out and then we all kind of dart our eyes and then I drift away. Do you have something throughout, you know, Mr. Show or anything, if someone comes up to you in an airport or something, I assume like most celebrities specific compliments are the most flattering rather than you're great.

you know, cause someone came up to me, I'll just couch it. They came up to me at an airport and they said, I love skinheads in Maine. The thing I did with Colbert on my show. And it's so specific. My friends share that and laugh about it all the time, but you must have a hundred of those, especially with Mr. Show. There's so many quirky. Yeah. I'll tell you, I have, uh,

Yeah, I mean, we've all gotten to do lots of cool stuff between the three of us. I've just had this variety in my career is sometimes strange in its intensity. Yeah, because this movie, Nobody that I did, this action movie, that's like around the world, a whole different audience that probably they've never heard of Mr. Show.

Some of them have seen Breaking Bad and they're just like a whole nother set of people. But, you know, the strangest thing is I always do have to do the math when somebody comes up to me of like, I have no idea what you know me from, what you think I did that was great. And I've had the biggest surprise is how more than a few times a year,

somebody will come up and go, you are so great on how I met your mother. I mean, you're just the best. And it's like, I was on the show six times.

Do you have anything like that, David? Do you have anything? Probably. Yeah. I mean, there are little nuggets that I've done that people, you know, I get Emperor's New Groove and that's the only thing they know me from because my voice. And then you get things that are like Light Sleeper where I played one scene and someone doesn't really know you at all. And they know you're famous or you're something, but that's the only thing in your whole life they saw. Right.

And they appreciate it. So I'm happy. And it's true. I can sort of guess by who's coming up, I'm guessing sort of what they know me from. You know what I mean? And you might be able to get a feel for

If they just say, you're great, I go, yeah, well, now let's dig in. I find that if someone is funny in one scene of a movie or one part of a show, if they catch me and really make me laugh or impress me, I'm kind of like a fan from then on, even if it's just like a small cameo. But Bob, the interesting part of your story, obviously, is like we know where it sort of is, it went, right?

And I'm just wondering when you go, when we go back to 87 to 91 and knowing you and your work ethic, you're smart, some funny, all that stuff. Like how does that guy, what was the emotional, I mean, who was Bob in that those years that was so tenacious and so talented that then you went to this. And then of course, nobody is that they're going to make 10 of those. That was so great for that genre to reinvent that genre. Thanks, Steve.

Thanks. Listen, first of all, I got to tell you, when they finally greenlit that movie and I went to go make it, obviously I'm thinking probably we're going to

fuck everything up and it'll be but I also thought if it works if it works yeah then the thing I'm most excited about is my friends yeah going what the fuck yes I said it I love it what it's like Bob is doing this now

And it's not a one-off. That can't be true. That is too good. It's like too fucking good. I watch it and I go, this better be exactly what I think it's going to be. And it was, and it delivered. And the fight, I think it was on a bus or something. I'm like, what the fuck? I couldn't even do, I was like, I'm a bigger puss out of all of us. And I couldn't even do the fake stunts for that because I'm such a puss. I'd be like, we can't even fake do it with you. Yeah. Because I go, I don't really need to get beaten up, but I can't lift my leg up and kick. And I...

It might still hurt my clavicle if I hold this too high. So I like that it was you, and you have to be in shape just to do a fight scene, a fake one. You got very fit for that, right? To pull punches, to do anything. Guys, I worked really hard because I knew I had a long way to go. And listen, right from the start, I was like, look, if we're going to do this,

It's not going to be ironic. I'm not going to wink at the camera. I'm not going to give myself an out. I'm going to look if I'm going to look like an asshole, I'm going to look like a bad ass middle life crisis loser. Pathetic. Like what happened to you, guy? I'm going to do this thing all the way or not at all. And then if it works, it's amazing. Yeah. And if it doesn't work, well, who didn't who didn't think it wouldn't work? I mean, come on. But I did. When do you realize it worked?

