Mike Judge
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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 1800 time you say on the towel rack. Yeah. Thank you. 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.

Okay, I have a little observation right before. I mean, this is part of Mike Judge. Hey, Dave, before we talk about our friend Mike Judge, because we now call him our friend. Great dude. Do you...

Except cookies every time you see it. Because whoever thought of the phrase except cookies is a genius because really they should ask, can we spy on you? Yeah. Can we spy on you? But except cookies, they take me right back to a 10-year-old. Well, fuck yes. I'm going to accept some cookies. I'll accept all cookies and more. But do you sometimes go, if I don't accept the cookies, whatever I'm looking at won't be as good like it should?

It just won't- They'll take out the good parts. They'll take out the good parts. It won't be as good, so I'll accept cookies and get the really good article. No, you know, I do it on Instagram and it says, oh, just do you want cookies? It doesn't matter if you want cookies or not. And I go, no. And they go, okay, bye. And then you're just off the website, you know? And I go, well, so it's sort of, I have to. I think they should change it to how about a brownie?

And then you say yes or no. Hey, how about a brownie? Well, is it like a cookie? Yeah, instead of accept cookies, how about a brownie? And you go, yes. And then they spy. They legally can harvest your information and sell it to people all over the world. Yeah. And believe me. They should say, a brownie is a harvesting mechanism. We spy on you while you're in the shower and while you're on your laptop. And I go, well, that's fun. I just want to read this article about it.

I'm just trying to find the best route to drive to Big Fork, Montana. I don't need you going into all my personal details, looking at my apps, okay? I just want to see pics of J-Lo's wedding nuptials. Going with Affleck. He's a doozy, let me tell you. That's forever. I love those, too. All right, so Mike Judge, great guy. Here he comes. Sweetheart. Worked on SNL, so there is a...

A wispy connection. He did Milton. Yes. We get into that hard. He did Beavis and Butthead for us, which is great because it's so cool to see him do it in person. I know, because he's unassuming and shy and sweet. And then when he goes into Beavis and Butthead, it's kind of magic. Yeah. And then he did Hank from King of the Hill and his eyes were all rolling around in his head. And so just to see him do it, and I told him it's just...

There's something about Beavis and Butthead that is endlessly funny. It's kind of like a Tarantino movie. Just two idiots looking at hot dogs. It never doesn't make me laugh. And it was so much fun to hear his process, how he learned to draw, how he did those voices, what his influences were. Yeah. And listen, he's rich. If I had his money, I'd throw mine away. Here he is, Mike Judge. Mike Judge.

Why would you throw your money? Why don't you add mine? No, got to get rid of it. Like Denny said, it all comes down to paintings and planes, Carvey. At the end of the day, you're at Hemingway's in Paris. That's where Bill Gates goes, all right? But getting a Monet and on a G7 to a Muscastle, a more pricey. That's that Clint's job, Dennis.

So why would you want to get out of California? I mean, was it the homeless and the regulations and taxes? Or is it just like being gunned down in the streets? This place is like the purge, dude. I see a guy in the street, you know, his pants are around his ankle and he's screaming on my way to the grocery store. It doesn't ding me. It doesn't change my day. Every time I see that, I go, why is his dick bigger than mine? That's all I can think about. They always have full heads of hair if you're homeless. You know, they have a full head of hair and I can't.

Fucking, I just, I eat right and exercise. Well, you'd have to do like a quarter of a day. Something about that creates their great hair. And I go, you know what? What, are we on camera live for Greg to see? Keith Richards has all his hair, right? He didn't get hair plugs, did he? Who? Keith Richards? Keith Richards. I'm just thinking of like other junkies. No, no. He went bandana.

So the big bandana forgives everything. Like Nadal, I've seen the French Open yesterday. I was at the dentist and he's got the big bandana.

You can either be a pirate or a cowboy when you get older. Yeah. The pirate would be Steven Tyler. It's all distracting. It's all jangles and all that stuff. And then the cowboy would be Jeff Bridges. Mickey Rourke is getting rough and tumble. So which one are you, Mike? I'm going to have to go with cowboy. But I'm barely... I just got to wear a hat or something. I know. Listen, I do it too. The hair thing, it drives you crazy. And then you go...

Would you trade places with that homeless guy because he has great hair? And then you think about it for a while. You go, well, it's a push. I always ask my friends because I try to understand the crisis. And I go, look, if you were living somewhere and you couldn't afford the rent, would you move to a less expensive place 10 miles away or would you pitch a tent? And no one has said pitch a tent so far.

Well, let's get to Mike and his career. Homeless jokes are tough. Haven't we been recording this whole time? Unfortunately, yeah. Well, the thing about what Mike and I were talking about, David, if you don't mind for a second. Yeah. We were just talking about integrity of shows or something. I can't remember. Voice over. Voice over stuff. Oh, he was asking us, Dana has an animated show. Well, non-animated, invisible. But it's all voice. It's a podcast. Like an old time radio show. Oh, right, right, okay. But we, you know,

My sons and I and their friend, childhood friend, we love the Twilight Zone and so obsessed by it. All the kids would watch it at my house because I had VHS. And so this is basically our trying to bring that back a little bit. It's called The Weird Place. Check it out, kids. Mike and I, let's just start briefly because this is sort of about SNL, but we can always go into your other stuff because you have a million things. So Mike and I met

God damn it, I think you were gone. Were you gone when Mike came? Might have just missed him. You might have just missed him. I met Mike when he visited the Wayne's World set. Yeah, I visited Wayne's World set. Oh, yeah? Wayne's World 2, I think it was, or was it 1? Oh, so I think it might have been 1. And, yes. I'm hoping. No, it was super cool. First time I'd ever been on a set. And then I met...

I think I first met you at the VMAs maybe or right before it or something. But you took me, you're talking about when I went to SNL? I think because you went to SNL because you had a desk. Yeah, well, you, and I'll thank you for that now, you kind of hooked me up. Before the Beavis and Butthead short, I had one called Office Space that was Milton and Lumberg, which you showed to Lorne.

And that led to me making three more of them that weren't very good. The fourth one was all right, but for SNL and then, you know, eventually led to the movie later. Yeah. The movie, the mega movie. Yes. Now did Office Space, we'll jump around here.

But was it one of those ones that wasn't like a $100 million movie and then it just lived on forever as a huge cult hit? Or was it also a hit? No, it wasn't a hit at the box office. But it was not at all. But it didn't cost a lot of money. Budget was $10 million, I think. What year was that? Came out in 99. Okay. And came in like sixth or eighth place or something opening weekend. Oh, yeah?

Yeah, it didn't. And then, yeah, but then a year or two later, it started really, like, it was charting in the, like, the blockbuster charts. VHS and the rentals, yeah. VHS and DVD, yeah. That's where they make big money. I mean, Tommy Boy was not a huge hit, and Black Sheep was not a huge hit. Well, that one just lives on and...

