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Hey guys, it s Spadoodle.
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You can always go to davidspade.com to look at my tour dates, because I bless a lot of cities in America with my hilarious stand-up act.
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Or you could not go to it and get on my enemy list.
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Up to you!
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This show is sponsored by BetterHelp.
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But you know, look at how fast, we re almost halfway through the year.
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Crazy, yeah.
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Are you proud of what you ve done in 2024 so far?
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I mean, you always wanna do more, right?
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Life goes so fast.
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David, it s important to take a moment to celebrate your wins, make adjustments for the rest of the year.
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Therapy can help you take stock of your progress and set achievable goals for the next six months.
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David.
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Listen, therapy is the way to go.
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I did it for a while.
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And I think the thing that slowed me down was what they, is driving to Santa Monica in traffic once or twice a week.
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Yes.
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This is online.
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No, it s so convenient.
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It s a great idea.
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Very convenient.
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It helps you.
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You ve got coping skills, how to set boundaries.
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I mean, there s so many things you can do here to be a better version of yourself.
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You can probably always sharpen it.
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Yeah, I mean, I had a therapist in Portland and I would commute and that was a pain.
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That s a long drive.
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I know it was 1300 miles one way, but you know, it s good therapist, but yeah, this one you can mix and match and your thoughts kind of control you and you want to master them.
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And when you talk to someone else, they re able to kind of discern it out.
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So if you re thinking of starting to give therapy a try, give better help a try.
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Yeah, it s entirely online, designed to be convenient, flexible, suited to your schedule.
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You fill out a questionnaire, get matched with a licensed therapist and switch therapist if you want to for any reason, no charge.
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Take a moment, visit betterhelp.com slash FOTW today.
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Get 10% off your first month.
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That s betterhelp, H-E-L-P.com slash F-O-T-W.
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What we have here today is Michael McKeon and a lot of people know him.
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He s in so many things.
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I have a thing with him because we did do some SNL together.
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We did do a few years together or maybe one year, but we talk about that.
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I think he clarifies that up because I m stupider than most people.
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And we also did the Conan s movie.
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Oh, applause, a few people in the back, remember it?
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The Conan s movie, which had so many cameos in it of SNL people, you cannot even, I m not even gonna say SNL, just stars.
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We talk about that, he was on Better Call Saul, did that, he s everywhere.
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And of course the headliner is he does Spinal Tap.
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This is Spinal Tap, if you don t know, is one of the all time great comedies of all time.
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I think that s fair to say it s one of the,
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One of the biggies.
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And we do have some laughs.
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He s a great dude.
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And I had a great Conehead story for him that he did not know.
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And that s it.
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So listen in.
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You ll know him when you see him, if you don t recognize the name right off the bat, but he s done so much more than all of us put together.
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Here he is, Michael McKean.
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Dana, I m going to start with Michael, and I m going to ask him a question that he gets too much because he s been in a lot of stuff, but of course people focus way too much on coneheads.
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Now, when we... I was so sure you were going to say spinal tap.
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So nice.
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We were in Coneheads together.
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Michael was a lovely man to work with, and it was one of my first movies, and it was a lot of fun.
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I had a lot of fun because it was new.
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Michael done so many things, but I think he still had a good time.
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I did have a good time.
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And do you remember anything from that experience other than there were a lot of celebrity cameos, if you look back?
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Well, we weren t there for most of the celebrity cameos.
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Uh, you know, I, I, I had mostly I d scenes with, with you and Dan and, and once we got to the planet, we were, you know, in our underwear with the little collars on our necks and stuff.
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Yeah.
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It was an immigration movie that I never even picked up on that part.
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No, no, no, me neither.
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It was just, we were the NSA guys.
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I think it s a pretty funny movie actually.
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I think some great stuff in it.
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And I think Dan s commission to that character was so total.
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And so, you know, we kind of knew him from the TV sketches, but he was really that guy in so many ways because he was, Dan is kind of an anal retentive.
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I think, you know, he s really attention to detail, not in a bad way.
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I mean, in a very, very good way.
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And I just remember shooting one scene where we had just landed on the planet, and he was telling his superiors, Dave Thomas and the rest of them, telling him about so-and-so.
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And we shot it all morning, and we went to lunch, and we came back, and we continued shooting this coverage of the same scene, the same speech.
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And about an hour and a half in, he goes, oh, God damn it.
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Oh, God damn it, I m not wearing the gloves.
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Oh, I m not wearing the fucking gloves, Robert.
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And suddenly we got, oh, well, we just flushed two hours down the toilet.
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And it was like, he was so apologetic about it and everything.
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It was like, dude, okay, you know, go again.
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But I remember that guy, he s such a clear-eyed guy, you know?
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And it was a very atypical moment.
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He wrote Dragnet.
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Yeah.
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Funniest thing in Dragnet is Kathleen... Oh, what s her name?
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They go to interview this woman.
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It s like the wife of this guy who s disappeared.
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Oh my God.
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Or the landlady.
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Kathleen Freeman.
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And she has one speech, and it s the funniest thing in the movie by such a long chalk.
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I look for it when I can, it s great.
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Anyway.
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I m a living non sequitur here.
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You guys are trying to corral me.
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Not at all.
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We re just trying to get our touchstones with you.
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Here s one of mine very quickly, okay?
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Okay.
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So like early 80s for some reason, Billy Crystal and I had the same manager.
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I don t know how it happened, but I went in to meet with Rob Reiner, you, Harry Shearer, Christopher Guest to play the drummer in Spinal Tap.
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Okay.
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You probably don t remember, but here s what happened.
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I came in and I was nervous, obviously.
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And you guys were so comfortable with each other.
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And I go, this is not awkward.
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I m coming here as the lone wolf and you guys are all friends and I have to walk in here.
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And so I think maybe it was you who just said, okay, let s go.
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So then you all immediately left the office.
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Everyone cleared it out, and I sat in there for like a minute, and then you guys came in.
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That s just a gag that, you know, now you re entering my world.
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I don t remember that.
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You couldn t remember it, but that happened.
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Do you remember me in the movie?
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I played a mime waiter.
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Oh, I remember the meeting, and I remember I thought you were coming in.
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I had remembered that you came in to be this tap fan who follows us around the country.
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That was a part that we were casting.
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And we thought you came across as a little intelligent, a little sophisticated and not goony enough.
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So we said, well, we started doing the other.
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No, listen, let me tell you who we did cast and then not use was Eddie Deason.
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Ring any bells?
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Eddie Deason.
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Oh, he was in Greece, wasn t he?
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The Eddie Deason?
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The Eddie Deason.
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And when he found out that we didn t have a script and that he would have to improvise, he said, pass.
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So we pretty much cut the character, but you were, we impressed, you were very, very impressive.
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And so we said, this guy s really funny.
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And when we were putting together the, you know, Billy s, the mime thing,
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Um, which, you know, which was something that was written in.
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So can he be one of the mimes?
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He d be great.
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And so that s what we did.
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We did that a lot.
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We saw a lot of people and they, they didn t, you know, we didn t quite, we re shooting blind, but we also, we found a lot of the characters that weren t even in you, your character didn t exist until we saw you put it that way.