Um, at a test screening or at, uh, just rough dailies or is there a certain point where you go, this is actually coming together. COVID really worked in our favor because we had a cut. It was good, but it felt kind of like an indie movie. Uh, it was a little slow. Um,

and small and then this because of covid this um editor who's the second editor on the project whose name is on it because it should be uh said i got i got nothing to do give me your movie let me fuck with it and two weeks later this guy wow the movie back to us and it was like oh wow okay wait a second and the interesting thing is

He added he built the sequence that opens the film out of shit that was on the cutting room floor Didn't not shot for the movie just thrown away What a worker and everything else in the movie all he did was chop it a little bit shift some of the Order a little bit not much Ollie and it was a totally different movie totally different experience and just work from the get-go and

That tighten and brighten. It was amazing. What this guy, because you connected to the character, because it does work in, in the whole emotional arc. You really do.

feel some i feel sympathetic for your character i want him to win yeah well that's actually honestly that's one of the things i thought i could bring to that genre is just so i've yeah vulnerability genuine like that you bought yeah like because a lot of times you know you don't really they try to have it but they force you don't really buy it but you don't care if you're watching an action movie a lot of times you don't care you're like so what i like this guy i like

the scenario hit somebody yeah it's fine go let's see the action let's have some fun with it but i thought is there something i could bring to this genre and i thought you know around the world i'm known from better call saw and that's a character who's getting his ass kicked in a lot of ways and emotionally getting his ass kicked and um and i play him and there's a

sort of a great degree of, uh, empathy that people have for that guy. And what the story they've Evan Schiff is the editor. Evan Schiff came on board and, and made that thing a beauty.

It's important to give credit. I love it. Yeah. Well, if you're bullied a lot, Bob, like I was and Dana was, and those movies are fucking I love because it's what I could never do. When you see like Death Wish with Charles Bronson, he's at least a guy that's not getting bullied every day because he's tough. But when you see a guy like you, I totally buy. I go, all right, Bob's a nice guy. He's out there trying to fucking get through the world like everybody. And people just always fuck. They do it to me all the time. And so...

I know Chris Rock is doing the sequel, but anyway, but I feel like when you see you in that situation and I'm like, please fucking screw these guys up. It's like the equalizer or something. Right, right, right. And it's the fantasy wish fulfillment that I could deliver on because I could really be

that first iteration of the guy and you really, really felt like, yeah, he really is. It's not just, you know, I don't know, Tom Cruise with glasses on or, you know, or a buttoned up shirt, a shirt buttoned up to the collar, you know. I think you go into a bar, you go into someone and you say, you want to see somebody they don't want you to, and you don't back down at all on anything, which is, I love, you just go,

I think it's best if you, and you're like, this is the way I want to talk in all my whole life. I just want to say, listen, here's what's going to happen. I hit you, you hit the ground. I hit the next guy, he goes down. And the guy's like, what are you talking about? And you're like, just wait about 30 seconds. You'll see how this goes. You know, I love that shit. I love it.

So the fun of this, this idea, this thing I had, the secret I had inside me when I'm training, which is like my friends, Dana Carvey, David Spade, all these guys, if I get to make this and it comes off, they're just not going to...

know where to turn. They're going to have to go to the hospital and get an MRI. Yeah, definitely. It was a little bit of an opening old-fashioned newspaper. Bob Odenkirk starring in action film. What the fuck? And the picture, the poster is like you kind of beat up, I think. That is a great poster. What's going on here? Yeah. Well, it was a great joy to make that happen and to have that come to life. But anyway...

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Can I ask you a personal question? Yeah, go ahead. Oh, just for a second, because you're starring in this film, and film and television have all overlapped. Now it's like the best stuff's on television. You're starring in a film, so when you're in the 70s, whatever, what films woke you up to filmhood or show business? What was a seminal film for you as a kid? It could be, for Ben Stiller, it was The Poseidon Adventure. Yeah.

For Bill Hader, it was taxi driver. Hanks was 2001. I can tell you, American Graffiti. Oh, yeah. Okay, Ron Howard, 1973, Harrison Ford. Yeah, and, you know,

I'd gone to films, you know, fun movies at the Cineplex and they were just building Cineplexes at the time. But we had an old time movie theater in our small town of Naperville, Illinois. And I'd seen a John Wayne film there on its first run. That's how old I am. Rio Lobo. Yeah. Yeah. I thought it was the Cowboys.

And I liked it. And it was great. And I loved going to movies when I could. But we didn't go to a lot of movies, but...

Going to that little old theater where, you know, they showed just the latest thing from the studios for a week or two. Right. Um, and seeing American graffiti, man, that was a totally different vibe than every, everything I had. I remember it in that theater or anywhere that was, uh, it was a new wave for film in America. And, uh, it felt more real. Um,

It's it had a modern energy to it. And it's a very good film. I mean, it's really good. Yeah.

