12 Clomp Program

Summary

Podcast Summary: Conan O’Brien Needs A Friend

Episode: "12 Clomp Program"
Release Date: February 19, 2026
Host: Conan O’Brien
Guests and Team: Sona Movsesian, Matt Gourley, Eduardo Perez
Featured Fan: Joey Litvak, Film Preservationist

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Episode Overview

This episode features Conan reconnecting with Joey Litvak, a film preservationist from Toronto who specializes in preserving home movies. The conversation captures the quirky charm typical of Conan's podcast, as well as insightful reflections on the historical and emotional value of personal footage. Joey shares anecdotes about his work, the odd requests he receives from clients, and his passion for archiving micro-histories. The episode’s highlight is a playful riff on family dynamics in home movies, ultimately culminating in Conan promising to be Joey’s reference for a job at the Academy and an invitation to Joey’s film premiere.

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Key Discussion Points and Insights

1. Conan & Joey’s Past Encounter

• [01:30] Conan realizes he met Joey previously at a Cambridge, MA, bookstore, where Joey filmed him with a vintage home-movie camera.
• Joey confirms, showcasing the camera, which dates back to 1975, and reveals the footage is part of a personal film project.

2. Joey’s Work as a Film Preservationist

• [02:47] Joey specializes in preserving home movies, not just classic films. He explains:
  • “I think that micro history is so much more telling and fascinating than macro history.” (Joey, 03:12)
  • Home movies reveal unique family dynamics and capture universal themes in human behavior.
• Conan agrees, recalling how watching old footage can evoke a powerful sense of “presence”—you’re not just observing the past, but feeling as if you're inside it.

3. The Innocence of Old Footage vs. Modern Media Savvy

• [04:16] Both discuss the transformation in how people relate to cameras:
  • Conan remarks, “People have become very media savvy… There’s a real innocence [in old footage]… they’re excited, not knowing and ironic like people today.”
  • Joey mentions seeing excited crowds in Mel Brooks’ Super 8 footage: “Today, people get so annoyed, they don’t know what you’re going to do with the footage.” (05:14)

4. The Weirdest Client Requests

• [06:46] Joey shares that people sometimes ask to edit out estranged family members:
  • “I’ve had a few people say, can you cut my sister out of this footage? She’s a bitch.” (Joey, 06:54)
  • Conan jokes about editing, AI-tricks, and adding “devil horns” to unwanted siblings.
  • Sona adds, “I would think you’d want to cut out all your siblings so you can live out your fantasies of being an only child.” (08:03)
  • The group makes light of the extreme pettiness and family drama inherent in these requests.

5. Home Movie Restoration as Emotional Labor

• [08:50] Conan sums up: “It’s so fascinating how you get dragged into the pettiness of people.”
• Joey confirms he’s also been asked to digitally fix acne, but not yet to artificially speed up puberty or tan someone in footage—the hosts riff on these ideas with classic Conan self-deprecation.

6. “Retro” Cameras and Public Reaction

• [09:58] Joey notes people are more open to being filmed on analog cameras: “Everyone is happy... it’s kind of the opposite reaction to cell phone footage.”
• Conan quips that the retro vibe feels “friendly and good… which is very Canadian of you.”

7. Joey’s Film Archive at the Academy

• [15:41] Joey reveals his home-movie footage of Conan is preserved at the Academy Film Archive in LA from his time as an intern there.
• He describes seeing Alfred Hitchcock’s and Charlie Chaplin’s home movies, including Hitchcock riding a tricycle: “Pretty amazing. There’s footage of him riding like a tricycle.” (Joey, 16:35)
• Conan jokes about the size of the tricycle, continuing the playful tone.

8. Turning Passion into a Career

• [18:43] Joey discusses discovering his grandparents’ 8mm films and his academic path:
  • “I’m a very historical thinker. I studied history and material culture… and then a master’s in film preservation.”
  • Conan reflects, “My favorite people are the ones that have turned their childhood obsession into a career.”