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That s a good thing.
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Those things are memorable at that age.
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You know, the kind of a thing that intrigues me was the different British accents you guys did and how accurate they were, or like Kevin Pollak and I, we did
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a British accent for like years, whenever we see each other.
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We played blackjack in Tahoe and tried to trick the dealer doing some combo.
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Yours is very specific.
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Christopher s very specific and Harry, but how did you come to yours, your guy?
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Cause I was, I ve been looking at some YouTube videos of spinal tap and it s immaculate.
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Chris is, is legitimate because he grew up, his father was British.
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And he spent a lot of time, like every summer, they would go to the UK.
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And he kind of, you know, he knew those, and he s got a great ear anyway.
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So I just kind of fell into the same line as him.
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You know, he would go on and then we would, we had a lot of time to prepare.
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You got to understand, when we started working on this thing, it was 1979.
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We didn t shoot until 82.
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And during, because we kept, you know, running out of studios.
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And so by the time we actually shot it, we had had a real good run at rehearsing how we sound.
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And Harry brought something different.
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Harry s kind of a fictional northerner, somewhere unspecific.
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We always said, well, we re South London.
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That s kind of what we were going for.
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So it s just kind of getting good with it.
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I m really rusty at it now.
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And never breaking it.
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You would just do it all day, right?
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No, you just go in and out.
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But I remember when you guys walked on the set, and I had not seen you in the full regalia, and you were all walking around doing your accents.
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And it was pretty stunning.
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It was like, oh, they re those guys.
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It was pretty potent, the three of you.
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Remember that we had some actual Brits on the set, or one anyway.
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who was, well, the two guys in the band, Mr. Shrimpton and Mr. Kaff.
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But we also had Patrick McNee, the amazing Patrick McNee.
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From the Avengers?
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Avengers?
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Oh, yes.
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Patrick McNee, that s another.
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Oh, wow.
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Yeah, yeah.
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Yeah, he s Eaton Hogg, as they say.
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Oh, is he your boss or something?
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Dennis Eaton Hogg.
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He s the guy who runs the studio.
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Yeah.
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And who was your manager?
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Was he really English?
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Yeah.
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Oh, Tony Hendra.
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Tony Hendra is a really interesting character.
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He was with Cambridge Circus, and he got another Englishman named Nick Ullett.
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He used to have a two-hander act.
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And then he worked for the Lampoon, a lot of the Lampoon stuff, Radio Dinner and a lot of those, the broadcasts and on the magazine.
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A difficult man in a lot of ways.
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He died about five years ago.
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Yeah.
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Oh, we can talk about him.
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You know, I was watching it last night again.
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Obviously, Michael, everyone s seen it that has anything to do with comedy.
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one of those ones everyone pretty much worships.
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I won t make you say it, I ll say it.
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They all worship it.
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We can say it for you, the first time people improvised on film in long form was Spinal Tap.
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It spawned an entire industry, which, because it s so, so potent.
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Yeah, I mean, obviously it s probably a combo, but you can tell scenes that go along into where you probably just bullshit for a while and take out what works, I m guessing.
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But goddamn, some good stuff.
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Well, they,
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The Rob liked a rule of three.
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If you don t get it in three and that s, you know, three times improvising a scene, kind of knowing what worked last time and, you know, going there and then Rob directing the camera around a couple of different angles and so that it s it s cuttable.
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And that s kind of the way it worked.
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And some things we never heard, we never saw coming.
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And they just, you know, when Ian says that Janine dresses like an Australian s nightmare, we just said, that s a brilliant line.
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No one could have written that line.
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It was just, you know.
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Yeah.
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You got me thinking about Tony.
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See, I saw my, our boss, uh, Fran Drescher, you remember that day?
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And at the beginning, Fran Drescher was PR.
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She s great.
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Yes, I do.
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Of course.
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She was Bobby Fleckman and, uh, yeah.
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Once you give a character a name, then they become real.
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They just gotta have the name.
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But to this day, the one reference I always have, and David probably has, when you re playing a gig, doing standup, and you get lost backstage, which is more common than you think, and I go, this is Spinal Tap.
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We re in Spinal Tap right now.
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Happens a few times a year.
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That was an inspired scene as well, just because it s happened so many times.
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Where s the stage?
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Jeff Beck told us that he did a gig at the Apollo.
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It was BB King s 75th or whatever the thing was.
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And that Beck and Clapton got lost under the stage at the Apollo.
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And they did have that moment where they looked at each other.
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Well, we re in that fucking movie now.
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Any story that starts with Beck and Clapton, I could listen to for a long time.
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Yeah.
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Can we talk about your music?
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I mean, oh, you just saw Clapton?
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No.
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Chris and I went to see Jeff Beck about a year ago.
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It was right before he died.
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And he played a gig here.
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And I had seen him a bunch of times.
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old enough to be a Yardbirds fan, all three of their guitarists.
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And so these guys, it was amazing to see him.
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And he just got better and better, invented his own ways of playing the guitar.
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And it was pretty cool.
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I ll send you a cool snap of me and Chris and Jeff and Johnny Depp.
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who also was on the bill that night.
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It was kind of a cool night.
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Yeah.
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So Beck put down the flat pick, played with his thumb, and then used his index finger to do the vibrato.
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And I had a brother who was a fanatic for Beck.
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So we were seeing Beck, me and my friends in the 70s all the time, Beck Bogart and Carmen Appice.
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Yeah, yeah, Carmen Appice.
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That was an intense trio.
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You know, that s right.
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Yeah, that was three guys going at it, you know.
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But with you, it s just a lane that you re in as a as a songwriter, a musician.
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And you ve won an Academy Award for Mighty Win, right?
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That was the.
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I want to not nominated a kiss at the end of the rainbow was nominated that I wrote with Annette.
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How did that song come about?
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Because for anyone listening who wants to look that up on YouTube, A Kiss at the End of the Rainbow, it s honestly, it s so beautiful.
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I mean, the melody is stunning.
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Did you start with just guitar chords and then have Annette come in and sing the melody?
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How do you get a song like that?
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It was kind of an assignment.
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because we had written, Annette and I had written a song for the movie called Potatoes in the Patty Wagon, which the New Main Street singers do.
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Of course.
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Of course.
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And so Chris said, yeah, that s great.
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And Chris and I have been writing songs and Eugene and Chris and I have been writing songs and everybody individually writing.
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And so Chris said, you want to have a crack at this?
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We need a love song.
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that maybe has a reference to a kiss in it, because it s going to be this whole thing about this couple, the Mitch and Mickey couple, and are they going to get back together again?
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And they had this famous kiss thing they did.
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So we just kind of started working on it.
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We wanted something that sounded like it could have been a really old song, that it could have been from 100 years ago, or written by Tin Pan Alley folk song writers.
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Uh, but it was sort of, you know, it s kind of inspired by just the simplicity of it.
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And so we, we, we played it for Chris and he said, yeah, I maybe kind of wanted something that is more like a joke.
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And it has, you know, the kind of a funny, this is very straight and he really liked the song, but he said, and, and so Jamie heard it, his wife, Jamie.