They opened number one, but they were both open number one at like 35 million where it wasn't like a mega monster. No, that's what they totally made. Joe Dirt. Joe Dirt. Joe Dirt might have opened number one, but it was still, again, it wasn't like a huge hit. Those are the ones that you really can't tell about a movie until five, 10 years later to see if it really sunk in because there's big ones that made more money that no one talks about. So-

They open big and fade out, but I like when they stick around. Is there like about maybe 40 good movies? All in the world? Well, my wife and I at night were like, Godfather again? Okay. Sound of Music? Honey, we're really, we watched Eye of the Needle with Donald Sutherland, which was pretty cool. But it's hard to find a great movie. What I was curious about is you're doing Beavis and Budhead coming out with a new movie.

Yeah, it just came out. And then the new series. It's out already. Just straight to, it was on Paramount Plus, yeah. So what was it? So it needs to be churned and talked about. But it wasn't, you didn't have an opening weekend. Was that your first experience with that? Yeah, it's weird. It's just out there. Yeah, you just put it on the- You platform it. And there's no, they don't, you know, they don't,

or publish any ratings or any data so you don't... It was a New York Times critic pick. It's like 90-something percent on Rotten Tomatoes. So it's...

Rotten Tomatoes is still around. I've gotten a couple of threes in my small film career. I don't think I've broken ten. That might go down after a while. Well, I guess that's on the critic side and then the audience side is in the 80s maybe. I don't know. I should look it up. But it's on Paramount Plus right now? Yeah, Paramount Plus. Streaming on Paramount Plus. And Beavis and Butthead take on the universe or what was it? Yeah, it's called Beavis and Butthead do the universe. Oh, they do it. Yeah.

That's pretty good. I'm a nibbler, Dana. And I think you are too, but you always know me that I just have to keep the energy going. And I think because I learned from my dad, pistachios are a good source of just, you know, nibble, wake you up.

They're always delicious. I actually named a character in a movie I did called Master of Disguise. The lead character's name is Pistachio. That's how much I love pistachios. Yeah. Well, wonderful pistachios have literally come out of their shells. It's the same taste. It's delicious, but...

It's a lot less work. As you know, cracking them open can be a little bit of a job. Less cracking, more snacking is what I say. That's what I say. That's what you say. And I'm going to use that when my wife goes to the store. Wonderful pistachios. No shells flavors come in a variety of award-winning flavors, including chili roasted. Honey roasted. Honey roasted.

Salt, sea salt, vinegar, smoky barbecue, sea salt and pepper is one I like the most. And I'm going to try this jalapeno lime. They don't have a red, red necky flavor just yet. Yeah. Red, red necky loves pistachios. I like to crack things open and put them in my mouth.

Come and eat some. Come and eat some. You could do that. Spice lovers go nuts. It's time to get spicy with Wonderful Pistachios' newest no-shells flavor, jalapeno lime. With a wide range of flavors, there's a Wonderful Pistachios product for every taste bud and occasion. From enjoying with family and friends to taking them with you on the go, which is what I do. I always have them in the car. Savory, salty, smoky, spicy, or sweet Wonderful Pistachios.

No shells. Flavors are delicious. Snacks that consumers can feel good about. Yeah, next time you're shopping for snacks, you're craving something crunchy, something satisfying, ditch the bag of chips and grab Wonderful Pistachios, No Shells. Your body and taste buds will thank us because we told you about them. Visit WonderfulPistachios.com to learn more. Oh, yeah. Let's ask Mike if...

Back in the SNL days, I think this was a rumor that maybe we started that if you did a Beavis and Butt-Head movie, that Adam and I would be Beavis and Butt-Head. Yeah, that was discussed, yeah. But, you know, we ended up... I mean, they still... When was it gunned down? Yeah, I think... I don't know how that... I don't know how... I don't remember at what point it was...

- Is it when we asked for a salary? - It was gonna be animation, but yeah. - Spade probably asked for a shit ton of money. - I know, I created it. - I'll be butthead, but they gotta back up the Brink's truck. - No, I was, you know, Mike gave me a Beavis necklace. Do you remember this? - Oh yeah, the pewter. - There's a pewter Beavis necklace 'cause, not 'cause we were gonna do the movie, just 'cause I thought Beavis and Butthead was hilarious.

He gave me this thing that was maybe one of a kind, maybe it was his merch, but either way, I loved it and it was very nice. So I wore it to my buddy in town and they said, Lorne or someone from the show said, Kate Moss is having her birthday. You guys would like to go down and say hi? So to some version of that, I was with my buddy. I don't think you went. No, I wasn't. We went down, it was her 21st birthday. Oh.

And so it was just like a party party. I don't know her or whatever. And then they said, "Oh, go say hi to her." So now we're forced together, you know? And everyone's looking. - Go say hi to Kate Moss. - Yeah, and she's smoking a cig and- - Too cool. - I'm just like, "Hey," explaining that I'm like a clown in America or whatever I do. - She's very posh. - That's tremendous. - And yeah, she was super cute. And then she goes,

Beavis. Cause she saw my necklace. I go, Oh yeah. I talked to her like it's a foreign country. I go in America, this is a, and she's like, right. Give it to me. And I go, give you, give you this. It's my birthday.

Oh, and she just- She wanted you to do the character? Well, actually, this is a present to me. And she goes, give it. And everyone's looking like, what the fuck are you waiting for, dude? So I gave her the goddamn necklace. Can we hear it? What? Oh, she wanted the necklace. Yeah. I thought she wanted you to do the character. No, she wanted the necklace. Oh, God.

She said, give it to me. Yeah, and she said it 10 times and they go, it's her birthday. And I go, all right, all right. So I gave it to her. Yeah, these models, they're not entitled. I know Johnny Depp. She got whatever she wanted. I was like, do you need any cash for the cab home? So you gave it to her? So I gave it to her and that was it.

At least she could have worn it in a photo shoot or something. I know, wear it somewhere. I was trotting it all over town. That's pretty hip. I guess it's back. I thought in my head, I go, Mike will be glad that at least she's wearing it because it's somebody famous. Okay, so I'm going to compliment David. David, that was a great story. Yeah, and Mike. Okay. Well, anyway, I am a fanatic. There's millions of us for Beavis and Butthead. And I was at the time doing Wayne's World, but I honestly, I have...

Total appreciation for Wayne's World. I thought, motherfucker, that's funnier than what we're doing. Oh, I don't know. It's sort of similar, you know? Well, because it's... I don't know about that. The abstraction of just two characters, and I want to know how you got connected to them. Maybe you've said it on other podcasts, but just standing there...

And I guess looking at hot dogs, dogs, for like a minute, that kind of humor just really resonates with me. It lasts. I could see it right now if you showed me 10 seconds of them. He said balls. I mean, just that with no real, I don't know how to describe that kind of humor. Well, they also got to watch videos, right? And then they make fun of videos, which is genius because that's what people do at home and it's...

Yeah. But the rhythm of those guys, I know you probably, but how did you, and you're attached to them so completely. And yet here you are kind of just Mike, a regular guy, but then these characters come out of you. It's just very, it's like magic. It's like a magic trick. Yeah. I don't know. Like it, I mean, it's hard to, I don't know, as you know, having done great characters like you, I don't know exactly where it comes from, but like it, but yeah.