9. Best “Home Movie” Moment

• [19:34] Joey describes a classic moment: “There’s footage of my grandfather giving beer to a donkey.”
• Conan riffs, “That donkey became an alcoholic… He was in a 12 klomp program.” (19:54)
• The cast cracks up, with Sona declaring: “12 Club. That’s the best thing you’ve ever said.” (20:19)

10. Joey’s Question for Conan: Advice for an Academy Job Interview

• [21:08] Joey asks for tips, revealing his upcoming interview at the Academy.
  • Conan offers to act as a personal reference: “Seriously? I would be. I’m not kidding.” (21:40)

11. Invitation to Joey’s Movie Premiere

• [23:12] Joey invites Conan (and the team, after Sona intervenes) to the LA premiere of his film, Ghost Camera, blending home-movie footage of his family and modern day:
  • “It uses my home movies, my grandparents’ home movies, and then I shot stuff in the present to contrast it.” (Joey, 23:23)

12. Playful Banter and Episode Close

• The group teases Conan about his “10th anniversary show” and him not actually being busy when declining invites.
• Joey and Conan exchange friendly farewells and best wishes.

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Notable Quotes & Memorable Moments

• “I think that micro history is so much more telling and fascinating than macro history.” – Joey Litvak, 03:12
• “People have become very media savvy… there’s a real innocence when you see old footage… and they’re not knowing and ironic and cynical about the camera…” – Conan, 04:16
• “Can you cut my sister out of this footage? She’s a bitch.” – Joey, 06:54
• “That donkey became an alcoholic… he was in a 12 klomp program.” – Conan, 19:54
• “12 Club. That’s the best thing you’ve ever said.” – Sona, 20:19
• “My favorite people are the ones that have turned their childhood obsession into a career.” – Conan, 18:43
• “If you never hosted the Oscars, you would still be in the Academy.” – Joey, 16:10
• “Seriously, you’re a good fellow and I wish you all the best. I really do.” – Conan, 23:02

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Timestamps for Important Segments

• [01:30] – Conan recalls meeting Joey in Cambridge
• [03:08] – Joey describes his work with home movies
• [04:16] – Discussion on innocence of early home movie footage
• [06:46] – Joey’s wildest client requests
• [09:58] – Filming people today with a retro camera
• [15:41] – Joey’s home-movie footage of Conan at the Academy
• [16:35] – Describing historic home movies (Hitchcock, Chaplin)
• [18:43] – Joey’s journey from obsession to career
• [19:34] – The infamous “beer for a donkey” home movie
• [21:08] – Joey’s question about his interview; Conan offers as a reference
• [23:12] – Joey invites Conan and the team to his film premiere

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Tone and Style

The episode is, as always, irreverent, nostalgic, and warm-hearted. Conan’s signature self-deprecating humor mingles with Joey’s passion for storytelling through visual history, creating a playful yet meaningful dialogue. Sona and Matt add peppery asides, enhancing the casual, friendly atmosphere.

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Conclusion

This episode stands out for its blend of unusual personal anecdotes, a passionate defense of archival work, and classic Team Coco banter. Whether recounting bizarre restoration requests or riffing on donkeys in recovery, Conan and Joey make it a memorable, engaging listen for fans of both comedy and history.

Transcript

[A]

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[B]

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[C]

Conan O' Brien needs a fan. Want to talk to Conan? Visit teamcoco.com call Conan. Okay, let's get started.

[B]

Hey, Joey. Welcome to Conan o' Brien Needs a fan with Conan o'. Brien.

[D]

Thanks for having me.

[B]

Hey, Joey, how are you?

[D]

Pretty good, how are you?

[B]

I'm good. You know, it's so funny cause I was told just before I got on with you that I've met this gentleman before, this Joey guy. And I thought, well, I won't remember that. Cause I meet so many people all the time. And then someone said, yeah, you were at a bookstore in Cambridge, Mass. And he took a quick film of you. And I remembered it because it was so unusual. You were very nice and you said, hey, Conan, nice to meet you. Can I take a quick film of you? And you held up a very cool home movie camera. Yes.

[C]

Oh, what?

[B]

Look at that.

[D]

This is the one.

[B]

What year is that from?

[D]

Maybe 75.

[B]

So Joey, really cool to see you again. And I love that you walked the earth like Johnny Appleseed, taking little clips of people. What did you do with my clip? And can I sue you?

[D]

I've been sued before, so. Oh, I don't know how much you're going to get from me.

[B]

Well, I see some cool stuff behind you and I want it. Yeah. Joey, what did you end up doing with that clip? Did you release it anywhere? Or is it just in your vault?