It's so interesting to see a movie that sort of changes the way you think and maybe it tilted you toward comedy, maybe not. But just that's the beauty of movies when they – you see a bunch that do nothing and you're just sort of killing time and then one just grabs you. Nothing like it. It's what you want to do when you make movies. You go, I want one that people remember. Right, right. That's the funnest part.

pretty much isn't, which is this kind of very core elemental connection that just gets you deep, deeply. It's like a, it's a fable and a, and, and it's, and it really, uh,

takes you on a ride. I think with TV, you're always, no matter how well it's done, you just aren't as close to those lead characters. You're still just watching the story. You can be totally wrapped in the story, but you're just not, I don't know. I feel like movies just kind of

grab you and take you on that one ride and you feel close to those characters in a personal way. But, you know, it's just theory. It might be the fact that it's singular, you know, Bob, like it's just you go and this is a beginning, middle, end, and you go, wow. And you want to see the whole thing again. In TV, sometimes you go, if someone says, did you see the series? I'm like,

Oh, what? And they're like, it's on episode four. I mean, you know, like season four, you, I can't, I don't have $200 right now. Go ahead, Bob. I just think the power of film more than ever now is turning off the cell phone and not being distracted because you're watching something with your wife, you're enjoying it. And then the ring, the ring, the ding, the ding. I mean, it's just, it's, it's a problem, you know? So the focus of a film. Yeah, well,

Yeah, it's really strong and really a powerful experience. Anyway, I still love TV and I love everything that we all get to do. And I really, I like moving around.

And I certainly don't think I have a career, a future as a movie star. I will get to make a few more movies, but it's not important to me. It wasn't like the drive of my life. I was driven by comedy, as my book really, really says. I mean, I'm really trying to warn people with that title. Yeah. I know a lot of people know me from Better Call Saul and Breaking Bad, but I want to say, yeah, I'm going to talk about

you know, comedy in Chicago in 1980, uh, 85. And you're probably not going to give a shit about that. And right. You're definitely have fans that don't know you from comedy at all. That's rare for us for, you know, for comedians that you have a whole huge new crowd. Yeah.

It's, it's, yeah, it's true. And I, and I, I want to move around between these things because that's always been the most fun thing for me. And that's one of the reasons I think I love sketch comedy so much is you just jumping around from different ideas, different, you know, different tones. Something's really broad. Something's a little subtler. You know, I like jumping around between all that stuff. So how did, how did you find yourself? Cause not everyone, if people should read the book, but you know,

just quickly that journey from, I know Monty Python was a big, big wake up call for you. And then you left for Chicago, second city. But what was it about Monty Python? That's not in the book. You know, what, what are your, even today you feel like that is the one that you and your brother, Bill just went, Holy shit. Yeah. Uh, you know, I think, um,

you know there's a lot of comedy in the 70s that we all watched it had kind of a look some of it was great you know um for sure i mean i loved carol burnett's show uh the vibe with those people was like joining a party that was a very welcoming party friendly it wasn't like yeah they were yeah friendly and sweet and we sure needed that in my house so i love that but i think python was

For me, the thing that spoke about how I looked at the world and it kind of put an arm around me and said, yeah, the adults are crazy assholes. And don't worry, it's you're not the only one thinking this. And it's OK. You can laugh at it. That's what you can do. And and I think it's because.

They're young guys. They were in their 20s making that show. And they were very smart. And they're very silly, like extremely silly, but very smart. Yeah. And that's the magic. It's a tough combo to get right. Yeah, that's the magic combination to me. And it just spoke to the way I needed to see the world to be really comforted

I mean, this is when all the things we do and the things that affect us on a deep level do in whether it's a movie or a book or a TV show or some stand up act is it makes you feel less alone. You just get that feeling of I'm not the only one who sees this in the world. And when you're a kid and you're 10 or 11 at the time I was, I think, 11 when

When I first saw Python, that is a crucial, you're just about to become an adult, probably really sensing. And in my house, I mean, life was extremely unstable at that point because there's,

At that point, five kids, two more to come. Wow. Two more to come. How the fuck does that happen when financially it's off the rails, there's no future, there's no stability anywhere near you? Jesus.

And you just as a kid, you know, no one's including you in any of that shit. Your parents are. Your dad was Alec Baldwin. Oh, boy. I wish he was. I wish he was. Mine wasn't a picnic either, Bob. We've talked about this, I'm sure, privately, but it was rough. But yours sounds really intense. Yeah, but I mean, look, you know, it's not that special. Yeah. I mean, I try to express in the book. Look, I know my child is not special. It is a very typical 70s childhood story.