With this, I guess I was, you know, I'd done, it was the fourth short I had done. And I don't know, I just, I had drawn them and just look, and I was trying to draw somebody completely different and it went a different way. And I kept like, I'd drawn Beavis. How many drafts of Beavis and Butthead drawn? It looks like they're not finished. Yeah. They're not finished. Well, that's the thing. Like I wanted, I wanted them to actually, and now I'm not a great animator at all. I was just,

But I wanted them to look...

like they were drawn by a deranged 14 year old or something like I wanted it to. Yeah. And I also want it like on the original Charlie Brown's, I love the way pig pen just, he was drawn, he was animated kind of sloppy and messy. And he had this, like, I was imagining buttheads hair like that. And I don't know. Then once I drew them, it just seemed like they just can't say anything clever. They're just like, there was, there were guys that kind of different people that I knew growing up in Albuquerque that just

I was like, are they really that dumb? Like, yeah, just saying little snippets of sentences, nothing really. How do you like, rudimentary humans. Like, can you read at all? Like what, you know, like, and, um,

Yeah, I don't know. Just sort of... And being... I'd done this short called Frog Baseball and that's what started it all. I watched it today. Oh, yeah. Oh, God. Think you could do that today? You know, just to interserve for... The lo-fi drawing of it or the rudimentary drawing, it just...

it's really kind of postmodern in a sense. It's almost like Basquiat if you're familiar with him. Actually, you know, it's childlike brilliance. I love Basquiat. I love his stuff. I also, he's on next week. I also really loved like, like, you know, all the National Lampoon. I was really into all the, the comics that were in there that like Buddy Hickerson, Linda Barry. Well, she was in,

Mary Kay Brown, like a lot of these, Mimi Pond, all these great, what was the other guy? Mark Merrick. But also, I mean, this is going to sound, I'm not trying to at all compare myself to great artists, but Beavis's eyes, I thought were like Picasso eyes, you know, where they're all like. I always wonder where those came from. And that's such a specific choice and it gives the characters so much. So they're like cat's eyes that are slanted. Yeah. Like when I was, when I was in high school, I took a, it was like a,

art history elective or something like that. And I used to just start drawing Picasso stuff in my notebooks. This makes sense to me. I don't draw very well. I'm just sort of like, I was never like proud of what I draw, but I would draw, occasionally I would do a pretty good caricature of a teacher or something. But yeah, with Beavis, I had his, yeah, I kind of did Picasso eyes on him, which I

None of the other characters in the show have. It's like, you know, Mickey Mouse is Mickey Mouse, but then all the side characters are like they had to commit to them. Yeah. But this totally makes sense. I saw Basquiat in it. Now you're bringing up that. I mean, like the long jaw and the teeth of his butthead. Yeah. Beavis has that. Yeah. And then Butthead has the gums and the braces. Yeah. And I wanted to animate his mouth because like when you have braces –

Like people, when they're smiling, they don't, their corners of the mouth don't really go up unless it's a huge smile. And when you have braces, you kind of go, you're going like that. All the time. Yeah. When he laughs, his mouth is like going down. When it became a show, I had to just, all these really animators way better than me. I'd say, no, no, no, they don't laugh like they'd have them do shoulders up. And it's like, no, no, that's not how they laugh. They laugh, you got to animate better.

Does it sound too highfalutin to say it's kind of what you're doing is artistic? Because anyone could draw something real. Well, but to draw surreal that creates the whole is greater than some of the parts. Yeah, like an animation, maybe if it was a contest, like who could draw the most perfect person? But luckily it's not. So it's like Simpsons look weird and you just picked a different sort of interesting look.

It doesn't have to be perfect, but if you buy into it, the voices match up, then it's bought into it. Yeah, well, that's the thing also. Like I could have, and still to this day, I mean, the new movie, like we have some incredible people worked on it that it looks pretty epic, but Beavis and Butthead still look like themselves. Because anytime in the past that we tried to clean it up or it just stopped being as funny, you know, I think it's true. Like South Park, there's just, you know, when those four characters, if it's...

if it got too fancy and was, you know, if you animated them 3D, it just, it's... Can we draw a line from Beavis and Budhead to South Park, both being brilliant shows, but this lo-fi, I mean, you look at Walt Disney's animation. Yeah, yeah. And then I don't know if you were one of the first, but it seems postmodern. It seems like it'd be very hip now just to have that kind of animation. And then, of course, South Park went with sort of cardboard puppet animation. Yeah, cut out animation. Yeah, well, I think...

I was probably the first to have a mainstream cartoon like that, but there were independent animators that were starting like this guy, Wes Archer. There was a lot of, um, actually Mary Kay Brown when the Simpsons, she had shorts that were in this Tracy Ullman show that I thought were amazing. I think it's impossible to Google cause the way it's called Dr. Nagatu and there's an exclamation point in the middle of her last name. And, uh,

But anyway, there were people doing it. Like I wanted to, I read National Lampoon and think, man, how come this stuff isn't animated? Like this kind of, this sensibility and this style of drawing. And so that's what I was trying to do when I was animating my shorts is to try to. Can I ask you a technical question? Yeah. I think also led to the magic of it. So Milton and the first, you know, frog in the whatever was the butt head. So you had a 16 millimeter head.

Got a Bullocks. So Milton is like moving. There's a shimmering. Yeah. Is that intentional? Yeah, every drawing. Well, what I did with Milton-

If you want me to get in the weeds here... This is what we do on this podcast. Our fans are usually smart. Our fans are mostly animators. They call it a boiling, yeah. It's called a boil. Every two frames is a new drawing, no matter what. So I did that that way, yeah. And then...

Was it for time's sake or finance sake or an actual artistic choice? It was partly... To give it that movement. I would say I was a little artistic, but really, like, I didn't have cells. I did that with color pencils and ink. So to only move one part, you need a cell. Back then, you know, you did an overlay. I didn't... Hadn't tried working with that. So I...

I had like a cutout, like his desk is an overlay cut around the corner of the cubicle. So you're drawing this thing and you got this camera on top. I'm putting a new piece of paper underneath it every time and clicking. Give it some fun. Click it to give it movement. Just like stop animation claymation. Is that what you do? Click it? You click it. You go like click, click. That one I shot on my Bolex. Then when I sold that one,

I don't know how much it cost me for the film and everything was like, and for the camera, like probably 700 bucks or something. And, and I sold it for, I got $2,000 for it. So I said, okay, next time I'm going to rent time on a camera. And so I shot it on a better, my later stuff. That was the only one I shot on the Bolex. I could see why SNL would love Milton. Yeah. Because it's, again, it's like, um,

doing whatever, worker bee, working class people, what's their life like? And the torture of being in the cubicle and the boss who's a dick, you know? When you do Office Space off of Milton, first of all, it must be hard to make Milton a real character and try to capture it. But Office Space had so much more going on that Milton wasn't even, that you got a whole great movie out of it without just going, it's the Milton movie, you know? Yeah, well, that's actually, it started out, Peter Ternan at Fox saw those shorts and said-

This should be a movie. And so it was going to be a Milton movie. And I just kept, I couldn't wrap my head around like, like, I don't kind of, I don't want to know what he does at home. I don't like, I don't, I don't, I didn't see a whole movie centered on him. So they had writers come in and pitch it and nothing really landed. And then, then, but they kept wanting something. And then they said, well, what if you make it like an ensemble film?

like the movie Car Wash. And I said, oh yeah, that's, now that's like, I can do that. Car Wash. Well, I guess it's like a workplace comedy, basically. A workplace comedy. That probably wasn't even a term, workplace comedy. Boring cubicles.