[D]

I'm using it for the film about my life.

[B]

Is that true?

[D]

So, yeah.

[B]

Okay. Well, I'd like to see a piece of that when it comes out.

[D]

You know, you'll have to wait a few years.

[B]

That's okay. I'm excited about that. All right, tell us about yourself, Joey. It says here that you're a film preservationist. You're in Toronto right now. There are obviously film preservationists that say, work on the director's cut of Lawrence of Arabia and try and restore it. You've had some experience with that, but mostly you focus on people's home movies. Is that correct?

[D]

That's right. I love home movies so much.

[B]

And you love them. Why?

[D]

I think that micro history is so much more telling and fascinating than macro history. I mean, I know you studied history.

[B]

So.

[D]

I just think that. I think they're one of the coolest historical documents to ever exist. And there are so many universal themes in home movies, but then there's so many, like, little individual things that you can tell just about a family or, you know, relationship dynamics and. Yeah, I don't know. It's just.

[B]

Well, I. They're really beautiful. I love seeing, you know, home movies from the 1930s, the 1940s, 50s, 60s, because I know what you're saying. You can read about history, but when you see someone's grainy old footage of their Christmas and you really see what people are wearing, what the furniture looks like, how many, like, electrical cords are going into the wall in some unsafe way, I mean, I'm just. Well, yeah, you just. You just see these little things that don't exist now.

[C]

Yeah, yeah. Ye.

[B]

And you see mannerisms. And also, you see. I think people have become very media savvy and camera savvy. And, you know, everyone has a video device in their pocket right now, their phone. And everybody's very aware and knows how to behave. And there's a real innocence when you see that old footage. People wave at the camera, they're excited. And I love. I'm addicted to Instagram is always serving me up film that was taken in, like, 1903 in New York, because I just look at how people walk, how they dress, the kind of. And they're very. They're kind of shy, but sometimes they're very excited they're not knowing. And ironic and cynical about the camera, the way people can be now. Is that true?

[D]

I think that's pretty true, yeah. I was watching the Mel Brooks documentary, which you did great interviews for, and it's just so fascinating to see, like, mel Brooks shooting Super 8 footage on the beach. And all the people behind him are so excited and they're waving and people are smiling. And today, people get so annoyed, they don't know what you're going to do with the footage. And it's just like people are oversaturated with video content, I guess.

[B]

Yeah, it doesn't feel like it's not special anymore. Whereas when you look at really old home movie footage, there's kind of a. Oh, wow, they've got a moving camera. And, you know, even when. Because the Kennedy family, it was a very wealthy family, and Joe Kennedy Sr. Worked in Hollywood making motion pictures, he had access to really nice color film cameras. And so there's all this really cool footage of, you know, John F. Kennedy and his brothers and sisters goofing around in front of a. A really great color film camera in the late 30s and early 40s. And you. You can exactly be there. You know, you can be there. A lot of them are taken in Florida, and they're just like, oh, wow, I am there. I'm seeing exactly what's happening. You're not removed from it. You're in that moment.

[D]

It feels like being in the present, even though you're transporting yourself to the past. I rarely feel such a strong sense of presence when I'm watching home movies.

[B]

So people will take their home movies. They'll bring them to you, and sometimes they have odd requests, don't they?

[D]

Yeah. Some people have bad relationships with their siblings. So I've had a few people say, can you cut my sister out of this footage? She's a bitch.

[C]

No, we can't do that.

[B]

Can you do that? I mean, that's. First of all, you can't.

[D]

It costs extra, but I can do it.

[C]

Oh, my God.

[B]

Now, when you say cut them out, you mean you remove those pieces of film or you do some AI trick where you remove their image and replace it with a refrigerator. I. It's.

[D]

It's. I spend a very long time figuring out exactly how to crop the images or mirror the images so that I can get just the person who gave me the footage. And, like, their parents who passed away, and the sister might be on the side, and sometimes I make the edges fuzzy to get.

[C]

Oh, my God.

[D]

To remove their.

[B]

Do you ever add, like, instead of cutting them out, add devil horns?

[D]

Yeah.

[B]

You know, upon request. Yeah, devil horns. A Hitler mustache to, like, a brother or a sister, you know, that is so strange.