People were just starting to have the word alcoholism in their vocabulary. I mean, there was, you know, it was just coming to understand a lot of that. All of my dad's friends all ended up broke, bankrupt, divorced.

Really? Yeah, he used to take us out. Occasionally when he would hang out with us, he would take us to his office and we'd go to lunch with these five guys. And they'd get fucking ripped at lunch. And all of them, car crashes, divorce. It's America. It was like the playbook. Hey, you had your car crash. I'm next. I'm next. I remember my dad...

getting in his car accident and his was a good one he went through the window he went through the window and landed like 15 feet outside the car and I remember him looking in the mirror picking glass out of his head like even like a week later he's still picking little pieces of glass out of his bald head

geez so you went in but come on that was a 70s that was a dad yeah right my dad was a true we had all kinds of excitement yeah yeah but look the bottom line is it wasn't special it was just

where i was at when comedy came along and told me yeah he's nuts it's crazy it's okay just laugh at it and and uh and steve martin on snl was also like a superpower rocket ship to like crazy town and the best comedy the best mix of you know ample you know conceptualized

you know, like the, the fast drunk brothers, like that's fucking off the rails stuff, you know, wild and crazy guys, wild and crazy guys. I am, but they pull it off and it, it isn't look, there was, there was a thing about the seventies humor that was kind of cute and palsy and wasn't, didn't make me happy. The dangerous stuff is what made me happy. And, and that's what came in, came around, around,

you know, this time for me. Yeah, Carlin. By the way, Your American Graffiti was my Life of Brian in Arizona. I saw Life of Brian and I was like, what the fuck is, I didn't know anything on Monty Python. I just went to a comedy and we snuck in because it was R-rated. Wild. And it really hit me like, what the fuck are these guys? It was nothing like I'd seen and,

you know, I don't want to harp on it, but I was just wanting to acknowledge that Monty Python stuff did hit me also. I mean, I saw Animal House. I saw all the stuff I'm supposed to see and fucking loved. And then that was just a little different move and smart, silly, of course, and just,

doing stuff we didn't do here. Oh, yeah. I had the same reaction. All my friends loved it. And you, now, Bob, I have to ask Bob if he wrote for Dennis because I didn't know that. I don't think I knew you wrote for Dennis Miller before SNL. Yeah, before I got on as a writer, I would send jokes, well, I would send scripts to Robert. Here's what happened. Okay. I was doing different crazy shit in Chicago. Stand-up, sketch shows, anything. And Robert Smigel

I'd seen his work at this little theater that we all went to school at called the Players Workshop. And he wrote a show there that later became a hit show. It ran for like a year and a half and made tons of money. And so I saw that show in its early iteration, and it was already solid as such good writing and so strong. And so like, it just works like

I had a hit ratio of like 15 percent and and I didn't care by the way that was fine and uh and smigel had a hit ratio of like 90 percent and it was like yeah he was a big slugging person holy man I don't know where that comes from you know Robert says

It's the Rupert Pupkin effect is what he calls his achievement as a young writer, where all these years I've been pretending in my head that I was this writer and I've been sort of writing stuff in my head like Rupert Pupkin in his basement. And then he said, if you notice on the show, in the movie, The King of Comedy, when he actually gets a chance...

It actually works. He's actually pretty good. He gets laughs. Yeah. Yeah. And it's like just from hundreds of hours of doing it in front of the wall. Interesting. And I hadn't done what Robert did, I think, not even close to the hours he'd put in on really examining writing and sketch work and what a sketch is. But I saw his work. I loved it.

He saw me in this crazy show. It was off the rails, silly stuff, but I was doing characters and I was my, I mean, the only thing you could recommend about it was my commitment and my silliness. I mean, it was super silly and he got that. I was willing to just go that far and, and thought it was cool. And we started writing a show together and then he got hired at SNL. And so here I am in Chicago and,

And he doesn't know anybody when he gets to SNL. So he's calling me up on a Monday and going, I have these two ideas calling me again on Tuesday, reading the script to me. I'm going to do this joke. What about this? I'm just pitching him jokes. And he had, he just has a partner, even though he's, you know, at SNL new to the job and he's got someone to call and work his stuff on with and work his stuff with on. And, uh,

So I'm sending stuff in. I guess he's sharing it with some other writers. And then I'm sending jokes in for Dennis and Dennis is doing them. I mean, you know what that means. Oh, yeah. Waiting tables in Chicago. Oh, you see a joke on the air? I remember my first joke. I remember delivering food to the table.