Yeah, but I was going to animate like a series like vignettes of office characters, like cubicle characters. So that's kind of what I, if Beavis and Butt-head hadn't happened, that's what I was going to do next was more. Well, it was nice. It's almost like an indie filmmaker doing a film low budget in one location because the cubicle is very simple, but super effective. You had the guy at the desk and the guy at the door. That was it. Yeah, a lot of, I'll answer for him.

Limited animation abilities. What would Mike say, David, to that question? A lot of times you get on MTV or Comedy Central and you're a victim of the budget. So it's so, the budget is so low that South Park makes them look cardboard because that's all they can do. And then it's, you know, so you can't make it so professional. And then,

indirectly it's just sort of turns into a hit because of the not cheapness but you know oh it makes a huge difference yeah there's a charm to it there's a charm to it well also you can't animation now or at least a few years ago would be like okay wrap we'll get it out in three years we'll see you guys yeah that was a great read love y'all see you in 2027

So I think part of it, obviously, South Park has that. Can I go back to a 2001 question? Oh, sure, sure. So when the monkey gets the bone. What? Go with this. Go with this, Mike and David. Yeah. The monkey gets the bone, right? Oh, is this a movie, 2001? Yeah, I'm referring to the monkey going, ah, because the monolith put the thought. So it's like going like this.

going like this and then it starts hitting stuff using it as a weapon and there's that moment of creativity so I'm thinking of Mike young Mike does these two goofy characters rudimentary Van Gogh Basquiat

And then wherever you're going to draw from with the monkey with the bone, it's like, what do these two guys sound like? And I don't know if it was over time or an epiphany, but the voices are so peculiar, so rich and so bizarre. So where'd they come from? And if you don't have an answer, Dave will answer. I do have an answer for it. Well, so...

Beavis actually, so when I, the guy that I was trying to draw was absolutely nothing like Beavis. He's actually an engineer now and he was a straight A student. That's a funny name. He's a brilliant guy. He was not named Beavis and he was, he, in fact, he was super nerdy and we had a, in calculus class,

he sat in the front and I remember I was, you can cut this story down if it goes too long, but- - No, no, I love it. - No one had ever heard of a hot teacher. Like it just didn't happen. And this friend of mine's coming down the hallway, he goes, "Have you seen the new math teacher? Oh my God." And I'm like, "Yeah, whatever."

She was like a former Dallas Cowboys cheerleader and she was really beautiful. And he sat in front of class and he was so wound up. Like he would just, he'd constantly be biting his lip and going. And he'd be laughing at everything she said. She wouldn't even be funny. She'd say, okay, and then this is an easier way to do it. Explaining algebra. And he was always kind of looking back. That's hysterical. And so. Can I hear that voice one more time? Yeah.

So you are sitting next to him and observing it. I'm sitting in the back and me and this other guy, Bob McCarthy, and then my other friend, Mike Sidiabaca, I started imitating him like he would do it. And then I'd be in the back. I'd go. And then they started doing it. And the teacher, she, I won't say her name. She got really pissed and chewed me out one time, like chewed us all out because we just kept doing that. And then.

Like just, she got really emotional and I would like apologize and everything. Then she turns around to the chalkboard and my friend just goes. So I have two questions. One was, so the guy doing that in the front row, he was doing that to repress his absolute horniness for the teacher? That's what it seemed like, yeah. He was just so wound up. And when you did it for your friends, did he talk or it was just that one sound? Oh,

It was just the same. All I would do is the laugh. Okay. But he didn't really talk like Beavis, but I was trying to draw him when I ended up drawing Beavis and Butthead. They were both attempts to draw him, and it was kind of going a different way, but I thought they looked funny, and for some reason I drew Beavis with a lighter in his hand, and I was just imagining him just... Oh, fire. He likes fire. Excited. Like it's just this scary... Like there had been this...

This guitar player with Delbert McClinton who he had – I used to be a musician, but I remember he just was looking at some guy and he said, boy, he'd start a fire. And I was thinking like that. And that's when Beavis was a little like pyro. Yeah, like a little – he was a little pyro, which got us into trouble. And then Butthead, I did the drawing. So you're a scientist and a musician, but anyway. But so I just was looking at the drawing and just thinking like what would he –

The idea of someone just laughing all the time, I hadn't really – I'd seen it like there was a Mimi Pond cartoon in National Lampoon where she just had this weirdo getting on a bus and he's just going, like it just was written out. Yeah, just always kind of –

I don't know. It just seemed right. And I wanted them to just be laughing all the time and barely talking and just deranged idiots. It's like the laughs when it talks. Well, yeah, Beavis barely said anything at first. I was thinking of him as this brain fried guy who just... He just goes along with it. Yeah, he's had balls. Yeah, the first one of those was them watching like...

I had to watch a Barry White video. But one of the charms of it, and Wayne's World had it a little bit, but was that they're generally having so much fun. Like the two losers in town are having more fun than anybody in the town. Yeah, yeah. By the way, my daughter's

like Wayne's World a lot more than Beavis and Buttheads. - Really? My son wanted to come meet you. Totally changed my life, blew my life. Beavis and Buttheads, the movie, all of it, blew my mind. - Oh, wow. - You know, what about Wayne's World? He goes, "Life stayed the same." - Oh, Wayne's World, he goes, "That wasn't so funny, Dad." This year, Dell Technologies' back-to-school event is delivering impressive tech with an inspiring purpose.

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Find it on auto trader. See it. Find it. Auto trader. I like that. Mike used to, did you program F 18 Hornet jets? And then you go, I might switch. I, I worked on a, I didn't. Well, I, I worked. Yeah. My first engineering job was, uh,

Yeah, I was electronic test engineering for the, yeah, it was F-18. It was all very boring except for F-18, I guess. Like I wasn't out on the tarmac, like I was in a cubicle. You were basically Maverick. So you were a science whiz in high school and college and you worked for- Yeah, I was good at, you know, I could do physics and math. When did you get dumped? Do you know how to find the base of an isosceles triangle? No.

Yeah. Most comedians suck at school, and I've never met a mathematician comedian. There are not that many. There's a couple Simpsons writers that have. There's one chair. George Meyer. Well, there's some Harvard-y brainiacs. David S. Cohen. Ken Keeler, I think is his name. I think he's got a PhD or something. Yeah, there's some. Now, you were a science kid and everything, but were you also doing voices and making people laugh? Yeah, I did imitations.