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And she said, no, no, you re using that one.
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That doesn t need a joke.
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It has a life.
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And Pris used it beautifully in the movie.
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And so that was great.
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Um, yeah.
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So we just, we work in a lot of different ways.
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There s a sincerity and a sweetness to that film.
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Well, I agree.
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I agree.
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You know, Chris and I are roughly the same age.
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And when we were 13, 14, that s when the folk thing kind of hit and we all got guitars and Chris got a mandolin, actually.
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I didn t know him at this time.
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But, uh, I ve known Chris since, since night.
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Holy shit.
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I ve known Chris.
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1967, and we actually roomed together for a while.
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Because he s enigmatic in many ways, but go ahead.
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You re friends with him.
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Yeah.
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We ve been good friends for a long time.
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Brilliant.
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He s an unusual guy, and it s one of the things that s great about him is that he s exactly who he is.
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He s not
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I don t know, he s not terribly, he doesn t go out and promote himself.
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If he has something to sell, he ll find some way to really kind of subtly do it.
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He s just not that guy.
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He s the funniest man in the world, but you kind of got to either be on the set with him or know him.
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He s just, yeah.
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No, he s just, he s a remarkable guy, very intelligent.
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He s got the same obsession with shitty old show business that I do.
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And I m sure a lot of my friends do.
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What era?
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Well, any era, really.
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And that was the trouble.
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We ve been working together.
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The four of us have been working together.
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Last year, we did a lot.
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And then the strike happened.
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We had to kind of settle down.
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So we started working on this new project.
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And we figured we spent about 85% of every day
2
SPEAKER_00
just looking up the Eddie Cantor gift shop in Encino.
2
SPEAKER_00
You know, it s all this shit.
2
SPEAKER_00
It s just like, it s an endless supply of old crap show business.
2
SPEAKER_00
It s just wonderful.
2
SPEAKER_00
So he shares in that and he and I are kind of co-religionists as far as that goes.
2
SPEAKER_00
Yeah, yeah, he s something.
2
SPEAKER_01
Are there old actors that you guys are obsessed by?
2
SPEAKER_01
Old actors like John Wayne or Errol Flynn or like which are the ones that, because I m obsessed with John Wayne with a friend, you know.
2
SPEAKER_00
Yeah, I ve always been a Boris Karloff guy.
2
SPEAKER_00
I always thought he was great, and I always thought he didn t get much recognition as being a really good actor, and he really was.
2
SPEAKER_00
It was just his groove was kind of on the limited side, but he was great.
2
SPEAKER_00
I loved him.
2
SPEAKER_01
And he played Frankenstein, right?
2
SPEAKER_00
He was the original Frankenstein monster, and he did it in Bride of Frankenstein.
2
SPEAKER_00
And he wasn t that big as a person, was he?
2
SPEAKER_00
Yeah.
2
SPEAKER_00
He was probably six feet, but they jacked him up on those boots, because he s immense.
2
SPEAKER_02
Fire back.
2
SPEAKER_02
So I could play Frankenstein?
2
SPEAKER_02
No, my question for Michael was, he was on the show, SNL, we re jumping back to SNL, you were on, I think my year, I think Dana was gone, but you did one full year, and I also saw
2
SPEAKER_02
a monologue from 1985, it was really funny.
2
SPEAKER_02
Oh yeah, with... Dana, he comes out and you re hosting and you go, I don t really do all this stuff.
2
SPEAKER_02
So I just thought, I m not really a stand-up comedian, so I thought I would do an 18th century Scottish acapella dirge.
2
SPEAKER_02
So he starts singing and he starts getting heckled and... Remember who was heckling me?
2
SPEAKER_02
It s actually a weird one that... No, they didn t show it, did they?
2
SPEAKER_02
Yeah, it s Larry David.
2
SPEAKER_02
Oh, it was?
2
SPEAKER_02
I didn t see that because it went away.
2
SPEAKER_02
Oh, because at the end he goes, hey, Hamlet, where s Squiggy?
2
SPEAKER_02
Yeah, I thought this is such a weird one.
2
SPEAKER_02
Oh, I love it.
2
SPEAKER_02
Because I thought it was Squiggy or someone.
2
SPEAKER_02
I thought, oh, who s going to be yelling?
2
SPEAKER_02
That s great.
2
SPEAKER_02
By the way, I grew up on God.
2
SPEAKER_01
Is it true right in that era that you were offered to go in there when with Billy and those guys did their year with Mark Short, Christopher Guest and you and you you turn that down or.
2
SPEAKER_01
Yeah.
2
SPEAKER_01
At the time.
2
SPEAKER_01
Yeah.
2
SPEAKER_00
Yeah.
2
SPEAKER_00
I just I just.
2
SPEAKER_00
Well, you know what?
2
SPEAKER_00
It just wasn t wasn t the best time to be moving to New York.
2
SPEAKER_00
Yeah, yeah.
2
SPEAKER_00
And I kind of wanted to do movies more, and I started doing films.
2
SPEAKER_00
Listen, I had many, many second thoughts about it, but my then wife had a child on the way.
2
SPEAKER_00
We had just bought a new house, and it was just not the time to be spending weeks and weeks- It s not.
2
SPEAKER_01
It s a disruptive show.
2
SPEAKER_01
It s not.
2
SPEAKER_01
Yeah.
2
SPEAKER_00
Yeah, yeah.
2
SPEAKER_00
No, I was a working actor.
2
SPEAKER_00
You know, I, I think in 1985, when I did host and we did the folksman for the first time, which, you know, we later expanded into the mighty wind stuff.
2
SPEAKER_00
Um, I, I think at that time, uh, one time was really fun.
2
SPEAKER_00
And I don t know whether that season would have, there were so many people on that season.
2
SPEAKER_00
I mean, it was Billy, it was, um, uh, rich hall.
2
SPEAKER_00
It was,
2
SPEAKER_00
I mean, it was a huge cast.
2
SPEAKER_00
And Marty, rightfully so, was the breakout guy there.
2
SPEAKER_00
But other things happened.
2
SPEAKER_00
There was a lot of angst in that season.
2
SPEAKER_00
I m not sorry I didn t do it.
2
SPEAKER_00
And I m glad I did when I did.
2
SPEAKER_00
It was a really interesting time.
2
SPEAKER_00
I knew in 1994 that I was being hired because Phil Hartman was leaving the show.
2
SPEAKER_00
And they needed someone to play
2
SPEAKER_00
of, well, David Spade s dad.
2
SPEAKER_00
They needed someone who was remarkably older than these hungry kids I was surrounded by.
2
SPEAKER_02
So I, you know, your stern was very good.
2
SPEAKER_02
I remember.
2
SPEAKER_00
Oh, yeah, yeah, yeah.
2
SPEAKER_02
That was that was fun because, you know, you did with Stern, which I hadn t heard.
2
SPEAKER_02
You laugh like this.
2
SPEAKER_02
Yeah, it s a boom.
2
SPEAKER_02
Boom.
2
SPEAKER_02
I haven t done it a while.
2
SPEAKER_02
Yeah.