Ed DeBevics in Chicago and I keep checking the screen because they have SNL on you can't hear it But it's on the wall and there's that picture of Bob Hope and there's my nasty joke mean-spirited joke mean-spirited from this fucking kid and

Do you want to tell us what it is? The statute of limitations on respecting Bob Hope for his earlier work ran out today. Taking a shot. I love it. And that's the statute of limitations. It's all the language and, you know, it's like a nicely, tightly written...

And it's short and tight. And it's something everyone's thinking. No one says out loud. No one says out loud. And it did great. And Dennis does a couple of my jokes over the next year or two. And Smigel, actually, there was one scene I wrote that got on. It was the sideshow of the stars. So, you know, they had Circus of the Stars. And this was Sideshow of the Stars, where they have, you know,

I don't even remember the jokes, but somebody's got hair all over their body that you didn't know or something, you know, sitcom actor. Uh, and, uh, and, and Robert of course punched it, punched that way up, uh,

But I only got that was the only sketch that I got on when I hadn't been a writer there yet. And then I had that meeting with Lauren that I detailed in the book and I kind of exaggerated. But the truth is, Dana and David, I went into Lauren's office and I really did think this guy does not want his ass kissed.

He's heard enough people, you know, praise him. He wants to, if he's going to hire somebody, he wants to hear somebody with a critical mind. Some moxie. I got to hear what you said. I'm sure it's in the book. Well, I mean, I just went like, yeah, I don't know. What do you think of the show? Do you like it? I don't know. I could fix it. It's been better.

It's been better for sure. I mean, I think the earlier... Wow. You know, and what comedy do you like? What do you like? Oh, Monty Python. Monty Python. Now, that was great. And that was great because it was smart and silly and they didn't have to, you know, they knew their lines. They were, you know, reading cue cards. Yeah. I'm fucking ripping the show. Yeah.

Well, thanks for coming in, Bob. I kind of think he's going to like this, you know? Talk about not reading a room, man. Holy shit. And the fact that he hired me is insane. The only thing I had in my favor was he doesn't really... I want to...

He doesn't have to examine that kind of hiring that closely. I mean, if a couple of writers want you to hire somebody, you're going to say, sure, go ahead. Give them a try. We can try it out. They think they're good because he doesn't. He's not. How can he tell in a meeting? And he goes, in fairness, I wasn't listening. The other thing I'd say, David, is...

I mean, Lauren loves Python too. I mean, Lauren also, yeah. Lauren probably would say, if you said what's the best comedy show of the last hundred years, he'd go, Oh, well, it's not my show. It's Monty Python, you know? And so the fact is he probably kind of, well, the other thing is he also knows what it's like to sit across from a very nervous young person who doesn't know what to say is completely wildly intimidated and,

And he's just done that 10,000 times and probably kind of gave me a little break for that.

Sure. He's a, he's a, he's very funny also. And I don't know if that always comes across that we talk about him cause we joke, but he's very funny. He's very dry. And he, and when you can make Lauren laugh at read through, it's so fun when he cracks up. Yeah. Sometimes he slaps the table and laughs and you're like, Oh my God, what a home run. Yeah. I don't, I never did that, but yeah. Bob, Bob, we, uh, Dane, I don't know if you remember when I was having some troubles in the show and I think I would just credit Bob with, uh,

the one in my picture in my head when I'm joking about people magazine or just killing time of the day. And Bob is a great laugher, by the way, which always helps disarm, you know, make you feel better. And sincere sort of came up with Hollywood minute and steered it with me. And, uh,

Remember, Bob, we were thinking, David, what did I do to help you with that? I just said what you do here back in the writer's room, you should just do that. Yes, it was something that simple, but it made me and we were framing it. And I'm like, could it be a show called Guess What? Remember, it's like, guess what? You're an idiot. You know, and and then it turned into like just a series of photos, which when you said that Bob Hope one, that was kind of.

like a simple way it's put, you know, do a joke, try to think of something people are thinking. Everyone's kissing ass to celebrities.

And I was unknown, which helped, you know, just innocent looking. That was part of it. That's why I didn't want to do it as much later because I sort of turned into someone people knew and then it turns meaner. It was just kind of fun to take someone's legs out for no reason. Like, hey, this guy is famous. Fuck you. And there was always a reason. Like, I didn't want to go at people more than once because, you know, you get one freebie if they screw up.