A lot. Yeah. From, I started, started realizing I could do them in high school. I think I peaked my senior year in high school. Were they famous people or just classmates? That's the thing. It would have, they were all just teachers and classmates. I didn't do anybody famous. I, I'm kind of still that way. I don't, I, I don't know. I guess like, uh,

I can do, yeah, it's like people I know and occasionally if it's a famous person I know, I can do them, but I don't often do them. I don't know why that is. It's the same thing. If you do an impression of a friend and then that friend becomes famous, now it's not a character, it's an impersonation. Right. But if it's an unknown, I mean, Churchley was just teachers I knew. Garth was my brother, you know. I remember reading that, yeah. Absolutely. And he lives in Albuquerque for years. ABQ? Yeah. Really?

He invented the video toaster. I don't know if you ever intersected with that. Did he really? Yeah, the video toaster with Tim Jennison. It was with Amiga computers early 90s. Oh, yeah, yeah. First like home video... What's a video toaster? Home video recording system for people who want to cut videos at home. Oh. Wasn't that like early 80s or something or even older? Well, no, it might have been mid-80s. Mid-80s? Yeah, maybe, yeah. He...

I wore a toaster t-shirt in Wayne's World 2 as Garth underneath the thing. Is that why he was in Albuquerque? Toaster capital of the world? He was in Silicon Valley, another place in one of your shows. Well, Microsoft started in Albuquerque. And then he moved to...

Albuquerque just his wife was going for a master's at the University of New Mexico and he just worked from there and so he still works at Sandia Labs now he's an engineer yeah okay yeah that's what I was wondering if Sandia I have an office space question David before we get to Silicon Valley office space office space had Aniston in it too yeah right Jennifer Aniston she's great what was she like

She was very funny. She was great. The whole thing was great. I heard TGI Fridays lost their flair because of that. Did you read that? Yeah. Well, they publicly tweeted that it wasn't because of office space. But a waiter, waitress, whatever you told, the second AD told me that she asked someone at

TGI Friday is about that. And they said, oh, after that movie Office Space, we ditched the flair. Dropped the flair. But yeah, that was something I had in the script. I had the line about we're not in Kansas anymore. And then this writer, Brent Forrester, I was working with, he was in Austin and he worked on King of the Hill.

And he was staying at a hotel next to a TGI Fridays. And I said, hey, if you get a chance, can you go? Like, I was too chicken shit to just, I don't know. I didn't want to like, I said, can you just ask them? Because clearly they don't wear those because they want to. I mean, all those buttons must be. And I was just curious, like, well, everyone has them. And do they, you know, do they tell you you have to have a certain number or whatever? And then he was about to.

to get the car to the airport. And I said, hey, did you ever get to TGI Fridays? And he goes, oh, yeah, yeah. They're actually called pieces of flair, and you have to wear 15 of them. And I was like, oh, my God, how long have you been sitting on this? Juicy one. That's too good. And so then we started riffing on that stuff, and that was a very last-minute ad, all those. But that was to give, because when...

Casting her enabled, that kind of made the studio relax more about casting all these unknowns or semi-unknowns. So King of the Hill also, I'll just insert this. She was also smart to go into that movie too. My son's favorite. And I remember they liked The Simpsons. They fell in love with South Park later, but it was always King of the Hill. Really? Always. Always.

what the gosh darn are you doing? I mean, that guy, you know, that had another magic charm to it. I mean, it's famous, right? It's huge. Yeah, that was a... I mean, it's something. That was one of my... Hank, right? Yeah, Hank was a combination of imitations of... There was a guy in my paper route. Me and my brother had a paper route and...

He was our first time collecting. Collecting is tough. Yeah, you go at the end of the month, you'd collect. Oh, did it? And he thought we were like – he said – he was always out in his front yard with a beer, just like drinking real slow. I love those guys. He said, well, you ain't my paper boy. And I said, yeah, well, that guy quit and –

where the new paper boy is. Well, I know what my paper boy looks like and you ain't him. And then he said, yeah, we're not saying we're him. You have to see his face. His eyes are getting very big when he does that. Yeah, he had that kind of far away looking around. And he brings his wife over and says, Marcy, come here. Is that the paper boy? They ain't the paper boy. I was like, no, we're not saying we're that guy. And then

um we said well we're gonna have to cancel your papers well i'm gonna get the paper when the real paper boy comes jesus if that's because you're collecting which is uh yeah in uh to the audience that's what the end of the month you go get the money for the paper right because my buddies i'd go with them oh yeah it was always you did that in arizona yeah do the paper then you got to go do the collecting which was the hard part you hit them up for the cash at the end of the

You get up at 4, 4.30 for the morning paper. Oh, I did. My friend told me to wrap it on. Wrapping them. But that show was so charming because it wasn't political. It wasn't violent. Yeah, it's just easy. It was small town charm, small town stories. It's just a real. It's hard to get that right though. Yeah. And make it funny. Really funny. Yeah. We had some great writers. But it was. Greg Daniels. Greg, yeah. Altshuler and Krinsky. We had some really great people on that show.

And it was, yeah, it was just like kind of down home, you know, like, because The Simpsons was so, I love The Simpsons, but, you know, they're going into outer space. Yeah, whimsical. Taking advantage of everything you can do in animation. Yeah. I chose to not take advantage of any of that. Yeah, yours might as well have been a sitcom. Yeah. Well, that was the way I stood out, but let me ask you a question. So you're drawing the main characters and you kind of in your head have an idea how they sound.

And then it's a series. So are you passing out other voice? There's other voice actors in there. You're doing like three or four of them? I just did. I did Hank and Boomhauer, the guy who talks gibberish. And that was pretty much it. How does Boomhauer sound again? That was sort of, that was based on a, I have told the story on it, but it was based on a couple different things. But the one that I would go to, the guy, when Beavis and Butthead was going,

I didn't have an assistant like for the first year of it. And you could, anyone could call, I guess, and get my voicemail. And somebody had called complaining about the show. And it was just like, just hillbilly deranged dude. And he thought the name of the show was Porky's Butthole. And the call, I still have it. It's, he goes, yeah,

Well, I've been calling y'all a better month now. I grabbed about y'all a member of the time that dang old freaking old Looney Tunes. Come on, you put on a dang old pokey freaking old butthole. And I couldn't. He's like, you're going to sell, drive them commercials. Damn, I'm going to go down on kids with pokey's butthole. And he's just like, I couldn't. He seems to be complaining also that it's because they would start the show like.

two minutes off or early to get people who are channel flipping. So he's saying like, y'all be three minutes late last time, go three minutes late next time. Y'all would drop a name out of Pogge's butthole.

So you pick up bits and pieces from him. Porky's butthole. I don't know how you get that out of Beavis and Butt-head. I just think he's like cartoons, Looney Tunes, Porky. Oh, yeah. I don't know this one based on C. Reilly, right? Like a really insecure guy, right? Like we should have fun and everything, right? That'd be cool, right? Who's John C. Reilly? I base it on him, but I exaggerated it. Oh, is it? Yeah, it's part of my script. That does sound like a podcast. Was it before he was?

Famous, right? No, I just took it from, it was three idiots in this scripted podcast. One's the ring-lingering guy. What do you think? You think Cloud's like a baby? Yeah, he's pretty much like a baby. I think he's kind of gentle. He's like a baby, right? So that was, it's basically you take the source material of that, in your case, and then you just extrapolate it out. Make a funny version. Yeah, like how did Joe Dirt sound?