2
SPEAKER_02
Yeah, it s a good one.
2
SPEAKER_02
I remember.
2
SPEAKER_00
Yeah.
2
SPEAKER_00
And I think he talked about it because, of course, he was freaked out.
2
SPEAKER_00
It s kind of a Long Island guffaw.
2
SPEAKER_00
You know, you re gonna grow up on Long Island, you get to... Yeah.
2
SPEAKER_01
Yeah.
2
SPEAKER_00
There it is.
2
SPEAKER_01
It was kind of a new one from... Who does Tom Skerritt?
2
SPEAKER_01
They say you did Tom Skerritt from... You do?
2
SPEAKER_02
I didn t.
2
SPEAKER_02
Was he?
2
SPEAKER_01
Yeah, he was.
2
SPEAKER_01
You re listed as doing Adam West.
2
SPEAKER_01
I don t know if that s true.
2
SPEAKER_00
Yeah, I did do Adam West one time.
2
SPEAKER_00
Okay, I got this list.
2
SPEAKER_00
That was the only time I was on Update.
2
SPEAKER_00
Oh, you did on Update?
2
SPEAKER_00
The only time I ever did Adam West.
2
SPEAKER_00
It was the only time I ever did Update.
2
SPEAKER_00
I had pitched another character who was a guy
2
SPEAKER_00
who was a kind of a spiritualist to the stars and talked about who s having sex in heaven.
2
SPEAKER_00
It was a funny thing.
2
SPEAKER_00
And I made the mistake.
2
SPEAKER_00
We didn t get on?
2
SPEAKER_00
No, it was actually pretty funny.
2
SPEAKER_00
I did it at the table and it was kind of good.
2
SPEAKER_00
But I mentioned Hume Cronin, who had been married to Jessica Tandy, who had just died.
2
SPEAKER_00
So I did a Jessica Tandy joke.
2
SPEAKER_00
And Lorne was like- Too soon.
2
SPEAKER_00
Well, he was kind of too soon, but he s also, Hume Cronin s a friend of his because he s Canadian and in show business.
2
SPEAKER_00
So anyway, he told me, he says, if you haven t got a better joke, maybe we ll do it another time.
2
SPEAKER_00
So we blew it off.
2
SPEAKER_00
Anyway, whatever.
2
SPEAKER_00
Never, never take that deal.
2
SPEAKER_01
How well did you know Lorne?
2
SPEAKER_01
How well did you know Lorne when you came on in 94?
2
SPEAKER_00
Well, I had met him in 75.
2
SPEAKER_00
Casually or?
2
SPEAKER_00
Well, in 1975, when they were putting together the original show, we, uh, I knew, I knew Chevy and I knew we knew Franken and Davis.
2
SPEAKER_00
And the credit, when I say we, it was the credibility gap, me and Harry Shearer and David Lander.
2
SPEAKER_00
And we were in town.
2
SPEAKER_00
doing the, doing the tomorrow show, the Tom Snyder show.
2
SPEAKER_00
Harry did a brilliant Tom Snyder.
2
SPEAKER_00
So we were on the Tom Snyder show doing our, doing our Tom Snyder sketch.
2
SPEAKER_00
And so around that time, they were just getting started with, um, with SNL and we knew some of those guys.
2
SPEAKER_00
So we hung out and we, you know, kind of met all these people.
2
SPEAKER_00
Um, I knew a lot of people who knew Lauren at the time, but I didn t work with him until conehead.
2
SPEAKER_00
And, uh... Welcome aboard.
2
SPEAKER_00
That s right, yeah.
2
SPEAKER_00
Wait, Michael, before we go on.
2
SPEAKER_00
Yeah, go ahead.
2
SPEAKER_00
I was just gonna say, my favorite thing was, there is that extra mile that Lorne... I don t do a Lorne Michaels, but there s an extra mile he goes sometimes to make sure you know who you re talking to.
2
SPEAKER_00
And it s very subtle.
2
SPEAKER_00
It s very subtle.
2
SPEAKER_00
And he was always very sweet to me.
2
SPEAKER_00
And I got nothing but good stuff for him.
2
SPEAKER_00
But he did do this.
2
SPEAKER_00
I was up for another show.
2
SPEAKER_00
I had been offered a show, which was a spinoff of the Murphy Brown show.
2
SPEAKER_00
You got to stay with me.
2
SPEAKER_00
And Diane, somebody who was
3
SPEAKER_00
creator of the Murphy Brown show.
3
SPEAKER_00
Diane English.
3
SPEAKER_00
Diane English.
3
SPEAKER_00
Thank you very much.
3
SPEAKER_00
She had this new show and she wanted me to do it.
3
SPEAKER_00
And so I had an offer for that while I was talking to the SNL people.
3
SPEAKER_00
And so Lorne called me directly and he told me, he said, now, what about this other show?
3
SPEAKER_00
It was a messenger service show.
3
SPEAKER_00
What are you going to do about that?
3
SPEAKER_00
And I said, well, how did you know about that?
3
SPEAKER_00
And he said, Louis Malle told me.
3
SPEAKER_00
Now, Louis Malle, this French filmmaker who was married to Candy Bergen, who was doing Murphy Brown.
3
SPEAKER_00
So it was like, he kind of went to Europe for the killing.
3
SPEAKER_00
Yeah, Louis, it s all Louis can talk about.
3
SPEAKER_00
It made me laugh so hard.
3
SPEAKER_02
Yeah.
3
SPEAKER_00
Anyway, not be.
3
SPEAKER_00
So I said, I ve heard it s got some problems.
3
SPEAKER_00
I said, I want to do SNL.
3
SPEAKER_00
And he said, OK, that was bad.
3
SPEAKER_02
OK, so I m jumping back to the coneheads.
3
SPEAKER_02
We didn t finish talking about it enough for me.
3
SPEAKER_02
But what happened was there was a story that Dana doesn t even know, I don t think, where I was nervous.
3
SPEAKER_02
New movie.
3
SPEAKER_02
You know, we re in our boxers and T-shirts for we play NSA agents day.
3
SPEAKER_02
And I don t want to give the whole movie away, but we play NSA agents.
3
SPEAKER_02
I ve teed it up for tonight s entertainment.
3
SPEAKER_02
And the coneheads are immigrants.
3
SPEAKER_02
So we re trying to get them deported.
3
SPEAKER_02
I don t know.
3
SPEAKER_02
I don t even I don t understand the movie.
3
SPEAKER_02
But so I just do my lines.
3
SPEAKER_02
And so one day, you know, I m scared on this movie.
3
SPEAKER_02
And I got Michael and Michael s great
3
SPEAKER_02
fun to work, we were a team in it, we were agents together.
3
SPEAKER_02
So Michael, one day I m in the trailer and I have to wear my boxers and the t-shirt, and I said to the PA, I go, hey man, when he came to get me, I said, don t tell anyone this, but this is so nuts, this is pure innocence.
3
SPEAKER_02
I go, I do have chicken pox, but I don t,
3
SPEAKER_02
It s covering my shirt.
3
SPEAKER_02
My shirt and boxers are covering it so I can still do the scene.