And I didn't want it to be that mean. It was just for fun. But it was a big help. Just the fact that you encouraged or even listened to me in between we're eating Wally and Joseph's or whatever, it was nice. And then it sort of just got me thinking. You know, I love to hear somebody, you know, I've helped a couple of young talent groups or people, you

to find some way forward and it's because i i know what it's like to um tread water and lose ground and be lost and and if you can give somebody a little cue that maybe gives them a shortcut or clarifies what they're doing already and it's a great feeling to to to be able to do that and and uh i guess i've done that even more than i thought but um yeah i like to do it i mean part of it is

You know, one of the ways that you can use your skills when you've been at SNL for a few years as a writer. And by the time you were there, I'd been there for three years. And I finally was feeling like I'm starting to understand what the show needs. What what? Because instead of what I wanted it to be.

which was insane because it's never going to be Monty Python. It's not good. Oh my God. There's so much about it. The reality. What's the reality? How can you help? What's the show? It took me for years, years, but somewhere around my third year, my brain started to calm down and go, wait, it's not this other thing that you want it to be. It is a thing that is real.

Has all kinds of, first of all, it's so fucking hard to do. You know, whenever we talk about it and we critique the show and I mean, the fucking thing just on the, on the face of it is impossible. It's an impossible thing. It's absurd. And the more I go back, the more I go, when I go back and see the show being done, I'm like,

Oh my God, this is impossible. You know, when I was young, I never thought that. Oh my God. When I got hired there, I was like, come on, how come this isn't better? Come on, work, you guys. This is not hard. This is easy. This shouldn't be hard. You know, and it's like, once you've produced a few things, you're like, you want me to do a show?

Saturday night with Zets? You want Zets? And how good all the departments are. Yeah, the departments are so fucking on it. They're so good. They're so crap. Anyway. Did you ever think during a long dress show, sometimes I thought maybe tonight's the night the show won't go on, they'll show a rerun or something.

Sometimes it just seemed like...

self-hatred it's the weirdest like how does it work how does it work that you have a friend you know we all have a friend literally walks around all day hating themselves talking about how stupid and dumb they are and then gets on stage and tells about a crowd of strangers what they think like what's that house

Well, how does that work? Something's wrong here, because if you don't think you're worth anything, then you shouldn't be thinking, give me that mic. I need to tell everyone what I'm doing. Give me that mic. I just always felt... I need to lecture these people. This year, Dell Technologies' back-to-school event is delivering impressive tech with an inspiring purpose.

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Find it on AutoTrader. See it. Find it. AutoTrader. Bob, I always felt if I didn't kill, I'd get fired. I felt like I had to destroy it. Maybe I pushed a little too much at times until I got to Johnny Carson was the only sketch I did toward the end where I wasn't pushing. But I just wanted to make the point that are you still with us? Your screen's frozen. Oh, OK. God, you were just. Oh, yeah. Is that it seemed like you were.

Like if you told me you had a pretty good time on SNL, it wouldn't surprise you because it seems like you were sort of around a lot. Like you'd be in a room with Conan or Robert. Or here's an example I wanted the audience to hear. Franken and I are doing a George Bush senior. We're sitting around somewhere going, I'm doing the thing. Gotta do it. Gotta go. And then it was, we're trying to go. I think Al said in the lesson of Vietnam. Yeah.

And you would just eavesdrop or just walk by and you just went, stay out of Vietnam.

And that killed on the show on Saturday. Lesson of Vietnam, stay out of Vietnam. Do you remember that moment, Bob? But I think you were around the show a lot. Grumpy Old Man was really your, you originated that. I don't know. It seemed like you were around. You know, I, I, listen, if I try to think of the things I contributed to SNL and basically I say in my book, um,

that I didn't help at all and I got paid and I learned so much about how to write a sketch and what a sketch is made of. And I but and then I gave nothing back, nothing in return. Like Lauren totally got the shit end of the stick with me. But probably

Those things may be added up to something. The little things that I was able to do because Robert included me in writing or, you know, anybody did. I mean, I can think of some of them because they stick out because they were...

It would meant a lot to me when I was able to help and say something that helped I I wanted it to work. That's the other thing Sometimes I think I when I talk about the show it sounds like I hated the show or thought it was dumb and and fuck this place and It's not true. It's not true. I I wanted nothing more than to be helpful and meaningful there and it would have

meant so much to me to feel that way but i i just did my best and uh and you brought in like motivational speaker which is one of the greats i mean that that's just that alone you could have fucking i know but david that was after i left that scene was that true

That was the next. Yeah, that that they did that scene the year after I left. Now, they gave me credit for it, of course, because I wrote it. I wrote it alone in my apartment in Chicago. But but that wasn't even I had land down by the river. Yeah.