[C]

I would think you'd want to Cut out all. All your siblings so you can live out your fantasies of being an only child.

[B]

That's right. Yeah. Yeah. And then add multiple parents that all love me. And parents from, like, Leave it to Beaver, the Brady Bunch, everyone. Just hundreds of parents that love just filled with adoration.

[C]

There's all these fictors.

[B]

Put, like, a Jesus halo behind my head.

[D]

It'll be funny to get a request to give you different parents.

[B]

Yeah. Yeah. That's very strange. I did. Did very much love my parents, so I won't be doing that. And my siblings, I will say so, won't be doing any of that. But I. You know, it's so fascinating to me how you then get dragged into the pettiness of people.

[D]

Family drama.

[B]

Yeah. Like, take this person out. Or what about, you know, hey, I had some acne back then. Fix that. Do they ever say that?

[D]

I've never gotten that, but I'll do my best. Would I have to do that for you?

[B]

Oh, God, no. Pristine skin, all the.

[C]

Be like, give me a tan.

[B]

Yeah, give me a tan. Can you give me really good upper body? Is there a way that you can, on film, make me go through puberty at, like, 13 or 14, as opposed to 19?

[C]

Oh.

[B]

No. What?

[C]

Did you really.

[B]

That's a joke. Sona.

[C]

I didn't know if you just shot up really late and your voice changed.

[B]

Shoot up late.

[C]

That's okay.

[B]

Well, my voice hasn't changed yet, so. What do you mean my voice changed? Did you. Have you seen it change yet? I'm still waiting. Still waiting for these testicles to show up. Can you have my testicles descend on camera? Joey? Joey. I want those things to drop during the Carter administration.

[D]

During the choir footage.

[B]

Exactly.

[C]

Oh, my God.

[B]

Do you. So it's so funny that you've contacted us and that we had this interaction, which I remember, and I think that's so cool. You always have that very cool 1970s film camera with you, do you? You don't shoot everybody, but you must see particular people and you just ask them, hey, is it okay if I take some footage of you? Yeah. And are they. They're mostly happy to do that.

[D]

Everyone is happy. I've never had anyone. It's kind of the opposite reaction to the cell phone footage. People are pretty excited to be shot on film. I guess it's still a novel experience.

[B]

So also, they probably think, you know, you can do so much malicious stuff with, you know, footage that's taken on a phone. You can add things. You can take it out of context, but you don't think that when someone your camera is so cool and retro and adorable, you don't feel that that's something that you could do with that. I mean, I'm sure you could, but it feels like you're coming from a really friendly, good place. Which is very Canadian of you.

[D]

Thank you.

[B]

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[D]

Yeah.

[B]

Okay.

[C]

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[B]

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[C]

I sure do. Yep, I do. I love this car.

[B]

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[C]

Yeah.

[B]

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[C]

Yeah.

[B]

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[C]

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[B]

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[C]

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[B]

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[C]

Yes.

[B]

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[D]

I just remembered. I remember what I did with the footage of me. It's actually, it's at the Academy Film Archive in la.

[B]

What the film that you took of me?

[D]

Yeah. The home movie footage.

[B]

You're kidding. Is that a joke?

[D]

Because.

[C]

No.

[D]

I was a film archivist at the Academy. I did an internship there as the home movie archivist.

[B]

Oh, wow.

[D]

And so they acquired my home movies at the end of the summer, and they have this whole Joey Litvak collection.

[B]

That's so cool. I hope I was appropriate.

[D]

So you're preserved forever. If you never hosted the Oscars, you would still be in the Academy.

[B]

Hey, I wasted my time. That's all I'm aiming for. That is so amazing. So while you were working there, did you get to look at any. There must be stuff that you had access to. Oh, so many during the brief time that you were working for the Academy that you were able to see. What did you get to see that really stands out?

[D]

Alfred Hitchcock's home movies.

[B]

No.

[D]

Pretty amazing. There's footage of him riding like a tricycle.

[B]

Wow.

[D]

It's pretty funny.

[B]

That's a big tricycle.

[D]

Yeah.

[B]

Steel reinforced. I think it was for kids.

[D]

It was really small.

[B]

Made by the U.S. army Corps of Engineers. Yeah. Orson Warehouse on a pogo stick again. US Army Corps of Engineers. 700 people were killed the day he went out. So you. And you saw Charlie Chaplin home movies.