3
SPEAKER_02
I just don t want everyone to weird out about it.
3
SPEAKER_02
And he goes, Oh, cool.
3
SPEAKER_02
Hang on a second.
3
SPEAKER_02
Two seconds later, boop, shutting down the set.
3
SPEAKER_02
Everyone go home.
3
SPEAKER_02
I was like, what s, I didn t even know what was going on.
3
SPEAKER_02
I m like, why, what happened?
3
SPEAKER_02
The original COVID.
3
SPEAKER_02
God.
3
SPEAKER_02
Damn chicken pox folks.
3
SPEAKER_01
You didn t get it as a kid.
3
SPEAKER_01
You re in your 30s late in the game.
3
SPEAKER_02
I was 27 I think and I and I have you got your shingle shot or
3
SPEAKER_02
Uh, no, it ll come back.
3
SPEAKER_01
It s dormant.
3
SPEAKER_01
We ll talk later.
3
SPEAKER_01
It was so weird that I had it.
3
SPEAKER_02
Michael and I are up to speed on that.
3
SPEAKER_02
Oh, yeah.
3
SPEAKER_02
Anyway, I didn t really I probably infected everyone.
3
SPEAKER_02
That was too late.
3
SPEAKER_02
But we lost the day of production.
3
SPEAKER_02
I don t remember that.
3
SPEAKER_00
A hundred thousand dollars.
3
SPEAKER_00
It s my fault.
3
SPEAKER_00
I don t remember that.
3
SPEAKER_00
I do remember when when they wouldn t let Dan s Dan had a couple of friends on motorcycles come to hang out of the set.
3
SPEAKER_00
and they wouldn t let him in the gate, because they didn t have the whatever, you know.
3
SPEAKER_00
And so they called, he s on the set, and they called him, you know, and they say, yeah, I ll say, yeah, they re okay, they re okay, come in.
3
SPEAKER_00
And then they called again, he said, they won t let us in, they won t let us in.
3
SPEAKER_00
So he tore off his head, he tore off his- No.
3
SPEAKER_00
Yes, he did.
3
SPEAKER_00
And he shut- Whoa.
3
SPEAKER_00
Yeah, yeah, he was just like, he really, really lost it.
3
SPEAKER_00
And he went out there to the booth in his ripped off head,
3
SPEAKER_00
and berated the guard.
3
SPEAKER_00
It was a great day.
3
SPEAKER_02
You let these hell s angels in right now.
3
SPEAKER_02
Okay.
3
SPEAKER_01
I mean, God dang.
3
SPEAKER_01
Oh, I got to tell you, I mean, we love Dan Aykroyd, but one thing s so interesting about you is how much stuff you ve done, and they just keep going, because I dare anyone to go on YouTube, put in Lenny and Squiggy,
3
SPEAKER_01
from Laverne and Shirley, and you ll see Michael McKean, and then put on Chuck McGill, the quote, worst man in the world on Better Call Saul.
3
SPEAKER_01
It arranges, even to you, you must look at it and go, it s pretty, yep.
3
SPEAKER_01
Which one is your adoring touchstone between those two?
3
SPEAKER_01
I m assuming currently Better Call Saul is pretty recent.
3
SPEAKER_01
I m like Spade.
3
SPEAKER_01
I just, I do my lines.
3
SPEAKER_00
No, no.
3
SPEAKER_00
And you get out of it.
3
SPEAKER_00
Really early on, I liked people who came on a different way for every
3
SPEAKER_00
show everything that they did, people who had, you know, who really, you know, you see a lot of a lot of great entertainers are people who can be a lot of different things.
3
SPEAKER_00
Jim Carrey can be the broadest comic in the world, but he can also work real small and he s a good dramatic actor.
3
SPEAKER_00
You know, it s it s just because he s he s clear on what he s doing.
3
SPEAKER_00
So anyway, I just try and I try and stay clear without the use of Scientology.
3
SPEAKER_02
You know, when they say, like on Laverne and Shirley and Michael, they go, I can t believe we have all this stinky garbage.
3
SPEAKER_02
And then hello, you guys walk in.
3
SPEAKER_02
I was like, are they doing this on purpose?
3
SPEAKER_02
They keep walking in at the worst times.
3
SPEAKER_02
Cause I was a kid.
3
SPEAKER_02
I m like, this, this is.
3
SPEAKER_02
accidentally really funny that they say something horrible.
3
SPEAKER_01
And then these two idiots, they were so aggressive and so sudden.
3
SPEAKER_01
It was always a laugh, like they re so sure of themselves.
3
SPEAKER_01
They would come in and just wreak havoc and then leave.
3
SPEAKER_01
There was no real I mean, that that s just broad.
3
SPEAKER_01
You know, that show really popped, as they say.
3
SPEAKER_01
I mean, it felt lively.
3
SPEAKER_01
Well, it was funny.
3
SPEAKER_00
And we only shot it once.
3
SPEAKER_00
We only shot it once at a time.
3
SPEAKER_00
Just one take in front of an audience?
3
SPEAKER_00
Never.
3
SPEAKER_00
Yes.
3
SPEAKER_00
And it was because it was on film.
3
SPEAKER_00
It was three cameras and they didn t even have monitors.
3
SPEAKER_00
They didn t even have the six pack that they do now or the four pack.
3
SPEAKER_00
It was literally the only guy who saw it.
3
SPEAKER_00
The only guy who saw it, saw something like a four pack was the camera coordinator.
3
SPEAKER_00
And everyone else is just these people who grew up and they, you know, Sheldon, Sheldon Leonard, the guy who kind of sophisticated the three camera system after Desi Arnaz and Carl Friend invented it.
3
SPEAKER_01
With Desi Arnaz.
3
SPEAKER_01
Yeah.
3
SPEAKER_00
And we were on those stages.
3
SPEAKER_01
So it was all based in those days.
3
SPEAKER_01
On just being funny, lively, and they just knew they had it.
3
SPEAKER_00
And do that.
3
SPEAKER_01
Just went for the feeling of it.
3
SPEAKER_00
Rehearse it like a play and do it like a play.
3
SPEAKER_00
And the last pilot I did, the last pilot I did, never again, was about 15 years ago.
3
SPEAKER_00
And we literally shot the first scene of the pilot nine times in front of a studio audience.
3
SPEAKER_00
Shot it nine times.
3
SPEAKER_00
while the development people were going, I got a better one, I got a better joke here.
3
SPEAKER_00
So you re having these mini rewrites on this thing as you go, and the audience never wants to fucking see you again after nine takes of that.
3
SPEAKER_00
And we shot until two in the morning.
3
SPEAKER_00
And we wound up paying our extras for another day to sit in the audience and laugh at the stuff that we were doing for the 11th time.
3
SPEAKER_00
You can t make anything good that way.
3
SPEAKER_00
It can t be done.
3
SPEAKER_01
Gross.
3
SPEAKER_00
Yeah.
3
SPEAKER_00
So what we- Toony cooks, yeah.
3
SPEAKER_01
No, no, it would strangle it.
3
SPEAKER_01
Horrible, horrible.