Just that. Wow. What? Hand down by the river. I mean, just the fact that it's one of the most. I mean, listen, I just was in the scene and I hear about it every day. So but I had nothing to do with it. I just was cast. Thank God. Lord Jesus. Well, you guys know that I was proud as I am that I wrote it and I supremely proud. It's a standout moment in my life.

And SNL's life. The fact is, you know, Chris Farley is the reason. Freight train. He's just, come on. I mean, that guy, I mean, I talk about him a lot in the book. And it's weird and it's fun to talk to you guys right now because I mentioned to Howard Stern on his podcast that, you know, it's strange to write about somebody who I, I mean, David, you were very close to him. I was not. I mean, I...

I was, I felt very close to him, but so did anyone who saw him perform. Or even hung out with him. Or met him. He's such a sweet. Yeah, he was so nice and looking in the eye and just like shake your hand and be happy. And they felt like, oh, that's why he was so lovable. They're like, oh, this guy's my friend immediately. Yeah, Howard said, you know, I didn't really know him. And I said, but you did. You did. Because you saw him. Perform. Yeah, you saw him as a. That's basically what it was, yeah. And so, yeah.

I, I, I was, I felt a little strange about writing as much as I did, but it was pure honesty and he affected me and impacted me greatly as he did everyone who got to know him. So, so, you know, I mean, it's fun to talk about how I got to write that sketch and that it played so well on the show, but it's all Chris, you know?

The show is always performance. One of the things that probably bothered me was that SNL is always going to reward and celebrate a performance laugh over a construction story laugh. And as a writer...

I'm wanting those two to at least be equal. Right. Or if not lean in my direction where you go, yeah, that performer who does says, he's all right. But the fucking idea that's so well constructed. And that probably was Jack Handy, right?

Jack Handy. Yeah. Jack Handy sketch is a Jack Handy sketch. It is funny because Jack Handy is fucking genius. And it does that. You can put seven other actors in there if they're OK. Yeah. You're going to let your ass off. Unfrozen caveman lawyer. I mean, Phil was great, but the concept of what it was was just so Jack Handy.

And Phil nailing it, but just, he's nailing a great piece of writing sketch that was written so well. And handy sketches, you know, like a fingerprint within a half a page at read-through, you're like looking around going, is this Jack Handy? Like it's immediately comes out of the gate. So Bob, we know, uh,

You have another appointment. So I just wanted to ask you about your health for a second. People say to me after that, I had my event. They said, how do you feel? Even a year later, are you feeling okay? And I always go, I either feel perfect or I'm in the hospital. So there's no like Bob's having a good day today. You're completely whole now.

And energetic and healed because the science is there just to make this go away, right? Yeah, absolutely. I'm great. I'm working out, doing the same workout I did when I did nobody and I'm back to it and I feel great. I've got good energy all day. It took a while, Dana. I had five weeks off after the part at...

I had five weeks off. And then when I went back to work, they limited my hours to 12 hours a day. And that was actually limited. That was really so quick. We get started here. Yeah. And and I needed that because I really got to about eight hours a day and I would just start to sit down in the closest chair. It takes it out of your stance and the drama of it. All of it makes you weak for a little while.

Yeah. So it took a couple more weeks or even a month and a half or two before I felt like I could do even the 12 hour day fine, but I'm fine now. And I w I would just say that, um, you know, um, whatever I'm, I'm, I, I knew that thing. I, I knew that the plaque was building up and I should have been on medicine. And anyway, I'm going to be okay now. And I, I got a lot of, uh,

A lot to think about after it happened and now. And I wanted to ask you because you've also had a heart issue recently.

Do you ever sometimes lay in bed and listen to your heart? I would say in the first year after all that, you know, any kind of little thing or skip a thing or whatever, it took me a while to let that go. But I'm really aware of my heart. Like if it's beating rapidly, I'm aware. Yeah.

So, yeah, that... But you weren't before? Not in the same way. Not in the same way. But I love getting my heart rate up. I love breaking a sweat. I do everything the same. I was just very, very lucky. And what I want to tell people with Bob here is that, you know, there are statins, there's medicines, and there's diagnostics, CT heart scans. There's ways to...

be ahead of this. You know, thank God Bob had who he had around him at that moment. But there are ways to prevent it. It's not a death sentence. It doesn't change anything. And it's the medicine and the technology has gotten so brilliant since the 90s. So I would just encourage people to get checked out if they have a family history.