[D]

Yeah. So I got to work on the home movie collection of the Paramount founder, Adolph Zucker, and he had all this footage of him hanging out on different boats with Mary Pickford and Charlie Chaplin and Al Jolson.

[B]

All those silent stars. Yeah. That's so cool.

[D]

Yeah.

[B]

And they're just. And they're just goofing around.

[D]

They're just goofing around.

[B]

And that's. I mean, I love that. Because again, the stakes are low. They don't have to present necessarily their public Persona. They're just being goofy people playing around with a camera on a boat. So that's where you see these legislators, their employer. Yeah. Well, okay. Yeah.

[C]

That is kind of weird.

[B]

Yeah. You guys are never relaxed when I take you. When I take you guys out on a boat.

[C]

Yeah.

[B]

On my big yacht.

[C]

Oh, my God.

[B]

Yeah.

[C]

Your giant yacht.

[B]

Yeah. The SS Ego. And then I'm like, I'm just going to shoot some fun footage. You guys always look so dour. Yeah.

[C]

You have a cigar in one of those captain hats.

[B]

Also. I said, it's a yacht. And it's. It's 18. 18 inches long. It's this tiny little dinghy. We get Duffy boat. It's a little. Yeah, exactly. And I'm like, I'll get a bigger one as soon as I Get that contract renewal, us just being tossed around Catalina Island. Well, this, I mean, you've got. This must be a lifelong obsession of yours because you seem like someone who came by this very honestly. And my favorite, the people I really root for, who I think are the luckiest people, are the ones that have turned their childhood obsession into a career. Which is what you've done.

[D]

Exactly.

[B]

Yeah.

[D]

When I was a kid, I stumbled upon my grandparents 8 millimeter home movie collection and it was like a dream come true. I like, I'm a very historical thinker. I studied history and material culture in my undergrad before doing a master's in film preservation. And just like getting to see my grandparents in their 20s, so fascinating.

[B]

Yeah. Yeah. It's so funny because we all. Our grandparents are cemented in as they're old oldies and they always were. Whenever you would picture them as kids, you'd just take their old head from today and put it on a little kid's. And they still used a cane and they were still really mad when you slammed the screen door. But it's great.

[D]

There's footage of my grandfather giving beer to a donkey.

[B]

Okay, well, that's just.

[D]

That's what they used to do.

[B]

Sorry, that's just wrong. That's just wrong. That donkey became an alcoholic or donkey. Yeah, he was in a. A 12 klomp program.

[C]

Oh, my God.

[B]

So proud of himself.

[C]

He's so proud. Oh, my God.

[B]

Well, Joey, you're here from my last podcast. They'll never be another.

[D]

Something always goes wrong with me.

[B]

Come on, Sona, I'm a good guy. Look at her.

[C]

12 Club. That's the best thing you've ever said.

[B]

Might be. Might be. Joey, you were here for it. Joey, can you shoot on this? Zoom. Can you shoot you talking to me with your camera?

[D]

I wish that the. I wish it was loaded.

[B]

What? Oh, my God. Okay, well, I just had so much faith in you that you were ready to go. I know, but no, I thought this, this can be part of his archive.

[C]

I know.

[D]

I love can do a more modern.

[B]

Not the 4K.

[C]

Not the same.

[B]

Hey, wait a minute. It's a Sony. And I hear those are very good.

[C]

What are they a sponsor?

[B]

No, but I want to get one for free.

[C]

They get one for free?

[B]

Yeah. That's great. Joey, did you have a question for me?

[D]

I did, I did have a question for you. So I read somewhere that you're hosting the Oscars.

[B]

Yep, yep.

[D]

I actually have a job interview at the Academy on Friday.

[B]

Oh, really?

[D]

And, yeah, so I was Wondering if you had any advice. I wanted to know how your interview went for the job.

[B]

Oh, well, I did it last year, so that interview went okay. I'm doing it again this year. That was a wobbly interview. They decided to take me anyway. Well, first of all, let them know that we're friends. We know each other, you know, Tell them Conan says hi.

[D]

Would you be my reference?

[B]

Seriously? I would be. I'm not kidding.

[D]

Thank you.