3
SPEAKER_02
I only did one movie without playback.
3
SPEAKER_02
It s the worst.
3
SPEAKER_02
And it was sort of I didn t realize this is the last of kind of the good old days.
3
SPEAKER_02
They watched it.
3
SPEAKER_02
It was in frame and they had they didn t know if there s a light flare.
3
SPEAKER_02
They didn t play it back.
3
SPEAKER_02
They just said that felt good.
3
SPEAKER_02
Let s move on.
3
SPEAKER_02
And you re like, got it.
3
SPEAKER_02
And it seemed to work.
3
SPEAKER_02
And now it s almost too much going back, too much replay, too much.
3
SPEAKER_02
Let s look at it again.
3
SPEAKER_02
Let s look at it.
3
SPEAKER_00
Absolutely.
3
SPEAKER_00
Yeah.
3
SPEAKER_00
Because everyone gets a vote, especially if it s a pilot.
3
SPEAKER_02
Uh, everyone, you know, do one for the assistant here.
3
SPEAKER_02
Yeah.
3
SPEAKER_00
Yeah.
3
SPEAKER_00
And maybe they won t let us say Jesus.
3
SPEAKER_02
We ll just get it every we ll get.
3
SPEAKER_02
Oh yeah.
3
SPEAKER_02
Do a different, do an alt.
3
SPEAKER_00
Well, I was on a show called dream on, which was kind of a titty show on, on HBO.
3
SPEAKER_00
And, uh,
3
SPEAKER_00
I did a number of those.
3
SPEAKER_00
Well, that s what it was.
3
SPEAKER_00
That s why I watch it.
3
SPEAKER_00
I didn t know.
3
SPEAKER_00
I thought I was alone.
3
SPEAKER_00
No, no.
3
SPEAKER_00
You probably were alone when you were watching it.
3
SPEAKER_00
Most people.
3
SPEAKER_00
Yes, that s true.
3
SPEAKER_00
Would you lock the door?
3
SPEAKER_00
Thank you.
3
SPEAKER_00
Leave the ice cream out there.
3
SPEAKER_00
We used to do alternate takes, and my character had only one ball.
3
SPEAKER_00
And there was an episode about that, about his feelings of inadequacy.
3
SPEAKER_00
And so I was ranting about it.
3
SPEAKER_00
I said, the kids at school, they d say,
4
SPEAKER_00
Here he comes, here he comes, Johnny One Nut. 
4
SPEAKER_00
And that was the line that was going to go in.
4
SPEAKER_00
And they said, no, we need an alternate.
4
SPEAKER_00
So they wrote me an alternate and I looked at it and I said, that may be funnier.
4
SPEAKER_00
But I didn t tell Brian Benben, the guy I was working with, I didn t tell him it was coming up.
4
SPEAKER_00
So we re going to do the alt take.
4
SPEAKER_00
And I said, well, here he comes, Mr. Singleton.
4
SPEAKER_00
Arguably funnier than Johnny won that.
4
SPEAKER_00
Yeah.
4
SPEAKER_00
Yeah.
4
SPEAKER_00
He fell apart.
4
SPEAKER_00
It was it was a good laugh, but we couldn t use it.
4
SPEAKER_02
Was Wendy Malek on with you?
4
SPEAKER_00
Wendy was great.
4
SPEAKER_00
Greatest eyebrows in show business.
4
SPEAKER_02
Ah, Wendy s so great.
4
SPEAKER_00
Fantastic.
4
SPEAKER_00
Oh, she s awesome.
4
SPEAKER_01
Boy, I agree with that.
4
SPEAKER_01
Yeah.
4
SPEAKER_01
Yeah.
4
SPEAKER_01
Who, um, is Fred Williard, um, just one of the funniest performers of all time?
4
SPEAKER_01
I think, I am.
4
SPEAKER_00
Or don t like him much?
4
SPEAKER_00
No, I adore Fred.
4
SPEAKER_01
There s something quirky about him, almost like Norm Macdonald, you can t quite put your finger on what,
4
SPEAKER_01
What is going on there?
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SPEAKER_01
You know it s brilliant, but it s just sort of like tilted.
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SPEAKER_01
I remember Fernwood Tonight was the first time I got familiar with Fred Williard.
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SPEAKER_01
Oh man.
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And it was just something about, he s all, the character of Fred was smiling a lot and had this, I don t know, it must ve been fun just hanging out with that guy.
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He was great.
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SPEAKER_00
Well, in 1975- Probably loved you.
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In 1975, there was a group called the Ace Trucking Company.
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And it was Fred Willard, Billy Saluga, Mike Mislove, and George Memoli.
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You can find some of their stuff, not a ton of it online, but you can find some of it.
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And George and, well, the group broke up.
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They still had three dates in the Midwest that they wanted to get if they could, so Fred
4
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And George Mamaly hired me and David and Harry, who were the Credibility Gap at the time, hired us to go on the road, do some of our stuff, and learn some Ace Trucking Company stuff, and kind of make it like it s a whole act.
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So we were kind of in the Ace Trucking Company there for a little while.
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And Fred was, he s not like any other guy.
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SPEAKER_00
He s not like any other guy.
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SPEAKER_00
He said one time, he said, we were checking in to this hotel in Chicago.
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SPEAKER_00
And he said to the guy, he said,
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Yeah, it s not near the elevator, is it?
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SPEAKER_00
And the guy said, no, no, your room is not.
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SPEAKER_00
So we re going up to the rooms, and I said, why do you specify not near the elevator?
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SPEAKER_00
He said, oh, it s the bell.
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I mean, when the bell goes off, you know, when the elevator hits on the floor, I can t stand that.
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I have really good hearing.
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SPEAKER_00
I can t sleep with that bell going every night.
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SPEAKER_00
And I said, oh, he says, yeah, well, sometimes if I get a room near the elevator, I will go and disable the bell.
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SPEAKER_00
I said, what?
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SPEAKER_00
Yeah, I know how to do it.
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SPEAKER_00
I travel with tools.
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So he has this little toolkit, and he would disable the bell, and he would hook it up again when we left in the morning.
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SPEAKER_00
And I said, do you really do that every time?
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SPEAKER_00
He says, one time, he said, one time I had to disable the one on the floor above and the floor below, because I could still hear those.
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SPEAKER_00
So he s a man in control of his own life.
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SPEAKER_00
And he also had a window, he had a window on a whole other world that we just can t see from here.
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SPEAKER_00
He was really fucking awesome.
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SPEAKER_00
Yeah, that dude s a crack up.
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SPEAKER_01
He must ve looked around almost like a Peter Sellers movie when he had the tools, like looked around the hallway and had to get the elevator to stop to get in there.
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SPEAKER_01
I mean, it was a James Bondian or some kind of- Yeah, yeah.
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SPEAKER_01
Mission impossible.
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SPEAKER_01
Yeah.
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SPEAKER_01
What s the quirkiest thing about you, David Spade?
4
SPEAKER_02
Oh, get a pen.
4
SPEAKER_02
I m so nuts.
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But I think Michael got me at a pretty crazy time because SNL, I was probably losing my mind a little bit.