Like me. No, he had kind of a twang. He had a southern twang. Hey, boys. You're going to stand there owning a firework stand. Yeah, there you go. And tell me you don't got no Roman candles. You were like the first person to really do the...

The mullet redneck. Yeah, that was the first kind of mullet. You know, I think it was accepted because I wasn't making fun of the South, really. I was actually the guy was- Super charming. The good guy. Yeah. And for once, I wasn't sarcastic. Yeah. No, he was a hero. Yeah, I was trying really hard to get through life. And something about that clicked with people. I mean, there's-

No other explanation. I think likability goes a long way. I think, you know, Joe Dirt was just a likable character and it didn't shit on the South or make fun of it. It didn't wink. He was sincere. Yeah. Looking for his parents. And bullied. And a lot of people are bullied. And so when you get, you see that. And a great name, Joe Dirt. That's just a great name. Joe Dirt. Joe Dirt. I know the movie I'm in. David Spade is Joe Dirt. Yeah.

Yeah, I love it. So when you're casting other people then, do you show them some animation and some ideas or you let them look at it? Or how do you get them in when you're so connected? What we did, it was – yeah, that was the first time I really –

cast something and we had standees of the drawings. Okay. I mean, my drawings were very, well, still are like really crude drawings and when you blow them up to that size, they look even cruder. Yeah. Like the shaky pen. But we had these cutouts and...

I wouldn't look at the actors. I would look at the drawings when they're- When they spoke. Yeah, so they- Oh, so they're in and you're looking just at the standee drawing. It doesn't matter what they're- Yeah, what they look like. Yeah, what they look like or what they're doing with their face. Or how famous or anything. That's not the end of the line. So you hear the voice and you're looking at the thing without looking at them and then you do the Eureka moment. I mean, how many auditioned for a part? Quite a few. I mean, they'd narrow it down and Greg and I would listen to, you know, like the-

the final ones. But yeah, yeah, it definitely, like I think where animation goes wrong a lot of the times, especially when they're, when they're trying to cram celebrities in, is that the, the,

there's that thing where the sum is greater than the parts, but you know, where the voice and the drawing come together in a way that just fires on all cylinders. And yeah, so I would, you know, I look at that and like when Steven Root read it, I mean, Steven Root's also just naturally funny, like a lot of, like you all are, but he, but like he, that clicked. And then the one that we had a little bit of a, cause we were talking earlier about the celebrity thing was,

The character Dale, which Johnny Hardwick was one of the writers and a standup comedian. I think, you know, way back. Yeah. And he was one of the writers and we had him read and it just fit that. Like it was just something popped and you know, there was a lot of, they wanted, they just kept pitching celebrities doing the voice and none of them,

Not their fault. Yeah, not their fault. They're great actors. It just doesn't fit the drawing. It doesn't seem to help that much. Yeah, nobody cares. It only cares for three seconds. There are so many movies that have famous people, especially in the 90s, that like after Toy Story, it was like you have to have a big star do the voice. Oh, yeah, is that true? There's so many failed, huge budget animated movies that failed with huge stars and nothing against the stars, but they just, it's like...

It's like you get this famous person and this animator, this designer, and there's no thought of putting it, of how it all clicks together, you know? Yeah. That happens a lot. I mean, sometimes there is. It just needs to pop. When I did that Llama movie. You had a big. Oh, the Amber's New Groove? Yeah. That was, I remember going in. But that worked. And they said, that one, I love that one. They said. Yeah.

My only good reviews. And you're playing a llama? I'm a llama. Well, it was the Prince and the Pauper. The first, Mike might know a little bit of this because he's in that world, but it was a big Disney movie. I think, uh,

Michael Eisner's that probably was running it. So I get brought in, I was doing just shoot me and, um, I play this Prince and Owen Wilson, who's your buddy is, uh, our buddy is playing the, uh, I think it was a pauper. So it was basically going to be, we switch bodies or we switch lives. I'm the, the queen is Carla Gugino. So I think those are the three people that had winning. She was the voice of the, she was no, no. So we do it for a year and a half.

And I'm doing the voice. And it was before you got paid. So it was just an honor. And I go, it's someone out there making a Shrek. I think Shrek was an honor and they got paid. So I literally was making like a little over scale. And so after a year and a half, I go, hey guys, is that a wrap? Like, do you got it? And cause you know, they give you pieces of the script. So after a year and a half, they show an animatic to Michael Eisner and he doesn't like it.

And they're already millions into it. And they say, what else? What else could this be? I want to be a studio executive. And they said, we had another idea where... He goes, I sort of like the sarcastic prince. And he goes, what about... Which is me. And he goes, what about that they had an idea that I turned into a llama or something? He goes, yeah, do that one. And so another year and a half...

We had to change everything again and do it all over. By the end, I didn't want to even go in anymore. I go, I don't even know what we're doing. We're just ad-libbing, riffing, doing stuff. And when I saw it, I was thinking in the back of my head, this is going to be a disaster. And it made me laugh. I thought it was so funny. I go, God, these guys are good. They know how to do it and they made it work. It looked cool. It was a slightly different look. It was one of the first newer. See, Dana wouldn't notice that. See, he wouldn't know that. I would just go, look at the funny pictures. There's David. Well, my daughter had, when she was like eight or nine, I think she had,

There was a full page ad for it in a magazine that she had pulled out and stuck on her wall. Oh, because you wanted to see it? Yeah, because it was like... But it just had a different... It had a cool design. I thought it was like... It didn't look like...

the typical Disney from what I remember. Like they finally started to do something a little different. And it was so fun to do because I can't even give myself the credit because I would make up jokes and they'd give me jokes, but it was more, they have so much going on around the story with the animation that they make everything funnier and better. You know what I mean? Like even in Hotel Transylvania, everything...

It doesn't read as funny. And then when you see them do it, they know what they're doing. I know. It just adds to jokes so much. It can go wrong so many ways. It works. It works. I actually read for an animated TV show once. And I think I blew it because I came in for the audition. And they said, Mike's looking at the standee. You can come in now. Mike is looking away. You can come in. Well, I won't dare you, Bo. We're playing Jimmy the Raccoon.