[B]

I mean, I'm not joking. I will be your reference. And I'm, you know, I mean, judging by all the knickknacks behind you, you might be a murderer, but a kindly murderer. A kindly Canadian murderer.

[C]

I mean, one of the things he has is your 10th anniversary.

[B]

Yeah, I know. That's what makes me scared.

[D]

I got it for $1.99 in Northern Ontario.

[C]

Yeah, men.

[B]

But it's priceless for me.

[C]

Hey, Eduardo.

[B]

Eduardo. Wow, man, you put the knife right in my back.

[C]

Oh, my God.

[B]

God damn. I'm. I gotta get myself to Toronto and hang with Joey where it's safe. Yeah, he just wants to watch himself on the dvd. Yeah, exactly. I'll just be watching it with you, nudging you. Isn't this great, Joey? Yes. I will be your reference if you need a reference from me. And they can give you my information after this is over. And I seriously will. I'll put in a good word for you and then you'll see they never come.

[D]

If I don't get the job. That means it was me.

[B]

It was me. I would say lock that down fast. Joey? Yeah? I don't have any advice for you. I think you're doing all the right things. You seem like a really nice, creative, cool guy.

[C]

Yes, he does.

[B]

And I'm so glad that I met you before. And I hope I meet you in person again. It's just. Thanks, Conan. Yeah. Seriously, you're. You're a good fellow and I wish you all the best. I really do.

[D]

Thank you. I was wondering if you might want to come to my movie premiere in la.

[B]

When? When is it?

[D]

It's in the beginning of May.

[B]

Okay.

[C]

What movie?

[D]

I can.

[B]

What is the film?

[D]

It's called Ghost Camera. It's a movie I made. It's like. It uses my home movies, my grandparents home movies. And then I shot stuff in the present to contrast it. It's kind of like I play a fake version of myself who's in a band trying to be the greatest cover band in the world.

[B]

Okay, what's the reaction to this film been so far?

[D]

5 stars across the board.

[B]

Really? All right.

[C]

Are you only inviting Conan? Because it felt like that was only directed towards Conan.

[D]

Sona, would you want to come to my movie premiere?

[C]

I do. Thank you so much.

[B]

Oh, my God, I would love to see you there.

[C]

So sweet of you to think of me. Thank you so much.

[B]

Yeah. Eduardo, you're not coming.

[D]

Great. Eduardo, would you like to come to my movie theater? I'd love to.

[B]

Damn it. Thanks, God, I have no Paul.

[D]

Thank you.

[B]

With Joey. Yeah, Joey. If I can be there, I'll be there. I can't make any promises. I'm highly in demand. Cut to Conan. Doing absolutely Nothing.

[C]

Watching your 10th anniversary show.

[B]

Yeah, yeah, watching my 10th anniversary. And then taking occasional breaks to follow a star tours bus on my tricycle that I got from the Hitchcock estate, peddling furiously.

[D]

Hey, come on.

[C]

I'm a celeb.

[B]

Hey, Joey, this has been really fun. Take care.

[D]

Thank you.

[B]

Yeah. Hope to see you soon. Bye.

[D]

All the best.

[E]

Conan o' Brien needs a fan With Conan o' Brien, Sonam of Session and Matt Gourley Produced by me, Matt Gourley executive produced by Adam Sachs, Jeff Ross and Nick Leow Incidental music by Jimmy Vivino Take it away, Jimmy. Supervising producer Aaron Blair Associate talent producer Jennifer Samples Associate producers Sean Doherty and Lisa Berm Engineering by eduardo Perez. Get three free months of SiriusXM when you sign [e-mail] Conan Please rate, review and subscribe to Conan O' Brien needs a fan Wherever fine podcasts are downloaded.

[B]

What if there was a technology that lets you communicate with animals by pretending to be an animal?

[C]

Oh, my God.

[B]

On March 6, Disney and Pixar's new movie Hoppers follows animal lover Mabel, who uses this technology to become a beaver to communicate with animals, but gets in way over her head when she accidentally gets them to plot against humans. This old story again. And you'll just have to see what happens next. Disney and Pixar's hoppers in theaters March 6th. Tickets available now. I'm under the gun all the time. Would you say so, Sona?

[C]

Yeah.

[B]

Constant, constant, constant.

[C]

Yeah.

[B]

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[C]

Yeah.

[B]

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