4
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And then I go into Coneheads, which was a little more contained.
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One time, Michael, we had a... Why do I keep having... All I remember is Coneheads.
4
SPEAKER_02
But one time- You were in underwear, right?
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SPEAKER_02
And you had chicken pox.
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SPEAKER_02
No, I m running around, obviously had chicken pox probably the whole year.
4
SPEAKER_02
And they said- Obviously.
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SPEAKER_02
They go, you have an extra scene in Coneheads where you re in a van listening, maybe Michael wasn t in it, but it was during a show week and they said you have to fly back for it.
4
SPEAKER_02
I do read through, and then Thursday, I fly a red, can I take a red eye to LA?
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SPEAKER_02
I took a red eye somewhere.
4
SPEAKER_02
Anyway, I took a red eye, because Letterman was on my flight.
4
SPEAKER_02
And he said, part of the story is, the story s long.
4
SPEAKER_02
He said, the stewardess goes, should I wake you for honey buns?
4
SPEAKER_02
And I said, no, I m going to try to sleep.
4
SPEAKER_02
And I didn t know Letterman.
4
SPEAKER_02
And then he went to the bathroom.
4
SPEAKER_02
And when he came out, he goes, should I wake you for honey buns?
4
SPEAKER_02
I ve never talked in my life.
4
SPEAKER_02
And hilarious.
4
SPEAKER_02
And then I get there, I go straight to the set.
4
SPEAKER_02
maybe no i think it was a 6am flight anyway so i fly out there i sleep on it i get up i go in i drive out to disney ranch i do the scenes whatever kill get big laughs then i um then i drive back to my apartment in studio city order a pizza
4
SPEAKER_02
because I m going home the next day, and I finally finished today, and I got my hair all greased back.
4
SPEAKER_02
And then Mike Shoemaker calls me and goes, hey, Lorne wants you back.
4
SPEAKER_02
And I go, I know, I just finished shooting.
4
SPEAKER_02
I m coming in the morning, because it was a Lorne movie.
4
SPEAKER_02
I go, I m coming back in the morning.
4
SPEAKER_02
He goes, no, he wants you on a red-eye tonight.
4
SPEAKER_02
There s a car out front.
4
SPEAKER_02
I go, shut the fuck up.
4
SPEAKER_02
I just got a pizza.
4
SPEAKER_02
So he goes, you better go.
4
SPEAKER_02
And the whole life at SNL, you don t want to get fired.
4
SPEAKER_02
So I take a few bites, get back in the car, go back to the airport.
4
SPEAKER_02
They need you at the studio at 10 a.m.
4
SPEAKER_02
So I land, I go to the studio, it s a John Goodman show.
4
SPEAKER_02
There s no one in the studio.
4
SPEAKER_02
I go, wait, no one even comes into one.
4
SPEAKER_02
What am I fucking doing?
4
SPEAKER_02
So I just walk around, then I go back home and no one ever mentioned it.
4
SPEAKER_02
And I m like, wow, what s happening?
4
SPEAKER_00
You are a Christian martyr story.
4
SPEAKER_01
We know we ll cut it out.
4
SPEAKER_01
I tried to talk them out of that.
4
SPEAKER_01
I was in New York at the office.
4
SPEAKER_01
I go, don t make David come all the way back.
4
SPEAKER_02
No, it was you on the phone acting like Shoemaker.
4
SPEAKER_01
I was trying to help.
4
SPEAKER_01
David will come back and then it ll go back and then you ll come back again.
4
SPEAKER_01
We ll drive in six hours.
4
SPEAKER_01
It s called a trifecta.
4
SPEAKER_01
Michael McKean is humble, so I know what it s like to get compliments, but I have to say, this scene that you did, because I looked it up on the stand, we have Chuck McGill with the electric magnet paranoia thing, and you re, I mean, you, I mean, that s as good as it kind of gets, I think, for film acting.
4
SPEAKER_01
I mean, what did you think of that scene?
4
SPEAKER_01
Did you ever look at it?
4
SPEAKER_01
Did you know you were in the pocket?
4
SPEAKER_01
Did Older Kirk try to ruin takes that were really good?
4
SPEAKER_01
You know how Bob is.
4
SPEAKER_02
No, he s going too fast.
4
SPEAKER_02
Oh, you re so good.
4
SPEAKER_00
I got called, I was in New York, I was in New York and I got, I was doing a show, a play in New York.
4
SPEAKER_00
No, I wasn t at this point, but I was in New York and the director of the show, Dan Sackheim, the director of that episode called.
4
SPEAKER_00
And he says, you want to talk about this?
4
SPEAKER_00
And I said, oh, does that mean it s going to be hard?
4
SPEAKER_00
And he said, well, have you looked at it?
4
SPEAKER_00
I said, yeah, it s a ton of stuff.
4
SPEAKER_00
And it s a big, it s like a four page speech basically.
4
SPEAKER_00
And he says, well, how do you want to shoot this?
4
SPEAKER_00
And I said, no, I don t know.
4
SPEAKER_00
I mean, just what s good.
4
SPEAKER_00
I didn t kind of understand what he was asking me.
4
SPEAKER_00
He says, cause it s going to be some long days.
4
SPEAKER_00
And then I realized, well, that scene is going to take like three days.
4
SPEAKER_00
And so, listen, it worked out because I learned the lines, beat myself up and got the lines down, but I m not too bad about lines.
4
SPEAKER_00
And then I knew what it was about.
4
SPEAKER_01
And it s in that archetypal, if that s a word,
4
SPEAKER_01
Yeah, you melt down, you take yourself from being fairly together like Captain Queer.
4
SPEAKER_01
It is Captain Queer, sure.
4
SPEAKER_01
And then you re losing it slowly and pacing it.
4
SPEAKER_01
So my question is, how much is technique and how much is just you re the guy and you re not really thinking, you re just being playful?
4
SPEAKER_01
Because it seems like it d be hard to break all those moments down when they re filming.
4
SPEAKER_01
You just have to be, you just felt so in the pocket.
4
SPEAKER_01
I don t know.
4
SPEAKER_01
It s just my thing.
4
SPEAKER_01
I liked it a lot.
4
SPEAKER_01
That s all I can say.
4
SPEAKER_00
Thank you very much.
4
SPEAKER_00
Thanks.
4
SPEAKER_00
No, no, it was, it was a really good, it was a good show.
4
SPEAKER_00
It was a good experience.
4
SPEAKER_00
And, you know, Bob is kind of heroic.
4
SPEAKER_00
And I met Bob when we were doing SNL.
4
SPEAKER_00
And it was, I mean, he was just there occasionally.
4
SPEAKER_00
He wasn t writing on the show.
4
SPEAKER_00
But I think he was seeing Janine, is that possible?
4
SPEAKER_00
Anyway, there were some... Oh, I don t... Tales Out of School.
4
SPEAKER_00
But no, I think they used to go out, I don t know.
4
SPEAKER_00
But I met him a couple of times there, but I never really, really worked with him until this, until Better Call Saul.
4
SPEAKER_00
And when
5
SPEAKER_00
And when they cast me in it, he called me up and he said, this is great news.