Right, Bob? Yeah. Or even if they don't, Dana, I don't. Oh, you didn't. I don't have a family history. And so if you're 50 and you're...

Man or woman, 50 years old, 55, just ask your doctor for some simple tests, LDL, that stuff. Get the simple test done. It'll tell you. And these medications are very mild. I mean, they're not going to change anything about you. So just, you know, take the statin or whatever they recommend if you need it. And, yeah.

Yeah. And I was very lucky. I was supremely lucky, you guys. Not only that, listen, I just learned this a few days ago. The AED device that Rosa Estrada used to jack me up and it took three runs. Yeah.

It took three tries. She had that in her car because she was trying to return it to somebody she borrowed it from. And she'd been trying to return it for weeks. And this guy was never home. But otherwise, there wouldn't have been one anywhere near. And so only because this guy didn't wasn't there to answer the door and

that she had it in her trunk of her car and could go run and get it. You know what's weird, Bob, is my brother Brad lives in Albuquerque. He's the guy I based Garth on. He had a massive heart attack 20 years ago. And two paramedics were part of the track club. And he just went lights out. Same kind of thing. 15 minutes of all that. Start the heart. He's fine today. So...

And it was in Albuquerque too. So I know two people in Albuquerque frequently had heart attacks where they should have had them. You don't want to have a heart attack alone. Well, there's two ways to look at it, David. It's either terrifying or it's exactly where you should go to have your heart attack. Albuquerque. Listen, I have a history of having an attitude. I,

I would love to talk to you guys for five more hours. I love you, Bob. Thank you for coming, man. Thanks so much. Bob, it's been such a pleasure. You're right. We could go for five more hours. Peace out. All right. Miss you, buddy. Thanks. Miss you, too. See you. Take care. See you, pal. Bye-bye. Soon, I hope. Hey, what's up, flies? What's up, fleas? What's up, people that listen? We want to hear from you and your dumb questions. Questions, ask us anything. Anything you want. You can email us at flyonthewallatcadence13.com.

Steve Rusnak. Guys, if you could star in a bio about anyone, who would it be? You guys are fantastic. Hmm. I guess I can't do Judy Garland. Someone already did that. Renee Zellweger. Who would I be good? Who would you be good as? I would probably The Life and Times of David Spade. Oh, yeah. We could play each other. Yeah. Because I don't think I could do... I think I could play... Anyone.

I actually, if I think about it, I would love to put prosthetic makeup on. Yeah, here we go. What's going to be? And do a movie where I play Dwight D. Eisenhower. Riveting. Everyone's waiting for it. This is the week. I tested for the movie Amadeus. I was third in line for that movie. Amadeus playing Mozart.

He's like a boy child. I can play a thousand things and you can't. Do you know, I was in a movie called Light Slaver. This doesn't answer the question at all, but who cares? And Paul Schrader, who did Raging Bull, Taxi Driver, unbelievable writer, was directing it.

I went into audition and he goes, great audition. We're going to try to get Dana Carvey. And if we can't, we will hire you. And I said, very honest, I'll take it. And then they said, Dana doesn't want to fly to New York to do it. And I said, I will. Because you had to pay for yourself too. And what was it? Light sleeper with Paul Schrader. They asked you and you were, you just got back from SNL and you go, I don't want to fly right back.

There's only a one-day shoot, so I did it. Well, they used to nickname Kevin Kline, Kevin D. Kline, because he always said no. I think I was second in command. Here it is. It's this much money in Nova Scotia. You leave tonight. Yeah, that's what you go now. Because when you do stand-up and corporate stand-up or things, you're just like on call, almost like a firefighter. Yeah.

Yeah, you got to leave in two hours. It's in Berlin. I know agents are like... It's like 20. Agents go, I'd do it. I mean, and you go, well, yeah, you sit in your fluffy office with AC and I got to go down and get in Southwest and connect through Houston. Anyway... I was offered a gig in Munich, you know. Okay. Okay.

Fly on the Wall has been a presentation of Cadence 13. Please listen, then rate, review, and follow all episodes. Executive produced by Dana Carvey and David Spade, Chris Corcoran of Cadence 13, and Charlie Finan of Brillstein Entertainment. Production and engineering led by Greg Holtzman, Richard Cook, Serena Regan, and Chris Basil of Cadence 13.