Well, let's ask Mike if he met Lauren and if he – did you ever have to meet Lauren and sit with him and talk to him? Yeah. And when did you get the call that SNL is going to use Milton? Oh, so, well, I first met Lauren actually when I visited your set. I was on the way. That was my first Hollywood flying me out and –

meeting everybody and then you came to the set yeah so I'd met like a bunch of studio executives and they're all like kind of really like friendly and yeah we love your stuff and you know all that yeah yeah and I'm like oh my god Lorne Michaels I'm gonna meet him this is gonna be amazing and

That's, it's like, oh, he's not ready yet. Why don't you go visit the set? That's where I met you. And then- Right. Was I in character? I think I was in the outfit, right? Yeah, it was amazing. You had the Garth outfit on. But then I go in and Lauren was in such a foul mood. Oh, no. I got like-

And I was just like, oh, did I piss him off or something like that? But he was nice. Producer stuff. But I was like, he must have, something must have happened. Something must have just happened. Just, it's a budget thing. It's not you. We need the AMC pacer like fucking yesterday. Who is it, Mike? Come on in. Yeah. So what was that like then? I mean, I was starstruck. I mean, I was such a huge SNL fan. But then I met Spade here shortly after and

And I think you had turned him on to the Milton cartoons. And then, and then it was back in New York. I went, I went to SNL and met with him. And, um,

Jim Downey, I think. Jim Downey. Yeah. One of the greats. But yeah, they gave me an office. I mean, I was in the thick of it with Beavis and Butthead, so I was- Yeah, I don't think you're in the office that much, right? Because you just had one if you needed it. Yeah, but it was cool to come by and see all you guys. Norm MacDonald was a writer at the time, right? Yeah, yeah, yeah. Yeah, like, hey, you're going to write a character. That Milton guy's great, you know? You never know what's going to happen with Milton. You don't say it's Norm, you just have a guy going, what? What?

Why is he called Milton, you know? I mean, put him in a cubicle, right? Norm could always find a word and repeat it and just make it funny by repeating it. Like he'd probably get on. It's amazing. He's in a cubicle, right? That's where you work, a cubicle. Cubicles, yeah. That was part of Norm's genius.

So you're part of the team, you're making Milton. Is your only job to make Milton? Is that what it was? Is to hand in shorts? Yeah. But they gave me an office there. And at one point, Lorne got really pissed at me. Jesus. Well, I was just used to like- This is interesting. Well, then he quickly, he was quickly very nice, but I-

I had, I mean, I sort of get, I'd, I'd sent a storyboard for two more Milton cartoons and I just hadn't heard back from anybody or something. I don't know. It happens. And, uh, I was called into his office and he, he was just like, what is going on? What, where are these cartoons? And I was like, Oh, sorry. I was waiting for, and I think he wanted me to be more proactive and it was a huge opportunity. And I think he thought maybe I was blowing it off or something like that, but he was, then he was very, very nice. And,

Always was. Yeah, I did three new ones over the season. Did you not like them as much because it was a new crew working on them or did you do them on your own first? I did it with two – just two animators and me and we had to work on weekends. And I didn't really have the chance to edit them as much as I would have liked to. I don't know. Yeah.

But it did give me a chance to kind of develop the Lumberg character that Gary Cole played in the movie where he's doing, you know, like the yeah, mm, all that stuff. The yeah that means no. And so it was, but like the fourth one I remember liking, and I, you know, used some of that material in the, actually Office Space I think is a,

SNL gets a credit in it. Oh, fuck. Maybe Lorne does or something. A little one. Is it possible that I could get a little something? You know, it's an associate professor. Just wet the beak a little bit. Yeah, I just want to taste.

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That's $50 off with CodeFly at BlueNile.com. BlueNile.com. So, Mike, you're...

So you're very observant. I would suspect that you would probably create a character based on us. If they said it was Lauren called you, it'd be David, it's flying the world, but it's animated. Maybe I could get you guys to play those characters and do a podcast. We are so busy.

I like your career. Yeah, I do too. I like Silicon Valley. It's generally a guy, your sensibility is infused with things. It's a very safe bet to drive you in. Did they ever back up a Brinks truck to you like... And you knew it was a shitty idea, but it's generational wealth. Someone needs an operation.

And you must have said no a lot. After Beavis and Butthead, you had fuck you money or whatever, or success. Screw you at least. So what kind of deals came to you without throwing anyone under the bus that you just said no thank you? You know, I...

Yeah, there was a few. I mean, there was a... I said yes to some stuff that thankfully didn't go on, but... Really? Well, the first, I mean... Let's look at a clip. Not to throw too many, yeah. Fortunately, there's no clips. There's some script pages. There was a summer camp movie that... And I never went to summer camp. My parents didn't have that kind of dough, but like... Summer camp movies always work. Yeah, well, that's what this was like. That was the first thing that was offered me and I said yes. It was like...

It was an offer to write and direct a summer camp movie. That sounds fun, though. Yeah, and I said yes, and then – I shouldn't say the title. But I was like – I did the best I could for that concept. You wrote and directed it? No, I didn't. No, we never – No, I wrote – and then I wrote an outline, and then they got a writer to work on a script. And then it just kind of sat in development for a long time. Yeah.

I passed on it based on the script. Like I was able to do that. On your own script. You didn't. The one that co-written by. I read the script. You passed on your own co-written script? Let's guess the title. I'm going to say Summer Nights. David? I'm going to say Camp Let's Fuck. You couldn't possibly guess as happy as what it is. Maybe I should just say it at this point. It could have been a good movie. I will say Mike has a high slugging percentage.

Because all this, there you have so many things that did work that no one hears about that stuff. And you also have a way to make boring funny. I mean, to say office space is like a dull, boring office and we're going to make fun. It's hard to do that. Started a whole genre, basically. It's hard to make that dry stuff

that's so boring, not be just boring. Well, yeah. I mean, the office did it later. Uh, Ricky Gervais was doing, Gary Shanley was around doing stuff like that. And you were, Gary Shanley was probably, yeah, I was a big fan of Larry Sanders, Larry Sanders. Yeah. That, that sort of, that might've influenced me some, but I was also just like, um, I don't know. I liked, well, the, um,

I keep mentioning Mary Kay Brown. Her shorts, the Dr. Nagatu had a quality to them. Like one of them is just like she's at lunch with someone and there's this...

kind of vase on the table in the middle of them that just keeps getting in the way. And it's like one of those really relatable, like, do you move it or not? And I was like, wow, you don't see that in animation. That's really, really cool. But yeah, there is, you know, I mean, Seinfeld had been on for a while. Well, not when I did the shorts, but for the movie. But yeah, I mean, the studio, they were very gung-ho. And then when they started seeing the dailies and going like, wait, this is just...

boring cubicle stuff you got to move the camera around you got to do something here this is horrible oh yeah they got to talk louder someone should sing like can you do like so yeah was that your first directing live action or yeah that's scary as shit oh it was so that's a commitment thing then when you're editing it and you're doing that compression humor of like holding the awkwardness yeah where the studio's gonna want can you pop it around kid yeah yeah it was it was uh

Yeah, actually, they were really down on it until the first test screening and it was getting big laughs. I mean, it didn't score very high because it didn't have like the big emotional kind of ending maybe that it didn't have, you know, Tom Hanks or whoever. But it had that medium kind of like on the cards, there's like excellent performance.