5
SPEAKER_00
We re going to have such a good time.
5
SPEAKER_00
And we did.
5
SPEAKER_00
We kind of fell right into it, into this relationship.
5
SPEAKER_00
And what we did was informing, and we didn t know it, was informing the writers.
5
SPEAKER_00
And it kind of gave them a lot of inspiration.
5
SPEAKER_00
Hey, you know what could happen here?
5
SPEAKER_00
It helped them find a way for those characters to become, to get into a genuine conflict.
5
SPEAKER_00
Anyway, smart writers, you work with smart writers, they re wide open to everything.
5
SPEAKER_00
And Vince Gilligan and Peter Gould and Tom Schnauz and Jennifer, last name.
5
SPEAKER_00
Yeah, Hamilton, I think, Henderson.
5
SPEAKER_02
That s her last name, Jennifer Lastname.
5
SPEAKER_00
Jennifer Lastname, yeah, story.
5
SPEAKER_02
Bob said one of the, maybe you can relate to this.
5
SPEAKER_02
Bob said the funniest, the hardest I ve ever laughed on this podcast about SNL and stuff is that, you know people when they re younger, and Bob was just a fledgling writer in the 80s.
5
SPEAKER_02
But we wrote a movie together called Tucson, a comedy Western, stuff like that.
5
SPEAKER_02
And Bob is going along with his career, and then Breaking Bad comes, and then Better Call Saul.
5
SPEAKER_02
And when he came on the podcast, he goes, then he does the action movie Nobody, which is awesome.
5
SPEAKER_02
And he thought to himself,
5
SPEAKER_02
If this lands, because we know Bob as the fledgling writer in the 80s, at our core, he goes, he said to us, I know if this landed, you guys would be sitting at home going, what the fuck?
5
SPEAKER_02
Now he s an action star?
5
SPEAKER_02
He s not only an Academy Award winning type actor, now he s an action star.
5
SPEAKER_00
That made me laugh so hard.
5
SPEAKER_00
Well, if you could, do you ever play the time machine game, the time machine game where you see somebody
5
SPEAKER_00
on the screen, and they re doing something kind of second rate, and you know that their career is about to take off.
5
SPEAKER_00
You want to get in a time machine and say, don t worry, this is going to be fine.
5
SPEAKER_00
You re going to get Martin Scorsese.
5
SPEAKER_00
He s going to put you in a movie.
5
SPEAKER_00
It s going to be amazing.
5
SPEAKER_00
And I played that game a lot.
5
SPEAKER_00
But there was a movie called
5
SPEAKER_00
Oh, God.
5
SPEAKER_00
Oh, what was it called?
5
SPEAKER_00
Capricorn One.
5
SPEAKER_00
And it was about the faking of the moon landing.
5
SPEAKER_00
So if you could go back in time- Oh, yeah.
5
SPEAKER_00
The moon landing.
5
SPEAKER_00
Yeah.
5
SPEAKER_00
OJ Simpson.
5
SPEAKER_00
OJ Simpson.
5
SPEAKER_00
Go back in time, and you say, okay, Jim Brolin
5
SPEAKER_00
you re going to be married to the ex-wife of Elliot Gould, who is standing right next to you in this shot.
5
SPEAKER_00
And OJ, oh, OJ, yeah, yeah, we ll get back to you later, OJ.
5
SPEAKER_02
Yeah.
5
SPEAKER_02
You ll see.
5
SPEAKER_02
It ll be exciting.
5
SPEAKER_00
Keep doing what you re doing.
5
SPEAKER_00
No one will talk about anyone but you for years.
5
SPEAKER_00
You re going to be so famous.
5
SPEAKER_00
Oh, yeah.
5
SPEAKER_00
So famous.
5
SPEAKER_00
Yeah, man.
5
SPEAKER_01
All right.
5
SPEAKER_00
Well, Michael, thanks.
5
SPEAKER_01
Unless Dana has something else to tell you, we might let you go.
5
SPEAKER_01
You ve been you ve struggled enough.
5
SPEAKER_01
It s very nice.
5
SPEAKER_00
Well, you guys are very important to me.
5
SPEAKER_00
I love your attitude.
5
SPEAKER_00
You re important to me because I m very important to you.
5
SPEAKER_00
Yes, because you re proof that blondes can be funny.
5
SPEAKER_00
We all right.
5
SPEAKER_00
True.
5
SPEAKER_00
Three blondies.
5
SPEAKER_02
Well, blonde, blonde, blonde.
5
SPEAKER_00
Blonde on blonde on blonde.
5
SPEAKER_02
Were you a towhead as a child?
5
SPEAKER_00
It was hard to tell because I always had a crew cut, you know, I was a bristly little blonde crew cut, yeah.
5
SPEAKER_00
Pretty sad.
5
SPEAKER_02
Me too.
5
SPEAKER_02
Hated it.
5
SPEAKER_02
Hated having a crew cut in the 60s.
5
SPEAKER_01
Studley in that SNL monologue in 85 killed it.
5
SPEAKER_01
I know, you betcha.
5
SPEAKER_01
It wasn t my sweater.
5
SPEAKER_01
Fucking skinny, good job.
5
SPEAKER_02
I don t say this with all of our guests, but some, but what I would say to you is, what can t he do?
5
SPEAKER_02
Yeah, what cannot he do?
5
SPEAKER_02
I don t know.
5
SPEAKER_02
I can t sleep.
5
SPEAKER_02
He will host a show.
5
SPEAKER_02
He can t sleep, Dana.
5
SPEAKER_02
No.
5
SPEAKER_02
No, it s called ambient.
5
SPEAKER_00
I got it.
5
SPEAKER_00
No, I ll listen.
5
SPEAKER_00
Yeah.
5
SPEAKER_00
Half an ambient is fine.
5
SPEAKER_00
That s what I do at night.
5
SPEAKER_00
Yeah.
5
SPEAKER_00
Not a whole one.
5
SPEAKER_00
No, a whole one.
5
SPEAKER_00
Then you got to deal with the rest of the day.
5
SPEAKER_02
Your mind s going like this, right?
5
SPEAKER_02
I mean, I assume the creative juices, then how do you sleep?
5
SPEAKER_00
It s so hard to sleep for me because I m so smart.
5
SPEAKER_02
Well, thank you for coming on our humble show, Michael.
5
SPEAKER_00
Listen, it s been a lot of fun, and I had to get up anyway, so here I am.
5
SPEAKER_00
Now they re shifting our little pictures around.
5
SPEAKER_01
All right, boys.
5
SPEAKER_01
Thank you, bud.
5
SPEAKER_01
This has been a presentation of Odyssey.
5
SPEAKER_01
Please follow, subscribe, leave a like, a review, all this stuff.
5
SPEAKER_01
Smash that button, whatever it is, wherever you get your podcasts.
5
SPEAKER_01
Fly on the Wall is executive produced by Dana Carvey and David Spade, Jenna Weiss, Berman of Odyssey, Charlie Finan of Brillstein Entertainment, and Heather Santoro.
5
SPEAKER_01
The show s lead producer is Greg Holtzman.