Very good and good. And good counts the same as horrible. Like, so. Right. Top two boxes. Yeah, that term, top two boxes. That means great or really great or something. And like the top two, if you get like 75% of the top two, that's a horrible score. You have to really kill it. It's got to be 90. Yeah, you got to really, you got to be, yeah, it's like, and office space was like, it was like 78 or maybe even 90.

one of them like 80 in those top two, but like the, the good, most of them were in the good. There weren't a lot of, if you look at that, you know, how did you feel at that screening when you saw it? Well, before I going into it, I was, it was, I was sick to my stomach. Like I was like, I'd worked in a movie theater when I was just the ticket tearing minimum wage job. And I remember thinking like, God, I wish I was just someone working in a movie theater right now. We, we, we test screened it at up in Westlake village outside of LA. But yeah,

I was, but then once the audience started laughing, I was like, okay, thank God. This is like, cause I had like, I don't think any, the editors didn't think it was funny. I know the studio didn't think it was funny. Too much. And then you need that fresh audience. Yeah. And I don't know, like, yeah, it was, it was very, I was, that was the most stressed out maybe like, especially when, I don't know if you've experienced this, but like,

You know, I'm writing it. Oh, cool. I'm going to make a movie. And then all of a sudden, shit, there's 18 wheelers and trailers and construction people building. Coming up to you going this color, this color. And I'm just like, oh, God, what if this is something that just me and my brother and a couple of friends think is funny and that's all. And here's all these poor people, construction people working and driving.

drivers. Whispering, this movie sounds like a piece of shit. Yeah. Yeah. You always think that they're all going like, oh God, what's this? I said, one guy goes, is there any funny parts? I go, cause we're shooting it on a sequence. Someone said that? Yeah. He's like smoking a cigarette. I wrote this. He's like, oh, I'm sure it all cuts together. I go, oh yeah, we'll see. Oh God, it's such a horrible feeling. I remember the, we'd put all the cubicles in this place we were shooting and, and it,

the first rehearsal with Gary Cole and Ron Livingston. And it's just like, yeah, if I could go ahead and get that, you know, he's, it's a slow scene and it's just me standing there and looking down and there's a couple of construction people over there kind of going, they're getting bored. I have to, is it too late? Can I get out of this? Can I quit? They do that thing where they get 20 people. Yeah. And, and,

you know, like you stand behind them. And I remember the moderator, she just goes, who's heard of Mike judge. And, and like, I don't know, like maybe like 15 of the 20 people raise their hand. And what do you think of him? And I just got up and left. I saw one on Dickie Roberts that said, I generally don't like David Spade, but this was pretty good. And the girl gave it to me. She goes, look at this. And I go, why would I want to see that? And she goes,

That's positive. What was that 90s run you had? You had Dickie Roberts, you had Joe Dirt, but they were low budget, so they all made money. Yeah. They all made money. And then they go on and they quietly make Paramount 50 to 100 million on video. In those days, video, they'd make 60 million on video. Yeah, it was such a great racket. Because they didn't cost much to make.

Wait, was PCU? No, that was before. That was my first one. That was with Jeremy Piven, yeah. That was early. What about, wait, what was the other? Jeremy Piven. Tommy Boy and what was the other? Black Sheep. Oh, Tommy Boy. That was a smash. That one really lives on. It lives on, yeah. Yeah, people. Yeah, that one, thanks. It just grows and grows, it seems like.

Yeah, that's good. Will, do you have any more? All right, we'll let him go. I had Hank down so good when I was watching that with my kids. Yeah, you got him down. Thank you, Mike. Mike Judge was our guest today. Mike was great. Thank you, guys. We didn't keep him too long. We got him an hour because he's a busy boy. Really, really fun. I appreciate it. And...

You're as nice as they say you are. Very talented, very cool. I'm assuming. And an incredible observer of humans. You live here and Austin? Is that because I was in Austin? Yeah, actually I moved back there pretty much full time like a year and a half ago. Yeah, people dig Austin. I liked it.

It's too hot in the summer. We went there. We do a live podcast. We do a live podcast in Austin. Oh, were you there recently? Yeah, probably the last. We were there with a guy named James Austin Johnson. We drove by your house and beeped. Yeah. All right, we'll get him out of here. Thank you, Mike. Peace out. All right, thank you guys. Thank you, Mike.

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.

Oh. Hey, David, do you want to read our question? Yeah, Allie Jones, we get these questions from our lovely listeners. Questions, we get questions. Question. We don't have a theme for this. No. Yeah. Maybe we have Cajun Man do it. We got a question. Hey, David and Dana, my name is Allie. I'm 17-year-old. Oh, I like She's Watching from Georgia.

I wanted to know which album you'd want to be a fly on the wall when it was written. I know what Dana's answer is. Okay, let's guess. Let's play a little game here. Guess Dana's answer. I'm going to guess yours. I'm going to say either the White Album, Sgt. Pepper, or Rubber Soul. I don't know. It's one that rotates. Oh, it is? An album that rotates, and it's named after that. Shit.

Shit. Revolver. Revolver. God, I was close with Beatles. It's very close. I listened to the whole canon of the Beatles when they remastered it. And I rediscovered Ringo's drumming as genius and Paul's bass playing because you could hear the bottom of the Beatles. And as I went through the whole canon, I don't really have a favorite, but Revolver just pops for me. There's a raw, I mean, you know, I'm only sleeping is the first song. Okay, what's the second one? Uh,

Eleanor Rigby. Fuck. Mega. We had a few tunes. We sat across from each other. We put a face in a jar by the door. It sounded funny. I said, Eleanor Rigby, ba-do, ba-do, ba-do, ba-do. That's how we did it. So good. Goddamn. Yeah, because sometimes you have fresh ears with music. You're hearing it again because I used to listen to music when I started in a beat-up old 62 Volvo. So when you get older and get a decent stereo, you go...

Oh, there was a guitar in that song, you know, because I can't hear it. It's all, my tweeters are blown. I have a Bauer Wilkins, because to me, a car is about getting me from point A to point B safely. And then what can I listen to? Because that's where I listen to music. I have a Bauer Wilkins. Maybe they could be our sponsor, but I'm hearing music for the first time. I heard Tiny Dancer by Elton John. And it's a six minute masterpiece. I had no idea. It's like, I'd never heard it before. I thought he said,

Lay me down because she's a winner. I said that until I was fucking 48, which was last year. I was there when Elton John played Marine World, and I knew the guy had to clean up the elephant shit before his family. Hold me closer, tiny orca. Hold me closer, tiny dancer. I'm a comedian and should not try to sing. Okay, so that's, thank you, Allie Fear, and that's your long answer.

Yeah, Revolver on my side, David album was. Shit, I would go back to, if I couldn't do any Beatles. You don't have to. I would do, because I love the Beatles, but I would do some Elvis. I would do Highway to Hell. Led Zeppelin 2. Bowie Changes 1. Oh, a Zeppelin one to be there. Pink, fuck. Dark Side of the Moon. Maybe.

I want an answer for me and for you. I have control issues. And I love Halen and I love... Shit, man. God damn it. I'm getting stumped. Anyway, all good. My therapist said I had control issues and I said, could I tell you what the next question should be? Good night. Stupid. All right. Thanks, Allie.

This has been a podcast presentation of Cadence 13. Please listen, then rate, review, and follow all episodes. Available now for free wherever you get your podcasts. No joke, folks. Fly on the Wall has been a presentation of Cadence 13, executive produced by Dana Carvey and David Spade, Chris Corcoran of Cadence 13, and Charlie Finan of Brillstein Entertainment. The show's lead producer is Greg Holtzman with production and engineering support from Serena Regan and Chris Basil of Cadence 13.